ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/nm-list/archive/nm-list.9603

Internet Message Format | 1996-03-30 | 95KB

From: "B. Taylor" <[e-mail]>
Subject: Re: Pierre Henry
Date: 01 Mar 1996 02:22:12 -0500 (EST)

On Thu, 29 Feb 1996, Desmond K. Hill wrote:

>              This may be a little off-centre, but maybe some elder
>         subscriber can shine some lightful guidance. Is the grand
>         master of musiq concrete the same Pierre Henry who created
>         the fucked up funk collage of 'Psyche Rock', released on
>         an album (who's title escapes me) on Phillips in the late
>         '60s?

Do you mean the record with Spooky Tooth?


-------------------------------------------------------------------------------

From: John Struthers <[e-mail]>
Subject: PLAYLISTS:"Mixing It" BBC R3,Feb'96
Date: 01 Mar 1996 12:58:48 GMT

MIXING IT - Playlists,     5th/19th/26th February 1996
======================================================

** Every Monday 2245-2330hrs (GMT) BBC Radio 3 FM

A selection of music mixing stlyes presented by Mark Russell and
Robert Sandall.
Produced by Philip Tagney
Production Asst: Jan Hart

Information as supplied by and used with permission from -

                                    BBC Radio 3 Music Department
                                    16 Langham Street
                                    London  W1A 1AA
                                    UK

Music used in Mixing It, 05.02.96

CARL STALLING:   Golf Cue
album:  The Carl Stalling Project Vol.2
CD:  Warner 945430

PAOLO CONTE:  Elisir
album:  Una faccia in prestito
CD:  Eastwest  0630-12576-2

JULIAN ARGUELLES:  Wessex
album: Home truths
CD:  Babel BDV 9503
Babel are at 29A Connaught St, London W2 2AY

CARL STALLING:  Marching Pink Elephants
album:  The Carl Stalling Project Vol.2
CD:  Warner 945430

SIMON FISHER TURNER:  The Blue Mood
album:  Live Blue Roma
CD:  Mute Records CD STUMM 149
Mute Records offer a mail order service: 429 Harrow Road, London W10 4RE.

SIMON FISHER TURNER: Love, death, avoid it
album:  Nadja
CD:  Gyroscope GYR 6617-2
Distributed by Caroline Records, 114 West 26th St, New York, NY 10001,
USA

SIMON FISHER TURNER: extract from All Men are mortal
not commercially available

OMOIDE HATOBA:  Alternative Funkaholic
album:  Kinsei
CD:  Earthnoise  EN 003
For info contact Real Time promotions, 16-18 Ramillies St, London W1V 1DL

AUBE:  Paramagnetism
album:  Magnetostriction
CD:  God Factory (limited edition)

SAMULNORI:  P'u sal
album:  Record of Changes
CD:  CMP CD 3002
CMP Records: P.O.Box 1129, 5166 Kreuzau, E.R., Germany

MUSIC USED 19.02.96
-------------------

EVIL SUPERSTARS:  Satan is in my ass
CD single:   Paradox   PCOXD 009
Distributed by Vital

L.F.O.: For ever
album:  Advance
CD:   WARP  CD39

LIGETI:  Volumina (excerpt)
album: (works by Ligeti)
CD:  WERGO  WER60161-50

AXON:  Passages
album:  Perceptions
CD:  Random Acoustics  RA 008
Random Acoustics are at: P.O.Box 0251, 53552 Bad Hoenningen, Germany

THE PIXIES:  Is she weird?
album: Bossanova
CD: Four AD  CAD 0010 CD

THE PIXIES:  Where is my mind?
album:  Surfer Rosa
CD:  Four AD  CAD 803 CD

THE PIXIES:  Dig for fire
album:  Bossanova
CD:  Four AD CDA 0010 CD

FRANK BLACK:  Headache
album:  Teenager of the year
CD:  Four AD  DAD 4009 CD

FRANK BLACK:  The Marsist
album:  Cult of Ray
CD:  Sony Music 481647 2

FRANK BLACK:  Cult of Ray
album:  Cult of Ray
CD:  Sony Music 481647 2

ERKKI-SVEN TUUR:  Insula Deserta
album:  Estonian Experience
Ostrobothnian Chamber Orchestra conducted by Juha Kangas
CD:   Finlandia  0630-12244
Distributed by Warner Music

TORTOISE:   dear Grandma and Grandpa
album:  millions now living will never die
CD:  City Slang/EFA 04972
Distributed by Thrill Jockey Records, Tortoise PO Box 477689, Chicago, IL
60647-7689

MUSIC USED 26.02.96
-------------------

QUINCY JONES:   Jook Joint Intro
                Let the good times roll
album:  Q's Jook Joint
CD:  Qwest  9362 45875 2
Distributed by WEA International

MARTA SEBESTYEN:  Sino Moi
album:  Kismet
CD:  Hannibal HNCD 1392

BALFA BROTHERS:  Drunkard Sorrow Waltz
album:  Balfa Brothers Play Traditional  Cajun
CD: SWALLOW CDCHD 955
Distributed by Ace Records, 48 Steele Road, London NW10 7AS

MARK KNOPFLER:  Je suis d_sol_ (extract)
album:  Goldenheart
CD:  on Vertigo label (Not released yet)

MARK KNOPFLER:  Vic and Ray
album: Goldenheart
CD: as above

G LOVE AND SPECIAL SAUCE:  Baby's got sauce
CD:  OKEH records (not available in UK)

PHARAOH SANDERS:  Colours
album: Karma (1969)
CD:  Impulse IMP 11532
Distributed by MCA Records

Name:         John Struthers          Product Designer
Organization: Hewlett-Packard Ltd     Queensferry Microwave Division
Address:      South Queensferry, West Lothian, EH30 9TG, Scotland, UK
Opinions expressed are my own, and are not intended to be an official
              statement by Hewlett-Packard Company


-------------------------------------------------------------------------------

From: "S_FBUEBL" <[e-mail]>
Subject: japan connections?
Date: 03 Mar 1996 00:16:04 +0100

hi -

i would like to book more of those radical japanese artists for my club.
e.g. otomo yoshihide or tenko or katsutoki umezu played recently here.

can you tell me an address to ask, or can you recommend me some artist?

[e-mail]


-------------------------------------------------------------------------------

From: "Alan Blattberg" <[e-mail]>
Subject:       Tons of CDs for S/T -- Exp., Indus., Amb., Metal, Etc.
Date: 04 Mar 1996 00:54:15 -8000

Greetings!

Please check out my "Much Music for Sale/Trade" WWWeb page:

http://www.panix.com/~alanb/saleform.shtml

I have TONS of CDs for sale/trade, some of which are decidedly
this-listy.  Still others are this-listy by "extension."

It's set up as an interactive form, where you can check off a little
box next to each disc yr innarested in, tell me yr e-mail address, let
me know what you have to trade, and e-mail the data to me.  If you
don't have a forms-friendly browser, e-me and I'll put together a
plain ASCII-style list for yr perusal.

Thank you for yr time, and I hope you find something(s) you like!


Alan Blattberg
[e-mail]
nycnycnycnycnyc


-------------------------------------------------------------------------------

From: malgosia askanas <[e-mail]>
Subject: Yum Yum query
Date: 04 Mar 1996 23:29:36 -0500 (EST)

Does anybody know whether any stores in the US carry music by the UK-based
band called Yum Yum?


Thanks in advance,

-malgosia


-------------------------------------------------------------------------------

From: Malcolm Humes <[e-mail]>
Subject: is nm-list up and working ok?
Date: 04 Mar 1996 21:40:42 -0800

the last three digests I received have looked screwed up, either
obviously truncated or only containing 1-2 posts. I know Xmission
changed email listservers recently - the Exotica list digest almost
seems ok from the transition but in elm on unix it seems to think every
post is an attachment via mimes - which means once you start reading the
digest you can't stop without paging through each attachment... anyone else
having problems with list digests from xmission? Just curious, my
impression is the new mailing software is worse from a user perspective.

Anyway, since I haven't seen anything looking like a real nm-list
digest or post in ages I thought I'd ask if the non-digest version is
running and seeing any posts? Or are the digests with virtually no content but
PR or sales ads really all that's being broadcast lately?

sorta OB nm-listy - am looking forward to maybe catching at least one of the
SF Buckethead shows this week and Gong in about two weeks. For
info on the Gong US tour see the Gong pages under http://prog.ari.net/prog/
 - it's the first US tour by a band lineup of Gong with most of the 70's
lineup. Angel in Heavy Syrup is flying to SF to open for Gong at the
Great American on the 19th, they are very fond of Gong...

Eugene Chadbourne shows up in the latest Beanbenders schedule as
due in Berkeley soon.

  - Malcolm






-------------------------------------------------------------------------------

From: "J. T. Barker" <[e-mail]>
Subject: Faust
Date: 05 Mar 1996 12:13:40 +0000 (GMT)


Been reading about FAUST in THE WIRE magazine. I've never heard em, yeah
I know they're grandfathers of noise etc, but I was wondering if anyone
had been to see em lately. I understand they do a lot of crazy stuff on
stage, they sound like Neubauten or someone, smashing things up to hear
the sounds. General thoughts/stuff about FAUST please...or something
because this list is getting pretty slow...Let's boogie, or frug or whatever.

Jim


-------------------------------------------------------------------------------

From: "J. T. Barker" <[e-mail]>
Subject: Stereolab List?
Date: 05 Mar 1996 12:14:56 +0000 (GMT)


Does anybody know if there's such a thing as a STEREOLAB discussion list?
Let me know, young fools...

jim


-------------------------------------------------------------------------------

From: "Desmond K. Hill" <[e-mail]>
Subject: _electric__ shocks
Date: 05 Mar 1996 12:51:50 +0000

        E C L E C T R I C I T Y is an electronic transmission, an e-zine if
you will, to provide back-up info about the tracks we air on radio*. It's
freely available to subscribers (just e-mail 'subscribe' in message body,
to [e-mail]).

        Here in northern England I work voluntarily with an independent
broadcaster. On this island marketplace we have to buy our freedom of
speach. And so for the last 4 years, ICE 105.4 FM has operated with
temporary permits purchased from the Radio Authority. These 'Restricted
Service Licenses' enable us to provide a voice for those otherwise
silenced, airing a highly contemporary cross-pollination from the
post-genre, mid-90's sound miasma which we all currently inhabit.

        *__electric__ is an eclectic, eccentric new music show designed for
armchair travellers, headphone beatniks and insomniacs. With a weekly
series of late evening programmes we use radio as a medium to convey mood
music and sound works on the far flung horizons of experimentation. Our
lite programming for the darker hours incorporates old and new school jazz,
some killer drum'n'bass, new electronic pop, freaky textured sci-fi sounds,
lazily languid atmospherics and all manner of incredibly strange music.
It's said 'a little of what you fancy does you good,' so get tuned in.



-------------------------------------------------------------------------------

From: [e-mail] (Herb Levy)
Subject: Zeitgeist plays David Mahler & Jarrad Powell on the WWW 3-8-96
Date: 05 Mar 1996 06:52:22 -0800

Hi -

This is not ENTIRELY germane but relevant to the general topic of the list.
I hope most folks don't mind me forwarding it.

You might want to check out the Sonarchy Web site anyway, 'cause they have
some interesting downloadable sound & music files there.

Bests,

Herb


>Date: Fri, 1 Mar 1996 18:39:10 -0800 (PST)
>From: Merritt Bettineski <[e-mail]>
>Subject: Live Event on Sonarchy 3.8.96!
>MIME-Version: 1.0
>
>
>*** Announcement: Live RealAudio Event on Sonarchy, Friday, March 8th ***
>
>Jack Straw Productions in collaboration with Corish College of the Arts
>and Relache present:
>
>        Music in Motion -- Works in progress by Seattle composers Jarrad
>        Powell and David Mahler, performed by Zeitgeist, a new music ensemble
>        from Minneapolis.
>
>Music in Motion is designed to have a dramatic impact of the process of
>creation and presentation of new musical works for mixed ensembles by
>composers from diverse cultures.  Jarrad Powell will discuss his
>composition involving a gamelan-influenced aesthetic.  David Mahler's
>piece for voice, piano and percussion is a multi-section exploration of
>W.C. Handy's 1914 song "St. Louis Blues."
>
>You are invited to attend the event at Jack Straw Studios or listen to
>the live netcast on Sonarchy, using RealAudio 28.8 software.
>
>When:   Friday, March 8, 7:30 PM (Pacific); doors open at 7:00 PM.
>
>Where:  Jack Straw Studios, 4261 Roosevelt Way NE
>        Sonarchy, http://www.sonarchy.org/
>
>Admission: FREE.  If you plan on attending in the physical,
>        please RSVP by calling 206.517.0616
>
>For more information, please contact Joan Rabinowitz <[e-mail]>.
>
>_____
>
>Sonarchy is a project of the Jack Straw Foundation
>
>Note: Some of you may receive this announcement more than once if you are
>on several listservs.  We are sorry for the inconvenience.
>


Herb Levy
[e-mail]



-------------------------------------------------------------------------------

From: Manny <[e-mail]>
Subject: Re: Faust
Date: 05 Mar 1996 12:41:15 -0500 (EST)



On Tue, 5 Mar 1996, J. T. Barker wrote:

>
> Been reading about FAUST in THE WIRE magazine. I've never heard em, yeah
> I know they're grandfathers of noise etc, but I was wondering if anyone
> had been to see em lately. I understand they do a lot of crazy stuff on
> stage, they sound like Neubauten or someone, smashing things up to hear
> the sounds. General thoughts/stuff about FAUST please...or something
> because this list is getting pretty slow...Let's boogie, or frug or whatever.
>
> Jim
>

Faust just did a US tour last year (I tried to get a show here in
Pittsburgh but oouldnt) I think they played Hartford, NYC, Atlanta and
some West COast stuff. As per THE WIRE's suggestion, go buy their new CD
"Rien" on Table of the Elements, and you will understand. Most of their
older CDs are on British label Recommended Records, too.

[e-mail]




-------------------------------------------------------------------------------

From: peter conheim <[e-mail]>
Subject: AMM Tour dates
Date: 05 Mar 1996 16:41:52 -0800 (PST)

A little digging turned these up, if anyone's interested (and I reckon
you will be)...

PC

Message-ID: <[e-mail]>

The following dates are being negotiated but, maybe with a little change
here and there, should be correct. Information received from Eddie Prevost
end of last week. Please note THERE ARE NO EASTERN DATES PLANNED.

17 April: Austin, Texas (or Houston; tbc)
18 April: Houston, Texas (or Austin; tbc)
20 April: Chicago
23 April: Los Angeles - AMM
24 April: Los Angeles - solos/duos
25 April: Seattle
26 or 27 April: San Francisco


-------------------------------------------------------------------------------

From: "S_FBUEBL" <[e-mail]>
Subject: Re: Faust
Date: 06 Mar 1996 12:22:19 +0100

Jim,

IMHO Faust cannot be compared to Einsturzende Neubauten.

Even if the new album of EN is called "Faustmusik", Faust is
"only" an old german psychedelic band. I did never see a Faust concert,
but I was told that recent concerts of this band are boring.

the old faust albums have been released on japanese CD and are worth
a listen. But even the former support band of Faust, Henry Cow, has
made a more important impact on the musical development of this century.

I really recommend you getting the "Faustmusik" CD of EN.

it is "burocratic music", musik created on books, shelves and tables.
if you e.g. like the "merry christmas" album of FM Einheit and
Caspar Broetzmann, you will like this noise experiment.

felix


-------------------------------------------------------------------------------

From: "J. T. Barker" <[e-mail]>
Subject: Snuggles list
Date: 06 Mar 1996 12:51:32 +0000 (GMT)


Does anybody know if the Negativland list - Snuggles still exists? I
tried subscribing but got an unknown user return. Has anybody on this
list been on that list? Is it a list with a list, or is it upright , or
does it have a twist?

you know?

jim


-------------------------------------------------------------------------------

From: "J. T. Barker" <[e-mail]>
Subject: Re: Faust
Date: 06 Mar 1996 12:56:52 +0000 (GMT)



On Wed, 6 Mar 1996, S_FBUEBL wrote:

> Jim,
>
> IMHO Faust cannot be compared to Einsturzende Neubauten.

why not? They're both German, they both make music that revolves around
noise or unusual sounds, they both have physical and destructive elements
in their work...why not compare them?

>
> Even if the new album of EN is called "Faustmusik", Faust is
> "only" an old german psychedelic band. I did never see a Faust concert,
> but I was told that recent concerts of this band are boring.
>
Psychedelic? What, like ? and the Mysterons, or the 13th Floor Elevators?
Also, you shouldn't believe everything you hear about concerts. One
person's boring is another person's nirvana.

>
> I really recommend you getting the "Faustmusik" CD of EN.

I expect I will. I have most of their other stuff, but I did read a
review that said "Faustmusik" was boring...


So anyway, that's just me being picky...sorry.

jim


-------------------------------------------------------------------------------

From: [e-mail] (Mason Jones)
Subject: Re: Faust (fwd)
Date: 06 Mar 1996 09:33:24 -0800 (PST)


> From: "S_FBUEBL" <[e-mail]>
>
> IMHO Faust cannot be compared to Einsturzende Neubauten.
>
> Even if the new album of EN is called "Faustmusik", Faust is
> "only" an old german psychedelic band. I did never see a Faust concert,
> but I was told that recent concerts of this band are boring.

I saw them play, and it wasn't boring, but it wasn't revelatory
either. Nonetheless, it was worth seeing.

> the old faust albums have been released on japanese CD and are worth
> a listen. But even the former support band of Faust, Henry Cow, has
> made a more important impact on the musical development of this century.

I cannot agree with this statement at all. Faust's influence has been
a hundred times more wide-spread than Henry Cow. I would put down
Faust as having a huge impact on the original "industrial" and
experimental movements of the late 70s/early 80s like Throbbing
Gristle, Einsturzende Neubauten and others. I can also absolutely say
that Faust is probably more responsible for the Japanese experimental/noise
scene than any other group.


<====================================================================>
   Mason Jones             Charnel Music
   [e-mail]        P.O. Box 170277, San Francisco, CA
                           94117-0277    Phone/fax [phone]
        Web site: http://www.meer.net/~charnel/
<====================================================================>


-------------------------------------------------------------------------------

From: peter conheim <[e-mail]>
Subject: Faust blather
Date: 06 Mar 1996 10:13:06 -0800 (PST)

Listening to the new "Rien" release is a far cry from listening to any of
the original four (or posthumous ReR) releases.  It's not Faust as we knew
them (and the two "live" reunion CD's in their "limited" (not) releases
at $32,000 each obviously are to be avoided).

The first four are utterly great, indescribable works, quite out-of-context
even with "kraut rock" of the era and psychedelia in general (although
there are, of course, some comparisons that could be made with their
contemporaries but they'd be pointless to try).  The records are timeless.

The SF gig that they did in 1994 was a lot of fun, occasionally quite
exciting, but was an expanded "pick-up" band with just Jean-Herve Peron
and Werner Diermaier from the original band (which was a large
collective).  Nothing essential, but good fun.  The "Rien" album reflects
this time period, with Michael Morely (Dead C, Gate, etc.) and others
"guesting", but it was recorded very quickly in a few improv sessions...
the operative word here is "noise".

The LP's are all hard-to-find on vinyl, although they were reissued in
the '80s by ReR, who also has "Faust Tapes" on CD.  "Faust 4" was
reissued on CD by Caroline and should be widely available.  The first two
can be had as pricey Japanese imports.

PC


-------------------------------------------------------------------------------

From: [e-mail] (Jason Witherspoon)
Subject: Re: Faust
Date: 06 Mar 1996 10:57:31 -0800

At 3:22 AM 3/6/96, S_FBUEBL wrote:
>IMHO Faust cannot be compared to Einsturzende Neubauten.
>
You're right.  Faust were leagues beyond EN.

>Even if the new album of EN is called "Faustmusik", Faust is
>"only" an old german psychedelic band. I did never see a Faust concert,
>but I was told that recent concerts of this band are boring.

>the old faust albums have been released on japanese CD and are worth
>a listen. But even the former support band of Faust, Henry Cow, has
>made a more important impact on the musical development of this century.

Henry Cow?  Puh-leez.  You might check Julian Cope's book
_Krautrocksampler_ to get an idea of the massive effect _Faust Tapes_ had
upon actual makers of music throughout the late 70's & 80's.  Tell me, Mr.
FBUEBL, have you listened to many Faust records?  "Psychedelic" is pretty
far from the mark, unless you're also willing to describe, say, the Velvet
Underground as "psychedelic".



                                                        Jason Witherspoon



-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Faust
Date: 06 Mar 1996 22:51:06 -0400 (EDT)

Faust had a MUCH larger impact on music than henry cow could ever dream.  From
This Heat on, Faust is THE reference point as far as i'm concerned.

-dan



-------------------------------------------------------------------------------

From: Nick Hobbs <[e-mail]>
Subject: Re: Faust
Date: 07 Mar 1996 03:09:18 -0700 (MST)

. But even the former support band of Faust, Henry Cow, has
>>made a more important impact on the musical development of this century.

bit unfair on H Cow to describe them as Faust's support band - they did
just one tour in that capacity


>
>Henry Cow?  Puh-leez.

there's no sense in comparing Faust & HC - they're pretty different though
certainly the Cow were influenced by Faust to some degree (especially Chris
Cutler)

and HC were one of the great under-estimated bands of all times, check out
Unrest, In Praise Of Learning and Concerts; and a lot of their greatest
moments live went unrecorded - there was a time when the Cow were doing
whole sets of free music WHICH WORKED - the main influence for which was
AMM I think, though their influences were (very) many as the Cow had no
head and each member had a completely different background; it was this
stubborn tense creative collectivity that enabled the Cow to be so
extraordinary

Nick "I wuz there" Hobbs



-------------------------------------------------------------------------------

From: "S_FBUEBL" <[e-mail]>
Subject: in praise of learning more about Faust
Date: 07 Mar 1996 14:02:19 +0100

sorry sorry sorry.

rotten pigmeat has more dignity than me after I dared to compare
Faust, Neubauten andHenry Cow.

yes, I have 2 faust albums (I and So Far) and I like them.
i did know nothing about their influence on bags of bands.

i just want to explain you why Einstuerzende Neubauten is the
better band for me: it's simply the lyrics.

I am german and I don't know any other german band which has
as poetic lyrics as EN. there are important songwriters
as Stephan Krawczyk or Wolf Biermann, but Blixa Bargeld's
words tend to sty in my mind for weeks after
I heard them. And the sounds created by Einheit, Unruh and the other
EN Members perfectly fit into the lost universe of bargeld.

"it's a rainy day, sunshine girl" is an other approach to poetry.
this Faust song is more like modern techno songs - as simple as posible.

and there are many other bands from that time period which did
such experiments as "why don't you eat carrots?".

many of the former popular krautrock bands like can, amon duul, guru guru,
kraan... are still performing every now and then, and I am dissapointed
everytime, because: they may be pioneers, but their pupils are

much more interesting to me.

paying respect to yesterdays's heroes,
felix


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Faust
Date: 07 Mar 1996 09:46:06 -0500

In a message dated 96-03-07 08:45:57 EST, you write:

>Faust had a MUCH larger impact on music than henry cow could ever dream.
>From
>This Heat on, Faust is THE reference point as far as i'm concerned.
>
>

???  Maybe in the world of noise/nm-list type groups, but there are TONS of
bands that are doing interesting music that is heavily informed by the H.
Cow/ReR/RIO "scene."  That doesn't mean that one or the other is better, just
treading a different territory.
Most of the groups are European (Volupuk, UZ) or Japanese (Tipographica,
Happy Family), and hence kinda unknown in the US/Indie scene, where people
like Jim O. are responsible for the high Faust/This Heat "awareness" among
today's youth.

Supposedly ReR is going to do some archival Cow CD's, towards the end of
their run (77' or so) they were doing some pretty radical improvising on
stage that would warm the hearts of the Faust fans turned off by the Cow's
more uh, prog side.

rock me baby

Ralph


-------------------------------------------------------------------------------

From: [e-mail]
Subject: more discs for sale
Date: 07 Mar 1996 10:18:31 -0500

prices include domestic 1st class.  Please send e-mail if interested.

$9 Kato Hideki/Ikue Mori/Fred Frith "Death Ambient" (Tzadik)

$7 Orbital "Orbital" (FFRR)

$6 Jon Rose "Brain Weather" (ReR Quarterly, small drilled hole in back)

$8 Elliott Sharp & The Soldier String Quartet "Cryptid Fragments" (Extreme)


-------------------------------------------------------------------------------

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Faust (fwd)
Date: 07 Mar 1996 10:21:23 -0800


On Wed, 6 Mar 1996 09:33:24 -0800 (PST)  [e-mail] wrote:
>
> I cannot agree with this statement at all. Faust's influence has been
> a hundred times more wide-spread than Henry Cow. I would put down
> Faust as having a huge impact on the original "industrial" and
> experimental movements of the late 70s/early 80s like Throbbing
> Gristle, Einsturzende Neubauten and others. I can also absolutely say
> that Faust is probably more responsible for the Japanese experimental/noise
> scene than any other group.

I am curious about the influence of the No Wave scene (DNA, Teenage..., Mars,
etc) on the Japanese rock scene. I personaly find some connections. Any
comments?

    Patrice.


-------------------------------------------------------------------------------

From: "Chris Krolczyk" <[e-mail]>
Subject: Re: Snuggles list
Date: 07 Mar 1996 14:57:36 -0600 (CST)

J.T. Barker sez:

> Does anybody know if the Negativland list - Snuggles still exists? I
> tried subscribing but got an unknown user return. Has anybody on this
> list been on that list? Is it a list with a list, or is it upright , or
> does it have a twist?

It still exists. The problem you may be having is that they moved to a
slightly different address, which is now [e-mail].
I don't remember the subbing procedure, but Emailing the list (and
getting a private reply) or sending a "subscribe snuggles" to
[e-mail] might work.


-------------------------------------------------------------------------------

From: "Duguid, Brian" <[e-mail]>
Subject: Subscription assistance
Date: 08 Mar 1996 09:37:19 +0000

If this list still exists, could somebody on it eMail me to help me
resubscribe: the new SmartList server ([e-mail])
refuses to talk sense to me! ;-)

Brian Duguid             [e-mail]


-------------------------------------------------------------------------------

From: "Duguid, Brian" <[e-mail]>
Subject: Re: Maciunas Ensemble
Date: 08 Mar 1996 09:56:54 +0000

> From: [e-mail] (Josh Ronsen)
> Also, can anyone provide any details on the Maciunas Ensemble? I've
heard a
> few pieces by them and want to know who/where/what...

Well, I guess it's working, then ;)

I've eMailed xmission.com to let them know that SmartList isn't being
tremendously helpful and that their LWGate web/nm-list gateway is broken
as a result. Haven't had a reply though. Apart from the godawful
formatting that SmartList gives the digests (and lack of a correct
reply-to address), it doesn't respond to a "help" eMail in a helpful
manner.

Re: Maciunas ensemble: so far as I recall, this is based in Holland, and
led by Paul Panhuysen, who also runs Het Apollohuis there, and organised
the ECHO: Images of Sound festivals. Panhuysen has released various solo
and collaborative albums e.g. with Arnold Dreyblatt, Josef(?) Goedhart
etc, exploring music on long wires, dotmatrix printers, caged birds etc.
I can dig out more info from home if you like.

Brian Duguid             [e-mail]
http://www.hyperreal.com/zines/est/


-------------------------------------------------------------------------------

From: [e-mail] (Peter Crane)
Subject: subscription information
Date: 08 Mar 1996 08:39:02 -0500

Could someone please email me the information of how to unsubscribe from
this list.   I have asked for this information before and did not receive
a response.  So could some kind-hearted soul please help me out.

Thank-you,

peter crane

--
Peter Crane
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (Mason Jones)
Subject: Re: Faust (fwd)
Date: 08 Mar 1996 09:24:46 -0800 (PST)


> From: "Patrice L. Roussel" <[e-mail]>
>
> On Wed, 6 Mar 1996 09:33:24 -0800 (PST)  [e-mail] wrote:
> >
> > Gristle, Einsturzende Neubauten and others. I can also absolutely say
> > that Faust is probably more responsible for the Japanese experimental/noise
> > scene than any other group.
>
> I am curious about the influence of the No Wave scene (DNA, Teenage..., Mars,
> etc) on the Japanese rock scene. I personaly find some connections. Any
> comments?

I'd agree that there is some influence, yes. I know for instance that
Teenage Jesus & Lydia Lunch were a very big influence on Melt-Banana,
and that the "No New York" LP is the band's favorite album. I suspect
that there would be some agreement from Space Streakings, Null, and
others if they were asked about it.

It actually seems to divide by generations. The earlier generation of
artists like Hijokaidan, Keiji Haino, etc cite Faust (and contemporaries
like Amon Duul and others) as a very big influence. The younger generation
springs more from No Wave and punk rock. (Haino's self-professed big
influence, though, is Blue Cheer, believe it or not)


<====================================================================>
   Mason Jones             Charnel Music
   [e-mail]        P.O. Box 170277, San Francisco, CA
                           94117-0277    Phone/fax [phone]
        Web site: http://www.meer.net/~charnel/
<====================================================================>


-------------------------------------------------------------------------------

From: Manny <[e-mail]>
Subject: Re: Faust
Date: 08 Mar 1996 19:16:40 -0500 (EST)



On Wed, 6 Mar 1996, S_FBUEBL wrote:

> Jim,
>
> IMHO Faust cannot be compared to Einsturzende Neubauten.
>
> Even if the new album of EN is called "Faustmusik", Faust is
> "only" an old german psychedelic band. I did never see a Faust concert,
> but I was told that recent concerts of this band are boring.
>
> the old faust albums have been released on japanese CD and are worth
> a listen. But even the former support band of Faust, Henry Cow, has
> made a more important impact on the musical development of this century.
>
> I really recommend you getting the "Faustmusik" CD of EN.
>
> it is "burocratic music", musik created on books, shelves and tables.
> if you e.g. like the "merry christmas" album of FM Einheit and
> Caspar Broetzmann, you will like this noise experiment.
>
> felix
>

IMHO you are in error. Faust is as important as Henry Cow, if not more
so. The experiments of Faust in some way directly led to Throbbing
Gristle, which led to Neubauten.

"Faustmusik" by EN has nothing to do with the band Faust - it is a
rstaging of the famous "Faust" play (where he sells his soul to the
devil), and in fact was panned in the new issue of "The Wire" as being
too sterile. I would bet, based on The Wire's description, that "Nerry
Christmas" is way better than "Faustmusik".
(But I would of course have to listen to the disc to be sure).

-Manny


-------------------------------------------------------------------------------

From: Manny <[e-mail]>
Subject: Re: Faust
Date: 08 Mar 1996 20:00:31 -0500 (EST)


VHF guy is right.
Henry Cow may have been influenced by Faust (and AMM) but their
influences have diverged highly.
It's like trying to compare the Wayside  catalog to the RRR catalog.
Henry Cow influence in States slim? How about Doctor Nerve, The Muffins,
5uu's, Motor Totemist Guild, Orthotonics, etc.? I think not (though
people influenced by Cow tend to be 30's/40's prog types as opposed  to
the 20's/30's indie types creaming over Faust).

-Manny


-------------------------------------------------------------------------------

From: [e-mail] (John Shiurba)
Subject: Re: Re: Faust
Date: 08 Mar 1996 21:37:04 GMT

>Faust had a MUCH larger impact on music than henry cow could ever dream.
From
>This Heat on, Faust is THE reference point as far as i'm concerned.

aw geez, why do people always want to make universal truths out of their
opinions?



shiurba


-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Re: Faust
Date: 09 Mar 1996 16:22:55 -0500 (EST)

On Wed, 6 Mar 1996, J. T. Barker wrote:

>
>
> On Wed, 6 Mar 1996, S_FBUEBL wrote:
>
> > Jim,
> >
> > IMHO Faust cannot be compared to Einsturzende Neubauten.
>
> why not? They're both German, they both make music that revolves around
> noise or unusual sounds, they both have physical and destructive elements
> in their work...why not compare them?

I should really write more than this, dont havze time now, but...perhgaps
later...

The one reason perhaps that they are compared to NBeubauten, is becaose
one of the members in faust, was in fact in Neubauten for some
time...Faust began before EN, and pretty much gave them a good berth to
float in.  More later perhaps...

-ben


-------------------------------------------------------------------------------

From: [e-mail] (John Shiurba)
Subject: faust/henry cow
Date: 09 Mar 1996 22:55:05 GMT

it seems to me that the since the time of faust and henry cow the (rock) avant
garde has been divided into (at the risk of oversimplification) two camps
more or less corresponding to the priorities and approaches of these two
groups. on the one hand, we have the side that's more interested in exploring
the application of advanced compositional techniques and complex harmonic
material to rock music (henry cow) and on the other hand we have the school
who (mostly) eschews all that in favor of developing the wide array of sonic
possiblities offered in the studio, and by electronic manipulation of sounds
and applying that to rock (faust). sometimes this division seems to me to be
coming together as time goes by, but usually it seems to be growing sharper,
even to the extent of the more dogmatic factions of either school totally
dismissing the other. i find this to be rather unfortunate, and in the end,
counterproductive. i'd rather think of what would have been possible had
faust been able to incorporate those things that made henry cow great and
vice versa, or more optimistically, if someone could take in both, and take
it somewhere new.



shiurba


-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Re: faust/henry cow
Date: 10 Mar 1996 12:43:49 -0500 (EST)

On 9 Mar 1996, John Shiurba wrote:

> it seems to me that the since the time of faust and henry cow the (rock) avant
> garde has been divided into (at the risk of oversimplification) two camps
> more or less corresponding to the priorities and approaches of these two
> groups. on the one hand, we have the side that's more interested in exploring
> the application of advanced compositional techniques and complex harmonic
> material to rock music (henry cow) and on the other hand we have the school
> who (mostly) eschews all that in favor of developing the wide array of sonic
> possiblities offered in the studio, and by electronic manipulation of sounds
> and applying that to rock (faust).

Couldnt disagree with you more.  Just take a listen to Faust IV, and a
clear concept of "composition" is there.  This incarnation, however,
true, is different than the likes of Henry Cow's, but valid and real.
And to me, a bit more interesting and intriguing.  Faust never used
samplers, they made all of thier own stuff, or lots of it anyways, and
many times were found building equipment only hours away from
performances wich they would use directly.  I think that the assertion
that Faust is a "studio" band, is off center with thier basic tenants.

yea that,
-b


-------------------------------------------------------------------------------

From: [e-mail] (Fiona and Richard)
Subject: Were's Warren?
Date: 10 Mar 1996 20:18:22 GMT

Hello all you New Yorker nm-list-ers. Does anyone know of a Warren Fisher?
He used to play with Jim O'Rourke in  Chicago and I have seen his name on
one J.O. release. I lost contact with him when he moved to N.Y. and would
be eternally grateful for any help. Please mail any clue direct to me. Any
information leading to the location of said Fisher will be rewarded by a
thrilling homegrown multimedia present (please state Mac or PC).


Thanks,


Richard Ross.



-------------------------------------------------------------------------------

From: david daniell <[e-mail]>
Subject: ones, twos, and threes
Date: 11 Mar 1996 13:08:38 -0500

IRON MUSIC & OLD GOLD RECORDS
  IN ASSOCIATION WITH LB. PRODUCTIONS
  AND THE RED LIGHT CAFE


                                 PRESENTS


              ONES, TWOS, AND THREES


                                     EACH TUESDAY AT 9:00
                                       AT THE RED LIGHT CAFE
                                       553 AMSTERDAM AV
                                       ATLANTA GA


          free improvisational
          sonic interplay for solo
          duet and trio performance


                       1ST MEETING 19 MARCH 1996


          details:IRON MUSIC
                  404-522-9166




  My "ideal music" is played by a group of musicians who
  choose one another's company and who
    improvise freely
  in relation to the precise emotional, acoustic, psychological, and
  other less tangible atmospheric conditions in effect
  at the time the music is played.
  - Evan Parker



see http://www.prism.gatech.edu/~vaps1wd/bands/one23.html

--
david daniell
  [e-mail]
  http://www.prism.gatech.edu/~vaps1wd/


-------------------------------------------------------------------------------

From: Sayyhanalla <[e-mail]>
Subject: Re: Faust
Date: 12 Mar 1996 00:21:39 GMT

how do i unsubscribe to this mailing list?


-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Bennink/Mengleburg
Date: 11 Mar 1996 18:36:23 -0500 (EST)

Curious if anyone would know...

I had heard that Han Bennink and Misha Mengleburg are teaching at some
school either in france or belgium i believe...I dont know...I am
thinking of perhaps going over-seas for a semester for an intensive
language program , and I thought I would also look into the musical
possibilities.  This came to mind.  If anyone has any information, or
knows how I could get in touch with either of these people, or others
who would be of assistance, I would appreciate it greatly.  thanks...

-b


-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Coxhill/Frith, Lacy/Koglemann
Date: 11 Mar 1996 18:55:31 -0500 (EST)

a couple of interesting records, thought I would review them...Just found
them both for a total of like 12 dollars...so..

Coxhill/Frith Duets  -AAA records (Recommended?)

Lol Coxhill, one of the first great european free players comes to play his
soprano Saxaphone with Fred Frith, a sometimes incredible
player/sometimes horriffic player.  As you can tell, I like Coxhill
traditionally alot, while sometimes frith leaves a little to be desired
for my tastes.  But this recording of mostly live stuff is incredible.
It moved in through alot of different channels and byways of sound, sorta
picking and choosing elements as it goes along.  Sometimes it slips into
something almost recognizable and even hummable, then it dips back down
into a realm of tangled phrases and rich obscured tones.  The soprano
Saxaphone here that Coxhil plays almot sounds like some sort of
electronic instrument, but still leaving great trails of phrases and
lines.  The guitar is mostly prepared, and I must say, Frith suprised me
greatly.  I know that he is a skilled guitarist, and should be respected
for it, but here in this simple context, he really shines.  These duets
reminded me of the K.K. Null/O'Rourke release, "A New Kind of Water", as
well as something that Gunter Mueller did called "Instant Collision" or
something.  Thick and monumentous at times, intricate, delicate, and
subtle at other times.  I cant recall the year of it (Im at work right
now)  but it is well worth looking into if you see it used somewhere, or
if it is reprinted.

"Flaps" Steve Lacy with Franz Kogelmann --Pipe records--
This was aonther suprising find, due to its rarity.  I believe lots of
this stuff was only mail order, directly from Kogelmann himself (Pipe
was/is? his label).  Lacy is of course multi-talented, and a respected
member of improvised musics.  Kogelmann I know much less about, he plays
flugelhorn and trumpet mostly, and is in the Clusone 3, with Han Bennink
and someone else.  They are joined here by a bassist, a drummer, and an
Electronics
manipulator (None of whom I recall thier names), both adding their own
unique and flavorful elements to this
well-woven tapestry.  A quintet though, and easily recognized as such.
The bassist, whoever it is, cant recall, is great, and chooses to accent
the others playing very well.  And, yes, sometimes electronics are to be
greatly feared, but here they blend in great, interweaving with the horns
excellently, making it a welcome addition to the arsenal of soundmakers.
I should really give this one about 5 more listens, but, so far (2
listens) it has struck me as something quite good, relying on the
dynamics between the players heavily.

Well, err..guess that is alot...err...

-b


-------------------------------------------------------------------------------

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Coxhill/Frith, Lacy/Koglemann
Date: 11 Mar 1996 16:08:22 -0800


On Mon, 11 Mar 1996 18:55:31 -0500 (EST)  [e-mail] wrote:
>
> "Flaps" Steve Lacy with Franz Kogelmann --Pipe records--
   ^^^^^

Congratulations! A really hard to find record.

> This was aonther suprising find, due to its rarity.  I believe lots of
> this stuff was only mail order, directly from Kogelmann himself (Pipe
> was/is? his label).  Lacy is of course multi-talented, and a respected
  ^^^^^^^^^^^^^^^^^

Definitely.

> member of improvised musics.  Kogelmann I know much less about, he plays
> flugelhorn and trumpet mostly, and is in the Clusone 3, with Han Bennink
                        ^^^^^^^^^

You might think about somebody else: Clusone Trio is Michael Moore,
Ernst Reijseger and Han Bennink.

> and someone else.  They are joined here by a bassist, a drummer, and an
> Electronics
> manipulator (None of whom I recall thier names), both adding their own
> unique and flavorful elements to this
> well-woven tapestry.  A quintet though, and easily recognized as such.
> The bassist, whoever it is, cant recall, is great, and chooses to accent
> the others playing very well.  And, yes, sometimes electronics are to be
> greatly feared, but here they blend in great, interweaving with the horns
> excellently, making it a welcome addition to the arsenal of soundmakers.
> I should really give this one about 5 more listens, but, so far (2
> listens) it has struck me as something quite good, relying on the
> dynamics between the players heavily.

Can you give me the address of your record store :-).

    Patrice.


-------------------------------------------------------------------------------

From: "J. T. Barker" <[e-mail]>
Subject: Re: Faust
Date: 12 Mar 1996 13:02:08 +0000 (GMT)



On Sat, 9 Mar 1996, B BRACKEN wrote:

>
> The one reason perhaps that they are compared to NBeubauten, is becaose
> one of the members in faust, was in fact in Neubauten for some
> time...Faust began before EN, and pretty much gave them a good berth to
> float in.  More later perhaps...
>
> -ben
>
>

  Do tell us more. My bet is that it was Hacke, or maybe Einheit or maybe
someone else/....hmmm, I don't know do I? So tell me!!!

jim


-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Bennink/Mengleburg (fwd)
Date: 12 Mar 1996 13:09:31 -0500 (EST)


***Soarry if some of you already got this...I think I sent it to the
wrong address, not sure...is there a dif. between xmission.xmission.com
and just xmission.com?***

Curious if anyone would know...

I had heard that Han Bennink and Misha Mengleburg are teaching at some
school either in france or belgium i believe...I dont know...I am
thinking of perhaps going over-seas for a semester for an intensive
language program , and I thought I would also look into the musical
possibilities.  This came to mind.  If anyone has any information, or
knows how I could get in touch with either of these people, or others
who would be of assistance, I would appreciate it greatly.  thanks...

-b



-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Coxhill/Frith, Lacy/Koglemann (fwd)
Date: 12 Mar 1996 13:13:20 -0500 (EST)



***here is another that I dont think got through***

a couple of interesting records, thought I would review them...Just found
them both for a total of like 12 dollars...so..

Coxhill/Frith Duets  -AAA records (Recommended?)

Lol Coxhill, one of the first great european free players comes to play his
soprano Saxaphone with Fred Frith, a sometimes incredible
player/sometimes horriffic player.  As you can tell, I like Coxhill
traditionally alot, while sometimes frith leaves a little to be desired
for my tastes.  But this recording of mostly live stuff is incredible.
It moved in through alot of different channels and byways of sound, sorta
picking and choosing elements as it goes along.  Sometimes it slips into
something almost recognizable and even hummable, then it dips back down
into a realm of tangled phrases and rich obscured tones.  The soprano
Saxaphone here that Coxhil plays almot sounds like some sort of
electronic instrument, but still leaving great trails of phrases and
lines.  The guitar is mostly prepared, and I must say, Frith suprised me
greatly.  I know that he is a skilled guitarist, and should be respected
for it, but here in this simple context, he really shines.  These duets
reminded me of the K.K. Null/O'Rourke release, "A New Kind of Water", as
well as something that Gunter Mueller did called "Instant Collision" or
something.  Thick and monumentous at times, intricate, delicate, and
subtle at other times.  I cant recall the year of it (Im at work right
now)  but it is well worth looking into if you see it used somewhere, or
if it is reprinted.

"Flaps" Steve Lacy with Franz Kogelmann --Pipe records--

This was another suprising find, due to its rarity.  I believe lots of
this stuff was only mail order, directly from Kogelmann himself (Pipe
was/is? his label).  Lacy is of course multi-talented, and a respected
member of improvised musics.  Kogelmann I know much less about, he plays
flugelhorn and trumpet mostly, and I think he played on Anthony
Bsraxton's "Charlie Parker Project", not sure though.  He's also been
playing with European free improvisors for a long time I think.
They are joined here by a bassist, a drummer, and an
electronics manipulator (None of whom I recall thier names), both adding
their own unique and flavorful elements to this
well-woven tapestry.  A quintet though, and easily recognized as such.
The bassist, whoever it is, cant recall, is great, and chooses to accent
the others playing very well.  And, yes, sometimes electronics are to be
greatly feared, but here they blend in great, interweaving with the horns
excellently, making it a welcome addition to the arsenal of soundmakers.
I should really give this one about 5 more listens, but, so far (2
listens) it has struck me as something quite good, relying on the
dynamics between the players heavily.

Well, err..guess that is alot...err...

-b



-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Re: Faust (fwd)
Date: 12 Mar 1996 13:14:43 -0500 (EST)



On Sun, 10 Mar 1996, Hager Joanne wrote:

>     No doubt Faust came around much earlier than EN, and most likely has a
> significant influence on them, but then again, everything is derivative of
> something, including Faust.  It's easy to say "Act X was much more influential
> than act Y because they are OLDER", but I feel that Neubauten has innovated
> enough on their own to merit a great deal of influence themselves.  I certainly
> can't say who is "more influential" (Here, I'll get out my Influencometer and
> measure see how many units of "Bach" they each influence), although I have
> no doubt that they are both influential.  I don't care how many LP's Faust had
> while EN were infants, there is much more of a measure of influence than
> time period.  I am not overly familiar with Faust's earlier works, however, so
> it may be the case that EN actually didn't innovate a thing and simply copied
> Fausts work, but I somewhat doubt that...please feel free to inform me if
> I'm way wrong here.

Your right.  EN hass done some incredible things in thier own right,
indeed.  I agree with you wholeheartedly.  But, I am merely trying to put
it all into context.  Thier work can be directly linked to what Faust did
previous to them.
     Your mention of the "Influencometer", though, is a good
example of what many do un-nessisarily.  Sure bands have influences, (As
Holger of CAN asserted, one should exploit them as much as possible), but
they are surely not trying to imitate their roots, rather, expand on
them.  This is certianly true of EN.

Sheck,
-b



-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: Re: Faust (fwd)
Date: 12 Mar 1996 13:15:47 -0500 (EST)



On Sun, 10 Mar 1996, Hager Joanne wrote:

> > I should really write more than this, dont havze time now, but...perhgaps
> > later...
> >
> > The one reason perhaps that they are compared to NBeubauten, is becaose
> > one of the members in faust, was in fact in Neubauten for some
> > time...Faust began before EN, and pretty much gave them a good berth to
> > float in.  More later perhaps...
> >
> > -ben
> >
> >
> Who?
>
>                     -JoAnne
>
Zappi, i believe was in EN for some time, but ultimately didnt agree with
what they were doing, or so I have heard.  Zappi also played with
assemblage, First Left Second Right, and a couple of other "projects".

Perhaps though, I worded my posting wrong.  Zappi wasnt an origional
member or anything like that, but En owes much to Faust for what they
did.  Peron has been quoted as saying "I dont want to sound concieted,
but Neubauten was still shitting in thier nappies when we had two Lp's..."

err,
-b



-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: No Skinny Ties
Date: 12 Mar 1996 15:53:53 -0800 (PST)


Announcing: A new bi-weekly series on What's This Called? with Ricardo
Wang, Thursdays from 9 to 11 PM on KAOS Olympia 89.3 FM, No Skinny Ties.
This series will alternate every other week with the regular What's This
Callled? programming of experimental music and exotica, and will focus
instead on the independent post-punk and underground rock of the 1980s,
from Sonic Youth to Snakefinger; from the Sun City Girls to Wire.
Combining his own extensive record collection from the period with the
incredible KAOS vinyl archive, your host Ricardo Wang hopes to contrast
the No Skinny Ties series with the current revival in the media of 80s
"new wave" major label pop. Expect to hear bands and artists on independent
labels such as SST, Alternative Tentactles, Independent Projects, K (of
course!), and the fledgling Sub Pop. These record labels won't be new to
long time KAOS listeners, they have had a long history with KAOS due to our
80% independent music policy.  Says Wang about his new series, "All this
great diverse and experimental music was so underground in the 80s, that a
lot of people never even heard of Einsturzende Neubauten or Big Black, and
now as the 80s are coming back in fashion, it's being overlooked again.
Thankfully you still have a community radio station like KAOS where you
can hear it."



-------------------------------------------------------------------------------

From: Ricardo Wang <[e-mail]>
Subject: 2nd Annual Oly Exp Fest
Date: 12 Mar 1996 21:51:32 -0800 (PST)

Hello, my name is Jim McAdams (among others) and I am in the process of
organizing the 2nd Annual Olympia Experimental Music Festival. Last
year's event was a two day affair with 14 different acts including Mark
Hosler, Sue Ann Harkey, Pork Queen, Circular Firing Squad, Bugskull, and
many other great performances.  This year we have alread confirmed
Blowhole, Sue Ann Harkey, Noggin, Climax Golden Twins, Malaise, That
Stupid Club, Arrington De Dionysos and the Old Time Relijun, and Miss
Murgatroid. We are doing three days at the end of May (Mon 27th - Wed
29th) with a total of 29 acts.  If you are in an experimental music
ensemble (and I use the term loosely this festival has room for free
jazz, ambient, techno, post-classical, or post-punk as long as the
artists are pushing the boundaries of their genre(s)) and are interested
in playing this exciting festival held at the tiny Midnight Sun
performance space (but with great acoustics and a wood floor) for little
more than gas money and an appreciativ crowd (that I can promise!) please
contact me immediately by phone or e-mail:
[phone]/[e-mail]
if you wish to send a recording right away for me to review the address
is: 1002 Olympia Ave. NE, Olympia, Wa 98506.



-------------------------------------------------------------------------------

From: Nick Hobbs <[e-mail]>
Subject: Re: faust/henry cow
Date: 13 Mar 1996 07:52:20 -0700 (MST)

>it seems to me that the since the time of faust and henry cow the (rock) avant
>garde has been divided into (at the risk of oversimplification) two camps
>more or less corresponding to the priorities and approaches of these two
>groups. on the one hand, we have the side that's more interested in exploring
>the application of advanced compositional techniques and complex harmonic
>material to rock music (henry cow) and on the other hand we have the school
>who (mostly) eschews all that in favor of developing the wide array of sonic
>possiblities offered in the studio, and by electronic manipulation of sounds
>and applying that to rock (faust).

but both groups had in common that they improvised (live and in the studio)
as well as playing various kinds of composed music

yer average prog rock group didn't get deep into free improvisation !

also most prog rock groups seemed to take their art music influences from
Mussogorsky and Bach rather than Varese, Ives and Schoenberg ...

Nick



-------------------------------------------------------------------------------

From: [e-mail] (Brian Duguid)
Subject: RFD: rec.music.classical.contemporary
Date: 13 Mar 1996 19:31:17 -0500 (EST)

                     REQUEST FOR DISCUSSION (RFD)
          unmoderated group rec.music.classical.contemporary

Newsgroup line:
rec.music.classical.contemporary    Discussion of contemporary.

This is a formal Request For Discussion (RFD) for the creation of a
worldwide unmoderated Usenet newsgroup
rec.music.classical.contemporary. This is not a Call for Votes (CFV);
you cannot vote at this time. Procedural details appear below. All
followup discussion should occur in news.groups.

RATIONALE: rec.music.classical.contemporary

Discussions of contemporary classical music currently take place in a
variety of Usenet forums, most noteably rec.music.classical, as well
as on mailing lists such as post-classical and nm-list.

Several contributors to such discussions have expressed a desire to
have a forum dedicated to "contemporary classical music", to
encourage further sharing of information and opinions. The volume of
traffic in rec.music.classical is such that people with an interest
in modern classical music, but not in older composition, are
reluctant to read the group.

During January 1996, a discussion on a possible newsgroup to cover
contemporary composed music, including but not limited to minimalism,
took place on rec.music.classical, rec.music.ambient,
rec.music.compose, alt.music.philip-glass and alt.music.steve-reich.
Sufficient support was evident to justify this formal Request for
Discussion.

Several discussions have already taken place regarding what would and
what would not be appropriate in the new group. The charter below is
based on these discussions. In addition, the proposed group name has
already been widely discussed and received support from the majority
of those who expressed an opinion.


CHARTER: rec.music.classical.contemporary

Rec.music.classical.contemporary shall provide a forum for the
discussion of all issues relating to contemporary classical music.

For the purposes of this group, "classical music" is
considered to include all music composed in a recognisably
classical tradition (i.e. use of written score, tendency to be
performed by persons other than the composer) or which owes a heavy
debt to that tradition (e.g. the experiments with non-notated scores
and improvisation by Cage, Stockhausen et al).

For the purposes of this group, "contemporary" is considered to
generally refer to the most recent 50 years, but not to exclude music
composed prior to that which is part of the modern classical
tradition e.g. serialism, Debussy, Russolo.

Such topics include, but are not limited to, the following:

1) Contemporary classical composers, works, performances and
   recordings.
2) Musical styles such as serialism, post-serialism, electronic
   and tape music, musique concrete, minimalism, "new complexity",
   computer music, etc.
3) Reviews, discographies, requests for information etc.
4) Politics of contemporary classical music, also the interface
   between the area and other fields such as philosophy, sociology,
   cybernetics etc.
5) Relationship between the area and other fields of contemporary
   art e.g. visual art, dance.
6) The influence of contemporary classical genres (e.g. minimalism,
   musique concrete) on other types of music (e.g. rock, dance).
7) Labels specialising in this area of music.
8) Books, magazines, internet resources relevant to this area of
   music.

Commercial postings are acceptable on rec.music.classical, providing
that they are relevant to the above topics, kept as brief as possible,
and only posted once. Lists of recordings for sale, whether by private
sale or by shop, mail-order etc, are not acceptable. A brief pointer
describing where such a list or catalogue is available, would be
acceptable. Postings likely to be of regular interest (e.g. a brief
pointer to a label's web site) may be posted more than once, but not
more often than once per calendar month, and not at all if the
information is already posted regularly in some other form e.g. a
Frequently Asked Questions posting.

Commercial postings relevant to other areas of music (e.g. mail-order
details for a business covering numerous styles of music) should *not*
be posted to this group.

Issues relating to the composition of contemporary classical music
should be discussed in rec.music.compose. Discussions should only be
posted or cross-posted to rec.music.classical.contemporary where they
relate to issues of interest to general listeners e.g. a discussion of
notation software would not be appropriate, but a discussion of
whether stochastic or aleatoric composition results in more
'entertaining' music would be.

Issues relating to the performance of contemporary classical music
should be discussed in rec.music.classical.performing. Discussions
should only be posted or cross-posted to
rec.music.classical.contemporary where they are especially relevant to
the "contemporary" element and likely to be of interest to listeners
as well as performers e.g. a discussion of the freedom given by
composers like Cage and Feldman to their performers would be relevant.
A discussion on where to buy clarinets would not.

Neither the group proponent nor any posters to
rec.music.classical.contemporary shall be held responsible for the
accuracy of articles posted therein. Opinions expressed are those of
the authors alone.

END CHARTER.

PROCEDURE

This is a request for discussion, not a call for votes. In this phase
of the process, any potential problems with the proposed newsgroups
should raised and resolved. The discussion period will continue for a
minimum of 21 days (starting from from when the first RFD for this
proposal is posted to news.announce.newgroups). All discussion should
be posted to news.groups.

At the end of the discussion period, a Call for Votes (CFV) will be
posted by a neutral vote taker.

DISTRIBUTION: rec.music.classical.contemporary

This RFD shall be crossposted to the following groups:

  news.announce.newgroups, news.groups, rec.music.classical,
  rec.music.ambient, rec.music.compose,
  rec.music.classical.recordings, rec.music.classical.performing

The official RFD shall also appear in the following mailing lists:

  [e-mail]
  [e-mail]
  [e-mail]

Proponent: Brian Duguid <[e-mail]>

Brian Duguid             [e-mail]
http://www.hyperreal.com/zines/est/
http://www.hyperreal.com/~duguid/


-------------------------------------------------------------------------------

From: Bernhard Loibner <[e-mail]>
Subject: Xennakis CD
Date: 14 Mar 1996 14:20:34 EST

Hi there,
I have been looking for a recording of Iannis Xenakis' piece 'Metastasis' for
quite a long time now - and have not found anything. Does anybody know if a CD
exisits with this piece and maybe others of Xenakis' orchester works?

thanks for your input.
Bernhard Loibner


-------------------------------------------------------------------------------

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Xennakis CD
Date: 14 Mar 1996 12:43:42 -0800


On 14 Mar 96 14:20:34 EST  [e-mail] wrote:
>
> Hi there,
> I have been looking for a recording of Iannis Xenakis' piece 'Metastasis' for
> quite a long time now - and have not found anything. Does anybody know if a CD
> exisits with this piece and maybe others of Xenakis' orchester works?

It has been reissued on CD (on a French label). I will check the exact
reference.

    Patrice.


-------------------------------------------------------------------------------

From: [e-mail] (John Shiurba)
Subject: Re: Xennakis CD
Date: 14 Mar 1996 22:46:01 GMT

bernard loibner:

>I have been looking for a recording of Iannis Xenakis' piece
>'Metastasis' for quite a long time now - and have not found
>anything. Does anybody know if a CD exisits with this piece
>and maybe others of Xenakis' orchester works?

yes there is a cd in print on a label called "Le Chant Du Monde" which is
distributed by Harmonia Mundi (meaning that you should be able to get this
through Tower). The CD has two great orchestral pieces (Metastasis and
Pithoprakta) as well as a fabulous piece called "Eonta" for piano, 2
trumpets, and 3 trombones.

Other (in print) cds with orchestral music (some on the small orch side) are
available on Erato ("Phlegra", "Thallein" etc), Wergo ("Palimpsest", "Epei"
etc) and Etcetera ("Kraanerg"). all get my absolute highest recommendation.


shiurba


-------------------------------------------------------------------------------

From: [e-mail] (Alan Stones)
Subject: Re: Xennakis CD
Date: 15 Mar 1996 11:36:20 +0000


>Hi there,
>I have been looking for a recording of Iannis Xenakis' piece 'Metastasis' for
>quite a long time now - and have not found anything. Does anybody know if a CD
>exisits with this piece and maybe others of Xenakis' orchester works?
>
>thanks for your input.
>Bernhard Loibner

There is or was an old recording (1965) conducted by Maurice le Roux
available on Le Chant du Monde label (distr by Harmonia Mundi) LDC 278 368
CM 211 which also has Eonta + Pithoprakta. Hope this helps.

**********************
  Alan Stones
  Lecturer/Studio Manager
  Division of Music
  Roehampton Institute London
  Wimbledon Parkside
  London
  SW19 5NN
  U.K.
  Tel: [phone]
  Fax:[phone]
  [e-mail]
*********************



-------------------------------------------------------------------------------

From: david daniell <[e-mail]>
Subject: ONES, TWOS, AND THREES (Atlanta)
Date: 15 Mar 1996 14:47:29 -0500

ONES, TWOS, AND THREES
 free improvisational
 sonic interplay for solo
 duet and trio performance

presented by
 IRON MUSIC & OLD GOLD RECORDS
 IN ASSOCIATION WITH LB. PRODUCTIONS
 AND THE RED LIGHT CAFE

EACH TUESDAY AT 9 PM
 AT THE RED LIGHT CAFE
 553 AMSTERDAM AV
 ATLANTA GEORGIA

1ST MEETING 19 MARCH 1996

Tuesday nights beginning March 19th, the Red Light Cafe will
host ONES, TWOS, AND THREES, a weekly forum for the Atlanta
community of free improvisors.  ONES, TWOS, AND THREES is an
occasion for individuals to explore new territories in improvisation
and to work with other musicians in new and unfamiliar situations.
The musicians participating in ONES, TWOS, AND THREES will come
each Tuesday as individuals, apart from any existing ensembles --
open to whatever possibilities might arise, and making music with
other musicians who they may never before have met.

The stage at ONES, TWOS, AND THREES is open to any musician who
is open to improvising in unique circumstances. Vocalists,
instrumentalists, dancers, poets, and other improvisational artists
are encouraged to participate. The program will consist of concise
[under]statements by soloists, duos, and trios, with a possible
finale by a large improvisational ensemble.

Members of several of Atlanta's improvisational ensembles, including
Gold Sparkle Band, Charlie Parker, and William Carlos Williams, will
be performing at the first meeting of ONES, TWOS, AND THREES.

If you are interested in participating, or have any questions, call
Iron Music at 404 522 9166.


see also http://www.prism.gatech.edu/~vaps1wd/bands/one23.html


*   My "ideal music" is played by a group of musicians who
* choose one another's company and who
*     improvise freely
*   in relation to the precise emotional, acoustic, psychological, and
*      other less tangible atmospheric conditions in effect
*   at the time the music is played.
*   - Evan Parker


--
david daniell
  [e-mail]
  http://www.prism.gatech.edu/~vaps1wd/


-------------------------------------------------------------------------------

From: [e-mail] (grievous 2:  the destruction of jared-syn)
Subject: Macronympha - REAL MEN!
Date: 15 Mar 1996 14:41:16 GMT


hey, i just got a container full of shit in the mail from macronympha - not
STUFF, REAL HUMAN SHIT!!!

i guess this is the way real grown-ups handle criticism, right?

thank ya!
[grievous]


-------------------------------------------------------------------------------

From: [e-mail] (Matthew Carey)
Subject: Re: Macronympha - REAL MEN!
Date: 15 Mar 1996 14:55:34 -0800



>
>
>hey, i just got a container full of shit in the mail from macronympha - not
>STUFF, REAL HUMAN SHIT!!!
>
>i guess this is the way real grown-ups handle criticism, right?



Right on.  What did you do to prompt that?  And how do you know it's human?



--
  Vision Temple: "Abolish Relativism"                Rev. Matthew A. Carey
 Send $1 for weird stuff via real mail.              18653 Ventura Blvd.
   http://www.rlabs.com/visiontemple/                Suite #379
     *!*!* KEYES/DORNAN '96 *!*!*                    Tarzana, CA     91356


-------------------------------------------------------------------------------

From: Malcolm Humes <[e-mail]>
Subject: hey, I've heard of this guy!
Date: 16 Mar 1996 02:19:06 -0800

via this week's HotWired announcements:
>
>Wednesday, 20 March
>6 p.m. PST
>Mason Jones, discerning necrophile
>
>Mason Jones is an artist, musician, producer, photographer, and
>publisher, as well as author of the recent photo essay, "Death's
>Garden," which explores our relationships to our final dwelling-place:
>the cemetery. Jones' images and text range from the gothic to the
>everyday, from humorous to sublime. Join us on Wednesday, 20 March at 6
>p.m. PST (Thursday 02:00 GMT) with Covert Culture host Richard Kadrey.
>

 - Malcolm


-------------------------------------------------------------------------------

From: [e-mail]
Subject: Re: Macronympha - REAL MEN!
Date: 16 Mar 1996 08:32:24 -0500

In a message dated 96-03-15 20:07:40 EST, you write:

>>hey, i just got a container full of shit in the mail from macronympha - not
>>STUFF, REAL HUMAN SHIT!!!
>>
>>i guess this is the way real grown-ups handle criticism, right?
>
>
>
>Right on.  What did you do to prompt that?  And how do you know it's human?
>
>
>

Maybe there was a tape inside?  And the shit was the special packaging.

-patrick


-------------------------------------------------------------------------------

From: Seth Veitzer <[e-mail]>
Subject: Re: Macronympha - REAL MEN!
Date: 16 Mar 1996 10:19:12 -0700 (MST)



On Fri, 15 Mar 1996 [e-mail] wrote:

>
> hey, i just got a container full of shit in the mail from macronympha - not
> STUFF, REAL HUMAN SHIT!!!
>

Was it stinky?

ob musci:

Tetsuo Furidate/Sumihisa Arima/Pneuma _Autrement Qu'etre_
Les Disques du Soleil et de L'Acier (1995?)

Finally I get around to posting a review of this.  Two live
performances in Tokyo highlighted by atmospheric sounds, tapes,
voice, voice samples, and generally really creepy noises.  In
a sense it reminds me of Barry Adamson's _Moss Side Story_ in
that the music constructs a scene of dark forboding punctuated
with peaks of beauty, except much much less structured musically.
Similar to alot of Illusion of Safety performances, I think.
Recomended, as is Furidate's first cd which is experimental
guitar interacting with classical music samples.

SV(q)


-------------------------------------------------------------------------------

From: B BRACKEN <[e-mail]>
Subject: E. Chadbourne
Date: 17 Mar 1996 16:49:28 -0500 (EST)

##$##
This weekend I was moping around Ann Arbor, looking for records and what
not, and I went to PJ's, and found a great record.  Its a Eugene
Chadbourne album that dates back to like 1976 or so, and its phenominal.
its simply called "Solo Guitar vol. 1" or something like that, and on the
very odd label parachute, actually I believe release number 1 for them.
This exegesis is along the same lines as derek bailey's "Incus Taps" and
his other solo work, though with a definately unique approach.  I think
that it is often thought of Eugene that he is interested in the humorous,
and the almost vulgar primarily.  Perhaps he is to an extent, but, on
this recording, the goals are totally different then what you see with
some of his other work.  But this stuff is definately a masterpiece, and
I cant believe its gone overlooked for so long.  This should be
re-printed:)  its a great document of ideas that were circulating,
regarding the guitar, and music in general, and the unique approach that
Chadbourne puts on it makes it even more enjoyable.  His guitars were
these tattered pieces of metal and wood, organic and almost seemed like
they were alive, independant of Chadbourne.  People refre to this style
as post-bailey, but Chadbourne places himself among innovators like
bailey with ease through pieces like these.  If you see this thing, pick
it up immeadiately.

-ben

p.s. I dont think all of my stuff is getting to this list, so perhaps I
have a wierded mail handler, or I have a messed address for
nm-list...someone let me know.  I have been using xmission.xmission.com,
and now I am trying xmission.com...dont know if there is any difference...


-------------------------------------------------------------------------------

From: [e-mail]
Subject: halana magazine
Date: 17 Mar 1996 21:36:04 -0500

..........introducing halana magazine

.we are pleased to announce the debut issue of a magazine devoted to the
discovery and glorification of meaningful, important and often spiritual
music and culture from around the globe...

.of particular interest to us are those people who have chosen to concern
themselves with delving deeply into sound, dealing specifically with the more
esoteric aspects of what and how we hear by focusing on things like the
physical properties and emotional potential of sound and music...

.to help us on our course of discovery, we hope to gain some insight from
prominent musicians, composers and thinkers in all realms of music/sound...


..........the first issue
.we begin our series focusing on the lives and work of contemporary composers
by featuring an exhaustive interview with understated music makers La Monte
Young and Marian Zazeela...

.jazz pianist Matthew Shipp contributes some meditations on the philosophical
and spiritual natures of improvisation as encountered while on tour with the
David S. Ware Quartet...

.we also turn our eye on the extraordinary music of guitarist Loren MazzaCane
Connors, looking deeply into his unmistakable style...

.also featured is an account of a recent trip to the studios of sound
sculpturists Harry & Val Bertoia with an examination of HarryÆs musical
career...

as a companion to the magazine comes a 7ö single featuring a solo piano
recording by Matthew Shipp, an offering from the guitar of Loren MazzaCane
Connors, and an infinite sampling from the minds of Harry & Val Bertoia...

please write for more information on advertsing in or distribution of halana
halana is available from fine record and book stores near you or
for $5 ppd (checks payable to Chris Rice) from the following address:

po box 502 . ardmore, pa . 19003-0502
[e-mail]


-------------------------------------------------------------------------------

From: [e-mail] (John Shiurba)
Subject: Re: E. Chadbourne
Date: 18 Mar 1996 04:42:58 GMT

bbracken:

>I went to PJ's, and found a great record.  Its a Eugene
>Chadbourne album that dates back to like 1976 or so,
>and its phenominal. its simply called "Solo Guitar vol. 1"
>or something like that, and on the very odd label
>parachute, actually I believe release number 1 for them.

you lucky dawg! i've been looking for this one for years now. i have vol.2
which is fantastic as well. EC is one of the greats, no doubt, and this
period (76-80) is my favorite. for those of you in the  sf bay area, check
out one (or all) of his upcoming shows:
3/23 stork club, oakland w/ ben goldberg
3/25 coffee head, oakland w/robair, smith, cremaschi, clinton
3/26 hotel utah, sf- solo
3/27 beanbenders, berk- solo?


shiurba


-------------------------------------------------------------------------------

From: [e-mail] (jonathan lawson)
Subject: Chadbourne/Parachute
Date: 18 Mar 1996 09:37:46 -0500


Parachute was Eugene Chadbourne's sadly short-lived label which put out
early recordings of his own self, Polly Bradfield, Zorn, Kaiser, etc. etc.
in fact Zorn's first recording I believe was SCHOOL (Parachute 4/5) which
was a Chadbourne/Zorn split double LP. By this time Chadbourne was already
an established improvisor and composer..

EC now lives in Greensboro NC, plays in clubs there and elsewhere
occasionally, doing the improv-noise-country-and-western-protest-song thing,
and plays to more free  jazz-oriented crowds (I suppose) in Europe. If you
are familiar with the country improv humor thing and would like to check out
another side of Chadbourne check out the 2 solo  cds SONGS and STRINGS
(Germany: Impakt records) both of which demonstrate Chadbourne's tremendous
skills and  imagination both as an interpreter- improviser and as a
composer. Other lovely sonic artifacts include Chadbourne's many
self-released casettes in all their scrappy glory. Some nice excerpts from
the cassettes are collected on last year's double CD Rake Cake Box which you
west coast folk can get from Chadbourne after a show probably. you lucky
lucky people.

Thought no. 2: It's unfortunate that the New York Downtown scene is often so
incestuous as far as  cross-pollinating with skilled improvisors in other
parts of the country, I'm thinking not only of Chadbourne--who would have
been a much better performer of Zorn's recently released "Book of Heads"
(written for EC originally) than Marc Ribot. Chadbourne's home of Greensboro
is also home to composer-improvisor Gil Fray, and "Flatcar" Murray Reams
(ex-Krackhouse)..There's also Jack Wright in Colorado, Davey and LaDonna in
Alabama, etc. etc... improvisors everywhere!


-------------------------------------------------------------------------------

From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: halana magazine
Date: 18 Mar 1996 07:59:26 -0800


On Sun, 17 Mar 1996 21:36:04 -0500  [e-mail] wrote:
>
> ..........introducing halana magazine
>
> .we are pleased to announce the debut issue of a magazine devoted to the
> discovery and glorification of meaningful, important and often spiritual
> music and culture from around the globe...
>
> .of particular interest to us are those people who have chosen to concern
> themselves with delving deeply into sound, dealing specifically with the more
> esoteric aspects of what and how we hear by focusing on things like the
> physical properties and emotional potential of sound and music...
>
> .to help us on our course of discovery, we hope to gain some insight from
> prominent musicians, composers and thinkers in all realms of music/sound...
>
>
> ..........the first issue
> .we begin our series focusing on the lives and work of contemporary composers
> by featuring an exhaustive interview with understated music makers La Monte
> Young and Marian Zazeela...

Underrated? I doubt it. If they could put out some records I would be the
first to jump on them...

I doubt LaMonte Young ever considered himself as underrated. His actual
"popularity" is 100% due to his attitude :-).

> .jazz pianist Matthew Shipp contributes some meditations on the philosophical
> and spiritual natures of improvisation as encountered while on tour with the
> David S. Ware Quartet...
>
> .we also turn our eye on the extraordinary music of guitarist Loren MazzaCane
> Connors, looking deeply into his unmistakable style...
>
> .also featured is an account of a recent trip to the studios of sound
> sculpturists Harry & Val Bertoia with an examination of HarryÆs musical
> career...
>
> as a companion to the magazine comes a 7ö single featuring a solo piano
> recording by Matthew Shipp, an offering from the guitar of Loren MazzaCane
> Connors, and an infinite sampling from the minds of Harry & Val Bertoia...
>
> please write for more information on advertsing in or distribution of halana
> halana is available from fine record and book stores near you or
> for $5 ppd (checks payable to Chris Rice) from the following address:

Sounds like an interesting magazine!

    Patrice.


-------------------------------------------------------------------------------

From: Miles Egan <[e-mail]>
Subject: Fushitsusha
Date: 19 Mar 1996 18:52:50 -0800 (PST)

    It's awfully quiet around here.  Kind of creepy actually.
Whatever happened the good old days?
    Anway, I was flipping through Amoeba's mind-boggling avant music
section the other day when I stumbled upon a new (to me) Fushitsusha 2CD
on Blast First.  What is this?  Has it been mentioned here already when I
wasn't paying attention?  Is it like the PSF stuff or, say, Allegorical
misunderstanding?  The really fanatic or rich could also grab the new
Haino box set for a mere $100.


-------------------------------------------------------------------------------

From: "J. T. Barker" <[e-mail]>
Subject: AMM - Newfoundland
Date: 20 Mar 1996 11:57:03 +0000 (GMT)



Howdy,
   I recently ordered this CD from These Records and I was wondering if
anyone would like to give me opinions on it while I'm waiting so I can
get excited , or not, about its forthcoming arrival in my mailbox...also
any comments on AMM welcome...

jim


-------------------------------------------------------------------------------

From: "Desmond K. Hill" <[e-mail]>
Subject: _electric__ shocks
Date: 20 Mar 1996 17:23:32 +0000

        E C L E C T R I C I T Y is an electronic transmission, an e-zine if
you will, to provide back-up info about the tracks we programme on radio* &
play out at parties in & around the Newcastle upon Tyne area. The latest
issue is now circulating & freely available to subscribers (just e-mail
'subscribe' in message body, to [e-mail]).

        *__electric__ is an eclectic, eccentric new music show designed for
armchair travellers, headphone beatniks and insomniacs. With a series of
late evening programmes we use radio as a medium to convey mood music and
sound works on the far flung horizons of experimentation. Our lite
programming for the darker hours incorporates old and new school jazz, some
killer drum'n'bass, new electronic pop, freaky textured sci-fi sounds,
lazily languid atmospherics and all manner of incredibly strange music.
It's said 'a little of what you fancy does you good,' so get tuned in.



-------------------------------------------------------------------------------

From: [e-mail] (John Shiurba)
Subject: Re: AMM - Newfoundland
Date: 20 Mar 1996 18:28:38 GMT

>   I recently ordered this CD from These Records and I was wondering if
>anyone would like to give me opinions on it while I'm waiting so I can
>get excited

in my opinion this is a great disc. it's the most recent recording released
of the group as it stands now (rowe/prevost/tilbury) and perhaps the best,
but as you've undoubtedly heard, they're all quite different. i am anxiously
awaiting their u.s. appearances next month.


have fun
shiurba


-------------------------------------------------------------------------------

From: "Desmond K. Hill" <[e-mail]>
Subject: _electric__ shocks
Date: 20 Mar 1996 17:21:20 +0000

        E C L E C T R I C I T Y is an electronic transmission, an e-zine if
you will, to provide back-up info about the tracks we programme on radio* &
play out at parties in & around the Newcastle upon Tyne area. The latest
issue is now circulating & freely available to subscribers (just e-mail
'subscribe' in message body, to [e-mail]).

        *__electric__ is an eclectic, eccentric new music show designed for
armchair travellers, headphone beatniks and insomniacs. With a series of
late evening programmes we use radio as a medium to convey mood music and
sound works on the far flung horizons of experimentation. Our lite
programming for the darker hours incorporates old and new school jazz, some
killer drum'n'bass, new electronic pop, freaky textured sci-fi sounds,
lazily languid atmospherics and all manner of incredibly strange music.
It's said 'a little of what you fancy does you good,' so get tuned in.



-------------------------------------------------------------------------------

From: [e-mail] (Mason Jones)
Subject: Re: Fushitsusha
Date: 22 Mar 1996 10:04:17 -0800 (PST)


Miles Egan said once upon a time:
>     Anway, I was flipping through Amoeba's mind-boggling avant music
> section the other day when I stumbled upon a new (to me) Fushitsusha 2CD
> on Blast First.  What is this?  Has it been mentioned here already when I
> wasn't paying attention?  Is it like the PSF stuff or, say, Allegorical
> misunderstanding?  The really fanatic or rich could also grab the new
> Haino box set for a mere $100.

I just got them both, actually. Okay, fine, so I'm a fanatic (I sure
ain't rich).

The "Purple Trap" 2CD Fushitsusha from Blast First is another in their
mini-series of live things from the Disobey club, I believe (there's
no info in the CD at all). They released that Merzbow thing previously,
which was limited to 500. I think this Fushitsusha is similarly limited.
Anyway, it rules. It's not quite as consistently brilliant as the truly
legendary PSF double-live CD, and doesn't have the same atmosphere of
total darkness; but the recording is very good, and the playing is
excellent. Waves of guitar textures, with occasional vocals and simple,
spare, strong bass and drum playing. The opening 23-minute track on the
first CD is a joy, and the second track (18 minutes long) on the second
CD which I'm listening to now is making me smile.

I haven't listened to all of the box set yet. The Fushitsusha CD in it
was a bit disappointing, though. The recording is iffy, and the pieces
selected are unexpectedly limp in comparison to the "Purple Trap" CD.
There's some truly mind-boggling vocalizing midway through, but aside
from that and a few nice moments, it's so-so stuff. The Lost Aaraaf CD
in the set, though, is marvelous and beautiful. Great vocals, eerie
piano playing, and a thick, elegant sort of atmosphere to it. We'll
see what the other two CDs reveal.


<====================================================================>
   Mason Jones             Charnel Music
   [e-mail]        P.O. Box 170277, San Francisco, CA
                           94117-0277    Phone/fax [phone]
        Web site: http://www.meer.net/~charnel/
<====================================================================>


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From: P Rebelo <[e-mail]>
Subject: Hazards of Noise
Date: 22 Mar 1996 18:51:53 +0000 (GMT)

Hazards of Noise is now online at:

                http://www.uea.ac.uk/~q513

We're open to any contributions and feedback.
Greetings
John and Pedro


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From: [e-mail] (Mark Jung)
Subject: post-classical list?
Date: 24 Mar 1996 17:13:59 +0100

  there was a mention, somewhere, recently about the post-classical list.
is this an extant mailing list, or has it dried up and folded?  my several
attempts to connect with it have not been successful.
  anyone?

Mark



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From: [e-mail]
Subject: Post-Classical List
Date: 24 Mar 1996 18:27:09 -0500

"there was a mention, somewhere, recently about the post-classical list. is this
an extant mailing list, or has it dried up and folded?  my several attempts to
connect with it have not been successful. anyone?"

    [e-mail] with "subscribe post-classical" in the body. iT's a
very low volume list.

Paul Rafanello
Running Free


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From: "Duguid, Brian" <[e-mail]>
Subject: Re: Haino / Fushitsusha
Date: 25 Mar 1996 09:52:10 +0000

> The "Purple Trap" 2CD Fushitsusha from Blast First is another in their
> mini-series of live things from the Disobey club, I believe (there's
> no info in the CD at all). They released that Merzbow thing previously,
> which was limited to 500. I think this Fushitsusha is similarly
limited.

Actually recorded at a Disobey "night-out" i.e. different venue, namely,
the Canterbury Arms, Brixton, London, late last year. I was there, it was
great, and the 2CD is an accurate reflection. The solo Haino live CD from
Blast First "Saying I Love You I Continue To Curse Myself" is also well
worth checking out.

Incidentally, I have mailed XMission about the fact that the digest
version of this list is still fucked up (incorrect reply-to addresses,
screwy SmartList software etc) but still had no useful reply.

Brian Duguid             [e-mail]
http://www.hyperreal.com/zines/est/
http://www.hyperreal.com/~duguid/


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From: "J. T. Barker" <[e-mail]>
Subject: Re: AMM - Newfoundland
Date: 27 Mar 1996 12:24:30 +0000 (GMT)



On 20 Mar 1996, John Shiurba wrote:

>
> in my opinion this is a great disc. it's the most recent recording released
> of the group as it stands now (rowe/prevost/tilbury) and perhaps the best,
> but as you've undoubtedly heard, they're all quite different. i am anxiously
> awaiting their u.s. appearances next month.
>
>
> have fun
> shiurba
>
>

yeah, I got this the other day, and it's great. They take a while to
settle down to doing interesting stuff after a few minutes of searching
out the lay of the land , nice long passages of relaxing rumble and flunge!
Anybody out there got any comments on Crawling With Tarts? I dig them much!

jim


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From: [e-mail] (grievous 2:  the destruction of jared-syn)
Subject: keiji haino related things.
Date: 28 Mar 1996 02:51:15 GMT


can anyone tell me about the Vajra or Nijiumu/Nijiumi (however it's
spelled...) things keiji haino seems to be associated with?

thanks
[gr]


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From: [e-mail] (Mason Jones)
Subject: keiji haino related things.
Date: 28 Mar 1996 14:25:07 -0800 (PST)


>
> can anyone tell me about the Vajra or Nijiumu/Nijiumi (however it's
> spelled...) things keiji haino seems to be associated with?

The Vajra project isn't really a Haino thing, it's another fellow
whose name has slipped my mind. Damn. Anyway, there have been two
releases, a 3" CD single and a regular CD single. Both are somewhat
interesting, but rather less unusual than Haino's usual associations.
The 3" CD single contains a track which was used for a television
program theme song, and as such is relatively mainstream. Haino's
contributions are background guitar texture.

Nijiumu is confusing because there is a Haino CD by that title, and
then there is the project which Haino was involved with. The
project Nijiumu is from some time ago, but I'll have to refrain from
commenting on it because I haven't listened to the CD for a little
while and my memory of it isn't clear enough. I'll refresh it tonight...


<====================================================================>
   Mason Jones             Charnel Music
   [e-mail]        P.O. Box 170277, San Francisco, CA
                           94117-0277    Phone/fax [phone]
        Web site: http://www.meer.net/~charnel/
<====================================================================>


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From: peter conheim <[e-mail]>
Subject: Wet Gate performances upcoming
Date: 29 Mar 1996 11:06:18 -0800 (PST)

Wet Gate, the all-projector orchestra, will be performing at Artists'
Television Access, 992 Valencia St., San Francisco, on Saturday 30 March
as part of a "projectorama" evening devoted to the "human scopophilic
impulse".

Wet Gate uses 16mm film projectors as "instruments", looping found and
original footage in a triptych collage while amplifying and
reconstituting the optical soundtracks on the source film, in an attempt
to gradually tear out the stitching between sound and image as normally
experienced.  Also appearing are Konrad Steiner's double-projected
ARRANGEMENT FOR 19 SCENES, the late Paul Sharits' EPILEPTIC SEIZURE
COMPARISON (!), 3-D by Mark Bain, Magic Lantern slides, and more.  Should
be a fun night.  8:30 PM start, $5.

Wet Gate will also be appearing at Berkeley's Pacific Film Archive
Tuesday 9 April as part of the global SoundCulture '96 festival for
an evening entitled "Cinema For the Ear - Audio Art by Film and Video
Artists".  This show will feature almost exclusively AUDIO-ONLY works,
plunging the audience into darkness...

PC


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From: [e-mail]
Subject: More cds for sale
Date: 30 Mar 1996 13:44:35 -0500

Prices include US 1st class post.  Send e-mail to reserve.

Mike

$9
Die Form "L'Ame Electrique"

$8
Free Kitten "Nice Ass"
Sam Black Church "Let In Life"
Peter Scherer "Very Neon Pet"

$7
Ass Ponys "Electric Rock Music"
Jello Biafra with NoMeansNo "The Sky is Falling and I Want My Mommy"
Handful of Snowdrops "Mort En Direct"

$6
SK-70 "Nananoxynol-9" CD-EP

$5
Tel Basta "Laid Up in Lavender" (Does not have front inner sleeve)


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From: Christopher Miller <[e-mail]>
Subject: WTB: This Heat/Merzbow
Date: 30 Mar 1996 22:28:25 -0500 (EST)


Hello.

I want to buy your This Heat, Camberwell Now, Charles Hayward and Merzbow
records or CDs! Please, somebody offer to sell or trade any titles.


Howie Stelzer
[e-mail]