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To:        [e-mail]
Subject:   zorn-list Digest V2 #59
Reply-To:  [e-mail]
Errors-To: [e-mail]
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zorn-list Digest          Monday, 3 February 1997      Volume 02 : Number 059

In this issue:

    Zorn book blurb
    Jean-Paul Bourelli
    Re: Jean-Paul Bourelli
    Re: Zorn book blurb
    Re: Jean-Paul Bourelli
    Re: Zorn book blurb
    Re: Zorn book blurb
    Re: masada 4
    Re: Zorn book blurb
    Re: Zorn book blurb
    re: masada 4
    hobah/Leng T'che
    Re: Zorn book blurb
    New Eyvind Kang album?
    Re: New Eyvind Kang album?
    Re: Zorn book blurb
    a new release
    BCMA (Feb. shows): NYC comes to Beantown, +...
    Re: FAQ addition

See the end of the digest for information on subscribing to the zorn-list
or zorn-list-digest mailing lists and on how to retrieve back issues.

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

From: [e-mail]
Date: Sat, 1 Feb 1997 21:41:31 -0500 (EST)
Subject: Zorn book blurb

"Jalal Toufic is one of the best writers working in America today.  *This is
the shit.*" -- John Zorn  (original italicized between astericks), from back
cover of Toufic's Over-Sensitivity (Sun & Moon).

For what it's worth, i read the first 50 or so pages and it's phenomenally
bad, some kind of attempt at film criticism through intense self-awareness as
best i can figure.  Not much to actually do with movies (at least what i
read) and Toufic's prose is quite dull, but it has a kind of
post-structuralist feel that must be what attracted Zorn.

Lang Thompson
http://members.aol.com/wlt4/index.htm

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

From: Greg Mills <[e-mail]>
Date: Sat, 1 Feb 1997 20:15:52 -0700
Subject: Jean-Paul Bourelli

A friend of mine recently made a tape for me (don't tell ASCAP) that has a
funk guitarist named Jean-Paul Bourelli on it.  Anyone know anything about
this guy?

Greg Mills
Copywriter

ADVERTISING:

The bastard offspring of Art and Commerce kill their parents and go watch
roller derby.



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

From: [e-mail]
Date: Sun, 02 Feb 97 13:43:46 -0600
Subject: Re: Jean-Paul Bourelli

On Sat, 1 Feb 1997, Greg Mills <[e-mail]> wrote:
>A friend of mine recently made a tape for me (don't tell ASCAP) that has a
>funk guitarist named Jean-Paul Bourelli on it.  Anyone know anything about
>this guy?
>
>
>Greg Mills
>Copywriter
>
>ADVERTISING:
>
>The bastard offspring of Art and Commerce kill their parents and go watch
>roller derby.
>
>
>
>I made the mistake of buying his new "live" cd...poorly recorded, mediocre
material and even the "rap" segments stink (IMO).. His older stuff is good. He
definitely sounds somewhat like Hendrix.

glenn

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

From: [e-mail] (Joshua N Schuster)
Date: Sun, 2 Feb 1997 16:31:32 -0500 (EST)
Subject: Re: Zorn book blurb

[e-mail] wrote:
>
> "Jalal Toufic is one of the best writers working in America today.  *This is
> the shit.*" -- John Zorn  (original italicized between astericks), from back
> cover of Toufic's Over-Sensitivity (Sun & Moon).
>
> For what it's worth, i read the first 50 or so pages and it's phenomenally
> bad, some kind of attempt at film criticism through intense self-awareness as
> best i can figure.  Not much to actually do with movies (at least what i
> read) and Toufic's prose is quite dull, but it has a kind of
> post-structuralist feel that must be what attracted Zorn.

Gee, you've given this book a lot of thought.  I really doubt Toufic
pulled one over Zorn with that "post-structuralist feel" and convinced
Zorn that "phenomenally bad" writing has some deeper resonance in its
dullness (thus implying that post-structuralism is truly what is bad).  I
don't care to defend such post-structuralist ideology, or Zorn's cultural
capital of taste.  But, if you care to actually read the book, you might
find that, using the logic of film, Toufic thinks and writes through some
rather serious situations, both personal and international.  There is a
lot of film buff reflexiveness (too much for my pace, but maybe not
others), but the book is not about movies.  There is a lot of anger at
"quite dull" American blindness which, with racist smiles, sees
foreigners as "over-sensitive" ("they have too much luggage," or "their
food smells," writes Slavoj Zizek).  Toufic may be one of the only
writers left from Lebanon to actually want to say anything about the
decimation of one's own land and tradition.  There is a rapid urgency of
reviving the need for memory in "the inaccessibility of tradition by
traditional, 'legitimate' means."  Hmm, do you think there is any fucking
accident why Zorn likes Toufic's writing? I bet it is not for its
"post-structuralist feel".  If you need more help try listening to
"Hobah" on Masada's *Hei*.  It saddens me to hear how many cannot get
past Zorn's "violence" or Toufic's "dullness" (as if lives and nations
which are too violent and dull are just not worth the bother).

I do not know Zorn or Toufic but I hear they are good friends.
Apparently, they have worked together on some video projects.  At one
time Zorn asked Toufic to travel with him to parts of the middle east (I
don't know any more, or if they went).  Toufic lives in the SF Bay Area
and teaches around there.  One of the reasons his prose is so different,
and intense, is that he learned English perhaps not more than 10 years
ago.

Read Toufic again and you may find some serious resonances with Zorn's
work, perhaps even the best current literary moment which collaborates
with much of what Zorn is up to with music.

- --Joshua Schuster

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

From: [e-mail] (James Hale)
Date: Sun, 2 Feb 1997 18:30:29 -0500
Subject: Re: Jean-Paul Bourelli

>A friend of mine recently made a tape for me (don't tell ASCAP) that has a
>funk guitarist named Jean-Paul Bourelli on it.  Anyone know anything about
>this guy?

Jean-Paul Bourelly was one of the original members of Brooklyn's M-BASE
movement, and I believe he was also involved in the Black Rock Coalition.
He's recorded a number of things with Cassandra Wilson, as well as some
stuff with his own Blue Wave Bandits.

James Hale



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

From: [e-mail] (Herb Levy)
Date: Sun, 2 Feb 1997 19:22:38 -0800
Subject: Re: Zorn book blurb

Lang Thompson wrote:

>"Jalal Toufic is one of the best writers working in America today.  *This is
>the shit.*" -- John Zorn  (original italicized between astericks), from back
>cover of Toufic's Over-Sensitivity (Sun & Moon).
>
>For what it's worth, i read the first 50 or so pages and it's phenomenally
>bad ...

Phenomenologically pretty interesting, though, if that matters to anyone here.

Toufic's writing about, among other things, being an outsider in a mass
culture that doesn't admit there's anything beyond the mainstream.  Which
sure seems to fit in with my (limited) understanding of Zorn's take on
Jewish culture, separate from the Jewish religion.  Re-read the Gershom
Scholem quote on the back of your Masada jewel boxes, and consider the
range of work in the Radical Jewish Culture series.  Zorn's overall project
as a musician, composer, and producer isn't just about making cool/weird
noises.

For whatever reason (I don't know if the connections I find between the
works are the same as Zorn's), Zorn is supportive of Toufic's work.  You
didn't like it.  Are you going to sue Zorn for calling it "the shit," when
you thought it was just plain shit?

But this posting raises the more basic question of how to take Zorn's
critical statements (both positive and negative).  The guy IS human, after
all & the chance of you  liking everything he likes is relatively low.  (Is
there anyone out there who likes EVERYTHING in, say, the Tzadik Composers
Series, which have received far more than just a positive blurb from Zorn?)


And then there's the oft-cited Post Modern Culture article describing
Zorn's active hostility to the work of John Cage.  Obviously the negative
quotes from Zorn on Cage & his work are real, but Zorn dedicated one of the
sections of Aporias, the piece for piano & orchestra recently discussed
here, to Cage's memory.  What do we make of the apparent dissonance here?

Anywya, for what it's worth, another writer doing some similar stuff to
Toufic (autobiographical "post-modernist" theoretical writing), in what may
be a more "interesting" (or at least more accessible) way, is Steven
Shaviro, whose book Doom Patrols just came out in paperback from Serpents
Tail.  The full text is also available online at:

<http://dhalgren.english.washington.edu/~steve/doom.html>

As always, your mileage may vary.

Bests

Herb


Herb Levy
[e-mail]



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

From: Jeff Spirer <[e-mail]>
Date: Sun, 02 Feb 1997 19:48:56 -0800
Subject: Re: Zorn book blurb

At 07:22 PM 2/2/97 -0800, Herb Levy wrote:

>But this posting raises the more basic question of how to take Zorn's
>critical statements (both positive and negative).  The guy IS human, after
>all & the chance of you  liking everything he likes is relatively low.

And this raises the question of why we iconify people whose work we respect,
making whatever they do important.  To be perfectly blunt about it, I could
care less what Zorn's critical statements are, I buy his music because I
like the music.  I don't think there is any reason I should like/agree
with/care about what he says about literature, film, etc., any more than I
do any other "critic."  The critical statements I care about are those of
people who I have found over time to have common interests/likes, and most
of these understandings come through long conversations and/or relationships.





Jeff Spirer
http://www.hyperreal.com/axiom/
Axiom Records/Material Communications


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Mon, 3 Feb 1997 12:11:46 -0500 (EST)
Subject: Re: masada 4

On Fri, 31 Jan 1997, DR S WILKIE wrote:

> well, it looks like masada 4 is avaialable in feb. harmonia mundi's
> ad in 'the wire'mention masada 1-7(they are the uk dist.) [ don't know
> about the US arrangements...] -now you can all rush out and pay full
> price for three tracks;( does this mean altering the FAQ?!)
> harmonia mundi (uk) are at [e-mail]


I'm assuming that Masada 4 will be a DIW thing?  Are they really going to
charge full album price for this?  Yikes...

Next, JZ and co. will release thier stuff song by song, on an even more
obcsure japanese label which has to be shipped via Tiera Del Fuego with a
stop-over in Sydney, costing $80.00 a shot.....  :)


- -jascha



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Mon, 3 Feb 1997 12:26:30 -0500 (EST)
Subject: Re: Zorn book blurb

> >But this posting raises the more basic question of how to take Zorn's
> >critical statements (both positive and negative).  The guy IS human, after
> >all & the chance of you  liking everything he likes is relatively low.
>
> And this raises the question of why we iconify people whose work we respect,
> making whatever they do important.  To be perfectly blunt about it, I could
> care less what Zorn's critical statements are, I buy his music because I
> like the music.  I don't think there is any reason I should like/agree
> with/care about what he says about literature, film, etc., any more than I
> do any other "critic."  The critical statements I care about are those of
> people who I have found over time to have common interests/likes, and most
> of these understandings come through long conversations and/or relationships.

Bingo! :)

- -jascha


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

From: [e-mail] (david m rothbaum)
Date: Mon, 3 Feb 1997 10:08:50 -0700
Subject: Re: Zorn book blurb

>At 07:22 PM 2/2/97 -0800, Herb Levy wrote:
>
>>But this posting raises the more basic question of how to take Zorn's
>>critical statements (both positive and negative).  The guy IS human, after
>>all & the chance of you  liking everything he likes is relatively low.
>
>And this raises the question of why we iconify people whose work we respect,
>making whatever they do important.  To be perfectly blunt about it, I could
>care less what Zorn's critical statements are, I buy his music because I
>like the music.  I don't think there is any reason I should like/agree
>with/care about what he says about literature, film, etc., any more than I
>do any other "critic."  The critical statements I care about are those of
>people who I have found over time to have common interests/likes, and most
>of these understandings come through long conversations and/or relationships.

i agree with this as well but i think its also important to point out that
since music or any art for that matter isnt created in a vaccum.  to be
inspired to compose or play write etc you are inspired by something in
particular certianly at first.  and this is strickly dictated by owns one
taste.  even in the most original works there is, however vague, a
reference point to something somewhere.  and by this way of thinking i
happen to think mr. zorn has exceptional "taste".  in his music there are
direct refrences or combinations of musical/artistic/philosophical
infulences. i dont think i have to point out the specific references in his
work.  another point too,  you could say that his taste dictates who a
givin composer/musician works with and again this is a testament to his
good taste.  i would never agree that one should iconify anyone but i would
if i could love to spend a week going through mr zorns record collection.


david rothbaum



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

From: [e-mail] (Dan Given)
Date: Mon, 3 Feb 1997 13:30:02 -0500 (EST)
Subject: re: masada 4

>> well, it looks like masada 4 is avaialable in feb. harmonia mundi's
>> ad in 'the wire'mention masada 1-7(they are the uk dist.) [ don't know
>>about the US arrangements...] -now you can all rush out and pay full
>> price for three tracks;( does this mean altering the FAQ?!)
>> harmonia mundi (uk) are at [e-mail]

>I'm assuming that Masada 4 will be a DIW thing?  Are they really going to
>charge full album price for this?  Yikes...

>Next, JZ and co. will release thier stuff song by song, on an even more
>obcsure japanese label which has to be shipped via Tiera Del Fuego with a
>stop-over in Sydney, costing $80.00 a shot.....  :)

I really don't think that DIW has any intention of selling any copies of 4.
As Patrice said, the ad should probably have been taken to imply 1-3, 5-7.

I picked up #7 this weekend, and on the end paper it lists the releases,
(not sure what it says about them, as I don't read Japanese) but 4 is not on
the list. This kind of implies to me that it will not be available.

And hey, if they did want to sellit at full price, their seems to be enough
interest among those in this group who weren't fortunate enough to get in on
the deal that they could easily get away with it.  (Hell, I've been offered
more for mine than any of the others cost me)

Dan



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Mon, 3 Feb 1997 12:41:43 -0500 (EST)
Subject: hobah/Leng T'che

Someone mentioned the song 'hobah' of the 5th masada album a while ago,
and this reminded me of something i was thinking about earlier.  A while
ago the thought struck me that one could compose a song that consisted
entirely of different endings.  It could be a mixed genre piece, with
cliche classical cadences alongside blues endings and what-have-you, or
you could do a piece which stayed basically in one kind of musical
framework.

With this still lingering in my mind, i was listening to Masada 5 again
one day and 'hobah' came on.  The very first sounds were drum rolls,
rumbly bass noodling and ultra-confident triumphantly candential horns,
sounding as though they had just come back to a nice tonic-centered
resolution after a very long song.  Then they kept going...and going....
the whole thing sounded like that joyfull chaos you hear when a band
closes up a song with as much noise as they can make.

"Hm...." i thought, "perhaps mr. Zorn was thinking this idea before me..."

And then i listened to 'Leng T'che'.  Egad!  The same kind of idea,
except instead of a jazz-band ending, it's big nasty heavy-metal
cathartis, doom-laden arena-filling stuff.

"Hm...." i thought, for the second time...

Of course, i have no way of knowing what his intentions really were when
he did these pieces, but i thought i'd share.....any comments, anyone?  Am
i alone in this idea?

- -jascha

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

From: Bob Boster <[e-mail]>
Date: Mon, 3 Feb 1997 11:08:44 -0800 (PST)
Subject: Re: Zorn book blurb

On Sun, 2 Feb 1997, Jeff Spirer wrote:

>
> And this raises the question of why we iconify people whose work we respect,
> making whatever they do important.  To be perfectly blunt about it, I could
> care less what Zorn's critical statements are, I buy his music because I
> like the music.  I don't think there is any reason I should like/agree
> with/care about what he says about literature, film, etc., any more than I
> do any other "critic."

I think there's this aspect to the human psyche where we choose to
construct people whose work we like into heroes.  Add to that the seeming
use of supporting someone's work as a lifestyle choice (Deadheads being
the ultimate example in music, but think of the times when you have felt
"insulted" because someone doesn't like the music that you do).  One way
or the other, the sense that the artist you have engaged as either "hero"
or "badge of honor" should rank as somehow larger than life.  And if a
larger than life figure that's important to you expresses an opnion, than
of course you'll value it more than the opinion of some shlub you meet in
a bar....

Sorry to devolve into crit-think.

Wondering if someone could post the Cage comments so we could chop those
up?  I'm currently "enCaged" in my Music Lit seminar.

Bob

[e-mail]



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

From: Torsten Nielsen <[e-mail]>
Date: Mon, 3 Feb 1997 20:40:00 +0100 (MET)
Subject: New Eyvind Kang album?

Has Eyvind Kang made a cd called "Sweetness Of Sickness"? Has anybody
heard it?

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

From: "Patrice L. Roussel" <[e-mail]>
Date: Mon, 03 Feb 1997 11:47:43 -0800
Subject: Re: New Eyvind Kang album?

On Mon, 3 Feb 1997 20:40:00 +0100 (MET)  Torsten Nielsen wrote:
>
> Has Eyvind Kang made a cd called "Sweetness Of Sickness"? Has anybody
> heard it?

Yes. It was released recently on Rabid God Inoculator. As usual, pretty
design. Not listened to it yet.

    Patrice.

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

From: Christopher Hamilton <[e-mail]>
Date: Mon, 3 Feb 1997 17:56:04 -0500 (EST)
Subject: Re: Zorn book blurb

On Mon, 3 Feb 1997, david m rothbaum wrote:

> i would never agree that one should iconify anyone but i would
> if i could love to spend a week going through mr zorns record collection.

As would I, but that would be at least as much because I think it would
give me insight into Zorn's music, as because I think his taste is likely
to be wonderful.  Similarly, I'd be interested in reading the book under
discussion (or any other book that Zorn pushed) because it's likely to
provide insight into his work, whatever its own merits or flaws.  (Someone
whose very wonderful post I've already deleted said some very plausible
things about this already.)
     Not that I'm all that likely to find the time
to do any of this.  But I think it would be pretty cool if someone were
sufficiently devoted to Zorn's work to really try to understand it in
terms of all Zorn's influences.  A bit pathetic.  But cool.

Off to sort through Zorn's garbage,

Chris Hamilton
[e-mail]



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

From: [e-mail]
Date: Mon, 3 Feb 1997 20:14:34 -0500 (EST)
Subject: a new release

has anyone heard of a cd by Zorn called "Intergalactic Maiden Ballet/Squar"?
an internet store called cd banzaii is selling it?  is it a new release,
a bootleg, or what?

the label/cateloge # they give is as follows:  TPT:888804

i apologize if this issue has been addressed already; i am new to the list

- -a.


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

From: [e-mail]
Date: Mon, 3 Feb 1997 20:40:42 -0500 (EST)
Subject: BCMA (Feb. shows): NYC comes to Beantown, +...

Hello, all

Just wanted to update you on some exciting upcoming shows in Boston (and one
in NYC).  It's a shameless plug, but relevant no less.  I am excited to
continue my involvement with the Boston Creative Music Alliance (BCMA) and am
also excited about developments with my independant promotional ventures
(Unsound Productions.)  I'll begin with the BCMA info:

The Boston Creative Music Alliance will present two shows next week at the
Institute for Contemporary Art (955 Boylston Street, Boston, MA 02115)
featuring some fine NYC performers.  (Some of you may remember that the BCMA
hosted Zorn's "Masada", Henry Threadgill's "Make A Move Quartet", Boston's
own "Excelsior", Alva Rodgers, and Jason Hwang's "Far East Side Band" at the
ICA back in November.  Special thanks goes out to Twisted Village record
store on 12 Eliot Street, Cambridge, Ma 02138 (phone #[phone], fax
354-6899) for there past and continued support, and for doing advanced ticket
sales for this event.  Twisted Village buys, sells, and trades the finest in
obscure musics, so check em out!

We are proud to present (am I being shameless enough yet?):

Matthew Shipp/William Parker Duo  on Thursday, February 6th
     "Matthew Shipp is one of the brightest lights on the alternative-jazz
scene..."
      Gene Santoro, The New York Daily News

      This duo, featuring Shipp on piano and Parker on bass, is guarenteed to
start the
      BCMA's two event February series off with a bang.  Shipp has played
with such
      musician's as Roscoe Mitchell, David S. Ware in addition to his
projects like this
      duo.  Parker has played with, well...where do I start?  The two have
been
      collaborating since 1984, and we are pleased to bring them to Boston.


Myra Melford's "The Same River, Twice"
     "...her improvising bursts with enthusiasm, prompting heated, fast and
flexible
      responses from her band."  The New York Times

     "...Killer shit, man!"  My friend Dan the Janitor

      The Same River, Twice features Melford on piano, Dave Douglas on
trumpet, Eric
      Friedlander on cello, Chris Speed on reeds, and Michael Sarin on drums.
 The
      group have an album out by the same name on Gramavision, which has
recieved
      more accolades than I could possibly mention (not the least of which
comes
      from my friend Dan!)  Melford studied with Boston pianist and Third
Stream
      innovator Ran Blake and has worked with such artists as Butch Morris,
Leroy
      Jenkins and Joseph Jarman.  Douglas, of course, works with John Zorn's
      Masada, as well as other projects, including leading his own various
ensembles.
      I might add that his recent appearance in Beantown on Jan. 28th and
29th
      (featuring Douglas, Friedlander, Sarin and violinist extrodinaire Mark
Feldman)
      was nothing short of amazing.  What a treat to have this much great
music
      coming up from the big apple!

SO, in terms of Unsound Productions:  Last July, Unsound kicked off with a
show at The Middle East featuring Elliott Sharp/Zeena Parkins
"PsychoAcoustic", Debris, Prelapse (see below) and my band "Saturnalia"
(dito). I'm currently working towards securing some Boston gigs for the likes
of: NYC's "Dim Sum Clip Job" (they have an amazing album out on Avante), "The
Swarm" (also from NYC, featuring Mark Stanley, and also astounding), Boston's
own "Prelapse" (these guys actually pull off completely authentic Naked City
material, as well as some incredible originals), Virginia's "Boud Deun" (with
a new album out on Cunneiform entitled Astrology Made Easy and one previous
self release) and my own group "Saturnalia", (a free improv unit that has a
show with "Dog", "Mile Wide", "Bratface" and "Mourn" on Tuesday, Feb. 25th at
the Middle East - Upstairs -  Cambridge, MA #[phone], and will
feature, among others, special guest Mason Wendal from Prelapse on bass.
 Saturnalia has also recently recorded an album-no label yet- featuring guess
who? on violin, guitar, bass and vocals, Roger Miller from "Mission of Burma"
on guitar, Robin Amos from "Cul de Sac"  on analog synth and theramin, Vic
Rawlings from "Mile Wide" on serangi, Michael Knoblach from "Cul de Sac" and
"Twitcher" on drums and percussion, as well as a slew of other great
players.)  Please feel free to contact me for info on Unsound events, or
these particular artists.

And the last (I promise) shameless plug:  I'm filling in on bass for "Cul de
Sac's" upcoming tour (starting out at NYC's The Cooler on Wednesday, Feb.
26th and going south to Philly, Pittsburgh,  DC area?, Chapel Hill, Atlanta
and Athens, Memphis, Lawrence, KS, Chicago, Oberlain, OH, Ann Arbour and
Detroit, MI, and probably some others...these may change slightly so stay
tuned), so COME SEE US!  "Cul de Sac" has been dubbed "post rock" (slightly
overused now, perhaps?) by critics, (who have raved about the bands recent
Thirsty Ear/Flying Nun UK release China Gate) and is in the vein of Tortoise,
La Bradferd, and Bowery Electric, they say.


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

From: Caleb Deupree <[e-mail]>
Date: Mon, 3 Feb 1997 21:08:22 -0500 (EST)
Subject: Re: FAQ addition

I think the attached discussion of Haino's work is worthy of inclusion in
the FAQ, as I wondered about the same thing myself after purchasing the
Avant Fushitsusha release and finding it, well, not quite what I expected.
The web sites, while excellent for finding out what is and has been
available, don't usually have information on where to start with an artist.
And the more emotional an artist is, the less likely that s/he will carry it
off on every recording (Charles Gayle is another example of this).  Thanks
for the tips on Haino releases.

>>
>> Okay, I may be opening up a big can of worms here but here goes: can
>> someone give me the scoop on Keiji Haino?? Since he's got a release on
>> both Avant and Tzadik, I figure this is a legit question. Let me say that
>> all I've heard are the Tzadik release (I was disappointed) and a PSF disc
>> with Barre Phillips and some percussionist (which I found mediocre). The
>> reason I'm so curious is that the press I've encountered tends to
>> describe him as an all-out skronker, a sonic terrorist, etc. Any hints,
>> suggestions, descriptions?
>
>you are correct about the Haino Avant album. It is untypical of his
>output and yes,he is a first rate skronker! He has been around for
>over 20 years apparently, recording with a variety of bands and solo.
>I havent heard a great deal of his work but he does play truely
>terrifying, cataclysmic free-rock guitar improvisations. If you can
>imagine a heavy rock Derek Bailey then you are just about in the same
>galaxy as Haino. He is prone to 45 minute improvisations involving
>massive feedback and metallic noise, also shrieking and shouting when
>he gets really emotional. His band Fushitsusha have released a variety
>of albums but I can heartily reccomend The Caution Appears. This has a
>selection of 'approachable' shortish tracks which are heavy on the
>devastating, white noise rock-out! There are a few Haino/Fushitsusha
>web pages about, you can find them through Lycos and The Wire magazine
>has been covering this kind of mayhem for the last 18 months in a fair
>amount of detail.
>

- --
Caleb T. Deupree
[e-mail]
;; For every complex question there is a simple answer.
;; And it is wrong.  (H. L. Mencken)


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

End of zorn-list Digest V2 #59
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