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Zorn List Digest       Sunday, November 14 1999       Volume 02 : Number 789



In this issue:
-
       Re: Mr. Silly Lounge Act
       PROMO: new Orchester 33 1/3 CD
       Re: Mr. silly lounge act
       Re: lmc + kath bloom
       Re: Mr. silly lounge act
       evan lurie soundtracks
       another knitting factory tour promo CD
       eh..No Zorn Content..
       Re: another knitting factory tour promo CD
       Earl Howard/Ernst Reijseger concert 11/18 in NYC
       Re: italian sonora into english (thanks to alta vista)
       Zorn's Shock Corridor essay & Materiali sonori book/CD

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

Date: Sat, 13 Nov 1999 00:00:26 -0500
From: Michael Witt <[e-mail]>
Subject: Re: Mr. Silly Lounge Act

Gary sed:

> >The lone bright spot was Travolta. This song rocked, and the place was
> going
> >wild. They had a great crowd response for this song. They did play
> another
> >song
> >from the first album, My Ass Is On Fire, but it was such a shitty disco
> lounge
> >fucked up version of the song, I don't want to talk about it.
> >Gary
>
    King Wilson sed:

>   I've seen both of their recent shows in Chicago, and I havn't had such a
> fun time watching a band in a long time.  Thier new album is probably the
> best thing I've heard in the last few years, and I seem to be able to
> listen to it multiple times a day, which is my exact experience with their
> first album, for the first few years it was out.
>
>   Their new, live version of My Ass Is On Fire (if it's the same one I've
> heard.  It probably is, and I've seen it played twice now) could hardly be
> described as "disco lounge".  Maybe Gary was just in a bad mood when he
> saw
> the show.
>
>   I think I disagree with every single sentence of Gary's post (except the
> obvious ones)....
>
I saw the most recent Chicago show too.  Yawn.  Not to play devil's
advocate, but I have a tendency to agree with Gary.  I was in a great mood
that night, and I was totally psyched to go hear Mr. Bungle at the House of
Blues.  I've had "Disco Volante" for a long time, and I when picked up
"California" a few months ago, I fell in love with it.  It's a great album.
It's unique and defies any particular style.  The changes are furious and
hold the listener's attention in vise-grips.  It's cleverly thematic and
brilliantly pieced together.  Patton is a very talented vocalist, and the
band seems to have superb studio production values.

The live show, on the other hand, was exceedingly boring.  No improvisation.
The musicianship was tepid at best.  Even Patton's performance, which I
managed to enjoy despite its being entirely choreographed, was glittered
over with typical rock star behavior.  You know, he was screaming "show us
your tits" and "start throwing shit at us" and "Alright Chicago!!!" at the
crowd all night.  I guess that's what it boiled down to for me ->  it was a
rock concert.  Rock concerts are typically boring to me, and besides, Mr.
Bungle is not a particularly good rock band.

Now that I've said that, go out and get their new album.  It's sweet.  They
have proven that they can do excellent work in the studio.

Of course, all of the above can be qualified as being my opinion, with which
you're welcome to disagree.

- --Mike


- -

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

Date: Sat, 13 Nov 1999 10:02:24 EST
From: [e-mail]
Subject: PROMO: new Orchester 33 1/3 CD

so, as some of you already know, I just returned from the Otomo-curated
festival in Wels, Austria. I have much to report on from there, once I get
around to typing up my extensive notes, but for now, I wanted to let people
know that I have some copies of the new Orchester 33 1/3 CD, Maschine Brennt
(Charhizma), the big band co-led by Christof Kurzmann and Christian Fennesz.
I'm fairly sure that no one else in the US is currently distributing this
disc. anyway, there's a bit of info and some sound clips on the Charhizma web
site at www.charhizma.com/33/index.html. if you'd like one, please e-mail me
ASAP to reserve a copy, and send payment as follows:

$13 US each postpaid within the United States
$14 US each postpaid to Canada
$16 US each postpaid overseas

All payments must be made in US funds. Cash and money orders shipped
immediately (mail cash at your own risk). Shipments paid for with checks held
until they clear.

Please send your order to:
Jonathan Abbey
189 Christopher Columbus Dr.
Apt. #4
Jersey City, NJ 07302

sorry for the commercial nature of this post, but I figured I'd give people
on this list a chance to buy copies before I sold them all to stores.

Jon

- -

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

Date: Sat, 13 Nov 1999 08:24:10 -0800 (PST)
From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Re: Mr. silly lounge act

It just seems to me that this band is just like any ordinary band
now.
They
look like rock stars. When I saw
them a few years ago, Mike Patton never interfaced with the crowd. No
pumping
up the crowd non-sense. He was all into that this show. The band used
to be
mysterious, outlandish, and nuts. They were unlike anything I have
ever
seen.
They used to wear masks to hide their identities. If I had not seem
them
several years ago, I would not have been as disappointed this time.

I wasn't in a bad mood. The band just changed too much for me.

Gary


- ----------------
So you don┤t like the band anymore because they don┤t use masks???
How silly is that???? Just because they don┤t answer to your
"mysterious" concept of what the band should be isn┤t a good reason
to dislike them.
As far as your comments on the music, you┤re wrong. I┤m not saying
anymore than that because most ppl here can probably sum it up better
than me.
Give the new record some spins man, it will grow on you

A
What┤s wrong with BRITNEY Spears???

=====

__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com

- -

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

Date: Sat, 13 Nov 1999 10:32:07 -0600
From: "Christopher Lupold" <[e-mail]>
Subject: Re: lmc + kath bloom

  Well, re: the record itself - there's twelve songs, one instrumental - the
songs are very simple and sparse. Kath Bloom's voice is very plain and
unaffected, and, to my ears, totally unremarkable. Only when her songs call
for plaintive emoting does her voice become more than a distraction to me.
It doesn't help that the lyrics rely heavily on repetition. But LMC's guitar
still makes an interesting counterpoint to just the timbre of her voice, and
he never takes the obvious route of mickey mousing the mood of the songs.
Robert Crotty's contribution seems to be simple, rhythmic, acoustic guitar
accompaniment, kind of emphasizing the songs' structures. I guess this could
be heard as a base that LMC works off of to improvise, but to me, it tends
to undermine what could have been a more satisfying free association between
LMC's guitar and the voice. So I guess the album as a whole feels not quite
fully realized, but still offers enough bright moments that it isn't a
disappointment.

As for the subject of vocals: For me, the human voice is always more
important than actual lyrics. With Keiji Haino, I experience his vocals, but
I read the lyrics(when available) as poetry, keeping them in mind as part of
the origin of the respective song, but never trying to relate them directly
to the vocals, if that makes sense. I like the lyrics themselves, they put
me in mind of the same sort of separation from the physical self as the
writings of Antonin Artaud, who's one of my favorite writers. Often, I find
the lyrics to be a verbal maze, seeming to lead nowhere, but invoking a
certain mental...I guess "work out" is the only term I can use. Having said
all that, in terms of "lyric-based" temporary music(as opposed to eternal
music, how I would describe both Haino and LMC), I tend to prefer the
melodramatic and the overwrought. Sappy and emotionally manipulative lyrics
will get me every time. Confidentially, I have to hold back tears when I put
on "Lonely Boy" by Andrew Gold.

- -CLupold
- ----- Original Message -----
From: <[e-mail]>
To: <[e-mail]>
Sent: Friday, November 12, 1999 11:31 AM
Subject: lmc + kath bloom


>
> Lupold asks:
>  Are you talking about the "Moonlight" LMC did with Kath Bloom and =
> Robert Crotty (St. Joan 3)? I didn't know that one was out on CD. Kinda =
> makes me wish I hadn't made a CD-r of my LP.
>
> yeah, that's the one. or at least that's the woman. i'm not sure there was
a 3rd
> on it, however. reviews? i'm not usually a big fan of vocal music, at
least not
> using words i understand.
>
>
>
> -
>
>


- -

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

Date: Sat, 13 Nov 1999 12:14:43 -0800 (PST)
From: Jason Walton <[e-mail]>
Subject: Re: Mr. silly lounge act

Personally, I would be bored with Bungle if they
played material just like the debut album and
continued to wear masks and have the same image as
they did back then.  Music and bands need to progress
damnit!!

J

- --- A <[e-mail]> wrote:
> It just seems to me that this band is just like any
> ordinary band
> now.
> They
> look like rock stars. When I saw
> them a few years ago, Mike Patton never interfaced
> with the crowd. No
> pumping
> up the crowd non-sense. He was all into that this
> show. The band used
> to be
> mysterious, outlandish, and nuts. They were unlike
> anything I have
> ever
> seen.
> They used to wear masks to hide their identities. If
> I had not seem
> them
> several years ago, I would not have been as
> disappointed this time.
>
> I wasn't in a bad mood. The band just changed too
> much for me.
>
> Gary
>
>
> ----------------
> So you don┤t like the band anymore because they
> don┤t use masks???
> How silly is that???? Just because they don┤t answer
> to your
> "mysterious" concept of what the band should be
> isn┤t a good reason
> to dislike them.
> As far as your comments on the music, you┤re wrong.
> I┤m not saying
> anymore than that because most ppl here can probably
> sum it up better
> than me.
> Give the new record some spins man, it will grow on
> you
>
> A
> What┤s wrong with BRITNEY Spears???
>
> =====
>
> __________________________________________________
> Do You Yahoo!?
> Bid and sell for free at http://auctions.yahoo.com
>
> -
>
>


=====
Nothing
801 University Ave. S.E. #23
Minneapolis, MN 55414
[e-mail]
http://www.crionicmind.org/nothing
http://www.thais.it/eibon
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com

- -

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

Date: Sat, 13 Nov 1999 21:41:27 +0100
From: "Stephane Vuilleumier" <[e-mail]>
Subject: evan lurie soundtracks

there was a thread on this here a while ago...

I found the soundtrack to the Roberto Benigni
film "Il Mostro" (the monster) by Evan Lurie
(Cam Original Soundtracks COS025, 1994, Italy),
and it says there that Evan Lurie had previously
done two other soundtracks for Benigni films, "the
little devil" and "Johnny Stecchino".
Anybody knows if those are also available on disc?

Stephane


- -

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

Date: Sat, 13 Nov 1999 21:46:41 +0100
From: "Stephane Vuilleumier" <[e-mail]>
Subject: another knitting factory tour promo CD

I found this disk which lists 5 tracks, one with
Negativland (live), two otherwise available
Amy Denio tracks, and two tracks by Nathanson/Coleman:
"birds and jews" (from the coming great millenium)
and "johnny come lately" (live). there is an
unlisted extra track by Nathanson/Coleman
in between those two...
anybody knows what it is and
if anyone else plays on the track?

Stephane



- -

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

Date: Sat, 13 Nov 1999 16:17:12 EST
From: [e-mail]
Subject: eh..No Zorn Content..

i don't know if this is frowned upon on the Zorn list, if it is, i thoroughly
apologize. However, if there are any Zornlisters who live in Pittsburgh, i
thought i'd mention a show i'll be playing at.

Thursday November 18th @ The EPL Headquarters  6:00 PM
- -Warlocks (bass, noise, and drums improv)
- -The Fantastics (straight noise)
- -Santana featuring Rob Thomas of Matchbox 20 (featuring members from The
Orange Project and The Joysticks; cello, mattophone, and electronics
improv)
$0
Directions: [e-mail]
___
thank you.
from,
matt
(http://www.mp3.com/orangists)

- -

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

Date: Sat, 13 Nov 1999 16:44:38 -0800
From: "wetboy" <[e-mail]>
Subject: Re: another knitting factory tour promo CD

> I found this disk which lists 5 tracks, one with
> Negativland (live), two otherwise available
> Amy Denio tracks, and two tracks by Nathanson/Coleman:
> "birds and jews" (from the coming great millenium)
> and "johnny come lately" (live). there is an
> unlisted extra track by Nathanson/Coleman
> in between those two...
> anybody knows what it is and
> if anyone else plays on the track?
>
> Stephane

i think tracks 4 and 5 comprise
the "birds and jews" section only because on the jacket its listed as being
6:45, but track 4 is only 2:35 and track 5 is 4:25. i realize that it does
not add up to 6:45, but the other times r not exact either. that's my
hypothesis, anyway.




- -

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

Date: Sun, 14 Nov 1999 00:12:12 EST
From: [e-mail]
Subject: Earl Howard/Ernst Reijseger concert 11/18 in NYC

here's a NYC concert happening this week that hasn't been especially well
publicized, but many list members may be interested in. Earl's Erstwhile CD
with Denman Maroney should be released any day now.

Jon
www.erstwhilerecords.com

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

Interpretations

EARL HOWARD & ERNST REIJSEGER
with Anthony Davis, Gerry Hemingway & Anne LeBaron

THURSDAY, November 18, 1999     8:00 pm

Merkin Concert Hall at  the Abraham  Goodman House
129 West 67th Street (near Lincoln Center)

$10 or TDF/V     Box Office [phone]
Information/charges  [phone]

Interpretations, the series which feaures leading figures in contemporary
music and multimedia, will continue on November 18th with a program
featuring works by musician/composers Earl Howard and Ernst Reijseger.
Earl Howard is a virtuoso saxophonist whose works have been performed in
the United States and Europe for the past twenty-five years and recorded by
such artists as Anthony Davis and Gerry Hemingway.  Ernst Reijseger, an
important innovator in improvised music, plays the cello with an unrivalled
craftsmanship.  Their program will include the world premiere of Howard's
Strong Force, a work commissioned by the Fromm Foundation, and
improvisational works by Reijseger and Howard.  Accompanying musicians
include Anthony Davis (piano) Gerry Hemingway (percussion) and Anne LeBaron
(harp).

Earl Howard has developed an extended repertoire for the saxophone and
synthesizer.  His compositions include music for live electronics and
electronic tape msic, as well as music for electronics and instruments.
Recent works include Pancho Via's Spoon for
live electronics premiered by the Episteme Ensemble at Merkin Concert Hall,
and Abondigas Soup for live electronics performed at The Royal Conservatory
in Den Hague Holland.  He has been commissioned to write various works for
Ursula Oppens, Anthony Davis, and the Episteme Ensemble, and produced
numerous soundtracks for leading film and video artists including Nam June
Paik, Mary Lucier, Rji Kanzaki, Bob Harris and Bill Brands.  He graduated
from the California Institute of the Arts in 1974.

Ernst Reijseger, born in the Netherlands in 1954, started playing the cello
when he was eight years old.  Since the 1970s he has been involved in
improvised music, performing with Derek Bailey, Han Bennink, Sean Bergin,
Martin van Duynhoven, Michael Moore, Franky  Douglas and Alan Purves.  He
was a long-time member of the Theo Loevfendie Consort, the Guus Janssen
Septet and the Amsterdam String Trio.  He was a member of the ICP
Orchestra, the Gerry Hemingway Quintet, a trio with Hemingway and Georg
Grawe, and Trio Clusone.  He has performed with cellist Yo Yo Ma and now
regularly appears with Dutch cellist Anner Bijlsma.  He is the recipient of
the major Dutch jazz award, Boy Edgar Prijs and has made numerous
recordings as an ensemble player and soloist, including the recent solo
recording Collaparte.

- -

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

Date: Sun, 14 Nov 1999 13:34:20 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: italian sonora into english (thanks to alta vista)

Alta Vista just picks words, it doesn;t translate. The entire screed made
litle sense.

Ken Waxman

- -

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

Date: Sun, 14 Nov 1999 18:15:22 -0600
From: "Christopher Lupold" <[e-mail]>
Subject: Zorn's Shock Corridor essay & Materiali sonori book/CD

  Didn't realize that the post of one of Zorn's film essays had glitches in
it until someone else commented on it.....here it is as it appears in the
Materiali sonori John Zorn book/CD set.
  Speaking of the Italian Zorn book, is it widely available yet? I saw an ad
in the Wire for it in '98, and couldn't find it anywhere - couldn't find any
place that had even heard of it - and then last month it pops up on eBay and
I get it new for $25 (max bid more than twice that). Anybody have any
thoughts on the book? I've gotten through half of it - the interviews are
pretty good, some of the critical essays go nowhere, there are some great
photos - the CD concentrates on Zorn/Chadbourne/Bradfield, from 77-81, and
has a piece called The Viaduct, dedicated of course to Groucho Marx. Anyway,
here's the Fuller piece from the book:

SOUND DIRECTIONS IN FULLER'S "SHOCK CORRIDOR"
- -John Zorn

  In the paintings of James Rosenquist, pigments are placed on a canvas
covered by a patchwork of masking tape. As these strips are peeled off -
removing elements of the image surface - the inherent quality of the work is
transformed.

  - What one puts into their work....what one removes from their work -

   In the case of Fuller's sound concepts in "Shock Corridor", it seems more
appropriate to say - what one chooses *not* to put into their own work
defines intention.

  The truth of film is magic. That magic is a *lie*.

  Just as a series of still images are projected to imply motion, and their
sequencing and intercutting can imply narrative - film sound can also work
to deceive us.

  All film sound is created after the fact, in isolation. Dialogue. Sound
Effects. Music. These are three elements basic to sound craft in the world
of film. The usual process involves a complex layering of all three elements
at once, with the dialogue as our main focus, sound effects inserted for
added reality, and finally music, for atmosphere and emotional
intensification. With a balance of the three, the lie is complete. With
"Shock Corridor" Fuller has decided to avoid the game of the Hollywood lie,
and blasts us with stark reality in no uncertain terms.

  No attempt is made here to create an atmosphere of "normal" film reality.
No attempt to seduce you into believing the Hollywood lie. Instead, sound is
used here as a *Brechtian* element meant to accent and punctuate a series of
dramatic situations. The Foley Room is perhaps *the* critical place where
the film lie is proliferated - the layering of ambiences, backgrounds,
footsteps, clothing movements, and various sound effects - and it is here
that "Shock Corridor" stands apart from even most of the films in Fuller's
own pantheon. There are no frills. Very little ambiences.

  A shot of someone walking. We know someone is walking - we are *shown*
it - it can be *seen*. It is not therefore redundant to add the sounds of
footsteps on the floor? More *distracting* than helpful? Fuller rightly
chooses to focus our attention solely on what matters most. Often we climb
into the mind of the character in close-up, and all other sound is blocked
out. At times we are left with inner dialogue - other times music alone, as
in the case of Colonel Stuart's "When Johnny Comes Marching Home Again" or
Pagliacci's operatics.

(herewith, the remainder of the essay)

  But it is most interesting to note the play of densities in the film, as
Fuller manipulates the three basic sound elements in varying combinations
(dialogue alone - dialogue and effects  - music alone - effects alone, etc.)
to create an expressionistic, block-form linear sequence of events rising
and falling in complexity, building at times, jump-cutting at times to
climactic moments where all three elements are brought together, making
these high points all the more intense though the play of the contrasts.
Sound throughout the film remains for the most part monophonic (one element
at a time) until the essential moment when we are brutally assaulted by a
deluge of music, effects, and "dialogue" (more often shrieks and screams) as
in the electro-shock scene, or the climactic corridor rainstorm sequence.

  Brectian reality forces its way through the patchwork of Fuller's "Shock
Corridor", guided by the disjointed flow of changing blocks of sound. Only
by this discontinuous use of contrasts can we really be faced with the
violent realities of drama in an insane asylum. Fortunately for us, Fuller
understood this and followed through with a knockout punch. Unfortunately,
he never continued this approach, but we can see the inspirational seeds in
Godard's radical late period of sound editing.

  We must treasure this masterpiece.


NYC, August 1990





















- -




- -

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

End of Zorn List Digest V2 #789
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