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Zorn List Digest      Wednesday, October 25 2000      Volume 03 : Number 140



In this issue:
-
       Re: Tim Berne
       Re: Ghost Dog
       Re: Noise
       Re: Godard and soundtracks
       and Yoko Ono
       Re: Yoko Ono Fly
       Re: Re: Yoko Ono Fly
       Re: favourite soundtracks-porn
       correction
       favorite soundtracks- Goblin
       Re: zorn/eye box set
       Goblin gig
       Re: favorite soundtracks- Goblin
       Re: zorn/eye box set
       RE: favourite soundtracks
       Re: zorn/eye box set
       Re: zorn/eye box set
       Re: zorn/eye box set
       Re: zorn/eye box set
       re: zorn/eye box (plus BART)

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

Date: Wed, 25 Oct 2000 00:08:03 -0700 (PDT)
From: Scott Handley <[e-mail]>
Subject: Re: Tim Berne

- --- Adam Rock <[e-mail]> wrote:
> Dear Zorn-listers,
>
> Can anyone tell me what albums Tim Berne has
> performed on besides Zorn's "Spy Vs Spy"?

http://www.screwgunrecords.com

and

http://www.wnur.org/jazz/artists/berne.tim/


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- -

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

Date: Wed, 25 Oct 2000 09:54:58 +0200
From: Julien Quint <[e-mail]>
Subject: Re: Ghost Dog

[e-mail] said:
> Isn't the track used in the Ghost Dog film called Nuba One from Jimmy
> Lyons, Andrew Cyrille and Jeanne Lee's Nuba?  Nuba features a
> wonderful variety of percussion from Cecil Taylor associate Cyrille,
> as well as a some lovely camels on the cover. Unfortunately this track
> is not on the soundtrack which apparently for some contractual
> problems doesn't have RZA's music from the film that it should have.

What soundtrack do you have? I got tricked into buying the lame-ass "Ghost
Dog" compilation, which is really crap except for the killer RZA and Wu-Tang
tracks at the end. The rest is generic filler hip-hop/soul with dialogue bits.
On the other hand, the actual soundtrack is available only in Japan for some
reason... I managed to find a copy but don't have it yet.

- --
Julien



- -

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

Date: Wed, 25 Oct 2000 10:23:32 +0200 (MET DST)
From: Steve Berman <[e-mail]>
Subject: Re: Noise

>>>>> "SOUPBEARD" == SOUPBEARD  <[e-mail]> writes:

    SOUPBEARD> ....the
    SOUPBEARD> pronunciation of Merzbow, is it BOW as in "bow wow" or
    SOUPBEARD> as in "bow tie?"

I guess the first, since I believe the name Merzbow is adapted from
Merzbau (Kurt Schwitters' dadaist architectural construction). An
approximation to the German pronunciation would be: MAIRTSbough

- --Steve Berman

- -

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

Date: Wed, 25 Oct 2000 03:11:48 -0700
From: Lon Huber <[e-mail]>
Subject: Re: Godard and soundtracks

Lang Thompson <[e-mail]> wrote:
>Breathless is the obvious place to start since it's not only his first
>feature but probably his most accessible film.  Of films relatively easy to
>find go with Pierrot le Fou (a good one for a Zornlister), Vivre Sa Vie/My
>Life to Live, Masculin Feminine and Nouvelle Vague.  (Alphaville is also
>quite easy to get but I find it even less interesting than some of the
>hilariously impenetrable Dziga-Vertov Group films.)  Contempt is one of his
>best but the currently available video doesn't do it justice; I'd wait for
>a release of the "restored" version.  A bit harder to find but available
>and worth seeing are Numero Deux, Two or Three Things I Know About Her,
>Weekend and Helas Pour Moi.  My all-time favorite might be Germany Year 90
>Nine Zero and don't ever pass up any segments of Histoire(s) du Cinema but
>those are almost impossible to find.

Agree with all of this save the comment on ALPHAVILLE. I liked it a
lot the first time I saw it, but repeated viewings have revealed ever
more subtle layers of odd, disjointed beauty. And the music in it
jumps from romantic lyricism to choppy orchestral blasts in a most
entertaining way. BAND OF OUTSIDERS is high on my list, too.

Regarding soundtracks, Godard's use of music and effects is such that
you can run the video with the monitor off, just listening to the
audio tracks, for an experience as satisfying as watching the film.
Dialogue, fragments of music, readings from books, sound effects, all
collide and tumble as freely as any Over The Edge tape.

Morricone's soundtracks for A LIZARD IN A WOMAN'S SKIN, GRAZIE ZIA,
and the TV anthology DRAMMI GOTICI have been in my CD player at least
once a week for the last few months. Ditto Rota's score for Fellini's
ROMA. And although I don't know if there's a CD available, the
electronic score for Antonioni's RED DESERT is worth close attention
if you rent the DVD.

Aside from the music in films, I wish DVDs had separate channels for
the effects tracks of certain films. The effects track of BLADE
RUNNER is an unsung musique concrete masterpiece, in my opinion - put
on some headphones and listen to it all the way through without
watching the movie some time. Steven Soderbergh's films generally
have a very spare and expressive use of effects, as well. And the
effects for THE EMPIRE STRIKES BACK are a large part of that film's
success at creating a whole universe on screen... too bad they never
made another STAR WARS films after that one.

Lon - Floating Glowing Head
+ + + + + + + + + + + + + +
www.floatingglowinghead.com


- -

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

Date: Wed, 25 Oct 2000 07:55:55 EDT
From: [e-mail]
Subject: and Yoko Ono

In a message dated 10/25/00 2:27:01 AM, you wrote:
<<and Yoko Ono>>

OMG how could i have forgotten for soundtracks, as
my pals here have reminded me
- -- yoko ono's fly
- --wm breuker's soundtracks, lots, on his bvhhaast label, great stuff
- --to sir with love (3 versions of title song; no cd available)
- --the wiz of oz
np: yoko one  fly
love to all
steve koenig
laFolia.com

- -

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

Date: Wed, 25 Oct 2000 08:56:31 EDT
From: [e-mail]
Subject: Re: Yoko Ono Fly

Yes!! Yoko Ono Fly is one of her best, especially "Don't Count The Waves",
"Toilet Piece", and "Mindtrain"...Anyone know how to obtain her films?
I know a museum (in new york I think) was handing out DVDs of her films for
minumum donations over a thousand or so but I could be wrong..



- -

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

Date: Wed, 25 Oct 2000 09:38:26 -0400
From: [e-mail]
Subject: Re: Re: Yoko Ono Fly

>Anyone know how to obtain her films?

I think they were being distributed by MOMA but I've also heard that she's cancelled that and doing distribution herself.

- -

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

Date: Wed, 25 Oct 2000 10:19:15 -0400 (EDT)
From: Ken Waxman <[e-mail]>
Subject: Re: favourite soundtracks-porn

Hey guys:

Granted this is a music list, but if you figure the
*music* is the best part of porn, I think you're
missing an important visual element.

Ken Waxman

- --- dekater <[e-mail]> wrote:
>
> -----Oorspronkelijk bericht-----
> Van: Jerzy Matysiakiewicz <[e-mail]>
> Aan: Whit Schonbein <[e-mail]>
> CC: Zornowska lista <[e-mail]>
> Datum: dinsdag 24 oktober 2000 20:00
> Onderwerp: Odp: favourite soundtracks
>
>
> >
> >| - 70's porn (the music is the best part)


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- -

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

Date: Wed, 25 Oct 2000 10:45:22 -0500
From: [e-mail]
Subject: correction

during a recent frenzy of listening to atavistic 'unheard music' releases, we
mistakenly wrote off the schlippenbach quartet's 'hunting the snake' as a more
traditional, less adventurous release. while it's sax/piano/bass/drum line-up is
of a more trod vein than the solo drum or electonic releases on that label, the
disc -- which features evan parker, peter kowald and paul lovens -- is anything
but pedestrian. it's actually pretty remarkable.

this listmember regrets the error.



- -

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

Date: Wed, 25 Oct 2000 11:17:40 EDT
From: [e-mail]
Subject: favorite soundtracks- Goblin

Anyone into the Euro-horror and action scores by the Italian prog rock group,
GOBLIN?  Their score for Argento's SUSPIRIA is pretty intense.  The group is
reuniting for the first time in 20 years and performing in Tarrytown, New
York on Nov. 11th (their first ever U.S. appearance)!

- -

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

Date: Wed, 25 Oct 2000 15:55:27 GMT
From: "Arthur Gadney" <[e-mail]>
Subject: Re: zorn/eye box set

Hello,

>Don't know what happened to those who'd actually sent pre-order
>money, however.

We got our money back and a kind letter explaining that Zorn would probably
release it himself on Tzadik and that he has our adresses.

ARTHUR_G (more curious about that amazing design than the actual music)
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- -

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

Date: Wed, 25 Oct 2000 12:06:45 EDT
From: [e-mail]
Subject: Goblin gig

Goblin will be guests and performing at CULT CON in Tarrytown, New York
(almost an hour outside of NYC).  Check out the website-
http://members.aol.com/_ht_a/cfvimports/cultcon2000.html

- -

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

Date: Wed, 25 Oct 2000 12:11:07 EDT
From: [e-mail]
Subject: Re: favorite soundtracks- Goblin

Didn't they also do Dawn of the Dead, or at least Argentos edit of it?  The
stuff I've heard from them is pretty good, though a little dated...Its
especially interesting to see the Argento Docu where he is working with them
during the editing process of Suspiria and he is waving around his arms
during certain moments of the film asking for different types of sounds...

- -

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

Date: Wed, 25 Oct 2000 09:12:30 -0700
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: zorn/eye box set

On Wed, 25 Oct 2000 15:55:27 GMT  "Arthur Gadney" wrote:
>
> Hello,
>
> >Don't know what happened to those who'd actually sent pre-order
> >money, however.
>
> We got our money back and a kind letter explaining that Zorn would probably
> release it himself on Tzadik and that he has our adresses.

Am I the only one to find such project disgusting? I mean, wasting 100 CD,
some with barely a few minutes of music. I always thought this was the
kind of project that is fun to think about during a heavy drinking night,
but in the morning, trying to recover from the hangover, you would feel
embarrassed to even have thought of doing such thing...

Isn't ironic that coming from any mainstream artist a project like that
would be looked with total contempt, with words like megalomania,
self-indulgence flying around? With Zorn and Eye (or Merzbow), thanks to
their sticky indie/underground status, it is cool.

I like to think that the project was cancelled because Zorn realized how
stupid it was. If the music is really that good, let's just put out a
2xCD box with all of it (since I seem to remember that the total duration
was no more that a few hours).

Is the music becoming so irrelevant that packaging is the only thing
left?

    Patrice (who's not specially environmentally conscious).

PS: How much wipped cream on a cake do you need to start to puke?

- -

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

Date: Wed, 25 Oct 2000 18:20:03 +0200
From: "Franz Fuchs" <[e-mail]>
Subject: RE: favourite soundtracks

> [mailto:[e-mail]]On Behalf Of Jerzy
> Matysiakiewicz

> Ha, ha, ha. I think that users from behind the former Iron
> Curtain and from
> Germany will agree with me that man shouldn't forget about
> the scores to the
> DDR movies based on Karol May's books : "Winnetou" "Schatz in
> die Silbersee"
> "Chingachgook Die Grosse Schlange" and so on, but I couldn't
> recall the name
> of the composer.

I think that's Peter Thomas, who had a renaissance with the Easy
Listening hype. Probably his most famous composition is the one for
sci-fi serial "Space Patrol Orion". Besides this he has dozens of film
scores under his belt (mainly for B- and C-movies) ranging from
reactionary soft-porn, children TV programmes, Edgar Wallace adaptions
to "Steiner pt.II". Jarvis Cocker and Pulp used a Thomas sample for the
title-track of their latest album "This Is Hardcore". I would rate
Thomas as a remarkable craftsman with little reservations against the
sometimes dubious ideological background of the films for which he
composed his music. Appropriately German magazine "Testcard" titled a
feature about him "Beautiful capitalism".

Regards
Franz Fuchs


- -

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

Date: Wed, 25 Oct 2000 11:21:02 -0500 (CDT)
From: Paul Audino <[e-mail]>
Subject: Re: zorn/eye box set

On Wed, 25 Oct 2000, Patrice L. Roussel wrote:

> Am I the only one to find such project disgusting? I mean, wasting 100 CD,
> some with barely a few minutes of music. I always thought this was the
> kind of project that is fun to think about during a heavy drinking night,
> but in the morning, trying to recover from the hangover, you would feel
> embarrassed to even have thought of doing such thing...

Aw, you're just still sore about the scare you recieved thinking about
putting the box into the discography... ;)

Paul


- -

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

Date: Wed, 25 Oct 2000 09:24:48 -0700
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: zorn/eye box set

On Wed, 25 Oct 2000 11:21:02 -0500 (CDT)  Paul Audino wrote:
>
> Aw, you're just still sore about the scare you recieved thinking about
> putting the box into the discography... ;)

Darn! And I forgot about that... I guess I would have solved the issue with
something like:

    "100xCD of screaming and skronking," for fetichists only

    Patrice.

- -

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

Date: Wed, 25 Oct 2000 09:30:50 -0700
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: zorn/eye box set

On Wed, 25 Oct 2000 11:21:02 -0500 (CDT)  Paul Audino wrote:
>
> > Am I the only one to find such project disgusting? I mean, wasting 100 CD,
> > some with barely a few minutes of music. I always thought this was the
> > kind of project that is fun to think about during a heavy drinking night,
> > but in the morning, trying to recover from the hangover, you would feel
> > embarrassed to even have thought of doing such thing...
>
> Aw, you're just still sore about the scare you recieved thinking about
> putting the box into the discography... ;)

And talking about the exact opposite: full relevance of every minute of a
CD and highly innovative (both rarely go together):

*** - BART: Thomas Lehn, Marcus Schmickler (Erstwhile)

Wow, what a record! Just listened to it once but I was hooked with the first
seconds and the following ones kept the momentum.

How many more like that Jon has in his closet?

    Patrice.

- -

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

Date: Wed, 25 Oct 2000 12:11:23 -0400
From: Joseph Zitt <[e-mail]>
Subject: Re: zorn/eye box set

On Wed, Oct 25, 2000 at 09:12:30AM -0700, Patrice L. Roussel wrote:

> Am I the only one to find such project disgusting? I mean, wasting 100 CD,
> some with barely a few minutes of music. I always thought this was the
> kind of project that is fun to think about during a heavy drinking night,
> but in the morning, trying to recover from the hangover, you would feel
> embarrassed to even have thought of doing such thing...

"Well, I used to be disgusted. Now I try to be amused..." -- E. Costello

- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


- -

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

Date: Wed, 25 Oct 2000 10:26:51 -0700 (PDT)
From: Scott Handley <[e-mail]>
Subject: re: zorn/eye box (plus BART)

- --- "Patrice L. Roussel" <[e-mail]>
wrote:
> Am I the only one to find such project disgusting?

It's a decoy, Patrice.

> With Zorn and Eye (or Merzbow), thanks to
> their sticky indie/underground status, it is cool.

Two things are funny:

1. The fact that it's---and I'm assuming a lot
here---"experimental" music makes its audience (and
all the more so its devotees) so much more forgiving
of tripe and gristle, precisely because the standard
hasn't been lowered....it's been _removed_.  (Not
exactly true: it's been replaced by a new norm: "I'm
listening to experimental music.  It's _supposed_ to
feel all wrong, or sound _this way_.")  So the
ridiculous is expected, even required sometimes,
because the relationship between the perp and the
auditor is sado-masochistic.  Our jettisoning of
standards (good thing) is not at all the same as a
jettisoning of expectations, which serve as the
template and antecedent for standards anyhow.  I think
I'm trying to get at the idea that the TRUST implicit
in the experience of "experimental" art---the
tolerance of "failure" and the willingness to concede
that term, even---can be violated, and it's terrible
because we only the spectral remains of morality to
articulate this problem; there's the _intuition_ that
we're being made fun of, that we're the object of
cruelty, that we've been led someplace dark while
blindfolded and _left_.  I have problems with "the"
avant-garde and Dada because of this.  A 100-CD set
does little to help this trust.  (BTW, I think the
idea of a 100-CD set is a hoot, more than being
disgusting.)  I can't imagine anyone buying something
like that without eventually getting the feeling that
they've been _had_.

2. Leave it to disenfranchised political/ aesthetic
"radicals" (avant-gardists, actually) to be great
consumers.  They know they hate capitalism, they're
loath to turn anyone but "the hippest" on to their
music, because then it might "get too popular".  But
they buy everything, just to have it.  Isn't the
operative word..."fetish"?  Collection becomes a
surrogate for action.

> Is the music becoming so irrelevant that packaging
> is the only thing
> left?

This predicament screams "simulacrum".  (A
quintessentially "French" idea. ;)

> PS: How much wipped cream on a cake do you need to
> start to puke?

When I was a little kid, many of us would eat the
disgusting chalky icing off the birthday cake first,
before eating cake (if we would eat the cake at all).
But this was at birthdays at McDonald's,
appropriately.

P.S. The Merzbox still cost less to make than does
_any_ music video.  Underground music industry, 1.
Mass-media-multinational-corporate music industry, 0.

P.P.S.  Patrice wrote:

>And talking about the exact opposite: full relevance
>of every minute of a CD and highly innovative (both
>rarely go together):
>*** - BART: Thomas Lehn, Marcus Schmickler
(Erstwhile)

>Wow, what a record! Just listened to it once but I
>was hooked with the first seconds and the following
>ones kept the momentum.

It's really shocking just how together Schmickler and
Lehn are, and _how much fun_ this music is.  My
sensibilities tend toward the conservative (cf. my
attitude toward Dada), and I find the kind of wild
schizoid humor implicit throughout mucxh of this
record to be almost knee-slapping.  (Is this weird?
Doesn anyone else hear this?)  It occurs to me that
the "glitch" sensibility (if you'll permit me) has
everything to do with both technological phenomena AND
the human element, I mean using "glitch" as a verb.
(You can _now_!)  Like the notion of "freaking" a
turntable.  What I mean: the music is almost
surprisingly humane, and humorous to boot.  Weird,
maybe cruel humor, but nothing that I can't also dig
in Thelonious Monk.  Patrice is right---there minimal
drag on this record.  It's a wild friggin ride.

>How many more like that Jon has in his closet?

We demand that you release the COlogne basement tapes!
 While you're at it, I'd like a box set of Evan Parker
farts.*

- -----s, cheshire-cat, but unsubtle

NP: Muller/Le Quan - VOYELLE LIQUIDE  (We DEMAND all
four hours!  We DEMAND the complete VOYELLE sessions!)

NR: The complete works of Karl Marx and Fred Engels,
in the only complete American edition, International
Publishers.

NV: The "complete" Stanley Kubrick on DVD.  Wait a
minute.  Wait a goddam minute!  Where THE KILLING?
Where's PATHS OF GLORY?  Where's....god-da


          )


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

End of Zorn List Digest V3 #140
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