If you heard Intergalactic Maiden Ballet, you'd understand just why Joe Piscopo can't compare in terms of complete awfulness. At least Piscopo is entertaining; IMB is some of the most tedious, slack-jawed fuzak I've ever heard. THAT's the one that makes me wonder how and why Zorn got involved (and, if I recall correctly, he's only on a couple of cuts anyway).
In terms of availability, pretty sure that IMB has been out of print for a few years here in the U.S., but I'd imagine it's still lurking in Germany and maybe even through Cadence. It's on the TipToe label, a still-active branch of Enja.
Steve Smith
ssmith36@sprynet.com
On Thu, 2 May 2002 13:17:44 -0400 Andy Marks <andy.marks@wisesolutions.com> wrote:
RE: intergalactic maiden ballet
> don┤t know where to get this in the US but it┤s the worst of all Zorn
> releases (according to this list several times). Perhaps this is the
> reason you want to hear it?
While I haven't heard intergalactic maiden ballet, I would have to
say that the "worst Zorn release" honor belongs to Joe Piscopo's
New Jersey. Not necessarily because of his playing or input
(which is pretty minimal), but just the fact that he was even
involved in such a thing.
Along these lines, does anybody really know how Zorn actually got
involved with said Joe Piscopo album?
PS - I actually own this CD, just for the sheer novelty. I picked
>Any comments on the Improvised Music from Japan 10-cd boxset?
>Is it worth buying? Did anyone order it through Metamkine?
>
>http://www.japanimprov.com/
I'd say it's an essential purchase for anyone even vaguely interested in the scene. All the tracks are previously unreleased, so there'll be no overlap with anything you might already have. Discs 1-4 - which concentrate mostly on the onkyo-related scene - are worth the price of admission alone as far as I'm concerned. Nearly half an hour of Otomo spread over three pieces, 5 different Haco projects, and a staggering Yoshimitsu Ichiraku cymbal piece to name just a few of the highlights. I've been entertained, astounded and educated by the whole thing and I've only had the chance to listen to it through once. The booklet is extremely informative, and the whole package is beautiful. It even *smells* great. I ordered it through ReR and it took about a month - apparently they ordered it from Metamkine themselves!
The only caveat I would have is that it'll make you go off and buy even more CDs after having your appetite whetted. I know I have a list...
Alastair
PS Those of you in London might be interested in Dialogue 3 @ The Spitz tomorrow (Saturday) - First European performance for turntable duo BusRatch who are Takahiro Yamamoto and Mori Katsura from Kyoto. Turntablism and experimental music using various objects as such records, stones, metals, cymbals and mousepads. Chant/Hood/ Wastell do a minimal electronic improvisation. Clive Bell plays the shakuhachi flute (Japan) and the Khene mouth organ (Thailand).
http://www.spitz.co.uk/events/index.html
and I have no financial interest in either the gig or the box set - just evangelisin'.
I use to have a dubbed copy of a radio program Live at the Knitting Factory
that featured a Naked City show from around the time of the first album - is
this the same show as the new cd? Can anyone provide any other details about
the Live at KF series? We're there very many and who else was featured?
Jeff
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>I use to have a dubbed copy of a radio program Live at the Knitting Factory that featured a Naked City show from around the time of the first album - is this the same show as the new cd? Can anyone provide any other details about the Live at KF series? We're there very many and who else was featured?
Try New York City's Downtown Music Gallery for the new Jim Black. They were supposed to get them in stock today and they have advance copies of Zorn's IOA!
I have the DVD and it's great,especially for Mick Harris fans. There is concert footage, music videos, interviews and t.v. appearances. The disc compiles a lot of footage and material previously available on a few vhs releases.
I haven't watched it yet but there are two shows included both of which feature Mick Harris. One is the show from June 1990 which was also released on the video tape "Live Corruption". The 2nd show is from Dec(?) 1989 which is probably one of the earliest with new vocalist Barney Greenway. There are also 2 live clips from the "classic" lineup with Bill Steer on guitar and Lee Dorrian on vocals.
Heres the sales pitch from Earache records site
"The definative Napalm death DVD - over 5 hours of footage including all 6 promo clips the band recorded for Earache and 2 full early gigs -inc Rock City 1989 Grindrusher tour and rare as hell bonus footage featuring arguably the bands best line up - the Lee Dorrian and Bill Steer era. You can view the Grindcrusher show from any of 3 different camera angles, and explore the subtitles option - (ever wondered exactly what the lyrics to "Scum" were?) All in all - your chance to witness history being made - Napalm's early shows were, with hindsight, literally changing the face of extreme/heavy music at the time. Positively Groundbreaking."
I recently picked up the Intuition remastered (24bit) version of "Actions". I also own the Wergo "Pre-release" version. I haven't had time to pick apart the two, but from what I have heard so far the sound seems to be pretty clear. It sounds really nice.
Crowley as surrealist? That's an interesting angle. That was illuminating
to put him into the context of his time. Someone else brought up Harry
Smith as a counterpart and there is something to that. Never thought about
it but haven't read about Crowley in 15 years.
Regarding the work of Crowley, anybody who is interested in Jungian
pshchology would do well to read Crowley as a way to understand the dark side
of the Self, the Shadow. If read in this context, then the teeth of the
supernatural evaporates and all that is left is a whole lot of fear and over
emphasis on the dark side of the superego. Quite convoluted mushy thinking
and not very helpful. Though Crowley's philosophy does energize nonetheless.
my beans - Roy
In a message dated 5/7/2002 9:37:44 AM Central Standard Time,
owner-zorn-list-digest@lists.xmission.com writes:
> Date: Mon, 06 May 2002 18:53:08 -0700
> From: florid oratory <connah@earthlink.net>
> Subject: Re: Waits on Letterman
>
> supposedly wednesday of this week: may 8th
>
> some bay area musicians, among others:
> ara anderson--trumpet? or drums?
> colin stetson--confident reeds
> matt sperry--bass
>
> - --GC
>
> "Arthur Gadney" <a_gadney@hotmail.com> asked:
>
> > I understand that Tom will be performing on the David Letterman show next
> > week. Anybody know who he might be using as backup. it's always fun to
> see
> > who pops up on these shows from time to time. I saw Cyro Baptista the
> other
> > day. He was tearing it up, in some other ways ultra lame pop song.
>
>
> - -
>
> ------------------------------
>
> Date: Mon, 06 May 2002 22:59:04 +0100
> From: Matthew Moffett <fkmoffet@erols.com>
> Subject: Re: AW: satanism
>
> First off, Crowley is not to be taken seriously. He was a poet with a
> sense of the bizarre, and loved to shock the uptight literati of
> England. Those who take him too seriously only serve to display their
> own ignorance (ie Jimmy Page). If born a generation later, Crowley
> probably would have been a minor surrealist.
>
> Second, under what premise do you associate Crowley with the Satanic
> Church? Any association is tangential at best. It would be like
> calling Duke Ellington free jazz.
>
> Third, most music billed as "satanic" has more to do with Tolkien and
> Dungeons and Dragons than anything with LeVey or his religion. If a
> satanic form of music really existed, it would more likely be poppy to
> bring more people into the fold. It might be an interesting dichotomy
> to explore as a musician, though.
>
> Now back to Zorn. Does anyone know of a stated purpose behind this
> project, or what it sounds like? If nothing else, I'm sure he'd be
> amused on some level by this debate. Shrouding his music behind lines
> of transgression is often his method, and I'm sure it's in part just to
> shake things up a bit.
>
> Thorsten Kr=E4mer wrote:
> > =
>
> > Hello Arthur,
> > =
>
> > thanks for your advice.
> > =
>
> > >Read the sources, not the tabloids.
> >
>
> - -
>
> ------------------------------
>
> Date: Mon, 6 May 2002 23:11:46 -0400
> From: "Steve Smith" <ssmith36@sprynet.com>
> Subject: RE: AW: satanism
>
> Given that I thought much of 'IAO' sounded rather like film music, it
> wouldn't surprise me a bit if the true influence was less Crowley, more
> filmmaker Kenneth Anger (listed on the disc's obi strip as a Crowley
> "disciple").
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>Crowley as surrealist? That's an interesting angle. That was illuminating to put him into the context of his time. Someone else brought up Harry Smith as a counterpart and there is something to that. Never thought about it but haven't read about Crowley in 15 years. <BR>
<BR>
Regarding the work of Crowley, anybody who is interested in Jungian pshchology would do well to read Crowley as a way to understand the dark side of the Self, the Shadow. If read in this context, then the teeth of the supernatural evaporates and all that is left is a whole lot of fear and over emphasis on the dark side of the superego. Quite convoluted mushy thinking and not very helpful. Though Crowley's philosophy does energize nonetheless. <BR>
<BR>
my beans - Roy<BR>
<BR>
<BR>
<BR>
<BR>
<BR>
In a message dated 5/7/2002 9:37:44 AM Central Standard Time, owner-zorn-list-digest@lists.xmission.com writes:<BR>
> OK, after hearing selections from this on WFMU for a while and seeing a couple of reviews, now I wanna know where to get
> a copy. Any ideas?
>
In NYC, Kim's Underground and Other Music carries it. In London, the Rough Trade shop would have it. Great album but it's actually a bootleg (a poor copy of online files) of the bootlegs themselves. These guys are called 'bootleg remixers' though I've heard Simon Reynolds call this 'bastard pop' too.
As it so happens, I'm trying to find venues from one of the DJ's featured on there (Grant McSleazy). Anyone have ideas for good venues for mid-August? See <http://www.mcsleazy.co.uk/>
>>Now, if _anyone_ knows how to get hold of these japanese-only
>>CDs with Tom (or any japanese only downtown-related music!),
for anyone interested, we stock the following item:
Pigdin Combo - The Long Vacation
This documents a previously unknown-to-me collaboration in Japan of cellist/ composer Tom Cora with the legendary Japanese underground band Luna Park Ensemble. A mixture of firmly scored tunes & improvisations & often a mixture of both! Some great playing by Tom, & the others as well. The sax player has a sound reminiscent of Danny Finney (Rattlemouth), so sometimes this actually sounds like the never-made Rattlemouth/Tom Cora album...
>it. Great album but it's actually a bootleg (a >poor copy of online files) of the bootlegs
I may try Other Music. So is the CD worse quality than the MP3s? I'm guessing it was burned directly from those. I'm still on a dial-up connection so downloading is a major hassle for me; also I've never found a track listing for this particular collection.
Thanks for the Boom Selection site; that's the kind of thing I'd been looking for but had trouble locating.
I just picked these up yesterday and have started familiarizing myself with
them, and I noticed in the liner notes that Robert Wilson is credited in the
"thank you's" for "directing the premiere of Alice" (on Alice, dated December
1992) and "Directed the premiere of Woyzeck by Georg Buchner" (on Blood
Money, dated November 2000). So, am I to take it that these two CD's were the
songs from some kind of theatre pieces? Anyone?
Dale.
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<HTML><FONT FACE=arial,helvetica><FONT COLOR="#0000a0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>I just picked these up yesterday and have started familiarizing myself with them, and I noticed in the liner notes that Robert Wilson is credited in the "thank you's" for "directing the premiere of Alice" (on Alice, dated December 1992) and "Directed the premiere of Woyzeck by Georg Buchner" (on Blood Money, dated November 2000). So, am I to take it that these two CD's were the songs from some kind of theatre pieces? Anyone?<BR>
In a message dated 5/9/02 6:10:39 AM, a_gadney@hotmail.com writes:
<< Semi-related: Did anybody else notice that not only was the music for
"Lord
of the Rings" horrible, it also ripped off "Titanic"?! >>
And it won an oscar.
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If you're talking about the soundtrack CD for 'Attack of the Clones,' that came out on April 23. It's currently available everywhere, with one standard cover and three limited edition variant covers (collect 'em all, and then buy the "definitive edition" that will most likely follow a year later...).
I agree with you about the leitmotif notion, which is why it surprised me when I tried to draw Williams out on the subject (using precisely that term) for an article that will appear here in NYC on opening day. He essentially said he had viewed 'Star Wars' no differently than any of the other scores he'd penned previously.
I suppose the leitmotif notion may be a subjective interpretation that has arisen simply because we have recurring characters in multiple films - the famous cello theme in Jaws is another example, except that in that series there were fewer recurring characters (and only one with a "theme song"!).
Williams's description of writing the Cantina Band scene was pretty priceless... he said that he'd originally had no idea what to write, and then Lucas told him, "Imagine if on some planet light years away these little guys found the sheet music for Benny Goodman's swing-band arrangements under a rock and tried to play them upside-down and backwards..." The image worked: Williams had first-hand experience with jazz, since he'd gigged as a pianist with Shelley Manne, Art Pepper and Bud Shank before turning to scoring. (He's also the pianist you hear on the 'West Side Story' soundtrack and the 'Peter Gunn' theme...)
The new score, I think, is much, much stronger than the score for Episode One. But then, that's true of the film, as well. And just as a number of familiar characters from the original "second" trilogy begin to make appearances here, so does their music.
The backlash here in the New York area is the suggestion that WFMU might start to cull the more mainstream of its offerings, broadcasting and webcasting only the "little guys" with which it can make deals directly and non-American labels which are not signatory to the RIAA's mandates. Score one for the little guys, then, except that for free-form radio, any diminution of the available music pool is a bad thing.
Here's a quote that ran in an article in this week's Time Out New York that will confirm exactly what you expect, as regards the RIAA:
"Nevertheless, the Recording Industry Association of America (RIAA), a prime mover in these discussions and a supporter of [the Copyright Arbitration Royalty Panel]'s recommendations, claims shrinkage is good. Dr. Thomas Nagle, one of the RIAA's economists, says that losing 'marginal or insignificant' stations would be beneficial for the industry; it would mean that remaining webcasters could attract advertisers who are now reluctant to buy time on Net radio because of geographic constraints and free-form programming."
Zorn/Patton/Mori release - please e-mail a detailed
account of what the album sounds like to the list...
By the IAO, one of Zorn's latest, is really great.
Almost as diverse as Taboo and Exile. Only 7 tracks
though. 4 of which are really amazing...
=====
-That which is Theo
Insofar as the coercive powers of government are to be used to insure that particular people get particular things, it requires a kind of discrimination between, and an unequal treatment of, different people which is irreconcilable with a free society.
So how are recent Merzbow releases? I started listening to him in the mid 80s when it was all cassettes that were mostly ordered directly from him and then the RRR LP and the first CDS. But about 30 of these seemed enough: they didn't actually all sound the same but close enough, y'know. The last I got was the Tzadik release.
But descriptions I've read about others over the past few years sound like they might be worth checking out. Esp Amlux, Ikebukuro Dada, Live at Radio 100, Door Open at 8am. Opinions?
I'm not fanatical enough to keep up with Mr Akita, but I got "Amlux" recently & it's quite good, and very different from the RRR-era power electronics yowl. It's all Powerbook now & there's less harsh noise, though it's certainly still around from time to time. He did one of the Amlux pieces live @ All Tomorrow's Parties and it was quite flooring, centered around a huge, low-pitched rockish riff repeated ad infinitum w/ big blasts of noise interspersed throughout. "1930" is excellent as well, though it's a few years old at his point - anyway, it's quite fun when one is properly addled.
