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ztt-digest          Thursday, August 19 1999          Volume 02 : Number 130




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Date: Mon, 16 Aug 1999 22:28:12 +0100
From: "John McCormick" <[e-mail]>
Subject: (ztt) Zang essays

Dear ztters,

If you're new to the ZTT label and would like to learn more, or perhaps you
just would like to read my views on the label then please visit
http://www.johnmccormick.cwc.net and follow the links from the 'Home' page.

All is explained on these pages (3 pages of text).
The text is an adaptation of a series of essays I did at Uni in the early
half of last year.
Happy reading,
John M.
- --
 //        Northamptonshire, ENGLAND.              *      \\
 \\      Please visit my web pages at: (from 15/8/99)     //
 //    http://www.johnmccormick.cwc.net            *      \\
 \\      and also still available at:          (now)      //
 //  http://members.tripod.com/~jmccormick         *      \\
 \\                  - * -                         *      //



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Date: Wed, 18 Aug 1999 13:05:52 +0200
From: Coen van der Geest <[e-mail]>
Subject: (ztt) Custom CD question

Hi there,

as the rest of this list, I also got the Custom CD ("An extra pulse of
beauty"). I must say it looks perfect and the sound is great (Beatbox
rulez). I noticed on my CD and back the same number, number 544. Do
others have the same or an other number?

Grtz
Coen

PS: the ZTT logo at the spine of the CD of The Seduction Of... is not
right, the last T is split and there's half a Z in the place of the
other half.


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Date: Wed, 18 Aug 1999 16:38:34 +0200
From: Coen van der Geest <[e-mail]>
Subject: (ztt) Where is Trev located nowadays?

Hi there,

considering the release of the last Art Of Noise, I was wondering where
ZTT and Trevor are located nowadays. ZTT seems very much pointed to the
USA market (US radio interviews, concerts, promotion) while us European
people (I don't speak for all of us, though) have to order it in the
USA. Of course it has much to do with the contract they have with
Universal, but will there be a change in favour of us?

Grtz
Coen


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Date: Fri, 20 Aug 1999 00:35:47 -0500
From: artisan2 <[e-mail]>
Subject: Re: (ztt) AoN vs. Lucas vs. Kubrick vs. Groening

    My apologies for responding to everything so late in the discussions
lately. I haven't had occasion to check my e-mail in around a week. I
haven't checked e-mail regularly in even longer. Plus, each time I have
managed to tear time away for this it's very late at night and my
coherency begins to drift, greatly.

>                 The skill is not in doubt.  The production values are still
> high.  The aim,
>                 the goal, the purpose....... why is this seduction
> considered an Art of
>                 Noise?
>

    Because they say it is. After all, a toaster is a toaster. And, it's
their party; so they'll cry if they want to. Besides, this has been an
intended project for AON (really Trevor) since ZTT's overall masterwork
"The Raiding of the Twentieth Century" was planned. Too bad they never
pulled that one off.
    I felt this way about "Below the Waste". I used to say they needed
to rename themselves the Art of Music.
    I can only assume that they actually got TSoCD to sound the way they
wanted it to. If not, they only have themselves to blame. Nothing sucks
worse than to work your ass of on a song, or what have you, only to have
it never sound the way you want it to.
    I'm not surprised by how light weight TSoCD sounds. Drum 'n Bass
aside, this is more of how the remaining members of the band tend to
think of music. Look at some of the most recent works involving Trevor
or Anne at the helm. "Tubular Bells 2"[1992; Trevor Horn & Mike Oldfield
producing]: nice and airy; my favorite of the three incarnations of that
concept. But, incredibly homogeneous. Not a truly rousing bone in the
whole album. "Seal"(the second) [1994; Trevor producing]: Trevor's new
production style is really taking form by now. It is the logical
progression from "TB2". Very pretty, but again, nothing to pound you
into rubble. And an afterthought contribution for that Batman flick a
year or two later. "Buster" movie soundtrack [199?; musical score
composed and arranged by Anne Dudley]: the first major film she landed.
I'm proud of her for that. She finally put her classical training to a
more predictable work. Not a hint of AON for miles around. It was as if
she were deliberately hiding that fact. Then there was "Groovy Kind of
Love" she did for Phil Collins. But, he got the Grammy for it. At least
he credited and thanked her as part of his acceptance speech.
Incidentally, that was the last time I ever saw JJ and Anne together.
"Songs From the Victorious City" [1990 produced/composed/arranged by
Anne and Jaz Coleman]: nice idea, but, I'm afraid Led Zeppelin (among
others) kind of beat them to the basic idea. Somewhat lively in spots,
however, it ultimately comes off as the soundtrack to a James Bond film.
Actually, come to think of it, I would really like to hear her handle a
Bond movie. With or without a little help from Trevor, I think it would
be great. "The Crying Game" [film score composed & produced by Anne
Dudley]: Roughly, the same situation as the previous soundtrack. Nice
work, but... It was just like if John Lennon, overnight, became a
Fundamentalist Conservative and demanded that Yoko stay in the kitchen
or something. "The Full Monty" [same thing. composed/produced by Anne]:
Really hitting the big time now. She nailed an Academy Award for the
soundtrack. I forgot if it was for "Best musical score for a foreign
film" or just plain "best musical score". It was one of them; and she
looked great.
    Sorry for the rant. But, considering this, the subject matter for
TSoCD and what some of those unearthed AON tracks sounded like prior to
being stripped down to the versions we know and love, is it really any
surprise that the new work sounds the way it does?
- -- James S. Coward
    [e-mail]

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

    "Due to the internal organisation of the musical work, the act of
listening to it
immobilizes passing time: it catches and unfolds it as one catches and
enfolds a
cloth flapping in the wind. It follows that by listening to music, and
while we are
listening to it, we enter a kind of immortality"      - The Art Of Noise




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End of ztt-digest V2 #130
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