From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V5 #177 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Monday, June 3 2002 Volume 05 : Number 177 Today's Subjects: ----------------- [idealcopy] These New Noises ["Bill Hick" ] ---------------------------------------------------------------------- Date: Sun, 2 Jun 2002 17:03:08 +0100 From: "Bill Hick" Subject: [idealcopy] These New Noises PHILIP JECK > Stoke > touch CD #10.00 > edited selections from live performances. Jeck > better than ever! this is his best yet! those > familiar with his dancette record players and > sampler soundscaping will recognise the voicings, > but this one BREATHES more and Jeck is further > inside his music than ever before. > > BIOSPHERE > Shenzhou > touch CD #10.00 > nice. Geir remixes Debussy by cutting him up into > short, repetitive phrases, adding some well needed > bass-lines (with Claude forgot to put in) and > smothering the newly baked version in customary > reverbs and "that filter-sweep" (you know the > one)...NICE. > > LOCUST > wrong > touch double CD #14.00 > wrong is right. right is wrong. one cd of songs. one > cd of sounds. you play the two together on two > machines. genius. > > EDDIE PREVOST > Material Consequences > matchless CD #10.00 > equipped with a range of percussion surfaces to > engage with (gongs, chimes, bells, skins, > motor-triggered, plucked, bowed, struck...), prevost > grapples with the tonal, textural and tactile > qualities of the materials. in connection to his > work with AMM the objective is towards fusion of the > player performer with the qualities of sound and > it's expressive possibilities. a very personalised > voice delivers a liberating sound language born of a > zen concentration. accompanying sleeve notes expands > upon the arguments and contexts of such aesthetics. > endorsed etc. > > SEVENTH MAY 2001 > Freedom of the City > matchless double CD #18.50 > a document of the Matchless day recorded at the > first Freedom of the City Festival. two packed cd's > (cd1 is 65 mins, cd2 is 77 mins). cd one: the > afternoon concert commences with manchester's > electro-acoustic improvising trio, Bark! whose clank > bubble and squeak mechanoid momentum is a bouyant > and strange austerity. Edddie Prevost follows in > solo percussion mode. a master at work, E.P.'s > cunningly deployed multilayered percussives > captivate as they configure mysterious patterns and > forms. spellbinding. > the afternoon's performances are closed by the duo > of Charaoui/Lely/Wright who deliver a balanced set > of creaking tention, ticking metre and surprise > sound ebvent insistance, carefully transforming a > sound motion environment of subtle nuances. > cd two - the evening concert, kicks off with an > invigoratingly fine 35 minutes by Prevost (drums) > with Tom Chant (soprano sax) and John Edwards > (double bass), whose continuously fascinating > labarynthine investigations emerge from a deeply > felt aesthetic oracle. brilliant! next on, > Particles, a quartet of guitar, prepared bass, drums > and tenor sax, surge, undulate, rumble and agitate > to effect without any great surprises. a short duo > of Wadych and Dubovtsev is a curious intrigue. but > what really shines is the piano and tenor sax duet > between John Tilbury and Evan Parker, continuously > unfurling melodic flights balanced by graceful > contemplations. superb. > all the music here is played with dedication and > concentration. this release is an excellent document > of a major festival commited to the development of > the most radical in improvisation. audio files of > may 2002's festival can be found at the BBC website > - www.bbc.co.uk/radio3 > > ANTON BRUHIN > Rotomotor > alga marghen CD #11.00 > three distinct sections - the short opener 'Orax' - > environmental document of urban space including the > peculiar inclusion of a multi-speed soft machine > excerpt. next up three excerpts from the MC-10 > Zyklus (one excerpt from these ten pieces appeared > on bruhin's previous alga marghen release InOut), > which are created using two cassette recorders with > loudspeakers, tuning whistle, moutharp, bell, piano, > voice etc. repeated recordings are replayed into the > room, with an extra layer recorded each time. with > up to six layers on some tracks the sound becomes > genuinely cranky, with accentuated mid-range, muffle > and wobble as the generations of recording becomes > less distinct. chills to the marrow. once again the > 'limitations' of the cassette medium are pushed to > the fore as a distinctive sound carrier, exploitable > for reduced range, hisssss etc. genuinely inventive > works. the title track is an undoubted phenetic epic > - "a poetic idiotiken of the swiss-german dialect. > instead of the ! > straight alphabetical order the words here are > organised according to the similarity of their sound > or rather their letters. each word differs from the > previous one by just one leter". Bruhin keeps this > process going at a steady pace for an astonishing > twenty-eight minutes, his previous word is repeated > below, through a 0.6 second delay, which ensures > Bruhin's timing has to be kept up throughout. > infuriating and astonishing performance. > > PHILIP CORNER > Gong + > alga marghen CD #11.00 > live recordings of Corner's process meditation > pieces for silent spaces, from the kitchen NY, 1974. > 'Metal Meditations with Listening Centre' > performers: Philip Corner - metal meditations, Bill > Fontana - listening centre. fontana hung various > metal tubes into which microphones could be > inserted. creating a resonant ambience for hearing > sounds from outside the building, as the perfect > setting for corner's metal meditations. very long > and strange too. > 'Gong!' low, long resounding metal sonorities of the > gongs' intermesh and become an ocean of depth and > rich abstraction. goes there. > 'Pulse Polyphony' for string piano and bell tree. > the final piece of the three is a shorter excercise > in pointalistic rhythm effects as multiple struck > resonant metals chime in clusters. > > BRION GYSIN > Bruits du Beaubourg > LP #14.00 > straight microphone outside the window recording of > building site activity, captured by mr. Gysin in the > 1980's? musique concrete indeed. the aural effect? > building sites are culturally significant to our > society and we have always liked listening to them. > a case of sound information that is effective enough > to stimulate visual image. > > ARRIGO LORA -TOTINO > Fonemi > alga marghen LP #14.00 > italian sound-poetry limited to 345 copies. recorded > between 1965-66. words erased, filtered through > pulse generators to split the sound into small > fragments and poesia liquida featuring the > liquimofono, ("a sort of water organ"). yes, it's > curious... > > ROBERT ASHLEY > String Quartet Describing the Motions of Large Real > Bodies/ > How Can I Tell the Difference (1 & 2) > alga marghen double LP #18.00 > first time on vinyl for these three archive pieces > from the early seventies. presented as a track > per-side, so thus side two remains blank and the > related pieces share the same slab of vinyl. crucial > and genuinely 'difficult' listening. nice re-working > of the cd and booklet graphics to a gatefold sleeve > format. full colour too. limited edition of 500 > copies only. > > DAVID BEHRMAN > Wave Train > alga marghen double LP #18.00 > ditto above (except all four sides used). full > colour gatefold sleeve. same material as the cd > edition. limited to 500 copies. > > GESCHWISTERAKRE > untitled > alga marghen LP #15.00 > limited to 161 copies. clear vinyl with no label in > a clear plasic cover. "probably the negative of a > negative" was the only concrete information from the > press release. > home recordings, probably from the late 1960's. > children and adults (??) playing guitars, wind > instruments, percussion...scrunching them through > reel to reels. a senseless but compelling splice > aesthetic...beats the lo-fi merchants over the head > with a blunt instrument. go home jad fair copyists > and psuedo-autistic 'naieve' artists. can't really > fathom this and no more information is forthcoming > but it keeps getting played... > recommended. private press from alga, not part of > the regular catalogue. > > SACHER-PELZ > Archeo-preMB > MART 001-4 [4CD BOX] #35.00 > four discs of maricio bianchi's pre-MB recordings. > features the private cassette-only releases Cainus, > Venus, Cease to Exist and Velours, presented with > archive notes, graphics from the time, photos, > documents. all the recordings have been remastered, > but still this is a grey sound. certainly for the > initiated. > > GCTTC > Amperase > CD #10.00 > martin ng - turntables & cd player, matthias gmachl > - realtime data processing. live turntables realtime > processing quick moving oxygen fix. > squidge-twist-slip-slide-zoom-louge audio. cooks up > a fuss. > > JIM O'ROURKE > I'm Happy, and I'm Singing, and a 1,2,3,4 > mego CD #10.00 > mego LP #8.00 > extended harmonic electronic tone studies for > instrumental sounds. minimalist. captivating > concentration, but with a very easy entry point. > very pleasant but also engrossing. kind of like > eno's original concept for ambient music works - as > useful for subliminal background or focussed > listening. at last an actual ambient album, not just > shit wishy washy nothing sound effect con rubbish. > > MASSIMO > Hey Babe, Let Me See Your USB and I'll Show You My > Firewire > mego 3" CD #5.00 > high pitches. extremely loud mastering, could not > listen all the way through to review this as it > brought on latent-tinnitus. those easily offended > will not like the cover. > > ACOUSTIC GUITAR TRIO > Acoustic Guitar Trio > INCUS CD #10.50 > what you see is what you get. yes, a trio of > acoustic guitarists from california. stereo studio > recording for the english incus label. the trio show > a deeply engrained empathy and assemble tuneful > patterns of intrigue in their improvisations. lush, > warm and approachable. > > NOBLE, EDWARDS, WARD > False Face Society > INCUS CD #10.50 > rock out! yer boys go at it rock power improv style. > shock! it's on the incus label. ffs are Steve Noble > - drum kit etc. John Edwards - double bass, Alex > Ward - elctric guitar. > so they know all about improv, but when these three > get together it seems they know about avant-rock of > the '70's and 80's too. so if that's your fix then > this is your hit. > > DEREK BAILEY, MIN XIAO -FEN > Flying Dragons > INCUS CD #10.50 > quality close mic'd recording of concert, circa > 1999. Derek is joined by Min on pipa, an ancient > chinese 4 string lute. virtuoso performances of > fluency and intimacy, ranging from the delicate to > the fearsome. exciting string summit. very fast > moving concentration time. contemporary or > traditional? - you decide! > > BAILEY, KYTASTY, TURNER, WILKINSON > London Duos 2001 > INCUS CD #10.50 > three different partners for db. first up with Alan > Wilkinson on baritone sax is brash and direct improv > aggitation with a restlessness that refuses to > settle - the boys take the long way round with > plenty to discuss and chew on along the way. with > percussionist Roger Turner's quickness and recourse > to pause then action technique defines eliptical > time and space which is a true home of bd playing. > with Julian Kytasty (bandura and flute) by contrast > is contemplative and calm with db's playing > responding with minutae of detail as strings concur. > heavy duty improv for incusheads to assimilate. > > DEREK BAILEY > New Sights, Old Sounds > incus double CD #16.00 > two discs, one studio recording, one live. > originally available in japan for a short time only > in 1978. out of print ever since. it's a joy to hear > Derek's zen landscape garden improvisations back > then. it's all here, all the aspects of > self-definition of non-idiomatic signature. the live > disc features a fabulous feedback section. a welcome > re-issue of an archive gem. > > MILAN KNIZAK > Broken Music > ampersand CD #11.00 > "From 1963 to 1964 I used to play records either too > slowly or too fast and thus change the quality of > the music. In 1965 I started to destroy records: > scratch them, punch holes in them, break them. By > playing them (which destroyed the needle and often > the record player, too) an entirely new music was > created--- Unexpected, nerve-racking, and > aggressive. Compositions lasted a second or for an > infinitely long time (like when the needle got stuck > in a deep groove and played the same phrase over and > over again). > Soon I developed this system even further. I began > sticking tape on top of records, painting over them, > burning them, cutting them up and gluing parts of > different records back together again to achieve the > widest possible variety of sounds.." - Milan Knizak > > MAINPAL INV. > Hitachi > mainpal 7" picture disc #5.00 > third (?) in this ongoing series of > commercial/corporate cut-up contemporary folklore > logo identified singles. typically unhelpful in > terms of information, _Inspire The Next: Krfn > Bysted's, Kaori Imajo, _Valerio Faggioni, Mainpal > Inv. credited as contribors. ask this man for his > autograph and he'll RUN (true). still small > quantities available of the previous in the series. > > GARETH WILLIAMS ::: > > ed baxter's obituary published in the guardian > newspaper is archived here: > http://www.guardian.co.uk/Archive/Article/0,4273,4351304,00.html > > and his original, longer version of the text is on > the lmc website here: > http://www.l-m-c.org.uk/texts/williams.html > > we have copies of the commemorative poster produced > for the gareth williams > memorial concert. it is a full colour, double sided > A3 poster featuring on one side > a collage of various photographs, friend's memetos, > gareth's artworks etc. and > on the other a large portrait taken shortly before > his death. it's nice item and > well worth having for any admirer of gareth's works. > if you want a copy, just mention it when making any > mail orders, otherwise send > us an A4 stamped-addressed-envelope and we will mail > it to you by return. > > ************************************************************************* > RADIO ::: > RESONANCE F.M. > 104.4 f.m. in the central london area or through the > site > http://www.resonancefm.com > for webcast. also check there for daily schedule > listings, info on future programs et al. > an initiative of the London Musicians Collective and > running for one year. > > ************************************************************************* > RETAIL THERAPY ::: > these retail zone is open 12.00 midday through to > 5.30 p.m. Monday to Saturday. > INCLUDING the forthcoming bank-holiday WHICH DOES > NOT EXIST except in the minds > of the royalists... > > *********************************************************************** > DE TAILS ::: > THESE RECORDS. 112 BROOK DRIVE. LONDON. SE11 4TQ. > tel: +44 (0)207 587 5349 fax: +44 (0)207 582 5278 > e-mail: these@appleonline.net > www.theserecords.com ------------------------------ End of idealcopy-digest V5 #177 *******************************