From: owner-idealcopy-digest@smoe.org (idealcopy-digest) To: idealcopy-digest@smoe.org Subject: idealcopy-digest V6 #110 Reply-To: idealcopy@smoe.org Sender: owner-idealcopy-digest@smoe.org Errors-To: owner-idealcopy-digest@smoe.org Precedence: bulk idealcopy-digest Friday, April 18 2003 Volume 06 : Number 110 Today's Subjects: ----------------- RE: [idealcopy] Another the Roll Call [Alistair Tear ] [idealcopy] ot-Easter [Alistair Tear ] [idealcopy] O.T:Radiohead/beastieboys tour of U.S [Ari Britt ] Re: [idealcopy] Dying For Kredo, Merge 2B ["Magnetic North" Subject: RE: [idealcopy] Another the Roll Call We will be almost right in front of you circle A39 & 40 Is everyone happy to go along with Howard's suggestion of meeting in the pub opposite the Barbican tube? It's fine by me. Alistair & the present quiet smoking lady > > Right. Who's keeping a list? > We shall be in attendence in the circle B43 & 44 > > Andy & The present Mrs Lumbard ************************************************************************* The contents of the e-mail and any transmitted files are confidential and intended solely for the use of the individual or entity to whom they are addressed. Transport for London Street Management hereby excludes any warranty and any liability as to the quality or accuracy of the contents of this e-mail and any attached transmitted files. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing or copying of this e-mail is strictly prohibited. If you have received this e-mail in error please notify postmaster@Streetmanagement.org.uk. This footnote also confirms that this email message has been swept for the presence of computer viruses. ************************************************************************* ------------------------------ Date: Thu, 17 Apr 2003 11:07:27 +0100 From: "Keith Knight" Subject: RE: [idealcopy] Another the Roll Call I'm stalls R30, so almost exactly two rows behind Andrew W. Happy with Howard's pub suggestion (the Shakespeare). I've already alerted the other people I'm going with (we're now, incredibly, a party of 14 - I will know more people at this gig than any other I've been to). Another the Keith - -----Original Message----- From: owner-idealcopy@smoe.org [mailto:owner-idealcopy@smoe.org] On Behalf Of Alistair Tear Sent: 17 April 2003 10:06 To: 'Andrew Lumbard' Cc: Wire (E-mail) Subject: RE: [idealcopy] Another the Roll Call We will be almost right in front of you circle A39 & 40 Is everyone happy to go along with Howard's suggestion of meeting in the pub opposite the Barbican tube? It's fine by me. Alistair & the present quiet smoking lady > > Right. Who's keeping a list? > We shall be in attendence in the circle B43 & 44 > > Andy & The present Mrs Lumbard ************************************************************************ * The contents of the e-mail and any transmitted files are confidential and intended solely for the use of the individual or entity to whom they are addressed. Transport for London Street Management hereby excludes any warranty and any liability as to the quality or accuracy of the contents of this e-mail and any attached transmitted files. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing or copying of this e-mail is strictly prohibited. If you have received this e-mail in error please notify postmaster@Streetmanagement.org.uk. This footnote also confirms that this email message has been swept for the presence of computer viruses. ************************************************************************ * ------------------------------ Date: Thu, 17 Apr 2003 11:33:05 +0100 From: Andrew Walkingshaw Subject: Re: [idealcopy] Another the Roll Call On Wed, Apr 16, 2003 at 08:22:51PM +0100, Andrew Lumbard wrote: > Right. Who's keeping a list? http://www.lexical.org.uk/wiregig.html - - Andrew - -- email: andrew@lexical.org.uk http://www.lexical.org.uk/ Earth Sciences, University of Cambridge http://www.esc.cam.ac.uk/ CUR1350, 1350 MW Cambridgeshire and online http://www.cur1350.co.uk/ ------------------------------ Date: Thu, 17 Apr 2003 07:00:23 EDT From: MarkBursa@aol.com Subject: Re: [idealcopy] Re: greatest bands of the 90's > >>auteurs wasn't far behind with 3 albums<< > > Which one are you missing? > > Mark ------------------------------ Date: Thu, 17 Apr 2003 09:21:05 -0500 From: Michael Flaherty Subject: [idealcopy] Sex Pistols tour If anyone still cares, the Sex Pistols are touring America this summer. I'll throw in on Mac: I saw him in the 80s--road trip w/ a friend. Musically, as predictable as the stadium full of fans wanted, but I must admit I had fun, although I've never been tempted to see him again. I'm a Beatles fan and the Sex Pistols album is simply one of--if not THE--most important albums in my life ... but it's the bands that keep growing that keep me coming back. Gee, I wonder who he's thinking of ... ;) Michael Flaherty ------------------------------ Date: Thu, 17 Apr 2003 15:54:46 +0100 From: Alistair Tear Subject: [idealcopy] ot-Easter Happy Easter to one & all I'm out of the office till Tuesday 8 days and counting later A send ************************************************************************* The contents of the e-mail and any transmitted files are confidential and intended solely for the use of the individual or entity to whom they are addressed. Transport for London Street Management hereby excludes any warranty and any liability as to the quality or accuracy of the contents of this e-mail and any attached transmitted files. If you are not the intended recipient, be advised that you have received this e-mail in error and that any use, dissemination, forwarding, printing or copying of this e-mail is strictly prohibited. If you have received this e-mail in error please notify postmaster@Streetmanagement.org.uk. This footnote also confirms that this email message has been swept for the presence of computer viruses. ************************************************************************* ------------------------------ Date: Thu, 17 Apr 2003 13:44:47 -0500 From: "dan bailey" Subject: [idealcopy] OT: factrix dunno if anybody remembers these guys from 2-plus decades ago, but a mention on simon reynolds' blog alerted me to the recent release of the following, as listed at www.tesco-distro.com. note the claim that monte cazazza invented the description "industrial music" -- i've always heard (& believed) that it stems from the name of tg's label. hmmm ... if factrix are getting reissued, can my somewhat likeminded favorites from the same scene, minimal man, be too very far behind? storm08 : factrix : artifact : 2cd The origins of industrial music are often associated with England and central Europe, but an equally important incubation took place in USAafter all, it was the American cultural terrorist Monte Cazazza who happened to name the genre when he made a cynical remark about the need for creating "industrial music for industrial people." Fittingly, the eventual birth took place at the last frontier of America's dubious manifest destiny, the West CoastCalifornia Babylon. Right in the thick of it was FACTRIX, alongside fellow performers and artists such as Z'ev, Mark Pauline, and Non. The first wave of nihilistic punk had already begun to unravel in its self-destructive fury, and the time was ripe for new musical initiatives to make a complete break with the previous rock and pop entertainment clichis. FACTRIX consisted of Bond Bergland, Cole Palme, and Joseph T. Jacobs (sometimes aided and abetted by Monte Cazazza). Together they raised an ungodly caterwaul using unconventional instruments and recording techniques. Combining modified electronic devices, a drum machine, and an innovative deployment of guitars and feedback, the band defied all formulas with a tortured sound that bore little resemblance to anything else occurring at the time. But while their contemporaries have found their way into the musical history books, FACTRIX have remained a ghostly memory for too long. Until now. With Artifact, the archeological history of FACTRIX has at last been exhumed and cataloged for the digital age. This two-disc retrospective features all their important studio recordings, newly remastered from the original analog recordings, along with a wide array of obscure live tracks and unreleased material from the band's own archives. Artifact features stunning photographic imagery from Ruby Ray (one of the visionaries who helped define the look of seminal publications like Search and Destroy and the original tabloid version of Re/Search) and others, along with a vintage interview from Slash magazine and extensive liner notes by Carlo McCormick, Stanislaw Sobelewski, and Michael Moynihan. The music of FACTRIX has lost none of its power or immediacy over the last two decades. As an embodiment of the terminal fin-de-sihcle of the twentieth century, these sounds are ripe for rediscovery in the new millenium. This historical release will be of interest to anyone investigating the origins of industrial music, for the legacy of FACTRIX is its most grim and psychedelic chapter. 2CD set in special gatefold with 24 page booklet. [Storm] ------------------------------ Date: Thu, 17 Apr 2003 15:28:04 -0700 (PDT) From: Ari Britt Subject: [idealcopy] O.T:Radiohead/beastieboys tour of U.S RADIOHEAD & BEASTIE BOYS TO HEADLINE FIELD DAY TWO-DAY MUSIC, ARTS & CAMPING FESTIVAL June 7 and 8, 2003 Calverton, New York, on the North Fork of Long Island Field Day, a two-day music, arts and camping festival, will take place Saturday, June 7th and Sunday, June 8th at the Enterprise Park at Calverton, 70 miles east of New York City, and 9 miles west of Riverhead, in Calverton, New York, on Long Island's North Fork. Radiohead and Beastie Boys will headline June 7th and 8th, respectively. "The idea behind Field Day was to create a world-class music, arts and camping festival on the East Coast of the United States," states Dreskin. In addition, Dreskin goes on to say, "Field Day is the product of our desire to present a different kind of festival, one that melds music, contemporary art and freedom of _expression. In some ways, Field Day is a sociological experiment. We hope ticket buyers use Field Day as a platform for self-_expression. They can register to create art installations, and group camps with their friends. I bet we see some pretty interesting costumes out there." A portion of the proceeds from Field Day will be benefit various charities. http://www.fielddayfest.com HAIL TO THE THIEF 06.10.03 http://www.radiohead.com http://www.lizphair.com http://www.beastieboys.com http://www.themusicuk.com if you can't see the email above, please visit http://capitolrecords.com/email/fieldday.html The New Yahoo! Search - Faster. Easier. Bingo. ------------------------------ Date: Thu, 17 Apr 2003 15:22:37 -0800 From: "Magnetic North" Subject: [idealcopy] Dying For Kredo, Merge 2B Found two compilations with contributions of Graham Lewis Dying For Kredo (Recordings under Construction RUC2) and Merge 2B a magzine with added a ceedee. Does someone know these two ceedees? Have not heard them yet. They should be on a plane now I suppose. jANJ - -------- Einstuerzende Neubauten (www.neubauten.org) ------------------------------ Date: Thu, 17 Apr 2003 15:38:00 -0800 From: "Magnetic North" Subject: Re: [idealcopy] OT: factrix There were Factrix releases on the San-Fransisco independent Subterranean rec. With releases from Z'ev, Flipper, Minimal Man, etc and Factrix I do have the Red Spot album, Live at the Target compilations Have no idea if Subterranean still does exist. I believe one of the Tuxedomoon members, Steven Brown or Blaine Reinger had made some contributions to Minimal Man. dunno if anybody remembers these guys from 2-plus decades ago, but a mention on simon reynolds' blog alerted me to the recent release of the following, as listed at www.tesco-distro.com. note the claim that monte cazazza invented the description "industrial music" -- i've always heard (& believed) that it stems from the name of tg's label. hmmm ... if factrix are getting reissued, can my somewhat likeminded favorites from the same scene, minimal man, be too very far behind? storm08 : factrix : artifact : 2cd The origins of industrial music are often associated with England and central Europe, but an equally important incubation took place in USAafter all, it was the American cultural terrorist Monte Cazazza who happened to name the genre when he made a cynical remark about the need for creating "industrial music for industrial people." Fittingly, the eventual birth took place at the last frontier of America's dubious manifest destiny, the West CoastCalifornia Babylon. Right in the thick of it was FACTRIX, alongside fellow performers and artists such as Z'ev, Mark Pauline, and Non. The first wave of nihilistic punk had already begun to unravel in its self-destructive fury, and the time was ripe for new musical initiatives to make a complete break with the previous rock and pop entertainment clichis. FACTRIX consisted of Bond Bergland, Cole Palme, and Joseph T. Jacobs (sometimes aided and abetted by Monte Cazazza). Together they raised an ungodly caterwaul using unconventional instruments and recording techniques. Combining modified electronic devices, a drum machine, and an innovative deployment of guitars and feedback, the band defied all formulas with a tortured sound that bore little resemblance to anything else occurring at the time. But while their contemporaries have found their way into the musical history books, FACTRIX have remained a ghostly memory for too long. Until now. With Artifact, the archeological history of FACTRIX has at last been exhumed and cataloged for the digital age. This two-disc retrospective features all their important studio recordings, newly remastered from the original analog recordings, along with a wide array of obscure live tracks and unreleased material from the band's own archives. Artifact features stunning photographic imagery from Ruby Ray (one of the visionaries who helped define the look of seminal publications like Search and Destroy and the original tabloid version of Re/Search) and others, along with a vintage interview from Slash magazine and extensive liner notes by Carlo McCormick, Stanislaw Sobelewski, and Michael Moynihan. The music of FACTRIX has lost none of its power or immediacy over the last two decades. As an embodiment of the terminal fin-de-sihcle of the twentieth century, these sounds are ripe for rediscovery in the new millenium. This historical release will be of interest to anyone investigating the origins of industrial music, for the legacy of FACTRIX is its most grim and psychedelic chapter. 2CD set in special gatefold with 24 page booklet. [Storm] - -------- Einstuerzende Neubauten (www.neubauten.org) ------------------------------ Date: Thu, 17 Apr 2003 15:38:06 -0800 From: "Magnetic North" Subject: Re: [idealcopy] OT: factrix There were Factrix releases on the San-Fransisco independent Subterranean rec. With releases from Z'ev, Flipper, Minimal Man, etc and Factrix I do have the Red Spot album, Live at the Target compilations Have no idea if Subterranean still does exist. I believe one of the Tuxedomoon members, Steven Brown or Blaine Reinger had made some contributions to Minimal Man. dunno if anybody remembers these guys from 2-plus decades ago, but a mention on simon reynolds' blog alerted me to the recent release of the following, as listed at www.tesco-distro.com. note the claim that monte cazazza invented the description "industrial music" -- i've always heard (& believed) that it stems from the name of tg's label. hmmm ... if factrix are getting reissued, can my somewhat likeminded favorites from the same scene, minimal man, be too very far behind? storm08 : factrix : artifact : 2cd The origins of industrial music are often associated with England and central Europe, but an equally important incubation took place in USAafter all, it was the American cultural terrorist Monte Cazazza who happened to name the genre when he made a cynical remark about the need for creating "industrial music for industrial people." Fittingly, the eventual birth took place at the last frontier of America's dubious manifest destiny, the West CoastCalifornia Babylon. Right in the thick of it was FACTRIX, alongside fellow performers and artists such as Z'ev, Mark Pauline, and Non. The first wave of nihilistic punk had already begun to unravel in its self-destructive fury, and the time was ripe for new musical initiatives to make a complete break with the previous rock and pop entertainment clichis. FACTRIX consisted of Bond Bergland, Cole Palme, and Joseph T. Jacobs (sometimes aided and abetted by Monte Cazazza). Together they raised an ungodly caterwaul using unconventional instruments and recording techniques. Combining modified electronic devices, a drum machine, and an innovative deployment of guitars and feedback, the band defied all formulas with a tortured sound that bore little resemblance to anything else occurring at the time. But while their contemporaries have found their way into the musical history books, FACTRIX have remained a ghostly memory for too long. Until now. With Artifact, the archeological history of FACTRIX has at last been exhumed and cataloged for the digital age. This two-disc retrospective features all their important studio recordings, newly remastered from the original analog recordings, along with a wide array of obscure live tracks and unreleased material from the band's own archives. Artifact features stunning photographic imagery from Ruby Ray (one of the visionaries who helped define the look of seminal publications like Search and Destroy and the original tabloid version of Re/Search) and others, along with a vintage interview from Slash magazine and extensive liner notes by Carlo McCormick, Stanislaw Sobelewski, and Michael Moynihan. The music of FACTRIX has lost none of its power or immediacy over the last two decades. As an embodiment of the terminal fin-de-sihcle of the twentieth century, these sounds are ripe for rediscovery in the new millenium. This historical release will be of interest to anyone investigating the origins of industrial music, for the legacy of FACTRIX is its most grim and psychedelic chapter. 2CD set in special gatefold with 24 page booklet. [Storm] - -------- Einstuerzende Neubauten (www.neubauten.org) ------------------------------ Date: Thu, 17 Apr 2003 18:28:47 -0500 From: "dan bailey" Subject: Re: [idealcopy] OT: factrix subterranean are still around, though afaik these days they're selling, rather than putting out, music. as of a few years ago they still had copies of red spot on hand, & i bought one. minimal man, as alluded to below, was my favorite act from that scene. the first 2 lp's are great, though after that patrick miller got a little too, i dunno, homogenized for my taste. >There were Factrix releases on the San-Fransisco independent Subterranean rec. >With releases from Z'ev, Flipper, Minimal Man, etc and Factrix >I do have the Red Spot album, Live at the Target compilations >Have no idea if Subterranean still does exist. > >I believe one of the Tuxedomoon members, Steven Brown or Blaine Reinger had >made some contributions to Minimal Man. > >dunno if anybody remembers these guys from 2-plus decades ago, but a >mention on simon reynolds' blog alerted me to the recent release of >the following, as listed at www.tesco-distro.com. note the claim >that monte cazazza invented the description "industrial music" -- >i've always heard (& believed) that it stems from the name of tg's >label. hmmm ... if factrix are getting reissued, can my somewhat >likeminded favorites from the same scene, minimal man, be too very >far behind? > >storm08 : factrix : artifact : 2cd > >The origins of industrial music are often associated with England and >central Europe, but an equally important incubation took place in USAafter >all, it was the American cultural terrorist Monte Cazazza who >happened to name the genre when he made a cynical remark about the >need for creating "industrial music for industrial people." >Fittingly, the eventual birth took place at the last frontier of >America's dubious manifest destiny, the West CoastCalifornia >Babylon. Right in the thick of it was FACTRIX, alongside fellow >performers and artists such as Z'ev, Mark Pauline, and Non. The >first wave of nihilistic punk had already begun to unravel in its >self-destructive fury, and the time was ripe for new musical >initiatives to make a complete break with the previous rock and pop >entertainment clichis. FACTRIX consisted of Bond Bergland, Cole >Palme, and Joseph T. Jacobs (sometimes aided and abetted by Monte >Cazazza). Together they raised an ungodly caterwaul using >unconventional instruments and recording techniques. Combining >modified electronic devices, a drum machine, and an innovative >deployment of guitars and feedback, the band defied all formulas >with a tortured sound that bore little resemblance to anything else >occurring at the time. But while their contemporaries have found >their way into the musical history books, FACTRIX have remained a >ghostly memory for too long. Until now. With Artifact, the >archeological history of FACTRIX has at last been exhumed and >cataloged for the digital age. This two-disc retrospective features >all their important studio recordings, newly remastered from the >original analog recordings, along with a wide array of obscure live tracks >and unreleased material from the band's own archives. Artifact features >stunning photographic imagery from Ruby Ray (one of the visionaries who >helped define the look of seminal publications like Search and >Destroy and the original tabloid version of Re/Search) and others, >along with a vintage interview from Slash magazine and extensive >liner notes by Carlo McCormick, Stanislaw Sobelewski, and Michael >Moynihan. The music of FACTRIX has lost none of its power or >immediacy over the last two decades. As an embodiment of the >terminal fin-de-sihcle of the twentieth century, these sounds are >ripe for rediscovery in the new millenium. This historical release >will be of interest to anyone investigating the origins of >industrial music, for the legacy of FACTRIX is its most grim and >psychedelic chapter. 2CD set in special gatefold with 24 page >booklet. [Storm] > > > > >-------- >Einstuerzende Neubauten (www.neubauten.org) ------------------------------ Date: Thu, 17 Apr 2003 15:52:31 -0800 From: "Magnetic North" Subject: Re: [idealcopy] Dying For Kredo, Merge 2B > > Found two compilations with contributions of Graham Lewis > > Dying For Kredo (Recordings under Construction RUC2) > > and Merge 2B a magzine with added a ceedee. > > > > > > what were the names of the tracks that he contributed? > RL This is the Merge 2B cd Instant Life Beach; Funkstorung Inmarsat; Pro-Seed Mummified Madness; Barry Adamson Jazz Devil; Matmos Stupid Fambaloo; Pan Sonic/Edward Graham Lewis Urania/Under My Skin; Buckfunk 3000 Fried Funk and Microchips; S.E.T.I. Jovian; System Error Enter To Exit; Naid Addin Up; Omaca Untitled; Mouse On Mars Dark FX (Drykorn); Ronnie & Clyde Twice Removed; Quant Quantasm; Hox Not Hox; Vodershow Tamboid this is just The other can't say. Information is gone. Next week I will know when he is in the house. Janj Will let you know - -------- Einstuerzende Neubauten (www.neubauten.org) ------------------------------ Date: Fri, 18 Apr 2003 09:30:55 +0200 From: Bart van Damme Subject: Re: [idealcopy] [OT] Macca/C'mon and let me know... AT Keith: > Well, to be honest Bart, I wouldn't cross the road to hear many of these > songs - if I never hear Fool on the Hill, Hey Jude, L&W Road and > Yesterday again my life would be better (or shorter than planned). Hehe... I bet there're lots of people here agreeing with you on this. Personally I'm devided, e.g. I like Fool/Road, but detest Jude/Yesterday (during wich I'll have my fingers my in ears crying LALALA out loud). > As someone who has avoided stadium gigs like the plague I finally > succumbed by seeing REM in Cardiff on the Monster tour. I was near the > very top of a sports stadium, miles from the band (who, being REM, > didn't bother with screens). But perversely I really enjoyed it, mostly > as a spectacle. I enjoyed the ebb and flow of the people on the pitch > and there was a different feel to most of the gigs I go to. I recall a > girl sobbing into her boyfriend's shoulder during Everybody Hurts, which > is not something that tends to happen at the average Penthouse gig (not > that they play Everybody Hurts... you know what I mean). Not been back > to a stadium since though (I'm not counting HearSay at Docklands Arena > here for obvious reasons). The ebb and flow, I like that image (I'll be starting The Wave next). Wish I would've seen REM during the Green world tour. Looks mesmerizing on video (Worldleader Pretend - what an amazing song that was! I bet Stipe read a lotta Hermann Hesse in his time) But I understand your point, experiencing a concert more like a social experiment. I do wonder of what stuff the high of "belonging to crowd" is made of. Of course we'd like to think of ourselves as individuals, but really we aren't. We just have different tresholds of surrendering (and you're free to quote me on that). Can't wait to see people crying over Obladee Oblada ;-) > Tomorrow - Calla and Flotation Toy Warning. Know next to nothing about > the support but they have a fine website > http://www.flotationtoywarning.com/ How was Calla? Curious! Bart ------------------------------ Date: Fri, 18 Apr 2003 09:47:56 +0200 From: Bart van Damme Subject: Re: [idealcopy] Dying For Kredo, Merge 2B Jan: > Found two compilations with contributions of Graham Lewis > Dying For Kredo (Recordings under Construction RUC2) > and Merge 2B a magzine with added a ceedee. > > Does someone know these two ceedees? > Have not heard them yet. They should be on a plane now I suppose. You shouldn't have mentioned that plane-thing Jan, now we'll all be wanting a copy! ;-) Bart ------------------------------ End of idealcopy-digest V6 #110 *******************************