From: "B. Taylor" Subject: Re: Pierre Henry Date: 01 Mar 1996 02:22:12 -0500 (EST) On Thu, 29 Feb 1996, Desmond K. Hill wrote: > This may be a little off-centre, but maybe some elder > subscriber can shine some lightful guidance. Is the grand > master of musiq concrete the same Pierre Henry who created > the fucked up funk collage of 'Psyche Rock', released on > an album (who's title escapes me) on Phillips in the late > '60s? Do you mean the record with Spooky Tooth? ------------------------------------------------------------------------------- From: John Struthers Subject: PLAYLISTS:"Mixing It" BBC R3,Feb'96 Date: 01 Mar 1996 12:58:48 GMT MIXING IT - Playlists, 5th/19th/26th February 1996 ====================================================== ** Every Monday 2245-2330hrs (GMT) BBC Radio 3 FM A selection of music mixing stlyes presented by Mark Russell and Robert Sandall. Produced by Philip Tagney Production Asst: Jan Hart Information as supplied by and used with permission from - BBC Radio 3 Music Department 16 Langham Street London W1A 1AA UK Music used in Mixing It, 05.02.96 CARL STALLING: Golf Cue album: The Carl Stalling Project Vol.2 CD: Warner 945430 PAOLO CONTE: Elisir album: Una faccia in prestito CD: Eastwest 0630-12576-2 JULIAN ARGUELLES: Wessex album: Home truths CD: Babel BDV 9503 Babel are at 29A Connaught St, London W2 2AY CARL STALLING: Marching Pink Elephants album: The Carl Stalling Project Vol.2 CD: Warner 945430 SIMON FISHER TURNER: The Blue Mood album: Live Blue Roma CD: Mute Records CD STUMM 149 Mute Records offer a mail order service: 429 Harrow Road, London W10 4RE. SIMON FISHER TURNER: Love, death, avoid it album: Nadja CD: Gyroscope GYR 6617-2 Distributed by Caroline Records, 114 West 26th St, New York, NY 10001, USA SIMON FISHER TURNER: extract from All Men are mortal not commercially available OMOIDE HATOBA: Alternative Funkaholic album: Kinsei CD: Earthnoise EN 003 For info contact Real Time promotions, 16-18 Ramillies St, London W1V 1DL AUBE: Paramagnetism album: Magnetostriction CD: God Factory (limited edition) SAMULNORI: P'u sal album: Record of Changes CD: CMP CD 3002 CMP Records: P.O.Box 1129, 5166 Kreuzau, E.R., Germany MUSIC USED 19.02.96 ------------------- EVIL SUPERSTARS: Satan is in my ass CD single: Paradox PCOXD 009 Distributed by Vital L.F.O.: For ever album: Advance CD: WARP CD39 LIGETI: Volumina (excerpt) album: (works by Ligeti) CD: WERGO WER60161-50 AXON: Passages album: Perceptions CD: Random Acoustics RA 008 Random Acoustics are at: P.O.Box 0251, 53552 Bad Hoenningen, Germany THE PIXIES: Is she weird? album: Bossanova CD: Four AD CAD 0010 CD THE PIXIES: Where is my mind? album: Surfer Rosa CD: Four AD CAD 803 CD THE PIXIES: Dig for fire album: Bossanova CD: Four AD CDA 0010 CD FRANK BLACK: Headache album: Teenager of the year CD: Four AD DAD 4009 CD FRANK BLACK: The Marsist album: Cult of Ray CD: Sony Music 481647 2 FRANK BLACK: Cult of Ray album: Cult of Ray CD: Sony Music 481647 2 ERKKI-SVEN TUUR: Insula Deserta album: Estonian Experience Ostrobothnian Chamber Orchestra conducted by Juha Kangas CD: Finlandia 0630-12244 Distributed by Warner Music TORTOISE: dear Grandma and Grandpa album: millions now living will never die CD: City Slang/EFA 04972 Distributed by Thrill Jockey Records, Tortoise PO Box 477689, Chicago, IL 60647-7689 MUSIC USED 26.02.96 ------------------- QUINCY JONES: Jook Joint Intro Let the good times roll album: Q's Jook Joint CD: Qwest 9362 45875 2 Distributed by WEA International MARTA SEBESTYEN: Sino Moi album: Kismet CD: Hannibal HNCD 1392 BALFA BROTHERS: Drunkard Sorrow Waltz album: Balfa Brothers Play Traditional Cajun CD: SWALLOW CDCHD 955 Distributed by Ace Records, 48 Steele Road, London NW10 7AS MARK KNOPFLER: Je suis d_sol_ (extract) album: Goldenheart CD: on Vertigo label (Not released yet) MARK KNOPFLER: Vic and Ray album: Goldenheart CD: as above G LOVE AND SPECIAL SAUCE: Baby's got sauce CD: OKEH records (not available in UK) PHARAOH SANDERS: Colours album: Karma (1969) CD: Impulse IMP 11532 Distributed by MCA Records Name: John Struthers Product Designer Organization: Hewlett-Packard Ltd Queensferry Microwave Division Address: South Queensferry, West Lothian, EH30 9TG, Scotland, UK Opinions expressed are my own, and are not intended to be an official statement by Hewlett-Packard Company ------------------------------------------------------------------------------- From: "S_FBUEBL" Subject: japan connections? Date: 03 Mar 1996 00:16:04 +0100 hi - i would like to book more of those radical japanese artists for my club. e.g. otomo yoshihide or tenko or katsutoki umezu played recently here. can you tell me an address to ask, or can you recommend me some artist? felix.buebl@student.uni-ulm.de ------------------------------------------------------------------------------- From: "Alan Blattberg" Subject: Tons of CDs for S/T -- Exp., Indus., Amb., Metal, Etc. Date: 04 Mar 1996 00:54:15 -8000 Greetings! Please check out my "Much Music for Sale/Trade" WWWeb page: http://www.panix.com/~alanb/saleform.shtml I have TONS of CDs for sale/trade, some of which are decidedly this-listy. Still others are this-listy by "extension." It's set up as an interactive form, where you can check off a little box next to each disc yr innarested in, tell me yr e-mail address, let me know what you have to trade, and e-mail the data to me. If you don't have a forms-friendly browser, e-me and I'll put together a plain ASCII-style list for yr perusal. Thank you for yr time, and I hope you find something(s) you like! Alan Blattberg alanb@panix.com nycnycnycnycnyc ------------------------------------------------------------------------------- From: malgosia askanas Subject: Yum Yum query Date: 04 Mar 1996 23:29:36 -0500 (EST) Does anybody know whether any stores in the US carry music by the UK-based band called Yum Yum? Thanks in advance, -malgosia ------------------------------------------------------------------------------- From: Malcolm Humes Subject: is nm-list up and working ok? Date: 04 Mar 1996 21:40:42 -0800 the last three digests I received have looked screwed up, either obviously truncated or only containing 1-2 posts. I know Xmission changed email listservers recently - the Exotica list digest almost seems ok from the transition but in elm on unix it seems to think every post is an attachment via mimes - which means once you start reading the digest you can't stop without paging through each attachment... anyone else having problems with list digests from xmission? Just curious, my impression is the new mailing software is worse from a user perspective. Anyway, since I haven't seen anything looking like a real nm-list digest or post in ages I thought I'd ask if the non-digest version is running and seeing any posts? Or are the digests with virtually no content but PR or sales ads really all that's being broadcast lately? sorta OB nm-listy - am looking forward to maybe catching at least one of the SF Buckethead shows this week and Gong in about two weeks. For info on the Gong US tour see the Gong pages under http://prog.ari.net/prog/ - it's the first US tour by a band lineup of Gong with most of the 70's lineup. Angel in Heavy Syrup is flying to SF to open for Gong at the Great American on the 19th, they are very fond of Gong... Eugene Chadbourne shows up in the latest Beanbenders schedule as due in Berkeley soon. - Malcolm ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: Faust Date: 05 Mar 1996 12:13:40 +0000 (GMT) Been reading about FAUST in THE WIRE magazine. I've never heard em, yeah I know they're grandfathers of noise etc, but I was wondering if anyone had been to see em lately. I understand they do a lot of crazy stuff on stage, they sound like Neubauten or someone, smashing things up to hear the sounds. General thoughts/stuff about FAUST please...or something because this list is getting pretty slow...Let's boogie, or frug or whatever. Jim ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: Stereolab List? Date: 05 Mar 1996 12:14:56 +0000 (GMT) Does anybody know if there's such a thing as a STEREOLAB discussion list? Let me know, young fools... jim ------------------------------------------------------------------------------- From: "Desmond K. Hill" Subject: _electric__ shocks Date: 05 Mar 1996 12:51:50 +0000 E C L E C T R I C I T Y is an electronic transmission, an e-zine if you will, to provide back-up info about the tracks we air on radio*. It's freely available to subscribers (just e-mail 'subscribe' in message body, to electric@anubis23.demon.co.uk). Here in northern England I work voluntarily with an independent broadcaster. On this island marketplace we have to buy our freedom of speach. And so for the last 4 years, ICE 105.4 FM has operated with temporary permits purchased from the Radio Authority. These 'Restricted Service Licenses' enable us to provide a voice for those otherwise silenced, airing a highly contemporary cross-pollination from the post-genre, mid-90's sound miasma which we all currently inhabit. *__electric__ is an eclectic, eccentric new music show designed for armchair travellers, headphone beatniks and insomniacs. With a weekly series of late evening programmes we use radio as a medium to convey mood music and sound works on the far flung horizons of experimentation. Our lite programming for the darker hours incorporates old and new school jazz, some killer drum'n'bass, new electronic pop, freaky textured sci-fi sounds, lazily languid atmospherics and all manner of incredibly strange music. It's said 'a little of what you fancy does you good,' so get tuned in. ------------------------------------------------------------------------------- From: herb@eskimo.com (Herb Levy) Subject: Zeitgeist plays David Mahler & Jarrad Powell on the WWW 3-8-96 Date: 05 Mar 1996 06:52:22 -0800 Hi - This is not ENTIRELY germane but relevant to the general topic of the list. I hope most folks don't mind me forwarding it. You might want to check out the Sonarchy Web site anyway, 'cause they have some interesting downloadable sound & music files there. Bests, Herb >Date: Fri, 1 Mar 1996 18:39:10 -0800 (PST) >From: Merritt Bettineski >Subject: Live Event on Sonarchy 3.8.96! >MIME-Version: 1.0 > > >*** Announcement: Live RealAudio Event on Sonarchy, Friday, March 8th *** > >Jack Straw Productions in collaboration with Corish College of the Arts >and Relache present: > > Music in Motion -- Works in progress by Seattle composers Jarrad > Powell and David Mahler, performed by Zeitgeist, a new music ensemble > from Minneapolis. > >Music in Motion is designed to have a dramatic impact of the process of >creation and presentation of new musical works for mixed ensembles by >composers from diverse cultures. Jarrad Powell will discuss his >composition involving a gamelan-influenced aesthetic. David Mahler's >piece for voice, piano and percussion is a multi-section exploration of >W.C. Handy's 1914 song "St. Louis Blues." > >You are invited to attend the event at Jack Straw Studios or listen to >the live netcast on Sonarchy, using RealAudio 28.8 software. > >When: Friday, March 8, 7:30 PM (Pacific); doors open at 7:00 PM. > >Where: Jack Straw Studios, 4261 Roosevelt Way NE > Sonarchy, http://www.sonarchy.org/ > >Admission: FREE. If you plan on attending in the physical, > please RSVP by calling 206.517.0616 > >For more information, please contact Joan Rabinowitz . > >_____ > >Sonarchy is a project of the Jack Straw Foundation > >Note: Some of you may receive this announcement more than once if you are >on several listservs. We are sorry for the inconvenience. > Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: Manny Subject: Re: Faust Date: 05 Mar 1996 12:41:15 -0500 (EST) On Tue, 5 Mar 1996, J. T. Barker wrote: > > Been reading about FAUST in THE WIRE magazine. I've never heard em, yeah > I know they're grandfathers of noise etc, but I was wondering if anyone > had been to see em lately. I understand they do a lot of crazy stuff on > stage, they sound like Neubauten or someone, smashing things up to hear > the sounds. General thoughts/stuff about FAUST please...or something > because this list is getting pretty slow...Let's boogie, or frug or whatever. > > Jim > Faust just did a US tour last year (I tried to get a show here in Pittsburgh but oouldnt) I think they played Hartford, NYC, Atlanta and some West COast stuff. As per THE WIRE's suggestion, go buy their new CD "Rien" on Table of the Elements, and you will understand. Most of their older CDs are on British label Recommended Records, too. -Manny@dhp.com ------------------------------------------------------------------------------- From: peter conheim Subject: AMM Tour dates Date: 05 Mar 1996 16:41:52 -0800 (PST) A little digging turned these up, if anyone's interested (and I reckon you will be)... PC Message-ID: <199603040920.JAA08813@sunc.shef.ac.uk> The following dates are being negotiated but, maybe with a little change here and there, should be correct. Information received from Eddie Prevost end of last week. Please note THERE ARE NO EASTERN DATES PLANNED. 17 April: Austin, Texas (or Houston; tbc) 18 April: Houston, Texas (or Austin; tbc) 20 April: Chicago 23 April: Los Angeles - AMM 24 April: Los Angeles - solos/duos 25 April: Seattle 26 or 27 April: San Francisco ------------------------------------------------------------------------------- From: "S_FBUEBL" Subject: Re: Faust Date: 06 Mar 1996 12:22:19 +0100 Jim, IMHO Faust cannot be compared to Einsturzende Neubauten. Even if the new album of EN is called "Faustmusik", Faust is "only" an old german psychedelic band. I did never see a Faust concert, but I was told that recent concerts of this band are boring. the old faust albums have been released on japanese CD and are worth a listen. But even the former support band of Faust, Henry Cow, has made a more important impact on the musical development of this century. I really recommend you getting the "Faustmusik" CD of EN. it is "burocratic music", musik created on books, shelves and tables. if you e.g. like the "merry christmas" album of FM Einheit and Caspar Broetzmann, you will like this noise experiment. felix ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: Snuggles list Date: 06 Mar 1996 12:51:32 +0000 (GMT) Does anybody know if the Negativland list - Snuggles still exists? I tried subscribing but got an unknown user return. Has anybody on this list been on that list? Is it a list with a list, or is it upright , or does it have a twist? you know? jim ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: Re: Faust Date: 06 Mar 1996 12:56:52 +0000 (GMT) On Wed, 6 Mar 1996, S_FBUEBL wrote: > Jim, > > IMHO Faust cannot be compared to Einsturzende Neubauten. why not? They're both German, they both make music that revolves around noise or unusual sounds, they both have physical and destructive elements in their work...why not compare them? > > Even if the new album of EN is called "Faustmusik", Faust is > "only" an old german psychedelic band. I did never see a Faust concert, > but I was told that recent concerts of this band are boring. > Psychedelic? What, like ? and the Mysterons, or the 13th Floor Elevators? Also, you shouldn't believe everything you hear about concerts. One person's boring is another person's nirvana. > > I really recommend you getting the "Faustmusik" CD of EN. I expect I will. I have most of their other stuff, but I did read a review that said "Faustmusik" was boring... So anyway, that's just me being picky...sorry. jim ------------------------------------------------------------------------------- From: mason@netcom.com (Mason Jones) Subject: Re: Faust (fwd) Date: 06 Mar 1996 09:33:24 -0800 (PST) > From: "S_FBUEBL" > > IMHO Faust cannot be compared to Einsturzende Neubauten. > > Even if the new album of EN is called "Faustmusik", Faust is > "only" an old german psychedelic band. I did never see a Faust concert, > but I was told that recent concerts of this band are boring. I saw them play, and it wasn't boring, but it wasn't revelatory either. Nonetheless, it was worth seeing. > the old faust albums have been released on japanese CD and are worth > a listen. But even the former support band of Faust, Henry Cow, has > made a more important impact on the musical development of this century. I cannot agree with this statement at all. Faust's influence has been a hundred times more wide-spread than Henry Cow. I would put down Faust as having a huge impact on the original "industrial" and experimental movements of the late 70s/early 80s like Throbbing Gristle, Einsturzende Neubauten and others. I can also absolutely say that Faust is probably more responsible for the Japanese experimental/noise scene than any other group. <====================================================================> Mason Jones Charnel Music mason@netcom.com P.O. Box 170277, San Francisco, CA 94117-0277 Phone/fax (415) 664-1829 Web site: http://www.meer.net/~charnel/ <====================================================================> ------------------------------------------------------------------------------- From: peter conheim Subject: Faust blather Date: 06 Mar 1996 10:13:06 -0800 (PST) Listening to the new "Rien" release is a far cry from listening to any of the original four (or posthumous ReR) releases. It's not Faust as we knew them (and the two "live" reunion CD's in their "limited" (not) releases at $32,000 each obviously are to be avoided). The first four are utterly great, indescribable works, quite out-of-context even with "kraut rock" of the era and psychedelia in general (although there are, of course, some comparisons that could be made with their contemporaries but they'd be pointless to try). The records are timeless. The SF gig that they did in 1994 was a lot of fun, occasionally quite exciting, but was an expanded "pick-up" band with just Jean-Herve Peron and Werner Diermaier from the original band (which was a large collective). Nothing essential, but good fun. The "Rien" album reflects this time period, with Michael Morely (Dead C, Gate, etc.) and others "guesting", but it was recorded very quickly in a few improv sessions... the operative word here is "noise". The LP's are all hard-to-find on vinyl, although they were reissued in the '80s by ReR, who also has "Faust Tapes" on CD. "Faust 4" was reissued on CD by Caroline and should be widely available. The first two can be had as pricey Japanese imports. PC ------------------------------------------------------------------------------- From: arzachel@sirius.com (Jason Witherspoon) Subject: Re: Faust Date: 06 Mar 1996 10:57:31 -0800 At 3:22 AM 3/6/96, S_FBUEBL wrote: >IMHO Faust cannot be compared to Einsturzende Neubauten. > You're right. Faust were leagues beyond EN. >Even if the new album of EN is called "Faustmusik", Faust is >"only" an old german psychedelic band. I did never see a Faust concert, >but I was told that recent concerts of this band are boring. >the old faust albums have been released on japanese CD and are worth >a listen. But even the former support band of Faust, Henry Cow, has >made a more important impact on the musical development of this century. Henry Cow? Puh-leez. You might check Julian Cope's book _Krautrocksampler_ to get an idea of the massive effect _Faust Tapes_ had upon actual makers of music throughout the late 70's & 80's. Tell me, Mr. FBUEBL, have you listened to many Faust records? "Psychedelic" is pretty far from the mark, unless you're also willing to describe, say, the Velvet Underground as "psychedelic". Jason Witherspoon ------------------------------------------------------------------------------- From: SDS0564@alpha.CC.OBERLIN.EDU Subject: Re: Faust Date: 06 Mar 1996 22:51:06 -0400 (EDT) Faust had a MUCH larger impact on music than henry cow could ever dream. From This Heat on, Faust is THE reference point as far as i'm concerned. -dan ------------------------------------------------------------------------------- From: Nick Hobbs Subject: Re: Faust Date: 07 Mar 1996 03:09:18 -0700 (MST) . But even the former support band of Faust, Henry Cow, has >>made a more important impact on the musical development of this century. bit unfair on H Cow to describe them as Faust's support band - they did just one tour in that capacity > >Henry Cow? Puh-leez. there's no sense in comparing Faust & HC - they're pretty different though certainly the Cow were influenced by Faust to some degree (especially Chris Cutler) and HC were one of the great under-estimated bands of all times, check out Unrest, In Praise Of Learning and Concerts; and a lot of their greatest moments live went unrecorded - there was a time when the Cow were doing whole sets of free music WHICH WORKED - the main influence for which was AMM I think, though their influences were (very) many as the Cow had no head and each member had a completely different background; it was this stubborn tense creative collectivity that enabled the Cow to be so extraordinary Nick "I wuz there" Hobbs ------------------------------------------------------------------------------- From: "S_FBUEBL" Subject: in praise of learning more about Faust Date: 07 Mar 1996 14:02:19 +0100 sorry sorry sorry. rotten pigmeat has more dignity than me after I dared to compare Faust, Neubauten andHenry Cow. yes, I have 2 faust albums (I and So Far) and I like them. i did know nothing about their influence on bags of bands. i just want to explain you why Einstuerzende Neubauten is the better band for me: it's simply the lyrics. I am german and I don't know any other german band which has as poetic lyrics as EN. there are important songwriters as Stephan Krawczyk or Wolf Biermann, but Blixa Bargeld's words tend to sty in my mind for weeks after I heard them. And the sounds created by Einheit, Unruh and the other EN Members perfectly fit into the lost universe of bargeld. "it's a rainy day, sunshine girl" is an other approach to poetry. this Faust song is more like modern techno songs - as simple as posible. and there are many other bands from that time period which did such experiments as "why don't you eat carrots?". many of the former popular krautrock bands like can, amon duul, guru guru, kraan... are still performing every now and then, and I am dissapointed everytime, because: they may be pioneers, but their pupils are much more interesting to me. paying respect to yesterdays's heroes, felix ------------------------------------------------------------------------------- From: VhfRecords@aol.com Subject: Re: Faust Date: 07 Mar 1996 09:46:06 -0500 In a message dated 96-03-07 08:45:57 EST, you write: >Faust had a MUCH larger impact on music than henry cow could ever dream. >From >This Heat on, Faust is THE reference point as far as i'm concerned. > > ??? Maybe in the world of noise/nm-list type groups, but there are TONS of bands that are doing interesting music that is heavily informed by the H. Cow/ReR/RIO "scene." That doesn't mean that one or the other is better, just treading a different territory. Most of the groups are European (Volupuk, UZ) or Japanese (Tipographica, Happy Family), and hence kinda unknown in the US/Indie scene, where people like Jim O. are responsible for the high Faust/This Heat "awareness" among today's youth. Supposedly ReR is going to do some archival Cow CD's, towards the end of their run (77' or so) they were doing some pretty radical improvising on stage that would warm the hearts of the Faust fans turned off by the Cow's more uh, prog side. rock me baby Ralph ------------------------------------------------------------------------------- From: RedDye6@aol.com Subject: more discs for sale Date: 07 Mar 1996 10:18:31 -0500 prices include domestic 1st class. Please send e-mail if interested. $9 Kato Hideki/Ikue Mori/Fred Frith "Death Ambient" (Tzadik) $7 Orbital "Orbital" (FFRR) $6 Jon Rose "Brain Weather" (ReR Quarterly, small drilled hole in back) $8 Elliott Sharp & The Soldier String Quartet "Cryptid Fragments" (Extreme) ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Faust (fwd) Date: 07 Mar 1996 10:21:23 -0800 On Wed, 6 Mar 1996 09:33:24 -0800 (PST) mason@netcom.com wrote: > > I cannot agree with this statement at all. Faust's influence has been > a hundred times more wide-spread than Henry Cow. I would put down > Faust as having a huge impact on the original "industrial" and > experimental movements of the late 70s/early 80s like Throbbing > Gristle, Einsturzende Neubauten and others. I can also absolutely say > that Faust is probably more responsible for the Japanese experimental/noise > scene than any other group. I am curious about the influence of the No Wave scene (DNA, Teenage..., Mars, etc) on the Japanese rock scene. I personaly find some connections. Any comments? Patrice. ------------------------------------------------------------------------------- From: "Chris Krolczyk" Subject: Re: Snuggles list Date: 07 Mar 1996 14:57:36 -0600 (CST) J.T. Barker sez: > Does anybody know if the Negativland list - Snuggles still exists? I > tried subscribing but got an unknown user return. Has anybody on this > list been on that list? Is it a list with a list, or is it upright , or > does it have a twist? It still exists. The problem you may be having is that they moved to a slightly different address, which is now snuggles@falco.kuci.uci.edu. I don't remember the subbing procedure, but Emailing the list (and getting a private reply) or sending a "subscribe snuggles" to majordomo@kuci.uci.edu might work. ------------------------------------------------------------------------------- From: "Duguid, Brian" Subject: Subscription assistance Date: 08 Mar 1996 09:37:19 +0000 If this list still exists, could somebody on it eMail me to help me resubscribe: the new SmartList server (nm-list-request@xmission.com) refuses to talk sense to me! ;-) Brian Duguid BD1@mm-croy.mottmac.com ------------------------------------------------------------------------------- From: "Duguid, Brian" Subject: Re: Maciunas Ensemble Date: 08 Mar 1996 09:56:54 +0000 > From: jronsen@mail.utexas.edu (Josh Ronsen) > Also, can anyone provide any details on the Maciunas Ensemble? I've heard a > few pieces by them and want to know who/where/what... Well, I guess it's working, then ;) I've eMailed xmission.com to let them know that SmartList isn't being tremendously helpful and that their LWGate web/nm-list gateway is broken as a result. Haven't had a reply though. Apart from the godawful formatting that SmartList gives the digests (and lack of a correct reply-to address), it doesn't respond to a "help" eMail in a helpful manner. Re: Maciunas ensemble: so far as I recall, this is based in Holland, and led by Paul Panhuysen, who also runs Het Apollohuis there, and organised the ECHO: Images of Sound festivals. Panhuysen has released various solo and collaborative albums e.g. with Arnold Dreyblatt, Josef(?) Goedhart etc, exploring music on long wires, dotmatrix printers, caged birds etc. I can dig out more info from home if you like. Brian Duguid BD1@mm-croy.mottmac.com http://www.hyperreal.com/zines/est/ ------------------------------------------------------------------------------- From: al374@freenet.carleton.ca (Peter Crane) Subject: subscription information Date: 08 Mar 1996 08:39:02 -0500 Could someone please email me the information of how to unsubscribe from this list. I have asked for this information before and did not receive a response. So could some kind-hearted soul please help me out. Thank-you, peter crane -- Peter Crane al374@freenet.carleton.ca ------------------------------------------------------------------------------- From: mason@netcom.com (Mason Jones) Subject: Re: Faust (fwd) Date: 08 Mar 1996 09:24:46 -0800 (PST) > From: "Patrice L. Roussel" > > On Wed, 6 Mar 1996 09:33:24 -0800 (PST) mason@netcom.com wrote: > > > > Gristle, Einsturzende Neubauten and others. I can also absolutely say > > that Faust is probably more responsible for the Japanese experimental/noise > > scene than any other group. > > I am curious about the influence of the No Wave scene (DNA, Teenage..., Mars, > etc) on the Japanese rock scene. I personaly find some connections. Any > comments? I'd agree that there is some influence, yes. I know for instance that Teenage Jesus & Lydia Lunch were a very big influence on Melt-Banana, and that the "No New York" LP is the band's favorite album. I suspect that there would be some agreement from Space Streakings, Null, and others if they were asked about it. It actually seems to divide by generations. The earlier generation of artists like Hijokaidan, Keiji Haino, etc cite Faust (and contemporaries like Amon Duul and others) as a very big influence. The younger generation springs more from No Wave and punk rock. (Haino's self-professed big influence, though, is Blue Cheer, believe it or not) <====================================================================> Mason Jones Charnel Music mason@netcom.com P.O. Box 170277, San Francisco, CA 94117-0277 Phone/fax (415) 664-1829 Web site: http://www.meer.net/~charnel/ <====================================================================> ------------------------------------------------------------------------------- From: Manny Subject: Re: Faust Date: 08 Mar 1996 19:16:40 -0500 (EST) On Wed, 6 Mar 1996, S_FBUEBL wrote: > Jim, > > IMHO Faust cannot be compared to Einsturzende Neubauten. > > Even if the new album of EN is called "Faustmusik", Faust is > "only" an old german psychedelic band. I did never see a Faust concert, > but I was told that recent concerts of this band are boring. > > the old faust albums have been released on japanese CD and are worth > a listen. But even the former support band of Faust, Henry Cow, has > made a more important impact on the musical development of this century. > > I really recommend you getting the "Faustmusik" CD of EN. > > it is "burocratic music", musik created on books, shelves and tables. > if you e.g. like the "merry christmas" album of FM Einheit and > Caspar Broetzmann, you will like this noise experiment. > > felix > IMHO you are in error. Faust is as important as Henry Cow, if not more so. The experiments of Faust in some way directly led to Throbbing Gristle, which led to Neubauten. "Faustmusik" by EN has nothing to do with the band Faust - it is a rstaging of the famous "Faust" play (where he sells his soul to the devil), and in fact was panned in the new issue of "The Wire" as being too sterile. I would bet, based on The Wire's description, that "Nerry Christmas" is way better than "Faustmusik". (But I would of course have to listen to the disc to be sure). -Manny ------------------------------------------------------------------------------- From: Manny Subject: Re: Faust Date: 08 Mar 1996 20:00:31 -0500 (EST) VHF guy is right. Henry Cow may have been influenced by Faust (and AMM) but their influences have diverged highly. It's like trying to compare the Wayside catalog to the RRR catalog. Henry Cow influence in States slim? How about Doctor Nerve, The Muffins, 5uu's, Motor Totemist Guild, Orthotonics, etc.? I think not (though people influenced by Cow tend to be 30's/40's prog types as opposed to the 20's/30's indie types creaming over Faust). -Manny ------------------------------------------------------------------------------- From: shiurba@sfbayguardian.com (John Shiurba) Subject: Re: Re: Faust Date: 08 Mar 1996 21:37:04 GMT >Faust had a MUCH larger impact on music than henry cow could ever dream. From >This Heat on, Faust is THE reference point as far as i'm concerned. aw geez, why do people always want to make universal truths out of their opinions? shiurba ------------------------------------------------------------------------------- From: B BRACKEN Subject: Re: Faust Date: 09 Mar 1996 16:22:55 -0500 (EST) On Wed, 6 Mar 1996, J. T. Barker wrote: > > > On Wed, 6 Mar 1996, S_FBUEBL wrote: > > > Jim, > > > > IMHO Faust cannot be compared to Einsturzende Neubauten. > > why not? They're both German, they both make music that revolves around > noise or unusual sounds, they both have physical and destructive elements > in their work...why not compare them? I should really write more than this, dont havze time now, but...perhgaps later... The one reason perhaps that they are compared to NBeubauten, is becaose one of the members in faust, was in fact in Neubauten for some time...Faust began before EN, and pretty much gave them a good berth to float in. More later perhaps... -ben ------------------------------------------------------------------------------- From: shiurba@sfbayguardian.com (John Shiurba) Subject: faust/henry cow Date: 09 Mar 1996 22:55:05 GMT it seems to me that the since the time of faust and henry cow the (rock) avant garde has been divided into (at the risk of oversimplification) two camps more or less corresponding to the priorities and approaches of these two groups. on the one hand, we have the side that's more interested in exploring the application of advanced compositional techniques and complex harmonic material to rock music (henry cow) and on the other hand we have the school who (mostly) eschews all that in favor of developing the wide array of sonic possiblities offered in the studio, and by electronic manipulation of sounds and applying that to rock (faust). sometimes this division seems to me to be coming together as time goes by, but usually it seems to be growing sharper, even to the extent of the more dogmatic factions of either school totally dismissing the other. i find this to be rather unfortunate, and in the end, counterproductive. i'd rather think of what would have been possible had faust been able to incorporate those things that made henry cow great and vice versa, or more optimistically, if someone could take in both, and take it somewhere new. shiurba ------------------------------------------------------------------------------- From: B BRACKEN Subject: Re: faust/henry cow Date: 10 Mar 1996 12:43:49 -0500 (EST) On 9 Mar 1996, John Shiurba wrote: > it seems to me that the since the time of faust and henry cow the (rock) avant > garde has been divided into (at the risk of oversimplification) two camps > more or less corresponding to the priorities and approaches of these two > groups. on the one hand, we have the side that's more interested in exploring > the application of advanced compositional techniques and complex harmonic > material to rock music (henry cow) and on the other hand we have the school > who (mostly) eschews all that in favor of developing the wide array of sonic > possiblities offered in the studio, and by electronic manipulation of sounds > and applying that to rock (faust). Couldnt disagree with you more. Just take a listen to Faust IV, and a clear concept of "composition" is there. This incarnation, however, true, is different than the likes of Henry Cow's, but valid and real. And to me, a bit more interesting and intriguing. Faust never used samplers, they made all of thier own stuff, or lots of it anyways, and many times were found building equipment only hours away from performances wich they would use directly. I think that the assertion that Faust is a "studio" band, is off center with thier basic tenants. yea that, -b ------------------------------------------------------------------------------- From: them@dial.pipex.com (Fiona and Richard) Subject: Were's Warren? Date: 10 Mar 1996 20:18:22 GMT Hello all you New Yorker nm-list-ers. Does anyone know of a Warren Fisher? He used to play with Jim O'Rourke in Chicago and I have seen his name on one J.O. release. I lost contact with him when he moved to N.Y. and would be eternally grateful for any help. Please mail any clue direct to me. Any information leading to the location of said Fisher will be rewarded by a thrilling homegrown multimedia present (please state Mac or PC). Thanks, Richard Ross. ------------------------------------------------------------------------------- From: david daniell Subject: ones, twos, and threes Date: 11 Mar 1996 13:08:38 -0500 IRON MUSIC & OLD GOLD RECORDS IN ASSOCIATION WITH LB. PRODUCTIONS AND THE RED LIGHT CAFE PRESENTS ONES, TWOS, AND THREES EACH TUESDAY AT 9:00 AT THE RED LIGHT CAFE 553 AMSTERDAM AV ATLANTA GA free improvisational sonic interplay for solo duet and trio performance 1ST MEETING 19 MARCH 1996 details:IRON MUSIC 404-522-9166 My "ideal music" is played by a group of musicians who choose one another's company and who improvise freely in relation to the precise emotional, acoustic, psychological, and other less tangible atmospheric conditions in effect at the time the music is played. - Evan Parker see http://www.prism.gatech.edu/~vaps1wd/bands/one23.html -- david daniell vaps1wd@prism.gatech.edu http://www.prism.gatech.edu/~vaps1wd/ ------------------------------------------------------------------------------- From: Sayyhanalla Subject: Re: Faust Date: 12 Mar 1996 00:21:39 GMT how do i unsubscribe to this mailing list? ------------------------------------------------------------------------------- From: B BRACKEN Subject: Bennink/Mengleburg Date: 11 Mar 1996 18:36:23 -0500 (EST) Curious if anyone would know... I had heard that Han Bennink and Misha Mengleburg are teaching at some school either in france or belgium i believe...I dont know...I am thinking of perhaps going over-seas for a semester for an intensive language program , and I thought I would also look into the musical possibilities. This came to mind. If anyone has any information, or knows how I could get in touch with either of these people, or others who would be of assistance, I would appreciate it greatly. thanks... -b ------------------------------------------------------------------------------- From: B BRACKEN Subject: Coxhill/Frith, Lacy/Koglemann Date: 11 Mar 1996 18:55:31 -0500 (EST) a couple of interesting records, thought I would review them...Just found them both for a total of like 12 dollars...so.. Coxhill/Frith Duets -AAA records (Recommended?) Lol Coxhill, one of the first great european free players comes to play his soprano Saxaphone with Fred Frith, a sometimes incredible player/sometimes horriffic player. As you can tell, I like Coxhill traditionally alot, while sometimes frith leaves a little to be desired for my tastes. But this recording of mostly live stuff is incredible. It moved in through alot of different channels and byways of sound, sorta picking and choosing elements as it goes along. Sometimes it slips into something almost recognizable and even hummable, then it dips back down into a realm of tangled phrases and rich obscured tones. The soprano Saxaphone here that Coxhil plays almot sounds like some sort of electronic instrument, but still leaving great trails of phrases and lines. The guitar is mostly prepared, and I must say, Frith suprised me greatly. I know that he is a skilled guitarist, and should be respected for it, but here in this simple context, he really shines. These duets reminded me of the K.K. Null/O'Rourke release, "A New Kind of Water", as well as something that Gunter Mueller did called "Instant Collision" or something. Thick and monumentous at times, intricate, delicate, and subtle at other times. I cant recall the year of it (Im at work right now) but it is well worth looking into if you see it used somewhere, or if it is reprinted. "Flaps" Steve Lacy with Franz Kogelmann --Pipe records-- This was aonther suprising find, due to its rarity. I believe lots of this stuff was only mail order, directly from Kogelmann himself (Pipe was/is? his label). Lacy is of course multi-talented, and a respected member of improvised musics. Kogelmann I know much less about, he plays flugelhorn and trumpet mostly, and is in the Clusone 3, with Han Bennink and someone else. They are joined here by a bassist, a drummer, and an Electronics manipulator (None of whom I recall thier names), both adding their own unique and flavorful elements to this well-woven tapestry. A quintet though, and easily recognized as such. The bassist, whoever it is, cant recall, is great, and chooses to accent the others playing very well. And, yes, sometimes electronics are to be greatly feared, but here they blend in great, interweaving with the horns excellently, making it a welcome addition to the arsenal of soundmakers. I should really give this one about 5 more listens, but, so far (2 listens) it has struck me as something quite good, relying on the dynamics between the players heavily. Well, err..guess that is alot...err... -b ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Coxhill/Frith, Lacy/Koglemann Date: 11 Mar 1996 16:08:22 -0800 On Mon, 11 Mar 1996 18:55:31 -0500 (EST) bbracken@cps.cmich.edu wrote: > > "Flaps" Steve Lacy with Franz Kogelmann --Pipe records-- ^^^^^ Congratulations! A really hard to find record. > This was aonther suprising find, due to its rarity. I believe lots of > this stuff was only mail order, directly from Kogelmann himself (Pipe > was/is? his label). Lacy is of course multi-talented, and a respected ^^^^^^^^^^^^^^^^^ Definitely. > member of improvised musics. Kogelmann I know much less about, he plays > flugelhorn and trumpet mostly, and is in the Clusone 3, with Han Bennink ^^^^^^^^^ You might think about somebody else: Clusone Trio is Michael Moore, Ernst Reijseger and Han Bennink. > and someone else. They are joined here by a bassist, a drummer, and an > Electronics > manipulator (None of whom I recall thier names), both adding their own > unique and flavorful elements to this > well-woven tapestry. A quintet though, and easily recognized as such. > The bassist, whoever it is, cant recall, is great, and chooses to accent > the others playing very well. And, yes, sometimes electronics are to be > greatly feared, but here they blend in great, interweaving with the horns > excellently, making it a welcome addition to the arsenal of soundmakers. > I should really give this one about 5 more listens, but, so far (2 > listens) it has struck me as something quite good, relying on the > dynamics between the players heavily. Can you give me the address of your record store :-). Patrice. ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: Re: Faust Date: 12 Mar 1996 13:02:08 +0000 (GMT) On Sat, 9 Mar 1996, B BRACKEN wrote: > > The one reason perhaps that they are compared to NBeubauten, is becaose > one of the members in faust, was in fact in Neubauten for some > time...Faust began before EN, and pretty much gave them a good berth to > float in. More later perhaps... > > -ben > > Do tell us more. My bet is that it was Hacke, or maybe Einheit or maybe someone else/....hmmm, I don't know do I? So tell me!!! jim ------------------------------------------------------------------------------- From: B BRACKEN Subject: Bennink/Mengleburg (fwd) Date: 12 Mar 1996 13:09:31 -0500 (EST) ***Soarry if some of you already got this...I think I sent it to the wrong address, not sure...is there a dif. between xmission.xmission.com and just xmission.com?*** Curious if anyone would know... I had heard that Han Bennink and Misha Mengleburg are teaching at some school either in france or belgium i believe...I dont know...I am thinking of perhaps going over-seas for a semester for an intensive language program , and I thought I would also look into the musical possibilities. This came to mind. If anyone has any information, or knows how I could get in touch with either of these people, or others who would be of assistance, I would appreciate it greatly. thanks... -b ------------------------------------------------------------------------------- From: B BRACKEN Subject: Coxhill/Frith, Lacy/Koglemann (fwd) Date: 12 Mar 1996 13:13:20 -0500 (EST) ***here is another that I dont think got through*** a couple of interesting records, thought I would review them...Just found them both for a total of like 12 dollars...so.. Coxhill/Frith Duets -AAA records (Recommended?) Lol Coxhill, one of the first great european free players comes to play his soprano Saxaphone with Fred Frith, a sometimes incredible player/sometimes horriffic player. As you can tell, I like Coxhill traditionally alot, while sometimes frith leaves a little to be desired for my tastes. But this recording of mostly live stuff is incredible. It moved in through alot of different channels and byways of sound, sorta picking and choosing elements as it goes along. Sometimes it slips into something almost recognizable and even hummable, then it dips back down into a realm of tangled phrases and rich obscured tones. The soprano Saxaphone here that Coxhil plays almot sounds like some sort of electronic instrument, but still leaving great trails of phrases and lines. The guitar is mostly prepared, and I must say, Frith suprised me greatly. I know that he is a skilled guitarist, and should be respected for it, but here in this simple context, he really shines. These duets reminded me of the K.K. Null/O'Rourke release, "A New Kind of Water", as well as something that Gunter Mueller did called "Instant Collision" or something. Thick and monumentous at times, intricate, delicate, and subtle at other times. I cant recall the year of it (Im at work right now) but it is well worth looking into if you see it used somewhere, or if it is reprinted. "Flaps" Steve Lacy with Franz Kogelmann --Pipe records-- This was another suprising find, due to its rarity. I believe lots of this stuff was only mail order, directly from Kogelmann himself (Pipe was/is? his label). Lacy is of course multi-talented, and a respected member of improvised musics. Kogelmann I know much less about, he plays flugelhorn and trumpet mostly, and I think he played on Anthony Bsraxton's "Charlie Parker Project", not sure though. He's also been playing with European free improvisors for a long time I think. They are joined here by a bassist, a drummer, and an electronics manipulator (None of whom I recall thier names), both adding their own unique and flavorful elements to this well-woven tapestry. A quintet though, and easily recognized as such. The bassist, whoever it is, cant recall, is great, and chooses to accent the others playing very well. And, yes, sometimes electronics are to be greatly feared, but here they blend in great, interweaving with the horns excellently, making it a welcome addition to the arsenal of soundmakers. I should really give this one about 5 more listens, but, so far (2 listens) it has struck me as something quite good, relying on the dynamics between the players heavily. Well, err..guess that is alot...err... -b ------------------------------------------------------------------------------- From: B BRACKEN Subject: Re: Faust (fwd) Date: 12 Mar 1996 13:14:43 -0500 (EST) On Sun, 10 Mar 1996, Hager Joanne wrote: > No doubt Faust came around much earlier than EN, and most likely has a > significant influence on them, but then again, everything is derivative of > something, including Faust. It's easy to say "Act X was much more influential > than act Y because they are OLDER", but I feel that Neubauten has innovated > enough on their own to merit a great deal of influence themselves. I certainly > can't say who is "more influential" (Here, I'll get out my Influencometer and > measure see how many units of "Bach" they each influence), although I have > no doubt that they are both influential. I don't care how many LP's Faust had > while EN were infants, there is much more of a measure of influence than > time period. I am not overly familiar with Faust's earlier works, however, so > it may be the case that EN actually didn't innovate a thing and simply copied > Fausts work, but I somewhat doubt that...please feel free to inform me if > I'm way wrong here. Your right. EN hass done some incredible things in thier own right, indeed. I agree with you wholeheartedly. But, I am merely trying to put it all into context. Thier work can be directly linked to what Faust did previous to them. Your mention of the "Influencometer", though, is a good example of what many do un-nessisarily. Sure bands have influences, (As Holger of CAN asserted, one should exploit them as much as possible), but they are surely not trying to imitate their roots, rather, expand on them. This is certianly true of EN. Sheck, -b ------------------------------------------------------------------------------- From: B BRACKEN Subject: Re: Faust (fwd) Date: 12 Mar 1996 13:15:47 -0500 (EST) On Sun, 10 Mar 1996, Hager Joanne wrote: > > I should really write more than this, dont havze time now, but...perhgaps > > later... > > > > The one reason perhaps that they are compared to NBeubauten, is becaose > > one of the members in faust, was in fact in Neubauten for some > > time...Faust began before EN, and pretty much gave them a good berth to > > float in. More later perhaps... > > > > -ben > > > > > Who? > > -JoAnne > Zappi, i believe was in EN for some time, but ultimately didnt agree with what they were doing, or so I have heard. Zappi also played with assemblage, First Left Second Right, and a couple of other "projects". Perhaps though, I worded my posting wrong. Zappi wasnt an origional member or anything like that, but En owes much to Faust for what they did. Peron has been quoted as saying "I dont want to sound concieted, but Neubauten was still shitting in thier nappies when we had two Lp's..." err, -b ------------------------------------------------------------------------------- From: Ricardo Wang Subject: No Skinny Ties Date: 12 Mar 1996 15:53:53 -0800 (PST) Announcing: A new bi-weekly series on What's This Called? with Ricardo Wang, Thursdays from 9 to 11 PM on KAOS Olympia 89.3 FM, No Skinny Ties. This series will alternate every other week with the regular What's This Callled? programming of experimental music and exotica, and will focus instead on the independent post-punk and underground rock of the 1980s, from Sonic Youth to Snakefinger; from the Sun City Girls to Wire. Combining his own extensive record collection from the period with the incredible KAOS vinyl archive, your host Ricardo Wang hopes to contrast the No Skinny Ties series with the current revival in the media of 80s "new wave" major label pop. Expect to hear bands and artists on independent labels such as SST, Alternative Tentactles, Independent Projects, K (of course!), and the fledgling Sub Pop. These record labels won't be new to long time KAOS listeners, they have had a long history with KAOS due to our 80% independent music policy. Says Wang about his new series, "All this great diverse and experimental music was so underground in the 80s, that a lot of people never even heard of Einsturzende Neubauten or Big Black, and now as the 80s are coming back in fashion, it's being overlooked again. Thankfully you still have a community radio station like KAOS where you can hear it." ------------------------------------------------------------------------------- From: Ricardo Wang Subject: 2nd Annual Oly Exp Fest Date: 12 Mar 1996 21:51:32 -0800 (PST) Hello, my name is Jim McAdams (among others) and I am in the process of organizing the 2nd Annual Olympia Experimental Music Festival. Last year's event was a two day affair with 14 different acts including Mark Hosler, Sue Ann Harkey, Pork Queen, Circular Firing Squad, Bugskull, and many other great performances. This year we have alread confirmed Blowhole, Sue Ann Harkey, Noggin, Climax Golden Twins, Malaise, That Stupid Club, Arrington De Dionysos and the Old Time Relijun, and Miss Murgatroid. We are doing three days at the end of May (Mon 27th - Wed 29th) with a total of 29 acts. If you are in an experimental music ensemble (and I use the term loosely this festival has room for free jazz, ambient, techno, post-classical, or post-punk as long as the artists are pushing the boundaries of their genre(s)) and are interested in playing this exciting festival held at the tiny Midnight Sun performance space (but with great acoustics and a wood floor) for little more than gas money and an appreciativ crowd (that I can promise!) please contact me immediately by phone or e-mail: (360)956-1762/rwang@elwha.evergreen.edu if you wish to send a recording right away for me to review the address is: 1002 Olympia Ave. NE, Olympia, Wa 98506. ------------------------------------------------------------------------------- From: Nick Hobbs Subject: Re: faust/henry cow Date: 13 Mar 1996 07:52:20 -0700 (MST) >it seems to me that the since the time of faust and henry cow the (rock) avant >garde has been divided into (at the risk of oversimplification) two camps >more or less corresponding to the priorities and approaches of these two >groups. on the one hand, we have the side that's more interested in exploring >the application of advanced compositional techniques and complex harmonic >material to rock music (henry cow) and on the other hand we have the school >who (mostly) eschews all that in favor of developing the wide array of sonic >possiblities offered in the studio, and by electronic manipulation of sounds >and applying that to rock (faust). but both groups had in common that they improvised (live and in the studio) as well as playing various kinds of composed music yer average prog rock group didn't get deep into free improvisation ! also most prog rock groups seemed to take their art music influences from Mussogorsky and Bach rather than Varese, Ives and Schoenberg ... Nick ------------------------------------------------------------------------------- From: bd1@mm-croy.mottmac.com (Brian Duguid) Subject: RFD: rec.music.classical.contemporary Date: 13 Mar 1996 19:31:17 -0500 (EST) REQUEST FOR DISCUSSION (RFD) unmoderated group rec.music.classical.contemporary Newsgroup line: rec.music.classical.contemporary Discussion of contemporary. This is a formal Request For Discussion (RFD) for the creation of a worldwide unmoderated Usenet newsgroup rec.music.classical.contemporary. This is not a Call for Votes (CFV); you cannot vote at this time. Procedural details appear below. All followup discussion should occur in news.groups. RATIONALE: rec.music.classical.contemporary Discussions of contemporary classical music currently take place in a variety of Usenet forums, most noteably rec.music.classical, as well as on mailing lists such as post-classical and nm-list. Several contributors to such discussions have expressed a desire to have a forum dedicated to "contemporary classical music", to encourage further sharing of information and opinions. The volume of traffic in rec.music.classical is such that people with an interest in modern classical music, but not in older composition, are reluctant to read the group. During January 1996, a discussion on a possible newsgroup to cover contemporary composed music, including but not limited to minimalism, took place on rec.music.classical, rec.music.ambient, rec.music.compose, alt.music.philip-glass and alt.music.steve-reich. Sufficient support was evident to justify this formal Request for Discussion. Several discussions have already taken place regarding what would and what would not be appropriate in the new group. The charter below is based on these discussions. In addition, the proposed group name has already been widely discussed and received support from the majority of those who expressed an opinion. CHARTER: rec.music.classical.contemporary Rec.music.classical.contemporary shall provide a forum for the discussion of all issues relating to contemporary classical music. For the purposes of this group, "classical music" is considered to include all music composed in a recognisably classical tradition (i.e. use of written score, tendency to be performed by persons other than the composer) or which owes a heavy debt to that tradition (e.g. the experiments with non-notated scores and improvisation by Cage, Stockhausen et al). For the purposes of this group, "contemporary" is considered to generally refer to the most recent 50 years, but not to exclude music composed prior to that which is part of the modern classical tradition e.g. serialism, Debussy, Russolo. Such topics include, but are not limited to, the following: 1) Contemporary classical composers, works, performances and recordings. 2) Musical styles such as serialism, post-serialism, electronic and tape music, musique concrete, minimalism, "new complexity", computer music, etc. 3) Reviews, discographies, requests for information etc. 4) Politics of contemporary classical music, also the interface between the area and other fields such as philosophy, sociology, cybernetics etc. 5) Relationship between the area and other fields of contemporary art e.g. visual art, dance. 6) The influence of contemporary classical genres (e.g. minimalism, musique concrete) on other types of music (e.g. rock, dance). 7) Labels specialising in this area of music. 8) Books, magazines, internet resources relevant to this area of music. Commercial postings are acceptable on rec.music.classical, providing that they are relevant to the above topics, kept as brief as possible, and only posted once. Lists of recordings for sale, whether by private sale or by shop, mail-order etc, are not acceptable. A brief pointer describing where such a list or catalogue is available, would be acceptable. Postings likely to be of regular interest (e.g. a brief pointer to a label's web site) may be posted more than once, but not more often than once per calendar month, and not at all if the information is already posted regularly in some other form e.g. a Frequently Asked Questions posting. Commercial postings relevant to other areas of music (e.g. mail-order details for a business covering numerous styles of music) should *not* be posted to this group. Issues relating to the composition of contemporary classical music should be discussed in rec.music.compose. Discussions should only be posted or cross-posted to rec.music.classical.contemporary where they relate to issues of interest to general listeners e.g. a discussion of notation software would not be appropriate, but a discussion of whether stochastic or aleatoric composition results in more 'entertaining' music would be. Issues relating to the performance of contemporary classical music should be discussed in rec.music.classical.performing. Discussions should only be posted or cross-posted to rec.music.classical.contemporary where they are especially relevant to the "contemporary" element and likely to be of interest to listeners as well as performers e.g. a discussion of the freedom given by composers like Cage and Feldman to their performers would be relevant. A discussion on where to buy clarinets would not. Neither the group proponent nor any posters to rec.music.classical.contemporary shall be held responsible for the accuracy of articles posted therein. Opinions expressed are those of the authors alone. END CHARTER. PROCEDURE This is a request for discussion, not a call for votes. In this phase of the process, any potential problems with the proposed newsgroups should raised and resolved. The discussion period will continue for a minimum of 21 days (starting from from when the first RFD for this proposal is posted to news.announce.newgroups). All discussion should be posted to news.groups. At the end of the discussion period, a Call for Votes (CFV) will be posted by a neutral vote taker. DISTRIBUTION: rec.music.classical.contemporary This RFD shall be crossposted to the following groups: news.announce.newgroups, news.groups, rec.music.classical, rec.music.ambient, rec.music.compose, rec.music.classical.recordings, rec.music.classical.performing The official RFD shall also appear in the following mailing lists: POST-CLASSICAL@cs.uwp.edu NM-LIST@xmission.com AMBIENT@hyperreal.com Proponent: Brian Duguid Brian Duguid BD1@mm-croy.mottmac.com http://www.hyperreal.com/zines/est/ http://www.hyperreal.com/~duguid/ ------------------------------------------------------------------------------- From: Bernhard Loibner <100662.2422@compuserve.com> Subject: Xennakis CD Date: 14 Mar 1996 14:20:34 EST Hi there, I have been looking for a recording of Iannis Xenakis' piece 'Metastasis' for quite a long time now - and have not found anything. Does anybody know if a CD exisits with this piece and maybe others of Xenakis' orchester works? thanks for your input. Bernhard Loibner ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Xennakis CD Date: 14 Mar 1996 12:43:42 -0800 On 14 Mar 96 14:20:34 EST 100662.2422@compuserve.com wrote: > > Hi there, > I have been looking for a recording of Iannis Xenakis' piece 'Metastasis' for > quite a long time now - and have not found anything. Does anybody know if a CD > exisits with this piece and maybe others of Xenakis' orchester works? It has been reissued on CD (on a French label). I will check the exact reference. Patrice. ------------------------------------------------------------------------------- From: shiurba@sfbayguardian.com (John Shiurba) Subject: Re: Xennakis CD Date: 14 Mar 1996 22:46:01 GMT bernard loibner: >I have been looking for a recording of Iannis Xenakis' piece >'Metastasis' for quite a long time now - and have not found >anything. Does anybody know if a CD exisits with this piece >and maybe others of Xenakis' orchester works? yes there is a cd in print on a label called "Le Chant Du Monde" which is distributed by Harmonia Mundi (meaning that you should be able to get this through Tower). The CD has two great orchestral pieces (Metastasis and Pithoprakta) as well as a fabulous piece called "Eonta" for piano, 2 trumpets, and 3 trombones. Other (in print) cds with orchestral music (some on the small orch side) are available on Erato ("Phlegra", "Thallein" etc), Wergo ("Palimpsest", "Epei" etc) and Etcetera ("Kraanerg"). all get my absolute highest recommendation. shiurba ------------------------------------------------------------------------------- From: A.Stones@max.roehampton.ac.uk (Alan Stones) Subject: Re: Xennakis CD Date: 15 Mar 1996 11:36:20 +0000 >Hi there, >I have been looking for a recording of Iannis Xenakis' piece 'Metastasis' for >quite a long time now - and have not found anything. Does anybody know if a CD >exisits with this piece and maybe others of Xenakis' orchester works? > >thanks for your input. >Bernhard Loibner There is or was an old recording (1965) conducted by Maurice le Roux available on Le Chant du Monde label (distr by Harmonia Mundi) LDC 278 368 CM 211 which also has Eonta + Pithoprakta. Hope this helps. ********************** Alan Stones Lecturer/Studio Manager Division of Music Roehampton Institute London Wimbledon Parkside London SW19 5NN U.K. Tel: 0181-392 3392 Fax:0181-392 3435 A.Stones@roehampton.uk.ac ********************* ------------------------------------------------------------------------------- From: david daniell Subject: ONES, TWOS, AND THREES (Atlanta) Date: 15 Mar 1996 14:47:29 -0500 ONES, TWOS, AND THREES free improvisational sonic interplay for solo duet and trio performance presented by IRON MUSIC & OLD GOLD RECORDS IN ASSOCIATION WITH LB. PRODUCTIONS AND THE RED LIGHT CAFE EACH TUESDAY AT 9 PM AT THE RED LIGHT CAFE 553 AMSTERDAM AV ATLANTA GEORGIA 1ST MEETING 19 MARCH 1996 Tuesday nights beginning March 19th, the Red Light Cafe will host ONES, TWOS, AND THREES, a weekly forum for the Atlanta community of free improvisors. ONES, TWOS, AND THREES is an occasion for individuals to explore new territories in improvisation and to work with other musicians in new and unfamiliar situations. The musicians participating in ONES, TWOS, AND THREES will come each Tuesday as individuals, apart from any existing ensembles -- open to whatever possibilities might arise, and making music with other musicians who they may never before have met. The stage at ONES, TWOS, AND THREES is open to any musician who is open to improvising in unique circumstances. Vocalists, instrumentalists, dancers, poets, and other improvisational artists are encouraged to participate. The program will consist of concise [under]statements by soloists, duos, and trios, with a possible finale by a large improvisational ensemble. Members of several of Atlanta's improvisational ensembles, including Gold Sparkle Band, Charlie Parker, and William Carlos Williams, will be performing at the first meeting of ONES, TWOS, AND THREES. If you are interested in participating, or have any questions, call Iron Music at 404 522 9166. see also http://www.prism.gatech.edu/~vaps1wd/bands/one23.html * My "ideal music" is played by a group of musicians who * choose one another's company and who * improvise freely * in relation to the precise emotional, acoustic, psychological, and * other less tangible atmospheric conditions in effect * at the time the music is played. * - Evan Parker -- david daniell vaps1wd@prism.gatech.edu http://www.prism.gatech.edu/~vaps1wd/ ------------------------------------------------------------------------------- From: grievous@fishnet.net (grievous 2: the destruction of jared-syn) Subject: Macronympha - REAL MEN! Date: 15 Mar 1996 14:41:16 GMT hey, i just got a container full of shit in the mail from macronympha - not STUFF, REAL HUMAN SHIT!!! i guess this is the way real grown-ups handle criticism, right? thank ya! [grievous] ------------------------------------------------------------------------------- From: ac118@lafn.org (Matthew Carey) Subject: Re: Macronympha - REAL MEN! Date: 15 Mar 1996 14:55:34 -0800 > > >hey, i just got a container full of shit in the mail from macronympha - not >STUFF, REAL HUMAN SHIT!!! > >i guess this is the way real grown-ups handle criticism, right? Right on. What did you do to prompt that? And how do you know it's human? -- Vision Temple: "Abolish Relativism" Rev. Matthew A. Carey Send $1 for weird stuff via real mail. 18653 Ventura Blvd. http://www.rlabs.com/visiontemple/ Suite #379 *!*!* KEYES/DORNAN '96 *!*!* Tarzana, CA 91356 ------------------------------------------------------------------------------- From: Malcolm Humes Subject: hey, I've heard of this guy! Date: 16 Mar 1996 02:19:06 -0800 via this week's HotWired announcements: > >Wednesday, 20 March >6 p.m. PST >Mason Jones, discerning necrophile > >Mason Jones is an artist, musician, producer, photographer, and >publisher, as well as author of the recent photo essay, "Death's >Garden," which explores our relationships to our final dwelling-place: >the cemetery. Jones' images and text range from the gothic to the >everyday, from humorous to sublime. Join us on Wednesday, 20 March at 6 >p.m. PST (Thursday 02:00 GMT) with Covert Culture host Richard Kadrey. > - Malcolm ------------------------------------------------------------------------------- From: RedStream@aol.com Subject: Re: Macronympha - REAL MEN! Date: 16 Mar 1996 08:32:24 -0500 In a message dated 96-03-15 20:07:40 EST, you write: >>hey, i just got a container full of shit in the mail from macronympha - not >>STUFF, REAL HUMAN SHIT!!! >> >>i guess this is the way real grown-ups handle criticism, right? > > > >Right on. What did you do to prompt that? And how do you know it's human? > > > Maybe there was a tape inside? And the shit was the special packaging. -patrick ------------------------------------------------------------------------------- From: Seth Veitzer Subject: Re: Macronympha - REAL MEN! Date: 16 Mar 1996 10:19:12 -0700 (MST) On Fri, 15 Mar 1996 grievous@fishnet.net wrote: > > hey, i just got a container full of shit in the mail from macronympha - not > STUFF, REAL HUMAN SHIT!!! > Was it stinky? ob musci: Tetsuo Furidate/Sumihisa Arima/Pneuma _Autrement Qu'etre_ Les Disques du Soleil et de L'Acier (1995?) Finally I get around to posting a review of this. Two live performances in Tokyo highlighted by atmospheric sounds, tapes, voice, voice samples, and generally really creepy noises. In a sense it reminds me of Barry Adamson's _Moss Side Story_ in that the music constructs a scene of dark forboding punctuated with peaks of beauty, except much much less structured musically. Similar to alot of Illusion of Safety performances, I think. Recomended, as is Furidate's first cd which is experimental guitar interacting with classical music samples. SV(q) ------------------------------------------------------------------------------- From: B BRACKEN Subject: E. Chadbourne Date: 17 Mar 1996 16:49:28 -0500 (EST) ##$## This weekend I was moping around Ann Arbor, looking for records and what not, and I went to PJ's, and found a great record. Its a Eugene Chadbourne album that dates back to like 1976 or so, and its phenominal. its simply called "Solo Guitar vol. 1" or something like that, and on the very odd label parachute, actually I believe release number 1 for them. This exegesis is along the same lines as derek bailey's "Incus Taps" and his other solo work, though with a definately unique approach. I think that it is often thought of Eugene that he is interested in the humorous, and the almost vulgar primarily. Perhaps he is to an extent, but, on this recording, the goals are totally different then what you see with some of his other work. But this stuff is definately a masterpiece, and I cant believe its gone overlooked for so long. This should be re-printed:) its a great document of ideas that were circulating, regarding the guitar, and music in general, and the unique approach that Chadbourne puts on it makes it even more enjoyable. His guitars were these tattered pieces of metal and wood, organic and almost seemed like they were alive, independant of Chadbourne. People refre to this style as post-bailey, but Chadbourne places himself among innovators like bailey with ease through pieces like these. If you see this thing, pick it up immeadiately. -ben p.s. I dont think all of my stuff is getting to this list, so perhaps I have a wierded mail handler, or I have a messed address for nm-list...someone let me know. I have been using xmission.xmission.com, and now I am trying xmission.com...dont know if there is any difference... ------------------------------------------------------------------------------- From: HalanaZine@aol.com Subject: halana magazine Date: 17 Mar 1996 21:36:04 -0500 ..........introducing halana magazine .we are pleased to announce the debut issue of a magazine devoted to the discovery and glorification of meaningful, important and often spiritual music and culture from around the globe... .of particular interest to us are those people who have chosen to concern themselves with delving deeply into sound, dealing specifically with the more esoteric aspects of what and how we hear by focusing on things like the physical properties and emotional potential of sound and music... .to help us on our course of discovery, we hope to gain some insight from prominent musicians, composers and thinkers in all realms of music/sound... ..........the first issue .we begin our series focusing on the lives and work of contemporary composers by featuring an exhaustive interview with understated music makers La Monte Young and Marian Zazeela... .jazz pianist Matthew Shipp contributes some meditations on the philosophical and spiritual natures of improvisation as encountered while on tour with the David S. Ware Quartet... .we also turn our eye on the extraordinary music of guitarist Loren MazzaCane Connors, looking deeply into his unmistakable style... .also featured is an account of a recent trip to the studios of sound sculpturists Harry & Val Bertoia with an examination of Harry’s musical career... as a companion to the magazine comes a 7” single featuring a solo piano recording by Matthew Shipp, an offering from the guitar of Loren MazzaCane Connors, and an infinite sampling from the minds of Harry & Val Bertoia... please write for more information on advertsing in or distribution of halana halana is available from fine record and book stores near you or for $5 ppd (checks payable to Chris Rice) from the following address: po box 502 . ardmore, pa . 19003-0502 halanazine@aol.com ------------------------------------------------------------------------------- From: shiurba@sfbayguardian.com (John Shiurba) Subject: Re: E. Chadbourne Date: 18 Mar 1996 04:42:58 GMT bbracken: >I went to PJ's, and found a great record. Its a Eugene >Chadbourne album that dates back to like 1976 or so, >and its phenominal. its simply called "Solo Guitar vol. 1" >or something like that, and on the very odd label >parachute, actually I believe release number 1 for them. you lucky dawg! i've been looking for this one for years now. i have vol.2 which is fantastic as well. EC is one of the greats, no doubt, and this period (76-80) is my favorite. for those of you in the sf bay area, check out one (or all) of his upcoming shows: 3/23 stork club, oakland w/ ben goldberg 3/25 coffee head, oakland w/robair, smith, cremaschi, clinton 3/26 hotel utah, sf- solo 3/27 beanbenders, berk- solo? shiurba ------------------------------------------------------------------------------- From: jlawson@div.harvard.edu (jonathan lawson) Subject: Chadbourne/Parachute Date: 18 Mar 1996 09:37:46 -0500 Parachute was Eugene Chadbourne's sadly short-lived label which put out early recordings of his own self, Polly Bradfield, Zorn, Kaiser, etc. etc. in fact Zorn's first recording I believe was SCHOOL (Parachute 4/5) which was a Chadbourne/Zorn split double LP. By this time Chadbourne was already an established improvisor and composer.. EC now lives in Greensboro NC, plays in clubs there and elsewhere occasionally, doing the improv-noise-country-and-western-protest-song thing, and plays to more free jazz-oriented crowds (I suppose) in Europe. If you are familiar with the country improv humor thing and would like to check out another side of Chadbourne check out the 2 solo cds SONGS and STRINGS (Germany: Impakt records) both of which demonstrate Chadbourne's tremendous skills and imagination both as an interpreter- improviser and as a composer. Other lovely sonic artifacts include Chadbourne's many self-released casettes in all their scrappy glory. Some nice excerpts from the cassettes are collected on last year's double CD Rake Cake Box which you west coast folk can get from Chadbourne after a show probably. you lucky lucky people. Thought no. 2: It's unfortunate that the New York Downtown scene is often so incestuous as far as cross-pollinating with skilled improvisors in other parts of the country, I'm thinking not only of Chadbourne--who would have been a much better performer of Zorn's recently released "Book of Heads" (written for EC originally) than Marc Ribot. Chadbourne's home of Greensboro is also home to composer-improvisor Gil Fray, and "Flatcar" Murray Reams (ex-Krackhouse)..There's also Jack Wright in Colorado, Davey and LaDonna in Alabama, etc. etc... improvisors everywhere! ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: halana magazine Date: 18 Mar 1996 07:59:26 -0800 On Sun, 17 Mar 1996 21:36:04 -0500 halanazine@aol.com wrote: > > ..........introducing halana magazine > > .we are pleased to announce the debut issue of a magazine devoted to the > discovery and glorification of meaningful, important and often spiritual > music and culture from around the globe... > > .of particular interest to us are those people who have chosen to concern > themselves with delving deeply into sound, dealing specifically with the more > esoteric aspects of what and how we hear by focusing on things like the > physical properties and emotional potential of sound and music... > > .to help us on our course of discovery, we hope to gain some insight from > prominent musicians, composers and thinkers in all realms of music/sound... > > > ..........the first issue > .we begin our series focusing on the lives and work of contemporary composers > by featuring an exhaustive interview with understated music makers La Monte > Young and Marian Zazeela... Underrated? I doubt it. If they could put out some records I would be the first to jump on them... I doubt LaMonte Young ever considered himself as underrated. His actual "popularity" is 100% due to his attitude :-). > .jazz pianist Matthew Shipp contributes some meditations on the philosophical > and spiritual natures of improvisation as encountered while on tour with the > David S. Ware Quartet... > > .we also turn our eye on the extraordinary music of guitarist Loren MazzaCane > Connors, looking deeply into his unmistakable style... > > .also featured is an account of a recent trip to the studios of sound > sculpturists Harry & Val Bertoia with an examination of Harry’s musical > career... > > as a companion to the magazine comes a 7” single featuring a solo piano > recording by Matthew Shipp, an offering from the guitar of Loren MazzaCane > Connors, and an infinite sampling from the minds of Harry & Val Bertoia... > > please write for more information on advertsing in or distribution of halana > halana is available from fine record and book stores near you or > for $5 ppd (checks payable to Chris Rice) from the following address: Sounds like an interesting magazine! Patrice. ------------------------------------------------------------------------------- From: Miles Egan Subject: Fushitsusha Date: 19 Mar 1996 18:52:50 -0800 (PST) It's awfully quiet around here. Kind of creepy actually. Whatever happened the good old days? Anway, I was flipping through Amoeba's mind-boggling avant music section the other day when I stumbled upon a new (to me) Fushitsusha 2CD on Blast First. What is this? Has it been mentioned here already when I wasn't paying attention? Is it like the PSF stuff or, say, Allegorical misunderstanding? The really fanatic or rich could also grab the new Haino box set for a mere $100. ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: AMM - Newfoundland Date: 20 Mar 1996 11:57:03 +0000 (GMT) Howdy, I recently ordered this CD from These Records and I was wondering if anyone would like to give me opinions on it while I'm waiting so I can get excited , or not, about its forthcoming arrival in my mailbox...also any comments on AMM welcome... jim ------------------------------------------------------------------------------- From: "Desmond K. Hill" Subject: _electric__ shocks Date: 20 Mar 1996 17:23:32 +0000 E C L E C T R I C I T Y is an electronic transmission, an e-zine if you will, to provide back-up info about the tracks we programme on radio* & play out at parties in & around the Newcastle upon Tyne area. The latest issue is now circulating & freely available to subscribers (just e-mail 'subscribe' in message body, to electric@anubis23.demon.co.uk). *__electric__ is an eclectic, eccentric new music show designed for armchair travellers, headphone beatniks and insomniacs. With a series of late evening programmes we use radio as a medium to convey mood music and sound works on the far flung horizons of experimentation. Our lite programming for the darker hours incorporates old and new school jazz, some killer drum'n'bass, new electronic pop, freaky textured sci-fi sounds, lazily languid atmospherics and all manner of incredibly strange music. It's said 'a little of what you fancy does you good,' so get tuned in. ------------------------------------------------------------------------------- From: shiurba@sfbayguardian.com (John Shiurba) Subject: Re: AMM - Newfoundland Date: 20 Mar 1996 18:28:38 GMT > I recently ordered this CD from These Records and I was wondering if >anyone would like to give me opinions on it while I'm waiting so I can >get excited in my opinion this is a great disc. it's the most recent recording released of the group as it stands now (rowe/prevost/tilbury) and perhaps the best, but as you've undoubtedly heard, they're all quite different. i am anxiously awaiting their u.s. appearances next month. have fun shiurba ------------------------------------------------------------------------------- From: "Desmond K. Hill" Subject: _electric__ shocks Date: 20 Mar 1996 17:21:20 +0000 E C L E C T R I C I T Y is an electronic transmission, an e-zine if you will, to provide back-up info about the tracks we programme on radio* & play out at parties in & around the Newcastle upon Tyne area. The latest issue is now circulating & freely available to subscribers (just e-mail 'subscribe' in message body, to electric@anubis23.demon.co.uk). *__electric__ is an eclectic, eccentric new music show designed for armchair travellers, headphone beatniks and insomniacs. With a series of late evening programmes we use radio as a medium to convey mood music and sound works on the far flung horizons of experimentation. Our lite programming for the darker hours incorporates old and new school jazz, some killer drum'n'bass, new electronic pop, freaky textured sci-fi sounds, lazily languid atmospherics and all manner of incredibly strange music. It's said 'a little of what you fancy does you good,' so get tuned in. ------------------------------------------------------------------------------- From: mason@netcom.com (Mason Jones) Subject: Re: Fushitsusha Date: 22 Mar 1996 10:04:17 -0800 (PST) Miles Egan said once upon a time: > Anway, I was flipping through Amoeba's mind-boggling avant music > section the other day when I stumbled upon a new (to me) Fushitsusha 2CD > on Blast First. What is this? Has it been mentioned here already when I > wasn't paying attention? Is it like the PSF stuff or, say, Allegorical > misunderstanding? The really fanatic or rich could also grab the new > Haino box set for a mere $100. I just got them both, actually. Okay, fine, so I'm a fanatic (I sure ain't rich). The "Purple Trap" 2CD Fushitsusha from Blast First is another in their mini-series of live things from the Disobey club, I believe (there's no info in the CD at all). They released that Merzbow thing previously, which was limited to 500. I think this Fushitsusha is similarly limited. Anyway, it rules. It's not quite as consistently brilliant as the truly legendary PSF double-live CD, and doesn't have the same atmosphere of total darkness; but the recording is very good, and the playing is excellent. Waves of guitar textures, with occasional vocals and simple, spare, strong bass and drum playing. The opening 23-minute track on the first CD is a joy, and the second track (18 minutes long) on the second CD which I'm listening to now is making me smile. I haven't listened to all of the box set yet. The Fushitsusha CD in it was a bit disappointing, though. The recording is iffy, and the pieces selected are unexpectedly limp in comparison to the "Purple Trap" CD. There's some truly mind-boggling vocalizing midway through, but aside from that and a few nice moments, it's so-so stuff. The Lost Aaraaf CD in the set, though, is marvelous and beautiful. Great vocals, eerie piano playing, and a thick, elegant sort of atmosphere to it. We'll see what the other two CDs reveal. <====================================================================> Mason Jones Charnel Music mason@netcom.com P.O. Box 170277, San Francisco, CA 94117-0277 Phone/fax (415) 664-1829 Web site: http://www.meer.net/~charnel/ <====================================================================> ------------------------------------------------------------------------------- From: P Rebelo Subject: Hazards of Noise Date: 22 Mar 1996 18:51:53 +0000 (GMT) Hazards of Noise is now online at: http://www.uea.ac.uk/~q513 We're open to any contributions and feedback. Greetings John and Pedro ------------------------------------------------------------------------------- From: markj@mtn.org (Mark Jung) Subject: post-classical list? Date: 24 Mar 1996 17:13:59 +0100 there was a mention, somewhere, recently about the post-classical list. is this an extant mailing list, or has it dried up and folded? my several attempts to connect with it have not been successful. anyone? Mark ------------------------------------------------------------------------------- From: intone@warwick.net Subject: Post-Classical List Date: 24 Mar 1996 18:27:09 -0500 "there was a mention, somewhere, recently about the post-classical list. is this an extant mailing list, or has it dried up and folded? my several attempts to connect with it have not been successful. anyone?" Majordomo@cs.uwp.edu with "subscribe post-classical" in the body. iT's a very low volume list. Paul Rafanello Running Free ------------------------------------------------------------------------------- From: "Duguid, Brian" Subject: Re: Haino / Fushitsusha Date: 25 Mar 1996 09:52:10 +0000 > The "Purple Trap" 2CD Fushitsusha from Blast First is another in their > mini-series of live things from the Disobey club, I believe (there's > no info in the CD at all). They released that Merzbow thing previously, > which was limited to 500. I think this Fushitsusha is similarly limited. Actually recorded at a Disobey "night-out" i.e. different venue, namely, the Canterbury Arms, Brixton, London, late last year. I was there, it was great, and the 2CD is an accurate reflection. The solo Haino live CD from Blast First "Saying I Love You I Continue To Curse Myself" is also well worth checking out. Incidentally, I have mailed XMission about the fact that the digest version of this list is still fucked up (incorrect reply-to addresses, screwy SmartList software etc) but still had no useful reply. Brian Duguid BD1@mm-croy.mottmac.com http://www.hyperreal.com/zines/est/ http://www.hyperreal.com/~duguid/ ------------------------------------------------------------------------------- From: "J. T. Barker" Subject: Re: AMM - Newfoundland Date: 27 Mar 1996 12:24:30 +0000 (GMT) On 20 Mar 1996, John Shiurba wrote: > > in my opinion this is a great disc. it's the most recent recording released > of the group as it stands now (rowe/prevost/tilbury) and perhaps the best, > but as you've undoubtedly heard, they're all quite different. i am anxiously > awaiting their u.s. appearances next month. > > > have fun > shiurba > > yeah, I got this the other day, and it's great. They take a while to settle down to doing interesting stuff after a few minutes of searching out the lay of the land , nice long passages of relaxing rumble and flunge! Anybody out there got any comments on Crawling With Tarts? I dig them much! jim ------------------------------------------------------------------------------- From: grievous@fishnet.net (grievous 2: the destruction of jared-syn) Subject: keiji haino related things. Date: 28 Mar 1996 02:51:15 GMT can anyone tell me about the Vajra or Nijiumu/Nijiumi (however it's spelled...) things keiji haino seems to be associated with? thanks [gr] ------------------------------------------------------------------------------- From: mason@netcom.com (Mason Jones) Subject: keiji haino related things. Date: 28 Mar 1996 14:25:07 -0800 (PST) > > can anyone tell me about the Vajra or Nijiumu/Nijiumi (however it's > spelled...) things keiji haino seems to be associated with? The Vajra project isn't really a Haino thing, it's another fellow whose name has slipped my mind. Damn. Anyway, there have been two releases, a 3" CD single and a regular CD single. Both are somewhat interesting, but rather less unusual than Haino's usual associations. The 3" CD single contains a track which was used for a television program theme song, and as such is relatively mainstream. Haino's contributions are background guitar texture. Nijiumu is confusing because there is a Haino CD by that title, and then there is the project which Haino was involved with. The project Nijiumu is from some time ago, but I'll have to refrain from commenting on it because I haven't listened to the CD for a little while and my memory of it isn't clear enough. I'll refresh it tonight... <====================================================================> Mason Jones Charnel Music mason@netcom.com P.O. Box 170277, San Francisco, CA 94117-0277 Phone/fax (415) 664-1829 Web site: http://www.meer.net/~charnel/ <====================================================================> ------------------------------------------------------------------------------- From: peter conheim Subject: Wet Gate performances upcoming Date: 29 Mar 1996 11:06:18 -0800 (PST) Wet Gate, the all-projector orchestra, will be performing at Artists' Television Access, 992 Valencia St., San Francisco, on Saturday 30 March as part of a "projectorama" evening devoted to the "human scopophilic impulse". Wet Gate uses 16mm film projectors as "instruments", looping found and original footage in a triptych collage while amplifying and reconstituting the optical soundtracks on the source film, in an attempt to gradually tear out the stitching between sound and image as normally experienced. Also appearing are Konrad Steiner's double-projected ARRANGEMENT FOR 19 SCENES, the late Paul Sharits' EPILEPTIC SEIZURE COMPARISON (!), 3-D by Mark Bain, Magic Lantern slides, and more. Should be a fun night. 8:30 PM start, $5. Wet Gate will also be appearing at Berkeley's Pacific Film Archive Tuesday 9 April as part of the global SoundCulture '96 festival for an evening entitled "Cinema For the Ear - Audio Art by Film and Video Artists". This show will feature almost exclusively AUDIO-ONLY works, plunging the audience into darkness... PC ------------------------------------------------------------------------------- From: RedDye6@aol.com Subject: More cds for sale Date: 30 Mar 1996 13:44:35 -0500 Prices include US 1st class post. Send e-mail to reserve. Mike $9 Die Form "L'Ame Electrique" $8 Free Kitten "Nice Ass" Sam Black Church "Let In Life" Peter Scherer "Very Neon Pet" $7 Ass Ponys "Electric Rock Music" Jello Biafra with NoMeansNo "The Sky is Falling and I Want My Mommy" Handful of Snowdrops "Mort En Direct" $6 SK-70 "Nananoxynol-9" CD-EP $5 Tel Basta "Laid Up in Lavender" (Does not have front inner sleeve) ------------------------------------------------------------------------------- From: Christopher Miller Subject: WTB: This Heat/Merzbow Date: 30 Mar 1996 22:28:25 -0500 (EST) Hello. I want to buy your This Heat, Camberwell Now, Charles Hayward and Merzbow records or CDs! Please, somebody offer to sell or trade any titles. Howie Stelzer evil@ddi.digital.net