myspace
The World of Arthur Russell [2003]
(Part. 1) (Part. 2)
World of Echo [1986]
(Part. 1) (Part. 2)
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You Can Make Me Feel Bad
Mostrando entradas con la etiqueta 1986. Mostrar todas las entradas
Mostrando entradas con la etiqueta 1986. Mostrar todas las entradas
martes, agosto 19, 2008
Arthur Russell
myspace
The World of Arthur Russell [2003]
(Part. 1) (Part. 2)
World of Echo [1986]
(Part. 1) (Part. 2)
+++++++++++++
You Can Make Me Feel Bad
miércoles, julio 30, 2008
Glenn Branca x 3
Branca's next symphony was "The Peak Of The Sacred", a longer and more ambitious piece than the first. Branca's desire to work with a new sound he had developed caused him to design and build most of the instruments for the piece. Calling them "mallet guitars" he had created a dulcimer like instrument which when played resonated with a sustained fluid timbre.
Although the instruments used guitar strings and guitar pickups the only actual conventional guitar used in the piece was a bass. Luckily Branca's musicians were willing to learn how to play these "guitars" which sat on tables and were played with sticks. This was also one of the few pieces in which Branca also used tape electronics. Although the piece had a rich resonant sound it was difficult to capture in a recording, a problem that Branca has had throughout his career. A studio recording was never made and the only document that exists is a crude live recording. This had also been the case with Symphony No. 1. Although Branca's audience had grown quite large by this time record labels saw no commercial potential for this sort of thing. And the cost of professionally recording these larger pieces would have been beyond the scope of what a small label could hope to recoup. By this time the music could no longer be seen as rock at the same time that it couldn't be embraced as classical music. And after having been rejected by Cage even "new music" was no longer an entirely safe haven. Luckily it happened that the music did appeal to modern dancers and in 1982 Branca got his first major commission from the Twyla Tharp Co. This would be one of many in a string of commissions from dance and later experimental theater companies.
Throughout these early years Glenn had never received a single grant or even a credit card and all of the work was done with little or no money. His reliance on cheap used guitars had been a matter of necessity not choice.
Although the instruments used guitar strings and guitar pickups the only actual conventional guitar used in the piece was a bass. Luckily Branca's musicians were willing to learn how to play these "guitars" which sat on tables and were played with sticks. This was also one of the few pieces in which Branca also used tape electronics. Although the piece had a rich resonant sound it was difficult to capture in a recording, a problem that Branca has had throughout his career. A studio recording was never made and the only document that exists is a crude live recording. This had also been the case with Symphony No. 1. Although Branca's audience had grown quite large by this time record labels saw no commercial potential for this sort of thing. And the cost of professionally recording these larger pieces would have been beyond the scope of what a small label could hope to recoup. By this time the music could no longer be seen as rock at the same time that it couldn't be embraced as classical music. And after having been rejected by Cage even "new music" was no longer an entirely safe haven. Luckily it happened that the music did appeal to modern dancers and in 1982 Branca got his first major commission from the Twyla Tharp Co. This would be one of many in a string of commissions from dance and later experimental theater companies.
Throughout these early years Glenn had never received a single grant or even a credit card and all of the work was done with little or no money. His reliance on cheap used guitars had been a matter of necessity not choice.
By the way the pronunciation of Glenn's name is "Brang-ka" not "Bron-ka".
MySpace.com - Glenn Branca
Glenn Branca: The official web site
Symphony No. 2 (The Peak of the Sacred)
Symphony No. 3 (Gloria)
Music for the first 127 intervals of the harmonic series [1983]
Symphony No. 5 (Describing Planes of an Expanding Hypersphere) [1986]
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Glenn Branca - Symphony No. 5: Sixth Movement
viernes, febrero 29, 2008
Electrodomesticos + El Resplandor / Carlos Cabezas
Chilean band of the old school, his ultramodern offer in ' 80s, difficult receptive digestion, but extremely valued with posteriority, new materials.
Domestic appliances I saturate of sharp sheens in the musical mentioned environment, inside the sound box that appeases the guitar, he found in the way the surrounding sonorities, working from the keyboards, it is the most precise way of speaking with the experimentation.
The discs that I am sharing with you are full of suggestive ideas, you sink because of the feeling, the human condition of meat that disarms the social knots, conintesidades exploiting energy, and moribund collapses of freedom in the calm room speaker, mechanical solution does not exist, while they join grain after grain the new melody derock to be left to go.
Domestic appliances I saturate of sharp sheens in the musical mentioned environment, inside the sound box that appeases the guitar, he found in the way the surrounding sonorities, working from the keyboards, it is the most precise way of speaking with the experimentation.
The discs that I am sharing with you are full of suggestive ideas, you sink because of the feeling, the human condition of meat that disarms the social knots, conintesidades exploiting energy, and moribund collapses of freedom in the calm room speaker, mechanical solution does not exist, while they join grain after grain the new melody derock to be left to go.
Banda chilena de la vieja escuela, su propuesta vanguardista en los '80s, difícil digestión receptiva, pero sumamente valorada con posterioridad, nuevos materiales.
Electrodomésticos saturo de brillos agudos en el ambiente musical mencionado, dentro la caja de resonancia que aplaca la guitarra, encontró en el camino las sonoridades envolventes, trabajando desde los teclados, es la forma más precisa de hablar con la experimentación.
Los discos que estoy compartiendo con ustedes están llenos de ideas sugestivas, naufragas a causa del sentimiento, la humana condición de carne que desarma los nudos sociales, con intesidades eruptando energía, y moribundos colapsos de libertad en la tranquila habitación parlante, no existe solución mecánica, mientras juntan grano tras grano la nueva melodía de rock para dejarse llevar.
Los discos que estoy compartiendo con ustedes están llenos de ideas sugestivas, naufragas a causa del sentimiento, la humana condición de carne que desarma los nudos sociales, con intesidades eruptando energía, y moribundos colapsos de libertad en la tranquila habitación parlante, no existe solución mecánica, mientras juntan grano tras grano la nueva melodía de rock para dejarse llevar.
jueves, noviembre 01, 2007
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