Saturday, June 30, 2007
Marion und Michael - Teil 1
(1970?, Rena Records Rena 6422, LP)
You're just gonna have to trust us on this one...
(Click the above image for a larger version.)
101 Siete A
01 Jardin des Modes
04 Vino Blanco
201 Siete B
05 Mexican Moonlight
06 Remember Susie
07 Dance of Venus
08 Door to Paradise
This copy of the M&M album (extracted from Rudolf Eb.er's private archive, with thanks) was packaged in an orange stock Rena Records sleeve with a black, 24-point font and no artwork or accompanying images. It was titled Folge 1, but its matrix number is identical to that of Teil 1...
(73.9 MB, ripped from the original vinyl release at 320 kbps, and archived to zip. The sleeve warning: "Abgabe an Jugend Liche Verboten!")
Get it here.
Friday, June 29, 2007
The Glass Orchestra - The Glass Orchestra
(1978, Music Gallery Editions WRCI 1551 LP, out of print.)
From the Orchestra's website:
The Glass Orchestra, founded in 1977, is the only ensemble in the world whose musicians create and perform contemporary compositions entirely with glass instruments. Drawing on a wide range of musical influences and performance techniques, the musicians explore the unique sonic properties of glass, creating an ethereal, percussive soundscape with a vast array of glass instruments, both "found" and custom made. The skill of the members of the Orchestra in designing and making glass instruments has earned them a place in the New Grove Dictionary of Musical Instruments.
The Glass Orchestra has appeared in major cities across Canada and has toured the United States from New York to Honolulu, and Europe from London to Berlin. In 1989, the ensemble completed an important seven-week tour of Asia, which took them to Taiwan, Macau, Kuala Lumpur, Bangkok, Singapore, Japan and the Shenzeng and Zuhai International Arts Festivals in China.
Because of the extremes of its dynamic and frequency ranges, glass music has always proved a challenge to record. The Glass Orchestra has released four commercial recordings, the most recent titled "HUMAN". Through the use of the most sophisticated equipment, listeners are provided with a faithful reproduction of the delicacy and transparency of the timbre of glass musical instruments.
The Glass Orchestra: Paul Hodge, John Kuipers, V. Eric Cadesky, Miguel Frasconi, and Marvin Green.
(103 MB, ripped from the original vinyl at 320 kbps, archived to zip.)
Get it here.
Thursday, June 28, 2007
Use of Race in School Placement Curbed: Justices Reject Diversity Plans in Two Districts
Nothing like hacking the tendons of Brown v. Board of Education to energize the base...
Reaction to High Court's School Ruling
What's so galling is that polling suggests the nation is leaning progressive/liberal on a range of issues. (Its youngest citizens of voting age lead the way.) Given the dissolute condition of our republic, and the desire of so many of us to drag America - shrieking and stabbing, if need be - back to some sort of "right track," this fetid ruling was only to be expected. Fuck...
If you're not pissed off about this latest finding, you deserve Nancy Grace crawling up your ass 24/7. (That is, if she's not already trolling for kidnapped Cauc teens in your lesser omentum.) There's no one to blame for this abominable ruling, for this foul, insipid Court, but ourselves. As a nation, we re-elected Shitbag, and now the offal is falling hard and fast around our heads...
Rather less mortifying, but still astoundingly shortsighted, the last of today's Court rulings:
Justices End 96-Year-Old Ban on Price Floors
From the NY Times:
Striking down an antitrust rule nearly a century old, the Supreme Court ruled today that it is no longer automatically unlawful for manufacturers and distributors to agree on setting minimum retail prices.
The decision will give producers significantly more leeway, though not unlimited power, to dictate retail prices and to restrict the flexibility of discounters.
Five justices said the new rule could, in some instances, lead to more competition and better service.
But four dissenting justices agreed with the submission of 37 states and consumer groups that the abandonment of the old rule would lead to significantly higher prices and less competition for consumer and other goods.
Chris, Kelly, Mark, Ben, Graham, Rat and yours truly performed for 45 minutes, and although the images below don't begin to represent the kinetic slash and gouge of the gig, if you glue your eyelids shut and feed your knuckles to nematodes, you may well acquire a sense of it all...
(Graham's head diffuses the glare of the Death Star, while Tom's arse is out there alone.)
(The video revealed pretty much the same image for the extent of the performance; here, a phone cam flash disrupts the pattern.)
(Graham reaches for a piece of gear; the audience responds.)
Tuesday, June 26, 2007
(If you're dizzy, see previous post.)
The camera was placed on the floor (I forgot to ask for a volunteer operator), and the resultant static tableaux drags... The strings of Christmas lights on the ceiling of the space offered agreeable subterranean ambiance, but failed to provide sufficient illumination for filming... We got bupkis.
Despite documentary paucities, the post-perf booty party section (all of three minutes' duration) conveys something of the exhilaration of the moment, and is thus a must-squint.
(The parties convene, merge, and sweat. Perfection.)
(The camera is retrieved from the floor of The Bank.)
(Ms. Ptak walked over to me and unbuttoned my shirt to my navel. Gotta love that Baltimore hospitality.)
(Carly's keys, glued to her hips. I find this image very sexy...)
(DJ Dogdick's mixer. A beacon in the morass.)
(Seated attendees? A Bosch easel? An octopus in a periwig? Dilute my colors of confusion...)
Monday, June 25, 2007
Skipping ahead to Philadelphia... The audio is haphazard (owing to the necessary vicissitudes of filming at close range within a chaotic, occasionally violent pit), but the images are cool. Or, hot. Or whatever temperature you wish to assign them. One can just make out Andrew Barranca on the right (our stage left); other Shavelings included Chris Grier, Graham Moore, Ben Wolcott, Rat Bastard, and yours truly. Many thanks to Wendy Hyatt for shooting the footage, being elbowed by many of her fellow concert goers, and dodging the beer bottles launched by the aggressive Pittsburgh Steelers fan with the Insane Clown Posse togs (and obviously microscopic pee-pee).
(Rat's purple Chuck Taylors, the footwear of Miamian royalty...)
(Andrew "Gaybomb" Barranca is so bloody thin he can fit into nearly any off-stage cranny. Above, he occupies a three-inch wide space while sliding a double-sided magnetic card through the Califone reader. And Rat? He reasonably waits for the next pitcher of beer to be hurled aloft...)
(Ben, a head and an arm, and TS.)
(Graham can be seen poking his head above the lager which foamed and crested in the background... Wendy's compositions exhibited a welcome disregard for narrative concert framing. She seemed to have been divining primordial, darkly spiritual motivations, inchoate subsets of demonic processes.... Or maybe she was just waiting for one of us to take his shirt off.)
(Chris Grier lurks in half-shadows, to the rear of stage right. The tour really took off as soon as he and Gaybomb joined us. Performing and recording as a quartet was a helluva treat, but running with the collective is exponentially more complicated. Challenges to one's primacy are necessary.)
(Ben, dialing in and shredding the moment...)
(The terminus of the above sequence...)
Apologies for losing video both in Chicago and Detroit. C'est la guerre. At the Nihilist loft, we suffered a camera malfunction, and at MoCAD, well, the interior of the space was too fucking dim for images to register.
(It's not a dig at the museum; rather, it's a rebuke of ourselves! We should have left a few lights on.)
Hope everyone is well.
Sunday, June 24, 2007
It was the most successful session date of the tour - fifteen minutes in and done.
Corresponding video has been posted at our MySpace page; a second segment may be found within the YouTube hive.
(The film's first sequence features an unemployed, uninsured gent named Adam repairing an injury to his person...)
Technically it's rather mid-level, on a par with Ladybugs, The Omega Code, or a Tae Bo cassette.
It matters not, of course. The film is a lacerating indictment of our "health care system," and a rallying cry for participatory democracy. Excellent from start to final fade...
A.O. Scott wrote this critique of Moore's latest, much-needed polemic in Thursday's New York Times.
Variety's Alissa Simon filed this review of Sicko from Cannes in mid-May.
(The title frame.)
Naturally, CNN bumped Mr. Moore from his scheduled Wednesday night slot on Larry King's program to accommodate the recently homeless Paris Hilton interview... Priorities are in order.
Saturday, June 23, 2007
Elyse Perez' mother, Jane Seiden Bond, died earlier today, around 4:30 in the afternoon. She was only 52... The memorial service is scheduled for Monday; the family will sit shivah through Tuesday.
I never knew Mrs. Bond very well, but I was at her home often enough, and we spoke at length on occasion. Considering who her daughter was, she was, shall we say, attuned.
She probably just thought me a perv for spending all that time under her roof with Elyse (who is and shall ever be 22 years my junior), but she never voiced a concern. Groans of exasperation, no doubt, but never a harsh word. "Strange," to paraphrase Lester Bangs, "knows reptilian strange."
Another sad day.
Friday, June 22, 2007
Fringe Science Yields 'Gay Bombs' and Psychic Teleportation
The story has been playing out for several weeks; details continue to accrue.
Thursday, June 21, 2007
(1997, Menlo Park Recordings 7005 CD/LP, all gone.)
One of the first great successes of Marc Weitz' consistently sterling Menlo Park imprint.
A superb pairing.
I was tapped to master the album, which was recorded live-to-cassette at New York's sadly scuppered Cooler. In retrospect it sounds rather suffused with hiss, but we didn't have access to the digital scrubs and poultices prevalent today. To be honest, I rather prefer the noise...
Transparency notice: As many of you likely know, I've recorded intermittently for Menlo Park since 1995.
Keiji Haino - guitar
Loren MazzaCane Connors - guitar
I. Taken from soundcheck
II. Taken from performance
Recorded by Bruce Lee Gallanter at The Cooler, NYC, April 11, 1995
Mastered by Tom Smith at The Studio, Miami, June 1996
Released by Menlo Park Recordings 1997
(64.1 MB, ripped at 320 kbps.)
Get it here.
Tuesday, June 19, 2007
My head is spinning... Spent nearly five hours in the rec center today, half working out with my friend Pam (who insists on introducing me to her pals as "Tom, the aging rock star," or "Tom, the guy I told you about who's in a band with Andrew W.K.," neither of which would likely pass deliberative muster at The Hague), the other half grinding out another ten-mile elliptical slog. My (cough) fitness goals are set, and I'm hewing to 'em. Frankly, I'm terrified of wasting away - my dad's decline has been precipitous, and although I've not been diagnosed as having a genetic disposition for Alzheimer's, who knows? I want to steel myself against EVERYTHING. All the fears... And, yeah, vanity, solipsism, self-absorption, narcissism, still wanting to get laid when I'm on the road, etc. It'll take six months or so to accomplish what I want to do, but I'll do it.
(The goal: one thigh the size of Kansas - the band, not the state - and the other the size of an immodest gesture.)
Dad's perception of Father's Day was likely intermittent at best, a series of gauzy recollections and softly pulsing foci. It's dreadful of me to wish ill of others, but I fucking pray that Bush, Cheney, Dobson, Robertson, and the rest of the daft cocksuckers who stand in the way of research fall prey to this and/or the other related maladies themselves. It's the only fitting poetic coup de grace.*
Finally heard from my son! He made time from his non-stop surge duties to give me a ring. Best present this padre has ever received... As usual, the stories spun stopped my heart cold. Ambushes, firefights, IEDs, rounds sailing inches over Evan's head, etc. I'd rather he be elsewhere...
Great time with Graham, Bobbie, and their retinue on Saturday. We enjoyed a excellent dinner, then hit the bars. Left my camera at Blossoming Noise HQ, but as soon as I've retrieved it I'll post pix. Friday evening we recorded a few hours of new TLASILA material; Graham played the Serge Modular synth system (from the late 70s) - an awesome piece of hardware. With luck we'll be lugging it to NYC for the forthcoming album sessions.
Elyse Perez's mom is in very poor health at present - she's in hospice in Fort Lauderdale. If you are a friend to EP (and who isn't?), send a ray of hope southward. Her family could definitely use it.
That's enough for tonight.
*(On Wednesday, Bush vetoed the latest embryonic stem cell bill... Motherfucker.)
Friday, June 15, 2007
Heading up to Atlanta to belatedly celebrate Graham Moore's 25th birthday (it fell on the 10th, but he begged off partying until today to concentrate on his Blossoming Noise obligations); after Father's Day I'll resume posting.
Thursday, June 14, 2007
(1997, Menlo Park Recordings MPK 7006 LP; all gone.)
Odi M'Khan - drums, voice
Rikkeh Suhtn - guitar, voice
01 Po' Po' Pee Poo (17:11)
02 Po' Po' Pee Poo (version) (17:24)
Recorded, mixed and produced by Tom Smith, Chicago, January 1996.
(79.2 MB, ripped from the original vinyl at 320 kbps and compressed to a zip file.)
Get it here.
Wednesday, June 13, 2007
Funky Terrorist - 5! 5! 5!
(1999, Dual Plover UQF-998, CD3; out of print.)
From the press release:
THE POWER OF POO POP
That's right, I said POO POP! What the hell is it, you ask? Well, that's best left to nu-skool girls on the block Funky Terrorist to explain. And who the hell is Funky Terrorist? They are part Phoebe Jeebe: former member of Sydney based experimental bass/synth combo Alternahunk and electronic group The Family with ties to Clan Analogue. They are second part Naoko: previously singing in Japanese psych-popsters Tiger Mad & The Strange Classics and working as a session muso before arriving in Australia three years ago to embrace our underground avant-garde scene. They have just released their debut EP 555 (funnily enough with five tracks on there) which comes in the form of 3" CD lovingly caressed by an oblong manga-ish booklet that spits in the eye of convention and revolutionises packaging aesthetics as we know it. Well, it's fun to play with...and it is released by our own Chef Boy-Ar-Dee of experimental/noise rock Lucas Abela on the ever surprising Dual Plover label, who is also planning on releasing a follow up to the excellent Rebirth Of Fool compilation. With a knack for a happy sugar-coated pop hook coupled with a warm affection for the wacky and the left-of-centre, they're one of a kind and you have no choice but to love them. They are Funky Terrorist.
I loved this EP from the first second in. You might be able to find a used copy if you're lucky!
Audio Arts - Accent for a Start
(1987, N Media W NMW 004 AA 006 LP, long out of print.)
Recorded, edited and produced by William Furlong and Michael Archer in Newcastle-Upon-Tyne and London.
(Apologies for the puny thumbnail; I ripped the album from Rudolf Eb.er's personal archive but, alas, there was no scanner at the Schmipfluch compound at the time...)
This LP by Audio Arts arises out of a series of voice recordings made on the streets in Newcastle-upon-Tyne. In combination with a number of environmental sounds from the same location, most notably the interior of the Tyne Bridge's South Tower, these recordings have undergone various musical and rhythmic treatments. Passers by were stopped at random in Newcastle's city centre and asked questions about their attitudes towards living in the North East and their perceptions of cultural, economic and social differences which might exist between the North and the South. Subsequently, key words, sentences and phrases were removed and orchestrated, in order to focus on and express specific issues and concerns within the material. As well as what is said, it is how things are said - that is, accent, humour and intonation - which has given rise to particular tracks on the LP.
The Record explores the North/South divide through humour, wit, irony, pleasure, confrontation, anger and obsession. The material revolves around voice recordings gathered out on the streets in Newcastle Upon Tyne then orchestrated, and combined with various treatments and ambient sounds from the area. Tracks range from the austere and audially confrontational such as "Canny Place" and "Everything You Could Possibly Want" to the dance and disco rhythms of the weekend's celebratory release heard in "Uniform" and "Song for Edwina".
(88 MB, ripped at 320 kbps from the original vinyl release and compressed to a zip file.)
Get it here.
Tuesday, June 12, 2007
TLASILA - 9 for 502: Sweet Spot Hybrids
Assembled from elements extracted from the Essential Kenny G compilation and Shellac's Excellent Italian Greyhound...
(Nine tracks, 24.83 MB unpacked, ripped @ 320.)
Get it here.
Thanks for reading (or at least pilfering from) the blog for the last four years!
Monday, June 11, 2007
(From Idealism and Textualism: "If you just spring the question 'what is the ultimate nature of reality?' on somebody, he won't know where to begin. One needs a sense of what some possible answers might be..." The solution, oddly enough, has not yet been found either in emo or within the hallowed alcoves of the newly launched Creation Museum. I think the answer's definitely hidden in Paris, or off the Egyptian coast. Or, maybe Ossining.)
Of all contemporary philosophers, his work has had the most profound impact on my tiny reptilian brain... I wouldn't have pursued a three-year post-grad dither and slide through Ethics if I hadn't been reading a lecture of Rorty's one afternoon at the university library. I was so absorbed in the essay (extracted from his brilliant Consequences of Pragmatism) that upon leaving I walked across the campus into the foyer of the office of the acting head of the philosophy department... I was signed up for the program by the end of the week.
There was but a single Broadcast Ethics class offered in my Mass Media BFA program, and I was pretty pissed about it. With the rise and influence of doggerel nets (Fox, etc.) and the Bush admin's astute but nonetheless appalling preference for simulacra and sizzle over dull, old-world truth, I felt the need to be washed in the blood of the Ethics martyrs. I'd always been a linguistics/semiotics/phenomenology buff anyhow, so the transition from the Avid machines to full-on nerddom was easy... Ultimately, it was a wonderful slog.
(As for VSU, too bad their department's primary focus is on religious studies, but, y'know, the goddamned school's in the Deep South... What can one do?)
The dread trifecta of my son's deployment to Iraq, the impact of the ever-worsening state of my father's health on our family, and last October's shocking and ultimately senseless death of Gerard Klauder (a Chicago/South Florida freak-scene legend and my business partner in the Smack Shire label) pretty much stilled my university aspirations, at least for the foreseeable future...
But, Hell, without Professor Rorty, I would, er, probably be making a shitload of cash in a corporate media gig, married to the hot Russian gal, and sweating the 9-to-5... Best detour of my life!
Merci, good sir, and rest in peace.
(Doubtless all extant copies are similarly well-thumbed...)
By the way, this was TLASILA Blog's 500th post. No threat as yet to the Daily Kos, but we're making headway. Professor Rorty's obit fails the litmus test for gaiety, so I'll devise some sort of celebratory, super-secret, ultra-obscure upload for next time...
Saturday, June 09, 2007
Here's a favorite album; it's been a source of inspiration for years.
Anna Lockwood - The Glass World of Anna Lockwood
(1970, Tangent Records UK LP, TGS 104)
From the text accompanying the 1997 reissue:
Note: on the original 1970 Tangent recording, the composer was billed as Anna Lockwood.
The Glass World of Annea Lockwood is the re-issue of the seminal work of Annea Lockwood and a record of her early explorations of natural and found sounds. The Glass World originated in 1966 as a live, two hour performance work entitled, The Glass Concert, and was presented in over 70 concerts in England Scandinavia and Australasia, the final performance being at WBAI's Free Music Store in New York City in 1973. Many types, shapes and sizes of glass are used, singly or combined and are manipulated in a variety of ways so as to extract from them their latent sounds. The glass used has not been specifically prepared or shaped as with musical instruments; pieces of glass have been used which are not normally seen - fragments collected from factory floors, such as small glass discs which are rubbed together, and sea-green glass rocks which are knocked against each other; a thin glass rod is drawn across the edge of a large suspended pane, as a bow across a violin string; another pane, struck lightly like a gong is then raised and lowered in a water-filled tank, sending undulating reverberations through the glass and the water; the 'breathing machine' consists of two interlocking laboratory jars, one containing water and one air.
Lockwood has been known for the last thirty years for her sensitive use of environmental and natural/found sounds that explore the music of the world around us. Out of print for many years, this recording documents her investigations into sounds drawn from glass. Using common objects and industrial castoffs, she unobtrusively allows them to sing their songs in an aesthetic with direct ties to post-Cageian art movements such as Fluxus.
Lockwood wrote at that time of these concerts, "I am working with sound-as-energy, the concept and experience of sound as a natural source of energy and nourishment, there to be tapped once you are aware of its nature and effect. With The Glass Concerts (1967-73), I began trying to eliminate what I feel are screens between the sound and the person receiving it, i.e. composition, by means of which sound is manipulated through a structure. The structure reflects the mind of the composer, inevitably, so that you receive the sound indirectly, channeled, super-structured. Sounds have their own innate and complex structures and energies. I don's see them as raw material.
The Glass Concerts were full-evening audio-visual performances in which all sounds were made with glass, amplified; some were presented in complete darkness, to focus the ears, some with light projected onto glass structures such as curtains of glass tubing, or a very large mobile. The focus of the work being on the spectral structure of each sound, only one sound source was heard at a time. For me this was a shift from creating scores to observing sounds closely, as if they were autonomous beings with their own life, their own behavior. True, I initiated the resonance in the glass by touching it, but what followed was often unpredictable. I would move the glass until it started to sound, not pre-determining which sounds to make but letting them happen, until I came to feel that the glass played me, rather than I it. The Glass Concerts were an intensive ear training course for me, an extended lesson taught me by sound itself, and they turned my music in a radically different direction, just as I'd intended."
This version was ripped from the Tangent Records vinyl release.
(320 kbps, 99.8 MB.)
(Ms. Lockwood, with surrounding music aflame. Click above for a larger image...)
Get it here.