Necessary Adjustments: Thirty Days, Thirty-Odd Reassessments...
Hello All,
A new, month-long series begins today. As our Internet service has been interrupted of late by heavy street construction throughout our neighborhood, I'll add explanatory infolater. (See below.) For now, dive in, and make your own connections...
Necessary Adjustments #1:
Asakawa Maki - Black (adjusted) (1991)
--
DNA - DNA on DNA (adjusted) (comp., 2004)
--
Kuniharu Akiyama - Tape Works I (adjusted) (comp., 2007)
--
Iannis Xenakis - Medea/Nuits/Knephas/Serment/A Colone (aka Choral Music) (adjusted) (comp., 1998)
---
What's the reason for this outpouring of egocentric largesse? Simple. It's my birthday month, and the 35th anniversary of my first forays into multitrack recording. (How time curdles...) The very first tapes were made at Valdosta State University's long-closed Electronic Music Lab in 1975 (some featuring an eighteen-year-old Don Fleming on already blazing guitar), and I began making dubbed-out production carts (sample-loading precursors from the pre-digital broadcast era) to promote special programs at WVVS-FM in Valdosta, GA by 1977. (Listening to Super Ape the year before really changed everything.) By the next year, beginning in April, I started making dub versions of albums I considered underdone or otherwise insufficient in attack or tone. I didn't have much to work with at the station (we weren't allowed to smuggle in recordings of our own), but I used the available resources at my disposal (cart machines, reel-to-reel decks, turntables, fixed microphones, and very simple mixing boards) to re-posit recordings by a reasonably odd assortment of artists: Television, Japan, Giorgio Moroder, Richard Hell and the Voidoids, Ramones, even Public Image Ltd., whose recordings I loved but wished to further deform. And it's in this spirit of semi-reverent terrorism that I offer thirty days of similarly-themed detournment. Download as many as you care to store and join me later in the VSC student union for a silent 16-mm screening of Psycho...
That's it for the initial installment.
Later,
TS
A new, month-long series begins today. As our Internet service has been interrupted of late by heavy street construction throughout our neighborhood, I'll add explanatory info
Necessary Adjustments #1:
Asakawa Maki - Black (adjusted) (1991)
--
DNA - DNA on DNA (adjusted) (comp., 2004)
--
Kuniharu Akiyama - Tape Works I (adjusted) (comp., 2007)
--
Iannis Xenakis - Medea/Nuits/Knephas/Serment/A Colone (aka Choral Music) (adjusted) (comp., 1998)
---
What's the reason for this outpouring of egocentric largesse? Simple. It's my birthday month, and the 35th anniversary of my first forays into multitrack recording. (How time curdles...) The very first tapes were made at Valdosta State University's long-closed Electronic Music Lab in 1975 (some featuring an eighteen-year-old Don Fleming on already blazing guitar), and I began making dubbed-out production carts (sample-loading precursors from the pre-digital broadcast era) to promote special programs at WVVS-FM in Valdosta, GA by 1977. (Listening to Super Ape the year before really changed everything.) By the next year, beginning in April, I started making dub versions of albums I considered underdone or otherwise insufficient in attack or tone. I didn't have much to work with at the station (we weren't allowed to smuggle in recordings of our own), but I used the available resources at my disposal (cart machines, reel-to-reel decks, turntables, fixed microphones, and very simple mixing boards) to re-posit recordings by a reasonably odd assortment of artists: Television, Japan, Giorgio Moroder, Richard Hell and the Voidoids, Ramones, even Public Image Ltd., whose recordings I loved but wished to further deform. And it's in this spirit of semi-reverent terrorism that I offer thirty days of similarly-themed detournment. Download as many as you care to store and join me later in the VSC student union for a silent 16-mm screening of Psycho...
That's it for the initial installment.
Later,
TS
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