Spacecraft paradoxe rar
The most minimal piece I know had two notes in it: a B and the F above it, and above them the little bird's-eye symbol that composers use to represent "hold. I encountered it at an art space in Providence, Rhode Island: there was a photocopy of the score, and a cheap Casio with the two notes in question being held down by C clamps.
I like this piece a lot. It's "minimal" in the sense that it can be represented in a page or two of dots, but it has a richness to it not only in that it gives the performers a boatload of freedom within those 53 measures, but that as those measures progress, they prescribe half a dozen episodes within the piece of distinct rhythmic and harmonic textures-- as you can see if you pick up the needle on this record and drop it elsewhere.
I got a "residency" no money changed hands, but I got to use an important art space to do this once with a bunch of friends from the local free jazz and noise communities, and initially the jazzers thought it was dumb, but once they heard the variations, they got really into it.
And then we played "Here Come the Warm Jets" as an encore. Then we added Roger Miller from Mission of Burma and did it again at a major rock club. That was big fun! Miller played a toy piano. Yeah, its one of those pieces that's easy to do,and is a popular modern composition piece that can be fucked over by Rock type bands I fact I may have a go.
The other popular and inclusive piece for rock groups is the ambient noise misterwerk "" Ligeti's Ricercata is in twelve movements--the first being a single tone across the piano , with one added with each successive movement.
Unlike Riley's "In C" and others, it is actually extremely difficult to play however. Not a "sonoristic" piece, strictly speaking, but it's got a lot in common with that stuff--basically, what Rothko's multiforms would sound like if they were The first piece sends the listener in the third dimension without preamble. It evokes Gong, Clearlight, thanks to galactic synthe work. The music is not structured, it's purely experimental. The dark mood may also evoke Heldon.
Ivan Coaquette guitar interventions are quite rare but qualitative: he has a unique cosmic sound which sounds like no other. The last piece bonus "Pays De Glace" is a fascinating experimental hypnotic repetitive tune which is so weird and cerebral that it may be anguishing. The sound quality is average on this record, suffering from a muffled sound. One of the most acid, dark and atypical record from the whole progressive.
Mr MEV - Frederic Rzewski uses an amplified glass plate to which he attaches stretched and coiled springs to produce some of the odd sounds present on this 42 minute album. Alvin Curran MEV is also on board here, doing strange things like using contact mikes to amplify a large African thumb piano and bits of what can only be described as 'junk'. Third member Richard Teitelbaum plays Moog using - and yes I mean this - his toes, heartbeat and brainwaves. What the??!!
There's quite a lot of treated guitar on the second half of the album which is quite nice and there's some superb keyboard reverb weirdness, but needless to say, this won't appeal to many. Fans of 'Atem' to 'Rubycon' by Tangerine Dream and the more experimental listeners of prog may get a lot out of this. There's not much in the way of tunes that you'll be whistling afterwards though, but it's still a pretty good effort. But, unlike most of the spacey electronic albums, this album sounds less like the atmosphere of space and more like the congested atmosphere from inside a spacecraft looking outwards toward the stars and planets.
This sound is achieved from the electronics sounding very mechanical but within the context of a spacey atmosphere, whereas most prog electronic groups seem to do either one or the other. The addition of the manipulated guitar gives this album a strong krautrock flavor as well, and I'm not sure if I'm correct but the guitar playing sounds to be mostly improvised.
It's all done very well, but it does sound a bit German to me.
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