Mostrando entradas con la etiqueta No Wave. Mostrar todas las entradas
Mostrando entradas con la etiqueta No Wave. Mostrar todas las entradas

sábado, octubre 11, 2008

Rhys Chatham














Rhys Chatham (born September 19, 1952, New York City) is an American composer, guitarist, and trumpet player, primarily active in avant-garde and minimalist music. He is best known for his "guitar orchestra" compositions. He has lived in France since 1987.

Early Years

Chatham began his musical career as a piano tuner for avant-garde pioneers La Monte Young and Glenn Gould. He soon studied under electronic music pioneer Morton Subotnick and minimalist icon Tony Conrad; Chatham and Conrad played together in an early ensemble. In 1971, while still in his teens, Chatham became the first music director at the experimental art space The Kitchen in lower Manhattan. His early works, such as Two Gongs (1971) owed a significant debt to Young and other minimalists.

His concert productions included experimenters Maryanne Amacher, Robert Ashley, Philip Glass, Meredith Monk, Pauline Oliveros, Steve Reich, and early alternative rockers such as Brian Eno, Robert Fripp, John Lurie, and Fred Frith. He has worked closely with visual artist/musician Robert Longo, particularly in the 1980s, and on an experimental opera called XS: The Opera Opus (1984) with the visual artist Joseph Nechvatal.

Compositions from the late 1970s and early 1980s

By 1977, Chatham's music was heavily influenced by punk rock, having seen an early Ramones concert. He was particularly intrigued by and influential upon the group of artists music critics would label No Wave in 1978. That year, he began performing Guitar Trio around downtown Manhattan with an ensemble that included Branca, as well as Nina Canal of Ut. Some of this work parallels multi tracked and unison tuned guitar directions developed by Lou Reed and Chuck Hammer. During this period, he wrote several works for large guitar ensembles, including Drastic Classicism, a collaboration with dancer Karole Armitage. Drastic Classicism was first released in 1982 on the compilation New Music from Antarctica, put together by Kit Fitzgerald, John Sanborn and Peter Laurence Gordon. It was also included on the 1987 album that also included his 1982 composition Die Donnergötter (German for "The Thundergods").

Members of the New York City noise rock band Band of Susans began their careers in Chatham's ensembles; they later performed a cover of Chatham's "Guitar Trio" on their 1991 album, The Word And The Flesh. (This parallels the way that members of fellow NYC noise rockers Sonic Youth began their careers in Branca's ensembles; Thurston Moore of Sonic Youth did play with Chatham as well.)

Chatham began playing trumpet in 1983, and his more recent works explore improvisatory trumpet solos; these are performed by Chatham himself, employing much of the same amplification and effects that he acquired with the guitar, over synthesized dance rhythms by the composer Martin Wheeler. His 1990s recordings in this style saw release on Ninja Tune Records as the compilation Neon.

Recent activity

In 2002, he enjoyed a resurgence following the release of a limited-edition 3 CD retrospective box set on the record label Table of the Elements, An Angel Moves Too Fast To See: Selected Works 1971-1989, complete with 130-page booklet. The An Angel Moves Too Fast To See part of the title comes from Chatham's 1989 composition for 100 guitars. He has been since touring with his 100-guitar orchestra in Europe.

In 2005, he was commissioned by the city of Paris, in his adopted homeland, to write a composition for 400 electric guitars entitled A Crimson Grail, as part of the Nuit Blanche Festival. Approximately 10,000 people were present at the performance, and 100,000 more watched it on live television. A CD of excerpts from this concert was released in January 2007 by Table Of The Elements.

Rhys Chatham is currently touring the original 30 minute version of Guitar Trio in the USA and Europe, renamed G3 because the instrumentation has been increased to between six and ten electric guitars, electric bass and drums. In February 2007 he completed a twelve-city tour called the Guitar Trio (G3) Is My Life North America Tour, which was accompanied by the original film by Robert Longo that was projected behind the performance, entitled Pictures for Music (1979). The sets consisted of local musicians from each city of the performances, including members of Sonic Youth, Tortoise, Godspeed You! Black Emperor, Husker Du, Brokeback, Lichens, Town & Country, Die Kreuzen, Bird Show and others. A three-CD box set of these performances was released by Table of the Elements in March 2008.

Chatham has continued to tour the original version of Guitar Trio in Europe throughout 2007 and 2008, including performances at:

* Festival Desgressions - 7 March 2007, Barcelona, Spain
* L'Ecole Régionale de Beaux Arts - 25, 26 April 2007, Valence, France
* Kosmische Club - 10 August 2007, Oslo, Norway
* ZXZW Independent Culture Festival - 22, 23 September, Tilburg, the Netherlands
* Festival Soy - 29 October 2007, Nantes, France
* Galleria Toledo - 26 March 2008, Naples, Italy

Rhys Chatham made his first American presentation of a composition for a one-hundred guitar orchestra in Williamsport, Pennsylvania, on May 23, 2008, with an orchestra comprised of local students and teachers, as well as many professional guitarists. This performance was the premiere of a new composition entitled Les 100 Guitares: G100.

wiki.
























Discography:


01 - Factor X [1983]
02 - Echo Solo [1989]
03 - Septile [1997]
04 - Hard Edge [1999]
05 - Three Aspects of the Name [2004]
06 - An Angel Moves Too Fast to See: Selected Works 1971-1989 [2006] (part1/part2/part3/part4)
• 1987 Die Donnergötter (The Thundergods)
• 1997 An Angel Moves Too Fast to See
• 2006 Two Gongs (1971)
07 - A Crimson Grail: For 400 Electric Guitars (part1/part2)
08 - "Guitar Trio Is My Life!"[2008] (part1/part2/part3/part4)


An Angel Moves Too Fast to See - Part 4

viernes, agosto 08, 2008

Y Pants [1998]

Una interesante investigación sobre el primitivo fluido de los ritmos insertado en la formula punk, para semejar la orbita discontinua entre arpegios y notas llenas de sombrías apariciones erróneas, se llaman experimentos sencillos pero absolutamente íntegros através del amplificador, la voz de una mujer que interviene el centro de la operación sonica através de exposiciones orgánicas con la intención de conocer, determinadas por la estructura de lo perturbado. En breves ideas o pensamientos se averigua la verdadera locasion de rutinas falsas poseídas por la industria, es la maquina de comunicación a larga distancia la única fuerza de sistemas actuales, la cual revela su poder nefasto y anti-humano del cual las corporaciones millonarias sobre explotan.

::MySpace.com - Y PANTS::
LINK IN COMENT!!!

Y Pants [1998]












































Tracklisting
:

1 Favorite Sweater (2:27)
2 Luego Fuego (4:17)
3 Off The Hook (2:12) Written-By - Richards, Jagger
4 Beautiful Food (2:17)
5 Magnetic Attraction (3:11)
6 Obvious (2:53) Written-by [Words] - Lynne Tillman
7 Barbara's Song (3:36) Written-by [Words] - Berthold Brecht
8 Beat It Down (3:07)
9 We Have Everything (2:36)
10 Lulu (5:30)
11 Love's A Disease (3:10)
12 The Shah Song (2:17)
13 The Fly (2:30) Written-by [Words] - Emily Dickinson
14 The Code Of Life (2:00)
15 What Do You Take Me For? (3:05)
16 That's The Way Boys Are (3:15) Written-By - Raleigh, Barkan
17. Untitled

Credits: Bass, Ukulele, Drums [Thumb Drum], Vocals - Barbara Ess
Drums, Vocals - Verge Piersol
Keyboards, Ukulele, Vocals - Gail Vachon
Producer - Glenn Branca (tracks: 1 to 4) , Wharton Tiers (tracks: 5 to 16)

Tracks 1 to 4 are taken from the "Y Pants" EP, 99 Records 1980. Track 5 is taken from Tellus #21 1982. Tracks 6 to 16 are taken from the "Beat It Down" LP, Neutral Records 1982

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martes, julio 22, 2008

Glenn Branca - Symphony No.1 (Tonal Plexus) [1983]

" Symphony No. 1 (Tonal Plexus) premiered at the Performing Garage that summer. It was Branca's largest piece yet employing 16 musicians including, horn, trumpet, sax, keyboards and in one movement a large oil drum played with a 2x4, as well as some guitars strung with untempered steel wire from a hardware store, and Branca's usual complement of octave tuned guitars sometimes stroked with drumsticks. The crude sound of the piece was thought of as a kind of punk rock noise music. Just two months later he would premiere another new piece "Indeterminate Activity of Resultant Masses" at Art on the Beach in lower Manhattan. This piece, for 10 guitars and drums, would become one of his most controversial when performed at The New Music America Festival 1982 in Chicago. Although the 35 minute piece had been a success John Cage had intensely disliked it and created a furor at the festival and in the press. A recording of Cage's inflammatory remarks has been released on Atavistic along with the first recording of the piece (which had gone unreleased for 25 years).

MySpace.com - Glenn Branca
Glenn Branca: The official web site



Symphony No.1 (Tonal Plexus) [1983]















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Glenn Branca with Paranoid Critical Revolution, ATP

Glenn Branca - The Ascencion [1980]

This music was labeled by the press as "rock minimalism" and in some cases "maximalism".
Branca would eventually form a band to tour and record this music. Sometimes thought of as "The Ascension Band" the group included: Lee Ranaldo, Ned Sublette, David Rosenbloom and Branca on guitars, Jeffery Glenn on bass and Stephen Wischerth on drums (later Thurston Moore would join on guitar). It was with this music that Branca introduced his newest octave and unison tunings in which the guitars were divided into soprano, alto, tenor, baritone and bass. By the start of 1980 Branca was desperate to release a recording of his new extended instrumental work. Singles were no longer possible with pieces running from 8 to 12 minutes.
He approached Ed Bahlman who had a small record store in the Village and suggested that he consider starting a record company with Branca's music as the first record. Drawing from Branca's experience with producing, manufacturing and distributing records Balhman started 99 Records. The EP LESSON NO. 1 came out soon after, with the album THE ASCENSION following a year later.


MySpace.com - Glenn Branca
Glenn Branca: The official web site



The Ascencion [1980]















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Glenn Branca - Lesson No. 1 [1979]

In the spring of 1979 Branca premiered his first multi-guitar piece "Instrumental for Six Guitars" at Max's Kansas City Easter Festival. The piece was an immediate success and led to series of extended instrumental pieces written over the next one and a half years: "The Spectacular Commodity", "Dissonance", "Lesson No. 1", "The Ascension", "Light Field" and "Mambo Diabolique", each piece defining a different approach to writing for loud guitars.

MySpace.com - Glenn Branca
Glenn Branca: The official web site



Lesson No. 1 [1979]
















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Glenn Branca - Songs '77-'79 [1996]
















Songs '77-'79 [1996]

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Glenn Branca #1

Glenn Branca - Symphony No. 9 L'Eve Future [1995]















Symphony No. 9 L'Eve Future [1995] (New Link!)


'Hallucination city symphony for 100 guitars'

jueves, noviembre 08, 2007

Jean-Michel Basquiat - Downtown 81 Soundtrack [1980/1981/2001]


Tracklist:
  1. Gray: So Far So Real
  2. Coati Mundi Hernandez: K Pasa?
  3. Tuxedomoon: Desire
  4. Liquid Liquid: Carven
  5. DNA: Blonde Redhead
  6. James White and the Blacks: Sax Maniac
  7. Marvin Pontiac: I'm a doggy
  8. James White and the Blacks: Contort yourself
  9. Gray: Drum Mode
  10. Lydia Lunch: The Closet
  11. Coati Mundi Hernandez: Palabras con ritmo
  12. Lounge Lizards: Bob The Bob
  13. Pablo Calogero: Tangita
  14. Kid Creole and the Coconuts: Mr. Softee
  15. Suicide: Cheree
  16. DNA: Detached
  17. Chips Stein: 15 Minutes
  18. The Plastics: Copy
  19. Walter Steding & The Dragon People: New D
  20. Rammelzee Vs. K-Rob: Beat Bop

tuxedomoon - desire

jueves, octubre 11, 2007

The Residents - Commercial Album


Sobre el curso de una carrera de grabación que atraviesa varias décadas, los Residentes dejaron una criba de dimensiones Parecidas a una esfinge; encubriendo sus vidas y música en una neblina de oscuridad voluntariosa, los miembros de la cinta nunca se identificaron de nombre, siempre apareciendo en el público disfrazado - por lo general smoking, sombreros de copa y máscaras de globo ocular gigantescas - y rechazando conceder entrevistas de medios de comunicación. Al dibujo de la inspiración del le gusta de innovadores de muchacho(colegas) incluyendo a Harry Partch, Sol Ra, y el Capitán Beefheart, los Residentes canalizaron la anchura de música americana en su visión idiosincrásica, satírica, su mezcla voluble de electrónica, distorsión, avant-jazz, sinfonías clásicas y la voz gratingly nasal que reinterpreta a cada uno...
...
Over the course of a recording career spanning several decades, the Residents remained a riddle of Sphinx-like proportions; cloaking their lives and music in a haze of willful obscurity, the band's members never identified themselves by name, always appearing in public in disguise -- usually tuxedos, top hats and giant eyeball masks -- and refusing to grant media interviews. Drawing inspiration from the likes of fellow innovators including Harry Partch, Sun Ra, and Captain Beefheart, the Residents channelled the breadth of American music into their idiosyncratic, satiric vision, their mercurial blend of electronics, distortion, avant-jazz, classical symphonies and gratingly nasal vocals reinterpreting everyone...

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