(Trace Elements, 1989)
This album is played by an all-star downtown group: Nicolas Collins, Pippin Barnett, Anthony Coleman, Tom Cora, Peter Cusack, Shelley Hirsch, George Lewis, Christian Marclay, Ben Neill, Zeena Parkins, Robert Poss, Ned Rothenberg, Elliott Sharp, Davey Williams, John Zorn, and Peter Zummo. A tongue-in-cheek title, perhaps, depending on your idea of "beautiful melody," as the sounds range from electronically and physically modified instruments with a definite edge to the barely perceptible, awakening the ear. Collins is also part of the Impossible Music group (with David Weinstein, David Shea, Ted Greenwald, and Tim Spelios) who, performing live, manipulate CD players in the spirit of Plunderphonics and rap-scratch style, creating a new style of electronic ensemble with works like the spatial and surreal "Simulcatastrophy," a performance of Collin's "In CD" (a title pun on Riley's "In C," of course) often humorously re-thinking Beethoven and Mozart cadences and form (he has made some recent work with Ben Neill along this same line), and the dense work "Salvador Dali's Digital Cinema".
"Blue" Gene Tyranny (All Music)
HERE
This album is played by an all-star downtown group: Nicolas Collins, Pippin Barnett, Anthony Coleman, Tom Cora, Peter Cusack, Shelley Hirsch, George Lewis, Christian Marclay, Ben Neill, Zeena Parkins, Robert Poss, Ned Rothenberg, Elliott Sharp, Davey Williams, John Zorn, and Peter Zummo. A tongue-in-cheek title, perhaps, depending on your idea of "beautiful melody," as the sounds range from electronically and physically modified instruments with a definite edge to the barely perceptible, awakening the ear. Collins is also part of the Impossible Music group (with David Weinstein, David Shea, Ted Greenwald, and Tim Spelios) who, performing live, manipulate CD players in the spirit of Plunderphonics and rap-scratch style, creating a new style of electronic ensemble with works like the spatial and surreal "Simulcatastrophy," a performance of Collin's "In CD" (a title pun on Riley's "In C," of course) often humorously re-thinking Beethoven and Mozart cadences and form (he has made some recent work with Ben Neill along this same line), and the dense work "Salvador Dali's Digital Cinema".
"Blue" Gene Tyranny (All Music)
HERE
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