jueves, 30 de septiembre de 2010

Sonic Youth Silver Session

Silver Session for Jason Knuth is a 1998 EP by Sonic Youth. Its eight tracks consist entirely of guitar feedback with occasional drum machine. Jason Knuth — of the album's title — was a Sonic Youth fan who committed suicide, and proceeds from the record's sales were donated to San Francisco Suicide Prevention Hotline. An explanation of the record is found in the liner notes:
"Silver Sessions were taken from an evening when SY had to do vocal overdubs for 'A Thousand Leaves' -- the band upstairs was hammering out some funky metal overdrive and we couldn't "sing" properly (?!) -- we decided to fight fire with molten lava and turned every amp we owned on to 10+ and leaned as many guitars and basses we could plug in against them and they roared/HOWLED like airplanes burning over the pacific -- we could only enter the playing room with hands pressed hard against our ears and even then it was physically stunning -- we ran a sick outmoded beatbox through the P.A. and it blew out horrendous distorted pulsations. Of course we recorded the whole thing and a few months later we mixed it down into sections, ultra-processing it to a wholly other "piece" -- in a way, it's my favorite record of ours -- I hope Jason [Knuth, to whom the release is dedicated] digs it --- keep on keep on keep on --- thurston/sonic youth/nyc 1998."

viernes, 17 de septiembre de 2010

La Monte Young Theatre of Eternal Music


La Monte Thornton Young (born October 14, 1935) is an American composer and musician.
Young is generally recognized as the first minimalist composer.His works have been included among the most important and radical post-World War II avant-garde, experimental, or drone music. Both his proto-Fluxus and "minimal" compositions question the nature and definition of music and often stress elements of performance art.

A number of Young's early works use the twelve-tone technique, which he studied under Leonard Stein at Los Angeles City College. (Stein had served as an assistant to Arnold Schoenberg when Schoenberg, the inventor of the twelve-tone method, had taught at UCLA.)Young also studied composition with Robert Stevenson at UCLA and with Seymore Shifrin at UCB. When Young visited Darmstadt in 1959, he encountered the music and writings of John Cage. There he also met Cage's collaborator, pianist David Tudor, who subsequently gave premières of some of Young's works. At Tudor's suggestion, Young engaged in a correspondence with Cage. Within a few months Young was presenting some of Cage's music on the West Coast. In turn, Cage and Tudor included some of Young's works in performances throughout the U.S. and Europe. By this time Young had taken a turn toward the conceptual, using principles of indeterminacy in his compositions and incorporating non-traditional sounds, noises, and actions.

He formed the Theatre of Eternal Music to realize "Dream House" and other pieces. The group initially included Marian Zazeela (who has provided the light work The Ornamental Lightyears Tracery for all performances since 1965), Angus MacLise, and Billy Name. In 1964 the ensemble comprised Young and Zazeela; John Cale and Tony Conrad, a former Harvard mathematics major, and sometimes Terry Riley (voices). Since 1966 the group has seen many permutations and has included Garrett List, Jon Hassell, Alex Dea, and many others, including members of the 60s groups.Young has realized the "Theatre of Eternal Music" only intermittently, as it requires expensive and exceptional demands of rehearsal and mounting time.
 
Most realizations of the piece have long titles, such as The Tortoise Recalling the Drone of the Holy Numbers as they were Revealed in the Dreams of the Whirlwind and the Obsidian Gong, Illuminated by the Sawmill, the Green Sawtooth Ocelot and the High-Tension Line Stepdown Transformer. His works are often extreme in length, conceived by Young as having no beginning and no end, existing before and after any particular performance. In their daily lives, too, Young and Zazeela practice an extended sleep-waking schedule—with "days" longer than twenty-four hours.

 La Monte Young's use of long tones and exceptionally high volume has been extremely influential with Young's associates: Tony Conrad, Jon Hassell, Rhys Chatham, Michael Harrison, Henry Flynt, Charles Curtis, and Catherine Christer Hennix. Young's students include Arnold Dreyblatt, Daniel James Wolf and Lawrence Chandler. It has also been notably influential on John Cale's contribution to The Velvet Underground's sound; Cale has been quoted as saying "LaMonte [Young] was perhaps the best part of my education and my introduction to musical discipline.

miércoles, 15 de septiembre de 2010

Glenn Branca The Ascension

Glenn Branca (born October 6, 1948 in Harrisburg, Pennsylvania) is a highly influential avant-garde composer and guitarist known for his use of volume, alternative guitar tunings, repetition, droning, and the harmonic series. In 2008 he was awarded an unrestricted grant from the Foundation for Contemporary Arts.

Branca started playing the guitar at age 15. He also created a number of tape sound art collage pieces for his own amusement. After attending York College in 1966-1967 he started the short-lived cover band The Crystal Ship with Al Whiteside and Dave Speece in the summer of 1967. Branca studied theater at Emerson College in Boston in the early 1970s. In 1973 he moved from Boston to London with his then girlfriend Meg English. After moving back to Boston in 1974 he met John Rehberger. While there, he began experimenting with sound as the founder of an experimental theater group called Bastard Theater in 1975.

In the early 1980s he composed several medium-length compositions for electric guitar ensembles, including The Ascension (1981) and Indeterminate Activity of Resultant Masses (1981). Soon thereafter he began composing symphonies for orchestras of electric guitars and percussion, which blended droning industrial cacophony and microtonality with quasi-mysticism and advanced mathematics. Starting with Symphony No. 3 ("Gloria") (1983), he began to systematically compose for the harmonic series, which he considered to be the structure underlying not only all music but most human endeavors. In this project, Branca was initially influenced by the writings of Dane Rudhyar, Hermann von Helmholtz, and Harry Partch. He also built several electrically amplified instruments of his own invention, expanding his ensemble beyond the guitar. A few of these instruments were third bridge zithers he called "mallet guitars", because they were percussion instruments played with drumsticks, monotone electric cymbaloms with an additional third bridge on resonating positions. Early members of his group included Thurston Moore and Lee Ranaldo of Sonic Youth, Page Hamilton of Helmet, and several members of Swans including Michael Gira and Dan Braun. In the early '90s, David Baratier attempted to document Branca's teaching style in They Walked in Line.

In September 1996, The Glenn Branca Ensemble played at the opening ceremony for the Aarhus Festival in Denmark. The ceremony took place in the Musikhuset Opera House, and in the audience were the Queen of Denmark, the mayor of Aarhus and other dignitaries. After receiving more than 25 major commissions since 1981 Branca's music has finally begun to receive academic attention. Some scholars, most prominently Kyle Gann, consider him (and Rhys Chatham) to be a member of the totalist school of post-minimalism.
In 2008, he was awarded a grant from the Foundation for Contemporary Arts Grants to Artists Award as well as a Caps grant in 1983, an award from The National Endowment For The Arts in 1988 and a NYSCA grant in 1998, all for music composition.


  1. "Lesson No.2" (5:01)
  2. "The Spectacular Commodity (for Eiko and Koma)" (12:41)
  3. "Structure" (3:06)
  4. "Light Field (In Consonance)" (8:19)
  5. "The Ascension" (13:10)

lunes, 13 de septiembre de 2010

Loop A Gilded Eternity Remastered




















The band was formed in 1986 by Robert Hampson (vocals, guitar), with wife Bex on drums. Bex was soon replaced by John Wills (of The Servants) and Glen Ray, with James Endeacott on guitar.Initially releasing records on their own Head label, their first release was 1987's '16 Dreams', with debut album Heaven's End following later that year. The band's psychedelic/drone rock gained comparisons with Spacemen 3, much to the latter's annoyance.

Ray and Bex left, to be replaced by Endeacott, Wills and Neil MacKay,the band also being signed up by Chapter 22 Records, returning with a more polished sound with the 'Collision' single in 1988. Second album Fade Out followed in 1989, reaching #51 on the UK album chart Endeacott left the band in 1988, Scott Dowson joined the following year.
They then hopped labels again to Beggars Banquet subsidiary Situation Two, releasing the 'Arc-Lite' single in 1989 and the third and final studio album A Gilded Eternity in 1990.
The band split in 1991, with Hampson briefly joining Godflesh before forming Main with Dowson. Hampson's Main project was discontinued in 2006, he now releases under his own name. Chasm is said to be his most recent (1999) project. Wills and Mackay went on to form The Hair and Skin Trading Company.
A collection of the band's John Peel sessions entitled Wolf Flow was released in 1992. Following the split Loop's official studio albums were re-released on their Reactor label.
The band's sound was influenced by Krautrock and No Wave influences and relied heavily on three chord riffs. Some of the records featured cover versions of Suicide, The Pop Group and Can tracks. During the latter stages of their career the band played at the Reading Festival in 1989.


domingo, 12 de septiembre de 2010

Autechre Confield

Autechre are an English electronic music duo consisting of Rob Brown and Sean Booth, both natives of Rochdale, Greater Manchester. Formed in 1987, they are one of the most prominent acts signed to Warp Records, a label known for its pioneering electronic music and through which all Autechre albums have been released.
With Confield, Sean Booth and Rob Brown largely abandoned the warm ambient sounds of their earlier works such as Amber and Tri Repetae in favour of the more chaotic feel that they had been pursuing with LP5, EP7, and Peel Session. Confield saw the experimental use of computer programs to form the basis of songs instead of stand-alone synthesizers. 

According to Booth, "Most of Confield came out of experiments with Max that weren't really applicable in a club environment". One of the more controversial aspects of the album's production was, like EP7, the use of generative sequences for certain aspects of the songs. Booth countered this, arguing that although the beats created with the sequences may seem completely random to some people, that he and Brown had tight control over the limits and rules of what the beats could do, and that the concept was no different to the improvisation found in jazz. Although the bases of most of the songs were created by computers, analogue synthesizers and conventional drum machines were in fact used in many of the tracks.




Big Black Songs About Fucking


















Big Black was an American punk rock band from Evanston, Illinois, active from 1981 to 1987. Founded by singer and guitarist Steve Albini, the band's lineup also included guitarist Santiago Durango and bassist Jeff Pezzati, both of Naked Raygun. In 1985 Pezzati was replaced by Dave Riley, who played on Big Black's two full-length studio albums, Atomizer (1986) and Songs About Fucking (1987).
Big Black's aggressive and abrasive music was characterized by distinctively clanky guitars and the use of a drum machine rather than a drum kit, elements which precursored industrial rock. The band acknowledged no taboos, and Albini's lyrics openly dealt with loaded topics including murder, rape, child sexual abuse, arson, racism, and misogyny. They also held staunch principles, shunning the mainstream music industry and insisting on complete control over all aspects of their career. Big Black booked their own tours, paid for their own recordings, and refused to sign contracts, eschewing many of the traditional corporate trappings of rock bands. In doing so they had a significant impact on the aesthetic development of independent and underground rock music.

Songs About Fucking it placed 54th on Pitchfork Media's 'Top 100 Albums of the 1980s'. Included are covers of Kraftwerk's "The Model" and Cheap Trick's "He's a Whore".

Steve Albini has said that Songs About Fucking is the Big Black album that he is most satisfied with. In a 1992 interview with Maximumrocknroll magazine, Albini said:
The best was side one of 'Songs About Fucking'. I was real pleased with the way we did that. We just hopped into the studio, banged all the songs out and hopped out. Didn't take long, didn't cost much, just real smooth. Side two we recorded at a more leisurely pace and I think that hurt us. And that Cheap Trick song got on the tape and the CD by accident, and we just left it on.
The band had already decided to split up before the album was recorded, prompted by guitarist Santiago Durango's decision to enroll in law school, and the band's desire to quit while at their peak. 

jueves, 9 de septiembre de 2010

Steve Reich Music for 18 musicians


Music for 18 Musicians is a work of musical minimalism composed by Steve Reich during 1974-1976. Its world premiere was on April 24, 1976 at Town Hall, New York. Following this, a recording of the piece was released by ECM New Series. A recording of the opening sections is on Steve Reich's official website.

Music for 18 Musicians was written for a cello, violin, two clarinets (both players double on bass clarinet), four pianos, three marimbas, two xylophones, a metallophone, and four women's voices. In the introduction to the score, Reich mentions that although the piece is named Music for 18 Musicians, it is not necessarily advisable to perform the piece with that few players due to the extensive doubling it requires. With only 18 musicians, the parts are divided as follows:

  1. violin
  2. cello
  3. female voice
  4. female voice
  5. female voice
  6. piano
  7. piano
  8. piano and maracas
  9. marimba and maracas
  10. marimba and xylophone
  11. marimba and xylophone
  12. marimba and xylophone
  13. metallophone and piano
  14. piano and marimba
  15. marimba, xylophone, and piano
  16. clarinet and bass clarinet
  17. clarinet and bass clarinet
  18. female voice and piano

The piece is based around a cycle of eleven chords. A small piece of music is based around each chord, and the piece returns to the original cycle at the end. The sections are aptly named "Pulses", and Section I-XI. This was Reich's first attempt at writing for larger ensembles, and the extension of performers resulted in a growth of psycho-acoustic effects, which fascinated Reich, and he noted that he would like to "explore this idea further". A prominent factor in this work is the augmentation of the harmonies and melodies and the way that they develop this piece. Another important factor in the piece is the use of human breath, used in the clarinets and voices, which help structure and bring a pulse to the piece. The player plays the pulsing note for as long as he can hold it, while each chord is melodically deconstructed by the ensemble, along with augmentation of the notes held. The metallophone (unplugged vibraphone), is used to cue the ensemble to change patterns or sections.

Some sections of the piece have a chiastic ABCDCBA structure, and Reich noted that this one work contained more harmonic movement in the first five minutes than any other work he had written [before this piece].

domingo, 5 de septiembre de 2010

King Tubby Meets Rockers Uptown


















King Tubby (born Osbourne Ruddock, January 28, 1941 – February 6, 1989) was a Jamaican electronics and sound engineer, known primarily for his influence on the development of dub music in the 1960s and 1970s. Tubby's innovative studio work, which saw him elevate the role of the mixing engineer to a creative fame previously only reserved for composers and musicians, would prove to be highly influential across many genres of popular music. He is often cited as the inventor of the concept of the remix, and so may be seen as a direct antecedent of much dance and electronic music production.

King Tubby's music career began in the 1950s with the rising popularity of Jamaican sound systems, which were to be found all over Kingston and which were developing into enterprising businesses. As a talented radio repairman, Tubby soon found himself in great demand by most of the major sound systems of Kingston, as the tropical weather of the Caribbean island, (often combined with sabotage by rival sound system owners) led to malfunctions and equipment failure. Tubby owned an electrical repair shop on Drumalie Avenue, Kingston, that fixed televisions and radios. It was here that he built large amplifiers for the local sound systems. In 1961/62 he built his own radio transmitter and briefly ran a pirate radio station playing ska and rhythm and blues which he soon shut down when he heard that the police were looking for the perpetrators. Tubby would eventually form his own sound system, Tubby's Hometown Hi-Fi, which became a crowd favourite due to the high quality sound of his equipment, exclusive releases and Tubby's own echo and reverb sound effects, at that point something of a novelty.

Tubby engineered/remixed songs for Jamaica's top producers such as Lee Perry, Bunny Lee, Augustus Pablo and Vivian Jackson that featured artists such as Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Big Joe, Delroy Wilson, Jah Stitch and many others. In 1973, he built a vocal booth at his studio so he could record vocal tracks onto the instrumental tapes brought to him by various producers. This process is known as 'voicing' in Jamaican recording parlance. It is unlikely that a complete discography of Tubby's production work could be created based on the number of labels, artists and producers with whom he worked, and subsequent repressings of these releases sometimes contained contradictory information. His name is credited on hundreds of b-side labels, with the possibility that many others were by his hand yet uncredited, due to similarities with his known work.

Subscribe via email

Enter your email address:

Delivered by FeedBurner

Subscribe to El estupor se hizo mármol... by Email

Powered by FeedBurner

The albums here are uploaded as a non-profit private copy and for the purpose of previewing/reviewing and should not be seen as a substitute for the original. If you like an album, buy it!. If you have a problem with one of these albums being online, let me know and it will be removed.