| $34.01
new to stock as of
june 13th, 2011
threads:
1950s-electronic
1960s-electronic
1970s-electronic
1980s-electronic
electro-acoustic-composition
musique-concrète
digital-musics
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| | | sub rosa (belgium) #sr 200 lp “an anthology of noise & electronic music • second a-chronology 1936-2003” triple long playing record set - vladimir ussachevsky + otto luening - incantation for tape (2:39) 1963
- luc ferrari - visage v (10:36) 1958-59
- tod dockstader - aerial > song (12:56) 2002
- johanna m. beyer - music of the spheres (6:01) 1938
- morton subotnick - mandolin (7:02) 1962
- daphne oram - four aspects (8:10) 1960
- alan r. splet - space travel w/changing choral textures (4:02) 1983
- robin rimbaud / scanner - emily (4:49) 2003
- hugh davies / gentle fire - quintet (12:10) 1967-68
- kim cascone - zephirum scan (4:50) 2002
- meira asher + guy harries - torture - bodyparts (3:42) 2001
- lasse steen / choose - purzuit of noize (5:37) 1994
- woody mcbride - pulp (6:07) 1993
- spk - slogun (6:15) 1979
- yoshihiro hanno / multiphonic ensemble - on/off edit (9:12) 2001
- sean booth + rob young / autechre - bronchus one.1 (6:04) 1991
- david lee myers / arcane device - lathe (5:54) 1988
- sun ra - black myth (8:32) 1970
- don van vliet / captain beefheart - she’s too much for my mirror/ my human gets me blues (5:22) 1969
- laibach - industrial ambients (9:57) 1980-82
- percy grainger - free music #1 (for four theremins) (2:04) 1936
| may 2010 release ; vinyl version of the second anthology (only this & the first volume have gotten the treatment thusfar ; the others remain cd-only) ...
it’s becoming apparent that this selection is intended as more of a personality-driven mix-cd (bearing the imprint of its compiler ; sub rosa’s guy-marc hinant) than an authoritative overview of electronic music trends over the last 70 odd years ... so we can relax and just enjoy, stop scratching our heads at the inclusion of otherwise questionable content (captain beefheart???) ... still a heroic act as many of the pieces included herein have yet to be converted to digital for mass-appreciation ...
very nicely done triple-gatefold with all of the credits printed in full on the four internal panels ... |
| | sub rosa press release... |
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an anthology of noise & electronic music #2
second a-chronology 1936-2003
3xlp triple gatefold
srv200
the second volume of seven published from 2001 to 2011, curated, noted and edited by guy marc hinant.
...
slow explorations of the past and the present ...
given the present system of production there are reasons, some of them identifiable, why only a few names emerge in each period. there may also be a preference for concentrating information rather than letting it pile up in disordered fashion. over the past 40 years the same ten electronic music composers get mentioned again and again (including in music dictionaries and histories). yet behind them are many other names. who are they? second-raters? not necessarily. for we then need to define the concept of top-rate (rated by who, and on what criteria?) and second-rate or minor artist.
great pleasure can be derived from the works of minor artists. the case of tod dockstader is instructive: when "for lack of academic qualifications" he was denied access to the electronic music facilities he needed, was there not great beauty in the pieces he nevertheless created and in his determination to make music without those facilities? his name was never seen on the labels of top record companies. but he influenced quite a few people - richard james quoted him, and others then referred to his work. some of his records were reissued, and what one could call the rehabilitation process continues. the same applies to many other composers. all such stories spell a passion for music, and weave myth. |
these historical axes
| at the turn of the century there were efforts to find new sources of sound - a number of machines were exhibited, including thaddeus cahiel's telharmonium in 1887 and the dynamophone presented to the new york public in 1906 ; they generally played well-known romantic or post-romantic pieces. after a few flamboyant skirmishes described in the previous volume, the postwar period saw the arrival in 1951, of vladimir ussachevsky and otto luening in new york's columbia-princeton electronic music center. when audiences of the 50's and 60's first heard varèse, pousseur, stockhausen, berio, ussachevsky, yuasa, dockstader and mumma, what did they feel? perhaps a sort of break, an epistemological break, like it must have been for the first audience of monteverdi's orfeo (in mantua, italy on 24 february 1607). they left the auditorium completely stunned, because they had never heard anything like it. |
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