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Fwd: Re: Why Two K?

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  • Jamello@aol.com
    Three cheers for Davis Ford RE: NIN - The Fragile!! After spending untold hours/cash hunting down and listening to everything from Mika Vanio to Nurse With
    Message 1 of 1 , Nov 10, 1999
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      Three cheers for Davis Ford RE: NIN - "The Fragile!!" After spending untold hours/cash hunting down and listening to everything from Mika Vanio to Nurse With Wound to K. Haino to Profan to Rothko to O'Rourke, etc. etc. (all of whom I love), it was an actual treat to get this disc and enjoy what may be a guilty pleasure but what the hell. The slow tracks are quite well done and the fast tracks rock, the whole thing makes me think of what Foetus might sound like if he had big budget.



      From: Oeivind Idsoe <ezueled@...>

      Davis Ford wrote:

      > It's a little early for this, but I'm interested anyway..the end 'o year top
      > 10 for everyone. I'd start it off, but I've purchased substantially less
      > music this year than others for reasons I don't understand.

      This isn�t really a list (as such), but just some shortish notes on some stuff
      that I�ve bought lately.

      * Computer Soup - "Toizarasi" (Sun Out Recordings): a very interesting and
      beautiful CD from Japan (I think), mixing sometimes (in fact, most often)
      Ovalesque digitalia cutups/hickups with the more humanesque trumpet and piano
      etc., and sometimes it�s more of a floating, melancholic affair with very
      well-constructed spaces consisting of nothing but some trumpet(s), some
      rumbling and some digital bits�n�pieces.

      * Micheal Prime - "Microplazma" (Digital Narcis): a mix of field recordings,
      analog/digital sounds and digital editing, this is a terrific CD! It sends out
      dense and often huge soundscapes, that sometimes end up with a kind of
      intricate electroaoustic "irregular bouncing ball" programming that people like
      Jonty Harrison, Dennis Smalley, Patrick Ascione and Randall Smith have also
      been into. Highly recommended.

      * Steve Roden - "View" (Jennjoygallery): already mentioned on this list...and
      in The Wire, so I can only follow up on the praise: it�s not really a new twist
      on ambience, but it sounds so good because of it�s loop-like structure (most
      people who use recordings of the outdoors tend to fold them out like they would
      if you actually visited the same scenario, but Roden loops and edits the sound
      of passing cars and the general ambience coming from the streets outside the
      window) and the subtle sense of melancholy (drifting)

      * Neina - "Formed Verse" (Mille Plateaux): more cut-ups and click-ups, but so
      well done. I�ve been in love with this Sound for a couple of years now, but
      there still seems to be room for invention (as pointed out by someone from this
      very label on this very list not so long ago)...and Neina takes it even
      further. It�s sort of elecroakkustic, but many tracks are just as
      loopy/repetetive as they are narrative.

      * Nine Inch Nails - "The Fragile" (Nothing): ehh...what�s this doing here then?
      Well, it rocks, that�s why. No one�s mentioned this one (yet), but I will stand
      up and be counted. I rarely listen to lyrics, which could be the reason why I
      haven�t been bothered by what some have called "the cliches of doom" (well, no
      one has actually called it that, at least not AFAIK, but some could have said
      it, which is more than enough), but I think Reznor�s voice works wonders as a
      solo instrument. Massive walls of noise (a more aggressive take on MBV), tight,
      Rage-like rhythms and enough aggression to make you want to headbang or
      something. He might not be breaking any barriers, but it�s as good as at it
      gets if you just want your speakers to go ballistic whenever you don�t have a
      punching bag handy.

      * Anna Planeta - "s/t" (Bentley...): also reviewed in The Wire; a fascinating
      concept (recording all kinds of sonic gadgets in an abandoned warehouse), but
      two CDs is a bit of an overkill, as the concept doesn�t seem to provide enough
      material to spread it out over such a large area. I like the deep sense of
      space, though, and the everyday attitude (people walking around in the room to
      change some gadget�s mind etc.). If you don�t eat both CDs at once you will be
      able to digest it, because there are some astonishing moments here.

      * Jessica Bailiff - "Hour Of The Trace" (Kranky): Buying music on the basis of
      a verbal description isn�t always a great experience, but this one sure is.
      Beautiful, almost "churchy" moods are the fundamentals, with Bailiff�s dreamy,
      restrained voice on top. "Warren" is the absolute highlight for me: an organ, a
      wet guitar, a voice so dreamy it barely seems real.

      * Nobuzaku Takemura - "Scope" (Thrill Jockey): ...and then there are those
      records that are just medicore. I�d heard some very positive things about this
      one -- some even said Takemura had a better take on the Oval sound then Oval
      himself -- but I fail to see the point where Takemura is supposed to out-oval
      Oval. The only thing coming close to Markus Popp�s digital genius is track 1
      and 4, but in terms of sheer beatuy, Oval�s Do While has perhaps out-beautied
      almost every digitalia-ambient track I can think of. The dreary arpeggiating
      bells on track 2 ("Kepler") are too static, too preset-synthy to grab anyone�s
      attention and completely ruins it. Track 3 is another variation on the static
      bubbly that might come from your radio on one of its lesser days, and, frankly,
      I�ve had enough of it. It might be interesting when Farmers Manual get their
      hands on the same sound(s), probably because they induce a sense of rhythm into
      the otherwise quite limited raw material, but Takemura just lets the static be
      static.

      * Frank Bretschneider - "rand" (mille plateaux): this one was dismissed in the
      latest issue of The Wire, and while I agree it�s not the greatest thing ever to
      come out of the Mille Plateaux environment, I think it�s quite good.
      Bretschneider and his peers seem to be an attempt to represent what could
      perhaps be described as an "almost". Something�s not quite there, and focus is
      more on process rather than on the finished result. The sounds are mostly thin,
      glass-like and simple (think sinewave, sometimes pure, sometimes slightly
      modulated, sometimes a bass drum etc.), but, surprisingly, this quite limited
      arsenal of sound often works very well. Out of the 20 tracks, my favs are the
      ones that don�t get too Techno (track 4 and 5 and 7, fx.), but instead
      concentrate on the process of becoming -- sounds and systems that are barely
      there, but still going somewhere (track 3, 6, 9, 14, 17 and 19 fx., which are
      all brilliant).

      I�ve also bought some Motorpsycho, Coltrane, Miles Davis and Public Enemy
      lately, but that�s just me catching up on the stuff I never bothered to check
      out during my semi-ignorant late teens & early twenties.

      Speaking of the end of the millenium: Without any doubt, my favourite *labels*
      for the 1990s are Warp (early), empreintes DIGITALes, INA-GRM and the always
      fascinating, almost always excellent Mille Plateaux. While Warp went downhill
      towards the end of this decade, I think the other three labels will continue to
      release stunning music for years to come (though INA and empreintes at a much
      slower pace than most others)...and perhaps Mille Plateaux will be the leader
      of the pack. I�ve never encountered a label that releases so much different
      stuff of so high quality. Their Modulations & Transformations series are
      consistently intrigueing, and MP could very well be one of the best things ever
      to come out of the electronic 90s. Just thought I�d say that, for some reason.

      /Oeivind/

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