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  • Davis Ford
    Hello.. The list seems pretty slow. I finally managed a copy of Farmers Manual s Explorers_We..this thing is a pure joy all the way around. I can t believe I
    Message 1 of 12 , Aug 12, 1998
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      Hello..

      The list seems pretty slow.

      I finally managed a copy of Farmers Manual's Explorers_We..this thing is a
      pure joy all the way around. I can't believe I waited this long to acquire
      it. I followed their website at:

      www.farmersmanual.co.at/60

      There is a small fortune in sound and visuals to be found there.

      I'm wondering if anyone has any interesting music related links to throw
      out, since the list is pretty dead, and I'm always looking for new places to
      go.

      I also got those Derek Bailey cd's I've been bothering this list about.
      Innovative, to say the least. I haven't had time to fully explore them yet,
      but initially, his improvised style seems to me to develop these moments of
      brilliance, but just at that moment when you realize where he's at, he's
      gone...on to something else. It demands attention. I have a feeling I'll
      soon own all of his records.

      I also picked up the No Neck Blues Band's 'Letters From The Earth.' I've
      only skimmed this, but it seems full of great drone / soft-noise material.

      Did anyone get anything interesting recently?

      davis
    • Oeivind Idsoe
      ... It makes a turtle look like Ben Johnson (on stereoids)...that s how slow it is. Perhaps people are still on vacation? Naah. ... pure joy all the way
      Message 2 of 12 , Aug 12, 1998
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        Davis Ford wrote:

        > The list seems pretty slow.

        It makes a turtle look like Ben Johnson (on
        stereoids)...that's how slow it is. Perhaps people are still
        on vacation? Naah.

        > I finally managed a copy of Farmers Manual's Explorers_We..this thing > is a
        pure joy all the way around. I can't believe I waited this long > to acquire
        it. I followed their website at:

        As I said in another mail, I have just ordered it and I'm
        quite looking forward to it. And their web-site is
        spectacular...almost looks like Antiorp (you know who he
        is...let's hope s/he doesn't infect this list with his
        ASCII-virus...) , but without the political content. ;)

        > Did anyone get anything interesting recently?

        I've found another favourite on the acousmatic front, namely
        Francois Bayle. I bought his La Main Vide (on
        INA-GRM/Magison) a while ago, and also recently got Son
        Vitesse Lumiere (same label). SVL is a double-CD containing
        works from 1980-1983, and it's a fantastic mixture of
        unheard of sounds and an extraordinary sense of structure.
        Bayle manages to 'intermix' the most distinct sounds and
        sound sources, and some of the rooms/spaces he creates are
        so large and at the same time so close that it's really
        thrilling to listen to. I've just ordered vol.4 (Fabulae) in
        this 10-volume series, and really looking forward to it.
        Hope to complete the entire series, but many of his releases
        are currently out of print -- is he in vogue? -- so I just
        have to wait.

        I also bought Tricky's (remember him?) latest yesterday --
        Angels With Dirty Faces --, and I must say I like it quite a
        bit. His raw sense of rhythm and sound, and the way he cuts
        and pastes all kinds of musical sources (blues, hip hop,
        fast d&b'y, dirty symphonics etc.) together with his
        s/blurry voice gives the music a sense of flow that I find
        particularly attractive. Of course, the music is in no way
        cheerful or happy or anything, and his lyrics sometimes gets
        a bit self-indulgent (just treat Voice as just another
        instrument and you'll be fine), but all in all a very good
        record...too bad it's been more or less ignored by the music
        press.

        Then there's a collaborative project between Achim
        Wollscheid and Asmus Tietchens on the Staalplaat label. The
        latter has remixed'/ reconstructed sounds/music by the
        former, and although I haven't had the chance to listen to
        this CD so much yet, it seems like a fine piece of intimate
        minimalism -- had Bachelard been alive yet he could probably
        have used it as an example in his beautiful book Poetics of
        Space. The sense of the need to inhabitate the space between
        and around and behind the sounds are, if not overwhelming,
        at least very tempting, but this feeling is perhaps rejected
        by momenatry lapses of harsher (don't worry -- it's not
        Merzbow) sound material; it makes for a nice contrast. BTW,
        Wollscheids original pieces have all been included on index
        0, which means they won't be played on normal/random/shuffle
        playback -- you actually have to rewind the track manually
        to the beginning of index 0 to hear it. Gimmicks, eh?

        A new Mego release: Hecker. As always, those people at Mego
        don't care much for what's out or what's in. In fact, they
        choose both in this case, at least on track 1 -- I have
        never SEEN, and I mean that literally, such bass in my life;
        even Farmer's Manuals' FSCK pale in comparison, because the
        bass bins are almost jumping out of their sockets. Makes for
        a very nice (and nerve-wrecking -- will the speakers blow?)
        audiovisual experience, with the bassbins dancing their own
        little centimeter-dance to the accompaniment of low-level
        rumbles and heavily filtered mid-frequency pseudo-screeches.
        The other tracks aren't quite so bass-heavy, but the
        unmistaken sound of rumbling and manipulated thunder (at a
        far distance) means you can even listen to this on
        headphones.
        (and would you believe it: the first track, appropriately
        called "-1", is located on index 0. Is this some kind of
        trend?)

        I also got Autechre's latest, but I do feel quite
        disappointed by it. There's not such a radical step forward
        as there's been between their other (major) releases --
        there's always been some bad tracks on each release, though,
        but I digress -- and their sense of trivial Paint-By-Numbers
        melodies has completely taken over some tracks. I've always
        thought Autechre's material works for the better when any
        melodical element is subdued -- put *between* the
        atonal/rhytmic elements rather than in front of them -- and
        they let the various sound elements mingle rather than have
        a particular focus. One of the tracks is just plain
        embarassing (track 10), IMHO, and I really hope they get rid
        of this need for kitschy emotion as soon as possible. Of
        course, there are some very good tracks on this CD, too, but
        Autechre doesn't feel like a surprise anymore, which isn't
        necessarily a bad sign -- a need for refinement and
        continuity should be right of any artist -- but this release
        just isn't as intrigueing as I thought it would be.

        And finally -- John Wall. I've had Fractuur for a while,
        which in fact is his latest release, and this week I got
        Alterstill (the release before Fractuur). JW is a very
        fascinating artist, and I'm a bit surprised people doesn't
        talk more about his music. For those who doesn't know, he
        picks/samples fragments of Other Peoples Records(TM) (they
        are all mentioned in the notes...Parmegiani, This Heat, John
        Zorn & Co. etc. etc.), and puts them together with great
        skill to form autonomous pieces of outstanding music. It all
        sounds quite acoustic (violins, pianos, bass etc.) and he
        mixes repetition of certain motifs with constant change --
        either in the background or in the foreground or inbetween
        -- and there's always something happening. Kind of remains
        me of the way Parmegiani structures some of his work,
        although the sound world/material is quite different. Highly
        Recommended (personally I prefer Fractuur over Alterstill,
        but that's perhaps because I've listened more to the former
        than to the latter?).

        A rather long mail, this, but I'm just making the most of
        the remaining 10 days of my holiday. ;)

        > davis

        /Oeivind/
      • JonAbbey2@xxx.xxxx
        hello, all.
        Message 3 of 12 , Aug 13, 1998
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          hello, all.

          <<I finally managed a copy of Farmers Manual's Explorers_We..this thing > is a
          pure joy all the way around.>>

          just to throw in my opinion here, I found this to be fairly uninteresting
          wanking (both discs), one of the least interesting things to come out of the
          VIenna/Mego scene that I've heard. Fsck is much better. What I'd really
          recommend is Pomassl's Trail Error if you can find it.

          <<I've found another favourite on the acousmatic front, namely
          Francois Bayle. I bought his La Main Vide (on
          INA-GRM/Magison) a while ago, and also recently got Son
          Vitesse Lumiere (same label). SVL is a double-CD containing
          works from 1980-1983, and it's a fantastic mixture of
          unheard of sounds and an extraordinary sense of structure.
          Bayle manages to 'intermix' the most distinct sounds and
          sound sources, and some of the rooms/spaces he creates are
          so large and at the same time so close that it's really
          thrilling to listen to. I've just ordered vol.4 (Fabulae) in
          this 10-volume series, and really looking forward to it.
          Hope to complete the entire series, but many of his releases
          are currently out of print -- is he in vogue? -- so I just
          have to wait.>>

          Bayle is great. Also try to find Erosphere if you can. I've enver understood
          why more people don't talk about the INA-GRM stuff. By the way, there's
          supposedly a new Parmegiani disc coming out on Plate Lunch. Check out their
          new web site: www.platelunch.com.

          <<I also bought Tricky's (remember him?) latest yesterday --
          Angels With Dirty Faces --, and I must say I like it quite a
          bit. His raw sense of rhythm and sound, and the way he cuts
          and pastes all kinds of musical sources (blues, hip hop,
          fast d&b'y, dirty symphonics etc.) together with his
          s/blurry voice gives the music a sense of flow that I find
          particularly attractive. Of course, the music is in no way
          cheerful or happy or anything, and his lyrics sometimes gets
          a bit self-indulgent (just treat Voice as just another
          instrument and you'll be fine), but all in all a very good
          record...too bad it's been more or less ignored by the music
          press.>>

          I have to disagree here. What made about half of Maxinquaye great is that
          Tricky wrote coherent songs. It seems like ever since then he's succumbed to
          "anything I do is great" syndrome, probably enahnced by the massive quantities
          of weed he smokes. I've listened to Angels With Dirty Faces a whole bunch of
          times and I think it's pretty incoherent, made up of stuck together bits and
          pieces with no focus whatsoever. I hope he pulls out of this creative slump I
          think he's in, because I think he's really taleneted, but I don't hold out
          much hope.

          <<A new Mego release: Hecker. As always, those people at Mego
          don't care much for what's out or what's in. In fact, they
          choose both in this case, at least on track 1 -- I have
          never SEEN, and I mean that literally, such bass in my life;
          even Farmer's Manuals' FSCK pale in comparison, because the
          bass bins are almost jumping out of their sockets. Makes for
          a very nice (and nerve-wrecking -- will the speakers blow?)
          audiovisual experience, with the bassbins dancing their own
          little centimeter-dance to the accompaniment of low-level
          rumbles and heavily filtered mid-frequency pseudo-screeches.
          The other tracks aren't quite so bass-heavy, but the
          unmistaken sound of rumbling and manipulated thunder (at a
          far distance) means you can even listen to this on
          headphones.
          (and would you believe it: the first track, appropriately
          called "-1", is located on index 0. Is this some kind of
          trend?)>>

          thanks for the tip about the first track on this one because otherwise I might
          have missed it. I liked this record a lot, it's more atmospheric than the
          other Mego stuff, less in your face. The bass on the first track is pretty
          loud, but check out the new Lull record, Moments, for some even deeper, more
          intense bass.

          <<I also got Autechre's latest, but I do feel quite
          disappointed by it. There's not such a radical step forward
          as there's been between their other (major) releases --
          there's always been some bad tracks on each release, though,
          but I digress -- and their sense of trivial Paint-By-Numbers
          melodies has completely taken over some tracks. I've always
          thought Autechre's material works for the better when any
          melodical element is subdued -- put *between* the
          atonal/rhytmic elements rather than in front of them -- and
          they let the various sound elements mingle rather than have
          a particular focus. One of the tracks is just plain
          embarassing (track 10), IMHO, and I really hope they get rid
          of this need for kitschy emotion as soon as possible. Of
          course, there are some very good tracks on this CD, too, but
          Autechre doesn't feel like a surprise anymore, which isn't
          necessarily a bad sign -- a need for refinement and
          continuity should be right of any artist -- but this release
          just isn't as intrigueing as I thought it would be.>>

          yup, yup and yup.

          <<And finally -- John Wall. I've had Fractuur for a while,
          which in fact is his latest release, and this week I got
          Alterstill (the release before Fractuur). JW is a very
          fascinating artist, and I'm a bit surprised people doesn't
          talk more about his music. For those who doesn't know, he
          picks/samples fragments of Other Peoples Records(TM) (they
          are all mentioned in the notes...Parmegiani, This Heat, John
          Zorn & Co. etc. etc.), and puts them together with great
          skill to form autonomous pieces of outstanding music. It all
          sounds quite acoustic (violins, pianos, bass etc.) and he
          mixes repetition of certain motifs with constant change --
          either in the background or in the foreground or inbetween
          -- and there's always something happening. Kind of remains
          me of the way Parmegiani structures some of his work,
          although the sound world/material is quite different. Highly
          Recommended (personally I prefer Fractuur over Alterstill,
          but that's perhaps because I've listened more to the former
          than to the latter?).>>

          no, fractuur is more developed and fluid. wall just keeps improving; his first
          record, fear of gravity, is much more about cutups and less interesting than
          the latter two. fractuur is one of the most accomplished records to come out
          in the last few years. fans of fractuur should check out the martin tetreault
          record on audioview. it's a similar concept and also superb.

          Jon
        • Sean Cooper
          ... hmmm, too bad. the cd will be of pieces dating from the 60s and 70s. one for completists, i imagine. as if he s stopped producing new music... sc
          Message 4 of 12 , Aug 13, 1998
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            > Bayle is great. Also try to find Erosphere if you can. I've enver understood
            > why more people don't talk about the INA-GRM stuff. By the way, there's
            > supposedly a new Parmegiani disc coming out on Plate Lunch. Check out their
            > new web site: www.platelunch.com.

            hmmm, too bad. the cd will be of pieces dating from the '60s and '70s. one
            for completists, i imagine. as if he's stopped producing new music...

            sc
          • Tom Ewing
            ... All very well to say that so airily, but I find it s pretty much impossible to treat language as just sound, though obviously focussing solely on the
            Message 5 of 12 , Aug 13, 1998
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              Oeivind Idsoe wrote:

              > I also bought Tricky's (remember him?) latest yesterday --
              > Angels With Dirty Faces --, and I must say I like it quite a
              > bit. His raw sense of rhythm and sound, and the way he cuts
              > and pastes all kinds of musical sources (blues, hip hop,
              > fast d&b'y, dirty symphonics etc.) together with his
              > s/blurry voice gives the music a sense of flow that I find
              > particularly attractive. Of course, the music is in no way
              > cheerful or happy or anything, and his lyrics sometimes gets
              > a bit self-indulgent (just treat Voice as just another
              > instrument and you'll be fine)

              All very well to say that so airily, but I find it's pretty much
              impossible to treat language as 'just' sound, though obviously focussing
              solely on the lyrics doesn't get you anywhere. The point remains - they
              are irritating, and for me they detract from the music. Which is probably
              why I like the 'Divine Comedy' 12" a lot more than anything on the album
              proper: his misanthropy/rage finds a more understandable focus there,
              plus he raises his game musically too.

              > Then there's a collaborative project between Achim
              > Wollscheid and Asmus Tietchens on the Staalplaat label. The
              > latter has remixed'/ reconstructed sounds/music by the
              > former, and although I haven't had the chance to listen to
              > this CD so much yet, it seems like a fine piece of intimate
              > minimalism -- had Bachelard been alive yet he could probably
              > have used it as an example in his beautiful book Poetics of
              > Space.

              Whaddacoincidence, I just bought that very book. Too busy to actually
              *read* it, mind you. Anyway, thanks for the recommendation, I'd been
              meaning to get some stuff by Tietchens.

              New Discoveries, eh?....Things might change with my salary boost next
              month, but right now I'm too busy running around catching up with other
              people's recommendations (Arnold Dreyblatt, most notably - his "Nodal
              Excitation" on Dexter's Cigar is about the most alive-sounding record
              I've heard this year.) to play Taste Pioneer. Thanks generally for
              everyone's recommendations - some of the cut-up stuff in particular
              sounds fascinating.

              Oh, the one good CD I did find was from 1989 - the first (?) Marble Sheep
              album (just called 'Marble Sheep And The Run Down Sun's Children'), back
              when Masaki Batoh (of Ghost) and the bloke now in White Heaven were still
              in the band. It's agressive, blocky, repetetive psych-improv, much more
              accessible than the big names but still a great big buzz for people who
              still like rock music but are bored by what passes for it in this country
              right now.

              Cheers,
              Tom.
            • Oeivind Idsoe
              ... The claim may have sounded (no pun intended) airily, but I actully mean it -- and I actually manage to treat it as (a) sound. Perhaps I have an advantage
              Message 6 of 12 , Aug 13, 1998
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                Tom Ewing wrote:

                > Oeivind Idsoe wrote:
                >
                > > a bit self-indulgent (just treat Voice as just another
                > > instrument and you'll be fine)
                >
                > All very well to say that so airily, but I find it's pretty much
                > impossible to treat language as 'just' sound, though obviously focussing
                > solely on the lyrics doesn't get you anywhere. The point remains - they
                > are irritating, and for me they detract from the music.

                The claim may have sounded (no pun intended) airily, but I actully mean it --
                and I actually manage to treat it as (a) sound. Perhaps I have an advantage
                in that English is not my native language (you should try Nusrat Fateh Ali
                Khan -- it's the same thing, because most people who listen to his music
                haven't got a clue as to what he's actually singing/saying, but still get a
                lot of things out of it (OK -- I am *not* comparing Trick with NFAK)), but
                I've never really treated a voice as a distributor of lyrics. I most often
                listen to music without words -- I find that a lot of lyrics are so bad
                they're not worth paying attention to -- and so have years of training of
                ignoring what the hell they are saying. ;)

                > Tom.

                /Oeivind/
              • Benito Vergara
                ... [on Farmers Manual s Explorers_We] ... How different is Fsck? I gave a listen to Explorers We in my neighborhood record store (after reading John
                Message 7 of 12 , Aug 13, 1998
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                  > -----Original Message-----
                  > From: JonAbbey2@... [mailto:JonAbbey2@...]
                  > Sent: Thursday, August 13, 1998 8:20 AM
                  [on Farmers Manual's Explorers_We]
                  >
                  > just to throw in my opinion here, I found this to be fairly uninteresting
                  > wanking (both discs), one of the least interesting things to come
                  > out of the
                  > VIenna/Mego scene that I've heard. Fsck is much better. What I'd really
                  > recommend is Pomassl's Trail Error if you can find it.

                  How different is "Fsck?" I gave a listen to "Explorers We" in my
                  neighborhood record store (after reading John Everall's rave review in The
                  Wire last month), and, well, I'm not entirely sure I'd listen to it more
                  than once. It's -- what -- 60 tracks of about a minute each worth of bleeps,
                  clicks and feedback? I think I prefer my bleeps and clicks with more
                  structure (say, Pan Sonic); if I wanted randomness I'd rather listen to
                  SoundRaider (a fantastic shareware music program, btw).

                  BTW, this is my first post; I'm very happy to have discovered this list.

                  Later,
                  Ben

                  http://www.bigfoot.com/~bvergara/
                  ICQ# 12832406
                • Mark Coyle
                  Ben tell me more about Soundraider. I got the early Panasonic CD (now Pan Sonic of course) and couldn t stand it. Rare for me! Nothing seemed to happen but
                  Message 8 of 12 , Aug 13, 1998
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                    Ben

                    tell me more about Soundraider.

                    I got the early Panasonic CD (now Pan Sonic of course) and couldn't stand
                    it. Rare for me! Nothing seemed to happen but the minimal compressed
                    rhythms. Was I missing something?

                    Cheers
                    Mark
                  • Benito Vergara
                    ... I guess I tend to think of, say, the Beastie Boys in that way -- treating their vocals as percussion instruments, particularly when they re all processed
                    Message 9 of 12 , Aug 13, 1998
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                      > -----Original Message-----
                      > From: Tom Ewing [mailto:ebros@...]
                      > Sent: Thursday, August 13, 1998 11:37 AM
                      >
                      > Oeivind Idsoe wrote on Tricky:
                      >
                      > > Of course, the music is in no way
                      > > cheerful or happy or anything, and his lyrics sometimes gets
                      > > a bit self-indulgent (just treat Voice as just another
                      > > instrument and you'll be fine)
                      >
                      > All very well to say that so airily, but I find it's pretty much
                      > impossible to treat language as 'just' sound, though obviously focussing
                      > solely on the lyrics doesn't get you anywhere. The point remains - they
                      > are irritating, and for me they detract from the music.

                      I guess I tend to think of, say, the Beastie Boys in that way -- treating
                      their vocals as percussion instruments, particularly when they're all
                      processed and almost impossible to understand. But I don't know which is
                      worse -- Mike D's whine or Tricky's phlegmy mutter.

                      I happened to enjoy "Angels with Dirty Faces," btw.

                      Later,
                      Ben

                      np: john zorn, "scary moonlight"

                      http://www.bigfoot.com/~bvergara/
                      ICQ# 12832406
                    • Oeivind Idsoe
                      ... ...and if people like INA-GRM, they should also check out the Canadian empreintes DIGITALes label. Some of their releases contains the most fantastic
                      Message 10 of 12 , Aug 13, 1998
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                        > From: Sean Cooper <scooper@...>
                        >
                        > > Bayle is great. Also try to find Erosphere if you can. I've enver understood
                        > > why more people don't talk about the INA-GRM stuff.

                        ...and if people like INA-GRM, they should also check out the Canadian
                        empreintes
                        DIGITALes label. Some of their releases contains the most fantastic acousmatic
                        music imagineable, and I'd particularly like to recommend Dennis Smalley, Jonty
                        Harrison (there's a track made up of wine-glass sounds on his empreintes release
                        that has to be heard to be believed, preferably on a hi-fi sound system),
                        Randall
                        Smith (so inventive rhythm-a-tics and beautiful manipulations of everyday noise
                        --
                        crackles from fireplace, water, birds etc. -- that makes them sound like nothing
                        else, which, of course, is the point), Christian Calon, Francis Dhomont (another
                        one from the INA-GRM environment), Robert Normandeau and Patrick Ascione.

                        They recently released a compilation called Miniatures Concrete, which consists
                        of
                        24 pieces by 24 different artists, where each track lasts for only three minutes
                        (quite an unusal duration for electroacoustic/acousmatic music, but definitely
                        something I'd like to see more of). This comp. will give you a very good
                        overview
                        of what this label is made of, and if you throw in their first compilation,
                        Electroclips (same concept -- three minutes etc.), things get even 'overviewic'.

                        Check out their web-site at http://www.cam.org/~dim
                        There are (short) Real Audio clips from all CDs.

                        > By the way, there's
                        > > supposedly a new Parmegiani disc coming out on Plate Lunch. Check out their
                        > > new web site: www.platelunch.com.
                        >
                        > hmmm, too bad. the cd will be of pieces dating from the '60s and '70s. one
                        > for completists, i imagine. as if he's stopped producing new music...

                        Are these perhaps some of the same pieces included on the double-CD (on INA-GRM)
                        "Violstries..."?

                        BTW, I'd like to see some new stuff soon, too. I wouldn't bet on anything
                        happening soon, though, as experience tells me that most of these
                        composers/artists certainly don't believe in rushing things.

                        > sc

                        /Oeivind/
                      • Benito Vergara
                        ... It can be found at http://www.andyw.com/raider -- basically the program scans your hard drive for .wav files and plays them in random order -- and randomly
                        Message 11 of 12 , Aug 13, 1998
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                          > -----Original Message-----
                          > From: Mark Coyle [mailto:MCOYLE1@...]
                          > Sent: Thursday, August 13, 1998 12:23 PM

                          > tell me more about Soundraider.

                          It can be found at http://www.andyw.com/raider -- basically the program
                          scans your hard drive for .wav files and plays them in random order -- and
                          randomly shortens or lengthens tones, distorts the pitch, etc. Mostly one
                          does get machine bleeps and clicks, but the fun comes in the various
                          aleatory combinations -- nice long space-drones, chirping crickets,
                          buzzsaws, growls, even the sound of a throat being strangled. You can play
                          around with the channels, mute/unmute them, or have them loop permanently.
                          Another cool thing to do would be to place two music sound files in the
                          local directory -- to use a slightly embarrassing example, I happened to
                          have Mark Snow's themes for "The X-Files" and "Millennium" on my computer --
                          and the result sounds like some groaning subterranean orchestra with
                          chattering animals skittering across the surface. (No, I'm not connected
                          with SoundRaider in any way -- haven't even registered the shareware yet...)

                          > I got the early Panasonic CD (now Pan Sonic of course) and couldn't stand
                          > it. Rare for me! Nothing seemed to happen but the minimal compressed
                          > rhythms. Was I missing something?

                          Well, what was "enjoyable" for me was the sheer mechanical coldness of the
                          pieces (as opposed to, say, Oval's "warmth").

                          Later,
                          Ben

                          np: john zorn, "blue"

                          http://www.bigfoot.com/~bvergara/
                          ICQ# 12832406
                        • Mark Coyle
                          Hi ... I gotta try it now. I could remix my own pieces John Oswald style. Or even better remix his! ... Perhaps it was me but there didn t seem to be
                          Message 12 of 12 , Aug 13, 1998
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                            Hi

                            >> tell me more about Soundraider.

                            I gotta try it now. I could remix my own pieces John Oswald style. Or even
                            better remix his!


                            >> I got the early Panasonic CD (now Pan Sonic of course) and couldn't stand
                            >> it. Rare for me! Nothing seemed to happen but the minimal compressed
                            >> rhythms. Was I missing something?
                            >
                            >Well, what was "enjoyable" for me was the sheer mechanical coldness of the
                            >pieces (as opposed to, say, Oval's "warmth").


                            Perhaps it was me but there didn't seem to be anything there. Just pounding
                            dry beats. I tried with it though. What's the new Pan Sonic stuff like,
                            Wire love it. Don't worry you're safe, I even like Psycho Acoustic. I
                            agree Oval are warm. I'm going to try Signs Ov Chaos in a moment!

                            Cheers
                            Mark
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