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Big gipp mutant mind frame torrent

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To be truthful I'm not speaking from experience, but you can sense the same intense, single-minded devotion has fed into creating these solo guitar works. If you're expecting high volume screechy feedback, by the way. Donald Miller, as he himself will delight in informing you, is the guitarist-feedback part of the Borbetomagus act, who have been unleashing their Iron-John styled free jazz electronic mayhem on the unwilling ears of the world since It's about time that Miller, an exceptionally well-read master of the esoteric arts, got himself a look-in as a soloist.

Decorated with a sleeve collage of the artist's own making that merely reinforces all the above sentiments and images. In this time of excessive free choice, we're just surrounded with too many distractions anyway, none of us can resist and all of us have succumbed.

At least one of the CDs below darn near led to a personal epiphany for this listener over tlx- Easter weekend. I'd like more of them, perception-changing, mystical episodes, but it isn't easy. Anyway, I'm sad and lonely and I'm just jealous of all you other happy people with your interesting lives. Ascetic music fits my ascetic life. Each of our friends below is one way or another loosely associated with a s New Yoik 'scftool' of music, some of whose team players embraced use of electronics, total simplicity, and above all extremely long duration in its compositions.

Ttiis led to one critic calling them minimalists, a term which had already been applied to certain visual artists in the same country and at the same time. Some of these musicians have found a pathway to God through the drone. Angus Maclise found enlightenment via the Nppie route to Kathmandu.

Charlemagne Palestine ignored them all and remained tme to his Jewish roots, and developed a Nghly eccentric and personal devotional method of perfonning from it. They may not store religion or even told religious beliefs, but it's interesting to me how in the handful of records reviewed below, there's this linking strand in their histories - a church keeps recurring as a significant building where these artists have met, performed, or lived. Others, like La Monte Young, appear to have become slightly isolated.

Most, however, have remained true to the ideal of lengthy duration, and when we're faced with these recordings I feel we owe it to them and ourselves to make time to listen to the whole tiling in one sitting if possible. He is now proving more than a match for any of his more famous contemporaries, such as Philip Glass or Terry Riley, who both have their impressive back catalogue of large scale holy works behind them.

The advantage we must accord Charlemagne, in all of these minimal monotone monuments, is his humanity - he isn't simply relying on mathematical systems, or prepared structures, or loop- delay machines, or strings of endlessly repeated arpeggios on a piano. The music comes directly from him, it is composed of him as much as C N K I. But then, not even the combined sexual drive and larger-than-life personalities of Morrison, Hendrix and Joplin could muster the power of Schlingen-BUngen.

Letting the full sonorities of that antiquated construct blast forth, he turns it into a roaring behemoth without equal. Sculpting with the clouds, moulding the light and sunshine, as though he were creating a new world and the struggle for the souls of millions were in the balance, while he wrestles the devil with his day- covered mitts.

How I love organ music! But Bach is quite airless somehow, the baroque cerebral mathematics of it though sublime gets in the way of enjoyment. Messiaen - well's he's just plain eerie especially playing his own compositions , a warped sensibility deeply contemplating the Catholic mysteries through music.

With Charlemagne Palestine's approach to the organ - one simple chord, explored for a very long time in all its richness - it may be rugged and unsophisticated if you wanna compare it to Handel, but at least the listener can BREATH. Air is everywhere in this recording, you can hear it and you can feel it coursing through the very organ pipes. And in the music - hits of pure oxygen, of the kind that can sustain your heart and mind and lungs.

He arranged for a performance at a tiny village near his festival in Groningen, which had the best church organ in the vicinity. This CD is not that performance, but another one from 1 when the team returned to the exact same church and recorded the music with better equipment. Issued with extensive sleeve notes by Ingram Marshall, friend of Palestine and composer, whose excellent work is represented this issue in another section.

Charlemagne has expressed a slight envy of other more famous muskians of his school and generation who not only enjoy more success and fame than he, but also boast the more visible manifestation of same - ie lots of CDs available in the marketplace, betokening a satisfactory record deal and corporate sponsorship.

David Tibet put out Karenina on the basis of his own interest in the musk and life of Charlemagne Palestine. Tibet knew no rest until he had secured an original vinyl copy of Strumming Music on the Shandar label, and soon agreed to release a recent-ish work of Palestine's from 1 , recorded to accompany a retrospective exhibition of his sculptures and photographs. Close friends of Palestine have confessed that he can work himself into a self-pitying state where his own personal heartache becomes the centre of the world.

This is nearly the sound that's on the record, as he moans and worries away at the irresolvable problem before him. The shame, the pity of it Art transcends specific emotions, details of life, and makes them universal - transforming a petty problem into a pattern that we can all share and learn from. Rubbing his own sore heart until he can bear the pain no longer, yet carrying on. You need the emotional stamina of a Hercules to perform this!

He is a past master of making musk by twisting and tweaking the electronk circuits, having worked with an early version of the Buchla system in the s. Recorded at the VPRO studios for Dutch radio in January ; it was followed by a live performance at the Roxy club in Amsterdam, which was unfortunately not recorded.

On this studio disc a limited edition only available from the Staalplaat website , Charlemagne starts off solo to be joined by musical interpolations from Pan Sonk. The long sustained chords have all the wrong, mixed notes - generating a near-unbearable tension which many civilians will find dismaying, but you troopers will be rewarded if you stay the course. There were a few items that surfaced in 1 , but I believe this is about the most desirable of them in terms of sound quality and musical value.

Reed Streams was the debut recording of Riley's which was issued as a private press LP on his own label. At this time he was playing in his loft, working with a simple delay effect on his soprano saxophone. Later, he started doing it live at a venue called the Electric Circus.

If you know and enjoy Riley's work, this one is a must. L'lnfonte were a crazy band of loons in Montreal who, picking up on the spirit of the times, wound up recording an anarchic version of In C Their up-tempo, syncopated take on this classic of modem composition has to be heard to be believed, but don't let it be mistaken for anarchic frivolity - in fact it's very much in keeping with the democratic free-for-all spirit of the piece.

They were a mixture of rock, jazz and classical musicians, and their big band here consists of reed players, trumpeters, trombonists, with piano, guitars bass and drums. Imagine a kind of real-life Muppet Show band crossed with a low-rent Arkestra.

They're all wearing paper crowns and robes in the pictures, an intriguing image which is not disappointed by their music. Pretty indispensable really! If that's not enough for you. His music as represented on these CDs works from the 1 s is frankly excellent and In fact seems so varied and powerfully original as to bear none of the cliched hallmarks of minimal music that lazy critics are so quick to seize upon.

It moves slowly, staying in one divine place for a long time, and never slips its composure to sound like anything less than the soundtrack for a picnic on the moon. Like being offered a glass of quicksilver to drink, then gradually finding your entire body is changing into a new material.

Mostly performed by Gibson using overdubs, this paean to nature was mixed by technicians from the Bird Call Cornell University Laboratory of Ornithology! Additional enjoyment can be derived from the great photo of Gibson playing this piece at the organ in Washington Square Church.

Many more expressive delights and astonishing long pieces await the happy listener who locates and listens to these fine discs. After all the talking about the Theatre of Eternal Music I wondered if we would ever have a chance to hear some of this music? Amazingly, it lives up to the promise too. He stuck around on the planet long enough at least to migrate from The Dream Syndicate band to appear in an early incarnation of The Velvet Underground, although according to John Cale this alone was enough of a miracle.

Perhaps his life is the dream of all men who want to be free. Free enough at least to travel to exotic locales, live with strange people, paint your body green, and never care about such bourgeois concerns as mortgages, life insurance, or preparing breakfast the next day.

The sleevenote and perhaps more importantly the stunning photographs here by the psychedelic photographer and poet Ira Cohen do nothing to dispel the myth of MacLise. Cohen knew him, and with remarkable economy he plunges the reader into a bizarre world of ancient religions, shamanism, lost texts, Dreamweapons, powerful drugs, trance music, and underground movies - a world peopled with such luminaries as John Cale, Tony Conrad, movie maker Jack Smith, Terry Jennings, and Brion Gysin.

The long title track is the best one. Angus on the hand drum is joined by wife Hetty MacLise on the organ, along with friends on flute, guitar, dulcimer and voices. Invasion of the Thunderbolt Pagoda was recorded as the soundtrack to a film made in 1 The cosmic trip brought visions and awareness that they all apparently shared, and were compelled to mark the occasion by playing this music live at the screening of the film in St Mark's Church of the Epiphany.

This is the recording you will hear. There are ragged edges, uncertain strokes of the bow, and moments where everyone gets lost. Delirious beauty! Have you ever seen a Mondrian painting up close and admired the rough edges where his brushes couldn't quite make a straight line, where the surfaces of pure white were slightly uneven?

That makes it even better. Human beings are making this music not Gods from another planet. However, these imperfections might result from the tape quality rather than the performance itself. John Cale pushes a slightly different picture. Calc and Conrad's I?

The sheer power in the dashing notes of these stringed instruments, relentlessly sawin 8 awa X Into oblivion, simply makes the listener sick. For the first 1 8 months from 1 , it.. It bursts with an intense fruity life! This recording hints at the darker powers of a drone, of a harshness and intensity that would keep idle dabblers at bay. Once immersed inside its constricting coils for several hours, the delirium could turn to agony as it painfully shreds your eardrums and massages your brain - whether you want it to stop or not.

And the personality clashes between these five intense, intelligent and highly articulate creators must have been horrendous. Young had already established himself into this composer position by 1 , and into the early 1 s through his association with the Fluxus artists, who taught him the value of presenting his work as a simple verbal score. It's too bad their music has become the soundtrack to a soap opera. It really has the power to transform people.

Then the trouble started; an unauthorised release, a package and cover design many regard as very poor, and more fuel to a long-standing feud. Anyway, if you can still find a copy, I would recommend you listen nonetheless. Part of Tony Conrad's Audio Artkive series, it's a set of film soundtracks and associated recordings that he worked on the early 1 s, centred around the work of jack Smith. If you want to improve on that, try and seek out any one of his films and see how far you get finding an arthouse cinema that has the guts to screen them.

Flaming Creatures, reckoned to be one of his peaks of achievement, is an outlandish, utterly bonkers and supremely charming piece of underground film-making. It simply features his friends and other weirdos dressed up in bizarre garb one of them is La Monte Young in drag - bet he wishes he could live that down! Then an earthquake strikes and the ceiling falls on top of their writhing bodies.

His life was wracked with despair - 'why bother to shave when I can't even think of a reason to get up in the morningf goes a line from Blonde Cobra a film by Ken Jacobs which he appeared in and provided the soundtrack for , and he amused himself with pornography in between creating his artworks.

These artworks were far from minimal; every frame of Flaming Creatures is alive with detail, movement light and shade, and sumptuous decadent beauty bursting out of the frame. As you will hear - when you tune into the first half of this split CD. Getting there firstest with the mostest isn't everything, though. According to La Monte Young, Maxfield would prepare a tape collage by cutting up tape sections and fishing them at random out of glass bowls.

But, unlike John Cage, he was never satisfied with pure chance results, and reserved the right to continue modifying the work until it pleased him. Delicate, strange, arrestingly beautiful; like a very lucid and peculiar dream. Maxfield moved to New York from his home town of Seattle, having studied with important European composers. Even though he took over teaching the same course from John Cage.

Maxfield was the first to proclaim the value of working with electronic sounds for their own sake, and not simply reprocessed tapes of 'naturar noises. His pupils included La Monte Young who assisted him with the realisation of some works , and Joseph Byrd, who later formed the psychedelic electronic band The United States of America. Do not miss this one! These four pieces however are just pure originality, highly significant in their ground-breaking advances, and a sheer delight to hear.

We'll give Harold Budd his due next time around, folks. He was aged 42 and we're given to understand it was a drug-related death; in this he joins Terry Jennings and Angus MacLise as tragic victims of the darker side of 1 s counter-culture TT 4 i i J km newworldrecords erols. Ken Friedman, editor, The Fluxus Reader. West Sussex, Academy Editions, 1 In Collusion magazine number 5, September Edward Leffingwell et al. Flaming Creature. Slapp Happy impress with their skills, rather than amaze with their adventurousness.

The musicianship they possess is impeccable, with immaculate keyboard and guitar playing, looking effortless. Which is probably why Chris Cutler likes them too. The penchant for dense, lyrical invention is ingenious. Dagmar Krause on the vocals, naturally. A great delivery of this detailed miniature, an Old Master painting in song. Added bonus this night - a rare screening of David Larcher's movie. Mare's Tall. The band used it as a backdrop while performing.

How long I've waited to see that one. Haunting images. Deserves a full public screening, and soon. Id be interested to learn how you hooked up with the Picture Story magazine people. Was ft through Martin Millard, or did you know the New York artists first? Jerry Moriarty was, and Is, a true maverick - love his work. And Ben Katchor, now enjoying some success with a weekly strip. Did Picture Story get beyond two issues f What affinities did you have with these eccentrics of the comic strip?

Katchor seems not very far away from you, with his love of detail, his semi-imaginary cityscapes, his fictional catalogues of absurd objects. We had affinities of taste in art, music and literature. Ben had a collection of strange and wonderful records - a lot of Yiddish songs among them.

He and Jerry Moriarty used to play music together, privately Ben plays clarinet , but I regret to say I never met Moriarty or heard them play. Ben introduced me to Martin Millard in a Hampstead pub c. I recall M. Partly, no doubt, because my father is an illustrator children's books mainly , I wanted to take the concept of illustration somewhere else, to find a form in which images and texts participated in a new way.

This was the late 70s. For me. The Large Glass demonstrates the potential of illustration. Duchamp had been a mediocre painter and occasional cartoonist before embarking on his course as iconoclast. The album, Kew. EP How about your other drawings and comic strip work? He was a journalist working for a new paper, The Sunday Correspondent He suggested I work up some ideas for a strip.

One of the ideas I came up with was about a faceless philosophical tot. The Sunday Correspondent folded before I did anything more than a few little sketches. I forgot about them. A year or two later the journalist, now working for the I. He showed them to the then editor of the Review, Richard Williams, and about a year after Richard had commissioned it the first one ran.

That was It ran for seven years. I printed up a second issue of Amateur, an AS magazine. A few other ephemeral bits and pieces. David was travelling and taking photographs. It was one of the all-time great meetings, up there with Stanley and Livingstone. David and Anthony are both professors at the same school for media arts in Cologne. EP Why is his astonishing work not more visible today? Myself included. Ochs, and by a stretch of imagination The Residents and Tom Lehrer.

AH these reflected his love of dense textual lyrics, and his conviction that Pop could be intelligent informative and educational - and not necessarily at the expense of being entertaining. How many people were doing that? PB They were great. Great comic timing. EP What was it like to have a deal with Virgin in the s?

I generally like the records he recommends. I remember being knocked out when he loaned me V. I grew up in Connecticut in the 60s, passionate about Bob Dylan and British beat music. The Beatles and The Rolling Stones. That period was my ideal Pop Aesthetic, I guess. It still is, in a way. Young people took prosperity for granted, so we made a show of shunning It. I think music was just a hobby for me, really. I was waiting to discover what I really wanted to do with my life.

PB Slapp Happy never registered on the radars of more than a handful of eccentrics. Maybe even Henry Cow. But not Slapp Happy. I never gave Virgin the opportunity. They treated me well. Richard was relaxed and friendly in the early days, and I liked Simon Draper a lot - very tolerant. When I re-signed with them as a solo artist in the early 80s they tried to make me a more commercial proposition, probably so that they could then rip me off , but the plot failed.

I made one dreadful over-produced record for them which I regret. But that was as much or more my fault than theirs. But were you ever tempted to go for a lush, Gary Usher-styled production values recording? But the sound we got in the early days usually felt to me like it happened more by accident than by design.

EP Can you fill me in on some factual historical points. PB We played one gig, at the I. Our second gig was in Tokyo in May of this year. PB It was the second, in fact. NB - Tm tiptoeing around the Faust story, having re-read the Mojo feature by Andy Gill on Krautrock where you have already given generously of the history of your playing with Faust. Through David he met other underground film-makers.

Uwe was and still is, I think a highly respected film critic among other things. He and Ant met, got on. Uwe was considered a taste-maker by somebody high-up in Polydor, Hamburg. They gave him the backing to set Faust up in Wumme, in a converted schoolhouse with a studio of their own. Uwe got Anthony a deal with Polydor. I think it was after the second of these that Uwe suggested Ant. That was me. I was at University in Exeter, having an awful time. Dropped out as soon as I got the invitation to join Ant in Hamburg.

He was going steady with Dagmar. The rest is silence. EP Have you any formal musical training? Slapp Happy seem so perfectly formed, as it were, without having had to grow up and make mistakes in public. What were you doing before? How did you meet Anthony and Dagmar? PB A few piano lessons, a year or 2 of clarinet as a kid. A year of guitar lessons at 1 3. That's about it. Ant and I had a couple of bands at the school I attended in the late 60s.

A vegetarian, Quaker, progressive school in Hertfordshire. Ant's parents were on the staff and lived there. I think the excellent Neil Murray has written about this period on one of those Canterbury Scene web-sites - Neil played drums in bands with Ant and me.

Neil claims that one of our groups was actually called Slapp Happy and the Dum Gums. EP Tell us more about your likes and dislikes in poetry. Understand you used to be a fan of the Beat poets, then got into WB Yeats and, through him the Golden Dawn, then developed an interest in occult and hermedcism. PB I like all poetry. Baudelaire, and Rilke. Several poems by Gregory Corso made me laugh out loud with surprised pleasure. I like magic for its poetic implications and its unintentional humour.

PB She wrote the music. I wrote the words. EP Kew. How was it working with these free jazz masters? Did they understand what you were driving at? PB It was touch and go at first with Andrew Cyrille. He stayed up all one night trying different approaches.

The album anticipated simple interactivity diagrams on the cover were interpreted by lyrics of the songs, etc. EP Did the vocalists grasp the meaning of these lyrics? PB Of course. The vocalist being Lisa Herman, past whom very little gets. EP This, at least one example where title, sleeve art and lyrics coalesce perfectly with 18 The Sound Projector 8ighth Issue the concept. Not that I profess to understand the concept, but its clearly a complex cipher that one can spend ages untangling - a crossword puzzle.

It seems superfluous to ask if you're familiar with Alchemical books, their emblematic images replete with layers of hidden meaning which only the initiate can discover. PB Dream on! EP The exact opposite of today's dumbed-down music consuming scene. Do you have any views - what has been lost f Why has virtually all music become ensla ved to this corporate behemoth f PB I don't think it has, really.

That sense of there not being enough music has been lost, for me at least. Slapp Happy Acnalbasac Noom Original issue unknown to me. English session musicians guest, although Jean-Herve Per on appears on a few tracks. Issued with the lyrics printed on newsprint in a pamphlet, loosely inserted. Two issues were published, but I never saw the first. Kind of a sub- Raw magazine they used the same printers but not as pretentious, and more fun in places.

Larcher came to film already an accomplished photographer; he shot Andy Warhol doing one of his light projections at the DOM Theatre in 1 , a spread published in Image magazine. Larcher worked then as he does now, in total isolation. His films contain multiple exposures, overprinting, shifting colour stocks, negative stocks, and brilliant use of colour achieved by deploying all of the above in combination with painting and scratching direct onto the emulsion of the film.

Steve Dwoskin: 'Mare 's Tail. It is a man's life transposed into a visual rapport. It is of the spirits and demons, which are in each of us, that unravel, as in the film, as mystical totalities through into the fragmentation of realities. He showed precisely two reels from a much longer work, whose title I wish I could remember. Two other people were in the audience. After these two reels, Larcher quietly announced with a smile that he didn't think he would show any more that day.

Just as well, perhaps - I was devastated. After seeing what I had seen, I felt sick for about a week, and looking at any other art seemed totally inadequate. These are not random escapades romping through the history of pop records; he has listened carefully to everything, found significant relationships between the sonorities and texts of his segments, and exploited these similarities to the full.

He takes pop-miniatures and creates a vast, full- colour, widescreen tableau of sound. If you give him enough time, that is. John Wall is an extremely abstemious music producer, and to me that is a very good thing. He has no desire to drown the world in recorded product, unlike not a few avant-garde bands and solo acts we could mention. On the contrary. Wall is like the Peter Kubelka of the music world. Kubelka was an underground film-maker from Austria, prominent in the 1 s, whose complete works amounted to less than one hour of screen time.

Short, perhaps; but they were perfect, concise, distilled mosaics of single-frame editing. Kubelka knew he had 24 frames a second to communicate to his viewers, and he didn't want to waste a single one. When he made a beer commercial for TV, he used four simple short sequences of people drinking in a cafe, reprinted them In high- contrast positive and negative stock, and arranged them ruthlessly into a mathematical structure with devastating precision.

The result is a one-minute masterpiece of condensed information, and an aesthetic triumph. Wall works in a sightly similar way with samples from records, including on this disc works by composers Harrison Birtwistle, Iannis Xenakis. This distinguished French composer enjoyed a brief flurry of fame recently when two modem electro- wank jokers unexpectedly eulogised him in their interview for the UK's best-loved modern music newsstand periodical.

Soon thereafter, the staff at These Records reported an unusually high level of interest from their clientele in the work of Parmegiani. In particular, everyone wanted to secure a copy of De Natura Sonorum. I know this because I too was one of these sad buffoons - and arrived right at the end of the queue, as usual But these nuances are subtly suggested through deft strokes, not hammered home.

On the 1 track which was composed as a soundtrack to a film shown on French TV the following year , we hear expert mixing of unrelated drum tracks, rhythm guitars and organ passages, mixed together with white noise - wouldn't you love to have him remix your record!! Through juxtaposition of lush string segments with female soprano choirs, he suggests the ghost of an Ennio Morricone soundtrack. This is unpatronising, rton-ironic and intelligent use of pop sources by someone who knows good music and good sounds when he hears them - and is sympathetic to the ideas too.

Parmegiani arranged to record a work with a French quartet of free jazz players, with the only stipulation that his prepared tape-work be woven into the performance. Their freedom was chanelled and directed - to produce this amazing work. I think there are some post- production effects too the occasional dollop of reverb that enhance the vitality of this piece.

In all, another revelatory experience from this great man. How many people were doing this 20 years ago, melding free jazz and pop music with such wild electro-acoustic treatments! Now this is what I call modern! You got that right Johnny The still-bleeding fragments are sewn together into entirely new musical works, bringing together an unlikely sounding of voices into a astonishingly innovative composition. The textures, and the surface, are gorgeous; each sound stands alone in a sharp-focus shell of high-quality recording, allowing the contrasts and juxtapositions to be examined in utter clarity.

The attention to detail is likewise extremely compelling. A few seconds of music really take wing in his hands, soaring into the stratosphere through the extra impetus he feeds into it. At least two ethical principles guide John Wall in his precise and meticulous work.

One is that stealing samples of other people's music is morally wrong; this has been his guiding light right from the start of his career. At one stage he wanted to do more than namecheck the artists, and proposed to pinpoint timed, exact samples of the records he had used.

A colleague warned him of the legal repercussions, and he saw that this was not advisable! His intention is not to detract from record sales, or rip off these artists, but rather to highlight and celebrate the moments of beauty that they are capable of creating.

From these shards of the genius of others, Wall uses his own genius to construct startling new works of music. The second principle is that he never short-changes his audience. Fuelled by a passionate desire to never repeat himself. John Wall knows that musk matters - or that it should miner to us, and not simply be just another lifestyle accessory. Music should be cherished and loved, through the object of a record or CD which we can take home, put on the shelf and revisit over many years, building up a relationship with it and trying to understand its message.

One incident served to focus Wall's attention on how musk is in danger of losing this meaningful connection with its audience, and perhaps even becoming rather promiscuous; it involved the editor of a well-known musk monthly lending his Mego record collection to Wall, in one breath stating how vital and important this musk was, while in the next breath appearing not to care one way or the other if he ever got the CDs back again!

Last year's release from this consortium of subversive tape-editors was themed on the idea of using samples exclusively from movies - Commercial Ad Hoc is made up of samples from adverts. Not again Only a handful of the 1 8 tracks here contain any recognisable speech at all, and only three lapse briefly into the kind of cliched, threadbare satire on Americanism that only The Tape Beatles can do so well.

You've already seen it done in by Eduardo Paolozzi and in the s by Richard Hamilton, and with ten times the style and humour. So, bend an ear to Commercial Ad Hoc and pick up on its excellent strange sounds, using them as doses of electronic medicine for your troubled mind. As with the previous release, the game these jokers are playing is an elaborate one - trying to unsettle the listener with warped variations on familiar sounds, mixed with all-out high weirdness tape experiments that are soundtracks for a night of indigestion and vkious nightmares.

The collective effort by all 18 artists, including such names as Pimmon, Spacklequeen, Mr Mcrtdies, Office Products, Orange Head, Experts of Legitimization and The Bran Flakes - is simply to persuade you that all is not right with the world. Sure, they'll hook you in with a familiar sound - a frequently heard sample here is the one on computer TV commercials which promises 'Intel Inside! The listener may be beguiled or repulsed; but either way, anarchk actions and reactions are sure to follow.

You may sleep late one day. Six months after playing the CD, you'll be out of a job and sleeping on the streets, but at least your mind will be free. Like People Like Us, the guys at Seeland Records home to Negativland, the spiritual forefathers of this record believe that if you want to defeat the enemy, you have to sing his song. Their skills in creating the product - each track here is a mini- masterpiece of narrative, deft tape-cutting and condensed information, mostly in the three minute range, like pop songs - easily rival those of the swish boys on Madison Avenue who spend millions of dollars on product placement and manipulating your mind into accepting that Brand X is in some vague undescribed way going to enhance your miserable lifestyle.

Perhaps then the invidious and subtle methods of a Seeland record are one counter-method to defeat this blatancy. The artists are probably already preaching to the converted, otherwise I wouldn't be writing about this record in The Sound Projector and you wouldn't be reading it.

But maybe there is hope. Seeland Records have next to zero visibility in the marketplace, and the packaging of this one is so deliberately low key as to be non-existent. The messages on this record will not reach a mass audience, nor would it be understood by them if it succeeded. Instead, they seep out into the world like poison gas, passing on by word of mouth, changing the world by stealth, silently. After some false starts. Into an eye of a camera obscura, looking at the present, backwards, upside-down; all things fall out of the box of memories.

Take me gently to the river and drown me, in the sea of wishes. It brings to mind a private idyll, sensual colour overload - dust hangs in the air acting like a prism. A door swings open. Retrospective like looking at someone's record collection, while they're out of the room making coffee. I don't, know what to make of this, their I st LP. One to have. The cover art shows our heroine Jane rendered as a line drawing, her eye pierced with metal pins, making her into a tortured Virgin Mary figure.

It's just nice sounds. The loop trick is an ancient one, but it does work well here and is done with a sense of humour, without sneering at the cheesiness of its chosen source. Holger Czukay woulda lived it! The other side contains three pieces of more ordinary electronic japery made at the Klangkricg studios in Germany. It would be wrong to narrow down the focus of PLU's project, but an ongoing war against the media would seem to be a significant part of it.

We poor slobs, disenfranchised and alienated, are certainly in need of effective weapons against the media - and here I am not talking about battling the faceless corporation moguls that supposedly govern our lives. The weapons we need are sardonic humour, and fighting like with like; PLU uses the very absurdity of the media against itself. Television is just plain insulting most of the time - an insult to taste and intelligence.

And I am extremely suspect of the conditioned responses that are now ingrained into our daily lives - commonplace banalities, in our thoughts, words and deeds, arc now almost automatic. Records like those by PLU cannot solve the problem - if there is a problem - but they can at least make us aware of the situation. Through extremely skilled tape editing, PLU is constantly calling attention to the spoken word - and on at least three excellent examples here, scrambles and rearranges some radio phone-in shows into a hilarious garbled morality play, to make a savage mockery of everything that decent society holds dear.

The first example, an episode with an 89 year-old woman appears to be little more than a simple object-lesson in how the radio presenters patronise us, cut us off, distort our meaning, and control us. By the time we get to the Millennium Dome caller, the rug is pulled out from under us yet again, as both caller and presenter are made to look equally ridiculous.

The confused dippy lady caller phoning in for completely the wrong reason, and acting cagey when questioned; the condescending male host trying to regain control of the situation, and through tape edits repeating his mundanities into oblivion. Whose side are we on? We're never quite sure - and that is the whole point. There are records here that, if heard in their entirety, would probably induce a slow death by cringing - thank heavens someone is prepared to listen to them for us!

You can relish the trademark economy and deftness with which PLU assembles the samples, making simple incongruous links between dopey love songs and unexpected sound effects. Plus, the continual interruption of one's entertainment; as soon as you start falling asleep, or make the mistake of getting into the groove of a particularly naff and cheesy disco tune, PLU are right there with a jarring edit or a sudden full stop - a baseball bat to the frontal lobe a quick and simple means of waking up the inattentive listener, and used by Frank Zappa to great effect on his early records.

PLU delights in undermining our expectations; in a cruel but effective cut, a mewling kitten is set on fire during a phone call in a domestic setting, making soft imagery violent and strange. Most impressive of all though is how the voice of the artist still shines through, in spite of all the sources being second-hand; PLU records have their own distinctive identity, immediately recognisable, and create a unique sound- world that is as welcoming and friendly as any record by your favourite performer.

The Thermos imagery of the title can't be accidental. The Thermos flask, along with the hot water bottle and the suet pudding, is a perfect symbol of Great British Dreariness - unfailingly present at gloomy seaside resorts, rainy picnics and lurking in the lunch-boxes of the repressed civil servants who haunt Mlllbank. To ram home the image of the Thermos, there's a black and white gatefold photo inserted in the package, showing an early promotional Thermos-shaped van surrounded by gawping idiots.

And, just as the Thermos flask keeps liquid hot or cold, so this record blows hot and blows cold with the listener, contrasting the heat of a good belly-laugh with chilling visions of absurd bleakness - often within the same moment.

Few artists can bring this off successfully. Let's cherish People Like Us. If you're of a like mind, then you've come to the right place. In the interests of elucidation, we follow on from last issue's explorations and have sought out further examples of VSNM' to stimulate the enquiring mind.

Obfvion is not only becoming more of an attractive proposition, it's sadly becoming the only option there is. Let me confess I am easily prone to see through the joys of life, becoming acutely aware of the holowness of everything. This summer in the UK, for example, has boasted some of the worst ever weather we have been forced to endure; and nothing casts a pall over this gloomy country than the sick, anaemic ight that passes for sunlight. When faced with a few hours in a dismal North-Eastern seaside resort with a friend this summer, I could feel the disease of my spirit creeping upon me yet again.

I sometimes think I've passed beyond mere existentialism into some even more unbearable condition, and there seems little hope of relief from this miserable psychological state. I turn to these minimal records with relief; sometimes these are the only things I can bear to isten to! Neither existentialist nor depressing, the minimal music and silence on these discs is inspiring, filled with richness of life and great possibilities for development.

Find a space within them and you can make it your home forever. Not everything here reaches the supreme heights of utter nothingness that we managed last issue, but some of them are related to one cnother; bear with us and the jigsaw pieces will fall Into ptoce. Reading a book, listening to a piece of music, looking at a painting. How often do we all suppose we've done chat properly, for a start? One DIM, apparently, lasts for three of our 'normal' seconds.

I have a great deal of time for this very important and wonderful artist. He's often called an ultra-minimalist, but having pondered this matter for all of twenty DIMs, I'm hard pushed to find any serious resemblance between the austere, soothing and meditative work of GUnter's and the large-scale serial bombast of American Minimalism.

This point is hardly worth labouring, since no composer wants to be labelled anything full stop, but it seems that European GUnter is of a different generation and most likely working within a different tradition. Those from the New York school are better at it than others. GUnter, by contrast, seems wispy, ethereal, self-effacing - and the epitaph to his work is not 'I am great and my magnificent work will live forever as a monument to the great Me, and my greatness'.

He's coming towards music from a different angle, and though he is a composer, he isn't one that works with printed scores and pieces of paper as La Monte Young did, and continues to do - maybe because he knows that pieces of paper, in the right context and with the right gallery agent, are worth potloads of money! GUnter works with the modem tools, the studio and the tape recorder - or hard-disk editor as it probably is now.

The works can only exist as recordings. The work of GUnter and his allies Is, perhaps, one natural development of musique concrete, only using fewer sources and Gent A: Have you read this one? Gent B: Well, I've picked it up GUnter, alas and alack for us superficial types who would prefer to skim through life without letting anything really touch us, demands no quarter. He wants us to become really involved. To return to the point, he's fascinated the way that time can slip away when we are really absorbed in a great artwork, and he reports that listeners to his own ultra-minimal compositions don't have a very reliable perception of how long they last In particular, the short ones 'appear' to have lasted much longer.

I think similar reactions have been noted, in connection with the sublime musk of Morton Feldman. GUnter then takes a remarkable leap of nuttiness, by casually mentioning his 24 The Sound Projector 8ighth Issue treating them in far more subtle and imaginative ways.

I might go one further and say that Gunter is even truer to his sources than the pioneers of the 1 s, as he allows them more time to unfold inH to sp. W rm the ideas and visions which were already in the head of the viewer. So, you might say I could pick up virtually any object wrapped in silver paper like the Maze CD here and in my own mind, turn it into a little talisman. Perhaps I could, but then the magic mirrors never spoke back. And neither did the chocolate, as it disappeared into my insatiable maw.

My favourite memories are of distant, muffled bumping sounds - as though someone were moving furniture around inside my brain. In between, long gaps filled with a perfectly timed silence. Empty corridors in a labyrinth. I enjoy spending my money so I can listen to the silence of a CD with nothing recorded on it. RLW and BG are old friends and sparring partners, working informally since 1 This collaboration was first presented at a festival in , and the CD attempts to mirror the format of its original presentation.

They collaborate on the first of the three discs, which also happens to be titled a Triptych - a trilogy within a trilogy. This Borgesian conceit extends to the second piece, a solo work by RLW, called Maze - in three parts. Triplets nested within triplets. Less is more; maybe you can hear the whole of creation in silence, if it's framed with precisely the right choice of unintruslve sounds. Or perhaps the sounds are framed by the silences.

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