(313) claude young
hi i don't remember anyone mentioning this http://payplay.fm/claudeyoung philski
RE: (313) C2 at Carnegie Hall, well sort of
Why not? Do you think the musicians have something to be ashamed of? The Blue Potential is great. Have you even listened to it? G -Original Message- From: /0 [mailto:[EMAIL PROTECTED] Sent: 10 January 2008 02:55 To: [EMAIL PROTECTED]; 313@hyperreal.org Subject: Re: (313) C2 at Carnegie Hall, well sort of I bet the people in the orchestra dont admit to that one while out with their musician friends I wouldnt - Original Message - From: The Archiver [EMAIL PROTECTED] To: '/0' [EMAIL PROTECTED]; 313@hyperreal.org Sent: Wednesday, January 09, 2008 7:39 PM Subject: RE: (313) C2 at Carnegie Hall, well sort of What about the Blue Potential with Mills? -Original Message- From: /0 [mailto:[EMAIL PROTECTED] Sent: 10 January 2008 00:30 To: 313@hyperreal.org Subject: Re: (313) C2 at Carnegie Hall, well sort of classical musicians covering techno music is an insult to the art of music. if you disagree, you're wrong. - Original Message - From: Greg Earle [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Wednesday, January 09, 2008 5:09 PM Subject: (313) C2 at Carnegie Hall, well sort of Attention Classical fans in NYC (that means you Derek): Bach, Berio, ... Carl Craig?!? CARL CRAIG Technology (adapted by Francesco Tristano Schlimé) http://www.carnegiehall.org/article/box_office/events/evt_10028.html? selecteddate=02012008 - Greg No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 09/01/2008 10:16 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 09/01/2008 10:16
Re: (313) claude young
Yo Phil, check this out: http://feeds.feedburner.jp/Cynetmediapodcast http://mixesdb.com/db/index.php/Category:Claude_Young highly recommended! regards! dmc -Ursprüngliche Nachricht- Von: Philip McGarva [EMAIL PROTECTED] Gesendet: 10.01.08 10:17:28 An: 313@hyperreal.org Betreff: (313) claude young hi i don't remember anyone mentioning this http://payplay.fm/claudeyoung philski -- ** Confidential Records Oranienstraße 38 gardenhouse groundfloor D10999 Berlin Germany fon: +49 - 30 - 67921791 cell: +49 - 173 - 8450161 mail: [EMAIL PROTECTED] web: http://www.myspace.com/confidentialrecords101 us: [EMAIL PROTECTED] *
Re: (313) C2 at Carnegie Hall, well sort of
Isn't it kind of the reverse of Tomita? i may agree or disagree, but that doesn't matter. that is an awfully closed minded thing to say, and I do believe that alot of what techno and creative music is about is having an open mind. If a director has an open enough mind to try Techno, then good for him. I remember people cringing at orchestras playing with heavy metal bands...it may have not liked it very much, but i do appreciate the work that was put in to the result and the creativeness to give it a shot. Jeff --- /0 [EMAIL PROTECTED] wrote: classical musicians covering techno music is an insult to the art of music. if you disagree, you're wrong. - Original Message - From: Greg Earle [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Wednesday, January 09, 2008 5:09 PM Subject: (313) C2 at Carnegie Hall, well sort of Attention Classical fans in NYC (that means you Derek): Bach, Berio, ... Carl Craig?!? CARL CRAIG Technology (adapted by Francesco Tristano Schlimé) http://www.carnegiehall.org/article/box_office/events/evt_10028.html? selecteddate=02012008 - Greg Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
RE: (313) C2 at Carnegie Hall, well sort of
I enjoyed the Blue Potential. It carried an air of ridiculousness that accompanies anything highbrow Mills does - the idea of an orchestra playing some of his harder records was faintly surreal, and there is something a bit daft in the idea that classical musicians interpreting techno music sort of validates it which I often feel is the hidden agenda behind these sorts of exercises, because ultimately classical music and orchestras are seen as the high end of the spectrum, whilst some guy pressing buttons on a drab grey box is seen as the opposite end. Funnily enough, The Bells was the most enjoyable interpretation alongside The March. re : C2 - I'd agree with JT - I think it'd be definitely more interesting and more importantly, dynamic. -Original Message- From: JT Stewart [mailto:[EMAIL PROTECTED] Sent: 10 January 2008 04:49 To: Frank Glazer Cc: /0; 313@hyperreal.org Subject: Re: (313) C2 at Carnegie Hall, well sort of not exactly a twist was it? :P i think c2 translated to orchestra would be tremendous. the string arrangements would translate easily, and imagining the simple basslines and rhythmic melodic bits played by viola and french horn or whatever, hot dang. i never heard jeff mills' orchestra experiment, but i imagine carl's being more striking obviously carl already has respectable experience with live music and adventurous instrumentation with detroit experiment but besides, classical music and techno music are a great match, they're both played by machines (excepting yo yo ma, who is definitely an animal) On Jan 9, 2008 11:16 PM, Frank Glazer [EMAIL PROTECTED] wrote: i think you missed my point, but i'm also beginning to think you're just a troll. For all the latest news and comment visit www.telegraph.co.uk. This message, its contents and any attachments to it are private, confidential and may be the subject of legal privilege. Any unauthorised disclosure, use or dissemination of the whole or part of this message (without our prior written consent) is prohibited. If you are not the intended recipient, please notify us immediately. Incoming and outgoing telephone calls to our offices may be monitored or recorded for training and quality control purposes and for confirming orders and information. Telegraph Media Group Limited is a limited liability company registered in England and Wales (company number 451593). Our registered office address is: 111 Buckingham Palace Road, London, SW1W 0DT.
Re: (313) C2 at Carnegie Hall, well sort of
i may agree or disagree, but that doesn't matter. that is an awfully closed minded thing to say, and I do believe that alot of what techno and creative music is about is having an open mind. If a director has an open enough mind to try Techno, then good for him. I remember people cringing at orchestras playing with heavy metal bands...it may have not liked it very much, but i do appreciate the work that was put in to the result and the creativeness to give it a shot. Jeff --- /0 [EMAIL PROTECTED] wrote: classical musicians covering techno music is an insult to the art of music. if you disagree, you're wrong. - Original Message - From: Greg Earle [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Wednesday, January 09, 2008 5:09 PM Subject: (313) C2 at Carnegie Hall, well sort of Attention Classical fans in NYC (that means you Derek): Bach, Berio, ... Carl Craig?!? CARL CRAIG Technology (adapted by Francesco Tristano Schlimé) http://www.carnegiehall.org/article/box_office/events/evt_10028.html? selecteddate=02012008 - Greg Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ
Re: (313) C2 at Carnegie Hall, well sort of
Toby Frith wrote: there is something a bit daft in the idea that classical musicians interpreting techno music sort of validates it which I often feel is the hidden agenda behind these sorts of exercises, because ultimately classical music and orchestras are seen as the high end of the spectrum, whilst some guy pressing buttons on a drab grey box is seen as the opposite end. I can't speak to the concept behind the Blue Potential project, nor to the way audiences might feel about the notion of validation for these projects in general. But I worked on the Alarm Will Sound/Aphex Twin thing, and our only motivation there was that we just loved the music and wanted to hear what it would sound like played by acoustic instruments. There was certainly no sinister marketing angle or highbrow/lowbrow thinking - that's for cultural theorists and hipster bloggers, not musicians. -- Dennis DeSantis www.dennisdesantis.com www.myspace.com/dennisdesantis Mailing List: [EMAIL PROTECTED]
Re: (313) C2 at Carnegie Hall, well sort of
1. /0 as per usual, was trolling. Acquiring the Urine, as it were. 2. The Alarms WIll Sound CD had some awesome moments. It transmuted the patience Richard James put into hours and hours of step programming into real-time instrumental virtuosity. It isn't better or worse than the original, it's different, in an interesting (and very enjoyable) way. 3. I haven't heard the Blue Potential thing, except for snippets, and the snippets didn't make me want to seek it out. As a former orchestral musician, my feeling is that orchestras are really good at playing notes, and playing music from the domain in which the players are trained. If the conductor is decent, and the back half of every section isn't there just to collect a paycheck, magic can happen. Said magic rarely happens when the music on the stands comes from a musical domain completely foreign to the musicians. This isn't limited to things like Techno-Orchestral works. I've heard performances of Webern and Alban Berg that were just awful, because most of the orchestra -- and sometimes the conductor as well -- just can't get into it. Nothing is worse than an orchestra playing a piece most of the players hate. You feel the hate coming through. On Jan 10, 2008 9:29 AM, Dennis DeSantis [EMAIL PROTECTED] wrote: Toby Frith wrote: there is something a bit daft in the idea that classical musicians interpreting techno music sort of validates it which I often feel is the hidden agenda behind these sorts of exercises, because ultimately classical music and orchestras are seen as the high end of the spectrum, whilst some guy pressing buttons on a drab grey box is seen as the opposite end. I can't speak to the concept behind the Blue Potential project, nor to the way audiences might feel about the notion of validation for these projects in general. But I worked on the Alarm Will Sound/Aphex Twin thing, and our only motivation there was that we just loved the music and wanted to hear what it would sound like played by acoustic instruments. There was certainly no sinister marketing angle or highbrow/lowbrow thinking - that's for cultural theorists and hipster bloggers, not musicians.
Re: (313) Ikea in the studio
Screw Ikea. It's all about Rubbermaid for me!
Re: (313) Ikea in the studio
What do your fetishes have to do with record storage? ;-) MEK kent williams [EMAIL PROTECTED] wrote on 01/10/2008 10:09:10 AM: Screw Ikea. It's all about Rubbermaid for me!
(313) Record Stores Syntax
Hi all, Curious, where do some of you buy techno (domestic import) in the US? By the way, a little bird told me that its official: Syntax is the next casualty in distribution closings. m.
Re: (313) Record Stores Syntax
I think the elephant in the room is that for a very long time, and still in a lot of ways, there has been an internal conflict in that the people who work for record stores and distros were primarily DJs who don't really want to sell records because they want to keep them to themselves. The cult of the whitelabel, so to speak. On Jan 10, 2008 12:36 PM, JT Stewart [EMAIL PROTECTED] wrote: Surprised it's taken Syntax so long. They seemed to be a mess 5 years ago. We worked with them for a couple years, and I can't say much good about them except that John D (the owner) was cool. Eventually they were ordering fewer records of ours than we could sell direct in the USA by ourselves, which struck me as a little odd. I order from dancerecords.com, or go to dope jams in brooklyn...also sometimes visit/order from turntable lab, submerge, or forced exposure. Thre's also a great recordstore in Chapel Hill, NC called CD alley (despite the name, it's full of as many records as cd's, and though they don't carry loads of dance music, they can order anything with US distrib for you). I still think there is opportunity for new record stores and distribs in the USA. All the old stores and distribs who are still centered around dance music as club/party/dj music are going to fail. The places I see it thriving are places that sell it side-by-side with jazz, disco, soul, rock, etc, ie as real musictough times but a change for the better, in the long run, if you ask me. jt On Jan 10, 2008 12:09 PM, Generator Music [EMAIL PROTECTED] wrote: Hi all, Curious, where do some of you buy techno (domestic import) in the US? By the way, a little bird told me that its official: Syntax is the next casualty in distribution closings. m. -- peace, frank dj mix archive: http://www.deejaycountzero.com
Re: (313) Record Stores Syntax
Surprised it's taken Syntax so long. They seemed to be a mess 5 years ago. We worked with them for a couple years, and I can't say much good about them except that John D (the owner) was cool. Eventually they were ordering fewer records of ours than we could sell direct in the USA by ourselves, which struck me as a little odd. I order from dancerecords.com, or go to dope jams in brooklyn...also sometimes visit/order from turntable lab, submerge, or forced exposure. Thre's also a great recordstore in Chapel Hill, NC called CD alley (despite the name, it's full of as many records as cd's, and though they don't carry loads of dance music, they can order anything with US distrib for you). I still think there is opportunity for new record stores and distribs in the USA. All the old stores and distribs who are still centered around dance music as club/party/dj music are going to fail. The places I see it thriving are places that sell it side-by-side with jazz, disco, soul, rock, etc, ie as real musictough times but a change for the better, in the long run, if you ask me. jt On Jan 10, 2008 12:09 PM, Generator Music [EMAIL PROTECTED] wrote: Hi all, Curious, where do some of you buy techno (domestic import) in the US? By the way, a little bird told me that its official: Syntax is the next casualty in distribution closings. m.
Re: (313) Record Stores Syntax
that sucks, even if you put your package attention to buyer, the workers steal the promos? m. On Thu, January 10, 2008 12:02 pm, JT Stewart wrote: i don't think that's quite right, although it doesn't help when you're trying to get distrib/sales, you send promos to places, and they get snatched by people who work there before the people in charge get to hear it. that happened with us and hardwax. it's more that the people who run/work at a lot of distribs/stores are part of the floundering dj/club scene, and focus their stock accordingly. On Jan 10, 2008 12:50 PM, Frank Glazer [EMAIL PROTECTED] wrote: I think the elephant in the room is that for a very long time, and still in a lot of ways, there has been an internal conflict in that the people who work for record stores and distros were primarily DJs who don't really want to sell records because they want to keep them to themselves. The cult of the whitelabel, so to speak. M. Tang | A R/Label Mgr. Generator email. [EMAIL PROTECTED] aim. jiji2017 www.generatormusic.com = Coming January 2008: GEN030 - Mauser / Jack Orchestra (12) A deep jackin' combination of Chicago 'jack trax' instrumentation, acid basslines, and a little Detroit techno soul. UP NEXT: GEN031 - Various Artists - World Sonik Evolution (2x12) Featuring new music from DJ T-1000, Jamal Moss aka Hieroglypic Being, Terrence Dixon, and more... Soundclips @ www.generatormusic.com
Re: (313) Record Stores Syntax
well, i probably didn't put attention to buyer on the packages, just addressed it to soso distribution. this was years and years ago...im not so unsmart no mo ps haven't checked the clips yet, but that new generator sounds juicey On Jan 10, 2008 1:10 PM, Generator Music [EMAIL PROTECTED] wrote: that sucks, even if you put your package attention to buyer, the workers steal the promos? m.
Re: (313) Record Stores Syntax
agreed. On Thu, January 10, 2008 11:50 am, Frank Glazer wrote: I think the elephant in the room is that for a very long time, and still in a lot of ways, there has been an internal conflict in that the people who work for record stores and distros were primarily DJs who don't really want to sell records because they want to keep them to themselves. The cult of the whitelabel, so to speak.
Re: (313) Record Stores Syntax
i don't think that's quite right, although it doesn't help when you're trying to get distrib/sales, you send promos to places, and they get snatched by people who work there before the people in charge get to hear it. that happened with us and hardwax. it's more that the people who run/work at a lot of distribs/stores are part of the floundering dj/club scene, and focus their stock accordingly. On Jan 10, 2008 12:50 PM, Frank Glazer [EMAIL PROTECTED] wrote: I think the elephant in the room is that for a very long time, and still in a lot of ways, there has been an internal conflict in that the people who work for record stores and distros were primarily DJs who don't really want to sell records because they want to keep them to themselves. The cult of the whitelabel, so to speak.
Re: (313) Record Stores Syntax
On Thu, January 10, 2008 12:25 pm, JT Stewart wrote: well, i probably didn't put attention to buyer on the packages, just addressed it to soso distribution. this was years and years ago...im not so unsmart no mo sho nuff =) ps haven't checked the clips yet, but that new generator sounds juicey aw shucks, thanks. GEN30 clips are up but GEN031 is in prep now so no clips just yet. it will include new cover art from Oldham too. http://www.crosstalkchicago.com/newfeatures/featured/weeklies/featured.html peace, marina On Jan 10, 2008 1:10 PM, Generator Music [EMAIL PROTECTED] wrote: that sucks, even if you put your package attention to buyer, the workers steal the promos? m. M. Tang | A R/Label Mgr. Generator email. [EMAIL PROTECTED] aim. jiji2017 www.generatormusic.com = Coming January 2008: GEN030 - Mauser / Jack Orchestra (12) A deep jackin' combination of Chicago 'jack trax' instrumentation, acid basslines, and a little Detroit techno soul. UP NEXT: GEN031 - Various Artists - World Sonik Evolution (2x12) Featuring new music from DJ T-1000, Jamal Moss aka Hieroglypic Being, Terrence Dixon, and more... Soundclips @ www.generatormusic.com
Re: (313) Record Stores Syntax
Hi Marina, Generator 31 - World Sonic Evolution seems to be pretty well in all cases, artist roster sounds perfect, hopefully the tracks will be even brilliant as well! Looking forward to get that next hot stuff of one o'ma fave labels sincer ever soon for sure! I guess GEN30 hit deep down into the center of the current berlin styled detroit minimal techno as its all around straight from the counter at hardwax kreuzberg! I will hit up the clips next and have a smooth taste of your upcoming hot shit can't wait to get them on my wheels of steel.1200s for real! regards dmc -Ursprüngliche Nachricht- Von: [EMAIL PROTECTED] Gesendet: 10.01.08 21:30:07 An: 313@hyperreal.org Betreff: Re: (313) Record Stores Syntax On Thu, January 10, 2008 12:25 pm, JT Stewart wrote: well, i probably didn't put attention to buyer on the packages, just addressed it to soso distribution. this was years and years ago...im not so unsmart no mo sho nuff =) ps haven't checked the clips yet, but that new generator sounds juicey aw shucks, thanks. GEN30 clips are up but GEN031 is in prep now so no clips just yet. it will include new cover art from Oldham too. http://www.crosstalkchicago.com/newfeatures/featured/weeklies/featured.html peace, marina On Jan 10, 2008 1:10 PM, Generator Music [EMAIL PROTECTED] wrote: that sucks, even if you put your package attention to buyer, the workers steal the promos? m. M. Tang | A R/Label Mgr. Generator email. [EMAIL PROTECTED] aim. jiji2017 www.generatormusic.com = Coming January 2008: GEN030 - Mauser / Jack Orchestra (12) A deep jackin' combination of Chicago 'jack trax' instrumentation, acid basslines, and a little Detroit techno soul. UP NEXT: GEN031 - Various Artists - World Sonik Evolution (2x12) Featuring new music from DJ T-1000, Jamal Moss aka Hieroglypic Being, Terrence Dixon, and more... Soundclips @ www.generatormusic.com -- ** Confidential Records Oranienstraße 38 gardenhouse groundfloor D10999 Berlin Germany fon: +49 - 30 - 67921791 cell: +49 - 173 - 8450161 mail: [EMAIL PROTECTED] web: http://www.myspace.com/confidentialrecords101 us: [EMAIL PROTECTED] *
Re: (313) C2 at Carnegie Hall, well sort of
of course I was trolling, but the meat of my troll was heartfelt, in that I think its an insult to even ask a classical musician to cover something as simplistic as 4/4 16-step quantized techno. I produced electronic music for almost 15 years, so I have less of a hate for techno than a respect for people that can do true humanized composition across a myriad of real instruments. the point was to entertain my self while waking this list up. I could have trolled in on a subject that never would have spawned a working thread. - Original Message - From: kent williams [EMAIL PROTECTED] To: Dennis DeSantis [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Thursday, January 10, 2008 11:06 AM Subject: Re: (313) C2 at Carnegie Hall, well sort of 1. /0 as per usual, was trolling. Acquiring the Urine, as it were. 2. The Alarms WIll Sound CD had some awesome moments. It transmuted the patience Richard James put into hours and hours of step programming into real-time instrumental virtuosity. It isn't better or worse than the original, it's different, in an interesting (and very enjoyable) way. 3. I haven't heard the Blue Potential thing, except for snippets, and the snippets didn't make me want to seek it out. As a former orchestral musician, my feeling is that orchestras are really good at playing notes, and playing music from the domain in which the players are trained. If the conductor is decent, and the back half of every section isn't there just to collect a paycheck, magic can happen. Said magic rarely happens when the music on the stands comes from a musical domain completely foreign to the musicians. This isn't limited to things like Techno-Orchestral works. I've heard performances of Webern and Alban Berg that were just awful, because most of the orchestra -- and sometimes the conductor as well -- just can't get into it. Nothing is worse than an orchestra playing a piece most of the players hate. You feel the hate coming through. On Jan 10, 2008 9:29 AM, Dennis DeSantis [EMAIL PROTECTED] wrote: Toby Frith wrote: there is something a bit daft in the idea that classical musicians interpreting techno music sort of validates it which I often feel is the hidden agenda behind these sorts of exercises, because ultimately classical music and orchestras are seen as the high end of the spectrum, whilst some guy pressing buttons on a drab grey box is seen as the opposite end. I can't speak to the concept behind the Blue Potential project, nor to the way audiences might feel about the notion of validation for these projects in general. But I worked on the Alarm Will Sound/Aphex Twin thing, and our only motivation there was that we just loved the music and wanted to hear what it would sound like played by acoustic instruments. There was certainly no sinister marketing angle or highbrow/lowbrow thinking - that's for cultural theorists and hipster bloggers, not musicians.
Re: (313) C2 at Carnegie Hall, well sort of
On Jan 10, 2008 6:17 PM, /0 [EMAIL PROTECTED] wrote: of course I was trolling, but the meat of my troll was heartfelt, in that I think its an insult to even ask a classical musician to cover something as simplistic as 4/4 16-step quantized techno. your existance is an insult to humanity. tom
Re: (313) C2 at Carnegie Hall, well sort of
what do you know of humanity? when you and I interact, I'm often reminded of a quote by albert einstein (google him if you don't know who he is, Tom) The difference between genius and stupidity is that genius has its limits I know which side of that equation you THINK you're on, sweetie. - Original Message - From: Thomas D. Cox, Jr. [EMAIL PROTECTED] To: 313@hyperreal.org Sent: Thursday, January 10, 2008 6:22 PM Subject: Re: (313) C2 at Carnegie Hall, well sort of On Jan 10, 2008 6:17 PM, /0 [EMAIL PROTECTED] wrote: of course I was trolling, but the meat of my troll was heartfelt, in that I think its an insult to even ask a classical musician to cover something as simplistic as 4/4 16-step quantized techno. your existance is an insult to humanity. tom
Re: (313) Record Stores Syntax
waxaddict.com mierecords.com submerge.com Gramaphone Records (I do phone orders since their website STILL isn't up yet.) calsound.com (their online store is making massive changes) I have also found myself using private users in the Discogs Marketplace. Everything comes through the mail for me since I don't have any access to a local record store. --- Generator Music [EMAIL PROTECTED] wrote: Hi all, Curious, where do some of you buy techno (domestic import) in the US? By the way, a little bird told me that its official: Syntax is the next casualty in distribution closings. m. Never miss a thing. Make Yahoo your home page. http://www.yahoo.com/r/hs
Re: (313) C2 at Carnegie Hall, well sort of
On Jan 10, 2008 6:30 PM, /0 [EMAIL PROTECTED] wrote: what do you know of humanity? when you and I interact, I'm often reminded of a quote by albert einstein (google him if you don't know who he is, Tom) The difference between genius and stupidity is that genius has its limits I know which side of that equation you THINK you're on, sweetie. i'm not the one trying to quote einstein to seem deep, chief. tom
Re: (313) C2 at Carnegie Hall, well sort of
http://www.youtube.com/watch?v=YO_5mp4Ghmgfeature=related it's 2008 now right? prize the first one who can find in the archives when this playpen fight started MEK Thomas D. Cox, Jr. [EMAIL PROTECTED] wrote on 01/10/2008 05:32:35 PM: /0 [EMAIL PROTECTED] wrote on 01/10/2008 05:30:48 PM:
Re: (313) C2 at Carnegie Hall, well sort of
Well the archives are in kind of a parlous state. I set up archiving to mail-archive.com, but they didn't end up pulling in the archives before sometime mid-2006, so if you want to search prior to that, you have to go to the raw mbox files on hyperreal.org I'd normally be concerned about ad hominem attacks on 313, but between /0 and tomcox, they seem to enjoy goading each other so much that it would be a shame to step in. On Jan 10, 2008 5:45 PM, [EMAIL PROTECTED] wrote: http://www.youtube.com/watch?v=YO_5mp4Ghmgfeature=related it's 2008 now right? prize the first one who can find in the archives when this playpen fight started MEK Thomas D. Cox, Jr. [EMAIL PROTECTED] wrote on 01/10/2008 05:32:35 PM: /0 [EMAIL PROTECTED] wrote on 01/10/2008 05:30:48 PM:
Re: (313) C2 at Carnegie Hall, well sort of
that or elist.resynthesize was just on there today. m. On Thu, January 10, 2008 6:19 pm, kent williams wrote: Well the archives are in kind of a parlous state. I set up archiving to mail-archive.com, but they didn't end up pulling in the archives before sometime mid-2006, so if you want to search prior to that, you have to go to the raw mbox files on hyperreal.org I'd normally be concerned about ad hominem attacks on 313, but between /0 and tomcox, they seem to enjoy goading each other so much that it would be a shame to step in. On Jan 10, 2008 5:45 PM, [EMAIL PROTECTED] wrote: http://www.youtube.com/watch?v=YO_5mp4Ghmgfeature=related it's 2008 now right? prize the first one who can find in the archives when this playpen fight started MEK Thomas D. Cox, Jr. [EMAIL PROTECTED] wrote on 01/10/2008 05:32:35 PM: /0 [EMAIL PROTECTED] wrote on 01/10/2008 05:30:48 PM:
Re: (313) C2 at Carnegie Hall, well sort of
It seems that resynthesize is back up anyway. http://pics.livejournal.com/oh_chris/pic/0002c564 On Jan 10, 2008, at 7:19 PM, kent williams wrote: Well the archives are in kind of a parlous state. I set up archiving to mail-archive.com, but they didn't end up pulling in the archives before sometime mid-2006, so if you want to search prior to that, you have to go to the raw mbox files on hyperreal.org -- matt kane's brain http://hydrogenproject.com aim - mkbatwerk [EMAIL PROTECTED]
RE: (313) C2 at Carnegie Hall, well sort of
Why do you need to Troll? This list like most mailing lists has its Highs and Lows, all you are doing is contributing to the Lows... -Original Message- From: /0 [mailto:[EMAIL PROTECTED] Sent: 10 January 2008 23:17 To: kent williams; Dennis DeSantis Cc: 313@hyperreal.org Subject: Re: (313) C2 at Carnegie Hall, well sort of of course I was trolling, but the meat of my troll was heartfelt, in that I think its an insult to even ask a classical musician to cover something as simplistic as 4/4 16-step quantized techno. I produced electronic music for almost 15 years, so I have less of a hate for techno than a respect for people that can do true humanized composition across a myriad of real instruments. the point was to entertain my self while waking this list up. I could have trolled in on a subject that never would have spawned a working thread. - Original Message - From: kent williams [EMAIL PROTECTED] To: Dennis DeSantis [EMAIL PROTECTED] Cc: 313@hyperreal.org Sent: Thursday, January 10, 2008 11:06 AM Subject: Re: (313) C2 at Carnegie Hall, well sort of 1. /0 as per usual, was trolling. Acquiring the Urine, as it were. 2. The Alarms WIll Sound CD had some awesome moments. It transmuted the patience Richard James put into hours and hours of step programming into real-time instrumental virtuosity. It isn't better or worse than the original, it's different, in an interesting (and very enjoyable) way. 3. I haven't heard the Blue Potential thing, except for snippets, and the snippets didn't make me want to seek it out. As a former orchestral musician, my feeling is that orchestras are really good at playing notes, and playing music from the domain in which the players are trained. If the conductor is decent, and the back half of every section isn't there just to collect a paycheck, magic can happen. Said magic rarely happens when the music on the stands comes from a musical domain completely foreign to the musicians. This isn't limited to things like Techno-Orchestral works. I've heard performances of Webern and Alban Berg that were just awful, because most of the orchestra -- and sometimes the conductor as well -- just can't get into it. Nothing is worse than an orchestra playing a piece most of the players hate. You feel the hate coming through. On Jan 10, 2008 9:29 AM, Dennis DeSantis [EMAIL PROTECTED] wrote: Toby Frith wrote: there is something a bit daft in the idea that classical musicians interpreting techno music sort of validates it which I often feel is the hidden agenda behind these sorts of exercises, because ultimately classical music and orchestras are seen as the high end of the spectrum, whilst some guy pressing buttons on a drab grey box is seen as the opposite end. I can't speak to the concept behind the Blue Potential project, nor to the way audiences might feel about the notion of validation for these projects in general. But I worked on the Alarm Will Sound/Aphex Twin thing, and our only motivation there was that we just loved the music and wanted to hear what it would sound like played by acoustic instruments. There was certainly no sinister marketing angle or highbrow/lowbrow thinking - that's for cultural theorists and hipster bloggers, not musicians. No virus found in this incoming message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 09/01/2008 10:16 No virus found in this outgoing message. Checked by AVG Free Edition. Version: 7.5.516 / Virus Database: 269.19.0/1216 - Release Date: 09/01/2008 10:16
Re: (313) C2 at Carnegie Hall, well sort of
the heartfelt rationale is utter dinosaur bs, pretty much exactly mirroring the elitist anti-pop music pseudo-intellectual music criticism of adorno and horkheimer during the 1940's. anybody heard of jay greenberg? he's a child prodigy who entered Juilliard at age 11, and if you haven't heard of him, you should remember his name. his instructor at Julliard said of him on 60 minutes, We are talking about a prodigy of the level of the greatest prodigies in history, when it comes to composition. I am talking about the likes of Mozart, and Mendelssohn, and Saint-Saëns. http://en.wikipedia.org/wiki/Jay_Greenberg he went to elementary school (very briefly) in chapel hill, nc, where my best friend had the pleasure of teaching him. we hooked him up with cubase, and burned him cd's of stuff like dmay, c2, john beltran, detroit escalator, etc. he didn't fall in love with it, but he took a serious interest in techno, synthetic sounds, and he makes all his music using cubase -- it is only later performed by orchestras. that's good enough proof for me. this is beside the point that classical music is not typically rhythmically complex to begin with, so the comparison to 4/4 16 step quantizing is totally off the mark to begin with. at one point some classical students from duke were invited to one of my music theory classes at unc, and they were all blending classical music with modern production techniques, sampling, dance rhythms, polyrhythms, etc. i can't say i liked any of what i heard that day though On Jan 10, 2008 7:52 PM, The Archiver [EMAIL PROTECTED] wrote: Why do you need to Troll? This list like most mailing lists has its Highs and Lows, all you are doing is contributing to the Lows...
(313) Wild Kingdom Time
The playlist for last week's Wild Kingdom is at http://www.kfjc.org/music/playlist.php?i=29363 . This week, the first part of my set will be all from CDs, sparked off by a couple from Sad Rockets and Finland's Dum Records that I found lying about the bedroom. Other highlights include Philip Glass, Steve Reich, C.C., Kenny Larkin, Beaumont Hannant, Orbital, The Orb/YMO, and more. The Wild Kingdom airs on KFJC-FM 89.7, Saturday night/Sunday Morning, 12A-3A (7A-10A GMT). The webcast is at www.kfjc.org (follow the links). Present and past Wild Kingdom playlists are also archived there. You can also check out archived playlists from my first KFJC show Just Desserts that aired on Fridays 10P-2A from 1992 through 1999. Archived playlists exist for that show starting from Fall 1995 to New Year's Eve 1999/2000. If you do tune in (especially via the web), please take a little time to let me know your locale. I'm also interested in promo music from all over and in promoting local (San Francisco Bay area) techno-type events. If you want to do some fairly serious promotion, contact the KFJC promotions department at [EMAIL PROTECTED] to arrange ticket giveaways and/or to send information for inclusion in our concert outlook. Thanks to those who have sent promo music so far. Regards, Richard Hester Mr. Goodwrench The Wild Kingdom SU 12A-3A KFJC-FM 89.7, Los Altos Hills, California www.kfjc.org
