4ad-l Mail for 02-14-1996

Mail in Archive

Subject: A Postmodern HNIA
Date: Wed, 14 Feb 1996 13:13:40 +1030
From: Grant.Schwarz@DSTO.DEFENCE.GOV.AU
Subject: Re: A Postmodern HNIA
Date: Tue, 13 Feb 1996 22:27:58 PST
From: "Martin A. HOYT" (MAHOYT@UCI.EDU)
Subject: Rema Rema 12" and "Fat Skier" for sale
Date: Wed, 14 Feb 1996 01:36:01 -0500
From: "Gil Gershman (GuerillaG/TooKranky)" (TooKrnky@AOL.COM)
Subject: Galaxie 500
Date: Wed, 14 Feb 1996 12:08:19 +0000
From: Andrew Norman (nja@LEICESTER.AC.UK)
Subject: Anka Wolbert and Pieter Nooten
Date: Wed, 14 Feb 1996 09:39:21 GMT
From: Simon Hughes (tcssph@AIE.LREG.CO.UK)
Subject: Re: A Postmodern HNIA
Date: Wed, 14 Feb 1996 12:39:20 GMT
From: Paul Spirito (spiritop@WINTHROP.SLIC.COM)
Subject: Blue Nile
Date: Tue, 13 Feb 1996 13:04:31 +0000
From: Richard Fitzsimons (FITZR@IRLEARN.UCD.IE)
Subject: opps(was mercury rev tapes)
Date: Wed, 14 Feb 1996 09:42:16 EST
From: Alan Daniel (alan@MSAI.MEA.COM)
Subject: Re: Anka Wolbert and Pieter Nooten
Date: Wed, 14 Feb 1996 12:00:22 -0400
From: K- (ash@DHP.COM)
Subject: Anka Wolbert and Pieter Noo
Date: Wed, 14 Feb 1996 10:01:53 +0100
From: Nadim Baki-Zada (nadimbz@2LAUNCH.COM)
Subject: Re: Anka Wolbert and Pieter Nooten
Date: Wed, 14 Feb 1996 10:19:07 -0800
From: nelson@TRIFID.ASTRO.UCLA.EDU
Subject: Compilations
Date: Wed, 14 Feb 1996 13:18:05 -0500
From: Sandeep Vijan (svijan@UMICH.EDU)
Subject: Re: ESP Continent, ESP Dolphin WANTED
Date: Wed, 14 Feb 1996 22:54:55 +0100
From: "Laurent Lapierre \"P'tit Greg.\"" (lapierre@MICRONET.FR)
Subject: Cocteau Twins and IWave
Date: Wed, 14 Feb 1996 16:39:37 -0600
From: Me (neitzl@TEZCAT.COM)

Date: Wed, 14 Feb 1996 13:13:40 +1030
From: Grant.Schwarz@DSTO.DEFENCE.GOV.AU
Subject: A Postmodern HNIA


The following article was found at CTHEORY and may be of interest.

CTHEORY is an international, electronic review of books on theory, technology
and culture


--

What is the state of musical postmodernism today?

In North America the trend toward self-conscious eclecticism in popular and art
music has been increasing exponentially. John Zorn's "Naked City" band
pioneered the art of genre dislocation, American-style, on their self-titled
first CD. Zorn's group ran through a series of outrageously fast-paced slices
from American musical culture (punk, jazz, film music, country, show tunes,
minimalism), all presented in a splice-and-dice formal montage that left the
listener dazed and confused. An anti-unification, heterogenization process was
underway, one which attempted to undermine the self-styled legitimacy of the
so- called American avant-garde, and at the same time disrupted the complacency
of the American jazz and pop communities. The trend toward musical extremism
(extreme tempos, extreme noise, extreme quiet) and musical heterogeneity
(formal irrationality, stylistic incongruity) pointed to a profound break with
the structural unity of the modernist era.

In Europe, on the other hand, the line between art and popular culture has
always been more clearly defined. The state of modernism always looming near,
both culturally and aesthetically, the music of European composers has remained
fairly monolithic, even when dallying with postmodern consciousness. Witness
the Neo-Romantic movement, which is now taking Europe by hurricane: Gorecki;
Taverner; Arvo Part. The concerns here uniformly emphasize style
homogenization, formal coherence, and aesthetic elegance. At their best the
European postmoderns achieve a type of ecstatic musical time travel (Part -
"Stabat Mater", Gorecki - "Symphony No. 3"). At their worst they indulge in a
series of vulgar cliches presented in a American-style pastiche (Taverner -
"The Darkening Veil").

In contemporary European pop culture (i.e. basically British pop culture) the
essential concern has been similar to that of the above- mentioned Neo-Romantic
statement. This has been generally true of both prog rock (Pink Floyd et al),
and to a certain extent post-punk (U2 et al). In the past few years however a
healthy pluralism has been tentatively brewing in English musical culture. A
new wave of British composers/musicians has been working steadily to break down
the artificial boundaries between art culture and popular music. Working with
unusual ensembles that draw from a variety of traditions (the Michael Nyman
band for instance mixes instrumentation and styles from pre-classical Western
music, jazz and American minimalism), these artists are attempting to forge a
genuine postmodernism from a British perspective.

One of the most intriguing offerings in this aesthetic realm is Mouth By Mouth,
the third recording produced by "his name is alive," an ensemble comprising a
weird variation on the power trio (guitar/samples, cello, and drums). Not
surprisingly (considering their English roots), the sound world of "his name is
alive" is more arty and less ironic than the deeply American Zorn. The curious
thing about Mouth By Mouth is its "almost normal" quality: straight pop tunes
which feel a little wrong. A dropped beat here and there (on "Baby Fish
Mouth"), drastic changes in tempo at unusual moments (throughout the CD),
mutations of the verse-chorus pop song format ("Sort Of"), insertions of
erroneously placed samples (Balinese gamelan in the middle of a pseudo-heavy
metal song), all lead the listener into a drugged state of consciousness (the
listening experience is comparable to jet lag). To complete the surreal picture
the female vocalist sings in a breathy Julie Cruise voice, "do you know the
smell of your own face?... will you eat the world?... gone to a place that's
rotten... feast on what's in the way."

The ordering of pieces on Mouth By Mouth also contributes to an overall sense
of dislocation and heterogeneity. However, whereas Zorn radically mixes genre
within single pieces, "his name is alive" has the tendency to move from one
style to another on a more macro level. The result makes the CD feel like one
long piece rather than a collection of short pop songs. Not unlike a concept
album in delivery, but with the distanced cold gaze of British post-punk, Mouth
By Mouth ranges through affectations of just about everything imaginable, with
the band stopping at points to sing lovely little ditties such as "Lord, Make
Me A Channel Of Your Piece" with such expression that you almost think they are
serious. A subtle sense of affective progression leads us to the next point,
moving us through emotional ranges almost unnoticed. A slight orchestrational
change here and there, a background sample slowly moved to the foreground and
suddenly the emotional context has completely altered within an apparently
static musical background.

These techniques of musical/emotional progression and large-scale heterogeneity
give "his name is alive" a theoretical depth which sets them apart from the
musical naivety of most of the British post-punk scene. With Mouth By Mouth
they have also managed to articulate a statement for European postmodernism
which points in a radically different direction from that of the European
Post-Romantics. Moving away from both classical formal models and the pop song
format, they are consciously working in a state of ecstatic musical confusion,
in a space where the boundaries are simultaneously uncertain and exhilarating.
On Mouth By Mouth "his name is alive" have carved out a unique musical niche,
presenting the listener with some distinctive new insights into the
possibilities of European genre eclecticism. Their theoretical incisiveness
combined with with their instrumental and technological fluidity, makes Mouth
By Mouth one of those rare popular releases which actually endure multiple
listenings.


Date: Tue, 13 Feb 1996 22:27:58 PST
From: "Martin A. HOYT" (MAHOYT@UCI.EDU)
Subject: Re: A Postmodern HNIA


The author of this essay intends to use HNIA as an example of a "British
composer/musican" which is breaking down "artificial boundaries between art
culture and popular music".  He/she/they even contrast HNIA to the "deeply
American Zorn".  I guess the fact that the music was created by an American
slightly undermines the arguement the author is trying to make about
"European genre eclecticism".

Oh boy, I had a good laugh over this one.  Who is this guy's editor?

Martin
mahoyt@uci.edu

Date: Wed, 14 Feb 1996 01:36:01 -0500
From: "Gil Gershman (GuerillaG/TooKranky)" (TooKrnky@AOL.COM)
Subject: Rema Rema 12" and "Fat Skier" for sale


Hi -

Does any diehard collector have interest in these?

REMA REMA - The Wheel in the Roses 12"
THROWING MUSES - The Fat Skier 12" (includes side-long version of "Soul
Soldier", not included on the House Tornado/Fat Skier cd)

E-mail me with your offers. We can do this auction style, since I'm really
not sure what these rarities are worth. I DO know that the Rema Rema platter
is one of Ivo WR's fave releases of all time - and that RR presaged (somehow)
"The Legendary" Wolfgang Press. Plenty of 4AD relevance here, I suppose.  :)
God forbid I reintroduce THAT old chestnut to the list...

Arrivaderci!
da GuerillaG
Gil - TooKrnky@AOL.com


Date: Wed, 14 Feb 1996 12:08:19 +0000
From: Andrew Norman (nja@LEICESTER.AC.UK)
Subject: Galaxie 500


MiloV@AOL.COM wrote:
 > I would also be interested in knowing, since Luna is pretty big,
 > if some of the stuff will be reissued.  Seems like a good
 > candidate for a little box set.

It's one of the main topics on the G500/Luna list - Rykodisk are
supposed to be reissuing all three albums in a box with an extra disc of
B-sides, EPs and so on.  However, there is no news as to when this will
come out - it seems to be at the stage of sorting out the legal stuff at
the moment.  Both Dean and D&N are keen, though, and Naomi is apparently
doing the artwork.  The albums will be sold separately from next year,
if all goes to plan.

Nadim Baki-Zada  wrote:
 > I have to say you are absolutely correct. I don't know why I
 > brought in MBV. I guess I was thinking of some sort of "in my
 > mind" connection. But yeah! No swirly guitars here. I did
 > mention though that they were mellower. It's kinda hard to
 > explain how I got this MBV thing there but hell. I bow to Jens,
 > and stand corrected. Now does anyone else wanna try and make a
 > comparison?

The Velvet Underground's "1969 Live" album - especially (as Jens said)
the slower songs.  In fact, their rendition of "Here She Comes Now" is
almost identical to the VU's, apart from the vocals.  I think the only
similarity with MBV is that G500 evoke a similar dreamy atmosphere to
"Isn't Anything".  Talking of ex-Creation acts, Lawrence (Felt) has a
new Denim album out soon, there's an interview in this week's NME, quite
disturbing - I certainly wouldn't want to be him.

--
Andrew Norman, Leicester, England 14/02/96
nja@le.ac.uk, http://www.engg.le.ac.uk/staff/Andrew.Norman/
Bjork - Post

Date: Wed, 14 Feb 1996 09:39:21 GMT
From: Simon Hughes (tcssph@AIE.LREG.CO.UK)
Subject: Anka Wolbert and Pieter Nooten


I met my old buddy who used to play in Xymox the other day and we had a
natter about what the ex-Xymoxers are up to.  I don't think he said
anything about Ronny, but he did say that Anka and Pieter were
collaborating on some stuff.  Richard (my pal) thinks they're great songs
but then he prefers "Phoenix" Xymox to the earlier stuff (he would, he
played on it).

He said that stuff should come out on 4AD but there were no contracts and
Anka was getting a bit pissed off at the wait for the paperwork so she
might try and find another label.

Don't take this as gospel, it's a bit third-hand.

Simon Hughes

Date: Wed, 14 Feb 1996 12:39:20 GMT
From: Paul Spirito (spiritop@WINTHROP.SLIC.COM)
Subject: Re: A Postmodern HNIA


On Tue, 13 Feb 1996 22:27:58 PST, Martin wrote:

>The author of this essay intends to use HNIA as an example of a "British
>composer/musican" which is breaking down "artificial boundaries between art
>culture and popular music".  He/she/they even contrast HNIA to the "deeply
>American Zorn".  I guess the fact that the music was created by an American
>slightly undermines the arguement the author is trying to make about
>"European genre eclecticism".
>
>Oh boy, I had a good laugh over this one.  Who is this guy's editor?

Not only that, but the Tavener piece is called "The Protecting Veil"
not "The Darkening Veil" (and might I put in a word for his song cycle
"To a Child Dancing in the Wind"?) and "Julie" Cruise spells her name
"Julee". The journal is probably too sophisticated to believe in
"facts".

Paul

Fuck the CDA.


Date: Tue, 13 Feb 1996 13:04:31 +0000
From: Richard Fitzsimons (FITZR@IRLEARN.UCD.IE)
Subject: Blue Nile


I don't believe it, a mention of teh Blue Nile....:)

They have released two albums so far on teh Linn/Virgin lables.....as in both a
lbums on joint lable release. You have teh second, teh first bein A walk across
 the rooftops...less poppy but definitely essential, as will tehir third album
which was slated for a warner release last year but news has since disappeared.

They were dropped by Linn(a lable set up by teh Hi-Fi company for them) due to
their phenomenal workrate, of one small album every 7 or so years. AWATR was re
leased in 83, Hats in 89, and nothing since.

So do get teh first album....there's a few singles around, but I've only ever s
een one 7" and teher were no exclusive tracks.

R


Date: Wed, 14 Feb 1996 09:42:16 EST
From: Alan Daniel (alan@MSAI.MEA.COM)
Subject: opps(was mercury rev tapes)


yauch!

sorry i sent that last message to the entire list.  the moment i hit the
deliver icon, i noticed that i hadn't changed the address.  sorry.

the message was intended for guerillag.

alan


Date: Wed, 14 Feb 1996 12:00:22 -0400
From: K- (ash@DHP.COM)
Subject: Re: Anka Wolbert and Pieter Nooten


howdy,
hey, in regards to the ex-xymox thing: are you familiar with the Bud
project? i heard about it long about the time curve broke up, and it
was supposed to be a collaboration between Toni Halliday and Anka
Wolbert. but since its mention i've not heard anything about it.

also, did Anka and Pieter leave the band because Ronny Moorings was
causing it to suck, or did he kick them out so they wouldn't get in
his way (of sucking harder and faster). i really loved the old xymox
stuff but those last two, JESUS CHRIST! soooo bad.

Who do they think they are? Frazier Chorus?

byefornow,
          K-

p.s. that Frazier Chorus thing was sort of a joke. i'm embarrassed to
say i really like them, but they returned after something like a five
year absence with that crap 'wide awake' ep. so unfortunate.


Date: Wed, 14 Feb 1996 10:01:53 +0100
From: Nadim Baki-Zada (nadimbz@2LAUNCH.COM)
Subject: Anka Wolbert and Pieter Noo


Mail*Link(r) SMTP               Anka Wolbert and Pieter Nooten

Cool, My favorite topic. I love these guys and really was wondering this
morning what they were up to. Hope it is on 4AD, it's been a while since 4AD
came out with decent stuff.

-nb-
>>>>>>>>>
I met my old buddy who used to play in Xymox the other day and we had a
natter about what the ex-Xymoxers are up to.  I don't think he said
anything about Ronny, but he did say that Anka and Pieter were
collaborating on some stuff.  Richard (my pal) thinks they're great songs
but then he prefers "Phoenix" Xymox to the earlier stuff (he would, he
played on it).

He said that stuff should come out on 4AD but there were no contracts and
Anka was getting a bit pissed off at the wait for the paperwork so she
might try and find another label.

Don't take this as gospel, it's a bit third-hand.

Simon Hughes

Date: Wed, 14 Feb 1996 10:19:07 -0800
From: nelson@TRIFID.ASTRO.UCLA.EDU
Subject: Re: Anka Wolbert and Pieter Nooten


Frazier Chorus?

I've always thought that after Twist Of Shadows
Xymox turned into Roxette. No band that does a
cover of Wild Thing can be taken seriously.

|     Brant Nelson | 1817 Corinth Ave. #10 | open your eyes
| Dewdrops Records | LA, CA 90025-5567     | to northern skies
| Uncommon music that deserves to be heard |
| http://www.astro.ucla.edu/students/nelson/dewdrops.html

Date: Wed, 14 Feb 1996 13:18:05 -0500
From: Sandeep Vijan (svijan@UMICH.EDU)
Subject: Compilations


I'm interested in obtaining copies of recent 4 AD compilations,
including All Virgos are Mad, Lilliput 1 & 2, and The 13 Year Itch. If
anyone knows where I can get a copy, or has one for sale, please let me
know. Thanks

Sandeep Vijan
svijan@umich.edu


Date: Wed, 14 Feb 1996 22:54:55 +0100
From: "Laurent Lapierre \"P'tit Greg.\"" (lapierre@MICRONET.FR)
Subject: Re: ESP Continent, ESP Dolphin WANTED


>What exactly is out by ESP???  I already orders the ESP Summer 10", but
>where can I get Continent???  and what is released by ESP Dolphin???
>Anything here in the states????  PLEASE tell me what is available, where
>it's available, and how much it's avilable for....

ESP Dolphin was an early name for Warren Defever / Ian Masters collaboration.
I don't think anything has been released with this name.

Then ESP-Summer is the name of the tape released by Time Stereo
(The Record Collector in Livonia, MI: 28143 w 8 mile, livonia 48152,
fax 810.473.9321)

ESP-Continent is the CD, with exactly the same content, released by a small
french label: send US $20 (including postage rates anywhere in this planet) to
        Karina Square
        107 rue de Javel
        75015 PARIS
        FRANCE

And you know for ESP Summer 10'', remixes of the album, and released by:
Farrago Records
P.O. Box 13148
Houston, Texas 77219
USA
The price per 10" is $6.50 each. (+postage rates)


Maybe the ESP-whatever story could be in the FAQ ? just an idea, Jens...

                       ___
Laurent Lapierre      |-,-| "arty" french band in the CD player tonight:
lapierre@micronet.fr  | - |  Rise and Fall of a Decade _Noisy but Empty_

Date: Wed, 14 Feb 1996 16:39:37 -0600
From: Me (neitzl@TEZCAT.COM)
Subject: Cocteau Twins and IWave


If you havent had a chance to listen to "Circling Girl" yet, you can, now,
on the internet.  If you have an IWave player, point your browser to my
Then from the menu, choose iwave....there are more than two songs.
Others include
My Bloody Valentine;We have all the time in the world
Cocteau Twins;Be Still
Jesus And Mary Chain;Reverance
The Wolfgang Press; A girl like you
Curve;Frozen
 Enjoy if you can.

=D6=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=
=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=
=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3=D3
"You are the sweetness in my eyes            You are an apple in disguise
 You are the sweetness i need for life       You are the sweetness in my=
 eyes"
                                      =20


erikas@evo.org, last updated by Eyesore Automation on 2-14-1996