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[hatta]

no-mind Winter Layers (Hollow Earth Recordings)

This is the first time I've listened to this on my (now not so) new stereo. The first track is intense with those closely beating tones.

[p_ano]

oooh blast from the past robert.. i recall this one fondly---should dig it up again.

[hatta]

Thanks mang, it brings me back to a more innocent time You know I didn't have a copy of this one myself for a while, but then I had Jon send me the last few copies he had. So now I have one in my archive and one to spare.

[RFKorp]

you know, I must say... I remember that disc super fondly too. And I don't know if I ever properly expressed that to you. (david obviously put it on his year-end list). But it's been way too long since I spun it as well. pulling it out right now myself.

[hatta]

Hey thank Richard, nice to hear. That disc was perhaps the most warmly received of the no-mind era and was IMO kind of the final statement of that project. While I did go on to do two more pieces (Thaw and degree absolute) which were both somewhat responses to that album, I do think of those pieces as highly transitional. While I've been exploring a lot since that album, I've not really put together a major statement like that one for my post no-mind activities. Of course The Book of Musical Patterns, was my focus for almost two years after the end of the no-mind project, which was of course highly experimental and while I love the cd's they weren't trying to do the same thing. Anyway I've got several projects in the works now that could end up more in a vein with that one.

[hatta]

Noid, Taku Unami ￢ + : * (The Manuel)

This is a really interesting release, one that I keep coming back to after finally getting a copy of it. One thing I like about it, is the accidental and incidental sounds that are revealed if you play it volume, from pages turning, to dropped objects, creaking chairs, jostled strings, accidental strikes and so on. These all add an organic element to the relatively mechanical nature of the piece. There is a lot more to say about this one, but a lot more listens are needed first.

[hatta]

Filament with Musikelectronic Geithain 4 Speakers (2-:+/Studio Parabolica)

I keep coming back to this one, the more interesting of two 3" of installations (the solo from Sachiko is good of course, but a bit of a step backwards for her I think) from Otomo and Sachiko. As always being able to reproduce extreme low and high end frequencies really brings out the power of these pieces. This one begins with a nearly subsonic rumble and a continuous tone from Sachiko with short, widely spaced scrabbles of sound from Otomo. While certainly well within the Filament oeuvre it is a few steps removed from the latest recordings in BOX which had almost washed away completely.

[jon abbey]

the solo from Sachiko is good of course, but a bit of a step backwards for her I think

in one sense you're right, but it's also always important to keep in mind the specific context of the release. these three inches aren't 'serious' releases, they're documents of music designed to play all day on repeat in a gallery, and I doubt Otomo or Sachiko pushed for their release, it's much more likely they just said "OK" when the gallery asked to do a limited release in conjunction with the show.

that Noid/Unami is a good one, I've been recommending that to everyone. definitely in my top 10 non-Ersts of the year, probably top 5.

[leroysghost]

that Noid/Unami is a good one, I've been recommending that to everyone. definitely in my top 10 non-Ersts of the year, probably top 5.

ditto.

one of the things i like about it is that i can never really tell at any point if both Noid and Unami are making sounds frequently or if one of the two is just being very quiet.

[hatta]

the solo from Sachiko is good of course, but a bit of a step backwards for her I think

in one sense you're right, but it's also always important to keep in mind the specific context of the release. these three inches aren't 'serious' releases, they're documents of music designed to play all day on repeat in a gallery, and I doubt Otomo or Sachiko pushed for their release, it's much more likely they just said "OK" when the gallery asked to do a limited release in conjunction with the show.

Good point, definitely worth keeping in mind the context for these.

one of the things i like about it is that i can never really tell at any point if both Noid and Unami are making sounds frequently or if one of the two is just being very quiet.

I've oft wondered why people find that aspect so appealing; you see it mentioned time after time in reviews that the reviewer is unable to figure out who made each sound. Why is this considered such a hallmark? Is it that the music has "outsmarted" the listener is some way?

[leroysghost]

I've oft wondered why people find that aspect so appealing; you see it mentioned time after time in reviews that the reviewer is unable to figure out who made each sound. Why is this considered such a hallmark? Is it that the music has "outsmarted" the listener is some way?

i like it here because it's an aspect that i usually don't pay any attention too whatsoever. it interests me in this case because on some other Unami outings (like Valved Strings Calculator) i found everyone's pallet to be remarkably similar, but this was the first time where it struck me at as possibly being the work of one sole person. in an improv performance where no "electronic" sounds are used, this idea intrigued me because it becomes not a question of trainspotting, but of one's presence on a record. i assume that the share of sounds are about 50/50 here, but what if Noid made most of the sounds and Unami just plucked strings a few times throughout? it would be a record very much in fitting with Unami's recent pallet, only with the trademark sounds not actually played by Unami.

obviously, it's just one of the things i like about the recording, and the idea wouldn't have even crossed my mind if i didn't listen to the record over and over because i like the music so much. still, i found the idea to be curious.

[grisha]

TERRY RILEY - Poppy Nogood And The Phantom Band - All Night Flight - SUNY Buffalo, New York, 22 March 1968

checked out Steve Reich 's Come Out and It's Gonna Rain, and liked it. so i decided to check this out too.

[Jacques Oger]

Eddie Prévost | Ross Lambert | Seymour Wright
Matchless

[Dan Warburton]

What's this?

[Jacques Oger]

What's this?

Dan, you drive too fast,
I just was editing my post when you replied

[Dan Warburton]

Aha, now I understand! Hmm, looks like fun - haven't heard much from Ross Lambert recently..

[Jacques Oger]

Aha, now I understand! Hmm, looks like fun - haven't heard much from Ross Lambert recently..

If you like (free) jazz, you could be interested

[bkudler]

Live from Amplify 2002 DVD -- I guess currently watching. Found it in my school library of all places. Super good footage and interviews!

Currently listening --as in right now--

Giuseppe Ielasi & Howard Stelzer-- Night Life

I don't know where this came from, found it's way on to my Itunes somehow. Really nice, probably old news for most of you though.

[will]

Wow, it's Amplify day, I was listening to Tint (Nakamura / Mueller) earlier.

[jkudler]

Live from Amplify 2002 DVD -- I guess currently watching. Found it in my school library of all places. Super good footage and interviews!

Currently listening --as in right now--

Giuseppe Ielasi & Howard Stelzer-- Night Life

I don't know where this came from, found it's way on to my Itunes somehow. Really nice, probably old news for most of you though.

maybe you ripped it from me? where did my copy of that one go? weird (awesome) packaging, so it gets lost. LOVE the first/last tracks on that one.

i'm sure jon will relay the correct info, but doesn't christoph cox's book have a chapter about that dvd or something?

-jesse