An Anthology of Noise & Electronic Music, Fourth A-Chronology, 1937-2005
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Music CD Cover
Composer: Francois / Wyatt, Robert / Ayers, Kevin BayleComposer: William S. Burroughs
Composer: Wang Changcun
Composer: Chlorgeschlecht
Composer: Halim El-Dabh
Composer: Beatriz Ferreyra
Composer: Andy Hawkins
Composer: Milan Knizak
Composer: Gottfried Michael Koenig
Composer: Les Rallizes Denudes
Composer: Gyorgy Ligeti
Composer: Loop orchestra
Composer: Alvin Lucier
Composer: Olivier Messiaen
Composer: Maja Solveig Kjelstrup Ratkje
Composer: Steve Reich
Composer: Jean-Claude Risset
Composer: Laurie Spiegel
Composer: Vibracathedral Orchestra
Composer: Stephen Vitiello
Edition: Music CD
Audio: English (Unknown)
Format: Import
CD Release Date: 2006-03-21
Music Label: Sub Rosa
Soundtracks:
Music CD 1
- Wire Recorder Piece
- Pièce électronique No. 3, for tape
- Mutations
- Demeures aquatiques
- Vox
- Sediment
- Pendulum Music, for 3 or more microphones, amps & loudspeakers
- Marfa Mix
- Ressac
- Sea-food
- Unyoga
- Funktion Grau
- Broken Music Composition
- Fucked Up and Naked
- Weaving the Magic
- River Blindness
- Voice
- Circa 1901
- Still Warm
- It
- Present time excercises
- Air Attack Over Kabul Airfield (part of the War/Noise series)
- River Blindness
- Oraison, for ondes martenot
Free Music Notes for An Anthology of Noise & Electronic Music, Fourth A-Chronology, 1937-2005
Free Music Review: My favorite of the series
Hit: 5 Stars
I originally got into this series because I'm a Ligeti fanatic, and this had a piece of his that wasn't included elsewhere. But I soon discovered that there was so much more to appreciate on here. Kudos to Guy Marc Hinant on this one. There's only one track I'll skip if I'm playing the whole thing straight. That's pretty amazing with the scope and variety of material when dealing with this genre. This stuff is like listening to someone else's dreams.
Wire Recorder Piece: ***
A cool atmospheric way to start off the set. It is kind of static, but at two minutes, that's not a real problem. Just a neat little sound sculpture.
Piece Electronique #3: ***
Ligeti did three pieces in between leaving Hungary and starting on the music that everyone knows him for; this one wasn't recorded until 1996, due to limitations of the equipment available to him at the time he wrote it. It's okay, but not the reason to get the set unless you just must have everything Ligeti did.
Mutations: *****
This is an amazing piece. The first half seems to have its own logic, and then it sounds like Risset got distracted and went off on another tangent for the second half, but it all works really well. Pure synthesizer stuff. Now, if I can figure out how he did some of these sounds, I can die a happy man.
Demeures Aquatiques: *****
This work draws its sound sources from classical and unorthodox instruments (metal sheet, glass rods, etc.) invented by the Baschet Brothers. It was originally done in quad, this is a stereo reduction. Well, you can't win them all. But the piece is great.
Vox: *****
And yet another one hit out of the ballpark. This one draws its sound structure from voice recordings of the artist herself. It starts off nice and quiet, and builds to a furious torrent. Very very well done. This one was commissioned exclusively for the anthology, so, like a lot of the pieces in the anthologies, this is the only place you'll find it.
Sediment: ****
I like this one, but it doesn't have the impact I keep expecting. But the sounds are very cool, and it does maintain interest for the whole nine minutes. Maybe it wasn't placed as strongly as it could have been; it's hard to compete with Vox, Mutations and Demeures Aquatiques.
Pendulum Music: ***
I can get into this one once in a while; it can be hypnotic. But the idea of making "art music" by swinging two microphones around each other seems a little gimmicky to me.
Marfa Mix: **
This one starts off fine, but the second half loses me entirely. It's a sound study, but I'm not sure that it succeeds as a piece of entertainment (entertainment being, point conceeded, a purely subjective experience).
Ressac: ***
This one does me a little better, although it also is just a sound study. But it does trip me out nicely.
Sea-food: ****
This is another piece commisioned for the anthology (he really got some good stuff just by asking). This is just another one of those fascinating noise pieces, sound for the sake of sound. Fun.
Unyoga: ****
This is an unreleased piece from some bizarre German-French-American group, using samples obtained from their immediate environment. Ga dank!
Funktion Grau: ***
I love the sounds in this one, but at ten minutes, it seems to belabor the point. I prefer a little more drama with the sound,especially at ten minutes. But it's still good. I'm sure he didn't compose it with my sensiblities in mind, anyway.
Broken Music Composition: ***
I like this one, but it does take forever for the changes to occur. Hypnotic, if you're in the mood for it. Samples taken from records in various states of decay.
****** Up And Naked: *
This is the only track I tend to skip when playing the disc straight through. It's a live perfomance of an extreme band, but it doesn't work for me. The recording is pretty low-fi to say in the least, and seems more like performance art than a real noise or electronic composition. Love the title, though.
Weaving The Magic: **
This one is okay, but again doesn't seem to be that relevant to the series. Low-Fi is NOT noise composition, although one can be forgiven for mistaking one for the other. This just seems to be a mildly interesting piece with bad recording. IMHO.
River Blindness: ***
I like this one, but it seems to be just a vehicle for placing a long guitar solo. And at ten minutes, it also seems to belabor the point. A shorter version might be more convincing. I'm also not convinced that it satisfies the requirements for noise or electronic music.
Still And Moving Lines Of Silence In Families Of Hyperbolas: Voice: ***
Cool sound, but this is another one of those sound studies that probably is moer interesting to a sound engineer than it is to someone looking to be entertained. It does produce a hypnotic quality, though, and there have been times that the piece has ended long before I expected it to.
Circa 1901: **
Eight minutes of listening to thrashed records skipping and jumping over each other goes a long way. It's noise, but not quite so entertaining.
Still Warm: ****
Concrete music done as film noir; the basic soundtrack comes from some unidentified movie. This piece gives me a wry smile every time I hear it, especially when the noise that seems to be watching the proceedings first makes itself known. Creepy and funny at the same time.
It: ***
Françius Bayle had studied under both Olivier Messiaen and Karlheinz Stockhausen, and joined the Groupe de Recherches Musicales (the GRM) in 1965. Robert Wyatt and Kevin Ayers were both part of Soft Machine, who I've not yet explored yet (but I'm sure I will, along with Neu and Can). This track is a mutilation of some vocal sample worked with some rather abrasive electronics. It's shortness allows it to be enjoyed without wearing out its welcome.
Present Time Exercises: **
Eh. I admire William Burroughs quite a lot, but his random cut-up technique could get old fast without having any real substance. Nice to hear his singular voice, though. I always loved Burroughs' voice.
Air Attack Over Kabul Airfield: *
Whatever. If I want to hear the sounds of war, there are more interesting ways of doing it. It just doesn't seem to go anywhere.
Simultaneite Aerienne: *****
Yes, this is a piece written for airplane motors (with a very effective and creepy synthesizer line playing underneath it all). At first I thought, "Gimmick!", but this one has snuck up on me hardcore. Love it.
Oraison: ****
Again, not seeming in line with the more atonal material in the antholgies (much like Feuerland in Volume Three); the piece has been done on the organ numerous times, but it is cool to hear it here in a version for Ondes Martinot.
And a cool way to end the set.
By the way, I completely agree that artists should be compensated for their work; however, a large portion of this material seems to be archival stuff or works commissioned for the anthology, which surely would never have seen the light of day were it not for these collections. I'm not saying abandon compensation for the work done, but I don't think the public at large would have an opportunity to hear this material were it not for Guy's hard work and keen ear. If I had work that I was proud of, I'd rather it be out there than not. After all, is that not what making this material is for? Without an audience, the work available here would not be relevant to anyone other than the artist and a few of their friends. I, for one, am thrilled to have this material at my disposal. However, if anyone has been ripped off, that's what courts are for, and I would encourage the artists to pursue that matter that way. But be glad that your work is being heard. I am ecstatic that I have had the chance to peruse and enjoy the extremely varied textures and concepts embodied in these sets, and hopefully the artists feel the same way.
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