Sunday, February 07, 2016

(Electronic & Others) High or Middle Culture?

The Knife;
Donna Summer (I Feel Love);
Ornette Coleman's Sound Museum (montage A/Z, for more see here);
Alack Karis & Kian Freitas/ Karlheinz Stockhausen's Mantra;
Code Morel & One Hundred Forty Nine Inches (montage A/Z, for more see here);

"In one of its innumerable forms music is a powerful drug, partly stimulant and partly narcotic, but wholly alterative."
A. Huxley, The Devils of Loudun
"The 1980s were a great time for innovation with regard to electronic music. Pop music was starting to incorporate new types of keyboards and drum machines, with new ones coming out every month that helped refine and define the sound of that era."
"You would be surprised how many happy accidents make it onto the records. Robert used to call me 'the X factor,' as he was never quite sure what I might come up with."
"We also liked the way he played his leather trousers with his hands. Yes, that's what you hear on 'The Carterpillar' that sounds like butterfly wings beating: Mr. A.'s leather trousers."
"I have always had a great love for all kinds of experimental music, especially the early synthesizer pioneers like Morton Subotnick, and I loved Don Buchla's electronic machines."
Lol Tolhurst
"Recorded in West Berlin, Bowie's Low and Heroes, Iggy Pop's The Idiot and Lust for Life (both of which Bowie produced), hugely impacted listeners [and] signaled a shift away from America and rock'n'roll toward Europe and a cool, controlled sound in which synthesizers played as much of a role as guitars..." 
"...  1977's most significant singles [were] 'Trans-Europe Express,' a metronomic, metal-on-metal threnody for the industrial era by the German band Kraftwerk, and Donna Summer's Eurodisco smash 'I Feel Love,' made almost entirely from synthetic sounds by producer Giorgio Moroder, and Italian based in in Munich."
Simon Reynolds
"Você acredita que eu ia pro Dancing Days dançar a noite inteira, sozinho?"
Ney Matogrosso
"Com sua trupe panfamiliar, suas mulheres e filhos músicos (virtuoses de vanguarda e jazzistas-roqueiros), Stockhausen é o elo perdido entre a grande música e uma outra música que poderá surgir."
José Miguel Wisnik

"... long live dancing in the eddy of the infinite!" 
The young person in Repetition (translation by M. G. Piety)
"Zuletzt fehlt mir jeder Grund, die Hoffnung auf eine dionysische Zukunftder Musik zurückzunehmen."
"... wie der das Schwerste von Schicksal, ein Verhängniss von Aufgabe tragende Geist trotzdem der leichteste und jenseitigste sein kann — Zarathustra ist ein Tänzer —;" 
Nietzsche (Ecce Homo)

"Je me souviens avoir discuté avec Stockhausen... l'idée selon laquelle 'notre musique' (cette notion commune existait encore un peu)... aurait pour mission... d'édifier un 'space' suffisamment étendu et complexe pour que puissent s'y rencontrer... soit l'ancien et le nouveau, soit le 'savant' et le 'populaire'..."
"... des échanges, parfois secrets, s'établissant entre les 'genres', et même certaines des acquisitions les plus aventureuses des musiques expérimentales s'acclimatant dans des régios moins 'distinguées' ou même plus commericales (qu'on pense à la subversion du langage qu'a représente le 'free jazz' ou l'assimilation de l'électronique par le pop, le rock et, surtout les musiques illustratives et 'fonctionelles')..."
Henri Pousseur, Musiques Croisées

See also:

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