Sunday, February 07, 2016

(Electronic & Others) High or Middle Culture?






































The Knife (Networking);
The Knife (Tomorrow in a Year); 
Björk (Mouth's Cradle);
Björk (Pluto);
Madonna (Material Girl);
Bauhaus (Bela Lugosi's Dead);
DAF (Der Räuber un der Prinz);
DAF (El Que);
Japan (Ghosts);
Orange Juice (Rip It Up);
Public Image Limited (Albatross);
Chrome (All Data Lost);
Factrix (Phantom Play);
The Residents (Swastikas on Parade);
This Heat (A New Kind of Water);
The Flying Lizards (Money);
Wire (I'm the Fly);
Talking Heads (Psycho Killer);
DNA (Detached);
Mars (Helen Forsdale);
Teenage Jesus (Orphans);
Contortions (I Can't Stand Myself);
Throbbing Grittle (Greasy Spoon);
Cabaret Voltaire (Silent Command, Kino);
The Future (Future Religion);
The Pop Group (We Are Time);
Devo (The Truth About De-Evolution);
Donna Summer (I Feel Love);
Ornette Coleman's Sound Museum (montage A/Z, for more see here);
Bat Macumba (Mutantes);
Saúde (Rita Lee);
On the Rocks (Rita Lee);
Morton Subotnick (Silver apples of the Moon); 
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
"After we'd sniff glue we used to call up number on the phone. We knew these numbers to dial where you could get these weird sounds. We'd call the numbers and it would go Beep-beep-beep-beep-beep."
Dee Dee Ramone (Please Kill Me)
"... remettre en usage des instruments anciens et oubliés, créer des instruments nouveaux... rechercher,  en dehors de la musique, des instruments et des appareils qui, basés sur des fusions spéciales ou des alliages renouvelés de métaux, puissent atteindre un diapason nouveau de l'octave, produire des sons ou des bruits insupportables, lancinants."
A. Artaud (Le théâtre de la cruauté)

"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)
"... long live dancing in the eddy of the infinite!" 
The young person in Repetition (translation by M. G. Piety)
"Você acredita que eu ia pro Dancing Days dançar a noite inteira, sozinho?"
Ney Matogrosso

"Na gravação de Adeus Maria Fulô, usei um instrumentinho que os palhaços Torresmo e Fuzarca faziam com tampinhas de garrafa afinadas que, ao soltá-las no chão, tilintavam a nota certa... regravamos Bat Macumba e Baby..."
"Éramos apreciados por nossa esquisitice visual e sonora."
"Quando lançamos Saúde, a crítica me crucificou porque pela primeira vez no país usei em algumas faixas a bateria eletrônica Korg. Diziam que eu havia tirado o trabalho de bateristas humanos. Enquanto a crítica vinha com a farinha, minha antena futurista já comia o bolo. Ser pioneira tem seu preço."
"Minha preferida dessa safra é On the rocks, trenzão, pesadão e chique, letra bem colocada, instrumentália precisa, mixagem perfeita, uma de que muito me orgulho."
Rita Lee
"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

"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

"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
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"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."
"Rather than a keyboard, Devo treated the synth as a noise generator. 'The more technology you have, the more primitive you can be,' Mothersbaugh told one interviewer. 'You can express guttural sounds, bird noises, brains waves, blood flow.'"
"Devo found Alan Myers, 'this incredible metronomic drummer,' and the group started to explore disconcertingly disjointed time signatures like 7/8 and 11/8. 'Those kind of timings make you feel rigid right away,' says Casale."
"... all rattling synthetic percussion and soiled sheet of sound recall avant-classical electronic composers such as Morton Subotnick. For a while Cabaret Voltaire didn't even have a proper synth, instead using tape loops and a primitive oscillator built by Watson. Kirk's primary instrument was the clarinet, fed through effects to sound harshly processed and eerie, as on the spychotic-bucolic Fuse Mountain."
"Initially, the Future came up with 'the rather radical idea that we'd have shared vocals,' says Ian Craig Marsh. 'We dispensed with our names and called ourselves A, B, and C. I was all very computer oriented...' A cybernetic version of Burroughs's and Gysin's cut-ups and surrealist automatic writing..."
"Another Cabaret Voltaire hallmark was the dehumanization of Mallinder's voice via creepy treatments that made him sound reptilian, alien, or, at the extreme, like some kind of metallic or mineralized being."
"COUM started as a rock band of sorts, making up music on the spot, undeterred by lack of grounding in improvisational technique, using broken violins and prepared piano as well as conventional rock instruments like drums and electric bass. Inspired by John Cage's writing and by primitivists like the Fugs and the Velvet Underground, P-Orridge believed that 'the future of music lies in nonmusicians.'"
"Ironically, a traditional blues and country technique, slide guitar, provided No Wave with some of its most disconcertingly novel noises."
"Byrne was reading books by anthropologists and ethnomusicologists... Eno and Byrne became fascinated with American radio's menagerie of evangelist preachers, right-wing pundits, and callers phoning in to live talk radio shows. Radio was America's seething id."
"Unwilling to spend what it would take to make Wire happen as a pop group, EMI was equally disinclined to fund their more esoteric side."
"Factrix quickly  realized that 'you could put the acetates in upside down and backward, play them the wrong way. That was what was really inspiring to us at the time, 'let's see what happens if we do this wrong.'"
"'The mystical for Factrix was teh  same as Coltrane or any musician who's trying to get to the place where the music is free. The sounds, they really  did have a life of their own. We were really just following the sounds. We were disciples of feedback' [Bond Bergland]."
"'Most  bands get a synthesizer and their first idea is to tune it! They want a clean normal sound. They don't work with the power you get from a synthesizer. We want to bring together this high technique with body  power' [Robert Görl/DAF]."
"DAF and their offshoot group Liaisons Dangereuses influenced the embryonic black electronic sounds of Chicago house and Detroit techno, while Kraftwerk almost single-handedly inspired New York electro."
"'You could do a vaguely experimental film thing as cheaply as you possibly could, and if it was connected to a song, MTV would play it because they needed stuff desperately in those days' [David Byrne]."
"Rave music teemed with futuristic textures and strange noises that came straight out of DAF and Cabaret Voltaire... Acid house essentially fused postpunk futurism with sixties Dionysian frenzy."
Simon Reynolds

See also:
- liste des déclencheurs;
- Kur-d-t My Ghost;
- God Save the Queen;
- Darkwaves beyond the 80's;
- Call me Helium;
- Elements of Musical Language;
- Piano Playing;
And also:
- Allan Ginsberg, Burroughs & Ney Matogrosso;
- Audrey Hempburnt Haunted by A/Z;
- Genug! Manifesto;
- Warszawa;
- movies about musicians;
- Série, presque à genoux with thread;
- Brazil in the 80's;
- Tropicalismo;

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