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"HiGH ▀ iNTELLiGeNCE tRoLLS"
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a r t i s t : Christian Marclay
t i t l e : djTRIO
d a t e : 2004
l a b e l : Asphodel ASP 2023
g e n r e : Avantgarde
r l s. d a t e : Jul/2004
t r a c k s : 07
b i t r a t e : VBRkbps
s i z e : 66,10 MB
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Marclay) made further abrasive use of records. He covered
gallery floors with them, so that visitors to a show created
random scratch-compositions just by walking in the door. He
also shattered records and made new ones from carefully joined
but mismatched fragments. Thus, Beethoven, the Beatles and
nursery rhymes might share grooves in a vinyl version of the
D.J.-style mixing and sampling that are now Mr. Marclay's
primary performance medium.
- Holland Cotter, The New York Times, October 13th 2003
Performer, sculptor, and sound artist Christian Marclay has
been experimenting, composing and performing with phonograph
records and turntables since 1979. As a musician, he was one of
the first to use records and turntables as a medium for
performance and improvisation. Mixing a wide variety of LPs on
multiple turntables, fragmenting and repeating sounds, altering
speeds, playing records backwards, spinning, throwing,
scratching, and otherwise manipulating records to create his
unique "theater of found sound," Marclay's extreme DJ
manipulations predate by two decades the turntablists of today.
djTRIO is a rotating trio founded by Christian Marclay in 1996
to showcase the talent of some of the world's best avant-garde
turntablists. Rooted in the context of free-improvisation,
Marclay's latest musical project continues pushing forward the
definition of what deejaying is. The new CD features four of
the most forward thinking turntablists of the new music scene:
Toshio Kajiwara, Erik M., DJ Olive and Marina Rosenfeld. djTRIO
features the deejay as an instrumentalist working collectively
in a group instead of performing as a soloist. Over the course
of the past seven years djTRIO has also included Otomo
Yoshihide, Pita, and Tom Recchion, among others.
The follow-up to Marclay's 2000 collaboration with Otomo
Yoshihide, Moving Parts (Asphodel) djTRIO continues to
demonstrate that a lot more can be done with turntables than
just scratch beats. The new CD was compiled by Marclay from
live recordings of numerous performances at museums and clubs
in the US, France, Switzerland, and Portugal.
(http://www.asphodel.com)
Christian Marclay began to use skipping records as the rhythm
section of an early performance duo in 1978. Since then, his
technique has developed tremendously, but he continues to use a
turntable as far more than a listening device. Also a visual
artist, Marclay has consistently approached his music as
conceptual material in which the creation of the soundÆs source
is as much a part of the finished product as the music that
leaves the speakers. Some of his most famous record
reconstructions involve LPs sliced like pizza and reconfigured
as Frankenstein discs of sectioned colors, or records
intentionally marred by the feet of gallery visitors.
More recently, however, Marclay has distanced himself a bit
from some of his more extreme musical tactics, and, though he
still utilizes multiple turntables, and continues to use
stickers and other implements to encourage skipping and
ôincorrectö playback from his LPs, MarclayÆs newer music is
built much more around typical mixing and placement. Solo
performances have been rare; Marclay has preferred to work in
duo or trio settings, the most prolific being his ever-changing
DJ Trio, in which Marclay improvises with two other
turntablists, often of differing backgrounds and styles. This
disc documents live recordings of MarclayÆs work with the
group, collaborating with NYCÆs illbient DJ Olive, fellow big
apple residents Toshio Kajiwara and Marina Rosenfeld, and Erik
M (or, eRikm, as heÆs sometimes known), one of FranceÆs most
notable avant-garde vinyl manipulators.
In the trio setting, itÆs often hard to define where one
musicianÆs contributions begin and anotherÆs end. Some of
MarclayÆs signature samples of thin, trebly horns can be heard,
but more often than not, the music is a stew of sounds whose
origins are hard to discern, and itÆs perhaps better that way.
Even when watching the music performed live (something I was
lucky enough to experience at the Andy Warhol Museum, the
source of the discÆs first track), trying to keep track of
whoÆs doing what can be a fruitless task. Now, with no visual
cues to offer help, itÆs even tougher. In digesting djTrio, it
seems, the best course of action is to absorb the whole, rather
than pick out its parts. \
The DJs on the disc construct the music with a holistic
approach, though their choices of companion noises donÆt always
meld easily. But, when Marclay, and whichever two of these
collaborators, are weaving intricate webs of sound and
operating on the same wavelength, the results can be quite
interesting. Track six, recorded at the Centre Pompidou in
February of 2000, contains some amazing, static-riddled alien
music thatÆs some of the albumÆs best. The spooky fluttering of
the third track, from Detroit in 2002, is also a highlight.
This meeting of old and new is a document of over three years
of music made by Marclay and the DJÆs who make up the other
two-thirds of the trio on each track. The mix of musicians
creates an expected variety in both approach and quality,
though not so much that djTrio ever feels like a compilation.
Marclay may not be quite the iconoclastic artist he once was,
but the niche he occupies is still undeniably his own, and
while his more recent work can be a bit spotty in places, this
disc is decidedly more hit than miss.
(http://www.dustedmagazine.com/reviews/1475)
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01-Pittsburg, July 5, 2002 [08:29]
02-New York, September 17, 2000 [05:34]
03-Detroit, December 21, 2002 [02:43]
04-New York, August 21, 2003 [08:36]
05-Washington, September 21, 2002 [05:09]
06-Paris, February 11, 2000 [13:04]
07-Annandale-on-Hudson, November 19, 2003 [03:56]
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47:31 min
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