___ _ __ __
___/ (_)_________(_)___/ /__ ____ / /_
/ __ / / ___/ ___/ / __ / _ \/ __ \/ __/
/ /_/ / (__ |__ ) / /_/ / __/ / / / /_
\__,_/_/____/____/_/\__,_/\___/_/ /_/\__/
d i s s i d e n t
_______________________________________________________________________
a r t i s t : Phill Niblock
t i t l e : Touch Food
d a t e : 2003
l a b e l : touch
g e n r e : Avantgarde
r l s. d a t e : May-2003
t r a c k s : 08
b i t r a t e : 224kbps
s i z e : 230,6 MB
_______________________________________________________________________
Touch # TO:59
CD one:
1. Sea Jelly Yellow [Ulrich Krieger, baritone saxophone]
2. Sweet Potato [Carol Robinson, bass clarinet, basset horn,
and Eb clarinet]
3. Yam almost May [Kasper T. Toeplitz, electric bass]
CD two:
Pan Fried 70 [Reinhold Friedl, piano]
Phill says "The pieces on this CD were made for and with the
musicians Reinhold Friedl (piano), Ulrich Krieger (baritone
saxophone), Carol Robinson (clarinets) and Kasper T. Toeplitz
(electric bass). We recorded the instrument samples at CCMIX in
Paris in April 2001. Two of the pieces were completed by the
end of the residency of one month, and we recorded some passes
of the musicians playing with the multitrack (in Protools)
recording. Those were the clarinet and electric bass pieces. I
made a few versions of the piano piece at CCMIX, and a test for
the saxophone piece. That piece was completed in my studio in
New York in March 2002, using 24 tracks in Protools. I had
created an awkward situation, four pieces of 25 minutes, but a
CD would only hold three. So I decided to make a 75 minute
version of the piano piece. I became a little tired at 70
minutes, and since I am 70 this year, I stopped at that. I
changed the structure of that piece every 15 minutes, so we
have made a new program number at each 15 minutes".
From Gerard Pape, of CCMIX, Paris:
Phill Niblock: Timbre as Space in Suspended Time
In the music of Phill Niblock, we are confronted with the aural
equivalent of trompe-l'oeil. Apparently static clouds of
harmonically dense material turn out to be not so static as
they appear. What's more, one has the distinct impression that
the music is changing spatially over time . How is all of this
possible ? The key is in Niblock's use of time. In his music,
the experience of time is as very slow and continuous. There
are no disruptive, discontinuous musical events to disrupt the
flow of time. Time is suspended. Niblock's music gives the
impression of having always been and continuing to be. Yet,
this is not the idea of Being as stasis. Each time one feels
tha Niblock's music isn't changing, one realizes that it is
never the same, an yet, always the same.
Being and Becoming as one. Moving Immobility.
This is a music that breathes slowly and deeply. It changes its
spatial form slowly, as a person who is in deep meditation
changes the form of his body ever so slowly as he peacefully
expands and contracts the walls of his chest cavity with each
new cycle of inspiration/expiration.
Phill Niblock is a sixty-something New York based minimalist
composer and multi-media musician and director of Experimental
Intermedia, a foundation born in the flames of 1968's barricade
hopping. He has been a maverick presence on the fringes of the
avant garde ever since. In the history books Niblock is the
forgotten Minimalist. That's as maybe: no one ever said the
history books were infallible anyway. His influence has had
more impact on younger composers such as Susan Stenger, Lois V
Vierk, David First, and Glenn Branca. He's even worked with
Sonic Youth's Thurston Moore and Lee Renaldo on "Guitar two,
for four" which is actually for five guitarists. This is
Minimalism in the classic sense of the word, if that makes
sense. Niblock constructs big 24-track digitally-processed
monolithic microtonal drones. The result is sound without
melody or rhythm. Movement is slow, geologically slow. Changes
are almost imperceptible, and his music has a tendency of
creeping up on you. The vocal pieces are like some of Ligeti's
choral works, but a little more phased. And this isn't choral
work. "A Y U (as yet untitled)" is sampled from just one voice,
the baritone Thomas Buckner. The results are pitch shifted and
processed intense drones, one live and one studio edited.
Unlike Ligeti, this isn't just for voice or hurdy gurdy. Like
Stockhausen's electronic pieces, Musique Concrete, or even
Fripp and Eno's No Pussyfooting, the role of the
producer/composer in "Hurdy Hurry" and "A Y U" is just as
important as the role of the performer. He says: "What I am
doing with my music is to produce something without rhythm or
melody, by using many microtones that cause movements very,
very slowly." The stills in the booklet are from slides taken
in China, while Niblock was making films which are painstaking
studies of manual labour, giving a poetic dignity to sheer
gruelling slog of fishermen at work, rice-planters,
log-splitters, water-hole dredgers and other back-breaking
toilers. Since 1968 Phill has also put on over 1000 concerts in
his loft space, including Ryoji Ikeda, Zbigniew Karkowski and
Jim O'Rourke.
(http://www.touch.demon.co.uk)
BRILLIANT !!! FANTASTIC !!! WONDERFUL !!! ILOVETHISRECORD !!!
(http://www.rippersidea.com)
_______________________________________________________________________
CD1
01-Sea Jelly Yellow [24:17]
02-Sweet Potato [24:11]
03-Yam almost May [25:14]
CD2
01-Pan Fried 70 [15:01]
02-Pan Fried 70 [15:00]
03-Pan Fried 70 [15:00]
04-Pan Fried 70 [15:00]
05-Pan Fried 70 [10:12]
-------
143:5
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inventas vitam iuvat excoluisse per artes
Files
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[BMW]-[Avantgarde-2003]-(230.6 MB in 8 files of 224kbps Stereo)-[bende