Paul Schutze - Vol 6 Green Evil Stray Particles 1982-1996 (c) 1997 T
Artist....: Paul Schutze
Album.....: Vol 6 Green Evil Stray Particles 1982-1996
Type......: Album
Source....: CDDA
Tracks....: 11
Genre.....: Ambient
Label.....: Tone Casualties
Catalogue#: TCCD9721
Encoder...: LAME 3.97
Quality...: VBR kbps / 44.1KHz / Joint-Stereo
URL.......: http://www.discogs.com/Paul-Sch%C3%BCtze-Vol-6-Green-Evil-Stray-Particles-1982-1996/release/145314
Tracklist:
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01 The Memory Of Water 05:05
02 Revered Cigarette 04:28
03 Dead Hearts 06:09
04 The Left Remembers 06:12
05 Always Past 04:22
06 Two Mirrors Facing 03:39
07 Seribo Aso 07:52
08 Flooded Island 02:39
09 Hallucinations 08:19
10 The Heart That Fades 05:36
11 Green Evil 05:32
Total:75,9 MB / 59:53 min
Release Notes:
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Review:
Paul Schutze has been steadily amassing a large and significant body of
work for nearly two decades now. His embracing of differing genres and
sub-categories of contemporary electronica and experimental music has
seen him adapt proto-jazz fusion, ethnic constructs, minimalism and
austere ambient modes. GREEN EVIL is a collection of works spanning
over fourteen years; some rescued from Schutze's personal archives,
others from obscure compilations.
This regrouping of material reveals Schutze as a master sound artisan,
concerned with the merits of sound as ambient architecture ("The Memory
of Water," "Always Past"), recombinant gamelan ("Revered Cigarette"),
techno-tribalism ("Dead Hearts"), hazy beat music ("Flooded Island"),
or with explorations into the machinations of the sampler on
"Hallucinations." Schutze's facility for category shapeshifting and the
ease with which he manipulates sound is nothing short of spellbinding.
A broad cross-section of his aural ideas, GREEN EVIL is a fine showcase
for these masterful sound paintings.
Info on Paul Schⁿtze:
Australian-born composer and producer Paul Schⁿtze is among the most
focused and prolific artists of the contemporary experimental
electronic scene. Releasing album after album of sprawling, icy, often
difficult ambient and electro-acoustic music, Schⁿtze's work has most
often been grouped with post-industrial ambient/isolationist artists
such as Lull, Main, and Thomas K÷ner. While the depth of detail and
breadth of sound obtained in Schⁿtze's work already confounds that
association, albums such as Site Anubis and Abysmal Evenings do contain
their share of deep, dark, highly cinematic soundscapes (Schⁿtze spent
several of his years in Australia composing for film). Although he
bemoans the rampant genre hybridity characteristic of many of his
colleagues in both the dance-based underground and the more academic
experimental overground (Schⁿtze's discography includes entries for
industrial/experimental labels Sentrax and Big Cat, Belgian
ambient/techno label Apollo, work with ethno-ambient industrialists O
Yuki Conjugate, and collaborations with avant-funk pioneer Bill
Laswell), Schⁿtze has moved increasingly toward incorporating rhythmic
and percussive structures and ideas from not only ethnic musical
traditions (he started out as a percussionist, and has studied Indian
percussion formally), but also the more experimental strains of
dance-based electronica.