(no subject)
this year has closed off with the sad news that effective december 18th, sparks is done being made. what poor little kiddos like me will do without this extremely dangerous and unhealthy energy drink/alcohol hybrid, i do not know. but i stocked up on a half dozen cases of it just in case. some will be sacrificed for tonight's festivities.
i forgot to name a few other albums of influence from last year, particularly ones that correspond with fun or ridiculous activity:
CIVIC PROGRESS: DISPOSABLE E.P......nine songs of hardcore, and their breakup has left a gaping hole in the local xXx scene.
FEAR: THE RECORD. of course! always! the best!
THE JESUS LIZARD: GOAT. a record that is less quease-inducing than their debut (HEAD, which wallows in its own vileness), but makes perfect sense as a record for hangovers. waking up one morning after a night i don't particularly remember, i played the whole thing. the first song was, like me, waking up with a horrible headache and trying to find its bearings. the rest of the album works out a few of them. only a few. like me.
then there are albums that don't fit in an immediate paradigm:
HARRY PARTCH: ON THE SEVENTH DAY, PETALS FELL OVER PETALUMA. that title may be a slight misquote, and i apologize to the ghost of this 20th century composer, who claimed to discover uncharted tones in relation to set octaves through the magic of hand-built string/percussion instruments. unlike a lot of modern composition albums, which exist to no more illuminating ends on paper than laboratory experiments, this is best listened to for the sake of absorption. no liner notes required.
ELOY: EQUIVALENCES. the only version i've found was conducted for small ensemble by favorite cantankerous genius pierre boulez. minimalism remains as trendy in america as structuralism was in second-story french cafes. which is good in the sense that people continue to compose music, which i suppose they will always do. EQUIVALENCES, on its own, is a great piece beyond how it relates to any school of theory. in other words, i don't list a lot of RIYL music. it wasn't a year for that.
JOHN CAGE: that double LP set of etudes composed from chance-plotting of the stars as viewed from australia. unlike tape-collage or periods of "silence" proving that silence isn't actually silent, this whole affair plays with piano dissonance, sparse but too jarring to even flirt with "boring." hurrah, hurrah!
i forgot to name a few other albums of influence from last year, particularly ones that correspond with fun or ridiculous activity:
CIVIC PROGRESS: DISPOSABLE E.P......nine songs of hardcore, and their breakup has left a gaping hole in the local xXx scene.
FEAR: THE RECORD. of course! always! the best!
THE JESUS LIZARD: GOAT. a record that is less quease-inducing than their debut (HEAD, which wallows in its own vileness), but makes perfect sense as a record for hangovers. waking up one morning after a night i don't particularly remember, i played the whole thing. the first song was, like me, waking up with a horrible headache and trying to find its bearings. the rest of the album works out a few of them. only a few. like me.
then there are albums that don't fit in an immediate paradigm:
HARRY PARTCH: ON THE SEVENTH DAY, PETALS FELL OVER PETALUMA. that title may be a slight misquote, and i apologize to the ghost of this 20th century composer, who claimed to discover uncharted tones in relation to set octaves through the magic of hand-built string/percussion instruments. unlike a lot of modern composition albums, which exist to no more illuminating ends on paper than laboratory experiments, this is best listened to for the sake of absorption. no liner notes required.
ELOY: EQUIVALENCES. the only version i've found was conducted for small ensemble by favorite cantankerous genius pierre boulez. minimalism remains as trendy in america as structuralism was in second-story french cafes. which is good in the sense that people continue to compose music, which i suppose they will always do. EQUIVALENCES, on its own, is a great piece beyond how it relates to any school of theory. in other words, i don't list a lot of RIYL music. it wasn't a year for that.
JOHN CAGE: that double LP set of etudes composed from chance-plotting of the stars as viewed from australia. unlike tape-collage or periods of "silence" proving that silence isn't actually silent, this whole affair plays with piano dissonance, sparse but too jarring to even flirt with "boring." hurrah, hurrah!