Nah, forget ICBYD.
We need SAW2 reissued as a four disc vinyl set like Richard originally intended!
joYrex
www.joyrex.com
"R. Lim" wrote:
quoted 63 lines On Tue, 27 Mar 2001, EggyToast wrote:> On Tue, 27 Mar 2001, EggyToast wrote:
>
> > I think the Polygon Window album is one of Richard James' more cohesive
> > works, which probably explains why some like it and some don't. Some like
> > Richard's work because he's "all over the place" (err, was), and others
>
> Right, and those people are the ones that are rightfully doomed to
> listening to a lifelong supply of John Zorn and Bill Laswell albums.
>
> > pick out the "best" things and plops them together. I think his "side
> > project" as Polygon Window didn't fit this scheme - it sounds like an album
> > created from one or two main ideas. Of course, I could be wrong too.
>
> Might I propose that (IQ factor aside) even compilations can be sequenced
> effectively? I mean, to treat it as a mere assemblage of unconnected
> contributions is to cement its "for novices and completists only" status.
> For instance, a film director will often choose to cut a scene that he/she
> really likes, just because it interrupts the flow of the larger work.
> How often do you think this happens when a label puts together a comp?
> I'm not suggesting that it's necessary to makes these sacrifices (or even
> really pragmatically feasible), but the fact that you can often tell is
> kind of a bummer.
>
> > I'm sure we can look forward to the US version of "...i care because you
> > do" in about a year, with two or three more tracks.
>
> Didn't Sire already license this? In which case, their license would have
> to expire (or be bought) for someone else to reissue it in the US.
>
> A little off topic, but I just re-listened to the first Maurizio Bianchi
> re-release box set (ArcheoMB 1) and I want to officially eat crow on my
> previous verdict. Although some of the CDs fall towards the noise-cheese
> end of the spectrum (I mean, merely entitling an album "Symphony for a
> Genocide" dates about as well as naming a movie "She's All That"), the
> last two are timeless in their analogue warble. Whereas his earliest
> recordings seemed to embrace the pure shock ability of his electronics
> "system", these use its distinct, homebrew vibe to soak the air with a
> more spacious, mysterious sound. There's still a sense of decay
> underpinning the proceedings, but it takes on a melancholic feel, as with
> ruins or anything that has failed to withstand the ravages of time. It's
> odd to find any emotion that might be mistaken for sentimentalism in any
> genuinely experimental music, but an interesting comparison could be made
> with the less maudlin Boards of Canada material.
>
> The box set, sadly, is out of print (so you probably won't get the
> illuminating inserts that provide a larger context for the material- for
> instance, Conrad Schnitzler is cited as a big influence, which makes
> total sense to the point that I'm annoyed that I didn't pick up on it
> myself). However, the individual titles are available separately- their
> titles are _Regel_ and _Mectpyo Bakterium_ and I recommend them
> wholeheartedly.
>
> -rob
>
> ps- does anybody else think it's funny that Boards of Canada evoke
> nostalgia in an audience that is decades off from a mid-life crisis?
>
> pps- people shy away from his "later" works because he found God (and
> Yamaha DX7s)
>
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