IDM Mailing Archive

has Thrill Jockey really picked this up for U.S. release? I overheard some guy at a record shop telling the clerk about it, and that they were silly for trying to sell the import for $24.99 ??? (considering the prices I've seen from some places, $24.99 sounds like a good price if there's no domestic coming) np: Download - Tunnel

On Tue, 4 Nov 1997 Tsog5000@aol.com wrote:

quoted 10 lines In a message dated 11/4/97 4:38:14 AM, PUCKERED1@aol.com wrote:

> In a message dated 11/4/97 4:38:14 AM, PUCKERED1@aol.com wrote: > > >has Thrill Jockey really picked this up for U.S. release? > > Actually, ffrr London Records is releasing. > I posted a review a while ago, but no one seems to have been paying > attention. > It's fantastic. > > t.S.o.G.

*Actually*, you posted a review of the *remix* project of the original album, and you thought that Pierre Henry created psychedelic rock instead of musique concrete (only a decade or two and a few genres off). So that may have been why nobody paid attention. I do hope that it is released domestically, 'cos $28 is a lot to pay for a single CD. cya brian

On Tue, 4 Nov 1997 Tsog5000@aol.com wrote:

quoted 10 lines In a message dated 11/4/97 4:38:14 AM, PUCKERED1@aol.com wrote:

> In a message dated 11/4/97 4:38:14 AM, PUCKERED1@aol.com wrote: > > >has Thrill Jockey really picked this up for U.S. release? > > Actually, ffrr London Records is releasing. > I posted a review a while ago, but no one seems to have been paying > attention. > It's fantastic. > > t.S.o.G.

Brian & Sharon Beuchaw <beuchaw@enteract.com> responded:

quoted 4 lines *Actually*, you posted a review of the *remix* project of the original

>*Actually*, you posted a review of the *remix* project of the original >album, and you thought that Pierre Henry created psychedelic rock instead >of musique concrete (only a decade or two and a few genres off). So that >may have been why nobody paid attention.

quoted 2 lines I do hope that it is released domestically, 'cos $28 is a lot to pay for a

>I do hope that it is released domestically, 'cos $28 is a lot to pay for a >single CD.

Yeah, so do I. I've been waiting to snag this, and I've come close to dropping the $25+ for it a few times. Here's to hoping waiting (for once) was a good thing. -Patrick

quoted 1 line I do hope that it is released domestically, 'cos $28 is a lot to pay for

> >I do hope that it is released domestically, 'cos $28 is a lot to pay for

a

quoted 5 lines single CD.

> >single CD. > > Yeah, so do I. I've been waiting to snag this, and I've come > close to dropping the $25+ for it a few times. Here's to > hoping waiting (for once) was a good thing.

Well, I couldn't wait, and in a few days I should be receiving a copy from BentCrayon (right, JohnC?). I'll post a review when the musique concrete dust settles, but 'til then there's been articles on Henry in Vox and The Wire recently which are pretty interesting. Apparently, he has no interest in the electronic music of today, and his house is completely stacked with archane instruments and reels upon reels of tape with the sounds he's collected over the past 40-odd years. He even gave a concert in his house, with people stationed in each room (but free to come and go)... If anyone is interested in other works along the same lines, I just picked up a disc by Edgar Varese on One Way Records (it's just called =Music of Edgar Varese=), with several of his most popular works ("Ionisation," "Density 21.5," "Poeme electronique"). Most of the tracks were composed in the 1930s for large percussion orchestras (they sound a bit like the militia and war atmospheres of Weather Report's =I Sing the Body Electric=), though the recording of "Poeme electronique" was recorded by Varese himself in 1958. It has oscillators and some other early electric/machine instruments, along with chanted manipulated human vocals. Varese's story is quite interesting, too; he had dreamed of a wider range of instruments for which to compose as early as the '20s and '30s, and sank into a deep depression during the '40s because his applications for instrument-research grants from Edison and the Guggenheim were completely rejected. A very happy ending, though: in the early '50s, he was given an Ampex tape recorder, and began composing again, until his death in the mid-'60s... ----------------------- JohnBush.

Oops. I sent this to the IDM-digest list first, so here 'tis again...

quoted 1 line I do hope that it is released domestically, 'cos $28 is a lot to pay for

> >I do hope that it is released domestically, 'cos $28 is a lot to pay for

a

quoted 5 lines single CD.

> >single CD. > > Yeah, so do I. I've been waiting to snag this, and I've come > close to dropping the $25+ for it a few times. Here's to > hoping waiting (for once) was a good thing.

Well, I couldn't wait, and in a few days I should be receiving a copy from BentCrayon (right, JohnC?). I'll post a review when the musique concrete dust settles, but 'til then there's been articles on Henry in Vox and The Wire recently which are pretty interesting. Apparently, he has no interest in the electronic music of today, and his house is completely stacked with archane instruments and reels upon reels of tape with the sounds he's collected over the past 40-odd years. He even gave a concert in his house, with people stationed in each room (but free to come and go)... If anyone is interested in other works along the same lines, I just picked up a disc by Edgar Varese on One Way Records (it's just called =Music of Edgar Varese=), with several of his most popular works ("Ionisation," "Density 21.5," "Poeme electronique"). Most of the tracks were composed in the 1930s for large percussion orchestras (they sound a bit like the militia and war atmospheres of Weather Report's =I Sing the Body Electric=), though the recording of "Poeme electronique" was recorded by Varese himself in 1958. It has oscillators and some other early electric/machine instruments, along with chanted manipulated human vocals. Varese's story is quite interesting, too; he had dreamed of a wider range of instruments for which to compose as early as the '20s and '30s, and sank into a deep depression during the '40s because his applications for instrument-research grants from Edison and the Guggenheim were completely rejected. A very happy ending, though: in the early '50s, he was given an Ampex tape recorder, and began composing again, until his death in the mid-'60s... ----------------------- JohnBush.

On Wed, 5 Nov 1997, John Bush wrote:

quoted 1 line Oops. I sent this to the IDM-digest list first, so here 'tis again...

> Oops. I sent this to the IDM-digest list first, so here 'tis again...

Just FYI, posts sent to idm-digest@ careen effortlessly over to idm@. Yes indeedy, I wrote graffiti... Teep np: the duke all up on the a train tip