An Anthology Of Noise & Electronic Music / First A-Chronology 1921-2001
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An anthology of noise and electronic music vol,1
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Sub Rosa presents part 1 of a vast anthology of noise and electronic music to be released during the next years in seven volumes. An Anthology Of Noise & Electronic Music Vol. 1 begins in the 1920s, with the Russolo Brothers, and looks at each decade in turn -- Varse, Cage, Schaeffer, Xenakis, the great pioneers -- and shows the first traces of a music that was necessarily revolutionary: electronic music, created from nothing (and hence to be entirely invented). Some pieces on these CDs are certainly classics, but there are others, which, though old, were distributed informally or never even released. The more contemporary pieces are, wherever possible, previously unreleased. In fact, more than the half of what we listen here is unreleased and unpublished. This 2xCD comes as a Digipak with 24 page booklet." Artists include: Luigi & Antonio Russolo, Walter Ruttman, Pierre Schaeffer, Henri Pousseur, Gordon Mumma, Angus Maclise, Tony Conrad & John Cale, Philip Jeck, Otomo Yoshihide & Martin Ttreault, Survival Research Laboratories, Einsturzende Neubauten, Konrad Boehmer, Nam June Paik, John Cage, Sonic Youth, Edgard Varse, Iannis Xenakis, Paul D. Miller aka DJ Spooky That Subliminal Kid, Pauline Oliveros, Ryoji Ikeda.
Top customer reviews
This series was "curated by guy marc hinant." (sic) Each separate CD volume has a rather large booklet of information on the artists and the particular selection by the artist selected on the CD. It is clear hinant put a lot of work in creating each booklet for each volume, which is greatly impressive and appreciated. Unfortunately, for me at least, hinant has picked a lot of "noise" and much less of "electronic music." There is some "electronic music" on these CD's though.
If you are into more of "ambient," or "non-industrial" electronic music, see:
kid606 Recollected Ambient Works 1: Bored of Excitement 2015;
OHM: the early gurus of electronic music three CD set;
Jerry Goldsmith's ground breaking 1976 "Logan's Run" movie score;
Tomita's ground breaking 1974 "Snowflakes Are Dancing" CD;
Denny Zeitlin's 1978 "Invasion of the Body Snatchers" movie score;
Daft Punk's 2010 "Tron Legacy" movie score;
For more "IDM," see Andrea Parker et. al. (see www.touchinbass.com)
Good for its historical context, but not that listenable or rewarding.
This is cool. A soundtrack for a film that was never shot. The fact that it's in German throws you off a bit, as you have no idea what they're saying (unless you know your German), but the idea comes across very well. I have gone back to this track a few times; the flow is most interesting, and very expiremental for its time.
Cinq Etudes de Buiits: Etude Violette: ****
A cool little sound sculpture.
Cool sounds, but a little too scattered in its intent to convince me.
The Dresden Interleaf 13 February 1945: *
More than a little tedious for my liking. It starts out okay, but never seems to generate much more than a study in manipulating sounds, and goes on for a long long time.
Trance #2: ***
An interesting soundbite from the roots of the Velvet Underground. The sound quality is iffy, but that's true of most of the archival material. Hypnotic.
Untitled #1: *
More noise for the sake of noise - eh. This one I don't go back to that much.
October 24, 1982 Graz, Austria: *****
THIS is what I'm talking about. This is loud, abrasive, abstract and chaotic. I laughed out loud the first time I heard it, and I still smile broadly when I hear it. It is an extreme work, and is so camp that it works as comedy as well as being horribly oppressive. Dig those boings and sprongs. Lots of character, lots of density, lots of lots. One of my favorites.
Ragout: Kuchen Rezpt veon Einsturzende Neubauten: *
Having heard a lot about Einsturzende Neubauten before getting this set, I was looking forward to hearing what they do. They may do some amazing things, but this isn't one of them.
Cool, but very very long. It wears on you after a while.
Hommage a John Cage: *
It is an hommage, I appreciate that, but it sounds way too contrived, like John Cage in a box. Also eh.
Rozart Mix: *****
The ORIGINAL John Cage. This one took me a few listens to understand its importance. The sounds seem random at first, but after repeated listenings, you wonder what else he could have done with it; it sounds inevitable. I imagine Paul McCartney walking into the studio and saying to John, "Come on, man, you've got to hear this!" He plays it for John, who them claims "Oh, I can do that!" and proceeds to grab George and do exactly that. All John's bluster about how original he is on Revolution 9 is crap; John Cage showed the way first. It's also hard to believe that Roger Waters hadn't heard this before doing "Several Species", either. It is what it is.
An interesting experiment, but this one bores me too much too.
Poeme Electronique: ****
For its historical value alone, this one kicks. And its a pretty good piece, too. Scattered, but Varese keeps it moving and interesting.
Concret PH: **
A cool sound, but that's all it is, is one cool sound strung out to almost two minutes. Isn't there anything more representative of Xenakis to use?
FTP>Bundle/Conduit 23: *****
Fantastic. Just brilliant. Dark, spooky, atmospheric. And no, your CD player isn't on the fritz. If you listen closely with headphones, you can hear that the background sounds are also skipping, but it's a different skip pattern than the piano on top. Once you hear it, it's a trip.
A Little Noise In The System: **
It's a cool sound structure, I won't deny that. But Pauline Oliveros drags it on for 30 minutes... it gets a little tedious, unless you're on some great drugs (and even then...).
One Minute: ****
Fun. A nice punctuated ending to the first anthology.
Anthologies like this are going to be hit of miss by their very definition, but although there's a lot of stuff I'll skip, there is also a lot of stuff that works brilliantly, and because a lot of it is not available in any other format, it's certainly worth your money if you have any kind of appreciation for it. The compiler (Guy Marc Hinant) may not have made all the choices I would have, but he must be commended for combining important archival material with unreleased gems from various artists.
Historically it is accurate and the selections are representative and important. The quality of the recordings are very good.
However, I did not find any of the tracks enjoyable, or anything I would want to listen to again, or explore further. This is not the case with OHM- The Early Gurus of Electronic Music for example. I listen to the OHM CD regularly and have expanded my appreciation and knowledge of this music, which I love, from the selections in the OHM collection.
I will be selling these CD's immediately, or using them as coasters.