Date: Wed, 01 May 1996 01:04:03 -0400
From: Hal Vx2 <halvx2@resrocket.com>
To: macos-list@resrocket.com, mother@nicar.org
Subject: (mother) Minus Habens Records WANTS YOU!!
Er.. well, they at least want you to join their mailing list to keep you
up-to-date on what's going on with the label, including new MACOS releases.
For those not in the know, they have always strongly supported MACOS
(founded by Uwe Schmidt of Lassigue Bendthaus/Atom Heart) since it's
inception. Next to KK Records (and KK side labels), Minus Habens have
contributed more products to MACOS than any other records label to date.
A good list to join, if you want to be kept up-to-date on future MACOS
products from MINUS HABENS and DISTURBANCE RECORDS.
Check it out. Here's more info:
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
This message is to announce the birth of the MINUS HABENS Mailing List.
Please read this document carefully. Print it or save it!
Contents:
1. Mailing list mission and content
2. Moderation and when NOT to post to the list
3. New subscriptions
4. The messages
5. More posting guidelines
6. Who's in charge
1. MAILING LIST MISSION AND CONTENT....................................
The MINUS HABENS Mailing List, formed in April 1996, is intended for
information and discussion pertaining to MINUS HABENS, DISTURBANCE (the
sister label) and related artists (Dive, Nightmare Lodge, Klange,
Principia Audiomatica a.k.a. Implant Code, Kebabtraume, Loi Interceps
a.k.a. Mynox Layh, Torse, A3000, Monomorph, The Frustrated, It,
Kaleidophone, Le Forbici Di Manitu', Astral Body, X4U, Urbanatribu'
Xyrex,...).
2. MODERATION..........................................................
The MINUS HABENS Mailing List is "semi-moderated", meaning in this case
that while subscribers are able to post directly to the list, the list
administrators reserve the right to:
* remove disruptive or misguided/junk-mail posts from the digest
queue, if caught in time
* order a disruptive thread to cease
* unsubscribe repeat offenders and severe abusers of the list
* determine what constitutes disruptive behavior and gauge the
severity of the abuse
3. NEW SUBSCRIPTIONS...................................................
If you haven't already subscribed to the list, you can join by sending
mail to listproc@u.washington.edu and putting "subscribe habens <Full
Name>", full name should let people know who the subscriber is, in the
body of the message. Your email address will be extracted automatically
from your message headers, so send the mail from the address to which
you want the list mail to be sent. When posting to the list, post from
the address at which you are subscribed. Mail sent to the list from
non-subscribed addresses is sent to an administrator who may or may not
forward it on to the list, depending on its content.
4. THE MESSAGES........................................................
To post a message, send to habens@u.washington.edu
5. MORE POSTING GUIDELINES.............................................
Expressly forbidden on the list is the rebroadcast of petitions, chain
letters, alerts, calls to action, political rant, etc...
6. WHO'S IN CHARGE HERE................................................
The list administrator is Shawn Sarvey (stone@u.washington.edu).
-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-
Date: Fri, 3 May 1996 01:26:20 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Jet Chamber 2
Fluff.
Charlie's beanbag fell on him, inflicting amnesia, which made him
forget to post this here...
---------- Forwarded message ----------
Date: Thu, 2 May 1996 08:45:58 -0800
From: charles uzzell-edwards <faxlabel@sirius.com>
To: ambient@hyperreal.com
Subject: (wow thats a metaphor) jet chamber 2
I am listening to Jet Chamber 2 and I have one word 'synergistic'.
I dont know if that is a word, but being a (biased) fan of PN and atom
heart I am enjoying the contrasts of their musical approaches and the way
that they work in harmony on this cd. It has swoopy chords and frantic
rhythms that seem to fall apart until they come back together seamlessly,
it has moments of pure bliss where you can almost hear the drips of the
water falling from old stalagtites (I am in an audio cave inside JC2).
Good music for trans-european travel. Or any other continent for that
matter. Now the cd has got Tuff. Now it has gone deep, but I can hear an
atom heart rhythm rumbling in the undergrowth of this organica. (wow thats
a metaphor)
Incidentally, faxlabelusa will be moving its distribution center/office/
studio/lovenest to a tree house on the other side of the golden gate bridge
next month. Information will be supplied as it arrives.
f a x l a b e l u . s . a .
2 9 5 c h u r c h s t r e e t ,
s a n f r a n c i s c o .
c a l i f o r n i a 9 4 1 1 4 .
tel / fax 4 1 5 - 4 3 1 1 2 6 5 .
new site at : http://www.sirius.com/~faxlabel/
---------- End ----------
Date: Thu, 02 May 1996 23:32:51 -0700
From: Eric Hill <ehill@best.com>
To: mother@nicar.org
Subject: Re: (mother) Jet Chamber 2
moms,
Heard this a bit earlier tonight (it's all I can do until payday!), and it
is probably the most avant-fucked thing I've ever heard in the realm of
electronic music and especially drum-machine programming. I am completely
comfortable with using profanity in describing it, since it's quite an
extreme release.
A possible criticism or discussion point: Uwe's habit of using crystalline
digital timbres.
eric
Date: Sun, 5 May 1996 20:21:14 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) AH/LB on Disturbance.
Howdy y'all.
I was going through the DISTURBANCE [record label] mail-order
catalogue, and being the perpetual ATOM HEART freak I am, I came across a
couple of items which peaked my interest. Anyway, before I go sending my
money over to Italy, I was wondering if anyone on this list knows of any
shops stateside which might carry these rekids:
> ATOMU SHINZO - Atomu Got It
> (DIS005 - 12")
> SWAMP TERRORISTS feat.: LASSIGUE BENDTHAUS - Brain Fuck
> (DIS017 - 12")
Oh, and can anyone tell me about this SWAMP TERRORISTS 12"? I have
the "Get O." double-cd on Sub/Mission/Cashbeat which features two LB mixes
(of "Get O."), and was not aware that there were any other LB mixes for
this band. Any and all info would be much appreciated.
mota.
christopher miller
evil@ddi.digital.net
Date: Sun, 5 May 1996 20:58:30 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Jet Chamber 2 - review.
---------- Forwarded Message ----------
Date: Fri, 3 May 1996 16:26:38 -0700
From: Sean Cooper <scooper@best.com>
To: ambient@hyperreal.com
Subject: jet chamber review
from the burn.site, a review of the new namlook/atom heart album. as
always, it and a whole lot more are available at www.burnmedia.com...
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
Pete Namlook & Atom Heart.
Jet Chamber 2
Fax
CD
If the first full-length meeting between Pete Namlook and Atom Heart
was a perfect example of the two far-reaching experimentalists
committed to the singular vision of Namlook's deep, probing
compositional style, "Jet Chamber 2" is exactly the reverse, placing
Atom Heart's Uwe Schmidt in the driver seat and letting him determine
the destination. Where the first used rhythm and percussion only
sparingly to accentuate the warm, cerebral texture washes that are
the signature of much of Namlook's solo and collaborative work, the
second is, for the most part, closer in style and feel to AH's solo
Rather Interesting releases (especially "Silver Sound 60" and "BASS,"
although the precision and complexity of those albums have been
somewhat reduced, no doubt due to Namlook's rapid production
demands). Although moments of calmness and self-exploration
characteristic of the first album pop up occasionally (particularly
on the album's shortest track, "Calm Box," and the intro to "Outer
Rotation"), most of the album is given the Schmidt freakout
treatment, with manic, disjointed electro beats driving sparse
electronics in directions similar to his solo work, and here given
the added flavor of Namlook's alternately measured and manic
accompaniment. At times, the results are spotty; "Inner Rotation" --
a banging, almost junglist electro track reminiscent of Namlook's
project with Jonah Sharp, "Wechselspannung"--is interrupted on
occasion by seemingly out-of-place Schultze-esque synth passages that
only trip up the compositional flow in their attempt to inject a bit
of pause into Uwe's extremely synthetic, polyrhythmic fuckoffery.
"Calm Box" is, as it sounds, the album's pit stop, with an
uninterrupted drone providing a nice, austere backdrop to some
wonderfully moderate space-style soloing. "Outer Rotation," clocking
in at a monster 27 minutes, pulls it off best, however, with Namlook
finally conceding to Uwe's outbound electro-jazz/funk, pulling
somersaults and backflips on the keys and generally playing off Uwe's
sequencer virtuosity with free-flowing improvisations that keep the
music balanced and even. The track works its lather into a ponderous
breakbeat acid jam about two thirds of the way through before
devolving into a nice, even wash of beatless ambient, and a
recapitulation of Uwe's drum machine dramatics closes the track. By
no means the persistent brilliance of its predecessor, "Jet Chamber
2" is nonetheless an interesting, varied release, reshuffling
elements that have proven ongoing engagements of its two composers,
and suggesting a few permutations yet to be explored.
SC
Rating: 7.5
CD1. Inner Rotation (18.30)
CD2. Calm Box (17.20)
CD3. Outer Rotation (26.56)
*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*_*
...thanks for your indulgence.
sc
onnow: invisible scratch pickles : the shiggerfragger show vol. 4
(lava muzik)
---------- End ----------
Date: Sun, 5 May 1996 22:20:28 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) "Polyester" thread on IDM.
Ack.
If you're subscribed to the IDM list, then you've probably already
read all of this (so delete now, unless you want a play-by-play re-hash).
Anyway, I'm forwarding it all here for posterity's sake (I've edited out
all of the .sig's and other irrelevant ascii characters).
Interesting arguments...
---------- Forwarded Message ----------
Date: 03 May 96 03:05:15 EDT
From: Edward Pond <100550.2422@CompuServe.COM>
To: CiM <s.walley@uea.ac.uk>
Cc: IDM Mailing List <idm@hyperreal.com>
Subject: Re: (idm) mururoa again and polyester
> Speaking of _Polyester_, whats the low-down on this? Good? Bad? From what
> what I remember from the old IDM reviews, it's sort of jazz ambient
> (jazzbient? :) yeah? My local vinyl pimp has a copy and I'm wondering
> whether to check it...
I rekon the jazz ambient description is pretty damn good. I can't help
comparing the tracks to 'bolus' by Jake Slazenger because the bleepy noise
and the funky percussion is all there, but the end result is quite
different. I'm unmoved by the album, though, but if 'jambient' sounds good
to you, then get it.
-Ed
---------- Forwarded Message ----------
Date: Fri, 03 May 1996 00:50:54 -0500
From: GD <gd@interramp.com>
To: idm@hyperreal.com
Subject: (idm) polyester
CiM wrote:
> Speaking of _Polyester_, whats the low-down on this? Good? Bad? From what
> I remember from the old IDM reviews, it's sort of jazz ambient
> (jazzbient? :) yeah? My local vinyl pimp has a copy and I'm wondering
> whether to check it...
It's jazzy funk stuff, kinda like Jake Slazenger but less ostentatious and
tacky. The big drawback for me was all of the out-of-key improvisation;
Mike P's occasional solos are much more tasteful. 'Machine Paisley' is a
much more worthwhile purchase as far as Uwe Schmidt releases go...
GD
---------- Forwarded Message ----------
Date: Fri, 03 May 1996 01:32:55 -0700
From: Eric Hill <ehill@best.com>
To: idm@hyperreal.com
Subject: Re: (idm) polyester
> big drawback for me was all of the out-of-key improvisation;
This is a criticism that goes back at least to Schoenberg's accentuation of
"passing notes" at the beginnings of the pre-WWI gravitation toward
chromaticism, and probably back to the tenor's loss of the _cantus firmus_
about 500 years ago. Traditional harmonic hearing can gloss over these
dissonances up to a point since they are usually momentary, but when they
are accentuated they provide new combinatory chordal possibilities. What
composers have done throughout history: introduce harmonic tension in the
form of tonal (or conceptual) dissonances that are eventually integrated
back into the 'system' (i.e. key). Uwe's disregard for key and melodic
resolution is simply an exercise in Ehrensweig's fourth stage of harmonic
articulation which signifies the demise of the classic harmonic approach
and dissonances are favored over consonances for their 'bite.'
Go Uwe!
eric
---------- Forwarded Message ----------
Date: Fri, 3 May 1996 11:57:52 +0100 (BST)
From: R D Wigglesworth <R.Wigglesworth@sheffield.ac.uk>
To: idm@hyperreal.com
Subject: Re: (idm) polyester
On Fri, 3 May 1996, GD wrote:
> It's jazzy funk stuff, kinda like Jake Slazenger but less ostentatious
> and tacky. The big drawback for me was all of the out-of-key
> improvisation; Mike P's occasional solos are much more tasteful.
> 'Machine Paisley' is a much more worthwhile purchase as far as Uwe
> Schmidt releases go...
Does anyone remember trans-europe express 3? Mike P was interviewed there
and he said that he wanted to do a techno-jazz album, 'kinda like lisa
carbon trio' was what he said. Anyway, the influence from LCT is
definitely present in Jake Slaz material but his stuff is somewhat less
based on loops. I like 'polyester', it's a real oddity.
Richard.
---------- Forwarded Message ----------
Date: Fri, 3 May 1996 09:35:06 -0500 (CDT)
From: Kent Williams <kent@inav.net>
To: Eric Hill <ehill@best.com>
Cc: idm@hyperreal.com
Subject: Re: (idm) polyester
On Fri, 3 May 1996, Eric Hill wrote:
> > big drawback for me was all of the out-of-key improvisation;
>
> This is a criticism that goes back at least to Schoenberg's accentuation
> of "passing notes" at the beginnings of the pre-WWI gravitation toward
> chromaticism,
[snip]
> introduce harmonic tension in the back into the 'system' (i.e. key).
> Uwe's disregard for key and melodic resolution is simply an exercise in
> Ehrensweig's fourth stage of harmonic articulation which signifies the
> demise of the classic harmonic approach and dissonances are favored over
> consonances for their 'bite.'
huh huh huh huh You said 'bite.'
Was this parody, eric? I doubt seriously that Mr. Schmidt has digested the
whole of western musical theory in order to come up with his solo lines.
Nice of you to give him some theoretical scaffolding, though. I want you
with me when I explain my bounced checks to the bank!
Some of what he's doing on the Polyester disk is intentional, and some of
it is just plain bugging out.
Besides in a century that contains Archie Shepp, Thelonius Monk and John
Cage, can you really say *any* note is a wrong note?
Kent Williams kent@inav.net
(319) 338 6053 (home)
(319) 626 6700 x 219 (work)
(319) 626 3489 (fax)
---------- Forwarded Message ----------
Date: Fri, 3 May 1996 12:18:48 -0700
From: Eric Hill <ehill@best.com>
To: Kent Williams <kent@inav.net>
Cc: idm@hyperreal.com
Subject: Re: (idm) polyester
> Was this parody, eric? I doubt seriously that Mr. Schmidt has digested
> the whole of western musical theory in order to come up with his solo
> lines.
He doesn't have to. It's the listener who requires tonal cohesiveness (or
lack thereof) for the music to sound good.
eric
---------- Forwarded Message ----------
Date: Sat, 04 May 1996 07:49:34 -0500
From: GD <gd@interramp.com>
To: idm@hyperreal.com
Subject: Re: (idm) polyester
Kent Williams wrote:
> Some of what he's doing on the Polyester disk is intentional, and some
> of it is just plain bugging out.
>
> Besides in a century that contains Archie Shepp, Thelonius Monk and John
> Cage, can you really say *any* note is a wrong note?
When Coltrane or Ornette Coleman go atonal I dig it, and I love Monk's
missteps and duffed notes; Tom Waits' out-of-tune singing and organ playing
is nice too, because it's appropriate to the songs. The soloing on
Polyester is just plain bad, because it doesn't work as a parody of
keyboard wankery or as real solo material.
Soloing on idm releases works best as real-time manipulation of sound (e.g.
filters, effects, and patch parameters); soloing as practiced in pop or
jazz music just doesn't work both from a rhythmic or structural point when
brought to the idm arena, if ya ask me...
GD
---------- Forwarded Message ----------
Date: Sat, 4 May 1996 10:11:14 -0700 (PDT)
From: bzzt robot blrrt <rcurlee@ucsd.edu>
Reply to: robot@ucsd.edu
To: Intelligent Dance Music <idm@hyperreal.com>
Subject: Re: (idm) polyester
All I can say is SMOOOTH!!!
This is the sweetest bit of chill music that I've ever heard! Kudos to
Atom Heart and Rephlex teaming up for yet another peice of magic!!!
BTW what's the fuckin' deal with complaining about the lead lines? Finally
somebody has the balls to actually play their synth live over the sequenced
stuff and everybody bitches! Some people can never be happy...
I think it sounds raw! You actually know that someone's really playin' the
shit instead of it being all pre-programmed.
-robert
---------- Forwarded Message ----------
Date: Sat, 4 May 1996 13:25:13 -0400 (EDT)
From: "Matthew J. Lehrer" <mjl1461@is3.NYU.EDU>
To: GD <gd@interramp.com>
Cc: idm@hyperreal.com
Subject: Re: (idm) polyester
On Sat, 4 May 1996, GD wrote:
> Soloing on idm releases works best as real-time manipulation of sound
> (e.g. filters, effects, and patch parameters); soloing as practiced in
> pop or jazz music just doesn't work both from a rhythmic or structural
> point when brought to the idm arena, if ya ask me...
I'd have to disagree here. Some recent Russ Gabriel tracks have extended
improvised keyboard lines in them that work *extremely* well, and Carl
Craig's Kurzweil improvs were quite a refreshing addition to a live
performance of his I saw last fall. I guess, as in all things musical,
restraint is key here. One must tread the thin line between expressing
something interesting throuhg inprovisation, and just plain wanking. ;)
- Matthew
---------- End ----------
Date: Sun, 5 May 96 22:59:43 -0500
From: professor ned <James.P.Kirby-1@tc.umn.edu>
To: mother@nicar.org
Subject: Re: (mother) AH/LB on Disturbance.
> 'Atomu Got It'
> 'Swamp Terrorists feat. Lassigue Bendthaus'
You might consider emailing Minus Habens first, to insure that they still
carry those titles. I've been wanting that Swamps record too, as it
supposedly has mixes different from the 2mCD...
> I have the "Get O." double-cd on Sub/Mission/Cashbeat which features two
> LB mixes (of "Get O."), and was not aware that there were any other LB
> mixes for this band.
There are two pieces of Swamps vinyl with unreleased mixes. The 'Get O.'
promo 12" has a pair of unreleased mixes (not LB mixes though!). It's
whitelabel I think? The Disturbance 12" features one(?) Lassigue mix of
'Brainfuck', which is the ever-evolving Swamp Terrorist song created
completely from samples of other Swamp Terrorist songs. :) There's
another mix of 'Brainfuck' on the Disturbance 12" as well, I think...I
don't actually _own_ it however, this is info gleaned from the web page.
So if MH says they still have it...
-ned
Date: Tue, 7 May 1996 22:34:56 -0400
From: WILL-E <will@panix.com>
To: mother@nicar.org
Subject: (mother) del haze news
Hello everyone - just received a fax reply from Atom Heart. I'm about to
go on vacation for a few weeks and I'm delighted to read that I might
actually catch him playing live in London! I'll still be on the list but
any replies might be delayed.
thanks
will
---
del haze entertainment *news april 11 1996*
*Music*
- around april 20th the monthly cd release on >rather interesting< will be
out. it is called >brown< and contains 10 new unreleased tracks ranging
from crude ryhthmical jazz to twisted organic muzak-tunes. from now on
all rather interesting releases can be obtained through a new mail-order
service (fax#: 06039/454006)!!!
- this month saw the u.s. release of the first cd of the collaboration
project between atom heart, tetsu inoue and biII laswell called >second
nature<. the european edition was released on fax records in 1995.
- atom heart signed a record deal with the new >recent programmings< label.
- the collaboration between atom heart, tetsu inoue and haruomi hosono
(founder and ex >YMO<-member) initiated last year was completed and is
heading for release on >rather interesting< in may. the cd will be
called >hat< and contains 6 tracks that were recorded in frankfort, new
york and tokyo. >hat< is going to be released on haruomi hosono's label
>daisy world< in japan around end of this year.
- atom heart played live in hamburg 07th and 08th at the >savoy< c I u b -
- together with dandy jack a couple of gigs will be played in the last week
of april in various places around chile.
- the only live concert of atom heart in may will be held in london around
the llth in connection with the >sound works exchange #3< organised by
the goethe institute shinkansen arts depot and the british council.
check local papers for details.
*design*
- the del haze graphic department >linger decoree< will be responsible for
the corporate identity and entire design of the >recent programmings<
label. first releases are scheduled for may.
*communication*
- macos m u s i c i a n s against copyrighting of samples) has a new
internet address: http://www.io-org/~macos/
- the 102nd member joined macos
---
Date: Tue, 7 May 1996 23:57:45 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: del haze news
On Tue, 7 May 1996, the latest Del Haze Entertainment update (as channeled
through Will-E) announced:
> atom heart signed a record deal with the new >recent programmings< label.
Hm. I've never heard of this label... who else is on it?
> >hat< is going to be released on haruomi hosono's label >daisy world< in
> japan around end of this year.
Shit. I'm assuming that this is going to be a hard-as-hell item to
track down. If anyone comes across a way of obtaining this in the States,
please forward that info to the list... looking ahead (and making plans).
> together with dandy jack a couple of gigs will be played in the last week
> of april in various places around chile.
I'm assuming that DANDY JACK hails from Chile? What about LISA
CARBON... doesn't she live in South America somewhere? How does Uwe meet
these people? Wow.
> the only live concert of atom heart in may will be held in london around
> the llth
Anyone else going besides Will-E? Review(s) would be very nice.
ezah.
christopher miller
evil@ddi.digital.net
Date: Wed, 8 May 96 9:02:40 BST
From: Warren Nicholls <warrenn@redac.co.uk>
To: mother@nicar.org
Subject: (mother) RI releases
Anyone on the list in the UK?
I'm having trouble getting the latest RI releases, there was no sign of
Dandy Jack (but I did manage to get it - thanks Christopher!) as for
machine paisely I haven't seen it nor does anywhere I've called have it,
and this was released last month? And there's a new one out too (Brown)!!!!
Has RI stopped distribution in the UK after BASS? If anyone in the UK has
seen any of these latest releases and knows where I can get them, please,
please let me know
Thanks in advance,
Warren.
Date: Wed, 08 May 1996 10:52:59 -0400
From: WILL-E <will@panix.com>
To: mother@nicar.org
Subject: Re: (mother) Re: del haze news
Christopher Miller <evil@digital.net> wrote:
> Hm. I've never heard of this label... who else is on it?
Uwe says it's a brand new label so who knows if any other artists have been
signed yet. I'll ask Uwe about this next time we communicate.
> I'm assuming that this is going to be a hard-as-hell item to track down.
Well as the newsletter said, it will be released on Rather Interesting (for
the Western world) and on Daisy Chain in Japan (for those in Asia). I'm
sure it will be the same music either way.
> I'm assuming that DANDY JACK hails from Chile?
yes he is. I think Dandy moved to Frankfurt from Chile and that's how they
met but he still goes back every so often. Don't know about Lisa Carbon
though.
> Anyone else going besides Will-E? Review(s) would be very nice.
oh you can be sure that if I find this thing (and I'm definitely going to
search hard), I'll let you know how it went.
:)
___
/ / / / / / _ __/ will@panix.com
(_/__/ / (__ (__ ___/ http://www.hyperreal.com/~will/
Date: Wed, 8 May 1996 23:38:53 +0300
From: Eylon Israeli <snowjob@actcom.co.il>
To: mother@nicar.org
Subject: (mother) labels
Hi!
What is RIs fax number? (not at home near the discs...)
thnx,
snowjob@actcom.co.il
The Morpheus Equation: Start + Middle + End = Sand
Date: Wed, 8 May 1996 16:47:31 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Atom Heart in London: more info.
Great.
Here is a post off of the Ambient list from today concerning the AH
show in London:
---------- Forwarded message ----------
Date: 08 May 96 11:21:00 EDT
From: Andrew_Sova@Analystic.CCMAIL.CompuServe.COM
To: ambient@hyperreal.com
Subject: Atom Heart in London: more info.
Further information re the Atom Heart (plus other 'UK and German
artists') Sound Works Exhange Gig in London:
They have a performance night (gig) at The Complex, Islington, London,
on Thursday 16th May 1996 9pm-3am. (tickets from Mean Fiddler
0171-844-0044 at 8 UKP + booking fee / handling).
There is also an 'open' afternoon at the Goethe Institute on Saturday
18th May 1996 3pm-6pm. Tickets from the Goethe Institute
(0171-411-3441).
Apparently this Sound Works Exchange thingy runs from the 14th to the
18th and the sessions are not open to the public (except as above).
anyone have any more info???
and who are the other 'UK and German artists'?????
see ya there!
Spiff
---------- End ----------
Date: Thu, 9 May 1996 00:06:32 +0300
From: Eylon Israeli <snowjob@actcom.co.il>
To: mother@nicar.org, ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: Re: (mother) Atom Heart in London: more info.
At 11:21 EDT 5/8/96, Spiff wrote:
> There is also an 'open' afternoon at the Goethe Institute on Saturday
> 18th May 1996 3pm-6pm. Tickets from the Goethe Institute
> (0171-411-3441).
The interesting part is the Goethe inst. involvment. Do you think they are
sponsoring this event? Do you think my local institute would fall for this
as well ;) ?
I see an opening here I can't resist...
snowjob@actcom.co.il
The Morpheus Equation: Start + Middle + End = Sand
Date: Thu, 9 May 96 10:24:03 BST
From: Warren Nicholls <warrenn@redac.co.uk>
To: mother@nicar.org
Subject: (mother) Real Intelligence
Hi,
Does anyone know if the cover and title of the real intelligence
compilation was intentionally based on Warps second Artifical Intelligence
comp? They look quite similar in colour, style etc...and name.
I also picked up Atomu Shinzu : ACT on POD the other week, quite like Aphex
Twin, very good, certainly different to my existing atom heart stuff(all
Fax and RI), is this more like the LB stuff?
Not rather interesting I know, but slightly interesting?
Warren.
Date: Thu, 9 May 1996 10:18:22 -0700
From: Sean Cooper <scooper@best.com>
To: mother@nicar.org
Subject: Re: (mother) Real Intelligence
> Does anyone know if the cover and title of the real intelligence
> compilation was intentionally based on Warps second Artifical
> Intelligence comp? They look quite similar in colour, style etc...and
> name.
yes. this is known as a "parody," or an aesthetic statement based on
either a tribute or criticism of a former work. in the case of "real
intelligence" i'd say it's the latter...
sc
Date: Fri, 10 May 1996 01:46:39 +0300
From: Eylon Israeli <snowjob@actcom.co.il>
To: mother@nicar.org, mother@nicar.org
Subject: Re: (mother) Real Intelligence
At 10:18 AM 5/9/96 Sean Cooper wrote:
> yes. this is known as a "parody," or an aesthetic statement based on
> either a tribute or criticism of a former work. in the case of "real
> intelligence" i'd say it's the latter...
I think he's just jealous they did not invite him to the 1st AI compilation
;)
snowjob@actcom.co.il
The Morpheus Equation: Start + Middle + End = Sand
Date: Thu, 9 May 1996 17:40:54 -0800
From: charles uzzell-edwards <faxlabel@sirius.com>
To: mother@nicar.org
Subject: (mother) atom heart is (a) god
> I think he's just jealous they did not invite him to the 1st AI
> compilation ;)
oh no, he is divine, he doesn't experience the emotions us mortals feel.
I have seen visions of atom hearts studio and it is up in the clouds on top
of a mountain and there are all these nymphs in diaphanous robes doing all
of the sound engineer work for him. You wonder how he does so much groovy
stuff, its all because he lives in a different time and space zone to us,
with all these minor deities taking his masters to the record labels in
their winged chariots. You cant imagine how much it cuts down on
production time !
Oh yes, By the way, the new release on Rather Interesting Brown was held up
by the US customs : they couldn't understand what was up with a cd that had
no text on it and was completely brown. It will be landing shortly.
Hopefully the minor deities will help out with international shipping in
the future.
What am I taklking about ? I dunno.
f a x l a b e l u . s . a .
8 7 e t h e l a v e n u e # 2 ,
m i l l v a l l e y .
c a l i f o r n i a 9 4 9 4 1 .
tel / fax 4 1 5 - 4 3 1 1 2 6 5 .
new tel/fax after May 20 415 383 7990
http://www.sirius.com/~faxlabel/
Date: Thu, 9 May 1996 23:48:10 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: Real Intelligence
On Fri, 10 May 1996, Eylon Israeli wrote:
> I think he's just jealous they did not invite him to the 1st AI
> compilation ;)
Actually though... don't you find it strange that AH, and aliases-
galore, have hardly ever appeared on any compilations? Pretty much the
only ones I've seen are label compilations (like RISING HIGH), and never
any exclusive tracks.
With all of the material Uwe's released, you'd think that some of
these more recent/contemporary (no pun intended) compilations don't solicit
him for a track or two. They really don't know what they're missing out
on. Aren't YOU glad that YOU know?
Ain't this list great?
wonk.
christopher miller
evil@ddi.digital.net
on now: "Hangable Auto Bulb 2" by AFX
Date: Thu, 09 May 1996 21:36:32 -0700
From: Eric Hill <ehill@best.com>
To: mother@nicar.org
Subject: Re: (mother) Re: Real Intelligence
> With all of the material Uwe's released, you'd think that some of
> these more recent/contemporary (no pun intended) compilations don't
> solicit him for a track or two.
I think that artists with trailblazing approaches and repertoires like Uwe
don't fit into any comp's cohesive strategy very easily - he'd stick out
too far.
Good for him! Maybe there'll be a comp called "Sore Thumbs" some day that
would account for this.
eric
Date: Thu, 9 May 1996 23:16:31 -0800
From: Sean Cooper <scooper@best.com>
To: mother@nicar.org
Subject: Re: (mother) Re: Real Intelligence
> Actually though... don't you find it strange that AH, and aliases-
> galore, have hardly ever appeared on any compilations? Pretty much the
> only ones I've seen are label compilations (like RISING HIGH), and never
> any exclusive tracks.
>
> With all of the material Uwe's released, you'd think that some of
> these more recent/contemporary (no pun intended) compilations don't
> solicit him for a track or two. They really don't know what they're
> missing out on. Aren't YOU glad that YOU know?
well, i was gonna bring this up a while ago, but i fell asleep watching the
dumbass fireworks on the ambient list; the double-cd "in memoriam : gilles
deleuze" released by milles plateaux earlier this year in tribute to the
recently departed philosopher features an exclusive atom heart track that's
kinda nice. it starts out with a voice synthesized reference to deleuze's
work ("what i see is thinking, what i hear is thinking too...")--ala "about
apples and pears"--and dances around in some bubbling rhythms for awhile
before settling into a nice, very ambient passage similar to "ss60"'s
"digital fields forever" or some of the beatless "bass" stuff. not what i
would number among uwe's finest work, necessarily, but a nice piece
nonetheless. and definitely exciting to see him included...i agree with
christopher that there's not nearly the sense in the emusic community as a
whole (at least, outside of this list) of the quality of his music, and
it's too bad he's not showing up on more collections...
sc
onnow: elektroids : elektroworld (warp)
Date: Fri, 10 May 1996 03:20:59 -0500
From: "Aran M. Parillo" <aran@mit.edu>
To: mother@nicar.org
Subject: Re: (mother) Real Intelligence
> I think he's just jealous they did not invite him to the 1st AI
> compilation ;)
I'm glad someone said that.
Teep
Date: Fri, 10 May 1996 04:07:36 -0500
From: "Aran M. Parillo" <aran@mit.edu>
To: mother@nicar.org
Subject: Re: (mother) Re: Real Intelligence
> the double-cd "in memoriam : gilles deleuze" released by milles plateaux
> earlier this year in tribute to the recently departed philosopher
> features an exclusive atom heart track that's kinda nice.
Which leads me to wonder "maybe Uwe doesn't want to appear on a quadrillion
compilation albums" or how about "maybe he doesn't have to".
> onnow: elektroids : elektroworld (warp)
Do track down the new Dopplereffekt 12". <-this message brought to you by
idm
Prime Minister Teep Nice
Date: Fri, 10 May 1996 23:24:35 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) 's day gift.
Ok.
Here's the deal. I rescued a copy of the "Halograms" disc by THE
BITNIKS from an undeserving local Florida shop (of all places), and so as
an act of good karma I want to give it to some deserving soul on this list.
I will send it out to anybody, anywhere in the world...
...all you have to do is e-mail me by midnight Saturday (directly, and
NOT here), listing for me at least 20 of Uwe Schmidt's aliases, side
projects, collaborations, whatever. I'm sure this won't be a problem for
anyone on this discussion-group (right?).
So anyway Sunday morning (Mother's Day you knuckleheads), I will
simply write down on scraps of paper all of those names who participated
and then have my five year-old daughter pick one at random from a bowl. Or
a hat. Or a yamuka (sp?) or something.
There's ONE catch though... the winner has to review this disc on OUR
mother-list. And it has to be a good one. Oh, and you also have to do
something nice for your mom.
mom.
christopher miller
evil@ddi.digital.net
on now: "Weathered Well" by LOCUST
Date: Sun, 12 May 1996 23:06:20 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: Re: (mother) 's day gift.
Ok.
Sorry to post this so late, but I've been working out in my cactus
garden all day... anyway, here is the winner of the BITNIKS cd (as picked
by my daughter, Ilizibith):
Jennifer Grof <grof@chuma.cas.usf.edu>
So Jen, we'll be expecting a review from you sometime this week. Ok?
I'll send it out tomorrow morning. Thanks everybody!
sutcac.
christopher miller
evil@ddi.digital.net
Date: Sun, 12 May 1996 23:29:06 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Modern Music.
And.
I checked out Modern Music's web-site, and saw that they have quite a
bit of AH and related stuff at pretty good prices. I just thought I'd pass
this info on to anyone who's interested, so below is what they have in
stock:
> Fax
>
> ps 08/72 aerial service area $17.99
> pk 08/102 jet chamber $17.99
> ps 08/78 second nature $17.99
> ps 08/53 softcore $21.99
>
> Rather Interesting
>
> ri 036 brown $13.50
> ri 030 b2 - atom heart live $17.99
> ri 034 dandy jack $17.99
> ri 026 datacide - flowerhead $21.99
> ri 024 dots $21.99
> ri 027 interactive music $21.99
> ri 035 machine paisley $17.99
> ri 031 real intelligence $17.99
> ri 031 silver sound $17.99
> ri 025 vsvn $21.99
>
>
> New Fax Label Pricing and Update
>
> Modern Music has lowered prices on Fax, Rather Interesting & Low to
> $13.50, and $18.50 for double disc sets. That price includes shipping.
> It will be sent via 1st class priority mail, as usual. This price
> extends to new items only (new for us is the first 3 months of release).
> After that time, the price will go up to the regular price of $17.99 for
> singles, and $25.99 for double CDs. If you order more than one new Fax
> CD at a time, you will pay $13.00 for each additional single CD. The
> reason for this is because the first CD pays for the main cost of the
> shipping, and to add extra CDs costs us very little.
>
> Modern Music is also adding a new Fax subscription service. E-mail us if
> you are interested. We will mail new Fax CDs to you on the same day they
> arrive to us. To show our gratitude for your subscription, we will send
> you your first single CD on this plan for $12.50, shipping inclusive.
Also, here is their address if anyone wants to look and see what else
they carry:
http://www.modernmusic.com
nredom.
christopher miller
evil@ddi.digital.net
Date: Sun, 12 May 1996 20:42:11 -0700 (PDT)
From: Mitch Stargrove <Mitch@dancingDNA.com>
To: mother@nicar.org
Subject: Re: (mother) Modern Music.
AH crew
the Modern Music people are helpful, friendly and efficient
I would offer highest recommendations.
they know and love the music
Mitch
***********************************************************
"The art of medicine consists of amusing the patient
while nature cures the disease." - Voltaire
Mitch Stargrove, N.D., L.Ac. <mitch@dancingDNA.com>
Date: Sun, 12 May 1996 23:34:15 -0700 (PDT)
From: mquinn@cerf.net
To: mother@nicar.org
Subject: Re: (mother) 's day gift.
On Fri, 10 May 1996, Christopher Miller wrote:
> Here's the deal. I rescued a copy of the "Halograms" disc by THE
> BITNIKS from an undeserving local Florida shop (of all places)
speaking of which, can y'all enlighten me as to reliable mail-order sources
for the hypnotism label releases? i was able to get the bitniks and
earcloud releases as they were issued. that contact left the business, and
it took me a while to track down almost digital, for which i paid too much
(although a.d. is so good i am not complaining). are lagowski, eyephone,
and a. martin releases still imminent on the label?
thx,
mike
Date: Tue, 14 May 1996 18:01:00 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: Atom Heart in London.
So.
I put my feelers out the other day... seems the AH performance at the
Sound Exchange 3 event is on Thursday the 16th, and not on the 11th. I
hope Will-E knows this (lucky bastard).
---------- Forwarded message ----------
Date: 14 May 96 04:50:29 EDT
From: Andrew_Sova@Analystic.CCMAIL.CompuServe.COM
To: ambient@hyperreal.com
Subject: Not: Atom Heart live in London - May 11th
you wrote:
> Did anyone see AH (in London) on Saturday night? What was it like?
If you're referring to the Sound Exchange 3 event (14th-18th May 1996):
i) It isn't just Atom Heart, it's a whole group of German / UK
artists, _including_ Atom Heart, but also people like Oval etc.
etc.
ii) They are all actually playing in public on _Thursday 16th May_ at
the Complex (Mean Fiddler).
iii) Check the Goethe Institute's London pages on the web for lots more
information on the Sound Exchange series of events.
:)
Spiff
---------- End ----------
Date: Tue, 14 May 1996 19:19:59 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: Re: (mother) 's day gift.
On Sun, 12 May 1996 mquinn@cerf.net wrote:
> can y'all enlighten me as to reliable mail-order sources for the
> hypnotism label releases? i was able to get the bitniks and earcloud
> releases as they were issued. that contact left the business, and it
> took me a while to track down almost digital, for which i paid too much
Hm. It's ben said (on this list as well as through other sources -
like Kenn at Ars Nova) that unfortunately the HYPNOTISM label has
absolutely no U.S. distribution. As far as mail-order sources go, I
haven't found one since EAR/Rational sold me their last copy of "Halograms"
about a year ago.
If ANYONE can find a source, please let us in on it! Maybe some of
you European subscribers could help out?
> (although a.d. is so good i am not complaining).
What's this disc like? I've heard from those who have it that it's
pretty amazing.
msitonpyh.
christopher miller
evil@ddi.digital.net
on now: "Subliminal Sandwich" by MEAT BEAT MANIFESTO
Date: Wed, 15 May 1996 14:26:41 -0500 (CDT)
From: Mark Kolmar <mkolmar@ccs.nslsilus.org>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: Re: (mother) Hypnotism
I just today received Almost Digital/A.D. in the mail from a place called
CDEurope. They are expensive and none-too-quick, however they come up with
stuff I never would have known existed. (Like a CD of the Comsat Angels _7
Day Weekend_.) I'm pretty sure they are in Florida. How come most of the
Atom Heart stuff I have came through the southeast US?
I'll be glad to post a review of AD if I can find the time but I find
myself chained to my sampler nowadays when I'm not at the office.
Anyone know if Hypnotism wants demos?
--Mark
P.S.
Chris: How'd you get the MBM album so fast? More to the point, how is it?
I saw your name as info contact on the "Transmission" single. The
album and the single for their cover of "Asbestos Lead Asbestos"
are on order from a local shop.
Charles: One more C-100 to copy and your package will be in the mail.
(Sorry, only have one DAT deck, but the cassette deck is good and
the music survives well enough.)
Word to the Wise: Buy 4mm data carts instead of audio DATs. You can get
90m (or 180 minutes) for US$6 or $7 from the big computer-supply
places. Theoretically, you get a slightly higher grade of media as
well.
Date: Thu, 16 May 1996 17:49:45 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Jet Chamber - review.
Da.
Our buddy Wally <wally@nicar.org> made me aware of a JET CHAMBER (the
first one) review he posted a while back on the Ambient list which is now
stored away at the Hyperreal site:
> http://hyperreal.com:2000/R755567-757467-1m/music/lists/ambient/
text/amb.9507
Anyway, I figured it would be a timely sort of thing to post it here
considering that JET CHAMBER 2 is out now... so here it is (thanks Wally):
---------- Forwarded Message ----------
Date: Fri, 28 Jul 1995 15:40:54 -0500 (CDT)
From: wallace winfrey <wally@nicar.org>
To: ambient@hyperreal.com
Subject: Review: Jet Chamber - PN & Atom Heart
PK08/102 Jet Chamber - PN & Atom Heart
The Review
^^^^^^^^^^
First collaboration between Namlook and Uwe Schmidt in about two years,
this release finds them producing very different sounds than their earlier
output on FAX (file most of that in under German hard trance). This CD
reveals two professionals getting together for an interesting and very dark
space jam. Some of this sounds quite live, but I sense a larger
compositional structure. Atom Heart weaves odd and interesting rythms (did
someone say Flextone?) around Pete's trademark analogue deepness, much like
a strong wind (AH) whipping a sheet (PN) on a clothesline, except it's been
hung out to dry on Venus. Go figure.
The Bottom Line
^^^^^^^^^^^^^^^
More spacebass heaviness from the FAX label. Put on the headphones and
forget about getting *too* stoned -- you'll need plenty for this release.
Very good stuff, has reaffirmed my (previously) teetering faith in space
music, although it's not all space -- sometimes it's like Uwe giving Pete
a lesson in weird funkiness. Very strange, and very good.
wallace winfrey
wally@nicar.org
"space migration, intelligence increase and life extension"
*tim leary*
---------- End ----------
Date: Thu, 16 May 1996 18:14:43 -0800
From: Sean Cooper <scooper@best.com>
To: mother@nicar.org
Subject: Re: (mother) Jet Chamber - review.
> Our buddy Wally <wally@nicar.org> made me aware of a JET CHAMBER (the
> first one) review he posted a while back on the Ambient list which is now
> stored away at the Hyperreal site:
let me underscore wally's review with some kudos of my own. "jet chamber 1"
is one of my favorite atom heart-related releases of all time. it's not
goofy and fuct up like a lot of his ri stuff, but it attains a level of
stasis and sublimity that i associate with very little music of this kind.
buy it on sight; you will not be disappointed. (and let me just add that
_somebody_ on this list will be getting a copy of this very, very soon).
sc
Date: Sat, 18 May 1996 12:10:36 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: "Flowerhead" reissue on Asphodel.
So.
I recently got in contact with Erik Gilbert of Asphodel concerning the
release date for the reissue of the "Flowerhead" cd by DATACIDE on his
label. Just thought I'd pass on what he said:
---------- Forwarded Message ----------
Date: Sat, 18 May 1996 11:48:55 +0000
From: Erik Gilbert <asphodel@interport.net>
hi christopher
thanks for the message. no set date for flowerhead, but it should be
sometime in july.
erik
Asphodel, Box 51, Chelsea Station, New York, NY 10113, USA
Voice: 212-463-9181 / Fax: 212-463-9423 / Email: asphodel@interport.net
Website: http://www.wilder.net/stc
Credit Card Orders: 1-800-767-4748
"Some God lies hidden in the asphodel" - Oscar Wilde
---------- End ----------
Date: Sun, 19 May 1996 14:24:45 -0500
From: GD <gd@interramp.com>
To: mother@nicar.org
Subject: (mother) Flowerhead/Brown
Modern Music (http://www.modernmusic.com) did have a few copies of
Flowerhead last time I checked, in case anyone's interested...
As for Brown, is it more in the vein of Machine Paisley or Dandy Jack or
Silver Sound?
I hope that there are at least a couple of synthesized voice bits on it,
that would be smart...
GD
Date: Sun, 19 May 1996 15:35:15 +9
From: Lauralee Smith <rainbird@eskimo.com>
To: mother@nicar.org
Subject: (mother) Willing to part with...
my copy of "Pod Communication Presents Atom Heart : The Techno Evolution
Continues" I could trade it at a local store, but I wanted to keep it in
the family, as it were. Would be happy to sell it to anyone on the list
for $7 + postage, which is about half of what I paid for it.
Lauralee
rainbird@eskimo.com
Date: Mon, 20 May 1996 04:02:31 +0300
From: Eylon Israeli <snowjob@actcom.co.il>
Reply-To: mother@nicar.org
To: mother@nicar.org, mother@nicar.org
Subject: Re: (mother) Willing to part with...
At 03:35 PM 5/19/96 +9, Lauralee Smith wrote:
> my copy of "Pod Communication Presents Atom Heart : The Techno Evolution
> Continues" I could trade it at a local store, but I wanted to keep it in
> the family, as it were. Would be happy to sell it to anyone on the list
> for $7 + postage, which is about half of what I paid for it.
Hi!
can you give me the track listing?
I might be interested in buying this but the only us currency I got is one
5$ bill and another 100$ bill...
I can offer you the 5$ bill + two recorded cassettes of yr choice from my
not so small collection (about delivery.. I can send you International
reply coupons of the sum that is required by your parcel post.. I think 2
or 3 coupons will suffice)
What do you say? If the music is similar to the ongaku track on pod (atom
heart + friends) I will want it very much.
Regards / Eylon.
snowjob@actcom.co.il
The Morpheus Equation: Start + Middle + End = Sand
Date: Sun, 19 May 1996 21:47:03 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) SONAR Festival.
Ok.
This is probably going to hurt your eyes, but here's some info on the
upcoming SONAR Music Festival in Barcelona, Spain on June 13, 14, and 15.
If you want to check out the web page yourself (and/or possibly translate
it), then here's the address:
http://www.putput.com/salacel/sonar/
> Tercer Festival Internacional de M&Mac250;sica AvanÁada i Art MultimËdia
>
> SONAR arriba a la tercera ediciÛ amb l^“objectiu de reafirmar-se com el
> principal festival europeu dedicat als corrents mÈs avanÁats de la
> creaciÛ musical i multimËdia. Concerts, instal.lacions, dj^“s,
> conferËncies, video-j^“s, exhibicions, xarxes telem‡tiques, etc...
> conformen durant tres dies un intens programa d^“activitats dedicat a
> mostrar l^“evoluciÛ de l^“art i la cultura del nostre temps mitjanÁant
> la seva interrelaciÛ directa amb les noves tecnologies. SONAR Ès
> l^“espai idoni on descobrir noves propostes artÌstiques i realitzar
> interessants contactes entre professionals, artistes i p&Mac250;blic. Una cita
> inel.ludible amb l^“art i la tecnologia en una de les ciutats mÈs
> atractives del sud d^“Europa. Tercer Festival Internacional de M&Mac250;sica
> Avanzada y Arte Multimedia
> _________________________________________________________________
>
> Noms i xifres d^“anteriors edicions
>
> Artistes: Orbital, Kenny Larkin, Suso Saiz, Biosphere, Trans-global
> Underground, P.W.O.G., Laurent Garnier, Atom Heart, Jorge Reyes, Michael
> Huygen, Scanner, Scorn, Mixmaster Morris, Espace Vectoriel, Epizoo,
> Holger Czukay, Vapourspace, Tito, Raeo, Alex MartÌn, Xabela Vargas,
> Dread Zone, Fangoria, Madelman, JosÈ Padilla, Steffan Robbers, Paul
> Thomas, John Acquaviva... Professionals: 600 professionals acreditats de
> 15 paÔsos en l^“&Mac250;ltima ediciÛ (distribuÔdors, segells discogr‡fics,
> premsa especialitzada, merchandising,...) P&Mac250;blic: 12.000 assistents a
> mÈs de 60 activitats a SONAR 95. Nombres y cifras de anteriores
> ediciones
> _________________________________________________________________
>
> sonar@mail.softly.es
ranos.
christopher miller
evil@digital.net
Date: Mon, 20 May 1996 01:19:21 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Bland and Dull.
Haha.
Oh yeah. Here's a funny little thread that was carried out on the
Ambient list these past few days - delete it if you've already read it
(I've edited out all of the irrelevant stuff, especially Aaron Michelson's
super-long sig). Notice all the mother-list members coming to Uwe's rescue
on this one:
---------- Forwarded Message ----------
Date: Thu, 16 May 1996 17:50:23 -0400 (EDT)
From: Aaron Michelson <amichel@io.org>
To: dkjsl slkdjg ielkd <alalani@oak.lakefieldcs.lakefield.on.ca>
Cc: ambient@hyperreal.com
Subject: Re: Buyit or Trashit Questionnaire
On Thu, 16 May 1996, dkjsl slkdjg ielkd wrote:
> 2. Atom Heart -Silversound.
Very quirky and bouncy...slices of electronic jazz. Like most Atom Heart
discs, the tracks are a bit hit and miss. Quality control anyone?
Aaron Michelson
amichel@io.org
---------- Forwarded Message ----------
Date: Thu, 16 May 1996 18:18:50 -0800
From: Sean Cooper <scooper@best.com>
To: ambient@hyperreal.com
Subject: Re: Buyit or Trashit Questionnaire
>> 2. Atom Heart -Silversound.
>
> Very quirky and bouncy...slices of electronic jazz. Like most Atom Heart
> discs, the tracks are a bit hit and miss. Quality control anyone?
i don't agree with that last thought; i think silversound (and most recent
atom heart) is nearly without flaw. one of _my_ favorite discs of '95.
recommended for fans of higher intelligence agency, clear artists like jake
slazenger and clatterbox, stereolab, juan garcia esquivel, and tony butler
(...all rolled into one...)...oh yeah, and with a good sense of humor, too!
sc
---------- Forwarded Message ----------
Date: Thu, 16 May 1996 21:52:57 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
To: whoosh whoosh <ambient@hyperreal.com>
Subject: Re: Buyit or Trashit Questionnaire
On Thu, 16 May 1996, Aaron Michelson described:
> > 2. Atom Heart -Silversound.
>
> Very quirky and bouncy...slices of electronic jazz. Like most Atom Heart
> discs, the tracks are a bit hit and miss. Quality control anyone?
Ok, I do realize that this is the `Ambient' list here and everything,
so maybe "60" doesn't quite cut it in those regards... but I feel that this
cd is the epitome of what makes Uwe Schmidt the genius that he is.
Between the SILVER SOUND cd (on R.I.) and the LISA CARBON TRIO album
"Polyester" (on RePhLeX), these have got to be my two absolute favorites.
Lots of weird noises, brainfucked jazz(y) tunes, and... man, how can you
say that this is 'hit or miss'?
"Digital Fields Forever" is worth the price of the disc alone.
Please... take another listen.
revlis.
christopher miller
evil@ddi.digital.net
---------- Forwarded Message ----------
Date: Thu, 16 May 1996 23:16:03 -0700 (PDT)
From: Goethe <martinej@rohan.sdsu.edu>
To: Sean Cooper <scooper@best.com>
Cc: ambient@hyperreal.com
Subject: Re: Buyit or Trashit Questionnaire
On Thu, 16 May 1996, Sean Cooper wrote:
> >> 2. Atom Heart -Silversound.
> >
> > Very quirky and bouncy...slices of electronic jazz. Like most Atom
> > Heart discs, the tracks are a bit hit and miss. Quality control anyone?
>
> i don't agree with that last thought; i think silversound (and most
> recent atom heart) is nearly without flaw. one of _my_ favorite discs of
> '95.
I'd have to agree with Sean. Silver Sound is magnificent throughout. Don't
pass this one up while it's still available. Machine Paisley is close to
flawless as well.
Tony
---------- Forwarded Message ----------
Date: Fri, 17 May 1996 12:05:08 +0000
From: Tim Zeigler <zig@emh1.pa.net>
To: ambient@hyperreal.com
Subject: Re: Buyit or Trashit Questionnaire
> > i don't agree with that last thought; i think silversound (and most
> > recent atom heart) is nearly without flaw. one of _my_ favorite discs
> > of '95.
>
> I'd have to agree with Sean. Silver Sound is magnificent throughout.
> Don't pass this one up while it's still available. Machine Paisley is
> close to flawless as well.
But have we forgotten Interactive Music & Semiacoustic Nature?
Could these not be the epitome of quirky electronics? Better yet, let's
just say Flowerhead rules and be done with it.
---------- Forwarded Message ----------
Date: Fri, 17 May 1996 22:42:40 -0400 (EDT)
From: Aaron Michelson <amichel@io.org>
To: Tim Zeigler <zig@emh1.pa.net>
Cc: ambient@hyperreal.com
Subject: Re: Buyit or Trashit Questionnaire
On Fri, 17 May 1996, Tim Zeigler wrote:
> But have we forgotten Interactive Music & Semiacoustic Nature?
> Could these not be the epitome of quirky electronics? Better yet, let's
> just say Flowerhead rules and be done with it.
I find Interactive Music to be so bland and dull...it's definitely quirky,
but has no real genuine lastability. I just picked it up off my shelf after
about 5 months of being unplayed...sadly, it's not really the kind of thing
I'd ever spontaneously listen to.
And Flowerhead? Well...it's neat, but erm... well, I remember all the hype
about it's godlike qualities...it's nice, but I never understood what the
justified its rave following.
Aaron Michelson
amichel@io.org
---------- Forwarded Message ----------
Date: Sun, 19 May 1996 13:33:18 -0400 (EDT)
From: Christopher Miller <evil@ddi.digital.net>
To: whoosh whoosh <ambient@hyperreal.com>
Cc: Aaron Michelson <amichel@io.org>
Subject: Re: Buyit or Trashit Questionnaire
On Fri, 17 May 1996, Aaron Michelson wrote:
> I find Interactive Music to be so bland and dull...it's definitely
> quirky, but has no real genuine lastability.
Hm. Actually I'd have to agree with you on this one Aaron in that
"Interactive Music" is not one of AH's better outings. I've still got to
ask though... how can you give "60" by SILVER SOUND the same kind of
disapproval?
> And Flowerhead? Well...it's neat, but erm... well, I remember all the
> hype about it's godlike qualities...it's nice, but I never understood
> what the justified its rave following.
What a shame... I guess ATOM HEART is just not for you. Maybe a FS
list would be a good idea on your part?
Got "Monochrome Stills" by ORANGE?
dnalb.
.-.
christopher miller qp;
evil@ddi.digital.net ==
'
on now: "Flextone" by FLEXTONE (another dull album by Atom Heart)
---------- Forwarded Message ----------
Date: Sun, 19 May 1996 14:54:18 -0400 (EDT)
From: Aaron Michelson <amichel@io.org>
To: Christopher Miller <evil@digital.net>
Cc: whoosh whoosh <ambient@hyperreal.com>
Subject: Re: Buyit or Trashit Questionnaire
On Sun, 19 May 1996, Christopher Miller wrote:
> What a shame... I guess ATOM HEART is just not for you. Maybe a
> FS list would be a good idea on your part?
FS list? What's that??
My exposure is fairly limited. However, there are a few discs that I feel
really deserve some recognition...(at least the ones I liked.) For
instance, Softcore (fax) is a wonderfully giddy ambient album with all the
bubbles and quirks that sets Schmidt apart from the rest, but still has the
warmth and depth that albums like 'interactive music' and '+N "Plane"'
lacked so heavily. Atom Heart "Live" (rather interesting) is also a nice
excursion into tape loops and live performance. By far it's not the most
technical and sophisticated album, but damn it, it works for me! :) Other
Schmidt classics include his contribution to the Jet Chamber albums, and
the Lassigue Bendthaus album, "Render." I even liked his hardcore techno
remix of Prong's "Snap Your Fingers, Snap Your Neck." That was a classic.
Dots (rather interesting) suffers the same problem as interactive music,
but is more enjoyable. I suppose when you dabble in minimalism, there's
less to fuck up. hehe
> Got "Monochrome Stills" by ORANGE?
Missed out on that one, so I can't comment.
Aaron Michelson
amichel@io.org
---------- Forwarded Message ----------
Date: Sun, 19 May 1996 15:52:42 -0400
From: "Ryan G. Pals" <fk453@cleveland.Freenet.Edu>
To: ambient@hyperreal.com
Subject: Re: Buyit or Trashit Questionnaire
> Other Schmidt classics include his contribution to the Jet Chamber
> albums, and the Lassigue Bendthaus album, "Render."
"Render" is nothing compared to "Matter"...
My only major familiarity with Uwe is his work as "Lassigue"...are there
any of his other projects in this vein? (Those wicked electro beats, the
computer perfect precision, the slick synth production, etc.)
--
o _/,_ "Catch a match. A bang bang. A Flaming fist
. /o...\__// 'O crackerjack. A smack. A lick. A char char.
\_'__/``\` You're all burned out."
\` fk453@cleveland.freenet.edu
---------- End ----------
From evil@digital.net Fri Dec 6 16:37:38 1996
Date: Mon, 20 May 1996 01:38:10 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Goodnight Uwe.
Goodnight.
My daughter Liz wanted to sleep out in the living room tonight and
listen to `daddy's music'. I put on "Dots" for her, lit the candle on my
gargoyle's head, and told her to just `hang out' on the pit set (with her
blankets and dollies of course), and watch the glow-in-the-dark stars on
the ceiling - I told her that's what me and my friends do every night after
she goes to bed.
That was around 9:00pm. Now it's 1:30am and I think I'll hit the sack
too. Good night stars. Good night moon. Good night house. Good night
Uwe. Why do you think we call this list 'mother'?
noom.
.-.
qp;
christopher miller ==
evil@digital.net '
Date: Mon, 20 May 1996 16:52:21 +0300
From: Eylon Israeli <snowjob@actcom.co.il>
Reply-To: mother@nicar.org
To: mother@nicar.org, mother@nicar.org, mother@nicar.org
Subject: Re: (mother) Willing to part with...
At 04:02 AM 5/20/96 +0300, I wrote:
> At 03:35 PM 5/19/96 +9, Lauralee Smith wrote:
>
>> my copy of "Pod Communication Presents Atom Heart : The Techno
>> Evolution Continues." I could trade it at a local store, but I wanted to
>> keep it in the family, as it were. Would be happy to sell it to anyone
>> on the list for $7 + postage, which is about half of what I paid for it.
>
> Hi!
>
> can you give me the track listing?
etc..
sorry for this post that should have been pvt.
I'm embarrased enough with revealing my whiny bargaining techniques to the
world...
snowjob@actcom.co.il
The Morpheus Equation: Start + Middle + End = Sand
Date: Mon, 20 May 1996 13:12:52 -0700
From: Eric Hill <ehill@best.com>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) just relevant enough!
---------- Forwarded Message ----------
> Date: Mon, 20 May 1996 11:26:18 +1000
> X-Sender: bainsp@hotel.uws.edu.au
> To: deleuze-guattari@jefferson.village.Virginia.EDU
> From: P.Bains@uws.EDU.AU (Paul Bains)
> Subject: Re: absurd?
>
> Nicholas on Sokal:
>> Yeah, he uses nasty tricks, like naming a new age phenomena as a
>> movement in quantum physics.
>
> What's surprising is that _everybody_ seems happy to swallow that one!
> The concept of a morphogenetic field was used indep. by 3 biologists in
> the early 20's : Hans Spemann, 1921; Alexander Gurwitsch, 1922; Paul
> Weiss, 1923. Conrad Waddington developed the field concept of
> morphogenesis with the idea of 'individuation fields' (see Waddingtion
> 'the strategy of genes' allen and unwin,1957). Rene Thom has developed
> Waddington's ideas in mathematical models where the structurally stable
> end points towards which systems develop are represented by attractors or
> basins.
>
> The most recent theorist of morphogenetic fields is Rupert Sheldrake (A
> New Science of Life; The Presence of the Past). Sheldrake and David Bohm
> discussed morphic fields and their relationship to quantum matter fields!
> Particularly the relationship between Bohm's implicate/explicate order
> and morphic resonance (Sheldrake and Bohm, Morphogenetic Fields and the
> Implicate Order, 'Revision 5: 41-48).
>
> Deleuze's friend Raymond Ruyer uses the notion of a morphogenetic field
> (in fact for Ruyer morphogenesis _is_ subjectivity.
>
> So morphogenetic fields can be conceptualized in terms of quantum fields
> (alto it's not 'a movement in quantum physics'). And neither is it a new
> age phenomena to be equated with (what?). Wigwams?
>
>Paul
---------- End ----------
Date: Mon, 20 May 1996 16:54:35 -0500 (CDT)
From: Mark Kolmar <mkolmar@ccs.nslsilus.org>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: Re: (mother) Bland and Dull.
I may have said this before, but even as eager as I am to track down Atom
Heart releases (of full-length releases, only missing Datacide & Coeure
Atomique on FAX, I/Tinned Music, & EE Surreal), I would personally rather
see him issue a smaller amount of material.
Two reasons for this:
a) As a listener: I've barely had the chance to absorb Machine Paisley
and now Brown is imminent, if not already available. I listen to a lot
of music across a wide spectrum, work full-time and also compose as
often as I can. If you can tell me how to fit 30 hours in a day I would
love to know.
b) As a composer: Depending what would be the most productive for him, I
would rather see him spend more time on the conception and execution of
each track, or see him shelve some tracks which aren't his best work,
fine as they may be.
Especially when working alone, deliberate, goal-oriented procrastination
can be a good thing. Walk away from a project for a couple months. Then
revisit it with a new set of ears. (Let's just say I've made a bad
impression before by not following my own guideline.)
So, having said that -- anyone know where to get Brown, or is it not around
the US yet?
--Mark
Date: Mon, 20 May 1996 17:41:41 -0700
From: Eric Hill <ehill@best.com>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) Bland and Dull.
> b) As a composer: Depending what would be the most productive for him, I
> would rather see him spend more time on the conception and execution
> of each track, or see him shelve some tracks which aren't his best
> work, fine as they may be.
>
> Especially when working alone, deliberate, goal-oriented procrastination
> can be a good thing. Walk away from a project for a couple months. Then
> revisit it with a new set of ears. (Let's just say I've made a bad
> impression before by not following my own guideline.)
first off, I empathize with point a), sometimes there's just too much good
music.
as far as the above goes, I think that the less conceptualized a working
approach is, the better. if he doesn't have to spend months just to come up
with a reason to put something out i'll be happy. I've just bought this
'electronic voices' lp from the late 60s, with some Cage, Oliveros, early
synth and vocoder experidementia. the shit is unlistenable _except_ as an
exercise in concept extraction. ugh. The best part about uwe's hyper
release schedule is getting the sense that this music is just flowing out
of him without regard for concept. This now is uwe at his better, if not
his best.
eric
Date: Mon, 20 May 1996 20:33:05 -0700 (PDT)
From: mquinn@cerf.net
Reply-To: mother@nicar.org
To: idm@hyperreal.com
Cc: mother@nicar.org
Subject: (mother) re: lagowski (was Re: Copy of: (idm) cd vs vinyl?
On 20 May 1996, Alex Ageyev wrote:
> And talking about IDM , i recently got Lagowski "In The Steel Room" EP,
> which is pretty old - 1994, but still very good, unfortunately i could
> not find any other infoe besides what was on the cover, so does anyone
> know if he's got any newer releases?
i just got a lagowski release called prismatic, recorded march 94 - april
95. the only idm-type lagowski i have to compare it to is toxality/time/
formant from 92, which to my ears still maintains its vitality (actually my
ears are being newly awakened as i've been lost in beatless ambience for
quite some time). prismatic has similarities, and is very nice, a steady
onslaught of beats with washes and pulses of smooth as well as quirky
electronics. there are a few intriguing vocal samples looped here and
there, with an occasional ambient break. only one song here to satisfy
lovers of lagowski's ambient side, a 12 minute piece of rumbling, pulsating
drones and sounds with mysterious spoken word loops. called impossible
dream, it is prime eerie ambient lagowski as documented earlier in time by
his false dawn, die datenschleuder, and knowledge releases. prismatic is
on the hypnotism label, and fits in well stylistically with previous
releases.
Date: Mon, 20 May 1996 21:58:08 -0700 (PDT)
From: mquinn@cerf.net
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) re: lagowski (followup)
prismatic is ht04, most recent on hypnotism (following almost digital).
i will still try to post a review of a.d. as requested.
mike
Date: Tue, 21 May 1996 09:25:03 -0800
From: charles uzzell-edwards <faxlabel@sirius.com>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) where exactly is that brown cd?
brown was held in US customs while they figured out why anyone would make a
cd brown with no text on any of the sleeves or inlay card. It will be with
us tomorrow, I am hoping.
I will be contacting atom heart to see if he might stop making music for a
few years, so that everyone can catch up with the releases of his awesome
music.
f a x l a b e l u . s . a .
8 7 e t h e l a v e n u e # 2 ,
m i l l v a l l e y .
c a l i f o r n i a 9 4 9 4 1 .
tel / fax 4 1 5 - 4 3 1 1 2 6 5 .
new tel/fax after May 17 415 383 7990
http://www.sirius.com/~faxlabel/
Date: Tue, 21 May 1996 18:37:31 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Cc: charles uzzell-edwards <faxlabel@sirius.com>
Subject: (mother) Re: where exactly is that brown cd?
On Tue, 21 May 1996, charles uzzell-edwards wrote:
> I will be contacting atom heart to see if he might stop making music for
> a few years, so that everyone can catch up with the releases of his
> awesome music.
You do that Charlie and I'll drive out to Mill Valley and put sugar in
your gas tank.
pots.
.-.
qp;
christopher miller ==
evil@digital.net '
Date: Tue, 21 May 1996 19:53:43 -0500 (CDT)
From: Mark Kolmar <mkolmar@ccs.nslsilus.org>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) rebirth of the concept album
On Mon, 20 May 1996, Eric Hill wrote:
> as far as the above goes, I think that the less conceptualized a working
> approach is, the better.
I don't agree with this. I will say, though, my working motto is: Any
formal aspect of a piece of music should be a means to an end, never an end
in itself.
A lot of people in academia spend way too much time conceptualizing and
analyzing, and not enough time using their EARS. John Cage was not one of
those people. In fact many academics have branded Cage as some kind of
prankster because they could not wrap their heads around what he was trying
to do. Part of what Cage was trying to do was to distance his ego from the
music in order to allow sounds to be themselves.
ahem...
I would say I am about as enthusiastic as anyone about Uwe's music.
Nevertheless, any artist who issues a large amount of material will have
some material which works out better than some other material. Of course
this is largely a matter of taste, and I can't argue with taste. I would
say, however, that some of his recent output is redundant to some of the
rest. Examining different facets of the same gem can be fascinating, but
only for so long.
What I was trying to say last time is that when the people who follow a
composer's work most closely are unable to keep up, it doesn't help the
audience and it could hurt the composer.
The bottom line is that even if I have any clue what I'm talking about, I'm
the last guy Uwe should turn to for guidance. :-)
--Mark
Date: Tue, 21 May 1996 22:00:53 -0400 (EDT)
From: % <grof@chuma.cas.usf.edu>
Reply-To: mother@nicar.org
To: mom <mother@nicar.org>
Subject: (mother) review: HALOGRAMS by THE BITNIKS
So, I won Chris' Mother's Day contest last week (thanks again Chris!) and
here's my review of the "Halograms" cd by The Bitniks.
The first time I heard Uwe Schmidt's music was when my buddy Howie popped
this amazing electro/industrial/weird cd into his car player. The disc was
"Render" by Lassigue Bentdhaus, and I was hooked. When I finally got a
copy, it received the honor of a daily listen for at least two months. I
just couldn't get enough! Then I heard VSVN. This is when I realized that
I had finally found THE music that I had been searching my entire life for.
This was the sound of my laughter; the soundtrack to my dreams. And now,
thanks to a very wonderful person, I have an Uwe Schmidt release that I've
had trouble finding for a while.
Overall, the "Halograms" disc is relaxing - even the faster tracks. The
songs vary a lot in tempo, but they almost all share a theme of entrancing
melodies over freaky percussion. This release starts out strong with very
well-constructed songs but loses momentum a bit toward the end (with the
exception of track #9). Despite this, "Halograms" is an Uwe Schmidt
release worth acquiring. It sounds great on headphones! There's a lot of
subtle touches going on that you might miss without devoted concentration.
It's a good "long, late night car ride" cd which has enough upbeat and
heavy bass tracks to keep you awake. This cd is very catchy - I haven't
been able to get some of the songs out of my head (not that I mind!)
Here's a bit about the tracks I really like. First on the disc is "Fast
Frame", laying down soothing trance with interesting and varied percussion
that augments the 4/4 bassline. This is one of the more danceable tunes on
the disc. "Motion Tracking" has some really heavy bass under several
melodic tinkerings. It is very well layered and I hear something new every
time I listen to it. But be warned, the bass starts instantly, and it is
LOUD. Next is "Audioaktive," which sounds a lot like the material on VSVN,
especially in the use of percussive sounds.
The longest and most solidly constructed piece on the album is "Sign-o-
rama". It's slow and funky - definitely the album's standout track. This
piece builds in intensity throughout most of it's 13 minutes; it's a
perfect chill-out song. "Empty set" is what I like to call one of Uwe's
"creative percussion" tracks, where repetitious bits of percussive sounds
are introduced and layered to a climax, then removed and reintroduced
throughout the rest of the song. Another danceable song is "Drugbuffer."
I find this one quite sexy, and I just can't listen to it without grooving
a bit.
The only ambient song on the cd is "Halogram" which isn't very impressive.
I usually really dig the short ambient tracks that appear on a lot of Uwe's
projects; for example, "Subterranian Shore" off of BASS and everything on
DOTS. "Halogram" lacks his usual innovation and experimentation.
THE BITNIKS - HALOGRAMS 1994
GER CD HT01 HYPNOTISM
1 FAST FRAME 10:14
2 VERTICAL EYEBROW 6:31
3 MOTION TRACKING 6:37
4 AUDIOAKTIVE 7:34
5 SIGN-O-RAMA 13:07
6 EMPTY SET 6:30
7 BITNIK 4:53
8 MINDO 5:48
9 DRUGBUFFER TWO 7:04
10 HALOGRAM 7:45
produced by atom heart and the bitniks
recorded, mixed, edited and mastered digitally at sel i/s/c
This is a MACOS release!
and remember: it takes a thousand djs to make one good programmer!
jen
grof@chuma.cas.usf.edu
Date: Tue, 21 May 1996 22:46:19 -0400 (EDT)
From: Howard Stelzer <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: review: HALOGRAMS by THE BITNIKS
Man, what a good review! Y'know, most reviews of techno-type whatnot are
full of cybertalk and DJ namedropping and so much bullshit... not the
case here! A real description of the album, and some relevant info.
Will you write more?
Howie Von Stelzoor
evil@digital.net
Date: Tue, 21 May 1996 20:49:28 -0700 (PDT)
From: mquinn@cerf.net
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) hypnotism
hi all-
don't recall if i posted this yet, but several folks have asked.
i received almost digital-a.d. and lagowski-prismatic through cdeurope, a
(as far as i know) net only cd dealer. i telnet to 199.35.15.100 (which
probably translates to cdeurope.com) and they also have a web page which i
haven't checked out myself but here it is:
> http://www.cdeurope.com.
be warned, prices can be high, both the above (ht-03 and -04) cost me
around $27US plus shipping. having been so blown away by the bitniks and
earcloud, i just had to do it though.
hope this can help those seeking these releases.
hypnotism is releasing some great stuff (read jen's outstanding review!)
that needs to be heard...
mike
ps. 3 cheers for christopher and his generosity!!!
Date: Wed, 22 May 1996 08:18:02 -0400
From: "Aran M. Parillo" <aran@mit.edu>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) Re: review: HALOGRAMS by THE BITNIKS
At 10:46 PM 5/21/96 -0400, you wrote:
> Y'know, most reviews of techno-type whatnot are full of cybertalk and DJ
> namedropping and so much bullshit...
Oh come off it, what a bunch of crap. "Most reviews"... I hate
generalizations.
Put the seat cover down after you take a dump.
Teep<--sick and tired
PS what the fuck is CYBERTALK anyway.
Date: Wed, 22 May 1996 09:24:29 -0500 (CDT)
From: Kent Williams <kent@inav.net>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) rebirth of the concept album
On Tue, 21 May 1996, Mark Kolmar wrote:
> On Mon, 20 May 1996, Eric Hill wrote:
>
> > as far as the above goes, I think that the less conceptualized a
> > working approach is, the better.
>
> I would say I am about as enthusiastic as anyone about Uwe's music.
> Nevertheless, any artist who issues a large amount of material will have
> some material which works out better than some other material.
I'm not an atom heart trainspotter, (only have a few things) so the
following isn't meant as a judgement on his work, more as an abstract
commentary on output:
Back in the day, if someone wanted to play an instrument, they had to be
physically involved with the thing -- no player, no sound. Synthesizers
don't have that restriction. They keep going so long as the clock is
pulsing. This makes it pretty easy to generate an hour of music without an
hour of hardcore physical involvement with the instrument. Witness FAX
releases. The lower grade release sometime sound as though the musicians
have left the building.
This is a seductive and dangerous thing. You have to force yourself to
keep your head into the music and make it come out a performance touched by
human idiosyncracy. This is a fault I found in the first Lisa Carbon
record. Uwe (or whomever) is jamming away over a one bar loop for 3 or 4
minutes, which is fine. But in a real jazz setting, even if the rest of
the group is comping (i.e. playing a one bar loop), they're listening to
the soloist and modulating their performance to support and complement the
soloist.
That's the rub -- the 909 doesn't give a shit who's playing.
I will say though, that when I've played live, I do enjoy getting a groove
going and then wandering out into the crowd to do a quick sound check. Only
occasionally do people notice that there's no one turning the crank to make
the music come out!
---------------------------------------------------------------------
'When [mom is] asked what she thinks of God, she invariably says,
"I don't worry about it." No doubt because she is worrying about the
whereabouts of her keys.' -- Sean Williams
Kent Williams kent@inav.net
CADSI 2651 Crosspark Road Coralville IA 52241
(319) 338 6053 (home)
(319) 626 6700 x 219 (work)
(319) 626 3489 (fax)
Date: Wed, 22 May 1996 10:14:05 -0500 (CDT)
From: Kent Williams <kent@inav.net>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) Re: review: HALOGRAMS by THE BITNIKS
On Tue, 21 May 1996, Howard Stelzer wrote:
> > Y'know, most reviews of techno-type whatnot are full of cybertalk and
> > DJ namedropping and so much bullshit...
Y'know, this came up the other day when I was on a conference call with
Brian Eno and Jerry Lewis. And the last time I saw Mother Theresa spin she
said techno reviews were almost as bad as hunger in Dehli. Then she lit a
clove and did a backspin on Bach's B Minor Mass.
On Wed, 22 May 1996, Aran Parillo wrote:
> Oh come off it, what a bunch of crap. "Most reviews"... I hate
> generalizations.
Wrongo teep you hate ALL generalizations ;-)
I agree though that the person making this statement have not read through
the reviews on hypperreal.com, and certainly has not discovered from
personal experience how difficult it is to write a literate, considerate,
and useful review. Check out the floo reviews, grumpy jon drukman and
peter ashdown. And last but not least, the 1940-sportwriter-on-crack teep
stylee. He got metaphors and similes like Prestone got antifreeze!
---------------------------------------------------------------------
'When [mom is] asked what she thinks of God, she invariably says,
"I don't worry about it." No doubt because she is worrying about the
whereabouts of her keys.' -- Sean Williams
Kent Williams kent@inav.net
CADSI 2651 Crosspark Road Coralville IA 52241
(319) 338 6053 (home)
(319) 626 6700 x 219 (work)
(319) 626 3489 (fax)
Date: Thu, 23 May 1996 13:36:41 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: review: HALOGRAMS by THE BITNIKS
On Wed, 22 May 1996, Aran M. Parillo wrote:
> Oh come off it, what a bunch of crap. "Most reviews"... I hate
> generalizations. Put the seat cover down after you take a dump.
>
> PS what the fuck is CYBERTALK anyway.
Hahaha.
You've got to excuse my friend Howie for writing that negative
`generalization' (which is exactly what it was). Besides being a newbie,
right before he wrote that (via my account) we just finished reading some
super-intelligent review off of the Harcore list which consisted of:
"IT'S FUCKING HARDCORE GABBA... IT'S THE SHIT!".
Thank you for flaming him by the way - it's his first. Howie's a
great guy though... I mean it was him who got me into LASSIGUE BENDTHAUS
in the first place.
Oh and speaking of reviews, does anyone have any AH-related bits
laying around somewhere that had been posted before on other lists? Feel
free to forward them here. Or as usual, new reviews are welcome also
("Brown" anyone?).
abbag.
.-.
qp;
christopher miller ==
evil@digital.net '
on now: "Act" by ATOMU SHINZO
Date: Thu, 23 May 1996 16:19:02 -0400
From: "Aran M. Parillo" <aran@mit.edu>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) Re: review: HALOGRAMS by THE BITNIKS
> Thank you for flaming him by the way - it's his first.
Dema not flames, dema "sick and tired" precoffee words. Flames leave that
distinctive char-broiled smell on my fingers. ;-)
In the back of my head was the thought ...''why detract from a compliment
by proceeding to generalize about how bad reviews are. That's akin to "Hey
your new CD is grewvie! Better then most crap!"''
In the end, it was indeed a good review. It did "all the right things"
(comparisons to previous work, subjective and objective points, purposeful
injection of criticisms and of course good descriptions). So in
retrospect, perhaps I could have focused on illuminating my points rather
then flushing Howies down the pooper.
And last, a big wag of the tail to the listmaint, I wish all the lists I'm
subbed to held such contests! Alas, only Mama *really* takes care of her
kids.
de mazzel!
Teep
PS HARDCOAH GABBAH *IS* THA STOOPIT FAT SHIT! YAAAAAA!!!!!
Date: Thu, 23 May 1996 23:08:03 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Dandy Jack/Machine Paisley - reviews.
Well.
I got these off of the Dialectrique web site, and since this is an
online mail-order kind of place I guess you wouldn't really consider these
`real' reviews. But I liked what they wrote, so here they are:
> RI 034 DANDY JACK&THE COSMIC TROUSERS
> Label: RATHER INTERESTING
> Rather Interestings' release 034 is featuring the programmings of the
> Frankfurt-based Chilian Dandy Jack. This 64 minute cd contains 10
> complex masterpieces wich lead us into the programmable universe of
> Dandy Jack; hypnotic dance tracks like "Binal True" or the sweet
> melodic, almost tropical tunes of "Hi Head" or "Ground Zero" fit
> perfectly with the superartificial structures of "Insect Commander".
> Dancefloor-language combined with the depth of home-listening music.
>
> RI 034V DANDY JACK&THE COSMIC TROUSERS
> Label: RATHER INTERESTING
> Four-track 12" taken from the cd:1deg.Binal True-2deg.Play it Sam-
> 3deg. Ground zero-4deg.Angels without Faces...
>
> RI 035 MACHINE PAISLEY
> Label: RATHER INTERESTING
> Another technodelic masterpiece from Rather Interesting in
> collaboration with the highly acclaimed Lisa Carbon. The 11 tracks on
> RI 035 range from twisted rhythm tracks like "Synthe Mental Journey"
> via jazzy abstractions on "Smoothness above all else" to perfect
> fusions of jazz, techno and latin music as presented on "Copacabana
> Palace". Although following the psychedelic abstractions of previous
> releases, "Machine Paisley" goes further by showing a totally new
> mixture of musical languages.
Oh, and this is their address if anyone's interested (they're in
Belgium):
http://www.netropolis.be/dialectrique/mail-order
euqirtcelaid.
.-.
qp;
christopher miller ==
evil@digital.net '
Date: Fri, 24 May 1996 16:49:09 -0500 (CDT)
From: Mark Kolmar <mkolmar@ccs.nslsilus.org>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) Almost Digital/A.D.
Quicky review:
"9/8" : Not the time signature, maybe composed on 9/8. Groovy bassline
from a bass guitar-like patch on a basic mid-tempo 4/4 beat with hats on
the upbeats.
"Serial" : Fast, light 4/4, synth and hats awash in reverb. Woody/clicky
sound with slapback delay. Berlin/Detriot techno flavor.
"Meeire Leight" : Tight loops and trancey, a la VSVN. More unusual timbres
than much of the rest of the disc.
"Centreal" : Like Live at sel i/s/c should have been, i.e. shorter with
more activity.
"Percuss" : High-grade cheese. Brie on fancy whole-wheat biscuits.
"Selected Cuts" : The sequencer line suggest a different downbeat than when
the drums kick in. The percussion continues for a couple minutes and then
disappears to leave the synth lines ticking for a few more minutes.
"Dollars & Sense" : Tight, slightly manic loops like I/Repetetive Digital
Noise, but shorter. Could've pared the last track down and let this go
longer as on the I album.
"Cister" : Fast and light 4/4, dry mix. Main sequences from timbres like
old video games. Might well be from old video games.
Overall: 6/10, but more likely to be revised up than down. If you are fond
of RI releases like Semiacoustic Nature there is much here to enjoy, but
nothing made my eyebrows leave my forehead.
The person who reviewed The Bitniks -- Jennifer, right? -- said when she
heard her first LB record, she knew she had found the music of her dreams
that she'd been looking for her whole life. I envy that feeling. I'm too
cynical for that now. Unfortunately if you know how the tricks work, the
magic show doesn't seem quite as magical.
Please ignore the man behind the curtain...
--Mark Kolmar
Date: Fri, 24 May 1996 17:11:51 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) rebirth of the concept album
Hey.
Here's more of that thread that keeps on weaving in-and-out of mother
and the Ambient list:
---------- Forwarded Message ----------
Date: Wed, 22 May 1996 09:19:21 -0800
From: Jonathan Simpson-Bint <jonathan@imagine-inc.com>
To: ambient@hyperreal.com
Subject: Re:(mother) RE:rebirth of the concept album
kent Williams
> Back in the day, if someone wanted to play an instrument, they had to be
> physically involved with the thing -- no player, no sound. Synthesizers
> don't have that restriction. They keep going so long as the clock is
> pulsing. This makes it pretty easy to generate an hour of music without
> an hour of hardcore physical involvement with the instrument. Witness
> FAX releases. The lower grade release sometime sound as though the
> musicians have left the building.
I disagree. The method is irrelavant. All that matters is: Is the music any
good?
If it is, then great.
Technology should empower people to create not maintain and perpetuate the
status quo.
Actual musicianship - particularly piano/keyboard based musicianship - was
the domain of the middle classes until very recently. Relatively few people
could afford a piano and the lessons to go with it. Now, people with very
little money but a bit of ingenuity and good ideas are making challenging,
exciting music. How they make it doesn't matter if it's good music.
---------- Forwarded Message ----------
Date: Wed, 22 May 1996 13:11:51 -0400 (EDT)
From: Eli Brandt <eli@UX3.SP.CS.CMU.EDU>
To: ahmbient <ambient@hyperreal.com>
Subject: Re: (mother) RE:rebirth of the concept album
> > This makes it pretty easy to generate an hour of music without an hour
> > of hardcore physical involvement with the instrument. Witness FAX
> > releases. The lower grade release sometime sound as though the
> > musicians have left the building.
>
> I disagree. The method is irrelavant. All that matters is: Is the music
> any good?
But it's harder to make good music (read "music that I like") when you've
left the building. Not impossible: I have a couple of excellent CDs that
are generated or algorithmic. I bet that these involved a lot of tweaking
of the machinery beforehand, though. Music that involved little creative
time or effort tends to leave me cold.
--
. Eli Brandt usual disclaimers .
. eli+@cs.cmu.edu PGP key on request .
."You probably use this word -- sound -- quite frequently, but did you .
. ever actually think about nature of `sound'?" -- Casio VZ-10 manual .
---------- Forwarded Message ----------
Date: Fri, 24 May 1996 15:08:23 +0300
From: Eylon Israeli <snowjob@actcom.co.il>
To: Jonathan Simpson-Bint <jonathan@imagine-inc.com>, ambient@hyperreal.com
Subject: RE:rebirth of the concept album
On Wed, 22 May 1996 09:19:21 -0800 Jonathan Simpson-Bint wrote:
> Actual musicianship - particularly piano/keyboard based musicianship -was
> the domain of the middle classes until very recently. Relatively few
> people could afford a piano and the lessons to go with it. Now, people
> with very little money but a bit of ingenuity and good ideas are making
> challenging, exciting music. How they make it doesn't matter if it's good
> music.
This is something that imho was a good thing back when techno started. A
realy 'democrative' way to let everyone make his own music and what people
lacked in musicmanship they compensated with sheer energy. But take for
example Orbital - their first albums were not so much compicated and
'intelligent works of art' (;) as their recent two albums are. There are so
many people making techno/ambient music for enough years now that we can
start weeding... many fax releases do come to mind ;)
regards,
snowjob@actcom.co.il
The Morpheus Equation: Start + Middle + End = Sand
---------- End ----------
Date: Sat, 25 May 1996 01:33:42 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Cc: Mark Kolmar <mkolmar@ccs.nslsilus.org>
Subject: (mother) Re: Almost Digital/A.D.
On Fri, 24 May 1996, Mark Kolmar noted rather bleakly:
> The person who reviewed The Bitniks -- Jennifer, right? -- said when she
> heard her first LB record, she knew she had found the music of her dreams
> that she'd been looking for her whole life. I envy that feeling. I'm
> too cynical for that now. Unfortunately if you know how the tricks work,
> the magic show doesn't seem quite as magical.
Aw c'mon Mark.
Pop in "Track 23" by ATOMU' SHINZO. You'll say to yourself
immediately after the first thump thump:
"IT'S FUCKING HARDCORE GABBA!"
It's the shit man.
> Please ignore the man behind the curtain...
.-.
qp; ...or "Polaire".
==
'
on now: "Future Housing" by REAL INTELLIGENCE (thanks teep!)
Date: Sat, 25 May 1996 16:38:55 -0500 (CDT)
From: Mark Kolmar <mkolmar@ccs.nslsilus.org>
To: Christopher Miller <evil@digital.net>
Cc: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: Re: Almost Digital/A.D.
On Sat, 25 May 1996, Christopher Miller wrote:
> On Fri, 24 May 1996, Mark Kolmar nothed rather bleakly:
>
> > The person who reviewed The Bitniks -- Jennifer, right? -- said when
> > she heard her first LB record, she knew she had found the music of her
> > dreams that she'd been looking for her whole life. I envy that
> > feeling. I'm too cynical for that now. Unfortunately if you know how
> > the tricks work, the magic show doesn't seem quite as magical.
>
> Aw c'mon Mark.
This goes back to some of our posts when it was just Chris and me on the
list. :-)
Especially with electronic music, sometimes I can't help but dissect it in
my mind on a technical level. Back when I was in high school (about 11
years ago) listening to music was a different experience. At this point
there's not much music left where I say to myself, "How the hell did they
do that?". Old Skinny Puppy records that used to sound like all sorts of
mysterious noises flailing about, now are transparent.
A few of us at the bar I was at last night were talking music. This guy Al
points to Keith and me and says, "You're like those two old guys in the
balcony on the Muppet Show". Yep. However the two curmudgeons did attend
the show every single week...
I'll write up more quicky reviews over time when I next listen to each
disc.
(I should also mention that the 10-point rating scale is also relative to
an artist's other work. So a 6/10 record by Pink Floyd is a higher rating
than a 6/10 for someone else might be.)
--Mark
--
"Two people making same kind of music is one music too many." -- John Cage
Date: Wed, 29 May 1996 12:30:59 -0400
From: WILL-E <will@panix.com>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) I'm back
Hi everyone! I'm back from my trip to London.
First off, I found and bought a copy of Flextone (my favorite RI BTW) just
in case anybody here needs a copy and wants to buy it off me - send me
email.
I just missed the Atom Heart performance at the Complex in London. However
I did get to meet him! We talked for a short while and he told me that he
only played for 15 minutes as part of the Sound Works Exchange. It's this
cool program with the Goethe Institute which exchanges German and British
musicians to have panels which discuss music. His gig therefore was more
of an example of his style instead of a full length show.
No he wouldn't tell me about Lisa Carbon or Pink Elln but he did tell me
that Brown is his current favorite color just as orange used to be a few
years ago when he made the CD under the same name. We even compared how
much brown the two of us were wearing :)
I read a few posts about finding Hypnotism releases. I'm glad because I
couldn't find any in Europe so I ordered them from cdeurope.com - does
anybody know if there's any difference in the Holland label code "HYPER"
from the German Hypnotism release besides price? This online order service
is kind of weird.
Oh yes and I found a copy of "Mihon" on the vinyl single reissue from
Rising High. Mihon #1 is a cool dance track I've never heard before. #2
is the one with the Star Trek samples and #3 is the acid house stomper
everyone knows.
more later...
___
/ / / / / / _ __/ will@panix.com
(_/__/ / (__ (__ ___/ http://www.hyperreal.com/~will/
Date: Wed, 29 May 1996 13:26:35 -0800
From: charles uzzell-edwards <faxlabel@sirius.com>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) HAT : atom and tetsu meet YMO Hosono
New RI Release this week.
HAT
hosono , atom ,tetsu (tokyo frankfurt newyork)
with HAT rather interesting is introducing a new, but well known musician,
a pioneer of electronic music into the circle : Haruomi Hosono, founding
member of Yellow Magic Orchestra is one of the three members that make up
HAT. The project was produced by all three of them in studios in tokyo
frankfurt and newyork, and presents 6 tracks that are all highly complex
rhythmical masterpieces. >funk coaster< starts a minimal funky rhythm
session that turns into a pure elektro-jazz-jam session which is highly
danceable until you dont use your brain. >sleep run< on the other hand
combines hosono's aesthetic of dry rhythm and chord structures with the
alternating programming of atom heart and the abstract textural
explorations of tetsu inoue. The slower and mellower tracks like >organic
mango< and >kubrick< are no less rhythmical but balance the album perfectly
by using beautiful ambient surfaces and fluffy chord progression. Enough
description, dont miss out on this electronic milestone.
1 funk coaster 8.27
2 organic mango 6.29
3 sleep run 6.53
4 2 gigabyte of joujou 12.26
5 kubrick 9.13
6 quick esc. 13.35
*****************
respects c.u.e.
f a x l a b e l u . s . a .
8 7 e t h e l a v e n u e # 2 ,
m i l l v a l l e y .
c a l i f o r n i a 9 4 9 4 1 .
4 1 5 3 8 3 7 9 9 0
http://www.sirius.com/~faxlabel/
Date: Thu, 30 May 1996 01:10:57 -0500
From: GD <gd@interramp.com>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: (mother) Flowerhead + Jet Chamber II
I finally got to hear Flowerhead, and it's absolutely amazing - I'm
normally not one for releases that are on the straight-up ambient tip, but
this is quality shit. The tunes flow really nicely, and the textures are
gorgeous.
As for Jet Chamber II, the programming totally rocks on this - some of it
verges into experimental d&b territory (fast stuff a la 'Congo' on Silver
Sound), and I love it! My only complaint is that the songs go on a bit too
long and there are only three of them. I could go for an LP with around 12
tracks of this stuff, it's the mostest...
GD
Date: Thu, 30 May 1996 10:21:24 -0400
From: "Aran M. Parillo" <aran@mit.edu>
Reply-To: mother@nicar.org
To: mother@nicar.org
Subject: Re: (mother) Flowerhead + Jet Chamber II
> As for Jet Chamber II, the programming totally rocks on this - some of it
> verges into experimental d&b territory (fast stuff a la 'Congo' on Silver
> Sound), and I love it!
I quite like the "rawness" of the drum sounds here as well. Gritty even.
Also, anyone care to speculate who's behind the "redeye" stuffs?
Teep<--looking forward to those HAT discs!!
Date: Thu, 30 May 1996 22:30:39 -0400 (EDT)
From: Christopher Miller <evil@digital.net>
Reply-To: mother@nicar.org
To: ATOM HEART/LASSIGUE BENDTHAUS LIST <mother@nicar.org>
Subject: (mother) Re: Flowerhead + Jet Chamber II
Hey.
Just in case you missed it... Erik Gilbert <asphodel@interport.net> of
Asphodel cross-posted today (on a couple of lists) that the U.S. date of
re-issuance for DATACIDE's "Flowerhead" will be on July 23rd.
kire.
.-.
qp;
christopher miller ==
evil@digital.net '