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AMAZING SOUNDS
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No. 77
May 31, 1999
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++++++++++ COMMERCIAL MESSAGE:

THE CD "SINE" BY JOSEPH LOIBANT IS AVAILABLE IN THE VIRTUAL RECORD
STORE OF AMAZING SOUNDS

http://www.amazings.com/mailorder.html

YOU CAN FIND MORE INFORMATION ABOUT THE RECORDINGS RELEASED BY AT-
MOOSS RECORDS HERE (OFFICIAL WEB):

http://www.arrakis.es/~at-mooss

====================

CONTENTS:

NEWS

THROBBING GRISTLE. History of this famous band, pioneer of
Industrial Music.

REVIEWS:
RICHARD BONE: "COXA" Quirkworks Laboratory Discs
CONRAD PRAETZEL: "EN TRANCE" Paleo Music
MARA'S TORMENT: "ACROSS FOR SHOW" Baby Bat Boy productions / Rik
Maclean
SUR SUDHA: "FESTIVALS OF NEPAL" Domo Records
LARRY KUCHARZ: "UNIT 28: BLUE MOTION" International Audiochrome
JOHANNES LINSTEAD: "SOL LUNA TIERRA" Real Music

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NEWS

NEW RELEASES / RE-RELEASES / DISTRIBUTIONS
(For more information and sound clips, use the links)

David Hudson: "Gunyal"

http://www.amazon.com/exec/obidos/ASIN/B0000066T4/thesciencebookboA/

Jim Brickman: "Destiny"

http://www.amazon.com/exec/obidos/ASIN/B00000G25A/thesciencebookboA/

Various artists: "Hamdulillah"

http://www.amazon.com/exec/obidos/ASIN/B00000DC6U/thesciencebookboA/

Various artists: "Earthjuice"

http://www.amazon.com/exec/obidos/ASIN/B00000AEI6/thesciencebookboA/

THE LIZARD EVENT
The Lizard Event takes place in Cornwall during the week of the
eclipse (august 7-12th). This event will also be broadcast live
across the Internet by livereality.com, with ten live streams
covering the main stages, and Live Roaming cameras that engage
with the street performers, circus acts and magicians.
More information:
http://www.lizard.net

MUSIC AND CARS
When the techno band Captive Audience (USA) put several free MP3
audio files of their music on the Internet, they caught the
attention of BMW Deutschland In search of some bright and catchy
tunes to accompany commercial video footage, the famed German car
manufacturer shot off an e-mail to bandmates Craig Conley and
Michael Warwick. The songs that intrigued BMW were "Insomnia" and
"Caught in a K-Hole," both from Captive Audience's second album
"We Are Each Other's Baby." After agreeing on terms, the band went
back into their home studio to prepare exclusive extended
instrumental versions. The music is purely electronic in nature,
with intricately layered baroque melodies and upbeat tempos.
Inspired by the BMW project, Captive Audience has recorded a new
album entitled "Auto Play." Each track is themed to an
archetypical driving experience. Due to the sonic range
limitations of many car stereo systems, the music on this album is
mastered to prevent speaker buzzing.

On July 16, Iury Lech will give a live performance at the cavern
called "Cova de Esplugues de Francolí", in Tarragona, Spain.

Rick Wakeman has finished a UK tour and his latest album is
available in the UK from AMP Records. "Stella Bianca alla Corte di
Re Ferdinando" is his second collaboration with Italian composer
Mario Fasciano.

====================

THROBBING GRISTLE
By Marc Moch

"A laboratory." In "The tape delays", an article written in 1981,
about the dissolution of the band, Jon Savage gave this definition
of Throbbing Gristle (T. G.). A laboratory is the place where
research is carried out, experiments take place, or new products
are created for the industry, that is to say, where research on
something new is always the issue. The idea turns out to be
somewhat stretched out -any artist, or any person or team devoted
to a creativity activity "tout court", could be defined as a
"laboratory"- yet, I believe it is a rather appropriate image to
define the concept the very same members of the band themselves
had of their task -Chris Carter, Cosey Fanni Tutti, Peter
Christopherson "Sleazy" and Genesis P. Orridge-, especially the
latter, at least as opposed to the concept of rock band. On the
contrary, T. G. intend to flee from the music that, deep inside,
has its roots on a country, rural society, -that of the United
States in the nineteenth century, blues and country- and
manufacture the soundtrack that corresponds to the industrial
society (which, nevertheless, reaches us more than a century
late). Yet to consider T.G. as "classic" or "pioneers" of
"industrial" music, the automatic praise that they sometimes get
from retrospective articles on the history of electronic music,
the fact that they have been a reference for later bands in this
genre (sometimes without incorporating the irony and the sense of
humor of these masterful artists) can limit the vision of what T.
G. were (or wanted to be). In the interviews they gave, Genesis
already said that the people imitating them had not understood
their message. "Our sound describes our individual and collective
emotions and visions. And the sound came to us from what we
thought and saw. It is impossible that anyone else can have the
same sound as we do, and be describing themselves in a true way".
After all, "styles" and "aesthetics" - and even "discoveries"-
cannot claim to be "pioneering" anything, in most cases. They
rather turn out to be the product of a given moment in the history
of music (or any other art), of society, of technology. This is
why these "pioneers" may appear at the same time, or almost so, in
physically very distant places, and be people who have had no
contact among themselves whatsoever, and, on the other hand, they
may "get infected" very rapidly with the new elements. Thus, on
the second half of the seventies, such bands as T.G. appear,
together with a great deal of musicians/artists having some common
traits (even if their own personalities are strongly
differentiated). The book "Industrial Culture Handbook", of the
collection Re/Search, gathers a number of interviews with the main
names of this first "industrial" generation, and establishes the
characteristics they share: organizational autonomy; interest in
the access to information; use of synthesizers and "anti-music";
extra-musical elements ; and "shock tactics". It has been said
that if punk was the revulsive against the emptiness of the
hippies and the hypocrisy of the "establishment" rock, T. G. and
other "industrial artists" would express a similar feeling, yet
taking the tradition of electronic music and the new instruments
instead of rock and guitars. A parallel T.G./Sex Pistols can be
outlined, with the background panorama of the late seventies, of
the cold war that could still break out and smash the world -I
remember moments of a strong tension, then, among the Western
allies and the former Soviet Union-, of the crisis of oil and the
economic boom of the previous decade, and the new deep recesses of
human behaviour revealed after Worl War II (spread by growing mass
media). Yet the personality and the cultural background of both
groups are radically different. Even though they were accompanied
by the media performance, the Sex Pistols were little more than a
musical band. Not so T. G. They did not intend to be merely so, in
fact. "T. G. work with information". Let's not forget that T. G.
were born as a continuation of Coum Transmissions, a performance
group that functioned between 1969 and 1975, with Genesis and
Cosey (also in their last year with Sleazy). Born in 1950 in
Hull, Genesis was, since he was very young, a reader of the beat
generation (he met William S. Burroughs in London, in 1973) and
themes of the occult, as well as a person very much interested in
the avantgarde arts -he wrote part of "Contemporany artists",
which led him to meet Brion Gysin, and he was an active postal
artist-. With Coum Transmissions he signed one of the most
peculiar pages of his artist discipline (recognised even in the
"Performance Art" by Roselee Goldberg, recently published in
Spanish by Editorial Destino). In their events, developed in halls
and art centers in several European countries as well as the
United States, they played with integral knots, excrements, self-
inflicted wounds, sexual intercourse, licks. We already find then,
this look into the most disagreeable and (supposedly) morbid
aspects of human reality, which will also have their place with
T.G. Years later, this aspect of the band will raise hot
controversy. Some only saw in all that a taste for insane
provocation and exhibitionism; others, true interest in areas of
knowledge often taken as taboo. Apart from the fact that both
sides may not necessarily be unconnected -I guess that, with T.G.,
there was a bit of everything-, we must also remember that T.G.
start working in that before the success of snob-gore cinema, the
reality-shows and manga, of the increase of violence in the mass
media and the war in the former Yugoslavia, and before Whitehouse
(and Psychic TV, and before all that became a topic). And also
what Antoni Tŕpies writes in his essay "La prŕctica de
l´art" (The Practising of Art): "If the forms are unable to wound
the society receiving them, to irritate it, to move it to
meditation, to make it see that it is outdated, rather than a
revulsive, they are not true works of art... When the great
audience find full satisfaction in such given artistic forms, this
means that these forms have already lost all their virulence".
"The worst enemy of creativity is good taste", also said yet
another painter, Pablo Picasso.

There came to be a moment when Coum Transmissions though they
could widen their means of expression, so as to leave the circuit
of the art galleries, and that it was (also) possible to work with
music (and all that could involve it). To start with, T. G. were
only an addittion to the installations made by Coum -their first
performance took place on July 6, 1976, at the Air Gallery in
London-. Their third one takes place on October 18, of the same
year at the Institute of Contemporany Arts (ICA) in London, and
within the "Prostitution show" by Coum Transmissions, including
pornographyc photographs by Cosey (the girl made her living out of
this and of her stripteases) and it will cause a great controversy
as well as provoke a parlamentary debate- since ICA is an
institution receiving public funds, and we all know how peculiar
are the British with respect to "offensive" material. From this
point on, Orridge, Carter, Cosey and Christopherson saw that music
"is a good platform for propaganda and advertising", and they
devote themselves to it once and for all, forgetting about Coum
Transmissions, yet keeping open their interest in any form of
expression (as well as communication, and of the relationships of
power always involving them). Wishing to prove that things can be
done in a different manner, they launch Industrial Records, their
own record label -they got the name from a slogan, "Industrial
music for industrial people" suggested by Monte Cazzaza, who was
at the time spending three months in London, and that seemed to
them better than the first one they had, Factory Records, after
Andy Warhol. (The name of the band, by the way, had been taken by
them from the popular expression that, in Yorkshire, is used to
name erection.) Industrial soon release their first reference, a
cassette. Later, each member will contribute five hundred pounds
from their own pockets to release the first LP by T. G., "Second
Annual Report". "We see our collection of albums, or whatever
happens, and we decide what we personally would like to have or
possess, like an album, or a magazine, and then, if no one is
doing it, we do it". That is to say, in 1977, they wanted to have
an album that combined dirty ambient analog sounds together with
manufactured ones, voice, loops, re-creations of the urban
soundscape, some sort of negative of space and freaky music of the
times in fusion with another branch, that of electroacoustic or
concrete and avantgarde music. "Second anual repport" starts with
masterful "Slug bait", where this research on abrupt sonorities
contrasting with a strange, mesmerizing sense of melody is already
suggested. There is an LP recorded before "Second", yet this one
was not released until 1987, with the title "Very friendly", where
perhaps they resemble best (in some moments) Velvet Underground
(on the trend of "Sister Ray"), though ornamented with
synthesizers and metallic rhythms, over which musical lines may
float, punctuated with grave, reverberated notes, as well as
vocals. "It is as incorrect to be unable to grasp T.G. when they
are melodic as to do so when they aren't. This is why we made
"Adrenaline" and "Distant Dreams", to make people understand that
we absolutely refuse to reject all the options we wish to keep."
Some of the buyers of "Second annual report" disliked their second
LP, "D. O. A. The third and final repport", and stopped following
them (so as to make and release their own music, in some cases,
such as Whitehouse) with their third, "Twenty jazz funk greats".
Obviously, T. G. do not make so much noise here, nor are they so
punk, yet these are their maturity albums, where they show
versatility and intuition directed towards still unexplored
musical territory, from their influences that take part of German
rock (Kraftwerk, Cluster, Tangerine Dream) together with extreme
psychedelia and ritual ethnic music (linked to their interest in
repetitive, hypnotic pieces, as well as altered states of mind and
the inner frontiers of the mind, in the path that surrealism
started to investigate) "D.O.A." (where we find themes written by
each one of the four members as solo works) starts with "I.B.M.",
a masterful industrial piece, and continues with "Hit by rock" (a
sort of noise-rock), the sound collage "United", the repetitive
rhythms of "Valley of the shadow of death" (which presents a path
of which the live album "Heathen earth" will be the most
remarkable piece), and the hints of the way of understanding
Genesis's psychedelic ideas (which he will later explore in depth
with Psychic TV) suggested in "Dead on arrival"/"Weeping". On the
second side, "Hamburger Lady" and "Hometime" combine noise and a
sort of sub-melodies masterfully, whereas "AB/70"opens the brand
of techno that is to become so typical of Chris & Cosey in the
same way as "E-Loli" is to become the brand of post-industrial
ambient and "Walls of Sound/Blood on the floor" the rhythmic,
noisy density that will become the style of Esplendor Geométrico,
so to speak. "Twenty jazz funk greats" lengthens the lines of
"D.O.A." (yet with less noise). Here we find electronic symphonies
almost ranging on the techno-pop ("20 Jazz Funk Greats", the
wonderful pieces "Hot on the heels of love", "Walkabout"),
industrial rhythm and post-Kraftwerk first stage of "Convincing
people" and "What a day" (and even "Still walking"), the dark
oneiric atmospheres of "Beachy head", "Persuasion" and "Six six
sixties", and "Tanith", a beautiful, melodic theme, while at the
same time it turns out to be strange and perverse as well (and it
is then when they reach this equilibrium, where we will find the
best moments, both with Chris & Cosey and with Psychic TV).

T.G.'s discography is rather complicated. It can be said that
almost everything they did, both live and studio works, has been
released some way or other (and one may suspect about so many
releases with their signature). When they were most active, they
used to release the recording of all their concerts with
Industrial Records, in tape form (now compiled in a series of CDs
by Mute Records, which have also been in charge of re-releasing
their albums). They even came to release "24 hours", a box of
twenty-four live cassettes (plus two of interviews), as they
claimed that everything is information about the band that must be
made available to the public. They encouraged the people to take
tape recorders to their performances -after all, it is only
logical, because, since they have paid for that music, why
shouldn't they record it or make the use they want of it?- They
also called for the spontaneous production of pirate albums, with
no intention to make business out of these. Their first bootleg
was called "Music from a Death Factory: Throbbing Gristle Live".
It was released in Germany in 1980-81, and it was the vynil
recording of the tape of their concert from May 18, 1979, at The
Factory hall in Manchester.

This recording philosophy has allowed us to find products of a
very varied level under T.G.'s signature (and I couldn't say where
the alternative attitude finishes and where the exploitation of
the myth starts, at the very least since their dissolution and the
invention of compact discs). Anyhow, their best known pieces, and
the ones which have had most influence on a whole generation of
bands, are the ones that have already been mentioned. We could add
to these "Journey through a body", an excellent soundtrack for a
movie by Derek Jarman, and "Mission of dead souls", which compiles
their last concert, held at the Kezar Pavillon in San Francisco,
on May 29, 1981 (on June 23 they would decide to dissolve the
band); it turns out to be too much dominated by the litanies of
Orridge, yet it has a theme, "Vision and voice", which happens to
be overwhelming indeed. There also is the "Throbbing Gristle´s
Greatest Hits", with arranged versions of the themes of the
albums, plus "Adrenalin", their most hypnotic single, and "Slug
bait" processed backwards (so its title changes to "Tiab guls", of
course). The cover is a photograph of Cosey that makes a parody
(or rather, is a homage to, whatever way you like it) those of the
albums by Martin Denny. Mention must be made of the fact that T.G.
were pioneers as well of the vindication of Denny and the easy
listening (even if somewhat later than The Residents, Boyd Rice
and others). Let's not forget that in "Twenty jazz funk greats"
-doesn't it look like the title of a current album of our days?-
there is "Exotica". And it seems that, as they finished their
concerts, they almost always played music by Denny. Yet another
trait that shows the eclectic spirit, without prejudices, which
maybe constitutes the best piece of their heritage.

If you wish to purchase any recordings by Throbbing Gristle you
only have to use this link:

http://cdu2.cduniverse.com/asp/exactartist.asp?type=Artist&frm=&search=Throb
bing+Gristle&frm=lk_amazings/

If you wish to purchase any recordings by Chris & Cosey you only
have to use this link:

http://cdu2.cduniverse.com/asp/exactartist.asp?type=Artist&frm=&search=Chris
+%26+Cosey&frm=lk_amazings/

====================

REVIEWS:

RICHARD BONE:
"COXA"
Quirkworks Laboratory Discs
In this work, Bone succeed in renovating jazz and other genres by
means of his innovative ideas. The artist breaks barriers when he
incorporate to their peculiar style of Electronic Jazz, diverse
elements typical of Pop, Ambient Music, and other genres. The
percussion has an important role. Also there are slow passages,
where the melody and the atmospheric environments predominate. The
use of synthesizers enhances the nightly, sensual atmospheres,
that appear in some of the compositions.
PASCUAL JURADO

If you wish to purchase this recording you only have to use this
link:

http://cdu2.cduniverse.com/asp/albuminfo.asp?lc=66991+688&frm=lk_amazings/

RICHARD BONE
Richard Bone grew up in Savannah, Georgia, USA. In the early 80s,
he was a member of the theatrical group Shox Lumania, which toured
very extensively and released material on the ROIR label. Around
this time, he started to work on some more experimental solo
material, some of which was released in Europe. In 1991, he
started his own label, Quirkworks Laboratory Discs, to release the
aptly-named quirky pop work, QuirkWork. This was followed by
another release in a similar vein, X Considers Y. The release of
Ambiento in 1994 signalled the commencement of a new direction for
the music of Richard Bone -- into ambient/space music.
Essential recordings:
-Quirkwork
-X Considers Y
-Ambiento
-Vox Orbita
-The Eternal Now
-Metaphysic Mambo
-A Survey of Remembered Things (& John Orsi)
-Electropica
-The Spectral Ships
-Coxa

If you wish to purchase any recordings by this artist you only
have to use this link:

http://cdu2.cduniverse.com/asp/exactartist.asp?search=Bone%2C+Richard&type=a
rtist&frm=lk_amazings/

CONRAD PRAETZEL:
"EN TRANCE"
Paleo Music
Praetzel has composed a fine work that can be labelled within the
New Instrumental Music. The eleven pieces that integrate this
album are very melodic, with romantic airs and crystaline
environments. The music is merry, bright, yet it never becomes too
sugary or noisy. The rhythms also are a remarkable element,
although they remain on a second plane. Certain Ambient traits
appear in the sonic atmospheres that constitute the orchestral
background. With Praetzel (keyboards, percussion, guitar and
mandolin) have collaborated Robert Powell (guitars, dobro and
electric sitar), Armando El Mafufo (dumbek, tambourine and
shakers) and Solomon Feldthouse (ney flute, violin and classical
guitar).
SARAH TOMBLIN

If you wish to purchase this recording you only have to use this
link:

http://cdu2.cduniverse.com/asp/albuminfo.asp?lc=5730+4003&frm=lk_amazings/

If you wish to purchase any recordings by this artist you only
have to use this link:

http://cdu2.cduniverse.com/asp/exactartist.asp?search=Praetzel%2C+Conrad&frm
=lk_amazings/

MARA'S TORMENT:
"ACROSS FOR SHOW"
Baby Bat Boy productions / Rik Maclean
This is an album with remarkable and varied stylistic textures
that mix the cosmic Ambient with industrial coldness, or the
Techno / Gothic airs with electronic experimentation. The general
style of the work can be described as Electronic Music. Anyhow,
the themes have different orientations. Some are near to Techno,
like for instance "Symmetry" and "Where It Begins"". Others
present connections with symphonic Space Music, like for instance
"Trances, Dialogues", which has an impressive melody, or "Imagine
Me". A definite tendency towards the mysterious pervades the whole
album.
EDGAR KOGLER

SUR SUDHA:
"FESTIVALS OF NEPAL"
Domo Records
The pieces that shape this album are traditional tunes from
various areas of Nepal. The themes have been arranged by the
members of the band. These compositions, interpreted with sitar,
flute and tabla, take us to a suggestive journey through the
traditional universe of Nepal. The musicians evoke with their
instruments both the natural landscapes from Nepal, and the most
spiritual aspects of their culture. In a few words, a work that
will enthusiasm the aficionados to the Asian music. With Sur
Sudha, the music from Nepal shines and talks to us clearly; the
East has a lot to say.
MARCELLA CIRIGNOLA

If you wish to purchase this recording you only have to use this
link:

http://cdu2.cduniverse.com/asp/albuminfo.asp?lc=94017+47080&frm=lk_amazings/

SUR SUDHA
Nepali trio Sur Sudha is comprised of Prem Rana Autari on flute,
Bijaya Vaidya on sitar, and Surendra Shrestha on tabla. These
three musicians joined forces in the eighties with the aim of
interpreting and presenting the myriad musical traditions of Nepal
to the world. They have continued to seek out traditional tunes
from the many remote areas of Nepal, arranging these melodies and
acting as cultural ambassadors for Nepal. They have played over
1,000 concerts, traveling from the steps of ancient hindu temples
to the concert stages of Europe, India, Japan and the USA; and
have been the subject of TV documentaries in France and Germany.
Essential works:
-IMAGES OF NEPAL
-FESTIVALS OF NEPAL

If you wish to purchase any recordings by this band you only have
to use this link:

http://cdu2.cduniverse.com/asp/exactartist.asp?search=Sur+Sudha&frm=lk_amazi
ngs/

LARRY KUCHARZ:
"UNIT 28: BLUE MOTION"
International Audiochrome
This compact gathers a collection of experimental minimalist
electronic pieces composed by Kucharz from 1983 to.1996. Most of
the themes are made of long loops, except that there are no long
tones but fast repeated tones (as played with xylophone, for
example). Kucharz. deals with, not mere sequences, but innovative
rhythmic-melodic compositions. The music is hypnotic, with a
certain Ambient air. In the 16 tracks that constitute this work,
there are all kinds of attractive sonic textures, based on
crystaline sounds. Some passages have certain mystery traits. In
others, ethereal orchestrations can be appreciated, accompanying
the soloist instruments.
ALEJANDRO HINOJOSA

LARRY KUCHARZ
Larry Kucharz is an "electro-minimalist" who is specially
interested in using computers for music.
Essential works:
-UNIT 25: DARK RED
-METACHORAL VISIONS
-HARMONIC LUMINOSITY
-UNIT 23
-ELECTROCHORAL DREAMS
-UNIT 28: BLUE MOTION

JOHANNES LINSTEAD:
"SOL LUNA TIERRA"
Real Music
Johannes Linstead's first album "Sol Luna Tierra" marks his debut
as a solo recording artist. The music is an imaginative fusion of
folklores, shaped by the artistic personality of this composer.
Two important elements in this CD are the melodies having a
Flamenco/Salsa/Brazilian air performed with the Spanish guitar,
and the lively rhythms elaborated with warm percussion instruments
of a Latin flavor. Also there are some traits from Jazz, Pop, New
Instrumental Music and other varied elements that contribute to
enrich these pieces.
MARCELLA CIRIGNOLA

If you wish to purchase this recording you only have to use this
link:

http://cdu2.cduniverse.com/asp/albuminfo.asp?lc=4628+3736&frm=lk_amazings/

====================

We are preparing an international directory of record companies,
artists, festivals, radio shows, zines, webs, journalists,
associations, and other organizations & people working in the
field of electronic music, Ambient, New Instrumental,
Experimental, World Music, and so on. The inserts are free. The
persons or firms wishing to be included can send us a file of no
more than 600 words with the data they consider as being of
interest (contact addresses - snail mail, telephone number, fax,
email, URL... -) and an explanatory text on their activities in
English) to: amazings@...

We are also preparing an encyclopaedia of composers of electronic
music. The artists wishing to be included can send us a biography
(with a list of works and contact address if they wish to) of no
more than 900 words, in English, to amazings@.... Inserts
are free.

The persons or firms having a page in internet related in some way
to the alternative musics can communicate the URL, as well as a
brief description of its contents, to webmaster@..., and
we will set a link from our web to theirs (The insert of a link in
our web is free whenever it is corresponded with a similar link
from their web to our web)

====================

Our warmest greetings for our readers and until the next edition
of Amazing Sounds.

====================

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