Barack Obama - Victory Speech (2008)

Yes, We Can't.

Performed live in Chicago, 5.11.2008

link@128

Bravo Clippings #28

[Walker Evans at Work, 1984]

Terre Thaemlitz - Means From an End (1998)

"Thaemlitz's deepening descent into the obscure sonorities of hard disk recording is here pushed to new extremes. Compositionally, Means From an End focuses on the metaphoric reconstitution of meaning through the social field, and is equal both in scope and sonic detail to the output of freeform academicians such as Francois Bayle and Jim Horton. But as challenging as the music is -- fuzz, clicks, and thin sheets of off-putting digital synthesis constitutes much of the hour on offer here -- the music is among some of the most engaging and even, at times, touching of Thaemlitz's career (particularly the title suite, which closes out the disc)".
by Sean Cooper, in All Music Guide

(1998 mille plateaux mp 44 / efa 00694-2) cd

01 00:02:00 02:01:11 g1.a-j
02 02:03:11 02:05:60 g6.a-s
03 04:08:71 02:49:50 g3.a-l
04 06:58:46 01:34:23 g2.a-o
05 08:32:69 02:18:07 g7.a-t
06 10:51:01 02:33:13 g5.a-s
07 13:24:14 02:09:49 g4.a-s
08 15:33:63 01:11:22 commentary
09 16:45:10 00:49:10 resistance
10 17:34:20 03:19:70 resignation
11 20:54:15 03:09:07 transformative nostalgia
12 24:03:22 08:27:52 still life w/ numerical analysis
13 32:30:74 10:28:30 means from an end
14 42:59:29 03:11:08 reduction of contents
15 46:10:37 01:08:56 reinroduction of contents i
16 47:19:18 07:40:38 means to a means
17 54:59:56 00:34:52 reinroduction of contents ii
18 55:34:33 08:24:36 end to a means
cd 63:56:69_total

link1 | link2 all@256

-------------------------
Still about "Means From an End"

"For Terre Thaemlitz, sonic synthesis is analogous to a bewildering, yet liberating multiplicity of historically determined social agendas. It is also his tool for commenting on that multiplicity. Though his theories undoubtedly come first, that's not to say his music disintegrates if you remove its theoretical scaffold. Besides, the weighty language masks a radical playfulness - the project is far more engaging than first appears. The disc comes in four sections. The first, called "Inelegant Implementations," loops brief jazz snippets and passes them through a waveform analysis of radical/pop cultural soundbites, for reasons Thaemlitz's sleevenotes best fathom. The second part is a sonic essay on "overcoming resistance to radical social change," which translates as a witty deconstruction of Billy Joel. "Still Life w/Numerical Analysis" is an eight minute sound collage around a high register operatic drone - which softens you up for the last part, the title track itself. "Means from an End" bombards the listener with high frequency noises. In his attempt to deploy music as an agent of deconditioning, Thaemlitz's methods come close to the audiences-baiting techniques of Non and Throbbing Gristle. But in its final transition from Metal Machine Music aggression to the Enoid serenity of Evening Star, Thaemlitz raises the suspicion that he's not quite the stern neo-Marxist theoretician he makes himself out to be."

by: Chris Sharp; in Wire, March 1998, issue 169.

Ground Zero - Consume Red (1996)

"It's easy and maybe even cool to say "to hell with copyright." But of course, things aren't really that simple. What exactly is the difference between someone using your performance on their own CD without your permission and making a load of money, and GROUND ZERO sampling a revolution-era Pekinese opera to make a CD that DOESN'T make money? It burns me that a Japanese television network rotting in money can use my music without my knowing it, and I still don't get a cent out of it. But as long as a TV network is paying JASRAC (the one and only copyright organization in Japan) I'm told it's not illegal. So am I allowed to sample that TV channel without paying a cent, and make a CD from it? And then, what happens when that CD is sampled yet again by Stock, Hausen and Walkman?

The two main reasons for the existence of copyright are this. When a work is created by someone, there is ownership in that work. And, if such ownership exists, there is the question of how to justifiably turn that into money. My problem is about the fact that not all forms of creativity can be accredited to a single entity. And if I'm correct, what about copyright?

In the general flow of things, which do not consist of mere solitary products bobbing along but of things sampled and re-sampled, how can anybody say for sure who created what? The first question needs to be directed to the idea that an artistic work is born from a single entity's creativity. And so forth and so on. So rather than to go on talking about it, the idea is to go ahead and do it.

So it comes to this. GROUND ZERO samples the musical performance of a Korean national treasure, Kim Suk Chul. Any artistic purist should fly into a rage right there. His superhuman playing is without question a product of his own creativity, but it could also be that he is in fact a vessel for the voices of gods or ancestors. So GROUND ZERO takes and samples this brilliant music sacred enough to blow away any puny ideas about copyright. Then we will have this remixed by a number of unique sampling artists and place the two versions on a "chopping board" of consumption and sampling. Call it public sampling if you will. It's up to you how you cook with it. Mke it techno or enka or anything you like. What we want to see is not style or perfection but something beyond that (that is, if there is such a thing). The jumble of criticisms and questions that may emerge should outbalance today's definition of copyright together with its messy problems and questions of creativity. Go ahead and butcher this with your own hands. We can talk later". Otomo Yoshihide

Otomo Yoshihide: turntables and guitar
Sachiko Matsubara: sampler
Yumiko Tanaka: futozao-shamisen
Masahiro Uemura: drums
Yasuhiro Yoshigaki: drums
Naruyoshi Kikuchi: soprano saxophone
Mitsuru Nasuno: electric bass
Uchihashi Kazuhisa: electric guitar, effects

Sampling guest: Kim Suk Chul (hojok)

link @224

Georges Delerue - Film Music 1958-1965

Jules et Jim (François Truffaut, 1962)
1. Musiques, Dialogues et Ambiance
voices of Jeanne Moreau, Henri Serre, Oscar Werner
2. Le Tourbillon

lyrics, guitar and music by Cyrus Bassiak

sung by Jeanne Moreau
3. Musiques, Dialogues et Ambiance

Une Aussi Longue Absence, Herni Colpi (1961)
4. Générique
5. Trois Petites Notes de Musique
lyrics by Henri Colpi
sung by Cora Vaucaire



Le Mépris, Jean-Luc Godard (1963)
6. Musiques, Dialogues et Ambiance
voices of Brigitte Bardot, J-L Godard, Michel Piccoli



Hiroshima Mon Amour, Alain Resnais (1958)
7. Musiques, Dialogues et Ambiance
voices of Emmanuelle Riva, Eiji Okada



Viva Maria, Louis Malle (1965)
8. Musiques, Dialogues et Ambiance
9. On a Chanté la Douceur
sung by B. Bardot and J. Moreau
10. Ah! Les Petites Femmes
sung by B. Bardot and J. Moreau
11. Musiques, Dialogues et Ambiance



link @192

V/A - Chants Révolutionnaires du Monde

"This is the music of struggle and suffering, of sorrow and hope, of certitude and joy. Who can then hear these chants without hearing the voice of men from all times? Make no mistake about it: from all times, for even if these revolutionary hymns stem from modern times, they express a timeless struggle. We do not know what chants Spartacus' revolting slaves sang, but their revolt is sung here, their voice creating an unison with the voice of men in 1917 (...) We can listen to this revolution in this recording, roaring in the partisans' chant. 15 chants of justice, liberty, fraternity. Let us listen: it is the honor of Man singing here"
Max-Pol Fouchet, liner notes

1. L'Internationale [The International]
2. Les Partisans [The Partisans]
3. La Varsovienne [The Varsovian]
4. Le Chant des Survivants [The Survivors Chant]
5. Le Drapeau Rouge [The Red Flag]
6. Fleur Cueillie (Il est mort l'ami Lénine) [Plucked Flower (our friend Lenin is dead)]
7. Hardi, Camarades [Fear Not, Comrades]
8. Les Quatre Généraux (chant de la guerre d'Espagne) [The Four Generals (Spanish war song)]
9. L'Appel du Komintern [The Komintern's Call]
10. Le Chant des Marais [The Swamps Chant]
11. La Jeune Garde [The Young Guard]
12. Le Chant des Martyrs [The Martyrs Song]
13. Le Front des Travailleurs [The Workers Front]
14. Bandiera Rossa [Red Flag]
15. Solidarité [Solidarity]

link @256

Killdozer - Uncompromising War on Art Under the Dictatorship of the Proletariat (1994)

Ever wondered how American rock would sound like if trotskyists were the ruling class? Killdozer show us that guitar distortion is the only way to avoid the distortion of ideals.

Comrade Michael Gerald (b, v)

Comrade Dan Hobson (d)

Comrade Paul Zagoras (g)


link @320

SPK - Leichenschrei (1982)

Early "Industrial" frenzy by one of the most creative bands of the "genre". Terribly dynamic and organic, this is certainly one of their most accomplished records.

1. Genetic Transmission
2. Post-Mortem
3. Desolation
4. Napalm (Terminal Patient)
5. Cry from the Sanatorium
6. Baby Blue Eyes
7. Israel
8. Internal Bleeding
9. Chamber Music
10. Despair
11. The Agony of the Plasma
12. Day of Pigs
13. Wars of Islam
14. Maladia Europa (the European Sickness)

Personnel
Oblivion: synths, electronic rythms, tapes, vocals, shenai, syncussion, machinery, metal percussion
NE/H/L: synths, electronic rythms, tapes
Pinker: drums, syncussion, metal percussion

link @320