brainwashed

  • Increase font size
  • Default font size
  • Decrease font size

His Name Is Alive

YouTube Video

Forget any preconceived notions about His Name Is Alive and Warren Defever and sit back and enjoy an entertaining conversation and performance. We talked about 4AD, Brothers Quay, noise, the stupid music press, and getting pictures taken at 6am! The band are on tour right now supporting Low and it's not worth missing for anybody who either once was a fan or is finally coming around to them.

 

The Eye: Video of the Day

Bardo Pond

YouTube Video


read more >>>

Review of the Day

Max Neuhaus, "Fontana Mix - Feed (six realizations of John Cage)"
Alga Marghen
Live electronic music performance was a novelty in 1964 as was the use of electronic percussion instruments. Perhaps even more progressive was that Max Neuhaus' version of Cage's Fontana Mix is used nothing but feedback. Neuhaus placed contact microphones on top of kettle drums and put the drums in front of loud speakers. The microphones were free to move around on the drums. The performer controlled the intensity of each microphone with a mixer and Neuhaus did this following a performance score that he prepared from John Cage's Fontana Mix. This indeterminate composition from 1958 comprises a grid and a set of curved lines, some with dots, on transparencies. The interpreter arranges these in superposition to create a unique new graphic image from which, following the instructions, a performance score from is derived. Using this procedure Neuhaus created the set of curves that he used to control the intensity of each microphone in the mix and used this score in each performance. However, the feedback system itself is a very sensitive and unpredictable instrument, so much so that even following the same score the resulting music is essentially indeterminate. Hence the six different versions on this CD, four live and two studio recordings, spanning 1965-68 are very different from each other. Neuhaus, a brilliant and highly respected percussionist, would put Feed on the program of high-brow contemporary percussion concerts in places like the Carnegie Recital Hall and he would play it very loud. It's amusing to imagine the responses in the highly cultivated audiences. The remarkable thing is that even in today's context with decades of noise art behind us, Neuhaus' trail-blazing performances from the mid 60s are brilliant. The music is relentless feedback noise but has a structural complexity that, if you can tolerate its basic assault, is fascinating and hypnotic. It is piercing and very abrasive but once immersed in it, and if you are willing to play it loud enough, its vitality and detail are consuming. Neuhaus' musical genius blazes through this brutal material in manner that puts many a modern noise artist in their place.

samples:


read more >>>

Login Form



http://soundcloud.combrainwashedcom


Donate towards our web hosting bill!
Shop
		at the iTunes store