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An electronic sound and narrative work from Philippe Petit and Oxbow founder/frontman Eugene S. Robinson, equal parts Pynchon and the dog eating dog laws of the senseless jungle.
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Catalog ID: mono040
Squidco Product Code: 14793
Packaging: Cardstock 3 page foldover
Composed in 2009.
Eugene S. Robinson-vocals, words
Philippe Petit-processed acoustic/field recordings, electronics, turntables, inflatable balloons, prepared guitar
Herve Vincenti-acoustic guitar, synths
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1. The Table, The Stone 6:38
2. Modern Trends In Modernity 7:30
3. In My Curiosity 7:48
4. Change In Total 9:30
5. What Eros Is 4:36
6. The Right Eue Cast 7:54
Unusual Vocal Forms
Instruments with Preparations
sample the album:
"The sound, the song, the words, and the mounting narrative spool of the efforts of Philippe Petit and Oxbow founder and frontman Eugene S. Robinson. The Crying Of Lot 69, drawing on equal parts Pynchon and the dog eating dog laws of senseless jungle indifference, is the sound of compassion denied. Featuring tales from a killing and forming the first in a trilogy that will see the star cast of characters alternately expanding and contracting, The Crying Of Lot 69 pulls up a blanket, of concrete, and cozies you into the comfort of a world where the mildest intentions have the wildest effects.
Eugene S. Robinson has, over the course of time emerged as a virtual man for all seasons. With a number of published books under his belt and upward of eight records with his group OXBOW [www.theoxbow.com], Robinson's CV includes collaborations with Lydia Lunch, DJ Rupture, Xiu Xiu, Zu, Black Sun, Old Man Gloom, Barry Adamson, Marianne Faithfull, Klaus Flouride, Allen Ginsberg, Bevin Kelley from Blevin from Blechtdom, Todd, Capricorns, Jarboe and many many more.
Philippe Petit is interested in soundtracks; even if he creates original music he'd rather be introduced as a "musical travel agent" than a composer. PETIT uses a Cymbalum, an Electric Psalterion, computer and synths to build up electronic layers, process acoustic and field recordings.To second the machines he likes to move various glasses, or percussive objects, and take advantage of vinyl material to fondle released sounds.
Rhys Chatham : trumpet In the late 60s being interested in Serialism and music of long duration Rhys Chatham started working with Morton Subotnick, Tony Conrad and La Monte Young. Chatham became an active figure on the late-night rock scene in New York City. making use of multiple electric guitars in just intonation to merge the extended-time music of the sixties and seventies with the pounding, throbbing rhythms of rock. Composing symphonies for hundreds of guitars he pushed further the aesthetic concerns of post- minimalism, and inspirated the works of Glenn Branca, Sonic Youth and countless Noisy bands. By 1982, Chatham was going deaf from playing too much loud music. He decided to make a series of fully notated pieces for the slightly quieter brass family of instruments. In the early nineties, Chatham began to focus his energy on playing trumpet and developing a personal "voice" on the instrument.
Helena Espvall : cello One might have heard of Swedish cellist Helena Espvall from her work with the recent crop of neo-psych folk artists like Espers, Fursaxa, and Samara Lubelski, as well as being a member of Vashti Bunyan's touring band. She has also released some solo works thru Museum Fire and Pax recordings.
Hervé Vincenti : guitar - synths Hervé Vincenti enjoys developing graceful notes and varied melodies. He is a member of Strings Of Consciousness and had played with Luc Ferrari."-Monotype
• Show Bio for Rhys Chatham
"Rhys Chatham is a composer, guitarist and trumpet player from Manhattan, currently living in Paris, who altered the DNA of rock and created a new type of urban music by fusing the overtone-drenched minimalism of the early 60s with the relentless, elemental fury of the Ramones - the textural intricacies of the avant-garde colliding with the visceral punch of electric guitar-slinging punk rock.
Starting with Guitar Trio in the 1970s and culminating with A Crimson Grail for 200 electric guitars in 2009, Chatham has been working for over 30 years to make use of armies of electric guitars in special tunings to merge the extended-time music of the sixties and seventies with serious hard rock.
Parallel with his rock-influenced pieces, Chatham has been working with various brass configurations since 1982, and recently has developed a completely new approach to collaborations, improvised and compositional pieces involving trumpet through performances and recordings that started in 2009. Chatham's trumpet work deploys extended playing techniques inherited from the glory days the early New York minimalist and 70s loft jazz period. Starting in 2014, Rhys has been touring a solo program featuring an electric guitar in a Pythagorean tuning, Bb trumpet, and bass, alto and C flutes.
Rhys was introduced to electronic music and composition by Morton Subotnick in the late 60s, and in the early seventies he studied composition with La Monte Young and played in Tony Conrad's early group. These composers are, along with Terry Riley, the founders of American minimalism and were a profound influence on Chatham's work.
Chatham's instrumentation ranges from the seminal composition composed in 1977 entitled Guitar Trio for 3 electric guitars, electric bass and drums, to the epoch evening-length work for 100 electric guitars, An Angel Moves Too Fast to See, composed in 1989... all the way to Chatham's recent composition for 200 electric guitars, Crimson Grail, which was commissioned by the City of Paris for La Nuit Blanche Festival in 2005. A completely new version of the piece was commissioned by the Lincoln Center Outdoor Summer Festival in 2009.
What does a composer do after mounting many performances with forces of 100-200 electric guitars? The composer gets back to basics, at least that's what Rhys does! Along with the G100 and G3 programs, Chatham is currently offering a solo program, an evening length work with the composer performing himself on electric guitar, trumpets and bass alto and C flutes."-Rhys Chatham Website (http://www.rhyschatham.net/sample-page/biography/)
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• Show Bio for Helena Espvall
"Helena Espvall is a cello player who is comfortable in indie rock and improvised music circles. She was born and raised in Sweden, playing guitar and cello in rock bands and a silent movie orchestra. Moving to the U.S. and settling in Philadelphia in 2000, Espvall further explored Arabic music, performed with the Amnesiac Music & Dance Ensemble, and joined the contemporary psychedelic-folk group Espers, recording the CDs Weed Tree and II with them. Her penchant for playing free jazz has resulted in collaborations with guitarist Eugene Chadbourne. She is a featured artist with saxophonist/flutist Oluyemi Thomas on his recording Before the Beginning, and with From Quagmire on Habitats in the Wound. Espvall's debut CD as a leader, Nimis & Arx, from the Pax/Fire Museum label is produced by George Korien, where she plays cello, guitar, and recorder, sings and uses electronics. Other artists she has worked with include Katt Hernandez, Lukas Ligeti, Masaki Batoh, Gui Mallon, Nick Castro, Bert Jansch, Sharron Kraus, Fürsaxa, Vashti Bunyan, Samara Lubelski, Marissa Nadler, Damon & Naomi, Arborea, Curia, Golden Ball, the Valerie Project, Polineros, and Scorces.
Helena Espvall is a Swedish-American musician noted for her participation in the post-millennial psych-folk and free improv scenes. Her primary instruments are cello, guitar and voice."-Helena Espvall Website (https://helena-espvall.keepvid.io/fr)
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