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.
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
Related Categories of Interest:
Unusual Vocal Forms
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