The second volume of this excellent German sound magazine and audio CD, 9 artists working in sound art, electroacoustic composition; a "listenable exhibition" of modern compositional approach.
Squidco 20% Moving Sale (2)!
Buy 1 or more item(s) from the sale, Take 20.00% Off
(checkout price: $7.96)
Shipping Weight: 3.00 units
Quantity in Basket: None
Log In to use our Wish List
Label: Because Tomorrow Comes
Catalog ID: BTC 02
Squidco Product Code: 16617
Condition: Sale (New)
Packaging: Digipack, not sealed
Recorded on various dates and at various locations.
Hans Peter Kuhn
Highlight an artist name or instrument above
and click here to Search
1. Ansage 0:52
2. Im Gesprach Mit Kyra Stratmann, 1999 7:35
3. Jamaica Heinekens In Brooklyn, Fragment, 1998 11:57
4. Ansage 0:15
5. The Eyes I Remember, 1999 5:47
6. Angesagt, 1999 10:10
7. Ansage 0:14
8. Infinity [Radio Teeth Edit], 1997 6:46
9. Train Study, 1998 5:34
10. Salambo, 1995 4:30
11. Ansage 0:22
12. Movies For The Blind, Fragment 9:31
Various Artists & Compilations
sample the album:
The second volume of this excellent German sound magazine and audio CD, 9 artists working in sound art, electroacoustic composition; a "listenable exhibition" of modern compositional approach. Volume two features: Manos Tsangaris, Charlemagne Palestine, Kristin Oppenheim, Hans Peter Kuhn, Carsten Nicolai, Christian Marclay, Christina Kubisch, Jeff Perkins.
At The Squid's Ear!
• Show Bio for Christian Marclay
"Christian Ernest Marclay (born January 11, 1955) is a visual artist and composer. He holds both American and Swiss nationality.
Marclay's work explores connections between sound, noise, photography, video, and film. A pioneer of using gramophone records and turntables as musical instruments to create sound collages, Marclay is, in the words of critic Thom Jurek, perhaps the "unwitting inventor of turntablism." His own use of turntables and records, beginning in the late 1970s, was developed independently of but roughly parallel to hip hop's use of the instrument.
Christian Marclay was born on January 11, 1955 in San Rafael, Marin County, California, to a Swiss father and an American mother and raised in Geneva, Switzerland. He studied at the Ecole Supérieure d'Art Visuel in Geneva (1975–1977), the Massachusetts College of Art in Boston (1977–1980, Bachelor of Fine Arts) in the Studio for Interrelated Media Program, and the Cooper Union in New York (1978). As a student he was notably interested in Joseph Beuys and the Fluxus movement of the 1960s and 1970s. Long based in Manhattan, Marclay has in recent years divided his time between New York and London.
Citing the influence of John Cage, Yoko Ono and Vito Acconci, Marclay has long explored the rituals around making and collecting music. Drawn to the energy of punk rock, he began creating songs, singing to music on pre-recorded backing tapes. Unable to recruit a drummer for his 1979 performances with guitarist Kurt Henry, Marclay used the regular rhythms of a skipping LP record as a percussion instrument. These duos with Henry might be the first time a musician used records and turntables as interactive, improvising musical instruments.
Marclay sometimes manipulates or damages records to produce continuous loops and skips, and has said he generally prefers inexpensive used records purchased at thrift shops, as opposed to other turntablists who often seek out specific recordings. In 1998 he claimed never to have paid more than US$1 for a record. Marclay has occasionally cut and re-joined different LP records; when played on a turntable, these re-assembled records will combine snippets of different music in quick succession along with clicks or pops from the seams – typical of noise music – and when the original LPs were made of differently-colored vinyl, the reassembled LPs can themselves be considered as works of art.
Some of Marclay's musical pieces are carefully recorded and edited plunderphonics-style; he is also active in free improvisation. He was filmed performing a duo with Erikm for the documentary Scratch. His scene didn't make the final cut, but is included among the DVD extras.
Marclay released Record Without a Cover on Recycled Records in 1985, "...designed to be sold without a jacket, not even a sleeve!" Accumulating dust and fingerprints would enhance the sound. A review in Spin at the time cited Marclay's "coolest theatrical gesture" in his live performances of phonoguitar: the artist strapped a record player onto himself and played, for example, a Jimi Hendrix album. In Five Cubes (1989), he melted vinyl records into cubes. In the 1980s and early '90s, he invented album covers. The Sound of Silence (1988) is a black-and-white photograph of the Simon & Garfunkel single of the same title. In a series of cyanotypes (2007–09), white negatives against a blue background, he unspooled cassette tapes.
Thom Jurek writes that "While many intellectuals have made wild pronouncements about Marclay and his art – and it is art, make no mistake – writing all sorts of blather about how he strips the adult century bare by his cutting up of vinyl records and pasting them together with parts from other vinyl records, they never seem to mention that these sound collages of his are charming, very human, and quite often intentionally hilarious."
Marclay has performed and recorded both solo and in collaboration with many musicians, including John Zorn, William Hooker, Elliott Sharp, Otomo Yoshihide, Butch Morris, Shelley Hirsch, Flo Kaufmann and Crevice; he has also performed with the group Sonic Youth, and in other projects with Sonic Youth's members."-Wikipedia (https://en.wikipedia.org/wiki/Christian_Marclay)
^ Hide Bio for Christian Marclay
Search for other titles on the Because Tomorrow Comes label.