Re: [microsound] chef d'oeuvre / canavarro

[Ian Guthrie Yeager <iyeager@xxxxxxxxxxx>]

Jon Appleton?? Phat!! Thanks 4 ever, dude, he's obviously hella kewl!

yours in good humor
the notoriously ignorant
igy2k aus Bloomington Indiana USA

On Fri, 1 Dec 2000, gg wrote:

> From: Ian Guthrie Yeager <iyeager@xxxxxxxxxxx>
> > By the way, has anyone heard that compilation called "Only in America"?
> > It features a track of musique concrete assembled by some guy entirely out
> > of Chef Boyardee jingles.
> 
> that "guy" is Jon Appleton, a founding member of the SEAMUS (Society for
> Electro-Acoustic Music in the United States) and the CIME (International
> Confederation for Electroacoustic Music). "Chef d'Oeuvre" can also be found
> on empreintes DIGITALes' fine Appleton retrospective, "Contes de la
> Mémoire." the voices are those of the Andrews Sisters, as featured in a Chef
> Boyardee ad spot.
> 
> Appleton's an academic, but he has a great sense of humor and timing. For
> 1969's "Newark Airport Rock," the composer querried passers-by at the NJ
> terminal for their opinions of "the new electronic music" and wove the piece
> together with a little Moog and MIDI doodling, Robert Ashley-style. Appleton
> revisited the concept in 1996, this time at San Francisco International
> Airport, to see if/how public opinion about electronic music had changed. a
> very smart set of bookends.
> 
> re: Canavarro
> 
> let's refrain from measuring the music produced in the post-Oval glitch
> frenzy against "Plux Quba."  Canavarro's album is a curiosity piece, crafted
> through decidedly lo-tech and organic means. it may be no more than an
> estranged heir to Ashley's "Automatic Writing." surface similarities aside,
> "Plux Quba" is sonic sire, not sibling, to more recent micro-melodic
> electronica. you can't expect the warmth of Canavarro's tape-and-polymoog
> dexterity from the DSP set. at best, you get the cold cathode radiance of
> Kim Cascone's residualism or the diffused energy of Tom Steinle's teeming
> soundsprite ecosystems.
> 
> there's no question that musicians active within certain sectors of Aachen
> and Köln had their creative instincts stimulated and rewired by chance
> encounters with the "Plux Quba" LP. but ever since Markus Popp instigated
> Oval's "politics of digital audio" rhetoric, the unpretentious sound of
> Canavarro's crackles and crinkles has been saddled with unfair implications.
> Popp's CD sabotage and process-oriented aesthetic expose every "glitch" to
> the issues of ownership and audio propriety that preocupy public conscience.
> what sounds so naive and natural in "Plux Quba" has been corrupted, co-opted
> as the rallying cry of the android-paranoid, flagged as ominous evidence
> that the world is being digitally remapped and restructured. have we adopted
> glitchmusic as the "now" soundtrack for the Millennium's
> 'netcentric/data-dependent fear-of-a-digital-planet millieu?
> 
> gg/
> gg2g4ink@xxxxxxxxxxx
> 
> "silence is a rhythm too" - the slits
> 
> 
> 
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igy2k