tag:blogger.com,1999:blog-28154988.post727034266275355629..comments2024-03-26T01:59:52.206-04:00Comments on Just outside: Brian Olewnickhttp://www.blogger.com/profile/08567239067604835372noreply@blogger.comBlogger3125tag:blogger.com,1999:blog-28154988.post-84563331215018082092010-01-02T08:16:59.561-05:002010-01-02T08:16:59.561-05:00Hi Simon. Yes, I think it boils down to just a tas...Hi Simon. Yes, I think it boils down to just a taste thing, maybe having something to do with what else we were growing up with at the time we first heard tape and concrete music. As far back as I can remember, when I'd hear things like Amirkhanian or Babbitt while in college, when the rest of my time was spent soaking up the AACM, I tended to find it too sterile, to "of the lab" compared to, say, the Art Ensemble. That sense lingers, no doubt unfairly. <br /><br />That's painting with a broad brush, of course, and there are countless variations. I like a good bit of what I've heard from Koenig and Raaijmakers, for instance and think of Xenakis' electronic work in an entirely different league. <br /><br />I think you come from a different background (an antipathy toward jazz, yes?) so it's doubtless different for you. I'm entirely willing to acknowledge that I'm likely missing a good bit when listening to someone like Riedl; don't know if that particular tic of mine will ever be remedied.<br /><br />btw, should have the Another Timbre reviews up this weekend--been swamped here....Brian Olewnickhttps://www.blogger.com/profile/08567239067604835372noreply@blogger.comtag:blogger.com,1999:blog-28154988.post-58977144103354265132010-01-02T02:57:25.809-05:002010-01-02T02:57:25.809-05:00I haven't heard the Riedl disc yet, but I'...I haven't heard the Riedl disc yet, but I'm very interested by the well-put distinction you draw between 'classical' electronic music from that generation of the 50's and 60's and other, presumably more modern improv-ish uses of electronics: <br />"Much of it, despite the obvious breadth of sounds, timbres etc. sounded too much "of a piece" to me, the gestural aspect carrying too much of the lab, not enough of the street. I had a nagging sense of a string of effects"<br /><br />I think I know exactly what you mean, but oddly often find myself drawn to this clinical experimentalism than alienated (though with lots of caveats and exceptions, as ever). Certainly I think I prefer the more classical/lab-like electroacoustic works of the 50's and 60's to early 'musique concrete' (Henry, Schafer etc), where the sounds of the street (or railway yard at least) are very much present and the whole acquires a much more human structure and scale. Does that work differently to you?<br /><br />Good review anywaysimon reynellnoreply@blogger.comtag:blogger.com,1999:blog-28154988.post-48861430572096811762010-01-01T18:47:26.858-05:002010-01-01T18:47:26.858-05:00"btw, I still have about 15 discs sitting her..."btw, I still have about 15 discs sitting here awaiting proper evaluation so no 10 favorites or anything likely to appear for a week or two....control your grief."<br /><br />surprise us.ulinoreply@blogger.com