Who cares he's just a hairless 25yr old Finn, if you really wanna bash on someone please consider Erol Alkans.
http://www.incursion.org/features/delay.html http://www.kompaktkiste.de/delay.htm p.s. JB I still feel his Luomo guise sucks no matter how many copies I may have bought and sold or were rotated at Body & Soul!! ----- Original Message ----- From: "Odeluga, Ken" <[EMAIL PROTECTED]> Date: Fri, 4 Oct 2002 14:37:06 +0100 To: Placid <[EMAIL PROTECTED]>, "[EMAIL PROTECTED] Org" <[email protected]> Subject: RE: (313) Vladisalv Delay > Placid, > > Response to (some of) your friend's points - it wd have been nice had they > contributed them themselves! We don't bite here! > > this was a concert/performance, and was billed as such, so > >why should we expect to be excited by what's on the stage? it's the sound > >that should be concentrated upon, not the "two ugly blokes" making it. > > - In some places (as I noted) it was in fact billed in the club section of > publications: I mentioned the London Guide, in the Guardian Newspaper. But > nevertheless, a concert is was what I was expecting and a concert I can get > with. On the other hand this was an audience watching intense men working on > their pcs. Is this a new frontier in concert performance? I doubt it. During > the performance, I suggested to my friend that it would have been just as > feasible and perhaps more enjoyable to experience the performance at another > venue, with the music streamed via ISDN or something. Being at that place > during the 'show' seemed pretty pointless to me. The exhortation by the > woman who introduced the event, implying that visits to the lavatory would > be frowned upon didn't help. > > However - I was with friends who saw Stockhausen perform with a similar > format using not much (I think) not much more than himself and a laptop. In > that case, the audience were encouraged to shut eyes or concentrate on a > small dot of projected light, whilst the auditorium was darkened - which I > think would make sense. So yes, under some circumstances, I'd have to > concede that minimal visual performance would be acceptable to me ... > > >leading modern art galleries? a largin' it, hands in the air, laser > >extravaganza? > > Clearly that's ridiculous - only a fool wd expect such. I don't think that's > what you're implying. > > >i enjoyed listening to all three of the acts, for different reasons. > > ...>parlane's piece emerged from the silence and slowly built, layer upon > > >...it was intimate and affecting. > > Entirely subjective. Similarly, it's entirely subjective that I found his > performance dull due to it's almost literal monotonousness - a composition > of near-autistic flatness. > > the accusation of 'randomness' is > >one i've come across before, and which, quite frankly, i find boring and > >lazy. > > Sorry if my dislike of VDelay bores you! However, it's again my personal > opinion. You saw order or some pattern which pleased you, I didn't see any > meaningful pattern, such as there was displeased me. I can't accept the > accusation of laziness: I engaged my critical and evalutive faculties for > over two hours in order to understand what all the musicians were attempting > to do, as I did when I made a very long and I hope at least reasonably > thought through post of my own thoughts to this list - as I am doing now! I > cannot see why because I don't agree with you that makes me lazy - maybe > that's your view because of lazy thinking! > > it > >was delay himself who was taking the decisions as to when and how he chose > >to play and layer the sounds he produced. there must be intention in > >theses actions, thus rendering the random accusation useless. it may have > >been difficult to listen to but by no means impossible. > > First part does not disprove the idea that he was making it up as he goes > along - 'random'. Second part, again you enjoyed it, I didn't. Maybe > 'random' is good. In that particular instance for me, it didn't work. I > hated it. > > Ken > > > > > > >-----Original Message----- > >From: Placid [mailto:[EMAIL PROTECTED] > >Sent: Friday, October 04, 2002 6:33 PM > >To: [EMAIL PROTECTED] Org > >Subject: Re: (313) Vladisalv Delay > > > > > >In response to the vladislav delay criticism... > > > >A friend wrote... > > > >hmm... > > > >well. that's an opinion. and s/he's welcome to it. > > > >i, on the other hand, had a great time. mainly, i guess, beacause i knew > >exactly what to expect. > > > >and so should anyone who attended, given the blurb on the tate's website, > >where the words 'contemporary' and 'experimental' feature in the first > >sentence. i mean, what else were we to expect from one of the world's > >leading modern art galleries? a largin' it, hands in the air, laser > >extravaganza? this was a concert/performance, and was billed as such, so > >why should we expect to be excited by what's on the stage? it's the sound > >that should be concentrated upon, not the "two ugly blokes" making it. > > > >i enjoyed listening to all three of the acts, for different reasons. > >parlane's piece emerged from the silence and slowly built, layer upon > >layer, gradually enveloping the listener as the volume and complexity > >increased, and then slowly stripping things down again over the period of > >half an hour or so. it was intimate and affecting. > > > >tennis did things differently. the "sub-pole/chain reaction ... dub > >soundscapes" description doing them justice i think. again, it was good to > >listen to. aurally engaging, if you will (if not visually). > > > >delay was different again. abstract electronic music - as advertised. he's > >been moving in this direction for a while, from the early chain reaction > >stuff to the latest album on mille plateaux (under his own name, not the > >luomo stuff - but even on the 'vocal city' album you can hear the layering > >and vocal snippets and cuts that dominated his performance on saturday). > >moving in and out - both in volume and through the triggering of different > >samples, etc - delay created a collage of sound that was quietly > >disturbing but fascinating to explore. the accusation of 'randomness' is > >one i've come across before, and which, quite frankly, i find boring and > >lazy. unless we're all being fooled (which i guess is the risk we take) it > >was delay himself who was taking the decisions as to when and how he chose > >to play and layer the sounds he produced. there must be intention in > >theses actions, thus rendering the random accusation useless. it may have > >been difficult to listen to but by no means impossible. something was > >being created before our very ears, as it were, something abstract and > >hard to understand (if, indeed, understanding is required) but beautiful > >nonetheless. > > > >the whole evening was mucically different. it was good to be able to sit > >down in a dark space with a quality sound system and listen - i mean > >really LISTEN - to four artists doing their stuff for us. and i was glad > >to have been given the opportunity. > > > >close your eyes and open your ears. > > > > > >________________________ > > > >> If this bloke comes to a town near you anytime soon, make sure > >you know what > >> you're in for before you attend. > >> > >> Went with a few mates (and a few list members) to see him > >'perform' at the > >> Tate Modern gallery in London on Saturday. > >> > >> What a pile of self-indulgent toss (mho). (US members check your thesauri > >> for English slang). > >> > >> It didn't bode well when it emerged that it was sitting room only in the > >> Tate's little theatre ... compare this to to 'Metropolis'/Mills > >at the Royal > >> Festival Hall ... a compere cautioned us that visiting the toilets during > >> the "micro-interval" would be met with severe disapproval. > >> > >> The line up was Rosy Parlane (NZ) Tennis (UK) and Mr Delay. > >> > >> Parlane came on and played about one note for nearly 30 minutes. Someone > >> whooped when he finished, many faces turned to where it came > >from carrying > >> looks which said "WHY?!?!?!?" (to be fair the whooper might have > >just been > >> relieved it was over). > >> > >> Tennis probably were the standout, playing sub-Pole/Chain Reaction-esque > >> (but much slower) dub soundscapes and really experimenting with echo. > >> But -(and this applies to all the acts) watching 2 ugly blokes staring > >> intently at the screen of a laptop does not an engaging spectacle make. > >> > >> I have dug some Vladislav Delay tracks a lot in the past and I always > >> respect experimentation. But tell me someone, what is the value of random > >> squelches and other inharmonious noises strung together with > >vocal snippets > >> which sound like the voices you might hear if you had the misfortune to > >> listen inside the head of a schizophrenic? > >> > >> There were no beats. This in itself need not be a reason for music to be > >> boring or even undanceable - but this was *not* The Detroit Escalator > >> Company - nor even the Vladislav Delay which you'll hear on most > >of his LPs > >> and a few Chain Reaction titles. This was sheer random noise > >obfuscation and > >> maybe for that reason it was a brave thing to do. I mean maybe > >he was baring > >> his soul. But to me he didn't really use 0.00005% of the talents which he > >> has in doing that. > >> > >> Strangely, the London (Guardian) Guide billed it in the clubs section! I > >> noted many looking at their watches. Luckily it the whole thing was only > >> about 2 and bit hours long. > >> > >> Tate, spend your Education grant more wisely please. That was > >crap on acid. > >> > >> k > > > > -- __________________________________________________________ Sign-up for your own FREE Personalized E-mail at Mail.com http://www.mail.com/?sr=signup "Free price comparison tool gives you the best prices and cash back!" http://www.bestbuyfinder.com/download.htm
