Wednesday, April 25, 2012
"Electric Counterpoint"
The world of sampling opened my eyes and mind to a lot of different genres of music and musicians/producers/engineers/record labels that I might not have come across otherwise. If it weren't for sampling would albums like Les Demerle's "Spectrum" be as sought after as it is today? Probably not.
Take Steve Reich's "Electric Counterpoint", which I discovered through this
"Electric Counterpoint is a minimalist composition written by American composer Steve Reich. The piece consists of three movements, "Fast", "Slow", and "Fast". The composer has offered two versions of the piece: one for electric guitar and tape (the tape part featuring two electric bass guitars and 12 electric guitars), and the other for an ensemble of guitar.
It was first recorded by guitarist Pat Metheny in 1987 and released together with Reich's Different Trains, performed by the Kronos Quartet, on Nonesuch's 979 176-2. Metheny recorded the piece by use of extensive overdubbing in the recording studio. Guitarists wishing to perform the piece may use Metheny's pre-recorded ensemble part or opt to record their own, adding the 13th guitar part in live performance." (wikipedia)
(Pat Meheny plays "Electric Counterpoint" live)
The same complaints people have with sampling I've also heard projected towards re-edits ("It's not original." "You're taking other people's works." "What's the big deal? BAH!"), and the same arguments in support of sampling can definitely be applied to re-edits. I've discovered a lot of musicians/producers/engineers/record labels thanks to the vast world of re-edits, although sometimes the re-edits can be better than the original itself (Danny Krivit's edit of "Love Is The Message", anyone?)
I've never been much of a Royksopp fan and didn't know about their re-edits of Reich's "Electric Counterpoint" until recently while milling around on some new thing called "youtube". Part of their "Track of the Month" series, you can download these from their website absolutely free of charge.
Take Steve Reich's "Electric Counterpoint", which I discovered through this
"Electric Counterpoint is a minimalist composition written by American composer Steve Reich. The piece consists of three movements, "Fast", "Slow", and "Fast". The composer has offered two versions of the piece: one for electric guitar and tape (the tape part featuring two electric bass guitars and 12 electric guitars), and the other for an ensemble of guitar.
It was first recorded by guitarist Pat Metheny in 1987 and released together with Reich's Different Trains, performed by the Kronos Quartet, on Nonesuch's 979 176-2. Metheny recorded the piece by use of extensive overdubbing in the recording studio. Guitarists wishing to perform the piece may use Metheny's pre-recorded ensemble part or opt to record their own, adding the 13th guitar part in live performance." (wikipedia)
(Pat Meheny plays "Electric Counterpoint" live)
The same complaints people have with sampling I've also heard projected towards re-edits ("It's not original." "You're taking other people's works." "What's the big deal? BAH!"), and the same arguments in support of sampling can definitely be applied to re-edits. I've discovered a lot of musicians/producers/engineers/record labels thanks to the vast world of re-edits, although sometimes the re-edits can be better than the original itself (Danny Krivit's edit of "Love Is The Message", anyone?)
I've never been much of a Royksopp fan and didn't know about their re-edits of Reich's "Electric Counterpoint" until recently while milling around on some new thing called "youtube". Part of their "Track of the Month" series, you can download these from their website absolutely free of charge.
Thursday, April 19, 2012
Monday, April 16, 2012
James Mason "Nightgruv" (Unreleased Longer Edit)
"James Mason is mostly known for his late 70's album 'Rhythm Of Life', which is a soul-jazz classic. Soon after music trends shifted to (electronic) disco and James' music became out of fashion, leaving 'Rhythm Of Life' to be the only album he released to date. The early early 80′s saw him have a few studio sessions from which more electronic output like Wuf Ticket’s ‘The Key (Prelude Records) resulted. James also produced various disco acts like Disco 3, Earl Flint and Brenda Bayton."
Originally recorded in '84 and re-released by the good people at Rush Hour.
Buy it here!
Monday, April 9, 2012
Sunday, April 8, 2012
Subscribe to:
Posts (Atom)
Posts
