Collective Playlisttag:www.collectivefoundation.org,2007:/collectiveplaylist//62007-09-27T02:24:24ZMovable Type 3.34All Together: Art & Pop Choirstag:www.collectivefoundation.org,2007:/collectiveplaylist//6.632007-08-31T22:59:56Z2007-09-27T02:24:24ZThe bellowing strength of collective volume, the colliding harmonies, the concentrated enunciation of practiced singers, the awkward sustain and ardent timbres, the melodrama. Choirs give me the chills. They produce a windy texture that only human voices in unison can. The playlist starts with selections from projects by contemporary artists,...
The bellowing strength of collective volume, the colliding harmonies, the concentrated enunciation of practiced singers, the awkward sustain and ardent timbres, the melodrama. Choirs give me the chills. They produce a windy texture that only human voices in unison can.
The playlist starts with selections from projects by contemporary artists, followed by choral interpretations of pop songs and then a few choral performances used in pop songs, and finally recordings of school choirs performing nostalgic covers.
"One, One Two One"
by Red Hook High School Choir, From This Is Us, a project by Jeremy Deller. Part of a CD-as-exhibition-project by Rob Blackson, Deller visited the town of Red Hook, NY to record the idiosyncratic music talents of a small town.
2. "Wife of a Hero" and "Working Title (The Name Game)"
by the Murphy Canyon Choir, a project by Althea Thauberger. Commissioned for a public art series in San Diego, the choir was formed by spouses of active-duty military personnel living in Murphy Canyon. During a six month long process the women participated in song-writing workshops leading up to a public choral performance at the military base.
3. "Gabriola Complaints Choir"
part of a project started by the Finnish artists Tellervo Kalleinen and Oliver Kochta-Kalleinen. Gabriola is an island off the Coast of British Columbia, Canada.
4. "Man in The Mirror"
by Effussion from McGill University in Montreal, recorded for a film project by Leigh Davis. Davis has been working closely with a variety of performers on media-based collaborations.
5. "Mongoloid"
by Popchor Berlin. A Devo cover from a 25 member Berlin based choir.
6. "Fantasma"
by Cornelius. This is the title, and final track on his kaleidoscopic album from 1998. The only track in the playlist where all the voices are produced by a single person.
7. "You Can't Always Get What You Want"
by London Bach Choir (for the Stones) recorded by a choir-for-hire that has worked on several film soundtracks.
8. "Believe in Something"
by Vancouver based Choir Practice. One of the few successful combinations of choral music and indie pop.
9. "Good Vibrations"
by the Langley School Music Project. A classic cover of the Beach Boys anthem, recorded by instructor Hans Fenger in the 70s.
10. "Livin' Thing"
by the Dondero High School Choir. Several years of recordings from the high school are available via the Internet Archive. This symphonic ELO track works well in choral translation.
Collected by Joseph del Pesco
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Three Counterfeit John Bonham Collaborationstag:www.collectivefoundation.org,2007:/collectiveplaylist//6.562007-08-22T21:47:26Z2007-08-31T21:44:49ZMash-Ups by Brian Joseph Davis The folk tool of the mash up has been an excellent means for dissolving percieved cultural barriers between pop songs and genres. Yet these tools—-quantizing and beat matching, little or no editing—-are rarely used for the conflation of disparate histories. For example, the discrepancy between...
Mash-Ups by Brian Joseph Davis
The folk tool of the mash up has been an excellent means for dissolving percieved cultural barriers between pop songs and genres. Yet these tools—-quantizing and beat matching, little or no editing—-are rarely used for the conflation of disparate histories. For example, the discrepancy between bare-chested 1970s rock and free jazz, or minimalist drone. Having lucked into a bit torrent of very clean master drum tracks from Led Zeppelin’s Physical Graffiti, I thought the best thing to do was to invite collaborations that never happened, or might have happened if Bonham lived and began hanging out at Tonic.
Bonham Collaboration A
Bonham: drums, Sainkho Namtchylak: vocals; Peter Brotzmann: saxophone; Caspar Brotzmann: guitar.
A Siberian opera singer with father and son giants of German free jazz combine for something that sounds like Flipper with government funding.
Bonham Collaboration B
Bonham: drums; Sun Ra: synthesizer
“And all the music which represents only the past, is for museums of the past.” Sun Ra.
Bonham Collaboration C
Bonham: drums; Charlemagne Palestine: piano
Here, Charlemagne Palestine’s minimalist piano is brought in and out of phase against a reasonable facsimile of Klaus Dinger.
Brian Joseph Davis is a Toronto based sound artist and writer. His work has been collected on the recent Blocks Recording Club release The Definitive Host. He's the author of Portable Altamont, about which Spin Magazine wrote, “An elegant, wise-ass rush of truth, hiding riotous social commentary in slanderous jokes." He also writes fake gossip for Arthur Magazine.]]>
YBCAtag:www.collectivefoundation.org,2007:/collectiveplaylist//6.552007-06-26T18:47:48Z2007-06-26T18:48:10ZBanff Centretag:www.collectivefoundation.org,2007:/collectiveplaylist//6.542007-06-26T18:46:12Z2007-06-26T18:47:13ZScreaming In Musictag:www.collectivefoundation.org,2007:/collectiveplaylist//6.532007-06-26T07:13:19Z2007-08-31T21:45:36ZFirst presented in 2004 at Mess Hall in Chicago, Marc Fischer (of Temporary Services) assembled and subsequently revised this playlist. The following selections include extrodinary examples of screamed vocalization in (mostly western) music over the last 40 years....
First presented in 2004 at Mess Hall in Chicago, Marc Fischer (of Temporary Services) assembled and subsequently revised this playlist. The following selections include extrodinary examples of screamed vocalization in (mostly western) music over the last 40 years.
Download the pdf booklet.]]>
Riot Showstag:www.collectivefoundation.org,2007:/collectiveplaylist//6.492007-04-29T01:02:39Z2007-08-31T23:45:51ZCollected and presented by SF Bay Area art historian Julian Myers, this playlist includes excerpts from audio/video recordings where the audience at a rock concert actively intervenes in a band's performance, forcing them to end that performance for one reason or another. Each of these recordings exists through the coincidence...
Collected and presented by SF Bay Area art historian Julian Myers, this playlist includes excerpts from audio/video recordings where the audience at a rock concert actively intervenes in a band's performance, forcing them to end that performance for one reason or another.
Each of these recordings exists through the coincidence of four elements: A concert performance in the context of a rock venue; a portion of their audience that interrupts or otherwise stops that performance; the crucial presence of a recording device; the subsequent transmission and exchange of that recorded product through either official release or fan "bootleg" circles.
Track Listing:
1. Suicide
at Ancienne Belgique, Brussels, Belgium June 16, 1978 (Audio)
2. Public Image Ltd.
at The Ritz, New York City, NY May 15, 1981 (Audio)
3. Guns N' Roses
at Riverport Amphitheatre, St. Louis, MO, July 2, 1991 (Audio excerpt from Video)
4. Black Sabbath
at Mecca Arena, Milwaukee, WI October 9, 1980 (Audio: No source)
Interest in these Materials:
1. Organizers' interest in phenomenon of apostasy, especially as regards the proximity of belief and renunciation, the sacred and desecration
2. Rock's central myth of breaking down the hierarchy between performer and audience (see the ritual of conversational patter, pulling audience members on stage, et cetera) and the often-humorous outcome when that wall is broken down for real
3. The power and dynamics of crowds, especially in the moment in which the tacit agreements that constitute the relation between performer and audience are dissolved.
Side-note 1: The peculiar rhetoric/flirtation with the riot in rock music, which often seems to tacitly acknowledge rock music as a sublimated or immature form of riotous discontent. See, for example, Quiet Riot, I Predict A Riot, White Riot, Teenage Riot, Atari Teenage Riot, I Wanna Riot (Corresponds to: "I Wanna Be Sedated," "I Wanna Sniff Some Glue," "wanna" as diminutive form of will or desire, teenage, whining) (Connections in the realm of art: The avant-garde as "aesthetic terrorism," the Situationist International's refusal of art, Habermas).
Side-note 2: The fascinating multiplicity of reasons for these takeovers: Disappointment, taste, staged provocation, spontaneous provocation, suffocating affection, and incomprehension.]]>
The PhonoRealistestag:www.collectivefoundation.org,2006:/collectiveplaylist//6.202006-11-21T23:56:22Z2007-08-30T03:12:59Z"Songs For A Dead Hare" is a collection of art-folk balads by Canadian artists Daniel Wong and Mary Anne McTrowe that presents 10 low-fi narrative investigations of art history. Songs include a letter from Sol Lewitt to Eva Hesse, a jab at Nicholas Bourriaud's relational aesthetics, and a call-and-response between...
Phonorealistes website for a cover of Daniel Johnston's "Story of an Artist". Mixing humor and history with a bedroom-punk 4-track aesthetic, the Phonorealistes are a strange mix of slacker, iconoclast and academic.]]>