Archive for October, 2004
Quick history of Murphy’s Law
Also, Hunter S. Thompson claims George Bush burned ppl in college
Maurice Fulton’s name is one of those
recurrences in dance music, I mean still knowing
almost nothing about him he never seemed to merit
mention along with Frankie Knuckles/Bones/Whoever nor
in the Detroit pack of May, Carter, Atkins, and of course the master
Craig or early euro-stirrers like Kirk Degiorgio and others.
But none of that really matters, much like early hip-hop or the
days of disco, house music wasn’t created with the intention of
lasting, crates of 12″s siphoned off the press with none of rock’s
bravado of “making it” either financially or into history. It was still
Fulton went a different route
than many of his contemporaries. His work appeared on
left leaning house label Warp records right alongside
deep house classics like Nightmares on Wax and Warp’s
founding artist The Sweet Exorcist (did this guy ever make
another record?). His music is more complex than Craig’s
or Knuckles, breezing through an mp3 can present you
with 4 very different compositions in on track, yet on listen
your only aware of one central conversation holding the
entire thing together. Feel The Same from aTigersushi comp
starts out with a distorted sub-harmony that eventual stutters into
a slap-bass work out builds up into some fine eighties-disco juxtaposed
to movie minimalism using the sub-harmony to hold all this together.
It’s better than it sounds when it happens, Maurice has consciously
mixed 3 very different textures and they become counterpoints in
a very odd way, as if he’s planned this confusion from the start.
It’s arty disco at heart. Caressingly
sincere yet catatonicized by mechna-funk, Fulton is frustrating
because he won’t just be one thing. He’s not gonna be Autechere
or for that matter Model 500 (think Psychosomatic), but he’s gonna
play with their sound, he’s gonna distort things so their
no longer pleasant, but he won’t give us the satisfaction of
taking it to it’s breaking point, of brutalizing sound, of giving
up on music. He avoids catharsis and makes a whipping boy of
virtuosity. He sits a little left of the middle and like a good host
let’s all his companions mingle by their own wits. It’s a frustrating
exercise, but sometimes the results are more than appear to be.
p.s. sorry about no mp3s, but I don’t have an mp3 hosting
service right now i.e. some place I can stash files for ya.
David F strikes again posting another good musical schwag on his blog
Ghedalia Tazartes, the french man who managed to overcome the
Algamarghen label’s strictly conceptual credo by sheer sonic alienation
returns. Employing keyboards, un-trained and trained vocals, with
hustles of influences as varied as Jaques Brel, Henri Chopin, Soweto
pop, Serialism, and new wave. If you have to pin an artist to a
forefather than Tazartes contemporaries lay strictly in the future: The
Talking Heads, Animal Collective, and really that’s about it. Tazartes
never made a theory of his music, instead it’s brazen aesthetics
breathe out an identity that accepts fracture as it’s starting point,
equally at home with retro-synthetic squalls as he is playing what
sounds like paper instruments & a fabricated african tribe chanting
over it. Amazing stuff, perhaps not as good as previous material, but I
haven’t heard the full album yet.
And so the latest Ghostly e-mail came out today
with links to Geoff White’s new one for Ghostly
Geoff is the man behind Aeroc and also the dude who did
an unbelievably good album of processed guitar and house
with Stewart Walker on Force Inc. He also lives in Ohio.
It’s a shame no one really promoted minimalism or tech
electronica in it’s hey-days in the u.s. living in a world
far separate from electronic stuff at the time I completely
missed the entire Herbert thing, the Kompakt thing,
and others in their birth and instead am just now
picking up on a music, that I’m told, is already
over in Europe.
Gotta admit that everything Akufen does is good,
but in this case The Rip Off Artist’s fine spewing of the
blues in digital stutter speak takes the cake with Akufen’s
mixes of the 12 bar standard coming in second.
Clips up at:
2 good electronica tracks for today
First and foremost, the new Global Goon rocks
Essentially electro-funk made down to it’s essential bounce.
Favorite electro track so far this year. Formerly on Rephlex
this is their stateside debut on Audio Dregs Records.
Secondly this one off from Shugo Tokumaru
has a beautiful ending to a rampant near breakcore tune: