June 2003 - zorn-list - mailman.xmission.com

Vincent Gallo
by adam morosky 27 Jun '03

27 Jun '03

I have a couple questions for any Vincent Gallo experts in the crowd. first of all, on his website it says that he has a cameo appearance in Goodfellas: Does anyone know what scene he appears in? I watched the movie and i didn't see him. second, does anyone know what he has been up to? he hasn't updated his website in over two years. last I heard he was spotted vacationing in Greece with PJ Harvey. also, does anyone know what song he used in the strip club scene in buffalo '66? it's not his music, is it Yes? i heard he's really into Yes. that's all for now, I hope some one knows. -adam morosky _________________________________________________________________ The new MSN 8: smart spam protection and 2 months FREE* http://join.msn.com/?page=features/junkmail

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world's slowest drummer
by mwisckol＠ocregister.com 27 Jun '03

27 Jun '03

since we're on a novelty kick, any nominations for the slowest piece of music ever recorded? that would be, a piece that has a steady pulse but incredibly few beats per minute (as would be counted by a metronome). martin

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Re Kevin Sharp
by Edgar Lee 27 Jun '03

27 Jun '03

I don't know what he's doing now , however, in 2000 he was the vocallist with Australian band Damaged and sang on their Purified in Pain CD. He also toured with them. However, he wasn't as good as their first singer Jamie Ludbrook who I think I last saw in a version of Cobra where he sang death metal style. Edgar NP Blood duster's Str8 Outta Northcote CD http://mobile.yahoo.com.au - Yahoo! Mobile - Check & compose your email via SMS on your Telstra or Vodafone mobile.

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'Cobra' Live At The Knitting Factory
by AM FREQUENCIES 26 Jun '03

26 Jun '03

Hi just wondering what 'Cobra' Live At The Knitting Factory is like. It has a huge range of different performers on each track, some I was surprised to see! If someone can tell me if it's good, or point me to a site that does etc... thanks Andrew

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RE: Vincent Gallo
by ahorton 26 Jun '03

26 Jun '03

He just debuted his new film, "The Brown Bunny" at Cannes, and it was almost universally hated. Makes me want to see it more, but the climax is Chloe Sevigny actually giving him a 3-minute blowjob, for real. His ding-dong actually goes into her mouth-mouth, and it's all on film! Slut! Yes, that wank-fest in the strip club was a Yes song, and I can't remember which one (probably because they're one of the least interesting bands of all time, so their music floats out of my brain like pee-pee). androo

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the squid's ear presents jaap blonk live at tonic 7/19
by Kurt Gottschalk 26 Jun '03

26 Jun '03

Jaap Blonk at Tonic July 19, 2003 PRESS RELEASE DUTCH VOCALIST JAAP BLONK IN RARE NEW YORK CITY APPEARANCE SATURDAY, JULY 19, 2003 AT 8 PM AT TONIC 107 NORFOLK STREET NEW YORK CITY <()=~ The Squid's Ear is psyched to present Dutch vocalist Jaap Blonk in a rare New York appearance. Blonk's enigmatic vocal style is as animated as his remarkable stage presence. He's an overgrown imp, a Tex Avery fever dream and one of the most unusual improvisors and experimenters on the face of this place. Among the many artists with whom he's collaborated are Paul Lytton, Mats Gustafsson, Michael Zerang, Fred Lonberg-Holm, Melvyn Poore, Paul Dutton, Nicolas Collins, the Netherlands Wind Ensemble and the Ebony Band. He also participated in a memorable a capella quintet with David Moss, Paul Dutton, Makagami Koichi and Phil Minton at this year's Festival du Musique Actuelle du Victoriaville festival. <()=~ JAAP BLONK BIOGRAPHY. . Jaap Blonk (born 1953 in Woerden, Holland) is a self-taught composer, voice performer and sound poet. His unfinished studies in physics, mathematics and musicology mainly created a penchant for activities in a Dada vein, as did several unsuccessful jobs in offices and other well-organized systems. In the late 1970s he took up saxophone and started to compose music, and a few years later a real breakthrough occurred: he discovered the power and flexibility of his voice. At present, he has developed into a prolific writer/composer and a specialist in the performance of sound poetry, supported by a powerful stage presence and an almost childlike freedom in improvisation. He performed in many European countries, as well as in the U.S., Canada, Indonesia, South Africa and Latin America. Besides working as a soloist, he collaborated with many musicians and ensembles in the field of contemporary and improvised music, like Paul Lytton, Mats Gustafsson, Michael Zerang, Fred Lonberg-Holm, Melvyn Poore, Paul Dutton, Nicolas Collins, the Netherlands Wind Ensemble and the Ebony Band. He performed in several compositions by the German composer Carola Bauckholt, including a piece for voice and orchestra. A solo voice piece was commissioned by the Donaueschinger Musiktage 2002. Blonk is the founder and leader of Splinks, a 15-piece orchestra playing his compositions, and BRAAXTAAL, an avant-rock trio with synthesizer and drums. He also has his own record label, Kontrans. His work for radio and television includes several commissioned radio plays. He also makes larger-scale drawings of his scores, which have been exhibited. Blonk is an energetic workshop leader too, who taught in many different countries, including a lot of work with children. A recent development is his involvement with electronics, in the form of work created by sampling and processing the sounds of his voice. Jaap Blonk keeps on searching the rich common ground between poetry and music. He is always after new sounds and combinations of sounds, without abandoning completely the semantics of language. His live performances are music, poetry and performance art all at the same time. For more information and photos, go to www. jaapblonk.com <()=~ The Squid?s Ear is an online magazine devoted to insightful coverage of unusual music. In the six months since it was launched by journalist Kurt Gottschalk and web developer Phil Zampino, SQE has featured articles about Susie Ibarra, Peter Kowald, Fred Frith, Phil Kline, Ikue Mori and Butch Morris, has run original essays written by Eugene Chadbourne, Jon Rose, Gary Lucas, Anthony Coleman, Ron Anderson and Carla Kihlstedt and Nils Frykdahl of Sleepytime Gorilla Museum, and has run over 130 cd and concert reviews. SQE can be seen at http://www.squidsear.com . It is published by Squidco LLC, which also operates an online CD store, http://www.squidco.com . <()=~ Contact information: Kurt Gottschalk, editor ? kurt(a)squidco.com Phil Zampino, publisher ? zampino(a)squidco.com The Squid?s Ear SQUIDCO 160 Bennett Avenue, Suite 6K New York City, NY 10040 917.535.0265 Tonic ? tonic(a)tonicnyc.com http://www.tonicnyc.com 107 Norfolk New York City, NY 10002 212-358-7501 _________________________________________________________________ STOP MORE SPAM with the new MSN 8 and get 2 months FREE* http://join.msn.com/?page=features/junkmail

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new metallica (no zorn content)
by SonataPathetique＠aol.com 26 Jun '03

26 Jun '03

I am just curious what people think about this one. The opinions i am mostly looking for are from the old metallica fans that were turned off by their 90's cd's. Do you feel this cd redeemed them? I personally really like the new cd a lot. It has more energy than any cd they have done in the past and i love the snare drum sound. It's just raw. The lyrics aren't the best but I dont think Metallica was ever known for their lyrics.

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Re: rawk
by Samerivertwice＠aol.com 26 Jun '03

26 Jun '03

The first time I heard Radiohead was when "Creep" was a minor hit in the US. Nothing about the song struck me as overly original or imaginitive so I dismissed Radiohead as being yet another one of the many post-Nirvana wanna-be punk-pop bands who hired a producer to make them sound grunge. Then I saw them in concert opening for Soul Asylum and did a 180. Thom Yorke was incredibly charismatic, and the band were ferociously passionate. I'd see them again in heartbeat, though I'm still not a big fan of their records. Last year I conducted an interview with author Nick Hornby (the guy who wrote "High Fidelity" and "About A Boy"). Here's what he says about Radiohead: Me: Have you received any flack over your New Yorker articles? My guess is that your less-than-complimentary Radiohead review caused a small scandal in the UK. Similarly, your recent article about the Billboard Top Ten makes no attempt at hiding your amusement and dismay over the US’s musical tastes. Aren’t you just a little nervous about dissing P. Diddy and Eminem in print? Hornby: No flack, really, although it clearly irritated a lot of people. Whenever I do anything online, there is always a queue of outraged Radiohead fans waiting to take me to task. I stand by the review; I think that in 20 years’ time, that generation of fans won’t own up to having liked it, just as my generation deny owning anything by Yes or Emerson, Lake and Palmer. I notice that Radiohead is even starting to get the same press as prog-rock bands got in the ’ 70s—earnest, ‘posh’ music writers basically saying, “This stuff is wasted on pop fans. It’s really brainy.” Yeah, right. Hopefully history will repeat itself in other ways, and there’ll be a 21st century Ramones along in a minute to blow it all away. I shouldn’t think P. Diddy and Eminem are too worried about what I think. What appalls me about P. Diddy is the celebrities who suck up to him. All those people who appeared in his video birthday invitation… What are they “thinking” of? Tom In a message dated 6/26/03 2:08:45 PM Eastern Daylight Time, schnack(a)mailbolt.com writes: > On Wed, 25 Jun 2003 13:02:35 -0400, ahorton <ahorton(a)vt.edu> wrote: > > I think Radiohead are one of the least interesting bands currently > > recording and making music; their songs are too intentionally > > "postmodern"/"faux-avant garde" to touch me, or anyone, personally and > > emotionally, and the music is wholly uninteresting as well. > > Well, make that "anyone except for one person", because at the end of the > day, the reason I really like Radiohead is because of good songs and > heartfelt emotions. That being said, except for a few songs, Kid A seemed > to be lacking in the emotion dept. But aside from that their music can > touch me very deeply, particularly OK Computer. > > Ernesto > ______________________________________________________ Discs I'm listening to at work: Led Zeppelin -- How The West Was Won Fountains of Wayne -- Welcome Interstate Managers Willie Nelson & Friends -- Live and Kickin' Pine Valley Cosmonauts -- The executioner's Last Songs Vol 2 & 3

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rawk
by ahorton 26 Jun '03

26 Jun '03

I came to Zorn's music from indie rock, so I have to drop some comments. I think Radiohead are one of the least interesting bands currently recording and making music; their songs are too intentionally "postmodern"/"faux-avant garde" to touch me, or anyone, personally and emotionally, and the music is wholly uninteresting as well. I'm tiring of so many people calling the band "experimental", when they're simply doing things that other artists made safe years ago. Ok, enough bitching aside- who's interesting in rock right now? I say: Enon- John Schmersal, who was in the seminal mid-nineties band Brainiac. After "the guy" from Brainiac died, John started Enon. The first record, "believo!", found him teaming up with two guys from Skeleton Key. It's a melange of junkyard funk, lo-fi synth rock, and blistering post-pop. Great, great record. Then, last year, he came back with a new backing band (Toko Yasuda, a gorgeous girl who plays synth and bass alternately and also sings lead and backup) and a drummer. They released "high society" last year, a mix of almost-synth pop, straighforward poppy indie rock, grinding electro-rock, a sonic-youthy song, and even the title track, a great, noirish Serge-by-way-of-Pulp number. I think they're one of the more interesting indie rock bands making music right now. Lambchop- If you guys haven't heard Lambchop, get thee to a record store! They're an often-14 piece Nashville band doing an inexplicably perfect blend of classic Lee hazlewood-esque 1970's country (the morricone-y strings, the cavernous drums, the ghostly slide guitar) and 1970's R&B (the smooth horns, the thrumming hammond, the wah-wah guitars). They're hot hot hot. Androo

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Re: fast, slow, tasteful, tasteless drummers
by zsteiner＠butler.edu 26 Jun '03

26 Jun '03

How DOES one determine tastelessness in that kind of setting? I would imagine it's exceedingly difficult to tell the difference between a good player and some one jiving. Zach ----- Original Message ----- From: bsweet(a)umich.edu Date: Thursday, June 26, 2003 10:22 am Subject: fast, slow, tasteful, tasteless drummers > 'And I remember, Stu stopped the whole group in the middle and, > like, went > off on this guy who was playing drums, saying, 'you tasteless > motherfucker!' In that context, what would constitute taste? > What could > the guy have done that was so wrong? What was right and what was > wrong? > This poor guy was traumatized for weeks trying to figure out what > he had > done. I thought that was really funny, even though it was kind of > cold. I > mean, I don't know what Stu was thinkin'. . . . But that cracked > me up-- > 'you tasteless motherfucker.'" Copyright 1996 Arborville Publishing

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