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Thread: The droned and the saved

  1. #61
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    Just got back from another festival drone performance. May have been some accidental Wyatting. On headphones or in the studio, this is a rather intense but palatable bit of drone.

    On a big system at 3:40AM with a bunch of prone drug casualties its an endless plunge in the cold dark heart of infinite cosmic nothingness.


  2. #62
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  3. #63
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    This has caused some consternation. Not as bad as the FACT list though to be fair.

    http://pitchfork.com/features/lists-...l-time/?page=1

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  5. #65
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    Overwhelmed by ambient and drone right now.

    Gorgeous LP Id never heard from the lists - trombonist Stuart Dempster - or should that be tromDRONEist?? Eh? Eh?


  6. #66
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    Quote Originally Posted by droid View Post
    Just got back from another festival drone performance. May have been some accidental Wyatting. On headphones or in the studio, this is a rather intense but palatable bit of drone.

    On a big system at 3:40AM with a bunch of prone drug casualties its an endless plunge in the cold dark heart of infinite cosmic nothingness.

    Enjoyed that

  7. #67
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    One of the few tunes in recent times to actually make me want to eat a pill.

  8. #68
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    that child track reminded me of the dia foundation's la monte young "dream house" last year: huge warehouse-size room, weird lighting, huge speaker stacks, fuzzy wall-to-wall carpeting and the loudest fucking oscillating drone i've ever heard, so cool.



    http://diaart.org/program/exhibition...use-exhibition

  9. #69
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    Yeah, its definitely got an electric drone early avant thing going on.


  10. #70
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    coolest part is how the sound changed as you turned your head, depending on the angle as your ears aligned with and then turned away from the various speaker stacks.

    photos and recordings weren't allowed, but i managed to sneak about :30 of video/audio on my phone. not sure i'm able to upload video from my phone/computer here.

  11. #71
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    Federico Durand


  12. #72
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    Oldie but goodie:


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    John Murray


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    Diffuse Reflection


  15. #75
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    Anyone familiar with Herman Nitsch? His bio is outstanding.

    Beginning in 1960, following a period in which Nitsch had turned more towards literature, he returned to painting, creating works in the Arte Informel style. It is in this year that the first painting actions take place, and already they are seeking to realize the idea of the Theatre of Orgies and Mysteries. Revolving around the intensive sensory experience of various substances and fluids, these actions become increasingly provocative in the coming years.

    Following screaming and noise action performances, conceived as abreaction plays, Nitsch undertakes the dismemberment of lambs, which lead to further actions involving flesh. After the Theatre proves a resounding success in the US and Germany at the end of the 1960s, Nitsch performs numerous actions throughout the 1970s in cities across Europe and North America.

    In 1971 Nitsch is able to acquire Prinzendorf Castle in Lower Austria from the Catholic Church, a purchase that allows him to now also realize his musical ideas for his theatre in large-scale action performances. Noise orchestras, scream choirs and electronically amplified instruments all play a part. Nitsch interprets life as passion, the painting process as a condensed form of life and thus as the very incarnation of passion. Through the painter smock he wears while working, subsequently positioned centrally in the painting, the artist remains present and animates the viewer to identify with the painting process and accompany him into the painting.

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