S/D Terre Thaemlitz

His covers albums are treats and there's one song in particular from a mid-nineties comp that has some of the deepest, near-subliminal bass I've ever heard.

It sucks that Amazon thinks that most of his stuff is seriously OOP.

can't get into the ambient house ish stuff on instinct...

have always wanted to hear the rubato records but they're seriously oop, right?

most of the experimental stuff of his that i've heard are just great when i'm in the mood. i'm completely clueless when it comes to this academic style of electronic/electro-acoustic/??? music, but tt's abstract stuff does a nice job rearranging brain molecules

search: LOVEBOMB (esp. tracks 1-3... track 2 should be in the fucking Smithsonian, it's such a perfect poignant piece of art)

couture cosmetique, means from an end, love for sale are all in this same vein.. the first two are stellar.. love for sale did nothing to me but maybe it just wasn't the right time.

and that's all i've heard...

his huge impenetrable (to me) conceptual essays in his linear notes probably make him out to be a pretnetious prick to many people but it doesn't really bother me.

His website has a fair amount of interviews and writings of his...

I bought Love for Sale - Taking Stock in Our Pride years ago, because the concept seemed interesting, but the album is mostly just pointless noodling. He does some audio trickery there that sounds pretty disturbing, but that doesn't make it much better.

And Winston is correct about the impenetrable essays: I've read queer and gay/lesbian theory for years, and I still don't get everything he's trying to say in the liner notes to that record.

Though for me, ironically, the liner notes made the album sound more interesting than it turned out to be.

so I'm on track 6 of Lovebomb so far. incredibly intense. it's giving me that same feeling I got from Midtown 120 Blues, just an undercurrent of sadness, but I didn't really get that until track 9. this one just lays it out flat right from the beginning.

between empathy and sympathy is time for sure

The song I mentioned upthread: "Trucker"

Isn't this DJ Sprinkles???

yes!

listening to Lovebomb again!

Oh how I tried so hard to like Midtown 120 Blues...

^ me too. it's pleasant, alright, but...

No matter how much I love his ranting about teh gays, the songs are all too goddamn long!!

i'd pay twice as much for a copy without the talking.

that would be a pretty bad decision imo because the talking takes up about 3 minutes out of 80

i'll claim my tax at the border. seriously though, he deserves more money. it is a wonderful album. i played the new single at the gallery last night. it sounded incredible at high volume.

just playing some old records i'd forgotten all about and i found this

http://www.discogs.com/Various-Dois-Album-Sampler/release/184546

with a lovely Thaemlitz production on the B - so strange - i would've sworn blind that the first i'd heard was midtown 120 blues - its nice to dig deep every now and then - i'm going to play RECORDS more

revive!!

is anyone going to this next week? i'll be there:

http://www.issueprojectroom.org/music/terre-thaemlitz-soulnessless/

hoping the IPR set was the reason behind the revive. ill be there for sure although it looks p critical theory addled

dig it: "In this unconventional “concert” combining lecture, slides, audio and video, Thaemlitz talks the audience through all five parts of the project, ranging from a +30 hour piano solo “Meditation on Wage Labor and the Death of the Album” critiquing the social conditions around commercial and academic music production (see separate performance description for this particular piece in Piano Solo section below), to a Feminist survey of the uses of electronic audio equipment by Roman Catholic Nuns in Philippine monasteries."

i'd be psyched if he showed up as his alter-ego dj sprinkles--those sprinkles records are pretty sweet

That sounds promising... Plus it's 4 blocks from my apartment, and it's been way too long since I've been to Issue Project Room.

Listening to Web, his album with Bill Laswell. I know BL gets a kicking for his overexposed 1990s, but this is a good record.

listened to this a few days ago : http://www.discogs.com/Various-Fagjazz-Comatonse-Super-Best-Collection/release/107570

unsurprisingly good

!

http://www.comatonse.com/releases/soulnessless/

SOULNESSLESS IN FIVE CANTOS:

CANTO I
ROSARY NOVENA FOR GENDER TRANSITIONING

CANTO II
TRAFFIC WITH THE DEVIL

CANTO III
PINK SISTERS

CANTO IV
TWO LETTERS

CANTO V
MEDITATION ON WAGE LABOR AND THE DEATH OF THE ALBUM

PLUS BONUS MATERIALS
WORLD'S LONGEST ALBUM IN HISTORY &
WORLD'S FIRST FULL-LENGTH MP3 ALBUM*
WITH REMIXES BY DJ SPRINKLES & K-S.H.E

+32HRS. 320KB/S MP3 | 80MIN. MP4 | +150PP. PDF
LANGUAGES: BG, DE, EN, ES, FR, IT, JP, PL, PT, RU
16GB MICROSDHC CLASS 4 | MAC/WIN

* "Full-Length MP3 Album" refers to a maximum length <4GB 320kB/s stereo MP3 file based on FAT32 size limitations, first actualized in the recording of the 31hr. 25min. acoustic piano solo, "Meditation on Wage labor and the Death of the Album" (edited duration: 29hr. 42min. 30sec. 53msec./3.984217739664GB). When combined with the other audio files in this album, the total length exceeds 32 hours.

kudos to the lex

http://www.factmag.com/2014/04/29/deeper-underground-fact-meets-terre-thaemlitz-part-one/4/

Those of us who absolutely despise performance, yet do it anyway, are numerous. The audience simply doesn’t want to hear that we’re just doing our performing jobs with the same minimum of enthusiasm they bring to their own jobs. Performers are like used car sales people. We have to appear enthusiastic to make the sale, and we can learn to muster the energy required to make the customer feel good. But what is more tragic than a used car sales person who actually “believes” in what they do? A musician, that’s who! The upsetting thing is the cultural pressure for people like me to feel shame or fraudulence about failing to believe “music is who I am.” What horrible double standard of capitalist ethics is that, when an audience requires such a thing of performers, while they themselves don’t feel that love towards their own jobs? Of course, on a propaganda level, today’s “artists” embody the potential for from-the-soul harmony between labour and the self under capitalism. That really makes music performance about an ethical double standard, which is performed by both those on stage and off. It is a double standard I can only engage with criticality and disgust. My personal objective as an audio producer is to make these hypocritical processes more visible, and speak of them openly.

Terre ALWAYS worth reading, so pleased this is an epic, kudos lex