Thursday, February 29, 2024

tunnel: A Tender Proposition to the Din

tunnel (Jen Reimer and Magnus Tiesenhausen)
A Tender Proposition to the Din
Calgary, Canada: Esker Foundation, 2018
31 × 31 cm. vinyl LP
Edition of 200 

"A tone is a wave, and a wave is just a circle in the format of a line: a circle in eternity, an undulating line in sequence. If a tone is alive, what is the substance of its body, and do our bodies have that substance also? Can a tone be a limb? What would it reach for?

A tender proposition to the din is a moment extracted from a cycle of water storage, distillation, distribution, consumption, transformation. This cycle takes place on a scale and scope far beyond that of our bodies and the human lifetime; it encompasses states of atmospheric haze, glacial movement, the wayward paths of astral bodies. A tender proposition to the din captures an industrialized, infrastructural instance within the cycle.

There is music in this infrastructure, emergent tones in the din. Human voices crudely, but harmonically, mimic the tones of machines—the work of starlings in the dark. Mimicry is a type of communication, a type of tenderness; our song reaches out to the song of the machines and through them, to the cycle. In distilling the tones heard in the din, in speaking to and singing with the din, tones are isolated and purified in us also. Distill and be distilled.

The industrial civic processes recorded here are the vibrations of water treatment and circulation taken from within Calgary’s Glenmore reservoir and Bonnybrook Wastewater Treatment Plant. These recordings were facilitated by the City of Calgary WATERSHED+ Dynamic Environment Lab and by many gracious and patient Water Services workers."

Available from Patel Brown, for $15 CDN, here

Wednesday, February 28, 2024

Robert Watts | Notes and Sketches 1964-1966

Robert Watts
Notes and Sketches 1964-1966
Verona, Italy: Edizioni Francesco Conz, 1979
53 × 37 × 4 cm.
Edition of 130 [+ 15 AP] signed and numbered copies

A silkscreened clothbound portfolio case containing silkscreens on paper comprising a colophon, an introduction by the artist, and twenty drawings each hand-coloured in crayon by the artist. 

Each print is signed and numbered and the collection is signed by artist Larry Miller, who manages the Watts estate. One hundred sets are numbered with Arabic numbers and thirty with Roman numerals. There are an additional fifteen artist proofs. 

The collection was published by Francesco Conz, in collaboration with Rosanna Chiessi.

Tuesday, February 27, 2024

Lenka Clayton & Phillip Andrew Lewis | Sculpture Imaginer

Lenka Clayton & Phillip Andrew Lewis
Sculpture Imaginer
Pittsburgh, USA: Early Editions, 2023
6 x 9” 
Edition of 100 signed and numbered copies

Several years ago, on a road trip to Ottawa with our friends Jen and Stefan, the four of us conceived of an exhibition - only partly in jest - about plinths. It was to include works of art that were inseparable from the pedestals on which they stood. Things like Tom Friedman’s Untitled (A Curse), in which the artist employed a professional witch to cast a curse on the area above the plinth (and my friend Leah, who hired another witch to remove the spell). 

I think it was Stefan who proposed the exhibition’s title: Ace of Base

Sculpture Imaginer by Lenka Clayton & Phillip Andrew Lewis would be a perfect work for this imagined exhibition. A three millimetre chain is fastened to uncoated archival Mohawk paper laminated with black cardstock seam, allowing the viewer to conceive of an infinite number of sculptural forms atop the printed plinth. 

Sculpture Imaginer is available for $100 US, from the artists, here

Monday, February 26, 2024

Kay Rosen

Happy Birthday to Kay Rosen!

Sunday, February 25, 2024

David Bellingham

Lenka Clayton

Another use for an asterisk, a shooting star by Lenka Clayton for Paul + Wendy Projects annual holiday greeting card. 

Lauren Wickware


A Valentine’s Day card from designer Lauren Wickware. 


A postcard by Beck, a young artist we met in Toronto at the Multiples Pop-Up shop. She sent this over the holidays, it arrived and I promptly lost it. She sent a replacement and the day after it arrived, the original reappeared. 

Saturday, February 24, 2024

Andreas Friberg Lundgren

This greeting card (2023 Happy Holidays, 2024 Back to the Grind) arrived from Andreas Friberg Lundgren, who (alongside Carl-Johan Lindqvist) operates the design studio Lundgren+Lindqvist, which produces the wonderful boxed ll’Editions. 

Sveinn Fannar Jóhannsson

This weekend: quick posts from the post - things I received in the mail, misplaced and then found again this morning. Starting with this folded, signed and numbered poster by Sveinn Fannar Jóhannsson, who first appeared on the blog over a decade ago, with his book Portraits by Waiters, here

Friday, February 23, 2024

Harold Budd | Pavilion of Dreams

Harold Budd
Pavilion of Dreams
London, UK: Obscure Records, 1978
12” vinyl LP
Edition size unknown

In Michael Winterbottom’s film 24 Hour Party People (now over twenty years old, jeez), Factory Records head Anthony Wilson describes the debut Manchester performance by The Sex Pistols as only having forty or so audience members, but influencing the music scene in the city for decades.Brian Eno once remarked that only a few hundred people bought the Velvet Underground’s debut LP, “but they all formed bands”. 

The concerts and lectures of John Cage (Obscure #5) seem to have had a similar effect. 

Harold Budd was in the army at the time he first saw a John Cage performative lecture, something he would later cite as one of the two most important moments in his life. 

“I went to a concert by Cage and David Tudor called Where Are We Going? And What Are We Doing?2” he told journalist Geeta Dayal in 2008. “I thought, Jesus Christ, I wanted to go in that direction. It seemed heavy with the art part, if you know what I mean. It was heavy anti-academic, anti-Germanic, anti-European modernism . . . Cage was not an antidote to that, but just a different monetary value altogether.”

After leaving the army, Budd studied music at the University of Southern California, graduating in 1966. He composed minimalist drone works in this period partly influenced by Cage and Morton Feldman3 as well as abstract expressionist painters, such as Mark Rothko4. He began teaching at the California Institute of the Arts, then operational for less than a decade. 

In 1972, he wrote "Madrigals of the Rose Angel”, which caught the attention of both Michael Nyman and Gavin Bryars, who passed copies of a poorly recorded cassette on to Eno. 

According to biographer David Sheppard, Eno was instantly beguiled. 

"Brian called me one evening at my home in California and asked me if this was the sort of music I always do," Budd remembers. The pianist and composer replied yes, and soon found himself flown to London, to record in the Basing Street studio where all previous Obscure Records had been produced. 

"I remember Brian playing for me the Fripp and Eno records, late in the evening, in his living room. For me it was a parallel universe – I had thought till then, in naıvete ́, that I was alone . . . It’s a treasure I’ll never forget."

Alongside Budd and Marion Brown (the alto saxophone player who accompanied him on his trip from California) other players from the Obscure releases also contributed to the recording. These included 
Richard Bernas on celeste, Gavin Bryars on glockenspiel and vocals, Michael Nyman on vocals and marimba, John White on marimba and percussion, and Richard Bernas on piano. Eno contributed his voice to the final of the four tracks, the eight and a half minute “Juno."

Budd describes his peers in the Obscure roster as like part of a “brotherhood of agreeable, like-minded artists”.

The resulting album would become the tenth and final release from Eno’s Obscure Records label (compiled in the recent box set). But The Pavilion of Dreams would have to wait a full eighteen months before being released, following a series of delays owing to Eno’s ever-expanding other commitments. 
The record was a critical hit and also managed to find a reasonable sized audience. 

"Harold Budd creates a series of siren songs on The Pavilion of Dreams that shimmer like light reflected on the water's surface,” wrote AllMusic. The Guardian called the reworking of the track first sent to Eno, "Madrigals of the Rose Angel” a 14-minute opus: "Melding harp, piano and celeste with choral vocals, the latter is a feat of melancholia that feels like a template for Radiohead at their best. Guiding it all was Budd’s intuitive grasp of economy and making every gossamer phrase count. As he traversed vast oceans of feeling, each passing depth seemed worthy of special consideration."

Two years later, Eno and Budd released the collaborative record Ambient 2: The Plateaux of Mirror and another four years after, The Pearl. Two years after The Pearl, Budd released The Moon and the Melodies. This 1986 collaboration with the Cocteau Twins would further raise his profile and kickstart a collaboration with guitarist Robin Guthrie that would continue for the rest of Budd’s life.5 He would also collaborate with Andy Partridge of XTC, David Sylvian and Jan Wobble. 

Budd attributed his work with these British musicians as a direct result of the Eno’s invitation to record in London. 

"I couldn't get arrested in America," he said. "But as soon as I landed in Britain, I was taken seriously as an artist. What a change from just a few hours earlier!"

In interviews he would often summarize the impact of the record on his career with the line “I owe Eno everything”:

"I owe Eno everything, OK? That's the end of that... I was plucked from the tree, and suddenly I had flowered. I was just waiting. I couldn't do it on my own. I didn't know anything."

"I owe Brian everything. But the primary thing was attitude. Absolute bravery to go in any direction."

“I just want to say one thing again clearly right now: I owe Eno everything. [Recording with him] opened up another world for me that I didn’t know existed, and suddenly I was a part of it.” 

Budd suffered a stroke on November 11th, 2020. While undergoing therapy at a short-term rehabilitation facility, he contracted Covid 19. Less than a month later, on December 8th, he died of complications from Covid, at the age of 84. 

"That’s how I met Brian Eno. A student of mine sent Gavin Bryars a piece of mine, “Madrigals of the Rose Angel.” Gavin sent it immediately to Brian Eno and Eno called me up out of the clear blue sky. One of the things he asked was, “Is this the sort of music you always write?” I said, “Well, yes.” He said, “I want to bring you to London to record.” I said, “Well, OK.” That was it.

I had just given a concert with Marion Brown. Marion was on the road with an academic avant-garde composer of really dull music. A very sweet man but really not happening. Marion said to me, “You played with Albert Ayler,” and I said, “Yes.” He said, “I’ve read about that, are you still there?” I said, “Oh no, no. I left that ages ago.” He said, “Well, what do you do,” and I played him “Madrigals of the Rose Angel.”

At the end, he said, “Would you please write a piece for my horn?” I promised I would and, by God, I did. After he had heard a performance of that piece at Wesleyan University, Eno said, “We have a saxophonist who is really good,” and I said, “Well, I’m sorry. I wrote this for Marion and it really belongs to him.” He said, “Oh yes, OK, I understand. We’ll bring Marion.” That was it. We showed up and recorded for three or four days in Basing Street Studio in London. Full ensemble, six female singers, and cellist, and percussion and harp. It was amazing. I was so jazzed with London that I eventually moved there. Not only could I not make a living in America, I couldn’t get any performances. I couldn’t get any respect. I was happy to get the hell out of there.”
- Harold Budd

1. The legendary concert took place on June 4th, 1976 at the the Lesser Free Trade Hall. David Nolan, the author of I Swear I Was There: Sex Pistols, Manchester And The Gig That Changed The World states "Without that 4 June gig – and the Pistols return visit six weeks later - there would be no Buzzcocks, Magazine, Joy Division, New Order, Factory Records, no ‘indie’ scene, no The Fall, The Smiths, Hacienda [nightclub], Madchester [scene], Happy Mondays or Oasis.”

2. Where Are We Going? And What Are We Doing? consists of four lectures from Cage’s book Silence presented by a single performer but heard simultaneously. One of the lectures is read live, to a backing track of the other three. “Sometimes there’s nothing to listen to, and sometimes there’s more than you can possibly take in,” Cage explained. “And my reason for doing all that is to make an imitation of what our daily experience is.”

3. Budd: "Before I graduated from that college I heard Morton Feldman for the first time and saw his scores and that was revelatory to me. The scores didn’t have music paper, same with John Cage. I was just enthralled with those two guys.” 

4. Brian Eno has called Budd "a great abstract painter trapped in the body of a musician".

5. Budd: “I met Robin Guthrie through Ivo Watts Russell, the founder of 4AD. We went to a Cocteau Twins gig, Elizabeth Fraser’s voice was remarkable, then went backstage to meet them. They initially wanted to only cover one of my pieces, from the Eno collaboration, The Plateaux Of Mirror, but we eventually decided on recording an album of new work together. I developed my friendship with Robin Guthrie there and then. It took about a month of daily work in the studios to do Moon…. There was a very good pub nearby, in White City, I remember, which I took scandalous advantage of, I must say.”

Thursday, February 22, 2024

Tom Phillips, Gavin Bryars, Fred Orton | Irma

Tom Phillips, Gavin Bryars, Fred Orton
London, UK: Obscure Records, 1978
12” vinyl LP
Edition size unknown

Irma is the ninth and penultimate recording from Brian Eno’s Obscure Records label, released in 1978. 

Over a decade prior, visual artist Tom Phillips tasked himself with finding a used threepenny novel and altering every page by painting, collage and employing cut-up techniques, to create an entirely new version. In a junk shop on Peckham Rye, South London, he discovered a little-known 1892 Victorian novel by William Hurrell Mallock, titled A Human Document. The book tells the story of a passionate affair between an unhappily married wealthy woman and an aspiring young poet-turned-foreign-service-minister.

"I took a forgotten novel found by chance,” Philips later wrote, “[and] mined, and undermined its text to make it yield alternative stories, erotic incidents and surrealist catastrophes which lurked within its wall of words. I replaced with visual images the text I’d stripped away.” 

The resulting mixed-media text was named using a portmanteau of the original title: A Humument: A Treated Victorian Novel. It has been described as the "defining masterpiece of postmodernism”.

The score for Irma, which was completed in 1969 and first published in the French avant garde poetry magazine O.U.,  involved ninety-three random phrases taken from the novel, which were then divided up into sound suggestions, a libretto and staging directions.

Brian Eno met Phillips in 1964, when he was a student at the Ipswich School of Art, where Phillips taught.  The cover of Eno’s 1975 solo album Another Green World featured a detail from one of Phillips paintings, After Raphael

Eno proposed that Gavin Bryars flesh out Irma's score for the recording. Bryars took charge of the direction of the piece, with Fred Orton writing the libretto. Given that the work originated as graphic notation, Bryars was forced to make many decisions and improvise extensively. 

According to Bryars, Phillips was pleased with the results, remarking "This is the way I always thought Irma would sound." Bryars recalls thinking "Shit, if you always knew how it was going to sound, why didn't you write it, then?” 

"Tom Phillips blames Eno for not taking a firmer hand over proceedings: ‘Irma was an absolute fucking disaster. It’s the one thing I really hold against Brian – though it was a piece of uncharacteristic naıvety on Brian’s behalf, really. He let Gavin steal the piece. The record came out as a piece by Gavin Bryars, which is outrageous when its total derivation is from me – it’s my piece. Brian said he wanted to do the record, so I said “fine” . . . I didn’t like the performance, it all seemed to be glamorized and softened. I think Brian made a terrible mistake in allowing Gavin to take the piece over as nominally his own. I think Brian was bullied by Gavin a little bit.’”
- David Sheppard, On Some Faraway Beach: The Life and Times of Brian Eno

Wednesday, February 21, 2024

John White and Gavin Bryars | Machine Music

John White and Gavin Bryars
Machine Music
London, UK: Obscure, 1978
12” vinyl LP
Edition size unknown

Producer Brian Eno, Machine Music is the eighth release on his Obscure Records label, recently reissued as a complete box set. Side one features compositions by White and side two by Bryars. 

"Gavin, Brian, Derek Bailey and I were playing two guitars each, simultaneously. I was probably the only one there who’d actually done such a thing before, but this was extremely demanding in an oddly cack-handed kind of way. Derek and I were already good friends by then, but the fact that Brian was playing those parts speaks volumes about his ability to try just about anything; not to assume that this was for a specialist.”
- Fred Frith, on his contributions to Bryars’ track "The Squirrel and the Rickety-Rackety Bridge"

Tuesday, February 20, 2024

Music From the Penguin Cafe

The Penguin Cafe Orchestra
Music From the Penguin Cafe
London, UK: Obscure Records, 1976
12” vinyl record, 29:30
Edition size unknown

The seventh record on the Obscure label is the debut album for the Penguin Cafe Orchestra. In a 1975 interview with Time Out Magazine titled “I Want to be a Magnet for Tapes”, Brian Eno teases out the forthcoming album album, calling it "a secret project.” I suspect many people with a Penguin Cafe Orchestra LP consider it a secret treasure, despite the band’s reach extending into popular film soundtracks and television commercials.1 

Like Discreet Music (Obscure #3), the Penguin Cafe was born of illness. The somewhat goofy origin story  involves Simon Jeffes lying on a beach in the south of France, in 1972. He had an hallucination from the food poisoning he got from eating bad fish. A penguin approached him and announced "I am the proprietor of the Penguin Cafe. I will tell you things at random.” As the story goes, Jeffes’ resolved to compose the type of music one might hear at this cafe. 

"I want to make music for people capable of enjoying Wilson Pickett, Beethoven, the Rolling Stones, choral music from West Africa, Bach, Stravinsky, Irish bagpipe music and even Abba on the odd occasion," he said.

Unlike the other albums in the series, Eno did not serve as producer for this LP, instead providing Jeffes with the small sum of 900 British Pounds to handle recording costs. Much of this was done in Jeffes’ back garden, between 1974 and 1976. 

“It was a bit of a fluke,” explains Emily Young, now a renowned sculptor2. “Brian had these other people he was working with in a left-field zone. And then Simon turns up and what he was doing was so unlike anything else, that Brian, bless him, said, ‘We’ll do something, we’ll see what happens.’”

Young sings on the record - something which might be jarring to listeners familiar only with the group’s later, all-instrumental works - and would illustrate all of their future album covers, including any subsequent reissues of this debut. Young and Jeffes have a son together, named Arthur, who later formed a group called the Penguin Cafe, to continue performing his father’s music.  

Music From the Penguin Cafe can sometimes feel like a demo the band’s later masterpiece, the 1981 self-titled disk, but it remains the most accessible of the Obscure series. At almost a half-century old, it hasn’t aged poorly at all. But audiences will likely consider it a minor work in the group’s discography, as did Jeffes presumably, as only two tracks from this disc make it onto their 1996 “primer” Preludes, Airs & Yodels. Broadcasting From Home, Signs Of Life and Penguin Cafe Orchestra are each represented by four cuts on the compilation. 

It strikes me, revisiting these works in the new box set, that so many of the Obscure recordings involve found sounds and chance operations. Music From the Penguin Cafe involves none. However, the track they are most known for features both.3 "Telephone and Rubber Band” originated when Jeffes was making a phone call and discovered the sound of a ring tone and an engaged signal appearing simultaneously. He recorded this strange bit of audio serendipity onto his answering machine and used the loop as the bed track for the song.4 

The band gave its first major concert performance in October of 1976, opening for Kraftwerk at The Roundhouse. Shortly afterwards, Jeffes found himself supervising recordings for Joe Strummer’s pre-Clash band, the 101ers, which brought him to the attention of the Sex Pistols impresario Malcolm McLaren. McLaren hired him to write the string arrangement for Sid Vicious’ version of “My Way” and later to teach Adam Ant percussion.5 

Jeffes died of an inoperable brain tumour on the 11th of December 1997.

1. Films using PCO songs on their soundtracks include Malcolm (1986, Nadia Tass), Talk Radio (1988, Oliver Stone), Napoleon Dynamite (2004, Jared Hess), and The Founder (2016,  John Lee Hancock). A trailer for John Hughes' She's Having a Baby and an episode of the The Handmaid's Tale also made use of their music. 

2. Young is also the Emily from "See Emily Play”, a 1967 single by Pink Floyd, written by original frontman Syd Barrett. 

3. Their next-best well-known song does not feature found sounds, but rather a found instrument. During the ensemble’s first tour of Japan, Jeffes found an abandoned harmonium in a back alley in Kyoto. He used it to write "Music for A found Harmonium”.  

4.  The 1996 single "In the Meantime” by Spacehog featured a tweaked and detuned sample of "Telephone and Rubber Band". 

5. Before recording his second album as Adam and the Ants, Adam Ant invited McLaren to manage his band. McLaren absconded with the Ants, replacing Adam with thirteen year old Annabella Lwin and changing the band’s name to Bow Wow Wow

“Given his individuality, his non-allegiance to any particular musical category, and the unfailing eclecticism of his vision, Simon Jeffes could easily be marginalized as an English eccentric – and thus sort of overlooked.

The truth is he discovered a huge musical territory – stretching along the border regions of the whole United Nations of music – and he wandered through it fascinated and, apparently always smiling. These pieces are reports back from those borderlands.

Like any good explorer, Simon was both alert and humble. He had no trace of musical snobbery, but delighted in the length and breadth of music, happy to experiment with all combinations.”
- Brian Eno

"The first Penguin Cafe Orchestra album was I think number seven on the Obscure label. He produced various people on it as well. Music For Airports was always something that Dad really, really loved. And then also the idea of music being... not a fifth wall exactly... but something to go in a space rather than just a narrative form. That lack of directness in his music was something that informed their music. Someone once described Penguin Cafe as electronica done with real instruments and I think there’s a bit of that in it.”
- Arthur Jeffes, son of Simon Jeffes and Emily Young

"In 1972 I was in the south of France. I had eaten some bad fish and was in consequence rather ill. As I lay in bed I had a strange recurring vision, there, before me, was a concrete building like a hotel or council block. I could see into the rooms, each of which was continually scanned by an electronic eye. In the rooms were people, everyone of them preoccupied. In one room a person was looking into a mirror and in another a couple were making love but lovelessly, in a third a composer was listening to music through earphones. Around him there were banks of electronic equipment. But all was silence. Like everyone in his place he had been neutralized, made grey and anonymous. The scene was for me one of ordered desolation. It was as if I were looking into a place which had no heart. Next day when I felt better, I was on the beach sunbathing and suddenly a poem popped into my head. It started out 'I am the proprietor of the Penguin Cafe, I will tell you things at random' and it went on about how the quality of randomness, spontaneity, surprise, unexpectedness and irrationality in our lives is a very precious thing. And if you suppress that to have a nice orderly life, you kill off what's most important. Whereas in the Penguin Cafe your unconscious can just be. It's acceptable there, and that's how everybody is. There is an acceptance there that has to do with living the present with no fear in ourselves.”
- Simon Jeffes

Monday, February 19, 2024

Michael Nyman | Decay Music

Michael Nyman
Decay Music
London, UK: Obscure/Island Records, 1976
12” vinly LP, 49:53 
Edition size unknown

Decay Music is the first LP release by the critic/composer who would go on to write operas1 and score countless films2, including a best selling soundtrack album, for Jane Campion's Oscar winning film The Piano

Produced by Brian Eno, as the sixth release on his Obscure label (use the hashtag below to see the first five), Nyman's album features two tracks, one per side. Both are built around the concept of decay. The b-side is a fairly slight work called "Bell Set No.1". The A-side is a beautiful piece titled "1-100". The simple premise is that there are a hundred chords and the performers cannot play the next until he can no longer hear the previous. I was happy to think about the work, without hearing it, for years. 

Gavin Bryars, who (along with Nyman) assisted Eno in the selection of material for the label, was not a fan of Decay Music: 

"The Obscure album he did is incredibly trivial, just him playing through these chords . . . Nyman started writing music because he worked with Steve Reich as a kind of agent and he saw that with Steve’s stuff, you play a little cell then play it over and over again, changing it a bit as you go, and a lot of people come and hear it and say, “Great!”’

Almost thirty years after its first release the recording was issued on compact disk, to coincide with the composer's 60th birthday, in 2004. As a bonus track, the original full-speed recording of "1-100" is included. 

"It was called Decay Music, which was produced by Brian Eno. Brian was brilliant. He persuaded Polydor that he should produce – or curate, as we would call it now – a label of what was still called “experimental music.” I think there are ten releases from 1975 to about 1978.

At that time, I’d written precisely two pieces of music. I played him one piece called “Bell Set No. 1,” which is a kind of fake Steve Reich percussion equivalent for four organs. We recorded that and Brian said, “I’d put this as the B-side of someone else’s album.” I said, “I want the whole album to myself.” He said, “What else do you have?” I said, “I have this piece called ‘1 – 100,’” which was the soundtrack to my very first [Peter] Greenaway film.

It was a solo piano piece where you sustain a hundred chords running from the top of the piano to the bottom of the piano. When the sound has died away, you play the next chord. It’s an old Morton Feldman idea. So, we recorded it. Lasted about 18 minutes and Brian said, “Is that it?” I said, “Yes,” and he said, “Well, that’s not very interesting,” and I said, “Well, I have this idea,” which I came up with on the spur of the moment. I said, “Let’s play four versions of the piece simultaneously,” so they all existed on their kind of own time and space and there’s a lot of overlapping of chords.

After I was done, something really fascinating happened. Brian sent me a dub or copy of the recording to check over. I put this 7-inch reel on it and started listening to it. I really enjoyed the mix of the piece, and listened for 15, 20, 25 minutes and I thought, “What’s happening? This is an 18-minute piece and I’m still listening to it at 30 minutes.”

I realized that I was listening to it at half-speed, and it sounded fantastic. I immediately rang Brian and said, “Look, I have accidentally created a sound world that we didn’t intend and we have to release this piece. Play it at half-speed!”"
- Michael Nyman

1. Nyman’s operas include The Man Who Mistook His Wife For a Hat (1986)Facing Goya (2000), Letters, Riddles and Writs (1991), Love Counts (2005) and the never-completed Tristam Shandy, based on his favorite novel, The Life and Opinions of Tristram Shandy, Gentleman, by Laurence Sterne

2. His film scores include The Ogre (1996), Man on Wire (2008), The Libertine (2005), The Claim (2000), Ravenous (1999), The End of the Affair (1999) and numerous others. He has collaborated extensively with Michael Winterbottom and Peter Greenaway. 

Sunday, February 18, 2024

Yoko Ono

Yoko Ono turns 91 today.