Have you odered the FinalMusik one (Un Pranzo Favoloso), Next Step? Where from please?

I made and work on the ToL site and so the affable Lee sends me a copy of new releases in exchange of my work...I think it's a good deal for both :) or not? anyway I think it will be available on FinalMuzik very soon!

Quote:

Originally Posted by Moshe I'm not giving you my credit card number again. My wife still doesn't believe my that it wasn't me who bought all that porn :)

Yeah yeah yeah....you shouldn't have maxed out your credit card. There are other ways to pay for your staggering mobile phone bills during broadcasts of כוכב נולד, you know. :D

Honestly, just confess - it will make life easier for everyone: http://www.textually.org/textually/archives/2005/07/008960.htm.

Well you got me. I just couldn't help it. You know music is my life. :)

http://www.bagatellen.com/archives/reviews/001572.html

Text of Light - Rotterdam.1


Room40
EDRM410
Text of Light takes their name from Stan Brakhage’s 1974 film of the same name (which I’ve not seen), involving time-lapse photography shot through prisms and a glass ashtray. Their modus operandi is to perform with various works of experimental cinema, improvising to the images. On this occasion, recorded in Rotterdam on January 28, 2005, the personnel was Alan Licht (guitar), Lee Ranaldo (guitar/electronics), Ulrich Krieger (saxophone and, erm, “sax-tronics”), DJ Olive (turntables, powerbook) and Tim Barnes (drums, percussion, electronics). The film to which they were improvising isn’t mentioned but if the still that serves as the disc’s cover image derived from it, perhaps someone can perform the identification.
Strictly based on what’s presented here, the brief (sub-20 minutes) performance traces the common arc from soft to loud and back again. It somewhat straddles the field between a typical eai set and a standard free jazz one. William Hooker is often the drummer with this band and one can easily imagine the direction this outing may have taken with him in tow rather than Barnes but even so, the latter’s drumming is more “traditional” here than the work by which he’s most familiar to eai fans. As there’s not so much in terms of structure with which to engage, what pleasures there are to derive tend to come from the layers of sound details that, when things reach full steam, are fairly rich. The presence of Krieger’s screaming sax (sometimes recalling Zorn) often pushes things further into an “ecstatic jazz” direction than I enjoy although fans of that area looking for access into noisier, less idiomatic music might be well served. It’s impossible to say, of course, exactly how the music would have worked in its proper context but, solely as an audio cd, I found it a bit heavy on the blowout and light on inspiration.
room40

I love the Room 40 release. When I listen to it I feel exactly the same as I imagine a cat must feel when it's being stroked.

For those Europeans who didn't want to order from Australia, the CD is now available from Second Layer in the UK.

http://www.secondlayer.co.uk/index/p3712.htm

ordered. thanks sonicl!

oh yeah and what about Un Pranzo Favoloso one?

By far the greatest TOL recording i've herd. (although the first song on Disc 1 from Metal Box comes close)

I'm waiting for it...

http://www.cyclicdefrost.com/blog/?p=1040

Live improvised music set to experimental film may cause shudders of terror in some, though a glance at the personnel involved in Text of Light’s Rotterdam.1 (Room40) should provide some reassurance. With guitars manned by Alan Licht and Lee Ranaldo (Sonic Youth) who also indulges in some electronics alongside Ulrich Kreiger’s sax-tronics, DJ Olive’s turntables and Tim Barnes percussion, this single 19 minute piece initially trawls subtly though somewhat aimlessly through multiple the textures before descending into wearied cascades of noise coming from all angles. The experience of the improvisers involved ensures a steady build in this live performance at the 2005 Rotterdam Film Festival. Whilst the guitarists are content to develop slowly upon feedback and Barnes provides a scattergun approach to percussion it is Kreiger’s pitching treated sax work that offers a frenzied element that effectively intermingles with the wailing guitar. Olive meanwhile appears to be offering thick steady bass drones, offering some much needed frequency range to the quintet. It’s always difficult to assess compositional decisions when improvisation is at work, particularly when you are not privy to the visual accompaniment that dictated them, however at about the 13 minute mark the noise clears and almost a rebirth occurs which is both a welcome and unexpected respite. Barnes’ then begins to delicately tinker around with some gorgeous cymbal work and some heavily reverbed sounds begin the build again. However for the next six minutes things remain sparse, never getting close to the density that they achieved earlier yet in doing so really feel like they are creating something new, something more than the sum of their parts.

http://www.foxydigitalis.com/foxyd/r...php?which=2319

Room40




Text of Light is an experimental ‘supergroup’ made up of Lee Ranaldo (guitar), Alan Licht (guitar), Ulrich Krieger (sax), DJ Olive (turntables), Tim Barnes (drums), and Gene Simmons. They improvise over film screenings – this one’s from the International Film Festival, Rotterdam, on January 28th 2005. We’re not told what was showing that chilly, fateful night, but we have a mere 19 minutes’-worth of performance here on this three-inch compact disc, so presumably it wasn’t ‘Dances With Wolves’. I find a large part of the appreciation of improvised music such as this is in the sub and semi-conscious accumulation of expressionistic imaginary landscapes; one’s own metaphysical enclosures of appreciation. So the very fact that one’s cherished (and highly-strung) imagination has already been usurped – cheated-on, basically – by something as base as celluloid, leaves one feeling as if one’s ears are being treated as mere sloppy seconds. This isn’t to me, it was to a film. (Do they watch the film as they play, do you think? Or do they face the audience?)

If, however, you try not to think about any of this, and admit the enterprise as sound alone, you’ll undoubtedly enjoy your 19 minutes much more. This is a nice release, but due to its brevity and semi-obscured agenda, it really ought to be given away, to cool people, for free. 7/10 --

Well, my two copies didn't cost me anything.:D