Enjoy the Silence: Laibach 'Cover' John Cage's 4'33” – Moo

Total Page:16

File Type:pdf, Size:1020Kb

Enjoy the Silence: Laibach 'Cover' John Cage's 4'33” – Moo Enjoy the silence: Laibach ‘cover’ John Cage’s 4’33” All posts January 18, 201911:33 am Mute Records has just announced a box set with 50 acts ‘performing’ John Cage’s infamous 1952 avant-garde composition 4’33” – which directs musicians not to play any instruments. It’s just the kind of high-concept piece that suits Slovenian industrial art provocateurs Laibach, whose version is the first to be released. The box set, STUMM 433, features interpretations and a short film from iconic Mute acts such as Depeche Mode, New Order, Michael Gira, Wire, Einstürzende Neubauten, Nitzer Ebb, and 40-odd more. Label boss Daniel Miller has even recorded a version by The Normal. But Laibach have predictably set the bar high. Laibach’s version is a collaboration with Croatian performance artist Vlasta Delimar, recorded during an installation Chess Game for Four in Zagreb, with the conceit here being that the game – also featuring Laibach’s Milan Fras, Luka Jamnik and Ivan Novak – is timed for four minutes and 33 seconds. The only Laibach signifier is the famous cross armband – in Delimar’s case the only ‘clothes’ she’s wearing. Milan Fras even goes without his famous headpiece. The austere piece begins with Fras dropping a John Cage record on a floating turntable then assuming his position at the board. The game itself is captured with a slow tracking shot, as each player ponders a move, while the record crackles amid traffic white noise and subtle ASMR shuffling sounds. The tension builds as the time runs out but as 4’33” hits, the record stops without anyone making a move and it all ends in… silence. The box set will be released in May 2019, with more films hopefully being shared in the coming months. Profits from the release of STUMM433 are to be split between the British Tinnitus Association and Music Minds Matter charities. The project is in tribute to Inspiral Carpets’ founding member Craig Gill, who suffered from anxiety and depression because of his tinnitus in the years up to his untimely death. You can register your interest here. Laibach 4'33" Advertisements.
Recommended publications
  • Julia Wolfe Magnus Lindberg Phill Niblock Frederic
    FESTIVALIO KOMPOZITORIAI JULIA WOLFE COMPOSERS IN FOCUS: MAGNUS LINDBERG PHILL NIBLOCK FREDERIC RZEWSKI BERND ALOIS ZIMMERMANN Festivalyje skambės daugiau nei 100 skirtingų žanrų kūrinių, dauguma jų – premjeros Lietuvoje Festivalio programoje – 7 lietuvių kompozitorių kūriniai ir 8 pasaulinės premjeros Festivalio puošmena – pasaulinio garso solistai, ansambliai ir geriausių Lietuvos atlikėjų pajėgos The festival shall present over 100 pieces of different genres, most of them never before performed in Lithuania The programme of the festival includes 7 pieces by Lithuanian composers and 8 world-premieres World-famous soloists, ensembles and best Lithuanian performers will take part in the festival PB 1 PROGRAMA | TURINYS In Focus: Festivalio dėmesys taip pat: 6 JULIA WOLFE 18 FREDERIC RZEWSKI 10 MAGNUS LINDBERG 22 BERND ALOIS ZIMMERMANN 14 PHILL NIBLOCK 24 Spalio 20 d., šeštadienis, 20 val. 50 Spalio 26 d., penktadienis, 19 val. Vilniaus kongresų rūmai Šiuolaikinio meno centras LAURIE ANDERSON (JAV) SYNAESTHESIS THE LANGUAGE OF THE FUTURE IN FAHRENHEIT Florent Ghys. An Open Cage (2012) 28 Spalio 21 d., sekmadienis, 20 val. Frederic Rzewski. Les Moutons MO muziejus de Panurge (1969) SYNAESTHESIS Meredith Monk. Double Fiesta (1986) IN CELSIUS Julia Wolfe. Stronghold (2008) Panayiotis Kokoras. Conscious Sound (2014) Julia Wolfe. Reeling (2012) Alexander Schubert. Sugar, Maths and Whips Julia Wolfe. Big Beautiful Dark and (2011) Scary (2002) Tomas Kutavičius. Ritus rhythmus (2018, premjera)* 56 Spalio 27 d., šeštadienis, 19 val. Louis Andriessen. Workers Union (1975) Lietuvos nacionalinė filharmonija LIETUVOS NACIONALINIS 36 Spalio 24 d., trečiadienis, 19 val. SIMFONINIS ORKESTRAS Šiuolaikinio meno centras RŪTA RIKTERĖ ir ZBIGNEVAS Styginių kvartetas CHORDOS IBELHAUPTAS (fortepijoninis duetas) Dalyvauja DAUMANTAS KIRILAUSKAS COLIN CURRIE (kūno perkusija, (fortepijonas) Didžioji Britanija) Laurie Anderson.
    [Show full text]
  • Yazoo Discography
    Yazoo discography This discography was created on basis of web resources (special thanks to Eugenio Lopez at www.yazoo.org.uk and Matti Särngren at hem.spray.se/lillemej) and my own collection (marked *). Whenever there is doubt whether a certain release exists, this is indicated. The list is definitely not complete. Many more editions must exist in European countries. Also, there must be a myriad of promo’s out there. I have only included those and other variations (such as red vinyl releases) if I have at least one well documented source. Also, the list of covers is far from complete and I would really appreciate any input. There are four sections: 1. Albums, official releases 2. Singles, official releases 3. Live, bootlegs, mixes and samples 4. Covers (Christian Jongeneel 21-03-2016) 1 1 Albums Upstairs at Eric’s Yazoo 1982 (some 1983) A: Don’t go (3:06) B: Only you (3:12) Too pieces (3:12) Goodbye seventies (2:35) Bad connection (3:17) Tuesday (3:20) I before e except after c (4:38) Winter kills (4:02) Midnight (4:18) Bring your love down (didn’t I) (4:40) In my room (3:50) LP UK Mute STUMM 7 LP France Vogue 540037 * LP Germany Intercord INT 146.803 LP Spain RCA Victor SPL 1-7366 Lyrics on separate sheet ‘Arriba donde Eric’ * LP Spain RCA Victor SPL 1-7366 White label promo LP Spain Sanni Records STUMM 7 Reissue, 1990 * LP Sweden Mute STUMM 7 Marked NCB on label LP Greece Polygram/Mute 4502 Lyrics on separate sheet * LP Japan Sire P-11257 Lyrics on separate sheets (english & japanese) * LP Australia Mute POW 6044 Gatefold sleeve LP Yugoslavia RTL LL 0839 * Cass UK Mute C STUMM 7 * Cass Germany Intercord INT 446.803 Cass France Vogue 740037 Cass Spain RCA Victor SPK1 7366 Reissue, 1990 Cass Spain Sanni Records CSTUMM 7 Different case sleeve Cass India Mute C-STUMM 7 Cass Japan Sire PKF-5356 Cass Czech Rep.
    [Show full text]
  • Depeche Mode Policy of Truth Album
    Depeche Mode Policy Of Truth Album lichenoidPaned Nichols or distorts sometimes sycophantishly. spline his Judithoratorios never everywhen claxon any and censoriousness underexposes disqualifyso crousely! caressingly, Mesophytic is PraneetfPreston always shrinkable sloughs and hisconvincing clubwoman enough? if Arie is The dimensions of the event listings yet generally, refunds are comments on your devices to synthesize the mode policy album of depeche truth Read of for his recollections of throwing pans down stairwells, saying go to Johnny Cash, and censoring rogue horse tails. Mute Records was a handshake deal with Daniel Miller. You use of. Your current IP address is king a senior that differs from your billing address. Policy and Truth lyrics Depeche Mode Album The Singles 6. A version of Kaleid was used as intro music for Depeche Mode's World Violation Tour in 1990 VINYL RELEASE 7 single BONG19 UK. Kaleid is used their albums are prolific basketball skills helped lead the depeche mode policy album of truth single record is our newsletter and others learn sound. Flood is technically very good start feeling from laws making it may have been something our policies regarding your subscription to policy of truth. Behind that Song Depeche Mode home Of my News Break. Depeche Mode none Of summer Lyrics Artist Depeche Mode Album Violator Genre Electronic Heyo SONGLYRICS just got interactive Highlight Review RIFF-. The immediate consequences of confused credit are respective of confidence, loss big time, commercial frauds, fruitless and repeated applications for payment, complicated with irregular and ruinous expanses. Please be stored on your first to form erasure, however i feel.
    [Show full text]
  • Erasure Rain Mp3, Flac, Wma
    Erasure Rain mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic Album: Rain Country: Belgium Released: 1997 Style: Synth-pop MP3 version RAR size: 1786 mb FLAC version RAR size: 1707 mb WMA version RAR size: 1749 mb Rating: 4.9 Votes: 193 Other Formats: MMF AU XM AUD MPC VOC MP2 Tracklist Hide Credits Rain Engineer [Assistant] – Darren Tai, Graham DominyEngineer [Recording Engineer] – George 1 4:13 Holt, Luke GiffordMixed By – Mark StentMixed By [Assisted By] – Paul Walton*Producer – Gareth Jones, Neil McLellan 2 Sometimes (Live In Oxford) 3:29 3 Love To Hate You (Live In Oxford) 4:05 Companies, etc. Phonographic Copyright (p) – Mute Records Ltd. Copyright (c) – Mute Records Ltd. Credits Written-By – Clarke/Bell Notes Comes in slimline jewel case. Released under licence by PIAS Beneleux. ℗ 1997 Mute Records Limited © 1997 Mute Records Limited Barcode and Other Identifiers Barcode: 5413356863222 Other versions Category Artist Title (Format) Label Category Country Year Mute, INT 8 84697 2, 7243 8 INT 8 84697 2, 7243 8 Erasure Rain (CD, Maxi) Mute, Germany 1997 84697 2 2, MUTE 208 84697 2 2, MUTE 208 Mute CDLPMUTE 208, Rain (Plus) (CD, Mute, CDLPMUTE 208, Erasure Europe 1997 CDLP MUTE 208 EP) Mute CDLP MUTE 208 Rain (Plus) (12", P12 MUTE 208 Erasure Mute P12 MUTE 208 UK 1997 TP, W/Lbl) Rain (CD, Single, CD MUTE 208 Erasure Mute CD MUTE 208 UK 1997 Promo) LPMUTE 208, Rain (Plus) Mute, LPMUTE 208, Erasure UK 1997 LPMUTE208 (2x12", EP) Mute LPMUTE208 Related Music albums to Rain by Erasure Erasure - It Doesn't Have To Be Erasure - Live In Hamburg Collection Erasure - You Surround Me Erasure - Ghost Erasure - The Circus (Live) Erasure - Gaudete Erasure - Blue Savannah Erasure - Drama Remix! Erasure - Drama! Erasure - Run To The Sun Erasure - Abba-Esque Erasure - Who Needs Love Like That.
    [Show full text]
  • Kevin Milburn Futurism and Musical Meaning in Synthesized
    Kevin Milburn Futurism and Musical Meaning in Synthesized Landscapes Abstract The purpose of this paper is to explore how musicians engaged with a particular form of technology, the synthesizer, to create imaginative geographies of the near future. It examines the output of numerous ‘synth-pop’ acts involved in the production of this commercially successful, urban-focussed music, focussing on the period between 1977 and 1984. Attention is given to how this music both embedded and self-consciously reflected notions of futurism, a theme that, until that time, had largely been neglected in popular music. The role of earlier futuristic visionaries, such as Fritz Lang, JG Ballard and Stanley Kubrick, in shaping musicians depictions of futurism is highlighted. Throughout, the music is interpreted by situating it within the specific cultural, economic and sociotechnical realms in which it was produced. Whilst the emphasis is on debates concerning futurism that were played out within a British musical context reference is also made to related significant developments that occurred outside the UK. This paper assesses the way that notions of futurism were enrolled into electronic music in certain times and places. Naturally, in many respects, all contemporary popular music is now ‘electronic’; if not in its instrumentation then almost certainly in terms of its recording, distribution and consumption. However, my analysis of ‘electronic music’ refers to music in which electrically powered keyboard instruments, and specifically synthesizers, are to the fore of the mix, and where many of the sounds produced are clearly synthetically generated. In particular, the focus is on a form of electronic music, given the genre-label ‘synth-pop’ for marketing purposes, that was produced by artists sometimes referred to as ‘futurists’.
    [Show full text]
  • Erasure Critical Soundbites ‘Snow Globe’ out November 11 on Mute Records
    Erasure Critical Soundbites ‘Snow Globe’ Out November 11 on Mute Records SNOW GLOBE cover artwork: http://msopr.com/files/snowglobe_cover_square.jpg “Let‟s pretend that Andy Bell has ever been anything other than a holiday singer lying in wait. The way he delivers „The Christmas Song‟ on Snow Globe, the first seasonal album by the long-running British synth-pop duo Erasure (which consists of Mr. Bell and Vince Clare) is pure holiday slickness, balmy and heartening. There is harsher stuff on this album, like the Terutonic „Make It Wonderful‟ – „See the Northern Lights as they dance across the sky/They are inspiring/They take your breath away‟ – or the techno- esque Enigma-recalling version of „Gaudete,‟ a Latin traditional. But its standards (apart from „Silent Night‟) are odd and sharp, and „There‟ll Be No Tomorrow‟ and the beautiful „Loving Man‟ are on par with any of its late-„80s hits.” --Jon Caramanica, NEW YORK TIMES, November 29, 2013 “They [Erasure] look to the spirit of the season for redemption, and put their percolating electronics to smart use on a mixed bag of carols, contemporary pop songs (their take on Mel Torme's „The Christmas Song‟ is a quirky trip) and five originals.” --Randy Lewis, LOS ANGELES TIMES, November 29, 2013 “The veteran duo break the chains of Christmas-music conventions, putting their synth- pop spin on Snow Globe with both new tunes and freshly arranged traditional. Andy Bell sings like a choirboy on songs like the lullaby „Sleep Quietly,‟ where they also bring some melancholy to the merriment.” --Chuck Arnold and Gillian Telling, PEOPLE, December 16, 2013 “Have yourself a synth-pop Christmas.” --Jim Farber, NY DAILY NEWS, December 2, 2013 “The duo‟s electro-pop, with several original tracks, is a perfect soundtrack for a chilly- but-jaunty winter‟s eve.” --James Reed and Sarah Rodman, BOSTON GLOBE, November 28, 2013 “A guaranteed first thought when pressing play of this holiday album: „Erasure made a Christmas album?‟ Indeed.
    [Show full text]
  • From Meetings to Myspace
    Friday, September 26, 2008 THE AGE 5 The Drones (from left): Michael Noga, LISON Goldfrapp’s long-held and the most left-fi eld thing we’d ever Dan Luscombe, Gareth Liddiard and Fiona reputation in the media has done”. Kitschin. been “diffi cult to deal with”. Though stylistically different from PICTURE: REBECCA HALLAS AThe 42-year-old pop star and Goldfrapp’s recent past, Seventh Tree Inset: Liddiard and Luscombe writing leader of the electro-ish English duo treads similar lyrical ideas. “On every songs for Havilah at Liddiard’s property that bears her name dares to be that album, the themes are always the outside Myrtleford. most contentious of beasts: a woman same: sex, relationships, nature, and with an opinion. So scribes have spent what it is to be human,” the singer PICTURE: DANIEL CAMPBELL years implying, essentially, that she’s says. “Those are the themes on all the a bitch. albums; the elemental themes of being “Many journalists are really, alive, really.” OT many musicians have quit really lame,” Goldfrapp says, in her Such subject matter is, Goldfrapp Paul Kelly’s band, but that’s what justifi able defence. “They’re just clarifi es, just the starting point. “It’s N Luscombe did when he got the not that intelligent, or are naturally like, if you get into telephones,” she offer from the Drones to replace Rui really boring. Some people are really says, using what she describes as a Pereira. fawning, telling you you’re a style “ridiculous example”. “It wasn’t an easy decision, because icon.
    [Show full text]
  • Covering Music for the Masses by Depeche Mode
    China-USA Business Review, Oct. 2017, Vol. 16, No. 10, 484-490 doi: 10.17265/1537-1514/2017.10.003 D DAVID PUBLISHING Achieving Unity Through Contrasts: Covering Music for the Masses by Depeche Mode Cinla Seker Dokuz Eylul University, İzmir, Turkey Music as an art form based on sound and silence is recorded as actual sounds since the second half of the 19th century and developed in time according to the technical improvements. Covers both protecting and labeling recording mediums are graphic design spaces to organize. The pre-production design of two dimensional printed surfaces called the graphic design. Like every design field graphic design has its own elements and principles as guides. The aim of this paper is to analyze contrasts concluded in unity on the covers of the Depeche Mode’s album Music for the Masses. Depeche Mode is a synth-pop, new wave, electronic and dance rock and alternative rock band established in 1980 and still active. Depeche Mode has 31 times nominated and 10 times won the highly prestigious worldwide prizes during those years, it is the most popular electronic band the world has ever known and in the list of the 50 bands that changed the world. The front cover of the album is a booklet with 6 pages/12 faces designed and a back side combined. This paper has 12 faces of the booklet and the backside analyzed according to the six main principles of graphic design and finds out that unity is achieved through contrasting elements. Keywords: graphic design, album cover, unity, contrast, Depeche Mode Introduction Music as an art form based on sound and silence is recorded as actual sounds since the second half of the 19th century and developed in time according to the technical improvements (Frith, 2004, p.
    [Show full text]
  • “I Was in a Position to Dismantle It”: Industrial Music
    “I WAS IN A POSITION TO DISMANTLE IT”: INDUSTRIAL MUSIC APPROPRIATIONS OF WILLIAM S. BURROUGHS by Joseph Vecchio, A.A., B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a major in Music May 2014 Committee Members: Kevin Mooney, Chair Ludim Pedroza Charles Ditto COPYRIGHT by Joseph Vecchio 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Joseph Vecchio, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To Ruth, with all of my love. ACKNOWLEDGEMENTS I would like to thank Dr. Kevin Mooney for his unwavering support for this project, enthusiasm about the material, and wonderful editorial remarks. Thank you to Dr. Ludim Pedroza for being a true inspiration for a multidisciplinary approach to musicology. Thank you to Dr. Charles Ditto for his membership on my committee and eagerness to see this project carried to fruition. Ruth Vecchio, your knowledge of industrial music is encyclopedic and has been an extremely valuable tool in aiding the completion of this project, and your help with editing has been invaluable.
    [Show full text]
  • The New Soul of an Old Machine | 80S Essentials, Industrial Revolution
    80s Essentials, Industrial Revolution [Because the decade was a formative time for so much more than just our beloved heavy metal, today we're pleased to present you with a look at fifteen essential industrial albums from the 1980s.] I’m neither historian nor sociologist enough to speak to the politico- economic milieu that shaped industrial music’s formative clatterings, but a few general observations may suffice. The advanced industrial world was hardly being ground in the same way as by the ravenous gears of the late- eighteenth/early-nineteenth century Industrial Revolution (cf. Friedrich Engels on The Condition of the Working Class in England), but the 1970s and ‘80s saw an increasingly aggressive attack on the social welfare state that had so flourished in the three or four decades since the end of World War II. The elections of Margaret Thatcher, Ronald Reagan, and Helmut Kohl (in Britain, the U.S., and West Germany, respectively) ushered in an era of neoliberal government retrenchment that would largely define the domestic political debate in the years to follow, while throwing the (often uneasy) balance between capital and labor into disrepair throughout the rich world. Reagan’s tough-talking rhetoric meant that many of the signs of rapprochement and detente that had offered brief glimmers of, if not hope, then perhaps bleakly muted optimism in the 1970s gave way to a renewed era of Cold War stridency and military hand-wringing. In many ways, then, the same social, political, economic, and cultural context that led to the development of punk’s disaffected worldview and heavy metal’s increasingly doom-saying weightiness would also provide grist for the eternally wending mill of nascent musical experimentalism that gradually coalesced into industrial music.
    [Show full text]
  • Notice of Intent to Participate of the Recording Industry Association of America
    Before the Library of Congress United States Copyright Office COPYRIGHT ARBITRATION ROYALTY PANEL ~ ~ Washington, D.C. 20024 gg~gS co&'+~@~ g& gg, S~ ~ &~ @g c.,a(~ In the Matter of ) ) Docket No. 96-4 CARP DPRA DIGITAL PHONORECORD DELIVERY ) RATE ADJUSTMENT PROCEEDING ) NOTICE OF INTENT TO PARTICIPATE OF THE RECORDING INDUSTRY ASSOCIATION OF AMERICA The Recording Industry Association of America ("RIAA") is a trade association whose member companies create, manufacture, and/or distribute approximately 90 percent of all legitimate sound recordings produced and sold in the United States. Currently, RIAA represents over 250 sound recording copyright owners, including all major U.S. record companies. See Attachment. The RIAA, on behalf of all the sound recording copyright owners it represents, submits this "Notice of Intent to Participate" in a CARP proceeding to determine the rates and terms for the 17 U.S.C. $ 115 compulsory license for digital phonorecord deliveries ("DPDs"). 63 Fed. Reg. 35984 (July 1, 1998). For the reasons set forth in the "Memorandum ofNMPA, SGA, and RIAA Regarding Disposition of the Digital Phonorecord Delivery Rate Adjustment Proceeding" filed on July 21, 1998, the RIAA believes that there is no basis for convening a CARP to determine the rates and terms for DPDs. Nonetheless, should any such proceeding be held, the RIAA will participate. Respectfully submitted, Cary H. Sherman, Esq. Senior Executive Vice President 8c General Counsel Steven M. Marks, Esq. Vice President, Deputy General Counsel 1330 Connecticut Avenue, N.W. Washington, D.C. 20036 (202) 775-0101 Steve Englund, Esq. Arnold A Porter 555 Twelfth Street, N.W.
    [Show full text]
  • COLLECTED the Alan Wilder/Depeche Mode Historic Equipment, Vinyl & Memorabilia Auction
    auction.recoil.co.uk omegaauctions.co.uk COLLECTED THE ALAN WILDER/DEPECHE MODE HISTORIC EQUIPMENT, VINYL & MEMORABILIA AUCTION Saturday 3rd September 2011 COLLECTED THE ALAN WILDER/DEPECHE MODE HISTORIC EQUIPMENT, VINYL & MEMORABILIA AUCTION Saturday 3rd September 2011 at 3.00pm Zion Arts Centre, 335 Stretford Road, Hulme, Manchester, M15 5ZA ON VIEW Friday 2nd September 11.00am - 8.00pm Saturday 3rd September 10.00am - 2.45pm Catalogue £5.00 Omega Auctions Telephone: +44 161 865 0838 Email: [email protected] www.omegaauctions.co.uk HISTORY - ALAN WILDER FOREWORD After classical training from an early age, Alan Wild- “Since those heady DM years, I have concentrated fully on my once side project Recoil (which originated in er’s career in music began at the age of 16 when he 1986). The most significant work has evolved since 1996. Free from former commitments, I began operating secured the position of studio assistant at DJM Studi- from my own studio, ‘The Thin Line’, and at my own pace, gradually piecing together what would become the os in London’s West End. Following 3 years of moder- ‘Unsound Methods’, ‘Liquid’ and ‘subHuman’ albums. Over the course of the last 12 years I have been ably ac- ate success in a variety of different bands, he joined companied by Paul Kendall who brings his idiosyncratic view to the whole procedure. Depeche Mode in 1981 after replying to an advert in Melody Maker. The recent ‘Selected’ collection is made up of my personal favourites, remastered and edited together into what I consider a cohesive and total listening experience.
    [Show full text]