Tell me everything you know about this artist, please.
― Evren Kader (Masonic Boom), Tuesday, 8 September 2009 09:58 (seven years ago) Permalink
I used to read about her in Keyboard magazine back in my learning about electronic music days in high school, but didn't hear her music until recently when Dan who used to do the Heroic Leisure/Fast/Pop Aural website sent me some stuff. I had thought she was a new agey type, but her music is much more experimental, some of it spacey electronics, some more on a minimalist/reich type tip. Really cool stuff.
In the 80s I think she did a lot with software, I remember seeing articles about software she designed or was involved with.
― dan selzer, Tuesday, 8 September 2009 12:50 (seven years ago) Permalink
If you don't have her CD, "Obsolete Systems", get it pronto. It's really fantastic, one of those records that you return to again and again. She's a pioneer in the history of synthesis, but she's not easily pigeonholed and if I mention people like Subotnik or Carlos or Mother Mallard you would get the wrong connotation. It's hard to pinpoint the ways in which she's more streamlined and elegant and focused than some of the nearby reference points, but she is.
― Neotropical pygmy squirrel, Tuesday, 8 September 2009 13:16 (seven years ago) Permalink
I found The Expanding Universe on a blog, and I'm mesmerised. Lovely ambient Tangerine Dream-y sort of soundscape stuff, but also incredibly melodic and great sense of movement amidst all the drifting.
― Evren Kader (Masonic Boom), Tuesday, 8 September 2009 13:58 (seven years ago) Permalink
used to have obsolete systems, wish i hadn't sold it
the bell labs interview footage on youtube is great too
― am0n, Tuesday, 8 September 2009 15:01 (seven years ago) Permalink
she is a total hero: http://retiary.org/ls/gifs_ls/ls_with_sitar_200dpi.jpg
her writings on computer software for music production are important and visionary -- her tone gets more frustrated in the 90's as consumer gear pushes the user further and further into narrow boxes, but I think the concepts & ideas she pioneered in the 80's are only going to come back around and be entirely validated. there were many people who wrote papers about the potential for the 'voice of the computer' being sounded as an improvising partner for real time performance, but I think she (along with the League of Automatic Music Composers) backed up their papers by making the most interesting sounding music -- that clip that Masonic posted, just look at where she was at while everyone else was just vamping over eighth-note sequencer loops
'The Expanding Universe' is wonderful, if you like that be sure to track down 'Appalachian Grove' from this amazing compilation. These are pieces where the computer is responding to her key inputs with algorhythms that constantly vary the arpeggios under her control, so she's improvising rhythmically in response to what the computer is doing with her inputs
'Unseen Worlds' is an early 90's record, mail order only, the booklet is color xeroxes of fractals (& brilliant liner notes) -- the sound is very digital, but what she does with her palette is so abstract that this stuff is very easy to get lost in and her piece 'Sound Zones' might be my favorite of all of her pieces
'Obsolete Systems' is an incredible comp of her 70's/80's pieces, some of these I had on cassette in the early 90's and knowing about music like this is why I never was able to give myself over to things like Selected Ambient Works Vol II because music like this had been around for 20 years and it goes so much deeper
Also track down the drone piece 'Sediment (1972)' from 'An Anthology of Noise and Electronic Music/ Fourth A-Chronology 1937-2005', which is outstanding. and the 20 minute piece 'Cavis Muris (1986)' from 'Cdcm Computer Music Series Vol. 13' is sort of a warm-up for the more abstract things she got into on 'Unseen Worlds', would not start there but you'll get the point where you want it
We badly need another compilation of the 70's music to follow up 'Obsolete Systems', if any of you own a label, write her five e-mails (she will ignore the first four). I'm hoping that new label Unseen Worlds is warming up to ask her, they owe her if they're calling themselves that
― Milton Parker, Tuesday, 8 September 2009 18:14 (seven years ago) Permalink
Thank you thank you thank you Milton. Great stuff. I got Appalachian Grove off iTiunes, absolutely love it.
― Evren Kader (Masonic Boom), Tuesday, 8 September 2009 18:23 (seven years ago) Permalink
& about her software: 1985's 'Music Mouse', one of the first GUI-driven real-time music applications (and certainly the first one that was actually kind of fun & usable)
listening again to 'Unseen Worlds' and I think that one is the furthest out
& I forgot about her realization of Kepler's conceptual 'Harmony of the Spheres' from 1619, commissioned by Carl Sagan for inclusion on the Voyager II Golden Record. That is a pretty demanding conceptual piece, just brutal gliding square waves, but it means Spiegel's music escaped the solar system a few years ago
basically her music should be much, much, much better known than it is already, and hopefully will be soon enough
― Milton Parker, Tuesday, 8 September 2009 18:31 (seven years ago) Permalink
on a side note for fans of the Alles / Bell Labs synth Spiegel is playing in that youtube -- I also recommend Don Slepian's Sea of Bliss from 1980, which is far more on the Music From The Hearts of Space side of things, but for me that is a good thing
― Milton Parker, Tuesday, 8 September 2009 18:35 (seven years ago) Permalink
I have NO IDEA, considering how much I love this sort of thing (early synth wub) and how ardent I am about digging out female musicians, how I have gone this long without knowing a thing about her. This seems almost criminal, that she's so little known.
― Evren Kader (Masonic Boom), Tuesday, 8 September 2009 18:42 (seven years ago) Permalink
well she's a recluse and not too into promoting herself, you'd think people who notice anyway but sometimes it takes a few decades -- in any case if she seems little known on one scale, the people that do know hold her in the highest possible regard & I listen to her music a lot
& I need to go through the writings again, they are so utterly sharphttp://www.retiary.org/ls/writings.html
― Milton Parker, Tuesday, 8 September 2009 19:18 (seven years ago) Permalink
'The Expanding Universe' was an old favorite and I'm pretty sure I still like it. I really should check out of the rest of the stuff mentioned here.
― _Rockist__Scientist_, Tuesday, 8 September 2009 22:19 (seven years ago) Permalink
(This is the kind of stuff they used to play all the time on WXPN (University of Pennsylvania) back in the late 70s through the 80s.)
― _Rockist__Scientist_, Tuesday, 8 September 2009 22:27 (seven years ago) Permalink
Milton you are a gentleman and a scholar.
― Neotropical pygmy squirrel, Tuesday, 8 September 2009 22:37 (seven years ago) Permalink
I also just found out about her thanks to masonic boom and r1o's recommendations on the music to drift off to thread, to which i owe you both my thanks. Great stuff! amazing she is not more widely known in the electronic/ avant music worlds.
― dsb, Tuesday, 8 September 2009 23:02 (seven years ago) Permalink
For damn sure, this is amazing stuff to learn about.
― Ned Raggett, Tuesday, 8 September 2009 23:11 (seven years ago) Permalink
'A Harmonic Algorithm' is so gorgeous
― Turangalila, Tuesday, 8 September 2009 23:15 (seven years ago) Permalink
She's not a recluse. I mean as far as I can tell. I emailed her a couple of years ago to ask some questions about her music and I got a really nice reply within a day. I think she's just greatly under appreciated.
Someone mentioned Mother Mallard, which to me is actually a perfect comparison, sonically. It's the same sort of synth sound and the same sort of rhythmic awesomeness. Though, while I gather that mother mallard, though they had reasoning behind their patterns, was a bit more instinctual, Spiegel is highly mathematical, in that she composed on computers.
I believe she was one of the composers that Bell labs approached in their partnership with the arts. She also did computer graphics to match the music.
I'm a huge fan of her early stuff: her LP, the Expanding Universe, and her tracks on the new female electronic artists comp (on 1750 Arch), and her track on the random other comp carpacio something, carapace something --- the name is escaping me at the moment. It sounds like, as already said, Mother Mallard or early Kraftwerk (the catchier ones). But I guess I'm not saying anything that you can't already get from those youtube videos. The LP has some moments (the whole second side) which are more like yoshi wada or like a really soothing, relaxing tony conrad.
Somehow, and I always wonder how, she ended up making the music for the Voyager mission. Her later works are whispier. I think she has a full bio with lots of details on her website.
But yeah... those first three records... AMAZING. The only one available today is the 1750 arch comp which was rereleased on cd. It's got some great stuff on it from other female composers: megan roberts, ruth anderson, pauline oliveros, laurie anderson, annea lockwood, johanna beyer.
― certain, Wednesday, 9 September 2009 00:27 (seven years ago) Permalink
Some of this stuff is amazing. Echoing everyone else but this is such a rich output to stumble upon. The optimism and generosity of the writings about the role of computers in the future of music is really inspiring, and I love that someone in this field/with her background can come out with: "For me, music is a way to deal with the extreme intensity of moment to moment conscious existence."
Anyone know where the music here comes from?
― ogmor, Wednesday, 9 September 2009 01:01 (seven years ago) Permalink
looks like someone needs to edit her name into the wiki http://en.wikipedia.org/wiki/Voyager_Golden_Record. id sure as hell want credit if it were me.
― am0n, Wednesday, 9 September 2009 01:15 (seven years ago) Permalink
recluse is a harsh word, I just wish we could get her out to SF. she does play around brooklyn; a friend of mine was playing on the same bill with her at an EMF / ear to the earth show two years ago -- she evidently showed up seeming a little overwhelmed and shy, but after the soundcheck got to feeling more comfortable and proposed that she and my friend do a joint improv, which went down great, so I don't mean to suggest she's anti-social
xpost wikipedia's music list leaves off 'The Sounds of Earth' -- 40 seconds of Spiegel's realization of the Kepler piece kick off that track, which is otherwise field recordings / natural sounds.
― Milton Parker, Wednesday, 9 September 2009 01:26 (seven years ago) Permalink
"the expanding universe" is really nice. i am now going to enter terminal regret about not buying it when i last saw it.
― MACROSOLUTIONS II MEGAHAWKWINDZ (GOTT PUNCH II HAWKWINDZ), Wednesday, 9 September 2009 12:24 (seven years ago) Permalink
Wow, I need this stuff. Thanks ILM.
― sleeve, Wednesday, 9 September 2009 20:14 (seven years ago) Permalink
ok this part of the 'unseen worlds' liners, worth transcribing
'A Strand Of Life' (1990) happened one afternoon while I was sick with a virus. Fantasizing that I could tame my own virus by doing so, I decided to map the complete genetic base sequence of a viroid into the musical pitch domain. I didn't have the data for a real DNA virus, but I found complete information on a viroid (which has only RNA) in an old copy of Scientific American (jan 1981; 'Viroids' by T.O. Diener). If you substitute adenine for each A, uracil for each E, guanine for each G, and cytocine for each C in this piece, you will have a self-replicating, genetic strand which lives in the cells of others in a state so close to the border of life that it is a moot scientific point whether it can be considered alive or not. It is completely another question whether a being so simple that a minute of music can contain its entire informational self can be conscious (and if so, then conscious of what), but since I tend to anthropomorphise a lot, I gave it a bit of an old time country music personality when mapping it for translation...
rest of the liner notes are like that which is why you need to buy the CD, and I had to reconfirm that 'unseen worlds' like most of her music was all improvised in real time (though some pieces got another pass through effects)
― Milton Parker, Friday, 11 September 2009 06:27 (seven years ago) Permalink
Listening to Obsolete Systems now and there are parts of it that are so sparkling and crystalline and perfect - but yes, so warm and organic and rich at the same time.
― Evren Kader (Masonic Boom), Friday, 11 September 2009 14:05 (seven years ago) Permalink
this thread is a treat. think i've listened to laurie at least once a week for a few years now. just got lost in her website in that way that doesn't seem to happen anymore. frames! content! stuff! and it's all very enjoyable :)
― pagan diskow (Crackle Box), Monday, 26 March 2012 18:47 (four years ago) Permalink
Sediment is listed in the credits as being a part of the musical score for The Hunger Games film.
non-album 1972 piece that came out for the first time a few years ago on a Sub Rosa Anthology. deep drone piece. this youtube rip is a lot more aggressive that the CD version, sounds less like a meditative drone and more like a noise piece. the youtube comments are kind of fun.
― Milton Parker, Monday, 26 March 2012 19:53 (four years ago) Permalink
/than the CD version
the fact that this film's got people sourcing obscure Laurie Spiegel tracks for the soundtrack is exactly what is going to tip the scales into me going to see this monster
― Milton Parker, Monday, 26 March 2012 19:57 (four years ago) Permalink
this is p great in all regards
― ogmor, Monday, 26 March 2012 22:14 (four years ago) Permalink
Whoa, this could be a reason for me to go too.
― _Rudipherous_, Monday, 26 March 2012 23:15 (four years ago) Permalink
fyi: she's on facebook. her posts are great!
― scott seward, Tuesday, 27 March 2012 01:04 (four years ago) Permalink
you're using your Condé Nast powers for the forces of good, Geeta
― Milton Parker, Thursday, 29 March 2012 17:59 (four years ago) Permalink
Front page Slate article trampolining off of Geeta's article, re-interviewing on the subject of not getting paid by Sub Rosa, and goes into depth on her back catalogue in a way that is incredibly satisfying to read in a national forum.
I've e-mailed a bit with the person assembling these compilations at Sub Rosa, and he came across as an unusually knowledgable student of the history of electronic music. Maybe I'm just used to a world in which labels have stopped paying anything for compilation tracks, but I'm still a little uncomfortable with a nationally read blowing up Laurie's reasonable Amazon.com review into a full on railing against Sub Rosa without including him in the interview and giving him a chance to respond.
― Milton Parker, Friday, 30 March 2012 21:11 (four years ago) Permalink
Meantime here's the scene in question (or at least a lo-res version of it):
― Ned Raggett, Friday, 30 March 2012 21:13 (four years ago) Permalink
Ha, wow, the three pieces I was most impressed by them using for the film all get used in that one sequence: Spiegel, Reich and Chas Smith
They mix and match between those three pretty freely, especially the Smith & the Reich pieces which they blend together into one piece pretty seamlessly. I'm a big fan of those Chas Smith records, it is almost kind of a shame he's not getting as big a boost out of this: http://www.allmusic.com/album/chas-smith-nikko-wolverine-r512808
― Milton Parker, Friday, 30 March 2012 21:31 (four years ago) Permalink
Hmm, sounds like I need to investigate further..
― Ned Raggett, Friday, 30 March 2012 21:44 (four years ago) Permalink
After I saw the movie, I came across the Tumblr of some teenager who was crowing about how she'd recognized an excerpt from Music for 18 Musicians on the score. Since I recognized no such thing, I'm relieved to find out it's a different Reich composition, one I haven't listened to dozens of times.
― Cuba Pudding, Jr. (jaymc), Friday, 30 March 2012 21:52 (four years ago) Permalink
If you like pedal steel guitars, ambient country & the Lanois tracks on 'Apollo Soundtracks' as much as you like Alan Lamb or Harry Bertoia, then you pretty much automatically like Chas Smith
― Milton Parker, Friday, 30 March 2012 21:55 (four years ago) Permalink
Ah well, that's that, then!
― Ned Raggett, Friday, 30 March 2012 23:04 (four years ago) Permalink
expanding universe reissue with FIFTEEN extra tracks. yes please!
― Crackle Box, Tuesday, 3 July 2012 10:48 (four years ago) Permalink
― White Chocolate Cheesecake, Tuesday, 3 July 2012 10:51 (four years ago) Permalink
downloaded that from some blog about two years ago, so it's nice to be able to put that right... (works out around £15 in english, including delivery)
― koogs, Tuesday, 3 July 2012 11:01 (four years ago) Permalink
― Too Busy Thinking About Mr. Abie (Tom D.), Tuesday, 3 July 2012 11:09 (four years ago) Permalink
hoping there's a nice balance between the folky counterpointish algorithmic stuff and far out space drones
― Crackle Box, Tuesday, 3 July 2012 11:22 (four years ago) Permalink
pre-ordered & most psyched
― ogmor, Tuesday, 3 July 2012 19:11 (four years ago) Permalink
― Milton Parker, Monday, 23 July 2012 20:19 (four years ago) Permalink
― Milton Parker, Monday, 23 July 2012 20:22 (four years ago) Permalink
― Crackle Box, Monday, 23 July 2012 20:47 (four years ago) Permalink
^ cheeee this woman is amazing.
― Ignite the seven canons (Ówen P.), Monday, 23 July 2012 21:18 (four years ago) Permalink
I almost revived this thread this morning, this woman is the true drone and all other drones are false
― Ignite the seven canons (Ówen P.), Monday, 23 July 2012 21:19 (four years ago) Permalink
Yep, I think I saw this described as a brain burner, and it is. It works as a soundtrack to the city, bringing out the patterns and geometry of the environment and it works as a rural soundtrack, because it is weirdly organic in places, but in spite of that there's a sensory dissonance. Christ, listen to me. Basically: yep, great album, great outdoor album.
― calumerio, Sunday, 21 October 2012 14:39 (three years ago) Permalink
I finally picked Expanding Universe and Obsolete systems up a couple weeks ago, thanks thread!
― sleeve, Sunday, 21 October 2012 18:28 (three years ago) Permalink
Spectacular! Where to begin, even. So many amazing beloved hallmarks of 60s-80s culture woven into this framework for context. Introducing bell labs by referencing The President's Analyst, Michael Czajkowski showing Laurie her first Buchla, shapenote singing, choicest philosophical quotes from her online text archive, great ending, standing applause
― Milton Parker, Saturday, 8 December 2012 20:15 (three years ago) Permalink
its an amazing piece.
― scott seward, Saturday, 8 December 2012 20:33 (three years ago) Permalink
Quite so, a stellar celebration.
― Ned Raggett, Saturday, 8 December 2012 20:42 (three years ago) Permalink
along with a host of important female composers like Alice Shields, Daria Semegen, Pril Smiley, Maggi Payne, Ruth Anderson, Priscilla McLean, and more.
― sleeve, Saturday, 8 December 2012 20:51 (three years ago) Permalink
Come anticipate Johann Merrich's "Le Pioniere Della Musica Elettronica," about female electronic composers
― Milton Parker, Saturday, 8 December 2012 21:00 (three years ago) Permalink
ah, thank you. that was a great article, then about halfway through I was like oh, Reynolds, duh.
― sleeve, Saturday, 8 December 2012 22:02 (three years ago) Permalink
So much bullshit on downtown vs uptown "establishment"! That's rich coming from Spiegel, who was well-funded by Bell to make the music she wanted. Had to laugh at Reynolds using her paper on retro -- which from the quote seems like a thin bit of theory/cultural commentary -- to then promote his book. Pathetic.
Really liked her bits on her research into pre-civil war ("shapenote" music). Lots to enjoy as a whole but leaves a bad taste.
― xyzzzz__, Sunday, 9 December 2012 01:04 (three years ago) Permalink
― scott seward, Sunday, 9 December 2012 01:18 (three years ago) Permalink
i thought it was put together well. told a compelling story about work. educated me. voila, hype your book all you want.
― scott seward, Sunday, 9 December 2012 01:19 (three years ago) Permalink
Its certainly compelling. Varese thought about making machine music until depression set in, he had nothing to work with until v late in his own life. People might say it would've been marvellous if he was starting out now or when Laurel did but that article makes it clear the problems he would have had.
A few made it work. Others -- most notably Helmut Lachenmann -- took the experience of makng electronics, hated it, but used it to enrich the palette of instrumental music.
Just don't need yet another piece thrashing post-Webern music to justify this. Beause I like Laurie's music I read it as nervousness about its own merits, like it must be validated by a struggle agaist an establishment. The struggle was elsewhere, but they perservered, took it out there and carved ther own space.
I think there is a piece to be written about how this stuff would perhaps compare with what was coming out of IRCAM.
― xyzzzz__, Sunday, 9 December 2012 10:57 (three years ago) Permalink
Fuck: whatever ITunes cards I get for Xmas will be blown on this woman's music
― Raymond Cummings, Monday, 10 December 2012 05:10 (three years ago) Permalink
there is some sort of collaboration in the works with caribou / daphni apparently.
― stirmonster, Monday, 10 December 2012 06:32 (three years ago) Permalink
― Crackle Box, Monday, 10 December 2012 10:43 (three years ago) Permalink
― she was giving it to two friends ...Aaay! (crüt), Monday, 10 December 2012 11:03 (three years ago) Permalink
4 dec.Caribou @cariboubandJIAOLONG006 features a previous Jiaolong artist together with a pioneer of electronic music. Any guesses?7 dec.Caribou @cariboubandFANTASTIC feature on @LaurieSpiegel who has been a great inspiration to me over the years - http://pitchfork.com/features/articles/9002-laurie-spiegel/ …7 dec.Caribou @caribouband[hint, hint...]
7 dec.Caribou @cariboubandFANTASTIC feature on @LaurieSpiegel who has been a great inspiration to me over the years - http://pitchfork.com/features/articles/9002-laurie-spiegel/ …
7 dec.Caribou @caribouband[hint, hint...]
So I'm guessing this'll be a 12". Looking at jialong's discogs it could indeed be Daphni, but technically speaking also Jeremy Greenspan or Les Sins (Toro Y Moi project) could be involved.
― willem, Monday, 10 December 2012 14:58 (three years ago) Permalink
gr8 piece on a brilliant mind (smh @ the jungle reference)
― am0n, Monday, 10 December 2012 18:35 (three years ago) Permalink
this is a really good read...
she's so cool!
― Crackle Box, Wednesday, 19 December 2012 14:39 (three years ago) Permalink
countdown to Laurel Halo collab on RVNG.
― That elusive North American wood-ape (Capitaine Jay Vee), Wednesday, 19 December 2012 20:34 (three years ago) Permalink
Thanks for that link, CB.
I keep wanting to use the display name 'Laurie Smeagol' but a) it's probably not as funny as I think it is, b) not sure many people would get it, and c) I don't really do wacky display name changes.
― emil.y, Wednesday, 19 December 2012 20:42 (three years ago) Permalink
that's one dodgy-looking url for that interview...
― koogs, Wednesday, 19 December 2012 20:43 (three years ago) Permalink
> it's probably not as funny as I think it is
i laughedSmeagol is always funny
― passion it person (La Lechera), Wednesday, 19 December 2012 20:53 (three years ago) Permalink
― the late great, Wednesday, 19 December 2012 20:58 (three years ago) Permalink
― crüt, Wednesday, 19 December 2012 22:18 (three years ago) Permalink
Aw, you guys.
― emil.y, Wednesday, 19 December 2012 22:19 (three years ago) Permalink
― shave and a haircut...2 CHAINZ (m bison), Thursday, 20 December 2012 03:42 (three years ago) Permalink
big piece by me in frieze:
― geeta, Monday, 24 December 2012 02:50 (three years ago) Permalink
Hey geeta, I sent you an email to the address you give on theoriginalsoundtrack.com, with a link to download something I thought might interest you. Just a heads up in case you don't normally check that.
― _Rudipherous_, Monday, 24 December 2012 04:17 (three years ago) Permalink
Sorry, no Laurie Spiegel content.
― _Rudipherous_, Monday, 24 December 2012 04:18 (three years ago) Permalink
just saw it! thanks!!
― geeta, Monday, 24 December 2012 05:32 (three years ago) Permalink
best article yet and that is saying something. placing cultural context is one thing, but emotional context is another
nice youtube of a guy who got Music Mouse running on an Atari ST emulator on his Windows machine, patched in through Reason as his synth. His improvisations are a lot more traditional than anything Spiegel herself released but it's nice to get a sense of the software by seeing the GUI in action
― Milton Parker, Tuesday, 25 December 2012 04:53 (three years ago) Permalink
― hot slag (lukas), Wednesday, 26 December 2012 03:31 (three years ago) Permalink
Okay bought "The Expanding Universe," will listen and report back
― Raymond Cummings, Wednesday, 26 December 2012 17:48 (three years ago) Permalink
Did this get linked somewhere? Jeremy Greenspan's reworking of Drums:
― qbert yuiop (NickB), Tuesday, 15 January 2013 16:33 (three years ago) Permalink
― koogs, Tuesday, 2 April 2013 14:05 (three years ago) Permalink
Finally caved and bought the LP version of this. Very pleased. A question, though - the CD has a really big, detailed booklet with diagrams and photos. The LP doesn't? Or is it just my copy that lacks an insert?
― Jimmywine Dyspeptic, Friday, 13 September 2013 06:45 (three years ago) Permalink
Sometimes, if I buy digital/Vinyl I email the record label and ask for a .pdf of the inlay card if its got loads of detail.
some have been great - RVNG.itl
some have been awful - Gronland records
I try to include the email invoice of the digital or a photo of me holding the record....
it kills me when the reviews talk of the amazing stuff in the liner notes and the vinyl has a white inner sleeve and nothing else..
― my opinionation (Hamildan), Friday, 13 September 2013 11:11 (three years ago) Permalink
I've had similar interactions with Matt who runs RVNG. Definitely one of the good guys.
― Position Position, Friday, 13 September 2013 12:12 (three years ago) Permalink
If you redeem the digital download code included with the vinyl of The Expanding Universe, you'll get a .pdf of the CD liner notes.
― J. Sam, Friday, 13 September 2013 12:57 (three years ago) Permalink
It's amazing that more labels don't do that. The downloads that come with those cards can be anything. When you buy any of the last 3 Acute releases (before they sold out that is), the download gets you the LP, plus tons of bonus tracks plus a PDF of the liner notes. More labels should include videos and other stuff like that.
― dan selzer, Friday, 13 September 2013 14:12 (three years ago) Permalink
Thanks J Sam - got it. Would still have loved the liner notes in tactile form--what if, in two years, I have the record handy but not the hard drive / laptop / whatever?--but at least now I can read 'em.
Vinyl gouging sucks bad enough without getting less than what you would get if you bought the CD.
tbf, though, this Spiegel reissue is super inexpensive, given what these sorts of things usually cost ($20ppd with download / pdf, etc)
― Jimmywine Dyspeptic, Friday, 13 September 2013 14:40 (three years ago) Permalink
but at least now I can read 'emYou might actually be one up on us CD owners there, as half of the text in the booklet is virtually illegible due to the tiny printing and odd background colour scheme choices (white font on yellow for example).
― Jeff W, Monday, 16 September 2013 19:17 (three years ago) Permalink
anyone seen this? http://cubittartists.org.uk/2014/05/29/a-caelo-usque-ad-centrum-dena-yago-laurie-spiegel/
― ogmor, Wednesday, 9 July 2014 16:13 (two years ago) Permalink
― Milton Parker, Monday, 3 November 2014 02:13 (one year ago) Permalink
thanks, fantastic interview. what a hero(ine)
― I dunno. (amateurist), Tuesday, 4 November 2014 18:08 (one year ago) Permalink
I would love an album of her guitar playing, very curious about it
― nebulous British ilxor (ogmor), Thursday, 6 November 2014 18:42 (one year ago) Permalink
ah just meant to post this
― nebulous British ilxor (ogmor), Thursday, 6 November 2014 18:43 (one year ago) Permalink
I played music in other people’s ensembles, played guitar or banjo or whatever for Tom Johnson and with Rhys Chatham. I would do these filigree patterns, and Rhys would do these long drone-like lines against the stuff. That balanced it.
has anyone else been trying to imagine this? mb it's niche but it sounds so promising to me
― nebulous British ilxor (ogmor), Monday, 10 November 2014 18:36 (one year ago) Permalink