'Tektra', the 4 CD Kayn set on Barooni, pretty much establishes this guy's reputation single handedly. He's a major figure in my book. I've had it for a few years, when I saw it reissued earlier this year I started listening to it again... a lot.
So his RRR label has just reissued the other discs. They aren't cheap. I just dropped $70 on 'Electronic Symphony I-III' and 'Electronic Symphony VIII / X'.
They're interesting; a lot less alien than 'Tektra', you can still make out the sources being processed on several of these pieces. Orchestral and instrumental textures still audible, unlike the completely abstracted landscapes on 'Tektra'. Not sure if he's composing the source materials himself, and then subjecting them to his cybernetic processes, but it seems much less like the pure, alien process music than a simple, well aimed drone collage. Still extremely accomplished and I'll be listening to them a lot, but as these are painfully expensive purchases, I'd love to hear some recommendations from anyone...
― (Jon L), Sunday, 5 October 2003 00:24 (fourteen years ago) Permalink
― gaz (gaz), Sunday, 5 October 2003 06:56 (fourteen years ago) Permalink
"Simultan" is great. Very crunchy, ultra-abstract. Hard to really describe since I haven't listened to it for a couple of years, but I remember lots of sounds like ships being torn open by giant robot hands, plus distorted voices. Very cool stuff. Don't know if it's available on CD, though.
― Phil Freeman (Phil Freeman), Sunday, 5 October 2003 12:01 (fourteen years ago) Permalink
― Julio Desouza (jdesouza), Sunday, 5 October 2003 12:14 (fourteen years ago) Permalink
But until I listen a few more times, I'll refrain from attempts to describe the differences here, it's like trying to describe the differences in late period AMM albums: very different, but be careful saying just why...
Can't say this thread has done anything but remind me about the out of print, impossible to find, even more expensive 3 LP vinyl sets from the late 70's, 'Simultan' and 'Infra'. Great. If anyone wants to trade tapes/cdrs, preferably for the out of print vinyl, drop me a line.
― (Jon L), Monday, 6 October 2003 16:48 (fourteen years ago) Permalink
― (Jon L), Monday, 6 October 2003 16:49 (fourteen years ago) Permalink
― leon rima, Thursday, 25 December 2003 10:31 (thirteen years ago) Permalink
wow, I'd forgotten he was in Gruppo Nuova Consonanza. He's not on either of the recordings of theirs I own though...
I picked up the 2 disc set of his early orchestral / ensemble works, which made it clear that the later electro-acoustic works are using self-composed recordings rather than samples. 'Sequenzen' from 1957 is distinguished, floating mid-air flames, also love the recording of 1966's 'Signals' (conducted by Boulez). Amazing to hear his pieces for live performance, they really hold up. Wish I could discuss technical basics but words fail me.
The website makes a helpful division between his electro-acoustic pieces and his cybernetic pieces. I find myself preferring the cybernetic pieces, offhand. Out of the other discs I bought I'm spending the most time with 'Assemblage' and 'Ready-Made I'. Nothing I've bought disappoints though, although they're painfully expensive. 'Tektra' remains the best entry point.
― (Jon L), Thursday, 25 December 2003 23:48 (thirteen years ago) Permalink
tektra is astonishing
these four discs have been my sleep records for the last two months straight (with occasional detours to the new stars of the lid)
― Milton Parker, Tuesday, 22 May 2007 22:36 (ten years ago) Permalink
i highly recommend his keyboard works cd, too. the recording quality makes it sound like it was recorded in an underwater vault - very affecting, and of course the music is boggling.
― oo, Tuesday, 22 May 2007 23:58 (ten years ago) Permalink
― Milton Parker, Wednesday, 16 July 2008 03:14 (nine years ago) Permalink
from this PDF file of the liner notes found via this discussion
― Milton Parker, Wednesday, 16 July 2008 03:24 (nine years ago) Permalink
thank you, blog of no longer forgotten music
peaks are Side Three of Makro, Monades & Eon from Elektroakustische Projekte 1966-1975, and pretty much all of Infra & Simultan
― Milton Parker, Monday, 1 December 2008 21:09 (eight years ago) Permalink
recent unreleased compositions from his PDF of complete works:
176.00 THE ORTHO-PROJECT (2007) R: Reiger recording Studio Elektronisch -842'09- U: - Stereo
176.01 -Atharyt 48'12 176.02 -Itirsis 27'45 176.03 -Dat SR z 47'00 176.04 -Tirals 47'28 176.05 -Skips 47'50 176.06 -Synergy 47'00 176.07 -Les Rantoles 43'46 176.08 -Perikarya 35'49 176.09 -Kthoor 44'04 176.10 -Ataraly 40'31 176.11 -Conversions 32'00 176.12 -Anisotropy EE 61'25 176.13 -Antarary 53'17 176.14 -Rantho 45'04 176.15 -Sonoritys 41'23 176.16 -Antegry 20'04 176.17 -Ecardy 57'08 176.18 -La Grada 29'35 176.19 -Zazorith 29'58 176.20 -Arttiraes 45'08
182.00 THE ASSURGENTY PROGRESSIONS (2007) -17.45'12- Elektronisch Stereo
182.01 -LA TARAN 42'27 182.02 -SATHAR 42'24 182.03 -SIYTARY 55'12 182.04 -YTHO 48'22 182.05 -LUERY 39'02 182.06 -DECORA 26'13 182.07 -SRATO 28'48 182.08 -MICTOSYS 88'26 182.09 -part 1: 55'02 182.10 -part 2: 35'24 182.11 -LUNN 44'00 182.12 -PER MATOS 44'50 182.13 -LES TARALS 45'39 182.14 -BILORY 44'12 182.15 -DALAAR 35'51 182.16 -RATARI 27'31 182.17 -OKTARAL 26'18 182.18 -RHYSAL 44'37 182.19 -ECCATO 76'07 182.20 - part 1: 44'37 182.21 - part 2: 31'55 182.22 -LES GARALES 63'10 182.23 -LLATERO 35'39 182.24 -R.461DA 45'24 182.25 -AUDIOBRIDGE 33'43 182.26 -ACCATA 59'17 182.27 -TRACKS 28'48 182.28 -RHADAL 65'40 182.29 -OOTIS 23'25
― Milton Parker, Monday, 1 December 2008 21:11 (eight years ago) Permalink
about the climactic movement of Infra
In Apeiron, various energy states of a basic structure which is inaudible itself, form a continuum extending to the very limits of the functioning of the regulating and controlling mechanisms. Due to the complexity, the previous sections seem to be crowded out of the auditive memory.
The music can be termed 'abstract'.
― Milton Parker, Monday, 1 December 2008 21:23 (eight years ago) Permalink
― Milton Parker, Monday, 1 December 2008 21:47 (eight years ago) Permalink
this is incredible
― sleep, Saturday, 6 December 2008 02:41 (eight years ago) Permalink
― Milton Parker, Friday, 9 January 2009 21:30 (eight years ago) Permalink
We regret to inform you that Roland passed away on Januari 5th 2011.
― Milton Parker, Sunday, 9 January 2011 21:23 (six years ago) Permalink
aw no way!!!! RIP
― Kevin John Bozelka, Sunday, 9 January 2011 21:25 (six years ago) Permalink
non stop Infra & Tektra all this week
He adapted marvelously to the digital age, increasing his output dramatically, with 220 of his 287 works composed in his last decade, all of them electronic. In 2009 alone, he composed 30 electronic works for a total of over 36 hours of music.
bring it on!
― Milton Parker, Wednesday, 12 January 2011 19:06 (six years ago) Permalink
Roland Kayn.A Little Electronic Milky Way of Sound (2009).opus 256, ~14 hours
1. Czerial.2. Xattax.3. Somitoh.4. Ykties.5. Naaps.6. Rosonic.7. Ilay.8. Aseral.9. Ractil.10. Zearid.11. Radox.12a. Qyrials I.12b. Qyrials II.13. Tachys.14. Prahoxx.15. Hatho.16a. Ecerit I.16b. Ecerit II.16c. Ecerit III.17. Ritaces.18. Icursim.19. Arasa.
― Milton Parker, Wednesday, 13 April 2011 00:00 (six years ago) Permalink
Tektra might be the best non-Radigue drone album I've come across. The soundscapes on that album are out-of-this-world.
― kyema, Monday, 11 February 2013 06:34 (four years ago) Permalink
― Milton Parker, Tuesday, 12 February 2013 01:40 (four years ago) Permalink
― Milton Parker, Saturday, 10 May 2014 22:00 (three years ago) Permalink
― Milton Parker, Sunday, 21 February 2016 23:52 (one year ago) Permalink
― J. Sam, Tuesday, 25 July 2017 17:15 (three months ago) Permalink
out of the countless number of 5-20 hour long compositions they could have chosen for physical release, I wish they'd gone for one that wasn't already in the wild (though I see they've killed the streaming links that went up when the piece was broadcast intact in 2009, I already know this piece fairly well).
I will still pre-order.
― Milton Parker, Tuesday, 25 July 2017 23:28 (three months ago) Permalink
this is the one I'm most curious about, the followup to Tektra:
SCANNINGElektroakustisches Projekt(1982-83)617 minutes -Sonagram-Nomogram-Polygram -Cycloids I -Cycloids II -Anisotropic modulations I-Anisotropic modulations II -Anisotropic modulations III -Anisotropic modulations IV-Anisotropic modulations V -Anisotropic modulations VI -Anisotropic modulations VI -Networks I -Networks II -Networks III -Networks IV -Networks V -Radi -Intermodulation -Allotropic Radi -Inverted spaces -Counter Radi -Array -Scanned modulation
― Milton Parker, Wednesday, 26 July 2017 00:04 (three months ago) Permalink
dropping the word 'Anisotropic' decades before Animoog existed (makes you wonder)
& in related news, I did buy that Jaap Vink album -- the technician / composer who aided Kayn in the early 70's as he was trying to apply his concepts about cybernetics to modular synths & generative 'semi-autonomous systems'. have only gone the album once, but yes these are similar structures / landscapes. need to listen again.
― Milton Parker, Wednesday, 26 July 2017 01:54 (three months ago) Permalink
Cybernetics didn’t have much to do with music until the mid-1950s, when a German philosopher named Max Bense figured out how to apply the writings of Wiener to aesthetics.
Louis & Bebe Barron were regular participants at the Macy Conferences, 1946-1953, and most of their writings including the back cover of the Forbidden Planet soundtrack regularly namecheck their friend Norbert Wiener & Cybernetics as the primary influence on their instrument design and composition. Cybernetics was already a key factor in the aesthetics behind the earliest electronic music studio & compositions in the United States, before the Germans & WDR. The Barrons were doing feedback music first, and showed it to Cage & Tudor in 1952. It's an American thing. Glad Frere-Jones is diving into writing about this!
― Milton Parker, Monday, 2 October 2017 21:20 (one month ago) Permalink
O’Rourke still felt a sense of wonder in the presence of these compositions. “I know how almost everyone does what they do,” he said. “I can figure it out. But Kayn is still the master. I really don’t know how he did this.”
― Milton Parker, Monday, 2 October 2017 21:25 (one month ago) Permalink
should clarify I meant to say 'attendees' not 'participants', and I'm having trouble finding that reference, so I should temper the Macy connection. Early quotes of their response to Wiener are in nearly every interview with them. Good ones in Dunbar-Hester's "Listening to Cybernetics Music Machines and Nervous Systems 1950-1980" and I just discovered Wierzbicki's "Forbidden Planet: A Film Score Guide", the online samples of which have a lot on Wiener's influence on "Heavenly Menagerie" 1950/51 & "For An Electronic Nervous System" 1953.
― Milton Parker, Monday, 2 October 2017 22:08 (one month ago) Permalink
Hello Jon! Hey, I was listening to Tektra last week, had to give up halfway through, even though the person I was with actually really digging it. Are you familiar with this (great) Italian eurodisco album:
― Tom's Tits Experiment (Tom D.), Monday, 2 October 2017 23:34 (one month ago) Permalink
hi dadaismus thread needed more disco so good call
listening to half of tektra is still listening for two hours! it's not like you missed 'the ending'
― Milton Parker, Tuesday, 3 October 2017 16:25 (one month ago) Permalink
― Milton Parker, Tuesday, 3 October 2017 16:28 (one month ago) Permalink
Cybernetics was already a key factor in the aesthetics behind the earliest electronic music studio & compositions in the United States, before the Germans & WDR.
schaeffer also dabbled in cybernetics in the early grmc days, mentioning it in passing in the late '40s then having a seemingly brief period going in deep in collaboration with abraham moles. tho he'd later criticise moles for being scientistic. with aesthetic writings like these, i can't imagine why...
― lazy rascals, spending their substance, and more, in riotous living (Merdeyeux), Tuesday, 3 October 2017 21:49 (one month ago) Permalink
Merdeyeux you have a good point about how a lot of Norbert's early writings would throw people; 'Cybernetics' is not a layman's book. And I know Frere-Jones' clearly knows about the Barrons and his article was strictly crediting the engineers doing that math. It's still an oversight not to mention the influence that the later books 'Human Use of Human Beings' and 'God and Golem Inc.' had on artists, including the earliest electronic music made in the US.
^^ this is great, and I had the same reaction to AE_LIVE, which is some of the first effective generative music that isn't drone-based or completely non-melodic. Autechre writes tunes you can recognize even when they never precisely repeat, which is really quite an impressive trick to pull off
― Milton Parker, Monday, 23 October 2017 21:44 (three weeks ago) Permalink
the mastering on these CDs is definitely a major improvement from the stream of the radio broadcast, which had a high noise floor of broadcast hiss. almost a totally new experience in some sections. also mastered so quiet it's a little terrifying, I had to turn it way up in order to fill the room with the sound during the long ambient washes, but of course Kayn is prone to putting in huge crashes & impacts & massive dynamic range so turning it up means really committing yourself. nothing quite as dramatic as the midpoint surprise on Hafler Trio's 'intoutof' yet but only three discs in.
― Milton Parker, Thursday, 26 October 2017 22:08 (three weeks ago) Permalink
forced exposure say they shipped mine, hoping for an intense weekend of roland kayn and new super mario game
― adam, Friday, 27 October 2017 12:15 (three weeks ago) Permalink