― milton parker (Jon L), Monday, 28 February 2005 20:40 (fourteen years ago) link
next two favorites:BiogenesisE = a = b = a + b
favorites / thoughts?
― milton parker (Jon L), Monday, 28 February 2005 20:44 (fourteen years ago) link
the CD of their collaboration is coming out this year I think...
― milton parker (Jon L), Monday, 28 February 2005 20:56 (fourteen years ago) link
― monster vitamin water, Monday, 28 February 2005 21:02 (fourteen years ago) link
But Adnos, even beyond the intrusive surface noise, there's a high frequency on Adnos I that just gives me a dealbreaking headache; the cycling test tones on Adnos II are hypnotic but if you're in the wrong mood they can seem too simple. About 40 minutes into Adnos III, it turns a corner into a beautiful 30 minute stretch that foreshadows where she went with Trilogie de la Mort -- if I were an iTunes listener I could just skip there more often...
― (Jon L), Monday, 28 February 2005 21:41 (fourteen years ago) link
― milton parker (Jon L), Monday, 28 February 2005 21:44 (fourteen years ago) link
her two new records are only available through mail order. 'Elemental II' is a live piece for solo bass & delay, based on an earlier graphic score of hers from 1968. this version is as much the player's (Kasper T Toeplitz) piece as Radigue's. sounds like a good room recording. http://www.sleazeart.com/rosa.html
'L’île re-sonante' is another tape work; similiar to previous ARP synth works like the 'Trilogie', but the pace is strangely faster and actually has a concrete section, a chorus layered hundreds of times. and the ending is particularly powerful, when she arrives at the last note, you really feel it, it's final. this is the one of the two I'm listening to more. http://www.shiiin.com/
― milton parker (Jon L), Thursday, 6 October 2005 18:18 (fourteen years ago) link
i like trilogie, but i only really ever listen to the final track, koume, which is very rich sounding.
i only just heard e=a=b=a+b, and i hadnt thought of it as angry insects, a flurry of mechanical birds was what came to mind, for me. i like it, though, i do like things that seems like you are out in the woods.
― charltonlido (gareth), Saturday, 15 April 2006 20:44 (thirteen years ago) link
I'd love to hear more of the 60's all-feedback-collage work, I hear they're great. I made myself a 50 minute mix of 'e=a=b=a+b' in pro tools with two stereo tracks, varispeeding the two sides to 16/33/45/78 and it definitely works.
& yep, 'koume' is an amazing ending to the set.
Charles Curtis played a new piece of hers for cello a few months ago at Mills. I had to miss the show but my friend Marc said it was fantastic, even though with large public shows there's always the danger of the casually interested starting in with those 'I'm bored now' coughs after about thirty minutes
― milton parker (Jon L), Saturday, 15 April 2006 21:14 (thirteen years ago) link
took the main award for digital music for 'L’île re-sonante'
― milton parker (Jon L), Tuesday, 23 May 2006 18:13 (thirteen years ago) link
from root strata
― Milton Parker, Thursday, 30 October 2008 04:24 (eleven years ago) link
i only know Adnos I-III, where next?
― ian, Friday, 31 October 2008 01:31 (eleven years ago) link
Is that her?
― Naive Teen Idol, Wednesday, 11 March 2009 02:11 (ten years ago) link
open image in new window / yes
listened to Jetsun Mila last weekend on headphones while hiking the Pacific coast. that & L’île re-sonante are the ones I listen to most often the last two years -- all of Trilogie d'la Mort is almost too heavy to casually throw on.
her new acoustic piece Naldjorlak for Charles Curtis' solo cello -- his sound is fantastic. there's something difficult about it that hasn't had me reaching back for the disc too often, I'm waiting for the right time. but it's a lot better than the CD of 'Elemental II', her previous piece for an instrumentalist. Charles Curtis is basically the man for this kind of sustain. & the packaging is beautiful.
― Milton Parker, Wednesday, 11 March 2009 23:12 (ten years ago) link
Question with potentially no evidenceable answer: What's more difficult, landing a woman as serene and beautiful as Radigue or getting Shiiin to sell you a copy of any of their albums?
― matinee, Thursday, 12 March 2009 00:39 (ten years ago) link
Um, isn't she kind of old?
― Plaxico (I know, right?), Thursday, 12 March 2009 00:44 (ten years ago) link
she's still serene and beautiful
I've only ordered the two Radigue albums from Shiiin, but all I had to do was e-mail and paypal and they showed up about 2-3 weeks later.
― Milton Parker, Thursday, 12 March 2009 00:47 (ten years ago) link
I've tried writing a couple of times over the years with no luck. Guess I could try again. How long ago did you do that?
― matinee, Thursday, 12 March 2009 00:49 (ten years ago) link
Never heard that lappetites stuff, any point? Wasn't Ikue Mori involved or did I make that up?
― Plaxico (I know, right?), Thursday, 12 March 2009 00:51 (ten years ago) link
lappetites record is Ryo Co, Kaffe Matthews & AGF using a handful of Radigue's 60's pieces as source material for a jam. you can hear a bit of 'E = a = b = a + b' at points, other things are transformed. I remember thinking of it as a good document of a decent studio improv session, but I prefer Ryo Co's solo records.
― Milton Parker, Thursday, 12 March 2009 00:53 (ten years ago) link
& I ordered / received Naldjorlak last November. didn't have a problem, though lots of people of IHM agree he's really bad with email
keith's got 'em: http://www.mimaroglumusicsales.com/labels/shiiin.html
― Milton Parker, Thursday, 12 March 2009 01:00 (ten years ago) link
ah pause, he doesn't have L'Ile re-sonante. & that's the one I'd invest in before Naldjorlak. worth it.
― Milton Parker, Thursday, 12 March 2009 01:08 (ten years ago) link
― Milton Parker, Tuesday, 4 August 2009 18:47 (ten years ago) link
love this footage.
― original bgm, Thursday, 6 August 2009 14:00 (ten years ago) link
trying to understand french is giving me a headache
― ❊❁❄❆❇❃✴❈plaxico❈✴❃❇❆❄❁❊ (I know, right?), Thursday, 6 August 2009 14:01 (ten years ago) link
― Milton Parker, Thursday, 8 October 2009 03:45 (ten years ago) link
the two new archival releases on Important, both fantastic -- 'Tryptich' is the one I'm playing over and over, from 1978. Recorded between Adnos I & II, but to me way better than either, it's just got the thing
'Vice Versa Etc.' is a 2 CD set of a single tape of a deep drone, each CD 4 tracks, the original tape played at 3.75 / 7.5 / 15 / 30 ips speed. first CD plays the tape forward, second CD plays the tape backwards, and it really comes to life if you do what you're supposed to and play the two discs on different stereos at the same time, different tracks against each other. great piece if you do that, but takes a bit more participation than 'Tryptich' to really launch
― Milton Parker, Thursday, 8 October 2009 03:49 (ten years ago) link
ok last night I did the work and set up 'Vice Versa Etc.' with each disc on its own player on shuffle play, and it must be some kind of masterpiece. completely different overtones come out of the tape at each playback speed, even though they're technically just octaves apart. the simplest things in the world are the hardest things to describe
― Milton Parker, Thursday, 8 October 2009 18:34 (ten years ago) link
hmm thanks for the info, i'm going to order these this weekend. like someone else above i've only heard 'adnos,' really excited to hear more. wish i understood french! (assuming the IMA piece is?)
― Unisom beeitchs. (Matt P), Thursday, 8 October 2009 18:50 (ten years ago) link
crosstalk from the i hate music thread here, which is filled with great postshttp://ihatemusic.noquam.com/viewtopic.php?f=3&t=3617
― Milton Parker, Friday, 12 February 2010 22:46 (nine years ago) link
just ordered the important discs. excited to finally hear these.
― original bgm, Friday, 19 February 2010 14:57 (nine years ago) link
not that this kind of music isn't inherently analog, but listening to those hissy vinyl clicky sound samples, releasing this vinyl-only is just frustrating
the pieces themselves sound fantastic -- other people got around to sounding like this later, but it really does sound like the most lasting works usually come from the people who were first to the field
― Milton Parker, Wednesday, 9 March 2011 20:03 (eight years ago) link
I typically go for vinyl if the option exists, but yeah, it may not be the best fit with a sound as simple and pure as eliane's. haven't listened yet but I have the same reservations.
― original bgm, Wednesday, 9 March 2011 21:03 (eight years ago) link
those clips sounds excellent though!
― original bgm, Wednesday, 9 March 2011 21:04 (eight years ago) link
heh. they SOUND excellent that is.
― original bgm, Wednesday, 9 March 2011 21:05 (eight years ago) link
listened to jouet electronique yesterday afternoon. wonderful. especially love the subtle, rhythmic feedback modulation during the side a coda.
and I'm not sure if it was just my copy, but it did seem like a bit of a noisy pressing as well. didn't distract me much but ymmv.
― original bgm, Monday, 28 March 2011 19:15 (eight years ago) link
well, it appears I'm not the only one with this problem. from a review on the discogs page:
Massive amount of surface noise on brand new LP. Persisting after 2 professional vacuum cleaning...Do record plants ever make test pressings anymore before releasing albums?
a bit annoying for a pricey lp.
― original bgm, Monday, 4 April 2011 14:50 (eight years ago) link
― Milton Parker, Monday, 6 June 2011 18:32 (eight years ago) link
Interview with Eliane Radigue (by Paul Schütze) in the new issue of Frieze:
― geeta, Wednesday, 5 October 2011 15:48 (eight years ago) link
That picture of her with the seashell.
Must admit I was getting to be wary of whether I was personally going to listen to another early archival release after 'Tryptich' & 'Vice-Versa', but I've been listening to 'Transamorem – Transmortem' a lot the last six weeks. Very intense & piercing even for her, but very very focused. About half an hour in, when the high tone occasionally does that little quiver, it feels like a physical push
― Milton Parker, Wednesday, 5 October 2011 19:34 (eight years ago) link
Frieze is kicking ass with the electronic music coverage--they have The Wire beat for sure
er, not that I'm biased, or anything
― geeta, Wednesday, 5 October 2011 19:35 (eight years ago) link
oh yeah? what else have they published lately?
besides that very fine schnitzler article, that is. :-)
― original bgm, Wednesday, 5 October 2011 19:39 (eight years ago) link
listening to 'trilogie de la mort' right now because of this thread ((((d-_-b))))
― queen latifah approximately (donna rouge), Wednesday, 5 October 2011 22:44 (eight years ago) link
what else have they published lately?
here's a max mathews interview i did: http://blog.frieze.com/max-mathews/
i've written many other pieces for them, but they're not all available online--you have to buy the magazine. i have three big articles on the way, all dealing with electronic music, but i have a hand injury which is slowing me down a bit
but anyway, back to eliane radigue: my friend keith is hanging out with eliane in paris at this very moment
― geeta, Wednesday, 5 October 2011 22:51 (eight years ago) link
nice one. thanks for heads up on the article.
and good for Frieze, because i've found the art world to generally have shockingly unsophisticated and horrible taste in music (all those parties with camp-retro-irony djs who play 80s hits and mainstream disco)
― zoom, Thursday, 6 October 2011 06:56 (eight years ago) link
― original bgm, Thursday, 6 October 2011 12:34 (eight years ago) link
just listened to transamorem - transmortem and...
About half an hour in, when thehigh tone occasionally does that little quiver, it feels like a physical push
― original bgm, Saturday, 8 October 2011 20:49 (eight years ago) link
loved this bit from that interview:
I ’ve been working alonefor so much of my life. My only assistanthas been my cat .I would always know something was wrongwhen she made a face , but when she wasvery quiet I’d just carry on .
― original bgm, Saturday, 8 October 2011 20:51 (eight years ago) link
my cats approved of transamorem btw
― original bgm, Saturday, 8 October 2011 20:53 (eight years ago) link
reissue of geelriandre / arthesis on senufo editions is out.
'arthesis' sounding particularly lovely to me right now.
― original bgm, Sunday, 20 November 2011 03:15 (eight years ago) link
― phuturephase, Thursday, 19 July 2012 16:42 (seven years ago) link
frustrating to have this be another vinyl-only release when even the boomkat samples have crinkly vinyl noise, even though the music still sounds great under the pops. they've got to put out a CD of this + jouet electronique.
― Milton Parker, Monday, 27 August 2012 21:19 (seven years ago) link
“The performance of Ψ 847 is about to begin. Once again, Radigue has employed one of her favoured sound dissemination tricks: directing the banks of loudspeakers not toward the audience, but toward the building… The soundboard is at the rear of the house, and Marchetti will be playing the tapes from there. Radigue is in a seat, like any other audience member. There will be nothing to see, no one on stage, no visual distractions. But what happens when you listen to this music? What sensations, feelings or thoughts emerge? Obviously, any drone-based music generates, first of all, a physical experience… You must give in, abandon yourself, forget about trying to figure out whether three minutes or an hour have elapsed. This is… truly an experience of slowness. A rare moment for which you must prepare, and be in the right condition (no need to meditate, or try to achieve a trance state, either: a little concentration will suffice!)… Once you’ve accepted the loss of physical bearings, you can then attempt to grasp Radigue’s compositional talent: locating motifs that modulate and transform at varying intervals; appreciating the evolution, the appearance of a new movement, or, as in the case of Ψ 847, the insensible dissolution of the music.” —Thibaut De Ruyter, Berlin (Germany), 2012
The Wire, Issue 180, February 1999Eliane Radigue: Death Becomes Her (extracts) By Julian Cowley
During the 1950s, Radigue drew her first substantial nourishment as a composer from the innovations of musique concrete. Previously, she had played the twelve tone game, but found it unfulfilling. Then, while working as Pierre Henry's assistant, she chanced upon electronic feedback effects. "I was absolutely fascinated," Radigue remarks in a telephone interview, "not only by the sounds but by their behavior. With the tape recorders of that period, a little defect could bring interesting results. I found this garbage of sounds very expressive."
... Radigue embarked on her own course, turning her attention to synthesizers which allowed easier building of the sounds she required. An ARP analog synthesizer has remained her chosen means to make music, although for 25 years her style has been Minimalist. PSI 847 was her breakthrough piece - for the first time her musical conception was closely matched in execution over 80 minutes of sustained, gentle sound. "The duration was just a matter of the necessary time I had to go through in order to reach what was my real goal," she explains, "which is still my goal, a very slow changing process within the sound itself. Something which is not external to the sound." She feels that the nature of her chosen synthesizer's modular system grants her "access within the flesh of the sounds".
― j., Thursday, 21 March 2013 05:03 (six years ago) link
played each disc once, right out of the mailer about three weeks ago. the first disc, the concert recording, is remarkable. incredibly high fidelity for a room recording. it's only at the first cough, about 20 minutes in, that you get a sense of the room's huge dimensions, and that it dawns on you that there are hundreds of people in that room silently listening to the piece.
the second disc is the direct transfer of the tape; the first disc was so intense that I don't think I gave it as much of a chance. sometime soon.
― Milton Parker, Thursday, 21 March 2013 21:56 (six years ago) link
ordered this today - can't wait to listen!
― original bgm, Thursday, 21 March 2013 23:01 (six years ago) link
have only had a chance to listen to the first disc so far but I'm already thinking that this is going to end up as one of my favorites in her catalog. "intense" is definitely a good way to put it - the piece really becomes very immersive as it pares down, sounds begin to overlap, and everything sssssssstretches out.
― original bgm, Tuesday, 26 March 2013 04:52 (six years ago) link
anyone ever hear feedback works 1969 - 1970 btw? too rich for my blood.
― original bgm, Tuesday, 26 March 2013 04:53 (six years ago) link
This thread is making me wish I had an extra $300
― Raymond Cummings, Tuesday, 26 March 2013 10:46 (six years ago) link
>feedback works 1969 - 1970
it's good, it's tape-saturated & noisy. not meditative, very full on. it's got a mixed version of 'Vice Versa' (as much as I enjoy the archival CD presentations that simply give you separate tracks of each ingredient on different discs so you can mix them yourselves, I also enjoy hearing examples of realized performances)
I've read a review or two online complaining of Radigue fatigue after the last few years of never-before-released early pieces, but yes I do get the impression everything was sort of building towards a good edition of 'Psi 847' coming out. The later pieces have soothing moments, this one is just intense raw consciousness
― Milton Parker, Tuesday, 26 March 2013 16:42 (six years ago) link
personally I can't really complain about the deluge since I haven't heard anything I'd consider a dud yet. but 847 seems special.
and thanks for the info on feedback works. you've definitely piqued my curiosity.
― original bgm, Tuesday, 26 March 2013 20:18 (six years ago) link
Naldjorlak I, II, III, anyone?
― xyzzzz__, Sunday, 9 February 2014 10:09 (five years ago) link
It's fantastic. Radigue really knows how to write in her own voice for acoustic instruments now.
The first disc is still Charles Curtis, doing a new performance of Naldjorlak I, which came out on the same label a few years ago; still the same structure but a very different piece now that he's been touring with it for a few years. I saw him play it in SF about two years ago at The Lab; he played it unamplified in a mid-sized room, and encouraged everyone to huddle around him as closely as they could sit. Most of the piece is extremely quiet, and everyone in the room had to keep quiet to listen.
The piece is basically Curtis bowing various points across the entire length of his cello, largely the strings but not always the strings; he works his way up, then all the way down. The piece climaxes when moves to playing the metal peg stand, which surprisingly makes an incredible high pitched pulsating sound. It actually sounds a lot like 7.5 ips reel to reel tape delay feedback, once the original signal has disintegrated entirely into oscillating white noise; in other words, it sounds a lot like her earliest feedback works. Which is really something.
― Milton Parker, Monday, 10 February 2014 18:28 (five years ago) link
hah, MP beat me to it. here's what I was about to post:
I have to spend some more time with them (it's a lot of music!) but my impression is definitely favorable. I'd been avoiding the naldjorlak material because I thought I wouldn't be as interested in radigue working outside an 'electronic' context... but I felt a little silly about that after hearing this set. different instrumentation but working towards similar goals. I don't think you'll be disappointed if you're already a fan.
― original bgm, Monday, 10 February 2014 19:51 (five years ago) link
Thought it would be great just through Curtis' involvement in it.
Feels like the first record of the year I need to get hold of.
― xyzzzz__, Tuesday, 11 February 2014 23:45 (five years ago) link
You can hear Charles Curtis, Rhodri Davies, Robin Hayward and Dafne Vicente-Sandoval performing some recent Radigue pieces in this selection (the first of four) from the recent Tectonics Festival in Glasgow. Worth a listen, imho.
― sʌxihɔːl (Ward Fowler), Wednesday, 13 May 2015 20:58 (four years ago) link
Sorry, I should say, you WILL be able to hear... after Saturday the 16th.
The Radigue pieces were extremely quiet and the audience was not, so it will be interesting to hear if some of the egregious coughs have been edited out.
― sʌxihɔːl (Ward Fowler), Wednesday, 13 May 2015 21:01 (four years ago) link
― Milton Parker, Monday, 14 December 2015 18:34 (four years ago) link
great article -- wasn't aware that schaeffer and henry were chauvinists but it is not surprising.
― clouds, Monday, 14 December 2015 22:32 (four years ago) link
Thanks for posting!
― lute bro (brimstead), Monday, 14 December 2015 22:38 (four years ago) link
― xyzzzz__, Wednesday, 16 December 2015 09:28 (four years ago) link
― Milton Parker, Wednesday, 6 July 2016 19:17 (three years ago) link
rhodri davies doing occam i a week or two back was a gorgeous thing
― lazy rascals, spending their substance, and more, in riotous living (Merdeyeux), Wednesday, 6 July 2016 21:18 (three years ago) link
trilogie d'la mort on has been on repeat for the past two weeks while i read / sleep / do yoga etc
― until the next, delayed, glaciation (map), Friday, 9 September 2016 02:14 (three years ago) link
and sit and eat chocolate and nuts like i'm doing right now.
― until the next, delayed, glaciation (map), Friday, 9 September 2016 02:17 (three years ago) link
finally accepting orders: http://www.shiiin.com/shiiineer1.php
also, Issue #1 of Blank Forms has published Ian Nagoski's 1998 interview with Radigue originally intended for the cancelled Halana #5, and it is a particularly interesting interview. whole issue solid, Amacher cover story too.
― Milton Parker, Monday, 16 October 2017 18:50 (two years ago) link
second volume is Occam Océan for Orchestra
the slow bank into the final third is a sound I haven't really exactly heard
― Milton Parker, Thursday, 20 June 2019 09:03 (seven months ago) link
New to this, 'Trilogie De La Mort' is just amazing. Which one do I check out next, or is it simply "all good"?
― Uptown VONC (Le Bateau Ivre), Thursday, 20 June 2019 20:14 (seven months ago) link
she's consistent, though each work is just distinct enough so everyone has different favorites. so the 14 CD INAGRM box that came out last year can't be beat.
there are now three distinct periods, feedback (1960~1970), synthesizer (1970~2005), acoustic (2005 onward). the box covers the synth period minus 'Transamorem - Transmortem'. The Alga Marghen label put out three compilations of the early works, 'Feedback Music' is a good start, the two 'Occam Océan' CDs are probably the place to start with the acoustic.
― Milton Parker, Thursday, 20 June 2019 21:32 (seven months ago) link
Been listening to Geelriandre / Arthesis on YouTube as I was considering buying the vinyl reissue on Important Records. Does anyone know if it comes with a download? I’m suspecting it doesn’t.
― I am using your worlds, Saturday, 3 August 2019 20:30 (five months ago) link
Just picked up the Adnos trilogy. Looking forward to diving in later.
― Duke, Tuesday, 6 August 2019 16:59 (five months ago) link
have been mesmerised by Occam Ocean 2 today.
― calzino, Wednesday, 8 January 2020 13:15 (two weeks ago) link