Here's something I hadn't considered: A friend of mine who was in attendance at the show suggested to me via e-mail, after seeing my earlier post, that in fact it might not have been a Voice Crack member who played the sampled voices with the Sept. 11 content at all. He thinks it might just as easily have been I-Sound, who would likely have had an easier time of it equipment-wise and at the same time, as a New Yorker, might have felt greater license to use those materials. I hadn't considered this at all, and must admit it makes sense. I suppose I assumed the voices came from Moslang or Guhl since I saw one of them seemingly deploying minidiscs at another point during the concert, and also because - perhaps wrongly - I went into the performance thinking it was "Voice Crack and guests"; i.e., that O'Rourke and I-Sound would have been somehow subordinate to what Moslang and Guhl were doing. In retrospect, that seems silly, and certainly like I brought the wrong set of luggage to the performance. Steve Smith ssmith36@sprynet.com -----Original Message----- From: zorn-list-admin@mailman.xmission.com [mailto:zorn-list-admin@mailman.xmission.com]On Behalf Of Bill Ashline Sent: Monday, May 20, 2002 9:27 AM To: zorn-list@mailman.xmission.com Subject: Re: REVIEW: Voice Crack/Jim O'Rourke/I-Sound at Tonic, Thurs May 16, 2002
From: "Steve Smith" <ssmith36@sprynet.com> To: "Zorn-List (E-mail)" <zorn-list@mailman.xmission.com> Subject: REVIEW: Voice Crack/Jim O'Rourke/I-Sound at Tonic, Thurs May 16, 2002 Date: Sat, 18 May 2002 12:02:25 -0400
The combination of Voice Crack, Jim O'Rourke and I-Sound drew a sizeable and appreciative crowd for a midnight set at Tonic on Thursday night - and this, despite the fact that many of the local regulars for the improv scene were in Victoriaville.
thanks for the review Steve. Though I wasn't there, I'd read Voice Crack's inclusion of voices about Sept. 11 as the manner in which certain events and the sound productions surrounding them as visceral intrusions into aural experience, whether one is aware of them or not. No producer of sounds can really avoid them, and certain sounds, certain words, become like refrains that keep reminding one of the event that just took place. Such sounds also accompany certain emotional reactions, as you noted, like for example, my feeling of nausea when I recall Dubya's bifurcation of the world into being for "us" or for "the terrorists" in his Houston ranch accent. that's where I see the "refrain" intervening in the "narrative" of electroacoustic music. _________________________________________________________________ MSN Photos is the easiest way to share and print your photos: http://photos.msn.com/support/worldwide.aspx _______________________________________________ zorn-list mailing list zorn-list@mailman.xmission.com http://mailman.xmission.com/cgi-bin/mailman/listinfo/zorn-list