Steve Reich - Octet/Music for a Large Ensemble/Violin Phase LP (1980, ECM) [By Reich]

What is that phrase? "The show must go on." I suppose it does. Today, and in lieu of doing anything of any remote importance, I am sharing a recording of multiple Steve Reich works conducted by Reich. I was pleased to pick this from the stacks at a local chain's newest location nearby, mint and for the right price I might add. The recordings, especially Octet and Music for a Large Ensemble, seem to pick up where the infamous Music for 18 Musicians piece left off in terms of the minimalist style. That may be a deal breaker for those who become adamantly reluctant at the thought of minimalism. As a disclaimer, you are unlikely to enjoy these works if you did not enjoy 18 Musicians. Admittedly, as much as I enjoy and admire Reich's superb phasing technique, it can become onerous during casual listening. In terms of minimalism and in the frame of casual listening, unless the piece grabs me within the opening phrase I can become turned off. I think similar can be said for most listeners, and especially those uninitiated or otherwise unfamiliar with the style. Also, listening to Vile's "Solution" and then Reich's "Violin Phase" immediately thereafter is a difficult transition.

Pontificating complete. Now I am going to discuss the music... wait, don't go. As previously stated, Music for a Large Ensemble can be considered the third continuation of Reich's preceding "Music for..." works. The piece contains four sections, each with concise phrases that are augmented throughout and then shortened through diminution. The piece uses what is apparently the largest ensemble that Reich had ever used at the time, twenty-nine musicians if you include the Reich's piano as well. Prior to this recording, the original piece went through a small evolution (or devolution depending on your opinion): it was shrunk from twenty-one minutes to sixteen after a section was removed; instruments were added and removed; and finally, the piece was played faster than originally intended. According to the extensive liner notes, each section is in an arch form which is notated as (A*B*C*B*A). This is probably my favorite piece on the record, and is one which I assume casual listeners will enjoy most for its lovely, violin-led opening phrase. It is a mostly bright work with a relaxing atmosphere and themes similar to 18 Musicians. This is a valid introduction to the composer, and a vital listen for all.

Violin Phase is the oldest piece on this record, both in terms of age and technique. The piece was written in 1967 and is a prime example of phasing. It is written for one violin, but requires that the musician play against three recordings of himself. The musician slowly plays ahead of the tapes, and patterns are both formed and found. The piece sounds ancient when juxtaposed against the other two recordings, and rightly so as it is over a decade older than them. The fifteen-minute piece can quickly become monotonous for casual listeners. It is more interesting than it is enjoyable; it is something to admire as expression and an art I suppose. It is nonetheless a great introduction to Reich's phasing.

Octet sounds similar to Reich's "Music for" works and is simply radiating with his touch. It is a beautiful piece blooming from two pianos, which are complemented with the lingering, nearly invariable strings and a propulsive wind section mostly dominated by flute and clarinet. I know I said Large Ensemble was my favorite here, but in terms of energy... well, I guess it's a tie really. Octet carries on with the same themes and motivations, but focuses on wind rather than percussion. Enjoyable recording and also nice place to start with the composer.

It seems that the recordings on this record are somewhat unpopular, perhaps permanently overshadowed by Reich's magnum opus which has already been mentioned far too many times in this entry. Whether you have heard Reich before or not, there are bright moments to be discovered here. I would say that these recordings, apart from Violin Phase, are a kinder introduction to Reich if you are entirely unfamiliar with him. That is my opinion anyway.

This was released on ECM Records and has the potential for a takedown notice.

Steve Reich - Octet/Music for a Large Ensemble/Violin Phase MediaFire

Chas Smith - Santa Fe 10" (1982)

Although not a critical item on my wantlist, I was happy to cross this one off when I had the opportunity to buy it earlier this year. A somewhat hard-to-find name among experimentalists, Chas Smith is a Los Angeles-based artist whose ambient output I cherish. His album, An Hour out of Desert Center, is one I often return to. This 10", Santa Fe, was his first record.

Santa Fe differs from Smith's later work in two ways. His later work departs from the minimal, curiously retro, barebones ambient zones he composes on Santa Fe; those approaches, methods and themes are present his later work, just in a more sophisticated way. The second difference is the common instrumentation used on this record. Comparatively, anyway: while a pedal steel guitar and 12-string dobro are the only instruments used on this record, Smith's later work mostly involves elaborate, self-invented instruments, some with the most notably colorful names ("Guitarzilla").  His work is reminiscent of Partch, Young, and Stars of the Lid.

As with nearly everything else I write about, I am able to boil this entry down to wondering why this artist isn't more well-known. Interestingly, Smith has contributed to numerous film scores, including The Shawshank Redemption and American Beauty. Smith has also performed on recordings written by Harold Budd. That's an impressive pedigree.

This is a wonderful debut record from a genuinely talented composer. Recommended for fans of the Big Four, other ambient artists, and experimental music in general.

This was Cold Blue #E7. Cold Blue is a veteran California ambient and minimalism label that is still active. If you're still curious about Chas Smith or L.A. experimental music, do check out "L.A. Mantra", a 1983 compilation released by Trance Port that features examples of the Los Angeles underground at the time. Chas Smith's "October '68" is featured on that compilation.

Chas Smith - Santa Fe 10" MediaFire
Chas Smith - Website

Franco Battiato - Clic LP [UK VERSION] (1974)

A big name in synth and avant-garde, Franco Battiato is a veteran in numerous forms of expression. He is perhaps best known for his first LP, Fetus, a cornerstone release for prog and synth-based music. Tonight, I share with you his fourth album, Clic, a mostly instrumental album touching on a variety of textures, sounds, themes, moods and interestingly an about face in songwriting. Franco's early work is often aligned with progressive-related genres, however this album branches out noticeably. Perhaps taking cues from Brian Eno (for what it's worth, Here Come the Warm Jets was released the same year) and other ambient artists active at the time, Franco uses a plethora of synths and drones to create tranquil atmospheres reminiscent of, well, 70s synth in general. He is not without his psych influence either, touching on psych-out themes throughout the only predominately vocalized track "No U Turn," which among its peculiar bursts of oddity features various operatic voices including his own crooning throughout the track. Apart from that, the album is overtly ambient in theme. Fans of current synth artists are sure to notice similarities here.

It should be duly noted that this is ripped from the UK version, that is the 1974 Island Records pressing. The original, Italian pressing it a great deal different from this one.

Franco Battiato - Clic LP MediaFire

Spine Scavenger - Spine Scavenger CS (2005)

Just last night was I inadvertently reminded that I even have a copy of this. My copy was gifted to me by an old pen pal from Illinois a few years ago, so I have her to thank for this one I suppose. Of course that was long after this Spine Scavenger tape was released on Hanson, but it is nonetheless relevant that I include it. What she sent from Illinois is an interesting side-project of Aaron Dilloway that vastly precedes his current work, which I haven't heard lately and likely will not venture to. This tape, in addition to a simultaneously released "full-length" entitled The Lodge (also courtesy of Hanson), was the pseudonyms first recorded output. Half noise, half sound experiments, half found sound. That's three halves, which is far and away more than anyone could bargain for. Interesting modulation somewhere along the line. You should listen to it once and then listen to it again at the same time and place next week, and then ponder where your life is going. I suppose that it should also be noted that Hanson is/was run by Aaron himself.

Spine Scavenger - Spine Scavenger CS MediaFire

Toss - Titles of the Greatness of Been (2002)

Teetering on the edge of drone-drenched electroacoustic jams and full-on noise, Toss was a Belgium trio who put out two impressive albums on Kraak (or (K-RAA-K)³, if you really want to), the same fellas who brought you a Dolphins Into the Future LP this year, among other notables. Their last one, this one, Titles of the Greatness of Been, is a nervous, wandering guitar-based improvisation jammer that's just malleable enough to be deemed amorphous. Some tracks linger in heavy electronic contemplation, while others oscillate wildly with bursts of various instrumental buzzing, dubbed field recording and foamy mumbling and/or gurgling. There. Is that mailing list enough for you? Also, if I attach the word "lo-fi" to this, will you download it?

Toss - Titles of the Greatness of Been MediaFire

Furious Pig - Furious Pig EP (1981)

A strange one from London. Furious Pig were a very short lived quintet that made music using their voices exclusively - a capella, in other words, but not in the way you might think. It was an interesting $1 find; I almost didn't pick it up after listening to it at the shop, but I figured there must be more to this record than meets the eye. I got it home, made it through all three songs, and found that I was both bewildered and entertained, feelings well worth the buck I paid. This group, which took influence from popular avant-garde artists like Captain Beefheart and Frank Zappa, set out to make a name for themselves in a National Melody Maker contest, but unfortunately didn't make the cut. Not ones to be discouraged, they continued to practice their droning chanting and went on to tour with the likes of The Raincoats, This Heat and Television Personalities. They even had a Peel session once. This EP, alongside a flexi and a couple compilation contributions, are all that this band left behind. A very intriguing "non-music," performance art gem that, incidentally, is worth quite a bit more than I paid for it. The label told me to play it at any speed, so I chose to rip it at 45 RPM because it sounded correct. I recommend playing it loudly while your neighbors are walking by.

Furious Pig - Furious Pig EP MediaFire