Pita, Inkxpotter, Marclay

Listenability Rating:  Challenging (this cast contains noise, samples, and other annoying things)

On a bit of a noisy note I figured I would start rating these shows for those who happen to stumble across my site and take a listen to what we do here. For the regular listeners it's not necessary because they have come to know what to expect. Yet it probably means I need to go and add ratings to all past shows, maybe some other time...

The first piece we listened to is by Pita off of the Get Off cd, we heard "Resog 45". "This is his (Peter Rehberg's) fourth solo album, and in addition to solo work he has collaborated with everyone from Fennesz  to choreographers Gisele Vienne and Chris Haring. Compared to his previous efforts, Get Off may very well also be the most varied work to date from Pita. Ranging from minimal and sparse to dense and attacking, the effort is everything from ambient to noise, and sometimes a little bit of both." - almost cool music reviews

For my contribution I recorded six five minute sections on my ipod with one of those plug in mics (yes the sound quality suffers but you know I am not one to care about that.) and then mixed them together into a little collage titled "staring straight."  I think I might do a few more of these and try to keep things more minimal, most times I start out trying to do that but end up falling into the density of overlapping sound sources and succombing to their spells. Maybe next time...?

Christian Marclay closes out the show with his piece Jukebox Capriccio, it's off of my Haunted Weather compilation CD but can probably also be found elsewhere. Performer, sculptor, and sound artist Christian Marclay has been experimenting, composing and performing with phonograph records and turntables since 1979. As a musician, he was one of the first to use records and turntables as a medium for performance and improvisation. Mixing a wide variety of LPs on multiple turntables, fragmenting and repeating sounds, altering speeds, playing records backwards, spinning, throwing, scratching, and otherwise manipulating records to create his unique "theater of found sound,"