HDTenEightyP/NetNews huggingface dataset:
From: gtaylor@vme.heurikon.com (Gregory Taylor)
Newsgroups: rec.music.industrial
Subject: Re: Carl Stone
Date: 22 Dec 92 14:49:01 GMT
Reply-To: gtaylor@vme.heurikon.com (Gregory Taylor)
Organization: Heurikon Corporation, Madison, WI

In article <BzM5s5.4yv@emu.com> rickk@emu.com (Rick Kleffel) writes:
>Carl Stone's "Mom's", recently reviewed by Greg Taylor as one of his ten
>best in r.m.misc is very likely deserving of that honor.  It's certainly one 
>for the ambient/industrial fans in this group.  

>When I read all about sampling this fragment and that sound in both reviews,
>I expected something less musical, more concrete -- a pleasing assembly of
>noises, like The Halfer Trio's Intooutof, or the Zoviet France CD I briefly
>owned but returned.  There are elements of that in Carl Stone, particularly
>the song contructed from repeated, shifting samples of a Schubert Lieder
>sung by a Japanese popsinger.  But more often than not on this record, Stone
>manipulates his samples into warm, sliding analog synth-like tones that melt
>together in the time honored tradition of Schulze and Tangerine Dream.  THese
>are overlaid with crunching, churning mechanical sounds that function as rhythm
>on one cut and more background on others.

Thanks for the polite mention of my name here. I'd like to mention that
my intention in the "15 of the top ten" listings over in r.m.m. was to
include some work which might be of interest here. I just didn't get 
around to re-posting the articles here, since only a couple of my non-top
ten would be acceptable to "industrial" exclusivists (the Dome reissues
and SPK's Zamia Lehmanni) and a bunch would not (Tahitian choirs and
Derek Bailey's acoustic guitar scratchfests). Having said that, those of
you who are interested in the ambient industrial stuff really *should*
check out Carl's most recent recording on New Albion. The only caveat
that I might have for you is that you'll find the CD offensive for certain
if your aesthetic in any way would exclude the beautiful or sensuous; for
all intents and purposes, what Carl's up to would produce some truly
bitchin' orthodox r.m.i. bang and screechfests if only he'd alter the
*input* to his compositional systems. But that's not what he's after - so
be warned. This is lovely stuff to listen to.

Incidentally - I've since gotten a couple of e-mail questions about the
Stone disc. The singer being sampled on "Shing Kee" is Akiko Yano, who
you may know as Ryuichi Sakamoto's wife (thought question: if we like
this album or SPK's "Zamia Lehmanni", then is R. Sakamoto's "Esperanto"
also an ambient industrial disc?). The Schubert lieder is "Der Lindenboom",
and it appears originally on Yano's album "Brooch". The first uses 
some vocal samples from the pygmies of the Ituri rain forest and (guess).


--
The law moves quickly in the rain/and chokes the world with memorials./The
courts accept the lowest superstition/into evidence. And we embrace quickly in
the rain,/conceiving a hale infant with hands to wrinkle/the bedsheets toward
it, wave by trough by wave./Gregory Taylor/Heurikon /Madison, WI/608-828-3385
From: pdivine@unixg.ubc.ca (Patrick Divine)
Newsgroups: rec.music.industrial
Subject: Re: Ministry review, SF
Date: 31 Dec 1992 07:16:18 GMT
Organization: University of British Columbia, Vancouver, B.C., Canada
NNTP-Posting-Host: unixg.ubc.ca

The Ministry Concert in Vancouver was fairly similiar to the SF gig, but
with a few major differences:

Song Order:

N.W.O
Missing
Diety
Hero
Psalm 69
TV II
So What
Diety
Stigmata

encore:
Scarecrow

And I beleive Just One Fix was in there somwhere aswell.

However, the entire concert was a let down, and no, I wasn't stoned, so it
was very noticable that Al was not in his best shape.  The band kept
dropping notes, missing riffs and making a lot of "un-necissary noise".  I
couldn't even tell they were playing Diety till around 2-3 mins into the song.

To top it off, the gig was $34, and the cheapest shirt was $28 .. the rest
were around $35.  Drinks on the floor were $2.50 a piece, and everything
seemed like one big giant rip off.

highlights of the show:  Thieves, Scarecrow and So What.

total playing time (not including encore): 60 mins.

And yes, the country music before Ministry came on was lame, but it was
entertaining watching the PNE lady at the door dancing around to Johnny Cash.

What the hell was the video with the maimed skaters about?

-- 
|  The Postman Pat Show                featuring  o industrial strength noise |
|  PO Box 75115                                   o clips from all of your    |
|  White Rock, BC                                   favorite tv shows!        |
|  Canada,  V4A 9M4  (send for catalog)           o Loops! & Loops! & Loops!  |
Newsgroups: rec.music.industrial
From: Greg Clow <ecurrent@zooid.guild.org>
Subject: eek.
X-To: ALL
Organization: The Zoo of Ids
Date: Mon, 21 Dec 1992 20:32:00 GMT

Just a couple of things I wanted to mention:

(1) I finally found myself exposed to some material from NIN's "Broken" 
this past weekend.  Luckily, however, it wasn't terribly annoying, because 
the music (which is pretty much what I expected - a "heavier" re-hash of 
"PHM", yawn yawn) was accompanied by the video.  Yes, I saw the big, bad, 
banned vid for "Happiness is Slavery".  I was pleasantly suprised.  Trent 
might be a wanker, but this video is truly gut-wrenching and very 
disturbing.  I hate to say it, but I don't think that even Puppy could 
pull something like this off.  It amazes me that there hasn't been more of 
a stink raised about this video, actually, since it is very, very graphic. 
For those who haven't seen it, the basic premise is: man walks into a 
room, strips, washes, and sits in this chair which proceeds to strap him 
in and do many nasty things to him.  No punches are pulled.  Very nice 
work.  (as an aside... I've seen it mentioned that one of the Coil boys 
directed the "Wish" video... did he do this one as well?)  Oh, yeah, and I 
also saw the clip for "Pinion" which is pretty amusing in a perverse way.


(2) I saw Pigface last night 'cause a friend won tix and asked me if I 
wanted to go.  I saw them back on thier first tour and I thought they 
really sucked, but this time I figured "it's free, so what the hell".  
Well, they sucked again.  Heh.  Actually, there were a couple of redeeming 
features: they did manage to rock out a couple of times, and the female 
singer (can't remember her name, but I think she's from Silverfish) was 
really cool.  Otherwise, it's was pretty much the Self-Indulgent Wankfest 
that I expected it to be.  For me, the best part of the evening was the 
following...

Audience member: "Where's (Chris) Connolly?"
Martin Atkins: "Connolly?  He's on tour with Ministry.  Do *you* have 35 
bucks in your pocket??"

Hee hee hee!  :-)


Greg
ecurrent@zooid.guild.org

--- WinQwk 2.0 a#0
Newsgroups: rec.music.industrial
From: doom@elaine36.Stanford.EDU (Joseph Brenner)
Subject: Sharkbait!
Organization: DSO, Stanford University
Date: 24 Dec 92 12:31:52


I just saw Sharkbait perform at the DNA Lounge in San
Francisco.  But that's not quite right: you don't just "see"
Sharkbait, maybe you go to *join with* Sharkbait... 

Sharkbait is industrial without drum machines, instead
they've got a couple of people beating on drums, steel
coils, random pieces of sheet metal, and even better they
pass out sticks to the audience and have them join in
beating on random pieces of metal.  Not to mention the TV
set people were invited to destroy.  This is all an activity
they call "crushing" (As in, "I did not *see* Sharkbait, I
crushed with Sharkbait.").

After we were all annointed with florescent paint on our
foreheads, the guitarist came out (in G-string) and started
"playing" his guitar.  Riding it, holding it out to the
audience to strum with metal and wood, grabbing random women
and pulling them against it, and like that.

They also had a couple of female dancers come out and do a
symbolic lesbian sex routine up front, squeezing aside some
of the crushers up front.

They also had a guy wandering around with a big bottle of
alcohol and a couple of torches, making a bonfire on top of
a 55 gallon drum, making a fire on top of the drummers
drums, doing a fire-breathing act sending five foot long
bursts of flame roaring over the audience, and so on.  

A freind of mine reviewed this, saying something like
"They're getting away from the spectacle aspects and getting
back to the music."  I can't imagine what they were like 
*before*.  

There was one song they did that I was really impressed by,
that goes something like: 

   Have you touched everyone that you want to touch? 
      Yes! No! 
   Have you crushed everything that you want to crush? 
      Yes! No!

I know I've heard this before, but I looked for it on the
1991 CD, BLOWTORCH FACE-LIFT and it's not there... anyone
know what it's on?  Is it on a compilation somewhere? 

(BLOWTORCH FACELIFT isn't bad at all.  I think "Praise God"
has probably gotten the most play -- an exercise in
anti-religious sarcasm -- but I really like some of the odd
cuts like "Song for Trees", which is a very pretty flute
piece with a pseudo-oriental sound.)

Newsgroups: rec.music.industrial
From: BrianW@SoundS.WA.com (Brian Willoughby)
Subject: The 1" 'single' CD (Re: NIN Broken)
Reply-To: BrianW@SoundS.WA.com
Organization: SoundSoftware, Bellevue, WA, USA
Date: Wed, 23 Dec 1992 00:12:32 GMT

Chris Hufnagel writes
| My copy of Broken came on 2 CD's.  One standard 3" with all the songs except
| "Physical" by A. Ant and "Suck" by Pigface, which were on a 1" 'single' CD.
| 
| Is this a USA only gimmick? Or do I have some early production?
| BTW, my copies don't have tracks 7-97 for obvious reasons.

Gee, that 1" CD must be 'virtual vaporware', since the hole in the middle of  
all CDs (no matter what their size) is a full 1.18" across  :-)

In fact, a 1" CD single would be a great gimmick.  The record companies could  
just charge their usual $5 to $12 profit (depending upon the artist's  
popularity and whether the CD was on sale or not) and hand you a sheet of paper  
with their copyright notice written all over it along with that statement about  
how the CD medium is so perfect that you'll actually hear flaws in the artist  
(oh, and they might save some room for the name of th artist to be printed on  
there as well).

:-) :-| :-(
-- 
Brian Willoughby	Software Design Engineer, BSEE NCSU
BrianW@SoundS.WA.com	Sound Consulting and Signal Processing Software
NeXTmail welcome	- NO EMAIL SOLICITATION without prior permission
From: andersh@tdb.uu.se (Anders Holmberg)
Newsgroups: rec.music.industrial
Subject: Re: Song title info?
Date: 19 Dec 92 13:30:51 GMT
Organization: Dept. of Scientific Computing, Uppsala Univ.
X-Newsreader: TIN [version 1.1 PL6]

Angus MacGyver (U20190@uicvm.uic.edu) wrote:
:      There was this one song I heard recently that sounded really great
: but I didn't catch the title or the name of the band. The only lyrics I
: can recall went like:
: 
: "Senses overloading/Drowning in a pool of love
:  Sweet temptation/Never gonna get enough"
: 
[ Stuff deleted]
: 
:     If anyone can tell me the title and artist I'd be most grateful.
: 
: 
: -=> AM

This should be 'Big Blue '82'' by Danielle Dax from her latest (?) album
'Blast the human flower'. This album is a bit too 'housie' for me, but it's
still OK. If you're not already into Miss Dax music i can recommend the
album 'Dark adapted eye' that was intended as a release to introduce her
to the US market. It includes the album 'Inky Bloaters' more or less in whole,
as well as material from her earlier albums. Although not really 'industrial'
it's a *very* good record!

	Blast the human flower		Sire (926126-2)
	
	Dark adapted eye		Sire (925818-2)

Hope this helps!
/Anders
From: ben@NeoSoft.com (Ben Ettinger)
Subject: Re: Death In June
Organization: NeoSoft Communications Services -- (713) 684-5900
Date: Mon, 28 Dec 1992 18:28:51 GMT

Somewhat regarding DiJ.. I recently got a CD by 'Orbo Equitum Solis'
entitled 'Animi Aegritubo'. It is excellent, and one of the songs has the
words by Tony Wakeford. I'm wondering, has this group released anything else
or are they new? I'm writing to their address, BM OES WC1N 3XX London England,
and have realized that DiJ, C93, NWW, and Sol Invictus each have the same
address but for the different BM names synonymous with the groupnames.. The
only reason I ask such a stupid question is because I don't know anything
about the postal working of the U.K. so I don't know whether the Different
BM's denote different buildings the letters are sent to, or different
mailboxes, or whether it's just some sort of aliasing system, sort of like
c/o.
 In any case.. I definitely reccomend those of you who have not gotten King
and Queen yet to get it.. I personally like it alot.
 
ben.

-- 
 o       o  =Ben Ettinger=  One might be asked "How can you prove that          
   <> '>    =ben@sugar.ne=   a god does not exist?" One can only      -David    
   /  ,>   =osoft.com -- b=   reply that it is scarcely necessary        A.     
     o     =en@taronga.com=    to disprove what has never been proved.  Spitz   
Newsgroups: rec.music.industrial
Newsgroups: rec.music.industrial
From: thf@sizone.uucp (Jason Kalra)
Subject: Re: DT/NU
Organization: Sonic Interzone, Atonal Hoodlum Subversion, TO Ont. 416-276-0552
Date: 26 Dec 92 09:01:20 GMT

To: thf
Subject: Re: DT/NU
From: thf@sizone.UUCP (Jason Kalra)
Date: Sat, 26 Dec 92 03:26:31 EST
Organization: Sonic Interzone, Atonal Hoodlum Subversion, TO Ont. 416-276-0552
From: sizone!thf@ee.ryerson.ca (Jason Kalra)
Newsgroups: rec.music.industrial
Subject: Re: DT/NU
Date: Sat, 26 Dec 92 03:20:07 EST
Distribution: world
Organization: Sonic Interzone, Atonal Hoodlum Subversion, TO Ont. 416-276-0552

epstein@nubis.rutgers.edu (david epstein) writes:
> The group is made up of D.R. Goettel and Cevin Key from Skinny Puppy.  The
> music, mostly synth and samples, is a lot cleaner sounding then SP and has,
> in some places, a soundtrack feel (indeed, one of the tracks is entitled "the
> from PRESSUREHEAD").  The music is fairly interesting as are the samples but
> it doesn't vary much and lacks, in my opinion, intensity.
> 
> The album didn't inspire me to learn much more about the project, but I do
> take it out every so often to listen to.
> 
> hope you find this helpful,
> 
> -david
> epstein@nubis.rutgers.edu

 Thanks for the help.  I had a chance to take a very quick listen to them 
last week, and I wasn't really sure as to what the over-all sound was 
like.  I forget the name of the CD I was listening to, but the first 
couple of tracks weren't bad.  A lot (as you mentioned) of synth, though.
     Agin, thanks for the help.

  Since I'm here, I'll pose yet another irritating question to those in 
this newsgroup... I picked up Syrophenikan, by Leeb's Delerium a little 
while ago.  Since I'm pathetically interested in 'movie music' (as I've 
heard Delerium dubbed), does anyone have any information on the other 
Delerium releases, as they compare to this one? 


Jason Kalra - Sonic Interzone BBS, Toronto
Inet: thf%sizone@ee.ryerson.ca
From: aankrom@nyx.cs.du.edu (Anthony Ankrom)
Subject: Re: ClockDVA
X-Disclaimer: Nyx is a public access Unix system run by the University
	of Denver for the Denver community.  The University has neither
	control over nor responsibility for the opinions of users.
Organization: Nyx, Public Access Unix at U. of Denver Math/CS dept.
Date: Sun, 27 Dec 92 06:29:29 GMT


 Funny how Bitsream is the only song that I hate on this album...

St. Anthony

--
          / N \   O                   Mi vsi smo krizhani,
         |   \ |  || Ph               chlani izbrani
         |   | |_O-C-C-OH             mesarskega ceha...
BZ        \ / /      Ph                            aankrom@nyx.cs.du.edu
Newsgroups: rec.music.industrial
From: coan@griffin.emba.uvm.edu.uvm.edu (Brian M Coan)
Subject: Erasure tour??
Organization: University of Vermont -- Division of EMBA Computer Facility
Distribution: net
Date: Sat, 2 Jan 1993 01:37:16 GMT

Does anyone know when Erasure will be on tour in the States?

	coan@emba.uvm.edu

ps- before you say "Why the fuck is this geek posting this question
on r.m.i.??!" let me just say "BECAUSE!!! So fuck off!!"
Newsgroups: rec.music.industrial
From: dacc@cmp-rt.music.uiuc.edu (Andrew C. Crowell)
Subject: Re: Carl Stone
Organization: University of Illinois School of Music
Date: Thu, 24 Dec 1992 05:11:01 GMT

In article <1992Dec23.220703.5287@galileo.cc.rochester.edu> md@theory.esm.rochester.edu (Mike DeMurga) writes:
>In article <Bzq6us.6BE@news.cso.uiuc.edu> dacc@cmp-rt.music.uiuc.edu (Andrew C. Crowell) writes:
>>	Oh, if you can get your mitts on it and _want_ some raucous Carl
>>Stone music, try and get a copy of "Hop Ken". It's the evil, anti-"Shing Kee".
>
>"Hop Ken" has, as far as I know, been released on TWO cds:
>
>Carl Stone: FOUR PIECES (electro-acoustic discs 201)
>--Shing Kee shows up on this as well  
>
>Another Coast (various composers): Music and Arts programs of America
>                                   (cd-276)
>--if you own the four pieces disc, there's no new material for you on this
>one, but there are some very nice pices here by Paul Dresher (and smome
>other o.k. pieces by other composers)
>
Cool...a great Wild Goose Chase that I won't mind going on at all! Maybe I
can turn 'em in Chicago...
	Of course, I picked up my copy of "Mom's" in good ol' Nashville...
go figure!

DACC.
From: rdna@matt.ksu.ksu.edu (Paul Paukstelis)
Newsgroups: rec.music.industrial
Subject: Starting a record label
Date: 1 Jan 1993 23:09:29 -0600
Organization: Kansas State University
NNTP-Posting-Host: matt.ksu.ksu.edu

I'm starting a record label. Its not strictly industrial because it is
in conjunction with other local bands. Right now i'm looking for places
to press 7"s. Anyone have any numbers/prices for such locations? I
would appreciate this info. I've also heard there is someone who presses
flexies (the little-record type things like in Keyboard) pretty cheap.
Any info on this would be greatly helpful. Thanks.

--rDNA
Mind Leak Fascist, industrial music from manhattan, KS
Open Your Mouth, Punk! records
Newsgroups: rec.music.misc,comp.sys.mac.misc
From: bskendig@netcom.com (Brian Kendig)
Subject: Need advice on getting a MIDI keyboard & software for Mac
Organization: Starfleet Headquarters: San Francisco
Date: Sun, 27 Dec 1992 23:14:25 GMT

I've been recently toying with the idea of getting a MIDI keyboard and
software for my Macintosh, and I need some advice on what I should go for.

I took two years of music theory in college, but I can't play the
piano well yet.  I want to be able to practice playing, but also to
easily write scores on the computer and have it play them for me.
Lots of features would be nice, but I don't require anything
industrial-strength.

I was looking the other day at a Yamaha PSR-400 (I think that was the
name... maybe it was PSM-400?).  It went for about $400 at The Good Guys,
and I liked it a lot.  $400 is the high end of what I'd be willing to
spend, though.

Is this a good keyboard?  Is there anything of comparable power that's
less expensive?  And what software should I get?  I've seen Deluxe
Music Construction Set and it looks *awful*, but I've heard Finale is
nice.  Also, where could I get a good Mac<->MIDI adapter?  Do I need
any other equipment?

How much should this whole setup cost me?  If the final pricetag is
more than $600 or so, I might as well buy a VCR.  ;-)  Of course,
this whole decision could be pointless; I have a Mac IIvx, and there
have been reports of it not being compatible with MIDI.

Please either email me suggestions or post to both rec.music.misc and
comp.sys.mac.misc, since I only read the latter.  I'll post a summary
later.  Thanks!

-- 
_/_/_/  Brian Kendig                             Je ne suis fait comme aucun
/_/_/  bskendig@netcom.com                de ceux que j'ai vus; j'ose croire
_/_/                            n'etre fait comme aucun de ceux qui existent.
  /  Nolite te bastardes     Si je ne vaux pas mieux, au moins je suis autre.
 /    carborundorum.                                             -- Rousseau
From: aa680@cleveland.Freenet.Edu (Vern Morrison)
Newsgroups: rec.music.misc
Subject: Re: A Brian Wilson CD
Date: 27 Dec 1992 17:39:18 GMT
Organization: Case Western Reserve University, Cleveland, OH (USA)
Reply-To: aa680@cleveland.Freenet.Edu (Vern Morrison)
NNTP-Posting-Host: slc12.ins.cwru.edu


In a previous article, haha@vipunen.hut.fi (Harri Haanp{{) says:

>I recently bought a CD by Brian Wilson.
>
>I'm wondering if this is Brian Wilson the Beach Boy.

    [song list omitted]

>Other people who have been writing or producing or whatever the songs
>include Eugene E. Landy, Russ Titelman, Alexandra Morgan, Nick Laird-Clowes,
>Andy Paley, Andy Dean, Jeff Lynne and Lenny Waronker.
>
>The music is rather weird but features polytonal singing. And most of the
>songs are (c) 1988 Beach Bum Music BMI.
>
>Who is this Brian Wilson guy? Is he _the_ Brian Wilson?

       _THE_ Brian Wilson is no more, alas, having burnt out a few too many
brain cells sometime back in the early 70s.  But yes, the CD you bought is
indeed by the former Beach Boy himself.  It came out about three years ago
and was viewed at his attempt at a comeback.  Eugene Landy is his personal 
(choose one or more):
   
        a) psychiatrist
        b) savior
        c) Svengali
        d) guru
-- 
    "The biggest problem with reading [Usenet] is there is so much and it 
is all so interesting.  It is easy to be enamored with it.  Be selective
about which groups you read.  It could mean your job, your family, or your
college career."  --Ed Krol, _The Whole Internet User's Guide and Catalog_
Newsgroups: rec.music.misc
From: tvh@oce.nl (T. v. Heugten)
Subject: Midnight Oil/The Mission question
Originator: tvh@oce-rd2
Organization: OCE Nederland B.V.
Date: Wed, 23 Dec 92 07:15:29 GMT



	Yes, you!! Hello.


	This is a total shot in the dark, but it's been bugging me for some
	time. I was listening to the Mission's "God's Own Medicine" and right
	after that to Midnight Oil's "Diesel and Dust".

	At the end of the song "Arctic World" from D&D there is a small piece
	of string/flute-arrangement (well, it sounds like that, but 100 to 1
	it comes from a synth), then the song "Warakurna" follows. This part
	show a striking resemblance to the string/flute-arrangement at the
	end of the Mission's "Wasteland" from GOM.

	So, is it just my imagination, or did these guys copy from each
	other? Or did both bands copy it from somewhere else? Or were the
	synths just accidentally programmed the same way? Both albums came
	out at about the same time, end '86, early '87 I guess.

	Does anybody have some clarification to this? Thanks.




Back To Work,

		Theo.


----------------------------------------------------------------------
 Theo van Heugten |  "What do you see when all the glitter has gone?"
   (tvh@oce.nl)   |  "An empty space remains!"
                  |                               - Lock Nine Nitwits
----------------------------------------------------------------------

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      #  This note does not necessarily represent the position  #
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      #      responsibility for whatever will be accepted.      #
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Newsgroups: rec.music.misc,rec.music.info