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Home Page: myspace.com/thecoloroflight Member Since: Jun 07, 2007 Rank: 360 Average Vote Received: Correct (3.82, 95 votes) last 10 days: Correct (4.00, 15 votes) Rated 363 releases, average: 4.36 Location: Chicago / Vermont Profile: "My life is poisoned !" laments Raymond L'Eglise, the 72-year-old 'nature man' of Tautira. "There are 250 chemicals in our food — authroised by the social communists !" For 27 years the retired French mariner has lived in isolation on the rugged east coast of Tahiti, perhaps the last of the European ascetics who came there to practise Rousseau's philosophy of the 'noble savage'. "I've travelled from Paris to Ceylon," says L'Eglise, "but all places are the same. The problem is the pride of man." All items listed in my collection are the original physical releases. No downloads or copied CDs are included in this list, unless it is strictly an MP3-only release -- of which there are *not* many. | |
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87.5% positive
(8 ratings)
thecoloroflight's groups (8)
Fun Years, The - Baby, It's Cold Inside - 29-Oct-08 10:37 PM
Needless to say, this has been done before. In countless forms and utilizing countless methods, this has been done before, needless to say.
Needless to say, indeed. For this is an album -- whose sounds contained within, despite existing previously in different guises, created by different artists -- has successfully embraced the contradiction between the disintegrating past and the slightly flourishing future.
Many Sound-artists have mastered the practise of playing aging records in order to achieve an ambiguous sense of understanding of the future and nourishing an undefined and romanticised understanding of the days of yore.
The Fun Years understand these aforementioned issues. They're aware ... they create ... Yes, the crescendos are there, the granular accumulation of tiny sounds, the slowly paced progression of one organically rendered piece into the next ... It's all here.
But with their mastery of sound comes a unyielding presence of the intrigue of the unknown.
After becoming disappointed by Philip Jeck's Touch albums (I find them too drawling, sonically inconsistent and inconclusive) this album, "Baby It's Cold Outside" is a refreshing approach to Sound-art and the artistic statement in general.
Gregg Kowalsky - Through The Cardial Window - 18-Oct-08 09:25 PM
This is a masterful post-ambient album. There are depths of intermingling sound layers and coexisting harmonies and overtones. This is very organic music. Music that fluctuates within its presence, accepting variations and perceptions. Rarely is an album released that so clearly relates to the philosophical, elusive and metaphysical qualities of life and the forgotten natural world.
This album is dense, humid and teeming with miniature epiphanies, coinciding itself with all that is real and non-stagnant.
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múm - Loksins Erum Við Engin - 17-Jun-08 10:44 PM
We all know how wonderful, masterfully constructed, elusive, personable and meticulous this music is. But with this release, "Loksins Erum Við Engin", one may hear the sisters singing in their own language and thus intertwined with more genuine emotions and intentions. After having the English version for so many years, it was immensely important to listen to the original, first (?) Icelandic version. However, I believe it's now sold out.
Múm also doesn't make music quite like this anymore, which is a shame.
Popol Vuh - Nachts: Schnee / Aguirre I - 27-May-08 08:10 PM
Yes, all of the first review is true. The remixes are extraordinary, and revive the originals and are wonderful commentaries on the current state of contemporary electronic sound. However, because this was pressed on lovely (?) red *transparent* vinyl, I noticed some distortion. I am once again confounded as to why transparent vinyl (especially in the reissue market) is so popular when it commonly produces reduced sound quality.
Annoying.
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Jim O'Rourke - Terminal Pharmacy - 10-Mar-08 09:49 AM
This is Jim O'Rourke's best avant-garde composition. Foremost, it should be mentioned that the musique concrète portions were created by actual, physical tape cutting, splicing and pasting (a method Jim practised often during the early 90s and of which he was quite fond). He also notated an orchestral portion to accompany this.
There is an undeniable tension-and-release formula intertwined throughout this work. The taught, tense parts are immaculately crafted and properly placed in terms of how they relate to their compositional compliments and contrasts. Silence is used masterfully here. Each sound has a purpose; the purpose is justified by the overarching affect of the entire piece as a cohesive, encompassing whole.
This is on par with many of the legendary works of 20th century avant-garde and academic electronic composition.
