Julius Eastman ‎– The Nigger Series

Etichetta:
Blume ‎– BLUME 14-15
Formato:
2 × Vinyl, LP, Album, Limited Edition, Purple, 180g
Paese:
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Stile:

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Note

Edition of 300

2 LPs in bundle, Purple Color Vinyl. 180gr Audiophile pressing. Including printed inner sleeve housing a Nagaoka anti-static record sleeve, plus an original insert that functions as Obi. Housed in a fold-out outer sleeve.

Originally published on Julius Eastman "Unjust Malaise" 3CD, New World Records ‎– 80638-2 Julius Eastman - Unjust Malaise

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cardiac

cardiac

11 settembre 2019
All “controversies” aside, this is exhilarating stuff. Several pianists banging out dense swirls of melodic runs and tone clusters, which wash over churning tectonic bar chords. This would appeal as much to those who love Lubomyr Melnyk, Conlon Nancarrow, or Philip Glass as to it might to fans of black metal (plenty of the lead lines on ‘Evil N****r’ could easily be reimagined as tremolo picking). Hugely fun to listen to.
kyeo

kyeo

10 luglio 2019
jeez i hate to see the day you pearlclutchers listen to your first rap record
backdrifting

backdrifting

13 aprile 2019
modificato 5 months ago
*eyes roll back into oblivion*
Eastman was a self-acknowledged provocateur and inscrutably lucid intersectional identity that actively sought for the public's awareness to the racial and sexual connotations of his art through the most radical incitations of language. His titles weren't a fucking accident, and when the stuffy, almost entirely white gatekeeping old guard to the institutions facilitating the exhibition of his work tried to censor their full printing before performances and on programs, Eastman deliberately made sure to unapologetically present them in-person anyway. This is the man that felt that John Cage didn't push himself far enough, and chose to reinterpret chance operation and his sexuality (as well as Cage's privateness regarding his own queer identity) live, as a socially-conscious gay manifesto directly in front of the legend himself. Eastman shied away from nothing.
If for no other reason, the larger title of these releases works because it is exactly what the artist referred to them as, and that fact is undoubtedly reflected in a deliberate decision to print them that way. There's no gold rush in post-modern minimalist composer reissue vinyl, and these pressings are obviously done with great reverence for a certain selection of underrepresented and important artists, especially one with such a pivotal and glaringly absent voice within canon such as Eastman's. In turn, the packaging here does what its supposed to: to be incendiary to the structures the artist fought directly against, to the homophobia and racism that made his very presence in a world of classical composition an anomaly, and to force a mirror into the face of the impossibly deep ignorances of average white America, some of the most disheartening and heinous unresolved ignorances still (literally) violently alive in Trump's America today.
So before positing toward something else, regardless of a certain label's approach, consider a very certain intention to these releases as they were originally conceptualized and presented by the artist himself, and truly ask yourself if it's possible Eastman could be talking directly to you with the confrontation inherent to their titles...if it offends a type of sensibility, does it say more about that sensibility than itself?
__Arbrisseau__

__Arbrisseau__

8 marzo 2019

Blume label owner made this re-release together with NewWorld to whom they paid the copyrights however they don't know who will benefit from it directly anyway there's an Eastman trust who is taking care of the Eastman estate. I have this information directly from the label owner & founder. Trust this matter is cleared now so consider this as end of thread.
thebighuge

thebighuge

22 febbraio 2019
I put money on the fact that the people uncomfortable with this are white men. The cynicism it takes to think that the wording was used to sell records and not to reflect the vocabulary that Eastman used over and over is a product of our current political climate. Take 30 seconds and look at the majority of Eastmans song titles. Come on y'all. One of the few celebrated gay black men in a sea of whiteness that was the 70's avante grade and y'all have to find a problem with it?
brownguyinaus

brownguyinaus

10 gennaio 2019
I definitely agree with the below two people. This release seems like it was thought out for no reason and the title 'ni*ger series' used as a reason to sell more copies. Realistically Julius Eastman doesn't/didn't have a large fanbase (dead or alive) and this will only sell a few copies, so 'thoughtfully' printing the cover with the word 'ni*ger' will also get the attention of 'introspective' white people who will buy it cos they're trying to support the poor black people and FIGHT RACISM.

I'm definitely am not saying don't buy it (i personally want just C/D as they aren't split), just think about would you be buying it if its cover wasn't plastered poorly like that.
theinvisiblehand

theinvisiblehand

7 gennaio 2019
Yeah.. jeez.. this seems very poorly thought out. (Or just hastily rushed into production without reflection or (self-)editing, maybe a bit like the essays on the Blume record covers with all the typos etc?) Maybe we will find out that this is someone in the Eastman estate with a claim to inside knowledge to what J.E. would want.. and then all this can be hindsight revisited. But right now the choice looks really shit.
duevt

duevt

20 dicembre 2018
Nice work with the title, and having it in giant type on the cover there. Never mind the fact that to people who aren't familiar with Eastman's provocative titling of his pieces this may be sending a questionable message. I get that Eastman had the right to use this language in his titles, and why he did it, but that it would then be used in this way to name some kind of 'series' to sell a record? I mean, Blumen has put out some fantastic records in the past, but I'm not sure I'm comfortable with this at all...