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Released Jan 01, 2009
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Downloads 17.4K
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The songs in this album are licensed under: CC BY-NC , CC BY-NC-SA 3.0 Please check individual tracks for their respective licensing info.
Album info

Intro: Work For 10 Boom Boxes and 10 Tapes of Hardcore Intros Recorded live at the CCL1Mixed by Jakob ThiesenOn the 10 boomboxes arranged in a semi circle are cassettes with 30-minute loops of intros from hardcore punk songs of the 1980s: 8 guitar parts, 1 bass part and 1 drum drop out.  These are brought in and out of the mix using the volume faders on the tape players, creating something that is sometimes almost a hardcore song, sometimes beat-less and vague. Selections include various shreds and feedback hums from: Discharge, Negative Approach, Black Flag, Bad Brains, Poison Idea, Rudimentary Peni, and Raw Power.Alvin Lucifer (Two Excerpts)Performed by Steven Kado and Brian Joseph DavisRecorded live at Mercer Union Contemporary Art CentreA metal cover of Alvin Lucier’s 1977 work, Music On a Long Thin Wire, which was a wire stretched the length of a room with bridges and contact mics at either end. The wire ends themselves were inserted into the speaker outs on a receiver. The sound sent through the wire was a sine wave. In this version, developed along with Steven Kado, we used the track “Untitled” from the Neurosis CD, Word As Law, two matched Ampeg SVTs and rat pedals.  You can hear fragments of the sound source but mostly it’s the amazingly layered sound of the wire pulsing and feedbacking on itself. This recording is drawn from our six hour, six minute and six second performance. Piano For 17.6 HandsPerformed by The New York Miniaturist EnsembleRecorded at The Players TheatreMixed by Jakob Thiesen Commissioned by The New York Miniaturist Ensemble, who perform a repertoire of works consisting of one hundred notes or less. Piano For 17.6 Hands calls for every key on a piano to be struck one hundred times for the duration of a whole note, with sustain pedal down. The first fifty times, the players must strike as hard possible, the final fifty, dynamics are up to each performer.