fett on 26/1/2007 at 01:00
Geez I didn't realize either of you guys had been here that long. I'm a noobie.
Aerothorn on 26/1/2007 at 03:26
This was the first forum I've been a regular at where people neither notice or comment on post counts. I like it that way. I actually have no idea what my post count is, and don't particularly care. It means something, but I'm not sure what that is.
Edit: I have 3509. Apparently, that means that the idea I had of me being sort of a background lurker who doesn't post much is wrong. I suck.
Aja on 26/1/2007 at 09:33
which steve reich album should I buy, there's so many and I really only want one good one. noid you're the expert here.
10000 posts more like 5000 posts with enormous typeface
god is it ever huge and in your face
Fingernail on 26/1/2007 at 12:17
and Different Trains/Electric Counterpoint
Shug on 26/1/2007 at 17:48
Quote Posted by Aerothorn
Edit: I have 3509. Apparently, that means that the idea I had of me being sort of a background lurker who doesn't post much is wrong. I suck.
you spamming fuck
Para?noid on 27/1/2007 at 16:08
I'll give the essentials and my thoughts:
<b>Music For A Large Ensemble</b> - Get this. The ECM New Series release also has <b>Violin Phase</b> which is an interesting exercise but more than that it also contains <b>Eight Lines / Octet</b> which is not quite as good but still spectacular and winds up being just as beautiful at times.
<b>Music For 18 Musicians</b> - Ostensibly Reich's magnum opus, an hour long epic that melds voices, clarinets, pianos and other instruments seamlessly, characterised by passages of light and shade that never cease to amaze me in their simple beauty but astonishing virtuousity. This might not be a good starter because it's hard to digest but you *must* own it at some point.
<b>Electric Counterpoint</b> - Exclusively guitars, this is a more lighthearted, 15 minute, three part peice that ends on a superb note in the third part. Uplifting, but brief.
<b>Music For Mallet Instruments, Voices and Organ</b> - Earlier work, a lot more straightforward and fixed in scope but the interaction of organ and mallet instruments gives it this 'grand' feel that I particularly enjoy. The recording I have (from the Phases boxset) employs this deliciously subtle spring / slapback echo.
It's easy to appreciate Reich's work because there is generally an increasing development from simplicity to complexity as you look through his work. The early tape stuff like "Come Out" I think is very simple, yet extremely tedious and too experimental for my tastes. As you go through the 70's, 80's and 90's his work becomes increasingly intricate and varied however.
So there we have it
