|
|
||
Keith Rowe, Tambersauro, and Killing You With LPsKeith Rowe (and Loren Conners) at Rothko Chapel
The show opened with Loren Connors who was a great disappointment. I kept finding my mind drifting as he plunked notes and chords to little effect. To begin with, his sound seemed distant and muddled; it was kind of the same effect as being in a park with a guy playing in a gazebo a few hundred yards away. Conners simply had no idea how to use the space. Then the performance itself seemed lost and meandering leaving me feeling disaffected. I found myself constantly shifting in my seat, while trying to grasp hold of anything to no avail – it just wasn’t happening. Now, I’m not the hugest fan of Connors; I’d bought two of his albums ages ago and my reaction was a shrug. I didn’t hate them but I wasn’t blown away either. So at first I attributed my disinterest to just not being that into his work but during the intermission Johnathan, Will, and Eric (who definitely are fans) expressed the same boredom at the performance so I don’t think it was just me. In fact, Johnathan’s ass was kicked enough to where he simply decided to go home. The rest of us stuck around for Keith Rowe and I’m glad I did because it was incredible. In contrast to Connors, Rowe clearly knew how to make use of the space. He had two Fender tube amps aimed straight up at the ceiling – which from where I was sitting gave an almost 3-D effect to the music. Throughout the performance, he carefully and purposefully fiddled with effects and his treated guitar resulting is this beautiful and abstract collage of electronic hums, beeps, crackles, and drones. Here, each sound seemed to be interacting and working together towards something as Rowe’s performance, while improvised, did have an arc that seemed natural and organic. The one downside of the location is that since the chapel’s floor is flat, it was very difficult to see what Rowe was doing and even though we were in the back we were not allowed to stand up. That meant that I had to contort and crouch just above the head of the person in front of me which was pretty uncomfortable but worth the effort. This was after all a performance and part of what makes it interesting is actually seeing what Rowe is doing. That problem itself seemed to defeat the stated goal of the music series: Sound Observations will offer an opportunity to experience the art [Rothko's paintings and the chapel itself] and the music in ways that will shed new light on their qualities, giving a new context by which to understand their nature. Sorry, but my having to sneak a peek over people’s heads to see a bit of what was happening in the center of the room only shed light on the fact that a raised stage may have been useful. In effect, while the room sounded great, the set-up made the chapel more of a hindrance than an active interactive participant in the performance. Mercifully, Rowe clearly commanded the room making any venue problems less of an issue that they would have otherwise been. But ultimately forget any high falootin‘ concepts, the show was simply fun, witty, and energizing. I remember being tired when I rolled up but I felt refreshed and energized by the end of Rowe’s performance. Since it’s a bit hard to explain how entertaining his work is, here is a short YouTube introduction to Keith Rowe that pretty much gives you an idea of what he does live:
The opening band Antarctica Starts Here definitely had a wider appeal as they seem to have brought in most of the crowd. I had heard good things about them but had never seen them before. I had meant to catch their full set but ended up having Fish and Chips downstairs with some peeps so I missed all but the last song and a half. That’s hardly enough to really get a full feel for the band but from what I caught they definitely might be worth keeping up with as they still seem a bit primordial. They had a strong vocalist and their drummer plays this 60/70s style drumming that I dug. On Skyline they name checked the Velvet Underground a lot but I heard a lot more shoegaze via Ride from the guitars than I did Sterling Morrison. The closing number had this wonderful crescendo with these great drum rolls propelling a wash of guitars and synths under the vocals. It was nice stuff, we’ll see how they evolve. The Dark Side of Vinyl LPs Lastly, I love Peter Goldmark’s invention – the vinyl LP. They have a nice warm tone, they have a nice archival nature to them, and the big format makes for a pretty product. The LP nowadays is an act of love by any musician as it’s more expensive and has a lower financial return. In fact, I just got back from a mastering session this week for my band’s newest album which we’re doing as an LP because it’s such a neat format. We could produce twice as many CDs for half the price and actually have a shot at returning a profit but we want to give people the best sounding album possible. So I here I am watching Sundance Channel which is playing Judith Helfand and Daniel Gold’s cheeky documentary Blue Vinyl which discusses the Vinyl Chloride industry. Yes, and sure enough it’s the same industry that provides PolyVinyl Chrloride for our albums. Here is the short and sweet of it. An Italian scientist, Dr. Cesare Maltoni, conducted an industry-sponsored study in 1972 which found some very nasty results – the Dioxin in Vinyl Chloride was a carcinogen. The European industry buried the study and informed the US industry only after they signed a confidentiality agreement. Despite this knowledge the industry kept this from the workers who manufactured the product and even included it in hairspray until one industrial plant produced enough cases of cancer that it could not be ignored in the press. That caused the government to impose a limit of one part per million. Helfand and Gold suggest that those that work with the material outside the manufacturing plant (e.g. day workers handling PVC pipes) are still at risk as one scientist even suggests there are no safe levels. Well crap! If that don’t beat all! Yes that’s right the LP4 – Killing You With Rock – indeed. Credits: Links: 26 comments to Keith Rowe, Tambersauro, and Killing You With LPs |
|
|
|
Copyright © 2010 NONALIGNMENT PACT - All Rights Reserved |
||
Not sure if you knew that Connors has suffered with Parkinson’s since the nineties. It probably has a lot to do with your frustration with his performance. Just think of him as an aging bad-ass like Matisse or something. They can do a lot with a limited palette (considering the circumstances).
i bet next time there will be a little platform/stage if it’s possible. but remember how strict the museum is with rothko. and for those not familiar with rothko (non-houstonians) maybe a little diagram might help see how much of a challenge it is to play there.
rothko is not a chapel in the traditional peaceful, airy place. it is a smallish octagonal space, with an imposing rothko painting on each wall – very provocative. it has a cold stone floor and its single (well at least main) source of light is a small skylight at its pinnacle. i love the space but someone always hassles me about something i’ve done wrong so i always feel like i’m walking on a floor full of butterflies. i could just imagine what a challenge it would be to play there.
By the way, scientists have determined that *all* substances are carcinogens. Especially if you live in California. The one substance on earth which is not carcinogenic is broccoli.
Thanks for the scene reports Ramon. It makes me miss living in a city. I remember Rothko. How could you forget that place? I took my brother there years and years ago. I don’t remember it ever being a performance space. Has it always been? I was always there when there were only two or three people meditating. It would be cool to still be in Houston for the prog rock element.
John,
Yes, I won’t go into specifics but let me say that it was quite apparent after his performance that Connors had some gravely serious medical problems.
I didn’t bring it up because I was discussing his performance and, during that performance, not once did I get the impression that he had any medical issues whatsoever. He simply seemed like a musician on an off night. So, it would have seemed out of bounds and quite exploitative of me to bring up what I saw as a very personal battle into the Blog.
Dug the youtube bit about Keith Rowe. I’d like to see him at the Hungry Brain, who judging by their website seem about as interested in promotion as Keith Rowe’s old group AMM.
I’ve never been down with the Chapel and it is partly due to the security. The Byzantine Chapel around the corner has more charm. Dig Rothko paintings though. Although those purple black ones aren’t my favorite. And as long as I’m being picky, abstract expressionist music on abstract art is a little corny and a little clash-y.
I don’t know if that’s picky or just personal. Abstract art and music in a single space is fine by me, nor do I think it’s corny at all. I personally have always loved the art and the chapel itself. I thought it was a great idea that Tom and Christina were married there. And I think that considering Ramon’s issues with the flat floor, if you could live with that, Rowe and Connors would be a nice fit.
And I don’t think it’s exploitative to comment on his health since it cleary affected his performance. In fact, it helps explain why he might not be on his best game. Of course, I wasn’t there, and I don’t have a clear way of knowing what it was like being there, and sure, he may simply have had a bad night in spite of everything. But then it’s all connected isn’t it?
Yes, the Rothko works in its primary function but on a solo visit I’d much rather spend an hour at the Cy Twombly building.
I do see it as a distraction when listening to something like Keith Rowe. The Rothko paintings are large and mythic conceptually. M Rothko rejects expressionism as appropriate description of his work while Rowe’s work is personal expression. I don’t know, just doesn’t work for me.
That Rothko sort of thing certainly works for a wedding though. I don’t see a wedding as a particularly personal thing. I know some do, but I don’t agree. To me it’s a very public affair.
Yeah, I’m with you on the weddings thing.
John
“And I don’t think it’s exploitative to comment on his health since it cleary [????] affected his performance. “
For the second time. I don’t think they did in the sense that at the very least he seems good enough that he knows how to work within his limits. He was very much in control of his instrument that night but it just wasn’t happening for him. That’s just one of the dangers of improvisation.
Easy, tiger. Let me explain (for the second time). I admitted that I wasn’t there, and thus one must temper my comments with that in mind.
You know, this bit: “Of course, I wasn’t there, and I don’t have a clear way of knowing what it was like being there, and sure, he may simply have had a bad night in spite of everything. But then it’s all connected isn’t it?”
I’m an exploiter.
Dude, you should have released your music on CD. More people can hear all the hard work you guys have done and you can play it in your car or on the go. I don’t really believe LP’s sound better and I think most people share that opinion, but good luck anyway and I can appreciate why you felt you had to choose the LP format.
John Cramer said: I’m an exploiter.
I think the word is agitator!!
anonymous would you have bought the cd of linus pauling really? do you own any of their stuff? and on what format. sincerely curious. not trying to be mean.
vinyl sells better locally. just go by sound exchange and checkout the shrinking number of bins dedicated to cds. dedicated cd buyers are now dedicated downloaders. i buy cds if not available in vinyl format. so, in a way, the cd market can thank people like me who buy expensive reissues for their continued existence.
I agree Rosa. Several digital distributors accept a vinyl master and can put your music on iTunes, eMusic etc. Disclexington is set up for that through IODA. It’s a fairly easy operation. If LP4 doesn’t want to go through the rigmorole of setting up an account, I’d gladly release it through disclexington.
No Rosa, I probably wouldn’t purchase a LP4 recording because I’m not into that kind of music. But I can appreciate the hard work and passion that goes into such a project. I wasn’t aware that LP’s sell more than CD’s in the Houston area. Still, I would have reserved a few pressings for the CD format so everyone can be happy.
We’re sliding in CDRs for portability and will be offering digital downloads at some point.
Ramon,
I’m starting to believe you have a disability fetish.
HS
Head Stapler said…
Ramon,
I’m starting to believe you have a disability fetish.
HS
What do you mean?
Anon,
It was a joke based on Ramon having discussed musicians suffering from schizophrenia and Parkinsons. Was it not funny?
HS
Ha funny I didn’t put the two together either.
i see, anon. well, since the LP comes with a cdr you can think of the record as A REALLY BIG INSERT! ha!
head stapler you made me guffaw.
Mmmm, the LP4 on vinyl… mmm. Johnny like. Release soon gentlemen.
hey, just seeing this…
despite John not being there and Ramon being there, I totally agree with John (I was there, and am writing up the weekend for Signal To Noise once I stop procrastinating). maybe if you were more familiar with Loren’s work or if you’d seen him before the show, you’d realize how much of an effect his health has on his current ability to perform, especially in a case like that where he had just flown in that day.
-jon abbey
Hey Jon,
I’d love to read your take on the performance and I’m looking forward to it.
But to your point, I owned two of his albums back int he Loren Mazzacane Connors day, I even reviewed one positively to be added the KTRU playlist. So while I haven’t kept up with his work I’m somewhat familiar with his work.
I think what I was trying to suggest was that he was working within the limits of his disability and doing it quite well. My take was that even given that he just wasn’t connecting that night and I think I’d blame that more on having just flown in.
Maybe I’m being overly defensive but here is my issue with making Parkinson’s the star of the show. If his Parkinson’s has gotten to the point where he no longer is in command of his instrument then what are we doing? Are we just giving him sympathy points for trying? I am simply saying that I still think he is a musician, one who knows how to work within his limits, and still has something to say albeit differently than before. Either what he is trying to say now is cohesive and communicative or it is not. I’ve seen a lot of improvised shows and some nights artists just can’t connect. I’ve seen just as uninspired performances from musicians without Parkinson’s; Connor’s performance struck me as no different than those.
To be pithy, the reason I’m not willing to cut Connors any slack because he’s suffering from Parkinson’s is because I respect him too much as a musician.
yeah, it’s a tough call certainly.I don’t quite know how I’m going to approach/broach the topic myself, but I don’t see how his health can completely be ignored, especially how it kind of dovetails with the point that Rothko was in his own life. Loren is 58 now, Rothko was 61 when he started working on the paintings in the chapel, a few years before killing himself at 66.