Kitchen Archives, Vol. 3: Amplified New Music Meets Rock 1981-1986

Editorial Reviews

Barnes & Noble - Scott Paulin
Boundaries began to crumble in the late 1970s: "Classical" music's experimental wing bled into underground rock, and music found a place within the larger art world, especially in the so-called "downtown" New York scene. Among the venues fostering this sonic freedom was a performing arts space called The Kitchen, which remains a laboratory for challenging and innovative work. The Kitchen has begun to document this history with a series of fascinating recordings from its archives; the first two releases featured new-music stars like Steve Reich, Meredith Monk, and Philip Glass, while this third album focuses on both sides of the era's edgy art/rock convergence. Half of ...
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Editorial Reviews

Barnes & Noble - Scott Paulin
Boundaries began to crumble in the late 1970s: "Classical" music's experimental wing bled into underground rock, and music found a place within the larger art world, especially in the so-called "downtown" New York scene. Among the venues fostering this sonic freedom was a performing arts space called The Kitchen, which remains a laboratory for challenging and innovative work. The Kitchen has begun to document this history with a series of fascinating recordings from its archives; the first two releases featured new-music stars like Steve Reich, Meredith Monk, and Philip Glass, while this third album focuses on both sides of the era's edgy art/rock convergence. Half of the tracks here come from a concert of December 1982: Sonic Youth (still genuinely youthful) stir up a typically raucous haze of feedback in this early set, but they're outdone in experimental noise by the abrasive Swans cuts that follow. Two mesmerizing songs by Arthur Russell -- a versatile composer who had also made a name as a disco producer -- combine vocals with electronically processed cello for an intriguing take on minimalism. By contrast, the brilliantly contrived acoustic overload of Christian Marclay's His Master's Voice applies hip-hop turntablism to a dizzying variety of classical, jazz, and spoken-word LPs. Elliott Sharp's large-ensemble piece Crowds and Power ends this album on an ambitious note, but in some ways the track that best defines this moment in time is Rhys Chatham's Guitar Trio. Its electric instrumentation and propulsive rhythm imply "rock," but its rigorous obsession with gradual process should earn it a place in any collection of minimalist music. There's a palpable sense of liberated creativity at work throughout these recordings, which are highly recommended to adventurous listeners of any stripe.
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Product Details

  • Release Date: 6/13/2006
  • Label: Orange Mountain
  • UPC: 801837002423
  • Catalog Number: 24
  • Sales rank: 180,511

Tracks

Disc 1
  1. 1 World Looks Red (3:09)
  2. 2 Shaking Hell (4:43)
  3. 3 Clay Man - Swans (4:11)
  4. 4 Weakling - Swans (5:17)
  5. 5 RTZ (3:04)
  6. 6 Hiding Your Present from You (4:18)
  7. 7 All-Boy All-Girl (8:14)
  8. 8 His Master's Voice (Opening) (5:05)
  9. 9 Guitar Trio (1977) (8:13)
  10. 10 Crowds and Power - Elliott Sharp (10:32)
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Album Credits

Performance Credits
Jill Kroesen Vocals
Arthur Russell Cello, Vocals, electronics
Jim Staley Trombone
Rhys Chatham Guitar
Charles K. Noyes Drums
Christian Marclay Turntables
Michael Gira Bass, Vocals
Kim Gordon Guitar
Kurt Hoffman Saxophone
Phillip Johnston Saxophone
David Linton Drums
Thurston Moore Guitar, Vocals
Roli Mosimann Percussion
Bobby Previte Drums
David Sacks Trombone
Lesli Dalaba Trumpet
Fritz Van Orden Saxophone
Tim Schellenbaum Guitar, Violin
Chuck Wood Drums
Harry Crosby Bass
Jonathan Kane Drums
Joe Dizney Guitar
Sue Hanel Guitar
Al Diaz Percussion
Nina Canal Guitar
Joe Drift Bass
James Sclavunos Drums
Technical Credits
Arthur Russell Composer, Producer
Elliott Sharp Composer, Author
Sonic Youth Composer
Rhys Chatham Composer
Christian Marclay Composer, Records
Michael Gira Composer
Tim Schellenbaum Composer
Stephen Vitiello Liner Notes
Héctor Castillo Mastering
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