The classic thing to say about Iannis Xenakis is that he’s fairly close to being sui generis. Oftentimes, that’s the sort of compliment that can feel fairly weak — which is to say that there’s not a musician operating that doesn’t think they’re not sui generis, but the majority of them are wrong.
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Continue reading Iannis Xenakis – La Légende d’Eer […]
“Concret PH” begins with glass splattering, not in a Vagina Dentata Organ way, but made to seem like static, or phrases in static – those late night TV static patterns that only emerge when your brain is looking the other way. With Xenakis, your brain often has to look the other way. I know nothing about Xenakis as such but he seems like a tough guy: a hard philosophy. He doesn’t seem like he’s the kind of guy who values compromise. “Concret PH” acts as an introduction to Varèse’s soundworks at the Philips Pavilion at the World’s Fair in 1958, but it’s also an introduction to another world, and acts like this here. These tracks aren’t soundscapes you need or ones
Continue reading Iannis Xenakis – GRM Works 1957-1962 […]