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Radu Malfatti and Mattin biography, Radu Malfatti and Mattin discography
I'll see if I can get to the bottom of this.Scope CD
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more...Would you like to comment?Sign up for a free account, or sign in (if you're already a member).Anyone can see your public photos anytime, whether they're a Flickr member or not.If you're sharing photos from a set, you can create a Guest Pass that includes any of your photos marked as friends, family, or private.Or, remove it from the map.Are you sure you want to remove this photo's geo information?Who can see this on the map.Just so you know, it'll take a few minutes to make those updates.But you can carry on as normal while we do the work in the background.Kranky, can be heard on the guitar.Several times, I was shocked how quickly the hour or so of music elapsed.There are two pieces, the first a 43+ minute improvisation recorded by Christoph Amann at his studio in Vienna.You then hear Malfatti expel a gentle, low breathy tone on his trombone, lasting about the duration of a normal respiration.Unheeded, it fills the room wonderfully."Four Gentlemen of the guitar".Nate's question, attached smiley or not, is perfectly serious and relevant, especially given the lengths the sleeve notes go to to stress the innovative aspects of the work.It seems that being innovative, and being seen to be part of the progressive vanguard is still important for Radu (and, we assume, for Mattin too).But, attractive enough as the music on this disc is, I can't say I find it particularly surprising amymore, or innovative.Mattin Workman thing on Formed, but, as I said elsewhere, far less impressive than Whitenoise.Radu couldn't have prevailed upon him to quote some Sloterdijk instead."Meanwhile, at the risk of being considered a terrible old stagnant fuddy duddy by my trombone playing pal from Vienna, when is someone going to reissue his two FMP albums with Stefan Wittwer?"As far as innovation, It is safe to say Radu is still working on a concept he innovated.What if Richard Serra or Robert Ryman stopped refining their work after minimalism in visual art stopped being trendy?That sounds like the old Phil Durrant line "Radu is the Godfather of the Berlin School", which surprised RM as much as anyone else when he heard about it (see his remarks in the PT interview).I'm concerned: Malfatti is certainly important, but he's not alone.Ben Watson had a point when he also credited IST and early Dafeldecker.Anyway, you can say that "Steve Reich is still working on a concept he innovated" but it doesn't excuse the fact that everything he's written since 1989 is hugely disappointing compared to the early groundbreaking works.I'll take your word on recent Serra, but as far as I'm concerned, Going Fragile isn't any more refined than Whitenoise.If anything I find it less dramatic, more predictable in terms of its pacing and actual sounds.I've been alive at least, to have the option of hearing any piece of music in the context of one's listening environment, yes?The other evening, I was at a bar with a friend wherein a perfectly fine, fairly mainstream jazz quartet was playing.I'm assuming that Mattin and Malfatti would have no objection to (one of) the ways I enjoyed their disc.Going Fragile'' were written quite before the material that is on this released has been recorded.My objections to Mattin after the concert was about his ''inactivity''.In fact Radu did most of the work and played quite a lot by his standard and with bigger variety in his sound spectrum than usual.Whitenoise is an example how Mattin put Radu in some unusual situation for him that's why i think Whitenoise is a stronger release.One thing that was great on the Tarcento gig (which i think lasted longer than on the record) was the use of the space.In fact there was constant reoccuring sound by the air condition machine which gave the music a kind of structural element.Mattin's part is more like an essay of his modus operandi.Not to drag the Watson thing out more, but he said "IST and Radu Malfatti's Powecsel" (Dafeldecker leads Polwecsel).IST worked in this area, but they also kept working in a more chattery style with derek, etc.The playing is quite busy in fact, it's just it's at a low volume, as it was when I saw them live.The music Davies and Wastell have made since is much less busy.Sugimoto or Malfattiesque radical use of rigorous silence.Taku expects people to listen to "Live in Australia" (which I love) in anechoic chambers.CANT listen to something at home in the cans ...Tonic or CBGB and got an amateur rec of a show but from the Bar and imagine i d rave about these places and imagine like this or that i may simply stick to the atmosophere from which that music who might sound very "local" or typical from the location would only be one element ...Thanks for the comments, everyone.And Noel, I've had the same problem with quiet music on noisy transports.I'm still coming to terms with this one, and preparing a forthcoming lengthier article that will discuss it along with other recent releases in similar vein (wonder if you can guess which ones..Very hard for me to imagine any issuance of his that doesn't, on some level, simply sound wonderful.As someone once said, "He even walks musical."Maybe this is just the xay I remember...And then of course here we are.WHAT THE FUCK IN WRONG WITH THIS FRENCH GUYS???"What the fuck IN wrong with THIS French guys?"What the fuck is wrong with your grammar?!LISTEN to someone s record WELL ...Dan ) with the given music ( and general proposal of such music(s) ) ...Music doesnt Bend or intend or etc much it s like an extra track on the side ) THEREFORE ...THE CAN experience ( the isolation Tank in other words ) is Needed because that s the Perefct Partner for this one experience ?"What I like about what you say is the implication that after all what counts is doing something musical (ah, that old heavy words..Who or what are Wendelwiese?All of these questions no one really poses and tries to answer.The satisfaction of the fragmentary, the undoing of intention by the final dissolution over which no one has any power reflected in the admiration of passing water under the bridge.It is a nice moment in which I feel happy knowing that someone else is made happy by something that makes me happy: this hissy little speaker with the delicate piano clusters plinking out (ir)regularly, placidly, in a lovely way, still creates a mood between us we share.As I describe the curious smile Tilbury had on his face, AN points out: it could have been because he was playing such a bad piano.But its like, maybe, its more important to some musicians to do something "different"...Mattin talks about in the notes for "Going fragile", I havent listened to the cd but read the notes on internet...Gainsbourg : "oh your album is too short"...Lie or Play Tricks while they play ...PLAYING is FAITHFUL and always ENTIRELY DEDICATED HONESTLY TRUELY ...Paul Motian story on tour where the whole day has been a drag, shit travels and finnally the get there and have to be on stage immediately to start ..."Compositions" so )"
this is indeed crucial.The French team says Goodbye
( and not : the french tins said googuy ...Noel its so true what you said about codes and signs on stage...MISUNDERSTANDING and a confusion often between WEIRD or NOISY or SILENT or SOMETHING and Improvisation ( to me at least )
especially if you end up locked in it without being asked before ...Didnt Horowitz and others of that classical all of fame IMPROVISED quite a bit in the text sometime especially after long restaurant sessions with full menu ?"When was the last time someone here have seen a musician leaving the stage pissed off in the middle of a show ?"I've never seen a musician leaving the stage pissed off..""When was the last time someone here have seen a musician leaving the stage pissed off in the middle of a show ?"Must have been about 6 years ago now.Wandelweiser people for Signal To Noise a few years back.Anybody know what's up with that pressing?Fred Frith walk out on a quartet with Lukas Ligeti, Kazuhisa Uchihashi and Henry Kaiser in Oakland in 2002.Half an hour into the first set, after rattling a pick dropped inside the body of his acoustic guitar for several bored minutes, Frith got up and left the stage, leaving the others to carry on, but nothing much more happened."When he changed his mind, he came back for another 5 minutes.Fripp with his flock of guitarists for a whole 20 minutes."When was the last time someone here have seen a musician leaving the stage pissed off in the middle of a show ?"Has anyone seen a hotel walk out in the middle of a drum solo?Can you confirm anything of the kind is in the works.Hi Tom,
The Haines book I'm responsible for is a collected writings called Word Music.It's advertised on their site (www.Is there anyway I can bum a copy of that recording off of you?Why, your memories are just as good as any noisy microcassette, even if it isnt accidentally recorded over already!Isnt there a cd of him playing it available?For Jeff and Tomas,
I was thinking of Cage's original proposition that listening not making is the essential act.What makes much improvised music of interest is that the auditor's aesthetic construct is clearly as complete (as authoritative) as any of the musicians.Note too the reader response analysis of Stanley Fish (His book: "Is There a Text in This Class?"Malfatti minimalism seems to emphasize the space available to the interpreter.CD at length and want to have something left to say.David Borgo's new book in STN.Stuart, I would very much like to read the review if you do it, as what you are talking sounds like a new perspective on minimal improvised music, very interesting and stimulating!And the liner notes (by Robert Ashley) are great.Elegy for the MAfia guy Albert Anastasia who didnot hear the sounds he should have heard when he was sitting in the barber chair."FWIW, on my first listen to this, I was surprised how active it was, just because of my expectations regarding Radu's work.This cd is different enought to Whitenoise to be put in the same box.GF comes wrapped in nothing less than a manifesto automatically conditions the listening.Pretty hard to avoid, isn't it?Jon and Dan:
after such a pretentious text any cd would be unsurprising, don't you think?GF comes wrapped in nothing less than a manifesto automatically conditions the listening.Reminds me of the great Swedish false subtitles at the opening of Monty Python and the Holy Grail ("wei not trei a holiday in Sweden this yeir?"This is one of those discs I want to like but can't.Dan, I also relistened to Whitenoise yesterday with headphones...Mmhhh, maybe title of this Going Fragile means something here...Does it actually sound fragile you'd say?GF as I do in Whitenoise.Nor do I want to give the impression I dislike this new record, because I don't (and a forthcoming review I'm writing should make that clear).Maybe only risk there is that sometimes it gets just boring...On the contrary, as a potential consumer, I'd much rather have a CD compared to something I might have heard than, say, a desert (or a food or animal, which were my normal comparison items when I reviewed).Providing names of similar records or cuts actually gives a clue what the recording sounds like, at least to those who've heard some of them.Yeah, like all the above free associations..Comparations are easy to make but to bring particular aspects from cds and trying to capture their mood in language, is not so easy, that's all.Tomas G: "I just think that often music journalist rather than engaging with the cds that are reviewing they just show that they really know about the genre of music by using comparations.But comparisons have their shorthand uses, especially when you're obliged to review a CD in just 250 words.That doesn't mean that music journalists aren't engaging with the CDs or the music they contain.Brian: are you going to tell me that laziness does not exist in the experimental music journalism?There are, of course, lazy and incompetent reviewers in all areas of music.But the key point I was making was about how fitting all one has to say into a mere 250 words is sometimes difficult, and comparisons, in that regard, can be useful.Barry Guy for example, language they pretty much marked out what they were going to work on with their first lp "Incision" in 1981.And beiing on the concert of Malfattin in Tarcento showed me that this music is pretty much radical and intruiging for people who have the first oportunity to face it.The frozen food aisle will never be the same again..Junko bottles of Heinz tomato ketchup dropped in the panic the whole fucking place starts to look like a Paul McCarthy installation OR how about Hermann Nitsch for the MEAT department?Listen to the sound of ritual slaughter as you choose your weekend steak!No seriously folks, even if you're right Luka and it's good that neophytes read some (maybe not all) of the words of wisdom on the album cover, you have to agree that it's not exactly the kind of album you're likely to notice.And as i am aware of many artists in this field of music sell more cds on their concert than thru shops and distributors ...Hmmm, I bought around 350 CDs last year and a good three quarters came from a shop.Richard, I too generally buy my CDs other than at concerts as do many others of course.On the net it may take several years.On the net it may take several years."That lag is our badass spam deterrent software at work.For the Living (featuring Ndea Davenport).Attribution license or Public Domain.The information is Public Domain .There are no images for this topic yet.
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