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Dub Taylor
Lumiere

awangarda/ elektronika/ poważna
Sub Rosa, 2011

Czas trwania: 35:41

Średnia ocena klientów: -    oceń

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CD : 49,90 zł
W magazynie: na stanie
Nr kat.: SR327
format : CD
liczba nośników : 1
Opakowanie : digipack


nr tytuł play mp3
1 Lumiere (For Synthesized and Concrete Sound) part one 17:11
2 Lumiere (For Synthesized and Concrete Sound) part two 14:52
3 (extra unreleased track - only on CD) Variations on the 'Dudley Do-Right' Theme 03:19


  powiadom mnie kiedy pojawią się sample
  poleć znajomemu

 

Reissue of DUB TAYLOR's masterpiece Lumiere recorded in 1972

This real masterpiece of Concrete and Synthesized music was no more available since its original manufacture in 1973.

Dub Taylor is an US composer, producer, engineer and designer born June 22, 1948 in Burbank, California.
He has many creative facets: recording and mastering engineer, record producer as well as composer, graphic designer and visual artist.
He has studied with pianist Richard Bunger and composer Karlheinz Stockhausen.
Not long after the release of Lumiere, Taylor established Vargod Studios for electronic music and recorded sound, where in 1974 he created his second work, Variations on the 'Dudley Do-Right' Theme for sampled and processed sound (never released before, this exclusive track is included on the CD version).
Taylor has bounced between the music world and the visual arts for most of his life and continues to pursue diverse creative projects.


Lumiere" evolved over a period of three years from 1969 to 1972.
I started by recording random sounds: Jets taking off at LAX, my girlfriend laughing and screaming, my cat Bartok biting a microphone, conversations, etc.
I also sampled music, film soundtracks and TV and radio broadcasts.
During this period I acquired the first self-contained portable synthesizer,the newly-designed ARP 2600. I began to envision an electronic and Musique Concrete piece combining various natural and processed sound recordings with synthesized sound into a suite of noise. In June of 1972 I did a preliminary
version of elements of the piece. By October I was ready to put it all together.
I set up all these reel to reel machines with tapes I had pre-recorded and plugged them into a mixing board, feeding stereo to a two-track master 15 IPS Revox
A77 tape deck. My idea was to create a sound collage with form but without losing spontaneity and
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