Zeitkratzer - Alvin Lucier 
Following the magic that concealed the tribute to Whitehouse the interest focused on musicians and their catalog has grown. It would appear that their work tributes revolve around two main branches. One of them is working on some composers who pushed the boundaries of sound and composition, in a vein called''old school''. It will include work in tribute to James Tenney and John Cage, pending release on Morton Feldman and Stockhausen. Here is Alvin Lucier at center of debate. Lucier is a physicist of minimalist music, and created one of the most modern approaches to music about deviating from the original and studying the impact of sounds on a space but also space on the sound. The five parts we offer this CD were worked live with the participation of Alvin Lucier itself which allows the Zeitkratzer play with his own concepts. Repetitions of sounds, long drones, dissonant piano and instruments that deviate from their original creation for the user auditor and make a physical impact. No wonder Zeitkratzer also interested in industrial deviations are somehow the legacy of Lucier's music in the continuing search for a trance and especially as its vector. Difficult not to theorize music by Alvin Lucier in order to understand the ins and outs, as it pushes the vision we have a composition music. Lucier's music lives and relives through the arrangement and layout of instruments and how they interract. A study on time, on arrhythmias, the dissonance, the agreements and how many instruments (or objects) may experience different when in the presence of each other. The sound becomes the focus of the work of this tribute, with the way an instrument can respond to the introduction of a new object and a room that allows her to live. Sweet sounds and religious mantras to Charlemagne Palestine mix with assaults more dissonant and willfully unpleasant. Means some sneezing that give the appearance of a live performance of the mass. The whole point of covers makes sense with Alvin Lucier, who first conceptualized her music before creating the essence. It may therefore be subject to different interpretations (in a pure initial compliance) and transformed according places and musicians. A fundamental basis for many modern musicians and music less demanding, especially the dub (dedicated to a continuing tradition remix) but also the Coil discography pushing the composition into a corner with the coarser parts selection unfrozen. Analogy is far from seeming incongruous with the views of these long and inhuman drones feed themselves recalling the painstaking work of Time Machine. Finally, various works are presented here, which tries to synthesize the various experiments of Alvin Lucier, compositions between strict and freer parts. A pretty Herculean task again, which has inspired a large number of modern music. One thinks so (to putassier) to DVD for Neurosis A Sun That Never Sets Stripped which is an attempt to occupy the space differently just because of their compositions and geography. (Zeitkratzer)
Following the magic that concealed the tribute to Whitehouse the interest focused on musicians and their catalog has grown. It would appear that their work tributes revolve around two main branches. One of them is working on some composers who pushed the boundaries of sound and composition, in a vein called''old school''. It will include work in tribute to James Tenney and John Cage, pending release on Morton Feldman and Stockhausen. Here is Alvin Lucier at center of debate. Lucier is a physicist of minimalist music, and created one of the most modern approaches to music about deviating from the original and studying the impact of sounds on a space but also space on the sound. The five parts we offer this CD were worked live with the participation of Alvin Lucier itself which allows the Zeitkratzer play with his own concepts. Repetitions of sounds, long drones, dissonant piano and instruments that deviate from their original creation for the user auditor and make a physical impact. No wonder Zeitkratzer also interested in industrial deviations are somehow the legacy of Lucier's music in the continuing search for a trance and especially as its vector. Difficult not to theorize music by Alvin Lucier in order to understand the ins and outs, as it pushes the vision we have a composition music. Lucier's music lives and relives through the arrangement and layout of instruments and how they interract. A study on time, on arrhythmias, the dissonance, the agreements and how many instruments (or objects) may experience different when in the presence of each other. The sound becomes the focus of the work of this tribute, with the way an instrument can respond to the introduction of a new object and a room that allows her to live. Sweet sounds and religious mantras to Charlemagne Palestine mix with assaults more dissonant and willfully unpleasant. Means some sneezing that give the appearance of a live performance of the mass. The whole point of covers makes sense with Alvin Lucier, who first conceptualized her music before creating the essence. It may therefore be subject to different interpretations (in a pure initial compliance) and transformed according places and musicians. A fundamental basis for many modern musicians and music less demanding, especially the dub (dedicated to a continuing tradition remix) but also the Coil discography pushing the composition into a corner with the coarser parts selection unfrozen. Analogy is far from seeming incongruous with the views of these long and inhuman drones feed themselves recalling the painstaking work of Time Machine. Finally, various works are presented here, which tries to synthesize the various experiments of Alvin Lucier, compositions between strict and freer parts. A pretty Herculean task again, which has inspired a large number of modern music. One thinks so (to putassier) to DVD for Neurosis A Sun That Never Sets Stripped which is an attempt to occupy the space differently just because of their compositions and geography. (Zeitkratzer) 
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