ActiveCulturesApr 26, 2023

Piotr Orlov wrote a really thoughtful, smart and personal essay in his #DadaStrain #substack about Sam Green’s documentary 32 Sounds, which was co-commissioned in its performance version by @TheArtsCenterNYUAbuDhabi. It’s finally having its film version release on NY this week at #FilmForum. Don’t miss it.

https://dadastrain.substack.com/p/bklyn-sounds-4262023-512023-32-sounds

#film #documentaries #sound #sundance

Bklyn Sounds 4/26/2023 - 5/1/2023 + ‘32 Sounds’ and the Power of Sonic Memory

On Sam Green's essay-film + Other Shows: Moor Mother / Ahmed Abdullah’s Diaspora Meets Francisco Mora Catlett’s AfroHORN / Tommaso Cappellato / "All Hands on Deck: A Fundraiser for Delano Smith" +...

Dada Strain
ActiveCulturesDec 13, 2022
RIP Manuel Göttsching. Inadvertent pioneer of house music. Glad to have helped present the live premiere of E2-E4 many years too late. Kudos to #dadastrain for the tribute. https://www.instagram.com/p/CmFMwj5Oup-/?igshid=YmMyMTA2M2Y=
Dada Strain on Instagram: "RIP Manuel Göttsching! There aren't many single degrees of separation between the psychedelic rock wing of rhythm and improvisation that I've loved since first seeing the Grateful Dead in 1984, and the Detroit techno wing of rhythm and improvisation I fell in love with a decade later. But Berliner Göttsching, one-time guitarist for krautrock metallurgists Ash Ra Temple, whose long solo career traversed the spiritual prog/new age/electronic/jazz/ambient spaceways, made music that became the bridge. Even if he did not do so consciously. Especially the dance-music part. Göttsching's gone on record to say that he did not conceive of "e2-e4," the 1981 track-album/composition-improvisation, as a club track. He was simply messing about in the studio, letting the sequencers and the polyphonic synths run while he soloed fluidly on his Gibson electric guitar. I am not sure whether other DJs began playing "e2-e4" before Larry Levan unleashed it at the Paradise Garage in 1983, but in New York it is now unquestionably a Garage classic. This began the track's journey into techno. In 1992, Derrick May beautifully remixed a somewhat cheesy Italian house version of "e2-e4" called "Sueño Latino"; in '94 Berlin and Detroit came together over it, as Basic Channel (Moritz von Oswald and Mark Ernestus) and Paperclip People (Carl Craig) collaborated on "Remake (Basic Reshape)," full of heavy "e2-e4" samples and fierceness. More recently, excellent Detroit producer Scott Grooves did his own version. Göttsching embraced his "club" bonafides enough that in 2006 he made a pretty excellent weird deep house record with Joe Clausell. But more than anything else, he loved bringing "e2-e4" to live audiences. In August 2008, he finally brought it to New York, to Lincoln Center Outdoors (co-produced by Wordless Music), on a stormy night backed by the Joshua Light Show. (Which is where Kate's photos are from.) It was an incredible hour of music and visuals. The Garage-heads danced their asses off. We did too. Thank you Manuel Göttsching. Rest in Power! [photos: @kateglicksbergphoto]"

Dada Strain shared a post on Instagram: "RIP Manuel Göttsching! There aren't many single degrees of separation between the psychedelic rock wing of rhythm and improvisation that I've loved since first seeing the Grateful Dead in 1984, and the Detroit techno wing of rhythm and improvisation I fell in love with a decade later. But Berliner Göttsching, one-time guitarist for krautrock metallurgists Ash Ra Temple, whose long solo career traversed the spiritual prog/new age/electronic/jazz/ambient spaceways, made music that became the bridge. Even if he did not do so consciously. Especially the dance-music part. Göttsching's gone on record to say that he did not conceive of "e2-e4," the 1981 track-album/composition-improvisation, as a club track. He was simply messing about in the studio, letting the sequencers and the polyphonic synths run while he soloed fluidly on his Gibson electric guitar. I am not sure whether other DJs began playing "e2-e4" before Larry Levan unleashed it at the Paradise Garage in 1983, but in New York it is now unquestionably a Garage classic. This began the track's journey into techno. In 1992, Derrick May beautifully remixed a somewhat cheesy Italian house version of "e2-e4" called "Sueño Latino"; in '94 Berlin and Detroit came together over it, as Basic Channel (Moritz von Oswald and Mark Ernestus) and Paperclip People (Carl Craig) collaborated on "Remake (Basic Reshape)," full of heavy "e2-e4" samples and fierceness. More recently, excellent Detroit producer Scott Grooves did his own version. Göttsching embraced his "club" bonafides enough that in 2006 he made a pretty excellent weird deep house record with Joe Clausell. But more than anything else, he loved bringing "e2-e4" to live audiences. In August 2008, he finally brought it to New York, to Lincoln Center Outdoors (co-produced by Wordless Music), on a stormy night backed by the Joshua Light Show. (Which is where Kate's photos are from.) It was an incredible hour of music and visuals. The Garage-heads danced their asses off. We did too. Thank you Manuel Göttsching. Rest in Power! [photos: @kateglicksbergphoto]". Follow their account to see 199 posts.

Instagram
ActiveCulturesDec 12, 2022

“[Greg] Tate’s humanism was not simply observational, it was participatory.” Beautiful and worthy tribute by #PiotrOrlov in his #DadaStrain #substack . Tate’s been back all over my feed as the anniversary of his transition arrived. Grateful to have a few more links to dig into. https://dadastrain.substack.com/p/on-greg-tate-and-the-critics-role

#music #journalism #musicjournalism #BlackMastodon #criticism #blackrock #blackrockcoaliton #gregtatewasloved #GregTate

On Greg Tate and the Critic's Role In Community

A year after his unexpected passing, the writer/curator/musician/musicker casts an undeniable influence on how to balance critical and creative work. Plus: some great Tate links.

Dada Strain