Self-imposed in part, but also due to FTP issues. Finding myself confronted with transfer errors colored with wonderfully blue-collar language like “Broken Pipe”, I decided I’d best keep with my mantra of ignoring a problem until it goes away, and just let this nonsense sort itself out. Which it eventually did. Despite those precious tech support claims of “It’s not broken”, I am ultimately rewarded with a silent, yet resounding: “But we fixed it.”
So we’re back up and running, and the first overdue item is the Alarm Will Sound “UnRemixed” concert at the Lincoln Center Festival, which was simply terrific. AWS played like monsters, all the arrangements were all excellent, LOGON ROCK WITCH and FINGERBIB (my two contributions) sounded fantastic, and the vibe at the Allen Room that night was very slick. And Richard Devine veritably oozed Cool. I must say it was fascinating to watch that guy do his thing. Stefan Freund, a composer-in-residence of sorts for AWS as he is also their cellist, (we did First Music the same year) also wrote a great piece for the concert, based somewhat on the Aphex Twin / electronica zeitgeist, which dramatically grew on me more and more as it progressed, until some point about 3/4 of the way through when I decided that the piece kicked serious butt. Not that I would know, but I’d like to think that Richard James would have dug the whole event. Allan Kozinn’s review in the NYT (now offline and archived, thanks to time wasted by our famous “broken pipe”) was brief but positive … and pretty informative about the whole deal. Despite the small error of mistaking the Jaw Harp (can’t we say “Jew’s Harp”?—really, it’s OK. Everyone knows what it is—no one is offended) employed in “L.R.W.” as a “male voice”, he did an excellent job of attempting to explain the whole ACOUSTICA project. A difficult task, I know, as I’ve been trying myself for over a year. You do get used to the slow blinks and heads tipped slightly to one side, though.
Next up in the blogging game of catch-up: Orchestra Piece Revisions, or, How I Learned to Stop Worrying and Love the Cross-rhythms…
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