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She's More Wild... (gatefold)

  • Odkopany projekt gwiazd amerykańskiej kompozycji taśmowej i konkretnej z Mills College. Syntezatorowy hörspiel w duchu przygód na Dzikim Zachodzie. Recytuje Maggi Payne

She's More Wild... (gatefold)
Nr kat.: BT059
Format: LP
W magazynie
Wysyłka w 1 dni
Koszt od 15,49 zł
119.90 / 1szt.
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  • 01 Donde Esta The Donner Party.mp3
  • 02 How Many Contracts Do I Have Linda.mp3
  • 03 Cannibal Cowgirl.mp3
  • 04 How Many Fur Coats Do I Have, Edith.mp3
  • 05 Archetypal Unitized Seminar.mp3
  • 06 How Many Head O' Cattle Do I Have Sally.mp3
  • 07 Gold Rush Epilogue.mp3
  • 08 You Pay Rent On Your Brain.mp3
  • 09 I Feel Like A Martian.mp3
  • 10 Japanese Disease.mp3
  • 11 I'm Hungry.mp3


1. porządne wydanie projektu gwiazd amerykańskiej muzyki akademickiej i taśmowej. Muzykę syntezatorowa i konkretna w stylu przygód na Dzikim Zachodzie. Recytuje Maggi Payne.


Unreleased album from 1981, a collaborative project by David Behrman, Paul DeMarinis, Fern Friedman, Terri Hanlon and Anne Klingensmith recorded at Mills College in 1981.

Previously known only to cognoscenti through an obscure self-released three-track 7”, this is the first publication of the complete album, an outrageous confection that mixes art-song and theatrical monologue with live electronics. Starting life as a performance art piece described by the artists as ‘Western Performance Noir’, the record centres on a series of texts written by Friedman and Hanlon in which female narrators comically embody a series of iconic roles (The Recording Artist, The Former Movie Star, and The Rancher). Other lyrical themes include recurring references to the notorious cannibal pioneers, the Donner Party, an ironic take on Japanophilia, and the luscious “Archetypal Unitized Seminar,” a satirical poke at self-help culture, whose lyrics are rendered in Indian raga style to the accompaniment of electronic glissandi and toy noisemakers. Delivered by Friedman, Hanlon, Klingensmith and special guest Maggi Payne in forms ranging from spoken monologue to Country & Western waltz, the texts are accompanied by instrumental and electronic contributions by Behrman and DeMarinis. Musically, She’s More Wild is truly unique, demonstrating these two pioneers of live-electronic performance adapting their signature processes to something approaching a ‘pop’ format: we hear the gliding, frequency-sensitive electronics familiar from Behrman’s classic On the Other Ocean and the mutant hacked Speak n’ Spell heard on DeMarinis’ Songs Without Throats propelled by drum machines and twisted into song forms. Perhaps comparable only to the David Rosenboom and Jacqueline Humbert’s contemporaneous Daytime Viewing in its interweaving of performance art tactics, high-tech electronics and pop sensibilities, She’s More Wild is an essential document, both immediately gratifying and ultimately thought provoking.



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