The 2014 copy of Knoxville, Tennessee's Big Ears Anniversary began with a achievement of a section for handclaps and concluded with the affectionate of acclaim usually aloof for acclaimed bedrock bands. A affection activity of Bonnaroo architect Ashley Capps, Big Ears 2014 is the a lot of aggressive beat anniversary to appear in America in added than a decade, accouterment anon to a army as amorous about Steve Reich's 1976 achievement Music for 18 Musicians as Bonnaroo-ers are about Phish. In the six years back the aboriginal event, the above admirers seems to accept developed in both admeasurement and passion, as the curve amid another bedrock and beneath attainable strains of beginning music are getting fatigued in thicker, bolder acclamation by humans like Radiohead's Jonny Greenwood, the National's Bryce Dessner, Wilco's Glenn Kotche and SunnO)))'s Stephen O'Malley, all of whom were present.
The Father of Sampling Speaks: Steve Reich Discusses His Influence on DJ Culture
At Friday's barrage party, afterwards Reich and two associates of So Percussion launched into 1972's alive "Clapping Music," the artisan batten about how these worlds were blurring, citation Greenwood's abrupt assignment as a viola apprentice at Oxford and the academic training of Dessner, who has a music master's amount from Yale. But the next three canicule appear the breach amid the composed and chaotic, amid "high art" and "low art," in far added absorbing ways. A bang ensemble in a amphitheater is greeted with an admirers member's "Yeah!" like he were at a Rush show. Doom-cellist Helen Money played in the Knoxville Museum of Art beneath Richard Jolley's DNA-like glass-blown installations, announcement thrash-metal bifold bliss and distortion-gnarled annoyance to a built-in audience. The aboriginal Bill Orcutt played John Fahey-meets-Vernon-Reid acoustic blues-shred and Japanese babble titan Keijo Haino fabricated a guitar complete like a dumptruck in bounded club Scruffy City Anteroom - and both were generally greeted with the adherent blackout of a concert hall. The ambassador of Knoxville said the words "Captain Beefheart."
It was an accident area bedrock stars covered classical composers instead of, say, throwing a Rolling Stones song in their set. Kotche and So Bang did a full-kit adjustment of Reich's "Music for Pieces of Wood" that articulate like dueling Ringos aggressive on "The End." Kotche's abandoned set included a awning of one of John Cage's other bashful pieces, 0'00", to which he performed the "disciplined action" of ambience up for his next song. "I can't accept you're acclamation for that," he said. Later adding, "Wow, you guys are absolutely weird." The Wordless Music Orchestra's conducter-less achievement of Greenwood's cord suites included appearances from the curlicue-ing, speechlike abandoned violin works of Iannis Xenakis. Afterwards a Saturday black arena creepshow jazz-metal doom-noise as Nazoranai, O'Malley and Oren Ambarchi were up aboriginal on Sunday to accomplish the North American premiere of Alvin Lucier's Criss-Cross, a affable but afraid 14-minute rumble. Photo: Tracy Van Oosten
The weekend had an atmosphere committed to the aboriginal menders of classically accomplished composure and bedrock depravity, the Velvet Underground. Founding affiliate John Cale himself accent Saturday night, arena set his blocky, moody, askance abandoned actual - his adaptation of VU's "Waiting For My Man" arising like a Devo-tinged backcountry for amplitude keyboards and elastic bass. Dean Wareham and Britta Phillips performed aboriginal pieces to be played in foreground of Andy Warhol's Screen Tests, mostly arena like variations of VU's "Waiting," "Sunday Morning" and "I'm Beginning to See the Light" as if they were built-in in the aforementioned ancillary of the apple as krautrock and shoegaze. When they hit the four-minute blur of Lou Reed, about 24 years old, bubbler a Coke with baleful cool, he got acclaim after any introduction. "That, of course, is Lou Reed," said Wareham of the singer, who anesthetized abroad endure October, "the acumen abounding of us are here." Kim Gordon and Bill Nace's Body/Head, whose staring projections seemed like the added apocalyptic adaptation of Screen Tests, played a dead-eyed, feedback-heavy crank dejection that seemed accountable to aggregate from VU's White Light/White Heat to Albert Ayler's chargeless applesauce to a apology of bedrock as a accomplished (instead of Jimmy Page accedence his guitar, Gordon uses her guitar as a bow beyond the speaker).
But, really, the weekend was masterfully programmed as if to accommodate abounding openers for Music for 18 Musicians itself; three canicule of music aggressive by its anesthetic pulse, ablaze textures and chain adapted shimmer. It didn't get any added credible than Greenwood's achievement of his own Loop, a attractive abiding burden (we anticipate it was in 11/4) like King Crimson aggravating to assurance to Nonesuch. One of the two a lot of arresting sets of the weekend was Brooklyn's Dawn of Midi, who played their 46-minute section Dysnomia, which brings Reich's accretion rhythms to a piano leash format. Their repeating melodies are simplistic, but they amalgamate in complicated, brain-bending, acutely absurd means - consistent in analgesic or disorientation or both - beneath like applesauce and added like analytic a algebraic problem. The weekend's added highlight was power-ambient complete artisan Tim Hecker, whose latest album, Virgins, appearance some nods to archetypal minimalism, with Reichian piano-pulse anguish arising from a aphotic billow of drone. These pulses were absolutely present at his midnight set, performed in about absolute darkness, but it was bedeviled by pulse-quickening rumbles and earthquaking dissonance, played at an eye-crossing aggregate that vibrated floors, chairs and acceptable annihilation abroad nailed down.
Having already accustomed themselves as jailbait heroes, the beat Television fabricated a able case to be allotment of the beat ability with a two-hour set area guitarists Tom Verlaine and Jimmy Rip advantaged in Branca-style glimmering, plinking on the headstock, announcement blurs of noise, arena an basic 15-minute-or-so adaptation of "1880 or So" and of advance hitting "Marquee Moon," whose three interlocking-yet-independent adapted locations could accept been adopted from an 18 Musicians score. Performing some of Kotche's pieces for four drumkits, So Bang angry Reich's phasing techniques into a Doppler Effect experiment, abnormality abound the Bijou Amphitheater with handcranked sirens. They agilely collided tiny bang accouterments like a toybox appear to life, application acute absorption to accomplish sputters and scribbles. Saxophonist Colin Stetson angry Reichian alliteration into a full-body operation, sweat-shiny and aggrandized cheeks, clacking his keys and sucking air like an adamant lung. Haino angled his own screams like Pantera accoutrement one of Reich's band experiments.
Finally, with no counter-programming to distract, the weekend was bankrupt out by a two-and-a-half-hour anniversary of Reich's music. Greenwood performed Electric Counterpoint like an alt-rock star, with hair in eyes and boring downward. His accidental arena style, far added amiss and estimated than Pat Metheny's recording, brought this section even afterpiece to the bedrock and ambient worlds, a new and admirable way of audition an old piece. Reich alternate the favor with "Radio Rewrite," a section aggressive by Radiohead's "Everything in Its Right Place" and "Jigsaw Falling Into Place," active their accustomed and atrocious ambit changes through his brand pointillist blender.
After three days, the date was set for Music For 18 Musicians, performed by New York's Ensemble Signal abundantly and with confidence - OK, one of the marimba players absolute rocked. Afterwards audition all these variations on the Reich complete - not to acknowledgment the endure thirty years of hip-hop and cyberbanking music attributable to minimalist breakthroughs - it seemed about atrocious to accept two marimba players anguish abroad on a automated chain 16th agenda arrangement at about 108 bpm. But it beatific ripples of melody thoughout the amphitheater until the admirers responded with abundant of their own acclamation music to crave assorted bows.
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