Reynard Seifert

Psychedelic Hoo-haha

17 Comments

1. June 11th, 2010 / 5:16 pm Blake Butler—

   that man is unbelievable

2. June 11th, 2010 / 9:16 pm Blake Butler—

   that man is unbelievable

3. June 11th, 2010 / 9:44 pm Paul—

   “once music is recorded on tape it’s just pieces of ferric oxide on plastic and it can therefore be chopped about, switched around, put together in different orders–stretched–compressed–whatever”

   the man knows his poetry

4. June 12th, 2010 / 1:44 am Paul Cunningham—

   “once music is recorded on tape it’s just pieces of ferric oxide on plastic and it can therefore be chopped about, switched around, put together in different orders–stretched–compressed–whatever”

   the man knows his poetry

5. June 12th, 2010 / 3:06 am Akai MPC - Live Looping Practice With Ableton Live & The MPD32 (Spacey Beat) video—

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6. June 12th, 2010 / 5:33 am I. Fontana—

   I find the ambient music much more effective (that is, useful to me) than his forays into rock, which seem hit and miss. But I can listen to “Neroli” or “Thursday Afternoon”, “On Land” etc all day.

7. June 12th, 2010 / 9:33 am I. Fontana—

   I find the ambient music much more effective (that is, useful to me) than his forays into rock, which seem hit and miss. But I can listen to “Neroli” or “Thursday Afternoon”, “On Land” etc all day.

8. June 12th, 2010 / 12:17 pm mimi—

   Hi There Reynard
   I have often thought about, pondered the “plastic recording” of “reality”.

   The recording of
   1) sound (note: sound is always a temporal experience?)
   2) light/image, still or moving (film)
   3) sound and image together (what I will call “cinema” as opposed to “film”)

   ie. the recording of music as it is played as opposed to the writing of musical notation, which is a different kind of recording – a recording of symbols and signifiers

   and how the act of “plastic recording” has changed one’s grasp (<—– key word "grasp" — grab, hold on to, don't let get away) on reality.
   These are just thoughts floating around in my head because I don't feel like focusing right now, but I liked this post and just wanted to say. Excuse my loose writing. I will have to think more later.

9. June 12th, 2010 / 4:17 pm mimi—

   Hi There Reynard
   I have often thought about, pondered the “plastic recording” of “reality”.

   The recording of
   1) sound (note: sound is always a temporal experience?)
   2) light/image, still or moving (film)
   3) sound and image together (what I will call “cinema” as opposed to “film”)

   ie. the recording of music as it is played as opposed to the writing of musical notation, which is a different kind of recording – a recording of symbols and signifiers

   and how the act of “plastic recording” has changed one’s grasp (<—– key word "grasp" — grab, hold on to, don't let get away) on reality.
   These are just thoughts floating around in my head because I don't feel like focusing right now, but I liked this post and just wanted to say. Excuse my loose writing. I will have to think more later.

10. June 13th, 2010 / 2:16 pm reynard—

    i think he would agree with you, but i prefer the start-up sound for windows 95. and i would argue that his pop albums and productions have had more of a wide-spread influence than his ambient stuff but i don’t want to argue with you because i like them both too much.

11. June 13th, 2010 / 2:20 pm reynard—

    deleuze & guattari talk about the importance of recordings in anti-oedipus. if you haven’t read it, you should. i think i will be reading that book until i die.

12. June 13th, 2010 / 2:31 pm reynardo (reynard's evil twin)—

    widespread is one word, kids, don’t listen to this man, he hasn’t had his caffeine enima yet.

13. June 13th, 2010 / 6:16 pm reynard—

    i think he would agree with you, but i prefer the start-up sound for windows 95. and i would argue that his pop albums and productions have had more of a wide-spread influence than his ambient stuff but i don’t want to argue with you because i like them both too much.

14. June 13th, 2010 / 6:20 pm reynard—

    deleuze & guattari talk about the importance of recordings in anti-oedipus. if you haven’t read it, you should. i think i will be reading that book until i die.

15. June 13th, 2010 / 6:31 pm reynardo (reynard's evil twin)—

    widespread is one word, kids, don’t listen to this man, he hasn’t had his caffeine enima yet.

16. June 16th, 2010 / 9:36 pm ironist—

    The magic of Brian, for those who are less familiar, is twofold: 1)His absolute lack of personal tragic flaw, which has kept him in the background of the foreground for 40 years. He is unobsesssed with celebration of his own ego in the great machine of pop music, even as he uses the idiom to express his own artistic vision; 2)His personal artistic aesthetic allowing for the celebration of useful creativity above all else, even in a collaborative setting where he concedes creative control to another artist, while maintaining artistic influence over the environment/process. He manages, more than any other artist of his generation(although Bowie has come close) to be clever enough at using the vernacular of popular music to elevate the audient’s perception of the possible, and expand said audient’s acceptance of what constitutes sonically “normal.” Especially with U2, he appears as an unseen hand–a loud, but invisible 5th member, influencing the sound in all possible parameters.
    His continuing engagement with the mainstream, presenting record-buyers’ ears with more sophisticated, more fulfilling sonic colors makes me think of a clever elementary school art teacher who replaces the tempra pots of primaries with mauve, euchre, and grey.
    Anyone who has not heard it, should stop whatever they are doing and go listen to “Another Green World, the best pop record ever made.

17. June 17th, 2010 / 1:36 am ironist—

    The magic of Brian, for those who are less familiar, is twofold: 1)His absolute lack of personal tragic flaw, which has kept him in the background of the foreground for 40 years. He is unobsesssed with celebration of his own ego in the great machine of pop music, even as he uses the idiom to express his own artistic vision; 2)His personal artistic aesthetic allowing for the celebration of useful creativity above all else, even in a collaborative setting where he concedes creative control to another artist, while maintaining artistic influence over the environment/process. He manages, more than any other artist of his generation(although Bowie has come close) to be clever enough at using the vernacular of popular music to elevate the audient’s perception of the possible, and expand said audient’s acceptance of what constitutes sonically “normal.” Especially with U2, he appears as an unseen hand–a loud, but invisible 5th member, influencing the sound in all possible parameters.
    His continuing engagement with the mainstream, presenting record-buyers’ ears with more sophisticated, more fulfilling sonic colors makes me think of a clever elementary school art teacher who replaces the tempra pots of primaries with mauve, euchre, and grey.
    Anyone who has not heard it, should stop whatever they are doing and go listen to “Another Green World, the best pop record ever made.