23 VIII 64 2:50:45 - 3:11 AM The Volga Delta (20:17)
Review: Fluxus drone pioneers La Monte Young and Marian Zazeela present the latest reissue of 31 VII 69 10:26-10:49 PM/23 VIII 64 2:50:45-3:11 AM The Volga Delta, a historic and mesmerizing soundworld which captures the '60s pioneers' twin paths through the worlds of performance art, sculpture-based acousmatic music, and an overall real alternative beatnik lifestyle . Made between 1964 and 1969, the album has gone down in history as a captivating fusion of dreamy electronic sounds and Eastern-influenced vocalization, with techniques such as microtonal tuning and extended repetition laying its experimental groundwork.
Review: La Monte Young is one of the most important figures in the development of American minimal composition and performance, having explored the science of sound at an atomic level through his use of just intonation and rational number-based tuning systems. His wife Marian Zeeler was also one of his closest collaborators, and in 1974 they released their second album Dream House 78'17" as a demonstration of the ideas they had been proposing in their work. Side A was recorded at a private concert which also features Jon Hassell and Garrett List, while Side B is an extended tonal study via a bowed gong, which was monitored precisely through oscilloscopes for an exacting immersion in harmonic interplay and its physical and psychoacoustic properties.
Review: American minimalism pioneers La Monte Young and Marian Zeeler released their second album in 1974, when they were already well-established in the US avant-garde. This serves as a document of their work and ideas at the time, with two very different sides on offer. The first side was recorded at a private concert, in which Young and Zeeler's voices interact with sustained drones and some occasional trumpet from Jon Hassell and trombone from Garrett List. The second side focuses on a bowed gong study, ruminating on the particulars of frequency and harmonics and their potential effects on the listener and the space in which they're heard.
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