La Monte Thornton Young is an American composer, musician, and performance artist recognized as one of the first American minimalist composers and a central figure in Fluxus and post-war avant-garde music. He is best known for his exploration of sustained tones, beginning with his 1958 composition Trio for Strings. His compositions have called into question the nature and definition of music, most prominently in the text scores of his Compositions 1960. While few of his recordings remain in print, his work has inspired prominent musicians across various genres, including avant-garde, rock, and ambient music.
Metal Machine Music is the fifth studio album by American rock musician Lou Reed. It was recorded on a three-speed Uher machine and was mastered/engineered by Bob Ludwig. It was released as a double album in July 1975 by RCA Records, but taken off the market three weeks later. A radical departure from the rest of his catalog, the Metal Machine Music album features no songs or recognizably structured compositions, eschewing melody and rhythm for modulated feedback and noise music guitar effects, mixed at varying speeds by Reed. Also in 1975, RCA released a Quadrophonic version of the Metal Machine Music recording that was produced by playing it back both forward and backward, and by flipping the tape over.
Anthony Schmalz Conrad was an American video artist, experimental filmmaker, musician, composer, sound artist, teacher, and writer. Active in a variety of media since the early 1960s, he was a pioneer of both drone music and structural film. As a musician, he was an important figure in the New York minimalist scene of the early 1960s, during which time he performed as part of the Theatre of Eternal Music. He became recognized as a filmmaker for his 1966 film The Flicker. He performed and collaborated with a wide range of artists over the course of his career.
Jon Hassell was an American trumpet player and composer. He was best known for developing the concept of "Fourth World" music, which describes a "unified primitive/futurist sound" combining elements of various world ethnic traditions with modern electronic techniques. The concept was first articulated on Fourth World, Vol. 1: Possible Musics, his 1980 collaboration with Brian Eno.
Dream House, Dreamhouse or similar may refer to:
Drone music, drone-based music, or simply drone, is a minimalist genre of music that emphasizes the use of sustained sounds, notes, or tone clusters called drones. It is typically characterized by lengthy compositions featuring relatively slight harmonic variations. La Monte Young, one of its 1960s originators, defined it in 2000 as "the sustained tone branch of minimalism." Music containing drones can be found in many regional traditions across Asia, Australia, and Europe, but the genre label is generally reserved for music originating with the Western classical tradition. Elements of drone music have been incorporated in diverse genres such as rock, ambient, and electronic music.
Jon Gibson was an American flutist, saxophonist, composer and visual artist, known as one of the founding members of the Philip Glass Ensemble. He was a key player on several seminal minimalist music compositions. He was born in Los Angeles to Charles and Muriel Gibson, both educators, and grew up in El Monte, a suburb.
Brian Chase is an American drummer and drone musician who plays in the New York rock band Yeah Yeah Yeahs. He was ranked at No. 50 in Gigwise's list of The Greatest Drummers of All Time.
Marian Zazeela was an American light artist, designer, calligrapher, painter, and musician based in New York City. She was a member of the 1960s experimental music collective Theatre of Eternal Music, and was known for her collaborative work with her husband, the minimalist composer La Monte Young.
Dream Theory in Malaya: Fourth World Volume Two is an album by Jon Hassell, released in 1981. It is the sequel to his collaboration with Brian Eno, Fourth World Vol. 1: Possible Musics, which was released the previous year. The recording draws influence from the culture of the Senoi people of Malaya.
Lawrence Chandler is a British American composer, musician, producer and sound artist based in London. Best known as a founding member of seminal New York duo Bowery Electric and shoegaze revivalists Happy Families, he works in ambient, contemporary classical, electronic and experimental styles.
Shandar was a French record label specializing in avant-garde material that did seminal work during the 1970s releasing, among others, recordings by Albert Ayler, Karlheinz Stockhausen, Steve Reich, Sunny Murray, Philip Glass, Richard Horowitz, Charlemagne Palestine, La Monte Young, Alan Silva, Pandit Pran Nath, Terry Riley, Cecil Taylor and Sun Ra. The records often carry, besides the name Shandar, the logo Shanti.
New York in the 1960s: Sun Blindness Music, better known as Sun Blindness Music, is an album by John Cale released in 2001. It is the first of a loose anthology of experimental albums recorded during Cale's tenure with the Theatre of Eternal Music during the mid-1960s.
Inside the Dream Syndicate, Vol. I: Day of Niagara or simply Day of Niagara is a bootleg recording of a 1965 performance by the minimalist music group the Theatre of Eternal Music, a.k.a. the Dream Syndicate. Contributors include future Velvet Underground members John Cale and Angus Maclise, composers La Monte Young and Tony Conrad, and artist Marian Zazeela. It received a release in 2000 by the label Table of the Elements against the wishes of Young.
The Theatre of Eternal Music was an avant-garde musical group formed by La Monte Young in New York City in 1962. The first group (1962–1964) of performers consisted of La Monte Young, Marian Zazeela, Angus MacLise, and Billy Name. From 1964 to 1966, Theatre of Eternal Music consisted of La Monte Young, Marian Zazeela, John Cale (viola), and Tony Conrad (violin), with sometimes also Terry Riley (voice). Since 1966, Theatre of Eternal Music has seen many permutations and has included Garrett List, Jon Gibson, Jon Hassell, Rhys Chatham, Alex Dea, Terry Jennings, and many others, including some members of the various 1960s groups. The group's self-described "dream music" explored drones and pure harmonic intervals, employing sustained tones and electric amplification in lengthy, all-night performances.
The Well-Tuned Piano is an ongoing improvisatory solo piano work begun in 1964 by La Monte Young. Young has never considered the composition or performance of this piece finished, and he has performed it differently several times since its debut in 1974. The composition requires a piano tuned in just intonation.
Jung Hee Choi is a South Korean-born artist and musician, based in New York City, working in video, performance, sound and multi-media installation. Since 1999, Choi has been a disciple of La Monte Young and Marian Zazeela in the study of music and art. Choi, with Young and Zazeela, is a founding member of The Just Alap Raga Ensemble, and has performed as vocalist with the ensemble since 2002. Choi's work has been presented in the U.S., Europe and Asia, including FRAC Franche-Comté, France; Berliner Festspiele, Germany; Dia Art Foundation, Guggenheim Museum and MELA Foundation Dream Houses, NYC; FRESH Festival, Bangkok; and the Korea Experimental Arts Festival, Korea. The New York Times listed Choi's Tonecycle for Blues performed by her Sundara All Star Band as one of The Best Classical Music Performances of 2017.
Dream House is a sound and light installation, and occasional performance venue, created by minimalist composer La Monte Young and multimedia artist Marian Zazeela. The installation features Young's continuous sine wave drones and Zazeela's lighting and design.
31 VII 69 10:26 - 10:49 PM / 23 VIII 64 2:50:45 - 3:11 AM The Volga Delta is an album by American musicians La Monte Young and Marian Zazeela, released in 1969 on Heiner Friedrich's Edition X label as a limited edition 12-inch vinyl.
Trio for Strings is a 1958 composition for violin, viola, and cello by American composer La Monte Young. It consists almost entirely of sustained tones and rests, and represents Young's first full embrace of "static" composition. It has been described as a central work of musical minimalism.
