(Electronic, Experimental, Avantgarde) [2xMC] [24/48] C.O.Y.C.A.M.I.I.K. - Two Cassettes - 1991, FLAC (image+.cue)

[imgright]http://i69.fastpic.ru/big/2015/0708/2d/914ff16823ba05ce57008b58fa27e52d.jpg[/imgright]SIDE 1
1. SUPERFINE  1'28"
sequenced instrumental
2. SYMPHONY P. 66  11'02"
a) P. 66...(dyaxis edited vocal, sound collage w. minimal sequenced material)
lyrics: Tanabe Hajime, "Philosophy as Metanoetics",
tr. Takeuchi Yoshinori University of California Press, Berkeley, CA , 1986, p.66.
b) SCHERZO  (dyaxis edited instrumental)
c) ADOGIO (sic)  (dyaxis edited instrumental)
3. GLISS & STOP  1'17"
sequenced instrumental
4. TRESTLE  1'27"
field recording of diesel locomotive & passenger cars
crossing river bridge
5. 2ND WEEK  2'15"
sequenced instrumental
6. JACK'N JILL  4'31"
sequenced instrumental w. dyaxis edited sound collage
7. REDCHIEF  1'09"
sequenced instrumental

SIDE 2
8. CANADIAN TRAIN  0'10"
field recording of Intercity commuter train approach & pass
9. INDUOP  3'51"
dyaxis edited vocal, sound collage
10. STEADYSTREAM  3'52"
sequenced instrumental
11. SLOW FREIGHT  1'07"
field recording of freight train wheels & ties
12. BRIDGE  1'29"
sequenced instrumental
13. K-HAY-HEY  2'57"
sequenced instrumental
14. HONEYCOMB  2'14"
sequenced instrumental
15. GUITAR GLISS, K-HAY-HEY, 2ND WEEK & PIANO FRAME (edit)  9'08"
live & sequenced instrumental

©1991  C.O.Y.C.A.M.I.I.K.

DIRECT ALL COMMENTS AND INQUIRIES TO:
C.O.Y.C.A.M.I.I.K, 5914 OVERBROOK AVE., PHILA., PA   USA
19131   USA

[imgright]http://i70.fastpic.ru/big/2015/0708/04/f37c935eb6e62d107f9945ef64242104.jpg[/imgright]SIDE A
1. DENTAL VISIT  5'39"
Vocals by Michael Glick, DDS What Is your mode of conciousness in the dental chair?
Do you pay attention, or do you try to imagine ANYthing else... "Bite down!"
2. XFORM  23'47"
The listener Is suggestedto imagine
the events of the first movement
atemporally. Imagine all time
simultaneously...
00:00 Time(Eternal Now)Chant
07:58 PreCambrlan(Mass)NotreDame
10:44 Paleozoic Camerata
12:16 Mesozoic Classic
14:10 Extinction
17:11 Cenozoic(Chart)Simultaneity
18:51 Extinction 2 (Freeform)

SIDE B
1. OTHER  PF  7'34"
Chase your cat into the
rafters. It's going to end up
there anyway.
If you don't have a cat,
improvise.
2. 22 MINUTES TO READ "UNCOUP DE DES..."  22'05"
Vocals by Ellen Christi Follow Mallarme's poem, as the Instruments do...
Follow the bouncing ball. Follow every rainbow. Or play with a top!
(English translation: "A Throw of the Dice...")

©1991  C.O.Y.C.A.M.I.I.K.

DIRECT ALL COMMENTS AND INQUIRIES TO:
C.O.Y.C.A.M.I.I.K, 5914 OVERBROOK AVE., PHILA., PA   USA
19131   USA

Эти кассеты я получил в начале 90-х годов, тогда я активно переписывался с разными людьми отовсюду, отправлял разную отечественную музыку (в том числе и на пластинках "Мелодии"), а в ответ мне присылали всяческое разнообразие. Сейчас начал этот ворох кассет перебирать, слушать, разбираться с тем, что тут и как. Там, конечно, много случайного, наивного, трудно понимаемого. Но, записи проекта C.O.Y.C.A.M.I.I.K. – это что-то совершенно невероятное, в том числе и с технической точки зрения. Что это за люди, почему и от кого я получил эти кассеты – мне уже и не вспомнить. Скорее всего, там не было никакого сопроводительного письма, две кассеты в желтом пакете и все. Поискал в интернете – ничего нет вообще по такому запросу. Две ссылки ведут на сайт «Результатов» с информацией о Сборнике №1 и все. Но, этот сборник я же сам и составлял в свое время. Странно как-то. Неужели эти парни больше нигде не засветились? Быть может у кого-нибудь есть какая информация? Просьба сообщить.
А музыка тут просто зверская! Судя по всему, экспериментировали студенты какого-нибудь музыкального колледжа в Филадельфии, изучали современный академический авангард и получили курсовое задание сочинить что-нибудь свое в рамках жанра. Так и выдали на гора почти два часа электронно-акустических экспериментов. Местами похоже чем-то на Заппу с его синклавиром. Слушается на одном дыхании.

Спустя несколько дней после того как я выложил тут эту оцифровку, я неожиданно нашел в архивах сопроводительные бумаги к этим двум кассетам.
Привожу их ниже.

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INFORMATION PERTINENT TO ALL C.O.Y.C.A.M.I.I.K.  RELEASES.

MK. Two individuals creating musical expressions. Each individual performs all functions. It doesn't matter who made this. They think about philosophy & language & alphabets & the cosmological theories of religious faith & all the poor unfortunate... They are aware of their "being towards death" and they really like Tanabe Hajime. They have been thrilled by Machaut Monteverdi Bouin, Marais, Couperin, Schubert, Bartok, Hendrix, Malec, Xenakis, Henze, Birtwistle. Riehn. But they don't feel compelled to imitate them. Sometimes they feel like imitating Parmegiani The pieces set in motion fragments, they run independently, we listen. They make determinations of sounds to record digitally in the field, or design them in computer applications: Turbosynth, Alchemy, MacMix on Dyaxis. Roland S770, subjecting them to multi-generational processing & transfer back & forth, on & on, through the network; choice is involved, but the network is employed randomly within its limitations. Analog processing is done with an Eventide H3000B/SE. The guitar is played with 2 metal slides. How it is tuned we will not go into. They have electric trains. They have a big 9 pointed star in their floor.
Music is an artistic medium which provides an abstract approach to express experience. As no two people experience the same, no two listeners hear the same music Music allows expression of that which cannot be adequately expressed with words. It is a separate language. For these reasons it is difficult, if not impossible, to attach "word meaning*  to musical  expression.

Equipment   Variously   Used:
Studer DYAXIS 2+2,  MAC IIci & cx.  Passport's ALCHEMY,  Opcode's VISION, Digidesign's  TURBOSYNTH  &   SOFTSYNTH   Roland   S-770,   Prophet.  2000,   Ensoniq VFX.   Eventide H3000B/SE,   Sony PCM  2000,  Electric guitar, Anything that serves the desired effect

All works:    digitally recorded   mixed  and  mastered real time dubs from digital master No dolby CrO2_

Individual tape price $6.00 R-DATs available at $15.00 International  sales  should  add  appropriate  postage

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DENTAL VISIT
©1991      C.O.Y.C.A.M.I.I.K.

enough fun & games let's work.
Augh...
woderful
bite down  for me
aesthetics
anything  you  want
prosperity,  happiness, joy,   strength
I still need more space
lot  of confysion bite down for me
that's what I'm looking for
bite down for me bite down  for  me
lot   of  confysion
It's  beaytifyl  everything's  perfect
lot  of  confysion

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INDUOP
©1991     C.O.Y.C.A.M.I.I.K.

all possibility an actuality
error error error error error
alleliuia alleliuia

or Satan
do we have (thank you) anything to say
nonbeing  boop
non non non non nonbeing do-boop
ssssssssspeculation    speculation    speculation
alle    alle    alle    alle...    alleliuia
or Satan
speculation can't
outbeauty       outbeauty
do we have to say anything
who knows who knows who   knows
AOSCON
My that's an attractive convertible
STOP
My that's an attractive nonbeing EVERYWHERE nonbeing

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SYMPHONY   P.86
©1991   c.o.y.c.a.m.i.i.k.

As to the question of how such freedom arises, there is no answer and can be none. For If there were any reason to
be given, It would no longer be a matter of contingency but of necessity, and freedom would cease to be, Being that does not arise spontaneously_cannot be called free.Thls Is why there is no demonstrating the freedom of being. Freedom exists only in the subject's self-consciousness of being free.Only the subject that realizes freedom through Its action has freedom. Contingency, too, Is understood to be contingent only through the free subject that experiences its susceptibility to being the opposite of what it is. No contingent being as such can determine Its own contingency. Only the subject, which is able to experience opposites, can come to an awareness of the mode of contingency.
Philosophy as  Metanoetics.
Hajime, Tanabe. Translated by Takeuchi Yoshinori. University of California Press, Berkely.   1986.   P. 66.

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