Catalog#: SpecT 06
Format: CD, Album
Country: US
Released: 2001
DISCOGS BUY
1 Boy's Life - Drifting 04:48
2 Boy's Life - Desert Sci Fi 04:54
3 Boy's Life - Highway 07:52
4 Boy's Life - In The Lab 02:08
5 Boy's Life - Epilogue 04:33
6 Deliquium in C - Recitative 05:41
7 Sudan 26:07
打楽器奏者としてキャリアをスタートさせ、79年から90年まではポストミニマル・アンサンブルCartesian Reunion Memorial Orchestraの中核の一人として、また現在までLiquid Skin Ensembleを率いて活動するカリフォルニアのコンポーザーSteve Moshier（スティーヴ・モシャー）。ソロとしては最初期にあたる83年作 "Boy's Life" から、92年作 "Sudan" まで、LAダウンタウンの舞台芸術シーンとの共同作品のためのサウンドトラックとして作曲された、いずれもぼんやりとしたエレクトロニクスが反復するミニマル/アンビエント楽曲集。ワシントンの実験音楽レーベルSpectropol Recordsより。
“Boy's Life” (1983) was among Moshier's earliest collaborative works. As he recalls, “Donald Krieger was a gay performance artist working in L.A. The work was somewhat autobiographical for him and had all kinds of snippets of his personal life weaving in and out of the work. The music was meant to be "environmental" (ambient wasn't a term at the time) and scored for whole scenes. There was quite a bit of found radio broadcast material in the piece as well. The work went on to collect awards for music from the LA Weekly Theatre Critics, and led to further collaborations.” One frequent collaborator was Anna Homler, another “fringe” artist who had created a character known as Breadwoman (sporting a face made of bread loaves). Moshier states, “My first cassette was a collaboration with her where she would record outrageous vocalisms and I would take those recordings and alter them and add synthesizer environments around them. I also used real instruments on some tracks. “Deliquium in C” (1989), which was done a little later, was created much the same way. That work premiered at a venue that still exists today, Highways Performance Space, in Santa Monica, CA.” Moshier would return to 'Highways' many times over the years for different projects, and it was there that he met Keith Antar Mason, whose performance ensemble, the Hittite Empire, was in residence for a time. Mason's work "49 Blues Songs for a Jealous Vampire" (1992) was developed at 'Highways' with Moshier's support and went on to Lincoln Center in New York City. Moshier: “The collective aesthetic was part dramatic, part movement, part monologue and I was quite involved in the process of development. Again, "Sudan" and the other tracks were created to support and envelop whole scenes with environmentally suggestive sound.” Moshier worked with several more coconspirators including Karen Goodman, Rudy Perez, Tina Gerstler, Jan Munroe, and Hae Kyung Lee and Dancers. To my ears there is a deceptive simplicity about Moshier's post-minimal works, including his pulse-driven works for the Liquid Skin Ensemble (a group devoted to performing his music), and his recent electronic output. It gets under your skin. These older electronic works for the theatrical stage, created by taming unruly analog devices into something rather organic, seem musically timeless; but they also reanimate the L.A. scene of those years of which Moshier was a part. - Bruce Hamilton via spectropol records
[related]
Anna Homler / Steve Moshier - Breadwoman (Pharmacia Poetica, 1985)
言語と音楽、野性と洗練を往来するLAのヴォイス・パフォーマーAnna Homler（アンナ・ホームラー）との共作で、1985年にHomlerのプライベート・レーベル/プロジェクトPharmacia Poeticaと、絵画や彫刻、パフォーマンス・アートなど美術と関連した作品を出版するHigh Performance Recordsから2エディションでリリースされたカセット作品。下のB3ではMoshierの操るエレクトロニクス/ループに、Homlerはテープの逆再生を歌い直したような不思議な音韻感のある歌唱を乗せています。Forced NostalgiaのBandcampでは2012年にリイシューと記されていますが、おそらくフィジカルでのリリースはされず、現在はストリーミングのみ公開。
