#The Williams Fairey Brass Band

[kraftwerk113]

Life´s too short for weird music - Tagesempfehlung 28.05.2020

The Williams Fairey Brass Band / Pacific 202

Bereits 1997 hat die The Williams Fairey Brass Band das Album „Acid Brass“ veröffentlicht. Darauf wurden Klassiker der Acid / Electro Szene von einer Brass Band neuinterpretiert. Anders als bei Meute aber in einem klassischen Big Band Kontext. Die Ergebnisse sind durchaus diskutabel, aber die Reinterpretation von „Pacific 202“ dem Klassiker von 808 State aus 1989 zeigt vor allen eines – welch Potential in diesem Song steckt.

[bigblue61]

This week plodding blindly onwards are TRB, Al Saxon, Ivor Cutler, Bonobo and Jordan Rakei, John McLaughlin, Fatback Band, Chaka Khan, Ranagri, Neil Young, Sparks, Iration Steppas, Williams Fairey Brass Band, Lead Belly, The Handsome Family and Karine Polwart.

See you next year

[groc]

Watch "Williams Fairey Brass Band - Pacific 202 ( 808 State )" on YouTube

[pinacleinmotion]

Pacific 202

Williams Fairey Brass Band https://ift.tt/2fgdKm4

[don-lichterman]

From Jimi Hendrix to The Charlatans - New Century's stunning new concert hall is looking to the future

From Jimi Hendrix to The Charlatans – New Century's stunning new concert hall is looking to the future

… Sound and Digital Technologies, a music school kitted out with state … have full access to the gig venue a few mornings a … Futureshock, the Williams Fairey Brass Band and nature workshops from The … Century opens once again for business on September 20. Ties will … Source link

[asgcontemporarydrawing]

Jeremy Deller

In his own estimation, Jeremy Deller is not an artist of a single medium (his works use many), but rather an instigator of social interventions. Critic Mark Brown once referred to Deller as a “pied piper of popular culture”—an apt reference to Deller’s extensive use of music and sound, his deliberately lowbrow approach, and his performance pieces that often require participation of the viewer. His works frequently look towards historic events and archives as a source, which he then builds upon accumulatively with found materials. One of his best-known pieces is the massive performance the Battle of Orgreave (2001), a re-staging of an infamous clash between striking miners and the police in 1984. Deller is also known to frequently collaborate with other artists. “I work because I’m interested in other people,” he has said. “I’m nosy.” Deller won a Turner Prize in 2004.

                                                                                                                 - Artsy

Deller traces his broad interests in art and culture, in part, to childhood visits to museums. After meeting Andy Warhol in 1986, Deller spent two weeks at The Factory in New York. He began making artworks in the early 1990s, often showing them outside of conventional galleries. In 1993, while his parents were on holiday (he was 27, still living at home), he secretly used the family home for an exhibition titled Open Bedroom.

In 1997, Deller embarked on Acid Brass, a musical collaboration with the Williams Fairey Brass Band from Stockport. The project was based on fusing the music of a traditional brass band with acid house and Detroit techno.

Much of Deller's work is collaborative. His work has a strong political aspect, in the subjects dealt with and also the devaluation of artistic ego through the involvement of other people in the creative process. Much of his work is ephemeral in nature and avoids commodification.

Deller staged The Battle of Orgreave in 2001, bringing together almost 1,000 people in a public re-enactment of a violent confrontation from the 1984 Miners' Strike. 

The Battle of Orgreave was ranked second in The Guardian's Best Art of the 21st Century list. In 2004, for the opening of Manifesta 5, the roving European Biennial of Contemporary art, Deller organised a Social Parade through the streets of the city of Donostia-San Sebastian, drafting in cadres of local alternative societies and support groups to participate.

In 2005/6, he was involved in a touring exhibit of contemporary British folk art, in collaboration with Alan Kane. In late 2006, he instigated The Bat House Project, an architectural competition open to the public for a bat house on the outskirts of London.

The following year, 'Our Hobby is Depeche Mode', a documentary co-directed with Nick Abrahams about Depeche Mode fans around the world was premiered at the London Film Festival, and followed by festival screenings around the world.

On 1 July 2016, his We're Here Because We're Here, commemorating the 100th anniversary of the Battle of the Somme, took place in public spaces across the United Kingdom. On 29 June 2017, his event "What Is The City But The People?" opened the Manchester International Festival.

In 2019 the Jewish Museum London commissioned Deller to create a short film of antisemitic footage showing contemporary media, politicians, and propagandists making antisemitic statements for its special exhibit Jews, Money, Myth. 

In 2019 Deller produced a film Everybody in The Place: An Incomplete History of Britain 1984–1992 which covered rave culture and political turmoil in 1980s Britain.

Later the same year, Deller was forced to admit that his design for the memorial to the Peterloo Massacre, intended to provide a podium for speakers and a monument to equality campaigners, had completely failed to make any provision for wheelchair users, despite corporate artwork prominently featuring wheelchair users and even though access had been raised during the consultation process. Protests by disabled groups led to a last minute redesign and Deller describing himself as "chastened".

Deller was the winner of the Turner Prize in 2004. His show at Tate Britain included documentation on Battle of Orgreave and an installation Memory Bucket (2003), a documentary about Crawford, Texas—the hometown of George W. Bush—and the siege in nearby Waco.

In 2010, he was awarded the Albert Medal of the Royal Society for the encouragement of Arts, Manufactures & Commerce (RSA) for 'creating art that encourages public responses and creativity'.

                                                                                                       - Wikipedia

As it is with 90% of modern/contemporary art, it is not for me. Though I appreciate the praise he’d gotten and can only congratulate him on his achievements, the only work of his that I like is Come friendly bombs and fall on Eton, 2018, and even that is solely visual.

Modern art is just never going to be for me.

[sophiejoedwards]

Jeremy Deller

"Based on the connections I made in The History of the World, I decided to try to get a brass band to agree to perform a repertoire of acid house music. I was terrified of ringing up the bandleader of the Williams Fairey Band to ask if he would do this. I thought it would take lots of convincing and explaining – but he agreed immediately. He just said, "All right, we'll do it. We'll do it once and see how it goes", Which is exactly the attitude you want. So we performed it once, and it went really well, and we continued to perform it. The experience taught me a lot about working with the public. I realised that I didn't have to make objects anymore. I could just do these sort of events, make things happen, work with people and enjoy it. I could do these messy, free-ranging, open-ended projects, and that freed me up from thinking about being an artist in a traditional sense. I had been liberated by a brass band."

[burgersurf]

valstybinis puciamuju orkestras trimitas.

[andrew0807]

#NowPlaying Williams Fairey Brass Band: Pacific 202

[stuartmcadam]

Jeremy Deller - Acid Brass, 1997

"Based on the connections I made in The History of the World, I decided to try to get a brass band to agree to perform a repertoire of acid house music. I was terrified of ringing up the bandleader of the Williams Fairey Band to ask if he would do this. I thought it would take lots of convincing and explaining – but he agreed immediately. He just said, "All right, we'll do it. We'll do it once and see how it goes", Which is exactly the attitude you want. So we performed it once, and it went really well, and we continued to perform it. The experience taught me a lot about working with the public. I realised that I didn't have to make objects anymore. I could just do these sort of events, make things happen, work with people and enjoy it. I could do these messy, free-ranging, open-ended projects, and that freed me up from thinking about being an artist in a traditional sense. I had been liberated by a brass band."

[ricardosousalemos]

Penguin Cafe: The Imperfect Sea

Laid up in the south of France after ingesting some bad shellfish back in 1972, British guitarist and composer Simon Jeffes experienced fever dreams of a world “of ordered desolation… a place which had no heart.” In the days after, Jeffes dreamt of its cure, wherein “the quality of randomness, spontaneity, surprise, unexpectedness and irrationality in our lives is a very precious thing.” Jeffes also had a surreal poem pop into his head about being proprietor of the Penguin Cafe—and by 1976, he had established the Penguin Cafe Orchestra bearing such properties. They were one of the eras more charming and baffling entities, daydreaming between ambient, Balearic, drone, Irish folk, pop, world, classical, all of their output exquisite and slightly aslant. Which is perhaps to be expected from the man who was game enough to couch Sid Vicious in orchestral strings for “My Way.”

The Orchestra disbanded only when Jeffes passed away from an inoperable brain tumor in 1997, and since a Royal Albert Hall concert in 2009, his son Arthur has released three albums in the new century, carrying the torch. Or at least carrying the name, as his Penguin Cafe features no members of the original ensemble, instead compiling contributions from members of Gorillaz, Suede, and Florence and the Machine. (Some of the old Penguin Orchestra continue to perform this music as the Anteaters and the Orchestra That Fell to Earth). Arthur has the pedigree, if not the history, for this 21st century Penguin Cafe.

Their website states that since their audience is more attuned to dance music, the group is a corrective in replacing “electronic layers with real instruments: pads with real string sections, synths with heavily-effected pianos.” Fair enough, though such self-seriousness replaces the prevailing whimsy of the original and assumes that electronic music fans can’t also chill with Stars of the Lid, Alarm Will Sound, or even the Williams Fairey Brass Band. “Ricercar” most closely resembles the Orchestra of old, stately and bouncy in equal measure, the strings nimble like some Renaissance-era dance while the percussion comes from world music. But “Cantorum” has all the drama of an indie documentary soundtrack, tugging at heartstrings via bowed strings, a move now easily replicated by dozens of other composers.

The slow-moving “Control 1 (Interlude)” creates a sustained mood of careful piano notes that drop like melting icicles and humming strings, though it also most closely resembles the gorgeous minimalism of Bing & Ruth. The twinkling lyricism of “Half Certainty” and “Protection” align them with their Erased Tapes’ labelmates, meaning the pleasant and polite—if at times ignorable—aspects of ambient music.

Three covers are interspersed throughout the album. The most charming is a version of Kraftwerk’s “Franz Schubert,” a knowing wink to the original group’s own history—Penguin Cafe Orchestra’s first major show was opening for the Germans back in 1976. They play up the lullaby-like aspect of the original and, in a clever twist, close mic the sound of salt swirling around in a bowl in a manner that replicates the crackly shellac of an old 78, putting the futurists into a bygone time. There’s also a version of the original group’s “Now Nothing,” expanding the track by two minutes but reducing the original’s blend of strings and voice to just piano.

It leads into the closer “Wheels Within Wheels,” a cover of Simian Mobile Disco. But instead of a big build, the beats are replaced with rattles and cycling piano that create plenty of drama and tension before slowly peeling away. The notes describe making the four on the floor from “floorboards in the old Penguin studio,” which seems like a rather circuitous route to take to get to a thud that barely registers. In the years between the two iterations of Penguin Cafe, all manner of composers and ensembles have tackled the likes of Aphex Twin; the novelty of mixing electronic and acoustic has long since worn off. Coming as Penguin Cafe Orchestra did amid the clashes of punk and progressive rock—on a roster featuring meticulous new composers like Harold Budd and Gavin Bryars—the elder Jeffes’ playfulness was refreshing. Three albums in, it’s yet to be determined just where the younger Jeffes aims to take the group, but there’s a rigidity to The Imperfect Sea that approaches ordered desolation.

[kevinjohnsonbafineart-blog]

Acid Brass

Jamie has posted about an evening Preston in April in the town ctr sq next to the Harris museum where the Williams Fairey Brass Band will be giving a free performance of Jeremy Dellers Acid Brass. I believe Dave Haslem (ex BBurn warehouse partys and Hacienda Dj) is ‘curating’ it or rather Dj’ing before and after. Been wanting to see this live for years, there is a tendency at the moment for Classical music to be used by big orchestras which play ‘Classical’ house music IE: something from 88-2000, with the likes of Pete Tongs House music Prom last year to the Haciendas touring classical night, at iconic locations around the north. However I’ve been wanting to see this since I first heard about it after I came home from the states (it was first performed in 1997)  based on a ‘mind map’ that shows the history and links that created both Acid House and Brass band music. ts one of my all time favourite pieces of art, simple yet complex, historical and social, messy and its about something that I grew up with and was involved in. This should be a really good night out

[shitredditrocks]

The Williams Fairey Brass Band - Let's Get Brutal

"Let's Get Brutal" by The Williams Fairey Brass Band

posted in r/ElectronicMusic

[centreforthebored]

[nouhailler]

The Williams Fairey Brass Band - Day In The Life-Can U Party- ( http://bit.ly/LHPa80(

[anxiousmofo]

The Williams Fairey Brass Band | The Groove That Won't Stop