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We Are Legion

Discussion in 'Non-punk anarchist music' started by Moonstruck, Dec 13, 2019.

  1. Moonstruck

    MoonstruckNew Member New Member


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    We Are Legion, by Dorian Wallace/Tenth Intervention
    We Are Legion - Full Album

    We Are Legion is an immersive chamber work inspired by the hacktivist collective, Anonymous.
    Represented at the core of this work is the group's mission to uphold freedom of speech and freedom of expression. Anonymous actively fights against corporate, civic, and religious extremism and oppression.

    We are Anonymous.
    We are legion.
    We do not forgive.
    We do not forget.
    Expect us.

    credits
    released November 5, 2016

    We Are Legion

    music written by Dorian Wallace
    choreography by Jennifer McQuiston Lott
    film by Karen Nourse and Zachary Bennett
    recorded, mixed and mastered by Eric Hachikian
    percussion recorded by Nate Jasensky
    photos by Anthony Tafuro

    Recorded at Soundcat Productions
    Percussion recorded at TTO Studio
    Filmed at HappyLucky no.1, Crown Heights, Brooklyn

    The Tenth Intervention Ensemble is:
    Dorian Wallace, composer, piano, co-founder/artistic director
    Hajnal Pivnick, violin blue and yellow, co-founder/artistic director

    Hannah Levinson, viola
    Caleigh Drane, cello

    Kelley Barnett, flute
    Michael Eaton, tenor saxophone green
    Lathan G. Hardy, tenor saxophone magenta

    Carl Limbacher, bass
    Max Maples, drum set red
    Charlie Kessenich, drum set cyan

    Nathaniel Adams - voice yellow
    Maya Ben-Meir - voice red
    Danielle Buonaiuto - voice blue
    Adam Richardson - voice green

    Natsuki Arai, dancer
    Marissa Brown, dancer
    Stephanie Salts, dancer
    Jeremy Zapanta, dancer

    with special thanks to Liane Fredel


    some rights reserved
    Attribution-NonCommercial-ShareAlike 3.0 Unported (CC BY-NC-SA 3.0)
     




    RECORD INFORMATION

    Legion For We Are Many
    Release Date : 1997
    LISTEN ON YOUTUBE FIND VIDEOS MORE DOWNLOADS


    Label - Bush

    Founded in 1993 in Manchester by DJ, producer, music lover Eric Powell and Eric Gooden, Bush Records set out to become the foremost purveyor of quality house and techno, and all beats in between. The labels logo was designed by Michael Hernan.

    Bush Records is consistently testing the traditional parameters of electronic music, and throughout the last decade has effectively redefined the dance music industry1s perceptions of techno, house and electro. Born out of a desire to present quality electronic music that is innovative and diverse but always engineered for late-night dancefloor mayhem, Bush Records has since spawned two further imprints to accommodate a diverse range of musical styles and genres.

    This has allowed the Bush label to become more predominantly focussed upon techno and tech-house in recent years, while newer imprint Boo Records caters more specifically to the needs of house music enthusiasts, and Meltdown Communications presents a sophisticated collection of breaks, electro and experimental sounds and structures.
    Since its inception in 1993 Bush Records has presented the production talents of artists such as Dave Clarke, Timo Maas, Trevor Rockliffe, Thomas Schumaker, and Devilfish, and with some one hundred 12 inch releases, seven long players and a handful of samplers and CD releases, the Bush Records imprint remains one of the most predominant techno labels in the world.
    Bush releases such as Andrew McLauchlan1s "Love Story" have made their way into the record crates of the world1s foremost taste-maker DJs such as Jeff Mills and Luke Slater, and tracks by artists such as Devilfish (who were first discovered and promoted by Bush) have been licensed for release on compilations by DJs across all genres of dance music including Carl Cox, Mauro Picotto and Danny Tenaglia.
    The future focus of Bush Records is to continue to challenge, develop and redefine the sounds and structures of electronic music, and in particular, techno. Through artists such as Joey Beltram, Woody McBride, Sean Colt and Devilfish, Bush remains the primary outlet for some of the most innovative sounds and sophisticated studio productions that the dance community is likely to come across.
    Bush Records will continue to present to dancefloors across the world the funkiest percussion, the phattest basslines and the sharpest high-end sounds that the dancefloor can stand.
    Read More...
  2. 1xAntifa

    1xAntifaExperienced Member Experienced member


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    Nov 22, 2019
    Victoria, Australia Australia
    Oh dear, I wanted to like this and on one level do but. You undoubtedly know your craft and its performance is top notch, however I expected something edgier. These pieces remind me strongly of Gorecki's Symphony of Sorrowful Songs in its mood and contemplativeness or Part or Feldman for that matter. That's not a bad thing if I want to simply sit back and chill.

    It didn't excite, incite, provoke or frighten me, unlike say Varese, Stockhausen, Xenakis, Cage or Penderecki's Threnody for the Victims of Hiroshima [which scares the bejeezuz out of me every time]. I've seen Xenakis's Tetras induce a panic attack [my nephew]. I'm also a big Ligeti fan, especially his work for voices. So this is where I'm coming from.

    I'm not hearing anything anarchic here. There are no electronics, which to my mind is representative of the whole Anon digital culture. Nor are there any free or chance sections that I could discern that would be representative of anarchy per se. Some musique concrete could also be appropriate and for pure chaos check out Jean Dubuffet's work at the Avant Garde Project [link below]. Rather everything is ordered and precise. Once again that isn't a bad thing as such, it's just not what was expected given the presentation.

    Can I suggest maybe exploring the electronic treatment of instruments or of purely electronic elements to your composing? Explore the technology that's available for noise generation? Maybe listen to some 1st gen industrial like Nurse with Wound, SPK, MB or Cabaret Voltaire? Add some free sections and resolve them a-la Lutoslavski or Free Jazz [Ornette Coleman, Archie Shepp, Pharoh Sanders, Yusef Lateef Albert Ayler Alice Coltrane]. Break the self imposed boundaries you are working within. Much of this stuff can be found on youtube.

    An excellent resource that I cannot recommend highly enough for exploring these things within the classical framework is the Avant Garde Project at the Internet Archive.

    Avant Garde Project : Avant Garde Project : Free Download, Borrow, and Streaming : Internet Archive

    Now as far as Anonymous goes, in my experience it is inchoate. I've heard many things come out under the banner of allegedly being Anonymous, ranging from extreme left to extreme right. It is a largely meaningless appellation because of this. I for one do not associate anarchy which has fairly fixed, albeit contested, meaning with Anonymous. You may want to have a re-think about the Anon tag for your work.

    These are simply the opinions of a listener who doesn't know theory or even play an instrument. They are intended in the spirit of constructive criticism, not a slagging off simply because I was somewhat disappointed. You are always growing as an artist, or should be, so take on board whatever it is that will help you grow from what I've said and ditch the rest.

    Finally, thank you for sharing your work with us here,
     
    Last edited: Dec 14, 2019