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Bang on a Can

Officially, the name Bang on the Can refers never to a specific group of musicians yet to a annually festival of songs curated simply by avant-garde composer/performers Julia Wolfe, David Lang, and Michael Gordon. (Albums with the group ‘re normally credited towards the Bang on the Can All-Stars, a comparatively stable band of 6 to 8 performers and arrangers who comprise the primary of the innovative group.) The trio shaped Bang on the Can in 1987; on the next a decade, the idea grew from a one-day celebration to an extraordinary selection of live and documented works. The very first three Bang on the Can releases had been Compact disc anthologies of live recordings extracted from the group’s 1992, 1993, and 1994 celebrations released for the CRI label as Bang on the Can Live, Vol. 1, 2, and 3. Their studio room debut was included with 1995’s Sector, featuring a monitor each by Wolfe, Lang, and Gordon and two extended chamber music parts by their religious coach Louis Andriessen. Both Sector and its even more eclectic follow-up, 1996’s Cheating, Laying, Stealing, had been released by Sony Classical. Bang on the Can jumped to Universal’s songs imprint Point because of their next discharge, a brilliantly conceived and perfectly performed re-imagining of Brian Eno’s Ambient 1: Music for International airports that often converted Eno’s sketches for tape recorders into gorgeous functions for live music artists. Next, Lang, Wolfe, and Gordon collaborated for the opera Shed Objects, a protracted narrative use libretto by Deborah Artman offering vocal soloists, a blended chorus, a complete orchestra and, intriguingly, visitor looks by turntable expert DJ Spooky. Pursuing that masterwork, the group documented several early items by the fantastic minimalist composer Steve Reich and paid tribute to some other landmark of contemporary traditional music by reinterpreting Terry Riley’s In C for any bevy of electrical, digital, and acoustic devices. That documenting was the 1st launch on Cantaloupe Information, a label possessed by Bang on the Can release a albums by associated composers and performers. The next Bang on the Can release around the label was 2001’s eclectic Renegade Heaven, offering items by Glenn Branca and Phil Kline, in addition to Gordon’s “I Buried Paul,” a tongue-in-cheek salute towards the playing of backwards tapes along with other unintentional avant-gardisms with regards to the Paul Is usually Deceased hoax of 1969.

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