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Index of Artists
Browse by Artist: CRAWLING WITH TARTS
Artist:
CRAWLING WITH TARTS
Title:
Mayten
Label:
ASP (PUERTO RICO)
Format:
CD
Price:
$11.00
Catalog #:
ASP 23
First CD release from this long-running Oakland twosome. Features some different sides of the band, collective improv with various horn players and Fred Lonberg-Holm on cello, and also some of their (slightly) more "standard" songs with Suzanne Dycus singing.
Artist:
CRAWLING WITH TARTS
Title:
Operas 3 And 4
Label:
ASP (PUERTO RICO)
Format:
CD
Price:
$11.00
Catalog #:
ASP 27
A fascinating continuation of the groundbreaking surface noise operas débuted on their now o/p 1st LP. "Like the
Operas
LP, surface noise and the non-aesthetic content of one-off transcription discs and institutional records are used as the primary form generators for the 2 pieces. 'Grand Surface Noise Opera Nr. 3 (Indian Ocean Ship)' is scored for four turntables alone except for a plate bell, and 'Grand Surface Noise Opera Nr. 4 (Drum Totem)' is for turntables and percussion."
Artist:
CRAWLING WITH TARTS
Title:
I Am Telephoning A Star
Label:
ASP (PUERTO RICO)
Format:
CD
Price:
$12.00
Catalog #:
ASP 31
First CD in a while from the duo of Michael Gendreau and Suzane Dycus. Less conceptual than some of their works, this features 15 tracks of acoustic improv, random clatter and some submerged surface noise collage-type material as they've previously investigated.
Artist:
CRAWLING WITH TARTS
Title:
Ochre Land, Blue Blue Skies/Grand Surface Noise Opera Nr. 7
Label:
POGUS
Format:
CD
Price:
$13.00
Catalog #:
POGUS 21039
"Long overdue, long promised release. This may be the last Tarts track (and opera) and one of the first solo composed Gendreau recordings. Or I could be making that all up. Anyway, wonderful music and sounds -- it is a Crawling With Tarts opera and
OLBBS
is a killer. A musician since age 6, Gendreau went along to work with several group organizations, culminating in Crawling With Tarts (1983-1998), and using this group as a medium (along with the various uses made of it by co-founder Suzanne Dycus) for work in elementalism, attention to temporal and environmental persistence, and eventually, applications of parataxis. These final studies included the use of small motors and turntable mechanisms, mostly performing with one-off transcription discs cast by others in the middle of the last century, or cut in Gendreau's studio using a decrepit lathe. More recently, in composition and performance, Gendreau has sought to enlarge these later studies, adding physical parameters of performance spaces (as a point of reference, based on studies in physics completed in 1989 and current work as an acoustician-primarily working on low-vibration design in buildings and noise impact to optical research apparatus in the infrasonic to audible frequency range) as a language within the paratactic structures that form his compositions."
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