As some of you may know from painful firsthand experience, Matmos spent 97 hours performing live in Gallery One of the San Francisco Yerba Buena Center for the Arts (October 2003) as part of their "Work, Work, Work" installation and residency.
Each afternoon from one pm until the museum closed, Matmos hosted improvisational concerts with pals, friends, and gullible strangers. Much of the resulting sound, though sadly (?) not all, was recorded onto DAT tape. After the dust had cleared, the shameful process of culling something worthy of listening to from this archive was boldly taken up by M. C. Schmidt with much generous assistance from Wobbly.
The results are now available here. Some of these excerpted recordings are untouched, and others have had the boring bits cut out, and some are edited so much that the editing itself has become more interesting than what's left.
Technical note: be advised that when this music was heard in the gallery space, it was bathed in a deep, cavernous reverb worthy of Stuart Dempster (or an insecure goth vocalist's 4 track demo). You may want to remix accordingly, and play these soundfiles off a boombox in a cathedral or airplane hangar.
-Matmos (Dr. Drew Daniel and M.C. Schmidt 2003)
P.S. A note about the covers. This was originally intended to be released only on CD-r with a handmade cover for each, handmade with the proviso that each cover should somehow include a portrait of an idealized museum security guard.
This idealization was drawn by Darcy Bartoletti. We have included some of the covers we remembered to scan, they were collaged by M.C. Schmidt and Drew Daniel and many others.
released August 2, 2017
Matmos and Friends, 2003
Thank you to the San Francisco Yerba Buena Center for the Arts for having us for such a long time!
Wobbly is always a great help editing things.
Love to all.
Credits are attached to individual songs.
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“With Julius, he was based in repetition, but here was a spirit of openness and improvisation. His scores, if they were written out that way, were often like jazz scores. He loved multiplying instruments – four pianos, ten cellos – so there was a real feeling of the presence of the instrument, not just using an instrument in some kind of equation, as a means to an end.” ~ Mary Jane Leach
Enough said. pt