Perfect Sound Forever December / January Issue

Source: Perfect Sound Forever.

EUGENE CHADBOURNE
Interview- Extensive look at his country roots, by J. Vognsen
“Country music provides fertile creative ground for both Chadbourne’s instrumental skills and his excellent comedic timing, but he has also provided a couple of important contributions to the genre as a songwriter. ”

JON HASSELL
Ethnomusicologist’s Canadian Years, Part 1 by Andrew Timar
“But how did he end up in at York U. in the first place? What forces brought Jon repeatedly to Canada until the 1980s to gig, teach, experiment, record several influential early albums and to live for several weeks in a former farm house located on Toronto’s northern city limits? Who were the musicians he met here with whom he developed close ties and who encouraged him at the outset of his “coffee-colored music” Fourth World personal quest?”

JON HASSELL
On Tour in Europe- 1985 and 1988, by Thierry Guillemin
“The first time [I toured with Jon] was in May 1985, the album Power Spot was not out yet. It was my first international Tour (I was 25). The tour started with 2 concerts in Paris, then Hamburg, Rotterdam, Bruxelles, Amsterdam (at the famous Paradiso), and Eindhoven. The band was Jon, Deano [J.A. Deane], Jean-Philippe [Rykiel] and Michael Brook. For the first concert in Paris, Brian Eno was there (but not playing!). We were back on the road in November (with Goran Vejvoda replacing Michael).”

AHMED MALEK
Peregrinations of Algerian film music by Domenic Maltempi
“Ahmed Malek is primarily known as a composer of film music that defined a generation for his homeland Algeria, and beyond. His music has a long reach, as does his other works, that evade native boundaries, or sonic brackets. What informs it, sculpts it, and gives its heft, is not only his prowess as a composer, but the open-eyed child-wide antenna and appetite for sound and its possibilities scattered around Earth.”

ANDREW VIOLETTE
Postmodern “Neo-romantic minimalism” by Daniel Barbiero
“While many of his earlier compositions have a neoclassical sound, the later compositions are characterized by their combination of Romantic and (small “m”) minimalist elements. In fact Violette liked to describe his work as consisting in a “neo-romantically minimalist style”–a good, concise description, to which it could be added that it is a neo-romantic minimalism with a postmodern twist. “