{"id":5336,"date":"2009-06-06T02:56:17","date_gmt":"2009-06-06T01:56:17","guid":{"rendered":"http:\/\/www.johncoulthart.com\/feuilleton\/?p=5336"},"modified":"2009-06-06T15:08:40","modified_gmt":"2009-06-06T14:08:40","slug":"paul-schutze-online","status":"publish","type":"post","link":"https:\/\/www.johncoulthart.com\/feuilleton\/2009\/06\/06\/paul-schutze-online\/","title":{"rendered":"Paul Sch\u00fctze online"},"content":{"rendered":"

\"schutze.jpg\"<\/a><\/p>\n

One of the drawbacks with recommending Paul Sch\u00fctze<\/a>‘s music lately has been a lack of availability, with most of his CDs being out of print. That changes this month with his back catalogue returning via iTunes<\/a> sporting a range of impressive new artwork (above) created by Mr Sch\u00fctze himself.<\/p>\n

Sch\u00fctze’s electronic music stood out for me in the mid-Nineties for a number of reasons: firstly, and most obviously, it wasn’t always tied to the rigid metronomic pulse which governed the rest of the dance world. There were 4\/4 beats at times\u2014and he even had an album on Belgian dance label Apollo under the anagrammatical pseudonym Uzect Plausch<\/a>\u2014but his music was equally subject to unusual time-signatures with chiming timbres borrowed from gamelan orchestras.<\/p>\n

Those timbres and their attendant tropical atmospheres were a second point of distinction. Like Jon Hassell<\/a>, to whom he pays homage on Stateless<\/em><\/a> (1997), there’s an acknowledgement of non-Western music without any falling into pastiche. This realises one aspect of Hassell’s Fourth World concept, whereby a meeting of the First World and the Third World creates an exclusive temporary zone that nonetheless can’t exist without the contribution of either party.<\/p>\n

A third distinction would require a detailing of Sch\u00fctze’s notable collaborators\u2014Bill Laswell and Raoul Bj\u00f6rkenheim among them\u2014and his inventive track titles, many of which sound like Surrealist paintings. But describing music is always a poor thing compared to experiencing it. If you want a place to start, I’d recommend New Maps of Hell II: The Rapture of Metals<\/a> <\/em>(1993; reissued 1996) or Abysmal Evenings<\/em><\/a> (1996), two constant favourites.<\/p>\n

Previously on { feuilleton }
\n\u2022 The art of Josiah McElheny<\/a>
\n\u2022 The Garden of Instruments<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

One of the drawbacks with recommending Paul Sch\u00fctze‘s music lately has been a lack of availability, with most of his CDs being out of print. That changes this month with his back catalogue returning via iTunes sporting a range of impressive new artwork (above) created by Mr Sch\u00fctze himself. Sch\u00fctze’s electronic music stood out for … Continue reading “Paul Sch\u00fctze online”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[4,29,3],"tags":[466,888,617,212,687,465,467],"class_list":["post-5336","post","type-post","status-publish","format-standard","hentry","category-design","category-electronica","category-music","tag-bill-laswell","tag-bjork","tag-gamelan","tag-jon-hassell","tag-josiah-mcelheny","tag-paul-schutze","tag-raoul-bjorkenheim"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-1o4","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/5336","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=5336"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/5336\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=5336"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=5336"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=5336"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}