The Technology of Tears | ||||
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Studio album by Fred Frith | ||||
Released | 1988 | |||
Recorded | United States, 1986–1987 | |||
Genre | Avant-rock, experimental | |||
Length | 82:59 (LP releases) 60:15 (CD releases) |
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Label | RecRec (Switzerland) | |||
Producer | Fred Frith | |||
Fred Frith chronology | ||||
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Professional ratings | |
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Review scores | |
Source | Rating |
Allmusic | [1] |
Piero Scaruffi | (6/10)[2] |
The Technology of Tears (And Other Music for Dance and Theatre) is a double album by English guitarist, composer and improvisor Fred Frith. It is the first of a series of Music for Dance albums Frith made, and is sometimes subtitled Music for Dance volume 1. It was recorded between June 1986 and April 1987, and released on a double LP and a single CD by RecRec Music (Switzerland) and on a double LP only by SST Records (United States) in 1988. It was re-issued on CD in 2008 by Fred Records (United Kingdom). All the CD releases omit the Propaganda suite (side 4 of the double LP).
The album comprises three suites:
Frith composed all the music and plays most of the instruments, with assistance from John Zorn, Tenko Ueno, Christian Marclay and Jim Staley.
Contents |
On The Technology of Tears, Fred Frith continues his exploration of world dance music he began on Gravity and Speechless, this time supplementing traditional instrumentation with digital technology to generate patterns, pulses and noise. Samples are used throughout, accompanied by horns, sporadic percussion and wordless vocals. The album is a mix of musique concrète, folk music and improvisation.
On the first part of the Technology of Tears suite Frith experiments with Henry Kaiser's newly acquired synclavier, at the time the state-of-the-art sampling and processing technology. On parts two and three of the suite Frith plays mostly "low-grade" instruments with added samples by turntablist Christian Marclay. Jigsaw is a collection of dozens of musical cells, "each recorded separately in increments of between 3 and 12 measures, all at the same tempo, and in the same key".[3] The intention was that the modules could be assembled in any order to create the final piece. The reason for this construction was that Rosalind Newman had requested that many changes be made to the Technology suite; with Jigsaw she could arrange the pieces how she whished. Ironically, she accepted the Frith's demonstration of what was possible as the final piece.[3]
Allmusic described the Technology of Tears suite as "... unrelenting slices of hard-edged sounds over a pulse ...", Jigsaw as "... patterns with constantly shifting accents and sub-divisions ...", and Propaganda as "... a series of brilliantly evocative soundpieces with electronics, guitar, and sound effects ...".[1]
Side A: The Technology of Tears
Side B: The Technology of Tears (continued)
Side C: Jigsaw
Side D: Propaganda
The Technology of Tears
Jigsaw