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Brown, Jim - The First See Hear

Format: LP
Label: See/Hear Productions see/hear 1
Year: 1968
Origin: Vancouver, British Columbia, 🇨🇦
Genre: concrete, experimental, electronic, poetry
Value of Original Title: $500.00
Make Inquiry/purchase: email
Release Type: Albums
Websites:  No
Playlist: Experimental & Electronic, Poetry, Plays And Spoken Word, Rarest Canadian Music, 1960's, British Columbia


Side 1

Track Name
Bp Nichol - Another Day Older
Lionel Kearns - The Woman Who
Lionel Kearns - Transport
Bruce Clarke - Of Spiralling Why
Lloyd Burritt - The Hollow Men

Side 2

Track Name
Ross Barrett & Jim Brown - Tree Person
Roy Cooper - Prelude to 1984
Al Neil Trio - Lombardo
Wayne Carr - Timbral Changes


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Brown, Jim - See Hear #1

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The First See Hear


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Covering a who's who of the Canadian Sound Poetry & Avant-Garde figures including Bp Nichol, Jim Brown, Wayne Carr, Ross Barrett, Al Neil, Lionel Kearns, and the Australian Composer Bruce Clarke, the first release collects a scattershot array of early work from everyone involved, dovetailed a fashion similar to "Iowa Ear Music" into a continuous mode. The second covers "Oh See Can You Say", credited solely to Brown but heavily featuring Carr & Barrett, essentially continuing in the same trajectory. It's not too far off from "Indeterminacy" in that Brown's stream-of-consciousness Sound/Poetry narratives are often interjected by Carr's abstract & frankly dynamite Psychedelic synthesizer work. Ross Barrett's solo track weaves chill sitar zones through the matrix, but it's mostly in & of the voice/electronic amalgam, with a few choice zaps straight from the cortex of the acid-damaged late 60s milieu.

SEE/HEAR is a RECORD MAGAZINE, a quarterly publication of recordings of contemporary sound arts. Contemporary sound arts are usually discussed in terms of certain categories such as electronic music, experimental acoustic music, sound poetry, projective verse, chance music, improvised forms and so on, however what should probably be recognized is that sound arts are continually evolving and to create categories only restricts the way in which we think about sound. Mixed media, combinations of sound and visual arts, or combinations of different modes of sound art, are easily seen as results of our electric environment, and are as valid as the already accepted sound forms. Comes with insert about the recordings. From the insert: A1 for Lennon and Mccartney. A4 was commissioned for the Adelaide 1968 Arts Festival by the Melbourne ISCM, fragments of poetry were chosen at random from the unpublished works of the late Ann Pickburn. A5 is a 30-minute dramatic cantata written for a Masters composition recital and performed at the University of British Columbia in the spring 1968. B4 made September 1968.


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