tbon
The Fiery Furnaces’ next album will consist of instruction, conventional music notation, graphic music notation, reports and illustrations of previous hypothetical performances, reports and illustrations of hypothetical performances previous to the formation of their hypotheses, guidelines for the fabrication of semi-automatic machine rock, memoranda to the nonexistent Central Committee of the Fiery-Furnaces-in-Exile concerning the non-creation of situations, Relevant to Progressive Rock Division, conceptual constellations on a so-to-speak black cloth firmament, and other items that have nothing to do with the price of eggs, or milk, or whatever the proverbial expression ceased to be.
In other words, a Silent Record.
Since bands can no longer sell audio, FF decline to provide it.
August 2009
27 posts
CANNED SALMON. Who would ever dream that the plebeian canned salmon could be transformed into a morsel of such surpassing richness that it was immortalized by no less a person than Thackeray himself? Yes, canned or ” tinned ” salmon was in style as long ago as that, my friends.
And this is how the jovial litterateur did it for himself and his gifted friends: A gill of olive oil should be popped into the blazer with a tablespoon of chopped onion, a minced clove of garlic, two cloves, six peppercorns, and, when browned, a can of canned salmon in its liquid. Now add salt, bay leaf, a few slices of lemon, a pinch of curry powder, a pint of tomato pulp, a gill of Niersteiner, and water enough to cover the fish. Simmer twenty minutes, then pour into a deep dish that has been lined with toast, and call it ” Bouillabaisse.”
” —Chapter VII. Snacks of Sea FoodNick Seaver: “Estefan on the Beach”
This is a cover I made of “Knee Play 1” from Philip Glass’s Einstein on the Beach, using (almost) exclusively Gloria Estefan samples. The counting is, of course, from “1-2-3”, and the spoken word parts are from an interview with her I found on YouTube. (The only non-Estefan audio is the spoken-word counting in Spanish—I couldn’t find any clips of her saying numbers.)
Two little notes from production: There is no “eight” in the original Miami Sound Machine track without a beat behind it, so to make an acapella “eight,” I stitched together the “eh” from “seven” and the “eye” from “five.” It seems to work, especially with a little reverb to smudge everything around! Also, the spoken word, while different from the original “get some wind for the sailboat/these are the days my friends,” follows the same structure, so each “wind for the sailboat” is “and he was playing “Do the Hustle” on the accordion,” etc.
And the original, if you don’t already know it:
