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Dream House

The Dream House is still running. Third floor, 275 Church Street, New York, and it has been in that room since 1993. Thirty-two sine waves, amber and blue light, and you move around inside the chord rather than sitting in front of it. Marian Zazeela, who made the light, died in March 2024. Behind it is a rule La Monte Young set himself in 1958 and never broke. The Trio for Strings is an hour of held tones tuned to whole-number ratios, with no major third anywhere in it, because he had excluded the prime five. Almost everything here comes off that decision one way or another.

Some of these records were made by people who were in the room. Conrad, Flynt, Riley, Palestine. Others by people who reached the same place alone, the oddest case being Giacinto Scelsi, who in 1959 was in Rome writing four pieces on a single note and had no idea any of this was going on.

 

Collected Works Of
A box collecting seven years of work, from 2000 to 2007: psychedelic drone, experimental electroacoustics, minimal music and deep listening. Monosov belongs to the Frogpeak collective and has worked with Charles Curtis and Duane Pitre.
Circunscrita
Recorded in Lisbon over two months in 1999, for violin, double bass, bass drum, harmonium, Hammond organ and guitar. The Wire called the timbre steel wool: pieces that set a texture going and leave it running, with a screech that politer minimalists leave alone.
Footpaths and trade routes
Three tracks assembled by Kraig Grady under the name Anaphoria, his invented island. In 1976 he saw a performance of Harry Partch's U.S. Highball and changed direction; meeting Erv Wilson gave him the tunings. He has built metallophones, marimbas, dulcimers and reed organs to play them.
G2, 44+/x2
A piece for a room full of guitarists. Niblock and Robert Poss made the original recordings, Rafael Toral built a version out of them, and a second version was cut in New York with Alan Licht, Kevin Drumm, Lee Ranaldo and Thurston Moore. Both are here, thirty-two minutes each.
Six Primes
Thirteen-limit just intonation, with the primes 2, 3, 5, 7, 11 and 13 governing the tuning, the harmony, the rhythm and the form all at once. The twelve retuned notes yield seventy-five different intervals where equal temperament gives twelve. Brown was a piano tuner for fifteen years and tuned it himself.
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