HUGE POOLS OF SOUNDS coming from one undifferentiated tone: This is the dizzying, precision work of Charlemagne Palestine and a Dutch organ, stretched out for seventy-one minutes. The single note sounded gives rise to more notes, a sustained single chord, that in turn establish their own spatial existence, even some aural architectures. Perpetual performance. By consumer-culture standards the thing is unlistenable, yet at the same time it is ready to teach you some kind of deep listening. Only, it won’t teach anything. It just does what it does, and those who listen become involved in the acoustic

Lunapark 0.10, released as part of the “Aural Documents” series by the Belgian label Sub Rosa, is more like a séance than a CD. Compiled by Marc Dachy, this spoken-word anthology begins with the ghostly voice of Apollinaire declaiming his poem “Le Pont Mirabeau” in 1912 and ends with Caetano Veloso performing the Brazilian poet de Campos’s work in the late ’70s. In between, Dachy includes scraps of recordings by Mayakovsky, Joyce, Artaud, Duchamp, Stein, and others, piecing together a personal survey of twentieth-century sound art. To those for whom the historical avant-garde constitutes a living

AT CERTAIN TIMES nothing makes more sense than listening to a Dusty Springfield record all day. In the past you could just leave the arm on the phonograph and let the album replay over and over. Dusty in Memphis was particularly suited for this. You could play it all night (getting high), turn it down while you went to sleep (nodded), and turn it up again when you woke up Sunday morning (coming down). With the new Rhino edition of Dusty in Memphis, containing an additional fourteen songs (many previously unreleased), it's almost as easy, even if we're older now, trying not to stay up all night,

“ARCHITECTURE IS FROZEN MUSIC,” Friedrich Schelling remarked at the beginning of the nineteenth century, signaling both the distance between these two arts and their proximity. In some respects, they lie at opposite ends of the aesthetic spectrum: Music is the most ethereal, immaterial, and temporal of arts, architecture the most earthbound and palpable. Yet they have always shared a secret affinity. With rare exception, Western music is played and heard indoors and has always had to respond to the shape and stuff of its constructed environment. It’s no accident that the Gregorian chant—with

NO FORM OF CLASSICAL MUSIC has exerted so enduring and pervasive an influence on pop culture as minimalism. Kellogg’s commercials and John Carpenter movie sound tracks, New Age schlock and abstract hip-hop all overtly cop such minimalist trademarks as repetitive keyboard vamps and hallucinatory vocal cut-ups. Indeed, from its inception in the early ’60s, musical minimalism actively blurred the boundaries between “high” and “mass” art, “classical” and “popular” music. Breaking with the confines of academic serialism and the decorum of the concert hall, the minimalists forged connections with the

WHY AREN’T THERE MORE debut records like Stephen Prina’s genteel Push Comes To Love (Drag City)? Backing the LA-based artist and sometime Red Krayola keyboardist/guitarist/vocalist are those Chicago don’t-call-them-postrock guys—Jim O’Rourke, Sam Prekop, John McEntire, David Grubbs, Rob Masurek—making subtly envelope-pushing, saw-assed, laid-back grooves. It’s totally the band you want to book when you go make your first record: Intuitive players, they can handle backing and lead roles without too much ego fuss (it doesn’t hurt that there are geeks the world over who will buy any record they

GLENN MCKAY PIONEERED the ’60s psychedelic light show, a somehow instantly tacky “art form” responsible for everything from Tom Wolfe having images “projected . . . on the back of [his] eyelids” while researching The Electric Kool-Aid Acid Test to the Pink Floyd–scored Laserock freakouts I attended at the Hayden Planetarium as a seventh-grader. Like a creaky wave machine dusted off and set Into motion again, McKay’s work has been resurrected by the San Francisco Museum of Modern Art under the rubric “Altered States” (until June 1). McKay, who founded his company Head Lights (get it, man?) In

THE PLEASURE DERIVED FROM WATCHINGRichard Move reincarnate Martha Graham isnot the same kick to be had from a conventional drag show. The irony is there, at its highest, threatening-to-transcend-tamp level, as it is with a performer like Jim Bailey, who does Judy Garland and Barbara Streisand almost as well as they did themselves. But there is another pleasure here, something akin to the thrill of Jurassic Park or Godzilla: An extinct, or at least endangered, species is brought startlingly back to life. Richard Move is Martha Graham, the performer, the diva, the guru/choreographer. Onstage he

GUSTAV MAHLER’S Kindertotenlieder and Arnold Schoenberg’s Pierrot Lunaire are dark song cycles written in the first part of this century. The former is a meditation on the death of children, the latter, a hallucination of insanity. Not exactly cheery subject matter, and at only a half-hour apiece, these morose musical journeys wouldn’t seem especially promising as stage productions. This winter, as part of Lincoln Center’s Great Performers’ “New Visions” series, two separate presentations turn to unconventional means as a way of unpacking an evening’s worth of theater out of these haunted

THE STUNNING SCHEDULE of events for Hermann Nitsch’s Six-Day-Play, a happening held last August at his Schloss, in Prinzendorf, Austria, reads like a cross between death-metal theatrics and harmonic-convergence hippiedom. The day begins, “5:32 AM: Sunrise. Slaughter and disembowelment of a bull.” This kicks off a tight lineup: Primal Excess, Primal Beginnings, Matricide, Patricide, Fratricide, the Murder on the Cross, and the Fall. There’s a lunch break—nothing like fratricide to work up an appetite—followed by “Partial mounting of the mythical leitmotif,” with a unison hooting of all

YOU CAN’T DEPEND ON ANYTHING, REALLY. Knowing that line from Lucinda Williams’s new album, Car Wheels on a Gravel Road, you know the whole thing—except, of course, the details, which count. You need to hear, for example, that the woman these songs describe used to listen to ZZ Top real loud. You need to hear that the eggs-and-bacon-perfumed kitchen of her childhood was in Macon, and that her friend from Lake Charles really came from Nacogdoches. Also, that all she now hopes for from the old lover she listened to ZZ Top with is that he’ll respect her privacy; that the man from Lake Charles

WHEN CHRISTIAN MARCLAY began spinning other people’s records into his own music around 1980, his only like-minded contemporaries were DJs who used the turntable as both rhythm track and soundbyter, dropping in a little James Brown shout, say, to signify “funky”; their innovations made hiphop the cause célèbre of cultural-studies postmodernists. Marclay, though, hewed to a lo-fi, highbrow avant-gardism, exploring the sonic properties of records to effect his own version of musique concrète; he backed up not MCs but improvisors on the noisy fringe. He seemed to be a high-late-modernist holdout