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GLENN BRANCA, "LESSON NO. 1"
Acute
Frequently name-checked as one of the most influential works of postmodern composition, Glenn Branca's Lesson No. 1is nothing less than a completely successful amalgam of avant-gardecomposition techniques with dissonant post-punk rock n' roll. GlennBranca had previously been part of the brief No Wave scene with hisband Theoretical Girls, and several other solo and group projects, butthis short album was his first commercially released recording. When 99Records originally released the album in 1980, it was clear that it wasnot without precedent; following as it did in a clear line of evolutionfrom LaMonte Young and Terry Riley. But Branca's use of rock n' rollinstrumentation, heavy duty percussion, unorthodox guitar tunings andover-amplifications and minimalist repetition makes "Lesson No. 1 ForElectric Guitar" an essential influence on all of the avant-garde rockmusic that has come since. The eight-plus minutes of the title trackare absolute perfection: a glossy, propulsive patchwork of chimingelectric guitars, hypnotically riffing on three chords, ascending anddescending, falling in and out of sync beautifully. Its simplicity andpower recalls Terry Riley's majestic synthesizer classic "A Rainbow inCurved Air," even as its trance-inducing, minor-chord refrainunmistakably evokes vintage Joy Division, apparently a notableinfluence on Branca in the early 80's, if I am to believe the eruditeliner notes by Alan Licht. "Lesson No. 1" is ground zero for all of theavant-leaning rock music that came after, clearly influencing SonicYouth ("Expressway To Yr Skull"), Boredoms (Vision Creation Newsun)and even Acid Mothers Temple, who attempted their own merging of TerryRiley and [acid] rock with their cover of "In C." Following from"Lesson No. 1" is "Dissonance," certainly less accessible, but no lessmasterful, a chaotic mass of overdubbed guitar shredding, complexdrumming (periodically punctuated by the metallic clink of asledgehammer) and an insistent sense of drama, continuously buildingbut never finding its full catharsis. "Bad Smells" is the third andfinal track, a 16-minute rock epic originally released on the flip sideof John Giorno LP released on the Giorno Poetry Systems label duringthe same time period as Branca's Ascension. Originally composedfor a Twyla Tharp dance performance, the musicians include, amongothers, Lee Ranaldo and Thurston Moore (soon of the aforementionedSonic Youth). The track unfolds in several different "movements,"opening with galloping beats and heroic guitar melodies, then quicklytransforming into an angular punk-funk jam, before taking a sharp leftturn into high dissonance and stop-start, No Wave-style spastics. Alsoincluded on the disc is a fascinating Quicktime video of Glenn Brancaconducting his "Symphony No. 5," shot in 1984. It's quite a possessedperformance, Branca casting himself as the physical conduit of themusic, jumping and thrashing around with wild abandon, expressing themusic's intensity. Acute Records has done a good job re-issuing Lesson No. 1, solidifying its place among the most influential rock albums of all time.
Frequently name-checked as one of the most influential works of postmodern composition, Glenn Branca's Lesson No. 1is nothing less than a completely successful amalgam of avant-gardecomposition techniques with dissonant post-punk rock n' roll. GlennBranca had previously been part of the brief No Wave scene with hisband Theoretical Girls, and several other solo and group projects, butthis short album was his first commercially released recording. When 99Records originally released the album in 1980, it was clear that it wasnot without precedent; following as it did in a clear line of evolutionfrom LaMonte Young and Terry Riley. But Branca's use of rock n' rollinstrumentation, heavy duty percussion, unorthodox guitar tunings andover-amplifications and minimalist repetition makes "Lesson No. 1 ForElectric Guitar" an essential influence on all of the avant-garde rockmusic that has come since. The eight-plus minutes of the title trackare absolute perfection: a glossy, propulsive patchwork of chimingelectric guitars, hypnotically riffing on three chords, ascending anddescending, falling in and out of sync beautifully. Its simplicity andpower recalls Terry Riley's majestic synthesizer classic "A Rainbow inCurved Air," even as its trance-inducing, minor-chord refrainunmistakably evokes vintage Joy Division, apparently a notableinfluence on Branca in the early 80's, if I am to believe the eruditeliner notes by Alan Licht. "Lesson No. 1" is ground zero for all of theavant-leaning rock music that came after, clearly influencing SonicYouth ("Expressway To Yr Skull"), Boredoms (Vision Creation Newsun)and even Acid Mothers Temple, who attempted their own merging of TerryRiley and [acid] rock with their cover of "In C." Following from"Lesson No. 1" is "Dissonance," certainly less accessible, but no lessmasterful, a chaotic mass of overdubbed guitar shredding, complexdrumming (periodically punctuated by the metallic clink of asledgehammer) and an insistent sense of drama, continuously buildingbut never finding its full catharsis. "Bad Smells" is the third andfinal track, a 16-minute rock epic originally released on the flip sideof John Giorno LP released on the Giorno Poetry Systems label duringthe same time period as Branca's Ascension. Originally composedfor a Twyla Tharp dance performance, the musicians include, amongothers, Lee Ranaldo and Thurston Moore (soon of the aforementionedSonic Youth). The track unfolds in several different "movements,"opening with galloping beats and heroic guitar melodies, then quicklytransforming into an angular punk-funk jam, before taking a sharp leftturn into high dissonance and stop-start, No Wave-style spastics. Alsoincluded on the disc is a fascinating Quicktime video of Glenn Brancaconducting his "Symphony No. 5," shot in 1984. It's quite a possessedperformance, Branca casting himself as the physical conduit of themusic, jumping and thrashing around with wild abandon, expressing themusic's intensity. Acute Records has done a good job re-issuing Lesson No. 1, solidifying its place among the most influential rock albums of all time. samples:
