'All of Yesterday's Parties' for voice, electric guitar and live electronics, ~13', 2010

All of Yesterday's Parties (2010) for electric guitar, voice and electronics performed by one person comments on the most often covered song by the most often covered band: Yesterday by the Beatles. In All of Yesterday's Parties this icon of pop music is condensed to a massive sound wall of various interwoven cover versions. As such it is in the original sense of the word "caricare" - to overload a true caricature. Yesterday is a mass product, on the one hand in respect to its thousand fold reincarnations as cover version and on the other hand through the fact that there is almost nobody who does not know the song or does not have an emotional relation connected it.

I was inspired by the song All Tomorrow's Parties by "The Velvet Underground". The band recorded the song with the German singer Nico in 1967. Andy Warhol had brought Nico to the band. She had a strong German accent and could not really sing, but her interpretations had a directness and authenticity to them. I am no professional singer either but I want to project just that imperfectness in my singing to evoke a feeling of intimacy and authenticity.

In covering Yesterday as so many people have before me, I on the one hand want to present the song as an empty shell that can be filled with anything, on the other hand he portraits those consumers who adopted Yesterday as their own by covering and singing it.

Even though there is a critical element to the remix, he does not want it to appear as ironic or plain funny but rather as something personal.

"In All of Yesterday's Parties a contemporary composer comments the pop scene and at the same time questions the contemporary music scene. Ciciliani approaches mass consumerism versus the so-called "prosumer" by featuring the intimate situation of consuming a well known pop classic and on the other hand producing a cover version of it; thus he also challenges media critics such as Adorno who consider mass culture as cultural industry that does not offer free choice and responsibility to their consumers; instead he leans toward John Fiske's theory who claims that "popular culture is made from within and below, not imposed from without or above as mass cultural theorists would have it." (Fiske 2010); last but not least he juxtaposes new music to pop culture by his cross-over approach that combines elements of both being orthodox to neither; again in support of Fiske who claims that "there is always an element of popular culture that lies outside social control, that escapes or opposes hegemonic forces"." (Barbara Lüneburg)