Arrington de Dionyso - Breath of Fire [2006]

Arrington de Dionyso (b. January 4th, 1975) of Olympia, Washington uses performance as a vehicle for driving through the nameless territories held between surrealist automatism, shamanic seance, and the folk imagery of rock and roll.

After living in Chicago, Arkansas, and Spokane, Arrington moved to Olympia in 1992 to attend the Evergreen State College, where he studied Ethnomusicology, Music Therapy, and Butoh dance theater. In 1995 he founded the avant-rock group Old Time Relijun, which has since toured and recorded throughout the US, Europe, and Israel, and has released eight albums on the K Records label from Olympia, enthralling audiences with an approach to performance described as deep hermetic practice and/or "some fuckin' scary shit" by critics in the know.

As a solo artist, Arrington performs on the bass clarinet, jaw harps, and his voice with a distinctly multiphonic ability inspired by Tuvan throatsinging and the ecclesiastics of Albert Ayler and Don Van Vliet. Pushing the envelope between musicality and pure energy, between shamanic ecstacy and lunacy, he enwraps rooms with resonant sound. His devotion to bringing traditional Tuvan musics into an experimental music context has been acknowledged by Tran Quan Hai, the famous ethnomusicologist and the world's leading expert on throatsinging.

In addition to Old Time Relijun and his solo projects, Arrington devotes a significant amount of his time to furthering the cause of free improvisation. He is the founder and curator of the Olympia Festival of Experimental Musics, in its twelth year. Arrington tours constantly, and has performed or/and recorded with notable improvisers throughout the U.S.A., Canada, Italy, France, Israel and Lithuania. He presents workshops on improvising with the human voice in conjunction with his touring around the world.

Arrington has received increased attention for his visual artwork, which deals with many of the same themes of spirit, sensation, and improvisation as his music. Recent exhibits have been held in Los Angeles, New York City, Vancouver BC, Paris, Bologna, and Beijing, China. A series of several dozen ink drawings is on view at www.krecs.com/oldtimerelijun. His work is represented in Paris by Atelier Cardenas Bellanger. (www.ateliercardenasbellanger.com)

source

Breath of Fire [2006]

ARRINGTON DE DIONYSO - LIVE AT UPSET THE RHYTHM

Bardo Pond - 4.3.06 [2006] / Bardo Pond & Pre - Split 10" [2007]

Bardo Pond live @ The Maze, Nottingham. Thursday 30th November 2006.

For years, I compared Bardo Pond to Sonic Youth, for anyone who had either never heard them or heard any of the lesser known bands similar to them, only because Sonic Youth is the most famous band that sounds kind of like Bardo Pond. The second comparison would be to My Bloody Valentine. But, over the years, Bardo's sound has evolved, and these comparisons are no longer accurate. Nowadays, to be precise, one must use references from all spectrums of rock, and even avant garde jazz, to describe the full fuzz of Bardo Pond.

Trying to use no comparisons at all, imagine the sound of an electrified hummingbird: sometimes there will be motion, with twists and turns in their songs; other times, the sound is feverishly kept, hovering in place. Bardo Pond creates an intense wall of sound that you expect to break through your skin, but, instead, it just hums and buzzes all over you.

source

Bardo Pond & Pre - Split 10" [2007]

4.3.06 [2006]

Tommy Gun Angel from Album: Lapsed

P a j o

David Pajo is an American alternative rock musician. He has, however, played a wide variety of music, loosely fitting into several other genres: hardcore, math-rock, post-rock, electronica, folk, and even indie-pop. Though a multi-instrumentalist (playing guitar, bass, banjo, drums, and possibly many more instruments), he is best known for his guitar work.

A native of Louisville, Kentucky, he played with three Louisville hardcore and hardcore-inflected bands in his early career. He got his start as guitarist for Maurice, but he first recorded with Solution Unknown. He rose to prominence, however, for work with the influential post-rock band Slint. Since its breakup, he has seldom held positions in other bands for very long, moving from one to the other quite often. As a result he has contributed to many lineups, playing and recording with Will Oldham, The For Carnation, Tortoise, Stereolab, Royal Trux, King Kong, Bush League, Zwan, and Peggy Honeywell.

He has also released music as a solo artist using various monikers, as Aerial M, M, and most notably, Papa M. Among his many 7" and splits with various bands, he has released (as Aerial M) 1997's Aerial M, and (as Papa M) 1999's Live from a Shark Cage, 2001's Whatever, Mortal, and 2003's Hole of Burning Alms.

In February and March 2005 he joined his old friends from Slint, Britt Walford and Brian McMahan, for a reunion tour, and in April released his first solo album not bearing a pseudonym, simply entitled Pajo. The follow up to Pajo, entitled 1968, was released in August 2006.

Around the middle of 2005, he helped to form the band Dead Child, with Todd Cook (from Shipping News, Retsin, The For Carnation, and Aerial M—and who also played guitar on the 2005 Slint reunion tour), Michael McMahan (from The For Carnation, Starkiller, and Phantom Family Halo—and who also joined Slint on the reunion tour), and Tony Bailey (from Anomoanon, The Party Girls, Verktum, and Aerial M).

wiki.

Audrey & Pajo [2006]

1968 [2006]

David Pajo [2005]

papa m - Krusty

Cyann & Ben - Spring / Happy Like An Autum Tree / Sweet Beliefs [2003 / 2004 / 2006]

..> CYANN & BEN release their first album for Ever Records on September 11th. SWEET BELIEFS is an epic and yet intimate album that gives the space rock template a Gallic makeover by adding a much needed romantic grandeur. CYANN & BENs Paris is not the one you see in Amelie its dirty, dark and stressful as much as beautiful and SWEET BELIEFS, with its multi-layered and ambitious sweep, sounds as unsettling as it is irresistible. "a slow motion hurricane ripping apart your temporal lobe" Magnet /// "...a rare strain of "epic" music, where bravado does not exceed the composition, but remains at all times within it. Cyann & Ben are masters of this subtlety." Pitchfork /// "Chaude et froide a la fois, [la musique de Cyann et Ben] est sublime parce que fiévreuse, effrayante parce que toujours sur la sellette, lumineuse et sombre, tendue et limpide ... " Les Inrockuptibles /// "...toujours intelligente mais pas hautaine, évidente et unique en même temps. " Rock Sound /// "douce rêverie éveillée, cotonneuse et poignante. " Magic /// "un ailleurs elegiaque et mysterieux" Teknikart ///

myspace

Sweet Beliefs (2006) (part1/part2)

Happy Like An Autum Tree (2004)

Spring (2003)

Cyann & Ben - Sparks of Love

Carla Bozulich: Evangelista [2006]

"Evangelista is a sound that you can open your chest with, pull out what's inside and make it change shapes. Make it open more times and, even more... til the sound inside has finally sealed the hole where your vile/beautiful heart belongs... loved and safe even when you think you're totally alone. Even if you believe in nothing. good or bad, I must report: there's really no such thing as empty space. Even inside this void there is sound. You will hear it. You will see. You will be cradled and near deafened by love and mercy sounds and the sound of your own pulsing blood which used to drive me mad as a child when I would try to go to sleep..." - Carla

Carla Bozulich needs no introduction. Her work with Ethyl Meatplow, The Geraldine Fibbers, Scarnella, The Red-Headed Stranger (with Willie Nelson) and many others spans over twenty years of uncompromising sound, driven by a voice and vision that consistently delivers spine-tingling beauty, originality and directness. Carla's new album (her first on Constellation, and the label's first release by a non-regional artist) is a devastating, elegiac, brutally honest song cycle that finds her voice unleashed with unprecedented emotive depth and determination. Evangelista is heartrending and gutwrenching, with isolation and desperation redeemed by incantatory sonics and out-reaching, soul-saving words. One damn compelling exorcism of a record, churning and channeling out of loneliness to heal and rebuild connective tissue through sound.

Carla came to Montreal to record the album with Efrim at the Hotel2Tango in coldest wintertime, with multi-instrumentalist and co-producer Shahzad Ismaily at her side, and a pocketful of beautiful noises and loops prepared back home in L.A. Various guest players add strings, guitars, drums, organ, piano, hums and other sounds.

Tracklist

1. Evangelista I
2. Steal Away
3. How To Survive Being Hit By LIghtning
4. Inside Sleeps
5. Baby, That’s The Creeps
6. Pissing
7. Prince Of The World
8. Nels’ Box
9. Evangelista II

Personnel

Carla Bozulich: guitar, samples, loops, sounds, drum, voice
Shahzad Ismaily: guitar, drums, casio, voice

Guests

Jessica Moss: violin on TRACKS 1 + 6; singing on TRACK 7
Gen Heistek: viola on TRACK 1
Beckie Foon: cello on TRACK 1
Nadia Moss: organ on TRACKS 1,2, 5 + 6
Thierry Amar: contrabass on TRACKS 1, 2 + 6
Ian Ilavsky: bass on TRACK 6
Erika Anderson: guitar on TRACK 6
Ezra Buchla: sound patches on TRACK 5; viola on TRACK 6 + 8, mandolin on TRACK 7
Corey Fogel: drums on TRACK 6
Efrim: piano on TRACK 2, rain on TRACK 3, guitar on TRACK 9
Jessica, Sophie, Gen, Shahzad, Efrim and Jon Claude: hums on TRACK 3
Tuffy: sneezes, purrs, meowings on TRACK 4

Recording

Tape recordered at thee Hotel2Tango in Montreal by Efrim, winter 2005-2006.
Additional tweaking by Carla at home. Co-produced by Carla and Shahzad Ismaily.
Mastered at Greymarket in Montreal by Harris Newman.

Evangelista [2006]

CARLA BOZULICH - EVANGELISTA @ TERMINAL

Helena Espvall - Nimis & Arx [2006]

A split release with Pax Recordings.

The debut solo release from Helena Espvall, cellist of Espers. Her past and present collaborators include such diverse figures as Fursaxa, Oluyemi Thomas, Sharron Kraus, From Quagmire, Lukas Ligeti, Samara Lubelski, Eugene Chadbourne, Pauline Oliveros, Scorces, Katt Hernandez and many others.

With production and electronics provided by sonic maverick
George Korein of Infidel?/Castro!, "Nimis & Arx" is a recording of translucid wonder. Utilizing cello, guitar, recorder, voice and electronics, Espvall has delivered a CD which touches on aspects of all the multi-faceted elements of her musical journey to date while creating a vocabulary in a voice which is uniquely hers.


BIO:

Having played guitar and cello in several rock bands (as well as performing in a silent movie orchestra, an Arabian Music ensemble and free improvised music), Swedish-born multi-instrumentalist Helena Espvall moved to Philadelphia in the year 2000. Besides performing with Espers, Helena performs with the Amnesiac Music & Dance ensemble and collaborates with many others in the psychedelic folk and free improvisation world.

Helena has performed several times at the Philadelphia Fringe Festival, twice at the High Zero Festival of improvised music in Baltimore, at the Improvised and Otherwise Festival in Brooklyn, at the Big Sur experimental festival in California and at Terrastock 2006 in Providence, RI among others.



SELECT DISCOGRAPHY:

Espers II by Espers (drag city 310) 2006
Weed Tree by Espers (locust 73) 2005
Habitats In The Wound by From Quagmire (vhf 88) 2005
Before The Beginning by Oluyemi Thomas (recorded 011) 2003



“In the depth of a swelling seashell, hear the voice of ancient Rose Gala.
The current here is very numb, not calm but a very quiet subsequence.
We meet there again and again throughout this Espvall's kindle.
Far over sombrous Zoroastrian mount how you recognize your limen
to get back there?
Now listen.”

Masaki Batoh / Ghost 12 June 2006 Tokyo
www.museumfire.com

Nimis & Arx [2006]

Helena Espvall - Live @ Haunted Cream Egg I

Erik Amlee: Afternoon Dream [2006]

A split release with Mandragora Records.

Afternoon Dream is the debut solo CD release of Paradise Camp 23 director Erik Amlee. His previous solo sitar cd-r releases have garnered much acclaim in many quarters. Brad Rose of Foxy Digitalis declared “Amlee's skill is apparent. This piece delicately unfolds like a linear dream about the sun's daily movement in the sky.
With little more than a hint of delay to push the movement along, Amlee's playing is like a slow waltz at the moment the last rays of dusk are extinguished. It is simple, beautiful, and timeless.”

On this release Amlee adds acoustic guitar to the proceedings, to wonderful effect. Afternoon Dream is a masterful combination of trance inducing solo sitar work and pellucid acoustic guitar pieces, with a subversive loop or two thrown in to ensure that listeners don’t merely
drift away completely into a blissful sonic netherworld.


BIO:

A figure in the underground experimental psychedelic music scene since the Eighties, Erik Amlee has performed in a variety of groups and settings exploring the outer fringes of sonic possibilities. Last year the release of his two solo sitar cd-rs brought him to the attention of a whole new group
of listeners.

Besides running the Mandragora imprint, Amlee is also responsible for Weirdsville web radio – bringing ten channels of adventurous sounds for your listening pleasure.


PARTIAL DISCOGRAPHY:

Sitar Vol. 2 - Erik Amlee (2006)
Sitar - Erik Amlee (2005)
The Grassy Knoll - Paradise Camp 23 (2005)
Solitaire - Paradise Camp 23 (2002)
Chaotika - Voodoo Mechanics (1997)
The Acid King - Crackhouse (1990)

All Releases on Mandragora.

museumfire

Erik Amlee: Afternoon Dream [2006]

Erik Amlee: Afternoon Dream

Lullabye Arkestra - Ampgrave [2006]

Lullabye Arkestra was formed in the summer of 2001 by Justin Small (drums) and Katia Taylor (bass) and are currently based in Toronto. Justin is also member of Do Make Say Think.

The Ark began by writing minimal, stripped down and raunchy rock songs using their signature fuzzed out bass sound and banshee vocals. They combined elements of hardcore punk with 60’s-era soul creating an unusual yet raw and energetic sound. That first summer they recorded "Bzaster", an 8-song CDR release which was self-produced with handmade covers and sold only at shows and a few select record stores in Toronto. For this recording they called upon Do Make Say Think members Ohad Benchetrit (saxophone) and Charles Spearin and Brian Cram

In 2002 Small and Taylor recruited Shelton Deverell (Tangiers, Z’Howndz) on organ. Deverell’s gospel-influenced style of playing added sweetness and density to the Ark’s sound. They began playing live with Benchetrit, Spearin and Deverell and also called upon Jason Baird (Do Make Say Think, Feist) for saxophone and Randy Ray and Marco Landini for backing vocals. From this point, Lullabye Arkestra’s live performances consisted of anything from two to twelve players. Other musicians who have since joined the band on stage are Julie Penner (Fembots, Do Make Say Think, Broken Social Scene) on violin, Bryce Kushnier (vitaminsforyou) on saxophone and keyboard, Joann Goldsmith (The Old Soul) on trumpet and Amanda Newman on trumpet.

Lullabye Arkestra’s soul-core sound is continuously evolving with influences from grindcore to garage, pummeling rock epics to soulful crooning, and rave-ups to throw downs.

Lullabye Arkestra are a bass and drum duo who've been playing and self-releasing glorious slabs of distorto-soul for several years. Formed in Toronto by Justin (drums) and Katia (bass), the Ark has played shows throughout eastern Canada as a duo and as a large band, adding horns, voices and organ. Their slow, swampy, overdriven cover of "Summertime" was an early signature tune, along with a clutch of original rave-ups ranging from one-minute combustions of riffage and hollering to longer, fuzzed-out R&B numbers, often marked by those sincere but sassy boy/girl call-and-response vocals that make everyone's day.

Their new album, and first for Constellation, is a knockout. Bursting with barely controlled chaos on some numbers, stripped back to sultry, art-damaged loversoul on others, Ampgrave is a hell of a good time, full of testifying and tenderness, see-sawing between massed instruments and the raw minimalism of the core rhythm section. Justin rounds up fellow Do Make Say Think players Ohad, Brian and Jason on horns and hollering, along with Shelton Deverell on organ and Julie Penner on violin. An additional 10-voice "Chorus Oblivia" of exuberant caterwaul also rallies to the cause.

Opening track "Unite!!!!!!!!!!!!!!!!!" explodes into a beautiful cacophony of horn vamps, crashing through ascending chord crescendos while screamo vocals punctuate the flight. "All I Can Give Ya" builds from a delicate exchange of devotional verses by Justin and Kat, towards a soaring, searing chorus. "Hold On" follows with another round of call and response vocals laid over a slow, pummeling soul groove, before bursting into it's distressed, desperate refrain. "Y'Make Me Shake" is entirely self-explanatory, and rounds out Side One. Our lovers continue to rock on the flipside, with the album's centerpiece lullabye "Come Out, Come Out" kicking things off. Three mighty tunes pile up from there, gaining crazed momentum until the final swirl of "Bulldozer of Love" segues into the four-on-the-floor anthematics of "Ass Worship". Hail! Hail! Rock n' roll. Ampgrave is blistering and beautiful CPR for the soul. Constellation is thrilled to serve up this platter of unabashed, unpretentious rock action. members (trumpets) who added to the soul-inspired songs.

www.lullabyearkestra.com
www.myspace.com/lullabyearkestra
major bonobo

Ampgrave [2006]

lullabye arkestra - hail hail rock & roll

Beach House

Baltimore is as musically diverse as anywhere else, but in 2008, indie rockers associate the city with colorful, energetic music, from the expatriated Animal Collective to Dan Deacon's Wham City crew. The music of Beach House, the Baltimore-based duo of multi-instrumentalist Alex Scally and vocalist/organist Victoria Legrand, is a shadow narrative running parallel to this trend: Their delicate, lovelorn pop comes in the form of deathly waltzes and dark pastoral dirges on which Legrand sings about desire, loss, and dreams as if telling a ghost story, splitting the difference between lovely and creepy.

For pristine pop, Beach House's self-titled 2006 debut was awfully raw: Legrand downplayed her classical piano and voice training in a humble negation of virtuosity. The organs sounded like something thick and coarse being pulled through a small, jagged opening; chord structures were simply suggestions; imperfections were kept intact. That balance of beauty and imprecision made inspired songs like "Saltwater", "Tokyo Witch", "Apple Orchard", and "Master of None" easy to fall in love with.

The duo's songwriting hasn't fundamentally changed on Devotion; they've simply cleaned up their act. These are crisper, brighter, bolder songs, retaining Beach House's sense of elegant decay while sweeping up the debris. "Gila" is a funeral on a sunny day; its shimmering organs are controlled, never bleeding chaotically as they did on the debut, and are complemented by frilly but steadfast guitar. "Turtle Island" reaffirms Beach House's preference for simple, skeletal percussion, but its dense melody is a marked advancement. The result of this pre-spring cleaning is that Devotion lacks some of the immediate highs of the first album-- you no longer get the sense of rooting for an embattled underdog-- but winds up consistently stronger.

Even though it's tidier and more streamlined, the music surrenders none of its autumnal charm, and there's still a sense of eavesdropping on a private, ongoing dialogue between Legrand and a ghost. Of course, we only get to hear her side of the story. As on the first album, which began with the words "Love you all the time, even though you're not mine," she favors second-person assertions that speak of self-effacement, dependence, and sinister dream-world conversations. "Your wish is my command," she intones on "Wedding Bell", becoming a genie in a puff of smoke. And on "Gila", she sings in a world-weary wheeze, "Man, you've got a lot of jokes to tell." But instead of the punch line, we get the sort of jarring shift that characterizes dreams: "So you throw your baby's banners down the well."

"Invite your sister into the garden," she drones on the wind-up waltz "You Came to Me", concurrently inviting us into the murky depths of her romantic consciousness. There's a sense of latent danger in the invitation, like a siren song luring us toward sharp clusters of rock. Portals into mysterious spaces pockmark Devotion; none of them promise a way out. Perhaps this explains why an album that takes its title and concept from a superficially sweet concept has such a subtle bite: Legrand's devotion is a dungeon into which she tosses her own desires like coins into a wishing well, a one-way conduit from which only echoes return.

*myspace
*www.pitchforkmedia.com
























D I S C O S :

* Beach House [2006]
* Devotion [2008]


Apple Orchard (Slowdown - Omaha - 3/24/08)

Hair Police

Hair Police is an American psychedelic noise rock band based out of Lexington, Kentucky formed in 2001. They have released records through labels such as Troubleman Unlimited, Hanson Records, Gods of Tundra, Freedom From, and Hospital Productions. They have also released a split record on Load Records with Viki. Members of Hair Police have also played with other groups such as Wolf Eyes, Eyes and Arms of Smoke, Burning Star Core, Three Legged Race, Von Hemmling, ulysses, Warmer Milks, and ATTEMPT.

Hair Police formed in January 2001 in Lexington, Kentucky. The original line up was Robert Beatty, Ross Compton, Mike Connelly, Matt Minter, and Trevor Tremaine. The band released the History of Ghost Dad cassette to coincide with its first live show on April 13th, 2001. Compton stopped playing with the band in the summer of 2001. Minter left the band in October 2002. Connelly moved to Michigan at the end of 2003 and joined Wolf Eyes in the spring of 2005.

The band has toured extensively in the U.S. with Wolf Eyes, Prurient, Kites, Graveyards, Heathen Shame, No Doctors, Nautical Almanac, Sightings, Mammal, Neon Hunk, and most notably with Sonic Youth in August 2004.

Thank to Static Collaborative!!!!!!!
WAIT & COMENT FOR MORE HAIR POLICE!!!!!!!!!!

Descarga :


History of Ghost Dad [2001]











Obedience Cuts [2004]











Constantly Terrified [2005]











Prescribed Burning [2006]











The Empty Quarter [2007]










Fear of Sleep [2007]











Strict [2007]












Hair Police at Crushingdeathandgrief, Cambridge, 5-8-06

Zaimph

Sera la distancia que se mide entre hondas ambientales, minimalistas, al explorar en su guitarra ruidosa, sera tonal experimental que mueve sus figuras en constante equalizador vibratorio, un solo color se comunica al eléctrico panel de posibilidades aun incubo. Con la mirada perdida se presentan amplios cambios estáticos que el concepto que tienes de la música se destape, emotivas piezas lineales desifrandas por la máquina, solo en completa igualdad equilibrio se deben seguir los pasos por los terrenos barro Zaimph.

Zaimph, alias Marcia Bassett, made most of her music with a guitar, using e-bows and laying things across the string while she picked and sawed at it. She also held the microphone in her mouth for some vocals.

www.hototogisu.org


Burning Star Core + Zaimph
Live @ No Fun Fest 2007 (20-05-2007)











La nuit électrique [2007]











Mirage of the Other [2006]











Sexual Infinity [2006]











Moon's Pool [2005]












Zaimph Live In Cambridge, England