Mostrando entradas con la etiqueta Avant-Garde. Mostrar todas las entradas
Mostrando entradas con la etiqueta Avant-Garde. Mostrar todas las entradas

domingo, octubre 05, 2008

T o r t o i s e













































Throughout their 10-year history, Tortoise have been one of the most singularly dynamic bands in modern music. With each record they have not only redefined their own sound, but helped to nudge music itself in unique and exciting new directions. Their members are perpetually involved with multiple projects, thus it is quite noteworthy that It's All Around You, Tortoise's fifth full-length, is the first album that the band has ever made without a single lineup change. The results of this are a record that is the product of five distinctly visionary musicians who are able to synergistically unite like never before. This consistent lineup also allowed the band to move forward in directions that were previously unexplored, and It's All Around You contains a number of Tortoise firsts.

It's All Around You was written largely in the studio, in the midst of recording, over the course of a full year. This allowed Tortoise to use John McEntire's Soma Electronic Music Studios (whose clients include Wilco, Stereolab, and many others) not just as a state-of-the-art recording facility but as a compositional tool as well. It took months of continuous writing, recording, tinkering, mixing, and perfecting to bring It's All Around You to its finalized state. Tortoise are one of the only bands of their size and status who have always produced their own records, and it largely because of this that they are able to achieve and maintain such a distinct and precise sound. The band's extensive knowledge of the studio's equipment allows them to use it for composing, editing, and coloring their compositions. The band are very at home in this environment, and without a restrictive deadline (normally present with hired producers/studios), the band can explore a multitude of approaches. The results of this process are clear in the lush, orchestrated tones, intricate melodies, and densely elaborate rhythms that make It's All Around You Tortoise's most adventurous and thoughtful record to date. These songs build deliberately and consistently, amassing music of great detail; exploring their layers is both exciting and infinitely rewarding.

Over the past decade, Tortoise have produced some of the most innovative and influential albums in all of music. From the deep and understated rhythms and tones on their 1996 landmark, Millions Now Living Will Never Die, to the bombastic rock of 2001's Standards, Tortoise have always been ahead of their time. It's All Around You finds Tortoise doing what they do best; building and rebuilding upon melodies and rhythms with their own remarkable touch. A song like "On The Chin," born of a guitar line that Jeff Parker and Doug McCombs wrote, is transformed into a something delicately complex, fiercely catchy, and unmistakably Tortoise.

Contributing to and resulting from Tortoise's diverse musical talents are the multitude of other musical projects that each member pursues. In between the recording of Standards and It's All Around You Tortoise's members have kept extremely busy. John McEntire has recorded/mixed bands such as The Sea and Cake (of which he is also a member), US Maple, Beans, Radian, Chicago Underground, Neil Michael Hagerty, Savath & Savalas, and many others. Future projects include Tuxedomoon, Fred Anderson & Hamid Drake, and Teenage Fanclub. John Herndon made his first solo album as A Grape Dope (Missing Dragons, on Galaxia), recorded with Savath & Savalas, The Aluminum Group, The Eternals, and Beans. John also toured as A Grape Dope, opening for Prefuse73, and playing drums along side Scott and DJ Leb Laze in the P73 live band earlier this year. Doug McCombs released his third Brokeback album (Looks At The Bird, on Thrill Jockey), and played shows with Eleventh Dream Day (of which he is a founding member), and Abeliene. Jeff Parker has played in a large number of jazz and improvising ensembles (alongside players such as Josh Abrams, Guillermo Gregorio, Chad Taylor, Nori Tanaka, Michael Zerang, Kevin Drumm, and others. He released a solo album (Like Coping, on Delmark). He recently recorded with Joshua Redman and Azita, and is writing horn arrangements for the next Aluminum Group album. Dan Bitney has produced a number of "mutant home studio jams" for AV band Spectralina, in which Bitney provides digital musical manipulation and drumming for Selina Trepp's poetic, political, and abstract visuals. In addition to all of this, McEntire and Parker will be contributing short audio pieces to the "1%" project, a permanent sound installation which will be set up in the elevators of the new Paris Ministry for Culture and Communication. McEntire, Herndon and Bitney will be producing an album of original breakbeats, samples, and grooves this winter, intended for DJ and music production use. The group will also be contributing an original track to the upcoming feature film "Moog," a documentary about the life and times of electronic music pioneer Robert Moog.

Thrill Jockey Records
























Discography:

01 - Lonesome Sound EP [1993]
02 - Mosquito EP [1993]
03 - Tortoise [1994]
04 - Rhythms, resolutions and clusters [1995]
05 - Gamera 12'' [1995]
06 - Millions Now Living Will Never Die [1996]
07 - Appears on = Yaus Speedy Car [Stereolab Tortoise] (1996)
08 - The Taut and the Tame - The Luke Vibert Mix Find the One
00 - [Wait, Abstraction No. 3] (1996)
09 - Remixed [1996]
10 - A Digest Compendium of the Tortoise's World [1996]
11 - TNT [1998] (part1/part2)
12 - Tortoise vs. Derrick Carter [1998]
13 - Tortoise vs. Autechre [1998]
14 - Standards [2001]
15 - It's All Around You [2004]
16 - Tortoise and Bonnie 'Prince' Billy - The Brave and the Bold [2006]
17 - A Lazarus Taxon [2006]


Tortoise - Live at Werchter [full set]

viernes, octubre 03, 2008

Alan Sondheim / Ritual All 770 - The Songs [1967]

First ever reissue of "The Songs", the debut recording by Alan Sondheim & Ritual All 770, originally released on Riverboat Records (later recordings appeared on ESP Disk). Recorded in March 1967 and included on the legendary Nurse With Wound list of experimental recordings, on
this album Alan Sondheim played Electric Guitar, Violin, Flute, Suling, Xylophone, Alto Saxophone, Classical Guitar, Clarinet, Shenai, Bass Recorder, Mandolin, So-na, Hawaiian Guitar, Koto, Sopranino Recorder, Chimta, Cor Anglais, Sitar and Bansari.

Joined by Barry Sugarman (Tabla, Dholak & Naquerra), Chris Mattheson (Bass), Robert Poholek (Trumpet & Cornet), Ruth Ann Hutchinson (Vocals), June Fellows (Vocals) and J.Z. (Jazz Drums); Ritual All 770 were a group of improvisors living in Providence, Rhode Island. (Perhaps they could
be considered the sonic forebearers of the Fort Thunder scene...) Rejecting the notion that avant garde music was solely the realm of isolated academia, they delved fearlessly and joyously into their music, creating a work that sounds fresh nearly 40 years later.


FROM THE LINER NOTES:

This work is a single improvised performance in which one of the performers sings "Oratorio on the end of illusions", although, in my libretto the words were originally "Oratorio on the end of
visions". A libretto of eight pages was prepared. The vocalists were not told how to sing it. They could go backward or repeat any section if they wanted to. There was no score. The only
instruction given to the instrumentalists was this: no playing behind the koto or classical guitar. I had several rehearsals with each of them, mostly individually. The session lasted through two
takes, this is the second. After the master was made, I added reverberation and volume controlling; other than that, all of the music heard here is from the live performance.
ALAN SONDHEIM/RITUAL ALL 770 - THE SONGS (FM 04)

Note: This CD was mastered using the best available vinyl source.

Discography:

Cray/Turn, cdrom, 2001
Global Report, Damaged Life, Spasm cassette, 1986
Flesh, Damaged Life. Spasm cassette, 1987
Live at Starck Club 1987, Damaged Life cassette
Lips, Damaged Life cassette, 1987
The Songs, Riverboat, LP, 1967
Ritual, ESP LP, 1968
T'Other Little Tune, ESP LP, 1969
Participant on ESP samplers 1969-70


Select Bibliography:

Hole, 1994
Immobilization, Fort-Da, Atlanta, 1993
Juarez, Bruised, Digital Domain, 1993
Geography/Postmodernism/Body, 1992
Chatter Death, 1992
Textbook on Thinking, ocalocka, 1991
Poems and Stories, 1991
ETR, ocalocka, 1988
In the Third World, Tasmanian School of Art, 1982
Texts, U.C. Irvine Dept. of Art, 1978
The Structure of Reality, NSCAD, 1977
Analysis of Situation, 1972
Strata, NSCAD, 1972
Resonances, for Bykert Gallery Show, NYC, 1971
Lists, Halifax, 1971







Alan Sondheim - Live @ Tonic

jueves, octubre 02, 2008

The Nels Cline Singers: Draw Breath [2007]





















The Nels Cline Singers
[Draw Breath]

2007. Cryptogramophone


Que el versátil guitarrista Nels Cline sea el flamante nuevo integrante de Wilco, es sólo un pequeño dato en su inmensa trayectoria, que ha cruzado sin prejuicios los límites estilísticos del jazz, el rock, la experimentación y la música de vanguardia. Desde sus inicios a fines de los 70, Cline ha estado relacionado con grandes del jazz actual como Charlie Haden, Gregg Bendian, Wadada Leo Smith y Tim Berne, entre otros.

Pero no sólo eso, el rock también ha sido una constante fuente de inspiración para su trabajo, participando con lumbreras de la música indie como Thurston Moore de Sonic Youth y en bandas como Geraldine Fibbers junto a Carla Bozulich; el proyecto jazz-punk Banyan con Mike Watt de Minutemen y Stephen Perkins de Jane’s Addiction y los mencionados Wilco, donde debutó en el celebrado álbum 2007, “Sky Blue Sky”.

Esto sin contar su obra solista que comenzó a mediados de los 80, su labor como músico de sesión donde ha trabajado en más de cien discos de jazz, pop, rock, country y géneros experimentales, su banda Nels Cline Trio, sus colaboraciones con la arpista Zeena Parkins y su participación en el ensamble de improvisación microtonal Acoustic Guitar Trio junto a Jim McAuley y el recientemente fallecido, Rod Poole.

De este modo, Cline puede compararse, por su amplio eclecticismo musical, con un extenso abanico de guitarristas, donde no sería un error nombrar a Fred Frith, Mike Stern, Bill Frisell, Marc Ribot, Lee Ranaldo y Eliott Sharp. Justamente con este último, Cline editó a mediados de enero de este año el disco, “Duo Milano”.

Como pueden ver un currículo bastante abultado, que se refleja plenamente y se resume de excelente forma, en este tercer disco de su más reciente y personal aventura musical, The Nels Cline Singers. “Draw Breath” está compuesto por nueve composiciones instrumentales de gran jerarquía, donde Cline se pasea con una envidiable soltura técnica y estética por el jazz de avanzada, el rock en todo su desenfreno, el sonido acústico y la música contemporánea experimental, todo entendido bajo el prisma artístico único del guitarrista.

Con el baterista Scott Amendola, el bajista Devin Hoff y el protagonista en guitarra eléctrica y acústica y efectos electrónicos, el disco nos ofrece una apuesta musical compleja, diversa y por donde se le mire, apasionante. El álbum abre con el jazz meditativo, casi minimalista, de “Caved-In Heart Blues”, para seguir con todo el swing endemoniado de “Attempted”, con el trío fusionando todo su talento con solos para cada uno. Cline solea inspirado hasta decir basta. Si parte con un punteo más menos tradicional de jazz, al medio del tema la guitarra llega a extremos noise indecibles y por su parte, Hoff se luce con una sección para doble bajo notable. Lo mismo para Amendola que además de sus solos, sirve de gran base para los viajes instrumentales de los cuerdistas.

El rock potente y directo, con un riff para despertar a los moribundos, llega con “Confection”, para luego pasar a la experimentación de 16 minutos “An Evening At Pops’”. Un tema donde Cline demuestra que no sólo es un virtuoso, sino que también un explorador musical desprejuiciado, que nada tiene que envidiarles a los autores más valorados de su generación.

El respiro necesario en medio de tanta densidad, llega con la cristalina y esperanzadora melodía de “The Angel of Angels” y la hermosa pieza acústica, muy en la línea de un guitarrista como John McLaughlin, “Recognize I”. Los 15 minutos de “Mixed Message” retoman la senda jazzística, con esos tiempos hiperquinéticos y punteos saltones, que al igual que en “Attemped”, se vuelve segundo a segundo más experimental, para llegar a una especie de deconstrucción de la misma y concluir con un gran final lleno de expresividad y locura. “Recognize II”, es obviamente otra emotiva pieza acústica, que da el paso para el cierre con la más minimalista y sónica, “Squirrel Of God”, con un final inesperado casi angelical.

Una propuesta heterogénea pero nunca dispersa, con un Cline despachándose uno de los discos más interesantes e intensos de la música instrumental de 2007. De pasada, demuestra que un músico del siglo XXI, puede –y debe- tomar para sí las más distintas tendencias musicales, hacerlas propias, reinterpretarlas y con esa base, crear una nueva visión musical acorde con el tremendo desarrollo que ha sufrido este arte en las últimas décadas. Escuchen este disco con tranquilidad, que no me cabe duda, se llevarán una más que grata sorpresa.


Héctor Aravena A.-

www.rockaxis.com.-




The Nels Cline Singers - April 27, 2007

viernes, septiembre 26, 2008

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





Helena Espvall - Live @ Haunted Cream Egg I

sábado, septiembre 06, 2008

Glenn Branca Ensemble - Symphony 8 & 10 - Live at The Kitchen (2004) DVDRip XviD

Avant garde composer/musician Branca emerged from New York's no-wave movement of the 70s. Although several contemporaries experimented with punk and deconstructed jazz, this artist advanced symphonies for guitar, wherein specially developed instruments ("mallet guitars") employed a radical tuning system to accentuate the intervals between "true" notes on a scale. Lesson No.1, issued on the pivotal 99 label, featured repetitive motifs, redolent of Philip Glass, but played with both dissonance and volume. The Ascension followed an equally challenging perspective, but furious bass and drum patterns tightened its rhythms. A collaborative album with poet John Giorno, Who Are You Staring At?, ensued, on which Branca's contribution, "Bad Smells", features music for a dance piece choreographed by Twyla Tharp. Branca was also commissioned to compose the score for Peter Greenaway's film The Belly Of An Architect (1986). However, he and the director quarrelled, and only seven minutes remain in the final soundtrack. During the 80s Branca established the Neutral label, which served as an early outlet for Sonic Youth. This innovative group was formed following the recording of Symphony No. 1, on which two future members, Lee Ranaldo and Thurston Moore, participated. This association has continued on further recordings, helping to attract other adventurous rock musicians to the Branca fold. Swans bass player Algis Kizys was one of 10 guitarists guesting on Symphony No. 6, on which booming riffs were punctuated by mesmerizing keyboard fills. The World Turned Upside Down - A Ballet For Orchestra In 7 Movements featured the New York Chamber Sinfonia, exposing a poignant beauty in Branca's compositional technique. Symphony No. 10 For Massed Guitars, which received its world premiere in Britain in February 1994, restated the composer's infatuation with loud music.

Glenn Branca - Branca Ensemble Live At The Kitchen
Label: Atavistic
Catalog#: DR-4378
Format: DVD
Country: US
Released: 2003
Genre: Rock
Style: Modern Classical, Noise, Avantgarde
Notes: Recorded at The Kitchen, NYC in 1995.
Live Sound: Wharton Tiers

Symphony No. 8 (The Mystery) was composed in 1992.
Symphony No. 10 (The Mystery, Pt. 2) was composed in 1994.

Tracklisting:
1 Symphony No. 8 (The Mystery) - First Movement (The Passion)
2 Symphony No. 8 (The Mystery) - Second Movement (Spiritual Anarchy)
3 Symphony No. 10 (The Mystery, Pt. 2) - First Movement (The Final Problem)
4 Symphony No. 10 (The Mystery, Pt. 2) - Second Movement (The Horror)



Symphony Nos. 8 & 10 - Live at The Kitchen [2004]
part1 / part2 / part3 / part4
part5 / part6 / part7 / part8


Symphony Nos.8&10 - Live at the Kitchen

lunes, agosto 04, 2008

Oskar Sala - Electronic Virtuosity (Resonanzen) [1970]

Sujeto al talento virtuoso que funde las experiencias de larga vida en intercambios atmosféricos al compás ilimitado, un vuelco de situación complementa el vehículo estirado bajo los destellos de resonancia, a saber que un triángulo somete el espectáculo de los enanos que construyen las fosas en siglos al general recursos renovables, memorables son las caídas por barro al silencio, apreciar su valor sentimental. Es una cápsula que se ubica entre dos dimensiones, donde las partículas de luz se forman en partituras para la obra, creo que una vez dentro, solo puedes sorprenderte.

I hold to the virtuous talent that fuses the experiences of long life in atmospheric exchanges to the unlimited compass, one I overturn of situation the vehicle stretched under the resonance sparkles complements, namely that a triangle submits the spectacle of the dwarfs who construct the pits in centuries the general renewable, memorable resources are the falls for mud to the silence, to estimate his sentimental value. It is a capsule that is located among two dimensions, where the particles of light are formed in scores for the work, I believe that once inside, only you can be surprised.



Electronic Virtuosity (Resonanzen) [1970]















Tracklist :
01 - Dance w perc. solo
02 - Agitato
03 - In a light march-rhythm
04 - Meditation
05 - Interludium
06 - Echo-structures
07 - Improvisation
08 - Fugato
09 - Concertanto
10 - Ostinato


+++++++++++++
Elektronische Impressionen Nr.1

miércoles, julio 30, 2008

Glenn Branca x 3

Branca's next symphony was "The Peak Of The Sacred", a longer and more ambitious piece than the first. Branca's desire to work with a new sound he had developed caused him to design and build most of the instruments for the piece. Calling them "mallet guitars" he had created a dulcimer like instrument which when played resonated with a sustained fluid timbre.
Although the instruments used guitar strings and guitar pickups the only actual conventional guitar used in the piece was a bass. Luckily Branca's musicians were willing to learn how to play these "guitars" which sat on tables and were played with sticks. This was also one of the few pieces in which Branca also used tape electronics. Although the piece had a rich resonant sound it was difficult to capture in a recording, a problem that Branca has had throughout his career. A studio recording was never made and the only document that exists is a crude live recording. This had also been the case with Symphony No. 1. Although Branca's audience had grown quite large by this time record labels saw no commercial potential for this sort of thing. And the cost of professionally recording these larger pieces would have been beyond the scope of what a small label could hope to recoup. By this time the music could no longer be seen as rock at the same time that it couldn't be embraced as classical music. And after having been rejected by Cage even "new music" was no longer an entirely safe haven. Luckily it happened that the music did appeal to modern dancers and in 1982 Branca got his first major commission from the Twyla Tharp Co. This would be one of many in a string of commissions from dance and later experimental theater companies.
Throughout these early years Glenn had never received a single grant or even a credit card and all of the work was done with little or no money. His reliance on cheap used guitars had been a matter of necessity not choice.

By the way the pronunciation of Glenn's name is "Brang-ka" not "Bron-ka".

MySpace.com - Glenn Branca
Glenn Branca: The official web site


Symphony No. 2 (The Peak of the Sacred)











Symphony No. 3 (Gloria)
Music for the first 127 intervals of the harmonic series [1983]











Symphony No. 5 (Describing Planes of an Expanding Hypersphere) [1986]












++++++++++++++++++
Glenn Branca - Symphony No. 5: Sixth Movement

viernes, julio 18, 2008

Isotope 217 - Utonian Automatic [1999]

The Chicago-based jazz-funk fusion ensemble Isotope 217 featured guitarist Jeff Parker along with percussionists John Herndon and Dan Bitney, all three better known for their work in Tortoise; the roster on the group's 1997 Thrill Jockey label debut The Unstable Molecule also includes trumpeter Rob Mazurek, bassist Matt Lux, and trombonist Sara P. Smith. Utonian Automatic followed in 1999, along with a split collaboration with Commander Mindfuck and Designer. A year later, Who Stole the I Walkman was released.
I believe that this + that clear, if they do not comment on this blog falls of the network(net).


Utonian Automatic [1999]

















+++++++
Old ZoomCulture doc we did in 2000 about Isotope 217

jueves, marzo 20, 2008

O v a l

Oval designs expectation with his music that arises as a contemporary own entity and answers to the requirements at present under the infinite traffic of electronic sparkles, since a video camera from the heights of a building in the city filming for several days with a plane fixed towards the soil constantly I deal, between vehicles and persons designed in the routine, alone sides the effect to happen fastly on your eyes in sparkles of light, figures that expand in the same picture, this work belongs to the trio Markus Popp, Sebastian Oschatz, and Frank Metzger, they take charge of the ultramodern, experimental composition, minimalist, post-rock of tremendous quality.

Oval diseña espectacion con su música que surge como un ente contemporaneo propio y responde a las exigencias en la actualidad bajo la circulacion infinita de destellos electronicos, como una camara de video desde las alturas de un edificio en la ciudad filmando durante varios dias con un plano diriccionado hacia el suelo de continuo trafico, entre vehículos y personas diseñadas en la rutina, solo veras el efecto pasar velozmente sobre tus ojos en destellos de luz, figuras que se expanden en el mismo cuadro, este trabajo pertenece al trio Markus Popp, Sebastian Oschatz, y Frank Metzger, ellos se encargan de la composicion vanguardista, experimental, minimal, post-rock de tremenda calidad.

Fuente : Cagedream


Ovalcommers [2001]

Ovalprocess [2000](Part.1) (Part.2)

Dok [1998](Part.1) (Part.2)



Oval at EME 06