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

Ignatz - III [2008]

With his third full album ‘III’, Bram Devens alias Ignatz, has once again surpassed himself.

In his usual brain-melting futuristic blues folk psych, he’s calling the ghosts of Bukka White, Sleepy John Estes and Robert Pete Williams, as seen by a adolescent Lou Reed.

‘III’ suggests a fictional, unclear and vague story about the deaths of musical genres. It’s breath cold, raw made of carbon and gas. The smell of a wet dog or a badly dried towel. The musical assiociations are reduced to a minimum, unless they contribute to the fictional line, where the tragic is enclosed in the crackling, atonal and repetitive melodies.

This album breathes a more sentimental atmosphere than it’s predecessors by Ignatz’ wailing voice, not unlike Skip James. A tormented soul that after the last song is over; liberates the listener from a personal journey and leaves him dazzled. ‘III’ projects the times of the Alaskan Klondike gold rush and the Iditarod Trail Sled Dog to the modern times, dominatd by technology. So, this album bears testimony to a sincere melancholy that popmusic these days hasn’t know in a while.

Ignatz forces us to look at the pure essence of his music: to translate raw emotion into sound and to reach an essential beauty.

text by K. Berckmans

www.ignatz.be

III [2008]

Ignatz: The Water

Euros Childs - Cheer Gone [2008]

While Childs' former band, Gorky's Zygotic Mynci, managed to balance a debt to Canterbury scene legends like Kevin Ayers and Robert Wyatt (Childs appeared on Ayer's 2007 comeback album, Unfairground) with what some might call 'twee' folky cuteness, his solo work has shown a greater leaning towards to the USA. Last album, The Miracle Inn was filled with Beach Boys sunshine, and on this, album number six - he wheels in a hefty slice of pedal steel Americana. Mind you, the core of Cheer Gone still contains the mildly fey, winsome vocals and rather childlike worldview that all adds appeal.

As the title i mplies, some of this material is a little sad, Autumn Leaves (with the aforementioned pedal steel shining out) drips melancholy while My Love Is Gone is predictably maudlin too. But Childs' Welsh tones, a little like fellow countryman, Gruff Rhys of Super Furry Animals, always hold some positivity.

It's a minor pleasure maybe, but a pleasure nonetheless, and fans of his last release will be satified.

bbc.uk.

Cheer Gone [2008]

Euros Childs - Y Mwnci Drwg

Castanets - City of Refuge [2008]

‘The result of three weeks alone in a Nevada desert motel room, City of Refuge, Castanets‘ fourth full-length for Asthmatic Kitty, blazed into the mind of Ray Raposa with the rising sun. The idea came the morning after an overnight drive with tour companions from Oakland, CA, to Las Vegas, NV; waking in the back seat to a Nevada gas station dawn, Raposa said “here,” and as the drive progressed, so did his conviction that this was where he would record the next Castanets album.


He sought and found solitude in a mom and pop motel in Overton, NV - unincorporated, two bars, no stoplight, home of The Lost City Museum - on the edge of Valley of Fire State Park (Moapa Valley to the indigenous peoples), an hour northeast of the surreal derangement of Vegas. Far from distractions and infused with the sense of isolation explored by the songs he’d written for the album, it proved the optimal backdrop.

source

City of Refuge [2008]

"A Song Is Not the Song of the World" from album "First Light's Freeze".

Christina Carter - Original Darkness / Texas Working Blues [2008]

Christina Carter was born in the bayou city of Houston, Texas in November of 1968, and co-founded the group Charalambides there in December of 1991. Ever since then, she has deeply mined her own vein of sound-as-music with voice, guitar (both electric and acoustic), piano, and keys. For the past several years, Christina has utilized extended improvisational guitar passages within and without song-medley structures; re-contextualized certain Charalambides songs within the spare single guitar/voice form that birthed much of the group's music; and recently, investigated 'the song' as a thing unto itself, specifically concentrating on 'the word'- both in her own lyric writing and her interpretions of the work of other lyricists.

In addition to performing extensively in the US, UK and Europe as a solo artist, Christina has played and recorded in various groups and duos with Black Forest/Black Sea, Maria Chavez (as Weird Cookie), Loren Connors, Chris Corsano, Dredd Foole, Paul Flaherty, Gown (as The Bastard Wing), Shawn David McMillen, and Thurston Moore. She is also a permanent member of Babes On The Loose, Hot Assphalt, Scorces (with Heather Leigh Murray), Scorpiio Flower, Soft Hair, and Space(space)Child (a Spirit tribute band with Jessi Leigh Swenson).

Concurrent with her work as a musician, Christina has expanded her involvement in writing and visual art. Her poetry has been published by Digitalis Industries, The Ecstatic Peace Poetry Journal, Glass Eye, and Slow Toe Press. In 2007, her art piece Forever 21 appeared at Salon Mijangos in San Antonio, Texas as part of a concert/exhibit featuring Tom Carter, Warmer Milks, and Tetuzi Akiyama. Forever 21 was a labor of love and destruction- six of her handwritten diaries cut up painstakingly with scissors into miniscule pieces, which then filled a medium size yellow plastic shopping bag.

Christina currently resides in Austin, Texas. Her latest albums are the Charalambides CD Likeness (Kranky), the solo CDR Masque Femine (Many Breaths), and the solo CS Texas Blues Working (Blackest Rainbow). Her forthcoming releases are the solo CD Original Darkness (Kranky), The Bastard Wing CD To Contain Love (Ultra Hard Gel) which will both be released in the Fall of 2008, and the Scorces LP I Turn Into You (Not Not Fun) which will be released in July 2008. Also in 2008 she will publish Because Of Her In A Familiar Place (Many Breaths), a book of lyrics, poems and drawings.

manybreaths

Original Darkness [2008]

Texas Working Blues [2008] (part1/part2)

CHRISTINA CARTER - LIVE AT UPSET THE RHYTHM

Rian Murphy & Will Oldham - All Most Heaven [2000]

It's funny that almost everything I've heard Will Oldham to this point has been rather depressing. Sure, there are some bright moments on a couple of the Palace Music records, but his turn as Bonnie 'Prince' Billy on I See A Darkness is one of my favorite melancholy recordings ever laid down and doesn't reflect one ounce of light. Imagine my surprise, then, when I hear All Most Heaven and it sounds happy. Not only is it a surprise to me, but a very good one at that.

Although it runs only 15 minutes long, this release is one that would win over most people on name-dropping alone. While the main singers are Rian Murphy and Oldham, the musical arrangements are by Jim O'Rourke and Archer Prewitt had a big hand in the background vocals. Not only that, but David Grubbs, Bill Callahan, Edith Frost, and Laetitia Sadier make appearences among others. It's a damn indie rock hotsheet lineup and although the music isn't anything that hasn't been done before, it's super enjoyable and just a plain excellent little release.

The four songs on the album follow sort of a natural progression and start out with "Fall Again." Made up of a nice arrangement of organs, guitars, bass, piano, strings, and a touch of horns, it's a jaunty little track that fits perfectly with the very odd lyrics (that actually are in all the tracks). At first, I wondered if I was just hearing them sing wrong, but upon looking at the lyrics sheet, I realized that they yes indeed did just say, "they boge in do bo/when you call the name/of they sing or they/I bmal bahl." It's like a bit of Anthony Burgess' Clockwork Orange-speak thrown in to real English and it works very well with the lush, almost baroquey sounding arrangements by O'Rourke. The third track "Song Of Most" goes with a more string-driven track again and with a backing chorus that includes Sadier (of Stereolab), the lyrics of "We held upon a biggun daddy/hates to, the song fall on/the gable/ah ee stood ape-hole" seem still manage to sound somewhat regal.

The short EP ends with the slower "Song Of All" and the light horns, guitar and piano arrangement close things out nicely with vocals by Oldham (as well as a chorus of several backups). Overall, it's a very short release and probably more for those who've already heard work by those involved (but chances are you have given everyone that had a hand in the release). Musically, it's very nearly perfect with very full sounds and varied instrumentation, and even with the sometimes undecipherable lyrics, it makes for a nice little musical morsel.

see here !!!

All Most Heaven [2000]

Bonnie Prince Billy - I Gave You

Charalambides

To say that the words "unique" and "singular" are over-used in describing music is to state the obvious. To apply these words to the sounds created by the various duo/trio configurations of the Texas group Charalambides over the last decade plus would be understatement. To be sure there are numerous antecedents to their music; to deny this of any artist's work would be akin to saying that they are deaf. But they have surely broken new ground in the primitive/folk/mystic/improv/psych valley in which they toil. As Marcus Boon wrote in The Wire; "...here is a truly 21st century experimental ethnic music that explores quietness and stasis... in the same way that musicians in the second half of the 20th century discovered amplification, noise and speed."

Originally a duo comprised of Tom Carter (who had been playing guitar in the Houston grunt-psych band The Mike Gunn) and Christina Carter, Charalambides released a cassette called Our Bed Is Green on their own Wholly Other label in 1992 (later reissued on CD and double LP). The two Carters showed a firm grasp on the haunting nature of American blues and country, as well as a mastery of tape manipulation, a disregard for genre boundaries, and a marked tendency towards vertically stacked guitar drone. A full length album called Union was released by the Siltbreeze label, and many other releases followed, both as a duo and trio (first with Jason Bill, and later with pedal steel player Heather Leigh Murray). Although better known as a trio through their various tours with both Heather and Jason, Tom and Christina have returned to concentrating on their duo work in more recent years, fusing introspective, open-ended, and often spacious song structures with blasts of feedback and explosive sound often startling to fans familiar only with the band's deceptively low-key reputation.

In 2005, Tom and Christina met in California to record the tracks for their new kranky CD, A Vintage Burden. Besides commemorating the return to the duo format, the album represents a culmination of the threads of repetition and psychedelic song that run through much of the duo's work Although partially an homage to the clarity and ambience of 60s and 70s production and songwriting, the album retains the spook, space and mystery of even their most extreme releases: "Tom and Christina Carter here again showcase their seemingly innate ability to lock into a shared orbit across the darkening sky, their luminous drift scaled down to its essential, irreducible core." (quote from Pitchfork).

Tom and Christina are planning several tours of varying durations through the rest of 2006 and the beginning of 2007 (and beyond). Despite being a duo, their live sound achieves an energy and ferocity not often glimpsed on their releases, while maintaining the hissing delicacy of their most haunting studio work.

Christina Carter: electric guitar, acoustic guitar, voice
Tom Carter: electric guitar, lap steel guitar, acoustic guitar

kranky


























Album Discography:


01 - Our Bed is Green [1992] (part1/part2)
02 - Union [1993]
03 - Market Square [1995] (part1/part2)
04 - Historic 6th Ward [1996] (part1/part2)
05 - Charalambides [1997] (part1/part2)
06 - Houston [1998]
07 - Internal Eternal [1999]
08 - Branches [2001]
09 - CHT [2002]
10 - In Cr Ea Se [2002] (part1/part2)
11 - Live Hand Held [2002]
12 - Unknown Spin [2003]
13 - Joy Shapes [2006] (part1/part2)
14 - Strangle the Wretched Heavens [2006]
15 - Dead/Live [2006]
16 - A Vintage Burden [2006]
17 - Emerald Message [2006]
18 - Electricity Ghost [2007]
19 - Likeness [2007]
20 - Rose Thron [2008]


Brainwashed.com: The Eye - Charalambides (1 of 3)

John Fahey - The Transfiguration Of Blind Joe Death [1966]

1965's THE TRANSFIGURATION OF BLIND JOE DEATH is one of John Fahey's most mysterious albums. Despite the best efforts of cadres of Fahey-ologists, it's still not entirely known for sure when or where the 15 tracks were recorded. Regardless, ... Full Descriptionthe resulting collection has an odd fragmentary quality that actually enhances the overall album rather than detracting from it. Skipping from playful eccentricities like a version of the old standard "Bicycle Built For Two" to impressionistic, watery originals like the sublime "The Death of the Clayton Peacock," THE TRANSFIGURATION OF BLIND JOE DEATH is an endlessly fascinating, occasionally impenetrable delight. Complete Fahey newcomers might want to try a more cohesive effort like THE LEGEND OF BLIND JOE DEATH, however.

Live RecordingMusician (8/97, p.90) - "...balance[s] whimsy and dignity, melody and dissonance, in a wholly original and very bent manner..."

Home
Takoma records

The Transfiguration Of Blind Joe Death [1966]

John Fahey plays "Red Pony" 1969

Matt Valentine + Erika Elder - "Ragas of the Culvert" / "Total Loss Songs" [2008]

MV & EE is a group of musicians focused around Matt "MV" Valentine and his partner Erika "EE" Elder. Matt Valentine was in the neo-psychedelic group, The Tower Recordings. While the duo recorded under many different names, including MV & EE Medicine Show and The Bummer Road, most of the records center around both artists and feature a rotating cast of additional musicians. Their style is self-described as "lunar ragas", with many of the lyrics dealing with celestial imagery. They combine Indian raga style composition with Appalachian folk and post-psychedelic electrical experimentalism. They use Western and Eastern acoustic instruments amplified and augmented with effects such as reverb, delay, and flange. Their compositions occasionally feature vocals, which are off-kilter and rambling, while seeming drugged.

TLR 062: MVEE ragas of the culvert LP

out of print.

released 17 june 2008. ragas of the culvert, previously self-released as a CD-R in an edition of less than 50 copies as well as a quickly sold out cassette on fuck it tapes, is a glorious revisiting of the lunar raga style that created so much of MV+EE's past. this meditative and purely instrumental six track voyage is guaranteed to transport you to distant worlds. click here for a downloadable preview, "you matter."

ragas of the culvert will be from an edition of 840 copies pressed on 180g RTI vinyl. the record will be housed within "old style" stoughton LP sleeves bearing a new design by both matt and erika. we are expecting this one to ship in early june. copies pre-ordered by may 20, 2008, were accompanied by a bonus CD, total loss songs (TLR-063), featuring 50 minutes of previously unreleased and newly recorded material.

TLR 063: MVEE total loss songs CD

out of print

released 17 june 2008. performed and recorded by matt valentine, erika elder and the golden road in late 2007 and early 2008. from a limited edition of 480 copies. included with all pre-orders of MVEE's ragas of the culvert LP.

lastfm
myspace
Three Lobed Recordings

Ragas of the Culvert [2008]

Total Loss Songs [2008]

Matt Valentine & Erika Elder Festival Sinsal Salón Teatro

Black Twig Pickers / Jack Rose

I have seen since there fly the sonorous details that like small drops of water falling due to the puddle surrounded with dry land, the last consecutive condition that the physical interfaces of his announced end, the green one that exists in thinking, cultivosfolk and printed roots, the music to the meeting of primitive paces associated with the situation, the man opposite to his destiny does not write any more to torment the energetic beginning of the kindness before, now your commentaries give form to the hills that replete with fruits have given you the new food, probably understand that the guitars are listened in the distance they are the echo of your hands in the plough, dirty, but ready to live another day more with contemplative fullness.

He visto como vuelan los detalles sonoros que a modo de pequeñas gotas de agua cayendo al charco rodeado de tierra seca, el ultimo estado consecutivo que las interfases físicas de su final anunciado, un verde que existe en pensar, cultivos folk y raíces impresas, la música al encuentro de ritmos primitivos asociados al trance, el hombre frente a su destino no escribe más para atormentar los principios energéticos de la bondad antes, ahora tus comentarios dan forma a los cerros que repletos de frutos te han dado el nuevo alimento, quizás entiendan que las guitarras se escuchan a lo lejos son el eco de tus manos en el arado, sucias, pero dispuestas a vivir otro día más con plenitud contemplativa.

vhf#108 Black Twig Pickers Hobo Handshake CD

4th full length from the Black Twigs finds a slightly reshuffled lineup and a renewed emphasis on kicking out raw, percussive takes on both Appalachian traditional and original material. With Ralph Berrier Jr.’s retirement from the group, Mike Gangloff has added fiddle to his already considerable arsenal, and along with stalwart guitarist Isak Howell, brought in Nathan Bowles (Spiral Joy Band) on percussion and several guests who make substantial contributions to the party. The Twigs work the fine line between the Friday night old-time dance party and the wellspring of grim and evocative tragedy that runs through the tradition, delivering these laments, travelogues, and wild whoops with sawing, rocking joy. This is a sprawling collection, with visceral group takes on “Crossing the James,” “Cherry River Line,” and “Old Joe Clark.” Charlie Parr and Lane Prekker join the crew on “Last Kind Word Blues,” “Train 45” and “Twin Sisters” (first essayed by Pelt way back in 98) with Parr’s amazing, ragged voice leading the charge over Bowles and Prekker’s driving percussion. Along with the full group material, the Twigs throw in other welcome oddities such as Howell’s Fahey-like “At the head of Every Creek,” “P.E.A. Vine Blues,” an arrangement of a tune from Portuguese Africa, and a book ending solo version of “Crossing the James,” with Gangloff on baritone banjo. In tri-fold digipak. CD $10.

vhf#92 Jack Rose Kensington Blues CD

Fourth full-length from Jack, an inspired mix of styles and sounds that brings his in-person mastery down to CD scale. Kensington Blues is Jack's most diverse outing by far, with straight ragtime, heavy 12-string, and that sweet sweet Weissenborn lap guitar all checking in. Honed during endless touring in 2004, the repertoire here is delivered with maximum authority in a series of first-take performances recorded in early 2005. "Cathedral et Chartres" and "Calais to Dover" are dense, brooding 12 string numbers, recalling the key tracks on 2004's Raag Manifestos CD. "Calais" features a sequence of right hand picking furious enough to evoke a dream state ala Charlemagne Palestine's "Stumming Music." "Rappahanock River Rag" and "Flirtin' With the Undertaker" are pure syncopated ragtime, while "Kensington Blues" offers an almost regal take on the intersection of Anglo and American trad. The epic "Now That I'm A Man Full Grown" was the signature piece of many of 2004's live shows, a display of mind-boggling slide invention that straddles the line of east and west ala "Yaman Blues" from the Opium Musick LP. In something of a surprise inclusion, Jack's take on Fahey's "Sunflower River Blues" (long a staple of Pelt and J.R. gigs but never included on a record) is subtle and expressive, with a wonderful rise and fall that perfectly accentuates Fahey's beautiful melody. LP is a new cut by John Golden, pressed by RTI, and sounds glorious. Gatefold cover. CD $9, LP $13

*Jack Rose Kensington Blues
*Black Twig Pickers Hobo Handshake

Hobo Handshake [2008] (part1/part2)

Kensington Blues [2005]

Jack Rose & The Black Twig Pickers at Terrastock 7

Jack Rose - I do play Rock and Roll [2008]

A cordial disc, of healthy parameters based on the increasing tuning in of relation of gratitude among persons, to the horizon of a field of wheat the bodies are spied emerging of the lovers, a perfumed track blocks up in the birds the distance that it controls in dread, and they dance for neighborhood of the orange painting, as a trip to the unknown thing makes, with fine arpeggioes that transforming in environment, up to sinking in you connect of guitar the only melodies at the back of the noise core that creates dependent disoriented condition.

Un disco cordial, de parametros saludables basados en la creciente sintonia de relacion desde gratitud entre personas, al horizonte de un campo sobre trigo se divisan los cuerpos emergiendo de los amantes, un rastro perfumado ciega en las aves la distancia que controla su temor, y bailan por rededor de la pintura anaranjada, tal como las notas emprenden un viaje a lo desconocido, con sutiles arpegios que se transformaran en ambiente, hasta calar en acoples de guitarra melodias unicas en el fondo del ruido nucleo que crea estado dependiente desorientado.

jack rose — i do play rock and roll CD, LP

CD released march 3, 2008 as an installment in the oscillation III series. sold only as a part of the set.

LP released in september 2008 from a limited edition of 1000 copies. $19.00

while jack rose's compositional skills are always clear and apparent, observing one of his live performances allows even the most casual of listeners to be exposed to his works in an entirely new light. when played for an audience, rose's compositions are given time to stretch out and display an improvisational punctuation. various live tracks have popped up over the course of rose's discography, but i do play rock and roll is his first complete album of live material.

i do play rock and roll's forty-one minutes are comprised of only three tracks meticulously selected from jack's live archives. an epic workout of "calais to dover" (originally appearing on 2005's kensington blues) recorded in 2006 starts the whole affair with a bang. the follow-up is documentation from a 2004 appearance on VPRO-fm in the form of "cathedral et chartres." the disc's closer, "sundogs" is a real treat. previously available only as a studio performance on the seminal by the fruits... triple LP compilation, it takes on a whole other twenty-two minute grinding, droning life live.

this disc will be released on vinyl by three lobed recordings in september 2008 from a limited edition of 1000 copies. the LP will be on 180g RTI vinyl and housed within an "old style" high gloss LP cover. available for pre-order for delivery upon release.

myspace
Three Lobed recording

I do play Rock and Roll [2008]

Jack Rose Kensington

Castanets

myspace


In the Vines [2007]











What Kind of Cure? [2006]











First Light's Freeze [2005]











Cathedral [2004]












Castanets - You Are The Blood

Charles Mingus

El maestro que capturo diferentes tipos de eslabones internos en su disciplina de pulso intenso. El sentir del jazz soluciona dinámicas contradictorias al improvisar sobre la hermosa distancia que la tinta esparce en el papel, cambios sincopados y una selección de discos Charles Mingus relata en el contrabajo un único ser ante la imponente atmósfera de creación a lo largo de su carrera, en cientos de estados subconscientes & sicodélicos que fluyen dentro del estilo, hasta la búsqueda en la vanguardia.
Sin tanta humanidad el bien surge del compás libre, a modo de lucha interna con la eterna masa que apropia los golpes de una maquina ubicada al fondo del corazón melómano.

The teacher that I capture different types of internal links in his discipline of intense pulse. To feel of the jazz solves contradictory dynamics on having improvised on the beautiful distance that the ink spreads in the paper, syncopated changes and a selection of discs Charles Mingus reports in the double-bass an only one being before the impressive atmosphere of creation along your career, in hundreds of subconscious conditions psicodelic that flow inside the style, up to the search in the forefront.
Without so many humanity the good arises from the free compass, like internal fight with the eternal mass that melomaniac adapts the blows of a machine located to the bottom of the heart.

myspace
mingusmingusmingus.com


Mingus at Carnegie Hall [1974]











Let My Children Hear Music [1972] (part1/part2)











Mingus Mingus Mingus Mingus Mingus [1963]











The Black Saint and the Sinner Lady [1963]











Mingus Ah Um [1959]











East Coasting [1957]











Pithecanthropus Erectus [1956]











Mingus at the Bohemia [1956]












CHARLES MINGUS - LIVE - UMBRIA JAZZ FESTIVAL - 4/4

Loren MazzaCane Connors - Night Through: Singles and Collected Works 1976-2004

To continue forward in to think, an idea to catalogue Connors's music regenerates other one, for what to catalogue his music is complicated, in the surface. It is a radical contribution to the deep tuning in of environment, stands out the deep relation that exists among the sound to the meeting of the heart and a storm of sensations strongly adhered to signs of the nature for harmony of the ambiguous cycles, acoustic crafts of contemporary guitar, as John Fahey or Derek Bailey, venturing the persons' solid training for one to come in good, of children to the Sun the channels are overturned in the horizon, the hand demonstrates his passion in every new support of the rock, is that!, to the height the blues in the streets for colds postulated to the future.
Night Through: Singles and Collected Works 1976-2004 it´s an essential box of 3 cds with a collection of singles and other works by Loren Connors remastered from the original tapes by Jim O'Rourke.
For those who are already Connors fans and don´t have this box you can expect nothing but pure avant blues heaven. To those who are not aware of the musical genius of Loren Connors this is one of the ideal points to begin to discover his music. Spacial music, the true weird America before even that tag appeared. Every human being should listen to his music. the world would be a better place, that´s for sure.

Seguir adelante en el pensar, una idea para catalogar la música de Connors regenera otra, por lo que catalogar su música sera complicado, en la superficie. Es un aporte radical a la profunda sintonía de entorno, destaca la profunda relación que existe entre el sonido al encuentro del corazón y una tormenta de sensaciones fuertemente adherida a señales de la naturaleza por la armonía de los ciclos ambiguos, artesanía acústica de guitarra contemporánea, como John Fahey o Derek Bailey, aventurando la solida capacitación de personas por un venir en bien, de hijos al sol se vuelcan los canales en el horizonte, la mano manifiesta su pasión en cada nuevo apoyo de la roca, es que!, a la altura del blues, en las calles por fríos postulados al porvenir.
Night Through: Singles and Collected Works 1976-2004, esto es una caja esencial de 3 cds con una colección de Eps y otros trabajos por Loren Connors dominaron de nuevo de las cintas originales por Jim O'Rourke.
Para los que son ya Connors admiradores y no tienen esta caja usted puede esperar el cielo de blues nada más que puro avant. A los que no son conscientes del genio musical de Loren ConnorsSpacial la música, América verdadera extraña antes aún que la etiqueta apareció. Cada ser humano debería escuchar a su música. el mundo sería un mejor lugar, esto es seguro. o esto es uno de los puntos ideales para comenzar a descubrir su música.

Loren Connors Website
Loren Connors myspace
Night Through Singles and Collected Works 1976-2004 review and listening
O Bom Garfo


Night Through Singles and Collected Works 1976-2004


















+++++++++++++++++++++
Loren Connors & Alan Licht - Live In NYC

camera: ayal sr. sometime in 2004?

Blues Control

Tremendous exhibition of natural sound, radiating his structure of the edge, eclipsed and primitive, Blues Control investigates with his instruments the basic contemplation of the black blues, in a condition of ecstasy, pleasure of drugs, external for my. Adhered to the saturated, spoilt speakers and convulsing of psychodelic frequencies, to change in this picture.
There is alone the complicated thing to climb on one without end of well-established information of symbols, which arranges his direction in the thought, loss of eyes closed in the cosmos under totality, a key conceals and the force of experimenting for all who listen to it, do not forget to comment.

Tremenda exposicion de sonido natural, irradiando su estructura del borde, eclipsada y primitiva, Blues Control investiga con sus instrumentos la primordial contemplación del negro blues, en un estado de extasis, placer de drogas, externo para mi. Adherido a los parlantes saturados, estropeados y convulsionando de frecuencias sicodelicas, para variar en este cuadro.
Es solo lo complicado de escalar sobre un sin fin de información implantada de simbolos, que ordena su direccion en el pensamiento, quebranto de ojos cerrados en el cosmos bajo totalidad, una llave oculta y la fuerza de experimentar para todos quienes lo escuchen, no se olviden de comentar.

MySpace.com - BLUES CONTROL.

Puff / Lp [woodsist, 2007]

Blues Control / s-t [holy mountain; 2007]

Riverboat Styx [2006]

A Full Tank [2006]

blues control live at big jar books pt 1/5