Y allí afuera no hay nadie, todo lo diría si lo preguntáramos en voz alta; y si se nos escuchase preguntarlo; o si se consintiera en recoger esta absurda pregunta. Nadie, salvo el reflejo difuso de todos los rostros en los vidrios intactos empavonados de nadie. / Fragmento de: La pieza Oscura , Por: Enrique Lihn
Alien8 Recordings and its sub-label Substractif will release the debut full-length, “The Science of Breath”, by Toronto producer Sandro Perri, a.k.a. Polmo Polpo, who blends deep, murky techno with rich layers of feedback and densely orchestrated melodies. Recently the artist has enjoyed an explosion in popularity, thanks in part to a number of opening performances for Do Make Say Think, Pan Sonic and Oval.
Trying to describe the sound of Polmo Polpo is not an easy task. The marriage of deep rhythms with shifting waves of melody and sometimes brutal white noise is certainly not a commonly used formula. This music is beyond catchy, the sound of the slide guitar shifting in and out of Gas-style minimalism gives the music a driving force that so much of the genre lacks.
Elizabeth Anka Vajagic is a singer and guitarist who was born in Montreal, Canada. She "writesraw, uncompromising gothic folk/blues music with modern dissonances and timeless catharsesand has been unleashing her devastating voice in chillingly controlled doses around town for a few years now."
"A la infinita y sombría pulsación eléctrica saludan brotes temblorosos de la sal mojada en su cuerpo de mujer elevándose por túneles en contraste magnético universal, el sonido de lados super emotivo, durante un lapso delimitado, Elizabeth Anka Vajagic dibuja formulas de Post Rock violeta, mientras sostiene en su mano plantas alucinógenas para esparcirlas al publico adormesido, el viaje de los agudos valores estimados en conciencia sin algún sentido anteriormente subrayado, el suelo grisáceo se camufló con los aceites que ahora generan en grandes cantidades para detener el invierno, para olvidar, o para darle un rumbo humano, el material es usted, deje que ella le llame antes ysabrá caer al profundo timbal para anunciar la partida al mar, de las olas, con todo lo necesario para sobrevivir al fin."
"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
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.
Sam Shalabi is a central node in Montreal’s free improv scene. One cannot count the many projects he is a part of. He is best known as a founding member of Shalabi Effect, who have recorded three albums on Alien8 Recordings which have earned the band extremely good response from critics and music enthusiasts alike. Apart from Shalabi Effect, he is also part of a number of bands, among which Detention, Molasses, Po, ‘Gypt Gore, and a trio with David Kristian and Alexandre St-Onge. He is also known for three solo albums: “Luteness” (Squint Fucker Press, deleted), “On Hashish” (Alien8 Recordings), and of course “Osama”, his investigation of arabophobia in a ‘post-9-11 world’. His style ranges from freeform psychedelic rock to the most oddball abstract performance. Although mostly known as a guitarist, the highly versatile Shalabi also performs on oud and a variety of other instruments.
EID CD
Sam Shalabi’s third solo outing for Alien8, Eid, was written and conceived in Cairo, Egypt in 2006 while Shalabi was living there and further realized in Montreal and Vancouver during the first half of 2007. The album is a result of two separate ideas that slowly coalesced over a couple of years. The first was Shalabi’s idea of composing songs for singers he knew and enjoyed. The second idea was that of creating a ‘modern Arabic pop’ record.
It was during the time that Shalabi was living in Cairo he came to the realization that Arabic pop music was much more wild, wide and weird than he had imagined and this also had a huge influence on this recording. Over time Shalabi became less interested in trying to make pop songs and more interested in allowing the material to take it’s own shape.
Upon listening to Eid it becomes clear how Shalabi was influenced by the wide breadth of Arabic pop music: each piece is stylistically its own and allowed to take its own shape. The recording opens with a beautifully played piece of Shalabi’s solo oud playing, that gives one the impression they are in store for a gentle acoustic journey. Gears shift drastically with the follow up track, Jessica Simpson, which can also be considered one of the recordings most interesting and unusual selections. Guest vocalist Radwon Moumneh does an excellent job delivering his vocals over repetitious percussion; then a totally unexpected guitar hero style solo slips in out of nowhere. Sam Shalabi enlists the help of far too many guests to list here, although along the standout contributions is that of singer/songwriter Lhasa de Sela who has a thriving solo career and has collaborated with the likes of the Tindersticks and Nick Cave. Constellation Records recording artist Elizabeth Anka Vajajick sings on Billy the Kid and Katie Moore is absolutely stunning on Billy the Kid pt II.
This will mark our ninth release with Shalabi, not including his efforts in various projects as a guest or studio musician.
The so called new one of attention for you!, does it know to what I recount?, he must be full of sauce laughing the damned drunkard, and the one who catches the printing of the private scene?, "I believe that absolutely nobody", it is important that intentions turn in the way, ideal cultural that they forge a stamp of which we can communicate tolerantly and not to commit acts of nonchalance here, COMMENT YOU!, it is a time still to shake the powder that squashes the breathing, it knows that they hide the half day, sees in your portrait the same figure of your face?.
Un nuevo llamado de atención para usted!, sabe a lo que refiero?, debe estar lleno de salsa riendo el maldito borracho, ¿y quien capte la impresión del escenario privado?, "creo que absolutamente nadie", es importante que giren propositos en el medio, ideales culturales que forjan un sello del cual podemos comunicarnos con tolerancia y no cometer actos de indiferencia aquí,COMENTE USTED!, es tiempo todavia de sacudir el polvo que aplasta la respiración, ¿sabe que esconden el medio día, ve en su retrato la misma figura de su cara?.
Bakunin's Bum
Bakunin's Bum is the newest 'beats & strings' musical/spoken word collaboration between Norman Nawrocki & beat meister/drummer Aidan from 1 Speed Bike, Exhaust & Godspeed You! Black Emporer.
Their first recording is a benefit CD for the radical Ontario Coalition Against Poverty (OCAP). It features excerpts from a speech given by two OCAP members in Montréal in December 2000, which Aidan & Norman have set to original music. Aidan provides the beats, Norman plays violin, viola, cello & odd instruments.
Author, actor, violinist, sex advocate, educator, Norman Nawrocki is a Vancouver-born, Montreal-based, internationally-acclaimed cabaret artist known for his provocative and topical work.
Aidan is a long-time Montréal activist/musician & member of the city's anarchist bookstore collective, The Librairie Alternative. His first solo album, 'droopy butt begone!' (on Constellation Records) is a sampling of his own live beats mixed with many melodic elements, slogans & rants. It's garnered rave reviews in the music press around the world.
bakunin's bum, "FIGHT TO WIN! (A benefit for The Ontario Coalition Against Poverty)"
released october 9, 2001 g7 welcoming committee records (g7021)
How far are you willing to go?
And the cops just go 'fuck'
A front, a middle, a back
What is OCAP?
Real 'Peace'
By any means necessary
It's too late for concessions
People already know
There's a place for everyone
We don't have 'show trials'
Hope, Pride & Dignity in fighting back
bakunin's bum is aidan on drums and norman nawrocki (rhythm activism and da zoque!). as the subtitle suggests, this is a benefit album for OCAP. the music is very similar to that of 1-speed bike (using some of the same loops in places), but also features spoken word speech by two anti-poverty activists that has been edited to the music.
If only they were detonating atmospheric walls that between cross his sound by means of two opposite poles protected by the history of the humanity, it is when the fingerprint of the time leaves brands where to advance and to continue, the tonality of the wood that with work appears with beauty emerges, if only you were finding the way of moving away to listen, the echo that supports the natural secrets of the universe returns to be authentic and democratic, is the shade in the roof, it is the flight again, but she undresses the woman at a height of the stellar hills captivates the sense as these auditory instants to remember, gives drafts for your home(fireplace) subjective construction and jumps in the pasture or mud for mutant your feet in wind, wind that escapes without address trying to be God, to have the value and the force of giving it what him belongs, absolutely everything what exists inside the small room of the life, now your she writes, now I am an entity that supports experiments, Shalabi sounds, for routes of the didactic light.
Si tan solo se detonaran paredes atmosféricas que entre cruzan su sonido por medio de dos polos opuestos resguardados por la historia de la humanidad, es cuando la huella del tiempo deja marcas por donde avanzar y seguir, la tonalidad de la madera que con trabajo se muestra con belleza emerge, si tan solo usted encontrara la manera de alejarse para escuchar, el eco que mantiene los secretos naturales del universo vuelve a ser autentico y democrático, es la sombra en el techo, es el vuelo otra vez, pero desnuda la mujer a la altura de los cerros estelares cautiva el sentido al igual que estos instantes auditivos para recordar, da giros por tu hogar construcción subjetiva y salta en el pasto o barro para trasformar tus pies en viento, viento que se escapa sin dirección pretendiendo ser Dios, para tener el valor y la fuerza de darle a ella lo que le pertenece, absolutamente todo lo que existe dentro de la pequeña habitación de la vida, ahora tu escribe, ahora soy un ente que mantiene experimentos, suena Shalabi, por vías de la luz didáctica.
Originally slated for release as the flip side of a split cd/lp with godspeed you black emperor! entitled Aural Florida, this release just kept growing and growing. Now finally finished and ready to go, the Shalabi Effect present their debut with a staggering 131 minute psychedelic blow out!
On this debut double CD somewhere in the vicinity of forty instruments have made their way onto the recordings. It is very difficult to describe Shalabi Effect, because the sound is varied and changing so frequently, but we can definitely trace influences of AMM, Organum, and Pink Floyd, and psychedelic music. In terms of Psych, we are talking about the brand perfected by the likes of Acid Mothers Temple, No Neck Blues Band and Ghost, as well as more pioneering projects such as Amon Duul, Popul Vuh and the Taj Mahal Travellers.
Anthony Seck, Sam Shalabi, Alexandre St-Onge and Will Eizlini are joined by various guests, including members of Godspeed You Black Emperor! and Strawberry, filling in on violin, vocals, Tibetan bowls and sax. Together they blend middle eastern influenced folk with spacey electronics and really beautiful trippy guitars. The overall experience is incredible; sounds and styles change drastically and seamlessly, bringing you to a new place with each new movement. Shalabi Effect went all out, spending nearly a month in the studio recordings and mastering on 1/2 tape to capture the warmth of the music. We thought they were kidding when they said they were setting out to create the ultimate drug record. Now we know that they were serious. The first of the two discs opens up with a beautiful display of early electronic drones, Muslimgauze styled tablas, Oud, guitar, scraped metal and bowed instruments. The sound is so incredibly rich and organic, you could swear this was recorded somewhere beautiful outdoors.
Aside from the Shalabi Effect, Sam Shalabi either anchors or at least plays in the following projects: a trio with David Kristian and Alexandre St-Onge, and more… Shalabi’s free jazz duo Detention performed at this years Festival International de Musique Actuelle de Victoriaville and he immediately returned to Montreal the following day to perform with Kevin Drumm and Pillow, as member of Molasses. Anthony is the other driving force in the project and is a film maker and video producer.
Shalabi Effect are one of the most important projects in the Montreal underground for the sole reason that it is Sam Shalabi’s main project. During the last few years Alien8 Recordings have been setting up challenging evenings of live music at a loft space run by GYBE!, the Hotel 2 Tango, as well as at other spaces. During that time only David Kristian comes close to having played in as many live scenarios as Sam Shalabi. We have had Shalabi Effect perform with the likes of Aube, Kevin Drumm, Pillow, Fly Pan Am, Godspeed You Black Emperor!, Government Alpha, David Kristian, Sabir Mateen, Loren Mazzacane Connors, M.S.B.R., No Neck Blues Band, Pillow, Royal Trux and Martin Tétreault. Occasionally Shalabi will even book his own shows, including gigs with Tim Berne and Brandon Labelle. We are very happy to finally be able to share the music of the Shalabi Effect with people outside of the Montreal underground.
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 Thinkmembers 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.
For the flying audio that crosses to great speed his limit, to circulate on the atmosphere saturated of smoke that you must penetrate to continue in the pieces that I will continue raising with name of links, already I have waited for commentaries, it can only you anchored for not measuring the time and if it leaves tastelessly he(she) was not enjoying the compositions here, the form Post Rock advances in multi-effects designed with fineness, is going to calm your voracious hunger of discs and write slightly therefore.
Para el audio volante que cruza a gran velocidad su límite, para circular sobre la atmósfera saturada de humo que usted debe traspasar para seguir en las piezas que seguiré subiendo con nombre de eslabones, ya he esperado por comentarios, quede usted anclado por no medir el tiempo y si se marcha con mal gusto no disfrutara de las composiciones aquí, la forma Post Rock avanza en multi-efectos diseñados con fineza, va a calmar su hambre voraz de discos y escriba algo por lo tanto.
Ça Va Cogner [2007] Guests
The Brightening Star Choir on TRACK 6: Capucine Cyr-Picand, Morgane Cyr-Picand, Léo Bouchard-Babin, Arthur Parant, Antonin Ravatel, Yakim Cormier.
Recording
Recorded and mixed at Thee Mighty Hotel2Tango in Montreal by Radwan Moumneh and Thierry Amar.
Mastered at Greymarket in Montreal by Harris Newman.
Feu Thérèse [2006] Guests
Philippe Lauzier: saxophone, bass clarinet on TRACK 4
Recording
Recorded on 24-track analog tape at the Hotel2Tango in Montreal by Theirry Amar. Mixed by Thierry Amar at the Hotel2Tango TRACK 5 and various other fragments recorded and mixed at Love Streams in Montreal by Stephen De Oliveira. Mastered At Greymarket in Montreal by Harris Newman.
Al aparecer frente a mí!, cuando una pálida foto es mi abrigo de aquella dulzura en tu sonrisa, mi amada, y el viento sopla despiadado para impedir que llegue a tu puerta, se que soy un cobarde, busco dentro de tu falda la suavidad, para posarme con impetud y detener los segudos apegandome a tu calor, entrengando mis manos a la danza con tu piel, oliendote! tu aroma de almendra fresca que se extiende por el espacio a tu alrededor, lleno de flores blancas...
... este fragmento es dedicado aPaula.
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Este disco lo encontre en el blog ecos subversivos , comparto su autenticidad relacionada al universo sinfonico de la banda, se enternece el ambiente cuando lo escucho, gracias! .