miércoles, noviembre 05, 2008

John Zorn - Filmworks XX & XXI [2008]


John Zorn (born 2 September 1953 in New York City) is an American composer and saxophonist/multi-instrumentalist. He owns the Tzadik record label and has worked with a large number of experimental musicians, particularly in improvised music, incorporating modern classical music, jazz and even death metal and grindcore as well as having produced music to include most styles.

As a child, he played piano, guitar and flute. He went to college in St. Louis, Missouri at Webster College (now Webster University) where he discovered free jazz, before dropping out and moving to Manhattan. There he gave concerts in his small apartment, playing a variety of reeds, duck calls, tapes, etc; almost anything (sometimes he played “musical optics” which involved no instruments or sounds at all, but rather the arrangement of lights and objects in a dark room). In the mid 1980s he signed to the Elektra-Nonesuch label. Since then, Zorn has been quite prolific, usually putting out several new records each year. His breakthrough recording was perhaps 1985’s The Big Gundown: John Zorn Plays the Music of Ennio Morricone, wherein Zorn offered a number of often radical arrangements of Morricone’s famed songs from various movies. The Big Gundown was endorsed by Morricone, and incorporated elements of traditional Japanese music, soul jazz, and other diverse musical genres.

www.lastfm.es/music/John+Zorn




John Zorn + Fred Frith@Gulbenkian Anfiteatro 3/8/2008 part 1/2

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




ARRINGTON DE DIONYSO - LIVE AT UPSET THE RHYTHM

Blank Dogs - On Two Sides [2008]


Blank Dogs Interview :

Flying under the radar for most of 2007, Blank Dogs went relatively unnoticed, even though Mr. Blank Dog was releasing material at an astoundingly rapid pace, which set the bar higher for what defines a prolific songwriter. But that period didn’t last for long as people began to detect the immense talent in the bedroom rock of Blank Dogs and embrace the mystery. Bloggers hurriedly slotted Blank Dogs into their year-end best of lists, while others are just starting to rave about the band now. The likeability of the band is immediate. Washes of synth fuzz, strident guitars, indifferent vocals and undeniably catchy bass lines, Mr. Blank Dog fuses these elements into haunting, atmospheric songs. He has an innate ability to write psych rock melodies with pop touches that fixate listeners for days. Though he is releasing material at a daring speed, he consistently delivers quality, perspective-changing songs. He shows no signs of stopping now as 12 releases are planned for this year alone.

You are extremely prolific with recording and releasing material. Would you tell me about your recording process, and how you choose which labels and forms to release your music through?

I record from home. I just write some melodies and record them. I get a bit perfectionist when it comes down to mixing and adding effects, but they tend to wash out into some blur. I guess that's a process? As far as labels, mainly I like to work with people whose prior output is stuff I like a lot, but I also like to help people starting up labels too. As far as format, I think vinyl is the best way to listen to music. CDs have no intrinsic value, it's just data. Also, it seems like they just fall out of magazines whenever you pick them up, these days. Giveaway junk. It cheapens the music, in my opinion. Besides, it all winds up on SoulSeek anyway, that's why I have everything that's already out downloadable from the website. Cassettes are cheap and easy for people who don't have enough money to start a label but love music, that's why I've agreed to do a bunch. They also require active listening instead of clicking on a link. Some people just prefer the analog format too.

source




Blank Dogs - Scenes From A New Town

The Legendary Pink Dots - Plutonium Blonde [2008]


The Legendary Pink Dots formed in August 1980 in London. In 1984 the band transplanted itself to Amsterdam which led to a shift in the original lineup, the original bassist Roland Callaway leaving at this time.

The core members of the group are vocalist/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight. Many others have passed through the group over the years. As of 2007 the group is comprised of:

* Edward Ka-Spel - vocals, keyboards, songwriter
* Phil Knight (a.k.a. The Silverman) - keyboards, electronics
* Martijn de Kleer - guitars
* Niels van Hoorn (a.k.a. Niels Van Hoornblower) - saxophones, clarinets, flutes, MIDI wind controller
* Raymond Steeg - live sound engineer

The story behind the band's name is a source of speculation because Edward has given multiple explanations behind its origins. The most plausible and common explanation traces back to the mysterious pink dots on certain keys of the bands main recording studio piano named "Osbert", the dots that can be found at either end of the keys do not make any particular chord or scale pattern and the reason for them remains unknown to this day. The piano itself is still owned by one of the founding band members April White, and can be found at her home recording studio in Cambridgeshire.

Their music touches on elements of neo-psychedelia, ambient music, electronic music, tape music, industrial, psych folk, synth-pop and goth rock, with a distinctly experimental/avant-garde bent; their sound has evolved over time and remains distinctive, making it difficult to place the group into a concise style or genre. The groups overall sound combined with Ka-Spel's distinct lyrics and singing have earned comparisons to Pink Floyd and Syd Barrett; the group has also been compared to classics Seventies deranged bands as Can , Faust, Brainticket, Magma or Neu! (whose "Super" they covered on the 1999 tribute album "A Homage to NEU!").

wiki.





The Legendary Pink Dots - M'era Luna 2008

David Grubbs - An Optimist Notes the Dusk [2008]


David Grubbs (born September 21, 1967), guitarist, pianist, and vocalist, was a founding member of Squirrel Bait, Bastro, and Gastr del Sol. He has also played in The Red Krayola and The Wingdale Community Singers.

Squirrel Bait was a 1980s Louisville, Kentucky punk rock group that released a 12" EP and an album on Homestead Records. Grubbs's next group was Bastro, which released two albums on Homestead. In 1991 Bastro morphed into the more avant-garde Gastr del Sol. This project soon became essentially a partnership between Grubbs and Jim O'Rourke. The albums released by the duo (including Crookt, Crackt, or Fly, Upgrade & Afterlife, and Camoufleur) have been described as a visionary and theoretical deconstruction of the songwriting process.[citation needed]

Since the partnership's breakup in 1997, Grubbs has released numerous solo and collaborative records, mostly on the Drag City label. In 2000, his album The Spectrum Between was named “Album of the Year” in the London Sunday Times. He operates his own label, Blue Chopsticks, which has released both new and archival recordings from Luc Ferrari, Derek Bailey and Noël Akchoté, Workshop, Van Oehlen, and Mats Gustafsson. He has appeared on recordings by Tony Conrad, Matmos, Palace Music, Pauline Oliveros, and many more. Grubbs is also known for his collaborations with writers Susan Howe, Rick Moody, and Kenneth Goldsmith as well as with visual artists including Anthony McCall, Angela Bulloch, Stephen Prina, and Cosima von Bonin.

Grubbs's soundtrack work includes music with Matmos for Thierry Jousse’s feature film Les Invisibles. He has composed the soundtracks for Angela Bulloch’s installations Z Point and Horizontal Technicolour, and Hybrid Song Box.4, and his music appears in two installations by Doug Aitken. Grubbs’s sound installation “Between a Raven and a Writing Desk” was included in the 1999 group exhibition “Elysian Fields” at the Centre Pompidou. Grubbs has also contributed music to the Red Krayola’s soundtrack to Norman and Bruce Yonemoto’s film Japan in Paris in LA as well as to Augusto Contento's film Strade Trasparenti, Braden King and Laura Moya’s film Dutch Harbor: Where the Sea Breaks its Back, and John Boskovich’s film North. Music by Gastr del Sol appears in the P.B.S. television series The United States of Poetry, Hal Hartley’s film The Book of Life, and Doug Aitken’s film The Diamond Sea. Grubbs composed music for Karl Bruckmaier’s radio adaptation of Peter Weiss’s Die Ästhetik des Widerstands, which was named “Hoerbuch des Jahres 2007” (Audio Book of the Year) by Hessischer Rundfunk.

From 1997-99, David Grubbs was a part-time instructor in the Liberal Arts and Sound departments at the School of the Art Institute of Chicago. He is currently an assistant professor of Radio and Sound Art at Brooklyn College, CUNY, and director of Brooklyn College’s graduate programs in Performance and Interactive Media Arts (PIMA). Grubbs received a Ph.D. in English from the University of Chicago. His criticism has appeared in Conjunctions, Bookforum, Texte zur Kunst, and Purple, and from 1999-2007 he regularly contributed music criticism to the Munich newspaper Süddeutsche Zeitung.

David participated as drummer 23 in the Boredoms 77 Boadrum performance which occurred on July 7th, 2007 at the Empire-Fulton Ferry State Park in Brooklyn, New York.

Grubbs lives in Brooklyn with his wife, Cathy Bowman, and their son Emmett Bowman-Grubbs.

wiki.




David Grubbs - The neophyte (Tanned Tin 2006)

martes, noviembre 04, 2008

Nadja - Thaumoradiance / Desire in Uneasiness / The Bungled & the Botched [2008]



Canadian band Nadja played at the well-known Roadburn festival recently. I was not able to see them there, but fortunately founder Aidan Baker found some time to answer a few questions, while on the road between shows in eastern Canada. We were curious what it was like to work with a real drummer instead of a drumcomputer, and how to describe Nadja’s music the best.

You recently released a new album, ‘Desire In Uneasiness’, the first to be recorded with a live drummer. Is this a unique project, or will Nadja be a trio from now on?
This was a unique project, yes, but that doesn’t mean we might not be a trio at some point…

What made you decide to work with a drummer for this record?
We wanted to try something different, something with a more organic feel that’s difficult to capture with electronic drums.

You worked with Jakob Thiesen on this record. I read that the two of you have collaborated before in Whisper Room. Still, I think not many people will know who he is, can you tell us a bit about him?
I have performed with Jakob many times, both as a duo and with our trio Whisper Room – we have a collaborative record recently released on Waterscape Records called ‘A Bout de Souffle’. He has played drums with a few other groups, as well as recording more electronic/techno-based music under his own name. (Aidan at this point refers to Jakob's page from Discogs, which may give some more info on his work.

Does this mean that you will now do Nadja-shows with him?
Probably not, but it’s always a possibility.

It seems that using a drum computer has not prevented you from making music that has a very improvised feel. It does make it a bit harder to just try things in the studio. Can you tell us how a Nadja recording session used to be, and if it was different with a real drummer?
When we recorded with Jakob, we improvised/jammed and then took the recordings and edited and re-worked them, essentially building the songs that ended up on the album from the improvised raw material. Other albums have been recorded similarly, although we generally start with a very basic drumtrack and chord progression and then improvise over top of that, adding layers and textures until the song is ‘finished’.

source


Desire in Uneasiness [2008] (part1/part2)



nadja - roadburn 2008

Sunn O))) - Dømkirke [2008]


Along with close contemporaries Earth and Boris, Sunn O))) have become flag bearers for the doom-metal avant-garde, pushing the genre to new experimental boundaries with each full-length album. While they may have just lovingly mimicked Earth’s early drones with their first set of releases, Sunn O))) quickly evolved into a innovative force of their own right, pushing out heady, slow-as-molasses jams of impenetrable darkness. The chilling spoken word intro of White 1 or the pseudo-black metal wraiths on Black One demonstrated the cloaked duo’s capacity for creating exciting and terrifying masterpieces that were as unique as they were heavy.

Dømkirke carries on with the proud tradition, bringing the distinguished drone masters and their special guests to an ancient Danish cathedral where their compositions could be given a full atmospheric treatment. From what I understand, this was recorded live, giving the album raw power and urgency - a strange word to use given the band’s snail-like pace. The majority of this album moves away from the groaning and drawn-out riffs of the past, opting instead for dense, dark ambient pieces. That being said, the album is still bass-laden and unbelievably heavy, its just more focused on atmospheric drones rather than lumbering guitar work. Vocal contributions from black metal artist Attila Csihar are spine-chilling, as his dark, operatic chants echo like the rites of some ritualistic cult-figure. The later half of the album has him more restrained, offering distant and indistinguishable shrieks and rasps to hover over the searing drones.

source




Berlin, Volksbühne 2006 - Part 2

In Gowan Ring x 4


"This is one of only a few recent releases that might genuinely be called inspired. As a songwriter and musician B'eirth is easily the equal of psychedelic folk legends Robin Williamson (Incredible String Band) or the late Nick Drake. Comparisons to virtually any other musicians exploring similar territory would simply not do this justice." - Joshua Buckley for TYR Journal


"A unique synthesis of folk, mediaeval and psychedelia that could only be In Gowan Ring. Listening to this album is like sliding into a warm bath infused with oils and perfumes. Mellow and beautiful, B'eirth's gentle voice and music are a delight. The lyrics are obscure, but still suggestive and a source of inspiration and contemplation for those who make the effort to listen to them." -RIK for Flux Europa

"There is a depth to these songs that is revealed only upon repeated listens. It is this natural gift for creating multi-layered compositions that is so attractive about In Gowan Ring's work in general and Hazel Steps through a Weathered Home in particular. Quite simply, one of the half dozen or so best releases of the year." -Jeff Penczak for FakeJazz.com


"It's been worth the wait everyone. This album is B's best work, and my words, plain as the farmboy I am, can not do it justice. B', you've mastered the art of song my friend. My heart swells and my head swirls! I'm in awe." - Tim Renner, Some Dark Holler


"In Gowan Ring's "The Glinting Spade" is as beautiful as any psych-folk album can be without completely materializing. "Hazel Steps Through A Weathered Home" as a whole, is a more stripped down effort. However, that doesn't really diminish the album's preternatural feel. The songs are much starker and darker than on "The Glinting Spade", but they also have more gravity and substance. It can easily ensnare the unsuspecting listener in its magical folds."-J. M. for Opuszine


"The music of In Gowan Ring is rather timeless, archaic perhaps but not from a clearly-defined period. The lyrics are rather introspective but most images evoked by the texts are quite clear. The songs are really a pleasure to listen to and the album as a (very coherent) whole is very moving, solemn and melancholic, but it does not make me sad - I get the feeling that spring must be near... Really a recommended album." - HD for FunProx.com


"Very poetic release of intimate mystic songs, more minimal as earlier releases, sparsely arranged, towards the core of an essential expression. The album has the richness and calmness of an introspective vision. The style is minimal without being repetitive with a rich sound through its poetic vision. The whole album is beautiful and recommended." -Gerald for Van Hett PSYCH FOLK

____________________________

-Glinting Spade (1999)
Though arguably the best In Gowan Ring experience is live -- B'eirth plays the medieval troubadour quite well and mysteriously, but doesn't forget humor or the fact that the Industrial Revolution has in fact happened -- The Glinting Spade is quite a lovely listen indeed. Anyone captivated by folk that either consciously explores its very early roots or the acid folk approach that psychedelia let in will find something to like here; B'eirth's approach suggests Edward Ka-Spel as much as it does the mythical figure of Ossian, say. His generally acoustic bent is more carefully seasoned by low-key experimentation throughout The Glinting Spade -- extended tones, strange echoes, and buried sounds expand the palette of his work to an intriguing degree, with "In the Dream of the Queen" being an especially striking example. That said, the choice of instruments tends to be tried and true -- everything from church organ to zither is credited, along with more esoteric choices of fire, chalice, bow and arrow, even oats! Quite what the role of everything is meant to be is unclear, but if the effect is to create a sense of a shadowy ritual out of time past, In Gowan Ring succeeds quite well. B'eirth isn't one to shout or scream -- what's the point, after all? -- and his style of singing is very, very restrained, avoiding the sometimes tiresome drama of similarly minded revivalists who apparently think they really are about to summon up the Horned King and the Great Hunt. Songs like "To Thrum a Glassy Stem" and "Bow Star" are quiet beauties, while the lusher approach of "Cipher's String on the Tree" suggests a great lord's minstrels performing a late-night service. ~ Ned Raggett, All Music Guide

_____________________

In Gowan Ring - From the land of little Osmonds, comes this nomadic bunch of sprites and pot-headed pixies, led by the enigmatic B'eirth and wielding such modern day contraptions as sackbut, cornetto, cittern, psaltry, zither, timbrel, whistles, bells, gongs and tons of other weird sounding shit too numerous to mention. Epic lengthed drones are nestled comfortably amidst some of the finest acid/psych/wyrdfolk on this (or any other) planet.

_____________________

-Exists & Entrances vol. 1
"Am I the only one here who has these moments where you've fallen asleep in the chair, and when you "wake up" you feel like you've got no control over your body but you can watch while your limbs move & haul you around the room and? Really? Well anyway that's what the finer moments of this disc feel like ... as the tree ears sprout from between my toes and I keep whispering, "it's only a cd-r, it's only a cd-r". "

_______________________________

"The songs have a somber feel, as though the innkeeper let the lyre player have a little too much mead, and now the whole room is treated to his many laments on nature and love." -Brainwashed

____________________________

"The American neo-hippies from In Gowan Ring produced a fragile and melodic atmosphere. Pantheistic odes to the forgotten beauty of nature – the great in the small. " -Medusa's Head

website





"the seer and the seen"

Yo La Tengo


Yo La Tengo is an American indie rock band based in Hoboken, New Jersey. With more than 15 albums released since 1984, they have demonstrated unusual longevity for the indie-rock scene. They are frequently regarded as one of the definitive indie rock groups of the 1990s. Though Yo La Tengo has achieved limited mainstream success, the band has become a critical favorite with a devoted fan base.

The band's name comes from a baseball anecdote.

During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón found themselves colliding in the outfield. When Ashburn went for a catch, he would scream, "I got it! I got it!" only to run into the 160-pound Chacón, who spoke only Spanish.

Ashburn learned to yell, "¡Yo la tengo! ¡Yo la tengo!" which is "I have it" in Spanish. In a later game, Ashburn happily saw Chacón backing off. He relaxed, positioned himself to catch the ball, and was instead run over by 200-pound (90.7 kilograms) left fielder Frank Thomas, who understood no Spanish and had missed a team meeting that proposed using the words "¡Yo la tengo! as a way to avoid outfield collisions.

After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".

The band wanted a name that sounded foreign in order to avoid any connotations in English. Kaplan is also a devoted baseball fan. However, it still irks the band when they are asked the origin of the name. The band once performed a cover of the Mets theme song "Meet the Mets" during a benefit appearance on radio station WFMU's pledge drive. A track on I Am Not Afraid of You and I Will Beat Your Ass is called "The Story of Yo La Tango" in apparent reference to an all-too-frequent misspelling of the band's name.

source
























Album Dicography :

01 - Ride the Tiger [1986]
02 - President Yo La Tengo_New Wave Hot Dogs [1987_1989]
03 - Fakebook [1990]
04 - May I Sing With Me [1992] (part1/part2)
05 - Painful [1993]
06 - Electr-o-Pura [1995]
07 - I Can Hear the Heart Beating as One [1997]
08 - And Then Nothing Turned Itself Inside-Out [2000] (part1/part2)
09 - The Sounds of the Sounds of Science [2002] (part1/part2)
10 - Summer Sun [2003]
11 - Yo La Tengo Is Murdering the Classics [2006] (part1/part2)
12 - I Am Not Afraid of You and I Will Beat Your Ass [2006]
13 - They Shoot, We Score [2008] (part1/part2)


EPs :

01 - Here Comes My Baby [1990]
02 - That Is Yo La Tengo [1991]
03 - Upside-Down [1992]
04 - Camp Yo La Tengo [1995]
05 - Little Honda [1997]
06 - Some Other Dimensions in Yo La Tengo [2000]
07 - Danelectro [2000]
08 - Merry Christmas From Yo La Tengo [2002]
09 - Nuclear War [2002]
10 - Today Is the Day! [2003]
11 - Live Session EP [2007]


Splits / Collaboration :

01 - 1995 - Stereolab & Yo La Tengo - Genius + Love Split
02 - 1998 - Jad Fair & Yo La Tengo - Strange But True
03 - 2004 - Chris Stamey & Yo La Tengo - V.O.T.E.


--------------------------------------------------------


I Feel Like Going Home

lunes, noviembre 03, 2008

Chad VanGaalen - Soft Airplane [2008]


"No one knows where go when we're dead or when we're dreaming."

After powering through most of
God Is Not Great on the plane yesterday, it's hard to immediately change gears and spend time questioning what happens after you die. That being said, when the questions come courtesy of the beautiful songs Chad VanGaalen wrote for Soft Airplane, the experience is a rewarding one. Chad has always written tales of death, murder and rage, but in a way that forces you to start asking the same questions and feeling the same emotions.

I read an interesting review of the new Okkervil River record on Rawkblog where Dave mentioned that "critics as musicians are failures, much more often than not; they know too much to fuck up, which is unfortunately a preventative measure to playing rock 'n' roll music." If that statement is true, the other side of the coin would indicate that only when a musical soul is secluded from the shouts and whispers of the critical public can true greatness or incredible failure occur. Such is the case for VanGaalen.

I hesitate to rely on the easy play of labeling him as a musical recluse riddled with insecurities when I talk about his songs, because that cheapen the success of this record. Even if it's only subconscious, those words force the reader to think the sounds were contrived by luck or simply good timing; the result of someone stumbling upon the combination of sounds without much thought and that couldn't be less true when it comes to VanGaalen.

He's obviously a unique man with social anxiety and an unquenchable thirst for creative expression and as a result Soft Airplane is incredibly spontaneous and challenging, but at the same time multiple listens show how well the record is thought out. Sound effects, textures and emotion are nestled into the folds and corners, and until you can listen to the complete song, you aren't really hearing Chad's visions.

source





Chad VanGaalen - Molten Light

Megapuss - Surfing [2008]

Devendra Banhart brings us a new musical project with Gregory Rogove (Priestbird/Devendra’s live band) and Fab Moretti (drummer of The Strokes) as well as Noah and the usual suspects in Devendra’s live ensemble called Megapuss. We have to question the naming of the bad and the reason to include Banhart and Rogove naked on the cover — but the music goes from jazz inflicted folk to garage rock to psychedelic, all with spacey vocals a la DB, leaving for a throughly enjoyable affair on Surfing.

Surfing opens up with Crop Circle Jerk ‘94 — a sure sign that there is going to be a lot of goofy elements to this album. After all, the liner notes are covered with Devendra/Gregory’s penises, drawings of them naked, a dude with a penis nose, etc. The song opens up with horns, before falling into a very infectious opening that sounds a bit reminiscent to Smokey Rolls Down Thunder Canyon’s Lover. Luckily, it gets better quick.

To The Love Within sounds like a lost track from Nino Rojo — minimalistic acoustic handclaps and percussion make this a perfect camp fire song. Adam & Steve is a psychedelic gem, with eclectic vocals that match the guitars, weird little time changes, and a Santana-esque lead guitar line in the middle of the song. Theme From Hollywood sounds like another perfect single for the album — it’s hard not to sing along to the jangly chorus: “Too much fun in Hollywood, were havin too much fun.” Elsewhere, Hamman is Mega’s attempt at The Doors, Chicken Titz (goofy again) plays with ’60s-inspired soul beats, and Sayulita is a seven minute piano led piece with Banhart’s extraordinary lyrics and vocals.

indieducky




"Crop Circle Jerk 94" Hammer Museum - UCLA

Pumajaw - Curiosity Box [2008]


A brand new album from Pinky Maclure and John Wills, Curiosity Box finds Pumajaw faithfully replicating the post folk revival fusions of the early '70s with a little help from fellow Brit folkers Alidair Roberts and James Yorkston. While the songwriting and vocal delivery is very much shaped by traditional folk values, the sort of instrumentation Pumajaw utilize defies convention, having more in common with Six Organs Of Admittance than Shirley Collins, something demonstrated ably by the trance-inducing psychedelia of 'Visiting Hour Pt. 2'. The relatively faithful harmonium-driven balladry of 'Mother & The Two Trees' shows that the duo can adhere to old-fashioned values when they want to, although it's not long before the almost inevitable close call with Wicker Man-style wyrdness crops up on 'Buds', which in no small way resembles an electronically enhanced 'Willow's Song'. Curisosity Box has a lot going for it - it's a highly enjoyable and gratifyingly unpredictable alt. folk outing with all the right leanings towards gothic storytelling and pastoral melancholy.

boomkat




PuMaJaW

Aidan Baker & Tim Hecker - Fantasma Parastasie [2008]


Fantasma Parastasie sees the pairing of Aidan Baker, of the Ambient Doom band Nadja, and Tim Hecker, two of Canada’s brightest musicians in the world of abstract electronic music.

Tim Hecker has been enjoying the rewards of a stellar career and discography, devoid of filler, due to his incredibly high quality control. His most recent full-length, Harmony in Ultra Violet, was viewed as a major release in the genre of experimental electronic music. Aidan Baker, on the other hand, works under very different circumstances, releasing material both as a solo artist and as a member of the duo Nadja. His prolificacy is on par with that of Merzbow and the late Muslimgauze. Thankfully, Aidan Baker is one of those musicians with the ability to record and write new music quickly and without sacrificing the quality of his art. Anyone familiar with both Aidan Baker and Tim Hecker is more than likely familiar with Alien8 Recordings as the two musicians have collectively released seven records for our label thus far. While Baker has collaborated with the likes of John Duncan, Black Boned Angel and Fear Falls Burning, among others, this marks the first collaboration to be released by Hecker.

This release, divided in eight movements, blends together to form a fluid example of a collaboration that works. Unlike those collaborations where artists throw some sound files back and forth via the internet, this release is the fruit of various real-time recording and mixing sessions the two artists worked on at Tim Hecker’s Montreal studio. The pieces on the record blend seamlessly into one another creating a deeper listening experience, as is the case on a number of Tim Hecker’s solo outings. While Baker and Hecker share a penchant for creating a powerful blend of ambient noise, “Fantasma Parastasie” finds the more dissonant elements tempered by an emphasis on ambience and even occasional melody.

This release is available on CD in a digipak packaging. A 500 copy, limited edition on white vinyl is also available. Both items can be pre-ordered in order to reserve copies.

Release date: October 14, 2008

Label: Alien8 Recordings




aidan baker - june 13th 2008

Dreamend - The Long Forgotten Friend [2008]


Dreamend is the main musical output of Ryan Graveface, Graveface Records' owner/sole employee and part time guitarist for psychedelic oddballs Black Moth Super Rainbow. Since its’ inception in 2002, Graveface has released albums by Monster Movie (ex-Slowdive), The Loose Salute (Mojave 3 side project), Kid Dakota, Appleseed Cast, Art in Manila (ex-Azure Ray), Octopus Project, BMSR and many more.

The Long Forgotten Friend's 14 songs (10 songs on the cd version) are loosely based on stories and memories of a relative from the far past, whose tragic life has metamorphosed into legend over the course of time. This is music to listen to while driving through abandoned cities and ghost towns, imagining their disintegration. Rather than drums making the melody as on their previous efforts, banjo and vocals are at the foreground of the landscape. The drumming is minimalist, almost spastic and, as always, the guitars are the ghosts. Dreamend has taken a darker, folky, more nightmarish road than before. Some evidence of this can be found on the tracks Your Kiss, Scratch and Deathwatch Carnival 1965. Conversely, they have found themselves with more poppy, almost sing-alongs than ever before (see Are you Waking and The Tulip Staircase).

Appearances by Toto of the Octopus Project and Darren Jackson of Kid Dakota add some outside sounds, while Darren and John Congleton's (see Explosion in the Sky, Modest Mouse, etc) mixing bring them all together.

source




"Cant Take You {Dif}" live - SXSW 2007

Faun & The Pagan Folk Festival [2008]


Faun combina los instrumentos antiguos con influencias modernas para crear una atmósfera encantadora y de gran alcance.
Su música es de raíces claramente europeas. Exploran y profundizan en estas raíces básicamentefolk, medievales y renacentistas que de tan creativa inspiración les sirven dándoles, a la vez, un espíritu de contemporaneidad con un resultado muy sugerente. Es por su interés y su amor a la pluralidad cultural europea que cantan en alemán, francés, italiano, portugués, occitano, etc.


Los funcionamientos que la banda incorporan a su sonido incluye hasta tres voces y emplean diversos instrumentos. Por ejemplo: La arpa céltica, el nyckelharpa, los varios lyres, las gaitas, los tambores japoneses grandes del taiko, el cister, la cítara Pagan, las flautas e incluso los instrumentos orientales tienen gusto de dombra, del rebab, del riq, del oud, del darabukka y del bendir.
Las influencias de la gente céltica, de la música medieval y de los tonos rítmicos levantinos fundiéndose con conducir golpes dibujan a muchedumbre siempre de crecimineto rápido de seguidores.

El conjunto Faun fue fundado a principios de 2002 en Munich y se ha realizado en más de 300 ocasiones en festivales, mercados, salones de conciertos e iglesias a través de Europa. Por ejemplo: El festival de Mèra Luna, fantasía del duende justa (Holanda), onda Gotik Treffen 2002, 2003, 2004 y 2005, fiesta Celtica Biella (Italia), Zillo al aire libre, Folkwoods Folk.

http://www.lastfm.es/music/Faun




Faun & Pagan Folk Festival (1 of 2)

MV,EE and Gabriel Walsh - Temptation To Zoology [2003]

Un impulso de sus reflejos han capturado las escenas mágicas que abstractas dan forma a esta obra "Temptation To Zoology" bajo la cuna de Children of Microtones en el año 2003, Matt Valentine, Erika Elder y ahora la colaboración de Gabriel Walsh.
Historia orgánica custodiada por las hievas, es medicina natural, cual es el similar efecto que se riega en amor a la distancia para emerger en los colores de su isla?, en continuidad sonora y sensorial profunda de oídos atentos, observando las frecuencias que activan el baile de la mar, un paso en el cielo que mantuvo con fé, ahora estas preparado para flotar!.

El formato de video en el cual lo he subido es avi.
The format of video in which I have raised it is avi.


Matt Valentine Interview / Dream Magazine

Matt Valentine has made some of the most enjoyable acoustic based psychedelic improvisational music ever recorded, both in his several solo albums (usually with Erika Elder aka EE, pictured above with MV), and work with the band Tower Recordings (with folks like: P.G. Six, Helen Rush, Erika Elder, and Tim Barnes among others). Matt’s solo albums tend towards the more spare and spectral end of the spectrum; acoustic explorations that show their Fahey roots as well as a deep love of Indian classical music and much more. The music he makes with Tower Recordings fuses a Takoma Records acoustic based organic folk sensibility with a spaceman/caveman psychedelic tribalism that employs: various (mostly) acoustic and electric guitars, percussion, marimba, tin whistle, Wurlitzer electric piano, ring modulator, shakuhachi, cello, piano, tapes, primitive electronics, autoharp, oscillator, drums, and more with a sense that they are also playing the acoustics of the given space they are reverberating within. There is some Incredible String Band in the mix as well; along with, the earliest recorded blues, ESP Disk outsider vibes, and clouds and clouds of smoke. Some of Matt’s finest solo outings include: Tonight! One Night Only! MV & EE in Heaven (originally issued on Matt’s Child of Microtones imprint, and later on vinyl by Time-Lag), Space Chanties (Fringes Recordings), and Glorious Group Therapy (Ecstatic Yod). A couple essential TR releases are: Furniture Music for Evening Shuttles (Siltbreeze), and Folk Scene (Communion).

source


Temptation To Zoology [2003] (part1/part2)


MV + EE w/ Willie Lane - East Mountain Joint

miércoles, octubre 29, 2008

Larkin Grimm - Parplar [2008]


You proposed to raise this disc, the wait I end, now it can enjoy, do not forget to comment!.

"Larkin Grimm is a force of nature, a self-made woman with an elemental voice from somewhere under the earth. Depending on her mood, she moans like a woman-in-full, wails like a banshee, or coos like a crazed little girl. Born 26 years ago in Memphis, Tennessee, to hippie devotees of the religious cult The Holy Order Of MANS, raised by multiple “parents in the commune environment of the cult until age six, Grimm spent the remainder of her youth in the Appalachian mountains of Georgia after the cult disbanded. With five siblings and challenged economic circumstances, she won a full scholarship to Yale to study art. During her time at the Ivy League university, she also traveled in Thailand, Guatemala, and spent a few months hitchhiking and living by herself in a tent in Alaska. After temporarily dropping out of school to hang out for a couple years with eco warriors, vagabonds, and sexual deviants in Olympia, Washington, Grimm returned to Yale, where she was a member of Dirty Projectors for a while. Upon graduation, she moved to Providence, where she was an active participant in the city’s noise scene and made a few albums of improv/free-form songs for Secret Eye Records. Grimm books her own tours, travels light by herself, and lives in a tent during the warmer months. She has no permanent address and doesn’t want one. Grimm’s taste for music comes from her old-time fiddler and singer father and her folksinger mother. She naturally developed into an absolutely gifted singer, fingerpicker, and multi-instrumentalist. She’s shared bills with Devendra Banhart,Spires That In The Sunset Rise, Espers, Brightblack Morning Light, Entrance, Viking Moses, The Microphones, and Old Time Relijun. Parplar was co-produced by Michael Gira and was recorded at Old Soul Studio in Catskill, NY, and Seizure’s Palace in Brooklyn, and mixed at Trout Recording. Grimm truly rises to the occasion on the album, which features absolutely stellar vocal performances of songs that are soulful, whimsical, sensual, and bizarre. The production is as varied and unpredictable as Grimm herself. The list of guest musicians includes Young God’s new luminaries Fire on Fire, members of Boston’s Beat Circus, and Old Time Relijun, as well as various revolving members of Angels of Light."

boomkat




The Last Tree

Horse Feathers - House With No Home [2008]



It’s funny how music you’ve never heard before can elicit overwhelming nostalgia. From the moment you hear Portland-based Horse Feathers singer Justin Ringle’s croon on their latest album’s opener “Curs in the Weeds,” it’s hard to forget times of serene happiness in your life. It’s hard to forget times of youthful bliss, and it’s downright disturbingly difficult to forget the impact of young love — or maybe it’s just me.

Whether or not the lyrical content of House With No Home matches any of these memories is irrelevant — Ringle’s mumble conjures up surreal scenarios of Tracy Chapman doing Sam Amidon, minus any vocal enunciation; rather, it’s the otherworldly music that causes one to get lost in cerebral trauma while driving home alone at night. To be direct, the sound of this album is nothing short of beautiful. Peter and Heather Broderick’s string arrangements mimic Aaron Copland’s most tender moments, and over Ringle’s guitar strumming, the impact is enough to cause the White Witch’s icy heart to melt.

Listen to “Rude to Rile” and you’ll find a masterpiece of violin, cello, and percussion. I’ve listened to this track over and over again, and I felt as though my life story was being told: "He just waits/ And he hopes and he prays/ But the more she is loved she hurts." It makes me wish I had written it, because it feels like I mean it. Yet strangely, it still feels like it could be an old Appalachian folk song; I don’t know how, but it does. And it’s not as though love lost is my life story, but for a few minutes I’m convinced that it is.

source




Horse Feathers: Live at Pop Montreal

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




Ignatz: The Water

Buena Vista Social Club - Live At Carnegie Hall [2008]


Review by Michael Quinn
13 October 2008

With sales of more than eight million copies of their eponymous 1997 debut, Buena Vista Social Club must be a strong contender for the most popular World Music act ever. Admirers of the crack Cuban collective will have encountered substantial parts of this recording before in Wim Wenders' acclaimed documentary profile of the group. Even so, this two-disc release of their only visit to New York is not to be missed.

Caught live at the city's legendary Carnegie Hall in July 1998, this truly historic concert marked the American debuts of the band, all of them at the time well into their 70s, 80s and 90s. A decade on, the impact of musicianship as considered, consummate and casually thrown off as this remains magical and mesmerising. This is the real thing, and how – music-making of a standard rarely achieved in any genre that communicates with a joyous, life-affirming vitality that is simply impossible to resist or refuse. It's a shot of pure musical adrenalin that hits the mark every time.

Produced by Ry Cooder, the Carnegie Hall concert thrillingly caught the Buena Vista Social Club at the very height of their powers, and at the very end of their colossal achievements. The band never played together again and within all too short a time, key contributors like Ibrahim Ferrer, Rubén González and Company Segundo had died.

But the legacy left behind remains vividly alive, as this 16-strong collection of the group’s most popular pieces amply demonstrates. Yet while tracks like Chan Chan, Orgullecida, Candela and Veinte Años retain the capacity to leap vibrantly out of the speakers, what continues to amaze and astonish in equal measure is the sheer technical virtuosity of the playing, the impeccably attuned sense of ensemble, and, above all, the unfettered and infectious joy in making music.

We may never see or hear the likes of Buena Vista Social Club again, but what relatively little we have on disc will endure and abide. This startlingly good, beautifully recorded one-off provides a covetable reminder of a peerless musical phenomenon at its glorious peak.

bbc.uk.


Live At Carnegie Hall [2008] (part1/part2)


Buena Vista Social Club - Candela

Sing a Song for You - A Tribute to Tim Buckley [2000]


Album Tracklist :

Disc 1
:

1. "Sing a Song for You" performed by Moose - 3:30
2. "Morning Glory"† performed by Simon Raymonde, Anneli Drecker - 4:19
3. "Dream Letter" performed by Brendan Perry - 4:20
4. "Love from Room 109 at the Islander" performed by Mojave 3 - 4:30
5. "Because of You"† performed by The Friendly Science Orchestra - 5:36
6. "Cafe" performed by Mark Lanegan - 5:38
7. "Buzzin' Fly" performed by Shelleyan Orphan - 5:39
8. "I Woke Up"† performed by Mike Johnson - 3:06
9. "Blue Melody" performed by Cousteau - 5:20

Disc 2 :

1. "I Must've Been Blind" performed by Heather Duby - 5:34
2. "Sweet Surrender" performed by Dot Allison - 6:01
3. "Pleasant Street" performed by Geneva - 9:15
4. "Strange Feelin'" performed by Lilys - 3:27
5. "Happy Time" performed by The Mad Scene - 3:54
6. "Phantasmagoria in Two" performed by Neil Halstead - 4:37
7. "Once I Was" performed by Tram - 3:56
8. "Song to the Siren"† performed by The Czars - 7:50


Descarga : Sing a Song for You - A Tribute to Tim Buckley [2000] (part1/part2)


Tim Buckley - Song To The Siren