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
Hair Police is an American psychedelic noise rock band based out of Lexington, Kentucky formed in 2001. They have released records through labels such as Troubleman Unlimited, Hanson Records, Gods of Tundra, Freedom From, and Hospital Productions. They have also released a split record on Load Records with Viki. Members of Hair Police have also played with other groups such as Wolf Eyes, Eyes and Arms of Smoke, Burning Star Core, Three Legged Race, Von Hemmling, ulysses, Warmer Milks, and ATTEMPT.
Hair Police formed in January 2001 in Lexington, Kentucky. The original line up was Robert Beatty, Ross Compton, Mike Connelly, Matt Minter, and Trevor Tremaine. The band released the History of Ghost Dad cassette to coincide with its first live show on April 13th, 2001. Compton stopped playing with the band in the summer of 2001. Minter left the band in October 2002. Connelly moved to Michigan at the end of 2003 and joined Wolf Eyes in the spring of 2005.
The band has toured extensively in the U.S. with Wolf Eyes, Prurient, Kites, Graveyards, Heathen Shame, No Doctors, Nautical Almanac, Sightings, Mammal, Neon Hunk, and most notably with Sonic Youth in August 2004.
Tal como se piensa al respecto del incremento en los sonidos Post Rock a visto un criterio procreado a la tenaz inversión de núcleos auditivos, que irrumpen sus estructuras suaves, con ruido y potencia, esto ve en una suerte de distancia extensa con que el tiempo compone como pequeños detalles mermados de tanto volumen sónico, y se conjugan para informar la nueva era dentro de un cuadro de agua, biología de las hondas, organismos en constante comunicación y los segundos, los instantes de un segundo en el que la sorpresa mueve entornos para tí, mi Paula.
As Post Rock thinks with regard to the increase about the sounds to seen a criterion procreated to the tenacious investment of auditory cores, which irrumpen his soft structures, with noise and power, this sees in a luck of extensive distance with which the time composes as small details reduced of so much sonic volume, and they conjugate to report the new age inside a water picture, biology of the slings, organisms in constant communication and the second ones, the instants of a second in which the surprise moves environments for you, my Paula.
[MICHAEL GIRA - YOUNG GOD RECORDS] "ABOUT EGO:ECHO" "Overall structures are fairly simple just a couple chords apiece. Where it all happens is in the interaction of the instruments. Their respective playing is loop-centric, o narrative thrust proceeds from phase relations shifting in the course of a given song." One summer, in the midst of a debilitating heat-wave, Ulan Bator and I (complete strangers to each other at the time) locked ourselves up in a tiny recording studio in a village just north of Florence, Italy, for 18 hours a day for three weeks. We got to know each other pretty quickly! Of course I'd heard demos of the material that eventually became the songs on this recording, and I'd heard (and been a fan of) their earlier records, but as we started to work it became obvious to everyone that we had to be open to anything, to be willing to start from scratch in some cases - just throw everything out the window and make something happen right now if we were going to rise to the potential of the moment. So, much (though certainly not all) of this music was written and/or (re)arranged on the spot, as we worked, under increasingly intense pressure. Adrenaline, stress, heat, chaos, and panic, combined with the lanuage barrier (they're French, the engineer was Italian), forced us into places we never expected to end up in, which to me, was incredibly elating. In some cases the basis for the song started with just a groove, or an electronic sound, or a vocal idea, or an accidental noise, and was eventually wrestled into the final version you'll hear on this CD (though other songs are re-arranged versions of material they'd previously worked out). To watch them play, cramped up in the miniscule (about 8' x 12', as I recall) recording booth - bass, drums, guitar and amps included - strangling the groove out of their instruments with completely uncynical and unselfconscious commitment (and this from unrepentant, intellectual "art rockers" - a breed I usually find to be pretty anemic, at best, and merely clever, or "hip", at worst), was a joy I'll never forget. Their musicality and their dedication to making something powerful and clear out of whatever raw materials were at their disposal at the time ( sometimes a grand piano, for instance, or other times a piece of looped digital feedback), coupled with their immense knowledge and enthusiasm for the music they love that's gone before them - from the Beatles and Beach Boys to New York No Wave to Krautrock to experimental electronic music - combined to make this, I think, a great "experimental rock" record - or whatever genre you want to call it. To me personally, it's one of the most rewarding records in which I've ever been involved, and it's an honor to be able to release it on Young God Records. I think if you listen to it with even a fraction of the pure enthusiasm of its intent, you'll find much to enjoy here. As for the lyrics being sung in French: Tough luck, they are French.
Frases entre la oscura ambicion sobre dominio del fuego, en la profunda caberna del Rock, se escuchan detonar las paredes mientras parte del cuerpo se sobrecoje, un alto parlante estimula el impulso joven de caer borracho en el cuarto de una dulce mujer. Son fragmentos de dimencion extra soluble que se disuelven dentro de los vasos sanguineos.
Om is a duo formed in 2003 by the rhythm section of the disbanded stoner doom metal band Sleep. The band's first three albums feature Al Cisneros on vocals and bass and Chris Hakius on drums. Their music is similar in structure to Tibetan chanting and is rich in rhythm and melody. Their music and lyrics lift off at the beginning and slowly mutate giving a feeling of evolution inside each song.
On the 31st of January 2008, it was confirmed that Hakius had left the band, but that Om would continue with another drummer, according to a message on the band's website. The message also stated that "A live vinyl only LP, Om - Live at Jerusalem, will be forthcoming. This is Chris Hakius' final release with the group."
In March 2008 OM recorded a 7" for Sub Pop records. The song "Gebel Barkal" is the first to feature new drummer Emil Amos.
The founding members of the great "drone mantra" duo OM are Al Cisneros (bass) and Chris Hakius (drums), formerly of SLEEP, the influential 90's Doom/Stoner/callitwhatyouwant band with Matt Pike (now in High on Fire) on guitar.
Unfortunately, Al Cisneros recently announced that Chris Hakius had left the band due to unknown reasons. Al will continue OM with a new drummer. Enjoy it, you might never gonna see them play together again. Sad but true.
The first ever release from the Hototogisu duo of Matthew Bower (Skullflower/Total/Sunroof) and Marcia Bassett (Double Leopards) that even approaches being ‘generally available', Green is a real CD - not a CD-R - pressed up for the group by the sainted Ed Hardy of Eclipse records and available in an edition of 1000 copies complete with a suave full-colour booklet reproducing a bunch of the duo's art. Anyone whose mind was blown by the vision of this pair powering their way through one of the most magical/unforgiving sets of Subcurrent 2005 will find plenty to drown in here. Tracks are shorter than on previous releases, though even more obsessively detailed. There are points where the cacophony is so insanely oversaturated that the noise starts to sound as if it's spontaneously giving birth to language: you start hallucinating words and sentences, almost as if the film protecting you from a constant bombardment of information-heavy environmental radiation has been blown apart. Green also features some of Hototogisu's most straight-ahead death/doom metal moves. Although they're not quite Skullflower, the first track features snatches of classic death metal riffs alongside the stomach-punch of a cheap drum machine and on their theme song, the beautifully ferocious “Heavy Blossom”, Mick Flower of Vibracathedral Orchestra plays drums. Alongside all the iron first action, there are some beautiful moments where Marcia and Matthew's voices melt into ribbons of pure white light and the whole thing floats to the ceiling. A modern classic, and possibly the best Hototogisu album to date. Highest recommendation.
odditties sodomies vol. 1 is a compilation of ariel pink's haunted grafitti rare, dreamy tracks. mostly it contains demos and outtakes from previous records, and though this isn't an ideal starting point for those who never heard of him, it's quite essential not only for it's honest rawness, but also for ariel's infinite ability at taking lo-fi sounds to a whole other level.
Sera la distancia que se mide entre hondas ambientales, minimalistas, al explorar en su guitarra ruidosa, sera tonal experimental que mueve sus figuras en constante equalizador vibratorio, un solo color se comunica al eléctrico panel de posibilidades aun incubo. Con la mirada perdida se presentan amplios cambios estáticos que el concepto que tienes de la música se destape, emotivas piezas lineales desifrandas por la máquina, solo en completa igualdad equilibrio se deben seguir los pasos por los terrenos barro Zaimph.
Zaimph, alias Marcia Bassett, made most of her music with a guitar, using e-bows and laying things across the string while she picked and sawed at it. She also held the microphone in her mouth for some vocals.
El primitivo eco receptor que envuelve a los pétalos furtivos del gira sol se denota al horizonte con su ruidoso tonal de exclamaciones propias, autenticas sobre el actual derroche de basura en cada uno de los hogares hongo casa humanoides caóticos que siguen involucionando con su temor, un destello de luz que entra por la ventana cuadro de vidrios quebrados por las ramas que extiende su torso desnudo en la habitación, se protege irrefutable de los cuatro puntos sociales que menoscaban sus andanzas, sus añoranzas, que se yo?. El espejo muestra en cada uno de estos discos un profundo apego a la inmersión bajo mundos desconocidos, estructura simbólica que representa un comienzo lleno de tranquilidad al porvenir, solo juega con las manos intercambiando moléculas de polvo flotante con aire, intenso amor de golondrina que se va, y la veo irse con tristeza, ahora cada espacio se desvanece al completo silencio, si no comentas, no estamos avanzando y si las verdes estrellas que dieron la corriente de las aguas no vuelve, buscar nuevos planetas.
The primitive echo recipient that wraps to the furtive petals turning of the Sun, is denoted to the horizon by his noisy tonal one of own, authentic exclamations on the current waste of garbage in each of the hogares Mushroom marries chaotic humanoids that continue regression with his dread, a sparkle of light that enters for the window picture of broken glasses for the branches that his nake thorax extends in the room, is protected irrefutably from four social points that reduce his wanderings, his nostalgias, that I?. The mirror shows in each of these discs a deep attachment to the dip under unknown worlds, symbolic structure that represents a beginning full of tranquility to the future, only it plays with the hands exchanging molecules of floating powder with air, intense love of swallow that goes away, and I see her to go away with sadness, now every space vanishes to the complete silence, if you do not comment, we are not advancing and if the green stars that gave the current of the waters are not turned by it, to look for new planets.
En un simple flotar de hojas, vuelve todo a la fase inicial sobre las teorías de dilatación corporal en un espacio onírico, que habla de trayectos infinitos, posterior a la muerte, los rayos de luz queman la superficie y florecen de celeste, quien sostiene el mundo se inclina para observar la verdad, esa que no se puede escribir más. El ep Prisioner of seven Pines es un fresco capítulo por venir, es la mirada casual del viento que toca a la puerta fuertemente en busca de contemplación.
Growing evolved out of two bands, Joe Denardo from Black Man White Man Dead Man and Kevin Doria from 1000 A.D., in Olympia, WA. in the fall of 2001. Joe Denardo moved from Chicago to Olympia and helped operate the Thin The Herd label with Zack Carlson, which released early material from Vaz and Total Shutdown. Eryn Ross joined to make Growing a trio. Moving from hardcore towards something slower and more expansive the band played around it's hometown and up and down the West Coast of the United States. The first Growing release was a 7 inch single on the Nail In the Coffin label.
Growing played in a variety of settings and contexts, from art gallery to hardcore all-ages shows. The group has arranged quadraphonic sound installations and lugged stacks onto a stage. Growing have made soundtracks for videos (most recently a project for continuous two channel video and multichannel sound installation with Lisa Darms) and often play accompanied by Denardo's photographs. Growing self-released a number of cassettes of music.
After a tip from Paul Dickow of Strategy, who played a show with Growing and was struck by their quadraphonic sound environment, kranky began the process of releasing the debut Growing album in spring 2003. The Sky's Run Into The Sea came out in August 2003. As Denardo described the recording process, "We recorded the record with a friend, so the atmosphere was very laid back and cheap, this was long before kranky decided to put it out. It took place over three months over three months, but mostly because of equipment failure. Since it was winter it rained a lot."
Otis Hart described the nature of the band's music in Dusted: "Reach for an initial word, a label - say Doom Metal - then watch, as the demonic guitars slowly morph into demonstrative bliss. Drone may come a bit closer to the truth, but only slightly, as silence plays an equally significant role in the proceedings. Alas, Growing's anomalous sounds dwell in perpetual nigh-fidelity, permeating the gaps between equalizer settings with evasive intent, frustrating any attempr at optimization, and therefore, classification."
After the release of their debut longplayer Growing toured the West and East Coasts. The band is moving their base of operations to New York City. Animal Disguise Records is re-releasing tour tapes and a double cassette, two channel album called Above/Below Sea Level. Heroine Records in Italy is releasing a split CD/LP with Growing and M. Evan Burden (of Get Hustle). In March 2003 Growing will play shows in California with Chicago instro-metal overlords Pelican in preparation for a split release on the Hydra Head label. And in spring 2004 Growing journey to Portland, OR to mix their next album at Magnetic Park with Rex Ritter of Jessamine/Fontanelle at the board.
Perhaps inspired by the east-meets-west solo guitar musings of John Fahey or Robbie Basho, former Plague Lounge guitarist Ben Chasny formed Six Organs of Admittance in 1998 in northern California. Six Organs’ self-titled, self-released debut was released that year, followed by various compilation tracks and obscurities. In 2000, Six Organs released the Manifestation EP on Ba Da Bing! records, a one-sided clear vinyl-only release consisting of one extended piece (it was reissued by Strange Attractors on CD in 2004 with extra music) , and featuring female vocals and varied percussion accompanying the centerpiece of Chasny’s guitar. Also in 2000, Dust and Chimes was released, first as a limited edition by Pavilion, and then in an expanded run by Holy Mountain. The second full-length from Six Organs, it featured raga-like guitar work surrounded by bells, chimes (as the name implies), drones, and Chasny’s multi-tracked, chant-style vocals. In 2003 Casny began an association with Comets ON Fire which led to him becoming a full time touring and recording member of the band. He also released COmpathia with Holy Mountain and two titles for Time-Lag a CD reissue of 1999’s limited edition Nightly Trembling and the landmark For Octavio Paz. After recording and touting extensively with Comets On Fire in 2004, Chasny returned to to the studio and issued the moving and beautiful «{School OF A Flower» on Drag City in January of 2005. ~ Jason Nickey and Thom Jurek, All Music Guide
La infinita posibilidad de atraer el tiempo en pequeños trozos de neo-positivismo en donde cubro con la mirada perpleja las formas geométricas que acompañan los misterios del sonido más sensible que fluye en aromas de campo, dando origen al estado de fecunda inactividad, es el dominio del espíritu, del cuerpo, todo en dibujos consientes, entre caminos humanos, en la vida que florece pronto, en el ser que nace y deambula sin sentidos, en la pasión del sexo, en la inhibición del alcohol y las montañas de una infinita cordillera, arpegios bien manufacturados al otro lado, gracias al blogExperimental Etc.
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If you went looking for a poster-child for Chicago's multidirectional, cross-pollinating, interstylistic music scene, you couldn't find a better one than Jeff Parker. Parker: jazz guitarist with pro credentials, widely travelled and prized by top soul-jazzers and hard-boppers. Parker: inveterate rocker who revitalized Tortoise with his ferocious improvising and tasty licks. Parker: experimentalist willing to try new dub, hip-hop,electronic, collage, free, chamber - anything worthwhile, irrespective of genre or orientation. Community expander, boundary buster, restless explorer - Jeff Parker is constantly trying out new things with new partners. A man on the move.
Somehow, Jeff Parker manages flow through all these incarnations without copping a dilettante's superficiality. He applies the same depth of musicality and keen ear for quality to everything he does, which is part of what has made him one of the most sought-out musicians in the Windy City. Another part of that appeal, it must be said, is Parker's immense generosity and warm humility, the latter of which perhaps explains why he's only made one other CD as a "leader," the acclaimed trio outing Like Coping, released on Delmark in 2003.
Founded in 1995, The Relatives is a quartet of like-minded musicians drawn from the Chicago Underground Orchestra. Parker's been working with bassist Chris Lopes since college days, when they were at Berklee together in Boston in the mid-80s. Drummer Chad Taylor, who recently moved back to New York after a fruitful period in Chicago, has been a colleague of Parker's since just after the guitarist moved to Chicago in 1991. The newest comrade, Sam Barsheshet, who plays electric piano on the record, sat in on a gig with Parker in 2002. "I enjoyed his playing and open conception," says Parker.
Parker says this session, which was waxed in January, 2004 at SOMA and engineered by John McEntire, is "more 'song-oriented' than the previous album, and less of a jazz-oriented 'blowing date.'" It includes original compositions by Taylor ("Istanbul") and Lopes ("Sea Change," "Bean Stalk,""Toy Boat"). Parker's own compositional contributions include "Mannerisms," a piece that's become a local standard, prized by various groups - Chicago Underground Quartet, Ted Sirota's Rebel Souls - for its sinuous, groovy lines. "Rang (for Michael Zerang)" is a piece written by Parker for his friend and colleague, percussionist Michael Zerang. "It was written when we were both on a tour of France with the Vega Trio, right at the start of the Iraq War."
"The Relative" was composed by Parker and bassist Matthew Lux, with whom the guitarist worked in Isotope 217, the band for whom it was originally conceived. "I decided to revive it for this recording," says Parker. "I composed the bulk of the tune, but the weird, twisty bassline that roots the intro and outro was composed by Matt Lux. The first two-and-a-half minutes of the tune are my attempt at demonstrating an abstraction of my perception of Relativity, which essentially means that as one moves in space, one's perception of said space is altered by one's movement. I tried to aurally capture this by having everyone perform various repeating figures on different tracks that start at one tempo, then ramp up or down to another tempo, and end together at the original tempo."
The CD's one non-original is a gorgeous reworking of Marvin Gaye's "When Did You Stop Loving Me, When Did I Stop Loving You," on which Barsheshet shines particularly brightly. "I've always embraced the feelings of melancholy that I experience when I listen to the original version of this song," says Parker. "I thought it would be a challenge to try and capture some of that spirit in a swinging, but slightly abstract version of the tune, which is, essentially, how I perceive the original version to be. The premise was to have the band improvise over the form of the tune, and then I overdubbed the guitar melody (with embellishments) over top of it. I was trying to get a vibe like some of the great jazz recordings from the 70s when they actually used to play good jazz on commercial radio and people dug it."
Of the group and CD's name, Parker returns to his Einsteinian explanation: "The Relatives refers to the notion of a community (in this instance a community of musicians) functioning much like a family does, and also the abstraction of Relativity, which implies that as one moves, one's perspective changes along with one's movements. Since we're always moving, we're always changing."
Always moving, always changing. Good thoughts for this polyglot poster-child. ---John Corbett