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
You will have to raise the unit of the matter with the colouring landscapes that Roy Montgomery's music offers you, he guards carefully the directions in order that then you cross with knowledge of the astral territory in which if you decide to unload these links you will have the pleasure of experimenting, out of the designed times, the contemplative attitudes in liabilities were forging a planet in which you will be able to take food and then to cultivate for the next visit, it shows always thank you in the shape of commentary, inside " In the Freezer of your Conscience ", because of this form if one of these links dies, I will have time myself of turning it to rising, now he enjoys.
Deberás plantear la unidad de la materia con los paisajes coloridos que te ofrece la música de RoyMontgomery, guarda con cuidado las direcciones para que luego recorras con conocimiento del territorio astral en el que si decides descargar estos eslabones tendrás el agrado de experimentar, fuera de los tiempos diseñados, las actitudes contemplativas en pasivo te forjaran un planeta en el cual podrás tomar alimentos y luego cultivar para la próxima visita, muestra siempre un gracias en forma de comentario, dentro de "En el Congelador de tu Conciencia", porque de esa forma si uno de estos eslabones muere, yo me daré el tiempo de volverlo a subir, ahora disfruta.
Busca en el interior del alma, con brotes vivos que bañan de análisis prolongado la etérea anti-realidad sumergida en los torniquetes, escaleras mecánicas al cielo, y la luz que guiara con guitarra psychedelic el baile tras la noche bohemia y celosa, alegría viaja en su carruaje, señor, usted debería visitar este link de youtube (http://www.youtube.com/watch?v=DXaOHVC9V8Q)...
This self titled collection is the second release for Arborea. Hailing from Maine, the duo of Buck and Shanti Curran (on vocals, guitars, banjos, percussion) are joined on two numbers by Helena Espvall of Espers on cello. Here they conjure up a musical offering that is equal parts Appalachian music, traditional English folk music, and contemporary psychedelic folk with experimental touches creating a sound that stands out as unique while touching upon something that feels as ancient as the urge to create music.
Rare is the record that takes the listener to fields both verdant and desolate in the same journey as this release does, and it does so in a way that makes both equally powerful and inviting. The duo possess an alchemy that makes their collaboration feel as natural as the trees from which their names comes from.
Following upon the success of their debut effort Wayfaring Summer, Arborea have outdone themselves with this release, a recording that establishes them as masters of their craft. This is a group you will be hearing from for years to come.
“Arborea creates timeless music, haunted by deep shadows. Their songs are bathed in shimmering harmonics, spectral slide, and positively spooky banjo. The songs also evoke a kind of mysterious quality, they seem to touch a place in your soul that instinctively understands.”
– Dirty Linen Magazine (from a review of Wayfaring Summer)
The debut solo release from Helena Espvall, cellist of Espers. Her past and present collaborators include such diverse figures as Fursaxa, Oluyemi Thomas, Sharron Kraus, From Quagmire, Lukas Ligeti, Samara Lubelski, Eugene Chadbourne, Pauline Oliveros, Scorces, Katt Hernandez and many others.
With production and electronics provided by sonic maverick George Korein of Infidel?/Castro!, "Nimis & Arx" is a recording of translucid wonder. Utilizing cello, guitar, recorder, voice and electronics, Espvall has delivered a CD which touches on aspects of all the multi-faceted elements of her musical journey to date while creating a vocabulary in a voice which is uniquely hers.
BIO:
Having played guitar and cello in several rock bands (as well as performing in a silent movie orchestra, an Arabian Music ensemble and free improvised music), Swedish-born multi-instrumentalist Helena Espvall moved to Philadelphia in the year 2000. Besides performing with Espers, Helena performs with the Amnesiac Music & Dance ensemble and collaborates with many others in the psychedelic folk and free improvisation world.
Helena has performed several times at the Philadelphia Fringe Festival, twice at the High Zero Festival of improvised music in Baltimore, at the Improvised and Otherwise Festival in Brooklyn, at the Big Sur experimental festival in California and at Terrastock 2006 in Providence, RI among others.
SELECT DISCOGRAPHY:
Espers II by Espers (drag city 310) 2006 Weed Tree by Espers (locust 73) 2005 Habitats In The Wound by From Quagmire (vhf 88) 2005 Before The Beginning by Oluyemi Thomas (recorded 011) 2003
“In the depth of a swelling seashell, hear the voice of ancient Rose Gala. The current here is very numb, not calm but a very quiet subsequence. We meet there again and again throughout this Espvall's kindle. Far over sombrous Zoroastrian mount how you recognize your limen to get back there? Now listen.”
Afternoon Dream is the debut solo CD release of Paradise Camp 23 director Erik Amlee. His previous solo sitar cd-r releases have garnered much acclaim in many quarters. Brad Rose of Foxy Digitalis declared “Amlee's skill is apparent. This piece delicately unfolds like a linear dream about the sun's daily movement in the sky. With little more than a hint of delay to push the movement along, Amlee's playing is like a slow waltz at the moment the last rays of dusk are extinguished. It is simple, beautiful, and timeless.”
On this release Amlee adds acoustic guitar to the proceedings, to wonderful effect. Afternoon Dream is a masterful combination of trance inducing solo sitar work and pellucid acoustic guitar pieces, with a subversive loop or two thrown in to ensure that listeners don’t merely drift away completely into a blissful sonic netherworld.
BIO:
A figure in the underground experimental psychedelic music scene since the Eighties, Erik Amlee has performed in a variety of groups and settings exploring the outer fringes of sonic possibilities. Last year the release of his two solo sitar cd-rs brought him to the attention of a whole new group of listeners.
Besides running the Mandragora imprint, Amlee is also responsible for Weirdsville web radio – bringing ten channels of adventurous sounds for your listening pleasure.
PARTIAL DISCOGRAPHY:
Sitar Vol. 2 - Erik Amlee (2006) Sitar - Erik Amlee (2005) The Grassy Knoll - Paradise Camp 23 (2005) Solitaire - Paradise Camp 23 (2002) Chaotika - Voodoo Mechanics (1997) The Acid King - Crackhouse (1990)
1-Speed Bike is the DJ and mobile soundsystem alter-ego of Aidan Girt, drummer for Montreal-based bands Exhaust and Godspeed You! Black Emperor. Making his first appearance remixing tracks on an ancient 12-bit AKAI sampler for Exhaust’s debut record, 1-Speed Bike went on to build a large sample bank sourced from his own live drumming and made a full-length album (with full 16-bit resolution) for Constellation in 2000. He has also moshed things up at numerous street actions and benefits over the years, and has gone on to release a series of records on Broklyn Beats. Aidan was a member of the Montreal Anarchist Bookstore collective and lived in Amsterdam for a while before settling into a cabin in the woods outside Montreal, where he continues to speed things up and slow things down at his home studio.
IMPROVIKA (CD - Locust Music, 2004. LP Issued by Bo Weavil, 2005) "The nine compositions of “Improvika” are influenced by folk music of all corners of the world with the music of India and the Middle East playing particularly prominent roles. This is not, however, post-modern pastiche or multicultural collage. Quite the contrary, it is something that synthesizes all these disparate elements into something wholly new. Bishop has a somewhat improvisational rhythmic language that is all his own as well as a compositional sense that (even if these pieces are, in fact, improvisations as the title might suggest) carries this album easily through its 45 minute running time." - Nick Hennies (Foxy Digitalis)
FINGERING THE DEVIL (CD/LP - Southern Records, UK, 2006) "Bishop’s seamless blend of gypsy jazz and flamenco guitar embraces the duality of nomadic life, its exuberance and world-weariness. Overall Bishop’s pace is slightly slower here than on his previous full length "Improvika" except on the album’s galloping closer “Howrah Station.” In “Dance of the Lotus Eaters,” he scatters his notes sparingly in sections and coaxes the steady growth of melodies from single chords, rather than frantic runs across the fret board. Bishop also embraces these gentle melodies more fully, shying away from the experimental atonality of "Improvika"’s “Cryptonymous.” This release is full of patience and powerful lyricism." - Jamie Townsend (Foxy Digitalis)
WHILE MY GUITAR VIOLENTLY BLEEDS (LP/CD - Locust Music, 2007) "The three long meditations that make up this release are violent in the sense of deep passion. For Bishop, these songs are a form of prayer, and as such are as deeply felt an acoustic set as you are likely to hear, one that does not fall into the traps of the pseudo-spiritual, but which maintains an emotional peak throughout. “Zurvan” is the most quiet of the set, an almost traditional blues-based instrumental that still explores some mighty deft territory, both musically and emotionally. It begins the record by reassuring the listener that s/he will be in good hands. “Smashana” dips into a more layered drone, with aspects of psych that help to deepen the piece, and to build off the first song. The real meat is the final, 25+ minute “Mahavidya,” which explores both fretboard and soul, and takes the drone of “Smashana” toward raga, and toward a mystic conclusion to the set." - Dave Segal (OC Weekly)
Ted Milton (born 1943) grew up in Africa, Canada and Great Britain. He published some early poems in magazines like Paris Review. In 1969 his poetry was published in the anthology Children of Albion: Poetry of the Underground in Britain. In the mid-sixties he began performing as a puppeteer, participating in numerous international festivals and appearing on So It Goes, the TV show hosted by Tony Wilson. He contributed a short scene for Terry Gilliam's film Jabberwocky.
In the late seventies he began to play alto-saxophone and founded the group Blurt. The first single "My Mother Was A friend Of An Enemy Of The People" was soon followed by the live album In Berlin (1981). Since then Blurt released more than twenty records. While living in Brussels in the mid-nineties, Milton started making book-objects with found materials. These were shown on several exhibitions and have been taken up in the Bibliothèque Nationale in Paris as well as in the British Library.
Ted Milton also makes art-objects and installations, having had shows in "Nadine" in Brussels and bookstore "Tropisme" in Brussels,
In 2000 he published the CD Sublime with the Andreas Gerth (loopspool). In 2001 Ted Milton staged a hommage to the Russian author of the absurd Daniil Kharms: "In Kharm's Way", a mixture of music, puppeteering and spoken word, with the electronic musician Sam Britton. In 2007 he collaborates again with Sam Britton in the "ODES"-project; an overview of 25 years solo work outside of Blurt. wikipedia.
Tracklist:
Ted Milton and the Back-To-Normal Orchestra: Nogales
Ted Milton and Sam Britton (Icarus): Can't Beat Blim
Blurt: Ted Milton and Steve Beresford: Love is like a violence
Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): O! Pity Us!
Ted Milton and the Back-To-Normal Orchestra: She spent a fortune on lipstick on me
Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): Miles away
Ted Milton and Herman Martin: Skies are bruised
Ted Milton and Andreas Gerth (Loopspool): Fragments
Blurt: Ted Milton and Tam Tam: Thirteen Rules from Composition
Ted Milton and the Back-To-Normal Orchestra: My North Face
Ted Milton and Herman Martin: Ode! O! To Be Seen Through Your Eyes!
Ted Milton and the Back-To-Normal Orchestra: Shard
Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): Where you end
My Country of Illusion is a project of Barnmaster Scud and Doctor Tiki. The two have collaborated for over ten years playing experimental psychedelic "jambient" sounds at various strange and obscure locations in New Mexico and galaxies far, far away. My Country of Illusion's name derives from Disney's Mexican release of Alice in Wonderland, "Alicia en el pais de ilusion." The name reflects the illusory nature of reality experienced by the artists, and also is a commentary on the dream world in which the sounds and samples from their music emanate.
The music of My Country of Illusion is based on guitar improvisation but is deconstructed and reconstructed through an intuitive process of sampling and sequencing. Many of the cuts on American Dream Life are live recordings, while others are looped and reassembled dispatches from the harmonic underworld and Goodwill record bins. Voices and thoughts stream in and out of the music as if one were floating through an electronic bardo, drifting through the grid like phantasms. This is the afterlife of the American Dream, the world of the pop undead, mixed jambient soundbites from the collective sonic mind.
BIO:
Doctor Tiki AKA Cryptomaga Antonio López
The curious path that has brought López to the current sonic offerings can be traced back to his days early in the 1980s during LA's punk underground. In high school he co-founded the LA punk fanzine, Ink Disease, and continued to write about music for national magazines. López is a self-trained musician who's floated in the alternative music scene for over 20 years. While in college López fronted a post-punk group, Beef Church, which gigged around the Bay Area until they disbanded in 1989. For over ten years López focused on a career in journalism and media, but continued to play and record music, collaborating under the name El Tiki. In addition to playing music, he currently works with digital video and teaches media literacy and video production to Native American high schoolers. He also makes films.
Official selections in the Free Radio HDTS; High Desert Test Sites 4 at High Desert Test Sites, Joshua Tree, CA; and Strange Animals at L.A.C.E., Los Angeles, CA. 2004: “Radio Alchemist” “AM Clock Radio Jam” "Temple"
BARNMASTER SCUD AKA Scud Mandrill Scott Randolph
Scud has been an experimental musician for more than 20 years living first in San Francisco then in New Mexico. He has also contributed Scudtoon drawings and cover art for the xines BraveEar & Bananafish, as well as the album covers for Vomit Launch.
Discography: The Whitefronts - Roast Belief 1985 Bogden Records The Whitefronts - Burl Slab 1986 Bogden Records The Whitefronts - Mamo WaVes 1987 Bogden/Pitch a Tent Emerson Lake and Cheesedoodle 1987 Bananafish/Tedium House (w/Seymour Glass, Barbara Manning & Greg Freeman) Freight Brain - Act Natural 1991 Dr I Lords of Howling - Seeing the Elephant 1997 Discobolus Dang Head - Nounsville 1999 Discobolus Art of Flying - Galdlit (fossil fish) 2001 Cochon Records
In the two years since the release of their debut album, A Tribute To Tigers, By the End of Tonight have toured almost non-stop, playing every rock club, living room (or even barn) that would have them. Their relentlessness has paid off, as evidenced by their half of this split album with good friends and like-minded power jammers Tera Melos. Not to be outdone, Sacramento's Tera Melos have also been on the road more than they've been home this year, touring with the likes of Fall of Troy and Horse the Band. Their frantic, absurdly complex songs are the perfect compliment to By the End of Tonight's darker, more sinister instrumental metal. The combination makes this by far the strongest release to date from either band.
TRACK LISTING 1. BY THE END OF TONIGHT: Delaware Is Depressing 2. BY THE END OF TONIGHT: Philthy Collins 3. BY THE END OF TONIGHT: Jelous of a Ghost 4. BY THE END OF TONIGHT: Cold Hands 5. BY THE END OF TONIGHT: Ghost Boat 6. BY THE END OF TONIGHT: Elvis Never Didn't Die 7. TERA MELOS: 555-9676 8. TERA MELOS: Party With Tina 9. TERA MELOS: When Worms Learn To Fly 10. TERA MELOS: Melody 9 11. TERA MELOS: Last Smile For Jaron
Nació en 1925 en París. Entre 1944 y 1948, cursó sus estudios de filosofía en La Sorbona. Algunos de sus profesores fueron Ferdinand Alquié, Georges Canguilhem, Maurice de Gandillac y Jean Hippolyte. Después de finalizar sus estudios en 1948, se consagró a realizar una serie de monografías sobre algunos filósofos (Kant, Spinoza, Nietzsche, Bergson), los cuales, pese a su eminente valor didáctico, contienen las primeras instancias de consolidación de su propio pensamiento.
Este pensamiento se configura plenamente con la publicación de Diferencia y repetición y Lógica del sentido, el primero de 1968 y el segundo de 1969. También en 1969, conoce a Félix Guattari, un psicoanalista heterodoxo, con el cual comenzará una larga y fructífera colaboración, que cristalizará en los dos volúmenes de Capitalismo y esquizofrenia: El Anti-Edipo y Mil mesetas. A raíz de esta colaboración es que aparece la famosa declaración de Deleuze en la que se establece que "Lo que define a un sistema politico es el camino por el que su sociedad ha transitado”.
Además de sus obras de relectura del trabajo de otros filósofos, Deleuze escribió también sobre escritores (Kafka, Alfred Jarry, Proust, Sacher-Masoch) y sobre cine. Gilles Deleuze se retirará de la vida universitaria en 1987. [1]
«Un día, el siglo será deleuziano», fue la expresión de Michel Foucault en relación a un filósofo que marcó profundamente el pensamiento de la segunda mitad del siglo XX. «La filosofía es el arte de formar, de inventar, de fabricar los conceptos», dirá el propio Deleuze en Qu'est-ce que la philosophie ? (¿Qué es la filosofía?).
En sus últimos años de vida, Deleuze sufrió de una grave insuficiencia respiratoria. Se quitó la vida el 4 de noviembre de 1995 lanzándose al vacío por una ventana de su apartamento en la Avenue Niel. Se le considera también un filósofo anarquista, pero es evidente que la potencia creativa de su pensamiento, siempre plural y singular, no permite clasificar a Deleuze dentro de ninguna de las corrientes filosóficas que lo precedieron.[cita requerida] Uno de los conceptos creados por este filósofo es el de ritornelo; desarrollado en el libro Mil Mesetas junto con Félix Guattari.
La anarquía y la unidad son una sola y misma cosa, no la unidad de lo Uno, sino una más extraña unidad que sólo se reclama de lo múltiple.
Gilles Deleuze, Mil mesetas
"Sociedades de control y sociedades disciplinarias"
Las sociedades disciplinarias según Deleuze, sufren una crisis en beneficio de nuevas fuerzas que se irán instalando lentamente. Son las sociedades de control las que están reemplazando a las sociedades disciplinarias.
Las viejas sociedades de soberanía manejaban máquinas simples; pero las sociedades disciplinarias se equipan con máquinas energéticas. Las sociedades de control operan sobre máquinas de tercer tipo, máquinas informáticas. Es una evolución tecnológica, una mutación del capitalismo bien conocida que puede resumirse así: en la situación actual, el capitalismo ya no se basa en la producción, que relega frecuentemente a la periferia del tercer mundo. Es un capitalismo de superproducción. Ya no compra materias primas y vende productos terminados: compra productos terminados o monta piezas. Lo que quiere vender son servicios y lo que se quiere comprar son acciones.
<<Es sencillo buscar correspondencias entre tipos de sociedad y tipos de máquinas, no porque las máquinas sean determinantes, sino porque expresan las formaciones sociales que las han originado y que las utilizan. Las antiguas sociedades de soberanía operaban con máquinas simples, palancas, poleas, relojes; las sociedades disciplinarias posteriores se equiparon con máquinas energéticas, con el riesgo pasivo de la entropía y el riesgo activo del sabotaje; las sociedades de control actúan mediante máquinas de un tercer tipo, máquinas informáticas y ordenadores cuyo riesgo pasivo son las interferencias y cuyo riesgo activo son la piratería y la inoculación de virus. No es solamente una evolución tecnológica, es una profunda mutación del capitalismo.>>
Deleuze, Gilles. Post-scriptum sobre las sociedades del control
1-01 Gilles Deleuze Untitled(Words By Gilles Deleuze) (0:38) 1-02 Achim Wollscheid & Wehovsky Happy Deterritorializations (4:15) 1-03 :Zoviet*France: On The Edge Of A Grain Of Salt (9:04) 1-04 Alec Empire Bon Voyage (5:25) 1-05 Cristian Vogel Gigantic Tautological Machinery (7:02) 1-06 Christophe Charles Undirections/Continuum (9:38) 1-07 Atom Heart Abstract Miniatures In Memoriam Gilles Deleuze (3:43) 1-08 Gas Heller (7:36) 1-09 Chris & Cosey Intro-Spektiv (5:05) 1-10 J. Burger Wunschmaschinenpark (3:53) 1-11 Steel Death Is The Beginning (5:04) 1-12 Blue Byte C'ant Be Still (6:11) 1-13 Trans Am Starjammer (4:07) 1-14 Rome Intermodal (3:41)
2-01 Jim O'Rourke As In (8:57) 2-02 Oval You Are Here 0.9B (2:51) 2-03 Mouse On Mars 1001 (7:11) 2-04 Ian Pooley Vital One (3:28) 2-05 Bleed Patent (6:55) 2-06 Tobias Hazan Queria For Gilles Deleuze (2:57) 2-07 Scanner Without End (7:04) 2-08 DJ Spooky That Subliminal Kid Invisual Ocean (6:48) 2-09 Fetisch Park Gradation D'Humour (5:53) 2-10 Dü Straobeik (4:27) 2-11 Kerosene And Line (3:11) 2-12 El Turco Loco The Garantor (6:29) 2-13 Beequeen Layered Layers (6:55)
First : The links that you discovered dead men and informed me before the date September 23, 2008, will be all turned to the life!!
Second : To enjoying afresh! Does the return of the mirrors shake the glass ground after the shining to call to the envy of the gringos that at the cost of the talent of the bands you fill the pockets of undeclared earnings, as his souls, and that more gives?, if my soul only lost this one, it is a library of music that you must help to support, being the only form of future, where it wants that it is.
Now in the frozen galaxy the following links return to be raised:here! Primero : Los eslabones que ustedes descubrieron muertos y me informaron antes de la fecha 23 de Septiembre de 2008, serán todos vueltos a la vida!!
Segundo : A disfrutar otra vez! el retorno de los espejos sacude el vidrio molido tras el resplandor para llamar a la envidia de los gringos que a costa del talento de las bandas se llenas los bolsillos de dinero negro, como sus almas, y que más da?, si mi alma solo esta perdida, es una biblioteca de música que usted debe ayudar a mantener, siendo la única forma de futuro, donde quiera que sea.
Ahora en la galaxia congelada vuelven a subirse los eslabones siguientes :aquí!
Trans Am
• Trans Am [1996] • Surrender to the Night [1997] • The Surveillance [1998] • Red Line [2000] • You Can Always Get What You Want [2000] • TA [2002] • Extremixx [2002] • Liberation [2004]
Oh! como brota en la paciencia una mejor recompensa, los que estaban esperando por más, les informo que luego viene un Dvd de Death in June, más cosas de los hermanos carter, pan american, set fire to flames, 1-speed bike, fursaxa, jim o'rourke, astral social club, zaika, y más...
Good new!, is your banquet of unloads with know-how to been illustrated from beginning to end, an enormous face without shame, the attitude taken of the entities without words that they present day after day, that shit?, I ask you take new suggestions, already I have been at the edge of closing the blog, have made it private some time, now I will not do anything of it, for which the idea of sharing grows, but because of your nonchalance, I DO NOT KNOW THEY WILL RAISE AGAIN(AFRESH) THE DEAD LINKS!, except the of Trans Am and Flying Saucer Attack, it is the first measure, if this continues without retro nourishment I will meet obliged to establish rules, they happen to me enough ( Example, to leave your mail and I they sent the link), I hope that they understand and comment now, DO NOT COMMENT HERE! Do where there are discs, your appraisals, AND DO BEFORE IT IS LATE!
Buenas nuevas!, su festín de descargas con pericia a sido ilustrado de comienzo a fin, es un enorme rostro sin vergüenza, la actitud tomada de los entes sin palabras que se presentan día a día, que mierda?, a usted le pido tome nuevas sugerencias, ya he estado al borde de cerrar el blog, lo he dejado privado algún tiempo, ahora no haré nada de eso, por que la idea de compartir crece, pero a causa de su indiferencia, NO SE SUBIRÁN OTRA VEZ LOS ESLABONES MUERTOS!, excepto los de Trans Am y Flying Saucer Attack, es la primera medida, si esto continua sin retro alimentación me veré obligado a establecer reglas, se me ocurren bastantes (ejemplo, dejar sus mail y yo les envió el eslabón), espero que comprendan y comenten ahora, NO COMENTEN AQUÍ! hagan en donde hay discos, sus apreciaciones, Y HAGAN ANTES DE QUE SEA TARDE!
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.