terry riley

Category: By the bug


This is the kick-off CD in the Terry Riley Archive Series sponsored by the Cortical Foundation label under their new imprint, Organ of Corti. This CD brings together four important early tape works by Riley and reveals how deeply he influenced so much of the tape-delay, cut-and-splice method of music creation begun in the late '60s. "The Gift" is the work that opens the album, a jazz piece performed by Chet Baker with his quartet, and featuring tape manipulations by Riley using a delay mechanism through two looped tape recorders. All of it performed live for French radio. Over five sections the jazz quartet is eventually displaced and becomes part of a unit of sound that repeats itself, over and over again, whether it be the trumpet, a vocal, or the rhythm section, creating -- unintentionally, of course -- the precursor to the work that would become "In C," and create the entire minimalist movement. "Bird of Paradise" is an early example of "plunderphonics," with heavy R&B soul jams, pop tunes, classical music, and who knows what else cut and looped with noise and effects, making them nearly unrecognizable by playing with different speeds and sonorities. Riley made something truly original. When it can be found, the groove itself becomes infectious, but just as it does, it is transformed into something else. Steve Reich used this method later to great effect on "It's Gonna Rain" and other recordings from the period. "Mescalin Mix" was inspired in part by John Cage's "Fontana Mix," Riley's own experiments with mescaline, and his work with Richard Maxfield. It was created over two years (1960-1962), using tape loops that would extend out Riley's window into the yard to a wine bottle spindle. This very piece, which is the single strangest piece of "music" he ever created, was used by choreographer Ann Halprin's legendary work "The Three-Legged Stool," and was added onto later by collaborations from many other composers and artists including Morton Subotnick. Finally the seminal "Concert for Two Pianos and Five Tape Recorders" is here as it was recorded at its premier at Hertz Hall in Berkeley, CA, in 1960 with an outrageously funny play-by-play broadcast narrative. The narrator confesses he knows less than nothing about Riley or the composition. He explains that there is improvisation in the piece but has no idea how it works and explains how it might work and is then appalled at how weird it all is in sum. This is an amazing collection and a truly awesome way to start off an archive series by one of the world's most original and prolific voices.

music for the gift

manand
 

lalo schifrin

By the bug


Despite his classical training, Lalo Schifrin had worked with Dizzy Gillespie and was something of a jazz enthusiast. His groundbreaking score for Don Siegel's Dirty Harry was initially inspired by Miles Davis' electronic excursions in "A Tribute to Jack Johnson" and Bitches Brew. Allowed to follow his musical instincts by veteran director Siegel, Schifrin orchestrates the score's driving percussion, restless electric bass, and eerie wordless vocals (as pioneered by Edda Dell'OrsoEnnio Morricone and his peers in Italy) into an organic mix that could best be described as acid jazz some 25 years before that genre began. The music cues for Clint Eastwood's Harry Callahan are energetic and exciting, but what kicks the score to a level all its own is Schifrin's theme for the serial killer, Scorpio, whom Callahan tracks through the bulk of the film. Its offbeat fusion combines modern classical music in a brilliant manner with Sally Stevens' creepy, ethereal vocals overlaying psychedelic rock of the time. This is perhaps best exemplified on the CD in the two opening cuts: "Prologue -- The Swimming Pool" and "Main Title." The shifting tempos and the sinister, childlike vocals were directly emulated by dozens of Italian Poliziottechi and Giallo films of the '70s, and a sterilized incarnation of this style has become the bane of 21st century television scoring, a full three decades after Schifrin's seminal work. The only criticisms of the release are aesthetic and specific to the conventions of published film scores. This CD is missing the brilliant 7" edit of "Scorpio's Theme," which admittedly never appears in the film in this form, but which captures the excitement of the score in a three-minute jazz/rock opera. Also, some of the slight source music -- such as the comic "Harry's Hot Dog" and the cheesy "The Strip Club" -- will benefit the CD most when left off the play list. There is merit in presenting a "complete" soundtrack, even in order of appearance within the film; but given that these pieces wreck the mood set by the immediately preceding music, it could be argued that the best place for them is at the tail-end of the recording as bonus tracks. Outside of these misgivings, the primary score is one of the first truly modern action film scores. Less immediate than his popular theme songs for Mission Impossible or The Man from U.N.C.L.E., the score for Dirty Harry succeeds through Schifrin's experimental nerve and ability to draw ideas from current trends to meld them in a way both unique and timeless. Its influence is paramount, heard daily in movies, on television, and in modern jazz and rock music.

dirty harry

manand
 

Category: By the bug

..although it's spring and it's very uncool to sit infront of your pc screen posting albums almost no
one likes while the morning sunlight invades through my window and bathes my room(i've always liked cheesy poetry!!!) a comment i had (yes i had a comment) from an anonymous friend
made me to move my old fat ass and write about this unique lost treasure,post punk mixed with
avant rock filled with spastic rythms and synths in a very New York-ish manner ,something like a no wave Beefheart if he was a female....anyway you'll find others who decribe this better in the web i just wanted to point it out and make you listen..THANKS ANONYMOUS!
KAREN COOPER COMPLEX-SHINJUKU BIRDWALK
 

By the bug

Δελτίο Τύπου
Live στο Club του Μύλου
Κυριακή 21 Μαρτίου

Η ομάδα Melotron, σε συνεργασία με την Kazandb, παρουσιάζουν ένα από τα πιο σημαντικά ανεξάρτητα μουσικά σχήματα της εποχής, τους Piano Magic, που μας επισκέπτονται για δεύτερη φορά στην Θεσσαλονίκη, για να πραγματοποιήσουν μια ζωντανή εμφάνιση στο Club του Μύλου, την Κυριακή 21 Μαρτίου.

Οι P.M. σχηματίστηκαν από τον Glen Johnson στα μέσα της δεκαετίας του '90 και έκτοτε έχουν κυκλοφορήσει 12 άλμπουμ και αρκετά singles και ep's, σε μια πληθώρα ανεξάρτητων δισκογραφικών εταιρειών (4ad, Morr, Important, Darla, Rocket Girl,Make Mine music κλπ) ηχογραφώντας έτσι μερικά από τα πιο ολοκληρωμένα άλμπουμ των τελευταίων ετών (Artist's rifles, Low birth weight, Ovations). Τα τελευταία έξι χρόνια και μετά από αρκετές ζυμώσεις, στον ήχο τους αλλά και στην σύνθεσή τους, οι P.M. έχουν καταλήξει να αποτελούνται από Άγγλους και Γάλλους, παίζοντας συγχρόνως ένα είδος μουσικής που είναι βαθιά επηρεασμένο από τα μουσικά ρεύματα που χαρακτηρίζουν τα τέλη της δεκαετίας του '70 και την αρχή της δεκαετίας του '80 στη Μ. Βρετανία (post punk, new wave, ambient pop etc).
Γενικότερα η αισθητική των συναυλιών των P.M. ,πλέον, δεν διαφέρει από αυτή των Chameleons, Joy Division, Cure δημιουργώντας έτσι μια ατμόσφαιρα που εκτός από σκοτεινή και ρομαντική, την χαρακτηρίζει ο δυναμισμός και η συγκινησιακή δράση.
Αξιοσημείωτες επίσης είναι οι διάφορες συνεργασίες/συμμετοχές που είχαν και εξακολουθούν να έχουν με σημαντικούς και διεθνώς αναγνωρισμένους καλλιτέχνες όπως η Vashti Bunyan, o Peter Ulrich και ο Brendan Perry των Dead can Dance, οι Low κλπ. Ιδιαίτερης μνείας αξίζει και η μουσική επένδυση που επιμελήθηκαν για την ταινία “Son de Mar” του Ισπανού σκηνοθέτη Bigas Luna.

Τη συναυλία θα ανοίξουν οι Sugar Factory. Οι S. F. δημιουργήθηκαν το 2009 από τον Stelreverb (κιθάρες, samples) και την Sophie K. (ακορντεόν, μπάσο, samples) και οι δύο ενεργά μέλη των Infidelity. Εμπνευσμένοι από την αυτοσχεδιαστική σύγχρονη μουσική και τις μελωδικές γραμμές ελλήνων και ξένων καλλιτεχνών, αναμιγνύουν ‘γλυκές’ μελωδίες κλείνοντας το μάτι στους βιομηχανοποιημένους ήχους! Έχοντας για σημαία τους τον αναλογικό ήχο, στις ζωντανές τους εμφανίσεις παίζουν πάντοτε σε πραγματικό χρόνο, χωρίς την χρήση π προ– ηχογραφημένου υλικού.


Η προπώληση των εισητηρίων στη Θεσσαλονίκη γίνεται από τα παρακάτω δισκοπωλεία: Λωτός, Metropolis, Noise, Stereodisc, Wax, Joint, Playground.
Προπώληση 20 ευρώ.
Ταμείο 25 ευρώ.

www.myspace.com/lowbirthweight
www.piano-magic.co.uk
www.makeminemusic.co.uk
www.myspace.com/makeminemusic
www.last.fm/user/melotronlive
www.myspace.com/melotronproductions
www.twitter.com/melotronlive
www.mylos.gr
www.sugarfactoryband.blogspot.com/
 

By the bug

Lunar Miasma

Lunar Miasma είναι το καινούργιο πρότζεκτ του Πάνου Αλεξιάδη (γνωστού και ώς Red Needled Sea). Αριθμώντας ήδη σείρα απο κυκλοφορίες σε εταιρίες όπως η Ruralfaune, Small Doses και η δική του Insult (μεταξύ των οποίων ένα split με τον Xela) ο ήχος του τοποθετείται στο επίκεντρο του νέου ψυχεδελικού ιδιώματος που προέκηψε απο το συνδιασμό drone, ambient, noise και new age. Χρησιμοποιώντας αποκλειστικά αναλογικά synth χτίζει ψυχοτροπικά ηχοτοπία που συνδιάζουν αβίαστα το ρετρό φουτουρισμό του Blade Runner, τις hypnagogic εμμονές, τους μεταλλικούς βώμβους και το θόρυβο με την τελετουργία του doom metal.

http://www.myspace.com/lunarmiasma

http://www.myspace.com/insultrecordings

NAΦΘALYN

Οι NAΦΘALYN αποτελούν το προσωπικό project του Θάνου Μαντά (ex-Straighthate, voidhead, dephosphorus, Grey Spirals). Η μουσική του βασίζεται στο χτίσιμο πολλών layers με στόχο το πειραματισμό στους δρόμους του drone, του harsh noise και του μινιμαλισμού. Με βασικό όχημα την ηλεκτρική κιθάρα, τα ηχοτοπία των NAΦΘALYN κατευθύνονται στις live εμφανίσεις σε απροσδιόριστα μονοπάτια, μιας και κάθε φορά ο πειραματισμός οδηγεί τις συνθέσεις. Η πρώτη δουλειά σε συνεργασία με τους Death By A Thousand Cuts από την δραστήρια Insult Recordings έχει κυκλοφορήσει και στο άμεσο μέλλον αναμένονται νέες κυκλοφορίες από διάφορες εταιρίες του χώρου.

www.myspace.com/nafthalyn


KNOT Gallery

Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)
πλησιέστερος σταθμός Μετρό: Αμπελόκηποι
Λεωφορεία: Α5, Β5 (στάση ΖΑΓΟΡΑ)

 

By the bug

...it's been a while now that i had an mp3-download overdose syndrom,meaning i find every album i listen to boring and uninteresting so i decided to stop downloading for a while
and listen one-or two albums a day,which so far has the same effects because still i find most
of the things i listen to ..boring!!!...after all maybe my music taste is absolutely shitty and that's
the reason i can't find anything good,that's why the best music news i've heard lately was that
the Russian Futurists(one of my favorite bands) are having a new record out this summer...
hope it will be as sunny and lovingly naive as the previous ones!!!
 

By the bug

Το live θα ακολουθήσει την πετυχημένη συνταγή αναπαραγωγής ηχογραφήσεων του Άγγελου και την πρωτότυπη αντίστοιχα συνταγή εκτέλεσης τραγουδιών των Κτιρίων. Η διάθεση των λέξεων πετυχημενος και πρωτότυπος θα λάβει μέρος πιο ενεργά κατά τη σύζευξη των δύο μετά το πέρας των εμφανίσεων τους, ώστε να αναπτυχθεί υλικό το οποίο δούλεψαν από απόσταση δίχως επικοινωνία την τελευταία βδομάδα πριν την συνάντηση τους στη ΚΝΟΤ.


Άγγελος κυρίου/ http://angeloskyriou.blogspot.com/

Κτίρια τη Νύχτα/ http://buildingsatnight.blogspot.com/


KNOT Gallery

Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)
πλησιέστερος σταθμός Μετρό: Αμπελόκηποι
Λεωφορεία: Α5, Β5 (στάση ΖΑΓΟΡΑ)
 

Category: By the bug

''A full hour of sonic gunk recorded mostly by Damon, the head puffy and bass player, Dusty. Insanely fresh and concise release for one of the most insanely off-kilter rock projects going right now. Absolutely in the zone four-track recordings that capture lo-fi psych scum basement rock and a wide variety of instrumental tracks that really make this entire release HIGHLY ADDICTIVE. Heavy guitar fuzz explorations of cosmic kraut'esque realms. Beautiful synth gnarl and killer jams through and through. Sonic experiments that leave you feeling as if you are being flushed down some giant neon green polka-dotted toilet bowl. You may have checked them out with their recent additions of Cleveland radio psych guru, Steve Newton (Krauty McKraut) on vocals and John Elliot of Emeralds on synthesizer but you've likely never heard them as fully realized as they are on "Harrigan's Blues". ''
harrigan'sblues
s.
 

Category: By the bug

''...Those who are afraid that pianist Matthew Shipp is getting soft after he released Pastoral Composure (Thirsty Ear) will rest assured with this release: he's featured in an extreme outer-limits dialogue with this all-star ecstatic-jazz ensemble. Shipp's quaking low-end rumbles and wayward lyricism is underpinned by William Parker's prowling bass lines and Rashid Bakr's sparse drumming. On top, trumpeter Roy Campbell and reedman Daniel Carter alternate between full-blast screeching textures, secretive slurs and intricate cross-dialogues....''
TIME....
s.
 


''

Is TOP FLOOR ENCOUNTER part of the revenge of Generation Y musicians?

For the past 15 years or so, Gen X jazzers -- the so-called Young Lions -- have dominated the musical agenda, limiting improvisation to that involving swing, tonality and conventional interaction. But now, as many of the Young Lions are revealed to be little more than toothless tigers, even younger players are throwing those conventions aside and discovering how such techniques as speech-like inflection and dissonance, first utilized by neo-con mocked avant gardists gives them additional freedom.

The two American and one German musician featured here, who are all on either side of 30, demonstrate how well this rediscovered musical independence can be used.

Link between sensibilities, is American bassist John Hughes, 29. While going to university in Baltimore he was part of an shifting group of experimental improvisers, which included drummer Jeff Arnal, 30. Arnal, who studied composition at the University of Baltimore also played with Vattel Cherry, a former Charles Gayle sideman, with whom Hughes studied bass. Moving to Hamburg in 1999, he began an association with local alto saxophonist Lars Scherzberg, 29. When Arnal visited Germany in the summer of 2000 the three got together to record this skillful CD.

Existing in a common improv zone, where they're certainly not a group, but no longer strangers, the three range through a mixed program rooted firmly in what could be called the EuroImprov tradition.

Although working in the time-honored horn and rhythm section trio preferred by committed jazz saxophonists as different as Ornette Coleman and Branford Marsalis, this is no soloist-plus-back-up date. While parallels could be made with the trios put together by improvisers like Briton Evan Parker, the three certainly haven't reached the level of extrasensory perception that sometimes characterize the interaction in those bands.

Instead what you see is what you get: three young musicians working together to achieve a certain congruence and mutual solving of different theoretical challenges. Although the sleeve lists nine selections, you could just as easily see the entire disc as one subdivided suite. Flowing one tune into another, only interrupted near the end for some scattered applause from the small audience, this is music of diminutive hand movements and quick responses.

Scherzberg, a saxophone student of King Übü mainman Wolgang Fuchs, plays in a style that implies sounds as much as expels them. A compendium of extended techniques, his favorites seem to be rolling flutter tonguing, false fingering and protracted pain-flecked shrieks. Near the end he does try some honking as well as circular breathing, but that's also the only time anything resembling a regular plucked bass pulse appears.

Reticent most of the time, Hughes usually confines himself to lightening quick arco attacks, quick bass guitar-like strums or bass stave accents. While Arnal, favoring brushes, mostly confines himself to the lightest parts of his kit, sometime introducing the odd bell-like cymbal tone.

Having set out their parameters, the three still reveal themselves Gen Yers on most pieces and the CD itself really lack a definitive ending. But, then again, who beside the neo-cons ever assumed that a young musician's definitive statement was made first time out? Extraordinary improvisation comes from many years of familiarity with your own instrument and your thoughts about music making.

This encounter is a fine record of a stop along that road. As the promise exhibited here is realized, the three may arrive at a place that's even higher than the top floor.''
topfloorencounter
s.
 

Category: By the bug

''The recordings came about as a result of a project instigated in late 1999, which bears witness to a long held fascination with how the environment generates and shapes culture, memory and myth. There was no desire to conduct any scientific or anthropological field work, but to collect a set of recordings which would serve to illustrate how precious the sonic environment can be, and to act as founding materials for a soundscape collection at the British Library Sound Archive.''
mythsoforiginsonicephemerafromeastasia
s.
 


...τεσσερις κορυφαιοι μουσικοι αυτοσχεδιαζουν,αναδομουν και διασταυρωνονται αλλοτε
σε free jazz μονοπατια και αλλες φορες στα γκριζα τοπια τις Ευρωπαικης μοντερνας και
νεοκλασσικης μουσικης...
περιφερεια
s.
 

Category: By the bug

Contemporary Kagura Metaphysics
''..Nanjo, leader & bass player from High Rise. He formed this group specifically to explore any minimalism/occult overlap & to use instruments both eastern & western. He also forced the musicians to remain anonymous & requred more than 400 overdubs in the studio. Mixed by Kawabata from Acid Moms.. ..''
s.
 

Category: By the bug

...δυο Ελληνικα συγκροτηματα με κοινο χαρακτηριστικο την synth-pop ταυτοτητα τους
αν και με μεγαλες διαφορες στον ηχο,οι Proxies απο την Θεσσαλονικη ενα απο τα πρωτα
synth γκρουπ της χωρας μας που εκαναν μαλιστα μια σχετικη επιτυχια με το 12'' που
παρουσιαζουμε εδω και λεω φυσικα για το Fishin' Boat τη διασκευη στο γνωστο νησιωτικο
''Θα Παρω Μια Ψαροβαρκα'' ενω το αλλο γκρουπ οι In Trance 95 οι οποιοι υπαρχουν μεχρι σημερα αν δεν κανω λαθος(σε αντιθεση με τους Proxies) με εναν Sheffield oriented ηχο
κυκλοφορησαν το μοναδικο ''μεγαλο '' τους δισκο το 1990 απο την Wipe Out με τιτλο
Code Of Obsession:The Trance Dance Alternatives Vol.1

s.
 

Category: By the bug

''ADOLF FILTER is Daniel Persson and Conny Klenze from Gothenburg, Sweden. Inspired by analogue synthesizers, drum machines and cassette recordings, and they started playing in various electronic bands over the years since 1986. Having started as ADOLF FILTER in 2004, they eventually appeared on various compilations, amongst them the “Doppelhertz” 2LP, the “Festival der Genialen Dilettanten” LP and “Vågform Volym 1” CD (all available in this shop). The whole concept is to keep the music free from any software synthesisers what so ever thus using only physical instruments. In general they do sound a lot like early FRONT 242 (thus in their best era 1981 to 1983) making use of a lot of Roland SH-101 and TR-606. Very nostalgic, thus very good!''
theotherhandontheknob
s.
 


''...It’s a music that makes striking use of aural perspective. Across a background wash of out-of-focus electronics or detuned radio burble, crisp and sometimes violent exchanges shoot like comets. Agnel’s clipped phrases are often very widely spaced, and on occasion wobble disconcertingly, as if being shaken back and forth. The piano is sometimes right in front of you, but just as often sounds like it’s playing on a distant radio. As with Phosphor, conventions of musical dialogue and interaction are almost completely displaced, though there are flashes of wit and the whole thing is anything but austere. Rather than as “free improvisation,” this needs to be listened to as a sonic artifact, possessing an indubitable but almost alien internal logic. Excellent....''
Rouge Gris Brut
s.
 

Category: By the bug

''.... Myelin Sheaths have found a perfect platform to desecrate the chill and melt the frozen wilderness around them. The endlessly reverberated dual male/female vocals blend together on the B-side's “Drugstore Pharmacy” so well that you can feel the sky open up and suck you straight into heaven, as it washes away the troubles clouding your weary consciousness. Like if someone plugged the entire C86 sound into a fried-out supergenerator, Myelin Sheaths have the potential to skyrocket straight to the top of your list of new favorites...''
DOTHEMENTALTWIST
s.
 

Category: By the bug

''....Despite the crap artwork that looks tailor-made for clearance bins nationwide, this M/F two piece from Sacto (that's Sacramento to you) serves up some delightfully raucous lo-fi DIY garage/pop that could have been cranked out by Jad Fair's old (circa "Half Gentlemen") production studio. Sweet stuff indeed...''
easterqueen
s.
 

Category: By the bug

''Drummer/percussionist Babatunde Lea's Suite Unseen CD has plenty of variety and is wide-ranging. There are hard bop features for trombonist Steve Turre and tenor saxophonist Richard Howell (with the front line sometimes recalling the Jazz Crusaders of the 1960s), a display for Turre's conch shells on another selection, some chanting, brief percussion interludes, and a five-part suite by Lea that is spread throughout this disc rather than occurring in consecutive tracks. "Suite Unseen" would have been more effective if its movements had been placed together, but one can adjust the CD player to achieve that. The other nine numbers all fit in well and, with Glen Pearson contributing some McCoy Tyner-inspired piano and steady work from bassist Geoff Brennan (Ron Belcher takes his place on one number) and percussionist Bujo Jones, this is a spirited and very musical outing.''
suite unseen
s.
 

Category: By the bug

It would be very easy to fall into the trap of evoking the
paradisiacal, parrot-filled beaches of Brazil. But this is no Bounty
ad. Arabesque's music goes far beyond this, as it is an amalgam of
the most refined sounds imaginable. Cherry Red, El, Astrud Gilberto,
Jobim.are all blended here in with a style and beauty that endures.

Let's not forget that this group is an offshoot of Blueboy, who have
shown time and time again that they are capable of producing some of
the best records ever released by an independent label. And Arabesque
keeps firmly on course, in their song tracks and instrumental numbers
that will make the needle on your record player melt.

the grooming gambit
s.



 

Category: By the bug

''This is another of those labour of love projects which in an alternative universe receive music industry awards for services rendered to cultural, musical, and historical integrity rather than for “units sold”. As Gokhan Aya notes in his liners, it has taken a Turk and a Dutchman to push this stuff into the light of reissue day.
Aya spills a lot of ink on presenting a more balanced historical view of Iran, which is fair enough but this listener was left wanting more information on the artists, labels and recording facilities (or lack thereof). Presumably such information is still lost in time. Nonetheless, there are some cool picture sleeves.
The LP comes on multi-coloured vinyl and a striking sleeve in national colours. Musically, think in terms of those mid-60s Turkish high school bands (there’s even a Baris Manco look-a-like) and other Turkish delights. This is a great package and brings the hidden ’60s offerings of an unlikely country to our spoiled ears.
I for one am grateful. Shah-Shah A Go-Go indeed!''
raks!
s.
 

Category: By the bug

''In the 60's Wolfgang was in Spirits of Sound with Wolfgang Flur later of Kraftwerk. In the 70's Wolfgang played a major role in Streetmark's classic album 'Eileen'. However, 'Eileen' was not a huge commercial success and so Wolfgang was full of doubts about his own abilities when he set about recording Wunderbar.

The opening track of the album is the title track 'Wunderbar' which is ultra-catchy. They must put something in the water in Dusseldorf which results in superb melodies.

Another standout track is 'Siberland' which is effectively a slowed down version of Kraftwerk's 'Metropolis' from Man Machine. The parallel here is interesting as Man Machine and Wunderbar were both recorded in 1978, although I don't know which one hit the shops first. Who is copying who ?

'Himmelblau' would not sound out of place on a La Dusseldorf album. Clearly Dinger and Rother have based their whole career around songs which feature the words 'La' and 'Dusseldorf'. In the case of 'Himmelblau' Riechmann goes one step further by only using the word 'La' in the lyrics. Simplicity is best.

The album finishes with a short omninous sounding instrumental. Sadly, shortly after Wunderbar was recorded Wolfgang was murdered (having been stabbed in a Dusseldorf barroom brawl). This is a great shame as judging by the evidence of Wunderbar, Wolfgang could have gone on to great things. ''
wunderbar
s.
 

By the bug

Οι MOHAMMAD είναι το νέο πρότζεκτ των Νίκο Βελιώτη, ILIOS, και Coti K.

Και οι τρεις με παράλληλες πορείες στις μη συμβατικές μουσικές, αποφάσισαν να ενωθούν για να μελετήσουν το φιλοσοφικό ρεύμα kullu wahad και εργάστηκαν για ενα χρόνο πάνω στις αρχές της ενδοδιαμόρφωσης με μέσα το βιολοντσέλο (Νικος Βελιωτης), τις γεννήτριες (ILIOS) και το κοντραμπάσο (Coti K.).

MOHAMMAD is the project of Coti K, ILIOS and Nikos Veliotis.

Having worked separately in the experimental field they decided to join forces in order to study the “kullu wahad” philosophy and to work on the principles of inter-modulation using contra-bass (Coti K.), oscillators (ILIOS) and cello (Nikos Veliotis).


KNOT Gallery

Mιχαλακοπούλου 206 & Πύρρου (εις. από Πύρρου)
πλησιέστερος σταθμός Μετρό: Αμπελόκηποι
Λεωφορεία: 408, 419, Α5, Β5, Γ5 (στάση ΖΑΓΟΡΑ)

http://knotarts.blogspot.com/


 

Category: By the bug

"Blue Gene Tyranny is the Mozart of his generation, an improvisor -- neither jazz nor classical but both - congenitally incapable of hitting an infelicitous note."...''
freedelivery
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Category: By the bug

Leroy Jenkins, free jazz's greatest violinist, has always worked best in intimate situations with equally talented partners. He certainly had the optimum conditions on this duet date pairing him with outstanding pianist, composer, arranger, and conductor Muhal Richard Abrahams. The duo played six Jenkins compositions for the session, which was recorded live. Abrams and Jenkins frequently alternate roles, letting each other set the pace, never colliding, and forging a highly effective musical partnership. Jenkins' whiplash lines, percussive effects and seamless blend of free and blues influences was capably contrasted by Abrams' driving, soulful piano phrases and solos. ~ Ron Wynn, All Music Guide
lifelongambitions
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Category: By the bug

''....This record, to frame it in appropriate terms, just rules. If I had started a band up yesterday, this is exactly the kind of thing I’d have been shooting for. Lyrics that are clever without being too cute or faux-arty obtuse; mid-to-up-tempo numbers with dueling clean, sharp guitars ...''POPMATTERS
BLACK COW
s.
 

Category: By the bug

.....οι Ηλιος σε μια απο τις πρωτες τους δουλειες που ακροβατει αναμεσα στην μοντερνα
ορχηστρικη αβαντ συνθεση και τον ηλεκτρονικο ηχο με ενδιαμεση σταση την σεβεντικη
κοσμικη αναλογικη αποδοση του γνωστου ''je t'aime''.....
pharmacodynamics
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Category: By the bug

....αυτος ο δισκος πραγματικα δικαιωνει τον τιτλο του,μονο με congas και φωνητικα
ο Pitti Hecht σκαρωνει εναν feel-good pop δισκο ιδιαιτερο και απολαυστικο...
congalove
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Category: By the bug

''Listening to this music, I would say that creativity of Erhorn as an electronic musician has not cardinally changed since 2003, when his remarkable album Task was released on label Mille Plateaux. I think that this album is one of the best reflections of such influence as clicks'n'cuts - music of clicks, rustles, various glitch, cut into tiny pieces by quasiscissors and presented in the form of contrast mosaics of sound pieces. Though under his new alter ego Erhorn manipulates these scissors in another way - the structure of sound cuts' constructions gains more grace, gives way to the free experiment and to the flight of an artist's fancy. Here we can remember that the author of music works actively as a jazz musician. Techno is still somewhere near, we can feel its unique spirit, though connection with it became very thin and transparent.
That's impossible not to point out the first-class sound design in this interesting release. The whole spectrum of sounds in Sum was produced with the help of synthesizer Nord Modular - from tiniest clicks and crackle to bass-sections, noises and slow pads. Mosaics of synthesized sounds form by themselves the matt layers, some of them are very cold, the other are considerably warmer and brighter. They are changed by the next ones for many times and there are enough events for a full-value long-play.''
Sound Proector / 17 Dec 2009

S U M
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Category: By the bug

''....Harps of Fuchsia Kalmia is a mist of "pure breath", "black-black", a "transatlantic journey between ruins of bluesgrass, avantgarde & improvisation" or a "new form of rural psychedelia", a sort of meeting between Fingerpicking, Urban Psych-geography and Interiors, a trans-urban vision of mystic, dead times, and another approach to psycho-akoustic-folk....''
Fractal psych-obsessions for rural chaos
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Category: By the bug

''...."I imagine there are many ways to describe the bleating cacophony on display here, but I'm gonna go with 'Garage punk getting stabbed to death by gorillas in clown suits.'..''
live it down
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Category: By the bug

"Super sladge recordings in a basement with karaoke machine and cheap equipment in 1995. Radiate extra electric from body, will get straight thought. If you have confusing brain and muddy mind, we suggest it."
o ld WaRRi or' s w O r ShIp
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Category: By the bug

''Another One Way Ticket into the Abyss ov thee Unexplored Teutonic Underground 1968-1974''
obscuredbykrautsvol.3
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Category: By the bug

"Jullander flee from ugly rock and cheerless postrock. On their run, they find old jazz and new electronics. Richly ornamented and simple at the same time, ten songs line up in unexpected easiness and sometimes touching beauty. On Interiors, Jullander speak of movies that they like and of those that haven't been made yet. In any case, cameras are lurking everywhere....''
interiors
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