...οχι δεν ειναι ο Ορεστης Μακρης σε σκηνη του ''Μεθυστακα'' ειναι ο Adoniran Barbosa
..καπως ετσι θα ακουγοταν ο John Martyn αν ηταν Βραζιλιανος και επαιζε Samba...
HAPPY NEW YEAR!!!!!!!
s.
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...οχι δεν ειναι ο Ορεστης Μακρης σε σκηνη του ''Μεθυστακα'' ειναι ο Adoniran Barbosa
..καπως ετσι θα ακουγοταν ο John Martyn αν ηταν Βραζιλιανος και επαιζε Samba...
HAPPY NEW YEAR!!!!!!!
s.
...το ''πατριωτακι'' Alec R. Constandinos σε ακομα ενα Disco meets Classical προτζεκτ
..το Beauty and The Beast ισως ειναι το καλυτερο τραγουδι του ειδους...ποιος Arthur Russell τωρα?
howmuchhowmuchiloveyou
s.
''Here Gino Soccio's disco goes pop, with the help of the Muscle Shoals boys and three jumpy, skillfully extended blasts from the riff-song past--Redbone's "Witch Queen," Free's "All Right Now," and T. Rex's "Bang a Gong." ''
witch queen
s.
''This is the original motion picture soundtrack to the 1979 slasher film "Prom Night" starring Jamie Lee Curtis. The film was rather lame however, the soundtrack produced some of the greatest and unfortunatly burried and obscure eurodisco. The soundtrack had a very very limited release only in Japan (strange huh?). The LP is impossible to find and it's not even credited as being in exsistance at any time! Somebody had a bootlegg transfer of a very mint copy of the vinyl on CD with nice cover art work of the LP,etc and I managed to strike a deal with him and get one off him very cheep! I've ripped this and now.. let's get this gem spread around the net as no one knows where a copy of this LP may still lay in the entire planet! There are a few pop/rock type ballads on here which are actualy good songs if you like that type of music. The thing about all the great obscure disco on this thing that sucks is all the tracks are no more than 3 mins in length :( Whoever these guys were, they had a tallent to produce some great eurodisco in the style of Alec R. Costandinos, Simon Soussan, Ian Levine and even a touch of Gino Soccio (the track "Changes" is a total rip off of "Dancer" by Soccio but still fuckin awsome!) The best track on here in my oppinion is "Love Me Till I Die". As a bonus, I've included a total classic 5am disco remix I created of this one through overlays,tape edits and effects prossesing. Enjoy this gem and again, spread this around! This music can not remain lost..its way too good for that.''
DJ Jimmy M (02/04)
PROM NIGHT
s.
''Em:t is a division of t:me recording ltd. All tracks written and produced by the artists. This collection features recordings which have been spatially expanded using the Roland Sound Space 3D Sound Imaging System. Recorded and mixed at Square Centre Studios, Nottingham, England, and other studios around the world. ''
e:mt
s.
.....βρετανικη power pop/a.o.r μπαντα απ'τις αγνωστες του ειδους με καποια απ'τα μελη τους
να παιζουν αργοτερα στους E.L.O..εδω εχουμε ενα 7'' απ'το δισκο Back To Zero με B'Side
το ακυκλοφορητο Rock n Roll Clown...
i'm satisfied/rock n roll clown
s.
....πολυ καλο Μπριστολιανο ιντι-ψυχεδελικ-ελεκτρονικ συγκροτημα που εχει καιρο να
δωσει σημαδια ζωης...
SON 4.5.98/DARKUS UNPLUG YOURSELF
s.
.....(ευτυχως) μακρια απ'το υφος των Calexico ο κυριος Convertino μας χαριζει δυο μισοσκοτεινα ατμοσφαιρικα jazzy τραγουδια ..
sack of cement/on that day he didn't mind the traffic
s.
''I'm gathering that this 10" vinyl release is the closest we have yet to a follow up to Mandra Gora Lightshow Society's Beyond The Mushroam Gate CD, and it features the same killer brand of psychedelia that the band served up on that release. Side A includes the songs "Love Dies", "Betty Day", and "This Sweet Pain". The trip factor is highest on "Betty Day", my favorite of the three. This is the kind of stuff where you just have to project liquid lightshows behind the band and go-go girls dance at the sides of the stage. It's got a killer 60's sound, but Mandra Gora Lightshow Society are infinitely spacier than the 60's psychedelia they draw from. And on all these songs the band have a funky rhythm to the music that makes the body want to MOVE!
All of Side B consists of "Psychedelic Shiva", a jam recorded live at the 1999 Hawkfan Festival. It starts as a song similar to those on Side A, but quickly launches into a cosmic tribal space jam with frantic driving rhythms and mind-melting space guitars, and that organ that gives the band such a beautiful sound. Timo is a man possessed on vocals, not unlike an impassioned Jim Morrison. The band really stretches out across the song's 15 minute length. These guys really do an excellent job of blending the psychedelia of the 60's with a more modern space rock sound. Highly recommended.''space rave
s.
..one of my first encounters with pop music (the other two being Abba and Boney M) although it
came out when i was only four it stigmatised my poor innocent soul with the mark of the EuroKitchPop which i still carry (and like very much) not to mention that Raffaella was one
of the first women i fantasized even before i knew the meaning of the word fantasize...
(me liga logia tin epaiza aneta gia party tis...)
a far l'amore conmincia tu/puisque tu l'aimes dis le lui
s.
o type part 1 & 2
..amazing post- punk free- form -industrial-proto noise band soundtracking a movie (propably an imaginary one since i found no info for this..if anybody knows something please tell us)
s.
... 7'' της γνωστης -αγνωστης obscure post-punk μπαντας απο το Μαντσεστερ.
Περιεχει δυο ακυκλοφορητα τους και ειναι δικο μου vinyl rip (το αναφερω αυτο γιατι
βρισκετε στην βλογοσφαιρα αλλα με πολυ χαμηλοτερο bitrate απ'αυτο...)
SEVENTIES ROMANCE/SWEET TOOTH
s.
...σημερα 24 Δεκεμβριου 2009 ηταν η τελευταια μερα λειτουργιας για ενα απο τα καλυτερα
δισκαδικα της Θεσσαλονικης το Rollin Under....δε γαμιεται πηγα να γραψω κατι μαλλον
μελο λες και πεθανε κανεις,ηταν ωραια οσο κρατησε και ευτυχως ο Baa-Bees εχει το Mic
και τα λεει απο κει....
Υ.Γ..δε θα ξεχασω (αυτος σιγουρα δεν θυμαται)τις μακριες(μα πολυ μακριες)σιωπες του Μπα B. οταν του ζητουσα να μου προτεινει κατι..μα ουτε ενα ρε γαμω!!!...
Υ.Γ.2..οσο για σενα διοπτροφορα μουσιτσα,υπαλληλισκε της κακιας ωρας εισαι για πολλες κλωτσιες και σου γαμω τους Hood και τους Third Eye Foundation μαζι....
Καλα Χριστουγεννα σε ολους...(ναι και σε σενα Παντελη..)
''Avenue D was an electro duo formed by Debbie and Daphne D. They’re originally from Miami but moved to New York City during the rise of the elecroclash scene in 2001.
They create songs with energetic and sexual lyrics. With the exception of Slut, they have produced their own CDs that they burn on their home computers and have stick on CD covers. Even so, they sold 50,000 records worldwide and have collaborated with such artists as Boy George, Phiiliip, Lady Tigra of L’Trimm, and Cazwell. They have performed for audiences all over the US as well as Brazil, London, Amsterdam, Rome, Ibiza, Germany, and Japan.''
totally magic
s.
so you're not coming over?
''Los Angeles-based Benett exemplifies all that is good about independent pop. She offers bright, accessible melodies, lots of whimsy, quirky innovation, plenty of fun instruments, and an intimate bedroom sound that makes you feel like she's playing in your house.''
s.
''One project I have in mind is called "Yamaneko Improvisations", it was recorded while touring Japan with Tori Kudo and Maher Shalal Hash Baz. It's a very strong, drone based duo improvisation between me on voice and bass clarinet and Tori Kudo playing a nineteenth century pump organ.....''
yama neko
s.
''Hawksley Workman manages to do something on his new album that so many other pop artists fail miserably at: write intelligent lyrics. The words of songs have completely been forgotten amidst the blips of techno-dance pop, and Workman brings us back to a day when musicians actually had something intelligent to say. He writes poignangtly about love, liquor and religion, each song making us believe that he is a really smart guy. Most of the songs on this album are really strong, the best being "Smoke, Baby" and "We Still Need a Song". On the musical side, none of these tracks will blow you away, but they are designed this way because it is the singing and the lyrics that rightfully take center stage on this album.''
lover/fighter
s.
"Club d’Elf combines the roaring avant-funk of electric-era Miles with the legato drift of the Grateful Dead ... heady music that doesn’t neglect the tail." – Time Out New York
nowiunderstand
s.
''KAA ANTILOPE was Bernard Vranckx and Frédéric Walheer (also in Waving Ondulata and co-founder of the Sub Rosa label together with Guy Marc Hinant ), with some support from Bernadette Dupont, all hailing from Brussels, Belgium. Unfortunately they were active only in the years 1981/82 so that they released no more than one 7”EP (“Some Other Bivouacs”, Sandwich Records, SR18, 1982) and some further unreleased tracks on the LP compilation “Coal Heart For Ever” (Sub Rosa, SUB 33011-16, 1988; re-issued on CD in 1992, SUBCD 021-40). KAA ANTILOPE is nothing but unique, and pure beauty. Their sound and melancholy are a class of is own and if you open your mind and heart you can be part of their very own universe ''
Some Other Bivouacs
s.
clouds......
''In Western music, melody and harmony are the equivalents of figure and ground. Together, they constitute a kind of musical perspective, which evolved parallel to that of Renaissance painting. In the musical textures of Clouds of Forgetting, Clouds of Unknowing, I have purposely tried to lose perspective. Working with elementally simple materials and gestures, purposely stripped of expressive rhetoric, I have tried to blend line and chord into an enveloping sphere of musical space. Clouds of short melodic cells are superimposed on expansive harmonic clouds of the same tones. Figure becomes ground in dense clouds of expanding, rising lines. Ground becomes figure in the glacial movement of large harmonic clouds, which, as the listener enters the suspended time frame of the music, come to sound melodic -- like exaggeratedly slow chorales.''
s.
thetomorrowpeople
''All the original tracks are here, in the same order featured on the original record, with the tone set early on with a cocophany of gorgeous over-saturated tapey sounds that are very similar to the sort of atmospheric and incidental music used in classic period Doctor Who. ''
s.
"Above all, one can only bow before the audacity and the risk taken by this young saxophonist who, for her first album, proposes a live recording of free and improvised music. Some of the tracks last almost 20 minutes. This crazy audacity corresponds to an unquestionable thirst for freedom that refuses marketing, formatting or career plans and places artistic sincerity beyond everything. Let’s also greet the talent, originality and pugnacity of this 28 years old musician who, like a warrior, fights and gives everything she has without considering any formalism or aestheticism. Alexandra Grimal plays music in its rough state without effects or cheating. She can play from tenor to soprano and back to tenor in the same piece with as much frenzy and ebullience, sustaining the same tense flux. A coherent and dense music, remarkably served by the complicity she has with her musicians. It is an exemplary and organic trio that tells the same story with different voices in the same space-time, constantly developing the content through the material and sound texture. An organ or a clavinet that generates a tense, dirty and toxic climate and a drummer who plays asymmetrical rhythms, which generate hypnotic and unsettled effects. They embark you on an experimental and extremist journey and tackle jazz with independence of mind and total integrity."
shape
s.
''With the risk of being accused of being a male chauvinist, I would say this is very female avant-garde jazz, not only by the pink color on the album cover, but also by the subtlety and fragility of the music. Lotte Anker is a Danish saxophonist, mainly trained in jazz, Sylvie Courvoisier a Swiss pianist, mainly trained in classical music, Ikue Mori is a Japanese drum machine specialist, now a real-time electronic laptop music wizard. On "Alien Huddle", the trio brings highly unusual music, giving impressions of birds, not as such, but in their natural environment: sparrows, owls, herons, swan, rooster, raven, crow, ostrich, blackbird, yet without being too literal in the evocation, or too programmatic in the performance. While on many tracks Courvoisier and Mori create short, rustling, shuffling, bleepy or thundering sounds, with Courvoisier more often plucking her strings directly than using her keys, the fact that the sax's performance stretches the notes, gives a quite accessible (relatively speaking) feel to the music, almost redefining the rhythm section for modern music and its interplay with a solo instrument. The interactions are organic, immediate, full of surprises and wild thought jumps. Despite the similarity of approach throughout the album, each track has its own coherence and unique identity. The music is unusual, but it has an intense and highly concentrated beauty.''
alienhuddle
s.
.....αυτοσχεδιασμος και πειραματισμος συνυπαρχουν με την Ελληνικη παραδοση
και η αγαπη του Σακη Παπαδημητριου για τους ''κλασσικους'' ειναι κατι παραπανω απο εμφανης..ομορφος δισκος!
pianocellules
s.
''With beautiful melody and intricate structure, the WHO trio¹s album Open Songs displays the strong compositional background of the musicians. Gentle improvisations are interwoven, and there is strength and unity in the sound. Beyond the traditional method of trading solos, there's a profound communication and feeling of solidity between the three players. Although entitled Open Songs, they are not so much airy as they are tight, each sonic element connected like pieces in a jigsaw puzzle.''
opensongs
s.
"As is implied by the title, Yellow (A Little Orange) can be perceived as one thing at first glance—perhaps an attempt at the avant-garde by a group of talented young musicians but, when dissected further, holding much more complexity than simply one color tone.
This recording is a second for the Nicolas Masson Quartet and shows a type of maturity in modern music that is sought after by many musicians and listeners alike. Swiss Masson, here on tenor sax and bass clarinet, has the makings of a great player. His talents, a trio of quality NYC musicians and striking original compositions are a perfect blend. Russ Johnson (trumpet) is in particularly fine form—a beautifully melodic and yet harmonically challenging solo on the title track is an ideal complement to the dissonant melody and feel of the tune. Eivind Opsvik (bass) and Gerald Cleaver (drums) blend together so nicely that the absence of a purely harmonic instrument is never noticed.
Yellow (A Little Orange) is surprisingly, and appropriately, melodic at times, too. “Zelig” is a gorgeous piece that manages to maintain the modern mentality of the album through its chordal structure and solo by the leader. Juxtapose that with the opening track, “Good Buddy,” and its highly atonal contemporary feel and a listener is left with an album that is not afraid to venture into different idioms while holding on to its original voice.
So what at first looks like simply avant-garde turns out to be that and much more. Masson’s quartet is a group of innovative and talented musicians that not only seem willing, but eager, to push boundaries in both directions." - By Christopher Shoe (All About Jazz)
YELLOW-A LITTLE ORANGE
s.
Composer/drummer Patrick Forgas has been hailed as “the French answer to the Canterbury scene” ever since his debut 1977 release Cocktail (recorded with members of Magma and Zao)
. Since the late 1990s, as leader of the Forgas Band Phenomena, he has helped ignite
interest in Canterbury-infused jazz-rock among a new generation of young French jazz musicians and fans. Besides Forgas, most of the musicians in the Forgas Band Phenomena are in their 20s or 30s, and they enliven his compositions with an energy and verve that make the music sound fresh.
rouelibre
s.
RYPDAL & TEKRO
RYPDAL & TEKRO II
THE RADIOSONG
...και τελειωνουμε το αφιερωμα στον Mr.Tekrø με τους δισκους που εβγαλε με τον ετερο
Νορβηγο κιθαριστα και ενα απο τα σημαντικοτερα ονοματα της Ευρωπαικης Jazz και
της ECM Terje Rypdal...
....ο Ronni σε ακομα ενα σολο δισκο ο οποιος ειναι εν μερη ηχογραφημενος σε εκκλησια.
magicalanterna
s.
....demo tape των Vagabond που κυκλοφορησε πριν βγαλουν το ντεμπουτο τους μονο στη Νορβηγια. Περιεχει 3 κομματια απ'τον πρωτο δισκο σε διαφορετικες εκτελεσεις και ενα ακυκλοφορητο ,το Daylight..
VAGABOND DEMO 1993
s.
...ο κιθαριστας των θεων TNT σε ενα σολο δισκο γεματο χριστογεννιατικο Vagabond meets Europop πνευμα....
UNDER THE MISTLETOE
s.
"One of the most accomplished reedists on the planet" - Ken
Waxman, Jazz Weekly
"Paul Dunmall is a monster sax player" - Massimo Ricci, Touching Extremes
"...a musician who can wail convincingly without abandoning his intellect" - All Music Guide
"...eclectic, capable on several instruments and full of wonder for the improvised form" - Andrey Henkin, All About Jazz
"Whether in a trio with Mujician's rhythm section or with the larger band of sympathetic fellow improvisers, Dunmall consistently
produces powerful and passionate music" - BBC Music Magazine (June 1994)
"...robust and heavy-hitting performer who has gone on to concentrate largely on free improvisation without sacrificing
melodic logic, a sparing lyricism and the technique to drop in on bebop occasionally." - John Fordham, The Guardian
BEBOPSTARBURST
s.
''Inspired by films such as The Ipcress File, Get Carter, On Her Majesty's Secret Service, Funeral In Berlin and The Day Of The Jackal, The Alpha Tapes evokes a cloak and dagger world of treachery and skullduggery with its mix of experimental electronica and cinematic orchestration.''
THE ALPHA TAPES
s.
''With their second album, the duo of songwriter Jim Lawler and producer Ben Rawlins have mapped out an intriguing journey into the realm of downbeat, and joined the ranks of those who can conjure up grey mornings before the curtains are even open. ''
i can do nice
s.
''Produced by longtime collaborator Scotty Hard (Wu-Tang, Prince Paul), Zen of Logic travels down many paths, all linked by two turntables and one mixer. From “Afro-Dub" (featuring Antibalas), “Ghetto Funk" (featuring John Medeski), “What is Jazz?" (featuring
The theorem of turntablist-as-musician has been proven in the capable hands of DJ Logic, who, with jazz as his foundation, barreled through barriers to become a wax innovator, crossing genres and sprinkling his sound across the map.
Not just another deejay from around the way (though he is from the Bronx), Logic has the credentials to back up his reputation as a musician and visionary - after all, this is a man who helped found the Black Rock Coalition, established in 1985 and was the first turntablist to play the famed Blue Note club in New York City.''
S.
''Neung Phak is a delicious Lao dish containing steamed chicken, coconut milk, and banana leaves, but is also the tasty and exotic alter ego of Bay Area noise wizards Mono Pause, who in turn share members with absurdist cut and paste legends Negativland. Neung Phak's bedazzling debut, recorded with chanteuse Diana Hayes, is an almost incomprehensibly funky mish-mash of Southeast Asian pop and traditional melodies, served up spicy-hot, East Oakland style. This is what you could be listening to when you move into that cheap apartment overlooking the Chao Phraya River: some roots 'Molarm beat' from the Lao countryside, creamy Khmer ballads and Cambodian Rock, with a dash of Bangkok big city pop. Dig this template of tropical seduction, from rural to urban, through thick sewage and pristine rice paddies, side-steppin' the sex tourist industry just enough to make this disc legal.''
(mono pause)
s.
....εσυ,μολις τελειωσες με το φτυαρισμα του χιονιου στην εξωπορτα..ο γλυκος σου μολις ξυρισε
το στηθος και ψαλιδισε το μουστακι του..τι καλυτερο λοιπον απο ενα μπουκαλι καλο κρασισι
και λιγο Λουθα! ''Καλα Χριστουγεννα μωρο μου'' ψελλισες και τα αποτριχωμενα στερνα σας
ενωθηκαν καθως το χιονι συνεχιζε να πεφτει....
THIIIS...ISSSSS...THE PAINKILLLEERR
s.
...η αληθεια ειναι οτι σ'ολο το δισκ0 φυσαει ενα τουριστικ-σουβενιριζε αερακι
τυπου η Ανατολη συναντα τη Δυση που δεν ειναι του γουστου μου
αλλα το ''πσες σε ειδα στο ονειρο μου'' ειναι ο καλυτερος Ζωναραδικος που εγραψαν ποτε οι
Juno Reactor..ΕΠΟΣ!
TAXIDOSCOPIO
s.
''...αν και πιο γραμμικο και μινιμαλ αυτο το αυθαδικο αμαλγαμα μεταξυ Burial και Animal Collective καταφερνει με τροπους ανηκουστους να μας προσφερει απλοχερα ενα μπουκετο
ευωδιαστης ολοφρεσκης pop...''
ClannO)))
S.
''Tuvan throat-singing occupies a special place in the hearts of folks who dig music from far-flung lands. Even though one’s collection might include instrumentation like sitar or oud or shakuhachi or a listener might be well into Indonesian puppet-theater music or the sounds of Arabic nomads, well-indoctrinated “world music” lovers are still stunned by the sheer uniqueness of the deep, guttural sounds of Tuvan throat singers. It’s a primal sound, as resonant as the voice of God and it strikes a special chord with its sheer simplicity. Yet, Tuva — a tiny area of deep Mongolian influence in isolated south Siberia — is a land that’s finding its cultural history evaporating as its residents move from farming villages to industrial cities. However Albert Kuvezin — an electric guitarist and throat singer from Tuva — is doing his part to keep kanzat (his particular brand of throat-singing) vibrant with Yat-Kha, perhaps the only extant Tuvan rock band. Though “Yenisei-Punk” is far from being a punk rock record in the Western sense, the melding of Tuvan instrumentation with electric guitars and a rock & roll attitude means that it’s a seriously forward-looking update on some very traditional music. Largely low-key and brooding, this album does little to reflect the live power of the band, but is certainly possessed of a power of its own.''
yenisei - punk
s.
Bastardgeist is the solo project of Joel Midden (Bullet Teeth, Naughty Arabia), blending acid folk guitar with thumb piano, haunting vocals and mesmerizing manipulated sounds.
SKLL SKLL SKULL 69 SKLL ATOMIC BOMB
s.
''The Whatnauts were a vocal group from Baltimore, Gerald Pinkney, Billy Herndon and Garrett Jones. Their music can best be described as sweet soul with a hint of desperation because many of their popular songs dealt with troubled relationships and the hurt that they caused; some people call this "heartache soul."
CORRUPTION
s.
Everybody knows Newcleus' electro classic Jam On It and maybe even Computer Age, but Space Is The Place (the group's second album) is almost always slept on. For those willing to dig deeper into Cozmo D and the gang's catalog, there are plenty of electro nuggets worth looking into especially on this album. There's the obvious attempt to recreate their big hit with Let's Jam which is alright as an alternative, but tracks like Teknology and Cyborg Dance have something fresher going on. Then you have joints like Why that bring down the BPM's and sound like some new school cosmic boogie funk. Fans of old school synths, drum machines, vocoders, and electro should definitely check.
SPACE IS THE PLACE
S.
''A beautiful album of jazzy modern soul tracks -- and quite possibly the best album by this legendary combo! There's a joyous, upbeat feel here that's totally great -- miles from mainstream soul of the time, in a way that's always made the record a favorite for fans of the Free Soul scene -- who've kept it strong for years. Lead vocals are by Sandy Torano and Howard Johnson -- but the backing vocals are great too, and feature Phyllis Hyman -- used in subtle ways to flesh out the sound nicely -- and the instrumentation is often funky, but has a warmer, jazzier undercurrent too''
niteflyte
s.
It's hardly surprising that Leeds-based outfit 7 Hertz have done soundtrack work, in fact their debut album 'Tender, Almost Vulgar' is just about as close you can get to a film soundtrack without being tacked onto a Kieslowski movie. The band is made up of three ladies on violin and clarinet and a feller on double bass and between the four of them they improvise wildly incorporating influence from their wide-reaching musical backgrounds. Indeed they reference free-experimental music, jazz, punk and of course classical music, but the distillation of all these sounds comes down to something quite different to any expectations you might have. The album was recorded in a disused church in Leeds, so their keen ear for acoustic space and recording method without a doubt stands high above their tracks, However just as you're getting absorbed into the epic church reverb you realise just how unusual the music is - sitting somewhere in-between the kind of experimental hiccup of Mr. Bungle and the glorious atmospherics of Max Richter with a bit of Klezmer thrown in for good measure. Opener 'Chicken of the Woods' takes us whole-heartedly into the band's world with humorous licks set against drooping bass before launching into a screeching post-jazz finale with the clarinet taking centre-stage. Elsewhere we get plucky double-bass surrealism with the feisty funk of 'My New Favourite Joke' and then later on the surprise vocal-led smokiness of 'Ob Savi' and 'Seasick Suite'. For ambition you have to hand it to the band, but the fact they pull off the feat and come out the other side with an album which somehow holds together in a gloriously coherent whole is astonishing. Albums such as this shouldn't work on an independent level, but 7 Hertz have managed the unmanageable, I'd hazard a guess that they'll be scoring Eastern European art films within the next year or so. Quite stunning...
tenderalmostvulgar
s.
Like the previously reviewed Jed Speare, Marchetti has interests in bioacoustics and sound ecology. However, Speare doesn't employ natural sounds to the same ends as does Marchetti. In this case, it seems as though the latter is leading us through the external wild toward our internal untamed in an attempt, through ritual, to induce alternate states of mind. Whereas the emphasis, for Speare, seemed to lie literally in the significance of the external world and then filtered through our consciousness, Marchetti seems to be explicitly setting up natural sounds to symbolically work within the psyche, as rough guideposts toward the ecstatic. It's a subjective difference, I admit, but given the context of each recording, I feel it has weight.
The fascination of ritual as a concept has its brethren among many, but as far as a marriage of dualities for forging the ecstatic is concerned, it is Nitsch who is commonly referred to as the contemporary progenitor of ritual in 'other' music. Though Marchetti's musique concrete shares only a fragment of the luminous microtonal obsessiveness of Nitch's famous works for performances, they do posit an alternate aesthetic apprehension of the sublime. It resides in a very subtle, discreet locale where it may be attained through symbolic inference, through the invocation of the elements instead of a straight orchestral representation of all-consuming sound.
The subtitle translates into 'exchange of eyes,' which, I suppose, can be interpreted in different ways. Despite the peppering of clues given us by the artists, I think that matches the rather open-ended canvas of Hatali Atsalei. But what of authorial intent, anyway?
Strictly speaking, the essential feeling is that it refers to the dissolution of self, and all the violence and extreme beauty that evokes, referencing the simultaneous state of becoming something greater, as well as the 'negative' state of being devoured by something greater. The inference, of course, is that the ego is shattered creating that ineffable unity with the universe. It's mysticism 101. Whether sound can itself produce this experience is up to each individual listener. Indeed, the mention of mysticism necessarily degrades experience by introducing babel, which is also invoked through Muryama's weirded-out vox punctuation and guttural drones. The music parallels all the violence and beauty mentioned above. In spades.
On that, the recording consists of five tracks, which, when bridged together do induce a trance state. What's more, it isn't the sort of music one might readily associate with trance; it neither drones or repeats itself and therefore does something unique. It also manages to be musical, if in a filmic manner, despite its obvious sound art leanings. Simply put, if you're into sound surrealism, art brut, musique concrete, collage...any of that, it will serve you well to stick this thing into your CD player.
This is typical Intransitive trash: focused, uncompromising, and pretty fuckin' great. 10/10 -- P. Somniferum
HATALI ATSALEI
s.
The Wire (1/01, p.61) - "...It finally matches the promise of its live performance....the orchestra has achieved an integration and rhythmic finesse to equal its exuberance and display..."
CMJ (10/23/00, p.33) - "...A beautiful listen filled with strong playing..."
JazzTimes (3/01, p.82) - "...The performances here are remarkable not only for the range of musical styles but also for the connections between musical episodes....Free-from jazz, old-world harmonies, impassioned Latinate, Milesian musings and campy dance grooves mix..."
litaniasibilante
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''A collaboration between Canadian post-rockers, a beat poet and an accordionist? There is one track that makes me imagine a troupe of marauding street musicians, but (don't run away!) for the most part this sounds like no-one else. From its classical folk guitar and almost-hip-hop vocal, the nearest comparison we at BS Towers can come up with is "like Nick Drake playing guitar in Spain while Roots Manuva sings in the shower."B.S''
A POEM FOR M
s.