artworks

angels of light - we are him


bill callahan - woke on a whaleheart

interessante spunto di riflessione, isn't it?!

lyrics

los angeles

by John Doe & Exene Cervenka

She had to leave Los Angeles
All her toys wore out in black
And her boys had too
She started to hate
Every Nigger and Jew
Every Mexican that gave her a lotta shit
Every homosexual and the idle rich
She had to get out

She gets confused
Flying over the dateline
Her hands turn red
'Cause the days change at night
Change in an instant
The days change at night
Change in an instant

She had to leave Los Angeles
She found it hard to say goodbye
To her own best friend
She bought a clock on Hollywood Blvd.
The day she left
It felt sad
She had to get out

ulver

Many of you have been waiting for sound, and we are sorry for the silence. We needed to be alone, without the hustle and bustle of the living. We are uncomfortable with the world, the industry and our place. We have been working, sluggishly, well aware we could end up with nothing. Nonetheless we believe we have succeeded in giving our fears some kind of form. SHADOWS OF THE SUN, our 7th full-length album, is finished and will be released October 1st. We feel it is our most personal record to date. Low-key, dark, and tragic. As we are.

ULVER, Oslo, July 13 2007.

ps: è possibile ascoltare 4 brani da SHTS qui

raus aus stavanger

e dopo la quiete , la tempesta.
altra scoperta recente questo duo norvegese


Morten J. Olsen: drums & SuperCollider3
Anders Hana: guitar, casio, drummachine



moha! is the new loud.

New release entitled "Norwegianism" is out!
Released 21st of May 2007. This time also on vinyl!
rune grammofon rec.

According to BBC online: MoHa! offer a kind of arhythmically funky heavy metal musique concrete, sourced from electric guitar, drums and a laptop.


Out of Norway's super-fertile impro scene, MoHa! are boldly leading the way with a sound that encompasses the best of rock, free jazz and electronic music. Despite the enormity and broad spectrum of sounds that constitute their unique style, it is the work of just two talented young men, Anders Hana (24) on guitar, obsolete electronics and a pallete of effects pedals, and Morten J. Olsen (25) on drums, triggering a multitude of noises from each skin and cymbal using custom built software. Having played together in various projects for close to 10 years, they have developed a high level of control and understanding in their musical communication. They compliment and confront each other, with sharp and mechanical movements on one hand, free flowing and loose gestures on the other. It´s a real scorcher; short, intense, to the point and brimming with head explosions, youthful energy and urgency.

ed eccovi un sample che vi farà sanguinare le orecchie.



Unrelased early track that marked the beginning of modern MoHa!:
det e jo rock, for faen



difficile spiegare come sia possibile trovare gradevole l'ascolto di tale follia.
noise annichilente ai limiti dell'ipnosi che oltre al culo vi aprirà diversi chakra

l'urgenza di un live ha avuto su di me il sopravvento.
esatto: non ho resistito e li ho contattati.
ho scucito 300 eurini al moloch che così me li porterà al bronson:
25ottobre. giovedì


e io sarò in prima fila, in pantofole sorseggiando rhum e thè.

notes on an untitled noh horspiel

che senso hanno i field recordings
che senso hanno i field recordings contaminati con suoni digitali ed analogici.
che senso hanno i field recordings contaminati seguendo regole ferree in stile dogma
che senso ha racchiudere il tutto in un concept puntuale e visionario

Number One [with KK.NULL & Chris Watson] KK.NULL/Chris Watson/z'ev
Number One
CD - 5 tracks - 48:15
Touch # Tone 24
Artwork & photography: Jon Wozencroft

Track titles:

1. Invocation
2. Introduction
3. Development
4. Climax
5. Conclusion



Z'EV writes: "In March of 2003 seeing my friends Stephen & Josephine in Los Angeles they suggested that i get in touch with japanese composer/performer KK.NULL. There followed a string of weird email occurrences which delayed our communicating until, as it turned out, we eventually met in Paris on 18 November.After his performance we were talking about a possible collaboration and during his set a possibility had occurred to me. I ran the idea by him and we agreed to proceed with it. The idea had 3 elements: 1 - to use the structure of the NOH THEATRE cycle as the basis for the composition. 2 – to consider the initial sound development in terms of developing ‘characters’ which would then interact with one another through the specific “scene” [which is a fairly non-traditional way to work with sound elements] and 3 – to place the ‘character interactions’ as the 'figure' inside of particular sound-scapes as the ‘ground'.



So in January 2004 I returned to London and began to work on my initial character developments. Coincidentally at this time I received a copy of a CD compilation i had a piece on which was released by TOUCH, which also had a piece by Chris Watson. So i got on the phone to TOUCH who put me in touch with Chris who has joined in on the project.

Sometime after I had completed mixing the 5 pieces, I sent a copy to my friend Boyd Rice. He emailed me back: "This is the first avant-garde piece I have heard in years that is truly avant-garde."

In the production process, Z'EV framed his and KK.NULL's electro-acoustic musics inside Chris Watson's field recordings from East Africa. A dynamic dialogue and inside-outside mirroring of natural and synthetic sound is the result: where the click and rhythm of an insect merges with KK.NULL's drumming; where the calls of the elephants combine with the electronic bass frequencies; where bird and frog song and Z'EV's harmonic structures produces surprising counterpoints.


For further information on the artists:

KK.NULL - http://www.kknull.com/
Chris Watson - http://www.chriswatson.net
Z'EV - http://www.rhythmajik.com [in the section 'projects' you can follow the email trail of the collaboration]


qui
potete trovare un samples da accompagnare alla lettura del post




più passa il tempo più mi convinco che l'eterna ricerca del "senso" è un dramma tipico dell'uomo come la religione e forse l'amore.
per cui ora mi ascolto moha!

house of cash

negli ultimi tempi sono riuscito a dedicare qualche tempo agli ascolti, i più svariati a dire il vero, ma la mia attenzione finisce sempre per essere calamitata da composizioni spesse e scarne e classiche e inneggianti ad un immaginario sempre più distante. non per questo meno attuali però. ho scoperto forse in colpevole ritardo i "personal file" di johnny cash.
d'altra parte si erano mimetizzati nella miriade di uscite post mortem pro-business dedicate al man in black. si tratta di una bellissima edizione con doppio cd, note dettagliate e foto incredibili. il tutto in un sobrio bianco e nero seppiato che rende assolutamente giustzia al mito.

palms of victory
Crowns of glory
palms of victory
i shall bear

appartenevo alla schiera di quelli che pensano che fosse stata la mano di rick rubin (produttore dei 5 album dalla serie american recordings) a prendere l'uomo e consegnarlo per sempre alla leggenda. e di fatto così è stato, ma alla luce di queste registrazioni la storia andrebbe riscritta o quantomeno riveduta. perchè john ray cash all'apice della propria carriera nei primi anni 70 era di fatto pienamente consapevole della propria solennità, della forza della propria voce accompagnata da sola chitarra. queste composizioni trasudano religiosità e consapevolezza in un uomo che non era per nulla vicino alla fine dei suoi giorni. perchè se quella voce profonda , un passo oltre la vita che ha caratterizzato gli american portava a pensare ad un testamento ad un ultimo ammonimento , ad un pentimento tardivo, questi personal file dimostrano come in realtà abbia vissutto tutta la propria vita da uomo in nero in uno stato di lucida consapevolezza. di redenzione e rinascita inesorabile costantemente proiettato oltre la morte. la propria.

If Jesus ever loved a woman
I think Mary Magdalene
Was the woman that he loved
If Jesus ever loved a woman
It was Mary Magdalene

in tutto ben 49 brani registrati prevalentemente nel 1973 e gli altri a seguire fino all'82, si tratta di un primo disco di cover e qualche composizione originale, ed un secondo di gospel e riproposizioni di traditional e addirittura la lettura del poema di Robert Service "The Cremation of Sam McGee."
molti dei brani sono anticipati da un'introduzione dello stesso cash che riprende antichi classici del country come "My Mother Was a Lady"di jimmie rodgers o "The Letter Edged in Black." rivisitando anche brani più recenti come "When I Stop Dreaming," dei louvin brothers o "When It's Springtime in Alaska (It's Forty Below), dell'amico johnny horton, per non parlare di "Paradise" di john prine.

i'm comin Lord
for my heavenly reward
i'm on my way to you
can you see me comin' through?
through clouds of persecution
and stumblin' on the way
but i expect, i'm makin' 'bout
a half a mile a day