#lp paris ritual

[sleepanonymous]

That pauldron tho 👀

[vulcanette]

from “Vore” at Paris La Défense, Nov 03, 2024

[aquaregia-iv]

Baby girl is still baking

IV sighting!

(Source - courtesy the amazing iibrainrot)

[yesterdaysanswers]

THE NEW RITUAL

Like "E.L. & P.”, the staging of Yes...defines them

translation:

Yes performs in Paris at Palacio de Deportes at the Versailles Gate and I arrive in Paris with the sole purpose of seeing them and, possibly, interviewing them. Everything was well organized, because our correspondent in Paris, José Antonio Alvarado, had everything prepared and arranged with the record company, a possible exclusive interview (they only gave another one for the magazine "Rock and Folk”).

A long time before the performance, I enter with Jose on stage and I am impressed by the scenery they are still setting up. Roger Dean, the sensational designer of all the latest albums, has conceived a surprising stage set, filled with poetry close to an Alice in Wonderland of the 21st century.

The group on stage appears completely cohesive. The first thing that may surprise you is the perfect integration of Wakeman, which at no time is the star (as with Emerson in ELP). It is a solid group with a great singer in front.

They performed the theme "And You and I", which is Anderson's favorite. The sound is prodigious and encompasses the perfection of “Yessongs", which is perhaps the best recently recorded live LP. "Close to the Edge", highly applauded by the public, who immediately recognizes it, and soon after comes the first long piece of their latest "Tales from Topographic Oceans" which is very well received by the French public.

With the impressive background decoration, the music of Yes sounds doubly good and there are moments when a kind of dragon's mouth begins to smoke that slowly invades the scene. The show is beautiful. All the stage effects are done only once and are never repeated. The following is a new surprise. Perhaps the most spectacular is a long piece of percussion made in the dark and with the only lights that come off a kind of gigantic toad that houses Alan White and his drums. The effect is overwhelming and the public breaks their hands clapping. Yes should come to Spain. Yes on stage, in addition to being a sensational group, are an absolutely modern spectacle.

The recent visit of Emerson Lake & Palmer has served so that in our country - critics and fans - they live "in situ" one of the musical events (let's call it that) that could never be reflected in the album, at the moment the only suitable conductor among the "distant interpreter" and the listener.

The staging of a group like Yes or EL&P, in which the listener participates as a positive element (it cannot be otherwise, given the magnitude of the scenic elements) of an audiovisual show, can motivate a radical change in the position of the fan or the spectator before the music - once absolutely subjective - now formalized through plastic elements. 

It is continually debated in this regard, especially since lately the motivation in music has destroyed its abstract circle and has broken into the forms. The musical "representation" today has taken the literal meaning of the term: today dolls are slaughtered on stage, authentic "choreographies" are staged, lighting technology is tremendously complicated.

Well, this has no other meaning - none revolutionary - that does not mean taking advantage of the physical presence of the receiver to "induce" what the interpreters believe "is" their music. There is nothing new in the system, the operators - beware that they are years old - have already established it. Staging a musical concept is almost as old as the music itself.

Another thing is to find this system valid, another thing is to accept as listeners to yield our interpretation right to the arbitrary forms that the interpreters want to give it. I personally think that music has the tremendous prerogative of total individual abstraction, play can even be an attempt on the freedom of the listener to offer him the plastic interpretation of music, an interpretation that belongs to the individual sensitivity and to the possibilities of abstraction of each one. The musician owns the idea, the forms are elaborated through the listener's perception. No one can access them, not even the author himself.

This comment, which accompanies Gonzalo's story, is intended only to focus attention on a system that is recent among us in the face of that visit by Emerson Lake & Palmer to Barcelona, ​​in which this issue came up.

Yes, Genesis, EL&P, Pink Floyd, Jobriath, Cooper, etc. They must visit our country so that the fan is a conscious witness of this new ritual, and thinks, applauds or rejects, and it does not happen as we could see in the attitude and appreciation of many colleagues - during the EL&P interview - that there is no element (because nobody has bothered to look for it) that allows judging in one way or the other something that can be much more important than it seems.

original article scan:

[dustedmagazine]

Dust Volume 6, Number 1

A new year means new music. At least eventually, it does, though January is notoriously slow for album releases. Meanwhile, there’s plenty we missed from late (and mid and even early) 2019, so let’s dig into that for one last big Dust. Here we cover subcontinental LGBTQ gangsta rap, industrial clangor, string quartets, Welsh agitpunk, electronics, free jazz, blackened death metal and an odd, charming collaboration between Cate Le Bon and Bradford Cox (see photo). Writers include Bill Meyer, Jennifer Kelly, Ian Mathers, Tobias Carroll, Andrew Forell, Ray Garraty, Jason Gioncontere, Ethan Militsky and Jonathan Shaw.

Jeb Bishop / Alex Ward / Weasel Walter — Flayed (Ugexplode)

Flayed by Jeb Bishop / Alex Ward / Weasel Walter

You know a party is good if it carries on even though the organizer can’t show up. Bassist Damon Smith planned this encounter, which involved his long-term partner in intensity and chaos, drummer Weasel Walter; New England improvisational fellow traveler (at least until Smith moved to St. Louis a few months after this March, 2019 session) Jeb Bishop on trombone and electronics; and Alex Ward, a veteran of work with Derek Bailey and This Is Not This Heat, on guitar and clarinet. Since Walter has played with both of the other guys in and outside of the Flying Luttenbachers, when Smith had to drop out for scheduling reasons, he was confident that the trio could make something of both the opportunity to play and the space made available by the absent bass. He was right. Both the title and prevailing assumptions about Walter might set you up to expect a one-dimensional blowout, but there’s loads of listening and thoughtful, instant reacting taking place on each of the album’s eight, mostly pithy tracks. This music plays out like a combination of jujitsu and shuttle diplomacy, with players shifting between support and challenge, density and space, rapidity and reserve from second to second.

Bill Meyer  

 Cartel Madras — Age of the Goonda (Sub Pop)

Cartel Madras turns gangsta rap’s hyper-male, African-American-oriented bravado on its side, filtering the guns and blunts ethos through a female, queer, multicultural lens without diluting its violence in the least. Sisters Priya and Bhagya Ramesh, known as Contra and Eboshi, have lived in Calgary since childhood, but they immigrated from Chennai, India, once part of Madras, hence the name, hence the tricky scales and intricate, not-quite-Western rhythms of their rhymes. Age of the Goonda works in a spare, menacing way, dense, referential wordplay atop an undulating threat of sub-bass and the occasional spray of bullets.

“Goonda Gold,” celebrates cartoonish dominance, though with a South Asian twist. Little bits of Hindi harmonics decorate the bare architecture of synth bass sounds and cracking, stabbing percussion (augmented here by gunfire); the Cartel’s chant of “Gold on my neck I’m a Goonda/got guns in the air like a junta” puts a subcontinental spin on ghetto law. The clever-est word sprays come in “The Legend of Jalopeno Boiz,” where the duo references everything from Frost/Nixon to incel stereotypes, but the single “Lil Pump Type Beat,” is all hedonism, devious syncopation and sexual predation. Though wildly intersectional, these tracks make no concessions to soft, liberal ideas about how women/minorities/LGBTQ people wield power; they do it just like the men do, with guns. “Take off your top boy/somebody bring me my gun/that bag in the back of the jeep/you just a bitch on the run,” asserts one or the other sister in “Jumpscare.” What was that you were saying about women and nurture?

Jennifer Kelly

 CIA Debutante — The Landlord (Siltbreeze)

CIA Debutante-The Landlord by CIA Debutante

A new Siltbreeze record is a rare blessing nowadays. The label’s first release since 2018 comes from Paris duo CIA Debutante. The Landlord fits in nicely with the label’s storied '90s output, particularly the Shadow Ring. The electronics aren’t quite glitchy—they sound more like the batteries in a cheap toy dying. Still, CIA Debutante are savvy enough to avoid getting too clever with their sputtering, plodding, and whizzing, and they don’t go the easy route when layering incongruous sounds. There’s never the fatiguing sense that they rely on the same few tricks. It helps that their murky, paranoid vignettes are fully engrossing. CIA Debutante tap into something truly nightmarish on The Landlord, which is a rare accomplishment. Sure, plenty of music shoots for tense and creepy, but CIA Debutante have an exceptional gift for the uncanny, the kind of stuff that haunts you long after you’ve woken up and can no longer hope to grasp it. Ethan Milititsky

Decoherence — Ekpyrosis (Sentient Ruin Laboratories)

Ekpyrosis by Decoherence

Decoherence is a pretty good name for a band that locates itself in the liminal space between industrial music’s stomp and clangor and black metal’s astringent tumult. The band’s new LP (and first full length release) Ekpyrosis is at its best when its waves of distorted hiss, dissonant riffing and distant shrieks and growls threaten to rend the record to shreds. One imagines that if you found yourself in an aluminum ladder factory, amid the massive drills and extruding machines and metal presses and then removed your ear protectors, you’d hear something akin to this — especially if the place was possessed by demons of ill intent. It’s a well-crafted, ritualized chaos. The band is so insistent on a specific set of sounds and forms that the record’s long tracks tend to blur into one another. Which may be the point. Decoherence, indeed.

Jonathan Shaw

 Bertrand Denzler / CoÔ — Arc (Potlatch)

Arc is a two-part, album-length work by Bertrand Denzler, a Swiss-born, Paris-based saxophonist and composer. It is performed by CoÔ, a string septet led by double bassist Félicie Bazelaire. The ensemble’s composition is a sort of funhouse reflection of a string quartet, distorted towards breadth; it comprises one violin, two violas, one cello and three double basses. But there’s nothing comic about this music, which is quite beautiful in the same way as a slow winter sunset. Denzler’s method here involves the use of continuous sounds, but don’t call it drone. The players use both conventional and extended techniques to create a continually changing sequence of striated sounds. Naked scrapes and cavernous groans arc in formation, changing fairly frequently over the course of each piece. The result is immersive enough to let you get lost, but keep your ears and eyes open; you wouldn’t want to miss one moment of gradual transition. A note about circumstances — Potlatch, the label that released this CD, has slowed its production in recent years, and this is the only record it released in 2018. Apparently, the label isn’t wasting its time with unnecessary effort; Arc clears the necessity bar.

Bill Meyer

 Fujiya & Miyagi — Flashback (Impossible Objects of Desire)

One of the interesting things about Fujiya & Miyagi’s songwriting is that as the UK post-motorik outfit’s music becomes ever more focused and sleekly propulsive, frontman David Best has zeroed in on any number of little aspects of life disturb and upset the kind of cool pulse the band specializes in. Here it’s everything from violations of your “Personal Space,” the “Fear of Missing Out,” and nagging thoughts in the title track to the more political concerns of the closing lengthy workout of “Gammon” (which eventually, in one of the little touches that makes F&M’s music so addictive, settles on the “pure evil vibrating” of a dial-up modem). That doesn’t mean the band can no longer bust a groove just for the pure joy of it, as “Dying Swan Act” proves, but it’s the combination of those chops and the perceptive if increasingly jaundiced eye they turn on life that makes them such a unique and compelling act.

Ian Mathers

 Cate Le Bon & Bradford Cox — Myths 400 (Mexican Summer)

Myths 004 by Cate Le Bon & Bradford Cox

Intricate fancies turn just out of true in this pop-up collaboration between Cate Le Bon and Deerhunter’s Bradford Cox, the fourth in a series of joint EPs recorded under the auspices of Mexican Summer’s annual Marfa Myths festival (hence Myths 400). The two artists work in a skewed, peripheral vision take on artful pop, building interlocking boxes of percussion and whimsey in which fleeting glimpses of loveliness flit by. The song-i-est bit of Myths 400 is undoubtedly “Secretary,” a Weimar-decadent bit of mournful song hedged in clanks and clicks, strings and clarinets, and the odd combination of Le Bon’s pure art-song shiver and Cox’s less pristine, more grounded voice. Yet the rhythm-centered oddities are just as rewarding; resist the slap-bang fanciful-ness of growly-voiced, Cox-led “Fireman,” with Le Bon trilling off center arias in the margins at your own peril. “What Is She Wearing” bangs out disconsonant guitar tones in slightly off center patterns and tunings; it’s a wind-up toy’s existential crisis. Le Bon chants in a Middle European cadence, as the cut falls somewhere between early Michachu and a Kurt Weil song. It’s about the last thing you’d expect to emerge from the desert, eccentric, abstracted, playful and utterly urbane.

Jennifer Kelly

  Urs Leimgruber / Andreas Willers / Alvin Curran / Fabrizio Sperra—Rome-ing (Leo)

Urs Leimgruber has covered a lot of musical ground in a performing and recording career that spans over 45 years. The three musicians who join the Swiss saxophonist on this freely improvised encounter, which was recorded in Rome late in 2018, are well chosen to access aspects of that history and shape it into sound configurations that are quite present-focused. Quick, light-fingered, and restless, drummer Fabrizio Sperra keeps things in constant motion. Swiss guitarist Andreas Willers stirs chunks of almost rock-ish noise and sprinkles stinging, pure-toned notes into the mix that give the music heft without slowing it down. Alvin Curran, an American keyboardist and composer (and member of MEV), draws on classical more than jazz elements in his piano playing; there are moments where he stubbornly erects a structure that the other musicians must either inhabit or work around. But his sampler also enables him to inject the sounds of other places. Shifting between tenor and saxophones, Leimgruber drives quickly spiraling phrases through the open spaces and uses astringent, distressed tone-shards to suggest where there needs to be more space.

Bill Meyer

 The Master Musicians of Dyffryn Moor — Music for the National Health Service (Amgueddfa Llwch)

Music for the National Health Service by The Master Musicians of Dyffryn Moor

When I was a younger punk, I would sometimes take in the phenomenon of bands’ whose lyrical explanations would take longer to deliver than the playing of the actual songs. And while I haven’t seen this crop up much recently, I feel like that aesthetic is alive and well when I visit the Bandcamp page of The Master Musicians of Dyffryn Moor, which includes a terse essay about the dangers facing the NHS under the current British government. This new EP follows two excellent full-lengths, Cerddoriaeth Ddefodol Gogledd Sir Benfro (Ritual Music of North Pembrokeshire) and Contemporary Protest Music, which blend the “instrumental music can be politically charged” feel of Godspeed You! Black Emperor with the intricacy of Steve Reich’s Drumming. These two songs continue in that tradition — furiously played percussion with a heated political subtext — but add a few tweaks to the sound the group has already established. Specifically, there’s a stronger electronic element here: you could probably get a dancefloor moving if you cued up “A spell to protect the NHS from those who seek to destroy it.” Its opposite number, “A hex on those who seek to destroy the NHS,” is built around a steady pulse. You probably can’t dance as well to that, but given the potential psychic damage incurred by dancing to a hex, would you actually want to?

Tobias Carroll 

 Overground Collective — Super Mario (Babel Label)

SUPER MARIO by OverGround Collective

The Overground Collective is a pan-European big band that is based in London and led by Paulo Duarte, a Portuguese guitarist/composer currently based in Scandinavia. If that sounds like a bit to get your head around, you probably need only wait a while to see what Boris’s Britain does to the freedoms of movement and thought necessary for such an endeavor to get off the ground. For the rest of us, it’s a nice illustration of why such fluidity is part of a better way. Duarte spent some time in England studying the ways of various improvisers, and recruited 17 to join him in realizing a set of compositions designed expressly for them. Certain of the participants come from free jazz (Julie Kjaer, Rachel Musson) or cross-genre experimentation (Yazz Ahmed), and you can hear the influence of such approaches in a few moments of freefall and adventurously conceived solos. But these elements fit into a structure that fits squarely in the tradition. Duarte sets tunes you could hum on grooves that’ll make you tap your feet, albeit quickly enough to annoy your neighbor if the floorboards happen to transmit your amateur approximation of his beats, and dresses them up in arrangements that could speak to a person who thinks that jazz’s lineage is a straight line from Duke Ellington to Maria Schneider. Music like this is a reproach to those who think that differences can’t be complimentary parts of a whole.

Bill Meyer

  Pictish Trail — Thumb World (Fire)

Thumb World by Pictish Trail

Folktronica from the tiny island of Eigg in the Hebrides, this latest album by Pictish Trail (Johnny Lynch) demonstrates the aesthetic value of both isolation and connection. Per isolation: Lynch lives on a windblown island with fewer than 100 other people. But as for connection, he is intimately involved in a northerly folk scene through King Creosote’s Fence Records and surrounded by local musicians. There aren’t that many folks on Eigg, but almost everybody plays an instrument. That kind of environment allows space for eccentricity and practice, which shows up on these expansive, dance-inflected, folk-shadowed cuts. Pictish Trail enlarges his subtle, personal songs with enveloping arrangements of rock sounds and club electronics; Kim Moore contributes some string arrangements and Alex Thomas of Squarepusher sits in on drums. “Double Sided” has the lilt and ramble of Three EPs Beta Band (Lynch has been out touring with Steve Mason lately), while gorgeous, glistening “Slow Memories” has the glitch, glow and aura of early Tunng. Thumb World demonstrates that music can be solitary without being lonely, introspective without self-absorbation. “You’re my solitude/I’m never so alone by myself,” sings Lynch, on the surprisingly rock-guitared “Bad Algebra,” underlining the fact that too many people (or the wrong people) can be isolating, and a few can provide the space for originality and experiment.

Jennifer Kelly

Pinkish Black — Concept Unification (Relapse)

Texas psych sludge prog metal duo Pinkish Black has been quiet for a little while; their last record, 2015’s Bottom of the Morning, was such a compact and potent summation of the miasmic bad vibes that Daron Beck (synthesizers, voice) and Jon Teague (drums) can summon up seemingly at will. No more than a minute into the opening title track of their fourth record you get a strong reminder of just that atmosphere; you might as well be in a haunted castle during the full moon. The closing, lengthy “Next Solution” also offers a reminder of what you might call classic Pinkish Black, but it’s the four songs in between that show Beck and Teague working to make sure there is always room to expand their dark palette. Whether it’s the relatively straightforward, thrashy “Until” or the prettily drifting “Inanimatronic” the results are always interesting. Bottom of the Morning remains the best introduction for now to this duo’s indelible sound, but once you’re a fan Concept Unification makes for a strong and promising follow-up.  

Ian Mathers

  Alexa Rose—Medicine for Living (Big Legal Mess)

“How I wish I were kinder, how I wish I were patient, I could learn all the songs on the gospel station,” trills Alexa Rose in a water pure soprano touched with shivery vibrato as she navigates the twists and corners of the title track from her lovely debut album. The Virginia-born, Memphis-based songwriter has a native’s familiarity with gospel, country and folk blues, but a fresh, sparkling delivery that makes these well-worn forms sound like she just thought of them. A lilting, effortless voice elicits spare melancholy sparked with hope and a crack band of Americana pros in tow – Will Sexton on guitar, George Sluppick playing drums and Mark Edgard Stuart on bass — fill out the songs without a bit of bloat. “Tried and True” enlists a cajun squeeze box and skittering banjo into Rose’s smart, unsentimental songcraft; country teems with strong women disappointed by love, but Alexa Rose is clear-eyed and strong enough to kick its ass without breaking meter. Gorgeous and empowered stuff.

Jennifer Kelly

Sartegos — O Sangue da Noite (I, Voidhanger)

O Sangue da Noite by SARTEGOS

This new release by Sartegos isn’t so much blackened death metal as it is a death metal record that morphs its shape and sound into black metal. The buzzy crunch and acrobatic soloing of opener “Sangue e Noite” gradually give way to leaner, meaner riffs, and by the midpoint of fourth track “Solpor dos Mistérios,” the record has fully taken on the properties of merciless, muscular continental black metal. The record may engage with various metal subgenres, but O Sangue da Noite is held together by Sartegos’s focus on Galician nationalist themes and celebrations of its landscape. The band is named for a miniscule rural hamlet in Galicia, and we are told that all lyrics are delivered in the region’s native dialect. Black metal and ardent nationalism don’t always make for the happiest of combinations. For those of us lacking fluency in the language, it’s tough to know what ideological charge the lyrics carry. And Galician regional politics feature a panoply of leftist and right wing factions, all with their own fiery arguments for the region’s autonomy. What sort of blood? Who sings in the night? Hard to say. But the music’s pretty good.

Jonathan Shaw

 Seablite – Grass Stains and Novocaine (Emotional Response)

Bay Area quartet Seablite’s debut album navigates the fuzzy end of indie pop with aplomb. Vocalists Lauren Matsui (guitar) and Galine Tumasyan (bass) are joined by drummer Andy Pastalaniec and ex-Wax Idol Jen Mundy on lead guitar for 11 tracks of chipper, summery shoegaze that sit easily alongside their most obvious influences Lush, Curve and Stereolab. Seablite’s songs are elevated by the interplay of twin vocals, clean guitar lines and bouncy bass lines supported by cymbal heavy motorik drums. There’s steel beneath the gauze as Mundy brings a little of the Idols’ shade to proceedings and Pastalaniec drives songs like “Pillbox” and “Polygraph” hard and fast down a euphoric freeway of top-down thrumming thrills. Yes, it sounds like a lot of bands you’ve heard and maybe loved but Grass Stains and Novocaine is so well put together and convincingly played it’s hard to resist.

Andrew Forell

 Seiðr — Intethedens Afsky (Nattetale)

Seiðr is a one-man band from Denmark. For just one man, he was awfully busy in the past year, having put out three records. Intethedens Afsky can boast of 10 tracks of dirty, primitive sound with bursts of melody buried immediately under a wall of noise. The inspiration for Seiðr’s music can be found in early 1990s Norwegian black metal, and Claus H. (that’s his name) cannot be blamed for being too much of a good student. Why shouldn’t he have learnt from his elders? The first two tracks here have samples from “nature,” and this gives us a hint to how Seiðr’s music can be interpreted: it’s ruptures in Nature’s hellish landscape. No one will be saved.

Ray Garraty   

 Spider Bags — A Celebration of Hunger (Sophomore Lounge)

SPIDER BAGS "A Celebration of Hunger" by Spider Bags

Spider Bags are still around, making a record every three or four years for Merge. But listening to this debut, it’s hard to imagine how they did it. If subject matter reflects life style, then the motto of these guys back in 2008 was, “We do the hard stuff so there won’t be any left for you. Say, can you loan me a couple of twenties?” But there’s a self-observing intelligence at work in these songs that suggests that self-awareness wasn’t totally obliterated, and a loose, rumbling energy to these roots-tinged garage-rock songs that confirms that the Bags spent at least part of everyday upright. Add to that engineer Brian Paulson’s knack for getting sound under challenging circumstances, which renders the live-sounding performances with sufficient but not distracting clarity, and you have a good soundtrack for the next time you want to drink yourself off the barstool in the privacy of your own home.

Bill Meyer

 Luke Spook — Small Town (Third Eye Stimuli)

Australian multi-instrumentalist Luke Spook steps away from the garage-punk of his Pinheads to conjure up lysergic specters from bygone times on Small Town. There are a fair number of freaked out boil-overs in the offing but the general tone is one of reserved simplicity. Whether sipping tea with the subject of “The Owl” or gathering around the fire with some fellow townsfolk on the title track, Luke channels Syd Barrett to the point of becoming nearly indistinguishable. But what makes Small Town more than just a covers album is Luke’s ability to vary the intimacy of his arrangements when needed. “All the King’s Horses” features a harmonica solo backed up with an (accidental?) chorus of distant, wailing hounds. Those types of moments lurk beneath the surface and inject a pastoral quality that feels authentic. More quirky utopian village than small town, the world Spook creates is a place to live rather than to pass through.

Jason Gioncontere  

 Nick Storring — Qualms (Never Anything)

Qualms by Nick Storring

Nick Storring’s latest recording started life as the score for a dance performance, and it is easy to imagine how it might function in that role. The composition, which spans both sides of a cassette, is episodic. Each moment feels unique unto itself, creating an environment in which things — maybe movements, or maybe something in your own imagination — have the space to happen. If you caught him onstage with the group Picastro, you would probably see Storring play cello, but for Qualms he plays a couple dozen keyboard, stringed, percussive and woodwind instruments. This allows similar themes and actions to appear and reappear in different garb. One stalking theme, for example, manifests once as a psychedelically dense string melody, and again played by gamelan percussion. Elsewhere passages of meter-less sound temporarily halt the progress. Moments of Steve Reich-like repetition surface, but instead of locking in like they might in a Reich piece, they quickly morph into something else. The same pattern of change that probably made this a handy program for a dance performance makes it an engaging pure listening experience.

Bill Meyer

 Sun City Girls — Dawn of the Devi (Abduction)

Dawn of the Devi by Sun City Girls

Dawn of the Devi holds an important place in the Sun City Girls’ discography. Released in 1991, it was the follow up to the much-celebrated Torch of the Mystics, which remains one of the more tuneful and easily-relatable records that Charles Gocher and brothers Alan and Richard Bishop ever did. As such, it had a job to do, and it did it well. That was to throw the followers who sandals instead of sturdy shows off the track. They did this by serving up a song-free album of jagged, totally improvised jams. While it did the job at the time, and in doing so established a pattern of giving the people something other than what they want, in retrospect, you can appreciate it for another reason. Dawn of the Devi makes a pretty strong case for the trio as a rock-derived improvisational ensemble. They sound like they’re listening and responding to each other, and their transitions from acidic splatter to swooning hesitation or heavy ambush make intuitive sense. It wasn’t always that way.

Bill Meyer

 These New Puritans — Inside the Rose (BMG)

Essex experimentalists These New Puritans return with a lush yet disquieting take on English pastoralism. On Inside the Rose multi-instrumentalist twin brothers Jack and George Barnett create an often lovely, occasionally portentous, romantic paean to nature and love. As the Barnetts move further beyond the fractured post-punk of their debut Beat Pyramid, this, their fourth album, elaborates the use of contemporary classical and choral orchestration into arrangements that channel Talk Talk. Jack Barnett’s voice is high in the mix and evokes David Sylvian at his most emotive. Beneath the sheen and swooning strings George’s drumming shifts and slides between Reichian repetition and fierce Taiko inspired rhythms. Inside the Rose is a meticulously produced but never fussy collection, welcoming the listener but refusing either to compromise or patronize. A serious but accessible work full of carefully considered details, some gorgeous melodies and an almost Pre-Raphaelite sensibility expressed in a thoroughly contemporary manner.

Andrew Forell

 Various Artists — No Other Love (Tompkins Square)

No Other Love : Midwest Gospel (1965-1978) by Various Artists

No Other Love is, like the several albums that Mike McGonigal has compiled for different labels, a sequence of gospel records drawn from one collection. In this case it is the collection of Ramona Stout. She culled the 45s that make up this set from her husband Kevin’s trawls of records that had spent years in Chicagoan basements. A graduate student who had spent much of her life outside the USA, she saw with clear eyes the grime of American urban poverty, and found herself deeply compelled by the discovery that hopeful music could grow in such decay. There are no big stars amongst these recordings. Even at the time they were recorded they would have sounded rough and behind the times production-wise — just electric guitars, drum kits, whatever piano or organ was sitting in the church where they were recorded, and congregants’ voices. But the fervor of yearning and the joy of release makes every track a transporting listen.

Bill Meyer

 WOW — Come La Notte (Maple Death Records)

Come La Notte by wow

Underground Roman duo China Now (vocals, drums) and Leo Non (guitars) recent album as WOW, Come La Notte (Like the Night), is seven tracks of 1960s influenced Italian noir cabaret high on atmosphere and drama. Now’s almost operatic vocals are at the forefront over skeletal brushed drums, minimal bass and restrained guitar. The band lulls then surprises with a spectral sax and bursts of crashing cymbals and feedback on “Niente Di Speciale” (“Nothing Special”), a keening gypsy violin on “Vieni Un Po’ Qui” (“Come Over Here”), middle eastern organ on “Occhi Di Serpente” (“Snake Eyes”). Fatalism drips from every note bringing to mind a low ceilinged club in the catacombs where refugees from the sun fill the air with smoke and their guts with grappa and cheap vino rosso as Pasolini scouts for rough trade and fingers grip switchblades concealed in socks. Come La Notte is a slow grower that draws you in even while it picks your pocket. Put it on and live a little vicarious danger in your own private La Dolce Vita.  

Andrew Forell  

[burlveneer-music]

Levitation Orchestra - Inexpressible Infinity - debut LP by 13-piece UK jazz group

The values and rules behind Levitation Orchestra are beautiful, simple and pure. None of the members is individually responsible for the orchestra's compositions. The whole 13-member band composes music collectively in the spirit of communal ownership, which allows for the emergence of unique energy among the musicians. For them, creating pieces like this is somewhat of a ritual. Levitation Orchestra writes, practices, records, and then sets off on another journey. After the composition is created, the members of the orchestra practice the material through 4 rehearsals, then play 4 unique concerts, then head to the studio to record the material. “Inexpressible Infinity” is the second of such cycles recorded. The group is formed by young London musicians who are either already well-established on the scene or just one step from getting there. Axel Kaner-Lidstrom, the founder of the orchestra and trumpeter of Cykada and Where Pathways Meet, has gathered a group of gifted and unconventional musicians: Saskia Horton, violinist, Deji Ijishakin, saxophonist from Nihilism, Polish harpist Maria Zofia Osuchowska from Sawa Manga, two female vocals – Sophie Plummer and Zakia Sewell of NTS Radio, on the keyboards there's a recent Boston Berklee alumnus Roella Oloro, we've also got Lluis Domenech Plane on flute, saxophonist James Akers, cellist Tom Oldfield, guitarist Paris Charles Raine, double bass player Hamish Nockles-Moore, and Harry Ling on drums. Undoubtedly, one may describe the music they create as spiritual jazz. Nevertheless, the sound of the band eludes restrictive generic conventions due to its progressive deviation. Somewhere between the musicians from Strata-East catalogue, Sun Ra, Alice Coltrane and large bands of Michał Urbaniak from the 70s you can hear fusion and folk inspirations. All this makes Levitation Orchestra one of the most original jazz orchestras on the map of London.

[doomedandstoned]

Green Lung Renew Connection to the Earth in ‘Woodland Rites’

~Doomed & Stoned Debuts~

London powerhouse-and-a-half GREEN LUNG are back, just one year after capturing the affections of listeners with the Doom Charts-ranking EP, 'Free The Witch' (2018). Their debut LP, 'Woodland Rites' (2019), shows us the London act's true powers, now a five-member strong team with Tom Templar leading the charge on vocals, Scott Masson on guitar, Andrew Cave on bass, Matt Wiseman on Drums, and John Wright on the organ.

"We've been leading up to the themes of Woodland Rites," the band tells me, "since our very first demo Green Man Rising. It's an eight track heavy-psych LP inspired by folk horror and the sense of the uncanny that pervades parts of the British countryside, in the tradition of proto-metal bands like Black Widow, Comus and Coven. Lyrics explore everything from old British folklore like 'Bella in the wych elm' to the Blind Dead movies, and while the emphasis is on heavy psych, wider musical influences are bubbling in the mix, from NWOBHM to Goth rock."

For whatever reason, Green Lung's first record didn't connect with me quite as powerfully as the effort before us. Blending elements of doom, occult rock, and NWOBHM, Woodland Rites is an extraordinarily thoughtful metal record, enhanced by an organ here, vocal harmonies there, singing dual guitars at another crucial moment. Say what you will, Green Lung know how to work their way to a climax! I also loved the way one song lends itself so naturally to another. At times, I had to check to see if I was listening to a B-section of an early section, like some kind of Queen-esque ballade that continues to surprise with unfolding dimensions. The net result was that I was never tempted to leave the record or to skip around to different tracks.

Photograph by Sally Patti

And now we come to the song before us, receiving its worldwide premiere via Doomed & Stoned. "Call of the Coven," Green Lung tells us, "was the last song we wrote for the album, and probably the one that came together quickest. It's a love letter to Blood on Satan's Claw. Fans of the movie will notice that the chorus lyrics reference the chant in the central woodland ritual scene. The song has one of my favourite of Scott's solos on the album and a galloping NWOBHM feel that reminds me of the band Witchfinder General, but I've gender-flipped the lyrics so that instead of getting hunted, the witches are doing the hunting. Green Lung is a pro-witch band!"

I've already tagged this one for me to revisit when Doomed & Stoned considers the Heavy Best of 2019. This is exceptional in every way. Look for Woodland Rites to drop via Kozmik Artifactz on March 20th (pre-order here).

Give ear...

Woodland Rites by GREEN LUNG

Some Buzz

South London-based heavy rock quintet Green Lung have announced details of their debut album. 'Woodland Rites' (2019) will be released on heavyweight vinyl, CD, cassette and digital editions on March 20, the Spring Equinox. The band captured the attention of the international underground in 2018 with the release of their much acclaimed EP, 'Free the Witch,' and spent the year sharing stages with the likes of Conan, Conjurer and Primitive Man before signing to cult Berlin-based label Kozmik Artifactz.

With the addition of new member John Wright on organ, the band have also expanded their horizons musically, voyaging beyond the doomy psych of the EP to explore a spectrum of heavy music. On Let the Devil In they conjure up a blasphemous, arena-baiting hard rock single, while on Templar Dawn they veer into the cavernous (free)masonry of traditional doom metal. The psyched-out, prog-inflected The Ritual Tree attempts to answer the mystery of ‘Who put Bella in the Wych Elm?’ while May Queen is an ergot-tinged ballad of failing harvests and human sacrifice. The overall, irresistible impression is of a young band summoning up the eccentric English spectres of '70s proto-metal, early-'80s NWOBHM and '90s stoner rock and dragging those sounds kicking and screaming into the 21st Century.

Free the Witch EP by GREEN LUNG

Singer Tom Templar said, "With the response to 'Free the Witch,' the introduction of a new member and the chance to write a full LP we've been spurred on to take our sound to the next level -- so expect a pro-witch party album of diabolical riffs, harmonized solos, inescapable hooks and lyrics inspired by folk horror films like The Wicker Man and Blood on Satan's Claw. We hope Woodland Rites will become the soundtrack to many a debauched backwoods Sabbath in 2019."

'Woodland Rites' was recorded and mixed by Wayne Adams (Vodun, Ghold) who reprised his Free The Witch duties at Bear Bites Horse Studios. Mastering was undertaken by Brad Boatright at Audiosiege. Woodland Rites will be packaged in hallucinatory artwork by renowned woodcut artist, Richard Wells (The Wicker Man, Doctor Who) on vinyl and CD, with the cassette cover featuring photography by Courtney Brooke.

Green Lung will be on tour in April with Puppy, then touring both the UK and EU with label mates Deathbell in May, with confirmed shows in Paris, London, Liege and Cologne; more information will be available in due course. The band will also appear at HRH Doom vs Stoner alongside Monolord, Orange Goblin and Church of the Cosmic Skull on September 29.

17 April - Southampton - The Joiners 18 April - Bristol - The Exchange 19 April - Birmingham - The Flapper 20 April - Manchester - The Star & Garter 21 April - Glasgow - Garage Attic 22 April - Newcastle - Think Tank 23 April - Nottingham - Bodega Social Club 24 April - Leeds - Brudenell Social Club 25 April - London - Underworld

Follow The Band

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[ant-zen]

control. blood will rain. cd / digital album. ant-zen act380

cd: https://mailorder.ant-zen.com/product/id/3280 digital: https://ant-zen.bandcamp.com/album/blood-will-rain

tracklist: 01. awakening 02. der weg 03. blood will rain 04. invoking chaos 05. descending into shadows 06. the chosen call 07. black mass 08. drowned by hate 09. the blood that powers all 10. this is the law

upc 821272402725 release date: 10september2k18

mastered by isaac holly at induktion studios.

'the pious pretense that evil does not exist only makes it vague, enormous and menacing.'

with his new album 'blood will rain' thomas garrison a.k.a. control presents a release which is a status report of a journey into an artist's saturnine inner self. the sound shows a slight shift in direction from control's power electronics basics towards death industrial whereat deep, dark soundscapes play a decisive foundational role. enduring pulses of apparent and sometimes concealed rhythms overlaid with resonant metallic drones and tortured voice treatments evoke a dramatic atmosphere of maleficant trance. an electronically generated ritual music caused by the combination of hypnotic, cavernous and perpetual aggressive elements.

this most sable release in control's history is a soundtrack for incantations of many kinds: chaos, suffering, enlightenment. able to establish fraternal bonds between artist and listener, 'blood will rain' might be used to open up as yet closed, or even hidden doors. be prepared.

control • geneviéve pasquier • kommando • thorofon forces aligned - europe takeover. 02-22.october.2018

oct02  berlin. germany @ urban spree (control, spit mask & thorofon) oct03  lodz. poland @ dom (control (complete line-up t.b.a.)) oct05  leipzig. germany @ line-up t.b.a. oct06  nürnberg. germany @ z-bau (control, da-sein & thorofon) oct08  frankfurt/main. germany @ inm (control & geneviéve pasquier) oct11  basel. switzerland @ hirscheneck (control, kommando & thorofon) oct12  paris. france @ les voûtes (control, thorofon & te/dis) oct13  aachen. germany @ az (control, geneviéve pasquier & kommando) oct16  t.b.a.. the netherlands (line-up t.b.a.) oct18  amsterdam. the netherlands @ ocii (control, kommando & thorofon) oct19-22  maschinenfest. oberhausen. germany @ turbinenhalle (control)

discography (excerpt) 09.2k18: blood will rain. cd. ant-zen act380. 2018 over maschinenfest part II - 2015. tape. raubbau raub-049 / pflichtkauf pflicht070. 2016 in harm's way. cd. ant-zen act330. 2015 out for blood. lp. parasitic records pr71. 2014 over maschinenfest, paris and berlin. tape. raubbau raub-024 / pflichtkauf pflicht056. 2014 transgression. cd. ant-zen act299. 2013 the resistance. cd. ant-zen act270. 2012 deadly sins. cd. malignant records tumorcd48. 2010 world of lies. cd / lp. freak animal records freak-cd-036 / frek-lp-022. 2006 this means to an end. cd. eibon records con055. 2005 the cleansing. cd. pacrec / troniks pacrec103 / tro-113. 2004 natural selection. cd. eibon records con044. 2003 algolagnia. cd. freak animal records freak-cd-010. 2002 praying to bleed. 7". l.s.d. organisation lsdo-s024. 2000 control. cd. black plagve infest03. 1999

control full discography: www.discogs.com/artist/control+%283%29

control official webpage: www.facebook.com/pages/control/487467091325148

[eeraygun]

Top 204 Sonic Releases of 2019

001. Holly Herndon - Proto 002. Barker - Utility 003. Summer Walker - Over It 004. Topdown Dialectic - Vol. 2 005. Vatican Shadow - Berghain 09 006. Polachek, Caroline - PANG 007. Various Artists - It Takes A Village: The Sounds of Physical Therapy 008. Rosalía - A Pale 009. Jenna Sutela - Nimiia Vibié 010. Croatian Amor - Isa 011. Octo Octa - Resonant Body 012. Special Request - VORTEX 013. Fabio & Grooverider - 30 Years of Rage 014. Oli XL - Rogue Intruder, Soul Enhancer 015. Karenn - Grapefruit Regret 016. Stenny - Upsurge 017. Geo Rip - TTT Mixtape 018. DJ Gigola & Kev Koko - Tender Trance 019. Davis Galvin - Davis Galvin 020. INSTINCT - INSTINCT 05 021. Daes, Cam - Mechanosphere 022. Blawan - Many Many Pings 023. LOFT - and departt from mono games 024. Various Artists - PDA Compilation Volume 1 - And the Beat Goes On 025. PJ Swerve - "24 Seconds" 026. IVVVO - doG 027. Hilda Guðnadóttir - Chernobyl 028. Aurora Halal - Liquiddity 029. Endless Mow - Possession Chamber 030. Lee Gamble - Exhaust 031. Contagious - Contagious 032. Aseptic Stir - Year of Detachment 033. Various Artists - CRXSSINGS 034. Clairo - Immunity 035. Overmono - POLY011 036. Schacke - "Trained To The Floor" 037. Various Artists - Various [Крым Мрык - KMV02] 038. Off The Meds - Belter 039. Andy Stott - It Should Be Us 040. Ioannis Savvaidis - Diataxis 041. ISSHU - IS 042. Kali Malone - The Sacrificial Code 043. Brannten Schnüre - Erinnerungen An Gesichter 044. Various Artists - Total Solidarity 045. Erika de Casier - Essentials 046. Madteo - Dropped Out Sunshine 047. Helm - Chemical Flowers 048. Hugo R.A. Paris - Threaded Habitat 049. Holdie Gawn & Micawber - Gleech Huis, Parsec Telemetry 050. Carla dal Forno - Look Up Sharp 051. Eris Drew - Raving Disco Breaks Vol. 1 052. Luc Ferarri - Photophonie 053. Various Artists - SUPER XXXCLUSIVE LIMITED FR33 COMPILATION 054. Rare Silk - Storm 055. Thought Broadcast - Abduction 056. River Yarra - Frogmania 057. Exael - Dioxipp 058. James Shinra - Darkroom EP 059. Varg & Coucou Chloe - I Get Lit 060. Various Artists - Oscillate Tracks 002 061. Ariana Grande - MONOPOLY 062. Various Artists - Tiny Planet Vol.1 063. Peter Van Hoesen - Kelly Criterion 064. Various Artists - SPORTS 065. Ariel Kalma - Nuits Blanches au Studio 116 066. Felicia Atkinson - The Flower and the Vessel 067. Itchy Bugger -  Double Bugger LP 068. Funky Doodle - Live From Yellowknife 069. E L O N - Pneumania 070. Ka Baird - Respires 071. Lena Andersson - Söder Mälarstrand 072. J. Albert - Wake Me Up 073. LXV - Loss Function 074. Panthera Krause - "Spring Irre" 075. M.E.S.H. - Hart Aber Fair 076. HOOVER1 - HOOVER1-2 077. Alleged Witches - Initiation Rituals 078. Panda Bear - Buoys 079. Various Artists - Slam Jam, Vol. 1 080. SSTROM - Drenched 5-8 081. Roger 23 ‎- Is Demanding For A Cultural Negotiation 082. Alec Pace - Luminous 083. Innere Tueren - Innere Tueren 084. Alex Falk - OOF 085. Moor Mother - Analog Fluids of Sonic Black Holes 086. Dothedu - Lick The Gloom EP 087. Stef Mendesidis - Klockworks 26 088. Dream Cycle - Part Three 089. Various Artists - 4 Down 090. Desert Sound Colony - Zenome Archetype 091. juneunit - juneunit 092. S Transporter - S Transporter 093. Meitei - Komachi 094. Ama Lou - "NORTHSIDE" 095. Wata Igarashi - Kioku 096. Conducta - KIWI KRUSH 097. Skee Mask - ISS004 098. 100 gecs - 1000 gecs 099. Metrist - Pollen Pt. I 100. 6siss - Prisma 101. Various Artists - Drie 102. Pelada - Movimiento Para Cambio 103. Renick Bell & Fis - Emergence Vol. 1 104. BLD - Toby 105. Various Artists - Σ2 [radio.syg.ma] 106. J E L L V A K O - INTEGRATION 107. Ana Roxanne - ~~~ 108. Ziur - ATØ 109. Amazondotcom - Mirror River 110. Vladimir Dubyshkin - Budni Nashego Kolhoza 111. SDEM - IIRC 112. Hontos - Subway Series Vol. 2 113. Ekhe - Hed Fuq 114. JV & Palf - Wren EP 115. FKA Twigs - Magdalene 116. Adlas - Currents 117. Rory St John - Excommunication 118. aphtc - Rewind The Subject 119. Steve Hauschildt - Nonlin 120. Anne Imhof - Faust 121. Tenebre - Polystructures 122. Sa Pa - In A Landscape 123. Jas Shaw - Exquisite Cops 124. Nathan Micay - Blue Spring 125. Quirke - Steal A Golden Hail 126. Kallista Kult - Kallista Kult 127. Actapulgite - Le Malin 128. Jorg Rodriguez - VCO Fields 129. Bergsonist - د 130. No Moon - Where Do We Go from Here 131. Sean McCann - Puck 132. Jessica Pratt - Quiet Signs 133. Mahalia - Love and Compromise 134. Régis Renouard Larivière - Contrée 135. Chris Watson - Glastonbury Ocean Soundscape 136. J Colleran - EP01 137. Locked Groove - Sunset Service 138. DJ Bogdan - Love Inna Basement 139. Second Storey - The Cusp 140. A.Fruit - Nocturnal 141. Blenk - Fragments of Vision 142. Katsunori Sawa - An Enlightenment Manual, Your Consciousness Of Truth 143. K-Lone - Sine Language 144. Rhyw - Biggest Bully - Felt 145. Seth Nehil - Skew _ Flume 146. Stanley Schmidt - Smart Replies 147. Al Wootton - Body Healthy 148. Marja Ahti - Vegetal Negatives 149. Ena - Baroque 150. Mister Water Wet - Bought the Farm 151. Tujiko Noriko - Kuro OST 152. Astor - The Aubergine Dream CS 153. Leon Vynehall - I, Cavallo 154. Koffee - Rapture 155. dgoHn - dgoHn EP 156. Shiken Hanzo - The Centipede 157. Gacha Bakradze - Extensions 158. Various Artists - PNP 004 159. Jenny Hval - The Practice Of Love 160. Joy O - Slipping 161. Keplrr - Translucence 162. Shadowax - Nikolai Reptile 163. Shygirl - BB 164. Cucumb45 - Slother EP1 Lyf Og Bio Ao Heilsa 165. Yan Cook - Somatic 166. Charli XCX & Christine and the Queens - "Gone" 167. Interplanetary Criminal - Move Tools 168. Ariel Zetina - Organism 169. Japanese Acid Person - Keep Falling Asleep 170. Michael Speers - xtr'ctn 171. Yak - Termina EP 172. Roberto Clementi - Plebiscite EP 173. Elmono - Coopers Dream 174. Ellll - Confectionary 175. Plantetary Assault Systems - Plantae 176. Various Artists - CHERUBEAST 177. City & I.O - Spirit Volume 178. Shed - Oderbruch 179. Pris - Sulphur City EP 180. Sharon Van Etten - Remind Me Tomorrow 181. Sophia Saze - Self Part I 182. Naco - EP 183. Banshee - Thought Bubbles EP 184. 33emybw - Arthropods 185. Yung Baby Tate - Girls 186. RHR - Nocturnal Fear 187. Private Press - .370 EP 188. Mani Festo & LMajor - Borai & Denham Audio Present Club Glow Vol.2 189. r²π - Largo Nilo EP 190. Voiski - The Bat Who Wanted to See the Sun 191. Semma - Ribbons & Bows 192. PTU - Am I Who I Am 193. Rod Modell - Captagon 194. Lurka - Stay Let's Together 195. Inland - Time Leak 196. DJ Safeword - Post Love Electronix 197. Mike Davis - Anti-Mimesis 198. Alan Backdrop - Natives EP 199. MATRiXXMAN – Planet X EP 200. exos - Alien Eyes 201. A², Stopouts & Andy Panayi - RM12005 202. J Tijn - 4x4 203. Kapoor - Extract Part One 204. emptyset - Blossoms

[sleepanonymous]

Conspiracy theory time? Because it was just brought to my attention that III's pick he tossed to the crowd had a wolf head on it. TMBTE Moon + "The mouth of the wolf, the eyes of the lamb" + LAMBS graphic novel code + Vessel having more fur in his costume + the wolf pick????? This can't be a coincidence 👀

[gonzalomingo]

Anthony Braxton: Ghost Trance Music Mapping the Systems of the Jazz Musician’s Sound

De https://daily.redbullmusicacademy.com/2016/05/mapping-the-systems-of-anthony-braxton-s-sound

Muchos músicos reivindican una amplia gama de influencias artísticas. Pero pocos pueden concebir un séquito estilístico tan vertiginosamente diverso como el que inspira al saxofonista y compositor Anthony Braxton. Cuando aceptó el reconocimiento de "Maestro de Jazz" por parte de la NEA, en 2014, dio un discurso en el que citó al saxofonista Paul Desmond (mejor conocido por su trabajo con Dave Brubeck), así como a la banda de música de la Universidad de Michigan y a John Philip Sousa. Más tarde en la misma charla, Braxton describió "tomando clases sobre la gran música de los nativos americanos - su música de baile fantasmal, por ejemplo".

Este surtido atípico de referencias tampoco es algo reciente. El jazz y visionario clásico dedicó porciones de For Alto, su grabación de saxofón en solitario de 1969, a músicos tan distintos como el filósofo de la música clásica de influencia zen John Cage y el pionero del free jazz Cecil Taylor. Un álbum en solitario posterior, Saxophone Improvisations Series F de 1972, gritó las primeras innovaciones minimalistas de Philip Glass. En 1993, Braxton lanzó un CD que se sacudió el sombrero ante otro prolífico conceptualista de la música clásica contemporánea, Karlheinz Stockhausen.

Pueden ser necesarios unos pocos cientos de álbumes para honrar realmente una gran cantidad de aportaciones estéticas. Como Braxton señaló en la ceremonia de entrega de los premios NEA, su reto inicial "era construir un lenguaje que pudiera satisfacer mis necesidades, que me ayudara a expresar lo que estaba escuchando". Y Braxton ha respondido a la llamada a la aventura del sonido no sólo con una discografía digna de un adicto al trabajo, sino también creando una variedad de "sistemas" que pueden dirigir sus esfuerzos musicales, cada vez que entra en una sesión de grabación o en una sala de conciertos.

A medida que ha ido ampliando su repertorio de ideas, Braxton se ha complacido cada vez más con cada nuevo concepto. Mientras que un LP suyo de banda pequeña de los años 70 podría incluir un breve golpe de su "música de lenguaje" y luego una muestra de sus "estructuras de repetición" antes de recurrir a un ejemplo de su enfoque basado en collages, la estrategia de hoy en día de Braxton tiende a favorecer los conjuntos de cajas multi-álbum dentro de los cuales cualquier sistema nuevo - como la Ghost Trance Music, o la Diamond Curtain Wall Music - puede ser explorado durante varias horas.

En 2016, tres de estos conjuntos ofrecen una visión discreta del trabajo creativo reciente de Braxton. La caja multimedia Trillium J muestra su música operística (en CD y en una actuación en directo escenificada conservada en un disco Blu Ray). Y 3 Composiciones 2011 (EEMHM) nos da la primera realización en estudio de su concepto multimedia "Echo Echo Mirror House Music", que requiere que los colaboradores contemporáneos de Braxton improvisen mientras prueban grabaciones de Braxton, como parte de un entorno sonoro vertiginoso. El enfoque único de Braxton en el ámbito del "estándar de jazz" se refleja en la caja de siete CD Quinteto (Tristano) 2014.

A medida que ha ido ampliando su repertorio de ideas, Braxton se ha complacido cada vez más con cada nuevo concepto.

Hay indicios de que la gama única de investigación musical de Braxton - una vez ridiculizada en los pasillos del jazz convencional y totalmente ignorada en la academia de música clásica - está encontrando su audiencia adecuada. En el Big Ears Festival de este año en Knoxville, me encontré en una fila de varios cientos de personas, todos esperando para entrar en un concierto de un trío de Braxton que fusionó su último sistema de improvisación -denominado "ZIM MUSIC"- con fragmentos de su música operística. (El neoyorquino Alex Ross, que estaba en la misma onda, describió esto como un "furor inesperado" de atención para la música de Braxton).

La mayoría de las personas con las que hablé me parecieron gratamente sorprendidas de formar parte de una cola tan vibrante. Pero otra actitud dominó las discusiones que escuché en Knoxville y sus alrededores. Específicamente, esta fue la frecuente admisión por parte de los oyentes interesados de que, en realidad, no habían escuchado muchos lanzamientos de Braxton. Los posibles fans sonaban intimidados por la magnitud de su legado grabado. Me pareció que podría ser valioso romper la obra de Braxton no por década o por compañeros de grabación -como se hace tan a menudo con otros grandes músicos del mundo del jazz- sino por las estructuras musicales subyacentes.

Lo que sigue es una guía de algunos de sus principios organizativos más prominentes, con ejemplos de escucha sugeridos. Esforzarse por lograr una verdadera comprensión requeriría una obra de extensión de libro y, además, para cuando haya leído esta guía, Braxton probablemente ya habrá tenido una nueva idea o tres. Aunque debido a que sus proyectos musicales están diseñados para ser "modulares" (también los compara con los componentes de un Erector Set), la base de algunos conceptos básicos es que cualquier oyente está en buena posición, sin importar cuántos sistemas más el improvisador y el compositor ideen a lo largo del tiempo.

MÚSICA DE IDIOMAS

En el inestimable libro Forces in Motion, Braxton le dijo al autor Graham Lock que el sistema de "música en idiomas" constituye "la base de mi trabajo". En lugar de basarse en la notación, los símbolos de "música lingüística" de Braxton (que suman más de 100) tratan otros aspectos de la producción sonora. Una línea recta e ininterrumpida indica cualquier "sonido largo" improvisado, mientras que una serie de líneas interrumpidas sugiere "formaciones de líneas de staccato", y una suave onda sinusoidal significa "formaciones de legato".

La lectura completa de las posibilidades sugeridas puede leerse como una lista de cosas por hacer para las actuaciones en solitario de Braxton, y esa es en parte la razón por la que las ideó originalmente. Pero las imágenes de "language music" también funcionan como una clave que Braxton y sus compañeros de banda pueden utilizar como referencia cuando dirigen o tocan en una improvisación grupal. Y el ejemplo de Braxton dirigiendo tal improvisación está incrustado abajo, en un tema que proviene del álbum Creative Orchestra (Koln) 1978.

Cuando se encuentra con la versión más espaciosa posible de la música en grupo de Braxton, el oyente puede elegir y controlar todos los componentes individuales - como el uso de "ataques cortos" por parte de un jugador individual o el juego de otro con intervalos amplios - o simplemente dejar que toda la experiencia se le pase por encima de los oídos.

La música del lenguaje también puede ser utilizada en la interpretación de otras composiciones de Braxton por parte de un conjunto, como en esta interpretación del siglo XXI de "Composición No. 307". La presentación incluye música vocal de las óperas de Braxton, así como notación de Ghost Trance Music.

Aquí, los acordes meditativos de grupo y otras colecciones de sonido más punzantes interrumpen regularmente la composición "primaria" que se toca. En otros puntos, las opciones de música en idiomas en el menú de Braxton pueden parecer superpuestas a la música de conjunto, más rigurosamente controlada. Hacia el final de este corte extendido, se puede escuchar a Braxton tomando un descanso de la dirección, y aportando su propia y suave improvisación de "música del lenguaje" de legato en el saxofón soprano, lo que crea un contraste con los ruidosos ataques cortos y angulosos de los otros improvisadores de la orquesta.

La música en idiomas es tal vez mejor pensada como una rica fuente de ideas. La forma en que otros músicos del grupo reaccionan a su presencia - ya sea oponiéndose a la elección de música en el idioma de otro instrumentista, o siguiendo su ejemplo - es lo que hace que cada actuación de este sistema sea distinta.

MÚSICA BASADA EN LA REPETICIÓN

Al principio de su carrera, Braxton inventó tres sistemas que abordaban la cuestión de la repetición de diferentes maneras, denominándolos "Kelvin", "Cobalt" y "Kaufman". (Todos estaban basados en los nombres de los amigos). En un contexto de solo, la serie Kelvin es lo que Braxton llama una "estructura generadora de frases", en la que una célula melódica individual puede experimentar cambios leves pero consistentes en el curso de una improvisación. Aunque los ritmos y melodías de una pieza como "Composition 26F" no sugieren una gran deuda con Philip Glass, algunas de las mismas ideas "aditivas y sustractivas" se remontan a sus primeras obras minimalistas, por lo que Braxton dedicó "104° Kelvin M-12" al compositor.

En un contexto de grupo, las piezas de Kelvin se pueden basar en agrupaciones rítmicas que se mantienen constantes, mientras que los tonos permanecen a la altura del intérprete. Una lectura suave de la pieza de estilo Kelvin, "Composition 6F", se puede escuchar en el álbum This Time.

En el álbum de ECM titulado Paris Concert, el grupo Circle, que incluía a Braxton, así como a Chick Corea, Dave Holland y Barry Altschul, se puede escuchar una interpretación justamente ardiente de la misma pieza. (Debido al método de titulación de Braxton en ese momento, la pieza de ese álbum se llama "73° Kelvin (Variación -3)". Y el título es completamente ignorado en This Time - un punto ritual de frustración para Braxton, en sus primeros años de tratar con sellos discográficos desatentos.)

La clase Cobalt de piezas musicales repetitivas fue descrita por Lock como "un uso estático de la repetición donde, por ejemplo, una orquesta puede seguir repitiendo un acorde pero con una pequeña variación cada vez". Braxton también le dijo al autor que pensó en escuchar las piezas de Cobalt como algo parecido a "observar luciérnagas", pero que aún no tenía ninguna grabación de la música disponible.

Tenemos más suerte, unas décadas después, ya que la "Tricentric Foundation" de Braxton ha conseguido montar y ejecutar algunas de estas primeras partituras orquestales. Aquí hay un poco de "Composition 24", que está disponible en su totalidad en la versión sólo para descargar Two Compositions (Orchestra) 2005.

El tristemente agotado álbum de big band Creative Orchestra Music 1976 presentó una versión adaptada de la música de Kaufman. Pero incluso la variedad de estos primeros enfoques de la repetición no agotó las ideas de Braxton sobre tales estructuras. En el momento de la "Composición 34", ya estaba trabajando en la formalización de otros enfoques - específicamente, creando doce variaciones diferentes sobre un patrón de seis notas que puede ser utilizado por cada instrumentista. El resultado es una mezcla de las estrategias de forma fija y abierta en otros trabajos repetitivos.

MÚSICA SINCRÓNICA Y COLLAGE

En la década de 1970, Braxton comenzó a desarrollar lo que él llamaba "música coordinada", que era otra forma de decir que sus grupos se moverían de una composición a la siguiente sin descanso, hasta que el set terminara. Composición 69M (+10+33+96) / 110A (+96+108B) / 60 (+96+108C) / 85 (+30+108D)

En los años 80, y en la época del llamado "cuarteto clásico" de Braxton (con la pianista Marilyn Crispell, el bajista Mark Dresser y el baterista Gerry Hemingway), la música coordinada dio paso a una estética de collage global. En este punto, los diferentes miembros del grupo podían entrar y salir de una melodía en la secuencia de coordenadas y comenzar a tocar cualquier otra composición de Braxton que quisieran. Crispell podría tocar una de las piezas clásicas para piano de Braxton, mientras que Braxton trabajaba solo y la sección rítmica trabajaba en una pieza mucho más contemporánea de su escritura.

Aquí es donde un poco de familiaridad con algunos de los temas anteriores de Braxton resulta útil (al menos puede ayudar a orientar a un oyente). La capacidad del grupo para mantener "juntos" el sonido de la música que se transforma salvajemente es su propia delicia, y por esa razón se celebra en la discografía de Braxton.

Al mismo tiempo, las composiciones más nuevas y discretas de Braxton también estaban adquiriendo un elenco similar al de un collage. Piezas "Pulse track" como "Composition No. 116" contenían capas separadas para diferentes instrumentistas, durante las cuales era apropiado seguir la notación estricta o la improvisación. Braxton estaba tras un "choque" de los instrumentos, y de las diferentes formas de tocar, cuando se escuchaba sincrónicamente.

Y una pieza de "espacio sonoro de acordeón" como "Composición No. 115" también tiene un borde síncrono. Mientras que los músicos rítmicos están obligados a seguir ralentizando y acelerando el tempo, después de la declaración inicial del tema, los solos de Braxton no necesitan seguir el mismo flujo y reflujo, creando otro sentido de collage de sonido.

MÚSICA RITUAL Y CEREMONIAL

Braxton comenzó a incorporar trajes y coreografías, alrededor de "Composición No. 95". El objetivo era empezar a dar un toque más "medioambiental" a ciertas obras. Lo que significaba que era sólo cuestión de tiempo antes de que se sintiera tentado por las posibilidades creativas de la ópera. Una vez que se le ocurrió la idea de escribir un ciclo masivo de doce óperas (titulado Trillium), Braxton comenzó a soñar con un posible "festival de doce días para la unificación del mundo". (Cada noche del festival se representaba una de las óperas de Trillium). Esto probablemente sonó fantasioso para algunos fanáticos de la música de Braxton, más vinculada al jazz, cuando el compositor empezó a hablar de sus objetivos, en la década de 1980. Pero hasta ahora, Braxton ha completado, dirigido y grabado tres de sus óperas: Trillium R, Trillium E y Trillium J. Este último viene en una caja multimedia que ofrece tanto una grabación prístina en estudio de la obra en cuatro actos, como un video Blu Ray de una actuación en vivo, que realmente tiene éxito en sumergirte en el ambiente de Braxton de música orquestal atonal y escritura dramática satíricamente surrealista. Algunos extractos de la presentación en vivo están disponibles para ver más abajo.

MÚSICA DE TRANCE FANTASMA

Las notas para la caja de 9 Composiciones (Iridium) 2006 dan el trasfondo de este sistema musical, inspirado en la investigación de Braxton sobre el ritual de los nativos americanos. "La música de Ghost Dance, cuando fue armada, que surgió en un tiempo después de que los indios americanos habían sido diezmados, el 98 por ciento de su cultura destruyó.... Varias tribus se reunieron y recopilaron la información que les quedaba. Y la música de la Danza de los Fantasmas fue descrita como una cortina - un lado es la realidad para nosotros, y el otro lado son los antepasados. Y la música de la Danza de los Fantasmas proporcionaría un foro para conectarse con los antepasados. Eso tuvo un impacto tremendo en mí".

Para estas composiciones, Braxton se decantó por un sistema de "melodía que no termina". Y de nuevo, permitió a los músicos transponer partes, o bien entrar y salir de diferentes composiciones dentro del sistema. Los compañeros de banda podrían utilizar elementos de la "música del lenguaje" - digamos, la opción de trinar cada nota en una sección en particular - o podrían crear collages de varias maneras, junto con otros jugadores, creando rutas a otras partituras de Ghost Trance. A medida que Braxton fue construyendo este catálogo en particular en su repertorio, también incorporó algunas ideas que varían en el tiempo y que recuerdan a su "música espacial de acordeón". Aquí, se les llama la "clase acelerador" Ghost Trance Music funciona - y son algunas de las piezas más emocionantes de la serie. Asegúrese de escuchar el sopranino de Braxton soltándose del paquete en la marca de ocho minutos del clip de abajo.

MÚSICA DE RÍO QUE CAE

Esta es otra parte del catálogo de Braxton basada en imágenes. En estas piezas, las partituras en forma de mapa están casi completamente cubiertas por la pintura del compositor. Crear música a partir de este sistema sería una propuesta más difícil si Braxton no la estuviera tocando junto a algunos de los colaboradores más inspirados del siglo XXI, como la violinista Renee Baker y la saxofonista tenor Ingrid Laubrock.

MÚSICA DE MURO CORTINA DE DIAMANTES

Aquí, las partituras de Falling River Music se utilizan en un contexto electroacústico interactivo. Los músicos tienen que improvisar su camino a través de la partitura, al mismo tiempo que tratan con ruidos interactivos diseñados por Braxton, usando el software SuperCollider. La enorme caja, 12 Duetos (DCWM) 2012 es una mirada fascinante al trabajo de improvisación de Braxton con algunos socios contemporáneos clave: la vocalista Kyoko Kitamura, la fagotista Katherine Young y la violinista/violinista Erica Dicker.

ECHO ECHO ECHO MIRROR HOUSE

Si usted pensó que Braxton era experto en injertar sus sistemas juntos antes, usted sólo estará más impresionado por esta construcción. Aquí, no sólo todos los sistemas anteriores son justos, sino también todas las grabaciones anteriores dirigidas por Braxton. Cada músico del conjunto también lleva un iPod cargado con la vasta discografía del saxofonista, lo que permite un enfoque musical concreto del ensamblaje sonoro. En pocos minutos se pueden escuchar viejas estructuras repetitivas al estilo de Kelvin para grupos de cuarteto anteriores, música vocal y sinfónica de las óperas de Trillium, así como nuevas improvisaciones. Es tanto un cumplimiento como una extensión de algunas de las declaraciones más ambiciosas de Braxton sobre los temas de composición e improvisación.

Traducción realizada con el traductor www.DeepL.com/Translator

[pukeonline]

Track Of The Day: Chastity Belt - ‘Elena’

Seattle's Chastity Belt have returned with their first new music since 2017's 'I Used to Spend So Much Time Alone'. This heartfelt new record, simply titled Chastity Belt, is due out on Friday, September 20th on LP, CD, digital, and cassette from Hardly Art records, and from Milk! records in Australia and New Zealand. Chastity Belt was co-produced by the band and Melina Duterte aka Jay Som. 

Today, Chastity Belt are sharing "Elena," the second single from this new record, which features vocalists Lydia Lund and Julia Shapiro exchanging winsome harmonies over a bed of lush instrumentals. Bassist Annie Truscott says of the song: “Over the past year, we all read and loved Elena Ferrante’s Neapolitan novels. We individually related to the ways in which the main character’s sense of self is inextricably linked to her desire for love and validation both from lovers and friends. The overlapping voices on top of the whimsical wave-like instrumentals captures the universal feeling of having a conversation with yourself about yourself.” 

European tour dates: Sep 28 - Vienna, AT - Waves Vienna Festival Sep 29 - Munich, DE @ Kranhalle * 
Oct 01 - Milan, IT @ Serraglio * 
Oct 02 - Zurich, CH @ Bogen F * 
Oct 04 - Schorndorf, DE @ Manufaktur * 
Oct 05 - Jena, DE @ Trafo *
 Oct 06 - Berlin, DE @ Franzz Club *
 Oct 07 - Hamburg, DE @ Molotow * Oct 08 - Cologne, DE @ Bumann & Sohn *
 Oct 09 - Utrecht, NL @ Ekko *
 Oct 11 - Paris, FR @ La Boule Noire * 
Oct 12 - Antwerp, BE @ Kavka *
 Oct 13 - Bristol, UK @ Thekla *
 Oct 15 - Leeds, UK @ Brudenell Social Club *
 Oct 16 - Manchester, UK @ YES * 
Oct 17 - Glasgow, UK @ Stereo *
 Oct 19 - Oxford, UK @ Ritual Union Oct 20 – Cardiff, UK @ SWN Festival
 Oct 21 - Brighton, UK @ Patterns * 
Oct 23 - Southampton, UK @ The Joiners *
 Oct 24 - London, UK @ Islington Assembly Hall * * - w/ GANG

[globalworship]

RIP David Lewiston, early ‘world music’ producer

If you ever listen to 'ethnic music recordings,' you owe a debt to this man who recently died, though you may not know it. "The inveterate traveler-musicologist  David Lewiston was among the first to release recordings as part of the Nonesuch Explorer Series, which presented indigenous music from around the world, in the late 1960s." These recordings shaped the 'global music listening' of millions of us. All subsequent recording engineers in difficult places stand on his shoulders.

He released nearly 30 LP albums in the Nonesuch Explorer Series, and later released more albums on several other labels. These LPs were what whetted my interest for global musics - every week in the 1980s I would go to the public library and check out a dozen LPs of music from around the world, Next week, do it again .... over and over for several years. Probably most of my trips included at least one of the albums that David produced. I can credit his albums with directly influencing my interest, and eventual graduate studies, in ethnomusicology.... and my eventual roles in ethnodoxology.

I never met him, but his recordings opened up a literal ‘world of music’ to me and countless others, for which I remain grateful.

Here are some excerpts from two lengthy tributes to him.

First, from https://www.nytimes.com/2017/05/31/arts/music/david-lewiston-dead-discoverer-of-world-music.html?_r=0

David Lewiston, whose recordings for Nonesuch records, beginning in the late 1960s, brought the indigenous music of Bali, Tibet, Guatemala and other ports of call to the ears of adventurous listeners, died on Monday in Wailuku, Hawaii. He was 88 ...

For decades, Mr. Lewiston, a classically trained pianist, roamed the four corners of the earth with tape recorder in hand, seeking out Tantric Buddhist chants in Tibet, festival music in Oaxaca, Mexico, the kecak monkey chant of Bali, the panpipe music of Peru.

He listened and recorded, not as an ethnomusicologist, but as an enthusiast. The dozens of albums he made for the Nonesuch Explorer series reflected his conviction that music was meant to be enjoyed rather than analyzed.

Listeners responded. At a time when FM radio was venturing into experimental territory and the counterculture began tuning in to non-Western cultures, Mr. Lewiston’s musical reports found an eager audience. His first recording for Nonesuch, devoted to the gamelan, the traditional percussion orchestra of Indonesia, sold surprisingly well. “Music From the Morning of the World: The Balinese Gamelan,” released in 1967, was followed by “Golden Rain,” which devoted an entire side to the Balinese kecak, or monkey chant, in which a male chorus intoned the percussive syllable “chak” in a mounting frenzy. [Hear the 20-minute recording below.]

“That was something unheard-of at that time, for a record company to devote a whole LP side to an uncut excerpt of a non-Western style,” Mr. Lewiston said in an interview for the web publication Roots World in 2000. On the radio station WBAI in New York, he recalled, the late-night D.J. would say “O.K., light that joint, here it comes!” and play side two of “Golden Rain.”

In the years that followed, Mr. Lewiston, who liked to call himself a “musical tourist,” delivered music from South America, Mexico and Kashmir. He traveled the highlands of western Tibet and the tribal regions of Pakistan. No sound was alien to him...

The album cover for “Golden Rain.” Nonesuch Records

+++

In 1966, he set out for Bali, carrying two borrowed microphones and a Japanese tape recorder — one of the first battery-operated models — that he bought on a stopover in Singapore.

“It really was as vague as all that,” he told an audience at the Rubin Museum in Manhattan in 2006. “I stumbled into it. I didn’t have a plan, I didn’t have a career in mind. It was an adventure.” ...

The journey went on and on. He accumulated hundreds of hours of Buddhist chants, notably the chordal chanting of lamas and monks at the Gyuto Tantric University and the Drukpa Kagyu rituals performed at the Khampagar Monastery, both in Tibet. He traveled to the republic of Georgia to record polyphonic folk songs and to Fez, Morocco, in search of Sufi music. He returned to Bali in 1987 and 1994.

He prized authenticity over polish. “If someone made a mistake or the wind knocked over a microphone, I wouldn’t stop and say, ‘Take two,’ ” he told the audience at the Rubin Museum. “I couldn’t stop things that way, I needed the musicians to be deeply inside the music, and so I would wait until a whole performance was over and just say, ‘My, that was marvelous! What was that second piece? Could I hear that again?’ And just hope that the wind wouldn’t knock things over and that this time the genggong player wouldn’t fart.”

He learned early on that a generous supply of liquor helped the musicians relax, but that a too-generous supply caused them to pass out. Money also helped. His standard practice in villages was to determine the daily wage for a laborer and then pay the musicians double that for each hour of recording...

Mr. Lewiston, who has no immediate survivors, left an archive of nearly 400 hours of recorded music. Mr. Cullman is collaborating with Dust-to-Digital, a record company specializing in American folk, blues and gospel music, to produce a boxed set of Mr. Lewiston’s material and to find a home for the archive, much of it devoted to Tibetan chants and rituals.

+++

And now, excerpts from http://www.nonesuch.com/journal/david-lewiston-the-nonesuch-ex

It is hard for us now, awash in the 35,000 CDs released every year, to imagine a time when it was almost impossible to find recordings of music that did not reflect the popular currents of the day or the classics of the European tradition.  Hard, too, to remember when you couldn’t carry a sophisticated multitrack recording studio in a small backpack.  Hard, even, to remember that you couldn’t always choose which day of the week you wanted to hop a plane to Bali.

But in the early 1960s it took imagination, ears and a strong back to record Balinese gamelan music—or even to know what a gamelan was...

"David always understood that indigenous music requires superb support materials; notes, photos and artwork that flesh out the context in which the music itself can better be appreciated and understood.  David's work was the model for how this should be handled."

The generation of musical artists who came of age during what I will call “the Lewiston era” grew up with unprecedented information.  The music of the world was in their ears—this had never happened before.  Of course, there are legends about such cross-cultural revelations as Debussy hearing a gamelan orchestra at the 1889 Paris Exposition…and these no doubt influenced Western music in profound ways.

But it seems to me that the primary challenge facing composers and musicians today is in part due to David Lewiston and that is making sense of the world of music that we have learned exists over the past 40 years.

+++

Learn more, and see a list of approximately 25 reocrdings he produced, at https://en.wikipedia.org/wiki/David_Lewiston

Here is Side 2 of the second LP he famously recorded, introducing the ‘Balinese Monkey Chant’ to the western world:  Ketjak: the Ramayana Monkey Chant

David was not a Christian and recorded little ‘world music’ with Christian lyrics. He became fascinated with Tibetan Buddhism and probably followed that himself to some degree. Even so, the plethora of ‘global Christian musics’ being recorded today by my ethnodoxology colleagues have some impetus from David’s recordings - they literally opened up a ‘world of music’ that was previously mostly unknown in the west (starting in the 1960s).

+++

I should also point out that David did not call himself an ethnomusicologist - in fact, he rather despised the term:  “I think of an ethnomusicologist as someone who takes wonderful music and analyzes it until all the joy has been lost,” he once told the online publication RootsWorld. “It’s as though a rather boring person who wanted to be paid for talking about music invented a Teutonic-sounding, pseudo-academic title as a scam — and got away with it! Much better to just shut up and enjoy the music.” https://www.washingtonpost.com/local/obituaries/david-lewiston-musical-tourist-who-collected-the-sounds-of-the-world-dies-at-88/2017/05/30/3200ec12-4541-11e7-98cd-af64b4fe2dfc_story.html

Those of us who are ethnomusicologists can laugh at that statement. We can’t consider David “one of us” but still appreciate what gifts his ‘recorded musical tourism’ brought into public hearing.

[tripsfestival]

Trips Festival Playlist for 4/1/17

Trips Festival with Gamma Light Theme: Womyn and Femmes

7:02 PM Alice Coltrane “Jai Rama Chandra” from Turiya Sings (CD, Album, Other, 1982) on Avatar Book Institute

7:05 PM Joan Baez, Judy Collins, and Mimi Farina “Legend of a Girl Child Linda” from Save the Children: Songs From the Hearts of Women (LP, Album, Americana) on Women Strike For Peace

7:11 PM Nesta Kerin Crain “Gongs in the Rain” from I Am the Center: Private Issue New Age Music in America, 1950-1990 (CD, Compilation, Other) on Light in the Attic

7:14 PM Gail Laughton “Pompeii 76 A.D.” from I Am the Center: Private Issue New Age Music in America, 1950-1990 (CD, Compilation, Other) on Light in the Attic

7:16 PM Mrs. Lekit Shipmo “Lepcha Narrative Song” from Music in Sikkim (LP, Compilation, World) on ABC Command

7:23 PM Enya “I Want Tomorrow” from Enya (LP, Album, Other) on BBC

7:27 PM Elisabeth Waldo and Her Concert Orchestra “Chant to the Sun” from Rites of the Pagan (LP, Album, World) on GNP Crescendo Records

7:30 PM Sally Oldfield “Water Bearer” from Water Bearer (LP, Album, Other) on Castle Communications

7:37 PM Barbara Birdfeather “Astrology” from The Occult Explosion (LP, Album, Spoken Word) on United Artists Music and Records

7:46 PM Carol Kleyn “Love Has Made Me Stronger” from Love Has Made Me Stronger (LP, Album, Other) on Lyra Records

7:52 PM M.L. Vasantha Kumari “Swaminatha Pari Palaya” from Cascades of Carnatic Music (LP, Album, World, 1980) on Oriental Records

7:59 PM Joanna Brouk “The Nymph Rising, Calling the Sailor” from Hearing Music (CD, Album, Other) on Numero Group

8:04 PM Nancy Rumbel “Willow” from Woodlands (LP, Album, Other) on Narada

8:08 PM Of Veils and Incense “Annette's Medley” from Ecstasy in Belly Dancing (LP, Album, World) on Dantz Record

8:12 PM Chiitra Neogy “Krishna and the Lovely Cowgirls” from The Perfumed Garden (LP, Album, Spoken Word) on Pulsar

8:18 PM Kay Gardner “The Greenwood” from A Rainbow Path (LP, Album, Other) on Lady

8:24 PM The Space Lady “Synthesize Me” composed by Peter Schilling from The Space Lady's Greatest Hits (LP, Compilation, Underground, 2013) on Night School

8:27 PM Diane Arkenstone “Aquaria” composed by Diane Arkenstone from Aquaria - A Liquid Blue Trancescape (CD, Album, Other) on Neo Pacifica Recordings

8:34 PM Nancy Hennings, Henry Wolff “Rainbow Light” from Tibetan Bells (LP, Album, Other, 1972) on Island

8:37 PM In Lak Ech “Coyolxauhqui Song” from Mujeres Con Palabra (CD, Album, World) on In Lak Ech

8:40 PM Liz Story “Wedding Rain” from Windham Hill Records Sampler '82 (LP, Compilation, Other) on Windham Hill

8:47 PM Rosemary Brown “Commentary/Impromptu In E Flat” from A Musical Seance (CD, Album, Other) on Tin Toy

8:56 PM Various Artists “Matondoni Wedding” from Africa: Witchcraft and Ritual Music (LP, Album, World, 1975) on Nonesuch

8:59 PM Reunion Band and Friends “It's OK To Be Me” from Ocean of Love (LP, Album, Other) on Living Love Publications

[stephaniemarlowftw]

JAYE JAYLE'S IMMERSIVE STORYTELLING COMES TO LIFE ON A NEW VIDEO FOR "NO TRAIL";

CONTINUES WORLD TOUR WITH EMMA RUTH RUNDLE

"That Lynchian darkness is on full display... along with a sizable helping of Nick Cave-ian heaviness.” - Stereogum

The hypnotic sounds and immersive storytelling of Jaye Jayle comes to life on a short film titled "No Trail,” which premieres via Clash Music today (or directly on YouTube). This album piece follows the release of the excellent No Trail and Other Unholy Paths LP which came out earlier this year via Sargent House.

About the video, the director Ethan / Gardenback remarks:

"For our third collaboration, Evan and I wanted to weave together the stories of 4 characters, all journeying to meet each other at a beautiful empty beach. Each character would make up an individual part of Evan's persona, performing a ritual at the end of the film which converges them. We filmed across a beach near Dungeness, a flat, almost desert like part of England which houses a gigantic power station. I decided on the location before we fully fleshed out the idea, so there was a lot of inspiration to take from the landscapes. Derek Jarman, an incredible film-maker once lived in a cottage out by the power station, his films have an amazing magical realism that I think we reference in the film."

Evan Patterson from Jaye Jayle goes into more detail about the characters in the short film:

•The Drifter just can't stay put. Traveling for unknown reasons, only intending to keep on-the-move, and all that crosses the path... an offering or assistance or helpful hand to the best of ability. An assurance in life and existences in the unknown.

•The Future is the hope, that maybe had lost a little hope along the way. Listening, learning, and shadowing The Drifter along a portion of his journey. Only to use this time as education for the future.

•The Present is living in fear and confusion. Searching for answers, security, and a sense of power. Somewhat lost in hopelessness, yet will never give in for less than deserved.

•The Past is the option of faith and hope through religion. Which is always there, but not necessarily the route which works for everyone. The Present listens, learns, and respects The Past, yet goes it's own way to achieve clarity.

All meeting at the edge of the world. Faced with the individuals and the paths they have created to lead to each other.

Patterson continues, "These are all the thoughts and dreams dancing around in my head. It brings me an immeasurable amount of joy and is an honour to work Ethan and the actors to create a visual representation to accompany this musical piece. I am The Pathfinder. No Trail is about the obsession of the never-ending search for clarity."

Jaye Jayle continues their world tour with Emma Ruth Rundle; in Europe throughout October into November, then back in the States through December 17th. Check out all dates listed below.

Produced by Dean Hurley, David Lynch’s music supervisor of the last twelve years, No Trail And Other Unholy Paths has transcended the album format, elevating itself to a choose-your-own-adventure experience. Patterson notes that the album bears no specific beginning or ending—Side A and Side B are meant to be interchangeable. The album could open with the fluttering instrumental “No Trail,” or the slow burning synths of “As Soon As Night,” even the spectral push-pull of “Marry Us,” featuring partner Emma Ruth Rundle's spellbinding vocals. Regardless of track sequencing, No Trail And Other Unholy Paths is an album that drives its aural dimensions to the absolute threshold — and then some.

Jaye Jayle -- on tour:

October 6 Lille, FR @ Aeronef +

October 7 Colmar, FR @ Grillen +

October 9 Bermeo, ES @ Beleza Malandra Ateneo Kulturala +

October 10 Oviedo, ES @ Lata de Zinc +

October 11 Porto, PT @ Passos Emanuel + 

October 12 Lisbon, PT @ Music Box +

October 13 Madrid, ES @ Changó +

October 16 Marseille, FR @ Le Molotov +

October 17 Zurich, CH @ Rote Fabrik +

October 18 Leipzig, DE @ UT Connewitz +

October 19 Prague, CZ @ Klub 007 +

October 20 Köln, DE @ Gebaude 9 +

October 21 München, DE @ Milla +

October 23 Berlin, DE @ Bi Nuu +

October 24 Hamburg, DE @ Hafenklang +

October 25 Malmo, SE @ Plan B +

October 26 Oslo, NO @ BLÄ +

October 27 Stockholm, SE @ Strindbergs Intima +

October 28 Gothenborg, SE @ Skjul Fyra Sex/Skjulet +

October 29 Copenhagen, DK @ Hotel Cecil +

October 31 Rotterdam, NL @ Rotown +

November 1 Groningen, NL @ Vera +

November 2 Paris, FR @ Petit Bain +

November 3 Manchester, UK @ Soup Kitchen +

November 4 Bristol, UK @ Rough Trade +

November 6 Glasgow, UK @ Stereo +

November 7 Newcastle, UK @ The Cluny +

November 8 London, UK @ Oslo +

November 10  Antwerp, BEL @ Trix +

November 30 Nashville, TN @ The High Watt +

December 1 Atlanta, GA @ Drunken Unicorn +

December 3 Dallas, TX @ Double Wide +

December 4 Austin, TX @ Barracuda +

December 6 Albuquerque, NM @ Sister +

December 7 Phoenix, AZ @ Valley Bar +

December 9 Los Angeles, CA @ The Echo +

December 10 San Francisco, CA @ Rickshaw Stop +

December 12 Portland, OR @ Mississippi Studios +

December 13 Seattle, WA @ Barboza +

December 15 Salt Lake City, UT @ Kilby Court +

December 16 Denver, CO @ Lost Lake +

December 17 Kansas City, MO @ The Riot Room +

+ w/ Emma Ruth Rundle

[tinymixtapes]

The Glitch Mob announce new album See Without Eyes, share lead single

The Glitch Mob transcends mere EDM. Sure, their huge beats are a perfect draw at massive outdoor festivals marketed to millennials, but few electronic artists are able to aestheticize glitches to their degree while still retaining their songs’ inherent accessibility and danceability. The band’s live shows are also unique through their development of a complicated rig called The Blade, detailed in a captivating mini-documentary. (Slightly) less horrifying than it sounds, this thing enables them to ramp up the album’s excitement in a live setting, rather than watering down the set to a few triggered Ableton loops. May 4 will mark the release of the Mob’s third LP, See Without Eyes. And from the sounds of its lead single, it’s gonna be a monster. “How Could This Be Wrong” shows the band in its comfort zone, sticking to its core sound of airy female vocals, marching-band snares, those skull-rattling synth leads, and of course, a bit of machine error thrown in for good measure. Check it out down below, and get those pre-orders in here…before The Blade comes for you. See Without Eyes tracklisting: 01. Enter Formless (feat. Rituals of Mine) 02. Take Me with You (feat. Arama) 03. Disintegrate Slowly 04. Keep on Breathing (feat. Tula) 05. Come Closer 06. I Could Be Anything (feat. Elohim) 07. Interbeing 08. How Could This Be Wrong (feat. Tula) 09. Go Light 10. How Do I Get to Invincible (Ambré) Check out The Glitch Mob and The Blade in action: 04.20.18 - Le Trabendo – Paris, France 04.27.18 - Village Underground – London, UK 04.30.18 - Gretchen – Berlin, Germany 05.11.18 - Union Hall – Edmonton, AB 05.12.18 - Marquee Beer Market & Stage – Calgary, AB 05.14.18 - Commodore Ballroom – Vancouver, BC 05.15.18 - The Knitting Factory – Spokane, WA 05.16.18 - The Wilma – Missoula, MT 05.18.18 - Showbox SoDo – Seattle, WA 05.20.18 - Roseland Theater – Portland, OR 05.23.18 - Revolution Center – Garden City, ID 05.24.18 - Cargo – Reno, NV 05.25.18 - Lightning in a Bottle – Bradley, CA 05.26.18 - The Observatory North Park – San Diego, CA 05.27.18 - Brooklyn Bowl – Las Vegas, NV 05.31.18 - House of Blues – Boston, MA 06.01.18 - Governor’s Ball – New York, NY 06.02.18 - 930 Club – Washington, DC 06.06.18 - The Fillmore – Philadelphia, PA 06.07.18 - The National – Richmond, VA 06.09.18 - Bonnaroo – Manchester, TN 06.10.18 - The Plaza Live – Orlando, FL 06.13.18 - The Joy Theater – New Orleans, LA 06.14.18 - White Oak Music Hall Downstairs – Houston, TX 06.15.18 - Emo’s – Austin, TX 06.16.18 - House of Blues – Dallas, TX 06.19.18 - Egyptian Room at Old National Centre – Indianapolis, IN 06.20.18 - Express Live! – Columbus, OH 06.21.18 - Stage AE – Pittsburgh, PA 06.21-24.18 - Electric Forest – Rothbury, MI 06.26.18 - Crossroads KC – Kansas City, MO 06.28.18 - Red Rocks – Morrison, CO 06.28-07.01.18 - Electric Forest – Rothbury, MI http://j.mp/2F51buC