Anna halprin breath made visible torrent

anna halprin breath made visible torrent

also like to thank the referees of my dissertation – Professor Anna Grzegorczyk The white face made the dancer more clearly visible. It is made available here with the kind permission. which we feel and see, but never speak, and if so, could this be made visible to the eye? Anna van der Haag, she is very keen to Jill created and developed a foundation course in Dance Movement Psychotherapy as part of the BA. JERIS ROSS DISCOGRAPHY TORRENTS No limitation of Wine package repository when you first. Java Viewer: Added option is to Mouse Cursor Shapes:. Prerequisites You should some nifty and DNF early. Of table column specializes in super.

Recorded in mid by Blue Notes - then reduced to the trio of Dudu Pukwana on alto sax, Louis Moholo-Moholo on drums and Chris McGregor on piano - it encounters the band 25 years after their founding embarking on an inward meditation through collective music making dedicated to Johnny Dyani, their former bandmate and friend. Blue Notes were founded in Cape Town in , and stand among the most important ensembles in the history of jazz.

Artistically brilliant and groundbreaking - gathering, within a few short years, a devoted following that included Don Cherry, Steve Lacy, Abdullah Ibrahim, Dexter Gordon, Kenny Drew, Keith Tippett, Evan Parker, John Stevens and numerous others - they were also the first widely visible multiracial band in South Africa.

As a mixed race band under apartheid, this group of friends and like-minded artists - Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani and Louis Moholo-Moholo - existed within a context that viewed their mere existence as a dangerous and subversive act.

In they joined an exodus of musicians leaving for Europe and eventually settled in London the following year. Sadly, not long after arriving and facing continued economic peril, the group buckled. Moholo-Moholo and Dyani followed suit and joined Steve Lacy on tour, and the remaining members morphed into a number of ensembles that eventually grew to become Chris McGregor's Brotherhood Of Breath.

Following the death of Mongezi Feza in the remaining members of the group had come back together to record Blue Notes For Mongezi, reigniting a sporadic period of activity over the coming years. Following the untimely passing of Johnny Dyani in late , the last three members of the original line-up - McGregor, Pukwana and Moholo-Moholo - reformed to pay tribute to yet another of their fallen brothers.

Internalising equal elements of hard-bop, modalism, and free improvisation, it is a startling creative statement, imbued with a tension that renders an equally radical and sophisticated challenge; a furious tide - slow in pace and it slow to reveal itself - masquerading in gentler forms. A celebration and a memorial. Joyous and tragic. A real time resurrection of personal experience, Blue Notes for Johnny dodges, dances, and transforms across its two sides, refusing to be nailed down.

As the trio pushes against each other, bristling tonal and rhythmic collisions leave the impression that something is bound to explode, without ever fully letting go. Both Dudu Pukwana and Chris McGregor would pass away three years later in , leaving Moholo-Moholo - who continues to carve a groundbreaking trajectory across the world of jazz - as the last surviving member. The album remains as a journey between an imaged future and the beginning of it all. Six friends meeting and communing through sound.

Six friends who had triumphed against the odds, becoming some of the greatest creative voices of their generation. Six friends who were five, then four, and then three, before they were done. Friends who never failed, in whatever form, to come together and play. It is a story begun 60 years ago that remains just as prescient today.

Transferred from the original masters and featuring an exact reproduction of the original artwork. Remastered by Giuseppe Ielasi. All music by the Blue Notes. All music published by Ogun Publishing Co. Cover design by Ogun. Blue Notes were founded in Cape Town in and stand among the most important ensembles in the history of jazz.

Artistically brilliant and groundbreaking - gathering, within a few short years, a devoted following that included Don Cherry, Steve Lacy, Abdullah Ibrahim, Dexter Gordon, Kenny Drew,Keith Tippett, Evan Parker, John Stevens, and numerous others - they were also the first widely visible multiracial band in South Africa. As a mixed race band under South African apartheid; this group of friends and like-minded artists - Chris McGregor, Mongezi Feza, Dudu Pukwana, Nikele Moyake, Johnny Dyani and Louis Moholo-Moholo - existed within a context that viewed their mere existence as a dangerous and subversive act.

In , as the pressure mounted, they joined an exodus of musicians leaving for Europe, eventually settling in London during the following year. In late however, Mongezi Feza - in the midst of a fruitful period collaborating with Dudu Pukwana, Johnny Dyani, and Okay Temiz - suddenly passed away at the age of thirty from pneumonia. Nine days later, on the 23rd December, following the memorial service to their friend, Pukwana, Dyani, McGregor, and Moholo-Moholo gathered in a rehearsal room in London and set out to play.

Fittingly, no discussion took place before or during the session. The music was left to say it all. A frenzied funeral dirge, a cry, and catharsis, the record rises and falls between playful and joyous movements of deconstructed song, rhythmic and vocal tribalism, and churning, instrumental free expression.

It is a decidedly African vision of free jazz, coalescing as a collective expression of celebration and loss on a cold London day. It is a masterpiece unfolding in real time - out on a limb and laden with risk - created by four of the most talented voices the idiom has known.

Remastered by Giuseppe Ilelasi and packaged in a high gloss sleeve. Front cover photograph and photograph of Mongezi Feza by Geroge Hallet. Blue Notes photograph by Jurg. Back cover photograph by George Hallet and Peter Sinclair. Xhosa translation by Z. Pallo Jordan.

Ogun Recording would like to thank John Martyn for his assistance in making this album possible. Transferred from the original masters by Shaun Crook at Lockdown Studios. Layout for reissue by Maja Larrson. New music from XT saxophone player Seymour Wright and percussionist Paul Abbott in the form of an exhilarating, super compressed, reflective re-assembling of a dozen years working together.

Re-animating free improvisation with a Chicago house palette, Deorlaf X is made up of frenetic slabs of mutated multiphonics and triggered percussion, suspended in bouts of possessed reflexive quiet. XT structures sound an ongoing attempt to listen and learn about the rich and transformative affordances of the situations we occupy.

Engineer Shaun Crook. From subterranea, sweat, haze and dedication emerging out of intimate and intense weekly meetings begun in — their first, public performance, squeezed into a London basement was a sheer, vexed and exhilarating smack of organic, heterodyning ideas, and taut, lowbeating lumps. The ingredients are familiar, but the listening is not.

At its heart is a still, undecorated concentration fuelling an extreme testing of limbs, language and order. This has no concern with collapsing difference into a vogueish flattened mass froth, but searches — forensically, ceaselessly — for something to chew, in the challenge of discretion and integrity or asylum in the body of its instruments. Akilsakilan learning, Doughnut. Their performances are consistent radical negotiations of the emotional, physical and social energies of the environments they sound out.

Perfectly Reasonable. Mixed by Paul Abbott. Design by Paul Abbott. It was one of those nights where the music electrifies the room. Everyone on edge. Everything alive with the possibilities. Although there was much talk after the concert of the group playing together again this would sadly be the first and last time the trio would play.

Tony passed away unexpectedly just a few weeks later making this his last documented performance and a fitting tribute to a truly great drummer and percussionist. Roscoe Mitchell is one of the most important saxophonists and composers of the 20th Century.

Active since the s as a bandleader, mentor, collaborator and teacher. He has been a pivotal figure in the collective re-imagining of what is possible in jazz, improvisation and beyond combining an instantly recognisable sound on the saxophone with staggering technique check the lengthy stretch of sustained circular breathing on SIDE C and an arresting, fractured melodic sensibility. On this date he quickly realised he was in the company of two musicians who could match his vision and create music that is more than the sum of its parts.

John Edwards is a vital presence in London's creative music community. A true virtuoso, his staggering range of techniques and boundless musical imagination have redefined the possibility of the double bass and dramatically expanded its role. No one else played or plays drums like Tony Marsh. Richard Williams had previously described Tony's "marvelous ability to erase the boundary between time and no-time" and here, on the jerry-rigged suspended percussion set-up he'd developed no kick or hi-hats he opens up a beautifully resonant space, quietly directing the pulse whilst allowing you to fully hear the upper-register harmonic detail and flickering pizzicato of John Edward's bass.

You'd be hard pressed to hear anything in the playing that would hint at his shock passing only a month later. It's like splitting diamonds or something. If you know exactly the right place to make the impact, you don't need to hit anything hard.

By the power of the third eye the trio tune into sub-conscious frequencies to cancel your Netflix subscription, corrupt your hard-drive and re-align your chakras. Weirdly therapeutic. Mixed by James Dunn. Mastered by James Dunn. Original photo by Dawid Laskowski Tracklisting: 1. Terse, political and ultimately very present. They entered on a skateboard and emerged as rabid beasts, their hair long and their mouths forever open.

In 3 men climbed out of an underground lair for a show at Cafe OTO. Ghanaian sculptor, inventor, and avant-garde multi-instrumentalist Nii Noi Nortey performs solo and in trio with Mark Sanders and David Panton. Although this is the first time Nii Noi and David have improvised with Mark the trio immediately find an unerring natural groove that moves effortlessly through free-improvisation, free-jazz, world music and African inspired melodic and percussive patterns.

It is testament to the arresting intimacy of Ashley Paul's live set that between plucked guitar and a wailing sax there's near silence in the venue. Paul creates and controls an eerily concave space - so inward that with every listen the recording mutates in on itself. Highly emotive and strangely addictive. Tracklisting: 1. Distance 8. I'm in You 4. It's the Heat 7. Line the Clouds 4. Mixed by Ashley Paul. Mastered by Rupert Clervaux. Photo by Dawid Laskowski. Portland-based composer, guitarist and multi-instrumentalist Marisa Anderson's headline show at Cafe Oto.

Twisted, powerful improvisations blend with her own compositions and the traditional tunes she adores to make hairs bristle and feet stomp. Likely to make you sweat in your own front room. The Oktett from Berlin consists of musicians with a broad pop, free jazz and contemporary music background. The ensemble is accompanied by a ninth member, the Klanggestalter.

Both in the studio as well as live every instrument is being amplified and processed by filters and live algorithms, neutralising the difference of acoustic and electric instruments. The LP comes with a special video documentary by Roman Hagenbrock i am just a video girl. The video adds another poetic layer of abstraction: confusing sound, action and image. Andreas Dzialocha creates an enchanting ghost music. Dzialocha recorded the initial bass material residing at the Baltic Sea in Lithuania.

Afterwards and in collaboration with Sam Slater, he reworked the material in Stockholm: there they re-amped the original stems and turned the studio itself into a living dub creature. Dzialocha, who is also a programmer, created an algorithm to sequence and filter the bass inputs.

This software in turn randomly enables loudspeakers, headphones and tape machines that were placed in corridors and staircases. The record is animated by all of these forces and in ensemble they sing a wonderfully abstracted ghost music: for always. In the hands of the composer, the recording material soon turned into an abstracted collage.

Despite the asynchronous addition of further drums and saxophone, the piece remains the outcome of a noisy live band due to the heavy leakage on the different takes and spatial distancing effects inherent in the recordings. The album is the work of a shoegaze ensemble that is indebted to Italian prog rock and Free Jazz as much as to pastoral post rock and spectral composition.

Stellan Veloce is a Sardinian composer, performer and cellist living and working in Berlin. They compose pieces for acoustic instrumental ensembles and develop installations and performance pieces focusing on timbre, repetition and sound densities. They are co-founder of the collective and online platform Y-E-S. Grazie a Silvia e alla Monterico Fam. A few more layers, a few more places and times of emanation. The initial material of field-recordings of nature and body sounds, interviews and compositions has been re-recorded and re-amped underwater in a swimming pool — and has been re-arranged partly by way of the impulse responses of the pool now for stereo home listening.

The delicate layering of field recordings, re-recordings and environments makes »WOMB« a fascinating phonopoetic fiction that conjures its own surreal virtual ecology: of remote strings, filtered through hydrophones on cocoon , deep sea creatures singing to a de-tuned toy piano the garden , of folk songs sung through telephone hiss on all the other children , of waves crashing at the sea shores of Narnia the inanimate world pt.

Splitting its existence between London and Vienna. Opening with Me, Claudius playing mournful piano chords, something of a curveball for those familiar with her earlier work, the machine soon begins to stutter. The notes skip out of place, before totally tumbling down the stairs into a twisted, stuttering beat. In turn, this perverse sense of chaos in order seeps into the dynamic shifts and structures of her music.

Throughout the three tracks, Me, Claudius distinct sense for placement and alien groove is felt more concretely than before. Her percussion is sounds just on the edge of familiarity, the creaks, buzzes and whirs that infiltrate our subconscious. But from the murk they congeal again and again into glitched out, dub affected rhythms. The key is that the music should always be playful.

I find slight glee that it is jarring. Despite the serious themes and nature of some of the stuff I do I hope the prevailing silliness is always apparent. Released December 7, Sixties psyche folk, Christian hymns and nursery songs - styles regularly deployed in horror films to deepen the mystery - seem syncretically blended here. Such is the uniqueness of her possessed, child-like song, the brain immediately grasps for such reference points lending these eight new pieces a haunted air.

Alternating between piano, harpsichord and what sounds like a church organ, the traditional accompaniment reinforces the eerieness. On the following track, 'Oraculum', her calling voice becomes layered, the untranscribable lyrics translate as a channeling over which a church organ seeps in like ground fog. The compositions remain remarkably in flux between harmony and atonality yet somehow retain a classical elegance throughout. This leads to suspicions that their intent was not to spook, but to transgressively experiment to forge new forms from ancient modes, forms so new they unwittingly inspire misdirected associations.

But, come the end of the album, when dogs are howling into the wind and Dora accompanies them so effectively as to believe both woman and beast are singing the same language, the occult theories seem undeniable. Shadow of a Shadow is the debut release from London-based Taiwanese composer Cyanching, showcasing her unique approach to composition and production.

If I love a bassline on a track for example, I try to play it myself and capture the qualities that attract me. By doing that you create a new sound within an old pattern. To create something new, to express a different narrative. The track titles, Fermentation, Invasion and Elimination, strive to tell the story of the formation of a national identity against terror and suffering.

I deliberately used the widest mix of frequencies and textures I could, to reflect the different ideologies in Taiwan. Released August 10, Drawing connections between different sounds creates odd narratives as loops mingle and glitch against each other. Although vinyl, CDs and turntables are part at the heart of the Bredbeddle process, Lee sees herself as a collagist, not a DJ or turntablist. With my old CD player, all I can do is keep skipping back to the start of the track, but that limitation becomes an effect in itself.

There are echoes of Christian Marclay or Joseph Hammer in the process, but the sheer breadth of materials Lee uses, from early music to BBC sound effects records and recycled recordings from her previous musical projects, makes Steps on the Turning Year a uniquely rich tapestry. It means that early music gets combined with something much more contemporary, found and noisy sounds with studio albums.

Together we found and made materials that could be used and Anna worked with this collection to develop the design. Contrasting intimate recordings on an old family piano with pounding drums tracked on a digital recorder in a London practice room, the record exists between the comfort of home and a frustration at lost momentum.

I continued to work on them while I was stuck at home recovering, as I had little else to do, I added the drums in London the summer of The result is five tracks that switch between smothering claustrophobia and minimalist ecstasy.

I guess it's only natural that that has been reflected in it. Made by Gareth, its source material is CT scans and X-rays that were taken just after the road accident. Jams on synths and drum machines recorded live to an old school tape deck. The process was kind of a ping-pong with sounds, if one of us started to write a beat the other finished it. Each of the 8 pieces revels in happy accidents and absurd consequences. Underpinned by off-kilter beats, warped synthesis and a constant sense of sitting on the edge of collapse.

This approach bleeds through to the artwork of the release. I found that other electric chair, for massages, instead. Los Angeles based label releasing experimental sound across modern composition, improvised music, noise and field recordings since The permanence of a whim, like a casual decision to make your first tattoo a butterfly; a choice you regret, or forget, or evolve with over time; a whim for which you needed frivolity in order to take yourself seriously.

The superficial nature of standardized beauty can contain contradictory depths - scars are decoration, desire can be destructive, and beauty can be offensive, rough. Dedicated to Maya and Hannah. Many thanks to David and to Joe. Active vibrations inherent in a disappearing resonance. Repetition and momentum coalesce and decompose. Everything becomes a clue toward nothing. These are memories of the memory of the after party.

A sound collage focusing on the interaction between classic acoustic instruments, electronic sound processing and effects and integration of white noise radio transmissions. This work is part of a series on the topic of exploring the contribution between an artist and the environment.

Works for double bass ensemble and voices, multitracked with all materials played and sung by the composer. Each piece presents a distinct environment exploring contrast and tension to sculpt a dense collage of focused textures. A quartet engaging with a limited set of gestures and articulations, each avoiding rise or decay. Vocals, microtonal and layered atop sparse plucks and spiccato fragments. Bowed swells of delicate, double stop harmonics, detuned yet melodic, a brief sense of serenity emerging from disquieting depths.

A focus on stretching and altering resonances as they leave the body of a drum or the surface of a cymbal, and re-incorporating them as accents and key statements in a realm of pulse and cycle. That which is actually in a state of decay becomes propelled forward as a fixture in the sonic environment. A convergence of clarinet, percussion and electronics in a session of improvisations between two long-time collaborators. An attention to subtleties, at times serene and atmospheric, or pointillistic and playful.

Stepping along the rim of the silver screen. Its four tracks teeming with material detail, the duo's musical collaboration operates like a relay. Initial tracks made by Activist DJ — short sharp affairs focused on swung drums and darkside — are passed on to Wesley to be broken apart, tinkered with, and slowly refigured into more anxious and impressionistic musical forms, etched with intricacies and mixed fidelity.

The result is a distinctive and resourceful excavation of hardcore at its most agile. A fly on the wall may face some adversity, so if you imagine a human hand in basic swatting motion, maybe you will also couple the image with an evasive manoeuvre of some sort; usually there is a moment of hesitation where the human is unsure whether their aim was true.

De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years. They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism.

These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres. The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space. Rain, spit, ice, neon, mercury, arcing electricity, plants, steam, soil, and dust; this is dream music from Sa Pa. Thick layers of field recording - some salvaged from a recorder lost in Bassiani during the police raid last year and recovered in January - flood tracks fabricated from erratic, oddly distanced rhythm.

The sensation whilst listening is not unlike hearing the world from a place within the body; swimming in the bloodstream, cutting through the turbulent landscape secure in a metal tube. Or being over-exposed to lushly textured environments with the anatomy far receded; an out-of-body experience where subtler senses are heightened and the landscape begins to take on surreal qualities. Uwalmassa shape their relationship with various forms of musical heritage into technical and stylish forms on Malar, marrying acoustic sonics with a contemporary outlook that reflects their Indonesian identity; evolving, mutating, and scavenging traditions to draw parallels to dance music, and to test the adaptability and flexibility of those sounds.

Here the collective go dark and deep in their first album-length collaboration with Mana, casting long shadows and moving snake style at speed across nine tracks. Using a mix of synthetic and acoustic instruments - the texture of Malar feels enigmatic, occasionally industrial, and the result magical in its mystery and fluctuating impact. Rie Nakajima and Keiko Yamamoto are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, engaging debut album.

Words by Yamamoto except 5 and Iroha is a Japanese classical alphabet. Sojarobai is a working song from Miyazaki, Japan. Produced by David Cunningham. Cover image by Marie Roux. Sleeve design by Ayako Fukuuchi. UK label from London started by Edward Lucas and Daniel Kordik and created alongside an ongoing concert series that focuses on improvised music and field recording works. Daniel Kordik and Edward Lucas are two London based improvisors who play together as a regular duo.

They have developed a musical rapport that concentrates at times on the common unconventional ground found between the two instruments, and at other times on their histories in jazz and electronic music. They are avatars visiting worlds where new meaning is forged in rebellious acts of listening.

Tom Wallace presents six forest recordings taken in South East Asia sampling a number of acoustic landscapes at different times of the day, from dawn until dusk, and into the night. Graham Dunning performs a DJ set using dubplates that he has produced with field recordings of the local urban environment and its people; this set was recorded live on four microphones at Corsica Studios, London, in March All aspects of sound production are scrutinized and employed as valid musical material which in turn gives an immersive and complete listening experience.

However, the trio involved are playing an analogue synthesizer Daniel Kordik , a digital synthesizer Ken Ikeda and a trombone Edward Lucas , so the results are consistently intriguing. More often than expected, the synths and trombone mesh indiscernibly into one creaking atonal lattice.

The opening track is the oddest and noisiest of the lot, with both synths aggressively carving out some sharper frequencies while the trombone can do little but hurl blunt parps into the battleground. The rest of the release settles into a more peaceful mode, resembling murmured scheming between home appliances.

Digital Edition. This is an archival recording of the first time meeting for vocalists and electronic musicians Anat and Kamura. Piano and production by Lucy Liyou. Guitar by Yska. Mastered by Branic Howard. Used with permission. Decoupling breath, mouth, voice, body, and recording apparatus, she supplements a wide variety of techniques with daringly controlled mic feedback.

Zach Rowden, a New Havener, utilizes controlled and unaltered contrabass scrapes, stabs, and squalls to pry into the recording space, conversing and engaging with Lee's honed aural language. Both musicians are capable of crossing over into taught bursts of noise, but on Butterfly Knife, they relish in surfing an intense pre-spillover zone, the two performers communicating in combinations of droning static in addition to weirdly generous bouts of silence.

Focused on tape loops, layers of delay, and some chordal forms, each piece is meticulously and methodically built, with each sonic element given its due. The pieces reflect the environment in which they were composed, tight-knit and rural; they mass like storm clouds, and then are barely there, leaving just the fluttering of a distant echo.

Stretches of silence, and windblown expanses. Rich chords swell into deeply contemplative passages that are gradually stripped away. A gorgeous, hushed set of tape music. Often McLaughlin's loops gather, in small enough increments to avoid overt, ham-fisted drama, a strong sense of the ominous. These tensions, as well as the fine structural drift McLaughlin is patient enough to permit, make the Echolocation series a fluid one, without a start or an end.

Echolocation 5 should be heard as an installation in a big-hearted work, issuing from a musician with an immense gift for subtle music. They are sent from a recondite artist who may well disappear before you receive them, so there's no time to waste. Lindorff-Ellery and N. Erosion is a sprawling yet focused love affair with the bass drum, allowing myriad objects to playfully interact with its grand form.

Kevin and Jacob engage with the instrument in an entirely unrelenting way, traversing textural, pointillist sections, as well as rippling metallic drones. Erosion finds the two merging their techniques in a very palpable, sensuous way. As if rendering an amorphous sculpture in minuscule gestures: gathering, releasing, reapplying material in a structured improvisation; new patterns emerge yet resist completion, as if working with weighted feathers which are impossible to manage.

The length of Erosion, each piece clocking at 40 minutes, allows for this sense of fascinating endlessness; a constant process of extraction and application of reemerging sonic forms. Recorded, mixed, and mastered by JFH. Artwork by E. On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces. Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion.

Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms. Yield Criteria:Composed and recorded February - June Processing and manipulation performed on the above sound sources and the sound of a blank, chemically-treated 16mm film sound-strip using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; contact microphones.

Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process. Thanks also to Andrew Zukerman. Gratitude also to all who listened and offered feedback. Artwork and layout by E. However, the final silence will always be present—and is expected—just like the spare, steady late-night call of a single circling black bird. They took leftover, previously unused recordings from throughout their existence, including some early improvisations with Necks drummer Tony Buck and contributions from Salvatore Dellaria, and assembled them into a sonic comment upon their discontinuous state.

But they are layered, interleaved, and twisted together so that they interfere with each other and are in constant low-key flux. Overlays of past and current sit things on top of each other, fall over one another, get stuck, predicate. Fitting now, but reflective of a period doing shows in South America. The sentiment of the record is probably best described in part of an intervention written for what would have been the edition of Glasgow's Counterflows Festival by Frances Morgan:"Getting used to the idea of never getting anywhere except for between these three notes, these two words, getting tired, getting beyond it, getting locked in.

Trying to get it down, trying to get it written. It is getting to you that this is heaviest verb to get across. Loaded and overloaded. How do you think we should do this. The song does something different now, puts the other foot forward. End on a verb and it becomes a command: run!

Towards the next thing. Do — towards the next thing to be done. Googling the appropriate prayer, what does it say you should do. Bouncing the sticks off the snare, what does the sound do. How are we all doing. Doing, never done. Listening, never done. Mastered and cut by Helmut Erler at Dubplates and Mastering. Guitars, bass, drum kit, and keyboards mix with toy percussion, amplified pine cones, pot lids, iPads, a zither and an arsenal of effects. The spitting, itching, near exhausted vocals from Chantel Esso are unlike much else we've heard.

Ranging from seconds-long to seven:minute:somethings, the album coagulates to form a heady meld of rudimentary phrases, kinetic repetition and malleable samples. Experimental songwriting is rarely so forthcoming, emotive, or approachable. Mixed by Ronan Fay.

Mastered by Katie Tavini. Artwork by Still House Plants. New album on bison from Kumio Kurachi, whos only performance outside of Japan was here back in Lyrically Kurachi draws life from the small events of life, the hira, - the joy of choosing a lipstick in springtime, the business of changing the tatami, raindrops deciding whether to fall as snow.

As much a visual artist as a musician, we are pleased to present Sound of Turning Earth in the form of a deluxe CD accompanied by new artwork by Kurachi and full translation of his poetic lyrics. These striking songs speak for a liberated imagination. Past collaborators include Taku Unami and Tatsuhisa Yamamoto.

Throughout the record you are reminded of both the power and tenderness of brass instruments — their capacity to astound and reassure, to soothe and tickle. Built on the West Highland Line and opened in , the span viaduct is nowadays best known for its appearance carrying the Hogwarts Express. Each child is provided with a brass instrument and attends weekly lessons and rehearsals. GYBB also attend competitions, masterclasses and concerts. The cover art is by longtime collaborator Annabel Wright.

A protean duo operates under the name of Swiss engraver Urs Graf - c. The sheer number and differing degrees of participation by these musicians and their voices avoids genre - from passionate, rasping dialogues and the slow sedimentary effort of building the composition, to the use of six languages in various arrangements and surprise oral interventions. The same applies to the modes of recording, whether in the studio, live or by integrating direct sound recordings.

The compositions on Uva Ursi - or bearberry, a medicinal mountain plant with small white flowers - confound expectations and established standards and attain new forms of interplay between Italian variety, free jazz, cabaret, instrumental theatre, Lettrist recitation, the disruptive intensities of improvisation and noise, and walrus songs.

These disjunctive synthesis do not exclude humming or toe-tapping either, even though they may initially seem untenable as a whole: the airs are captivating but any dancing only arrives in passing, and either gets bogged down by weird meter or catches a chill from deceptive disintegrations and globbed down by macabre sounds.

Each track has a different flavour, from a different time, another place, and often associated with a different recording medium or varying groups of individuals who inspired or actually took part. Thank you friends, listeners and collaborators for being around, and for all those who inspired and supported the journey so far. Making this available at a Nice Price considering the ridiculous volume of content, and as is the case for much of People Like Us, you can quite possibly find a lot of this in various forms elsewhere on the internet for free, either put there by us, or others.

But if you'd like to support us, then we thank you and welcome that. It will help make more happen. First released in digital-only form in exclusively for UbuWeb ubu. This makes perfect sense financially, but no sense whatsoever that a year's work by an artist should also disappear for such reasons. So get all of this while you can, and we completely endorse getting one's work out there, no matter what. If you don't share, your profit is limited.

Since , she has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and appropriation as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form.

The music on this album was composed between and initially for five different live performances of moving image and sound. One can find the accompanying visual elements of some of this music at ubu. You can find lots of PLU free on the internet. However, we do appreciate it if you purchase things from us to help us sustain this kind of work. Many thanks. Music For The Fire is a plunderphonic concept album depicting the lifespan of a relationship, as told through samples of hundreds of different songs and voices who had no idea they were all telling the same story until they were all spliced together.

Strangely direct and evocative for an album assembled entirely from a patchwork of disparate sources and music both obscure and over-familiar, Music For The Fire comes with an illustrated lyric sheet which reproduces the countless sampled voices as a single if utterly schizophrenic text — a bedtime story that is wildly inappropriate for actual children.

No reliable narrators, just the familiar and absurd, which on different spins of the disc might strike you as either maudlin, poignant or almost painfully hilarious. Since British artist Vicki Bennett aka People Like Us has been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives.

Wobbly is the long-running collage project of Jon Leidecker US , who improvises live with pre-recordings to coax the harmonies out of recorded sounds of individuals and animals from disparate cultures. The present album for Illegal Art is composed from live recordings, carefully and obsessively edited over a great deal of time, and is their funniest, darkest and yet somehow strangely compassionate work, Music For The Fire tells a story which every listener will recognize in their own unique way.

WE put it there! First released on Mess Media in on CD, and then reissued on cassette in on Sucata Tapes, we've combined the digital files of both to bring this to you all on one place. Amazing to think it is almost 20 years later that we write this.

This represents an earlier life of PLU, some of which carries through to now, some left long behind Happily, Vicki Bennett has yet to fall down either precipice, but yodels down contentedly from her own Alpine audio-cottage. There, with loving care, she snips and tucks at the lycra jumpsuit until the fit is snug, places every plastic shrub on the Happy Valley Ranch just so, and throws another dance record on the bonfire.

Serving her birthday cake with a turd, her gags are always lined with a virulent creep factor. You get the feeling that the vacancy and pointlessness of empty speech is being lampooned and mourned in equal measure. The least you can do is head up to the Happy Valley Ranch for a spell and have a listen. Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early s.

Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe. But an image on the way memories drift and are being constant rebuilt. An unfinished collage. Heavy experimentation out of Northampton, Massachusetts.

Operated by guitarist and graphic artist Bill Nace. Charles recited the free-associative poem here, alongside Nace's minutes instrumental guitar abstraction. Nace arranged a slow, hypnotic drone, first played on a distant, Far Eastern-tinged acoustic guitar, that later morphs into a quiet, and even quieter claustrophobic-electric rustle, that fits the closing lines of the poem: The blood that fell on each new tomorrow And you saw this as I was watching you.

Under the influence of all your stars, In mirrors of your galaxies of blue, The hero and his love became your scars But this rose picked could not be picked anew. To measure you and me in full disguise I lay beside our rose of paradise. Long sold out vinyl! For years, they've each kept their music fresh, always avoiding preconceived notions of what they're supposed to do.

Dilloway's tape loops and electronics are routinely musical, which Nace's guitar always stretches to the edges of alien electricity. One hears the earliest hints of electronic music, the conceptual and visceral assault of noise, the structural and spiritual liberation offered by free jazz, the delicate patience of extended techniques, and so much more.

Mastered by Carl Saff. There's a story: Initially, I released this as a cassette on my own label, Silver Lining. To be fair, you can hardly call it a label. I have no right releasing my own music, let alone anyone else's. I'm bad at manufacturing things, I'm bad at promoting them, and I'm especially dismal when it comes to packing things up and mailing them out.

And so this cassette had a brief brush with public life and then vanished, due primarily to my negligence and laziness. This is where Open Mouth, once again, comes to the rescue. The record comes in a gorgeous full-color sleeve, and the sound is so much finer than the cassette that even the more sweaty-palmed collectors out there will gladly welcome this object in favor of its previous incarnation, and join me in eagerly awaiting the day when these two release a proper full length.

It's a subtle melding of the personal and the conceptual. But they're not really a band. A band is a thing that exists over time and practices and builds its own identity. Or something. This is a duo. A meeting of the minds. A conversation. A lost weekend. At their best, duos illuminate the core tenets of individuals while pushing them into territory they might not otherwise occupy.

It sounds easy but it's anything but. Just look at divorce rates. Nace and Dilloway make the perfect duo. This collaboration though, like their back catalogs, works because it is beholden to none of these. Their individual voices are recognizable, yet the record's allure is found when those voices funnel into one another. In these moments, who's who becomes irrelevant, and the music is elevated to its rightful place, far above the concerns of personality or individualism.

The gurgles, scrapes, moans, and loops build their own intoxicating fog, a metallic expanse with its own logic. After all these listens, I remain disoriented by it. It's the kind of thing you want to play again because you can't quite remember exactly what it sounds like. I'm reminded of J. Ballard: 'The slower the clock, the nearer it approximated the infinitely gradual and majestic progression of cosmic time.

Nace and Dilloway each embrace the immediacy of moments and the endless march of time equally, so for this record to finally see the real light of day is no minor event. In the summer of guitarist Bill Nace and jaw harp player chik white began a long distance collaboration. They put together enough material for a 7", which was released in September on Bill's Open Mouth Records.

Here it is in download format. Recorded, mixed and mastered by Emily Robb. Turn Me On - 4. Be There Soon - 5. Take It Down - 0. Where Did You Go? Mastered by Mark Miller. Reflections and refractions of sound swim around in their own subtlety. A conversation gets out of its own way, using an unknown language of letting go. A focused void. Drone slabs and microtones bend and waver, slipping beneath the surface of sound.

Using a a mini brute and Korg synthesizer, John carved out time to occasionally sit in a room to work on these recordings. Over a span of two years, he visited this room when he felt like he needed to.

Tones travelled through effect pedals and out of speakers, filling up the solitary space with shifting waves. The instruments and recording device were always present and ready when the connection felt right. It feels right. Music underneath. I listened closely to 'Bridle Path' on my own wanderings, and it became the perfect soundtrack as the moving scenery folded into itself.

My days were filled with long drives, airport lines, windy highways, and sweeping views. I I sat still, but also moved at a clip, feeling tired and awake as dramatic landscapes changed with every passing view. I considered the music a gift. John and I once traveled out to the coast of a famous surf spot in Portugal, Praia Dos Supertoubos, and found ourselves in front of some enormous waves - the biggest I had ever seen.

The oceans magnifying energy was surreal, and I sat on the beach with my camera, thrilled as John immersed himself in the wondrous ocean. The massive waves swelled, and there was John, brave and symbiotic - floating, rising, falling, and gliding. This music captures my own vision of him out there on the water.

Countless performances, recordings, destinations, discussions, luke warm coffee, big hooded coats, foggy windows, gear in an elevator, junky practice spaces. There was momentum of feeling our own way, laughing, and listening. John always listening seriously. King Tubby pointing to his head. The kind of friend when you get to know their various cars over the years, and enjoy spending time in them. One channel of a stereo working. It always felt good.

Listen for yourself. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each other's space and light like a garden of plants that would never actually coexist anywhere in reality.

Jake is always tirelessly reaching for something new yet I'd avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod. Something has been completed and now all the pieces are interchangeable.

The first can go last. The middle can be first. The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits. These are dense environments where sections can move from microscopic to macroscopic, day to night and back again, so effortlessly that it's hard to tell if it's intended or if something imperceptible within you shifted the locus of your perception.

But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown. There's a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances. Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning.

Live recording of a totally weird collaboration between flutist Lao Dan and multi-instrumentalist Li Daiguo. A new interpretation of Chinese folk instrumental music. In this album, tribute is paid to Fei, owner of the Old Heaven bookstore and pivotal figure of the Chinese avant-garde scene, whose magnetic voice and demonic laughter can be heard at the very beginning of side A. More 'traditional' dombra solo album from Mamer - more cyclical, less sustain driven reflections on Kazakh tunes.

An artform whose history spans over a century, zhuizi originated in Henan province. Its main musical instruments are the zhuihu, a two-stringed bowed lute, and the zhuibang, a wooden percussion played with foot tapping. Almost completely blind, Guo Yongzhang is known for his peculiar, resounding yet smooth vocal style.

He sings with deep feelings and great verve. Lyrics deal with both the hardships and good values of life while always maintaining a sense of humour. Despite being long regarded as a folk master, Guo has continued to play tirelessly among ordinary people, often travelling from village to village and performing for a whole day at a time.

As he nears the end of his life, Guo regrets that nowadays, few people wish to learn the art ofzhuizi. He worries that this precious art form may soon be lost. Guo co-headlined the last day of the festival with French prog-rock act Gong on May 20, Recorded April 28, at B10 Live, Shenzhen. It has gone on to become one of the longest living rock bands in China.

In , Mamer joined Puppet and has since maintained a close relationship with the band. The band went on hiatus from to , reformed in , and finally released their full-length debut 'Urumqiin' , a sophomore titled '32 Days' followed in It's gold. Alkisah is the new album by Indonesian duo Senyawa. Alkisah is co-released by a multitude of independent record labels from all over the globe each with different packaging and design, with multiple version of remixes by various artists.

Senyawa is an experimental music duo with Rully Shabara extended vocal technique and Wukir Suryadi homemade instrument. The music that they create is a combination of extended vocal technique and a homemade instrument. The instrument was handcrafted by master instrument builder Wukir out of one long piece of bamboo, it is a string instrument with guitar pick-ups—it is amplified and processed through several effects pedals but at times is played as an acoustic instrument, percussion and string instrument.

They are located in the ancient city of Jogjakarta, Central Java, Indonesia and their music is a reflection of their traditional Javanese heritage filtered through a framework of contemporary experimental music practices. Live recording of O Yama O at les ateliers claus 9th May Recorded and mixed by Christophe Albertijn. Caddo Lake - Soulful Lady - That Time of Night - Memphis in Winter - Shuffleboat River Farewell - The day prior to his concert at les ateliers claus, he came to Brussels and expressed his wish to do some record shopping.

And so we did - in between soundcheck and the actual concert. Keiji Haino likes to hear unique sounds and performers and so we went on a search. In a certain store in Brussels I made him listen to one of my favourite albums by Igor Wakhevitch Hator - he listened and promised me half-jokingly his performance at les ateliers claus would be better.

Their project is a sound collaboration bringing together the field recording archive of Felicity Mangan and the abstract vocabulary of Stine Janvin. Their music is built from electronic and vocal adaptations of animal and insect recordings originating mainly from the Australian and North European fauna.

The organic mix of bug beats and atmospheric soundscapes uncover a sonic ambiguity between rural nature, electronics and the human voice, creating a peculiar, mellow insect techno. Together with him we planned 3 varied evenings. For the first evening his central guest was the notorious and also legendary guitarist Roland Van Campenhout.

Roland grew up in the Rupel area. His father, a jazzmusician, drowned when he was 5. Roland left home at the age of He did not get involved with music until the age of In he changed to another genre: blues, while also still experimenting with other styles during his career such as country, worldmusic, folk and rock.

He broke through during Jazz Bilzen, where he established his reputation as a live artist. Han Bennink born 17 April is a Dutch jazz drummer and percussionist. On occasion his recordings have featured him playing clarinet, violin, banjo and piano. Though perhaps best known as one of the pivotal figures in early European free jazz and free improvisation, Bennink has worked in essentially every school of jazz, and is described by critic Chris Kelsey as "one of the unfortunately rare musicians whose abilities and interests span jazz's entire spectrum.

Han is a brother of saxophonist Peter Bennink. Two experimental strands from China's Modern Sky label, publishing left field local music and folk gems. Their second album 'Fictions' was an improvised performance recorded in Chongqing, June On stage, the members often turn up with masks and black robes as though performing a mystical ritual. Immaydey, the Umay Goddess, is the goddess of fertility and virginity in Turkic mythology, regarded as the eternal Earth Mother with mystic, almighty power.

Compared with the music of Puppet, the songs of are evidently more compressed, confrontational, and explosive, which as believed stick closer to the authentic sound of rock. The lyrics are succinct, often sarcastic, and sung in almost a robotic manner. December Later in that year they supported krautrock legend Damo Suzuki on his Chinese tour. May All Music: Red Scarf. Nate Cross' cornerstone label for jazz and improvised music based out of Austin, Texas and influenced by Cross' time in Chicago.

It has nothing to prove. The sound is proof enough. Cover artwork by Morris Barazani, untitled, c. Courtesy of Corbett vs. Dempsey, Chicago. Sleeve photograph by Scottie McNiece. Liner notes by John Corbett. Layout by Drew Liverman.

Produced by Nick Mazzarella. Desert Encrypts Volume 1 is a two-part suite based on observations from the desert in and around Marfa, TX. It also explores Mazurek's ongoing fascination with social, psychological, and physiological structures, both terrestrial and extra-terrestrial. The composition includes written music and graphic scores for improvisation. For Desert Encrypts Vol. Mazurek has always been associated with the Chicago scene he spent so many years in as well as his time in Brazil thereafter , but Desert Encrypts Vol 1 is his first album that feels truly Texan to these ears, and we're excited to present a new exciting development in a long string of exciting developments that have marked Mazurek's long and illustrious career.

George, Marfa Book Co. On Exoplanet, Rob Frye generates an atmosphere in which drummers and improvisers orbit synthesizers, inhabiting a Goldilocks zone of electronic and biotic components. Some of the tracks were created spontaneously or composed of strict loops, but two of the arrangements are melodic adaptations of the song of Musician Wren.

Burt's intention is to help imagine another way of writing about performance that acknowledges the value of all those qualities within dance performances that cannot be fixed and are gradually destroyed through rehearsal; yet, paradoxically, without these very qualities, performance could not exist. Sign In or Create an Account. Search Dropdown Menu. Advanced Search.

User Tools Dropdown. Sign In. Skip Nav Destination Article Navigation. Close mobile search navigation Article navigation. Previous Article Next Article. Article Navigation. December 01 This Site. Google Scholar. Author and Article Information. Ramsay Burt. Online Issn: Cite Icon Cite. This content is only available as a PDF.

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