Y allí afuera no hay nadie, todo lo diría si lo preguntáramos en voz alta; y si se nos escuchase preguntarlo; o si se consintiera en recoger esta absurda pregunta. Nadie, salvo el reflejo difuso de todos los rostros en los vidrios intactos empavonados de nadie. / Fragmento de: La pieza Oscura , Por: Enrique Lihn
Que la sangre purpura se derrame sobre la ciudad, es hora de caminar junto a los sentidos y luego:
Pasajes submarinos interactuando con la realidad de los vientos en la tormenta, sombrio sombrero de nubes que acompañan su voz triste, dilatandose sobre los campos verdes, el cuerpo caen sobre la tremenda sensación de libertad que lo acompaña en todo el recorrido, duración de este disco, hasta llegar a la cima nevada sobre la pura y basta planicie del cielo, acercate al vuelo, sigue comfrontando esperiencias gratas y camufla de plumas tu cuerpo, la conciencia se pasa al lado del cosmos como una inmensa tela del la cual solo un pequeño lugar a usted le pertenece, disfrutela.
Hope Sandoval (born 1966) is an American singer-songwriter who was lead singer for Mazzy Star and later Hope Sandoval & The Warm Inventions.
Hope formed The Warm Inventions and released their first (and thus far only album) called “Bavarian Fruit Bread”, in 2001. This album sounds, again, little different in terms of theme, voice, and instrumentation than that of her work with Mazzy Star. However, with a larger band behind her, and more time under her creative belt, Hope’s voice has matured on these songs.
Subsequently, The Warm Inventions released three EP’s but received very little commercial success, no video on MTV, and very little radio play. Nonetheless, the band’s efforts were appreciated by her solid fan base.
A sprawling follow-up to 1999’s critical and commercially successful release Empty Bell Ringing In The Sky, Ayahuasca represents the most comprehensive survey of Pelt activities to date. Recorded over a period of more than two years at various live and studio sessions, the double CD shows the heavily-bearded trio broadcasting from some lesser-known and newly-discovered corners of the drone-omniverse. Most striking about the record is the inclusion of several traditional tunes, arranged for the group’s eclectic instrumentation. While the band has been performing some acoustic material for several years and let some sneak out on the limited edition For Michael Hannas CDR, Ayahuasca is the first release to fully explore this part of their repertoire. "The Cuckoo" and ‘Deep Sunny South" are traditional Appalachian numbers, played and sung with considerable skill and feeling. The sawing bowed acoustic guitar on "The Cuckoo" and the rolling banjo and Tibetan bowl accompaniment on "Deep Sunny South" draw a direct line between raw/folk music traditions and the deep, visceral drone music that Pelt have specialized in over the past several years. Combining the two styles neatly, "A Raga Called John" features Jack Rose’s very, very fine country-blues/Fahey-influenced fingerstyle guitar over a shifting backdrop of hurdy-gurdy and concertina, before giving way to tanpuras overrun by fretless banjo. Of course, on top of all of this easily comprehensible music there’s plenty of ear-cleansing ecstatic drone, from the two long flotation-inducing trios for bowed electrics and Esraj to the wall-shaking electric hurdy-gurdy mania of "Bear Head Apparition." Truly a record for our times, such as they are. 10 Tracks, 134 Minutes.
First new studio recordings from Pelt in 3 years finds them picking up where 2005’s Untitled CD left off – delivering massive slabs of heavy, all-acoustic drone action. “Waning Crescent” is an ominous workout for three large gongs, rich with overtones and subsonic rumble. “Fire Signs Along the Field” offers a slightly jarring quartet of spare string noise, with Nathan Bowles (Black Twigs, Spiral Joy Band) sitting in on double bass. “Cast Out to Deep Waters” is an immense 30 minute epic that fits into the archetypical classics in the Pelt canon, in the vein of “Empty Bell Ringing in the Sky” and Untitled’s “I.” The all too brief “Crown of Comets” closes the CD with the chiming, overlapping ring of bells recorded in Virginia’s Falls Ridge caves. In card folio.
Set fire to flames are a collective of thirteen musicians from the musical community of Montreal. Brooding and beautiful, haunted and haunting, sings reign rebuilder is so stunningly / lovingly played and skillfully assembled, infused throughout with a massive sense of slow-burning tension and periods of weighty, rousing release.
Initially the idea was to gather a group of folks together in a members montreal apartment and record as much as they could over a five day period. As set fire to flames explains, ”...[we wanted] to conduct the whole five day recording session like a series of experiments… to get lost in the sound as it was actually happening… to make the whole recording an exploded intense event… to push tolerance levels and limitations with a group of people sonically… to become shut-ins… to operate on no sleep/confinement/ intoxication… some of us were interested in seeing what would actually happen if we attempted to record improvised drones and textures under those conditions… and what impact that might have on yr. head… how individual/collective tension would play out… and what the end result would sound like… so a lot of experimentation with tolerance, repetition and duration… drones…”
“And so these set fire to flames recordings happened… we piled all of the gear into the first floor (kitchen/living room) of this old, falling down apartment in montreal (the place has a crazy history to it…built in 1878…used to be a 10¢ shoe shine parlour and a brothel in the forties)... the control/mixing room was in a bedroom on the second floor (up a rickety wooden staircase)... you can hear the house all over the recording… (the staircase/ groaning floorboards/creaking chairs/traffic and police cars outside/men coming out of the mosque downstairs)... all of these sounds became an important part of the final recording…”
“Five days of continuous recording netted us roughly twelve hours of raw sound… all of it was hacked apart and later rebuilt… and the final document of that five day period (which was magic and the fucking house was levitating…..) now makes up ‘sings reign rebuilder’... the record is about 60% improvised and 40% composed… the five-day recording stint turned into something more than originally intended… it wasn’t just thirteen people droning aimlessly to infinity… things worked out somehow and we got lucky…”
Packaged in beautiful full-colour gate-fold heavy paper jacket, including a 24 page booklet. Available as a single compact disc or a double vinyl.
This title is being released by Alien8 Recordings for the territory of North America only. A new label by the folks at Fat Cat will release the CD and vinyl for Europe and the UK. P-Vine will release the CD for Japan.
You will have to raise the unit of the matter with the colouring landscapes that Roy Montgomery's music offers you, he guards carefully the directions in order that then you cross with knowledge of the astral territory in which if you decide to unload these links you will have the pleasure of experimenting, out of the designed times, the contemplative attitudes in liabilities were forging a planet in which you will be able to take food and then to cultivate for the next visit, it shows always thank you in the shape of commentary, inside " In the Freezer of your Conscience ", because of this form if one of these links dies, I will have time myself of turning it to rising, now he enjoys.
Deberás plantear la unidad de la materia con los paisajes coloridos que te ofrece la música de RoyMontgomery, guarda con cuidado las direcciones para que luego recorras con conocimiento del territorio astral en el que si decides descargar estos eslabones tendrás el agrado de experimentar, fuera de los tiempos diseñados, las actitudes contemplativas en pasivo te forjaran un planeta en el cual podrás tomar alimentos y luego cultivar para la próxima visita, muestra siempre un gracias en forma de comentario, dentro de "En el Congelador de tu Conciencia", porque de esa forma si uno de estos eslabones muere, yo me daré el tiempo de volverlo a subir, ahora disfruta.
Busca en el interior del alma, con brotes vivos que bañan de análisis prolongado la etérea anti-realidad sumergida en los torniquetes, escaleras mecánicas al cielo, y la luz que guiara con guitarra psychedelic el baile tras la noche bohemia y celosa, alegría viaja en su carruaje, señor, usted debería visitar este link de youtube (http://www.youtube.com/watch?v=DXaOHVC9V8Q)...
Sam Shalabi is a central node in Montreal’s free improv scene. One cannot count the many projects he is a part of. He is best known as a founding member of Shalabi Effect, who have recorded three albums on Alien8 Recordings which have earned the band extremely good response from critics and music enthusiasts alike. Apart from Shalabi Effect, he is also part of a number of bands, among which Detention, Molasses, Po, ‘Gypt Gore, and a trio with David Kristian and Alexandre St-Onge. He is also known for three solo albums: “Luteness” (Squint Fucker Press, deleted), “On Hashish” (Alien8 Recordings), and of course “Osama”, his investigation of arabophobia in a ‘post-9-11 world’. His style ranges from freeform psychedelic rock to the most oddball abstract performance. Although mostly known as a guitarist, the highly versatile Shalabi also performs on oud and a variety of other instruments.
EID CD
Sam Shalabi’s third solo outing for Alien8, Eid, was written and conceived in Cairo, Egypt in 2006 while Shalabi was living there and further realized in Montreal and Vancouver during the first half of 2007. The album is a result of two separate ideas that slowly coalesced over a couple of years. The first was Shalabi’s idea of composing songs for singers he knew and enjoyed. The second idea was that of creating a ‘modern Arabic pop’ record.
It was during the time that Shalabi was living in Cairo he came to the realization that Arabic pop music was much more wild, wide and weird than he had imagined and this also had a huge influence on this recording. Over time Shalabi became less interested in trying to make pop songs and more interested in allowing the material to take it’s own shape.
Upon listening to Eid it becomes clear how Shalabi was influenced by the wide breadth of Arabic pop music: each piece is stylistically its own and allowed to take its own shape. The recording opens with a beautifully played piece of Shalabi’s solo oud playing, that gives one the impression they are in store for a gentle acoustic journey. Gears shift drastically with the follow up track, Jessica Simpson, which can also be considered one of the recordings most interesting and unusual selections. Guest vocalist Radwon Moumneh does an excellent job delivering his vocals over repetitious percussion; then a totally unexpected guitar hero style solo slips in out of nowhere. Sam Shalabi enlists the help of far too many guests to list here, although along the standout contributions is that of singer/songwriter Lhasa de Sela who has a thriving solo career and has collaborated with the likes of the Tindersticks and Nick Cave. Constellation Records recording artist Elizabeth Anka Vajajick sings on Billy the Kid and Katie Moore is absolutely stunning on Billy the Kid pt II.
This will mark our ninth release with Shalabi, not including his efforts in various projects as a guest or studio musician.
The so called new one of attention for you!, does it know to what I recount?, he must be full of sauce laughing the damned drunkard, and the one who catches the printing of the private scene?, "I believe that absolutely nobody", it is important that intentions turn in the way, ideal cultural that they forge a stamp of which we can communicate tolerantly and not to commit acts of nonchalance here, COMMENT YOU!, it is a time still to shake the powder that squashes the breathing, it knows that they hide the half day, sees in your portrait the same figure of your face?.
Un nuevo llamado de atención para usted!, sabe a lo que refiero?, debe estar lleno de salsa riendo el maldito borracho, ¿y quien capte la impresión del escenario privado?, "creo que absolutamente nadie", es importante que giren propositos en el medio, ideales culturales que forjan un sello del cual podemos comunicarnos con tolerancia y no cometer actos de indiferencia aquí,COMENTE USTED!, es tiempo todavia de sacudir el polvo que aplasta la respiración, ¿sabe que esconden el medio día, ve en su retrato la misma figura de su cara?.
Bakunin's Bum
Bakunin's Bum is the newest 'beats & strings' musical/spoken word collaboration between Norman Nawrocki & beat meister/drummer Aidan from 1 Speed Bike, Exhaust & Godspeed You! Black Emporer.
Their first recording is a benefit CD for the radical Ontario Coalition Against Poverty (OCAP). It features excerpts from a speech given by two OCAP members in Montréal in December 2000, which Aidan & Norman have set to original music. Aidan provides the beats, Norman plays violin, viola, cello & odd instruments.
Author, actor, violinist, sex advocate, educator, Norman Nawrocki is a Vancouver-born, Montreal-based, internationally-acclaimed cabaret artist known for his provocative and topical work.
Aidan is a long-time Montréal activist/musician & member of the city's anarchist bookstore collective, The Librairie Alternative. His first solo album, 'droopy butt begone!' (on Constellation Records) is a sampling of his own live beats mixed with many melodic elements, slogans & rants. It's garnered rave reviews in the music press around the world.
bakunin's bum, "FIGHT TO WIN! (A benefit for The Ontario Coalition Against Poverty)"
released october 9, 2001 g7 welcoming committee records (g7021)
How far are you willing to go?
And the cops just go 'fuck'
A front, a middle, a back
What is OCAP?
Real 'Peace'
By any means necessary
It's too late for concessions
People already know
There's a place for everyone
We don't have 'show trials'
Hope, Pride & Dignity in fighting back
bakunin's bum is aidan on drums and norman nawrocki (rhythm activism and da zoque!). as the subtitle suggests, this is a benefit album for OCAP. the music is very similar to that of 1-speed bike (using some of the same loops in places), but also features spoken word speech by two anti-poverty activists that has been edited to the music.
To continue sailing in labyrinths along the sensation Bard Pond, two impressions of sonority and collaboration, it is here when to catch the form of branches working for the wind and the rain can be estimated by your commentary, perceive in two corners of parallel form before the equal gravitational force that it stimulates the bodies spoilt of the people who lives through the routine inside an individual system, an own engine of ideas in the puddles of mud that elrock was calling fingerprint, his uniforms in the time are seen in been high places altered as kaleidoscope of tablets destroying drying the skin. He enjoys these discs.
Para continuar navegando en laberintos por la sensación Bardo Pond, dos impresiones de sonoridad y colaboración, es aquí cuando captar la forma de ramas esculpidas por el viento y la lluvia se puede apreciar con su comentario, percibir en dos rincones de forma paralela ante la igual fuerza gravitatoria que impulsa los cuerpos estropeados de la gente que vive la rutina dentro de un sistema individual, un motor propio de ideas en los charcos de barro que el rock llamara huella, sus uniformes en el tiempo se ven en altos estados alterados comocaleidoscopio de pastillas destruyendo secando la piel. Disfruta de estos discos.
bardo pond — circuit viii CD
released may 28, 2008 as an installment in the oscillation III series. sold only as a part of the set.
a massive forty-four minute jam from the bardo pond configuration (michael gibbons, john gibbons, clint takeda, isobel sollenberger, jason kourkounis) that has been operating for most of the last two plus years.
Prarie Dog Flesh — Take the Green Over the Red CD
Released by Three Lobed Recordings (TLR-003) in May 2001. Limited edition of 1000.
Galactus' Helmet
Husk
The Winged Dog
Gila
Roundheads
Onion
Vampire Squid
Unlit Effigy
Spleen#2
Donovan Out
You've heard about them forever and the time has come for the PDF to release actual studio material upon the world. The resulting album is right at an hour of the primal sonic love that the Dogs are ready to give to the world. Sit back and take a trip – you're going to want to. Are you a fan of Bardo Pond? Well, I guess you wouldn't be on the page if you weren't, but, if you are, you need a copy of this disc. Recorded in the Lemur House between 10/98 and 1/01.
Hair Police is an American psychedelic noise rock band based out of Lexington, Kentucky formed in 2001. They have released records through labels such as Troubleman Unlimited, Hanson Records, Gods of Tundra, Freedom From, and Hospital Productions. They have also released a split record on Load Records with Viki. Members of Hair Police have also played with other groups such as Wolf Eyes, Eyes and Arms of Smoke, Burning Star Core, Three Legged Race, Von Hemmling, ulysses, Warmer Milks, and ATTEMPT.
Hair Police formed in January 2001 in Lexington, Kentucky. The original line up was Robert Beatty, Ross Compton, Mike Connelly, Matt Minter, and Trevor Tremaine. The band released the History of Ghost Dad cassette to coincide with its first live show on April 13th, 2001. Compton stopped playing with the band in the summer of 2001. Minter left the band in October 2002. Connelly moved to Michigan at the end of 2003 and joined Wolf Eyes in the spring of 2005.
The band has toured extensively in the U.S. with Wolf Eyes, Prurient, Kites, Graveyards, Heathen Shame, No Doctors, Nautical Almanac, Sightings, Mammal, Neon Hunk, and most notably with Sonic Youth in August 2004.
Khanate (pronounced Con-Eight) was born in Manhattan Autumn 2000 after an initial meeting between James Plotkin/Bass (OLD, Scorn, Atomsmasher, Death Ambient, Trifid Project, several releases on Kranky, Relapse, Rawkus and other labels under his own name and in collaboration with various other individuals) and Stephen O'Malley/Guitar (Thorr's Hammer, Burning Witch, Sunn O)))) administered a necessity to survive the sorely missed bleak aura of suffering evoked by the departed Burning Witch. Plotkin arranged vocal torture courtesy of Alan Dubin (ex-OLD) with whom he had been working together in the proto-dirge unit Shadowcast during 2000 (along with ex-1 drummer Jason Corely). Tim Wyskida (Manbyrd, current drummer in Blind Idiot God) blessed the group with his hammers and Khanate became solidified.
During winter-spring 2001 Khanate recorded and produced their self titled debut in studio necrodrone8negatives, with final mastering by Mathias Schneeberger (The Obsessed, Saint Vitus, Goatsnake). The sounds can probably be described as the next step down the mentally unstable ladder from Burning Witch. Ultra gravitational hellish brooding black doom metal with inhuman vocal constructs. Well, something like that......
Shortly thereafter an agreement was drawn up between the unit and Southern Lord Recordings of Los Angeles for a 2 album contract.
A particular of Khanate is Dubin's relentless vocal assault lying somewhere in the realm of early Die Kreuzen and such venoms. A unified purpose of bottom end wave structure and sound as physical onslaught drives Khanate. Tortured cries collide with the music's low-end, gut-wrenching aggression. Each note is used to create forceful brutal impact..
A testament to Khanate's strength. Most recently Khanate had been using producer Martin Bisi's studio for rehearsals (also the rehearsal space of Blind Idiot God). Unfortunately it was lost after only two sessions after driving a fuming Bisi out of the building because of volume!
This self titled release is the debut as a Quartet for the Chicago Underground collective. In addition to the already established Chicago Underground Duo of Rob Mazurek (cornet, electronics) and Chad Taylor (percussion), the quartet model features Jeff Parker (Tortoise, Isotope 217) on guitar and Noel Kupersmith (Brokeback) on upright bass. For those familiar with the Chicago Underground Duo?s recordings, Parker and Kupersmith add a lush, organic tone to the proceedings: abstract sonics meet gorgeous melody in this extraordinary sound collage. The Chicago Underground Quartet merges sound from disparate worlds that collide and caress in unexpected ways. From the opening arpeggio figure of "Tunnel Chrome" to the free improvisations of "Sink, Charge, Fixture" to the futuristic moog melody of "Nostalgia." Chicago Underground Quartet weaves sound that pleases. Recorded and Engineered by John McEntire at Soma Studios
He activates in the light that dynamics of round colors that overturn to the astral space for stelas of psychotropic fragrances, the course of the traveler is based on the freedom on which Roy Montgomery's rock submits the only form of primary observation, up to the minds, up to the ideas that represent new entities in compass of the metamorphosis. One adds this disc to the discography in the Cuadro Letárgico, look here for other discs and do his your commentaries.
Activa en la luz aquella dinámica de colores redondos que se vuelcan al espacio sideral por estelas de fragancias sicotrópicas, el rumbo del viajero se basa en la libertad en la cual el rock de Roy Montgomery somete la particular forma de observación primaria, hasta las mentes, hasta las ideas que representan nuevos entes en compás de la metamorfosis. Se agrega este disco a la discografía en el Cuadro Letárgico, busquen aquí los demás discos y hagan sus comentarios.
It's impossible: no one could create a script this contrived. Yet, apparently, it happened. William Basinski's four-disk epic, The Disintegration Loops, was created out of tape loops Basinski made back in the early 1980s. These loops held some personal significance to Basinski, a significance he only touches on in the liner notes and we can only guess at. Originally, he just wanted to transfer the loops from analog reel-to-reel tape to digital hard disk. However, once he started the transfer, he discovered something: the tapes were old and they were disintegrating as they played and as he recorded. As he notes in the liner notes, "The music was dying." But he kept recording, documenting the death of these loops. These recordings were made in August and September of 2001. Now, this is where the story gets impossible. William Basinski lives in Brooklyn, less than a nautical mile from the World Trade Centers. On September 11, 2001, as he was completing The Disintegration Loops, he watched these towers disintegrate. He and his friends went on the roof of his building and played the Loops over and over, all day long, watching the slow death of one New York and the slow rise of another, all the while listening to the death of one music and the creation of another. As I said, it's impossible. The music, however, is beautiful, subtle, sad, frightening, confusing, and ultimately uplifting. What's he created here is a living document: a field recording of orchestrated decay. It sounds like nothing else I've heard, yet, at its core, it's the simplest and most familiar music I can imagine. The four disks comprise six unique works. There is some overlap on the different disks; in fact, the first work (which Basinski calls "D|P 1") begins on disk one and ends on disk four. Some of the works are very long ("D|P 1" is over 90 minutes), while some are relatively short ("D|P 4" is only 20 minutes). However, each of the six works employs a different, repeating loop that slowly deteriorates into oblivion. The loops are very simple: a lush string or synth melody backed by atmospheric arpeggio countermelodies. The melodies are, as Basinski notes, pastoral: lush, simple works intended as idealized representations of nature and beauty. In theory, then, this is ambient music: music designed to set a mood, evoke a feeling (like a cinematic score), but one that is not designed for deep listening. That, I'm sure, was Basinski's initial design when he first created these loops in 1982. But time has slowly killed these loops and the pastoral (and ambient) ideals they once represented. What we hear on The Disintegration Loops are not poetic images of nature or beauty but nature and beauty as they truly exist in this world: always fleeting, slowly dying. What makes these works so memorable is not the fact that the loops are slowly disintegrating but the fact that we get to hear their deaths. In a very real way, we experience the muddled, ugly, brutal realities of life. What's more, these muddled, ugly, brutal realities of life are, in their own way, incredibly beautiful, perhaps more beautiful than the original, pristine loops ever could have been. As with any natural occurrence, these individual loops all die very individual deaths. "D|P 3," for example, begins as a bright, bold, orchestral melody that, over the course of 42 minutes, is slowly reduced to a sputtering, churning blob of its former self. The melody disintegrates slowly, until, by the end, only portions are audible; the rest is silence and noise. By contrast, the longest piece, "D|P 1," because it is split into three distinct parts ("1.1" on disk one; "1.2" and "1.3" on disk four), actually dies three separate deaths. Each one begins as soft, warm halos of sound, which then slowly mutates into muddled fragments. And then there's "D|P 4," the smallest work. It begins as a full-fledged melody but slowly devolves into chaos: silences slowly spreading across huge gaps in the loop, while the muddled melody struggles on, barely perceptible, until it, too, is silenced into oblivion. This is not ambient music; this is not one melody played over and over to fill the background space of a Japanese restaurant. This is natural music: music created from the elemental forces of life and as a testament to those forces. This is the sound of entropy, the sound of life as it decays and dies before our ears. And like all living things, these sounds struggle and claw for life with their last, dying breaths. Their deaths are a memorial to Basinski's past. That he dedicates these works to the victims of the 9/11 terrorist attacks is fitting. I can think of no better tribute, no better response to a tragedy of that magnitude than a work as beautiful and as fragile as this one.
+++++++++++++++ A demonstration of VHS generation loss
Video signals decay rapidly when copied repeatedly on domestic VHS video recorders. This video demonstrates the results, showing the degredation of the signal up to 11 generations. William Basinski did this with audio signals in an ambient epic called "The Disintegration Loops", however; the music in this video is written by me (using similar analogue mag-tape techniques to Basinski).
Juana Molina, pasa a ser una de las exponentes latinoamericanos, es calidad sonora, en sus trabajos de música alternativa, experimental, puedes adquirir plena conciensia de esto. Me parece un deleite escuchar los impulsos rítmicos expresados en una melodiosa guitarra, atravesandolos con la busqueda de implementos electrónicos simplemente precisos y su preciosa voz que apela la satisfacción del viento. Me queda agradecer al blog Cagedream por permitirme conocer la música de Juana.