MV,EE and Gabriel Walsh - Temptation To Zoology [2003]

Un impulso de sus reflejos han capturado las escenas mágicas que abstractas dan forma a esta obra "Temptation To Zoology" bajo la cuna de Children of Microtones en el año 2003, Matt Valentine, Erika Elder y ahora la colaboración de Gabriel Walsh.
Historia orgánica custodiada por las hievas, es medicina natural, cual es el similar efecto que se riega en amor a la distancia para emerger en los colores de su isla?, en continuidad sonora y sensorial profunda de oídos atentos, observando las frecuencias que activan el baile de la mar, un paso en el cielo que mantuvo con fé, ahora estas preparado para flotar!.

El formato de video en el cual lo he subido es avi.
The format of video in which I have raised it is avi.


Matt Valentine Interview / Dream Magazine

Matt Valentine has made some of the most enjoyable acoustic based psychedelic improvisational music ever recorded, both in his several solo albums (usually with Erika Elder aka EE, pictured above with MV), and work with the band Tower Recordings (with folks like: P.G. Six, Helen Rush, Erika Elder, and Tim Barnes among others). Matt’s solo albums tend towards the more spare and spectral end of the spectrum; acoustic explorations that show their Fahey roots as well as a deep love of Indian classical music and much more. The music he makes with Tower Recordings fuses a Takoma Records acoustic based organic folk sensibility with a spaceman/caveman psychedelic tribalism that employs: various (mostly) acoustic and electric guitars, percussion, marimba, tin whistle, Wurlitzer electric piano, ring modulator, shakuhachi, cello, piano, tapes, primitive electronics, autoharp, oscillator, drums, and more with a sense that they are also playing the acoustics of the given space they are reverberating within. There is some Incredible String Band in the mix as well; along with, the earliest recorded blues, ESP Disk outsider vibes, and clouds and clouds of smoke. Some of Matt’s finest solo outings include: Tonight! One Night Only! MV & EE in Heaven (originally issued on Matt’s Child of Microtones imprint, and later on vinyl by Time-Lag), Space Chanties (Fringes Recordings), and Glorious Group Therapy (Ecstatic Yod). A couple essential TR releases are: Furniture Music for Evening Shuttles (Siltbreeze), and Folk Scene (Communion).

source

Temptation To Zoology [2003] (part1/part2)

MV + EE w/ Willie Lane - East Mountain Joint

Clear Horizon [2003]

Jessica Bailiff has recorded and released three solo recordings on kranky. David Pearce lives the U.K. and spent most of the 90s in a band whose name he'd just as soon not mention. If the words "rural psychedelia" mean anything to you; you can probably figure out what band. Or, as Jon Dale wrote in Signal to Noise about the debut Clear Horizon release; "If the album in toto brings a few memory shards forward in your mind, so be it."

Clear Horizon was recorded over the course of two years, as Bailiff and Pearce exchanged tapes across the Atlantic. Each member contributed vocals and guitars and layers of effects, piano and percussion gradually accumulated during the recording process. The debut, self-titled CD/LP was released in November, 2003. Since then Bailiff and Pearce have met in England to record face-to-face. The process, so far, has involved songwriting and improvisation.

kranky

Clear Horizon [2003]

jessica bailiff - mary

Bonobo - Dial 'm' for Monkey [2003]

Simon Green aka Bonobo is back with nine perfectly formed tracks on a perfectly formed album. No huge, bloated, over-conceptualised rottage for the monkey man. He gets in, does what he has to do, gets out.

From the opener, "Noctuary," with it’s creepy stoned-Hammer feel, through the headnod sitar-funk of "Flutter," on into the Rhodes-meets-Gamelan of "D Song," the first third of the record sets out the tone for what is to follow – all beautfiully melodic and perfectly assembled but with enough of a creeping undertow to stop the music becoming empty or saccharine. "Change Down" is all double bass folk and cut-up drums, "Wayward Bob" is a devilish waltz, while single "Pick Up" is a straight funk ‘n’ flute throw down. "Something For Windy"sounds like a dub of a postman on his rounds, "Nothing Owed" is epic pastoralia, while "Light Pattern" rounds things off with what sounds like the theme to the best TV programme never made.

With all instruments played, sampled and sequenced by Green’s own fair hand, there is a consistency here, both within the tunes and across the record that crate diggers can only dream of. There is real development, the building of moods and feelings, a genuine attempt to make great music which is incidentally computer music. He may make a monkey of himself, but he’s no musical mug…

ninjatunes

Dial 'm' for Monkey [2003]

Bonobo - Noctuary

The Rough Guide to Asian Underground [2003]

The Rough Guide, a company better known for its guidebooks than for its ability to produce records has recently released a third South Asian themed album in its line of guides to international music. Following the release of the Rough Guide album to both Bollywood and Bhangra now comes the Rough Guide to the Asian Underground. Produced by the World Music Network in association with Rough Guides and New Internationalist, the Rough Guide to the Asian Underground is a 15-track compilation of both already released classics and other previously unreleased tunes from many of the pioneers of the Asian Underground genre.

Compiled by DJ Ritu, the famed British Asian DJ, who hosts her own show on the BBC's Asian Network entitled "In the Mix with DJ Ritu," the Rough Guide to the Asian Underground serves as an introduction to the sounds that have laid the foundation for the Asian Underground movement. For those interested in the history of the movement, DJ Ritu's experience and knowledge of the scene becomes clear as soon as one looks at the comprehensive liner notes available with the album. Chronicling her involvement with the movement beginning in 1990, the notes serve almost as a timeline of the major events discussing the various movers and shakers involved with the rise in popularity of these Indian classical and tabla infused electronic sounds.

source

The Rough Guide to Asian Underground [2003]
(part1/part2)

Haridwar

Polmo Polpo

Alien8 Recordings and its sub-label Substractif will release the debut full-length, “The Science of Breath”, by Toronto producer Sandro Perri, a.k.a. Polmo Polpo, who blends deep, murky techno with rich layers of feedback and densely orchestrated melodies. Recently the artist has enjoyed an explosion in popularity, thanks in part to a number of opening performances for Do Make Say Think, Pan Sonic and Oval.

Trying to describe the sound of Polmo Polpo is not an easy task. The marriage of deep rhythms with shifting waves of melody and sometimes brutal white noise is certainly not a commonly used formula. This music is beyond catchy, the sound of the slide guitar shifting in and out of Gas-style minimalism gives the music a driving force that so much of the genre lacks.

alien8recordings
sandroperri web site

Like Hearts Swelling [2003]

The Science of Breath [2002]

Sandro Perri - Changes - @ Music Hall Portsmouth

Havanarama - Rock the Blockade: 2000 Incorruptible [2003]

El Supergrupo Havanarama is Bob Arellano, Paul Oldham, Will Oldham, David Pajo and Pete Townsend.
A limited numbered version of 50 came in a cigar box, including a Classified Report mini-comic and a cigar.
All songs recorded in Pinar Del Rio and Havana, Cuba, March 2000.

La captura de sonidos acústicos en la guitarra de viento marino que se cruza en interfaces primitivas al ancho recorrido pro fortaleza de ideales autenticos, con el salud de la gente que rodea sus interpretaciones en los valores del compendio, se acercan a beber junto a las diversas opiniones sobre la indiferencia que el sagrado espíritu humano expande por el planeta en unisono controlado, y cual amanecer las rocas miran como el tiempo se lleva los rastros de antiguas generaciones de recolectores?, al son de las cenizas, de verdes hojas pro caen las semillas, que se pozan en la niebla matutina y so un beso de mujer expande los tonos acordes a tu energía vital de cosmos, es donde vuelan junto a ti todos los olores del gran árbol que dio a tus frutos destinos diferentes, y en donde otro amor de estrellas estuvo antes frente a ti, tu hogar ahora es la libertad consagrando la creación de un hijo al cual dejaras fluir enseñándole quien eres, la tierra no es una herencia de nuestros padres, es un préstamo de nuestros niños.

Y que el resplandor de la luna convoque al tambor, una fumadita más.

Tracklist :

1. Pinar Del Rio Intro
2. Valle De Viñales
3. Rancho Grande
4. Madeleine-Mary
5. No Gold Digger
6. Carcel De Folsom
7. Simpatía Para El Diablo
8. Eso Es Lo Que Dijo Ella
9. Doble Dosis
10. Chupacabra/Space Killer
11. Stairway To Heaven

Rock the Blockade: 2000 Incorruptible [2003]

No Gold Digger - Havanarama

Cyann & Ben - Spring / Happy Like An Autum Tree / Sweet Beliefs [2003 / 2004 / 2006]

..> CYANN & BEN release their first album for Ever Records on September 11th. SWEET BELIEFS is an epic and yet intimate album that gives the space rock template a Gallic makeover by adding a much needed romantic grandeur. CYANN & BENs Paris is not the one you see in Amelie its dirty, dark and stressful as much as beautiful and SWEET BELIEFS, with its multi-layered and ambitious sweep, sounds as unsettling as it is irresistible. "a slow motion hurricane ripping apart your temporal lobe" Magnet /// "...a rare strain of "epic" music, where bravado does not exceed the composition, but remains at all times within it. Cyann & Ben are masters of this subtlety." Pitchfork /// "Chaude et froide a la fois, [la musique de Cyann et Ben] est sublime parce que fiévreuse, effrayante parce que toujours sur la sellette, lumineuse et sombre, tendue et limpide ... " Les Inrockuptibles /// "...toujours intelligente mais pas hautaine, évidente et unique en même temps. " Rock Sound /// "douce rêverie éveillée, cotonneuse et poignante. " Magic /// "un ailleurs elegiaque et mysterieux" Teknikart ///

myspace

Sweet Beliefs (2006) (part1/part2)

Happy Like An Autum Tree (2004)

Spring (2003)

Cyann & Ben - Sparks of Love

Monade: Socialisme ou Barbarie / A Few Steps More / Monstre Cosmic [2003 / 2005 / 2008]

One of Stereolab's many spin-offs and side projects, Monade (pronounced mon-ard) originally featured Laetitia Sadier and Pram's Rosie Cuckston. The duo began collaborating in the mid-'90s, and Sadier recorded the first Monade tracks in 1996 at Pram's studio, with Cuckston playing and also helping to engineer the session. Some of these tracks were released by Duophonic as the Sunrise Telling and Witch Hazel/Ode to a Keyring singles. Sadier continued to record at Stereolab's own studio without Cuckston, and one of these tracks, "Cache Cache," ended up as a B-side on Stereolab's Calimero single. In between her Stereolab duties, Sadier completed enough material for Monade's debut album, Socialisme Ou Barbarie: The Bedroom Recordings, which was released by Duophonic in Europe and by Drag City in the U.S. in spring 2003. For Monade's second album A Few Steps More, the band moved to Too Pure and expanded to include bassist/vocalist Marie Merlet, keyboardist Nicolas Etienne and drummer Xavier Chabellard. Monstre Cosmic arrived in 2008 and featured collaborations with the Bordeaux Conservatoire and the Toulousse-based group Momotte.

www.allmusic.com

Monstre Cosmic [2008]

A Few Steps More [2005]

Socialisme ou Barbarie [2003]

Monade au Divan du Monde le 21 février 2008

Maserati: x 4

"I have never been one to steer clear of hyperbole, and so it is with great pride and conviction that I embark on this over- the-top endorsement of what may well be the greatest band to ever call Athens home. From their early days as post-emo-reformed-math experimenters, Maserati showed promise, but with last year's addition of dynamo Jerry Fuchs (who for my money is the greatest living rock drummer), the group embraced the misunderstood and oft-maligned universe of psychedelic rock, introducing a healthy dose of Pink Floyd and Can to their already compelling prog-punk mix. Drunk on the power of this newfound experimental freedom, Maserati continues to evolve in ways their built-in hipster audience might not fully appreciate but lovingly laps up all the same."

- Ryan Lewis, Athens Banner-Herald

Maserati - Inventions for the New Season [2007]

Maserati - Cinemechanica - We Versus The Shark [2004]

Mercury Program & Maserati - Confines of Heat [2003]

Maserati - The Language Of Cities [2002]

Maserati - Synchronicity IV

Set Fire To Flames - Telegraphs In Negative / Mouths trapped In Static [2003]

Following the critical success of set fire to flames’ 2001 album, ‘sings reign rebuilder’, the 13-piece Montreal-based collective return with an eagerly anticipated follow-up. Forming a double album, ‘telegraphs in negative / mouths trapped in static’ is a haunted, intense and highly diverse collection of material. Continuously shifting off at tangents, its slow sprawl creeps from heartbreaking guitar melodies to sparse string compositions; concrete flickerings and modified machine-crunch to tranced-out kraut-ish rhythm-pieces; cyclical minimalism to awe-filled drone-spaces; free-flowing improvised skitter and spark to raw location / life recordings. Beautifully played and composed, and far more than merely a follow-up, ‘telegraphs…’ sees set fire to flames pushing beyond the gains made on that previous effort and forging an increasingly autonomous space for the group.

Once again, the album was founded in a situation of self-imposed isolation, with the band operating both individually and communally in states of little or no sleep, in varying levels of intoxication, and in physical confinement. Where the previous album was recorded within the band’s home, a creaking, rickety, semi-collapsing 19th century building (whose atmosphere seeps deeply, palpably throughout the release), the recordings for ‘telegraphs…’ again took place within the confines and strongly influential character of a specifically chosen environment. Having located a huge, cathedral-like barn at an old, abandoned farm in rural Ontario, the band rented and hauled a mammoth twenty-four track machine and a cube truck full of gear out to this desolate site and set up to record. Audible throughout the album are the building’s creaking doors and timber frames, the clanking of chains, birdsong outside, the shuffle of feet and the movement of bodies. The recording process is honestly rooted in the recording location itself – accepting and openly admitting the sounds of life around, rather than eliminating this element and disappearing entirely into the abstract ‘perfection’ of the mixing desk.

This foregrounding of architecture and willingly experimental approach to recording is a wholly integral part of the band’s mode of existence, and leaks heavily back through their music. To some members, settling on the barn as a single location was actually a compromise. Originally they had intended to rent a couple of generators, build a mobile recording studio inside a van, and then drive from Montreal to the Pacific Ocean – along the way looking for interesting pieces of abandoned/isolated architecture (derelict drive-in movie palaces / barns / silos / factories / gas stations / etc.) within which to record – attempting to draw out their ghosts / histories; allowing the different sonic characteristics of each space to dictate what or how they played. This idea of leaving things to chance, of journeying cross country in a cramped van as a magnet for strange occurrences was eventually rejected and discarded as a blueprint for disaster. In compromise, they eventually settled on a single location – the collapsing barn – and in July 2002 spent five days playing, improvising, and recording there. Some additional recordings occurred back at 15 Ontario (the aforementioned house that played host to the recordings on ‘sings…’), before the following month was spent mixing down the twelve hours of sound they’d accrued. Finally, this material was obsessively pored over, hacked apart, reduced and rebuilt via computer in the same isolated shack on Vancouver island in which ‘sings reign rebuilder’ was eventually compiled.

Whilst most of these recordings were born of extended periods of group improvisations, some were the results of calculated compositions, and others the product of roughly drawn charts. Again, the alchemical attempt to reach into different states, to communicate together and zone into some kind of collective magic through intensely-focussed continual playing was sought.

Beyond a previously-stated interest in the duration-experiments of 1960s New York experimentalists like Tony Conrad and La Monte Young, set fire to flames reach back to past ancestors like Harry Partch (the self-built or modified instruments; the autodidactic, wandering spirit), Harry Smith (the importance of documenting/archiving a time and place), the minimalists, Gyorgi Ligeti, and to a present conceptual connection with groups like AMM, Jackie O Motherfucker, or the Boxhead Ensemble. ‘telegraphs…’ utilisies a wide range of instruments – guitars, electric bass, double bass, strings, horns, glockenspiel, marimba, bass clarinet, drums and other percussion, saw, cymbalon, hurdy gurdy, music boxes, audio fishing tapes, modified electronics, and contact microphones.

Whilst the product of an equally intense and gruellingly-focused recording process, the results of ‘telegraphs…’ are undeniably sparser and more tempered than before, allotting far more space and time for the music to work its magic, evolving slowly and revealing itself over time as a beautiful, richly varied and stunningly played series of pieces. There is a deeper studio sorcery at work here, and more tape manipulation / composition this time around. Drifting between a beautifully radiant, elevated drone-shimmer and a totally tactile, dirt-grained grounding in location, the album is perhaps even scarier / more abrasive than its predecessor, and confirms set fire to flames as one of the most adventurous, skilled and ambitiously creative groups of their generation.

Release date: April 08, 2003

Label: Alien8 Recordings

Set Fire to Flames es un grupo de post-rock compuesto por trece musicos de Montreal, Canada.

Los dos discos que han sacado fueron grabados «tras haber dormido poco o nada, en variables estados de intoxicación, y en confinamiento físico», siendo el resultado una musica misteriosa. Su segundo album fue grabado en un granero en el Ontario rural; los sonidos de los crujidos de las puertas y otros ruidos de fondo se oyen en las canciones.

Muchas de sus canciones son minimalistas, llenas de ruidos de ambiente y otros muchos efectos sonoros no musicales, yuxtapuestos o combinados con musica instrumental.

El grupo es frecuentemente considerado un proyecto paralelo a Godspeed You! Black Emperor, y ambas bandas tienen en común varios miembros.

lastfm.es/music/Set+Fire+to+Flames

Telegraphs In Negative / Mouths trapped In Static [2003]
(part1/part2)

Godspeed You Black Emperor - The Dead Flag Blues

Sam Shalabi: On Hashish / Osama / Eid [2001 - 2003 - 2008]

Sam Shalabi

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.

Release date: January 22, 2008

Label: Alien8 Recordings

Eid [2008]

Osama [2003]

On Hashish [2001]

dora bleu w/ sam shalabi & brooke crouser, brussels 2008

Growing

Growing evolved out of two bands, Joe Denardo from Black Man White Man Dead Man and Kevin Doria from 1000 A.D., in Olympia, WA. in the fall of 2001. Joe Denardo moved from Chicago to Olympia and helped operate the Thin The Herd label with Zack Carlson, which released early material from Vaz and Total Shutdown. Eryn Ross joined to make Growing a trio. Moving from hardcore towards something slower and more expansive the band played around it's hometown and up and down the West Coast of the United States. The first Growing release was a 7 inch single on the Nail In the Coffin label.

Growing played in a variety of settings and contexts, from art gallery to hardcore all-ages shows. The group has arranged quadraphonic sound installations and lugged stacks onto a stage. Growing have made soundtracks for videos (most recently a project for continuous two channel video and multichannel sound installation with Lisa Darms) and often play accompanied by Denardo's photographs. Growing self-released a number of cassettes of music.

After a tip from Paul Dickow of Strategy, who played a show with Growing and was struck by their quadraphonic sound environment, kranky began the process of releasing the debut Growing album in spring 2003. The Sky's Run Into The Sea came out in August 2003. As Denardo described the recording process, "We recorded the record with a friend, so the atmosphere was very laid back and cheap, this was long before kranky decided to put it out. It took place over three months over three months, but mostly because of equipment failure. Since it was winter it rained a lot."

Otis Hart described the nature of the band's music in Dusted: "Reach for an initial word, a label - say Doom Metal - then watch, as the demonic guitars slowly morph into demonstrative bliss. Drone may come a bit closer to the truth, but only slightly, as silence plays an equally significant role in the proceedings. Alas, Growing's anomalous sounds dwell in perpetual nigh-fidelity, permeating the gaps between equalizer settings with evasive intent, frustrating any attempr at optimization, and therefore, classification."

After the release of their debut longplayer Growing toured the West and East Coasts. The band is moving their base of operations to New York City. Animal Disguise Records is re-releasing tour tapes and a double cassette, two channel album called Above/Below Sea Level. Heroine Records in Italy is releasing a split CD/LP with Growing and M. Evan Burden (of Get Hustle). In March 2003 Growing will play shows in California with Chicago instro-metal overlords Pelican in preparation for a split release on the Hydra Head label. And in spring 2004 Growing journey to Portland, OR to mix their next album at Magnetic Park with Rex Ritter of Jessamine/Fontanelle at the board.

The Social Registry
www.kranky.net
myspace


All The Way - [2008, social registry]











His Return [2005]











The Soul of the Rainbow
and the Harmony of Light [2004]











The Sky's Run Into The Sea [2003]














Rose Kallal "Into The Prism" with GROWING at GBE '06

Jeff Parker

If you went looking for a poster-child for Chicago's multidirectional, cross-pollinating, interstylistic music scene, you couldn't find a better one than Jeff Parker. Parker: jazz guitarist with pro credentials, widely travelled and prized by top soul-jazzers and hard-boppers. Parker: inveterate rocker who revitalized Tortoise with his ferocious improvising and tasty licks. Parker: experimentalist willing to try new dub, hip-hop,electronic, collage, free, chamber - anything worthwhile, irrespective of genre or orientation. Community expander, boundary buster, restless explorer - Jeff Parker is constantly trying out new things with new partners. A man on the move.

Somehow, Jeff Parker manages flow through all these incarnations without copping a dilettante's superficiality. He applies the same depth of musicality and keen ear for quality to everything he does, which is part of what has made him one of the most sought-out musicians in the Windy City. Another part of that appeal, it must be said, is Parker's immense generosity and warm humility, the latter of which perhaps explains why he's only made one other CD as a "leader," the acclaimed trio outing Like Coping, released on Delmark in 2003.

Founded in 1995, The Relatives is a quartet of like-minded musicians drawn from the Chicago Underground Orchestra. Parker's been working with bassist Chris Lopes since college days, when they were at Berklee together in Boston in the mid-80s. Drummer Chad Taylor, who recently moved back to New York after a fruitful period in Chicago, has been a colleague of Parker's since just after the guitarist moved to Chicago in 1991. The newest comrade, Sam Barsheshet, who plays electric piano on the record, sat in on a gig with Parker in 2002. "I enjoyed his playing and open conception," says Parker.

Parker says this session, which was waxed in January, 2004 at SOMA and engineered by John McEntire, is "more 'song-oriented' than the previous album, and less of a jazz-oriented 'blowing date.'" It includes original compositions by Taylor ("Istanbul") and Lopes ("Sea Change," "Bean Stalk,""Toy Boat"). Parker's own compositional contributions include "Mannerisms," a piece that's become a local standard, prized by various groups - Chicago Underground Quartet, Ted Sirota's Rebel Souls - for its sinuous, groovy lines. "Rang (for Michael Zerang)" is a piece written by Parker for his friend and colleague, percussionist Michael Zerang. "It was written when we were both on a tour of France with the Vega Trio, right at the start of the Iraq War."

"The Relative" was composed by Parker and bassist Matthew Lux, with whom the guitarist worked in Isotope 217, the band for whom it was originally conceived. "I decided to revive it for this recording," says Parker. "I composed the bulk of the tune, but the weird, twisty bassline that roots the intro and outro was composed by Matt Lux. The first two-and-a-half minutes of the tune are my attempt at demonstrating an abstraction of my perception of Relativity, which essentially means that as one moves in space, one's perception of said space is altered by one's movement. I tried to aurally capture this by having everyone perform various repeating figures on different tracks that start at one tempo, then ramp up or down to another tempo, and end together at the original tempo."

The CD's one non-original is a gorgeous reworking of Marvin Gaye's "When Did You Stop Loving Me, When Did I Stop Loving You," on which Barsheshet shines particularly brightly. "I've always embraced the feelings of melancholy that I experience when I listen to the original version of this song," says Parker. "I thought it would be a challenge to try and capture some of that spirit in a swinging, but slightly abstract version of the tune, which is, essentially, how I perceive the original version to be. The premise was to have the band improvise over the form of the tune, and then I overdubbed the guitar melody (with embellishments) over top of it. I was trying to get a vibe like some of the great jazz recordings from the 70s when they actually used to play good jazz on commercial radio and people dug it."

Of the group and CD's name, Parker returns to his Einsteinian explanation: "The Relatives refers to the notion of a community (in this instance a community of musicians) functioning much like a family does, and also the abstraction of Relativity, which implies that as one moves, one's perspective changes along with one's movements. Since we're always moving, we're always changing."

Always moving, always changing. Good thoughts for this polyglot poster-child. ---John Corbett

myspace
www.thrilljockey.com


The Relatives [2005]











Like-Coping [2003]












Strobe Session # 2: Jeff Parker

Arthur Russell

myspace


The World of Arthur Russell [2003]
(Part. 1) (Part. 2)











World of Echo [1986]
(Part. 1) (Part. 2)












+++++++++++++
You Can Make Me Feel Bad

Khanate x 3

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!

www.myspace.com/khanatefans

LINK IN COMENT!!!


Khanate [2001]















Things Viral [2003]















Capture and Release [2005]















+++++++++++++++++++
Khanate live "German Dental Work"