In Gowan Ring x 4

"This is one of only a few recent releases that might genuinely be called inspired. As a songwriter and musician B'eirth is easily the equal of psychedelic folk legends Robin Williamson (Incredible String Band) or the late Nick Drake. Comparisons to virtually any other musicians exploring similar territory would simply not do this justice." - Joshua Buckley for TYR Journal


"A unique synthesis of folk, mediaeval and psychedelia that could only be In Gowan Ring. Listening to this album is like sliding into a warm bath infused with oils and perfumes. Mellow and beautiful, B'eirth's gentle voice and music are a delight. The lyrics are obscure, but still suggestive and a source of inspiration and contemplation for those who make the effort to listen to them." -RIK for Flux Europa

"There is a depth to these songs that is revealed only upon repeated listens. It is this natural gift for creating multi-layered compositions that is so attractive about In Gowan Ring's work in general and Hazel Steps through a Weathered Home in particular. Quite simply, one of the half dozen or so best releases of the year." -Jeff Penczak for FakeJazz.com


"It's been worth the wait everyone. This album is B's best work, and my words, plain as the farmboy I am, can not do it justice. B', you've mastered the art of song my friend. My heart swells and my head swirls! I'm in awe." - Tim Renner, Some Dark Holler


"In Gowan Ring's "The Glinting Spade" is as beautiful as any psych-folk album can be without completely materializing. "Hazel Steps Through A Weathered Home" as a whole, is a more stripped down effort. However, that doesn't really diminish the album's preternatural feel. The songs are much starker and darker than on "The Glinting Spade", but they also have more gravity and substance. It can easily ensnare the unsuspecting listener in its magical folds."-J. M. for Opuszine


"The music of In Gowan Ring is rather timeless, archaic perhaps but not from a clearly-defined period. The lyrics are rather introspective but most images evoked by the texts are quite clear. The songs are really a pleasure to listen to and the album as a (very coherent) whole is very moving, solemn and melancholic, but it does not make me sad - I get the feeling that spring must be near... Really a recommended album." - HD for FunProx.com


"Very poetic release of intimate mystic songs, more minimal as earlier releases, sparsely arranged, towards the core of an essential expression. The album has the richness and calmness of an introspective vision. The style is minimal without being repetitive with a rich sound through its poetic vision. The whole album is beautiful and recommended." -Gerald for Van Hett PSYCH FOLK

____________________________

-Glinting Spade (1999)
Though arguably the best In Gowan Ring experience is live -- B'eirth plays the medieval troubadour quite well and mysteriously, but doesn't forget humor or the fact that the Industrial Revolution has in fact happened -- The Glinting Spade is quite a lovely listen indeed. Anyone captivated by folk that either consciously explores its very early roots or the acid folk approach that psychedelia let in will find something to like here; B'eirth's approach suggests Edward Ka-Spel as much as it does the mythical figure of Ossian, say. His generally acoustic bent is more carefully seasoned by low-key experimentation throughout The Glinting Spade -- extended tones, strange echoes, and buried sounds expand the palette of his work to an intriguing degree, with "In the Dream of the Queen" being an especially striking example. That said, the choice of instruments tends to be tried and true -- everything from church organ to zither is credited, along with more esoteric choices of fire, chalice, bow and arrow, even oats! Quite what the role of everything is meant to be is unclear, but if the effect is to create a sense of a shadowy ritual out of time past, In Gowan Ring succeeds quite well. B'eirth isn't one to shout or scream -- what's the point, after all? -- and his style of singing is very, very restrained, avoiding the sometimes tiresome drama of similarly minded revivalists who apparently think they really are about to summon up the Horned King and the Great Hunt. Songs like "To Thrum a Glassy Stem" and "Bow Star" are quiet beauties, while the lusher approach of "Cipher's String on the Tree" suggests a great lord's minstrels performing a late-night service. ~ Ned Raggett, All Music Guide

_____________________

In Gowan Ring - From the land of little Osmonds, comes this nomadic bunch of sprites and pot-headed pixies, led by the enigmatic B'eirth and wielding such modern day contraptions as sackbut, cornetto, cittern, psaltry, zither, timbrel, whistles, bells, gongs and tons of other weird sounding shit too numerous to mention. Epic lengthed drones are nestled comfortably amidst some of the finest acid/psych/wyrdfolk on this (or any other) planet.

_____________________

-Exists & Entrances vol. 1
"Am I the only one here who has these moments where you've fallen asleep in the chair, and when you "wake up" you feel like you've got no control over your body but you can watch while your limbs move & haul you around the room and? Really? Well anyway that's what the finer moments of this disc feel like ... as the tree ears sprout from between my toes and I keep whispering, "it's only a cd-r, it's only a cd-r". "

_______________________________

"The songs have a somber feel, as though the innkeeper let the lyre player have a little too much mead, and now the whole room is treated to his many laments on nature and love." -Brainwashed

____________________________

"The American neo-hippies from In Gowan Ring produced a fragile and melodic atmosphere. Pantheistic odes to the forgotten beauty of nature – the great in the small. " -Medusa's Head

website

Love Charms [1994]

The Glinting Spade [1999]

Flower Moon [2005]

Time Is a Spiral [2007]

"the seer and the seen"

Bardo Pond - 4.3.06 [2006] / Bardo Pond & Pre - Split 10" [2007]

Bardo Pond live @ The Maze, Nottingham. Thursday 30th November 2006.

For years, I compared Bardo Pond to Sonic Youth, for anyone who had either never heard them or heard any of the lesser known bands similar to them, only because Sonic Youth is the most famous band that sounds kind of like Bardo Pond. The second comparison would be to My Bloody Valentine. But, over the years, Bardo's sound has evolved, and these comparisons are no longer accurate. Nowadays, to be precise, one must use references from all spectrums of rock, and even avant garde jazz, to describe the full fuzz of Bardo Pond.

Trying to use no comparisons at all, imagine the sound of an electrified hummingbird: sometimes there will be motion, with twists and turns in their songs; other times, the sound is feverishly kept, hovering in place. Bardo Pond creates an intense wall of sound that you expect to break through your skin, but, instead, it just hums and buzzes all over you.

source

Bardo Pond & Pre - Split 10" [2007]

4.3.06 [2006]

Tommy Gun Angel from Album: Lapsed

Tom Carter & Christian Kiefer - A Rather Solemn Promise / From The Great American Songbook [2007/2008]

From The Great American Songbook CD

Preservation sure now how to package their releases: this second collaboration between Charalambides' Tom Carter and Christian Keefer comes housed in a lovely fold-out sleeve housing thick card inserts with liner notes for each song as penned by some of the avant-folk royalty these two are prone to hanging around with. Wooden Wand, Sharron Kraus, Glenn Jones, Tetuzi Akiyama and Tony Conrad are among the writers who pay tribute not only to Tom and Christian, but their source material - all of which comes from American traditional folk songs now in the public domain. As you'd probably expect, these two aren't always prone to sticking closely to their original texts, and familiar standards like 'Camptown Races' are given a fairly liberal overhaul. Tony Conrad writes at length about the interesting use of 'Doodah' in the original, citing this as one of the earliest examples of scat singing. That's the kind of info most albums just wouldn't bother giving you, but you'll be glad of the pains Preservation have gone to in providing context for these often very obscure songs (usually made that little bit more obscure by the adventurous cover artists). Highly Recommended.

A Rather Solemn Promise CD

Charalambides' Tom Carter teams up with fellow string alchemist Christian Kiefer for some Loren Mazzacane Connors-influenced spectral blues. Once you've got over the gorgeous hand-screened sleeves (courtesy of Badgerlore's Rob Fisk) you're in for the kind of freeform guitar duets that made similarly-minded outings (such as last year's excellent Tetuzi Akiyama & Donald McPherson head-to-head) such captivating listening. The tone varies between the rollicking Takoma-isms of 'Glass Palace' and the slide guitar weirdness of 'Song the Land Sings', via the ghostly banjo bust-ups of 'Snake River', with each piece delivered with a stereo dynamics setup whereby one musician takes the left, the other the right, giving a real sense of being in and amongst the performance. Tom Carter's guitar in Charalambides has always been enriched with a kind of starkly atmospheric resonance, and in Kiefer he's clearly found a likeminded artist. Consequently, it's a great pleasure to hear the two meandering through these psyched-up American Primitive discourses with such a gnarled authenticity.

boomkat

From The Great American Songbook [2008]

A Rather Solemn Promise [2007]

Christian Kiefer *Live* George Washington

Bill Callahan - Woke On A Whaleheart [2007]

Smog o Bill Callahan, músico estadounidense, nació en Silver Spring, Maryland. Se puede considerar el precursor del lo-fi, género que nace a partir del rock alternativo.

Comenzó grabando en su casa, luego trabajó con Jim O’Rourke productor de Red Apple Falls de 1997 y Knock Knock de 1999, y en el que participaron músicos relacionados con el sello Drag City, pero después, con el disco Dongs of Sevotion en el 2000, vuelve a un estilo de trabajo más sencillo.


Su música es simple, de un toque intimista, espiritual y emotivo. La voz de barítono de Callahan es el elemento perfecto para estas canciones; un delicado pincelazo de ironía y el humor negro completan la obra.
Al escucharlo se encuentra el oyente con una gran corta historia, a la vez oscura y luminosa, contada por las palabras mínimas. Si se tratara de materializar su música, lo haría con una sonrisa melancólica producida por un extraño estado de conmiseración hacia el mundo entero.

lastfm.

Woke On A Whaleheart [2007]

Bill Callahan performs "Vessel in Vain"

Axa Hour of Dora Bleu - Clones of Eros [2007]

Axa Hour of Dora Bleu is the re-crystallizing of the sound of Dorothy Geller, formerly of From Quagmire (VHF Records) and Laconic Chamber (Camera Obscura.) Dorothy (Voice, Guitar and Songwriting) is joined here by Brooke Crouser (Jackie O’ Motherfucker) on Piano, electric guitar and vibes; Alex Ste-Onge (Feu Therese, Et Sans, Shalabi Effect) on Upright Bass; Justin Evans (Rivers and Mountains, Et Sans, Shalabi Effect) on Rhodes and Electronics and Francis Amirault (Le Sentier Lumineeux, Cian Ethrie) on Percussion.


On Clones of Eros, a sound is forged from the natural evolution of the sonic path of Dorothy Geller, with a strong impression made by her Montreal based collaborators. This is living, breathing music – a melding of a singular vision into a collective process resulting in a music with few easy reference points, music that demands to be heard on its own terms outside of any scenes or movements that may be in vogue momentarily.


To attempt a more concrete analysis: The music can be considered “of folk” while not referencing traditional folk forms, anchored in very particularized voice and guitar with accompaniment that is alternatively unified song form or seemingly improvised depending on what is required in the moment.


“ There's something in (the) music that evokes a wild, untouched forest, overgrown and abundant in all types of foliage. There's a sense that this music may parallel nature in some unspoken way that's beyond mimicry or the simple musical eco-sermons that could be more easily created…”

– Adam Strohm, Fake Jazz (from a review of Caught In Unknowing)



SELECT DISCOGRAPHY:

La Reproduction Interdite d'une Peinture de Crise - s/t(Kids Eat Free 1999)
Laconic Chamber - A History of Epidemics (Camera Obscura 2000)
From Quamire - Caught in Unknowing (vhf 2002)
From Quagmire - Habitats in the Wound (vhf 2005)

Axa Hour of Dora Bleu - Clones of Eros [2007] new link!

live in Telakka, Tampere, Finland 11.9.2008

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

The Nels Cline Singers: Draw Breath [2007]

The Nels Cline Singers
[Draw Breath]

2007. Cryptogramophone


Que el versátil guitarrista Nels Cline sea el flamante nuevo integrante de Wilco, es sólo un pequeño dato en su inmensa trayectoria, que ha cruzado sin prejuicios los límites estilísticos del jazz, el rock, la experimentación y la música de vanguardia. Desde sus inicios a fines de los 70, Cline ha estado relacionado con grandes del jazz actual como Charlie Haden, Gregg Bendian, Wadada Leo Smith y Tim Berne, entre otros.

Pero no sólo eso, el rock también ha sido una constante fuente de inspiración para su trabajo, participando con lumbreras de la música indie como Thurston Moore de Sonic Youth y en bandas como Geraldine Fibbers junto a Carla Bozulich; el proyecto jazz-punk Banyan con Mike Watt de Minutemen y Stephen Perkins de Jane’s Addiction y los mencionados Wilco, donde debutó en el celebrado álbum 2007, “Sky Blue Sky”.

Esto sin contar su obra solista que comenzó a mediados de los 80, su labor como músico de sesión donde ha trabajado en más de cien discos de jazz, pop, rock, country y géneros experimentales, su banda Nels Cline Trio, sus colaboraciones con la arpista Zeena Parkins y su participación en el ensamble de improvisación microtonal Acoustic Guitar Trio junto a Jim McAuley y el recientemente fallecido, Rod Poole.

De este modo, Cline puede compararse, por su amplio eclecticismo musical, con un extenso abanico de guitarristas, donde no sería un error nombrar a Fred Frith, Mike Stern, Bill Frisell, Marc Ribot, Lee Ranaldo y Eliott Sharp. Justamente con este último, Cline editó a mediados de enero de este año el disco, “Duo Milano”.

Como pueden ver un currículo bastante abultado, que se refleja plenamente y se resume de excelente forma, en este tercer disco de su más reciente y personal aventura musical, The Nels Cline Singers. “Draw Breath” está compuesto por nueve composiciones instrumentales de gran jerarquía, donde Cline se pasea con una envidiable soltura técnica y estética por el jazz de avanzada, el rock en todo su desenfreno, el sonido acústico y la música contemporánea experimental, todo entendido bajo el prisma artístico único del guitarrista.

Con el baterista Scott Amendola, el bajista Devin Hoff y el protagonista en guitarra eléctrica y acústica y efectos electrónicos, el disco nos ofrece una apuesta musical compleja, diversa y por donde se le mire, apasionante. El álbum abre con el jazz meditativo, casi minimalista, de “Caved-In Heart Blues”, para seguir con todo el swing endemoniado de “Attempted”, con el trío fusionando todo su talento con solos para cada uno. Cline solea inspirado hasta decir basta. Si parte con un punteo más menos tradicional de jazz, al medio del tema la guitarra llega a extremos noise indecibles y por su parte, Hoff se luce con una sección para doble bajo notable. Lo mismo para Amendola que además de sus solos, sirve de gran base para los viajes instrumentales de los cuerdistas.

El rock potente y directo, con un riff para despertar a los moribundos, llega con “Confection”, para luego pasar a la experimentación de 16 minutos “An Evening At Pops’”. Un tema donde Cline demuestra que no sólo es un virtuoso, sino que también un explorador musical desprejuiciado, que nada tiene que envidiarles a los autores más valorados de su generación.

El respiro necesario en medio de tanta densidad, llega con la cristalina y esperanzadora melodía de “The Angel of Angels” y la hermosa pieza acústica, muy en la línea de un guitarrista como John McLaughlin, “Recognize I”. Los 15 minutos de “Mixed Message” retoman la senda jazzística, con esos tiempos hiperquinéticos y punteos saltones, que al igual que en “Attemped”, se vuelve segundo a segundo más experimental, para llegar a una especie de deconstrucción de la misma y concluir con un gran final lleno de expresividad y locura. “Recognize II”, es obviamente otra emotiva pieza acústica, que da el paso para el cierre con la más minimalista y sónica, “Squirrel Of God”, con un final inesperado casi angelical.

Una propuesta heterogénea pero nunca dispersa, con un Cline despachándose uno de los discos más interesantes e intensos de la música instrumental de 2007. De pasada, demuestra que un músico del siglo XXI, puede –y debe- tomar para sí las más distintas tendencias musicales, hacerlas propias, reinterpretarlas y con esa base, crear una nueva visión musical acorde con el tremendo desarrollo que ha sufrido este arte en las últimas décadas. Escuchen este disco con tranquilidad, que no me cabe duda, se llevarán una más que grata sorpresa.


Héctor Aravena A.-

www.rockaxis.com.-

Draw Breath [2007]

The Nels Cline Singers - April 27, 2007

Sir Richard Bishop - Improvika / Fingering the Devil (Special Edition) / While My Guitar Violently Bleeds [2005-2007]

IMPROVIKA (CD - Locust Music, 2004. LP Issued by Bo Weavil, 2005)
"The nine compositions of “Improvika” are influenced by folk music of all corners of the world with the music of India and the Middle East playing particularly prominent roles. This is not, however, post-modern pastiche or multicultural collage. Quite the contrary, it is something that synthesizes all these disparate elements into something wholly new. Bishop has a somewhat improvisational rhythmic language that is all his own as well as a compositional sense that (even if these pieces are, in fact, improvisations as the title might suggest) carries this album easily through its 45 minute running time." - Nick Hennies (Foxy Digitalis)

FINGERING THE DEVIL (CD/LP - Southern Records, UK, 2006)
"Bishop’s seamless blend of gypsy jazz and flamenco guitar embraces the duality of nomadic life, its exuberance and world-weariness. Overall Bishop’s pace is slightly slower here than on his previous full length "Improvika" except on the album’s galloping closer “Howrah Station.” In “Dance of the Lotus Eaters,” he scatters his notes sparingly in sections and coaxes the steady growth of melodies from single chords, rather than frantic runs across the fret board. Bishop also embraces these gentle melodies more fully, shying away from the experimental atonality of "Improvika"’s “Cryptonymous.” This release is full of patience and powerful lyricism." - Jamie Townsend (Foxy Digitalis)

WHILE MY GUITAR VIOLENTLY BLEEDS (LP/CD - Locust Music, 2007)
"The three long meditations that make up this release are violent in the sense of deep passion. For Bishop, these songs are a form of prayer, and as such are as deeply felt an acoustic set as you are likely to hear, one that does not fall into the traps of the pseudo-spiritual, but which maintains an emotional peak throughout. “Zurvan” is the most quiet of the set, an almost traditional blues-based instrumental that still explores some mighty deft territory, both musically and emotionally. It begins the record by reassuring the listener that s/he will be in good hands. “Smashana” dips into a more layered drone, with aspects of psych that help to deepen the piece, and to build off the first song. The real meat is the final, 25+ minute “Mahavidya,” which explores both fretboard and soul, and takes the drone of “Smashana” toward raga, and toward a mystic conclusion to the set." - Dave Segal (OC Weekly)

Sir Richard Bishop | By Appointment To Her Majesty, The Queen

While My Guitar Violently Bleeds [2007]

Fingering the Devil (Special Edition) [2005]

Improvika [2005]

Sir Richard Bishop Torch of the Mystics

Ted Milton • Odes [2007]

Ted Milton (born 1943) grew up in Africa, Canada and Great Britain. He published some early poems in magazines like Paris Review. In 1969 his poetry was published in the anthology Children of Albion: Poetry of the Underground in Britain. In the mid-sixties he began performing as a puppeteer, participating in numerous international festivals and appearing on So It Goes, the TV show hosted by Tony Wilson. He contributed a short scene for Terry Gilliam's film Jabberwocky.

In the late seventies he began to play alto-saxophone and founded the group Blurt. The first single "My Mother Was A friend Of An Enemy Of The People" was soon followed by the live album In Berlin (1981). Since then Blurt released more than twenty records. While living in Brussels in the mid-nineties, Milton started making book-objects with found materials. These were shown on several exhibitions and have been taken up in the Bibliothèque Nationale in Paris as well as in the British Library.

Ted Milton also makes art-objects and installations, having had shows in "Nadine" in Brussels and bookstore "Tropisme" in Brussels,

In 2000 he published the CD Sublime with the Andreas Gerth (loopspool). In 2001 Ted Milton staged a hommage to the Russian author of the absurd Daniil Kharms: "In Kharm's Way", a mixture of music, puppeteering and spoken word, with the electronic musician Sam Britton. In 2007 he collaborates again with Sam Britton in the "ODES"-project; an overview of 25 years solo work outside of Blurt.
wikipedia.

Tracklist:

1. Ted Milton and the Back-To-Normal Orchestra: Nogales
2. Ted Milton and Sam Britton (Icarus): Can't Beat Blim
3. Blurt: Ted Milton and Steve Beresford: Love is like a violence
   
4. Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): O! Pity Us!
5. Ted Milton and the Back-To-Normal Orchestra: She spent a fortune on lipstick on me
6. Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): Miles away
7. Ted Milton and Herman Martin: Skies are bruised
8. Ted Milton and Andreas Gerth (Loopspool): Fragments
9. Blurt: Ted Milton and Tam Tam: Thirteen Rules from Composition
10. Ted Milton and the Back-To-Normal Orchestra: My North Face
11. Ted Milton and Herman Martin: Ode! O! To Be Seen Through Your Eyes!
12. Ted Milton and the Back-To-Normal Orchestra: Shard
13. Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): Where you end

Odes [2007] (part1/part2)

TED MILTON & SAM BRITTON LIVE AT THE ILLUSEUM

By the End of Tonight / Tera Melos - Complex Full of Phantoms [2007]

BY THE END OF TONIGHT / TERA MELOS "Complex Full of Phantoms"

TRR128

BUY: CD | LP

In the two years since the release of their debut album, A Tribute To Tigers, By the End of Tonight have toured almost non-stop, playing every rock club, living room (or even barn) that would have them. Their relentlessness has paid off, as evidenced by their half of this split album with good friends and like-minded power jammers Tera Melos. Not to be outdone, Sacramento's Tera Melos have also been on the road more than they've been home this year, touring with the likes of Fall of Troy and Horse the Band. Their frantic, absurdly complex songs are the perfect compliment to By the End of Tonight's darker, more sinister instrumental metal. The combination makes this by far the strongest release to date from either band.

TRACK LISTING
1. BY THE END OF TONIGHT: Delaware Is Depressing
2. BY THE END OF TONIGHT: Philthy Collins
3. BY THE END OF TONIGHT: Jelous of a Ghost
4. BY THE END OF TONIGHT: Cold Hands
5. BY THE END OF TONIGHT: Ghost Boat
6. BY THE END OF TONIGHT: Elvis Never Didn't Die
7. TERA MELOS: 555-9676
8. TERA MELOS: Party With Tina
9. TERA MELOS: When Worms Learn To Fly
10. TERA MELOS: Melody 9
11. TERA MELOS: Last Smile For Jaron

temporaryresidence

Complex Full of Phantoms [2007]

By the End of tonight - Live at the alvin bowling alley 3

Feu Thérèse - Self Title & Ça Va Cogner [2006 - 2007]

For the flying audio that crosses to great speed his limit, to circulate on the atmosphere saturated of smoke that you must penetrate to continue in the pieces that I will continue raising with name of links, already I have waited for commentaries, it can only you anchored for not measuring the time and if it leaves tastelessly he(she) was not enjoying the compositions here, the form Post Rock advances in multi-effects designed with fineness, is going to calm your voracious hunger of discs and write slightly therefore.

Para el audio volante que cruza a gran velocidad su límite, para circular sobre la atmósfera saturada de humo que usted debe traspasar para seguir en las piezas que seguiré subiendo con nombre de eslabones, ya he esperado por comentarios, quede usted anclado por no medir el tiempo y si se marcha con mal gusto no disfrutara de las composiciones aquí, la forma Post Rock avanza en multi-efectos diseñados con fineza, va a calmar su hambre voraz de discos y escriba algo por lo tanto.

Ça Va Cogner [2007]
Guests

The Brightening Star Choir on TRACK 6: Capucine Cyr-Picand, Morgane Cyr-Picand, Léo Bouchard-Babin, Arthur Parant, Antonin Ravatel, Yakim Cormier.

Recording

Recorded and mixed at Thee Mighty Hotel2Tango in Montreal by Radwan Moumneh and Thierry Amar.

Mastered at Greymarket in Montreal by Harris Newman.

Feu Thérèse [2006]
Guests

Philippe Lauzier: saxophone, bass clarinet on TRACK 4

Recording

Recorded on 24-track analog tape at the Hotel2Tango in Montreal by Theirry Amar.
Mixed by Thierry Amar at the Hotel2Tango
TRACK 5 and various other fragments recorded and mixed at Love Streams in Montreal by Stephen De Oliveira.
Mastered At Greymarket in Montreal by Harris Newman.

Ça Va Cogner [2007]

Feu Thérèse [2006]

Damo Suzuki w/ Feu Thérèse

GHQ x 2

Ghq has existed over the years with various members, but has always been the core duo of steve gunn and marcia bassett. since getting together in 2002 they have brought their acoustic / electric freeflow to various heights and their performances have had the history of taking on different forms on any given night. their range can be from blown out freeform, pre-war blues covers to quiet acoustic raga cycles. currently the group is back as the duo of marcia and steve, with occasional drumming help from jon trusinski.

TLR 053: ghq — everywhere at once CD

released march 3, 2008 as an installment in the oscillation III series. sold only as a part of the set.

late in 2007 the core ghq duo of marcia bassett and steve gunn set off to jason meagher's black dirt studios to settle in for some multi-tracked studio action. joined by john truscinski of x.o.4 on drums, the trio laid down a series of layered drones unlike anything else in their catalog. After the disc-opening "Rembrance" sets the proper mood, the group kicks into "Four Trees" and establishes a new standard by which their stretched-out drones will be measured. In a collection of chilling recordings, the hazy and aching "Drop City Blues" shines bright with Gunn stepping forward to provide a set of extremely focused vocals. Everywhere at Once is a new and exciting milemarker along the band's continued ascent.

TLR 036: GHQ crystal healing LP

released 20 april, 2007. recorded by steve gunn, marcia bassett and pete nolan in late 2006, crystal healing is GHQ's most accomplished recording to date. a collection of layered acoustic drones and ragas that mix and whirl throughout both sides. it will not take more than one spin for you to realize that this is one of "those" records. great, great stuff. from a one-time pressing of 855 hand-numbered copies. heavy 180g vinyl. housed within old-style gatefold LP covers featuring new artwork by michael pare. all pre-orders of this release also received copies of this GHQ bonus CD.

GHQ
Three lobed Recordings

Everywhere at Once [2008]

Crystal Healing [2007]

GHQ - Seven Sisters

Oren Ambarchi x 3

Oren Ambarchi is an electronic guitarist and drummer with longstanding interests in transcending conventional instrumental approaches. Born in Sydney, Australia in 1969 to a Sephardi Jewish family originally from Iraq, he has been performing live since 1986. He was a member of noise band Phlegm with Robbie Avenaim, with whom he now co-organises the What Is Music Festival. His work focuses mainly on the exploration of the guitar, though he also plays percussion in some of his live performances. Recently, he has toured with drone doom band Sunn O))) as well as releasing an EP with Attila Csihar and Sunn O)))'s Greg Anderson under the name Burial Chamber Trio. Ambarchi also works in popular music contexts and is a drummer for the group Sun with vocalist Chris Townend formerly of Kiss My Poodles Donkey.

W i k i
www.orenambarchi.com

Oren Ambarchi and z'ev - Spirit Transform Me [2008]

Destinationless Desire [2008]

In the Pendulum's Embrace [2007]

Oren Ambarchi Live @ Non Event