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Mostrando entradas con la etiqueta Electronic. Mostrar todas las entradas
Mostrando entradas con la etiqueta Electronic. Mostrar todas las entradas
martes, mayo 31, 2011
lunes, mayo 30, 2011
miércoles, noviembre 05, 2008
The Legendary Pink Dots - Plutonium Blonde [2008]
The Legendary Pink Dots formed in August 1980 in London. In 1984 the band transplanted itself to Amsterdam which led to a shift in the original lineup, the original bassist Roland Callaway leaving at this time.
The core members of the group are vocalist/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight. Many others have passed through the group over the years. As of 2007 the group is comprised of:
* Edward Ka-Spel - vocals, keyboards, songwriter
* Phil Knight (a.k.a. The Silverman) - keyboards, electronics
* Martijn de Kleer - guitars
* Niels van Hoorn (a.k.a. Niels Van Hoornblower) - saxophones, clarinets, flutes, MIDI wind controller
* Raymond Steeg - live sound engineer
The story behind the band's name is a source of speculation because Edward has given multiple explanations behind its origins. The most plausible and common explanation traces back to the mysterious pink dots on certain keys of the bands main recording studio piano named "Osbert", the dots that can be found at either end of the keys do not make any particular chord or scale pattern and the reason for them remains unknown to this day. The piano itself is still owned by one of the founding band members April White, and can be found at her home recording studio in Cambridgeshire.
Their music touches on elements of neo-psychedelia, ambient music, electronic music, tape music, industrial, psych folk, synth-pop and goth rock, with a distinctly experimental/avant-garde bent; their sound has evolved over time and remains distinctive, making it difficult to place the group into a concise style or genre. The groups overall sound combined with Ka-Spel's distinct lyrics and singing have earned comparisons to Pink Floyd and Syd Barrett; the group has also been compared to classics Seventies deranged bands as Can , Faust, Brainticket, Magma or Neu! (whose "Super" they covered on the 1999 tribute album "A Homage to NEU!").
wiki.
The core members of the group are vocalist/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight. Many others have passed through the group over the years. As of 2007 the group is comprised of:
* Edward Ka-Spel - vocals, keyboards, songwriter
* Phil Knight (a.k.a. The Silverman) - keyboards, electronics
* Martijn de Kleer - guitars
* Niels van Hoorn (a.k.a. Niels Van Hoornblower) - saxophones, clarinets, flutes, MIDI wind controller
* Raymond Steeg - live sound engineer
The story behind the band's name is a source of speculation because Edward has given multiple explanations behind its origins. The most plausible and common explanation traces back to the mysterious pink dots on certain keys of the bands main recording studio piano named "Osbert", the dots that can be found at either end of the keys do not make any particular chord or scale pattern and the reason for them remains unknown to this day. The piano itself is still owned by one of the founding band members April White, and can be found at her home recording studio in Cambridgeshire.
Their music touches on elements of neo-psychedelia, ambient music, electronic music, tape music, industrial, psych folk, synth-pop and goth rock, with a distinctly experimental/avant-garde bent; their sound has evolved over time and remains distinctive, making it difficult to place the group into a concise style or genre. The groups overall sound combined with Ka-Spel's distinct lyrics and singing have earned comparisons to Pink Floyd and Syd Barrett; the group has also been compared to classics Seventies deranged bands as Can , Faust, Brainticket, Magma or Neu! (whose "Super" they covered on the 1999 tribute album "A Homage to NEU!").
wiki.
The Legendary Pink Dots - M'era Luna 2008
martes, noviembre 04, 2008
Yo La Tengo
Yo La Tengo is an American indie rock band based in Hoboken, New Jersey. With more than 15 albums released since 1984, they have demonstrated unusual longevity for the indie-rock scene. They are frequently regarded as one of the definitive indie rock groups of the 1990s. Though Yo La Tengo has achieved limited mainstream success, the band has become a critical favorite with a devoted fan base.
The band's name comes from a baseball anecdote.
During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón found themselves colliding in the outfield. When Ashburn went for a catch, he would scream, "I got it! I got it!" only to run into the 160-pound Chacón, who spoke only Spanish.
Ashburn learned to yell, "¡Yo la tengo! ¡Yo la tengo!" which is "I have it" in Spanish. In a later game, Ashburn happily saw Chacón backing off. He relaxed, positioned himself to catch the ball, and was instead run over by 200-pound (90.7 kilograms) left fielder Frank Thomas, who understood no Spanish and had missed a team meeting that proposed using the words "¡Yo la tengo! as a way to avoid outfield collisions.
After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".
The band wanted a name that sounded foreign in order to avoid any connotations in English. Kaplan is also a devoted baseball fan. However, it still irks the band when they are asked the origin of the name. The band once performed a cover of the Mets theme song "Meet the Mets" during a benefit appearance on radio station WFMU's pledge drive. A track on I Am Not Afraid of You and I Will Beat Your Ass is called "The Story of Yo La Tango" in apparent reference to an all-too-frequent misspelling of the band's name.
source
The band's name comes from a baseball anecdote.
During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón found themselves colliding in the outfield. When Ashburn went for a catch, he would scream, "I got it! I got it!" only to run into the 160-pound Chacón, who spoke only Spanish.
Ashburn learned to yell, "¡Yo la tengo! ¡Yo la tengo!" which is "I have it" in Spanish. In a later game, Ashburn happily saw Chacón backing off. He relaxed, positioned himself to catch the ball, and was instead run over by 200-pound (90.7 kilograms) left fielder Frank Thomas, who understood no Spanish and had missed a team meeting that proposed using the words "¡Yo la tengo! as a way to avoid outfield collisions.
After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".
The band wanted a name that sounded foreign in order to avoid any connotations in English. Kaplan is also a devoted baseball fan. However, it still irks the band when they are asked the origin of the name. The band once performed a cover of the Mets theme song "Meet the Mets" during a benefit appearance on radio station WFMU's pledge drive. A track on I Am Not Afraid of You and I Will Beat Your Ass is called "The Story of Yo La Tango" in apparent reference to an all-too-frequent misspelling of the band's name.
source
Album Dicography :
01 - Ride the Tiger [1986]
02 - President Yo La Tengo_New Wave Hot Dogs [1987_1989]
03 - Fakebook [1990]
04 - May I Sing With Me [1992] (part1/part2)
05 - Painful [1993]
06 - Electr-o-Pura [1995]
07 - I Can Hear the Heart Beating as One [1997]
08 - And Then Nothing Turned Itself Inside-Out [2000] (part1/part2)
09 - The Sounds of the Sounds of Science [2002] (part1/part2)
10 - Summer Sun [2003]
11 - Yo La Tengo Is Murdering the Classics [2006] (part1/part2)
12 - I Am Not Afraid of You and I Will Beat Your Ass [2006]
13 - They Shoot, We Score [2008] (part1/part2)
EPs :
01 - Here Comes My Baby [1990]
02 - That Is Yo La Tengo [1991]
03 - Upside-Down [1992]
04 - Camp Yo La Tengo [1995]
05 - Little Honda [1997]
06 - Some Other Dimensions in Yo La Tengo [2000]
07 - Danelectro [2000]
08 - Merry Christmas From Yo La Tengo [2002]
09 - Nuclear War [2002]
10 - Today Is the Day! [2003]
11 - Live Session EP [2007]
Splits / Collaboration :
01 - 1995 - Stereolab & Yo La Tengo - Genius + Love Split
02 - 1998 - Jad Fair & Yo La Tengo - Strange But True
03 - 2004 - Chris Stamey & Yo La Tengo - V.O.T.E.
--------------------------------------------------------
I Feel Like Going Home
miércoles, octubre 29, 2008
Maserati - Inventions Remixes [2008]
Inventions Remixes begins with Thee Loving Hand (Tim Goldsworthy of The DFA, Hercules and Love Affair) stripping "The World Outside" to almost nothing, rebuilding it as a vintage European disco track from the ground up. Starting with a steady, far-off kick drum and a rogue, in-your-face hi hat, the song's seemingly disparate parts eventually lock into the kind of dirty disco that has made Goldsworthy a club legend. Equally club-friendly, !!!'s Justin Van Der Volgen brushes away the grit of the original "Inventions" and painstakingly buffs it to a shine as slick as black ice. The side-long trance mix maintains the sweaty atmosphere of the original, but removes the top-down drive in favor of a midnight jog. Strictly limited to a one-time pressing of 1,000 copies, Inventions Remixes is both an addendum to the successful reboot of Inventions For The New Season, as well as a testament to the broad spectrum of influences that flow in and out of Maserati's music.
TRACK LISTING :
1. The World Outside (Thee Loving Hand Remix)
2. Inventions (Justin Van Der Volgen's "Enjoy Your Prog" Remix)
Temporary Residence Limited
TRACK LISTING :
1. The World Outside (Thee Loving Hand Remix)
2. Inventions (Justin Van Der Volgen's "Enjoy Your Prog" Remix)
Temporary Residence Limited
Maserati "Inventions"
jueves, octubre 23, 2008
Juana Molina - Un Día [2008]
Imagine if Tina Fey quit comedy and sang electronics-based folk songs. That's the path Juana Molina took more than 10 years ago in her native Argentina, leaving her job as a TV comedian to pursue experimental folk. Her fifth disc is her most adventurous, combining avant-garde vocals with the atmospherics of Portishead and My Bloody Valentine. With looped guitar, hypnotic percussion and a bit of feedback, the title track sounds like two songs playing at once. The centerpiece is a trio that includes "Los Hongos de Marosa," built on lopsided harmonies, coiling keyboards and Middle Eastern textures. But like Brian Wilson or Kevin Shields, Molina pulls off the most out-there material with melodies nearly as accessible as conventional pop.
Review : Rolling Stone
No es tan cierto : álbum "3 Cosas"
martes, octubre 21, 2008
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
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
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
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
Haridwar
lunes, octubre 20, 2008
P a j o
David Pajo is an American alternative rock musician. He has, however, played a wide variety of music, loosely fitting into several other genres: hardcore, math-rock, post-rock, electronica, folk, and even indie-pop. Though a multi-instrumentalist (playing guitar, bass, banjo, drums, and possibly many more instruments), he is best known for his guitar work.
A native of Louisville, Kentucky, he played with three Louisville hardcore and hardcore-inflected bands in his early career. He got his start as guitarist for Maurice, but he first recorded with Solution Unknown. He rose to prominence, however, for work with the influential post-rock band Slint. Since its breakup, he has seldom held positions in other bands for very long, moving from one to the other quite often. As a result he has contributed to many lineups, playing and recording with Will Oldham, The For Carnation, Tortoise, Stereolab, Royal Trux, King Kong, Bush League, Zwan, and Peggy Honeywell.
He has also released music as a solo artist using various monikers, as Aerial M, M, and most notably, Papa M. Among his many 7" and splits with various bands, he has released (as Aerial M) 1997's Aerial M, and (as Papa M) 1999's Live from a Shark Cage, 2001's Whatever, Mortal, and 2003's Hole of Burning Alms.
In February and March 2005 he joined his old friends from Slint, Britt Walford and Brian McMahan, for a reunion tour, and in April released his first solo album not bearing a pseudonym, simply entitled Pajo. The follow up to Pajo, entitled 1968, was released in August 2006.
Around the middle of 2005, he helped to form the band Dead Child, with Todd Cook (from Shipping News, Retsin, The For Carnation, and Aerial M—and who also played guitar on the 2005 Slint reunion tour), Michael McMahan (from The For Carnation, Starkiller, and Phantom Family Halo—and who also joined Slint on the reunion tour), and Tony Bailey (from Anomoanon, The Party Girls, Verktum, and Aerial M).
wiki.
A native of Louisville, Kentucky, he played with three Louisville hardcore and hardcore-inflected bands in his early career. He got his start as guitarist for Maurice, but he first recorded with Solution Unknown. He rose to prominence, however, for work with the influential post-rock band Slint. Since its breakup, he has seldom held positions in other bands for very long, moving from one to the other quite often. As a result he has contributed to many lineups, playing and recording with Will Oldham, The For Carnation, Tortoise, Stereolab, Royal Trux, King Kong, Bush League, Zwan, and Peggy Honeywell.
He has also released music as a solo artist using various monikers, as Aerial M, M, and most notably, Papa M. Among his many 7" and splits with various bands, he has released (as Aerial M) 1997's Aerial M, and (as Papa M) 1999's Live from a Shark Cage, 2001's Whatever, Mortal, and 2003's Hole of Burning Alms.
In February and March 2005 he joined his old friends from Slint, Britt Walford and Brian McMahan, for a reunion tour, and in April released his first solo album not bearing a pseudonym, simply entitled Pajo. The follow up to Pajo, entitled 1968, was released in August 2006.
Around the middle of 2005, he helped to form the band Dead Child, with Todd Cook (from Shipping News, Retsin, The For Carnation, and Aerial M—and who also played guitar on the 2005 Slint reunion tour), Michael McMahan (from The For Carnation, Starkiller, and Phantom Family Halo—and who also joined Slint on the reunion tour), and Tony Bailey (from Anomoanon, The Party Girls, Verktum, and Aerial M).
wiki.
papa m - Krusty
High Places - Self Title [2008]
High Places is Mary Pearson and Rob Barber. Mary and Rob met while Mary was completing a music degree in bassoon performance and Rob was working in visual art, teaching lithography and etching at an art school. Both were performing as solo musicians at the time. Mary relocated to New York from Michigan in late spring 2006, and the two soon after began collaborating under the name High Places. The name refers to a place where one has a better vantage point and can gain broader perspective; it references a love for mountains, rooftops, and of course metaphorical “high places.” The duo has an “exquisite corpse” style of songwriting where they exchange ideas back and forth, challenging one another’s expectations, pushing songs to new places, or more aptly, new heights. They began by releasing a number of singles as well as contributing songs to a few compilations. These early and varied works were collected and released in July of 2008 as 03/07-09/07 in advance of tours with Deerhunter and No Age.
Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples, and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic, and that natural aesthetic adds warmth and intimacy to the recordings.
In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders, and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics, and singing some ambient vocals. High Places’ self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn’s Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, “golden” motif, a fitting frame for the album’s recurring themes. This can best be summed up by the words to “Gold Coin,” a song that was inspired by Kahlil Gibran’s The Prophet:
The ocean is your god-self
The sun is your god-self
God as air
Part of you is man
Part of you is god-self
The rest is just stumbling in the mist.
thrilljockey
Since its inception, High Places has created a signature sound out of using bass-heavy, yet crisp beats, lilting vocal melodies, syncopated rhythmic lines performed on folk percussion instruments, guitar duets turned into treated samples, and percussive lines created from the manipulation of household objects. The songwriting is expansive and fluid, all the while managing to be concise. Overall, the compositions are settled and assured. High Places gravitates toward the organic over the electronic, and that natural aesthetic adds warmth and intimacy to the recordings.
In a live setting, the band creates their layered recordings with Mary singing and simultaneously manipulating her vocals with various delay and reverb pedals, while playing some hand percussion, recorders, and creating and controlling various loops. Rob handles the drums triggering a variety of percussive sounds with his drum pads, as well as playing hand percussion, wooden blocks with contact mics, and singing some ambient vocals. High Places’ self-titled debut was recorded by Rob and Mary in their apartment in Brooklyn’s Fort Greene neighborhood between January and May of 2008. They employed a wide variety of instruments to make this album ranging from the more traditional: 12 string guitar, banjo, shakers and rattles, bass, bells and Kalimba, to the inventive: plastic bags, mixing bowls, wood blocks and other common household objects. The album has a contemplative and organic lyrical tone emphasized by the themes of goodness manifested in nature, hardship and wonder as necessities to human existence and growth. Additionally, the idea of maturation and development is further accented through the recurring mention of trees and their extending, enveloping branches. Rob created the High Places artwork by using photos taken by both band members. The images are drawn from nature but all have a subtle, mystical, “golden” motif, a fitting frame for the album’s recurring themes. This can best be summed up by the words to “Gold Coin,” a song that was inspired by Kahlil Gibran’s The Prophet:
The ocean is your god-self
The sun is your god-self
God as air
Part of you is man
Part of you is god-self
The rest is just stumbling in the mist.
thrilljockey
sábado, octubre 18, 2008
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
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
Sandro Perri - Changes - @ Music Hall Portsmouth
viernes, octubre 10, 2008
Merzbow - Dolphin Sonar [2008]
Author, activist, painter and sound artist Masami Akita had been at the foreground of experimental music for over 25 years. Inspired by psycedelic rock, free jazz, early electronic composition as well the physical arts, especial Kurt Schwitters'
Merzbau, Masami Akita has created a musical language all his own.
Dolphin Sonar is Merzbow's full length protest album against the annual brutal slaughtering of some 2,500 dolphins in Taiji, Wakayama Prefecture Japan. This is an angry album full of beats, blasts and broken glass. Clattering smashes are pursued by by pulsing analog whirls like the heart of a dolphin being chased through the bloodied waters of Taiji. Filtered blasts of pummel and sound slaughter. Another Merzbow classic with the finest cover art money can buy by Jenny Akita. Liner notes from Captain Paul Watson.
Dolpin Sonar shirts are available here
Merzbow, ULU London 19.04.08
martes, octubre 07, 2008
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
Cyann & Ben - Sparks of Love
domingo, octubre 05, 2008
T o r t o i s e
Throughout their 10-year history, Tortoise have been one of the most singularly dynamic bands in modern music. With each record they have not only redefined their own sound, but helped to nudge music itself in unique and exciting new directions. Their members are perpetually involved with multiple projects, thus it is quite noteworthy that It's All Around You, Tortoise's fifth full-length, is the first album that the band has ever made without a single lineup change. The results of this are a record that is the product of five distinctly visionary musicians who are able to synergistically unite like never before. This consistent lineup also allowed the band to move forward in directions that were previously unexplored, and It's All Around You contains a number of Tortoise firsts.
It's All Around You was written largely in the studio, in the midst of recording, over the course of a full year. This allowed Tortoise to use John McEntire's Soma Electronic Music Studios (whose clients include Wilco, Stereolab, and many others) not just as a state-of-the-art recording facility but as a compositional tool as well. It took months of continuous writing, recording, tinkering, mixing, and perfecting to bring It's All Around You to its finalized state. Tortoise are one of the only bands of their size and status who have always produced their own records, and it largely because of this that they are able to achieve and maintain such a distinct and precise sound. The band's extensive knowledge of the studio's equipment allows them to use it for composing, editing, and coloring their compositions. The band are very at home in this environment, and without a restrictive deadline (normally present with hired producers/studios), the band can explore a multitude of approaches. The results of this process are clear in the lush, orchestrated tones, intricate melodies, and densely elaborate rhythms that make It's All Around You Tortoise's most adventurous and thoughtful record to date. These songs build deliberately and consistently, amassing music of great detail; exploring their layers is both exciting and infinitely rewarding.
Over the past decade, Tortoise have produced some of the most innovative and influential albums in all of music. From the deep and understated rhythms and tones on their 1996 landmark, Millions Now Living Will Never Die, to the bombastic rock of 2001's Standards, Tortoise have always been ahead of their time. It's All Around You finds Tortoise doing what they do best; building and rebuilding upon melodies and rhythms with their own remarkable touch. A song like "On The Chin," born of a guitar line that Jeff Parker and Doug McCombs wrote, is transformed into a something delicately complex, fiercely catchy, and unmistakably Tortoise.
Contributing to and resulting from Tortoise's diverse musical talents are the multitude of other musical projects that each member pursues. In between the recording of Standards and It's All Around You Tortoise's members have kept extremely busy. John McEntire has recorded/mixed bands such as The Sea and Cake (of which he is also a member), US Maple, Beans, Radian, Chicago Underground, Neil Michael Hagerty, Savath & Savalas, and many others. Future projects include Tuxedomoon, Fred Anderson & Hamid Drake, and Teenage Fanclub. John Herndon made his first solo album as A Grape Dope (Missing Dragons, on Galaxia), recorded with Savath & Savalas, The Aluminum Group, The Eternals, and Beans. John also toured as A Grape Dope, opening for Prefuse73, and playing drums along side Scott and DJ Leb Laze in the P73 live band earlier this year. Doug McCombs released his third Brokeback album (Looks At The Bird, on Thrill Jockey), and played shows with Eleventh Dream Day (of which he is a founding member), and Abeliene. Jeff Parker has played in a large number of jazz and improvising ensembles (alongside players such as Josh Abrams, Guillermo Gregorio, Chad Taylor, Nori Tanaka, Michael Zerang, Kevin Drumm, and others. He released a solo album (Like Coping, on Delmark). He recently recorded with Joshua Redman and Azita, and is writing horn arrangements for the next Aluminum Group album. Dan Bitney has produced a number of "mutant home studio jams" for AV band Spectralina, in which Bitney provides digital musical manipulation and drumming for Selina Trepp's poetic, political, and abstract visuals. In addition to all of this, McEntire and Parker will be contributing short audio pieces to the "1%" project, a permanent sound installation which will be set up in the elevators of the new Paris Ministry for Culture and Communication. McEntire, Herndon and Bitney will be producing an album of original breakbeats, samples, and grooves this winter, intended for DJ and music production use. The group will also be contributing an original track to the upcoming feature film "Moog," a documentary about the life and times of electronic music pioneer Robert Moog.
Thrill Jockey Records
It's All Around You was written largely in the studio, in the midst of recording, over the course of a full year. This allowed Tortoise to use John McEntire's Soma Electronic Music Studios (whose clients include Wilco, Stereolab, and many others) not just as a state-of-the-art recording facility but as a compositional tool as well. It took months of continuous writing, recording, tinkering, mixing, and perfecting to bring It's All Around You to its finalized state. Tortoise are one of the only bands of their size and status who have always produced their own records, and it largely because of this that they are able to achieve and maintain such a distinct and precise sound. The band's extensive knowledge of the studio's equipment allows them to use it for composing, editing, and coloring their compositions. The band are very at home in this environment, and without a restrictive deadline (normally present with hired producers/studios), the band can explore a multitude of approaches. The results of this process are clear in the lush, orchestrated tones, intricate melodies, and densely elaborate rhythms that make It's All Around You Tortoise's most adventurous and thoughtful record to date. These songs build deliberately and consistently, amassing music of great detail; exploring their layers is both exciting and infinitely rewarding.
Over the past decade, Tortoise have produced some of the most innovative and influential albums in all of music. From the deep and understated rhythms and tones on their 1996 landmark, Millions Now Living Will Never Die, to the bombastic rock of 2001's Standards, Tortoise have always been ahead of their time. It's All Around You finds Tortoise doing what they do best; building and rebuilding upon melodies and rhythms with their own remarkable touch. A song like "On The Chin," born of a guitar line that Jeff Parker and Doug McCombs wrote, is transformed into a something delicately complex, fiercely catchy, and unmistakably Tortoise.
Contributing to and resulting from Tortoise's diverse musical talents are the multitude of other musical projects that each member pursues. In between the recording of Standards and It's All Around You Tortoise's members have kept extremely busy. John McEntire has recorded/mixed bands such as The Sea and Cake (of which he is also a member), US Maple, Beans, Radian, Chicago Underground, Neil Michael Hagerty, Savath & Savalas, and many others. Future projects include Tuxedomoon, Fred Anderson & Hamid Drake, and Teenage Fanclub. John Herndon made his first solo album as A Grape Dope (Missing Dragons, on Galaxia), recorded with Savath & Savalas, The Aluminum Group, The Eternals, and Beans. John also toured as A Grape Dope, opening for Prefuse73, and playing drums along side Scott and DJ Leb Laze in the P73 live band earlier this year. Doug McCombs released his third Brokeback album (Looks At The Bird, on Thrill Jockey), and played shows with Eleventh Dream Day (of which he is a founding member), and Abeliene. Jeff Parker has played in a large number of jazz and improvising ensembles (alongside players such as Josh Abrams, Guillermo Gregorio, Chad Taylor, Nori Tanaka, Michael Zerang, Kevin Drumm, and others. He released a solo album (Like Coping, on Delmark). He recently recorded with Joshua Redman and Azita, and is writing horn arrangements for the next Aluminum Group album. Dan Bitney has produced a number of "mutant home studio jams" for AV band Spectralina, in which Bitney provides digital musical manipulation and drumming for Selina Trepp's poetic, political, and abstract visuals. In addition to all of this, McEntire and Parker will be contributing short audio pieces to the "1%" project, a permanent sound installation which will be set up in the elevators of the new Paris Ministry for Culture and Communication. McEntire, Herndon and Bitney will be producing an album of original breakbeats, samples, and grooves this winter, intended for DJ and music production use. The group will also be contributing an original track to the upcoming feature film "Moog," a documentary about the life and times of electronic music pioneer Robert Moog.
Thrill Jockey Records
Discography:
01 - Lonesome Sound EP [1993]
02 - Mosquito EP [1993]
03 - Tortoise [1994]
04 - Rhythms, resolutions and clusters [1995]
05 - Gamera 12'' [1995]
06 - Millions Now Living Will Never Die [1996]
07 - Appears on = Yaus Speedy Car [Stereolab Tortoise] (1996)
08 - The Taut and the Tame - The Luke Vibert Mix Find the One
00 - [Wait, Abstraction No. 3] (1996)
09 - Remixed [1996]
10 - A Digest Compendium of the Tortoise's World [1996]
11 - TNT [1998] (part1/part2)
12 - Tortoise vs. Derrick Carter [1998]
13 - Tortoise vs. Autechre [1998]
14 - Standards [2001]
15 - It's All Around You [2004]
16 - Tortoise and Bonnie 'Prince' Billy - The Brave and the Bold [2006]
17 - A Lazarus Taxon [2006]
Tortoise - Live at Werchter [full set]
jueves, septiembre 25, 2008
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.
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:
- Ted Milton and the Back-To-Normal Orchestra: Nogales
- Ted Milton and Sam Britton (Icarus): Can't Beat Blim
- Blurt: Ted Milton and Steve Beresford: Love is like a violence
- Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): O! Pity Us!
- Ted Milton and the Back-To-Normal Orchestra: She spent a fortune on lipstick on me
- Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): Miles away
- Ted Milton and Herman Martin: Skies are bruised
- Ted Milton and Andreas Gerth (Loopspool): Fragments
- Blurt: Ted Milton and Tam Tam: Thirteen Rules from Composition
- Ted Milton and the Back-To-Normal Orchestra: My North Face
- Ted Milton and Herman Martin: Ode! O! To Be Seen Through Your Eyes!
- Ted Milton and the Back-To-Normal Orchestra: Shard
- Ted Milton and Paddy Steer and Andreas Gerth (Loopspool): Where you end
TED MILTON & SAM BRITTON LIVE AT THE ILLUSEUM
miércoles, septiembre 24, 2008
[Mille Plateaux] In Memoriam Gilles Deleuze (1996)
Gilles Deleuze
Nació en 1925 en París. Entre 1944 y 1948, cursó sus estudios de filosofía en La Sorbona. Algunos de sus profesores fueron Ferdinand Alquié, Georges Canguilhem, Maurice de Gandillac y Jean Hippolyte. Después de finalizar sus estudios en 1948, se consagró a realizar una serie de monografías sobre algunos filósofos (Kant, Spinoza, Nietzsche, Bergson), los cuales, pese a su eminente valor didáctico, contienen las primeras instancias de consolidación de su propio pensamiento.
Este pensamiento se configura plenamente con la publicación de Diferencia y repetición y Lógica del sentido, el primero de 1968 y el segundo de 1969. También en 1969, conoce a Félix Guattari, un psicoanalista heterodoxo, con el cual comenzará una larga y fructífera colaboración, que cristalizará en los dos volúmenes de Capitalismo y esquizofrenia: El Anti-Edipo y Mil mesetas. A raíz de esta colaboración es que aparece la famosa declaración de Deleuze en la que se establece que "Lo que define a un sistema politico es el camino por el que su sociedad ha transitado”.
Además de sus obras de relectura del trabajo de otros filósofos, Deleuze escribió también sobre escritores (Kafka, Alfred Jarry, Proust, Sacher-Masoch) y sobre cine. Gilles Deleuze se retirará de la vida universitaria en 1987. [1]
«Un día, el siglo será deleuziano», fue la expresión de Michel Foucault en relación a un filósofo que marcó profundamente el pensamiento de la segunda mitad del siglo XX. «La filosofía es el arte de formar, de inventar, de fabricar los conceptos», dirá el propio Deleuze en Qu'est-ce que la philosophie ? (¿Qué es la filosofía?).
En sus últimos años de vida, Deleuze sufrió de una grave insuficiencia respiratoria. Se quitó la vida el 4 de noviembre de 1995 lanzándose al vacío por una ventana de su apartamento en la Avenue Niel. Se le considera también un filósofo anarquista, pero es evidente que la potencia creativa de su pensamiento, siempre plural y singular, no permite clasificar a Deleuze dentro de ninguna de las corrientes filosóficas que lo precedieron.[cita requerida] Uno de los conceptos creados por este filósofo es el de ritornelo; desarrollado en el libro Mil Mesetas junto con Félix Guattari.
Nació en 1925 en París. Entre 1944 y 1948, cursó sus estudios de filosofía en La Sorbona. Algunos de sus profesores fueron Ferdinand Alquié, Georges Canguilhem, Maurice de Gandillac y Jean Hippolyte. Después de finalizar sus estudios en 1948, se consagró a realizar una serie de monografías sobre algunos filósofos (Kant, Spinoza, Nietzsche, Bergson), los cuales, pese a su eminente valor didáctico, contienen las primeras instancias de consolidación de su propio pensamiento.
Este pensamiento se configura plenamente con la publicación de Diferencia y repetición y Lógica del sentido, el primero de 1968 y el segundo de 1969. También en 1969, conoce a Félix Guattari, un psicoanalista heterodoxo, con el cual comenzará una larga y fructífera colaboración, que cristalizará en los dos volúmenes de Capitalismo y esquizofrenia: El Anti-Edipo y Mil mesetas. A raíz de esta colaboración es que aparece la famosa declaración de Deleuze en la que se establece que "Lo que define a un sistema politico es el camino por el que su sociedad ha transitado”.
Además de sus obras de relectura del trabajo de otros filósofos, Deleuze escribió también sobre escritores (Kafka, Alfred Jarry, Proust, Sacher-Masoch) y sobre cine. Gilles Deleuze se retirará de la vida universitaria en 1987. [1]
«Un día, el siglo será deleuziano», fue la expresión de Michel Foucault en relación a un filósofo que marcó profundamente el pensamiento de la segunda mitad del siglo XX. «La filosofía es el arte de formar, de inventar, de fabricar los conceptos», dirá el propio Deleuze en Qu'est-ce que la philosophie ? (¿Qué es la filosofía?).
En sus últimos años de vida, Deleuze sufrió de una grave insuficiencia respiratoria. Se quitó la vida el 4 de noviembre de 1995 lanzándose al vacío por una ventana de su apartamento en la Avenue Niel. Se le considera también un filósofo anarquista, pero es evidente que la potencia creativa de su pensamiento, siempre plural y singular, no permite clasificar a Deleuze dentro de ninguna de las corrientes filosóficas que lo precedieron.[cita requerida] Uno de los conceptos creados por este filósofo es el de ritornelo; desarrollado en el libro Mil Mesetas junto con Félix Guattari.
La anarquía y la unidad son una sola y misma cosa, no la unidad de lo Uno, sino una más extraña unidad que sólo se reclama de lo múltiple.
Gilles Deleuze, Mil mesetas
Gilles Deleuze, Mil mesetas
"Sociedades de control y sociedades disciplinarias"
Las sociedades disciplinarias según Deleuze, sufren una crisis en beneficio de nuevas fuerzas que se irán instalando lentamente. Son las sociedades de control las que están reemplazando a las sociedades disciplinarias.
Las viejas sociedades de soberanía manejaban máquinas simples; pero las sociedades disciplinarias se equipan con máquinas energéticas. Las sociedades de control operan sobre máquinas de tercer tipo, máquinas informáticas. Es una evolución tecnológica, una mutación del capitalismo bien conocida que puede resumirse así: en la situación actual, el capitalismo ya no se basa en la producción, que relega frecuentemente a la periferia del tercer mundo. Es un capitalismo de superproducción. Ya no compra materias primas y vende productos terminados: compra productos terminados o monta piezas. Lo que quiere vender son servicios y lo que se quiere comprar son acciones.
<<Es sencillo buscar correspondencias entre tipos de sociedad y tipos de máquinas, no porque las máquinas sean determinantes, sino porque expresan las formaciones sociales que las han originado y que las utilizan. Las antiguas sociedades de soberanía operaban con máquinas simples, palancas, poleas, relojes; las sociedades disciplinarias posteriores se equiparon con máquinas energéticas, con el riesgo pasivo de la entropía y el riesgo activo del sabotaje; las sociedades de control actúan mediante máquinas de un tercer tipo, máquinas informáticas y ordenadores cuyo riesgo pasivo son las interferencias y cuyo riesgo activo son la piratería y la inoculación de virus. No es solamente una evolución tecnológica, es una profunda mutación del capitalismo.>>
Deleuze, Gilles. Post-scriptum sobre las sociedades del control
wikipedia.
Tracklisting:
1-01 Gilles Deleuze Untitled(Words By Gilles Deleuze) (0:38)
1-02 Achim Wollscheid & Wehovsky Happy Deterritorializations (4:15)
1-03 :Zoviet*France: On The Edge Of A Grain Of Salt (9:04)
1-04 Alec Empire Bon Voyage (5:25)
1-05 Cristian Vogel Gigantic Tautological Machinery (7:02)
1-06 Christophe Charles Undirections/Continuum (9:38)
1-07 Atom Heart Abstract Miniatures In Memoriam Gilles Deleuze (3:43)
1-08 Gas Heller (7:36)
1-09 Chris & Cosey Intro-Spektiv (5:05)
1-10 J. Burger Wunschmaschinenpark (3:53)
1-11 Steel Death Is The Beginning (5:04)
1-12 Blue Byte C'ant Be Still (6:11)
1-13 Trans Am Starjammer (4:07)
1-14 Rome Intermodal (3:41)
2-01 Jim O'Rourke As In (8:57)
2-02 Oval You Are Here 0.9B (2:51)
2-03 Mouse On Mars 1001 (7:11)
2-04 Ian Pooley Vital One (3:28)
2-05 Bleed Patent (6:55)
2-06 Tobias Hazan Queria For Gilles Deleuze (2:57)
2-07 Scanner Without End (7:04)
2-08 DJ Spooky That Subliminal Kid Invisual Ocean (6:48)
2-09 Fetisch Park Gradation D'Humour (5:53)
2-10 Dü Straobeik (4:27)
2-11 Kerosene And Line (3:11)
2-12 El Turco Loco The Garantor (6:29)
2-13 Beequeen Layered Layers (6:55)
extrait d'un cours de Deleuze à Vincennes
viernes, septiembre 12, 2008
Bakunin's Bum: Fight To Win! A Benefit CD for OCAP Ontario Coalition Against Poverty [2001]
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?.
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)
(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.
Norman Nawrocki - 25 Aprile 2008
jueves, septiembre 11, 2008
Shalabi Effect
If only they were detonating atmospheric walls that between cross his sound by means of two opposite poles protected by the history of the humanity, it is when the fingerprint of the time leaves brands where to advance and to continue, the tonality of the wood that with work appears with beauty emerges, if only you were finding the way of moving away to listen, the echo that supports the natural secrets of the universe returns to be authentic and democratic, is the shade in the roof, it is the flight again, but she undresses the woman at a height of the stellar hills captivates the sense as these auditory instants to remember, gives drafts for your home(fireplace) subjective construction and jumps in the pasture or mud for mutant your feet in wind, wind that escapes without address trying to be God, to have the value and the force of giving it what him belongs, absolutely everything what exists inside the small room of the life, now your she writes, now I am an entity that supports experiments, Shalabi sounds, for routes of the didactic light.
Si tan solo se detonaran paredes atmosféricas que entre cruzan su sonido por medio de dos polos opuestos resguardados por la historia de la humanidad, es cuando la huella del tiempo deja marcas por donde avanzar y seguir, la tonalidad de la madera que con trabajo se muestra con belleza emerge, si tan solo usted encontrara la manera de alejarse para escuchar, el eco que mantiene los secretos naturales del universo vuelve a ser autentico y democrático, es la sombra en el techo, es el vuelo otra vez, pero desnuda la mujer a la altura de los cerros estelares cautiva el sentido al igual que estos instantes auditivos para recordar, da giros por tu hogar construcción subjetiva y salta en el pasto o barro para trasformar tus pies en viento, viento que se escapa sin dirección pretendiendo ser Dios, para tener el valor y la fuerza de darle a ella lo que le pertenece, absolutamente todo lo que existe dentro de la pequeña habitación de la vida, ahora tu escribe, ahora soy un ente que mantiene experimentos, suena Shalabi, por vías de la luz didáctica.
Si tan solo se detonaran paredes atmosféricas que entre cruzan su sonido por medio de dos polos opuestos resguardados por la historia de la humanidad, es cuando la huella del tiempo deja marcas por donde avanzar y seguir, la tonalidad de la madera que con trabajo se muestra con belleza emerge, si tan solo usted encontrara la manera de alejarse para escuchar, el eco que mantiene los secretos naturales del universo vuelve a ser autentico y democrático, es la sombra en el techo, es el vuelo otra vez, pero desnuda la mujer a la altura de los cerros estelares cautiva el sentido al igual que estos instantes auditivos para recordar, da giros por tu hogar construcción subjetiva y salta en el pasto o barro para trasformar tus pies en viento, viento que se escapa sin dirección pretendiendo ser Dios, para tener el valor y la fuerza de darle a ella lo que le pertenece, absolutamente todo lo que existe dentro de la pequeña habitación de la vida, ahora tu escribe, ahora soy un ente que mantiene experimentos, suena Shalabi, por vías de la luz didáctica.
Originally slated for release as the flip side of a split cd/lp with godspeed you black emperor! entitled Aural Florida, this release just kept growing and growing. Now finally finished and ready to go, the Shalabi Effect present their debut with a staggering 131 minute psychedelic blow out!
On this debut double CD somewhere in the vicinity of forty instruments have made their way onto the recordings. It is very difficult to describe Shalabi Effect, because the sound is varied and changing so frequently, but we can definitely trace influences of AMM, Organum, and Pink Floyd, and psychedelic music. In terms of Psych, we are talking about the brand perfected by the likes of Acid Mothers Temple, No Neck Blues Band and Ghost, as well as more pioneering projects such as Amon Duul, Popul Vuh and the Taj Mahal Travellers.
Anthony Seck, Sam Shalabi, Alexandre St-Onge and Will Eizlini are joined by various guests, including members of Godspeed You Black Emperor! and Strawberry, filling in on violin, vocals, Tibetan bowls and sax. Together they blend middle eastern influenced folk with spacey electronics and really beautiful trippy guitars. The overall experience is incredible; sounds and styles change drastically and seamlessly, bringing you to a new place with each new movement. Shalabi Effect went all out, spending nearly a month in the studio recordings and mastering on 1/2 tape to capture the warmth of the music. We thought they were kidding when they said they were setting out to create the ultimate drug record. Now we know that they were serious. The first of the two discs opens up with a beautiful display of early electronic drones, Muslimgauze styled tablas, Oud, guitar, scraped metal and bowed instruments. The sound is so incredibly rich and organic, you could swear this was recorded somewhere beautiful outdoors.
Aside from the Shalabi Effect, Sam Shalabi either anchors or at least plays in the following projects: a trio with David Kristian and Alexandre St-Onge, and more… Shalabi’s free jazz duo Detention performed at this years Festival International de Musique Actuelle de Victoriaville and he immediately returned to Montreal the following day to perform with Kevin Drumm and Pillow, as member of Molasses. Anthony is the other driving force in the project and is a film maker and video producer.
Shalabi Effect are one of the most important projects in the Montreal underground for the sole reason that it is Sam Shalabi’s main project. During the last few years Alien8 Recordings have been setting up challenging evenings of live music at a loft space run by GYBE!, the Hotel 2 Tango, as well as at other spaces. During that time only David Kristian comes close to having played in as many live scenarios as Sam Shalabi. We have had Shalabi Effect perform with the likes of Aube, Kevin Drumm, Pillow, Fly Pan Am, Godspeed You Black Emperor!, Government Alpha, David Kristian, Sabir Mateen, Loren Mazzacane Connors, M.S.B.R., No Neck Blues Band, Pillow, Royal Trux and Martin Tétreault. Occasionally Shalabi will even book his own shows, including gigs with Tim Berne and Brandon Labelle. We are very happy to finally be able to share the music of the Shalabi Effect with people outside of the Montreal underground.
Shalabi Effect - On the Bowery
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