Fun Stuff > BAND
Wink Wink 2011 - A bit of a change this year
TheFuriousWombat:
Latest post from me blag, hollowpress.blogpot.com
Ernst Karel - Swiss Mountain Transport Systems (Gruenrekorder)
]Many of us live in a state of near constant self-imposed sonic stimulation. We are forever talking on cellphones or listening to ipods, rushing from place to place with music and podcasts and satellite radio and videos streaming on our tablets. Meanwhile the world goes on around us. The irony of this is if one knows how to listen to the world - the real world - one can often find a soundtrack equally rich and stimulating and beautiful to anything we can think to cram onto our mp3 players. Ernst Karel - a sound artist and musician from Chicago - demonstrates this truth with jaw dropping aplomb on his latest release, "Swiss Mountain Transport System." The title of this album says it all. At close to 80 minutes in length, Karel offers his listeners a number of unprocessed field recordings taken on various gondolas, funiculars, and chairlifts in the mountains of Switzerland - from ancient, creaking gondolas to whirring, highspeed chairlifts. That's it. No instruments, no electronic processing, no synthesizers or oscillators or guitar feedback. And yet, despite that, Karel has created one of the most gorgeous, engaging, and fascinating albums of the year. It also happens to work almost perfectly as a drone or minimalist noise album. Through Karel's carefully positioned microphones, these means of mountain conveyance can be heard as accidental electro-mechanical music boxes, an entire world of sound contained in each car. They drone, they are percussive, they amplify and refract and echo and encase sound. Wires ring and reverberate, gears rumble and click, doors creak and whoosh. The mechanical and industrial intersects with other elements of the world - murmured voices across platforms, a peal of church bells off in the distance, a clang of cow bells, a clattering of helicopter rotors, frigid gusts of wind.
As Karel captures it, these unprocessed, unorchestrated sounds - largely mechanical and man-made but nonetheless "organic" in that they belong firmly to a lived environment, integrated in with the natural, and are not created as an end in themselves as with music or intentionally crafted sounds but rather exist as a part of the man/nature soundscape that is a byproduct of a world inhabited by living beings - are immensely affective and evocative. For an album that seems to be about movement, about traversing space, these recordings are incredibly successful not because they are beautiful - though they absolutely are - but because they evoke the mountains and they evoke transportation through that rugged terrain in a remarkably lucid way.
Recorded in stereo with multiple mics, this album truly comes to life when heard through a decent set of headphones. The sound envelopes the listener and we are whisked away through the Alps as Karel's recordings convey with remarkable clarity a sense of distance, of movement, of sound as it's really heard, in the real world. A collection of pure field recordings, it is perhaps ironic that in order to hear - as Karel has captured it - not only the utter beauty in the perpetual sonic landscape that surrounds us but also its incredible, inherent musicality that we must sit and listen closely, headphones firmly donned, without distraction. But one of the things that's so special about this album is that once you listen to it in this way, once you recognize the richness and depth of the world of sound that exists outside our headphones and in the most unexpected of places (we don't think of funiculars and gondolas as being all that interesting as such), it's possible to start discovering similar depth in places one experiences daily and simply never pauses to think about twice. As with all important and truly successful art, "Swiss Mountain Transport System" can radically alter the way one perceives the world.
Be warned: this album requires a good deal of patience. Many will find it boring but for those really willing to sit with it, its rewards continue to unfold listen after listen. It's refreshingly direct - a rarity in our world of ultra-processed music - and restrained, elegant and as simple as can be. At the same time, it's deeper and more nuanced than pretty much anything I've heard in a long while. A completely essential listen, one I cannot recommend highly enough.
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pwhodges:
FREE JAZZ
Cecil Taylor is credited by some with being the inventor of free jazz, in 1957; certainly he was a major pioneer. In 1990 he was recorded over a number of nights in London, playing with bassist William Parker and percussionist Tony Oxley, a grouping called the Cecil Taylor Feel Trio. This limited edition 10-CD box set was the result.
Cecil Taylor Feel Trio - 2 Ts for a lovely T
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Disks 3 & 4: http://www.M/F.com/?dzu5dtap8adubjj
Disks 5 & 6: http://www.M/F.com/?bf3394w4sz4v36n
Disks 7 & 8: http://www.M/F.com/?g0hndpl863gh6e0
Disks 9 & 10: http://www.mediafire.com/?nu1yy1hcqv4v1ru
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(Yes, most of the disks really are just a single ~40min track - I wasn't being lazy!)
--- Quote ---This is where Cecil Taylor wound up over 30 years after the At Newport recording. He is playing here with a British virtuoso free-improviser and new-music percussionist with a rich jazz history (Tony Oxley), and the stormily formidable American bassist William Parker in an uncompromising spontaneous trio. These ten discs were recorded over a week of shows in London in 1990, and they are neither for the faint-hearted, nor the faintly-resourced: this classy collector's piece will set you back £115, so you've got to be pretty enthusiastic about the later career path of an idiosyncratic colossus of modern piano music and his unflinching indifference to popular tastes or prevailing cultural winds of any kind.
These sessions reveal the high-pressure intricacies of a Taylor improvisation with remarkable clarity. Oxley's flickering, clickety figures, tiny ringing sounds, tabla-like sonorities and shimmering splashes complement Parker's thick, pliable sound and impulsive ingenuity, and Taylor's headlong runs and fierce density are beautifully caught by the recording - it's like having a grand piano in your room, particularly with the muscularity of the instrument's bass register.
The transparency of the sound enhances the differences of intensity and shape across these shows, though the set is intentionally a chronicle of the way a brilliant free-improvising ensemble works over a sustained period, rather than the interpretation of a repertoire. A very specialised item, certainly, but for Taylor disciples, and the more generally musically curious, it is breathtaking.
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--- Quote ---Just as Taylor's first conceptual leaps in the '50s were documented within the context of his working quartet, the advent of the elements now in the foreground of Taylor's music were first articulated with the Feel Trio. In each set of the '90 London club stand preserved on 2 Ts for a Lovely T, the trio achieves a gyroscopic fluidity crucial to Taylor's arch concept of unfolding form. Both Parker and Oxley innately follow the advice Taylor gave Sunny Murray 40 years ago: just keep playing. To a remarkable degree, Parker does so by relatively conventional means: lines built with equally valued notes, vamps, antiphonal figures. Oxley is the polar opposite, but with roughly the same results as Parker: both provide Taylor the means to be his most mercurial. Yet the three remain mutually supported as a result.
For each performance, Taylor introduces a wealth of new materials, emphasizing a collection of pitch relationships and rhythm cells that set this music apart from his '80s work. Still, Taylor tends to quickly hit a seemingly unsustainable level of intensity and speed for staggering lengths of time, attacking the materials from all angles, pulling them apart and putting them back together in new proportions. The other absorbing aspect of 2 Ts for a Lovely T is to hear Taylor suddenly dive deep into his singular lexicon, plunging into jabbing bluesy runs that would not be out of place on his Candid releases, or the type of explosive clusters that made his Shandar albums such compelling listening. Amazingly, these things occur sometimes with the speed of a sonar ping, and they last no longer than it takes Taylor to take a reading and accelerate in a new direction. Subsequently, the workings of Taylor's music become more familiar with each disc, but not at the expense of its power to thrill or even unsettle the listener.
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Rubin:
Alright. It's been a long time since I've been active here. But I thought I'd get my self together and share some danish music with you guys.
When Saints Go Machine - Konkylie
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Cut from the same cloth as How To Dress Well, James Blake and Hercules and Love Affair.
Smooth electronic sounds, neosouly voice. And older than both James Blake and HTDW.
Here is a small part of the very long review at The Line Of Best Fit
--- Quote ---The album opens with the title track, which instantly sets the tone for what’s about to be uncovered on this album. The melody is provided by a muted synth, as a fairly complex vocal takes the centre stage. The track eventually develops into a building vocal and tonal exploration, with sampled vocals creating the musical backdrop and haunting tone of the song before leading into the second track.
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Here is a the video for Church and Law
If you like it, buy on iTunes
medicatesleep:
--- Quote from: justduat on 11 Aug 2011, 16:25 ---Seaweed - Service Deck/The Weight 7" (2011)
--- Quote ---Hailing from Tacoma, Washington, Seaweed was one of those 1990s bands that combined elements of driving punk and rock sound with emotional vocals and catchy melodies. They wer hardcore scene, with contemporaries such as Samiam, Jawbreaker, and tourmates Superchunk and Quicksand. Live, Seaweed were a full-on rock experience, a bouncing, bounding post-hardcore rock outfit who combined double fast melodic punk with crunching guitars.
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It's been 10+ years since they put out a proper release.
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- me listening to this
That was really fun thank you for posting this :lol:
valley_parade:
Heyyyyy it's that guy from Pinback because haha, a new Pinback album? Nah.
Rob Crow - He Thinks He's People
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