Fun Stuff > BAND
The "wink wink" Thread 2010: This Time It's Personal
gospel:
Technically speaking, thank you for the upload.
scarred:
whoa cloud control is great, hadn't given 'em a listen before now. nice one.
Scandanavian War Machine:
Thanks, Tom!
So, I listened to Bliss Release a couple more times and it's really really good. At first I was all "eh, it's good, but not great like their first one" but now I'm pretty hyped on it. That Gold Canary song is frickin awesome.
TheFuriousWombat:
Originally posted on my blog, too good not to share here too:
Glenn Branca - Symphony No. 13: Hallucination City (for 100 guitarists)
--- Quote from: Hollowpress.blogspot.com ---OK, so this is fucking cool. What we have here is a rare live recording of Glenn Branca's "Symphony No. 13 Hallucination City" from its debut performance in New York City on June 13, 2001. "Hallucination City" is a piece for 100 guitars and percussion. Branca, known for his avant-garde tendencies, heavy use of repetition and droning alternative tunings, is in top form here. The piece is absolutely massive, a pummeling, chaotic, overwhelming avalanche of sound. It's like climbing into a jet engine at full rev, an almost unhealthy dose of noise. But it's also meticulously organized and structured. No random, improvisational noodlings here. The entire piece is "double-strummed" by all 100 guitarists (technically 80 guitarists and 20 bassists), a technique similar to playing tremolo but the notes themselves proceed fairly slowly. So many instruments are creating so much noise that phantom notes seem to emerge and hover when played at very high volumes (and really there's no other way to listen to this. Crank up your stereo as loud as it can go for the full experience, even if you can only stand it for a couple of minutes). The sound is built into towering walls but there are distinguishable movements as well. Pianissimo, piano, mezzo, and forte dynamics shift seamlessly into one another, propelled by brilliant, relentless drumming, a galloping clatter that swings from beneath the chaos and keeps the guitar noise from spilling out into some unbound entity. Imagine Godspeed You! Black Emperor at their most cathartically unhinged and extend it over a full 60 minutes and you'll start to get an idea of what this monster is like.
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The link here is for the entire, one hour long performance. Not sure who took the recording but it sounds incredibly rich and alive. Surely it's nothing like experiencing this behemoth of a composition first hand but it's the next best thing.
http:/
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KvP:
Oh hello again, rips.
Jamie Woon - Night Air
The A-side is produced by Burial, and it sounds a bit like Pantha Du Prince at his most lush. The remix is typical Ramadanman, which is to say it's great.
--- Quote ---Jamie Woon heralds a forthcoming debut album with the yearning soul of 'Night Air' featuring production from a certain Will Bevan and backed with a remix from Ramadanman. Since his first single in 2006, Jamie's talent has been in gestation, and now following tour support dates with La Roux and guest vocals for Subeena and Débruit among others, he's ready for mass adulation. 'Night Air' showcases his melancholy yet passionate identity in all it's glory, setting succinct lyrics to a minimal backing track embellished with additional production from Will Bevan, and those of you with sharpened senses will know exactly who that is. On the flip, an incredibly adroit remix from Ramadanman tailors cherry-picked passages to a beatdown UK House rhythm showing David Kennedy's aptitude for just about anything he turns his hand to these days. 1000 copies only, no re-presses.
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Carlos Giffoni / Keith Fullerton Whitman - Techno / 070207
Picked this up because I'm obsessed with all things KFW. This is really out there - if you don't like experimental synth music you're probably not going to get much out of it. But these guys are the best at what they do.
--- Quote from: Boomkat ---Limited to a mere 400 copies and housed in Maya Miller artwork, this marvellous new split LP from two of American electronic music's finest minds is one to be snapped up promptly. Both artists are at their very best here, working with elemental electronic signals as their starting points: on Giffoni's side, the tantalisingly titled 'Techno' starts off with a procession of bloopy tones that morph and fatten up in no time, acquiring satellite bleeps and eventually more aggressive, dissonant tones that screech around the mix. Its detuned, plodding pace lends a touch of irony to the piece's billing, but actually, the repetitious electronic purity of the thing means it does have the feel of techno gone right back-to-basics; if they played this stuff in clubs though, only Giffoni and Florian Hecker would ever bother showing up. Bringing a touch more subtlety, nuance and academic rigour to proceedings is the always-wonderful keith Fullerton Whitman, whose offering, '070207' opens with a succession of stammering blips that's far more locked into the traditions of the great tape compositions of the 20th century. The density of these tone clusters increases as the piece goes on and thanks to some concrète interventions the production swells with a real sense of spatial awareness, and is leant a kind of three-dimensional quality. As is often the case with Whitman's music this is a grand day out for the ears, and if you hadn't known when or where this came from it would have been easy to have mistaken the composition for something straight out of the Groupe de Recherches Musicales archives. Get one while you can...
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