Fun Stuff > BAND
The "wink wink" Thread 2010: This Time It's Personal
TheFuriousWombat:
A night of experimental music, live @ Bard Hall 10/30/2010
--- Quote from: Hollowpress.blogspot.com ---What we have here today is an extremely rare live recording, one you certainly will not find anywhere else. Three sets, two very brief and one rather long, recorded live at a pre-Halloween show in Bard Hall at Bard College in front of a crowd of about twenty.
The first set is a solo piece by Colin White using amplified metal, tape, and feedback. Warm, humming feedback washes over piercing squeaks and rough, buzzing reverberation as white noise wavers and builds over rhythmic metallic clanking and lowing reverb. A perfect pre-Halloween set, this sounds like some surrealist horror soundtrack.
Next is Michael Foster on saxophone and occasionally gasping, wordless vocals, and Leila Bordreuil on cello. The two instruments dance in and out of one another, sometime complementing each other in an offkilter kind of harmony, other times dueling and spinning off in contrary directions. There are moments of furious build and manic intensity and others of slow, minimal meandering. Fans of the previous post on this blog will find more to love here as this delves into the realm of frenetic free jazz and even swings, in a delightfully surprsisng take, into traditional jazz for a moment. A very cool and altogether too short piece.
The concert ends with a trio of amazing musicians: The great Greg kelley on trumpet, Vic Rawlings on prepared cello and electronics, and Ryan Jewell on percussion and various strange noise producing implements. Clocking in at over half an hour, this was an incredible set. Imagine a field recording from inside some alien, wheezing, decaying factory and you'll start to get a feel for what this piece sounds like. Kelley uses a damper and a small, thin sheet of metal to emit from his trumpet a rattling hum or plays with the mouthpiece removed to create a breathy, moaning gasp. Jewell uses an oyster fork and a piece of Plexiglas placed flush upon the cloth covered and contact miced surface of a snare drum to create a sharp, piercing squeak, places a long metal tine vertically against the same drum and rubs it rhythmically to create a wavering reverberation, and swings a heavily rosined bow through the air in a dense whoosh. The prepared cello of Rawlings buzzes strangely in the background and his electronics build a underlying haze of crumbling static and machinelike rumblings. Other sounds abound: Strange gasps like steam valves venting air, distant hums like generators quietly chugging away, gravely rattles like cogs spinning, hollow clanks like pipes faintly rattling. One feels as though one has found one's way into the belly of some strange machine. It's an incredibly minimal piece but it's eerie and bizarre and really wonderful, especially considering the acoustic nature of most of the sounds which somehow sound so unnatural (in the best possible way).
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mb7654:
--- Quote from: TheFuriousWombat on 03 Nov 2010, 14:20 ---A night of experimental music, live @ Bard Hall 10/30/2010
--- Quote from: Hollowpress.blogspot.com ---What we have here today is an extremely rare live recording, one you certainly will not find anywhere else. Three sets, two very brief and one rather long, recorded live at a pre-Halloween show in Bard Hall at Bard College in front of a crowd of about twenty.
The first set is a solo piece by Colin White using amplified metal, tape, and feedback. Warm, humming feedback washes over piercing squeaks and rough, buzzing reverberation as white noise wavers and builds over rhythmic metallic clanking and lowing reverb. A perfect pre-Halloween set, this sounds like some surrealist horror soundtrack.
Next is Michael Foster on saxophone and occasionally gasping, wordless vocals, and Leila Bordreuil on cello. The two instruments dance in and out of one another, sometime complementing each other in an offkilter kind of harmony, other times dueling and spinning off in contrary directions. There are moments of furious build and manic intensity and others of slow, minimal meandering. Fans of the previous post on this blog will find more to love here as this delves into the realm of frenetic free jazz and even swings, in a delightfully surprsisng take, into traditional jazz for a moment. A very cool and altogether too short piece.
The concert ends with a trio of amazing musicians: The great Greg kelley on trumpet, Vic Rawlings on prepared cello and electronics, and Ryan Jewell on percussion and various strange noise producing implements. Clocking in at over half an hour, this was an incredible set. Imagine a field recording from inside some alien, wheezing, decaying factory and you'll start to get a feel for what this piece sounds like. Kelley uses a damper and a small, thin sheet of metal to emit from his trumpet a rattling hum or plays with the mouthpiece removed to create a breathy, moaning gasp. Jewell uses an oyster fork and a piece of Plexiglas placed flush upon the cloth covered and contact miced surface of a snare drum to create a sharp, piercing squeak, places a long metal tine vertically against the same drum and rubs it rhythmically to create a wavering reverberation, and swings a heavily rosined bow through the air in a dense whoosh. The prepared cello of Rawlings buzzes strangely in the background and his electronics build a underlying haze of crumbling static and machinelike rumblings. Other sounds abound: Strange gasps like steam valves venting air, distant hums like generators quietly chugging away, gravely rattles like cogs spinning, hollow clanks like pipes faintly rattling. One feels as though one has found one's way into the belly of some strange machine. It's an incredibly minimal piece but it's eerie and bizarre and really wonderful, especially considering the acoustic nature of most of the sounds which somehow sound so unnatural (in the best possible way).
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wtf I go to Bard, how did I not hear about this? Also, I presume you also go to Bard?
(long time lurker, had to register to say this so I guess I'll see about posting some things eventually.
TheFuriousWombat:
I do go to Bard and I'm sorry you didn't hear about it! It was really badly publicized, not even sure how I found out about it. Thurston Moore is playing in the chapel on the 11th so don't miss that
aflowerchild:
Blink 182-Enema of the State
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KvP:
suck my diccccccccccccccccccccccccccccccccck
The 1900s - Return of the Century
--- Quote from: The AV Club ---Over the course of its first two EPs and LP, Chicago indie-pop band The 1900s developed an expansive, heavily orchestrated sound, informed equally by sunny ’60s singles, moody ’70s country-rock, and modern DIY. For the band’s second album, Return Of The Century, it’s shed some members and scaled back the arrangements, while applying some radio-ready sheen. Though The 1900s claim that Return Of The Century is a concept album about a subterranean cult—and though the songs are as structurally complicated as ever—the immediate impression the record gives off is of tight harmonies and hands clapping in unison over sweet strings and jangly guitars. This is bright, upbeat music; even the me-first anthem “Lay A Ghost” has such a snappy beat and ingratiating melody that it generates goodwill. Is the next great pop song on here? Not exactly. Like a lot of these polished indie albums, Return Of The Century is more about the overall vibe than distinct, individual highs. But “Bmore” and “Babies” are remarkable for the way they start with strong melodies and then take unexpected turns, spinning off little crystalline designs, just for the beauty of it. Grade: B+
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