Eai: lo stato dell'arte
#101
Inviato 08 ottobre 2013 - 13:13
#102
Inviato 08 ottobre 2013 - 20:48
Facciamo finta che uno non abbia mai sentito nulla di Lescalleet, da dove inizia?
#104
Inviato 09 ottobre 2013 - 07:43
Song about Nothing è dell'anno scorso e in giro fu parecchio osannato, per me buono ma vale meno dei sopraddetti, e forse anche meno delle cose con Lambkin.
#105
Inviato 09 ottobre 2013 - 20:21
Ho visto sì che c'è roba coi Nmperign e con Kelley. Pure uno con Dilloway che so già che finirò ad ascoltare subitissimo.
#106
Inviato 10 ottobre 2013 - 19:53
#107
Inviato 10 ottobre 2013 - 20:39
Domanda: la citazione del classico dei Big Black ha qualcosa a che vedere con il titolo di Kid606 (Songs About Fucking Steve Albini) o è solo una coincidenza?
Minä sain sanan Herralta: laita huoneesi kuntoon sillä pian sinä kuolet
#108
Inviato 10 ottobre 2013 - 20:52
Domanda: la citazione del classico dei Big Black ha qualcosa a che vedere con il titolo di Kid606 (Songs About Fucking Steve Albini) o è solo una coincidenza?
La storia ci insegna che una "parodia" tira l'altra. Non c'entrano l'una con l'altra ma non sono nemmeno una coincidenza: si susseguono.
I have spoken softly, gone my ways softly, all my days, as behoves one who has nothing to say, nowhere to go, and so nothing to gain by being seen or heard.
(Samuel Beckett, “Malone Dies”)
#109
Inviato 11 ottobre 2013 - 10:45
l'ho ascoltato anch'io in questi giorni per la prima volta, tutto giusto e bello quello che dici. l'ho gia' ascoltato quattro volte, ogni volta un'esperienza. cose con cui crescere i propri bambini.Molto bene The Pilgrim. Non so perché ma me lo aspettavo diverso, o più cerebrare (pause, silenzi, ecc) o più noise (tipo Prurient seconda maniera), invece mi sono trovato un album di accesso piuttosto semplice e che mi ha calato da subito nel mood triste anche senza sapere la storia del padre e della sua morte (la pioggia e le campane all'inizio sono piuttosto chiare). Bellissimo quando prende corpo verso metà e fenomenale quando parte l'impennata noise finale.
#110
Inviato 11 ottobre 2013 - 14:26
http://www.google.it...ved=0CDwQ9QEwAw
in effetti come dice Starmy è un disco abbastanza accessibile, dato che la formula è quella del drone infinito, giocato su toni cupi però malinconici e non claustrofobici come Lescalleet faceva in passato, mentre oggi - con lavori tipo Songs about Nothing - si è dato a materiale più ostici e frammentari, molto ricchi ma anche difficili da inquadrare in senso compiuto.
#111
Inviato 12 ottobre 2013 - 16:19
A sto punto sono curioso di sentire quello coi Nmperign.
#112
Inviato 08 novembre 2013 - 19:12
#113
Inviato 11 novembre 2013 - 14:02
John Butcher, Thomas Lehn, John Tilbury – Exta (Fataka, 2013, limited edition)
Sax, synth vari e piano.
Butcher soffia con le tecniche strane diffuse dall'esercito onkyo e da Sciarrino; Tilbury va col solito stile distaccato che lo fa figlio di Feldman (del quale ha eseguito l'intero repertorio pianistico); Lehn colma i vuoti con scariche a basso voltaggio, molto garbato devo dire. Tutti bravi, verrebbe da dire che poteva durare un pelo di meno ma nell'impro è una bestemmia, quindi va bene così.
I have spoken softly, gone my ways softly, all my days, as behoves one who has nothing to say, nowhere to go, and so nothing to gain by being seen or heard.
(Samuel Beckett, “Malone Dies”)
#114
Inviato 16 novembre 2013 - 00:28
taku unami, moe kamura & tetuzi akiyama - ホンタテドリ [hontatedori]
dunque, sono passati solo tre mesi; *coff coff* chi lo vuole alzi la mano.
#116
Inviato 18 novembre 2013 - 10:31
#117
Inviato 29 novembre 2013 - 14:48
E un passo di quella danza era costituito dal tocco più leggero che si potesse immaginare sull'interruttore, quel tanto che bastava a cambiare...
... adesso
e la sua voce il grido di un uccello
sconosciuto,
3Jane che rispondeva con una canzone, tre
note, alte e pure.
Un vero nome.
#118
Inviato 04 dicembre 2013 - 13:30
- haco / toshiya tsunoda - tramvibration
- taku sugimoto & moe kamura – live in saritote
#119
Inviato 04 dicembre 2013 - 14:45
#120
Inviato 14 dicembre 2013 - 16:12
#124
Inviato 20 gennaio 2014 - 13:03
graham lambkin / jason lescalleet - photographs
ultimamente l'ho ascoltato molto e molto mi piace. mi piace perche' quello che mi arriva non e' il risultato finale di per se' (sotto forma di registrazione), ma il viaggio che hanno fatto come esseri che si muovono nello spazio e nel tempo, tornando nei loro luoghi d'origine, la parte importante e' il percorso blabla. e' un caso in cui il suono non si fa notare in senso stretto (come idealmente ogni cosa fatta bene) per dare spazio a tutto quello che ha portato alla sua registrazione, e infine quello che arriva e' tanto.
#125
Inviato 22 gennaio 2014 - 15:56
#126
Inviato 28 gennaio 2014 - 20:12
adesso vediamo di farlo circolare, alzi la mano chi lo vuole.
(a giorni produco il post di fine anno, penso)
#127
Inviato 28 gennaio 2014 - 20:22
#129
Inviato 29 gennaio 2014 - 00:32
---
unrelated:
ignacio agrimbau - anatomy of the self volume 2 [x]
martyna poznanska - listening east
il primo consigliato+ e si trova anche (finalmente):
polwechsel - traces of wood
---
cose che prossimamente poi
#131
Inviato 31 gennaio 2014 - 16:22
Minä sain sanan Herralta: laita huoneesi kuntoon sillä pian sinä kuolet
#133
Inviato 03 febbraio 2014 - 20:48
http://cassauna.bandcamp.com/
<3
[io son partita da questo http://cassauna.band...y-spin-ensemble signoredioimmenso]
#134
Inviato 03 febbraio 2014 - 21:28
#136
Inviato 11 febbraio 2014 - 11:30
taku sugimoto - quartet / octet
All composed by Taku Sugimoto in 2013
Kazushige Kinoshita: violin (1)
Taku Sugimoto: guitar (1, 2)
Taku Unami: sine tones (1, 2)
Nikos Veliotis: cello (1, 2)
Klaus Filip: sine tones (2)
Ko Ishikawa: sho (2)
Moe Kamura: voice (2)
Radu Malfatti: trombone (2)
Masahiko Okura: clarinet (2)
Recorded live at Kid Ailack Art Hall, Tokyo, October 8 and 9, 2013
Recorded and mastered by Taku Unami
Artwork and design by Taku Sugimoto
Released in January 2014
si trova di già, qui la recensione di richard pinnell
For those with similar musical tastes to my own, an ensemble made up of Taku Sugimoto (guitar), Taku Unami (sinetones), Nikos Veliotis (cello), Kazushige kinoshita (violin), Klaus Filip (sinetones), Ko Ishikawa (sho), Moe Kamura (voice), Radu Malfatti (trombone) and Masahiko Okura (clarinet) is a mouthwatering proposition. The first four names in that list came together at the Kid Ailack Hall in Tokyo a decade ago now and recorded what was to become the excellent Quartet album on Unami’s Hibari label. The same quartet reconvened in the same place in 2013, nine years after that event and recorded the somewhat brief opening piece for this new album. The full ensemble listed above, minus Kinoshita, then performed the following day, the result being the second track here.
Quartet Octet is released on Slubmusic Tengu, the compositional sub series of Taku Sugimoto’s Slub label, and both of the works here are realisations of compositions written by Sugimoto. The opening quartet lasts the sum total of two and a half minutes. The piece feels a bit like a sped up Wandelweiser work, with soft sounds from the four musicians crossing over one another in such a manner that the music feels like it is twinkling, Unami’s sinetones appearing and disappearing abruptly so as to feel as if they ping in and out over the dryer violin and cello tones. Sugimoto’s guitar offers just the dry, almost toneless thuds we have come to expect from him over recent years. Spaces are left in the composition in which the musicians rest together, but while we are used to the elongated silences of the Wandelweiser tendency here they are cut back to a few seconds only. The piece is actually really nice, but it feels like a prelude for the longer work that follows on the disc, which seems to take a very similar form. The octet feels to me more like Malfatti’s Darenootodesuka as the eight musicians provide a more dense field of sound, vaguely melodic in a dreamy, distant way, though the pacing and mix of short and more sustained sounds remains similar to the quartet. the recording quality isn’t so great on this track. Given that the recording was made by Taku Unami this probably has more to do with not enough microphones to be able to place one in front of each musician than any lack of technical ability, but there is a murkiness to the piece, with the eight musicians each emerging from a cloudy backdrop of atmospheric room tone. This additional blanket behind the musicians is actually a really welcome feature of the recording though. As well as providing a nostalgic reminder of how the early recordings from OffSite and Kid Ailack would often sound, coated in a distant swell of traffic and city hum, the composition here works better for its lack of auditory clarity. If the music feels lackadaisical despite its density then the way it feels partly masked only adds to this distant quality.
This disc isn’t an essential purchase, though if like me, this area of composition is your ideal soundtrack to a lazy Sunday morning or a quietly borrowing weekday night then its a welcome addition to the canon, and inevitably the musicianship involved is of the highest order. The one thing that bothers me about it though is the inclusion of Kamura’s voice, which for some reason seems to be more audible than any of the instruments here. She sings what seem to be wordless pitches and little half melodies, but for reasons I just cannot explain (and I realise are both irrational and wholly subjective) I struggle with the inclusion of her voice here. It seems to clash with the warmth of the instrumentation and stands out a little too boldly for my liking. Overall Quartet Octet is an enjoyable, slightly mysterious sounding disc and a welcome reminder of what is achieved when such a group of musicians come together.
[x]
#137
Inviato 11 febbraio 2014 - 13:35
#138
Inviato 17 febbraio 2014 - 16:35
O. Yoshihide / Sachiko M / E. Parker / J. Edwards / T. Mars / J. Butcher - Quintet/Sextet
La recensione di Matteo
Sono curioso, qualcuno l'ha sentito e ha magari apprezzato di più?
I have spoken softly, gone my ways softly, all my days, as behoves one who has nothing to say, nowhere to go, and so nothing to gain by being seen or heard.
(Samuel Beckett, “Malone Dies”)
#139
Inviato 17 febbraio 2014 - 21:54
taku sugimoto - quartet / octet
si trova di già, qui la recensione di richard pinnell
Non trovo.
Peròintanto sono rimasto sotto agli album di Taku + Moe Kamura. Il secondo soprattutto. Però non è questo il thread giusto.
E poi ieri ho scoperto 4G - Cloud ossia Keith Rowe (guitar, electronics), Oren Ambarchi (guitar, electronics), Christian Fennesz (guitar, computer), Toshimaru Nakamura (no-input mixing board) e come dire, regna.
#140
Inviato 17 febbraio 2014 - 22:14
#141
Inviato 17 febbraio 2014 - 22:15
#143
Inviato 16 marzo 2014 - 21:50
https://soundcloud.c...arrett/sets/see
download in flac
#144
Inviato 29 marzo 2014 - 05:44
due nuove uscite erst:
hong chulki/ryu hankil - objets infernaux (Erstwhile 069)
toshiya tsunoda/manfred werder - detour (Erstwhile 071)
ecco, soprattutto tenendo conto della qualità degli ultimi lavori del tizio soprattutto in bold (crosshatches, the temple recording, ο κόκκος της άνοιξης, tramvibration) ci tengo molto+ a sentirlo acca-24 nei prossimi giorni pochi. secondo me si riesce, peraltro. curioso anche per i due coreani, poi, che avevano già lavorato insieme a dotolim (della roba che conosco) con anche, tra gli altri, choi joonyong che blabla parecchio con entrambi, ma soprattutto astronoise blabla. va beh, name dropping.
anne guthrie - codiaeum variegatum [BELLO+]
partial - ll [BELLO] [x]
ryoko akama - code of silence [TFW!] [x] [y] [z]
#145
Inviato 29 marzo 2014 - 19:09
#146
Inviato 07 aprile 2014 - 10:53
AMM - place sub. v.
I’ll be honest I didn’t expect to ever be surprised by AMM again. But then, maybe surprised isn’t the right word to use here. Over the last couple of decades I have never failed to be anything but awestruck when placed in front of the music of Eddie Prévost and John Tilbury, with or without Keith Rowe, but maybe I didn’t expect to find myself so struck by a new recording that it left me close to tears, which this new AMM album succeeded in doing on the second of the dozen or so times I have played it so far. Since the dissolution of the trio version of AMM just about ten years ago now the remaining duo have released a number of albums, four of them without any guest musicians. Throughout these recordings, and in the concerts I have heard them at, Prévost and Tilbury have gradually evolved their music to a point where it feels as if they are fully comfortable as a duo and instead of seeking to find a working solution for the music post-Rowe they have over the last five years or so been pushing things forward again, engaging fully in the present, the relationship between two old friends right now, the way the music shapes itself in the moment. The past isn’t forgotten but it just doesn’t matter when two musicians sit down to improvise. It really feels with Place sub.v, a new album recorded in Poland in 2012 that Prévost and Tilbury have simplified things to this degree, and have thrown themselves so deeply into each and every sound they make. This album seems to resound with a far greater intensity than the other recent AMM albums have achieved, and that really is saying something.
So what is different? This is where it gets very difficult to find the words to explain how this album has made me feel. One a purely surface level, the music is quieter, much more sparse and silence is used frequently to frame the sounds the pair make. There is a greater degree of separation to sounds. Prévost takes a huge step back from continued bowing of metal objects and varies his approach much more, rubbing the surface of a drum, working with soft, smaller sounds, allowing each contribution to hold a greater importance when separated from a massed flow. Tilbury plays, as he has on every occasion I have heard him over recent years, with an incredible intensity. He too mixes things, with the familiar AMM rising arpeggios just one small element to his contributions here that mix forlorn, romantic soloing with scraped strings, thudding wood and thunderous bass attacks. So there is greater variety in the playing, and yet it is still instantly, recognisably AMM. There is an injection of silence and stillness to much of the album, with several lengthy passages of near nothingness standing out as something we haven’t heard before. There is an intense feeling of fragility and imminent self-implosion to the music only amplified by the silences. This isn’t reductionism, quite the opposite, as when the music dissolves to its barest threads it leaves spaces fraught with an intense atmosphere. It feels as if the duo are determined to push each other towards some kind of precipice, taking the music they have been playing together for years and flooding it with risk, pushing it into precarious places and relying on one another’s immense ability to resolve a way out of it. The spaces in this music feel like occasions when it denies itself its usual get out jail free cards, forces itself away from its own comfort zones. This is incredibly powerful, gracefully humane music, but it is not comfortable music. Listening is an ordeal, a wrench through constant uncertainty, powerful gesture and unexpected response. It is exceptionally beautiful, and yet painfully difficult to engage with, every twist and turn a tug at the senses as the musicians push at each other, constantly asking questions, many of which are left unanswered, the music unfulfilled rather than placated with the usual AMM mannerisms. Here then may lay the essence of the difference with this recording compared to other recent AMM releases. Nothing sounds like it was added simply to round things out, nothing feels like an easy answer. When the music breaks down its because it has pushed itself to places beyond where it usually finds easy escape routes from.
I know that I always write about AMM with a broad degree of hyperbolic naivety, but I always write honestly, and with this new album the duo have been captured quite brilliantly making improvised music at a level that quite honestly I don’t think many other people are capable of achieving. Perhaps it was a one-off. Perhaps the unusual surroundings it was recorded in injected an uncertainty to the music, heightened the sense of danger, but I am far more inclined to see this album as the strongest moment for some time by two masterful musicians, listeners, friends, collaborators, who rather than stay rooted to the spot have chosen to push themselves, and with it their music to the furthest limits they can achieve. Simply wonderful.
Richard Pinnell
ju sei & utah kawasaki - u as in utah
(solita ftarri <3 questo piacerà a molto, a fine anno, anche tra i turisti del genere)
!) poi vi lascio in parte questo che però francamente ve lo dovreste comprare al volo perché fa bella la casa. [2].
(4) si trova il nuovo lescalleet, per i fanz.
johnny chang & lee noyes - having never been to beirut
bello
#147
Inviato 07 aprile 2014 - 12:27
comprato e ascoltato (quasi tutto) ieri. Carino anzichè no. Variabile "pop".
#148
Inviato 07 aprile 2014 - 12:29
ju sei & utah kawasaki - u as in utah
comprato e ascoltato (quasi tutto) ieri. Carino anzichè no. Variabile "pop".
beh, il prelievo pop è proprio importante, a tratti.
#149
Inviato 07 aprile 2014 - 12:30
#150
Inviato 07 aprile 2014 - 12:33
sembra una versione per dementi degli After Dinner
già tra gli highlights del 2014 critico. comunque il cut-up pop, la contaminazione demente superflat blabla... non è che sia roba tanto bleeding edge è solo che mi sembra sia venuto bene. lo recensirai? ed espèces d’espaces te lo compri, sì?
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