Angerfist – The Deadface Dimension album
https://en.wikipedia.org/wiki/Angerfist
Danny Masseling (born June 20, 1981), better known by his stage name Angerfist, is a Dutch hardcore producer and DJ.
Aside from his main alias, he also produces for other genres and subgenres under various aliases and is part of the following groups: The Supreme Team (with Outblast, Tha Playah & Evil Activities), Masters Elite (with Catscan and Outblast) and Roland & Sherman (with Outblast).
During live acts, he is accompanied by MC Prozac.
I’ve had Hayseed Dixie on high rotation lately. Their covers are clever but their originals are brilliant.
https://www.youtube.com/watch?v=P7-hpQcrME0
MMM FM, because that’s the only radio station my sister’s radio will pick up without static.
Florence and the Machine – What The Water Gave Me
Cymek said:
Florence and the Machine – What The Water Gave Me
Dysentery
Dropbear said:
Cymek said:
Florence and the Machine – What The Water Gave Me
Dysentery
Possibly, she has an amazing voice though and can do it unplugged as well.
The Decemberists – Down By The Water
Front Line Assembly – Synthetic Forms (an instrumental)
Interesting because the song came out before the movie Prometheus and it seems the soundtrack for Prometheus uses some of this song in one of the tracks
Mindless Faith – Love Is A Dirty Word
Today it was this:
The Black Keys – Chulahoma (the songs of Junior Kimbrough)
https://www.youtube.com/watch?v=fJ9TL6YglGs
One of my new favouritesses..Milky Chance – Stolen Dance
https://www.youtube.com/watch?v=iX-QaNzd-0Y&feature=youtu.be
Undoubtedly the most varied and fun loving form of country blues, the East Coast blues was influenced by the ragtime traditions of the early twentieth century and pioneered by some of the greatest blues guitarists that ever lived.
The East Coast blues is a style born in the Piedmont region of the US, which lies between the Appalachian Mountains and the coastal plain, running from Richmond, Virginia, southwards through the Carolinas and Georgia to Atlanta.
Often referred to as the Piedmont blues, it is very different in style from the harder and intense sounding Mississippi Delta blues and was pioneered by some of the greatest blues guitarists that ever lived. Their unique approach to the instrument was primarily influenced by the ragtime traditions of the early twentieth century, as well as string band, banjo and other forms of minstrel/medicine show music. This musical development was due to the cultural blurring of musical boundaries in this region and a more relaxed racial atmosphere, as blacks and whites borrowed musical ideas, tunes and instruments from each other. This was quite unlike the more supervised and stricter lifestyles of the vast plantations in the Delta where such musical interaction was more limited.
Typically, the Piedmont guitarist would create an alternating rhythmic bass accompaniment by moving the thumb of the picking hand between the different bass strings of the guitar, whilst one or more fingers of the same hand would pick out the melody on the higher strings. Essentially this approach gives the impression that the guitar is being played like a piano. One of the greatest of all the East Coast players, Reverend Gary Davis, would often joke that the guitarist was lucky as he had three hands: a fret hand which fingered the chord shape; the thumb of the picking hand which would imitate the left hand of the pianist; and the index and other fingers of the picking hand to play what the right hand of the pianist would play.
Like the guitar style, the vocal delivery tends to be friendlier, more relaxed and without the tortured emotional intensity of the Delta blues. This gives the music an instant accessibility and warmth, beautifully highlighted by the laid back vocals of East Coast favourites Curley Weaver, Barbecue Bob and Brownie McGhee.
Blind Blake was the first commercially successful performer of this style, whose intricate finger-style technique and diverse repertoire ranging from upbeat rags and hokum tunes to slow blues numbers influenced all who followed, from the likes of Blind Boy Fuller, Josh White and Reverend Gary Davis, to modern day guitarists Ry Cooder, Ralph McTell and Jorma Kaukonen. Another huge influence on guitarists past and present was Blind Willie McTell who exclusively used a twelve-string guitar and, like Blake, could draw on a huge repertoire of songs from different styles. McTell was also a brilliant slide guitarist, which was unusual among the East Coast players.
No East Coast blues compilation would be complete without Blind Boy Fuller who became the most well known and recorded of bluesmen from the Carolinas, often accompanied by the legendary harmonica player Sonny Terry, also featured on this album.
Little is known about many of these artists, none more so than Willie Walker. According to Josh White, he was ‘The best guitarist he had ever heard’, but who only ever recorded two sides in 1930, with ‘South Carolina Rag’ being one of the absolute masterpieces of ragtime guitar playing. This is just one of many highlights on an album full of melodic grace and instrumental virtuosity from what is undoubtedly the most varied and fun loving form of country blues.
So yes. VA – Rough Guide to East Coast Blues (2015))
Smile Empty Soul – With This Knife
Android Lust – Suffer The Flesh (Musculus Infinitus)
Machinae Supremacy – Edge and Pearl
A style of music called Chiptune
https://en.wikipedia.org/wiki/Chiptune
fascinating
Dropbear said:
fascinating
Really?
It’s an interesting way of making music
Cymek said:
Dropbear said:
fascinatingReally?
It’s an interesting way of making music
No.. I was being sarcastic :)
Dropbear said:
Cymek said:
Dropbear said:
fascinatingReally?
It’s an interesting way of making music
No.. I was being sarcastic :)
I thought so
You’d remember Commodore 64’s though, still finding a use for them
Wherever I Go, featuring Ruth Moody 6:27 Mark Knopfler, Tracker, Blues
Kings of Leon – Use Somebody
Fauré’s sublime Andante from his String Quartet in E minor, Op 121, composed at the age of 79. Performed beautifully by Quatuor Ébène.
Wiki:
The Fauré scholar Jean-Michel Nectoux said of the movement, “The Andante is one of the finest pieces of string quartet writing. From start to finish it bathes in a supernatural light. There is nothing that is not beautiful in this movement with its subtle variations of light-play, a sort of white upon white. … The sublime music sinks out of sight, where it carries on, rather than seeming to come to an end”.[
The previous Sentence is False.
https://www.youtube.com/watch?v=jEgX64n3T7g
Massive Attack – Paradise Circus
Yes
kii said:
Yes
Yes the word or Yes the band?
roughbarked said:
kii said:
Yes
Yes the word or Yes the band?
The band. The bass player has shuffled off stage.
Where on the web do you find the music you listen to? I’ve just mp3 recorded some beautiful piano music, a mix of old classical and new composition, and want to upload it somewhere on the web where people can find it (and listen to it for free).
kii said:
roughbarked said:
kii said:
Yes
Yes the word or Yes the band?
The band. The bass player has shuffled off stage.
Mid to late sixties seems to be the allotted span for a rock ‘n roll lifestyle.
I thought BHO’s singing of Amazing Grace was a bit pitchy…
mollwollfumble said:
Where on the web do you find the music you listen to? I’ve just mp3 recorded some beautiful piano music, a mix of old classical and new composition, and want to upload it somewhere on the web where people can find it (and listen to it for free).
YouTube
kii said:
roughbarked said:
kii said:
Yes
Yes the word or Yes the band?
The band. The bass player has shuffled off stage.
sad day.
roughbarked said:
kii said:
roughbarked said:Yes the word or Yes the band?
The band. The bass player has shuffled off stage.
Chris Squire?sad day.
Just been reading the band’s history. I had no idea they were still going in the 80’s and 90’s.
The Rev Dodgson said:
roughbarked said:
kii said:The band. The bass player has shuffled off stage.
Chris Squire?sad day.
Just been reading the band’s history. I had no idea they were still going in the 80’s and 90’s.
My kids shouted me to their 35th anniversary tour for my 50th birthday, in 2003.
He was up there in my top five bassists. Which is a top two now with Entwhistle, Bruce and Squire gone.
http://www.rollingstone.com/music/news/chris-squire-yes-bassist-and-co-founder-dead-at-67-20150628
The Rev Dodgson said:
roughbarked said:
kii said:The band. The bass player has shuffled off stage.
Chris Squire?sad day.
Just been reading the band’s history. I had no idea they were still going in the 80’s and 90’s.
I’ve never heard of them.
Peak Warming Man said:
The Rev Dodgson said:
roughbarked said:Chris Squire?
sad day.
Just been reading the band’s history. I had no idea they were still going in the 80’s and 90’s.
I’ve never heard of them.
You are kidding, are you not?
The only Yes album I had in my teens was “Close to the Edge”
Down at the edge, close by a river
Close to the edge, round by the corner
Close to the end, down by the corner
Down at the edge, round by the river
kii said:
Peak Warming Man said:
The Rev Dodgson said:Just been reading the band’s history. I had no idea they were still going in the 80’s and 90’s.
I’ve never heard of them.
You are kidding, are you not?
Never ever heard of them.
kii said:
Peak Warming Man said:
The Rev Dodgson said:Just been reading the band’s history. I had no idea they were still going in the 80’s and 90’s.
I’ve never heard of them.
You are kidding, are you not?
Nor have I.
Bubblecar said:
The only Yes album I had in my teens was “Close to the Edge”Down at the edge, close by a river
Close to the edge, round by the corner
Close to the end, down by the corner
Down at the edge, round by the river
I was close to the edge, down at the river.
Gee, you two are weird :/ Queenslanders…that must be it.
dv said:
kii said:
Peak Warming Man said:I’ve never heard of them.
You are kidding, are you not?
Nor have I.
Okay I just looked them up on wp. I know the song Owner of a Lonely Heart.
Also it turns out one of the members was Billy Sherwood.
dv said:
dv said:
kii said:You are kidding, are you not?
Nor have I.
Okay I just looked them up on wp. I know the song Owner of a Lonely Heart.
Also it turns out one of the members was Billy Sherwood.
The Yes Album is a definite contender for best rock album evah.
IMO.
Bubblecar said:
The only Yes album I had in my teens was “Close to the Edge”Down at the edge, close by a river
Close to the edge, round by the corner
Close to the end, down by the corner
Down at the edge, round by the river
I fixed the broken glass on a pommie’s watch, he was house sharing with us at the time. My birthday came up not long afterwards. He’d run me a hot bath when I arrived home from work. He said go enjoy your bath. Close To The Edge came in through the window and under the door. He’d bought it for me for my B’day and because I’d fixed his watch.
Peak Warming Man said:
kii said:
Peak Warming Man said:I’ve never heard of them.
You are kidding, are you not?
Never ever heard of them.
dv said:
kii said:
Peak Warming Man said:I’ve never heard of them.
You are kidding, are you not?
Nor have I.
And You And I. One of their greatest songs.
The Rev Dodgson said:
dv said:
dv said:Nor have I.
Okay I just looked them up on wp. I know the song Owner of a Lonely Heart.
Also it turns out one of the members was Billy Sherwood.
The Yes Album is a definite contender for best rock album evah.
IMO.
Yep…such a good sound.
dv said:
dv said:
kii said:You are kidding, are you not?
Nor have I.
Okay I just looked them up on wp. I know the song Owner of a Lonely Heart.
Also it turns out one of the members was Billy Sherwood.
One of the later stand-in on and off members yeah. Jerry Rabin co-wrote that song with Jon Anderson.
Roger Dean picked me out of the crowd at his art exhibition when Yes were here in 2003, he wanted to talk to me about the tshirt I was wearing. He called out across the room to me and called me over for a chat. I explained to him that I was the guy that Steve Howe had slapped my hand away with his left hand when I went to shake his right hand and the one where Rick Wakeman signed NOT INVITED on the CD cover he was signing. Roger said that it was debatable who had been sacked from the band the most, him or Rick.
The Rev Dodgson said:
dv said:
dv said:Nor have I.
Okay I just looked them up on wp. I know the song Owner of a Lonely Heart.
Also it turns out one of the members was Billy Sherwood.
The Yes Album is a definite contender for best rock album evah.
IMO.
Steve Howe won the worlds best guitarist in all categories for many of the years it has been going.
Just checked the tour dates of Yes for Sydney during the 1970s. I didn’t see them….I think I didn’t see them…pretty sure I didn’t see them :/ Can’t remember if I ever went to the Hordern Pavilion. Dear oh dear oh dear……
kii said:
Just checked the tour dates of Yes for Sydney during the 1970s. I didn’t see them….I think I didn’t see them…pretty sure I didn’t see them :/ Can’t remember if I ever went to the Hordern Pavilion. Dear oh dear oh dear……
THey first came here in 1973 with the release of Close To The Edge.
roughbarked said:
kii said:
Just checked the tour dates of Yes for Sydney during the 1970s. I didn’t see them….I think I didn’t see them…pretty sure I didn’t see them :/ Can’t remember if I ever went to the Hordern Pavilion. Dear oh dear oh dear……
THey first came here in 1973 with the release of Close To The Edge.
The second time they came was 2003. They were planning another visit and it was being bandied about that they do the Hunter Valley… for the wine buffs. Yes has quite a high heeled fan club.
They’ll never be tha same band without Squire. He was the only member that had never been replaced or re-replaced.
For those who don’t know Yes, Here is the intro for Roundabout, (Steve Howe) which is normally followed by the booming entry of Chris Squire on bass as the song progresses.
And if anyone wants to see and hear what they are capable of accoustically.. https://www.youtube.com/watch?v=DucC91dJepQ
Bohemian Rhapsody by Queen.
Divine Angel said:
Bohemian Rhapsody by Queen.
Any good?
Dropbear said:
Divine Angel said:
Bohemian Rhapsody by Queen.
Any good?
No.
kii said:
Dropbear said:
Divine Angel said:
Bohemian Rhapsody by Queen.
Any good?
No.
What’s it about?
Dropbear said:
kii said:
Dropbear said:Any good?
No.
What’s it about?
A man who is on the run from the law after committing murder, and is bidding farewell to his mother.
Dropbear said:
Divine Angel said:
Bohemian Rhapsody by Queen.
Any good?
I feel the urge to head bang.
Dropbear said:
kii said:
Dropbear said:Any good?
No.
What’s it about?
6 minutes.
dv said:
Dropbear said:
kii said:No.
What’s it about?
A man who is on the run from the law after committing murder, and is bidding farewell to his mother.
What about the Middle bit ?
kii said:
Dropbear said:
kii said:No.
What’s it about?
6 minutes.
Lol ;)
Dropbear said:
dv said:
Dropbear said:What’s it about?
A man who is on the run from the law after committing murder, and is bidding farewell to his mother.
What about the Middle bit ?
The flash of his handgun has left on his retina an image of the man that he shot, so he can’t forget it. At one moment is appears as a taunting clown, and the light and sound of the discharge are now like thunder and lightning to him, and the next as the Galilean (Jesus). He begs for mercy in the third person, as though separate from his acts, on the basis of his hard life, but the voices tell him “In the name of God we will not let him go”, and that he is hell-bound.
dv said:
Dropbear said:
dv said:A man who is on the run from the law after committing murder, and is bidding farewell to his mother.
What about the Middle bit ?
The flash of his handgun has left on his retina an image of the man that he shot, so he can’t forget it. At one moment is appears as a taunting clown, and the light and sound of the discharge are now like thunder and lightning to him, and the next as the Galilean (Jesus). He begs for mercy in the third person, as though separate from his acts, on the basis of his hard life, but the voices tell him “In the name of God we will not let him go”, and that he is hell-bound.
Lordy..
subscribe for more
One of my favourite tunes for riding the bus.
https://www.youtube.com/watch?v=FAYHTES4whs
Porcelain – Moby.
kii said:
One of my favourite tunes for riding the bus.https://www.youtube.com/watch?v=FAYHTES4whs
Porcelain – Moby.
I prefer “the wheels on the bus go ‘round and ‘round”
Dropbear said:
I prefer “the wheels on the bus go ‘round and ‘round”
That’s Cecily’s favourite song.
Dropbear said:
kii said:
One of my favourite tunes for riding the bus.https://www.youtube.com/watch?v=FAYHTES4whs
Porcelain – Moby.
I prefer “the wheels on the bus go ‘round and ‘round”
like a record baby right round round round
Angerfist & MC Nolz – The Deadfaced Dimension
Cranked it loud and slam dancing (no its not a euphenism) with the oldies in the office
Divine Angel said:
Dropbear said:I prefer “the wheels on the bus go ‘round and ‘round”
That’s Cecily’s favourite song.
I’m in touch with children.. like an old uncle.
I’m not touching that with a 10 foot pole.
Dropbear said:
Divine Angel said:
Dropbear said:I prefer “the wheels on the bus go ‘round and ‘round”
That’s Cecily’s favourite song.
I’m in touch with children.. like an old uncle.
Is this you
Divine Angel said:
I’m not touching that with a 10 foot pole.
3.3 metres please.
Dropbear said:
kii said:
One of my favourite tunes for riding the bus.https://www.youtube.com/watch?v=FAYHTES4whs
Porcelain – Moby.
I prefer “the wheels on the bus go ‘round and ‘round”
It’s not that type of bus.
kii said:
Dropbear said:
kii said:
One of my favourite tunes for riding the bus.https://www.youtube.com/watch?v=FAYHTES4whs
Porcelain – Moby.
I prefer “the wheels on the bus go ‘round and ‘round”
It’s not that type of bus.
I’m outraged
I’m learning Landslide (Fleetwood Mac) on acuestick guitar.
It’s called Travis Picking. Doin my head in.
I just heard “Don’t fear the reaper” for the first time..,
Holy shit..
All I can hear is Wil Ferrell and cowbell
Dropbear said:
I just heard “Don’t fear the reaper” for the first time..,Holy shit..
All I can hear is Wil Ferrell and cowbell
Isn’t that the Supernatural end of season song ?
Cymek said:
Dropbear said:
I just heard “Don’t fear the reaper” for the first time..,Holy shit..
All I can hear is Wil Ferrell and cowbell
Isn’t that the Supernatural end of season song ?
I don’t think so? Is it really ?
Dropbear said:
I just heard “Don’t fear the reaper” for the first time..,Holy shit..
All I can hear is Wil Ferrell and cowbell
Yeah, there’s a frigging lot of cowbell in it, the start is almost identical.
kii said:
Dropbear said:
kii said:
One of my favourite tunes for riding the bus.https://www.youtube.com/watch?v=FAYHTES4whs
Porcelain – Moby.
I prefer “the wheels on the bus go ‘round and ‘round”
It’s not that type of bus.
https://freemusicarchive.org/genre/flamenco/
The sixth album from acclaimed Senegalese kora player Seckou Keita follows his 2013 collaboration with Welsh harpist Catrin Finch. As lovely as the classical concert harp is, its more rustic African cousin, the kora, is capable of producing a surprisingly large range of notes, tones, and timbres, and Keita shows his mastery of it here on this beautifully meditative, almost entirely solo recording. The album’s liner notes describe the introduction of the 22-string kora to the griot Jali Mady ‘Wulung’ by the African bush spirits many centuries ago. So beloved was Jali Mady that upon his death, his fellow griots removed one string from the kora, and in most parts of Africa, the instrument is now played with only 21 strings.
However, in southern Senegal and Guinea Bissau where the kora originates, the 22-string kora is still in use and that is the instrument heard on this enchanting and complex album. A mix of instrumental and vocal pieces, tracks like “Mandé,” with its crystalline arpeggios and rich harmonies, show Keita’s impressive ability to both thrill and sooth, often within moments of each other. “N’doké” effuses a warm joyfulness, while another highlight, the mysterious “If I Only Knew,” walks a darker, more thoughtful path. An utterly graceful collection, 22 Strings is Seckou Keita at his unadorned best.
Kathryn Tickell playing the Northumbrian smallpipes.
btm said:
Kathryn Tickell playing the Northumbrian smallpipes.
The Kathryn Tickell Band – Signs, full album:
https://www.youtube.com/watch?v=vmjDbN48_vgWednesday 14 – I walked with a zombie
Bat For Lashes – Oh Yeah
https://en.wikipedia.org/wiki/Bat_for_Lashes
Natasha Khan (born 25 October 1979), better known by her stage name Bat for Lashes, is a British Pakistani singer-songwriter and multi-instrumentalist. She has released three studio albums, Fur and Gold (2006), Two Suns (2009) and The Haunted Man (2012), and received Mercury Prize nominations for Fur and Gold and Two Suns.
Okkervil River – For Real
Really good band live
Not bad, look them up properly oneday.
https://www.youtube.com/watch?v=gN7FyzHM9Xo
Okkervil River – Unless It’s Kicks
https://en.wikipedia.org/wiki/Okkervil_River
Okkervil River is an American indie rock band from Austin, Texas. Formed in 1998, the band takes its name from a short story by Russian author Tatyana Tolstaya. They self-released their first album, Stars Too Small to Use, which led them to the South by Southwest music festival. After recording their first album in a garage, they signed with Jagjaguwar. Okkervil River continued by releasing four more albums, including the critically lauded concept album Black Sheep Boy.
After a period of touring for Black Sheep Boy, Okkervil River followed up with The Stage Names. The album sold 10,000 in its opening week in the United States. The group released a free covers album, Golden Opportunities Mixtape from their live performances.
The band has garnered positive critical reception. They have appeared on the talk show Late Night with Conan O’Brien and have performed with acts such as The Decemberists, The New Pornographers, The National, and Lou Reed.
transition said:
Not bad, look them up properly oneday.https://www.youtube.com/watch?v=gN7FyzHM9Xo
Okkervil River – Unless It’s Kicks
https://en.wikipedia.org/wiki/Okkervil_River
Okkervil River is an American indie rock band from Austin, Texas. Formed in 1998, the band takes its name from a short story by Russian author Tatyana Tolstaya. They self-released their first album, Stars Too Small to Use, which led them to the South by Southwest music festival. After recording their first album in a garage, they signed with Jagjaguwar. Okkervil River continued by releasing four more albums, including the critically lauded concept album Black Sheep Boy.
After a period of touring for Black Sheep Boy, Okkervil River followed up with The Stage Names. The album sold 10,000 in its opening week in the United States. The group released a free covers album, Golden Opportunities Mixtape from their live performances.
The band has garnered positive critical reception. They have appeared on the talk show Late Night with Conan O’Brien and have performed with acts such as The Decemberists, The New Pornographers, The National, and Lou Reed.
If I wasn’t at work I would have posted more about them but they send emails out if we use too much data
Ohhh also the grape hyacinths are a no show.
Fiction Plane – Presuppose
https://en.wikipedia.org/wiki/Fiction_Plane
Fiction Plane is a rock band from England. Originally formed in London under the name Santa’s Boyfriend in 2001, Fiction Plane is currently composed of lead vocalist, guitar and bass player Joe Sumner (son of The Police frontman Sting); guitarist Seton Daunt; and American drummer Pete Wilhoit.
Interesting that at least two of Stings children are musicians, also had a daugther who performs unders the name I Love Coco
Cymek said:
Fiction Plane – Presupposehttps://en.wikipedia.org/wiki/Fiction_Plane
Fiction Plane is a rock band from England. Originally formed in London under the name Santa’s Boyfriend in 2001, Fiction Plane is currently composed of lead vocalist, guitar and bass player Joe Sumner (son of The Police frontman Sting); guitarist Seton Daunt; and American drummer Pete Wilhoit.
Interesting that at least two of Stings children are musicians, also had a daugther who performs unders the name I Love Coco
It isn’t surprising that those who are reared in a musical environment become musical.
Silversun Pickups – Out of Breath
Silversun Pickups is an alternative rock band from Los Angeles that was formed in 2002. The band currently comprises Brian Aubert, Nikki Monninger, Christopher Guanlao and Joe Lester.
The band released their debut EP, Pikul, in July 2005, and their debut full-length album, Carnavas, on July 26, 2006. Their second full-length album, Swoon, was released on April 14, 2009. Neck of the Woods, the band’s third full-length album, was released on May 8, 2012
Suicide Commando – Monster (Unter Null Remix)
Rizan Said – King of Keyboard (2015)
There is no other Syrian dabke musician that has enjoyed the local, regional, national, and international recognition that Rizan Said has, and for that, the world is lucky. Rizan is a musical ambassador from a disappeared Syria, and this is not to be taken lightly. Once upon a time, not too long ago, Syria was a culturally diverse country possessing a certain unity. A place not synonymous with barbarism and savagery. Far from the capital of Damascus, the northeast of the country, known as the Jazeera, was rich with history and culture.
Kurds, Assyrians, Chaldeans, Armenians, Yezidis, and Arabs had lived together for centuries in this largely agricultural region. The area is closer to Iraq in proximity and culture than the rest of Syria – evident in the dialects, clothing, food and music. In the mid-1990s, in the small northeastern town of Ras Al Ain, Rizan Said – maverick pioneer of the Syrian Kurdish electronic synthesizer was getting his start. Rizan was a musical prodigy from a young age – a gifted player of percussion and reed instruments before a wealth of synthesizers began flooding Syria in the late 1980s and early 1990s. Steadfast on the Syrian cassette album circuit at the time, Rizan the boy wonder was already sending his signals out from the Jazeera frontier, thanks to a partnership with local producer Zuhir Maksi.
Live and studio cassette tapes from the region were distributed with frequency across the country, and Rizan was the man behind many of these regional releases. His compositional and improvisational prowess shone both live at wedding parties, and in the studio where he began producing with more frequency over the years. It can be said, that without Rizan Said, a good number of Syrian singers from the 1990s onward might never have been heard – most notably Omar Souleyman, a collaborator with Rizan for two decades. Where synthesizers can bring a certain artifice and death to the sound of music, Rizan’s torrential speed and flair on the keys bring new life to Syrian and Kurdish sounds – lightning fast as required – respectfully forcing the component sounds of folkloric dabke into the next level.
Once exposed to the west via Omar Souleyman, these swirling synths atop accelerated electronic beats easily seduced the “west” – and the world soon began celebrating the dabke sounds of Syria.
What has often been overlooked is the very specific context and vibe of northeastern Syria, where this music originates. These sounds were indeed designed for dance, but when you’re at a Syrian wedding party, you begin to understand that this has been going on for centuries, before electro, disco, hipsters, and orientalists. This is the updated sound of the ages, where hand drums and reed flutes are now emulated and pounded out on Korg keyboards.
The Bloody Beetroots – Out Of Sight (Featuring Paul McCartney & Youth)
Neurotic Fish – Need (from the album Les Chansons Neurotiques)
Neuroticfish is a German musical project whose styles are borrowed from electronic body music, futurepop, and synthpop, as well as other types of electronic music. It released its music on the Dancing Ferret Discs record label.
Angerfist & Miss K8 – Santiago
Slipknot – Wait And Bleed
The Best of Marcel Marceau in Concert
Peak Warming Man said:
The Best of Marcel Marceau in Concert
It’s a pretty full on album that one, a wall of distorted sound
Angerfist – Don’t Fuck With Me
Cymek said:
Angerfist – Don’t Fuck With Me
I’m assuming this is domestic violence set to music.
Bubblecar said:
Cymek said:
Angerfist – Don’t Fuck With Me
I’m assuming this is domestic violence set to music.
No its a Dutch hardcore DJ, I like it but it’s not to everyone taste.
A bunch (flock?) of kookaburras who’ve decided to visit for a little while.
btm said:
A bunch (flock?) of kookaburras who’ve decided to visit for a little while.
Got the big flock of noisy cockatoos wheeling around this district again. You’d think they’d prefer to shelter from the rain.
Puscifer – Vagina Mine
https://en.wikipedia.org/wiki/Puscifer
Puscifer /ˈpʊsɨfər/ is a side project of Maynard James Keenan, known for his work with the bands Tool and A Perfect Circle. As Keenan is the only permanent member he considers the project to be his “creative subconscious”, Puscifer could be considered a pseudonym for his solo work.
btm said:
A bunch (flock?) of kookaburras who’ve decided to visit for a little while.
Gay their lives must be
Smile Empty Soul – The Freaks Are Coming
Serj Tankian – Money (Instrumental)
https://en.wikipedia.org/wiki/Serj_Tankian
Serj Tankian (Armenian: Սերժ Թանկեան, pronounced ; born August 21, 1967) is a Lebanese-born Armenian singer-songwriter, composer, multi-instrumentalist, record producer, poet, and political activist. He is best known as the lead vocalist, songwriter, keyboardist and occasional live rhythm guitarist of the metal band System of a Down, formed in 1994 by four Armenian-American friends.[
Once again working with producer/songwriter Tom Hambridge — the bluesman’s main collaborator since 2008’s Skin Deep — Buddy Guy serves up a straight-ahead platter with Born to Play Guitar, his 28th studio album. Many of Guy’s latter-day records loosely follow a theme, but Born to Play Guitar is pretty direct: just a collection of songs designed to showcase Buddy’s oversized Stratocaster.
Which isn’t to say there’s either a lack of variety or pro forma songwriting here. Hambridge cleverly colors Born to Play Guitar with a few bold, unexpected flourishes: the sweeps of sweet strings that accentuate “(Baby) You’ve Got What It Takes,” a duet with Joss Stone that lightly recalls Etta James’ Chess Records work; the big, blaring horns of “Thick Like Mississippi Mud” that moves that track out of the Delta and into an urban setting; the acoustic “Come Back Muddy” which performs that trick in reverse, pushing Chicago blues back down south. Elsewhere, Van Morrison contributes a moving tribute to B.B. King in “Flesh and Bone,” a heartfelt ballad that doesn’t quite fit with the rest of the record because it’s about song, not feel — a nice anomaly on a record whose greater concern is juke joint boogie. Guy delivers on this front quite ably, particularly when he’s paired with fellow blues lifer Kim Wilson (as he is on “Too Late” and “Kiss Me Quick”) or when Billy Gibbons slithers out of the Texas hills to lay down the heavy stomp of “Wear You Out,” and while there are no surprises on these duets, nor on the proudly traditional Chicago blues of “Born to Play Guitar,” “Back Up Mama,” and “Whiskey, Beer & Wine,” there is still great pleasure in hearing a master tear into his beloved music.
Following on from the film’s highly successful World Premiere launch at the 2015 Sydney Film Festival and the nationwide release on Thursday August 6th, Sony Music Entertainment Australia is pleased to announce that the official soundtrack to Last Cab To Darwin.
Last Cab To Darwin tells the story of Rex (Michael Caton), a cab driver who has never left Broken Hill. When he discovers he doesn’t have long to live, he decides to drive through the heart of the country to Darwin, where new euthanasia laws could enable him to control his fate. Unwilling to burden them or even talk about his condition, Rex leaves behind his best friend and lover Polly (Ningali Lawford-Wolf) and his crew of drinking buddies and sets off on a 3000km journey.
“We recorded many elements before the film was actually shot,” explains Ed Kuepper who composed and performed all the tracks on the soundtrack. “I’d read the script and discussed the overall visual and emotional feel at length with director Jeremy Sims to get a basic idea of the musical area to work in.
William Basinski – Cascade / The Deluge (2015)
Brian Eno and Harold Budd loom large over all piano-based ambient music, and William Basinski’s Cascade is no exception to this rule. They spring to mind as soon as the first notes slip out, and the music reaches the same core of beatific sadness. But it gets there in its own way. After all, Budd played live on Ambient 2: The Plateaux of Mirror and The Pearl, filling metronomic piano lines with human presence, while Basinski doesn’t play a note on Cascade. The tape-loop-and-delay technique that produced it is more akin to Eno’s on Ambient 1: Music for Airports, though again, Basinski does it his way. Instead of a plush, pristine sound full of regal pauses, he unleashes a continuous scrawl of murk. This is but one of the things you think about while listening to the same Basinski piano loop for a very long time.
Cascade is very simple. A high minor arpeggio darts purposefully forward and then turns into a scatter of reflections as a midrange note tolls a few times in answer, followed by a distantly trumpeting howl. It lasts for a matter of seconds and then repeats—surge, collapse, glide—for 40 minutes, followed by a brief coda of Arvo Pärt-like sacred stillness. There is little sound in the low range, so the whole structure seems to hang over an abyss. With no variation at the macro level, the music shouldn’t describe much more than a figure skater tracing an infinity sign. But it has endless variation at the micro level, which creates the sense of a paradox—repetition that is impossible to grasp, slipping ceaselessly through your fingers.
Cascade is released alongside The Deluge, where the same piano motif is process as to become more garbled, throwing longer and longer shadows over itself, and stormy frequencies overtake the placid weather of Cascade. By halfway through, a long serpent of digital tape echo has all but swallowed the motif, but it keeps glinting through. It’s the sound of something being almost remembered, something that’s nagging at you but won’t quite slip into focus. The comparatively brief “The Deluge (The Denouement)” splices a different fragment of piano with passages of maddened, Caretaker-like shortwave radio orchestration, with dark bass growing in under it like black mold.
Cascade is a new work, though “new” is always a slippery term with Basinski, whose oeuvre is as nested as matryoshka dolls. Not only is the loop drawn from the archive of recordings he made in the ’80s, but he also already used it, in an easily recognizable form, on 92982, where it enters the piece shortly after the 40-minute mark. Is it a coincidence that you could replace the first 40 minutes of 92982 with Cascade and arrive at a new, continuous piece?
With Basinski, it’s hard to tell. He certainly doesn’t like endings—his pieces make you keenly aware that they’re just audible portions of infinite lines—and he treats little bits of captured time like bottomless wells. Disintegration Loops is his standout work because it dropped the illusion of eternity, letting us hear the tape decaying on the reels. Basinski admitted, with crushing poignancy, that things end. But on Cascade, he’s back to forestalling that knowledge through repetition, which is what gives his abstract pieces their surprising sentience and unaccountable melancholy. The machine is doing the work, but the composer has done the thinking and feeling, and that makes all the difference.
That there are still undiscovered treasures hidden amongst the cluttered racks of countless record stores across the country is enough to keep people digging through stacks in hopes of coming across something revelatory. When guitarist and singer-songwriter Ryley Walker came across a copy of John Hulburt’s private press album Opus III in a Chicago record store, he found himself faced with just that. Spearheading the lone album’s reissue on Tompkins Square, Walker refers to Hulburt in the album’s liner notes as, “the undeniable and unsung hero of solo finger-style guitar of our city .”
An anomaly within a city at the time better known for its contributions to electric blues and garage rock, John Hulburt’s solo acoustic guitar recording Opus III went virtually unnoticed when originally released in 1972. Given the city’s lack of prominent acoustic-based performers and the Midwest’s overall dearth of solo guitarists working in the John Fahey/Takoma school of acoustic playing, this fact is not surprising. What is surprising is the overall quality of the performances turned in here by the former garage rocker and member of the Knaves.
Where contemporaries like Fahey, Robbie Basho and even Leo Kottke tended to favour more meandering, contemplative guitar studies that allowed them to explore a host of styles and influences while simultaneously take the instrument and form to a new level, Hulburt’s approach is far more concise, more song-focused. At a whopping 20 tunes, one would expect Opus III to come close to the two hour mark. However as the majority of these performances barely reach the two-minute mark, the album itself clocks in at a scant forty minutes.
But within these forty minutes, Hulburt makes a case for inclusion alongside the better-known names of the time. Deftly picking his way through a host of highly melodic, never wandering pieces, Hulburt’s background in the pop realm helps reign in the artier pretensions that often bog down his more folk-minded peers. Instead, these compositions tend to feature more of a traditional verse/chorus structure with clearly defined sections that focus more on musicality than virtuosity. This isn’t to say Hulburt isn’t capable of virtuosic runs (see his subtle fills on “Coffee House Theme” and “Polydiom No. 2” for proof of this), rather he prefers a more tasteful, almost simplistic approach to the compositional process.
Working within such tight parameters, it’s impressive how Hulburt manages to avoid repeating himself either in his phrasing or melodic inventions. While each certainly sounds of a piece and the work of one mind, there is enough variation to hold the listener’s attention throughout. When his voice appears on the ninth track, “Guitar on My Knee”, it proves as straightforward and unfussy as his guitar playing, refusing to call attention to itself despite its clear technical proficiency.
Throughout Opus III Hulburt manages to nimbly navigate a number of styles. From rags to blues, singer-songwriter fare to classically tinged guitar workouts (“Hallelujah I’m on Parole Again”, in particular teases the “Ode to Joy” passage of Beethoven’s 9th) Opus III masterfully displays a broad stylistic range and keen ear for melody.
At under a minute, “Libby” may well be the album’s most affecting moment. Under a laid back, major key melody Hulburt uses a series of drones to create a wistful feel that, despite the optimistic tonal nature of the melody, adds an overall feel of melancholy. It’s an interesting emotional contrast that, due to the song’s length, can be missed the first time around. But there’s something in the song’s fleeting moments that draws the listener back in, much like the whole of this brief album, a feeling of something wonderful having transpired just out of reach and requiring further inspection. Thanks to Walker and Tompkins Square, the latter long a champion of solo acoustic players and the former an accomplished player himself, the world will now have a chance to do just that.
Max Richter has written a new landmark recording: SLEEP is 8 hours long – the equivalent of a night’s rest – and is actually and genuinely intended to send the listener to sleep. “It’s an eight-hour lullaby,” says Max. The eight-hour version will be available as a digital album, and for those who prefer it, a one-hour adaptation of the work – from SLEEP – will be released on CD, vinyl, download, and streaming formats, all through Deutsche Grammophon, on 4 September.
The ground-breaking new work is scored for piano, strings, electronics and vocals – but no words. “It’s my personal lullaby for a frenetic world,” he says. “A manifesto for a slower pace of existence.
Track List:
1. Ben Russell, Yuki Numata Resnick & Max Richter – Dream 3 (in the midst of my life) (10:03)
2. Max Richter & Grace Davidson – Path 5 (delta) (11:14)
3. Ben Russell, Yuki Numata Resnick, Caleb Burhans, Brian Snow & Clarice Jensen – Space 11 (invisible pages over) (5:15)
4. Clarice Jensen, Ben Russell, Yuki Numata Resnick & Max Richter – Dream 13 (minus even) (8:52)
5. Ben Russell, Yuki Numata Resnick, Caleb Burhans, Brian Snow & Clarice Jensen – Space 21 (petrichor) (4:47)
6. Max Richter & Ben Russell – Path 19 (yet frailest) (7:50)
7. Grace Davidson, Ben Russell, Yuki Numata Resnick, Caleb Burhans, Brian Snow, Clarice Jensen & Max Richter – Dream 8 (late and soon) (11:53)
roughbarked said:
The ground-breaking new work
Where does it come on the Richter Scale?
The Rev Dodgson said:
roughbarked said:
The ground-breaking new workWhere does it come on the Richter Scale?
:) I didn’t write the review.
but it’s an 8 on putting you to sleep. ;)
The full download, File Size: 979 MB
Composer, musician and producer Nils Frahm steers the new edition of Late Night Tales, set for release on 11th September.
A hypnotic voyage through modern and classical composition, experimental electronics, jazz, dub techno, soundtracks and soul; Frahm’s Late Night Tales haunts and beguiles. It’s not mixing, so much as gently layering, like a particularly fluffy goose-down duvet folding in on itself, the folds part of the attraction, the layers part of the overall picture being painted.
Many of the tracks have been edited, effected and re-made. The subtly overdubbed parts on Rhythm & Sound’s ‘Mango Drive’ adding to the haunting hypnosis, while choral interruptions aid Miles Davis’ ‘Générique’ on its journey towards the light. Meanwhile, on Boards Of Canada’s ‘In A Beautiful Place Out In The Country’, the tempo is somewhat sluggish, the organs slurred, as Frahm slows it down to a funereal 33rpm that nevertheless fits perfectly. The purring of his girlfriend’s cat Cleo transitions playfully between Nina Simone’s definitive version of ‘Who Knows Where the Time Goes’ and unearthing the gentle electronics of Dub Tractor.
The Rev Dodgson said:
roughbarked said:
We’re on the eve of destruction
Great song
What happened to Barry McGuire?
destroyed?
The Rev Dodgson said:
roughbarked said:
We’re on the eve of destruction
Great song
What happened to Barry McGuire?
“ and later as a pioneering singer and songwriter of contemporary Christian music.”
Oh well.
The Rev Dodgson said:
The Rev Dodgson said:
roughbarked said:
We’re on the eve of destruction
Great song
What happened to Barry McGuire?
“ and later as a pioneering singer and songwriter of contemporary Christian music.”
Oh well.
the Eve of destruction
dv said:
The Rev Dodgson said:
The Rev Dodgson said:Great song
What happened to Barry McGuire?
“ and later as a pioneering singer and songwriter of contemporary Christian music.”
Oh well.
the Eve of destruction
How can he be the Eve of destruction when he’s A damn male?
The Rev Dodgson said:
dv said:
The Rev Dodgson said:“ and later as a pioneering singer and songwriter of contemporary Christian music.”
Oh well.
the Eve of destruction
How can he be the Eve of destruction when he’s A damn male?
Heh.
It Don’t Bother Me was first released in November 1965 and is invariably overlooked because it came so soon after Jansch’s timeless, self-titled debut album. Unlike that album which took its strength from the repertoire he’d been playing for years, as Mick Houghton’s liner notes explain; “When Jansch came to record It Don’t Bother Me a few weeks after Bert Jansch hit the shops, he was required to come up with a completely new batch of songs just as his life was changing around him.”
The title track is one of Jansch’s finest and most personal songs reflecting on is new found fame as the poster boy of a new breed of young folk guitarists. Other highlights include ‘Lucky Thirteen’, a sprightly collaboration with John Renbourn which hinted at the promise to come and ‘900 Miles, the first traditional song Jansch recorded and the first time he played banjo on record. On both counts, ‘It Don’t Bother Me’ presaged the two albums which followed.
This superb edition is the second in a series of all seven of Bert Jansch’s Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever. The album was released in 1965 and has been a cornerstone of British music ever since.
Track List:
Strolling Down The Highway
Smokey River
Oh How Your Love Is Strong
I Have No Time
Finches
Rambling’s Gonna Be The Death Of Me
Veronica
Needle Of Death
Do You Hear Me Now
Alice’s Wonderland
Running From Home
Courting Blues
Casbah
Dreams Of Love
Angie
roughbarked said:
It Don’t Bother Me was first released in November 1965 and is invariably overlooked because it came so soon after Jansch’s timeless, self-titled debut album. Unlike that album which took its strength from the repertoire he’d been playing for years, as Mick Houghton’s liner notes explain; “When Jansch came to record It Don’t Bother Me a few weeks after Bert Jansch hit the shops, he was required to come up with a completely new batch of songs just as his life was changing around him.”
The title track is one of Jansch’s finest and most personal songs reflecting on is new found fame as the poster boy of a new breed of young folk guitarists. Other highlights include ‘Lucky Thirteen’, a sprightly collaboration with John Renbourn which hinted at the promise to come and ‘900 Miles, the first traditional song Jansch recorded and the first time he played banjo on record. On both counts, ‘It Don’t Bother Me’ presaged the two albums which followed.
This superb edition is the second in a series of all seven of Bert Jansch’s Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever. The album was released in 1965 and has been a cornerstone of British music ever since.
Track List:
Strolling Down The Highway
Smokey River
Oh How Your Love Is Strong
I Have No Time
Finches
Rambling’s Gonna Be The Death Of Me
Veronica
Needle Of Death
Do You Hear Me Now
Alice’s Wonderland
Running From Home
Courting Blues
Casbah
Dreams Of Love
Angie
Reading that track list, I realise that I have never heard the full album. I think I’ll go and look for it.
The Rev Dodgson said:
roughbarked said:It Don’t Bother Me was first released in November 1965 and is invariably overlooked because it came so soon after Jansch’s timeless, self-titled debut album. Unlike that album which took its strength from the repertoire he’d been playing for years, as Mick Houghton’s liner notes explain; “When Jansch came to record It Don’t Bother Me a few weeks after Bert Jansch hit the shops, he was required to come up with a completely new batch of songs just as his life was changing around him.”
The title track is one of Jansch’s finest and most personal songs reflecting on is new found fame as the poster boy of a new breed of young folk guitarists. Other highlights include ‘Lucky Thirteen’, a sprightly collaboration with John Renbourn which hinted at the promise to come and ‘900 Miles, the first traditional song Jansch recorded and the first time he played banjo on record. On both counts, ‘It Don’t Bother Me’ presaged the two albums which followed.
This superb edition is the second in a series of all seven of Bert Jansch’s Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever. The album was released in 1965 and has been a cornerstone of British music ever since.
Track List:
Strolling Down The Highway
Smokey River
Oh How Your Love Is Strong
I Have No Time
Finches
Rambling’s Gonna Be The Death Of Me
Veronica
Needle Of Death
Do You Hear Me Now
Alice’s Wonderland
Running From Home
Courting Blues
Casbah
Dreams Of Love
Angie
Reading that track list, I realise that I have never heard the full album. I think I’ll go and look for it.
Think it is a limited edition but I may be able to find a share for you.
Did you find a copy, RevD?
roughbarked said:
Did you find a copy, RevD?
Haven’t had a proper look. It’ll probably be on I-tunes I suppose. Wasn’t on UTube.
By the way, has anyone else had problems buying downloadable music from Amazon and I-tunes because you are not amerkin?
The Rev Dodgson said:
roughbarked said:
Did you find a copy, RevD?
Haven’t had a proper look. It’ll probably be on I-tunes I suppose. Wasn’t on UTube.
By the way, has anyone else had problems buying downloadable music from Amazon and I-tunes because you are not amerkin?
I have lots of problems trying to download anything big.
The Rev Dodgson said:
By the way, has anyone else had problems buying downloadable music from Amazon and I-tunes because you are not amerkin?
Not me, not I.
Divine Angel said:
The Rev Dodgson said:By the way, has anyone else had problems buying downloadable music from Amazon and I-tunes because you are not amerkin?
Not me, not I.
Delta Angel? :P
Cymek said:
Don’t know what it is called, but it goes “dumdedum diddledee dum”
The Rev Dodgson said:
roughbarked said:
Did you find a copy, RevD?
Haven’t had a proper look. It’ll probably be on I-tunes I suppose. Wasn’t on UTube.
By the way, has anyone else had problems buying downloadable music from Amazon and I-tunes because you are not amerkin?
All the time, some of my all time favourites like Pat Boon and Doris day are almost unsourcable.
Peak Warming Man said:
The Rev Dodgson said:
roughbarked said:
Did you find a copy, RevD?
Haven’t had a proper look. It’ll probably be on I-tunes I suppose. Wasn’t on UTube.
By the way, has anyone else had problems buying downloadable music from Amazon and I-tunes because you are not amerkin?
All the time, some of my all time favourites like Pat Boon and Doris day are almost unsourcable.
have you seen Melinda schnieder sing doris day? she’s touring the country at the moment.
I’m going next month, if there’s a cd I’ll get it and burn you a copy if you’d like
roughbarked said:
The Rev Dodgson said:
roughbarked said:It Don’t Bother Me was first released in November 1965 and is invariably overlooked because it came so soon after Jansch’s timeless, self-titled debut album. Unlike that album which took its strength from the repertoire he’d been playing for years, as Mick Houghton’s liner notes explain; “When Jansch came to record It Don’t Bother Me a few weeks after Bert Jansch hit the shops, he was required to come up with a completely new batch of songs just as his life was changing around him.”
The title track is one of Jansch’s finest and most personal songs reflecting on is new found fame as the poster boy of a new breed of young folk guitarists. Other highlights include ‘Lucky Thirteen’, a sprightly collaboration with John Renbourn which hinted at the promise to come and ‘900 Miles, the first traditional song Jansch recorded and the first time he played banjo on record. On both counts, ‘It Don’t Bother Me’ presaged the two albums which followed.
This superb edition is the second in a series of all seven of Bert Jansch’s Transatlantic Records recordings, all of which have been remastered from the original master tapes for the first time ever. The album was released in 1965 and has been a cornerstone of British music ever since.
Track List:
Strolling Down The Highway
Smokey River
Oh How Your Love Is Strong
I Have No Time
Finches
Rambling’s Gonna Be The Death Of Me
Veronica
Needle Of Death
Do You Hear Me Now
Alice’s Wonderland
Running From Home
Courting Blues
Casbah
Dreams Of Love
Angie
Reading that track list, I realise that I have never heard the full album. I think I’ll go and look for it.
Think it is a limited edition but I may be able to find a share for you.
Can burn a copy if required. ;)
bump.
roughbarked said:
bump.
David Gilmour – Rattle That Lock
CrazyNeutrino said:
roughbarked said:
bump.
David Gilmour – Rattle That Lock
Vhttps://www.youtube.com/watch?v=XkrM27E7KDk
bob(from black rock) said:
CrazyNeutrino said:
roughbarked said:
bump.
David Gilmour – Rattle That Lock
Vhttps://www.youtube.com/watch?v=XkrM27E7KDk
ta.
It’s not all country pickin’ in Nashville. Michael Spriggs is an A-list session guitarist in Music City who has played on, and written, dozens of country hits. But when he goes home, he plugs in to a different sound, turning country into Ambient Americana with touches of Celtic music. He’s released several albums, including Neurasenia, which was an Echoes CD of the Month. He’s as likely to talk about Sigur Ros as Chet Atkins. Spriggs has just released a new CD called Back to 1 that continues his instrumental explorations.
Well actually, myself on the 12 string. I really love the full sound. It is just a Chinese knock off but it still sounds OK after I filed the rough spots off the frets. It isn’t a Maton but it works.
Just discovered:
VA – Morton Feldman, Erik Satie, John Cage: Rothko Chapel (2015)
Genre: Classical |
“Stillness, silence, contemplation. These are the characteristics of Rothko’s paintings and of the chapel that was created for his work,” writes Sarah Rothenberg in the CD liner notes. “If Jackson Pollock’s art is marked by rhythmic energy, by action made visible, the paintings of Mark Rothko hold the opposite – colors seem to float ‘as though they were breathed onto the canvas.’ … Tracing a trajectory of the avant-garde that spans a century, the music corresponds to the Chapel’s environment of timeless reflection. The works of Americans John Cage and Morton Feldman, without text or program, interweave with the ruminative piano works of their spiritual predecessor from 19th century Paris, Erik Satie.”
This album addresses a network of musical relationships and inspirations. It opens with Morton Feldman’s Rothko Chapel, named for the Houston, Texas interfaith chapel built to house Mark Rothko’s site-specific paintings. Feldman considered that his music lay “between categories, between time and space, between painting and music”, and described the score as his “canvas”. Amongst his most important influences were abstract painters, his friend Rothko prominent amongst them (Rothko, for his part, yearned to “raise painting to the level of music and poetry”). Feldman was also liberated by the freewheeling example of John Cage’s work. “The main influence from Cage was a green light,” Feldman said. “It was permission, the freedom to do what I wanted.” Cage, that most relentless of 20th century experimentalists, didn’t acknowledge what he called an “ABC model of ‘influence’” but always had a special fondness for Satie, a musical inventor of good-humoured originality with whom he could identify. On a number of occasions Cage mounted a spirited defence for Satie, critical of the critics who assigned him a minor role in music history. — ECM
The Rev Dodgson said:
Just discovered:
Firefox can’t establish a connection to the server at newtonexcelbach.wordpress.com. ?
which script should I unblock?is it a google one?
roughbarked said:
The Rev Dodgson said:
Just discovered:Firefox can’t establish a connection to the server at newtonexcelbach.wordpress.com. ?
which script should I unblock?is it a google one?
I have no idea, but here are the YouTube links:
https://youtu.be/wl4fzevbTt0
https://youtu.be/vNNSXLTt7MU
https://youtu.be/kIj6XFOFmb0
The Rev Dodgson said:
roughbarked said:
The Rev Dodgson said:
Just discovered:Firefox can’t establish a connection to the server at newtonexcelbach.wordpress.com. ?
which script should I unblock?is it a google one?
I have no idea, but here are the YouTube links:
https://youtu.be/wl4fzevbTt0
https://youtu.be/vNNSXLTt7MU
https://youtu.be/kIj6XFOFmb0
Doesn’t appear to be scripts I’m blocking. Have never had trouble with one of your links before.
roughbarked said:
Doesn’t appear to be scripts I’m blocking. Have never had trouble with one of your links before.
Have you got an error message?
The Rev Dodgson said:
roughbarked said:Doesn’t appear to be scripts I’m blocking. Have never had trouble with one of your links before.
Have you got an error message?
The one I posted is a generic firefox message ie: cannot contact the site.. blah blah
I could try quitting firefox and starting again.
roughbarked said:
The Rev Dodgson said:
roughbarked said:Doesn’t appear to be scripts I’m blocking. Have never had trouble with one of your links before.
Have you got an error message?
The one I posted is a generic firefox message ie: cannot contact the site.. blah blah
I could try quitting firefox and starting again.
Or try IE :)
(But the blog post doesn’t say much, and the direct You Tube links should work)
They are a latter day Incredible String Band, with Led Zep tendencies.
The Rev Dodgson said:
They are a latter day Incredible String Band, with Led Zep tendencies.
Listened to the first one, nice sound but a bit wordy :)
Bubblecar said:
The Rev Dodgson said:
They are a latter day Incredible String Band, with Led Zep tendencies.
Listened to the first one, nice sound but a bit wordy :)
I’m still having trouble but then youtube is giving errors.
Bubblecar said:
The Rev Dodgson said:
They are a latter day Incredible String Band, with Led Zep tendencies.
Listened to the first one, nice sound but a bit wordy :)
That’s ISB for you.
I suggested my daughter listen to the last one first and work back.
I’ve quit firefox and restarted. Still unable to connect to https://newtonexcelbach.wordpress.com/
I’ll try Safari.
roughbarked said:
I’ve quit firefox and restarted. Still unable to connect to https://newtonexcelbach.wordpress.com/I’ll try Safari.
Your pages work in Safari. This comment and the youtube links suggest that google doesn’t like me.
I just thought I would ask Google who there is playing music these days developing the tradition of the Incredible String Band, and after wading through long lists of 40 year old albums I eventually found:
Trembling Bells
For anyone in a late Rennaissance/early Baroque mood:
Beautiful concert (1.5 hours) – Lachrimae Caravaggio. Jordi Savall & son Ferran with Hysperion XXI. Music (mostly mournful, but with some sprightly dances) from the time of Caravaggio, performed in memory of Montserrat Figeuros (Jordi Savall’s wife & mother of Ferran and his fine musical sister, Arianna). Some lovely singing from Ferran in the mourning pieces.
https://www.youtube.com/watch?v=dJDce7wUwDs
Bubblecar said:
For anyone in a late Rennaissance/early Baroque mood:Beautiful concert (1.5 hours) – Lachrimae Caravaggio. Jordi Savall & son Ferran with Hysperion XXI. Music (mostly mournful, but with some sprightly dances) from the time of Caravaggio, performed in memory of Montserrat Figeuros (Jordi Savall’s wife & mother of Ferran and his fine musical sister, Arianna). Some lovely singing from Ferran in the mourning pieces.
https://www.youtube.com/watch?v=dJDce7wUwDs
Can’t believe I spelt Renaissance wrong :)
Google own YouTube now, but other than that there is no Google connection. I just found the name with a Google search, then searched You Tube.
roughbarked said:
roughbarked said:
I’ve quit firefox and restarted. Still unable to connect to https://newtonexcelbach.wordpress.com/I’ll try Safari.
Your pages work in Safari. This comment and the youtube links suggest that google doesn’t like me.
I just thought I would ask Google who there is playing music these days developing the tradition of the Incredible String Band, and after wading through long lists of 40 year old albums I eventually found:
Trembling Bells
The issue with all the videos is that I have not updated Flash.
My problem is that all sites want Flash. I don’t care. They should offer other options that work and aren’t so dependent upon being upgraded to fix vulnerabilities.
The Rev Dodgson said:
Google own YouTube now, but other than that there is no Google connection. I just found the name with a Google search, then searched You Tube.
I block 99% of the shit that google throws at me in firefox.
How to play all YouTube videos without Flash installed
http://www.ghacks.net/2013/02/26/how-to-play-all-youtube-videos-without-flash-installed/
Haven’t tried it.
The Rev Dodgson said:
How to play all YouTube videos without Flash installed
http://www.ghacks.net/2013/02/26/how-to-play-all-youtube-videos-without-flash-installed/
Haven’t tried it.
I’ll have a go at it sometime tonight, if I remember.
roughbarked said:
The Rev Dodgson said:How to play all YouTube videos without Flash installed
http://www.ghacks.net/2013/02/26/how-to-play-all-youtube-videos-without-flash-installed/
Haven’t tried it.
I’ll have a go at it sometime tonight, if I remember.
is the message I get. This would possibly imply that not all videos are in playable format?
roughbarked said:
roughbarked said:
The Rev Dodgson said:How to play all YouTube videos without Flash installed
http://www.ghacks.net/2013/02/26/how-to-play-all-youtube-videos-without-flash-installed/
Haven’t tried it.
I’ll have a go at it sometime tonight, if I remember.
The HTML5 player is currently used when possible.is the message I get. This would possibly imply that not all videos are in playable format?
It seems that my firefox isn’t up to it. Safari works without updating flash which it wouldn’t do before.
Perhaps I should try updating my firefox?
The Rev Dodgson said:
Or try IE :)
(But the blog post doesn’t say much, and the direct You Tube links should work)
They are a latter day Incredible String Band, with Led Zep tendencies.
Safari plays them well in html5. https://www.youtube.com/watch?v=vNNSXLTt7MU&feature=youtu.be this one is both incredible string band with a tad of Jefferson Airplane, Grace Slick esque.
This is all incredible string band..https://www.youtube.com/watch?v=5HN9y1z1Z9A
roughbarked said:
This is all incredible string band..https://www.youtube.com/watch?v=5HN9y1z1Z9A
In fact I’m so glad you enabled me to find this.
roughbarked said:
roughbarked said:
This is all incredible string band..https://www.youtube.com/watch?v=5HN9y1z1Z9A
In fact I’m so glad you enabled me to find this.
somewhere near where 14:21 goes on.. or earlier.. It is like their version of duelling banjos.
roughbarked said:
roughbarked said:
roughbarked said:
This is all incredible string band..https://www.youtube.com/watch?v=5HN9y1z1Z9A
In fact I’m so glad you enabled me to find this.
somewhere near where 14:21 goes on.. or earlier.. It is like their version of duelling banjos.
oops.. 41:21
roughbarked said:
roughbarked said:
This is all incredible string band..https://www.youtube.com/watch?v=5HN9y1z1Z9A
In fact I’m so glad you enabled me to find this.
I hadn’t seen that one either.
I’ll have a good listen tomorrow.
BASed out at the moment.
The Rev Dodgson said:
roughbarked said:
roughbarked said:
This is all incredible string band..https://www.youtube.com/watch?v=5HN9y1z1Z9A
In fact I’m so glad you enabled me to find this.
I hadn’t seen that one either.
I’ll have a good listen tomorrow.
BASed out at the moment.
I love it but let me know what you think. ;)
This was actually the first album from the incredible string band, that I experienced. https://www.youtube.com/watch?v=0JVH5G2wl10
roughbarked said:
This was actually the first album from the incredible string band, that I experienced. https://www.youtube.com/watch?v=0JVH5G2wl10
er: Liquid acrobat, as regards the air.
Fetty Wap still
dv said:
Fetty Wap still
:)
roughbarked said:
dv said:
Fetty Wap still
:)
Anyway, it is all about the ads. I actively block them in firefox. I managed to make these videos work in Safari ad free but even after I’d stopped listening to the videos because my connection had had some dropouts, the ads appeared out of nowhere and completely startled me because in firefox I never get them and to get them in Safari is rare.
“Once again, the greatest thing going in acoustic guitar” – THE FADER
‘Imaginational Anthem Vol. 7′ is compiled by 20 year old guitarist Hayden Pedigo, from Amarillo, TX. Hayden has recently been featured in Vogue and The FADER behind his own recent album release, ‘Five Steps’. Hayden’s curation represents a balanced cross-section across the modern solo acoustic guitar spectrum. As with previous volumes, this one truly represents the state of the art – an area of evolving musical expression that is very vibrant and healthy indeed.
Nothing still
I haven’t voluntarily listened to music since early August. Can’t say I miss it.
JTQ said:
Nothing stillI haven’t voluntarily listened to music since early August. Can’t say I miss it.
Sacrilege!
monkey skipper said:
CrazyNeutrino said:
New Order – Blue Monday
12 “ version , remix or standard version?
original version 12’‘
here’s an extended version
AWOLnation – Burn it down, Sail, and Knights of Shame.
Pat Boone
CrazyNeutrino said:
Died Pretty – D.C.
Love the group and song. They deserved to be bigger. Doughboy Hollow is a brilliant album.
CrazyNeutrino said:
Pixies – Velouria
Hehe. I think that was one of the only music videos they did and it was their little protest against the industry. I prefer this one which was produced by a couple of their fans, though I can’t tolerate their music anymore.
https://www.youtube.com/watch?v=VAoCkrsVnUs
Crackity Jones
Anyone listen to “new age”?
What’s the best?
mollwollfumble said:
Anyone listen to “new age”?
What’s the best?
Not me, but my music streaming service says these are the most popular with them, in order:
Bodeacia
Lakeshore Dreams
Meditation
Exodus
This Life
Speedy said:
mollwollfumble said:
Anyone listen to “new age”?
What’s the best?
Not me, but my music streaming service says these are the most popular with them, in order:
Bodeacia
Lakeshore Dreams
Meditation
Exodus
This Life
Ta, have copied list to file.
One for Sorrow, Two for Joy has a unique path in the way it was designed and created, speaking in terms of purpose and legacy that you rarely experience in modern music. Taking up residence in a basement in the south of Ireland by the sea, the ensemble wrote and recorded the album live in a series of four, hour-long sessions. There were no computers, no playback of samples, no overdubs and no further enhancements of any nature after the sessions were complete. If these facts were not given in the press release, one would never know or even assume due to the technical nature of how this music is put together.
One for Sorrow, Two for Joy passionately weaves through otherworldly sounds of both dark and bright hemispheres, shape-shifting and morphing into a constant stream of ascension and transcendence without sacrificing melody and other traditional music elements. The usage of operatic vocals over lush fields of ambient and contemporary classical modes is stunning and very unique, projecting into a duality of past and modern tonality.
With an intelligent sense of improvisation taking up residence to their approach, it has a level of precision and technicality that is remarkable. Highly advanced musicians with a sense of both excavation and exploration, Second Moon of Winter have opened up something very deep and special in One For Sorrow, Two For Joy.
Federico Albanese – The Blue Hour (2016)
Managing to encapsulate in an album that fleeting period of transition between day and night is no easy feat, but it’s something Federico Albanese has managed spectacularly. With The Blue Hour, the Milan-born, Berlin based ‘piano poet’ has crafted an album as elegant as it is melancholy, in which the lasting impact is only matched by each track’s transience.
Ephemeral though the record’s inspiration may be, the haunting beauty, fragile melancholy and instrumentation that speaks volumes all makes for an album that reaches far beyond its three quarters of an hour run-time. One of the most hauntingly beautiful records you’ll ever hear.
With Dig In Deep, her twentieth album, Rock and Roll Hall of Famer Bonnie Raitt comes out swinging. The follow-up to 2012’s triumphant Slipstream—the Grammy-winning, Top Ten-charting first release on her own Redwing Records label—the new record illustrates the delicate balance of consistency and risk-taking that has defined Raitt’s remarkable career for more than forty-five years.
“Touch follows on from my previous album, Lights in the Sky. It comprises eight tracks for analogue synthesiser, cello, piano, and string orchestra. Composers are often asked what their music is about, especially with instrumental music such as this. To me, it sort of defeats the purpose and joy of listening to music. How do we interpret the emotion and meaning of music when we aren’t hand held through listening, or guided by a lyric? Just because music is slow, doesn’t mean that it is sad; just because it is fast, doesn’t make it happy. The same goes for tonality: major music isn’t intrinsically happy, minor music isnt exclusively sad. Yes, these can be devices for eliciting an emotional response, but they are not in and of themselves complete. For me, this is the magic of music. Where it isn’t objectively about something, it becomes amorphous, changing shape and purpose to fit the ear and mind of the listener. It has many lives and many meanings, none of them right and none of them wrong.” ~ Peter Gregson
1952 Vincent Black Lightning, David Byrne and Richard Thompson., 03/24/92 An accoustic evening, St Anne and the Trinity, 03/24/92 in Brooklyn Heights.
roughbarked said:
1952 Vincent Black Lightning, David Byrne and Richard Thompson., 03/24/92 An accoustic evening, St Anne and the Trinity, 03/24/92 in Brooklyn Heights.
http://www.guitars101.com/forums/f90/david-byrne-and-richard-thompson-03-24-92-an-acoustic-evening-320-a-63116.html
“Kiss My Irish Arse”..
On their seventh ironomi album (and their first since 2010’s sketch), pianist Junya Yanagidaira and guitarist/programmer Yu Isobe are joined by a number of collaborators on the 164-minute release’s twelve tracks, many of them Kitchen. associates. Though each piece is distinguished from the others by the guests’ different instruments, Yanagidaira’s quietly dazzling piano playing acts as the music’s unifying core. Regardless of whether contrabass, piano, koto, guitar, violin, saxophone (tenor and soprano), or even water (yes, water) appears as the extra voice, ironomi’s music never loses its graceful essence when the material flows with such natural purity. Peacefulness and tranquility permeate niji (‘rainbow’ in English), and with the music so serene the listener experiences little difficulty cozying up to tracks that sometimes last as long as twenty minutes.
The typical ironomi composition isn’t a formally structured piece containing anything so conventional as melodic motifs, verses, or choruses. Instead, each one unfolds organically as a meditative setting whose mood the group handily sustains for extended durations. On paper, the piano-guitar-laptop combination suggests a sound pitched halfway between acoustic and electronic zones, but on niji at least, Isobe’s laptop treatments are downplayed, the focal point primarily Yanagidaira’s piano.
Certainly one of the standouts on the release is the track featuring ASPIDISTRAFLY (April Lee and Ricks Ang) for the stirring vocal presence Lee brings to the piece; throughout this entrancing meditation, she complements the piano playing with the purity of her voice and delicacy of her delivery. A familiar name in Kitchen. circles, haruka nakamura (who has collaborated with ironomi on numerous occasions) plays classical guitar on two long-form pieces that distill the project’s peaceful tone into a compact forty-minute snapshot. In these pieces, the pianist and guitarist repeatedly switch back and forth between soloist and accompanist—at least to the degree that one can apply such clear-cut determinations to the recording’s fluid and ever-evolving soundworld.
Elsewhere, Coupie (yukki and Cobi) contributes guitar to a lilting meditation, and the addition of ARAKI Shin’s breathy tenor saxophone to ironomi’s music makes for a particularly becalmed result; by comparison, the heavenly piece on which Rie Nemoto’s plaintive violin appears turns especially lovely when her playing is presented in multi-layered form. The third disc’s piano, soprano saxophone, and contrabass settings stretch out even more than the eight on the first two, with the oceanic ripples of the piano playing reaching dazzling, almost ecstatic heights during these concluding performances.
Given the free-flowing character of the music, it doesn’t surprise to learn that each of niji‘s compositions arose in real-time as an improvisation and that the best takes were selected and left in largely undoctored form for the release. Time and time again, ironomi allows its wistful music to breathe and develop according to its nature and was fortunate to collaborate with guests who clearly shared the group’s sensibility during their respective recording sessions.
Followers of the Sonic Pieces catalogue will already be familiar with the individuals of F.S.Blumm and Nils Frahm as well as their acclaimed work as a duo. But even though they’re making use of familiar instruments their new album Tag Eins Tag Zwei manages to add a new tone to their already unique language. By trading their post-processed sound sculptures that made up the two preceding albums in for intimate pieces of improvisation, this collaboration merges into the most soothing and life affirming recording the two have produced so far.
Guitars and toys are flowing next to piano and harmonium like an organic combination, shaping nine suits that abnegate any common categorization. Involving classical, jazz and folk influences it’s the genuine use of tricks and delays that lift these improvisations above the ordinary and makes them both incredibly relaxing and exciting at the same time. It is almost ironic that by capturing accidental moments of free playing, Frank and Nils are succeeding at an even more impressive scale than their already highly satisfying previous output.
The result delivers a perfect example of how immediacy can be the most powerful approach to creating music. Based on a remarkable understanding of each other’s phrasing the pair of sessions that comprises this album shows two vivid artists at the peak of their game: Unconditional spontaneity.
Tracklist:
1. Day One One
2. Day Two One
3. Day One Two
4. Valentine My Funny
5. Day Two Two
6. Day One Three
7. Day One Four
8. Day Two Three
9. Is Love What You Don’t Know
In late 2013 Biosphere was invited by the Incubate festival in Tilburg to spend one week doing field recordings at the organic farm Boerderij ‘t Schop in Hilvarenbeek. These recordings were going to be released as a single-sided limited edition vinyl EP (100 copies) “for reviews/media/relations only.
Unfortunately Incubate never managed to get it out. Last month, this record was suddenly released by the Dutch label New York Haunted without the artist´s knowledge and written consent. Nor did the artist get any chance to approve the artwork and the quality of the vinyl pressing. In fact, the artist has not even seen the record.
Here is the “official” digital release. This EP is dedicated to the memory of Niek van den Broek (1985-2014).
Thanks to: Jan and Cecile van den Broek at Biologische boerderij ‘t Schop. Niek van Hulten, Kim Pattiruhu, Jef Monté, Tess Wiskerke, Erik Korsten and Jos Marcelissen.
Tracklist:
1. ‘t Schop 06:56
2. Pipistrellus 03:14
3. Audax 06:04
4. Strigiformes 03:12
2. Pipistrellus 03:14
sounds like a recording of a bloke with a dodgy prostate, having a piddle.
The Gloaming – 2 (2016)
Genre: Celtic, Folk
The exuberance of the reaction to their first album, released on Real World Records in January 2014, was only matched by the universal acclaim for their live performances. And so the inevitable question is: how do you follow such a resounding success? Throughout 2015 The Gloaming have been adding to their repertoire and refining those performances on the live stage. The result is their second studio album, 2.
Like their debut the new album features another enigmatic image from Robert and Shana ParkeHarrison, an image that somehow manages to capture that feeling of tradition and contemporary progression, a perfect contrast to their own music which dwells at a musical crossroads, enhancing traditional Irish music’s rich, melancholic tones with modern hues of jazz, contemporary classical, and experimental music.
Steeped in traditional Irish music since birth, fiddlers Martin Hayes and Caoimhin Ó Raghallaigh and sean-nós singer Iarla Ó Lionáird are joined by New York pianist Thomas Bartlett (Doveman), and Chicago-born guitarist Dennis Cahill. The Gloaming have found a way to fuse and transform Irish traditions, in the process re-defining what Irish music can be. The new album was recorded in December 2015 at Real World Studios, produced by Thomas Bartlett (Sufjan Stevens, Glen Hansard) and engineered and mixed by Patrick Dillett (David Byrne & St.Vincent, The National).
In 2, tales from the dark ages, contemporary poetry, songs and melodies passed from hand to hand, soul to soul are the raw material subjected to The Gloaming’s singular, mesmerising alchemy. And those ancient influences are apparent form the very first moments, as Thomas Bartlett’s steady piano introduces the archaic sound of Caoimhin Ó Raghallaigh’s hardanger in The Pilgrim’s Song. Iarla Ó Lionáird’s inspiration for the song is to be found in two poems by Seán Ó Riordáin. From the outset his impossibly slow and steady vocal displays the same astounding level of control his listeners have come to recognize. It’s a clock ticking, a mind wandering, a soul waiting. And as the intensity builds, Martin Hayes’ fiddle dances alongside the increasingly urgent piano with perfect precision.
Tracklist:
01. The Pilgrim’s Song
02. F inleog (Wanderer)
03. The Hare
04. Ois¡n’s Song
05. The Booley House
06. Repeal the Union
07. Casadh an tS£g in
08. The Rolling Wave
09. Cucanandy
10. Mrs Dwyer
11. Sl n le M ighe
12. The Old Favourite
If Only I Knew | Seckou Keita | 22 Strings
Alpha Yaya | Seckou Keita | 22 Strings
Kana-Sila | Seckou Keita | 22 Strings
Zoe Keating
Kevin Bloody Wilson Enough Rope Australian Broadcasting Corporation 2008
roughbarked said:
Kevin Bloody Wilson Enough Rope Australian Broadcasting Corporation 2008
From Dilligaf to.. I find myself dreaming of the girl that I love… a line from early Simon and Garfunkel
Bad Company – Good Lovin’ Gone Bad live
Paul Bernard Rodgers (born 17 December 1949) is an English singer, songwriter and musician, best known for his success in the 1960s and 1970s as vocalist of Free and Bad Company. He now lives in Canada as a naturalized Canadian citizen. After stints in two less successful bands in the 1980s and early 1990s, The Firm and The Law, he became a solo artist. He has more recently toured and recorded with Queen. Rodgers has been dubbed “The Voice” by his fans. A poll in Rolling Stone magazine ranked him number 55 on its list of the “100 Greatest Singers of All Time”. In 2011 Rodgers received the British Academy’s Ivor Novello Award for Outstanding Contribution to British Music.
Rodgers has been cited as a significant influence on a number of notable rock singers, including David Coverdale, John Waite, Steve Overland, Lou Gramm, Jimi Jamison, Eric Martin, Steve Walsh, Joe Lynn Turner, Paul Young, Bruce Dickinson, Robin McAuley, Jimmy Barnes, Richie Kotzen and Joe Bonamassa. In 1991, John Mellencamp called Rodgers “the best rock singer ever”. Freddie Mercury, the original Queen vocalist, in particular liked Rodgers and his aggressive style.
Steve Gadd Solo With Brat Cole on Piano 1993
Steve Gadd_ WAY BACK HOME (The Great Drum Solo at 7_00)
Bert Jansch was often quoted as saying “I’m not playing for anyone, just myself” and this feels no more apparent than on 1979’s ‘Avocet’, his beautifully meditative paean to British birds. This isn’t to say that Jansch was throwing commercial success to the wind, or was unaware of his audience, more that this album feels like a uniquely personal reflection of him. (The subject of British birds is one that Jansch held close to his heart. Indeed, just preceding this album was his 1978 split 7” single with Shirley Collins – with proceeds in aid of the RSPB.)
For fans of Jansch this is often the album that is singled out as his best work. The freedoms of a post-Pentangle career are much in evidence; folk rock and even trad folk give way to an album that is not only without lyrical accompaniment but really quite orchestral, classical even, in its composition. There are surprises in particular in ‘Lapwing’ (a dirge-like waltz that wouldn’t be out of place on a Nils Frahm album) and ‘Bittern’ (which speaks of Arthur Russell’s more experimental pieces).
Featuring ex-bandmate Danny Thompson, alongside Martin Jenkins with sleeve notes by Jansch aficionado Colin Harper (author of ‘Dazzling Stranger: Bert Jansch and the British Folk and Blues revival).
Labels such as ‘neo-classical’ don’t always assist. It doesn’t do justice to the stark, abstract, and at times ambient beauty a work such as Tasten (German for ‘feel,’ ‘to grope for’) exudes.
Nine instrumental pieces played on three Steinway grand pianos, with Krautrock veteran Hans-Joachim Roedelius a professorial, slightly unhinged presence, the swirls of melody and motif here coalesce across a number of configurations, the spaces between each piece blurred, pleasantly ill-defined.
That said, the way that tracks such as Brandung (‘Surf’) and Karussell (which you can probably translate for yourselves) dash themselves against the rocks as dénouement highlights the lack of immediacy or deviation in timbre behind the disc as a whole. Working with Onnen Bock and Armin Metz, this suburb of the Cluster/Kluster/Qluster universe is a reflective, meditative one, which at times can leave the listener craving the occasional curveball. File under ‘subtle beauty,’ then.
One of the most original and respected guitarists on the British folk scene, Michael Chapman has enjoyed a rebirth of interest in his work in the 21st century, with many of his early albums being reissued and his collection of three experimental albums for Blast First Petite receiving enthusiastic reviews. Chapman’s 2015 release Fish shows that the venerable guitarist is still playing with a master’s touch and a free imagination, creating music that is both beautiful and challenging.
Fish is his fortieth release where the folksy fingerpicking comes lightly southern fried and, lyricless, It’s virtuoso playing which tells Michael’s story. “Lament for Napalm” sounds like “Albatross” on a comedown, the bells bookending it speaking of something funerary. “Vanity and Pride” oozes with nostalgia, harking back to his sixties heyday through round rose spectacles – throughout he plays expansive, exploratory folk of the highest order.
There’s a Zen that floats around Michael and this work and with total mastery, he’s decided to create something vital. He could have been forgiven for making this a technical, scowl of an album, “this’ll show them”. Instead, each slightly buzzing fret and imperfect, scratchy sound speaks of a man full of life, playing with a smile perhaps more wistful with age. Unrestrained by technique, he is free to breathe life into Fish, bend it to his will: it has an orchestral beauty, and Chapman is as much a conductor as a songwriter.
He fell down a sinkhole, perhaps purposely, around 1975. But maybe that’s why he’s still here, smiling and dryly cracking wise. Perhaps his Zen is his secret, and why he’s as happy playing to twenty despite talent and experience worthy of thousands. Maybe that’s the reason he can make unfaltering music, of the highest quality, prolifically and into his seventies.
https://www.youtube.com/watch?v=mFP-rYQb3ts
https://en.wikipedia.org/wiki/It’s_a_Beautiful_Day
Son of kora player M´Bady Kouyate and cousin to Ba Cissoko, Guinean kora musician and composer Sekou Kouyate has collaborated with Roberto Fonseca, the zouk band Kassav, Paris’s Marco Prince FFF, Cameroon’s Blick Bassy and musician and rapper Joe Driscoll on their 2014 release of Faya. Considered one of the best contemporary kora players and inventor of his own electrified kora with wa-wa effects, Mr. Kouyate has developed a style that has wowed fans worldwide. Putting those prodigious talents to work on his release of Sabaru, out on the One World Records, Mr. Kouyate proves to be a powerful force on the African music scene.
Together with kora players Sefoudi Kouyate and Mohamed Kalissa, bassist and backing vocalist Bouba Kouyate; drummer and calabash player, Mohamed Kaba; jembe and conga player Facinet Sylla; tama, udu, clave, drummer and conga player Francis Kweku Osei; bassist Gaddiel Amoah; keys player Carl Amoah; and Mr. Kouyate on vocals, kora, electric kora and guitar, Sabaru strikes on a bright and palatable sound that’s sure to please kora fans and African/world music lovers.
Opening Sabaru with lusciously seductive “Dela,” Mr. Kouyate conjures up a sound that comes across as deceptively free and easy, but upon a closer listen the music is carefully crafted with layers of kora, bass, guitar and delicious amount of percussion.
Slipping into the pleasingly good-natured “Dindinya,” fans get a personal listen into the soulful vocals of Mr. Kouyate. Fans should certainly check out stingingly dazzlingly “Groove Kora,” a kora flashy track so good it should come with a warning. Equally delightful is the rich sounds of “Fouta,” “Emourafama” and the kickass rocking, jazzy groove of “Nade.” The sweetly poignant “Desert” and the kora and percussion rich “Dificil” are another pair of standout tracks.
As the world marks 400 years since Shakespeare died, Paul Kelly has recorded a mini-album interpreting the playwright’s sonnets.
Kelly’s 21st studio release Seven Sonnets & a Song features him singing lead vocals on six of Shakespeare’s sonnets and a song from ‘Twelfth Night’. As is Kelly’s style, he has invited collaborators along for the ride, including the soul singer Vika Bull. She sings the only non- Shakespearean piece – a gorgeous ballad ‘My True Love Hath My Heart’, written by the Shakespeare contemporary Sir Philip Sidney.
The sonnets work naturally as lyrics, he explains. “While some of never suggested music to me, when they do suggest music, they are a natural song form.”
A sonnet has “a lot of parallels with the modern pop song”. It has a song meter (10 syllables per line), is 14 lines long and these lines rhyme. There is also an unwritten rule that sonnets should “turn” – provide a different point of view or something shifts in what is being said – not unlike a bridge in a song. Sonnets also end with a couplet that Kelly says can focus as a chorus.
Kelly started composing the album with Sonnet 18 (which famously opens with: “Shall I compare thee to a summer’s day?”) two years ago. “I thought I’d try and sing a tune to it and it sounded folky and blue-grassy. I asked a friend of mine to sing on it. That was the first. Then I became aware of the 400th anniversary of his death and decided to write a few more and make a little record.”
The sonnets were recorded in various studios over the last 18 months. Musicians performing on them include Lucky Oceans and Alice Keath, as well as members of Paul’s band, Peter Luscombe, Bill cDonald, Ash Naylor, Cameron Bruce, and Linda Bull.
Tracklist:
1.Sonnet 138
2.Sonnet 73
3.Sonnet 18
4.My True Love Hath My Heart
5.Sonnets 44 And 45
6.Sonnet 60
7.O Mistress Mine (Clown’s Song From “Twelfth Night”)
^ as ever, Paul shows how deep his water is.
https://www.youtube.com/watch?v=4ikZSNBVvR0
Stiff Gins at the Art Gallery of NSW
https://youtu.be/ikilFioL9SQ
Performance: Stiff Gins with Sydney Childrens Choir at TEDxSydney
http://www.abc.net.au/radio/programs/overnights/skin-deep-settler-impressions-of-aboriginal-women/7808440
roughbarked said:
http://www.abc.net.au/radio/programs/overnights/skin-deep-settler-impressions-of-aboriginal-women/7808440
It is interesting to hear a scientist almost tourrette’s style, continuously remind the listener, “you know”.
The Path from Gabou 4:37 Seckou Keita 22 Strings World 0 5
N’Doke (Little Bro) 5:50 Seckou Keita 22 Strings World 0 3