on life, music etc beyond mainstream

2014 16 Jan

Klanghorizonte am 18. Januar

von: Michael Engelbrecht Filed under: Blog | TB | 9 Comments

1) Harold Budd: How Dark The Response To Our Slipping Away / Mandan, aus LUXA (BUDDBOX) 3) Simon James Philips, Track 7, aus Chair 4) Johann Johannsson: The Tall Man & The Everyday Bible, aus Prisoners OST 6) Arthur Russell: This Is How We Walk On The Moon / Hollow Tree / See Through Love, aus Another Thought (double vinyl edition, excellent remastering!) 9) Marsen Jules: VI, aus Beautyfear ( with paraphrased passages from an interview with M.J.) 10) Eleni Karaindrou: Ceremonial Procession, aus Medea 11) Harold Budd: Chet & Feral aus Luxa (BUDDBOX)



Yes, yes, this looks like a too typical edition of my show, as if the tracklist would have been trapped in a time loop: so many familiar names, and records that have been played before. But, I think, it nevertheless makes sense. When I played, weeks ago, a piece from Arthur Russell’s ANOTHER THOUGHT, it was not played from the newly remastered masterpiece that has just been released in a brilliant vinyl packaging. The remastering is gorgeous, revealing much more details. Eleni Karaindrou is a guest in the show since her debut album MUSIC FOR FILMS (the title, simple as it is, a very discreet reference by producer Manfred Eicher, towards Eno’s album with the same title). But even old listeners will be surprised here and there: Karaindrou’s spare arrangements show similarities with the aesthetics of Harold Budd (and you can feel strange affinities between a Greek theatre presenting a tragedy of Euripides from ancient times with the deserted area of Mesa, Arizona where Harold Budd produced his album LUXA). Other leitmotifs are part of the show, too, so it would probably keep you awake even in its very early morning appearance on air. It just seemed impossible to include songs from the forthcoming great albums of Rosanne Cash and Doug Paisley without destroying the plot. On the other hand, „destroying the plot“ is a bit to rough to put it. There’s a song on Rosanne’s THE  RIVER & THE THREAD, Etta’s Tune, that wouldn’t fall out of place surrounded by Eleni Karaindrou. Two women digging deep, and, to say it with the words of Luke Thorn (in his brilliant review of the Cash daughter’s album): „Every stanza is teardrop territory“. Apart from that, it’s a wide, wide world: Marsen on the hills of Lisbon, Eleni soundtracking Medea in Athens, Simon James playing in a church in Grunewald, Harold strolling through Arizona.

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  1. Michael Engelbrecht:

    **Oh lord, this is Arthur Russell’s seminal classic reissued on vinyl for the first time, housed in kraftliner sleeves printed in white litho, with art paper inners with artwork by Jennifer Lucy Allan** It’s difficult to overstate the unique brilliance of Arthur Russell’s posthumous release, ‚Another Thought‘. Like many others, I wouldn’t be ashamed to admit shedding a tear or two to the sheer life-affirming qualities of this record over the years. It’s not sad, it’s just heart-breakingly beautiful, stripped to the bare essentials of Arthur’s voice and cello dappled with effects and backed with his own drum machine, plus congas, sax and keys from longtime collaborators such as Peter Zummo, Elodie Lauten, and Mustafa Ahmed, among others. In the most transcendent sense, it’s music that occupies its very own genre, a magical soundworld all of its own, ready for you to visit when times are good, and perhaps even more so when they’re bad and you really need a fillip. Although it’s already available on CD, first on a 1994 pressing for Point Music, and later in 2006 for his longtime ally Philip Glass’s Orange Mountain Music, the magic is arguably enhanced by Arc Light Editions‘ genius gesture to press it on wax for the first time. It’s like finding a new, secret entrance to your favourite place in the world. Even passing Russell fans will likely know a few of its charms such as ‚This Is How We walk On The Moon‘, ‚Another Thought‘ itself, or the alternate version of ‚Keeping Up‘ from ‚The World Of …‘, and we truly envy any of you who’re about to encounter it for the first time …

    Boomkat review

  2. Wilfried.:

    Kannst Du uns Hörern nicht mal die Plattenspieler beschreiben, die sich im altehrwürdigen Deutschlandfunk 2014 befinden? Sind immer noch zentnerschwere Plattenteller angesagt und extralange Tonarme mit EMT-Tondose? Oder haben auch da Sony/Denon mit Direktantrieb und Biotracer Einzug gehalten? Danke!

  3. Michael Engelbrecht:

    Ich werde sie demnächst fotografieren und hier abbilden, scheint mir alles EMT zu sein …

  4. Michael Engelbrecht:

    Aber schlichtere EMT’s. Auch nicht der angeblich geniale Kultplattenspieler, von dem mir Stephan Mathieu im Herbst vorschwärmte.

  5. Michael Engelbrecht:

    Heute konnte ich nicht fotographieren, die Sendung kam vom Band….

  6. Uwe:

    Entschuldigt meine Unkenntnis, was ist denn ein „Biotracer“ ??

  7. Wilfried:

    Flapsig gesagt, ein elektronischer Tonarm. Sony hatte vor etwa 20 Jahren Tonarme entwickelt, die alle mechanischen Einflüsse mit Sensoren erfassen und Linearmotoren ausmerzen. Also Höhenschlag, Exzentrik der Platte, Skatingeffekte usw. Beim PS-X 600 kam ein traditioneller Tonarm zum Einsatz, beim PS-X 800 ein Tangentialarm, der eigentlich auch mehr Sinn macht, denn die Platte wird ja auch tangential geschnitten. Klingt kompliziert, klappte aber so gut, dass diese Plattenspieler bis heute sehr beliebt sind.

  8. Uwe:

    Danke Dir Wilfried fuer die Rueckinfo. .-D

  9. Michael Engelbrecht:

    Die Sendung am Samstag, dem 1. oder 2. Februar wird live sein, zwei Stücke der neuen Bill Callahan präsentieren, Love’s Crushing Diamond vorstellen, und endlich auch ein Stück der neuen Arild Andersen CD enthalten. Und natürlich wird auch der altgediente Plattenspieler im Studio fotografiert.

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