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Du durchsuchst gerade das Archiv des Monats Juni 2014.

Archiv: Juni 2014

2014 27 Jun

Dancehall Time Travels

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Sometimes, ladies and gentlemen, an official announcement from Soul Jazz Records with all its praise is totally right, sometimes it’s really over the top. Here, nearly everything is true. Fantastic, mind-blowing, awesome new collection of killer Studio One dancehall and proto-dancehall! Featured here is a new collection spanning Studio One’s dancehall period – singers and deejays on classic Studio One rhythms, studio and electronic wizadry from the Brentford Road headquarters, lots of rare 12” singles, all effortlessly brought together to nice up the dance. When Clement ‘Sir Coxsone’ Dodd first ruled the dancehalls of Kingston in the 1950s, fighting off the soundsystem competition of Duke Reid, King Edwards and others, few could imagine how far the reign of Studio One would last. But the emergence of ‘Dancehall’ as a distinct style of reggae at the end of the 1970s, as upstart competing producers began recording vocalists and deejays performing over replayed classic Studio One rhythms, in many ways made the influence of Clement Dodd’s vision more omnipotent than ever before (and lasting to this day). Not surprisingly, Clement Dodd’s creativity and business acumen made him quick to respond to this musical phenomenon – and he soon began voicing the new stable of Studio One singers and deejays, such as Sugar Minott and Lone Ranger, over original classic Studio One rhythms recorded in the late 1960s – to produce some of the most innovative, time-bending and creative music of his career. This album comes as CD with slipcase, super-loud, super-heavy triple vinyl album with free download code and as a digital download.

2014 27 Jun

Fear Of Music

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Jonathan  Lethem hat mal andächtig gelauscht, mal besessen zugehört, mal ist er in die Songs hinein gekrochen und hat die Zeit dabei vergessen – wie ich damals, in einem heißen Würzburger Sommer 1979. Damals stieß ich auf die bevorstehende Veröffentlichung der Schallplatte im Zeitschriftenladen Montanus. David Byrne sagte dem „Melody Maker“,  dass es ein ziemlich verrücktes Albums sei, und dass gewiss viele denken werden, die ganz besonders seltsamen Sounds hätte allesamt Brian Eno fabriziert; dem sei aber nicht so, es sei eine sehr kreative Zusammenarbeit mit dem Produzenten und “fünften Mitglied” der Band gewesen. Vor wenigen Jahren erschien FEAR OF MUSIC, remastered, und mit einem zusätzlichen 5:1-Mix.  “I didn’t want this to be a kind of post-mortem reconstruction,” Lethem said. “I wanted the entire record to spring from my encounter with it — the tangle of ideas that continued to stick from that experience.” Schon witzig, dass die deutsche Übersetzung kurz nach der Veröffentlichung von HIGH LIFE erscheinen wird, dem neuen, zweiten Streich des Duos Eno/Hyde. Ohne Frage zapft der Mann aus Woodbridge da einige Ressourcen jener wilden Zeit an, und womöglich steckt hinter dem Track „DBF“ gar  das erfindungsreiche Deja Vu „David Byrnes Funk“! 



„Für Jonathan Lethem ist Fear of Music (das dritte Album der Talking Heads und das zweite, das von Brian Eno produziert wurde) ein Meisterwerk – ausgefallen, paranoid, funky, süchtigmachend, rhythmisch, eingängig, schauderhaft und spaßig. Wie ein Besessener analysiert er die Songs, den Gitarrensound, den Rhythmus, die Texte, die äußere Aufmachung, die Ursprünge der Band aus Downtown New York und ihr musikalisches Erbe. Dabei bezieht er sich auf Theorien, Erzählliteratur und Erinnerungen und platziert das Album neben Größen wie Fritz Lang, Edgar Allan Poe, Patti Smith und David Foster Wallace. Er entführt uns in das New York der 1970er Jahre – und immer mit dem Blick darauf, wie sich unser Sinn für Kunst verändert. »Talking Heads – Fear of Music« ist das virtuose Stück eines Schriftstellers, der uns eine seiner größten Leidenschaften nahebringt.“ (Korrigierter Pressetext; m.e.) 

2014 27 Jun

Tarab Cuts

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Flowers for John Butcher and Mark Sanders for their intriguing TARAB CUTS performance at the Holland Festival in Amsterdam

© FoBo_HenningBolte

2014 27 Jun

Sharon Van Etten: Are We There (a warning)

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10.0 | Independent on Sunday
Her self-produced fourth album executes another dramatic confidence leap

10.0 | Pretty Much Amazing
As remarkable as Van Etten’s vocal work often is, it has always been a strength of hers; the real development comes in her use of dynamics

10.0 | The Arts Desk
Van Etten chose to take production duties into her own hands. The result is something so intimate, and so honest, that it at once feels rude to listen to but at the same time impossible to tear yourself away from

9.5 | Paste Magazine
Are We There doesn’t lack for superlatives, but perhaps the most impressive thing about the album is that it illustrates the scope of Van Etten’s talent

9.1 | A.V. Club
Are We There offers an artist in full command of her voice and her instrument

9.1 | Consequence Of Sound
Are We There functions best as the portrait of an artist coming into her own, while hopefully putting some of her demons to rest

9.0 | Loud And Quiet
Her elegant approach to emotionally candid lyricism is nimbly matched by the sound of the record throughout

9.0 | The Line Of Best Fit
For sheer consistency and confidence Are We There is Van Etten’s best yet

9.0 | Drowned In Sound
One of the most vivid, involving, troubling albums about the trials of love in recent memory

9.0 | Clash
A truly fascinating listen

9.0 | Uncut
Proving her mettle as a singular songwriter not afraid to hold hot coals with bare hands

9.0 | The 405
This is not a breakup album, it’s so much more than that. It is a place of solace and of memory, some memories pleasurable and others unbearably painful

9.0 | Beardfood
She will make you cry, but there’s always a smile through the tears

9.0 | No Ripcord
Her pain, her flaws, her confidence and her laughter make her one of the most relatable songwriters around today, as human as the rest of us

9.0 | Earbuddy
Without her shyness holding her back it seems that her sonic innovation knows no bounds, making her future work an incredibly exciting prospect indeed

8.5 | Crack
An excellent record and one that is further testament to Van Etten’s considerable talent

8.2 | Pitchfork
Even as she has settled into a successful solo career, Van Etten continues to write incisively about the volatility of love, with no loss of urgency or investment

3.0 | Manafonistas
The mainstream of confessional songwriting has found its new queen. But, as it quite too often happens with kings and queens, courtlife can bore you to death

Music For Barges – The Original Beekeepers
Eine laengst vesunkene Urlaubswelt erweckt „Music For Barges“ von „The Original Beekeepers“ wieder zum Leben.

Durch Collagen aus field recordings, Songfragmenten und O-Toenen aus Fernseh- und Radiosendungen erwecken die Musiker Tom Owen, Steve Bynghall und Ashley Miller sehr stimmungsvoll ihre bittersuessen Erinnerungen an Ferien an der britischen Kueste.

Empfehlenswert, auch fuer die eigenen mind movies !

2014 27 Jun

Lesezeichen # 5

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Martinas Blogeintrag ueber die von ihr favorisierten BIC-Kugelschreiber erinnerte mich an ein Buch, dass seit einigen Jahren bei mir im Regal steht: „Im Schreiben zuhaus“ von Herlinde Koelbl.

Der Bildband gibt Einblicke in die Schreibstuben bekannter Autoren und ihrer Arbeitsweise: wo und wie wird geschrieben, wird ein besonderes Schreibwerkzeug (Bleistifte bei Peter Handke, verschiedene Fuellfederhalter, je nach Stimmung bei Sarah Kirsch) benoetigt, wie sieht das Zimmer aus, in dem die Werke entstehen ?

Ein Buch also fuer Literaturliebhaber die mit diesem Buch ihrem Autor ueber die Schulter schauen koennen – und alle, denen ihr persoenliches Schreibwerkzeug wichtig ist.

Die Poesie des Alltags

Commissioned to write a theme for a Philadelphia disco in 1967, Riley grabbed an obscure Latin soul single by Harvey Averne, chopped it into loops, added Moog drone, and remade it as a 20-minute phantasmagoria. A radical forerunner of remix culture. Can anyone send me a vinyl or cd copy of this rare work? Had been re-released with a limited number of copies in 2000.  There are dudes who want a lot of money for this buried treasure, 200 euros and more. I only offer the cost of transport and a free meal in Dishoom’s, my favourite Indian Restaurant in London (12, Upper St. Martin’s Street, near Leicester Square). You send the audio material, I pay your bill (not allowed to be higher than 30 pds:)) – in case you’re not living in London, choose your own fave restaurant, and send me the bill. But it would really be fine, if someone out there would do some decent private eye work to get hold of this object of my desire!! If you’re living in West Germany, I would be happy to borrow your Terry Riley album till the end of October. Same conditions, anyway!

2014 25 Jun

Storytelling for burning radios

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I made a proposal for my Punkt friends, but, maybe it takes a year for them to realize the potential of thrill, discovery and entertainment therein. I would need 45 minutes in the „morning lectures“ time zones to present my HOW TO MAKE RADIO MAGIC. A room with dimmed lights, a collection of eight rather short tracks with a perfect „sequencing“, crossing genres and so-called degrees of seriousness with a smile. It would be a mix of a live radio show simulation, and, in between, an essay about the possibilities of creating suspense, change language modulations, how to draw people into a space of „strange things happening“. I would even be delighted to have the more classical trained students of Kristiansand in my audience – would be fun to tell them my Gustav Mahler-story. And afterwards some of them would buy their first Bill Callahan albums. And the Young Marble Giants. Real fun! And, yes, I would like to have one of the two „Sheriffs of Nothingness“ commenting my parlando with outbursts of short improvisations and some more ambient textures …

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