on life, music etc beyond mainstream

2014 15 Okt

Albumliste, Radionacht Klanghorizonte, 18. Oktober

von: Michael Engelbrecht Filed under: Blog | TB | 7 Comments




Zatter – Julian Sartorius plays music of the alps  green fields, and some really unknown areas, with a touch of humour and playful intensity,  all solo 

Cease To Matter – Burnt Friedman and Daniel Dodd-Ellis create a deceptively simple spoken-world electronica album with a strange seductive quality 

Heliographs – Erik Honore’s may have addictive qualities, for those at least who believe in the uninhibited power of fragility 

Give My Love To London – Marianne Faithful masters the disparity of her new songs with her voice and intensity – a great mix of chasing shadows, adressing enemies and embracing life’s last offers 

Moderato Cantabile – violoncello and grand piano, Anja Lechner and Francois Couturier follow the tracks of Komitas, Mompou and Gurdjieff (i just forgot it at home, otherwise i’d given this album to Scott Walker, he would surely love the crisp sound, the unforced laments, the en passant sadness of the music

Supersilent 12 – this album is really creepy, unheimliche Musik, it’s not to blame on the mausoleum alone. There is nothing uplifting here, it’s blue music for thinking and deep listening (your choice) 

Outland – Jokleba will not be the cup of tea for those who think jazz should be fucking groovy. Can you stand anger, eruption, strangeness? To get it, one has to get inside the sound (explosives should be handled with care!) Damn rich music! 

Soused – „Drone is everywhere“, Scott Waker said to me yesterday, „you find it even in Beethoven’s music!“ – and when he had come to the studio where his collaborators of Sunn O))) already had turned everythng on, on, on, it was like entering a furnace.

Sirene – Robert Curvengen’s drone music fills the Cornish coasts with big pipe organs, and soznds s that turn you on like crushing waves 

Live in Paris 1975 – Restored with painful concentration – the only live-document of the only Fripp/Eno journey through Europe that was hugely controversial and highly rewarding, because their drones and textures and ambiences and expressionism were anything else but a rip-off from Amercan minimalists. Truely original. 

Revolver – Always regarded as an all time-classic, only some of the songs blew me away, but, I have to concede, far, far away. Oh, so far away! 

Atomos – i always doubted that Dustin O’Halloran would ever leave the nice area of Erik Satie’s romantic side, but he did it, with one guy of Stars of the Lid. Post-ambient-chamber music full of dark undercurrents. And a guitar-drone is also present in the right moments. Discovery! 

Climate of Hunter – Scott Walker never left, from this time onwards (1984), the climate of hunter 

Tilt – I asked Scott Walker what the meaning of the number „21“ was in „Farmer in the City“, a song about the killing of film maker Pasolini. He thougt about it, but he couldn’t remember. When the record saw the twilight of day, in 1984, i was overwhelmed. I understood the music without understanding it. 

The Drift – Another masterpiece of decay and things falling apart, bodies, attitudes, buildings, another journey to the end of the night. 

Bish Bosch – Scott’s next chapter of blackness, an absurdist take on things between post-colonialist horror, collapsing twin towers and ancient, but never heared rituals – by the way, a compelling memory that rock music once started (after Elvis, the Pelvis) to expand our consciousness. 

This entry was posted on Mittwoch, 15. Oktober 2014 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Lajla nizinski:

    Schade, dass Scott deine Frage nach der Bedeutung von 21 nicht beantworten konnte. Pasolinis Welt und vor allem sein Weltausblick waren ja auch ziemlich sombre. Vielleicht bedeutet es das 21 Jh. … Vielleicht eine Zahl aus Pasolinis Gedichten?
    Was assoziierst du denn damit?

  2. Uwe Meilchen:

    Herr Wikipedia weiss da wieder einmal mehr…

    The opening track, „Farmer in the City“, is subtitled „Remembering Pasolini“. A few of the lyrics are appropriated from Norman Macafee’s English translation of Pier Paolo Pasolini’s poem, „Uno dei Tanti Epiloghi“ („One of the Many Epilogs“), which was written in 1969 for Pasolini’s friend and protégé, the scruffy young nonprofessional actor, Ninetto Davoli. Throughout the song, Walker’s chant of „Do I hear 21, 21, 21…? I’ll give you 21, 21, 21…“, may be a reference to Davoli’s age when he was drafted into (and subsequently deserted from) the Italian army.

  3. Bob:

    My kids knew this song when they were still at primary school! I’m going to listen to the show with great enthusiasm. Shame it’s probably hard to pick it up on medium wave (which is how I used to listen to German radio).

  4. Lajla nizinski:

    Danke Uwe fürs Suchen. Werde jetzt mal wieder ein paar Pasolini Gedichte lesen.

  5. Michael Engelbrecht:

    Bob, was so much fun to meet you yesterday at Dishoom’s in London. The latest Mojo has a feature about your Subway Sect man. Vic Godard? ((This incredible starter: Bhel, or Ghel, was a bit psychedelic:))

  6. Bob:

    Really great to see you again Michael and a great choice of dish- and kind of you to pick up the bhel!

    I can’t seem to get enough of Scott Walker and Vic Godard – despite their being very different musically and lyrically:

  7. Michael Engelbrecht:

    Email from Bob (excerpt):

    „I’m only half way through Soused and I’m bedazzled and beboozled and wizzy and woozy – what an amazing piece of work!!“

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