on life, music etc beyond mainstream


2019 7 Mai

Norma Tanega: Illusion

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2019 6 Mai


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I often think we’ve got Sunn O))) wrong. For all the talk of records about hidden civilisations, the robes, the notorious if occasionally exaggerated anecdotes about the physical impact of their gigs on unsuspecting audiences, the odd onstage fight, the intensity of their heaviosity that inspires writers and fans alike to perplexed rapture with words like “crepuscular”, rarely do we see them described for what they are – masters of the ecstatic. The aesthetics – black metal warped via contemporary design – and presence of Attila Csihar might once have promoted a newly initiate broadsheet journalist to whisper ask me „are they Satanists?“ but Sunn O))) really, have always been about the light. Most times I’ve seen them play live the experience has been one of reflective or joyous endorphin release, more akin to a cathedral evensong or standing under the ice-cold waterfall of a mountain stream than an unpleasant sonic assault. As Stephen O’Malley told me in 2017, „This isn’t a violent thing. It’s powerful, but our intention is not to be destructive. It’s nourishment.“

(Luke Turner on „Life Metal“)



“All fear is cream that sits above the classroom of your dreams… All love is fleece that leaves a cold lamb laughing in the breeze”.



2019 27 Apr

Aldous‘ Dance

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Aldous Harding – „The Barrel“ (Official Video)


As for her singing, Harding seems to have honed her instrument and matured as a performer – the inflections of her voice give shape and color to every line, and her choices never seem forced. Though the songs certainly have more or less traditional structures – they have verses and choruses, after all – they sound more like a series of meditations than they do folk or pop songs. Precisely by opting for simplicity and tautness, the arrangements (both instrumental and vocal) lend a greater depth to her phrasing than a more explicitly experimental approach might have been able to allow. As her voice makes a silky slither toward the higher notes on “Zoo Eyes,” the song lifts to a blissful state, coaxing the listener into a secret garden populated by the ideas Harding has planted there.

(Dylan Mintanari, Spectrum Culture)


2019 25 Apr


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“David Torn’s music has always tilted toward the atmospheric, and in the 1990s he started creating film soundtracks. He played on the scores to “The Big Lebowski,” “Traffic” and “A Knight’s Tale,” among others, before starting to compose entire soundtracks himself in the 2000s. It was during this period that he suffered a life-changing brain injury, and lost the ability to hear in one ear. It was a great hardship, but Mr. Torn treated it as just another part of life’s ongoing improvisation.“


“Life is a continuum in most ways, so an interrupter can be a part of the continuum,” he said, explaining that he had to relearn how to listen to music. “I think my great love of distortion became very fine-tuned.”

2019 22 Apr

„Come What May“

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Joshua Redman Quartet  (Nonesuch Records © 2019)


2019 9 Apr

Line Of Duty

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The UK can be split into two camps: those who love Line of Duty and those who are yet to love Line of Duty – there can surely be no middle ground; once you’ve taken a bite into the BBC crime procedural, it’s practically impossible to avoid being consumed by Jed Mercurio’s patchwork of well-crafted thrills, engrossing characterisation and stunning reveals you’d be mistaken for assuming no longer appeared on British TV.“

(The Independant)


2019 7 Apr

The Big Clock (1948)

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2019 31 Mrz


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The Night Life


There is a part of me

that cannot figure out

how it is we ever got here–

you already divorced at twenty-five

and the pair of us thumbing lifts

up and down the Mesoamerican coast

we have imagined as escape.


Where bad ice has made us sick

and not the zero-hour

drinking sessions with people

off-handedly travelling the world,

staking claims to real estate

beyond the bounds of credit

or the merely physical.


No matter how tough the bodies,

how overrun with plastic fibres,

how swollen with cancer,

to beat no more

than exactly a billion times,

if unhindered,

is the only application of the heart.


written by Will Burns,

part of the album „Chalk Hill Blue“

with Hannah Peel


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