Saturday, October 25, 2014

Thoughts of the Day #34/2014: Robert Smithson (14) / Morton Subotnick (1) / Yellow6 (1)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)


"Oblivion to me is a state when you're not conscious of the time and space you are in. You're oblivious to its limitations. Places without a meaning, a kind of absent or pointless vanishing point."


- Robert Smithson



plus
Morton Subotnick




Plus a recent and simply adorable discovery
- Yellow6 -
out on silbermedia !
Please give their outstanding and essential discography of kosmische drones, electro-acoustics, experimental guitarworlds a careful and attentive listening.




(released in October 2014)

Simply adorable sounds !
Don't miss them !


P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Friday, October 24, 2014

Video of the Day #177/2014: Walter de Maria (1) / Park & Tamirisa


Walter de Maria - Large Red Sphere



Plus this
Park & Tamirisa
"Soto"
(on Pirvate Chronology 2014)



Caroline Park and Asha Tamirisa's debut, SOTO, takes its material and name from their first performance together at Boston's now defunct Studio Soto. Built upon a combination of generative patches, pre-recorded sound, and live-recorded sound, SOTO moves slowly as repeating motifs and percussive detail ebb into and out of swells of gauzy drone-sound. There's a heavy, yet effortless quality to SOTO, and in hearing it performed live in Studio Soto's large and austere space, it had a way of sounding unified with and indistinct from the room itself, similar in effect to the work of Jakob Ullmann. In translating this music to tape, care has been taken to remain faithful to the live set, while bringing to bear the conditions of the format. As such, the original board recording has been condensed and edited into two sides as a 'studio analogue' to the original performance.

Edition of 100 copies professionally duplicated on chrome tape in clear cassette shells imprinted by National Audio Company. The four-panel jcard features photography by the artists and a still from a video taken during the performance and has been printed via a combination of offset printing, hand-stamping, and embossing on ivory, linen-finish paper.


Thursday, October 23, 2014

Video of the Day #176/2014: James Turrell (1) / Reuben Son (1)





James Turrell - Roden Crater 
Part I/II


Plus
Reuben Son
Excerpt from 
'Asleep at the Drawing Board' 
(Private Chronology 07).
 visit www.privatechronology.com/private-chro…logy-07.html





Asleep at the Drawing Board consists of a handful of playful sessions on my synthesizer, recorded during the spring of 2011. As with its sibling 7", Days Gone By, the material that comprises Asleep at the Drawing Board was generated with a focus on live instrumental performance, as opposed to the heavily process-based music I was from 2009-2011 with tape feedback systems. These recordings were then cherry-picked and made to yield to the brevity and pop-orientation of the 7" format. The result is a five-part suite of neatly-edited patchcable synthesis, flowing from a 'West Coast' spray of mis-firing oscillations and synthesized bog waters to auto-melodic studies complete with a murmuration of electric guitar chiming to bring it all to a conclusion.

Ultimately, these efforts proved to be short-lived, but the decision was made to commit the pair of 7"s to the production line as a way of documenting some of my most colorful and 'in the moment' music to date. Due to manufacturing problems at the pressing plant, however, production of Asleep at the Drawing Board was held back, and Days Gone By was released on Wagtail Records in 2012 without its sibling release. By the time the wayward pressing plant, EKS, shipped me my vanity pressings over a year after lacquer masters were manufactured, the 'drawing board' in question was long forgotten, and I was busy working on new material (still in progress) in line with a more studio-focused praxis within which the matter of 'live instrumental performance' hardly figured in at all. As such, I left the records packed up in the box they arrived in, only to be issued after 'the moment' had substantively passed.

Pressed in a one-time edition of 100 on clear vinyl. Each record is presented in a library-style package with a hand-printed and embossed red, linen-finish insert tucked into the center hole of a stamped kraft gold inner sleeve and housed inside a crisp PVC outer sleeve.

Wednesday, October 22, 2014

Thoughts of the Day #33/2014: Robert Smithson (13) / John Cage (3)


Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)


"Rays of light penetrate the transparent cornea, the pupil, the crystalline lense and the vitreous body until they reach the retina. This process was thought to be reversed in Euclid's Alexandria (300 B.C.), in so far as it was supposed that the rays of light issued directly from the eye along straight lines until they reached the object they were looking at. The philosopher Hipparchus (160-126 B.C.) compared visual rays with feeling hands touching the objects."

- Robert Smithson


 Plus
John Cage 
about Silence




P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Tuesday, October 21, 2014

Video of the Day #175/2014: Sonic Youth feat. Merzbow and Gustafsson / Laura Luna (1)


Sonic Youth med Mats Gustafsson og Merzbow 
- Andre Sider Af Sonic Youth




Plus 
the beautiful 
and subtle sounds -
close to Terry Riley's 
"Shri Camel"
by Laura Luna
"Isolarios"
A Tape 
released August 2014
Edition of 111






LAURA LUNA DE CASTILLO IS A MEXICAN MULTIMEDIA ARTIST LIVING IN PRAGUE. COMPOSING TRACKS AND WORKING WITH SOUND ARE HER MEANS OF BRINGING FORTH IMAGINARY ATMOSPHERES. 

“I STARTED EXPERIMENTING WITH MAKING SOUND AND MUSIC ABOUT A YEAR AGO, AFTER AN EXPERIENCE THAT MADE ME AWARE OF SOUND AS A POWERFUL ENHANCEMENT TO MEMORIES AND NARRATIVES,” SHE SAYS. “FIRST I STARTED TO PAY ATTENTION AROUND ME AND TO RECORD WITH WHATEVER I HAD AVAILABLE THOSE SOUNDS THAT WHERE TRIGGERING EMOTIONS OR FRAGMENTS OF MEMORIES. LATER ON WHEN I BECAME MORE SENSITIVE TO THE ACOUSTIC RICHNESS, TONES AND CHANGES I BEGAN TO CONSTRUCT MY OWN SOUNDS TO DESCRIBE WHAT I HAD IN MY IMAGINATION OF CERTAIN MENTAL SCENES AND STORIES.”

ISOLARIOS IS AN IMMERSIVE EXPERIENCE, UTILISING SOUND AS AN EMOTION ACTIVATOR, INVITING THE LISTENER INTO A SELF-CONTAINED WORLD WHERE REPRESSED OR HALF-FORGOTTEN MEMORIES RESURFACE BLURRING THE BORDER BETWEEN HALF-CONSCIOUS AND DREAM STATES, A SORT OF SOMNAMBULIST SOUNDTRACK. “THE WAY I STARTED MAKING EACH TRACK WAS ALWAYS INSPIRED BY AN IMAGINARY ATMOSPHERE, AFTER READING AND SEEING MANY KINDS OF MEDIA THAT TRIGGERED CERTAIN FEELINGS LIKE LONGING, MEMORY, MELANCHOLY AND SOLITUDE BUT ALWAYS IMMERSED IN A FOGGY FANTASY AND MELLOW DROWSINESS,” SHE SAYS. FEEDBACK, ERROR AND ACCIDENTAL PROGRAMMING COME TO THE FOREFRONT HERE, LAYERS OF SWIRLING MELODIES ARE SCATTERED WITH FIELD RECORDINGS AND VOICES.

INSPIRED BY SCIENCE FICTION STORIES ABOUT LOST COSMONAUTS AND EXPEDITIONS WITHOUT RETURN, MAGIC REALISM AND THE WORKS OF ITALO CALVINO, LAURA’S OUTPUT IS DRENCHED IN ROMANTICISM, BUT OF A – SUBLIMELY – TRAGIC KIND. 

credits released 18 August 2014


Monday, October 20, 2014

Video of the Day #174/2014: Mats Gustafsson and Thurston Moore (1) / Nisennenmondai (3)


Thurston Moore & Mats Gustafsson 
(Live @ Strand, Stockholm, 21 Sep 2012)


plus
Nisennenmondai

Sunday, October 19, 2014

Thoughts of the Day #32/2014: Robert Smithson (12) / Organs of Dredd (2)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)


"The continous dimensions of space with all its certainties and rationalisms has broken through my consciousn ess into the discontinuous dimensions of time where certainties and rationalisms have little value. The calamitous regions of time are far from the comforts of space."



- Robert Smithson



plus 
Organs of Dredd




P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Saturday, October 18, 2014

Thoughts of the Day #31/2014: Robert Smithson (11) / Akós Rózmann (2)


Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"Futility, one of the more durable things of this world is nearer to the artistic experience than excitement. Yet, the life-forcer is always around trying to incite fake madness. The mind is important, but only when it is empty. The greater the emptiness the grander the art."

- Robert Smithson


Plus
Akós Rózmann
released on Editions Mego
in October 2014


The label writes:

7 CD’s packaged in a hardcover slipcase with a pull ribbon, 20 page booklet containing an extensive essay on the composition by the scholar Gergely Loch, photos from the process and of scores and the composer

In 2012 Ideologic Organ released the 2LP set ‘12 Stationer VI’ featuring the last part of a large scale work by the Hungarian-Swedish composer Ákos Rózmann. Here, in 2014 Ideologic Organ is immensely proud to present the complete version of Rózmann’s epic masterpiece presented for the first time in its entirety as a deluxe 7CD set.

Ákos Rózmann (1939-2005) was born in Budapest where he studied organ and composition at the Liszt Academy. From 1971 to 1974 he studied composition at the Royal College of Music in Stockholm and from 1978 he was an organist at the catholic cathedral in Stockholm. Throughout his life Rózmann dedicated himself to musique concrète developing one of the largest and most rewarding bodies of work in this, the most alchemical of all musical genres. In the early eighties, Rózmann started to build a private electroacoustic studio which he installed in the basement of the Catholic Cathedral whilst continuing to work in tandem at the Elektronmusikstudion (EMS Sweden) where he produced his earlier masterpieces.

With an unwavering commitment to the creation of music Rózmann would often lock himself up in his windowless studio working into the night in order to achieve the results he desired. He did not seek the approval of his peers nor the satisfaction of his audience with the only concern being the perfect articulation of his vision. This combination of vision, passion and stubbornness resulted in one of the most singular catalogues within the field of musique concrete. Commissioned by the Hungarian composer Miklós Maros who requested a five-minute work for piano and voice. Rózmann accepted the offer with the intention of writing a tape piece made from recordings of Miklós’ wife, the soprano singer Ilona Maros’ and his own experiments with prepared piano. The elements recorded here became the source material for Twelve Stations, a work which flew far from the initial five minute brief to land 20 years later as a spirit stretching journey of more than 6 1/2 hours. The compositional process is unique in Rózmann’s output due to the 18 year gap between the initial phase and completion of the final work. The first phase made between 1978-1980 consists of an exploration of traditional musique concrète techniques such as speeding up, slowing down, cutting and splicing tape. The last four stations made between 1998-2001 embrace digital technology where small sections of the original recordings from 1978 were fed through an effects processor and improvised on a sampler keyboard. Despite this gap and the different techniques deployed at each period of creation the monumental result sits as a complete and staggering whole.

Within the set limitations of the source material Rózmann’s skill unfolds in an uncanny ability to coax a vast world of flexible sound from the original piano and voice recordings. The result is a maelstrom of dynamic audio and one of the most daring, challenging and rewarding works of musique concrète from the 20th Century. ‘Property – Room’ parts I and II initiate proceedings with a vast landscape of Sturm und Drang. The original material of piano and voice are dissected and reconstructed as a means of evoking an aggressive otherworldly atmosphere. ‘The Contents and Life of the Black Pit’ shifts further outside with an expansive palate of heavily corrupted voice and frenzied electronics dancing in a most unsettling fashion. ‘The Abandonment of Hell’ leads the listener into a sophisticated and shocking melange of audio disorientation, one with a distinct ‘musical’ quality. One senses a master craftsman quietly whittling away at the individual elements in order to harness the previously unobtainable world within. Part V ‘The Awakening’ implants female forms in the mix as the growling, belching, disturbing voices of the early sequences are replaced with more heavenly voices ascending the malformed matter below. Rózmann was typically ambiguous about the meaning behind his work despite suggesting earlier that the first part of ‘Twelve Stations’ was an interpretation of the ‘Tibetan Wheel of Life’. Alongside his interest in Tibetan Buddhism he maintained his following of the catholic church and as a consequence one may also read this sequence, with its uplifting motifs as an ascent from hell into heaven. Rózmann concludes proceedings with ‘The Celebrators’, which presents itself not as an ending but rather a continuation of sorts. A short musical refrain conjures a prism where refractions of voice and sound appear like a hall of mirrors, spiralling onwards and outwards, without end.

Epic in scale, timbre, technique, mood and movement, Twelve Stations is a unique masterpiece of 20th Century musique concrète and presents itself as an intensely personal and bold realm of sound, an offering as such, a radical mass open to all.

Man meets different difficulties and sufferings through his wandering. These are forces between which a continuous struggle is going on. He cannot control and preside over these forces. He is being tossed up and down, powerless, like snowflakes in the storm: chaotic thoughts and feelings, gladness and suffering, which flow without intermission like a river that has no beginning nor end. All these are the fruits of our own deeds. However, in this life you have the chance to make easier those life wanderings that are to come. - Rózmann (from the programme notes for the 1984 premiere of the first seven stations).
 
– Mark Harwood

P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Friday, October 17, 2014

Thoughts of the Day #30/2014: Robert Smithson (10) / Organs of Dredd (1)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"The actual disruption of the earth's crust is at times very compelling, and seems to confirm Heraclitus's Fragment 124, "The most beautiful world is like a heap of rubble tossed down in confusion"


- Robert Smithson

plus 
Organs of Dredd
weirdo-americana duo
feat. Ben Chasny and Dan Ireton





P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Thursday, October 16, 2014

Video of the Day #173/2014: Aural Fit (2) / Haikai no ku (1/2)




Aural Fit 
Live at Urga
February 2011


Plus the sensational, mocking-japanese Guitar Freakouts from the Newcastle, UK
HAIKAI NO KU 
Ultra High Dimensionality LP
+ Pre-Studio 
limited to 300 copies !
Act fast ! 








Wednesday, October 15, 2014

Video of the Day #172/2014: Aural Fit (1) / Anthroprophh (1)


Aural Fit
Live 2013



Plus dry psychedelia 
from Anthroprophh
"Outside the circle"
released on Rocket Recordings
15 Septembet 2014








Tuesday, October 14, 2014

Thoughts of the Day #30/2014: Robert Smithson (9) / Goat (1)


Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"There is nothing more tentative than an established order. What we take to be the most concrete or solid often turns into a concatenation of the unexpected. Any order can be reordered. What seems to be without order, often turns out to be highly ordered."

- Robert Smithson



plus
Goat
"Commune"
(Rocket Recordings 2014)







P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Monday, October 13, 2014

Thoughts of the Day #29/2014: Robert Smithson (8) / Black Rain (1)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"I developed a dialectic between the mind-matter aspects of nature. My view became dualistic, moving back and forth between the two ones. It's not involved with nature, in the classical sense.

There's no anthropomorphism reference to environment. But I do have a stronger tendency towards the inorganic and organic. The organic is closer to the idea of nature: I'm more interested in the denaturalization or in artifice than I am in any kind of naturalism.

- Robert Smithson

plus
Black Rain's
"Dark Pool" 
(2014)

 








P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Sunday, October 12, 2014

Thoughts of the Day #28/2014: Robert Smithson (7) / Taurus (1)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"Only appearances are fertile, they are gateways to the primordial. Every artist owes his existence to such mirages. The ponderous illusions of solidity, the non-existence of things, is what the artist takes for "materials".



- Robert Smithson


plus  
Portland / Oregons's
Taurus
"No/Thing"
(2014)





P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Saturday, October 11, 2014

Friday, October 10, 2014

Video of the Day #170/2014: Al Cisneros (3) / D'Andrea (1)


Al Cisneros - Dimas


Plus
 Al Cisneros
Samaritan Press 001 : 
Empty Tomb / Sepulcher Dub

Music by Al Cisneros

Artwork by David V. D'Andrea





Thursday, October 9, 2014

Thoughts of the Day #27/2014: Robert Smithson (6) / Hiiragi Fukuda (4)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"Every single perception is essentially determinate. It isn't a question of form and anti-form. It's a limitation. I'm not at all interested in the problems of form and anti-form, but in the limits and how these limits destroy themselves and disappear."


- Robert Smithson


plus
Hiiragi Fukuda
re-edition
on Selection Records SR-008  






P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !


Wednesday, October 8, 2014

Thoughts of the Day #25/2014: Robert Smithson (5) / Hiiragi Fukuda (3)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



"For me the world is a museum. Photography makes nature obsolete. My thinking in terms of site and the non-site makes me feel there's no need to refer to nature anymore. I'm totally concerned with making art and this is mainly an act of viewing, a mental activity that zeroes on on discrete sites. I am not interested in presenting the medium for its own sake"

- Robert Smithson


plus 
some ultra-odd-minimalist
japanese sounds
by
Hiiragi Fukuda






P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Tuesday, October 7, 2014

Thoughts of the Day #25/2014: Robert Smithson (4) / Sadahiro Yamada

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)





"A precarious balance existed somewhere between tree and the dead leaves. The gravity lost itself in a web of possibilities; as one looked more and more possibilities emerged because nothing was certain. Nine of the twelve mirrors in the photographs are plainly, two have sunk into shadow. One on the lower right is all but eclipsed. The displacement is divided into five rows. On the site rows would come and go as the light fell.


Countless chromatic patterns patches were wrecked mirrors, flakes of sunshine dispersed over the reflecting surfaces and obliterated the square edges, leaving indistinct pulverizations of color on an indeterminate grid."

- Robert Smithson


plus 
the sensational 
Sadahiro Yamada
"Ok to exist doing nothing"
(http://www.selectionrecords.com)



Sadahiro Yamada : Vocal And Guitar
Yuka Ijichi : Guitar
Doronco : Bass
Hiiragi Fukuda : Drums
Live Recorded : April 29th 2004


Selection super session Japanese style. 
Live and on fire in Tokyo 2004.

We have Selection's own Hiiragi Fukuda on drums and Yuka Ijichi on blazing guitars along with Kiyohiro "Doronco" Takada (Les Rallizes Denudes!) on bass and of course the star of the show, Sadahiro Yamada (visionary and owner of the fine Cho Yamada Dou record store in Kokubunji, Tokyo. ) fully up front on guitar and vocals.

An intense night of raw psychedelia (thankfully) recorded for your pleasure. Will excite fans of Les Rallizes Denudes, Doronco Gumo, Pre-blueswailing era Major Stars and most guitar bands on P.S.F. Records.

Monday, October 6, 2014

Thoughts/Sounds of the Day #24/2014: Robert Smithson (3) / Pharmakon (1/2)

Robert Smithson (1938-1973)
(copyright owners please read: p.s. at the bottom of this post, thank you)



" The artificial ingenuity of time allows no return to nature. Mirrors in time are blind, while transparent glass picks up reflections in this spaceless region of inverse symmetry and shifting perspectives - the mirror reflects the blank surface in the suburbs of the mind. There is nothing to "understand" about such a region except the consciousness that makes understanding impossible."

- Robert Smithson




plus
Pharmakon
"Abandon" and "Bestial Burden"
both released on
"Sacred Bones" (2014)







Margaret Chardiet was born and raised in New York City. She has been making power electronics/death industrial music under the name Pharmakon for five years. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release.

Unlike other experimental projects, Pharmakon does not improvise when performing or recording. She is concise and exact; each song/movement is linear with a clear trajectory. Perhaps more than any other style of music, noise is a genre almost exclusively dominated by male performers. Spin Magazine is apt to point out that her,“perfectionism might explain why her recordings are few and far between a rarity in a scene where noise bros are want to puke out hour after endless hour of stoned basement jams into a limitless stream of limited-edition tapes. Her music may be as cuddly as a trepanning drill, but it’s also just as precise: She glowers in measured silence as often as she shrieks, and every serrated tone cuts straight to the bone, a carefully calibrated interplay between frequency and resistance.” The songs on this album were all written and recorded during a turbulent three month time period during which several fundamental life changes forced her to begin living in a completely new way and in a new space. She describes the lyrical themes of this album as being about, “Loss. Losing everything. Relinquishing control. Complete psychic abandon. Blind leaps of faith into the fire, walking out unscathed. Crawling out of the pit.”




P.S. All texts by Smithson are taken from the volume: Robert Smithson, Slideworks. Carlo Fura 1997.Dear Copyright-Owner, If you don't want to see this photo in this context, please let me know and I will instantly remove it. Thank you !

Sunday, October 5, 2014

Saturday, October 4, 2014

Friday, October 3, 2014

Sounds of the Day #34/2014: Jason Lescalleet (3) / Ueno Maasaki (1)



Jason Lescalleet

plus

Ueno Masaaki's
"Vortices"
out on  
Raster Noton 
9.22.2014




»vortices« is ueno masaaki’s first release on raster-noton, and the seventh release of the unun series.

ueno masaaki takes his musical cue from natural phenomenon and laws of nature by trying to reconstruct, not simulating them. the results are mainly rhythmical patterns that set off a chain reaction, expanding and contracting and creating new formations all the time.

the four tracks he presents on the EP are characterized by solid sound structures that appear to be very harsh and straight, sometimes even brutal, whereas the high pace even intensifies this impression. apparently repetitive at first sight, the tracks are in fact highly complex and intelligently arranged, presenting unforeseen breaks and shifts in direction.

Thursday, October 2, 2014

Video of the Day #172/2014: Arne Nordheim (1) / Nisennenmondai (1)


Arne Nordheim 
Solitaire (1968)

plus
Nisennenmondai  


exceptional new album 
on First Blast Petite
Since August 2014

Nisennenmondai is the world’s best-kept secret among noise rock enthusiasts.
Since the Y2K bug of the band’s Japanese-translation-namesake was still a thing, the instrumental trio has been spinning post-punk, no wave, and krautrock influences into something fresh and surprisingly danceable, though without much attention stateside.

Recent Nisnenenmondai releases have consisted of a live album and some singles that are impossible to track down in the States, but thankfully, their latest LP, N, has been properly released through American digital retailers.

N consists of three tracks that are as minimalist as their names (“A-1”, “B-1″, and “B-2″) and the album title infer. The notion of songs, standout, or otherwise, is irrelevant here, for N is a journey meant to be taken from start to finish and without detour. Nisennenmondai’s newest trip begins with an urgent loop that is promptly joined by a tight, pounding rhythm, and soon the specter of guitar dissonance drifts in and out. Throughout the rest of N’s 40 minutes, a series of clattering guitar textures enter the fold, as bass rhythms and drum patterns rise and fall with a subtlety yet irresistible hypnotism. All the while, drummer Sayaka Himeno steadily maintains repetitions for impossible lengths of time, easing into progressively more rapid-fire rhythms.

Nisennenmondai’s arrangements spellbind the listener, the entire LP unfolding as one piece, all without ever becoming tedious. N is a fascinating mass, repetition as concept becoming an unofficial fourth band member. The LP consistently transitions into new, raw grooves, each instrument following the same pattern for several minutes before drifting seamlessly into a new one without interrupting the flow, the others drawing attention away at the appropriate time. Nisennenmondai master subtlety on N, reigning the chaos into a hypnotic drone.
 
Support these great musicians

Wednesday, October 1, 2014

Video of the Day #180/2014: Jason Lescalleet (2) / Excepter (1)


Jason Lescalleet
Goin' Blind

plus

Excepter's
version
of 
"Song of the Siren"
from their new album
"Familiar"
out on Blast First (petite)
October 2014

Dreaming a little
of Lost Highways !


plus

"Sunburned Kids"
from: Familiar (2014)