En vivo: Creer
martes, mayo 31, 2011
lunes, mayo 30, 2011
jueves, febrero 18, 2010
miércoles, abril 15, 2009
miércoles, noviembre 05, 2008
John Zorn - Filmworks XX & XXI [2008]
John Zorn (born 2 September 1953 in New York City) is an American composer and saxophonist/multi-instrumentalist. He owns the Tzadik record label and has worked with a large number of experimental musicians, particularly in improvised music, incorporating modern classical music, jazz and even death metal and grindcore as well as having produced music to include most styles.
As a child, he played piano, guitar and flute. He went to college in St. Louis, Missouri at Webster College (now Webster University) where he discovered free jazz, before dropping out and moving to Manhattan. There he gave concerts in his small apartment, playing a variety of reeds, duck calls, tapes, etc; almost anything (sometimes he played “musical optics” which involved no instruments or sounds at all, but rather the arrangement of lights and objects in a dark room). In the mid 1980s he signed to the Elektra-Nonesuch label. Since then, Zorn has been quite prolific, usually putting out several new records each year. His breakthrough recording was perhaps 1985’s The Big Gundown: John Zorn Plays the Music of Ennio Morricone, wherein Zorn offered a number of often radical arrangements of Morricone’s famed songs from various movies. The Big Gundown was endorsed by Morricone, and incorporated elements of traditional Japanese music, soul jazz, and other diverse musical genres.
www.lastfm.es/music/John+Zorn
As a child, he played piano, guitar and flute. He went to college in St. Louis, Missouri at Webster College (now Webster University) where he discovered free jazz, before dropping out and moving to Manhattan. There he gave concerts in his small apartment, playing a variety of reeds, duck calls, tapes, etc; almost anything (sometimes he played “musical optics” which involved no instruments or sounds at all, but rather the arrangement of lights and objects in a dark room). In the mid 1980s he signed to the Elektra-Nonesuch label. Since then, Zorn has been quite prolific, usually putting out several new records each year. His breakthrough recording was perhaps 1985’s The Big Gundown: John Zorn Plays the Music of Ennio Morricone, wherein Zorn offered a number of often radical arrangements of Morricone’s famed songs from various movies. The Big Gundown was endorsed by Morricone, and incorporated elements of traditional Japanese music, soul jazz, and other diverse musical genres.
www.lastfm.es/music/John+Zorn
John Zorn + Fred Frith@Gulbenkian Anfiteatro 3/8/2008 part 1/2
Arrington de Dionyso - Breath of Fire [2006]
Arrington de Dionyso (b. January 4th, 1975) of Olympia, Washington uses performance as a vehicle for driving through the nameless territories held between surrealist automatism, shamanic seance, and the folk imagery of rock and roll.
After living in Chicago, Arkansas, and Spokane, Arrington moved to Olympia in 1992 to attend the Evergreen State College, where he studied Ethnomusicology, Music Therapy, and Butoh dance theater. In 1995 he founded the avant-rock group Old Time Relijun, which has since toured and recorded throughout the US, Europe, and Israel, and has released eight albums on the K Records label from Olympia, enthralling audiences with an approach to performance described as deep hermetic practice and/or "some fuckin' scary shit" by critics in the know.
As a solo artist, Arrington performs on the bass clarinet, jaw harps, and his voice with a distinctly multiphonic ability inspired by Tuvan throatsinging and the ecclesiastics of Albert Ayler and Don Van Vliet. Pushing the envelope between musicality and pure energy, between shamanic ecstacy and lunacy, he enwraps rooms with resonant sound. His devotion to bringing traditional Tuvan musics into an experimental music context has been acknowledged by Tran Quan Hai, the famous ethnomusicologist and the world's leading expert on throatsinging.
In addition to Old Time Relijun and his solo projects, Arrington devotes a significant amount of his time to furthering the cause of free improvisation. He is the founder and curator of the Olympia Festival of Experimental Musics, in its twelth year. Arrington tours constantly, and has performed or/and recorded with notable improvisers throughout the U.S.A., Canada, Italy, France, Israel and Lithuania. He presents workshops on improvising with the human voice in conjunction with his touring around the world.
Arrington has received increased attention for his visual artwork, which deals with many of the same themes of spirit, sensation, and improvisation as his music. Recent exhibits have been held in Los Angeles, New York City, Vancouver BC, Paris, Bologna, and Beijing, China. A series of several dozen ink drawings is on view at www.krecs.com/oldtimerelijun. His work is represented in Paris by Atelier Cardenas Bellanger. (www.ateliercardenasbellanger.com)
source
After living in Chicago, Arkansas, and Spokane, Arrington moved to Olympia in 1992 to attend the Evergreen State College, where he studied Ethnomusicology, Music Therapy, and Butoh dance theater. In 1995 he founded the avant-rock group Old Time Relijun, which has since toured and recorded throughout the US, Europe, and Israel, and has released eight albums on the K Records label from Olympia, enthralling audiences with an approach to performance described as deep hermetic practice and/or "some fuckin' scary shit" by critics in the know.
As a solo artist, Arrington performs on the bass clarinet, jaw harps, and his voice with a distinctly multiphonic ability inspired by Tuvan throatsinging and the ecclesiastics of Albert Ayler and Don Van Vliet. Pushing the envelope between musicality and pure energy, between shamanic ecstacy and lunacy, he enwraps rooms with resonant sound. His devotion to bringing traditional Tuvan musics into an experimental music context has been acknowledged by Tran Quan Hai, the famous ethnomusicologist and the world's leading expert on throatsinging.
In addition to Old Time Relijun and his solo projects, Arrington devotes a significant amount of his time to furthering the cause of free improvisation. He is the founder and curator of the Olympia Festival of Experimental Musics, in its twelth year. Arrington tours constantly, and has performed or/and recorded with notable improvisers throughout the U.S.A., Canada, Italy, France, Israel and Lithuania. He presents workshops on improvising with the human voice in conjunction with his touring around the world.
Arrington has received increased attention for his visual artwork, which deals with many of the same themes of spirit, sensation, and improvisation as his music. Recent exhibits have been held in Los Angeles, New York City, Vancouver BC, Paris, Bologna, and Beijing, China. A series of several dozen ink drawings is on view at www.krecs.com/oldtimerelijun. His work is represented in Paris by Atelier Cardenas Bellanger. (www.ateliercardenasbellanger.com)
source
ARRINGTON DE DIONYSO - LIVE AT UPSET THE RHYTHM
Blank Dogs - On Two Sides [2008]
Blank Dogs Interview :
Flying under the radar for most of 2007, Blank Dogs went relatively unnoticed, even though Mr. Blank Dog was releasing material at an astoundingly rapid pace, which set the bar higher for what defines a prolific songwriter. But that period didn’t last for long as people began to detect the immense talent in the bedroom rock of Blank Dogs and embrace the mystery. Bloggers hurriedly slotted Blank Dogs into their year-end best of lists, while others are just starting to rave about the band now. The likeability of the band is immediate. Washes of synth fuzz, strident guitars, indifferent vocals and undeniably catchy bass lines, Mr. Blank Dog fuses these elements into haunting, atmospheric songs. He has an innate ability to write psych rock melodies with pop touches that fixate listeners for days. Though he is releasing material at a daring speed, he consistently delivers quality, perspective-changing songs. He shows no signs of stopping now as 12 releases are planned for this year alone.
You are extremely prolific with recording and releasing material. Would you tell me about your recording process, and how you choose which labels and forms to release your music through?
I record from home. I just write some melodies and record them. I get a bit perfectionist when it comes down to mixing and adding effects, but they tend to wash out into some blur. I guess that's a process? As far as labels, mainly I like to work with people whose prior output is stuff I like a lot, but I also like to help people starting up labels too. As far as format, I think vinyl is the best way to listen to music. CDs have no intrinsic value, it's just data. Also, it seems like they just fall out of magazines whenever you pick them up, these days. Giveaway junk. It cheapens the music, in my opinion. Besides, it all winds up on SoulSeek anyway, that's why I have everything that's already out downloadable from the website. Cassettes are cheap and easy for people who don't have enough money to start a label but love music, that's why I've agreed to do a bunch. They also require active listening instead of clicking on a link. Some people just prefer the analog format too.
source
Flying under the radar for most of 2007, Blank Dogs went relatively unnoticed, even though Mr. Blank Dog was releasing material at an astoundingly rapid pace, which set the bar higher for what defines a prolific songwriter. But that period didn’t last for long as people began to detect the immense talent in the bedroom rock of Blank Dogs and embrace the mystery. Bloggers hurriedly slotted Blank Dogs into their year-end best of lists, while others are just starting to rave about the band now. The likeability of the band is immediate. Washes of synth fuzz, strident guitars, indifferent vocals and undeniably catchy bass lines, Mr. Blank Dog fuses these elements into haunting, atmospheric songs. He has an innate ability to write psych rock melodies with pop touches that fixate listeners for days. Though he is releasing material at a daring speed, he consistently delivers quality, perspective-changing songs. He shows no signs of stopping now as 12 releases are planned for this year alone.
You are extremely prolific with recording and releasing material. Would you tell me about your recording process, and how you choose which labels and forms to release your music through?
I record from home. I just write some melodies and record them. I get a bit perfectionist when it comes down to mixing and adding effects, but they tend to wash out into some blur. I guess that's a process? As far as labels, mainly I like to work with people whose prior output is stuff I like a lot, but I also like to help people starting up labels too. As far as format, I think vinyl is the best way to listen to music. CDs have no intrinsic value, it's just data. Also, it seems like they just fall out of magazines whenever you pick them up, these days. Giveaway junk. It cheapens the music, in my opinion. Besides, it all winds up on SoulSeek anyway, that's why I have everything that's already out downloadable from the website. Cassettes are cheap and easy for people who don't have enough money to start a label but love music, that's why I've agreed to do a bunch. They also require active listening instead of clicking on a link. Some people just prefer the analog format too.
source
Blank Dogs - Scenes From A New Town
The Legendary Pink Dots - Plutonium Blonde [2008]
The Legendary Pink Dots formed in August 1980 in London. In 1984 the band transplanted itself to Amsterdam which led to a shift in the original lineup, the original bassist Roland Callaway leaving at this time.
The core members of the group are vocalist/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight. Many others have passed through the group over the years. As of 2007 the group is comprised of:
* Edward Ka-Spel - vocals, keyboards, songwriter
* Phil Knight (a.k.a. The Silverman) - keyboards, electronics
* Martijn de Kleer - guitars
* Niels van Hoorn (a.k.a. Niels Van Hoornblower) - saxophones, clarinets, flutes, MIDI wind controller
* Raymond Steeg - live sound engineer
The story behind the band's name is a source of speculation because Edward has given multiple explanations behind its origins. The most plausible and common explanation traces back to the mysterious pink dots on certain keys of the bands main recording studio piano named "Osbert", the dots that can be found at either end of the keys do not make any particular chord or scale pattern and the reason for them remains unknown to this day. The piano itself is still owned by one of the founding band members April White, and can be found at her home recording studio in Cambridgeshire.
Their music touches on elements of neo-psychedelia, ambient music, electronic music, tape music, industrial, psych folk, synth-pop and goth rock, with a distinctly experimental/avant-garde bent; their sound has evolved over time and remains distinctive, making it difficult to place the group into a concise style or genre. The groups overall sound combined with Ka-Spel's distinct lyrics and singing have earned comparisons to Pink Floyd and Syd Barrett; the group has also been compared to classics Seventies deranged bands as Can , Faust, Brainticket, Magma or Neu! (whose "Super" they covered on the 1999 tribute album "A Homage to NEU!").
wiki.
The core members of the group are vocalist/songwriter/keyboardist Edward Ka-Spel and keyboardist Phil Knight. Many others have passed through the group over the years. As of 2007 the group is comprised of:
* Edward Ka-Spel - vocals, keyboards, songwriter
* Phil Knight (a.k.a. The Silverman) - keyboards, electronics
* Martijn de Kleer - guitars
* Niels van Hoorn (a.k.a. Niels Van Hoornblower) - saxophones, clarinets, flutes, MIDI wind controller
* Raymond Steeg - live sound engineer
The story behind the band's name is a source of speculation because Edward has given multiple explanations behind its origins. The most plausible and common explanation traces back to the mysterious pink dots on certain keys of the bands main recording studio piano named "Osbert", the dots that can be found at either end of the keys do not make any particular chord or scale pattern and the reason for them remains unknown to this day. The piano itself is still owned by one of the founding band members April White, and can be found at her home recording studio in Cambridgeshire.
Their music touches on elements of neo-psychedelia, ambient music, electronic music, tape music, industrial, psych folk, synth-pop and goth rock, with a distinctly experimental/avant-garde bent; their sound has evolved over time and remains distinctive, making it difficult to place the group into a concise style or genre. The groups overall sound combined with Ka-Spel's distinct lyrics and singing have earned comparisons to Pink Floyd and Syd Barrett; the group has also been compared to classics Seventies deranged bands as Can , Faust, Brainticket, Magma or Neu! (whose "Super" they covered on the 1999 tribute album "A Homage to NEU!").
wiki.
The Legendary Pink Dots - M'era Luna 2008
David Grubbs - An Optimist Notes the Dusk [2008]
David Grubbs (born September 21, 1967), guitarist, pianist, and vocalist, was a founding member of Squirrel Bait, Bastro, and Gastr del Sol. He has also played in The Red Krayola and The Wingdale Community Singers.
Squirrel Bait was a 1980s Louisville, Kentucky punk rock group that released a 12" EP and an album on Homestead Records. Grubbs's next group was Bastro, which released two albums on Homestead. In 1991 Bastro morphed into the more avant-garde Gastr del Sol. This project soon became essentially a partnership between Grubbs and Jim O'Rourke. The albums released by the duo (including Crookt, Crackt, or Fly, Upgrade & Afterlife, and Camoufleur) have been described as a visionary and theoretical deconstruction of the songwriting process.[citation needed]
Since the partnership's breakup in 1997, Grubbs has released numerous solo and collaborative records, mostly on the Drag City label. In 2000, his album The Spectrum Between was named “Album of the Year” in the London Sunday Times. He operates his own label, Blue Chopsticks, which has released both new and archival recordings from Luc Ferrari, Derek Bailey and Noël Akchoté, Workshop, Van Oehlen, and Mats Gustafsson. He has appeared on recordings by Tony Conrad, Matmos, Palace Music, Pauline Oliveros, and many more. Grubbs is also known for his collaborations with writers Susan Howe, Rick Moody, and Kenneth Goldsmith as well as with visual artists including Anthony McCall, Angela Bulloch, Stephen Prina, and Cosima von Bonin.
Grubbs's soundtrack work includes music with Matmos for Thierry Jousse’s feature film Les Invisibles. He has composed the soundtracks for Angela Bulloch’s installations Z Point and Horizontal Technicolour, and Hybrid Song Box.4, and his music appears in two installations by Doug Aitken. Grubbs’s sound installation “Between a Raven and a Writing Desk” was included in the 1999 group exhibition “Elysian Fields” at the Centre Pompidou. Grubbs has also contributed music to the Red Krayola’s soundtrack to Norman and Bruce Yonemoto’s film Japan in Paris in LA as well as to Augusto Contento's film Strade Trasparenti, Braden King and Laura Moya’s film Dutch Harbor: Where the Sea Breaks its Back, and John Boskovich’s film North. Music by Gastr del Sol appears in the P.B.S. television series The United States of Poetry, Hal Hartley’s film The Book of Life, and Doug Aitken’s film The Diamond Sea. Grubbs composed music for Karl Bruckmaier’s radio adaptation of Peter Weiss’s Die Ästhetik des Widerstands, which was named “Hoerbuch des Jahres 2007” (Audio Book of the Year) by Hessischer Rundfunk.
From 1997-99, David Grubbs was a part-time instructor in the Liberal Arts and Sound departments at the School of the Art Institute of Chicago. He is currently an assistant professor of Radio and Sound Art at Brooklyn College, CUNY, and director of Brooklyn College’s graduate programs in Performance and Interactive Media Arts (PIMA). Grubbs received a Ph.D. in English from the University of Chicago. His criticism has appeared in Conjunctions, Bookforum, Texte zur Kunst, and Purple, and from 1999-2007 he regularly contributed music criticism to the Munich newspaper Süddeutsche Zeitung.
David participated as drummer 23 in the Boredoms 77 Boadrum performance which occurred on July 7th, 2007 at the Empire-Fulton Ferry State Park in Brooklyn, New York.
Grubbs lives in Brooklyn with his wife, Cathy Bowman, and their son Emmett Bowman-Grubbs.
wiki.
Squirrel Bait was a 1980s Louisville, Kentucky punk rock group that released a 12" EP and an album on Homestead Records. Grubbs's next group was Bastro, which released two albums on Homestead. In 1991 Bastro morphed into the more avant-garde Gastr del Sol. This project soon became essentially a partnership between Grubbs and Jim O'Rourke. The albums released by the duo (including Crookt, Crackt, or Fly, Upgrade & Afterlife, and Camoufleur) have been described as a visionary and theoretical deconstruction of the songwriting process.[citation needed]
Since the partnership's breakup in 1997, Grubbs has released numerous solo and collaborative records, mostly on the Drag City label. In 2000, his album The Spectrum Between was named “Album of the Year” in the London Sunday Times. He operates his own label, Blue Chopsticks, which has released both new and archival recordings from Luc Ferrari, Derek Bailey and Noël Akchoté, Workshop, Van Oehlen, and Mats Gustafsson. He has appeared on recordings by Tony Conrad, Matmos, Palace Music, Pauline Oliveros, and many more. Grubbs is also known for his collaborations with writers Susan Howe, Rick Moody, and Kenneth Goldsmith as well as with visual artists including Anthony McCall, Angela Bulloch, Stephen Prina, and Cosima von Bonin.
Grubbs's soundtrack work includes music with Matmos for Thierry Jousse’s feature film Les Invisibles. He has composed the soundtracks for Angela Bulloch’s installations Z Point and Horizontal Technicolour, and Hybrid Song Box.4, and his music appears in two installations by Doug Aitken. Grubbs’s sound installation “Between a Raven and a Writing Desk” was included in the 1999 group exhibition “Elysian Fields” at the Centre Pompidou. Grubbs has also contributed music to the Red Krayola’s soundtrack to Norman and Bruce Yonemoto’s film Japan in Paris in LA as well as to Augusto Contento's film Strade Trasparenti, Braden King and Laura Moya’s film Dutch Harbor: Where the Sea Breaks its Back, and John Boskovich’s film North. Music by Gastr del Sol appears in the P.B.S. television series The United States of Poetry, Hal Hartley’s film The Book of Life, and Doug Aitken’s film The Diamond Sea. Grubbs composed music for Karl Bruckmaier’s radio adaptation of Peter Weiss’s Die Ästhetik des Widerstands, which was named “Hoerbuch des Jahres 2007” (Audio Book of the Year) by Hessischer Rundfunk.
From 1997-99, David Grubbs was a part-time instructor in the Liberal Arts and Sound departments at the School of the Art Institute of Chicago. He is currently an assistant professor of Radio and Sound Art at Brooklyn College, CUNY, and director of Brooklyn College’s graduate programs in Performance and Interactive Media Arts (PIMA). Grubbs received a Ph.D. in English from the University of Chicago. His criticism has appeared in Conjunctions, Bookforum, Texte zur Kunst, and Purple, and from 1999-2007 he regularly contributed music criticism to the Munich newspaper Süddeutsche Zeitung.
David participated as drummer 23 in the Boredoms 77 Boadrum performance which occurred on July 7th, 2007 at the Empire-Fulton Ferry State Park in Brooklyn, New York.
Grubbs lives in Brooklyn with his wife, Cathy Bowman, and their son Emmett Bowman-Grubbs.
wiki.
David Grubbs - The neophyte (Tanned Tin 2006)
martes, noviembre 04, 2008
Nadja - Thaumoradiance / Desire in Uneasiness / The Bungled & the Botched [2008]
Canadian band Nadja played at the well-known Roadburn festival recently. I was not able to see them there, but fortunately founder Aidan Baker found some time to answer a few questions, while on the road between shows in eastern Canada. We were curious what it was like to work with a real drummer instead of a drumcomputer, and how to describe Nadja’s music the best.
You recently released a new album, ‘Desire In Uneasiness’, the first to be recorded with a live drummer. Is this a unique project, or will Nadja be a trio from now on?
This was a unique project, yes, but that doesn’t mean we might not be a trio at some point…
What made you decide to work with a drummer for this record?
We wanted to try something different, something with a more organic feel that’s difficult to capture with electronic drums.
You worked with Jakob Thiesen on this record. I read that the two of you have collaborated before in Whisper Room. Still, I think not many people will know who he is, can you tell us a bit about him?
I have performed with Jakob many times, both as a duo and with our trio Whisper Room – we have a collaborative record recently released on Waterscape Records called ‘A Bout de Souffle’. He has played drums with a few other groups, as well as recording more electronic/techno-based music under his own name. (Aidan at this point refers to Jakob's page from Discogs, which may give some more info on his work.
Does this mean that you will now do Nadja-shows with him?
Probably not, but it’s always a possibility.
It seems that using a drum computer has not prevented you from making music that has a very improvised feel. It does make it a bit harder to just try things in the studio. Can you tell us how a Nadja recording session used to be, and if it was different with a real drummer?
When we recorded with Jakob, we improvised/jammed and then took the recordings and edited and re-worked them, essentially building the songs that ended up on the album from the improvised raw material. Other albums have been recorded similarly, although we generally start with a very basic drumtrack and chord progression and then improvise over top of that, adding layers and textures until the song is ‘finished’.
source
You recently released a new album, ‘Desire In Uneasiness’, the first to be recorded with a live drummer. Is this a unique project, or will Nadja be a trio from now on?
This was a unique project, yes, but that doesn’t mean we might not be a trio at some point…
What made you decide to work with a drummer for this record?
We wanted to try something different, something with a more organic feel that’s difficult to capture with electronic drums.
You worked with Jakob Thiesen on this record. I read that the two of you have collaborated before in Whisper Room. Still, I think not many people will know who he is, can you tell us a bit about him?
I have performed with Jakob many times, both as a duo and with our trio Whisper Room – we have a collaborative record recently released on Waterscape Records called ‘A Bout de Souffle’. He has played drums with a few other groups, as well as recording more electronic/techno-based music under his own name. (Aidan at this point refers to Jakob's page from Discogs, which may give some more info on his work.
Does this mean that you will now do Nadja-shows with him?
Probably not, but it’s always a possibility.
It seems that using a drum computer has not prevented you from making music that has a very improvised feel. It does make it a bit harder to just try things in the studio. Can you tell us how a Nadja recording session used to be, and if it was different with a real drummer?
When we recorded with Jakob, we improvised/jammed and then took the recordings and edited and re-worked them, essentially building the songs that ended up on the album from the improvised raw material. Other albums have been recorded similarly, although we generally start with a very basic drumtrack and chord progression and then improvise over top of that, adding layers and textures until the song is ‘finished’.
source
nadja - roadburn 2008
Sunn O))) - Dømkirke [2008]
Along with close contemporaries Earth and Boris, Sunn O))) have become flag bearers for the doom-metal avant-garde, pushing the genre to new experimental boundaries with each full-length album. While they may have just lovingly mimicked Earth’s early drones with their first set of releases, Sunn O))) quickly evolved into a innovative force of their own right, pushing out heady, slow-as-molasses jams of impenetrable darkness. The chilling spoken word intro of White 1 or the pseudo-black metal wraiths on Black One demonstrated the cloaked duo’s capacity for creating exciting and terrifying masterpieces that were as unique as they were heavy.
Dømkirke carries on with the proud tradition, bringing the distinguished drone masters and their special guests to an ancient Danish cathedral where their compositions could be given a full atmospheric treatment. From what I understand, this was recorded live, giving the album raw power and urgency - a strange word to use given the band’s snail-like pace. The majority of this album moves away from the groaning and drawn-out riffs of the past, opting instead for dense, dark ambient pieces. That being said, the album is still bass-laden and unbelievably heavy, its just more focused on atmospheric drones rather than lumbering guitar work. Vocal contributions from black metal artist Attila Csihar are spine-chilling, as his dark, operatic chants echo like the rites of some ritualistic cult-figure. The later half of the album has him more restrained, offering distant and indistinguishable shrieks and rasps to hover over the searing drones.
source
Dømkirke carries on with the proud tradition, bringing the distinguished drone masters and their special guests to an ancient Danish cathedral where their compositions could be given a full atmospheric treatment. From what I understand, this was recorded live, giving the album raw power and urgency - a strange word to use given the band’s snail-like pace. The majority of this album moves away from the groaning and drawn-out riffs of the past, opting instead for dense, dark ambient pieces. That being said, the album is still bass-laden and unbelievably heavy, its just more focused on atmospheric drones rather than lumbering guitar work. Vocal contributions from black metal artist Attila Csihar are spine-chilling, as his dark, operatic chants echo like the rites of some ritualistic cult-figure. The later half of the album has him more restrained, offering distant and indistinguishable shrieks and rasps to hover over the searing drones.
source
Berlin, Volksbühne 2006 - Part 2
In Gowan Ring x 4
"This is one of only a few recent releases that might genuinely be called inspired. As a songwriter and musician B'eirth is easily the equal of psychedelic folk legends Robin Williamson (Incredible String Band) or the late Nick Drake. Comparisons to virtually any other musicians exploring similar territory would simply not do this justice." - Joshua Buckley for TYR Journal
"A unique synthesis of folk, mediaeval and psychedelia that could only be In Gowan Ring. Listening to this album is like sliding into a warm bath infused with oils and perfumes. Mellow and beautiful, B'eirth's gentle voice and music are a delight. The lyrics are obscure, but still suggestive and a source of inspiration and contemplation for those who make the effort to listen to them." -RIK for Flux Europa
"There is a depth to these songs that is revealed only upon repeated listens. It is this natural gift for creating multi-layered compositions that is so attractive about In Gowan Ring's work in general and Hazel Steps through a Weathered Home in particular. Quite simply, one of the half dozen or so best releases of the year." -Jeff Penczak for FakeJazz.com
"It's been worth the wait everyone. This album is B's best work, and my words, plain as the farmboy I am, can not do it justice. B', you've mastered the art of song my friend. My heart swells and my head swirls! I'm in awe." - Tim Renner, Some Dark Holler
"In Gowan Ring's "The Glinting Spade" is as beautiful as any psych-folk album can be without completely materializing. "Hazel Steps Through A Weathered Home" as a whole, is a more stripped down effort. However, that doesn't really diminish the album's preternatural feel. The songs are much starker and darker than on "The Glinting Spade", but they also have more gravity and substance. It can easily ensnare the unsuspecting listener in its magical folds."-J. M. for Opuszine
"The music of In Gowan Ring is rather timeless, archaic perhaps but not from a clearly-defined period. The lyrics are rather introspective but most images evoked by the texts are quite clear. The songs are really a pleasure to listen to and the album as a (very coherent) whole is very moving, solemn and melancholic, but it does not make me sad - I get the feeling that spring must be near... Really a recommended album." - HD for FunProx.com
"Very poetic release of intimate mystic songs, more minimal as earlier releases, sparsely arranged, towards the core of an essential expression. The album has the richness and calmness of an introspective vision. The style is minimal without being repetitive with a rich sound through its poetic vision. The whole album is beautiful and recommended." -Gerald for Van Hett PSYCH FOLK
____________________________
-Glinting Spade (1999)
Though arguably the best In Gowan Ring experience is live -- B'eirth plays the medieval troubadour quite well and mysteriously, but doesn't forget humor or the fact that the Industrial Revolution has in fact happened -- The Glinting Spade is quite a lovely listen indeed. Anyone captivated by folk that either consciously explores its very early roots or the acid folk approach that psychedelia let in will find something to like here; B'eirth's approach suggests Edward Ka-Spel as much as it does the mythical figure of Ossian, say. His generally acoustic bent is more carefully seasoned by low-key experimentation throughout The Glinting Spade -- extended tones, strange echoes, and buried sounds expand the palette of his work to an intriguing degree, with "In the Dream of the Queen" being an especially striking example. That said, the choice of instruments tends to be tried and true -- everything from church organ to zither is credited, along with more esoteric choices of fire, chalice, bow and arrow, even oats! Quite what the role of everything is meant to be is unclear, but if the effect is to create a sense of a shadowy ritual out of time past, In Gowan Ring succeeds quite well. B'eirth isn't one to shout or scream -- what's the point, after all? -- and his style of singing is very, very restrained, avoiding the sometimes tiresome drama of similarly minded revivalists who apparently think they really are about to summon up the Horned King and the Great Hunt. Songs like "To Thrum a Glassy Stem" and "Bow Star" are quiet beauties, while the lusher approach of "Cipher's String on the Tree" suggests a great lord's minstrels performing a late-night service. ~ Ned Raggett, All Music Guide
_____________________
In Gowan Ring - From the land of little Osmonds, comes this nomadic bunch of sprites and pot-headed pixies, led by the enigmatic B'eirth and wielding such modern day contraptions as sackbut, cornetto, cittern, psaltry, zither, timbrel, whistles, bells, gongs and tons of other weird sounding shit too numerous to mention. Epic lengthed drones are nestled comfortably amidst some of the finest acid/psych/wyrdfolk on this (or any other) planet.
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-Exists & Entrances vol. 1
"Am I the only one here who has these moments where you've fallen asleep in the chair, and when you "wake up" you feel like you've got no control over your body but you can watch while your limbs move & haul you around the room and? Really? Well anyway that's what the finer moments of this disc feel like ... as the tree ears sprout from between my toes and I keep whispering, "it's only a cd-r, it's only a cd-r". "
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"The songs have a somber feel, as though the innkeeper let the lyre player have a little too much mead, and now the whole room is treated to his many laments on nature and love." -Brainwashed
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"The American neo-hippies from In Gowan Ring produced a fragile and melodic atmosphere. Pantheistic odes to the forgotten beauty of nature – the great in the small. " -Medusa's Head
website
"A unique synthesis of folk, mediaeval and psychedelia that could only be In Gowan Ring. Listening to this album is like sliding into a warm bath infused with oils and perfumes. Mellow and beautiful, B'eirth's gentle voice and music are a delight. The lyrics are obscure, but still suggestive and a source of inspiration and contemplation for those who make the effort to listen to them." -RIK for Flux Europa
"There is a depth to these songs that is revealed only upon repeated listens. It is this natural gift for creating multi-layered compositions that is so attractive about In Gowan Ring's work in general and Hazel Steps through a Weathered Home in particular. Quite simply, one of the half dozen or so best releases of the year." -Jeff Penczak for FakeJazz.com
"It's been worth the wait everyone. This album is B's best work, and my words, plain as the farmboy I am, can not do it justice. B', you've mastered the art of song my friend. My heart swells and my head swirls! I'm in awe." - Tim Renner, Some Dark Holler
"In Gowan Ring's "The Glinting Spade" is as beautiful as any psych-folk album can be without completely materializing. "Hazel Steps Through A Weathered Home" as a whole, is a more stripped down effort. However, that doesn't really diminish the album's preternatural feel. The songs are much starker and darker than on "The Glinting Spade", but they also have more gravity and substance. It can easily ensnare the unsuspecting listener in its magical folds."-J. M. for Opuszine
"The music of In Gowan Ring is rather timeless, archaic perhaps but not from a clearly-defined period. The lyrics are rather introspective but most images evoked by the texts are quite clear. The songs are really a pleasure to listen to and the album as a (very coherent) whole is very moving, solemn and melancholic, but it does not make me sad - I get the feeling that spring must be near... Really a recommended album." - HD for FunProx.com
"Very poetic release of intimate mystic songs, more minimal as earlier releases, sparsely arranged, towards the core of an essential expression. The album has the richness and calmness of an introspective vision. The style is minimal without being repetitive with a rich sound through its poetic vision. The whole album is beautiful and recommended." -Gerald for Van Hett PSYCH FOLK
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-Glinting Spade (1999)
Though arguably the best In Gowan Ring experience is live -- B'eirth plays the medieval troubadour quite well and mysteriously, but doesn't forget humor or the fact that the Industrial Revolution has in fact happened -- The Glinting Spade is quite a lovely listen indeed. Anyone captivated by folk that either consciously explores its very early roots or the acid folk approach that psychedelia let in will find something to like here; B'eirth's approach suggests Edward Ka-Spel as much as it does the mythical figure of Ossian, say. His generally acoustic bent is more carefully seasoned by low-key experimentation throughout The Glinting Spade -- extended tones, strange echoes, and buried sounds expand the palette of his work to an intriguing degree, with "In the Dream of the Queen" being an especially striking example. That said, the choice of instruments tends to be tried and true -- everything from church organ to zither is credited, along with more esoteric choices of fire, chalice, bow and arrow, even oats! Quite what the role of everything is meant to be is unclear, but if the effect is to create a sense of a shadowy ritual out of time past, In Gowan Ring succeeds quite well. B'eirth isn't one to shout or scream -- what's the point, after all? -- and his style of singing is very, very restrained, avoiding the sometimes tiresome drama of similarly minded revivalists who apparently think they really are about to summon up the Horned King and the Great Hunt. Songs like "To Thrum a Glassy Stem" and "Bow Star" are quiet beauties, while the lusher approach of "Cipher's String on the Tree" suggests a great lord's minstrels performing a late-night service. ~ Ned Raggett, All Music Guide
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In Gowan Ring - From the land of little Osmonds, comes this nomadic bunch of sprites and pot-headed pixies, led by the enigmatic B'eirth and wielding such modern day contraptions as sackbut, cornetto, cittern, psaltry, zither, timbrel, whistles, bells, gongs and tons of other weird sounding shit too numerous to mention. Epic lengthed drones are nestled comfortably amidst some of the finest acid/psych/wyrdfolk on this (or any other) planet.
_____________________
-Exists & Entrances vol. 1
"Am I the only one here who has these moments where you've fallen asleep in the chair, and when you "wake up" you feel like you've got no control over your body but you can watch while your limbs move & haul you around the room and? Really? Well anyway that's what the finer moments of this disc feel like ... as the tree ears sprout from between my toes and I keep whispering, "it's only a cd-r, it's only a cd-r". "
_______________________________
"The songs have a somber feel, as though the innkeeper let the lyre player have a little too much mead, and now the whole room is treated to his many laments on nature and love." -Brainwashed
____________________________
"The American neo-hippies from In Gowan Ring produced a fragile and melodic atmosphere. Pantheistic odes to the forgotten beauty of nature – the great in the small. " -Medusa's Head
website
"the seer and the seen"
Yo La Tengo
Yo La Tengo is an American indie rock band based in Hoboken, New Jersey. With more than 15 albums released since 1984, they have demonstrated unusual longevity for the indie-rock scene. They are frequently regarded as one of the definitive indie rock groups of the 1990s. Though Yo La Tengo has achieved limited mainstream success, the band has become a critical favorite with a devoted fan base.
The band's name comes from a baseball anecdote.
During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón found themselves colliding in the outfield. When Ashburn went for a catch, he would scream, "I got it! I got it!" only to run into the 160-pound Chacón, who spoke only Spanish.
Ashburn learned to yell, "¡Yo la tengo! ¡Yo la tengo!" which is "I have it" in Spanish. In a later game, Ashburn happily saw Chacón backing off. He relaxed, positioned himself to catch the ball, and was instead run over by 200-pound (90.7 kilograms) left fielder Frank Thomas, who understood no Spanish and had missed a team meeting that proposed using the words "¡Yo la tengo! as a way to avoid outfield collisions.
After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".
The band wanted a name that sounded foreign in order to avoid any connotations in English. Kaplan is also a devoted baseball fan. However, it still irks the band when they are asked the origin of the name. The band once performed a cover of the Mets theme song "Meet the Mets" during a benefit appearance on radio station WFMU's pledge drive. A track on I Am Not Afraid of You and I Will Beat Your Ass is called "The Story of Yo La Tango" in apparent reference to an all-too-frequent misspelling of the band's name.
source
The band's name comes from a baseball anecdote.
During the 1962 season, New York Mets center fielder Richie Ashburn and Venezuelan shortstop Elio Chacón found themselves colliding in the outfield. When Ashburn went for a catch, he would scream, "I got it! I got it!" only to run into the 160-pound Chacón, who spoke only Spanish.
Ashburn learned to yell, "¡Yo la tengo! ¡Yo la tengo!" which is "I have it" in Spanish. In a later game, Ashburn happily saw Chacón backing off. He relaxed, positioned himself to catch the ball, and was instead run over by 200-pound (90.7 kilograms) left fielder Frank Thomas, who understood no Spanish and had missed a team meeting that proposed using the words "¡Yo la tengo! as a way to avoid outfield collisions.
After getting up, Thomas asked Ashburn, "What the heck is a Yellow Tango?".
The band wanted a name that sounded foreign in order to avoid any connotations in English. Kaplan is also a devoted baseball fan. However, it still irks the band when they are asked the origin of the name. The band once performed a cover of the Mets theme song "Meet the Mets" during a benefit appearance on radio station WFMU's pledge drive. A track on I Am Not Afraid of You and I Will Beat Your Ass is called "The Story of Yo La Tango" in apparent reference to an all-too-frequent misspelling of the band's name.
source
Album Dicography :
01 - Ride the Tiger [1986]
02 - President Yo La Tengo_New Wave Hot Dogs [1987_1989]
03 - Fakebook [1990]
04 - May I Sing With Me [1992] (part1/part2)
05 - Painful [1993]
06 - Electr-o-Pura [1995]
07 - I Can Hear the Heart Beating as One [1997]
08 - And Then Nothing Turned Itself Inside-Out [2000] (part1/part2)
09 - The Sounds of the Sounds of Science [2002] (part1/part2)
10 - Summer Sun [2003]
11 - Yo La Tengo Is Murdering the Classics [2006] (part1/part2)
12 - I Am Not Afraid of You and I Will Beat Your Ass [2006]
13 - They Shoot, We Score [2008] (part1/part2)
EPs :
01 - Here Comes My Baby [1990]
02 - That Is Yo La Tengo [1991]
03 - Upside-Down [1992]
04 - Camp Yo La Tengo [1995]
05 - Little Honda [1997]
06 - Some Other Dimensions in Yo La Tengo [2000]
07 - Danelectro [2000]
08 - Merry Christmas From Yo La Tengo [2002]
09 - Nuclear War [2002]
10 - Today Is the Day! [2003]
11 - Live Session EP [2007]
Splits / Collaboration :
01 - 1995 - Stereolab & Yo La Tengo - Genius + Love Split
02 - 1998 - Jad Fair & Yo La Tengo - Strange But True
03 - 2004 - Chris Stamey & Yo La Tengo - V.O.T.E.
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I Feel Like Going Home
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