29 maggio 2017

Quattro nuove pubblicazioni segnano la primavera 2017 per Cuneiform Records, due di gruppi ormai veterani, due di gruppi accolti invece per la prima volta nei ranghi della coraggiosa e tenace etichetta di Silver Spring (Stati Uniti): Bubblemath, Edit Peptide; Cheer-Accident, Putting Off Death; The Great Harry Hillman, Tilt; Miriodor, Signal 9.

Based in the Washington D.C. area since its founding in 1984, Cuneiform Records is widely recognized as an international force in the world of avant-garde and truly progressive, cutting-edge music. This independent record label has charted an adventurous course, avoiding music’s oft-travelled mainstream and resisting confinement within any single musical genre. Instead, Cuneiform has focused on the nascent edges of a variety of genres. It is especially renown for championing music that transcends traditional, rigidly-defined 20th Century musical styles, championing pioneering composers and genre-defying music that organically fused elements from various styles to form vibrant new hybrids. Repeatedly, Cuneiform has released music that’s either influenced or served as precursors to modern music’s most intriguing new forms. For instance, much of the radical, genre-defiant music that Cuneiform released in the 1980s and 1990s to the confoundment of rock, jazz and classical music critics alike – music such as Curlew’s foot-tapping, genre-morphing jazz/pop/blues/rock, and Present and Univers Zero’s startling Chamber Rock – would in later years be recognized as precursors (forming the metamorphic bedrock) for post-jazz and post-classical genre-defying hybrids that now define 21st century music.


28 maggio 2017

Sfuggita alle cerimonie del quarantennale più per la supposta indifferenza dei suoi soci che per autentiche divergenze di opinione, diventa affare del solo Charles Bobuck - con la complicità di Walter Robotka dell'austriaca Klanggalerie - la revisione dell'album di debutto dei Residents, un extended play dall'allusivo titolo Clank, Clank, ClankAd illustrare la genesi e l'evoluzione del progetto ci pensa il terzo fittizio complice, Hardy Fox: "In the midst of writing music for The Ghost of Hope back in 2014, Charles Bobuck had what he thought was a musical epiphany. The Residents were very focused on their 40th Anniversary and he felt that a special 40th anniversary album should be released. The train wreck album seemed fine but very removed from the anniversary celebration. So he proposed an album about the Meet The Residents LP from 1974. It would be new material but include versions of the songs from Meet the Residents cobbled out of samples taken directly from the original recordings. It would be autobiographical. It would include stories and memories from making the recording forty years earlier. The idea was received with little interest. In response, he decided to record some demos to show what the new arrangements could sound like. Still, the idea did not catch on, and neither did The Ghost of Hope which was shelved due to the touring schedule, so Bobuck started working on What Was Left of Grandpa and the demos were filed away. Three years later, 2017, Hardy Fox and Walter Robotka were figuring out the Hacienda Bridge newsletter schedule and subjects. They wanted to do an issue on robots, AI, computer music - that kind of thing. Walter asked Charles Bobuck if he had any music that would fit into that theme for a CD to go with the issue. He remembered that he had the demo redo’s of Meet the Residents that used a lot of hi-tech computer driven splicing and syncing. Hardy and Walter agreed the demos should be released. After a bit of reworking, they were fashioned into an EP CD called Clank, Clank, Clank. It is the sound that robots make when they dance."


27 maggio 2017

Va in onda oggi la replica della puntata di martedì scorso di The Voices of... con protagonista Andy Partridge. Il programma, giunto alla sua seconda serie, è prodotto da Alan Hall per BBC Radio Four; alcune puntate della prima serie sono ancora disponibili in archivio, e tra queste imperdibili almeno quelle su Annie Briggs e Robert Wyatt.

Brought up on a council estate in Swindon, Andy Partridge's escape from the poverty of his working class upbringing followed a classic path - art and music. At 15, he enrolled in what he calls the 'art floor' of the local college - Swindon didn't boast an actual art college. Then, he discovered the magnetic power of carrying around his Dad's old guitar. He didn't even have to play it to find himself the centre of attention.
In the years that followed - and in the wake of the punk explosion - he tasted celebrity and success with his band XTC. His curious vocal style and angular compositions were distinctive and influential. XTC built a cult status with songs such as Making Plans for Nigel and Senses Working Overtime, as well as albums including the acclaimed Skylarking.
But Swindon didn't lose Andy for long, despite the lure of London and New York. He lives there still, now with his American partner. And he's still writing songs - including for the recent album by the reformed Monkees. In this programme, he talks about the trajectory of his career and the 'art blood' that has consistently flowed through his veins.