29 febbraio 2016

Un concerto solitario di John Greaves ripreso al CASC parigino il 24 maggio 2013 è disponibile da qualche giorno in versione integrale su YT: in scaletta i più bei classici tratti dai canzonieri Greaves/Verlaine e Greaves/Blegvad, vari originali (The Trouble With Happiness, Summer On IceThe Price We Pay), la sempre emozionante The Green Fuse (con i versi di Dylan Thomas), e cover assortite di Georges Brassens, Bob Dylan e Gerry and the Pacemakers. Wheee!


28 febbraio 2016

Che siano masters è fuor d'ogni dubbio, che il remastering sia all'altezza lo è un po' meno: comunque sia, stasera si balla come fosse il '68 - ché anche quello era anno bisestile - 'avec Les Soft Machines et leur musique expérimentale'...


27 febbraio 2016

Nel cuore del più recente episodio del suo Canterbury Sans Frontières Matthew Watkins mette un ibrido montaggio di quasi un'ora di We Did It Again - prendendo da disparate fonti e da differenti epoche - in aperto omaggio alle leggendarie gesta dei Soft Machine del soggiorno francese dell'estate 1967: "By taking the ostinato technique to its extreme, Kevin was actually making a serious artistic statement. It was his idea that if you find something boring – a basic Zen concept – then in the end you will find it interesting. And there is something in that: if you listen to something repeated in the same way, your mind changes the structure of it each time….. Kevin saw it halfway between the spiritual liberation thing and showing off how hip we were." (Mike Ratledge).

Soft Machine — "We Did It Again" (from The Soft Machine, 1968)
Bongwater — "We Did It Again" (from Double Bummer, 1988)
Henry Cow (feat. Robert Wyatt) — "We Did It Again" (from The Road: Volume 3, 2008, live in Paris, 1975-05-08)
Tirol — "We Did It Again" (live recording of unknown origin)
Soft Machine — "We Did It Again" (from Middle Earth Masters, recorded London 1967-09-16, released 2006)
Kevin Ayers and The Whole World — "We Did It Again" (from VPRO Radio, Netherlands, 1970-07-30)
Monty Oxymoron and Friends — "We Did It Again" (live in Brighton 2015-02-08)
Soft Machine — "We Did It Again" (from French TV, 1967)
Kevin Ayers and the Whole World — "We Did It Again" (BBC Radio, 1970-05-07)
Achzeit — "We Did It Again" (unknown origin)
Brainville 3 — "Didditagin" (from Trial By Headline, 2008)
Pascale Comelade — "We Did It Again" (from My Degeneration: Electronics 1974–1983, 2014)
Soft Machine — "We Did It Again" (from Live at Henie Onstadt Art Centre 1971, recorded 1971-02-28, released 2009)
Robert Wyatt and Kevin Ayers — "We Did It Again" (bonus track from Middle Earth Masters, 2006)


26 febbraio 2016

Tie the Stone to the Wheel (Evan Parker e Seymour Wright) e Muddy Ditch (Sebastian Lexer e Steve Noble) sono i due nuovi titoli pubblicati in cd a tiratura limitata dalla londinese Fataka. Presentati al pubblico del Cafe Oto poche sere fa:

Fascinating combination of two uncompromising saxophonists. Seymour Wright grew up listening to Evan Parker's radical reshaping of the saxophone and both develops and deconstructs it in his own playing. Together, the two interrupt and augment each other incessantly, creating tight spirals of difference and similarity that crackle with ideas and energy.

Sebastian Lexer (piano+) and Steve Noble (drums and percussion) first played together in the winter of 2011 and what seemed like an unlikely, even oppositional, pairing quickly proved itself to be an extremely well-matched one. Noble's sharp vertical hits and Lexer's sustained horizontal textures echo, disrupt and enrich each other, producing music full of complex slants and intricate resonances.


25 febbraio 2016

Torna in circolazione in vinile grazie a Black Truffle Records il celebre AMMMusic (1966), giusto in tempo per festeggiare i suoi primi cinquant'anni: l'attuale edizione riproduce il più possibile l'originale, anche nelle note di copertina, tralasciando dunque i materiali aggiuntivi che vi diedero ampio contesto nella versione in cd prodotta nel 1989 da ReR.

Coinciding with the 50th anniversary of its recording in 1966, this reissue makes one of the cornerstones of the experimental music tradition available again in its original form, replete with Keith Rowe's beautiful pop art cover and the terse aphorisms by the group that served as its original liner notes. A testament to the interaction between the experimental avant-garde and the countercultural underground, the album was originally released on Elektra, recorded by Jac Holzman (the label's founder, responsible for signing The Doors, Love, and The Stooges) and produced by DNA, a group that included Pink Floyd's first manager Peter Jenner. Pink Floyd paid tribute to AMM's influence on their improvisational sensibility with the track Flaming on their debut album, named after the piece that occupies AMMMusic's first side, Later During a Flaming Riviera Sunset.
Formed in 1965 by three players from the emerging British jazz avant-garde – Keith Rowe and Lou Gare had played with the great progressive big band leader Mike Westbrook and Eddie Prévost played in a post-bop group with Gare – AMM quickly evolved from a free jazz group into something decidedly more difficult to categorise. By the time these recordings were made, two more members had joined the group: another Westbrook associate, Lawrence Sheaf, and the radical composer Cornelius Cardew. Then at work on his masterpiece of graphic notation Treatise, Cardew brought with him extensive experience of the post-serialist and Cageian currents in contemporary composition.
AMM's clearest break with jazz-based improvisation concerned the idea of individuality. Where improvised music has tended to foster the development of idiosyncratic stylists who move freely from one group to another, AMM, initially through an engagement with eastern philosophy and mysticism and later though a politicized communitarianism, sought to develop a collective sonic identity in which individual contributions could barely be discerned. In the performances captured on AMMMusic the use of numerous auxiliary instruments and devices, including radios played by three members of the group, contribute to the sensation that the music is composed as a single monolithic object with multiple facets, rather than as an interaction between five distinct voices.


24 febbraio 2016

Giocano in casa al club parigino Le Triton per quattro sere di fila da tutto esaurito a cominciare da stasera, prima di partire per Australia e Stati Uniti, Corea e Hong Kong, Singapore e Cina: Magma letteralmente in ebollizione, con i 'nuovi' Jérôme Martineau e Jim Grandcamp in formazione - quest'ultimo consigliato dal buon James Mac Gaw - un dvd in uscita a giorni (Nihao Hamtai) e un sito web (quasi) nuovo di zecca. Auguri!

Il est arrivé au studio pour une audition, a joué Köhntarkösz "pied dans le phare" avec le groupe… et fût applaudi à la fin! Jérôme Martineau, pianiste, batteur, transfuge du groupe Ptah, remplace Jérémie Ternoy au piano. Conformément au souhait de James Mac Gaw, Jim Grandcamp reprend le flambeau… et la guitare! C’est l’épreuve du feu pour ces deux jeunes musiciens talentueux qui rejoignent donc le meilleur groupe du monde en sa 46eme année! Une semaine de résidence au Triton avant de s’envoler pour l'Australie (pour la première fois!), puis de continuer vers l'Est pour amorcer par la côte ouest, une nouvelle tournée américaine de 17 concerts. Puis à nouveau l'Asie, avec la Corée, Hong Kong, Singapour et à nouveau la Chine.  Le "Tour sans fin" continue…


23 febbraio 2016

Lo conferma lo stesso Steve Hillage in un post al suo profilo su FB: saranno ben ventidue i cd contenuti nel box antologico e retrospettivo Searching For The Spark, atteso per settembre, con tutti gli album ufficiali del periodo 1969-1991, una valanga di brani in versione alternativa, rarità di studio e dal vivo, immagini inedite, memorabilia e scritti vari.

Lo raccomanda naturalmente anche Planet Gong: "Searching for the Spark: a fully comprehensive Steve Hillage box set! 22 CDs from the period 1969 to 1991 with all the released albums and loads of exclusive unreleased rarities: live recordings, demos, studio tracks. A comprehensive and beautifully produced book detailing the whole story, and exclusive memorabilia items. Release date set for late September 2016! We have been immersed in this project for months and now the intensive home stretch work schedule lies before us like a shining path to a late September release date. It has been and is intense, but at the same time the deepest of fun - inner/outer dimensional time travel made real - or something like that! The limited edition box will be packed with all manner sounds, images and items to astound and delight. I suggest putting a couple of cappuccino's worth, or a pint of beer's worth of cash into a piggy bank each week - you don't want to miss this. I'd love to be there for the opening of every box."


22 febbraio 2016

Ultima in ordine di tempo nella serie di meditazioni sonore dedicate da Orlando Monday Allen al ricordo di papà Daevid - e forse ultima anche ad essere registrata negli studi del Banana Moon Observatory, dato che presto l'edificio dove è ospitato verrà ceduto - c'è su Bandcamp Take Me Home, dove frullano insieme Oasis, Octave Doctors e Love Is How Y Make It. E' a nome Escher MC, a prezzo simbolico: http://escher-mc.bandcamp.com

21 febbraio 2016

Per la serie Création on air di France Culture viene trasmesso mercoledì prossimo alle ore 23.00 il documentario su Robert Wyatt realizzato di recente da Gilles PezeratRobert Wyatt, l’homme de plusieurs vies. Lo annuncia un breve frammento video su YT. Le voci di Robert e Alfie in versione francese sono quelle di John Greaves e Elise Caron.


20 febbraio 2016

Mentre il racconto delle due appassionate serate di This Is Not This Heat la settimana scorsa al londinese Cafe Oto rimbalza da un sito all'altro, per parole e per immagini, giunge con (relativo) sollievo notizia che quelle non rimarranno evento isolato: nuovi appuntamenti sono fissati infatti in Galles a metà aprile per l'All Tomorrow's Parties 2.0 curato da Stewart Lee e il 17 giugno ancora a Londra, al Barbican. Altri?

"The response to the 2 gigs last week has been extraordinary. The music is alive and at full force. THIS IS NOT A NOSTALGIA THING" (Charles Hayward)


19 febbraio 2016

Dalle registrazioni effettuate nel corso di due frenetiche giornate del settembre 1963 - ben ricordate nel libro di Maxine McGregor Chris McGregor and The Brotherhood of Breath (Bamberger Books, 1995) - scaturì Jazz-The African Sound, il solo album prodotto da Chris McGregor assieme alla Castle Lager Big Band, costituita in occasione del Cold Castle National Festival presso Moroka-Jabavu a Soweto, Johannesburg. Tra gli altri c'erano Dudu Pukwana, Mongezi Feza e Kippie Moeketsi (e anche Louis Moholo, alle prove e tra il pubblico). Degli esiti scriveva in copertina il pianista e leader: "I have wanted for years to hear a big band composed of the brightest stars in South African jazz and my note-books are full of projected personnel and worthwhile compositions for such a venture, the fruits of about five years of listening to and being involved with this lovely thing, jazz music in South Africa. So I can hardly claim to have been taken by surprise by the immediate possibility of such a band becoming a fact, but I must admit that it still seems a dream to me, and one in which I played my own part very badly, considering the possibilities. I can only plead that the real task of arranging came about in practice, with all members present, and that I could not possibly, in the two weeks of economic life granted us by the kindness of South African Breweries (through Union Artists) as a result of the 1963 Cold Castle National Festival, exploit possibilities and potentialities as fast as they became clear to me. I am satisfied at least that the possibilities are tremendous, because I have heard them. I hope that at least a few of them come across on this record."

L'album, fin qui introvabile, è stato ripubblicato pochi mesi fa dalla londinese Jazzman Records, in cd e in una tiratura di qualche centinaio di copie anche in vinile: http://www.jazzmanrecords.co.uk/chris-mcgregor-jazz-the-african-sound-15111

One of the most important African records of all time gets its first ever worldwide release on Jazzman! Chris McGregor's Jazz-The African Sound is a lost global jazz classic, and a true holy grail for collectors of jazz and world-jazz. A cornerstone of South Africa's illustrious jazz history, it has been out of print since before the end of apartheid. Never before released outside of the country, this painstakingly restored reissue is the long-delayed first chance to hear Chris McGregor's debut recording as leader. As well as fully restored audio, the package features unpublished photographs by Basil Breakey and new sleeve-notes by author Francis Gooding.
Ten years before the Brotherhood of Breath blew the cobwebs out of British jazz, Chris McGregor had already recorded as leader with a big band comprised of South Africa's leading jazz lights. Put together in 1963, the Castle Lager Big Band was a multi-racial group, a risky endeavour in apartheid South Africa. Modernist in outlook, and dedicated to showcasing South African composers, the 17-piece band featured a galaxy of South African jazz stars, including Dudu Pukwana, Mongezi Feza, and Kippie Moeketsi. Though the band lasted only a few weeks and played a just a handful of shows, they made it into the studio to record. The result was Jazz-The African Sound, a unique masterpiece of afro-Ellingtonia that the band hoped would put South African jazz on the international map. But history intervened, and their jazz message to the world never arrived. Until now that is, and more than fifty years after it was first recorded, Jazz-The African Sound is finally back in print.


18 febbraio 2016

Ora che Asc Records lo ha pubblicato in via ufficiale, il nuovo lavoro dei Westbrook con la Uncommon Orchestra, A Bigger Show, riceve le prime recensioni sul web e sulla carta stampata: Richard Williams per TheBlueMoment e Patrick Hadfield per LondonJazz, per esempio. Alcuni brevi filmati tratti dal concerto tenuto al Barnfield Theatre di Exeter lo scorso 30 luglio 2015 - da lì provengono le registrazioni utilizzate nel doppio cd - sono visibili al sito dei musicisti: Propositions e Gas, Dust, Stone.

This double CD records Mike and Kate Westbrook's recent large scale theatrical project. Using an orchestra of twenty one, incorporating actors and a dramaturge (a rare credit on a jazz CD) and musicians from a variety of traditions, it builds on themes that the Westbrooks have been working on for several years. Several of the songs appear in shorter versions on the Village Band's CD The Waxeywork Show, and other tracks have been developed from pieces in the Art Wolf project. But this is a bigger band – a bigger show.


17 febbraio 2016

Tratto da una residenza artistica di Keith Tippett al londinese Vortex Jazz Club circola sul web un documento non ufficiale del secondo dei due giorni, il 3 novembre 2015, con un programma di composizioni istantanee in formazioni ridotte e l'intero ottetto impegnato nella proposta di una delle maggiori composizioni recenti del pianista, Nine Dances of Patrick o'Gonogon. Con Tippett c'erano Fulvio Sigurtà, Sam Mayne, James Gardner-Bateman, Kieran Mcloud, Richard Foote, Tom McCreadie e Peter Fairclough.


16 febbraio 2016

Proseguono le presentazioni pubbliche del libro di Marcus O'Dair Different Every Time-La biografia autorizzata di Robert Wyatt curate da Alessandro Achilli, autore della versione in italiano per Giunti Editore: l'appuntamento di domani a Milano (auditorium Stefano Cerri, via Valvassori Peroni 56, ore 21.00) sarà sottolineato dagli interventi musicali di Angelo Avogadri, Massimo Falascone, Ferdinando Faraò, Massimo Giuntoli, Eloisa Manera, Roberto Kriscak e Giovanni Venosta. Intanto negli archivi web di Battiti si recupera una recente puntata sull'argomento: http://tinyurl.com/jtzwcep

15 febbraio 2016

Pierre Lattes e Pip Pyle parlottano amabilmente a bordo piscina mentre gli altri di Hatfield and the North si riprendono dalle fatiche delle riprese televisive per Rockenstock: è il settembre 1973 - la puntata poi andò in onda nel febbraio 1974 - e in scaletta ci sono Nan True's Hole, Big Jobs, Going Up To People And Tinkling, Lobster In Cleavage Probe e Gigantic Land Crabs in Earth Takeover Bid, in versioni a quanto pare tuttora inedite nella discografia ufficiale del gruppo. Un'altra registrazione per Rockenstock, di pochi mesi precedente a questa, vedeva gli Hatfields assieme a Robert Wyatt. Da non perdere!


14 febbraio 2016

Al club parigino Le Triton la sera dell'omaggio a Elton Dean, voluto da Evan Parker, Paul Dunmall, Sophia Domancich, Paul Rogers e Simon Goubert per ricordare l'amico a dieci anni dalla scomparsa, è intervenuto a sorpresa anche Didier Malherbe. Alcune riprese video sono su YT: https://www.youtube.com/user/leemoox


13 febbraio 2016

Ripubblicato varie volte da Cuneiform, torna in circolazione l'album di esordio degli Univers Zero (1977), omonimo ma conosciuto anche con le cifre del catalogo desunte dalla limitatissima autoproduzione iniziale curata da Eric Faes, 1313. Stavolta è prodotto da Sub Rosa ed esteso a doppio vinile, con l'aggiunta di una versione di La Faulx di un paio d'anni successiva alle sessioni di studio originali.

Longstanding Belgian chamber rockers and avant-garde pioneers led by drummer/composer Daniel Denis, Univers Zero was formed in 1974 with co-composer and guitarist Roger Trigaux (who left the band in 1980). This is their first album recorded between the 2nd and the 5th of August 1977.


12 febbraio 2016

L'onda lunga dei festeggiamenti per il quarantesimo anno di attività dei Residents raggiunge oggi Londra e successivamente Utrecht quali ultime date europee, per poi proseguire in Australia e negli Stati Uniti fino a metà maggio. Come è noto, ai concerti dal vivo del gruppo non partecipa più Charles Bobuck, ora settantenne e da tempo interessato alle sole attività di studio e alla personale catalogazione di precedenti materiali. Una compilazione da lui curata è attesa a giorni per Klanggalerie e MVD con il titolo This.

Concluding the celebration of their 40th anniversary, The Residents are pleased to announce Shadowland: Part 3 of the Randy, Chuck & Bob Trilogy. Aspiring to examine life in reverse, the trilogy began in 2010 with The Talking Light, a study of ghosts and death; reflecting on love and sex, the group continued with their Wonder of Weird tour in 2013; and finally with Shadowland, Randy, Chuck & Bob will focus on the beginning of life. As with Parts 1 & 2 of the trilogy, Part 3 will feature music from The Residents’ extensive catalogue interspersed with short videos about birth, rebirth, reincarnation and NDEs (near death experiences).


11 febbraio 2016

Mike Barnes illustra ai lettori della rivista The Wire di questo mese la discografia essenziale di This Heat, Camberwell Now e alcune successive imprese di Charles Hayward, Charles Bullen e Gareth Williams. Tempismo calcolato con lo svolgersi domani e dopodomani delle due attesissime serate presso il londinese Cafe Oto sotto l'insegna This Is Not This Heat. Qualche dettaglio: "Sets will include a performance 
of Hayward’s solo project Begin Anywhere, Bullen’s group Ground, and some DJ interludes courtesy of Nick Name. For 
the main event, Bullen and Hayward will
 be joined by a large selection of guest musicians including Frank Byng, Chris Cutler, Merlin Nova, Thurston Moore, Daniel O’Sullivan and others."


10 febbraio 2016

Gli studenti dell'University of East London affrontano un brano di Chris Cutler a ora di pranzo, in compagnia di Yumi Hara, Guy Harries e dello stesso autore: Conspiracies.


09 febbraio 2016

Tramite Bandcamp torna in circolazione uno dei lavori più compiuti di Bing Selfish in anni recenti, Songs of Inexperience. In formato digitale e su supporto fisico, con tutti i testi disponibili presso il sito web del Nostro:

Here he comes again! With William Blake as a guiding spirit, Bing explores unknowingness and all that follows with the wide-eyed wonder of a puma as it bites through electric cables at the Newport Folk Festival. Economic theories fight for space with stories of life at the the thin end of the consumer wedge, exquisite women elbow for room with boorish wastrels and poetry has a wee chat with anarchism about who gets that last biscuit. Instruments coming at you from all directions; longing, excess, boredom, landladies; and a song from the dreaming pen of the mighty SuNray Jahchild, what can you say, except, "I want! I want!"?


08 febbraio 2016

Steve Wilson era troppo occupato, sicché ha dovuto far tutto da solo Luis González - cioè Caballero Reynaldo - nel rimetter ordine alle proprie (ri)letture zappiane, The Grand Kazoo, Traca/Matraca Marieta y Los Jetas in primis. Se n'è uscito con un personale bignamino ancora aperto a interpretazioni, Reynaldo plays Zappa?, primo atto di un 2016 per lui ricco di festeggiamenti per i vent'anni di carriera.

During 2016 Caballero Reynaldo will be celebrating his 20 years in the music “business” and as Steve Wilson was not available, or simply not answering the phone, he has undertaken the task of looking back to his career and release several records with a new look at some of his old material and present it with a fresh look, re-recording, re-mixing, re-friting his discography and perform it live on special occasions and venues with his band: Rebeca Ibáñez, Román Garcia and Santi Serrano, plus special guests whenever possible: Manu Vicente, José Mencias, Manoel Macía, Marieta Tamarit, etc, who have had a significant role in previous line-ups.
The first step of his evil master plan, obviously, is the volume dedicated to the music of Frank Zappa, with which he toured around Europe in 2010 thanks to records such as The Grand Kazoo, Traca/Matraca or Marieta y Los Jetas. In Reynaldo plays Zappa? he squeezes and minimalises the original music up to the limit of non-recognition.


07 febbraio 2016

Sono pronte le cinque nuove pubblicazioni di Cuneiform Records scelte per inaugurare l'anno 2016: Empirical, Connection; Ergo, As Subtle As Tomorrow; Gary Lucas' Fleischerei, Music from Max Fleischer's Cartoons; Naima, Bye; The Ed Palermo Big Band, One Child Left Behind.

"Five new albums that will warm hearts, expand audiences for jazz via music that reshapes jazz’s borders, and expose listeners around the world to some of contemporary music’s best and most adventurous musicians, composers and arrangers."


06 febbraio 2016

Colleghi musicisti e amici si ritrovano questa sera a Les Lilas (Francia) a Le Triton in ricordo del compianto Elton Dean a dieci anni dalla scomparsa: Evan Parker, Paul Dunmall, Sophia Domancich, Paul Rogers e Simon Goubert. Scrive Aymeric Leroy nel presentare il concerto: "Il y a dix ans déjà disparaissait le saxophoniste Elton Dean, figure légendaire du jazz anglais et de l’Ecole de Canterbury. Avec son ancien complice de Soft Machine, Hugh Hopper, il était un habitué de la scène du Triton, et c'est elle qui, en toute logique, accueille pour cet anniversaire cinq musiciens anglais et français dont certains de ses plus fidèles compagnons de route."


05 febbraio 2016

Gallerie di immagini e riprese video del bel concerto di David Thomas and Two Pale Boys - Andy Diagram e Keith Moliné - sabato scorso al londinese Cafe Oto, in attesa della riedizione integrale del loro materiale discografico entro l'anno, per Fire Records. Con loro c'era un quarto uomo, Graham Dowdall (ovvero Gagarin):

04 febbraio 2016

Nuovi titoli nella sezione downloads del londinese Cafe Oto: tra questi una performance solitaria di Graham Lambkin, una sinfonia (la numero 105) per i MEV Teitelbaum, Curran e Rzewski, l'incontro di Evan Parker con i due AMM John Tilbury e Eddie Prévost nei giorni dei festeggiamenti del suo settantesimo compleanno, una torrenziale session di Charles Gayle con John Edwards e Roger Turner e l'intera prima serata di una recente residenza artistica di Fred Frith, quella sera in duo e poi in trio con Theresa Wong e John Butcher.


03 febbraio 2016

Dal concerto dello scorso 5 dicembre al Club Goodman di Akihabara (Tokyo) proviene il montaggio video che promuove Half the Sky, con le musiche di Lindsay Cooper: Yumi Hara, Chris Cutler, Mitsuru Nasuno, Miwazow, Wataru Ohkuma, Yuriko Mukoujima e Keiko Komori. Con loro quella sera c'era anche Tatsuya Yoshida.


02 febbraio 2016

MIT Press, editrice delle pubblicazioni scientifiche e tecnologiche del Massachusetts Institute of Technology, accoglie un importante studio di Tim Hodgkinson sui complessi e conflittuali rapporti tra natura e cultura, tra biologia e identità dell'essere umano: Music and the Myth of Wholeness - Toward a New Aesthetic Paradigm, con un'indagine sulla soggettività dell'ascolto musicale e dell'esperienza estetica che prende spunto dal lavoro di Schaeffer, Cage e Lachenmann.

In this book, Tim Hodgkinson proposes a theory of aesthetics and music grounded in the boundary between nature and culture within the human being. His analysis discards the conventional idea of the human being as an integrated whole in favor of a rich and complex field in which incompatible kinds of information - biological and cultural - collide. It is only when we acknowledge the clash of body and language within human identity that we can understand how art brings forth the special form of subjectivity potentially present in aesthetic experiences.
As a young musician, Hodgkinson realized that music was, in some mysterious way, “of itself” - not isolated from life, but not entirely continuous with it, either. Drawing on his experiences as a musician, composer, and anthropologist, Hodgkinson shows how when we listen to music a new subjectivity comes to life in ourselves. The normal mode of agency is suspended, and the subjectivity inscribed in the music comes toward us as a formative “other” to engage with. But this is not our reproduction of the composer’s own subjectivation; when we perform our listening of the music, we are sharing the formative risks taken by its maker. To examine this in practice, Hodgkinson looks at the work of three composers who have each claimed to stimulate a new way of listening: Pierre Schaeffer, John Cage, and Helmut Lachenmann.

01 febbraio 2016

La storia di eroiche gesta e di intrepidi - certo assai poco tiepidi - incontri al Cold Storage di Brixton a partire dalla seconda metà degli anni settanta è già stata variamente raccontata, anche da qualche diretto protagonista (Raincoats, Young Marble Giants, Flying Lizards, Essential Logic, Marine Girls, Robert Wyatt, The Homosexuals, News From Babel, The Work, Officer! e soprattutto This Heat e Camberwell Now). Vi ritorna oggi Iva Suarez con Cold Storage Memories, interessante documentario multimediale che compone immagini, registrazioni, suoni d'ambiente, resoconti e testimonianze a partire da quelle di David Cunningham e Charles Hayward. Ricorda tra l'altro quest'ultimo: “We opened it up and the lights didn’t work. We had torches - the beams entered the space and there was a subclimate in there. There were clouds; it was really, really cold. And I quite genuinely had this picture in my head that we were going to see the red, glinting eyes of some sort of albino wolves. We couldn’t quite work out how big it was. It was a very strange space, a mysterious sort of cavern. It was very primeval, like an installation piece.”