16 luglio 2018


In edizione firmata e numerata è giunto ai sottoscrittori della primissima ora assieme allo splendido nuovo cd Waiting for the Bomb, alcune copie però sono disponibili anche singolarmente presso ReR Megacorp: Four Stories, di Allen Ravenstine.

Così lo consiglia Cutler: "Slim, 44pp. perfect bound, paperback containing four stories. Illustrated by Mary Thomas. These four stories were written while Allen was working and touring with Pere Ubu, and speak directly of his experiences in those years. They waste no words - and the words used are meticulously chosen; I’m a fan. These are fine stories, artfully told. I’m not alone - Allen was one of those selected for The Penguin Book of Rock and Roll Writing in 1992. A small limited edition."
https://tinyurl.com/y95pyycu
https://tinyurl.com/y9utlzv9

15 luglio 2018


Altra interessante pubblicazione presso Bloomsbury è lo studio condotto da Richard Elliott The Sound of Nonsense attraverso letteratura, poesia sonora, musica d'avanguardia e canzone pop, con celebri esempi dell'assurdo e del surreale da Lewis Carroll, James Joyce e William Burroughs a Bob Dylan, John Oswald, Magma e Ivor Cutler.

In The Sound of Nonsense, Richard Elliott highlights the importance of sound in understanding the 'nonsense' of writers such as Lewis Carroll, Edward Lear, James Joyce and Mervyn Peake, before connecting this noisy writing to works which engage more directly with sound, including sound poetry, experimental music and pop. By emphasising sonic factors, Elliott makes new and fascinating connections between a wide range of artistic examples to ultimately build a case for the importance of sound in creating, maintaining and disrupting meaning.

https://www.bloomsbury.com/us/the-sound-of-nonsense-9781501324543

14 luglio 2018


C'è anche uno scritto di Chris CutlerLoops, Memories and Meanings, nel libro Over and Over - Exploring Repetition in Popular Music curato da Olivier Julien e Christophe Levaux e pubblicato in questi giorni da Bloomsbury: "From the Tin Pan Alley 32-bar form, through the cyclical forms of modal jazz, to the more recent accumulation of digital layers, beats, and breaks in Electronic Dance Music, repetition as both an aesthetic disposition and a formal property has stimulated a diverse range of genres and techniques. From the angles of musicology, psychology, sociology, and science and technology, Over and Over reassesses the complexity connected to notions of repetition in a variety of musical genres. The first edited volume on repetition in 20th- and 21st-century popular music, Over and Over explores the wide-ranging forms and use of repetition - from large repetitive structures to micro repetitions - in relation to both specific and large-scale issues and contexts. The book brings together a selection of original texts by leading authors in a field that is, as yet, little explored. Aimed at both specialists and neophytes, it sheds important new light on one of the fundamental phenomena of music of our times."

https://www.bloomsbury.com/us/over-and-over-9781501324888

13 luglio 2018


Dopo una presentazione pubblica condotta il mese scorso a Los Angeles da Homer Flynn - di cui si trova qualche testimonianza sul web - e una prima distribuzione di copie ufficialmente autografate dai Nostri, The Residents pubblicano in questi giorni presso Feral House il loro nuovo racconto, The Brickeaters.

First up, the guys are delighted to have their new novel, ‘The Brickeaters’ published today! July 10th. “What the fuck?”, I hear you ask. Well, this the fuck… “The Brickeaters is an absurdist buddy movie story featuring a very tall internet content screener teaming up with an aging career criminal whose primary companions are an oxygen bottle and a .44 Magnum. After a short crime spree cementing their unhinged partnership, they work together to prevent a middle-aged lottery winner from polluting the LA water supply with massive amounts of fluoride. Their adventures unfold via a highly unreliable alcoholic narrator desperately avoiding the reality of spousal abandonment.” It sounds obvious, right? We’ve read it, and we’re re-reading it. Does it get better every time around? And how do four guys write a novel together anyway? Well, there’s only one way to find out…

https://www.residents.com
http://feralhouse.com/the-brickeaters
https://www.youtube.com/watch?v=i9lFYpfPS2Q

12 luglio 2018


Il sorprendente esito della campagna I Am A Resident! - che ha raccolto quasi duecento versioni di brani dei Residents prodotte da amici, ammiratori e piccoli fan, poi radicalmente rimaneggiate dal gruppo in forma di condensati sonori - non rimarrà confinato, come inizialmente sembrava, entro la stretta cerchia dei diretti sostenitori del progetto. Ne sono infatti pronte per la generalità del pubblico ben tre versioni, in parte diverse tra loro: singolo cd, doppio cd e doppio vinile. Ne ha qualche copia Cherry Red Records:
https://www.cherryred.co.uk/i-am-a-resident-2cd-card-gatefold-edition
https://www.cherryred.co.uk/i-am-a-resident-limited-vinyl-edition

11 luglio 2018


E Moacrealsloa di Radio Panik propone in questi giorni anche una rarissima intervista a Renaldo & The Loaf sulla scorta dell'ancor più raro concerto tenuto poche settimane fa a Vienna nell'ambito dei festeggiamenti di Klanggalerie. L'etichetta ha intenzione di documentare l'evento su cd il prossimo autunno; intanto ci si può fare un'idea tramite YT.

Renaldo Malpractice and Ted The Loaf took their time to give their impressions after a blast of a concert. They did their first ever live concert in Vienna, after a small performance in 1980. The interview was done the day after this unbelievable experience. Since the late 1970s they released some of the most unique and exceptional music with albums like Play Struvé & Sneff, Songs for Swinging Larvae, Arabic Yodelling, The Elbow Is Taboo and they also collaborated with The Residents on Title in Limbo. Klanggalerie issued in 2014 their new album Gurdy Hurding and they also pleasantly went on reissuing all of their catalogue in wonderful quality.

http://www.renaldoloaf.com
http://www.radiopanik.org/moacrealsloa/renaldo-and-the-loaf
http://www.radiopanik.org/moacrealsloa/renaldo-and-the-loaf-part-2
https://www.youtube.com/watch?v=UkPLVGETOIo

10 luglio 2018


Un ritratto di Geoff Leigh attraverso la complessa discografia ufficiale, con l'aggiunta di brani inediti, rarità, spezzoni di un recente concerto dal vivo in duo con Makoto Kawabata e una conversazione con il diretto interessato: è negli archivi di Moacrealsloa di Radio Panik, alle puntate del 5 e 19 giugno scorsi.

http://www.radiopanik.org/geoff-leigh-interview-part-1
http://www.radiopanik.org/geoff-leigh-interview-part-2-with-live-concert
http://aliensatsea.blogspot.com

09 luglio 2018


I materiali provvisori prodotti da Domenico Lancellotti assieme a Sean O'Hagan per Soundistante, uno degli eventi culturali di contorno nella Londra delle Olimpiadi del 2012, confluiscono a distanza di qualche anno nell'ottimo The Good is a Big God (Luaka Bop, 2018): un lungo percorso in molti tratti panoramico che dai sentieri della Serra dos Órgãos giunge quasi a incrociare Talahomi Way...

Domenico was asked to take part in an artistic occupation in the city of London during the 2012 Summer Olympics. There, he reunited with famed British musician Sean O’Hagan - whom he’d met a few years prior during a show that paid homage to Tropicália. Before he left for London, Domenico sent O’Hagan a few musical sketches he’d done on guitar; by the time the Brazilian made it to the U.K., O’Hagan had string arrangements to accompany Domenico’s music. “We recorded nine songs that served as the soundtrack for my final Rio-Occupation project - an art film called Soundistante in a big exhibition,” says ​Domenico a renowned drummer with the likes of Gilberto Gil and member of the now-defunct the +2s. The musician added lyrics to some of these songs once he returned to Brazil. His friend and label mate Kassin helped​ Domenico write the words for “Insatiable,” and O’Hagan wrote the lyrics for “Logo.” “There was a record ready!” Domenico recalls with excitement.

08 luglio 2018


Venne anticipato un paio d'anni fa da un extended play contenente tre brani, di cui uno assai bello, Ibrahim, fortemente caratterizzato dalla partecipazione di Robert Wyatt. Ora è pronto l'album completo, River's Tent, e l'autore Gerald Clark lo diffonde nuovamente sotto il nome The Great Divide: “There’s a line in Ibrahim about ‘the old world creeping up on you’. And in lots of ways that’s a common theme of the songs on River’s Tent (itself a line from The Wasteland by TS Eliot). It's about the clash between the Old World and the New World, and how that clash manifests itself in our culture.”

https://interruptingsheepmusic.wordpress.com
https://www.facebook.com/thegreatdivideuk
https://www.youtube.com/watch?v=vP8p3KHmh0k&t=9s
https://soundcloud.com/geraldcmin6/medley-of-rivers-tent

07 luglio 2018


Viene invece dalla versione che gli Henry Cow (con Robert Wyatt) consegnarono notoriamente a Concerts la riproposta di Little Red Riding Hood Hit the Road operata da Yumi Hara con due protagonisti di allora, Tim Hodgkinson e Chris Cutler, suoi alleati (anche) nel trio The Watts. Per l'occasione, un concerto a Tokyo/Akihabara lo scorso 4 dicembre, c'erano sul palco del Goodman anche gli altri tre Canterbury Favourites oltre a Yumi, Kazuto Shimizu, Toshiaki Sudoh e Yuya Osabe.

https://www.youtube.com/watch?v=4M0u4JDrhRM&t=1s

06 luglio 2018


Nell'album Knows Time, Knows Change (Fledg'ling Records, 2017) che ne ha segnato la ripresa delle attività dopo vent'anni, il gruppo Daphne's Flight - Helen Watson, Melanie Harrold, Julie Matthews, Chris While e Christine Collister, a vario titolo nomi di spicco nell'ambito del folk-rock britannico più eclettico ed elegante - ha inserito una versione di Shipbuilding derivandola a loro dire direttamente dall'ascolto di Robert Wyatt (e non cioè dalle 'colleghe' June Tabor o The Unthanks, per esempio). Il brano è parte anche del loro repertorio dal vivo: https://www.youtube.com/watch?v=Q0xfBOV2XS8

https://www.daphnesflight.com
http://fledglingrecords.co.uk/product/knows-time-knows-change
https://mainlynorfolk.info/folk/records/knowstimeknowschange

05 luglio 2018


Ora è pronto a svelare tutti i suoi tesori, disseminati lungo trent'anni di musiche secondo un arco evolutivo ampio che ha condotto dal solo (Downtime) al trio (Just Woke Up, Hangman's Hill) al quintetto (Go Figure), con due ulteriori antologie di inediti (It's All 'Experimental') e un libriccino che racconta a più voci mille storie, criptostorie, retroscena (e qualche disavventura): The Peter Blegvad Bandbox.

ReR released the first Peter Blegvad Trio LP in 1988 and since then there's been a new one along about every 10 years, the latest adding Karen Mantler and Bob Drake, so it's a quintet now. In between, the trio toured Europe, America and Japan, did various projects and mounted a music-theatre performance. 30 years in, it seemed timely to collect everything together, add unreleased materials from concert recordings and out-takes, and write a fat illustrated book to tell the story so far. That box does this. In addition to the original releases, now re-mastered by Bob Drake and comprehensively repackaged, there are two full CDs of unreleased materials - and the book. That's 72 pages of documentation, recollections, reactions, insights and testimony - alongside priceless drawings and photographs, and all presented in a beautiful sturdy box. The trio was part of the fallout from the merger between Henry Cow and Slapp Happy in the mid 1970s. Once they'd unmerged, Henry Cow's bassist John Greaves joined Peter in New York to make Kew.Rhone - at Carla Bley's Grog Kill studio (which is where they met Karen, who X years later joined the band). Drummer Chris Cutler, also from Henry Cow, masterminded and released Peter's first independent recording, during the execution of which the trio instinctively came together. Since then, whatever other projects the three may have been engaged in (and there have been absurdly many), they kept coming back together to play Peter's songs. A proper artist: his songs have been covered (amongst others) by The Fall and Loudon Wainwright III - and have featured in movies; his cartoon series Leviathan ran in the Independent on Sunday for a decade [Peter Blegvad's comic strip is one of the greatest, weirdest things I've ever stared at. Matt Groening]; he's a regular on BBC Radio 3's The Word and author of several experimental radio dramas; his paintings appear in galleries and his stories are published in books. This box brings all the strands together - with additional help from B. J. Cole, Adam Philips, Eddie Reader, Loudon Wainwright III, Syd Straw, Phil Shaw, Geraint Watkins, Stoffer Blegvad and Jakko Jakszyk.

https://tinyurl.com/ydelc4wj
https://www.spincds.com/the-bandbox-6cd-box

04 luglio 2018


Sean Kitching dipinge per The Quietus lo strano strano mondo di Charles Hayward, e ne parla nel contempo col diretto interessato. Da lui si fa dire tra l'altro dello strepitoso set solitario proposto dal vivo per anni tra la gioia e la meraviglia del pubblico di mezzo mondo - tra Abracadabra Information e One Big Atom più o meno, ma in epoche anche precedenti - prima di suscitare analoghe reazioni con il più recente, affatto diverso, 30 Minute Drum Roll: "I started to wonder how I could play drums and sing, and not do it with other musicians. So, I devised this system, where there are no click-tracks and in fact nothing is in time with anything else. I came up with a system where I had a collection of foot pedals, which controlled volume and then I had these taped signals which could be up to nine minutes long, which were built and tailored specifically to the song I was making, and as the song changed I’d take some sounds out and bring other sounds in, related to the harmonic shifts and I would bring them in and out in relation to the drum beat and the vocal line and people would think that everything was to a click-track. If I was playing a bass part, when I recorded the bass part, I would be thinking along the lines of a constantly shifting pulse, so there is no pulse. It becomes almost like an extreme funk, the bass doing these amazing syncopations against the drums, but it’s completely random. I think some people think I’m playing to a backing track, and I’m not. I’m playing to some sounds that I have made, that are assembled in front of your ears, differently each time I play. The audience makes sense of it and 90% of the work is going on in their heads. It means I can be wild. If I’m playing to a click-track, I’m being a good boy and the last thing I want to be when I’m making music is a good boy. Having to justify your time keeping against some bit of machinery is dehumanising. The heartbeat is at the centre, not the clock."

http://thequietus.com/articles/24790-the-strange-world-of-charles-hayward

03 luglio 2018


Un concerto di Steve Miller e Lol Coxhill del settembre 1974, tratto dalle cronache del Virgin Crisis Tour con protagonisti Hatfield and the North e Kevin Coyne. Lo propone tra decine di altre perle rare il sito web dedicato alla memoria di Phil Miller, fratello di Steve. Per ogni altra cosa prodotta dal duo Coxhill/Miller (e/o Miller/Coxhill) rimane imprescindibile quanto raccolto da Cuneiform nel 2007 in The Story So Far​.​.​. / .​.​.​Oh Really?

https://philmillerthelegacy.com/music/steve-miller-lol-coxhill-74
https://cuneiformrecords.bandcamp.com/album/the-story-so-far-oh-really

02 luglio 2018


Compie cinquant'anni Machine Gun, Trost/Cien Fuegos lo rimette in circolazione in vinile e il titolare Peter Brötzmann affida un personale ricordo a Downbeat: "I never thought music was a healing force of the universe. I didn’t agree with Albert Ayler. But we wanted to change things; we needed a new start. In Germany, we all grew up with the same thing: ‘Never again.’ But in the government, all the same old Nazis were still there. We were angry. We wanted to do something.”

This historic free jazz album is a heavy-impact sonic assault so aggressive it still knocks listeners back on their heels decades later. Recorded in May 1968, Machine Gun captures some top European improvisers at the beginning of their influential careers, and is regarded by some as the first European -- not just German or British -- jazz recording. Originally self-released by Peter Brötzmann, the album eventually came out on the FMP label, and set a new high-water mark for free jazz and "energy music" that few have approached since. Brötzmann is joined on sax by British stalwart Evan Parker and Dutch reedsman Willem Breuker (before Breuker moved away from free music, his lungs were as powerful as Brötzmann's). The rest of the group consists of drummers Han Bennink (Dutch) and Sven-Åke Johansson (Swedish), Belgian pianist Fred van Hove, and bassists Peter Kowald (German) and Buschi Niebergall (Swiss). Brötzmann leads this octet in a notoriously concentrated dose of the relentless hard blowing so often characteristic of his music. While Brötzmann has played this powerfully on albums since, never again is it with a group of this size playing just as hard with him. The players declare and exercise their right to bellow and wail all they want; they both send up the stereotype of free playing as simply screaming, and unapologetically revel in it. The sound of Machine Gun is just as aggressive and battering as its namesake, blowing apart all that's timid, immovable, or proper with an unrepentant and furious finality. The years have not managed to temper this fiery furnace blast from hell; it's just as relentless and shocking an assault now as it was then. Even stout-hearted listeners will nearly be sent into hiding -- much like standing outside during a violent storm, withstanding this kind of fierce energy is a primal thrill. (Joslyn Layne, All Music)

http://downbeat.com/news/detail/machine-gun-turns-50
http://www.trost.at/peter-broetzmann-octet-machine-gun.html
https://www.allmusic.com/album/machine-gun

01 luglio 2018


Un interessante e articolato scritto di Evan Parker presentato nel 1992 come note al programma in occasione della sua partecipazione al festival di Rotterdam Man & Machine (Zaal de Unie) trova nuova diffusione grazie a un'agile edizione bilingue nella serie delle raffinate produzioni della francese Lenka Lente. Il testo si intitola De Motu (for Buschi Niebergall) ed è stato citato tra gli altri da Steve Lake nella riedizione qualche anno fa di uno dei più esemplari lavori in solo del sassofonista, Monoceros. Nella sua versione sobria è presente anche presso l'archivio di European Free Improvisation Pages tenuto da tempo immemore dall'impareggiabile Peter Stubley.

http://www.lenkalente.com/product/de-motu-d-evan-parker
http://www.efi.group.shef.ac.uk/fulltext/demotu.html