19 maggio 2019


Andrew Greenaway, uno tra i massimi conoscitori zappiani, ha visto poche sere fa a Londra il controverso concerto che utilizza in scena, tra i musicisti in carne ed ossa, immagini tridimensionali in movimento del compianto Frank Zappa: The Bizarre World of Frank Zappa. E gli è piaciuto: "Much tosh has already been said and written about this tour, and I confess I was initially sceptical about the concept. But the reality is clear and simple: outstanding musicians playing some of the world's finest music with fun visuals. What's not to like?"

http://www.idiotbastard.com/reviews.htm#World

18 maggio 2019


Di ritorno dall'edizione del Rock In Opposition francese appena conclusa a Lione e Bourgoin-Jallieu Nicolas Bevernage e Sylvie Hamon pubblicano alcuni contributi fotografici e video presso i rispettivi spazi web. Tra le curiosità documentate un intervento pomeridiano fuori programma di Tim Hodgkinson nel set di Geoff Leigh (con Maximiliano D'Ambrosio) ricambiato poco dopo dalla partecipazione del flautista - con Keith Macksoud, bassista dei Present - a un omaggio ai Gong di Daevid Allen e Gilli Smyth (The Isle of Everywhere) offerto come bis da The Watts (Hodgkinson appunto, Chris Cutler e Yumi Hara).

https://www.facebook.com/groups/169719920030779
https://tinyurl.com/yxu2mtk2
https://www.facebook.com/Hamon.Sylvie

17 maggio 2019


Il libro, si sa, sarà pronto a settembre, ma lo si può richiedere già ora a ReR. Esiste in due edizioni, una accademica e una tascabile, con notevole differenza nel prezzo: Henry Cow-The World Is A Problem, di Benjamin Piekut.

Lo presenta Chris Cutler: "This is an academically motivated, but for the most part straightforwardly told story that tries painstakingly to piece together what was going on in Henry Cow in respect both of its individual internal relationships, and in the way these intersected with the band’s collective negotiations across the interlocking spheres of the world at large (commercial, political, sexual, theoretical, practical &c.) It tracks the band chronologically from its inception to its orderly close, employing a wealth of testimony, interviews, contemporary documentation and private records. All the surviving members of the band co-operated, giving Ben whatever materials they were willing to make public - some more than others, which is why, inevitably, the perspectives of the more generous record-keepers are more prominent. Ben also interviewed everyone he could find who had ever worked or travelled or had significant contact with the band; listened to every bootleg and read every article and interview: the research is extremely thorough. For the rest, Ben has had to interpret, edit and, occasionally, take sides as he tries to fit what he has into a sociological narrative. No one in the band will agree fully with his analysis, but neither would they agree fully with one another’s; subjectivities are profoundly complex. For most of the book, Henry Cow’s actions and negotiations with the world are well served - it’s a very thorough and detailed history. Bit when it comes to their negotiations with one another the narrative necessarily takes the form of a - mostly plausible - attempt by the future, guided by its own biases and interests, to unearth things that were already hidden when they were current: I mean motives, hopes, ambitions, insecurities and all the ties that bind, and undermine. This aspect of the book is uneven because the testimonies are uneven. That clarified, I think every Henry Cow fan will need it since it’s a mine of invaluable information – just sometimes best read between the lines."

https://tinyurl.com/the-world-is-a-problem

16 maggio 2019


Appuntamento oggi al King's Place per il debutto londinese di Granite, lo splendido lavoro di Kate Westbrook ambientato negli emozionanti paesaggi rocciosi di Dartmoor, che da lì si estendono lungo il tratto sud-occidentale della costa dell'Inghilterra fino a Bodmin Moor, Carnmenellis, Land's End e le Isole Sorlinghe. Le musiche sono di Mike Westbrook, e la formazione in concerto è la stessa dell'omonimo album: Kate, Mike, Roz Harding, Jesse Molins, Matthew North, Billie Bottle e Coach York.

Andy Robson lo ha recensito per Jazzwise: "Granite is an evocation of all things granitic as found amid the unforgiving Dartmoor landscape. Granite could be seen as a counterpoint to Alice Oswald’s Dart poems: Westbrook’s songs of obduracy, immovability and timelessness contrasting with Oswald’s poems of fluidity and flux.The passage of time may bring constraints to performance - ‘I am restrained’ Westbrook sigh-sings on ‘Winter’ - but it also brings affordances: she can rock out (all pun’s intended) on the opening energies of ‘Tracks of Desire’, but be yearning personified on ‘Curlew Cry’. Her sung-spoken, cabaret style cracks open ‘Spread-Eagled’, with Harding’s keening tone superb, as it is throughout.Westbrook's is a voice for winter, exile, anger: but also for love and prophecy. Mike Westbrook’s settings leave that voice unrelentingly in our presence, while the addition of found sounds reflecting from granite surfaces further propels the ritualistic, ever re-cycling patterns of these songs into mythic proportions. Like A Lark Ascending, Granite etherializes into an aery nothingness, as the Westbrooks dissolve into nature itself. On the climactic ‘Yearning Bird’, Mike Westbrook’s chords decay beneath Kate’s voicings as her whistled fragment of ‘Let’s Face the Music’ fades into wind sigh and bird song. Magical."

https://www.kingsplace.co.uk/kate-westbrook-granite-a-soliloquy
http://www.westbrookjazz.co.uk/katewestbrook/granite.shtml

15 maggio 2019


A l'improviste, Le Cri du Patchwork, Le Portrait Contemporain, Tapage Nocturne, Couleurs du Monde Ocora, e forse altri ancora... La minacciata chiusura dei suoi programmi più informativi e avanzati nel campo della ricerca, la sperimentazione, l'avanguardia, l'improvvisazione e l'apertura a molteplici culture musicali porterà Radio France a imporre a France Musique di cambiare nome, coerentemente: France Mutique. Lo afferma Jean-Jacques Birgé, artista indipendente, regista e compositore tra i più attivi sulla scena eterodossa francese - fondatore tra l'altro di Un drame musical instantané e dell'etichetta discografica GRRR6 - che molto ha prodotto per l'emittente anche nel recente passato, e che assieme a una raccolta firme di protesta ora alza una delle voci più forti contro l'insensata decisione: "Ce n'est même pas criminel, c'est suicidaire".

https://blogs.mediapart.fr/jean-jacques-birge/france-musique-un-autodafe
https://tinyurl.com/y4sj6nts

14 maggio 2019


Nei propri guai finanziari la piattaforma di crowdfunding PledgeMusic ha trascinato tra i molti anche John Zorn, che ad essa si era rivolto per co-finanziare l'impegnativa produzione del Book Beri'ah. E il buco è davvero serio per Zorn e la Tzadik: quasi 200mila dollari!

John Zorn, the prolific and brilliantly iconoclastic composer, realized a dream of sorts last year when he released The Book Beriah — a box set of 11 new albums, featuring as many different groups interpreting music he had written for that purpose. The 92 songs in the set amounted to the final column of an impressive edifice: the Masada songbook, which he began just over 25 years ago, building on the legacies of Jewish folk music. Originally limited in scope to a single working band called Masada, the project expanded to include many branches and collaborators and a series of releases on Zorn's label, Tzadik.
The Book Beriah was a Tzadik release too, though its elaborate sprawl and high production costs led Zorn to involve an outside partner: PledgeMusic, a British-based, direct-to-fan crowdfunding service designed to help bring musical projects to fruition. "The only way we could have broken even was going on a platform like this," Zorn tells NPR Music. Now, after a calamitous turn for PledgeMusic — which announced last week that it is headed for bankruptcy — Zorn hopes to recoup a substantial loss: $197,559, all of it raised through the platform and still owed to Tzadik.

https://tinyurl.com/y38hz2n2
https://tzadik.limitedrun.com
https://www.facebook.com/masadabookthree

13 maggio 2019


Presentato a inizio mese nei giorni dell'omonimo festival presso il Cafe Oto londinese, ora è anche in libreria: Flutter Echo-Living Within Sound, atteso racconto autobiografico di David Toop disponibile finora soltanto in Giappone. Lo pubblica l'Ecstatic Peace Library di Thurston Moore: "Ecstatic Peace Library are pleased to announce the publication of Flutter Echo: Living Within Sound by English musician, composer, writer and sound curator David Toop. His thoughtful studies on listening and sounds have become significant touchstones of contemporary music writing, revealing the breadth of his musical tastes and the immensity of his sonic world. For the first time David Toop has opened up about his own experiences, musical journeys, bands, collaborations, studies, travels, editorial and curatorial assignments, family, friendships and ideas on community. Flutter Echo is his memoir of a life enchanted with all aspects of music that is witness to some of the most significant events in modern music history. From recording for Brian Eno's Obscure Records imprint in 1975 to co-publishing the radical music magazines Musics and Collusion to developing music programming for the BBC to releasing recordings he made of Yanomami shaman rituals to working with artists such as creative pop icon Björk and Jamaican dub pioneer Prince Far-I, Toop brings his own life in music to focus in a remarkable, wonder-filled, engaging read. Approaching age 70 David Toop has opened his heart with these deeply intimate meditations on the heartbreak and harrowing moments in his personal life, as well as shared moments of bliss finding truth in sounds, shared vibrations and silence. 'A memoir,' he says, 'is simply a vehicle to talk about the ideas I find important, the difficulties and inspirations of following a life dedicated to marginal music, the richness of collaborative work and the inseparability of life and art'."

https://www.crisap.org/people/david-toop

12 maggio 2019


Richard Marsella - più noto come Friendly Rich, titolare in proprio di diversi album e autore di curiose pubblicazioni a metà tra il satirico e il bizzarro - conduce da qualche tempo un ciclo di ascolti e conversazioni con amici artisti e musicisti di area canadese dal titolo Industry Tactics. Tra i più recenti episodi, conservati in forma di podcast presso Soundcloud, c'è l'incontro con John Oswaldhttps://soundcloud.com/industry-tactics/ep-65-john-oswald

11 maggio 2019


Diamanda Galás riprende possesso del proprio catalogo discografico e annuncia l'avvio di numerose ripubblicazioni a partire dall'autunno. Primo titolo, su etichetta Intravenal Sound Operations, dovrebbe essere il celebre The Litanies Of Satan. Intanto dà il via libera a Spotify, Tidal e Bandcamp.

http://diamandagalas.com
https://daily.bandcamp.com/2019/04/26/diamanda-galas-discography
https://www.thewire.co.uk/news/54886/diamanda-galas-returns-to-digital

10 maggio 2019


La collaborazione tra Peter Hammill e il gruppo svedese Ilsidurs Bane all'origine dell'album In Amazonia è accolta con grande favore, specialmente da chi ne ha seguito la presentazione dal vivo pochi giorni fa al festival portoghese Gouveia Art Rock. Con loro c'era anche Karin Nakagawa. coinvolta fin dall'inizio nella realizzazione del progetto. Scrive Richard Williams: "I love this record, for itself as well as for the fact that it arrives at a place where European rock music seemed to be heading when it veered away from American influences 50 years ago. To fulfil some of the promises made so long ago, while, sounding completely fresh and contemporary, is quite an achievement. And Hammill, 70 years old, is still going at full throttle, intensity and creativity undimmed." E anche il diretto interessato è soddisfatto: "It’s been an unusual writing process, working from the inside out and never quite sure what the ultimate destination was going to be. From my own point of view, in itself this produced a loose linkage, some narrative and musical connection between the pieces. Naturally, since the stuff isn’t structurally based on my own architecture, it’s also a long way from any (musical) norms of my own, so I think I’ve come up with something quite unusual."

https://sofasound.wordpress.com
https://thebluemoment.com/2019/05/09/peter-hammill-a-story-unfolding

09 maggio 2019


Al via da oggi a sabato i tre giorni di concerti e incontri in programma a Lione e Bourgoin-Jallieu (Francia) per la nuova edizione del Rock In Opposition capitanata da Michel Besset: "La scène de Musiques Actuelles, Les Abattoirs à Bourgoin-Jallieu et le Périscope à Lyon, en partenariat avec Dur et Doux, concoctent un nouveau rendez-vous au mois de mai avec l’accueil du festival de renommée internationale, celui des musiques indomptables: Le Rock In Opposition. Des créations hors normes, des artistes et des visiteurs du monde entier se donnent rendez-vous pour se délecter de concerts complètement à part, le Rock Progressif et plus, dans tous ses états…"

https://www.facebook.com/events/973948059442524

08 maggio 2019


Michael Björn di Popgruppen cerca di rincorrere la magia della voce di Wyatt negli affossamenti tortuosi dei paesaggi sonori creati in KiTsuNe / Brian The Fox da The Future Eve: "Over the course of a full album’s worth of music, we only get to hear his voice a handful of times. Over the rest, we wander through an alien landscape of electronic sound that while feeling surprisingly organic definitely sounds completely otherworldly. And when Wyatt is singing I can’t help but feel that the sounds are too alien for his voice; they seem to play from another dimension rather than with him."

https://popgruppen.com/2019/04/28/robert-wyatts-voice-scurries-between-worlds

07 maggio 2019


Fred T. Baker svela al mondo i segreti di God Song inaugurando una nuova sezione ('Master Classes') presso il Phil Miller-The Legacy: "In this first of a series, Fred takes a fascinating and detailed look into one of Phil’s earlier pieces, explaining not only how to play it but also shares his great expertise on why it is such a great piece of music."

https://philmillerthelegacy.com/videos/fred-t-baker-master-class
https://philmillerthelegacy.com/wp-content/uploads/2019/05/God-Song-score-and-lyrics.pdf

06 maggio 2019


Aymeric Leroy prende le immagini di David Ashcraft tratte da un concerto dei National Health alla Hull University nel novembre 1977, vi aggiunge un estratto audio da quello stesso concerto e ne ottiene un documento di 3 minuti e 33 di delizia pura: "This clip was made using David Ashcraft's excellent photos from National Health's gig at Hull University in November 1977, and the music is from the same performance. It is an unrecorded piece by Dave Stewart which began life as the second half of The Bryden 2-Step then acquired a life of its own as Cold As Starshine - or maybe it was the other way round ? [The title appears on an early [1976] setlist, shown in the clip.] It notably incorporates a short keyboard riff by Alan Gowen later recycled into Bruford's Hells Bells (thus Alan's credit as co-writer)"...

https://www.facebook.com//4299603103/permalink/10157335668843104

05 maggio 2019


(Bruce Bickford, 1947-2019)




04 maggio 2019


Eugene Chadbourne e Henry Kaiser sono insieme anche in un altro titolo prodotto da Relative Pitch, una raccolta di duetti per chitarre (e banjo) di Wadada Leo Smith: Wind Crystals.

https://www.shop.relativepitchrecords.com/WIND-CRYSTALS-RPR1083.htm

03 maggio 2019


Son più divertenti che improbabili i gemellaggi incrociati proposti da quattro moschettieri dell'invenzione strumentale e compositiva: Bruce Ackley e Aram Shelton (sassofoni), Henry Kaiser e Fred Frith (chitarre e altro) in allegra rimpatriata californiana, con brani originali oppure presi al volo da Eugene Chadbourne, Steve Lacy e John Zorn: Unexpected Twins, per Relative Pitch Records.

https://www.shop.relativepitchrecords.com/UNEXPECTED-TWINS-RPR1079.htm

02 maggio 2019


Marie Richeux ha incontrato Fred Frith per il programma Par les temps qui courent di France Culture, approfittando della presenza del chitarrista a Parigi per una personale di tre giorni nel cartellone di Instants chavirés a Montreuil. Frith è stato successivamente anche al Torino Jazz Festival con un'esibizione in solo al Conservatorio Giuseppe Verdi, documentata su YT. In rete si trova traccia anche della sua apparizione di fine marzo a Napoli, presso L'Asilo.

"Je suis fasciné par le rythme, il est au cœur de tout ce que je fais. En tant que compositeur, c’est le rythme qui me donne l’impulsion de faire des choses. Je suis un batteur, peu importe l’instrument. J’aime le rythme parce c’est très physique, c’est une manière de ressentir les choses par le corps, parce que le corps c’est le centre de la musique, et je pense que c’est avec le rythme que le corps s’exprime le plus directement."

https://www.franceculture.fr/emissions/par-les-temps-qui-courent/fred-frith
https://youtu.be/PkcJYh42XhE
https://youtu.be/wFOQteGRjtw

01 maggio 2019


In partenza tra un paio di giorni per un intenso ciclo di concerti in Germania assieme a Chris Cutler (Sound Trips no. 44) con un programma non-stop che prevede conferenze, seminari e incontri con numerosi musicisti locali, per concludere poi con The Watts l'11 maggio a Bourgoin-Jallieu (Francia) al Rock in Opposition Festival. Tim Hodgkinson festeggia così il suo compleanno, e sono settanta. Auguri!

http://www.timhodgkinson.co.uk

30 aprile 2019


Giunge al capitolo numero 25 l'eccellente serie Probes curata da Chris Cutler per Ràdio Web MACBA presso il Museo d'Arte Contemporanea di Barcellona. Al centro dell'attenzione è nuovamente l'impiego di oggetti e strumenti non convenzionali nei molteplici aspetti della creazione musicale: "Probes #25 continues to trace the importation of non-instruments into compositions and performances as, in their search for new sonorities, early jazz and blues musicians, contemporary composers, film composers, rock groups, sound artists and improvisers hit the toyshop and the hardware store."

https://rwm.macba.cat/uploads/20190423/25probes_transcript_eng.pdf

29 aprile 2019


La scaletta dei brani la si conosceva già da qualche giorno, ora c'è anche la copertina. Manca soltanto l'album - The Godfather Of Odd-A Hardy Fox Tribute - ma l'attesa è ormai breve. Scrive Walter Robotka, che ne cura la pubblicazione per Klanggalerie: "In 2015 Hardy Fox retired from The Residents, and two years later identified himself as the band's co-founder and primary composer. Hardy continued to record under various pseudonyms, best known as Charles Bobuck, until later he worked under his own name and released such seminal albums as Heart or Rilla contemplates Love. A week before his untimely death, Hardy recorded a very personal good-bye to his fans, a mini album entitled 25 Minus Minutes. For many of us, Hardy wasn't only a genius musician, but also a close personal friend. Philippe Perreaudin and I have thus put together a tribute album to him which collects specifically recorded music by former label mates, collaborators and friends, and also some musical admirers. The cover was made by Helge Wagner and it also features a piece of art by Liz Robotka."

http://www.klanggalerie.com/gg300

28 aprile 2019


Tra i piatti forti in programma alla mostra sui Residents in corso negli spazi del centro d'arte Transpalette di Bourges (Belgio) c'era ieri sera una versione dal vivo di God In Three Persons, realizzata con l'apporto di giovani musicisti e artisti locali e con la partecipazione di Joshua Brody e Leigh Barbier. L'ha trasmessa in diretta FB Hein Fokker:
https://www.facebook.com/hein.fokker/videos/10213432302154139

God In Three Persons est une interprétation de la trinité à la fois allégorique et personnelle où un impresario, nommé Mr. X. découvre deux jumeaux siamois guérisseurs, un frère et une sœur. Il les convainc de devenir leur manager, mais il est obsédé sexuellement par la jumelle du duo. Il les sépare et viole la jeune fille. Les jumeaux meurent et Mr. X. réalise que lui seul alimentait l’obsession dont il était victime. God In Three Persons est une histoire de l’Occident qui pleure sur la beauté qu’il a violée. Cet opéra-album créée en 1988, le plus “queer” à ce jour, a été conçu comme une possible pièce de théâtre.

En 2019, God In Three Persons devient une expérience tant sonore que visuelle où la fragilité de l’improvisation côtoie la précision de la composition musicale. Pour l’élaborer, une semaine de création collective rassemble de jeunes artistes du post-diplôme son de l’Ensa de Bourges, des étudiants en école d’art et des collaborateurs de longue date de The Residents: le musicien Joshua Brody et l’artiste Leigh Barbier. La performance donnée est donc un évènement unique: une forme totalement originale résultant d’un processus nouveau et d’un dispositif résolument expérimental.

http://www.bandits-mages.com/en/blog/2019/04/02/bandits-mages-presente-the-residents

27 aprile 2019


Mike Westbrook ha visto di recente Henry Lowther in azione con il suo gruppo Still Waters, e ne scrive per lo Smith's Academy Notice Board: Trumpet for all Seasons.

"Now in his late seventies, Henry Lowther, along with Dave Holdsworth, is one of one of the very few representatives still around of a generation of trumpet players who lit up the London scene in the 1960s. London then boasted such luminaries as Kenny Wheeler, Harry Beckett, Mongezi Feza and Ian Carr. Over subsequent decades Henry has always been close to the action. Appearing in contexts ranging from free improvisation to big bands, orchestral music as well as small groups of every description, he has retained his distinctive voice. He has been featured soloist in projects by almost every composer and bandleader you can think of. Happily that includes me, and I still value enormously his contributions to Metropolis, and Citadel/Room 315."

26 aprile 2019


Primo appuntamento nel Continente per il progetto Granite di Kate Westbrook: questa sera alla Georgenkirche di Halle (Germania), per la rassegna Women in Jazz.

"I wanted to keep an ambiguity about humankind's engagement with Nature. Personification and Animism quite appeal to me. So, we have a mythical Quarry-worker who is both human and part of the landscape itself. But I want to emphasise that the ambiguous nature of this creature is an essential element. There is an underlying (I hope not didactic) concern with the relationship between humankind and the earth, between our responsibility for the planet and the death of both the Quarry-worker and the earth itself, between the environment and mortality." (Kate Westbrook, intervistata da Duncan Heining).

https://www.womeninjazz.de
https://www.womeninjazz.de/event.php?id=711
http://www.westbrookjazz.co.uk/katewestbrook/granite.shtml
http://www.westbrookjazz.co.uk/katewestbrook/duncan_interview.shtml

25 aprile 2019


Si prepara la strada per il lungo addio dei Pere Ubu - indicando una svolta, ma non ancora uno stop alle attività del gruppo - con un album annunciato per luglio in due formati e toni hardboiled (The Long Goodbye, appunto) e una serie di concerti progettati con cura fino al 2020. La versione in cd conterrà anche il concerto dello scorso dicembre a Montreuil (Francia), quando in formazione c'erano David Thomas, Keith Moliné, Gagarin e Chris Cutler. Saranno proprio loro ad inaugurare i nuovi appuntamenti dal vivo il prossimo settembre, alla Bush Hall di Londra.

Ne parla per esteso lo stesso David Thomas a Danil Volohov di Peek-A-Boo: "I’m always thinking about “What’s next ?” – I don’t look backwards. I don’t sit here and think: “Oh! Everything is going well!” or “Everything is great!” We inherited this magnificent vehicle and I thought to myself: “Oh, I’m gonna get this thing out of its state and see what It can do!” – and I open that baby up. I push that pedal to the floor. It was satisfying! I was driving through the wilderness. After a while there is an “Exit” sign on a freeway, saying “Satisfied City – Exit – One mile”. I think to myself: “Yeah, I’m going to get to Satisfied City and get a house, settle down… and be happy doing something normal! I always wanted to work in an office or superstore. Or maybe I can get myself a little office supply store and sell paper clips…” But then I see the road disappear over the horizon. I see the road disappear over the next hill. And I’ve got to know what is over that hill. I have to know! So I drive on! I cross the great continent. Now I’m at the point when I’m looking down the road to the hill. And see the road disappear. I’m 65 years old. The road is running out for me. I don’t have much road left. I know that the end is coming. And I can see the end now. When you’re 20 – you don’t see the end. When you’re 30 – you don’t see the end. When you’re 40, 50 you kind of began to think: “Hmmmm, maybe there is an end. But I’m at the point when I can see the end. It’s really clear. So I've just got more to do. I still haven’t started my major process which is to reconfigure classical music. I always wanted to go and rewrite classical music. The rules and the forms. I should have studied mathematics because I know that the main problem with mathematics and physics and science is the notion of there being a zero. Of being a zero and being an infinity. So I need to prove mathematically, that these things are illusions. They don’t exist. But I don’t have time anymore. I've given that one up. So the things that I can do… I’m pushing the pedal to the floor now. That’s all."

https://www.cherryred.co.uk/product/pere-ubu-the-long-goodbye-2cd
https://www.cherryred.co.uk/product/pere-ubu-the-long-goodbye-lp
http://www.peek-a-boo-magazine.be/david-thomas-pere-ubu-2019

24 aprile 2019


E sempre Klanggalerie pubblicherà presto un nuovo album dal vivo di Fred Frith, Woodwork, tratto da un recente concerto a Bruxelles all'Atelier Claus.

http://www.klanggalerie.com/gg308
https://soundcloud.com/lesateliersclaus/2018-11-20-fred-frith-les-ateliers-claus-excerpt

23 aprile 2019


Chi è a caccia di musicisti è invece Charles Hayward, pur in attesa della pubblicazione ormai prossima del suo lavoro solitario Begin Anywhere (su Klanggalerie). Lo ha detto a Klemen Breznikar, in una bella intervista pubblicata il mese scorso da It's Psychedelic Baby: "The big thing for me now is to make a group to do my songs, that’s the new thing I have to start from scratch and build, I’ve not let myself do that properly since Camberwell Now, been working in these other ways, but that feels like the biggest challenge on the horizon. I need to be able to develop it constantly so I’m looking for London based musicians for that."

https://www.psychedelicbabymag.com/2019/03/this-heat-interview-charles-hayward.html

22 aprile 2019


Chi è a caccia di sorprese a Pasquetta può senz'altro rivolgersi all'inesauribile catalogo Chadbourne, dove come da tradizione coesistono bellamente novità dell'ultima - o penultima - ora, tracce estemporanee colte ovunque dal vivo, da solo o in compagnia, e preziose rarità d'archivio montate in imprevedibile sequenza. Tra le ultime cose spiccano un capitolo pre-Shockabilly con David Licht e Tom Shepard (Unreal Band) e un ripescaggio di nastri che in passato confluirono - ma solo in parte - nella serie Country Music in the World of Islam, con lo zampino di Elliott Sharp, Sun City Girls, Jon Rose e Derek Bailey (Cat Jammers: Invitation To A Jam Session). Da non perdere su YT è anche un reboante e recentissimo incontro di Roscoe Mitchell (Nonaah) e Syd Barrett (Lucifer Sam) trascinati sul terreno del power trio...

http://eugenechadbourne.com
https://eugenechadbourne-documentation.squarespace.com
https://youtu.be/ArG3NjmEi-0

21 aprile 2019


Non è buona e promettente soltanto la notizia che Keith Tippett sia tornato a suonare in pubblico qualche giorno fa dopo la lunga convalescenza, è cosa lieta anche l'imminente ripubblicazione di un suo antico capolavoro solista, The Unlonely Raindancer, divenuto oltretutto di rara reperibilità quasi subito. Ne dà annuncio Martin Archer, per la sua Discus Music: "A great many of you expressed interest when I posted recently that Discus Music will, in 2019, be re-issuing Keith Tippett's very first solo piano album - The Unlonely Raindancer (originally released in 1980 by Universal Productions on a double LP). Well, the good news is - this CD is now at the factory and should be out into the world in around 3 weeks. I'll be taking pre-orders very soon for this fabulous and dynamic CD/DL; music which effectively sets the scene for Keith's subsequent solo piano oevre, notably the Mujician series which appeared in the decade following. Watch out for this upcoming delight."

www.discus-music.co.uk

20 aprile 2019


Nel dopoconcerto di Terry Riley con il figlio Gyan ieri sera a Trento qualcuno cercava - ingenuamente - una copia di A Rainbow in Curved Air nell'edizione del cinquantesimo anniversario, una sciccheria trasparente da collezione prodotta da Music on Vinyl in soli 750 esemplari. Era disponibile invece l'ultimo lavoro dei Rileys, Way Out Yonder (Sri Moonshine Music, 2018), un più comune cd tratto in gran parte dall'esibizione del duo al Fimav di Victoriaville un paio d'anni fa. Un frammento di Rainbow è tuttavia apparso nel mirabolante pezzo elettronico scivolato verso la conclusione del lungo set, festoso e fugace come un bagliore di Luna Rosa. In piena coincidenza.

http://terryriley.net
http://gyanriley.com

19 aprile 2019


Puntuale a ogni luna piena arriva un nuovo episodio di Canterbury Sans Frontières, e siamo già al numero settanta da quando è avvenuto il passaggio di testimone dalla precedente serie Canterbury Soundwaves. Scrive Matthew Watkins: "Matching Mole contemplate Britain's role in Europe, Egg loosely wring out the ground (with the help of their old friend Steve Hillage), Gong contribute to the soundtrack of a motorcycle racing film, Soft Machine display their "Teeth" and Hatfield and the North get an extended case of "Mumps". Also, a 1973 John Peel session track from Henry Cow, a lullaby from Kevin Ayers, Robert Wyatt and friends singing Harold Pinter, and a selection from Robert himself -- a slab of Turkmenistani spiritual jazz fusion from '79! Sun Ra solo in 1980, Jon Hassell live in '82, NYC's Sunwatchers covering Alice Coltrane, Terry Riley remixed and a gentle gem from early 70s Floyd. From the Canterbury of recent times, the only 4/4 track on the last Lapis Lazuli album and some deep melancholia from Anthony "Stray Ghost" Saggers."

https://canterburywithoutborders.blogspot.com/2019/04/episode-70.html

18 aprile 2019


Si inaugura questa settimana a Bourges (Francia) e rimane aperta fino al 2 giugno prossimo per iniziativa del collettivo Bandits-Mages la prima esposizione al mondo dedicata ai Residents, con l'arduo compito di offrire uno sguardo organico alle molteplici attività manifeste e segrete del gruppo, attraverso le opere musicali, grafiche, audiovisive e multimediali via via prodotte in quasi cinquant'anni di storia. Ci saranno proiezioni, ascolti guidati, interviste e conferenze con la partecipazione di Leigh Barber e Homer Flynn, una presentazione dal vivo di God in Three Persons, incontri a sorpresa e altre apparizioni, ovviamente avvolte nel mistero, e perfino una ricostruzione della stanza maledetta di Bunny Boy. Chissà se basteranno i tre piani del centro d'arte contemporanea Transpalette scelto come sede; un primo assaggio è in programma stasera, con l'intervento radiofonico pubblico di Cosmogol 999 per la Jet FM di Nantes.

This first retrospective exhibition of The Residents, produced by Bandits-Mages, covers the three floors of the Transpalette in Bourges. Within these walls The Bunny Boy Secret Room will physically reappear after its creation in 2008 on youtube. A deep trip into the visual and audio aesthetics of the collective, the exhibition puts rare documents and archives into perspective through performances, screenings and meetings with thinkers and contemporary artists.

http://www.bandits-mages.com/en/blog/2019/04/02/bandits-mages-presente-the-residents

17 aprile 2019


Uno degli ultimi concerti di This Is Not This Heat - quello dell'1 marzo all'EartH di Hackney a Londra, in parte trasmesso da Late Junction per la BBC - è nelle emozionanti immagini di Fabio Lugaro, prima durante e dopo:
https://www.fabiolugaro.com/blog/a-day-with-this-is-not-this-heat

16 aprile 2019


E il ricordo degli Henry Cow ritorna, liberamente ma intenzionalmente, anche nel lavoro del flautista Michel Edelin realizzato lo scorso settembre assieme a Sophia Domancich, Sylvain Kassap, Stéphane Kerecki e Simon Goubert, con ospite John Greaves: Echoes of Henry Cow, in uscita a giorni per RogueArt. Scrive Aymeric Leroy nelle note di copertina: "This album should in no way be mistaken for a "tribute" to Henry Cow, let alone a faithful recreation, in spirit and/or letter, of their music, rather – and this is how the title chose by Michel Édelin should be understood - its echoes (much transformed during its long journey through time, space, memory and the mysterious twists and turns of the creative process) in his own musical inner world."

https://roguart.com/product/echoes-of-henry-cow/132
https://www.youtube.com/watch?v=9rWq5s1OnMU

15 aprile 2019



La data di pubblicazione del libro di Benjamin Piekut Henry Cow-The World is a Problem è ormai vicina, a settembre secondo la Duke University Press. Per ora ne hanno copia provvisoria correttori di bozze e lettori di fiducia.

In September 2019, Duke University Press will be publishing a new book on the experimental band Henry Cow, Henry Cow: The World is a Problem. The avant-rock/jazz band featured a rotating cast of members and continuously challenged genre and other conventions. Active in the UK and Europe, but never quite popular due to their uncomprising committment to experimentation and their radical politics, Henry Cow performed and recorded from 1968 until 1978. Drawing on ninety interviews with Henry Cow musicians and crew, letters, notebooks, scores, journals, and meeting notes, music scholar Benjamin Piekut offers the definitive history of the band. He traces the group's pursuit of a political and musical collectivism, offering up their history as but one example of the vernacular avant-garde that emerged in the decades after World War II.

Benjamin Piekut is a historian of experimental music, jazz, and rock after 1960. His first monograph, Experimentalism Otherwise: The New York Avant-Garde and its Limits, was published in 2011 by the University of California Press. He is also the editor of Tomorrow Is the Question: New Directions in Experimental Music Studies (Michigan, 2014) and co-editor (with George E. Lewis) of the Oxford Handbook of Critical Improvisation Studies (2 volumes, 2016). His second monograph, The World Is a Problem: Henry Cow and the Vernacular Avantgarde, is under contract with Duke University Press. His essay in The Drama Review, “Deadness,” co-authored with Jason Stanyek, received the “Outstanding Article Award” in 2011 from the Association for Theatre in Higher Education. Previously a lecturer at the University of Southampton.

https://twitter.com/DukePress
http://liminalities.net/14-1/enigmas.pdf
https://twitter.com/blackfaurest

14 aprile 2019



Peter Blegvad is joined by longtime comperes John Greaves and Chris Cutler, on bass and drums respectively, and of course they are maestros… he fills out the band with Bob Drake on guitar and Karen Mantler, who plays keyboards, chromatic harmonica and provides backup vocals. Greaves and Cutler comprise one of the most innovative and intricate rhythm sections in modern music... Drake and Mantler fill out the band's sound beautifully; the result is some of the warmest, most humane music Blegvad has ever produced.” (Glenn Kenny)

13 aprile 2019


Il libro che racconta i trenta incredibili giorni di Radio Revolten - festival di arte radiofonica tenutosi per tutto il mese di ottobre 2016 ad Halle (Germania) - è finalmente pronto, ed è anch'esso abbastanza incredibile: lo pubblica a Leipzig Spector Books.

Leading art institutions such as Tate Modern, the São Paulo Biennial, and Documenta have now recognized that an ongoing artistic use of the airwaves has generated an autonomous genre called radio art. Over the last few decades independent radio stations in North America and Europe have provided crucial support for this art form to develop and flourish. In October 2016 the International Radio Art Festival Radio Revolten, organized by community radio station Corax, brought together today’s radio artists in Halle (Saale) in Germany. Radio Revolten featured a dedicated radio art station, installations, live performances, conferences, workshops, and public interventions. This book documents the world’s most extensive radio art festival, which presented community radio as an open-access medium for cultural use.

Texts by: Knut Aufermann, Helen Hahmann, Sarah Washington, Ralf Wendt. With additional contributions by: Xentos Fray Bentos, Anna Friz, Hartmut Geerken, Lucinda Guy, Martin Hartung, Lukas Holfeld, Udo Israel, Tina Klatte, Jan Langhammer, Sophea Lerner, Michael Nicolai, Gabi Schaffner, Helen Thein, Nina Westermann, Gregory Whitehead, Florian Wüst and Elisabeth Zimmermann.

https://radiorevolten.net/30-days-of-radio-art
https://radiocorax.de/produkt/radio-revolten-30-days-of-radio-art
http://spectorbooks.com/radio-revolten
https://www.hibou-anemone-bear.com/revolten

12 aprile 2019


Storie antiche e recenti di Kevin Ayers raccontate su YT da uno dei suoi più amorevoli conoscitori: RR1234Tube.

http://www.kevinayers.org

11 aprile 2019


Il cd è marchiato 2019 ma in sostanza proviene dalla raccolta che Charly Acqusitions mise insieme nel 2015 per raccontare la Trilogia (a dispetto del gruppo). Ne ha qualche copia a modico prezzo Burning Shed: è Flying Teapot, con i Pot Head Pixies a tutto vapore. In attesa del vero omaggio ai Gong, tra qualche mese.

"The music? It’s a delightful, beaming burble of left-turning, cosmic-funk riffs (‘Radio Gnome Invisible’), cackling, erotic whispers (‘Witch’s Song/I Am Your Pussy’), shimmering nebulas of glissando guitar (the title track) and contrails of electronica (‘The Octave Doctors And The Crystal Machine’). Well, what else could it be?"

https://burningshed.com/gong_flying-teapot_cd

10 aprile 2019


Altro titolo tra i primi a beneficiare dell'iniziativa di recupero del proprio glorioso catalogo da parte della Topic è The Sweet Primeroses di Shirley Collins (1967), qui affiancato dai brani del singolo Heroes Of Love: "Topic Records are proud to present the Shirley Collins album The Sweet Primeroses plus bonus material by way of the Heroes Of Love Topic EP with sleeve notes by Colin Irwin and photos by Brian Shuel and packaged with the original album artwork. During the 1960s and 70s Shirley Collins was regarded by many as the first lady of folk music, the subsequent decades have only served to enhance that reputation. Between 1955 and 1978 she recorded for the Folkways, Argo, Harvest and Topic labels. After the release of For As Many As Will in 1978 she withdrew from performing and the music world after developing dysphonia. Shirley recently returned to recording after a very long hiatus and is still widely acknowledged as one of the finest singers and ambassadors to have emerged during the Folksong Revival of the 1960s."

http://www.topicrecords.co.uk
https://www.propermusic.com/TopicRecords/shirley-collins-the-sweet-primeroses

09 aprile 2019


Con il recupero del primo bellissimo album di Anne Briggs (1971) prende il via la serie di ristampe di lusso di alcune perle del catalogo storico della Topic, giusto nell'anno del suo ottantesimo compleanno.

Anne Briggs began singing in local folk clubs in her teens. In 1962 she became part of the Centre 42 tour which was a leftist group of artists, writers, actors and musicians whose aim was to make arts and culture accessible to the masses. Ewan MacColl first heard Briggs’ remarkable voice and persuaded her to join the group and tour. There Briggs met MacColl’s comrade A. L. ‘Bert’ Lloyd who became her mentor. Briggs' debut EP, The Hazards Of Love, was produced by Lloyd. Lloyd also recorded Briggs for Topic released albums The Iron Muse and The Bird In The Bush.
In 1971 Anne Briggs recorded this, her debut full length album simply named Anne Briggs with Johnny Moynihan of Sweeny’s Men appearing on one track. Tracks include ‘Blackwater Side’, ‘The Snow It melts The Soonest’ and ‘Go Your Way (My Love)’. Famously, Briggs taught Bert Jansch the song ‘Blackwater Side’, which he recorded on his classic 1965 debut album; the next year his pivotal traditional album Jack Orion largely comprised songs he learnt from Briggs who helped him understand the structure of folk song. Briggs and Jansch also wrote a handful of songs together. ‘Go Your Way’ being one of them.

http://www.topicrecords.co.uk
https://www.propermusic.com/TopicRecords/262802-anne-briggs

08 aprile 2019


A circa quarant'anni dalla sua prima pubblicazione ufficiale - Zappa in New York, doppio album uscito nel 1978 - vede la luce in modo esteso e completo il documento dei quattro storici concerti tenuti da Frank Zappa al Palladium di New York tra Natale e Capodanno del 1976, con una messe di informazioni aggiuntive e oltre tre ore di materiale inedito nella versione in scatola con cinque cd: “We are excited to bring you this new deluxe version of Zappa in New York," the Zappa Family Trust write in the album notes. "It's an opportunity to re-examine and celebrate the source material of a great album while exploring the events of Frank’s life in late December 1976. Collections like these really show of the work ethic of a musical genius."

https://www.zappa.com/news/frank-zappas-beloved-live-double-album-zappa-new-york-celebrated-suite-40th-anniversary
https://youtu.be/m58BKH2dOPg

07 aprile 2019


Gli album di Ian Carr e Nucleus da Elastic Rock a Alleycat, già oggetto in passato di ristampe e ripubblicazioni varie, sono ora raggruppati - ma un po' scomposti rispetto alle edizioni originali - da Esoteric Recordings in un box antologico dal titolo Torrid Zone-The Vertigo Recordings 1970-1975. Dalle note di copertina del celebre album d'esordio viene riportata la dichiarazione d'intenti di Carr: "Nucleus is just what the word implies - a small, tightly knit group of musicians. We’re all closely involved with each other musically, and some of us have played together in different contexts before, but this is the first time we’ve met to try and realise our common musical ideals. We see music as a continuous process and have tried to express this on the album. We mean continuous not simply in the physical sense of non-stop sets, but in the general sense that we don’t recognise rigid boundaries, but try to use our total musical experience, whatever it may be".

https://www.cherryred.co.uk/nucleus-ian-carr-torrid-zone
https://www.facebook.com/EsotericRecordings
https://iancarrsnucleus.webs.com

06 aprile 2019


E poiché non c'è due senza tre ecco I Remain, da Split Seconds (1989). Grazie Billie! Grazie Miller!

Here is the third part in celebrating 70 years of the late, great, guitarist / composer and all round inspiration, Phil Miller. Phil’s 1989 album, Split Seconds, features the track Truly Yours which he dedicated to his wife, Herm. It is a feat of contrapuntal writing where the lines interweave with beautiful intrigue. The album also features a version arranged by Dave Stewart with Barbara Gaskin entitled I Remain, and this was the starting point for my version. Lyrically, I was inspired by Daevid Allen’s statement to fans in the weeks leading up to his own demise - thank you Daevid. I dedicate this version to all who are grieving, most especially Herm. Yet again, I hope this recording is some kind of tribute to a phenomenal presence in many of our musical lives. (Billie Bottle)

https://billiebottle.bandcamp.com/album/grazie-miller

05 aprile 2019


Non ci sarà più alcuna ristampa invece per Bar Torque, l'album di Elton Dean e Mark Hewins che nel 2001 inaugurò le pubblicazioni di MoonJune Records. Lo annuncia lo stesso Leonardo Pavkovic, invitando a procurarsene una copia prima che sia tardi: "This CD presents an improvised duo setting with guitarist Mark Hewins, a longtime partner with a remarkable talent for atmospheric accompaniment. The music on this release focuses on the most lyrical dimension of Dean's saxophone playing, with melodic outbursts inspired by and buoyed upon Hewins' delicate, dreamy, harmonic foundation. The aural path treaded by this uncanny pair of musicians is playful, unpredictable, and thoroughly original. Abstract but not amorphous, Bar Torque is improvisation at its most touching and universal. This will appeal to fans of alternative rock/pop, electronica, experimental and otherwise esoteric styles, and, of course, jazz and progressive rock."

https://moonjunerecords.bandcamp.com/merch/elton-dean-mark-hewins-bar-torque-cd

04 aprile 2019


Torna in circolazione un raro documento dell'attività dal vivo a metà anni Novanta del Kenny Process Team, in formazione a quattro con l'avvento del compianto Simon King poco dopo l'esordio discografico (Surfin' With..., 1994) dei soli Kevin Plummer, Matt Armstrong e Dave RossTrav’lin’ light With…, allora uscito solo in musicassetta, ora ripubblicato in vinile da Vacilando '68.

https://www.facebook.com/KennyProcessTeam
https://www.clubintegral.com
http://www.kevinplummer.com

03 aprile 2019


Biota, Steve MacLean, Ake Hodell, Bing Selfish, John Greaves, Phil Minton e Veryan Weston, Alan Jenkins, Mister Lear & The Nervous Family (con Joseph Racaille!) e qualche copia ancora dell'Art Box: è l'aggiornamento del mese per ReR Megacorp.

http://www.rermegacorp.com

02 aprile 2019


Dopo molti rinvii e lunghe fasi transitorie ha finalmente assunto una forma più definita il progetto intermediale KiTsuNe / Brian The Foxideato diversi anni fa dal giapponese The Future Eve a partire da un contributo di Robert Wyatt: una dozzina di tracce sonore - una in più nell'edizione in vinile - pubblicate a Tokyo dall'etichetta Flau, e un sito web fotografico ricco di riferimenti mutevoli e sfuggenti, di grande fascino.

Prova a descrivere l'album Darren McClure, per Toneshift: "Japanese composer The Future Eve arrives on the Flau label with an exquisite album featuring vocals and keyboards by the legendary Robert Wyatt. Wyatt had a musical idea named “Brian The Fox”, an idea untethered to tempo, and this looseness permeates through the twelve tracks here. Stark drones morph into bubbling electronics and vocals are smudged into spectral after-images.
The album is made up of differing versions of Wyatt’s singular idea. The first four tracks employ washes of synths and processed samples, sounding at once playful and experimental. There’s a hauntological presence going on at times, the way the vocals are treated with reverb and delay.
The second suite of tracks are all variations of the title “kitsune ring version” and offer, for my money, a more satisfying sound. “Kitsune” is Japanese for fox, so these literally translate into the title track. These eight tracks are more subdued and melancholy, their production warmer and richer than the preceding four. Wyatt’s vocals are pushed more to the fore here, using less effects processing which lends them a shinier tone. The penultimate track here is particularly minimal, and my favourite piece on the album. Lowercase ambient sounds lay an ominous foundation upon which various rumbling tones come and go. Restrained yet evocative, it’s an interesting contrast to the final track that puts the focus back on Wyatt’s voice."

http://ki-tsu-ne.com
https://flau.bandcamp.com/album/kitsune-brian-the-fox
https://toneshift.net/2019/03/27/the-future-eve-feat-robert-wyatt
https://coldexperiment.com/en/interview/the-future-eve
https://www.hibou-anemone-bear.com/search?q=kitsune

01 aprile 2019


Chi mai avrebbe potuto pubblicare il proprio album d'esordio il primo di aprile, se non i Residents? Quarantacinque anni fa, esatti.

What kind of fools would release their debut album on April 1st? Well, we figured nobody else would, so forty-five years ago to the day Meet The Residents was introduced to an unprepared public. It took a while to catch on – rumours of the album selling a total of forty copies in its first year may or may not be true – but nowadays people seem to like it. And John Lennon supposedly kept a copy on his mantelpiece, which presumably can’t be said of many other records. So let’s hear it for debut albums, for April Fools and for those forty individuals who got it from day one back in 1974.

31 marzo 2019


Le iperscrutabili (ri)costruzioni sonore di Philip Jeck in un video che lo ritrae da vicino durante il concerto dello scorso 14 gennaio a Milano, per Inner_Spaces: https://www.ursss.com/2019/03/philip-jeck-inner-spaces