Tasos Stamou & Ilan Manouach – Untitled (A Question of Re-Entry, 2009)

Tasos Stamou & Ilan Manouach

CDr A Question Of Re-Entry #9 (Greece, 09-2009)

01. Untitled
02. Untitled
03. Untitled
04. Untitled

Ilan plays soprano & sopranino saxophones, Tasos plays singing bowl, objects, loops, toy instruments, whistles, etc.
Recorded live at Despo Papastathi’s mansion in Amfissa on May 22, 2009.

Occasionally an impromptu event will take place in Despo Papastathi’s house that will bring up more & new ideas to work on… It might be a theatrical piece that we’ll improvise, a party, a gig, whatever… or an impressive set of difficult musics to create an intoxicating atmosphere… Such was that night that Ilan Manouach (sax, reeds, etc) and Tasos Stamou (effects, electronics, toys, etc) lo-fi soundscapes or more haunting atmospheres, improvised textures of Ilan’s skill reminding us fave ones (both his & ours) like Michel Doneda, Evan Parker, Steve Lacy, e.a. or Tasos’s unique play with toys and electronics that crafted an awesome night… as such it is documented. (absurd)

Profitons de ce post pour signaler les récentes sorties de Tasos Stamou sur son label Kukuruku, toujours en format CDr mais aussi en vinyle (avec John Butcher et Kiko C. Esseiva, excusez du peu). Je doute que ses ventes suffisent à renflouer les caisses grecques (à défaut elles contribueront à vider les miennes, c’est malin).

Publié dans Avant | Tagué , , | 1 commentaire

Pefkin – Possible Confusion Species (Ruralfaune, 2008)

Possible Confusion Species

CDr Ruralfaune rur053 (France, 08-2008)

01. All Aboard the Music Boat
02. When the Pirate Ships Go off Air
03. Made in 1973
04. The Terror of the Wild Wood
05. Nuts for July
06. Doodwed Clarinet
07. The Last Great Auk Left Alive

Recorded at Glo-spot, Glasgow.
Track 2 recorded on 3/2/07 using Joe Meek’s Ampex tape recorder.
Packaged in delicate indian paper, closed with a legendary rural stick.
Limited to 73 copies.

New Pefkin release that comes with a lovely rural twig and handmade paper sleeve. Short fragments of toybox folk and VCS3 / violin throb. Four longer tracks: mutilated thumb piano and bubbling vocals recorded on Joe Meek’s old Ampex tape recorder in its death throes, harp / clarinet / vocal drone / tone meditations, spacious wild wood folk-improv and ending on a hugely reverberant organ and Radford oscillator drone with melancholic melodica offering a requiem to an extinct bird. John Cavanagh (Electroscope / Phosphene) plays clarinet on one track. (Ruralfaune)

Si Ruralfaune n’a rien sorti de mémorable depuis un long moment, le label avait en son temps le don de dénicher des pépites. Malheureusement, entre micro-éditions et distribution bordélique, celles-ci avaient peu de chances de sortir de l’ombre. C’est d’autant plus regrettable pour les 73 petites copies de cet album de Pefkin (Gayle Brogan, moitié d’Electroscope et retraitée du Boa Melody Bar), aussi enchanté qu’enchanteur.

Publié dans Folk, Indie | Tagué , , | 1 commentaire

Katabatica – Katabatica 1 (A Beard of Snails, 2012)

Katabatica 1

CDr3′ A Beard of Snails Records ABOS3-102 (Denmark, 2012)

01. 1 (Frozen Wasteland)
02. 2
03. 3
04. 4 (It Just Never Stops)
05. 5 (Endless Cold / Choir in the Wind)

From this interesting new N.Y.C. project, four miniature flurries and one lengthier blizzard. Snowshoegaze?! Elements of power drone/noise here… sometimes obscured within ice temple walls, often more out in the open… structured, harmonic, and forward moving, with ominously abrupt endings. In individually painted / sprayed / stamped covers. (A Beard of Snails)

Je n’en démords pas, A Beards of Snails est une micro-structure épatante. Démonstration avec ce mini-CD entre noise, ambient et shoegaze, ou ‘snowshoegaze’ comme nous dit le label. Certes rien de crucial, mais épatant quand même.

Publié dans Ambient, Noise | Tagué | 1 commentaire

Derek Rogers – Peripetia (A Beard of Snails, 2012)

Derek Rogers

CDr A Beard of Snails Records ABOS3-090 (Denmark, 2012)

01. A Method, or a Process
02. Change Is Inevitable
03. Piano Lessons
04. Thoroughly Revealed
05. Ethion
06. The World’s Turned Upside Down
07. Forward Thinking

All tracks recorded/engineered by DR in november 2011 in Los Angeles, CA.

New immersive works from recent L.A. transplant Derek Rogers – a name you’ll most likely recognize. From mellow synth and/or guitar drift, to edgy cascades, over understated minimalist melodicism augmented by environmental recordings et al., mood and feeling are central here. One of the finest headphone-appropriate albums I’ve laid ears (and head) to recently, yes! Housed in 14x14cm envelopes with individually « drip painted » cover bits – each one unique.
(A Beard of Snails)

Si ce blog est moins dynamique qu’au bon vieux temps, certaines choses ne changent pas, comme par exemple mon attachement à la micro-structure A Beard of Snails. Illustration avec cet album.

Publié dans Ambient | Tagué , | 1 commentaire

Lee Perry – The Compiler Vol.1 (Rectangle, 2001)

Lee Perry
The Compiler Vol.1

CD Rectangle International Ltd. Rec-CC2VOL1 (UK, 2001)

01. Army Dub
02. Flames of the Dragon
03. Django Shoots First
04. Wind up Doll
05. Run Around Dub
06. Supersonic Man
07. Grumbling
08. Judgement Day
09. Enter the Dragon
10. Clint Eastwood Rides Again
11. King Tubby Dub
12. Every Knee Sall Blow
13. Iron Claw

Knowledgeable fans of Lee « Scratch » Perry will smell something funny about this one as soon as they look at the track listing and the questionable licensing information on the back. Four of these tracks were previously collected on the highly dubious compilation News Flash, while « Supersonic Man » appears to have been lifted from the Heartbeat album Lord God Muzick. « Grumbling » is actually a Junior Byles song entitled « Mumbling and Grumbling, » « Judgement Day » and « Enter the Dragon » were previously issued on currently impossible-to-find Justice League albums (and thus constitute something of a public service here), and « King Tubby Dub » and « Every Knee Shall Bow » sound suspiciously unlike Perry productions at all; in fact, they sound very much like Bunny Lee productions. (This would not be the first time that one Lee’s work had been substituted for the other and released under the Upsetters’ name.) Provenance and legalities aside, how is the music? Well, it’s great, of course, if maniacally uneven. « Django Shoots First » is one of the most famous and enduring rhythms ever recorded by the Upsetters, and Junior Byles is at the top of his considerable powers on « Mumbling & Grumbling. » The computer rhythms on « Supersonic Man » are a bit jarring in this context, and « Enter the Dragon » is a goofy foray into kung fu movie kitsch. Does the album hang together? Absolutely not. Is it lots of fun anyway? You bet. (Rick Anderson)

On a déjà vu des compilations plus rigoureuses que celle-ci, on a aussi déjà vu des labels plus rigoureux que Rectangle, mais on ne va pas bouder notre plaisir pour autant. Dois-je vraiment préciser qu’aucun volume 2 n’a jamais suivi?

Publié dans Cosmopop | Tagué , , | 1 commentaire

Dan Warburton – Life in the Greenhouse (Appel Music, 2008)


Dan Warburton
Life in the Greenhouse
CDr Appel Music 01 (France, 2008)

01. Life in the Greenhouse

Dan Warburton : violin
Recorded on march 3rd, 2007 by Christophe Le Dantec at the Palais de Tokyo, Paris

Music for Plants was an installation by Berkeley-born artist Peter Coffin which formed part of an exhibition curated by Anthony Huberman at the Palais de Tokyo, Paris, in February and March 2007. Several musicians, including Noël Akchoté, Hervé Boghossian, Pierre-Yves Macé, Jean-François Pauvros and myself, were invited to play a solo set in Coffin’s greenhouse, to entertain visitors to the gallery and amuse the plants. To the best of my knowledge, no scientific studies were carried out in the aftermath of the exhibition to see exactly what effect the music had on them (the plants, I mean). I’d be curious to learn of the existence of any strange deformities that might result from overexposure to difficult new music, as I’ve often wondered what lasting damage I’m doing to myself. Perhaps you could do some fieldwork of your own by setting up a CD player in your greenhouse and putting this disc on repeat play for a few months. But be careful. Remember The Day Of The Triffids. (Dan Warburton)

Warburton’s release is for solo violin and was recorded inside a green house which was set up as part of an installation by Peter Coffin. He invited various musicians to plat inside the greenhouse ‘to entertain the visitors of the gallery and amuse the plants’, which is a great idea, but who knows if plants like music? Maybe to find that out, Warburton suggests on the cover of the release, the release should be taken into a greenhouse and the effects could be scientifically tested on the plants. I can’t do it, as I have no plants. At forty-four minutes and forty-four second this is quite a long album for a single solo improvisation on one instrument, even when Warburton has all the right skills needed to play such an instrument. He moves up and down the strings, hits them, strikes them, plucks them. In terms of new improvisation – the instruments as an object – he doesn’t do much, the violin here sounds as a violin and nothing else. Perhaps the conventional character of the improvisation is something I have some trouble with and I could have easily settled for a release that lasted twenty-two minutes and twenty-two seconds. (Frans de Waard, Vital Weekly)

Au Palais de Tokyo, à l’intérieur d’une installation de Peter Coffin dans laquelle auront aussi été invités à se produire Jean-François Pauvros, Pierre-Yves Macé ou encore Noël Akchoté, Dan Warburton s’emparait en 2007 de son violon et improvisait avec, en tête, l’idée de distraire les plantes.
Life in the Green House, enregistrement de cet étrange concert, pose aujourd’hui la question de l’importance de la situation ou de l’environnement dans la raison d’être de ce type d’exercice musical : sur disque, Warburton passe de pizzicatos minuscules en mouvements d’un archet dérouté, joue des pauses et des relances non sans ironie, caresse un instant une mélodie ou décide de buter sur une note frêle, impose enfin une diphonie déstabilisante ou porte de légers coups à son instrument. Ici et là, quelques passages convaincants ; ailleurs, moins de truculence. Dissocié de l’installation, il manquerait donc un je-ne-sais-quoi à l’enregistrement. (Le Son du Grisli)

C’est l’heure de notre mise à jour hebdomadaire (ou semestrielle) avec cet album initialement sorti sur un micro-label aujourd’hui disparu, depuis épuisé à peu près partout (même si certains mail-orders ont peut-être encore une copie dans leurs tiroirs), et qui se retrouve aujourd’hui sur un blog que personne ne visite (confidentialité quand tu nous tiens). Une musique sans doute un poil trop stressante pour vos plantes vertes ou votre animal de compagnie.


Publié dans Avant | Tagué | 1 commentaire

Jeff Gburek – Impatience (Nothing Out There, 2010)


Jeff Gburek
CDr Nothing Out There n.o.t.#17 (France, 05-2010)

01. 3:51
02. 15:33
03. 11:33
04. 4:34
05. 0:50
06. (with Tetuzi Akiyama) 9:09

Limited edition of 99 copies.
5 solo acoustic guitar tracks and one featuring Tetuzi Akiyama.
Includes special packaging with exclusive ink drawings by Jeff Gburek.

It has already been released, on May 15th, Jeff Gburek’s, « Impatience », a sequence of semi-improvised guitar pieces (recorded in Berlin 2007-2008), plus one track recorded live with Tetuzi Akiyama (recorded live at Radio Afera studios, Poznan, Poland). And it’s about time!
Long ago mixed and ready to go, I had other releases of my electro-acoustic projects – most notably Red Rose for the Sinking Ship on Triple Bath, Virtuous Circles on Absurd and the most recent Remote Provinces on Aural Terrains – all of which seemed to take precedence. The tracks for Impatience were recorded in my former Berlin flat on Gniesenaustrasse 69 on the 6th floor in the appalling quiet of early summer and coincided roughly with a series of solo acoustic concerts I had been playing around town that year. The title refers rather to the central track, number 2, with its protracted breathing spaces which I assumed would tax the patience of some listeners but which had been growing essential in my playing process. The sense of time without sound creating a new situation for a value in sound is essential for understanding « impatience » as a work not simply for the guitar but as an existential consequence of living through the sound of playing and not-playing. The CD as a whole therefore draws upon the unexpected in several ways: some of the pieces can be taken as tradtional articulations of the guitar without any preparations and at first glance not at all conceptualized. The work, upon closer listening, unfolds from the space-time of a reflective folkmusic and gradually opens into wider articulations of space and what I call « outside-time » – wherein there is no longer any pressure to sound or not to sound. Strange what happens inside the outsidetime: the songs themselves become pieces of memory drifting. There is no will to hold them together and yet they do just that revealing the power of the ear close inside the brain putting together the puzzle of fragments: songs seem like interrupted improvisations and improvisations seem like composed songs. But in every case, the listener finds his or her own paths and openings between them, the wind of the mind moving them as much the wind out of mind.
The final track with Tetuzi Akiyama was recorded in September 2008 in Radio Afera Studios in Poznan and while Tetuzi is playing steel-string wooden guitar, myself on prepared slideguitar, tapes and objects. This track previews a full length cd by the two musicians now being mastered. This track on Impatience will be the second time I and Tetuzi appear on cd together, following our concert cd Live at Kule, Berlin, 2005 on Herbal Records.
The CD is hand-made by Constantin Dubois (and his N.O.T. Label, based in France), a collaborative design, using several ink-drawings that I created here in Poznan rather recently.
(Jeff Gburek)

FR Celui-là, ça fait un moment que je voulais le poster, mais j’attendais qu’il soit sold-out au label. Et mine de rien, il en faut du temps pour écouler 99 copies. Mériterait amplement une réédition vinyle.
ENG Stunning acoustic guitar pieces, now sold out at source.


Publié dans Folk | Tagué | 1 commentaire