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[mono tony]

http://youtu.be/eL4QmMtaA-Y

Oberman Knocks ‎- Dilankex (Autechre Remix)

insane construction of sounds, recalls Draft and Sublimit (from Untilted)

"Autechre, meanwhile, take no prisoners with their version. Where the recent L-Event EP thrived on space and textural depth, here we're plunged into hectic, hyper-compressed algo-rhythms from the off. What follows is a meticulous exercise in micro-groove management, sectional and exhausting, as if we're solving a succession of brow-furrowing maths problems."

- residentadvisor.net

[yonhosago]

SUN RA & HIS ASTRO-INFINITY ARKESTRA
OTHER STRANGE WORLDS

more strange strings!

[ambiguous_figures]

TDNWH by sultan hagavik
new Bôłt release!



you can stream it for free here
http://sultanhagavik.bandcamp.com/album/tdnwh

[Gil Sansón]

Christian Wolff, Exercise 15 (edition Wandelweiser)

Exercise 15 was made out of and invites transformations or transcriptions.
It's for piano or ad hoc instrumental arrangement. Its material is from a 1920s song Union Maid (as I
found it in Edith Fowke and Joe Glazer's collection Songs of Work and Protest) by Woodie Guthrie
using an earlier popular song tune. The tempo of the music is not specified. Sometimes it's played
rather fast, as the original tune probably was, sometimes at a deliberate, “prosaic” tempo. Here it's in a
slow motion as though under a temporal microscope, which to my ears makes it somehow new
(extensive change of quantity bringing about a change of quality). – Christian Wolff

[J.F.]

luvvy plays Emerson, Lake & Palmer in the neighbouring room, so that's what I get to hear now.

[yonhosago]

luvvy plays Emerson, Lake & Palmer in the neighbouring room, so that's what I get to hear now.

Trilogy, or just Lucky man?

[Gil Sansón]

Can´t stand ELP, but still think that the arrangement they did of Ginastera is rather cool, though.

[J.F.]

Oh - it was a compilation I made years ago. Lucky man is not included, focus was more the tricky stuff... those little fast things from Tarkus, Karn Evil 9, 2nd Impression, and indeed the Ginastera arrangement.

ELP sounds quite strange to me these days. I wasn't able to keep a somewhat vital relationship with that music. I even like pre-75 Yes and Genesis better (Crims and VDGG anyway).

[Gil Sansón]

I have a love/hate thing with prog. Can´t stand Yes except for a few things here and there and the only record of them I listen to is Relayer, it´s quite frustrating when you like a fragment or a riff a lot but after it comes an annoying bit that breaks the spell, and that´s what happen to me when I listen to Yes and EL&P. Genesis somehow does it for me after all these years, probably because they were much more effective in the songwriting department. With VDGG is different, my love for this band goes undiminished through time and I think they are still making vital music and sounding great onstage. KC is another band dear to me, but their legacy is much more irregular. Their impact is huge, but I don´t buy the logic of the latest KC incarnations and the sound of it is getting more and more generic (plus I really dislike all that digital plug ins, triggered drums, click tracks and perfect sound of the latest Crims). I think they need a wild drummer a la Keith Moon, but where are they going to get one? The name and legacy are too much of a burden. I´ve given up on KC a while ago, actually, back when they released The Construkction of Light: I remember being so underwhelmed by it that I aborted my plan to see them live...

About EL&P and Yes, I have thought about doing a prog mix with only the cool parts and favorite bits for a while now, but I´m afraid the EL&P one wouldn´t be a long suite...

[yonhosago]

https://www.youtube.com/watch?v=QQFqO5_x_B8

[yonhosago]

Florian Hecker

[Alastair]

Harmonia - Live 1974

[Gil Sansón]

Martin Iddon-pneuma (another timbre)

Another composer new to me. Upon evidence on this disc, a strong voice. I feel a kinship with the soundworlds of Scelsi, Ullman and things like Ryoanji by Cage, with perhaps the strong physicality of Lachenmann if not the agenda. Music with no melodic contour and yet very melismatic, at times harsh and grating. I find it particularly telling the inclusion of a piano piece among the others, which make extensive use of glissandi and unsteady pitch; the piano piece shares the same character and voice of the composer while making use of the specific resources of the piano. Also, some great demands on the musicians, I'm thinking about the baritone singer who has to sing in very high falsetto during much of pneuma.kharis, for example.

[javier4w]

Martin Iddon-pneuma (another timbre)

Another composer new to me. Upon evidence on this disc, a strong voice. I feel a kinship with the soundworlds of Scelsi, Ullman and things like Ryoanji by Cage, with perhaps the strong physicality of Lachenmann if not the agenda. Music with no melodic contour and yet very melismatic, at times harsh and grating. I find it particularly telling the inclusion of a piano piece among the others, which make extensive use of glissandi and unsteady pitch; the piano piece shares the same character and voice of the composer while making use of the specific resources of the piano. Also, some great demands on the musicians, I'm thinking about the baritone singer who has to sing in very high falsetto during much of pneuma.kharis, for example.

A few weeks back I wrote in FB about pneuma "Challenging music. Beautifully played and recorded, I can find here echoes of Jakob Ullmann, Klaus Lang, Helmut Lachenmann, Wandelweiser, .... You'll need several listens to get into". Then I got in touch with Martin who told me: "Lang is a massive influence (and I love Helmut's music and I'm very fond of some of the Wandelweiser composers: Beuger and Pisaro especially). The little Ullmann I know, I like very much, but I don't know so much of it".

One of my favorite recordings of 2104.

[cleanzero]

For those that like Italian Prog, this is really fantastic. I feel bad for discovering this album from 1972 (the year I was born) only recently. Problem is that Alan Sorrenti is now such an useless singer that I have never bothered about him.

[ambiguous_figures]

Martin Iddon-pneuma (another timbre)

Another composer new to me. Upon evidence on this disc, a strong voice. I feel a kinship with the soundworlds of Scelsi, Ullman and things like Ryoanji by Cage, with perhaps the strong physicality of Lachenmann if not the agenda. Music with no melodic contour and yet very melismatic, at times harsh and grating. I find it particularly telling the inclusion of a piano piece among the others, which make extensive use of glissandi and unsteady pitch; the piano piece shares the same character and voice of the composer while making use of the specific resources of the piano. Also, some great demands on the musicians, I'm thinking about the baritone singer who has to sing in very high falsetto during much of pneuma.kharis, for example.

A few weeks back I wrote in FB about pneuma "Challenging music. Beautifully played and recorded, I can find here echoes of Jakob Ullmann, Klaus Lang, Helmut Lachenmann, Wandelweiser, .... You'll need several listens to get into". Then I got in touch with Martin who told me: "Lang is a massive influence (and I love Helmut's music and I'm very fond of some of the Wandelweiser composers: Beuger and Pisaro especially). The little Ullmann I know, I like very much, but I don't know so much of it".

One of my favorite recordings of 2104.

i havent heard this one yet, but is that a yves klein piece on the cover?

[Gil Sansón]

I also thought about the Klein connection. The photograph is credited to Kate Whitaker, however. Maybe it's an hommage.

Somehow I missed your post on FB, Javier. A remarkable record indeed.

[yonhosago]

(B. A. Zimmermann's Photoptosis)

[simon reynell]

Nice to see 'pneuma' getting some good comments here.

is that a yves klein piece on the cover?

No, though the reference is definitely intended. If we could have afforded to use a Klein on the cover, I'm sure Martin would have asked for one. But instead he bought some Klein blue powder paint and his wife (Kate Whittaker) took some photos of it.

For what it's worth, Gil, I hadn't heard of Martin Iddon either until about this time last year, when I went to a concert at which pneuma.sarx was the outstanding piece. I contacted him, and it turned out that he lives only 20 minutes from my house. So organising recording sessions was logistically much easier than it usually is.

Since then I've not only got to know his music, but have read his recent books (so far he's better known as a musicologist than a composer). 'New Music at Darmstadt', his book on 'the serialist movement' (which he argues never really existed as such) is outstanding, and also crazily expensive, as academic music books tend to be. But I think it's coming out in paperback later this year, so will presumably then be accessible for anyone who's interested. Immaculately researched, clear and intelligent writing.

[Gil Sansón]

Thanks for the info, Simon. I read the interview on the another timbre site and found out about his career as a musicologist. Not too many composers take that route, I can only think of one Anton Webern (I've found out that I have the tendency to drop Webern's name very often...)