Odd Nosdam: “The fear of diving into the darkness of self.” Interview by Paranoid US producer Odd Nosdam is in fine form after almost two.It won’t go away.” Interview by Erica Dunn At a sprightly 76, American folk singer, cartoonist, an. Michael Hurley: “It’s just a compulsion.Pretty Baby (Via Vision) In 2020 Pretty Baby is a very difficult film to review.Burial: “Tunes for the last party on earth.” Interview by Emmy Hennings The bass already sounds as if it was coming from elsewh.Death In June – All Pigs Must Die (Leprosy Discs) All Pigs Must Die was originally released in 2001, and.Advertising Cyclic Defrost relies solely on advertising to pay for.About Cyclic Defrost Cyclic Defrost is an online magazine that covers.Miles Davis vs Chet Baker: ‘Miles Ahead’ and ‘Born To Be Blue’ at the Sydney Film Festival As both of these films are showing simultaneously in Sy.Synth-building culture in Indonesia: An Interview with Lintang Radittya by Zacharias Szumer Despite limited materials or professional instruction.Instrumentally its an odd pairing, sure, but seen as an updated form of the violin sonata, in Webern-esque miniature, drawn by post-onkyo minimalists, it begins to make sense. The interplay between artists is never less than enthralling, their actions raw, revealing, and lovingly recorded, a ceaseless procession of sounds veering off in all directions. Subtitled ‘198 scratches, itches and ailments’, the analogy with germs is entirely appropriate – pieces flit to life like mating cells, making skewed, suprise lurches and appearing generally feverish throughout.
Recorded between 20, this fascinating release reflects such an extended, intensive period of creative involvement, and is complimented by the lavish presentation: a book-sized two disc set, with fold-out poster featuring Anthony Braxton-esque sketchings by friends and colleagues (Oren Ambarchi, Tony Buck, Stephen O’Malley, Otomo Yoshihide) representing the 198 The pieces are very short (between five seconds and five minutes), as are the gestures: small clinks, spurts, pings and belches, the familiar language of reductionist electro-acoustic improv. That sound is a hard one to trace here, fortunately, where The Necks’s ivory tinkler Chris Abrahams turns his hands to deconstructing the synthesizer, alongside Berlin-based Australian harpist Clare Cooper on the guzheng (Chinese zither). My strongest (not fondest) memory of the DX-7 is of a shabby cover band performing ‘Sunglasses at Night’s on Cottesloe Beach sometime in the eighties.
0 kommentar(er)
