The Welsh version has nothing to do with either General Santiana, California or anywhere else.  It's all about a homesick Welsh sailor remembering his family and wishing he was home.    The chorus is 'My heart is in far away Wales'.  1. O Santiana chwyth dy gorn, Ai-ô Santiana Tyrd gwyntoedd teg i rowndio'r Horn, Mae 'nghartre i yng Nghymru bell. 2. Mae'r rhaffe i gyd fel ffyn o rew, Ai-ô Santiana A'r môr yn wyllt, neu'r niwl yn dew. Mae 'nghartre i yng Nghymru bell. 3. .Mae tŷ fy nhad yn wyn a hardd,  Ai-ô.... A rhosys cochion yn yr ardd. Mae 'nghartre i ..... 4. Mae'r adar bach yn canu yn y coed, Ai-ô.... A Pero'n gwrando am swn fy nhroed, Mae 'nghartre i ..... 5. Ar ben y drws mae man a nhad, Ai-ô.... 'Does unlle'n debyg i fy nghwlad, Mae 'nghartre i ..... 6. Mae'r hwylie wedi rhewi'n gorn,  Ai-ô.... Gyr wyntoedd teg i rowndio'r horn Mae 'nghartre i .....

this version is a gem - Pusser's Rum ft. Stan Hugill

Alteritat

Genuine Suspension I (Version Snglr) [feat. Senglar]

Fearless Alfredo fait partie des trésors caché de Strasbourg, elle distille une musique racée et coupée au schlass ! Après on pourrais vous dire qu’elle est orthophoniste de métier, mais on à pas le droit, en tout cas, t’inquiètes, elle sait y faire niveau tympan !

Tracklist:
Geinoh Yamashirogumi - Kaneda
Carcass Identity - Narrenschiff
Mutant Beat Dance - Revival 80s
Lostsoundbytes - Sludgy Path
Andrea Benini - Pink Twirl
Cucina Povera - Teerenpeli
Fatima Al Qadiri - Hip Hop Spa
Société Etrange - Nute
Lennert Jacobs - Emoji In Limbo
Sympathy Nervous - A Worm
Tyondai Braxton - Phonolydian
Aya - The only solution i have found is to simply jump higher
Lauren Sarah Hayes - Don’t Glitsh on My Cascade
Matmos - Interior With Billiard Balls & Synthetic Fat
Villaelvin - KALOLI
Howie Lee - Cloud Lamps
Ryuichi Sakamoto - A Wongga Dance Song
Rimarimba - Spafft Moutafft Seeall + California
Gilb'R - Я не хочу знать
Ursula Bogner - Begleitung für Tuba
Yikii - Toxic Clouds in Dreamland
Co I Jak - Co i Jak
Max Goldt - Interesting People Leave At 1:30

Carpaccio Cathédrale invite Fearless Alfredo ~ 08.06.2022

This episode looks at the ballad Santiano aka Santiana aka Santy Anno aka Santy Anna aka The Plains of Mexico.

Tracklist

Henry Lundy and David "Pappie" Pryor – Bay of Mexico
The Clancy Brothers & Tommy Makem – Santy Anno
The Watersons – The Plains of Mexico
Pusser's Rum ft. Stan Hugill – Santiano
Meredydd Evans – Santiana
The Weavers – The Bay of Mexico
Odetta – Santy Anno
The Kingston Trio - Santy Anno
Dave Van Ronk – Santy Anno
The Men Of The Robert Shaw Chorale – Santy Anna
A.H. Rasmussen – Chantey interview
Hugues Aufray – Santiano
Pillars of Eternity II: Deadfire – Aim Spirente
Sea Shanty Metal – Santiana

https://campsite.bio/firedrawnear

Santiano

Caius Williams – 'Ame' (from 'Gwannach' - Otoroku, 2023)

Can't recall the track list and it's a mess to put together since there's lots of pitching and FX with some obscure found cassettes in between. Features the music of artists like Rahel Kraft, bbbs / Life of Rabbit, beautifulburningworld, David Wallraf, Perila, Abby Lee Tee,... 

Recorded directly to cassette at FLUCC Vienna. 

instagram.com/miasma_con

Tape Mixtape for Miasma Con I (31.10.2023)

"Škvar" is a sound installation composed by Manja Ristić & Mark Vernon, as a part of the site-specific installation "Invoking shipbuilding in Korčula" created and realized by the visual artist Matea Šabić Sabljić aka @_argo_nauta_

The installation will be presented on the 6th and 7th of December, next to the Antifascist memorial by architect Bernardo Bernardi which was built at the exact place of an old shipyard.

Sound work is an extension of an art action: "Taking the tool in your hands is an act of honesty", which took place in September and engaged wider community. The participatory action involved people bringing hammers and nailing the names of old Korčula's shipbuilders into the planks of abandoned boats. Doing so produced the noise — sound of an old shipyard that was gone decades ago.

This public action became a silver lining of the sound work "Škvar".

Matea continued to collect hammers in Korčula, Dubrovnik, Split, Betina and Zagreb. Collected hammers will be installed as a site-specific installation accompanied by the sound work. Collecting hammers is continuing as a work in progress for the sake of "Invoking shipbuilding in Korčula" hoping to initiate a Museum which will protect both history and the future of local shipbuilding.

Exhibition is curated by Sonja Leboš ( @uiii.aiir ) and co-organised by @kap_korcula

--

Zaziv muzeju i korčulanskoj brodogradnji

Korčulanski škveri i majstorske radionice svjedoče slavnu korčulansku brodograditeljsku prošlost. Glas o kvaliteti njihovog rada je bio nadaleko poznat. Korčulanske obitelji brodograditelja sagradile su na tisuće brodova. 
Međutim, rad, znanje i vještina koji su bili dio svakodnevice otoka kroz stoljeća, pa sve do kraja prošlog tisućljeća, izgubili su se. Nestale su radionice, pa škverovi. Pa i majstori.
Zazivamo sve te davne meštre i meštrice,
Zazivamo sve buduće meštre i meštrice,
Da uzmu alat u ruke i krenu graditi!
Želimo “uškvariti” značaj korčulanskih škvarova. Kolektivna memorija izgradnje tisuća brodova je zapisana u rukama. Treba se prisjetiti. Zakucati brokvu po brokvu. Dasku po dasku. Brod po brod.
Značaj korčulanske brodogradnje uokviriti, “uškvariti” muzejom, oko kojeg će se stvarati novi brodovi i novi meštri.
Meštar po meštar.
Meštrica po meštrica.

Škvar by Manja Ristić & Mark Vernon

Sad*Crab Radio w/ ant mill - 30/01/2024

First episode of our new monthly show MUTUAL IMPACT by @b_l_a_e  w/ guest Love us. 

Graphic by Andre Finster

Mutual Impact Ep.1 w/ Blae & Love us 18-02-24

Cassette/digital available from Imprec.com

“The Generous Law,” a new album by organist Jack Langdon and guitarist Anthony Vine, presents a glimpse of the inner voices and acoustical splendor of the Fisk Organ at Wellesley College, enlivened by the intuition of two improvisers. At the keyboards, Langdon crafts geometries of patiently braided lines and incisions, configuring the hues and shades of organ stops with an ear to the materiality of sound. Vine seizes on this, tuning his guitar to the organ and bringing his strings into alignment with the harmonics of the reeds and pipes, becoming an extension of the instrument, an organ stop of sorts. The guitar flows in and around Langdon’s angular counterpoint, like the shimmer between the divots of a jigsaw puzzle, illuminating its matrix. 

The tonal design of the Fisk Organ brings these interactions into vibrant relief through its quarter-comma meantone tuning and 17th c. Danish and German stops—giving organists access to sonorities only found in historic North European churches. Resurrecting a distant sonorous past echoes the design of Wellesley College's Houghton Chapel itself, a braiding of ecclesiastical motifs with no historical center, designed to impart a sense of old-world sacredness. Fisk’s ahistorical mélange yielded something extraordinary, not a cheap replica or period imitation, but an instrument of sui generis chroma and expressivity.

The musical idioverse of Langdon and Vine is defined less by interior imaginations, established style, and compositional formality, and more by the inexplicable pull of the organ, its guiding and grounding voice. In a letter to Ross Feld, Philip Guston speaks to this abstract, yet ubiquitous dynamic in artmaking with his notion of the “generous law,” the namesake for this collection:

“I think you are writing about the generous law that exists in art. A law which can never be given but only found anew each time in the making of the work. It is a law, too, which allows your forms (characters) to spin away, take off, as if they have their own lives to lead—unexpected too—as if you cannot completely control it all. I wonder why we seek this generous law as I call it. For we do not not know how it governs—and under what special conditions it comes into being. I don’t think we are permitted to know other than temporarily. A disappearance act. The only problem is how to keep away from the minds that close in and itch (God knows why) to define it.” -Philip Guston to Ross Feld

This music is not driven by concept, process, or system, but by the wanderlust of sound, time, and listening.

Jack Langdon & Anthony Vine - The Generous Law - 1  July 27, 2022 - 1pm

the being/the world (2024)
for Juliet Fraser and Ensemble Musikfabrik

extract recording: scene 5: duo (love)

Juliet Fraser, voice
Sara Cubarsi, viola d'amore
Benjamin Kobler, synth organ
+ MusikFabrik

premiere recording extract from WDR, Köln on 3 March 2024

total piece duration: 1 hour

in loving memory of Amelia Cuni

commissioned by Ensemble Musikfabrik and Kunststiftung NRW
photograph: Janet Sinica

the being/the world (2024) scene 5 (extract)

TA: Buchla Series 200, Serge Modular, contact microphone.
No plugins or other DSP. 

Recorded at EMS, Stockholm.

Thanks to Mats Lindström, Gabrielle Karlsén, Daniel Araya, Jan Rohlf, Marcus Gammel, Fernando Sixto and Marion Innocenzi.

Serge & Buchla (excerpt, recorded at EMS Stockholm)

Fire Draw Near is a monthly podcast and radio show which investigates Irish traditional music and song in all of its myriad forms.

https://campsite.bio/firedrawnear

Santiano

Fire Draw Near

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