Music

avantgarde

the wire

Groovy 80's Techno

N.I.C.E. selects 0112 / All Hands On Deck / EL-7

Ultra Vivid Scene - Grey Turns White

Buy on Bandcamp

Los Niños Del Parque (Djs Pareja Rework)

www.arumrae.com
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Warranted Queen
A.RaeValkonen

it looks like the tide is calling
send off is drawing near
the whistle blowing  
the commander's on the phone

i wont know your thoughts when i'm gone
i wont have a lot to say
but i'll be bored of smiling when it ain't at you

and its alright,  its alright
its alright, its alright 

why you'e my hand-me-down jean
i'm your warranted queen
my mouth on your spoon
goodnight red balloon

you play your cards with a mystery face
and use your golden grace
i'll be sending my guards to come find you
i don't know where to fall 
or if this is love at all
but your lips on mine have branded a sign

but its alright, its alright
it's alright, it's alright

you're my hand-me-down jean
i'm your warranted queen
my mouth on your spoon
goodnight red balloon

its alright

Prod by Sanford Livingston
Mastered by Jason Ward Chicago Mastering

Warranted Queen

Papgayo

Greet007

I Need My Girl - The National

Editors - Papillon

One Night in Bangkok

Sayonan ensimmäinen single. Nauhoitettu toukokuussa 2012 Soundartin studiolla Helsingissä.

Sayona - Lycanthropic

Nine Inch Nails - Something I can never have (still)

ULTRA VIVID SCENE A2 Lightning (72 Bpm 4am)

" . . . everything here is circular. While the musicians are often playing continuously they only enter the foreground at distinct and isolated moments, as if circling through patterns in which they sometimes move into temporal zones indicating high volume. That sense of a score (or scroll or star map) is strong here. Parker employs circular breathing, initially for brief passages, later at greater length, reiterating short scalar phrases. The phrases are varied, first incrementally and then expansively, multiplying through overtones. There’s a sense that certain sounds – the tenor phrases, a particularly abrasive cymbal scrape – are being looped, entering at irregular intervals, sometimes triggered by one another, creating a sense of ongoing structure that’s further magnified by Coxon’s drones, occasional squiggly guitar figures and subtle references to blues. It’s subtle, continuous work." - Stuart Broomer, Point of Departure

"Something is going on here but we do not really know what. Coxon, who is a very unusual guitarist, can make his instrument sound like a toy clock or the zither in “The Third Man”, together with Parker’s elaborate sax techniques and Prévost’s almost unbearable high-pitched bowed sounds these sound splinters create an uncomfortable world, as if a man was on the run, afraid of something horrible." - Martin Schray, Free Jazz

~~~

Diverse musical elements - coruscating cymbal scrapes, shimmering amplifier hum, melancholy saxophone circlings, sharp hits of snare, string and reed, slow motion guitar riffs, deep tam-tam surges and floor tom rasps, hypnotic prepared piano figures, and hovering fragments of song-like melodies - fracture and coalesce in this single intense improvisation.

Featuring two of the foundational figures of free improvisation alongside a younger arrival, this recording captures the first meeting of this trio. They had all played together before separately, and the combination of familiarity and unfamiliarity proved productive: there's plenty of divergence and convergence here, and plenty of tension too - most interestingly, perhaps, in their differing approaches to repetition and tonality. At times coming uncomfortably close to each other, at times standing far apart, the trio moves inexorably towards a beautiful - and, in its simplicity, startling - conclusion.

~~~

1. Cinema - 54:53

John Coxon - electric guitar and prepared piano 
Evan Parker - tenor saxophone 
Eddie Prévost - percussion

Recorded by Tom Bugs live at The Cube, Bristol on 8 March 2008 
Mixed by Rick Campion at City University Music Studios 
Mastered by Rupert Clervaux at Gray's Inn Road 
Many thanks to Mark & Chiz (Qu Junktions) and all at The Cube 
Artwork by James Vickery 
Music by John Coxon, Evan Parker and Eddie Prévost

Hand-numbered edition of 500 CDs with 350gsm card outer cover and 150gsm paper inner cover with monochrome risograph print.

~~~

http://recordings.fataka.net/products/507327-cinema-john-coxon-evan-parker-eddie-prevost-fataka-1

Cinema (excerpt) - John Coxon, Evan Parker, Eddie Prévost - Cinema (Fataka 1)

"Where did it begin? JUST BEFORE MUSIC. Did it begin with me sitting somewhere or my ancestors somewhere over in Africa hearing something fall and it thumped HMMMP or someone crawling CHKCHKCHKCHK or hearing a yell AYE AYE AYE? All of these things became JUST BEFORE MUSIC." — Lonnie Holley, <i>Just Before Music</i> http://dust-digital.com/lonnie

"Looking for All (All Rendered Truth)" by Lonnie Holley

Taken from Phosphorescent's 'Muchacho' out now on Dead Oceans

Your local record store: http://bit.ly/1mYQtHB
iTunes: http://glnk.it/1xu 
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SCD Deluxe Bundle http://www.scdistribution.com/phosphorescent/

Phosphorescent
http://www.deadoceans.com/artist.php?name=phosphorescent
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Song for Zula
Some say love is a burning thing 
That it makes a fiery ring
Oh but I know love as a fading thing
Just as fickle as a feather in a stream
See, honey, I saw love. You see, it came to me
It put its face up to my face so I could see
Yeah then I saw love disfigure me
Into something I am not recognizing

See, the cage, it called. I said, "Come on in"
I will not open myself up this way again
Nor lay my face to the soil, nor my teeth to the sand
I will not lay like this for days now upon end
You will not see me fall, nor see me struggle to stand
To be acknowledge by some touch from his gnarled hands
You see, the cage, it called. I said, "Come on in"
I will not open myself up this way again

You see, the moon is bright in that treetop night
I see the shadows that we cast in the cold, clean light
My feet are gold. My heart is white
And we race out on the desert plains all night
See, honey, I am not some broken thing
I do not lay here in the dark waiting for thee
No my heart is gold. My feet are light
And I am racing out on the desert plains all night

So some say love is a burning thing
That it makes a fiery ring
Oh but I know love as a caging thing
Just a killer come to call from some awful dream
O and all you folks, you come to see
You just stand there in the glass looking at me
But my heart is wild. And my bones are steam
And I could kill you with my bare hands if I was free

ULTRA VIVID SCENE A2 Lightning (72 Bpm 4am)

libbysfirstsunrise