Name: #100 Corbyn, Labour, and the EHRC report w/ Barnaby Raine by Politics Theory Other
Duration: 36 min 37 s
Description: Barnaby Raine joins PTO to talk about the EHRC report into antisemitism and the Labour Party, the suspension of Jeremy Corbyn from the party, and what the affair tells us about the treatment of antisemitism in the UK in 2020.

Read the equality act, if you submit reports in bad faith, that is not a protected characteristic.

Alessandro Bosetti – Didone

LP on Kohlhaas Records [KHS 018] out April 2021, preorder at http://www.kohlhaas.it/project/alessandro-bosetti-didone/

Giulia Zaniboni, voice
Dan Kinzelman, tenor saxophone, flute
Luca Perciballi, electric and acoustic guitar
Glauco Salvo, electric guitar, banjo
Simone Sferruzza, drums
Andrea Grillini, drums

Music and concept by Alessandro Bosetti.

In September 2019 Alessandro Bosetti was invited by fellow composer and curator Riccardo La Foresta to create a new work for a newly created ensemble as part of a residency program hosted by Centro Musica in Modena, Italy.
The very first encounter took place on Skype – kind of a prediction of the forthcoming physically distanced pandemic times. The first, straight-to-the-point question Bosetti posed to each musician was to tell him the history of their life.
The materials collected in the interviews subsequently underwent a process of anonymization, selection and cut-up in order to create the imaginary autobiography of Didone, a genderless character on whom Bosetti composed a combinatory poem in 84 aphorisms, six of which have been translated into music.
The ensemble consists of extremely different musical profiles: the contemporary soprano Giulia Zaniboni, minimalist banjo and acoustic guitar player Glauco Salvo, and four musicians with a jazz background such as guitarist Luca Perciballi, drummers Andrea Grillini and Simone Sferruzza, and saxophonist Dan Kinzelman (also part of Hobby Horse trio and long-time collaborator of Enrico Rava). Some of the stylistic features of Bosetti’s project Trophies (along with Kenta Nagai and Tony Buck) can be detected here and there. Persistent repetitions, mesmerizing sonic masses and extended, oblique melodic lines are here led by the clear and precise voice of soprano Giulia Zaniboni.
The voice is at the heart of this work: the textual fragments of the autobiographies are filtered through Zaniboni’s contemporary vocality, while informing the instrumental writing as well. Themes and textures unveil traces of words or sentences; fragments of biographies are embedded in the intricate instrumental dialogue between the two drummers.
A final layer was added by Ettore Tripodi, a unique and out-of-time visual artist who imagined Didone in a series of illustrations accompanying the poem.
Didone is a work about the reconfiguration and recombination of identities, where every specific sense of belonging melts into an indistinct swarming of possibilities.

Didone is released by Kohlhaas as a black vinyl 12” LP edition of 300 copies with cover artwork and booklet featuring illustrations by Ettore Tripodi.

Recorded at Centro Musica, Modena between 18th and 22nd September 2019, under the residency program Autobiografie strumentali hosted by Centro Musica – Comune di Modena and funded by Legge 2/18 Regione Emilia-Romagna – Progetto Sonda.

Mixed by Alessandro Bosetti.
Mastered by Giuseppe Ielasi.
Cover and illustrations by Ettore Tripodi.
Layout by Campomarzio.

Thanks to Riccardo La Foresta.

Didone

Didone A13 (Cos'è un suono bello)

Amia Srinivasan joins PTO to talk about her new book, The Right to Sex. We spoke about whether it's legitimate to interrogate our sexual desires and to think about how desire is shaped by patriarchy, racism, capitalism, and heteronormativity. We also talked about why Amia takes the case of so-called incels as the way into discussing those questions. Finally, we considered the anti-pornography critique of Andrea Dworkin and Catharine MacKinnon, and whether their work can be generative in spite of its obvious drawbacks and failings.

Sex and the politics of desire - w/ Amia Srinivasan

Terry Jennings – Piece for Cello and Saxophone (SLT-007)

Saltern’s latest offering marks the first-ever release of “lost minimalist” Terry Jennings’ visionary 1960 composition, Piece for Cello and Saxophone, as arranged in just intonation by legendary composer La Monte Young for renowned cellist Charles Curtis. Born in Los Angeles in 1940, Jennings was a close associate of Young, Terry Riley, and Dennis Johnson, and an early adopter of minimalist tendencies, creating slow, sustained music, influenced by jazz, modalism, and late romantic classical music. Jennings died tragically in his early forties, most of his work lost to a chaotic life; however, his forward-looking music quietly exerted a lasting influence on composers including Young and Harold Budd. Composed over sixty years ago, Piece for Cello and Saxophone, foreshadows a number of movements in postwar avant-garde music.

Despite the title, there is no saxophone on this album. At over eighty minutes, La Monte Young’s justly tuned realization of Piece for Cello and Saxophone for cello alone unifies and extrapolates Terry Jennings’ dense harmonies, creating an extended field of complex sonorities in motion, all brought to life by the immaculate playing of Charles Curtis. The recording captures Curtis in a performance from 2016 reflecting more than twenty-five years of dedication to the piece. Piece for Cello and Saxophone is released physically on double LP and digitally with kind permission from MELA Foundation. Mixed by Anthony Burr, mastered by Stephan Mathieu, and cut to vinyl via direct metal mastering by Hans Jörg Maucksch at Pauler Acoustics. Pressed at RTI and printed at Stoughton. Includes a four-page insert with liner notes by Young, Curtis, Burr, and Tashi Wada, and a download of the full recording.

Piece for Cello and Saxophone

Terry Jennings – Piece for Cello and Saxophone (excerpt)

Take from the cassette Komare – Grace to the breathe that void (PPCS8)

Grace to the breathe that void

Komare

Paloma

Fleur d’Oranger (Rise)

"..Ishi finds Gengras continuing to take cues from the latter comparison point: its three tracks flow into each other subtly enough to qualify as passages rather than discrete songs, building and releasing with a patient determination. The music moves unhurriedly from moment to moment in a way that traces the clear outline a strong compositional foundation, producing an atmosphere that's both serene and substantial.
It’s tempting to call Ishi ambient music, but it possesses too much presence to fade into the background. It possesses an insistence that just stops short of dominating your attention. Although Gengras’ current mode relies heavily on slow-attack synth pads, he frequently works in dissonant leads and unexpectedly harsh tones that can disrupt the peaceful mood you might find yourself lulled into. It’s a soothing record, but one that’ll still keep you on your toes." - Miles Raymer, Pitchfork

Threshold

An arrangement of a synth improvisation. Taken from my new album, 'All In The Same Room' on @nicemusiclabel.
Buy LP + digital at https://nicemusiclabel.bandcamp.com/album/020-all-in-the-same-room.

All In The Same Room

The Aeolian Harp (also called Wind Harp) is a string instrument that is played by natural wind. It sounds like layered feedback or drones with rich harmonic textures that will change continuously according to the wind direction, strength and consistency. One day, I bought the materials at the local DIY store and built a small Aeolian Harp. I brought the harp outside on windy days, but it made no sound at all. Through trial and error, by altering the string materials, tension, and the angle against the wind, it finally produced a sound.

The harp resonates with the surrounding environment, changing from place to place. I put two lavalier microphones into each of its two holes to clearly record the tiny resonant sounds, without too much wind interference. What is intriguing to me is that the recording will inevitably include environmental sounds from near and far which are condensed and slightly modulated by the harp. In a way, I use the harp as a kind of transducer as well as sounding body to interact with the environment through the forces of the wind. The recordings themselves are ecological, meteorological and geomorphological observations at a certain time and place.


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http://shop.gruenrekorder.de/?full#Gruen_182

Path of the Wind | Eisuke Yanagisawa

Eric Andersen - "The Crying Space" 2xCD
www.recitalprogram.com/the-crying-space/

PRE-ORDER HERE:
www.recitalprogram.com/purchase/

Edition of 200
° Gatefold wallet with insert

Release date: Feb. 14th, 2020

Purchase

R65 - Eric Andersen - "Le Chemin Des Larmes" excerpt from The Crying Space 2xCD

K1/K2

Barnaby Raine joins PTO to talk about the EHRC report into antisemitism and the Labour Party, the suspension of Jeremy Corbyn from the party, and what the affair tells us about the treatment of antisemitism in the UK in 2020.

#100 Corbyn, Labour, and the EHRC report w/ Barnaby Raine

A podcast on radical politics, critical theory, and history. Hosted by Alex Doherty.

Patreon: https://www.patreon.com/poltheoryother

Contact: politicstheoryother@gmail.com

#100 Corbyn, Labour, and the EHRC report w/ Barnaby Raine

Politics Theory Other

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