y yo escucho solo la lluvia 
y solo la lluvia que me entienda 
y tu flor siempre calla en la noche 
y tu flor siempre se cierra en el dìa 
y el aqua me esta mirando 
y el aqua me esta arrastrando 
y tu alma se vuelve en esfera 
y tu mente crece en un circulo 
y al alba yo me convierto en mujer 
y al ocaso me convierto en hombre 
y tu y yo con las manos atadas 
y tu y yo con los ojos perforados 
y la lluvia cae en mi cabeza 
y la lluvia cae en mi cama 
y tus palabras son un cubo 
y tus ideas son cuadrados 
y tu y yo entre los atomos 
y tu y yo en el centro del espejo 
y yo escucho solo al nino 
y yo entiendo solo a la nina 
y el cuarto desaparece 
y la fuente sigue sigue fluyendo 
y ves el oro de la primavera 
y miras el ojo del pajarito 
y yo escucho solo la lluvia 
y solo la lluvia que me entienda 
y yo arribo en aquel monte  
donde se quedan las pesadillas  
de la nina que esta durmiendo

bassæ - c

Doris als Musikerin. 
Dass Doris tödlich ist, ist ihr selbst gar nicht so klar. Denn sie liebt eigentlich alle Menschen. Sie war sozusagen auf einem humanistischen Gymnasium, wo sie natürlich auch Musikunterricht hatte. Musik mag sie gerne, wie alles. Ob sie jetzt gar kein Instrument oder alle beherrscht, ist egal; sie findet es toll, wenn Menschen Musik machen. Doris versteht sich nicht direkt als Musikerin; das würde sie als eine Einschränkung für sich sehen. Zum Glück gibt es so viele die das Musikmachen für sie erledigen. Trotzdem ist sie keine Dirigentin. Doris singt ganz gerne, ihre Lieblingsinstrumente sind Sirenen.

 

Doris as a musician. 
That Doris is deadly, is also for herself not so clear. She actually loves all people. She was, so to say, on a humanistic high school where she, of course, also had music lessons. She likes music, as she likes everything. It does not matter at all if she does not master any instrument or all; she enjoys when people make music. Doris does not see herself as a musician; she would see that as a restriction. Luckily, there are so many who do the music making for her. Nevertheless, she is not a conductor. Doris loves to sing, her favorite instruments are sirens.

Erik Satie - Gnossienne 4
Marlene Dietrich - Wenn ich mir was wünschen dürfte
Wire - Heartbeat
Suicide - Frankie Teardrop
Throbbing Gristle - Something came over me
Adriano Celentano -  Prisencolinensinainciusol
Mauricio Kagel - 10 Märsche, um den Sieg zu verfehlen, Marsch Nr. 5
Jozéf Orliński - Cold Song
Hawkind - Silver Machine
Devo - [I Can't Get No] Satisfaction
Die Dominas – Die Wespendomina
Brian Eno - Kurt‘s Rejoinder
Can - Spoon
Grace Jones - I've Seen That Face Before (Libertango)
Amanda Lear - My Alphabet
The Velvet Underground & Nico - I’ll Be Your Mirror

Wavering Forms 52 - Die Tödliche Doris

Le personnage se dépouille de tout ce qui la rattache au monde réel et concret, pour pénétrer dans un univers confus, obscur et incertain. Une lente course poursuite vers la quête de soi, vers un hypothétique refuge. L’atmosphère de ce mix est légèrement troublante et vous invite à un voyage intérieur psychédélique. Il oscille entre expérimental et ambient électronique/symphonique, avec une révérence pour les BO de films expérimentaux. L’onirisme est très ancré dans l’imaginaire d’Emma B, planant dans des souvenirs profonds, elle se retrouve fréquemment attirée par un sentiment d’inquiétante étrangeté …  

https://www.instagram.com/soifdepoesie/
https://paravision.bandcamp.com/

Paravision invite Soif De Poesie ~ 17.07.2024

Special guest shows from around the world. 
Find the full tracklist and related episodes on NTS: https://www.nts.live/shows/guests/episodes/peel-dream-magazine-26th-september-2024

Peel Dream Magazine 260924

Lee Fraser - Reliq Ens (Ge-stell 09)

Out now on DL & streaming. Taken from the album "Autobiography (Music from Wayne McGregor's Autobiography)" out 28 September 2018.
Mu store: https://planetmu.bleepstores.com/release/105082-jlin-autobiography-music-from-wayne-mcgregors-autobiography
Bandcamp: https://jlin.bandcamp.com/album/autobiography-music-from-wayne-mcgregors-autobiography
Buy: http://smarturl.it/JlinTheAbyssOfDoubt

By now, the story of how Jlin went from working in a steel factory in Gary, Indiana to being one of the most widely appreciated electronic musicians is well known. “Black Origami” was one of the most critiically lauded albums last year. Seriously prolific and seriously hard-working, she has toured constantly since its May 2017 release and despite being involved in a wide range of projects, still manages to find a balance and “do some personal healing and growing.”

Here we are over a year later with “Autobiography,” the score for her collaboration with renowned British choreographer Wayne McGregor (arranged by Unsound). This isn’t technically her third album (that’s due to arrive in 2019 or 2020), but the soundtrack flows with all the emotional peaks and troughs of a well-sequenced LP.

For Jlin, making music for dance is the fulfillment of one of her lifelong dreams – and remarkably, Company Wayne McGregor’s performance was the first show she’d ever seen. She describes the process of working with Wayne: “We first met face to face in October 2016 in a downtown Chicago hotel, talking for about a solid two hours. Immediately, I saw Wayne was very friendly and energetic. He’s brilliant, witty, and knows exactly what he wants; an absolute gem to work with. Before I even started composing for Autobiography, Wayne told me so gently that he trusts me completely with my direction of creating the score. That was the best feeling in the world. I would wake up at two in the morning and work until six in the evening until I completed all the pieces. We were both very happy with the outcome. Creating the score for an impeccable piece of work such as Autobiography changed my life as an artist.”

“Autobiography” is a highlight in an evolving and growing career. During the last year, Jlin has also become an in-demand remixer, securing her place among a roster of music heavyweights. Unsurprisingly, given her positive and outgoing nature, she also developed friendships with the artists she has remixed such as Björk, Max Richter and Ben Frost.

Jlin will be touring with Company Wayne McGregor performing “Autobiography” this year into next. She’s also completing a commission for the Kronos Quartet titled “Little Black Book.” She still approaches every performance “with the same attitude of doing my best to execute a good show, no more, no less. Doing my best is what’s most important to me.” She also still lives in Gary, Indiana, which keeps her grounded. She notes with her typical humility, “The local community is a little more knowledgeable of me now. But I don’t mind my community taking its time.”

Autobiography

Jlin - The Abyss Of Doubt

Quel lien entre l'évolution musicale libanaise, qui s'amorce de manière intense à partir de la deuxième moitié du XXème siècle, et l'art ancestral de la dabké arabe ? Dans cette grande histoire, qui rencontre immanquablement l'histoire du Liban et la création de son Etat-Nation, il y a des personnages incontournables comme l'ensemble de la famille Rahbani (de Fayrouz à Ziad en passant par le trio des frères Assia, Mansour et Elias), mais aussi la flamboyante Sabah, la cheffe de file du répertoire bédouin revisitée Samira Tawfik ou encore Tony Hanna ! 
Il s'agira moins d''analyser la dabké , dans son répertoire original et partagé entre tous les pays du Proche-Orient arabe, que de voir à quel point l'influence de la dabké a joué un rôle dans différents genres musicaux libanais et ce dès l'indépendance du Liban. 


Playlist indicative :

1- Fayrouz et Nasri Shamseddine -  3ala el houp 
2- Nasri Shamseddine - Ya Zarif al tool 
3- Fayrouz - Al bosta (Live Dabké  à l'Olympia 1979) 
4- Sabah - Zaafé ya Shabeb 
5 - Samira Tawfiq - Ya 3in el moulayetin 
6 - Tony Hanna - Men sharadly alghazala
7- Elias Rahbani - Yalla dabke !
8- Fayrouz, Wadie Al Safi et Nasri Shamsedinne - Saherna Saherna (Live  Baalbeck 1973)

ZIDAPHONE #04 | Yalla Dabké ! La dabké dans la modernité musicale libanaise

1771

nunu - Cherish

no one wants to admit that i am afraid (for W.B.) [emotionally overextended version] 
Pinkcourtesyphone

there comes a time on any dance floor when the lights go low, the music turns pretty, and everyone gets that cheek-to-cheek look in their eyes. 

this deflated valentine from Pinkcourtesyphone is not for that time. 
is your heart awake... yet? 


originally created during the "sessions" for the album September 2020 Pinkcourtesyphone 'Leaving Everything To Be Desired' (room40, Australia) [https://richardchartier.bandcamp.com/album/leaving-everything-to-be-desired] 

... further manipulations, pokings, and frostings continued through January 2021.
released February 5, 2021 as a bandcamp exclusive download

photography: James Elaine 
thank you: L.English, W.Basinski, J.Elaine, M.Harding 

published by Touch Music/Fairwood Music UK Ltd 
3particles28

Desensualized

no one wants to admit that i am afraid [emotionally overextended version] by Pinkcourtesyphone

Podcasts sur le patrimoine musical arabe et les genres musicaux arabes. 

Tous les podcasts sont enregistrés de façon indépendante et bénévole. Afin de prévenir toute spoliation ou appropriation de mon travail, je vous prie de référencer systématiquement les émissions et de renvoyer vers ma page @VintageArab. Pour me contacter : vintagearab.podcast@gmail.com

ZIDAPHONE #04 | Yalla Dabké ! La dabké dans la modernité musicale libanaise

Vintage Arab