The Four Horsemen was a sound poetry group of Canadian poets composed of bpNichol, Rafael Barreto-Rivera, Paul Dutton and Steve McCaffery. The group started performing in 1970 and quickly moved from radical improvisation to the use of a notational system - with an effort to develop a scoring method adequate to the group's dynamic and visceral sound show - designed to give them even more freedom of expression. The group became then a living workshop with regular weekly rehearsals leading to the best refined group-conceived and group-written compositions. The excitement generated by composing and performing poetry separately is magnified when these acts are in conjunction. Nada Canadada - nine outbursts of controlled madness dedicated to the memory of Hugo Ball - is one of the highest examples of poetry as product of a community.
La Quiete-La Fine Non E La Fine full album zip
Download: https://urllio.com/2vIiaf
An improvised session recorded live by Matt Bordin at Outside Inside Studio, where the Squadra goes nervously FREE - constantly suspended and harmonically non resolved - following a trail of skilled atonal jazz rock guitar tunes leading to moments of dazed electronics. Definitely not an easy-listening album, wonderfully rendered by a masterful cut made by Daniel Krieger at SST in Frankfurt. For fans of early ECM records. Cover artwork by Re delle Aringhe.
"I have worked together with sheep before" - says Henning Christiansen - introducing the performance he did in front of the Brucknerhaus in Linz in July 1988. But this time he went beyond, building a "Concert-Castle" with hay blocks where thirty sheep could perform music. Another time the animals - Christiansen's obsession and passion - become the musical instruments used for his compositions: "Originally most of instrumental sounds derived from animal voices or other sounds of natural phenomena. The violins, for instance: someone found out that stretched intestines, dried bowels, could produce a sound. This has simply been civilized, refined".
"In the caliber of multi-album statements like Taylor's Nuits de la Fondation Maeght (Shandar, 1969) and string instrumentalist and composer Alan Silva's Seasons (BYG, 1970), Gümüslük Sessions: At Lon's stretches out texturally and conceptually, although there's a loose, homegrown informality unique to these musicians' orbit (partly attributable to the dry, open recording quality). The initial marathon pace relaxes into nattering trails and the full ensemble falls away to reveal spare duos and trios over the course of eight sides. Ertunç's piano ebbs as zurna, flutes and bamboo reeds, auxiliary percussion and voices draw out the music's connection to folk forms, as well as the interleaved East-West textures of Yusef Lateef and the AACM. As 'out' as the music gets, there's always a center in Ertunç's keyboard approach; moreover, his linkages with the pliable, allover percussive buzz and thrumming pizzicato create a constant burble of jabbing movement. This is a clunky, Monkish swing or a playful push-pull, rather than the 'tinka-tinka-ting' of bebop. Concentrated, unflagging and incredibly spiritual, Ertunç, Cağlar, Doğusel and Tan have convened to structure an incredibly personal artistic document that speaks to the universal possibilities of freedom." (Clifford Allen)
A real gem. Folk unit mixed with tape music. Loose thin line between composed and improvisation or, as member Dan Johansson himself defines it: "quite sparse outsider anti-music". The Enhet starts where Ättestupa ended. Strictly limited to 150 copies, then looking forward to Dokument 2.
The aim is to build some kind of musical skeletons designed not to be covered in flesh and tissues, but trying to reduce everything to the bone. This double release marks the end of the journey started with 220 Tones (Die Schachtel, 2011) and continued with Streengs (Senufo Editions, 2012), focusing the research on the use of well-defined sound to be used now as a rhythmic element, now as en electronic impulse or eventually as a self-standing musical element. Simple sounds generated with magnetic tape saturation or electric pulses match with elements belonging to the language of techno music, shifting the focus away from its usual (and predictable) axis to a new (and eccentric) point of view.
The Ensemble performs playing large sheets of metal and producing amazingly droning sounds. These live recordings are the result of an evolutionary refinement of instrumental design and playing techniques which Robert Rutman explored and develped after a ten year period of practice. He invented the two only instruments played by the Steel Cello Ensemble: the Bow Chime - a six foot sheet of steel formed into a horizontal curve with an iron bar attached to the top corners of the metal sheet - and the Single String Cello - an eight foot sheet suspended vertically from a stand. This limited reissue has been released in occasion of Bob Rutman's 83rd birthday party concert at Cookies, in Berlin.
La Quiete is one of the most popular italian hardcore bands, with a huge discography mainly consisting of splits with bands from all around the world. They toured everywhere and their one and only LP - La fine non è la fine (Heroine Records, 2004) - has been repressed many times in any possible format.
First full lenght by this three piece from Nottingham, England. They play some kind of noisy post punk reminiscent of bands as Polaris, Minutemen, Moss Icon and so on, adding some DC Revolution Summer influences. Quiet and loud parts succeeding each other continuously, now filled with spoken words, now with yelling vocals. At times it sounds like they have a gun to their heads as the vocals struggle to keep up with the music, slowing down only to bring some grooves and some twinkles before upping the urgent shaky beat again. This is quite a mature LP. It seems weird saying that about a bunch of boys barely out of school and short trousers, but you don't hear many albums that are as tightly bound as this, a ball of mad energy that at times just rolls to a halt and becomes introspective and thoughtful. - Andy Malcolm, Collective Zine
Uber define themselves as an "istant-rock" band. We honestly don't know what this means - at least we are not sure - so all we can say is that their songs result filling essential forms and repeating melodies with some jazzy saxophone notes, scrambled guitars and nervous drumming jerkily sobbing here and there. 2ff7e9595c
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