£10.49 for download, yet I bought the CD at a shop for £6.99. It seems illogical that the physical product is cheaper - and it wasn't a sale or special price either.
Leyland Kirby (aka The Caretaker, The Stranger, v/vm) - We drink to forget the coming storm.
''We drink to forget the coming storm'' is collection of forty tracks released on my fortieth birthday.
For just forty days and forty nights it is available for free (and for a donation) as a thank-you for your support and interest in my works.
For those wishing to pay for this album you can.
As this is released for my birthday I would suggest the price of a birthday whisky to be a fair price for this collection should you wish to pay. Then I feel we will raise the virtual glass connected together for good health and fortunes.
Running in total at over three hours. It is not a fixed release and should be used sparingly in your own favourite track combinations.
It can be used to uplift on the low days, to gain strength and clear the mind. Each track combines the same elements piano, digital strings and synthesized choir. There are dark twists and light passages. It leads you somewhere whilst going nowhere.
A reflection of a time passing, a glimpse back into my own past, a look forward into the forthcoming abyss. Recorded through the darkest night hours during periods of disillusionment. There were no second takes, so we enjoy the errors and misadventures.
Like life itself wrong notes may be hit, there maybe the odd distortion, melodies drift and we hope to gain strength from the introspective nature of the work. We cover no new ground. We wear our hearts on our sleeves.
Wishing you all the best from Krakow where I raise the glass of good spirit.
Recorded by Leyland Kirby at Bochenska, Krakow in 2014.
Digital cover art painted by the meister Ivan Seal.
Created from an original photograph taken by Jorge Ballarin in Room 808 at NH Sur, Atocha, Madrid.
A repost from the N&N thread about one of the best albums from 2013 (and not on my best of list, shame on me !)
Nina Berman, vocals
Amanda Gregory, vocals
Katya Powder, vocals Andrew McKenna Lee, guitar
Paul Orbell, guitar
Jude Traxler, percussion
Michael McCurdy, drums and percussion
Joseph Higgins, bass
- with special guests, the MIVOS String Quartet
- "The Knells is a grand statement of purpose coming from Brooklyn-based artist Andrew McKenna Lee. A seasoned performer and composer who has showcased his talents in esteemed venues including the Walt Disney Concert Hall in Los Angeles, Brooklyn Academy of Music, and Carnegie Halls Zankel Hall, Lee created The Knells to be a working reconciliation of the multitude of different musical styles he has absorbed: as a rock guitarist who has performed alongside legends Billy Idol and former Sex Pistols guitarist Steve Jones; as a singer/songwriter; as a serious concert music composer; and as he is most widely known a classical guitar virtuoso.
The Knells is the name of both Lees adeptly-composed hour-long song cycle as well as the hybrid ensemble Lee assembled to perform the project, consisting of three stunning female vocalists (Nina Berman, Amanda Gregory, Katya Powder), dual electric guitars (Andrew McKenna Lee, Paul Orbell), drums (Michael McCurdy), mallet percussion (Jude Traxler), electric bass (Joseph Higgins), and the critically lauded Mivos String Quartet. Blending Renaissance polyphony, symphonic lieder, jazz, classic and progressive rock, and even 60s Motown vocal music, The Knells finds Lee expanding his creative scope, embracing many of the stylistic streams that have come to define modern song in a remarkably cohesive and unique experience.
Lyrically, The Knells pays homage to the classic idea of the thematic concept album, and examines some of the personal and eternal questions that define and confound the human search for meaning and significance. In service of this overarching theme, The Knells confronts such specific ideas as ones perception of the passage of time, the illusive nature of progress, the power of perspective in deriving meaning from ones own life, and the circular and ultimately transcendental if somewhat violent beauty of nature.
Sonically, The Knells finds Lee employing a veritable armada of instruments, sounds, and ideas to explore the wide dynamic range of the amplified ensemble. Softer chamber music passages for strings, bowed percussion, and quiet guitars frequently contrast with louder, more rhythmically driven passages. The constant throughout is a trio of female vocalists that deliver hypnotic incantations - sometimes homophonically, and at other times in complex contrapuntal arrangements.
The Knells was chosen for the title of the project for its connotations of sound (i.e. the ringing of a bell), its associations with death, and the way these two elements play into the overall fabric of the work. This interplay is further enhanced by the album artwork, which was designed by renowned artist Shepard Fairey. Overall, the album is an adventurous and rewarding exploration of the sounds and significance of the world around us.
Previously, Lee has released two commercial recordings. His debut release on New Amsterdam Records, Gravity and Air, was named one of the years Top Ten Best Classical Albums of 2009 byTime Out Chicago. Released the same year, Solar/Electric also met with critical praise, most notably from composer Steve Reich, who declared Lees realization of his work Electric Counterpoint, a magnificent performance beautifully recorded.
- New Amsterdam http://theknells.com - http://www.mivosquartet.com - music
"A soundtrack featuring a Senegalese singer, five Sardinian voices and a Dutch cellist is mesmerizing and beyond categorization."[/i]
Sounds for two films by Werner Herzog
»The White Diamond« and »The Wild Blue Yonder«
- "Music has always played a central part in the art of film director Werner Herzog. It is never an 'add-on' but always an integral part of any creation, whether feature-film or documentary. In 2004 Werner Herzog came to Munich to see Stefan Winter because he wanted to find some very personal music for the documentaries »The Wild Blue Yonder« and »The White Diamond«. Stefan Winter played the music of »Colla Parte«, »Colla Voche«, »Janna« and other sounds performed by the artist Ernst Reijseger. Werner Herzog found what he was looking for: "I want to use imagery and sound in a way you have never before experienced." This musical vision led to extraordinary recording sessions in Paris, Ludwigsburg and Munich. Werner Herzog was joined by Dutch cellist Ernst Reijseger, Senegalese singer Mola Sylla, and the Voches de Sardinna called Tenore e Cuncordu de Orosei. An initially unlikely assemblage became a powerful, unique and extraordinary work. Uniting this with vintage recordings from Friedrich Händel's "Dank sei dir Gott" featuring singer Emmi Leisner, a very original score was produced. This album is the AudioFilm [cinema for closed eyes] »Requiem For a Dying Planet« by Stefan Winter, inspired by works recorded for Werner Herzog.
After a false start about twenty years ago Ernst Reijseger and Stefan Winter met in Munich in 1996. Since that time the cellist, composer and performance artist Ernst Reijseger and the producer Stefan Winter started a very close artistic cooperation and friendship. Ernst Reijseger's debut solo album was recorded at the Villa Medici in Briosco near Milano. During that recording session friends from the Italian Jazz Festival Clusone came to Briosco to hear and see Ernst Reijseger and they brought with them a cassette of the Voches de Sardinna which created Stefan Winter's curiosity in Sardinian choir music. In the following years Ernst Reijseger and Stefan Winter travelled together to Venice, and during a special Winter & Winter artist meeting the Tenore e Cuncordu de Orosei (Voches de Sardinna) and Ernst Reijseger performed at Caffè Quadri on St. Mark's Square. The album »Colla Voche«, produced on the island Sardinia was the result of this wonderful first collaboration in Venice. The musical journey went on and Ernst Reijseger recorded in Bordeaux (Musiques de Nuit invite Winter & Winter) the album »Janna« dedicated to his daughter featuring the African singer Mola Sylla and the percussionist Serigne C. M. Gueye. Other works with Uri Caine (»Goldberg Variations«), Fumio Yasuda (»Kakyoku«), the Graewe, Reijseger, Hemingway Trio (»Continuum«), Stefan Winter's »Kastanienball«, Vittorio Ghielmi's gamba sound excursion "Full Of Colour" followed. Ernst Reijseger played also an important role in the sound story »Au Bordel«. Not to forget Stian Carstensen's »Backwards into the Backwoods« and the almost non classical new music group Amsterdam String Trio with »Winter Theme«.
In his adopted home Los Angeles Werner Herzog discovered same of these wondrous musical works and he was curious to hear more. In Winter & Winter's show room in Munich he listened for hours to Ernst Reijseger. Werner Herzog was in the process of finishing the documentaries »The White Diamond« and »The Wild Blue Yonder« and Ernst Reijseger's music fulfilled his extraordinary expectations to create a soundtrack for very special stories about the airship engineer Dr. Graham Dorrington in Guyana (»The White Diamond«) and the fiction about an exceptional planet (»The Wild Blue Yonder«). Ernst Reijseger, Mola Sylla and the Voches de Sardinna performed and created together sounds and songs for Werner Herzog."
- Winter & Winter 2006
- Ernst Reijseger again, this time with: Earl Howard, synthesizer, live processing; Georg Graewe, piano; Ernst Reijseger, cello; Gerry Hemingway, drums.
- "Earl Howard's Clepton (2006) is as complex, mysterious and poetic as the outer limits of science he finds inspiration in, and the imagery of particle physics is particularly appropriate for the extraordinary interaction that takes place between the composer and his three playing partners throughout Clepton's 38 minutes. For Gerry Hemingway, "these are models that might be referenced to help us focus our approach to a given section-a basic understanding of scientific principles and concepts is useful as they often have terminology that better articulates the intent of a player's actions rather than, say, feelings which are more vague and open to interpretation."
Rosebud, a Howard/Hemingway duo recorded during a tour of upstate New York back in 1989, is as fresh and challenging as if it had been recorded yesterday. What's particularly remarkable is the range of color and timbral sophistication of Howard's electronics. Milton Babbitt's famous line about nothing growing old faster than a new sound certainly applies to the world of electronic keyboards; tune in to your local Top 40 station and if you hear a mellotron, an ARP Odyssey, a Yamaha DX7 or a Korg M1 you have a pretty clear idea as to when the song was recorded. Very few musicians have taken the time to explore these instruments in depth and go beyond the standard patches that soon sound dated, even clich
BC. streaming the brand new album from the amazing: - "Almost 2 hours long, this live electronic music by the CEE is a collection of several recently composed and improvised pieces. It was recorded in the spring of 2013 with editing, mixing, and mastering taking place throughout the following year. It was a difficult time for us as Larry was sick and unable to join us on any of the sessions, however his influence is present in the creation of this music. We are pleased to share these compositions with listeners around the world.
We dedicate this album to the memory of our dear friend and CEE co-founder, Larry Lake (1943 - 2013).
This album always makes me think of Amiestreet. There I was one day playing the game of grab-the-album-that-just-got-posted-for-free-but-looks-as-if-it-was-not-made-by-a-12-year-old-and-will-climb-in-price-and-earn-me-credits, and I grabbed this one never having heard of the band. And I liked it. A lot. And it led me to Tarwater and other side project stuff. Good old Amie.
Comments
And this is why Phil Collins appears in my last.fm lists!
Zao - Where Blood and Fire Bring Rest
I would never have heard this were it not for my son's metal period. Still like it a lot.
Free 5 track sampler from Noisetrade
£10.49 for download, yet I bought the CD at a shop for £6.99. It seems illogical that the physical product is cheaper - and it wasn't a sale or special price either.
The Drift - Blue Hour
Then:
Miles David - Blue Moods
etc. (& there was some Chopin before that)
High Skies - Sounds of Earth
20 years old on Saturday.
Craig
Andrew Liles / Bandcamp / Name your price
ETA:
Zubatto Syndicate by Boscology
Catching up with this a couple of years after the rest of you. Not sure I was listening to jazz much when it came around. Nice enough so far.
One of Jonah's recs. Two long pieces, nice improvs. $2 at Play store.
Leyland Kirby (aka The Caretaker, The Stranger, v/vm) - We drink to forget the coming storm.
Grading papers and working my way through All India Radio from the Free Stuff thread....
Multi?-?filament by Le Moors
Nina Berman, vocals
Amanda Gregory, vocals
Katya Powder, vocals
Andrew McKenna Lee, guitar
Paul Orbell, guitar
Jude Traxler, percussion
Michael McCurdy, drums and percussion
Joseph Higgins, bass
- with special guests, the MIVOS String Quartet
- "The Knells is a grand statement of purpose coming from Brooklyn-based artist Andrew McKenna Lee. A seasoned performer and composer who has showcased his talents in esteemed venues including the Walt Disney Concert Hall in Los Angeles, Brooklyn Academy of Music, and Carnegie Halls Zankel Hall, Lee created The Knells to be a working reconciliation of the multitude of different musical styles he has absorbed: as a rock guitarist who has performed alongside legends Billy Idol and former Sex Pistols guitarist Steve Jones; as a singer/songwriter; as a serious concert music composer; and as he is most widely known a classical guitar virtuoso.
The Knells is the name of both Lees adeptly-composed hour-long song cycle as well as the hybrid ensemble Lee assembled to perform the project, consisting of three stunning female vocalists (Nina Berman, Amanda Gregory, Katya Powder), dual electric guitars (Andrew McKenna Lee, Paul Orbell), drums (Michael McCurdy), mallet percussion (Jude Traxler), electric bass (Joseph Higgins), and the critically lauded Mivos String Quartet. Blending Renaissance polyphony, symphonic lieder, jazz, classic and progressive rock, and even 60s Motown vocal music, The Knells finds Lee expanding his creative scope, embracing many of the stylistic streams that have come to define modern song in a remarkably cohesive and unique experience.
Lyrically, The Knells pays homage to the classic idea of the thematic concept album, and examines some of the personal and eternal questions that define and confound the human search for meaning and significance. In service of this overarching theme, The Knells confronts such specific ideas as ones perception of the passage of time, the illusive nature of progress, the power of perspective in deriving meaning from ones own life, and the circular and ultimately transcendental if somewhat violent beauty of nature.
Sonically, The Knells finds Lee employing a veritable armada of instruments, sounds, and ideas to explore the wide dynamic range of the amplified ensemble. Softer chamber music passages for strings, bowed percussion, and quiet guitars frequently contrast with louder, more rhythmically driven passages. The constant throughout is a trio of female vocalists that deliver hypnotic incantations - sometimes homophonically, and at other times in complex contrapuntal arrangements.
The Knells was chosen for the title of the project for its connotations of sound (i.e. the ringing of a bell), its associations with death, and the way these two elements play into the overall fabric of the work. This interplay is further enhanced by the album artwork, which was designed by renowned artist Shepard Fairey. Overall, the album is an adventurous and rewarding exploration of the sounds and significance of the world around us.
Previously, Lee has released two commercial recordings. His debut release on New Amsterdam Records, Gravity and Air, was named one of the years Top Ten Best Classical Albums of 2009 byTime Out Chicago. Released the same year, Solar/Electric also met with critical praise, most notably from composer Steve Reich, who declared Lees realization of his work Electric Counterpoint, a magnificent performance beautifully recorded.
- New Amsterdam
http://theknells.com - http://www.mivosquartet.com - music
ETA
Sounds for two films by Werner Herzog
»The White Diamond« and »The Wild Blue Yonder«
- "Music has always played a central part in the art of film director Werner Herzog. It is never an 'add-on' but always an integral part of any creation, whether feature-film or documentary. In 2004 Werner Herzog came to Munich to see Stefan Winter because he wanted to find some very personal music for the documentaries »The Wild Blue Yonder« and »The White Diamond«. Stefan Winter played the music of »Colla Parte«, »Colla Voche«, »Janna« and other sounds performed by the artist Ernst Reijseger. Werner Herzog found what he was looking for: "I want to use imagery and sound in a way you have never before experienced." This musical vision led to extraordinary recording sessions in Paris, Ludwigsburg and Munich. Werner Herzog was joined by Dutch cellist Ernst Reijseger, Senegalese singer Mola Sylla, and the Voches de Sardinna called Tenore e Cuncordu de Orosei. An initially unlikely assemblage became a powerful, unique and extraordinary work. Uniting this with vintage recordings from Friedrich Händel's "Dank sei dir Gott" featuring singer Emmi Leisner, a very original score was produced. This album is the AudioFilm [cinema for closed eyes] »Requiem For a Dying Planet« by Stefan Winter, inspired by works recorded for Werner Herzog.
After a false start about twenty years ago Ernst Reijseger and Stefan Winter met in Munich in 1996. Since that time the cellist, composer and performance artist Ernst Reijseger and the producer Stefan Winter started a very close artistic cooperation and friendship. Ernst Reijseger's debut solo album was recorded at the Villa Medici in Briosco near Milano. During that recording session friends from the Italian Jazz Festival Clusone came to Briosco to hear and see Ernst Reijseger and they brought with them a cassette of the Voches de Sardinna which created Stefan Winter's curiosity in Sardinian choir music. In the following years Ernst Reijseger and Stefan Winter travelled together to Venice, and during a special Winter & Winter artist meeting the Tenore e Cuncordu de Orosei (Voches de Sardinna) and Ernst Reijseger performed at Caffè Quadri on St. Mark's Square. The album »Colla Voche«, produced on the island Sardinia was the result of this wonderful first collaboration in Venice. The musical journey went on and Ernst Reijseger recorded in Bordeaux (Musiques de Nuit invite Winter & Winter) the album »Janna« dedicated to his daughter featuring the African singer Mola Sylla and the percussionist Serigne C. M. Gueye. Other works with Uri Caine (»Goldberg Variations«), Fumio Yasuda (»Kakyoku«), the Graewe, Reijseger, Hemingway Trio (»Continuum«), Stefan Winter's »Kastanienball«, Vittorio Ghielmi's gamba sound excursion "Full Of Colour" followed. Ernst Reijseger played also an important role in the sound story »Au Bordel«. Not to forget Stian Carstensen's »Backwards into the Backwoods« and the almost non classical new music group Amsterdam String Trio with »Winter Theme«.
In his adopted home Los Angeles Werner Herzog discovered same of these wondrous musical works and he was curious to hear more. In Winter & Winter's show room in Munich he listened for hours to Ernst Reijseger. Werner Herzog was in the process of finishing the documentaries »The White Diamond« and »The Wild Blue Yonder« and Ernst Reijseger's music fulfilled his extraordinary expectations to create a soundtrack for very special stories about the airship engineer Dr. Graham Dorrington in Guyana (»The White Diamond«) and the fiction about an exceptional planet (»The Wild Blue Yonder«). Ernst Reijseger, Mola Sylla and the Voches de Sardinna performed and created together sounds and songs for Werner Herzog."
- Winter & Winter 2006
Earl Howard, synthesizer, live processing; Georg Graewe, piano; Ernst Reijseger, cello; Gerry Hemingway, drums.
- "Earl Howard's Clepton (2006) is as complex, mysterious and poetic as the outer limits of science he finds inspiration in, and the imagery of particle physics is particularly appropriate for the extraordinary interaction that takes place between the composer and his three playing partners throughout Clepton's 38 minutes. For Gerry Hemingway, "these are models that might be referenced to help us focus our approach to a given section-a basic understanding of scientific principles and concepts is useful as they often have terminology that better articulates the intent of a player's actions rather than, say, feelings which are more vague and open to interpretation."
Rosebud, a Howard/Hemingway duo recorded during a tour of upstate New York back in 1989, is as fresh and challenging as if it had been recorded yesterday. What's particularly remarkable is the range of color and timbral sophistication of Howard's electronics. Milton Babbitt's famous line about nothing growing old faster than a new sound certainly applies to the world of electronic keyboards; tune in to your local Top 40 station and if you hear a mellotron, an ARP Odyssey, a Yamaha DX7 or a Korg M1 you have a pretty clear idea as to when the song was recorded. Very few musicians have taken the time to explore these instruments in depth and go beyond the standard patches that soon sound dated, even clich
- "Almost 2 hours long, this live electronic music by the CEE is a collection of several recently composed and improvised pieces. It was recorded in the spring of 2013 with editing, mixing, and mastering taking place throughout the following year. It was a difficult time for us as Larry was sick and unable to join us on any of the sessions, however his influence is present in the creation of this music. We are pleased to share these compositions with listeners around the world.
We dedicate this album to the memory of our dear friend and CEE co-founder, Larry Lake (1943 - 2013).
Craig
To Rococo Rot - Speculation
This album always makes me think of Amiestreet. There I was one day playing the game of grab-the-album-that-just-got-posted-for-free-but-looks-as-if-it-was-not-made-by-a-12-year-old-and-will-climb-in-price-and-earn-me-credits, and I grabbed this one never having heard of the band. And I liked it. A lot. And it led me to Tarwater and other side project stuff. Good old Amie.
Then: various future sequence comps.
Aaron Martin / Christoph Berg - Day Has Ended
The Green Kingdom - Expanses
Yellow Ostrich - Cosmos
Opening for The Antlers in a few weeks.
Craig
Sorting through some old stuff, reminds me of white t shirts, 501's and DM shoes
Brian Eno - Small Craft on a Milk Sea
Have had this quite a while but don't feel as if I know it yet. I think I acquired it amid too many other things.