Leyland Kirby: V/Vm - The Death Of Rave (A partial flashback) - "The idea for The Death Of Rave was conceived in early 2006 after a visit to the Berghain Club in Berlin. At the time Berghain was about to explode on the international club scene as a temple. The feeling was in the air that something special was happening. I went and saw a pale shadow of the past. Grim and boring beats, endlessly pounding to an audience who felt they were part of an experience but who lacked cohesion and energy. For me personally something had died. Be it a spirit, be it an ideal, be it an adventure in sound. Rave and techno felt dead to me.
The original The Death Of Rave project was vast, over two-hundred flashbacks, using all of the dance floor hits from the time and stripping theme of energy and spirit, turning them into shadows and ghosts. The material pre-dates the recent obsession younger musicians have for re-creating remembered rave textures and memories. This was not nostalgia, It was an inverted paean to a time when the music was about bringing people together for a shared experience. A time when only the music, advancement of sound and getting on one mattered.
Of course The Death Of Rave was vast, too vast to digest. It was available for free download for a number of years via the V/Vm Test label. In the end the The Death Of Rave died itself when the V/Vm Test website was deleted in full in 2008. In the intervening years I have at various times re-visited the work. And so eight tracks were lifted from the project and have now been remastered by Matt Colton as a document from a dead past. A monument to a lost work, an idea finally set in stone via a physical format. Proof of its existence.
Ivan Seal himself a veteran of the original rave times provides the glorious cover artwork in keeping with all History Favours The Winners releases. The track-listing is in reference to the strongest rave-memories I have from those nights. The people, the DJs, the cars, the violence and the long lost clubs. Flashbacks only, now consigned to my own dusty experiences."
" 'They danced like they never had before. They danced in the darkest hour before daybreak. Its dead now, over. Long may it live...
Streaming from the Guardian website. It is available at emusic but I'm not sure yet if I wil download. It did get an excellent review though
Here's a surprise for you. Keaton Henson's got a new album out and he's pulled a Beyoncé and kept it secret. Well, not completely secret, because we and we alone have an exclusive stream of Romantic Works, which is being released at the same time as this stream.
Romantic Works, Henson's third album, sprang from a series of quiet instrumental pieces he wrote. As their numbers mounted, he decided to learn the arts of orchestration and arrangement, even though he couldn't read or write music, taking inspiration from Arvo Pärt, Philip Glass, Henryk Gorecki, Edward Elgar, Ralph Vauhan Williams and Saint-Saëns. The result is a collection of songs from cello, woodwind and piano, which he describes as "bedroom classical" since he recorded the whole thing in his bedroom with layers built using found objects and charity shop instruments.
2014: a year in which classical music imposed itself on to the youth market, from the BBC's new Ten Pieces initiative, via pop-classical crossover group Clean Bandit, and now Keaton Henson. His third album further affirms his reputation as an elusive figure; taking inspiration from the likes of Arvo Pärt, Philip Glass, Henryk Górecki and Edward Elgar, he lavishes just as much sincerity into his arrangements as his words, despite being unable to read or write music. Where previously his music was characterised by morbid lyricism and weary vocal tremors, this entirely instrumental album has an instinctive feeling of sorrow. The strings in Field are sob-inducing, and Healah Dancing is spellbinding. Delicate and mournful, yet without self-pity, Romantic Works is remarkable.
- "You should know, this was all written, done and redone, crafted and recrafted by Odot at Tire Slashers between February 2004 and June 2006, except Open Malice written by Odot and Zo
Window Magic - Ghost Photography
- Manipulated and committed to tape by Andreas Bonkowski
Recorded neither here nor there over the course of eight years and assembled in a few weeks of intense research and tape experimentation"
- "Complete album on 20-30 year old used tape.
This item is self-made and not manufactured by anyone else.
Copied by hand in real-time over the original content of the used tape, the cassettes are unique items, each with its own vintage design. This edition includes a fold out artwork sheet and a print of a ghost photograph. It will not be re-released.
Strictly limited to 44 hand-numbered copies."
Name your price on Spektropol Records / Bandcamp: "Inspired by mythology, this collection explores notions of womanhood. With the Quebec-based composer's characteristic spasmacousmatic cutup textures guiding form, this is an electroacoustic chamber music that is both disorienting and utterly engaging.
--Bruce Hamilton
- "After music about manhood (Un doux rêveur dans. Homme Sauvage dit.), here is music about womanhood (Elle avait raison Hathor).
Elle avait raison Hathor is wanted disconnected, out of this world, outside socio-historical realism linked to the selected themes and mostly the least down-to-earth possible. The project is not even entirely based on the mythology (from which it is inspired freely). It is to concentrate on the composition that I do best.
Yes, there was still a form of reality in Un doux rêveur dans. Homme Sauvage dit., it was a neglected mistake, now found out, the humble enemy of unwavering cataclysms. Until today, it was only the error that we had read!
Elle avait raison Hathor also completes the logic of [{ }] made out of one song and four instrumentals. After completing a vocal version of the first composition with the help of Laura Kilty, I found myself completely satisfied : the omnipresent vocal presence has already been explored once, the dense poem is including most of the elements of the other poems, also linking the two last projects about manhood and womanhood, yet it can only be the first composition musically and lyrically.
After Izanami, it seems to me that the music is becoming a counter weight of positive energy that only gets into dark zones with confidence and strength to get out. The instrumental lightness of Maât sounded all fresh suddenly, needed after a song that was saturated on all levels. The guitar of all kinds are the true voice of this project.
Like in [{ }], the poems become an optional lyrical aspect to who want it, nothing is imposed, as opposed to the disagreements in Izanami. The interpretation remains free as much as I love lyrical songs and have little interest for the composition/collaboration with purely sound oriented vocal interpretation (a few of my compositions explored it in the past and that was enough)." - Vincent Bergeron
Comments
Radian - Live at WFMU, 2011, from fma.
Thanks somebody; I'm guessing probably brighternow; this is pretty great.
- We have Walked Behind Skies and Danced About Architecture . . .
All-star quintet album from a couple years ago
Free. I kinda love this.
Gorgeous!
V/Vm - The Death Of Rave (A partial flashback)
- "The idea for The Death Of Rave was conceived in early 2006 after a visit to the Berghain Club in Berlin. At the time Berghain was about to explode on the international club scene as a temple. The feeling was in the air that something special was happening. I went and saw a pale shadow of the past. Grim and boring beats, endlessly pounding to an audience who felt they were part of an experience but who lacked cohesion and energy. For me personally something had died. Be it a spirit, be it an ideal, be it an adventure in sound. Rave and techno felt dead to me.
The original The Death Of Rave project was vast, over two-hundred flashbacks, using all of the dance floor hits from the time and stripping theme of energy and spirit, turning them into shadows and ghosts. The material pre-dates the recent obsession younger musicians have for re-creating remembered rave textures and memories. This was not nostalgia, It was an inverted paean to a time when the music was about bringing people together for a shared experience. A time when only the music, advancement of sound and getting on one mattered.
Of course The Death Of Rave was vast, too vast to digest. It was available for free download for a number of years via the V/Vm Test label. In the end the The Death Of Rave died itself when the V/Vm Test website was deleted in full in 2008. In the intervening years I have at various times re-visited the work. And so eight tracks were lifted from the project and have now been remastered by Matt Colton as a document from a dead past. A monument to a lost work, an idea finally set in stone via a physical format. Proof of its existence.
Ivan Seal himself a veteran of the original rave times provides the glorious cover artwork in keeping with all History Favours The Winners releases. The track-listing is in reference to the strongest rave-memories I have from those nights. The people, the DJs, the cars, the violence and the long lost clubs. Flashbacks only, now consigned to my own dusty experiences."
" 'They danced like they never had before. They danced in the darkest hour before daybreak. Its dead now, over. Long may it live...
Streaming from the Guardian website. It is available at emusic but I'm not sure yet if I wil download. It did get an excellent review though
Grateful Dead - 1977-05-25 - from the Archive, the show that Dave's Picks 1 came from, recorded the day Star Wars was released.
- "You should know, this was all written, done and redone, crafted and recrafted by Odot at Tire Slashers between February 2004 and June 2006, except Open Malice written by Odot and Zo
Brad Mehldau - "Highway Rider"
Paul Motian Trio - Sound of Love
- Still available and recommended . . .
Not signed to any label.
Acid Mothers Temple - In C A mere $3 at Amazon.
To Rococo Rot - Veiculo
Window Magic - Ghost Photography
- Manipulated and committed to tape by Andreas Bonkowski
Recorded neither here nor there over the course of eight years and assembled in a few weeks of intense research and tape experimentation"
- "Complete album on 20-30 year old used tape.
This item is self-made and not manufactured by anyone else.
Copied by hand in real-time over the original content of the used tape, the cassettes are unique items, each with its own vintage design. This edition includes a fold out artwork sheet and a print of a ghost photograph. It will not be re-released.
Strictly limited to 44 hand-numbered copies."
Xavier Naidoo - Telegramm für X
John Zorn - "The Mysteries"
-A trio of Bill Frisell, Carol Emanuel, and Kenny Wollesen. As beautiful as it gets.
Joseph Beuys / Henning Christiansen - Schottische Symphonie / Requiem Of Art
Edition Schellmann, 2xLP, 1973
- Thanks Kargatron . . .
Nils Frahm - "Wintermusik"
Oregon - "Winter Light"
Donauwellenreiter - "Ann
NYOP at Bandcamp
Koen Holtkamp - Gravity/Bees
($2 at Google Play)
"Inspired by mythology, this collection explores notions of womanhood. With the Quebec-based composer's characteristic spasmacousmatic cutup textures guiding form, this is an electroacoustic chamber music that is both disorienting and utterly engaging.
--Bruce Hamilton
- "After music about manhood (Un doux rêveur dans. Homme Sauvage dit.), here is music about womanhood (Elle avait raison Hathor).
Elle avait raison Hathor is wanted disconnected, out of this world, outside socio-historical realism linked to the selected themes and mostly the least down-to-earth possible. The project is not even entirely based on the mythology (from which it is inspired freely). It is to concentrate on the composition that I do best.
Yes, there was still a form of reality in Un doux rêveur dans. Homme Sauvage dit., it was a neglected mistake, now found out, the humble enemy of unwavering cataclysms. Until today, it was only the error that we had read!
Elle avait raison Hathor also completes the logic of [{ }] made out of one song and four instrumentals. After completing a vocal version of the first composition with the help of Laura Kilty, I found myself completely satisfied : the omnipresent vocal presence has already been explored once, the dense poem is including most of the elements of the other poems, also linking the two last projects about manhood and womanhood, yet it can only be the first composition musically and lyrically.
After Izanami, it seems to me that the music is becoming a counter weight of positive energy that only gets into dark zones with confidence and strength to get out. The instrumental lightness of Maât sounded all fresh suddenly, needed after a song that was saturated on all levels. The guitar of all kinds are the true voice of this project.
Like in [{ }], the poems become an optional lyrical aspect to who want it, nothing is imposed, as opposed to the disagreements in Izanami. The interpretation remains free as much as I love lyrical songs and have little interest for the composition/collaboration with purely sound oriented vocal interpretation (a few of my compositions explored it in the past and that was enough)."
- Vincent Bergeron