Sounds Of Nepal is a 4x CD-R sound documentation of Aaron Dilloway's stay in Nepal.
Three discs of field recordings made by Dilloway in January through May 2005.
The fourth disc is a collection of 1960's through 1980's folk and pop songs compiled by Aaron from Nepali cassette tapes.
This set was originally released in 2005 as a Four Cassette box set limited to 30 copies including a "Gurka Knife" pin and Newari Cloth,
which was given to family and friends. This 2007 edition is limited to 100 copies and housed in a 5 inch "reel to reel" box.
-Beautiful sax-guitar work. Folk jazz, not unlike Jeremy Udden's Plainville. Gonna be looking into some of Machtelinckx's other work, too. Looks like similar stuff.
Wondering whether to try to write a review of this. Loscil stays very close to his standard practice, and the differences between tracks over an extended period of time are subtle; putting your finger on what's new can be a challenge. But I personally think that laboring for years to hone something is at least as worthy of respect as going for innovation. And this might also be his best album since three albums ago.
A year ago, I put out the call for drones - not just any drones, but drones that would be good to make dinner by. The inspiration came from those thematic 50's and 60's "mood music" albums...music to water the garden by, music to relax by, etc. and I received quite a range of interpretations of what exactly drones would be good while preparing dinner.
Inner Cities began in 1991 as an single innocent piano piece and has now evolved into a musical cycle of 12 pieces sometimes performed (following Daan Vanderwalles brilliant intuition) in its 6-hour entirety My goal, as always, was to reduce the musical elements to their ultimate essences, to repudiate and embrace dualism, and to emulate, even in permanent notation, the feel of spontaneous music-making. The music therefore is open, unhurried, brutally lyrical, quiet, private and tonal as it is raucous, aggressively impolite and obsessively meticulous in making the simple relations between tones and durations an unending adventure of personal wonder. Each piece starts with a single idea, chord, or cellular pattern, which serves as its own source of narrative and history. These could incorporate anything from the simplest melodicizing on a single tone, in IC I, to a vast postmodernist sonata, as in IC 10 (in itself lasting over one hour), where the music no longer understands where it is coming from or where its going.
IC 1, written as a birthday gift for Ernstalbrecht Stiebler, is composed on a single A major chord in first inversion supporting a one note melody on "A." When this gets boring the music "modulates" to a 3 note melody over a 4th chord.
IC 2 is based on two intertwined quietly arpeggiating augmented 9th chords which slowly evolve into a piano-bar rendition of the song "Body and Soul."
IC 3, incorporated later into this collection, was originally written for toy-piano, hence very minimalistic in its bold-fast attitude; it too ends on a song, written in the mid-seventies for my solo performance Light Flowers/Dark Flowers.
IC 4 dedicated to the memory of Lou Harrison, is a long and wandering but very focused melody, referring tangentially to many possible melodic practices around the world. This ends on an arpeggiated figure (quasi improvised in time) with a continuation of the former melodic essences.
IC 5 is a compressed version of the out of control structured inprov that ends IC 10.
IC 6 and 7 (written for Jed Distler) return the music to explorations of 4 part "unintentional" (multidirectional) harmony, freely interrupted by explosive and agitated mobs.
IC 7.5 is a drunken waltz which staggers out of the ethereal end of IC 7 and, while a piece unto itself, serves as a moment of comic relief on the way to IC 8.
IC 8 (written for Eve Egoyan) continues like the previous 2 works, refining the harmonic language down to just 3-part chords and taking a 40-some minute tour of the world in search of all possible family (relations and relatives).
IC 9 (written for Reinier van Houdt) is approaching virtuoso disjunctions using unique moments very high and very low and passionately letting all these spaces resolve themselves under one roof this comes in a "walking-bass" resolution at the end.
IC 10 is for Daan Vandewalle, who receives a music lasting just over one hour which is clearly a planetary sonata form where land-masses and oceans, volcanoes and rivers and quiet grasslands, all swirl out of a classic set of arpeggiated 5ths...a tour-de force structured triadic improvisation to be played as fast as possible concludes.
IC 11 is by contrast the simplest of simplest musics... a blues with a one note melody, nothing more, nothing less. This, called the Aglio Olio Peperoncino Blues, is dedicated to my dear friend and colleague Frederic Rzewski, who in a recent email suggested that these three humble foods were all one needed for lasting life: garlic, olive oil, and hot chili peppers.
I keep trying to 'get' Fennesz. I have a few of his past albums. I greatly like artists that are doing quite similar things. I still don't quite connect somehow.
Gp, it's funny - I don't "get" your not "getting" Fennesz. At least, I wouldn't have guessed you'd not outright dig his work. But TETO always rules! I feel a bit of the same way about Pjusk, one of your favorites. Anyway, I've always found Fennesz a deep well of sonic interest and engagement.
Comments
another Pink Floyd film soundtrack, from 1969, for the Barbet Schroeder film of the same name.
Ren
Various Artists (Home Normal) - Elements 2
Kind of a terrible sounding recording but I'm still enjoying the playing.
Ruben Machtelinckx - "Flock"
-Beautiful sax-guitar work. Folk jazz, not unlike Jeremy Udden's Plainville. Gonna be looking into some of Machtelinckx's other work, too. Looks like similar stuff.
Title-track on Vimeo...
https://vimeo.com/111795103
Jean Lapouge - "Plein Air"
First listen right now. No trombone this time around, it seems, so that's a disappointment. But pretty good so far.
Wondering whether to try to write a review of this. Loscil stays very close to his standard practice, and the differences between tracks over an extended period of time are subtle; putting your finger on what's new can be a challenge. But I personally think that laboring for years to hone something is at least as worthy of respect as going for innovation. And this might also be his best album since three albums ago.
Albatrosh - "Night Owl"
offthesky & ten and tracer - to all the twelve year old girls who buy our tapes
I keep trying to 'get' Fennesz. I have a few of his past albums. I greatly like artists that are doing quite similar things. I still don't quite connect somehow.
And: