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SOUNDTRACKS OF OUR LIVES. Our neighbors listen to GOOD MUSIC whether they like it or not. MAKE MUSIC NOT MISSILES.
While Gallo had already been making music for roughly two decades at the time of his release of the “Brown Bunny” soundtrack, and the four release issued by Warp in rapid succession between 2001 and 2002 - “When”, “Honey Bunny”, “So Sad”, and “Recordings of Music for Film” - the almost fanatical fandom reached a fever pitch at the moment, allowing him, for some, to be regarded as much, if not more, as a musical artist than an actor and filmmaker. Anyway you cut it, in a few short years, he proved himself to be a polymath of rare talent.
Somewhere along the way, while both were working as members of Yoko Ono's Plastic One Band, Gallo met the New York based, highly regarded singer-songwriter, guitarist, and producer, Harper Simon, who also happens to be the son of Paul Simon. The pair fell into an incredibly fruitful duo collaboration, which came to be called Butterfly, and “The Music of Butterfly” being their debut full-length release.
Written, performed, and recorded by Vincent Gallo and Harper Simon in New York City between the winter of 2018 and the spring of 2019, the ten tracks comprising “The Music of Butterfly” are cumulatively a gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, making one feel like barely a moment had passed since we’d encountered his graceful hand at song-craft.
Stripped back and raw, while retaining a sense of warmth and intimacy, across the length of “The Music of Butterfly” the duo of Gallo and Simon weave something completely captivating at the juncture of minimalism, experimentalism, and pop: meandering moments of texture and tone, slowly forming toward flirtations of melody that flower into song and back again. Somehow playful and light, while also remarkably emotive and personal, it’s almost as though each of these tracks crystallised out the air, unlabored and exactly as they should be without a note or beat more.
An engrossing immersion into both Gallo and Simon’s remarkably accomplished minds, having followed the path toward one another after radically different experiences and careers, “The Music of Butterfly” is one of those records that’ll be hard to get off the turntable after that first needle drop, and rarely leave the listening pile for some time to come. Issued by Family Friend Records in
a beautiful deluxe edition that is unmatched even among the most stunning recent productions we can call to mind
- 180g vinyl in textured heavy gatefold cover with paste-on artwork and special anti-static innersleeve - it’s lovely to have Gallo back in the musical mix after so many years.
https://aftersabbath.blogspot.com/search/label/Smash?m=0
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https://en.wikipedia.org/wiki/You%27re_Not_Elected,_Charlie_Brown_(soundtrack)
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Versión corregida con los temas bien nombrados y la portada adecuada.
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Thanks to David Hopkins, an avid collector of vintage Japanese recordings, for providing the label translations and descriptions below. Very much appreciated!!
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Fascinating collection of of vintage pre-1930 Japanese 78 rpm records.
Filled with pops, clicks, and scratches that only add to the musics' charms.
All track info available, and other info, listed and linked here.
"Thanks to David Hopkins, an avid collector of vintage Japanese recordings, for providing the label translations and descriptions below. Very much appreciated!!"
Rarities (1984-1991)
6-1 Concrete Noise
6-2 Nun Chiove
6-3 Voila Les Tropiquês
6-4 Perche’ (Fragments 1 & 2)
6-5 In Bucarest
6-6 Variations from "Funeral Jars"
6-7 La Notte Delle Fiabe
6-8 Tiddley Wings Part 4
6-9 Perche’ (Fragment 3)
6-10 Orgasmxas
6-11 Penguins In A Cup Of Coffee
6-12 La Polvere D'Inverno
6-13 La Fragile Vita Dell'Uccellatore
6-14 Picnic Sound
Between 1985 and 1991, The Doubling Riders produced 4 remarkable albums - Doublings & Silences Volume I & Volume II, World!, and Garama, each taking the group’s singular sonic universe one step further. While sinfully overlooked at the time, each has become heavily hunted on the collectors market in recent years. Poetic, abstract, creatively visionary and ambitious - blending countless musical territories into one cohesive field, Spittle Records’ collection, The World of The Doubling Riders, gathers the entirety of the trio’s fully remastered discography, adding a sixth disc of previously unreleased material and rarities. Making the set’s importance even more remarkable, is the fact that the bands first two LPs have never been reissued on any format, making this the first CD edition of both. A thrilling ride of adventurous sound which falls across the same creatively fruitful years which gave way to Sinigaglia’s seminal Riflessi, Andreoni & Paladino’s - Aeolyca, and Andreoni’s output within Andreolina, An Island In The Moon.
When it comes to Italian experimentalism from the 80’s and 90’s this one is about as long overdue and historically important as they come! Absolutely essential on every possible count. Not to be missed. Grab it fast. This one is going to sell out fast!
The Gurzenich-Orchester of Cologne has a pedigree second to nonecounting Gustav Mahler and Richard Strauss among those who have entrusted it with premieres of their worksand when you hear this new recording the reasons for this are clear. Devastating brass combines with mellifluous winds and strings in a performance of Schoenbergs late Romantic masterpiece. Markus Stenz conducts a fine line-up of soloists and marshalls the massed choirs in this most epic of works.
Opinión
It shines a new light on this fascinating piece and has a fierce conviction and integrity all its own. I can't imagine anyone interested in the work will want to be without it. GRAMOPHONE EDITORS CHOICE --Gramophone, Aug'15
Schoenberg's vast Gurre-Lieder began life in 1900 as a modest song cycle for soprano, tenor and piano, its texts drawn from Danish poetry. He suspended work on the piece in 1903, returning to it in 1910 by which time his musical style had radically changed. As had the scale of the piece, which ideally needs between 300 and 400 performers, six vocal soloists and over 100 minutes. Not forgetting the ratchet and some iron chains. The extravagant forces are used with admirable restraint, and performances remain an expensive rarity. Schoenberg was dismayed by the cantata's positive reception when it was first performed in 1913 and refused to face the audience understandably irked that it was received more positively than his more radical later music. Economics dictate that most modern recordings are made live. Not here this radiant new Gurre-Lieder was recorded over four days in June 2014. The gains are immense; Markus Stenz's theatrical nous never lets things sprawl, and the playing and singing are faultless. Crucially, no-one ever sounds on the point of collapse, and the closing chorus blazes. Schoenberg's prelude, seven minutes of delectable minimalist twinkling, is extraordinary. Brandon Jovanovich's and Barbara Haveman excel as Waldemar and Tove, and there's a wonderful cameo from Claudia Mahnke as the Wood Dove at the close of Part One. Part Three's rattling coffin lids are judged to perfection, and there's a nice turn from Thomas Bauer as the Peasant. Stenz's male chorus, often a weak link, are heroic. The final melodrama's modernism is startling, taking us from early Mahler to expressionist, mature Schoenberg. It s some of the spookiest music ever composed. Johannes Martin Kränzle's sprechtstimme is neatly handled, before the unexpectedly radiant final minutes. All judged to perfection, and Hyperion's sound has impact, warmth and plenty of detail. Essential listening if you've a weakness for late-romantic blockbusters, and this recording is among the best. --ArtsDesk, 15/8/15
La evolución de la Música comienza en una edificación sobre la tonalidad, alcanza su pleno desarrollo (Bach), se hace más compleja gracias a un juego refinado de disonancias (los románticos), llega hasta su dispersión (Wagner) y luego rechaza la tonalidad (segundo Escuela de Viena). Para muchos aficionados, Arnold Schönberg es el responsable principal de la desconexión entre la música del siglo XX y sus audiencias, pues fue él quien inició la ruptura. Pero antes estuvieron los Gurre-lieder, una obra de exuberancia postromántica muy impactante en concierto, experiencia que resulta muy difícil replicar en el domicilio, aunque no es muy habitual escucharla en concierto por las fuerzas masivas que requiere. En esta obra de estética post-romántica prevalece el sentido de lo fantástico que ilumina los ricos colores orquestales de Schönberg. Es una cantata monumental en tres partes para solistas vocales, narrador, coros y orquesta grande, aunque originalmente fue concebida como un ciclo de canciones para tenor, soprano y piano y orquestada más tarde bajo la influencia de Gustav Mahler y su octava sinfonía („ ein Oratorium der Tausend“) y, naturalmente, de Wagner en su ‘Tristan und Isolde’ y ‘Parsifal’ (“ein Mammutwerk, in dem Schönberg versucht Wagner, nun ja, zu überwagnern”). Su musicalización fue hecha en dos fases por Schönberg, cuya primera evoca a Wagner y Mahler y está escrita en lenguaje post-romántico y es un ejemplo de un discípulo queriendo emular y sobrepasar al maestro: la orquesta está todavía más dotada que la de Mahler, el coro final hace temblar la sala por su poderío y el wagnerismo tristanesco se mezcla con los primeros acentos del Sprechgesang. En la segunda, ya se reconoce la voz del compositor que luego derivaría al mundo de la atonalidad y el expresionismo. Está basada en poemas (traducidos al alemán) del novelista danés Jens Peter Jacobsen (1847-1885), autor considerado moderno y progresista en su día, que trata de un amor adúltero entre el rey Valdemar Atterdag (1320-1375) y su amante la campesina Tove, eliminada por orden de la celosa reina Helvig en el castillo Gurre, sito en Dinamarca (hoy en ruinas) y de la venganza que se sigue. Su première tuvo lugar en Viena en 1913 dirigida por Franz Schrecker y, en ese momento, el compositor ya había escrito sus primeras obras atonales Drei Klavierstücke Op. 11, Fünf Orchesterstücke Op. 16 y Erwartung Op. 17. En una carta al pintor Vasily Kandinsky, Schönberg escribía "I certainly do not look down on this work, as the journalists always suppose. For although I have certainly developed very much since those days, I have not improved, but my style has simply got better ... I consider it important that people give credence to the elements in this work which I retained later”.
Siempre ha sido una partitura difícil de grabar pues las dinámicas oscilan entre las más delicadas texturas camerísticas a sonoridades masivas producidas por los grandes efectivos que intervienen. Su primera grabación fue para el sello RCA y puede encontrarla en el sello Andante, ya desaparecido; tuvo lugar en 1932 ‘en concierto’ a cargo de Leopold Stokowski y apareció en 27 discos de piedra (78 rpm) y no volvió a grabarse hasta el advenimiento del LP. La discografía ha estado dominada por las lecturas de Rafael Kubelik (1965), Seiji Ozawa (1979), Riccardo Chailly (1990) y Giuseppe Sinopoli (1996) también con las Staatskapelle. Sinopoli moldea las frases románticas de forma que nos sumerge en un mundo nocturno de sueños con una elección controvertida de tempi. Chailly no ha sido grabado como una opera italiana con solistas prominentes y claros (Ozawa) que están integrados en un todo en un ambiente cálido.
Grabada en estudio en 2014 (108:04') durante tres días 3 en la Cologne Philharmonie, ahora nos llega de la mano de Markus Stenz (de fama London Sinfonietta) y la soberbia Gürzenich Orchestra en una toma de sonido rica en detalle, sonora y espaciosa. Aquí, los coros parecen ubicados muy en la retaguardia de una escena sonora de rango dinámico muy grande.
By Justin Vellucci / 22 January 2021
Puritan
Chris Brokaw
12XU
15 January 2021
Chris Brokaw’s onto something. The post-rock mainstay (Codeine, Come) and longtime supporting player (everyone from Thurston Moore to G.G. Allin) borrows the title from the best song on his new solo LP to christen the whole affair. We could spend the next 500 words talking about just how goddamned good “Puritan”, the song, is or how its structure lends grandiose scope and surprising depth to the tunes that follow it. That’s all true. It’s also a breathtaking bit of faux-instrumental post-rock, as straight-forward or stripped down in its delivery as a band like Seam but also as knotted and extraordinarily intertwined in its ability to build threnodies as a more obtuse outfit, like, say, A Minor Forest.
Though the song begins in fairly nondescript and almost borderline generic post-rock territory, it clicks and locks tight about 90 seconds into the proceedings. Brokaw merely intones, his voice buried under multiple takes, “Early in the morning…” Then, joined on bass by Dave Carlson and on drums by Pete Koeplin, he falls into an epic locked groove that takes more than four minutes to unfurl fully. In those beautiful minutes, Brokaw generates tons of heat with almost dirgy but undistorted repetitions played passionately between poles of recklessness and restraint; Koeplin, working the ride, leads the way through the wilderness of sound with crashing crescendos. It is the record’s finest moment, and the whole affair comes to a roaring head with some five minutes on the clock of the entire album. What’s surprising is that Brokaw doesn’t just drop the mic after something so masterful.
Much of the record that follows opener “Puritan” fits less in the shadow-laced trajectory of 2019’s excellent, moody End of the Night and more in the more verse/chorus/verse mold of his 2005 solo LP Incredible Love, with songs often following expected trajectories. But, man, we could write volumes about the hypnotic spells that Brokaw and company cast with repetition. “The Heart of Human Trafficking”, with its thrashy and reverb-ed leading melodies, is one of the record’s loudest statements. However, even on something so boisterous, Brokaw doesn’t hesitate to get lost in the repeated refrains of it all, stretching what could be a three-minute banger to 7:16.
The clattering claptrap of “Periscope Kids”, first a single released about six years ago, lends itself to similar joys. Although here the real spine-tingler is in hearing Brokaw, by no means a masterful vocalist but surely an effective one, dead-pan his lyrics in near-defeat or cast off a brilliantly understated, vaguely sing-song “Ah-uh-ah-ah.” “Report to an Academy” is a fun blast of blistering noise – great angularity on bass at times from Carlson – and it’s a welcome, little exhalation before the record’s closing resignations. (Tip of the hand: the closer is an excellent Karl Hendricks cover.)
There are lesser moments, to be sure. Brokaw offers up an acoustic take on “The Bragging Rights” that expands the palate, but not the narrative, of the very fine version already available on End of the Night. “I Can’t Sleep” is slight and doesn’t quite stick the landing at barely 90 seconds long. It ends before its conclusions are made logical or fully realized, and that’s a shame, especially on a record that goes to such lengths to hammer home its intentions.
Basically we get to exist for a bit in Voice Actor's world, and it's a remarkable antidote to the era of playlist-assisted, over-workshopped, algorithm-led, bite-sized artistic engagement. "Sent From My Telephone" isn't an anti-album, exactly, but it's an example of how open-ended the album concept can be when we no longer need to restrict the format in the digital age. As the rest of the world decides to chop everything down into TikTok-ready chunks, Noa Kurzweil and Levi Lanser and their mysterious collaborators have done the opposite, gifting us a long-form statement that spills out into our lives like the magic porridge pot. It's a fantasy world that we're completely besotted with - we have a feeling it's gonna be in the listening pile for a while.
So, so good.
A lo largo de cada capítulo vamos encontrando con gran cantidad de anécdotas y hechos curiosos. Hay una que me gustaría destacar especialmente, relacionada con la ya mencionada visita a Venecia. A lo largo del capítulo 21 Burney visita el Ospedale della Pietà, en el que Vivaldi trabajó durante 29 años. En él establece contacto con Gaetano Latilla, maestro de coro en la institución. En ese momento, Burney aprovecha para hablarnos del resto de hospicios y sus actuales y antiguos maestros. Sin embargo, no menciona a Vivaldi. Mientras escuchaba el capítulo reparé en este detalle, pero pensé que hablaría de él más adelante. Pero no fue así. Mi sorpresa vino cuando al final de este episodio Luis Gago comenta: “Habrán observado ustedes que, al referirse a la Pietà, Burney jamás menciona a Antonio Vivaldi, que sin duda fue el más grande maestro de ese hospicio y también, sin duda, el más grande representante del Barroco veneciano”. Esto me generó intriga durante algún tiempo. Varios años después, y aprovechando que asistí a uno de los cursos que impartía Luis Gago, me acerqué al final de una de las sesiones y le expuse mi duda. La respuesta fue clara y sencilla: “A Burney no le gustaba Vivaldi, por eso no lo nombra”. Me dejó perplejo.
En el año 2014 apareció por primera vez la traducción en castellano del diario de viaje. La encargada de este regalo a los lectores fue la editorial Acantilado, con traducción de Ramón Andrés. La edición está muy cuidada y las notas al pie son de gran ayuda para conocer a compositores que fueron muy importantes en esa época pero que el paso del tiempo relegó a un segundo plano.
Les animo a escuchar estos programas y disfrutar de su belleza, que se nos presenta de diferentes modos. Desde la voz de José María del Río, o Burney (son ya la misma persona), pasando por la música, la evocación de las veladas musicales, o la descripción de los paisajes italianos y sus monumentos. Lo bueno de las nuevas tecnologías es que estos ficheros mp3 nos pueden acompañar allá donde vayamos: paseando por el campo, en casa tras una jornada estresante, conduciendo, o simplemente en el metro, camino del trabajo. Puede que Charles Burney pase a ser para ustedes algo más que uno de los primeros historiadores de la música.
Javier Martínez Luengo
"MEMORIAS DE CHARLES BURNEY"
Un programa de Luís Gago, con José María del Río.
Radio 2, RNE. 1986.
More than two decades since he blew minds with a suite of brilliant releases on Warp, Vincent Gallo returns to the world of music at long last in Butterfly, his duo with Harper Simon, with the project’s full-length debut, “The Music of Butterfly”. A gesture of gentle, DIY / bedroom left-field pop, falling within the rough territory for which Gallo became renowned during the late '90s and early 2000s, while interweaving fascinating flirtations with minimalism and experimentalism, it’s a truly captivating piece of work that’s hard to get off the turntable after the first needle drop.
By Bradford Bailey, 03 January 2025
In the arts, the lines between genius and madness, as well as fact and fiction, often blur. Such, it seems, has always been the life of the artist, filmmaker, actor, musician, and composer Vincent Gallo. A cult figure and a member of various creative undergrounds for the better part of half a century, Gallo has courted controversy, ruffled feathers, and made some of the most singular statements to flirt at the outer edges of popular culture that can be called to mind. Arguably most well known for his work in film, during the late '90s and early 2000s - notably with his soundtrack for “Buffalo 66” and a suite of releases on Warp - Gallo became something of a sensation in the world of independent music for a visionary, incredibly unique and sensitive approach to sonority. For a time, the world was abuzz, waiting on bated breath for more, and yet time passed. Bar a few fragments, appearing here and there, almost nothing has been heard from Gallo, within the world of music, for more than 20 years. That is, until now, with the release of “The Music of Butterfly”, the debut full-length of Butterfly, his duo with Harper Simon: beautifully produced and issued by Family Friend Records - Gallo’s own label, founded in 1981 - in a deluxe edition that simply left us speechless:
180g vinyl in textured heavy gatefold cover with paste-on artwork and special anti-static innersleeve
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More or less picking up from where we last encountered him, spinning captivating melodies and gentle song-craft within the quieter temperaments of DIY, left-field pop, once again, and at long last, Vincent Gallo, encountered in an incredibly successful collaboration with Harper Simon as Butterfly, reminds us that he’s as much a force within the realm of music as he is within film. Not to be missed. This one isn’t going to sit around for long.
Vincent Gallo’s biography reads like the stuff of blaring beauty: a figure of moderate fame in his own right, who has remained at the centre of cultural ferment as the decades have rolled by. Born in 1961, in Buffalo, New York, as the story goes he ran away to New York City at the age of 16 and fell into the brewing counterculture of the Downtown scene, William Burroughs and John Giorno, in addition to the cream of his own peers, and began making paintings, music, and experimenting with film. In addition to being a member of the now legendary band Gray, with the artist, Jean-Michel Basquiat, and the filmmaker, Michael Holman, Gallo appeared in the cult 1981 film “Downtown 81”, before slowly beginning a career as an actor and catching the eye of Claire Denis, who brought his talents into the broader cultural gaze. Catapulted into the public by his own subsequent career as a filmmaker with “Buffalo '66” (1998) and “The Brown Bunny” (2003), both of which were marked by controversy and praise, Gallo further captivated the public with a partially brilliant, if not relatively brief, flurry of activity in the realms of music.
https://aftersabbath.blogspot.com/2011/03/day-after-sabbath-39-bandera-inmortal_18.html
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https://www.discogs.com/es/release/21628987-Various-The-Doo-Wop-Box
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Tracks
Doublings & Silences Volume I (1985)
1-1 Doublings & Silences
1-2 Nights
1-3 Doubled By The Sun
1-4 Neoplastie Part III
1-5 The Warm Current
1-6 The Last Emperor Of The Snakes
1-7 H F A1
1-8 Chinese Rain
1-9 Effi Briest
1-10 Voila Les Tropiquês
1-11 Smell Into A Dream
1-12 Schläft Ein Lied In Allen Dingen
1-13 Blind Bodies
1-14 Possession And Treasures
1-15 In A Bed Of Trees
1-16 Penguins (In A Cup Of Coffee)
Doublings & Silences Volume II (Part One) (1988)
2-1 Venice Calles
2-2 Funeral Jars
2-3 Little Penguins In Love
2-4 Hoping That You Are Somewhere
2-5 Industrial Lullaby
2-6 Childhood Fears (Old Version)
2-7 Wandering High
2-8 Artery Of The Sun
2-9 Lines On Spain
2-10 Chinese Comedy
2-11 Childhood Fears (Young Version)
Doublings & Silences Volume II (Part Two) (1988)
3-1 Azur Noise
3-2 La Partienze
3-3 Confidential Eggs
3-4 A Poetry Of Broken Hearts
3-5 Vox Populi
3-6 The Lacerny Of The Harpstrings
3-7 The Last Picture
3-8 The Danger Of Losing Consistence
3-9 Nanenfest
3-10 Pyramid
World! (1989)
4-1 Ghost Waltz
4-2 Rosas
4-3 Vietcong Details
4-4 Don't Leave Fingerprints
4-5 Gulhane Park
4-6 Belcher Beach
4-7 Starvin' In Bucarest
4-8 Nu Indize
4-9 Alla La Ke
4-10 Tiddley Winks 1
4-11 Tiddley Winks 2
4-12 Tiddley Winks 3
Garama (1991)
5-1 Garama
5-2 La Pista Dei Kidal
5-3 Ultimi Porti
5-4 Triboli Gao
5-5 Plus Nubiae
5-6 Oltre Cydamus
5-7 Djerat
5-8 Kaossen
5-9 I Graffiti Di Orione E Delle Pleiadi
6-2 Nun Chiove
6-3 Voila Les Tropiquês
6-4 Perche’ (Fragments 1 & 2)
6-5 In Bucarest
6-6 Variations from "Funeral Jars"
6-7 La Notte Delle Fiabe
6-8 Tiddley Wings Part 4
6-9 Perche’ (Fragment 3)
6-10 Orgasmxas
6-11 Penguins In A Cup Of Coffee
6-12 La Polvere D'Inverno
6-13 La Fragile Vita Dell'Uccellatore
6-14 Picnic Sound
Spittle Records in co-operation with Officine Fonografiche Italiane present The World Of The Doubling Riders, The Doubling Riders' complete works.
The Doubling Riders were born in the middle of the '80s from the ashes of A.T.R.O.X. and around the trio of Francesco Paladino, Pier Luigi Andreoni, and Riccardo Sinigaglia.
Especially thanks to their collaboration with international artists such as Pascal Comelade, Ira Stein, and Vox Populi, The Doubling Riders stand out from the rest of other Italian bands of the time.
Starting from an electronic music approach and working freely with ethno, folk and wave elements, the sound of the Doubling Riders was extremely original and quite hard to classify. Even if often compared to some of the more intellectual new wave bands like Tuxedomoon, Doubling Riders can be easily considered a unique project within the Italian new music scene.
credits
released March 4, 2021
This six-CD box contains the whole of their four albums produced between 1985 and 1991: Doublings & Silences Volume I (1985), Doublings & Silences Volume II (1988), World! (1989), and Garama (1991). All properly remastered, including the first two available on CD for the first time, plus a bonus CD containing a selection of previously unpublished material and rare tracks from the same period.
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The definitive Doubling Riders box set with a load of previously unreleased material is finally here. Complete discography, remastered from the original tapes. 6 x CD boxset includes 1 disc of previously unreleased material,* From its earliest days, Italian avant-garde and experimental music has always been a fascinating world of intersecting lines, unexpected meetings, and networks of conversation and collaboration. This is especially true of the country’s remarkably unique context of musical minimalism - a vast body of sound which, decades after if first emerged, continues to defy easy definition and category. As wild and varied as Italian minimalism is, there are unavoidable anchors and roots - points of clear inspiration and intersection - Franco Battiato and projects like Aktuala, Futuro Antico, and The Doubling Riders. Among these, the most neglected and overlooked has remained The Doubling Riders - the focus of an incredible 6 CD survey - The World of The Doubling Riders, issued by Spittle Records in co-operation with Officine Fonografiche Italiane. An long overdue immersion in overwhelmingly singular creativity and collaboration, this one is as essential as they come. There’s never been anything like this band!
Emerging during the early 1980s - a high point of Italian experimentalism, The Doubling Riders began as a collaboration between musical heavyweights, Francesco Paladino and Pier Luigi Andreoni, who were soon joined by Riccardo Sinigaglia of Futuro Antico fame, and an evolving, diverse cast of international voices - Pascal Comelade, Ira Stein and Vox Populi, etc. Flirting around the outer edges of ambient music, outright experimentalism, and New Wave, while bending electronics with numerous folk touch-stones, during the 80s and early 90s The Doubling Riders stood out from the pack - easily one of the most unique projects within the Italian scene.
La interpretación es altamente emotiva, ocasionalmente aterradora, ocasionalmente muy voluptuosa y también obsesiva. Las partes vocales solistas son tomadas con distinción y una cierta austeridad (Mahnke).
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And then there’s “I’m the Only One for You”, which might divide some listeners. The piece, where Brokaw duets with a doe-voiced Claudia Groom, announces itself as classic, capital-R Romanticism, with a jazzy drum shuffle and only the sparest bit of punctuating guitar in opening verses, here and there played in doo-wop relief. The “outro”, and we use that term loosely, might outrun the whole first half of the song, with Brokaw humming the song’s melody up and down over more driving, quixotic guitars. Brokaw really sells the song with his wordless cooing, and peppered here and there are some wonderfully understated moments of solo guitar. But the emotions are writ so plain on their face and delivered straight-faced and on the nose (“True love is the only thing that’s true,” Brokaw and Groom harmonize in the opening couplet) that the conceit almost undermines the tender beauty of the moment. We’ll leave it to long-time Brokaw fans to decide where this one falls in the canon.
All in all, Brokaw’s Puritan continues to make an excellent argument for the songwriter’s inclusion among the heavy hitters of post-rock. If in 2001, when Brokaw’s superb Red Cities was the rage, you were told Brokaw would still be chugging along, writing engaging and nuanced work, about 20 years later, would you have believed it? As a trailblazer of the form (insert White Birch reference here), Brokaw and his work have aged well and gained, in their accumulation of years, a kind of wondrous mystique. Yeah, Puritan might not be as dreamy as End of the Night, but it’s accomplished in its own right. “Puritan is an album that is all heartache and rebirth, resignation and joy,” the one and only Mark Lanegan says in the record’s advance material, “the kind of record that is so needed but all too rare these days”. Lanegan is dead to rights about the scope of feeling on Brokaw’s latest LP. We just can’t come up with epic summations just yet; we’re too busy getting lost in all of those locked grooves.
Tacones lejanos - Ryuichi Sakamoto & Luz Casal - OST- FLAC
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This one's a lot but bear with us! Four-and-a-half-hours of sketchbook style cut-and-paste creations that sit at the intersection of Broadcast, Lolina, Fonal, Mark Leckey, Dean Blunt, Félicia Atkinson and Mica Levi. Stroom has properly outdone itself with this one - huge recommendation, with an emphasis on huge.
When we got sent this we were a little apprehensive. At 110 tracks and four-and-a-half-hours it's not for the faint of heart, but a few tracks in and you honestly can't help but stay for the duration; we're not gonna lie, we've listened all the way through more than once. The ambitious project was initially conceived with the intention of being broadcast as a radio show; main collaborators Noa Kurzweil and Levi Lanser sent the tracks to Stroom over a three year period and as the project grew, the label realized it had its first official digital-only release on its hands. And what better way to (ab?)use the digital format than cram it with tracks that freewheel from 25 second voice note meanderings to lengthy eight-minute ambient jams? Somehow, it's completely coherent too.
Good luck combing Google for any mention of Voice Actor, but a quick sleuthing session offers some clues about Kurzweil and Lanser. Kurzweil used to record under the name Supertalented, and lent her deadpan vocals to a handful of sketchy Cocorosie-esque lo-fi folk tracks that share stylistic roots with the material on "Sent From My Telephone". Lanser meanwhile has been involved in a number of projects, most visibly working under the name Luddites with Bloeme van Bon, and recording a series of mystical and noisy ambient-cum-musique concréte releases. All of this helps unpick such a voluminous patchwork of ideas, inspirations and idiosyncrasies. The anchor throughout is Kurzweil's voice that becomes a book-on-tape guide thru a heat haze of crackly noise, fractured beats, lysergic loops and delirious ambient-not-ambient textures.
The album begins in crackly repetition, with a crisped orchestral snippet stuttering like a stuck record in a Dadaist movie beneath rudimentary beatbox smacks, glassy FM pongs and half-remembered dreamworld poetry. 'Another Day' sounds like Broadcast's most esoteric offerings - think "Microtronics" - and 'Badman' is intimate and dissociated at once, a slovenly pulse of choppy boom bap echoes and opium Americana. But it's when we reach 'Battling Dust' that we start to peer into Voice Actor's 360 degree landscape: here's a track that juxtaposes the brittle, nostalgic romance of early Boards of Canada ("Twoism" particularly) with smoky gallic sexiness and the kinetic, polyrhythmic bump of Chicago footwork. Kurzweil and Lanser's hybridization process feels as natural and inquisitive as Leila's blue sky realness on "Courtesy of Thought", or Tricky's internalized pressure in the shadow of the '90s neolib creep on "Maxinquaye" and its followups.
Subsequent tracks rise and fall like corks bobbing in a bathtub, never being shy about their influences and allowing the vulnerability to inform a loose narrative that feels contemporary, yet dissociated. 'But' is a microscopic snippet of baroque Autotuned cloud rap, 'Calculated Reactive Space' is Ferraro-esque vapor/mallwave, 'Carefully' is best compared with Rat Heart's damaged flop-era blues, 'Daydream' is kaleidoscopic screwed 'n chopped Luboš Fišer, 'Give Me Tracks' is parallel universe Mica Levi, 'Greyout' is k-hole memories of the Berghain dancefloor at 8am, 'I Don't Care' is Tirzah miniaturized and levitating, and 'IBU' is a fragment of reductionist drill that stands up to comparisons with Space Afrika's overlooked and brilliant "Untitled (To Describe You)" soundtrack. There's literally too much to comb through in a single writeup, but "Sent From My Telephone" never feels too lengthy, there's a reason for its existence as a stream-of-consciousness dump of abstraction and information.
Una fecha: 5 de julio de 1986. Ese día comenzó en Radio Clásica, por entonces Radio 2, la serie Memorias de Charles Burney. En ella se relataba el viaje que realizó por Francia e Italia aquel «inquieto y curioso músico inglés», tal y como lo definían en la introducción. Estaba dirigida por Luis Gago, y se relataba el viaje que realizó Charles Burney por Francia e Italia, cuya intención era la de recabar toda la información posible para escribir una Historia de la Música. Por entonces aún no se había publicado ninguna. Con las experiencias de ese viaje, Burney redactó un diario que se publicó en Londres en 1770 y tres años después salió la segunda edición. En el viaje estableció contacto con compositores e intérpretes de la época, además de con algunas grandes personalidades, como Rousseau y Diderot. Estos encuentros están descritos con todo lujo de detalles, y cabe destacar su visita al castrato Farinelli. Por aquel entonces el famoso cantante ya estaba retirado en su casa de Bolonia, y había permanecido en España durante 22 años al servicio de Felipe V y Fernando VI. Sin embargo, no pudo llegar a tiempo de conocer a Tartini en Padua, ya que había fallecido poco antes de su llegada.
Afortunadamente, la serie se puede escuchar y descargar en la web de Radio Clásica. Si bien no está completa, se encuentran la mayoría de capítulos y, gracias al estilo desenvuelto de Burney, nos permite acompañarlo en carruaje a través de los caminos, bien polvorientos tras semanas sin llover, o bien enfangados por las tormentas. Tampoco ahorra descripciones y opiniones no muy positivas de las posadas, abarrotadas de chinches y demás minúsculos habitantes. Su maestría nos permite contemplar a través de sus palabras las pinturas y esculturas que decoran las iglesias que visita. Y cómo no, también escuchar a los grandes cantantes e instrumentistas con los que trató. Cuando reparo en las vicisitudes y el esfuerzo que llevó a cabo, pienso en la importancia que tienen la determinación y el amor hacia el objetivo que nos marquemos a la hora de afrontarlo con éxito. Era una época en la que la vida era mucho más dura, y realizar un viaje de semejantes características te exponía a innumerables peligros. Ni siquiera se sabía si te iba a poder costar la vida. Esto queda perfectamente reflejado en los capítulos dedicados a su estancia en Venecia, en la que un compañero de viaje muere de forma bastante lastimosa.
La escucha de la serie es una fiesta para los oídos. Durante el relato, se van intercalando diferentes obras vocales e instrumentales maravillosamente seleccionadas. Pero uno de los secretos es la voz de Charles Burney. Para mí, desde que escuché por primera vez la serie, la voz de Carl Sagan se convirtió en la voz de Charles Burney. Hasta ese momento, e imagino que también le pasará a mucha gente, relacionaba la voz del actor de doblaje José María del Río con Carl Sagan y su serie Cosmos. Pero una vez escuchadas las Memorias de Charles Burney, se convirtió definitivamente en la voz de este músico viajero.
Don Quijote de la Mancha, audiolibro dirigido por Manuel Gutiérrez Aragón, con Juan Luis Galiardo como Don Quijote.
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