Zona ZXZ: música experimental, underground y rarita

Sección dedicada al cine experimental. Largometrajes, cortos, series y material raro, prácticamente desconocido o de interés muy minoritario.
hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Montsalvat

Mensaje por hiru » Sab 10 May, 2014 18:46

Imagen

Contrabajo, Chelo, Campanas – Eric Von Essen
Teclados, Campanas – Wayne Peet
Percusion, Kantele – Alex Cline
Violin [Violines], Campanas – Jeff Gauthier
Voz, Campanas – Aina Kemanis

ed2k linkAlex Cline Ensemble - Montsalvat (FLAC)(scans)).rar ed2k link stats

1 He Hears The Cry
2 The Kiss Of Peace
3 In The Shadow Of The Mountain
4 Colors Of Memory
5 Shining One
6 Spiral Steps
Spoiler: mostrar
Colors of Memory: Consolamentum

smooth stone, dark trees, long road
warm hands, warm tears, cold rain
sharp distance cries of birth
watching, listening
One Word

solemn mountain, whiteclouds
blue smoke, gold flames, pearl voice
still, shining face draw close
hoping, longing
One Song

Father, Mother, Beloved
Brothers, Sisters with us
Angels of Light breathe sound
seeing, knowing
One Love.
Montsalvat
En la leyenda del Graal es el mons salvationis, el pico situado <<en las lejanas orillas a que ningun mortal puede acercarse>>, similar a la montaña Meru hindú, al Caf árabe , y a la montaña polar. Símbolo de la realización espiritual suprema. Diccionario de símbolos, Juan Eduardo Cirlot; Ediciones Siruela, pag. 317 Y, la montaña, de la página anterior del mismo libro de Cirlot.
Siempre cuidaré y atenderé el estado de ánimo de mi ama, comprendiendo y honrando sus sentimientos, mimándola en su medida y a través de su extensión, seré atento y dedicado, devoto de su sentido, siempre, sin dudar, de su amor, con confianza y comprensión.

En contraposición a la divinidad, más profundo y terreno ahora, el alma sumisa adora esos torrentes y lluvias innatas de preciosa naturaleza, el carácter y el temperamento propio, fuerte, de montaña, que se sabe ama, asombrosa ama natural.


Domina, toma y exige de mí con presteza, mi dueña ahora despiadada y dolorosa.
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1 A Wild Thing
2 People in Sorrow

Imagen

En el .rar se puede encontrar la canción "A Wild Thing" de 3:55 minutos junto con la canción "People In Sorrow" de una hora y tres minutos de duración:

ed2k linkalex cline - for people in sorrow (2013)(mp3).rar ed2k link stats

El Texto de A Wild Thing (Una cosa salvaje) con mi traducción debajo, tema que sirve de introducción al tema más largo People in Sorrow:
The bones of our ancestors still dance, at ease in the fields of magic start dust, announce of poetry from a long ago. The Crane says: "I never saw a wild thing feel sorry for itself, a tiny bird will drop dead frozen from the bough of a tree without having once felt sorry for itself.” In the thick jungles of Costa Rica I was told mother, my mother had passed away. Through the veil of no coming and no going she went. Heartbroken I wandered for days walking jungle trails going nowhere but sorrow, trapped in a cloud of sadness. The cry of an unknown bird cracked open the moment. Ripped, ripped, ripped it was for something, for anything, to heal my savage soul. Music of my roots rolls up from the earth like a rainbow bridge supporting every step as I climbed grieves holy mountain, a path wet with the salt of bitter tears. Sometimes I forget. Music's vibrations can touch and quake places the mind dares not go, needing holding inviting with notes of wonder and surprise, healing pain, the pain of the second sorrow, created by an arrow, fashioned by my own hands, plot from my own quiver, and shot with my own bow, into my own heart, picked up on the dusty road of wounded souls the sacred carriage of music that lifted me up from the edge of grease deep pit. On the wings of sound I rode to the mysteries of grace and peace, moment by moment by moment the music says: take up your rightful residence in your Hale Mana, your spiritual house, the music says: come on in, come on in, come on in, enter the clear light of sweet music, the music says: take your stand on the back of the fearless dragon of wisdom and compassion, let go of the gossamer threads of regret still attached to your obedient heart, now catch your precious breath, right now, right now, right now, music is a wild thing, music is a wild thing, music is a wild thing.

*
Los huesos de nuestros ancestros danzan aún, descansadamente en los campos de polvo de estrella mágica, anuncio de poesía del hace mucho. La Grulla dice: “Nunca he visto a una cosa salvaje sentir pena de sí misma, un pajarito caería muerto de la rama de un árbol sin sentir alguna vez pena de sí mismo.” En las espesas junglas de Costa Rica me dijeron: madre, mi madre, había fallecido. A través del velo de no venir y no ir ella se fue. Desolado deambule por días caminando senderos de jungla sin llegar a ningún lugar sino a la pena, atrapado en una nube de tristeza. El grito de un pájaro desconocido partió en dos el momento, desgarrado, desgarrado, desgarrado estaba, por algo, por cualquier cosa que sanara mi alma salvaje. Música de mis raíces se despliega de la tierra como un puente de arco iris sujetando cada paso mientras yo escalo la montaña sagrada de la aflicción, un camino humedecido con la sal de las lágrimas amargas. A veces olvido que las vibraciones de la música pueden tocar y estremecer lugares a los que la mente no se atreve a ir, necesitando, manteniendo, invitando, con notas de asombro y sorpresa, curando el dolor, el dolor de la segundo pena, creada por una flecha, elaborada con mi propias manos, urdida de mi propio estremecimiento, y disparada con mi propio arco, a mi propio corazón. Recogido de la polvorienta carretera de las almas heridas el sagrado transporte de la música que me asió del precipicio en el profundo pozo de grasa. Sobre las alas de sonido yo montaba hacia los misterios de la gracia y la paz, de momento, a momento, a momento, la música decía: coge tu correcta residencia de tu Hale Mana, tu casa espiritual. La música decía: vamos, pasa, vamos, pasa, vamos, entra en la clara luz de dulce música. La música decía: toma tu sitio sobre la espalda del sabio dragón del conocimiento y la compasión, aléjate del hilo de telaraña de la culpa aún pegado a tu obediente corazón, ahora toma tu aire precioso, ahora mismo, ahora mismo, ahora mismo, la música es una cosa salvaje, la música es una cosa salvaje, la música es una cosa salvaje.
Sister Dang Nghiem, a Dharma teacher and friend of Cline and his family, contributed a Vietnamese chant which was recorded in advance and projected on a large screen above the eleven-piece band. In Cline’s words, “After accepting my rather unusual invitation, Sister D (as she’s known) chose to chant the following verses, presented here in English translation: a gatha for listening to the bell and the Verses of Consecration used as part of the Ceremony for Closing the Coffin.”

Listening to the Bell
Listen, listen,
This wonderful sound brings me back to my true home.

Verses of Consecration
This water’s shape is round or square
according to the container that holds it.
In the spring warmth, it is liquid; in the winter cold, it is solid.
When its path is open, it flows.
When its path is obstructed, it stands still.
How vast it is, yet its source is so small it is difficult to find.
How wonderful it is in its streams which flow endlessly.
In the jade rivulets, the footprints of dragons remain.
In the deep pond, water holds the bright halo
of the autumn moon.
On the tip of the king’s pen, water becomes
the compassion of clemency.
On the willow branch, it becomes
the clear fresh balm of compassion.
Only one drop of the water of compassion is needed,
and the Ten Directions are all purified.

http://www.mindfulnessbell.org/wp/2014/ ... de-dharma/

*

Escuchando a la Campana
Escucha, escucha,
Este sonido maravilloso me lleva de vuelta a mi verdadera casa.

Versos de Consagración
Esta agua tiene forma redonda o cuadrada
de acuerdo con el contenedor que la contiene.
En la cálida primavera, es líquida; en el frío invierno, es sólida.
Cuando su curso está despejado, fluye.
Cuando su curso está obstruido, permanece quieta.
Qué inmensa es ella, y sin embargo su nacimiento es tan pequeño que es difícil de encontrar.
Qué maravillosa es en sus cauces que sin fin fluyen.
En los arroyos de jade, las pisadas de los dragones permanecen.
En el estanque profundo, el agua guarda el brillante halo
de la luna de otoño.
En la punta de la pluma del rey, el agua deviene
la compasión de la clemencia.
En la rama del sauce, ella deviene
el claro y fresco bálsamo de la compasión.
Se necesita solamente una gota del agua de compasión,
y las Diez Direcciones son todas purificadas.
http://2011.angelcityjazz.com/alex

Hay una entrevista sobre este disco también, a alex cline, de lectura muy instructiva:
La parte 1
La parte 2

La entrevista en inglés transcrita aquí:
Spoiler: mostrar
THE BEAST: Do you remember when you first heard People In Sorrow? How did it sort of bleed into your head and into what was going on in your life?
ALEX CLINE: I got into the Art Ensemble when I was in high school, from ‘71-74 and it was was not one of the first recordings of theirs I heard. My brother and I were already pretty far gone when it came to scouring the bins for obscure recorded material at that point. [laughter] I don’t remember exactly how things lined up for People In Sorrow to come my way, but it stood out for a number of reasons. First, it essentially takes up a whole record. Second, when I heard it, it was so intensely subtle and meditative compared to most of the stuff I had heard up to that point, and it was a breathtaking experience hearing it. I was just telling [guitarist] G.E. Stinson last night, at that time I was hearing so many influential and inspiring recordings and seeing so many performances by people that were life changing to me. There were certain recordings that were so indelible that I listened to them almost daily for a very long time. Then there were the other recordings that were equally inspirational but were so intense a listening experience that I could only listen to them if the conditions were right. They wouldn’t work at just any time, at all. People In Sorrow was in the second category. It wasn’t one of those records I listened to over and over and tried to learn every note because I felt it was too deep for that. It demanded full concentration, and not just musically…There was some strong, extra-musical context that was somehow being communicated to me, some deep emotional and spiritual sort of quality.

I guess there are the albums you share – 'Dude, you gotta hear this!' – and the ones you sort of keep to yourself. Closed door, candles, meditative sunset…is People In Sorrow one of the latter?
Yeah it was in that category, but because I had a twin brother who had similar musical interests, I never really kept anything to myself and vice versa…[saxophonist] Vinny Golia mentioned something me when I was trying to rope him into doing this concert. He remembered early in our association, back in the mid-70s, sitting in the back room of my parents' guest house with me and Nels and talking about this record and I was sharing how deeply I was into it. Obviously, the Art Ensemble and the AACM were people who had a great impact on all of us. The whole idea of me and Vinny amassing our instruments wasn't purely an AACM thing, but certainly a big part of their influence in that these were musicians who did not limit themselves in any way to any one instrument. Anything and everything was fair game, and as a result the musical vocabulary became so broad, the palette so expansive, that people like me and my brother who were so captivated with sound and did instrumental textures and colors were immediately impressed by that. I listen to these records now and I’m hit with how so many of the elements that wound up being important in my own music-making are clearly in evidence, and People In Sorrow is one of those, which is part of what led me to the crazy idea of redoing it.

When you were approached to perform at the Angel City Festival, was there a choice of recordings you wanted to pay tribute to?
Nope. People In Sorrow was the one thing I wanted to do. I did a set with my Band of the Moment at the [2009] Angel City Jazz Festival where we played a set that was basically all music from the seventies; we started with “Nan Madol” by Edward Vasala and then we did “Virtually” by the Soft Machine and finished with Joe Zawinul’s “Second Sunday In August.” In a way, that was part of wanting to share and interpret as repertoire some of the music that was really influential to me at a particular time when there was so much great music happening and such deep misery in my personal life…After that, I kind of re-excavated this idea of trying to do People In Sorrow because after having the experience at the second Angel City concert and having it work, it seemed like a valid idea. I had spent years mulling this over as something that was either really worth doing or a complete waste of time.

Maybe a little bit of both…
Well, honestly, who wants to remake a masterpiece? People do it all the time. I think it has to be deeply personalized to work, and my goal for this concert is to be referential enough so as to pay the original its due respect while still diverting enough so that it becomes something new and different...I discussed the idea with a few musician friends of mine and got some feedback based on their own experiences. The only two people I did that with other than [my brother] Nels are two of the people playing, [trumpeter] Dan Clucas and Vinny Golia. Dan in particular was very enthusiastic, which was good because he was the only person I could imagine playing that brass role and he understands that milieu intimately and thoroughly. The other thing I realized in talking to musicians – or in Vinny’s case, his stories of sharing music with his [CalArts] students – was that an amazing and somewhat egregious number of people are completely unaware of this piece. I thought that I'd like people to go find it and listen to it because I think it’s an important and deeply moving piece of music...[It] had such a deep impact on my own composing that I felt like I did with that set at Angel City: If people had never heard it and just walked in and heard this they might think it’s not that different from my own music, because there is such a direct link conceptually…Now, the only thing that continued to be a niggling concern was that why would a West L.A. white guy want to resurrect a piece that was conceived during this incredibly tumultuous time in American history? I mean, there’s a racial component to all this and deservedly so. So why would anyone want to hear my take on that?

A salient question.
Yeah. I still have concerns about that. But there are a few things that have come into play since that have made me feel a little less self-conscious about it. Amazingly, when I pitched this to the Angel City guys they came back to me and said, “What if we were to get Roscoe Mitchell on the bill?’ I said, “Uhhh, that would be nice!” [laughter] That was the beginning of an amazing series of smooth confluences. [Angel City co-organizer] Jeff Gauthier’s wife Maggie Parkins, who’s playing the concert, was involved with commissioning Roscoe to write a piece for the group she’s in – the Eclipse String Quartet. They were going up to Oakland and perform it. Anyway, one thing led to another and somehow when Jeff was up there he arranged a lunch meeting with Roscoe, who teaches up at Mill College and lives in the Bay Area now. I actually wrote a letter to him explaining what I was doing with this piece why, and basically wanted him to react to that.

Must have been quite a letter to write.
It was. One of the things that was somewhat compelling...was that People In Sorrow was to me an example of how music can deeply transform a person. That time of my life was so unhappy and confused, and the music I was listening to really indicated to me that there was something more to life, something meaningful and significant, which was not the way I was viewing things. I was utterly convinced that everything was meaningless and it was ultimately the music and a lot of the inspiration behind it saved my life. So I told him that in so many words…that I wanted to honor that piece, him, the Art Ensemble and the AACM together with a whole movement of music that showed me that there was something beyond what I had grown up thinking life was all about.

How did that lunch meeting go?
Well, it turned out he was very cool about it, very nice, very friendly and very open to the idea and therefore indicated his blessing. Jeff asked him if he'd be interested in playing the same concert and if I’m correct he said something like, “Well, if the date works and the conditions are agreeable, yeah sure!” Literally within three days the idea for this concert existed – because he agreed to do it.

So how did you proceed to line up the musicians?
The thing that was really amazing was that virtually all of the musicians I contacted were not only available but totally into the idea. So were the people I was nervous about even asking, like Oliver Lake. I sent him this email laying out my idea and my intentions, and he sent me back -- Oliver sends these very minimalist, very cogent emails – ‘great idea, great piece, love to do it.’ [laughter] So I was ecstatic.

I thought your choice of Mr. Lake was interesting, considering he and Julius Hemphill founded the Black Artists’ Group in St. Louis along similar lines as the AACM. Lake even initially proposed that they should be a branch of it. When did you first play with him?
I first played with him when I was 20 years old. It was January 1, 1976.

New Year’s Day?
Yep, he was in town visiting relatives, and we had a friend named Lee Kaplan who for whatever reason seemed to know everybody and what they were doing and was this great catalyst in the scene here back then. He somehow knew Oliver was in town and wasn’t doing anything and had his horn with him. Lee invited him to come over to my folk’s house and play with me. Then Nels got roped in to it and Lee sat in on synthesizer. I was twenty years old and I was playing with Oliver Lake! I was totally into Heavy Spirits, which had just come out. My folks always made entertaining comments about all the people who came though the house: dancers, musicians of different stripes, eccentrics. It was quite a parade! But my parents remember Oliver showing up and how on guard he seemed, not comfortable, very circumspect and sort of checking everything out. But it was incredibly impressive to me that he was willing do do that. And playing with him was just an unbelievable experience. A year later, I was playing with Julius Hemphill. At that age, things progress very rapidly.

Why would you be nervous asking Lake to play on this project? I mean, if both you and your brother have played with the guy…
Well yeah, but he’s flying out from New York to play this set of music. So we have to make sure that everything else is in line so that this would not appear to be for any reason a waste of people’s time and energy. So it’s been an amazing journey for me and the festival, because they’re kind of putting their whole thing on the line for this concert. Technically speaking, even if they sell out every seat, [REDCAT] still isn’t big enough of a hall to cover the costs for the concert.

Yeah that was actually my next question. The AC organizers just concluded a successful Kickstarter campaign to raise funds to get all of the musicians out here for this show. It reminded me of something I recently read about Lester Bowie selling all of his furniture back in ’68 to fund the AACM’s relocation to France. I struck me, ‘Wow, so the infrastructure for this music is still shaky and still needs to be improvised from scratch.’ But now there’s the web and social networking. Has this made it at all easier or even harder to get the word out than it was when you first started your career?
I don’t think it’s easier or harder, just different. Part of the problem is that every time you have esoteric music you have an uphill struggle and it’s always going to be that way. It’s easier to get the word out now assuming it doesn’t get lost in the sheer mass of messages sent and received. It’s certainly helpful. One thing that’s dramatically different is you can pretty easily find out what’s going on at any given night in the city now…When Nels and I really started to get into this stuff we were totally unaware of almost anything that was going on on the other side of town – or the other side of any town for that matter. There really wasn’t any way to find out unless you knew where to look, and if you did you already knew what was happening. Certainly there is more appreciation for what was going on then then when it was actually going on; historically speaking people have caught up to what was going on in the city. But it’s still hard. You have all these shifting generations coming and you have the phenomena of learning to play jazz in college, which is really different from what it was when I was college-age, but still have very little in terms of involvement or interest in jazz in the more -- dare I say it -- "avant-garde" quadrants. I’m not a big champion of the avant-garde. I’m not doctrinaire about it. It’s not the only thing I care about. When Nels and I were listening to this music we were listening to a lot of other music that wasn’t as challenging. But for us, it was all the same, just different expressions of something deeper for us and that took many of different forms. We haven’t really changed much, or really changed at all, in that respect. In fact, we’ve gotten more open and broad in our acceptance and tolerance. The thing that is really challenging is dealing with people who can’t get past the notions that people have about the so called avant-garde: That it's inherently difficult, impenetrable, irritating, inaccessible, indulgent, whatever…that’s just so annoying, so frustrating, especially when people remain really stuck in those narrow points of view.

There’s definitely something about getting older that entrenches one in certain positions.
I guess so, and that’s where I’m going with this. These younger generations are people who should be absolutely wide open, and I don’t see a lot of young people who even want to play music along these lines. So what happens? Our generation of players, we’re getting older, and for a lot of us that means out lives are very different from when we were first doing this. That’s certainly true in my case. I can rarely go out to hear music anymore. I still play gigs, but I have to expertly craft how to do that with the least amount of negative impact on my family situation. I’m not the best example of someone who’s remained the relentlessly active and dedicated performer because like many of my peers life intervenes. So has it gotten easier or harder? Don’t know. It’s different. Our lives are, for sure. Those years when Vinny would practically be living at our parents’ house and we’d spend every waking minute in our guest room playing music, listening to music, talking about music, or John Carter calling on the phone and saying “Whaddya doin’ right now?” and driving up from his teaching gig in his Porsche to play with us. Nowadays I know I can’t do that anymore. That’s why I really enjoy meeting the younger musicians now who are into this music, because they’re young enough that they have all this time to listen and play and absorb, and thankfully they listen to what some of us older guys have to recommend in terms of what they might have missed…This goes back to the reason to do this piece now, because it seems it passed a lot of people by the first or second time around. A lot of people don’t want to hear a piece that is so subtle and demanding and sustains this deep emotional intensity and meditative feeling. When people think of the Art Ensemble, they think of their more high-energy compositions and these flamboyant representations but that obviously is a very one dimensional view.

Have you ever met any of them?
I have never met Roscoe Mitchell before, but I was very lucky to have met and played with Joseph Jarman.

Ever see them live?
Oh yeah. What’s interesting is that back then so many of those guys in their various projects actually were able to tour their own country. They’d came though L.A. and gave concerts and that’s how I was able to see them. I'll have to think about when and where.

[Alex later adds in an email: I saw the Art Ensemble at UCLA’s Schoenberg Hall in what was probably 1979. John Carter and Bobby Bradford opened as a duo. The previous night Anthony Braxton played solo – on Tim Berne’s horn; Tim was in town to do some gigs, and Anthony’s horn got bashed in transit – and the Vinny Golia Trio with Roberto Miranda and yours truly opened for him…[They] also played in L.A. once at an upstairs space called the Studio, later called Studio Z, on Slauson Avenue, I can’t remember what year. I missed it because I was out of town playing, probably with Julius. Alex also recommends his favorite AACM recordings: Other than the obvious People in Sorrow would be Fanfare for the Warriors, Phase One, Chi-Congo, Bap-Tizm and Nice Guys. That’s obviously barely even a drop in the proverbial bucket. Related albums I feel I should mention which are from the members’ earlier AACM days are Roscoe Mitchell’s Sound, Joseph Jarman’s Song For and As If It Were the Seasons (a particular favorite of mine), and Lester Bowie’s Numbers 1 & 2. These all reveal a lot about what was happening in Chicago during the late sixties and why the development of the AACM and its artists remains important and inspirational.]

The original People In Sorrow had only four players; your reinterpretation has an ensemble of eleven. How did you select the musicians?
I knew it was going to be a bigger ensemble simply because of the way I was hearing it in my head. The orchestration I knew was going to include sounds that were not than the original. I also knew that sounds that I really liked on the original I wouldn’t be able to reproduce – like the celeste, most people don’t have a celeste. So I spent a lot of time thinking about the kinds of sounds that I wanted and then of course the people I wanted to play them were to be not only in debt to this music but who also were seasoned improvisers whom I’ve worked with before. So Oliver, of course, was a no-brainer. Then Vinny, obviously because of our history together and because he was so affected by the music of the AACM and consequently has all these bazillions of woodwind instruments. I wanted Dan Clucas not only because he understands the music but in his own personal way can reference Lester Bowie's playing successfully without sounding like someone trying to imitate it. I have to confess that I am partial to strings, and so having Jeff Gauthier on violin and Maggie Parkins on cello was another no-brainer. [Bassist] Mark Dresser is flawless, he can do everything, so that was easy. Obviously there are no chordal instruments on the original although they did play some keyboards and mallet instruments on it; I decided early on I didn’t just want a mallet to recall those glockenspiel-marimba moments in the record. I knew I wanted Myra Melford because she’s from Chicago and is heavily influenced by the AACM, plus she has the harmonium thing that will come handy. In lieu of instruments like the celeste, I brought in Zeena Parkins on harp – not the wacky electric harp she plays but acoustic. And that leaves G.E. Stinson as the one player dealing with the most electronics.

G.E. was in Shadowfax, they were from Chicago as well, right?
G.E. was originally from Oklahoma, but he spent his coming-of-age years in Chicago, so a lot of the history of the AACM has a real intensity and immediacy for him. In a way he’s the wild card because instead of playing actual musical parts he’s the “free agent” as it were…There are certain things that he’ll have to do, but most of the time he’ll be responding to what going on.

You’ve also added a lot of voice accompaniment, from poets and a Buddhist chant to Mr. Dwight Trible.
I’ve aways loved voice, like strings I have a thing for it. I had been looking for a reason to work with Dwight for years. I always like what he does in a more “free” setting and he doesn’t do it very much. There’s this moment early on in the original People In Sorrow where someone hums the theme quietly, and it’s a very arresting moment when it happens. I thought we needed someone who could create this, so Dwight’s the man, right?…The Buddhist chant is something I wanted to incorporate as part of the extra-musical material that is informing this for me. I invited Sister Dang Nghiem to do it and since she’s a monastic, I knew she wouldn’t be able to be here physically and I knew was a very strange request…We arranged to have it recorded by my friend Phil Stein, who told me, “You’ve gotta have her on video!" So this was recorded and filmed at Deer Park monastery down in Escondido in their Ocean of Peace meditation hall at 6:30 am. When I asked "Sister D," as everyone calls her, I explained the background of the piece and indicated that I wanted her to select something that she thought would be appropriate. She wound up choosing something called “Verses for Contemplation” and in Vietnamese and it’s really amazing and very intense. This connection stems not only from the fact that Sister D is a nun in a spiritual tradition that I practice, but that the time People I Sorrow was recorded in 1969 was the time of the two significant world events that most affected me – civil rights and the Vietnam War. In a sense, because of things like racism and war, I see People In Sorrow as being about suffering, how to face suffering, how to learn to not be afraid of it and ultimately transform it. Music like this helped me transform my own suffering. And transforming suffering is what Buddhism is all about. That’s the whole point of it.
Más con Alex Cline:
viewtopic.php?f=1033&t=24282&p=839312#p839312 Continuation
viewtopic.php?f=1033&t=24282&start=140#p532108 Right of Violet y The Other Shore
viewtopic.php?f=1033&t=24282&p=532130#p532130 Alex Cline Enemble
viewtopic.php?f=1033&t=24282&start=120#p524392 Espiritu
Última edición por hiru el Jue 16 Nov, 2017 20:55, editado 37 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Heavy ConstruKction, CD 2

Mensaje por hiru » Sab 10 May, 2014 19:46

Imagen

Ser impetuoso, exaltado comienzo del segundo disco del Heavy ConstruKction, revuelta entre sexo y tormentas, quizá la improv:Offenbach que nos dirige a Cage en un abrupto corte es lo más importante hasta ahora, la parte baja, del cuadro, el motivo central, el pantalón, el pantalón, el pantalón, vertiginoso nudo que no va a desembocar, rémora de aquel viejo 21st century schizoid man. Antagonismo, estupor, caricatura, sarcasmo, King Crimson en la parte de arriba, una sátira, Heavy ConstruKction en la parte de abajo -> Improv: Offenbach & Cage:

[video]https://www.youtube.com/watch?v=QZ4rP_W ... e=youtu.be[/video]

2-1 Sex, Sleep, Eat, Drink, Dream 4:30
2-2 Improv: Offenbach 6:30
2-3 Cage 3:54
2-4 Larks' Tongues In Aspic: Part Four 12:51
2-5 Three Of A Perfect Pair 3:42
2-6 The Deception Of The Thrush 8:26
2-7 Heroes 6:11

ed2k linkKing Crimson - Heavy ConstruKction (Disc 2)(FLAC)(Art).rar ed2k link stats

El triple Heavy ConstruKction casa muy bien con este otro mundo de directo (cada nuevo directo es una nueva visión/interpretación y una oportunidad para profundizar más en su propia estructura funcional) como lo hay en http://www.dgmlive.com/archive.htm?artist=13.
Última edición por hiru el Dom 30 Ago, 2015 18:35, editado 15 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Don't Be Scared Anymore

Mensaje por hiru » Jue 29 May, 2014 21:15

Imagen

DON'T BE SCARED ANYMORE

ed2k linkPaul Wertico Trio - Don't Be Scared Anymore (mp3).rar ed2k link stats

African Sunset
[video]https://www.youtube.com/watch?v=B2tLcz3 ... e=youtu.be[/video]

ImagenImagen Daido Moriyama

Y esta entrevista a Paul Wertico con ocasión de este disco, en inglés, Paul Wertico es el batería: http://jazztimes.com/articles/20259-paul-wertico
Spoiler: mostrar
Imagen
Última edición por hiru el Mié 18 Mar, 2015 15:35, editado 3 veces en total.


hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Adam Rudolph / Go: Organic Orchestra / Thought Forms

Mensaje por hiru » Jue 12 Jun, 2014 17:28

Imagen


THOUGHT FORMS / pensado / formas



1 Overture 1:05
2 Mirrors 3:11
3 Axis 1:01
4 Ka 2:26
5 Romance 3:46
6 Sonar 2:00
7 Interior 3:32
8 Circular 3:37
9 Kaleidophone 3:15
10 Atmos 2:10
11 Golden 6:26
12 River Run 3:19


ed2k link2008 Thought Forms (Adam Rudolph Go-Organic Orchestra) (mp3).rar ed2k link stats




[quote]p e r s o n n e l :

Adam Rudolph, artistic director
composed and conducted by Adam Rudolph

vientos de madera -

RALPH JONES - c flute, alto flute, bass clarinet, soprano saxophone, hichiriki, ney, bamboo trumpet
ELLEN BURR - c flute, alto flute, piccolo, bamboo flute,
EMILY HAY – c flute, alto flute, piccolo, bamboo flute
FAWNTICE McCAIN - c flute, alto flute, piccolo, bamboo flutes, suling, ocarina
THOMAS STONES – c flute, alto flute, piccolo, bamboo flute
DAVID PHILIPSON – bansuri flute
MICHAEL BIRNBRYER – flute, bamboo flute
AUSTIN PERLATA- c flute, bamboo flute
ASUNCION OJEDA – c flute, bamboo flute
GUSTAVO BULGACH – clarinet, bamboo flute
MATT ZEBLEY - alto clarinet, bamboo flute
TRACY WANNOMAE – clarinet, flute, bamboo flutes, whistle
PAUL SHERMAN - oboe, english horn, baroque oboe
MYKA MILLER - oboe, english horn
SARA SCHOENBECK – bassoon, sonai, bamboo flute, whirly whistle

percusión -

RANDY GLOSS – riq, frame drums, conga, batajon, gongs, tuned gongs, bells, percussion
HARRIS EISENSTADT – drum set, kutiro, percussion
MUNYUNGO JACKSON – congas, udu, cajon, marimbula, surdos, talking drum, percussion
MILES SHREWSBERY – tabla, frame drum, udu, shakers. percussion
ANDRES RENTERIA - bata, cajon, bowls, shakers, percussion
ANDREW GRUESHOW – achimevu, sogo, talking drum, berimbau, percussion
TJ TROY – tabla, frame drum, dumbek, percussion
AUSTIN WRINKLE – dumbek, percussion
CHRIS DINGMAN – vibraphone, balaphone, percussion

cuerdas -

BILL CASALE – acoustic bass
NICK ROSEN - acoustic bass
JOHN PAUL MARAMBA - acoustic bass
KEVIN FARREL - acoustic bass

RONIT KIRCHMAN – 7-string electric violin
ANDREA LIEBERHERR- violin
MIGUEL ATWOOD FERGUSON– viola
JAKE CHARKEY – cello, tamboura
PETER JACOBSON – cello

JEREMY DRAKE - electric guitar

REBEKAH RAFF – harp[/quote]
Última edición por hiru el Mié 18 Mar, 2015 15:37, editado 3 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Re: Zona ZXZ: música experimental, underground y rarita

Mensaje por hiru » Mié 18 Jun, 2014 18:47

Imagen

"alba"
En esta serie se inicia una morfología de signos caracterizada por la presencia de astros, pájaros y mujeres que configuran el lenguaje mironiano de la etapa de madurez. Entre las superposiciones de las diferentes formas se crea un espacio cromático determinado, que a partir de este momento se repite constantemente en la obra de Miró. Todas las obras están fechadas, lo que permite ordenar la secuencia cronológicamente.

Los fondos de las obras están pintados con tonos suaves, y la gran mayoría de obras están llenas de intersecciones lineales de color negro, con pequeños detalles pintados en los colores primarios que utilizaba Miró (rojo, azul, amarillo ...) Las obras recuerdan a mapas astrales, representaciones de espacios cósmicos. En "Descripción de Constelaciónes de Joan Miro", allí refieren a erben p. 104.

Grabación de estudio de estas interpretaciones musicales de las raras Constelaciónes que Joan Miró realizó comenzando en 1939 en Varengeville-sur-Mer y finalizando en 1941 entre Mallorca y Montroig.

El .rar incluye las canciones y unos .jpg con reproducciones, algo oscuras al parecer, de las Constelaciones de Miró:

ed2k linkthe 23 constellations of joan miró (Bobby Previte) (mp3 + libreto).rar ed2k link stats


[video]https://www.youtube.com/watch?v=TcH3TzVUdYc[/video]
----------
The 23 Constellations of Joan Miró - The Definitive Recording

Esta mezcla que realizo Previte en 2008 parte de una grabación en directo el World Financial Center Este se oye directamente en BandCamp e incluye narración de extractos de escritos y entrevistas varias que Joan Miró dejó: http://bobbyprevite.bandcamp.com/album/ ... -recording

escritos de Miró como éste en Women on the beach: Inmoviliti moves me. This bottle, this glass, a big stone on a deserted beach. This are inmovile things, but they unleash a tremendous movement in my mind. I do not feel that when I see a human being moving around like an idiot. People who go swimming at the beach and who move around move me much less than the inmovility of a pebble.
Mixed by Bobby Previte from a beautifully recorded 48 track session, this version of the Constellations is a new, re-orchestration featuring the Ensemble PLUS David Patrick Kelly as narrator! Recorded at the US Premiere at the Winter Garden of the World Financial Center, October 28, 2008.

Imagen

-----

Son larguísimas interpretaciones siempre de 23 canciones iguales de corta duración que se pueden limitar a un crescendo de motivos que van apareciendo y sobreponiéndose hasta hacerse la constelación y desaparecer cuando esta está completa

1 Sunrise 3:07
2 The Escape Ladder 2:15
3 People at Night, Guided by the Phosphorescent Tracks of Snails 2:24
4 Women on the Beach 2:11
5 Woman With Blond Armpit Combing Her Hair by the Light of the Stars 2:15
6 Morning Star 2:34
7 Wounded Personage 2:23
8 Woman and Birds 2:11
9 Woman in the Night 2:00
10 Acrobatic Dancers 2:15
11 The Nightingale's Song at Midnight and Morning Rain 2:43
12 On the 13th, the Ladder Brushed the Firmament 2:20
13 Nocturne 2:49
14 The Poetess 2:13
15 Awakening in the Early Morning 2:42
16 Toward the Rainbow 2:54
17 Women Encircled by the Flight of a Bird 1:32
18 Women at the Border of a Lake Irradiated by the Passage of a Swan 2:06
19 The Migratory Bird 2:16
20 Ciphers and Constellations in Love With a Woman 2:03
21 The Beautiful Bird Revealing the Unknown to a Pair of Lovers 2:42
22 The Rose Dusk Caresses the Sex of Women and of Birds 2:13
23 The Passage of the Divine Bird 2:57

Cada constelación es una hermosura, como esta Nocturna:



---------------

Imagen

O: People at Night, Guided by the Phosphorescent Tracks of Snails (youtube)


Live in england es en directo en Inglaterra de la gira de 2004 (una vez más cada composición de Previte) y tiene la novedad de ser la primera grabación que incluye a Zeena Parkins en el arpa. También en BandCamp:

http://bobbyprevite.bandcamp.com/album/ ... in-england
Última edición por hiru el Dom 19 Abr, 2015 19:14, editado 14 veces en total.

hiru
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Re: Zona ZXZ: música experimental, underground y rarita

Mensaje por hiru » Mié 18 Jun, 2014 20:11

Imagen
-------------------------------|

El disco se hace de tres partes cada una de ellas aludidas en la portada en la que también aparecen fragmentos de fotografías de las escenas en el teatro...

ed2k link2006 Guigou Chenevier pièces musicales avec vue 3 musiques pour le thé%C3%A2tre et la peinture (mp3).rar ed2k link stats

El disco lo distribuye inpolysons.fr, allí se puede leer una reseña en la que se nos hace participes de las diferentes actividades en las que uno se encontraría a Guigou. Actualmente y por ejemplo y aunque no las citan allí La musique est-elle un art de combat? ou C'est l'enfer
Le batteur est le meilleur ami del musicien es el disco que citan, también como hombre orquesta igual que este; ¡los rusos lo tienen!: rutracker.org

Volviendo a este cd, estas son las partes que Chenevier alude en la portada, partes separadas:

---

CAIRN es la primera parte. Cairn, hito de piedras en francés, se refiere al titulo de la obra de teatro de Enzo Corman, de la que desconozco el contenido. Veremos si algunas imágenes ayudan a entender, y la parte musical de Guigou Chenevier esperando que los títulos hablen por si mismos:

ImagenImagenImagen

CAIRN va de la 1ª hasta la 13ª, es así:
01 Zeg Zeg Zeg 0:48
02 Grand 0:23
03 Le Monde Libre 1:00
04 L'Ombre des Noyés 0:53
05 Mauvaise Graine 0:28
06 E. Bow 0:22
07 L’Usine Incendiée 1:10
08 Bonus 0:29
09 Siréne 0:42
10 Portrait de Famille 0:38
11 Scie Circulaire 0:27
12 Siréne 1 0:28
13 Evacuation de l'Usine 1:44

----

PSYCHIATRIE/DÉCONNIATRIE es la segunda que refiere, psiquiatría/destonteriatría, palabra que se compone de:
El prefijo de-, des- en español e indica negación, privación, o acción inversa.
La palabra con en francés es gilipollas o tonto o cualquiera de las expresiones en español.
iatrie significa curación.

La obra de teatro consiste en un monologo de Christian Mazuchini a partir de un texto de François Tosquelles y Serge Valleti.

Algún enlace esclarecedor, paradojicamente, ambos en francés:
http://festivals.over-blog.com/article-2396235.html
http://www.icimeme.fr/conteur.php?conte ... ectacle=74

PSYCHIATRIE se añade a DÉCONNIATRIE y DÉCONNIATRIE se añade a PSYCHIATRIE así: psychiatrie-déconniatrie

¡La psiquiatría es un disparate!

En otros sitios se refieren a Déconniatrie como palabra compuesta por Déconnage e iatrie, es decir estupidez o idiotez, y curación.
o aquí: http://ccaa.elpais.com/ccaa/2012/12/12/ ... 49122.html

Imagen
Fotos: http://www.icimeme.fr/conteur.php?conte ... &numPage=0

PSYCHIATRIE/DECONNIATRIE va de la 14ª hasta la 17ª, es así:
14 Entrée Tosquelles 3:30
15 Coquelicots 3:18
16 Orage sur l'asile 3:16
17 Travailler le moins possible 4:32

---

DISTANZE es el título de la tercera parte que corresponde a Enrico Lombardi, quizá más concretamente a sus pinturas de arquitecturas y de fabricas, de ciudad quizá también...

[video]https://www.youtube.com/watch?v=GX220fh9fqc[/video]

DISTANZE va desde la 18ª hasta la 22ª que es la ultima, es así:
18 Segredi di Evidenza 2:04
19 Tempo Perduto 2:03
20 I Margini del Tempo 2:02
21 L'altra Parte 2:05
22 Struggenza del limite 2:08
23 Attimi Obliqui 1:58
24 Cuore d’Acqua 2:03
25 Nella Grazia 2:04
26 I Margini del Desiderio 2:12
27 II Mare Interno 2:00
28 Fuochi 6:04
Última edición por hiru el Dom 14 Dic, 2014 19:22, editado 2 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Guns Cardiacs 1999

Mensaje por hiru » Vie 27 Jun, 2014 13:08

Imagen
Guns
"Armas"

"Spell With A Shell"

[quote]Hechizo con caparazón

Ello cargaba su casa en su espalda cuando llegó
diciendo que él era para mí un hechizo podía ser bueno podía ser malo
empápalo en un poco de agua y esto estará bien o te lo pones de camiseta
por una semana y llámale por un nombre
pero malo si lo quemo

No pares ahora
yo no sabía que te iban a crecer alas
esto duras tú estando vivo
¡no! ¡para!
tú eres mi único amigo, sí

Bien, entonces ahora te doy tu nombre “Baz” ¿qué tal suena eso?
¿que tal va? ¿estas bien para mí ya? - ¿o estas mal para mí? En una noche
callada, ponerle en el fuego, ahí, ahí, solamente porque no le quiero ardiendo en otro lugar

No pares ahora
yo no sabía que te iban a crecer alas
esto duras tú estando vivo
¡no! ¡para!
tú eres mi único amigo, sí[/quote]

ed2k link1999 Cardiacs - Guns (mp3).rar ed2k link stats

1. Spell With a Shell (3:17)
2. There's Good Cud (2:17)
3. Wind and Rains Is Cold (3:20) (el usuario de Youtube, ha añadido a esta canción un montaje con escenas de la película "The Night of the Hunter" '¡¿?!')
4. Cry Wet Smile Dry (3:27)
5. Jitterbug (Junior Is A) (7:31)
6. Sleep All Eyes Open (2:58)
7. Come Back Clammy Lammy (4:07)
8. Clean That Evil Mud Out Your Soul (2:25)
9. Ain't He Messy Though (2:03)
10. Signs (4:25)
11. Song of a Dead Pest (2:37)
12. Will Bleed Amen (7:30)

Total Time: 45:57

letras (en inglés):
Spoiler: mostrar
1. Spell With a Shell

It carried its home on its back
When it came
Saying he was for me a spell
Could be good could be bad
Soak him in some water
And it will be good
Or wear him as a shirt for week
And call him by a name
But bad if I burn him

Don't stop now
I didn't know you'd be growing wings
This is how long you'll stay alive
Don't! Stop it!
You're my only friend yeah

Right, so now I give your name "Baz"
How does that sound?
How is it so far?
Are you good to me yet?
Or are you bad to me?
On a quiet night
Put him on the fire
There
There
Only because I don't want him to burn
Elsewhere

Don't stop now
I didn't know you'd be growing wings
This is how long you'll stay alive
Don't! Stop it!
You're my only friend yeah

----
2. There's Good Cud

Wounded spawn from our devils open sore
Was even more bloody than before
Said "Don't you get me!
Don't you spoil the air with all your craziness!
Don't you get me!
Fuck you! You don't you get me!"

There's good cud
There's dead good sticker sing
Mercy alive hot dog love's a-winnin'
"Don't you get me!
Don't you spoil the air
With all your craziness!
Don't get for all time
All this whole carcass of mine!"

I'm a wastrel I'm a sisters boy
Mercy alive hot dog loves in oh joy

Said "Don't you get me!
Don't you spoil the air with all your craziness!
Don't you get me!
Get someone else don't get me"

----
3 Wind And Rains Is Cold

Wimping out for baby god
No grudge nothing not even fear
Only he was a lamb
Nurse his hate hand he cut it on a jag

Oh spotty Sallys army
All win they dared all sayed 'yeah'
Dashed back calling out alarms
Enough to wake the dead Freds
Dead Freds
With their hair waving all lazy and soft
Like meadow grass under the flood

Rains cold and the wind blows
All the rains is cold
All the rains is cold

Best thing gone did ever have
It was a good boy not bad
With whole body just a-quivering
With cleanliness
Hate hand take the soul through drizzle ditch
And the wormy garden vegetable garden bitch

Hide your hate hand in your secret place
Your hate hand hide your hand

Now you remember children
How blessed are the pure in heart
Want me to take 'em up and wash 'em good?
Them dead good?
Like the only fish in the river
Not safe 'cos they all had stones
All had stones

With rains cold and the wind blows
All the rains is cold
Wind and rains is cold

Hide your hair it's waving all lazy and soft
Like meadow grass under the flood

Rains cold and the wind blows
All the rains is cold
Wind and rains is cold

----
4. Cry Wet Smile Dry

It is today couriers day
I have a letter to say
Pen is good for nothing do me in
This letter old letter is arrears
It shall stay to the post for years yeah
Till at what o'clock is ten clock strike?
Cry wet smile dry if you won't then say goodbye
It is not that
Tie 'em rope 'em brand 'em in the eye

And all we want to see's all that
It is remarkable
The streets be laid out by line
And to paved yeah

Until two o'clock after midnight
At what o'clock are you to bed?
I think yet that it is ten clock strike
This letter old letter is arrears
It shall stay to the post for years
This day is good for nothing
Do me in

How is the day of the month the year
The day the hour etcetera
That is some letter to me
Go brand them in the eye
See 'em wet and cry
Making 'em smile dry
Cry Dixie hang 'em high
Brand 'em in the eye
Oh my! See 'em wet and cry
See 'em wet and cry

I am to tell some words that I know by heart
"Tie 'em rope 'em brand 'em in the eye
Cry all wet and smile dry"

I see 'em wet and cry
Making 'em smile smile dry
Cry Dixie hang 'em high
Brand 'em in the eye
Oh my! See 'em wet and cry
Making 'em smile dry
Cry Dixie hang 'em high
Brand 'em in the eye

----
5. Jitterbug (Junior Is A)

Bend this spine out of mine
Oh I'm loads of rain, shower me!
Jelly muddy on strength of their bodies
And all I get is an odd feeling

Bend this spine out of mine
Feet seen my lies seen my fear in all the air
And seem like clay

Junior all pale again
So panic red and barmy eyed and
Broken as a bird in air with strangers
Beating a scene and pleased beneath me
Kicking at air better to eat with
Ah! Lightly carving away
And be wed all she wares

And if the 'sceeters don't get him
Then the 'gators all will
And junior is a jitterbug
Chesty and blue, a still born mouthful
Slid away and hid himself in the earths face

All good news for now
Rods make buildings in the sand pit
Fiona kissed my desk
Me I just stay out the way
Old ounce weights all blown upside down
Air, light, and labour saving devices
All sun skim her I don't want to go home
Drag back, lighting up time
Thin yellow on the cotton white
And the beautiful strangers stripes were green
And make her full of secrets
And sounded like her name
And sounded like her hair
Which I tried to smell but made a funny face instead
Lie for the beads, they are not for me
Hide them in a match box
Made all special with white cotton wool
Keep the ones that click on teeth
Hand me back the ones that won't
Hand me back the rest with the box

I love you

----
6. Sleep All Eyes Open

You mistake you-self heavily
Will you this?
Is your master at home?
Yes Sir!
Is it up?
No Sir he sleep yet!
It come in ones how is it you are in bed yet

Suck bear daddy she stink all clean
Upon my soul upon her life
She dog a - sleep all eyes open
Prays all our own jelly as fear yeah!

Grizzle yeah oh and contain me
Grizzle oh yeah and contain me

Since you not go out
I shall go out nor I neither
That may dead if I lie you
She dog a - sleep all eyes open

Prays all our own jelly as fear yeah!
The sun rise on sun lie down
Upon my soul upon her life she dog
Asleep all eyes

I feel very very bloody complete
Says if I falls froggy squish
Hooray yeah! Oh! Hooray yeah-eah ah!
Hooray yeah! Oh yeah! Oh Hooray yeah!
Hooray yeah! Oh! Hooray yeah-eah ah!
Hooray yeah! Oh yeah! Oh Hooray yeah!

----
7. Come Back Clammy Lammy

Dead you barmy you make it to heaven
Fancy drowning to death you barmy in
Half a fathom see red rim barnacle
Come back clammy he reek all lammy
He tear off all of his clothes and snap his hair
Suffer he stink, he reek all lamb

"Hi, 'tis me pal I come back clammy
I reek all lammy of half a fath
Saw red rim barnacle make it to heaven"

Fancy drowning to death you lamb you
Come back clammy you reek all lammy
Of half a fathom of stink and you dead

Make it to heaven red rim barmy you
Come back clammy you dead saw barnacle
Make it to heaven red rim barmy you

All soldiers together in World War One
Having a bit of a laugh on the Somme
My friend says, "Where's my dirty bottom gone?"
I says, "Blown of by a big bomb"
And he says, "I thought there was a bit of a stink pong"

All soldiers together in World War One
Having a bit of a laugh on the Somme
My friend says, "Where's my dirty bottom gone?"
I says, "Blown of by a big bomb"
And he says, "I thought there was a bit of a stink pong"

All soldiers together in World War One
Having a bit of a laugh on the Somme
Make it to heaven red rim barmy you

Dead and you make it up to heaven
Fancy starving to death you barnacle
In half a fathom of red rim barnacle
Come back clammy you dead you barnacle
Tear of all his clothes and snap his hair

It was your idea to have a crazy party
With all your new pals to enjoy a free feed
On your body and to make the birds stop singing
While they go pick your bones white as pale
All stench and stale to barter with a hammer and you

Come back clammy you dead saw barnacle
Make it to heaven red rim barmy you

"Hi, 'tis me pal I come back clammy
I reek all lammy in half a fathom
Of suffer and stink and clam and you"

Come back clammy you dead saw barnacle
Make it to heaven red rim barmy you dead
Saw barnacle make it to heaven
Come back clammy you red rim barmy you
Come back clammy you dead saw barnacle
Make it to heaven

----
8. Clean That Evil Mud Out Your Soul

Clean that evil mud out your soul
Sweet heaven save me from that candle
Burned it up it burned, it stank so strong
Of hell fire

Heaven can only know what unholy sights and sounds
All we innocent babes has made in them dens

All spawn of my own flesh and blood
All spawn of my devils own strumpet
Them olden days and them hard times
And merciful heaven only knows
What unholy sights and sounds
All we innocent babes has made in them dens

Weren't you afeared little lambs down there
In all that dark down there
In that deep place made all flesh all blood
For those eyes of mine
What a joy devine

----
9. Ain't He Messy Though

What's up with eyes?
What's up with everyones sad leaky
Wet and wincey eyes?
All a-drippin' in time

I gives to prayin' over that he will be
No entertainment for the crowd
When he hangs up

Roll them on, I don't know
Don't try to understand them
Brand them, brand them in the eye

Whats up with eyes?
What's up with everyones sad leaky
Wet and wincey eyes?
How he hangs up

So easy to damage a bee or a
Precious red ruby all dirty
Ain't he messy though

---
10. Signs

Sleep them well all them dry bones
After we shot to his death
The horse and the rocking boy
Folded up like a dead balloon
All breathing not welcome
Ah kiss me I'm sore
Million eyes watching all but is
Worth a kiss on this phiz
All on this phiz and more

Oh my saviour create me to die alone
I'm what you flush I'm your children
Nursing a desire with poison
Mothering stray waifs with germs
All trying to kill them

Then sleep better and easy
Awaken all the guilties

Now come down here for all of us
And throw this off axis
Without trying too hard
Starry shake and awaken all the guilties
Protect the innocent lambs
Make we sleep better and easy
All his loss all not was
And where is his eyes?

Think on this you did not miss
Didn't know if your distress
Were short not everlasting

Sleep thee well better and easy
All this loss no what cost no more
No more the horse and the rocking boy
Million eyes watching all but is
Worth a kiss all on this phiz ah!
This is ah!
This is ah!
Plant me oh joy!
Oh my saviour create we all to die alone no

No more the horse and the rocking boy
No more the horse and the rocking boy
No more the horse and the rocking boy
No more the horse and the rocking boy

---
11. Song of A Dead Peast

Mandy trained up her head to
Away itself go when is told
Head revealed its whereabouts
In a thicket by calling "here... I'm here!"

And in tones of deep solemnity
Pronounced that she is dead
Said she had left her torso
Too excited to listen and naked

Love gone lost of all faith in
Divine intervention flying birds on a string
Lowest neck down half of she
Scandalously flies her hawks
Outside my house

She'll only go if I address her coffin
As the ship whereon she must launch
Out into eternity

And renounce all dancing
Renounce loose living
And cricket

----
12. Will Bleed Amen

Same thing everyone doing thee
And don't even know if it's been planned
They will attack and kill

Don't even think about it
Not one of us, not one of you
But two hundred thousand

Snapping at the arms of the big padded body with a black dog
Gags and fills out with sock
No longer heaven keen birdy swoop down to address its mess
Pretends its Jesus

Missed that chance to sing
Missed that only chance
Dying to snatch eden
Charm enough to choke
All gag and bleed with gusto
Will bleed amen

"Find no good no kind but find guilties of sins
Sufficient enough to hang an army"

In
So in
God save the past
So in it makes me nothing like these
So
Not out
Not sorry leaving me all not sorry I breathed

"They will attack and kill
Attack and kill they will
The where and the how I leave to you"

And in all this glory
Was high as ninety was high as say
Eats his words as they die in his mouth
Eats his words as they
Choke the tic as it grows
Catchy lays of its eggs in her turfy thrill
And lost them on her lawn
Wishing could brush them all aside
But still

So be it all lucky charm
Enough to choke
All bleed and all gag with gusto
Will bleed amen
ImagenImagen
Última edición por hiru el Vie 27 Feb, 2015 15:05, editado 16 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Steuart Liebig/Minim Sulphur

Mensaje por hiru » Vie 27 Jun, 2014 13:49

Imagen

Con ruido, y embarullado, confundido

el primer Caleidoscopio en youtbe
el decimoctavo Caleidoscopio en youtube

<1-23> KaleidoscopeCaleidoscopio
24 The Cherry Blossom is Only Perfect When it's Falling From the TreeEl Florecer del Cerezo es Solamente Perfecto Cuando Está Cayendo del Arbol
25 Necrological PietiesPiedades Necrologicas

La última fue escrita para el bailarín/coreografo Shuriu Lo, solamente cuatro minutos de gran intensidad

y sucio.
This is the second version of the Minim project. I was going for a darker timbre to complement the instrumentation on Quicksilver. "Kaleidoscope" is another 23-part "haiku piece" that I wrote to further the ideas from and complement "Mosaic" from that CD. "The Cherry Blossom Is Only Perfect When It’s Falling from the Tree" is likewise a companion piece to "Chrysanthemum." "Necrological Pieties" was written for dancer/choreographer Shuriu Lo (formerly Belinda Cheng).
http://www.stigsite.com/minimsulphur1.html

“Kaleidoscope” is a piece made up of 23 miniatures based on haiku. “ The Cherry Blossom Is Only Perfect When It’s Falling from the Tree” is a single movement of 13 parts based loosely on terza rima. “Necrological Pieties” was written for choreographer Shuriu Lo.
http://www.pfmentum.com/PFMCD046.html
Bass [C, Eb, 12-string And Prepared Contrabassguitars] – Steuart Liebig
Bassoon – Sara Schoenbeck
Clarinet, Bass Clarinet – Andrew Pask
Drums [Drumset], Percussion, Marimba – Brad Dutz

Imagen

A Steuart Liebig también se le puede seguir en BandCamp: http://steuartliebig.bandcamp.com/
Última edición por hiru el Sab 30 Ago, 2014 21:51, editado 2 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Re: Zona ZXZ: música experimental, underground y rarita

Mensaje por hiru » Dom 06 Jul, 2014 13:38

Imagen

ed2k linkthe Mulchmen - greetings! from planet stupider (flac).rar ed2k link stats

¡saludos!
del planeta estúpidos todavía más

"Delta Velocity"
"Velocidad Delta"
Angustiados y excesivos despreocupados de los poderes

Imagen

sobre los mulchmen: http://www.bigbeef.com/mulchmen/
"Shadow Walk"
"Caminar Sombra"
Última edición por hiru el Sab 30 Ago, 2014 21:52, editado 2 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Mensaje por hiru » Mié 16 Jul, 2014 18:30

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DEFCON 5…4…3…2…1

Man or Astro-Man? have returned to earth for the human masses and after years of hibernation they are now unveiling their finest recorded work to date.

1 Defcon 5
2 Antimatter Man
3 All Systems Go
4 Disintegrate
5 Defcon 4
6 Codebreaker Seventy Eight
7 Communication Breakdown Pt. II
8 Defcon 3
9 Electric Arc
10 Defcon 2
11 New Cocoon
12 Defcon 1

All tracks written by Star Crunch except: 10 (Eric Bachmann, Star Crunch), 7 (Birdstuff, Star Crunch), 5 (Eric Bachmann, Star Crunch), 4 (Backing Vocals – Liz Durrett).

Arranged By [Additional Electronic Arrangements] – Eric Bachmann
Bass – Coco*
Drums, Percussion – Birdstuff
Engineer, Mixed By – Daniel Farris (tracks: 4 to 6, 8, 12), Les Nuby (tracks: 4 to 6, 8, 12), Steve Albini (tracks: 1 to 3, 7, 9 to 11)
Mastered By – Daniel Farris
Musician – Alex Hendrickson, Andrea Paschal, Jeremy Jacobsen, Jon Sal Paulo*, Les Nuby
Rhythm Guitar – Avona Nova
Vocals, Guitar, Keyboards – Star Crunch

Enlace emule para el disco:

ed2k linkMan Or Astro-Man - Defcon 5...4...3...2...1 (flac).rar ed2k link stats

"New Cocoon"
"Nuevo Capullo"
http://youtu.be/UhXtDPIECis

New Cocoon
A twisted line, a crooked joke Just a power soak They'll tear you apart With enemy hands They crawl inside and draw a map Of the world collapse By tracing your heart With enemy hands They pump you up all full of lies Capture the firefly Then reach for the spark With enemy hands You make a move, there's nothing left It's the greatest theft When you play your part To enemy hands They put you in a plastic room Inside a new cocoon So the doctor can see you They control the way you feel You never know what's real It's only what they will feed you (bridge) They put you in a plastic room Inside a new cocoon So the doctor can see you They control the way you feel You never know what's real It's only what they will feed you Pumped you up all full of lies Capture the firefly And throw you in a cell Then they cut your flickering soul A little breathing hole And put you on a shelf
Live on KEXP radio
Media hora presentando el disco en la radio y con una canción extra del experiment zero
(parece que acompañan sus canciones de esta gira con las del experiment zero, en otros sitios he visto tocar de más)
Los discos de la primera epoca son super diertidos. Tienen una discografía muy extensa. Your Weight on the Moon, Live Trasmission from Uranus! ¡Queremos explorar nuestro yo!

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Man or Astro-Man? Evil Plans Of Planet Espectra (Live on KEXP): http://youtu.be/6syxA0ThR5Y?t=16m08s



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----interludio
Las Estrellas Ahora No Mueren----

Del disco de Man or Astro-Man? EEVIAC: Operational Index and Reference Guide, Including Other Modern Computational Devices, y con una sola guitarra, no como en el DEFCON que son dos guitarras.
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"As Estrelas Agora Elas Estão Mortas"
"Las estrellas ahora están muertas"
de Astro-Lyric Site Updates
--sound clip--
As estrelas agora não morrem.
As estrelas agora não morrem.
--/sound clip--

Alone each night Trapped In the night The stars Of the night Are dead. The sight! The stars are gone from the night and the dawn The stars In the night Oh, really... are... dead

--sound clip--
As estrelas agora não morrem.
As estrelas agora não morrem.
--/sound clip--

Deep The sound Never Reached the ground I don't Know where to begin You'd never Understand The stars In the night Oh, really are dead.

--sound clip--
As estrelas agora não morrem.
As estrelas agora não morrem.
--/sound clip--

Alone each night Trapped In the night The stars Of the night Are dead. The sight! The stars are gone from the night and the dawn The stars In the night Oh, really... are... dead
--
Imagen
cine en la noche

" __/Miopía"
" __/Myopia"
Última edición por hiru el Vie 01 May, 2015 23:27, editado 12 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Re: Zona ZXZ: música experimental, underground y rarita

Mensaje por hiru » Lun 21 Jul, 2014 17:54

Imagen
La composición son las cosas que se encuentran en el entorno del encuadre, y la subsiguiente secuencia
(Para corregir el aspecto 4:3 en el vídeo y ponerlo en 16:9 utilizar el "vlc media player", o cualquiera que incorpore dicha función.)

Anarchism For Beginners (Anarquismo para principiantes)

Un circunloquio bastante directo en torno al anarquismo y a la idea de 'Independiente' y 'Comienzo'.

ed2k linkTreatment - Anarchism for beginners (from 240 months DVD).mkv ed2k link stats

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Este es un aspecto que sin duda sorprende. La apariencia de las imágenes queda relegada a un segundo plano y el contenido de las mismas se impone a su forma, tal y como explicita una de las cinco declaraciones de principios que aparecen al comienzo de la película y que nos dice: «EL CONTENIDO (NO LA FORMA)». En este sentido, se trata de una película a contracorriente, que plantea una manera diferente de entender la forma. Si la tendencia general apunta hacia la High Definition o «alta definición» como un valor en sí mismo, este documental nos obliga a replantearnos esa carrera hacia el hiperrealismo, del mismo modo que en su momento tuvo que hacerlo la pintura. Del Poder.
Zaván (España, 2011)
Http://www.rebeldemule.org/foro/documen ... 10406.html
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El trailer 'Anarchism for beginners' también está aquí: http://vimeo.com/3170036

Déjà View - Uno de los videos en el DVD
[video]http://vimeo.com/9509725[/video]
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Duo de Bajo y Batería en interacción exponencial

Hilary Binder: Drums
Chris Rankin: Bass

1-Déjà View
2-Thirteenth Floor
3-Face the mirror
4-Watching falling stars
5-Mission Superstition
6-Crackwalk
7-Duologue
ed2k linkSabot - MISSION SUPERSTITION (mp3).rar ed2k link stats

Imagen

DVD con videos de conciertos y cortometrajes empaquetado con un libro de unas 130 páginas con fotografías de países por los que han hecho gira y recogiendo escritos de gente con las que han coincidido en paises.

El trailer presenta la posibilidad de una película más larga parece que en producción de Filip Remunda. Hablando oportunamente, es decir, sin yo, sin mi, etc. Imagino que él lo sentiría, necesariamente.

Una posibilidad de subtítulos para Anarchism for beginners:
¡Fuck mom!
I mean for our purposes, it’s just great. If we had places too clean, it really wouldn’t be a very good art center, you know? I want to be nervous. This way, people want to do something, they want to paint some rooms, some different color, make some painting on the other side on the building, make some sculpture in the garden, erect some door next on were are we park. It’s not going to bother anybody, you know? Less we want. Is a flexible space. It’s useful, don’t worry. – Oh, I think is worried. – I hope not. Otherwise he wouldn’t be making this movie about us, if he thought we were total lizards. – Or maybe that’s more interesting to show the kind of lizards we really are. – Weeeell, theres some music characteristics. – We’ll see, we’ll see. But even if it’s broken, is still nice to be back, because it’s our home, you know?
La transcripción del audio de la película Anarchism for beginners.
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Anarchism for Beginners

------
Relacionado con la idea de independiente o de artista independiente, está la presentación que de su banda hace Voodoo Muzak. Extraigo fragmento:
Finalmente, Voodoo Muzak es defensor de la idea independendiente y nunca ha sacado más de mil grabaciones a causa de ello.
Última edición por hiru el Sab 28 Feb, 2015 18:04, editado 6 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Re: Zona ZXZ: música experimental, underground y rarita

Mensaje por hiru » Vie 25 Jul, 2014 18:48

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ed2k link2002. California Guitar Trio - CG3+2.rar ed2k link stats

1--M E L R O S E--A V E N U E --2--S K Y L I N E--3--D A N C I N G--A N N
4--H E A R T--O F--T HE--S U N R I S E --5--H A N A G A S A --6--Z U N D O K O - B U S H I
7--B L O C K H E A D--8--D A N C E--O F--M A Y A--9--S W A M P Y--S P A C E
10--S W A M P Y--R E T U R N--11--T R A I N--T O--L A M Y--
12--E V E--13--W H AT--I ' A M--14--T H E--C H A S E S


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Bert Lams - Guitar, Tenor Guitar
Paul Richards - Guitar. Slide Guitar
Hideyo Moriya - Guitar. Mando-Cello
Tony Levin - B A S S , Chapman Stick
Pat Mastelotto - Traps And Buttons

Produced By Bill Munyon & Pat Mastelotto With The Cgt & Tony Levin

---------

La canción Hanagasa (Hanagasa Ondo, wikipedia) es muy interesante. Esta canción se apoya en una melodía tradicional japonesa y se canta y se baila en una fiesta que celebra algo como la flor del arroz en Japón, la fertilidad quizá. Esta versión del CG3 + 2 es una revisión con trío de guitarras acústicas siguiendo el motivo de hangasa y acompañados por una base rítmica al bajo y a la batería, una revisión excitante. También Satoko Fuji hace una versión de esta canción en un disco que puse una página atrás: Hanagasa Ondo (Canción del sombrero con flor en el dicso Watershed de Satoko Fuji). Esta es de voz y trompeta y tiene apariencia de invocación.

Ya en Japón la música se acompaña de una danza y una figuración coronadas por un sombrero con flores (hanagasa) y cada final agosto se celebra un festival (hanagasa matsuri) con desfile en la prefectura de Yamagata:

[video]https://www.youtube.com/watch?v=GX0N5DJ5GrI[/video]

-------------
---- Interludio SANCTUARY
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[video]https://www.youtube.com/watch?v=D7X3ilX1Z_k[/video]
6.SANCTUARY (09:31) BY JOHN MCLAUGHLIN (ARRANGED BY INTERZONE)
El mar era una balsa y había espejismos y tentativa y pecado en el hombre; pisamos arenas movedizas el día del juicio a los hombres.

GREGG BENDIAN'S I N T E R Z O N E : M Y R I A D

1 Interzonia 1, "David Cronenberg"
2 Intrepid
3 Pattern Master (For Octavia Butler)
4 Diaspora
5 Drive
6 Sanctuary
7 Tactics



Imagen
----- -----
Última edición por hiru el Vie 27 Feb, 2015 17:56, editado 17 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Hella: Church Gone Wild, Chirpin Hard.

Mensaje por hiru » Lun 04 Ago, 2014 19:06

Hella halla mayor profundidad en su etapa más contemplativa con música más retenida y dejada ir...
Si articulando tú una frase buscaras su sentido, Hella suena. Hella es un acontecimiento.
Cuando es contemplativo algo se mueve y permanece quieto al mismo tiempo, pero como en una pintura acabada de aglomeraciones de PJ Crook: http://www.pjcrook.com/glocoramawip.html

Imagen


Chirpin Hard, en lenguaje común, tiene más ritmo, o, digamos, melodía, no alcanza a la proyección de Church Gone Wild

ed2k linkHELLA Church Gone Wild%E2%80%8B%E2%80%8B -Chirpin Hard (2005) (mp3).rar ed2k link stats

A 'church gone wild' la han etiquetado con movimientos de 1 a 12 que son el numero de canciónes, también precisan: Church Gone Wild was written and intended to be enjoyed as one single composition, but has been track marked to your convenience, short attention span and/or busy lifestyle.
(enlace al disco completo en Bandcamp)

CHURCH GONE WILD

(youtube para la quinta y sexta)
Dejando la arena de la antropología
Estoy dejando el culto
Media hora de apretón de manos
Amigos imaginarios
El mundo salvaje atrapa al perdedor de noche
Metal negro Blues/Molde negro
Negado
La primera tarde sin Jimmy Hendrix y asqueado
Deseo no haber visto un hombre blanco
Bebé en coma/Hijo sin calendario
Armónica de guardaespaldas
Nosotros eramos solo chicos, viviendo en un Shepard alemán de cojones


Imagen

Chirpin Hard 46:07

01 Gold Mine, Gold Yours 2:28
02 Song From Uncle 3:41
03 W 2:12
04 Try Dis... 3:21
05 Drop Diva 1:25
06 Famnail 2:18
07 Dad For Song 3:06
08 Mind Over Butter 2:13
09 Home On The Arrange 4:17
10 Trap Kit Whatever 1:39
11 Proud Of The Sun 1:38
12 Chirpin Hard 17:40
Spoiler: mostrar
[video]https://www.youtube.com/watch?v=TuqxVo2XLyI[/video]
https://www.youtube.com/watch?v=pcCZAH_m6A8 Portals by R.T. Thomas 52:03
Última edición por hiru el Vie 22 May, 2015 18:48, editado 17 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

dut at + stanley spencer

Mensaje por hiru » Lun 04 Ago, 2014 22:23

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Dut
At

Fumut
[video]https://www.youtube.com/watch?v=xzd1tSjFkKw[/video]

De un hilo vago sujeto,
ahogo grave en el reloj de arena.
La imagen congelada de una cabeza
del alfiler que va por un hilo.
Morir modo de vida y la vida
el modo de ir muriendo.

La imagen congelada de una cabeza
del alfiler que vas por un hilo.
¡Fumut! ¡Fumut!
En el vacío blanco que hay entre dos palabras
A vivir aprendiendo
A morir aprendiendo

Viviendo
Aprendiendo
Muriendo
Aprendiendo

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Imagen
Stanley Spencer

ed2k linkDut - at (1996) (mp3).rar ed2k link stats


Otro disco de dut que ya puse antes: viewtopic.php?f=1012&t=28410&p=626337&h ... oa#p626337

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'Britain’s answer to the Sistine Chapel'
Última edición por hiru el Sab 20 Jun, 2015 20:06, editado 28 veces en total.

hiru
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Registrado: Lun 25 Ago, 2003 02:00

Re: Zona ZXZ: música experimental, underground y rarita

Mensaje por hiru » Vie 12 Dic, 2014 14:53

Icon - Jonas Hellborg

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Anchor
Mirror
Vehicle
Escaper

Art Metal - Jonas Hellborg - Vyakhyan - Kar

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Muthucutpor (Hellborg/Selvaganesh/Eklundh)
Manirambha (Hellborg/Selvaganesh/Eklundh)
Nataraja (Hellborg/Selvaganesh)
Solitude (Hellborg/Selvaganesh)
The Three Princes of Serendip (Hellborg/Selvaganesh) Los tres principes de serendip
Round Metal Hat (Hellborg/Selvaganesh/Eklundh)
Vyakhyan - kar (Hellborg)
Art Metal (Hellborg/Selvaganesh/Eklundh)

[tachado]Mattias IA Eklundh (guitar);
Jens Johansson (keyboards);
Jonas Hellborg (bass guitar);
Anders Johansson (drums);
Selvaganesh (kanjira).
Grabado en 2007
TOTAL TIME: 49:39[/tachado]

ed2k linkArt Metal.- Jonas Hellborg (FLAC) + ART.rar ed2k link stats

ed2k linkHellborg-Icon (FLAC)(art).rar ed2k link stats


Los nombres se tachan, porque la imagen trata de si misma, ella es su único motivo. El ciclo de vivir y morir. En "Icon", los nombres aparecen sobre el Icono, que forma otra especie de icono: un cartel; un icono sobre el que se inscriben los signos. Una fachada: En el cielo o en la tierra.

Imagen

Imagen


Imagen

Imagen
Última edición por hiru el Jue 08 Ene, 2015 11:04, editado 13 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Re: Sabot. Steve Lehman: On Meaning; Travail, Transformation and Flow

Mensaje por hiru » Lun 15 Dic, 2014 11:48

[video]https://www.youtube.com/watch?v=y6jJU7E ... e=youtu.be[/video]
CONVERSACIÓNES LEJANAS
ed2k link2008 Sabot - further conversations (mp3).rar ed2k link stats

http://www.cesta.cz/cover16%20Further%2 ... ations.htm (Enlace con Samples)

1 Crime Scene Return
2 Big Hat
3 Final Climb
4 Flexplex
5 Heil To The Chief
6 Quintessential
7 Start To Finish
8 Unforgettable
--------------------
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On Meaning (En el Sentido)

Analog Moment
Open Music
Haiku d’Etat Transcription
Curse Fraction
Check This Out
On Meaning
Great Plains of Algiers
Process

Steve Lehman Quintet, 2007

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ed2k link2007 steve lehman quintet - on meaning(pi recordings-25) (flac).rar ed2k link stats

http://pirecordings.com/album/pi25 (Enlace con samples)


-------


Steve Lehman Octet, 2009

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Trabajar, Transformación, y Fluir
Este octeto es especialmente llamativo y brillante.
ed2k link2009 steve lehman octet - travail, transformation, and flow (FLAC).rar ed2k link stats

http://pirecordings.com/album/pi30 (Enlace con samples)

Echoes
RudreshM
As Things Change (I Remain the Same)
Dub
Alloy
Waves
No Neighborhood Rough Enough
Living in the World Today
Última edición por hiru el Mar 26 May, 2015 11:34, editado 5 veces en total.

hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Mise en Abîme

Mensaje por hiru » Mar 16 Dic, 2014 15:37

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Mise en Abîme (Puesto en el abismo)
Steve Lehman Octet, 2014

ed2k linkSteve Lehman Octet - Mise En Ab%C3%AEme (2014) (FLAC).rar ed2k link stats

http://pirecordings.com/album/pi54 (Enlace con samples)

Steve Lehman
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hiru
Mensajes: 431
Registrado: Lun 25 Ago, 2003 02:00

Floored By Four

Mensaje por hiru » Jue 18 Dic, 2014 15:43

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Floored By Four
(Ensuelado Por Cuatro)
Chapter I: Nels (La luz en el espejo)
Chapter II: Miss Yuka (La Señorita Yuka; Las dolencias del fuego, del viento, de la luz y del agua)
Chapter III: Watt (La escena)
Chapter IV: Dougie (Un lugar tranquilo; El misticismo libertario)

ed2k linkNels Cline, Dougie Bowne, Mike Watt, Yuka Honda - floored by four (mp3 320kbps).rar ed2k link stats

Una de Samurai heroe, pero no de villano.
... a cuanto, en definitiva, se le opone, a lo salvaje y a lo político, a lo Unitario y sus derivaciones... Pero hay unos testimonios más allá de las vivencias de un soñador rebelde: tenemos, por ejemplo, el cine. El cine es el mundo irreal poético... Y cómo se entregó la gente, es decir, la mente y el alma sencillas y no mediatizadas por la razón, por lo político, o no destruidas por lo salvaje, por las pasiones mal compensadas... Y se entregó porque la especie está ansiosa de lo poético...

- Lizania: La salvación de la mente o el fin del mundo real político (apéndice a Lizania), pag 1102, cap. 58. Último capitulo (Jesus Lizano, 2000)

...tú y yo, nosotros, luchadores, soñadores, rebeldes o resistiendo todas las pruebas, sintiendo la belleza y la tragedia. Destruye, conmigo, el mito de los intrigantes, de los farsantes, de los soberbios...

- Heroes (Jesus Lizano, 1995)
Nels, Dougie, Watt, Yuka
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Última edición por hiru el Mié 26 Ago, 2015 22:52, editado 9 veces en total.

hiru
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Registrado: Lun 25 Ago, 2003 02:00

ELEKTRA BIDASOA

Mensaje por hiru » Mar 27 Ene, 2015 15:44

ELEKTRA BIDASOA es la electricidad en el río bidasoa. Conjunto de canciones de los artistas Francisco Lopez y Xabier Erkizia. Las dos primeras canciones, "Untitled #226" y "Untitled#227", continúan la serie "Untitled" mantenida por Francisco Lopez, mientras que "Elektra Navasturen", y "Bidasoa, Presak", proceden de grabaciones de Xabier Erkizia de las presas y centrales eléctricas en las inmediaciones del río bidasoa. Field recording o grabaciones de campo, e instalaciones de sonido.

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Untitled #226
Untitled #227
Elektra Navasturen
Bidasoa, Presak

mp3: ed2k linkfrancisco lopez & xabier erkizia ''elektra bidasoa'' (stem_02).rar ed2k link stats
Última edición por hiru el Mié 26 Ago, 2015 22:57, editado 4 veces en total.

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