DivX Clásico

Hoy me he llevado muchas cosillas para abrir la cabeza.

Gracias y quiero más

Quería recomedar susumu yokota, the boy & the tree que me ha parecido interesante y a raiz de el último tema, que me ha recordado el "Diferent Trains" de Steve Reich, un disco verdaderamente apasionante.

Triple Quartet
1 - Movement 1 [7.11]
2 - Movement 2 [4.05]
3 - Movement 3 [3.31]
4 Duet [5.14]
Different Trains
5 - America - Before the war [9.00]
6 - Europe - During the war [7.29]
7 - After the war [10.25]

Total running time: [46.59]

Steve Reich + Kronos Quartet + Pat Metheny - Different Trains_Electric Counterpoint.rar

¿Alguien ve alguna fuente completa de Badawi - The Heretic of Ether? Hace al menos un parde días que nada de nada.

Sludos

¿Alguien ve alguna fuente completa de Badawi - The Heretic of Ether? Hace al menos un parde días que nada de nada.

Solucionado
SUBLIMOTRUST mándame un mensaje y te doy slot.

Saludos

coño, me encanta!
a noel akchoté lo vi hace unos meses y me impresiono' mucho. una musica Bella, tranquila, él solo y su guitarra durante media hora/45 minutos, sin tocar ni una vez las cuerdas. sonido puro, elemental. una gran experiencia.

y luc ferrari es otro de mis monstruos sagrados, un poeta de la cinta magnetica (y sus derivados), (y con una sensibilidad musical finalmente no muy lejana a la del akchoté, ese disco que has puesto hiru lo prueba).

un par de enlaces:
noel akchoté - rien

Noël Akchoté: guitar, concept
Erik Minkkinen: computer
Andrew Sharpley: sampler, turntable
Noel Akchote - Rien EAC MPC Q6 COVERS by Isotope.rar

Luc Ferrari - Electronic Works

L'écoute d'Hétérozygote est une aventure étrange où abstraction et référence se mêlent finement. Nous passons de mondes sonores méconnaissables à des situations réalistes où le sens de la parole se confond avec le sens des sons. C'est une étude sur la mixité, sur l'articulation de sons concrets abstraits avec des sons référentiels. De plus, le monde réaliste qui nous est proposé est souvent complètement composé, dans le sens que Ferrari met ensemble des sons d'origine différente pour créer des significations virtuelles.

sacado de aqui:
http://www.ina.fr/grm/acousmaline/polyc ... x_fer.html , analysis extenso, con extractos, de las composiciones Heterozygote, y los Presque Rien.

Luc Ferrari - Electronic Works (Heterozygote,Presque Rien Avec Fille,Petite Symphonie Intuitive) (128Kbps,44100Hz) Cf Pseed.rar



PD: por cierto, el badawi baja, lento pero baja.
saludos

He encontrado en la mula un video de mi admirado Frank Bretschneider:

frank bretschneider & taylor deupree - autodrive.mov

son las imágenes que usa en sus conciertos, o al menos usaba el año pasado. A mi me encanta su estilo y su electrónica fría y perfecta.

Pincho, gracias hari

Y yo...

2005 The Drift - Noumena.rar


Tracklist:
1. Gardening, Not Architecture
2. Invisible Cities
3. Hearts Are Flowers
4. Transatlantic
5. Noumena *
6. Inconsistency Principle
7. For Grace and Stars *
8. Fractured Then Gathered (Reprise)

* LP-only bonus tracks - NOT available on CD format

Comentarios:
Anticipation for the debut album by San Francisco's The Drift has grown much faster than anyone could have predicted, following the sought-after "Streets"/"Nozomi" 12". With the debut full-length, Noumena, the band leaves no stone unturned. Taking their name to heart, The Drift do just that - from ambient noise and elegant guitar rock to mournful jazz ballads and stunted, down-tempo hip-hop - all with the subtle grace that is to be expected from veterans of the sound. As The Drift, Danny Grody (Tarentel, Furniture), Safa Shokrai, Jeff Jacobs, and Rich Douthit (Halifax Pier) comfortably expand on the cinematic bliss that Tarentel willfully abandoned long ago for more chaotic landscapes. Existing somewhere between Miles Davis's In a Silent Way and Tarentel's From Bone To Satellite, The Drift compose predestined soundtracks for everyday life - not only perfect for a night on the beach, but just as suitable for the long drive getting there. Their music is inescapably passionate, executed with just enough wide-eyed improvisation to sound eternally fresh. (Temporary Residence)

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

A release from the Temporary Residence label, a suggestive band name, a former member of Tarentel, with most songs exceeding 10 minutes in length and a member on trumpet, fluegelhorn, and electronics. One might be forgiven for having certain expectations from The Drift's debut album. In many respects, those expectations are likely to be met – much of this album does indeed drift, in a shimmering, ambient post-rock way. I know, the label "post rock" shouldn't be used anymore, but I don't mean it to be descriptive here of anything more than the image it conjures.

The surprise here is that this four-piece brings both an unexpected energy to the songs as well as a distinctly jazzy sensibility. Think stretched-out Miles Davis jams composed by Ennio Morricone. Not that this is that good, but what would be? At points, this does close in on the gold ring, but the band has difficulty overcoming a certain languor that holds them back.

The slow, dramatic opener "Gardening, Not Architecture" emerges from murky electronics with delicate guitar chiming and a thick, slow rhythm section, with long, held trumpet notes. "Invisible Cities" is perhaps the most overtly cinematic track, very dramatic with guitar and trumpet that give it the aforementioned Morricone feel while the jazzier upright bass takes it somewhere else. With a strong beginning and end, this song is an example of the album's peskiest issue: editing, or a lack thereof. There's definitely a place for long, drawn-out songs, but the middle portion of "Invisible Cities" seems too self-absorbed, and outlasts its welcome by several minutes. Its static nature feels like a stationary bike, going around and around but not getting anywhere. When the band eventually kicks in again it should feel like a breakthrough, not a relief.

That song's title may sound familiar to readers, being from Italo Calvino. The liner notes indicate that the song is taken from that writing, though what it means to take music from writing is open to conjecture. Two of the other songs, including the opener, are from Eno's Oblique Strategies card series. In concert with titles like "Inconsistency Principle" (bands riffing on Heisenberg? what's this world coming to?), some might tag this as pretentious, but that's certainly not fair since others will call it welcome exploration. Ultimately, the music stands fairly well on its own, so perhaps it's a moot point.

"Transatlantic" takes its sweet time getting anywhere, but it's a trancey, more consistent journey than some of the others. While it would be even stronger with a tighter time scale, it nonetheless works well. Once the band decides to up the energy level a notch, the song fastens itself to a fast-moving bass pulse and solid drumming with delayed guitar and trumpet which make it a modernized, vaguely dubbified Miles Davis. While in need of overall tightening, each song here is a rewarding listen and, in a comfortable live setting, would be something to see.

By Mason Jones (Dusted Magazine)

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

The Drift set themselves up with their debut 12" from earlier this year. "Streets" and "Nozomi," the two tracks on that release, promised a band with talent, ambition, and a skill for blending instrumental styles. With the space of an album, The Drift could have made Noumena their formal announcement to the world and placed themselves on the post-rock map. They've come close, but they've also made an album that's going to allow far too many critics to reference their band name.

Be warned: the album's weakest moment comes at its very beginning and lasts for over four minutes. The extended stretch of tuning strings not only fails to produce a tenable mood, but it suggests a lack of creativity. The Drift could have done better if they had just run a tape loop of the THX sound, which would have offered some sort of commentary or reassesment. Instead, they've simply employed a hackneyed trick (albeit with dissonance increased) to little effect.

"Transatlantic" provides the album's highlight. It stretches for over a dozen minutes and offers a series of unpredictable yet aesthetically consistent shifts. Starting as a slow, quiet sound, the piece hints at, but never maintains, a shape. Subtle guitar notes and shifts in color keep the track engaging as a simple melody line appears. The drums initiate a tempo increase that lets the single-note guitar-playing dance around until the horns take over with their precise attacks. Just as we realize how much is actually going on in this track, everything drops down to a slow groove until it ends.

The Drift almost make the mistake of employing the album's least effective piece at the end, but they hold "Inconsistency Principle" at five out of six. The track reveals the band's weakness for indulgence in unsuggestive ambience. The group's stretchiest mood pieces fail to soothe, and, in resistance to Brian Eno, fail to be "ignorable" or "interesting." I tried them as background music, and they drew my attention to themeselves without wanting me to stick around.

I looked at some of these moments as ambient, because they didn't seem to work as other forms of composition, being too expressive and irregular to be minimalist (the paradigm I first tried). These stretches (not the pieces themselves, but the bulk of several of them) sound less experimental or post-whatever than they do meandering improv, texturally pleasing but musically unexciting.

Fortunately, the bulk of Noumena doesn't fall into this category. The Drift's generic inconsistency functions less as a meander and more as the freedom of experimentation. Even with less of the dub and jazz influences of the single (aside from the memorable bass on "Invisible Cities"), the group uses various influences to create their own world. The band members, when focused, are sharp musicians with a strong sense of tone in composition. Although each member had experience before his work in this group, The Drift as a whole is still finding itself. Noumena isn't the best possible self for these artists, but it does argue for something powerful down the road. (Stylus Magazine)

-ed escribió:Empiezo a dudar seriamente sobre lo que es o no es experimental...

Yo lo dudo desde siempre. y nunca llegaré a una conclusión.

Es posible que me pegueis, pero creo que falta por aqui este loco japonés, llamarlo experimental o llamarlo ruidista, lo que querais:

Merzbow

Merzbow es considerado como uno de los padres y máximo exponente del Noise, pero en su faceta más brutal, el Extreme Noise. El hombre utiliza básicamente pedales de distorsión en serie y en paralelo, un sampler y algunos artilugios creados por él para torturar los oidillos de su audiencia. Últimamente usaba también una caja de ritmos (una autentica traición para el movimiento underground japonés) y es que el hombre se hace mayor... Masami ha colaborado con multitud de grupos de Noise, Death, Grind (Gore Beyond Necropsy, Discordance Axis...) y otros estilos “suavecitos”, remezclando o simplemente metiendo ruido de fondo. Destacaré que sus temas tiene una duración media de 10 minutos por lo que escucharse un tema entero es un logro (y todo el disco del tirón una hazaña, sólo lo he podido hacer un par de veces y mirad como he quedado). Alguna de sus “dulces melodías” ha sido incluso utilizada en películas de Bondage (el tema ese de atar a la peña).

http://www.merzbow.net/

Os pongo unos cuantos discos pero hay más en la mula:

merzbow.-.music.for.bondage.performance.-.192.kb.-.by.digital.sounds.rar

Maldoror -(Mike Patton & Merzbow) - Live San Francisco 30th Dec 2002.rar

Merzbow - (2005) Elliott Sharp - 'tranz'.rar

alec_empire_vs_merzbow.-.live_cbgb's_nyc_1998.(vbr_mp3.cue).neg!ke.zip

Merzbow vs Nordvargr %E2%80%A2 Partikel %E2%80%A2 CSR55CD (2004) %E2%80%A2 cover.mp3.vbr-215kbps %E2%80%A2 reCPCA.rar

Merzbow - Electric Salad - 192 Kb - By Digital Sounds.rar

Reportaje + entrevista

Me llevo el The Drift de jorgito. También pincho alguno al azar del tal Merzbow, que no conocía, muchas gracias a los dos

Merzbow y otros adalides industriales son bienvenidos...Aprovechando, dejo algunos que me acabo de bajar, no son tan experimentales, pero...



Lassigue Bendthaus Render (Eac, Mpc8).rar
Morton Subotnick - Silver Apples of the Moon.rar
Chris & Cosey (Collectiv Three + Exotica).rar

Igual de experimentales que merzbow jejejejej

perdona pero tanto Lassigue bendthaus como Chris and Cosey son imprescindibles para entender la musica electrónica actual, o sea que no te excuses que están muy bien . Eso sí, sabiendo a que epoca pertenecen los discos, porque ahora ambos pueden parecer hasta anticuados.

AMM - The inexhaustible Document

Eddie Prévost - percussion
Keith Rowe - guitar, electronics
John Tilbury - piano
Rohan de Saram - cello

Few of the adventurous autonomous zones established in the 1960s have survived the gentrification of music. If that area staked out by AMM is one of the exceptions, some might argue it is because it is dank and boggy, and nobody but the most foolhardy curiosity-seeker or the economically damned would want to go near it for fear of catching typhoid.... AMM hammer at the primordial uncarved block of noise. They beaver away at Chaos itself, shaping an entirely different understanding of music from it, one that remains in a state of permanent flux... Out of this emerges a music desolated by a beauty so bleak and alien to received definitions of the term, yet somehow familiar.... Once its over the present world of the listener cannot so easily settle back into whatever it was before. A triumph of the pre-aesthetic over the anaesthetic.

AMM politically and aesthetically is a guiding force in collective improvisation. Often it is impossible to identify the individual source of a sound.... it is of no importance who is responsible for any particular part of the whole... the concept of property, at least for AMM, has been abolished. So may it continue.

Every second counts. Each sound unearthed is as important as the one that preceded it and the sound to come. AMM are truly lost in sound.

It might not be the role they aspired towards, but AMM are like the Holy Spirit of contemporary music.

amm - the inexhaustible document musicmule released by zaireeka.rar

saludines

estos son los padres de nurse with wound pincho pincho y pincho, de badawi independiente que guste o no guste , que sea bueno o que no, no creo que deba verse como algo raro ni esperimental la musica etnica

hari escribió:Igual de experimentales que merzbow jejejejej

perdona pero tanto Lassigue bendthaus como Chris and Cosey son imprescindibles para entender la musica electrónica actual, o sea que no te excuses que están muy bien . Eso sí, sabiendo a que epoca pertenecen los discos, porque ahora ambos pueden parecer hasta anticuados.

Es que uno ya es mayor...y perdió el hilo en los 90...

locutus escribió:
Es que uno ya es mayor...y perdió el hilo en los 90...

que monoooooo por dios

clau2 escribió:de badawi, independientemente de que guste o no guste , que sea bueno o que no, no creo que deba verse como algo raro ni esperimental siendo música étnica

La verdad es que lo posteé muy a la ligera, y en cierto modo para abrir un pequeño debate . Ahora, el disco está catalogado como illbient con grueso folk, algo muy utilizado (todo depende de lo extraño que nos resulte la música japonesa, tibetana, árabe o andina). Así puedes encontarte gente como Muslimgauze, que al fusionar electrónica y folk descubre nuevas vias utilizando compases 7x8 u otras adopciones del estilo.

Por mí se puede olvidar el asunto Badawi, si ha gustado, mejor.