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Pop and Rock Listings
Pop and Rock Listings The New York By Times July 13, 2007 POP Full reviews of recent concerts: nytimes.com/music. BESNARD LAKES, JEALOUS GIRLFRIENDS (Tonight and Sunday) The Besnard Lakes, from Montreal, build childlike, Brian Wilsonesque melodies into fuzz-drenched epics fraught with violence. The Jealous Girlfriends, one of the best new bands in New York, float through soft and erotic clouds of guitar and keyboards that can turn grungy and turbulent; the soft and erotic stuff is whatʼs gotten their music on “Greyʼs Anatomy.” Tonight at 8:30, with Dappled Cities and the Muggabears, at the Mercury Lounge, 217 East Houston Street, at Ludlow Street, Lower East Side, (212) 260-4700, mercuryloungenyc.com; $12. Sunday at 8:30 p.m., with Dirty on Purpose, at Maxwellʼs, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $10 in advance, $12 at the door. (Ben Sisario) BLACK LIPS (Thursday) Sounding like a nightmarish variant of the 13th Floor Elevators or the Troggs, this Atlanta band plays a grisly version of 1960s garage rock, and its onstage antics have been known to descend into the scatological. With Turbo Fruits and the Coathangers. At 9 p.m., Maxwellʼs, 1039 Washington Street, Hoboken, N.J., (201) 653-1703, maxwellsnj.com; $12. (Sisario) BOOK OF KNOTS (Tonight) A supergroup the way only a New York avant- garde band can be, the Book of Knots is an occasional project, with members from Skeleton Key, Sleepytime Gorilla Museum, Tin Hat and Pere Ubu. Its second album, “Traineater” (Anti-), is an appropriately clangy elegy for rust- belt Americana; here the band plays what it says is its first and possibly only live performance, with friends Jon Langford of the Mekons and Carla Bozulich of the Geraldine Fibbers. -
PROBES #19.2 Devoted to Exploring the Complex Map of Sound Art from Different Points of View Organised in Curatorial Series
Curatorial > PROBES With this section, RWM continues a line of programmes PROBES #19.2 devoted to exploring the complex map of sound art from different points of view organised in curatorial series. Auxiliaries PROBES takes Marshall McLuhan’s conceptual The PROBES Auxiliaries collect materials related to each episode that try to give contrapositions as a starting point to analyse and expose the a broader – and more immediate – impression of the field. They are a scan, not a search for a new sonic language made urgent after the deep listening vehicle; an indication of what further investigation might uncover collapse of tonality in the twentieth century. The series looks and, for that reason, most are edited snapshots of longer pieces. We have tried to at the many probes and experiments that were launched in light the corners as well as the central arena, and to not privilege so-called the last century in search of new musical resources, and a serious over so-called popular genres. In this auxiliary we meet more repurposed new aesthetic; for ways to make music adequate to a world African instruments in several fields, and take one glimpse at the reverse traffic. transformed by disorientating technologies. Interestingly, for the first time, there’s hardly any adoption in contemporary classical circles. Answers on a postcard, please. Curated by Chris Cutler 01. Playlist PDF Contents: 01. Playlist 00:00 Gregorio Paniagua, ‘Anakrousis’, 1978 02. Notes 03. Links 00:06 Randy Weston, interview with Brian Pace (excerpt), 2010 04. Credits Pace is a broadcaster, journalist and mediator of The Pace Report 05. -
Reggie Workman Working Man
APRIL 2018—ISSUE 192 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM REGGIE WORKMAN WORKING MAN JIM JONNY RICHARD EDDIE McNEELY KING WYANDS JEFFERSON Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2018—ISSUE 192 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : JIM Mcneely 6 by ken dryden [email protected] Andrey Henkin: [email protected] Artist Feature : JONNY KING 7 by donald elfman General Inquiries: [email protected] ON The COver : REGGIE WORKMAN 8 by john pietaro Advertising: [email protected] Encore : RICHARD WYANDS by marilyn lester Calendar: 10 [email protected] VOXNews: Lest WE Forget : EDDIE JEFFERSON 10 by ori dagan [email protected] LAbel Spotlight : MINUS ZERO by george grella US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or vOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] Obituaries by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Stuart Broomer, FESTIvAL REPORT Robert Bush, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Phil Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, CD REviews 14 Tyran Grillo, Alex Henderson, Robert Iannapollo, Matthew Kassel, Marilyn Lester, Suzanne -
SA-Bio-4.2017.Pdf
Scott Amendola: Drummer/Composer/Bandleader/Educator “Amendola’s music is consistently engaging, both emotionally and intellectually, the product of a fertile and inventive musical imagination.” Los Angeles Times “If Scott Amendola didn't exist, the San Francisco music scene would have to invent him.” Derk Richardson, San Francisco Bay Guardian “Amendola has complete mastery of every piece of his drumset and the ability to create a plethora of sounds using sticks, brushes, mallets, and even his hands.”Steven Raphael, Modern Drummer “...drummer/signal-treater Scott Amendola is both a tyrant of heavy rhythm and an electric-haired antenna for outworldly messages (not a standard combination).” Greg Burk, LA Weekly For Scott Amendola, the drum kit isn’t so much an instrument as a musical portal. As an ambitious composer, savvy bandleader, electronics explorer, first-call accompanist and capaciously creative foil for some of the world’s most inventive musicians, Amendola applies his wide-ranging rhythmic virtuosity to a vast array of settings. His closest musical associates include guitarists Nels Cline, Jeff Parker, Charlie Hunter, Hammond B-3 organist Wil Blades, violinists Jenny Scheinman and Regina Carter, saxophonists Larry Ochs and Phillip Greenlief, and clarinetist Ben Goldberg, players who have each forged a singular path within and beyond the realm of jazz. While rooted in the San Francisco Bay Area scene, Amendola has woven a dense and far-reaching web of bandstand relationships that tie him to influential artists in jazz, blues, rock and new music. A potent creative catalyst, the Berkeley-based drummer is the nexus for a disparate community of musicians stretching from Los Angeles and Seattle to Chicago and New York. -
UNIVERS ZERO Title: CLIVAGES (Cuneiform Rune 295)
Bio information: UNIVERS ZERO Title: CLIVAGES (Cuneiform Rune 295) Cuneiform publicity/promotion dept.: (301) 589-8894 / fax (301) 589-1819 email: joyce [-at-] cuneiformrecords.com [Press & world radio]; radio [-at-] cuneiformrecords.com [North American radio] www.cuneiformrecords.com FILE UNDER: ROCK / CHAMBER ROCK / EXPERIMENTAL / CLASSICAL “...an indispensable release for anyone who believes that "Bartók" and "rock" can fit comfortably in the same sentence.” – All Music Guide “Univers Zero's vision (is) pretty much unique & for those touched by it, nothing else will quite do...a sound that really couldn't be any other band in the world.'” – The Rough Guide To Rock The Belgian band Univers Zero is legendary for their uncompromising musical vision – a sound and stance Keyboard described as “Chamber music for the Apocalypse”. Simultaneously medieval & modern, its distinctive, dark and elegantly beautiful music has set the standard for “chamber rock”, a New Music hybrid of Francophone origin and worldwide appeal that UZ pioneered. UZ’s singular sound derives from its unique instrumentation (piano and keyboards, violin, clarinets saxophone, oboe, bassoon, English horn, electric bass, drums) combined with brooding gothic imagery, elements of European folk and other world musics, the iconoclasm and intensity of rock, the relentless sonic experimentation of the avant garde, and leader and composer Daniel Denis’ classically-inspired writing style, influenced by early 20th Century avant garde classical composers. In the hands of some of the best musicians in Europe, these factors result in a group on the cutting edge of creating a new, vital, and unique fusion of classical and rock music. The band has remained on the cutting edge of New Music throughout the course of a career that began in the ‘70s and continues today, stretching and disintegrating the boundaries of classical and rock music alike to create a new, vital, and unique fusion. -
The Sound of Ruins: Sigur Rós' Heima and the Post
CURRENT ISSUE ARCHIVE ABOUT EDITORIAL BOARD ADVISORY BOARD CALL FOR PAPERS SUBMISSION GUIDELINES CONTACT Share This Article The Sound of Ruins: Sigur Rós’ Heima and the Post-Rock Elegy for Place ABOUT INTERFERENCE View As PDF By Lawson Fletcher Interference is a biannual online journal in association w ith the Graduate School of Creative Arts and Media (Gradcam). It is an open access forum on the role of sound in Abstract cultural practices, providing a trans- disciplinary platform for the presentation of research and practice in areas such as Amongst the ways in which it maps out the geographical imagination of place, music plays a unique acoustic ecology, sensory anthropology, role in the formation and reformation of spatial memories, connecting to and reviving alternative sonic arts, musicology, technology studies times and places latent within a particular environment. Post-rock epitomises this: understood as a and philosophy. The journal seeks to balance kind of negative space, the genre acts as an elegy for and symbolic reconstruction of the spatial its content betw een scholarly w riting, erasures of late capitalism. After outlining how post-rock’s accommodation of urban atmosphere accounts of creative practice, and an active into its sonic textures enables an ‘auditory drift’ that orients listeners to the city’s fragments, the engagement w ith current research topics in article’s first case study considers how formative Canadian post-rock acts develop this concrete audio culture. [ More ] practice into the musical staging of urban ruin. Turning to Sigur Rós, the article challenges the assumption that this Icelandic quartet’s music simply evokes the untouched natural beauty of their CALL FOR PAPERS homeland, through a critical reading of the 2007 tour documentary Heima. -
WE COULD GIVE Program
Target Margin Theater 232 52nd Street Brooklyn, NY 11220 718-398-3095 Targetmargin.org @targetmargin Founding Artistic Director: David Herskovits Associate Artistic Director: Moe Yousuf General Manager: Liz English Space Manager: Kelly Lamanna Arts Management Fellow: Frank Nicholas Poon Box Office Manager: Lorna I. Pérez Financial Consultants: Michael Levinton, Patty Taylor Graphic Designer: Maggie Hoffman Interns: Sarah McEneaney, Matt Hunter Press Representation: John Wyszniewski/Everyman Agency BOARD OF DIRECTORS NEWS OF THE Hilary Alger, Matt Boyer, David Herskovits, Dana Kirchman, Kate Levin, Matt McFarlane, Jennifer Nadeau, Adam Weinstein, Amy Wilson. STRANGE LAB ABOUT US Target Margin is an OBIE Award-winning theater company that creates innovative productions of classic plays, and new plays inspired by history, literature, and other art forms. In our new home in Sunset Park we energetically expand the possibilities of live performance, and engage our community at all levels through partnerships and programs. TMT PROGRAMS INSTITUTE The Institute is a year-long fellowship (January – December) that provides five diverse artists space, support and a $1,000 stipend to challenge themselves and their art-making practice. 2019 Fellows: Sarah Dahnke, Mashuq Mushtaq Deen, Yoni Oppenheim, Gabrielle Revlock, and Sarah K. Williams. ARTISTS-IN-RESIDENCE The Artist Residency Program provides established, mid-career and emerging artists up to 100 hours of dedicated rehearsal and developmental space. Each residency is shaped to meet the specific needs of each artist and will include a work-in-progress free to the public. 2019 Artists-in-Residence: Tanisha Christie, Jesse Freedman, Sugar Vendil, Deepali Gupta, Sarah Hughes, and Chana Porter. SPACE RENTALS THE DOXSEE THEATER Our SPACE program provides long term / short term studio nd space for all artists to gather and engage in their creative / 232 52 Street, BK 11220 cultural practices. -
Newslist Drone Records 31. January 2009
DR-90: NOISE DREAMS MACHINA - IN / OUT (Spain; great electro- acoustic drones of high complexity ) DR-91: MOLJEBKA PVLSE - lvde dings (Sweden; mesmerizing magneto-drones from Swedens drone-star, so dense and impervious) DR-92: XABEC - Feuerstern (Germany; long planned, finally out: two wonderful new tracks by the prolific german artist, comes in cardboard-box with golden print / lettering!) DR-93: OVRO - Horizontal / Vertical (Finland; intense subconscious landscapes & surrealistic schizophrenia-drones by this female Finnish artist, the "wondergirl" of Finnish exp. music) DR-94: ARTEFACTUM - Sub Rosa (Poland; alchemistic beauty- drones, a record fill with sonic magic) DR-95: INFANT CYCLE - Secret Hidden Message (Canada; long-time active Canadian project with intelligently made hypnotic drone-circles) MUSIC for the INNER SECOND EDITIONS (price € 6.00) EXPANSION, EC-STASIS, ELEVATION ! DR-10: TAM QUAM TABULA RASA - Cotidie morimur (Italy; outerworlds brain-wave-music, monotonous and hypnotizing loops & Dear Droners! rhythms) This NEWSLIST offers you a SELECTION of our mailorder programme, DR-29: AMON – Aura (Italy; haunting & shimmering magique as with a clear focus on droney, atmospheric, ambient music. With this list coming from an ancient culture) you have the chance to know more about the highlights & interesting DR-34: TARKATAK - Skärva / Oroa (Germany; atmospheric drones newcomers. It's our wish to support this special kind of electronic and with a special touch from this newcomer from North-Germany) experimental music, as we think its much more than "just music", the DR-39: DUAL – Klanik / 4 tH (U.K.; mighty guitar drones & massive "Drone"-genre is a way to work with your own mind, perception, and sub bass undertones that evoke feelings of total transcendence and (un)-consciousness-processes. -
Populärmusik, Konstmusik Eller Bara Musik?
Christian Berndalen Populärmusik, konstmusik eller bara musik? En undersökning av konstmusikaliska inslag i tre populärmusikaliska verk Popular Music, Classical Music or Just Music? A study of elements from Classical Music in three pieces of popular music Examensarbete 15 hp Lärarprogrammet Datum: 2012-03-20 Handledare: Dan Olsson 1 Musikhögskolan Ingesund 671 91 Arvika Tfn 0570-385 00 Fax 0570- 804 38 [email protected] www.imh.kau.se Innehåll Sammanfattning ............................................................................................................................... 3 Abstract ............................................................................................................................................ 4 1 Inledning ........................................................................................................................................ 5 1.1 Konstmusik och populärmusik - två djupt rotade begrepp .................................................... 5 1.2 Syfte, frågeställningar och avgränsning ................................................................................. 6 2.1 Konstmusik och populärmusik - några definitioner ............................................................... 8 2.2 Hur och när uppstod begreppen? En begreppshistoria ......................................................... 10 2.3 Distinktionen konstmusik - klassisk musik .......................................................................... 11 2.4 Intentioner i och med ett musikaliskt verk .......................................................................... -
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI Via AP Balazs Mohai
2017 MAJOR EURO Music Festival CALENDAR Sziget Festival / MTI via AP Balazs Mohai Sziget Festival March 26-April 2 Horizon Festival Arinsal, Andorra Web www.horizonfestival.net Artists Floating Points, Motor City Drum Ensemble, Ben UFO, Oneman, Kink, Mala, AJ Tracey, Midland, Craig Charles, Romare, Mumdance, Yussef Kamaal, OM Unit, Riot Jazz, Icicle, Jasper James, Josey Rebelle, Dan Shake, Avalon Emerson, Rockwell, Channel One, Hybrid Minds, Jam Baxter, Technimatic, Cooly G, Courtesy, Eva Lazarus, Marc Pinol, DJ Fra, Guim Lebowski, Scott Garcia, OR:LA, EL-B, Moony, Wayward, Nick Nikolov, Jamie Rodigan, Bahia Haze, Emerald, Sammy B-Side, Etch, Visionobi, Kristy Harper, Joe Raygun, Itoa, Paul Roca, Sekev, Egres, Ghostchant, Boyson, Hampton, Jess Farley, G-Ha, Pixel82, Night Swimmers, Forbes, Charline, Scar Duggy, Mold Me With Joy, Eric Small, Christer Anderson, Carina Helen, Exswitch, Seamus, Bulu, Ikarus, Rodri Pan, Frnch, DB, Bigman Japan, Crawford, Dephex, 1Thirty, Denzel, Sticky Bandit, Kinno, Tenbagg, My Mate From College, Mr Miyagi, SLB Solden, Austria June 9-July 10 DJ Snare, Ambiont, DLR, Doc Scott, Bailey, Doree, Shifty, Dorian, Skore, March 27-April 2 Web www.electric-mountain-festival.com Jazz Fest Vienna Dossa & Locuzzed, Eksman, Emperor, Artists Nervo, Quintino, Michael Feiner, Full Metal Mountain EMX, Elize, Ernestor, Wastenoize, Etherwood, Askery, Rudy & Shany, AfroJack, Bassjackers, Vienna, Austria Hemagor, Austria F4TR4XX, Rapture,Fava, Fred V & Grafix, Ostblockschlampen, Rafitez Web www.jazzfest.wien Frederic Robinson, -
Constellation
CONSTELLATION La critica musicale ha spesso identificato alcuni generi musicali con le città nelle quali si erano sviluppati, arrivando a far coincidere musica e toponomastica come nel caso del Canterbury sound o del Madchester. In realtà di solito si è trattato di un tentativo di semplificare la realtà per rendere intelligibili fenomeni la cui complessità sarebbe stata di difficile comprensione alla maggioranza dei lettori delle varie riviste del settore; basti pensare alla San Francisco psichedelica, al country di Nashville, all'elettronica berlinese, alla Seattle grunge o a Londra per il punk, ecc. Detto ciò, in pochi avrebbero immaginato che nel novero di queste “capitali” musicali sarebbe apparso il nome di Montreal, principale città del Quebec canadese. Eppure se dovessimo cercare una città con la quale identificare il post- rock degli anni Duemila non potremmo che guardare verso questa metropoli di più di un milione e mezzo di abitanti, se non altro per l’etichetta discografica indipendente Constellation records che vi ha sede. Nata nel 1997, la Constellation si è fin da subito caratterizzata per le “ostiche” scelte musicali e di marketing, dimostrando negli anni un'ammirevole coerenza che le ha permesso di intercettare le espressioni più avanzate e innovative del movimento post-rock canadese – ovvero il meglio del post-rock tout-court –, distinguendosi commercialmente dalle tante etichette indipendenti grazie a confezioni in digipack dominate da colori tenui e da un’originalità grafica e iconografica che diventa determinante nel trasmettere anche visivamente i contenuti musicali. Ma forse per comprendere il percorso qui proposto occorre partire dall’inizio, ovvero dalla definizione di Post-rock. -
Neue Selbstverständlichkeiten
# 2017/32 dschungel https://jungle.world/artikel/2017/32/neue-selbstverstaendlichkeiten Constellation Records boykottiert Israel Neue Selbstverständlichkeiten Von Jonas Engelmann Auf Godspeed You! Black Emperor konnten sich viele Hörer einigen. Die Betreiber ihres Labels Constellation Records wollen den Export ihrer Platten nach Israel vermeiden. »Ich war den größten Teil meiner Punkrock-Jugend der einzige Jude im Raum«, sagte Efrim Menuck in einem Interview über die Gründung seiner Band A Silver Mt. Zion im Jahr 2000. Die Aufnahmen zum Debütalbum »He Has Left Us Alone, But Shafts Of Light Sometimes Grace The Corner Of Our Rooms … « empfand Menuck dagegen als eine »jüdische Erfahrung«; mit drei anderen jüdischen Musikern zu arbeiten habe ihn zum ersten Mal seine Isolation vergessen lassen. Im gleichen Jahr erschien auch das Album »Lift Your Skinny Fists Like Antennas To Heaven« seiner Hauptband Godspeed You! Black Emperor, das trotz seiner Komplexität und Sperrigkeit in zahlreichen Jahresbestenlisten auf den vordersten Plätzen landete. Ästhetisch und politisch dem DIY-Punk-Gedanken verpflichtet, ließ sich die flächige Musik schwer einem Genre zuordnen, die Schublade Postpunk, in die sie häufig gesteckt wurde, war eigentlich zu klein. Felix Klopotek hat das Album als »Klagegesang auf die kulturindustrielle Domestizierung der Punkbewegung« beschrieben, und gerade die politischen Aspekte ihrer Musik hat die Band trotz fehlender Songtexte stets betont, durch Linernotes, Interviews und andere Verlautbarungen. Immer ging es um die Widersprüche des Kapitalismus, dem sich die Band trotz aller Mühe nicht vollständig entziehen konnte, und um politische Bezüge von Michail Bakunin über Emma Goldman bis zum Schwarzen Block. Allerdings war man darauf bedacht, das Prozesshafte und Unabgeschlossene, das auch der Musik innewohnte, zu betonen, Ambivalenzen und politische Differenzen auszuhalten.