Lindsay Cooper Filmkompositionen

Total Page:16

File Type:pdf, Size:1020Kb

Lindsay Cooper Filmkompositionen TIM MUNGENAST VON ZAMLA PHIL LESH HABIB KOITE ISSUE 74 December 1999 US$2.00 LINDSAY COOPER new column interview essay PARANOISE in posession of all the facts BARRY GUY/LJCO VASEN MAGMA LIVE IANCU DUMITRESCU/HYPERION HOSEMOBILE OLD BLIND DOGS FRED FRITH LUNASA BLAST Is Sci Fi Dying of Pokemon Flu? Aaand... Ed Morris Makes Us Strip Mine the Reagan Legacy ADVANTAGE: LINDSAY! One of modern music’s singular melodic voices, LINDSAY COOPER reflects on recent history, musical & otherwise, as well as what’s next,with our Third Stage Guild Navigator Making her name during her tenure with Henry Cow, one of the great musician collectives of the ‘rock’ era, Lindsay Cooper moved on in 1979 with any number of other bands and groupings, writing wonderful, tuneful compositions for discerning folk who didn’t have to be able to sit through “Pierrot Lunaire” or “Kraanerg” to enjoy. Illness has not slowed her down, either, as she has done articles for Chris Cutler’s ReR Newsletter and with this issue inaugurates a column here in TONE CLUSTERS, having to do with music, politics and their many ancillaries. We are terribly proud to reintroduce her to you... not that she’s ever been away, really, as the #1 position for which A VIEW FROM THE BRIDGE, her recent CD on Impetus Records, shared with three other CDs on the TC Top 40 for 1998. ARTICLE TRANSCRIBED BY IZZY TROUTMAN FOREWORD BY LINDSAY 27 photograph this page by Val W'rimer PREFACE-- A Message about M.S. (Multiple Sclerosis) Had an Email the other day from Diana Simmonds, who used to be a very good friend of mine and who now lives in Sydney, Australia, wanting to know what my main symptoms were. I told her and she Emailed me back thanking me because, as she said, she was in a state of total ignorance about the disease. This Email caused me to write this because if Diana Simmonds, an intelligent woman, doesn’t know much about this disease, then there must be a load more people in a similar state. The main things people need to know are that it affects various parts of the nervous system (it does this by the immune system mistakenly attacking the nervous system so that the myelin sheaths (fatty substances covering the nerve endings) are destroyed) and causes staggeringly high levels of fatigue. Walking and balance can be difficult, bladder and bowel problems abound and eyesight can sometimes be affected. Speech can sometimes be slurred, particularly when tired, and various sexual difficulties can be experienced. Sounds a cheery little package, doesn’t it? Heat affects it very badly; if I go out and sit in the sun, have a hot bath or go to a Turkish bath or sauna, all of which I used to enjoy doing, I feel terrible. I just spent 4 weeks in California and think I was the only person there who was LINDSAY COOPER delighted that the effects of El Nino were so bad that we only had 4 sunny days. More women than men are affected and it generally strikes just when people least need a serious illness to cope with— when they’re in their prime and at a crucial stage in their careers. That all sounds pretty bleak. But there are other ways of looking at it; as a woman Fred Frith knows (who has it, but is still working successfully as a singer) told me, the main thing to develop is a positive attitude and be open to trying various complementary therapies which can help. And there’s a lot you can do; therapies I’ve tried which are a great help are acupuncture, various kinds of bodywork including physiotherapy and Chinese qi gong. But the systems which are closest to my heart are yoga and Tibetan Buddhism. I’ve studied yoga ever since I was dignosed nearly 11 years ago and been to several workshops at Ickwell Bury in Biggleswade, somewhere that Director an viitcneti G em ini presents A programme of music by Re second-guessing Gavin Bryars the performers: & “Oh, I think a few years ago I’d have had that reaction Lindsay Cooper but now I’m simply pleased to see it.” The Adnan Songbook Left, cover of the concert program mentioned in Singing Waters the interview The Rain Song arr Dean Brodnck Victory arr Mike Westbrook Year of Miracles arr Veryan Weston Lovers. Curtain Descending, Prayer Forgotten Fruit. Oh Moscow 28 Sunday 15th November 1998 at 8.00 pm ICA IVnunimme: tl DO specialises in working with MS sufferers and has had amazing success. I’ve always liked LINDSAY COOPER yoga because it’s not just Keep Fit but also works with the breath and the meditation. Someone I’m curently doing bodywork with (Mariora Goschen, sister of Sula who used to drive the bus for Henry Cow) also works with the breath and Ernest Coates, my yoga teacher, always used to say he’d never worked with anyone with a serious illness who didn’t have severe breathing problems. Yoga meditation finally led me on to Tibetan Buddhism; I’ve been on a Christmas retreat led by Songyal Rinpoche, done a Vipassana weekend at Esalen in California, read copious Buddhist texts and meditate at least twice a day. Something I realised a long time ago but tend not to talk about except to fellow Buddhists or people sympathetic to Buddhism is that my Buddha nature certainly doesn’t have MS. Healing comes mainly through the mind and training the mind through meditation makes healing a lot more likely. All these ideas are something that few allopathic doctors would be sympathetic to, though I sense that more are sympathetic than was the case even 5 years ago. Annemarie Roelofs, who I’ve worked with for years and who was a member of the Feminist Improvising Group, has done a benefit concert with Alfred 23 Harth [former member of Cassiber—Ed.] and several other Frankfurt musicians and given the proceeds “The question that few doctors are prepared to ask is ‘what makes the self turn against the self?’ The other pertinent question is ‘why are we choosing to live in a seriously toxic environment?” to the Bassoonist Club [see TC 67, FOR(E)BEARINGS column-Ed.], something I find incredibly touching. As my friend Margot Nash (Australian film director) says, illness really does bring out the best in people. A woman Annemarie Roelofs was at high school with also has MS and she says the trick is to accept you can’t do anywhere near as much as you used to or would like— once you’ve been through that tough little process, other things flow in to fill the gap. That’s certainly been the case with me; I’ve been wanting to write (words) all my life but every time anybody asked me to write anything I had a knee- jerk reaction of panic and inventing various justifications for not doing it, limiting my writing activities to copious diary entries and letters to friends. It has to be said that writing words consumes a lot less energy than writing music, so until I get the music software (Fred Frith has got me the Overture programme, misheard by Sally Potter as “Overjoyed”) installed in my computer, writing words suits me fine. Various other therapies I do which seem to work are based on the use of electro magnetic energy (something else that most allopathic doctors are horrified by). The only allopathic doctor I’m prepared to see uses applied kinesiology to work out what foods should be avoided and asks you to sit attached to an expensive German machine which analyzes and tries to reverse the electromagnetic frequencies that are affecting various bodily 29 LINDSAY COOPER Left, a compilation of film music on Review Records, Germany. Next two pages, the front and back cover of a program for a film festival for which Ms. Cooper wrote the soundtracks functions. Last time I saw him and was attached to the Bicom (the machine) I decided afterwards to go out to John Lewis and buy a new VCR. I was having a bit of a bad day (the left leg and balance were working regrettably badly) so had to ask a very kind woman for help. It’s uncanny how at times one unerringly picks the perfect person- this woman’s best friend also has MS so she was very good to talk with. As she was leaving she said “I think you’re very brave coming out to a crowded John Lewis to get what you want.” People often say similar things and I understand why they do it- it’s so much nicer to say something positive than focus on feelings of fear when confronted by my crutches that come up in them. But it has to be said, on some days I get severely fed up with wearing my brave clothes. Something this illness certainly teaches you is how to accept help; when Christopher Sheppard asked at the first Bassoonist Club meeting what help I needed getting my proposed CD released my instant reaction was “no,no,no, it has to be done on my own.” It’s a compulsive pattern (in my case I think stemming from the fact I’m an only child) and one that I see over and over in other creative artists. Now I’ve accepted help (as I did at that meeting) from Kersten Glandien I feel so much better- having somebody to share the inevitable little administrative knots makes everything go much more smoothly.
Recommended publications
  • Blabla Bio Fred Frith
    BlaBla Bio Fred Frith Multi-instrumentalist, composer, and improviser Fred Frith has been making noise of one kind or ano- ther for almost 50 years, starting with the iconic rock collective Henry Cow, which he co-founded with Tim Hodgkinson in 1968. Fred is best known as a pioneering electric guitarist and improviser, song-writer, and composer for film, dance and theater. Through bands like Art Bears, Massacre, Skeleton Crew, Keep the Dog, the Fred Frith Guitar Quartet and Cosa Brava, he has stayed close to his roots in rock and folk music while branching out in many other directions. His compositions have been performed by ensembles ranging from Arditti Quartet and the Ensemble Modern to Concerto Köln and Galax Quartet, from the BBC Scottish Symphony Orchestra to ROVA and Arte Sax Quartets, from rock bands Sleepytime Gorilla Museum and Ground Zero to the Glasgow Improvisers’ Orchestra. Film music credits include the acclaimed documentaries Rivers and Tides, Touch the Sound and Leaning into the Wind, directed by Thomas Riedelsheimer, The Tango Lesson, Yes and The Party by Sally Potter, Werner Penzel’s Zen for Nothing, Peter Mettler’s Gods, Gambling and LSD, and the award-winning (and Oscar-nominated) Last Day of Freedom, by Nomi Talisman and Dee Hibbert- Jones. Composing for dance throughout his long career, Fred has worked with Rosalind Newman and Bebe Miller in New York, François Verret and Catherine Diverrès in France, and Amanda Miller and the Pretty Ugly Dance Company over the course of many years in Germany, as well as composing for two documentary films on the work of Anna Halprin.
    [Show full text]
  • Lindsay Cooper: Bassoonist with Henry Cow Advanced Search Article Archive Topics Who Who Went on to Write Film Music 100 NOW TRENDING
    THE INDEPENDENT MONDAY 22 SEPTEMBER 2014 Apps eBooks ijobs Dating Shop Sign in Register NEWS VIDEO PEOPLE VOICES SPORT TECH LIFE PROPERTY ARTS + ENTS TRAVEL MONEY INDYBEST STUDENT OFFERS UK World Business People Science Environment Media Technology Education Images Obituaries Diary Corrections Newsletter Appeals News Obituaries Search The Independent Lindsay Cooper: Bassoonist with Henry Cow Advanced search Article archive Topics who who went on to write film music 100 NOW TRENDING 1 Schadenfreudegasm The u ltim ate lis t o f M an ch ester -JW j » United internet jokes a : "W z The meaning of life J§ according to Virginia Woolf 3 Labour's promises and their m h azard s * 4 The Seth Rogen North Korea . V; / film tra ile r yo u secretly w a n t to w atch 5 No, Qatar has not been stripped o f th e W orld Cup Most Shared Most Viewed Most Commented Rihanna 'nude photos' claims emerge on 4Chan as hacking scandal continues Frank Lampard equalises for Manchester City against Her Cold War song cycle ‘ Oh Moscow’ , written with Sally Potter, was performed Chelsea: how Twitter reacted round the world Stamford Hill council removes 'unacceptable' posters telling PIERRE PERRONE Friday 04 October 2013 women which side of the road to walk down # TWEET m SHARE Shares: 51 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal In the belated rush to celebrate the 40 th anniversary of Virgin Records there has been a tendency to forget the groundbreaking Hitler’s former food taster acts who were signed to Richard Branson’s label in the mid- reveals the horrors of the W olf s Lair 1970s.
    [Show full text]
  • Fred Frith (Filmmusik)
    Fred Frith (Filmmusik) Geboren 1949 in Heathfield, East Sussex, England. Im Alter 5 Jahren begann Fred Frith mit dem Violinen-Spiel, später kamen das Klavierspiel, mit 13 Jahren die Gitarre hinzu. Während seines Studiums in Cambrige gründete er 1968 mit dem Saxophonisten Tim Hodgkinson die wegweisende Independent-Band Henry Cow, die u.a. mit Chris Cutler, John Greaves und Lindsay Cooper zusammen arbeitete. Nach der Auflösung von Henry Cow ging Frith 1979 nach New York, wo er mit Künst- lern der Downtown-Szene um Tom Cora, Bob Ostertag, Ikue Mori, John Zorn und anderen in Kontakt kam. Die Arbeit von Fred Frith ist seitdem ungewöhnlich vielfäl- tig. Er arbeitete u.a. zusammen mit Amy Denio, Brian Eno, Half Japanese, Material, The Residents, Robert Wyatt, Heiner Goebbels und Yo Yo Ma, produzierte Alben für The Orthotonics, David Moss, Tenko und V- Effec, war Bassist in John Zorns Band Naked City und gründete so unterschiedliche Formationen wie The Guitar Quartett, Massacre (mit Bill Laswell und Charles Hayward) und Skeleton Crew (mit Tom Cora und Zeena Parkins). "Nach mehr als 20 Jahren mit Aufnahmen und Perfor- mances ist Fred Frith so etwas wie die Ikone der Avant- garde Music geworden“ schrieb Die Zeit 1991. „Die Kri- tiker haben ihm Unrecht getan, indem sie ihn als impro- visierenden Cage-Jünger beschrieben... Bei der Anerken- nung der intellektuellen Aspekte seiner Musik dürfen aber nicht die unsterbliche Neugier, der bittere Witz, sein kindlicher Spieltrieb und die schleichende Melan- cholie übersehen werden." In den letzten Jahren verla- gerte sich der Schwerpunkt von Friths Arbeit von der Perfomance hin zur Komposition, dazu kamen zahlrei- che Arbeiten für Theater, Tanz, Film, Malerei und Video.
    [Show full text]
  • Here to Be Objectively Apprehended
    UMCSEET UNEARTHING THE MUSIC Creative Sound and Experimentation under European Totalitarianism 1957-1989 Foreword: “Did somebody say totalitarianism?” /// Pág. 04 “No Right Turn: Eastern Europe Revisited” Chris Bohn /// Pág. 10 “Looking back” by Chris Cutler /// Pág. 16 Russian electronic music: László Hortobágyi People and Instruments interview by Alexei Borisov Lucia Udvardyova /// Pág. 22 /// Pág. 32 Martin Machovec interview Anna Kukatova /// Pág. 46 “New tribalism against the new Man” by Daniel Muzyczuk /// Pág. 56 UMCSEET Creative Sound and Experimentation UNEARTHING THE MUSIC under European Totalitarianism 1957-1989 “Did 4 somebody say total- itarian- ism?” Foreword by Rui Pedro Dâmaso*1 Did somebody say “Totalitarianism”* Nietzsche famously (well, not that famously...) intuited the mechanisms of simplification and falsification that are operative at all our levels of dealing with reality – from the simplification and metaphorization through our senses in response to an excess of stimuli (visual, tactile, auditive, etc), to the flattening normalisation processes effected by language and reason through words and concepts which are not really much more than metaphors of metaphors. Words and concepts are common denominators and not – as we'd wish and believe to – precise representations of something that's there to be objectively apprehended. Did We do live through and with words though, and even if we realize their subjectivity and 5 relativity it is only just that we should pay the closest attention to them and try to use them knowingly – as we can reasonably acknowledge that the world at large does not adhere to Nietzsche’s insight - we do relate words to facts and to expressions of reality.
    [Show full text]
  • Chris Cutler, Loops Analogiques, Digitales, À L'unisson, Déphasées, Multipistes, Échantillonnées Ou Improvisées. Les Usage
    Culture, le magazine culturel en ligne de l'Université de Liège Chris Cutler, Loops Analogiques, digitales, à l'unisson, déphasées, multipistes, échantillonnées ou improvisées. Les usages que revêtent les boucles musicales sont multiples. Elles se déploient dans les studios d'enregistrement, envahissent les radios, tournent dans les supermarchés, ou accompagnent les jeux vidéo. On les a d'abord entendues chez Pierre Schaeffer et Karlheinz Stockhausen, ou peut-être avant dans les premiers synthétiseurs, voire en appelant les premières horloges parlantes. On les entendait surtout lorsque les disques se rayaient depuis le début du 19 e siècle. Elles ont conquis Steve Reich et Terry Riley, puis Brian Eno et Kraftwerk, Grandmaster Flash et Boards of Canada. Il était même des humains pour les imiter : Glenn Branca, Rhys Chatham avec leurs armées de guitares en premier. Boucles et répétitions semblent avoir bel et bien assujetti le monde à l'aube du 21 e siècle. C'est afin d'interroger les multiples usages et sens de la boucle et de distinguer cette structure des autres formes de répétition dans son rapport au temps et à l'espace qu'est né le projet « Understanding the Loop » sous les auspices du CIPA (Centre Interdisciplinaire de Poétique Appliquée). Ce projet prend également en considération de façon historique les techniques et spécificités historiques propres aux différentes formes d'art où on lui reconnaît un rôle prépondérant ; tout comme de rendre compte des manières distinctes de moduler la répétition qui dépassent le simple argument trop souvent avancé de la logique « non linéaire » qui serait mise en place par la boucle.
    [Show full text]
  • Rückkopplungen Aus Dem Zodiak Free Arts Lab
    BILDET NISCHEN! Rückkopplungen aus dem Zodiak Free Arts Lab HAU 21.–26.9.2021 Bildet Nischen! Rückkopplungen aus dem Zodiak Free Arts Lab 21.–26.9.2021 / HAU1 Im Winter des Jahres 1967 begann der Musiker und Künstler Conrad Schnitzler, auf Einladung des Wirtes Paul Glaser in zwei Räumen unter der damaligen Schaubühne am Halleschen Ufer, dem heutigen HAU2, das Programm zu gestalten. Mit Mit strei - ter:innen betrieb er das Zodiak Free Arts Lab über ein Jahr lang als hierarchiefreien Raum für musikalische Experimente und interdisziplinären Austausch. Bis 1969 diente das Zodiak als künstlerischer wie sozialer Treffpunkt. Trotz des kurzen Be- stehens kann es als initiierender Ort für zahlreiche musikalische Entwicklungen ver- standen werden – vor allem für die kurze Zeit später entstehende “Berliner Schule”, deren Sound oft unter dem Begriff “Krautrock” zusammengefasst wird und der bis heute in diversen musikalischen Strömungen nachhallt. “Bildet Nischen! Rückkopplungen aus dem Zodiak Free Arts Lab” begibt sich auf Spurensuche und beleuchtet die Verbindungen aus politischen, sozialen und kultu- rellen Verhältnissen, die auf die Szene um das Zodiak einwirkten. Welche Gemenge - lagen setzen auch heute noch Energien frei, die sich in (pop-)kulturellen Entwick- lungen manifestieren? Wie findet sich Gegenkultur und welcher Räume bedarf es dafür? Lassen sich Spuren und Bezüge des Zodiak in der kulturellen Praxis späterer subkultureller Entwicklungen im Berliner Underground aufzeigen? Fragestellungen wie diese bleiben bis in die aktuelle Gegenwart für die Entwicklung künstlerischer Positionen relevant. In einem Programm aus Konzerten, Kollaborationen, Installa- tionen, Gesprächen und einer Lecture Performance geht das HAU ihnen nach. Ein Festival des HAU Hebbel am Ufer.
    [Show full text]
  • Fred Frith Und Die Ungeahnten Klangwelten Der Gitarre (W)
    Jazz Collection: Fred Frith und die ungeahnten Klangwelten der Gitarre (W) Samstag, 12. Juli 2014, 22.00 - 24.00 Uhr Der englische Gitarrist und Komponist Fred Frith, geboren 1949, testet seit seinen Anfängen mit der Band «Henry Cow» die Grenzen seines Instruments. Er entführt seine Hörer in entlegene Klangwelten. Der Gitarrist Vinz Vonlanthen ist Gast in der Sendung. Es gibt tausend Arten Gitarre zu spielen. Fred Frith hat noch ein paar Dutzend hinzu erfunden. Vom «Progressive Rock» ausgehend, hat der Klangkünstler aus Yorkshire mit Tonabnehmern und elektronischer Verfremdung experimentiert. Frith hat seine Klangfantasien auch für Gitarrenquartett arrangiert und für das Ensemble Modern komponiert. Schon mit seinem ersten Solo-Album unternahm er 1974 den Versuch, analog John Cage‘s Klavierkompositionen die Gitarre neu zu erfinden. Klangvielfalt und rhythmisch komplexe Muster kennzeichnen seine Arbeit. Der in Genf lebende Gitarrist Vinz Vonlanthen als Gast analysiert die technischen Kniffe des unkonventionellen Virtuosen und würdigt den Sound-Visionär Fred Frith. Redaktion: Beat Blaser Moderation: Andreas Müller-Crepon Henry Cow:”Leg End” CD Virgin, 840 027 Track 5: Nirvana (Reprise) Track 7: Teenbeat (Reprise) Fred Frith Fred Frith: Guitar Solos CD ReR Megacorp, ReR/FRO 02 Track 1: Hello Music Fred Frith/Bob Ostertag/Phil Minton: Voice of America CD Rec-Rec Music, ReCDec 907 Part 1 Fred Frith: Step Across the Border CD RecRec Medien AG, ReCDec 30 Track 1: Sparrow Song Fred Frith: Allies – Music For Dance, Vol.2 CD RecRec Medien, RecDec 70 Track 1: Rifka Fred Frith: Quartetts CD RecRec Medien, ReCDec 44 Track II/2: The As Usual Dance Towards The Other Flight To What Is Not.
    [Show full text]
  • PROBES #23.2 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 #23.2 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. This auxilliary digs deeper into the many new aesthetic; for ways to make music adequate to a world faces of the toy piano and introduces the fiendish dactylion. transformed by disorientating technologies. Curated by Chris Cutler 01. Playlist 00:00 Gregorio Paniagua, ‘Anakrousis’, 1978 PDF Contents: 01. Playlist 00:04 Margaret Leng Tan, ‘Ladies First Interview’ (excerpt), date unknown 02. Notes Pianist Margaret Leng Tan was born in Singapore, where as a gifted student she 03. Links won a scholarship to study at the Julliard School in New York. In 1981 she met 04. Credits and acknowledgments John Cage and worked with him then until his death in 1992.
    [Show full text]
  • Duo Vocal, Musique Électronique Et Multiphonie
    MULTIVOX Duo vocal, musique électronique et multiphonie Avec Christine Bertocchi, voix Phil Minton, voix Olivier Sens ou Boris Darley, traitement sonore et multi-diffusion D'un instant à l’autre – 1, route de Chatillon– 21500 Montbard 06 25 11 20 29 - www.uninstantalautre.com 1 LE PROJET Les voix de Christine Bertocchi et Phil Minton se sont rencontrées à plusieurs reprises depuis une quinzaine d'années. Pour Multivox, elles tissent ensemble un parcours vocal, fait d'explorations sur le timbre et la matière sonore de la voix, de recherches sur les registres extrêmes et les usages extra-européens de la voix, de jeux rythmiques. Au fil de ce déroulement, ressurgissent des thèmes issus du jazz, des mélodies suspendues. La variété de leurs possibilités vocales et de leurs imaginaires musicaux, plongent les spectateurs dans une suite musicale faite de reliefs inattendus, relayée par un travail de traitement, transformation, boucles, et reprise en multi-diffusion tout autour des spectateurs. Entourés d'enceintes qui démultiplient les sources sonores, et plongés dans un premier temps dans une quasi pénombre, ils découvrent peu à peu les corps en mouvement, sources premières de l'émission sonore. Parfois, des objets manipulés par les deux chanteurs, leur permettent de jouer encore plus avec l'écoute du public. Les voix traversent ces filtres ou amplificateurs que peuvent être ces caisses de résonance, en forme de cercle ou de tunnel. Les gestes prennent alors une place prépondérante, détachés des voix qui voyagent à travers les différents enceintes : une différenciation de l'émission sonore et gestuelle, à partir de la même source, qui crée une sorte de chorégraphie spontanée, décalée mais intimement reliée.
    [Show full text]
  • Eine Endlos Breite Palette an Möglichkeiten. Zum Begriff
    EINE ENDLOS BREITE PALETTE AN MÖGLICHKEITEN. ZUM BEGRIFF „EXPERIMENTELLE IMPROVISATION“ In diesem Jahr findet das Jazz-Festival des Goethe-Instituts unter einem veränderten Namen statt. Das Festival 2018 heißt Jazz im Herbst. Experimentelle Improvisationsmusik. Der neue Name bringt eine Neigung zum Experimentellen zum Ausdruck, die seit Jahren als Tendenz des Festivals zu verzeichnen ist. Aber diesmal bleibt vom Jazz praktisch nichts übrig. Im Laufe eines Monats treten in Moskau Vertreter der experimentellen Musikszene auf: Alfred 23 Harth mit seiner neuen Gruppe Revolver 23, das Berliner Trio Perlonex, das Duett Marcus Schmickler / Thomas Lehn und das elektroakustische Peter Evans Quartet, zu dessen Besetzung die jungen Musiker Elisabeth Coudoux, Sabine Akiko Ahrendt und Florian Zwißler gehören, die 2016 Gäste im Kölner Projekt Zeitinsel // Residency waren. Die Auswahl der Festivalteilnehmenden repräsentiert, was im allgemeinen Verständnis zeitgenössische experimentelle Improvisationsmusik darstellt. Der Begriff „Experimentalmusik“ gilt in der letzten Zeit immer häufiger als ein kompromittierter Begriff. Die angebliche Fragwürdigkeit liegt vor allem an seinen verschwommenen Grenzen: Wie kann man sich in der Szene zurechtfinden, der mit gleichem Recht sowohl der Komponist Jürg Frey und der japanische Multi-Instrumentalist Keiji Haino als auch DJ und Produzent Jlin angehören? Es tritt noch ein weiteres Problem auf, das auf den kulturpolitischen Kampf zurückzuführen ist. Es passiert oft, dass Musiker den Begriff „experimentell“ verwenden,
    [Show full text]
  • Rock Progressif Et Plus, Dans Tous Ses États…
    Festival Des Musiques Indomptables Indomitable Music Festival DOSSIER DE PRESSE PRESS KIT ROCK IN OPPOSITION Festival Des Musiques Indomptables Indomitable Music Festival 9, 10 11 MAI 2019 2019 May 9,10,11 2 SALLES, 2 VILLES, 3 JOURS, UN FESTIVAL 2 VENUES, 2 CITIES, 3 DAYS, ONE FESTIVAL La scène de Musiques Actuelles, Les Abattoirs à Bourgoin-Jallieu et le Périscope à Lyon, en partenariat avec Dur et Doux, concoctent un nouveau rendez-vous au mois de mai avec l’accueil du festival de re- nommée internationale, celui des musiques indomptables : Le Rock In Opposition. le R . I . O. Des créations hors normes, des artistes et des visiteurs du monde entier se donnent rendez- vous pour se délecter de concerts complètement à part, le Rock Progressif et plus, dans tous ses états… The scene of Musiques Actuelles, Les Abattoirs in Bourgoin-Jallieu and Periscope in Lyon, in partnership with Dur and Doux, concoct a new appointment in may hosting the famous international festival dedicated to indomitable music : The Rock In Opposition, R. I. O. Exceptional creations, artists and visitors from all over the world meet up to enjoy completely different concerts and performances, Progressive Rock and more, in all its forms ... SOMMAIRE SUMMARY Édito Editorial Présentation des organisateurs Presentation of the organizers Programmation Gigs Groupes Bands Espace pro / stands Pro area / stands Organisation & partenaires Organization & partners Informations pratiques Useful information EDITO Le Rock in Opposition (R.I.O.), ou Rock en opposition, est un mouvement musical fondé dans les années 1970 par des groupes de rock progressif, à l’instigation du batteur Chris Cutler, du guitariste Fred Frith et de leur groupe Henry Cow.
    [Show full text]
  • 19-10 Newsflash October
    DRONE RECORDS ҉ NEWSFLASH ҉ OCTOBER 2019 ҉ Dear Droners, Mind Travellers and Sound Explorers, we gladly present you the Newsflash for October 2019 (6th update this year)! This update serves as a kind of ZOVIET FRANCE special, as VOD Records re-issued all 11 single release from the immediately sold out "Chasse" box as "stand-alone" items. We now offer all LPs + 2 x 7" from the Chasse box as set for a special price! + AS USUAL, SOME PERSONAL RECOMMENDATIONS from this list: DANIEL MENCHE - Melting Gravity LP (SIGE Rec.) : most dense & compelling transcension drones, start loosing your gravity! KEVIN RICHARD MARTIN - Sirens LP (ROOM40): first solo album by the legendary UK underground figure, " It's nothing short of an isolationist classic" [Boomkat] (...) - No Title 12" (Sähkö) : most abstract droning mystery sounds by an anonymous project MOLJEBKA PVLSE - Komoku CD (Cyclic Law): multi-layered drone bliss based on Tibetan instrumental sounds and desert field recordings.. JACOB KIRKEGAARD - "Phonurgia Metallis" CD and "Black Metal Square" LP (important rec.): resonances of freely hanging metal sheets, played by the atmospheric pressure around.. VELGENATURLIG - Anahata CD (Reverse Alignment) : a dark ambient / drone jewel - "Most easily described as a ocean, waving back and forth" .... and so many, more releases from the ever fascinating, sublime and visionary world of atmospheric and experimental sound creation... Pre-orders & reservations are possible. Please note the PRICES with your order! Most of the titles listed are in stock, others are backorderable quickly. All prices are in EURO and do NOT include postage & handling costs! Usually the minimum order amount is 25 Euro.
    [Show full text]