David Sylvian As a Philosopher Free Download
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Live Among the White Trash: a History of Nono----Manman on Stage
Live Among the White Trash: A history of nono----manman on stage “There are no No-Man concerts scheduled for the foreseeable future.” (from the official no-man website) Anyone who has followed no-man’s career over the previous ten years or so will be acutely aware that the band does not play live. If no-man “exist” as a band at all – and their infrequent releases mean they are more an ongoing understanding between two men rather than an active unit – it is only in the studio. Over a series of uncompromising albums no-man’s music has become ever more complex, yet ironically, “live sounding” than the release which proceeded it. But this organic “liveness” is mainly an illusion; the feeling of spontaneity often the result of numerous edits and takes which only the precision of studio work can produce. Others have tried to perform equally difficult music live: Radiohead ambitiously thrusting their clicks-and- cuts post-rock upon the world’s stadiums, for example. But for a variety of reasons, no-man simply haven’t tried – at least, not since 1994 and not until a one-off performance in 2006. The only comparable case is Talk Talk’s retreat into the studio in the late 1980s. Both bands have undoubtedly crafted their best work without going near an audience. 1 But it wasn’t always so. no-man were once very much a live act, promoting singles and albums with dates and undertaking two full-blown tours – though they rarely played outside London, never went further north than Newcastle, and never played outside Great Britain. -
Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67
Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 Marc Howard Medwin A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of Music. Chapel Hill 2008 Approved by: David Garcia Allen Anderson Mark Katz Philip Vandermeer Stefan Litwin ©2008 Marc Howard Medwin ALL RIGHTS RESERVED ii ABSTRACT MARC MEDWIN: Listening in Double Time: Temporal Disunity and Structural Unity in the Music of John Coltrane 1965-67 (Under the direction of David F. Garcia). The music of John Coltrane’s last group—his 1965-67 quintet—has been misrepresented, ignored and reviled by critics, scholars and fans, primarily because it is a music built on a fundamental and very audible disunity that renders a new kind of structural unity. Many of those who study Coltrane’s music have thus far attempted to approach all elements in his last works comparatively, using harmonic and melodic models as is customary regarding more conventional jazz structures. This approach is incomplete and misleading, given the music’s conceptual underpinnings. The present study is meant to provide an analytical model with which listeners and scholars might come to terms with this music’s more radical elements. I use Coltrane’s own observations concerning his final music, Jonathan Kramer’s temporal perception theory, and Evan Parker’s perspectives on atomism and laminarity in mid 1960s British improvised music to analyze and contextualize the symbiotically related temporal disunity and resultant structural unity that typify Coltrane’s 1965-67 works. -
Japan Tin Drum Japan Edition 19812008 FLAC EMI Mus
Japan - Tin Drum (Japan Edition) (1981,2008) [FLAC] {EMI Mus Japan - Tin Drum (Japan Edition) (1981,2008) [FLAC] {EMI Mus 1 / 2 Japan - Tin Drum (Japan edition) (1981,2008) [FLAC] {EMI Mus. Join the campaign and make a difference.. Title: Japan - Tin Drum (Japan Edition) (1981,2008) [FLAC] {EMI Mus, Author: molamere, Name: Japan - Tin Drum (Japan Edition) (1981,2008) .... ... gestionnaire de menu" mais j'ai vu dans un post que la nouvelle version de prestashop 1 . ... Japan - Tin Drum (Japan edition) (1981,2008) [FLAC] {EMI Mus. Mp3 is a compressed version of the original recorded CD. ... registration key Japan - Tin Drum (Japan edition) (1981,2008) [FLAC] {EMI Mus Fifa15 Data1 Bin.. The Art Of Parties (re-recorded version); Talking Drum; Ghosts; Canton; Still Life In ... Japanese 1987 re-issue LP Virgin/Toshiba-EMI 25VB-1014; Japanese 1987 ... The same obi design is used for the 2008 Japanese mini LP CD remaster. Tin .... JAPAN - Tin Drum - Amazon.com Music. ... Amazon's Choice for "japan tin drum" ... Complete your purchase to save the MP3 version to your music library. ... Digitally remastered reissue, in standard jewel case, of their ground breaking 1981 .... ... Previous Message ] Date Posted: 21:01:59 02/25/14 Tue Author: folkmamb. Subject: Japan - Tin Drum (Japan Edition) (1981,2008) [FLAC] {EMI Mus. > .... Genre: Electronic, Pop. Style: New Wave, Synth-pop. Year: 1981 .... Japan tin drum japan edition 1981 2008 flac emi mus zip. Thus with the literary references for singer, David Sylvian), Tin Drum remains Japan' s most Eastern- .... Released 1981. ... Tin Drum has no flashy waste or needless bombast, just evocative skill that remains.. -
Otomo Yoshihide, Bill Laswell, Yoshigaki Yasuhiro - Soup Live Bill Laswell - Kauai : the Arch of Heaven Shin Terai - Unison
Otomo Yoshihide Soup mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Electronic / Jazz / Rock Album: Soup Country: Russia Style: Free Improvisation MP3 version RAR size: 1580 mb FLAC version RAR size: 1435 mb WMA version RAR size: 1427 mb Rating: 4.6 Votes: 974 Other Formats: RA WAV AC3 APE AUD XM MOD Tracklist 1 Duck 11:07 2 Mushroom 9:56 3 Crab 14:13 4 Seaweeds 12:29 Companies, etc. Recorded At – Gok Sound Mixed At – Orange Music Mastered At – Turtle Tone Studios Record Company – G. & P. Essential Music Credits Bass, Effects, Sampler, Mixed By – Bill Laswell Design – Chikara Iwai Drums, Percussion, Drums [Electric], Trumpet – Yasuhiro Yoshigaki Engineer – Robert Musso Engineer [Assistant] – James Dellatacoma Guitar, Turntables, Edited By – Otomo Yoshihide Mastered By – Michael Fossenkemper Producer – Shin Terai Recorded By – Kondo Yoshiaki* Notes Jewel Case Barcode and Other Identifiers Barcode: 4 995879 058565 Rights Society: JASRAC Matrix / Runout: ZZ-03GP0001754 Other versions Category Artist Title (Format) Label Category Country Year Otomo Yoshihide, Otomo Yoshihide, Bill Bill Laswell, P-Vine PCD-5856 Laswell, Yoshigaki Yasuhiro* PCD-5856 Japan 2003 Yoshigaki Records - Soup (CD, Album) Yasuhiro* Ion 2022 Soup Soup (CD, Album, RE) ION Ion 2022 US 2007 Soup (4xFile, ALAC, Album, none Soup ION none US 2015 RE) Related Music albums to Soup by Otomo Yoshihide Toshinori Kondo, Eraldo Bernocchi, Bill Laswell - Charged Bill Laswell & Toshinori Kondo Featuring His Holiness The Dalai Lama - Life, Space, Death Otomo Yoshihide & Saga Yuki - See You In A Dream Various - The Meta Collection Bill Laswell - Outer Dark Otomo Yoshihide's New Jazz Quintet - Pulser Roots Tonic Meets Bill Laswell - Roots Tonic Meets Bill Laswell Otomo Yoshihide, Bill Laswell, Yoshigaki Yasuhiro - Soup Live Bill Laswell - Kauai : The Arch Of Heaven Shin Terai - Unison. -
Unconstituted Praxis
UnconstitutedPraxis PraxisUnconstituted MATTIN MATTIN UnconstitutedPraxis PraxisUnconstituted MATTIN MATTIN Unconstituted Praxis Unconstituted Unconstituted Praxis MATTIN MATTIN 'Noise & Capitalism - Exhibition as Concert' with Mattin is the first part of the project 'Scores' Unconstituted Praxis organised in collaboration by CAC Brétigny and Künstlherhaus Stuttgart. The second part with Beatrice Gibson: The Tiger's Mind will be presented from November 6th to December 31st in Stuttgart, Germany. www.kuenstlerhaus.de By Mattin 'Scores' is part of the project 'Thermostat, cooperations between 24 French and German art centres', With contributions by: an initiative from the Association of French centres d'art, d.c.a., and the Institut Français in Germany. addlimb, Billy Bao, Marcia Bassett, Loïc Blairon, Ray Brassier, Diego Chamy, Janine Eisenaecher, Barry Esson, The project is generously supported by the German Federal Cultural Foundation, the French Ministry Ludwig Fischer, Jean-Luc Guionnet, Michel Henritzi, Anthony Iles, Alessandro Keegan, Alexander Locascio, of Culture and Communication, Culturesfrance Seijiro Murayama, Loty Negarti, Jérôme Noetinger, Andrij Orel & Roman Pishchalov, Acapulco Rodriguez, as well as by the Plenipotentiary for the Franco-German Cultural Relations. Benedict Seymour, Julien Skrobek, Taumaturgia and Dan Warburton. is initiated by Edited by: Anthony Iles Cover Illustration: Epilogue by Howard Slater Metal Machine Illustrations: Metal Machine Theory I-V, questions by Mattin answers by With support of Ray Brassier, commissioned and published 2010-2011 by the experimental music magazine Revue et Corrigée. Drunkdriver concert photographs: Drunkdriver/Mattin live at Silent Bar, Queens 3 January 2009 Olivier Léonhardt, Président de la Communauté d'agglomération du Val d'Orge/ by Tina De Broux. President of the community of agglomeration Val d’Orge Patrick Bardon, Vice-Président de la Communauté d'agglomération du Val d'Orge/ Noise & Capitalism - exhibition as concert documentation: photographs by Steeve Beckouet. -
Echo's End Reference, Upgraded from Firewall 64X Technology to Firewall 640X Technology]
Discrete Precision Resistor R-2R Ladder DAC Date Added: 08/24/2021 by Jörg from Dortmund, Germany [Echo's End Reference, upgraded from Firewall 64x technology to Firewall 640x technology] When I installed the DAC during the week I hadn’t too much time to take a listen during the week. As I’m very familiar with the Sound of the Reference DAC over the years, I’m pretty sure to remember how it sounds, especially with extremely familiar discs. Some might say, that this is difficult without direct comparison of the DAC with the older incarnation of Firewall modules to the one that is equipped with the actual new Firewall modules, it is new, you want it to sound better, but that might only belong to your imagination. And that might be the case with other gear, tweaks, cabling, whatever, when the difference in sound is very small. You wish it to be, but you can’t be sure. Now I listened to my most familiar discs again, and the difference is not subtle, it is simply astounding! Never would i have thought of such a big improvement, coming with the replacement of the older Firewall modules. Everything is brought out better, acoustic instruments sound incredibly natural and real. Everything has more depth and contour. It simply sounds more energetic and precise. The reverberation of voices and decaying instruments lingers longer than before. Basses are more profound. And again, I’m hearing a cornucopia of details that were previously imperceptible. And with excellent sounding discs, my room is flooded with sound, I have the feeling I’m bathing in it. -
Precious but Not Precious UP-RE-CYCLING
The sounds of ideas forming , Volume 3 Alan Dunn, 22 July 2020 presents precious but not precious UP-RE-CYCLING This is the recycle tip at Clatterbridge. In February 2020, we’re dropping off some stuff when Brigitte shouts “if you get to the plastic section sharpish, someone’s throwing out a pile of records.” I leg it round and within seconds, eyes and brain honed from years in dank backrooms and charity shops, I smell good stuff. I lean inside, grabbing a pile of vinyl and sticking it up my top. There’s compilations with Blondie, Boomtown Rats and Devo and a couple of odd 2001: A Space Odyssey and Close Encounters soundtracks. COVER (VERSIONS) www.alandunn67.co.uk/coverversions.html For those that read the last text, you’ll enjoy the irony in this introduction. This story is about vinyl but not as a precious and passive hands-off medium but about using it to generate and form ideas, abusing it to paginate a digital sketchbook and continuing to be astonished by its magic. We re-enter the story, the story of the sounds of ideas forming, after the COVER (VERSIONS) exhibition in collaboration with Aidan Winterburn that brings together the ideas from July 2018 – December 2019. Staged at Leeds Beckett University, it presents the greatest hits of the first 18 months and some extracts from that first text that Aidan responds to (https://tinyurl.com/y4tza6jq), with me in turn responding back, via some ‘OUR PRICE’ style stickers with quotes/stats. For the exhibition, the mock-up sleeves fabricated by Tom Rodgers look stunning, turning the digital detournements into believable double-sided artefacts. -
Mysticism, Implicit Religion and Gravetemple's Drone Metal By
1 The Invocation at Tilburg: Mysticism, Implicit Religion and Gravetemple’s Drone Metal by Owen Coggins 1.1 On 18th April 2013, an extremely slow, loud and noisy “drone metal” band Gravetemple perform at the Roadburn heavy metal and psychedelic rock festival in Tilburg in the Netherlands. After forty-five minutes of gradually intensifying, largely improvised droning noise, the band reach the end of their set. Guitarist Stephen O’Malley conjures distorted chords, controlled by a bank of effects pedals; vocalist Attila Csihar, famous for his time as singer for notorious and controversial black metal band Mayhem, ritualistically intones invented syllables that echo monastic chants; experimental musician Oren Ambarchi extracts strange sounds from his own looped guitar before moving to a drumkit to propel a scattered, urgent rhythm. Momentum overtaking him, a drumstick slips from Ambarchi’s hand, he breaks free of the drum kit, grabs for a beater, turns, and smashes the gong at the centre of the stage. For two long seconds the all-encompassing rumble that has amassed throughout the performance drones on with a kind of relentless inertia, still without a sonic acknowledgement of the visual climax. Finally, the pulsating wave from the heavily amplified gong reverberates through the corporate body of the audience, felt in physical vibration more than heard as sound. The musicians leave the stage, their abandoned instruments still expelling squalling sounds which gradually begin to dissipate. Listeners breathe out, perhaps open their eyes, raise their heads, shift their feet and awaken enough to clap and shout appreciation, before turning to friends or strangers, reaching for phrases and gestures, often in a vocabulary of ritual, mysticism and transcendence, which might become touchstones for recollection and communication of their individual and shared experience. -
41 Kult NT.Qxp
DAGSAVISEN NYE TAKTERKULTUR TIRSDAG 18. OKTOBER 2005 41 Sylvians fire årtier 70-TALLET Danner bandet Japan i 1974 sammen med broren Steve og skifter navn fra Norge David Batt til David Sylvian. Blir oppdaget av den senere så beryktede manageren Simon Napier-Bell (Wham m.m.). Gir ut to lite vellykkede glam-rock-pregede album, men tittelkuttet på tredjeplata «Quiet Life» (1979) peker mot noe mer sofistikert og særpreget. 80-TALLET Med platene «Gentlemen Take Polaroids» (1980) og «Tin Drum» (1981) utvikler Japan en egenartet asia- tiskinspirert sound, og får en hit med den minimalis- tiske balladen «Ghosts». Oppløses i 1982 etter mye intern krangel. Sylvian begynner å samarbeide med eksperimentelle musikere som Riuichi Sakamoto, Robert Fripp (King Crimson) og Holger Czukay (Can). Gir ut sitt første soloalbum «Brilliant Trees» (1984), følger opp med doble «Gone To Earth» (1986) og «Secrets Of The Beehive» (1987), som alle har status som kultklassikere. Jobber også innen teater, foto- kunst og dans. 90-TALLET Japan gjenforenes under navnet Rain Tree Crow, lager et halvbra album og oppløses igjen. Sylvian flytter til USA og gifter seg med Prince-protesje- en Ingrid Chavez. Lager en del instrumental ambient- musikk, gjenopptar sam- arbeidet med Robert Fripp på duoalbumene «The First Day» (1993) og FOTO: KEVIN WESTERBERG/DOT «Redemption» (1994), som ikke hører til hans sterkeste. Gir ut sitt første viteten. Jeg følte at jeg var i ferd med å bli kvalt av tenkt å gå tilbake til å lage tradisjonelle låter igjen. soloalbum siden 1987, min egen historie. Det var svært frigjørende å bli fer- Nine Horses-plata er ikke nødvendigvis en indika- «Dead Bees On A Cake» dig med kontrakten og bygge mitt eget studio. -
Svět Jiné Hudby
Zdeněk K. Slabý, Petr Slabý Kniha vychází s laskavou podporou a za finančního přispění Ministerstva kultury České republiky © Zdeněk K. Slabý, Petr Slabý, 2007 © VOLVOX GLOBATOR, 2007 ISBN 978-80-7511-183-8 Vydalo nakladatelství & vydavatelství Volvox Globator Štítného 17, 130 00 Praha 3 www.volvox.cz jako svou 781. publikaci Obálka a grafická úprava Karel Haloun Odpovědný redaktor Ondřej Sýkora E-knihahttps://purehtml.cz Vydání první, Praha 2007 Adresa knihkupectví Volvox Globator: Štítného 16, 13000 Praha 3-Žižkov Předmluva aneb Alternativní verze doslovu Na počátku mé práce na tomto dílu Světa jiné hudby byla dvě slova. A ta slova byla Sun Ra. O něm jsem místopřísežně v nejrůznějších médiích slíbil, že ve druhém dílu napíšu stěžejní článek, a vrátilo se mi to jako bumerang. Toho jsem tedy dosáhl, i když by si tento zcela zásadní muzikant zasloužil celou knihu o několika tisících stránek. Přesto studium jeho odkazu pro mě znamenalo otevření dalších dimenzí pro další bádání a pochopení zcela nových věcí. Řada textů vznikla díky možnosti navštívit některé věhlasné světové festivaly, které se věnují alternativní hudbě a neberou ji jako okrajovou záležitost, ale šanci pro poznávání současných trendů. Byla to příležitost blíže poznat řadu umělců a v neposlední řadě pochopit fakt, že takzvaná „alternativa“ je otevřena každé vstřícné duši. A věřte, že na tyto akce v Rakousku či Francii chodí číratí punkáči i zasloužilí důchodci v oblecích a vytváří společnou komunitu lidí, kteří v jakémkoliv věku hledají nové impulsy a mají mnoho společného - totiž právě ono hledání. Tímto bych chtěl poděkovat jejich organizátorům. Opět se čtenáři i kritici budou ptát, proč zde to a tohle zrovna chybí, i když je to trendy nebo klasika nos plus ultra, a proč jsou zde zastoupeni relativně marginální muzikanti či soubory a proč zde relativně malý prostor dostala tentokrát domácí scéna. -
Eartrip7.Pdf Download
CONTENTS Editorial An internet-related rant and a summary of the delights to follow in the rest of the current issue. By David Grundy. [pp.3-4] Listening to Sachiko M 12,000 words (count' em) – a lengthy, and no-doubt futile attempt to get to grips with some of the recordings of empty-sampler player (or, in her own words, 'non-musician'), Sachiko M, including interminable ramblings on such albums as 'Bar Sachiko,' 'Filament 1', and 'Tears'. By David Grundy. [pp.5-26] The Drop at the Foot of the Ladder: Musical Ends and Meanings of Performances I Haven't Been To, Fluxus and Today 11,000 words (count 'em), covering the delicate and indelicate negotiations between music and performance, audience and performer, art and non-art, that take place in the 1960s works of Fluxus and their distant inheritors, Mattin and Taku Unami. By Lutz Eitel. [pp.27-52] Feature: Live in Seattle Two solo takes and a duo relating to Coltrane's 1965 recording, made at the breaking point of his 'Classic Quartet', poised between old and new, music that pushes at the limits and drops back only to push again with furious persistence. By David Grundy and Sean Bonney. [pp.53-74] Interview: The Rent To call The Rent a Steve Lacy 'tribute band' would be to do them an immense disservice, though their repertoire consists mainly of Lacy compositions. Their conversation with Ted Harms covers such topics as inter-disciplinarity, the Lacy legacy, and the notion of jazz repertoire. [pp.75-83] You Tube Watch: Billy Harper A feature devoted this issue to the great Texan tenor Billy Harper. -