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Thinking Plague a History Of
What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero. -
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. -
Matthew Edwards and the Unfortunates
Matthew Edwards and the Unfortunates. ‘The Birmingham Poets’ is Matthew Edwards and the Unfortunates first release on the Paris-based December Square recordings. It was recorded in Leamington Spa, England by John A. Rivers (Felt, Dead Can Dance etc.) " The Birmingham Poets are amusing but unexpected guests who eventually ruin your dinner party…The Birmingham Poets graffiti the walls with romance languages. Their split personalities are no longer on speaking terms. They are constantly saying goodbye. I was born in Birmingham, and have both languished and thrived there. I left for California but returned… for this record I suppose? So, here I am still looking for the magic under the concrete." — MATTHEW EDWARDS Matthew Edwards is based in Birmingham, England and San Francisco CA. He has led the Unfortunates since 2013. Prior to then Edwards was the driving force in SF’s critical darlings The Music Lovers. At various times Matthew has been a bingo caller, an English Literature major, a park keeper, MC of a San Francisco cabaret, and of course a singer-songwriter of some distinction. The first Unfortunates album ‘The Fates” (2013) was produced by Eric Drew Feldman (PJ Harvey, Captain Beefheart) and recorded in Emeryville, California. It drew universal critical acclaim: **** Mojo, “Luxuriates in loss and the paradoxical beauty and romance of age, distance and decay” The Quietus "Blessed with understated charm, originality and pure lambent beauty" Shindig In 2014 Matthew relocated to his hometown of Birmingham, England and convened the UK version of the band. This group recorded the Unfortunates second album ‘Folklore’ which was released by Gare Du Nord records in June 2017. -
Comicoperando
Comicoperando RichardSinclair Comicoperando è un nonetto dedicato a Robert Bassista, chitarrista e cantante inglese, ha fonda- Lunedì 1 marzo ore 21 Wyatt, uno dei più amati cantanti/cantautori nella to negli anni Settanta storici gruppi della cosiddetta John Edwards storia della musica. La formazione è composta da scena di Canterbury come Caravan e Hatfield And eminenti musicisti europei, cinque dei quali hanno The North, ha militato nei Camel, ha suonato nel ca- collaborato con Robert Wyatt sia nel passato che re- polavoro Rock Bottom di Robert Wyatt e in nume- prima assoluta centemente. Nato come “dream team” di artisti vo- rosi progetti paralleli tra jazz-rock, progressive e mu- Fuori abbonamento tati alla causa della musica popolare e tuttora impe- sica acustica. gnati nella sfida di ridefinire la “musica progressive”, Comicoperando si propone di rivisitare e reinventa- Sono molto felice di essere stato invitato a prendere parte Comicoperando re il repertorio di Wyatt, pur rimanendo radicato alla a Comicoperando. Che bello cantare con questi eccellenti Gilad Atzmon tormentata inventiva del compositore e al suo spirito musicisti, lasciarsi ispirare dalla musica di Robert Wyatt, è il A Tribute to the Music caso di dire che abbiamo il pane e anche i denti! iconoclasta. Il gruppo crea una diversità di stili e re- Sinclair Richard of Robert Wyatt gistri (tutti i musicisti della band sono coinvolti – col- Richard Sinclair GiladAtzmon Alterna l’attività di musicista a quella di scrittore. Il lettivamente o individualmente – nella selezione dei suo album Exile ha vinto il premio della BBC come Dagmar Krause voce brani e negli arrangiamenti) e presenta brani fonda- miglior album jazz del 2003. -
Karen Mantler by Karen Mantler
Karen Mantler by Karen Mantler I was conceived by Carla Bley and Michael Mantler at the Newport Jazz Festival in 1965. Born in 1966, I was immediately swept into the musician's life on the road. After having checked me at the coatroom of the Berlin Jazz Festival, to the horror of the press, my parents realized that I was going to have to learn to play an instrument in order to be useful. But since I was still just a baby and they couldn't leave me alone, they had to bring me on stage with them and keep me under the piano. This is probably why I feel most at home on the stage. In 1971, when I was four, my mother let me have a part in Escalator Over The Hill and the next year I sang on another of her records, Tropic Appetites. By 1977 I had learned to play the glockenspiel, and I joined the Carla Bley Band. I toured Europe and the States with her several times and played on her Musique Mecanique album. After playing at Carnegie Hall in 1980, where I tried to steal the show by pretending to be Carla Bley, my mother fired me, telling me "get your own band". I realized that I was going to have to learn a more complicated instrument. After trying drums, bass, and flute, which I always lost interest in, I settled on the clarinet. I joined my elementary school band and quickly rose to the head of the clarinet section. The band director let me take the first improvised solo in the history of the Phoenicia (a small town near Woodstock, NY) elementary school. -
Une Discographie De Robert Wyatt
Une discographie de Robert Wyatt Discographie au 1er mars 2021 ARCHIVE 1 Une discographie de Robert Wyatt Ce présent document PDF est une copie au 1er mars 2021 de la rubrique « Discographie » du site dédié à Robert Wyatt disco-robertwyatt.com. Il est mis à la libre disposition de tous ceux qui souhaitent conserver une trace de ce travail sur leur propre ordinateur. Ce fichier sera périodiquement mis à jour pour tenir compte des nouvelles entrées. La rubrique « Interviews et articles » fera également l’objet d’une prochaine archive au format PDF. _________________________________________________________________ La photo de couverture est d’Alessandro Achilli et l’illustration d’Alfreda Benge. HOME INDEX POCHETTES ABECEDAIRE Les années Before | Soft Machine | Matching Mole | Solo | With Friends | Samples | Compilations | V.A. | Bootlegs | Reprises | The Wilde Flowers - Impotence (69) [H. Hopper/R. Wyatt] - Robert Wyatt - drums and - Those Words They Say (66) voice [H. Hopper] - Memories (66) [H. Hopper] - Hugh Hopper - bass guitar - Don't Try To Change Me (65) - Pye Hastings - guitar [H. Hopper + G. Flight & R. Wyatt - Brian Hopper guitar, voice, (words - second and third verses)] alto saxophone - Parchman Farm (65) [B. White] - Richard Coughlan - drums - Almost Grown (65) [C. Berry] - Graham Flight - voice - She's Gone (65) [K. Ayers] - Richard Sinclair - guitar - Slow Walkin' Talk (65) [B. Hopper] - Kevin Ayers - voice - He's Bad For You (65) [R. Wyatt] > Zoom - Dave Lawrence - voice, guitar, - It's What I Feel (A Certain Kind) (65) bass guitar [H. Hopper] - Bob Gilleson - drums - Memories (Instrumental) (66) - Mike Ratledge - piano, organ, [H. Hopper] flute. - Never Leave Me (66) [H. -
The History of Rock Music: 1966-1969
The History of Rock Music: 1966-1969 Genres and musicians of the Sixties History of Rock Music | 1955-66 | 1967-69 | 1970-75 | 1976-89 | The early 1990s | The late 1990s | The 2000s | Alpha index Musicians of 1955-66 | 1967-69 | 1970-76 | 1977-89 | 1990s in the US | 1990s outside the US | 2000s Back to the main Music page Inquire about purchasing the book (Copyright © 2009 Piero Scaruffi) Canterbury 1968-73 (These are excerpts from my book "A History of Rock and Dance Music") The Canterbury school of British progressive-rock (one of the most significant movements in the history of rock music) was born in 1962 when Hugh Hopper, Robert Wyatt, Kevin Ayers, Richard Sinclair and others formed the Wilde Flowers. Wyatt, Ayers, Hopper and their new friends Daevid Allen and Mike Ratledge formed the Soft Machine; whereas Sinclair and the others went on to form Caravan. Soft Machine (103), one of the greatest rock bands of all times, started out with albums such as Volume Two (mar 1969 - apr 1969) that were inspired by psychedelic-rock with a touch of Dadaistic (i.e., nonsensical) aesthetics; but, after losing Allen and Ayers, they veered towards a personal interpretation of Miles Davis' jazz-rock on Three (may 1970 - jun 1970), their masterpiece and one of the essential jazz, rock and classical albums of the 1970s. Minimalistic keyboards a` la Terry Riley and jazz horns highlight three of the four jams (particularly, Hopper's Facelift). The other one, Moon In June, is Wyatt's first monumental achievement, blending a delicate melody, a melancholy atmosphere and deep humanity. -
The Enigmas of Improvised Subjectivity
Liminalities: A Journal of Performance Studies Vol. 14, No. 1 (2018) Another Version of Ourselves: The Enigmas of Improvised Subjectivity Benjamin Piekut This short text takes up some questions having to do with acts of self-definition, collective authorship, and expression, and how they are rehearsed, examined, and denied—in short, put into motion—by means of musical performance.1 To improvise is to work with known materials and techniques, moving them in the direction of uncertainty. When you improvise with others, you bring your skills and your musical personality to the encounter. You use them to participate in an exchange, and that exchange issues something new, something that could not be foreseen—and that is open improvisation, at least according to one widespread and common-sense understanding of the practice.2 But I will explore another variant, one that embarks on its journey toward uncertainty by pulling apart personality and rendering it into a site of ongoing investigation. Both of these understandings of improvisation convert certainty into uncertainty, one by stretching or risking the self in a situation of surprise, and the other by disas- sembling or nullifying the self in order to get free of it.3 I want to think about Benjamin Piekut is a historian of experimental music, jazz, and rock after 1960. His first monograph, Experimentalism Otherwise: The New York Avant-Garde and its Limits, was published in 2011 by the University of California Press. He is also the editor of Tomorrow Is the Question: New Directions in Experimental Music Studies (Michigan, 2014) and co-editor (with George E. -
There's a Story Behind the Lene Lovich Band…
FLEX MUSIC HQ, LONDON Email: [email protected] There’s a story behind the Lene Lovich Band… In 1992, Jude Rawlins, twenty-year-old singer/guitarist with recently formed English artrock band Subterraneans, crosses paths in the Netherlands with cult German punk queen Nina Hagen. During their brief acquaintance Jude attempts to play Nina an album by another German singer, Henry Cow’s Dagmar Krause. It is an album of Kurt Weill songs sung in English. Nina dismisses it with the words “Lene Lovich would do that so much better…” A decade or so later, Jude and Lene meet very briefly for the first time at a screening of Vicky Hopkins’ film Alpha Girls at a gallery in Bethnal Green, East London. Jude had intended to give Lene a copy of the latest Subterraneans album, but accidentally left it on the Tube. Another decade passes. It is November 2011, and Subterraneans are exhausted following the recent release of their ninth album. During the same period Lene has released only one album, Shadows and Dust in 2004. Her profile is, to say the very least, low. Meanwhile Jude is jaded with the law of diminishing returns, and watching everything he has worked so hard for being devalued by corporate entities that have no idea how much a song is worth to the hearts and minds that created it, and so sell it for a flat rate of 79pence. Sometimes less. Thus ends the prelude. Now begins Chapter One... Jude receives a message from a friend who is planning a free jazz re-imagining of the songs of Kurt Weill. -
Henry Cow Concerts Mp3, Flac, Wma
Henry Cow Concerts mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Concerts Country: UK Style: Abstract, Experimental, Prog Rock, Free Improvisation, Art Rock MP3 version RAR size: 1220 mb FLAC version RAR size: 1279 mb WMA version RAR size: 1739 mb Rating: 4.3 Votes: 848 Other Formats: MP2 VQF AAC FLAC AA MMF ADX Tracklist Hide Credits Beautiful As The Moon: Terrible As An Army With Banners A1 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Cutler*, Frith* Nirvana For Mice A2 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Frith* Ottawa Song A3 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Cutler*, Frith* Gloria Gloom A4 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – MacCormick*, Wyatt* Beautiful As The Moon Reprise A5 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Cutler*, Frith* Bad Alchemy B1 Mixed By – Sarah GreavesPiano – John GreavesRecorded By – Norman Jön*Vocals – Robert WyattWritten-By – Greaves*, Blegvad* Little Red Riding Hood Hits The Road B2 Mixed By – Sarah GreavesPiano – John GreavesRecorded By – Norman Jön*Vocals – Robert WyattWritten-By – Wyatt* Ruins B3 Mixed By – Neil SandfordPiano – Dagmar KrauseRecorded By – Sandro PascoloWritten-By – Frith* Oslo C Piano – Chris CutlerRecorded By, Mixed By – Harold Clark, Jack BalchinRecorder – Lindsay CooperViolin, Xylophone – Fred FrithWritten-By – Henry Cow Groningen D1 Mixed By – Sarah GreavesWritten-By – Hodgkinson* Udine D2 Mixed By – Neil SandfordPiano – Lindsay CooperRecorded By – Sandro PascoloWritten-By – Henry Cow Groningen Again D3 Mixed By – Sarah GreavesWritten-By – Henry Cow Credits Bass, Voice, Celesta – John Greaves Bassoon, Flute, Oboe – Lindsay Cooper Drums – Chris Cutler Guitar, Piano – Fred Frith Mastered By – David Vorhaus Organ, Clarinet, Alto Saxophone – Tim Hodgkinson Voice – Dagmar Krause Notes Side A recorded 5th August 1975 at BBC Studios (Peel Session). -
Composing for the Films Mandy Merck Asks Lindsay Cooper About Scoring the Independents
40 COMPOSING FOR THE FILMS MANDY MERCK ASKS LINDSAY COOPER ABOUT SCORING THE INDEPENDENTS AFTER SEVERAL YEARS of a youthful musical career which 1 The Song of the ranged from a classical training at the Royal College of Music and the Shirt, directed by National Youth Orchestra to membership in the experimental rock Sue Clayton and Jonathan Curling, group Henry Cow and participation in jazz and improvisational UK, 1979. ensembles like the Mike Westbrook Band, Company and the Feminist Improvisation Group, Lindsay Cooper began writing film music in 1979. Since then she has combined work as a performer with composi- tion for both recordings and the cinema-becoming an important influence on the sound of British independent film. This May the BFI Production Board opens its much-anticipated feature, The Gold Diggers, at the National Film Theatre. Made by an all- women group, including writer/director Sally Potter, The Gold Diggers was both scored and co-scripted by Lindsay Cooper. This interview with her was conducted in March, shortly after the film was shown at the Berlin Festival. Mandy Merck: The Song of the Shirt1 was your first attempt at compos- ing and arranging for film. I understand it was almost entirely shot, though not edited, by the time you were commissioned. Lindsay Cooper: I think they had one or two bits of re-shooting to do and one or two sequences to shoot. I started work on the music shortly before the edit started. Do you think you were right for it? I think I was perfect, actually. I think that probably of all the things I've ever done, that project most aptly combined my various talents and interests. -
Hanns Eisler and His Hollywood Songbook: a Survey of the Five Elegies (Fünf Elegien) and the Hölderlin Fragments (HölderlinFragmente)
Hanns Eisler and His Hollywood Songbook: A Survey of the Five Elegies (Fünf Elegien) and the Hölderlin Fragments (HölderlinFragmente) D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Stanley E. Workman, Jr., B.M., M.M. Graduate Program in Music The Ohio State University 2010 D.M.A. Document Committee: Dr. Robin Rice, Advisor Professor Loretta Robinson Dr. C. Patrick Woliver Copyright by Stanley Edward Workman, Jr. 2010 Abstract Hanns Eisler, (1898‐1962), remains today as one of the most fascinating and controversial composers of the Twentieth‐Century. Schooled in the aesthetic style of the Second Viennese School of Schoenberg, Eisler made an ideological shift in the trajectory of his musical career in the mid‐1920’s, shifting the emphasis away from ‘art music’ to music for the Worker’s Movement. Enormously versatile, Eisler then found himself working in various genres, from the writing of ‘agitprop’ style ballads and choruses, the Lehrstücke collaborations with friend and colleague Bertolt Brecht, and to the composing of film scores for many documentary and Leftist film producers. When the Worker’s Movement was disbanded with the oncoming of Hitler in 1933, Eisler, now an exile, once again returned to more conventional musical forms such as the Symphony and the Art Song. It is during this exile period in both Europe and the U.S.A. that Eisler composed some of his greatest works, such as the Deutsche Sinfonie, the chamber work Fourteen Ways of Describing Rain, and the Hollywood Songbook (Das Hollywooder Liederbuch), to name just a few.