First look from morning's window
The rediscovered book
Fascinated faces
Snow, the change of the seasons
The newspaper
The dog
Dialectics
Showering, swimming
Old music
Comfortable shoes
Comprehension
New music
Writing, planting
Traveling
Singing
Being friendly
French-Swiss writer and director Ursula Meier made her feature debut with this domestic drama about the meaning of home. A family whose house borders an abandoned highway find themselves shockingly surprised when it's suddenly open turning their life into living hell.
Meier explores the meaning of home which goes beyond property with this family refusing to give it up. Meier scored to have Isabelle Huppert reuniting her with Belgian actor Olivier Gourmet, known for his films with the Dardenne brothers, to bring much gravitas to the story...
Max Berlin's 'Elle et Moi' is a smooth rhythmic 1978 french disco track with whispered male vocals. Sounds a bit like a slow jam for sleazy old men. And so sensual!
I'd pull my weight if it made any difference
He gave his life for the nine million others
But on his graves written ”Here lies Joseph”
His countrys gun and innocent soldier
Well fight your way out of this one
Fight your way out of this one
Fight your way out of this one
Fight your way out of this one
He grew a blood red vision for all their good intentions
He made an easy million from a foreign investment
He danced with the devils in beautiful buildings
Affirmative action for a useful reunion
He'd change his name if it made any difference
Now hes waiting in line for the lasting confession
But on his graves written "Here lies our son Joseph"
His countrys gun and innocent soldier
Well fight your way out of this one (ah ah)
Fight your way out of this one (ah ah)
Fight your way out of this one (ah ah)
Fight your way out of this one (ah ah)
Fight your way out of this one (ah ah)
Fight your way out of this one (ah ah)
Fight your way out of this one (ah ah)
Fight your way out of this one (ah ah
The atmosphere is a blend of music, light, sound, weather fronts, the breathing of people, the sounds of pencils scratching.
When I listen to the fuzzed-out soundscapes found on Deathconsciousness I get the sense of the recording of this album. History blends with concept, religion, analog and digital recording, vocals, sound effects, and the things listed in the 70+ page booklet: "an old toy piano Tim found,""a shitty keyboard from the 80s."
I can't help but feel that I'm listening to an album that is perfectly intimate with itself and its environment, atmosphere, or aesthetic, and is well off because of it.
T.G jane nje nga grupet me te rendesishme te shekullit te kaluar! "Muzika eshte nje platforme per te bere propagande... Dhe ne kete menyre mund te aplikojme idete tona per te treguar se pa asnje trajnim apo sfond muzikor, mund te perhapim filozofine tone ne muzike dhe kete e kemi ushtruar mjaft mire... Filozofia duhet te kete ndikim ne muzike dhe padyshim qe regjistrimet tona nuk do te kishin ate impakt ne publik nese nuk do te ishte per kete fakt". (Genesis P-Orridge)
Throbbing Gristle do te thote "ereksion" ne zhargonin anglez te Yorkshire-it.
Formohen zyrtarisht me 5 shtator te 1975. Legjenda tregon se vendosen pikerisht ne ate vit meqe binte tridhjetevjetori i mbarimit te Luftes se Dyte Boteroire. Linja paralele e grupit do te perfytyronte fillimin e nje tjeter lufte; asaj ideologjike dhe kulturore. Fillimisht Genesis P. Orridge (emri i verete Neil Megson), Chris Carter, Cosey Fanni Tutti dhe Peter "Sleazy" Christopherson do te angazhoheshin ne ansamblin e 'COUM Trassmision', qe ne 1969, per tu ngritur shfaqje te gjalla (ne kuptimin e pare te fjales!) dhe me permbajtje te forte dhune e perzierje. COUM do te ishin nje kolektiv avangardistesh, te cilet ishin ndikuar ndjeshem nga levizja dadaiste dhe Fluxus.
Besonin ne intuiten e artistit, ne rastin dhe ne imrovizimin si mjet per te zgjatur konceptin ne muzike dhe art.
Ushtruan krijim ne skulpture, pikture dhe muzike. Ishin praktikisht te papercakruar ne llojin e shfaqjeve (po te kemi parasysh shfaqjen e 'Marcel Duchamp's Next Work') dhe fillimisht ne muzike i linin mjaft vend grupit Hawkind dhe eksperimentimeve te cuditshme me tambure dhe menaxhinim e hapesires ne dispozicion. Me vone kolektivi filloi te mbeshtese teknika dhe metoda te shpetimit te ndjenjave, nje seri ritualesh per te liruar shpirtin nepermjet koreografive katarktike, shfryerje seksuale, shembjes se tabuve dhe tronditjes se publikut me keto gjeste (psh urinimit spontan te aktoreve). Qellimi ishte te arrinin purifikimin shpirteror me ane te ketyre ritualeve. Shfaqjet ne vetvete ishin episode ekstreme, me veprime, rite dhe simbole qe ngacmonin se tepermi syrin dhe vemendjen e mases.
Sekuenca e meposhtme tregon per realizmin dhe gjallerine e dhimbshme te ketij komunikimi tribal:
Cosey takes a rusty razor blade and cuts a rectangle into thee skin of her forearm. Carefully slicing under one edge she lifts up thee flap of skin and places a passport photograph of Genesis under thee flap, licking off excess blood...
Genesis takes another syringe of blood from his testicles and injects it back into his forearm. He does this repeatedly, also injecting a total of seven black eggs with own blood. He is stood on a square of bark black nails and ice...
Cosey opens thee lips of her cunt wide and pushes in her fingers, masturbating...
Elementi kryesor per t'i kuptuar sadopak keto shfaqje eshte "dykuptimesia", te qenit i dyfishte ne simbole dhe veprimet skandaloze (aq skandaloze saqe te gjithe gazetat prestigjoze e Londres u moren me personazhet e T.G). Koncept tjeter me rendesi ne filozofine e T.G eshte edhe "distopia" ose anti-utopia (e marre hua nga filmat e pare fantastike); te krijuarit e se keqes ekstreme si per ta ndjere me te pranishme, me te afert me njerezimin dhe aktualitetin (ne vend qe te prese te ardhmen!).
Ne 1976 ne ICA te Londres me
legjendarin "Prostitution"
bejne debutin ne art e muzike.
"Prostitution" do te jete nje sinteze e
kerkimeve te vecanta artistike, paraqitje tronditese (foto pornogarfike, shiringa te perdorura, gjak etj) te ngjarjeve dhe
plot elemente industriale te muzikes te T.G. Ishte vetem hapi i pare ne
nje horizont te ri sonor (tinguj shurdhues e paranojake) qe vetem ata e
shihnin. Rizultati i instalimit te pare mahnit per forcen e imazhet e
thata e alarmante te nje rindertimi global te zhvillimit industrial.
Ketyre karakteristikave mjaft post-moderne i shtohej edhe prania
turbulluese e aspak e rehatshme e Cosey Fanni Tutti, qe rrotullohej gjysmelakuriq ne skenen mbushur plot me te brendshme te gjakosura, perthithesa e intimo femrash.
“You and I, You and I, Living Together, Loving Forever… United, United”
(nga gjurma 'United', albumi The 2nd Annual Report, 1977)
Ne 1976 ne ICA te Londres me
legjendarin "Prostitution"
bejne debutin ne art e muzike. "Prostitution" do te jete nje sinteze e
kerkimeve te vecanta artistike, paraqitje tronditese (foto pornogarfike, shiringa te perdorura, gjak etj) te ngjarjeve dhe
plot elemente industriale te muzikes te T.G. Ishte vetem hapi i pare ne
nje horizont te ri sonor (tinguj shurdhues e paranojake) qe vetem ata e
shihnin. Rizultati i instalimit te pare mahnit per forcen e imazhet e
thata e alarmante te nje rindertimi global te zhvillimit industrial.
Ketyre karakteristikave mjaft post-moderne i shtohej edhe prania
turbulluese e aspak e rehatshme e Cosey Fanni Tutti, qe rrotullohej gjysmelakuriq ne skenen mbushur plot me te brendshme te gjakosura e intimo femrash.
Ngjyrosja me spektakolare ne muziken e T.G do te jete besimi se muzika, jo vetem e perfytyrojne si mjet propagande, por edhe si metabolizem! Ky efekt metabolik ushtrohet nepermjet eksperiences, jo me me ane te degjimit te izoluar. Grupi sikut pushoi duke u vetshpjeguar me ane te albumeve apo me ane te te luajturit, thjesht nuk i mjaftonin me ketu te dyja! Besonin ne pasojat fizike te organizmit ne saje te nje muzike qe simulonte stomakun, muskujt, nervat etj... duke ironizuar degjuesin si nje spektator i thjeshte i nje rock-show. Me shkembimin e frekuences dhe intonacionin ferkonin dhe gervishnin sistemin nervor duke e parakaluar gjendjen normale ne nje tjeter gjendje, me te vrullshme, e te pashprese dhe njekohesisht me nevojtare.
"The only reality is waiting. Mortal. It’s the death factory society, hypnotic mechanical grinding, music of hopelessness. Film music to cover the holocaust…” /
(I vetmi realitet eshte Pritja. Vdekshmeria. Eshte nje fabrike e vdekjes shoqerore, hipnotike, e shtypjes mekanike, muzike e pashpreses. Muzike filmi per te mbeshtjelle holokaustin...) (Genesis P-Orridge, 1976)
E gjithe karriera e mrekullueshme e grupit do te shenohet nga tendenca per te riprodhuar skenare metropolitane, duke luajtur e kompozuar tinguj alienizues (themelojne dhe etiket 'Industrial').
Nder instrumentet e shumte qe perdorin (pervec shiritave te prere, te pararegjistruar) perdorin edhe ate te quajtur 'cut up' te shpikur nga William Burroughs, te cilin Orridge e kishte takuar per here te pare ne 1973. Referimet kryesore do te ishin VU, Can dhe krautrock-u gjerman (edhe pse tingujt dhe muzika e T.G do te jete me prerese dhe ekstreme ne kontekst).
Megjithese te gjithe muzikantet e orgjinale t T.G jane aktive edhe sot (albumi i fundit eshte Part Two The Endless Not, megjithese flitet se po punojne per nje rishikim te Desertshore te Nico-s), per t'i kujtuar sic e meritojne na duhet te futemi thellesisht ne ato projekte komplete qe krijuan. Asnje nga gjurmet apo albumet e T.G nuk eshte thjesht nje gjurme apo album, por nje veper e mirefillte arti, duke mos nenvleresuar shtesat brenda paketimeve, sloganet, kopertinat, informacionet e straverteta, tekstet, ekektet novatore, grafiken e publikimeve dhe tingujt e jashtezakonshem.
Having formed in early 1990’s, Tortoise has come to represent
eccentricity and diversity. They formed in Chicago during a time when
Jazz was making a minor resurgence from its long hiatus in popular
culture back in the 1920’s. During this resurgence, more styles of Jazz
and other independent types of music began to immerge in the form of
avant-garde and post-rock.
They defied the typical song/genre structure and instrumentation of most
alternative rock and grunge bands. Chicago proved to be the best
location for such experimentation and openness.
The beauty of 'I Set My Face To The Hillside' is simply the notion that
the song like all Tortoise songs is purely an instrumental with no
lyrics or words to accompany the music except the title of the song.
This gives way to an open interpretation that can’t always be done with
lyrical commercial music. With open interpretation, the listener is able
to construct their own story and create their own images based on the
sounds they hear...
Kulmi. Ora dymbedhjete.
Poshte kodres se thate
gjiri i shemtuar mbushej me te penduarit.
Ne rradhe viheshin per te pritur zbritjen, ‘Zbritjen e Rrezeve’.
Dielli reren digjte,
ruante inteligjencen,
pergjonte pafajesine e te miturve: ‘Bijve te Drites’.
E perseri,
pas faqes se asaj kodre,
fundi i botes fshihej.
Ishte andej
ku erera te forta do fershellenin...
Femijet qeshnin tutje.
Ne breg dallget perthyeshin lehte,
si te lodhura nga udhetimi i gjate.
Lagnin me rradhe reren e zeze.
Gati s'dukeshin, shkembinjte brenda ne ujin e kripur.
Me syzet blu,
peshqit e zmadhuar poshte Ajo ndiqte.
I prekte me kembet e vogla sa nje pellembe.
Nga lumturia, peshtyma i rridhte anash nofulles…
Flladi i shtatorit ndjehej me zor,
sa i perkedhelte pa deshire shkurret kafe.
Pleq te nxire luanin muzike me fizarmonika.
Bubullimat e largeta nuk trembnin akoma.
Hijet sa vinin e iknin.
Si me urdher, te gjithe ngrenin syte lart,
lart ne qiell.
Per fat te mire, asgje te re.
Vetem re te bardha,
nga avione linjeje te shperndara keq.
Kaos?
Te qara vogelushesh prishnin lojen e te rinjve.
Dmth: shikime, puthje, zili e me vone Boshllek...
Ata lexonin gazeta bajate.
Kenaqeshin me titujt, shtypur me shkronja te trasha.
Ne pak sekonda, palosnin faqet katrore.
Te pergjumur, enderronin te dashura imagjinare,
pasuri faraonike. Qeshnin.
Vreri u vinte nga lypesat me ngjyre.
Kthenin kokat
e me peshqiret e mendafshte fshiheshin.
Pasqyrimi i rrezeve mbi uje po ndodhte i plote,
cuditerisht verberues ate te merkure.
Afer fundit te oqeanit, ajo ndiqte peshkun ngjyre-floriri.
Ne lekuren e bute si sfungjer
dominonte e bardha.
Te tjeret neper cadra mbyllnin syte,
luteshin per kohe me te mire,
per me shume diell.
Luteshin per nxehtesi,
te ngjashme me ate te Ferrit.
Hijet… hijet horizontalisht u zgjaten.
Flladi u shnderrua ne ere te ngrohte.
Si ajer i ndenjur u spostua.
Rete u gufuan.
Kapelet e pushuesve flakeruan tej,
me lart se balonat tauke ate mesdite.
Muzika u pre si me thike.
Prinderitu nxituan,
mallkuan fundjaven e kote,
grisen veshjet ngjyre-ylberi,
urryen unazat ne gisht,
moren udhe te ndryshme… Harruan! “Lundrues, ku shkoi dashuria juaj? Ndriconi edhe njehere…”:
trasmetonte nje radio, akoma e ndezur.
Nishanet Asaj iu zmadhuan.
Irida e syve ndryshoi ngjyre.
Trupi iu tkurr.
Buleza vezake djerse avulluan…
Zeri i tij me timber unifom,
afroi shpende te zinj.
Format e dallgeve me fatkeqe e turbulluan.
Vargjet e zeza, perseritese,
gjeten vend ne stuhine verore.
Shiu zbriti me fuqi.
Me lotet mbi fytyra, piklat u perzien… Ata te dy vraponin.
Te hutuar therrisnin “Era, Era…”.
Vone?
Ngurtesohen. Gjunjezohen... Luten per Fundin.
Me plot vullnet, vogelushi po recitonte: “dhe Oqeani do ta… marre, Valet do te luajne…”.
Ne uje te gjithe peshqit ishin zhdukur.
I was walking down a sizzling road: the sun popped like a field of blazing maize, the earth was hot, an infinite circle with an empty blue sky overhead.
A few bicycles passed me by, the only insects in that dry moment of summer, silent, swift, translucent; they barely stirred the air.
Workers and girls were riding to their factories, giving their eyes to summer, their heads to the sky, sitting on the hard beetle backs of the whirling bicycles that whirred as they rode by bridges, rosebushes, brambles and midday.
I thought about evening when the boys wash up, sing, eat, raise a cup of wine in honor of love and life, and waiting at the door, the bicycle, stilled, because only moving does it have a soul, and fallen there it isn't a translucent insect humming through summer but a cold skeleton that will return to life only when it's needed, when it's light, that is, with the resurrection of each day.
Francis Harris (aka Adultnapper) released the first album using his real name.
The record called Leland was out in 2012 via the Brooklyn-based label Scissor And Thread. Much of the album was composed in the year after the passing of Harris’ father after whom the record is named and to whom it is dedicated.
The principle is simple: a dynamic deep house, jazz rants, relaxing voice. But appearances are deceiving. Seeing it as a drive into deep house lounge would be unfair, if not contempt. Leland breathe in each moment takes time to install. The idle setting.
From 'Pensum' it captures the content of Francis Harris. It is a calling for non-aggression in the deep-house jazz dub hints. Trumpet, muted, becomes an insidious analgesic.
You do not just listen. Now, you feel, you vibrate and you succumb extreme smoothness of the 'Living Lips', brought by a distant piano and cello resigned.
Similarly, the body is crossed by the neurasthenia of 'Of The Field', ode to a tutelary evanescence.
The alchemy of the album lies in the duality perfectly domesticated between electronic presence and use of live instruments. The instability does not make sense, everything seems perfectly follow suit.
It reminds us the dynamic cool jazz, too often forgotten when it is not squeezed
In the case of Francis Harris, it is only question of retention and deletion, disinterested and casual master!
Not only Gabor was an amazing guitarist and prolific jazz musician, but first of all, he was an incredible innovator!
He started experimenting with eastern sounds (born in Budapest/Hungary in 1936) and innovating very early on. I got sucked into the Gabor world when I heard Spellbinder (1966). That was the first 'real, but late' Szabo ticket for me.
An LP rich with texture and feeling, stopping throughout the world to pick up varied influences (latino, jazz, funk). It began my 'branching out' into other areas, and I've gotta thank Gabor for that. Time to delve right into a nice Chai tea on a rainy day and peep a Fellini movie, or listening to a Buckley's 'Gypsy Woman'.
It seems like he was alwasy an open door to other worlds...
His eastern influences and Hungarian descent set his path and direction for virtually all of his magnificent career.
This tune 'Galatea's Guitar' (from LP Dreams, 1968) is a major mood setter.
Much of Gabor's music is this way. But, in particular this tune just seems to open up, right into an oasis of head nodding trippy jazz funk paradise. The intro is a bit long, the tune doesn't really start until about 1:44. But, like I said the mood is being set and the wait is well worth it. It is perhaps the closest to a 'dream' tune.
Lekar Hum Deewaanaa Dil Firate Hain Manjil Manjil
Kahee To Pyaare, Kisee Kinaare, Mil Jaao Tum Andhere Ujaale
Jis Galee Ke Tum Us Galee Ke Hum Par Ye Majabooreeyaa Yahaa
Tum Yahee Kahee, Hum Yahee Kahee, Fir Bhee Ye Dooriyaa Yahaa
Waah Ree Duniyaan, Duniyaan Tere Jalawe Hain Niraale
Too Kahee Rahe, Yoo Lage Muze, Mere Dil Ke Paas Hain Yahaa
Maangoo Teree Khair, Aa Tere Bagair, Dil Meraa Udaas Hain Yahaa
Aajaa Hum Ko Seene Se Lagaa Le
Bollywood music has been loved in the West for the way it Cuisinarts different styles together, mixing and matching like crazy in the same song. This extensive collection places a great emphasis on that side of the music, which makes for an easy introduction to the myriad styles that have made up Bollywood over the last 50 years.
There’s plenty of music from the’70s (one whole disc is devoted to it, plus part of another), which was a golden era for Bollywood, and the development of the music – which comes from the soundtracks of the gloriously successful Bollywood films – is well laid out here, both by example, and in the excellent booklet. While some might feel too much emphasis has been placed on the eclectic side of the music, that’s the big drawing card, as composers and arrangers constantly seek new things. The "playback singers”, as Bollywood vocalists are called, are, along with the composers, the real stars, and the big names all get an airing.
While more space could have been devoted to the '50s and '60s, and the '80s and '90s, which have seen such a rich development in the form with composers like A.R. Rahman showing the full possibilities of Bollywood music, greater exposure would have been nice.
But with just three CDs on which to try and capture the madness and the melody, the compilers have done an excellent job of putting together this beginner’s guide.
---
ps: For a taste of the atmosphere, clickGUMNAAM (1965)
When a dashing race-car driver falls for the lovely but troubled Meena, he talks himself into believing her crime connections won't foil his happily-ever-after plans. After he's arrested for smuggling diamonds planted on him, his stint in prison should have cautioned him, but resisting a persistent crime lord becomes more difficult when his marriage is on the line.
This 1970s Hindi-language musical drama features popular actor Feroz Khan.
Nym was born in Fairbanks, Alaska in the shadow of the Mt. McKinley. He grew up on a farm outside Fredericksburg, Virginia and currently resides in San Francisco. His audio work blends hundreds to thousands of meticulously sliced samples from vinyl, CD, VHS and DVD with live recordings and organic electronically generated sounds to make introspective and cinematic music.
Edhe kete (pran)vere, pas kalerimit te lodhshem, por te kendshem ne kete blog (FV), une-xendy-aka-funeraliveshit, vendosa qe njehere muzika, per hir te diellit qe vonon te na ngrohe, te jete tejmase alegre - swing, funky, sensuale, me nota te larta, si te thuash; me zemren qe rreh akoma fort (the beat-that-goes-on)...
Po ju 'pickoj' ketu poshte (idea e marre hua nga nje mike dj ne Budapest; 'ne nje moment te caktuar, duhet ta thyesh ritmin me dicka qe luan pa rregulla...') me nje gjurme qe mund ta perfshini ne plejlisten festive, para se te kapni oret 00:00 dhe kur pastaj te MOS merrni vesh me asgje...
Tmerresisht e domosdosshme per te zbrazur materien e rende!
"He played through a kaleidoscope of styles that embraced Turkish, Greek, Jewish, Bulgarian, Armenian and Arabian music, and went off on a few jazz riffs just for fun.
This man was the Coltrane of the clarinet, and he was dying of cancer unrecognised at 45."
Selim Sesler was born into a professional musician family in Edirne, Keşan village in 1957.
After the population exchange of 1923, his family moved from Greece to Turkey and settled in an enclave of Keşan called Ibriktepe where they lived in the Yeni Mescit neighborhood. He first learned to play the zurna (reed horn) then switched to Turkish clarinet (clarinet in G).
In the 1980s Sesler participated in Romanes musician’s group, which performed in big cities like Istanbul, and developed his skill. He gained experience and recorded a lot of material by playing at restaurants with fasil groups and weddings. He also played clarinet at musical stages in the Ferhan Şensoy theatre. In 1998 with Brenna MacCrimmon, Sesler participated in the music tour in Canada and introduced Turkish Romanes and Rumerlian roots.
He investigated regional music and developed his repertoires and style which reflect Romanes music. Sesler has recorded many CDs and albums, and played in the documentary film, Istanbul Hatırası (Crossing the Bridge: The Sound of Istanbul) (director Fatih Akın, 2004) and the film, Duvara Karşı (Head-On) (director: Fatih Akın, 2004).
Aside from being invited to play at many important festivals in countries such as Germany, France and Sweden, Sesler has performed many special concerts over the past two years. He has also taught at music workshops in the United States.
It is a sad story about a greek musician, but it is worth knowing what an amazing and truly vivid career life he had.
Aris San (full name Aristides Saisanas) was born in Kalamata, Greece in 1940.
He sung and played guitar from an early age and won his first contest at the age of 11! At the age of 17 he went to Israel (following a woman that proved to be married!) where started working in Greek taverns, singing and playing the electric guitar under the name Brian. He was singing in Greek, Hebrew, Spanish, Italian and English and very soon became a star.
What distinguishes Aris San is his playing of the electric guitar as an amplified imitation of the sound of bouzouki creating his own unique sound and mixing folk with rock music.
In 1969 he went to New York where, as Aris San, opened his own
bar-restaurant where he played Greek music with great success. He even
played at the Carnegie Hall. His fan club included Anthony Quinn, Harry
Belafonte, Telly Savalas.
One of the greatest Greek singers, Stelios
Kazatzidis who was a friend of his, claims that Aris San was admired for
being one of the best dressed men in New York at the time.
Fame brought the mafia and drugs into his life and later on the FBI
which tried to trap the head of mafia through him. He denied and was
imprisoned for 2 years.
When he got out of prison he went to Hungary to work where he had an
accident and his health deteriorated quickly and passed away.
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