GASLAMP KILLER - 'NO BLOOD IN BONE, BY POPPY FAMILY'

Marie now walks, her life is sleep.
She never looks above her feet.
She never smiles, nor does she speak.

When Joey died, Marie went mad
She'd given him what life she had
She'd helped him fight and shared his pain
Her very blood was in his veins

But there's no
But there's no
But there's no
There's no blood in bone...

 

 

LINDA PERHACS [PARALLELOGRAMS, 1970] - FOR THOSE WHO LISTEN TO MUSIC TOO EARLY OR TOO LATE

“Paper Mountain Man” was about someone I loved very much, but the pain he cause me when he decided on so many other ladies as excruciating. I never felt such pain, but I'm also grateful to him, because that pain was so awful that I knew I was either going to die or climb upward in spiritual strength to survive. And that was the beginning of my strong spiritual climb.

“Dolphin” was the first song I wrote for the album. It was inspired by many diving trips in Baja, California and long, solitary walks on empty beaches.

“Call of the River” This song was also a result of time I had spent on the Olympic Peninsula.

“Hey Who Really Cares?” was used as the theme song for the TV series Matt Lincoln that ran for three years. The studio called me one evening and asked me to do a song for their new show and gave me a short version of the subject over the phone, and asked me to have it ready for them the next day!

“Moons and Cattails” has drums from all over the world as could only be played by Shelley Mann and Milt Holland (both major percussionists of the time).

"Morning Colors” has two separate flute tracks that surprisingly fit together perfectly.

“Porcelain Baked Over Cast Iron Wedding” was about the disgust I felt about the cost of weddings around me in Beverly Hills; the shallowness of the love and the fact that the concentration was on the display of grandeur rather than the vows that should have been the focus. One girl in my office spent a year planning her wedding, and I never heard her mention the guy! I knew the cost was breaking her whole family, and I just wrote the song because it was disturbing me.

“Delicious” A young ladies dream of perfect love!

[Linda Perhacs in an interview, describing some of her songs in the album...]

DAMIR IMAMOVIC'S SEVDAH TAKHT

Apart from fluency in sevdah and other musical genres this trio is characteristic for their readyness to open their ears and play everything they know...

"We’re trying to find these traces, for example, of the odd rhythms in Bosnian music and we didn’t bring them in from jazz: We found them in the very melody we play.

We are using the potential that is already there... We are reopening these processes that have already happened in this music and are trying to see what the other possibilities are." [Damir Imamović]

GRAILS - 'FUTURE PRIMITIVE' [DEEP POLITICS, 2011]

Do jete shiu perjashte qe me shfaq kalime tonalitetesh mistike mbi dritare apo thjesht dashuria ime e hershme per post-rock-un e pas-Dymijeshit, por sonte jam perhumbur keq ne pjese muzikore te gjata ne kohe, ndoshta teper te gjata edhe per nje nate te tere...

Keta jane Grails nga Portland, Oregon.

Albumi Deep Politics (2011) perben nje post-rock (ne menyre te patundshme - instrumental) qe merr tinguj nga kudo qe i jep frymezim (desert-rock-u amerikan, etno-folk-u me i larget, psikedelia floyd-iane, Morricone me klasik, krautrock-u etj etj).

Asgje te re, le te kuptohemi, por ka (pozitivisht) nje faj tmerresisht fatal: te ben te rikthehesh me cdo kusht ne klimen e atyre viteve '70, kur rock-u psikedelik ishte akoma ne majat e tij dhe te rinjte rregullonin vetura epoke, mesonin nga nenkulturat orientale e shihnin filma Western fundjavave...

SHIT AND SHINE [LADYBIRD, 2005] - NDOTJE AKUSTIKE. MUZIKE/ZHURME

Vini re!!!

Meqenese druhemi se muzika e ketij grupi mund te demtoje seriozisht njerez teper te ndjeshem dhe me probleme zemre (por kryesisht te trurit!),

nuk bejme lidhje me te vetmen gjurme te albumit ne fjale (pothuajse 42min improvizime kitaresh e baterish!).

Paraqitim ketu vetem kopertinen perkatese:

A POEM SHOULD BE

Like a bullet
train crashing
through
your brain.

HERMAN DUNE - 'MY HOME IS NOWHERE WITHOUT YOU'

"People put pictures of places in frames
I remember someone's face but then I forget their names
I have a book for writing down who I meet and where I'm going to
But my home is nowhere without you

There is nowhere like the ocean to breathe
And the world is wonderful as it is
Now I might try to settle down on some beach in Malibu
But my home is nowhere without you

 

My home is nowhere without you
My home is nowhere without you
My home is nowhere without you
My home is nowhere without you..."

THE HANDSOME FAMILY - FEELS A BIT LIKE TRAVELING TO ANOTHER WORLD; A PLACE BOTH BEAUTIFUL AND FRIGHTENING

The Handsome Family consists of the Albuquerque-based married duo, Brett and Rennie Sparks.

Brett writes the band’s music, a moody atmospheric mix of traditional American styles; country, folk, ragtime, blues. Brett is also the band’s singer; his expressive baritone, which can hit astonishing lows, is a key component of the band’s sound.

Rennie writes the lyrics, which tend to focus on the dark side of human relationships as well as the mysterious beauty of the natural world...

Listening to the Handsome Family’s music feels a bit like traveling to another world; a place both beautiful and frightening, where the cry of a bird or the whispering shake of a tree branch can herald great cruelty and pain.

Always grateful for the chance to visit. [Matt Arado]

FRAGMENTS OF ALMOST FORGOTTEN MEMORIES [FOTOGRAF, ALBANIA 2013]

SIBYLLE BAIER - AND PRESS 'PLAY' LATE AT NIGHT [COLOUR GREEN, 1970/1973]

Colour Green, the one and only release from German Sibylle Baier, has been around since the early '70s. Recorded in her home between 1970-1973, the actress, writer, mother, and singer/songwriter chose family over fame, and it wasn't until the tapes landed in the hands of Dinosaur Jr.'s J. Mascis that they began their ascent into the world.
Have we found the female Leonard Cohen? Maybe...
Simply fantastic voice, simplistic but delicate melodies and a plain melancholy album. An album that turned out to sound amazingly current, despite it was recorded almost 40 years ago.

A wistful rendering of Vashti Bunyan, Leonard Cohen, and Joni Mitchell, Baier's conversational voice can be both tragic and comforting, turning the simplest task into a sepia-toned snapshot of longing.
Each track is like a field recording of the highest quality, with every whisper of the locale present, yet unintelligible. Baier, who would silently haul out the tape machine and press record late at night when her family was asleep, conveys the purest of intimacies with the kind of confidence only secrecy can afford. From the opening cut, when she sings "tonight when I came home from work/there he, unforeseen sat in my kitchen," the listener can't help but be transported behind the soft closed eyes that grace Colour Green's basement-scavenged, yellowing cover.

LEFKADA BEACHES! [FOTOGRAF, 2013]

YASUSHI OKANO - COLOR DOMINATE [FOTOGRAF]