TIM HECKER - 'SKETCH 7' [DROPPED PIANOS, 2011] // SKICA NDERSA HEDHIM PIANON NGA QIELLGERVISHESI

Ne hyrje te nje librerie. Prezantim i nje libri (me kopertine gri!) mbi muziken elektronike.

"O babi, po cfare muzike eshte kjo?"

(ne mendjen e tij) "Si t'ia shpjegoj me pak fjale... Induksion magnetik, percjelles te besueshem te tingullit, elektromekanike, eksperiment i cuditshem fizike..."

Une do te thoja: shtremberime te pianos klasike, elektronike per veshe tashme te lodhur nga zhurma e paorganizuar e muzikes bashkekohore, shto ketu inatin nga radio qe rrine ne kembe per inertesi, keqardhjen per antena qe nuk perdoren me, moskujdesjen ndaj atyre telave te aluminit qe nuk lemohen me per te thithur perseri vale te rralla audio-je...

Tim Hecker (producent kanadez) me EP Dropped Pianos (tetor, 2011) ka nje pike fikse: pianon, kete instrument madheshtor. Kjo vihet ne dukje ne cdo gjurme/skice; kompozime te perqendruara ne tingull minimalist, melodi serioze per rilindjen e fares (gjeneza e cikleve - genesis), ninulla per te tallur ironikisht gabimet tona ne te kaluaren (mohimin e pianos?)... Ndersa bota zbret nen nje spirale poshte ne ferr!

  

FORTY THIEVES ORKESTAR [LAST BAND STANDING, 2011] - TINGUJT E BALLKANIT QE KALOJNE KUFINJTE...

Banda e fundit qe mbeti ne kembe.

Bukureshti therret, Londra pergjigjet.

Balkan beats kalon kufijte. E kontinentit me te vjeter...

Pregatituni mire per prezantimin!
Tashme eshte nderkontinentale. Ansambli kerkon me shume. Kenaq ritmet e prejardhjen e tij ballkanike, por kjo nuk eshte me e mjaftueshme. Aspak!

Harqe, disco music, balkan beats, d'n'b, elektroswing, reggae; vazhdimesi e zbulimeve zanore.

Klarineta klezmer, ritme ska, violina rumune, ankime gypsy, flaute te sterzgjatur, kercime dervishesh, vals i gadishullit mistik, zera vashezash, jazz fizarmonik prej-Bosfori ('Bosphorus Blues'), britma neper lugina te lugeta, melodi nga Lindja; ftese me dimensione te ekzagjeruara per ne martesen e Mbretit te Leckave (dhe jo vetem)!

Shtoj ketu kinematika hip-hop nga Londra, peisazhe filmash abstrakt bardhe-e-zi, bellydance etj etj... sherbejne si hyrje nga nje Porte e Madhe.

Konglomerat nga Britania e Madhe, Forty Thieves Orkestar marrin nga e gjithe kjo 'corbe demokratike' e regjistrojne material te cmuar per veshet tone.
Perkujtimore e ish-bandave (si Taraf de Haidouks) te medhaja qe udhetuan gjate (gjeografikisht) per te kaluar kufijte e per te shperndare keshtu te bukuren e muzikes tzigane, pa paragjykime e perkatesi etnike.

Forty Thieves Orkestar nuk ndalen ketu. Zeri i Angela Ward (monumentale 'Dervish Tanz'), klarinetot e Idris Rahman e Arun Ghosh shoqerojne ne nje bote ku kuvertat e kuqe shpalosen per te ajrosur rrugicat e shtruara me florinj e ku tingujt ballkanike dehin zemrat akoma te pastra...

Miresevini ne dasmen e Orkestres se Dyzet Hajduteve!

DEATH CAB FOR CUTIE - 'SOUL MEETS BODY' [PLANS, 2005] // SHPIRTI I PERJETSHEM PREJ ADOLESHENTI

I want to live where soul meets body
And let the sun wrap its arms around me
And bathe my skin in water cool and cleansing
And feel, feel what its like to be new

Nuk po shkruaj aspak per karrieren e nje nga grupeve (Death Cab For Cutie) me te mire te viteve Dymije, as per albume kryeveper, si Transatlanticism ne 2003; dua vetem te kujtoj nje moment (Kodak moment?).

Nje kodrine te ulet te nje parku qe sherbente si strehe e pavarur anti-qytet e disa djemve e vajzave te reja, te cilet ushtroheshin cdo pasdite ne pishinen e braktisur ne skateboard.

Asgje te vecante, madje pak talent ne dukje, por ngrohtesia e rrezeve te diellit te tetorit i jepte ngjyra te tjera fytyrave tyre... Djersa i ndriconte ballin dhe ata me cdo force perpiqeshin te benin trajektore sa me te veshtira. Lodheshin ('where soul meets body'), viheshin ne pamje, luanin me floket, qeshnin. Benin zhurme...

Ne tentative per te qene gjithnje nen lekure te re?

"Ba da ba da ba ba...".

MATIAS AGUAYO - 'EL SUCU TUCU' // FOSHNJA E KLUBEVE QE LINDI NE SANTIAGO (KILI) DHE U RRIT NE BERLIN

 

Thirrja eshte po e njejte - Te gjithe ne pisten e kercimit. Pa perjashtim!

E te mendosh qe kurre nuk do mendoja (gabimisht!) qe skena amerikano-jugore mund te ishte e vecante, speciale, ritmike ne kuptimin e muzikes origjinale, mjeshtra ne elektroniken bashkekohore. Dhe sidomos kur ky i fundit eshte rritur ne Berlin; kryeqyetetin e arteve te pavarura ne Evrope.

Nje udhetim i gjate (Buenos Aires, Mexico City, Rionegro); rizbulime etnografike, tekno tribale e leshuar tashme e lire nga improvizimet dhe house tribale perbejne elementet fitues te albumin The Visitor, 2013.

Relatat trup-pluhur forcohen, psikedelia tribale thur argumente me pistat e kercimit urban, terrirore latino qe kane sherbyer si nxites per ambjente klubesh, alegri tipike qe ushtron presion mbi mendje akoma te paravendosura, levizje qe marrin inisiativa provokuese e personalisht te kenaqshme!

Matias Aguayo riviziton elektroniken me veshje te re; kercimi ishte vetem objektivi kryesor, rituali i gezueshem, misherimi i shenjave dalluese te primitivizmit.

Na takon ne te thithim energjine. Para se te fiken dritat largpamese! 

LOCAL GRAFFITI

KUTMAH - UNDERGROUND AND ABSTRACT [FROM A DJ SKETCHBOOK]

When talking about Kutmah, it’s tempting to use an epithet such as “the best DJ you’ve never heard”, or “best kept secret”.

Justin McNulty was born in Brighton, England to an Egyptian mother and Scottish father. He moved to the United States when he was 12 years old and grew up in Hollywood, California. It was here where Justin became Kutmah and ultimately made a name for himself as a talented underground artist and DJ.

Kutmah became a member of LA’s dublab collective and then in 2004 he founded the celebrated clubnight ‘Sketchbook’ which forged fundamental roots of the now-infamous LA beat scene.
As an associate of Flying Lotus’s Brainfeeder collective, his mixtures from his time spent on the West Coast are legendary amongst those that know, and he’s also released several of his own original records; even though he’s predominantly a DJ, with foundations in hip-hop ('Dirty Otis') and a record collection that spans far beyond the genre ('Shake').

Now that boilerroom.tv recorded him playing live, it is unnecessary to admit for sure; Kutmah  - one of the best underground music experience!

BE CAREFUL, BUT GET HURT

FRENIC - 'HOW YOU FALL' [NIGHT WALK IN THE PAST, 2012]

Important is how you fall, isn't it?

PARIS, TEXAS [KINEMATOGRAF, 1984]

BUT WHAT SILENCE!

Silence, yes, but what silence! For it is all very fine to keep silence, but one has also to consider the kind of silence one keeps. [Samuel Beckett]

BEIRUT - 'SIKI SIKI BABA' [KOCANI ORKESTAR COVER]

Kur Ballkani behet edhe me terheqes
dhe menyrat tona (festive) ngrihen ne qiell...

FRANCK BOHBOT - SHPIRTI I ARKITEKTURES SE PISHINAVE PARISIENE [FOTOGRAF]

ABOUT WEIGHTNESS, CONSCIENCE AND TIREDNESS [FERNANDO PESSOA]

There's a tiredness of abstract inteligence, and it's the most horrible of tirednesses.

It doesn't weight on you like the tiredness of the body, nor does it worry you like the tiredness of knowledge and emotion.

It's a weightiness of the conscience of the world, an inability of the soul to breathe.

THE DAY I HEARD ABOUT JOHNNY FLYNN

How do you feel about becoming an influence, and an icon? Is it daunting or honouring?

I doubt it’s true. If people like the music, that’s nice.

 

Do you keep on top of new music or do you find you’re too busy most of the time?

I don’t see music as something to keep ‘on top of’. I hear stuff that I like…I’m not a geek about it. If I like something I listen to it, whether it’s new or old. I’m generally in a position to see and hear new bands – whether it’s because I play with them or I get recommended stuff from bands I’m touring with.

 

Can you see your sound taking a drastic turn in terms of genre in the future, or will you continue to make country/folk inspired music?

I’ll hold that door open…I don’t consciously go in any particular direction when writing songs – it depends what’s going on up there… [Johnny Flynn in an interview]