17 10 2009

Arik Roper


Brimming with delicate, surreal imagery, Arik Roper’s The Hidden Dimension examines alternate states of being that exist within and beyond everyday awareness. These realms unfold as everyday consciousness is interrupted through dreams or other capacities. Exploring these transcendent elements, Roper’s paintings and drawings feature epic landscapes of the mind, natural artifacts from the past and future and other cerebral peculiarities.

17 10 2009

Hildur Gudnadóttir on tour

Hildur is tying her traveling shoes on, and might very well be coming to a town near you this winter.

She is playing a special one-off show in New York, before going on tour again with múm. Hildur will also be opening a handful of shows on this múm USA tour.

Later in November Hildur will go on tour with Fever Ray, supporting her on her finale tour.

At the moment Hildurs winter schedule looks like this:

19. Le Poisson Rouge, New York, USA - Solo

múm winter tour

21. The Somerville Theatre, Somerville, MA, USA
22. First Unitarian Church, Philadelphia, PA, USA + opening solo
23. Black Cat, Washington DC, USA
24. Le Poisson Rouge, New York City, NY, USA
26. Le National, Montreal, Canada + opening solo
27. Phoenix Concert Theatre, Toronto, Canada + opening solo
28. Logan Square Auditorium, Chicago, USA + opening solo
29. McGuire Theater, Minneapolis, USA + opening solo
30. West End Cultural Center, Winnipeg, Canada + opening solo

múm tour continues

1. Marquee Room, Calgary, Canada
2. Richards on Richards, Vancouver, Canada
3. Showbox at the Market, Seattle, USA
4. Aladdin Theater, Portland, Oregon, USA + opening solo
5. The Independent, San Francisco, CA, USA
6. El Rey Theatre, Los Angeles, CA, USA + opening solo
7. Yost Theatre, Santa Ana, CA, USA + opening solo
17. Voxhall, Aarhus, Denmark
18. Vega, Copenhagen, Denmark
19. KB, Malmo, Sweden
20. Debaser Medis, Stockholm, Sweden
21. Parkteatret, Oslo, Norway

as support on Fever Ray's "Finale Tour"

29. Radiohuset, Copenhagen, Denmark
30. Rockefeller, Oslo, Norway


as support on Fever Ray's "Finale Tour"

1. Cirkus, Stockholm, Sweden
2. Kampnagel, Hamburg, Germany
3. Paradiso, Amsterdam, Holland
5. HMV Forum, London, UK

múm december tour
6. ATP Nightmare Before Christmas, Minehead, UK
11. ATP Tenth Anniversary, Minehead, UK

- please visit www.hildurness.com/live/ for updates, as more shows will be rolling in -

17 10 2009



16 10 2009

SUNN O))) vs Guitar World





12 10 2009

Tima Formosa


12 10 2009
10 10 2009

Ustad Asad Ali Khan Sahib

Thanks to Gentry The Butcherer for this link

Asad Ali Khan on rudra veena (the detuned brother of the sitar with some giant gourds).
One of the world's great musicians and I would say even a musicologist in his own right. This was a memorable concert he played at Kamani Auditorium in 1998. He was very kind to allow me to record this beautiful rendition.
A pity that there is not much material about him on the web, I am sharing this clip so people can see what is class, and the level of aesthetic excellence achieved by our cultural exponents.
Savour this one too...

09 10 2009

SUNN O))) in The Guardian

The instrumental touch

Instrumental music is the neglected child of rock and pop - but it's the absence of a human presence that can make it so interesting

Jude Rogers
Thursday 8 October 2009 22.10 BST

Remember Sufjan Stevens, the American singer-songwriter who chronicled the loveliness of Michigan and Illinois, before promising to write music about each of his country's other states? He's been rather quiet of late, and his next project sees him getting quieter still. Music for Insomnia, written and recorded with his stepfather, Lowell Brams, comes out this December, and Sean Michaels suggested this week on the Guardian's music website that it sounded like "his most boring [project] ever", having very "little to do with his voice". The absence of Stevens's tender vocals is a pity indeed, but that is no reason to dismiss his new project entirely. After all, instrumental music is the sad, neglected child of pop and rock, and it rarely gets the props it deserves.

That wasn't always so. In modern music's early days, instrumentals were every bit the equal of songs written to be sung. Acker Bilk's deeply peculiar Stranger On the Shore and Joe Meek's space-rock homage, Telstar, showed the world what magic could be made when an unforgettable melody met a sequence of unusual sounds. No list of the pioneers of rock'n'roll would be complete without a trio of guitarists best known for playing instrumentals – Duane Eddy, Link Wray and, from this side of the Atlantic, Hank Marvin. But as the record companies worked out how to sell pop and rock, the emphasis fell on the lyricists and singers, who embodied rock's cult of personality. The boys in the band became the footsoldiers of the singer's army, a process hastened by rock's journey from dance music for teenagers to an artform that would be studied intently.

All that is understandable, of course. The basis of pop and rock stardom is the presentation of people like us doing incredible things. That is heightened by the direct connection lyrics provide – the singer addressing "you" directly through the speakers. It's easy to work out how you feel about a song when you have its lyrics to hang on to. And that is also what makes instrumental music so troublesome. It doesn't deal in words, but sounds, things that can only be written about technically, or metaphorically. So if the job of pop and rock is to provide reflections and amplifications of our human experiences, it's no surprise that it's easiest to look to musicians who literally speak our own language, or that music writers concentrate on the writers of the three-minute stories to which we relate. In these circumstances, music that is harder to describe – like instrumental music – misses out on the attention it deserves.

Some of the most interesting and exciting records have been instrumental recently. Take Fuck Buttons's Tarot Sport, a sputtering, juddering album that sucks from the roots of early techno, acid and shoegaze to make something euphorically, ecstatically gargantuan. Or the warped woodwind and drones used in Alice, the last track from Monoliths and Dimensions, the latest album by the doom metal duo Sunn 0))). The Hungarian throat-singer Attila Csihar has been added to the rest of the album, but Alice is the best track on the LP – the absence of an identifiably human presence in the mix giving our minds freedom to roam into darker, murkier places.

That's the key to the power of instrumental music lies, whatever the genre. Its absence of a story told in our own language gives us room to impose, and create, our own interpretation. Pop and rock writers should take this lead, too, and write about sound as well as lyrics more thoroughly – just as so many jazz, classical and dance music writers already do. Read the recent wonderful review of Led Bib by this very paper's John Fordham, Tom Service's excellent classical dissections, or Simon Reynolds' participatory pieces from the 80s and 90s for examples. Then look forward to Sufjan Stevens's upcoming excursions in sound, and think about the stories that might magically spring from their sounds – as well as from you.

From: guardian.co.uk
© Guardian News and Media Limited 2009

09 10 2009







pics: Stevie Brown / DARK CASTLE

08 10 2009

The classical way of doing interviews


Thanks to Lasse for bringing this to our eyes.

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