91.1 fm (NYC/metro NJ)
90.1 fm (Catskills/Hudson Valley/WNJ, Eastern PA)
www.wfmu.org (streaming live)
Tuesday, November 2nd
Live doom with Diane's Kamikaze Fun Machine on Tuesday, November 2nd from 12-3 PM! Diane will be airing a large portion of the Altar live set from September 5th's ATP appearance (where WFMU did a heavy slew of broadcasts, this one excluded til now)! Altar is Sunn O))) and Boris together, along with other contributors. The airing will commence at 12:30 pm on the Fun Machine and is going to be available for a limited period of time, so if you cannot listen live, be sure to check it out quickly, as WFMU will only stream it for three weeks. These songs redefine the words: Crush, Kill, Destroy very subtly, if that is possible. Tune in!
The Just Alap Raga Ensemble
Pandit Pran Nath 92nd Birthday Memorial Tribute
Two Evening Concerts of Raga Darbari in the MELA Dream House
Saturdays, November 6 and 13, 2010, 9 pm
La Monte Young, voice
Marian Zazeela, voice
Jung Hee Choi, voice
Naren Budhkar, tabla
The Tamburas of Pandit Pran Nath from the Just Dreams CD
MELA Foundation Dream House
275 Church Street, 3rd Floor, between Franklin & White Streets in Tribeca
Saturday Evenings, November 6 and 13, 2010, 9 pm
Admission $24. MELA Members, Seniors, Student ID, $18.
Limited seating. Advance reservations recommended.
Info and reservations: 212-219-3019; email@example.com
Two Evening Concerts of Raga Darbari in the contemporary Kirana gharana (style) of North Indian Classical Music will be performed by La Monte Young and Marian Zazeela with The Just Alap Raga Ensemble in a memorial tribute in honor of Pandit Pran Nath's 92nd birthday, Saturday Evenings, November 6 and 13, 2010, at 9 pm in the MELA Foundation Dream House light environment, 275 Church Street, 3rd Floor. PLEASE NOTE: To prepare for the scheduled concerts the Dream House will be closed from October 28 - November 13; we will reopen Thursday, November 18.
La Monte Young and Marian Zazeela will be accompanied by Jung Hee Choi, voice; Naren Budhkar, tabla; and The Tamburas of Pandit Pran Nath from the Just Dreams CD. The Just Alap Ensemble will perform Pandit Pran Nath's special arrangement of a traditional composition, "Hazrat Turkaman" set in Raga Darbari.
Pandit Pran Nath has said, "Alap is the essence of Raga. When the drut [faster tempo] begins, the Raga is finished." With The Just Alap Raga Ensemble, La Monte Young applies his own compositional approach to traditional raga performance, form and technique: a pranam (bow) of gratitude in reciprocation for the influence on his music, since the mid-fifties, of the unique, slow, unmetered timeless alap, and for one of the most ancient and evolved vocal traditions extant today. With deep respect for Pandit Pran Nath’s arrangement of this great composition, "Hazrat Turkaman," La Monte has composed two-part harmony for the ‘sthayi and for the antara. As in La Monte’s composition, “Raga Sundara,” a vilampit khayal set in Raga Yaman Kalyan, this two-part harmony in Raga Darbari comprises the introduction of a new element to Indian classical music. In a way similar to his previous concerts with The Just Alap Raga Ensemble, which feature extended alap sections in just intonation over tamburas, La Monte introduces sustained drones in two- and three-part harmony, and even counterpoint in the pre-composition part of the alap, however, the harmony line for these compositions is the introduction of two-part harmony into Indian classical khayal composition. The harmony for the ‘sthayi of "Hazrat Turkaman" was composed as a birthday present for Young and Zazeela's disciple Jung Hee Choi on her birthday, November 1, 2009 and the harmony for the antara is dedicated to Pandit Pran Nath and was composed on his 91st Birthday, November 3, 2009. Young and Zazeela premiered this ensemble on August 22, 2002 in a memorial tribute to Ustad Hafizullah Khan, the Khalifa of the Kirana Gharana and son of Pandit Pran Nath’s teacher, Ustad Abdul Wahid Khan Sahib.
Pandit Pran Nath virtually introduced the vocal tradition of North Indian classical music to the West in 1970. His 1971 morning performance at Town Hall, New York City, was the first concert of morning ragas to be presented in the U.S. Subsequently, he introduced and elaborated to Western audiences the concept of performing ragas at the proper time of day by scheduling entire series of concerts at special hours. Many students and professional musicians came to him in America to learn about the vast system of raga and to improve their musicianship. In 1972, Pran Nath established his own school in New York City under the direction of his disciples La Monte Young and Marian Zazeela, the Kirana Center for Indian Classical Music, now a project of MELA Foundation. Over the years Pran Nath performed hundreds of concerts in the West, scores of them in New York City, and in Fall 1993, he inaugurated the MELA Foundation Dream House with three Raga Cycle concerts. He continued to perform here annually during his remaining years and on May 12 and 17, 1996, his two concerts of Afternoon and Evening Ragas in the Dream House were his last public performances before he passed away on June 13, 1996.
Pran Nath's majestic expositions of the slow alap sections of ragas combined with his emphasis on perfect intonation and the clear evocation of mood had a profound impact on Western contemporary composers and performers. Following Young and Zazeela, minimalist music composer Terry Riley became one of his first American disciples. Fourth-world trumpeter Jon Hassell, jazz all‑stars Don Cherry and Lee Konitz, composers Jon Gibson, Yoshimasa Wada, Rhys Chatham, Michael Harrison and Allaudin Mathieu, Sufi Pir Shabda Kahn, mathematician and composer Christer Hennix, concept artist and violinist Henry Flynt, dancer Simone Forti, and many others took the opportunity to study with the master.
In The Hindustan Times (2003), Shanta Serbjeet Singh wrote:
“[Young and Zazeela] would create works like the “Just Alap Raga Ensemble” which would amaze musicians of the caliber of Bhimsen Joshi, Pandit Jasraj or the Gundecha brothers were they to hear it. In fact I wish they would hear it and savour their own legacy of Indian classical music in two new ways, one, by way of the Youngs’ immense sadhna and two, by way of the fact that today the great art of Hindustani Shastriya sangeet has actually become so much a part of the world of music. Did not the ancients say: Vasudeva Kumutbhakam—the world is a family? A work like “Just Alap Raga Ensemble” actually proves it.”
In the 2005 article, “TALES OF EXEMPLARY GURU BHAKTI / PRAN NATH, LA MONTE YOUNG AND MARIAN ZAZEELA,” SPIC MACAY (Society for the Promotion of Indian Classical Music and Culture Amongst Youth) quarterly magazine "The Eye," it is noted:
“He [Young] is a master of Hindustani classical music. … La Monte Young and Marian Zazeela, founders of the MELA Foundation Dream House in New York are responsible for having single-handedly introduced vocal Hindustani classical music to America. In 1970 when they brought renowned master vocalist Pandit Pran Nath of the Kirana Gharana to the U.S. and became his first Western disciples, studying with him for twenty-six years in the traditional gurukula manner of living with the guru, Americans and Westerners only had a nodding acquaintance with Indian music, that too, only instrumental music through the performing tours of Pandit Ravi Shankar. Also some introduction to Indian rhythm techniques through the charismatic playing of Pandit Chatur Lal, the tabla player who always accompanied Ravi Shankar through the sixties. But the deep, unfathomable intricacies of Khayal Gayaki and of the whole cosmos of Alap were totally unknown to them. Indeed, as his many American shishyas, most of them practicing musicians themselves, would say later, even unimaginable. … Young and Zazeela, who taught the Kirana style and performed with Pandit Pran Nath since 1970 in hundreds of concerts in India, Iran, Europe and the United States, have continued their Guru’s work in the most exemplary manner. In June 2002, shortly before he died, Khalifa Hafizullah Khan Sahib, Ustad Wahid Khan Sahib’s son and a great sarangi master, conferred on Young the title of Khan Sahib.”
In American Music, Winter 2009, Jeremy Grimshaw reviewed the Ensemble's March 2009 performance at the Guggenheim Museum: "the most striking innovation appeared when the ensemble returned to the beginning of the composition later on. In that repetition and each one thereafter, Young and his ensemble--in a bold deviation from traditional North Indian monophony--sang and played in two-part harmony. ...in the context of raga performance, this harmonization, combined with the ethereal polytonal quality of Raga Yaman, lent the ensemble a breathtakingly lush quality with each return of the refrain."
In his LA Times Blog, critic Mark Swed wrote of the Ensemble's performance of the Maha Mrityunjaya Mantra in Raga Sindh Bhairavi: "Frankly, what made me drop everything and fly to New York at the last minute for the [Merce Cunningham] memorial was the announcement of the music lineup, which was a once-in-a-life-time gathering. La Monte Young, the otherworldly inventor of Minimalism, began the program singing a welcoming raga with Marian Zazeela and Jung Hee Choi, which was pure vibratory magic."
Concert admission is $24 / $18 MELA members; seniors; students with ID. Limited seating. Advance reservations recommended. For further information and reservations, 212-219-3019, email firstname.lastname@example.org or visit www.melafoundation.org.
PLEASE BE ADVISED THAT THE CONCERTS WILL BE RECORDED LIVE. AIR CONDITIONING WILL NOT BE USED BECAUSE OF THE NOISE IT PRODUCES ON THE RECORDINGS. THE CONCERTS IN THE DREAM HOUSE CAN BE VERY HOT AND HUMID BECAUSE OF THE LIGHTS. PLEASE DRESS APPROPRIATELY FOR THE HEAT.
MELA's programs are made possible with generous contributions from individuals and MELA Members.
Arvo Pärt on SUNN O))), from a recent rare interview...
Siim: "Then there is a band called Sunn O))). Their members have advocated a great interest in you. They play music called either drone-metal or doom-metal..."
"Why is that metal always there?", smiles Arvo.
"Because he is strong!", says Nora, Arvo Pärt's daughter.
Siim: "Yes. And they perform in monk suits. Their music is very slow and fuzzy. Listening to their records feels like hot steam flowing across the floor. On their last record, they have been often compared to Pärt. One author even marked that they have used Pärt's tintinnabuli-style technique in their music".
Pärt: "This we should definitely listen. Even a small bit".
"Let's listen, but you will not recognize it", adds Nora Pärt.
"Well, then. Even better if we won't"", laughs Arvo and we walk to the music center. I will propose a track called "Big Church" from the last album. Arvo pushes play. It starts with a female choir, who sounds like trying to lift off the ground. Arvo nods. on the 23rd second the guitar boom kicks in - vrrr vrrrrrrr. Arvo looks around and smiles again. The track plays until about the third minute and we take a seat again. "There is something there", says the composer. "This slow drone is SunnO)))'s main feature"
"I understand. It also tries to stop time, time in really large chunks".
Now I will speak a bit about Akufen, the Canadian micro-house artist. "He has been asked if he would like to remix Pärt's music, but Akufen has countered it, saying that Pärt's music doesn't need remixing at all".
"Yes interesting that he thought about that..." says Pärt. "Them as well...", he says, pointing at the SunnO)) album. "Some bits are more successful, some are more clear and pure, but if they start offering something that is too close to me, then it mixes everything up. It is because I have my own rules, my own static. Like in architecture. Some houses stand tilted, but they stand like that, strongly. If you start to build a house like that based on intuitition, it falls. Of course they can do that, but then it has nothing to do with me anymore. The it is a whole another substance"
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SUNDAY, OCT 31
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++ SuperDeluxe 8th Anniversary!!
++ Winston Smith 33 IDOLS Opening Party!!
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Open / Start: 7pm
Entry: 1000 yen
+ Hair Stylistics
+ Yudayajazz + CARRE
+ special guest: KTL
+ Keiji Ito
Winston Smith [ 33 IDOLS ]
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SuperDeluxe and ERECT Magazine are pleased to present "33 IDOLS" a solo exhibition by montage artist Winston Smith, who has created some of Punk Rock’s most lasting and iconic symbols. This is Smith’s first solo show in Japan and will feature new work commemorating the 33rd anniversary of his seminal "Cross of Dollars" (1977) that was used for the Dead Kennedys 1981 album "In God We Trust, Inc." which was then banned in England and condemned by the American Religious Right.
"33 IDOLS" will also feature a selection of retrospective works from Smith's 30 year career. "Perhaps the most vibrant collage maestro since Max Ernst," wrote popular underground artist Frank Kozik, who goes on to credit Winston with being "single-handedly responsible for an entire generation's graphic style."
See www.super-deluxe.com for gallery hours (free entry).
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3-1-25 NishiAzabu B1F
Minato-ku, Tokyo 106-0031
tel > 03-5412-0515
map > http://www.super-deluxe.com/map
Flyer Image: Ear Lift (Winston Smith, 1992)
ÆTHENOR will tour Italy (and a few other central european cities) early December 2010. This is a release tour for the new album of the band "En Form for Blå" being released on vhf shortly. See press release text below.
Lineup for the tour: Steve Noble, Kristoffer Rygg, Daniel O'Sullivan, Stephen O'Malley
ÆTHENOR Italia tour December 2010
7/12/2010 Cz Prague TBC
8/12/2010 At Vienna Arena
9/12/2010 It Padova Unwound
10/12/2010 It Ravenna Teatro Rasi
11/12/2010 It Torino Sala Teatro Espace
12/12/2010 It Milan Tunnel
14/12/2010 It Naples Galleria Toledo
15/12/2010 It Rome Init Club
En Form For Blå
Stephen O'Malley (Sunn0))), KTL), Daniel O'Sullivan (Ulver, Guapo), Kristoffer Rygg (Ulver), Steve Noble (N.E.W., Company, etc). En Form For Blå documents the continued evolution of this unlikely collective, a collision of players from various avant, improv, metal, and “other” threads who together make a unique and arresting sound.
Documenting three gigs in Oslo recorded in 2010, the music is deep and weird, with liquid sounds juddering around the occasionally identifiable drum or Rhodes motif. Moving from an occasional/studio group to a frequently working live act, Æthenor has somehow kept their sound intact, taking the musique concrète-style transitions and “what’s that sound” ethos of their three previous efforts directly to the stage. Noble, the “real” improviser in the group, having spent a couple of decades playing drums with Derek Bailey and other well-known UK improvisers, moves the music along subtly, keeping much of the focus on the burbling sound mass. O’Malley’s guitar, an instrument of extreme viscera in Sunn0))), is used with restraint, providing occasional low menace but mostly mixing it up with O’Sullivan and Rygg’s keys and sound treatments. The overall effect is atmospheric rather than sedate – something like a modern, small group version of Miles Davis’ classic “He Loved Him Madly” or Nurse with Wound’s “Spiral Insana.” Other than Supersilent, it’s hard to think of anyone really working this sonic vocabulary – this is a bold engagement from players who are well-known for completely different reasons from the strangeness heard here.
Æthenor plans to continue to tour extensively in support of their catalog, with 10 dates in Italy in December 2010 and additional shows in planning.
Spending a very pleasant week in Eastern Riverina, South West Slopes, New South Wales at WIRED labs, working with Alan Lamb, Dave Burraston, Oren Ambarchi and Sarah Last on Dr. Lamb's magnificent wire sculptures/instruments. Hanging with Lloyd Honeybrook and talking S.V.E.S.T.. Amazing enjoyable sounds and landscape, and soundscapes and lands. Oren and I had a great duo show to a very intimate audience in Cootamundra as well. Lots of ozzy wine tasting. Best people I've met in ages and so welcome! Life is very good.
Did an interview for ABC radio with Julian Day too... listen here: http://www.abc.net.au/classic/newmusic/audio/nmuplate_16102010.ram or http://www.abc.net.au/classic/newmusic/audio/nmuplate_16102010.asx
Next week to Melbourne, GRAVETEMPLE concert with Skitz and Oren (sans Attila) at TOFF.
The Sample Session' is a 10 inch vinyl record containing 54 audio samples.
Contributions by: Nicolai and Tomas Adolfs, Elinor Archer, Andre Avelas, Mats and Staffan Björk, Ian Brown, Gerbrand Burger, Colophon/Mobile Carrion, Cotopaxi, Attila Csihar/Void Ov Voices, Rickard Daun, Sam de Groot, Orpheu de Jong, Lars Ekman, Elfenbeinturm, Emmusica, Erratic Boulder, Fyoelk, Willum Geerts, Sæmundur Thor Helgason, Will Holder, Yutaka Hoshino, Henrik Kihlberg, Klaus, Jesse Koolhaas, Matthias Kreutzer, Cindy Lee, Luva, Maia Lyon-Daw, Simon J Mason, Kalle Mattsson, Moemlien, Finn Öhlund, Stephen O’Malley, Leo Park, Taatske Pieterson, Lisa Premke, PTTRNS, Jonathan Sachse Mikkelsen, Alban Schelbert, Jens Schildt, Floris Schönfeld, Strange Boutique, Stuff Linear, Clas Svahn/UFO-Sweden, Tarja Szaraniec, TAPE THAT/Christophe Meierhans & Koen Nutters, Monica Tormell, Tarvo Varres, Joris Verdoodt, Simon Wald-Lasowski, Henrik Wallin, Eli Walter with Jules van Hal & Amber van den Eeden and Hollie Witchey with John Blackford.
My contribution is a sample of a Zakir Hussain concert at UCLA 2006.
It was released at Kulter September 11th. http://www.kulter.nl/
Image of the record taken by Galleri Krets. Image of the release party at Kulter by Regina Kelaita
The WIRED Lab presents:
Stephen O’Malley (Sunn O)))) & Oren Ambarchi performance
During October the Riverina will be resounding with the reverberations of cult experimental guitarists STEPHEN O’MALLEY (USA) and OREN AMBARCHI (AUS).
In a coup of a national scale on Saturday 16th October The WIRED Lab will host the first of O’Malley & Amabrachi’s two Australian performances at the Cootamundra Creative Arts and Cultural Centre.
Both artists are in the Riverina region for a residency at The WIRED Lab, an artist run initiative based in the Cootamundra area, who work with ‘wire’ music, which is sourced from large scale long wire installations pioneered by Dr Alan Lamb.
O’Malley is renowned for his work with Sunn0))), KTL and Khanate. Coined ‘Heady Metal’ by the New York Times, O’Malley’s sounds are big on drone and some say doom, however Sunn0))) are much more than a conventional metal band, O’Malley and co willfully subvert most stereotypes of metal music. They play slow yet extremely loud and take the concept of heaviness to aural and visceral extremes, in O’Malley’s words”… not just hearing it but feeling it”.
Ambarchi, an internationally acclaimed experimental musician, often collaborates with O’Malley and Sunn0))), his subversions of guitar instrumentation create an intriguing multilayered sonic dialogue with O’Malley. Ambarchi and O’Malley’s performance will feature the two on guitar with some electronic elements and other instrumentation.
Saturday 16th October is a night not to be missed, it will be a rare chance to see two internationally acclaimed experimental musicians.
The weekend will also include a two day workshop and performances by Alan Lamb and WIRED Lab members, Ambarchi & O’Malley.
FOR MORE INFORMATION GO TO: http://wiredlab.org/
WHERE: Cootamundra Creative Arts and Cultural Centre, 16-20 Wallendoon St Cootamundra
COST: $10 adult, $7 concession
Any further questions?
Please email Sarah at: email@example.com
The WIRED Lab
W I R E D : Wire Integrative Research Education & Development
http://wiredlab.ning.com/ and http://www.wiredlab.org/
***apologies for any cross promotion***
ABOUT ALAN LAMB
Alan Lamb has been working with wires since the 70's. He originally started with disused spans of telegraph wires and evolved into building his own that spanned hundreds of metres across the desert and the open landscapes. During this time he developed a technique of attaching stereo contact microphones to record and listen to The Wires. These recordings expose an infinite and amplified universe of sound that sonically reflects the environment and things we cannot see. The Wires sonically reproduces environmental and human interactions with an enormous dynamic range of harmonics and frequencies, often to visceral effect. Whilst having traditional sonic qualities such as pitch, timbre, rhythm and key, the sounds produced are perhaps best described as a deep space atmosphere with earth hums and electro-pings, even insects can be heard as they collide or crawl up and down the wire.
ABOUT WIRED LAB
The WIRED Lab is an Artist Run Initiative based in rural South West NSW. It was established in 2007 to ensure the legacy of The Wires, a unique and distinctly Australian invention that primarily exists in rural landscapes. The Wires are inherently interdisciplinary with foundations in sculpture, environmental / land art, sound composition, interactivity, behavioural constructs of old/new media, physics and complex systems sciences. A primary objective of The WIRED Lab is to consolidate Alan's work and create a permanent site for his instrument to be further developed by other artists, and for Alan to devolve his skills and knowledge to as many people as possible. Since its 2007 establishment The WIRED Lab has built several sets of wires, spanning kilometres across the landscape, and presented workshops, concerts, an open day and various publications documenting Alan Lamb and WIRED Lab collaborators.
Seldon Hunt is in this interesting show, opening tonight!
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