30 09 2012
#3132

THE BLACK. Hand painted Morton Underwood noise box case

I painted this case for one of 10 Morton Underwood noise boxes to be auctioned at Supersonic Festival 2012.

30 09 2012
#3131

La Monte Young "Dream House 1990-2012" @ MAC, Lyon through 30th December

musée d'art contemporain de Lyon
28 SEPTEMBRE - 30 DÉCEMBRE 2012


Œuvre mythique, la Dream House est une installation lumineuse et musicale créée par La Monte Young, inventeur de l’idée de musique éternelle. La musique fait réagir de manière infime les mobiles suspendus conçus par Marian Zazeela. Pour l’auditeur, il s’agit de s’immerger littéralement dans le son pour en percevoir les nuances, une expérience invitant à la méditation, à être autant à l’écoute de soi qu’à l’écoute des sons. À l’intérieur de cet espace de plus de 500 m2 baigné de lumière et de musique, le visiteur vit des sensations inédites et une expérience incroyable de la durée, chacun pouvant y trouver sa place en s’asseyant ou en déambulant à son rythme tout en appréciant les modulations sonores provoquées par ses propres mouvements, aussi infimes soient-ils.
En 1998, le macLYON propose à Marian et La Monte d’exposer l’œuvre (alors propriété du FNAC) dans une version définitive à Lyon, au troisième étage. La Dream House de Lyon, telle que la nomment désormais les deux artistes, englobe, selon les calculs de Marian, « un volume de 101 598 pieds cubes de lumière ». C’est la plus grande installation après celle de Harrison Street Building (New York). Mais, ajoute-t-elle : « celle de Lyon occupe 6 195 pieds carrés, tandis que l’autre n’en atteint que 4 900 ». À l’issue de l’exposition, à la demande des artistes et en accord avec le FNAC, l’oeuvre est déposée au Musée d’art contemporain de Lyon « dans l’espace qui lui revient » (selon les termes de La Monte Young) puis entre dans la collection sous le numéro d’inventaire 2007.12.5. L’œuvre, désormais son, espace et lumière mêlés, contient à elle seule tous les termes induits par la création commune de Marian et La Monte.

http://www.mac-lyon.com/mac/sections/fr/expositions/2012/la_monte_young_et_ma/

© photo Blaise Adilon 

30 09 2012
#3129

MORNING ACID: ECM 1013 ST Dave Holland & Derek Bailey "Improvisations for cell and guitar" LP

Sound glimpse of live form the same tour this LP was recorded.

27 09 2012
#3128

Essential: Rashied Ali Quartet "Leo" live 1972

Rashied Ali, drums
Carlos Ward, alto sax
Dave Burrell, piano
Norris Sirone Jones, bass

This is from 1972 weekly jazz show, The Jazz Set.

26 09 2012
#3127

Chelsea Wolfe as spirit

Great photo of Mlle Wolfe. Excuse me, I do not know the photographer's name. Knowledge appreciated.

26 09 2012
#3126

RIP William Duckworth

http://en.wikipedia.org/wiki/William_Duckworth_(composer)

http://www.billduckworth.com

Click here for information about a tribute concert at Le Poisson Rouge in NYC on 2nd October.

Words from Eyvind Kang:

"Thought you might be interested to know that William Duckworth taught Sunn in his class at Bucknell. 
.... I met him once through Dempster, and he raved about M&D."

18 09 2012
#3125

"Aubrey" on 1982 BBC TV. (Beardsley and His Work)

From John Coulthart's {feuilleton} blog

Back in 2008 I wrote at some length about Aubrey, an excellent BBC TV dramatisation of the last years of Aubrey Beardsley’s life written by John Selwyn Gilbert, and screened once in 1982. Mr Gilbert himself added a comment to that post in which he mentioned that he’d written and directed a documentary which was screened in tandem with the play, Beardsley and His Work. I have the documentary on tape but it’s a copy of a copy and is also missing ten minutes or so of its opening so it’s good to find that the entire thing is now on YouTube. (Thanks to Dominique for drawing my attention to this.) Beardsley and His Work is essential viewing for Beardsleyphiles since it’s the only place you’ll see Beardsley scholar Brian Reade—author of the huge monograph, Beardsley (1967)—and Brigid Brophy—author of two excellent studies, Black and White (1968) and Beardsley and His World (1976)—talking at length about the artist. In addition there’s another artist, Ralph Steadman, examining some of Beardsley’s original artwork and discussing the techniques of ink drawing. The fifty-minute film is divided into four chunks, unfortunately, but is otherwise complete:


18 09 2012
#3124

sunn O))): September 8, 2012 Hopscotch Festival (Raleigh, NC) – FLAC / MP3 / Streaming

Listen @NYCTAPER

It makes sense that sunn O))) are named after Sunn amps, because the many Sunn amps onstage with them get a punishing workout during their sets. Raleigh’s Memorial Auditorium proved to be one of the most challenging rooms for bands at this year’s Hopscotch Music Festival; its size and cavernous design threatened to swallow the sound of several of the acts who played there. But for the doom metal pioneers and their slow, hypnotic wall of sound, the mid-sized auditorium was child’s play. As they prefer it, sunn O))) took the stage shrouded in a wall of smoke, the silhouettes of the black robed players barely visible. sunn O))) doesn’t need to give you much to see, though, as their music communicates on a more visceral level – that is, by rattling your guts with their bass-driven, low-tuned guitars and periodic paganistic chants. For this set, there was no percussion involved, and for the uninitiated, there were no obvious discernible songs – again, as the masters prefer it. A sunn O))) show is not so much as a “concert” as a holistic experience, as if you’ve joined the band in a dark ritual that will give them, for an hour and a half or so, your undivided attention and near-catatonic rapture. A scan of tweets during the show revealed a mixture of awe and fear among the show’s participants; sunn O))) is not for the faint of heart. The Hopscotch Festival was meant to reflect the impeccable and unique musical tastes of its co-founders, and I think it’s safe to say that co-founder Grayson Currin‘s predilection for “heaviest music” was satisfied by having sunn O))) close out the third successful run of this festival.

I recorded this set with Schoeps MK5 cardiod microphones in the optimal location in the venue. This is an outstanding recording and perhaps my favorite quality-wise of the entire festival. Enjoy!

17 09 2012
#3123

19 year vinyl quest provides success

This 1993 MLP was the last piece of the puzzle in my Early 90s Norwegian BM collection. Pleased that the results of the hunt ended with a barter/trade vs items of my own music! Now we can finally step away from that universe for a while...

17 09 2012
#3122

Audible Festival/Paris A NIGHT WITH JEAN-CLAUDE ELOY!

A NIGHT WITH JEAN-CLAUDE ELOY:
AN OPPORTUNITY NOT TO BE MISSED!

AUDIBLE FESTIVAL, AT THE EXCHANGER, BAGNOLET
59, avenue du Général de Gaulle, 93170 Bagnolet (near suburb of Paris)
tel : 01 43 62 71 20 / info@lechangeur.org / http://www.lechangeur.org

September 21 / 22 / 23, 2012
"Sleepless night"
From Saturday, September 22 till Sunday, September 23
Between 1.00 a.m. and 5.00 a.m.

"Gaku-no-Michi"
("Tao of Music" or "The Ways of Music")
Original version realized at NHK (Nippon Hoso Kyokai), 1977/78
Complete work in its digitized and revised version, 2006
duration : 4 hours non-stop

Sound projection: Jean-Claude Eloy
With the technical assitance of Eric Cordier

Breakfast offered at the end of the concert

Audible festival will extend from 21 till 23 September and will propose numerous events around the electro-acoustic musics, the live-electronics, the improvised musics, the modern Jazz, etc.
On Sunday, September 23 at 6.00 p.m.:
Meeting and free dialogue with Jean-Claude Eloy

Details of all the program on the site of « Instants Chavirés » ("Turned over Moments"):

<http://www.instantschavires.com/spip.php?article656>
<http://www.instantschavires.com/spip.php?article657>
<http://www.instantschavires.com/spip.php?article658>

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