| KTL live in November | 05 11 2009 | |
| KTL will be performing 3 concerts this coming week in Central Europe. Please come out for these rare concerts!
KTL @ Unlimited 23 Festival Wels, Austria Friday, Nov 6 2009, 10:00 PM KTL @ Gartenbaukino / Wien Modern performing live to Victor Sjöström's 1921 psychological supernatural proto-horror masterpiece "Körkalen / The Phantom Carriage" Vienna, Austria Saturday, Nov 7 2009, 11:00 PM KTL @ Kino Šiška Ljubljana, Slovenia Tuesday, Nov 10 2009, 10:00 PM | ||
| Lotus Eaters vinyl | 04 11 2009 | |
| Available shortly from Taiga of Minneapolis. www.taigarecords.com | ||
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| Cute miniature synths | 04 11 2009 | |
| More pocket synths by Dan McPharlin here.
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| Performa 09 | 04 11 2009 | |
| Music for 16 Futurist Noise Intoners
November 12 at 8 pm Town Hall 123 West 43rd Street, New York A Fantastic World Superimposed on Reality: A Select History of Experimental Music, Curated by Mike Kelley November 20 and 21 from 6 pm-midnight The Gramercy Theater 127 East 23rd Street, New York http://www.performa-arts.org MUSIC FOR 16 FUTURIST NOISE INTONERS All-Star Cast of Experimental Composers to Perform on Reconstructions of Legendary Futurist Instruments Not Heard Since 1913! "They are the DNA of experimental music!" said Elliot Sharp when he had a chance to play one of the first 'noise intoners' commissioned by Performa for Performa 09, in celebration of the one hundredth anniversary of the launch of Futurism. Music For 16 Futurist Noise Intoners will be an extraordinary historic evening in itself; all sixteen instruments that Luigi Russolo built and performed with fellow Futurists only once at the home of F.T. Marinetti in 1913, will be together on stage for an evening-length concert of original scores and compositions by the most significant and adventurous of contemporary experimental composers. As the first instruments capable of creating and manipulating sound through entirely mechanical processes, the intonarumori can be considered as the original analog synthesizer, and the ancestors to the most up-to-date electronic instruments used today. Luciano Chessa, composer and Russolo scholar, directed the reconstruction of the instruments and conducts the evening, which includes live performances of three legendary pieces from the past —a fragment from Russolo's spooky Risveglio di una città (1913), La pioggia nel pineto antidannunziana, a newly-discovered 1916 Futurist piece for intonarumori, and Words in Freedom by Futurist playwright and poet Paolo Buzzi -- and wonderfully poetic compositions from the present, including Einstuerzende Neubauten frontman and Nick Cave collaborator Blixa Bargeld, avant-garde saxophonist John Butcher, Deep Listening pioneer Pauline Oliveros, Faith No More and Mr. Bungle vocalist Mike Patton, sound and text-based performer Anat Pick, avant-garde musician Elliott Sharp, vocalist and composer Joan Le Barbara, composer and vocalist Jennifer Walshe collaborating with composer and film/video artist Tony Conrad, and Icelandic supergroup Ghostigital with Finboggi Petursson and Casper Electronics. Music for 16 Futurist Noise Intoners is commissioned by Performa with SFMoMA and the Experimental Media and Performing Arts Center (EMPAC). Curated with Luciano Chessa with Esa Nickle (Performa). A FANTASTIC WORLD SUPERIMPOSED ON REALITY: A SELECT HISTORY OF EXPERIMENTAL MUSIC, CURATED BY MIKE KELLEY Two Day Mini-Festival to Present an Exciting Line-Up of Key Musicians and Artists Who Developed the Dynamic Trajectory of Experimental Noise Music A mini-festival of noise and avant-garde music curated by internationally acclaimed visual artist Mike Kelley, A Fantastic World traces the development of experimental music from the Futurists to Fluxus, from the New York No Wave scene to the industrial sounds of Europe, the groundbreaking Los Angeles Free Music Society, and beyond. Artists headlining the two-day event include Sonic Youth frontman Thurston Moore, text-based sound artist Z'EV, No Wave pioneer Arto Lindsay, Half-Japanese co-founder Jad Fair, avant-garde composer and musician John Zorn, experimental musician and filmmaker Tony Conrad, vocalist and composer Joan La Barbara, singer and composer Shelley Hirsch and turntablist and visual artist Christian Marclay, electroacoustic trailblazer John Duncan, Joe Potts (Le Forte Four)-headed musical ensemble Airway, Throbbing Gristle leader Genesis Breyer P.Orridge, and Mike Kelley's own seminal "anti-rock" group Destroy All Monsters. There will also be reconstructions of historic works by John Cage, Fred Frith, Fluxus, Bruce Nauman, and Max Neuhaus, connecting the contemporary proponents of experimental music performing in the festival to their legendary antecedents. Curator Mike Kelley was born in Detroit in 1954 and brought up amidst the city's well-known music scene, which spawned bands such as Iggy and the Stooges and MC5. A Fantastic World explores Kelley's longtime interest in experimental avant-garde music playing with bands such as Destroy All Monsters and Extended Organ. A Fantastic World is presented by Performa. Curated by Mike Kelley and Performa Curator Mark Beasley. TICKETS Do not miss these two remarkable music events covering a century of historic breakthroughs in 20th century music, and new directions for the 21st century. Tickets for both events are selling fast, so visit http://www.performa-arts.org or call (212) 366-5700 to order yours today. ABOUT PERFORMA 09 Performa 09, the third edition of the internationally acclaimed biennial of new visual art performance presented by Performa, a non-profit multidisciplinary arts organization established by RoseLee Goldberg in 2004, will be held in New York City from November 1–22, 2009. The three-week festival will showcase new work by more than 80 of the most exciting artists working today, in an innovative program breaking down the boundaries between visual art, music, dance, poetry, fashion, architecture, graphic design, and the culinary arts. Presented in collaboration with a consortium of more than 60 arts institutions and 25 curators, as well as a network of public spaces and private venues across the city, Performa 09 will ignite New York City with energy and ideas, acting as a vital "think tank" linking minds across the five boroughs and bringing audiences together for brilliant new performances in all disciplines. http://www.performa-arts.org Luigi Russolo and Ugo Piatti with the intonarumori Courtesy Rovereto, Museo di Arte Moderna e Contemporanea di Trento e Rovereto | ||
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| What is Music? 2009 | 03 11 2009 | |
| What Is Music?
12-19 December 2009 After a thunderous return in 2008, the What Is Music? Festival is back again attempting even more ridiculous and sublime experimental music programming! After 15 years the reputation of the Festival speaks for itself and 2009 will see even more incredible performances and events unleashed upon Sydney, Melbourne and Perth. American laptop terrorist John Wiese will perform his first solo shows ever on these shores, having played the festival as a member of Sunn O))) in 2005, as well as premiering visual scores for large-scale ensemble. Expect the extremest of frequencies, and some of the best improv you've ever heard. Joining us from Poland will be Musica Genera festival curators Robert Piotrowicz and Anna Zaradny. Robert is a master sculptor of dense, layered synth beauty, though his infamous grindcore roots lend a sense of the brutal/beautiful/brutiful. Anna brings a much needed and appreciated sense of feminine grace and patience with her complex, slow-shifting laptop work, not to mention an impressive pedigree including collaborations with Burkhard Stangl, Zbigniew Karkowski, Tony Buck and Cor Fuhler. From Japan: hercel. Shayne Bowden/Ayako Mori, man/woman, painful/ecstatic, creation/destruction, foreign/familiar and lots more tasty dichotomy action, all wrapped in a crunchy shell of power electronics. Essential viewing for both the modern intellectual neanderthal and primitive reactionist übermensch alike. Of course all your favourite locals (and expatriates) will be there too, including Oren Ambarchi, Jon Rose, Clayton Thomas, Clare Cooper, Jim Denley, Alan Lamb, David Shea, Brendan Walls, Matt "Skitz" Sanders and many more (un)usual suspects presenting new works, new sounds, new experiences. Perhaps the most exciting event though will be the final night of the festival that Melbourne's already talking about, 50/50. Five conductors, four screens, three hundred seats, too much excitement in one massive night. 50 bands. 50 minutes. Not to be missed. For more information including full lineup, venues and updates, visit http://www.whatismusic.com. _ | ||
| O))) Sources of Verona & Buda labyrinth collection | 30 10 2009 | |
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| Ambarchi/Avenum vs O.B.E.Y. | 29 10 2009 | |
| Tel Aviv 1009 | ||
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| Marvin Minsky on Maryanne Amacher | 29 10 2009 | |
| MARYANNE AMACHER
by Marvin Minsky In her earlier work, Maryanne Amacher explored the worlds of different forms of sounds in space. The scientific psychologists had also tried to study sounds, but never with very much success. And for good reason: in the real universe, there are far too many possible combinations of patterns, Only an artist of Amacher's stature could decide which questions should be asked and her answers have become a part of the history of modern art. Many of her pioneering concepts about spatial sound models and perceptual interactions evolved into the sorts of acoustic installations that are becoming popular today. But Amacher was never satisfied only with sound and, in the 1980's she began to turn toward more ambitious images of immersions in rooms of sound and sight. I see her work as exploring a number of important issues an the boundaries of contemporary perceptual psychology, exploring the ways that subtle environmental changes affect how we see the world from moment to moment. Amacher's work is very concerned with what happens after you see and hear: the after images and after sounds. In fact. although she works in several media, her main concern is with understanding and manipulating the perception of space and duration, with finding ways to make people feel that they are in a different (and usually more desirable) place. As she uncovers these influences she translates them through her art into ways to use the media to make changes in the local world of the watcher/listener. It seems clear that this sort of environment oriented sculpture will become a vital part of the architecture of our living places, if apparent trends continue. To be specific, I will describe a few ways in which this work seems to me important and unusual. Subjective Transportation. By transmitting sounds from remote locations, one can begin to produce the effect that one is no longer at home, but in another city, in a storm, in some very different place. This is obvious, on the surface, but there is much more to it; the displacements depend a lot on acoustic techniques that can dominate the local background noises in subtle ways not by drowning them out. Amacher has become a master of controlling sounds that are comparatively "faint" yet produce new senses of location and orientation. Spatial Sound Sculpture. By combining and modulating several remote sources, she can create new environments, exploiting other new effects. Much of art involves attempts at superimposing different structures, but Amacher's work shows that one can do far more with overlays of sound than anyone would have expected. The room becomes new kinds of places, some unlike any past experiences. Localizations and Difference – Beats. It is possible to create effects like these from the two inch speaker of a television receiver? Workers in psychoacoustics have long known that there are certain non linear effects of certain higher frequency sounds that produce subjective localizations of their sources in surprising places, near or apparently inside the listener's head, for example. It seems very likely that some of the secrets of classical and modern orchestration effects depend on these sometimes subliminal influences which, in her art, Amacher attempts to isolate and then combine again into new structures and textures. I have the impressions that Amacher has discovered other such effects that are not yet understood by the psychoacoustic community, as a result of her extraordinary care and persistence. Now she wants to pursue her new ideas in a series of pieces, each a room of more complete experience. There are all too few individuals that possess her power, persistence, courage, intelligence, and sensitivity but the stages she builds will enable the rest of us to experience these same qualities. February 3, 1988 Marvin Lee Minsky (born August 9, 1927) is an American cognitive scientist in the field of artificial intelligence (AI), co-founder of Massachusetts Institute of Technology's AI laboratory, and author of several texts on AI and philosophy. | ||
| RIP Maryanne Amacher | 29 10 2009 | |
| Maryanne Amacher, 71, Visceral Composer, Dies
By ALLAN KOZINN Published: October 28, 2009 Maryanne Amacher, an influential composer whose experimental sound installations and multimedia works sometimes required full buildings to present their powerful melding of electronic timbres and live, natural ambience, died on Thursday in Rhinebeck, N.Y. She was 71 and lived in Kingston, N.Y. Ms. Amacher’s death was announced by Micah Silver and Robert The, artists and friends of Ms. Amacher who recently began assembling an online archive of her work at maryanneamacher.org. Ms. Amacher was drawn to extremes: some of her scores — for example, the music she composed for the choreographer Merce Cunningham’s “Torse” (1976) — could be so soft as to be nearly inaudible at times. But more typically, she reveled in powerful, high-volume sensory assaults, combining high-pitched electronic chirping and solid bass drones to produce a visceral effect. “With three tape recorders and a huge set of speakers spread out around a darkened room,” Peter Watrous wrote in The New York Times after a performance at the Kitchen in 1988, “she used immense volume to make sound feel liquid, all-enveloping, as if it were pouring into ears, between fingers and through hair. Ms. Amacher layered her noises — buzzing tones wrapped in sandstorm textures, rumblings like faraway thunder storms late at night, an idling motorcycle, jets swooping by — into an apocalyptic, terrifying landscape.” Many of Ms. Amacher’s most notable works are known only by reputation. They were site-specific installations that would be difficult, perhaps even impossible, to recreate, although several have been staged in new versions for different locations. Moreover, the handful of recordings that offer samples of her scores barely do them justice: Ms. Amacher was less concerned with sound on its own terms than with the way sound was perceived in space and over extended time periods. For her “Music for Sound-Joined Rooms” series, which began with a weeklong installation in Minneapolis in June 1980, she took over a Victorian house lent to her by the conductor Dennis Russell Davies and filled its rooms with visual elements that could seem mysterious or whimsical. In one room, visitors found music stands holding diagrams of DNA, as well as petri dishes filled with unidentified substances and metal instrument cases marked “Fragile: Traveling Musicians Being Prepared,” as if an orchestra were being cloned from the material in the dishes. And every room was filled with sound, which was heard not only through speakers, but traveling from room to room through the floorboards and walls. In Ms. Amacher’s “City-Links” series, which she began in 1967 and returned to periodically through the 1990s to create 22 installations in all, sounds from different locations within a city — or several cities — were transmitted over telephone lines and mixed together. In the first, she placed microphones at five locations in Buffalo and mixed the sounds transmitted from each site for a 28-hour live radio broadcast. Other pieces in the series used sounds from the harbors of Boston and New York. In “City-Links 15,” Ms. Amacher combined sound from New York, Boston and Paris for a live broadcast carried by WBAI-FM in New York and Radio France Musique in Paris. “I was particularly interested in the experience of ‘Synchronicity,’ hearing spaces distant from each other at the same time, which we do not experience in our lives,” she told the composer Alan Licht in a 1999 interview for The Wire. Ms. Amacher was born in Kane, Penn., in 1938, although in recent years she tended to list her date of birth as 1943. After studying the piano at the Philadelphia Conservatory of Music, she completed her undergraduate and graduate studies at the University of Pennsylvania, where her principal composition teacher was George Rochberg. She also studied composition in Salzburg, Austria, and Dartington, England, and privately with Karlheinz Stockhausen. After presenting early works, including the first few pieces in the “City-Links” series, during fellowships at Harvard University and the Massachusetts Institute of Technology, she was invited by the composer John Cage to collaborate on several projects. She produced a storm soundtrack for Cage’s multimedia “Lecture on the Weather” (1975), as well as a sound environment piece, “Close Up,” which accompanied Cage’s 10-hour solo voice work, “Empty Words” (1978). For Cunningham, she produced “Torse” and several other evening-length works from 1974 to 1980. Ms. Amacher, who left no surviving relatives, taught electronic music at Bard College, beginning in 2000. She was also an important influence for a generation of composers who combined rock instrumentation and avant-garde sensibilities, among them Rhys Chatham and Thurston Moore. The documentary film “Day Trip Maryanne,” by Andrew Kesin, captures discussions and performance collaborations between Ms. Amacher and Mr. Moore. from nytimes.com | ||
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| MASTER'S HAMMER 2009 studio shots! | 27 10 2009 | |
| From www.mastershammer.com
Apparently they are back and working on a new album! | ||
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| Just Alap | 25 10 2009 | |
| The Just Alap Raga Ensemble featuring La Monte Young, Marian Zazeela and Jung Hee Choi, voices, will perform the Maha Mrityunjaya Mantra in Raga Sindh Bhairavi accompanied by The Tamburas of Pandit Pran Nath from the Just Dreams CD, as the opening musical offering at the memorial celebration for Merce Cunningham’s life and work on Wednesday, October 28, 2009 from 4 – 4:20 pm. The memorial, which is free and open to the public, will be held at the Park Avenue Armory, 643 Park Avenue between 66th and 67th Streets, from 4 to 9 pm. Please note that space at the Armory is limited. Guests will be accommodated on a first-come, first-served basis, no reservations required.
After The Just Alap Raga Ensemble performance ends at 4:20 pm, the Merce Cunningham Dance Company will perform “Events” and other Cunningham dances will be featured, as well as presentations by the MCDC Music Committee, additional artists and former company members. Further information and a complete program listing can be found online at http://www.merce.org/p/memorial.html John Cage selected La Monte Young's radical work 2 Sounds (April 1960) to accompany one of Merce Cunningham's most forward looking dances, Winterbranch, with lighting by Robert Rauschenberg. The Merce Cunningham Dance Company toured extensively with this work and performed it throughout the world from 1964 on. Merce was a member of the MELA Foundation Advisory Board. 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.” 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," noted: “He [Young] is a master of Hindustani classical music. … 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.” For further information about The Just Alap Raga Ensemble visit www.melafoundation.org. | ||
| GRAVETEMPLE @ ICA | 22 10 2009 | |
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| O))) at Berghain... prepare for bass | 19 10 2009 | |
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| Aluk Todolo | 18 10 2009 | |
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| SUNN O))) back in the Sprinter Van EUEU | 18 10 2009 | |
| Also review of our first London show, at the time. 2000. | ||
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| Arik Roper | 17 10 2009 | |
| 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.
http://www.fusegallerynyc.com/09roper/roper09.html | ||
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| Hildur Gudnadóttir on tour | 17 10 2009 | |
| 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: OCTOBER 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 NOVEMBER 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 DECEMBER 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 - | ||
| Fusinato | 17 10 2009 | |
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| SUNN O))) vs Guitar World | 16 10 2009 | |
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| Tima Formosa | 12 10 2009 | |
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| 3/4hadbeeneliminated | 12 10 2009 | |
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| Ustad Asad Ali Khan Sahib | 10 10 2009 | |
| 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... | ||
| SUNN O))) in The Guardian | 09 10 2009 | |
| 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 | ||
| SUNN O))) vs ATHENS | 09 10 2009 | |
| pics: Stevie Brown / DARK CASTLE | ||
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| The classical way of doing interviews | 08 10 2009 | |
| Thanks to Lasse for bringing this to our eyes. | ||
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