New England Phonographer’s Union: MIC’D (by SilenceOpensDoors)
Last night: Crys Cole, Jim O’Rourke & Oren Ambarchi at Urban Guild, Kyoto.
Nels Cline, Andrea Parkins, Tom Raniey - Ash and Tabula (2004)
via bravo juju:
The idea behind Atavistic’s Out Trios series appears to be a sound one. Put three compatible improvisers in a room, turn on the machines, and let ‘em rip.Now although these particular artists don’t play together frequently, they share skills on the highest level. They listen and respond to each other so quickly it’s frightening, and they respond spontaneously with complementary colors.
Considered as a totality, this is strange, evocative stuff. “Ruination” begins with a suggestion of impending dentistry inside Godzilla’s mouth, while “Alleys of North America” manages to find its way back to its aching piano intro after spending much time in deep space. These three musicians all have substantial discographies at this point, but this album rates near the top of any list of their recorded achievements.
crys + echo
crys cole/CAN und Echo Ho/Cologne
a concert at Opekta Atelierhaus, Xantener Str 99h, Köln- opekta-koeln.de
(by Echo Ho)
Very pleased to see an old close friend come to town and play with Oren Ambarchi in a few weeks :)
Toshimaru Nakamura “Egrets”
To fans of free improvisation and the Japanese onkyo, or noise scene, Toshimaru Nakamura needs no introduction; to newcomers, the name of his instrument the no-input mixing board may sound forbidding, as if its output would sound more machine than music. But for over a decade, Nakamura has cultivated a world of tones from this unlikely instrument, both harsh and mesmerizing, humanist and expansive with something to lure in music fans of any stripe.
(by Samadhisound)
Voice & Electronic Improvisation 1 - Tomomi Adachi
Taku Sugimoto - Opposite (HatHut, 1998)
A common accusation to make of contemporary improvised music, especially in its recorded form, is that it lacks emotion and physicality—that it is sterile. Whether one claims that Keith Rowe’s tabletop guitar is asexual or that EAI has a general antiseptic demeanor, such assertions are pervasive and, in my opinion, quite off the mark. Conversely, I hear an incredible depth of vivre in Ami Yoshida’s voice, in Axel Dorner’s trumpet. And, more importantly, freely improvised recordings offer me an uniquely heightened ability to understand myself and my feelings. Among the class of albums that permit such introspection, none are as rich and conducive to self-awareness as Opposite.
I best understand Taku Sugimoto’s seminal (l o w e r c a s e) solo guitar album as one of equilibria, between sound and an attempt at its negation, mediation and chaos, introspection and expression. Zen frequently arises in discussions of this album, and while I hesitate to use as meaningful a word, such a characterization is surprisingly apt. Each song is balanced by its neighbors: the tranquil minimalism of ‘Midnoon’ is contrasted by the Bailey-esque confusion of ‘Opposite’; the faint attempt at extroversion on “Mirrors’ is juxtaposed against the reclusive ‘Bells of …’. Every note, every thought is allowed its full life, from its microtonal conception, clashing with its cohort, to its imminent decay.
As a result of the harmony, when listening, I often find a deep clarity of my surroundings and a heightened sense of self. No matter how dysfunctional I may be before listening to Opposite, I leave peaceful, and, more often than not, disabused of notions and tendencies that were plaguing my recent history.
VIA killedincars
A beautiful listen.
(Source: killedincars)
The Sound of Eye: OTOMO YOSHIHIDE LIVE AT THE ICC, TOKYO 09.03.2008
Year: 2008
Time: 30 mins
Music: Otomo Yoshihide
” To celebrate its 10th anniversary, the Intercommunication Centre in Tokyo (ICC), one of the leading experimental art locations in Japan, organised a free-entrance series of concerts featuring several cutting-edge performers from the local scene. The main attraction was Otomo Yoshihide, who delivered a tremendous 30 minutes performance on his prepared turntables. Almost completely rejecting the use of vinyl surfaces, Otomo uses amplified microphones and distortion devices to explore the possibilities of the turntable - not the record - as an instrument. The result is an impressive construction in which Otomo masterfully oscillates between serene, placid designs (refined in other projects such as Filament) and the violent feedback bursts for which he became known, all created in the electric interstices strategically placed between the record-player, the needle and the deck.”
»»»»»OTOMO ICC 2008«««««
Of Pipes and Roots - Michel Doneda + Jack Wright + Tatsuya Nakatani
Spellbinding long form/ lowercase improv. Play loud.
img: Carlos Cruz-Diez , Chromatic Induction at Double Frequency. A for Wörn
Shiraishi / Obsorne / Shurdut: live on Nat Roe’s Show 3/27/10via WFMU
Astounding.
“What was incredible about the live set the trio gave on my radio show a few weeks back was how much more dynamic depth the band was able to achieve. This set is more meditative than I expected, dwelling at times in near silence (for a few moments, the only sounds heard are the squeaks from a chair that Shurdut asked the engineer Bill Bowen to mic). Though Shiraishi dwells entirely in the high regions of the reed, an effect produced by biting the reed, his characteristic sound reveals itself anew in the varied contexts of Osborne’s and Shurdut’s meanderings.”
Ah, they played with Hexbreaker Quintet. Makes sense.
via toomuchparanoias
