Europalia Indonesia comes to London

1 mois ago

The biennial celebration of traditional and contemporary Indonesian culture is coming to the UK for the first time this year

Europalia Indonesia will kick off this October in London with a specific focus on music and dance. This will be the first time the Belgian Europalia biennale comes to the UK with Indonesia invited as the guest country for this 26th edition.

The programme will start on 20 October at London's Rich Mix with a night of Indonesian 1960s rock featuring performances by Jakarta’s Indische Party and a tribute to the East Javanese all female group Dara Puspita. The music of Moondog will also be reimagined as experimental gamelan compositions by Javanese composer Iwan Gunawan and Moondog’s friend Stefan Lakatos at LSO St Luke’s on 28 October, and vocalist Peni Candra Rini, dancer Ade Suharto and musicians from Surakarta, Central Java, will stage an adaptation of Pramoedya Ananta Toer’s novel This Earth Of Mankind at King's Place on 25 November. As well as that, on 18 January the gamelan composer Aloysius Suwardi’s Planet Harmonik project will bring together a host of self-made instruments and the Pythagorean theory of the Music of the Spheres.

More information can be found on the festival website.

Christian Marclay’s The Clock on show at Tate Modern next year

1 mois ago

The 24-hour video installation will be screened at the London gallery from 12 September 2018 – 27 January 2019

Christian Marclay’s 24-hour video installation The Clock will go on show at Tate Modern for three months, starting in September 2018. Released in 2010, Marclay’s montage features of thousands of real-time film and television clips, acting as a fully functioning time piece. The exhibit will be free and can be accessed during Tate Modern opening hours and via monthly 24-hour screenings, exact dates to be confirmed soon.

“Marclay’s The Clock is one of the most exceptional and complex artworks of the twenty-first century and it is no surprise that, wherever it is shown, the audience is riveted”, says Frances Morris, Director of Tate Modern.

Marclay appeared on the cover of The Wire 332. Subscribers can read that article via Exact Editions.

Documentary on The Chills set for release in 2019

1 mois ago

The film will document the New Zealand group's story through its ever changing line-up and founder Martin Phillipps’s battle with depression and addiction

A documentary on Martin Phillipps's long running project The Chills is in the early stages of production. Due for release in 2019, the film will document Phillipps's life and the project which he formed in Dunedin in 1980. Phillipps is the only member to have stayed with the group throughout its career. Other members have included Peter Gutteridge, Jane Dodd, Rachel Phillipps, Alan Haig, Justin Harwood, Caroline Easther, Jimmy James Stephenson and others. Placing itself at the forefront of the Dunedin sound, The Chills were one of the highest profiling acts on the country's famous Flying Nun label.

Currently in the early stages of production by Notable Pictures NZ and in association with Fire Films UK, the documentary still needs to raise NZD 60,000 and the film makers have set up a Kickstarter to do so. Rewards include exclusive artwork by Phillipps, memorabilia and limited edition music.

Phillipps says “While I have been through some very dark times I have never stopped believing in and fighting for my music. But now I also have to fight for my recovery and my very life. Bad decisions and bad luck really have taken their toll. I've been forced to take better control of my health and make the best possible use of whatever remaining time I have.

“I must organise my legacy, as I am the only person who can accurately do that. And I must try to make the best and most honest music I have ever made - especially since the band is in the perfect state for this to happen. In some ways, the future is looking brighter, but there are still some darker possibilities. Whatever happens, I want to share it all with the documentary and make some damn fine cinema.”

You can support the project via Kickstater.

Outernational Days calls for support

1 mois ago

Following its second edition, the Romanian experimental music festival asks for retrospective financial help as they call for donations to fund their third edition

Online music magazine The Attic has called for support in the aftermath of Outernational Days festival this summer. Having suffered financial loss from its second edition, the project, which came “out of a cultural need [to explore] a very wide musical spectrum, to which the Romanian audience lacked access until now,” in the words of the promoters, is now unable to settle bills for artists' flights.

Their plan is to host an Outernational Days 3, and they're attempting to source the money in advance via an Indiegogo campaign. “We defined Outernational as a place positioned outside of history; as a shapeless world that has been developing at the periphery of the International sphere.” explains the crowdfunding page.

“When we drew the line after the second edition of the festival, we realised that despite its massive success, the festival was a financial failure. There is a risk that the organising company (Sounds in The Attic LTD) will face foreclosure due to the inability to pay some of the invoices. What hurts the most is that the festival risks to go bankrupt and thus will be unable to continue.

“As we did not have a cash flow that would have allowed us to purchase the plane tickets for all the artists attending the festival (54 artists and 2 journalists) early enough, we used the services of a travel agency that helped us to purchase a part of the tickets (around 80%) with a due date payment (after the festival),” they explain. “This is a call for solidarity.”

“You will receive (apart from all our gratitude, gifts and free entries at the future Outernational Nights) that unique feeling that you donated for something that’s good, that you did a good thing, that you helped a festival that can bring something new for the music, but who is currently stuck in an impasse out of which it can’t get out, that you made a difference, no matter how small, as small as you could from your small square.”

You can bid for tote bags, cassette tapes, T-shirts and full passes for Outernational Days 3, though details of this event are yet to be confirmed. At the time of writing, there is a month left on the campaign and 13% of its $5000 goal has been reached.

Outernational Days was reviewed in The Wire 403 by Claire Sawers. Subscribers can read that via Exact Editions.

The Wire Salon at Waterstones

1 mois ago

The next edition of The Wire Salon will feature David Keenan, Helm, Ian Rawes, and Elaine Mitchener

Following its return, after a four year lay off, to East London's Cafe Oto in July, The
Wire’s peripatetic Salon event next decamps to the Gower Street branch of
Waterstones in central London on 7 October for a special night of music and
readings.

The night, which is one of a series of events hosted at the branch by a variety of UK magazines over the weekend of 6–8 October, will feature David Keenan reading from his acclaimed post-punk novel This Is Memorial Device accompanied by Luke Younger aka Helm on electronics; vocalist Elaine Mitchener and double bassist Neil Charles improvising on Ben Okri’s Grenfell Tower poem; and Ian Rawes of London Sound Survey discussing and demonstrating some of the archaic soundwords collected in his book Honk, Conk And Squacket.

The Wire Salon happens at Waterstones Gower Street branch in central London on 7 October, 7–9pm, tickets £5.

Radiophrenia are back with an open call for sound and radio works

1 mois 1 semaine ago

Annual Glaswegian FM and online broadcast Radiophrenia makes an open call for radio works, with its deadline coming up on 24 September

Month long Glasgow-based online and FM station Radiophrenia has made an open call for new sound and transmission artworks to be broadcast in November. The station will take up home at Glasgow’s Centre for Contemporary Arts with its broadcast schedule including live shows, pre-recorded features and a series of live-to-air performances.

“We are seeking soundscapes, spoken word pieces, radio experiments, found sound, innovative approaches to drama and documentary, and radical and challenging new programme ideas,” says the call. “We want to hear from radio makers who are seeking a platform for their work to reach new audiences. The call is open to artists, musicians and producers at any career stage. It is intended primarily for existing works. Local artists may also propose live shows or performances that will take place in the studio.”

There are four categories for submissions: pre-recorded radio programmes
including documentaries, radio plays, soundscapes and crafted features; shorter radio or sound works; experimental, long-form radio pieces; and live shows. Works have to be self-funded.

More information can be found on their website. Deadline is 24 September 2017. And you can listen to a selection of last year's shows below:

Funkadelic – Reworked By Detroiters out next month

1 mois 1 semaine ago

The series on Westbound Records features remixes by Underground Resistance, Moodymann, Amp Fiddler, Marcellus Pittman, Ectomorph and others

A compilation of Funkadelic tracks reimagined and reinterpreted by a collection of Detroit producers is set to be released on Westbound Records next month. The reworks come from the likes of Marcellus Pittman, Moodymann, Gay Marvine, Underground Resistance, Amp Fiddler, Kenny Dixon Jr and others, with the release featuring tracks such as “Sexy Ways”, “Get Off Your Ass And Jam”, “Cosmic Slop”, “Let's Take It To The Stage”, “Maggot Brain” and many more.

“Funkadelic have created an enduring legacy, and the power of their impact is visceral in Detroit.” says Brendan M Gillen, the compilation's curator. “The music itself is beyond stereotype, but equally huge is that they were a black band not allowing themselves to be limited by anyone else’s notions of who they could be, having a massive impact on the next generation of Detroit music, Detroit techno. But more than just techno, it is a freedom of thinking that extends beyond boxes, so we included all sorts of today's generation of Detroit musicians and producers to show the wide range of music that was Funkadelic and how these ideas are still contemporary, they endure and inspire.”

He continues, “We are overwhelmed with how serious the remixers took this project, turning in some of their best work. “Sloppy Cosmic” by Moodymann came about because of this compilation, and that is simply one of the finest odes to the Funkateer generation ever seen, and one of his finest works, here in its purest form.”

Listen to Moodyman mix of Funkadelic's “Cosmic Slop”

Funkadelic – Reworked By Detroiters will be released on 27 October. Plus, on 22 September a 12" of “Cosmic Slop”/”Let's Make It Last”, featuring Moodymann/KDJ reworks will also be release. Pre-orders available via Ace Records.

Collection of works by Pauline Anna Strom to be released this November

1 mois 1 semaine ago

RVNG Intl compile hallucinatory synthesizer works composed by the Bay Area musician between 1982–1988

This November RVNG Intl is set to publish a collection of otherworldly synthesizer works by Pauline Anna Strom. Titled Trans-Millenia Music the compilation brings together over 80 minutes of music made between 1982–1988 and is described by the label as “a collection of transportive synthesizer music providing listeners a vessel to break beyond temporal limits into a world of pulsing, mercurial tonalities and charged, embryonic waveforms.”

Raised in Louisiana and Kentucky, Strom was born blind. She would later move to the Bay Area where a childhood interest in the piano would be reignited by the synthesizer, as she developed her work at the beginning of San Francisco’s new age and ambient scenes. Inspired by the likes of Klaus Schulze, Brian Eno and Tangerine Dream, she purchased a Tascam four-track recorder and synthesizers including the Yamaha DX7, TX816 and the CS-10 and in 1982 would release Trans-Millenia Consort on Ether Ship Records.

For this release, RVNG has selected works from three LPs and four self-released cassette tapes. It features sleevenotes by The Wire contributor Britt Brown and will be released on 10 November. It can be ordered via Bandcamp.

Listen to the theatrical “Energies”. Video directed by Georgia.

Grant Hart has died

1 mois 1 semaine ago

The former Hüsker Dü vocalist/drummer and Nova Mob frontman was 56

Drummer, vocalist and founding member of hardcore band Hüsker Dü Grant Hart has died aged 56, it was reported by Variety this morning. He had been diagnosed with cancer in recent months. Vocalist, guitarist and fellow songwriter Bob Mould, who founded the Minnesota rock outfit with Hart and bassist Greg Norton in 1979, paid tribute on his Facebook page: “It was the Fall of 1978. I was attending Macalester College in St Paul, Minnesota. One block from my dormitory was a tiny store called Cheapo Records. There was a PA system set up near the front door blaring punk rock. I went inside and ended up hanging out with the only person in the shop. His name was Grant Hart.

“The next nine years of my life was spent side-by-side with Grant. We made amazing music together,” he continues. “Grant Hart was a gifted visual artist, a wonderful story teller, and a frighteningly talented musician. Everyone touched by his spirit will always remember... Godspeed, Grant. I miss you. Be with the angels.”

Born Grantzberg Vernon Hart in St Paul, Minnesota in 1961, he started playing drums as a child. It was during his time as a student that he formed Hüsker Dü (meaning "Do You Remember" in Danish and Norwegian, and taken from a 1970s board game) with Mould and Norton. They released their first single "Statues" on their own Reflex label in 1981. Their debut album Land Speed Record, recorded live on 15 August 1981 at Minneapolis venue 7th Street Entry, was released in 1982 by New Alliance.

Distinct from Mould’s astringent style of songwriting, Hart’s songs tended towards a highly melodic, almost power-pop sound, albeit often with acerbic lyrics. On the 1983 EP Metal Circus Hart sang lead on his compositions “Diane” and “It's Not Funny Anymore”, both of which became Dü live staples. After releasing a series of records – including Zen Arcade, Flip Your Wig and New Day Rising – which saw the group evolving from their hardcore roots while establishing a blueprint for much of the college/alternative rock of the 80s and 90s, they signed to Warner Bros, who released Candy Apple Grey (1986) and the band's final studio album Warehouse: Songs & Stories (1987).

Hüsker Dü disbanded in 1988 amid cancelled gigs and Hart’s struggle with drug addiction. Hart followed the split by issuing his solo EP 2541 and within a year he had assembled new band Nova Mob, with Michael Crego on drums and Tom Merkl on bass (Hart took on vocal and guitar duties). Named after William Burroughs’s novel Nova Express, Nova Mob released The Last Days Of Pompeii on Rough Trade in 1991 and Nova Mob on Restless in 1994.

After Nova Mob disbanded, Hart resumed his solo career, releasing Good News For Modern Man on Pachyderm Records in 1999 and, a decade later, Hotwax on Con d'Or. His most recent album was The Argument, released via Domino in 2013. A major set of unreleased early Husker Dü recordings Savage Young Dü was recently announced by Numero Group.

Le Guess Who? 2017 announces full line-up

1 mois 1 semaine ago

Taking place in the city of Utrecht this November, new additions to the line-up include Dälek, Steven Warwick, and the Sai Anantam Ashram Singers performing the Ecstatic Music of Alice Coltrane Turiyasangitananda

As announced earlier this year, Utrecht festival Le Guess Who? is set to take place in November, with a host of curators including Perfume Genius, Han Bennink, James Holden, Jerusalem In My Heart, Grouper and Shabazz Palaces. Performances by William Basinski, GAS, Keiji Haino, Pharoah Sanders, Natasha Kmeto, Linda Sharrock, Moor Mother and Matana Roberts have already been confirmed.

To complete the programme (aside from a couple of film screenings that are still to be confirmed) the following artists have been newly added to the line-up: Sai Anantam Ashram Singers performing the Ecstatic Music of Alice Coltrane Turiyasangitananda, Mary Margaret O’Hara, Thurston Moore Group, Sevdaliza, John Maus, Black Lips, Sudan Archives, Avey Tare, Dälek, Juana Molina, Luka Productions, Farai, Brian Case, Steven Warwick, among others. In addition, the 12 hour drone will return with Surajit Das, Lea Bertucci, Ellen Arkbro, Ben Bertrand, Roy Montgomery and Ashtoreth confirmed as participants.

The Wire’s Deputy Editor Joseph Stannard will be in attendance, hosting Q&As with artists (full details TBC) while The Biggest Record Fair In The World – featuring over 500 labels – will once again make an appearance.

Le Guess Who? takes place between 9–12 November. Tickets are on sale now with four-day passes available at €130. Single day tickets are also available.

Copenhagen club night calls for new music made at 10 bpm

1 mois 1 semaine ago

An open call has been announced for new music made at a really slow tempo

Composer and founding member of the percussive ensemble G-Bop Orchestra (featured in The Wire 390 for subscribers), Greta Eacott has put out an open call for music that plays at 10 bpm. “If I make a dance club with music at 10 bpm will anybody come? What will it sound like? Can I dance to it? Will it be enjoyable?” asks Eacott, who aims to play all the submissions at a nightclub in Copenhagen soon.

The call out reads: “We are looking for dance music producers / interested persons to make some music at 10 bpm for out inaugural 10 bpm dance club happening at the end of September 2017 in Copenhagen. Tracks don’t need to be ‘finished’, or of any particular length. Everything is welcome & will be put to the dance-floor. Only restriction is please keep to our strict 10 bpm policy. The night will last for as long as we have music for ; )”

Submission deadline is 25 September. For more information you can email Eacott or visit the Tumblr. And to get you in the mood, this is what 10 bpm sounds like:

British Library celebrates 140 years of recorded sound

1 mois 1 semaine ago

A free exhibition kicks off next month looking at sound since the invention of the phonograph in 1877

Running for just over five months, a new exhibition titled Listen: 140 Years of Recorded Sound will kick off on 6 October at the British Library. “Just how important have the sounds of the past 140 years been to our lives?” asks the event, which sets to tell a story of sound recording and explore the importance of sound in capturing history. It will also look at radio and new technologies. Featured items are said to include rare and unpublished recordings, various sound players and recorders, as well as access to the British Library sound archive. There will also be a specially commissioned audio installation by Aleks Kolkowski and a selection of extra events such as Late at the Library: The Radiophonic Workshop and Guests; Super Sonic: A Day of Audio Adventures; writers Bella Bathurst and Erling Kagge exploring their emotional relationship to sound, and more.

Listen: 140 Years of Recorded Sound will run from 6 October – 11 March 2018. More information can be found on the British Library website.

Holger Czukay 1938–2017: Playing The Fool

1 mois 2 semaines ago

Jason Gross recalls his madcap encounters with Holger Czukay and U-She through the 1990s and 2000s

The character of Holger Czukay, who died this week, informed his music both solo and as part of Can. Author and band associate Andrew Hall summed him up well: "A crazy genius who walked the tightrope between this state and what others saw as ludicrous insanity."

I met him several times over the years, both as friends and in connection with my zine Perfect Sound Forever. The first time was when he gleefully took up techno, collaborating with German producer Dr Walker for 1997's appropriately titled Clash. The album was followed by his first US shows, and after the New York gig, where he performed with a small keyboard, I cornered him for an interview. He spoke of Can's proudly amateurish nature and literally hiring Damo Suzuki off the street, and how multitrack recording led to the band's break-up, leading to finger-pointing about mistakes. When I asked him how he put songs together, he replied "Just by logic. You must have a vision, even with the roughest idea where this could lead to."

We talked about his favourite music, and he mentioned Eno, PiL, Bach, Schubert, Hendrix, James Brown, Stockhausen (of course), The Beatles, Philip Glass and The Velvet Underground ("my heroes"). Holger mentioned an idea he’d had, staging musical competitions, where performers who were polar opposites would engage in heated debates. Who would he take on, I asked? "Peter Gabriel! He's much too serious!"

Following our interview, I encouraged him to put up a website. Months later, I received an early morning long distance call. Holger told me to go to his new site, and I saw my own name, listed as webmaster. “You're doing my webpage!” he announced, and started throwing ideas at me about how to connect with musicians and fans. He never asked me if I was game, but I obliged, though after a few grueling months, I handed the responsibilities onto someone else. Soon after, he returned the favour, writing articles for Perfect Sound Forever about Can's history, detailing the secret between-song pauses recorded for Tago Mago, and Stockhausen's influence on his music.

I visited Germany in 1998 to meet Holger and his wife Ursula aka U-She on their home turf. We met in a Cologne hotel, went to get some Asian food (which he loved), and were whisked to his home for a tour of his studio and gadgets. He was tired, but gave U-She his blessing to go out clubbing, so we piled into a cab to see Ken Ishii perform (she danced much better than me). I hosted him in return when Holger came back to NYC around 1999 with his former bandmates to promote a major edition of Can reissues. We checked out the Anchorage club, at the base of the Brooklyn Bridge to see DJ Spooky, who didn't impress him much, but the venue piqued his fancy: "I must do my next New York show here". When he returned in 2004, he eventually played at Knitting Factory. "Hello girls and boys!" he announced when he took to the stage with a big smile.

Writing to me later, he made some interesting observations about what he saw as his role as a musician. "My function is between a DJ and an active musician,” he said. “I love to present new material and also from the past, transforming them into something different than before. I like to listen with the audience and if something turns out inadequate, I know my schoolwork still has to be done. On the other hand, when all waves are not extinguishing each other, the result can be received amazingly positive to all our satisfaction."

We never met face to face again, but continued to correspond online. Knowing that he loved "I Am The Walrus", I shared the source of radio material included at the end (a BBC King Lear broadcast). As a child of the Second World War, he fretted about the rise of the far right, insisting that neo-Nazis should be stamped out. In his last email to me, he rewrote the pop classic "Singin' in the Rain" to include alligators.

After his death I'd recall some of the stories of prankish encounters to try and comfort myself. There was an early 70s show with Amon Düül II where they were dosed up with cough syrup, and someone from Can was suspected. Holger denied it, but an associate commented: "we all know who it was…". Around the same era, Holger drove the Can van on tour through a Soviet Bloc checkpoint. When a guard searched the van, Holger asked: "You're looking for something illegal?" He then produced a huge marijuana joint. "This is what you were looking for!" He slapped the joint into the guard’s hand, insisting "Take this home to your wife – you both enjoy it and thank me!" They drove off in the van as the guard stood frozen in amazement.

After Can split up, he was in a cafe with a friend, and the management asked them to leave for making noise. They returned with dark glasses and walking sticks, pretending to be blind, and stumbled around, knocking over carts and tables – earning another hastened exit from the establishment.

But the favourite Holger story that he told me involved a phone. Acting alongside an accomplice, he applied a ketchup marinade to a handset in a public booth. While they hid watching, a man entered, struggling to find coins for his call. When he balanced the receiver on his shoulder, the marinade smeared on his face. Someone in the next booth panicked, thinking it was blood, and called for help. An ambulance arrived and the attendants dragged the reddened men onto a stretcher – he was furious at their manhandling, but they drove off with him regardless. Holger and his accomplice were hysterical. “You were a precocious teenager,” I remarked. The impish Holger, who was in his sixties when he told me the story, gleefully replied: "Actually, I did that last year!"

Anthology of misogyny in music Under My Thumb to be published this October

1 mois 2 semaines ago

Following its open call for submission last year, Under My Thumb: The Songs That Hate Women And The Women Who Love Them will be published by Repeater next month

Repeater books are ready to publish their new book Under My Thumb: The Songs That Hate Women And The Women Who Love Them. Making an open call for submission in May 2016 for essays that explore the tensions that arise from loving the music that doesn't necessarily love you, the book has been compiled into 15 short essays, commissioned by Repeater's Tamar Shlaim and edited by Rhian E Jones and Eli Davies.

“Our aim is to explore the joys of loving music and the tensions, contradictions and complexities it can involve. This book is intended to be as much celebration as critique. Think of it as a kind of feminist guilty pleasures,” read the open call last year. “There are no restrictions on types of music here – we’re keen to get contributions across a range of genres, places and eras."

With contributions from The Wire Contributing Editor Frances Morgan with the essay "Where Does A Body Begin?" on Michael Gira of Swans, as well as Wire contributor Nina Power with "And Now It Hurts To Know The Truth: On "Young Girl"", about the song performed by Gary Puckett & the Union Gap, and beyond. Other contributions include Zahra Dalilah with "Equality Is In The Doing Not The Saying: What Tupac Taught Me", Stephanie Phillips on "The Two Sides Of Phil Spector", the book's co-Editor Rhian E Jones with the essay "You Shouldn’t Take It So Personal: Bob Dylan And The Boundaries Of Rebellion", and many more.

Under My Thumb: The Songs That Hate Women And The Women Who Love Them will be released on Repeater this October. Pre-orders available via Hive.

Final call for CTM 2018 Radio Lab

1 mois 2 semaines ago

With its central theme being turmoil, Berlin's CTM festival takes place from 26 January–4 February 2018

CTM have made a final call for submissions to their 2018 Radio Lab invitation. Now in its fifth year, the open call invites artists working in the fields of experimental music, sound art, radio art, new radio drama, and performance to submit proposals for new works that bring radio art and live performance or installation together, and which are based around this edition's central theme, turmoil.

As we detailed in a news story last July, the commissioned works will premiere at the festival and then be broadcast as part of Deutschlandfunk Kultur’s Klangkunst programme. Following that, Österreichischer Rundfunk (Austrian Broadcasting Corporation) will also present the winning pieces via either Ö1 Zeit-Ton or Ö1 Radiokunst – Kunstradio radio shows, and/or the ORF musikprotokoll im steirischen herbst festival in Graz. The deadline for submissions is 17 September with winners being notified late September. More information can be found on CTM's website.

Last year the open call was won by Rima Najdi with Called Happy New Fear, and Julian Bonequi with The Death Of The Anthropocene.

CTM festival will take place between 26 January–4 February at various venues across Berlin. The event will include club events and concerts as well as day time lectures, talks, exhibitions and the sixth edition of MusicMakers Hacklab. The line up of artists set to perform is due to be announced at the beginning of October.

New electronic music compilation to help Hurricane Harvey victims in Texas

1 mois 2 semaines ago

Laurel Halo and Chino Amobi contribute tracks to Praxis Houston

Club producers Malcriado and Englesia have put together a new compilation, Praxis Houston, to aid victims of Hurricane Harvey in Houston, Texas and contribute to the rebuilding effort there. Artists on the release are Laurel Halo, Kareem Lotfy, Endgame, Scraaatch, Englesia, Torus, Kamixlo, Santa Muerte, Mya Gomez, Qualiatik, Dasychira, Chino Amobi, Bob Traxx, & Malcriado.

Englesia says, "100% of raised funds will be donated to the Greater Houston Autonomous Relief, a grassroots coalition of groups from the Greater Houston community coming together to offer direct support to those most impacted by Hurricane Harvey. Their mission statement is to help each other instead of relying on corporations or the state. The coalition consists of Solidarity Houston, SHAPE Center, Campaign Nonviolence Houston, Houston Peace & Justice Center, Houston Anarchist Black Cross, Black Lives Matter Houston Chapter, Resilient Nacogdoches, World On My Shoulders, & Black Women's Defense League. The funds will go through World On My Shoulders, a registered 501(c)3 non-profit, and then will be allocated by on-the-ground need between organisations."

More information can be found on the campaign's gofundme site.

Listen to the compilation on Bandcamp.

Holger Czukay 1938–2017

1 mois 2 semaines ago

Bassist and co-founder of legendary German rock group Can has died

Holger Czukay, bassist, editing mastermind and co-founder of legendary German rock group Can, has died, his label Spoon has announced. Czukay was found at his home, the old Can studio in Weilerswist near Cologne – a former cinema where the group recorded through most the 1970s – on 4 September. He was 79. His wife Ursula Schüring – aka U-She, a close collaborator throughout much of his post-Can career – is thought to have died just weeks previously.

Czukay was apparently planning new projects in the weeks before his death. Much of his recent years had been spent with editing and reworking recordings from his extensive archive of Can and solo tapes. His last official release was Eleven Years Innerspace, released by Grönland in 2015, a mysterious collection which, as the album and track names such as "My Can Revolt" suggest, incorporated (and radically remixed) numerous recordings Can made at their studio.

He was born in Danzig, at that time a partially independent city state, in 1938. In the early 1960s he became a student of Karlheinz Stockhausen, the beginning of a lifetime obsession with electronic music and the possibilities of the studio. Alongside fellow student Irmin Schmidt, the pair began to explore the possibilities of working together that could bring composition and experimental music into a group context while responding to the rapid artistic advances of rock. They hooked up with drummer Jaki Liebezeit and guitarist Michael Karoli to form a group originally called Inner Space, who played together for the first time in 1968, a performance captured on the limited edition release Prehistoric Future.

Czukay elected to play the bass with the group – Liebezeit supposedly recommended he should try "to play bass with only one tone" – and developed a distinctively hypnotic style on the instrument. The decision to play bass was dictated partially as the instrument was free, but also as it might allow him to operate tape recorders in the studio. A landmark tape work from the early days of Can, Canaxis 5, was recorded in 1969 with Rolf Dammers, and featured extensive use of loops incorporating a haunting vocal recording of a Vietnamese vocalist on “Boat-Woman-Song”.

Can’s work blossomed through the 1969 debut album Monster Movie, the collection Soundtracks and 1971 album Tago Mago, working alongside vocalists Malcom Mooney and latterly Damo Suzuki. The group practised and recorded together almost constantly, and Czukay left the tapes running in many of their studio sessions – when The Wire’s Rob Young visited Weilerswist for a Can cover story in 1997, engineer René Tinner showed him a cupboard containing carefully preserved Revox tapes of hours of tapes, recordings which would eventually come to form part of the 2012 retrospective set The Lost Tapes. "As a bass player, Holger Czukay is comparable only to John Cale,” wrote Julian Cope in his book Krautrocksampler. “But as an editor, he is surely second to none". His editing is crucial to many Can tracks – songs such as "Mother Sky" and "Halleluhwah" exist in multiple different edited versions, with Czukay carving out distinct sections from extensive recorded jams.

By the mid-1970s, the group dynamic of Can was changing, in part because improved recording technology meant that the group could overdub individual instrumental parts, and were no longer required to play together simulataneously as a group unit. By Saw Delight Czukay had ceded bass duties to Rosko Gee, to concentrate solely on working with editing and tape loops, audible on complex constructions such as "Animal Waves".

The 1979 album Movies marked his departure from Can, although the entire group contribute instrumental parts to the album. The 80s saw Czukay collaborate widely and influentially, with artists including David Sylvian and Jah Wobble. As Biba Kopf observed in The Wire 66 in 1989, Can’s innovations had by that time been taken up by groups as diverse as PiL, Cabaret Voltaire and Einstürzende Neubauten. By the 1990s he had found a new lease of life working inside the fertile electronic scene in Cologne, recording and touring with Dr Walker of Air Liquide. Electronica’s debt to Can was returned in 1997 with the remix album Sacrilege, which featured artists such as A Guy Called Gerald, The Orb and Brian Eno grappling with Can’s two-track recordings and attempting to work them into new shapes.

In the 2000s and beyond Czukay worked on numerous new recordings and remix projects, often featuring U-She on vocals. The Can collection The Lost Tapes emerged in 2012, followed by The Singles in 2017.

OUT.FEST announces full line-up

1 mois 2 semaines ago

The Portuguese festival’s 14th edition features Pere Ubu, Lolina, Bookworms, Coletivo Vandalismo, and more

The final line-up has been announced for the 14th edition of Barreiro's OUT.FEST. The four dayer’s opening concert featuring Porto composer Jonathan Uliel Saldanha will take place in the new festival venue Santa Maria Church – the 30th space OUT.FEST has used since its inception in 2004. The municipality workers’ senior and junior choirs, Carol Tab and Coro Be Voice, will also be performing at the church. The complete line-up is Caterina Barbieri, Charlemagne Palestine, Quarteto De Sei Miguel, Pere Ubu (The Moon Unit), Casa Futuro, Lolina, This Is Not This Heat, Jejuno, Bookworms, Coletivo Vandalismo, Simon Crab, Alex Zhang Hungtai with David Maranha & Gabriel Ferrandini, Dj Nigga Fox, Black Dice, Dj Problemas, Nocturnal Emissions, Gyur Putas, and Bêbadas.

“As you can guess we're very happy with it,” beams festival organiser Rui Pedro Dâmaso, talking about the line-up. “It's quite the mix between influencers and new blood, and some bands we'd been wanting to have in Barreiro for quite some time and never had the chance to make it happen.”

OUT.FEST runs between 4–7 October. Tickets start at just €8, and shuttle buses are available from Lisbon and surrounding areas. More information can be found at OUT.FEST’s website.

Halim El-Dabh has died

1 mois 2 semaines ago

The Egyptian American electronic music pioneer created one of the first known works of tape music

The Egyptian American composer and performer Halim El-Dabh has died. He was 96 years old.

Born in 1921 in Cairo, he was passionate about contemporary music from a young age, attending concerts such as the 1932 historic Conference on Arabic Music in the Egyptian capital. It was there he also saw music being recorded onto a wire recorder (as precursor to the tape recorder). Though Pierre Schaeffer is often cited for inventing musique concrète at Radio France in 1948, the first known piece of music recorded solely from electronically processed tape was created four years earlier by El-Dabh, as Rob Young noted in his Once Upon A Time In Cairo article in The Wire 277. El-Dabh borrowed a wire recorder from the Middle East Radio broadcasting company with which he recorded various sounds including that of an ancient zaar ceremony. He then processed into the magnetic tape piece The Expression Of Zaar, which he presented at an art gallery in 1944.

El-Dabh later moved to the US, where among other roles he worked as a consultant to the Smithsonian Institution, professor of African studies at Howard University, and professor of music and Pan-African studies at Kent State University, the latter a part time post he held until 2012.

Night Of Surprise happening this October in Cologne

1 mois 3 semaines ago

The one night festival brings together Rabih Beaini, Elysia Crampton, John Butcher, Thomas Lehn & Matthew Shipp, and more

The fourth edition of the all night festival Night Of Surprise will take place in Cologne´s jazz and experimental music venue Stadtgarten in October. The evening promises “a wild variety of experimental music”. Last year the event attracted more than 1000 people.

The line-up so far confirmed includes Dedekind Cut, Mustafa Said, Sidsel Endresen & Stian Westerhus, John Butcher with Thomas Lehn & Matthew Shipp, Sote, Philm, Rabih Beaini, Going, 7000 Eichen, Elysia Crampton, Weiße Wände and ER & WE, with more to be announced.

Night Of Surprise happens on 20 October at Cologne’s Stadtgarten, from 7pm. Entry is free. Watch a video of Night Of Surprise 2015.

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2 heures 19 minutes ago
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