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14/6/2006
Dick Bengtsson (1936 - 1989)
14/6/2006
Mutant created by culture and history becoming transparent.
13/6/2006
György Ligeti
Recently purchased the German version of "Le Grand Macabre"...awesome shit!
13/6/2006
György Ligeti
28/5/1923 - 12/6/2006
R.I.P.
13/6/2006
Found this review of Four compositions (GTM) 2000 on allmusic.com. I´m becoming an ethnical target here...
"In a sense, Four Compositions (GTM) 2000 is a homecoming for Anthony Braxton. This 2003 release reunites the avant-garde reedman with Delmark Records, where he recorded his first album, 3 Compositions of New Jazz, in 1968. Braxton was only 22 at the time, and he turned 57 in 2002. Some musicians mellow with time, but not Braxton; after all these years, the Chicago native is as uncompromising as ever. Like so much of his previous work, Four Compositions (GTM) 2000 has to be accepted own its own terms — and those terms certainly aren't terms of the conservative "bop police." This is complex, abstract, dissonant, highly cerebral music that never goes out of its way to be accessible — the sort of music that appeals to intellectuals in Sweden. That isn't to say that only Swedes listen to Braxton, who has a small following in the United States — only that albums this left-of-center are a hard sell in the U.S. and that intellectuals in Sweden and other European countries have been consistent supporters of Braxton. Four Compositions (GTM) 2000 won't be a pop hit, but those who are daring enough to go along for the ride will find that Braxton is in excellent form on four extended pieces (one of which lasts 20 minutes). This time, he plays several instruments (including flute and various saxophones) and leads a cohesive quartet that includes pianist Kevin Uehlinger, bassist Keith Witty, and percussionist Noah Schatz. Many non-avant-garde musicians have had difficulty comprehending Braxton's work, but these sideman obviously understand where he is coming from and serve him well on this inspired addition to his sizable catalog. "
10/6/2006
Anthony Braxton with Alex Horwitz-four Compositions(duets)2000. Yet another asskick record from Dr. Anthony Braxton...this time on a bunch of saxes together with a improvising stand up comedian...find out more HERE
10/6/2006
Liner notes from the Anthony Braxton Trillium R box set:
Trillium is the name I have given to a preconceived series of thirty-six autonomous one-act operas that will hopefully be completed in the next ten to fifteen years. I have conceived of this effort as an "opera complex" that allows for the interconnection of all thirty-six operas in any order, to total twelve master three-act operas .
The name Trillium is an extension from my philosophical writings---Tri-Axium---and represents the third partial of my life's work---that being music ( sound logic) systems, thought (philosophical) system, and ritual and ceremonial systems (belief). When completed, Trillium will serve as the cornerstone of my spiritual musics, to be performed at the end of a twelve-day festival for world dynamics. That is, Trillium is conceived as a forum to experience past, present, and future particulars. This is an attempt to better appreciate universal "balances" and vibrational oppositions as well as the beauty and unbeauty (beauty) of existence and sound wonder. I have come to view the world of opera as especially suited for this challenge, and also that the disipline of Òmusic dramaÓ will continue to exert an even greater influence on my life's work in the future.
The primary generating number for my ritual and ceremonial musics is the number three. In Trillium this is expressed in 12=1+2+3. There will eventually be twelve major three act operas, twelve primary characters and finally twelve primary logics (or zones of identity and/or ways of "being"). I have approached the effort as a composite platform to express my world view and hope for humanity. Each character in Trillium represents a lineage that can be used to portray my understanding of opposition and life particulars.When completed, Trillium will be offered to humanity as a context that experience "life multiples" and affirmation. I envision a world of "circumstances" where the human experience can be celebrated in all of its splendor. Subject material in Trillium will seek to amplify the nature of "physicality and moment dynamics." A given scene in this context might contain tragedy, humor, and/or "purpose." This is so because the discipline of theater can clarify the living experience so that we can better understand ourselves and our potential. For this reason I will attempt to establish the broadest set of circumstances and focuses in Trillium---from ordinary to transcendent experiences. Events in this sound/image world will float in and out of the space- in a succession of skits (or enactments) and the composite nature of the experience is offered as a positive platform for creative participation and reception. Trillium is conceived as a vehicle for family and cultural fundamentals/involvement as a consistent component in African/trans-African vibrational dynamics, as well as corresponding to the greater implications of trans-European and Asian vibrational dynamics. Trillium is conceived as a world culture statement that respects composite humanity and the "realness" of apparent existence.
Plots
Trillium is not a platform for conventional story telling in the classic sense Italian and German opera. Rather, the work is constructed as a series of dialogues based on logics consists of four (or more) scenes in which the characters act out a series of skits or situation particulars. Each skit serves as a vehicle to elaborate on the variables of given philosophic associations. What this means is that a given character in Trillium will be called upon to portray the "forces" of a given "setting" as opposed to functioning as a separate entity (with her or his own separate identity). As such, in one scene a given character might have a role of a positive character (of whatever persuasion) and in the next scene that same character may portray something completely different. An example of this type of role playing may be found in given theater ensembles where the same actor may be asked to portray a series of roles. What this means is that the reality of storytelling in Trillium transcends any one focus or plane of definitions. To experience this effort is to enter into a multiple universe of feelings and particulars. In Trillium, the give insight into one primary plane of logic (or associations). A given experience in this context seeks to transport its audience into a multiple universe of feelings and particulars. In Trillium, the audience is asked to experience a series of situations that give insight into one primary plane of logic (or associations). A given experience in this context seeks to allow for many different levels of interchange and drama.
Structure
The three primary levels of Trillium are1) the apparent story 2) the philosophical associations and 3) the mystical of spiritual fundamental that underlies each setting. By the term apparent story I am refering to the surface setting of each opera or scene type. The singers in this context are given a general story line that is to be realised in the traditional sense of opera or music theater. Each scene attempts to tell a given story about a particular event and the course of a given drama seeks to provide particulars to fulfill what a that event could mean on a musical level. The singers are expected to enact their material and portray the "Story" of the scene---and this aspect of Trillium should satisfy the general requirements of music drama presentations (from the point of view of the audience). In other words the audience is not expected to need the (broader) implications of Trillium ( i.e. related philosophical or mystical dynamics). The "apparent story" of a given opera is conceived as a statement with its own separate weight, and rejoices in the dynamic power of music drama and discovery. The point of focus (and definition) is to experience events in the opera. This is true even though the story line is only one aspect of the music-logic system.The second primary level of Trillium involves the inner logic system that unifies the conceptual and philosophic reality of my music . This in so because Trillium is conceived as an affirmation of my philosophical system (Tri-Axium). Storytelling in this context seeks to demonstrate the oppositions in a given scene so that we are continually made aware of how that construction mirrors (or reflects) the system schematics of Tri-Axium postulates (or idea associations). Every opera has at least four different levels (every scene is based on a central concept: three primary schematics/associations, and one that establishes a world of images and value systems that seeks to contextualize experiences. Events in this sound-world attempt to act out a given central concept from many different points of view. There is no single story line in Trillium because there is no point of focus being generated. Instead the audience is given a multilevel event state that fulfills vertical and horizontal strategies (objectives) starting from "nowhere" and ending "no-where". The wonder of this approach brings a fresh vitality to the music and will allow for a broad range of interpretations. I believe that the medium of opera is directly relevant to cultural alignment and evolution. The nature of this medium can serve to clarify and amplify positive alignment.
5/6/2006
James Koehnline:
http://www.isomedia.com/homes/harpo/
4/6/2006
Anyone into music like Captain Beefheart and early 80ies Swedisk punk, should check out Kräldjursanstalten. Get CD here:
http://www.sunkit.com/shop/skivor/kraldjursanstalten/index.shtml
4/6/2006
www.deathbreath.se/
1/6/2006
Damien Deroubaix
30/5/2006
Mike Patton interview taken from www.suicidegirls.com
Daniel Robert Epstein: Your press notes say that you think the new Peeping Tom album is more accessible.
Mike Patton: Basically I make the damn records and to a certain extent I talk about them after they’re out if people are twisting my arm to. Then whatever goes into the bios is really where I draw the line and give up because, boy, I don’t know what to call this shit or what’s going to look good in print. So I pretty much leave it up to them and I end up having to talk myself out of it sometimes. But who knows? Accessible? I’d agree that it’s easier on the ear. It is more linear music than a lot of other current projects of mine and it’s more song form oriented. What all that adds up to is a huge question mark to me, but I’ll let you guys decide.
DRE: When you first started Peeping Tom it seemed like a project that wasn’t as big in scope as other things you were doing.
MP: Possibly. It laid around on my desktop for a while. I was working on it in my spare time. But that’s how all my projects get started, there’s no real hierarchy for me. It just depends on if it feels like the season to work on Tomahawk or Fantomas then that’s my main focus and other stuff goes to the back burner. You can only focus on so many things at once. This one unfortunately kept getting brushed aside even though in my mind it was something I felt very compelled to do. But it gathered a little bit of dust.
DRE: Was the fact that Peeping Tom ended up being easier on the ears very organic?
MP: Yeah, basically the way I write sometimes is that I just sit down at the desk and start writing. It’s the process that I’m in love with and then all of a sudden a lightbulb goes off and it’s done. I knew immediately this stuff wasn’t going to fit with any of the other projects I was doing. Once I had ten or 15 pieces that I thought were really strong, I was like, “Ok, I guess I better do something with this.” Which in my case means start another band, start another project. There’s still some song style adventures left in me and I’ve got to explore them. That’s when I started taking it more seriously and started seeing it on the same level as many of my other projects. After that I was able to make time and focus on it.
DRE: How do you know when one of your songs is finished?
MP: That’s a tough thing and the best answer is, you just know. [laughs] The older I get the more conscious I’ve gotten of that. I’ve realized that one of my weaknesses as a writer is that whether I’m writing a strange operatic piece or a groove piece or some long form avante garde collage is knowing when to stop. The trick is knowing when to pull the plug. One of my weaknesses is to really over orchestrate and to overdo it. With this project the challenge was to reel in all of this stuff that I’ve learned and experienced over the last few years and cram it into a three minute song that does not stray too far from the path. To make it melodically driven and something that holds your interest and at the same time is not too boring or too linear. For me it was a real delicate balance and quite a challenge to do that.
DRE: Why is a Peeping Tom song a Peeping Tom song and a Tomahawk song a Tomahawk song?
MP: Each one to me is its own little universe. Each one has its own little set of rules and regulations and parameters. The only way I can make sense of my music is to compartmentalize it as opposed to having one band that I have to throw everything into. For me it’s just more fun and more challenging to create little worlds where a song or a piece can make sense. With Fantomas, for instance, the language that we’ve developed and that I started out with in mind was, “Ok, I’m going to use these things that I grew up with like heavy metal, hardcore riffs, things that we’ve heard before. But I’m going to organize them in a really unfamiliar jarring way. I’m not going to make songs out of them. I’m not going to have lyrics. I’m not going to be a traditional singer. My voice is like a second guitar, so there are the basic rules. You can do a lot within that little box and now we’ve made three, four records; we’ll probably make three or four more. Once I got on the path with Peeping Tom, I realized, “ok this is what this project is and this is what it’s going to be.” A lot of times you figure it out as you go along just like life. The longer we live the clearer some things become. With Peeping Tom, like I said before, I realized I wanted to keep everything in a fairly linear song format and that automatically eliminates a lot of extracurricular activities. With Tomahawk that’s a whole other beast, that’s a whole other universe. That’s more of a traditional rock band but it all starts with Duane Denison, the guitar player. It’s his baby, he writes the tunes. My role is much different in there. I’m the facilitator so I help him flesh out the tunes and arrange things. Whether I set out to do this or not, each project ends up being its own little world where certain things can happen and other things are impossible.
DRE: The original movie Peeping Tom is one of my favorite films. It’s got this great line, “All this filming. It's not healthy.”
MP: Yeah, they told me you were a film buff and that you’d know some lines in that movie.
DRE: I love that movie so much [laughs].
MP: Good man.
DRE: Did you ever think that what you were doing, maybe unhealthy isn’t the right but some people would consider the music unhealthy.
MP: Well, whatever. There’s a danger in anything that is unfamiliar. That’s the world we live in. People want to be reminded and patted on the back; they want to be told things they already know. We’re constantly being fed images and being told what to like and what is good and for the most part, I think people enjoy living that way. It takes a lot of the thinking out of it. Everywhere you look there’s someone doing your thinking for you and telling you what to think and when to think of it. So even though this Peeping Tom record, to me, sounds fairly linear, in my universe this is pop music, this is groove music, whatever you want to call it. This is my romantic soul music for crying out loud. What that means in the real world is quite beyond me. I realize this is not Kylie Minogue or The Strokes and I realize that everything that I do is always going to be a little bit of a bastard and it’s going to fall through the cracks. But I think that good things have a way of finding the cracks and I believe that it’s our responsibility or at least mine, to find that shit. That’s part of the reason I started a label, to provide a home for some musical misfits and put a roof over our heads.
DRE: Was there much improvisation with this album?
MP: No, not really. The process of the record was strange. It was actually pretty personal and lonely. It was mostly me. Like I do with a lot of projects, I initially thought I would play the instruments so I can communicate what I want to musicians I play with. I do crude homemade versions and they learn it from there since I don’t write in the traditional sense with notes on paper. That’s how I do it. So I did that like I do with Fantomas and with a lot of other things. I got used to the sloppy, simple nature of the stuff and I realized I wasn’t going to have to hire a band. But one of the main weaknesses was really the programming, which I’m just fucking terrible at it. That’s when I realized “ok, rather than putting a band in a room and trying to recreate this, I’m going to keep these tracks and work with producers, beat makers.” That’s something I’ve never really done. Also maybe an occasional guest, so that’s when I found the path. Since that was what this project was going to be I was going to stick with it no matter how long it takes because the nature of working with 15 different people long distance is one of patience.
DRE: I read that the idea of having Norah Jones on the album came up when you guys were drinking.
MP: Yeah, that was quite the long shot but I threw a line out and she responded immediately. So I would say I got incredibly lucky. A couple of others like Dan the Automator and Rahzel were security blankets. Anytime I’m starting something new I’ve got to have a couple of known quantities. I knew I’d get results out of them and it might spearhead some other people to become interested in it. Beyond that there were a few acquaintances and a few total strangers. What I do is on a song by song basis is think “ok, this beat or this approach would be best suited for Amon Tobin or Massive Attack, or whoever.” In a lot of cases I was totally wrong.
DRE: Oh really?
MP: I’d send a track to Massive Attack and they were like, “huh.” It was a song that doesn’t really even resemble the one that came back to me, which is a good thing. With each tune I sent out a list of instructions basically like, “ok don’t touch this part. This part’s really weak. Maybe try this.” I wanted to give them enough direction but also enough space to do what they want and feel like they were involved in the music. In the case of Massive Attack, I sent them something that I thought they would like and they were like “hmm.” So they remixed it and redid it their way and I was excited by what came back.
DRE: Will there be a music video for Peeping Tom?
MP: We’re going to do one. In fact, I already did my part. I should be seeing a rough cut any day now.
DRE: Who is the director?
MP: The director is Matt McDermott and he’s an understudy of this friend of mine, Joseph Kahn. He has a lot of good ideas and is really enthusiastic. The video is very low budget. I did my part in few hours but I think it’ll be nice. It should be pretty funny.
DRE: You used to do all these shows at The Knitting Factory and Tonic.
MP: I still play those places. I think I played Tonic on New Year’s.
DRE: Oh really? Maybe they’re not publicizing this stuff enough.
MP: Well, you know.
DRE: What do those small little shows do for you?
MP: It depends. Most of those shows you’re talking about are either improv based or I’m guesting with someone else. If I’m going to go up there and make a big racket, I’d sure love to do it with somebody else. There’s still a lot to learn and I think that’s why I keep playing and working with different people.
DRE: Do you understand what you’re trying to do at this point or do you do the improv to see what it does for you?
MP: Well, for instance on this Peeping Tom record, my goals are that I want to work with all these guys but also I want to learn how to program. I want to get something from this and I did get some pointers. I realized how little I do know about this and how skewed my approach really was. When you improvise with anyone, it’s an exchange of ideas that is instantaneous and you got to really think on your toes. It teaches you about composing instantly for the moment. I did a few shows at the Japanese Society a few days back with a bunch of Japanese improvisers, mostly vocalists.
DRE: That must have been fun.
MP: Oh it was really a blast. Eye from The Boredoms was there and a few other people. Again you’re in a church, you’re up there just trying to fit in and I believe the closer you are to this stuff, even spending an hour with some of these cats, by osmosis you learn things. The way I learned music was by listening to records, watching movies, listening to the soundtracks and then also by doing. I think that the more input you have, the more output you have by default.
DRE: The great fantasy artist, Frank Frazetta, had a stroke a few years ago and is now unable to use his right hand, which he’s been drawing with for decades. He has had to learn how to draw using his left hand for the first time. Some of the pictures I’ve seen him do with his left hand are amazing. I know that you have a similar problem after destroying the nerves in your right hand, how are you doing with it?
MP: Oh man, I didn’t know anybody knew about that. But it’s not that big of a deal. There was a period where it was a very big deal, where I had to learn how to do everything with my left hand. Play basketball, brush your teeth, masturbate, all that good stuff. In terms of writing, that’s changed a little bit, I still have the movement but the feeling is not there. I’m just so damn used to it now. But let’s just say I’ll be writing on guitar. I’ll be playing and playing and everything will be fine and then maybe I’m recording or something and all of a sudden it won’t be sounding quite right. I’ll look down and the pick will have fallen out of my hand and I’m playing with my fingers but it feels the same. So that’s a little example of how different that can be. You go, “oh shit. Whoops” and I put the pick back in my hand. But I wouldn’t say that it’s affected my writing in any other sense but physically. It’s hilarious because the doctors told me that I wouldn’t get the movement back but I’d get the feeling back. They were 100 percent wrong and I’m glad they were wrong because I’d rather be able to move the fucking thing.
DRE: I read that you just collaborated with a choir in Italy.
MP: Yeah, I did. It wasn’t my piece, it was a piece by this composer Eyvind Kang from Seattle. We put one of his last records out on Ipecac, which was another classical piece. This one we did in Italy is a real ambitious piece. It has a 30 piece choir, brass quartet, couple guitars and then two soloists. I was one of the soloists. Again that was a learning experience because I never sang without a microphone before. We were in an opera house in Italy and I had to really project. I had to step up to the plate because these guys were all professional singers that had little tuning forks and were reading music and there I was flopping around on stage like a dead fish. [laughs] It was fun and I think it came out good. We did a recording that I can’t wait to hear.
DRE: Do you have any desire to write a choir piece now?
MP: Not yet, but there’s a few little orchestral things on the horizon for me. A couple of things with Fantomas possibly and then also I’m arranging old Italian pop tunes. I think will be a good way to get my feet wet.
DRE: Is the movie you scored, Pinion, set to come out?
MP: I haven’t even started composing yet because it got held up in production and it hasn’t started filming yet. It’s way on the backburner and I’m just waiting for them to call and say “hey, we’ve got a movie, start writing.”
DRE: How did you get involved with that?
MP: The director [Melanie Lee] was a friend of a friend so they sent me a script which I liked so I met with her and that was it. But I think even if I hadn’t liked the script I would have probably tried it because I’m really curious about composing for film. It’s something I’ve always wanted to try and really never had many opportunities so I’m psyched to get going on it.
DRE: Do you know in advance what instruments you would use to score?
MP: It depends on the script and what sounds I need. I started scoring a short film that I’m halfway done with. I’m behind of course and the instrumentation for that is all over the map. At times it sounds like I wrote a little fake aria for an opera. I wrote a 30’s swing piece and there’s another piece that’s maybe 30 seconds long that is perfectly timed to a scene where guys are in a car and flipping the dial on the radio. That’s like 30 genres in 30 seconds. The way I would approach it is the same way I do with any project. What do I want it to sound like? Then you write down a list of instruments and then you’ve got to find people to play them or play them yourself.
DRE: Do you have any desire to direct anything yourself?
MP: Doubtful. I got enough problems.
DRE: I watched the trailer for Firecracker a couple days ago.
MP: I don’t know if I’ve seen that trailer. How is it?
DRE: It looks really wild.
MP: It’s pretty wild looking. The script is all over the place and the acting, present company included, is a little spotty. But man it looks great. I’ve only seen it in its entirety once and it’s quite a rollercoaster ride. It is half black and white, half color. It jumps off the screen, it’s really beautiful.
DRE: Do you want to do more acting?
MP: We’ll see. The reason I did that is because the situation was so incredibly perfect. It was a combination of coincidences that it made it impossible for me to say no. I knew the director, the script was good, a few people in the movie were really working me about it and I had free time. It was just like, “Damn, should I really try this? Yeah, why not? What have I got to lose?” It won’t be the first time I look like an idiot in front of a lot of people.
DRE: What do you know about SuicideGirls?
MP: It’s funny because I’ve never been to the site. All I really know about SuicideGirls is that every time we play Portland or Seattle, there are a few really obnoxious punk rock girls that come backstage yelling that they are SuicideGirls and they want to drink all our beer. That’s pretty much my experience right there.
27/5/2006
I have Black Vomit in my hands….the new CD with Wolf Eyes featuring Dr. Anthony Braxton, from their much talked about set at
Thanks to the girls in Fe-Mail for picking up and slipping me this disc.
27/5/2006
Demystifying the source of darkness...Jef Whitehead (right) aka Leviathan in putting some ink on a Limp Biscuit wannabe.
27/5/2006
Dan Lilker in Stavanger...btw, Brutal Truth is reforming to do a Eye Hate God cover for a tribute CD. How about a coming to Norway and do some shows?!
20/5/2006
Dear dear everyone.
Pictures of the "Wizard Equals Wisdom and is Measured by Leangth of Beard" installation are now available in the exhibition section at www.kalleruneson.com
Also check out the piece for the group show “Tragic Beauty”, at Ateliers du Sahel in Dakar.
Upcoming expulsions:
June: Unravelling Demons, Group exhibition @ Arsenal Galley, Bia³ystok , Poland
August: Fictionalizing Philosophers Comfort Zone, solo show @ Ocular Lab, -Melbourne , Australia
Expect nothing but crushing results.
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