Muziektips 2019

[Number9]

Link


Sticks - Onrust

Bijzonder intrigerend concept. Alleen te beluisteren in (het prachtige!) museum De Fundatie in Zwolle. Zeven of acht nieuwe nummers, die alleen daar, in het museum, te beluisteren zijn, met zeer fraaie visuals (wat een geweldige dansers in o.a. het nummer Onrust). Puike muziek (na vijf keer luisteren verslaafd geraakt aan datzelfde nummer Onrust, tenminste, ik neem aan dat het zo heet), en vooral ook een heel bijzondere luisterervaring. "Dit verschijnt dus niet op vinyl / CD / stream / whatever, dus alleen hier en nu kan je het horen." Het idee dat je muziek die je aanspreekt misschien wel nooit meer terughoort - tenzij je terug gaat naar de plek waar het gespeeld wordt / werd (nog tot 5 januari 2020...) laat je écht op een ander manier naar die muziek luisteren. "Nog één keer dan..."

Ik ben natuurlijk een snob, maar het doet me ook een beetje denken aan Proust, met dat stukje muziek dat 'ie ooit hoorde en hoopte terug te horen. Ongekend eigenlijk tegenwoordig, dat muziek echt iets eenmaligs kan zijn.

Anyhow, aanrader.

[Richardus]

Nieuwe van Richard Dawson

https://richardmichaeldawson.bandcamp.com/album/2020

en dat moet ik zelf ontdekken, tipt niemand hier meer?!

[Richardus]

nieuwe Cult Of Luna

[(klaz*)]

en dat moet ik zelf ontdekken, tipt niemand hier meer?!

Jazeker wel!

[Richardus]

oja verrek zeg, eentje

Morgen verschijnt een nieuw album van Boduf Songs. Aan dit nummer te horen staat het weer vol meezingers:


Link

[(klaz*)]

En Joshua Sabin! En 65daysofstatic in watluisterjenu!

[Richardus]

maar dat topic lees ik zelden tot nooit

[(klaz*)]

Maar Joshua Sabin heb ik hier getipt (en is een grote kanshebber voor de bovenste plaats in mijn jaarlijstje).

[Richardus]

https://joshuasabin.bandcamp.com/album/sutarti zal 'ns luisterne

[Richardus]

Meh, vind het niet onderscheidend tov of boeiender dan andere soundscapers moek zeggen dat het ook maar zelden voorkomt dat deze stijl me echt grijpt

[(klaz*)]

Ah, jammer. Heb je ook gelezen hoe Joshua Sabin het heeft gemaakt? Misschien helpt dat bij de waardering.

[Richardus]

On Sutarti Joshua Sabin draws influence from the compositional structures and psychoacoustic properties that exist within early Lithuanian folk music, exploring the emotional potency of the human voice through the manipulation of elements of archival recordings.

Obtaining access to the folk music archives of the Lithuanian Academy of Music and Theatre Ethnomusicology Archive from the outset of this project, Sabin felt a particular resonance with the extensive library of vocal recordings and specifically the song forms of the Sutartinė. Derived from the Lithuanian verb 'Sutarti' - to be 'in agreement', 'to attune' – Sutartinės are a Lithuanian form of Schwebungsdiaphonie - a distinct canonic song style consisting of two or more voices that purposefully clash creating extremely precise dissonances and the phenomena of aural ‘beating’.

Inspired by the psychoacoustic research of Rytis Ambrazevičius, whose computer analyses reveal the unique acoustic and harmonic complexities in these archival songs, and transfixed by what Sabin describes as their “arresting and often almost plaintive and minimalistic beauty”, he sought to compose directly with the recordings themselves as a raw material.

Sutarti exists fundamentally as an emotional 'response', presenting archival voices through radical recontextualisations that Sabin hopes simultaneously express both his personal perspective and experience, and also speak universally to the power and versatility of the voice as a communicator of meaning and emotion.

Produced with archival recordings, instrumentation including, Skudučiai and Fiddle, and field recordings of Lithuanian forest ambiences.

Ok, leuk. Resultaat blijft hetzelfde.

[(klaz*)]

[Richardus]

Gratis (!!!) tip voor iKel:

[(klaz*)]

Battles heeft vandaag een nieuw album uit!

[Richardus]

tip voor krypto


https://3rdirex.bandcamp.com/album/tote ... urbofucker

[(klaz*)]

Mizmor heeft een nieuw album uit, Richardus!

[Richardus]

Ja, weet ik, al een tijdje, MarkS tipte het hier middels cvltnation Twitter link tijdje terug. Nog niet grondig beluisterd, zo als vrijwel niks dit jaar eigenlijj

[MarkS]

Ries, als Amenra liefhebber, wat vind je hiervan?
https://www.frontaalnaakt.nl/archives/t ... gezan.html

[Richardus]

Ik vind het weinig tot niks op Amenra lijken sowieso. Verder een nogal vervelende poging als een ruigere Limp Bizkit te klinken.

[(klaz*)]

Gezan is totally unpredictable

Their whole repertoire is like this, singer screaming against the background of rumbling guitars, then an intermezzo of rap and often several complete changes of rhythm and atmosphere in one song.

[Richardus]

Nieuwe van Lightning Bolt is fijn

[iKer]

Nieuwe tip: Amon Tobin heeft een tweede plaat geworpen dit jaar.
Deze heeft (weer) een hoog documentairemuziek-met-versneld-afgespeelde-natuurbeelden'-gehalte.



Link

[Richardus]

The Pyroclasts album is the result of a daily practice which was regularly performed each morning, or evening during the two week Life Metal sessions at Electrical Audio during July 2018, when all of the days musical participants would gather and work through a 12 minute improvised modal drone at the start and or end of the day’s work. The piece performed was timed with a stopwatch and tracked to two inch tape, it was an exercise and a chance to dig into a deep opening or closing of the days session in a deep musical way with all of the participants. To connect/reconnect, liberate the creative mind a bit and greet each other and the space through the practice of sound immersion. The players across the four pieces of Pyroclasts are Tim Midyett, T.O.S., Hildur Guðnadóttir, and as always Stephen O’Malley & Greg Anderson.

The music on Pyroclasts is inextricably woven to Life Metal. It exists on the very same tape reels, was explicitly recorded by Steve Albini. The brightness and vividity of that glorious session glares through these four tracks, the precision and radiance, prismatic lustrousness of the saturation, the elemental sculptural shapes, the abstract renderings. It is a sister, or perhaps a shadow album. Or perhaps the now apparent miasma or aether. But it also exists in a form of a pause, a time space which exist in between and around the compositional structures of Sunn O)))’s titanic works.

For the listener or recipient/participant there are deep rewards within the patience of pulling down the walls and letting the music feel, and feel the music. To be immersed will reveal great detail and colour, clarify image, encourage a depth of focus and stillness which may lead to a quite profound experience. Sitting inside the space of time. A deep form of elementalism, even atomism, and connection with presence moment, time and reality.

Sunn O))) would invite their audience to consider these points of perception when experiencing and listening to Pyroclasts. Sunn O))) would also invite and encourage the audience to use Pyroclasts as a lens to review and reexperience the complexity of the Life Metal album, and even to interrupt its sequence with Pyroclasts. This elaboration can bring the astute listener both abyssal, hallowed rewards.
https://southernlord.com/store/sunn-o-p ... pre-order/

Recorded in the same sessions as April’s excellent Life Metal, the drone metal band’s new album is a rich, fundamentally life-affirming experience.

Stephen O’Malley once described Sunn O))) as his “guitar band,” which is a striking understatement. Over the band’s nearly two-decade run, they’ve never deviated from a singular mission: crushingly glacial guitars played at devastating volumes. Since 2009’s Monoliths & Dimensions, the duo has gracefully slipped the shackles of heavy metal, remaining rooted in its ferocious aesthetic while pursuing high concept collaborations and drone at its most incantatory. Sunn 0))) is a guitar band like a hurricane is wind.

April’s Life Metal had a distinct back-to-basics quality, stepping away from the orchestrations and composer commissions for some of the pure, indefinite-hiatus riffage on which Sunn 0))) built their name. Recorded by Steve Albini, the album showed Greg Anderson and O’Malley summoning a sound of overwhelming scope and elegance, moving with just a little bit of extra authority.

Pyroclasts is a companion to that album, recorded in the same sessions but stripped even further back. At the start and end of each day of recording, the group and their collaborators would perform a simple exercise: explore a single modal drone for 12 minutes; Albini would capture it, and they would move on. These four selections can be experienced as a sort of frame for Life Metal’s more definitive statement. Not compositions, nor exactly improvisations, the group describes them as “a daily practice,” calling to mind a regular meditation or yoga routine (except at pain-threshold dB). And like a series of stretches, these sessions were intended to open up the musicians as they worked through the album.

None of that would matter if they didn’t open the listeners up, too. But, of course, they do. The experience on even the biggest headphones won’t ever be the same as Sunn 0))) in concert, but a full run through with Pyroclasts cranked all the way will leave few moods unaltered. Though visually steeped in the quasi-medieval occultisms of Scandinavia’s most notorious groups, listening to Sunn 0))) has always been a fundamentally life-affirming experience. Their tunings are too rich, their gestures too focused for nihilism. The titular inversion of Life Metal suggests a manifesto, and Pyroclasts could be Exhibit A in their argument.

There’s little use discussing the relative merits of one track over another. Though variations span the length of the album, the feel is so consistently immersive you lose track of yourself in the sound, which seems like the point. “Frost (C)” howls and shudders, its low end seeming to extend to the deepest, cruddiest bowels of the earth. Around the five-minute mark of “Ampliphædies (E),” someone takes what might loosely be called a solo. No surprise that it focuses mostly on one note; rather than articulating melodic flourishes, it feels like it’s clawing its way out of a mudslide of distortion, gasping for air before being subsumed into the mass. Finally “Ascension (A)” lunges with a triumphant drive worthy of its title.

“You’re inside of it,” O’Malley recently said of his sound in an interview. “That’s something that’s been part of my own development as a musician… evaporating.” Here one might think of buddhist monks in the Himalayas. The chant “om,” when pronounced correctly, is supposed to come from the throat, through the mouth and then the lips before returning to the silence from whence it came. This completeness is a sacred expression of the radiant, transcendent infinity of the universe. Pyroclasts feels about as close to that completeness as a metal album by a druid-robed group named after their amplifiers can get.
https://pitchfork.com/reviews/albums/sunn-o-pyroclasts/

[Number9]

TL/DR. Cijfer 1-10?

[Richardus]

8.0

[United Hope]

If you left an electric guitar in open tuning, turned it up, left the amp on, and hit record, you’d end up with “Pyroclasts” - a ‘record’ of droning notes masquerading as high art. It’s a struggle to even call this music - music implies thought, creativity, effort and composition. This album sounds like someone recorded feedback for forty five minutes, realized they needed to pay for the studio time, and released this mess to try and pay for it. Your better off listening to radio static. At least that way you might actually hear something interesting. An insult to music, musicians and music lovers everywhere, “Pyroclasts” is an affront to art.

[Richardus]

music implies thought, creativity, effort and composition

O?

[Richardus]

Dat gejengel is al zo oud als Sunn en drone metal zelf (Earth dus), en drone iha. Niemand die het wel kan waarderen die zich daar aan stoort of naar omkijkt. Elk zn eigen.

[Richardus]

https://dhidalahggb.bandcamp.com/album/threshold

space/krautrock from Japan

[Radiohoofdnz]

Het chanson Trouble -Federale

[Radiohoofdnz]

True love will find you in the end - the Baptist generals
Ja ja eindelijk nieuw werk ban de generals

[Richardus]

Lord Mantis is terug


Link

[Richardus]

En alle kleurtjes vinyl zijn al uitverkocht kan men hier niet wat meer uptodate tippen!? tsjongejongejonge


Link

[MarkS]

https://dhidalahggb.bandcamp.com/album/threshold

space/krautrock from Japan

Nice

[Richardus]

Link

[Richardus]

Link


Link

https://graveface.bandcamp.com/album/desyre

Recorded/engineered/co-produced by Alex DeGroot (Zola Jesus) over the course of 2018, DESYRE includes collaborators Thor Harris (SWANS), J.R. Bohannon (Ancient Ocean), Lia Simone Braswell (A Place to Bury Strangers), and Mary Lattimore on harp. (aha, dat verklaart de sound)

[Richardus]

potje slow filth


Link

[Richardus]

Link

https://dyingvictimsproductions.bandcam ... tain-times

ouderwetse speedy hardrock

[Richardus]

Sodeju, verslavend

[Richardus]

https://vosh.bandcamp.com/album/exquisite-pain

"death pop" noemt ze 't zelf, en ze heeft voor de mannen te koop:



een Cum Rag

[Radiohoofdnz]

Federale
Beck
Deerhunter
Cohen

[United Hope]

je bent zelf een federal beck deerhunter cohen

[Radiohoofdnz]

je bent zelf een federal beck deerhunter cohen

[Richardus]

nieuwe van Bölzer

https://bolzer.bandcamp.com/album/lese-majesty

[Richardus]

[Richardus]

^echt duuuude, veel beter dan het debuut "Burst". Wat een beauty is dit zeg; rauw, emotie en melodie. Alles in perfecte balans. Topper, komt hoog in de jaarlijst. Posthardcore.

https://wearebrutus.bandcamp.com/album/nest


Link



Link

[Richardus]

Link

Wat een liveband en wat een strot heeft die drumchick

[Kees Kietelvlees]

On Sutarti Joshua Sabin draws influence from the compositional structures and psychoacoustic properties that exist within early Lithuanian folk music, exploring the emotional potency of the human voice through the manipulation of elements of archival recordings.

Obtaining access to the folk music archives of the Lithuanian Academy of Music and Theatre Ethnomusicology Archive from the outset of this project, Sabin felt a particular resonance with the extensive library of vocal recordings and specifically the song forms of the Sutartinė. Derived from the Lithuanian verb 'Sutarti' - to be 'in agreement', 'to attune' – Sutartinės are a Lithuanian form of Schwebungsdiaphonie - a distinct canonic song style consisting of two or more voices that purposefully clash creating extremely precise dissonances and the phenomena of aural ‘beating’.

Inspired by the psychoacoustic research of Rytis Ambrazevičius, whose computer analyses reveal the unique acoustic and harmonic complexities in these archival songs, and transfixed by what Sabin describes as their “arresting and often almost plaintive and minimalistic beauty”, he sought to compose directly with the recordings themselves as a raw material.

Sutarti exists fundamentally as an emotional 'response', presenting archival voices through radical recontextualisations that Sabin hopes simultaneously express both his personal perspective and experience, and also speak universally to the power and versatility of the voice as a communicator of meaning and emotion.

Produced with archival recordings, instrumentation including, Skudučiai and Fiddle, and field recordings of Lithuanian forest ambiences.

Ok, leuk. Resultaat blijft hetzelfde.

[Siegfried Stahl]

Link

Wat een liveband en wat een strot heeft die drumchick

Galmt het daar zo of zit er een bak reverb op alles?