JOANNE HETU : alto sax, voice, synth
DIANE LABROSSE : voice, synth
LE CONTES DE L AMERE LOI ( 56mb )
Bill Nelson is a british musician (significant guitarist, multi-instrumentalist) quite well known for his 70`s albums with the art-rockers BEBOP DELUXE, his avant-post punk project RED NOISE and the plethora of solo works (ambient, new wave, electronic, experimental...) he has released since early 80`s. It would take pages to analyze the complicated, diverse, at times earthed, at times spaced out universe of this gifted personality. Certainly he has his own way to be "different" whatever genre he deals with.
THE LOVE THAT WHIRLS belongs to his electro new wave works and is one of the best. It is perfect,romantic, sofisticated pop music, with witty lyrics and atmospherically treated soundscapes that predate his future ambient efforts. Quite close to the sound of Japan, Simple Minds....
CD edition (Cocteau records, 1986) has two additional tracks and 2005 reissue three more extras.
As requested, here it is the first LP of R.I.O. related ORTHOTONICS. Started as a trio (Danny Finney-sax, Paul Watson-trumpet, Pippin Barnett-drums), but after addition singer-guitarist Rebby Sharp (and Tom Carson on bass), they bridged their free/improv origins with alternative rock. Angular forms leave space for a post punk minimalism rich in jazz colours, while the horns support the tight rhythmic character of the songs or invade the picture developing mellow themes and short, witty dialogues.
A fresh, pop edged, experimental work (mixed by Fred Frith), that brings in mind avant new-wave sounds from the other side of the Atlantic.
Dynamic and perfectly balanced between song structures and freeform inclinations, "Co Znamena Vesti Kone" ("What Leading Horses Means") unfolds with a ceremonial way its great sound pallette of fierce avant jazz-rock, traditional folk echoes, wild lamentations, long shades and metaphysical chillings. Possessing whatever it needs to lead incontrolable forces, this album lives at the sharp edge of intense moments and risky decisions. It leaves behind a taste of condensed powers saving their breath for a final burst which it may not come. Last station of the trip,"Osip". Eleven eternal minutes in honour of the great Osip Mandelstam.
"Co Znamena Vesti Kone" played live in March of 1981, recorded officially few days later, and ignited further controversies between PPOTU and czech regime.
ETRON FOU LELOUBLAN, original member of R.I.O., are placed among the best avant rock bands ever. Formed in middleseventies by core members Ferdinand Richard (bass, voc), Guigou Chenevier (drums, sax, voc) and went through many saxophonists replacements until this fifth and last studio LP, which was made under Fred Frith production, by trio of Richard, Chenevier and Jo Thirrion (voc, org) who had joined band since 1981. The diminished jazz-impro character, and lower level complexity of compositions left many prog fans less satisfied... but fortunately, EFL, as a trio, they did it fine, and their moving towards 80`s minimalistic experimentation and post punk laconic aesthetics refreshed their approaching, something which didn`t happen with many of the avant- prog genre. Briefly, one more excellent Etron Fou LP, a real gem in the Review and Recommended records catalogues.
When those transatlantic darkwave winds, carrying with them english fog & european melancholy, blew over the folk-psych Californian grounds, many strangely beautiful "flowers" begun blooming in the area. Drowning Pool was one of the most extraordinary and (for their quality) the less known. Most representative work the double LP "SATORI", a collection of tracks most of which had already found shelter in previous obscure releases (cassettes, EPs, etc.)
Summing up eclectically the main 80`s inclinations (new wave, electronic, ambient, experimental, psych, world...) and adding a touch of love for 70`s prog, SATORI finds an hypnotic and ceremonial way to consolidate its influences into the local psych (pagan) manifestations of landscape adoration.
If you have loved bands like Savage Republic, Fourwaycross, 17 Pygmies, For Against, Red Temple Spirit, Shiva Burlesque... try Drowning Pool and very soon, i think, you`ll have to add SATORI to the pantheon.
Sad coincidence, post of Reivax au Bongo, brought us, via comments, the bad news of HECTOR`s passing away on 9th of this month. His memory, for us, faraway listeners, is (and will remain) his art. We are mortals but we have the music...
Compilation of 7``singles tracks and other early material from Mark Tranmer (a.k.a. GNAC). Instrumental music influenced by Durutti Column, 80`s indie acoustic works, and the atmosphere of 60`s - 70`s soundtracks for noir films or mystery tv series. Slow, minimalistic developments reflecting melancholy and appearing a sympathy for tiny nostalgic sounds and memories half sunken into the autumn fog. Quite far from new age traps, this lazy idyllic wandering has a charming pop personality and all the necessary lightness to divide the listeners to these they would join gracefully its dreamy flight and those who would drift indiferrent into a weightless loungeness.
“Sand is a naturally occurring granular material composed of finely divided rock and mineral particles. As the term is used by geologists, sand particles range in diameter from 0.0625 (or 1⁄16 mm) to 2 millimetres. An individual particle in this range size is termed a sand grain. The next smaller size class in geology is silt: particles smaller than 0.0625 mm down to 0.004 mm in diameter. The next larger size class above sand is gravel, with particles ranging from 2 mm up to 64 mm (see particle size for standards in use). Sand feels gritty when rubbed between the fingers (silt, by comparison, feels like flour)…..” From Wikipedia
This is the technical definition of sand, made of and used by geologists, e.g. scientists. But what is actually sand? And what does it actually feels like?
Woman in the Dunes is a 1964 film directed by Hiroshi Teshigahara, based on Kobo Abe’s 1962 novel, and it is a film that uses sand as a means to explore human beings, their nature, their desires and actions and, finally, their fate.
Niki Junpei is an amateur entomologist who is trapped, like one of his specimens, in a bizarre, surrealist situation. Junpei, being on an expedition to collect insects in an area of sand dunes, is trapped by some local villagers at the bottom of a sandpit, along with the young widow living there. His and the woman’s task is to endlessly shovel sand. In exchange, they are provided by the villagers with food and water.
Every night the sand is shovelled away, and every morning is inevitably re-deposited again; the monotonous (and meaningless) task is repeated again and again, night after night, without any sign that this will somehow of sometime end.
The woman, totally surrendered to her fate, accepts this situation as it is; for her, this is how things are, and they could not be different. Jumpei, instead, unable to find a meaning in all this, rebels against his Sisyphean fate, and tries in several ways to escape it, with no success. When at last he actually has the opportunity to escape, he chooses to stay in his captivity, having found a meaning (or believing he does so) into this situation; partly due to the fact that the woman is pregnant to his child, and partly because he has started working on a mechanism to pump water from the sand (and by this way giving a meaning to it).
In Teshigahara’s film sand is the mean, the instrument. Sand is the boundary and the limit, but it is also the guarantor of sustaining life, it is thus equally the precondition, the purpose and the target, even being (or maybe exactly because it is such) a meaningless one. Slipping like water and continuously changing its form, sand becomes the symbol of the world and of time, a time that is eternal and inescapable, time in which the human fate is created, and at the same time sand turns almost into a character of the film, having its own life; it is the character that governs human existence, like a (physical) god. Towards this god, which like sand particles is tiny, elementary but also huge in its wholeness, the human being, small against the world like a small insect, reveals the core of its existence; the desire for life, which is expressed in its most fundamental elements throught lust for sex and food, and the desire for freedom.
“Are you living to shovel, or shoveling to live?”; this is the question that the entomologist poses to the woman, and to all of us.
Woman in the Dunes is one of cinema’s masterpieces; surrealistic, deeply philosophical, aesthetically bizarre and highly erotic (it contains, in my opinion, some of the most erotic scenes ever filmed), is a film that someone worth to see.
With a small search, you can easily find and download the film, with English subtitles, through torrents (check out the Pirate Bay).
The film’s music is composed by Toru Takemitsu.
With this opportunity, check out the following post with Takemitsu’s "In an Autumn Garden" (it is NOT the film’s music).