Wasserman / Rectum - Split Singles Uno (2012)

Electrónica / Experimental / Drone

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Porque me siento rara vol.35 - Jazkamer

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Jazkamer are a core duo of John Hegre and Lasse Marhaug. On Art Breaker they are also joined by Iver Sandoy. I don’t now that much about Hegre but any noise jerk has probably come across Marhaug’s name in their travels. The thing about Jazkamer is that they may be one of the most diverse noise acts out there. [...] There are 58 tracks on Art Breaker . The longest is nearly two minutes the shortest is 5 seconds. Only six of the tracks are over 30 seconds in length.


(Completo en http://ducksbattlesatan.com/2010/01/26/jazkamer-art-breaker-smalltown-superjazz-2008/)

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Recuperando vinilos #3 - Jorge Luis Borges (1966)

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[...]
   En algunos poemas, una breve introducción relata el motivo o circunstancia que indujo a nuestro autor a escribirlo; completamente inédita en la obra de Borges, ella aumenta, como es previsible, la calidad del testimonio. Desde hoy sus admiradores podrán escuchar de cerca los poemas y las confidencias que los preceden, con la misma alegría e intimidad con que lo escuchamos sus amigos, gracias ahora al milagro moderno de la voz impresa. [...]

(Completo en el dorso del LP.)

...más en: http://www.internetaleph.com/

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Recuperando vinilos #2 - Gabriel García Márquez (1967)

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   Como lo primero que conocí de Gabriel García Márquez fue la voz, por teléfono, pienso que no deja de ser un antecedente que me autoriza a presentarlo en un disco.
Aunque, a esta altura, Gabo no necesita ya ninguna presentación en la Argentina, pues está en prensa la tercera edición de su novela cumbre, Cien años de soledad, de la que se seguirá hablando dentro de cien años y siempre. Para comprender porqué, basta escuchar al autor en el papel de lector de sí mismo. ¿De donde le viene a García Márquez esa familiaridad con el misterio y el milagro, la total tranquilidad con que acumula gitanos que vuelan en la alfombra mágica, bellísimas señoritas que practican la levitación, lluvias que duran generaciones enteras, un curioso que reinventa lo que está inventado, personas que viven dos siglos?[...]

(Ernesto Schoo, completo en el dorso del LP.)

...más en: http://sololiteratura.com/ggm/marquezprincipal.htm 

Mp3@320

Recuperando vinilos - Julio Cortázar (1970)

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   Es bastante horrible que todas las hojas de todos los árboles de nuestra vida, presentes para Funes el memorioso, esté perdidos para nosotros sin estarlo, estén ahí como si no estuvieran, en una memoria pasiva que se niega a obedecer a la voluntad y en cambio, estúpida, nos saca de golpe una vidriera en Roma en 1952, un lápiz azul de un cumpleaños infantil, una escena de una cinta de Pola Negri, un compás de tango y gracias, dejándonos vislumbrar sádicamente que todo el resto está también ahí, que podríamos acordarnos si solamente encontráramos el método. [...]

(Completo en el dorso del LP.)

...más en: http://www.superchatarra.com.ar/edanteriores/agosto2004/1.htm 

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Esto lo estoy tocando mañana #22 - Eduardo Rovira (1968)

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[...]


A propósito de Eduardo Rovira, Ernesto Sabato ensayó un esbozo centrado en la idea de un espíritu romántico que se expresó con un lenguaje austero, ni cerebral ni lacrimógeno.
Uno escucha los ocho temas del CD “Sónico” -”Azul y yo”, “Sónico”, “Bobe”, “Opus 16″, “Ritual”, “Preludio de la guitarra abandonada” y “A don Alfredo Gobbi”- e ingresa en atmósferas tangueras infrecuentes.
Salvo el propio “Sónico” y “Ritual”, que echan mano de una rítmica pujante, incisiva, distinta en sus acentuaciones, del modelo impuesto por Piazzolla, las composiciones se destacan por extensos desarrollos en los que alterna el esquema lento-rápido.
Habrá que descartar el más que avasallante apurado ritmo con que asume un clásico como “A fuego lento”, de Horacio Salgán.
Clima de misterio, el resto tiene clima de misterio, como si Rovira buceara en las catacumbas del tango, con visiones menos crispadas de la ciudad cosmopolita. El ensamble del trío es acogedor, sin que ninguna complicación rítmica o atrevida armonización nos sorprenda.
[...]



(Completo en
http://musicarberdi.wordpress.com/2007/01/24/eduardo-rovira-sonico/)

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Ensamble Murano - Albergue Warnes (2012)

Deep House / Trance / Electrónica

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Esto lo estoy tocando mañana #21 - Blowhole (1990)

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Blowhole were a prolific and ever-rotating cast of characters spearheaded by Jeph Jerman who played Borbetomagus-style bludgeoning and scraping jazz of the free variety.  They released a steady stream of cassettes and LPs in the early-mid 90s of a consistently high quality.  Despite the shrinking or expanding size of the band or even the instrumentation, Blowhole had a style and a sound, marked by tight-rope improv and the layering of gunk and buzz, and while they never exactly became a household name there are countless examples today of the Blowhole steez (for example, the new Klangmutationen comes to mind), proving they were indeed ahead of their time.  Below find two tracks from the excellent 1990 LP Guerilla Jazz, including their nearly unrecognizable take on Ayler's "Ghosts".

(http://blog.wfmu.org/freeform/2008/11/blowhole.html)

Mp3@320

Rectum - s/t (2012)

Ambient / Noise / Drone / Abstract

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Porque me siento rara vol.34 - The Caretaker

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James Kirby's work as The Caretaker has always dealt with the suggestion of haunted memory and the obscuring of temporal motion, and this latest album makes that more explicit than ever, with titles that reference amnesia, Alzheimer's, past life regression and other such memory misfires and short circuits. Musically, this album might be compared to Philip Jeck's manipulated vinyl tracts, featuring similarly oceanic swells of crackle and dust, with faded pianos or big band sounds wafting wraith-like across the mix. After conjuring the sinister atmospherics of The Shining with his debut album Selected Memories From The Haunted Ballroom, The Caretaker has been chasing this idea of sound leaving its indelible mark on a space and time, so consequently these creepy, semi-dissolved musical passages sound no more tangible than shadows, and the album for the most part comes across as some sort of séance held via wax cylinder. Arguably the most accomplished and rewarding Caretaker album to date, Persistent Repetition Of Phrases is an album you'll want to snap up fast - there's only 500 of these in circulation...Highly Recommended.


(boomkat.com)

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Porque me siento rara vol.33 - Roof

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An amazing quartet featuring the late Tom Cora on cello (Skeleton Crew), Phil Minton on vocals, Luc Ex (The Ex) on guitar and Michael Vatcher (Honsinger/Ex/Zorn) on drums. Roof collapsed with the passing of Tom Cora, taking on Veryan Weston and renaming themselves 4Walls. As great as that band is, Roof was the real deal, an inspired band reaching for new creative breakthroughs. This studio album (Trace is the complimentary live album) includes works derived from Skeleton Crew melodies, and a reworking of Harry Partch's "The Letter." Excellent, challenging music.


(squidco.com)

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Esto lo estoy tocando mañana #20 - Matana Roberts (2011)

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Matana Roberts grew up in Chicago hearing stories about her extended family, from its roots in Louisiana and Mississippi, to its participation in the Great Migration north early in the 20th century. The stories caused her to develop a deep love of history and a desire to somehow turn that into music.

Roberts has worked as a jazz saxophonist for more than 15 years, first in her native Chicago, and for the past decade, in New York. She's released several albums during this time, but on a brand new recording she's looking for something much more personal, stylistically splintered and true to her own life experiences.

 [...]


Peter Margasak

(Complete on
http://www.npr.org/2011/07/27/138610315/matana-roberts-an-ancestral-history-in-music)

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Esto lo estoy tocando mañana #19 - Captain Beefheart & His Magic Band (1982)

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[...]

Jazz had always been an influence on the Captain. Charles Mingus probably affected his conception of bass and pulse among other things (and Mingus' 1961 classic "Oh Yeah" is an idiosyncratic take on the blues not dissimilar to Don's own take circa the Strictly Personal album). Thelonious Monk's fragmented, kicking rhythms were undoubtedly an influence on Don's own unique rhythms (which in my opinion are his most precious musical asset). Ornette Coleman and Roland Kirk, among others, influenced Don's view of music. When I hear this record, I'm reminded of these influences - particularly Monk and Mingus - not because the Magic Band ends up playing "jazz" in any conventional sense (this is still rock as much as anything else), but because I hear Don moving closer towards those influences in his compositions and in these performances.

 [...]


Scott McFarland

(Complete on
http://www.furious.com/perfect/beefheart/icecreamforcrow.html)

Mp3@256

Porque me siento rara vol.32 - An Afflicted Man's Musica Box

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Considered as one of the best United Dairies compilations and Steven Stapleton’s favorite U.D. release, An Afflicted Man’s reads like a sampler from the NWW list. Featuring : Foetus In Your Bed, Operating Theatre ( Roger Doyle), and Steve’s krautrock faves Anima, it’s highlights include a triumphant, shortwave drenched roar from AMM (who let Steve choose a piece from their enormous backlog of tapes), the massed orchestral march of Jacques Berrocal’s “Conseil Des Ministries,” and the ominous drift of Nurse With Wound’s “I Was No Longer His Dominant”. In other words an excellent modern classical, industrial, abstract, experimental compilation. An Afflicted Man’s Musica Box came out on United Dairies ( UD 012) in 1982 under 3 different covers, limited to a total of 1500 copies (not to speak of the 2 tape releases).


(Original post in a great blog: http://433rpm.blogspot.com/2011/11/afflicted-mans-musica-box-lp-united.html)

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Wasserman - the beach dream (2011)

Electronic / Experimental / Abstract / Drone

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Esto lo estoy tocando mañana #18 - Instant Composers Pool (1971)

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[...] This album is much more like the acclaimed Topography of the Lungs release from roughly the same era, and in fact that album's three participants are all on hand here: Derek Bailey playing electric guitar with a tone that will make listeners want to raid the fridge, Evan Parker demonstrating how to play frantically and subtly at the same time, and Han Bennink approximating a windstorm on percussion, all fairly well recorded for this period. Mengelberg is also more on the case than he often is in these types of settings -- he uses space, but does more than just sit back smoking and watching the others freaking out. Paul Rutherford is great on trombone, and so is the drummer's underrated brother Peter Bennink on both dangerously addled alto saxophone and preposterous bagpipe. [...]


Eugene Chadbourne

(Complete on http://www.allmusic.com/album/groupcomposing-r629452/review)

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Porque me siento rara vol.31 - Dirty Beaches

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Rusty relics pulled from the depths, Dirty Beaches’ bruised beats chime like some deadened lullabies calling out from inside a canyon. Close to the desolate forest fluster of Arch M, Taiwan/Hawaii/Toronto/Montreal native Alex Zhang Hungtai’s coarse concrète samples are biting blocks, like some ‘gull sticking its beak in on Yellow Swans’ rotting carcass. Released via Fixture (Omon Ra, Postcards) Hungtai’s otherworldly follow-up to Old Blood, Horror, suitably picks away at the senses like a baby porpoise pining at you from an oil slick stricken shore.


(No Pain In Pop)

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Esto lo estoy tocando mañana #17 - Lou Donaldson (1958)

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Lou Donaldson's undisputed masterpiece, Blues Walk, marks the point where the altoist began to decisively modify his heavy Charlie Parker influence and add a smoky, bluesy flavor of his own. The material is still firmly in the bebop vein, and the mellower moments aren't as sleepy as some of Donaldson's subsequent work, so the album sounds vital and distinctive even as it slows down and loosens things up.

Steve Huey
(http://www.allmusic.com/album/blues-walk-r137786/review)

Mp3@256

Porque me siento rara vol.30 - Kiku Day & Henry Kaiser

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Berkeley-based experimental guitarist Henry Kaiser has gained a justified reputation for his eclectic tastes and the way that he fuses his influences into an idiosyncratic guitar style. He began playing the guitar after listening to seminal free-improv guitarist Derek Bailey and has a deep knowledge of the Grateful Dead's musical journeys, as well as the 1970s electric-era of Miles Davis, as documented in the three volumes of his Yo Miles! band with trumpeter Wadada Leo Smith. He also has a keen interest in musical traditions from around the world, as his musical tours to Madagascar and Norway with fellow-guitarist David Lindley testify. Tokyo-born and Copenhagen-based, Kiku Day studied the ji-nashi shakuhachi—the bamboo flute that is so identified with Zen Buddhism in Japan---and later improvisation with Joëlle Léandre and Fred Frith, with whom she recorded his dance piece The Happy End Problem (Fred Records, 2007). She first collaborated with Kaiser on Domo Arigato Derek-Sensei! (Balance Point Acoustics, 2006), his heartfelt tribute to the late Bailey. [...]


(allaboutjazz)

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Esto lo estoy tocando mañana #16 - John Zorn (1983)

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This captures over an hour's worth of John Zorn's search for the improvised song form. Several lineups from 1983 are documented here. The first eight tracks feature Zorn with Christian Marclay spinning and Peter Blegvad speaking. The text is unremarkable (for example, Honey-Cab's "...tell her everything I know/ In ink as black as carbon/ On paper white as snow"), but Blegvad's sonorous delivery works well with the chaos that the other two musicians spit and spin out, combining into tides of noisy mischief. Tracks 9-15 find Zorn with Arto Lindsay providing lyrics and guitar, and Anton Fier on drums. Zorn squawks and spurts an array of sounds, from birdcall to babydoll. M.E. Miller replaces Fier on drums for the next set, which features a driving rock beat. This is followed by eight pieces from Zorn, Wayne Horvitz, and Ikue Mori. The final fifth of the album captures the walloping interplay of Zorn, Miller, and turntablist Whiz Kid. Overall, an album of short, angular, experimental energy tracks.

Joslyn Layne
(http://www.allmusic.com/album/locus-solus-r150722)

Mp3@256

Rectum - die meer der tränen (2011)

Noise / Drone / Abstract

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Esto lo estoy tocando mañana #15 - Chicago Underground Duo (2000)

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Synesthesia, the second release from the Chicago Underground Duo, is a stark departure from the sound cultivated in the group’s first recording, 12 Degrees of Freedom. The new release from Rob Mazurek (Isotope 217) and Chad Taylor (Sam Prekop Band) utilizes electronics, found sound, moog and studio manipulations, adding elements that make Synesthesia not just a jazz record, but a release that shuns categorization in any particular genre.
(...)

(Complete on Thrill Jockey Records Site)

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Porque me siento rara vol.29 - Position Normal

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[...] Other characters who pop out of the jack-in-the-box include a surly green grocer, a concerned aunt who leaves a phone message for her niece, and groups of jubilant kids singing about their dancing fingers. Sampled music from children's records and television shows from the '60s and '70s play a prominent role, and that entails lots of whistles, horns, and garden variety percussion, as well as occasional noodling from a cheap guitar. [...]


(allmusic)

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Esto lo estoy tocando mañana #14 - Christine Sehnaoui (2007)

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El disc de solo de la saxofonista de París d’origen libanès Christine Sehnaoui amaga un cert misteri ["SOLO", Olof Bright, 2007]. 30 minuts de sons aquàtics, ofegats, harmònics imperceptibles, harmonies ocultes, soroll blanc, rosa i gris pausats amb respiracions. Hi ha algú sota l’aigua que intenta dir alguna cosa. El saxofonista suec Mats Gustafsson diu que Sehnaoui fa música electrònica amb un instrument acústic. I de fet, escoltant la gravació la dimensió que adquireix la seva tècnica musical – el seu buf – és sorprenent i intensa com ho podria ser una sessió de música electroacústica.

(El que passa dins de la boca; complete on http://christineabdelnoursehnaoui.jimdo.com/discography/solo/)

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Porque me siento rara vol.28 - Andrew Pekler

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Andrew Pekler was born in the Soviet Union, grew up in California and currently lives in Berlin, Germany. He has previous releases on the Scape and Staubgold labels. (...) 
(kranky)


Entanglements In The Orthopedic Sensorium began as a knitting together of unused odds and ends scattered across Pekler's hard drives, combining sketched recordings, unfinished ideas, previously unreleased material and soundtracks for theatre and dance. Despite the odds-and-ends background somewhere down the line this four-track album became something absorbingly well-executed. One of the first things to strike you about the record is how much it sounds as if it's been excavated from some library archive; in fact, within the breadth of a single composition Pekler juggles retro soundtrack-like fodder, early-electronics styled synthesis and tape cutting techniques. Moreover, there's a sense of dreamlike disrupted narrative that's perhaps not too distant a cousin from Broadcast & The Focus Group's Witch Cults Of The Radio Age album, almost inevitably bringing to mind all those buzzwords like 'hypnogogic' and 'hauntological', yet not without good cause.
(boomkat)

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