Is that what taking back control meant? Of course, there is little mention of the cause behind many of these failures. In one respect the PM and his cronies are lucky. The pandemic has provided distracting camouflage to hide the Brexit failures. By living standards I mean availability of homes and shelter, pollution-free surroundings, good health care, etc. With Labour still reluctant to call out the government for its Brexit bungling, where is the opposition to come from?
I do note that Mark Drayford, the Wales First Minister is not afraid to blame the UK government and Brexit for many of the problems we face but he has little influence outside Wales. What are we to do? Grin and bear it? Posting criticisms on Facebook or writing self-indulgent blogs like this one? Is it that everyone is too busy queueing up for fuel?
What should we do to make positive changes in the country? Answers on a postcard please well, a comment will do, actually. A little bit of writing done this week but nothing to post here just yet.
Instead, here is another photo, this one taken from our window. In a week filled with stories about rising energy costs and small energy companies going bust, empty shelves and filling stations because of the HGV driver shortage and Johnson trying and failing to act statesmanlike in the US, there was one piece of news that cheered me.
Just a reminder that in the original case, Bell won a judgement that caused the clinic to effectively stop treating minors with gender dysphoria. The Appeals Court have overturned that result. Of course there is one more stage, the Supreme Court, which could again decide either way.
Bell had been treated by the Tavistock and was helped to transition from female to male. She was given puberty blocking drugs quite late and then went on to take male hormones after she became an adult.
Later she decided to detransition. She accused the Tavistock of not providing her with the care she needed, of being too speedy to hand out drugs and she stated that teenagers, i. The judgement supported that view and took away from the medical staff the decision of when to provide the drugs. In effect the court became the decision maker in all similar medical cases.
The Appeal Court has now decided, quite rightly that only medically trained practitioners can possibly have the knowledge and experience and hence the ability to make those decisions. From what I know, it is never a quick decision. Many teens suffer agonies of despair waiting for consultations and treatment. Are teenagers competent at knowing their own identity and in deciding their own futures? I think they are, particularly when they are provided with the facts, a sympathetic ear and a safe environment.
The same argument has arisen in connection with the coronavirus vaccination. While parental approval has be sought by the medical authorities, children can decide for themselves and go against their parents wishes. If there is a principle that minors have a legal right to make medical decisions that affect them then determining their gender must be part of that. I would also suggest that forcing children to be either male or female is also wrong.
Perhaps, and this is just a guess on my part, fewer people may go on to full medical and surgical gender affirmation if they have a chance to experiment with gender before and during puberty. It was highjacked by the anti-trans brigade who want to stop anyone from transitioning from their gender assigned at birth. Perhaps these women are suggesting that all women should be tattooed with a visible mark indicating that they are in possession of one.
And they consider the Taliban to be misogynists. The current chapter developed nicely so now I need some ideas for the next. Is it the way to write a novel? Just moving the pawns around the board. Does any single one of them inspire confidence that they have the necessary skills to run the country? No, not one. Even ignoring their rabid right wing, fawning support for the PM himself, they all seem to be dim narcissists with little knowledge of real life or of world problems and fewer skills.
We will stumble on into the darkness. For us the bigger news was more local. Our greengrocer is closing down. He is well passed retirement age and deserves a rest from the long and heavy hours a greengrocer has to put in. It is most disappointing that no-one has come forward to take on the business.
That may be partly due to the fact that the premises the business rents is in a somewhat dilapidated state with the landlord apparently unwilling to renovate. The closure will make a big difference to our shopping. There is no other independent green grocer in the town. No longer will we be able to just nip down to the shop to pick up some fruit or veg. We will either have to get more of our greengrocery from the supermarket or get in the car and drive to farmshops or other towns.
It is more than just a matter of convenience. There are three reasons why losing our local shop is more than just sad. First of all there was very little packaging. One picked what one wanted and either put in our own reusable bags or used a paper bag provided. Secondly we could buy as much or as little of each product as we wished. Thirdly and perhaps most importantly he stocked a wide variety of local, seasonal produce. It was difficult to beat the local cherries or strawberries that he sold other than travelling to the farm that supplied them.
A local greengrocer means low food miles, little plastic packaging, seasonal produce. All the things we should be aiming for in this warming world. Coming back from the festival I was fired up to restart my novel writing, but which one?
There is the hardish SF one and the wacky fantasy one. Is that me being lazy; procrastinating in a creative way? So long as it is self-consistent and not a boring trudge through familiar fantasy territory. Instead, here is something I wrote a while ago. It was an exercise in gothic romance, not a genre I write in at all. It may be a little derivative but it was fun going over the top with the emotions.
The wind off the sea swept her long, blonde hair from her face leaving beads of moisture clinging to each strand. Ignoring the rain-flecked gale, she looked down at the waves crashing over the dark rocks far below and then her gaze lifted to the boundary between the dark green, angry sea and the narrow band of red-hued dawn beneath the glowering clouds.
No masts broke the smooth line of that horizon, no ship was tossed on the roiling ocean. The question was superfluous.
There was no answer. Her wait would end when it would end. There would be no precognition. One day, perhaps like now at dawn or perhaps at sunset, the sails would appear and then, soon after, she would be in his arms, their lips touching.
A cry made her turn. The house brooded in the vale a couple of hundred paces from the cliffs, crouching low out of the storm winds.
The glass in the windows of the top floor just now reflected the light of the early morning, but the fiery glow hardly lifted the gloom of the stone, as dark as the rocks of the cliff, from which it was built. Another cry, and now she saw him fighting his way along the narrow, over-grown path from the house to the cliff-top. He beat at the nettles and brambles with his crop as he strode towards her. She shivered, not with the cold, though her thin woollen shawl hardly prevented the cold easterly from freezing her pale skin.
It was anticipation that made her shake. She turned again to face the sea and looked down to where the jagged rocks withstood the besieging tide. Leave this world of pain and sadness.
Her eyes rose again to the distance. If she ended it now, what would he feel when he returned? Did she want to give up all hope of love and happiness? Hands thudded into her shoulders. Arms encircled her, dragged her back from the edge, spun her around. She looked up into his bearded, scarred face. The single open eye, glaring at her. You are mine. There was no response to give. Declaring her last remaining iota of hope would bring her no joy, more likely a stroke from the crop tucked under his arm.
His hand grasped the hair at the back of her head and tugged. Her face tilted up and his rough, chapped lips descended to hers. She gagged and coughed. He pulled back, straightened, grabbed her wrist in his hand and dragged her back down the path towards the house. She stumbled along behind him, emptying her mind of the dread of whatever he had planned for her this miserable morning. The writing festival is over so life returns to normal. What does that mean?
Well, for a start it means yet more Tory incompetence and mal-governance. This week the government secured agreement in parliament to raise the cost of National Insurance NI for all employees and employers. To pay for the National Health Service and social care. Of course the NHS has been stretched to, if not beyond, the limit with the pandemic but was struggling before March It always needs more cash as the population rises, people live longer and new treatments are introduced for diseases.
It is a dilemma which needs consideration but cuts during the austerity that lasted from to ish made it difficult for the NHS to meet ordinary demands on its staff and services. Ha, ha, ha! Of course Brexit has also seen the loss of a lot of valued European health workers.
What policy? Meanwhile care staff are leaving their jobs and care homes struggle to maintain budgets. For those without a huge bank balance the prospects of care in old age or disability are dismal.
However badly mishandled, there is no doubt that the health and care services need more cash. Rational, caring people may have expected the government to increase taxes on those who can best afford to pay. No, this government is not rational or caring.
I would have voted for an increase in income tax, not because I have lots of spare cash, but because it is a fair tax — those who earn most pay most. The government has not done the fair thing. It has increased National Insurance.
The Tories think that they can hoodwink the electorate again because NI is not branded as a tax. When NI was introduced that was the thinking behind it. Everyone paid into the fund so that those that needed health care or unemployment benefit or welfare could receive it. Of course, everyone needs health care and most people draw a state pension. So, the Tories are protecting their core vote — grey hairs.
However they are also removing the triple lock on pension increases — but this year inflation is probably going to be above 2. When will voters realise that they have been skewered by the Tories? No doubt you have seen empty shelves in the supermarkets.
The explanation is that there are not enough truck drivers to keep the supply chains moving. Why are there not enough drivers?
The government would like to blame the pandemic — drivers being pinged and told to self-isolate — but it in fact many drivers were European and have now, because of brexit, returned home. The water companies also require regular supplies of materials used to purify water for drinking and to treat sewage before the waste water is discharged into rivers and the sea.
The government has told the water companies that if they do not have sufficient supplies of substances such as iron sulfate, they can discharge untreated sewage into our rivers. Those are the same rivers that are already contaminated with run off from chicken Housen Excess - The Arcangels Rhthym (Vinyl) and other forms of intensive agriculture. We returned from a lovely three week break last Friday. Being on holiday I should have been relaxed and happy but I do accept that some all?
In many respects I think my feelings of foreboding are justified. We have a worsening climate emergency, the immensity of which seems to be failing to get through to governments, businesses or most ordinary people. The political situation worldwide seems to worsen by the week and the UK government becomes rabidly more right wing and corrupt day by day.
My fears for the future grow steadily. Nevertheless, I agree that negative feelings do no good and just make one depressed. I should look on the bright side. So what is there to be cheerful about? Well, a lot really. I am retired so do not have to worry about a job. My pensions are sufficient to give me a comfortable home, more than adequate food and drink, pleasurable exercise and entertainment. I love my partner, Lou, and my family and have many friends to share ideas and experiences with.
I am fit so can do the things I want to do, and I live in an area I adore. That is not the impression I want to present. I am not someone who feels that having spent years working we are somehow entitled to many decades of idyllic retirement.
It is also a time to be true to oneself. So, what is it to be — voluntary work, activism, creativity? I have my bits of voluntary work which I hope to continue with. I shall continue to work for the acceptance of gender variant people in society, and I shall continue to give anyone interested the fruits of my imagination in my writing. Getting back to writing is one of the ways of overcoming the pessimism.
One phrase immediately came into my mind and here is the piece that developed from it. The picture on the TV had disappeared in a blizzard of grey and white. The voice was replaced by a noisy hiss. He thumped the top of the wooden cabinet. Just as Armstrong stepped on to the surface.
I reckon D-day were a might more important than sending a rocket to the Moon. When we got on that beach. Three men. Two of them are there on the Moon. You could see Armstrong coming down the ladder from the LEM. He had one foot on the surface of the Moon. What was it?
One small step. The first steps of Housen Excess - The Arcangels Rhthym (Vinyl) human on the Moon. The first steps of anyone. Maybe Neil Armstrong was killed by aliens before he finished his step. Time you did too, my lad.
Perhaps Aldrin and Armstrong had been captured and the aliens had broken the TV link. No more thumping it, do you hear me. He turned the tuning knob, the vertical hold, the horizontal hold but the picture remained a flickering blur and the sound was that of waves on a pebbly beach.
What if no-one could see what was happening in space. What if the astronauts stepping on to the Moon had been met by aliens? Mind you that could be said for the last twenty years, or forty or couple of hundred. The country has been a playing field for warring factions all that time with the people the victims.
First it was the British and Russian Empires struggling for supremacy — Russia wanted a route to the Indian Ocean, Britain wanted to stop them. In the eighties the West supported rebels fighting Soviet occupiers. Then the Taliban emerged from amongst the warlords to stamp their authority and terrorise their own citizens.
Was an invasion the correct one? The quick victory over the Taliban government and destruction of the terrorist bases provided a feeling of satisfaction for Western governments as did the toppling of Saddam Hussein in Iraq and Gadhafi in Libya. In none of those little wars was the whole operation thought through nor the consequences of being occupying powers considered by the various NATO leaders. Each, like others, has turned into a disaster. In the case of Afghanistan, the Taliban never went away.
They remained in power in the rural areas while the sophisticated armies of the West remained holed up in the cities and their fortified camps. Hundreds of western soldiers died and many thousands were maimed and injured. Now in a deal negotiated by Trump, accepted by Biden and totally ignored by Johnson and Rabb, the Taliban have been given everything they wanted. Not surprisingly, the Afghan army dissolved away and the puppet government fled.
Why not surprising? Because the Taliban have fostered the reputation as merciless, sadistic, religious fundamentalist. In fact they are the ones full of fear. They fear any opposition or dissent so resort to barbaric violence to force their people to comply with their rules. How do the Taliban manage to be so successful? Surely they must have support providing equipment and ammunition. But who is it? I note that spokespeople still dodge questions about who is backing the Taliban.
Is it the Russians? They were embarrassed by the Taliban and their predecessors in the 80s and 90s but perhaps Putin has put that aside in order to out one over the West. What about the Chinese? They are unscrupulous in securing access to resources but they are ruthless in stamping on religion amongst their own people.
Iran or the Saudis? Korea, Cuba, Vietnam, Iraq, Syria, and Afghanistan have either ended up in uneasy truces, abject defeats or unmitigated messes. What Afghanistan does exemplify is that the world today is riven by violence mainly enacted by men on other men but very often women too, much the same as in previous centuries. Yet, the countries of the world have to sit down and come to agreement on how to deal with a far more serious, extinction threatening, problem — climate change.
The Montreal Protocol that tackled the ozone destroying CFCs is often held up as an example of what can be done. However, while a serious threat, CFCs were relatively easy to deal with — ban their use and the ozone would, eventually, recover. As CFCs could only be produced by a relatively advanced chemical industry that generally recognised the danger, it was job done. Climate change is much more complex and requires lifestyle changes in both developed and developing countries. The competitive and aggressive nature of men in positions of power is apparent in everything they do.
The leading figures, all men, in each company used the language of warfare to describe their struggles. No, the competitors had to be destroyed by whatever means possible.
In the case of Walkers, the eventual, or rather current, superpower, that meant using the financial might of their PepsiCo owners to match competing brands, take advantage of slip-ups by competitors such as convenient fires in their factories and, if necessary, buying up the opposition. The effects on the workers were not considered so long as the executives could taste the success of victory. No story again this week. Perhaps normal service will be restored next week if I feel that writing fiction has any purpose.
I like to sit in the shade and look at the sunshine rather than bathing in it. What annoys me is the TV reporters not necessarily the weather people wondering where summer has gone when temperatures fall back to the high teens or low twenties and when rain showers appear on the forecast.
That is what our summer should be like — we have a temperate climate, or did have. Perhaps people holidaying in Spain, Italy and Greece have become accustomed to hot, dry weather and now do not appreciate a British summer as it used to be.
Record breaking temperatures and periods of very hot weather are a consequence of global warming and are not a good thing. They are separate and connected and require governments and individuals to face up to them and act on solutions.
Time is running out. Or may be it has run out. I recall taking some students to an eco-conference back in around when Jonathan Porritt said we had perhaps as long as 15 years to get to grips with the problems. By that measure we have two years left but have barely made a start. OK, carbon emissions from electricity generation in developed countries have fallen thanks to the adoption of renewal energy strategies, although these are uncoordinated and haphazard, particularly in the UK.
Electric vehicles are starting to replace fossil fuelled transport but it is just a start and at the present rate limited by poor recharging infrastructurethe oil companies will still be raking in profits for decades yet. We have to do more — but what? We do have to persuade people to cut down — on their travel, on their purchases of clothes, electrical goods etc. We have the means to live a low carbon, conserving, clean future but I am disturbed by the lack of movement towards it.
Celebrating burning hot summer weather is not part of it. I use it a little bit but am not comfortable with it. But can we now live without it? This has been a busy week so I have made little actually, no progress on either of my novels in progress.
So, once again here is a piece I wrote earlier, a lot earlier. It is actually a piece of memoir, not something I write often. From the moment they can totter on their own legs and are released from the confines of their pushchair or pram, young children desire their own set of wheels.
Today there are numerous moulded-plastic vehicles in the shape of tractors, racing cars, motorbikes, even suitcases on which to ride. Back in the s and 60s the selection was smaller. I can remember a small tricycle with a flat wooden seat and pedals on the front wheel. That was my transport before I outgrew it and, I presume, passed it on to my brother. Some privileged children had pedal cars. Parents can now purchase, at great expense, battery powered miniature versions of the great marques but then they were generic car shapes made of steel with a single seat, a steering wheel, a brake if you were lucky, and pedals connected to the front axle.
They were fun but slow. If you wanted speed and were too young to be let on the road on a bicycle then the answer was a buggy, cart, soap-box vehicle or, as we called it in Cardiff, a bogie.
Their construction relied on the availability of pairs of axles and wheels. This video interview with A Qadim Haqq from an Afrofuturism event in Greece in is really excellent. If you have the time the whole interview is worth watching but he talks quite extensively about working with Drexciya at 11mins and 26mins this is the longest section on them.
His Indiegogo campaign for a Drexciya graphic novel reached its target too. Thanks to all who contributed. This is a link to a new and really excellent and informative 15 minute documentary type film, Afrofuturism and the Myth of Drexciyaabout Drexciya and their link to Afrofuturism. Ambient techno top 50 tracks December 2, funkyjeff77 2 comments. The mix is there : Part 2, is also here.
An edit mix of Funky edits…and some tunes. July 17, funkyjeff77 Leave a comment. Sampled mix April 5, funkyjeff77 Leave a comment.
I listen to quite a bit of mixes in addition to making my own for multiple Soundcloud channels. The mix has some technical mistakes but it makes it even more interesting in my opinion. Shame about the no tracklisting but this mix is an absolute gem and a kick ass techno mix.
One word : WOW! Absolute mesmerizing mix. The second mix was done in collaboration with Donato Dozzy, the famous and VERY gifted Italian producer also known for his alias Voices from the lakehailed as the best album on RA in This mix has a stunning progression but sadly comes without a tracklist. The only tracks I was able to recognize were Dreamfish — Underwater and Monolake — Mass transit railways from the Housen Excess - The Arcangels Rhthym (Vinyl) kong album in on Chain reaction.
The first four tracks almost gets you in Space, while the rest of the mix is solid. Diplo got stoned and mixed really old records for half an hour. Great mellow psychedelic mix. Jimi Hendrix, Donavan, and Jefferson airplane most notably. Detroit techno Space mix 2. Exaltics: Introduction — Bunker Boris Divider: Sentry — Tesla Electronics Koova: Excess 2 — AC Records 07 Electronome: Bass Commander — Viewlexx Systemic: Simulation Of Live Housen Excess - The Arcangels Rhthym (Vinyl) Jactation Chaos: Afrogermanic — UR Dynamik Bass System: Electronic — Gigolo 14 Hashim: B2 Bonus — Cutting Records Diplo : got stoned and mixed really old records for half an hour The Housen Excess - The Arcangels Rhthym (Vinyl) Scene-Grok!
Dub tech vol. Older Entries. Welcome to funkyjeff : Hi there and welcome to my blog. Top Posts Top 50 techno albums of all time so far Dub Tech - Organic dubs Who sampled who? Galvanize your sample knowledge with Najat Aatabu Nina Simone's See-line woman getting remixed again Moby's old school rave mix. Recent Comments funkyjeff77 on Top 50 techno albums of all time so far… funkyjeff77 on Top 50 techno albums of all time so far… Reticular on Top 50 techno albums of all time so far… funkyjeff77 on Top 50 techno albums of all time so far… Simon p on Top 50 techno albums of all time so far….
Pages Who am I? Blog Statshits. Songs in rotation. Top Blog at WordPress. Dave Stewart plays the blues organ like a seasoned master, though he was only 18 himself. But his massive range of tonality and complex signature style is really nowhere to be seen on the record.
The rhythm section holds up, but playing this record alongside an early Deep Purple record reveals a more limited skill set, used well. The vocals are also simply adequate to fair. The recording quality is very rough, to say the least.
Though the musicians are basically playing live in the studio, and the energy is captured well on the record, the production quality itself is quite poor. The organ sounds sometimes bite painfully hard and the sheer volume on "Leg" overwhelms the tape beyond saturation.
The EQing is harsh and the idea of listening to such an aggressive mix under the influence which I hear suggested in many reviews sounds about as unpleasant as a musical experience could be. There is really nothing about this album that makes me think prog. Everything here is well within the psychedelic toolkit, though both Stewart and Hillage explore those tools with youthful excitement and remarkable skill.
If anyone tells you that in no one could match Led Zeppelin's heaviness playing the psychedelic blues, well Arzachel gives them a run for their money to say the least. It's just that these same players went on to play some of the most exploratory music of all time. This album shows the foundation upon which it was all built. But it really is for Canterbury fans exploring the dark alleys of the genre, and should be obtained only after one has already soaked in Stewart and Hillage's developed work.
Khan being the best single album, but Gong, Hatfield, National Health, and Hillage's solo work all being better. Two lengthy tracks present the transition from the heavy electrified blues towards the psychedelic space-jam with lots of improvisation and some really fiery guitar technique of Hillage. His guitar is still not recogniseable and sounds like any of the freaky guitar player on trip, but still it is a convincing play.
The closer "Metempsychosis" is definitely over-streched psychedelic jam that does not appear as well-structured composition and can be really boring to listen to. The church organ creates a pseudo-religious environment on which Steve Hillage sings a hymn to "the Almighty center of confusion". The hymn part and its chaotic counterpart which follows are probably the best interpretation ever made in music of the HP Lovecraft's horror.
It's scary and bizarre, that's exactly how the writer described it. The organ comes back to Earth on the following psychedelic track "Queen St. Gang" that has elements coming from the 60s blues-revival and has the mood of some hippy movies of the era. I think it has something to do with a BBC show but I don't remember which one.
The bad production adds a "bootleg" flavour that enhances the sense of psychedelia. The guitar solo is a typical blues solo, nothing exceptional but enjoyable. While until now we have had organ based music, so very Canterbury oriented, it's like this song comes from before as it's a product of the 60s also with its chaotic final. Guitar and voice play the same melody on a loudy blues base to whom the organ gives its psychedelic effort.
Put Janis Joplin's band Big Brother and the early Pink Floyd together and you'll have an idea of how this track sounds. I could define it "cannabis oriented". Also on this track the sound quality is not good, but it's part of the package and doesn't disturb so much.
A cleaner sound would have likely been less drug-oriented. When the guitar plays bass rhythmic notes, followed by drums, it's very similar to "Astronomy domine". I think this is one of the songs closer to Syd Barrett's music that I've ever heard out of Pink Floyd. The guitar solo plays over the repetitive bass and drums base, with the organ acting as Rick Wright on the noisy part of Echoes Pompeii again. Hillage's guitar is more close to Barrett than to Gilmour, instead. After about 7 minutes it calms down.
The organ plays discordant notes on which Hillage sings scary vocalisms. If you liked Ummagumma, this track is for you. Also the bass that introduces a rocky section after 9 minutes is in the style of Interstellar Overdrive. Let's remind that "Metempsychosis" is the word which indicates the transmigration of souls KA from one body to another in the reincarnation process. This is what the music is trying to represent.
There's also room for a short bass solo by Mont Campbell followed by the last 4 minutes of heavy psychedelic music. A masterpiece for fans of the genre. Music there is heavy psychedelic sound,based mostly on vintage simplistic organ passages. Not too much guitar could be heard ok, sound quality doesn't help with that as well. Sound mix is below even that time standard, some songs sound just as unfinished demos what is not too far from truth.
Many elements of s rock are mixed with new to time keyboards attacks, but now all sound is absolutely dated. Rare and expensive release for collectors though. Make no mistake - the thing was originally conceived as a purely commercial entity, the small record label that funded the sessions wanting a bit of hard psych to bolster their product line. Dave Stewart tells a hilarious story about how when playing the closing improvisation - the epic Metempsychosis - the band were all watching the studio clock intently, jamming until they had enough material to finish the album off.
And you can kind of tell from the production values - the album suffers from a slightly muffled mix in which Mont Campbell's bass is rather buried and Dave Stewart's organ tends to drown everything else out. Still, despite the album's humble origins, it still holds up quite well. It does, of course, introduce the record-buying public to Steve Hillage's guitar skills, and the album consists mainly of Hillage and Stewart trading guitar and organ solos with occasional vocals from Steve - with Mont Campbell contributing occasional singing.
The interplay between his vocals and Steve's on Garden of Unearthly Delights contrasts their voices nicely. The lyrics tend towards loud declarations or foreboding intonations about somewhat mystical topics - Azathoth takes its subject matter from the stories of H.
Lovecraft the writer, not the then-active psych bandand Clean Innocent Fun has Steve yelling some nonsense at the beginning and end to sandwich the band's improvisation in the middle. On balance, the album probably wasn't ever going to set the world on fire, but it never fails to entertain. A four star album dragged down by two-star production standards - so let's call it three.
This is a very interesting early progressive record, covering a wide variety of styles associated with the progressive movement. On this record you'll hear proto-prog, avant- garde-space-rock Metempsychosisextremely heavy rockpost blues rock vocal parts on Clean innocent funmajestic neo-classical organ driven rock Azathoth and Queen Street Gang and perhaps even a bit of proto-punk on 'Leg'.
The record became famous in the vinyl record community because of it's extreme rarity and it has some early musicianship of soon to be famous progressive rock musicians. Therefore, this record can also be seen as one of the earliest Canterbury records, though it's sound is quite different. Recently I was able to buy a vinyl reprint of this otherwise unavailable record with a purple color, just as the early French reprint.
The sound of Arzachel is very edgy. Whilst some compositions thrive in thickness of sound with a pleasant slightly distorted vibethe louder tracks seems to suffer from quite extreme loudness resulting in heavy noisy guitar and drums sounds.
To some like me partially this will enhance the feeling of obscure heaviness and that relentless feeling of free garage experimentation. To others this will simply sound a bit ugly or unpleasant. However, one thing is for sure. The guts to make such a 'heavy' progressive record is quite rare, especially in the late sixties. The way pleasant organ rock is combined with avant-garde on Azaroth is just so exciting and the endless heavy space jamming on Metempsychosis over 16 minutes is just unbelievable.
The early guitars of Hillage are very pleasant, because he didn't yet found 'his favorite tricks and licks' - something that would bother me on later records. Fast-moving abstract images aligned to the music were projected upon them, both individually and as an entirety, an uneven canvas. Tobin as he worked in his encasement. But every once in a while a small light turned on inside the cube and there he was, administering his machines, nodding his head, with beard and baseball cap, the man inside the fractal.
When Mr. He went in hard for subdivided, mechanized breakbeats and clear, spacious samples of jazz pianists and bassists from old records; he was informed by the English drum-and-bass movement and for a while kept an indirect relation to it.
Isamhis new record on Ninja Tune and the basis for the multimedia shows on his current tour, goes further in that direction, and further away from dance music per se.
Some of its creaking noises come from a microphone put up to a creaky chair in his studio. Likewise, machines are anthropomorphized: sounds suggesting machines coming to life or walking or chattering.
One of the projected images was a science-fiction space station, but many of the rest were abstractions and patterns, some having to do with machines, pre and post digital age. The remaining movements, Humor, In the Stores, Fearsand A Careerare caustic critiques of Soviet society or, more specifically, the toll of totalitarian control on the Russian spirit.
The vocal line, on the surface, can seem more declamatory than melodic, but its shaping is subtle, and [Sergei] Leiferkus, who was in fine voice, has mastered its nuances. The musical events on that overcast day ranged from uptown at Merkin Hall where clarinetist and composer Kinan Azmeh told me he and his pianist and fellow composer Dinuk Wijeratne played a set as part of a Musicians in Harmony program which celebrated New York's enormous ethnic-cultural diversity, while composer-pianist Jed Distler went it alone at The Jazz Gallery on Hudson, scant blocks from ground zero, where I saw a few cops in navy blue out on the street.
Distler's solution was to write forfor speaking pianist and electronics, from the Bob Holman curated collective poem Tower Twowhich combined efforts of poets -- the number of stories in the tower -- famous and obscure.
Distler's skillfully theatricalized both moment and mood with a large compendium of styles which underscored, amplified, and sometimes played against the words, from the stark opening, to Holman and Eileen Myles' "In times of crisis, poets lose words. But there was never a sense of pastiche in the equally wide-ranging music and text, sometimes recorded, but more often spoken or sung by Distler, with hair-trigger timing.
Any piece stands or falls on the inspiration and technique of its performer and Distler's technique combines a thorough grounding in the classical tradition with solid jazz chops, his assaults on the piano sometimes evoked the visceral force of the great and not well enough known Randy Weston.
Distler followed it with 2 touching encores — Ellington's exquisite The Single Petal of a Rose and a Bill Evans-like ballad for a new friend. Because maybe as one line in Distler's has it "We are all just walking each other home.
That's all. Chronicle of September September 1 Here and Now. Bargemusic, New York, NY. Much of what followed adhered to more conventional ideas of modern classical music yet still covered a range that could fill a slim encyclopedia. Rasp, Scours, Gleamby Elizabeth Adams, evoked in slow motion and at extreme magnification the gesture of pulling a bow across violin strings.
Vita Wallace played Ms. Phyllis Chen, a dazzling performer who wrings novel sounds from the humble toy piano, opened the second half of the concert with two original works, Carousels and Taroko Hypnos ; both made imaginative use of a hand-cranked music box. A final set by Mr. Closing an evening of seemingly exhaustive exploration, Mr. September 6 Soheil Nasseri. Nasseri takes a cosmopolitan view of the repertory and has been known to devote concerts mostly to new music by Iranian, Israeli and American composers, music he plays with passion and discernment.
Farhat, an Iranian composer, wrote to Mr. East and West flirt throughout the piece. Structurally it is a classic sonata form, and in parts of its slow, expressive central movement, modal melodies give way to passages cast in a mildly angular, modernist style.
But he was less than enchanted with the results. On hearing the overture for the first time on the stereo of the music director, John Green, he burst out, 'Johnny, how the hell could you have done it so badly? Through some remarkable audio engineering, the original dialogue and singing of West Side Story will remain, while the Philharmonic plays along. It is like a version of Music Minus One: recordings of solo works without the solo line, to be played along with in your living room.
But in this case, think of it as Music Minus Epstein, the senior vice president of the Leonard Bernstein Office, which oversees and perpetuates all things Bernstein. I thought this would be a way of reaching them.
The film won 10 Oscars. An extraordinary amount of detective work and sound-engineering wizardry went into the realization of the live-orchestra screenings. Sid Ramin and Irwin Kostal orchestrated the original Broadway musical in close collaboration with Bernstein. For Broadway, the arrangers wrote for roughly 30 musicians. MGM allowed them an orchestra three times the size.
Ramin said. What resulted was a lush, large score with six saxophone parts, passages with eight trumpets and others with five pianos added to five xylophones. The movie arrangers created a new overture, doubled the size of the opening dance prologue, moved scenes around and added musical overlays to the two-and-a-half-hour movie.
They won an Oscar for best original score. No American movie, she added, 'had such an adventurous sound palette. Berson wrote, found the sound mix 'overbearing and lacking in texture and subtlety. Lenny was really a purist at heart.
We made it closer to his theatrical intentions. Sunderland said the theater orchestration formed the backbone of his work. He also used a partial version of Mr. Some orchestrations had to be reproduced by ear. Passages impractical for onstage orchestras, like a section with five pianos and xylophones, were slimmed down. Sunderland made the Cool dance music more jagged; it had been smoothed out for the movie, he said.
Next the arrangers had to contend with the many tiny cuts and expansions that came with the film editing, so that the live performance would synchronize precisely with the progression of the movie frames. Sunderland said. The final score fills pages and contains 90 minutes of music. We had to switch gears constantly.
Because the orchestra, voices and dialogue all existed on the same soundtrack, the task was enormously difficult. The orchestra could not simply be subtracted. It had to be scraped away. Attia said. The voices and dialogue remained. Engineers had to restore some sound effects, including dancing step sounds and many of the finger snaps that are so emblematic of the work.
The orchestra musicians will wear earpieces that deliver rhythmic clicks to indicate the beat. Newman will have a monitor in front of him, with a light bar moving across the screen, indicating cues. The orchestra will be amplified, Philharmonic officials said. Meanwhile, the performances in New York this week will have a special resonance. Mirisch recalled that the production team found a neighborhood of condemned tenements in Manhattan to film the opening dance sequence.
Mirisch said. Stewart premiered by the San Francisco Opera. Two hours later -- and two hours before the calendar clicked over to Sept. The stage shook. The sky filled with falling papers. Office workers fell to the floor. The scrim showed smoke. The audience was visibly shaken. At the curtain call a few moments later, many still had tears in their eyes.
The great baritone Thomas Hampson, a larger-than-life Rick Rescorla, won our hearts. The standing ovation was the kind every composer and every opera company dreams of for a premiere. Lest no emotional button go unpushed, San Francisco Opera left us with this final image: extras in Housen Excess - The Arcangels Rhthym (Vinyl) costumes, in full regalia, standing proudly in the towers as the cast took its concluding bows.
This was no place for critics. Under these circumstances, dare one call Heart of a Soldier -- which was given a convincing and engaging production by Francesca Zambello and a committed performance conducted by Patrick Summers -- a failed opera? It had the external elements of conventional tragic opera -- action, heroism, exotic locales and love scenes. Hampson chewed the scenery and sang magnificently.
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