Monday, December 31, 2018
Sunday, December 30, 2018
Houria Aichi - (2013) Renayate
Accords Croisés – 148
Dans Renayate ("les femmes"), Hourïa Aïchi, incarnation de la musique de l'Aurès, rend hommage aux grandes interprètes féminines algériennes. A travers les chansons de Meriem Fekkaï, Rimitti, Chérifa, Fadela d'Oran ou Djura, ce sont toutes les femmes, de toutes les générations, qu'elle célèbre. Ces femmes chantent l'amour, l'exil, la guerre, la solitude - la solitude de la femme dont l'homme travaille en France, la solitude dans les petits hôtels meublés de Paris. Elles chantent aussi les travaux de la laine, de la terre, toutes ces tâches réservées aux femmes et qui annoncent, dans la société traditionnelle, les rudesses de la vie dans les turbulences de l'histoire contemporaine. Renayate a d'abord été un spectacle créé au festival des Suds à Arles. Un processus de création autant que de plaisir, un processus de liberté autant que de respect. "Je vais vers leurs chansons avec humilité, dit-elle, mais aussi avec l'espoir que ces femmes auraient été très heureuses de cet album."
Celebrated for her interpretation of the songs of the Aures in Southern Algeria, Houria Aïchi revisits the sacred repertoire of the regions of her country and having collected - here and there - the popular musical gems that speak of the saints and rites that activate the daily life of her people, she places them in a musical setting by composer Henri Agnel to give lustre to their strength and beauty.
Saturday, December 29, 2018
VA - (2016) Imaginational Anthem Vol 8 2xLP
Tompkins Square – 5289
Tompkins Square label presents the 8th volume of Imaginational Anthem, the acclaimed series focusing on acoustic guitar, particularly in the American Primitive vein.
Since 2005, the series has revived interest in old masters of the genre while also giving many folks their very first taste of artists like William Tyler, Steve Gunn, Chris Forsyth or Daniel Bachman.
Volume 8, compiled by hardcore record collectors Michael Klausman (former used LP buyer for NYC’s recently shuttered Other Music) and Brooks Rice, features some of the best and most obscure private press guitar records virtually no one has heard. In fact, so-called guitar soli expert, Tompkins Square owner Josh Rosenthal, had never heard of a single artist on the comp (except for Perry Lederman, whose track was Josh’s sole contribution to the collection). “Just goes to show what a bottomless pit music discovery from the past continues to be. There’s just no end to all the riches from past decades.”
Amidst the obscure entries are bits of rock-star lore; Joe Bethancourt was supposedly given a sitar by an admiring Jimi Hendrix, and Perry Lederman was reportedly responsible for teaching Bob Dylan how to fingerpick. But the true joy of this collection is derived from discovering incredible acoustic guitar performances completely lost to time. Until now.
Track Listing
----------------
[00/14] D1_The Secret Forces Of Nature / Nature Revealed (Gary Salzman) (7:40) 320 kbps 17.56 MB
[00/14] C1_Wen Also Found (Herb Moore) (7:26) 320 kbps 17.04 MB
[00/14] C3_The Diamond Cutter (Jackdaw) (3:30) 320 kbps 8.03 MB
[00/14] B2_Raga (Joe Bethancourt) (6:06) 320 kbps 13.97 MB
[00/14] A2_Snow Queen (The Keithe Lowrie Duet) (3:26) 320 kbps 7.87 MB
[00/14] B3_The Presence (Kip Dobler) (4:43) 320 kbps 10.80 MB
[00/14] A4_Where The Pinery Narrows (Lee Murdock) (5:25) 320 kbps 12.41 MB
[00/14] A3_Obadlah (Michael Kleniec) (5:34) 320 kbps 12.76 MB
[00/14] C2_That Spanish Thing (Nancy Tucker) (3:14) 320 kbps 7.42 MB
[00/14] A1_One Kind Favor (Perry Lederman) (1:54) 320 kbps 4.36 MB
[00/14] C4_Missy Christa (Rick Dietrick) (3:59) 320 kbps 9.12 MB
[00/14] D3_Blue Wind Boy (Russell Potter) (2:13) 320 kbps 5.09 MB
[00/14] D2_Prayer Blessing (Stan Samole) (6:05) 320 kbps 13.94 MB
[00/14] B1_White Pines (Tom Armstrong) (5:52) 320 kbps 13.46 MB
Total number of files: 14
Total size of files: 153.89 MB
Total playing time: 67:07
Since 2005, the series has revived interest in old masters of the genre while also giving many folks their very first taste of artists like William Tyler, Steve Gunn, Chris Forsyth or Daniel Bachman.
Volume 8, compiled by hardcore record collectors Michael Klausman (former used LP buyer for NYC’s recently shuttered Other Music) and Brooks Rice, features some of the best and most obscure private press guitar records virtually no one has heard. In fact, so-called guitar soli expert, Tompkins Square owner Josh Rosenthal, had never heard of a single artist on the comp (except for Perry Lederman, whose track was Josh’s sole contribution to the collection). “Just goes to show what a bottomless pit music discovery from the past continues to be. There’s just no end to all the riches from past decades.”
Amidst the obscure entries are bits of rock-star lore; Joe Bethancourt was supposedly given a sitar by an admiring Jimi Hendrix, and Perry Lederman was reportedly responsible for teaching Bob Dylan how to fingerpick. But the true joy of this collection is derived from discovering incredible acoustic guitar performances completely lost to time. Until now.
Track Listing
----------------
[00/14] D1_The Secret Forces Of Nature / Nature Revealed (Gary Salzman) (7:40) 320 kbps 17.56 MB
[00/14] C1_Wen Also Found (Herb Moore) (7:26) 320 kbps 17.04 MB
[00/14] C3_The Diamond Cutter (Jackdaw) (3:30) 320 kbps 8.03 MB
[00/14] B2_Raga (Joe Bethancourt) (6:06) 320 kbps 13.97 MB
[00/14] A2_Snow Queen (The Keithe Lowrie Duet) (3:26) 320 kbps 7.87 MB
[00/14] B3_The Presence (Kip Dobler) (4:43) 320 kbps 10.80 MB
[00/14] A4_Where The Pinery Narrows (Lee Murdock) (5:25) 320 kbps 12.41 MB
[00/14] A3_Obadlah (Michael Kleniec) (5:34) 320 kbps 12.76 MB
[00/14] C2_That Spanish Thing (Nancy Tucker) (3:14) 320 kbps 7.42 MB
[00/14] A1_One Kind Favor (Perry Lederman) (1:54) 320 kbps 4.36 MB
[00/14] C4_Missy Christa (Rick Dietrick) (3:59) 320 kbps 9.12 MB
[00/14] D3_Blue Wind Boy (Russell Potter) (2:13) 320 kbps 5.09 MB
[00/14] D2_Prayer Blessing (Stan Samole) (6:05) 320 kbps 13.94 MB
[00/14] B1_White Pines (Tom Armstrong) (5:52) 320 kbps 13.46 MB
Total number of files: 14
Total size of files: 153.89 MB
Total playing time: 67:07
VA - (2015) Imaginational Anthem Vol. 7 CD
Tompkins Square – 5104
Imaginational Anthem Vol. 7' is compiled by 20 year old guitarist Hayden Pedigo, from Amarillo, TX. Hayden has recently been featured in Vogue and The FADER behind his own recent album release, 'Five Steps'. Hayden's curation represents a balanced cross-section across the modern solo acoustic guitar spectrum. Vol. 7 is also the most geographically diverse of all volumes in the series, with players hailing from Lisbon, Malta, South America and the UK as well as the US. As with previous volumes, this one truly represents the state of the art - an area of evolving musical expression that is very vibrant and healthy indeed.
Track Listing
----------------
[01/14] On a Slow Passing Through a Ghost Town (Chuck Johnson) (6:55) 320 kbps 15.92 MB
[02/14] Culverts (Sean Proper) (3:46) 320 kbps 8.71 MB
[03/14] Enchilada (Norberto Lobo) (4:19) 320 kbps 9.97 MB
[04/14] Trees Return to Soil (Simon Scott) (2:18) 320 kbps 5.34 MB
[05/14] Sea Retreat (DBH) (3:10) 320 kbps 7.33 MB
[06/14] Araucaria (Jordan Norton) (5:02) 320 kbps 11.62 MB
[07/14] The Great North American Wilderness (Kyle Fosburgh) (3:01) 320 kbps 6.99 MB
[08/14] Something, or Oil Paintings (Christoph Bruhn) (6:04) 320 kbps 13.99 MB
[09/14] USA Self (Michael Vallera) (5:02) 320 kbps 11.61 MB
[10/14] Red Bud Valley (Dylan Golden Aycock) (4:44) 320 kbps 10.94 MB
[11/14] 0/3 (M. Mucci) (4:58) 320 kbps 11.45 MB
[12/14] Shadow Study at 6 am (Mariano Rodriquez) (3:58) 320 kbps 9.18 MB
[13/14] Olympic Peninsula Blues (Andrew Weathers) (5:19) 320 kbps 12.24 MB
[14/14] My Grandfather's 12 Gauge (Wes Tirey) (5:02) 320 kbps 11.59 MB
Total number of files: 14
Total size of files: 146.94 MB
Total playing time: 63:38
Inca Ore with Lemon Bear's Orchestra - (2006) The Birds in the Bushes CD
5 Rue Christine – 072
Rock critics, present company included, throw around the term "primitive" too
much. We use it to describe instrumentally underdeveloped but effective music.
In my mind, the word "primitive" alludes to pre-homosapien humanoids. When
describing an artist, the word, then, describes a caveman-like tribe
semi-rhythmically smashing rocks together in some type of ceremony around a
fire. From all the critical mythos surrounding The Godz, the first time I heard
them, I expected them to be a bunch of Cro-Magnon men communicating in grunts
with a guitar being played like it dropped out of the sky from a portal to the
future. It'd take someone pretty unpretentious and wacky to make something I
could simply grace with the "primitive" label.
Inca Ore is a wacky lady. She has an affinity for shouting Dadist,
free-association poetry and clanging pots and pans. Occasionally, she imitates
animals and blows a slide whistle. Her backing band, Lemon Bears Orchestra,
creates banging and scraping sounds and sometimes adds to Ore's animal battle
cries. Occasionally, there is a reverb-ridden flute line thrown into the mix to
remind us it is the 21st century. The whole thing is an organic chaos with a
very urban tint.
The majority of the songs on the album revolve around loose, almost calamitous
percussion and Ore's spoken-in-tongues vocal chanting. Ore's nonsensical
blathering echoes the language-approximation methods of the Sun City Girls but,
unlike the Girls, Ore never seems like she is attempting to be coherent. Even
when she is shouting in English, her sentences seem disembodied from any
meaning. Her voice evokes a child's wide vocal range — from the ethereality of
playground chants to the anger of a hissy fit.
One such hissy fit provides the album's best moment. The horrific "Glossolalia
the Gift of the Tongue" finds Ore shouting like Punky Brewster as her backing
band rips a piano's chords and provides clinking sword percussion and a bizarre
low moan. A venomous mix of insanity and disorientation occurs.
A lost-in-the-woods motif runs through a lot of Ore's compositions. The group
emits animal chants and vocal imitations of natural sounds to a backdrop of odd
percussive timing or perhaps weird piano clanging. Even when the group employs a
limited use of dissonant fuzz, as they do on the expansive mindfuck "Cape Meares,"
it seems organic. Of course, the lost-in-the-woods motif leads to an inevitable
fluting and guitar strumming on "Blue Train," but Ore and the Bears never fall
prey to the nostalgia hang ups many of their peers demonstrate. Instead, the
band floats the flute sounds in an eerie manor and uses a guitar to imitate a
slow moving train, highlighting dual vocal melody that sounds like the Manson
family reinterpreting the Velvet Underground's "Murder Mystery."
A sexual gloss adds flavor to the calamity. One of the male members of Lemon
Bears Orchestra provides a rhythmic thrusting voice for the percussion on "Lucky
One." Ore works her way into orgasmic swing, slowly building a chant along to
the point of a scream filled with ecstasy and violence. It's one of the first
times I've heard bare animalistic sexuality replicated perfectly in sound art
form.
The Birds in the Bushes is a step away from the doldrums of the whole
freak folk, new weird jive, but it is not an album that will appeal to a broad
audience. To the unwilling/untrained ear, the album sounds like a cataclysmic
mess of clanging and screaming. In his two and a half sentence review of Inca
Ore's album for Rock-A-Rolla, Bobby Bone wrote: "The result is an
unlistenable and irritating mess of clatter, hissing and chanting. Absolute
nonsense." Some people just aren't evolved enough to appreciate the primitive.
John Fahey - Your Past Comes Back to Haunt You (The Fonotone Years 1958-1965) 5xCD
Dust-to-Digital – 021
As with all histories, context and an appreciation for the times are essential. In 1958, when the earliest of these recordings were made there were probably no more than a handful of reissues of pre-war country blues 78s available on record in the United States. The long-playing 33 1/3 record was, itself, only a recent invention. Today, with hundreds, perhaps thousands, of pre-war blues and hillbilly reissues available and in print, when it’s possible to walk into any halfway decent record store (to the extent record stores, halfway decent or otherwise, still exist) and find the complete recordings of Charley Patton or Blind Willie Johnson, it may be difficult to comprehend just how obscure and how otherworldly this music once was. — Glenn Jones, from the Introduction to Your Past Comes Back to Haunt You
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