#dusk tempi

[affairesasuivre]

Eluvium - Dusk Tempi [Field Works]

Stuart Hyatt and Eluvium chase the Indiana bat on Field Works’ graceful “Dusk Tempi”. The composition is part of Ultrasonic, Hyatt’s eighth project as Field Works, due out May 1 via Temporary Residence Ltd.

The starting point for each composition on Ultrasonic, the eighth album in Stuart Hyatt's Field Works series, is the endangered Indiana bat. Hyatt has spent the past year following the bats, collecting field recordings that he then turned over to some of the world's best ambient musicians as part of an ambitious multi-disciplinary storytelling initiative funded by the IUPUI Arts & Humanities Institute and the National Geographic Society. The first of those compositions, premiering above, is the Eluvium collaboration "Dusk Tempi," a minimal piece that slowly folds in the bats' echolocations as Matthew Cooper's strings loop hypnotically in the foreground.

"Such an honor to be working with Eluvium again," Hyatt wrote in an email to The FADER. "'Dusk Tempi' is one of the most deeply evocative compositions I’ve ever heard from him, particularly the way the bats become instruments in their own right. Listen carefully — right at the 3:37 mark — as the bats’ plaintive calls take over. It just tears my heart open in the happiest way. I’ve spent the past year outside with my microphones chasing this endangered species through forest and field; I hope 'Dusk Tempi' brings the listener into that same magical world."

Ultrasonic is out on May 1 via Temporary Residence Ltd. On top of the Elivium collaboration, the album features contributions from Christina Vantzou, Sarah Davachi, Ben Lukas Boysen, Machinefabriek, Mary Lattimore, Felicia Atkinson, Noveller, Chihei Hatakeyama, John Also Bennett, Kelly Moran, Taylor Deupree, Jefre Cantu-Ledesma, Julien Marchal, and Player Piano. Each copy of the album will come with a printed copy of the 1973 Endangered Species Act. Pre-order the album here and find its full tracklist below.

By ALEX ROBERT ROSS

[therarefied]

Field Works' "Dusk Tempi" ft. Eluvium

[pukicho]

Hey Puki! Music recommendations? Fave artists? I’m in dire need of new music

Okay I went overboard with this, WAY overboard, here's a fucking bunch of songs I like in lots of genres, with a number rating attributed to each, enjoy, Jesus:

Electronic:

Pale Blue dot - Ross from Friends (8)

This Old House is All I have - Against all Logic (9)

I Bite Through It - Oneohtrix Point Never (9)

Jeanie - Bon Iver and Jim-E stack (7)

You're Too Precious - James Blake (8)

Long Road Home - Oneohtrix Point Never (9)

Str8 Outta Mumbai - Jai Paul (8)

Gosh - Jamie XX (10)

Open Eye Signal - Jon Hopkins (10)

Kin - Tourist (10)

I'm God - Imogen Heap, Clams Casino (8)

Acoustic/folk/Lounge:

FTA - Whitney (9)

Third of May - Fleet Foxes (10)

Should Have Known Better - Sufjan Stevens (9)

Ti-De - Kokoroko (8)

Hikari to Mizu - Toshifumi Hinata (8)

Adeline - Alt-J (10)

So We Won't Forget - Khruangbin (9)

Swim and Sleep (Like a Shark) - Unknown Mortal Orchestra (9)

Pais Nublaod - Helado Negro (8)

Alt/Alt Rock/Rock:

Part III - Crumb (7)

Satan - DD Dumbo (9)

Alabaster - All Them Witches (8)

Gallipoli - Beirut (9)

Man Of Oil - Animal Collective (9)

King Gizzard & The Lizard Wizard - Crumbling Castle (10)

Burn The Witch - Radiohead (10)

When You Die - MGMT (10)

Could Heaven Ever Be Like This - Idris Muhammad (9)

Tossing Tears - Twin Peaks (7)

In Birdsong - Everything Everything (10)

EDM Bangers:

Tondo - Disclosure (9)

Airglow Fires - Lone (8)

The Difference - Flume, Toro y Moi (9)

Parallels - Balck Sun Empire, IMANU (9)

I Follow Rivers - The Magician Remix - Wounded Rhymes (8)

Marea (We've lost Dancing) - Fred Again (9)

Supersonic - Skrillex (8)

We've Got To Try - The Chemical Brothers (9)

Weird shit:

Fantasma (For Jasmine) - vessel (9)

If The Car Beside You Moves Ahead - James Blake (9)

Eye In The Wall - Perfume Genius (8)

Fear of the unknown and The Blazing Sun - Colin Stetson (9)

Dusk Tempi - Eluvium (8)

Rivers of Sand - Fennesz (8)

Falaise - Floating Points (10)

The people - Photay (9)

Okay I'm tired of doing this now enjoy

[dustedmagazine]

Dusted Mid-Year Exchange, Part 1: Activity to Jeff Parker

Irreversible Entanglements

Six years ago, newly moved to Tumblr, we looked for a fresh take on the mid-year best-of list idea, partly to be contrary, partly because some of us had no interest in writing about the same records over and over again. After some discussion — well, a lot of discussion — we decided to turn our mid-year feature into a sort of secret Santa exchange. We’d each nominate two records and each review two records, but, here’s the kicker, they wouldn’t be the same records. We’d trade with our fellow writers, and if it meant that we had to listen to music way out of our comfort zone, so be it.

Since then we’ve had smooth exchanges and rough ones – last year’s was especially testy, but what can you do with such an opinionated bunch—but it’s become a favorite annual event. This year was no different, except that no one was truly revolted by their assignments.

Unlike some years, there was no clear dominant pick, though Six Organs, James Elkington, Makaya McCraven/Gil Scott-Heron, Cable Ties and Irreversible Entanglements all got multiple votes.

We’ll split our individual album write-ups into two posts. Today’s covers records by artists from Activity to Jeff Parker. We’ll get to the rest of the alphabet tomorrow. On the third and final day, we’ll post writers’ lists. Participants included Tobias Carroll, Tim Clarke, Justin Cober-Lake, Andrew Forell, Ray Garraty, Jennifer Kelly, Arthur Krumins, Patrick Masterson, Ian Mathers, Bill Meyer, Jonathan Shaw and Derek Taylor.

Activity — Unmask Whoever

Who picked it? Tim Clarke

Did we review it? Yes, Tim said, “This music strains at the leash, held tightly in check by the motorik rhythms, while gaseous synths seek to permeate all corners of the soundscape.”

Ray Garraty’s take:

You wouldn’t know that it is a debut album, but then it’s a super band, so that doesn’t count. Vocalist Travis Johnson’s delivery reminds you a symbolist poet reciting some lines from his notebook, neither singing nor reading. Despite referring to violence in song titles and lyrics, this music is as far from violent as it can be. It’s too self-conscious to even carry symbolic violence but when on ‘Earth Angel’ the vocalist with the hook “I wanna fuck around” almost breaks into a scream, it turns into a whisper instead. It’s these small details that unmask the outfit’s postmodern disguise and show that Activity is the real deal, not a half-baked pastiche.

Decoy with Joe McPhee — AC/DC (OtoRoku)

Who picked it? Derek Taylor.

Did we review it? Yes, Derek said, “Decoy is a working group and a heady amalgam that recalls a dream fusion of Atlantis-era Sun Ra, Keith Jarrett’s marathon electric stand with Miles at the Cellar Door, and Larry Young circa his Blue Note moonshot Contrasts, while still relentlessly retaining its own flight plan.”

Jennifer Kelly’s take:

Wow. “A/C” is impressive enough with its wild unfurlings of trumpet and sax, its woozy meditations in bowed and plucked stand-up bass, its incendiary organ bursts, all rooted in jazz, but touching on the hot, experimental outposts of rock and soul and R&B, too. But the second side, “D/C,” is even more exciting, as the tumult of sounds gets more fevered and McPhee breaks out in song. Who can blame him? You want to join in. It’s a mind-bending swirl that boils up and over the edges, heady, excessive and exhilarating. So glad I got to hear this, Derek, and it reinforces the benefits of trading favorites, i.e. finding music that is way out of your normal circuit but, even so, exactly what you need.  

 Sandy Ewen — You Win (Gilgongo)

You Win by Sandy Ewen

Who picked it? Bill Meyer

Did we review it? No.

Andrew Forell’s take:

Experimental guitarist Sandy Ewen appears as much concerned with space as sound. On You Win,��she treats her instrument as pure object to explore the minutiae of its potential. Patterns emerge like communications from distant galaxies or the gradual shift and warp of old buildings. The 5 tracks scrape and rumble as occasionally identifiable guitar sounds — feedback hum, plucked strings — flicker from the mix. Best heard through headphones, You Win demands concentration lest one misses the nuanced denaturing and subversion of Ewen’s work, which is as fascinating as it is challenging.  

Fake Laugh — Dining Alone (State 51 Conspiracy)

Fake Laugh · Ever Imagine

Who picked it? Tim Clarke

Did we review it? Yes Tim said, “These sharp, funny, warm-hearted songs are immediately endearing, yet shot through with bracingly sour ingredients.” 

Andrew Forell’s take:

Dining Alone, Kamran Khan’s latest album as Fake Laugh, is a collection of pastel Day-Glo bedroom pop songs that breeze by leaving barely a hair ruffled in their wake. Khan has an ear for a melody, a wistfully pleasant voice and a talent for arrangement that make this album an enjoyable listen but there is a nagging feeling that he is holding something back. Tracks like the finely wrought “A Memory” and Supertramp update “The Empty Party” stand out but Dining Alone feels like an intermediate step on which Khan tries out ideas and seeks a way forward although there is enough here to be optimistic about what might come next.

 Field Works — Ultrasonic (Temporary Residence)

Ultrasonic by Field Works

Who picked it? Justin Cober-Lake

Did we review it? Yes, in a May Dust, Tim Clarke wrote that “Stuart Hyatt’s latest compilation in the Field Works series is an absolute beauty — and timely given it’s being released during a pandemic whose origins may be linked to bats.” 

Derek Taylor’s take:

Most of the listening that I do in the service of reviewing music revolves around discerning who’s, what’s and how’s. Those sorts of taxonomic identifications feel superfluous, not to mention futile when navigating the music on Ultrasonic. Sources I mistook as aquatic (“Dusk Tempi,” “Echo Affinity,” “Music for a Room with Vaulted Ceiling,” and “Indiana Blindfold”) are subterranean, specifically the echolocation emissions of bats. Harp and piano sounds dapple “Silver Secrets” and “Sodalis” as instrumental signposts, but they’re outliers in a program that feels largely electronic and beyond the scope of scrupulous inventory.  

The closest, if admittedly antiquated, genre descriptors I have for these ecology-minded creations are ambient and new age. A seraphic, celestial quality suffuses most of them with sweeping washes of tonal color layering over more definable rhythms and progressions. The combination curiously reminds me of a distant temporal relic that served as childhood gateway to this sort of territory, my father’s vinyl edition of Ray Lynch’s Deep Breakfast. It’s another feeble attempt at a compass point and evidence of how difficult it can be to escape the ingrained habits that influence personal musical consumption.

The Giving Shapes — Earth Leaps Up (Elsewhere)

Who recommended it? Arthur Krumins

Did we review it? Yes. Arthur said, “You feel like you’re being carried into a dream, familiar yet strange.”

Ian Mathers’ take:

There’s just something nice about a record where, a few minutes after putting it on, your partner suddenly remarks “you know, this is very calming”. It’s not that the work of Robyn Jacob (voice, piano) and Elisa Thorn (voice, harp) is soporific or somehow uninvolving, more that there’s a somehow centered kind of deliberateness with which they approach these songs that feels oddly reassuring. The way their voices often echo lines (or slightly altered lines) back at one another can feel vaguely Stereolab-ish, but rather than the coolly pulsing, layered grooves (and transient noise bursts) of that outfit, the simplicity of the arrangements here feels direct and clean and often comforting. But it’s the type of comfort that lets you see the difficulty you’re trying to tackle head-on, not the comfort that swaddles you away from having to deal with the world. It’s more bracing than lulling, in other words, and frequently beautiful at that.

  Irreversible Entanglements — Who Sent You? (Don Giovanni/International Anthem)

Who recommended it? Andrew Forell.

Did we review it? Yes. Andrew Forell wrote, “Who Sent You? is an extraordinary statement lyrically and musically.”

Bill Meyer’s take:

I’m inclined to agree with Andrew Forell. When I first encountered the vocal-focused free jazz of Irreversible Entanglements in 2018, I was more taken by the band’s focused exchanges of energy onstage than I was by their self-titled debut LP as a listening experience. But its successor steps up their already powerful game by easing up just a bit. They’ve let more air and variety into the surging rhythms and interweaving horn lines, opening up space for vocalist Camae Ayewa’s words to land with even more impact and staying power. Ayewa, who also records as Moor Mother, is more of a poetic declaimer than a singer or rapper, and her expressions of cultural memory and existential survival in the face of remorseless racism and economic terrorism boom over the music’s ebb and flow with inspiring authority. While her words are always applicable, this record sounds like it was made to be heard in a time of plague and revolt; when people ask in years to come what record sounds like the middle of 2020 felt, a lot of people will hold up Who Sent You?

  The Jacka — Murder Weapon (The Artist / EMPIRE)

Who recommended it? Ray Garraty

Did we review it? Yes. Ray Garraty said, “this album confirms Jacka’s status among the greatest fallen soldiers of hip hop.”

Tim Clarke’s take:

Despite being a posthumous release whose title refers to the artist’s tragic death by shooting back in 2015, Murder Weapon by Bay Area rapper The Jacka is a surprisingly cohesive listening experience, largely thanks to the lush palette of old-school samples employed on many of these tracks. From the aching strings on early highlight “Walk Away” via the swinging funk of “Can’t Go Home” to the children’s choir on “We Outside,” there’s a warmth and humanity to this sad story that honors the artist’s memory.

 Ka — Descendants of Cain (Iron Works)

Who picked it? Ray Garraty

Did we review it? Yes, Ray said, “Descendants of Cain, Ka’s seventh album combines the epic bleakness of the Old Testament with Brownsville’s hopelessness.”

Tobias Carroll’s take:

Shamefully, this is my first exposure to the music of MC and producer Ka; it’s his sixth album overall, and I’ve got some catching up to do. For an album with a title and cover art that could just as easily fit on a doom metal album, what surprised me was how focused this all was. The album flows beautifully, with music that fits somewhere between sinuous soul and the art-damaged Americana heard on, say, Matmos’s The West — with a handful of cinematic samples topping it off. It’s a perfect match for Ka’s voice, which manages to be textured and beatifically smooth all at once. Some albums paint a picture for the listener; this one is wholly immersive.

Matt LaJoie — Everlasting Spring

Everlasting Spring by Matt LaJoie

Who picked it? Tobias Carroll

Did we review it? No

Ray Garraty’s take:

Matt LaJoie’s technical verbosity is on the spot here, as all the man-made sounds can be mistaken for something Nature produced out of its vast resources. Everlasting Spring is like a small water spring which flows and flows but can’t eventually flow into a river, being forever condemned to be just this spring. Everlasting Spring lasts almost for an hour (if we count a bonus track), and it’s six minutes for every string LaJoie’s guitar has. Not many men can admire nature for that long. The whole album has that New Age-ish feel, when you can start listening to it from any track, and nothing will change in your views on it.

Maybe it does give a good mimesis of what spring sounds like but we still need a change of weather from time to time.

 Mamaleek — Come & See (The Flenser)

Come and See by Mamaleek

Who recommended it? Jonathan Shaw

Did we review it? Yes. Jonathan said, “Their dominant textures are still harsh and confrontational, vocals are still howled and shouted. But there are riffs. There are melodic structures.”

Justin Cober-Lake's take:

As black metal, Mamaleek would hold their own, but there's a persistent work to stretch boundaries here. Come & See keeps a core mix of sludge and anger, but the group's inventiveness keeps the album consistently surprising. The group finds brighter tones than anticipated, even while moving away from metal more toward alt-rock at times, and post-rock at others, and generally finding expressions that require a hyphen. An occasional breakdown touches on jazz or finds its roots in rock 'n' roll. “Cabrini-Green” functions like a suite — track the movements and break the track into its separate pieces — even as it avoids a sort of linear sequence. “Elsewhere” (and, indeed, much of the album) turns out a demented history of hardcore. The record probably won't find much of an audience outside of the metal scene, but listening past the obvious trappings reveals a wealth of influences and a complexity that makes for intriguing listening across genre strictures.

 Jeff Parker — Suite for Max Brown (International Anthem)

Suite for Max Brown by Jeff Parker

Who picked it? Arthur Krumins

Did we review it? Yes. Arthur said, “Following the looped, electronic and eclectic New Breed, Jeff Parker’s latest album expands into an even greater range of off-kilter sonic experiments.”

Tobias Carroll’s take:

Before this year, my knowledge of Jeff Parker’s music came largely from his work with Tortoise. And that’s far from a bad thing; Tortoise is a fine band. But hearing Parker push further into the realm of jazz with Suite for Max Brown is its own form of delight, where precisely-played melodies meet instrumental virtuosity. It’s an eminently listenable album, and one where I’m still noticing new moments of subtle beauty in the mix.

[13melekradyo]

Güncel drone/ambient kayıtlarından bir seçki // A selection of recent drone/ambient recordings. Download.

01 – Eluvium – Dusk Tempi 02 – Bing & Ruth – I Had No Dream 03 – ABADIR – Fired 04 – Warmth – The Mourning 05 – 404.zero – 404.1 06 – Endless Melancholy – Across The Barren Land 07 – Caldon Glover – To All Our Scattered Parts 08 – Giulio Aldinucci – Phoenix 09 – Slow Reels – Lakka

[jrmilazzo]

Today’s necessary noise.

[riotactmedia]

NPR shares Eluvium: "Dusk Tempi" from Field Works: Ultrasonic in their All Songs Considered feature!

Read the full list and watch the video for “Dusk Tempi” HERE

[barlemusic]

Guten (#avantgarde) Abend ⭐ #KLANGFORSCHUNG 10.05.2020 https://www.mixcloud.com/ribi/klangforschung-10052020/ 🤘 #experimental #coldwave #darkambient #abstract #ambienttechno #darkelectro #electro #synthwave #EBM #industrial *** KLANGFORSCHUNG 10.05.2020 1. #Kraftwerk - kometenmelodie 1 2. Shortwave Research Group - citizen of nowhere 3. Cervello Elettronico - correction 4. Ian Axide - aurea 5. Motionen - break in the clouds (hobi remix) 6. Ness - bionic harp (deepbass remix) 7. Archivist - cinder cone (patrick russell remix) 8. Arash Moori - hinterland derelict 9. #Fixmer/#McCarthy - let it begin (phase fatale remix) 10. Imperial Black Unit - your kind is extinct 11. Cliche Morph - razor 12. Blush Response - piston 13. Code 701 - bushmaster acr 14. Baseck & Pilo - forgotten 15. Catter - rita enjoys running 16. Forest Drive West - hidden past 17. Dorian Gray - la quarta musa 18. Arash Moori - forward backward 19. Shortwave Research Group - hostile environment 20. Cervello Elettronico - the young and beautiful 21. Fractions - intensity 22. Kraftwerk - it's more fun to compute 23. ASC - escape velocity 24. dBridge - beg, steal & borrow 25. Trudge - nocturnal animals 26. Eluvium - dusk tempi 27. John Also Bennett - indiana blindfold 28. Yamaneko - mt. fløya any% 29. Machinefabriek - kelelawar 30. #BenLukasBoysen & Field Works - torpor 31. Worriedaboutsatan - dawn 32. Simon Maverick - ew untitled 03 (på/i Hake Cape Hill) https://www.instagram.com/p/CABK2RKpjmC/?igshid=1oxzpy68nlf4r

[blastikmusik]

Pomplamoose - I'm A Believer Caribou - Magpie Field Works - Dusk Tempi Max Cooper and Tom Hodge - In Pursuit of Ghosts HONEYMOAN - Too Much Steve Earle & The Dukes - Devil Put the Coal in the Ground Alanis Morissette - Smiling Orkesta Mendoza - Early In The Morning Dizzy - Sunflower Klangstof - New Congress, New Father Dan Deacon - Fell Into The Ocean Elisa Jo - Cheek To Cheek

If you like these Mixtapes you might consider to support me (Patrons get access to links to downloads): https://www.patreon.com/bLASTIK http://ko-fi.com/blastik www.paypal.me/KAYLEPH

[diceriadelluntore]

Quella che è una delle formazioni più leggendarie di tutti i tempi si forma esattamente 50 anni fa, nel 1967, quando un gruppo di giovani studenti della prestigiosa Chartehouse School di Godalming, nel Surrey, decide di provare a suonare insieme. In verità due piccoli gruppi si unirono: da un lato i Garden Wall, formati da Peter Gabriel, Tony Banks e Chris Steward e i The Anon (con un nome così oggi spopolerebbero) di Anthony Philipps e Michael Rutherford. Nel 1968 il primo lavoro per la Decca sono due singoli di un discreto pop sinfonico, The Silent Sun / That’s Me (febbraio 1968) e qualche mese più tardi A Winter’s Tale / One Eyed Hound.  I singoli sono preludio al primo album From Genesis To Revelation, con John Silver al posto di Steward, primo vagito della musica che sarà con riferimenti ai testi biblici (e che darà di fatto il nome alla band, dal primo libro dell’Antico Testamento, Genesis appunto, che non lo aveva ancora trovato). Il successo è così inconsistente che il gruppo si scioglie e i giovani ritornano ai propri studi. Nel 1969 Tony Stratton-Smith, fondatore della leggendaria etichetta Charisma, decide di dare una nuova opportunità al gruppo. Nel 1970 esce Trespass e tra le musiche pittoriche di brani come Dusk, Looking For Someone e il primo grande brano, The Knife, inizia un cammino musicale tra i più strepitosi di sempre, fatto di tecnica, emozioni, una creatività esagerata e una voglia di stupire che segneranno un periodo, uno stile musicale e un’intera generazione di ascoltatori. Trespass è ancora acerbo, ma nel 1971 a Gabriel (voce e flauto) Banks (chitarre e tastiere) e Rutherford (chitarre) dopo che Phillips torna a studiare, con un annuncio sulla nota rivista musicale Melody Maker si aggiungono Steve Hackett (chitarra) e Phil Collins (batteria e voce) per una formazione leggendaria, che rimarrà nella storia della musica come una delle più sensazionali di tutte. Nursery Crime (1971) ne dà le prime conferme: il suono inizia a crescere in spessore e misticismo, Gabriel inizia a scrivere tra miti, leggende e giochi di parole testi che diverranno iconici, canzoni come The Musical Box, The Fountain Of Salmacis e The Return Of The Giant Hogweed sono il trampolino per Gabriel, durante i concerti, per travestimenti, cambi di costumi, momenti dove musica e spettacolo si fondono, con echi alla commedia dell’arte, ai saltimbanchi e al teatro classico. Dopo una storica tournée europea, con clamorosi concerti in Italia, la band inizia a pensare al nuovo lavoro. E da una terrazza di un hotel di Napoli, di prima mattina, con la città stranamente deserta, Banks e Rutherford hanno l’idea di come sarebbe il mondo una volta che la civiltà umana si fosse estinta. E la immaginano con un intro di melletron davvero soprannaturale, che per oltre un minuto e mezzo prelude alla voce di Gabriel, affilata e potente. Così inizia Watcher Of The Sky. Così Inizia Foxtrot. Uscito nell’ottobre 1972, il disco è un capolavoro, il primo di un trittico eccezionale, e uno dei più amati dai fan. La macchina musicale e autorale è un complesso gioco di ingranaggi, ricchissima di invenzioni sonore e liriche. Dopo l’inizio leggendario di Watcher Of the Sky (che diverrà l’apertura classica dei live del periodo), Time Table, con elegante intro pianistico di Banks, è una amara riflessione, quasi romantica, sulla decadenza e la caducità delle cose. Poi Get 'Em Out By Friday è una trovata geniale di Gabriel, una sorta di mini opera rock dove Gabriel canta cambiando toni e timbro diversi personaggi e che parla di una colossale speculazione edilizia, con susseguente sfratto di decine di povere famiglie, e che viene proiettata in un futuro alla 1984 di Orwell (ma Gabriel sceglie il 2012 come anno futuro). Poi altro classico in Can-Utility And The Coastliners, che riprende la leggenda nordica del re Canuto il Grande (da cui il gioco di parole Can-Utility) che la leggenda narra pose il suo trono davanti alla acque per provare ai suoi sudditi di essere non invincibile, finendo per perire tra i flutti. Il dolce strumentale Horizons eseguito da Steve Hackett in punta di plettro è quasi un’introduzione alla lunghissima, affascinante Supper’s Ready, altra capitale opera rock (da 23 minuti, l’intero lato b), dove Gabriel immagina una sorta di lotta tra bene e male nella storia di due giovani innamorati che viaggiano per mondi magici. Il brano, diviso in sette parti, è così stupendo che merita un piccolo approfondimento: Lover's Leap  è un dolce preludio al viaggio dei due verso la magia, che continua con The Guaranteed Eternal Sanctuary Man, dove i protagonisti della storia si avviano in una città dominata dalle due figure di un contadino e un santone che dicendo di saper governare il fuoco ipnotizza tutti gli abitanti costringendoli a firmare un contratto, il guardiano del Santuario Eterno; Ikhnaton and Itsacon and Their Band of Merry Men descrive come i due generali del santone (Akhenaton è il nome di un Faraone dell'antico Egitto, mentre Itsacon è un gioco di parole che deriva da It's a con, "è un truffatore”) guidano l’esercito  delle forze del male inviato dal custode del Santuario Eterno per uccidere tutti coloro che non hanno ancora firmato la pace e il contratto, che si rivela una "Licenza di Eterno Asilo"; How Dare I Be So Beautiful? che vede una musica più elegante e calma è l’incontro degli innamorati con un Narciso moderno innamorato della sua immagine che si specchia nell’acqua; Willow Farm è invece il posto dove i due innamorati, che come Narciso vengono risucchiati dall’acqua, si ritrovano, dove con un fischio tutto si trasforma e il testo descrive figure tipiche dell’immaginario campestre inglese (da un Winston Churchill en travesti al papà che sta in ufficio mentre la mamma a casa lava i panni, dove risuona il carillon (The Musical Box) di Nursery Cryme); Apocalypse in 9/8 (Co-Starring the Delicious Talents of Gabble Ratchet), in gran parte strumentale, è uno dei passaggi chiavi della musica Genesis, con lavoro immenso di Collins alla batteria, di Banks all’organo, con storico assolo, e descrive come i due innamorati, trasformatisi in semi, aspettino l’Apocalisse biblica, che poi nella conclusiva As Sure as Eggs Is Eggs (Aching Men's Feet) non solo si ricongiunge con l’inizio di Supper’s Ready, ma delinea un mondo circolare di vita e morte verso una nuova Gerusalemme. Se mi sono permesso di dilungarmi tanto è perché mai nella storia della musica si era arrivati a tanta ricchezza e complessità, e da sola Supper’s Ready vale l’eternità musicale alla band. Dopo il bellissimo Genesis Live (1973) nel 1973 la meraviglia continua prima con il leggendario Selling England By The Pound e poi, nel 1975, con l’altrettanto epocale The Lamb Lies Down On Broadway, opera rock incredibile. Dopo quel disco, Gabriel se ne va, e finisce un’epoca. Ma rimangono queste gemme preziose a ricordarci che cosa erano capaci di fare.

[pukicho]

What songs would you describe as the texture of baked beans?

[digital-firefly-a]

@lightschampion

It had been a rough year trying to stay underground in San Francisco.  She could have certainly done without people hassling her over things she had been cleared of.  Someone had taken notice, and because of them she had to dip out and try to find a place to lay low for a while.

What better place than a small town in Washington?  Having arrived to Bright Falls, it was nearing dusk and Temperance just wanted to get some food, and check into the local motel to grab some sleep.  It was during the cold season with plenty of snow gathering across the landscape, to deter most tourists, so she was confident she could find a cabin to rent for a couple weeks until she figured out another place to go.

Drawing the backpack off her back, her motorcycle parked out front, she settles into a bench seat in the diner.  She didn’t stand out, which was just how she liked it, wearing a black hoodie, a white dress shirt beneath with the collar poking out over the edges of the hoodie, and a pair of dark slacks and sneakers.  Not really winter clothing, but she’s been in worse.  Just as she pushes the hoodie down, and opens the laptop up, the bickering starts.

“Need to ask you to leave.” the sound of a woman draws heterochromatic eyes up to rest on the waitress

“Sorry?” Tempy replies with a distinct English-American accent, raising her eyebrows slightly.

“Said you gotta leave.  We don’t serve traitors here.”

The look that grows upon her features is one of disbelief, and flourishing agitation. “Are you bloody kidding me? Look, I just want some food, and I’ll be off.”

[summerbreeze1]

試聴 / 購入: Ultrasonic Field Works

[riotactmedia]

Stereogum shares “Dusk Tempi” from Field Works & Eluvium’s upcoming collaborative LP!

On the forthcoming Ultrasonic, Hyatt and his collaborators build music out of Hyatt’s field recordings of the Indiana bat. It’s part of a broader Hyatt project about the endangered bat species, and it uses the echolocation sounds of the animals as sonic source material. Hyatt’s collaborators on the album include producers like Mary Lattimore, Noveller, and Kelly Moran. On lead single “Dusk Tempi,” Hyatt works with Eluvium, Portland composer Matthew Cooper’s long-running acoustic-ambient project. Listen HERE / Ultrasonic is out 5/1 on Temporary Residence Ltd.