#upsilon acrux

[rastronomicals]

7:20 AM EDT April 22, 2023:

Upsilon Acrux - “My Brother the Doctor” From the album Galapagos Momentum (May 22, 2007)

Last song scrobbled from iTunes at Last.fm

File under: Polyrhythmic Squirly Monsters

[burlveneer-music]

Greco Bastián - With a little hell from my friends - in which he recruits an astounding cast of musicians to play his intricate prog-math-zeuhl-r.i.o. compositions

I'm just a man lost in music. I cannot play any instrument, but I know how it must to be played, so I compose some tunes and some dear friends help me in order to make it sounds as it has to be... Without them I'm nothing.

For years I´ve heard "it sounds good, but you should make real musicians play it" so I decided to invite some of my idols to join in. This is the miracolous result, just give a look to the line up and listen something... IT MUST BE IN YOUR COLLECTION!! - TATSUYA YOSHIDA, Japan (KOENJIHYAKKEI, RUINS, KOREKYOJINN, etc.) – Drums - JEAN-LUC PLOUVIER, Belgium (UNIVERS ZERO, MAXIMALIST!, DANIEL SCHELL & KARO, etc.) – Piano - RYOKO ONO, Japan (SAX RUINS, PLASTIC DOGS, RYORCHESTRA, etc.) – Sax - PIERRE VERVLOESEM "Belgium's Frank Zappa", Belgium (X-LEGGED SALLY, FLAT EARTH SOCIETY, KINGS OF BELGIUM, etc.) – Electric Guitars - MATT LEBOFSKY, USA (MIRTHKON, SECRET CHIEFS 3, MOETAR, etc.) – Bass Guitars - PATRICK SHIROISHI, Japan (CORIMA, UPSILON ACRUX, SSWAN, etc.) - Sax - EMMETT ELVIN, UK (GUAPO, KNIFEWORLD, CHROME HOOF, etc.) – Electric & Bass Guitars - VINCENT SICOT-VANTALON, France (SCHERZOO, UNIT WAIL, ZERO ZERO ZERO, etc.) – Piano & Keyboard Effects - JON BAFUS, USA (GENTLEMAN SURFER, AFTERNOON BROTHER, INVASIVE SPECIES, etc.) – Drums - SAMO ŠALAMON, Slovenia (TRIO, QUARTET, SEXTET, etc.) – Electric Guitars - JOSÉ LUIS VELASCO, México – Electric & Bass Guitars - HEY FIGUEROA, México (MUSHASHO) – Bass Guitars - ARMANDO LAGARDA, México (MUSHASHO) – Drums - EDSON SANTANA REYNA, México – Acoustic & Charango Guitars - GERARDO RAMLOP, México - Xylophone - GRECO BASTIÁN, México – Composition, VST´s Effects

[musicmakesyousmart]

Upsilon Acrux - Sun Square Dialect

New Atlantis Records

2015

[noumenalroom-deactivated20221021]

Only Tsingtao

Patrick Shiroishi - “Hidemi” - 2021

https://patrickshiroishi.bandcamp.com/album/hidemi

[beginningspod]

It's time for Beginnings, the podcast where writer and performer Andy Beckerman talks to the comedians, writers, filmmakers and musicians he admires about their earliest creative experiences and the numerous ways in which a creative life can unfold.

On today's episode, I talk to musician Patrick Shiroishi. For years, Los Angeles-based saxophonist and composer Patrick Shiroishi has been playing music in numerous bands and ensembles crossing a number of different genres. These include groups such as Corima, Upsilon Acrux, Nakata, In the Womb, Oort Smog, as well as many others. Patrick also records solo under his own name, and this includes his latest, Hidemi, a solo multilayered woodwind journey, about his grandfather's personal experience after getting out of the Japanese-American concentration camps. And it is easily one of the best albums of the year!

I'm on Twitter here and you can get the show with:

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[ib2se]

Efter Regn ~ Art by Nature by Lennarrrt

The B:sides-Playlist 2020-03-09 @ Radio Vättervåg 98,5 Mhz

This week: MorSe [-... ---... ... .. -.. . ... / -- --- .-. ... .]

starter: 'B:zväng' TextMix & reading af MrZ Komposition & Produktion af SkåneJokke Lütz [0:41]

01. 'Medela | －－ ･ －･･ ･ ･－･･ ･－' from Erased Tapes [ERATP130] [8:44] 02. 'Ocher' from HEAD¨SPACE af Randi Pontoppidan & Christian Rønn [8:55] 03. 'The Curvature of the Earth' from Great Distances af leaving richmond [3:36] 04. 'Ornette On Cactus' from Cuneiform Records: The Albums of 2019 af Upsilon Acrux [6:31] 05. 'Raag Shuddha Malhar' from Seasons of India - Seasonal Ragas by Baluji Shrivastav [12:35] 06. 'Kamaloka' from Cuneiform Records: The Albums of 2019 af Ghost Rhythms [6:27] 07. 'Nostalgic Transmission' from Glaciärium af Conny Olivetti [4:28] 08. 'Vaggvisa för vakna' from Håll alla dörrar öppna nytolkningar av Barbro Hörbergs visor af Sonika (tidigare känd som MEJ Trio) [4:51]

1 jingle incl tune from Kmag #107 af Loopmasters Samples & 2 jingles from B:sides on Spotify

This weeks BibleVerse: That night Jacob got up and took his two wives, his two female servants and his eleven sons and crossed the ford of the Jabbok. After he had sent them across the stream, he sent over all his possessions. So Jacob was left alone, and a man wrestled with him till daybreak. When the man saw that he could not overpower him, he touched the socket of Jacob’s hip so that his hip was wrenched as he wrestled with the man. Then the man said, “Let me go, for it is daybreak.” But Jacob replied, “I will not let you go unless you bless me.” The man asked him, “What is your name?” “Jacob,” he answered. Then the man said, “Your name will no longer be Jacob, but Israel, because you have struggled with God and with humans and have overcome.” Jacob said, “Please tell me your name.” But he replied, “Why do you ask my name?” Then he blessed him there. So Jacob called the place Peniel, saying, “It is because I saw God face to face, and yet my life was spared.” The sun rose above him as he passed Peniel, and he was limping because of his hip. Therefore to this day the Israelites do not eat the tendon attached to the socket of the hip, because the socket of Jacob’s hip was touched near the tendon. ~ Genesis 32:22-32 🎧

Drink Espresso - God bless U! /MrZ :)

www.ib2.se Soli Deo Gloria

  Join Generation XYZ @ gen.xyz 

  Photo af LennArrrt

GDPR Z

[cyanidetooth]

Upsilon Acrux! Hella! Imelda Marcos! Spray Paint! Hawn! Chad Taylor! Mosquitoes! The History Of Unheard Music! Holger Hiller! Big Stick! Fly Pan Am! Cyklon Anticyklon! Texas Instruments! The Pillisnorks! Soft Drinks! Warm Red! Ostro 430! Syyksuu! Debiele Eenheid! Mobile! UV-TV! Patti! Cookie Brooklyn & The Crumbs! Five Go Down To The Sea?(!) MX-80 Sound! Hissanol! Taiwan Housing Project! Musk! Bloody Show! Hygiene! The Staches! HIM! Sky Above! Oldman Talkin’! Emdy! 

[icebirdband]

LOS ANGELES CITY BEAT Aug 24-30, 2006 ⋆ VOL. 4 NO. 35

MUSIC NOW DOWNTOWN'S PALLADIUM OF ART-DAMAGE: THE SMELL STREET LOVE: ROBBY DANGER AND TANYA AVULA OUTSIDE OF ZAMAKIBO!

Downtown Skronk Art and noise venues thrive halfway down the L.A. underground ~ BY RON GARMON ~

AFTER DARK, DOWNTOWN LA'S BUSI-ness district scares the mortal pantload out of most Angelenos. By late afternoon, the offices empty out, the vendors pack up, and the pavement around the pricy hotels begins to sprout security, leaving the streets for mean drunks, jackrollers with a hundred dumb hustles, and some of the most destitute people on public display in America; some little better than walking corpses. Far be-low the expensive aeries of Gallery Row (where a sprinkling of showfolk and high-artisans cling to the vault of in-habitable space like merry self-sculpted gargoyles) is sonic terra incognita, where the tourist, the rube, the dilettante simply will not venture. Most choices between friends for live music follow a sidewalk conversation I over-heard last Friday afternoon near Pico and La Brea. Quoth dood to another, "Man, where we go tonight?" His partner muttered "Downtown," and was checked with "Man, I do not want to be shot!"

As deplorable as this attitude is to civic boosters, I approve of it. What Westsiders say about downtown, the world soon believes, so if some TV scenarist depicts the vicinity as home to Crip and killer mutant, then small wonder locals avoid and tourists flee, fearful the very pavement will spit up their bones. One of the aesthetic benefits of a collapsing capitalism is the sheer acreage of neglected urban space from which some jittery owner would love to derive income, any income. inevitably, an ambitious someone turns on the power, loads in amps and equipment, and the neighborhood begins to orchestrate its own scratchy, discordant score. Here, far from the rhino-stomp of tourism and the death-embrace of hip, one may detect the call-and-response skronk of a music scene dependent on neither. Here, there be monsters. 

Downtown's palladium of art-damage is the Smell. Since blowing off the pricy, constipated NoHo arts district in 1999, This all-ages avant-performance space has lived on the other side of a tiny neon sign on Harlem Place (an otherwise deserted a!leyway behind the Jalisco Inn on South Main), adding a bloc of downtown arties to its core patronage of under-21s and disaffected hip-sters. Usually described as a "storefront," the space is more a brick alleyway with a stage at the end, though acts do load in and wail in every corner. Elegantly battered the-ater seats scavenged from some defunct Odeon or Bi-joux line the main room's walls, with armchairs, book-shelves, and paintings scattered around the outer “lobby." The unisex toilet is an unforgettable riot of band stick-ers and appeals to sturdy common sense (like "GEORGE W. BUSH IS STILL A PUNK-ASS CHUMP") , and the vol-unteer staff enforces the no-booze rule. The cover is typ-ically five bucks and worth it. 

This revered pile has been dubbed a contemporary version of the Masque (L.A.'s first punk-rock venue, open in Hollywood from 1977 to 1979), and the wide range of ferocious avant-rock acts that appear there —Car-la Bozulich, Dos (Mike Watt and Kira Roessler), Deer-hoof, Upsilon Acrux — makes the boast credible. One re-cent show had Redondo Beach homocore punks Le Joshua wedged into an outer com, like cranked tigers, the vocalist snarling unintelligible abuse at fresh-faced patrons and writhing on his belly. The main area was lat-er infested by This Song Is a Mess, But So Am I, a one-man art-noize haybaler named Freddy Ruppert. Chunky machine-beats choogle underneath icy synth lines as distorto-screech resolves-itself into melodic postpunk as caressing as 154-era Wire. last Saturday night (August 19) was a heavily attended CD-release party for Captain Ahab's Snakes on the Brain, which uncoincidentally turns up on the similarly named Sam Jackson squirmfest now in theaters. Kings of the burgeoning "ravesploitation" movement, this duo packed 'em in with a freakish amal-gam of house, ambient, postpunk, and Giorgio Mo-roder pop boiled to jump-gumbo. Scores of teenage boys sweated in bounding monkey-heaps while their girlfriends sprawled patiently on the divans outside the main room. 

The ladies were having a better time of it at Zamakibo! a mile away. Situated along an ill-lit swatch of South Grand Avenue spiky with broken pavement, this plush and cuddly art space opened earlier this year, such tiny fame as it enjoys deriving from word of 'net. The small room was overflowing like rock 'n' roll Playskool when arrived late last Friday night, with a dou-ble-homeroom's-Worth of 1979 new-wave kidz gambol-ing in and out. The management— two energetic fellows named Turtle Z and Tumbleweed keep unobtrusive or-der and enforce the no-booze policy — and several pa-trons spotted the "writer from CityBeat" as he loped out of the pitch in the shape of a bleached-blond hillbilly. Onstage, frontchick Ammo of no-wave rompers Teenage Talking Cars looked heavily sloshed and was playfully showing a smitten heckler. Anon, photographer Jennifer Miller arrived with retinue and began to clump far-from-bashful patrons into portrait groupings. The kidz seemed to understand what was going on; as I scribbled notes and picked my way through the tangle of spoon-ing couples on the sidewalk, one gorgeous urchin called out to me, "Up to no good again, huh?" 

Perhaps, but even Coleridge nodded, and Proust's flashbacks made him immortal. I was in such a mood the next day at Little Pedro's Blue Bongo. A community hub with mailing-list-only show announcements, Little Pedro's bids fair to become downtown's version of Mr. T's Bowl, a character-laden scene oasis far off the clubland path. This genial over-21 establishment perched on the cor-ner of Vignes and First (at the last light on the west side of the Los Angeles River). hosts live or spun music every night of the week, with emphasis on themed evenings and cultish rock acts like Icebird and Oliver Future. This past weekend, however, I limped into the bar feel-ing a bit depleted, but in time for "Back in the Saddle Saturday." This meant I listened to an hour's worth of classic country by Loretta Lynn, Buck Owens, Faron Young, and more in glorious near-solitude, dreaming of my Appalachian boyhood to the tune of my mom's record collection. The decor is kitsch-Americana with Mid-dle Eastern touches, with a long shuffleboard table and plenty of padded benches and 1970s-vintage vinyl chairs in the barnlike space. The room is dominated by Little Pete, a giant polar pear hanging suspended by chain-har-ness from the wall over the bar. Some taxidermist's mas-terpiece, Pete glowers at all with fine impartiality, sym-bol of the poker-faced extravagance of Los Angeles, a town that goes to immense pains to nourish absurdity. 

I finished my club soda and left, feet backward-shuf-fling to the pavement while eyes took in a last sentimental glance at the lady bartender's magnificent ass; decor wortthy of awed notice as any two tons of Ursus maritimus. *

[rastronomicals]

11:14 PM EST January 5, 2023:

Upsilon Acrux - "Touched By God (Inappropriately)" From the album Galapagos Momentum (May 22, 2007)

Last song scrobbled from iTunes at Last.fm

File under: Polyrhythmic Squirly Monsters

[kanalkrank]

Paul Lai / [Z]erpent

出生台中，而後於1980年移居加州，並在26歲時加入美國前衛樂團 Upsilon Acrux。Paul Lai身為一名獨奏吉他手，以其敏捷、具技巧及非傳統的樂器表演方式和作曲受到等量的注目。 以(Z)erpent為名演出，Paul 致力於開拓一種新的吉他詞彙，尋求突破，藉此重新定義何謂音樂。 Born in Taichung, then relocated to California in 1980, Paul Lai joined the avant-garde group Upsilon Acrux at the age of 26. As a solo guitarist, he is known for his fluent technique as much as his non-traditional approach to composition. Performing by the name (Z)erpent, he endeavours to create for the guitar a new vocabulary, pushing the boundaries of what is defined as music. 

text + vid... Joseph Mauro

[musicisthelife]

Upsilon Acrux "Ballet Instruction : Dracula" from "Volucris Avis Dirae-Arum" (Cuneiform Records) by Cuneiform Records https://soundcloud.com/cuneiformrecords/upsilon-acrux-ballet-instruction-dracula-from-volucris-avis-dirae-arum-cuneiform-records

[staylitmusic]

Upsilon Acrux "Ballet Instruction : Dracula" from "Volucris Avis Dirae-Arum" (Cuneiform Records) by Cuneiform Records

[occupymylife]

Upsilon Acrux

9.7.16

The Smell, Los Angeles, CA