March 27, 20205 yr Na predlog prijatelja vraćam se odličnom albumu Laurie Anderson i Kronos Quarteta Landfall. U šteku mi je i Songs From The Bardo Od raspoloženja nešto kasnije zavisi hoće li doživeti sudbinu Olimpijskih igara.
March 28, 20205 yr Ratimir je tvit u odnosu na filmske radove Johna Zorna! NP: Filmworks II Music For an Untitled Film by Walter Hill
March 28, 20205 yr 8 hours ago, Anonymous said: Dobra stvar, ali ne mislim da ću je slušati drugi put. Btw. posle toga sam ponovo slušao Roll On John sa Tempesta, znatno mi bolje zvuči.
March 29, 20205 yr Nastavio sam danas sa filmskim radovima Johna Zorna i to sa XV Protocols of Zion (2005) koji odgovara i dnevnom slušanju obzirom na zavodljivu ritmičku podlogu. Nakon toga i dalje Zorn i to sa Georgeom Lewisom i Billom Frisellom sa interpretacijama Dorhama, Mobleya, Sonnyja Clarka i Freddie Redda na News For Lulu (1988) i More News For Lulu (1992) Savršena grafička rešenja zaslužuju da se i ovde posebno istaknu: Dalje, Laurie Anderson i Homeland (2010)
March 29, 20205 yr I dalje New York, a ekipi pridodajem i Lou Reeda: Laurie Anderson, Lou Reed, John Zorn - July 2nd 2010 Montreal The Guardian piše sledeće: Lou Reed, Laurie Anderson and John Zorn faced a furious crowd on Friday night, playing cacophonous music to a cacophony of boos at the Montreal International Jazz festival. Fans expecting Sweet Jane or Walk On the Wild Side were instead met by the skronk and skree of Reed's more recent free-jazz work, infuriating sections of the crowd. As audience members hollered their complaints, Zorn responded. "If you don't think it's music, then get the fuck outta here." Then the walk-outs began. U nastavku teksta ide i moguće pojašnjenje, obzirom da je deo publike prema nejasnim najavama organizatora očekivao nekakvo VU prežvakavanje. Vredelo je ostati.
March 30, 20205 yr http://thedrones.bandcamp.com/album/live-vol-2-spanish-club-melbourne-march-4th-2006
March 30, 20205 yr Sad "otkrih" ovu genijalnost... (Dave Stewart nije Eurythmics-ovac, samo se isto zove.) Vrlo dobra stara recenzija iz Guardiana (iz 2005.) Spoiler Long bootlegged, this glorious live album documents an intriguing moment in UK rock history, when the rock mainstream and the outer-limits vanguard were in bed together. Three decades on, it's hard to imagine a contemporary equivalent to the supergroup that Wyatt convened in September 1974: musos like Mike Oldfield and Pink Floyd's Nick Mason rubbed shoulders with jazz players Julie Tippetts and Mongezi Feza , and with avant-proggers such as Henry Cow's Fred Frith , Hatfield and the North's Dave Stewart , and Soft Machine alumnus Hugh Hopper. The bulk of the set consists of a run-through of Rock Bottom, the Wyatt album released earlier that summer, a crushingly poignant work shadowed by the singer's paralysis following a fourth-floor tumble during a wild party. 'Sea Song', as mysterious and lovely a ballad as Tim Buckley's 'Song to the Siren', opens up into a fabulous extended improvisation, a malevolent meander of fuzz-bass and glittering keyboards that's akin to an Anglicised Bitches Brew. Wyatt's falsetto spirals up into ecstatic scat acrobatics, as though his spirit is trying to escape his shattered body. 'Little Red Riding Hood Hit The Road' - its title a whimsy-cloaked allusion to the accident - is equally stunning: Feza's trumpet channels Miles, while Wyatt's delirium of anguish is only slightly softened by the English bathos of lyrics like 'oh dearie me, what in heaven's name.' The singer actually miaows at the start of 'Alifi b', a gorgeous quilt of shimmering keys and glistening guitar, while the set ends with a rampant, edge-of-chaos take on the Monkees's 'I'm a Believer' . Alarming but true: one of the best releases of 2005 was recorded 31 years ago.
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