Monday, 23 March 2015
Sunday, 22 March 2015
KiKu ft Blixa Bargeld & Black Cracker - Marcher Sur La Tête
KiKu
Yannick Barman and Cyril Regamey describe KiKu as a modular, avant-garde machine which, thanks to its modular system and open line-up, is never complete and continually dares to push boundaries.
Founded 11 years ago as an acoustic improvisation duo, Barman and Regamey the band’s trumpeter and percussionist have been taking on a more varied and flexible musical form. In February 2003 during a series of 20 concerts at the Swiss Théâtre de l’Oriental in Vevey they developed a sound that ventured into the realms of electronic music and since then have been tearing down the boundaries which often still divide jazz, classical chamber music, electro and rock.
This journey into as yet unexplored soundscapes has taken KiKu around the World to Vietnam, New York and the Willisau Jazz Festival. They’ve met many musicians, from Malcolm Braff to local Big Bands (Léon Francioli, Franco Mento, Julian Sartorius, Jean-Pierre Schaller among others) with whom they’ve collaborated on their different projects.
For the first time ever Barman and Regamey who met at the Lausanne Conservatory are working with words for `Marcher sur la tête’ their third album to date. For KiKu the spoken word serves as primary material, as open code, on this current project. They took words from the poem ‘Belehrung’ by the German poet Hermann Hesse and introduced these free elements which are complemented by David Doyon’s electrifying guitar into their steadily growing tracks.
The voice that recites these words is none other than that of Blixa Bargeld from Einstürzende Neubauten. Guided by a seductive Bargeld the listener is taken through a forbidding landscape that he ploughs through with his recital. From time to time the New York rapper and slam poet Black Cracker takes up the sceptre with his freestyle lyrics, thereby significantly widening the field that KiKu is creating.
With ‘Marcher sur la tête’, an album of unprecedented density, KiKu is succeeding in bringing together a musically adventurous spirit with the spoken word
Yannick Barman and Cyril Regamey describe KiKu as a modular, avant-garde machine which, thanks to its modular system and open line-up, is never complete and continually dares to push boundaries.
Founded 11 years ago as an acoustic improvisation duo, Barman and Regamey the band’s trumpeter and percussionist have been taking on a more varied and flexible musical form. In February 2003 during a series of 20 concerts at the Swiss Théâtre de l’Oriental in Vevey they developed a sound that ventured into the realms of electronic music and since then have been tearing down the boundaries which often still divide jazz, classical chamber music, electro and rock.
This journey into as yet unexplored soundscapes has taken KiKu around the World to Vietnam, New York and the Willisau Jazz Festival. They’ve met many musicians, from Malcolm Braff to local Big Bands (Léon Francioli, Franco Mento, Julian Sartorius, Jean-Pierre Schaller among others) with whom they’ve collaborated on their different projects.
For the first time ever Barman and Regamey who met at the Lausanne Conservatory are working with words for `Marcher sur la tête’ their third album to date. For KiKu the spoken word serves as primary material, as open code, on this current project. They took words from the poem ‘Belehrung’ by the German poet Hermann Hesse and introduced these free elements which are complemented by David Doyon’s electrifying guitar into their steadily growing tracks.
The voice that recites these words is none other than that of Blixa Bargeld from Einstürzende Neubauten. Guided by a seductive Bargeld the listener is taken through a forbidding landscape that he ploughs through with his recital. From time to time the New York rapper and slam poet Black Cracker takes up the sceptre with his freestyle lyrics, thereby significantly widening the field that KiKu is creating.
With ‘Marcher sur la tête’, an album of unprecedented density, KiKu is succeeding in bringing together a musically adventurous spirit with the spoken word
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Black Cab - Live @Howler Brunswick Melbourne (20/3/15)
(Click arrow to download)
Closing Ceremony
Supermädchen
Combat Boots
Kornelia Ender
Victorious
Go Slow
My War
Sexy Polizei
586
Underground Star/Heart's On Fire
Photo: JesseT
Recorded on handheld Tascam DR-40
Saturday, 21 March 2015
Friday, 20 March 2015
Black Cab - Closing Ceremony/ Supermädchen/ Victorious/ Sexy Polizei (Live to air 3PBS 4/2/15)
Supermadchen
Victorious
Sexy Polizei
(Click titles to download)
Photo: Lucy Spartalis
Black Cab are playing tonight at Howler which unfortunately if you haven't got a ticket is now sold out. I shall be there with my Tascam, so you will be able to hear their set here tomorrow
Tim Mitchell: Sonic Transmission (Chapter 12 - Little Johnny Jewel)
Through July and August 1975, Television continued to play at CBGB and in August Patti Smith began recording ‘Horses’. Verlaine contributed guitar on one track, making only a brief appearance in the studio in the process (producer John Cale recalls having ‘zero interface with him – except via a fleeting Patti entourage’149).There was already more than enough confrontation in the studio, anyway, where the joint presence of Smith, Allen Lanier and Cale (‘I wasn’t sure if (Patti) wanted to bed me or have me record her,’149 Cale says) had already raised the emotional temperature to boiling point. On that song, ‘Break It Up’, Verlaine’s contribution is distinctive but far from definitive, with short, preparatory runs and then climactic surges that almost overload Smith’s vocals. His solo, too – unexceptional and slightly ragged – shows little sign of what was to come from his own recorded work. Once more, he seemed to be keeping his real capabilities under wraps.On the night of August 19th, Television were sitting around in Patti Smith’s rehearsal room, down the hall from the offices of her Wartoke management company, and Verlaine decided that it was time they they recorded their own single. Having saved up some money from their live appearances, they now had, for the first time, enough in hand to make the proposition economically viable. Verlaine had Smith’s recent ‘Piss Factory’ as a successful precedent, not to mention the recording of ‘Horses’ to spur him on – a reminder that, once again, his band were behind the pace.That night, six possible contenders were recorded, with each band member playing in a separate room (‘We’d hear each other through the walls,’ Fred Smith later recalled3), and Verlaine plugging his guitar directly into the four-track recorder they were using, which had been borrowed from Smith’s drummer Jay Dee Daugherty. The band recorded a couple of their older songs, ‘Hard on Love’ and ‘I Don’t Care’, the newer ‘Friction’, ‘Prove It’ and ‘Little Johnny Jewel’ (on which Verlaine overdubbed some piano and organ) and a version of ‘Fire Engine’.‘Fire Engine’, like ‘Psychotic Reaction’, the other cover version in their live show, was a garage-band song dealing with altered states of mind. Both these songs explore the effects of the kind of derangement of the senses that Rimbaud had espoused as a way of finding new truths. Mental dislocation was a subject that Verlaine had already dealt with in ‘Poor Circulation’ and also in ‘Double Exposure’, a dramatisation of what he was later to say was the root of insanity
Theresa Stern: Mess with my face and see it split (1973)
Richard Hell
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Tom Verlaine
Theresa Stern was born on October 27, 1949, of a German Jewish father and a Puerto Rican mother in Hoboken, N.J., directly across the Hudson from New York City. She still lives there, alone, where all the poems in this book were written over a four month period in the summer and fall of 1971. She has since devoted that of her time not spent in flipping coins to composing a love story, THIN SKIN. It describes the murder, in ten chapters fired by Theresa, of her closest friend.
WANNA GO OUT?
is a question often asked on the streets around the cheaper bars in New York and Hoboken.
First poem in Wanna Go Out?:
STARS I WAS
Stars, why did you describe me?
You could have had a tree for a tattoo.
Why did I have to be these colors?
It's an ulterior motive, this 3-D nothing.
I loved him so much
but I accidentally dropped an electric toothbrush
into my cunt
and fried his johnson.
My box of chocolates start singing "This Is My Father's World" and
I ram a tooth into the baritone nougat.
Last poem in Wanna Go Out?:
YOU STRANGER I'M TIGHT AND JUICY
The stranger and the moon are good buddies.
The stranger is a puddle
and the moon is the moon's reflection in the puddle.
This is as close as we poets can come to life.
I depend upon your mercy as a goose upon a cigar.
Close this book I scream and come look me up so we can fuck as long
as I don't have to talk.
I'm not about to pay any of my debts ever.
Gored by Beethoven, you should know what it's like to be built
inside a little bottle out of wood.
The stranger has a cigar and is observing geese
pass across the moon like an intricate model ship
or symphonic violins, and all I can do is dream of mud, oh mud, mud.
Via
Mary Harron interviews Theresa Stern (Punk #4)
My copy of 'Wanna Go Out?' is autographed by Richard Hell. I really should have taken it down to Hobart when I went to see Television there. I wonder what Tom Verlaine's reaction would have been?
Thursday, 19 March 2015
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