This is the best thing I've seen today pic.twitter.com/ajyRZ2KXpa— m ♡ (@wangjckson) June 29, 2017
“Autophagia” by Artist Rhys Edwards
4 hours ago
Sunday, 2 July 2017
The way it can be
Amplified Gesture
Directed and edited by Phil Hopkins, with interviews conducted by Nick Luscombe, Amplified Gesture (2009) takes us to the studios and workspaces of eleven leading improvisers across Europe and Japan – from legends like saxophonist Evan Parker to rising stars including Christian Fennesz. Their conversations teach us about improvisation as a practice and as a culture. “The aim was to pique the interest of the audience in the hope that they would wish to find out more,” says Hopkins. “I do think there are insights in this film which apply to anyone concerned or connected with other kinds of artistic endeavour. By focussing principally on the ideas and philosophies, I think we arrived at something quite ‘pure’.”
“There’s isn’t, to my knowledge, a comprehensive film on this subject, these musicians, the history of free improvisation as seen through the eyes and ears of its European practitioners,” says David Sylvian whose label made this film. “It’s a unique branch of the evolution of free jazz through to free improv, a story that’s not adequately been told on film. We attempt to touch upon the opening of the East to these influences and the significant impact artists such as Otomo Yoshihide and Toshimaru Nakamura have had upon the scene, and how that exchange broadens the conversation, contributing to an ongoing evolution of ideas.”
Keith Rowe and Eddie Prévost recall the birth of England’s groundbreaking ensemble AMM, while in Japan’s younger onkyo scene, practitioners such as Yoshihide, Nakamura, and Sachiko M describe their relationship with machines that defy mastery, like Nakamura’s no-input mixing board. Their discussions range from how they first began this practice – leaving behind old idioms and popular music in pursuit of the unknown – to the unending process of learning from their collaborators, their instruments, and the ever-changing circumstances in which they find themselves. As saxophonist John Butcher explains in the film, “It wasn’t an idiomatic choice you were making. It was a life choice, about how you wanted to approach life, and how you wanted to approach creativity, and how you wanted to approach music.”
Instrumental outtakes from Manafon provide the score, but the documentary eschews that project to focus on the musicians, and the almost fifty years of history and discovery that they represent.
Free improvisation is a field that is rarely documented and often misunderstood. This gorgeously-filmed and quietly intriguing documentary will lure in new listeners, while rewarding fans with new insights and rare glimpses into the hearts and minds of these musicians – the pioneers who commit to improv as a form, a challenge, and a lifelong journey
“There’s isn’t, to my knowledge, a comprehensive film on this subject, these musicians, the history of free improvisation as seen through the eyes and ears of its European practitioners,” says David Sylvian whose label made this film. “It’s a unique branch of the evolution of free jazz through to free improv, a story that’s not adequately been told on film. We attempt to touch upon the opening of the East to these influences and the significant impact artists such as Otomo Yoshihide and Toshimaru Nakamura have had upon the scene, and how that exchange broadens the conversation, contributing to an ongoing evolution of ideas.”
Keith Rowe and Eddie Prévost recall the birth of England’s groundbreaking ensemble AMM, while in Japan’s younger onkyo scene, practitioners such as Yoshihide, Nakamura, and Sachiko M describe their relationship with machines that defy mastery, like Nakamura’s no-input mixing board. Their discussions range from how they first began this practice – leaving behind old idioms and popular music in pursuit of the unknown – to the unending process of learning from their collaborators, their instruments, and the ever-changing circumstances in which they find themselves. As saxophonist John Butcher explains in the film, “It wasn’t an idiomatic choice you were making. It was a life choice, about how you wanted to approach life, and how you wanted to approach creativity, and how you wanted to approach music.”
Instrumental outtakes from Manafon provide the score, but the documentary eschews that project to focus on the musicians, and the almost fifty years of history and discovery that they represent.
Free improvisation is a field that is rarely documented and often misunderstood. This gorgeously-filmed and quietly intriguing documentary will lure in new listeners, while rewarding fans with new insights and rare glimpses into the hearts and minds of these musicians – the pioneers who commit to improv as a form, a challenge, and a lifelong journey
Saturday, 1 July 2017
Tick Tock Tick Tock...
If anyone you know doubts that it's ILLEGAL for Trump to collude with a foreign power as it attacks our infrastructure, RETWEET THIS THREAD. pic.twitter.com/mIr0OEpnm9— Seth Abramson (@SethAbramson) June 28, 2017
HERE
EX EYE - Xenolith; The Anvil
Debut album from EX EYE, the instrumental, post-everything quartet led by renowned saxophonist Colin Stetson and featuring the otherworldly drumming of Greg Fox. EX EYE seamlessly weave between precise, clockwork intricacy and aggressive, ecstatic abandon while taking the listener on a cathartic, thrilling journey to total transcendence. Recorded live at EX EYE member Shahzad Ismaily's Figure 8 Studios in Brooklyn, NY (Blonde Redhead, Damien Rice, Okkervil River, Son Lux, Pussy Riot), the self-titled debut showcases a band that is without question the sum of its parts, as each player contributes not only their own particular technical prowess and expertise but also their signature compositional character. EX EYE make incredibly complex yet beautifully dramatic and emotive music which eclipses usual expectation of style or genre and is sure to be talked about for many years to come
In my book Colin Stetson can do no wrong
Friday, 30 June 2017
HA!
I think I'm in with a chance ??!!! https://t.co/faXVjWsRY1— Annie Lennox (@AnnieLennox) June 29, 2017
Annie Lennox 'scouted' by US radio
Thursday, 29 June 2017
Starts tonight: FUCK IT! we're having a group show (Collingwood Melbourne)
This exhibition is about good people, creative works and a great bar!
29 June - 12 July
29 June at 18:00 to 12 July at 16:00
Kent Street
201 Smith Street, Collingwood, Victoria, Australia 3065
Featuring:
Abyss 607 https://www.instagram.com/
Amy Jean https://www.instagram.com/
Astrotwitch https://www.instagram.com/
Bailer https://www.instagram.com/
Be Free https://www.instagram.com/
Drew Funk (Syd) https://www.instagram.com/
Erin Greer https://www.instagram.com/
Fox https://www.instagram.com/
Goodie https://www.instagram.com/
HA HA https://www.instagram.com/
Hollie M Kelley https://www.instagram.com/
Jimmy Lee https://www.instagram.com/
Nev Sety (Syd) https://www.instagram.com/
Lu Quade (Newcastle) https://www.instagram.com/
Minou (Bris) https://www.instagram.com/
Mouf (Bris) https://www.instagram.com/
Mupz https://www.instagram.com/
Nicholas Millen https://www.instagram.com/
Putos https://www.instagram.com/
Ryan McGennisken https://www.instagram.com/
Shane McRobb
Suki https://www.instagram.com/
The Dunken Yobbo https://www.instagram.com/
Guest DJ - meander
https://soundcloud.com/
Wednesday, 28 June 2017
Voice Mix
Tracklist:
1 Louis Kappa by Voice
2 Gaprindi Shavo Mertskhalo by Hamlet Gonashvili
3 Improvisation by Maggie Nicols/Phil Minton
4 Sabodisho by The Rustavi Choir
5 Mayruli by The Tsinandali Choir
6 Alfred Scnittke's Concerto For Choir (1) by Swedish Radio Choir
7 Une Coup de Des by The Hilliard Ensemble/Barry Guy
8 The Men of Barra Know How To Drink But The Women Know How To Sing by Talisker/Voice
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