Not unlike a troop of ardent wiccans let loose in a disused scaffolding warehouse....
or as of whom M'Lud Yatesbury would have it in this month's patented enthusiastic Address Druidion...
"work of high ritual first conjures up its own sonic pantheon, nurtures then enslaves them, then conducts them as they writhe. Stupendous. Brothers‘n’sisters, they’ll be including this fucker in the future future mysteries when the earth has returned to Goddess worship. Imagine that Wendy ‘Walter’ Carlos had composed some lost electronic soundtrack to THE WHICKER MAN [sic]. Massed vocals, analogue pulses, mucho percussion and mucho grumbling, so all of it mainly acoustically driven stuff. Indeed, should you shoehorn a baby grand into some Mediterranean rockcut tomb and perform this material therein, it’s a synch the natural echoes of those places would replicate these recordings...pulls off a low budget Carl Orff for the Igjugurjuk Generation, or I ain’t no Inuit Shaman! Mercy me"
No mere novel buffoonery. Jeanine Deckers aka Sister Luc-Gabrielle aka Soeur Sourire delivers fine homespun folk bent vaguely unsinister religious. Songs more sweet than our sister's 1985 suicide. Not much to smile about there.
Leyland Kirby's custodial nom de plume references Jack Nicholson's character in The Shining, inspiration also for his early musical stock in trade: sampled, manipulated 78s a-crackle with sweet-desolate-stranded 1920s/1930s dance tunes. Archival meditations on appropriation, memory, and the accretion and disappearance of cultural objects, Kirby's tracks dangle, turn slowly like rods on a disintegrating mobile.
Soundtrack to a film about writer W.G. Sebald, in place of spectral jazz-age ballroom, Patience draws from Franz Schubert, crafting melody saturated and motif uncanny. Kirby's thaumaturgy mixes emotional states - memory, decay, loss, childhood and life ahead filled with possibility - like no other.
These are the true troubadours of the last two centuries. They explore divinity and magick from a lyrical chivalric dimension. Combine this with the interdimensionality and you have works beyond compare. SUBLIME!
Genesis Breyer P-Orridge
New York City, April 2004
And I shall dance for you,
The sweetest dance that I can do.
Final true entry in the canon. Worlds they rise and fall. Last thrilling, if poignant, outing for ham-fisted Heron sitar. Talking of painted chariots, Darling Belle and the end.
Early 60s, Bobby grooving with psychedelic chamber group The Orkustra; creepy filmmaker Kenneth Anger is impressed, asks the young musician to play title role in upcoming potboiler Lucifer Rising. Beausoleil agrees, provided he scores the music; The Orkustra piss off, hello The Magick Powerhouse of Oz. Beausoleil and Anger fall out, latter de-camps around UK, while Beausoleil hooks up with charismatic fellow named Charles Manson; murder of double-crossing drug dealer and Beausoleil lifetime sojourn in maximum security ensue.
Meanwhile.....Anger commissions Jimmy Page to score partially shot Lucifer Rising. Page produces but a trickle; project goes nowhere. Back in California, Beausoleil forms prison band, sends demos to Anger who is impressed enough (again) to give Page his marching orders and re-commission Beausoleil to score Lucifer Rising. With the nod from obliging prison warden, Beausoleil builds scratch recording studio within prison walls and slowly over next few years records sound track with help from fellow inmate musicians dubbed The Freedom Orchestra.
Disc the first
Sound track proper. As through a kosmische melange, darkly. Shadowy orchestral realm of electronic psych-rock exploration. Stygian Popol Vuh. Stew of DIY synth and homemade effect units recorded guerilla style. Inspiring. This needs to be heard.
Disc the second
Vintage Orkustra and Magick Powerhouse efforts plus early Freedom Orchestra demo. Intriguing.
Oh, the mordant wit and sinister resonance of prime Mr. Cutler. (Produced by pioneering ambient egg-head David Toop). Y brawd hadn't realised IC was a good synagogue going boy...though it all makes sense...these pieces sweat with dark sonorous Jewish melodies. Humane, skew whiff, moving.
intermedia: what happens when different media intersect; how found and everyday objects, sounds, images, and texts mix to create new combinations of objects, sounds, images, and texts.
simple: small scale, short texts, brief performances.
In other words, carte blanche for pissing about. Quite literally in La Ono's case. Y brawd invites you the listener to sort vacuous piffle from the really rather good. Let it flow.
01 Walter Marchetti: Per la sete dell'orecchio (1976)
02 Juan Hidalgo: Tamaran (1974)
03 La Monte Young: Dream house (1973)
04 Ben Vautier: Some ideas for Fluxus (1989)
05 Wolf Vostell: Elektronischer dé-coll/age. Happening Raum (1968)
06 Milan Knizak: Broken music composition (1979) 3:26
07 Robert Filliou: Imitating the sound of the birds (1979)
08 Alison Knowles: Natural assemblage. Le vrai courbeau (1984)
09 Emmett Williams: Duet (1968)
10 John Cage: Radio Music (1956)
11 Joseph Beuys: Sonne statt Reagan (1982)
12 Yoko Ono: Toilette Piece (1971)
13 Dick Higgins: B.B. finally dreams about life, B.B.'s you play it (1962)
14 Philip Corner: Car passing at night, country road in Maine (1988)
15 Eric Andersen: The untacti[c]s of music (1968)
16 Robert Watts: Interview (1963)
17 Nam June Paik: My jubilee ist unverhemmet (1977)
18 Ken Friedman: Orchestra requiem variations (1967)