The Silent Barn: Kurt Vile // Part One from Ray Concepcion on Vimeo.
*Headphones are recommended for this video.
Filmed in one continuous shot on August 15, 2009 at the Silent Barn in Ridgewood, Queens.
Am a big fan of John Fahey, so it’s only natural for me to dig Vile’s melodic country blues finger picking. I don’t know the name of this song; it’ll probably be in his forthcoming record entitled “Childish Prodigy.” Hopefully it gets the studio treatment, ’cause it’s stuck in my head…”she was a tomboy, and I was a peepin’ toooom.”
If you need a good read, check this brilliant write up:
http://www.toocooltodie.com/index.php?/tctd/aotw/kurt_vile_childish_prodigy/
Three other bands played that night, including Daily Void and Birds of Maya, who kicked out the killer jams, go see their show!
www.myspace.com/dailyvoid
www.myspace.com/birdsofmayaCamera | Sound | Editing:
Ray ConcepcionSpecial Thanks to Todd P. and the Silent Barn…try the cornbread. ;)
http://www.myspace.com/kurtvileofphilly
www.myspace.com/thesilentbarn
http://www.toddpnyc.com
part two: http://www.vimeo.com/6141154
Archive for the 'filler' Category
Hype isn’t always a reliable indicator of merit, but Wavves rocket launch to hipster stardom is well deserved. Lo-fi garage rock has been on the ascent for some time now, building upon a long tradition of noise rock that runs through the likes of The Dead C, Sonic Youth, and Tarantel (to name a few). While he’s hardly the first to try the mix, Nathan Williams’s sun-soaked noise rock has caught on in a big way, and it’s been blast riding this latest wave of new racket rock (e.g., Religious Knives, Pumice, Grouper, Pink Reason, and so, so many more).
Without a drummer, $2 beers, and a room full of sweaty hipsters, the music doesn’t sound quite the same. Despite these shortcomings, this VPRO solo-set is a good listen. More surprising than the missing drummer is the acoustic guitar, and crystal clear vocals. Stripped of its bristling grime, Williams’ songwriting actually sounds remarkably snuggleworthy.
“So Bored”
“Untitled” (unreleased)
“Head In the Sand”
“To the Dregs”
(cont…)
LISTEN (wma web)
http://www.vpro.nl/programma/dwars/artikelen/41504609/
Saw Wavves recently @ Market Hotel in Brooklyn. NYCTaper caught the performance. His recording better represents the typical Wavves flaming-streamers rock, if anyone’s interested.
February 5, 2009 — Group Doueh are led by the enigmatic guitar hero Bamaar Salmou, who is known simply as ‘Doueh’ (pronounced: ‘Doo-way’). They are from Dakhla, in the Western Sahara. The group’s sound is unlike anything that you’ve ever heard before. It is a sound that is rooted in the traditional foundations of Sahrawi/Hassania music, but one that is also entirely its own. It shares its roots with the neighboring styles of Mauritanian music, however Group Doueh have managed to transcend the classical limitations of that music with a fiery, independent, and avant approach that incorporates a distinctly pop and rock element that is anomalous in the region. This is a sound that can only come from the land that inspired it. This is the sound of the Sahara desert. It is a searing, meditative, and hypnotic modal sandstorm of note clusters that has been cathartic to anyone who has heard it. Group Doueh have been playing together for over 20 years. The band consists of their leader, Doueh on guitar and tinidit, his wife Halima on vocals and tbal, their son Jamal on organ, and longtime friend Bashiri also on vocals. They had declined several offers from Moroccan, French and Spanish recording labels to release their music. It was not until Sublime Frequencies, after a long search for the music landed them at the man’s house in Dakhla, that Doueh agreed to have his music released for the very first time. Sublime Frequencies & QuJunktions are proud to present Group Doueh’s first ever UK appearance and extended shows in Europe.
Shogun Kunitoki: Riddarholmen from Sami Sänpäkkilä on Vimeo.
From the upcoming Shogun Kunitoki: Vinonaamakasio FR-62 CD/LP released in March 2009
www.shogunkunitoki.com / www.fonal.com
Directed and edited by Sami Sänpäkkilä
Dearest blog, sorry for the neglect. Those weeds will be cleared out shortly.
“Composed in 1987-1989, Rebonds, for solo percussion, was premiered by Sylvio Gualda in July 1988 at the Villa Medici in Rome.1 A comment by Jacques Lonchampt accompanying the score describes the work as “An immense abstract ritual, a suite of movements and of hammerings without any folkloristic ‘contamination,’ pure music full of marvelously efflorescent rhythms, going beyond drama and tempest.”2 Rebonds is a stark contrast to Xenakis’ work previously examined in this document (Psappha), both in terms of musical content and notation. Whereas learning Psappha’s graphic notational system is a central obstacle of the work, the difficulties of Rebonds lie more in the technical and musical challenges of executing the rhythms.
Rebonds is in two movements: Rebonds a features a gradual build-up of intensity and density, and Rebonds b encompasses a relentless, driving pulse. The instrumentation of Rebonds a consists of two bongos, three tom toms, and two bass drums. Rebonds b utilizes five woodblocks, two bongos, one tumba (conga), one tom tom, and one bass drum.” — Alyssa Gretchen Smith, B.M., M.M. (abstract)
Little is more frustrating than falling hard for some new artist, only to discover their 30 separate limited release albums, each in handcrafted editions of 15 copies, are all long out-of-print, and selling on ebay for $60 plus a pint of blood. Thankfully, Portland’s Bonus, the drone troupe of Scott Goodwin, Jamie Potter, and (on occasion) Matt Carlson, feels our pain. The group is has opened a blog, providing free, downloadable copies of their entire OOP cdr back-catalog. Visit the BONUS ARCHIVE. (h/t Maxwell @ Rootblog)
Bonus may be on hiatus, but Scott Goodwin just recently released his debut solo album of electronic drones on Root Strata. I haven’t listened closely, but I have gotten a quick listen and enjoyed its smooth, sinusoidal droning hypnotism.
‘Off Light’ is the first proper CD by Portland based musician Scott Goodwin, who also spends time crafting tones in the trio Bonus. Not a huge departure from that group’s direction here, although Scott has notched the distortion all the way down and cranked the pure tones up quite a bit. Composed entirely from sine waves, ‘Off Light’ and its companion piece ‘Arc’ are thrilling shifts in variation that move at a slight and measured pace, forming soft rhythmic beats that really seem to come alive at a high dose of volume, bouncing around the room like holographic reflections. If you could imagine a soundtrack to a zoned out meditation in a James Turrell sculpture, this would be it. Edition of 300 in an eye-popping two panel folder.
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