Source: Southern Lord Recordings. Southern Lord announces the next CASPAR BRÖTZMANN MASSAKER reissues in the ongoing series, continuing with Der Abend Der Schwarzen Folklore and Koksofen, now confirmed for release in July. Tracks from each of the two new reissues are now posted for streaming. The outfit will also be actively performing live this summer, […]
For those of you pining for the days of raw bedroom recordings of guitar improvisation that remind you of seminal acts like The Durutti Column, a name mentioned frequently on these pages, this latest album by Martin Neuhold does the job nicely. The only quibble is the slightly rushed feeling in-between tracks, which makes this mini-album feel a bit rushed. The musicianship, thankfully, doesn’t suffer a bit.
Along with Benjamin Aït-Ali, I think it’s safe to say that Bérangère Maximin is the best thing to come out of France in terms of avant-garde music. For a long while, I kept seeing her work pop up on my Facebook feeds, and each piece left me impressed. Things stopped around 2016 or so, but by that time, I found out the she had been working with Sub Rosa Records, and I figured she was in good hands. Judging by the quality of this release, she certainly is.
There isn’t much information about the powerful ethno-folk-metal-ish troupe Eastern Lord. They’re either from Azerbaijan or Azerbaijanis residing in Sweden. What is important is that they play a powerful music heavily affected by their Caucasian roots.
Many years ago, my brother and I shared a book on Bauhaus that was probably put together by a fan of the band. It had mentioned some rare curios like a 7-inch recording of band bassist David J collaborating with a member of the original Weimar Bauhaus movement in Germany, René Halkett, who had been residing in Cornwall, England in 1980. David recording Halkett reading his own poetry and releasing it as a one-off.
Here are some more notes from David’s Bandcamp site:
While still a member of the pre-eminent gothic rock band Bauhaus, David J had the brilliant idea to collaborate with René Halkett, artist/poet of the Weimar Bauhaus art school in the 1920s.
On July 28th, 1980, David took a trip to René’s cottage in Cornwall. Using a portable cassette recorder, he recorded an 80 year old René reciting his own poetry. In 1981, David added musical accompaniment to two of the poems and released them as a one-off single for 4AD.
I stumbled across this valuable single at a record convention when I was 19 or so. I think I paid four bucks. My buddy has his turntable set up for ripping vinyl to his computer. Before heading over there, I figured I’d look on Soulseek to see if someone had beat me to it. I found the two tracks, plus three extras!
It turns out that in 2001 this single was re-released as a Silver Anniversary CD, signed and numbered, limited to only 1000 copies. The two original tracks, “Nothing” and “Armour,” are remastered and then followed by a newer track, presumably circa 2001. “The New God” is a longer narrative piece that was also recorded that day in 1980. In a fitting touch, David created the music with the help of a lute that he inherited from René when he passed away in 1983. As a final bonus, the original spoken word cassette recordings of “Nothing” and “Armour” are included. Although David’s surname appears here as Jay, for consistency’s sake I’ve tagged his name as David J, the name he’s used for all subsequent releases in his career.
René Halkett & David J – Nothing . Armour (1981)
1. René Halkett / David J – Nothing (2:22)
2. René Halkett / David J – Armour (2:50)
3. René Halkett / David J – The New God (13:23)
4. René Halkett – Nothing (2:26)
5. René Halkett – Armour (2:53)
creditsreleased January 1, 2011
Words by Renee Halkett
Music by David J
c&p 2001 Urbane Music
Photographed by Anton Corbijn
‘Nothing’ and ‘Armour’ recorded in 1980 and originally released on 4AD Records in 1981
‘The New God’ recorded in 2001, spoken word from the original recording by Rene Halkett 1980.
‘Nothing’ and ‘Armour’ (spoken word) recorded in 1980.
A classic photo of screen legends on the set of Dr. Strangelove.
Director Stanley Kubrick lines up a shot of Sterling Hayden and Peter Sellers on the set of Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb (1964). Check out Robert Altman behind the scenes of 3 Women here
Jeff Gburek spent his Easter recording a dark album of piano music (with feedback and effects among his weaponry) played slowly with elongated, pensive strokes rather than crashing thuds. This album is creepy, but not in the horror-movie way it would imply with the album title. These tracks, like most of his works, are elegant, more refined and force other experimental musicians to up their game. He remains in a league of his own.
From Jeff’s Bandcamp site:
No one believes in haunted houses anymore but I believe in haunted houses just a little bit more than the unbelievers, after having lived within several, if only inside the skull, the crackling brain-case, and the house-bones, as they settle unsettlingly, in the merger meridian between seismic flow and over-head gulf streams and low frequency nor’easters. There is a spectre in spectralism and a prismatic fractal flaw splitting hairs without identity. Without the words equal to sound and the sounds equal to words there is the poem that rides shotgun over the carriage drawn into dawn by subtle horses, nameless ones, I cannot know while being guided by them over paths of further air, knowing them anyway, gusts of hydrogen-weighted gravity, a bustle between vibrating strings, the bright glow in the punctum sordum, a train running in one ear & out the other.
The worlds within the worlds inside the piano, the innenklavier, so called, the haunted house, the inner everglades of a sensual buzz as of strings in distant hunters of the stars drawing the mark.
Materials: grand piano, microphones, fingers, feedback (an immaterial material if ever there was one), delay, volume and pitch pedals. Did I miss anything? Please let me know.
Easter Sunday (4/21/2019).