Gohan Mix#16 | Special DCDL XXXII — KILIMA NJARO

Cover réalisée par Zemar.

Par cette lente promenade au travers un paysage mystérieux entre lune et savane, osons - oui, osons! - défier les esprits malins qui hantent la zone 3° 4′ 33″ S, 37° 21′ 12″ E.
Nouveau mix réalisé pour nos chers amis du blog Des Chibres et Des Lettres.

By this slow perambulation through a mysterious landscape between moon and savannah, let's dare to challenge those evil spirits haunting the area 3° 4′ 33″ S, 37° 21′ 12″ E.
New music realized for our dear friend if the blog Des Chibres et Des Lettres.

Gohan mix #16 Special DCDL XXXII — Kilima Njaro by marz ego6

1. Sun Ra - New Day
2. Luca Bacchetti - Rolling Brooklyn (Lee Von Dowski's Mix)
3. Charles Amirkhanian - Mushrooms (for John Cage) (fragments)
4. Edgard Varèse - Density 21.5 (performed by Pierre-Yves Artaud) (fragments)
5. Gavin Herlihy - Underneath The Wind Machine
6. Bird Show - Mbira, Harp And Voice
7. Blagger - Strange Behaviour (Dj Koze aka Swahimi Remix)
8. Robert Wyatt - Anachronist (fragments)
9. Robag Wruhme - 48° 52' N, 2° 21' O
10. The Kilimanjaro Darkjazz Ensemble - Adaptation Of The Koto Song
11. Nicolas Jaar - Love Teacher
12. Tinariwen - Matadjem Yinmixan (Goohaan Edit)
13. Kadebostan - Les Indes Galantes
14. Italoboyz - Downtown
15. Robert Wyatt - Pastafari
16. Santé - Dambalaa
17. Intrusion - Angel Version (feat. Paul St-Hilaire)
18. Oudaden - Track 02 (from "Bostane Music" album)
19. H. P. Lovecraft - Electrallentado

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vendredi 23 juillet 2010

C'est la première fois qu'un invité intervient en tant que compositeur sur Peur Bleue. Je me souviens avoir découvert Alfred Brown par le morceau "SphericalType GasHolder" à forte inspiration musique concrète. Intrigué j'ai cherché à acheter ses titres, mais sans succès. Par conséquent, j'ai décidé de lui envoyer directement un mail pour lui demander comment se procurer sa musique, et c'est là que nos échanges ont commencé. J'ai été fasciné par la volupté lancinante du morceau "Ichoate" qu'il a composé notamment pour l'Electric Baritone Kalimba, instrument qu'il a lui-même conçu. Muni d'un bagage musical très solide, Alfred possède une qualité rare pour un compositeur actuel de musique contemporaine : l'audace. Je suis extrêmement reconnaissant qu'il est accepté d'écrire sur lui et ses influences. Alfred Brown, un futur très grand:

This is the first time that a guest appears as a composer on Peur Bleue. I remember that I discovered Alfred Brown by his track "SphericalType GasHolder", broadly impregnated by the concrete music. I was intrigued so I looked for a way to buy his tracks, but it was unsuccessful. Hence, I have decided to send him directly a mail in order to ask him how could I get his music. By this way, our connection started. I have been fascinated by the throbbing sensuality of"Ichoate", composed for the Electric Baritone Kalimba, instrument that he designed himself. Fitted by a strong musical background, Alfred is a composer who has a rare quality for a current composer of contemporary music : the dare. I am extremely grateful that he accepted to write on himself and his influences. Alfred Brown, a future great one:

I write very texturally; focusing mostly on using different timbres to build an aesthetic, and then moving on to other musical conventions from there. I’ll experiment digitally for sounds and when I find something I like I’ll work with it. Usually pieces will start from one or two timbrel ideas with the other elements being based on those.

I make nonperformable recordings that come out of the Musique concrete tradition in that they are acousmatic, but that place less of an emphasis on literal environmental sounds and more of an emphasis on combining layers of abstracted sounds (sometimes sampled environmental sounds) with simple melodies and chord progressions played on musical instruments. I think of these recordings much in the same way as Henri Matisse making his paper cutouts. He describes working in this medium as drawing directly in color or cutting into color. That’s what I do with sound. It feels very much like sculpture.
If a piece is to become something for a live performance application I’ll likely try to achieve timbres as much as I can with traditional acoustic instruments primarily because this makes me feel more connected with the composers that I hold in high regard, the composers that achieved amazingly complex and fragile sounds without using electronics such as Anton Webern, György Ligeti, and Arvo Pärt. Also, on a practical level, using more common instruments makes it that much more likely that the piece will actually get to be performed at some point. Mostly, though, I am interested in combining these instruments with electronic sounds and electric instruments in a live setting via amplification in the same way that a contemporary Rock & Roll performance uses amplification to blend electric / electronic instruments (Electric Guitar, Synthesizer) with acoustic instruments (Drums, Acoustic Guitar, Voices). This treats the live performance setting very much like the recording environment in that it allows for detailed manipulation of the sound by way of electric processing and makes possible a more agreeable, more natural (ironically) blending of two sometimes-incongruent tonalities.
- Arvo Pärt - Fratres for Violin, String and Percussion (performed by I Fiamminghi & Rudolf Werthen)(Album "Arvo Pärt: Fratres", 1995)
- Anton Webern - 5 Pieces for Orchestra, Op. 10: I. Sehr ruhig und zart (performed by Ensemble InterContemporain & Pierre Boulez)(Album "Boulez conducts Webern", 1995)
- Anton Webern - 5 Pieces for Orchestra, Op. 10: III. Sehr langsam und äußerst ruhig (performed by Ensemble InterContemporain & Pierre Boulez) (Album "Boulez conducts Webern", 1995)

Lately, I have taken cues from Futurist music theorist Luigi Russolo and have begun inventing and building new instruments. One such instrument (heard in this featured piece Inchoate) is an electric guitar with metal tines instead of strings that are plucked with the fingers and/or struck with a metal beater. It is essentially an electrified, solid-body Kalimba with the signal run through stereo multi-delay + reverb to create a more immersive sound and to make the overtones of each tine more obvious. Other instrumentation for this piece includes Electric Guitar, Suspended Cymbals, Concert Bass Drum, Floor Tom Drum, French Horn, Baritone Horn, and Tuba. It will be part of a larger collection due to be released in 2011 on Asthmatic Kitty records.

Alfred Brown, a composer and audio engineer living and working in Buffalo, NY, USA.
His myspace
His blog

samedi 3 juillet 2010

Photo : Andrew Laumann

Un fracas de cuivres grincants, un grondement de tambours, le tout accompagné par une rythmique chevaleresque, cela faisait si longtemps que je voulais aborder ce sujet richissime : l'épique-musique! Il s'avère qu'à nouveau les parois opaques entre les styles musicaux classiques ne résistent pas à la puissance de ce genre. Aussi bien dans les opéras de Verdi que dans le rap harlemois, la mégalomanie rassemble. Une musique despotique et religieuse pour sujets incrédules.

It is been a while that I want to approach this "richissime" subject : epic-music! It seems once again that these thick walls between musical styles can be demolished by the power of this kind. As much as in Verdi's operas than into the Harlem's rap, megalomania gathers. A despotic and religious music for incredulous subjects.

Alors nombreux seront ceux qui esquisseront un rictus amusé sur les rapprochements de références employés ici, il ne s'agit pourtant pas seulement d'un raccourci spectaculaire (même si le sujet s'y prête généreusement), mais de la description d'une sensation commune, comme le décrit cet extrait d'article, dont le sens demeure pour moi encore très obscur, sur la musique baroque :
"Une fascination semblable avec une expression simple, forte, dramatique, où les rythmes clairs, amples, syncopés remplacent les comparaisons métaphysiques, sophistiquées et entrelacées de maniéristes". La référence provient de wikipédia, mais caractérise à mon sens merveilleusement bien (si on veut comprendre ce que l'on veut comprendre) le genre épique dans un sens plus général. Ainsi le plus étonnant est, qu'avec une certaine abstraction, on peut appliquer cette description au travail flamboyant du collectif rap Diplomats pourtant en apparence si éloigné de Monteverdi, de Haydn ou même de Wagner.

"A similar fascination with a simple strong, dramatic expression where the lear, detailed and syncopated rhythms split off metaphysical, sophisticated and intertwined comparisons of mannerists" from Wikipedia at the French article "Baroque"...

Richard Wagner - Carmina Burana - O Fortuna

Pour persévérer dans ce curieux parallélisme, on peut aussi noter la récurrence des intonations guerrières dans le genre de l'épique-musique. On repense irrémédiablement la réplique hilarante et désormais célèbre de Woody Allen : "quand j'écoute Wagner, çà me donne envie d'envahir la Pologne!".

In order to hold this weird parallelism, we can notice the recurrent reference to the war intonations in this kind of music.

Et de la guerre au chaos, la frontière est fine. La consécration la plus radicale du genre semble être nécessairement apocalyptique, comme le bouquet final d'un feu d'artifices qui aurait dégénèré pour laisser place au néant.

From the war to the chaos, the border is fine. The most radical consecration of this kind seems to be necessarily apocalyptic, as the finale of a fireworks display which degenerated and led us to nothingness.
Olivier Messiaen - Introduction (conducted by Kent Nagano) (Album "Turangalîla Symphony", 2001)