Articole Interesante (De Citit La Cafea)

[Guest]

Jim O'Rourke by Jay Sanders
 

Jim O'Rourke is one of those rare artists who, in his own work and through his keen perception and fanatical boostering of the many things that motivate and excite him, has fundamentally altered the parameters of the art form in which he works. At every moment he challenges his audience to rethink the expectations and categorical distinctions they bring when listening to music, exploring these constructs in order to rewire their semantic codes in astonishing and unforeseen ways.

O’Rourke is consistently setting new terms for originality and an independent vision, with a spirited sense of humor at every turn. He imbeds sophisticated compositions and conceptual-artistic intent in the semblance of pop albums, continues to re-imagine the possibilities within electronic music and musique concrète to organize sound and surprise us with its manifestations, and forges a deep connection between American Minimalism and the open tunings and modal finger-style playing of blues and folk.

Since moving to Tokyo eight years ago, his albums feel increasingly like dispatches from another orbit, as they plunge ever deeper into their own vocabularies and concerns, unfettered by the need for explanation, promotion, or tour support. The Visitor, his 2009 instrumental tour de force, takes its title from the fictional album made by David Bowie’s alien persona in The Man Who Fell To Earth, an improbable communiqué meant for a faraway planet. This year saw the highly anticipated release of Simple Songs, his first vocal song record since 2001’s Insignificance (all on Drag City Records). To satisfy at least some of the demands that he materialize, he will present a rare two-night concert series, entitled “two sides to every story,” at the Tokyo Sogetsu Hall later this fall. For countless reasons Jim has been an inspiration to me, so it’s a great pleasure to have this opportunity to check in.

 

http://bombmagazine.org/article/9761825/jim-o-rourke

[Guest]

Dead Weather Guitarist Dean Fertita Talks Gear and Technique in This Exclusive Video
 

Today, GuitarWorld.com presents the third of four exclusive technique- and instrument-based videos by the Dead Weather.

In this episode, guitarist Dean Fertita (Queens of the Stone Age, the Waxwings, Hello=Fire) talks gear and divulges the source of his pummeling dive-bomber crunch on a new Dead Weather song, “Let Me Through."

He also takes a phone call from an irate neighbor (who you might recognize)!

 

http://www.guitarworld.com/dead-weather-premiere-guitar-technique-and-discussion-dean-fertita-video-exclusive/25547

[Guest]

Vinyl Record Sales Generated More Money This Year Than Free Streaming Music
 

The Recording Industry Association of America (RIAA) reported that U.S. consumers bought $226 million worth of vinyl records in the first half of the year. Contrast this to $162.7 million in revenues from ad-supported streams from the likes of Pandora and Spotify, and it looks like people are actually paying a significant chunk of change for music. More money is being made on record sales than money is generated from ad-based online music.

 

http://20khz.gizmodo.com/vinyl-record-sales-generated-more-money-this-year-than-1733809154

[Guest]

Tom Petty was a heroin addict in the ’90s. Here’s why he’s finally talking about it.

https://www.washingtonpost.com/news/style-blog/wp/2015/10/07/tom-petty-was-a-heroin-addict-in-the-90s-heres-why-hes-finally-talking-about-it/

[Guest]

Uimitoarea poveste a poetului Fondane, evreul pe care Cioran a vrut să-l salveze de la moarte şi care a murit gazat la Auschwitz din dragoste faţă de soră

Unul dintre cei mai apreciaţi poeţi din Franţa este născut în Iaşi şi a avut parte de un destin tragic. Aceasta este povestea lui Benjamin Fondane, fiu de comerciant evreu născut la Iaşi, stabilit în Franţa – unde a cunoscut faima în lumea literaturii, ucis de nazişti înainte în cel de-al Doilea Război Mondial. Ar fi putut părăsi lagărul, cu sprijinul unor prieteni, printre care şi Emil Cioran, însă nu a vrut să plece fără sora sa.

http://adevarul.ro/locale/iasi/uimitoarea-poveste-poetului-fondane-evreul-cioran-vrut-sa-l-salveze-moarte-murit-gazat-auschwitz-dragoste-fata-sora-1_5613a082f5eaafab2c5cbf3a/index.html

[Guest]

Interviu cu Danielle De Picciotto înainte de Timishort 2015
 

Danielle de Picciotto e unul din invitaţii deosebiţi ce vor sosi la Timişoara cu ocazia Festivalului Internaţional de Film Timishort ce are loc între 15 şi 18 octombrie 2015.

Artista americană va face parte din juriul competiţiei naţionale, urmând să urce şi pe scenă alături de Alexander Hacke (Einstürzende Neubauten).

Proiecția de deschidere Timishort 2015 îl va avea în prim plan pe Alexander Hacke, dar şi pe regizorul Uli M Schueppel cel care a realizat în 1989 documentarul OFF Ways, o incursiune a Einstürzende Neubauten în Berlinul de Est.

Toate detaliile despre festival sunt disponibile pe https://www.facebook.com/timishort şi http://www.timishort.ro/

 

http://www.citadinul.ro/interviu-cu-danielle-de-picciotto-inainte-de-timishort-2015/

Edited October 12, 2015 by Guest

[Guest]

The Cello Music of the Spheres

 

 

http://nautil.us/issue/29/scaling/the-cello-music-of-the-spheres

Edited October 13, 2015 by Guest

[Guest]

Morrissey la București. Să moară Sala Palatului!!!
 

Sala Palatului este înfiorător de tristă. E locul în care se duce să moară entuziasmul. Până și vocea din off care anunță că nu avem voie cu telefoane sună ca o fostă voce de la metrou dată afară din cauza alcoolismului și depresiei.

Am auzit oameni care s-au plâns de sunet. De la mine s-a auzit excelent, dar probabil nu în toate părțile nenorocitei aia de Sală a Palatului a fost la fel. Am zis că e tristă? Am zis. Acum zic că trebuie dărâmată cât mai repede. Ar fi un act de minim respect față de public și față de artiști.

http://www.incentru.ro/morrissey-la-bucuresti-sa-moara-sala-palatului/

Edited October 16, 2015 by Guest

[Guest]

The Louder the Monkey, the Smaller Its Balls, Study Finds
 

Howler monkeys are the loudest land animals on Earth, capable of bellowing at volumes of 140 decibels, which is on the level of gunshots or firecrackers. Not surprisingly, male howlers frequently use this power to advertise their sexual fitness, catcalling females with their ear-splitting roars.

But in a beautiful twist of expectations, scientists have now found that the louder the monkey’s calls, the smaller the monkey’s balls. A team based out of Cambridge University came to this conclusion by comparing the size of dozens of monkeys’ testes with the hyoid bones located in their voice boxes, which revealed a negative correlation between decibel levels and testicular endowment. The results are published today in the journal Current Biology.

 

http://motherboard.vice.com/read/the-louder-the-monkey-the-smaller-its-balls-study-finds-42361364663309?utm_source=mbtwitter

[Guest]

Czech Company, Pressing Hits for Years on Vinyl, Finds It Has Become One
 

LODENICE, Czech Republic — He was a businessman, not a clairvoyant. Zdenek Pelc did not really foresee, a generation ago, that vinyl records would one day make a return from near extinction.

But he was smart enough to keep a vinyl record factory here, a relic of the Communist era, through all those years when albums gave way to CDs and then to iTunes and streaming, and to be ready when vinyl suddenly got hot again.

And that is why this village of 1,800, nestled in a lush furl of the Bohemian hills, improbably finds itself a world leader in the production of vinyl albums.

 

http://www.nytimes.com/2015/08/07/world/europe/vinyl-records-gz-media-lodenice.html?smprod=nytcore-ipad&smid=nytcore-ipad-share

[Guest]

A deaf artist explains the rules of 'sound etiquette' — and why she's kicking them to the curb
 

Deaf since birth, artist and TED Fellow Christine Sun Kim learned the rules of what she calls "sound etiquette" by watching how hearing people behave and respond to sound. She knew, for example, not to slam the door or eat noisily from a potato chip bag. Now she's ditching the rules in favor of creating her own.

 

http://www.techinsider.io/deaf-artist-christine-sun-kim-2015-10

[Guest]

Keith Richards' Guitar Tech Reveals Keef's Studio Rig
 

“Bring me the usual, plus surprise me.”

That’s what Keith Richards would generally tell his longtime guitar tech, Pierre de Beauport, before the start of a session for Crosseyed Heart.

It was de Beauport’s enviable job to visit Richards’ equipment storage locker and fill his car with a selection of guitars and amps to provide a basic, “go to” setup, while also throwing in a few more “out there” options for experimentation. With nearly a thousand guitars in Richards’ collection, there’s quite a lot from which to choose.

 

http://www.guitarworld.com/keith-richards-guitar-tech-reveals-keefs-studio-rig/25729

[Guest]

All About… Tremolo

Tremolo is the daddy of guitar effects and we’ve used it since the 1940s. But there has always been confusion about what it really is. Huw Price charts tremolo’s ups and downs…

http://www.guitar-bass.net/features/all-about-tremolo/

[Guest]

 

STEVE ALBINI - WTF Podcast with Marc Maron #650

 

Steve interview starts at 16:50

[ramurel]

  Și-așa e greu pentru activitatea scenică de la noi, părerea mea... Un articol destul de bun :

 

"În weekendul negru care a trecut, s-a maturizat cu forța o generație. Și s-a terminat o eră.

Vreți, nu vreți, undergroundul românesc s-a născut și a crescut pe terase improvizate, cu generatorul lângă dormitorul-baracă, în subsoluri cu igrasie și fără ventilație, în case boierești cu bulină, dar fără autorizație, în frigul din hale și săli de repetiții refăcute în grabă. Cu fire lipite în mijlocul concertului și scene improvizate, cu lumina care cădea de zece ori pe seară și lumea care aplauda ca la zile de naștere."

 

http://www.stiripesurse.ro/tragedia-colectiv-suntem-vinovati-impreuna-s-a-terminat-o-era_971895.html

 

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[Guest]

St. Vincent's Playlist
 

As a teenager growing up in the suburbs of Dallas, Texas, Annie Clark a.k.a. St. Vincent, constructed her identity around the music she embraced. “It became not just a part of my identity, but something that was my armour going through life,” she remembers. Back then, she’d wait for hours for her favorite track to come on the radio so she could capture it on tape. Today, she’s not only a highly regarded songwriter with a playful ear for the unexpected, but she’s also a curator of personalized compilations on her weekly Beats 1 radio show, St. Vincent’s Mixtape Delivery Service. Here, she gives us the rundown on her musical history, the first mixtape she ever made and how her show helps to build more connected relationships with her fans.

 

http://studio.sonos.com/article/st-vincents-playlist

[Guest]

„Electro paranoia”, cu şurubelniţă şi magnetofon, alături de părintele muzicii electronice româneşti, Rodion GA, în cadrul festivalului Analog Mania din Timişoara

 

http://www.pressalert.ro/2015/11/electro-paranoia-cu-surubelnita-si-magnetofon-alaturi-de-parintele-muzicii-electronice-romanesti-rodion-ga-cadrul-festivalului-analog-mania-din-timisoara-foto-si-video/

[Guest]

Noise Meets Noise: Daniel Menche and Mamiffer Join Forces on the Supremely Hypnotic 'Crater'

http://noisey.vice.com/blog/daniel-menche-and-Mamiffer-video


Wrekmeister Harmonies Take on Organized Religion and Murder on Their Chilling New Record

http://noisey.vice.com/blog/wrekmeister-harmonies-interview-stream


‘Monsterman’: The Rise and fall and rise of Lordi, the Monsterboy who never grew up

http://dangerousminds.net/comments/monsterman_the_rise_and_fall_and_rise_of_lordi

 

[Guest]

Rock Goes To Church: Nico and Tangerine Dream in Reims

 

In 1974, Nico and Tangerine Dream played a gig in a cathedral in Reims. Julien Rouyer recounts the concert and the uproar it caused.

http://daily.redbullmusicacademy.com/2015/11/nico-tangerine-dream-feature?linkId=18489134

[Guest]

A conversation with Merzbow

Now in his fourth decade of releasing brutal soundscapes, Masami Akita is as prolific as he is extreme. Jordan Rothlein spent an afternoon with him in Tokyo.

http://www.residentadvisor.net/feature.aspx?2419

[Guest]

Guitarist Who Invented Dropped-B Tuning Says You’re Playing It Wrong
 

Victor Griffin is widely hailed as the guitarist who created drop-B tuning: (low to high) B A D G B E.

But according to Griffin, who plays guitar with Pentagram, many guitarists who use the tuning are doing it wrong.

Griffin says that, rather than using heavy-gauge strings, players who tune to drop B should “play it gingerly.”

“People think that if you tune it down you have to go to heavier gauge strings, but I don’t,” he tells Premier Guitar.

“I use custom lights, from .009 to .046. We only tune a half-step down for our standard tuning, so a .046-gauge low E-string tuned down to B is really not that bad.

“But you do have to play it gingerly. You can’t play it really aggressive like you would a standard tuned guitar, because it will vibrate out of tune before the vibration slows down, and then it will fall back into tune.”

Though Griffin appears to pummel his strings when he performs, he says he’s not hitting very hard at all.

“The music drives you to want to play hard, but you have to restrain yourself.”

http://www.guitarplayer.com/lessons/1014/guitarist-who-invented-dropped-b-tuning-says-youre-playing-it-wrong/55037

 

 

[Guest]

Guns N' Roses reunion tour 2016: Axl Rose and Slash expected to return

Slash and Axl Rose last performed together in 1993

http://www.independent.co.uk/arts-entertainment/music/news/guns-n-roses-reunion-axl-rose-and-slash-expected-to-return-for-2016-tour-a6733106.html



5 Reasons Guns N' Roses Will Reunite and 5 Reasons They Won't

http://www.rollingstone.com/music/news/5-reasons-guns-n-roses-will-reunite-and-5-reasons-they-wont-20151113

Edited November 13, 2015 by Guest

[Guest]

Lemmy Stole his First Bass Gig (Jimi Hendrix Helped...)
 

"I was a roadie with Hendrix," says Lemmy, "and what I learned about guitar from him was that he told me I was never going to be a good guitar player [laughs]. I was lucky, though. I joined Hawkwind for the job of the guitar player, but they had just decided they weren't going to need another guitar player—Dave [brock, vocals] decided he was going to play the lead. But then the bass player didn't show up for a free gig because he wasn't getting paid. He left his bass and amp in the gear van like, 'Steal my gig.' So I stole his gig [laughs].

"I learned to play bass onstage with Hawkwind. I never picked one up in my life before that gig. So I walked onstage with this thing hanging around my neck — it was a Rickenbacker, too — and Nik Turner [vocals, sax, flute] said really helpful stuff [sarcastically]. He came over and said, "Make some noises in E," and then he walked away from me. None of that old-fashioned stuff like, 'Two verses and a solo.' Just 'make some noises in E.' That's really helpful.

"But it was the best way to learn, because you learn if you can do it or not right there [laughs]."

 

http://www.bassplayer.com/artists/1171/lemmy-stole-his-first-bass-gig-jimi-hendrix-helped/55073

[Guest]

10 Classic Guitar Solos That Use 10 Classic Effects

http://www.guitarworld.com/10-great-effects-solos/25845


50 Guitarists, Producers and Gear Makers Reveal Their Tone Secrets

http://www.guitarplayer.com/artists/1013/50-guitarists-producers-and-gear-makers-reveal-their-tone-secrets/55102

[Guest]

Eagles of Death Metal Discuss Paris Terror Attacks

During Eagles of Death Metal's November 13 show at the Bataclan concert hall in Paris, gunmen entered the venue and opened fire on the crowd, leaving at least 90 dead. The band spoke to VICE about the tragic events that took place that night.

https://www.vice.com/read/eagles-of-death-metal-discuss-paris-terror-attacks

[Guest]

Caspian’s Philip Jamieson and Calvin Joss: Sonic Sculptors
 

A lot of guitar players talk about being “in the zone,” that extreme state of hyper-awareness in which focus and concentration take a backseat to instinct and intuition. For guitarists Philip Jamieson and Calvin Joss, founders of the Massachusetts-based post-rock instrumental band Caspian, being in the zone either onstage or in the rehearsal room sometimes goes one step further.

“There’s a bit of a trance thing that happens,” says Jamieson. “It’s really about us trying to bring in that element of sincerity and let our emotions come out. In order for us to get that across, we have to be in our right minds. Not to sound too New Age or spiritual or anything, but we have to be in touch with ourselves. You can’t fake it.”

“When you’re present and in the moment, it’s easy to be expressive,” Joss explains. “I think you’ve got to be vulnerable, and that allows you to be genuine. For us, it’s not about playing every note, but it’s about how you play them. That’s the expressiveness that comes out in your playing. And if it’s true, you don’t have to think about it.”

A sustained state of cosmic consciousness permeates the 10 tracks on Caspian’s recently released fourth studio album, Dust and Disquiet, on which Jamieson and Joss, along with bandmates Erin Burke-Moran and Jonny Ashburn (guitars), Jani Zubkovs (bass), and Joe Vickers (drums) explore the depths of their four-guitar “wall of sound” approach and come up with something that resembles metaphysical mood music. Produced by Matt Bayles (who helmed the group’s previous record, Waking Season), the set includes extreme grinders (“Arcs of Command”), proggy soundscapes (“Echo and Abyss”), and electronic-tinged epics (“Darkfield”), but also throws listeners a curve with Joss’ emotive, Neil Young-like vocals on the delicate acoustic folk ballad “Run Dry.”

“We definitely took some chances on the record,” says Jamieson, who admits to using 11 months to write and demo “Arc of Command” alone. “Matt was again the perfect producer for us. He’s an excellent traffic cop. He helps split up the division of labor and keeps things rolling smoothly. We have a lot of respect for him, so if he says, ‘Jump,’ we say, ‘How high?’’’

Jamieson and Joss both expanded on how high they jumped creatively during their chat with Premier Guitar—a spirited conversation in which they also dissected the ways they sculpt Caspian’s massive guitar sound, how they shed their shredder pasts, and the thought process the band went through following the unexpected death of founding bassist Chris Friedrich in 2013.

 

http://www.premierguitar.com/articles/23411-caspians-philip-jamieson-and-calvin-joss-sonic-sculptors

[Posho]

http://www.dreichel.com/articles/dr_zoe.htm

[Guest]

Memories from Berlin’s Iconic 1980s Punk Bars

In this Berlin Experiment, Austrian-born Maria Zastrow describes how she escaped to Berlin's liberating 1980s punk community and became embedded in its lively bar scene, which counted local heroes like Einstürzende Neubauten as well as international stars like David Bowie and Michel Foucault among its constituents.

http://www.electronicbeats.net/memories-from-berlins-iconic-1980s-punk-bars/

[Guest]

Brian Eno meets Yanis Varoufakis: ‘Economists are more showbiz than pop stars now'

http://www.theguardian.com/lifeandstyle/2015/nov/28/conversation-brian-eno-yanis-varoufakis-interview?CMP=share_btn_fb&linkId=19160094

[Guest]

Lester Bangs interviews Eno

From Musician sometime in 1979 - kindly provided by Jon Mattox.
 

Remembering how amazed I'd been to discover that I (who play harmonica and zilch else) could play prime Eno compositions like "The Fat Lady of Limbourg" on piano, I asked him, "How well can you play, say, guitar?"

"Well, I always use the same guitar; I got this guitar years and years ago for nine pounds called a Starway, which I never changed the strings, it's still got the same strings on it. Fripp knows and loves this guitar actually, it's got a tiny little body really small, and the reason I never changed the strings was that I found that the older they were the better they sounded when they went into fuzzbox and things like that. I never used it except through electronics, and the duller the strings were the more that meant they got to sound just like a sine wave, so the more I could do with the sound afterwards. It's only got five strings 'cause the top one broke and I decided not to put it back on: when I play chords I only play bar chords, and the top one always used to cut me there.

"One of the interesting things about having little musical knowledge is that you generate surprising results sometimes; you move to places which you wouldn't do if you knew better, and sometimes that's just what you need. Most of those melodies are me trying to find out what notes fit, and then hitting ones that don't fit in a very interesting way. This happened the other day in this session, when we were working on a piece and I had this idea for the two guitars to play a very quick question and answer, threenotes-threenotes, just like that, and Fripp said, 'That won't fit over these chords.' He played it slowly, what that meant, and it made this terrible crashing discord. So I said, 'You play it, I bet it'll fit,' and it did, and it sounded really nice, too. But you see I think if you have a grasp of theory you tend to cut out certain possibilities like that. 'Cause when he explained it to me I could see quite plainly that technically it didn't fit at all. Each note was a discord with the chord that was there, not one note fitted in almost all the six notes.

"For me it's always contingent on getting a sound, the sound always suggests what kind of melody it should be. So it's always sound first and then the line afterwards. That's why I enjoy working with complicated equipment, because I can just set up a chain of things, like a lot of my things are started just with a rhythm box, but I feed it through so many things that what comes out often sounds very complex and rich, and as soon as I hear a sound it always suggests a mood to me. Now, most sounds that you get easily suggest moods that aren't very interesting; or have already been well-explored. But working this way, I often find that I'll get pictures. I'll say, 'This reminds me of . . . ,'; like 'In Dark Trees' on Another Green World : I can remember how that started and I can remember very clearly the image that I had which was this image of a dark, inky blue forest with moss hanging off and you could hear horses off in the distance all the time, these horses kind of neighing, whinnying . . . "

 

 

http://music.hyperreal.org/artists/brian_eno/interviews/musn79.html