Cyclic Defrost Magazine |  |
| Paradigm Shift Radioshow Playlist 2 Feb 09 Posted: 02 Feb 2009 08:41 PM CST The Paradigm Shift is a weekly Monday night radio show presented by Sub Bass Snarl on Sydney radio station 2SER fm 107.3MHz - check the 2SER website for the live web stream! It airs Monday nights at the time of 730pm for 90 minutes (Australian Eastern Standard Time - GMT+10). Get in touch to send us your music (320s welcome!) - EMAIL: paradigmshift [AT] 2ser [dot] com Was great to have Mark Pritchard drop by and have a good long chinwag about many things including his new album on Warp under the moniker Harmonic 313. He also played us some unreleased tunes under his own name which are forthcoming on Ho Hum and Hyperdub! Tricky Disco - Tricky Disco [WAP7] (Warp) [* = Australian track] |
| Ennio Morricone Peace Notes: Live at Piazza San Marco, Venice (Ovation/ DV1) Posted: 02 Feb 2009 05:58 AM CST There are more than a few kinds of Ennio Morricone. Firstly there’s the the seedy semi improvised experimental low key Ennio, who draws as readily from the avant garde or popular music to create his unique scores. Then there’s the grand master, with a broad symphonic grandeur, sweeping strings and a widescreen scope, he’s the celebrated Ennio, responsible for the The Mission or Cinema Paradiso. Whilst the former is hyper creative and was let loose on numerous low budget Italian giallo’s or spaghetti westerns, the later seemed to have a direct line into our emotions, and it’s this Ennio we see in this 2007 live performance. It’s incredibly classy work, conducting the Roma Sinfonietta Orchestra with Choir La Fenice and a number of solo vocalists in this incredible outdoor square with the audience dressed up to the nines. It’s an occasion that virtually begs for the Mission and Once Upon a Time in America, though we also get some unexpected treats like the saucy groove of the Sicilian Clan, the brass bombast of Battle of Algiers, Casualties of War and a loose sprinkling of Sergio Leone westerns such as the iconic theme of The Good the Bad and the Ugly, also Ecstasy of Gold from the same film and Once Upon a Time in the West and Fistful of Dynamite. Whilst there’s lots of swooping camera work from cranes, this film does spend plenty of time on both the musicians and Ennio himself, though often at the beginning or end of a song it frustratingly switches to images of Venice with poetic writing over the top. But it’s a minor quibble from a top class production that highlights the immense scope of this man’s composition and arranging skills. It’s also accompanied with 2 cd’s featuring all of the above with the addition of a few extra works. Extra Features: Bob Baker Fish |
| Fennesz - Black Sea (Touch/ Fuse) Posted: 02 Feb 2009 01:14 PM CST
Press play and within seconds Austrian electronic artist Christian Fennesz gently ushers you you into his highly immersive musical world. It’s always been this way. He’s one of the few wholly unique innovators in electronic music, who is able to create intensely emotional music whilst retaining a highly experimental and at times quite non musical edge. His debut Hotel Para.lel (Mego) appeared in 1997 and over the course of four studio albums proper, live albums and collaborations with the likes of Ryuichi Sakamoto, he has continued to create powerful and highly immersive soundscapes seemingly a world ahead of his contemporaries. His name has become a signifier of class, a highly rigorous approach to working with sound and the result is an unsurpassed quality of output. Black Sea only enhances this, even though it lacks the kind of thematic unity that made 2001’s Endless Summer (Mego) such a revelation. The amount of ideas at play on Black Sea are mind boggling. Warm pads of static and dreamy swirls of digitalia meet in these highly textured walls of sound. Occasionally you will hear the strum of guitar amongst the warm rumblings however this music isn’t about the riff, or possibly isn’t even about music. To Fennesz the guitar seems to be a vague reference point, which he can touch upon, tap into an emotion and then move forwards. Structural changes occur from evolving atmospheres, textures are more important than notes, the guitar fades in and out, purposely buried and then retrieved from up to its neck in static, as do other slices of conventional instrumentation which coagulate with the more synthetic material. Fennesz is the thinking man’s atmospherist, gently paced with repetitive waves of textured ambient sound similar to slow cyclical Sun 0))) type riffing except that it’s made up of random digitalia and messy swirls of sound. He collaborates with the highly percussive vaguely eastern sounds of Anthony Pateras’ prepared piano on The Colour of Three and also utilises a live performance with Rosy Parlane as a starting point on Glide, a gorgeous shimmering work of almost orchestral sheen that may be his best work to date and almost recalls post rock. That’s if sound art could ever be post rock. This album is typically remarkable. Almost by coincidence at the end you realise the amount of barriers that have been broken here, noise, ambient, experimental, sound art, pop have all been unified into this one gorgeous Fennesz soup. Bob Baker Fish |
| The Matthew Herbert Big Band at The Sydney Opera House, 24/01/08 (Sydney Festival) Posted: 02 Feb 2009 02:16 AM CST Matthew Herbert has been gracing our shores for over ten years now thanks to the Mad Racket party organisers. He's performed countless times at the Marrickville Bowling Club to a bunch of keen dance floor revellers who know how to hang in there till six am and have no problem with the kitsch décor that includes marvels such as the tinge of porn star mirrored ceiling, a tiny disco ball, gaudily patterned carpet floors and portraits of 'Our Lady President' in her best white bowling garb on the walls. So the gig for this year's Sydney Festival was somewhat different in proportion and scale alike. For the first time, Matthew Herbert was invited to bring his 'big band' and perform in the Sydney Opera House's concert hall. For the show, he assembled a core group of musicians from London (including the soul diva Eska on vocals), and chose Australian musicians such as Cameron Undy (on bass) and Aron Ottignon (on piano) to fill the remaining positions. It worked splendidly. He entered the stage a man assured in both his musical and crowd pleasing abilities. With the Big Band behind him and Eska to his side he had every reason to be confident. It takes a strong personality and an even stronger voice to hold centre stage over a large group of live musicians and sound effects but that's just what Eska managed to do. For the entire night she shined as brightly as her be-sparkled shoes and shirt and owned that stage with characteristic sass. Meanwhile, Herbert proved his technical agility by performing his song about State sponsored torture, 'Battery', with his head covered in black cloth. The image was starkly reminiscent of garish scenes from the infamous Guantanamo Bay detention centre and Herbert's sense of play and politics were re-emphasised as the performance unfolded. At one stage the band paused with Herbert announcing, "Tonight, we are reading The Daily Telegraph". Then slowly, in a kind of synchronicity, the pages of the tabloid paper are opened, torn, discarded and thrown around the stage, descending into a splendid paper fight. This theatre was sampled and played back in his trademark style of loops and glitches while the band resumed playing. It’s clear that the many experiments in sound production that Matthew Herbert has undertaken over the years under different monikers have slowly unified. His politics of destruction and subtle subversive way of taking things he finds displeasing in the world and making a new soundtrack out of them is one piece of the journey. His love of the romantic era of show that led him to assemble a big band collaboration is another step. He remains consistent in his reputation as the technician and sound explorer despite his metamorphoses. This night at the Opera House proved to be a winning combination of all his efforts so far. The crowd certainly agreed as they clapped and danced through not just one but two roaring encores. Renae Mason. |
| “Extended Spotlight - New Zealand” - Extended Playlist 020209 - www.2ser.com 107.3FM Posted: 02 Feb 2009 03:33 PM CST This week, to celebrate the release of the "Dirt Beneath The Daydream" compilation cover mount CD that came with the latest Wire Magazine - www.thewire.co.uk, we shine the spotlight on some long white sounds from all black land. The collection was put together by the fine folk at the Audio Foundation - www.audiofoundation.org.nz - which (coordinated by the lovely Zoe Drayton aka ~not aka Swung) supports, promotes and preserves innovative audio culture in NZ. Also represented is the always solid Round Trip Mars label - www.roundtripmars.com - run by Stinky Jim since 1999 and home to SJD - www.sjd.co.nz - and the Sideways comps. Hawnay Troof - Out Of Teen Revisited Animal Collective - Daily Routine Björk - Innocence DuOuD - Racailles Stina - Cantaba Beaumont Hannant - Autun Can - Deadlock Icarus - Sake Inquiet - Middle Of The World High Places - A Field Guide ***Extended Spotlight*** James Duncan - A Till Z Kraus - Let Me Eat Cake Jefferson Belt - The Tunnel ~not - k/not (Chimp Techno Remix) *** Animal Collective - Peacebone (Pantha Du Prince Remix) Daedelus - I Car(ry) Us Harmonic 313 - Falling Away (feat. Steve Spacek) The Legendary Pink Dots - Fifteen Flies In The Marmalade Fumble - Bottle Shock Do you like our playlists? |
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