Sono passati alcuni giorni, ma il ricordo è vivido!
Domenica 17 luglio, qui en Bilbao, con l’oceano accanto tra molte e sottolineo molte persone, ho assistito all’apparizione di un fantasma. Un fantasma che molti conoscono!
Insomma, con il freddo oceano alla sinistra su cui scendeva un rosso tramonto è apparso intorno alle 10 l’ectoplasma – come direbbero i GhostBuster – le prime note, le stsse note che centinaia di volte ho sentito, identiche a come le ho sempre apprezzate. Ed eccolo la sul palco tra i The Wailers il fantasma di Bob Marley. L’incantesimo si è rotto – ma non è stato un dispiacere, assolutamente no – quando alla sua calda voce, perfettamente campionata dal mio, meglio, dai nostri cervelli, ne abbiamo sentita un’altra. Quella di uno dei due cantanti del ex gruppo del grande Bob! L’effetto è stato strano, fino a quel momento era stato un salto nel passato, un passato che io conosco solo mediante i cd e i video.
A tratti ecco che riappariva, per scomparire subito dopo, era un continuo sbalzo temporale tra i momenti in cui mi perdevo nelle splendide melodie e quelli in cui realizzavo che ciò che mi circondava era il presente.
Ecco comparire sul mio taccuino la scritta Concrete Jungle ed ecco l’esplosione del pubblico nell’ascoltarla. Per non parlare di quando Redemption Song ha cullato le nostre orecchie o di quando – e si tratta di putiferio – Jamming ci ha fatti scatenare! A queste si sono alternate alcune, poche a dire il vero canzoni del gruppo caraibico con forte – come per “tradizione” – cognizione sociale!
Uno spettacolo vero e proprio immergersi in quell’atmosfera – fumosa – di ricordi, di musica fatta ad arte – non come i Tokyo Hotel – e di gente con l’adrenalina che sprizzava fuori dai pori all’ascolto di cotanto splendore! All’ascolto del roots, del reggae originale, quello storico, quello che amo! Un’esperienza che difficilmente rivivrò e che sarà difficile da dimenticare, dimenticare di aver visto per qualche momento il fantasma di Bob Marley!
Io ho gradito molto, il mio coinquilino no.
“I due cantanti non mi sembrano abbastanza calati nell’atmosfera reggae, forse avrebbero dovuto fumare più Marjiuana!”
Diavolo di un Messicano! ;)
Saluti, il vostro corrispondente da Bilbao, Pignasmile.
Sónar returns to the United States, this time to present a three-day festival, created especially for the occasion.
The objective is to take the philosophy of the Barcelona festival to the North American city, with all the features that have made Sónar an international touchstone: with an ambitious and high quality line-up featuring plenty of electronic experimentation and its derivations and unusual venues of the highest calibre, in this case the Jay Pritzker Pavilion – designed by Frank Ghery – in the popular Millennium Park (the 9th of September) and the famous Chicago Cultural Center (the 10th and 11th of September).
Some of the artists confirmed to date are The Slew (the scratch-rock project led by the wizard on the decks Kid Koala), Oval (a key project in 1990s electronica, featuring Germany’s Markus Popp, back with a new album), the Australian – resident in Iceland – Ben Frost (one of the most acclaimed sonic experimentalists working today), Nosaj Thing (the Los Angeles beatmaker featuring a show with serious visual impact), the Dutchman Martyn (a key name at the techno-dubstep crossroads), Nicolas Bernier + Martin Messier: La Chambre des Machines (a Canadian duo that base their show on rudimentary noise machines from the early twentieth century) or Lesley Flanigan (a New York artist who constructs her music with hand-made instruments and the sounds created by her own voice) among others.
Catalan performers are headed by two artists from the renowned Barcelona label spa.RK: Bradien (an experimental and tropical pop trio) and bRUNA (the creator of electronica with a heavy emotional charge). Two new projects seeking new musical languages will also be present, in the shape of Huan (folk, noise and experimentation) and Faraón (psychedelia, Krautrock and jazz).
As well as all that, Sónar Chicago expands its line-up with its collaboration with Adventures In Modern Music (AIMM), the five-day festival organised by the renowned British magazine The Wire and the promoters at the Empty Bottle, one of the city’s most important venues. In its eighth outing this year, it presents shows byThe Rhys Chatham Trio, Sleep and Efterklang, among others.
Meanwhile, SonarCinema presents five films: “Synth Britannia” (the BBC documentary telling the story of the birth of synth pop in Great Britain), “Amplified Gesture” (a film produced by David Sylvian on the art of improvisation), “Sensuous Cornelius” (the excellent filming of the live show by the Japanese musician), “Finisterrae” (the full-length film providing the image for Sónar 2010) and “Sónar Around The World” (which documents an entire year of Sónar, produced and made by Televisió de Catalunya).
Sónar Chicago is the result of an initiative by the Chicago Department of Cultural Affairs -the public office planning and promoting musical, performance, and visual arts events in Chicago-, the Institut Ramon Llull, -the consortium made up of the Government of Catalonia and the Government of the Balearic Islands-, Advanced Music -the creators of Sónar festival – and AC Entertainment -the promoter of the Bonnaroo festival-.
Details of the complete line-up and the performance times and days of each of the artistic projects in Sónar Chicago will be announced soon.
All the shows and activities at the festival are free of charge and open to all, except for the AIMM events which are subject to a separate payment.
Written by wasamix
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It’s no accident that the phoenix is an exalted moral, mythical, and figurative symbol in Iran. Like the phoenix, Iranian culture is in constant flux and, at times, elusive, with its existential wavering and blurred panoramas. Most of contemporary Iran’s artistic and creative leanings, its grapples with history and identity, are loosely and mystically conjoined and contested in memory. Iran is marked by the complex interplay of diverse constituencies, philosophies, and influences: ethnic, religious, political, geopolitical and historical. The glorification of pre-Islamic antiquity (in search of authentication) marked the socio-cultural attitude of a bygone era and is witnessing revival in the present day. The discordant reality of eastern traditions complicated by the rampant confusions of modernity has become a norm in Persian dialogue, not to mention revolution, exile, and diaspora. Like many other countries, the Sixties and Seventies were a time of tumult in Iran, bringing growth (via petrodollars) and freedom (under the banner of socioeconomic development) while exacerbating inequalities within the country.
The music and voices that blossomed during those decades exemplify the turbulence and excitement of the age. It is worth recognizing these ‘left out’ and ‘lost’ artists individually and as a group in the global happenings of 60s/70s psych, rock and folk, while exploring their influence and relevance to the present day. Is it possible that there is a genus of delectable sounds and fetching images that almost exclusively reside in the elbowroom of memory and nostalgic ‘yesteryear’ storytelling? Little consideration has been given to the correlation of these sounds and stories within the universal psychedelic phenomena: parallel to the shared stylistics of British and American players, and the radical politicking of their Turkish and Korean counterparts.
This collection endeavors to re-contextualize these songs from the realm of reminiscence, nostalgia, and memory into a specific and accessible narrative to share and relate within the universal musical gamut. It is for aficionados, the curious, and collectors alike. We hope that Iranians around the world will rediscover these songs. This collection is, in some sense, dedicated to a generation in self-imposed mental exile, due to years of war and catastrophe; decades of lies and bombs; a fundamentalist theocracy of reformist shams; addiction; isolation and alienation; unemployment, and inflation. These are voices and stories that may again prove relevant to a psychologically damaged and spiritually corrupt society, a society whose discontents recall the latter years of the Shah’s rule.
The recordings excavated here are highly sexual musings, voluble love songs, and simple folk tunes. In many of these songs, there are subtle voices of political protest. Here is a personal best, a handful of artists and diversely stylized songs, presented on Finders Keepers.
http://www.finderskeepersrecords.com/discog_fkr029.html
http://www.finderskeepersrecords.com
Composition contest : work out LCL sound bank !
To introduce ” La boite a sons ” (LCL free sound bank) organizea a composition contest opened to every musician with no restriction of style.
1- Produce a track using one or several of the sounds featured in the bank
2- Send it to contest[at]lclweb[dot]org
You can mix the sources, tempo and style are free. Your work must not contain any copyrighted material.
3- A first pre-selection will be promoted via freemusicarchive.org
4- A jury composed of cc music and netaudio actors will make a final selection, that will be released as a compilation on LCL
FRANCAIS
Pour inaugurer ” La boite a sons ” (la banque de sons gratuite de LCL) organise un concours de composition ouvert à tous les musiciens sans restriction de style.
1- Composez un morceau utilisant un ou plusiurs des sons de la banque
2- Envoyez-le à contest[at]lclweb[dot]org
Vous pouvez mélanger les sources, le tempo et le style sont libres. Votre oeuvre ne doit pas contenir d’éléments soumis à un copyright.
3- Une pré-sélection sera diffusée via freemusicarchive.org
4- Un jury composé d’acteurs du netaudio et de la musique libre fera une sélection finale, qui sortira sous forme de compilation sur LCL
http://lclweb.blogspot.com/2010/07/composition-contest-work-out-lcl-sound.html
http://www.lclweb.org/news.htm
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E-mail: dropbox at wasamix dot com
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