Foto: Minolog

A second installment for soft and anxious summer days in bed.

Tape – Moth Wings
Luminarium (Hapna / 2008)
Vashti Bunyan – Glow worms
Just another diamond day (Dicristina Stair / 1970)
Leonard Cohen – Famous Blue Raincoat
Songs of love and hate (1971)
Box tops – Neon Rainbow
Neon Rainbow (Sundazed / 1967)
Piano Magic – I came to your party dressed as a shadow
I came to your party dressed as a shadow Ep (Acuarela / 2001)
Low, Transient Waves & Piano Magic – Sleep at the bottom
Sleep at the bottom, green acres 7″  (Rocket girl / 1998)

For a few years, when I was younger, I had the obsession of smelling everything. My favorite smell was that of the rain, the smell of moisture in books, on concrete, in trees, in my closet, in my hair. After a while, though, I realized how counterproductive this mania of mine was, as there are in this world a lesser quantity of pleasant odors than of disgusting ones and so, one day, I decided to stop.

The good thing about the habit, though, was that I developed a very strong memory that still gives me very vivid images of places and people that make me very happy. I will never forget the first time I walked through peach and strawberry fields or the particular smell of my city at 6 am. I will never forget the velvety fur of my only pet dog before it ran away looking for a lovemate and how it made me giggle when I pressed my chin against it. And I will never forget the subtle scent of sweat in your neck printed in my pillow and how it floats around every corner in the room, finding out new entrances to my inmost nerve.

See also: Star-crossed lovers.

It has been clear since the 1960s that the Modernist paradigm has outlived its usefulness. We can only represent the world at the cost of a reduction in its complexity. (It is only in a story by Borges that a representation – a map – can be of the same size as the terrain it represents.) All other representations simplify, falsify. That is their power, their beauty and their danger. The templates of perception are useful because they simplify, but they lose their usefulness when, as tends to happen in time, the aspects of the world they leave out become too glaringly obvious. This is why styles in art outlive their usefulness. The modernist impulse has today lost its authority. What role can the landcape artist have in constructing an alternative? – A future for landscape?, 1999

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” Over here, over there. ”

01. Ligeti - Lux Aeterna
Ligeti: Chamber Concerto; Ramifications; String Quartet No. 2; Aventures; Lux aeterna (1988)
02. Schubert - Moment Musical In F Minor, D. 780
Schiff, Andras Great Pianists of the 20th Century (1999)
03. Kim Cascone – Three Parasites For Deleuze
Maschinelle Stratageme (Ritornell , 2000)
04. Matmos – For the trees (return)
The civil war (Japanese edit) (Pony Canyon, 2003)
05. Sir Richard Bishop – Elysium Number Five
Polytheistic Fragments (Drag City, 2007)
06. Augustus Pablo – Jungle Cry
Authentic Golden Melodies (Rocker, 1980)
07. John Zorn – The Port of Last Resort: Teqiah
Film Works VIII (Tzadik, 1998)
08. Andy Palacio & the Garifuna Collective – Ayó Da (Goodbye my Dear)
Wátina (Cumbancha, 2007)

note: This list turns out to be enjoyable. It started out as a very messy direction less list. But now it’s enjoyable direction less list. Slow afternoon type of song, with Ligeti and bunch of pops. A little in cute side.

image: Man with Hat over Face, Long Island, New York, 1995

And the sun is beyond set, far below the horizon; yet the lights are just hitting peak illumination. The second wind arrives in full force as the city comes alive. The sixtieth minute of bliss fades further into memory, time and space lose meaning. After happy hour ends the clock stops running and past nor future hold stock against the eternal present. Social lubrication eases the lingering loungers’ focus from bar to dj booth, they dance as if no one is watching. No drink seems like the last until you’re halfway between the dancefloor and a friendly stranger’s futon. The night is capped and all that awaits is morning. Now the city lights fade as the sun peeks its crest over the skyline and cycle begins again.

Ursula 1000 – Kinda’ Kinky
(Kinda’ Kinky/ 2002 )
Nickodemus – Desert Dancer
(Buddha-Bar, Vol. IV/ 2002)
Thievery Corporation -The Cosmic Game
(The Cosmic Game/ 2005)
Ursula 1000 – Nightcap
(Kinda’ Kinky/ 2002)
Federico Aubele – Esta Noche
(Gran Hotel Buenos Aires/ 2004)
Thievery Corporation – Until the Morning
(The Richest Man in Babylon/ 2002)

sidenote(s): Again, all ESL artists for this list. A bit all over the place; but after Happy Hour ends the ones who stay at the bar usually are too. So, a nightcap; the halfway point between “the dancefloor and the futon.” For what it’s worth — enjoi.

photo credit: Cishore

Q: What other kinds of misconceptions about electronic music are there?

It’s enormously misunderstood by people who play conventional music or who play conventional instruments. It’s not justified. There’s just not aware. They’re threatened by it and they don’t consider it to be as valuable as what they do with their more traditional form of creating sound and music. It’s an old story. It especially relates to jazz, I imagine for rock people, it’s the same idea.

People are afraid of things they don’t understand. They don’t know how to relate. To them, it threatens their security, their existence, their career, image. Miles Davis was someone who wasn’t afraid of that. He fully embraced those possibilities and delved into it. He was criticized heavily from the jazz side. He was supposed to be part of a tradition but he didn’t consider himself part of a tradition. He considered himself a person who was just trying to experience things and evolve. Evolve is the key. People who are smart enough to do that or are willing to try will embrace these ideas as new things and encouraging things and a new world. So whoever will want to be in that new world will be open and think about it and make an effort. And the people who feel that what they do is precious and in the tradition and preserving an art form, which is all complete rubbish, they’ll not. They’ll stick to what they believe and think it’s all cold and non-human. There’s as much musicality, artistry and genius and vision in the turntablist as there is in an alto saxophone player. You just have to have your mind ready to accept that. That’s the new mind, not one who’s in the past. – Bill Laswell interview, 04/2000

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” DnB vs. Jazz ”

01. Charles Mingus – Myself When I Am Real
Mingus Plays Piano: spontaneous compositions and improvisations (1963)
02. Venetian Snares – Kétsarkú Mozgalom
Rossz Csillag Allat Született (Planet Mu, 2005)
03. Brian Eno/Jah Wobble – Spinner
Spinner (Allsa, 1997)
04. Four Tet - The Butterfly Effect
Dialogue (Output Recordings, 1999)
05. Miles Davis – On the corner (Subterranean channel ”Bill Laswell” mix)
Panthalassa: The Remixes (1999)
06. The Third Eye Foundation – For All The Brothers And Sisters
You Guys Kill Me (Merge Records, 1998)
07. Derek Bailey – Concrete (cement-mix)
Guitar, drums ‘n’ bass (Avant Japan, 1997)
08. Bela Bartok – No.34 Farewell: Adagio/No.35 Ballad: Moderato
Bartók for Children (Naxos, 2005)
09. Venetian Snares – Circle Pit
Detrimentalist (Planet Mu, 2008)

note: A small side not to this blog entry: “at least some thorny, complex, difficult-to-understand pieces are beautiful and profound, and those listeners who come to know them well derive immense pleasure from them. (DJA) ”

This list is a behind envelop sketch. In one corner jazz attempts to free itself from limistation of form while still connecting to its root, in another corner DnB tendency to cram ever more dense pattern, trying to escape its dance functionality. How fast can everything go? Is it still enjoyable, or listenable even? Finally, do I even care about the sound. does it emote instead of rambling noise?

Well, since it’s a quickie sketch. I get to pick the best tracks I have in my HD. Only allowing varied rhythm, I tried to imagine what will Miles Davis would do to reign DnB rough and jagged drum sampling to paint elegant blues mood. Interesting things happens trying to keep the whole thing together before flying apart. Obviously DnB puts complex drum sampling in the foreground in place of melodic instruments. at the end I don’t even try, I just put different tracks with wide texture contrast, something DnB is good at. See? There is use for playing largo piece very well after all.

Anyway, all tracks are favorite MdM artists that everybody is familiar with, so in case the list fails to answer questions, at least it’s a parade of great recent electronic works. All hail Venetian Snares.

Enjoy the night jazzy DnB list.

see also: Variation 1
image: multiple x’s

Img: Lokesh Kalekar

Recipe for Vino Navegado

Ingredients:
5 Liters Cheap Red Wine
10 oranges sliced
5 cinnamon sticks
1 cup sugar
1/4 cup water

Method of Preparation:
Taste red wine. In one large kettle simmer 1/4 cup water, sliced oranges and sugar for 5 minutes. Add slightly crushed cinnamon sticks. Simmer for two additional minutes. Add 5 liters red wine, cook over medium heat until steaming. Serve in cups just before boil.

Sharon Jones and the Dap-kings – How long do I have to wait (Ticklah remix)
Daptone Records Remixed (Scion / 2008)
The Slickers – Johnny too bad
The harder they come OST (1973)
Prince Fatty – Milk and Honey
Survival of the fattest (Rasa, 2008)
Los Fabulosos Cadillacs – Calaveras y Diablitos
Los Fabulosos Calavera (1997)
Instituto Mexicano del Sonido – Para no vivir desesperado
Piñata (Dulce / 2007)
Mano Negra – drives me crazy
Casa Babylon (1994)

Una lista corta pero sabrosona para el huateque.