RED MOON (musick & other arts)

BACALOV LUIS ENRIQUE

IL VANGELO SECONDO MATTEO
(THE GOSPEL ACCORDING TO SAINT MATTHEW)


Original Issue: 1964 Mainstream (S/4000)

Reissue: 1996 RCA (74321-37416-2 OST-132)

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Margot-meter: 4 moons / 5

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1. GLORIA from "Missa Luba" (p.d.) (02:40)
2. SOMETIMES I FEEL LIKE A MOTHERLESS CHILD (spiritual) (03:08)
Voice: Odetta
3. SIGNORE MIO (from a Hebrew Song) (02:05)
4. TRE FRONDE TRE FIORI / VIENI DA ME (05:54)
(JERUSALEM: DAYTIME)
5. TRE FRONDE TRE FIORI (05:16)
(JERUSALEM: NIGHT TIME)
6. VIENI DA ME / TRE FRONDE TRE FIORI / VIENI DA ME (02:26)
(DANCE OF SALOME)
7. INDEMONIATI 1 (00:51)
8. INDEMONIATI 2 (02:22)
9. INDEMONIATI 3 (01:29)
10. GETSEMANI (01:09)
11. THE 13TH CENTURY (01:29)
Sergei Prokofiev from "Alexander Nevsky" Film Score
12. ADAGIO from the "Concerto in C minor" BWV 1060 Double Concerto for Oboe & Violin (05:09)
Johann Sebastian Bach
13. MAURERISCHE TRAUERMUSIK KV 477 (06:31)
Wolfgang Amadeus Mozart
14. DONA NOBIS PACEM from "Agnus Dei" from "Mass in B minor" BWV 232 (03:00)
Johann Sebastian Bach
15. ADAGIO from the "Concerto in E for Violin" BWV 1042 (07:32)
Johann Sebastian Bach
16. ERBARME DICH, aria from "St. Matthew Passion" BWV 244 (06:41)
Johann Sebastian Bach
17. WIR SETZEN UNS MIT TRANEN NIEDER from "St. Matthew Passion" BWV 244 (06:50)
18. GLORIA from "Missa Luba" (p.d.) (02:40)

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from http://jclarkmedia.com/:

The only aspect of this magnificent film which does not work, at least for me, is the self-consciously eclectic use of music, which extends from Bach to Prokofiev to folk music.

He wants this polyglot score in an attempt to create subtle, and shifting, tensions between the world of ancient Judea and our own. Sometimes it enhances the drama; other times its repetition or incongruity are distracting. For instance, the excerpts from the striking Missa Luba: An African Mass lose their impact with each subsequent repetition (there are many); and although the mood of the haunting spiritual "Sometimes I Feel Like a Motherless Child," sung by Odetta, matches the nativity scene beautifully, the lyric clashes with the action and ultimately proves distancing. (It's worth noting that Pasolini had once considered filming The Gospel in Africa with an all-African cast, to recreate the feeling of an ancient world still present today; a few years later he contemplated a similar juxtaposition regarding Greek myth, as seen in his fascinating documentary, Notes for African Orestes.) In contrast to the music here, Pasolini's use of only J.S. Bach's music on the soundtrack to Accattone, a contemporary tale of Roman slums, works to astonishing effect.

FULL HUNTER'S MOON (02 November 2009)

The musick dedicated to this Esbat is:

FROST BEN

THEORY OF MACHINES


Original Issue: 2006 Bedroom Community (HVALUR 2) (Buy it here!!!)

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Margot-meter: 5 moons / 5

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1 Theory Of Machines 9:30
2 Stomp 8:26
3 We Love You Michael Gira 7:49
4 ...Coda 1:42
5 Forgetting You Is Like Breathing Water 11:13

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from Almostcool.org:

When readers of this site kept recommending Ben Frost, I knew that it was an artist I should seek out (as my readers most often know more than I do), and after hearing his album Theory Of Machines, I'm glad that I did. The second release on the fledgling Bedroom Community label, it's also the third release from Frost, and finds him pushing even further into powerful audio explorations that sounds something like Tim Hecker with occasionally punishing rhythms. He examines textures and timbres in lovely, and sometimes disturbing ways over the course of five tracks and just under forty minutes, mixing pastoral beauty with gut-churning blasts in other places.

The album-titled opener "Theory Of Machines" sets the tone with a super-slow build of filtered guitar that's almost crystalline in places. Eventually, slow-morphing sludgy bass enters the mix and the track builds to a powerful climax of screaming guitars and overdriven beats about two-thirds of the way through before melting into ambience again. "Stomp" follows, and takes a slightly different direction, with programmed beat thumps banging across a more barren landscape while distance waves of noise only creep into the foreground during a crunchy ending.

"We Love You Michael Gira" conveys a similar sense of dread as many tracks on the album, and this time Frost pulls it off by again barely keeping waves of feedback under control for the first half of the track before letting loose with a repeating high tone (that resembles a medical device warning sound) and some beats that are absolutely coated in feedback and on the verge of breaking down. A string coda at the end of the song does nothing to lighten the mood.

If the former track was barely-contained violence, then "Coda" is where things let loose with any pent up energy. The two-minute track is all scorching guitar noise, red-lined bass pulses, and hammering drums that finally blur out at the end. Given all that came before it, it seems only fitting that the closer of "Forgetting You Is Like Breathing Water" takes things down a great deal to warm repeated tones, filtered drones, and some subtle strings that sound something like a more layered version of the minimal pulse-tone work that Oren Ambarchi has mastered. Even though it's a shorter album, Theory Of Machines is by no means a light listen. With several moments that will make your hair stand up on end (both for sheer beauty and dread), this is definitely worth seeking out.

SAMHAIN (31 October 2009)

The musick dedicated to this Sabbat is:

SHINJUKU THIEF

THE WITCH HUNTER


Original Issue: 1995 Dorobo (Dorobo 009)

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Margot-meter: 5 moons / 5

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Do not forget to take a look at the comments section :-)

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1 Prelude - In The Wake Of Walpurga's Ashes
2 A Black Furrow
3 Cobwebs And Vinegar
4 Shadow Path
5 A Swim At Night
6 The Second Dream
7 Blue Flame
8 Smoke And Ice
9 Marias' Shirt
10 Berserkir
11 The Witch Hunter
12 Four Ember Weeks Of Ecstatic Sleep

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from http://www.darrinverhagen.com/:

For the second release in the "witch" trilogy, Shinjuku Thief descend further into the nightmare world of medieval superstition, paranoia and vengeance. East European violin, reflective passages of brooding ambience and occasional moments of hope are undercut by sheer orchestral violence and a chillingly bleak filmic landscape.

Overwhelming...gorgeous. If only most classical music could mean as much as this. I think this guy should be shipped off to LA to show Mr ravel a thing or two." - the Wire, UK

"A work of discipline and assurance and no little beauty, given an added dimension by its mysterious subtexts of found sounds and radio interference. Indispensable." - the Wire, UK (yearly wrap-up 1995)

"Like it's predecessor, a marvellously evocative album." - Al Crawford, USA

"Enchanting, bewitching, darkness unveiled. Essential" - Dark Angel, AU

"Top 10, office ambience 1995" - the Wire, UK

FULL HARVEST MOON (04 October 2009)

The musick dedicated to this Esbat is:

ACID MOTHERS TEMPLE & THE MELTING PARAISO U.F.O.

LA NÒVIA


Original Issue: 2001 Swordfish (SFAMCD2D)

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Margot-meter: 4,5 moons / 5

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1 La Nòvia 40:40
2 Bois-Tu De La Bière? 3:49
3 Bon Voyage Au LSD 17:26

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from BBC Music:

The Acid Mothers Temple discography seems to be expanding weekly with limited edition vinyl and CD-Rs cropping up on obscure labels all over the place. When you record live and have a band that's pretty much incapable of playing anything under 20 minutes long, there's a lot to release. No-one's complaining though, as guitarist Makoto Kawabata and friends seem to be on a roll at the moment in their quest to unite the drive of psychedelically fuelled rock with a deeper, more spiritual aesthetic.

The sprawling 40 minute title track is based on an Occitanian folk tune, and the unearthly acoustic opening with its overtone singing sounds like something that might have made its way on to a Werner Herzog soundtrack. Indeed once the guitars come in and the band stoke up their mighty drone, the effect is that of an amped up Popul Vuh, the German band who soundtracked many Herzog films. Ashra Tempel or Amon Duul are other reference points. At times, it's impossible to believe that this wasn't recorded in Berlin in 1972, such is the authenticity of the enterprise. But Kawabata's crew aren't merely K-tel Krautrockers; La Novia shows a deep respect for the traditional folk form and integrates it completely with the long forays into deep space that the leader's fuzz

"Bon Voyage au LSD", though a mere 17 and a half minutes long makes up for in intensity what it lacks in length, building up from a stark montage of synth cries and guitar shrieks to a bludgeoning trainwreck of a riff. Likely to send even your Granny on a trip to the outer regions of the known universe, this record should be handled with care.

Peter Marsch

MABON (21 September 2009)

The musick dedicated to this Sabbat is:

KALACAKRA

CRAWLING TO LHASA



Original Issue: 1971 Private Release (K-ST-2000)

Reissue: 2001 Garden Of Delights (CD 053) Buy it here!!!

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Margot-meter: 4,5 moons / 5

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Do not forget to take a look at the comments section :-)

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1 Naerby Shiras (9:20)
2 Jaceline (6:19)
3 Raga N°11 (5:36)
4 September Full Moon (9:39)
5 Arapahos Circle Dance (2:32)
6 Tante Olga (7:35)
7 Vamos (6:52)
8 Deja Vu (5:38)

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from Progarchives:

Really gorgeous eastern psychedelic kraut (related) improv in the mood of Siloah, Parson Sound, Lamp of the Universe, Dom.Some sections contain primitive, blues damaged folk jams. The result is astonishing, highly mysterious and luminous. "Naerby Shiras" is an acoustic, repetitive, dreamy and druggy little piece, dominated by simplistic but efficient guitars motifs, some dancing flute lines and discreet narrations at the end. Really warm & acid stuff. "Jaceline" is a percussive, floating ballad within a forest ambience, accompanied by voices and words, violin contrasts and vibraphone. The "pastoral" acoustic guitar parts always prevail. "Raga no 11" features an intense, chanting like raga improvisation with rhythms and "mantra" sonorities. "September full moon" contain folkish strings and rhythms for a rather light, bucolic composition. "Arapaho's dancing dance" is bluesy like tune with circular rhythms, evasive guitar parts and kinda folky harmonica arrangements. A charming artefact with some tripped out moments!

Philippe