Showing posts with label Desert Music. Show all posts
Showing posts with label Desert Music. Show all posts

Saturday, 18 October 2008

FAREWELL MOON (epitaph musick)

This post is dedicated to Hector Zazou (11 July 1948 - 08 September 2008)

ZAZOU HECTOR

SAHARA BLUE

CHANSONS DES MERS FROIDES

Original Issue: 1992 Made To Measure (MTM 32) & 1994 Sony Music (COL 477585 2)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Tracklistings: Sahara Blue and Chansons Des Mers Froides

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Wikipedia�:

Zazou first came to international attention as part of the ZNR duo with Joseph Racaille, where both played electric keyboards. Their 1976 debut album Barricades 3 was notable for its "strong Satie influence, stripped to minimal essentials, everything counts".

Long-time collaborators include trumpeter Mark Isham; guitarist Lone Kent; cellist and singer Caroline Lavelle; trumpeter Christian Lechevretel, who has appeared on all of Zazou's albums after Sahara Blue; clarinetist and flutist Renaud Pion, who has appeared on all of Zazou's albums since Les Nouvelles Polyphonies Corses; drummer Bill Rieflin; and Japanese recording artist Ryuichi Sakamoto.

His discography demonstrates his affinity for cross-cultural collaborations, and incorporated modern techniques and sounds in re-recordings of traditional material. He was influenced by Peter Gabriel's album Passion: Music for The Last Temptation of Christ in his fusion of musical polarities (traditional and modern, electronic and acoustic) on his own album Les Nouvelles Polyphonies Corses.

Zazou regarded his work during the 1980s as his time of apprenticeship in the studio. On his 1986 album, Reivax au Bongo, he experimented with fusing classical vocals with an electronic backdrop. On his 1989 album, Géologies, he combined electronic music with a string quartet.

The albums that he has released under his own name from the 1990s onwards are usually concept albums that draw from literary or folk sources and revolve around a specific theme. The collection of songs on each album assemble contributions from a diverse and global range of pop, folk, world music, avant-garde, and classical recording acts.

Zazou's 1992 offering, Sahara Blue, was based on an idea by Jacques Pasquier. Pasquier suggested Zazou commemorate the 100th anniversary of the death of author Arthur Rimbaud by setting music to Rimbaud's poetry. Contributions included spoken word from Gérard Depardieu, Dominique Dalcan and music by Brendan Perry and Lisa Gerrard of Dead Can Dance, Tim Simenon, and David Sylvian. He even adapted a traditional Ethiopian song.

In 1994, he released the album Chansons des mers froides (called Songs from the Cold Seas for the anglophone market). The album was based on ocean-themed traditional folk songs from northern countries, such as Canada, Finland, Iceland, and Japan. It featured vocals by pop and rock artists such as Björk, Suzanne Vega, John Cale, Värttina, Jane Siberry, and Siouxsie Sioux in addition to recordings of shamanic incantations and lullabies from Ainu, Nanai, Inuit, and Yakut singers. Musicians included Mark Isham, Brendan Perry, and the Balanescu Quartet. A cameraman accompanied Zazou on the project and they shot and recorded in Alaska, Canada, Greenland, Japan, Scandinavia, and Siberia. The single "The Long Voyage" was the only song to be an original composition from Zazou. He wrote it in gratitude to his record company Sony who gave him complete artistic liberty. Performed by Suzanne Vega and John Cale, it was released as a single in 1995. The single featured remixes by Mad Professor as well as Zazou himself.

His 1998 album, Lights in the Dark, showcased ancient Celtic music sung by Irish singers.

Zazou's collaborative 2000 album 12 (Las Vegas is Cursed) with Sandy Dillon was regarded as a financial and critical failure. In the book "Sonora Portraits 2", which accompanies the CD Strong Currents, Zazou says that 12 (Las Vegas is Cursed) was his most elaborate album. He describes it as a work of black humour and regards his instrumental composition "Sombre" on the album as one of his best songs ever.

Strong Currents was released in 2003 and featured an all-female vocal cast which included Laurie Anderson, Melanie Gabriel, Lori Carson, Lisa Germano, Irene Grandi, Jane Birkin, and Caroline Lavelle. Musicians included Ryuichi Sakamoto, Dennis Rea, Bill Rieflin and Archaea Strings. The album took six years to complete.

In 2004 Zazou released a companion CD of sorts, L'absence, which included instrumentals, many of the same female vocalists that were featured on Strong Currents, and one male vocalist, French singer Edo.

Zazou has recently been a member of the musical collective named Slow Music. The lineup also included Robert Fripp and Peter Buck on guitars, Fred Chalenor on bass, Matt Chamberlain on drums, and Bill Rieflin on keyboards and percussion. He contributed electronics to the group's music, and much of his recent work, including a soundtrack for Carl Théodor Dreyer's silent film La Passion de Jeanne d’Arc and the multimedia collaboration released as a CD in 2006, Quadri+Chromies, has focused on electronic sounds produced on computers.

A number of recent projects are documented on the Music Operator interactive multimedia web site, which graphically documents his recent collaborations while in the background his recent music plays. In january 2008 Hector Zazou released his newest album, Corps électriques, featuring "one of the original riot grrrls" KatieJane Garside, Bill Rieflin, Lone Kent and fusion jazz trumpeter Nils Petter Molvær.

Monday, 28 July 2008

GHOST MOON (imaginary musick)

A SMALL, GOOD THING

SLIM WESTERNS

Original Issue: 1994 Soleilmoon (SOL 23CD)

Reissue: 2002 Leaf (BAY 8 CDX)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

Margot-meter: 4,5 moons / 5

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

1
Godforsaken (6:23)
2
Drowning Light (3:49)
3
Twice As Evil As You (3:01)
4
Hole In The Heart (3:53)
5
Gulch (5:17)
6
Flamenco 1 (2:42)
7
Scorched Earth (4:05)
8
Heathaze (3:51)
9
Someplace South Of Here (6:38)
10
Gunsmoke (2:37)
11
Flamenco 2 (2:06)
12
Saguaro (6:01)
13
Jane Russell (2:11)

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Epitonic:

A Small Good Thing specializes in the imaginary soundtrack, a narrative musical format pioneered by Barry Adamson, who intended his albums to be bleak noir soundtracks to films that never existed. With an imaginary soundtrack, the composer uses the tropes of film music -- notably, incidental interludes that link dialogue and dramatic orchestrations to crucial plot development -- to set a moody context, leaving the listener to fill in the visual blanks.

A Small Good Thing's debut album, 1994's Slim Westerns, is a gorgeous ambient album set out to dry in the southwestern desert. On the song "Godforsaken," A Small Good Thing drops ample references to Ennio Morricone's spaghetti western scores, adding the dusty sounds of a slide guitar over ambient passages that would make Brian Eno proud.

"Somewhere South of Here" gets tense with the persistent toll of a funeral bell and a handful of badass spoken word samples from world-weary gunslingers. "The Pink & Purple World Of Dishonesty" tells a cyber-noir tale drawing from the jazz-laden soap opera scores that Angelo Baldamenti composed for "Twin Peaks."

"Peep-Show Eccentriques" is a slow electronic swing number topped off with muted trumpet, while "Re-Arranged Face" features a drunk solitary pianist tapping out irregular chords that succumb to a digitized electronic wash.

Jim Haynes

₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪₪

from Spyderbites:

When I first began reading the descriptions... "music for an imaginary western" and "ambient rodeo music", this sounded like something I'd like.

It is. Slim Westerns sets an arid, ambient southwestern desert mood. Get used to the dusty sound of slide guitar...

...from the opening notes of godforsaken , until the disc's close some 52 minutes later, you'll be hearing alot of it, and other variations. This entire disc is built mainly upon these acoustic and electric tones, along with various percussive, electronic and sampled elements. The strummings and pluckings of the first track will give you a good idea of the things to come.

Judicious use of samples throughout the disc help build the western aura; in drowning light, it is a man's lonesome whistle that adds to the music. (Really, think about it... they could have gone nuts with the sound effects; horses, gunshots, honky-tonk pianos, saloon fights... but they keep it appropriately low-key)

twice as evil as you is the only track that seems to break from the CD's southwestern mode (and has no guitar); it's much more gothic, sounding like music for a cheesy made-for-TV horror film (and really, I mean that in a good way...). Solemn bells accompany wood synth and string for this.

Then, back to the desert... Peaceful sounds of finger-strummed guitar and light percussion form hole in the heart. The mood is much lighter than the title might imply.

gulch opens with the whoosh of a rope, the squawk of buzzards and the tolling of a funeral bell. Various thrumming chords and low electronics also punctuate the piece as it unfold. flamenco 1 fades in like a mirage rippling slowly in the sun, shimmering beautifully for a short 2:30.

A slow, sparse arrangement of plucked strings and piano tones make scorched earth the mellow beauty that it is. Its companion piece, heathaze features more strummed and picked acoustic guitar layered over a smooth bed of synth, and closes with the same notes that open the previous tune.

Spoken word samples (assumedly from old Westerns) and clanging metal flavor someplace south of here, as does its sloowly pulsing electronic rhythm. Many other instruments and sounds blend in unobtrusively (but what are those gregorian monks doing out there?!) Another short track, gunsmoke gives us more guitar and background synth.

flamenco 2 adds strange electric burblings to the ripples of its previous namesake, but for barely 2 minutes. saguaro continues to successfully mine the same general musical vein, adding a bit of twanging jew's harp. A breathy wind instrument accompanies the dryly whimsical strum of the disc's closer, jane russell.

It strikes me as odd how these English musicians (A Small, Good Thing is a side project by members of tribal ambienteers O Yuki Conjugate) are again setting their ambient excursions in the American Southwest, as did The KLF with Chill Out . But, at any rate, I'm just glad they have.

I love it with both thumbs! It's serene, interesting and so atmospheric. One of my personal favorites. Turn your living space into an American desert paradise.

David J Opdyke