Jeff Parker ist kein auffälliger, ausgeflippter Gitarrist. Alles, was er tut, hat einen Hauch von Metheny’scher Virtuosität, aber in der Regel spielt er nach einer rücksichtslosen harmonischen Logik, die sich aus dem genauen Hinhören auf das ergibt, was seine Bandkollegen tun. 

“Late Autumn“

In seiner Arbeit geht es oft um den kreativen Einsatz von Wiederholungen, und das ist auch die Art und Weise, wie dieses Ensemble als Einheit auftritt. Die Musiker beginnen jedes Stück mit einem einfachen Riff, das wiederholt, imitiert und verändert wird, bis es die Initialzündung für nachdenkliche Improvisationen liefert.

Was manchmal schwer zu glauben ist, ist, dass es sich um ein reines Live-Album handelt, das von Tontechniker Bryce Gonzales aufgenommen wurde, der vier Mikrofone aufstellte und sie in ein Zwei-Spur-Mischpult einspeiste, um die Band in Echtzeit zu mischen. Alle vier Musiker verwenden Effektgeräte, aber keines wurde in der Nachbearbeitung oder im Mix eingesetzt – alle werden in Echtzeit eingesetzt. 

(John Lewis, Uncut)

Fairouz is a very famous Lebanese singer and I’ve been listening to lots of different tracks of hers over the past few years. But there’s some really great ones on this album, and it inspired my most recent record – not in a direct way, just that when you listen to something a lot, it gets in your head. This record took on a funky sound, which I think was a shift for Fairouz, as she started working with her son. The song “Li Beirut” is very moving to me right now, because of what’s going on in Lebanon. It’s like her love song to Beirut, written during the civil war, and it’s kind of devastating.

Julia Holter

(After the interview with her, thanks to Olaf for support, I looked out for this album, and though it cannot measure it with an immaculate Western production, such little limititations are easily transcended by the beauty and the power of the music.)

• (Kevin Kline) „You’re wearing my hat. What else you got that’s mine?“ 
• (Hat Thief) „Mister, I don’t know what you’re talking about.“ 
• (Kevin Kline) „I hope your fingers aren’t tickling my ivory handled Colt. You stand up real slow and let me see and you might live through this night.“ 
• (Hat Thief) „Sure“

(album) erik honoré: triage (film) die fotografin (prose) thomas kraft: americana (talk) félicia atkinson (poetry) robert macfarlane & hayden thorpe: ness (binge) shogun (archive) byard lancaster: the complete palm recordings 1973 – 1974

Drawing on his experience as an artist, Brian Eno is releasing his book on art, made in collaboration with Bette A.

WHAT ART DOES examines the function of fictional worlds – such as pop songs, detective novels, soap operas, shoe tassels and the hidden language of haircuts – and suggests a new theory of art.

Why do we do it? How does it help us? And how does it hold us all together?

WHAT ART DOES is a full colour illustrated hardback book, initially available in a limited edition of 777 signed copies. Each copy comes with its own unique slipcase hand painted by Brian and Bette A. This limited edition is available exclusively from Metalabel for North American collectors, and Enoshop for collectors in the rest of the world.

Hardback and ebook editions will be available on general release from Faber on 16th January 2025.

not returning
call
that (ghost) ship
floating body…
„just“ elevation –
fondly remembered
in smallest crushing waves
carried away.

„Michael, oh.  “Carried Away” is the aural equivalent of a lonely walk along the docks, which is what Verlaine sings about, and if it doesn’t boast the catchiest melody you’ll ever hear it makes up for it in sheer atmospherics. Verlaine’s singing on the chorus especially sounds hard won, and I love the way he sings “I get so carried away” in a voice that couldn’t sound less excited. At around the midpoint the song breaks for an understated guitar solo, and then the organ and piano return to play a long closing passage that evokes Robert Frost’s boast about having outwalked the furthest city light.“ (David Webster)

The morning demons need to spill out of their dreamtime jackets 
Given words in this verse.
When the firings say in so many complex ways that you weren't there, mother, or 
how can I possibly know what to do -
now we know it is the hurt not the facts
that needs to flex from that compressed absence -
and while your body practices 
strange watchers will continue to people your dreams.

Don't believe the shapes they take 
Believe each opportunity to breathe out.
All is not lost.

einmal eröffnete einer seiner songs eine nicht nur von mir geschätze tv-serie, und der ungemein eindringliche song führte uns aus faszinierende art in eine welt diverser abgründe. nun sitze ich hier im besten restaurant von matala, habe einen „seabrass“ verspeist, und um den fisch herum das erste risotto ever erlebt, das mich umgehauen hat. zeit für ein cappuccino, und ein neues rätsel, und der erste, der mir den namen des künstlers / acts schreibt, in den comments hier, nicht als private mail, bekommt um nikolaus die cd nach hause gesendet. sie erscheint (oder ist erschienen) zwischen september und november 24. auf einflüsse angesprochen, die sich auf dieses album ausgewirkt hätten, ohne unmittelbar hörbar zu sein, in der einen oder anderen weise, nannte er / sie / die band (ich will es ja nicht zu einfach machen) Mazzy Star, Beth Gibbons, Gene Clark – und Sade . good day and good luck! (m.e.)

Rätsel gelöst: HIER ein Song aus „Small Changes“. Tom Doyle fühlt sich in seiner Besprechung in der Dezemberausgabe von Mojo von ferne an „Dry The Rain“ von The Beta Band erinnert – LISTEN!

“(…) The album is playful, too. Audience applause and babble opens Lowdown Part 1, in which a rolling Pino Palladino bass part and Al Kooper-styled Hammon interjectiojs conapire to evoke a kind of downtrodden take on The Beta Band‘s Dry The Rain, replete with a naggingly beautiful melody. (…)“

He was a country maverick, and his famous 1979 song hit me hard and out of nowhere in a bavarian café in October 82 with full punch. Listen HERE. When Iistened there, it smashed me, ripped me into pieces and kindly rebuilt me, so that it could at least, too. „When I first started to write songs I was hanging out with Glenn and Jackson [Browne] and Don [Henley],” he told  in 2006. “It was an acoustic guitar environment. We all made each other better musicians and songwriters.”