The Squid's Ear
Recently @ Squidco:

Iancu Dumitrescu / Ana-Maria Avram: Paris-London (III), Spectrum XXI Festival (Edition Modern)

Three works from Romanian composer Iancu Dumitrescu, and two from Ana-Maria Avram, recorded at the 6th edition of the Spectrum XXI Festival held in London, Paris, Berlin and Bucharest in 2011, presenting works gravitating around the "Spectral Music" nucleus. ... Click to View


Ilan Volkov conducts Ana-Maria Avram / Iancu Dumitrescu: Hyperion International Ensemble (Edition Modern)

... Click to View


Philip Corner: Satie Slowly [2 CDs] (Unseen Worlds)

Composer Philip Corner takes on Satie's piano works with an emphasis on pacing, allowing the pieces to develop their beautiful lyricism; 17 pieces over two CDs, including "Gymonpedies", "Ogives", "Fanfares of the Rose+Cross", &c. ... Click to View


Seijiro Murayama / Eric La Casa: Paris: Public Spaces (Ftarri/Swarming)

Twelve recordings constructed from 2012 field recordings of public locations in Paris by Eric La Casa and Seijiro Murayama, including subway stations, parks, open gardens, tunnels and fountains, a fascinating portrait of communal sound in this great city. ... Click to View


Angharad Davies : Six Studies (Confront)

Six unorthodox sketches for acoustic violin, focusing on preparations and techniques including a plastic peg, a spring, and a nail file, from London based Angharad Davies, recording live improvisations at Goldsmiths University. ... Click to View


BEFOREHAND (Lazaridou / Wastell): Live at Hundred Years Gallery (Confront)

The duo of Dimitra Lazaridou-Chatzigoga on zither and Mark Wastell on his electronics set including bowls and shruti box, formed for the release concert for Angharad Davies' "Six Studies" in 2014, recording this excellent improvised dialog of rich and unusual sound. ... Click to View


Jeph Jerman: Analog (NO LABEL)

Sound explorer Jeph Jerman's "Analog" in two extended works merging field recordings and inexplicable sound, a hazy balance of muffled and indeterminate sound with great motion and punctuated moments like hallucinatory memories heard from the wheel well of a car. ... Click to View


Jeph Jerman: Quo Modo Deum (No Label)

"Quo Modo Deum" translates to 'This is the way of God', which sound artist Jeph Jerman invokes through a 2 CD release starting with intoning bells, proceeding through six recordings of minimal drones of varying character. ... Click to View


Various Artists: Fluviology (Runningonair Music)

Runningonair releases recordings from the Ologies concert series at the Railway in Winchester, England, initiated to bring more experimental music to the Hampshire area, here with Delphine Dora, Sophie Cooper, Serbastiane Hegarty, and Joe Evans. ... Click to View


Rob Mazurek & Black Cube SP (featuring Sao Paulo Underground): Return The Tides: Ascension Suite And Holy Ghost [VINYL] (Cuneiform)

Two weeks after the passing of his mother to cancer, cornetist Rob Mazurek and his Black Cube sextet recorded this profound album blending acoustic and electronics with intense spiritual and emotional energy, a fitting tribute that explores our connection to the next stage. ... Click to View


Rob Mazurek & Black Cube SP (featuring Sao Paulo Underground): Return The Tides: Ascension Suite And Holy Ghost (Cuneiform)

Two weeks after the passing of his mother to cancer, cornetist Rob Mazurek and his Black Cube sextet recorded this profound album blending acoustic and electronics with intense spiritual and emotional energy, a fitting tribute that explores our connection to the next stage. ... Click to View


Ideal Bread (Stinton / Knuffke / Hopkins / Fujiwara): Beating the Teens [2 CDs] (Cuneiform)

The 3rd album NYC's Steve Lacy repertory band Ideal Bread led by John Sinton (baritone saxophone) with Kirk Knuffke (cornet), Adam Hopkins (bass) and Tomas Fujiwara (drums) in a double CD recomposing Lacy's "Scratching The Seventies / Dreams" in unique and fascinating ways. ... Click to View


Anthony Pirog (with Michael Formanek and Ches Smith): Palo Colorado Dream (Cuneiform)

Washington, DC guitarist and electronic artist Anthony Pirog's trio with Michael Formanek on bass and Ches Smith on drums in his debut album, blending acoustic playing with electronics in immersive songs of soundscape and strong technical skills in 11 cathartic songs. ... Click to View


Richard Pinhas / Yoshida Tatsuya: Welcome In The Void (Cuneiform)

Electronics and guitar from French psychedelic rock legend Richard Pinhas (Heldon) merges with the percussion mastery of Yoshida Tatsuya (Ruins, Koenji Hyakkei and Korekyojinn) for a remarkable two part duo of sonic and percussive exchanges recorded in Paris and Tokyo. ... Click to View


Richard Pinhas / Oren Ambarchi: Tikkun [CD & DVD] (Cuneiform)

Richard Pinhas of Helodon fame meets guitarist and sound artist Oren aMbarchi, Masami Akita (Merzbow) on loops, noise &effects, and Duncan Pinhas on sequencer, effects & noise, plus Eric Borelva for additional drums in a studio CD / live DVD 2 disc release. ... Click to View


Zeitkratzer / Keiji Haino: Zeitkratzer + Keiji Haino (Zeitkratzer)

Keiji Haino collaborates with Reinhold Friedl's Zeitkratzer for their 2nd release, with Haino concentrating solely on his voice without electronic manipulation, in a live recording at Jahrehunderthalle in Bochum, Germany for a frightful mix of ferocious chamber music. ... Click to View


Keiji Haino / Jim O'Rourke / Oren Ambarchi: Only Wanting to Melt Beautifully Away Is It a Lack of Contentment That Stirs Affection for Those Things Said to Be as of Yet Unseen [VINYL] (Black Truffle)

The 5th release from the trio of multi-instrumentalist/vocalist Keiji Haino, guitarist Jim O'Rourke and Oren Ambarchi on wineglass and percussion is an introspective and beautifully developed set recorded live at their March 2013 concert at SuperDeluxe. ... Click to View


Zeitkratzer / Keiji Haino: Live At Jahrhunderthalle Bochum [VINYL] (KARLRECORDS)

Keiji Haino collaborates with Reinhold Friedl's Zeitkratzer for their 2nd release, with Haino concentrating solely on his voice without electronic manipulation, in a live recording at Jahrehunderthalle in Bochum, Germany for a frightful mix of ferocious chamber music. ... Click to View


Ethnic Heritage Ensemble: Black Is Back - 40th Anniversary Project (KATALYST )

Percussionist Kahil El' Zabar's Ethnic Heritage Ensemble with Ernest Khabeer Dawkins on saxophone and Corey Wilkes on trumpet, referencing the history of jazz in contemporary settings, with superb rhythmic textures and excellent soloing. ... Click to View


Jason Adasiewicz's Sun Rooms: From The Region (Delmark)

Jason Adasiewicz's Sun Rooms explores the sparse territory of the vibraphone trio with fellow Chicago player Mike Reed on drums and Texan via Norway bassist Ingrebrigt Haker-Flaten replacing Nate McBrite; tasteful and lyrical jazz with a modern edge. ... Click to View


Joshua Abrams: Natural Information (Eremite)

Joshua Abrams (Town & Country, Matana Roberts & Chad Taylor, &c) in an infectious groove-based album built around the guimbri, a 3-stringed animal hide bass used by the Gnawa of North Africa, with a bonus 20 minutes of material not included in the LP. ... Click to View


NG4 Quartet (Keith Rowe / Anthony Taillard / Emmanuel Leduc / Julien Ottavi): A Quartet For Guitars (Mikroton Recordings)

Keith Rowe, Anthony Taillard, Emmanuel Leduc and Julien Ottavi perform on electric guitars and electronics, following a score of 9 sections worked out between them for over a year before recording these six improvisations. ... Click to View


Keith Rowe / Alfredo Costa Monteiro / Ilia Belorukov / Kurt Liedwart: Contour (Mikroton Recordings)

Two recordings from spina!studio in St. Petersburg during the Teni Zvuka 2013 Festival, one a duo btween Keith Rowe and Alfredo Costa Monteiro, and the other filling out to a quartet with Ilia Belorukov and Kurt Liedwart; detailed interactions with impressive restraint. ... Click to View


Kazuhisa Uchihashi / Noid / Tamara Wilhelm: I Hope It Doesn't Work (Mikroton Recordings)

Three unusual voices in electroacoustic improv from Uchihashi Kazuhisa on guitar and daxaophone, Tamara Wilhelm on DIY electronics, and Noid on cell, recorded at two concerts: Kleylehof/Nickelsdorf in 2011; and festival Konfrontationen 2013. ... Click to View


Fennesz: Venice [VINYL 2 LPs] (Touch)

Special 10th anniversary edition of Fennesz' classic "Venice" album from 2004 recorded with David Sylvian on vocals and Burkhard Stangl on guitar, presented in a gatefold double LP release. ... Click to View


Angelica Castello / Billy Roisz / Burkhard Stangl / Dieb13: Scuba (Mikroton Recordings)

A large improvised work from the quartet of Angelica Castello (amplified subcontrabass, paetzold recorder and electronic devices, Billy Roisz (electronics), Burkhard Stangl (electric guitar) and Dieb13 (turntables & klopfer) performing live at Alte Schmiede Wien, Austria in 2013. ... Click to View


Triac (Tatone / Seracini / Polidoro): In A Room (Laminal)

Triac is an electronic music trio from Italy formed in the end of 2011 by Rossano Polidoro, Marco Seracini and Augusto Tatone, using laptop, fisa, electric bass, piano synth to investigate minimal ambient music. ... Click to View


David Shea: Rituals (Room40)

Electroacoustic composer and a former Downtown NY artist David Shea returns with a massive work of semiotic acoustic renderings based around ritual music, performed with Lawrence English and Robin Rimbaud, Oren Ambarchi, &c., a profound and massive work. ... Click to View


Acid Mothers Temple SWR: Yes, No & Perhaps (Magaibutsu)

Acid Mother Temple SWR merge's AMT's Kawabata Kakoto (guitar, voice,) and Tsuyama Atsushi (bass, vocals, sax) with Yoshida Tatsuya (Ruins, Koenji Hyakkei, &c), here in their 6th release, crazy prog-oriented rock of indescribable insanity and skill! ... Click to View


Rick Lopez: The William Parker Sessionography [BOOK] (Centering Records)

Rick Lopez compiles a complete sessionography for the indefatigable New York bassist William Parker, an encyclopedic compilation of his work in a limited 8.5"x11" format, 482-page book. ... Click to View


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Op-Ed (Opinions and Editorials)


Musical Activism: An Open Call  
By Marc Ribot

On tour in Europe during the first twelve days of the recent invasion of Iraq, I witnessed something close to bereavement among audience members at the apparent consent of most Americans to Bush's agenda of war and empire.

It was exhausting, in addition with all the other pressures of performance, to deal with expectations to represent "America" in this situation. Although it felt strange to speak about the war during performances - I'm a guitarist, not a lecturer - it felt even stranger not to. The one thing about which I felt certain was that the incredible level of anger and opposition I witnessed was no longer simply about one lousy political decision, but had become a critique of the legitimacy of the power of empire, and it wasn't going to stop when the war ended.

Indeed, it hasn't. It remains nearly impossible to get on stage without addressing (or failing to address) the context within which, whether we like it or not, our music is now heard.

This database project described below was conceived as a means through which artists and musicians will be able to say what needs to be said politically in the formats where it will do the most good, to help to change a political context which, simply put, has become intolerable.

We're inviting touring artists to participate in a pilot project version to be launched around February 1, 2004. Anyone can back out at any time, but expressions of interest/commitment (along with brief bios if possible) are needed to apply for grants to build the database.

Best regards, Marc Ribot Musicians Solidarity Database [correspondence may be sent to msolidarity@squidco.com]



WHAT: The Musicians Solidarity Database will connect internationally touring recording artists/musicians with anti-war and global justice organizations local to their touring dates.

The Database is an initiative of the Musicians Solidarity Network (MSN). Although open and useful to all artists regardless of origin or tour destination, the actual possibilities will probably reflect the current touring routes. The intent is for participating artists to be able to integrate whatever degree of activity on behalf peace/democracy/social justice organizations they feel able to commit to into their regular tour itineraries with a minimum of effort, and for the organizations to benefit from cultural support.

HOW: Touring artists enter their upcoming tour schedules, tech needs, and other necessary info and preferences into the database. Major peace/ democracy/social justice organizations access the info and cross-reference the dates of their planned events with touring artists' availability. The organizations then send the musicians/artists a set of proposals (for example: to speak or perform at a demonstration). The artist accepts whichever proposals they choose, and forward their acceptance along with whatever time or tech specs apply back to the organizations. The organizations confirm the date.

Even if tour schedules are too tight to allow for an artist's participation in outside events, artists can arrange, through the data bank, to make merchandise/ literature table space available to organizations they support.

Great care will be taken to make the data-base user friendly to both artists and organizations.

WHY?: An enormous divide has opened in political understanding between the US and most of the rest of the world, particularly in Europe. Most touring artists and musicians are already well aware of this.

But artists who speak out against Bush's agenda of war and empire, particularly in the US, run the risk of alienating fans or even being subjected to radio and other forms of blacklisting.

In Europe, things are different, at least for the time Being. Manu Chao's "Clandestino" was a hit because of, not in spite of, his close identification with the social forum movement. Whether this will always be true is difficult to say: the same forces that created Bush are also pushing Europe steadily rightward. But it's true now.

The database is a way to turn this political differential into a force for progressive change in the US, enable artists who want to be active to do so, provide organizations against war and for global justice with a constant stream of performing artist support, and build a global network of artists and activists.

It will help artists to limit the economic risks of activism by connecting them with activists and audiences who share their views.

For example, contact with non-US activists and anti-war audiences will enable US musical/cultural figures (and global cultural figures who wish to sell in the US market) to speak out. It's no accident the Dixie Chicks spoke out against the war while in Europe.

As more artists risk opinions outside the US mainstream, it will change the political math that has discouraged dissent by encouraging fans to question their mass-media enforced opinions. And contact between US audiences and European/international artists willing to speak out will help break the US media censorship of the depth of world opposition to war and empire.

Of course, the issues affecting us all aren't confined to the US: the same political/economic forces that put Bush in power in the US are alive and well in Europe and elsewhere. The problems are global and gestures of solidarity from touring musicians are needed to keep the spirit of opposition global as well.

A secondary benefit of the database involves musicians and artists rights issues. There are some issues of interest from anti-war, cultural, and labor perspectives. For example, the role of the Clear Channel monopoly in censoring opposition to the war, blacklisting anti-war artists, and even organizing pro-war demonstrations in the US is both an anti-war issue, and an infringement on artists' freedom of expression.

SPECIFICATIONS Filters, both passive/automatic and active/human will ensure that participating orgs are major and respected, and that participating artists are at a sufficiently professional level to be of use to them.

  • Access to the database will be strictly limited to approved organizations.
  • Contact between artists and organizations will take place within a database 'mailbox' so that artists/managers run no risk of having personal/business email accounts flooded with requests.
  • Whatever form of participation the artist chooses - be it a gig, a single song, or a brief statement - the database format will ensure that all necessary technical requirements and conditions are met, without extensive back and forth between artists, managers and organizations.
  • Artists will have access to full information about events they are being invited to participate in and about the organizations asking them to participate.
  • Artists' participation in the database will be confidential (although at this stage, we may need to list participating artists in grant applications) unless the artists themselves choose to make it public.




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