Poetry Bikes’ invites you… read more
Carrying on our look at the Dreamdark roster’s inspirations we have elizabeth Veldon. What inspires elizabeth to assault our ears with her sonic attack, read on.
Cage has always been an influence on me for his tireless efforts to redefine what music and performance could be understood as.
this piece is perhaps his most famous and also the piece that most literally redefines music and performance as, effectively, the music (or composition if you prefer) is not centred on the sounds performed by the pianist but the ambient noises surrounding the performance of the piece.
4’33” is defined by the actions of the pianist (though it can easily be performed on any instrument) who opens the piano to signify the beginning of the movement and closes it to signify the end. The 4’33” of the title is the time not of the performance but of the movements themselves.
without cage i would never have produced my ‘loops’ series which where, in effect, attempts to perform his fontana mix without a score. without cage i would never have produced music as i could never have defined it in my own terms.
A little part of Greenway’s ‘Four American Composers’ series.
And as a little extra.
A new experimental release for charity can be here. Instead of my usual gibberish read the below piece by the artist and decide if you want to support this ep.
to come unto me
‘but when jesus saw it, he was much displeased, and said unto them, suffer the little children to come unto me, and forbid them not: for such is the kingdom of god
my parents where extraordinarily violent and would often take steel pokers, pots and pans and in one instance (alluded to in one of the tracks) a hammer to both my brother and sister.
though I suffered no violence myself I had to witness the daily brutalisation of my siblings.
this left my brother unable to express love physically as he had received none from his own parents and my sister herself became an abuser in denial not only of the abuse she suffered but also the abuse she meted out to her son and husband
this has to stop. no child should have to live in fear (sometimes of their life.)
All money raised from this album will go to the nspcc.
Have you ever wondered about Jason Kavanagh’s inspirations? I know I sometime lie awake fretting about this very issue. Time to worry no more.
Electricity from Safe As Milk by Captain Beefheart and His Magic Band (1967).
There is nothing forced about it, nothing contrived. Every piece of the interlocking whole is simple both in structure and production, the drums hard left, the guitar hard right, bass just right of centre. Don Van Vliet’s voice rising and falling, moving around the stereo field, echoing the ever present banshee wail of the Theremin, itself the perfect sonic representation of primal, raw electricity.
From that very first Theremin note it is clear that this must not only be heard but must be heard loud. In fact it demands to be so loud that it permeates every fibre of your being. Disassembles you, becomes you (“Singin’ through you to me”), lifts you up and carries you off.
In my opinion this piece of music is the rarest of all musical beasts: the perfect track. Nothing more could be added, nothing could be taken away, all of the elements come together in absolute harmony to create something which is just so right it defies logical and rational examination or attempts to explain why. Do your ears a favour and play it now.
Jason Kavanagh (still trying to find a system loud enough to be worthy).
The first physical release on Dreamdark is elizabeth Veldon’s riposte to the love of Ayler’s jazz.
Just to show I/we have a sense of humour.
Now in full seriousness we have these links for your delectation.
elizabeth Veldon’s mini dvdr can be found here.
The artists notes for the release, sit down and have a coffee here with some good reading.
I and Ayler: a tale of disappointment and bewilderment.
I’m trying to express my feelings on Albert Ayler’s omnipresence regarding free jazz and listening to Pharaoh Sanders’ ‘The Creator Has A Master Plan.’ I could as easly say I was listening to Dave Burrell’s ‘Echo’ or Archie Shepp’s ‘Poem For Malcolm’ or Cecil Taylor’s ‘Live In The Black Forest’ or the Leroy Jenkins/ Muhal Richard Abrams classic ‘Lifelong Ambitions’ (a candidate for the greatest record with the worst cover ever as any fan of this wonderful avant/ free jazz record will tell you) or the Don Pullen/ Sam Rivers classic ‘Capricorn Rising or a million other records.
I could have said I was listening to the Bugger All Band’s ‘Bonzo Bites Back’ or ‘Ballads’ by Derek bailey. I could have opened this with one million great Free Jazz records from both the time of Alber Ayler and after but I chose to listen to Pharaoh Sanders’ classic ‘The Creator Has A Master Plan’ as Albert Ayler himself seemed to think he had gone beyond Sanders (he famously said ‘Coltrane was the father, Sanders the son but I was the holly ghost.’) So I listen to Sanders.
Karma, the album this track comes off, is by no means the most ‘Free’ Free Jazz record ever or is it even Sander’s most ‘Free’ record but I love it; the opening minute is a warm cacophony of sound, the Funk tinged sections light as a feather and the drifting in and out of cacophony is well handled.
Ayler never acheved anything like this, Ayler never acheved anything like Shepp, Burrell, Taylor, Muhal Richard Abrams or any other of the artists I mentioned above and this is why I chose to open this article by saying I was listening to ‘The Creator Has A Master Plan.’
There is an obsession with Ayler that boarders on the obscene; look online and you’ll not find a single article criticising his compositions or his playing style, a single bad review of one of his records. I myself have listened to several records by him and recently listened to several CDs from the ‘Holy Ghost’ box set and I cannot see why he is so loved.
At best Ayler achieves a few moments of brilliance such as the opening to ‘Prophet John’ (where a trad piano solo is ripped apart by Ayler’s playing) on CD seven of the Holy Ghost box set but not once on any track I’ve heard has he sustained my interest, not once has he remained ‘Free.’ Albert Ayler is a Trad artist with some of the trappings of Free Jazz but his work is less progressive than that of ‘the father’ John Coltrane.
Free Jazz was born out of a combination of Progressive thinking, instrumental virtuosity and anger: Free Jazz is a child of the Black Liberation Movement and it’s an angry, harsh sound, a discordant and cacophonous sound but everyone obsesses over Albert Ayler who’s music is to Free Jazz what Debussy is to Mahler: both are late 19th Century composers but one is an easy, pleasant listen and the other a challenging one. Ayler is Debussy.
It is in the end perhaps this that leads people to love him so much, this easy listen, this ability to appear to love Free Jazz but to, in the end, not have to deal with anything too Free – Ayler is Easy music that people can pretend is Hard.
Free Jazz is a harsh form and to pretend otherwise is to betray it. Our obsession with Ayler has betrayed Free Jazz for too long.
The first new release we have on the newly revamped Dreamdark.
Is preparing to death by ■ ([square], if you don’t want to dig out the old character map).
A piece that will slowly ghost over you and you may not want to listen to in a darkened room by yourself. Although the textures unravelling around you will make the feelings of unease worthwhile. A genuine piece of art that your life needs.
Free download here.