#merzbo derek

[merzbow-derek]

POST-POST-SCRIPTUM 1184

THE THIRD MIND

#genesis p-orridge #brian jones #post-post-scriptum #merzbo derek

[talweg-wolves]

LE COLCHIQUE D’AUTOMNE EST L’ALCOOL DES TULPAS : MBOG -6

D'ici fin d'année 2019, sortie sur Up Against The Wall, Motherfuckers! d'un lathe cut 25 cm, deux faces, de Magic Band Of Gypsys, avec pochettes-collages uniques réalisées par Merzbo-Derek (possibilité de réservation). MBOG is Joëlle Vinciarelli (La Morte Young, Talweg), Henri Roger (Pôle, Catherine Ribeiro, Jean-Marc Foussat, Noël Akchoté, Paul Rogers, Benjamin Duboc, Didier Lasserre) & Philippe Robert. Quelques-unes ci-dessus sont désormais réservées. À suivre…

#magic band of gypsys #joëlle vinciarelli #henri roger #philippe robert #merzbo derek #up against the wall motherfuckers!

[complotdefamille]

CONFINEMENT : THE END

#jean-guillaume #pereg #meriadoc barndybuck #alice guitard #merzbo derek #harold lloyd #salvadordali #déconfinement

[perinmeri]

#peregrin took #meriadoc brandybuck #erle #merzbo derek

[soleilfeedback]

MERZBO-DEREK (2012-2019) EST MORT TUÉ PAR LA CENSURE, VIVE SOLEIL-FEEDBACK

#derekbailey #evanparker #merzbow #boderek

[tenaciouschaosturtle-ad805251]

POST-SCRIPTUM 856

ÉCHO DE L’ALGÈBRE DE LA NUIT

( Carnets, par là )

Source: merzbo derek

[merzbow-derek]

POST-POST-SCRIPTUM 1189

LE CUIR ET LE BASTON

#maurice lemoine #post-post-sciptum #merzbo derek

[merzbow-derek]

POST-POST-SCRIPTUM 1190

SESSION D’ENREGISTREMENT

#post-post scriptum #itaru oki #michel pilz #jean-noël cognard #merzbo derek

[merzbow-derek]

POST-POST-SCRIPTUM 1187

ROUF-À-LA-ROUFFARDE! = TALWEG & DS EX!

Thomas Guillemaud - saxophone, flute / Eric Lombaert - drums, percussions, flute / Henri Roger - drums, percussions, flute / Joëlle Vinciarelli - trumpet, voice, hurgy-toy, flute

#talweg #ds ex! #joëlle vinciarelli #éric lombaert #henri roger #thomas guillemaud #up against the wall motherfuckers! #jean rollin #post-post-scriptum #merzbo derek

[merzbow-derek]

POST-POST-SCRIPTUM 1188

ULULATIONISM

“Now playing: two new LPs by the ever prolific My Cat Is An Alien, the Opalio brothers from Torino IT. These cats go deep into their very own idiosyncratic sound world always with an invitation to collaborate, collude and collide with musicians and artists everywhere. The first LP is a 3 sided set recorded live at their 20th anniversary show. Both sonic brother Lee Ranaldo and Marseille free guitar maestro Jean-Marc Montera get into a heavy meditation of sound and breath with Lee intoning passing verbiage at the top and tail of the performance bringing the music into the moment of everydayness. Both Lee and MCIAA share pages of visual art in the booklet attached to the LPs front. Nice. The other disc is in collab with ululationist Joëlle Vinciarelli best know as howling free black metal voice for Talweg and La Morte Young. Here the work resounds as in a whispered night where promise comes as mystery. Only 100 copies of this killer. Also: nice. Stay well as you can be and move towards understanding that nature is our guide.” Thurston Moore, Facebook, Instagram

#my cat is an alien #> eternal beyond > #joëlle vinciarelli #robeto opalio #maurizio opalio #opax #up against the wall motherfuckers! #jean-marc montera #lee ranaldo #post-post-sciptum #merzbo derek #thurston moore

[merzbow-derek]

POST-POST-SCRIPTUM 1108

ERMITES DE L’ARDENT

#julien langendorff #post-post-scriptum #merzbo derek

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POST-POST-SCRIPTUM 1186

LE NU PARMI LES CERCUEILS

#post-post-scriptum #merzbo derek #jean-guillaume robert #andré pieyre de mandiargues #joyce mansour

[merzbow-derek]

POST-POST-SCRIPTUM 1185

MY CAT IS AN ALIEN & JOËLLE VINCIARELLI > ETERNAL BEYOND II >

OPAX / UP AGAINST THE WALL, MOTHERFUCKERS!

“The Opalio brothers have had quite an impressive history of adventurous collaborations over the years, as they have been joined by many of the most iconic figures in underground music, as well as an inspired array of interesting folks that I had not previously encountered.  Naturally, a number of those unions have yielded wonderful results, but one of my favorites was the Opalios’ pairing with Talweg/La Morte Young’s Joëlle Vinciarelli for 2016’s Eternal Beyond.  Several other artists have gamely and effectively adapted themselves to the brothers' unique aesthetic and working method over the years, yet Vinciarelli is the one who was most successful at finding and filling a space that made the collaboration feel like something more than the mere sum of its parts.  More specifically, she brings some welcome bite and visceral intensity to the Opalios' phantasmagoric and alien reveries.  Consequently, I am absolutely thrilled to report that this trio has now become a recurring project and that Eternal Beyond II is every good as its predecessor (if not even better).

I have not delved very deeply into Joëlle Vinciarelli’s work in Talweg at this point, but I have heard enough to grasp that "black metal" is a woefully inadequate and misleading term for her art.  In fact, nothing about Talweg (or Vinciarelli) is remotely conventional at all, which is perhaps why she makes such a perfect foil for her fellow Alps-dwellers.  In her own way, she is every bit as genre-defying and radical as the Opalios, but the key difference is that she is driven towards earthy, timeless, and primal forces rather than looking towards the stars for inspiration.  Consequently, the improbable collision of Vinciarelli’s "Cro-Magnon grunt and cultic energies" with the Opalios’ mind-melting, deep space lysergia is a perfect, unholy union, enhancing the brothers’ smeared and disorienting psychedelia with a healthy dose of seismic, elemental power.  That said, it seems like Vinciarelli also brings out some of those normally latent elements in the Opalios themselves, as the churning and jangling intensity of the opening "Eternal Rage Against the Dying of the Light" is driven primarily by the brothers’ violent misuse of an "antique upright piano soundboard."

It is truly impressive that Maurizio and Roberto managed to unleash such an apocalyptic cacophony in real-time, as the crescendo of "Eternal Rage" sounds like a heaving maelstrom of countless rusted steel strings being viciously attacked at once.  There are a lot of other great and unexpected elements to the piece as well, ranging from sharp metallic scrapes to looping, angelic vocal melodies.  And, of course, there are also the expected elements: disorienting falsetto vocal drones, buzzing electronics, and howling eruptions of noise.  Happily, all of those various threads coexist quite organically and seamlessly, resembling an inspired collision of an ancient throat-singing ritual, a pack of howling wolves, and a goddamn supernova.  Unsurprisingly, those ingredients make for quite a potent cocktail and "Eternal Rage" easily ranks among the best MCIAA pieces in recent memory.

The album’s shorter second piece is considerably less extreme, as it is largely centered on the chiming of an "old pendulum clock mechanism."  In fact, once Vinciarelli’s melodic, wordless vocals appear, "Eternal Ectoplasmic Communication" almost feels like a lullaby of sorts.  That resemblance does not last particularly long, however, as that melody gradually wanders off course as queasily lingering electronics and Maurizio's broken-sounding self-made string instrument creep in to curdle the idyll.  The overall experience feels akin to waking up in an unfamiliar house to find a supernatural fog slowly rolling out of a haunted antique clock.  While it never quite catches fire or builds towards anything more substantial, it casts quite an effective spell of seething uneasiness and the strangely warbling vocals call to mind a beloved stuff animal that is trying desperately to warn me of imminent peril, but is too paralyzed with fear to do anything but gibber helplessly.  While it is quite a solid and likable piece, the earlier "Eternal Rage" unavoidably steals the show on Eternal Beyond II, as it beautifully transcends everything I usually expect from MCIAA. "Eternal Ectoplasmic Communication," on the other hand, feels a bit more familiar (and considerably less apocalyptic).

It is hard to explain why I love the Opalio brothers' albums with Vinciarelli so much without making it sounds like their other albums are in some way lacking, but I will try anyway: a "normal" My Cat is an Alien album is like a window into someone else’s deeply weird and inscrutable dream (and I can think of no one else who reliably conjures up otherworldly vistas as strange and absorbing as those of the Opalios).  When Vinciarelli is involved, however, it feels like that dream state is tenuously anchored to a recognizable physical world rather than a straight-up free fall into a bottomless rabbit hole of swirling, nightmarish unreality.  Plunging into that altered state is always a compelling experience, but it is a more profound and dynamic one when I can still see distant vestiges of what I left behind (nods to conventional scales, scraping metal, guttural voices).  In essence, it is a matter of grounding and contrast.  No one does deep space psychedelia better than My Cat is an Alien, but with Eternal Beyond II, the Opalios and Vinciarelli evoke something significantly different that I cannot find anywhere else: the  singular collision of the imagined past versus the imagined future, the spectral versus the corporeal, and flesh-and-blood humanity versus the unknowable, abstract vastness of the cosmos.” Anthony D’Amico, Brainwashed

#my cat is an alie #roberto opalio #maurizio opalio #joëlle vianciarelli #talweg #la morte young #opax #up against the wall motherfuckers! #pos-post-scriptum #merzbo derek #anthnio d'amico #brainwashed

[merzbow-derek]

POST-POST-SCRIPTUM 1178

MAGIC BAND OF GYPSYS

“As you know I'm not used to recommend records, but this new 10" lathe cut is a must-have. It's the only recording by MAGIC BAND OF GYPSYS (Joëlle Vinciarelli, Henri Roger and Philippe "@merzbo_derek " Robert), coming from a extravaganza-night in Côte d'Azur back in 2004. Despite its originality, all influences/ references mentioned are fully apt... I'd just add two magnum opus from the 20th Century: “Strange Strings” and “Vexations” . Needless to say, the 24 copies of the lathe went sold out in 1 minute, but more and more I do believe very few people deserve real art these days. Btw, Digital is cheaper than ever, dudes!” - Roberto Opalio / My Cat Is An Alien

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“Il est long le chemin qui mène à MBOG. A faire à rebours, en plus, puisque le disque en question – le lathe cut en question, nous en parlerons plus bas – délivre un enregistrement de 2004, live at Corne d’Or, Côte d’Azur. « C’était beau, il faisait beau, et j’en ai rapporté une vilaine chanson », disait jadis Léo Ferré… La chanson est celle d’un trio : Joëlle Vinciarelli, Henri Roger et Philippe Robert. Les musiciens (ou capables de sons d’intérêt pour reprendre le Steve Lacy cité au dos du disque) batifolent sur deux faces, celles du lathe cut annoncé. L’Urban Dictionary explique : Lathe Cut is a dubplate where the sound is cut directly into a blank vinyl disc instead of acetate. Il y a donc peu d’exemplaires (24, ici) mais déjà tous partis (24, partis donc). Alors souvenons-nous : des grands coups que le trio donne de la voix ou au piano ou à la batterie, des mélodies mortes déjà à peine entendues, des râles de cordes grattées ou agacées seulement, d’instruments épuisés jusqu’à la corde (voix / piano encore), de rengaines extraites de quel corps singulier. Entre deux graves, le trio traîne justement ce corps et en fait un autre, qu’importe l’instrument. Dans Agitation Friite, Roger confiait à Robert : « Sur plusieurs instruments, des manières différentes de s’exprimer se révèlent ; des idées viennent à la guitare, à reprendre au piano ou l’inverse, de même que des rythmes prenant forme à la batterie s’avèrent finalement transposables sur guitare ou piano. » Il est court le chemin qui mène à hier quand aujourd’hui tout se confond. Du trio d’hier à Agitation Friite, c’est le serpent qui se mord la queue, me dira-t-on. Oui mais le serpent t’emmerde. Le serpent fait ce qu’il veut. Pourvu qu’il siffle bien.” Magic Band Of Gypsys Enregistrement : 2004. Edition : 2020. Guillaume Belhomme © Le son du grisli

PS : Les couvertures des 24 exemplaires sont 24 collages signés Philippe Robert. Celui utilisé ci-dessus (que l'on appellera "le sexuel") est la propriété des frères Opalio de My Cat Is An Alien. Pardon d'avoir dévoilé leurs petits seins, mais nous les avons accompagné dans tellement de divorces et de séparations.

#magic band of gypsys #henri roger #joëlle vinciarelli #philippe robert #steve lacy #guillaume belhomme #roberto opalio #my cat is an alien #post-post-scriptum #merzbo derek #christian malfray #up against the wall motherfuckers! #thurston moore #bob dylan #alice coltrane #akos rozmann #pierre faure #ozkär krapö

[merzbow-derek]

POST-POST-SCRIPTUM 1174

PERCEPTION, Mestari

Devenir enfin soi-même : telle est, dans les années 1960-1970, la leçon qu'ont reçue du free jazz américain les musiciens européens attirés par l'improvisation. Suivant ce précepte, ceux de Perception, bien qu'ils accompagnèrent individuellement Mal Waldron, Slide Hampton, Johnny Griffin ou Hank Mobley de passage à Paris, décidèrent très tôt de s'émanciper des tendances d'outre-Atlantique, par souci d'authenticité.

Quand sort Mestari, leur troisième et dernier album, Yochk'O Seffer, Siegfried Kessler, Didier Levallet et Jean-My Troung font depuis quatre ans oeuvre de recherche et d'originalité, en quête d'un langage leur appartenant en propre. Un langage où la spontanéité des improvisations n'exclurait pas les influences héritées des traditions classiques et folkloriques européenne.

Équilibré, aéré, construit, Mestari marque le retour au noyau dur originel à quatre musiciens (rappelons-nous que le précédent album alignait de nombreux invités). Et ouvre des espaces sans fin et complètement raccord avec ce que produisent en France au même moment Cohelmec Ensemble et Dharma Quintet.

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To finally become oneself: that was the lesson, in the 1960-1970s, that European musicians attracted to improvisation had learned from American free-jazz. Following this idea, the musicians of Perception, whilst individually accompanying Mal Waldron, Slide Hampton, Johnny Griffin or Hank Mobley when they played in Paris, decided early on to break free from what was going on across the Atlantic and seek their own authenticity.

When Mestari, their third and final album, came out, Yochk'O Seffer, Siegfried Kessler, Didier Levallet and Jean-My Truong had four years of questing and originality behind them developing their own individual language. A language in which the spontaneity of the improvisations did not exclude influences taken from European folk or classical traditions.

Balanced, ethereal and structured, Mestari was a return to the original core quartet (the previous album included numerous guest musicians). It opens infinite perspectives and is totally in phase with what was being produced in France at the same time by Cohelmec Ensemble and the Dharma Quintet.

#perception #yochk'o seffer #didier levallet #siegfried kessler #jean-my truong #slide hampton #johnny griffin #mal waldron #hank mobley #cohelmec ensemble #dharma quintet #post-post-scriptum #merzbo derek #philippe robert #jazz-rock #jazz rock

[merzbow-derek]

POST-POST-SCRIPTUM 1153

LA MORTE YOUNG BORDERLINE TOUR 2019, CAVE 12, GENÈVE -3

#la morte young #nappe #sun stabbed #talweg #post-post-scriptum #merzbo derek