Tiffany Granath Follando

Happy Birthday Dave Mattacks

He just turned 63 years Dave Mattacks , born on March 13, 1948 in England.

E 'perhaps little known, but it was the great drummer Fairport Convention in their golden years.

Pancotti My friend Aldo, aka Wazza Kanazza , tells me that:

" He was also the great family of Jethro Tull in the 1992 tour and I had the pleasure to see him and greet him in Bologna, in the only date "tour Dark & \u200b\u200bLight", which later became the double album "Little light tour", where Dave played, in addition to battery glockspiel and small keyboards.

Not rated by the fans with the "smell in the nose," those who think that a drummer is good only if it has three boxes, two gong behind, and maybe playing bare-chested, was only a metronome, with a great sense of music, just look at his site www.dmattacks.co.uk to realize how many people have played with ... Paul McCartney, George Harrison, Nick Drake, Jimmy Page, Brian Eno, and if call you ... there is always a reason!

I let myself go, because it is one of my favorite musicians

HAPPY BIRTHDAY DAVE! "

Does 1 Cigarette Affect A Fetus

Mirror Maze-"Hanblecheya" Happy Birthday Ry Cooder

I think the opinion of a "non experts" as I am, the mere thought of a lover of music, but not professional, are a good value in two main points:

1) Findings from a simple external observer as "not experts" is essential in any working group, why not influenced by the need to comply, and the license to say something stupid, because among the many You can not hide a good interpretation.

2) not having to "run" by not having to present their efforts to an employer, you have the time to go, and what usually can be written in twenty minutes, you do it in a week or more, and this allows have many details available. I consider this a good help to feed the curiosity of those who are approaching a new group or for a new album.

But ... this " Hanblecheya ," the Mirror Maze led me to something more complex than usual, and an important meeting, which is necessary to enter in the spirit of the album.

One of the features of this proposal is represented by the narrative text, and the narrator is Paul Carelli, who on this occasion, he revived the style used with Pholas dactylus back in the '70s.

But who is Paul Carelli and how did the collaboration between him and the band, it can be inferred from the interview follow and the one made last week to Paul, and I think the two posts could be considered complementary

http://athosenrile.blogspot.com/search/label/Paolo% 20Carelli

Paul, following the instructions of the LDS, he "signed" a poem, and then interpreted those made by the group.

So ... from a CD of a group unknown to me, I came to the interpretation (it is an attempt, of course) of his thinking (in tune with young people is in itself a great reward) and I introduced to the world of an unconventional artist, who left a mark on the Italian progressive music, yet indelible after forty years.

" Hanblecheya" literally means " cry vision" and are precisely the vision that guides this conceptual work, this "journey through the images and spirit."

The type of communication that drives much more than the LDS musical element.

In the head of millions of people, there are songs, pleas to remember, and the word becomes synonymous music entertainment, when it is not good "thinking."

's Journey "Hanblecheya" has nothing to do with all this, but it's something I know well, that is my need, but that surprises me is that even people at the beginning of life. The transformation in the music of "visions" of images, moods, smells and colors is an exercise that would be good every now and join. But it is not a one way street because the same exercise could be done on the contrary, "drawing" the music, sculpting or writing ... sides of the same coin.

Apparently I'm going off the road, but I do it in full consciousness, it is only right to advise members of the LDS, and maybe even Paul Carelli, that their "pictures" made me think, led me to find similarities and fueled my desire to "play with cards that I know, "with whom to share my game guess I can understand. And if it happened to me can happen more ... potentially sensitive mood.

Music as a single element of a more complex design, music is not for everyone, but of extreme refinement. For those who love the atmosphere and the plots are so many prog manna from heaven.

Besides the traditional tools used to realize the sounds typical of the genre, the extra touch comes from the use of the cello and the "narrated" (also means) already quoted Carelli.

The movie will follow an example of my thinking.

A mention of the CD cover. The loss of the vinyl (but is now back at the gates of the house) has taken away an important part of the pleasure. The size of the "new" format, despite wishful attempts, are an impediment to full utilization objective, but The CD contains little that need highlighting. In an album where the image is also critical of the apocalyptic visions "Hanblecheya" hit and I think that would be an easy incentive to create another story, another trip.

At this point the healthy curiosity push to assess the group and album at live, because direct contact is needed, at least sporadically. But in this case difficult to see the "reproduction" almost never useful, but with common elements that can not be missed. To achieve live performance, the element of "narrative" should result from a compromise (by a mere logistical point of view) between the group and Carelli and does not seem easy.

A good album, a work surprisingly ripe to be a debut.

Perhaps the secret lies in the words of that Carelli, describing the band members says

" They are all students, very young, and in their eyes I saw a light , meaning "desire to create " ... really nice to see .

www.myspace.com/labirintodispecchi/

http://www.lizardrecords.it/

Interview

reading your biography I was struck by one aspect that I find frequently in the music the "new" groups with whom I meet. I refer to the need to express not only through music, but using different art forms that are then to form a body unique. Where does, in general, this need to create musical situations using different cultural aspects?

Music is an art form and as such should be combined with other art forms in existence. Especially in the period of post-modernism (so now) art has become something of value and uncertain: it is hard to find a painter or a sculptor in the simple sense of the word. We have evolved at a rapid and almost complete fusion of different artistic disciplines at a conceptual level so that it is often difficult to distinguish a work of art from something that is not. We could, for example, respond to this interview with precise words and sounds and make this a performance, that is an art form. We as players want to neglect a conception of music as mere entertainment, instead of retrieving a purely artistic dimension. We intend to look for a different level of communication, which is not watertight but the music conveys dynamism, creating an all-encompassing. And that's what we did to the presentation of Hanblecheya: With the construction of two facilities, we have created a journey, a search path of the Vision, Understanding here, not in esoteric terms, but as a state of mind that is spontaneous the combination of images, memories, thoughts and moods. To convey this, a holistic approach to making art is inevitable .

Your music is not simple to "jack", I would say the elite, not in the sense of the word snob, but I would not be assimilated by all. The impression is that there is only one glance toward the visibility of the "product" (ugly word ...) and every effort has to quality and pleasure of create music according to their beliefs. You think there is a compromise between the "noble" principles that can guide a band of musicians and the need market?

Ask yourself the purpose of reaching a compromise in these terms, already represents an attempt to constrain the creativity and spirit of a group like ours. This attitude does not want to be "fundamentalist", but is dictated by the conception of an artistic product that needs to be totally disinterested beyond the simple and pure enjoyment of art. Too often, the market is the tool that kills the Arts. The purity of art should have nothing to do with the money, dirty and dishonest.

How important in this sense to work with Lizard?

The Lizard is definitely a great reality in which the groups are free to give free rein to their creativity without any restrictions. Difficult to those who try to offer something new, revolutionary and radical (though we are neither radical nor revolutionary) manages to find room in the world in general and, in case the question in music world, now dominated by the logic almost exclusively economic. With the publication of Hanblecheya, the Lizard has allowed us to expand our horizons and let us look out on the national scene, going out of bounds and sterility (musically speaking) in our area, that of Siena. The only side effect of Our collaboration is the geographical distance, which requires us to have to communicate only via computer (except a couple of meetings we have done) and in this sense is lacking a bit 'of warmth. But now as we (I think) Loris, we have become accustomed to this.

How is your music? E 'collection of ideas drawn up separately or is the strength of group that triggers the different sparks?

The idea from which a piece of LDS is the work of individual team members (especially the guitarist Gabriel Brown). Starting then from a core central portion of each develops its own instrument, influenced by the emotions that are aroused. Everything is still in a spontaneous manner during practice for the group.

How did your collaboration with Paul Carelli and what is its added value from the point of view of the composition ?

Working with Paul is the brainchild of Loris Furlan of the Lizard. Based on the main theme of the album, one of the Vision, we had made the texts that would later become part of Hanblecheya (except the lyrics of the song "In my mind nothing ethereal subjugated by the unknown expands "on the contrary made by Paul), but we did not just those who could speak. Given the great visionary experience of Paul in the narrative, appears on the album "The Concert of the minds" of Pholas dactylus, who more than he would have done in our case? The biggest problems were related to his long inactivity, and its will to cooperate or not our project. For us, his collaboration and his meeting went beyond the musical aspect. The thrill of knowing a person of great artistic and especially the human being as is Paul, is difficult to describe. In this sense, we must thank Loris that allowed this. It is also clear that working with a piece of the history of Italian progressive like Paul, has allowed us to get more visibility (also having regard to its long absence from the official scene).

There is a musical reference from the past that it is the common denominator of all of you?

No I do not think, there may be groups of the past that we listen, but none of them is actually a reference point. Being musically omnivorous and being open to any kind of music, even in its variants more "extreme", inspired by a lot of music. The influences, however, more progressive classic from a matrix (Canterbury scene and the Italian scene) and its contemporary variants (Tool, Porcupine Tree, Isis), and then come together in forms of alternative-rock, such as post-rock (65daysofstatic, My Sleeping Karma, Mogwai, Neurosis), or the noise-rock (Zu , Morkobot), without neglecting the acoustic scene (Balmorhea).

Referring to personal experience, I can not find anything he can to motivate rational my choices and my love of music. Laughter and cries of the sounds that they can dominate without that we can (or should want) to rebel. What do you see the "mystery of music?"

feature that differs greatly from the other arts music lies in its ability to transport feelings and moments spent in a manner so spontaneous and lightning that could be compared to the perception of a smell. This elementary and direct relationship with his mind, the gates of rationality prevails, which, however, often does not happen in front of a painting or a sculpture, for which it becomes necessary to use reasoning. The fluffy, the inconcretezza, music is sound and the sound is metaphysical. Since our birth is a universe of sound, the first stimulus that we have when we are fetuses is a sound stimulus, entire civilizations have stories about creating the sound that put the principle of all things, just think of Christianity itself: "In the beginning was the Word." Music is sound thinking (even when it is uncertain, because it is deliberately music), and is therefore able to "speak" in depth and touch those who hear it.

What is your relationship with technological innovation, applied to music?

Many of the characteristic sounds of the album derive from the use of devices, analog and digital, the result of new electronic technologies. We strongly believe in the potential that these technologies can make to this kind of music, and the variety of solutions that ensure, for the great fun that you try using them. But unfortunately we have not built any computer music hyper-sensitive to brain waves, even if our engineers are working on.

What gives and what keeps the web to a musician, young or old?

In its democratizing information, the Web has involved music. The advantages that a player can find in terms of vision, ideas, insights are many. A musician would take away a little if his goal was just to be heard. If instead enter into the dynamics of purely commercial, it is clear that, because of downloading of songs, the web is a scourge for professional musicians who base their income on revenues of a disk. In witness whereof, the fact that many major groups are beginning to lower the price of its CDs in order to boost sales.

How do you imagine the evolution of your musical journey over the next five years?

To date, we hope to continue on this path, perhaps with a second project and especially with more concerts.

BIOGRAPHY Mirror Maze

Mirror Maze is a project started in 2005. The initial intention was to depart from the commonplace of music that most of the groups is currently looking for, so much so that the first training group included two batteries, two basses, two storey / synths, two guitars and two voices (all looking for a setting almost orchestral). By the time this was later reduced due to the difficulty of reconciling the commitments of each component and also for practical reasons. Although at first intent to revisit progressive view of historical items (Italian and more), then with the passage of time the road was abandoned and the covers after a few months, the group focused on finding new sounds. The main prerogative of all the art and interartisticità total, ie the conjugation of various art forms such as music, poetry, philosophy and fine arts (with an exhibition of paintings at the concerts and the creation of spectacular installations where possible).

of 2007 and the demo "The Masque of the vision with which the group tried to enter the Italian underground and has obtained numerous reviews on the web and in magazines, many of which are positive and have encouraged to continue the project. The demo in question, however, still a die typically progressive-rock, which only has a few points in the atmosphere and the experiments on which he then decided to push the group.

In 2009 began the registration of the first official to Lizard Records called "Hanblecheya", released by the end of 2010. The concept album, in which the theme is that of vision (hanblecheya literally means "cry the vision"), have been reworked some songs from the previous demo and were inserted new ones. These shares have always played but a lot more attention and importance has been given to the atmosphere thanks to the inclusion a cello and poems written by the group and performed by Paul Carelli, progressive voice of the historical group Pholas dactylus. The work is receiving good reviews and entered the Prog Awards finalist in the "Best Debut Album 2010".

In recent times the group is intent on creating new songs which is to dominate the search for minimal sound, noisy and some noise making it possible to make the proposal even more personal and special, while keeping part of characteristics of the earlier work.

Rare Anime Originals Myspace

He completed 64 years today Ryland Peter Cooder , better known as Ry Cooder.

was born in Santa Monica March 15, 1947, and besides being an incredible guitarist (the Rolling Stones places him at number 8 of the special prize dedicated to the best of all times) is also a singer and composer.
As shown in the movie to follow is also an excellent mandolin player.
began studying guitar at an early age (a only three years), while remaining self-taught, though long in close contact with the English Vincent Gomez will definitely carry it to the world of music.
begins, however, to engage in other musical genres such as folk, country, but especially the blues, going to the Ash Grove in Los Angeles, where he met Gary Davies, who taught him the rudiments of the bottleneck guitar and introduced him to the banjo.
Ry Cooder is one of the manufacturers of sound more inspired of all time.
He began his career in the blues revival Cooder but soon established itself as an arranger and composer, able to create the atmosphere more troubled.
no case will end for preference the shape of the soundtrack. A
age of 17 he joined the Magic Band Captain Beefheart . A form with 19 years
the Taj Mahal Rising Sons and 21 works on his first soundtrack. How
virtuoso slide guitar, it soon became session-man requested by many, including Rolling Stones . For them
Cooder played the mandolin in "Let It Bleed", as the Stones make "Love in Vain" by Robert Johnson (still work with the Stones - this time with the slide guitar - for the piece Sister Morphine).
When finally released a solo album, "Ry Cooder" (1970) was almost a disappointment Cooder merely dusting off old songs remained forgotten for decades.
In fact this was the simplest way to reconstruct a time, as demonstrated, playing with more participation, on the next 'Into The Purple Valley "(1971).
With its chiming guitar, the bare simplicity of his arrangements, the timidity of his melancholy voice, the songs on that record are just as many "snapshots" of the world that no longer exists.

Cooder extended a heartfelt tribute to the people of the Great Depression, the Hoovervilles of the unemployed, the Dust Bowl drought of the great ` 30s.
cover of The Dark End Of The Street (1972), on Boomer's Story (1972), the song is perhaps the most exemplary manner in which Cooder extract emotions from a very humble treatment of the original source.
The next step was to learn how to use the recording studio.
A production made much more accurate for "Paradise And Lunch" (1974) an album more accessible.
Although this album was dedicated to gospel, Cooder let the size of the blues revival and focused on the abstract task of recalling the past (Jesus On The Piglet, the proposal in the movie at the bottom of post).
Cooder then immersed himself in the Hawaiian music with "Chicken Skin Music" (1976), enthralling excursion to waltz and bolero, with the participation of the great accordionist Bolivian Placo Jimenez and a great Hawaiian guitar.
Similarly, "Jazz" (1978) takes aim at the first jazz jazz, the beginning of the century. The central theme of the work
Cooder is humility.
While his skills as an arranger and producer allows him more creative flights, Cooder is getting closer to rhythm and blues and rock and roll with the album "Bop Till You Drop" (1979), "Borderline" (1980) and "The Slide Area" (1982), again with impressive results for authenticity.
The third is unusually rich Cooder's compositions. Starting
epic western cowboys and outlaws painted on "The Long Riders" (1980), he spent the '80s Cooder soundtracks.
were, among others, "Southern Comfort" (1981), "Border" (1981), "Streets Of Fire" (1984), "Paris Texas" (1985), "Alamo Bay" (1985), etc..
Each of these works sheds light on the personality of the archivist and mouse "disco", a craftsman of the "hand made with the taste of a time."
His approach is a mixture of nostalgia and philology.
the intense poetry of this soundtrack is the highlight of his work.
popular fantasies are able to immerse the listener at the outset in the true spirit of an ethnic microcosm.
His inexhaustible passion for the "oldies" meanwhile, continued to fill up albums such as "Get Rhythm" (1987) and especially "Johnny Handsome" (1989).
Ry Cooder was also part of Little Village (1992) with John Hiatt and Nick Lowe. It is of
Hiatt (back to two posts to read him) the single Sex Solar Panel.
But instrumental music suits him much more.
"Music By Ry Cooder" (1995) is an excellent anthology of soundtracks.
also those made by pasting other people's contributions, as "The End Of Violence" (1997) and "Buena Vista Social Club" (1997), seem almost existential meditations on the human condition.
Marginalized by his lofty teaching, Cooder hardly belongs to the history of popular music as it is only dedicated heart and soul to folk music.

Let's see and listen to him.

Jesus On The Mainline

Quote of the Day:

" Imagination governs the world " (Napoleon Bonaparte)