The Wire Magazine: Mdou Moctar

Nigerien rock quartet Mdou Moctar announce forthcoming album Funeral For Justice with a new music video (below).

Subscribe to The Wire to read Clive Bell's 2022 interview with Mdou Moctar in issue 456 via the online magazine library: https://t.co/67u27XPxc5 https://t.co/LudXBnuFe4 pic.twitter.com/ilcKDXMlES

— The Wire Magazine (@thewiremagazine) February 28, 2024

Romantic Warriors IV – Krautrock

thewire.co.uk

Film makers seek crowdfunding for new documentary about Krautrock

The producers of on-going documentary series about progressive rock ask for help funding its new addition, Romantic Warriors 4: Krautrock (Part 1)

Film producers Adele Schmidt and José Zegarra Holder are about to unleash the fourth edition in their progressive rock series Romantic Warriors: A Progressive Music Saga. This time they've focused on the German experimental rock scene that rose to prominence in the 1960s and 70s, with a two part feature-length documentary divided by the genre's core epicentres. Part one will focus on bands from the Cologne, Düsseldorf and Hamburg regions, with part two (release date planned for late 2019) concentrating on bands from the Berlin and Munich scenes.

Documenting the work of artists such as Can, Faust, Kluster, Cluster, Kraftwerk, Floh De Cologne, Neu!, La Düsseldorf, Japandorf and Harmonia, and featuring interviews with Jean-Hervé Peron, Zappi Diermaier, Malcolm Mooney, Jaki Liebezeit, Damo Suzuki, Irmin Schmidt, Wolfgang Flür, Eberhard Kranemann, Dieter Klemm, Dick Städtler, Theo König, Vridolin Enxing, Michael Rother, Miki Yui, Hans Lampe, Hans Joachim Roedelius and Harald Grosskopf, part one is near completion, however the producers still need help financing the final stages.

For more information, and to donate, you can visit the indiegogo campaign. Other films in the series include: Romantic Warriors I (2010), Romantic Warriors II: About Rock In Opposition (2012) and Romantic Warriors III: Canterbury Tales (2015).

George E Lewis & Roscoe Mitchell @ CTM 2018: Why Do We Want Our Computers to Improvise?

theWire.co.uk

As part of CTM’s Turmoil edition, trombonist George E Lewis and saxophonist Roscoe Mitchell gave a performance alongside Lewis’s AI improvising system Voyager. Following this, Lewis delivered a talk entitled “Why Do We Want Our Computers To Improvise?”, discussing machine subjectivities in interactive music and questioning how cyborg sociality has transformed everyday sonic life. He was then joined by Mitchell for a conversation mediated by The Wire’s Daniel Spicer, during which they reflected on their recent performance and their collaborative and individual practices.

Both talks took place at Kunstquartier Bethanien on 3 February 2018

The two Chicagoan jazz pioneers, music professors and longstanding AACM members were in conversation at the latest edition of the Berlin festival

Music

Jagjaguwar

“I Woke Up in a Fucked-Up America” from ‘MITH' by Lonnie Holley out 9/21 on Jagjaguwar
Stream & preorder now - https://lonnieholley.ffm.to/mith

Directed by Matt Arnett and Ethan Payne
Produced by Matt Arnett and Lonnie Holley
Shot and Edited by Ethan Payne
Additional camera by Lee Garmon

Song performed by Lonnie Holley, Marlon Patton, Dave Nelson, and Shahzad Ismaily




The Wire Magazine

The Osaka witch doom duo premiere a 16 minute video featuring two tracks from their new album Under The Strawberry Moon 2.0. Full post: https://www.thewire.co.uk/video/watch...





Natália Francischini

Este vídeo consiste na apresentação do duo Máquina Híbrida (Lúcia Estevez + Alexandre D'Elboux) no Circuito de Improvisação Livre edição especial dedicada à guitarra experimental.

O Circuito de Improvisação Livre "guitarrístico" #01 consiste numa edição especial dedicada aos diferentes modos de uso e invenção com a guitarra elétrica, inserida naquilo que vem sendo denominado por música experimental. Nesta primeira edição, ocorrida em 24/03/2018, no Ibrasotope Música Experimental (São Paulo -SP), apresentaram-se Mário Del Nunzio, Nahnati Francischini, Thiago Salas, Dircórdio (Martin Herraiz + Daniel Mendes), Máquina Híbrida (Lúcia Estevez + Alexadre D'Elboux), Paulo Hartmann, Matthias Koole e naos (Sérgio Abdalla + Henrique/Alexandre Chiurciu).

Audiovisual: Carla Osmarin (fotografia), Lúcia Estevez e Nahnati Francischini (vídeo)
Arte da divulgação: Priscilla Fernandes
Organização: Nahnati Francischini e Thiago Salas
Apoio: Ibrasotope Música Experimental

Glenn Branca RIP

from theWire

Glenn Branca 1948–2018. By Alan Licht - (The Wire contributor on the life and work of the high volume composer)

Glenn Branca interview with Marc Masters

Breaking the chains: Elaine Mitchener on the British Empire’s legacy of cruelty || The Wire Magazine

A Q&A with Elaine Mitchener about her performance piece Sweet Tooth – a visceral, overwhelming indictment of the role sugar and the slave trade played in building the British Empire

As its name implies, Elaine Mitchener’s Sweet Tooth began life as an investigation of the links between the British sugar industry and the slave trade upon which the empire’s wealth was originally made. Commissioned by Liverpool’s Bluecoat arts centre, the Stuart Hall Foundation and the International Slavery Museum, Elaine Mitchener Projects premiered the work at Bluecoat in November 2017, and have just given its first London performance proper at Bloomsbury St George’s Church, a place resonating with slave history, ranging from the church’s benefactors who profited from their enforced and unpaid labour force, to the church’s role in the eventual abolition of slavery in the British Empire in 1833.

Described by Mitchener as a cross-disciplinary music piece, Sweet Tooth is a visceral projection of slavery as the cruellest manifestation of the British Empire as exemplary capitalist money machine, constructed from West Africans abducted, bought and sold and chained and transported in filthy, overcrowded holds of sailing ships across the ocean to work in sugar plantations in its colonies in the West Indies. Over its 50 minute duration, Elaine Mitchener Projects – Mitchener on vocals and movement, Jason Yarde on saxophones, Sylvia Hallett on violin and accordion, and Mark Sanders on drums and percussion, plus diverse objects and actions played out by all four – variously transform St George’s Church into the ship’s stinking hold, slave market place, plantation row, whipping ground and more.

. . .

Bobo Yéyé: Belle Époque In Upper Volta

Bobo Yéyé: Belle Époque In Upper Volta

the Wire:

… Bobo Yéyé: Belle Époque In Upper Volta documents the city of Bobo-Dioulasso’s pop revolution following its independence in 1960. The three disc boxset features the groups Volta Jazz, Dafra Star, Echo Del Africa and Les Imbattables Léopards. The collection comes with a book featuring over 100 photographs from photographer Sory Sanlé, as well as interviews and sleevenotes.
…

Music

“Until The End” Tim Etchells and Aisha Orazbayeva from The Wire Magazine on Vimeo.

Seeping Through is a collaborative project between violinist Aisha Orazbayeva and artist/writer Tim Etchells. Improvised and recorded in one session, the video follows on from a four-hour improvised performance at the Edinburgh Forest Fringe, as well as a performance at London Contemporary Music Festival and on Radio 3's Late Junction. Last month Orazbayeva and Etchell resumed their collaboration for a live performance on NTS radio's Kit Records show.

Seeping Through is out now on Prah. This performance was filmed at Hugo Glendenning’s studio in London

Samara Lubelski improvises on a Tamalero's bike at El Nicho 2015 from The Wire Magazine on Vimeo.

The wire magazine:

Samara Lubelski is a singer, multi-instrumentalist, improvisor and engineer, who grew up in Soho, New York, She made her solo debut album In the Valley in 1997.

Iancu Dumitrescu North/South Pole from The Wire Magazine on Vimeo.

The complete performance of Dumitrescu’s North/South Pole (by The Hyperion Ensemble), filmed for Alexandru Badea’s documentary The Acousmatics Of Resistance

Boris “More” from The Wire Magazine on Vimeo.

Skewed Troubadour || Richard Dawson

                                                               Richard Dawson photographed by Ronald Dick





TheWire.Co.UK

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RICHARD DAWSON at the CUBE MICROPLEX [2013-03-06]

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Richard Skelton & The Elysian Quartet

Richard Skelton and The Elysian Quartet live at Faster Than Sound from The Wire Magazine on Vimeo.

Faster Than Sound is Aldeburgh Music's series of experimental cross-artform collaborations which give artists the chance to develop work over the course of a week-long residency at Snape Maltings in Suffolk, culminating in a performance at the end of each week.

Richard Skelton composes work specific to geographic place, using local place names to create word poem threads for visual, text and musical pieces. His work is rarely performed live, but for Faster Than Sound, Skelton drew on the inspirational environment of Snape and its surrounding landscape to weave a new narrative, which was performed live by Skelton himself with The Elysian Quartet at Aldeburgh Music's Britten Studio on 21 March 2014.

In December 2013, Skelton visited Aldeburgh Music for the first time to develop his knowledge and feel for the place. The visit coincided with the worst tidal surge in 50 years, an event that left much of the surrounding countryside flooded, and gave him much to reflect on.

He currently lives not far from the Duddon Estuary in Cumbria, and his experiences of mountain becks and ghylls inspired his 2012 work Limnology, a musical composition and book containing poetic arrangements of over 1000 'water-words', beginning with the local dialect and taking on tributaries from Anglo-Saxon, Old Norse, Welsh, Manx, Gaelic and Irish.

For Faster Than Sound he incorporated East-Anglian water-words into a new work – part poetic text, part musical score – to be interpreted and performed at Snape by The Elysian Quartet. He also worked directly with the quartet to enable them to evolve a musical vocabulary engaging with the floral and avian life of the Alde Estuary, resulting in a piece which draws connecting threads between the earth-bound and air-borne. He also invited the quartet to respond to a series of drawings he made at Snape during the floods of December 2013.

Gozo Yoshimasu • Tamio Shiraishi • Cammisa Buerhaus

Live: Gozo Yoshimasu, Tamio Shiraishi and Cammisa Buerhaus performance from The Wire Magazine on Vimeo.

In 2012, the musician Aki Onda shot a video of the Japanese poet and artist Gozo Yoshimasu performing with Tamio Shiraishi and Cammisa Buerhaus at New York City's Abrons Arts Center.

Active since the 60s, Onda describes Yoshimasu as a "poet/performer/photographer/filmmaker", saying "He is currently the most well known poet in Japan and has received national prizes. Yet he is the most provocative enfant terrible in the field and keeps producing a large body of work in different media. The Wire's readers might know him because of his long term relationship with Masayuki Takayanagi and some other free jazz legends, which he discussed in an interview that I did with him. But, other than that, his work is still largely unknown in the music field."

Gozo Yoshimasu will be showing his films at Cafe Oto on 27 March, and opening an exhibition, As Though Tatooing On My Mind, at Daiwa Foundation from 1 April.

Video shot by Aki Onda and edited by Fields Harrington.

Jandek

Jandek Rehearsing: Excerpt from I Know You Well documentary from The Wire Magazine on Vimeo.

Watch a recording of Jandek rehearsing for a concert in Minneapolis in 2013. The elusive legend was interviewed face to face for the first time by David Keenan in The Wire 360 and 361. The footage was shot by Ashkan Soltani as part of forthcoming documentary I Know You Well.

The Garden Of Polymitas

The Wire Magazine:

Alberici says: "...in film, so much of our experience is shaped by sound, as opposed to dialogue, yet it is rarely the primary focus of our attention.... I think that Foley [sound] is a perfect example of discontinuity: the ear is tricked into associating a sound and a visual that are not concurrent. It’s an aural illusion. And not only that, but it changes our perception of the visual, by pulling out certain elements of a scene, manipulating our attention to enhance the story.”

Born in the UK, improvising violinist and field recordist Kathy Alberici studied classical music in her teens, but soon became interested in jazz and noise. After a stint in New Zealand playing in the Vitamin-S improvising collective, she got involved with DJ Scotch Egg’s psych doom project Drum Eyes, and is now based in Berlin.

The Garden Of Polymitas from The Wire Magazine on Vimeo.