Whoa, White Hills wail! I was about to exploit The Entrance Band as a foil for White Hills by knocking them (like, White Hills are the ennui-free The Entrance Band) as I remember The Entrance Band’s album on Ecstatic Peace being horrible, but after watching their youtubes for more prudent talking shit, I changed my mind and became more or less taken with them. So no beefing, only your flaccid ass-biffings and knee-jerk headbangs. fab.
More to the point, the White Hills chick is super hot.
any likelihood of Major Stars X White Hills supergroup?
This is a “live” feeling music video of Bush Tetras, that is we can have a wee glimpse of the night life of the LES hipsters. Dum Dum is my favourite song of theirs.
should be expensive now
Too Many Creeps 7″ is the 2nd ever record released on 99 records and their 1st is Glenn Branca’s Lesson No.1. Heard the new Glenn Branca? It was a dud.
Seen Vivienne Dick’s She Had Her Gun All Ready? It’s a movie basically about Lydia Lunch vs. Pat Place (Bush Tetras, The Contortions). You can download it via http://www.worldscinema.com/2010/07/vivienne-dick-she-had-her-gun-all-ready.html.
Magda Mayas (piano) & Christine Abdelnour Sehnaoui (sax)
I have been sweeping over each and every carpet laid on the internet in order to hit pay dirt that is Magda Mayas’ solo album “Heartland” without success and this is the closest I could get. A haptic bacchanalia brought about by the voracious sound of macroscopic occurrences transmitting from the juction of a bustling glassworkshop and an ornithological zoo in the dead of night.
“The Lebanese saxophone player Christina Sehnaoui inhabits the inherent blank spot of contemporary music (which still remains to be defined through differential categories of institutional versus non-institutional levels), since their respective background – Mayas having obtained a certain level of institutional education and Sehnaoui being a autodidact – evades the aforementioned distinction. The improvisatory gap thus inhabited by the duet gives rise to a contemporary milieu of today’s creative work in the arena of creative music(s), which uses subtle eavesdropping and attentive gestures in order to subject personal experience to the sound, thus guiding the sound articulation into an exploratory harmony of expanded playing techniques. The latter subsequently meld together with different aesthetics and blurred traditions, openly flirting with the inheritance of prepared piano in the contemporary classical music of the former century, on the one hand, and electronic music, on the other. The duet fluidly brings together intensity and inventiveness, sharpness and softness, in its consistent walk on the edge of deconstructed musical language, grounding itself in the arena of noise, smacks, cracks, extended tones in the high registers of a lithe saxophone performance, percussive play, and extended sounds within harmonic intertwinements, which act as interventions into the very entrails of the piano ”