I 50 dischi preferiti da Julian Cope nel suo nuovo libro Japrocksampler...
forum quorum
nel suo nuovo libro Japrocksampler:
=1. Flower Travelling Band : Satori (1971)
=1. Speed, Glue & Shinki : Eve (1971)
3. Les Rallizes Denudés : Heavier Than A Death In The Family (1995)
4. Far East Family Band : Parallel World (1976)
5. J.A. Caesar : Konkyou Junreika (1973)
6. Love Live Life + 1 : Love Will Make A Better You (1971)
7. Masahiko Satoh & Soundbreakers : Amalgamation (1971)
8. Geino Yamashirogumi : Osorezan (1976)
9. Takehisa Kosugi : Catch-Wave (1975)
10. J.A. Caesar : Jasumon (1972)
11. Far Out : Nihonjin (1973)
12. Les Rallizes Denudés : Blind Baby Has Its Mothers Eyes (2003)
13. Tokyo Kid Brothers : Throw Away The Books, We're Going Out In
The Streets (1971)
14. Far East Family Band : Nipponjin (1975)
15, Speed, Glue & Shinki : Speed, Glue & Shinki (1972)
16. People : Ceremony -- Buddha Meets Rock (1971)
17. Blues Creation -- Demon & Eleven Children (1971)
18. Flower Travellin' Band : Made In Japan (1972)
19. Karuna Khyal : Alomoni 1985 (1974)
20. Les Rallizes Denudés : Flightless Bird (Yodo-Go-A-Go-Go) (2006)
21. Masahiko Satoh & New Herd Orchestra : Yamatai-Fu (1972)
22. Magical Power Mako : Magical Power Mako (1974)
23. Taj Mahal Travellers : Live Stockolm July, 1971 (1998)
24. Magical Power Mako : Jump 1977)
25. Kuni Kawachi & Friends : Kirikyogen (1970)
26. Brast Burn : Debon (1974)
27. Akira Ishikawa & Count Buffaloes : Uganda (1972)
28. Flower Travellin' Band : Anywhere (1970)
29. J.A. Caesar & Shirubu : Shin Toku Maru (1978)
30. Gedo : Gedo (1974)
31. Les Rallizes Denudés : December's Black Children (1989)
32. Datetenryu : Unto 1971 (1996)
33. East Bionic Symphonia : East Bionic Symphonia (1976)
34. Stomu Yamashita & Masahiko Satoh : Metempsychosis (1971)
35. Taj Mahal Travellers : July 15, 1972 (1972)
36. Toshi Ichiyanagi : Opera Inspired By The Works Of Tadanori
Yoko'O (1969)
37. Taj Mahal Travellers : August 1974 (1974)
38. Seishokki : Organs Of Blue Eclipse (1975-77) (2005)
39. Joji Yuasa : Music For Theatrical Drama (2004)
40. Group Ongaku : Music Of Group Ongaku (2000)
41. Far East Family Band : The Cave Down To Earth (1975)
42. The Jacks : Vacant World (1968)
43. 3/3 : Sanbun No San (1975)
44. Blues Creation : Live (1971)
45. Various Artists : Genya Concert (1971)
46. Toshi Ichiyanagi / Michael Ranta / Takehisa Kosugi :
Improvisation Sep. 1975 (1975)
47. Itsutsu No Akai Fusen : Flight 1 & 2 (1970-1971)
48. Maru Sankaku Shikaku : Complete Works (1970-73) (2005 re-release)
49. Yonin Bayashi : Ishoku-Sokuhatsu (1974)
50. The Helpful Soul : First Album (1969)
Son Of Nothing
> I 50 dischi giapponesi preferiti da Julian Cope...
Mancano Ghost e Mono.
--
Дарио
Pure tu amico mio [ma anche no]:
myspace.com/19sonofnothing80
forum quorum
>> I 50 dischi giapponesi preferiti da Julian Cope...
>
> Mancano Ghost e Mono.
Questi non sono dischi "storici", ma del giappone recente.
Cope ha fatto ancora una volta un libro archeologico
nella naturale ossessione dei prototipi che hanno
dato di piu`, e probabilmente anche meglio.
Detto poi fra noi, i Ghost sono un paio d'album che si stanno
rovinando. I Brast Burn non hanno avuto questo problema,
di dischi ne hanno fatto uno e micidiale (e non a caso
Cope in questo libro ne parla).
bye
fq
--
NP: Kan Mikami - Makeru Toki-mo Aru-darou
wag
> =1. Flower Travelling Band : Satori (1971)
ne ho uno solo,il primo!!
;-)
c'è altro da prendere?
w
wag
I Brast Burn non hanno avuto questo problema,
> di dischi ne hanno fatto uno e micidiale (e non a caso
> Cope in questo libro ne parla).
questo?
Spend any time immersed in the strange world of Nurse With Wound, and you'll
encounter talk of "The List." As central to the NWW mythos as Le Comte de
Lautreamont's Maldoror was to the parallel mythology of Current 93, "The
List" is a page of names that accompanied the first NWW album, 1979's A
Chance Meeting on a Dissecting Table of a Sewing Machine and an Umbrella.
Reaching out to likeminded outsider souls, NWW doyen Steven Stapleton
compiled an exhaustive checklist of Krautrock, European progressive, 20th
Century, psychedelic, improv, Zeuhl, musique concrete, jazz, noise, RIO and
avant-pop artists, all of whom met the qualification of NWWs central
apothegm: "Categories strain, crack, and sometimes break, under their
burden - step out of the space provided."
The Freeman brothers (of Audion Magazine/Ultima Thule shop fame) took it
upon themselves to annotate and extrapolate Stapleton's list, providing a
buyer's guide of NWW-fan-friendly recordings but frequently adding to the
confusion in the course of their speculations. Stapleton notes a certain
Brast Burn - right between Brainticket (whose music NWW plundered frequently
and with glee) and Brave New World. By way of explanation, the Freemans
offer only a terse "A Japanese Faust" and posit that the band, along with
Karuna Khyal (who, while not included in The List, released an album on the
same Voice Records label), must have been interchangeable concerns. If the
accepted lore isn't deliberately misleading, Brast Burn and Karuna Khyal are
indeed one and the same. Could these Voice Records artists represent a
Janus-faced collective entirely at peace with its inherent contradictions?
Might the tribal Sturm und Drang and stomping lunatic-fringe revelry of
Karuna Khyal's Alomoni 1985 and the beatific grace of Debon be two sides of
a single fabulous tale? As both albums have languid slide guitars and tape
loops in common, the possibility seems more likely with every spin.
A telling point of reference here could be Magical Power Mako, another
perplexing entity of Japanese origin and synchronous (mid-'70s) activity.
Like any good artistic enigma, MPM inhabits a creative realm to which others
gain entrance only at his bidding. Since 1974, MPM has charted his own
cosmic/kosmiche trail of self and spiritual discovery through music, with
each record as different from the last as it is from everything else. It is
to the kaleidoscope of MPM's finest work that Brast Burn's helical
psychedelic configurations return.
Spread across two lengthy (22+ minute) tracks, broken into shards and melted
down, Debon is a mandala of jingling loops, multitracked and harmonized
lamasery chants, Kenji "Damo" Suzuki-styled declamations, electronic
glimmers, gongs, sacred bells, and fuzzed-out synthesizers. Brast Burn
further plaits Debon with breathless flutes and recorders, subtle musique
concrete embellishments, percussive shudders, and guitars, guitars,
guitars - electric and acoustic! clean and lavishly effects-laden! strummed
and struck! slicing and gently sliding! The laundry list of elements, worthy
of Ashtray Navigations or Simon Wickham-Smith and Richard Youngs, actually
evokes a similar effect - at once improvisational yet utterly musical. Nor
is it much of a stretch to draw the line connecting Brast Burn with such
scions as Ghost or Trembling Strain. Favoring consciousness, clarity, and
contemplation (as opposed to Karuna Khyal's fits of angst and drunken
choler), Brast Burn communicates sensitivity to the Zen virtue of negative
space, layering the natural white noises of wind and water to cancel out
lingering entropic traces.
The epic gestures of the earlier track culminate in raga-like repose - a
spiritually exhausting, soul-wrenching prayer ritual concluding with the
revitalizing serenity of meditation. It might all be too
hippie-drippy/sounds-of-the-'70s for some, if not for the full zoological
spectrum of curious critter voices (elsewhere identified as Stan Laurel
samples!) and toy-like musical accents littering its picked and plucked
figures. Tape designs and interrupted narrative aside, there's far more
evidence of early Popol Vuh - particularly during the tracks climactic
throes of euphoric axemanship - than there is support for Brast Burn's
ostensible "Japanese Faust" reputation.
Of Paradigm Discs' Voice Records reissues, the exhilarating Alomoni 1985 may
be the more immediately arresting album. But the fascinating,
multidimensional charms of Debon are not to be overlooked by devotees of
psychedelic arcana.
forum quorum
> But the fascinating, multidimensional charms of Debon are not to be overlooked by devotees of
> psychedelic arcana.
Esattamente.
Oltretutto, secondo me Satori non è nemmeno un granchè.
Cope ha maturato una discutibile prediliezione per il sabbathismo
e le improvvisazioni chitarristiche estreme acentriche, questa
playlist va presa a monconi. Il Karuna Kyal, il People,
il Magical Power Mako, il Far East Family Band, più che il Far
Out, i Blues Creation. Ma dovrei risentire parecchia
roba. Certamente si rischia di incappare in assoli perpetui
e bisogna vedere quanto si è preparati a perdersi.
bye
fq
wag
>> But the fascinating, multidimensional charms of Debon are not to be
>> overlooked by devotees of psychedelic arcana.
> Esattamente.
bene, quindi lo consiglieresti
> Oltretutto, secondo me Satori non č nemmeno un granchč.
ascoltato pochino, non mi ha colpito per nulla.
w
forum quorum
>> Oltretutto, secondo me Satori non è nemmeno un granchè.
>
> ascoltato pochino, non mi ha colpito per nulla.
Come volevasi dimostrare.
Il problema di Cope è quello di scindere l'opera
estrema puramente "dimostrativa" da quella contenutisticamente
valida (nell'estremismo). La scena '70 giapponese
è la peggiore, in questo senso, nella quale poteva
incappare: c'è una marea di dischi "dimostrativi"
e la scrematura da fare, cioè il separare come si è fatto
sin dai settanta tra i kraut gli Amon Duul buoni dai Curly Curve
cattivi, è difficoltosa, richiede passaggi anche tra i nomi
impronunciabili e ignoti. Ho la mia regola, che tutto cio' che
tende ad aggregare "Flower Taj Mahal Travelling Qualcosa"
sottende più a sostanze varie che a musica competente, ma questo
avrebbe dovuto essere un fltro separatore, non una logica di
esaltazione.
bye
fq
Moludd
conosco nulla manco di nome,
però mi stanno incuriosendo parecchio.
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