Vincenzo Bellini - I Puritani

"Together with Donizetti and Rossini, Vincenzo Bellini stands as one of the great masters of operatic composition during the first half of the nineteenth century. Whereas Rossini sought vocal agility and Donizetti dramatic vigour or unrestrained musical high spirits, Bellini was a painstaking craftsman whose seriousness of purpose and sincerity of utterance gave his works a unique character unmatched by those of his rivals. Born in Catania in Sicily in November 1801, Bellini studied at the Conservatory in Naples. Here one of his teachers, Zingarelli, encouraged him to concentrate on melody, the origin of his fondness for long, beautifully moulded vocal lines set above a simple orchestral accompaniment, Two operas written in Naples were sufficiently successful for Bellini to gain a commission from La Scala in Milan to compose his first mature opera, 'Il Pirata' (1827). After two less successful works, he then composed the operas on which his reputation was founded: 'I Capuleti e I Montecchi' (1830), 'La Sonnambula' (1831), 'Norma' (1831), 'Beatrice di Tenda' (1833), and 'I Puritani' (1835). He died unexpectedly in Paris in September 1835, of an internal inflammation.
 
"'I Puritani' was commissioned by the Théâtre Italien in Paris in 1834. This new work was to be based upon the play 'Têtes rondes et cavaliers' by two French authors Ancelot and Boniface, itself based upon Old Mortality by Sir Walter Scott, whose novels were then very much in vogue. The libretto was supplied by Count Carlo Pepoli, replacing Bellini’s usual partner Felice Romani, with whom the composer had temporarily fallen out. First performed on 25th January 1835, 'I Puritani' was an immediate success, overshadowing another work new to Paris, Donizetti’s 'Marino Faliero'. The action of 'I Puritani' takes place in the middle of the seventeenth century, towards the end of the English Civil War. England is divided between the Royalists, faithful to the Stuart monarchy and leaning towards Catholicism, and the Roundheads, the supporters of Oliver Cromwell and siding with Puritan religious views. King Charles I has been executed and his wife Queen Henrietta has escaped in disguise. The setting is Plymouth, a Puritan stronghold.

"In July 1952 the head of artists and repertoire of EMI’s Columbia label, Walter Legge, signed the latest operatic sensation in Italy, Maria Callas, to a contract with his company, although she was also to make two recordings during the next fifteen months with the Italian company CETRA, of Ponchielli’s 'La Gioconda' and Verdi’s 'La Traviata'. She quickly entered the recording studios for EMI, initially during February 1953 in Florence with Donizetti’s 'Lucia di Lammermoor'. This was quickly followed in March and early April of the same year with this recording of 'I Puritani'. Both these recordings were produced by Dino Olivieri, and 'I Puritani' was to be the first of the many recordings in which Legge arranged for Callas to record with the choral and orchestral forces of La Scala, Milan, Italy’s pre-eminent opera house, and itself a stroke of marketing genius which benefited all concerned. The recording was notable for many reasons: it was both the first recording of this opera, and the first operatic set to be issued with Callas on EMI’s new label Angel in the USA, appearing two months before the Florence 'Lucia'. It represented the start of the rediscovery on record of the bel-canto repertoire, which took place partly as a result of the development of the long-playing record, and partly through the totally new character which Callas gave to the operas of this repertoire with her smoky tone, vocal agility and dramatic intensity. Previously bel-canto had been viewed in terms of coloratura sopranos, epitomised for instance by the Italian soprano Toti dal Monte and the French diva Lily Pons, the Metropolitan Opera’s Lucia for many years. Finally this recording and the earlier 'Lucia' reunited Callas with her constant mentor, the conductor Tullio Serafin, who had encouraged her to sing the role of Elvira for the first time in extraordinary circumstances several years earlier." (David Patmore. From the liner notes.)

Performers: Orchestra del Teatro alla Scala, Coro del Teatro alla Scala, Tullio Serafin, Maria Callas, Giuseppe di Stefano, Rolando Panerai, Nicola Rossi-Lemeni

1.1. Sinfonia
1.2. Atto I, Scena I: 'All'erta! All'erta!'
1.3. Atto I, Scena I: 'O Di Cromvell Guerrieri'
1.4. Atto I, Scena I: 'A Festa!'
1.5. Atto I, Scena I: 'Or Dove Fuggo Io Mai?'
1.6. Atto I, Scena I: 'Ah! Per Sempre Io Ti Perdei'
1.7. Atto I, Scena I: 'T'appelan Le Schiere... Bel Sogno Beato'
1.8. Atto I, Scena II: 'O Amato Zio, O Mio Secondo Padre!'
1.9. Atto I, Scena II: 'Sai Com'Arde In Petto Mio'
1.10. Atto I, Scena II: 'Odi... Qual Suon Si Desta?'
1.11. Atto I, Scena II: 'Ad Arturo Onore'
1.12. Atto I, Scena II: 'A Te, O Cara'
1.13. Atto I, Scena II: 'Il Rito Augusto, Si Compia Senza Me'
1.14. Atto I, Scena II: 'Cavalier!... Se Ti È D'uopo Di Consiglio'
1.15. Atto I, Scena II: 'Son Vergin Vezzosa'
1.16. Atto I, Scena II: 'Sulla Virginea Testa'
1.17. Atto I, Scena II: 'Ferma. Invan Rapir Pretendi'
1.18. Atto I, Scena II: 'Dov'è Arturo?'
1.19. Atto I, Scena II: 'Oh Vieni Al Tempio: Fedele Arturo'
1.20. Atto I, Scena II: 'Ma Tu Già Mi Fuggi?'

2.1. Atto II: 'Ah... Dolor! Ah, Terror!'
2.2. Atto II: 'Qual Novella?'
2.3. Atto II: 'Cinta Di Fiori E Col Bel Crin Disciolto'
2.4. Atto II: 'E Di Morte Lo Stral Non Sarà Lento'
2.5. Atto II: 'O Rendetemi La Speme'
2.6. Atto II: 'Qui La Voce Sua Soave'
2.7. Atto II: 'Vien, Diletto, È In Ciel La Luna!'
2.8. Atto II: 'Il Rival Salvar Tu Dêi'
2.9. Atto II: 'Se Tra Il Buio Un Fantasma Vedrai'
2.10. Atto II: 'Riccardo! Riccardo!'
2.11. Atto II: 'Suoni La Tromba'
2.12. Atto III: 'Son Salvo, Alfin Son Salvo'
2.13. Atto III: 'A Una Fonte Afflito E Solo'
2.14. Atto III: 'Qual Suon! Alcun S'appressa'
2.15. Atto III: 'Son Già Lontani!'
2.16. Atto III: 'Fìni... Me Lessa'
2.17. Atto III: 'Ch'ei Provò Lontan Da Me?'
2.18. Atto III: 'Vieni Fra Queste Braccia'
2.19. Atto III: 'Alto Là! Fedel Drapello'
2.20. Atto III: 'Credeasi, Misera!'
2.21. Atto III: 'Suon D'araldi?'

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Francesco Cavalli - Artemisia

"The fierce competition between the opera houses in Venice is probably the main reason why the Venetian opera model dominated in Italy and indeed in all of Europe for a long time. Librettists and composers were well aware that their work would be measured against that of others. The success of an opera was judged not least by its financial success, so that the audiences were the decisive factor. What pleased them was repeated and copied; what displeased them was dropped and forgotten.

"Political undertones had been more or less overtly present in Venetian opera ever since public performances began. One theme interested the Venetians in particular: the excellence of the city’s constitution. In contrast to almost all the other realms at that time, Venice was a republic, one whose constitution and laws were considered perfect by Venetians and also by others. In the operas, this situation was mostly reflected by monarchies being depicted as degenerate and corrupt – everyone likes to see others' faults pilloried on stage. (The often encountered assertion that these operas exclusively reflected the libertine spirit of Venice is a modern myth with which the so-called 'funloving society' seeks to establish a link with supposedly historical models).

"Political statement is central to the opera Artemisia, although it is not in the foreground of the action. The problem of power in a monarchy is closely interwoven with love and honour. In the person of Artemisia we have a character who undergoes an important inner change in the course of the opera. At the beginning of the drama we meet her as a queen brought up from childhood by her teacher Indamoro to be aware of her own superiority. Her love for King Mausolus, though sincerely felt, was no more than a ritual. After his death Artemisia takes drastic action to affirm the picture she has of herself. She has a mausoleum (one of the seven wonders of the world) built for her dead husband, drinks his ashes and vows revenge on Meraspe, his supposed murderer. The love she feels for the supposed servant 'Clitarco' – who is actually none other than her deadly enemy Meraspe – not only hinders her sorrow but also represents a genuine loss of power when she finds that she has no control over her own feelings. She moreover feels positively insulted by the fact that the man she adores seems to be of low birth. She initially tries to defend herself by forbidding love affairs at her court, by wishing that her heart would turn to stone and by dedicating herself to conducting wars.

"But the old, not entirely successful devices with which she had demonstrated her mourning now fail completely; she is powerless against her feelings. The ban on love works only in fighting jealousy, her prayers for a heart of stone are not heard and the impending war turns into a complete farce when she sees that it enables Alindo, her general, to seize power. In this way Artemisia learns that her old means of exercising power no longer work, and she surrenders to her fate. It is not important that 'Clitarco' turns out to be of noble birth, nor that he was her deadly enemy. The problem now is rather that she had promised King Mausolus' avenger the right to decide over her wedding. So long as it was only about finding a worthy king, she felt no loss of power; but now that love has come into play, the thought of a stranger holding sway over her is intolerable. The problem can only be solved from outside, and there lies the true loss of power. As the action clearly shows, the state in a monarchy is subject to the ruler’s vacillating emotions; in consequence, Artemisia's loss of power at the same
time signifies great damage to the commonweal.
 
"Meraspe on the other hand constantly veers between hope and despair. The dilemma of his love causes him to lose individuality – the queen cannot love him, not as 'Clitarco' because of his social standing, not as Meraspe because of what he has done. He sees himself as a passive victim, not able to act; indeed, he never even attempts to extricate himself from the dilemma. 

"Divided into pairs, the other characters primarily exemplify an individual principle. Oronta and Alindo represent honour, Artemia and Ramiro love. The women are stronger here, with the men seeking to make up for their weakness by acting unscrupulously. Oronta follows Alindo because he has injured her honour through his betrayal, and she succeeds in deceiving him through disguise and ends up pulling all the strings, so that she can solve the problems almost in the manner of a deus ex machina. Alindo on the other hand strives so much for the honour of being king that he resorts to untoward means, particularly after he has realized that the queen is not as dignified as he thought. His attempt to force her back into the old convention fails, and he returns to Oronta when he realizes that that is what his honour demands.

"Ramiro is so helpless against his love that he does not shrink from blackmailing Artemia and thus betraying Meraspe, his master. Artemia submits to this blackmail out of strength, because she is unwilling to endanger her love, but that is tragically just what causes her to lose her love, for she must obey the command of her beloved Meraspe after already having done so much for him.

"The characters in the comical subplot are intended to contrast with the serious action. Niso and Eurillo make fun of the old nursemaid Erisbe, who stands for the old conditions at the court. Niso even nurtures the hope of marrying
the queen himself; her loss of power could not be symbolized more aptly.
 
"It is only on the surface that this opera reaches a lieto fine, a happy end. While the couples are all united, it is clear that the principles of power and love are mutually exclusive. Indeed, it is even possible for power to hold sway over love. Love is ultimately subordinate to power. This cynical view was hardly calculated to send audiences home with a satisfied feeling, and yet it seems to have been what the Venetian expected, since many other operas of the time end in similar fashion. At all events, to judge by the popularity of this opera throughout Italy between 1657 and 1663, Eurillo's direct request at the end that the audience applaud the work cannot have fallen on deaf ears all too often." (Hendrik Schulze, tr. J. & M. Berridge. From the liner notes.)

Performers: La Venexiana, Claudio Cavina, Francesca Lombardi, Roberta Mameli, Valentina Coladonato, Maarten Engeltjes

1.1. Sinfonia: 'Dure Selci'
1.2. Atto I: 'Ecco Il Mio Vago'
1.3. Atto I: 'Dubbia M'appar'
1.4. Atto I: 'Che Saetti Ed Incateni'
1.5. Atto I: 'Son Le Luci Ch'adoro'
1.6. Atto I: 'Quando Il Cor'
1.7. Atto I: 'Amori, Eh?'
1.8. Atto I: 'Pur Andò L'importuno'
1.9. Atto I: 'Gl'artefici O Regina'
1.10. Atto I: 'Su L'April'
1.11. Atto I: 'Zeffiretti Placidetti'
1.12. Atto I: 'Hor Che Soli Restiamo'
1.13. Atto I: 'Clitarco Prenditi Un Fior'
1.14. Atto I: 'Gran Favor! Gran Mercede!'
1.15. Atto I: 'Ardo, Sospiro, E Piango'
1.16. Atto I: 'Già Del Vostro Nettuno'
1.17. Atto I: 'Cari, Cari Vegetabili'

2.1. Atto II: 'S'Amor Vuol Così'
2.2. Atto II: 'Che Sospiri Clitarco?'
2.3. Atto II: 'Ver Me Un Sol Fiato'
2.4. Atto II: 'Perdon Ti Chiedo'
2.5. Atto II: 'Di Trombe Guerriere'
2.6. Atto II: 'Niso, Niso!'
2.7. Atto II: 'Cara, Cara De Gl'occhi Miei'
2.8. Atto II: 'Ella È Qui'
2.9. Atto II: 'Hor Vieni Ad Abbellirmi'
2.10. Atto II: 'Se Meraspe Crudel'
2.11. Atto II: 'Altri È Gradito'
2.12. Atto II: 'Che Gratie!'
2.13. Atto II: 'Dir, Ch'io V'amo'
2.14. Atto II: 'Indamoro!'
2.15. Atto II: 'Se Tu Vuoi Ch'io T'ami'

3.1. Atto III: 'Ch'io Peni Così'
3.2. Atto III: 'Artemia?'
3.3. Atto III: 'Dammi Morte'
3.4. Atto III: 'Ecco Il Mio Bene'
3.5. Atto III: 'Servi, Ò Là'
3.6. Atto III: 'Dite Il Vero, Son Nera?'
3.7. Atto III: 'Cor Mio Che Sarà'
3.8. Atto III: 'E Che Fia Mai Quel Foglio?'
3.9. Atto III: 'Veggio Venir Clitarco'
3.10. Atto III: 'Hor Siate À Preghi Miei'
3.11. Atto III: 'Al Fin Vuole Il Mio Fato'
3.12. Atto III: 'Non Oso Alzar Le Ciglia'
3.13. Atto III: 'Respiri, Chiudete'
3.14. Atto III: 'Ma' Sen Viene Artemisia'
3.15. Atto III: 'Regina?'
3.16. Atto III: 'Ecco Alindo'

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The Doobie Brothers - Minute by Minute

A milestone in the careers of both The Doobie Brothers as a unit and new found frontman Michael McDonald, who replaced Tom Johnston in 1975 until the band's eventual separation in 1982. While all the material here is stunning, this is clearly a band in transition: McDonald penned R&B-esque numbers like "What a Fool Believes" and "You Never Change" sit snugly alongside the likes of the country and western instrumental "Steamer Lane Breakdown" and rock-n-rolling "Sweet Feelin'". Aside from sounding inspired and in stellar form musically, it's perhaps this dichotomy that makes this the band's best collection of material; here we get the best of both worlds. 

1. Here To Love You
2. What A Fool Believes
3. Minute By Minute
4. Dependin' On You
5. Don't Stop To Watch The Wheels
6. Open Your Eyes
7. Sweet Feelin'
8. Steamer Lane Breakdown
9. You Never Change
10. How Do The Fools Survive

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Richard Strauss - Capriccio

"The action takes place in maytime in a rococo château near Paris at the time Gluck was beginning his opera reforms there. About 1775. The birthday of the young widowed Countess, Madeleine, is to be celebrated. Flamand, a composer, and Olivier, a poet, are listening to the rehearsal of Flamand's sextet. written for the occasion, while the theatre director, La Roche, is asleep. While listening, Flamand and Olivier discover that they are both in love with the Countess. What will impress her more: Flamand's music or Olivier's poetry? Prima la musics, dopo le parole, or prima le parole, dopo la musics? They agree to let the Countess decide. La Roche awakens and joins the argument, Neither poetry nor music, he says, is the greatest of the arts. His own, the art of theatrical production, overshadows them both and uses them as its servants. He believes in entertainment: splendid decor, top notes and beautiful women, such as the actress Clairon, who has recently had an affair with Olivier. La Roche reveals that she is on her way to the chateau to play opposite the Count in Olivier's play. Flamand, Olivier and La Roche leave to prepare for the rehearsal in the theatre. 

"The Count and Countess enter. They engage in a discussion about the merits of music and poetry. The Count admits that music leaves him cold, that words will always be superior to music. He teases his sister about her interest in the composer Flamand. She, in turn, brings up the name of Clairon. He admits he is interested in the actress, but praises a life of quickly-won, quickly-lost attachments. 

"La Roche and his proteges return, and Clairon arrives for the rehearsal She and the Count read a scene from Olivier's play, which ends with the Count's declamation of a passionate sonnet. He is congratulated, and La Roche leads them both off to rehearsal, leaving Flamand and Olivier alone with the Countess. Olivier remarks that the Count addressed the sonnet to the wrong person: it was written for the Countess, and he recites it again to her. Flamand rushes off to set it to music. In Flamands absence, Olivier declares his love to the Countess.

"Flamand returns to sing the sonnet he has just set. Olivier and Flamand quarrel about the true authorship of the sonnet, but the Countess decides the issue: it is now hers! La Roche takes Olivier away to rehearsal. 

"Flamand in his turn is able to declare his love to the Countess. He asks her to decide: music or poetry. Flamand or Olivier? She promises that he shall have the answer the next morning at eleven o'clock. The Countess is left alone with her thoughts and the sounds of the rehearsal next door. She orders refreshments for the company. 

"When the rehearsal is over the Count and his sister discuss the progress of their love affairs. The other participants return. While refreshments are served, La Roche introduces a ballerina who performs for the company. Flamand and Olivier resume their argument of words versus music. The others join in. The Count ridicules opera — all operal La Roche introduces a pair of Italian singers who perform a duet. Then he tells of the spectacle he has planned for the Countess's birthday: The Birth of Pallas Athena and The Fall of Carthage. The company make cruel fun of his grandiose and traditional ideas, while the Italian singers worry whether they will be paid and stuff themselves with food. La Roche finally gets a chance to speak for himself and bitterly assails his attackers, expressing his intense faith in the theatre. He wants drama to show human beings in all their aspects as creatures of flesh and blood, and orders Flamand and Olivier to create good new works that speak for their time. His listeners are deeply moved and, as a sign of their reconciliation, Olivier and Flamand agree to write an opera. The Count has a very original idea: write an opera on the events of that very day at the chateau, depicting the company as its characters. The suggestion is accepted by everyone. 

"When the company has broken up, eight servants enter and comment on the events of the afternoon from their point of view 'backstage' as they put it — for isn't the whole world playing at theatre? The major-domo gives them the night off. Then appears Monsieur Taupe, the prompter, who had fallen asleep during the rehearsal. He tells the major-domo that, in fact, he is the most important person in the theatre because without him the show couldn't go on. But now he has been left behind. The major-domo offers to help in his predicament.

"The Countess enters, followed by the major-domo, who gives her two messages that her brother will not be home for dinner that evening. and that Olivier will call the next morning at eleven to hear from her the ending of the opera. The Countess exclaims that since the sonnet, the composer and the poet are fated to be inseparable — now they will both wait on her tomorrow at the same time! She sings two verses of the sonnet to herself. Which of the two men does she love? After an agony of indecision and self searching, she gazes at herself in the mirror and wonders if she can find an ending to the opera 'that is not trivial'. The major-domo solves the problem by announcing that dinner is served." (From the liner notes.)

Performers: Wiener Philharmoniker, Ulf Schirmer, Kiri Te Kanawa, Håkan Hagegård, Uwe Heilmann, Olaf Bär, Victor von Halem, Brigitte Fassbaender, Werner Hollweg, Hans Hotter

1.1. Einleitung
1.2. Szene I: 'Bezaubernd Ist Sie Heute Wieder!'
1.3. Szene I: 'Bei Sanfter Musik Schläft Sich's Am Besten'
1.4. Szene II: 'Der Strom Der Töne Trug Mich Fort'
1.5. Szene III: 'Die Bühne Ist Fertig'
1.6. Szene IV: 'Sie Ist Doch Gekommen! Du Hast Es Erreicht'
1.7. Szene IV: 'Ihr Geht. Entließ Euch Schon Die Macht'
1.8. Szene IV: 'Kein Andres, Das Mir So Im Herzen Loht'
1.9. Szene V: 'Lassen Sie Ihn Gewähren'
1.10. Szene VI: 'Kein Andres, Das Mir So Im Herzen Loht'
1.11. Szene VI: 'Wie Schön Die Worte, Kaum Kenn' Ich Sie Wieder!'
1.12. Szene VII: 'Verraten Hab' Ich Meine Gefühle!'
1.13. Szene VII: 'Sie Erzählten Beredsam Von Eurem Empfinden'
1.14. Szene VIII: 'Welch' Köstliche Begegnung!'
1.15. Szene IX: 'Wir Kehren Zurück In Die Welt Des Salons'
1.16. Szene IX, Tanz: I. Passepied ('Was Sagt Ihr?')
1.17. Szene IX, Tanz: II. Gigue ('Ich Bin Fest Entschlossen, Auf Keinen Fall Mehr')
1.18. Szene IX, Tanz: III. Gavotte

2.1. Szene IX: 'Eure Kunst Entzückt Und Begeistert Mich'
2.2. Szene IX: 'Tanz Und Musik Stehn Im Bann Des Rhythmus'
2.3. Szene IX: 'Eine Oper Ist Ein Absurdes Ding'
2.4. Szene IX: Duett Der Italienischen Sänger. 'Addio Mio Vita'
2.5. Szene IX: 'Darf Ich Sie Nach Paris Zurückbringen'
2.6. Szene IX, Oktett: Teil I. Lach-Ensemble ('Sie Lachen Ihn Aus')
2.7. Szene IX, Oktett: Teil II. Streit-Ensemble ('Aber So Hört Doch!')
2.8. Szene IX: 'Hola! Ihr Streiter Im Apoll!'
2.9. Szene IX: 'La Roche, Du Bist Groß! La Roche, Du Bist Monumental!'
2.10. Szene IX: 'Das Ist Mehr Als Eine Versöhnung'
2.11. Szene IX: 'Wählt Doch Einen Vorwurf, Der Konflikte Schildert, Die Auch Uns Bewegen'
2.12. Szene X: 'Gut In Eure Mäntel Gehüllt'
2.13. Szene XI: 'Das War Ein Schöner Lärm'
2.14. Szene XII: 'Herr Direktor...'
2.15. Szene XIII: Andante Con Moto (Mondscheinmusik)
2.16. Szene XIII: 'Wo Ist Mein Bruder?'
2.17. Szene XIII: 'Kein Andres, Das Mir So Im Herzen Loht'
2.18. Szene XIII: 'Du Spiegelbild Der Verliebten Madeleine'

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Return of Gomikawa Fumio

Japanoise supergroup comprised of legends Kohei Gomi (Pain Jerk) and Fumio Kosakai and Toshiji Mikawa (Incapacitants). This is virulent and strikingly dynamic noise, without being grating. It follows no rhythm and there is a sense of improvisation, mastery and sonic diversity. The title is perhaps deceptive as there is sadly no other release from these three together. Perhaps 'the return' refers to unrecorded live shows. Released as a CD on the Japanese noise/experimental label Alchemy Records in 2002. 

1. Mixed Human Franken Jam
2. Howling Wolves Scream For More
3. Satan's Tail, Santa's Head
4. Amps For Nonsense

mp3/320kbps

Othmar Schoeck - Lieder

"'I still have a strong desire to sing his songs, even though every performance outside of Switzerland seems to meet with misunderstanding or a condescending failure of appreciation ('Helvetism', 'Provincialism').' This declaration by Dietrich Fischer-Dieskau strikes to the heart of a problem. touching on a particularly sore point. Throughout his lifetime Othmar Schoeck suffered from a diminution in stature to that of an imitator — relegated to the rank of a footnote to such earlier giants as Schumann. Brahms and Wolf. His critics looked down on him as someone who had largely failed to recognize the signs of his time or, at least, had failed to play an active pad in it. Instead, they regarded him as having his view directed backwards to the past. as being stuck in the Romantic world of 19th-century song. 

"In Fischer-Dieskau's words, the singer must 'invest more in his assignment than he can hope to effect in its external presentation'. Singing Schoeck presupposes extensive experience with Schubert, Schumann, Brahms and Wolf. but simultaneously it requires a clear understanding of early 20th-century music, with its melancholy, fin-de-siecle awareness of loss and alienation in a new world. 

"Keller's poem 'Ein Tagewerk I' ('A Day's Work I') focuses on this sense of loss: 'Jedoch mein Lied — es rang sich nicht zu Tee' ('But my song — it did not come to light'). The time is past when one could find one's song in the Romantic forests! Meyer's Reisefantasie longs for a return to the Middle Ages of castles and fortresses. For stalwart chivalry and a potent backdrop to life, instead of a weary zeitgeist that weighed down Meyer's feeling of aliveness to the point of depression. Many aspects of Schoeck reveal a spiritual affinity with this poet; or was it purely coincidental that he ended his Eichendorff cycle op. 20 with 'Nachruf' ('Obituary'), whose central strophe reads: 'Was wollen wir nun singen / hier in der Emsamkeit, / wenn alle von uns gingen, / die unser Lied ertreutl?' ('What is now the point of singing here and in solitude, when all have departed from us who took pleasure in our song?'). 

"No other interpreter could compare with Fischer-Dieskau in his ability to recapture the Romantic worlds of Eichendorff and Mörike and, simultaneously, to express the awareness of the loss of these worlds that resonates in Schoeck's lieder. Romanticism, insofar as it appears in these works as carefree happiness, is never taken by Fischer-Dieskau at face value; rather it is approached with a differentiated declamation that questions Romanticism's contradictory nature: an approach inclined to passionate outbursts, to the engagement of his whole artistic personality, to recreating emotional upheaval and blissful assuagement. The sound of his voice here takes on an unaccustomed brightness and softness, in combination with a suggestive lightness of articulation. There is nothing superficial to distract the attention — on the contrary, this is internalized singing, so to speak, that concentrates on the finest nuances of colour, on text-responsive diction, on carefully controlled vocal and verbal gestures. The sense is always perceptible behind the vocal timbre, a feeling not only for beauty or melancholy but also for its underlying poetic foundation." (Werner Pfister, tr. Richard Evidon. From the liner notes.)

Performers: Dietrich Fischer-Dieskau, Margrit Weber, Karl Engel

1. Ein Tagewerk I, Op. 55 No. 23/I
2. Ein Tagewerk I, Op. 55 No. 23/II
3. Frühgesicht, Op. 55 No. 17
4. Reisefantasie, Op. 60 No. 3
5. Das Ende Des Festes, Op. 60 No. 15
6. Nachruf, Op. 20 No. 14
7. Jugendgedenken, Op. 24b No. 10
8. Peregrina II, Op. 17 No. 4
9. Auf Ein Kind, Op. 20 No. 1
10. Dämmrung Senkte Sich, Op. 19a No. 2
11. Ach, Wie Schön, Op. 33 No. 1
12. Nachklang, Op. 19b No. 1
13. Höre Den Rat, Op. 19b No. 5
14. Venezianisches Epigramm, Op. 19b No. 13
15. Jetzt Rede Du, Op. 60 No. 28
16. Auskunft, Op. 8 No. 3
17. Aus Zwei Tälern, Op. 8 No. 2
18. Kennst Du Das Auch?, Op. 24b No. 4
19. Ravenna I, Op. 24b No. 9
20. Das Ziel, Op. 24b No. 8
21. Keine Rast, Op. 24b No. 7
22. Kindheit, Op. 31 No. 2
23. Im Kreuzgang Von Santo Stefano, Op. 31 No. 3
24. Liederzyklus, Op. 44: I. Nachtgefühl
25. Liederzyklus, Op. 44: II. Magie Der Farben
26. Liederzyklus, Op. 44: III. Verwelkende Rosen
27. Liederzyklus, Op. 44: IV. Abends
28. Liederzyklus, Op. 44: V. Mittag Im September
29. Liederzyklus, Op. 44: VI. Blauer Schmetterling
30. Liederzyklus, Op. 44: VII. Pfeifen
31. Liederzyklus, Op. 44: VIII. Sommernacht
32. Liederzyklus, Op. 44: IX. Für Ninon
33. Liederzyklus, Op. 44: X. Vergänglichkeit

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Richard Strauss - Ariadne auf Naxos

"In 1942 Richard Strauss, then approaching his eightieth birthday, recalled that the original intention behind 'Ariadne auf Naxos' was as a grateful offering to the theatre director Max Reinhardt (1873-1943). It was to form an epilogue to a comedy by Molière, 'Le bourgeois gentilhomme'. The original concept had been a half-hour long opera for a small chamber orchestra. This was later expanded to the play, which Hofmannsthal had reduced from five acts to two, followed by a ballet concluding with a commedia dell'arte. The resulting premiere took place at the Kleines Haus of the Hoftheater in Stuttgart on 25th October 1912 under the composer. The reception was decidedly mixed, with the audience obviously unhappy with the excess of spoken dialogue in the Molière play to which Strauss had added incidental music, and with only a single act of total music. The performance of this version was both costly and ineffective in that a double cast of actors and singers was involved. 

"In July 1916 composer and librettist decided to recast Ariadne by prefacing the revised version with a Prologue of some forty minutes which explained the circumstances in which an eighteenth-century opera sena came to be performed simultaneously with its comic interlude. They also omitted the spoken play altogether, and removed the character of Monsieur Jourdain, transferring the setting from Paris to Vienna. The resulting work is an opera of considerable sophisticated lyrical charm, Strauss continuing to write in his Mozartian manner that he had first used so successfully in 'Der Rosenkavalier' in 1911. Furthermore, in the Prologue the composer displays some of his idea about music and drama that would come to culmination in 'Capriccio' in 1942. 

"[...] This recording of 'Ariadne auf Naxos' was the first to be made in the studio (an earlier one, made live in Vienna in June 1944, commemorated the composer's eightieth birthday). This studio one, made in London only five years after Strauss's death in 1949, is significant in that most of the artists had been active during the composer's later years and some had even met Strauss in the last ten years of his life. Thus it has a particular historic feel. Masterminded by EMI recording producer and impresario Walter Legge (1906-1979) it contained some of the finest singers of the day and used Legge's own orchestra, the Philharmonia. The Gramophone magazine, when first reviewing the recording in October 1955, thought 'the opera is perfectly cast, magnificently performed, and very well recorded'. The orchestra was praised for its brilliance, while the singers were also judiciously commented upon. 'Schwarzkopf brings the dark tone that is needed for Ariadne's sorrows, and all the rapture called for at the end'. As the Composer Irmgard Seefried was thought to display great variety of tone, the Zerbinetta of Rita Streich displayed no technical difficulties whatsoever, and the Bacchus of Rudolf Schock sang 'with heroic tone and sufficient nuance to make one believe in the youthful god'. Of Karajan: 'his genius has never been more apparent in the [Bacchus-Ariadne] scene'." (Malcolm Walker. From the liner notes.)

Performers: Philharmonia Orchestra, Herbert von Karajan, Elisabeth Schwarzkopf, Rita Streich, Irmgard Seefried, Rudolf Schock

1.1. Prolog: Ouverture
1.2. Prolog: 'Mein Herr Haushofmeister!'
1.3. Prolog: 'Lieber Freund! Verschaffen Sie Mir Die Geigen'
1.4. Prolog: 'Erst Nach Der Oper Kommen Wir Daran'
1.5. Prolog: 'Meine Partner! Meine Erprobten Freunde!'
1.6. Prolog: 'Ihnen Allen Habe Ich Eine Plötzliche Anordnung
1.7. Prolog: 'Ich Weiß Nicht Wo Mir Der Kopf Steht'
1.8. Prolog: 'Kindskopf! Merkt Auf, Wir Spielen Mit In Dem Stück Ariadne Auf Naxos'
1.9. Prolog: 'Ein Augenblick Ist Wenig - Ein Blick Ist Viel'
1.10. Prolog: 'Auf Ihre Plätze, Meine Damen Und Herrn!'
1.11. Ouverture
1.12. 'Schläft Sie!'
1.13. 'Ach! Wo War Ich?'
1.14. 'Ein Schönes War, Heiß Theseus - Ariadne'
1.15. 'Ach, So Versuchet Doch Ein Kleines Lied!'
1.16. 'Es Gibt Ein Reich, Wo Alles Rein Ist'
1.17. 'Die Dame Gibt Trüben Sinn'
1.18. 'Großmächtige Prinzessin, Wer Verstünde Nicht'

2.1. 'Noch Glaub' Ich Dem Einen Ganz Mich Gehörend'
2.2. 'Hübsch Gepredigt! Aber Trauber Ohren!'
2.3. 'Ein Schönes Wunder!'
2.4. 'Circe, Circe, Kannst Du Mich Hören?'
2.5. 'Du Schönes Wesen!'
2.6. 'Bin Ich Ein Gott, Schuf Mich Ein Gott'
2.7. 'Gibt Es Kein Hinüber?'
2.8. Capriccio: 'Morgen Mittag Um Elf!'
2.9. Capriccio: 'Ihre Liebe Schlägt Mir Entgegen'
2.10. Capriccio: 'Das Spiegelbild Der Verliebten Madelaine'

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Carl Heinrich Graun - Montezuma

"Together with Johann Adolf Hasse, Carl Heinrich Graun is the chief representative of Italian opera in Germany in the 18th century. Through his musical genius and the favor of King Frederick II, which was based on a lasting friendship, Carl Heinrich Graun became chief of the circle of Berlin composers which, around the middle of the 18th century, developed a special Italianized but polyphonically saturated style. To this belonged, among others, J.G. Graun, F. Benda, C.P.E. Bach, F.W. Marpurg, Kirnberger and, not least, Frederick the Great. In C.H. Graun's opera Demofoonte (1746) alone, for example, there are three arias composed by Frederick II. All Graun's textual drafts were supervised by the King; to a great extent they emanated from him himself.

"The Story accords with the historical fate of the last ruler of the Aztecs, Montezuma II (1502-1520). Who, following mythical prophecies, saw the arrival of the Spaniards under Cortés as the return of the divine Toltec King Quetzalcoatl. So without resistance he let himself be captured, and was killed during an Aztec revolt against the Spaniards.
 
"The text is by Frederick ll, who wrote it in French prose. For the requirements of opera this pattern was put into Italian verse by the Berlin court poet P. Tagliazucchi.

"Montezuma is one of Graun's last operas. Here a shortening of the recitative and the employment of the modern cavatina creates a tightening of the form, a more compulsive dramatic treatment. The Seven Years' War (1756-63) put an end to further attempts at reform in the field of opera. Montezuma can be seen as Frederick's countersignature to his own face, which made him into a martial war-prince. The good, peaceful Montezuma as victim of an intolerant, conquest-craving time, the heathen prince proves to be the more humane ruler, in comparison with the civilized Christian Spaniards. For the enlightened Frederick II this model is the ironic
balance to his own Ideals.

"Montezuma shows Frederick II in a field of tensions; thus the artistically-minded idealistic prince became the royal practical politician, if justice is to be seen to be done to life's reality, Montezuma must die.

"Montezuma is more than just a work of Baroque opera. This opera can allude to the history of its own nation, shown by Germany re-united in an especially sensitive area, that of Prussia's struggle for German hegemony. Thus the opera Montezuma in many respects points to history, it directs our ear to the destiny of America and the destiny of Prussia, to the German's view, 200 years ago, of America, and American history as the mirror of its own.

"It makes sense to perform the opera Montezuma again, because the music-dramatic language of pre-revolutionary
Europe is not familiar to us, it shows us the facts from a new angle. It conveys the scruples that many European princes also had in their relations with the peoples of the New World. And it conveys how disparate these cultures were, that of the peaceful heathen Montezuma and that of the enlightened Frederick II of Prussia, the Great, condemned to warfare, who had once commented 'It must be hoped that another enlightened century will come in which loyalty and faith will be awarded their due glory.'" (Matthias Schwarzer, tr. Lionel Salter. From the liner notes.)

Performers: Deutsche Kammerakademie, Johannes Goritzki

1.1. Sinfonia: Allegro - Andante - Allegro
1.2. Atto I, Scena I: 'Si, Mio Tezeuco, Il Messico È Felice'
1.3. Atto I, Scena I: 'Somiglia Il Buon Monarca'
1.4. Atto I, Scena I: 'Io Ti Domando, Amico'
1.5. Atto I, Scena I: 'Non Saprei Curare Il Vanto'
1.6. Atto I, Scena II: 'Ecco, Signor, Ch'io Torno Fedele'
1.7. Atto I, Scena III: 'È Ver Quanto Narrai Incredibil Rassembra'
1.8. Atto I, Scena III: 'Vegga, Che Alfin Gl'impone'
1.9. Atto I, Scena IV: 'Regina, A Che Si Mesta'
1.10. Atto I, Scena IV: 'Godi L'amabile Presente Instante'
1.11. Atto I, Scena V: 'Leggiadra Eupaforice'
1.12. Atto I, Scena V: 'Ah Immaginar Non Puoi'
1.13. Atto I, Scena VI: 'Ah! Signor, Che Deluso Àn Que Stranieri'
1.14. Atto I, Scena VII: 'Imperatore, Il Valoroso E Forte Duce'
1.15. Atto I, Scena VII: 'Vedrai Fra Queste Mura'
1.16. Atto I, Scena VIII: 'Qual Fierezza À Costui'
1.17. Atto I, Scena IX: 'Or Tu Vedi, Erissena'
1.18. Atto I, Scena IX: 'Non Àn Calma Le Mie Pene'
1.19. Atto II, Scena I: Introduzione
1.20. Atto II, Scena I: 'Eccoci Alfine, Grazie Al Cielo'
1.21. Atto II, Scena II: 'Vinite Intrepidi Stranieri Eroi'
1.22. Atto II, Scena II: 'Vieni, Illustre Stranier'
1.23. Atto II, Scena III: 'Passaggero, Che Tenta La Sorte Sovra Un Legno'
1.24. Atto II, Scena IV: 'Qual Fatal Sicurezza!'
1.25. Atto II, Scena IV: 'Erra Quel Nobil Core'
1.26. Atto II, Scena V: 'Si, Del Soggiorno Imperial'
1.27. Atto II, Scena V: Sinfonia Guerriera. Allegro

2.1. Atto II, Scena VI: 'D'onde Vengon Quei Tuoni?'
2.2. Atto II, Scena VII: 'Ecco La Tua Riconoscenza!'
2.3. Atto II, Scena VII: 'Benche Superbo E Vano, Renditi Al Vincitor'
2.4. Atto II, Scena VII: 'No, Che Un Nume Non Sei'
2.5. Atto II, Scena VII: 'Del Mio Destin Tiranno Tutto L'orrore'
2.6. Atto II, Scena VIII: 'M'ingannate, Occhi Miei?'
2.7. Atto II, Scena IX: 'Deh, Lascia Un Prence Omai'
2.8. Atto II, Scena IX: 'Barbaro, Barbaro'
2.9. Atto II, Scena IX: 'Secondin Gli Dei Si Giusto Disegno'
2.10. Atto II, Scena IX: 'L'onor Del Soglio Offende'
2.11. Atto III, Scena I: 'Qual Orribil Destino'
2.12. Atto III, Scena I: 'Ah, D'inflessibil Sorte'
2.13. Atto III, Scena I: 'Ma Qual Rumore Mi Risuona All'orecchio'
2.14. Atto III, Scena I: 'Ah Sol Per Te, Ben Mio'
2.15. Atto III, Scena II: 'Ah Scoperti, O Regina'
2.16. Atto III, Scena III: 'Ahime! Tutto, O Regina, Che Barbaro Destin'
2.17. Atto III, Scena IV: 'Empio, Cadrai Trafitto'
2.18. Atto III, Scena V: 'Signor, Qui Moctezuma Ti Traggo E La Regina'
2.19. Atto III, Scena V: 'Si, Per La Rea Congiura'
2.20. Atto III, Scena V: 'T'inganni, Egli Non Fu'
2.21. Atto III, Scena V: 'Si, Corona I Tuoi Trofei'
2.22. Atto III, Scena V: 'Ah, Mio Sposo Adorato'
2.23. Atto III, Scena V: 'Deh, Qual Rabbia Ostinata!'
2.24. Atto III, Scena V: 'Oh Cielo! Ahi Giorno Orribile'

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Willie Nelson - The Troublemaker

This could perhaps be seen as the reprieve to religious themes in Willie Nelson's music following the heartbroken trilogy of 'Shotgun Willie', 'Phases and Stages' and 'Red Headed Stranger'. Essentially a collection of gospel tunes played and sung in a country style, the energy here is as elated as it is foot-tapping. Nelson sounds happier and looks for wisened than he did in 1971, and there is a spiritual confidence and maturity that shines through these simple songs. His desire to emulate Christ on the title track could be construed as too forward, but there's seems nothing too direct or ill meant about it (and it's a great song, of course).

A1. Uncloudy Day
A2. When The Roll Is Called Up Yonder
A3. Whispering Hope
A4. There Is A Fountain
A5. Will The Circle Be Unbroken
A6. The Troublemaker
B1. In The Garden
B2. Where The Soul Never Dies
B3. Sweet Bye & Bye
B4. Shall We Gather
B5. Precious Memories

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Willie Nelson - Yesterday's Wine

"Before I begin this elaborate journey, portraying Earth's typical man..." Nelson lays out his aim for 1971's Yesterday's Wine, an album which has a distinctly religious tone he would not return to until after the completion of heartbroken epics 'Shotgun Willie', 'Phases and Stages' and 'Red Headed Stranger' spanning 1973-75. There are notable exceptions, of course, despite the singer's introduction: the boozy title track and 'Me and Paul' are obvious examples. This lacks the conceptual religious rigor pioneered by Johnny Cash with 'The Holy Land' (documenting his journey to that place) two years prior, but perhaps it was an inspiration. Nelson's faith and calling, as well as his honestly about himself and his troubles, are obviously sincere and this shows in the writing and execution of his songs. 

A1. Intro: Willie Nelson And Band/Medley: Where's The Show?/Let Me Be A Man
A2. In God's Eyes
A3. Family Bible
A4. It's Not For Me To Understand
A5. Medley: These Are Difficult Times/Remember The Good Times
B1. Summer Of Roses
B2. December Day
B3. Yesterday's Wine
B4. Me & Paul
B5. Goin' Home

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Vomir / Werewolf Jerusalem - Untitled; Premature Burial

Split 7" from HNW powerhouse projects Vomir and Werewolf Jerusalem. Released on French noise label AnarchoFreaksProduction in 2010; an edition of 200 copies. The unrelenting noise walls we expect to hear are in fine, ear-destroying shape. Vomir gives us a firm, unchanging monolith whereas Richard Ramirez's offering is far closer to traditional harsh noise, while still being loosely in the HNW style. Each side corresponds to an artist, hence the inclusion of both. An ink splash on the Vomir cover presumably notes the track's lack of a title.

A. Vomir - Untitled
B. Werewolf Jerusalem - Premature Burial

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Agression Sonore / Vomir

Split between French HNW artists Thomas Hassani and Romain Perot. Relentless, mind-battering assault of walled noise for 80 minutes that relents only shift texture to Perot's more fleshy offering. Released on Hassani's own Zombi Attack records in 2010. 

A. Agression Sonore - Untitled
B. Vomir - Untitled

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Jason Lescalleet - Almost is Almost Good Enough

An intelligent web of discreet ambience, field recordings and electroacoustic sound from Lescalleet. Released initially as a physical-only cassette on the Glistening Examples label in 2017, it had a subsequent cassette run followed by a CD/digital release by popular demand in 2018. The digital release is available pay-what-you-like and can be found here. 

1. The Grind (Organ Music #4)
2. Flywheel (2004)
3. This Is Not The End
4. In My Time Of Dying It's Nobody's Fault But Mine

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Mania - Eros + Massacre

Cassette release from Keith Brewer on the excellent Swedish cassette label Abisko. Released in 2006 in an edition of 130. Features paranoid, rumbling, stomach twisting drones assaulted by distorted clangs and crashes. Re-issued in 2020 (presumably following Brewer's death) in an unlimited edition without a label. 

A. Untitled
B. Untitled

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Macronympha / The Rita - Sucking the Toes of the Creature Female (Nylon Electricity)

Split from the two monolithic noise forces. The Rita side (the tracks go in opposite order to the listing of the artists on the cover) is a punchy rumbling wall of fetishistic audio angst, while the Macronympha side creates a similar effect through medium pace drones and screeches, alternating in a pleasingly obtuse and jagged fashion. Released as an edition of 50 in 2018 on Leonardo Sabatto's Bizarre Audio Arts label (he is also a veteran of the scene, recording under the alias Armenia).

A. The Rita - Untitled
B. Macronympha - Untitled

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Girolamo Frescobaldi - Toccata d'Intavolatvra di Cimbalo et Organo, Libro Primo

"The First Book of Toccatas was published for the first time in Rome in 1615 by Nicolò Borboni. This edition was followed by four others: one appeared in 1616 (the date was indicated by the printer Christophorus Blancus at the end of a revised version of the Preface To the Reader), another probably also appeared in 1616, a third in 1628 and finally one in 1637. During these twenty-two years, Frescobaldi made considerable changes to the contents of the collection, either in the number of pieces included or in their substan-tial development. The last edition, of 1637, is clearly considered the definitive edition showing the composer’s final creative thoughts. It goes without saying that the modifications introduced by Frescobaldi in these compositions, through the successive editions, show an increasing consistency of writing.

"The edition was produced by means of engraving on copper plate, a very costly process used only for important works: this particular process is distinguished by the great elegance and precision of writing. The same process, rather than that involving moveable type which was quicker but less clear in its results, had previously been used only for the Toccate of Claudio Merulo and was used again by Michelangelo Rossi, for his Toccate and by Bernardo Storace for his Selva d’intavolatura.

"[...] There can be no doubt that the element of Frescobaldi’s language that still seems extraordinary to us today is its variety: a variety which knows no limits, either in its forms or in its melodic or harmonic invention. The toccata, the place designated for total extroversion, might cause confusion for a listener who is not prepared to receive the music as if it were a real discourse; if he wants to find symmetries and relationships between ideas he will be completely lost. Toccatas flow in quite a different way like the telling of a seductive story built upon a predominant feeling that is often determined by the way in which piece was composed. Despite all this nothing is improvised. I strongly believe that in reality the toccata corresponds to what may be described as a very well-structured discourse, cleverly articulated with the intention of producing the main effect of ars rhetorica, that is one of convincing the listener. It is therefore with a prose discourse, rather than with a poetic scansion (more appropriate for dance music) that the toccata should be correlated." (Rinaldo Alessandrini. From the liner notes.)

Performer: Rinaldo Alessandrini

1.1. Toccata Prima
1.2. Balletto. Crrente Del Balletto. Passacagli
1.3. Partite 14 Sopra L'Aria Della Romanesca
1.4. Baletto E Ciaccone
1.5. Toccata Seconda
1.6. Capriccio Sopra La Battaglia
1.7. Toccata Qvarta
1.8. Partite 12 Sopra L'Aria Di Ruggiero
1.9. Partite Cento Sopra Il Passachagli
1.10. Toccata Terza
1.11. Partite 11 Sopra L'Aria Di Monicha
1.12. Capriccio Fra Iacopino Sopra L'Aria Di Ruggiero

2.1. Toccata Vndecima
2.2. Capriccio Fatto Sopra La Pastrale
2.3. Toccata Dvodecima
2.4. Toccata Nona
2.5. Partite 6 Sopra L'Aria Di Follia
2.6. Toccata Settima
2.7. Passchagli
2.8. Balletto Secondo. Corrente Del Balletto
2.9. Toccata Qvinta
2.10. Balletto. Corrente Del Balletto. Passachagli
2.11. Toccata Sesta
2.12. Corrente E Ciaconne
2.13. Toccata Otava
2.14. Corente Quattro
2.15. Toccata Decima

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The Rita - Magazine

"Originally released as a limited-edition double cassette on Swedish label Abisko in 2005, 'Magazine' has since become a near-legendary album, considered by many to be the finest recording from pioneering harsh noise artist The Rita (and equally celebrated for its iconic artwork, featuring a Big Muff effects pedal acting as the magazine for a machine gun). 'Magazine' contains 80 minutes of militant noise music, with Sam McKinlay pushing the limits of extreme sound until they begin to implode. Drawing influence from abstract painters such as Ad Reinhardt and Kazimir Malevich, the four tracks on 'Magazine' are progressively deconstructed, slowly taking the dynamic sonic elements away until the last track is a linear/minimalist 'wall' of texture and crunch. Ultimately the hope is that under a microscope the same slowly deteriorating audio dynamism and viciousness from the first three tracks is still present, just found within the walls of linear crunch during the last track, 'Obsession.' A study in brutality, density, and focus, 'Magazine' tests the listener, challenging them to fully engage with the shifting layers of sound that, through careful study, continually expand beyond their seemingly minimalist form. This militant approach to sound became a call to action for a generation of noise artists who were influenced by The Rita, and 'Magazine' has finally been reissued for all to hear." (From the online notes to the 2019 New Forces reissue.)

A. Magazine 1
B. Magazine 2
C. Magazine 3
D. Obsession

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Bacillus / The Rita - Collimators, The Ocean

Split from US-based pandemic themed noise project Bacillus and noise veteran The Rita released on the latter's Lake Shark Harsh Noise label last year (possibly some left to buy if you go here). On his site, McKinlay describes the Bacillus side in the following way: "The legendary Bacillus envelopes himself in the world of medical radiation with some of his most dense material yet." For The Rita side: "The Rita observes the ocean of Solaris while processing pre-recorded deep ocean samples." This combination of themes is fascinating and, as I have mentioned here before, it's good to see McKinlay returning to his oceanic themes in favour of another foot fetish-themed album. Alongside the description, the following text is given:

"Radiation induced ionizations also directly damage the cellular molecules and can indirectly produce free radicals, which are derived from the ionization of the water component of the cells, which then attach themselves to the mutated genes, damaging it and causing cell death."

"Genius and mediocrity alike are dumbfounded by the teeming diversity of the oceanic formations of Solaris; no man has ever become genuinely conversant with them."

"The nails, still surrounded by traces of clotted blood, had regrown.  There was a pink scar in the hollow of her palm, but even the scar was healing, disappearing in front of my eyes."
 
A1. Bacillus - Conformal Irradiation Of Gene Mutations
A2. Bacillus - Cancerous Growth Arrested By Stereotactic Radiosurgery
A3. Bacillus - Tomotherapy For Tumor Metastasis Containment
A4. Bacillus - Collimators Delivering Intensity-Modulated Radiation
B. The Rita - Natalya

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Vomir - Untitled

Release from Romain Perrot on Canadian experimental label Prairie Fire. An edition of 66 from 2010. As expected from Vomir this is nihilistic harsh noise wall, which means no development apart from the slight change in texture from side A to side B. The sound is quite compressed compared to some of his other more high fidelity work.

A. Untitled
B. Untitled

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Cracksteel - Felucca

Released on Australian label Cipher Productions in 2005 in an edition of 50 copies. A dense, furious assault of noise that proves the consistency of this project. As usual low-end heavy.

A. Noesis Ventilator
B. Blasted Vortex Archipelago

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Mo・Te & Macronympha - Dub of Macronympha 1999

Featuring absolutely amazing cover art, this is (presumably) Fumiyuki Nagura mixing Macronympha source material. The effect is dense, processed noise befitting the caliber of the artists involved. As if the look of the cover wasn't enough, this is actually only a sticker, placed on two diapers with the artists' names scribbled on. The fine handiwork of Ecuadorian Leonardo Sabatto, the man in charge at Bizarre Audio Arts.

1. Dub Of Macronympha 1
2. Dub Of Macronympha 2
3. Dub Of Macronympha 3

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Two Assistant Deputy Ministers / Cracksteel - Official Channels

Split from Kazuhiro Matsuyama (Cracksteel) and Jason Kushnir (TADM). The themes here fall in line somewhat with Incapacitants' insane salaryman archetype, somewhat with later projects like Dominick Fernow's industrial techno moniker vatican shadow: dark echoes of international espionage. This is dense, highly dynamic noise. Despite Kushnir being (probably American) his sound is closer to what one might describe as staple Japanoise, whereas Matsuyama displays a sound that's slightly denser and low-end focused. Released in 2001 in an edition of 100 CDs on the Self Abuse Records sub-label Solipsism.

1. Two Assistant Deputy Ministers - Channel 16: Information Retrieval
2. Cracksteel - Channel 23: Imperial Torture
3. Two Assistant Deputy Ministers - Channel 39: Dissolving The Issue

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Cracksteel - Blood Purge

Early Cracksteel cassette release, issued in 1996 on the artist's own label Workturm Ghetto. The cover is a reproduction of a newspaper clipping following the murder of John Lennon. This is dense, low-end heavy noise that retains the kind of furious dynamism one expect from the Japanoise style.

A. Blood Purge
B. Silver Disaster

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Ewan MacColl & A.L. Lloyd - Blow Boys Blow

One of the finest collection of 'sea songs' but to vinyl by two grandmasters of English language folk songcraft. Lloyd and MacColl's voices are matched perfectly through consummate skill and understanding of their material. These songs are instantly rousing, funny and melancholic when they need to be and make us yearn for the world they came from. Released in 1958 on the seminal folk label Tradition. 

A1. Row Bullies Row
A2. Paddy Doyle
A3. Wild Goose Shanty
A4. While Cruising Round Yarmouth
A5. Old Billy Riley
A6. Handsome Cabin Boy
A7. South Australia
A8. Blow Boys Blow
B1. Whup Jamboree
B2. Banks Of Newfoundland
B3. Whiskey Johnny
B4. Do Me Ama
B5. Jack Tar
B6. Paddy West
B7. Haul On The Bowline
B8. A Hundred Years Ago

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Bob Dylan & The Band - The Genuine Basement Tapes Vol. 1

The first of five unofficial releases of Dylan's 1968 Woodstock demo material on Italian label Scorpio. There's less comedic material here, instead we have some really excellent originals mixed with various covers. It begs the question of what else was played and not recorded, as we hear Dylan trail off at the end of 'Hills of Mexico', telling Garth Hudson he's "wasting tape". Some of the finest moments from the entire sessions are present here, including originals like 'All You Have to Do Is Dream', 'Rock Salt and Nails' and 'One Man's Loss', and covers like 'A Fool Such as I', 'People Get Ready' and 'Young But Daily Growing' (an improperly titled 'The Trees They Do Grow High'). 

1. All You Have To Do Is Dream #1
2. I Can't Make It Alone
3. Down On Me
4. Bonnie Ship The Diamond
5. One Man's Loss
6. Baby Ain't That Fine
7. Rock Salt And Nails
8. A Fool Such As I
9. Be Careful (Of Stones That You Throw)
10. Hills Of Mexico
11. It's Alright
12. Song For Canada
13. Try Me Little Girl
14. One For The Road
15. I Don't Hurt Anymore
16. People Get Ready
17. Lock Your Door
18. Don't You Try Me Now
19. All You Have To Do Is Dream #2
20. You Say You Love Me
21. Young But Daily Growing

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