Performances Releases Reviews

DMG Newsletter March 20th, 2009

Releases, reviews and in store performances from DMG.

Finally The Henry Cow Box-Set in Stock This Monday!!! Hip Hip Hooray!!!

Four New Discs from Tzadik: Bill Laswell Solo, Guy Klucevsek Quint & Greg Wall‘s Later Prophets, 2 from Gunter Hampel, Radio I-Ching, Alan Licht Solo LP, Reut Regev R*Time, Capece & Vaino, 4 from Martin Philadelphy, Horace Tapscott, Gottschalk & Jacquemyn, Adventures in Sound w/ Xenakis, Stockhausen & Schaeffer, Charlemagne Palestine & Christoph Heemann and even more…


1st Free In-Store Performance at our New Location:

MONDAY (not Sunday), March 23rd at 7pm:

Herb on trumpets & Tim on alto sax!
Two early downtown horn heroes back together after all those years!

and JUST ADDED, our 2nd Free Instore show:

Sunday, March 29th at 7pm:

Frank on alto sax & clarinets and Thomas on trumpet!
Two European Horn Giants in a rare, intimate, duo setting!

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Charlemagne Palestine still pushes his keyboard to the limit

From the Los Angeles Times:

Palestine, known in music circles for his marathon all-night concerts in the 1970s (they were often so intense that he bled on the keys) is returning to the Los Angeles stage tonight after an 11-year absence. As part of the Monday Evening Concerts series, he will perform one of his seminal works, “Schlingen-Blängen,” on one of the world’s largest church pipe organs at the First Congregational Church.

“I can’t say, at 61 years old, that I can be maximal every day,” he added. “But when I play this big organ, it’s going to resound like Armageddon come home.”

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Three New Releases on Planam

Charlemagne Palestine
Image via Wikipedia

Planam offers some new recordings:

DENDOSHI: Dendoshi 2 LP
“Dendoshi is Keith Connolly (No Neck Blues Band), Raymond Dijkstra (Asra), Dave Nuss (No Neck Blues Band) and Timo Van Luyk (Af Ursin, In Camera). Dendoshi: ‘he who comes to propagate the ceremony’ or ‘missionary’ (Japanese). There had actually been a previous incarnation of Dendoshi (hence Dendoshi 2), which was a large group performance in New York which concentrated on elucidating the memories of a dead tree which had been re-contextualized as a sculptural exhibit. Some thematic reference: The name ‘Dendoshi’ originates from the work of Japanese filmmaker Kiyoshi Kurosawa, whose films also inspired the content of the first performance. When the opportunity presented itself for Connolly, Dijkstra, Nuss and Van Luyk to come together to make a session, it was the perfect opportunity to realize Dendoshi not as a one-off performance on a theme, but as a recurring ritual in development. The resulting music widened the conceptual reflection of the band, bringing to mind the history and ideas of Franz Mesmer. Mesmer, the 18th century Austrian spiritualist healer, was among the first to put forth the theory of what he termed ‘animal magnetism,’ regarding a universal fluid which permeates all matter and can be influenced by the will, not dissimilar to some of Eliphas Levi’s concepts. What seemed to set Mesmer apart was an attention to mood and atmosphere, an aesthetic component to what were scientifically quite dubious theories, which lent his work an aura of portent — thus the parallel with the music captured as Dendoshi 2. Reflecting the qualities that all four musical sensibilities had in common, the album is a statement upon the ephemeral nature of atmosphere and will, and the relation of reverie to oblivion as opposed to ecstasy. The symbol, or mark on the front cover created by Connolly came intuitively and without revision. Its applied function is that of distinction rather than that of protection or as a seal. It was first applied to the photograph by Clarence H. White form 1904, where the first resonant depiction or personification of reverie and oblivion as applied to Dendoshi was found. By applying the mark, Connolly is ceremonializing the image, thus rendering it distinct from its original form, not as an appropriation, but as a recognition. The other images followed, and each of them were recognized instantly without having to search. The last was Vermeer’s image from Van Luyk’s basement, and upon receiving this, the series of 4 inserts was complete. There is a trace of fear and a sensation of suspended time in these images which suits the music very well. Edition limited to 300 copies with a gold cover.”

“Entering their 20th year of existence, the GOL orchestra, together with the label Planam, celebrates and starts a new program of collaborations: the Gollaboration series. Musique Directe shows the band facing the leaders of Rumanian spectralism, Ana-Maria Avram and Iancu Dumitrescu. Electric and intense spontaneous experiments, on the edge of electroacoustic music and primitive avant-garde. Live recordings in Marseille and Paris with the participation of Ansamblul Hyperion members Petru and Matei Teodorescu on one track. GOL was formed in 1988 in Paris by Jean-Marcel Busson, Frédéric Rebotier, Ravi Sharda and Samon Takahashi. The quartet embodies, within a post-Dada spirit, a lost rural tradition. GOL plays flute, horns, guitar, violin, toys, self-manufactured instruments, tapes, turntables, voices, various percussion instruments and electronics, an appropriateness of both traditional string instrument and handmade low fi equipment. GOL’s first LP, issued in 1993, compiles their first items (’88-’92) based on vinyl-record scratching, tape cut-ups and acoustic instruments. The issuing of this LP was followed by a 9-year hibernation. Since 2002, the band is back together to pursue its common research and play together with instinct and invention. Their music, electroacoustic-oriented, is partially improvised and partly tense. At the time of a collaboration with Rumanian composer Iancu Dumitrescu, GOL developed a score system renowned as ‘layer’s leaf .’ Through this system, they could elaborate a hybrid music between orchestral conduct and free interpretation of movements. Edition limited to 300 copies, also including the improvisation sketch for ‘Musique Directe V’ (not on the record).”

GOL & CHARLEMAGNE PALESTINE: Pandamoniahbleeummm!!!! LP
“Entering their 20th year of existence, the GOL orchestra, together with the label Planam, celebrates and starts a new program of collaborations: the Gollaboration series. Volume 2, Pandamoniahbleeummm!!!! marks the encounter with Charlemagne Palestine, pioneer of strumming music and piano maximalism, in the St. Eustache Church in Paris, known for its world famous church organ. The following battle, in the form of a long incantatory improvisation, Charlemagne Palestine playing the church organ and GOL doing the electronics, bass, guitar, and the flutes part, combines many attributes of a pagan ritual. Edition limited to 300 copies, also including a large insert with liner notes and great graphics by Jean-Marcel Busson who also designed the front and back cover.”

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Monday Evening Concerts

Charlemagne Palestine
Image by eye & ear via Flickr

LA is the home of Monday Evening Concerts, a new music series.

2008/09 Season

Dec 8
The Avant-Garde Through the Ages
Music by Maierhof, composers of the Ars Subtilior, Globokar, Harada, Froberger, and Berio. Visiting artists include accordionist Teodoro Anzellotti.

Jan 12
American Originals
XTET performs works by Feldman, Curran, and Rzewski.

Feb 16
Gérard Grisey’s Acoustic Spaces
Two spectral masterpieces, two L.A. premieres: Les Espaces Acoustiques Part I and Tempus ex Machina.

Mar 16
Charlemagne Palestine’s Return
Charlemagne Palestine performs Schlingen-Blängen on the world’s largest church pipe organ.

Apr 13
For Galina Ustvolskaya
Tribute to late Russian composer, conceived by Marino Formenti. Plus music by Lang and Billone.

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