WintherStormer: Woodwork (2007)

Ha már itt tartunk, akkor íme Terje Winther és Erik Stormer együttesének első lemeze a Woodwork. Hasonló stílus, mint Winther szólólemezén, azaz "analóg" BS, szekvencer hegyekkel.

Terje Winther: Trespasser (2004)

Terje Winther norvég "analóg" muzsikus. Lemezén a 70es évek elektronikus zenei stílusa keveredik progresszív zenei elemekkel.
Erik Stormerrel összedobott egy moduláris szintetizátort a WintherStormer modular-t (bővebben itt). Azért bedobok róla egy képet:

The reason for building this thing is simple, and can be summed up in these words; moog modular, Klaus Schulze, fun, music, disire, and besides; a man gotta have something to do.

Radio Massacre International: Fast Forward (2008)

Válogatáslemez az utóbbi tizenöt év 30 albumáról, "hallgathatóvá" szerkesztve.

Jim Kirkwood - Bones of the Earth (2008)

01 - Sounding the Mirror
02 - The Vision of Papa Legba
03 - In the Cauldron of Kali
04 - Relics of a Future Age

"This album was released in 1999 and deleted shortly after because I was not totally happy with either the music or the production. Actually, I am never completely happy with the final product of any album but I do try to reach an acceptable level in both of these areas. But the album did have a few saving graces and I didn’t want to abandon it altogether. So I had another go. Three of the tracks are exactly the same length they were before, except that they have been remastered.
The other track, Sounding the Mirror, was also remastered but also considerably extended from 17 mins to 61 mins. I also gave the artwork a few touches here and there. Nothing spectacular, just a few corrections. The dancing figure, obviously feminine and graceful, is of an Anannaki nature, a being some refer to as a “blue blood”. She is dancing in front of my own version of a “stargate”, a portal into another dimension. I did this painting, ( actually it’s a drawing as I was using colour pencils at the time) some ten years ago. This subject has now become current news in some circles. The runes around the gate do not say anything in particular, they are just the natural order of the Anglo-Saxon futhark, as it is called. The word “futhark” refers to the first six runes which in the drawing begin clockwise from beneath the morning-star, the lightbringer. The funny thing is, the artwork has very little to do with the inspiration behind the music! Hah. Well, there you go, what can I say except, It is what it is and maybe the connections are just not obvious! The following are from the original sleeve notes. I still think they are of interest."

“The inspiration that brought this Cd into being came mostly from the religion of Vodou (spellings and names vary, Santeria is a commonly used name) specifically the first two tracks. Whilst it is not my intention to divulge the secrets of this fine tradition, a few details might add to the atmosphere of the music. I am inclined toward the ancient religious practices of Northern Europe which includes a shamanic practice called Seidr, which is remarkably similar to Vodou despite their quite distinct cultural backgrounds. Like Seidr, Vodou has its priests and priestesses. (Houngans and Mambos) The World Tree of the Norse shamans, Yggdrasil, which towers above the four cardinal points and represents a cosmic axis, finds a direct parallel in the “poteau-mitan” the centre post, which is sacred to the god of the crossroads, Papa Legba. He is called upon at the beginning of all ceremonies to “open the ways”. In Vodou, the symbol of the cross represents a kind of mirror where the astral meets the cosmos. The poteau-mitan, painted with bright colours, like the Rainbow Bridge and Yggdrasil, connects the three realms of heaven, earth and hell. The loas (gods) use the pole to descend and temporarily take possession of the priest/ess passing on advice and wisdom as they do so. The soul of the priest/ess departs the body whist the possession is active, then the body is known as a “horse”. Yggdrasil, which means Odin’s horse, is the tree upon which Odin, the North European god of the crossroads, hung in self sacrifice for nine days to attain the wisdom of the Web of Wyrd. These nine days are also significant in Vodou, as the nine days it takes the ti-bon-ange (the soul) to depart this world after the death of the physical body. The other part of the soul, the gros-bon-ange, is a form of energy which returns to the web which connects all life in the cosmos. The invocation to the god of the crossroads, Papa Legba, “ouvri barri pou nous passer” is typically in French. Haiti, the centre of Vodou, was once a French slave colony, run with the full blessing of the Catholic church. Today there is a saying in Haiti that the population is 95% Vodou and 95% Catholic. It would seem the Catholic church has come to terms with this strange mixture of Catholicism and ancient African religion. Once we get passed the image foisted on us by Hollywood, we will discover an ancient and dignified religion that is rapidly growing around the globe. And this despite the sickening attempts by fundamentalist Christians from the American bible belt who have poured millions of dollars into creating Christian radio stations on Haiti which constantly fill the airwaves with their garbage. Hey, perhaps the living dead exist after all!”

"After reading through these original notes I found the connection I thought was missing between the artwork and the inspiration for the music. The stargate, an arch of runes, is quite literally a Poteau-Mitan, a door into another dimension. More thought went into it than I realised. Perhaps I was “horsed” for a moment! I will only add for the time being, that you will hear various samples of voices and percussion on this music. They are authentic Vodou sounds, hence the voices are mostly in French."

Murcof - The Versailles Sessions (2008)

Thomas Beecham mondta egyszer: "a csembaló hangja hasonlít ahhoz, mint amikor egy madárkalitkán egy villával játszunk."Sokan osztják ezt az érzést. Az ő számukra a barokk zene semmit sem jelent. Túlságosan finomkodónak, túlságosan sekélyesnek tartják, úgy vélik, az egész célja nem más, minthogy az arisztokrácia hölgytagjait úgy szórakoztassa, hogy azok érzéseit véletlenül se sértse. Fernando Corona ezekkel a hangokkal bizonyosan nem ért egyet, hisz legújabb kollekciója a Napkirály, XIV. Lajos pompázatos udvarába visz el bennünket.

A Versailles Sessions a Versailles-i kastélyban évente mgrendezett hang-fény-víz fesztiválra íródott. Murcof hat speciálisan rögzített kompozíciójához a hanganyagot 17. századi barokk hangszerekkel, csembalóval, viola da gambával és fuvolával játszották fel. " Üdvözöljük Versailles-ban", kezdődhetnek a csattanós ütközések, jöhet a húrok kaparása! ....(folyt. köv.)

http://addat.hu/1859433d/Murcof---The-Versailles-Sessions.mp3.html

Arturo Parra: Parr(A)cousmatique (2002)

"Ez a projekt a gitáros, Arturo Parra vad képzelőerejének szüleménye. 1997-ben 4 művet rendelt 4 elektroakusztikus komponistától (Stephane Roy, Francis Dhomont, Gilles Gobeil, Robert Normandeau). Mindegyik darab önálló hangszalagra írt alkotás, amit a gitáros átkomponált gitárra és hangszalagra." (Robert Normandeau)

A kompozíciók mindkét verziójának premierje az 1998. évi Festival international de musique actuelle de Victoriaville (FIMAV) keretében került megrendezésre. A művek létrejöttét a Kanadai Művészeti Tanács és a Kolumbiai Kulturális Minisztérium anyagi támogatása segítette. A lemez tartalmaz még egy - a fenti koncepcióban készült - Mauricio Bejarano alkotást is.