rhythmelodics

luka

luka

Well-known member
gilles peterson is shorthand for an entire aesthetic terrain, an ethos and a value system.

he is from Ealing. He started his own pirate radio station in his dad's shed when he was 14. He co-founded the Acid Jazz label, then split from Eddie Piller to start Talkin' Loud.

he's easy to mock (and I have done, many times) but he's also an important figure with a deep and serious engagement with music and his radio show, 'worldwide', which at the time was on Kiss FM, introduced me to Pharoah Sanders, Sun Ra, Leroy Jenkins and many others.

ultimately i decided it was all too tasteful and west London for me and jumped ship.
 
luka

luka

Well-known member
When I was tuning in in 1996 Benji B was his little assistant who made him cups of lemon ginger tea and rolled his clove cigerettes for him. which just goes to show you need to start early if you want to get ahead in media.
 
luka

luka

Well-known member
when i was in australia i was working in a coffee shop with this very loud, abrasive, very funny but quite overwhelming jewish aussie girl with an insatiable coke habit. lots of make-up, long manicured nails, strings of inappropriate boyfriends, always caught up in some drama or other, massive loud voice, massive dirty cackling laugh.

the manager was this italian lad called matteo and he was infatuated with her. i dont think they have girls like sasha in italy so after a year of this we had the staff christmas party, he got her proper pissed and i think he actually had to carry her back to her flat.... the details are hazy, im sure there was some carrying involved... well obviously the next day she told me all about it at work in a massive loud voice
and she was like 'yeah he was alright, but it was all too sensual do you know what i mean, i was just thinking, get on with it mate... halfway through i got hungry and went and got a packet of crisps and started eating them in bed'

giles is a bit like that, a bit too gentle and sensual and considerate
 
T

thirdform

pass the sick bucket
sorry crowley i was in a north london stab a twat state of mind yesterday and didn't read your first message properly. apologies. i know in kentucky u are quite sensitive towards these things. my bad.
 
T

thirdform

pass the sick bucket
the thing is beef in the UK is very serious we could be talking about half a bottle of raki from the local turkish mixed with a triple espresso, 9 cups of tesco instant coffee, a gram of speed only then a spliff. but in US you don't even put tobacco in ur joints. that's why even when u have beef in hip hop the beats never sound like they're gonna glass u in the face. like i said very serious.
 
C

CrowleyHead

Well-known member
I see that you're in a place of great internal turmoil to continue with these 4chan type rejoinders, so I'll let your flights of fancy with regards to consistent arguments be free.

Ribbing aside, it was more of an analogous statement Not About Preference but when there's a collaborative pair who develop something alongside each other and then you watch who goes where. Use the Truffaut/Dali pairing if you so prefer as an example, and that in Jazz it's incredibly rare that the Saxophonist is the actual pioneer for whatever reason (outside of the world of Sax playing in which other sax players are always bound to try and emulate other sax players. It's a confoundingly orthodox world). And the fact remains the early stuff where Cherry and Coleman are playing together, it's really more that Cherry pointed the direction and knew what he was doing.

The good thing about Saxophonists though is they're great bullshit con-men and the trumpeters instead become great showmen. So Ornette became this consummate lecturer about how to explain his instincts and the framework with which he goes about things while Cherry got to keep moving along and become an international traveler and constantly readapt whenever he saw a lane.
 
padraig (u.s.)

padraig (u.s.)

a monkey that will go ape
CrowleyHead said:
So Ornette became this consummate lecturer
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ya I'm not remotely qualified enough on actual jazz to discuss Cherry in relation to the Coltrane-Coleman-Ayler trinity

I do like his mid-70s live recording with Terry Riley very much, probably my 3rd-fave Riley thing after In C and Church of Anthrax

Coleman on harmelodics appeals to me, the mystical bullshit/profundity angle as noted upthread, but I don't know his actual music very well

it seems like rhythmelodics is - slightly disappointingly - is just kind of a mundane if poorly defined version of what it says it is

which is fine just seems like another YT-dump thread
 
luka

luka

Well-known member
i dont speak this language but i would like to learn. if i am determined to teach you my language it is only right that you all teach me yours.
 
luka

luka

Well-known member
you saw me and barty break down an r&b song each, both of us in our own language and frame of reference. what i suggest you do is do a deep reading of a one of these songs, using your own terminology and frame of reference. i think it is time for slowness and for depth.
 
T

thirdform

pass the sick bucket
im not that into sociology lol. and i wasn't bickering with crowley.

the first song i posted on the first page has a very clockwork rhythm with heavy accents on the darbuka which gives it an element of the weightlessness of dancing but the kanun plucking also adds a complexity to the rhythm. so you can't decide whether it's dance music or sit down music. that functionalist approach doesn't really apply. you could liken it to speech in some respects, and when the rhythmic switch up applies in the climax it feels like vertigo not only in the physicalist sense but in terms of the phenomenological vertigo of pronouncements. the darbuka has a lightness yet paradoxically also a tactile force to it, this is why you can do accented 7/8 or 9/8 rhythms on the instrument where it literally feels like the rhythm is opening and closing. you can't really replicate that feel on a drumkit or using electronic drums.
 
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T

thirdform

pass the sick bucket
but then this tune suggests a genetically and kinetically enhanced cyborg, not the fluidity of tradition but the chaotic war against all nature of contemporary society. there are no winners so get with the game, the age of chivalrous discipline is over. you are always on the verge of disintegration. regularity is only temporary.

 
T

thirdform

pass the sick bucket
whereas this we could call the military industrial binary complex. the sound of biology and data sublated into a contraption that is alienated from us and exercises a power over us. ruthless, systematic, but also the sonic death of Klausiwitz. war is no longer politics, because the anti-politics of the self-valourisation of capital prevails. If traditionally we saw history as two streams of a river, the right one conservativism and the left one reformism, then we find it hard to conceive the bursting and flooding of this river, wich, in the final instance would be a route out of this impasse. it is ironic then, that this album is called the neurobiology of moral decision making, because it is quite literally the destruction of soul. and that is good.

 
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luka

luka

Well-known member
thirdform said:
whereas this we could call the military industrial binary complex. the sound of biology and data sublated into a contraption that is alienated from us and exercises a power over us. ruthless, systematic, but also the sonic death of Klausiwitz. war is no longer politics, because the anti-politics of the self-valourisation of capital prevails. If traditionally we saw history as two streams of a river, the right one conservativism and the left one reformism, then we find it hard to conceive the bursting and flooding of this river, wich, in the final instance would be a route out of this impasse. it is ironic then, that this album is called the neurobiology of moral decision making, because it is quite literally the destruction of soul. and that is good.

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this outstays its welcome but its basic premise is very good it think. those bits and bytes zipping past. particles of information in motion. this is something more brilliant than the sun insists on. these are not drums anymore. they are units of information. i think that is an important thing to hold onto.
 
pattycakes_

pattycakes_

Can turn naughty
thirdform said:
the darbuka has a lightness yet paradoxically also a tactile force to it, this is why you can do accented 7/8 or 9/8 rhythms on the instrument where it literally feels like the rhythm is opening and closing. you can't really replicate that feel on a drumkit or using electronic drums.
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Dude, you say this and then post a jungle track right after! Jungle drums can do the darbuka thing so well. The snare rolls are just like the rapid-fire finger tip shit. The bass drums are the ever shifting pulse and the high pitched rimshots are the snare. If there was ever a drum to play jungle on it would be the darbuka. Just got back from some heavy assed jamming here in Maroc and I was thinking exactly this. The guy was playing jungle. Nice bit of synchronicity.
 
T

thirdform

pass the sick bucket
i agree you could play jungle on the darbuka.

But i think the choppage of breakbeat is not analogous. one is a kind of calculated gravitational machine funk, where the friction is condensed into the bass attack and brute cut.

the other is more like flowing water. it is more similar to gamelan in that regard.

if u listen to traditional eastern wedding songs in turkey, on the davul and zurna, the davul has that heaviness which better approximates jungles mix of burden and lift off.

i think tabla is the quintessential breakcore/idm instrument though. those 16 beat teentals are basically prehistoric breakcore.
 
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