I mean the drabness is what makes her amazing.
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This is such a key part of the appeal for me - the tension between the fear of commitment and the possibility of failure, and the freedom of importance. I'll maybe do a thread later, the ongoing wo' of Dido or something
IdleRich
IdleRich
I looked this up... apparently it's Florian Cloud de Bounevialle O'Malley Armstrong.
Don't you find that weirdly alienating though? I don't use music as an escape but I don't want it to reflect my exact conditions either. Even the industrial techno/gabber I like has an inquisitive wonder towards the machines. It's why I'm not so into berlin techno cos it's just a pounding kick drum with a few sounds at 135. Should be 786 bpm minimum.
yyaldrin
in je ogen waait de wind
thanks! what about the one at 2:30:30? sounds a bit like hi speed krautrock.
will check later.
IdleRich
IdleRich
Listening to this one now... hardly started but some bangers on there already. Enjoying this one which I guess must be Selda.
Bağlama
it's off this, released on the french research label Ocora.
Talip Özkan - Turquie. L'Art Vivant De Talip Özkan Vol. 1
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tracks 1 and 4.
IdleRich
IdleRich
Nice one, I know Ocora label yeah, isn't it mainly field recordings and stuff like that?
Either way, back to the next section of this mix, I notice Arif Sag will be coming up, I really like this seven inch I've got by him, both sides killer but especially this one
I read somewhere that he later disowned the electric saz stuff... kinda like Dylan going electric and then changing his mind.
Either way, back to the next section of this mix, I notice Arif Sag will be coming up, I really like this seven inch I've got by him, both sides killer but especially this one
I read somewhere that he later disowned the electric saz stuff... kinda like Dylan going electric and then changing his mind.
Yeah he became a folk traditionalist, of sorts.
In some senses I don't blame him, the electric saz stuff got a bit cliche towards the end of the 70s.
In other senses though, I feel it was an aborted development and a lot more could be done.
Can't say how much the Bob Dillon parallel holds as i never got into him, personally.
IdleRich
IdleRich
I'm not really a Dylan fan either, but I'm just saying that at one point in the mid sixties, as I understand it, the folk scene was kinda divided with some demanding people stuck to the acoustic routes while more progressive types thought it could only advance by going electric. When Dylan chose to go electric it was seen as a betrayal by a lot of people - I think it probably blew over pretty quickly but it's preserved for posterity cos when he came over to the UK and played I think maybe he did the first half of the concert acoustic and then switched over to electric and at the concert that was recorded someone can be heard shouting "Judas" at him and he shouts back.
I believe this happened at more than gig and it can't have been a huge surprise but just cos of that exchange on the recording it's often written about as some kind of pivotal moment in the history folk or something. And when I read abut the divide as to whether or not the electric saz was acceptable it reminded me of that whole kerfuffle.