Dionysis Boukouvalas - English Gardens (CD, Album)
It was founded as the Imperial Cricket Conference in by representatives from England, Australia and South Africa, renamed the International Cricket Conference inand took up its current name in The ICC is responsible for the organisation and governance of cricket's major international tournaments, most notably the Cricket World Cup. It also appoints the umpires and referees that officiate at all sanctioned Test matches, One Day International and Twenty20 Internationals. Each nation has a national cricket board which regulates cricket matches played in its country.
The cricket board also selects the national squad and organises home and away tours for the national team. Temporary File. Screen Files shown during various installations. URL: www. A11 Graphic. A3L Authorware 3. A4L Authorware 4. A5L Authorware 5.
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Note: underlined titles are in synthesized performances only. This is only a preliminary draft and will be updated regularly. Please send additions and corrections to [email protected] I would especially appreciate hearing from anyone who has a recording of titles in boldface or of works that need to be added.
Composers, please submit recordings of your own works to Dr. Ho BoxMusic Dept. QuartetOp. Q ? Henry Harris Aubrey [H. Concerto No. Stepanenko and published in his orchestration for piano and strings; another orchestration for full orchestra by P. Allegro molto Carder, Alan B. Schumann: Reveries Tchaikovsky: Concerto No. Carlos Edo Sabogal. Tran Tuan Trung. Weiss - Courante in E Minor Arr. Ansgar Krause. Zurab Parastaev. Bruna Pilan Mulotto.
Heidi Li. Kevin Pioc. Junjun Caoli. She began her career there in as a member of the duo Antique, while she also worked briefly as a model for a Swedish-Greek brand. In she won the Eurovision Song Contest for Greece for the first time in the contest's history, with the song "My Number One", significantly contributing to her career.
Following the victory, her album peaked at number one on the Greek Albums Chart and was certified double platinum by the International Federation of the Phonographic Industry of Greece, while she also briefly attempted a career beyond Greece with English-language material, charting in a few countries abroad. Her fifth studio album, Giro Apo T' Oneirowas also certified platinum. On 14 Marchprior to the release of her fifth album, Alpha TV ranked her as the 14th top certified female artist in the nation's phonographic era sincetotaling seven platinum and four gold records.
Paparizou was the most successful debuting female artist of the s and established herself as one of the top pop artists of the latter half of the decade. As ofshe has been certified for the sales of thousand. Sound Characters is a sort of compilation album, containing material from a couple of different installations as well as some piece apparently composed just for the CD.
Sound Characters 2on the other hand, is a documentation of one installation, at the outdoor plaza of the Palacio de las Bellas Artes Museum in Mexico City, presented as a complete narrative. Album) the liner notes for the first CD follow the typical Tzadik six-panel standard, there is a sixteen-page booklet with the second, complete with photos and diagrams and several essays about the installation although you might need a magnifying glass to see much in the diagrams.
Both CDs are still in print, and it's been a pleasure to hear them again. Her wikipedia page has already been updated several times since her death yesterday, and someone has already started an online archive to document her work. The only real obituary I've seen so far is from the Chicago Readerand Kyle Gann also has a nice remembrance of this singular and amazing artist.
Saturday, October 10, The road to Paradise. Another photo from our road trip last week. There actually is a very small town in Arizona called Paradise, and we took the one-lane dirt road across the Chiricahua Mountains to get there.
The Sound of Love. If music contains the power to evoke our emotions, what is the sound of love, the most fragile and most sincere of emotional states? Celer 's brief but prolific musical trajectory circles this question, adopting a mystical perspective towards living and working through a fragile existence. Their source material is all acoustic instruments — piano, violin, cello, harpsichord, whistles — but connections between individual sounds and their origins are as fragile and tenuous as the emotions they seek to describe.
Western music is based on a model of tension and resolution, an establishment of expectations and the delayed gratification for the ultimate cadence. But Brittle is carefully constructed to remove all traces of conflict and difference. Even when their individual sounds combine into consonance or dissonance, nothing is ever established as a home base.
Even when a pretty chord rolls around, there's no function, no direction, any more than when the elements of a mobile drift into a pleasing shape. Sounds are pure, without attacks, drifting and of long duration.
The listener quickly turns off expectations, dismantles the entire cultural listening apparatus, and bathes in the music's warm glow.
The program notes for Brittle outline some of Celer's always interesting working methods. Their drifting ambient music is an outgrowth of using open forms, creating small pieces that combine in various ways to create a larger work.
Brittle shares the earlier album's sound world but is one long track that was originally comprised of many smaller fragments. One imagines that the resulting piece is one of several possibilities, that in a parallel universe the Brittle release would have been sequenced differently. But where Nacreous Clouds displayed its seams, little moments of silence between each track, Brittle is a continuous stream of music, and the nineteen separate tracks that lie at its origins are completely erased, blended into a complete unity.
The normal musical vocabulary is insufficient to describe Brittleso a reviewer struggles to find appropriate metaphors. Perhaps like fire light, the music is always moving, always flickering, never settling into a constant sonic wash. Or like the water in a mountain stream, moving over rocks, a continuous variation of sound, light and shadow. By removing musical landmarks, Celer demonstrates the fragility of existence, and Brittle becomes an environment for meditation and prayer. The peaceful work completely merges with its environment with nearly three minutes of room ambience, subtly framing the delicate sounds that have preceded, leaving the remaining music solely in the listener's imagination.
The disc itself is adorned with a quotation from Rainer Maria Rilke's Book of Hoursand the gatefold wallet cover Album) an brief, elegiac essay. Labels: CDcelerpromo. Thursday, October 8, Full disclosure. There's a lot of activity in the blogosphere about new FTC rules for disclosure, which take effect December 1. Although the rules are targeted at larger fish than the micro editions Album) appear in my posts, I believe full disclosure is generally a good idea. So here's mine.
Through my activity as a reviewer for furthernoise. Presumably record labels send out more review CDs than they get reviews, because I get more CDs than I can review for furthernoise.
Sometimes artists contact me via email, either Album) furthernoise. Most often I write about albums that I purchase with my own funds, the stated goal of this blog from its alpha post. In the future I will add the label "promo" to posts indicating that I received the music for promotional consideration, and as time permits I'll add the same label to past reviews. Note that all of the reviews I've published in furthernoise. I have never received a promotional copy of a book, although my Bruford article a while back prompted an offer from another rock biography publisher which I declined.
I'd like to say that I've bought every book I've reviewed here, but most of the academic ones are very expensive, fortunately available at the University of Arizona's music library. Wednesday, October 7, Maps and a stronghold. Katherine Norman's book on sound art, which I wrote about a month or so ago, prominently featured maps as a tool for personal discovery.
I have always loved maps, even as a kid, poring over atlases and letting my imagination wander. I still collect maps, using visits to the local outfitter as an excuse to find some other representation of the surrounding regions. Surprisingly, they disagree on road surfaces, sometimes even on locations, and the names for the obscure back roads seldom match what's printed on paper.
And when it comes to trails, printed information can be little more than recollections. We visited one trailhead that stated specifically: no commercial map had been redone since a devastating fire insuggesting that a genteel trail hike could migrate into a bushwhack around any corner.
Our move to Arizona opened a whole new field of possibilities. Locations on maps evoke murky historical events whose cultural accumulation is overlaid with hundreds of western movies, moving whatever tenuous historical fact into the realm of image and myth. One of the first landmarks that captured my attention here was Cochise Stronghold, a pass through the Dragoon Mountains where the Apache leader held out for many years, able to escape to the east or west as circumstances dictated, and commanding a long range view of the surrounding plain.
Like the Chiricahua Mountains, the next range to the east and named after Cochise's tribevisible in the photo above some fifty miles away, the Dragoons are loaded with breathtaking rock formations. I've been a bit intimidated to visit the stronghold because some sources indicate that four-wheel drive is required, but since we've traded our completely impractical convertible for an SUV, earlier this week we finally decided to check it out.
We can report that the roads to the stronghold, at least from the east side, are paved almost all the way, with just a few miles of improved dirt road to a campground at the trailhead. Although even a week ago we still had temperatures over degrees, autumn has finally arrived to southern Arizona, so we had a most excellent hike to the top of the pass.
Friday, September 25, Classical drone metal. Although I don't usually write about major label releases, Sunn O 's Monoliths and Dimensions blends contemporary classical music with experimental metal with stunning results. Most of the press surrounding the group focuses on their loud and ritualistic concerts, with the group dressed in monk's cowls and the stage filled with fog.
Concerts are fine if you live in London or New York, but here in the desert, their recordings are the only evidence one is likely to hear. Stephen O'Malley and Greg Anderson have been the core members since the group's first recording nearly ten years ago, and their albums have relied on an Album) number of guests drawn from other avant-metal groups, such as the Melvins, Earth and Boris.
But on Monoliths and Dimensionsthey enlist the services of a wide range of creative musicians playing acoustic instruments more commonly associated with the classical world. Typically classified as drone or doom metal, Sunn O 's core is a very loud duet between detuned guitar and bass, playing more or less in unison.
The sonic detritus resulting from extremely high volume and the guitar's extraneous noisy artifacts, such as the crunch on the attacks or the inadvertent vibrato resulting from reduced tension on the strings, produces long and deep resonances and interference tones that fill the space with ultra-physical waves of sound.
And thus begins Monoliths and Dimensions as well, an instant assault with a deep monophonic riff, gradually accumulating subtle resonance until a brief window ushers the entrance of Attila Csihar 's incantatory voice. Impossibly deep, Csihar's gutteral pronouncements seek their own cadence, deviating from normal rhythms until they sound like a new language, intoning the legend of Agharthathe city at the center of the Earth.
The "thunderous resonant clouds" that open Csihar's lyrics gradually are mirrored in the accompaniment even as his delivery remains static. Clusters from strings violin, viola, two double bassespiano and winds clarinet, English and French horns swirl to a "spinning thunderous vortex", when the rock instruments drop out, leaving the music to become dissonant, watery and evanescent.
Conch shells and a hydrophone replace the strings and winds, together with the amplified creaking of a rope straining under an unbearable tension. Big Church is highly ritualized, the women wailing incomprehensible syllables while Csihar overdubs several layers of murmuring. Nothing here is intended to be understood, but the lyric sheet provides the single Hungarian compound word associated with deconsecration. Again, brass and strings back up the choir and multiple guitars.
Epic in scope, both of these choral pieces recall the elemental forces of Carmina Buranaadding the electronic feedback which only increases the raw power of the music. After these two incantatory rituals, the last piece, Aliceis an instrumental affirmation that leads through chaos to an otherworldly calm and peace. Taking a cue here from the spectralist music of Iancu Dumitrescuthe guitar and bass gestures merge with a chamber orchestra comprised of brass three trombones and French hornstrings violin, viola, three double basseswinds oboe, English horn, clarinet, bass clarinet, alto flute and harp.
At first, the chamber orchestra provides spectral overtones for the rock instruments, chords and gestures that start deep and electronic but swelling with the acoustic instruments into mid and upper ranges, reversing the typical resonance where the high notes fade the soonest.
Eventually the trombones move to the foreground, providing their own harmony and counterpoint amidst the thickening textures while the rock instruments mark the beginnings of phrases. The final quarter of the piece is for the chamber orchestra alone apart from Oren Ambarchi 's motorized cymbal shimmering in the backgroundand the piece closes with a beautiful trombone solo from legendary jazz veteran Julian Priester.
On its own, Alice is remarkable enough, but in its position on this album, it borders on ecstasy. Although Monoliths and Dimensions is available as a download from the usual sources, the CD booklet has complete credits and lyrics, essential if you want to understand Csihar's vocalizations. The booklet cover is a translucent overlay on top of a Richard Serra painting, and there are some photos of the group at an Aztec temple and individual cyanotype portraits in primitive, gothic settings.
Posted by Caleb Deupree at PM 4 comments:. Labels: CDsunn. Monday, September 14, Processed guitar. Labels: furthernoise. Sunday, September 13, The art of listening. Part of Brian Eno's ambient music manifesto was that "Ambient Music must be able to accomodate many levels of listening attention without enforcing one in particular. Nevertheless, either through increased familiarity or a serendipitous awakening, repeated listenings provoke new insights, perhaps because of some random mental association with some element in the piece.
Books, by contrast, enforce a linearity only mildly adjusted for chapter shuffling or other superficial devices. These written decentering strategies are quite clever. Take, for example, the two chapters on noise.
The first one, after setting out a number of noise definitions unwanted and irrelevant fluctuations in the signal, unwanted and irrelevant sonic fragments in our subconscious, etc. The footnotes for this essay encircle the text for the second noise chapter, making the two essays virtually impossible to read with any kind of linearity. Elsewhere, an article on Francis Dhomont 's exploration of the unconscious mind, Sous le regard d'un soleil noiris printed in four columns and needs to be read in landscape mode, and an extended interview.
And the book comes with a CD with 34 examples, essential to an understanding of her arguments, but which make the reading even less straightforward. Fun with typography isn't exactly new, although it's still unusual to find in an academic work. Fortunately, the printing devices enhance the intellectual arguments, establishing a parallel between different modes of reading and listening. The whole discussion turns on metaphors of flight that lead to images of other places, turning on the reversibility of metaphor, where the two poles play the role of the real and the ideal alternately.
In her own contemplation of music and space, Norman cites Gaston Bachelard also one of Takemitsu 's favorite authorswhose vision of poetic contemplation went beyond any specific sounds.
Fresh Rhymes (Instrumental), Mauro Picotto - Unthinkable Remixes (File, MP3), Eva - Boudewijn de Groot - Een Nieuwe Herfst (CD, Album), Mariquilla bonita - El Pelos - mis rumbas (CD), Earth Mother - David Parsons - Yatra (CD, Album), Wasteland (E.U. Version) - Regenerator - War (CD, Album), Shasta - Or, The Whale - Or, The Whale (Vinyl, LP, Album), Easterly - Probability (CD, Album), The Vienna Boys - The Brigades - Till Life Do Us Part 1982-1989 (CD), A Espera - Gino E Geno* - Vou Gastar O Barão (Vinyl, LP, Album), The Dukes Of Dixieland - Sunrise, Sunset (Vinyl, LP, Album), He About To Lose Me - Britney Spears - Femme Fatale (File, Album)