... the iota kappa project...: 4/4/10

Τετάρτη 7 Απριλίου 2010

... a draft note on greek post-rock scene... <<<- - - 02.02+08.02+07.04.2010

2 By Bukowski
2 by Bukowski - "It's time to Hybernate" (Album: What a Long Strange Journey - Poeta Negra, 2001)

Adolf Plays The Jazz

Adolf Plays TheJazz

afformance
afformance -A Tide Before The Flickering

cinekod
Cinekod - "Thoughts"

Gardenbox
GardenBox - "The Grief Of Sadness"

Misuse
Misuse - Misuse (2009)
Misuse - While It Lasts

One Hour Before The Trip
One Hour Before The Trip - "Missing"

S.iNK
S.ink - "Evolve" (Album: Time and Timing - Poeta Negra, 1999)

free electronica & experimental:

TASMAN - "SOLACE" (Undo/EMI, 2010)

Τρίτη 6 Απριλίου 2010

Ben Frost...

Ben Frost

Born 1980 Melbourne Australia, Lives Reykjavík Iceland. The music of Ben Frost is about contrast; influenced as much by Classical Minimalism as by Punk Rock and Metal, Frost's throbbing guitar-based textures emerge from nothing and slowly coalesce into huge, forbidding forms that often eschew conventional structures in favor of the inevitable unfoldings of vast mechanical systems. (http://www.myspace.com/theghostofbenfrost)

Discography:

-By The Throat (2009)

the iota kappa project review: 7.5/10

-Theory of Machines (2007)

-School of Emotional Engineering: S/titled (2004)
-Steel Wound (2003)
-Music For Sad Children (2001)

Εγγραφή σε: Αναρτήσεις (Atom)

"post-rock"... - - origin of the term

Origin of the term

The term "post-rock" is believed to have been coined by critic Simon Reynolds in his review of Bark Psychosis' album Hex, published in the March 1994 issue of MOJO magazine. Reynolds expanded upon the idea later in the May 1994 issue of THE WIRE. He used the term to describe music "using rock instrumentation for non-rock purposes, using guitars as facilitators of timbre & textures rather than riffs and power chords". He further expounded on the term, "perhaps the really provocative area for future development lies...in cyborg rock; not the wholehearted embrace of Techno's methodology, but some kind of interface between real time, hands-on playing and the use of digital effects and enhancement". Reynolds, in a July 2005 entry in his blog, claimed he had used the term "post-rock" before using it in MOJO, previously using it in music newspaper MELODY MAKER. He also said he later found the term to not be of his own creation, saying in his blog, "although I genuinely believed I was coining the term, I discovered many years later it had been floating around for over a decade."

--Wikipedia, in http://en.wikipedia.org/wiki/Post-rock

«Η ποίηση πρέπει να γίνεται απ’ όλους. Όχι από έναν.»
Λοτρεαμόν (1846–1870)

...το γένος (genre) της ποστ-ροκ (post-rock) έρχεται σε μια περίοδο επαναπρσοδιορισμού και δομικών μετασχηματισμών, για να υπενθυμίσει τη γοητεία της συλλογικής σύνθεσης, χωρίς να υποχωρεί η προσωπική συνεισφορά...
-----
... "Almost all post-rock music follows DIY conception, it means that groups do not have contacts with expensive labels, or producers and managers. They both record and distribute their albums by themselves . Sometimes more successful groups help others, sometimes they form conglomerates for co-operative release, but their music will never become accessible for commerce, because it will deprive them the spirit of freedom – the basic idea of the style.
Also we want to define one more important feature: post-rock is one of the most “subjective” style, that is everyone can see something in compositions special for him, and this opinion changes from person to person. The main thing is not to be obsessed with it and not to stay on one place, to experiment and maybe simple love this music, listen to it, to pass it trough your body, becoming for one moment the part of it".
reference: In "What is post-rock?", postrockeXchange.com

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Thank you, in solidarity,

... the iota kappa project...