Okraïna #13 : Roy Montgomery (& Jessica Moss) Last Year’s Man / After Vermeer

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ROY MONTGOMERY (& JESSICA MOSS)
Last Year’s Man / After Vermeer – okraïna #13 – 10’’

“ My first deep exposure to Leonard Cohen was the Bird on a Wire documentary by Tony Palmer, which was, against the odds, broadcast on public television in New Zealand around 1974 or 1975. At age 15 or 16 I thought it was too dark. A few years later, in the late ’70s, I wanted things darker. The first Cohen LP was very clever but a little too ‘up’. The second was too public and political for me. Songs of Love and Hate seemed more honest, more about personal failure. I liked it, although Cohen tended to disown it, especially ‘Dress Rehearsal Rag’ and ‘Last Year’s Man’, neither of which he performed live later on. I like ‘Last Year’s Man’ for the same reason I like Nick Drake’s ‘Poor Boy’. It wallows and parodies at the same time. I came across the Suzuki Omnichord OM-27 because it was mentioned in relation to another Canadian, Joni Mitchell. It looked like a mystery box of potentially very good or very bad sounds, like a Bontempi chord organ customized for space travel in a Stanley Kubrick film. Irresistible… I was fortunate to meet Jessica Moss because of the 12 hour Drone event at Le Guess Who Festival in Utrecht in November 2017. I thought it would be cool to jam with some of the other people scheduled to play their own pieces so I asked the organisers, Bob Helleur and Jacob Hagelaars, to sound out the other droners a few weeks before the festival. Jessica replied, I sent a sample piece, and we talked, more than rehearsed, a day before the performance. We did our piece live and then some months later I sent her a recorded piece to which she added her magical playing. ”  (Roy Montgomery)


Roy Montgomery : vocal and keyboard (Omnichord)
Jessica Moss : violin

Emma Johnston and Arnie van Bussel : backing vocal on ‘Last Year’s Man’

Recorded
mainly with a first generation Suzuki Omnichord OM-27
onto a Tascam DP-01FX 8-track Portastudio, Christchurch NZ, Jan-March 2018

Mixed
by Arnie van Bussel at Nighshift Studios, Christchurch NZ, May 2018

Mastered
by Harris Newman, Grey Market Mastering, Montréal, May 2018

Illustration
Gwénola Carrère, Brussels, October 2018

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Okraïna #12 : Alasdair Roberts, Neil McDermott & Tartine de clous Au Cube

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ALASDAIR ROBERTS, NEIL McDERMOTT & TARTINE DE CLOUS
Au Cube – okraïna #12 – double 10’’ / CD

Alasdair Roberts has worked with Drag City Records for some 20 years, releasing more than ten records featuring both interpretations of traditional songs and his own songwriting. He has played with Will Oldham, Jason Molina and many others and is now part of The Furrow Collective. In addition to being a fine fiddler in the Scottish traditional style, Neil McDermott is currently researching the musical and political engagement of the 1960s Scottish folk scene with the anti-nuclear movement. Tartine de Clous (Geoffroy Dudouit, Thomas Georget and Guillaume Maupin) is a singing trio originally from the department of Charente in western France. Following in the footsteps of some of the great French groups of the late 20th century folk revival (such as Mélusine and La Bamboche), they sing largely unaccompanied three-part harmony arrangements of the traditional songs of France… and Scotland !

In early 2016 Alasdair Roberts spoke of his admiration for Tartine de Clous’ first LP, Sans Folklore in an article in English folk magazine, fRoots. After a first musical encounter in Glasgow in January 2017, alongside local fiddler Neil McDermott, the five of them reunited in December 2017. They explored a common set of songs, French, Scottish and Roberts originals, and recorded them live, with an audience, at the Cube Microplex, an amazing Arts venue and progressive social wellbeing enterprise in central Bristol.

L’Écossais Alasdair Roberts sort des disques sur la label américain Drag City depuis une vingtaine d’années, nourris d’interprétations de chansons traditionnelles mais aussi ses propres et impressionnantes compositions, sans que les secondes ne soient toujours faciles à distinguer des premières. Il a entre autre joué avec Will Oldham et Jason Molina et fait actuellement partie de The Furrow Collective. En plus d’être un violoniste écossais aguerri et curieux, Neil McDermott vient de terminer une recherche sur l’engagement musical et politique de la scène écossaise des années 1960 contre le nucléaire. Tartine de Clous (Geoffroy Dudouit, Thomas Georget et Guillaume Maupin) est un trio a capella originaire de Saintonge, interprétant des chansons trad françaises tout en suivant l’empreinte harmonique folk de groupes français des années 1970 comme Mélusine. Ici, ils adaptent aussi leur savoir faire au répertoire écossais et « Robertsien ».

Début 2016, Alasdair Roberts avait raconté par écrit son admiration pour les harmonies vocales de Tartine de clous dans une chronique de leur premier album Sans folklore pour le magazine anglais fRoots. Après une première rencontre musicale à Glasgow quelques mois plus tard, les cinq chanteurs et musiciens se sont retrouvés en décembre 2017 pour explorer ensemble un nouveau répertoire et l’enregistrer, comme toujours en concert, en présence d’un public, au Cube Microplex, cinéma et lieu de concerts alternatif de Bristol.


Traditional songs or songs of traditional inspiration ; songs by Alasdair Roberts and other covers (see detailed insert) : all arranged and played by / Chansons traditionnelles ou d’inspiration traditionnelle ; morceaux d’Alasdair Roberts et autres reprises (voir feuillet détaillé) toutes arrangées et interprétées par :
Alasdair Roberts, Neil McDermott, Geoffroy Dudouit, Thomas Georget & Guillaume Maupin

Recorded live by / Enregistré en concert par :
Neil McDermott
Cube Cinema, Bristol, December 2017
(except track #8 recorded at the Old Dentist, London)

Mix & Mastering :
Sam Smith, SJS Mastering, Glasgow

Illustration :
Gwénola Carrère, Bruxelles

15 euros
+ shipping costs (/ port)

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Okraïna #10 : Senyawa (& Vincent Moon) Calling The New Gods

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SENYAWA (& VINCENT MOON)
Calling The New Gods – okraïna #10 – single 10″ / simple 25cm

The film Calling The New Gods, by Vincent Moon, is the document of musicians Rully Shabara & Wukir Suryadi of the group Senyawa playing & being filmed on location, outside, tracing a path ​from the outskirts of Yogyakarta, ​Java (on the border of a rice field, on the edge of a garbage dump, etc.) until the center of the city (in the middle of a market, in a fair). In a sort of mandala, of centripetal spiral, during an entire day, from dawn until dusk, the film – with soundscapes shared between the music of Senyawa and field recordings – captures the powerful, unique & fascinating presence of the Indonesian duo in the middle of the physical landscapes and human mosaic that helped create it.

Two and a half years after the first contact between our label and the musicians & filmmaker, the time has come to expose the work to a new audience via another inward spiral, that of seven songs from the film’s soundtrack on a 10″ vinyl, with an added etymological obviousness: that this recording is released on Okraïna, which is Russian for the outskirts, the suburbs.


Music : Senyawa
–  Voice : Rully Shabara
–  Instruments : Wukir Suryadi

Filmed, recorded and mixed by Vincent Moon
in situ in Yogyakarta (Indonesia, Java) in January 2012
– w/ the help of Aniza Santos and the people of Yogyakarta

Mastering and vinyl cut : Fred Alstadt
Angström Mastering, Brussels, spring 2017

Illustration : Gwénola Carrère
– Brussels, summer 2017


12 euros
+ port (/ shipping costs)

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Okraïna #11 : Delphine Dora & Mocke Le Corps défendant

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DELPHINE DORA & MOCKE
Le Corps défendant – okraïna #11 – double 25cm

Souvent, on croit dialoguer et on soliloque, on tire la couverture à soi, on empêche l’autre parole, on est trop bavard ou trop taiseux. Et puis parfois, comme miraculeusement, on y parvient : on se met à savoir parler parce qu’on sait écouter. Mocke et Delphine Dora, dans la lente impatience de ces conversations musicales qui ont donné Le Corps défendant, ont cherché à tisser ce drôle de lien qui unit ceux qui construisent ensemble.
Des deux singularités (l’évidence même d’avoir affaire à deux artistes qui ne ressemblent à personne), ni l’une ni l’autre ne l’emporte. Au contraire, ce qui advient de ce dialogue n’est pas seulement l’addition des deux mais l’apparition de ce que chacun est capable de révéler de l’autre et qu’on avait pas encore entendu. On les retrouvent tous deux, on les reconnaît bien sûr, mais ailleurs, là où le même est déjà autre. C’est une étrange arithmétique où 1+1=3. Comme dans toute conversation il faut quelqu’un qui rompe le silence sans savoir à l’avance ce qui adviendra. Le silence doit se rompre comme le pain. La guitare s’y essaie ici, le piano là. Il ne faut pas trop chercher ses mots même si on les pèse parce qu’ils entraînent le reste. Comme dans toute conversation il faut savoir prendre une place mouvante pour que l’autre puisse trouver la sienne. Parfois la guitare de Mocke commence, sidérale, dévale les pentes, se fait liquide, et trouve dans le piano de Delphine Dora son nécessaire contrepoint, sur quoi s’arrimer. D’autre fois c’est l’inverse, la guitare électrique évite que le sol se dérobe. Tout semble venir sinon de l’improvisé du moins de l’intuitif qui les surprend eux mêmes. Parfois ils jouent sur des harmonies différentes, comme s’ils étaient encore loin, d’autres fois commencent ensemble et se séparent sans violence pour au final se retrouver au moment où on ne s’y attend pas. N’importe quand peut être mais pas n’importe où. Ils se rejoignent dans la césure, la pure parole, l’éclair, l’inexpressif. C’est à dire dans ce lieu que le disque invente. L’inexpressif ce n’est pas l’insensible, au contraire. C’est le monde d’avant le monde (ou après ce qui revient au même), où le sens se déploie dans sa nouveauté, où on invente une langue qui, dépourvue de signifiant connu peut tout signifier. C’est, plutôt que ce qui s’exprime, ce qui s’imprime avant même qu’on ait pu le ramener au déjà entendu. D’ailleurs quand Delphine Dora chante, elle le fait avec les mots qui viennent juste avant l’articulation signifiante, en chuchotant ou en inventant une drôle de langue sortie tout droit de contes étranges. La langue d’une pythie qui saurait se rire d’elle même et qui se moquerait bien des oracles. Piano, voix, guitare, tout se rejoint et c’est bouche bée qu’on assiste à ce moment où les choses s’assemblent. La musique prend en charge l’organisation des polyphonies qui nous constituent, aucune voix ne doit écraser l’autre. Et la beauté surgit, au corps défendant de Mocke et Delphine Dora, comme elle surgit toujours, dans les interstices du jeu risqué du funambule qui ne s’interdit rien parce qu’il refuse de choisir sous les injonctions de la séparation. Un jeu tout à la fois quiet et inquiet, consonant et dissonant, drôle et mélancolique, proche et lointain, savant et populaire. On a pas à choisir et on ne choisira pas. Tout ici se retrouve assemblé. Et même, au bord de la cassure, la voix de Delphine Dora semble convoquer à la fois les vivants et les morts comme sur le déchirant L’Absent était parmi nous qui clôt le disque. On le cherchait depuis tout ce temps et il était là, assis à la table. C’est bien l’ambition, que tout ce qui a disparu nous réapparaisse.
On pourrait les croire seuls. Mais de cette solitude particulière qui a les moyens de se confier. Des insulaires sans doute comme le dit le titre d’un des morceaux. Mais des insulaires qui rêvent de ponts et de navires. De voyages intersidéraux où même la lointaine Pluton s’éloigneNous voilà embarqués. »

Delphine Dora: voix, piano, piano préparé, claviers, célesta, glockenspiel, cordes de piano et de guitare, violon, shruti box, field recordings, objets

Mocke: guitare

composé par: Delphine Dora & Mocke
enregistré par: Delphine Dora & Mocke
mixé par: Mocke

mastérisé par: Harris Newman (Grey Market Mastering, Montréal)

illustré par: Gwénola Carrère



15 euros

+ port

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Okraïna #11 : Ned Netherwood about Delphine Dora & Mocke’s Le Corps défendant

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DELPHINE DORA & MOCKE
Le Corps défendant – okraïna #11 – double 10inch

There is something special about when artists like these collaborate. Two independent talents, both completely self-sufficient choosing to come together and see what happens, to let the muses mingle and share the results with the rest of us. What we have here, however, is not some quick jam caught on tape but a long distance collaboration carefully put together over three years. The result is something that gives us a broad overview of the two talents spotlighted here, showcasing many different moods, sounds and styles. Created like an exquisite corpse story they sent each other music to work on with no instructions or suggestions, just some inspiring mix tapes of everyone from Duke Ellington to Harry Patch. They clearly found their way.

As well as her own music (which ended up on Pitchfork’s best of 2015 list), Delphine runs the excellent Wild Silence record label. As well as being a solo artist, Mocke has played with the likes of Arlt, Holden and Midget !

On this record, Mocke plays the guitar and Delphine sings and plays everything else. He’s one hell of a guitar player, bringing to mind Loren Connors, John Fahey and anyone who ever took a six string and mastered it their own damn way. Delphine sings sweetly, sometimes from classic texts or as a glossolalia (divinely expressing without words), though to a non-French speaker you would swear was some lost classic pop song reinterpreted in her own style.

Both Delphine and Mocke are originally from Paris but both have long since left, Mocke for Brussels and Delphine for the deepest French countryside. That difference can be found in their music. Mocke’s music is urbane with a touch of inner-city paranoia. Delphine’s music always sounds isolated in a big landscape. They compliment each other as opposites.

Like all Okraina releases, the stunning artwork is by Gwénola Carrère and I can’t think of anyone better suited to try and encapsulate this stunningly varied and vivid album. The title does not translate to English as it is a poetic corruption of a common phrase. I think something similar happened to common music on this album.

Ned Netherwood
Was Ist Das?

 


 

15 euros
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Okraïna #8 : Greenberger Jones Corsano An Idea in Everything

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DAVID GREENBERGER, GLENN JONES, CHRIS CORSANO
An Idea in Everything – okraïna #8 – double 10inch

“David Greenberger meanders around America, lovingly collecting the life stories of old people like fireflies in a jar. In an America that seems increasingly dominated by amnesia, and the erosion of its history, it’s very heartening – and poignant – to hear these fragments of lives as they draw to a close. The matter-of-fact tone that David uses in these vignettes is partly what makes them so emotional.” – Robyn Hitchcock

“When newcomers hear that I have regular conversations and interviews with elderly people, they assume I collect oral history. What that assumption implies is that when one grows old we become solely a repository of our past. From the start, my mission has been to offer a range of characters who are already old, so that we can get to know them as they are in the present, without celebrating or mourning the loss of who they were before.” – David Greenberger

When David Greenberger first embarked on what has become a life-long journey, drummer Chris Corsano was not yet five years old!

In 1979, after graduating from art school in Boston, Greenberger took the job of activities director at the Duplex Nursing Home, an all-male elder care facility in Jamaica Plain, Massachusetts, and began collecting the stories, poems and music reviews of its aged patients for what became his Duplex Planet project, and undertaking that would eventually encompass nearly 200 issues of a digest-sized magazine, a series of CDs, books, comics, and performance art. Eventually the nursing home closed, but David has remained engaged in what has become the central art form of his life: the “art of conversation.”

Three decades later Chris Corsano set in motion the project you have before you. With guitarist and banjo player Glenn Jones, a longtime friend of both Greenberger and Corsano, the three began recording in Greenberger’s living room in upstate New York. In just three days, with no advance preparation, they recorded the 28 tracks that make up An Idea in Everything. Corsano improvised, Jones invented new tunings for his banjo and guitar on the fly and Greenberger selected and read stories in direct response to the music. Everything was spontaneous and live.

Despite the dark and sad feeling of some of the texts (dealing with aging, memory loss, etc.), there is also humor, joy and grit. Jones recalls the recording session as fun, playful, excitingly engaging.

The resulting album is a rollercoaster of emotions, a glittering patchwork of sonic atmospheres and an oral encyclopedia on dozens of subjects (coffee, cigarettes, planets, art . . . life . . . and death) convincing us that, indeed, there is An Idea in Everything!

David Greenberger
: voice
Glenn Jones: guitar, banjo
Chris Corsano: drums, melodica

Mastering: Matt Azevedo

Illustration: Gwénola Carrère

15 euros
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Okraïna #8: the making-of (interview with Glenn Jones)

jones-greenberger-corsano-c-photo-by-barbara-price-640Glenn Jones (first left) w/ David Greenberger and Chris Corsano
An Idea in Everything recording sessions (Greenwich NY – February 2013) – photo by Barbara Price

– Glenn, how did you first discover The Duplex Planet ?

Glenn Jones: A mutual friend introduced me to the magazine, around 1980 or so if memory serves. You could find it in some hip stores, but it was mainly available by subscription. Along with David’s interviews, there were poems and music reviews and photos — its arrival in the mail every other month was something I so looked forward to — I loved the magazine so much I took out subscriptions for my mom and for friends!

– Did you also meet David Greenberger then? You were both living in the Boston area at the time, no?

Yes. I knew of David because of his band Men & Volts, who at the time was strictly a Captain Beefheart cover band — I’d seen them live a couple times. But I didn’t actually meet David till after I’d discovered the magazine.

– But you never really recorded together before. So how did this project with Chris Corsano come about?

It’s kind of funny. At first David was only publishing the magazine. But after the Duplex Nursing Home closed, David moved to upstate New York and began working with various musicians and bands and crafting real performances built around his interviews. These were wonderful events and I caught as many as I could.For me the series of four shows he did over the span of a month or so, each with a different theme, at St. Anne’s in New York City were the most impressive. (I took my mom to the Mother’s Day show.) David had an amazing coterie of musicians working with him, including members of NRBQ and the Sun Ra Arkestra, among others. Any musician sympathetic to what David was doing would have asked himself or herself, “What would I do in this situation? How would I support these stories musically?”

Now, at the time this record came together, David and I had been friends for some 30+ years. And while I had contributed music to several of the Lyrics of Ernest Noyes Brookings albums, those were things I did for David, not with him.

I’d first heard Chris Corsano play at the Brattleboro (Vermont) Free Folk Festival, which was such a watershed event for so many people — it was there I also met Jack Rose, Tom Carter, MV and EE and so many others.Well, in the summer of 2012, David, Chris Corsano and I all happened to meet up at our friends Bryon Coley’s and Lili Dwight’s annual July 4th barbecue in western Massachusetts. Chris had played on my album The Wanting. I‘d sent a copy to David and when we met at the barbecue the first thing he said to me was, “Thanks for the album. That drummer on Side 4 – man, oh man!” I said, “Oh, he’s here; I’ll introduce you.”

Lire la suite

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