Darkness Wish Angels - Warriors Of The World (Manowar cover) - Live from Victoria Club

After a 4 months of silence, Darkness Wish Angels came with a new live clip, a full concert show and a new musical style.

[youtube http://www.youtube.com/watch?v=_vRWF35BLS0&fs=1&hl=en_US]
Darkness Wish Angels - Warriors Of The World (Manowar cover) Live from Victoria

Darkness Wish Angels - Warriors Of The World (Manowar cover) - Live from Victoria Club

After a 4 months of silence, Darkness Wish Angels came with a new live clip, a full concert show and a new musical style.

[youtube http://www.youtube.com/watch?v=_vRWF35BLS0&fs=1&hl=en_US]
Darkness Wish Angels - Warriors Of The World (Manowar cover) Live from Victoria

Darkness Wish Angels - Warriors Of The World (Manowar cover) - Live from Victoria Club

After a 4 months of silence, Darkness Wish Angels came with a new live clip, a full concert show and a new musical style.

[youtube http://www.youtube.com/watch?v=_vRWF35BLS0&fs=1&hl=en_US]
Darkness Wish Angels - Warriors Of The World (Manowar cover) Live from Victoria

Viscera/// - 2: As Zeitgeist Becomes Profusion of the I - CD - Postrock, Postmetal, Grindcore - Ital

Viscera/// - 2: As Zeitgeist Becomes Profusion of the I - CD - Postrock, Postmetal, Grindcore - Italy - ConSouling Sounds January 28th 2011

Tracklisting:
1. Ballad of Barry L.
2. Hand in Gold
3. Um ad-Dunia
4. They feel like CO2
Total playtime: 00:00 min

Discography:
1. Killing by the Sound (2006,
6-way split, Soulflesh Collector)
2. Self Human Combustion VS
Viscera/// (2007, split, Hypershape
Records)
3. Cyclops (2007, Soulflesh Collector

Line-up:
Mike B. – vocals, guitar, Synth
M. – guitar
G.C. – bass
lix – drums

Facts
Since its inception in 2000, Viscera/// strayed quite a bit from the grind paths they were threading. What started out as a straightforward brutalcore band meandered into an experimental quartet. With the introduction of psychedelic sounds, postcore bits and ambient/drone pieces it's quite easy to brand this outfit as the next "post"-band. But there's
more that meets the eye: The band never completely let go of their roots, balancing brutal grindcore with delicate post metal influences. This results in a truly unique sound that can shift from fragile to frenzy in a heartbeat.
With this latest effort, 2 - As Zeitgeist Becomes Profusion of the I, these Italians produced their most ambitious and mature offering to this day which makes it the most complex yet accessible listening experience Viscera/// ever offered.

Ideal Bread, A Steve Lacy Repertory Band, Releases 2nd CD, Transmit on Cuneiform Records June 8th

deal Bread Release 2nd Album,
Transmit, Vol. 2 of the Music of Steve Lacy
Exploring The Underappreciated Original
Compositions of Steve Lacy

Album Streets June 8, 2010 on Cuneiform Records

Ideal Breads Plays Two NYC Gigs in June:

Sun. June 6 — Live Studio Event @ 58№ 6 Media Labs — 8:00 PM
Sun. June 13 — Undead JazzFest @ Kenny's Castaways — 6:40 PM

Cuneiform Records is very proud to release Transmit, the second album from the Steve Lacy repertory band Ideal Bread.  The quartet of expert improvisers and composers includes baritone saxophonist Josh Sinton, cornetist Kirk Knuffke, bassist Reuben Radding and drummer Tomas Fujiwara; they adhere to Lacy’s unique vision while giving each composition new life with their unique approach to free improvisation and ensemble interplay.

 

If anyone deserves such a project, it is soprano saxophone innovator Steve Lacy (1930—2004).  He was an integral component of Cecil Taylor’s first unit, having emerged from the Dixieland revival of the late 1950s; he would then go on to liberate the soprano saxophone and reform the landscape of composition in improvised music.  “Steve Lacy is one of the most idiosyncratic composers in what we call free jazz,” states Josh Sinton.  “People who love free music may initially have a hard time coming to terms with his work, because they aren’t ready for the repetition and traditional rigor he brought to his pieces.”

 

Sinton has first-hand experience with Lacy’s brand of disciplined freedom.  The group has performed with Lacy’s widow and long-standing collaborator, cellist and vocalist Irene Aebi, and she introduced Sinton to some of the tunes on Ideal Bread’s second release.  However, Sinton’s relationship with Lacy’s work long predates that association. He studied with the revered soprano saxophonist from 2002—2004, as he finished up a graduate degree in jazz performance at New England Conservatory.  “I took lessons from him and served as his copyist, but I also would catch his shows as often as I could.  Often, we would just get together and talk.  I learned something from him on every occasion.” 

 

Upon moving to Brooklyn, New York in the summer of 2004, Sinton would bring Lacy’s music to many of his introductory sessions.  “Not many people were playing Lacy’s pieces in New York at that time,” states Sinton.  “Really, it had to do with the paucity of scores, and that no one was transcribing what didn’t exist in score.”  Sinton proceeded to do just that, amassing a formidable library of transcriptions from which Ideal Bread draws inspiration.  The music is a continual source of challenge and inspiration to Sinton.  “I’m still mystified by Lacy’s approach,” Sinton muses.  “Some of his writing has the repetitive quality of a nursery rhyme, some of it is more akin to Webern or other atonal composers.  I’d watch Steve respond to questions about his compositional method by playing the compositions, and I am also coming to terms with the music by playing it.”  The group began as a trio, Fujiwara only joining after Ideal Bread’s first six months of existence.  The lineup has remained constant since, and the group has been performing regularly since 2006.

(L-R: Tomas Fujiwara, Reuben Radding, Kirk Knuffke, Josh Sinton)

Sinton compares Ideal Bread’s approach to Lacy’s championing of iconoclasts such as Thelonious Monk or Herbie Nichols.  “I listen to multiple versions of a tune, and I treat the repeated elements as the composition; the rest is determined case by case.”  Despite wishing to remain loyal to Lacy’s conceptions, the quartet’s 2008 eponymous debut (KMB) demonstrated with force that Ideal Bread is no mere group of imitators.  Transmit makes the case even more clearly.  Their rollicking reading of “The Dumps” combines elements from several versions of the tune, which Lacy performed in both solo and ensemble situations.  The trilled introductory passage is there, as might be heard on Lacy’s Sands rendition, but Ideal Bread adds a whimsically wicked vocal break before launching into the fleet-footed melody proper.  Lacy’s trademark near-unisons stand out as Radding and Fujiwara provide angular and rhythmically varied support to Sinton and Knuffke as they blow over this freebop masterpiece.  Yet, raw energy never precludes precision.  The four musicians play with the tightness and beauty of any classical music ensemble, most evidently in the Monkishly quirky polyphony of “Flakes.”  Sinton calls this early 1970s piece one of Lacy’s “greatest hits,” and it appears on many of his finest albums.  The present version is closest to that from Lacy’s Black Saint classic Window, but Sinton and company give the melody additional clarity with a march feel, eschewing the original’s loping swing.  Radding and Sinton breathe as one, their sound perfectly unified as Knuffke rolls out the head in gentle bursts.

 

Knuffke’s solo on “Flakes” references a tiny half-step motive from the tune’s intro, which, according to Sinton, is quite deliberate.  “When I’d perform with Lacy, he would have us craft our solos from material found in the composition, either directly or by implication.  That is often the approach we take.”  Sinton’s hard-driving solo on “As Usual” derives from the tune’s highly chromatic mode.  Far from impeding freedom, the practice increases the group’s focus, allowing them to expose and explore each compositional structure in minute detail while unifying each performance.

 

The disc exudes vigor as a live feel is constantly palpable.  A first-rate recording and mix captures each musician’s contributions in clear and present sound.  Every nuance in Fujiwara’s brush work carries “The Breath” airily along, and Radding’s resonantly introspective solo introduction to “Clichés” sings and grooves by turn before the band kicks it into high gear.  It all adds up to a wonderful journey through Lacy’s startling and diverse sound-world, one of which the composer most certainly would have been proud.

 

CD RELEASE DATE: June 08, 2010

 

Links

Ideal Bread on MySpace / Ideal Bread on Facebook

Josh Sinton's Website
Kirk Knuffke's Website
Reuben Radding's Website
Tomas Fujiwara's Website

Cuneiform Records

For more information contact: Matt Merewitz at Fully Altered Media; call 215—629-6155 or email matt@fullyaltered.com

Ideal Bread, A Steve Lacy Repertory Band, Releases 2nd CD, Transmit on Cuneiform Records June 8th

deal Bread Release 2nd Album,
Transmit, Vol. 2 of the Music of Steve Lacy
Exploring The Underappreciated Original
Compositions of Steve Lacy

Album Streets June 8, 2010 on Cuneiform Records

Ideal Breads Plays Two NYC Gigs in June:

Sun. June 6 — Live Studio Event @ 58№ 6 Media Labs — 8:00 PM
Sun. June 13 — Undead JazzFest @ Kenny's Castaways — 6:40 PM

Cuneiform Records is very proud to release Transmit, the second album from the Steve Lacy repertory band Ideal Bread.  The quartet of expert improvisers and composers includes baritone saxophonist Josh Sinton, cornetist Kirk Knuffke, bassist Reuben Radding and drummer Tomas Fujiwara; they adhere to Lacy’s unique vision while giving each composition new life with their unique approach to free improvisation and ensemble interplay.

 

If anyone deserves such a project, it is soprano saxophone innovator Steve Lacy (1930—2004).  He was an integral component of Cecil Taylor’s first unit, having emerged from the Dixieland revival of the late 1950s; he would then go on to liberate the soprano saxophone and reform the landscape of composition in improvised music.  “Steve Lacy is one of the most idiosyncratic composers in what we call free jazz,” states Josh Sinton.  “People who love free music may initially have a hard time coming to terms with his work, because they aren’t ready for the repetition and traditional rigor he brought to his pieces.”

 

Sinton has first-hand experience with Lacy’s brand of disciplined freedom.  The group has performed with Lacy’s widow and long-standing collaborator, cellist and vocalist Irene Aebi, and she introduced Sinton to some of the tunes on Ideal Bread’s second release.  However, Sinton’s relationship with Lacy’s work long predates that association. He studied with the revered soprano saxophonist from 2002—2004, as he finished up a graduate degree in jazz performance at New England Conservatory.  “I took lessons from him and served as his copyist, but I also would catch his shows as often as I could.  Often, we would just get together and talk.  I learned something from him on every occasion.” 

 

Upon moving to Brooklyn, New York in the summer of 2004, Sinton would bring Lacy’s music to many of his introductory sessions.  “Not many people were playing Lacy’s pieces in New York at that time,” states Sinton.  “Really, it had to do with the paucity of scores, and that no one was transcribing what didn’t exist in score.”  Sinton proceeded to do just that, amassing a formidable library of transcriptions from which Ideal Bread draws inspiration.  The music is a continual source of challenge and inspiration to Sinton.  “I’m still mystified by Lacy’s approach,” Sinton muses.  “Some of his writing has the repetitive quality of a nursery rhyme, some of it is more akin to Webern or other atonal composers.  I’d watch Steve respond to questions about his compositional method by playing the compositions, and I am also coming to terms with the music by playing it.”  The group began as a trio, Fujiwara only joining after Ideal Bread’s first six months of existence.  The lineup has remained constant since, and the group has been performing regularly since 2006.

(L-R: Tomas Fujiwara, Reuben Radding, Kirk Knuffke, Josh Sinton)

Sinton compares Ideal Bread’s approach to Lacy’s championing of iconoclasts such as Thelonious Monk or Herbie Nichols.  “I listen to multiple versions of a tune, and I treat the repeated elements as the composition; the rest is determined case by case.”  Despite wishing to remain loyal to Lacy’s conceptions, the quartet’s 2008 eponymous debut (KMB) demonstrated with force that Ideal Bread is no mere group of imitators.  Transmit makes the case even more clearly.  Their rollicking reading of “The Dumps” combines elements from several versions of the tune, which Lacy performed in both solo and ensemble situations.  The trilled introductory passage is there, as might be heard on Lacy’s Sands rendition, but Ideal Bread adds a whimsically wicked vocal break before launching into the fleet-footed melody proper.  Lacy’s trademark near-unisons stand out as Radding and Fujiwara provide angular and rhythmically varied support to Sinton and Knuffke as they blow over this freebop masterpiece.  Yet, raw energy never precludes precision.  The four musicians play with the tightness and beauty of any classical music ensemble, most evidently in the Monkishly quirky polyphony of “Flakes.”  Sinton calls this early 1970s piece one of Lacy’s “greatest hits,” and it appears on many of his finest albums.  The present version is closest to that from Lacy’s Black Saint classic Window, but Sinton and company give the melody additional clarity with a march feel, eschewing the original’s loping swing.  Radding and Sinton breathe as one, their sound perfectly unified as Knuffke rolls out the head in gentle bursts.

 

Knuffke’s solo on “Flakes” references a tiny half-step motive from the tune’s intro, which, according to Sinton, is quite deliberate.  “When I’d perform with Lacy, he would have us craft our solos from material found in the composition, either directly or by implication.  That is often the approach we take.”  Sinton’s hard-driving solo on “As Usual” derives from the tune’s highly chromatic mode.  Far from impeding freedom, the practice increases the group’s focus, allowing them to expose and explore each compositional structure in minute detail while unifying each performance.

 

The disc exudes vigor as a live feel is constantly palpable.  A first-rate recording and mix captures each musician’s contributions in clear and present sound.  Every nuance in Fujiwara’s brush work carries “The Breath” airily along, and Radding’s resonantly introspective solo introduction to “Clichés” sings and grooves by turn before the band kicks it into high gear.  It all adds up to a wonderful journey through Lacy’s startling and diverse sound-world, one of which the composer most certainly would have been proud.

 

CD RELEASE DATE: June 08, 2010

 

Links

Ideal Bread on MySpace / Ideal Bread on Facebook

Josh Sinton's Website
Kirk Knuffke's Website
Reuben Radding's Website
Tomas Fujiwara's Website

Cuneiform Records

For more information contact: Matt Merewitz at Fully Altered Media; call 215—629-6155 or email matt@fullyaltered.com

More News Updated!

More News!!!
http://www.dwz.narod.ru/r/dead/2010/2010_march_news02.html

The debut official release from a unique Belorussian band Re123+ - Magi

Deadwebzine News Center — http://www.dwz.narod.ru/ ___+++


Format: CD
Release Date: 01.03.2010
Country: Belarus
Genre: Drone Doom / Post Metal

The debut official release from a unique Belorussian band. The music of Re123+ is an act of meditation. Each time the band offers to a listener another kind of sound, never repeats itself preparing a special program for each concert.“Magi” is a travel to the Past demonstrating the ancient story of Adoration of Magi to the listener as an astrological story. This is the attempt to understand and to see the true essence of matter while clearing it from various interpretations. This album like all other Re123+ works was recorded during night time. Besides traditional drone-touched guitars the musicians introduced sounds of accordion, triangle and percussion. Stylistically their music varies from drone-doom to post-rock and will surely suit the tastes of early Earth fans.For proper visualization of the album’s idea the booklet includes photo art by members of Re123+ accompanied by citations from «The Island of the Day Before» by famous postmodernist Umberto Eco.

Tracklist:
1. Way To The Son
2. Three In A Desert
3. Gold, Ladan, Mirra

http://solitude-prod.com

As every Punk Rocker already knows, THE BONES recently recorded their first live DVD

Deadwebzine News Center — http://www.dwz.narod.ru/ ___+++

As every Punk Rocker already knows, THE BONES recently recorded their first live DVD in Berlins infamous SO36. The result surfaces April 26th and carries the name “Berlin Burnout”.

Some of you probably missed this show and wonder if it really was a night to remember? You wonder?

Well, head to http://www.youtube.com/watch?v=HLnJsUAmG2k and make up your own opinion, listen to what people say…

Don’t miss THE BONES on the following dates

BAD BOYS FOR LIFE TOUR
THE BONES
Street Dogs
Reno Divorce
Left Alone
Ski King
07.05. Magdeburg – H.O.T./ Alte Bude (Germany)
08.05. Bochum – Matrix (Germany)
10.05. Hamburg – Markthalle (Germany)
13.05. Berlin – Astra (Germany)
14.05. Lichtenfels – Viva Los Tioiz (Germany)
15.05. Chemnitz – Rock’n’Ink Tattoo Festival (Germany)
16.05. Prague – Futurum (Czech Republic)
18.05. München – Backstage/Werk (Germany)
19.05. Solothurn – Kofmehl (Switzerland)
20.05. Lindau – Club Vaudeville (Germany)
21.05. Würzburg – Posthalle (Germany)

THE BONES live
01.07. Bolänge – Peace and Love Festival (Sweden)
03.07. Roitzschjora – With Full Force (Germany)
07.08. Skanderborg .- Smukfest (Sweden)

Stay tuned for further updates!

THE BONES online:
http://www.bonesrocknroll.com
http://www.myspace.com/thebonesrockandroll
http://www.facebook.com/thebonesswe?ref=ts
http://twitter.com/TheBones_swe