SEARCH |
|
|
|
BROWSE BY |
|
- Artists
- Labels
- Formats
- Styles
- Mid prices
- Last items
- LP
- 10in
- 7in
- Mandaï Gift Vouchers
|
|
NEWSLETTER |
|
- Subscribe
|
|
LOGIN |
|
Sign in or Register.
|
|
CONCERTS |
|
30/03/2024 Dustbreeders @ Les Ateliers Claus | 30/03/2024 Baby Fire @ Winok | 30/03/2024 Peter Kernel @ Les Nuits Eclectiques Festival | 31/03/2024 Peter Kernel @ Trix | 31/03/2024 Rorcal @ La Zone | 02/04/2024 Usa Nails @ La Source Beer & Co. |
More concerts ... |
|
NEWS |
|
26/03/2024 New releases by MoE will be soon available ! | 06/03/2024 Skin Graft Records' new releases are finally in stock. Be patient if you've already order some of these, we're coming to you soon. | 28/01/2024 New releases will be soon online ! Stay in touch !
| 17/01/2024 Cuneiform Records has been restocked |
More news ... |
|
FEEDBACKS |
|
d... (Belgium)
All excellent...
|
U... (Italy)
Super nice people, fast and caring servi...
|
b... (France)
Super, je recommande, pour tout, contact...
|
More feedbacks ... |
|
DESCRIPTION |
| | BRION GYSIN Live in London 1982 Label : Sub Rosa Year : 2007 Format : CD Style : Experimental Availability : In stock
Price : 13.50 € - BUY
| | | | Description : | Autumn 1982, Brixton, London, Brion Gysin, the eternal accomplice of William Burroughs, renews the methods of performance by reciting texts, hastily brought together: Tessa, a member of Slits, Steve, of Rip, Rig and Panic, Gile, of Penguin Café Orchestra, and Ramuntcho Matta on guitar. Ramuntcho, in the style of Brion, called this session 'WHITE FUNK'. Most of the texts were written upon meeting Burroughs, at the time of the invention of the cut-up. The influence that Brion Gysin has had on contemporary music may never be taken fully into account, particularly when he introduced Brian Jones, of the Rolling Stones, to the shepard's music of Joujouka. Those times were still audacious: the music was created during the sound-checks ! Musically, the choice of traditional instruments expresses the desire to be free of machines (because, as Burroughs says, 'We ourselves are machines.'). This recording is evidence of the extraordinary creativity and spontaneity of the musical and artistic scene at that time. It hasn't aged a bit. Beyond the nostalgia inspired by the invocation of that bygone cultural scene, there is a call for a creativity of which it is difficult to find examples today.
|
|
|