the noise it makes

bootleg recordings from the cutting edge of live music

"the english may not like music.. but they love the noise it makes.." - thomas beecham

thenoiseitmakes@gmail.com

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  1. The Dorty Letters of James Joyce - The Crowe Ensemble - King’s Place, London - 10 August 2014

    Music: Stephen Crowe
    Words: Based on the letters of James Joyce

    Written during a notable period of his exile from his exile from Ireland, Joyce’s letters to Nora are among the most accessible of his writings. Their earthy robustness makes them a favourite among those Joyce scholars earnestly seeking the psycho-sexual key to his Daedalean oeuvre. 

    The Crowe Ensemble’s setting and performance of these landmark epistles is commendable and convincing, and undoubtedly sets the bar for future Joycean scholarship.

    It’s not the purpose of The Noise It Makes to offer anything in the way of critical evaluation, but here are 5 stars for sheer gusto and for laying on the most Joycean concert imarginable.

    Now I think we all need a lie down.

    JIM

     
     
  2. Unfathomable Ruination vs Joao Onofre - Sculpture In the City - Final Performance 01-08-2014, London UK

    Noone wanted them to die, really. A death metal band playing in an airtight soundproofed metal box, in principle until the air ran out, as part of an art project, the creation of Portuguese artist Joao Onofre, which formed part of an exhibition called Sculpture in the City.. They did this on Wednesdays to Fridays every week for a month - and didn’t die.

    On the last day they were allowed 31 minutes, and still didn’t die. What kind of death metal is this?

    But now… Unfathomable Ruination are legends.

    We present 4’33” of their performance, the shadow of a shadow. You can’t really hear them, but you can feel them. The door closes, the door opens. They are probably not human.

    Read more: http://www.independent.co.uk/arts-entertainment/art/news/death-metal-band-to-play-in-soundproof-airtight-box-in-london-9572606.html

    http://unfathomableruination.bandcamp.com/

    http://www.brunswickarts.com

     
     
  3. Enlightenment: A re-enivisioning of John Coltrane’s A Love Supreme, Queen Elizabeth Hall, 22-06-14

    Enlightenment: A re-enivisioning of John Coltrane’s A Love Supreme, Queen Elizabeth Hall, 22-06-14

    One of the classic quartet recordings of all time by the most classic quartet of all time, Coltrane’s ‘64 crew with Elvin Jones, Jimmy Garrison & McCoy Tyner, refigured for fifteen musicians. An intriguing prospect isn’t it?

    It was, and I guess we knew there might be a bit of a spiritual impulse, there should be, really. But 20 minutes of new age throat-clearing with praise-the-lord platitudes was too much; then it launched into some actually pretty good jazz - the structural and melodic extrapolations of the original were enough to be interesting but not unrecognizable, and the players did play the shit out of it, to be fair - and then another twenty minutes of wind-down and new age God-bothering during which the more intelligent punters left. 

    We present for you the good middle bit. You’ll recognize all the elements, but might be surprised at how they’re developed. Good decisions have been made; you can’t hope to compete with Trane’s perfectly realized variations, so a chop n screw job seems the only sane option.

    We had a bit of chat about this project and wondered why the PRS (who funded this) and other bodies seem to privilege funding what are arguably nostalgia vehicles rather than investing in new work for the future. To be fair, the history of jazz is one of incredible musicians tearing holes in older material, so this seems to fit into that - though the point is definitely taken. 

    Let’s have some new cliches, hey?

    Enlightenment Ensemble: Ansuman Biswas, Tunde Jegende, Age Egun Crispin Robinson, Dave Pattman, Oli Savill, Juwon Ogungbe, Cleveland Watkiss, Nikki Yeoh, Orphy Robinson, Neil Charles, Pat Thomas, Rowland Sutherland, Mark Mondesir, Steve Williamson, Shabaka Hutchings

     
     
  4. Christy Moore - Royal Festival Hall, London - 18 April 2014

    The legendary Irish singer-songwriter Christy Moore played a diverse two-hour set on Good Friday. Some of the rowdier elements of the audience had to be taken in hand - Christy’s warning to one heckler that he’d have the fellow “sorted” if he didn’t shut up was received, your man staggering out minutes later (this was about four songs into the set). You can listen to this incident at the start of his account of the Pogues classic A Pair Of Brown Eyes, a song accompanied by bodhran, Well Below The Valley, and a couple of Christy mainstays, Ordinary Man, and Don’t Forget Your Shovel. 

     
     
  5. The Ex - XOYO, London - 16-04-14

    Driven by their peerless riffing machine, the Ex’s encore from their XOYO show - Theme From Konono. Impossibly exciting and visceral.

     
     
  6. Evan Parker 70th Birthday Celebration, King’s Place, 05-Apr-2014

    Evan Parker saxophones
    Phillipp Wachsmann, Alison Blunt, Sylvia Hallett, Dylan Bates violin
    Aleksander Kolkowski viola, stroh viola, wax cylinder recorder
    Benedict Taylor viola
    Hannah Marshall, Alice Eldridge, Marcio Mattos cello
    John Russell guitar
    John Edwards, David Leahy bass
    Adam Linson double bass
    Django Bates piano, peck horn
    Percy Pursglove trumpet
    John Rangecroft clarinet
    Neil Metcalfe flute

    With the help of some very special big-band guests, Evan Parker celebrated his 70th birthday – on the day – at Kings Place in London.

    Evan Parker has been playing sax since he was 14. Over his long, innovative and sometimes controversial career, he has collaborated and formed long-term associations with many jazz greats, explored the use of ‘noise’, experimented with home-made instruments, co-founded the ground-breaking and hugely influential Incus label, and embraced sound processing and electronica.

    He is perhaps most recognized as the creator of a new solo saxophone language, extending the techniques and experiments started by John Coltrane and Albert Ayler, taking them into the realm of abstraction. His use of circular breathing techniques to create extended, complex, overlapping, repetitive and beautiful soundscapes is generally seen as the apex of saxophone virtuosity.

    The first half of the concert was comprised of short trio and quartet performances, and the second half was an extended improvisation including all seventeen of the amazing musicians assembled. We present a short extract from this, and Parker’s encore, a short example of his breathtaking (circularly breathtaking) solo technique.

     
     
  7. Rhys Chatham in conversation with William Basinski at Cafe Oto, 19 March 2014

    Rhys Chatham and William Basinski in conversation at London’s Cafe Oto as part of Basinski’s Arcadia Festival. We’ve extracted a couple of choice moments in which Rhys Chatham talked about the importance of affordable space to the creation and nurture of artistic creation in a scene.

    "Society needs a place to go and dream."

    "Anywhere in the world, in order to have a great scene you need cheap rent, and you need  someone to write about the stuff that’s happening, and you need some kind of support - whether its the Medicis or the De Monoles or from state funding - you have those three things, you have the scene." 

    They concluded with a pleasant improvisation in which Rhys Chatham provided clarinets and vocals to Basinski’s looping pedals and gadgets.

     
     
  8. 0 plays
    Olwen Fouéré
    riverrun

    Olwen Fouéré, one of Ireland’s leading theatre-makers, performing her acclaimed new adaptation of the voice of the river in James Joyce’s Finnegans Wake

    Download (256kbps mp3 115mb) http://pleasurebridles.com/mp3/20140315-riverrun-TheShed.mp3

     
     
  9. William Basinski & Michael Gira (St John at Hackney, 12 March 2014)

    The first night in a series of the Arcadia events curated by William Basinski, inspired by his nineties studio and performance space Arcadia: http://www.artassembly.org.uk/arcadia/

    We present echoey bootlegs of Michael Gira performing an as-yet-unheard new Swans track, Basinski’s beautiful tape loops, and his entertaining response to a drunk heckler’s plea for vocals,

     
     
  10. 209 plays
    Wild Beasts
    Pregnant Pause (live at Oxford Academy 28 Nov 2013)
    the noise it makes

    Wild Beasts - Oxford O2 Academy - 28 November 2013 

    I feel a bit ‘hushed tones’ about Wild Beasts. So I’ll shut up. Listen to this, a bootleg of a new song from a forthcoming album. Has classic written all over it.

    —-

    And because it’s almost christmas, here’s the whole show as an mp3

    http://pleasurebridles.com/mp3/20131128-WildBeasts-Academy-Oxford.mp3 (complete show, untreated wav > mp3 = 170mb)