India is performing badly in the World cup hockey.My heart is dissatisfied.Didn’t apply feets on the football either due to various reasons.First the big party,then “drama” and on the last day preponing of the schedule for the “Stingray” understanding.The accidental death of crocodile hunter was a blow for the adventure freaks like me .

But believe me ,the life is rocking at the Music front.Inspired by Spicmacay’s programs and my “To be program” on 31st/1st/2nd ,I did buy a Lehara Machine from Radel India.After purchasing a Digital Tambora for Taai (the Raagini one ),this is one of the best investments I must’ve made in my career.From here one thing is pretty sure,I have only to look forward ,as the sky is the limit.

Saraswati Puja is getting closer,and most of my time is being spent on deciding the strategy for the big event.My index finger is getting stronger day by day ,after getting damaged saving a goal,this is the best I could expect.The throat of Ameya is also recovering from the infection as too the one of Tanay .
Saraswati –
Sur ki mati
Har gati, madhur sangeet ki ladi,
Unonhe Pakadi hai rakhi I
Apne hat me ‘Saptsur’ ki kadi I

Saraswati –
Sundar divya murti ki prati
Anand dhund kar rahi,
Jaise jogi ki asamanjas priti I
Bhula di mujhe gaye samay ki kshati I

Saraswati –
Pandita ki aardak shakti
Ved, puran, mantra, jap ki
Drushti me vedhak vruti I
sab samaj lene ki adhbut budhi I

Saraswati –
Ma ki mamata nazar aai
Yogini ki tejomay Chabi I
N dhalnevali, ekagra se hai baithi I
Aaj de rahi ashirvad khushi I
Mai rahu tere kadamo me har ghadi I

Comments (7)

  1. Kamil

    You say Justin Bieber,I?? say Black Veil BridesYou say?? Miley? Cyrus,I? say Bring Me The HorizonYou say Kesha,I say Suicide SilenceYou say Eminem,I say Escape The FateYou say Kanye West,I say? Bullet 4 My? ValentineYou say? Jonas Brother,I say? The Black? Dahlia Murder92% of?? teens? have turned to pop? and hip-hop.If? you are part of? the 8% that? still lisetns to? real music, copy and paste this message to 5? other videos DONT LET ROCK N ROLL?? DIE/METAL Thumbs up..

  2. Aris

    Me and my friend clsehea/Mickey she loves him that much she changed her name to mickey XD every morning coming into schoolMamaWe all go to hell

  3. Johnson

    Hi Richard, thanks so much for your thohtugs and sorry about the lack of editing facilities here. I don’t know how to fix that.Regarding Mattin’s interest (or not) in subverting the audience / performer relationship- yes certainly there is a great deal in this book about extending the process of the performance out from the musicians’ perspective. There is much discussion about what it means to be an improviser and how this can be changed, extended etc there is a lovely line in there- plinky-plonking is not enough. That said, there is also plenty written (I suspect by Brassier) about expectations of this kind of performance and how these can be confounded. Maybe he is particularly conscious of this from his perspective as a philosopher, who might be expected to read, or talk, but instead plays guitar. There is discussion in the text about twisting the conventions of the concert situation into something else, so giving the audience a more responsible or active role.One of the difficulties of this little book is that it is written by four separate people. It does look like there are four distinct sections, one each written by each of the quartet, but the parts are not credited to any one in particular. This is undoubtably deliberate and is a reflection of the music itself, wherein its hard to know exactly who is doing what. Although the four sections never really contradict each other, they do seem to view the same experiences from differing viewpoints and with individual focus placed on slightly different concerns. So there is an awful lot in the thirty-six pages and maybe what Mattin took from the process is markedly different from one of the others. As for my comment about the music possibly being irrelevant perhaps what I should have said was that maybe the whole process here renders evaluation of the music irrelevant. the musicians themselves state that judging the performance as good or bad is absurd. The entire process, from the initial ideas, the constraints deliberately placed upon the performance and then the later analysis of all of this is about setting up a situation within which things can happen, an environment as far from idiomatic music structures as possible. The important aspect of this project to me is the systems and non-systems used to create the performance. Maybe they created interesting music, maybe they didn’t, but to judge the music through one set of personal criteria would probably be missing the point. The significant difference between this project and the Rowe album is the focus (or lack of focus) on an end result. As I see it, the quartet introduced systems and rules that allowed something to happen, but not a specific something. The writing analyses far more than the actual music or how it was created, in fact it barely discusses the actual sounds used at all. Keith’s piece about his solo performance has always struck me as virtually a retrospective score. While the quartet here are merely opening up the potential for something more unusual to happen, Rowe just describes his reasons for making certain decisions, explains why he chose to bring certain sounds to the performance. The important work of the quartet could be argued to have been undertaken before and after the actual performance. Certainly for me the most interesting aspect of Idioms and Idiots is the description and later analysis of the situation that the musicians placed themselves in. How the performance then panned out almost didn’t matter, for me at least. The Rowe piece is more of an artistic statement in itself, the significance and construction of which is then later broken down in the ErstWords text. Rowe evaluates a finished piece of work and its individual parts, many of which were pre-determined and brought to the music with a particular intention of how they would be used in place. For this reason the two pieces of writing are considerably different to me, and serve different purposes.

  4. Ahmad

    I had not really been so eager to read/listen to this piece until I read your reeviw. I might have to move it higher in the queue now.But there are things I would first like to propose here.If Mattin’s objective was ever so simply to alter the usual balance of the performer / audience relationship with his work, I do believe that changed some time ago. I have gleaned that, as this release quite well demonstrates, he is more broadly striving to alter the way we perceive what it means to be a participant in improvised music. Before, during, and after the act of performance as not only performer and live audience but also audience to the recorded document and audience by word of mouth.That is, the concert ended but the music-related work did not. The discussion both in advance of and after the concert and the process of generating this analytic text are all just as important components of the whole work. In fact, one could say your analysis of it and my comment here on the blog post are part of the overall process of the work.So, to that end, commenting that in some ways the texts here render the actual music presented on the CD here irrelevant seems to miss the point. Though, I should say, having not yet read the text or listened to the music, I cannot actually say I would not feel the same! And is not that personal impulsive feeling in a moment of experience a key feature of Improvisation? But really, a statement like that makes me want to ask: how is it any different from a detailed, thoughtful reeviw of a concert or cd? Or, from an inside-the-music perspective, how is it any different from Keith Rowe’s blow-by-blow writing about his own erstlive006 solo that was published on erstwords? Once you’ve read such precise descriptions of both sound and conceptual intent, does it make that music as irrelevant as this text makes this music? With my tongue gently planted in my cheek, I’d say the difference lies in one’s enjoyment of the music. If you found the recording more sensual or human or fluid or beautiful or whatever would you still consider it a necessary component after reading the text rather than saying it becomes (in some ways at least) beside the point?I don’t mean to imply I even have answers to these questions. But I do think they are important ones to consider in ones interaction with a release such as this.

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