Sonntagsschule der fruchtbaren Langeweile

Bibelfeste aber nicht bibelgebundene Musik.

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Steroid Maximus - Seventy Cops, (JG Thirlwell)

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John Zorn - Yesoma

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<3 Come wander quietly and listen to the wind Come here and listen to the sky Come walking high above the rolling of the sea And watch the swallows as they fly

There is no sorrow like the murmur of their wings There is no choir like their song There is no power like the freedom of their flight While the swallows roam alone

Do you hear the calling of a hundred thousand voices Hear the trembling in the stone Do you hear the angry bells ringing in the night Do you hear the swallows when they’ve flown?

And will the breezes blow the petals from your hair And will some loving ease your pain And will the silence strike confusion from your soul And will the swallows come again?  <3

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Entrada

[dustedmagazine]

Jakub Šimanský — What Do You Mean By That? (8592786 Records DK2)

Photo by Jan Vrba

Czech guitarist Jakub Šimanský identifies himself with the “American Primitive” genre, evoking in his picking and sometimes in his song titles figures from Fahey and Basho to Rose and Bachmann. He does so with tongue in cheek, though; his previous releases were titled Face to Face Against American Primitivism Vol. 1 and 2. What Do You Mean by That? his third full-length solo release, demonstrates his progress as both a player and a composer. The ten taut tunes, all under five minutes in length, are rich with melody and dazzling fingerpicking. Šimanský reminds us of the inexhaustible potential of just one person and (with one exception) an acoustic guitar.

The focus here is on the six-string. “Knife Thrower,” “Cannoneer,” “Devshirme,” and “Get On The Horses” are fast-paced, featuring clusters of notes and heavy thumb work that branch into elegant runs of hammer-ons and pull-offs. The latter tune is especially engaging, with a driving minor-ish feel and stops and starts tracing an epic journey in just over three minutes. Opener “Resurrection,” the one tune featuring overdubbing, unites driving banjo with earthy guitar in a way that is particularly evocative of Bachman.

The latter half of the recording rounds the set out with more meditative tunes such as “Golden Jelzen”—the one appearance of a 12-string guitar — “To Philip,” and the lilting “Stabilitas Loci.” Šimanský’s mastery of the slide is in evidence here, as is his ability to command hold the listener’s attention at slower tempos.

The “Overseas Edition” volume of Tompkins Square’s Imaginational Anthem series of Takoma-school guitarists from a few years back demonstrated that players all over the world — including Šimanský on one track as part of a duo — have continued to find inspiration in an approach to the instrument that originated in the U.S. some 65 years ago. On What Do You Mean even more so than on his previous releases, Šimanský shows that he belongs in the company of the U.S. players who inspired him as well as non-U.S. contemporaries such as D.C Cross and Sebastian Bischoff (Son of Buzzi) who have embraced this demanding style.

Jim Marks

[noxe]

All Is Loneliness (2000 Remaster)

All is loneliness here for me Loneliness here for me Loneliness All is loneliness here for me Loneliness here for me Loneliness All is loneliness here for me Loneliness here for me Loneliness All is loneliness here for me Loneliness here for me (All is loneliness here for me) Loneliness (Loneliness here for me) All is loneliness here for me (Loneliness) Loneliness here for me (All is loneliness here for me) Loneliness (Loneliness here for me) All is loneliness here for me (Loneliness) Loneliness here for me (All loneliness here for me) Loneliness (Loneliness here for me) All loneliness here for me Loneliness here for me Loneliness

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The Intelligence, (The Found Me On the Back Of) The Galaxy. Groovy as fuck

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Thee Oh Sees, »Infected Chrome« from the album »Abomination Revealed At Last« (2025)

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Glyders, »Geneva Strangemod« from the album »Maria's Hunt«

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R.I.P. Robert M. (Bob) Wilson

»All dessen müd, nach Rast im Tod ich schrei. Ich seh es doch: Verdienst muss betteln gehn Und reinste Treu am Pranger steht dabei Und kleine Nullen sich im Aufwind blähn Und Talmi-Ehre hebt man auf den Thron Und Tugend wird zur Hure frech gemacht Und wahre Redlichkeit bedeckt mit Hohn Und Kraft durch lahme Herrschaft umgebracht Und Kunst das Maul gestopft vom Apparat Und Dummheit im Talar Erfahrung checkt Und schlichte Wahrheit nennt man Einfalt glatt Und Gutes Schlechtesten die Stiefel leckt. All dessen müd, möcht ich gestorben sein, Blieb nicht mein Liebster, wenn ich sterb, allein.«

Shakespeare, Sonett 66: https://youtu.be/N7CmtKwjE5c

Achso, und diese Darbietung des Sonetts 29 war damals beeindruckend. Ich bekam endlich einmal im Theater Gänsehaut:

»When in disgrace with Fortune and men's eyes, I all alone beweep my outcast state, And trouble deaf heaven with my bootless cries, And look upon myself, and curse my fate, Wishing me like to one more rich in hope, Featur'd like him, like him with friends possess'd, Desiring this man's art, and that man's scope, With what I most enjoy contented least; Yet in these thoughts myself almost despising, Haply I think on thee, and then my state, Like to the lark at break of day arising From sullen earth, sings hymns at heaven's gate; For thy sweet love rememb'red such wealth brings That then I scorn to change my state with Kings.«

Und Robert Wilsons Shakespeare Sonette gesamt (Berliner Ensemble, 12. April 2009) mit der Musik von Rufus Wainwright: https://youtu.be/qODekVgJdOc

Von diesem ist für mich noch einmal die Rezitation von Sonett 148 außerordentlich bedeutsam: https://www.youtube.com/watch?v=qODekVgJdOc&t=1280s

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Protomatyr, »Rain Garden« from the album »Formal Growth in the Desert« (2023)

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Ulrika Spacek - »Victorian Acid« from the album »Modern English Decoration« (2017)

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Lee Morgan, Search For The New Land, 1966. Lee Morgan - Trumpet, Wayne Shorter - Tenor Saxophone, Herbie Hancock - Piano, Grant Green - Guitar, Reggie Workman, Billy Higgins - Drums.

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Nana de Sevilla

Este galapaguito No tiene mare; No tiene mare, sí; No tiene mare, no: No tiene mare. Lo parió una gitana Lo echó a la calle; Lo echó a la calle, sí; Lo echó a la calle, no: Lo echó a la calle. Este niño chiquito No tiene cuna; No tiene cuna; sí; No tiene cuna; no: No tiene cuna. Su padre es carpintero Y le hará una. Y le hará una, sí; Y le hará una, no: Y le hará una.

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Nicht mehr zu dir zu gehen, Beschloß ich und beschwor ich, Und gehe jeden Abend, Denn jede Kraft und jeden Halt verlor ich.

Ich möchte nicht mehr leben, Möcht’ augenblicks verderben, Und möchte doch auch leben Für dich, mit dir, und nimmer, nimmer sterben.

Ach, rede, sprich ein Wort nur, Ein einziges, ein klares; Gib Leben oder Tod mir, Nur dein Gefühl enthülle mir, dein wahres!

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Leonard Cohen & Philipp Glass, Book of Longing: Prologue - I can't make the hills