Keiji Haino’s (b. 1952 in Chiba, Japan) 30-year career has encompassed a dizzying range of approaches from wild, guitar-led ensemble rock and near-Neolithic drumming; live electronics, untutored explorations of lute and flute, to voice experiments and extended performances for gamelan and other percussion.
Aside from his commitment to free rock titans Fushitsusha, Haino has collaborated with artists as diverse as Rashied Ali, Jim O’Rourke, Peter Evans, Derek Bailey, Boris, Bill Laswell, Tony Conrad, Faust, John Zorn, Sunn O))), Loren Mazzacane Conors, Peter Brötzmann, Merzbow, The Melvins, Yamantaka Eye (of Boredoms), Charles Gayle, Oren Ambarchi, Damo Suzuki (of CAN), Han Bennink, Sachiko M, Thurston Moore, Mike Patton, NON, Ikue Mori, Otomo Yoshihide, Fred Frith, and members of Les Rallizes Dénudés.
Throughout, Haino has retained a visionary focus upon temporary suspension through noise (and silence) whilst refining a mercurial, highly distinctive method and an arrestingly dramatic on-stage presence that borrows the raiments of performance art.
AND HE’S COMING TO OBERLIN TO PLAY TWO CONCERTS THIS WEEKEND!!!
At 8PM on Saturday, April 13th at Fairchild Chapel (50 W. Lorain St.) he will be doing a solo voice performance.
At 10PM (doors at 9) on Sunday, April 14th at the Dionysus Disco he will be playing guitar as well as singing in a duo with percussionist Chris Corsano.
The first show is free to everyone, but the second is free only for people with an Oberlin College ID. For those without an OCID, tickets are $8 (available at http://www.etix.com/ticket/online/homePageSearch.do?method=showPerformanceDetail&performance_id=1713576&search_source=etix), but WOBC is giving away a handful of pairs of tickets over the next few days.
Tune in to the following shows for a chance to win:
Thursday @ 11 AM – 12 PM: Blues For The Red Sun
Thursday @ 2-3 PM: My Vinyl Sugar Daddy
Friday @ 10-11 PM: O-H-10 @10
Saturday @ 12-2 PM: Chameleon Radio
Sunday @ 12-1 AM: Spit
Ryan, engineer: DOCK BOGGS Oh Death Dock Boggs is the epitome of shred. He recorded four sides of gnarly appalachian-style folk music in 1927 but because of the depression they were totally unsuccessful. All out cash, he pawned off his banjo, gave up music and began working in the Virginia cole mines. 30+ years later he was rediscovered by the people at Folkways Records, they tracked him down in Virginia, brought him a banjo and told him he had to relearn his entire repertoire and they were going to record every song he knows. This track is from that first 1964 recording session.
Sivan, vinyl: V3 American Face Jim Shepard was something like the definition of an American punk cult figure until he tragically committed suicide in 1998. He was one of the most important people to come out of the mid-90s scene of my hometown, Columbus, OH, along with bands like Thomas Jefferson Slave Apartments, New Bomb Turks, Gaunt, and Bassholes. V3 was his main project, and “American Face” was one of his best songs, displaying that typical mix of anger, cynicism, witticism, and a dash of empathy. And it rocks pretty hard, y’know?
Amanda, outreach: KARNATAKA COLLEGE OF PERCUSSION Fisherman i dont know much about this song or what its about – i think a fisherman. i like it very much and have been listening to it in the am and pm both. good for concentration – simultaneously relaxing and upbeat- several complex rhythms that change quickly throughout but holds down a steady beat. beautiful mystery or masters of percussion? the answer is masters of percussion.
Asher, librarian: PARQUET COURTS Borrowed Time My roommate played this song really loud in our room every day from winter term to spring break. At first I thought it was that same kind of bothersome punk rock and roll which is destroying our nation’s youth and which he always plays really loud in our room but one day when he wasn’t around I put it on and did a dance all by myself.
The Edge of Light // Gloria Cheng and Calder Quartet // Harmonia Mundi UK — Radiant sonorities by Messiaen and Saariaho, including Saariaho’s Prelude and Ballade, two works for solo piano.
Le Cirque // Anderson-Fader Duo // Furious Artisans — Contemporary classical played by guitar duo with refreshingly catholic tastes, from Wuorinen to Lang. Despite this variety, the album holds together well — maybe because things can’t help sounding good on guitar duo, including a haunting Gillian Welch arrangement here.
Handel: Bad Guys // Xavier Sabata with Il Pomo d’Oro and Riccardo Minasi // Aparté — Grab bag of villainous Handel arias, incongruously written for the warbling counter-tenor range. Sabata sings strongly and expressively, but he’s not going to make anyone quiver in their (historically informed) boots.
Haydn: Piano Concertos, Nos. 3, 4 & 11 // Marc-André Hamelin with Les Violons du Roy and Bernard Labadie // Hyperion — Remarkably clear and lively performance, though Hamelin’s playing is sometimes too dry & distant for my taste
The Top 30 is a weekly section of the WOBC blog where we highlight the 30 most-played new albums each week. Radioactivity’s crash a few weeks back and the disruptions of Spring Break mean that this post is a little anachronistic but, nevertheless, check out what our DJs are spinning!
When I was in elementary school, my physical education experience, while standard in many aspects, required all students to gather on the blacktop at least 3 times a week and learn to dance. Aside from a fantastic medley of country songs, pop boy-band ‘NSYNC, which was at the height of their popularity, was also a constant choice amongst the athletic coaches. Within my social circles, we all despised ‘NSYNC and constantly complained about having to dance to this dreaded music. Justin Timberlake was primarily at the receiving end of our animosity, continually being the subject of elementary schoolboy satire, but I must emphasize, we all really did like ‘NSYNC, we just would never admit it. I am now older, perhaps a little more secure and confident, and I can now admit I like Justin Timberlake and enjoy his music. However, my enjoyment of Justin Timberlake music aside, his latest release, The 20/20 Experience, while a welcomed change in sound from previous Timberlake albums, lacks musical variation within the album, suffers at times from horrid lyrics, and features a few throw-away songs; although I do recommend a listen of The 20/20 Experience, I can’t do much more.
The 20/20 Experience opens relatively strong, with the initial track Pusher Love Girl, a slow, diverse R&B song, serving as an effective platform for the rest of the album, and a transitional piece to perhaps the most well-known single, Suit and Tie. Suit and Tie, while not as catchy as 2006’s SexyBack, documents a successful growth within Timberlake’s music, with the appearance of Jay Z confirming The 20/20 Experience to be a more mature project. And in many aspects, maturity and growth dominate the album, as Timberlake, heavily distanced from his promiscuous, all-denim wearing days, now boasts of marriage, old love, and women wearing ball gowns. I do not see this change as problematic, but in some instances, Timberlake seems torn between channeling his new sound along with consolidating the past pretensions of “Future Sex/Love Sounds.” Lyrics such as “Stop, let me get a good look at it. Oh, so thick, now I know why they call it a fatty…” result, highlighting Timberlake may no longer be the same artists who once readily claimed to be the force behind the resuscitation of sexiness.
Past Pusher Love Girl and Suit and Tie, the album predominately maintains consistency, yet suffers to truly expand musically past the tone set in the initial songs of The 20/20 Experience. In this sense, every track sounds similar to the next, and while that’s not entirely a negative aspect, a diverse array of songs would obviously be more effective. In moments when Timberlake does in fact attempt to broaden his sound, tracks such as Don’t Hold the Wall and Let the Groove Get In are enlisted, but these songs hold no cohesive place within the album, serving as misplaced filler tracks. Essentially, The 20/20 Experience is a listenable paradox, in that it suffers largely due to the fact that it maintains too similar of a sound throughout, yet when Timberlake diverts from this format, the album fares worse. Gone are irresistible songs such as Cry me a River and My Love, but Timberlake, in my opinion, is indeed transitioning musically in a positive direction; it is just a long, arduous process that he hasn’t fully realized. The 20/20 Experience is decent, even good at times, and the second installation of the album, which Timberlake plans to release in November, hopefully will avoid the redundant pitfalls of its first half, and expand upon Timberlake’s maturation and growth.