unseen, nightlong

images from forthcoming invisible birds special edition :
ib006ltd ingenting kollektiva lost beyond telling
limited edition of 12 copies, due sometime around august/september

edition will include :

• a drawing by matthew swiezynski (40 minute drawing listening to fragments of night) (above)
• photographic portfolio
• a small booklet
• synthetic horse hair fabric around the standard edition
• other items of interest, all enclosed in a lovely box (above)

price is still being determined, depending on expenses
please email to reserve a copy : invisiblebirds (at) gmail (dot) com
or for further details

he came dancing across the water with his galleons and guns looking for the new world in that palace in the sun

tarrl lightowler & matthew swiezynski - spectral anaylsis loops : deep in the glowing - 2012

"i attempt to render sections from the spectral analysis of things, to show them in many aspects and permutations simultaneously: their relations, sequences and oppositions.
unfortunately i am unable to observe things from all sides... i consider my so-called abstraction and my actual ambiguity to be moments of realism."
from hugo huppert's (in the prayer-milll's rattling) : a visit with paul celan in the book translating tradition.

ib

i see them mia
over there, under the dark, stormy sky.
they're all there
and death, the grim master, bids them dance.
he commands them to hold hands
and dance in a long line.
the stern master leads the way with his scythe and hourglass.
but skat dangles at the end with his lyre.
they dance away from the dawn
in a solemn dance,
away to the dark country,
while the rain runs down their faces
and washes away their salty tears.

the seventh seal


*********


black milk of daybreak we drink it at evening
we drink it at midday and morning we drink it at night
we drink and we drink
we shovel a grave in the air there you won't lie too cramped
a man lives in the house he plays with his vipers he writes
he writes when it grows dark to deutschland your golden hair marguerite
he writes it and steps out of doors and the stars are all sparkling
he whistles his hounds to come close
he whistles his jews into rows has them shovel a grave in the ground
he orders us strike up and play for the dance

black milk of daybreak we drink you at night
we drink you at morning and midday we drink you at evening
we drink and we drink
a man lives in the house he plays with his vipers he writes
he writes when it grows dark to deutschland your golden hair margeurite
your ashen hair shulamith we shovel a grave in the air there you won't lie too cramped
he shouts jab this earth deeper you lot there you others sing up and play
he grabs for the rod in his belt he swings it his eyes are blue
jab your spades deeper you lot there you others play on for the dancing

black milk of daybreak we drink you at night
we drink you at midday and morning we drink you at evening
we drink and we drink
a man lives in the house your goldenes haar margeurite
your aschenes haar shulamith he plays with his vipers
he shouts play death more sweetly death is a master from deutschland
he shouts scrape your strings darker you'll rise then in smoke to the sky
you'll have a grave then in the clouds there you won't lie too cramped

black milk of daybreak we drink you at night
we drink you at midday death is a master aus deutschland
we drink you at evening and morning we drink and we drink
this death is ein meister aus deutschland his eye it is blue
he shoots you with shot made of lead shoots you level and true
a man lives in the house your goldenes haar margarete
he looses his hounds on us grants us a grave in the air
he plays with his vipers and daydreams
der tod is ein meister aus deutschland
dein goldenes haar margarete
dein aschenes haar shulamith

death fugue

at last a new dawn, three rooms, cello recycling/cello drowning & breizhiselad described by paul celan

musical examples of melancholia and the divine:

peter wright: at last a new dawn, 2007 *

"peter wright plays disconnected avant guitar gloop distilled through a series of electronic filters and single malt, heavily influenced by guitar pop, free jazz/improv, atonal guitar noise, cats and city trash.. he was born at 43.3170s, 172.6330e and currently lives at 51.4450n, 0.1510w.
(some) influences: saul bass, sergio leone, akira kurosawa, stanley kubrick, the kinks, tape loops, radiohead, john coltrane, bowie with eno, andrei tarkovsky, jim jarmusch, twin peaks."

"this is the sound of misery and death, and ultimately, of hope and redemption"
from his site.

discography (select):
-at last a new dawn, 2007
-crater lake, 2007
-folk songs and blackness, 2006
-air guitar 7", 2006
-red lion, 2006
-unvarnished, untreated, unzipped, 2006
-pariahs sing om (3cd set), 2006
-desolation beauty violence, 2005
-yellow horizon, 2005
-red lion 'tour edition', 2005
-distant bombs, 2004


paul celan, inhabited, dishabited from threadsuns, 1968
(pierre joris):

inhabited, dishabited,

indishabited,

the obedient darkness: three
bloodhours behind the
gaze-spring,

the coldlight-ocells, s-
mothered by blinding,

the thirteen-
plumby nothing:
over you, with
the luckskin,
it folds itself

during
the ascent.

*

steve peters: three rooms, 2007

"originally composed as sound installations, these three delicate pieces - or rooms, as the title states - are the result of very personal investigation regarding the interaction between physical spaces and the experience of listening. the selected compositions on the disc seem to emanate themselves from these spaces to continuously create room(s) for the listener, intensifying quietly and subtly our awareness"

discography (select):
-three rooms
-from shelter
-with my back to the world: agnes martin (DVD)
-here-ings: a sonic geo-history (CD/book)
-in memory of the four winds
-emanations


paul celan, whitesounds from threadsuns, 1968
(pierre joris):

whitesounds, bundled,
ray-
passages
over the table
with the bottle post hence.

(it listens to itself, listens
to a sea, drinks it
too, unveils
the roadheavy
mouths.)

the one secret
butts forever into the word.
(whoever falls off that, rolls
under the leafless tree.)

all the
shadowclasps
on all the
shadowjoints
audible-inaudible
that announce themselves now.

*

aaron martin & machinefabriek: cello recycling/cello drowning, 2007 * *

"the ‘cello recycling’ project was originally commissioned for use in an art gallery; zuydervelt took cello improvisations from aaron martin and built them into the slow-burning post-ambient monster that is ‘cello recycling’. however here we see the original piece accompanied by aaron martin’s take on rutger’s work, where he ‘drowns’ the original piece in a bath of murky water taking into submerged directions it has never before drifted. the two pieces together are perfectly complimentary showing two sides to a tarnished coin – one giving us pent up emotion, fizzing and shuffling awkwardly until it explodes majestically, the other giving us peaceful reflection as seen through the eyes of a serial killer who has just completed his final gift to the world. an inventive and incredibly beautiful look at the cello as an instrument and noise making tool."


paul celan, in the noises from threadsuns, 1968
(pierre joris):

in the noises, like our beginning,
in the ravine,
where you fell to me,
i wind it up again, the
musical box-you
know: the invisible,
the
inaudible one.

*

eric cordier: breizhiselad, 2006 * *

".....masterpieces of the traditional music of french brittany. apart a few field recordings all the material on this record originates in extracts from two songs of the a side of a 10" 1960s reissue of a 78rpm. the story begins when a breton cousin discovered the record at his grandmother's house. on first listening, i found it to be horrible - but a work of genius. horrible because of the catechism-like vocal arrangements but a work of genius in terms of the beauty of the melody and the conviction of the singers. another particularity is the importance of the disc itself, whose vinyl surface is nearly erased, polished under a sea of cracks. my project has been to transpose this traditional music into the tape music medium with a view to preserving what is strong in the source material and erasing the sugary, churchy treatment of these originally popular songs." eric cordier


paul celan, speechwalls from threadsuns, 1968
(pierre joris):

speechwalls, space inwards-
spooled in upon yourself,
you holler yourself through all the way to the lastwall.

the fogs are burning.

the heat hangs itself inside you.


(in terms of a review; read paul celan's descriptions (they are more than suitable), and run right out to buy these, they are beyond my words)