surrounding puk puk
wide, wide, the rock was smooth and great and wide
wide, wide, a river, and the great and wide
wide, wide, the rock was smooth and great and wide
wide, wide, a river, and the great and wide
glutch
http://www.alansondheim.org/glutch.mov
senses; the matching of it with itch is unproper; ahtough that
be also be fingers, itch giving way to momentary pain.:knees and
shoulders:neck and the pleasure in the act of Venus is the
greatest of the pleasures of the senses; the matching of it with
itch is unproper; although that also be pleasing to the touch.
But the causes are profound. First, all the organs of the senses
qualify the motions of the spirits; and make so many several
species of motions, and pleasure or displeasures thereupon, as
there be diversities of organs. The instruments of sight,
hearing, taste, and smell, are of several frame, and so are the
parts for generation. Therefore Scaliger doth well to make the
pleasure of generation a sixth sense; and if there were any
other differing organs, and qualified perforations for the
spirits to pass, there would be more than the five senses;
neither do we well know whether some beasts and birds have not
senses that we know not; and the very scent of dogs is almost a
sense by itself." senses; the matching of it with itch is
unproper; although that also be body kfor itch sufferers relief
is here tworks all day or all night b possible. It was a demand,
an itch between the legs, the thrust of a fist, a glutch.
Hi - our new cd from Public Eyesore is out; you can order it through the
URL below. Please consider this; the cd, Avatar Woman, has taken over a
year in production, and has had the terrific assistance of Bryan Day,
Chris Diasparra, Ed Schneider, Steve Holtje, and Godelstring Studio. It
includes eleven songs by Azure Carter, with accompanying improvisation
from Chris, Ed, and myself.
The album is relatively inexpensive with high production values (I did the
full-color images that Bryan turned into the cd graphics). By buying it,
you would also be supporting our music, which we have given away, so many
times, for better or worse, for free. Following is the one-sheet
description of the cd, including Steve Holtje's liner notes:
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Azure Carter & Alan Sondheim - NEW CD!
Avatar Woman
PE123
To Order:
http://www.publiceyesore.com/catalog.php?pg=3&pit=123
1. Buried
2. Dark Robe
3. Surely
4. Among The Ferns
5. World
6. Making Boys
7. Blood Tantra
8. Avatar Man with Dream Woman
9. What Remains
10. Marriage to Language
11. Buried II
12. Credo
Azure Carter : vocals and songs
Alan Sondheim : violin, dan moi, suroz, sarangi, electric
guitar, oud, cura cumbus, electric saz, viola, cura saz, and
pipa
Christopher Diasparra : tenor and baritone saxophones
Edward Schneider : alto saxophone
"Listen to any track on this album. Have you ever heard someone
else who sings like Azure Carter? I sure haven't. Have you heard
anyone who plays as a wide range of instruments, with such
gleeful abandon, as Alan Sondheim does? Me neither. Put them
together and this may be the most original and unique sound to
come along in years, even decades perhaps.
Carter's lyrics are, I am told, related to and/or inspired by
Second Life, an online virtual world. That may have significance
for some, perhaps even great significance, but even a Luddite
such as myself can enjoy them and interpret them in the context
of meatbag life: longings for contact and connection,
deconstructions of our strategies for satisfying that longing,
self-analyses and reflection. Between the conundrums and quirks
of that search and the restless music underpinning them, this is
an album of unease, of a hypermodern sense of overwhelming
possibility, even though sometimes Carter's cadences sound
eerily like Psalms or the Song of Solomon (you can hear this
right off the bat on "Among the Ferns").
About that music. Alan Sondheim, an underground icon from the
'60s thanks to a 1967 debut album on Riverboat that made the
infamous Nurse With Wound list, followed up with two albums on
notorious outsider label ESP-Disk', has made a 21st-century
comeback (in the interim, he established himself as an academic
pioneering cyberspace theory). His improvised music resists all
genre labels, though one can hear, in the sounds of the
instruments chosen if not always the non-traditional techniques
he uses to play them, so-called world music; on the tracks Ed
Schneider and Chris Diasparra play on, there are traces of jazz
in their contributions; and Sondheim's early blues roots shine
through on "Credo." It is music based on gesture and timbre
rather than harmony and/or melody, and rhythmically abjures
beats. "That 'mama heartbeat,' that 'bom-bom-bom' . it's so
boring, it's so banal," Don Van Vliet AKA Captain Beefheart once
said. "I want things to change like the patterns and shadows
that fall from the sun." Sondheim's improvisations are like
that, except as though played by a metabolism operating at a
faster rate of speed, or filmed and fast-forwarded." . Steve
Holtje
Azure Carter is an artist, educator, and singer/songwriter. When
she isn't collaborating on music, video, or performance with her
partner, Alan Sondheim, she is busy studying education theory or
working on an on-going performance/video piece, The Fairyland
Around Us, based on the writings of the early 20th century
naturalist, Opal Whitely. Before moving to Providence, Carter
lived in NYC and performed at numerous venues in the city and
elsewhere, including the 92nd Street Y, Dance New Amsterdam, The
Bowery Poetry Club, Eyebeam, Jack, and Highwire Gallery. In
2012, Fire Museum produced Cauldron, with Carter, Helena
Espvall, and Sondheim, an album of improvisations and song-
forms.
http://azurecarter.weebly.com
Alan Sondheim was born in Wilkes-Barre, Pennsylvania; he lives
with his partner, Azure Carter in Providence, RI. He holds a
B.A. and M.A. from Brown University. A new-media artist, writer,
and theorist, he has exhibited, performed and lectured widely.
http://www.alansondheim.org
http://www.publiceyesore.com
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