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Dag buurman. Ca va? Maken de kinderen je nog niet zot? 

Nee, geen last van. Ze zijn erg flink gezien de omstandigheden. 

Ik heb de indruk dat jij weinig lijdt onder een lockdown omdat je sowieso al weinig uit jouw kot kwam, niet? 

Dat valt tegen. 

Kom je eigenlijk tot iets nuttig dezer dagen? 

Ik heb betonnen palen in de tuin kapot geklopt met een voorhamer en nu heb ik gaten in de tuin van 1 meter diep. Verder heb ik naar 'Mystic Pizza' en 'Steel Magnolias' gekeken. Ik ben de 'Lonesome Dove' serie aan het lezen omdat dat oneindig veel pagina's zijn.

Omdat er bijna geen vliegtuigen meer vliegen en de lucht nog nooit zo blauw is geweest, luister ik graag naar Willie Nelson's versie van 'Blue Skies' terwijl ik in mijn hangmat lig.

Slaag je er in om zelf muziek te maken? 

Ik had net een nieuwe versterker gekocht, vlak voor de lockdown. Het is erg leuk om daar op te spelen. 

Ik doe nu samen met mijn vrouw yoga en doe mee met mijn dochter met fitness-video's. Hoe zit dat bij jou? 

Ik ga vaker met de hond wandelen. Plus, ik heb die betonnen palen kapot geklopt en nu heb ik spierpijn en rugpijn.

Gaat de drankvoorraad goed vooruit? 

Ik was met Michiel Klein bezig met een interview over de nieuwe Lewsberg-plaat, maar die is uitgesteld 'omwille van het Corona-virus'. Tegelijkertijd zie ik dat pakweg Russell Haswell de afgelopen maand 12 albums op Bandcamp heeft gezet 'omwille van het Corona-virus', omdat mensen nu toch thuis zitten en tijd hebben om naar muziek te luisteren. Wat denk jij: is dit een goed of juist een slecht moment om met nieuwe muziek naar buiten te komen? Is er een overload? Brengen artiesten nu middelmatig materiaal uit dat beter in de kast was blijven liggen? 

Ze voorspellen een baby-boom over 9 maanden, maar nog erger gaat de platen-boom zijn. Alle platen opgenomen tijdens de lockdown. Ik kijk er niet naar uit. Daarna zal er veel minder nieuwe muziek uitkomen omdat alle muzikanten wegens gebrek aan inkomen ander werk hebben moeten zoeken.

Festivals gaan niet door maar gewone concerten terug wel vanaf mei. Ga je mee naar Sun Ra Arkestra, Dylan Carlson, Sunburned en Jackie Lynn, of ben ik te positief?
 

Dit is eerder een vraag voor Marc Van Ranst. Zelf vrees ik dat er niet veel bands gaan kunnen touren in mei vanwege gesloten grenzen en dat, als er terug concerten mogen doorgaan in België, het lokale acts gaan zijn. 

Joeri Bruyninckx

I first met Swedish saxophonist Mats Gustafsson at the Nickelsdorf Konfrontationen Festival in 1999, where he was playing with the AALY Trio and I was doing a one-off trio with Jim O’Rourke and Christian Fennesz. I had already been hearing about Mats from Jim as someone else of our generation coming to free jazz from a punk-rock background. A couple of years later Mats invited me to a festival he was organizing in Ystad, Sweden. It was an amazing experience, involving people like Sonic Youth, Christian Marclay, and YoshimiO from the Boredoms. I fondly remember doing a trio with Mats and Peter Brötzmann where I went running to my amp to turn up, my usual volume no match for their acoustic saxes.

Since then Mats has led a couple of other powerful trios—The Thing and Fire!—and collaborated with many other artists, from Neneh Cherry to Merzbow. It’s been a while since we connected, and when the pandemic hit I noticed he was slated to play solo as part of Experimental Sound Studios’ superb series of livestreamed Quarantine Concerts. I’ve been fascinated by the development during this reconfigured reality of solo concerts being the only type to continue to be booked and promoted, solely online. I was excited to catch up with Mats and discuss these issues and others via Skype at his current home in rural Austria—the same town, in fact, where we first met.

—Alan Licht

Alan LichtSo have you been in Nickelsdorf since everything went haywire?

Mats GustafssonIt’s been an interesting journey, because I was on tour with Christof Kurzmann in South America when shit hit the fan. He’s in the high-risk group, because he had a couple heart surgeries, and he’s been smoking since he was like, two. When we left, this virus didn’t seem like a big deal, but traveling with Christof really changed my mind about that.

I have a feeling that we will work a bit differently in the in the future, and it will take a long time before we can start thinking about doing regular concerts again.

ALIt’s interesting—as musicians we’re used to “the show must go on.” People go onstage with fevers; I’m sure we’ve both done it. But with this everything shut down so quickly. People are getting more and more scared. It doesn’t make sense to do a show now if you can do it six months from now.

MGWhat surprised me is that in the EU every country has different rules. And Sweden had almost no limitations in the beginning.

ALYeah, there was an article in the Times about how Sweden was sort of the outlier in that way.

READ THE WHOLE INTERVIEW HERE

TEHRAN, Iran (AP) — On the rooftop terrace of her Tehran apartment building, 28-year-old Mojgan Hosseini’s fingers pluck the strings of her qanun, an ancient stringed instrument, bringing life to an Iranian capital stilled by the coronavirus. 

With performance halls closed and many isolated in their homes as a result of the Mideast’s worst virus outbreak, Hosseini and other Iranian musicians now find performance spaces where they can. That includes rooftops dotted with water tanks and littered with debris, empty front porches and opened apartment windows. Their music floats down on others stuck in their homes, fearful of the COVID-19 illness the virus brings. 

Their impromptu concerts draw applause and offer hope to their listeners, even as public performances still draw hard-line scrutiny in the Islamic Republic. 

“We’re not front-line medical workers, hospital custodians, or grocery workers, but I think many musicians — myself included — have felt an obligation to offer our services of comfort and entertainment in these trying times,” said Arif Mirbaghi, who plays the double bass in his front yard. 

Iran has been hard-hit by the virus with more than 76,000 confirmed cases, including more than 4,700 fatalities.

  • in Iran
  • in Iran

‘SLEEP: The Penitent’s Journey’ is a sleep-learning song-cycle tape by 72 year old Californian electronic composer and inventor Paul DeMarinis.

“The Penitent’s Journey”

You recorded this music in 1985. Why do you release it now?

Paul DeMarinis: I came across a cassette with this material in 2018 while I was gathering material for my 2-LP album ‘Songs Without Throats’ released in 2019 on Black Truffle Records. While they didn’t really fit the program of that album, I liked them, and especially noticed that listening to them put me right to sleep. So I decided to issue it. The tracks were originally made as “filler” for a concert at Phill Niblock’s Experimental Media Foundation in 1985. In those days loading programs into computers was slow – either by floppy disk or, worse, 300 baud Serial connection from another computer. I needed something pre-recorded to cover the several minute gaps between pieces, so I made these short “cameo” pieces that used the same DSP cross synthesis I was using for the pieces in the concert.

You tagged the album on Bandcamp with ‘hypnopedia’. Why?

Hypnopedia refers to the fantasy of effortless learning while you sleep by listening to pre-recorded tracks. It was applied experimentally, mostly unsuccessfully, from the 1930s through the 1960s. It proposed applications not only in learning school material as Aldous Huxley’s “Brave New World” depicts, but also in “brainwashing” black-ops as in John Frankenheimer’s “The Manchurian Candidate.” I thought it was a good category for ‘Sleep’, since if it does succeed in putting other listeners to sleep as well as it does for me, the latter part of the cassette would be experienced only during sleep.

The sub-title of the album is ‘The Penitent’s Journey’. Can you explain this to me?

As I listened to this material a lot of memories about 1985 came flooding back to me, in particular about an on-again/off-again relationship I was involved in at the time. I was on the down-side of it at the point I recorded these pieces and had to eat a lot of crow, so I decided to add the subtitle to set the mood.

READ THE WHOLE ARTICLE HERE

  • Paul