![\"Cicada](\"https:\/\/www.gruenrekorder.de\/Photos\/cicada_dream_band.jpeg\" "\\"Cicada")
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Cicada Dream Band\u00a0| Pauline Oliveros<\/a> & David Rothenberg<\/a> & Timothy Hill<\/a><\/strong> <\/p>\n Flames will destroy everything <\/p>\n A cold cricket cries in the pile of wet leaves. <\/p>\n Go along with it <\/p>\n Case 29, The Blue Cliff Record<\/p>\n <\/p>\n 2013 marked the arrival of millions of periodical cicadas to the New York Metropolitan area. These musical insects appear only once every seventeen years. On the occasion of this auspicious event, David Rothenberg performed a series of concerts together with composer and deep listener Pauline Oliveros, overtone singer Timothy Hill, and live singing insects brought in from the trees. The ensemble of digital accordion, clarinets with electronically enhanced nature sounds, and harmonic singing is certainly a trio unlike anything heard before. Even Pauline, with eighty-two years of music making, confessed she had not heard anything like it. The ensemble headed to the famous Dreamland Studios just outside of Woodstock to commit three and a half hours of music to digital memory. For the album they picked their favorite 64 minutes and 32 seconds. Jo\u00eblle L\u00e9andre said \u201cI love this trio, it\u2019s wonderful, special!\u201d<\/p>\n <\/p>\n <\/p>\n Track list:<\/p>\n <\/p>\n 1 \/ Who Said What? (6:28) <\/p>\n Excerpts:<\/p>\n <\/p>\n Track 1 <\/p>\n 11 Tracks (64\u203232\u2033) <\/p>\n <\/p>\n Cicada Dream Band: <\/p>\n Recorded at Dreamland Studios, West Hurley, NY, August 2013 <\/p>\n Artwork & Design: Bernhard W\u00f6stheinrich \/ www.studioflokati.de<\/a> <\/p>\n Special thanks to Joel Bluestein, Jerry Marotta, Marilyn Crispell and Michelle Makarski<\/p>\n <\/p>\n All titles published by <\/p>\n <\/p>\n <\/a>Reviews<\/strong><\/p>\n <\/p>\n PROGRESS REPORT<\/a><\/strong> <\/p>\n Denis Boyer | FEARDROP<\/a><\/strong> <\/p>\n Jack Chuter | ATTN:Magazine<\/a><\/strong> <\/p>\n They are all impeccable listeners. On \u201cThree Of A Mind\u201d, Oliveros\u2019 v-accordion hangs on single notes like a held breath, or a hand feeling its way through the dark. Hill and Rothenburg respond accordingly, and before long the entire trio is slithering on their stomachs, hands held behind their backs, letting out soft and deliberate notes one after the other. As time slows down for one, the inner clocks of the others adjust accordingly \u2013 they are an eco-system within themselves, forever readjusting to retain balance and beneficial co-dependency. <\/p>\n Josh Landry | Musique Machine<\/a><\/strong> <\/p>\n It comes off as a playful nature worship ritual, in much the way one might expect based on the title and lush green forested artwork. There are many lovely luminiscent and colorful instrumental tones, which intermingle pleasantly in whimsically exchanged volleys. In a sense it resembles free jazz, but consonance and beauty are emphasized to a far greater degree than would be typical of the genre. I enjoy the fluttering percolations of Rothenberg’s clarinet and bass clarinet, intermingling with Timothy Hill’s voice, itself reedy and rich in harmonics. The strangeness and unpredictability of Rothenberg’s note choices echo the esoteric and surreal classical music of the mid 20th century, such as Ligeti.<\/p>\n <\/p>\n The problem with this album turns out to be Oliveros‘ contribution. Her V-accordion is often set to cheesy, sampled sounding patches, such as a canned sounding voice saying ‚ooh!‘. It’s blocky and rigid compared to the rich organic timbres of the other two musicians, and therefore quite distracting. This kind of crude sampler use was generally abandoned after the 80’s, and for good reason. This album can often feel overly light or inauthentic, like exploring a forest made out of cardboard trees and tiny hidden speakers playing sound effects. The field recordings in the background are presented in such a way so as to sound like artificial loops. The soundscape created here could not be said to truly imitate the sound of a natural environment, and feels ultimately cartoonish and two dimensional.<\/p>\n <\/p>\n Timothy Hill is a competent throat singer, but not the most creative improviser, limited to rhythmic breaths and iterations of droning tone, which contributes to the feeling that the musicians are content to noodle about in the same space for the album’s duration. Utilizing a drone singer as a piece of trio in which the other two players are engaging in freeform, spasmodic outburts doesn’t seem to make sense.<\/p>\n <\/p>\n Oliveros‘ work has in fact erred in the opposite direction on many previous occasions, with many of her older pieces consisting of inexplicable and utterly unlistenable ugliness, but „Cicada Dream Band“ feels like something of an avant garde cliche to me. I would investigate deeper and more emotive ambient works like Lightwave’s „Cantus Umbrarum“ over this disk, which has a certain insubstantiality to it. It is a meandering, spacious recording, relaxing enough, but lacking in energy and direction. Rothenberg’s melodic fragments and soliloquys are often of interest, but I don’t have much of a sense that the musicians are building on each other’s ideas. I would rather hear his playing in another context. I can’t recommend this one. <\/p>\n John Burdick | Chronogram<\/a><\/strong> <\/p>\n The trio edited over three and a half hours of material down to 11 titled tracks totaling just over an hour. The music moves from a highly conversational chirpiness („Room at the Inn“) to multilayered and subtly patterned drones („All Creatures Get It“). Cicada Dream Band surprises with its timbral consistency; it is often difficult to distinguish the reediness of the accordion, the clarinet, and the remarkable range of tones that Hill produces from the processed animal voices. It is a timbral palette built around likeness, blending, and subtle variation. <\/p>\n Thomas Shrubsole | The Sound Projector<\/a><\/strong> <\/p>\n Oliveros, at least, has been investigating teeming electronic\/natural environment crossovers, conceptually at least, since her Bog pieces in the 60s. Here, as part of an unusually instrumented group that harnesses the potential efficacy and positive attributes (numerically unencumbered yet non-binary or solo-restricted \u2013 \u2018Three of a Mind\u2019, as a song title has it) of the trio format, she contributes reedy V-accordion washes to a complex yet limpid musical ecosystem that touches on Duke Ellington by way of Eric Dolphy, modern European Art Music, American 20th Century Composition, plainsong, throat singing, Native American chants, dinosaurs by way of avians, ancient insect campfire songs, Schubert\u2019s trout, Vaughan Williams and the sounds of water-weeds swaying.<\/p>\n <\/p>\n These Other Green Vistas are presented with all the blithe expansiveness of the Fool as he steps out on his journey in the Waite Tarot, but in this case with all impending precipices weathered away into a rich alluvial plain \u2013 or yet to be rent by glaciation \u2013 danger replaced by a welcoming, verdant land full of the promise implied in the traveller\u2019s sky-gazing face.<\/p>\n <\/p>\n Colourful vignettes cohere into a sort of utopian, synergistic and syncretic polemical nature documentary transmitted by telepathic poetic means (i.e. by music). The band itself: Troubadours of the mistily veiled fields of the unconscious (a New World, both America, the promise it represented to the European enlightenment mind, and the Cretaceous) stepping out to scent the air at dawn and twilight. Calls across gelid ponds, frogs\u2019 calmly regard these penumbral scenes through amphibian eyes, mysterious thoughts like lily-pads realised in batrachian minds. An aura of calming, sinking, rising, steadying, buoyant, aqueous ambience permeates, which reminds me of the watery meditations in John Cowper Powys\u2019s Wolf Solent. Simultaneously we are buried deep and secure in the cool mud like a dragonfly larva and skimming low like the fully grown creature over the flat surface of a body of inland water. An event that could of course be happening right now or millions of years in the past or future.<\/p>\n <\/p>\n It is right to celebrate expansiveness through non-human manifestation, but at the same time there is no escaping aspects of physical and temporal reality where these same creatures live their non-human lives not as symbols in our artifices but as real beings, squeezed and poisoned by human activities, a result of both lack of consideration and of conscious exploitation. Indeed, the Humpback Whale, poster child for this fact since Roger Payne and Songs of the Humpback Whale and on to Yes\u2019s \u2018Don\u2019t Kill The Whale\u2019, makes an appearance on one track. This human-cetacean nexus could also remind us of John C Lilly\u2019s dolphin communication experiments. Rachel Carson\u2019s Silent Spring also, still, in this era of the descendents of WW1 nerve agents (centenary celebrations, IG Farben \u2013 also manufacturers of TG favourite Zyklon B in WW2 \u2013 and subsidiaries please take a bow) re-packaged for use in industrial farming (or war on biodiversity) offers an implicit counterpoint to the delicate and well-meant celebration on show here. This same environmental-celebratory aspect, if it resonates at all, also behoves you to cogitate about and agitate against agricultural chemical warfare and industrial exploitation of the animal kingdom. Or it should do. Perhaps those precipices are around after all?<\/p>\n <\/p>\n Be that as it may, the shifting substance of the sounds, the meditative soloing against ever-uncoiling natural backdrops, the transition between human and animal, the thriving and vigorous visionary sonic eco-system, also recall a paradisiacal Dreamtime consciousness. A theme or attempt to evoke that is not unknown in other, related circles, if we in turn recall Annea Lockwood, her use of didgeridoos, or indeed the cross-cultural and trans-temporal rainforest wanderings of Jon Hassell. As the tracks unfold, sinuous river-bending vocal lines calmly propel us with the current through Siberia, Mongolia, Tibet, India, the Great Plains of America and on to Gondwanaland.<\/p>\n <\/p>\n How we got here. The mystery and magic of origins, back in the dawn of history, remembered deep in lizard-minds. Also implied, though, is the question of where we are going. Something to ponder whilst following the alternately intricately frilled and fluted (pun intended \u2013 even though there\u2019s no flute, I know) and open and expansive mental byways offered up in a spirit of generosity for us to striate our wing-cases and inflate our throat pouches to. <\/p>\n Holger Adam | testcard #24: Bug Report. Digital war besser<\/a><\/strong> <\/p>\n Guillaume Belhomme | Le son du grisli<\/a><\/strong> <\/p>\n Na\u00eff peut-\u00eatre, le projet manque surtout d\u2019inventivit\u00e9 : ainsi Oliveros se contente-t-elle de souffler quelques notes en improvisatrice nerveuse, Timothy Hill de donner dans le chant de gorge ou d\u2019en appeler \u00e0 jadis plus inspir\u00e9s que lui (Stephan Micus, Nana Vasconcelos\u2026) quand David Rothenberg (dont l\u2019Ipad fantasme parfois le synth\u00e9tiseur datant) verse sans mesure dans un folk naturaliste (& d\u00e9couverte souvent). Soit : comment une gentille id\u00e9e devient, pour contrefaire le titre d\u2019une des dix pi\u00e8ces de l\u2019enregistrement, The Longest Disc in the World. <\/p>\n \u0141ukasz Kom\u0142a | nowamuzyka.pl<\/a><\/strong> <\/p>\n Nie od dzi\u015b wiadomo, \u017ce David Rothenberg to genialny artysta patrz\u0105cy na muzyk\u0119 przez pryzmat \u015bwiata zwierz\u0105t. Bardzo dobrze pami\u0119tam jego p\u0142yt\u0119 \u201eBug Music\u201d (Gruenrekorder, 2010), na kt\u00f3rej \u0142\u0105czy\u0142 odg\u0142osy r\u00f3\u017cnych owad\u00f3w z partiami klarnetu. Ma\u0142o tego, wykonywa\u0142 te kompozycje maj\u0105c na swoich plecach cykady (zdj\u0119cie). Najmniej znan\u0105 mi postaci\u0105 jest Timothy Hill. Wyczyta\u0142em, \u017ce wsp\u00f3\u0142pracowa\u0142 z wieloma artystami, takimi jak John Cage, Bill Frisell, Jeff Buckley, Pete Seeger, Madan Gopal Singh i David Hykes.<\/p>\n <\/p>\n \u201eCicada Dream Band\u201d to jedena\u015bcie kompozycji, dzi\u0119ki kt\u00f3rym przenosimy si\u0119 do \u015bwiata improwizacji i medytacji, w otoczeniu odg\u0142os\u00f3w cykad, \u015bwierszczy, humbak\u00f3w, \u017cab i ptak\u00f3w. Kr\u0105\u017cek otwiera \u015bwietne nagranie \u201eWho Said What?\u201d b\u0119d\u0105ce doskona\u0142\u0105 wizyt\u00f3wk\u0105 ca\u0142o\u015bci, gdzie klarnet, delikatne t\u0142a akordeonu, gard\u0142owy \u015bpiew Hilla i elektronika, sta\u0142y si\u0119 czym\u015b na kszta\u0142t muzycznej abstrakcji. Ten w\u0105tek arty\u015bci umiej\u0119tnie kontynuuj\u0105 w dalszej cz\u0119\u015bci longplaya (\u201eRoom at the Inn\u201d i \u201eLast Night in the Holocene\u201d). Z kolei \u201eArc Hive\u201d to wr\u0119cz ambientowy fragment.<\/p>\n <\/p>\n Nocny oddech lasu przy akompaniamencie cykad mo\u017cna poczu\u0107 w \u201eInformation National Forest\u201d. W utworach \u201eSeveral More Happened\u201d i \u201eAs Many Inside as Outside\u201d pojawi\u0142 si\u0119 nawet klezmerski mistycyzm. Za\u015b \u015bpiew Hilla w kompozycjach \u201eAll Creatures Get It\u201d i \u201eThree of a Mind\u201d skojarzy\u0142 mi si\u0119 z tym, co niegdy\u015b robi\u0142 Nusrat Fateh Ali Khan. W \u201eThe Longest Song in the World\u201d odg\u0142osy humbaka niczym zap\u0119tlone drony wzmagaj\u0105 uczucie g\u0142\u0119bi, a do tego s\u0105 znakomitym kompanem dla klarnetu basowego. P\u0142yt\u0119 zamyka epickie \u201eHow We Got Here\u201d, z imponuj\u0105cymi partiami akordeonu Oliveros i klarnetu Rothenberga. Momentami poczu\u0142em si\u0119 jak w transie spod znaku Popol Vuh.<\/p>\n <\/p>\n Z pewno\u015bci\u0105 album \u201eCicada Dream Band\u201d to materia\u0142 do wielokrotnego odtwarzania. Ka\u017cde kolejne przes\u0142uchanie pozwala odkry\u0107 pi\u0119kno tych kompozycji, w kt\u00f3rych kluczow\u0105 rol\u0119 odegra\u0142y cykady, czyli lataj\u0105ce pud\u0142a rezonansowe. Ich \u201erozmigotane\u201d odg\u0142osy s\u0105 tak intensywne, \u017ce cz\u0119sto przekraczaj\u0105 skal\u0119 106 dB. Na \u201eCicada Dream Band\u201d jedynie w subtelny spos\u00f3b zaznaczy\u0142y swoj\u0105 obecno\u015b\u0107. D\u017awi\u0119kowe eksperymenty tria Oliveros\/Rothenberg\/Hill s\u0105 wr\u0119cz emblematycznym przyk\u0142adem \u201eowadziej awangardy\u201d. <\/p>\n VITAL WEEKLY<\/a><\/strong> <\/p>\n Ian Holloway | Quiet World & Wonderful Wooden Reasons<\/a><\/strong> <\/p>\n CDB is a similar sort of creature to it’s successor, which is no bad thing, but this time out the instrument seem to be taking a prominent role in the recordings. Previously it seemed that Rothenberg was reacting to the insect’s cavalcade of sound. Here the critters are more integrated into the music; as though the music was assembled around their exclamations. It works really well but it does seem more deliberate and, for lack of a better word, ‚composed‘ (which seems unlikely to me) than the previous.<\/p>\n <\/p>\n It’s a really lovely set. Rothenberg is centre stage and on fine form, Oliveros is a more withdrawn presence but her contributions are precise and work particularly well alongside Hill whose vocalisations are restrained and avoid the overt (and for me very annoying) vocal gymnastics that many avant-vocalists are prone to.<\/p>\n <\/p>\n Highly recommended and another in a long line of phenomenal releases from this eclectic and wonderful label. <\/p>\n Katrin Hauk | freiStil \u2013 Magazin f\u00fcr Musik und Umgebung<\/a> \/ #57<\/strong> <\/p>\n A New Music, with Birds, Whales and Cicadas as Guest Stars<\/a><\/strong> <\/p>\n Music should not be heard, but listened to. Everywhere we go, there is music. It\u2019s become such a widespread phenomenon, we hardly notice it any longer. It\u2019s similar to cigarette\u2013smoking in public places: some decades ago, it was such a common occurrence, nobody noticed it\u2014except our eyes, throats, and lungs. Laws have been passed since, and smoking has been banned from public places. At times I wish piped music were banned from public places too. Everywhere we go, we are assailed by music we didn\u2019t ask to hear and we normally don\u2019t care for. It gets in the way both of thinking and of carrying on a conversation. It\u2019s an instance of acoustic pollution. One of its by-products is that we now take music for granted, when music is one of the most marvelous things we humans can produce and\/or listen to.<\/p>\n <\/p>\n Last Friday, at the Experimental Intermedia Foundation in New York City, David Rothenberg, Pauline Oliveros and Timothy Hill showed the listeners \u2014 I was among them \u2014 and, it is hoped, the world, what music can still achieve. Quoting from Mr. Rothenberg\u2019s website: \u201c2013 marked the arrival of millions of periodical cicadas to the New York Metropolitan area. These musical insects appear only once every seventeen years. On the occasion of this auspicious event, David Rothenberg performed a series of concerts together with composer and deep listener Pauline Oliveros, overtone singer Timothy Hill, and live singing insects brought in from the trees. The ensemble of digital accordion, clarinets with electronically enhanced nature sounds, and harmonic singing is certainly a trio unlike anything heard before. The ensemble headed to the famous Dreamland Studios just outside of Woodstock to commit three and a half hours of music to digital memory. For the album they picked their favorite 64 minutes and 32 seconds.\u201d<\/p>\n <\/p>\n The concert at the Experimental Intermedia Foundation was to celebrate the release of the CD, Cicada Dream Band.<\/p>\n <\/p>\n Should you wonder if this was the umpteenth New York artsy gimmick (admittedly a bad artistic habit of that city), nothing could be farther from the truth. The musicians involved are classically-trained virtuosi of the respective instruments, composers and musicologists who have dedicated their lives to music. Supremely accomplished clarinetist David Rothenberg has, inter alia, studied music-makers from the animal kingdom for decades, and to document his findings, as well as his jamming with unusual musicians, has authored three books: Why Birds Sing: A Journey Into the Mystery of Birdsong; Thousand-Mile Song: Whale Music in a Sea of Sound; and Bug Music: How Insects Gave Us Rhythm and Noise. Pauline Oliveros is a composer and accordionist whose work has been central to the development and refinement of post-war and electronic art music, which is how classical music has become known after WW II. She is also responsible for pioneering the concepts of \u201cDeep Listening\u201d and \u201csonic awareness.\u201d Last but not least, Timothy Hill is a master of harmonic, or overtone, singing, which results in a way of singing acutely aware of the natural spectrum of harmonics that the vox humana can produce, thus creating a sound at once otherworldly and deeply human. Listening to it borders on the incredible, not in a circus-like way, but rather celestial\u2014as if angels had suddenly alighted in the auditorium.<\/p>\n <\/p>\n So, how was the music produced by this avant-garde super group, with the contributions of selected magpies, humpback whales and cicadas? The listeners must set aside conventions that belong to a long time ago, as they will not find melody, or harmony (chord progression), or even rhythm as reference points. And yet, the music is far from abstract\u2014it couldn\u2019t be, as the singing of birds, whales and cicadas could not be more real. There is, indeed, harmony, not in the strict tonal sense, but rather in the very r\u00e9ussi attempt to harmonize with the sounds of nature, as well as with the harmonics within the vox humana; there is melody, albeit of a different sort, perhaps more modal than melodic; and finally, there is the incessant rhythm we all know from summers in the company of cicadas, but not nearly as in-your-face, or rather, in-your-ears. The resulting concert, in the etymological sense of concertare (\u2018to unite, to cause to agree\u2019), from the Italian concertare \u2018to harmonize\u2019), was one of those rare experiences in which we realize that, despite years of acoustic pollution, we are still possessed of discerning ears and that, furthermore, they can be used as antennae. The phrasing of Mr. Rothenberg\u2019s clarinet and bass clarinet (a magnificent old Selmer) has a few distant echoes of Jazz and classical music alike (I detected a little Eric Dolphy and Brahms in it), but is mostly original. Ms Oliveros\u2019s work on the accordion was economical and yet so inspired that soon enough the listeners\u2019 antennae realized that, somehow, she was playing only the right notes at the right times. As for Mr. Hill\u2019s singing, it was a new and superb experience in its own right. And while the three musicians have arrived at this after decades of study, practice, and explorations, the resulting music came off as effortless. And beautiful, so achingly beautiful.<\/p>\n <\/p>\n In 1949 Theodor Adorno, one of the Frankfurt school theorists, wrote The Philosophy of Modern Music. In it he attacked beauty itself, since, in his view, it was a contributor to the ideology of advanced capitalist societies, and an ally to the sustainability of capitalism itself, which it rendered \u201caesthetically pleasing.\u201d Only avant-garde music was capable of preserving the truth by expressing the reality of human suffering. Well, birds, whales and all sorts of insects sing\u2014and not to express the reality of animal suffering. The concert was indeed of avant-garde music, but it was beautiful. Art of such supreme awareness and respect for all creations cannot but aspire to Plato\u2019s World of Forms. And in that world, everything is beautiful. All of us listeners last Friday were lucky to witness something so new and at the same time so ancient. The Cicada Dream Band CD documents the same magic; I could not recommend it more.<\/p>\n <\/p>\n Guido Mina di Sospiro is co-author of the disinformation\u00ae book The Forbidden Book, co-authored with Joscelyn Godwin, and The Metaphysics Of Ping-Pong, published by Yellow Jersey Press, Random House, and long-listed for the William Hill Sports Book Award. <\/p>\n textura<\/a><\/strong> <\/p>\n Cicada Dream Band is, as stated, a different animal than Bug Music. Less strictly governed by the insect theme, the new recording feels looser in spirit and more open to the explorative interplay of the three participants. In that regard, it’s telling that three of the eleven pieces eschew creature sounds and feature ensemble interplay only (while the aptly titled \u201cThree of a Mind\u201d is perhaps the best example of these settings, the album-closing \u201cHow We Got Here\u201d is striking, too, especially when it threads horn-like blasts into its arrangement). That said, the fact that the first sounds on the recording’s opening piece \u201cWho Said What?\u201d are those of creatures signifies the importance of that dimension to the project. But as one attends to the subsequent interplay of Rothenberg’s clarinet, Hill’s wordless flurries and drones, and Oliveros’s digital accordion, it quickly becomes clear that one is in the presence of an unusual and unique soundworld.<\/p>\n <\/p>\n Though Rothenberg might stand out as the most conspicuous soloist, the others are hardly supporting players; if anything, they solo as much as Rothenberg. It’s Hill, for example, who interacts most prominently with the European blackbird during the opening minutes of \u201cRoom at the Inn,\u201d even if the others‘ contributions gradually prove equal to his as the piece develops; the later \u201cAs Many Inside as Outside,\u201d on the other hand, is clearly a Rothenberg set-piece, given that his clarinet solo is, aside from the rhythmic whirr supplied by the Slightly musical conehead, the only instrument sound heard. That the sounds within a given setting sometimes seem to gather into separate fields\u2014Hill interacting with the creatures and Rothenberg with Oliveros\u2014also doesn’t surprise, given the natural tendency for the vocal and instrumental elements to gravitate towards those of their own kind. But such a statement runs the risk of overgeneralizing, for there are numerous instances where Rothenberg is as intimately involved with the creatures as Hill (see \u201cSeveral More Happened,\u201d for example, where the saxophone communes with French cicadas and a Sage thrasher).<\/p>\n <\/p>\n Anyone familiar with Oliveros also will be familiar with the term Deep Listening, which she coined in the 1980s to accentuate the need for sensitivity and concentration in both listening and musical practice. While Rothenberg, Hill, and Oliveros share equal billing and compositional credit for Cicada Dream Band, it’s easy to see it as an obvious example of the Deep Listening aesthetic at work. Certainly each participant is equally responsible for the arresting settings featured on the recording. <\/p>\n Petr Slab\u00fd | HIS VOICE<\/a><\/strong> <\/p>\n Timothy Hill byl v The New York Times ozna\u010den jako \u201evirtu\u00f3z tibetsk\u00e9 p\u011bveck\u00e9 techniky\u201c, p\u016fsob\u00ed v alternativn\u00ed keltsko-jazz-folkov\u00e9 formaci Sleeping Bee \u010di v David Hykes and the Harmonic Choir a v neposledn\u00ed \u0159ad\u011b spolupracoval nap\u0159\u00edklad s Johnem Cagem, Joem Manerim \u010di Butchem Morrisem. V\u0161echny tyto natur\u00e1ln\u00ed i improviza\u010dn\u00ed zku\u0161enosti ve Snov\u00e9 kapele dokonale z\u00faro\u010dil a podtrhl jej\u00ed uvoln\u011bnost. V\u0161e tu pochopiteln\u011b umoc\u0148uje punkevn\u00ed hra Pauline Oliveros, kter\u00e1 vyz\u00fdv\u00e1 ke skute\u010dn\u011b hlubok\u00e9mu naslouch\u00e1n\u00ed. Jist\u00fd prim tu ale bezesporu hraje David Rothrenberg, kter\u00fd se ve sf\u00e9\u0159e soudob\u00e9ho jazzu proslavil zejm\u00e9na d\u00edky spole\u010dn\u00e9mu CD s fenomen\u00e1ln\u00ed pianistkou Marylin Crispell One Dark Night I Left My Silent House. Jeho temn\u00e1 i \u0161t\u011bbetav\u00e1 preludia na klarinet a basklarinet dokonale souzn\u00ed s jeho v\u00e1\u0161n\u00ed pro zv\u00ed\u0159ec\u00ed sv\u011bt. Ter\u00e9nn\u00ed nahr\u00e1vky z anim\u00e1ln\u00ed \u0159\u00ed\u0161e nepou\u017e\u00edv\u00e1 jako dopln\u011bk, ale jako hybnou s\u00edlu. V\u011bt\u0161inou se toti\u017e sna\u017e\u00ed o p\u0159\u00edmou interakci s nejr\u016fzn\u011bj\u0161\u00edmi druhy pt\u00e1k\u016f, hmyzu a v posledn\u00ed dob\u011b zejm\u00e9na velryb. Protagonisty tohoto alba tak nejsou jen hudebn\u00edci samotn\u00ed, ale i rudohlav\u00e1 lu\u010dn\u00ed kobylka, evrop\u0161t\u00ed kosi, francouzsk\u00e9 cik\u00e1dy, loty\u0161sk\u00e9 \u017e\u00e1by, jak\u00fdsi americk\u00fd drozdovit\u00fd pt\u00e1k a v\u00fdraznou roli tu hraje i v \u010cech\u00e1ch se vyskytuj\u00edc\u00ed p\u011bvec se signifikantn\u00edm n\u00e1zvem sedmihl\u00e1sek hajn\u00ed. Kapitolou samou pro sebe jsou pak b\u011bluhy v The Longest Song in the World, kde se spojuj\u00ed oce\u00e1nsk\u00e9 hlubiny v dlouh\u00fdch vln\u00e1ch s nebesk\u00fdmi v\u00fd\u0161inami.<\/p>\n <\/p>\n Jakousi sumarizac\u00ed je z\u00e1v\u011bre\u010dn\u00e1 t\u0159in\u00e1cti a p\u016fl minutov\u00e1 meditace How We Got There, kter\u00e1 u\u017e bez pou\u017eit\u00ed anim\u00e1ln\u00edch zvuk\u016f jakoby vystihovala principy na\u0161\u00ed matky Zem\u011b a sna\u017eila se proniknout do jej\u00ed prapodstaty. Nesm\u00edrn\u011b emotivn\u00ed d\u00edlo pln\u00e9 soun\u00e1le\u017eitosti, harmonie a nejpozitivn\u011bj\u0161\u00edch vibrac\u00ed. Cicada Dream Band\u00a0| Pauline Oliveros & David Rothenberg & Timothy Hill Gruen 149 | Audio CD > [Sold Out] Reviews Flames will destroy everything at the end of the universe. It may already be destroyed. A cold cricket cries in the pile of wet leaves. He wanders back and forth, unable to […]<\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"open","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-12115","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12115","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=12115"}],"version-history":[{"count":56,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12115\/revisions"}],"predecessor-version":[{"id":18339,"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=\/wp\/v2\/pages\/12115\/revisions\/18339"}],"wp:attachment":[{"href":"https:\/\/www.gruenrekorder.de\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=12115"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nGruen 149 | Audio CD > [Sold Out<\/font>]
\nReviews<\/a>
\nngg_shortcode_0_placeholder<\/p>\n
\nat the end of the universe.
\nIt may already be destroyed.<\/p>\n
\nHe wanders back and forth, unable to get past regret.<\/p>\n
\nStumble in rain,
\nWalk on alone.
\nAt the end of the trail is a warm cabin with a single fire.
\nThere you may dry out those lonely years.<\/p>\n
\n
\nRed-headed meadow katydid<\/em>
\n2 \/ Arc Hive (3:25)
\n3 \/ Room at the Inn (4:45)
\nEuropean blackbird<\/em>
\n4 \/ Last Night in the Holocene (3:13)
\nEuropean blackbird<\/em>
\n5 \/ Information National Forest (3:20)
\nIcterine warbler, French cicadas<\/em>
\n6 \/ Several More Happened (4:05)
\nFrench cicadas, Sage thrasher<\/em>
\n7 \/ All Creatures Get It (6:52)
\nLatvian frogs<\/em>
\n8 \/ Three of a Mind (8:00)
\n9 \/ As Many Inside as Outside (3:36)
\nSlightly musical conehead<\/em>
\n10 \/ The Longest Song in the World (7:21)
\nHumpback whale<\/em>
\n11 \/ How We Got Here (13:31)<\/p>\n
\nMP3<\/a>
\nTrack 3
\nMP3<\/a>
\nTrack 5
\nMP3<\/a><\/p>\n
\nCD (1000 copies)<\/p>\n
\n
\nPauline Oliveros, V-Accordion
\nDavid Rothenberg, bass clarinet, clarinet, iPad, creatures
\nTimothy Hill, voice<\/p>\n
\nEngineered by Adam Armstrong
\nMixed and mastered by David Rothenberg at Draakonipuu, Kreuzberg, Berlin
\nProduced by David Rothenberg and Timothy Hill
\n\u00a9 2014 Terra Nova Music \/ University Heights \/ Newark, NJ 07102, USA
\nTN 1410 \/ www.terranovamusic.net<\/a><\/p>\n
\nCover photo by Charles Lindsay<\/p>\n
\nDeep Listening Publications (ASCAP)
\nMysterious Mountain Music (BMI)
\nMelihodos Music (ASCAP)
\nSound Art Series by Gruenrekorder
\nGermany \/ 2014 \/ Gruen 149 \/ LC 09488<\/p>\n
\n
\nAlready familiar with some of Pauline Oliveros\u2019 work courtesy of a few solo accordion albums I own, only clarinetist David Rothenberg\u2019s name otherwise rings a distant bell here. Alongside Timothy Hill\u2019s addition of voice, used rather more as an instrument itself than to mouth anything even resembling lyrics, and some field recordings, all three artists weave a setting given to something caught between the theatrical, a late night cabaret club and primeval swamplands. It\u2019s not a place that pulls you in completely to begin with, but as each of the eleven pieces unfurl the proceedings steadily become more engaging, especially when the voice is less overstated and used more sparingly. Like so much such music, however, this is not concerned with trifles such as accessibility. Instead, it courses on the deepest of emotions and those generally untapped areas of expression only too often pushed aside in favour of easier outlets. While Cicada Dream Band may sometimes lapse due to its very nature as improvisational music, it\u2019s hard not to respect those using this springboard who succeed in finding a common voice. On that count, this works completely. RJ.
\nlink<\/a><\/p>\n
\n[…] En compagnie de Pauline Oliveros et Timothy Hill (qui travaille fr\u00e9quemment avec David Hykes), David Rothenberg a mis \u00e0 profit en 2013 le passage rarissime (une fois tous les dix-sept ans !) d\u2019une esp\u00e8ce particuli\u00e8re de cigales dans l\u2019agglom\u00e9ration de New York. Les trois musiciens ont arrang\u00e9 une s\u00e9rie de concerts, certains en ext\u00e9rieur avec les insectes infusant leur chant dans la musique analogue. Pour l\u2019album Cicada Dream Band, la configuration a \u00e9t\u00e9 reprise en studio puisque Rothenberg y a amen\u00e9 des cigales r\u00e9colt\u00e9es dans les arbres ! Ainsi, cet orchestre d\u2019insectes participe \u00e0 l\u2019enregistrement, comme un quatri\u00e8me et omnipr\u00e9sent instrumentiste. Quand ce ne sont pas eux, Rothenberg infuse d\u2019autres sons d\u2019animaux, mammif\u00e8res marins ou oiseaux. C\u2019est un disque de conversation musicale, r\u00e9ellement, de celles que le musicien organise, nous l\u2019avons vu, naturellement. L\u2019accord\u00e9on de Pauline Oliveros y d\u00e9ploie ses harmoniques ainsi qu\u2019une toile r\u00e9fractant la lumi\u00e8re qui captiverait les insectes, la clarinette de Rothenberg ne cesse de pr\u00e9luder dans un langage musical accident\u00e9 mais toujours harmonieux tel que beaucoup d\u2019improvisateurs aimeraient atteindre. Car ici il s\u2019agit bien de rejoindre un syst\u00e8me naturel, non de parcourir l\u2019anarchie des \u00e9boulements tonals pour y puiser, au petit bonheur, d\u2019\u00e9ventuelles p\u00e9pites. La musique de Cicada Dream Band est au contraire un atelier de joaillerie o\u00f9 le mat\u00e9riau a d\u00e9j\u00e0 \u00e9t\u00e9 fouill\u00e9, orpaill\u00e9. Le moindre crissement, la plus petite descente de cordes, la plus fol\u00e2tre des phrases cuivr\u00e9es, s\u2019entend dans une symphonie champ\u00eatre o\u00f9 tout est juste. Il faut souligner \u00e0 cet \u00e9gard le r\u00f4le indispensable de Timothy Hill, dont la voix forme peut-\u00eatre le plus solide passage du monde humain \u00e0 celui des insectes ; ses fredonnements, ses faisceaux de gorge, ses vibrations, ses \u00e9chos r\u00e9sonnent dans le registre des cigales, non \u00e0 s\u2019y m\u00e9prendre \u2013 ce serait faire trop bon march\u00e9 des pr\u00e9rogatives des uns et des autres \u2013 mais comme un enrichissement du vocabulaire musical de chacun. Une nouvelle contr\u00e9e du Fourth World tel que l\u2019ont d\u00e9fini Eno et Hassell se d\u00e9voile ici.
\nlink<\/a><\/p>\n
\nYou have to wander far, far into the reeds to find the Cicada Dream Band. This is either the music of a trio that have spent generous amounts of time in eachother\u2019s company \u2013 bouncing ideas between them until the original concept is mashed into a bizarre new shape \u2013 or the work of three natural born curveballers, whose sparks of innovation come brightly and frequently, in completely unexpected colours. The energy levels are persistently high, twisting between synthesised vocal dissonance, silky clarinet flutters, earthy throat song and the congregative conversations of nature\u2019s most flirtatious and boisterous birds and insects. I\u2019m forever spoilt for choice \u2013 what to turn my attention to? The hooting acrobatics of the European blackbird? The glossy marble overtones of Timothy Hill\u2019s singing? Instead of letting my mind ping back and forth as though observing a four-way tennis match, I often flop myself down in amongst the blur, allowing myself to be massaged by the ecstatic, pinball improvisation that shoots across the frame.<\/p>\n
\nlink<\/a><\/p>\n
\nVeteran avant garde composer and V-accordion player Pauline Oliveros has joined forces with clarinet player David Rothenberg and throat singer Timothy Hill for „Cicada Dream Band“, a new project in the spirit of her other trio, the Deep Listening Band, responsible for many of Oliveros‘ most known releases. Like Deep Listening Band, the music on this album is an active form of ambient \/ classical avant garde \/ free improvisation which combines field recordings with live instrumentation.<\/p>\n
\nlink<\/a><\/p>\n
\nOn Cicada Dream Band, three decorated local eminences of experimental music seize a unique opportunity presented them by nature\u2014not exactly a once-in-a-lifetime chance, but not far off. 2013 was the summer of the 17-year cicada. The internationally known clarinetist David Rothenberg, who has done much recording of and writing about the sounds of nature, formed a trio with Kingston’s avant-garde accordionist and composer Pauline Oliveros (founder of Deep Listening and 2012 winner of the John Cage Award) and the harmonic overtone singer Timothy Hill. They imported some cicadas into the confines of Woodstock’s storied Dreamland Studio and recorded with them there. Other animal performers\u2014electronically enhanced Latvian frogs, European blackbirds, a humpback whale, and a „slightly musical conehead“ (?)\u2014made the final cut as well.<\/p>\n
\nlink<\/a><\/p>\n
\nIn which our three guides, Pauline Oliveros on the V-Accordion, David Rothenberg on the Bass Clarinet, Clarinet, iPad and Creatures and Timothy Hill using his vocal cords and resonating body cavities, draw us deep into a sophisticatedly blended oneiric suspension (of disbelief) involving, as the titles suggest, various recordings of insects, bird-calls and other \u2018songs\u2019 derived from non-human denizens of this planet as well as a distinctive instrumental palette threaded through with exploratory (human) vocalising.<\/p>\n
\nlink<\/a><\/p>\n
\n[…<\/a>] Abschlie\u00dfend noch eine Arbeit von Pauline Oliveros, Timothy Hill und David Rothenberg als CICADA DREAM BAND. Rothenbergs Bug Music (siehe Review in testcard 23), Field-Recordings von Insekten, bilden ein Element der Komposition, die durch Oliveros Akkordeon und Timothy Hills Stimme komplettiert wird. Rothenberg selbst spielt auch noch Klarinette. Im Ergebnis gibt es dann eine meditative Musik zu h\u00f6ren, die ebenso zirpt, wie sie sanft schwingt. Deep Listening mit Krabbeltierchen, gewisserma\u00dfen. Sehr sch\u00f6n. […<\/a>]
\nlink<\/a><\/p>\n
\nDans la besace de David Rothenberg, des animaux de toutes tailles (sauterelles, cigales, merles, grenouilles, une baleine \u00e0 bosse m\u00eame), auxquels le trio qu\u2019il forme avec Pauline Oliveros (accord\u00e9on) et Timothy Hill (voix) devra r\u00e9pondre.<\/p>\n
\nlink<\/a><\/p>\n
\nOwady, klarnety i \u015bpiew.
\nRok 2013 by\u0142 to wyj\u0105tkowy czas dla cykad \u2013 owad\u00f3w rozpoznawalnych g\u0142\u00f3wnie po d\u017awi\u0119kach, wydawanych przez samce za pomoc\u0105 narz\u0105d\u00f3w (tymbali) u nasady odw\u0142oka, gdy\u017c w Nowym Jorku mo\u017cna by\u0142o spotka\u0107 ich miliony. Te muzyczne owady pojawiaj\u0105 si\u0119 tylko raz na siedemna\u015bcie lat. W Stanach Zjednoczonych powszechnie nazywane s\u0105 17-letni\u0105 szara\u0144cz\u0105. Z okazji tego wydarzenia David Rothenberg (klarnety, iPad, obiekty), kompozytorka Pauline Oliveros (akordeon) i wokalista Timothy Hill, postanowili uczci\u0107 ten moment seri\u0105 koncert\u00f3w w towarzystwie samych cykad. Okaza\u0142o si\u0119, \u017ce muzykom to nie wystarczy\u0142o i udali si\u0119 do s\u0142ynnego studia Dreamland, aby zarejestrowa\u0107 wsp\u00f3lny materia\u0142. W efekcie powsta\u0142 niezwyk\u0142ej urody album \u201eCicada Dream Band\u201d.<\/p>\n
\nlink<\/a><\/p>\n
\nLast year Gruenrekorder released the album \u2018Bug Music\u2019 by David Rothenberg. He has a love for the rhythms produced by birds, insects, etc and made a record based on these rhythms coming from nature, joined of vocalist Timothy Hill and guitarist Robert J\u00fcrgendal. The album by the Cicada Dream Band is a sort of a next step. The band combines the talents of Pauline Oliveros (V-Accordion), David Rothenberg (bass clarinet, clarinet, iPad, creatures) and Timothy Hill (voice). They made their recordings in august 2013 in New York. \u201c2013 marked the arrival of millions of periodical cicadas to the New York Metropolitan area. These musical insects appear only once every seventeen years. On the occasion of this auspicious event, David Rothenberg performed a series of concerts together with composer and deep listener Pauline Oliveros, overtone singer Timothy Hill, and live singing insects brought in from the trees\u201c. That is how it started. It inspired the three for long extended
\ndialogues with these natural sounds, and about an hour of this material is selected for this album. Although I like their improvisations, their way of combining it with animal sounds did not really do it for me. Although…this last sentence I wrote after one or two listening, but now that I\u2019m listening again it begins to reveal its beauty. Like the beautiful lines they play along the whistling of an European blackbird in \u2018Room at the Inn\u2019. The music becomes more and more \u00f3ne and intriguing after repeated listening. Besides the vocals by Timothy Hill fascinate and inspire. He is a new voice for me. He worked with a variety of artists like John Cage, Bill Frisell, Jeff Buckley, Odetta, Pete Seeger, Madan Gopal Singh, and not to forget David Hykes. Okay, I\u2019m pretty much in favour of the dreams of Rothenberg. (DM)
\nlink<\/a><\/p>\n
\nWhen we last heard David Rothenberg he and some friends were making beautiful Bug Music on his earlier Gruenrekorder release. This new one finds him continuing along that unique path again in the company of vocalist Timothy Hill but joined also this time by the (as if you needed me to tell you this) accordion playing Pauline Oliveros.<\/p>\n
\nlink<\/a><\/p>\n
\nPauline Oliveros (akk), David Rothenberg (bcl, cl, ipad), Timothy Hill (voc)
\nDieses Trio formierte sich 2013 aufgrund eines einzigartigen Naturph\u00e4nomens, das sich alle 17 Jahre im Gebiet rund um die Stadt New York abspielt. W\u00e4hrend einer kurzen Zeit siedeln sich dort Millionen von Zikaden an. David Rothenberg \u2013 Musiker und Naturphilosoph, der sich in seiner Arbeit intensiv mit Naturkl\u00e4ngen, wie Vogel- oder Walges\u00e4ngen auseinandersetzt \u2013 griff diesen speziellen Moment auf, um eine Reihe von Konzerten zusammen mit der 82-j\u00e4hrigen \u201edeep listening\u201c-Ikone Pauline Oliveros und dem Obertons\u00e4nger Timothy Hill zu spielen. Mittels intensiven Hinh\u00f6rens interagierten sie w\u00e4hrend dieser Konzerte spontan mit den klanglichen Eigenheiten und Rhythmen der Insekten. Ihre CD Cicada Dream Band ist nun aber keine Dokumentation dessen, sondern eine eigenst\u00e4ndige Studioproduktion mit 64 Minuten Musik. Das Trio begab sich auch hier in ein stetiges Spiel mit verschiedensten Tierstimmen. Die Auswahl reicht von V\u00f6geln und Fr\u00f6schen bis hin zu einem Buckelwal bei The Longest Song in the World und anderen Kreaturen; drei Tracks kommen ganz ohne field-recordings aus. Die drei Musiker driften vor allem hier komplett in esoterisch anmutende Stimmungen ab, voll Obertonges\u00e4nge und jazziger Klarinettenmelodien. Oliveros spielt V-Akkordeon und f\u00fcgt sich dezent in das Ganze ein, und das ist gut so. Who said what?, mein pers\u00f6nlicher Favorit und Er\u00f6ffnungstrack der CD, beginnt mit singenden Heuschrecken und \u00f6ffnet das Tor zu einer SciFi-New Age-Insekten-Parallelwelt.
\nlink<\/a><\/p>\n
\nBy Guido Mina di Sospiro on October 14, 2014 in News<\/p>\n
\nlink<\/a><\/p>\n
\nDavid Rothenberg received deserved attention for his 2013 Gruenrekorder release Bug Music (issued in tandem with the book Bug Music: How Insects Gave Us Rhythm and Noise on St Martins Press), on which the woodwinds player used various insects as musical partners. Rothenberg’s latest, Cicada Dream Band, represents a natural progression in that while it perpetuates the creature-oriented theme of the earlier release it expands upon it in two critical respects. First of all, the material supplements insect sounds with those of frogs, birds, and a Humpback whale; and secondly, Rothenberg, credited with bass clarinet, clarinet, iPad, and creatures, is accompanied by Pauline Oliveros (V-Accordion) and Timothy Hill (voice) on the sixty-four-minute recording, which was culled from three-and-a-half hours of music laid down at Dreamland Studios in West Hurley, NY during August 2013.<\/p>\n
\nlink<\/a><\/p>\n
\nFilozof, milovn\u00edk p\u0159\u00edrody a hudebn\u00edk David Rothenberg byl letos v \u010dervenci v\u00fdraznou postavou pra\u017esk\u00e9ho festivalu vs. Interpretation, kde v r\u00e1mci sv\u00e9 prezentace p\u0159edstavil tak\u00e9 zbrusu nov\u00e9 CD Cicada Dream Band a na p\u00f3dium si p\u0159izval tak\u00e9 pr\u016fkopnici elektroakustick\u00e9 hudby, akordeonistku Pauline Oliveros. Vokalista Timothy Hill a cik\u00e1dy se p\u0159idali pouze ze z\u00e1znamu.<\/p>\n
\nlink<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"