TURN THE PAGE ON THE COMBUSTION AGE

resulting from an interior anguish (clutching)

that many of our assumptions

and frameworks are

becoming invalid.

but, eh, as they say “with every loss comes a gain.” turn the page on the combustion age.

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Tempo Temporal Lyrics

WHITE CHRYSANTHEMUM

Eyes you have seen all
Come back to the white chrysanthemum

(based on a poem from the Hyakunin Isshu)

RESONANCE ALRIGHT

This ornamental rug that i lay down on reflects the sky
Shades of color that mirror the vines
This ornamental rug that i lay down on keeps me warm

Eternal patterns blending with the transient experience

The chambers of the heavens and the living multiply
They move in motions that are transcribed
The chambers of the heavens and the living things they multiply

Eternal patterns blending with the transient experience

Resonance alright

DIALS

Above the icy creek/ Below the vague towering circuits
In nights of heirloom arms/ A hesitant appassionata we reel
Across a bridge/ Pulsating/ Pulsating with breath
Across a bridge/ Pulsating/ With the breath of your riddles I steal

Bells upon the streetlights/ And unexpected dials
That turn to the left/ We turn to the right
Two serpents entwined
I follow and then I lead/ I kiss and then I bite
Our steps become a filament of night
Alight/ Take off/ Mad soft poison for you

These dials are our controls/ They’re spinning round
And those bells are effigies/ Without a sound
The chatter of the birds/ It comes from high
Who has their hands on these/ Unexpected dials?

The vines are looking for a gap to wrap our thoughts
We squeeze so tight our knuckles white in knots
Across a bridge/ That quivers/ That quivers as if
Across a bridge/ That quivers/ As if it’s about to be caught

And these dials are our controls/ We’re spinning round
The language of our love/ Is tied and bound
What lingers on your tongue/ It tastes like wine
Who has their hands on these/ Unexpected dials?

With an elliptic touch/ We glow and unite
And at an eager word/ We crumble and collide
Compelled by hidden fires/ That don’t know why
Who has their hands on these…

SPUN FROM WITCH’S DAUGHTER

You burst in
And demand
That all of the fans
Are turned off
Are turned off
Are turned off
The dust turns into walking storms

You’re spun from witch’s daughter
August you’re a mean, mean woman
(Although sometimes you can pretend)

Your children born of holes and corners
That feast upon the heat
The kingdom you watch over
Is filled with smugglers and thieves
All turned on
All turned on
All turned on

You’re gone as quickly as you came
You’re spun from witch’s daughter
You’re gone as quickly as you came
August you’re a mean, mean woman

VACANT LAND

So just give me a little sugar
And i’ll give you a little sand
Sprinkle into your palm and we’ll mix it with our hands
And we’ll build upon this vacant land

So just give me orchestrated color
And i’ll give you lines of marching bands
Sprinkle into your heart and project it if you can
And we’ll sing upon this vacant land

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the arc of a line can be produced digitally, only with a

different skeleton.

it depends on what you are after.

waves v. numbers: analog v. digital.

waves have pretty mothers, but heavy luggage.

numbers are interesting, but never laugh (unless told to).

neither are exclusive.

both have specific charms.

i’m a little afraid of the death of the tungsten bulb.

(In celebration of our continued endeavors/frustrations with half-broken tape machines & the ever-so-slightly-out-of-reach expense of digital devices I’m reposting this ‘lil thought on the two from the blog of our old record label. )

Prakaiphet Sonhong

Ah, the warmth is finally here, windows are opening, the trees are exploding and the girls are sprouting legs…but wait a second, NOT TOO FAST NOW. Ease on in, and to help you do so here are ten selections from Prakaiphet Sonhong’s album Rung Chaeng Saeng Thong. This is some seriously deep Thai country music, complete with yodeling, some funky drumming (cham chak nang), horns aplenty, and swaying rhythms that send your head bobbing off of its stand and into the ether (sao na ya ba krung & nak phleng khat rak). Check it out below.

Thank you to Peter over at MONRAKPLENGTHAI blog for his assistance in the transliteration of the titles of the cassette. Do yourself a favor and visit his site!

preview the song  “Sao Na Ya Ba Krung

download  Rung Chaeng Saeng Thong by Prakaiphet Sonhong


We will try our best to post only old records that are out-of-print and widely unavailable. If there is an objection to any of the content please contact us and it will be promptly removed. Thank you.

I Musici de Montreal presented by Musica Sacra Atlanta

On Sunday March 21, 2010, Adron, Mario, and I went to see I Musici de Montreal, a fifteen-piece chamber orchestra, perform two Tchaikovsky works and Mussorgsky’s “Pictures at an Exhibition” at First Presbyterian Church of Atlanta.

I don’t think I’ve been so moved by music since my formative years as a punk teen. Adron and I arrived a little late, in the middle of Tchaikovsky’s “Andante cantabile.” I Musici de Montreal consists of eight violins, three violas, two cellos, and one amazing doublebass, played by Alain Malo. The orchestra was conducted by Muscovite Yuli Turovsky, who is also the founder of the collective.

Allegedly, “Andante cantabile” was inspired by a popular folk song sung by a gardener in Kamenka, where Tchaikovsky was vacationing with his sister. First performed in 1871, this piece features sublime sweeping melodies and interwoven counterpoint harmonies. I had to exercise serious self-restraint during this performance. The vibrations and musicianship were so beautiful, I wanted to shake Adron.

The second Tchaikovsky piece “Souvenir de Florence” Op. 70 was darker and more frantic. Tchaikovsky composed this piece after completing a residency in Florence, where he was working on his opera “The Queen of Spades.”

The second movement of this piece really showcased the virtuosity of the chamber orchestra. At times, at least half the orchestra played meticulous pizzicato, a stark contrast to the breeze-like bowing of their counterparts. I was particularly amazed by the doublebass arrangement in this piece.

After a short intermission, Turovsky and the orchestra performed Modest Mussorgsky’s “Pictures at an Exhibition.” This famous cycle (which I admittedly was unfamiliar with before attending this concert) consists of ten pieces and four intermezzi, and was inspired by an 1874 exhibition of Victor Hartmann’s paintings, architectural projects, and artifacts. Hartmann, an artist and architect, was a close friend of Mussorgsky’s, and had died suddenly from heart failure prior to the composition of this cycle.

The conductor Turovsky commissioned his daughter Natasha to paint fifteen paintings based on Mussorgsky’s music, which was itself inspired by visual art. This sort of interdisciplinary symbiosis and completion of a creative circle blows my mind.

I Musici de Montreal performed “Pictures at an Exhibition” in front of a screen with animated projections of Natasha Turovsky’s interpretations of the music. The paintings themselves were dark and beautiful, slightly reminiscent of my favorite works by Munch and Degas. The animation and editing, done by digital artist Gael Hollard, were a bit distracting to me, but I was nevertheless impressed with how in sync the orchestra was with all the cuts and camera movement. Truth be told, the images definitely influenced my perception of the music.

I feel inspired by this performance. Perhaps I will rediscover my classical roots.

Keep an eye out for Musica Sacra Atlanta events. If this concert is at all indicative of the kinds of events they bring to Atlanta, sign me up. The kicker: it was free, with a suggested $5 donation.

That same day, Adron gave me a cd of an early 70s Spanish group called Vainica Doble, which reminds me a little of Os Mutantes with prettier vocals and a lot less fuzz guitar. But that’s a subject for another time. -Tommy Chung

Houston Impressions