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█ █ P U B L I C . S O U N D
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█ █ presenting our latest release
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r e l e a s e . i n f o
Artist.....: Pram
Title......: X Avant Festival, Toronto, Oct 25
Rip Date...: Nov-2008 Cat.No.....: n/a
Style......: Instrumental Rockbel......: n/a
Quality....: VBRkbps Type.......: Bootleg
Size.......: 89,6 MB Source.....: CDDA
r e l e a s e . n o t e s
Birmingham's Pram were part of the original wave of U.K.
"post-rock" of the early 1990's, alongside such peers as
Stereolab, Seefeel and Moonshake. Over the course of their 15 year
career, recording for such prestigious labels as Too Pure, Merge
and Domino Records, the group has developed a unique,
uncategorizable style of "travel music" that takes the listener on
journey sto exotic locales, from South Sea islands to distant
galaxies, using elements of jazz, exotica, minimalism and eerie
carnival music.
Their discography includes eight full-length albums, film sound
tracks and numerous other releases. They have worked in
collaboration with visual artists and filmmakers on installations,
special events and their own live show.
Since 2003, Pram have been collaborating closely with filmmaker
Scott Johnston (filmficciones) on a live show that fully
represents the bandÆs cinematic vision. This ongoing artistic
relationship is rapidly evolving, reflected in the extremely
varied output to date that consists of conventional music videos,
short films, experimental footage for Pram's live show, and
Johnston's installation The Divine Edgar, which attracted
favourable press at Birmingham's Fierce Festival 2008.
In 2006, Pram were commissioned by the Contemporary Music Network
to collaborate on a show with artists Mark Anderson (aka
Blissbody) and Kirsten Reynolds (aka Project Dark). The
Photophonic Experiment was a sonic and optical spectacle
consisting of high voltage contraptions and light sensitive
inventions that were juxtaposed somewhat comfortably amongst
Pram's bizarre instruments and orchestration. The show toured 8
venues in the UK ending with a performance at the Queen Elizabeth
Hall.
2007's The Moving Frontier LP earned the band the front cover
feature in The Wire magazine (Dec. 2007), and #7 placement in that
publicationÆs year-end poll.
Their 2008 touring show features material from The Moving
Frontier, introduces new work, both musical and visual, and draws
from the bands impressive back catalogue. Short films, animations
and experimental videos are mixed live across three screens of
projections, the images ranging from eerie black-and-white silent
horror clips to abstract loops suggestive of the dark worlds of
German expressionism and Czech animation.
Pram incorporate their wide range of instruments here, including
theremin, trombone, stylophone, clarinet, airsynth, marimba, and
analogue keyboards with loops and samples, to create their gently
chaotic and haunting soundtracks.
http://pram.uk.net/
When I say that Pram's headlining set of the penultimate night of
X Avant's five-evening run of egghead-friendly entertainment began
on explosive form, I'm not dishing out empty hyperbole for once.
No, the explosion was up there on the screen, Pram's resident
visual specialist Scott Johnston having opted to accompany the
first song The Empty Quarter, also the lead track on the
Birmingham band's mesmerizing 2007 disc The Moving Frontier with
the slow-mo blast that caps off Michelangelo Antonioni's Zabriskie
Point.
As movie explosions go, this oneÆs a goodie - hell, it's a
genuinely iconic moment of apocalyptic grandeur. But however
cinematic Pram's music may be - and that adjective applies not
just to the Morricone-like swagger of The Empty Quarter but many
moments more reminiscent of the scores of Krzysztof Komeda, Toru
Takemitsu and the Forbidden Planet duo of Louis and Bebe Barron -
it wasn't necessarily appropriate. That's because Pram's music
feels less like it's expanding at a dangerously rapid rate than
contracting into ever smaller spaces. These are songs that fit in
nooks and crannies, songs that fester in a dark corner, then
sprout legs and skitter across the floor like some creature in a
Quay Brothers short.
Though the loopy near-jazz soundscapes of The Moving Frontier and
2003's The Dark Island marks a big advance in sophistication and
ambition compared to the febrile thrift-store exotica that was
their forte during their '90s tenure with Too Pure, Pram has an
awfully lonely sound. Even when they bring out the brass
instruments - with Theremin player Martin Harry Dawes doubling on
trombone and fellow multi-instrumentalist Samantha Owen wielding
her saxophone - it feels as if they're directing the force inward,
back into their own weird little world.
That sense of insularity was further emphasized both by the fact
this turned out to be an all-instrumental set (vocalist Rosie
Cuckston didnÆt make the Atlantic crossing for these two
ultra-rare Canadian dates in Toronto and Montreal) and by the five
musiciansÆ disinclination to engage with the audience. Instead,
they preferred to stay in the shadows as Johnston filled the
screens with both specially commissioned videos and
re-acquisitioned pieces of other peopleÆs cinema (e.g., clips from
Irma Vep and Night of the Hunter, eerie masks borrowed from Eyes
Without a Face). The effect was entrancing for the first stretch
of the hour-long set but such was the very private air of mystery
onstage (and the increasingly repetitious nature of the music),
audience members couldnÆt be blamed for feeling like gate-crashers
at a seance.
Indeed, the headlinersÆ performance was so chilly in temperament
that even the billowing gusts of noise in Tim HeckerÆs earlier set
(Nadja mainman Aidan BakerÆs Limnoid side project started off the
evening) seemed less forbidding in contrast. Wearing a gray
hoodie, the Montreal-based sound artist hovered over his
PowerBook, mixer and other contraptions as the room filled with
alternately bruising and soothing compositions that, despite
HeckerÆs rep in electronic-music circles, most often resembled the
avant-rock guitarchestra meltdowns of Glenn Branca and Rhys
Chatham. Meanwhile, the space was transformed into a
ôPlundertariumö thanks to the shots of spacemen and celestial
bodies projected deep into the rafters by General Chaos Visuals
(a.k.a. Steve Lindsey). The last time I spent an hour staring at
stars on a ceiling, I had to listen to Dark Side of the Moon, so
this had to be considered a big improvement.
http://www.eyeweekly.com/music/liveeye/article/43476
p l a y l i s t
01 x avant festival, toronto, oct 25, 2008 61:08
61:08 min
g r e e t i n g s
agw - amok - bass - bcc - bex - boss - cmg - cmc - cms - d2h
def - dh - disc0 - drum - emp - ftd - fwyh - gem - i8 - ipc
jce - jfk - jrp - just - khz - kinky - kw - lame - maem - mbs
mgc - psycz - r2r - rac - radial - rapid - rks - rtb - sb
sever - sfe - soup - sour - sq - tr - trt - ube - uc - upe
uki - xtc - yard - zi
respect to music lovers worldwide
never forget : go to the show. buy the t-shirt. order the vinyl