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Direct Link To This Post Topic: RIO Festival Carmaux Sep 2010
    Posted: September 23 2010 at 12:08
 
Festival Review,
dedicated to Parisian Metro Line 6 which ows me 105 Euros!!!
 (the pics are low resolution,  you will find better pics on the Traverses Magazine website or below)
 
Friday 17/09

 

Early start to catch the train Paris Toulouse at 7:55. There were some problems on my metro line recently and I’ve took the metro well in advance to be sure to be on time....that’s what I thought at least. The metro was a bit late, no big deal, but after two stations we were stuck for 5 minutes and then two stations later again for 5 minutes and so on and finally when I arrived on the platform the train was still there, but the doors already closed and then the train was leaving slowly Paris Montparnasse station with a couple of angry passengers who missed the train like me remaining on the platform.

Well, I went to the ticket counter and tried to change it, but it w as one of these cheap tickets I bought already 4 months ago and no way to get it changed. So I had to buy a real expensive ticket and over the top had to change 3 times. Anyway one hour later I was on direction RIO and the second train from Bordeaux to Toulouse was rather empty and I got a good nap to leave my frustration behind. No more problems from then on and I arrived just in time in Carmaux to catch the navette to the festival space. There were far less people in the bus compared to last year, which was confirmed once arriving on the festival ground.

Checking into the auberge and off to the first concert at 7 PM where I met Hugues ‘Sean Trane’ in the lobby of the concert hall.

 
Cap Decouverte
 
Maison De La Musique
 
 

Genevieve Foccroulle plays Anthony Braxton (Piano solo)

Not an easy start for a “rock” festival and I would have preferred to have heard her interview before the concert. Genevieve Foccroulle a Belgian classical trained pianist first met Anthony Braxton in Brussels in 2003 and at his request she worked on the complete recording of Braxton’s piano compositions between 2004 and 2007. She presented one of these compositions during this concert. It was a monoblock of about one hour consisting of small independent units that can be played in any given order decided by the interpret. The pieces consisted mainly on rhythm and textures with predefined dynamics. As she explained later on she is used to play all acoustic and the amplified miked sound of the piano was not very nuanced, making the composition sometimes a bit dull to hear, with most of the subtleties drowned by the amp system. Anyway an interesting and daring opener for a RIO festival, even so the audience reacted only with polite applause.

 
 
A short break followed by the interview with Genevieve Foccroulle(all interviews were animated and translated by Aymeric Leroy) which was highly interesting and she gave infos about the music and the circumstances of her work with Anthony Braxton.
 Saying hello to Marcello and the other guys from Yugen who had like last year a stand in the lobby to present the AltoRock label and I bought right away the new Picchio Dal Pozzo live record, (recorded together with Yugen) which is excellent BTW. The record was on presale during the RIO festival, so you have to wait a little…. and off for the second concert:
 
 
Caspar Brötzmann Massaker

son of Peter Brötzmann , the famous Free Jazz veteran who was going to play on Saturday he played in a classic rock trio format (Caspar Brötzmann : guitar, Danny Arnold Lommen :batterie, Eduardo Delgado Lopez : bass ) mainly, rhythm and textures (and absence of melodies) even so a different sonic experience then GF solo piano concert a similar approach. Bass and drums deliver a martial angular rhythmic over which Caspar Brötzmann lays his overtone and feedback saturated textures. Again as for the first concert, once you get used to the complete absence of melodic material you can immerse into the fascinating sound world of the trio. I had a quite long chat with Caspar Brötzmann the next morning where I got some insight on his music.  Being a guitar player myself I was intrigued by the fact that Caspar Brötzmann  plays a left-handed Stratocaster as a right-hander without changing the strings which makes him play the guitar upside down. He explained to me that he discovered some twenty years ago by chance that he got better control over overtones that way and played since then a  left-handed strato. He is a very sensitive musician and even so the apparent influence pointed to Hendrix his main influence was Jimmy Page and Led Zep. The controversial comments I heard after the concert showed clearly how difficult it is for a lot of fans to miss melodic material.

 

Small break and interview with Caspar Brötzmann, Aymeric Leroy who was animating and translating all interviews had some trouble to get Caspar Brötzmann to speak. He wasn’t in a very good shape either and kind of excused himself preferring to let speak his music for him.

I met Victor ‘Victor 77’ and his father from Barcelona for the third time during the RIO and said also hello to Remi Leclerc (Miriodor drummer on the Miriodor stand).

 

After a backed potato with ham and sour cream (BTW the food quality has much improved compared to the last two festivals) back to the concert room for the last concert:

 
 
 
Sleepytime Gorilla Museum

This was kind of the first real RIO band this evening and even so one of the band members arrived just an hour before the concert it was a great show.  The theatrical aspects of the show like costums, make-up, futuristic ballet go well together with their music a mixture of AvantProg and Death Metal (the Cookie monster vocals are an acquired taste even so the lyrics are far more sophisticated thenb the average DM band), BTW their concert reminded me The Jerseyband I saw in march in concert with a similar musical approach and a similar stage show.  

 
Interview with SGM by Aymeric Leroy
 
 
SGM stand, best looking T-Shirt BTW
 
Saturday 18/09

 

A look out the window and even so bad weather was announced the sky looked quite clear and finally the sun came out and stayed for the day. At 11 AM projection of the film Romantic Warriors at the auberge. An interesting 90 min long documentary about Prog with the main accent on the US prog scene including detailed portraits of Orion Studios, Cuneiform Records, ProgDay and Nearfest and featuring performances and interviews with Cheer Accident, Phideaux, DFA,Masquera Di Cera, Deluge Grander and others. Interesting but a little too long for my taste. BTW the DVD is on sale.

 

After an interview with SGM the concert schedule started with the French band:

 
 

 Aquaserge ( a French Pun "A Quoi Sers Je" = What Am I Good For) 3:30 PM

 I quite liked their first record and was a little disappointed of their show, a mixture of Canterbury, Psychedelic and Westcoast featuring two drummers. Good ideas, but too retro and musically not very challenging. They create a nice retro atmosphere and won the medal for the best 70’s haircuts. Time for a beer and then:

 

 
Thierry Zaboitzeff 5:30PM

Former Art Zoyd musician presented a solo show. Heaving been spoiled by last year’s fantastic Charles Hayward solo concert I was quite curious…and disappointed. TZ played a couple of Art Zoyd tracks and his own material, moving somewhere between AvantProg, World and New Age. My disappointment doesn’t came so much from the musical materiel itself but from the sounds he choose and the way he fiddled knobs nearly all the time changing between guitar, bass a homemade cello type instrument and samplers. His performance was a bit stiff and he was too concentrated on his equipment to let loose and give the music some bite.

 
 
 

Peter Brötzmann, 8:30 PM

Father of Caspar, godfather of German Free Jazz and one of the major musicians of European improvised music, aged 69, delivered with his band Full Blast just that: a slap in the face. Peter BROETZMANN on saxophones, Marino PLIAKAS on Electric bass, Michael WERTMUELLER on drums and Mars WILLIAMS on saxophones with a special mention for Wertmüller’s drumming a perfect mix of sublitite and energy. While on record this kind of music can be slightly irritating it comes really lo live in concert. One hour of pure energy and no compromise: no melody, no harmony, no bass line, no rhythm pattern, just a flow of dense sound and 4 musicians listening to each other and creating instant sound.

 

Unlike his son, father Brötzmann wasn’t the most eloquent musician, but I must say that he looked exhausted after the concert. Time for another backed Potato and:

 

 

 

 

 

 

Gong 11PM

While the concert attendance wasn’t too great until now, the room was packed for Gong. Having seen them already last year in Paris for a disappointing concert I was wondering if the band would be more dynamique.  Daevid Allan was in great form, playing the pothead pixie, so were Hillage and Giraudy, and  the whole set got more energy then the one I saw in Paris. They played their “greatest hits” plus a few songs from the new record, but the whole atmosphere felt too retro and a bit dusty, the songs from the new record don’t reveal a change in mood and for me personally Gong’s psychedelia (space whisper included) sounds just dated.

 

The interview took place at 1:30PM and to say it shortly was hilarious. In a certain way I preferred the Gong interview to their concert. After the Brötzmann family, Aymeric Leroy was more than glad to have the Pothead Pixies as interview partners. Despite the late hour everybody was sheered and Daevid transformed every question into a hilarious solo show, including funny vocals and dialogues with a handpuppett of the mastrrheadpixie he had brought along.

 
Sunday 20/09

 

After a short night and a breakfast in the sun, (the weather got better and better) a second documentary was shown in the auberge, presenting the history of the Transparencies association who organizes now for over 20 years musical events in the area with the presence of artistical director Michel Besset.

Michel Besset, Roger Trigaux, on the right Daniel Dennis
 
 

Time to take a sunbath on this beautiful late summer day followed by a lunch with Hugues and then heading for the interview with the Art Bears Cutler and Frith, followed at 2PM by the first Sunday concert by:
Fred Bear, Chris Bear, Aymeric Leroy
 
Miriodor

 

 

 
Bernard Falaise with his new guitar

 

 

 

Bernard Falaise the guitar player had bad luck when he discovered that his Gibson SG had suffered badly from transport and the neck was broken. After some bitter tears Michel Besset went with him to a music shop and came back with a semi body Gibson, but as he told us later he had some trouble getting his usual control over the guitar and could’ quit manage to get his sound.

But this has nevertheless had no major influence on the excellent concert. Miriodor has not only released a couple of  Prog masterworks but are also a great live band with lots of counterpoint galore, that sounds fascinatingingly easy when they play it, but believe me these guys can play!!!!! In terms of pure musicality it was my favourite concert. They should have played a bit later for my taste; the hall was only half full for their show.

 

Another sunbath on the lawn of the Maison de la musique and back in for:

 
 

Rational Diet from Belorussia,

I had had a chat with drummer Nikolay Semitko and he was quite nervous to play in such a big venue and he feared some problems with the sound check, but finally everything went fine and even so the band was  under rehearsed (especially the singer who had intonation problems) they presented a nice concert with  poetic passages.

 

Last rays of a beautiful sunset and welcome to:

 
 

 

 Jannick Top’s Infernal Machina:stage is litten up in dark red and once on stage Jannick whispers with his soft bass voice, “less light please”…and drums and bass start to roar in Zeuhl fashion, soon joined by Klaus Blasquiz and Natalia Ermilova on vocals, Aurore Crevelier on piano and Jim Grandcamp on guitar.  Fascinating start with the grounding Zeuhl bass of Jannick the great drumming of Jon Grandcamp, the deep voice of Klaus the high pitched Bulgarian style singing of Natalia Ermilova and the piano patterns of Aurore Crevelier (a part of the female voices and piano patterns were pre-recorded and some of the audience members seemed to feel “cheated” or at unease with this procedure). During the interview Jannick and Klaus explained both the way their music was build up and why they choose pre-recorded material) But after 15 minutes or so I must say that I got a little bored. There was no real development in the themes or secondary themes that would have added some variety.

Anyway an interesting concert followed by an interview of Jannick and Klaus who are very nice and smart and responded in a very polite and informative way to the sometimes slightly agressive audience questions.

 

One more coffee and time for the:

 
 
Parkins,Frith,Krause,Cutler,Slipp,Kihlstetd
 
Art Bears Songbook closing the festival and featuring the original threesome of Dagmar Krause (vocals) , who had replaced the seriously ill Jewlia Eisenberg in the last minute, Chris Cutler (drums) Fred Frith (bass, guitar and violin) plus Zeena Parkins (keyb), Carla Kihlstetd (Voc, violin) and Kristin Slipp (Vocals).

The band was on residence during five days and seen the result, they worked like hell to present this highly complex music. Apart from one or two false starts, giving way to some funny interludes, the band was very tight. (interesting parallel to the Kew Rhone project revival two years ago with Lisa Hermann, where the band was seriously under rehearsed They played two long medleys, the first one with songs from Hopes And Fears and Winter Songs and the second one from The World As It Is Today.

It’s awesome to see so much talent and beauty on stage. Dagmar’s voice, spoken or sung gave me goose-pimples right from the start and the concert was extraordinary. You felt a great complicity between all musicians, especially between the 3 singers and the concert was for me the highlight of the festival.

A standing ovation, an encore and it was the end of another great RIO festival.

 
 

Michel Besset came then on stage and presented the crew and announced next year’s festival with a RIO big band formed by Present/Univers Zero/Aranis as headliner.

 
Looking forward to RIO 4 next year!
 


Edited by Alucard - September 24 2010 at 04:09
Tadpoles keep screaming in my ear
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Explain the meaning of this song and share it"

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Direct Link To This Post Posted: September 23 2010 at 13:36
Great review! You do a really good job of giving the reader a sense of what it was like, I almost feel like I was there....almost. Wink I'm so jealouuuuus, SGM, Art Bears Songbook. >.<
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Direct Link To This Post Posted: September 23 2010 at 17:35
^^Thanx!
Here are some very good RIO 2010 pics from Lutz Diehl, who has a progrock foto website
 
 
 
 
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Explain the meaning of this song and share it"

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Direct Link To This Post Posted: September 23 2010 at 17:59
Originally posted by Alucard Alucard wrote:

^^Thanx!
Here are some very good RIO 2010 pics from Lutz Diehl, who has a progrock foto website
 
 
 
 


Wow. Thanks for this! Great pictures on this site. Lotsa Carla pics too. Embarrassed
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Direct Link To This Post Posted: September 24 2010 at 02:26

^yep!

and speaking about Carla & Co., SGM are playing wednesday 29/09 in Paris at the Glazart. Not my favourite place, crappy acoustic and a very small scene (I wonder how they will fit in their 3 meter long ultrabass), and over the top the audience consist mainly of art students who come there to show their new clothes and don't really care about the music. I saw Yoshida Tatsuya play there with Ruins Saxes in juin playing before an ignorant audience.
 
 
 
Tadpoles keep screaming in my ear
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Explain the meaning of this song and share it"

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Direct Link To This Post Posted: September 24 2010 at 03:33
Hi, great review, I was also there (I'm the Spanish guy who was with all the family in last year's edition) and I agree with most of it, but...

"One hour of pure energy and no compromise: no melody, no harmony, no bass line, no rhythm pattern, just a flow of dense sound and 4 musicians listening to each other and creating instant sound."

OK, but can we call this "music" (remember, no melody, no rhythm pattern, no harmony, no bass line, no nothing) or was just a "full blast" of... sound...? (Not trying to be controversial here, just explorative. I didn't like the concert because it was rendered in a language I just couldn't understand, I realise that. I only felt like crushed by an elephant stampede the time I could resist that ball of sound...).

On the other hand, I think the fantastic concert of SGM would deserve more than three or four words... ;-)

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Direct Link To This Post Posted: September 24 2010 at 03:41
Originally posted by KFK KFK wrote:

Hi, great review, I was also there (I'm the Spanish guy who was with all the family in last year's edition)
 
 I think the fantastic concert of SGM would deserve more than three or four words... ;-)

 
Thanx KFK!
I agree with you, but even so I loved the SGM show I was less inspired to write about it, but you motivated me to write some more words. I will also see SGM next wednesday and compare the two shows.
 
 
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Explain the meaning of this song and share it"

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Direct Link To This Post Posted: September 24 2010 at 04:13
Excellent review, Martin....
 
Yes I do hope to make it for edition 4
 
I'll repost my reviewx on  here, because amazingly enough, w seem to differ quite a bit on our enjoyment of the different shows we saw... at one point, we were almost opposite.
 
 
 
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Direct Link To This Post Posted: September 24 2010 at 04:15

Day One (Friday):

 

- GENEVIEVE FOCCROULLE: Definitely a bit of a bore and out of context of the musical scope, she played the piano works of Braxton, when most expect s the sax works. I didn't stay to the end of the concert.

 

- CASPAR BRÖTZMANN MASSAKER: Did the guy (Caspar) realize that the following morning was Hendrix' 40th anniv of his passing away??  When seeing and hearing his show, all I could think of was Jimi, or to a lesser extent the first two Guru Guru albums. Guitar heroics and histrionics and hysterics.

 

- SLEEPYTIME GORILLA MUSEUM: They were one of these that I’d had meant to check out for a long time, and their special instrument (that sort of tree trunk to play ultra-bass notes was intriguing), but I enjoyed most of their stuff. Vocal-wise, I wish that the girl could sing all of the time, coz the cookie monster metal vocals really turned me off and do a great disservice to their music. 

 

 

Day Two (Saturday):

 

- AQUASERGE: A real discovery. I wasn't expecting much, knowing their French pop singer back-up past, but they were quite good - they used the double drummer for the first time, placing them front-centre stage, facing each other, while the rest of the band was around them (this hampered the sound engineer, because I didn't really hear all of the instruments, where I was sitting). For their credit, they were missing two players, and one of the drummer was a guest, just for that show, so apparently, it was experimental set-up.

Bought both their albums, and I find them better on discs than that live show

 

- THIERRY ZABOITZEFF: My fave concert of the festival, despite the one-man show and a lot of play back - this got him a lot of slack, but it was the first standing ovation by the other half of the audience. Good stage presence, despite doing it all alone. Three or four Art Zoyd tracks, all superb. The man told the crowd in the conference, that he chose to never be in a band again, hence the solo appearance. Privately, I suggested him that he just hires two musicians for concerts only, in order to avoid the slack of the sampler-playback issues - he said he'd think about it, but didn't seem convinced (or cared enough).

 

- FULL BLAST: Free jazz, and more free jazz - had a hard time with this constant aural assault and a drummer doing 200 bps (not bpm), even if in the quieter moments (two or three minutes in the set), they were quite enjoyable. Also left before the end to buy cds.

 

- GONG: Saw them some 15 times since 94 and this was the third time since Hillage is back. I personally think they're a oparody of their former selves since Steve and Miquette came back. Daevid was his outstading self, but Gilly really seems bored. Hillage was good, but Miquette is an atrocious musician.  Outside these four, the rest of the band is just not up to par to the veterans... I even miss Travis (whom I'd started to consider as a legit GonG member), and with Howlett gone, the show is much less interesting. I hate the video showing behind the band. They simply played too much of their latest (and poor) 2032 album... I left before the end of the concert (almost disgusted), for a short snooze, before their conference, which was definitely the best interview session, though. Daevid is the funniest clown I've ever met.

 

 

Day Three (Sunday):

 

- MIRIODOR: Wow, these guys were my main reason to come to this festival, and they certainly did not disappoint.... They deserved a better slot on the program, but they were as outstanding, as their reputation that precedes them indicates. They are now a quintet and featured mainly their latest album Avanti, which is less Gypsy/Manouche-inclined than Jongleries or Mekano were.

 

- RATIONAL DIET: I didn't like the album I had and they confirmed it on stage, despite playing most of their latest album. Weird stage set up (drums on the extreme corner) and crappy sound, the chick singing definitely out of tune at the start of the concert. Some interesting moments, bur at times it all falls apart (Blasquiz, Denis and some others agreed, but Trigaux loved it >> I think it was his selection and felt obliged to defend it) but these guys just perform their music, they don't live it. Apparently two musicians were absent from their normal line-up (maybe they didn't get their passport from the Belarussian PolitBuro)

Easily the most boring interview section as they simply don't master english and the main composer tried his French, but it wasn't much better

 

- JANIK TOP's INFERNAL MACHINA: what an insanely fitting name for that sonic assault, just one track lasting 15 mins than his planned slot. Interesting Zeuhl, sometimes bordering on metal music, with Blazquiz and this Bulgarian polyphonic singer fronting the group (Janik also vocalizing). Unrelentless assault, where Janik lets the group express themselves enough, but no real solos. they got some slack from part of the audience for the keyboards playback, despite having one on stage) and also the recorded choirs. I was rivetted to my seat.

 

- ART BEARS SONGBOOK: I was never that much a fan (I much prefer the News From Babel following adventure), but the audience was won-over well before the start of the concert. Enjoyed it enough, but had a tough time remaining awake after three days of festival. Cutler is definitely the most entertaining drummer alive (saw him seven times before), Frith was good (only saw him once before), Dagmar worked her ass off (after some 20 years of inactivity), but the other main singer obviously covered her, if she didn't mange. Their conference occurred at the start of that third day, so their only encore closed the Festival around 2AM.

 

 

 

I missed Saturday the showing of the Romantic Warrior DVD  about the US scene (I'd seen it before) and visited a few of these medieval villages perched on hilltops , but Sunday's viewing of the Rocktime organization  documentary was quite interesting (French only, though)

 



Edited by Sean Trane - September 24 2010 at 19:54
let's just stay above the moral melee
prefer the sink to the gutter
keep our sand-castle virtues
content to be a doer
as well as a thinker,
prefer lifting our pen
rather than un-sheath our sword
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Direct Link To This Post Posted: September 24 2010 at 04:31
Originally posted by KFK KFK wrote:

Hi, great review, I was also there (I'm the Spanish guy who was with all the family in last year's edition) and I agree with most of it, but...

"One hour of pure energy and no compromise: no melody, no harmony, no bass line, no rhythm pattern, just a flow of dense sound and 4 musicians listening to each other and creating instant sound."

OK, but can we call this "music" (remember, no melody, no rhythm pattern, no harmony, no bass line, no nothing) or was just a "full blast" of... sound...? (Not trying to be controversial here, just explorative. I didn't like the concert because it was rendered in a language I just couldn't understand, I realise that. I only felt like crushed by an elephant stampede the time I could resist that ball of sound...).

Yes, of course it is music. Peter is actually a very melodic and evocative free jazz saxophonist, unlike some others, you just have to look past the fire.

I saw Peter Brotzmann with Hamid Drake a little while ago, it was amazing. Unfortunately, I missed Full Blast playing in DC a year or two ago. You're right, it seems exhausting for him. I don't know where he gets all the energy. I was tempted to ask him what made him so angry over the past 40 years but I ended up just gushing like a fanboy. I am sad that he and Caspar went over poorly, you'd think at RIO people would understand that kind of music. But I guess they're rock fans who like some avant-garde music, not the other way around. Anthony Braxton can be hit or miss, though, opening with some of his piano pieces is pretty brave. I wish I had seen him in NYC but I didn't hear about it until the day before. :( I also wish I had seen SGM in 2007 in DC, but I have a problem with high volumes.

Sean, were SGM playing new material? There's really not much death metal on any of their released albums. There's just one song and then maybe a few segments of other songs.


Edited by Henry Plainview - September 24 2010 at 04:35
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Direct Link To This Post Posted: September 24 2010 at 05:07
>you'd think at RIO people would understand that kind of music. But I guess they're rock fans who like
> some avant-garde music, not the other way around.
Yeah, I guess we all have some piece of unknown road ahead... :-) but after all RIO starts with "R" ;-)

Anyway I think this is like going to a modern art gallery, you're not supposed, expected or required to be an expert in avant-garde art or even like or understand all the works in there, and sometimes you even wonder (and would like to know from a formal point of view) why that collection of scribblings is considered by the experts a masterwork and others are not... apart from the fact that the work itself rises some emotional response in you or not (and that's what it's all about after all, I think).

Cheers!

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Direct Link To This Post Posted: September 24 2010 at 06:24
Originally posted by Henry Plainview Henry Plainview wrote:

[QUOTE=KFK]

 were SGM playing new material? There's really not much death metal on any of their released albums. There's just one song and then maybe a few segments of other songs.


I am not that famliar with their records, but I recognized a couple of tunes from In Glorious Times. For sure they have not changed to Death Metal, but in lack of a better term (sub gutural??) a bigger part of the male vocal stylistics come from Death Metal, so this was mainly to give an idea.






Edited by Alucard - September 24 2010 at 06:26
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Direct Link To This Post Posted: September 24 2010 at 07:26
Thanks for the reviews, Martin and Hugues! Clap
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Direct Link To This Post Posted: September 24 2010 at 13:32
Nice pics from Martin and interesting reviews from both him & Hugues - if there's a fourth RIO festival I hope all 3 of us are there together (if the organisers can find a date that doesn't clash too badly with the academic calendar that is).
 
 
'Like so many of you
I've got my doubts about how much to contribute
to the already rich among us...'

Robert Wyatt, Gloria Gloom


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Direct Link To This Post Posted: September 24 2010 at 19:44
Originally posted by Syzygy Syzygy wrote:

Nice pics from Martin and interesting reviews from both him & Hugues - if there's a fourth RIO festival I hope all 3 of us are there together (if the organisers can find a date that doesn't clash too badly with the academic calendar that is).
 
 
Hey Chris,
 
 
 
Yup, an RIO Fest cannot be complete without you, and we both missed you (and Flora)
 
 
 
Good news and bad news, though
 
Yes, they intend on organizing more RIO fests (next year will have UZ, Present & Aranis on the same stage (18 musicians together)...... And they intend on organizing RIO fests until they drop
 
The bad news is that the date seems to be set once for good. (mid-Sept), despite my objection that teachers might have a difficult time to come so early in the schoolyear
 
 
 
 
 
let's just stay above the moral melee
prefer the sink to the gutter
keep our sand-castle virtues
content to be a doer
as well as a thinker,
prefer lifting our pen
rather than un-sheath our sword
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Direct Link To This Post Posted: September 24 2010 at 20:31
Originally posted by Sean Trane Sean Trane wrote:

(next year will have UZ, Present & Aranis on the same stage (18 musicians together)


That sounds EPIC. Shocked
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Direct Link To This Post Posted: September 25 2010 at 03:11
Originally posted by SaltyJon SaltyJon wrote:

Originally posted by Sean Trane Sean Trane wrote:

(next year will have UZ, Present & Aranis on the same stage (18 musicians together)


That sounds EPIC. Shocked
 
 
 
This was whispered to me by Roger Trigaux (this year in a wheelchair, but appearing rather cheery and suntanned), but four hours later,, the organizer Michel Blessieix (not sure of his name's spelling), confirmed it on his cxlosing speach
let's just stay above the moral melee
prefer the sink to the gutter
keep our sand-castle virtues
content to be a doer
as well as a thinker,
prefer lifting our pen
rather than un-sheath our sword
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Direct Link To This Post Posted: September 25 2010 at 09:23
I'm moving into a more managerial role these days, so I might be able to work something out for next year - here's hoping!
'Like so many of you
I've got my doubts about how much to contribute
to the already rich among us...'

Robert Wyatt, Gloria Gloom


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Direct Link To This Post Posted: September 28 2010 at 02:59
Originally posted by Syzygy Syzygy wrote:

I'm moving into a more managerial role these days, so I might be able to work something out for next year - here's hoping!
Good newsClap: less headaches frompupils, more money (hopefully)  and RIO fest appearances (with the lovely Flora)....
let's just stay above the moral melee
prefer the sink to the gutter
keep our sand-castle virtues
content to be a doer
as well as a thinker,
prefer lifting our pen
rather than un-sheath our sword
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Direct Link To This Post Posted: September 28 2010 at 10:02
Here are some drawings of the RIO festival and the trip from the States to Carmaeaux from a Progears member. He showed us his sketchbook one evening outside the concert hall. He is a funny as his book BTW.
 
 
Nope,
no direct link you have to look up the section The RIO Fest and a visit to France - a visual journal on the OT page.
 
 
 
 
 
 
 
 


Edited by Alucard - September 28 2010 at 10:06
Tadpoles keep screaming in my ear
"Hey there! Rotter's Club!
Explain the meaning of this song and share it"

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