Margaret Unknown

?¿ Margaret Unknown - empathoharmonical . A/V . performance & film ?¿

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  • [VINYL] (In) The Abyssity Of The Grounds - GODS (2016)

[VINYL] (In) The Abyssity Of The Grounds - GODS (2016)

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[VINYL] (In) The Abyssity Of The Grounds - GODS (2016)

35.00
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180g Vinyl 3LPs with Triple Gatefold | Limited Edition of 300
 

1.e u r y d i c e I 10:01

2.e u r y d i c e II 06:28

3.e u r y d i c e III 01:56

4.e u r y d i c e IV 15:04

5.e u r y d i c e V 14:27

6.e u r y d i c e VI 05:43

7.e u r y d i c e VII 11:50

8.a r i a d n e I 04:08

9.a r i a d n e II 07:03

10.a r i a d n e III 07:17

11.a r i a d n e IV 06:53

12.a r i a d n e V 14:52

13.a r i a d n e VI 12:46

 


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all tracks, defined by markers, are hooked together, seemless, no silence in between. spoken words between the tracks have been cut out , provided some ohs , giggles yeahs and ahems, which i left to the magic of the hour and the original flow of the recording session- the music. . 
the entire thing is seemless connected and one stream as e u r i d i c e coming up or a r i a d n e following the thread untill o r p h e u s looks back or the thread will be torn....do gods may help that this will not happen, us to loose sight.... just do not look back just go or just pick up the thread from then for new weavings to find the way up from these a b y s s i t i e s or out of these m i n o i c l a b y r i n t h s
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Because with this we move towards my suggestion for the title ìgodsì (concerning euridice and ariadne)... antique gods do not show in a different way than the as numerous ones of today, also within trivial checking , sound checking, within the individual, the collective , within the big, as within the mediocre or even the unrecognized , as within the uncalculated or evident, in a special hold-it manner (hence breath holding, hand on the mouth)-. everyone notices this, may he call it then Ñgodsì or whatever he wants it, and that was it then allready again...but if s.o. tries to hold them (these that appear or speak) tightly , in possession ,or take ëem away, even with oneself they dissappear Ñwithin the abyssity of the groundsì ñ a work in progress: now Ñgodsì. how many still ? no idea...e u r i d i c e o r a r i a d n e m a y k n o w.... 
t h i s h a p p e n s a g a i n a n d a g a i n m a n y t i m e s w h y ? n o i d e a ! 
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empathy ? or being tied up within this great isolation before.... as it comes then over and over on us all : intertwining , empatho-harmonical, tribal.... 
but behold : all parallel lines meet yet in the end- allways at the horizon or downwards in the abyssity of the grounds - in one point, how many gods or parallel lines they may ever be: by their being so many, we can see well, what vain dreams withhold them from us : horizons and depths of grounds, both are still very far, hence as many Ñgodsì: as parallel lines intertwinings empatho-harmonicals tribals....       $ ( - / 7 8 ; < > ? D E P Q V Z d f i j p s v w | Ç á â è ï õ † § • ® ≥ º ø ¬ √ « » À Ã “ ” ÿ Ÿ › fi „ ‰ Ë È Ï Ì ˘ ˙  
Of course this is however also related to the eternal human migration, and its rejection, now and then , whenever the gods started to speak, stepping out of their stonecarved forms... for pragma , for which also linda sharrock stands (up) within her fate and (il)legal treatment , also with this scream since ever since throughout the mediteranian, and the everlasting grandmothergeneration concerning the perpetuous repetition of the problem and its eternal repulsation, with which any human and natural migration and its rejection now and then, again and again, are confronted, by their hosts ...: the ladder cannot see the situation by their selfemblinding, the first cannot articulate it, due to their trauma being violated off their rights through a related desinformation ....linda sharrock though could do so, but she is aphasic, which hence is not hazardious or accidental, as may be neither for in ex. the ancient oracle, la clairvoiente, in delphi or theresias otherwhere, or kassandra overseas and down in the vessel's haunted darkness, hence by the same reasons...and on what what is interpretated by the warning sights of the deaf or the blind ...or the aphasics 
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1.e u r y d i c e I 10:01

2.e u r y d i c e II 06:28

3.e u r y d i c e III 01:56

4.e u r y d i c e IV 15:04

5.e u r y d i c e V 14:27

6.e u r y d i c e VI 05:43

7.e u r y d i c e VII 11:50

8.a r i a d n e I 04:08

9.a r i a d n e II 07:03

10.a r i a d n e III 07:17

11.a r i a d n e IV 06:53

12.a r i a d n e V 14:52

13.a r i a d n e VI 12:46

 


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all tracks, defined by markers, are hooked together, seemless, no silence in between. spoken words between the tracks have been cut out , provided some ohs , giggles yeahs and ahems, which i left to the magic of the hour and the original flow of the recording session- the music. . 
the entire thing is seemless connected and one stream as e u r i d i c e coming up or a r i a d n e following the thread untill o r p h e u s looks back or the thread will be torn....do gods may help that this will not happen, us to loose sight.... just do not look back just go or just pick up the thread from then for new weavings to find the way up from these a b y s s i t i e s or out of these m i n o i c l a b y r i n t h s
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Because with this we move towards my suggestion for the title ìgodsì (concerning euridice and ariadne)... antique gods do not show in a different way than the as numerous ones of today, also within trivial checking , sound checking, within the individual, the collective , within the big, as within the mediocre or even the unrecognized , as within the uncalculated or evident, in a special hold-it manner (hence breath holding, hand on the mouth)-. everyone notices this, may he call it then Ñgodsì or whatever he wants it, and that was it then allready again...but if s.o. tries to hold them (these that appear or speak) tightly , in possession ,or take ëem away, even with oneself they dissappear Ñwithin the abyssity of the groundsì ñ a work in progress: now Ñgodsì. how many still ? no idea...e u r i d i c e o r a r i a d n e m a y k n o w.... 
t h i s h a p p e n s a g a i n a n d a g a i n m a n y t i m e s w h y ? n o i d e a ! 
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empathy ? or being tied up within this great isolation before.... as it comes then over and over on us all : intertwining , empatho-harmonical, tribal.... 
but behold : all parallel lines meet yet in the end- allways at the horizon or downwards in the abyssity of the grounds - in one point, how many gods or parallel lines they may ever be: by their being so many, we can see well, what vain dreams withhold them from us : horizons and depths of grounds, both are still very far, hence as many Ñgodsì: as parallel lines intertwinings empatho-harmonicals tribals....       $ ( - / 7 8 ; < > ? D E P Q V Z d f i j p s v w | Ç á â è ï õ † § • ® ≥ º ø ¬ √ « » À Ã “ ” ÿ Ÿ › fi „ ‰ Ë È Ï Ì ˘ ˙  
Of course this is however also related to the eternal human migration, and its rejection, now and then , whenever the gods started to speak, stepping out of their stonecarved forms... for pragma , for which also linda sharrock stands (up) within her fate and (il)legal treatment , also with this scream since ever since throughout the mediteranian, and the everlasting grandmothergeneration concerning the perpetuous repetition of the problem and its eternal repulsation, with which any human and natural migration and its rejection now and then, again and again, are confronted, by their hosts ...: the ladder cannot see the situation by their selfemblinding, the first cannot articulate it, due to their trauma being violated off their rights through a related desinformation ....linda sharrock though could do so, but she is aphasic, which hence is not hazardious or accidental, as may be neither for in ex. the ancient oracle, la clairvoiente, in delphi or theresias otherwhere, or kassandra overseas and down in the vessel's haunted darkness, hence by the same reasons...and on what what is interpretated by the warning sights of the deaf or the blind ...or the aphasics 
#%&*+239?CGIJRTXYbcgkrw|}ÄÅÑäçëïóúù°¢•±¥µø¿¬ƒ… —÷›·‰ÂÌÓÒˆ˜˛ ",126<CEKNQRVW`adeqruv~Ääåêëîïòú°£™Æ≤≥µ∂π∫¡≈—“›fiÂÊËÈÒÚı˜˚˝  Only ancient as well as modern Ñgodsì are the ones that can reveal the Ñcircumsì just because they have created them and themselves and are recreating them and themselves again and again, playing with marked cards, to make shure, that the inevitable , which is their final loss of their power, will not happen. Of course the messenger and interprete then will be hung defamed or just locked in a home or by a hatecaust cast someplace else in custody.... thats why gods... who or what these gods are or not within the negativity of their shadows or the mirrors in the abyssity of their grounds seems more than clear: unlimited parallel lines that all project, measure , fail, harmonise, pro-portionise and idealise themselves onto the one , (point), - unknown to them - at the horizon to incarbonated, stonecarved codices of behavior and life, feasting their death- and funeral-cults of these thens of the then, instead of it (hence of the point of coincidence )..., while however having it (the point at the horizon or in the abyssity of the grounds under the grounds ) to its essence still far away off- and ever more far and farer in front and before and in a far future - off themselves.... this certainly will never change in any whatever terms....before or after knowing... so Ñgodsì intertwining empatho-harmonical tribal like the seas in the seas. Listen: 
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credits::

released February 24, 2016 on
Golden Lab Records

Linda Sharrock: Voice
Mario Rechtern: Voice, Reeds, Violin
Margaret Unknown: Voice, Guitar, Electronics
Theresa Eipeldauer: Voice
Didi Kern: Voice: Drums

Recorded at Primitive Studiuos March 2015
Mixed at Primitive Studios by Daniel Schatz
Mastered at Botanic Audio & Mastering by Dominic Tanner
Photographs by Apollonia Bitzan
Layout by Nick Mitchel


reviews::

THE WIRE

 

"Linda Sharrock is best known for her astounding vocal contributions to her late ex-husband Sonny Sharrock's free jazz masterpiece Black Woman and her very fine collaborations with Wolfgang Puschnig. GODS is her first major release following a debilitating stroke. Sharrock's vocal range may be limited, but she has found a deeply expressive new language in the growls, moans and wails she unleashes over (In) The Abyssity Of The Grounds' avant-jazz tumult. Theresa Eipeldauer is a superb vocal foil, inhabiting the higher registers Sharrock can no longer reach, while reedist Mario Rechtern, guitarist Max Bogner and drummer Didi Kern play with a divine fury, pushing Sharrock into realms that are both harrowing and ecstatic. This limited edition triple-vinyl release from Manchester's Golden Lab sold out within weeks: bring on the repress. And if Sharrock and her band are playing in your town, cancel all other plans: their Glasgow show back in February was fiercely transcendent."

The Quietus

 

Das Ensemble (IN) THE ABYSSITY OF THE GROUND hat mit der EP „Gods“ den musikalischen Variantenreichtum der vergangenen Jahre in Form einer 180g 3LP auf dem UK Label Golden Lab Records released. LINDA SHARROCK, MARGARET UNKNOWN, MARIO RECHTERN, THERESA EIPELDAUER und DIDI KERN sind der Kernpool, der Rest ist in ständiger Bewegung.

Bei TAOTG gibt es kein Innehalten, keine Stille, nichts Fixes. Diese Tatsache trifft sowohl auf physische, wie auch musikalische Parameter zu. Das Projekt agiert als “Shifting- Ensemble”, diese Form der Zusammenarbeit hat zwar eine Musiker-Base, jedoch variieren die restlichen Artists von Auftritt zu Auftritt.

Der Kern vereint den Wiener Musiker und Performance Artist Margaret Unknown, der in den vergangenen Zeit in einigen Formationen wie etwa Margaret X oder Peggy Famous auf sich aufmerksam gemacht hat, sowohl in Europa, als auch über diese Grenzen hinaus. Auch dabei sind Didi Kern der als Schlagzeuger bei Fuckhead oder Bulbul aktiv ist, die bildende Künstlerin Theresa Eipeldauer und der Multi-Instrumentalist und Jazzer Mario Rechtern. Für die US-amerikanische Vokalistin und Jazzsängerin Linda Sharrock ist “Gods” die erste Studio-Veröffentlichung seit ihren musikalischen Aktivitäten in den 90ern. Sharrock kennt man vor allem aus der Zusammenarbeit mit dem österreichischen Jazzmusiker Wolfgang Puschnig und den Alben „Black Woman“ aus 1969 und „Paradise“ von 1975 die aus der Ehe mit dem Gitarristen Sonny Sharrock hervorgingen.

DIVERSITÄT STATT STILLSTAND

Der musikalische Output von (In) the Abyssity of the Ground definiert sich vor allem durch einen gemeinsamen State of Mind, den jeder der Musiker in die Formation miteinbringt. Die gemeinsame Entwicklung nimmt sich Zeit um eine para-musikalische Kommunikation zu entwickeln, dessen Ziel sich außerhalb von jeglichen Grenzen und Nationalitäten entfaltet. Durch diesen Zugang eröffnen sich strukturelle Freiräume in denen nur mehr die Improvisation funktioniert. Dabei sind die verschiedenen Variationen von Tempo eines der zentralen Elemente in “Gods”.

Sharrock dabei den auktorialen Part: Sie erzählt und vermittelt wortlos. Manchmal eklektisch, kurz vorm Ausbruch und im nächsten Moment leise wispernd, um die letzten Resten dessen zu vernichten, was davor vage Form angenommen hat. Die verschiedenen Vokalgeflechte fungieren dabei als bewegter Kommentar zwischen Hoch und Tief, und der immer dichter werdenden Soundscape. Der Release wurde 2014 im Rahmen einer über zweistündigen Impro-Session aufgenommen und erstreckt sich auf drei heavyweight Vinyl LP´s. Das merkt man auch. Die nachträglich platzierten Cuts in der Aufnahme, eröffnen zwar kurze Brüche im hochenergetischen Flow, im Sinne der Orientierung. Stille gibt es jedoch nie.

Eines ist klar, “Gods” fordert und ist keinesfalls ein Easy-Listening zum Nachmittagscafe, es fordert und das ist auch gut so.

Ada Karlbauer (MICA)