Byron Coley and Thurston Moore's "Bull Tongue" column from Arthur No. 32 (Dec 08)

by Byron Coley and Thurston Moore
from Arthur No. 32 (Dec 2008)

Of all the fucked up, nasty ass, deliriously damaged rock bands in the recent history of the American underground wonderland (particularly Texas), none come close to the squirm and hellacious sqwunk of Rusted Shut. From the incinerated skum of Houston weirdness improv outfit Grinding Teeth arose Rusted Shut in 1986. Their shows were a notorious mess, drunken and fueled by cheap-jack acid. After years of slovenly survival they’ve been somewhat rescued from universal distaste by the current noise legions. The Emperor Jones label released the Rehab CD in 2003 and AA Records did a sick lathe (“Bring Out Your Dead”) last year and their notorious “Fuckin’” track off the 2006 End Times Festival live comp is still the only loop that matters (check their myspace page for that one). It was with some apprehension of being held up by knife point that we unzipped their new Hot Sex EP (Dull Knife). But goddamn if this is not a great goddamned beast of a record. The core duo of Don Walsh and Sybil Chance (the original still alive members of Grinding Teeth) and Domokos (on drums and ‘earthscreamer’) just lay it out in an unctious smear of rawk n roll decimating any obvious pretence of hardcore, black metal, death metal, sludge, punk, avant improv goop etc.—shit is the REAL amerika full on. Salute and die.

Nigel Cross’s British label, Shagrat, only releases extraordinary material. He doesn’t bother with anything else. That means it’s always a label to watch and their newsy release, the Mariachi Riff Live and Free Music LP by Formerly Fat Harry, is a case in point. FFH were an ostensible Country Joe offshoot band, based in England, who recorded a lone laid-back, country-fried album for UK Harvest. It never struck us as wildly interesting, but Brits who saw the band live were always blowing spit-bubbles about how psychedelic they were. Some of that material finally surfaced on the Hux CD, Goodbye for Good, but this LP has the essential jewel—a 25-minute West Coast jam pinnacle that can match any ballroom band for sheer acid flash. An amazing record! The flip has two free-form pieces the band recorded earlier and they too are mind-blowers. If this material had surfaced while the band was still extant, they’d be legendary. As it was, they were so arcane only a few true believers like Pete Frame, Colin Hill (who wrote the fantastic liner notes) and Nigel had any idea that there even was a grail to seek. Easily the best archival find of the year, and an incredible record by any standard.

Really fine new book of poems by Jasmine Dreame Wagner (who also records as Cabinet of Natural Curiousities). It’s called Charcoal (For Arbors) and while it looks at first blush as though it’ll be a bit academic, she continually slams our heads with powerful words and images. “Blessed are the ego mules, for they are shod with their own lead.” Indeed! Similarly choice are the two new books by P. Shaw, Strings 02008CE and Strings Executive Toddler Edition. Shaw’s visual work is moving ever further from his ratty origins, with some of the pages achieving an oddly elfin mandala quality. The stories (esp. Ex Toddler) are actually sicker than ever, but their surface is a charming distraction.

Dunno if the band’s from Clifton NJ (where one of us b-tonguers worked as a caddie for several years), but we must give some localist props to RSO’s Row LP (RSO). They create a vibe in the tradition of the Bay Area’s Pet Rock groups: Flipper, Wounds, Lassie Come Home, Toiling Midgets, et al. Fine fine fine post-core guitar sludge with he-man vocals. From California itself come the Nothing People, and their long-awaited, eponymous debut LP (S-S Records) is the blast we’d hoped. All the noted just-pre-punk-weirdo elements are in place (Debris, Chrome, etc.) and the space-punk knob has rarely been yanked this hard since the demise of the Twinkeyz. Looking due East, we see the eponymous debut vinyl by a North Carolina duo, Waumiss (Little Ramona). Their sound lacks some of the cough-syrup-confusion of our favorite Southern artists, but it has a light and graceful weirdom all its own. Mixing concrete collage action with dub texture and the raw power of Christian pop (without the Christianity), Waumiss make days a little sunnier whether you like it or not.

Breakdance the Dawn is a cool name for a label, gotta admit. And it’s from Australia and by dint of its cassingle (yeah!) release “no one” by half OZ half Kiwi 4tet Mysteries Of Love we look forward to revisiting this equatorial wonderland. Faraway percussion and reverberoided coyote/human vox fusion make this an almost down under Pocahaunted listening experience. Fantastic utilization of quiet-style feedback lines.

Not sure how we missed it exactly, but Punk Magazine is back, still under the editorial watch of John Holmstrom. It’s a tad slicker than it was during its first incarnation, but Holmstrom’s chops are still in place (as editor, writer and illustrator) and the gestalt’s excellent. There’s some space given to new punk bands, but the bulk deals with people who were on the scene in the ‘70s, and it reads as well as ever. As does the new issue of Sharon Cheslow’s splendid occasional, Interrobang?! (Decomposition). This issue is printed in trade paperback format and has interviews and writings about the interface between family and music during childhood and beyond. Most of the pieces (by Alan Licht, Bill Berkson, Paulie Oliveros, etc.) are excellent, but our fave is the interview with Ian Mackaye. Sharon goes back to the earliest days of the DC hardcore scene and really manages to get some wonderful and very personal stories from Ian. Maxist.

Turpentine Brothers are a trio from Boston and their second LP, Turpentine Brothers (Alien Snatch!) is a pretty good, small band recreation of the Fleshtones at the height of their early ‘80s power. Very Battle of the Garages, but in a good way. On the absolute other end of Boston’s vomona, we find Twodeadsluts Onegoodfuck, whose great CDR from last year has been vinylized by Apop. Really nice use of fairly harsh (but not off-putting) feedback sonnets and gruel-spattered vocal sputs. Pleasant to own in this format. Meanwhile, former sometime Bostonian, Chris Brokaw, has had his 2005 CD, Incredible Love, reissued on vinyl (I and Ear). The album is not one of Chris’s guitar demonstration efforts, rather it’s a generally quiet singer/songerwriter effort, originally released by Gerard Cosloy’s 12XU label. And, especially on the acoustic numbers, it has textures as deep as anything you’d hear on Village Thing. Been listening to it a lot lately. You will too. Another Beantown expat is improvising violinist Katt Hernandez, whose debut solo LP Unlovely (no label) is seriously boss. A student of Joe Manieri, Katt plays in a style that flies through the valley separating new music and free jazz, like a hive of cunning bees. Great inventions.

Anathema Sound has a clutch of new heavy noise tapes out that are worth it not only for the caliber of the artists but the unified design of the cassettes themselves. Buffalo Altar by Oklahoman/Digitalis Industries honcho Brad Rose and pal Nathan Young’s Ajilvsga project is a headrush synth-storm played as cranial dirtstorm. The Light of Life by Wereju, the solo sound-world of Ireland’s Cathal Rodgers, is next in the continuing trend past prototypical drone into full-on murk expression. All Of The Witches by Husere Grav is amazing in its grey-zone harsh vocab: a lonesome fusion of early ’90s Helvete comraderie and Italiano industrial sick sadness. Not sure who this cat is but judging by this release and the previous split with Robedoor on Not Not Fun a while back he/she/it is one to beware of. Each of these tapes comes packaged in full color hyper-sense BEAUTIFUL fold-over sleeves with cool inserts and labels all designed by Matt Yacoub.

Arabesque II (Shivastan Press) is a new xerox lit mag from Woodtsock’s Shiv Mirabito, printing new work, old work & everything inbetween. Contributors revolve around the Shivastan core group (Ira Cohen, etc.) and it looks to be an ongoing project. New issue of the excellent Canadian lit mag, Carousel, is out. This one is largely turned over to poetry and illustrations, done by folks who are new to us, but of very high quality. This is issue 23, and Carousel has evolved into one of the most solid oddball-lit mags around. Another extremely solid way to fry yr eyes is with the Chicago based Mule. Issue 5 has Linda Perhacs, Jennifer Herrema and lots of words and images related to finding things. Highly recommended. Also hep is Deep Suburbia by Marissa Magic, former member of Olympia’s Punks. She’s down in the Bay Area now and this personal ‘zine, musing on Blondie, Free Kitten, noise boys and other topics is a genius move inside the genre of personal ‘zines.

The latest Directing Hands LP Songs From the Red House (Singing Knives) is a mutha. Alex Nielson has been using this moniker to further his deep UK folk investigation and he has here co-conspired with Vinnie Blackwall. Blackwall’s femme vocals swoop and swail through glorious avant garde trails whilst stroking note plenitude from cellos, harps and harmonium. A striking affair and one of the most interestingly modern perusals of folk forms to date.

Aldebaran Record Farm has released an awesome cassette called Full Frontal Nudity by Face Plant, the solo nom de plume of Aaron Coyes (Unborn Unicorn, Rahdunes, Peaking Lights). Coyes creates raw sonics from a hook up of vintage stereo components and hand-cut vinyl with a nasty-ass needle scraping thru. With his sense of rhythmic goop control and space organ jammering this is some sweet brutality.

Malcolm Duffy’s new comic book, 2 Stories, may be his best yet. The way he crafts his narratives, with simple evolving black & white illustrations, mutating slowly and quietly, has a wonderful way of simultaneously dampening and highlighting the weirdness of his tales. Good one. Which is not to diminish the value of his two other new ones—4th Bridge and The Heroic Mosh of Mary’s Son (all Missing Twin), both of which mine some of the same basic technical ideas with fluid grace. We just prefer the new one. Okay? Another massive gouge in the eye comes from E Pluribus Venom (Gingko Press), a hardcover catalogue derived from the massive Shepard Fairey retrospective in New York last year. To many folks, Fairey is still known primarily as the creator of the whole OBEY Andre the Giant schtick, but his work has evolved in all kinds of directions. His basic orientation has rejected neither public art nor political art as a touchstone, but his paintings and large works are complex meditations on the implications of those original image bursts. A very swank volume, sure to please several tough nuts on your Xmas list.

There’s something definitely cool about bands who release music on cassette that stands up to anything they do on CD or LP, regardless of which label its on. Case in point is Deathroes who, after annihilating any listener who came near their No Fun/Misanthropic Agenda LP Final Expense have unleashed a sick-ass beast of a tape on the IDES label called An Infinite Blaze. Deathroes is Gerrit from Misanthropic Agenda and the primordial existence of he who is known as Sixes. The shit is massive swaths of crushing, flowing rivers of sound sex.

Also guilty of the crime of cassette godliness is the Excitebike t*pe label (or EXBX) which is overseen by Dan Dlugosielski of the consistently ruling Uneven Universe duo. EXBX just released Unfroze, a double cassette by Fossils, who have been maniacally documenting themselves to the point where they have issued around six thousand releases on their own imprint Middle James Co., albeit in super minimal runs. Most Fossils output is cool, lo-down rumblings and texture research with slow soulfuck groove and harsh vision. The session they delivered to EXBX is definitely one of their finest and offers a playbook of their most effective moves. Fresh guh. Dlugosielski’s dark color horror art graces all the tape covers making them worthy just for his choice Midwestern junk-eye. Along with the Fossils poot EXBX releases a new Uneven Universe sput, a Wasteland Jazz Unit free noise improv killer, a haunted hayride banger from Treetops, a corrosive sluice from Body Collector and a thick black puke soup from John Olson’s wicked Medical Lake project. Not sure how everyone spent their autumn but we just locked ourselves in the Bull Tongue office and unspooled these mommas non-stop. Music for milf-lovers and beyond.

Another cassette label of note is Myasis Tapes out of Ontario, Canada. The Canadian underbelly of noise improv drone creativity has become quite the boiling over of greatness lately. Indeed the aforementioned Fossils has been a central activist in this specific geography. Myasis Tapes has just released three significant beauties from this contempo-trend. The one we keep going back to is Brooding Forest by Hunting Rituals, a duo with a moist grip on psyche-scuzz blanket motion. Both sides unfolding like a sex-sweat sheet, each rumple a dank and sensuous dream. Vestigial Limb, the noise nom de plume of Ray Shinn, has been popping off a series of happening tapes, CDRs and vinyl splits (most recently with like-minded alien tone gumps Blue Sabbath Black Cheer) since way back in 2007. This Cancel the Sky tape shows a marked development in this project’s focus on grey-light harshness. A third recent cassette on Myasis Tapes is Floods by Robe., an increasingly intriguing duo from Columbus, Indiana. Their name, Robe., always has a period after it—like: Robe. These guys revel in deep-well sonar-death where the skies threaten to break in a rain of shrieking ghoul shred. Wicked from all points of access. These tapes are super limited and deserve to be experienced, as all these outfits represent the crucial excitement alive and rampant in this amazing underworld of sound psychosis. New Swedish cassette label Klorofyll Kassetter has reared its scintillating hoof with a raw magik ritual jammer by Luva, a wide-blue-eyed blonde lad who gets sweet acid rhythms happening to create fresh portals. Lovely junk yes.

Not too many music-qua-music ’zines have swum before us this season, but the redoubtable Dagger has hit issue 41 with everything in order. Tim Hinely’s been doing this ’zine since back in the Forced Exposure days, and he still puts together a great pile of reviews and features that rock rock rock. Scott Soriano has gotten out the second issue of Z-Gun and it is a monster of form, as well. Total immersion in the post-skum aesthetic. In-depths on Drunks With Guns, Amphetamine Reptile Records and Ceramic Hobbs, and the most mouth-watering review section currently extant.

Hexlove-Falouah’s Free Jazz from Slavery 2LP set (Weird Forest) is the most expansive raft of blub yet released from Zac Nelson’s bean. The two albums have very different personalities. The first is trippy, percussed splatter-pop groon, not unlike certain aspects of Animal Collective. The latter is droney, ambient, long-format, low-bore, prog-rock with a semi-ecstatic overbite. The interior cover art reminds us of Hot Poop’s Do Their Own Stuff LP. Anyone else notice that? Charmed, I’m sure! Similarly psyched, in some ways, is the debut album by Minneapolis’ Thunderbolt Pagoda. With Eric Wivinius and several other veteran Twin City musicians with roots in bands like Salamander and Skye Klad, their eponymous LP (Thunderbolt Pagoda) offers buckets of brilliance. The ostensible playing format is more prog than psych, and the largely instrumental brunt is flowing and open, a bit like Agitation Free. Assy package too—silkcreened box & poster. A beautiful first effort. Another superb package is the one holding Dead Western’s Soften Your Screams into Songs (KDVS). Lovely silkscreen mandala work and deep woods nudity mark the effort visually. Musically, this Sacramento ensemble reminds us a bit of Feathers, if they’d been fronted by a wee Marc Bolan. Slippery, graceful volk stylings. We played it at 45. Is that right? More in the vein of the post-industrial ritual/volk/hex of Death in June is the debut LP by Cult of Youth. A Stick to Bind, A Seed to Grow (Dais). I’d forgotten how cracked that sound was. Dais also did the new 12” by Wes Eisold’s Cold Cave. The Trees Grew Emotions and Died is utterly fucked, destroyed-synth-pop by this Philadelphia renaissance man. Makes my skin crawl. Or is it just trying to dance? Wes has also just opened a bookstore in Philly that sounds bitchen. It’s called Juanita and Juan’s. Can’t wait to shop it dry. Most beautiful record this time is probably the Hasenlove picture disk by Hamburg’s Antonia Leukers (Dekorder). Primarily a visual artist, she was emboldened to stretch her brain into musical realms by a theoretical encounter with Die Todliche Doris. Her music is informed by that, but is a unique collage of sap-pop and bizarre inventions. Quite remarkable and a lovely piece of rabbity love by any stretch.

Upon reflection, we have heard a shockingly small number of Irish musicians lately, so we were fairly jazzed to dig into Sea Dog’s Wizards of the Coast LP (Stitchy Press), and it’s a pip. Classic instrumental trio thud with nods to doofs as disparate as Sir Lord Baltimore and Wishbone Ash. We have a feeling Mr. Joseph Carducci would approve. Joe might find less pleasure in the Mouthus/Yellow Swans collaboration LP, Live on Conan Island (No Fi), which is a woozily rootless and noisesome effort, recorded on tour of the Carolinas in ’06. The pairing works better than you might imagine—the Yellow Swans bring a relentless vertical squee to Mouthus’s ass-wide improvisational throb. Together, they are a snowball.

Debut, eponymous LP by Olympia’s Broken Strings (True Panther Sounds) is a goddamn gorgeous physical effort—thick, foil-stamped cover, shockingly good cassette remastering job by Weasel Walter, etc. Its vibe is somewhere between early Go Team, Daniel Johnston and Sacramento-era Pavement (or maybe Truman’s Water). Interesting, whipped-ass pop with as many broken legs as strings. The same is sorta true of Robert Pollard, who whips out two new albums that’re much more solid than some recent stuff—Brown Submarine by Boston Spaceships and the solo Robert Pollard Is Off to Business (both Guided By Voices, Inc.). But as good as both of these sound blasting around the clubhouse, even better is Pollard’s collage book, Town of Mirrors (Fantagraphics). Beautifully produced, the book collects tons of Pollard’s visual work (previously seen mostly as cover art) and it’s a shockingly rich body of work. Stunning, actually. Check it out.

When roving drone avant noise heads gather forces to “jam” “out” it can be certainly alluring but more likely than not it’s a messy mélange of whatsis. Fantastically not the case is the LP Mind of the Dolphin by Way Of The Cross (Phoenix Records), an ensemble consisting of members of No Neck Blues Band, The Skaters, Kuupuu, Embryo, Uton, Keijo and Kemialliset Ystavat and Stellar OM Source. A lot of cooks in the kitchen but these sonic spirit heads make it work with restraint and subjugation to seemingly inner sense-emotion. Supposedly all recorded on a tour across Poland, Germany, Holland and Latvia. Would like to see more proof of any of this but regardless of the myth/reality nexus these animals drove through, the sound world they inhabit is magisterial and sweet.

Mondo Macabro continues its drive to document international cinematic sickness with two new films from Japan’s Nikkatsu Studios. The Watcher in the Attic is a sex-murder tale set in 1920s Tokyo. It’s an exploito study of voyeurism and the variety of unusual pleasures available to cosmopolitans of the era. The clown sex sequences are particularly disturbing, although the guy who hides inside a chair is pretty strange, too. Assault! Jack the Ripper is about a young couple (a pudgy surly waitress and a skinny dour pastry chef) who get an erotic charge from murder. It’s fairly brutal, even by Mondo M standards. Bonuses include good interviews and a documentary about the scene from which the flicks emerged. Excellent in a completely different way is the new 2DVD set of Renee Daadler’s Here Is Always Somewhere Else (Cult Epics), a wonderful documentary about the Dutch-born artist, Bas Jan Ader. The film deals with mystery, gravity and the sea in remarkable way. It is also a meditation on art, California (where Ader relocated) and film itself. The second disk contains Ader’s complete remaining filmworks. Incoporating elements of Fluxus, performance art and conceptual work, Ader’s story is a great dissertation on art in the latter half of the 20th Century and his films are strangely lovely. His disappearance, attempting to cross the Atlantic in a ridiculously small sailboat with a copy of Hegel as his companion, was his final piece.

Toronto’s Pink Noise have a great LP on Brooklyn’s superb Sacred Bones imprint. Dream Code reminds me of nothing less than Chain Gang, somehow stripped of their metal proclivities. It has the same murky, post-explanation, out-of-time gesticulation as Luanda & crue at their damnedest. Sacred Bones also issued the remarkable Sistrum LP (+ 7”) by Factums, a band whose connections to Climax Golden Twins and the Intelligence may give some raw, vague clues to the intense weirdness and subterfuge of their sound. Brilliant stuff. Not on a Brooklyn label, but based in that borough nonetheless, Heavy Winged have a swank archival LP called Alive in My Mouth (Three Lobed). Recorded in 2005, this shows the band in a far more rockin’ mode than recent recordings. Still, they create a fudge-thick wall of Hawkwind surface damage and press it as far as anyone is likely to for a good long while. Madison, Wisconsin’s Drunjus have been investigating thick, long-tone dronecore for at least the last ten years. Primarily a duo of two gents named Woodman and Endless, they’ve popped out a wealth of grey sky bliss-guh on cassettes and cdrs. Earjerk Records has taken the leap and issued Thorn Shield, an LP of Drunjus magnificence. Expecting kinda more of the same we were nailed to our swivel chairs in trance to both sides (especially side one with its killer lock groove “ending”). Drunjus are thee reigning kings of U.S. drone action—be prepared to blank.

Superb mystery boot LP has emerged from 16 Bitch Pile-Up. It collects two of this SF band’s shows at the Wiltern in L.A. and the Fillmore. It’s a wonderful testament to these lasses’ abilities to dissolve all forms in the acid bath of their collective brain pan. A moist joy and well worth seeking. So too the new LP by Baltimore’s The Shining Path. Called Take You So Low So You Can Fly So High (Planaria), it reissues the cassette from last year and adds a wild live set recorded with Little Howlin Wolf on mouth-squall. If you’ve not yet heard these guys create their free-psych-space-jazz-squallery, this would be a great place to start.

James Hoffs is a true gentleman of quality. His work as an archivist, publisher, curator and whatnot are well known and documented. He does so much stuff it’s sometimes hard to recall he’s also a musician, recording as Airport War. But the new one-sided AW LP, In Dreams Begin Responsibilities (Airport War) is one of the most brilliant artist’s records we’ve seen in a while. The musical content is short and minimal, but the whole thing is so densely coded, it’s a real pleasure to behold. Gorgeous object. Very different solo animal is Cameron Stallone’s Sun Araw project. His first album brimmed with guitar gushing from bloody sacks, but his new effort, the Beach Head LP (Not Not Fun), is like some stoned cross between Jimmy Buffett’s Ate a Parrot album and Van Dyke Parks’s Discover America. It’s like being chased into a sandy wormhole by an invisible (and inaudible) steel drum band. But with rum. Very diff is Emaciator’s Coveting LP (Not Not Fun), although this nom de California noise artist, Jon Borges, is a lot less harsh than his work as Pedestrian Deposit. Indeed there’s an almost symphonic prog quality to some of the passages. Eat that, noise pennies! Not Not Fun has also gotten into the book biz with Jeremy Earl’s Skull. Jeremy may be best known for Fuck It Tapes or the Woods, but his drawings have been all over the place, and Skull collects some of the best. Color printing and collage action only add to our pleasure.

We don’t hear as many French bands as we ought to, so it was very fine to plug into the Tahiti Coco EP by Aquaserge (Manimal). Instrumental prog rock of no clear era, this is a lot closer in tone to bands of the Futura Records days than it is to the current crop of French drumbox skum-punks. Not that these guys are freaks like Red Noise or Mahogany Brain, but they emerge in a line from that tradition. And this sounds mighty cool, if much more in a “standard” post-fusion-instro vein. Can’t claim we know dick about Algerian pop music, but there’s a rather wild batch of it on the new Sublime Frequencies comp LP, 1970s Algerian Proto-Rai Underground. Compiled and annotated by Hicham Chadly, the album collects a swath of unheard music from a period when the first sonic pioneers were attempting to update Algeria’s musical traditions. Trumpet featured prominently, but it’s like listening to Don Cherry sitting in at a belly dance session or something. Hard to fathom, but easy to dig.

Alright. Out of breath, time & space. Please send two (2) copies of anything you’d like covered with sput (archaic formats preferred) to

Bull Tongue
PO Box 627
Northampton MA USA 01061

16 Bitch Pile-Up:
AA Records:
Airport War:
Aldebaran Record Farm:
Alien Snatch!:
Anathema Sound:
Breakdance The Dawn:
Deep Suburbia:
Directing Hand:
Dull Knife:
Emperor Jones:
Excite Bike:
Gingko Press:
Guided By Voices Inc:
Juanita and Juan’s:
Katt Hernandez:
I and Ear:
Klorofyll Kassetter:
Little Ramona:
Middle James Co:
Missing Twin:
Mondo Macarbo:
Myasis Tapes:
No Fi:
No Fun:
Phoenix Records: c/o
Rusted Shut:
P. Shaw:
Shivastan Press:
Singing Knives:
Stitchy Press:
Sublime Frequencies:
Three Lobed:
Thunderbolt Pagoda:
True Panther Sounds:
Jasmine Dreame Wagner:
Weird Forest:

8 thoughts on “Byron Coley and Thurston Moore's "Bull Tongue" column from Arthur No. 32 (Dec 08)

  1. Pingback: MAGPIE - Arthur Magazine Blog » ARTHUR 32 IS ONLINE-ONLY

  2. Pingback: Alternative Music Talk » Intellectual Tonguing: Coley and Moore Goto Town


  4. Leo en uno de los comentarios, quizás el de más prosapia languidez verbal. Refiérese el autor a la MÚSICA LATINOAMERICANA como la referida al sur de Texas!! No podría expresarse distinto. Por ejemplo, podría hacer mención de países como COLOMBIA que pertenece a América. En particular se halla encabezando el subcontinente Latinoamericano.
    Entonces si tomamos únicamente este pequeño país, pequeño en tamaño comparado con el Brazil pero muy grande en cultura y en diversidad. DIVERSIDAD que hermoso concepto. Podrá acaso el mencionado amanuense concebir una miga de lo que abarca tal término. Lo dudo mucho.

    Para la muestra un botón. En Colombia aún al presente, subsisten más de setenta, SETENTA PUEBLOS INDÍGENAS, muchos de los cuales hoy perviven mal desafortunadamente por N factores, pueblos indígenas de diferentes Etnias algunos ostentan su propia lengua o dialecto.

    Piense SEÑOR!!, si esto realmente es así. como se le está diciendo aquí a Usted, piense en la diversidad cultural que encierra este país “bananero”! en cada una de sus regiones. Esto lo recalco, es un importante hecho que da cuenta de la diversidad cultural regional de Colombia.

    El Caballero puede remitirse al Ministerio de Cultura ( y apreciar el proyecto en construcción que se adelanta para sistematizar el tema musical en Colombia. Abarcando sus principales capas: Música Tradicional, Música Folclórica, Música Vernácula, Música Indígena, Música de Banda. Un proyecto interesante que requiere apoyo logístico y económico, pero que aquí estamos empeñados en sacar adelante.

    GRACIAS, cordial saludo´


  5. Pingback: [2011 in Review: Hunting Rituals, 'Brooding Forest'] « The Upstate Soundscape

  6. Pingback: Cameo :: Olga Kirgidis on Hunting Rituals – Brooding Forest | weird canada

  7. Pingback: ARTHUR 32 IS ONLINE-ONLY | Arthur Magazine

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