Ritualistic Nature: PHOLDE - ...and With It, We Shall Divide (2003)

sexta-feira, 10 de julho de 2009

PHOLDE - ...and With It, We Shall Divide (2003)

Pholde is a sound project created by Alan Bloor (he is behind other project named Knurl) that began in 2000. Pholde transmutes the sounds of metal, concrete and other 'primitive" sources into palpable, organic tones and drones and chimes that reawaken the neolithic sould in all of us.
The sound his Dark, haunting,wall-shaking rumbles layered with cavernous dronings punctuated with metallic explosions that created drones from metal of different tensile strengths. I have other records from Pholde, but in all that i know, in my opinion this one is the best work, becouse its more diversety,the others are all too similar.

Released in Mar 2003 by Panta Rhei Recordings

1- The Truth Proceeding From Awareness
2- Forming An Upper Extremity
3- With,Or As If With
4- Terminal Division
5- Discompose
6- Due To An Upward Movement
7- Tangential To The Section
8- Fulfillment Of An Oracle

Sounds were produced from an instrument created from welded stainless steel plates. It was bowed, scraped, and struck with angle iron, small steel rods, and metal bars.

Housed in a slim-line jewel-case with hand-made covers.

CLICK HERE

RITUALISTIC NATURE PURPOSE

The objective of this blog its to post music related with Ritual music, in traditional ethnic way or on Modern side, Ambient, Tribal, Drone, Field Recordings etc. with a strong inspier in NATURE and is cycles. If you have music in this field say something on Cbox, and help-me to make a large collection of it.

There will be a predominance of music on Ritual Ambient, a sub-genre of dark ambient:

" This form of Dark Ambient music usually incorporates more acoustic instruments and voices than any other Ambient Music form. Elements of various ancient rituals are abundant, with appropriate samples, obscure instruments, chanting voices, some tribal rhythms (that can get quite manic and intense at places). Sometimes (but seldom) with Satanic overtones. Often epic, with Pagan ambiences, i.e. crackling fire, singing bowls, voices from the woods, etc. I would call this separate, but somewhat related subgenre Pagan Ambient, which is generally much brighter and focuses of natural ambiences and pre-Christian traditions."

The links are from my own Colecction or taken from other places in Net (in this case i will always say from where)

I ONLY post here music that i like and that in my opinon, have creativety and quality.

THE RITUAL

- RITUAL
"A ritual is a set of actions, often thought to have symbolic value, the performance of which is usually prescribed by a religion or by the traditions of a community by religious or political laws because of the perceived efficacy of those actions"

- RITUAL ACTIONS
Due to their symbolic nature, there are hardly any limits to the kind of actions that may be incorporated in a ritual. The rites of past and present societies have typically involved special gestures and words, recitation of fixed texts, performance of special music, songs or dances, processions, manipulation of certain objects, use of special dresses, consumption of special food, drink, or drugs, and much more. Religious rituals have also included animal sacrifice, human sacrifice, ritual suicide, and ritual murder. Ritual lamentation -- song performed with weeping -- in many societies was regarded as required to ritually carry the departed soul to a safe afterlife

- RITUAL PURPOSES
Ritual serves diverse purposes including, but not limited to:Worship; Ritual purification with the aim of removing uncleanliness, which may be real or symbolic; Atonement ; Dedication; Education

- MUSIC AND RITUAL - MUSIC AS RITUAL
Music is strongly linked to ritual, not only in Western civilization but all over the world and from its first appearance onwards. Music is an essential part of religious rites, is to be found in rites of transition and has its obvious and central place in medical and paramedical rituals such as shamanic healing processes and in the treatment of obsession.
Although musicology has been aware of music’s essential role in ritual, research has concentrated mainly on religious rituals in the past (see for instance the contributions to voluminous publication by M. Honegger, Ch. Meyer and P. Prevost, La musique et le rite sacré et profane, 2 vols, Strasbourg 1986).
On the other hand, refences to music can be found in numerous studies on rituals from ethnogical, sociological and cultural points of view, from the seminal works by Victor Turner (The Ritual Process, 1969) and Mary Douglas (Natural Symbols, 1970) to more recent studies such as Hans-Georg Soeffner’s Die Ordnung der Rituale, Frankfurt 1992, and the articles collected by Andrea Belliger and David J. Krieger, Ritualtheorien, Wiesbaden 1998. A starting point for the seminar is Artur Simon’s magisterial contribution on African rituals of obsession Musik in afrikanischen Besessenheitsriten in: Artur Simon, Musik in Afrika, Berlin 1983. The particular importance of music in ritual might be due to the fact, that music itself is a ritualized means of commucation, especially in contrast to ordinary speech and spontaneous vocal utterances. Musical behaviour is easily described in terms of ritualization in ethological perspective, as given by Eibl-Eibesfeldt (‚Ritual and Ritualization from a Biological Perspective’, in: M. von Cranach et al. eds, Human Ethology – Claims and Limits of a New Discipline, Cambridge 1979). These include simplification as well as exaggeration of ‚natural’ behaviour, emphasis on certain elements, repetition, and stability in intensity and speed.

p.s. words taken from Wikipedia and from univiu.org

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sexta-feira, 10 de julho de 2009

PHOLDE - ...and With It, We Shall Divide (2003)

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