May 15, 2016

Sundaze 1620

Hello,  surprises today where a little man 5ft3 Gianluca Brambilla won the stage and the pink jersey today in Italy's Giro beating all the big men...the magic of cycling. Former leader Dumoulin reported an offday and some trouble sitting on the saddle, he was the big favorite for tomorrows time trail , but now the giro is wide open. Verstappen surprised in Spain qualifying fourth in the Red Bull, a car he had driven in just 2 days, his experienced and highly rated teammate Ricciardo maneged 3rd with a superlap, the Mercedes cars remain too fast Hamilton on pole.

Biggest surprise The Ukrainian win at the songfestival with a timely song about war, excellently sung but not my cup of tea. Bookie's favorite Russia came in third, behind the Australian/Korean entry that had been the professional jury's winner. In all there wasn't much that stood out for me, it's interesting to note that at least a dozen different countries scored a maximum 12 points with the jury's.



Today's artists are an ambient group from the late 1980s to 1999. Led by Martin Franklin, the band emerged from the post acid house chill out scene of the early 1990s in the UK, blending electronica and the emerging sampling technology with traditional and invented global instrumentation. .. ........N'Joy

xxxxx xxxxx xxxxx xxxxx xxxxx

by the artist himself, Martin Franklin

From the late 80’s through to 1999, I was leader and percussionist of the trio TUU, playing a music which became part of the UK’s then emerging post-Rave Ambient scene.

Richard Clare & Martin Franklin Originating from my duo with actor and flautist, Richard Clare of the mid-80’s, I met Mykl O at a point where I was looking to expand the palette of wind/percussion and electronic drones of the duo. Mykl’s intuitive approach to electronics and musical experimentation led us straight into a number of performance and multi-speaker installation projects together, which we themed around Mykl’s phrase “music from the edge of dreams”.

Bringing these two strands of work with Richard and Mykl together, formed the first incarnation of TUU.

I had been running a cassette label called SoundImage for a few years, mainly producing compilation tapes of underground electronic music.

One Thousand Years Special Box-SDV Tontrager It was the exchange of work with numerous artists around the World which led to my first contacts with the enigmatic Dusseldorf musicians, Konrad Kraft & Dino Oon, who also ran the label, SDV Tontrager.

Before our music had been identified with any particular musical scene, TUU were operating in a genre-limbo, though one which to our minds mixed equal parts ECM with Popol Vuh, Brian Eno and Indonesian Gamelan. SDV’s altruistic offer to release our first recording, “One Thousand Years” was the boost we were waiting for. The CD duly appeared in 1993 as a limited  wood & aluminium edition and a regular jewel box version, both designed by SDV’s house designer, Jorg Willich, who at that time was studying at the Royal College of Art in London.

The Ambient Weekend, Melkweg, Amsterdam1994 was the year when the word Ambient was rehabilitated and became used to describe the work of many artists whose output previously inhabited this vague territory outside of a conveniently defined genre. Suddenly we were part of a scene ! Our circle of performance venues revolved around The Big Chill at Union Chapel, Islington, the parachute sets at Whirl-Y-Gig‘s deluxe Shoreditch venue, Club Dog and our “home” venue of Windsor Arts Centre.

Our CD release had yet to gain overground distribution, so I had built a circle of independent music shops that I would supply directly on a monthly “paper round” around London. It was while dropping off a new box of CD’s at Rocket Ron’s, Ambient Soho in Berwick St. that I began chatting to another supplier with a bag of CD’s even larger than mine. This turned out to be none other than Mike Barnett of Beyond Records, who at that time was most definately owner of the label with “the vibe”. Beyond’s “Ambient Dub” series had established the label as being bang in tune with the early 90’s Zeitgeist.

Our second album “All Our Ancestors” was released on Beyond in 1995, following the label’s release of the Richard H.Kirk “Electronic Eye” album and Max Eastley & David Toop’s “Buried Dreams”.

Beyond had just set up a sister label, Waveform to release it’s catalogue in the USA, so “Ancestors” gained it’s stateside release the following year. Sales across both labels went beyond anything we could have imagined.

By this time, Richard Clare had left to pursue his acting career and Rebecca Lublinski joined us playing a variety of flutes, bansuri and pipes. We began working with booking agency Chain Reaction in Brussels and had a stream of performances at home and now also around Europe. Our idylic Sunday afternoon set in the Whirl-Y-Gig tent at that year’s WOMAD, playing to 1000 people all laying flat on their backs, was surely a defining moment for us.

Whilst working on our third album, Rebecca became less available for our recordings, so we called in Nick Parkin, who I’d recently met while working on the Stillpoint project with Lights In A Fat City’s Eddy Sayer. With Beyond reeling from the impact of the way independent labels are treated by the music business machine, we signed that year with HOS/Fathom Records who released “Mesh” in the USA in late 1996.

Bologna 1995 Although our most short lived line up, memorable performances included supporting Daevid Allen’s Gong in Belgium, where the man himself sat at the side of stage while we played, commenting afterwards “You’ve created a continuum”. Looking back now, I can see how rich his concise comment was.

We had been invited to do some performances in Italy, organised by Stefano Musso/Alio Die over the Summer. The duo material that we generated during our performances in Italy and Belgium became the second Fathom Records release,  “Terma”.

I’d written a number of solo compositions using the gongs and metal instruments in my TUU set up, which I developed further while working on a commission to produce the soundfield for ceramic artist, Nikki Coe’s “Calls From The Rock” exhibition. Mykl had just left the UK for what was to become his new home in New Zealand, and so these final recordings of the TUU era came to be released by the Italian, Amplexus label in 1999 as “The Frozen Lands“.


Notes Tuu didn't make it into 21st century...

The African Tuu comes from a word for person common to one of the world's primary language families (yuu, vuu, du are european phoenetics)

xxxxx xxxxx xxxxx xxxxx xxxxx

Tuu's first full length release. A perfect blend between new age, droning ambient or eastern world music, One Thousand Years is gem of hypnotic, ancient and tribal hymns. Sounds and instruments are perfectly used in good volumes keeping a good pace and never becoming overblown or cheesy for sake of being some false transcendent of mood or spiritual music. This release brings the visuals to you. Lush rainforests, ancient rivers, eternal landscapes and more. There is also a great balance between electronic and natural instruments. Mysterious is the word I would best describe this release. Ominous and ancient would be others. Favorite songs include Pan America. The tribal relaxing hooks with wind instruments are memorable. In fact, most of the album is highlighted by wind instruments giving off an eastern vibe to them. Pick up the re-release on Waveform for the complete release with 'Breath' and 'High Places'. Both somewhat of interludes, High Places is one of the more electronic sounding songs on the album and a worthy addition to fill out this album length wise. Overall, a very good background music that I could see as being meditation or music to feel tranquil with.



Tuu - One Thousand Years  (flac  301mb)

01 Fetish 7:40
02 Body Of Light 7:55
03 Exile 6:07
04 Pan America 9:58
05 Sand Garden 6:32
06 One Thousand Years 8:45

Tuu - One Thousand Years   (ogg  120mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Tuu's second full length release is an extension of their first release sounding similar but more focused and with less of a background music feel. Perhaps even a bit more soundtrack like in 'Triple Gem of Wisdom'. The title song hypnotizes with building water drums, ominous lulling flute and underlying eerie melody then clanking in the background. One of Tuu's finest moments. 'House of the Waters' another one worth mentioning. Simple but effective. Tuu's seemed to really fine tune the thoughts on their first album and honed them here for an excellent release. Most of these are standout tracks. 'Rainfall' is the favorite here. It's switches into the Baka sample and shaker seductively and entrancing with water drumming is hypnotizing. The fade out and near minute silence into the next track reall embellishes the trance . 'Illumination' then comes out of the dream state. All and all another fine example of the Tuu experience. Transcending music.



Tuu - All Our Ancestors  (flac  251mb)

01 Triple Gem Of Wisdom 8:02
02 All Our Ancestors 7:35
03 House Of The Waters 4:43
04 Stillpoint In Motion 5:25
05 Rainfall 8:05
06 Illumination 4:31
07 Shiva Descending 9:00

Tuu - All Our Ancestors   (ogg  96mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Tuu's debut for Fathom, Mesh conforms a bit to the dark edge of many of that label's recent releases, with a more sullen, contemplative mood predominating. Tuu's strong suit is, of course, their instrumental palette, and the group's fusion of a range of non-traditional acoustical instruments (didgeridoo, clay pots, flutes, gongs) with electronic soundscapes is as accomplished here (if somewhat less organized, and that's not necessarily a bad thing) as on previous releases.



Tuu - Mesh (flac 261mb)

01 Crack Between The Worlds 8:13
02 Migration 7:28
03 Kalpa Taru (Tree Of Wishes) 5:09
04 Mesh 12:06
05 Stone To Sand 5:19
06 Four Pillars 8:12
07 Great Wheel 6:21

Tuu - Mesh (ogg   115mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

Tuu, composer Martin Franklin, put Tibetan singing bowls over electronic beats years ago. Thus, Franklin is one of the forerunners of international electronica. On Terma, Tuu teams up with similarly minded Nick Parkin, another ambient/innerspace composer (mostly for synthesizer). Frame drums, water drums, and gongs keep a fluid, reverberating, sonorous bottom to the compositions that feature various flutes and droning synthesizers. The effect is ethereal and atmospheric. Languid, exotic melodies wash over the listener, evoking images of candle-lit mountain shrine interiors and crepuscular spirit summoning rituals on the wooded plain.



Tuu and Nick Parkin - Terma (flac 236mb)

01 Djinn 4:44
02 Water Memory 8:45
03 Magus 8:22
04 Ghosts In The Landscape 8:51
05 Terma 5:46
06 Plateau 5:17
07 Serpent Fire 4:56

Tuu and Nick Parkin - Terma (ogg   95mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

As the starter bonus here tracks recorded between August 1989 and January 1990. Originally released on cassette. Tracks 7 and 9 composed in January 1995. Re-mastered and mixed during March/April 1995. Inlays printed on textured card. The initial 500 copies of this release came with an Italian mountain flower.



Tuu - Invocation-Archive (flac 231mb)

01 Invocation 5:28
02 High Places 5:34
03 Submerged / Tides 6:38
04 Waiting For The Sun King 6:02
05 Breath 4:17
06 Before The Gates 1:49
07 Beneath The Sands 5:31
08 Distant Dreaming 3:38
09 Present In The Falling Rain 3:37
10 Before One Thousand Years 5:46

Tuu - Invocation-Archive (ogg   101mb)

xxxxx xxxxx xxxxx xxxxx xxxxx

2 comments:

bobbysu said...

thank you so much

Anonymous said...

Thanks