Wilhelm Matthies, percussion. @wilhelm-matthies
John Daly, guitar, mix.
Wilhelm Matthies, mosesa. @wilhelm-matthies
John Daly, guitar, mix.
Painting, Donal Adams.
electronics with guitar intervention, percussion…DR Sample.
Best to listen loud on speakers.
improvised baritone guitar..effects
…Is music just pleasing, structured sound? Schopenhauer thinks it’s much more than that: it’s our way of experiencing Will itself, the striving that underlies and unifies the universe. But oddly, the only way to really enjoy it or any other art (at least in the manner S. approves of, which does not involve “boogying”) is to in some sense leave our personal strivings behind and enter a state of will-less contemplation.
Episode 115: Schopenhauer on Music with Guest Jonathan Segel
released April 27, 2016
Live improvisation with two cassettes of global chat, guitar, melodica and loops.
I’ve always enjoyed watching movies in foreign languages without subtitles. It hardly seems to matter with action movies but even with talk heavy movies the languages are interesting to hear without understanding. So I have given myself leave to use spoken recordings not understood my me. Other liberties I have taken on this album are recording without permission on social media and screen grabbing images for the album cover. I think this is a grey area as regards invasion of privacy or copyright issues. It is the sound that is the main motive for combining the elements in this piece, although the vocal content which I understand, adds other dimensions to the piece and hope it will for those who understand the other languages.
“Abstract. In this article, we describe twopm, a command for fitting two-part models for mixed discrete-continuous outcomes”,
although lifted from an article describing a command line the description struck a chord with me regarding the knitting together of our two parts in this work. The tracks are mixed by whoever played the second part, myself doing the final edit, layout and artwork. Thanks for your support. John Daly.
Last recorded day is a series of non sequential sonic x rays of grieving and loss.
A seamless symbiosis of oceanic, tectonic Ur music and texts and melodies sleepwalking between past and present…at the point of letting go.
Last recorded day explores the tension between prepared and random elements and the site specific experience of recording such material in a space designated as ‘spiritual’ or ‘sanctified’.
One death is every death. And as the point of release, time becomes elastic…The past and present momentarily co existing. All points of memory and reminiscence overlapping and blurring, overwhelming the mourner.
Last recorded day attempts to trap that weightless, stateless point in the arc of loss.
Recorded live at Cloonclare Parish Church (C of I) Manorhamilton.
John Daly..guitars/pre recorded material/field recordings/mix/edit
Declan Drohan..vocals/texts/vocal melodies/concept
Eileen Gillen..text on ‘An account of Death’
Solo guitar live. Recorded very loud….play very loud….headphones are ok but if you have the use of a big system go for it..Recorded live at Rumble Rehearsals Sligo.
Track 1: Fender Cabronita Telecaster-Fender Frontman 212R-Zoom H2n, improvised live. Mastered.
Track 2: Danelectro Wild Thing Baritone Electric Guitar-Fender Frontman 212R-Zoom H2n. improvised live. Mastered.
guitar and cement, referring to ‘tar and cement’, a song brought to prominence in Ireland by Mullingar man Joe Dolan. Mullingar (cover photo) “the town I came from was quiet and small” was indeed quiet and small.
I spend a lot of my time now archiving old family photos of Mullingar and post them to my facebook page, https://www.facebook.com/thehonesttogodstruth,
Working on the archive brings back many memories of walking the streets, listening to local showbands and country and western bands. The influence on me of this music was to drive me in another musical direction.
Broder’s Hotel on the right of the photo was where I first heard most of the music of the 60s with my friend Jim who’s father owned the hotel. We listened to the Blues, pop, rock and underground, as it was then. That was all a long time ago and my sound creation has continued on an oppositional trajectory to the mainstream ever since. Sameness is something that stifles, though I must admit that I am the same to myself, and possibly others.
Thanks to Zenjungle, Cathal Roche and Declan Drohan.
fraterhaus: A collaboration with Declan Drohan.
John Daly Baritone guitar, interventions, mix.
Declan Drohan Vox, prepared text.
live take split into tracks for your convenience.
This album is full of tone I currently enjoy. The compositions are spontaneous improvisations. The accompanying sounds are a combination of semi randomly generated lines, generative software triggered by my input, loops captured while playing and delays. The only non guitar sound is a police radio live from internet scanner software on my phone and is played through the guitar pickup. When a track settles to a mood after a couple of minutes I listen, adding small artifacts at first and respond to and develop a movement through time. At this time I become detached from a conscious thought process and am immersed in the soundscape both driving and being driven to a resolution. I feel no urgency and am not concerned about duration.
New album. Track 1, worked on vocal distortions, recordings from discussion on art and tourism, really selling Ireland through art enterprise, repackaging etc, Riverdance, unsavoury stuff really. Track 2, rain recording with improvision, thinking about the adoration of terrorists. Track 3, admiration for people who give.
DAO: improvised performance music from Poland and Ireland
Divil A’Bit, drone/percussion (Leitrim) and John Daly, Solo guitar/electronics (Sligo).
Cathal Roche (IR) – baritone sax and Rafał Kołacki (PL) – gongs, drums, small percussion objects.
Cathal Roche (IR) – baritone sax and Rafał Kołacki (PL) – gongs, drums, small percussion objects. Divil A’Bit, drone/percussion (Leitrim) and John Daly, Solo guitar/electronics (Sligo).
DAO: improvised performance music from Poland and Ireland
Monday 31st March, 2014, 5 – 8pm
at Leitrim Sculpture Centre, Manorhamilton
Four improvisations comprise of live play and loops, then cross faded into one long piece. There are some sax samples on ‘the pyramid builders’ compliments of Zenjungle.
Baritone guitar with physical and electronic intervention, live loops, delays.
Artwork: Oil on canvas, anon. morphed with digital photo. John Daly.
free download, feedback appreciated..jd
Restrung my acoustic guitar with with steel strings, 2 x E, 2 x B, 2 x G and used various close tunings (2). The strings (weft) were woven with 3 steel string offcuts across the frets (warp) at various intervals. Continued the weaving theme into the title, Flying Shuttle (the London Eye and a device patented by John Kay (1704–c. 1779) in 1733. The flying shuttle was one of the key developments in the industrialization of weaving. One of the more clock work sounding tracks I have dedicated to John Harrison (http://www.rmg.co.uk/harrison).
referring to both the possible oddity of the sounds to music listeners and more so to my difficulty with thinking clearly, remembering, and communicating my thoughts to others.
Improvised with minimal editing, mixed into one piece. I’ve come to prefer longer episodes of sound which, for me, allow the mind to embark on a more relaxed yet immersive journey. My overall feeling with this piece is that strange feeling of viewing from within the Milky Way, being detached yet part of it’s structure, knowing that regardless of our self importance as humans we are destined to become a shower of meteorites and space dust in this great system.
Zenjungle & Tunedin52 – free music for free spirits in unfree environments
The great thing about social media and digital space is the democracy of sound. It is cheap to share, there are no labels or music critics or other hurdles who can stand between you – the musician – and you – the listener. You browse a little bit, you find stuff, you think it’s worth talking about.
So is this unusual duo of Zenjungle and Tunedin52, artist names for Phil Gardelis from Greece and John Daly from Ireland. The former plays tenor and soprano sax, electronics and piano, the latter plays guitar, baritone guitar, electronics. Both also add found sounds, sound effects and field recordings.
Their music is carefully paced and relatively accessible in its cautious inobtrusive approach. It is avant-garde, but not boundary-breaking. It is new even if not really innovative. You can call it nu jazz, post-jazz or ambient jazz, or whatever jazz, it is still worth mentioning and highlighting.
You can admire the duo’s relentless search for their own voice and sound, their obstinate pursuit of newness, of expressing oppressive environments where things evolve in a way that is clearly not liberating. You can feel the constraints and the inner tension. You can feel how gentleness is somehow crushed, how darkness tries to be pierced, how suddenly beauty erupts out of industrial darkness. Or as the band describes their “Learning To Breathe In New Spaces”
“This is space, we must survive, we must learn to breathe, it hurts, we hurt, life is pain, there is no escape, death is the absence of pain, embrace pain, embrace life, the fiery breath of survival is incessant: there’s a freight train coming down the sax, wire wound, brass round wound, blowing across the frets, jazz wobblelations, acousmatic high wire acts, vibrating electro magnetic signals blend in resonating harmonies, journeying incognito through micro tonal scopic variables, a signpost says this way and we go the other but end up in paradise, harmonic wonderment of the elemental kind, love, life, death, suffering, ecstasy, we roll we razz, we stroll through the maze, a bright light guides and blinds us, jazzish, zentunes”.
There are many bands like this one, for sure, but this duo has some great concept of sound and focus. Once they set an environment, what they will do with it remains in character, they will change, evolve, expand, deconstruct, but the essence of the tune, and its atmosphere remains intact throughout, impactful and coherent. That is a great feat.
I will leave the discovery up to you, it is all available on bandcamp.
TUNEDIN52 – Soft Envelope
by Massimo Ricci
John Daly: guitar, voice, mixing
Personal reasons led me to meeting John Daly’s output for the first time, and what was found is surely deserving of being divulged to a wider audience. A 61-year old photographer and musician from Ireland, Daly distills his own special blend of psychedelically tinged sonic domains utilizing a mildly preconditioned baritone guitar processed by several looping / delay pedals, the outcome swollen by a software called Gleetchlab to add further layers of foggy enigma.
The man has been honing his soundscaping skills for decades now, and it shows independently from the fact that you might appreciate certain choices more or less (for example, the nebulously mumbling voices in tracks like “Automated Systems” or the gorgeous “Mary’s Story” could divert the attention – just a bit – from the riveting textural fabrics unfolding in the background). What ultimately persuaded me is the individuality transpiring from Daly’s proposals: “When I Dream Of Russia” wraps us with monolithic low-frequency resonance minus the humdrum component; the lengthy “Her Wish” is an absorbingly unfathomable galactic journey. My favorite pieces are those where the spirit of the guitar appears as an uncrystallized entity releasing beautiful chordal scents – not necessarily consonant, mind you – extended by the treatments and hovering all over the place (“Shadows” and, especially, the magnificent “Waters Blessed”). In any case there is always a feeling of sincerity in this music’s brooding iteration, which distances it from the loads of miserable commonplacers who believe that anybody can ingest a phoney “Om”.
I won’t continue with otiose blathering. Without acting as a trademark copycat, this gentleman – who records in a space known as Tigh Macalla (“Echo Room” in the Irish language) – produced an excellent work that should appeal, at least in part, to fans of Aidan Baker, Peter Wright and – depending on the moment – Andrew Chalk, but also to the liege men of contemporary underground electronica (thinking of PBK and the likes) and even refined ambient labels such as Hypnos. You know that we do not specialize in adulation here, so mark my words: it is never too late for a serious artist to expose his/her credibility.
released 12 February 2013