The Restless Dead & Bird People Meet The Dervishes Of Khartoum In A Confluence​-​Of​-​The​-​Nile (2014)

by The Restless Dead / Bird People

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  • Split Cassette w. download voucher
    Cassette + Digital Album

    Fort Evil Fruit says:

    "The source recordings for this project come from around 3 hours of field recordings made in November 2004 at the weekly Sufi Dervish 'conference' that takes place every Sunday in the centre of the main cemetery in Khartoum, Sudan, which rests near the point of confluence between the White Nile and Blue Nile. The field recordings then sat gestating until sometime in spring 2008, when they were used as the basis for a Restless Dead event. On this occasion, the Restless Dead featured members of Jupiter Dogs, an improvising collective that operates as part of a small commune that has existed in East Anglia on an on-off basis for about 10 years, living on some land outside Soham. The commune itself is established along the same lines as Penny Rimbaud's anarcho-syndicalist commune in nearby Suffolk, which is home to the activities currently associated with Crass, Extreme Noise Terror etc. However, rather than political activism, the commune where Jupiter Dogs are based is formed along religious/spiritual lines, specifically engagement with the mystic traditions of early Christianity as set out in the 1st-2ndCentury Gnostic Gospels discovered in Nag Hamadi in 1948, and also Islamic gnostic texts dating from around 800AD. The event itself took place at Blue Arc, which used to be based in a top attic room above H Gees' on Mill Road in Cambridge. An edited and sequenced version of the source field recordings were put on a loop though a small PA at Blue Arc, and then the ensemble improvised along with it continuously for about 7 or 8 hours throughout the afternoon and evening. The results were recorded to minidisc through a single stereo mic placed in the middle of the room. This 7 or 8 hours' worth of recordings were then edited down and shaped over a four or five year period, usually during empty periods spent in hotel rooms and airports. They would frequently be left for months or years at a time, and then would be tackled in concentrated editing sessions whose lengths were determined by hunger, thirst, sleep or toilets. The results are the 23-odd minutes of Side A. Bird People were met in 2013 in Bradford. The recordings were passed to them as a potential Feathered Coyote joint, and followed by the idea of Bird People doing a 'dub' version. However, on investigation, it was found that the 7 or 8 hours' of recordings from the Restless Dead event had been 'lost'. Since the original 2004 field recordings were still in existence, these were sent instead, and so, when Bird People went on retreat to Waidhoffen/Ybbs, these were used as the starting point for their piece. There was little discussion over what would be produced, although some basic operating principles were agreed: 1. the recording should be made as part of one single event, rather than a series of 'takes' or overdubs; 2. all instruments should be wholly acoustic, although processing could take place after the event; 3. the final Bird People piece should be exactly the same length as the Restless Dead piece. The results are the 23-odd minutes of Side B."

    Recorded, edited & produced by the Leith Hill Recordings Mobile Unit & Bird People November MMIV-April MMXIV
    Khartoum, Histon, Cambridge, Asmara, Vienna, Waidhofen / Ybbs

    Fort Evil Fruit, FEF34, 2014
    Split Cassette w. download, 75 copies

    Includes unlimited streaming of The Restless Dead & Bird People Meet The Dervishes Of Khartoum In A Confluence-Of-The-Nile (2014) via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
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Recorded, edited & produced by the Leith Hill Recordings Mobile Unit & Bird People November MMIV-April MMXIV
Khartoum, Histon, Cambridge, Asmara, Vienna, Waidhofen / Ybbs

Fort Evil Fruit, FEF34, 2014
Split Cassette w. download, 75 copies

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released November 24, 2014

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C Joynes Cambridge, UK

“An inheritor to Davy Graham; a lone operator prone to unexpected collaborations, with a repertoire that crosses continents and timezones with consummate ease.” THE WIRE

“His epigrammatic re-castings and re-readings of widely-travelled melodies and rhythms from a variety of traditions suggest shared memories that might be intensely universal while seeming strangely out of reach. " DUSTED MAGAZINE
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