Archive for singer/songwriter. gothic ethereal

Bulldozer~ SepiaChords Playlist 6.29.08

Posted in Fools & Orphans, Radio play with tags on June 29, 2008 by Sister Cleophas

 

sepiachord 

Playlist for the Week Ending 6.29.08

Decemberists: Eli, the Barrow Boy
Nick Cave & the Bad Seeds: Gates to the Garden
Princeton: Leonard Woolf
Silver Summit: Apple Tree
Mohlavyr: Mr Grey
Marie MacGillis & the Model Millionaires: There’ll Be Changes Made
Clubhouse POW!: Not Far to Go
Sterilize Stereo: The Dirge
Life Toward Twilight: Evening Conversations Movement 5
Gravemist: Wait All Night
Demonika and the Darklings: Everyday is Halloween
Juan Prophet Organization: 10-4
Festival: Zebulon
Ex Reverie: Cedar
Violent Femmes: Black Girls
Butthole Surfers: Creep in the Cellar
Esmerelda Strange: Truckers Love It
Noa Babayof: This Year’s Parade
Curtis Eller’s American Circus: Sugar for the Horses
Desar: Club Monbijou
Chinkees: The Chinkees are Coming
Refused: Tannhauser/Derive
Nathan Wade: Seen the Glory
Jo Gabriel: Bulldozer
127: Shahr-e Laghzan
Gogol Bordello: Underdog World Strike
Christian Williams: Back in the Morning
Golden Robot Army: DLAMWIYAY
Sixteen Horsepower: Straw Foot (live)
Strawfoot: Wayfaring Stranger
The Clash: Straight to Hell

 

“Night Digging” hits the club circuit in Toronto/Canada

Posted in miscellaneous songs, Radio play, Uncategorized with tags on May 4, 2008 by Sister Cleophas

 

DJ Darkness has been spinning my music quite a bit lately! Give It Back got to air itself out in the big club scene recently~ and now~!
DJ Darkness spun my track “Nightdigging” last night and people were asking about it! The only other tracks that anyone asked about was a Virgin Prunes track and a J.S.Bach track. DJ Darkness said “hearing the pipe organ blasting through a night club at 140 db was an absolutely life altering experience for me.” 

“Nightdigging sounded great. Jo’s vocals seemed to be coming from far away in the ethereal plane”

DJ Darkness~

 

Vacant Little Stare~SepiaChord Playlist 5.04.08

Posted in Fools & Orphans, Radio play with tags , , , on May 4, 2008 by Sister Cleophas
Sepiachord 


Is Online 

May 4 2008 2:49 AM 

Playlist for the Week Ending 5/4

Huxley Vertical Cabaret Nouveau: Engine No 9
Juan Prophet Organization: Factory
Big Fish Ensemble: I am Woman
Nap Hayes & Matthew Prater: Prater Blues
Festival: Hold off the Earth
Andrew & Jim Baxter: The Moore Girl 
Demonika and the Darklings: Everyday is Halloween 
Make a Rising: Sneffels Yokul
ECPE: Sunrise
Princeton: Leonard Woolf
Painted Saints: Paladin Whine
Jo Gabriel: Vacant Little Stare
Taylor’s Kentucky Boys: Soldier Joy
Alabama Sheiks: Sittin’ on Top of the World
Fern Knight: Loch Na Fooey
Paul Mercer: L’Etoile de Mer
Walter Sickert & THe ARmy of BRoken TOys: Crowns make Pigs
Sterilize Stereo: Mary’s Doll
The Other Flesh: Waltzing Down the Road to Hell
Kim Vermillion: Organ Donor’s March
Bauhaus: Who Killed Mr Moonlight?
Grey DeLisle: Bohemian Rhapsody
Slim Cessna’s Auto Club: An Introduction to the Power of Braces: Faith
Ex Reverie: Clouds? or Smoke?
Susan Voelz: Ode to Billy Joe
Kansas City Strummers: Broken Bed Blues
Ditty Bops: Sister Kate
Isobell Campbell & Mark Lanegan: Deus Ibi Est
Voodoo Organist: Ain’t Dead Yet
Vic Chesnutt: The Night the Lights Went Out in Georgia

“Island” SepiaChord’s song of the day!

Posted in Island, Radio play, Uncategorized with tags , , , on February 18, 2008 by Sister Cleophas
Sepiachord 
Sepiachord  

Feb 18, 2008 12:26 PM

“Island” by Jo Gabriel is the Sepiachord Song of the Day. 

Jo Gabriel 

Der Horspiegel Magazine Interview~ Jo Gabriel 2005

Posted in interviews, Island with tags , , on September 6, 2005 by Sister Cleophas

 

 
“Translations into Magic”Ein Hörspiegel-Interview / © 2005 Der Hörspiegel 
( Cover, Fotos und Einleitung © Kalinkaland Records)

 


Wisconsin, mitten im Herzen von Amerika; am Starkweather Creek lebt Jo Gabriel. In dieser Abgeschiedenheit schreibt sie Ihre Lieder, lässt sich inspirieren und sinnt über ihr Leben. Und es sind stets die dunklen Seiten der Stimmungen, die mystisch taumelnden Momente, die Jo Gabriels Rückzug in die Abgescheidenheit beeinflussen. Mit Island kreierte sie nahezu im Alleingang ein beschwörend reizendes, piano-orientiertes Album, bei dem jeder Klavierton einem Regentropfen gleicht, jede Textzeile einem Erinnerungsalbum zu entspringen scheint und feminine Eigenheiten in Musik verwandelt werden. Text: © Kalinkaland RecordsHerzlich Willkommen zu einem Interview des Hörspiegels mit Jo Gabriel. 


Nico (Der Hörspiegel): Dear Jo, I hope you’re doing fine.

Jo Gabriel: I am wonderful thank you so much Nico and Hoerspiegel for talking with me. 
 

With your latest album you bring a magical mood, a very special  enchantment to Europe. What is „Island“ all about?

What a wonderful thing to say about my work. I do feel often with my creative process that for me it is very much like conjuring. And I appreciate Europeans very much for their openess to embrace such things as this. 
 

“Island“will probably be many different things to different people. Like water into vapor, people might experience different elements or aspects of the same song. I definitely imbued the music with a sense of  alienation and longing at times, But also there is hope and compulsion for love and connectedness.

My work has always had themes that are very ubiquitous and sublime.They are threaded with multiple meanings simultaneously. So their are often contrasting emotions in one song. As with much of my work, Island uses the many archetypal influences rather than literal story telling.I think we are all walking archetypes or living out some mythologies in our waking life. I use symbolism and poetry to reflect a mood or feeling.

And as long as it creates a versceral reaction in the listener, i would prefer the theme of the album be explored from the individual’s “outside in“  rather than me telling them what to think or feel about the words or music. It is very personal for me and i hope will become very personal for my audience. 
With Island there are obvious sentiments that are bitter honest, mysterious, rebellious self –revelatory and transformative. Maybe that’s what translates into the magic you so graciously bestowed on my music.

How come you found your label in the German Kalinkaland?

I think we found each other. 
I stumbled upon the incredible band Chandeen while doing an interview with Musical Discoveries. I  had decided to reach out to Harald Lowy just to let him know how moved I was by Chandeen’s beautifully haunting music. 
We started to correspond with each other, and he  asked me to send him some of my work. 
The next thing I know, i am being asked if i would like to join the great label of Kalinkaland. 
Well of course i didn’t have to even think about what an honor it was to be considered one of the  artists on this label. I am in unbelievable company there. I am so proud to be a part of Kalinkaland. And you know it’s so amazing that all the years I walked obscurities path here in the US struggling to be recognized by an industry that doesn’t often embrace the artistic unless it potentially brings them huge financial gain. Labels like Kalinkaland in Europe and a good deal of Indie labels here in the US such as Projekt Records are more concerned about the quality of the music and their artist’s vision, so that they can populate The Welt,  our world with authentic imagination and individual vision that is allowed to flourish and thrive. 
This was an incredible opportunity for me to reach out to a wider audience and for that i am eternally grateful.

Who is – in your eyes – the best composer or songwirter ever?

You know, i can never just have one idea of what is the absolute greatest, because there is so much magic and genius out in the ether to experience. But i will make this simple and draw from my initial reaction, because she is primarily the one  person who can spellbound me and alter my consciousness every time i listen to her. Of course i speak of the otherworldly Kate Bush. Every aspect of Kates unique vision and theatrical presence is like nothing else in this world.

What was the best live concert you have ever visited yourself as a guest?

Hmm. I don’t go to concerts very often, and so it is hard for me to say that one in particular left an impression. Although i absolutely love to go to the Opera.

In your own words: What is the best song on „Island“ and why?

Well, I think that Little Birds has some of my favorite lyrics in terms of the descriptive nature of the words. Little Birds is also one of my favorite songs to perform live. It has a lot of intensity to it.

And also I feel very close to Wash Away. To me it has a very sacred emotional fluttering to it. I couldn’t say if either were the best. Yet  that they resonate with me on a deeply personal level. You know, all the songs do. I really can’t say which i think is best. But i will say that I think Wash Away has the most universally collective call for reaching out, and so i think that on the album, this is a song that everyone can feel invested in. That sense of rescue and recognition from desolation, devistation and the madness, sense of helplessness and fever that is especially plaguing the world today, because of the socio/political climate. Particularly here in the US for many of us that feel betrayed and horrified by this current government’s policies and fanatical beliefs which are not any where near representitive of the whole entire country. The deconstructing of true freedom and human dignity is profoundly lost to us right now.And it effects me and all americans and the rest of the world. And this frightens me and compels me to feel that perhaps Wash Away is particularly relevant.

„Island“ is dominated by the sound of the piano. What instrument would you prefere to compose music with, if nobody had invented the piano or anything like that by now?

I would love to play the cello. This instrument is so passionate and soul stirring to me. This would be what i would choose to conjure with next.

How about your musical future? Do you have any plans yet?

I plan on going out to do some live shows to promote Island and re connect with my audience here in the states. 
And very important to me  ,I want to come to Germany and perform. I am working on finding the means to do that right now. I hope that the magic lingers there long enough for me to come and mesmerize you still, once i arrive.

And i have a few projects that i would like to release down the road. Primarily instrumental neo-classical oriented albums that i am so in love with and desperately want to share with the world.

Also i really want to score some film. Perhaps this wider recognition will generate some opportunities to do that. It would be another incredible blessing for me, to work in that medium.

Thank you very much for taking the time, and keep on making beautiful music. Wanna send one last message to our readers?

I would like to say that i truly appreciate you for giving me the chance to reach out. That i am grateful to all of you who are moved by my music. I hope it effects you in all the right places. And that more people will come and listen in the future. I wish you all such peace , joy and emergence. Thank you so much…

Blessed be 
– Jo Gabriel 
 
www.JoGabriel.com 
www.Kalinkaland.de

 (Nico Steckelberg, © 2005 Der Hörspiegel ) 

 

Hannah Fury review of “Island”2005

Posted in Island with tags , on May 5, 2005 by Sister Cleophas

review © Hannah Fury 2005
all photos © Jo Gabriel 2005
      

 

There are some really gorgeous things happening on Jo Gabriel’s CD Island (Kalinkaland (Germany) 02045, 2005). Her piano playing is absolutely stunning, rich and passionate. And it is of interest to note that she is entirely self-taught. The piano is often accompanied by lavish, sinewy cello that weaves in and out of the rest of the music–sometimes soft and bending, and at other times creating a taut wire of tension through the piece.

Gabriel’s long-time drummer, Linday Mackley, is a commanding and purposeful presence without ever becoming intrusive–just listen near the end of “Wash Away.” Electric guitar, bass and electronic sounds embellish and support many of the songs even further.

Beautiful, fluid melodies conspire with clean production, and the result is music that sneaks into the recesses of the mind–ethereal, yet catchy as hell. But at its core this is mournful music, full of questions and muted unease. And the delicate quality of Ms. Gabriel’s supple, multi-octave voice glimmers with fragility and emotion throughout.

In contrast to the prettiness of the music, the lyrics on Island hold a glowing candle up to the stark faces of loneliness, disillusionment and fear. But in the end it is hope and compassion that are reflected back in the fractured light. The closing song, “Broken,” is alone worth the price of the CD and is a classic by any standards–striking, sorrowful, yearning, pretty. As its title suggests, it is the sound of heartbreak. “Broken” appears in another (equally successful) incarnation on an earlier album, and it will stand the test of time–just watch.

Despite the undeniable quality of Gabriel’s music and her clear expressive talent, it is the camouflaged parts of her songs that show the most courage and complexity. The more these slumbering little details emerge, the more they reveal a very elegant and finely spun work as a whole. Especially intriguing are the strange harmonic backgrounds that curl in smokey tendrils up from underneath the primary music. For example, the shimmery, pulsing, almost dissonant sounds on “Broken,” and the high, warbling strings on “Hold My Breath,” and the other-worldly cricket that joins in at the end of “Wash Away.”

These hidden sounds bleed through the otherwise solid structure of the songs, and it is within these bold, inspired moments that the listener will realize that, though the album is extremely lovely and heartfelt, it scratches only the surface of this artist’s potential.–Hannah Fury in Austin, Texas