Steve Dalachinsky And Federico Ughi | I Thought It Was The End Of The World Then The End Of The World Happened Again

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Spoken Word: With Music Jazz: Free Jazz Moods: Type: Live Recordings
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I Thought It Was The End Of The World Then The End Of The World Happened Again

by Steve Dalachinsky And Federico Ughi

Spoken words over experimental electronics and drums; imaginative, evocative and atmospheric. Recorded live at the Knitting Factory NYC in November 2001, capturing the city's moods and feelings of that particular time.
Genre: Spoken Word: With Music
Release Date: 

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  Song Share Time Download
1. The Submarine Kyrsk (for Marty Matz)
1:54 $0.99
2. I Thought It Was The End Of The World
6:08 $0.99
3. It's Been 0-0 Since The Beginning Of The Game
6:10 $0.99
4. There's A Tiger In Here Tonight
2:53 $0.99
5. We Play Just Like Dominoes
3:00 $0.99
6. If There Are Only Captains In The World
6:32 $0.99
7. I Thought It Was The End Of The World (Part 2)
9:04 $0.99
Downloads are available as MP3-320 files.


Album Notes
Steve Dalachinsky and Federico Ughi are based in New York and involved with the creative music scene.

The Artists:

Steve Dalachinsky is a legendary New York downtown poet, very active in the free jazz/creative music scene.
He was born in Brooklyn, New York. He has been writing poetry for many years and has worked with such musicians as William Parker, Susie Ibarra, Matthew Shipp, Roy Campbell, Daniel Carter, Sabir Mateen, Mat Maneri, Federico Ughi, Rob Brown, Tim Barnes and Jim O'Rourke.

His work has appeared on:

Long Shot, Alpha Beat Soup, Xtant, Blue Beat Jacket, Night, Nomad Choir, Connections, Big Hammer, Pagan Place, Strider, Unbearable Assemblage Magazines, NY Arts Magazine, the Lost and Found Times, the catalogue of sculptor Alain Kirili, Pitchfork, Freeverse, Zzzyne, Cer.Ber.Us, N.Y. Nights Greetings, 6X6, Weavers, etc.

The anthologies:
Downtown Poets
The Outlaw Bible of American Poetry (Thunder Mouth Press)
Self Help (Autonomedia)
Beat Indeed
Writers Outside The Margines
Off The Cuff (Soft Skull Press)
The upcoming Chinese anthology - Post-Beat Poets

He appears on many web sites including:, UnlikelyStories &

He is co-editor of the anthologies "Play The Red" and "Intervals 1&2-the Poems & Words of Musicians".
His poem "Fruitflies" appears on the Knitting Factory J.A.M. compilation.

He has a recent collection of poetry out "A Superintendent's Eyes" (Hozomeen Press 2000). He has completed a manuscript entitled "The Final Nite", comprised entirely of poems written while listening to the music of Charles Gayle between 1987 and the present and will appear in the upcoming Unbearables anthology "The Worse Book I Ever Read". He has also written liner notes for the CDs of such musicians as Gayle, Anthony Braxton, James "Blood" Ulmer, Matthew Shipp, Roy Campbell and Assif Tsahar. His 1999 CD "Incomplete Direction", a collection of his poetry read in collaboration with various musicians, such as William Parker, Matthew Shipp, Daniel Carter, Sabir Mateen, Susie Ibarra, Thurston Moore (Sonic Youth), Vernon Reid (Living Colour) and others, and available on Knitting Factory records, has met with much acclaim.

His most recent CD recorded live at the Knitting Factory, NYC in November 2001 "I thought it was the end of the world then the end of the world happened again" (577 Records) with Federico Ughi.

He has read his work both here and abroad including recent readings in Germany, Kentucky, Philadelphia, Georgia and the Carolinas.
Venues where he has read include the Knitting Factory, Tonic, The Cooler, Short Wave - Soft Skull Bookstore, Barnes and Nobles Astor Place, Tribes Gallery, The Pink Pony, Cornelia Street Cafe, Brecht Forum, The Vision Festival, The Jump Festival, St Marks Poetry Project, Beth Sholom Synagogue, New York University, The Small Press Center, The Mid-Manhattan Library, Here, ABC No Rio, and others.

Two key elements in his poetry are spontaneity and the idea of transformation rather than description with a preference towards non-linear, non-narrative thought. He resides in Manhattan where he has lived for the past 35 years.

Federico Ughi is an artist based in New York, with a particular interest in improvisation.

During the years, he has performed or recorded as a composer, drummer, and electronic musician with such artists as:
Daniel Carter, William Parker,Steve Swell, Steve Dalachinsky, Andrea Parkins, Matt Lavelle, Michael Evans in New York and Geoff Simkins, Steve Buckley, Phil Durrant, Cinematic Orchestra (Ninja Tune) and Bloody Riot in London, UK and Italy.

Current collaborative projects include "Options", a quintet featuring Nathan Hanson, Matt Glassmeyer, Sean Moran, Dan Fabricatore and Daniel Carter. They play his original compositions. This project has a new CD coming out: "South Of Brooklyn" (2003). Continuing development of his duos with Steve Dalachinsky, with whom he performs on the release 'I thought it was the end of the world then..' (2002), and with Daniel Carter, with whom he recorded 'Astonishment' and toured Italy in 2001. Current solo projects include recordings and performances for his ongoing ULERS series. This series involves unrehearsed live editing of recordings he has made of one-hour journeys taken in different places (Brooklyn, Manhattan, London, Rome, Venice), as illustrated by his release 'ULERS Two' (2002).

In early 2001, in Brooklyn, he established 577 Records, an independent record label, through which he promotes his own work, as well as that of selected artists who particularly inspire his artistic vision.

From 1994 - 1999, he was based in London, and performed in many venues and festivals including Copenhagen Jazz Festival, Brighton Jazz Bop Festival, Relay 1998, and Total Eclipse Festival. He co-led the acoustic quartet 'After Breakfast' which toured throughout Europe, and was awarded a grant from Jazz Services for the "After Breakfast UK Autumn Tour 1998". He moved to New York in early 2000, inspired by Paul Bley, with whom he studied.

Prior to 1994, he was based in Rome, where he studied music at UM (Universita' della Musica), and worked as a drummer and band leader in bands covering diverse styles from jazz to crossover funk to rock to punk to hard-core punk (Bloody Riot).

Federico Ughi was born in Rome, Italy in 1972. He has been playing drums since age 12, after switching from guitar and recorder.



to write a review

Robert Iannapollo, Cadence Magazine (USA)

This not light listening; on the contrary, it is a strong document that shows ho
New York-based poet Steve Dalachinsky (words) collaborates with Federico Ughi (d, vcl, live sampling) on I THOUGHT IT WAS THE END OF THE WORLD AND THEN THE END OF THE WORLD HAPPENED AGAIN (577 Records 577-3). It’s a set of seven somber poems recorded live at the Knitting Factory. It’s obvious that most of these poems are a response to the horror and the stupidity that happened on and since September 11, 2001. (The only exception would be “The Submarine Kyrsk” which is a meditation on the Russian submarine that sank in the Arctic earlier that year.) Surprisingly they’re read in a mostly calm voice – no hysterics. The poems inter-relate, with repeated phrases cropping up in various sections. But within this calm, his observations and feelings about the events and their aftermaths are conveyed with strength and passion. Ughi’s accompaniment is equally subtle: lots of low rumbling drums with light cymbal taps and the occasional use of sampling (thankfully not overused). On the final version of the title track, Ughi comes to the fore with a lengthy solo passage consisting of drums, what sounds like an electronic drone, and his voice. It is one of the highlights of the disc. This not light listening; on the contrary, it is a strong document that shows how the relevance and power of the spoken word can convey the horror of the event far better that can any shallow documentary shown on television hosted by your favorite anchor person.

Kurt Gottschalk, Signal To Noise Magazine

The result is two artists...creating a single, evocative work
I thought it was the end of the world then the end of the world happened again
Reviewed by Kurt Gottschalk, Signal To Noise Magazine, Winter 2003

A year later, and the number 'two' still carries with it a tinge of horror in New York City. Two parallel lines, two events in succession, two become none. On his new CD, New York poet and frequent improv collaborator Steve Dalachinsky never even mentions the terrorist attack of September 11, 2001. The cover is a photo of seagulls flying against a plane of blue, not a shot of destruction and devastation. But while the city's wound is healing, it's still tender. The title - the suggestion that the world ended twice - like the paranoiac strains within - don't need to spell out terror in order to explore it. The thirty-minute suite is actually about vulnerability, albeit at a sensitive time. Dalachinsky has a good ear, and knows how to build a piece like a good jazz soloist, how to state the theme and when to return to it. But with a quiet percussion soundscape behind, the themes are not notes but rather words: "I know they're trying to rob my soul/they know the combination to my lock,""It's a good life if you don't kill it,""I placed a phone call to the future, but it didn't answer,""It's been nothing/nothing since the beginning of the game/I was ready to get out of here and then this happened." Like a good jazz solo, the sentiments are clear unless you think about them too much.
Dalachinsky is known for his work with the best of New York's jazz and creative improv community. His earlier Knitting Factory release included Susie Ibarra, Thurston Moore, Matthew Shipp, and Daniel Carter, among numerous others. Such projects work because the poet knows how to leave plenty of room for his collaborators. Drummer and electronicist Federico Ughi is a different kind of foil, however. Rather than a jazzy state-theme-solo-and-vamp construction, Ughi creates quiet but effective washes behind the poet's words, and puts occasional live effects to Dalachinsky's voice, adding to the drama without getting in the way. The result is two artists working on an even plane, creating a single, evocative work.