This 8-track CD clocks in at just under 40 minutes and features remixes of tracks taken off the "Extend" album from Clark, Distance, Venger and Hrdvsion, plus a handful of new pieces, including "Double Face" which features the vocals of Kate Kestrel. The first remix comes from Hrdvsion, the nom de plume of Nathan Jonson (brother of Matthew no less), an artist who has long had more of an interest in complex rhythm structures than his better-known sibling, something that's been evident since his brilliant "Oh Techno Saves" twelve for the It Is What It Is label back in 2003. His remix of "Sight Beyond Sight" sounds like a vintage Alec Empire remix (back in the late 90's, when he was so so good), all tumbling Amen breaks and quick edits - brilliantly executed stuff. The Clark remix is up next and is as flawlessly put together as you'd imagine - a junglist backbone paired with an almost discordant melody that seems to be operating on its own tempo. It all comes together once your brain comes to terms with what your listening to - and once again there's something so Aphexy about Clark's melodies that it's almost uncanny. Anyway - it's a killer remix. In total - really good value for money and another good release from Planet Mu, who by last year's frantic standard have been a bit quiet of late.
Raymonde's pensive bass line pushes Cindytalk singer Gordon Sharp through Chilton's "Kangaroo," while Raymonde and Guthrie come dangerously close to rocking out behind Modern English's Robbie Grey on the turbulent, throbbing "Not Me." Some of the instrumental passages do cross the line from ambient to oblivious, but the album's closing cut, "A Single Wish," has a melodic lilt that's positively uplifting. When Gordon Sharp breathes, "It'll end in tears," right before the fade, I want to grab him and say, "Not always." (RS 470)
5 στα 5 τους βάζει το rollingstone. εδώ
Fire On Fire’s first full length for Young God will be released exclusively through this website on December 10, ’08. The first CD edition is a small press offset 4 color package, numbered 1 through 1000, with original art by Colleen Kinsella of Fire On Fire...
απο εδω, οπου μπορειτε να κατεβασετε και ενα κομματι απο το album...
αυτοι οι τυποι ειναι εκπληκτικοι οτι και να κανουν(ειτε σαν fire on fire η σαν big blood)
...τους Fuzztones τους μισω..μπλιαχ!!!..τουτο 'δω το δισκακι του κυριου
Protrudi oμως ειναι σκετη απολαυση..surf the egyptian way babe...or perhaps the indian..
Stumbling foresty black metal flecked krautrock. Surf guitars, haunting ambience, incredibly damaged drumming, super evocative and a bit droney and folky. Like black metal meets krautrock meets surfrock meets The Shaggs? Weird and so beautiful.
DROWNED IN LAKES
Along with some heavy friends of theirs, Brain Donor and Queen Elizabeth have stripped away the darkness of heavy metal to reveal a drummerless ancient landscape of Van Halen-esque riffs and freebass clatter.
Hear meditational music in its most Stoogified state - a place where the instantly familiar is pitched into an a-rhythmic pasture of cosmic shake appeal. Inner-space travel is possible with this 77 minutes of glambient top-end. To be played loud on headphones in the dark.
For about a year at the end of the '90s the Make-Up were the best band out there. This album and the singles compilation In Mass Mind, solidified the promise shown on Destination Love, delivering an updated white soul sound.
The songs here are much more arranged than those on Sound Verité, giving them more dimensions and a more muscular sound. The wah-wah bass and reverb-ed vocals give a '60's soul/'70s funk feel. The key difference, though, are better songs, and the sropping of the bass/keyboard driven jams of the previous album.
'Earth Worm' and 'Black Wire' provde a thread through the album and there is a (very) vague-ish concept of hive-minds and collectivism (and kinky sex, maybe), The best tracks are 'Joy of Sound', '(I've Heard About' Saturday Nite' and 'Time Machine'. The cover of 'Caught Up in the Rapture' provides a true climax to the record (before coming full circle with the second version of 'Black Wire').
A Gospel Yeh-Yeh classic.
Here at last, COLLECTING EARTHQUAKES is Holy McGrail's heavy-breathing and Yggdrasil-riding debut album. Clad in a faux-Armenian sleeve to die for, this is Doomsday's year zero for all you trudge metal outlaws. McGrail here presents us with 3 outrageously strung-out underworld rides into the dying embers of the West with the pride of Woden's Wild Hunt as his homeboys. Massive contributions by Brain Donor's Doggen, plus an all-inspiring collaboration with Sunn 0)))'s Stephen O'Malley.
With members of LCD Sounsystem and !!! populating their ranks, Out Hud certainly have some heritage in the DFA hierarchy but rather than pump out another Liquid Liquid tribute, Out Hud have instead decided to look back to the 1980's synthcore scene for inspiration. Opening with the pounding funk bass of 'This Just In', Out Hud then career wildly down the electro-pop freeway on 'It's For You' as synths erupt like fireworks and Phyllis Forbes puts in a Stygian vocal performance reminiscent of a more restrained Karen O. Elsewhere 'One Life To Lead' is a freshly minted electro-funk classic that merges axe-wielding bass and a chorus so addictively spiky it could take on daytime radio, 'Old Nude' adopts the swagger of Seelenluft and plunders Aphex's 'Girl/Boy' strings whilst 'The Song So Good They Named It Thrice' takes shades of Dr. Who, Le Tigre, The Moonflowers and early 90's rave then moulds them together into a paint blistering whole. Very very cool.
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one rude dude
Rack & Ruin records was formed on April 1st 2008. Rack & Ruin, is a non-profit Netherlands based netlabel, which focuses on indiepop, electronica, ambient, and experimental or crossover music from around the world. We cover a broad spectrum of tastes, and our main focus is to champion new artists, who are exploring new sounds. We do not restrict ourselves to any particular genre, or locality.
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the girl in the purple painting
mozambique via angola
Charles Ives' songs played a pivotal role in his thinking, serving not only as material for many of his instrumental works but also as necessary focal points for his experimentation. What different ideas and techniques he might have developed without them is open to debate, though it is possible that Ives' inventive phrasings and aphoristic wit would be obscured if not completely missing from his music. Yet as fertile as the songs proved to be, many of them originated in the orchestral sets as "songs without words," only to receive texts and to find inclusion among the 114 Songs at a later date. This reciprocity indicates how central the songs were to Ives' imagination and craft. When the Moon invites comparisons between arrangements, presenting the Sets for Theater Orchestra first, then following up with the corresponding songs in their versions for voice and piano in the same order. Soprano Susan Narucki and baritone Sanford Sylvan give the songs appropriate characterizations, ranging from the bumptious extroversion of "Charlie Rutlage" to the captivating mysticism of "Incantation" and "Evening." As a good introduction to Ives, or as an advanced study of the intricate cross-relations in his music, this disc is highly recommended. ~ Blair Sanderson, All Music Guide
when the moon
Bevan Smith (aka Signer) is moving in a slightly different direction than those who are simply sampling acoustic guitars or adding some glitchy beats. Low Light Dreams is a blissful combination of drone, minimal dub, and even a touch of shoegazer, mixing guitars and even vocals over repetitive beats that he's somehow managed to massage into something downright organic.ALMOSTCOOL
LOW LIGHT DREAMS
Old school hip-hop drum loops (done without sequencers) wrapped around lush lo-fi pop sensationalism, The Busy Signal's (aka Howard W. Hamilton III) debut effort, Baby's First Beats, is chalk full of 60's pop delight with just the right amount of bounce and rollicking beats.
"Headphoneworld" is a reminder of the good times of pop, when it was about the hooks and the feelings you got when you listened, not looks and marketability. Jangly and danceable, it's the kind of song you would blast on your stereo, holed up in your room riffling through your vinyl and enjoying every minute of it.
"Birds on High" stings you with a scorching organ that flutters over the light, watery guitars, while the lush vocals and sticky melodies become nearly irresistible. The keyboard horn loop that opens "Clogged Airways" is romantically nostalgic, adding a breath of fresh air from the modern, overly-technical sound waves that barrage us every day. "88's and 73'" is the kind of hip-hop melodic pop that has made Beck a household name. And the old school dreamy pop of "Taxidermy" is strikingly naked, yet dressed up and served in a more appealing way than the majority of what passes for pop these days.
Lush, drum loop-driven harmonious pop music that values melody and smiling beats more looks and mass consume-ability, The Busy Signals' are modern pop revivalists, delivering the sounds of yesteryear with a fresh perspective and smart, clean cut hooks. Here is infectious pop music you won't hate yourself for enjoying; I'll give it an A-.
baby's first beats
Chicago one man band Kleenex Girl Wonder blasted onto the scene in 1996 with singer / songwriter Graham Smith's first album, Sexual Harassment, and Graham Smith is the Coolest Person Alive. Produced mostly in lo-fi, his brand of pop / rock / hip-hop furnishes the listener with a true sense of his genius. Short, catchy, intricate guitar riffs loop to the beats of a drum machine, while he either raps about ironies or sings about how he is the best songwriter in the world and corny statements similar. The indie music scene needs more acts like this one, acts willing to transcend the genre barrier with such elegance and such… absurdity. He truly picks up where the old Beck left off with his twist of "where the hell did that come from?"
- Jason Hicks
The story of Everything But The Girl has been well documented: a Hull duo find a common interest in melancholic folk, latterly reinventing themselves as a cutting edge dance/drum and bass act. Yet before all this Tracey Thorn and Ben Watt recorded their own solo albums for the Cherry Red label. Watt took a back seat on vocal duties on his EBTG work but here he demonstrates that his own frail timbre is perfectly suited to the laments of 'North Marine Drive'. The mood is earnest - but never overwrought - ranging from evocative location-driven pieces ('On Box Hill', the title track) to the embittered self-loathing of 'Waiting Like Mad'. The simplicity and clarity of the arrangements (generally just Ben and his guitar) means that the songs haven't aged a jot. There's also the generous addition of the 'Summer Into Winter' collaboration with Robert Wyatt, conjuring up rainy day atmospheres with filigree guitars and piano patterns to the fore. For fans of modern artists favouring the "less is more" approach, this is a must hear.
NORTH MARINE DRIVE/SUMMER INTO WINTER
few musicians record with the consistency of jemeel moondoc. while he records fairly infrequently, his albums almost always produce music of a very high order, with original concepts that incorporate modern harmonies while absorbing the lessons of the past. this one is no exception, and in some ways it is his most highly developed. using a quintet in which vibes substitute for piano, moondoc builds on the innovations of the classic ornette coleman small groups, taking them incrementally to the next level. a sense of melody always underlines moondoc's most radical excursions. his wailing alto is a perfect foil for trumpeter nathan breedlove's chopped, ragged phrases. khan jamal may be the most conservative member of the group, largely due to the refined nature of the vibraphone, but he performs with a clear recognition of the most progressive harmonies. recorded live at new york city's demanding and explosive vision festival, the quintet explores a plethora of emotions, from the sublime to raw, unabashedly revolutionary exuberance. moondoc never loses focus, as the group marches forward with touches of ayler, coltrane, and coleman, while moondoc's distinct vision is always in the forefront. the audience's approval evidences the power of this group, who creates some of the best jazz of its kind. -- steven loewy, all music guide
revolt of the negro lawn jockeys
Made In China is an incredible collision of traditional instrumentation and post-punk, dub and experimentation. Recording the elements separately, and waiting to mix and match them together after returning to his Mattress Factory Studios in Chicago, Atkins was able to keep the performances on both sides uncontaminated by any expectations of the final result. The finished album is probably the most creative and effective musical collaboration that Atkins has spearheaded since Gub by Pigface, Atkins' long-running musical collective.
Martin Atkins has played drums in PiL, Ministry, Nine Inch Nails, Killing Joke, Pigface and several other international acts.
M A D E I N C H I N A
computer music retrospective
Hiller was an experimental composer in the strictest sense. In the mid sixties, Hiller asserted that his, "objective in composing music by means of computer programming is not the immediate realization of an aesthetic unity, but the providing and evaluating of techniques whereby this goal can eventually be realized." In this sense Hiller was a forward looking composer, in that each piece was an experiment that lead towards the next piece.
Υ.Γ. Helmet επιτελους αξιωθηκα να βαλω καινουριο λινκ Black Sun Productions.....