crime and the city solution

Category: By the bug


Despite roots dating back as far as 1978, Crime & the City Solution did not truly emerge until 1984, coming to life in the wake of the dissolution of the seminal Birthday Party. The group was led by the evocative singer/songwriter Simon Bonney, a Melbourne, Australia native who led a series of bands under the verbose Crime name throughout the late '70s and early '80s; a longtime friend of the Birthday Party, he contacted former members Mick Harvey and Rowland S. Howard after the group's breakup, and following the addition of Howard's bassist brother Harry, the most successful and famed lineup of Crime & the City Solution was born.
Later on former Swell Maps drummer Epic Soundtracks joined Crime, freeing Harvey to alternate among a variety of instruments and they have released the haunting Just South of Heaven...


JUST SOUTH OF HEAVEN

(manand)
 

Category: By the bug

SEX DRUGS AND DEATHMETAL
''...Any brutal freaks would certainly eat this up. This is as vile, as ferocious brutal death grind can be, that will make you salivate and perspire down to your asshole. ..''

GZRRRSTRRR
 

Category: By the bug
 

alice coltrane

Category: By the bug


JOURNEY IN SATCHIDANANDA

The CD reissue of Alice Coltrane's landmark Journey to Satchidananda reveals just how far the pianist and widow of John Coltrane had come in the three years after his death. The compositions here are wildly open and droning figures built on whole tones and minor modes. And while it's true that one can definitely hear her late husband's influence on this music, she wouldn't have had it any other way. Pharoah Sanders' playing on the title cut, "Shiva-Loka," and "Isis and Osiris" (which also features the Vishnu Wood on oud and Charlie Haden on bass) is gloriously restrained and melodic. Coltrane's harp playing, too, is an element of tonal expansion as much as it is a modal and melodic device. With a tamboura player, Cecil McBee on bass, Rashied Ali on drums, and Majid Shabazz on bells and tambourine, tracks such as "Stopover Bombay" and the D minor modally drenched "Something About John Coltrane" become exercised in truly Eastern blues improvisation. Sanders plays soprano exclusively, and the interplay between it and Coltrane's piano and harp is mesmerizing. With the drone factor supplied either by the tamboura or the oud, the elongation of line and extended duration of intervallic exploration is wondrous. The depths to which these blues are played reveal their roots in African antiquity more fully than any jazz or blues music on record, a tenet that exists today over 30 years after the fact. One last note, the "Isis and Osiris" track, which was recorded live at the Village Gate, features some of the most intense bass and drum interplay -- as it exists between Haden and Ali -- in the history of vanguard jazz. Truly, this is a remarkable album, and necessary for anyone interested in the development of modal and experimental jazz. It's also remarkably accessible.

(manand)
 

Beam Us Up Scotty!!!

Category: By the bug


''....'Climate Of Hunter' is probably the worst-selling record Scott Walker ever made. It didn't stay in Virgin's full priced range for long and even at mid-price was deleted by the turn of the nineties, hardly helped by the universal tide of lousy reviews it garnered on first release. In a sense, I can understand that - after over a decade of waiting, something as unusual and unexpected as this hardly immediate collection of largely untitled and unconventional songs was well hard to take. But an album as adventurous and brave as 'Climate' can't be cast aside forever. Over the years I've played it rarely, then occasionally, then regularly, to the point where I simply could not be without a copy. Pick up a second hand copy somewhere - probably very cheaply - and bear with it. I think you're going to like it, maybe not today, maybe not tomorrow, but soon, and for the rest of your life...''

CLIMATE OF THE HUNTER



''..."Stretch", consists mostly of doom laden ballads. The sustained assault on the listeners emotions, perhaps exemplified by the heart breaking interpretation of "Just One Smile", is somewhat overdone leaving one in need of some light relief from the all pervasive misery. This negative comment is perhaps a tribute to Walker in that he so effectively conveys the themes contained in the songs; the vocalisation is astounding, with Walker delivering each word with the upmost clarity and perfect emotional import. The highlight of the set is Jimmy Webb's, "Where Does Brown Begin", a plea for racial tollerance, sung beatifully. The social content of this song reminds the listener of some of Walker's self penned classics such as, "Big Lousie" from Scott III and "Joe" from "Till The Band Comes In", in which he sings for the desolate and dispossessed...''

STRETCH



''..'The Moviegoer' is a Scott Walker album with a particularly low reputation, even with Scott Walker himself. I'm not exactly sure why, though. Sure, he'd abandoned writing original songs in an effort to sell records again, and choose more 'middle of the road' material to sing. The title of the album gives away the concept for this one, Scott choosing some of his favourite songs from a variety of films. He sings, and that's always good. Scott still had a glorious voice in 1972 and all of these songs are very much in the vein of similar cover material that peppered his first two solo albums. There is a richness to some of the arrangements too, largely absent from the cover material present on 'Til The Band Comes In', a lushness and beauty to the string sounds...''

THE MOVIEGOER

gzrsttttr
 

the focus group

Category: By the bug


SCETCHES AND SPELLS

The first album from the Focus Group, a psyched out patchwork of collaged samples. Evoking the school music room, dusty archives and hidden rural rituals.

Julian House’s own The Focus Group; oddly assembled sampledelic collages, stitched together from fragments of library cues and forgotten soundtracks. A beautiful, unhinged stream of consciousness that seems to prod at buried memories.

(manand)

 

Category: By the bug
 

univoice

Category: By the bug


η ιστορια της univoice εδω

tracks

(manand)
 

robert wyatt

Category: By the bug
 

Category: By the bug



..found it while surfing the net,pretty much what it says on the cover a best of from Cannibal films music,hope you enjoy and...OH NOOOOOO THEY'RE COMIN'FOR ME AHHHHHHHHHHHHHHHHHHHHH!!!!1

E A T M E


GZZRRSSTRR
 

antonio carlos jobim

Category: By the bug


STONE FLOWER

Recorded in 1970 at Rudy Van Gelder's studio in New Jersey under the production auspices of Creed Taylor, the arrangement and conducting skills of Deodato, and the engineering expertise of Van Gelder himself, Jobim's Stone Flower is quite simply one of his most quietly stunning works -- and certainly the high point of his time at Columbia. Nearly a decade after the paint peeled from the shine of bossa nova's domination of both the pop and jazz charts in the early '60s, Creed Taylor brought Jobim's tender hush of the bossa sound back into the limelight. With a band that included both Jobim and Deodato on guitars (Jobim also plays piano and sings in a couple of spots), Ron Carter on bass, João Palma on drums, Airto Moreira and Everaldo Ferreira on percussion, Urbie Green on trombone, Joe Sample on soprano saxophone, and Harry Lookofsky laying down a soulful violin solo on the title track, Jobim created his own version of Kind of Blue. The set opens with the low, simmering "Tereza My Love," with its hushed, elongated trombone lines and shifting acoustic guitars floating on the evening breeze. It begins intimate and ends with a closeness that is almost uncomfortably sensual, even for bossa nova. And then there are the slippery piano melodies Jobim lets roll off his fingers against a backdrop of gauzy strings and syncopated rhythms in both "Choro" and "Brazil." The latter is a samba tune with a sprightly tempo brought to the fore by Jobim's sandy, smoky vocal hovering ghost-like about the instrumental shimmer in the mix. Take, for instance, the title track with its stuttered, near imperceptible percussion laid under a Jobim piano melody of such simplicity, it's harmonically deceptive. It isn't until Lookofsky enters for his solo that you realize just how sophisticated and dense both rhythm and the chromatic lyricism are. The album closes with a reprise of "Brazil," restating a theme that has, surprisingly been touched upon in every track since the original inception, making most of the disc a suite that is a lush, sense-altering mediation, not only on Jobim's music and the portraits it paints, but ON the sounds employed by Taylor to achieve this effect. Stone Flower is simply brilliant, a velvety, late-night snapshot of Jobim at his peak.

(manand)
 

charles mingus

Category: By the bug


MINGUS IN WONDERLAND

This CD, a straight reissue of Wonderland, finds bassist/leader Charles Mingus really pushing altoist John Handy and tenor-saxophonist Booker Ervin on four lengthy selections, highlighted by "Nostalgia in Times Square" and "No Private Income Blues." The music is advanced bop that looks toward the upcoming innovations of the avant-garde and is frequently quite exciting.

(manand)
 

Category: By the bug

...one of the most groundbreaking Greek Avant -Garde Records recorded and released in 1981...From the Nurse With Wound meets Arvo Part meets Spoken Word ritual of ''Teleth'' to the tribal power funky rythm 'n' flute of ''Ala Mala Kakala'',from the Byzantine Folk stylings of ''Xeroubiko'' to the Classical Musique Concrete abstractions of ''Eisagwgi''
this record surely sounds awfully dated today and its humor freezes Hell over but noone can resist the pure nostalgia of a time not so long ago when we used to watch ''Little House On The Prairie'' and all we wanted was some playmobils and a ball...(me keftedes)


P A T A T E S

GZRSSTRR
 

acte vide

Category: By the bug



home live

thanks s.overdrive + danai

(manand)
 

Category: By the bug

...less than 10 fingers,Birmingham's industrial airs,voodoom blues,a lot of chemicals
houmor,love,simply put...THE BEST RECORD IN THE HISTORY OF MUSIC!

S B S

gzrstr
 

rain tree crow

Category: By the bug


Rain Tree Crow is the result of a collaboration between former Japan members David Sylvian and Mick Karn. Sylvian and Karn teamed with keyboardist Richard Barbieri and Steve Jansen, adding guitarists Phil Palmer and Bill Nelson for their self-titled debut. Like a mellower, new age-oriented version of Japan, Rain Tree Crow explores stark soundscapes that sound alternately beautiful and desolate. Although it is a bit too challenging to provide a good introduction to Sylvian and Karn's music, the album remains fascinating for their fans

RAIN TREE CROW

(manand)
 

Category: By the bug

.....Boney M was a Caribbean origin ''prefab''band making a recording carreer in Germany
under the guidance of musician/producer Frank Farian.
Nightfligt To Venus was one of their most succesfull records going very well in the European charts and having a U.S.A top hit with ''Rivers Of Babylon''.
The music is disco funk with a carnival like groove arranged by the Eurokitch Maestro
Michael Cretu(Sandra,Enigma a.m.m).
Another hit from the record was ''Rasputin'' and it's especially known to the Greek readers of this blog as the song that is heard in the monumental flirting scene of the movie''Learn My Child Letters'' in which starred the Unforgettable Greek actor Vasilis Diamantopoulos and the tottaly stoned Arxidologist/Anecdoteer ,Tsakonazz....

NIGHTFLIGHT TO VENUS 1

NIGHTFLIGHT TO VENUS 2

GZZRRRSSTTRR
 

silence is sexy

Category: By the bug

Odds are no one banked on Einstürzende Neubauten lasting 20 years. What were the odds of such a destructive band surviving two decades? Did the Stooges ever stand a chance of writing a song called "1989"? More importantly, who would have thought that the milestone year would see the release of one of Neubauten's finest records? Though Silence Is Sexy might retain some of the band's recent song-based developments that have left some fans puzzled, its closest touchstone is 1987's Richterskala. They might not be as unsettling or destructive as they were in their early days, but they still know how to capture the imagination and warp the senses. As with Richterskala, restraint is a key element. The schlock of recent outings is done away with to focus more on stark restraint. Bargeld doesn't really let his vocal chords rip often, and their trademark clangorous overload isn't resorted to much. "Sabrina" is one of the tracks that brings to mind their excellent album from 1987. Swaying strings and plaintive percussive taps frame Blixa Bargeld's whispers as he waxes like a bawdier Bryan Ferry. Those who reveled in Neubauten's familiar undead bass sound will find the record goes down a treat. At nearly 70 minutes, it's a bit sprawling, but it allows the gang to represent every element that has made them vital and influential to experimental music throughout the last twenty years. Irregardless of your pickiness with Neubauten's material -- what you like/hate about them -- anyone could piece together 40 minutes of the record for an ace Cliff's Notes version. [Early editions came with a second disc, consisting solely of the 19-minute long "Pelikanol." A scraping, hypnotic track, Bargeld uses his voice as a drone instrument to great effect.]

SILENCE IS SEXY 1
SILENCE IS SEXY 2

(manand)
 

Category: By the bug


....a crescendo of occult blasphemies, the refusal of light,darkness as poetry
The Carpenter captive in the hands of the Usurper...what lurked then in the souls of these swiss teenagers?

TO MEGA THERION

gzrrstrr
 

somebody told me you people are crazy

Category: By the bug
 

Category: By the bug


''...one of the greatest records of 20th century from the Danish master of horror,with
obvious influences from acts like Atomic Rooster,Black Sabbath,Alice Cooper,Black Widow,Coven and the whole Gothic Horror European aesthetics...MASTERPIECE!

A B I G A I L


gzrstr
 

charles mingus

Category: By the bug


CHANGES TWO

Along with its companion volume Changes One, this is one of the great sessions from one of the best working bands of the 1970s. Starting with the spirited "Free Cell Block F, 'Tis Nazi U.S.A," this volume also includes the vocal version of "Duke Ellington's Sound of Love" with guest singer (and acquired taste) Jackie Paris, a remake of the classic Mingus composition "Orange Was the Color of Her Dress, Then Silk Blue," Jack Walrath's "Black Bats and Poles," and Sy Johnson's "For Harry Carney." The challenging repertoire from these December 1974 dates sustained the Jazz Workshop for several years; these are the definitive performances.

(manand)
 

coti

Category: By the bug
 

charles mingus

Category: By the bug


When it was first released in 1962, five years after it was recorded, Charles Mingus declared this musical account of a bacchanalian trip to the notorious border town the best record he ever made. That may be exaggeration, but it's certainly one of Mingus's best, a suite of pieces that gives form to the range of both his oversized emotions and his varied compositional techniques. The sextet, which sounds like a far larger group, includes several musicians who would become perennial Mingus associates--drummer Dannie Richmond and trombonist Jimmy Knepper--as well as the gifted trumpeter Clarence Shaw, an obscure musician with a distinctive lyricism. In its tumult, passionate breadth, and programmatic content, Tijuana Moods looks ahead to Mingus's later masterpiece, The Black Saint And The Sinner Lady
(The original title was simply Tijuana Moods; RCA's retitled CD reissue added four lengthy alternate takes that restored several edited solos.]

NEW TIJUANA MOODS

(manand)
 

charles mingus

Category: By the bug


Bassist Charles Mingus was always ready for a good fight. In the liner notes to this disc, Mingus says he wanted to respond to critics who said he didn't swing enough. And reply he did. Mingus gave whoever these absurd quibblers were some of the most ecstatic blues ("Moanin'" and "Cryin Blues"), gospel ("Wednesday Night Prayer Meeting"), and Dixieland ("My Jelly Roll Soul") the jazz world has ever heard. Along with his striking original compositions, the instrumental combination in Mingus's nonet remains unconventional: the frontline included four saxophonists and two trombonists without the counterweight of a trumpeter. The leader's sliding-octave bass lines and percussive slaps are totally rollicking, and the wild abandon in the group's playing is irrepressible...

...As bassist, pianist, bandleader, composer, arranger, and modern jazz mahatma, Charles Mingus had plenary control of all the expressive devices needed to manifest blues cries from the soul. The gospel blues 'Wednesday Night Prayer Meeting" and five more numbers on this famous 1959 release have his ten musicians' spontaneous phrases in perfect balance with his ingenious compositional turns...

BLUES & ROOTS

(manand)
 

lincoln street exit

Category: By the bug


PSYCH OUT EP

Lincoln Street Exit were New Mexico's lead garage/psych band of the late '60s/early '70s, one of the few Indian Native American groups(all four members were New Mexico Sioux)
το ep ειναι του 1968...ΑΡΙΣΤΟΥΡΓΗΜΑ!!!


(manand)
 

model citizens

Category: By the bug


SPY RECORDS EP

...Model Citizens was an no wave/art rock sextet which surfaced in New York around 1979, made a mini splash then disappeared back into the murky depths of the underground...
...Model Citizens energetic & spastic time signatures make them seem like a more experimental B-52’s...
εκπληκτικο ep (usa 1979)!!!

(manand)
 

charles mingus

Category: By the bug


Charles Mingus' finest recordings of his later period are Changes One and Changes Two, two Atlantic LPs that have been reissued on CD by Rhino. The first volume features four stimulating Mingus originals ("Remember Rockefeller at Attica," "Sue's Changes," "Devil Blues" and "Duke Ellington's Sound of Love") performed by a particularly talented quintet (tenor-saxophonist George Adams who also sings "Devil Blues," trumpeter Jack Walrath, pianist Don Pullen, drummer Dannie Richmond and the leader/bassist). The band has the adventurous spirit and chance-taking approach of Charles Mingus' best groups, making this an easily recommended example of the great bandleader's music.

CHANGES ONE

(manand)
 

golem

Category: By the bug


Ecclectic, psychedelic epic rock with lot of Hammond organs, heavy drums and jamming guitars. Amazing, catchy improvised free spacey rockin’ trip that can reminds the best efforts delivered by early Pink Floyd, Gila, Dies Irae, Jane...

ORION AWAKES

(manand)
 

anne briggs

Category: By the bug


This 1971 album is a genuine piece of British folk history. Anne Briggs’ first album collected largely unaccompanied traditional songs, but this, her second LP, features her debut ventures into the realm of songwriting, the title track being her first ever composition. An astoundingly accomplished piece of music, ‘The Time Has Come’ (later covered by Pentangle) gives a taster not only of Briggs’ writing skills but also manages to place that effortless, timeless vocal of hers within a very personal framework. Singing self-penned material was a fairly unusual practice (in the folk community at least) back when Briggs first started writing alongside her then-partner Bert Jansch, in the ‘60s, so to hear such a remarkable folk voice bringing new music to life must have had quite some impact. Then there’s the guitar playing: Briggs has said herself that Bert Jansch’s fingerpicking was a revelation to her – a liberation from the Woody Guthrie-style chord strumming the folk scene was so used to. This album features Briggs’ own considerable picking skills, with the complexity of the guitar arrangements making for a perfect counterbalance to her uncommonly even voice. Utterly beautiful, breathtakingly pure British folk. A classic.

THE TIME HAS COME

(manand)
 

gilles peterson

Category: By the bug


Quite possibly the greatest collection of future soul issued on one CD -- all put together by the man who's helped make most of it happen! The influence of DJ Gilles Peterson has been felt the world over for well over a decade -- and has spread the word on countless artists who've helped to redefine the concept of groove in the 21st century. As one way of saying "thanks", many of these artists have contributed exclusive tracks to this massive project spearheaded by Gilles -- donating some of their best work to the set, and making it a super-fresh package filled with tracks you won't find elsewhere! The groove changes nicely throughout the set, but is unified by Gilles sharp ear for the best of the best -- effortlessly sliding from Neo Soul to soul jazz to jazzy club -- all by top-shelf artists all the way through! CD version features the tracks "Wheel Within A Wheel" by Cinematic Orchestra, "Puffin Dance" by UMOD, "The Show" by NSM, "Sophisticated & Coarse" by TY with Eska, "Book Klicky Boom Klack" by Jazzanova with Shaun Escoffery, "A Matter Of Time" by Outlines, "Couldn't Hear Me" by Eric Roberson, "Brilliant Circles" by Two Banks Of Four, "Night Of The Dancing Flame" by Matthew Herbert & Roisin Murphy, "Batacumbele" by Deadline Vs Batacumbele, "Wanin Moon" by Nicola Conte, and "The Blessing Song (Take 1 mix for Worldwide)" by Build An Ark.

WORLDWIDE EXCLUSIVES

(manand)
 

denzel + huhn

Category: By the bug


Opening through a tide of surging strings on "Kleiner Bruder", Denzel + Huhn bring the whole composition into startling clarity through a tender acoustic guitar melody that carbonates the digitalis with a warmth which is hard to catergorsie. Like a shattered mirror reflecting a band at the peak of the career, "Paraport" is able to balance the insistent electronic insects of "Targo" with an ebbing backdrop of blossoming atmospherics that is utterly beguiling and totally addictive. Avoiding the studious air of academia that can often pervade projects where such attention to detail has been applied, the likes of "Karlsruhe" and its malfunctioning cinematics, the caustic rhythmical aesthetics of "Dorian", and "Lope"'s creamy analogue bubbles all have an ease of stature which belies their creators’ understanding of texture, balance and production skills. Encompassing a spectrum of styles which invites comparisons with everyone from Jan Jelinek ("Senet") and Johann Johannsson ("Kleiner Bruder"), through to Pole ("Erinnye") and Fennesz ("Dorian"), Denzel + Huhn have delivered a record that maintains a firm cohesive thread throughout without constraining the boundaries of their creativity. Grainy, opaque and beautifully detailed, “Paraport” is a record that requires no border controls.

PARAPORT

(manand)
 

blues magoos

Category: By the bug


PSYCHEDELIC LOLLIPOP

"(We Ain't Got) Nothing Yet" is an extraordinary and magical two minutes and ten seconds which, like the Box Tops' "The Letter," is one of those little two-minute blasts of pop which brought the transistor radio to life and which is the proverbial breath of fresh air on oldies radio stations daring enough to play psychedelia. Psychedelic Lollipop is the real thing, the band looking on the LP cover like Captain Kirk abandoned them on some forgotten Star Trek planet, the music inside authentic acid pop. They stretch J.D. Loudermilk's "Tobacco Road" across four and a half Seeds-style minutes, obliterating the Nashville Teens' 1964 hit recording in the process. D.Blue's "Queen of My Nights" may have inspired the Troggs' 1968 hit "Love Is All Around." The melody might be different, but the intro music is identical to what Reg Presley gave the world a couple of years after this. Producers Bob Wyld and Art Polhemus do a great job of keeping the intensity up across two sides of this album. James Brown's "I'll Go Crazy" gets splashy garage rock sounds and Mike Esposito's guitar work cannot be denied. Check out the jangle mayhem on "Gotta Get Away." According to the LP The History of Syracuse Music, Vol. 7, Esposito performed in the Escorts with Felix Cavaliere, and that vibe from the Rascals' rendition of Laurie Burton's "I Ain't Gonna Eat Out My Heart Anymore" is the same type of authority these kids pour all over "Psychedelic Lollipop." "One By One" has that band going from the garage group to the Beatles transition -- and what's so disappointing is that they couldn't mature in this direction. Had this lineup stuck around for the ABC albums, who knows what they might have been capable of? Psychedelic Lollipop is a solid and precious gem from the Nuggets vaults, the difference between this and other one-hit artists being that you can play the entire album repeatedly, quite an accomplishment coming from the era of the hit single. That such a tremendous smash like "(We Ain't Got) Nothin' Yet" kicks the whole thing off is just an added bonus

(manand)
 

candido

Category: By the bug


magnetic.
hypnotic.
the basic jungle beat of the conga
by the man with a thousand fingers.
δισκαρα!!!

beautiful

(manand)