''...The Unkindess of Crows isn’t out of nowhere. Old gods just don’t show up one day. There are signs, cosmic warnings…a murdered albino, crop circles. You know, a reunion show here, a collaboration with Greg Anderson there. But what marks this album, performed by only himself and drummer Tyler Smith, from all the rest of Densley’s catalog isn’t just the approach – heavy and minimal — but the all-out theatricality of it. Eagle Twin certainly sounds like the sky opening up to vomit cosmic malevolence all over you....''

T.U.O.C

S.

"Dracula Lewis is one of the most well hidden deep dark secret from eastern-Europe, based in Romania he spent long time traveling all over the world. Vernasca, Valhalla is the first official release and Hundebiss Records is proud to present this four tracks done with a broken mixer and two open-mic. The result is a deep listening, lo-fi aggressive electronics with weird field recordings but also a spacey melodic sweet sound who came up from this maelström."

Vernasca, Valhalla

s.

''...Their stupid noise has the festivitie and the good vibe of the Reatards, with the fuckin' crazyness of GG Allin and the frenzy and simplicity of the eighties hardcore and the Killed By Death. You shall dance like a beheaded chicken while you drink and splash the pussy you like in this frensy of Tonayan and you'll wish to repeat this eight minutes of riot infinitely....''

LOS INSERVIBLES

S.

''..it was the Goodman Quartet tha t set the jazz world on fire.This was a group that swung
with such dazzling fire and authority,a group that caressed a ballad with such a compelling
flow of warmth and richness tha all of a sudden every big swing band had to have a subsidiary
small group....''

TOGETHER AGAIN!

S.

....the infamous Residents go safari and soundtrack a hard night's day in the jungle when George is away on vacation..

T.W.O.P.A.P
S.

Honey Cone, the girl group with the sweet name and the bumblebee persona, didn't masquerade as biker babe wannabes like the Angels, come off as fly foxes like the Ikettes, or fight their battles with tears either. They tell it like it is on "While You're out Looking for Sugar (Somebody's Gonna Take Your Honey and Be Gone)," "One Monkey Don't Stop No Show," "Stick Up," "Want Ads," and others written by a consortium of General Johnson, Angelo Bond, and Gregg Perry, with some Edith Wayne/Ronald Dunbar and HDH tracks in the mix. This complete account of Honey Cone's Hotwax recordings features the excellent "Ace in the Hole" twice -- the long album version with the funky, bubbling break and the single edit. Instead of wailing at an imminent breakup, Honey Cone gets philosophical (i.e., "Sitting on a Time Bomb (Waiting on the Hurt to Come)," "The Day I Found Myself," "It's Better to Have Love and Lost," and "Girls It Ain't Easy"). They show vulnerability behind a strong façade on "Take Me With You" and cloying versions of "Ooo Baby Baby" and "Stay in My Corner." With 45 tracks, this gargantuan collection has enough soulful honey to fill a bee hive.

DISC 1
DISC 2

(manand)

"Transforming bicycle sounds into experimental music by two groups from the US and UK. PBE plays free improvised music on amplified bicycles, also LBO uses a specially adapted bicycle instrument, and plays mesmerising noise cycles from bicycles."



The Portland Bike EnsembleThe Levenshulme Bicycle Orchestra - Live At Il Corral/Spinning Priest

or download this and other sonic beauties from this awesome label:http://www.lostfrog.net/index.html

s.

onmybirthdayicaughtatrainforthessaloniki

Μεγάλωσε στο Βόλο και ζει στη Θεσσαλονίκη. Σπούδασε μουσική στο Εθνικό Ωδείο και ιατρική στο ΑΠΘ.

Εχει γράψει μουσική για περισσότερες από 90 θεατρικές παραστάσεις, 3 ταινίες και τηλεοπτικά ντοκυμανταίρ.

Συνεργάστηκε κυρίως με το ΚΘΒΕ,την Πειραματική σκηνή της «Τέχνης», το Εθνικό θέατρο, διάφορα ΔΗΠΕΘΕ, τη «Νέα σκηνή Τέχνης», την «Actors touring company» του Λονδίνου κ.α.

Εχει εκδόσει 5 cd με τις θεατρικές του μουσικές. Είναι μέλος του συγκροτήματος «Χειμερινοί κολυμβητές» και του trio «Tabako».

Το 1994 ίδρυσε το σύνολο «Primavera en Salonico»,το οποίο σε συνεργασία με τη ΣαβίναΓιαννάτου έχει εμφανιστεί σε όλες τις μεγάλες Ευρωπαικές πόλεις,

τις ΗΠΑ,την Αυστραλία, την Αργεντινή,την Ταιβαν,το Ισραήλ κ.α συμμετέχοντας στα σημαντικότερα διεθνή φεστιβάλ.

Διδάσκει στο Τμήμα Θεάτρου της Σχολής Καλών Τεχνών του ΑΠΘ.

Στη συλλογη συμμετεχουν τα μουσικα σχηματα που εμφανιστηκαν στις συναυλιες στον ''1ο Οροφο'' απο το Νοεμβριο του 2007 εως τον Απριλιο του 2009



MUSIC FROM THE FIRST FLOOR

S.

Frederick Knight's catchy "I've Been Lonely for So Long" was a sizable R&B hit on Stax in 1972, and he wrote and produced Anita Ward's across-the-board smash "Ring My Bell" in 1979. Knight cut his own "I've Been Lonely for So Long" in Birmingham, Alabama with a seasoned southern soul crew behind him, and hit again in 1975 with "I Betcha Didn't Know That."
I've Been Lonely for So Long

s.

"Extended Organ is a 'supergroup' of experimental sound artists whose members are culled from the ranks of that seminal West Coast 'slacker' noise cult the Los Angeles Free Music Society. The four members of Extended Organ have been improvising with sound for over two decades and although they have played together in various configurations in the past, this is the first time the quartet has ever played together as a total entity. The foursome each have active and well established careers on their own. Paul McCarthy is a world renowned art superstar. His work in Extended Organ consists of free form vocal/lyrical improvisations which play off the instrumental improvisations of the other three members while at the simultaneously setting a mood, telling a story and responding to the general ambience of the performance situation. Fredrik Nilsen is a founder of the Los Angeles Free Music Society and a noted photographer. Nilsen conceptually founded Extended Organ in which he plays prepared acoustic guitar and both an antique analog organ and a modern digital keyboard, all in an especially unorthodox style. Fredrik's approach, which acknowledging minimalist composers, spins equally from gothic horror movie soundtracks. Joe Potts is a founder of the LAFMS and mastermind of Airway, which has been called 'the gnarliest noise band of all time'. Potts is omnipresent on his chopped optigans -- instruments he crafts from dismantled 70s optical samplers. With up to 64 simultaneous samples per instrument, the chopped optigan is the ultimate drone machine. Tom Recchion is a founder of the LAFMS and member of the Doo-Dooettes and B People. Recchion uses Kurzweil, guitar, radio, CDs, etc. to accent the other instruments as well as the occasional lush crescendos. Tom also acted as producer on the record as well as mixing and processing the sound of the entire ensemble live during the recording. Three years in the making, XOXO is creepy and wonderful. It may sound like a gross exaggeration, but we are wondering if this CD might not just be the Sgt. Pepper's of noise records."

xoxo

s.

Nightmare in Crook County Vol. 1

S.

''...Sakata, Corsano, and Gray have mastered well through numerous collaborations and releases, but it all comes to glorious fruition within Friendly Pants. The idea that is has taken 20 years for Sakata's music to reach American shores once more is a sad thought but we can be glad that Friendly Pants will serve as a constant reminder that the best the jazz world has to offer will always find its way back home. ''

FRIENDLY PANTS

S.

"Purveyor of expertly controlled chaotic saxophone experimentation John Butcher (UK) is joined by German contrabassist Torsten Muller and Vancouver drummer Dylan van der Schyff for this recording from the Vancouver Jazz Festival. The former British theoretical physicist leads the trio through their first performance together with almost inhuman attention to musical detail."

Way Out Northwest
s.

''Trios for Deep Voices, a five-movement work scored for the unusual ensemble of three double basses, is a sort of musical evocation—sometimes directly, sometimes indirectly—of the sounds and life that composer Roberts experienced in the jungles of the Star Mountains region of Papua New Guinea, where he lived in the early 1980s.''

trios

s.

..με αφορμη το σινε ποστ του manand (με τον οποιο συμφωνω σε γενικες γραμμες με τη λιστα του) βαζω και το δισκακιον τουτο, σαουντρακ μεταμεσονυχτιας ενοχης απολαυσης...

7th

s.

20. the others
19. garden state
18. requiem for a dream
17. le fabuleux destin d'amelie poulain
16. big fish
15. oldboy
14. memento
13. little miss sunshine
12. donnie darko
11. kill bill 1
10. crouching tiger, hidden dragon
9. the lives of others
8. mystic river
7. pan's labyrinth
6. 13 tzameti
5. spring, summer,fall, winter...and spring
4. let the right one in
3. les invasions barbares
2. eternal sunshine of the spotless mind
1. in the mood for love

με μεγαλη μου λυπη μεινανε εκτος για λιγο τα παρακατω:

the lord of the rings: the fellowship of the ring
hidden
the royal tenenbaums
spirited away
25th hour
y tu mama tambien
high fidelity
ghost world
the man without a past
the bourne supremacy
gran torino
yi yi

update 16/11/09
-----------------------------------
θελω απλα και μονο να αναφερω μια ταινια την οποια μολις θυμηθηκα και αν αυτο ειχε γινει
νωριτερα μαλλον θα ητανε μεσα στην 20-αδα...
την εχω δει πανω απο 5 φορες και καθε φορα τρομαζω ολο και περισσοτερο...απιστευτος συνδυασμος τρομου, εντασης, κλειστοφοβικα συναισθηματα και πολλα αλλα...ΤΑΙΝΙΑΡΑ!!!

The Descent (2005)

(manand)

...In 1968, the Plastic Cloud recorded, quite simply, one of the greatest psychedelic albums ever made. This is one hip album, full of catchy melodies and hippie harmonies, as well as some of the most superb (and trippiest) fuzz guitar ever recorded. There is no point singling out a specific track, they are all excellent?one is equally as good as the next...

PLASTIC CLOUD

(manand)

from the nile

''..The Mike Sammes Singers were one of the leading backing vocal outfits in the UK during the 60s, and can be heard on everything from Disneyland Records’ Wizard of Oz albums to “I Am the Walrus.”..''

music for biscuits

s.

blessed are the STRONG

s.

various recordings of S.H

various recordings from 78's of the obscure post-war Rebetika singer Stella HashKill..

s.

''Circles Around The World is a various artists compilation that can be seen as a celebration of the 25th release in Audiotalaia Netlabel. Over this two years of work we have been releasing works from artist all around the world. For this special occasion we want to deliver a gathering of works under a common concept....''

CIRCLES AROUND THE WORLD

s.

In the early 70s, British DJ John Peel was a great supporter of what later became known as Krautrock and Can recorded four sessions for his show (15 - 20 minutes recorded live at BBC studios) from 1973 - 5. Can's albums were all recorded at their own studio with Holger Czukay producing, so this really captures them in an unfamiliar setting. Can always incorporated a lot of improvisation in their shows, and most of the music on this CD is what Holger Czukay called 'spontaneous compositions.'

The CD starts with a lengthy piece from what is generally regarded as the classic Can line up with Damo Suzuki on vocals. Up The Bakerloo Line With Anne (possibly named for DJ Anne Nightingale) starts rather tentatively with some of Karoli's trademark blues raga guitar, before quickly hitting a Future Days style groove. Czukay and Liebezeit hold down the rhythm, while Karoli and Suzuki free form all over the place and Schmidt adds odd washes of colour from his keyboards. This is Can at the top of their game, demonstrating an almost telepathic interplay and conjuring up mind spinning sounds apparently out of thin air, although the fact that they had been playing together 10 hours a day for several years probably helped. When the piece fades out at 18.46 you're left with the feeling that they'd just got started and there was much more to come. The next two tracks were recorded 18 months later, and bear a strong resemblance to side 2 of Soon Over Babaluma. Return to BB City is a low key piece which recalls Quantum Physics, dominated by Schmidt's ghostly keyboards and Liebezeit's understated percussion. Tape Kebab is a fuzz guitar led freak out in the mould of Chain Reaction, but even more intense - this is one of Karoli's finest moments as a guitarist. Tony Wanna Go was recorded 9 months earlier, and is another long improvisation with some jaw dropping moments. Suzuki may have left, but in 1974 Can had lost none of their drive and fire. The last two tracks were recorded in 1975 at around the time of Landed, and show the band just past their peak. Geheim (Half Past One), as the title implies, is a reworking of Half Past One from Landed and features Michael Karoli on vocals - it's atmospheric stuff, but lacks the intensity of what went before. The last track is based around Irmin Schmidt's piano playing, and there is a splendid interplay with Karoli's guitar. It's highly structured and probably the closest thing to mainstream prog on the album, but as with Geheim there's a feeling that the band have lost some of their other worldliness and that they have started playing safe.

This is an excellent collection of largely original material from one of the seminal Krautrock bands, and shows their development over 2 years and 3 studio albums. Few of their contemporaries had such a talent for improvisation - King Crimson were probably the only other band at the time who had the same kind of interplay - but very little of their spontaneous music has been officially released. This album shows just how good they could be. Strongly recommended.

THE PEEL SESSIONS

(manand)

Virtually ignored upon its initial release, Laughing Stock continues to grow in stature and influence by leaps and bounds. Picking up where Spirit of Eden left off, the album operates outside of the accepted sphere of rock to create music which is both delicate and intense; recorded with a large classical ensemble, it defies easy categorization, conforming to very few structural precedents -- while the gently hypnotic "Myrrhman" flirts with ambient textures, the percussive "Ascension Day" drifts toward jazz before the two sensibilities converge to create something entirely new and different on "New Grass." The epic "After the Flood," on the other hand, is an atmospheric whirlpool laced with jackhammer guitar feedback and Mark Hollis' remarkably plaintive vocals; it flows into "Taphead," perhaps the most evocative, spacious, and understated piece on the record. A work of staggering complexity and immense beauty, Laughing Stock remains an under-recognized masterpiece, and its echoes can be heard throughout much of the finest experimental music issued in its wake.

LAUGHING STOCK

(manand)

New music by Gu Zheng performer Bei Bei and Ubiquity producer Shawn Lee marries a unique blend of ancient tradition with studio trickery and spiritual jazz. This uplifting, genre-bending, soundclash recalls the afrocentric harping of Dorothy Ashby, the hypnotic style of Alice Coltrane, and the organic electronics of Fourtet and Quantic.

For this introductory, limited edition 10” EP, we include the original and instrumental versions of “Make Me Stronger,” with a vocal by Georgia Anne Muldrow who has recently produced and sang on records by Mos Def and Erykah Badu (she is also working on a solo record for Ubiquity.) Alongside these, is a storming version of the Billy Paul psychedelic soul opus “East.” And a remix by UK producer Floating Points (whose “Love Me Like This”, “Vacuum Boogie”, and “Radiality” releases have been turning heads all year long) takes the track deep into FP vs. Wu-Tang territory

απλα εκπληκτικο!!!

μπιουτι & δε μπιτς

(manand)

HIPNOSIS

The title track is a snake charmer kind of vamp that is an excellent showcase for both the rhythm section and the soloists. Of particular note is the way drummer Higgins and pianist Lamont Johnson interweave the basket out of which emerge the serpentine horn lines of Jackie and Grachan. Some might call this a super-sophisticated "Sidewinder".

"Slow Poke" written by Jackie, is a soulful off-the-wall composition that recalls the best elements of early Ornette Colman but remains all Jackie just the same. The rhythm section comes and goes as it pleases, with pianist Johnson leaving large holes for Scotty Holt and Higgins to move about and much of the harmonic structure, like the time, is taken for granted or approached from relatively arbitrary angles by the horns. The common conception is simply no longer one of grooves but is expanded to include dramatic movement. Bassist Holt, who was a protege of Jackie's, solos with excellent facility and covers all the bases.

"The Breakout" does just that after a brief skirmish with a cross time opening theme. The soloing employs tone rows rather than chord changes. Despite the avant garde format, the soloing is somewhat traditional in character, and after a short series of chord resolutions, the piece abruptly ends.

"Back Home" by Moncur, reminds the listener that Grachan put in several long seasons on the road with the Ray Charles Band. It opens with a dramatic lament, with Higgins kicking loosely on the background, and one can almost visualize a country rode, down which comes a cow-cow boogie of the pure bred variety. The groove of this tune is authentic funk, more like Archie Shepp's tributes to his roots than the artificial twist jazz that was fashionable in the 60s.

The date ends with Johnson's "The Reason Why", a very rational chord progression followed by a string of logical rhythm kicks, out of which comes Jackie, flying upside down and sideways, wonderfully free and being buoyed up by the currents being generated behind him. His off-hand outside-in approach is a good closer to his package, as it demonstrates the fifties, sixties and even seventies elements in his playing.

(manand)

Basically an expanded version of Munich and Elsewhere (which was itself a compilation of unreleased material), with the addition of the unreleased LP Faust Party Three (parts of which had previously appeared only as limited-edition EPs and singles), as well as two previously unreleased tracks. Parts wed brutal drum patterns to insistently repetitive guitar riffing; there are prog rock keyboard passages that slightly recall Soft Machine; and "Don't Take Roots" sounds like an unintentional satire of the cheap California psychedelia that you might hear on a late-'60s youth culture exploitation flick. Sometimes it even sounds like a parody of early King Crimson-type pomp rock. It would be nice to have some liner notes explaining exactly what comes from where, but basically what you need to know is that it was all recorded in Germany from 1971 to 1975 and is on par with the quality of the albums they actually released during that time.

71 MINUTES OF FAUST

(manand)

Why any critic would think that Hank Mobley was at the end of his creative spark in 1963 -- a commonly if stupidly held view among the eggheads who do this for a living -- is ridiculous, as this fine session proves. By 1963, Mobley had undergone a transformation of tone. Replacing the scintillating airiness of his late-'50s sides was a harder, more strident, almost honking one, due in part to the influence of John Coltrane and in part to Mobley's deeper concentration on the expressing blues feeling in his trademark hard bop tunes. The CD version of this album sets the record straight, dropping some tunes form a session months earlier and replacing them with alternate takes of the title cut and "Carolyn" for historical integrity, as well as adding "Syrup and Biscuits" and "Comin' Back." Mobley assembled a crack band for this blues-drenched hard-rollicking set made up of material written by either him or trumpeter Lee Morgan. Other members of the ensemble were pianist Andrew Hill, drummer Philly Joe Jones, and bassist John Ore. The title track, which opens the set, is a stand-in metaphor for the rest: Mobley's strong and knotty off-minor front-line trading fours with Hill that moves into brief but aggressive soloing for he and Morgan and brings the melody back, altered with the changes from Hill. On Morgan's "Me 'n' You," an aggressive but short bluesed-out vamp backed by a mutated samba beat, comes right out of the Art Blakey book of the blues and is articulated wonderfully by Mobley's solo, which alternates between short, clipped phrases along the line of the changes and longer trill and ostinatos where the end of a musical line is dictated by his breath rather than a chord change. Morgan is in the pocket of the blue shades, coloring the ends of his lines with trills and short staccato bursts, warping them in Hill's open, chromatic voicings. All eight cuts here move with similar fluidity and offer a very gritty and realist approach to the roots of hard bop. Highly recommended.

NO ROOM FOR SQUARES

1st track

(manand)

Originally released on Columbia in 1968, The United States of America is one of the legendary pure psychedelic space records. Some of the harder-rocking tunes have a fun house recklessness that recalls aspects of early Pink Floyd and the Velvet Underground at their freakiest; the sedate, exquisitely orchestrated ballads, especially "Cloud Song" and the wonderfully titled "Love Song for the Dead Che," are among the best relics of dreamy psychedelia. Occasionally things get too excessive and self-conscious, and the attempts at comedy are a bit flat, but otherwise this is a near classic.

THE UNITED STATES OF AMERICA

(manand)

ALFIE

(manand)

...''in death i've found the answer
in death i live again
fear not the reaper's blade
it does not mean the end
it never really ends....''



TRANSCENDENCE





R . I . P

R.I.P.

OFF THE WALL

(manand)

THE KILLER ROBOTS EP

"Obey follows up their lauded A-Trak project with this beats excursion from two of LA's finest: Free The Robots and Lab's own Gaslamp Killer. Free The Robots starts off the EP with the maniacal psyche beats of "Clocks and Daggers." Wicked stuff for the horror-minded. GLK tags in with "Show Stopper," a heavily Indian flavored track with that tricky drum programming that we expect from this dude. FTR tags back with "The Bearded Lady Theme," a bluesy, playful number that harks back to their first EP release (also available digitally at the lab). GLK comes in for the finale, "Zalim," a thick number that will take you to the back alleys of Mumbai." - turntablelab.com

(manand)

ALL STRUNG OUT

Like most of Mongo Santamaria's Columbia efforts, All Strung Out consists largely of blistering Latin soul renditions of contemporary pop hits -- the formula may frustrate listeners yearning for a return to the traditional charanga sensibilities that defined the percussionist's early dates for Fantasy, but there's no denying the sheer energy and infectiousness of this music. As always, Santamaria approaches familiar pop texts like "Day Tripper" and "Ain't Too Proud to Beg" with deep respect and understanding, creating soulful, righteous rhythms that snake in and out of the original melodies with brilliant precision. Arranger Marty Sheller is in top form here as well, complementing Santamaria's relentless conga drumming with soaring horns and scorching piano -- the album's centerpiece, "Do Your Thing," may signify the apex of their collaboration, capturing Latin soul at its most transcendentally funky.

(manand)