add n to (x)
...As with all of Add N to X's work, Revenge of the Black Regent uses quirky, unpredictable vintage technology to describe -- and celebrate -- the ghosts in the machine..
(manand)
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...As with all of Add N to X's work, Revenge of the Black Regent uses quirky, unpredictable vintage technology to describe -- and celebrate -- the ghosts in the machine..
(manand)
Cathode
....ζεστος αναλογικος ηχος πιστος στη διδαχη του κατα b.o.c ευαγγελιου
που θελει την electronica του γλυκια,παιδικη, αλλα ενιοτε παραξενη και μελαγχολικη..
σπεσιαλ
strgzr
o yuki conjugate
....θα μπορουσες να τους χαρακτηρισεις tribal ambient λογω της ιδιαιτερης χροιας των διαφορων κρουστων που χρισιμοποιουν.
καπως ετσι θα ακουγονταν ενα world tribute στον Brian Eno..
Exploring "new cross cultural currents in music's textural path," this group of "ethno primitive percussionists" create atmospheric sound environments comprised of an eclectic synthesis of tongue drums, marimbas, body percussion and other world instruments.
"Intricate droning soundscapes [are] achieved by ... Robert Hampson and ... Charles Webster ... The slow keyboards wash over delicate pulsing drum loops and by the time the bass kicks in you can almost imagine a sea of hands held high in dance anthem fervour."
(Hybrid Electronica)
undercurrents
strgzr
Cottonwoodhill
Cottonwoodhill is one of the trippiest records ever made, capturing the intensity of the peak LSD experience far more successfully than any Timothy Leary recording, and even today, when many such documents from that era can sound silly and dated, Brainticket's fascinating debut still holds hallucinogenic potency
...like an acid trip out of control, while at times the various sound effects take over completely...
brainticket-cottonwoodhill
(manand)
izipho zam
...That said, Izipho Zam is a wonderful recording, full of the depth of vision and heartfelt soul that has informed every recording of Sanders since
..Guests include Sonny Sharrock, Lonnie Liston Smith, Chief Bey, Cecil McBee, Sirone, Sonny Fortune, Billy Hart, Howard Johnson, and others
...Sanders leads the band in a gorgeous lyric ride that brings together all disparate elements in his world and ours, making this track -- and album -- an exhilarating, indispensable out jazz experience
pharoah sanders-izipho zam
(manand)
..................................?
..τιποτα περισσοτερο και τιποτα λιγοτερο απ'αυτο που περιγραφει ο τιτλος του cd
The Curious Universe Of Outsider Music....τα παρατραγουδα του U.S of Aphasia(κυριως)
επιλεγμενα απο την αντιστοιχη αννιτα πανια(στο πιο αβαντ φαρτ ομως) irwin chusid..
(ενταξει καμια σχεση....το βιβλιο ειδικα ειναι φοβερο)...απιστευτοι καλλιτεχνες(?) με ειδικα ταλεντα,ετοιμοι να κατακτησουν τον κοσμο..
z-vol.1
z-vol.2
z-inside folder
irwin chusid
syclops
Maurice Fulton again proves he's one of the most innovative producers in todays dance music. "Mom, the video broke" is an insane undefineable track with acidic bleeps, analogue cracks and suprising percussion, sounds like a track with spasms. We don't think we've heard anything like this before. ‘The E Ticket’ is just as big a head fuck, like when you first heard Carl Craig’s ‘Bug In The Bassbin’. Electronic clicks, drum snaps, whiplash cracks and rising, swelling jets of noise, melting into a beautiful spaced out synth and piano outro. Strange, but brilliant. [electro-house]mom the video broke 12''
strgzr
HAPPY HYPO
Introduced by the English label Spymania, Hypo, aka Anthony Keyeux from Paris/ France, followed his own playful-electro peregrinations on A.S. He's just back w/ another falsely heterogeneous collection of songs, for his 3rd real album "Random Veneziano", a hectic blend of bubble-gum pop bits, bedroom orchestra, messy glicks'n'cuts, noisy pop overtones, synthetic new wave waste, plunderphonic hijacking... Hypo twists and strangles pop music, proudly violating sacred boundaries and conventions.RANDOM VENEZIANO
STRGZR
When Evening Falls...
..δεν το λες''μεγαλο'' δισκο...ομως η midi χαρμολυπη του αγγιζει ευαισθητες χορδεςmore or less
strgzr
THEBUGISHERE
One of the more common criticisms of Jamaica's music from those who don't typically listen to it is that it's monolithic. That it all. Sounds. The. Same. I can't remotely agree with the sentiment, but those who have this idea in their head don't often care to reconcile with the possibility that they may be mistaken. There's no such problem on Pressure, as The Bug skulks around the dancehall underground working with a variety of sounds and vocalists. He takes a distinctly outsider's view to the genre and scene, blending it with elements of his own dubby ambient work and other white-boy dancehall crossovers-- German Basic Channel-esque minimalism, hard-edged beats, and ruff-in-the-jungle ragga.Calling The Bug a Jamaican artist is, naturally, a fallacy in the first place. It's one of many pseudonyms for Kevin Martin, who also worked in Sonic Boom's space-rock collective EAR and who, with Justin K. Broadrick, creates ambient techno as Techno Animal and hip-hop as Ice, among other projects. Despite his restless genre-hopping, Martin has enjoyed his greatest successes working with elements of dub sounds and processes, most notably his first album as The Bug (1997's Tapping the Conversation-- yes, named for the Coppola film) and his work as the curator of the landmark Macro Dub Infection compilations.
On Pressure, Martin's exploration of the wildly creative and vital sounds of contemporary dancehall works best when he's at his most abrasive and least distant from its Jamaican progenitors. Tracks with ragamuffin hip-hop pioneer Daddy Freddy ("Run the Place Red" and "Politicians and Pedophiles"), longtime Martin collaborator Toastie Tailor ("Beats, Bass, Bombs, and Weapons"), and the Rootsman and He-Man ("Killer") are the record's highlights, gruff and tumbling shards of sound system greatness.
When straying further from dancehall's frenetic, digital snap/crackle/pop, The Bug is less successful. Providing variety-- but with less interesting results-- are a handful of collaborations with London poet Roger Robinson, who offers spoken-word sentiments over sly ambient waves and rolling basslines, and former Rhythm & Sound mate Paul St. Hilare, who chips in with some Horace Andy-like falsettos.
Pressure is another blow to what I thought was an irreversible dislike of Tigerbeat6 Records and the juvenile, prankster-like approach to music that seemed to be the only feather in its creative cap. Then, after years of churning out sonic sludge-- often slathered over the works of far more creative artists-- dj/Rupture came along and had me at hello. Pressure (released on Rephlex in the UK) is another winner from the label. The more kinetic and abrasive the record gets the more it appeals to me, but its melange of elastic bass, distorted beats, and spacious pools of electronic dub offers a bit of something for everyone.PITCHFORK
release the pressure...(megaupload)release the pressure........(rapidshare)
strgzr
Sketch Show
Truly the most versatile musician I've ever heard of, Hosono has done it all, from his folky Happy End days, to the proto-synth and electronica of Yellow Magic Orchestra, to some noodling around by himself, and then finally rejoining his buddy from YMO to create Sketch Show. For being an old guy, this album is really a testament to how musically open-minded Hosono seems to be. This album can best be described as kind of mid-90's, laid-back electronica, kind of reminiscent of Bjork or Mum, but more delicate and less vocal-centricloophole
strgzr
the doldrums
After years of recording in relative seclusion in the hills of los angeles, ariel pink (the first non-animal collective member on the paw tracks roster) makes his official paw tracks debut with "the doldrums". originally a handmade cd-r release a couple years back, "the doldrums" by ariel pink's haunted graffiti was discovered by the animal collective during one of their west coast tours and became an immediate favorite. Recording at home with a guitar, bass, keyboard, and 8-track (the drum sounds are all unbelievably created with his mouth), Ariel Pink blends Lite FM and warped lo-fi pop into something beautiful and confusing, yet highly involving.The Doldrums
Thod.
lazy line painter jane
The charm, for me, of Belle and Sebastian is their ability to take the famous British wit (from the tradition of the Smiths and the Beautiful South) and subtract from it the self-obsession characteristic of some of their predecessors (particularly Morrissey). Like the Smiths and the Beautiful South, though, Belle and Sebastian are also fond of writing pop songs not from the first person, but from the perspective of another person. The EPs compiled in this box set capture Belle and Sebastian at their very best, and rank second only to "If You're Feeling Sinister" in the history of Belle and Sebastian recordings.
Both Dog on Wheels and 3..6..9 Seconds of Life are nearly flawless. The highlight of Dog on Wheels would have to be "String Bean Jean," which is one of my all time favorite Belle and Sebastian songs including the brilliant line, "We call her string bean jean 'cause the label on her jeans says 7 to 8 years old, that's pretty small." The highlight of 3..6..9 Seconds of Light for me is "Beautiful," which is in the tradition of songs like "Mary Jo," and "Judy and the Dream of Horses." Even with lines like, "everyone she knew thought she was beautiful, only slightly mental," it manages to be strangely touching. The EP from which the title of the set was taken is certainly the weak point. It features two good songs on par with the other EPs: "Photo Jenny" and "You Made Me Forget My Dreams." It also features, however, "Lazy Line Painter Jane," which features "guest vocals" by Monica Queen, who is rumored to be just one of the members of the band singling like an idiot, and "Century of Elvis," which features the same music from another song with rambling about Elvis over the top of it.
Overall, in spite of the weakness of the Lazy Line Painter Jane EP, the strength of the other two is more than enough to make this a worthy purchase for long time fans (who probably already have it), and also a great introduction to those who have been hesitant to listen to Belle and Sebastian. Super, SUPER , SUPER!!!
Belle & Sebastian - Lazy Line Painter Jane
the plural of the choir
"Settlefish does what they do very well. The highest points on The Plural Of The Choir are found in delicate, pretty instrumentation, which when pitted against the rough post-emo tendencies of hoarse vocals and strident volume strikes a huge blow for melodic music. There is an abundance of detail beneath the familiar sound, and it makes The Plural Of The Choir a worthy listen. The rock is punchy and strained, the squalls are loud and the pace speeds aggressively. What is appealing is that there is always another layer, whether it be in bubbling upswing, the clicking momentum of hand claps or in tender admiration of Robert Smith. Settlefish's surprising moments also seem the most precious to their lifeblood, as the little things really do add up for them."Ιταλοί από τη Bologna.
Settlefish - The Plural Of The Choir
Thod.
subtly infectious
There seems to be an ever growing number of electronic music fans who like their music to fall 'between the cracks', to shun any kind of formula and embrace a certain level of musical syncretism.
The Egg are just one such variegated band who might well crop up at any one of the summer festivals. Indeed, they have already been a big hit at the Big Chill over the years, and previous sets at Glastonbury and Homelands have not gone unnoticed by the dance and critical media alike.
The band Ned and Maff Scott plus live members - has everything a modern audience seeks, it seems: myriad musical references, a slick production edge that blends textural balance with a slightly abrasive grain, and a live act that stands up to the sophisticated studio output.
Forwards is the band's third LP, and their first for chill-out dons Bar De Lune following a departure from Indochina where they released previous LP's like Albumen and the more bombastic sophomore effort, Travelator.
The new album is preceded by the single "Venice Beach", a swirling, romantic track that boasts a slight sassy swing, a laconic, liteweight groove and a more expansive Air-esque moodscape.
Don't be decieved though. The band's ability to switch it up between rock-tronica (see opening cut "Wall"), brimming, psychedelic warmth ("Walking Away") and upbeat funk grooves ("Funky Dube") is famous.
Not for nothing have they been long time associates of fellow quirksters Fila Brazilia, swapping remix favours and appearing on the latter's compilations in the past.
But where Brazilia have honed their sound into something complex, deep and very identifiable, The Egg still seem to have a 'loose canon' quality to their music which makes it hard to pinpoint any kind of recognisable signature and renders them a little more, well, maverick.
On "Walk On The Snow" and "Angel Of My Soul" they appear gorgeously supine, even glacially chilled, while on the title track or "She's Terrific", the band come alive with surprising alacrity, merging their ethereal motifs with punchy attitude and unabashed rock riffs.
It's this reluctance to stay in one place that makes The Egg a band for our times. Relaxed, rambunctious and quietly rebellious, Forwards is one of the most subtly infectious albums released this year and a successful attempt - intentional or not - at capturing something of our current summer-fest zeitgeist.bbc.co.uk
Movies Is Magic Real Life Is Tragic
With all the recent praise heaped on Smile, Orange Crate Art still remains largely under-recognized and under-appreciated. Sure, Smile was supposed to be this grand Copelandesque landscape of America, from Plymouth Rock to The Grand Cooley Dam. But for my money Brian and Van Dyke Parks did it so much better with Orange Crate Art. Having written, what everyone unanimously agrees to be the most California of all anthems, Fun Fun Fun, I Get Around and California Girls, Brian turns his attention to a California not of Hot Rods and Surf, but of sun drenched valleys rich with citrus and vine. Here Wilson and Parks celebrate and pay homage to the likes of Jack London and John Steinbeck. And if all this were not enough, we're treated to My Hobo Heart, a latter day Van Dyke Parks / Michael Hazelwood masterpiece. There's also the lovely Palm Tree & Moon, a dreamy little ode to a moonlit beach, territory not unfamiliar to Brian. And Summer In Monteray is so unabashedly nostalgic it would even make Clint Eastwood Blush. If you haven't become familiar with this so very underated collection yet, you really can't call yourself a Brian Wilson / Van Dyke Parks fan until you give this one a fair shot. You might even find yourself humming Sail Away or Hold Back Time while in the shower. I know I did.orange crate art
strgzr
i'm so lonesome i could sing...
The Lonesome Organist is the name used by Chicago-based multi-instrumentalist Jeremy J. Jacobsen. The word lonesome is used not in the existential sense, but rather because he's a one-man band. Jacobsen's musical arsenal includes organs, toy piano, regular piano, saws, harmonicas, whistles, melodica, guitars, steel drums, pots, pans, and drums. Most of the instruments were played simultaneously and Jacobsen would generate a rhythmic bed using drum contraptions, tap shoes and electronic gadgetry. The few vocal numbers include shouts, mock-yodels, or enthusiastic expressions of compelling inscrutability.
The music evokes everything from a carnival to an old silent movie house, and generates images of tropical dance parties and a mad inventor living alone at the top of a mountain. The songs are short and the shifts of mood can be drastic, but it's all imbued with the consistency and personality of one man. The Lonesome Organist is part congenial tour guide, part gleeful prankster, and mostly traditional romantic.
one man band show
strgzr
Home
The EP X (Trance Syndicate, 1996), arranged by the Devil's Isle Orchestra (horns, strings and choir), is their most structured and therefore accessible work, although its stylistic excursions range from hyper-distorted garage-rock (Halloween) to Pink Floydian choral crescendos trasecolati crescendos (Pretty Little Head). My Passion even revives epos, tension and drama of Van Der Graaf Generator's progressive-rock. Underwater and Children Suite perhaps represent the authentic mission of the band: cycles of delicate sounds, chords in light crescendos, whispered chants in the background.Piero ScaruffiX
STRGZR
caught the blast
Party of One are a tight, angular and intriguing three-piece from the coldest state in the USA, Minnesota, and are based around the enigmatic presence of guitarist / songwriter Eric Fifteen.As well as Eric on guitar and vocal duties, Party of One comprises Terrika Kleinknecht playing the bass and sometimes singing, and Geoff McCusick playing the drums. Geoff teaches fourth grade and Terrica teaches girls to play the drums, as well as playing the same in the Portland-based excellently named Pom Pom Meltdown.
Party of One have played round and about the Twin Cities, but not a lot beyond. A brief tour to the UK in March 2003 to coincide with their first FatCat album release 'Caught In The Blast' began their foray into the world beyond. A second single, 'Snap You Like A Twig' was released in February 2004, and was followed by another tour of the UK and Europe.
PARTY OF ONE - CAUGHT THE BLAST
Thod.
stoned soul picnic
Stoned Soul Picnic dates from the earlier part of Roy Ayers' career as a leader, before he delved heavily into R&B and funk fusions and instead concentrated more on soul-jazz grooves. Ayers leads a septet including such big names as pianist Herbie Hancock, altoist Gary Bartz, bassist Ron Carter, and flutist Hubert Laws. The Laura Nyro-penned title track foreshadows Ayers' later forays beyond the boundaries of pure jazz, and the group keeps the groove percolating nicely throughout, making Stoned Soul Picnic one of Ayers' better jazz-oriented outings(allmusic)
roy ayers - stoned soul picnic
(manand)
summer...
the dyslexic porn star who funked in her space...το κομματι με τον απιθανο αυτο τιτλο ηταν b side στο "part of the process" single των morcheeba
ισως οτι καλυτερο εχουν γραψει...
(manand)
We Are Together
Στο εξώφυλλο μια φωτογραφία τραβηγμένη από τον Κuniyuki. Απεικονίζει μια αγορά κάπου σε κάποιο μέρος του κόσμου, Δεν καταλαβαίνεις μέρος,οι σκιές στα πρόσωπα και στα κτίσματα δεν αφήνουν να δεις. Το νιώθεις όμως. Είμαστε Μαζί, έστω και αν δεν γνωριζόμαστε.
Μια κοσμοπολίτικη αύρα στοιχειώνει το δίσκο από την αρχή μέχρι το τέλος. Τα κρουστά και τα ηλεκτρονικά χαριεντίζονται, βάζοντας στο παιχνίδι την Jazz και τα ατμοσφαιρικά ηχοτόπια, που ξεπηδούν από τους συνθετητές του Ιάπωνα και φέρνουν την θάλασσα ένα βήμα πιο κοντά σου.
Κάπως έτσι θα ακουγόταν η ιδανική Cafe Del Mar συλλογή, μπολιασμένη με την αισθητική της Peacefrog και τον Pat Metheny να χαρίζει τις πιο Balearic μελωδίες του.
Ίσως η παραπάνω περιγραφή να απωθήσει πολλούς νομίζοντας ότι έχουν να κάνουν με τον Jose Padilla της Ιαπωνίας που κάνει μουσική για after parties στην Iwo Jima.
Ξεχάστε λοιπόν όλα τα παραπάνω, και κρατήστε ότι ο Κuniyuki παίζει άπλα όμορφη Μουσική, που σου φέρνει εικόνες καλοκαιρινές, λιακάδα, τον ήχο του κύματος και Νοσταλγία για τις πιο όμορφες διακοπές (που δεν έχεις πάει ακόμα). ΤRANZISTOR
we are together(new link rapidshare)
strgzr
Elevators To Insanity
Ο δίσκος λέγεται "Deleted Scenes From The Transition Hospital" και είναι του βρετανικού συγκροτήματος The Axis Of Perdition. Κυκλοφόρησε πριν από δύο χρόνια και, ομολογώ ότι τους τελευταίους έξι μήνες που τον απέκτησα, μπαίνει πολύ συχνά στο playlist μου.
Τώρα, για να μην έχουμε προβλήματα, να ξεκαθαρίσω ότι ο δίσκος είναι ένα παράξενο μείγμα black metal, industrial, κινηματογραφικής ατμόσφαιρας και παράξενου noise-ambient. Εν ολίγοις, δεν είναι μουσική για πολύ κόσμο, ούτε είναι και μουσική που κάθεσαι και την ακούς για να χαλαρώσεις. Στα 56 λεπτά που διαρκεί ο δίσκος, καθίσταται σαφές ότι το ντουέτο των Axis Of Perdition (Brooke Johnson και Mike Blenkarn) έχουν ως βασικό στόχο να δημιουργήσουν μια εφιαλτική ατμόσφαιρα διαρκούς απειλής και κινδύνου: σαν το soundtrack για μια ταινία τρόμου που παίζει μόνο μέσα στο μυαλό του ακροατή του δίσκου.
Οι Axis προσδιορίζουν ως βασικές επιρροές για τη μουσική τους το βιντεοπαιχνίδι "Silent Hill" και τον μέγα συγγραφέα τρόμου H.P. Lovecraft. Αν γνωρίζετε κάτι από τα δύο (...η δική μου γνώση περιορίζεται στον Lovecraft), μπορείτε να αντιληφθείτε για τι είδους ατμόσφαιρες μιλάμε... Πολύ περισσότερο, που η βάση της μουσικής τους είναι το black metal, ένα ούτως ή άλλως ατμοσφαιρικό μουσικό είδος (που βεβαίως στόχο έχει να δημιουργήσει ατμόσφαιρα κάθε άλλο παρά φιλική...). Μιλάμε, εν ολίγοις, για έναν εξαιρετικά παράξενο, ενίοτε απρόσιτο, θορυβώδη και πειραματικό δίσκο. Δεν λέω ότι είναι αριστούργημα, γιατί δεν είναι. Ωστόσο, ως ένα πείραμα λειτουργεί πολύ καλά (την πρώτη φορά που τον άκουσα, μου προκάλεσε μεγάλη ένταση και πέρασα όλο το βράδυ μου ακούγωντας διάφορους θορύβους που, βεβαίως, δεν υπήρχαν...).
Το ξαναλέω: το "Deleted Scenes..." δεν είναι για όλους. Ωστόσο, είναι αρκετά ενδιαφέρον για όσους "ψάχνονται" και δε φοβούνται και λίγο θόρυβο παραπάνω. Αν θέλετε, μπορείτε εδώ να πάρετε μια ιδέα για το πώς ακούγωνται οι Axis.ΚHLYST BLOGSPOT
STRGZR
Access To Axis
Look At Yourself
The thing I like about reviewing is that sometimes, blisteringly cool-ass stuff comes out of left field -- National Hijinx being a case in point. It's a mind-liquefying conflagration of dark dub and ballbusting breakbeats, sealed in a sonic envelope of dystopian ambience. Or it's just freaking wicked, take your pick. But be prepared to wet yourself as "National Hijinx" neutral drops into the trouser-venting drum and bass assault of "National Hijinx Part 2 (Mr. Swanks Menstore)", with a background loop that could've been stolen straight from Public Enemy. Wig out to the tech-frenzy-bass-menace of "Rusty Beats", one of the best arguments for buying a subwoofer I've ever heard. Curl into a foetal ball for the womb-sonic "50CC (Full Service History)" and stalk along with the eerie scratch-dubby "Tuft ER". Still with me? Try rattling your skeletal system to bits by dancing to the frenetic "Sloath", or revisit "Twin Peaks" on the tumescent, When-Will-It-Go-Insane-With-Beats (and believe me, it does, and choral vocal samples, too) "Eugolana Box". This is one of the best discs I've heard in ages -- but, given that Journeyman is Paul Frankland, a.k.a the brilliant Woob, I'm not surprised. Way, way, way worth the price of purchase, and then some.George "Runs Too Long" Zahora
the pros and cons of hijinx
strgzr
rage
Rage (DHR, 2001) is a single recorded by Atari Teenage Riot with Tom Morello (Rage Against The Machine) on guitar
(manand)
always with the first impression
...visions of brighter days to come
kept the shadows from my sight
made the present bearable
and obscured the fading light....
strgzr
βαρατε βιολιτζιδες
double a side single απο τους γερμαναραδες Wumpscut στο γνωστο anthem-ικο electro industrial στυλ τους...Αngriff!!!
strgzr
acquatica
While this is similar to their debut disc in its wide-screen cinematic instrumental rock, it's also an improvement, expanding their palette of lush textures and melodic ambitions without sacrificing any of their uniqueness. It should also be noted that this is the most melodic, and even upbeat, material ever heard on record by one of Bruce Licher's groups. The unusual layers of guitar clang and shimmer are still there, but the moods and timbres are more user-friendly (which is a compliment, not a knock); he's certainly come a long way since the dissonance that typified much of Savage Republic's records. The influence of Ennio Morricone remains, especially as there are occasional touches of harmonica, melodica, bouzouki, and even trumpet. At 75 minutes this might be on the long side, but it's worth hearing for highlights like the weeping guitar sounds of "Angelica," and pieces like "Ionia" that fuse grandeur and tension; "All Fish Go to Heaven" even betrays a bit of a lounge/exotica influence. If someone's looking for a post-punk equivalent to Morricone to score their films and hasn't been directed to Scenic yet, he or she should
ο φοβερος Bruce Licher με τους Scenic, το συγκροτημα που εκανε μετα τους Savage Republic...
εδω ο δευτερος τους δισκος εμπνευσμενος απο το νερο...
part1
part2
(manand)
A Few Of My Favourite Things
Μου είναι αδύνατο να περιγράψω τι παίζουν οι 3/4hadbeeneliminated χωρίς να τους αδικήσω με κάποιο τρόπο. Τα άλμπουμ τους ξεκινούν απο φολκ μελωδίες περνούν μέσα απο field-recordings και ηλεκτρακουστικά ηχοτοπία στο πόστ-ροκ, το noise, τον ελεύθερο αυτοσχεδιασμό την αμπιεντ κι όλα αυτά διατηρώντας ένα εντελώς προσωπικό στυλ. Κάπου ανάμεσα στον ήχο τών Talk Talk, Amm, Wolf Eyes, Leafcutter John, Volcano The Bear, Set Fire To Flames και Tim Hecker αυτοί οι πειραγμένοι Ιταλοί συνδιάζοντας ακουστικά και ηλεκτρικά όργανα με ηλεκτρονικούς ήχους, διαγράφουν το δικό τους μοναδικό (και μοναχικό) μονοπάτι και φτάνουν σε ένα ηχητικό αποτέλεσμα που είναι μελωδικό αλλά ταυτόχρονα βρίσκεται και στά όρια του πειραματισμού.
A Year Of The Aural Gauge Operation
Πίσω απο το όνομα Axolotl (που είναι ένα είδος σαλαμάνδρας και ένα απο τα πιό αστεία ονόματα γλωσσοδέτες στην αμερικανική noise σκηνή) βρίσκεται ο KarlBauer. Τυπικό παράδειγμα του τι συμβαίνει στο αμερικανικό underground τα τελευταία χρόνια, έχει στο ενεργητικό του τουλάχιστον 20 κυκλοφορίες απο το 2004 (βυνίλια, Cd, limited editions, 7'', κασσέτες, split και συνεργασίες). Αυτό που κανει το Way Blank να ξεχωρίζει είναι ο τρόπος που απο το θόρυβο και τα drones χτίζει εκστατικές ψυχεδελικές μελωδίες που θυμίζουν τις πιό αφαιρετικές στιγμές των Bardo Pond αλλά και το ηλεκατρακουστικό παραλήρημα του Fennesz.
Λο-φι ψυχεδέλια, freak-folk μπερδεμένη με αυτοσχεδιασμό και drones. Οι BlackForrest/Black Sea είναι το ντουέτο των Jeffrey Alexander (κιθάρα) και MiriamGoldberg (τσέλο) και η μουσική τους προτείνεται ανεπιφύλακτα στους φαν των Espers, Six Organs Of Admittance, Big Blood, Twinsistermoon κλπ. Η λο-φι παραγωγή και οι χαλαρές αυτοσχεδιαστικές δομές τους τοποθετούν έκτος του mainstream, και καθώς δεν έχουν την "παιδική αθωότητα" των Devendra/Cocorosie
Άλλος ένας noise τύπος απο αμερική ο Burning Star Core (C. Spencer Yeh το κανονικό του όνομα) έχει κι αυτός ένα τεράστιο καταλογο απο κυκλοφορίες (οι περισσότερες σε κασσέτες και limited release). Τα ηχητικά υλικά που χρησιμοποιεί είναι κυρίως βιολί και φωνή επεξεργασμένα και παραμορφομένα και συνήθως αγνώριστα. Το The Very Heart Of The World είναι ένα απο τα πιο χαρακτηριστικά δείγματα γραφής της noise σκηνής και θυμίζει τοσο τις αποδομημένες συνθέσεις του Tony Conrad όσο και το Velvet-ικό χάος του Sister Ray. To A Definitive PartyAtmosphere, που κυκλοφόρησε μόνο σε κασσέτα απ'όσο ξερω, είναι εντελώς διαφορετικό. Θα μπορούσε να έχει τον υπότιτλο "τι γίνεται όταν ένας noise-ας προσπαθεί να γράψει ποπ κομμάτια". Πολύ παράξενο αλμπουμ που ίσως σε κάποιους να θυμίσει Ariel Pink και John Maus αλλά για μένα πολύ πιο ενδιαφέρον κι απ’τους δύο. Τα κομμάτια είναι μελωδικά και ποπ χωρίς ίχνος ειρωνίας αλλα συνεχώς παραπατάνε, σκοντάφτουν, μπερδεύονται και βραχυκυλώνουν. Άλλα σημεία ανφοράς εκτός απο τους Ariel Pink και John Maus είναι πιθανώς οι Sun City Girls και οι Residents, ίσως και οι Magnetic Fields Ένα απο τα πιό θορυβώδη ποπ αλμπουμ που βγήκαν ποτέ και σίγουρα ενα απο τα πιο ενδιαφέροντα.
Ο Philip Jeck είναι ένας πολύ ιδιαίτερος μουσικός. Συχνά κατατάσεται σε αυτό που λένε sound art (μία κατηγορία που κανείς δεν ξέρει τι ακριβώς σημαίνει). Μια καλή ένδειξη για το τι μουσική γράφει είναι οτι η εταιρία που βγάζει τους δίσκους του είναι η Touch (Fennesz, Biosphere, Oren Ambarchi, Rafael Toral, Z’Ev). Ο Jeck χρησιμοποιεί εντελώς αναλογικά μέσα στις συνθέσεις του, κυρίως πειραγμένα πικ-απ (turntables) που παίζουν σε λάθος στροφές, παλιούς δίσκους και μια σειρά απο πετάλια και εφε. Το αποτέλεσμα δεν έχει καμία σχέση με το turntablism του KidCoala και των υπολοίπων της Zen και Lex και θα μπορούσε να χαρακτηριστεί ambient. Με αυτά τα πραγματικά πολύ περιοσμένα μέσα και χωρίς τη χρήση υπολογιστων και γενικά digital τεχνολογίας ο Jeck δημιουργεί αφαιρετικά ηχοτοπία με απίστευτη λεπτομέρια που ακούγονται εντελώς διαφορετικά απο την ambient των Orb ή τα διάφορα lounge-οειδή παρακλάδια της (βλ. Café Del
Το 2005 στο φεστιβάλ του Victoriaville έγινε μια απο τις πιό ενδιαφέρουσες μουσικές συναντήσεις. Ο πολύς Anthony Braxton, ένα απο τα μεγαλύτερα και πιό εδραιωμένα ονόματα της free jazz , αυτοσχεδίασε με τους λεχρίτες της noise σκηνής Wolf Eyes. Το αποτέλεσμα είναι αυτή η ηχογράφηση που αποτελεί απόδειξη για το πόσο κοντά είναι η free jazz (impro :P) και το noise.
[S. Overdrive]
this boy is girl faced....
Weirdo, funk pop that's sure to "git" the party started. Or not. Depends on the party. Depends on the party favors. Reminds me of this book I'm reading where a young Nigerian boy dresses up like Elvis singing and dancing for tips, but Skeletons & the Girl-Faced Boys are the polar opposite: white boys dressing up and getting funky à la Prince.
git
strgzr
σκυψε ευλογημενη!!
Improvisation not a fetish, but rather as material, as an object of process, as a means to save past gestures, those hardly left in memory – this is the musical procedure of the Frankfurt trio Blank.Blank consists of Oliver Augst (voice, no-input mixing board, harmonica, etc.), Christoph Korn (guitar, live electronics, melodica, and voice from time to time) and Rudiger Carl (claviola, a small keyboard with rhythm functions, a little accordion, no clarinet this time around, but with voice, a world premier!). The Frankfurt-based group has been working together for seven years, and not only musically. For five years they curated the experimental music festival Pol. They have long left the realm of the Aha-effect, since an improviser from the very beginning (Carl) has met up with two younger musicians (Augst, Korn).
They are a group that has developed a dream-like understanding among each other. And it hasn’t happened via the classical path of free jazz noise, but rather via a highly reflective method of always questioning themselves: this year they have released a LP, Duden (on Eventuell/a-Musik), which exists solely of endless grooves, loops in other words, each of which lasts less than a second. Whoever buys this LP, buys a current working instrument of the band. In the last few months, they performed, each with an LP and record player, and mixed the loops to a complete texture live. Post appears as a logical consequence of this working method. The CD contains 33 tracks with a complete time of 52 minutes; the tracks are based on loops for the most part. The material that forms the basis of the music was played spontaneously (“improvised”), but was arranged later on a computer into miniature songs.
Post is an exemplary expression of working antitheses. The music seems static and diverting at the same time; there are virtually no references and concessions on the zeitgeist, and yet Post is saturated with historical gestures – punk, techno, the proletariat song tradition, trace elements of blues and new wave.
And history, by the way. It’s exactly the opposite of what one’d expect: first Post was recorded, then Duden. Due to current reasons the last was published first. But it’s unimportant – Blank master their material, playfully not dictatorially. The strict logic of their work is always broken by the involuntary spontaneity and free imagination. Improvisation can’t be entirely subjugated.
The cover was designed by Albert Oehlen.
grobrecords
post
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