....demo tape των Vagabond που κυκλοφορησε πριν βγαλουν το ντεμπουτο τους μονο στη Νορβηγια. Περιεχει 3 κομματια απ'τον πρωτο δισκο σε διαφορετικες εκτελεσεις και ενα ακυκλοφορητο ,το Daylight..
VAGABOND DEMO 1993
s.
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....demo tape των Vagabond που κυκλοφορησε πριν βγαλουν το ντεμπουτο τους μονο στη Νορβηγια. Περιεχει 3 κομματια απ'τον πρωτο δισκο σε διαφορετικες εκτελεσεις και ενα ακυκλοφορητο ,το Daylight..
VAGABOND DEMO 1993
s.
...ο κιθαριστας των θεων TNT σε ενα σολο δισκο γεματο χριστογεννιατικο Vagabond meets Europop πνευμα....
UNDER THE MISTLETOE
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"One of the most accomplished reedists on the planet" - Ken
Waxman, Jazz Weekly
"Paul Dunmall is a monster sax player" - Massimo Ricci, Touching Extremes
"...a musician who can wail convincingly without abandoning his intellect" - All Music Guide
"...eclectic, capable on several instruments and full of wonder for the improvised form" - Andrey Henkin, All About Jazz
"Whether in a trio with Mujician's rhythm section or with the larger band of sympathetic fellow improvisers, Dunmall consistently
produces powerful and passionate music" - BBC Music Magazine (June 1994)
"...robust and heavy-hitting performer who has gone on to concentrate largely on free improvisation without sacrificing
melodic logic, a sparing lyricism and the technique to drop in on bebop occasionally." - John Fordham, The Guardian
BEBOPSTARBURST
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''Inspired by films such as The Ipcress File, Get Carter, On Her Majesty's Secret Service, Funeral In Berlin and The Day Of The Jackal, The Alpha Tapes evokes a cloak and dagger world of treachery and skullduggery with its mix of experimental electronica and cinematic orchestration.''
THE ALPHA TAPES
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''With their second album, the duo of songwriter Jim Lawler and producer Ben Rawlins have mapped out an intriguing journey into the realm of downbeat, and joined the ranks of those who can conjure up grey mornings before the curtains are even open. ''
i can do nice
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''Produced by longtime collaborator Scotty Hard (Wu-Tang, Prince Paul), Zen of Logic travels down many paths, all linked by two turntables and one mixer. From “Afro-Dub" (featuring Antibalas), “Ghetto Funk" (featuring John Medeski), “What is Jazz?" (featuring
The theorem of turntablist-as-musician has been proven in the capable hands of DJ Logic, who, with jazz as his foundation, barreled through barriers to become a wax innovator, crossing genres and sprinkling his sound across the map.
Not just another deejay from around the way (though he is from the Bronx), Logic has the credentials to back up his reputation as a musician and visionary - after all, this is a man who helped found the Black Rock Coalition, established in 1985 and was the first turntablist to play the famed Blue Note club in New York City.''
S.
''Neung Phak is a delicious Lao dish containing steamed chicken, coconut milk, and banana leaves, but is also the tasty and exotic alter ego of Bay Area noise wizards Mono Pause, who in turn share members with absurdist cut and paste legends Negativland. Neung Phak's bedazzling debut, recorded with chanteuse Diana Hayes, is an almost incomprehensibly funky mish-mash of Southeast Asian pop and traditional melodies, served up spicy-hot, East Oakland style. This is what you could be listening to when you move into that cheap apartment overlooking the Chao Phraya River: some roots 'Molarm beat' from the Lao countryside, creamy Khmer ballads and Cambodian Rock, with a dash of Bangkok big city pop. Dig this template of tropical seduction, from rural to urban, through thick sewage and pristine rice paddies, side-steppin' the sex tourist industry just enough to make this disc legal.''
(mono pause)
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....εσυ,μολις τελειωσες με το φτυαρισμα του χιονιου στην εξωπορτα..ο γλυκος σου μολις ξυρισε
το στηθος και ψαλιδισε το μουστακι του..τι καλυτερο λοιπον απο ενα μπουκαλι καλο κρασισι
και λιγο Λουθα! ''Καλα Χριστουγεννα μωρο μου'' ψελλισες και τα αποτριχωμενα στερνα σας
ενωθηκαν καθως το χιονι συνεχιζε να πεφτει....
THIIIS...ISSSSS...THE PAINKILLLEERR
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...η αληθεια ειναι οτι σ'ολο το δισκ0 φυσαει ενα τουριστικ-σουβενιριζε αερακι
τυπου η Ανατολη συναντα τη Δυση που δεν ειναι του γουστου μου
αλλα το ''πσες σε ειδα στο ονειρο μου'' ειναι ο καλυτερος Ζωναραδικος που εγραψαν ποτε οι
Juno Reactor..ΕΠΟΣ!
TAXIDOSCOPIO
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''...αν και πιο γραμμικο και μινιμαλ αυτο το αυθαδικο αμαλγαμα μεταξυ Burial και Animal Collective καταφερνει με τροπους ανηκουστους να μας προσφερει απλοχερα ενα μπουκετο
ευωδιαστης ολοφρεσκης pop...''
ClannO)))
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''Tuvan throat-singing occupies a special place in the hearts of folks who dig music from far-flung lands. Even though one’s collection might include instrumentation like sitar or oud or shakuhachi or a listener might be well into Indonesian puppet-theater music or the sounds of Arabic nomads, well-indoctrinated “world music” lovers are still stunned by the sheer uniqueness of the deep, guttural sounds of Tuvan throat singers. It’s a primal sound, as resonant as the voice of God and it strikes a special chord with its sheer simplicity. Yet, Tuva — a tiny area of deep Mongolian influence in isolated south Siberia — is a land that’s finding its cultural history evaporating as its residents move from farming villages to industrial cities. However Albert Kuvezin — an electric guitarist and throat singer from Tuva — is doing his part to keep kanzat (his particular brand of throat-singing) vibrant with Yat-Kha, perhaps the only extant Tuvan rock band. Though “Yenisei-Punk” is far from being a punk rock record in the Western sense, the melding of Tuvan instrumentation with electric guitars and a rock & roll attitude means that it’s a seriously forward-looking update on some very traditional music. Largely low-key and brooding, this album does little to reflect the live power of the band, but is certainly possessed of a power of its own.''
yenisei - punk
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Bastardgeist is the solo project of Joel Midden (Bullet Teeth, Naughty Arabia), blending acid folk guitar with thumb piano, haunting vocals and mesmerizing manipulated sounds.
SKLL SKLL SKULL 69 SKLL ATOMIC BOMB
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''The Whatnauts were a vocal group from Baltimore, Gerald Pinkney, Billy Herndon and Garrett Jones. Their music can best be described as sweet soul with a hint of desperation because many of their popular songs dealt with troubled relationships and the hurt that they caused; some people call this "heartache soul."
CORRUPTION
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Everybody knows Newcleus' electro classic Jam On It and maybe even Computer Age, but Space Is The Place (the group's second album) is almost always slept on. For those willing to dig deeper into Cozmo D and the gang's catalog, there are plenty of electro nuggets worth looking into especially on this album. There's the obvious attempt to recreate their big hit with Let's Jam which is alright as an alternative, but tracks like Teknology and Cyborg Dance have something fresher going on. Then you have joints like Why that bring down the BPM's and sound like some new school cosmic boogie funk. Fans of old school synths, drum machines, vocoders, and electro should definitely check.
SPACE IS THE PLACE
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''A beautiful album of jazzy modern soul tracks -- and quite possibly the best album by this legendary combo! There's a joyous, upbeat feel here that's totally great -- miles from mainstream soul of the time, in a way that's always made the record a favorite for fans of the Free Soul scene -- who've kept it strong for years. Lead vocals are by Sandy Torano and Howard Johnson -- but the backing vocals are great too, and feature Phyllis Hyman -- used in subtle ways to flesh out the sound nicely -- and the instrumentation is often funky, but has a warmer, jazzier undercurrent too''
niteflyte
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It's hardly surprising that Leeds-based outfit 7 Hertz have done soundtrack work, in fact their debut album 'Tender, Almost Vulgar' is just about as close you can get to a film soundtrack without being tacked onto a Kieslowski movie. The band is made up of three ladies on violin and clarinet and a feller on double bass and between the four of them they improvise wildly incorporating influence from their wide-reaching musical backgrounds. Indeed they reference free-experimental music, jazz, punk and of course classical music, but the distillation of all these sounds comes down to something quite different to any expectations you might have. The album was recorded in a disused church in Leeds, so their keen ear for acoustic space and recording method without a doubt stands high above their tracks, However just as you're getting absorbed into the epic church reverb you realise just how unusual the music is - sitting somewhere in-between the kind of experimental hiccup of Mr. Bungle and the glorious atmospherics of Max Richter with a bit of Klezmer thrown in for good measure. Opener 'Chicken of the Woods' takes us whole-heartedly into the band's world with humorous licks set against drooping bass before launching into a screeching post-jazz finale with the clarinet taking centre-stage. Elsewhere we get plucky double-bass surrealism with the feisty funk of 'My New Favourite Joke' and then later on the surprise vocal-led smokiness of 'Ob Savi' and 'Seasick Suite'. For ambition you have to hand it to the band, but the fact they pull off the feat and come out the other side with an album which somehow holds together in a gloriously coherent whole is astonishing. Albums such as this shouldn't work on an independent level, but 7 Hertz have managed the unmanageable, I'd hazard a guess that they'll be scoring Eastern European art films within the next year or so. Quite stunning...
tenderalmostvulgar
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Like the previously reviewed Jed Speare, Marchetti has interests in bioacoustics and sound ecology. However, Speare doesn't employ natural sounds to the same ends as does Marchetti. In this case, it seems as though the latter is leading us through the external wild toward our internal untamed in an attempt, through ritual, to induce alternate states of mind. Whereas the emphasis, for Speare, seemed to lie literally in the significance of the external world and then filtered through our consciousness, Marchetti seems to be explicitly setting up natural sounds to symbolically work within the psyche, as rough guideposts toward the ecstatic. It's a subjective difference, I admit, but given the context of each recording, I feel it has weight.
The fascination of ritual as a concept has its brethren among many, but as far as a marriage of dualities for forging the ecstatic is concerned, it is Nitsch who is commonly referred to as the contemporary progenitor of ritual in 'other' music. Though Marchetti's musique concrete shares only a fragment of the luminous microtonal obsessiveness of Nitch's famous works for performances, they do posit an alternate aesthetic apprehension of the sublime. It resides in a very subtle, discreet locale where it may be attained through symbolic inference, through the invocation of the elements instead of a straight orchestral representation of all-consuming sound.
The subtitle translates into 'exchange of eyes,' which, I suppose, can be interpreted in different ways. Despite the peppering of clues given us by the artists, I think that matches the rather open-ended canvas of Hatali Atsalei. But what of authorial intent, anyway?
Strictly speaking, the essential feeling is that it refers to the dissolution of self, and all the violence and extreme beauty that evokes, referencing the simultaneous state of becoming something greater, as well as the 'negative' state of being devoured by something greater. The inference, of course, is that the ego is shattered creating that ineffable unity with the universe. It's mysticism 101. Whether sound can itself produce this experience is up to each individual listener. Indeed, the mention of mysticism necessarily degrades experience by introducing babel, which is also invoked through Muryama's weirded-out vox punctuation and guttural drones. The music parallels all the violence and beauty mentioned above. In spades.
On that, the recording consists of five tracks, which, when bridged together do induce a trance state. What's more, it isn't the sort of music one might readily associate with trance; it neither drones or repeats itself and therefore does something unique. It also manages to be musical, if in a filmic manner, despite its obvious sound art leanings. Simply put, if you're into sound surrealism, art brut, musique concrete, collage...any of that, it will serve you well to stick this thing into your CD player.
This is typical Intransitive trash: focused, uncompromising, and pretty fuckin' great. 10/10 -- P. Somniferum
HATALI ATSALEI
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The Wire (1/01, p.61) - "...It finally matches the promise of its live performance....the orchestra has achieved an integration and rhythmic finesse to equal its exuberance and display..."
CMJ (10/23/00, p.33) - "...A beautiful listen filled with strong playing..."
JazzTimes (3/01, p.82) - "...The performances here are remarkable not only for the range of musical styles but also for the connections between musical episodes....Free-from jazz, old-world harmonies, impassioned Latinate, Milesian musings and campy dance grooves mix..."
litaniasibilante
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''A collaboration between Canadian post-rockers, a beat poet and an accordionist? There is one track that makes me imagine a troupe of marauding street musicians, but (don't run away!) for the most part this sounds like no-one else. From its classical folk guitar and almost-hip-hop vocal, the nearest comparison we at BS Towers can come up with is "like Nick Drake playing guitar in Spain while Roots Manuva sings in the shower."B.S''
A POEM FOR M
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-vinyl-2007-front-kinky.jpg)
''Is it a hate-crime to suggest that Gay Cat Park sounds like someone in Korean politics? Originally released on Discotto Productions way back in 1982, this Italo classic comes in both its original vocal version and as reworked by Kalervo Tolvanen (in both instrumental and vocal versions). Inevitably, the original stands tall above the 2007 updates, with some great electronic songwriting and a wonderfully creative example of (Mr.) Blue Sky thinking in terms of what sort of fun you can get up to with a vocoder. Ace. ''
IAMAVOCODER
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...cosmic italo behemoth from the masters of the genre (Sangy,D.Baldelli,Saverio Gallucci and others..) relased on the historic II Discotto Productions..
COSMIC LP
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''These guys took electro and synth pop to new levels of sleaze with their freaky as hell synth work and even freakier vocals. You already know the electro classic "I Need A Freak(1)," but the album also features the similarly sleazed out "K-I-S-S-I-N-G(2)" and its instrumental "We Didn't Say It." Then there's tracks like "If I Gave You A Party(3)" which sounds like the blue-print for that lo-fi post-disco style DFA popularized so many years later. Super upbeat party jam with uber lo-fi drums and synths, plus catchy as hell lyrics to boot. "You Are My Sexual Connection(4)" follows a similar kind of punk funk formula with squiggly Prince synths and slap happy bass. Love it! Also includes the pumping disco workout "Exercise Your Ass Off(5)" (pun intended).''
ineedafreak
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For their first album in five years, the Seattle quartet continues in the instrumental jazz/electronica/funk/dub/experimental vein established on its existing catalog. Moody and eclectic but never frigid, the music succeeds by combining its diverse influences in warm, organic ways. Each track is a multi-layered microcosm of movement, and although there are plenty of danceable parts -- along with some dancefloor-clearing ones -- the album is best appreciated with headphones where all the intricacies of the tempo changes and especially the dynamic percussion can be picked out amongst the clatter. Even elements of prog -- especially early King Crimson on the pounding "Punk Rock Guilt" -- shapeshift into jazz and free form then back again with deceptive ease. Although far from commercial, the album boasts softer and less frantic moments, as the songs -- actually pieces -- start slowly then build up a head of steam. Some seem to mesh two tracks into one as on "We Are the New People," where a Santana-styled percussion mid-section is grafted onto an ambient front end. The music is lively and inspired as it expands and contracts with remarkable facility. When shifting into experimental mode, it nonetheless returns to more melodic pastures. The group craftily navigates the fine line between challenging and avant-garde, managing to be both while seldom stylistically straying too far outside to be abrasive. The band plays as a democracy with no musician overwhelming the others, and very few solos. Rather, the collective combines instruments into riffs that form repeated phrases that sometimes yield identifiable songs. "Persephone Under Mars" indulges the quartet's soundtrack aesthetic as it works in a melody that sounds like the theme to Lost in Space between percussive beats. While funk workouts like "Sista Boto" seem to be danceable in a sort of alternative James Brown way, the band throws enough twists into the tune to keep their jazz credentials, especially as a distorted electric piano pokes holes in the bass and "Skerik"'s sax shrieks. Extraordinarily tight, creative and fluid, Stampede should be cherished by those into Miles Davis' electric period, Weather Report and similar demanding and boundary pushing outfits whose multi-genre sound is difficult to pigeonhole as jazz, funk, or rock. ~ Hal Horowitz
stampede
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A TWIST OF FAΤΕ
.....χρονος ,χρονος,χρονος..μια φανταστικη γραμμη
το δικο μου δεν ειναι δικο σου ουτε το δικο σου δικο μου
οδηγουν τους τυφλους πισω στη μητρα της μητερας,τον ταφο του αγεννητου παιδιου....
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''Not hindered by any knowledge, but seeing the Leo label on the cover, I borrowed this CD by British pianist Carolyn Hume from the library. An album on which she is joined by cellist Oliver Coates and vocalist Sonja Galsworthy, and I was expecting avant-garde jazz in line with the label's musical positioning. My astonishment was great when I heard the music, which is slow, almost classical romantic, dark and melancholy. In truth, it would be better placed on the ECM label, fitting in the same category as Vassilis Tsabropoulos and Anja Lechner: clever and highly sensitive, with superb command of the instruments. Coates' cello adds the additional sentimental sadness to the music, and Galsworthy classically trained voice is stellar in this context: precise, clear as a bell, adding dramatic effect at moments, and beautifully. All Hume's compositions are in the same style, with the cello and the voice adding color once in a while and offering slight changes in perspective, leading to sufficient variation to keep things interesting. This is without a doubt one of the most consistently dark and sad albums that I've ever heard. It will console you when you are in that mood, and if you're not, it will certainly get you there.''
gravityandgrace
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''Experimental pianist Sergei Kuryokhin was one of the leading lights of the Russian avant-garde until his death in 1996. Moving in between several experimental rock groups and more classically influenced material, Kuryokhin was a controversial figure in his time, once appearing on Russian television to prove that Lenin was not a human being, but rather a mushroom. His later switch to the ultra right-wing National Bolshevik Party caused a riff among the avant-garde Russian community who could not figure out if he was genuine or simply pulling off a satirical prank.''
friendsafar
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το θρυλικό ντοκιμαντέρ του 1968 που γύρισε ο george greenough -σε απομονωμένες παραλίες της αυστραλίας και σημεία στην καλιφόρνια που ήξεραν μόνο ελάχιστοι surfers- δεν υπάρχει πουθενά πια, ούτε καν σε βιντεοκασέτα.
σε dvd δεν έχει κυκλοφορήσει ποτέ επίσημα και κάποιες παράνομες κόπιες που βγήκαν κάποια στιγμή είναι δυσεύρετες.
ο greenough έστησε μπροστά απ' την κάμερα την 'αφρόκρεμα' των shortboard surfers που εκείνη την εποχή ήταν underground 'είδωλα', ονόματα όπως οι chris brook, robert conneely, danny hazard, russell hughes, george greenough, gary keys, terry keys, bob mctavish, dickie nelson, ted spencer, davide treloar, greg weaver [οι σημαντικότεροι από αυτούς που παρουσιάζει στο ντοκιμαντέρ] οι οποίοι μιλούν και παρουσιάζουν τεχνικές που το '68 ήταν μεγάλες καινοτομίες στο είδος.
σήμερα, απλά τους παρακολουθείς αποσβολωμένος, να ρολάρουν κυριολεκτικά πάνω στα κύματα υπό τους ήχους των farm, του συγκροτήματος του dennis dragon που είχε φτιάξει για την περίπτωση με τα αδέλφια του dough και daryl και τον deny aaberg. το πλήρες soundtrack της ταινίας επανακυκλοφορεί σε μια έκδοση με έξτρα video με συνέντευξή τους, 24σέλιδο βιβλιαράκι με το ιστορικό της ηχογράφησης [που έγινε στα σημεία που γυρίστηκε το ντοκιμαντέρ] και συνέντευξη του denny aaberg.
the innermost limits of pure fun
manand
The trio Dempa takes its name from the Japanese word "electrical wave".The title of the CD "Nine Fragments" refers to the nine compositions heard here. As Stuart Broomer writes, each piece is structurally elusive, each perhaps a part of something larger, the sonic world that is born and embraced in the music of this trio. The boundaries of this group are unknowable. Apart from their main instruments, all three players employ live electronics. This is a totally new departure for Aki Takase.
ninefragments
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ηχος ευρωπαικος,ρομαντικος και κινηματογραφικος απο την Vespertine(r.i.p) απο γκρουπ
οπως οι Gnac,Quigley,Oneironaut,Fuxa,Appendix Out και αλλα....
an evening in the company of vespertine
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..το δισκακιον τουτο κυκλοφορησε το 1994,τοτε το πηρα και 'γω και ομολογω οτι μου ειχε αρεσει παρα πολυ,μαλιστα το ειχα
γραψει και σε κασσετα για να το ακουω στο στρατοπεδο εκεινους τους βαρετους ατελειωτους μηνες της στρατωτικης μου αγγαρειοθητειας και επαιζε στο repeat κατα το Γερμανικον νουμερον..μαλλον αδικως ''τσουβαλιασμενο'' στο σωρο του τοτε acid jazz trend(οχι οτι εχω τιποτα με το συμπαθεστατο αυτο ειδος)
το δισκακιον τουτο λεγω ηταν ενα σαγηνευυτικο pop-funk-jazz-soul helter skelter μα πανω απ'ολα ειχε ΤΡΑΓΟΥΔΙΑ με υπεροχες
μελωδιες και αρτιως εκτελεσμενα..το εβαλα λοιπον πριν λιγες μερες να το ξανακουσω (ειχα να το ακουσω καμια δεκαρια χρονια) και προς μεγαλη μου εκπληξη
δε μου φανηκε καθολου παρωχημενο αποδειξη οτι οι καλοι δισκοι ειναι παντοτε καλοι(σιγα το συμπερασμα ρε μαλαξ!!!)
theplotthickens
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.....οι magic 7 ειναι οι Last Crack (εκτος του ντραμερ) και ο ηχος οπως ειναι φυσικο τους θυμιζει
αλλα ακουγονται πιο ωριμοι και μελωδικοι και λιγοτεροι περιεργοι...ισαξιο με οποιοδηποτε Crack αλμπουμ...
MAGIC 7
S.
''Another wildly nice release from this prolific Indiana based Noise drone duo.
The music here has a metallic sheen and feels as though it was created by rubbing automobiles together in deep space. The pieces don't necessarily make a lot of lateral motion, but they buff up and down like a blowfish, reminding us that even drones can have a menacing edge.''
- Byron Coley, the Wire
When We're Dead And What We'll Remember
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''Somewhere in the Night is a collection of recordings, circa 1982-'85, from France's Stereo. The three opening tracks are full of some totally unexpected workout video/jazz-wave vibes that had Other Music's Karen and I wondering why we couldn't stop listening! I kept hearing shades of "Xanadu," Irene Cara's "What a Feeling" and the Blade Runner soundtrack (only imagine Vangelis collaborating with a mellower Visage and a more mysterious Human League and Roxy Music) all rolled into one infectious train wreck. Then the epic drama-dub of "Moonshine" came on. Karen and I both smiled and looked at each other with knowing nods of the head. It all suddenly made sense; embrace this record and don't be afraid. I know the description might sound a bit scary, but Somewhere in the Night actually rules! ''
somewhereinthenight
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