Hessel Veldman together with his girlfriend Nick Nicole, they play vocals, synthesizers, organ, percussion, phone-calls, harps, rhythm tapes, radio tapes, casio, guitar, whistle, percussion, vibes, organ, synthesizer.
An astonishing, peerless masterpiece, the soundtrack to David Lynch's debut labor of love creates a world of haunting mechanics and sexual distress in such a bizarre layer of sonic fog that any record collection is simply poorer without it. The enormity of the aural experimentation is extraordinary. With renowned sound designer Alan Splet, Lynch developed any technique he could conjure up -- from recording with pieces of glass tubing, pneumatic engines, or water-based pieces of machinery -- to produce sounds never heard before (or since) in any medium. Pieces of Fats Waller filter in through the unsettling haze. The sounds of the unimaginably horrific baby are nothing less than ghastly. Few directors could have realized such a potent vision only a first time out. Disturbing, haunting, and -- decades later -- still one of the most compelling sonic creations in the history of film...
Digah's Stomp [Fats Waller]
Lenox Avenue Blues [Fats Waller]
Stompin' The Bug [Phil Worde, Mercedes Gilbert]
Messin' Around With The Blues [Phil Worde]
Pipe Organ - Fats Waller
In Heaven (Lady In The Radiator Song) [Phil Ivers, David Lynch]
Excerpts in #1 performed by Thomas "Fats" Waller in 1927.
As I write these remarks, it is the final year of what has been an extraordinary century for music. From ragtime to raggae, classical to jazz, boogie-woogie to bluegrass, swing to psychedelic, rock 'n' roll to rap, blues to bop, punk to pop, techno to hip-hop and every genre in between, the past hundred years has seen the introduction of a staggering number of new forms of popular musical expression, as well as a seemingly infinite number of variations on those forms. This country's single greatest innovation in the world of music, however, has been the creation of technologies that have enabled us to record and preserve musical performances. Prior to the commercial release of wax cilinders in 1890, individual moments of musical genius could live on only in memory. If you weren't there when the song happened, you could only hear about it - you could never actually hear it. Now, with recording technologies in every format, performers and musicians can live on through their recordings forever and listeners have access to vast catalogues of music spanning the entire century and every conceivable genre of music.
Imagine being holed up in a strange bleak industrial estate on the edge of what appears to be an eerily deserted town where bars shine desolate, their signs promising “music here tonight” without any sense of irony. This is where Montague started, sketching lyrics on digital photographs in late November when the mall closed and the entertainment retreated quickly to their homes. The fact they rarely shut the curtains or indeed their doors only served to inspire more... Acoustic guitars, electro beats, harmonies, keyboards and samples abound in well-crafted tales from the binary brain of a domestic robot on the edge of madness. Ever seen a ghost? In a can of soup? Hear the story on this album and find out if our hero makes it to the morning. What do the harpies sing in the quarry? Is there a reason lone divers don't always kick for the surface? The Family Simpson is a 31 year old meddler who loves tangents. His music has been around for nearly a decade and he is not out of ideas or stories yet. When he is not warping samples he attempts to give his family a well rounded musical education in the completely obscure and teaches renewed appreciation of 20th century technology. At times his songs sound as beautiful as lemonade soaking through a summer dress. At other times his music sounds like a kettle being thrown around in a fridge.
To a lot of you, this compilation may not come as much of a revelation to you. Granted, there are some household names here - Gang of Four, The Human League, and Mekons to be specific, however this post-punk trifecta is represented here before they jumped ship to major labels and/or massive cult status. Mutant Pop 78/79 compiles early 7" singles by the aforementioned, and another three less illustrious participants, all originally released on the Fast Product imprint. Hear the nascent Mekons in all their crude, DIY-ridden glory. Marvel at the sounds of the Human League while they still had their credibility intact (albeit far less catchy of course). Most enticingly of all, indulge your ears to Gang of Four's first foray into the vinyl age, with alternate versions of soon-to-be-classics "Damaged Goods," "Love Like Anthrax," and "Armalite Rifle." Truth be told, those three tracks would have been perfectly suited for inclusion as bonus tracks on the most recent reissue of GOF's Entertainment! album, although I believe said versions of "Damaged..." and "Armalite..." wound up on the band's 1998, 100 Flowers Bloom anthology. Speaking of Flowers, the Scottish band of that very name also make an appearance here. The Same Mistakes blog can fill you in on them at your leisure. The Scars groove along in a Swell Maps-y kind of way, to highly convincing effect, while Sheffield's 2-3 subscribed to a more linear aesthetic. Mutant Pop makes for a model snapshot of the burgeoning and often crude British post-punk movement of the late '70s.Egg City Radio is also hosting this album, but this rip is straight from my own vinyl copy at a higher bitrate with less surface noise. At any rate, their write-up is definitely worth checking out.Mekons01. Never Been in a Riot02. 32 Weeks03. Where Were YouScars04. Adultery05. Horror ShowThe Human League06. Being Boiled07. Circus of Death2-308. All Time Low09. Where to Know?The Flowers10. After Dark11. ConfessionsGang of Four12. Love Like Anthrax13. Armalite Rifle14. Damaged Good
Mela's soundtrack creates a great mood inspired by romanticism, a certain "attractive despair", as I could name it, that is characteristic of a time in Hindi cinema, (and as far as I know maybe to other Indian cinemas as well) called the 40's. But this being 1948, I could also blame this "depression" on a certain, um, let me think...Partition. I think it's a mix of both the melancholy of the country's separation mirrored in the lover's separation that set the tone of the film and it's music. Also, the film visually looks like a filmed play as the director uses theatre to show the insignificance of the backdrop and the importance on concentrating more on the emotions and the characters (which Naushad picked up on and developed in his music). Also, I think, in those days, theatre had more prestige then cinema and early in the development of the film industry the only reference for cinema was theatre. Bizarrely enough, this does not take away from the realism, not portrayed visually but musically (emotionally as well) of the two main heroes Manju (Nargis) and Mohan (Dilip Kumar).The 40's was the heyday of the "sad song". Not the kind you feel like skipping or fast forwarding, but the kind that people actually liked, and still like even today. One brilliant song "Gham Ka Fasana" is one of the finest examples of a great "sad song", and it is also my favorite track on the record. Naushad could have picked the melody queen, Lata or, Geeta, the empress of tragedy, but he chose Shamshad. I think he was looking for something raw. Her voice expressed the voice of the people, like the persevering village girl that wants more than what is destined for her. Mela is a high point in her career, although Shamshad's luck did not last long, when the "classical trend" came in the early 50's, Shamshad did not have the training to stay at the top. Besides the classic sad song, some of Mela's most memorable tracks are, one of Mohd. Rafi's first big breaks with the song ''Yeh Zindagi Ke Mele'', and another one of my favourites ''Aai Sawan Rut ''. For the track ''Phir Aah Dilse Nikli'' you can almost imagine that you are sitting in a zeenat during the very late reign of the Mungals. (Well, at least that is what I imagined the vocals would have sounded like.) Some other tracks I enjoy are the playful ''Pardes Balam Tum Jaoge'' and the duet ''Mera Dil Todnewale''. In the second one I mentioned, you can really hear the Talat Mehmood influence for sure, who was the usual voice of Dilip Kumar. Inspired by emotion and the northern sound this album can seem dull on the first try, but the more you listen the better it gets. Enjoy! Tracks: Side 1 1. Shamshad Begum: Dharti Ko Aakash Pukare 2. Shamshad Begum & Mukesh: Main Bhanwra Too Hai Phool 3. Shamshad Begum, Mukesh & Chorus: Aai Sawan Rut 4. Shamshad Begum: Gham Ka Fasana 5. Shamshad Begum: Taqdeer Bani Bankar Bigdi 6. Zohra Ambala: Phir Aah Dilse Nikli Side 27. Shamshad Begum: Mohan Ki Muraliya 8. Shamshad Begum: Pardes Balam Tum Jaoge 9. Shamshad Begum & Mukesh: Mera Dil Todnewale 10. Mohd. Rafi: Yeh Zindagi Ke Mele 11. Mukesh: Gae Ja Geet Milanke12. Music Lyrics: Shakeel Badayuni
Formed circa 1983 they soon became a cult band often compared to Birthday Party and the Stooges!It was their blooded,violent,speedy,destructive look on blues,garage and rock 'n roll that made them unique!Just look at their videos in their site http://www.lamuerte.be/and you will understand what i'm saying!This album , featured here , was published in 1990,and contains what La Muerte listens.Unexpected covers , from "Crazy Horses" of the Osmonds (!!!) and Kung-Fu fighting of Kirk Douglas (!!!!!) to Henry Mancini's "Experiment In Terror" and "Blues For Findlay".But all this blooded magic is there as in all the great covers they made (Lucifer Sam , Wild Thing etc) in previous albums. Welcome to the terror's garage!!!This is La Muerte!!!
The band formed in Peiraias in 1988 from Kyriakos Iliou and Petros Tsalpatouros. They Only releashed 2 demo tapes "Macabredance" and "Necrophilia". Later they formed Ophilia's Garden...Click above to download Macabredance