I heard this some time ago. I thought it was 2 weeks ago or something... This stuck in my head like a small cancer in me that scratches me and want to eat me alive as long as i can't see it or feel it. So today is monday, a not so HAPPY MONDAY indeed... If i felt more suicidal than i usually do i could post an ABBA record, or even BETTER something from U2 so you can kiss goodbuy to this blog for good...
One thing is certain, that September is not ROCK, September is still hot and September is just shit by the facts...If i have to make one month rock this will be.... October for no reason just the fact that October is the most Anti-September month... Even more than November or any other month. In other words so close but so far away (and that's a laugh... not a good one)
I will not rest 'till the gray and naughty weather comes again so i can feel properly depressed and continue my Crazy Jandek Sundays at Brother Ray Says (tm) Loads of Laughs now please!
Finally if you are like me and you only read the last pages of a newspaper (the horoscope) you can see for your self (whatever is your zodiac sign) that September is NOT rock at all...
This legendary album of the band Culturcide from Houston, Texas made a big splash in 86 when they were sued by CBS for it. They dubbed and distorted over a Bruce Springsteen song, which they played directly from CD and sang new lyrics on the top of it. The new lyrics were rather uncomfortable to the Boss and CBS decided to take them to court. There are other victims on the record as well - Stevie Wonder & Paul McCartney, Billy Joel, David Bowie, Pat Benatar, World Aid, Taco, Michael Jackson, all this fucking 80's-Top-40-trash and beside this The Beach Boys and finally the "Star-Spangled Banner". Because of this the record is of course fully illegal and a rare collector's item nowadays.
Houston 1983-1986; Selfdescription: "... a cross between Cyndi Lauper and early SPK."
Comes with b&w DIN A-4 lyric sheet (excerpt):
"Home-taping is killing the record industry...so keep doing it. Let this record be the master for your cassette edition."
Label note: 'It doesn't take any talent to do that!'- Fan at Strake Jesuit College Preparatory, 3/15/1986
'They completely ruined that song!'- Fan at New Music America, 4/13/1986
Original songs of David Bowie, Bruce Springsteen and so on, with weird own sounds and new cynical lyrics. Indicated, cause of the use of original recordings.
"When Chris Corsano turned 6 years old, I already begged him on my wounded knees to record an LP for Ultra Eczema. He played it cool, was clearly annoyed but remained polite. From then on (he is now 46) I would email him the same question daily. I slept in a tent in front of his house, sent him letters every week, had all his different cell phone numbers, I even gave him new clothes, though he kept wearing his fully blue outfit. Much like Michael Jackson, Corsano, the last drummer on earth, always remained calm and polite and made this full on incredible LP of absolute madness played on different drum sets, toy percussion, baritone sax mouthpiece on a 2 foot metal pipe, violin strings, banjo and violin bridges, contact mics, effect pedals, claw bell, metal strips from windshield wipers, toy comb, clarinet, toy gamelan, guitar cable, gongs, metals, triangle, nylon guitar strings, amps, melodica, pot lids etc. In every collab he played in (with Bill Nace, Thurston Moore, Spencer Yeh, John Olson, Eric Thielemans, Bjork, Byron Colley, Blood Stereo, Paul Flaherty, Greg Kelley, Idea Fire Company, etc.) he always changes things and never sounds the same.
Corsano, together with all mentioned collaborators above, changed and refreshed improvised music forever, blew the "free" into free music again, threw an energy molotov cocktail over western Massachussets, and has a non-academic and unlimited interest in sounds far behind any traditional free music school! This LP is a collection of most of his different techniques that blew you away when you saw him play live.
Comes in a hairy black and white cover by Dennis Tyfus, with an insert. Limited to 400 copies." - Ultra Eczema.
This EP was suggested to me last night as a comment in an older album i've posted some time ago. Sent to me by Jacques De Villiers and he was asking me to upload this here. I thought what the heck... i rarelly ask for peoples opinion whenever i post their creations so i felt the urgent to post this...
About music now... with a little search i found these:
South African pianist, video artist and sound manipulator, born in 1986. Working on his own, De Villiers constructs dreamy soundscapes and melancholy washes of sound that blur the distinction between melody and noise.
In my opinion this is a nice Lo-Fi EP and it needs to be heard. It's not new but it worths a try and the time that you need to get in your hard drive 20 something megabytes make it even more tempting. If you are in a bitter sweet mood give it a try and you might want to try something more from Jacques De Villiers.
It shouldn't be too controversial for me to say that most bands get more normal as they go along-- they refine themselves, expand their audiences, raise their production values, and clean up all those leftover quirks from back when they didn't think too many people were paying attention anyway. ADULT., being giant weirdos, are one of those bands who've done the opposite, getting progressively more strange and insular. The music on Why Bother? may not be leagues away from the shrieky, gothic electro-punk that's become their signature, but itis different, and it's definitely stranger: Suddenly ADULT. are coming to you from somewhere inside what would seem to be a giant tank of very cold water. These are the same blurting drum machines and scratchy bass lines, but they've gone a bit distant and woozy, with hazy reverb and detuned synths wobbling all around.
Well: Getting more accessible was always a long shot for an act this single-mindedly concerned with themes of discomfort, anxiety, and annoyance. That stuff isn't going anywhere, as a glance at the tracklist will confirm. The lead single is "I Feel Worse When I'm with You", a classically ADULT. barnstormer whose video depicts a day in the Adam Lee Miller/Nicola Kuperus household as a string of attempts to kill either themselves or one another; it's surrounded by tracks like "You Don't Worry Enough", "Inclined to Vomit", and "Plagued by Fear." Kuperus's imagination still focuses on nausea, weapons, panic attacks, poison, CPR, taxidermy, and those murder-mystery photographs of people who may be unconscious but are probably dead-- you know, typical Michigan stuff. Rest assured that they have some sense of humor/irony about these things, if not always as much as you'd like.
And this record backs off on the punk charge (and the goth affectations) to let that good-times creepshow just sit and simmer. "Red Herring" has Kuperus actually singing, melodically-- for the first time in a while-- as an eerie, clanging synth backing runs in place like a giant machine; same goes for the terrific "Good Deeds", whose tempo is actually so high that the whole thing winds up feeling ominously static. Elsewhere, "Harvest" is all industrial ambience, while two parts of something called "The Importance of Being Folk" serve as soundtrack music to a short film involving needlepoint, a rusty axe, and a hexagram. None of this, however, stops the band from delivering some of the deliciously grating, high-energy stuff fans expect: "Inclined to Vomit" is pure pound and screech, and "You Don't Worry Enough" unleashes some hesher-friendly fuzz bass for what feels like the closest ADULT. will ever get to cock rock.
Stranger and stranger, then, and yet we all still know what kind of world we're being invited into with each new ADULT. release: Slow or fast, clean or dirty, underwater or above ground, fans of nerves, paranoia, and the inability to speak will always get what's coming to them. It's a little disappointing that none of the band's stylistic shifts have let them bloom into much more, but as furrows for ploughing go, this one's still pretty fascinating, and still all theirs. *pitchfork
p.s. this upload is dedicated to the adorable Mis Anthropy, or Psychnoir for her everlasting and perverted taste in musi(k) and stuff...
This album contains four pieces between 15 and 20 minutes each. The first three were previously released by Important Records as three separate limited-edition 3" CD's in the course of 2003. The fourth piece, "Cosmic Funky Dolly," is a bonus track added for this "unlimited" regular CD reissue. If there ever was an Acid Mothers Temple album designed to showcase the various sides of the band, this is it. Each track opens up a different dimension. Written by Cotton Casino, "Ziggy Sitar Dust Raga" is exactly that: a long, repetitive, sinuous raga featuring Makoto Kawabata on tambura, and a healthy dose of space whispers. "Diamond Doggy Peggy" is the key high-energy track -- 15 minutes of high-octane, hard-jamming bliss. Sound quality is excellent, giving the track a purity in action that was missing from some of the group's earlier efforts (the dirty-sounding Electric Heavyland, in particular). The piece is exhausting and ranks as one of AMT's finest rock work-outs to date. In comparison, "Aladdin Kane" is sedate; slow tempo, droning synths, and some delicate volume, pedal guitar statements from Kawabata. As for the 20-minute extra "Cosmic Funky Dolly," it is a luxurious retro-synth extravaganza: analog sweeps and multitracked female whispers occupying most of the sonic field. As separate statements, this series of releases illustrated the group's diversity. As a single release, it is a little bit harder to get into, as the individual pieces don't sit together so well, but in the end Magical Power From Mars makes a good, immersive album. Bob Vida's colorful 3-D cover artwork is icing on the cake. By the way, the album's title points to both Japanese underground legend Magical Power Mako, and the name of the band of David Bowie's early-'70s character Ziggy Stardust. Of course, neither make good reference points for this album.
Limited to 300 copies LP that bundles a bunch of great performances from the first Charalambides trio line-up featuring Tom and Christina Carter alongside Jason Bill (later of Migrantes). Two full sets that catch the group breaking out from their early Texas-psych sound into a whole new free/folk mutant, with Christina’s jubilant, spooked vocals over rattlesnake guitar and a wash of F/X. Still one of the most important – if relatively unsung – underground rock groups of the past decade plus. First side features “Strangle The Wretched Heavens” and “A Mile Is Just 5,000 Miles” recorded live at The Cooler in NYC in 1994. The flip presents their performance at 1994’s Siltfest in Philadelphia and runs through “Namaste”, “House With 3 Sides” and “Someday You’ll Get Yours”. A beautiful document of the inspired flux of the 90s underground.
German pioneer of the echo-guitar, renowned for his classics "Samtvogel" and "Überfällig", he also worked with Klaus Schulze (in concert). Günter also ventured in to more explorative Krautrock and developed a style comparable to the early work of Achim Reichel. The GAM trio (Günter Schickert, Axel Struck, and Michael Leske) featured two guitars and drums, and is really freaked-out improvisations recalling the psychedelic space treks of Ash Ra Tempel or Pink Floyd.
A cosmic and trippy guitar-based album, with echo effects similar to Achim Reichel's. In fact, the second track, "Kriegmaschinen, Fahrt Zur Holle", perfectly recalls AR & Machines' masterpiece, ECHO (1972). The opener is a bit silly and confused, but the third and longest track ("Wald") is much thicker, a fantastic, intense jam, sometimes close to minimal music and Manuel Gottsching's solo works. Günther is a great guitarist and here he is at his best, "Samtvogel" is a very innovative album, well worth listening.
Like an alien mothership landing on your fanny, Gunter Schickert's deep heavy ooze dripping slab of Teutonic electronic bliss through treated mayhem overcomes you. This is probably what it sounded like inside of Jimi Hendrix's brain stem under that LSD-soaked tie-dyed bandana onstage - totally lit and lividly lucid, another planet opens up a searing tunnel through space and time while this sublime album plays on. Heralded as an underground classic for decades, we have "Samtvogel," an indiscriminate spacerocker's fantasy and diamond filled pocket through time and space. Working with overdubbed guitars never came off so thick with effects rife and rich. 'Apricot Brandy*' is a world unto itself wholly. NOTHING SOUNDS LIKE THIS! (*Well, actually, there's an 'Apricot Brandy II' on the followup, "Uberfallig," albeit not actually achieving the same insane headspace as this - very, very nice in it's own right, though. 'Kriegsmaschinen Fahrt Zur Holle (Tr.: War Machines Travel to the Holle)' launches itself *directly* past the stratosphere on its own mission heading directly to the very heart of the cosmos. The takeoff is delayed with a slow churning rise (not to worry, Houston, there is no problem) until it is clear that the ozone has been shucked off and there is nothing left but the growling intensity of careening through outer space. A soundtrack to a movie about being there never gurgled with the resonance of this. It's a long track clocking in at 16:58 which clips into a frenzy of guitar-wall smattering up right against your face creating stubble from the rubble of its rumbling on. Shortly after the first wave of madness comes plucking pizzicato at the speed of some "Music From the Body" over heavenly washes of reverbed vocals. As for what his multiple guitar tracks are doing at this time, ask Steve Tibbetts when he's multiplied by ten. Coming off that crest we get served some spacegroove with the urgent before the clittering-clattering electronic tinkles come in sprinkled liberally enveloping the room with the feeling of being inside a container of boingy-boing tic-tacs shaken about. Don't get me all wrong about the guitar work, some of it is very clean and gentle approximating the sound of folk progressive acts like Hoelderlin and Emtidi without the pastoral effect. Shredding does also play a serious factor in the conclusion as all the notes drop off the face of the sky churning itself back to the big black note it came from.
The other side is a humongous 21:35 opus splattered across every last little groove of this delightful platter. The air feels like Solaris in here, otherworldly and creepy while at the same time dreamy and sleepy. Spelunking over the sea of tranquility is his swansong of the magnitude Loch Ness that is 'Wald (Tr.: Forest).' Draping shimmering leaves of lush eternal electronic green sets adrift on memory wish to the turning of the akashic record. Striking a chord deep in the psyche of humanity, dense with textures, this piece is meditative while laden with universally rich sonorities throughout. Open up the pearly gates, I'm swimming home across the whole thing with this as the soundtrack in my head, dig?
In 2005, Michio Kurihara released his first solo album, Sunset Notes, on Japan's respected Pedal Records. It was a long time coming for the guitarist, whose musicianship has enlightened such groups as Ghost, Damon & Naomi, White Heaven, The Stars and Yura Yura Teikoku. Kurihara is not one to indulge in the spotlight (in fact, he often literally ducks away from it), and that attitude reflects strongly in his guitar playing style. Never do you hear a straight phrase from him. Instead, he often decorates around the edges, bringing forward a sense of a song's structure and identity through delicate brush strokes.
The songs on Sunset Notes reflect this approach. While embracing a variety of styles and techniques (a gentle song sung by Pedal pop star Ai Aso, is followed by a snakelike instrumental psych workout, which is followed by a Branca-esque distorted tsunami of guitars, and so on), the album maintains a focus around Kurihara's ingenius guitar playing. Sunset Notes is a mind-expanding, exciting album — beautifully arranged, precisely executed, and an absolute thrill to hear.
The seven tunes on 'OP 4' comprise about an hour's worth of both vocal tunes and sound experiments. "Kizashi" is an interesting study of repeating patterns (I hesitate to call it 'drone' music, as it has a far different feel compared to US drone artists), which is readressed later in "Barcelona." The application of bouncy bass (such as it is, given the band has no actual bass player) and percussion is what gives their drones a unique character. "Le Few Follet," on the other hand, sounds like ballroom music from the WWII era (our side). Here, bandleader/guitarist Rinji Fukuoka shows off some of his other abilities with a pleasant violin melody during the "bridge." "Then the Ship was Sunk" is a very peculiar piece of majestic Highlander (or Celtic) music, with Fukuoka's guitar coming across more like bagpipes. Later on though, the pace picks up and OP charge into an excellent blanga-style jam colored by more violin soloing. "Mirror" is another layered march-like tune with duet vocals that works well, and shows off Fukuoka's nimble fretwork. The finale, "G House Blues" is pure, unadulterated noise... 12 minutes of very bright and dissonant buzz-guitar and crazed violin.
Heavy influences of Turkish psychedelia, eastern folk, and rock, this record truly must be heard to be believed. Utilizing traditional Turkish instruments along with samplers, electric guitars and alien sounding vocals, Tanbul stands out as an exemplary achievement of psych-rock that is entirely original.
The Band: Merih Oztaylan - Vocals, sampler Levent Akman - Rhythm machines, hand cymbals, percussion Bill Macbeath - Double bass, bass guitar Murat Ertel - Saz (not sax), guitar, vocals Emre Onel - Darbuka, sampler, percussions Cevdet Erek - Drums
Track Listing: 1. Ariza Oyun Havasi - 2:12 2. Derdimi Anla - 4:53 3. Duz Gel - 6:26 4. Tanbul - 5:28 5. Asir Hasta - 2:01 6. Yalan - 2:39 7. Iki Teker - 1:49 8. Ben De Yalnizim - 7:10 9. Baaartma Beni - 3:00 10. Yavastan Gel - 1:26 11. Uzun Dus - 14:20
(Review from kunstradio.at, psychevanhetfolk.homestead.com)
Formed in the second half of the 80s in Istanbul, the band took the name ZeN in 1988 (meaning “woman” in Persian, as well as standing for “the one who plays” -a musical instrument- when used as a suffix). The band played their own blues and punk based songs until 1989. In time they widened the improvised section and eventually giving up their compositions, turned to complete collective improvisations.
Zen’s first official album, recorded in 1994, shows the group playing in an experimental way. Various tracks reminds at krautrock like moods like Faust. It’s very dark, dense, deranged mostly acoustic music with cloudy woolly structures. Near the second half of the album, the music delves into too much an underground improvising, in a way Amon Düül or Can did as well in their early days. Yet it is much more acoustic and has a certain middle eastern touch in experimental improvising.
If you are wondering if i lost my mind and changed my taste to cheap rock 'n' roll you are wrong... this is a collaboration between Andrew Coltrane and David Payne. Possibly if you are into good old rock music, you don't have anything to do with this site and you have mispelled for another group... bb...
In this project, we find Matthew Cooper, moonlighting from his Eluvium dayjob, communing with Charles Buckingham on a project dubbed Concert Silence - a recording captured then released. Word had hardly spread among ambience-chasers and Eluvium-spotters before it was withdrawn, taking on a mythical Shangri La-like aspect, to be ever-pursued - spoken of with a faraway wistful look.
Generally speaking these tracks work in a far more subtle way than on the album... The short opener 'With Bicycles' eases things in gently with a distant trebly rhythm working in the background while warm and soothing suggestions of melody battle it out for front place in the mix, until they eventually become a single enveloping, comforting somehow familiar friend.
'Strange Footing' continues with the same sound palette in a sort of dimmed down fashion to begin with, making the previous track sound like a distant memory. A little like a loop stuck in your head but somehow constantly evolving. For me this works on an almost dubby level and as the sounds are pushed to the fore they begin to develop their own idiosyncrasies; a slow yet functional muted percussive stomp becomes the skeleton for THAT hypnotic synth phrase, while small pops, glitches, crackles and rich ambient textures build into a fuzzy soundscape that constantly, but subtlety evolves. All the while the heartbeat of the drums is the underlying framework.
'For Leaves' works for me on many levels; the shimmering lead synth gives way to fractured micro rhythms which have a sort of reduced distortion which is all glitched up and feels like some ancient machine language magically crunching away. Then euphoric drones lift the track as it changes gear into a totally blissed out zone which eventually, gently retreats in a ghostly and emotionally resonant fashion with distant fading keys.
Breathing sattvic fire, floating on a mystic lake of pseudo-jazz, everyone's favourite mostly anonymous Australian conspirators deliver the goods on their Scandinavian debut. Mellow and weird, this 4 track, 43-minute opus of percussive wyrld jamz, intricate improv, abrasive rawk and laid back lunacy is presented in a gatefold cover with hand painted/stamped abstract imagery inside. *A Beard Of Snails Records