Monday, February 27, 2012
Friday, February 24, 2012
Junk Records
Εξαρτημενο δισκοπωλειο.
Βραχυκυκλωμενη Προπαγανδα.
Απο Τεταρτη 22 Φεβρουαριου μεχρι το Τελος.
Μαυρομιχαλη 46-50, Αθηνα
Τριτη με Σαββατο, 11:00 - 20:00
Τηλ: 215-5205181
Email: junkrecords@hotmail.com
Site: Under Construction
Monday, February 13, 2012
Dead Moon - In The Graveyard (Tombstone Records 1988)
1. Preparations of: Acetyldihydrocodeine,
Codeine,
Dihydrocodeine,
Ethylmorphine,
Nicocodine,
Nicodicodine,
Norcodeine and
Pholcodine
when compounded with one or more other ingredients and containing not more
than 100 milligrams of the drug per dosage unit and with a concentration of not
more than 2.5 per cent in undivided preparations.
2. Preparations of: Propiram containing not more than 100 milligrams of propiram per dosage
unit and compounded with at least the same amount of methylcellulose.
3. Preparations of: Dextropropoxyphene for oral use containing not more than 135 milligrams of
dextropropoxyphene base per dosage unit or with a concentration of not
more than 2.5 per cent in undivided preparations, provided that such
preparations do not contain any substance controlled under the 1971
Convention on Psychotropic Substances.
4. Preparations of: Cocaine containing not more than 0.1 per cent of cocaine calculated as
cocaine base; and
Preparations of: Opium or morphine containing not more than 0.2 per cent of morphine
calculated as anhydrous morphine base and compounded with one or more
other ingredients and in such a way that the drug cannot be recovered by
readily applicable means or in a yield which would constitute a risk to public
health.
5. Preparations of: Difenoxin containing, per dosage unit, not more than 0.5 milligram of
difenoxin and a quantity of atropine sulfate equivalent to at least 5 per cent of
the dose of difenoxin.
6. Preparations of: Diphenoxylate containing, per dosage unit, not more than 2.5 milligrams of
diphenoxylate calculated as base and a quantity of atropine sulfate
equivalent to at least 1 per cent of the dose of diphenoxylate.
7. Preparations of: Pulvis ipecacuanhae et opii compositus
10 per cent opium in powder
10 per cent ipecacuanha root, in powder well mixed with
80 per cent of any other powdered ingredient containing no drug.
8. Preparations conforming to any of the formulas listed in this Schedule and mixtures of such
preparations with any material which contains no drug.
Tuesday, February 7, 2012
The Louvin Brothers - Satan Is Real (Capitol 1959)
To the River Of Jordan our Savior went one day
And we read that John The Baptist met Him there
And when John baptized Jesus in Jordan's rushing waters
The mighty power of God filled the air
I'm on my way to the River Of Jordan
Gonna wade right in to the rushing waters
I'm going down to the River Of Jordan
And let the cool waters cleanse my soul
King Naaman was stricken with dreaded leprosy
And he sent for the man of God to pray
But Elisha said to Naaman "go dip yourself in Jordan"
And let the cool waters wash your spots away
So he went right down to the River Of Jordan
He waded right in the rushing waters
He dipped himself in the River Of Jordan
And the cool waters made him whole
Oh the River Of Jordan is many miles away
And this mighty river I may never see
But I'll find myself an alter in an old fashioned church
And my River Of Jordan that will be
And we read that John The Baptist met Him there
And when John baptized Jesus in Jordan's rushing waters
The mighty power of God filled the air
I'm on my way to the River Of Jordan
Gonna wade right in to the rushing waters
I'm going down to the River Of Jordan
And let the cool waters cleanse my soul
King Naaman was stricken with dreaded leprosy
And he sent for the man of God to pray
But Elisha said to Naaman "go dip yourself in Jordan"
And let the cool waters wash your spots away
So he went right down to the River Of Jordan
He waded right in the rushing waters
He dipped himself in the River Of Jordan
And the cool waters made him whole
Oh the River Of Jordan is many miles away
And this mighty river I may never see
But I'll find myself an alter in an old fashioned church
And my River Of Jordan that will be
Saturday, December 31, 2011
2012
NO WISHES.
NO LISTS OF GOOD OR BAD RECORDS.
NOTHING AT ALL.
CHECK PHOTO FOR THE ULTIMATE GUIDE OF FUN.
Thursday, December 22, 2011
Dale Cooper Quartet And The Dictaphones – Parole De Navarre (Denovali Records 2010)
Formed for the improvisation nights Dynamo in Brest, France, this quartet made of musicians covering a wide variety of musical styles creates a sound that mixes electronic (samples, cuts, sound treatments) and acoustic elements (guitars, saxophone, trumpet). They're playing moody ballads that sound as if they would come out from one of David Lynch's movies. Like in the films of Hollywood's master of bizarre pieces, there is something like a dark and poisonous colour broken by red thunderlights and blue cigarette smoke. The music spawnes some odd characters and landscapes while the listener makes out some more friendly faces that loom up out of this nowhere place: the voice of Zalie Bellaccico, Milanese streets sounds, a lazy flute, or some distant breathing swim on the surface of this deep troubled waters. "Paroles de Navarre" is an invitation for opening the red curtain of this Dark Jazz cabaret made of shimmering and whirling walls.
For pop listeners without a feeling for depressive soundscapes it might be boring – for us it's one of the best musical outputs we've discovered in the past years. If you like BOHREN UND DER CLUB OF GORE or THE KILIMANJARO DARKJAZZ ENSEMBLE, you should be all ears. *Denovali Records
For pop listeners without a feeling for depressive soundscapes it might be boring – for us it's one of the best musical outputs we've discovered in the past years. If you like BOHREN UND DER CLUB OF GORE or THE KILIMANJARO DARKJAZZ ENSEMBLE, you should be all ears. *Denovali Records
Various – Fac. Dance: Factory Records 12" Mixes & Rarities 1980-1987 (Strut 2011)
Label head Tony Wilson conducted Factory Records with an uneasy cocktail of quixotic enthusiasm and loose purse strings. Wilson never signed any artist to a contract, and in 1982 he plunged a good deal of the profits into the new Hacienda club, whose low ticket and bar prices ended up costing the label 10,000 quid a month. The Hacienda, however, left an indelible mark on UK dance culture, proving that, yes, it's possible to be crowd-pleasing and forward-thinking at the same time.
Bracketed between 1980 and 1987, this long-overdue collection of Factory's clubbier 12-inch outings—mixed and curated by Bill Brewster—takes us from the beginnings of New Order right up to the moment when groups like the Happy Mondays started absorbing Chicago house and Detroit techno and fusing it with red-eyed, psychedelic pop. As a result, what you get here is largely a collection of brilliant blueprints: transitional and exploratory tracks that reflect a kitchen-sink, tabula rasa production attitude. The influence of the label's infamous in-house producer Martin Hannett, who gave Joy Division its signature icy sound, is palpable, but it's grafted onto much groovier and funkier material.
Ranging from dubby, experimental instrumentals like Hood's "Salvation" to sugary laser-boogie like "Express" and "Look into My Eyes" by 52nd Street, Factory's wild diversity is on full display. While it's an excellent overview, the "dance" term is sometimes only loosely applicable. Most of the comp is given over to DJ-friendly numbers from Quando Quango and Marcel King, but other offerings like Swamp Children's avant-jazz stronk " You've Got Me Beat" and The Durutti Column's kosmiche guitar bliss don't exactly come across like body-movers.
Nonetheless, FAC. DANCE offers a number of revelations for hardcore fans, like the hallucinatory Beat-poetry spoken word vocals on "Art on 45," as well as several groundbreakers like Section 25's stunning, futuristic "Looking From a Hilltop," which takes a gritty synth-pop formula and runs it through a darkly psychedelic, Bambaataa-sized ghetto blaster. Like Joy Division, Section 25 segued from abrasive, doomy post-punk into dance music—their earlier classic "Dirty Disco" shows them already halfway there, with disco hi-hats and lyrics like "I want your body…I want your mind…." yelped over cavernous snares and guitar shred. The group's closest cohort was arguably A Certain Ratio, whose "Knife Slits Water" remains one of their finest moments and serves as the compilation's high point: When else did stewing eerie melodies and twisted effects into a groovy shuffle powered by slap bass and crunchy claps make quite as much sense as on Factory? *Strut
Bracketed between 1980 and 1987, this long-overdue collection of Factory's clubbier 12-inch outings—mixed and curated by Bill Brewster—takes us from the beginnings of New Order right up to the moment when groups like the Happy Mondays started absorbing Chicago house and Detroit techno and fusing it with red-eyed, psychedelic pop. As a result, what you get here is largely a collection of brilliant blueprints: transitional and exploratory tracks that reflect a kitchen-sink, tabula rasa production attitude. The influence of the label's infamous in-house producer Martin Hannett, who gave Joy Division its signature icy sound, is palpable, but it's grafted onto much groovier and funkier material.
Ranging from dubby, experimental instrumentals like Hood's "Salvation" to sugary laser-boogie like "Express" and "Look into My Eyes" by 52nd Street, Factory's wild diversity is on full display. While it's an excellent overview, the "dance" term is sometimes only loosely applicable. Most of the comp is given over to DJ-friendly numbers from Quando Quango and Marcel King, but other offerings like Swamp Children's avant-jazz stronk " You've Got Me Beat" and The Durutti Column's kosmiche guitar bliss don't exactly come across like body-movers.
Nonetheless, FAC. DANCE offers a number of revelations for hardcore fans, like the hallucinatory Beat-poetry spoken word vocals on "Art on 45," as well as several groundbreakers like Section 25's stunning, futuristic "Looking From a Hilltop," which takes a gritty synth-pop formula and runs it through a darkly psychedelic, Bambaataa-sized ghetto blaster. Like Joy Division, Section 25 segued from abrasive, doomy post-punk into dance music—their earlier classic "Dirty Disco" shows them already halfway there, with disco hi-hats and lyrics like "I want your body…I want your mind…." yelped over cavernous snares and guitar shred. The group's closest cohort was arguably A Certain Ratio, whose "Knife Slits Water" remains one of their finest moments and serves as the compilation's high point: When else did stewing eerie melodies and twisted effects into a groovy shuffle powered by slap bass and crunchy claps make quite as much sense as on Factory? *Strut
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