Mark and his wife Elli came to a show in London. The first Von Sudenfed session was based on such a type of set with Mark's voice as the icing on the cake. They are both in separate rooms and cannot understand each other very well. They sound a bit Fugazi, a bit power pop - but dirtier, and their craniums are showing. One unavoidable comparison is to X-Ray Spex. Three of Mika Miko answer the phone, slumber party-style, calling to each other to pick up extensions in other rooms.
They are: Kate drums Jennifer vocals, guitar , and Michelle guitar, vocals. Right now there are five ladies in the band, including Jenna and Jennifer's sister, Jessie.
Onstage they stomp around in bratty sunglasses and jogging shorts from the Eighties. They're super smart. Sometimes Jennifer sings through an old-school phone receiver. It's a secret. I tell people that's what it means and people are like, oh my god, what's wrong with these girls? It's about grabbing the world and magnifying it and handing it back to everyone like a shimmering birthday present, and saying, yourturn, please! People attheirshows bounce balloons around and take their pants off you can see it on YouTube , and get up to sing words they know by heart into the mic.
Mika Miko are bemused by the adulation. As Jennifer tells it, "You kind of know that people like your band but when you see it happening it's like where am I right now?
You see that happening to other bands. It's like the twilight zone. While I hate asking these age questions because too many band profiles use the musicians' ages as a stick to beat readers with, it seemed important here, because in the States there are so many limitations on where you can play when you're under 2 1.
When they started, they were friends who hung out at The Smell in LA, an all-ages volunteer-staffed venue and gallery where they still work a few times a week. They run sound, make food, book shows, whatever. But on tour, all-ages venues aren't always easy to come by.
Mika Miko have been kicked out of 21 and counting. They've played towns that smell like cow manure where locals ask if they're "that chick band". They've braved slimy lakes and been kept awake by horny cicadas. But to hear them tell it, it's all great fun. Surely something pisses them off? I ask about the LA scene - all of the glossy style magazine stories seem to be about bands like The Like, whose parents are record execs or stupidly over-connected.
A band like Mika Miko- who have exponentially more talent, better songs, and have worked their asses off for years - only get a fraction of the mainstream attention. Anyway, they're unfazed. As Kate explains, "That's not our world, we have our kind of people. And it's cool that bands like that are trying to do something instead of being like, oh, I have my Beemer. And why can't hard work and passion sit next to geeky silliness and jokes about butt fucking?
To Mika Miko, there are no contradictions. Bounce le Gros was, like, two years, psycho! I think it's perfect. Monthly night Bounce le Gros has bounced its last. Montreal's loss is the rest of the world's gain, however, as the night's founder, Ghislain Poirier, will be touring the globe with a live drummer.
The album due in autumn on Ninja Tune promises "ragga, soca, dubstep, hip hop and really fucked-up bongo f lava to af rikaans rap: kicking k's first foray into af rican hip hop x plastaz Tanzania's preeminent crew incorporate traditional Maasai chants, unexpected rhythms courtesy of dancehall and Bollywood, helping create the popular Bongo Flava genre in the process.
Vids take in traditional village life and a dormant volcano -which erupted again the day after the band's Faza Nelly was killed in I'm trying to be dancefloor and intelligent at the same time, so it has to be catchy and it has to have depth to it. Following collabos with Acton's True Tiger, an album is expected Summer And when you're in a minority, you have to open your eyes to what's coming from outside.
When Dizzee Rascal released his first album, it was in Quebec maybe two months before anywhere else in North America. From his perspective, it's location more than language that shapes your syllables: "People who rap in French in Quebec imitate what's going on in America. But if they rap in French in France, it's really social, and political. They're more involved with the language on another level, like literature.
In English, at the moment it seems to be more about the bling- bling, party thing, and that's fine, but if you heard English hip hop from Africa, the lyrics will be really social.
The people who rap over there have a role in society. They speak for the people who don't have a voice, and they try to educate people. Like how early hip hop was in the United States. Fohey s. Ja rrwin hsiries!
High above the New Forest where wild horses roam, illuminating the narrow roads of the Sussex Downs where fungi grow in tree crevices, hidden in storm clouds looming over London. Red, shadowy, slightly opaque. Fingers blur. Pots rattle in a deserted house boat. In the distance, clown music. If you were to ask me to describe a recording studio I cherished, I'd say Liam Watson's Toerag - I've never been there, but it's situated in an alley between two semi-detached houses in the dingy suburb of Homerton, London E5, with checker floors and wonderful old analogue mixing boards like George Martin used in the mid-Sixties.
Miss Holly Golightly. Forgive me while I swoon. Her name, her music, her whole persona is associated with a certain exquisite Fifties-style fashion and rock'n'roll; sharpness, style. Her music is a drawl of simple eloquence, a sugar-sharp dispatch from past times where a song was a song, and a melody a melody, and all that mattered was honing the sound so you could communicate both with elan. I can't think of anyone so able to define her own sound this side of Kim Deal, although I'm not convinced it's entirely deliberate on Holly's part.
She is, as Jack White once put it, herself - and there is rarely a higher compliment. She follows her own path. She'll tear tiny cracks in your heart, if that's what you want. This is the raging moon: the moon underneath which to rage. There is only you and the moon and the stars.
How can you not feel your heart cracking? People confuse lo-fi with amateur. And that's not Toerag at all. Nobody could be more obsessed than Liam. Everything that Liam has is the best it could possibly be for its time, even if it's not in pristine condition.
That's not slapdash, that's a life's work. I don't know what lo-fi means. It sounds like something that someone didn't put a lot of thought into. You probably know a lot more about it than me. I was once told she's friendly, but guarded. She seems flat-out friendly to me. It seems like we've known each other years, even though we've never met before.
So it gave up the ghost and that was really lo-fi because two of the channels were fucked on it. I've got this new one that's probably a couple of years older, but I have no idea how it works and I've been practising for my tour with my buddy's backing track tape playing in the speaker behind me.
It's funny because people thought that I'd gone out. Probably the nearest thing that I'm an expert in is breeding horses. That's my creative outlet. It also put paid to her dancing; Northern Soul mostly.
Turning out well-behaved, mannered animals makes me proud of myself. And that is the irony of it. I don't really know how anything works. I know how to work it for my purposes, but everything I have is capable of so much more.
I've got a new laptop and I know that it can probably fly me to the moon but it's all I can do to pick up my email. It doesn't interest me. I mean, yes, she's named after Audrey Hepburn's elegantly doomed debutante from Breakfast At Tiffany's, and yes, she once fronted Thee Headcoatees, three brazen cigarette-smoking females from the early Nineties who inspired a generation of lady garage bands, especially in Japan.
They were actually even better than their brother band Thee Headcoats, for whom they initially formed just to add whoops and sighs in the background. A girl group, but man they were tough - they had a real ragged glamour. Everyone was in awe of them. They were the kind of girls you thought you could befriends with, butyou might not wanna According to her website, she's released 14 solo albums since turning solo in 1 - and God knows how many singles.
They vary in style,f rom 1 's playful, nicotine-stained Good Things to the bluesy Serial Girlfriend 1 to 's more poppy God Don't Like It with its stand-out, harmonica-led garage duet 'Feel Something'. All are deceptively simple. One album might be slightly more redolent of early Rolling Stones; another might have the odd burst of Hammond organ; another might have a killer of a single hidden among the superb craftwork.
My favourite, 's Truly She Is None Other is composed of 1 3 fully rounded, dryly emotional songs, with a low-end production like Ringo given full rein on the early Beatles recordings; sparkling and slightly scuffed-up. On the back the pair are walking through a monochrome broad country lane, slightly apart, cold: she, dressed up in some form of country girl plus-fours, he with a smudge of a tie, shoulder-length hair. The music inside is all salutatory duets and warning shots fired across the brow of Americana: the odd clatter of a piano, a mewling of pedal steel, stately and sparse.
It's like the direction you wanted The White Stripes to take after hearing Jack's ballad with Holly from Elephant, but knew they never would, too restricted by expectation. Nick Cave could relate tosomeofthesongtitles: him, and Tim Hardin; him and Skeeter Davis; her and that whole generation who grew up thinking 'Hurt' was a Johnny Cash original. Refined, like Johnny's old sparring partner June Carter, or Nancy Sinatra when she was still keeping company with that salacious old soul Lee Hazelwood.
You're extremely productive as a recording artist, aren't you? I always have done. My parents are Londoners, but I grew up with my grandparents and we lived first in Wales, then moved to the wilds of East Sussex, and there's not much to do of an evening. If your nearest neighbours live three miles away, you're not gonna be hangin' out with your buddies. As soon as I got a regular tape recorder, I was taping John Peel, mucking around with my guitar. I'm an only child and I come the middle of fuckin' nowhere, so it came out of boredom really.
Being prolific is something I do to fill the time when I'm not doing anything else. I can't really relax. I'm not very good at sitting on my arse watching rubbish telly. Although that's exactly what I should do some of the time. It's a case of not knowing any better. I'm quite narrow in my view of music anyway. They do all sound different to each other, though.
Sometimes I'll have an idea and I'll say I wantthe whole album to sound like this, but I very rarely record a whole album at once, I've only done that once, which was a couple of years ago.
But that's not how it really works for me cos that's two weeks off work. And when I say two weeks, most people would still be tuning their guitars after two weeks. But I don't know what I would do if you had six months. You know; 'My boyfriend's run away'. And, er, 'Oh, he's come back again '! I don't sing about cars or submarines. I sing about what I know. It's very simplistic. There are only a few directions for my songs to go in. I like a very traditional formula, I like a verse and I like chorus.
I write with backing tracks and whatever goes on top of that comes afterwards. I'm always singing in my head when I'm riding. When I was doing endurance riding you have to keep up a steady pace for 25 miles a day, and that's a lot of miles to get through. It's no different to when they used to have to move cattle across the plains; they made up songs.
It was something to do. It's bass-heavy, energetic, herky- jerky and distorted. Some jokers have named this stuff 'blog house', for its prevalence on MP3 blogs; but essentially it's dance music with a rock aesthetic, and subtlety isn't its strongest asset. It attracts a crowd of drunk indie kids who dress in neons and pogo all overthe dancef loor. A few minutes of this stuff can sound very fun indeed, but an entire set is enough to make you want to slice your ears off. In some ways, French duo Justice could be said to have fathered this movement.
Their productions have a rawness and immediacy that make them sound they're geared towards rock kids. They remixed wimpy indie band Simian, resulting in an enormous crossover hit.
Go Buggies. I was listening to things like Sly And the Family Stone, which has a rough production, and I was never thinking, 'Eh, this production is kind of rough, I don't like it'. Because of the distortion and iconography [like the inch's cross-laden, Metallica-pastiche sleeve], people were thinking, 'This is really rock'n'roll'.
But we made it like a funky track. Their louche Gallic-hipster look -T-shirts, leather jackets, scruffy hair- does not suggest two withdrawn, geeky guys who are obsessed with late Seventies pop and disco. There's a perception on this side of the Channel that Justice form part of some hard-living, super-cool Frenchy clique who hang out and party hard every night in joints like Le Paris Paris with Sofia Coppola types and boys with ethnic scarves and gross fringes.
But the reality is much tamer. It's more chilling, and watching DVDs How much more like a rock gig can you get? But Justice say they never intended to be perceived in this way. We wanted it to be like a modern Chic- disco with pop and techno mixed. We are really rooted in production, and we don't have any knowledge of sound engineering.
I do rememberthat before eair "because they were a bit likeus,twonerdy fixes guys doing everything themselves. We were owd. Inspired by these pop luminaries, the pair's ie first project was for a compilation of pretend ke Eurovision Song Contest entries.
Their entry didn't win, but igs," still made such a splash that it went on to e be released no fewerthan three times-finally we achieving enormous success last year under kind the new title 'We Are Your Friends', on, The snowballing attention their records d were attracting meant that Justice were invited to DJ around the world, and their dynamic sets became a new string to their bow.
Instead, we have a bunch of hyper-energetic disco tracks packed with funk, melody and joie de vivre. It's music that keeps moving, changing, bouncing. There are echoes of The Buggies' naive electronics in there, too, chirpy little blips and blops, as in the fantastic 'Let There Be Light', a huge squelchy techno-pop classic with wondrous nerd-pop squiggles.
There's an awesome two-part epic called 'Phantom' that sounds like body-popping music for rainbow-coloured robots; 'New Jack' is a lithe funk monster; and 'One Minute To Midnight' is like music for a Seventies horror film about computers that attempt to control the world.
In short, there is a lot more to this music than you might expect. But the track Justice are most proud of is the new single, the catchy 'D. With a normal track, we know how it will sound after one hour of working on it, but with this one, for six months, we just didn't know. So many times, we were like, 'OK, we're gonna abort this song because it takes so long to make it'.
I know that because kids are singing it, it could be taken as a joke or whatever, but this is really a first-degree love declaration and a support action to him, to say, 'Eh, we love you. You look weird, but we like you! It's like, when you are coming out of jail and you release an album, you have a good chance to make a big buzz, and I think he's in this situation now-and he still sings amazingly, even on the last album, even though the tracks were really bad, he still has the magical voice.
But I don't know if he'd be up for working with new producers, because I don't think he wants to take risks at the moment. If we did our thing with a big artist, we would get more into producing an extreme thing than if we were working with a new band, when I think we would go more into a pop thing, because you don't have the same job.
With a big artist, you can take advantage of their fame to do some more weird things, and introduce stuff people are not used to listening to. Like, all the remixes we did, they were always too fast or slow to be played by DJs, they have no intro, and this is a weird type of music. But it's just because when I was a kid and I was buying singles, I never paid attention to remixes, so I think they're not important. Sometimes we are lucky that people are playing it and dancing to it, but most of the time it's more for people listening at home.
It would be so fake. It's funny because we've talked to some bands who are really good producers, and they were saying, 'We make songs and then put them on a karaoke tape to make them sound like you'. And I was like, 'What's the point? If you are lucky enough to produce good things, why do you want to break that? Now he's back with a cocky new album, ready to talk about Dizzee fatherhood, and mentoring grime's new generation of DIY talent T.
A spring day in East London, We're in transit. In the back seat, Riko Dan - Roll Deep's warrior MC, he of the ruff neck Yardie flow and chest-beating war bars - glugs cola and loudly relives every jab and uppercut of last night's boxing, Joe Calzaghe's merciless demolition of Jeff Lacy. I'm here to make a short radio package on Rinse FM, the unlicensed London pirate which has acted as Ground Zero for grime since its birth in the early years of the decade.
If the station's taken on a certain mythology in the minds of its audience - a global conglomerate of London street kids, day-glo new rave hipsters and the grime-loving corners of the international blogosphere- the truth is somewhat more mundane. Once through the padlocked metal doors, Rinse's layout- a tiny studio the size of a walk-in wardrobe, and a larger antechamber that, with its peeling carpets and fruit machine, looks more like a Sixtth Form common room than a incubator for some of the most innovative UK music of the last decade.
Roll Deep's Sunday afternoon residency is one of the station's most popular shows, and members of Roll Deep, Slew Dem, and Ruff Sqwad mill around chatting and skinning up. I ask Target if Wiley's coming down, but Target just offers a shrug. So when Wiley bounds in, out of breath, everyone pays attention.
He's friendly, but steals off at the first sight of my minidisc recorder. Instead, I chat to members of Slew Dem, and to Riko, who talks about the importance of the London pirates, beacons for kids excluded from the system. As the hours slip by, though, there's no pinning Wiley down. Afternoon turns to evening and eventually I squeeze into Rinse's darkened studio and watch Wiley spit, cap pulled down, microphone inches from his lips.
Lines flow, repeat and mutate, bars stack on top of bars. Forty-five minutes later, I shuffle out of the booth and head for the bus rank, and he's still going, in a trance, barely reaching for breath.
If I'm at a rave, I'm thinking about the reloads. When I'm writing a lyric, I could be thinking about anything. Dusty Psychic Hut. The Boogieman will get ya!
Cecil Taylor - Paris Student Studies bonus tracks. Bill's Blue Note. Ni Kantu. A Closet of Curiosities. An Announcement about Reposts. Dust in the Nostrils. Arkadin's Ark. Just to let you know Twice Zonked! Penck 22 A. Madhuranath 1 C. Deane 1 J. Moses 3 J. Partially by design, and partially out of necessity, Latyrx -- and the Solesides crew as a whole -- became trailblazers. Lyrics Born Remembers, 'We really wanted to explore. New styles, new subject matter, new textures, new vocabulary.
It came down to even wanting to do words in the English language that you had never heard in a rap song before. It was all about pushing. Recital label head Sean McCann on the release: "I have been a fan of Derek Baron's music for only a small amount of time. But I appreciate how he and his cohorts blend technical talent and technical knowledge with abstract ideas and abstract approaches.
This album is a four-track recording of the group playing one of my favorite John Cage pieces, Thirteen Harmonies. I thought it was beautiful enough to see the light of day again. I even got the John Cage Trust to sign off on the release!
As regal as bored as humble as confused. Arranged for double bass, electric guitar, and flute, from the arrangement for keyboard and violin, from the original four-part chorale, Thirteen Harmonies is an arrangement of a reduction of an arrangement of a reduction. The choral composers whose works were the material for Cage's Apartment House were considered the avant-garde of choral music of the 18th century, and their music became the seed of Sacred Harp music, a radical lay tradition of the rural American south.
John Cage composed the harmonies by way of erasure of the Protestant chorales and set them in an 'apartment house' among other American voices: Native American ritual music, slave spirituals, and Sephardic incantations. What binds the lay experimentalism of William Billings and his contemporaries all white American men to the 'multiplicity of centers' of the Apartment House of John Cage a white American man is the destruction of a privileged musical space, the making-permeable of the division between the music of the piece and the sound of the people coming together to make the music of the piece.
A positive destabilizing from within. Thirteen Harmonies was recorded live on two consecutive mornings in to a faulty four-track on bled-through tape in Cameron's apartment house in Queens, New York.
Vocal accounts of mundane suburbia and human despondency by Asha, under a woven forest of pops and cracks and creaks courtesy of Christian. Emotionally and sonically claustrophobic. A unique take on voice and sound: in-between an audiobook and a sound-map. Exhausted and hungover, the frequencies and intense proximity really fit the digital CD format.
Here is your chance to revitalize the? Records weapon of choice First edition of Four ear-pleasing transmissions from Safe Trip associate, Artis. The ethereal, dreamy, arpeggio-driven throb of "Panthera Pardus", with its poignant tone and undulating lead lines, is meant as a warning.
The colorful melodic fluidity, futurist new age construction, and layered wooden drum hits of "Delphinae" are deeply affective. Glyn Bigga Bush has been producing electronic and sample-based music since the early '90s when he formed Rockers Hi-Fi, going on to release numerous albums. Bigga's latest project Sunken Foal Stories represents a departure from much of his other work in that it is not primarily based on beats.
Instead, his working method was to go with fascinating samples, accidental juxtapositions, and irregular loops -- inspired by pioneers of sound such as Faust and the audio experiments of Julian House, as well as early stereo test records, soundtracks, and library music. Bush explores the random elements created by overlaying disparate samples, where chimes of baroque psychedelia clash with ascending classical strings, or a haunting Eastern European folk song is looped into an eternal cadence of longing.
Various voices float over the speakers, lost poets, disturbing therapists, dreaming vampires, chuckling cabaret singers. Sourced almost entirely from charity shops and car boot sales, the source material speaks of a forgotten yet relatively recent period, when stereo was something new and exciting, when home entertainment first came into its own and suburban homes thrilled to the exotic sounds of home organs, primitive beatboxes, LPs bought in unusual holiday destinations and "glamorous" soundtracks.
The result is a journey into a familiar yet strange world of sound, as witnessed by these early reactions: "A genre spanning melting pot that touches on intimate and thought-provoking aspects of record sampling. It will put you back in touch with the art of storytelling via beautiful soundscapes and melodies.
Selva Discos kick off a new series of singles with a rare native Brazilian chant adapted by Marlui Miranda backed with a dancefloor friendly Joutro Mundo mix. It's never been on a vinyl record before. On the B side, Brazilian DJ and producer Joutro Mundo Jonas Rocha's alias , takes you on a journey reworking Marlui's groove with subtlety, extending the chant and adding just the right elements.
After Witthuser had co-organized the Essener Songtage feat. The duo existed from to , lived and worked together and also worked in sessions by Rolf-Ulrich Kaiser at this time, which appeared on several albums under the band name Cosmic Jokers.
The basic idea for this LP was to reinterpret the Bible. Thus, the 'Brosel' engl. The world premiere of 'Der Jesuspilz' took place on The media response was huge, so that the duo then appeared in over a hundred churches in Germany and at German television. The songs on this album were recorded at the public rehearsal in the JZ Youth Center Essen a few days before the first church performance.
A true historical sound document! The alchemist Bebo Baldan, accompanied by Steve James on violin and sarod as well as on instruments of various geographical extractions mixes, in a personal way, sounds from a bevy of different cultures -- from Mediterranean and Indian, to South American -- with synths, samples, and loops. The result is a boundless music that carries you, riding soft waves and bobbing between Balearic ambient, jazz, and electronic, on islands that have been quietly, yet carefully cultivated; peaceful, fascinating, and reflective -- places where time appears to dissolve.
This reissue includes two added bonus tracks from the same sessions, both at the end of each side. The result is a stunning auditory atmosphere that relaxes the spirit in the same vein as a reiki treatment. When No Pussyfooting was released in by two great pioneers like Eno and Fripp, that first whisper of their artistic association surprised many critics and fans. Yet, that kind of minimalist ambient sonority carried out by the two appeared in the ear like something absolutely new and innovative.
Although nowadays we might be more accustomed to creative operations of this type, we are still fascinated, while listening, by the still possible achievement of relevant moments of musical epiphany, however distant we might be from that first eminent combination between keyboards and guitar which concerned electronic experimentation.
Something similar occurred in this new collaboration between Riccardo Sinigaglia and Maurizio Abate; two generations in comparison, whose research developments unfold in the handful of different conceptions and experiences.
Their music does not own a pre-defined structure; it receives its ultimate reason from the progressive and continuous metamorphosis of sound. It's all the result of spontaneous sessions, during which a predisposition towards an active trance procedure, sustained by complementary flashes of lucidity, prevails.
The dominant atmosphere is entirely oneiric, perpetually doubtful, still not linked to the passive remote unconscious: it's rather reminiscent of lucid dreams, of phosphenes, of eidetic visualizations that belong to Tibetan tradition. Soundway present the second volume in their Panama! Panama is one of the world's great crossroads -- a bridge between North and South America, and home to the great canal that links the Caribbean and the Pacific.
After soaking up the varied influences of Panama's diverse population, the dancefloors and bars spat out a heady mix that took in the raw vallenato of neighboring Colombia, the soul and funk of America, the calypso of Trinidad and the son and rumba of Cuba, all combined and re-styled in a uniquely Panamanian fashion, making Panama a central spoke in the wheel of Caribbean music.
Writer and compiler Roberto Ernesto Gyemant travelled throughout the country in search of elusive records and reclusive musicians, tracking down hopeful tips and half-remembered names and addresses. Two years of digging through dusty warehouses and old radio stations in search of crackly records and dusty photos led to an exhaustive look at the musical culture of this fascinating country. Listen to the heavy tamborito rhythm of Los Silvertones and you'll hear where the instantly-recognizable, syncopated beat of modern-day reggaeton was born.
Check the countrified re-versioning of Willie Colon's classic "La Murga De Panama" -- a perfect riposte to those that think Latin music begins and ends with Shakira. DJ-friendly edition. Harmonies is the new long-player from underground super-producer Lord Echo. Hotly anticipated for years by his growing entourage of fans, the new album solidifies his already distinctive mutations of reggae and rock steady with disco, African soul, techno, and spiritual jazz.
In other words, the Lord has returned from the wilderness with a bounty for his followers. In the late '80s, a now legendary LP by the name of Forbidden City Dogfood was unleashed on an unsuspecting public. What few folks knew was that Forbidden City Dogfood was actually less than half of the compilation made by Cramps frontman Lux Interior. Here, for the very first time, the entire recording is now available. Fully complete and weighing in at well over an hour of crazy, whacky sounds from the Maestro of Mad himself.
Sote aims to devise an idealized fusion of the musical heritage and tradition of Iran with the forward-thinking vision which has propelled his storied career producing techno, hardcore, and computer music for labels like Warp, Ge-stell, Morphine, and Repitch. Now living in Tehran, his music has frequently grappled with the strict cultural restrictions imposed in his country over the past few decades, finding a space and setting to nurture new developments in experimental sound and performance.
Working with Arash Bolouri, who plays the santour Persian hammered dulcimer , and Behrouz Pashaei on the long-necked, four-string setar, Sote frames and responds to their traditional artistry. On occasions he directly manipulates the music emanating from their ancient instruments, cultivating, and thickening up a surreal and beautiful tonality plucked from their strings with a series of processing techniques, but mostly each track is a peaceful arrangement and partnership, Sote electro-acoustically augmenting their movements within his own cybernetic framework.
Unusual color and complex microtonality found in the classical music of Iran. Blurts of noise, sour tones, and a vaguely technoid or dub-wise impression expose the inner rhythm and counterpoint embedded in this strummed music. Emotional, mathematical and polyrhythmic principles underpinning Persian music, the record reveals a dramatic blend of acoustic Persian instrumentation and contemporary electronics. Artwork by Ala Ebtekar. Tarab is the result of live recordings captured during the AL-'AN!
It is in symbiosis, in the fever and visceral experimentation, that the musicians seek rapture. Arranged in a semicircle, they invoke the elements and attempt the catharsis, inviting the spectator to spiral with them, entwined in the sonic explosions, finding beauty and peace in the spaces of improvisation and elaboration.
Marrying free-rock, organic electronics, traditional instruments, and unbridled electricity, Tarab, far beyond the vibrant testimony, is a generous invitation to experience, to meditate, and to share. All songs here are previously unreleased; Recorded and mixed between and Pseudocode were a Belgian electronic improvised music band, active from to There's even the odd suggestion of a pop tune here and there, maybe even some danceable beats; if you've got one leg shorter than the other.
While Xavier S. Neffe's contributions are particularly noteworthy throughout, as he weaves together the bulk of the sonic cloth through overdubbing and mixing -- one of his parts is remotely virtuosic hence his self-identification as a non-musician , but they are always unexpected and perfect in and of themselves, emotionally and sonically, and in that sense, they are deeply musical.
Bass Terror Tetragrammaton" is the dark side of Bill Laswell at the peak of his art in -- he goes into a black trance. The piece is not from a collaboration, it was designed alone, in his studio in Brooklyn. The two pieces answer each other strangely, like two sides of the same hidden anxiety. The concept of the Subsonic series was the confrontation of electric guitars as the tutelary instrument, but here and this time only, it came out of bassists confronting each other.
Red vinyl; Edition of Transferred for the first ever time from the original cassette to vinyl and CD. Reduced to its essential musical elements, Arctica certainly contains some of the most uncategorizable and bewildering pieces of mid-eighties electronic music. Set between the areas of post punk and early techno, the album undulates between analog as well as digital instrumentation. Cassettes were the medium of choice for self-produced recordings at the time. The style of Konrad Kraft's productions displayed ever since and up until today , a strong adherence to an idea of continual self-creation and a quality of wanting to be responsible for one's own identity.
Even three decades after its recording, Arctica still evokes images of an expedition into an edgy cold place which has strange wonders, polar lights, structures of ice and innumerable worlds and creatures in store. Konrad Kraft who today runs Paraschall mastering studios : "In the early '70s I got a transistor radio as a gift and immediately fell in love with the shortwaves. So many different sounds that was truly fascinating.
I can imagine that nowadays as music is endlessly compressed to fit into mobile phones and as music on the radio sounds dreadfully the same, there might be a renewed interest by a young generation in discovering electronic sounds. I can listen to Arctica much better now than when it originally came out, because there is a distance which allows me to approach the recordings on a more neutral plane.
Arctica seems to sound even more contemporary today than it did in CD version includes page booklet; Edition of Includes full-size insert and download code; Edition of From the very first track, it's clear that Abby Echiverri's debut, Ab Initio EP, is something different and rare: a polished and fresh interpretation of electronic music that incorporates classic electro squelches with intricate broken beats and expansive synthesizer zone-outs.
When The Bunker New York asked her to explain her process of creating these hardware-based jams, Abby said: "It all stems from my own experiences on the dancefloor and wanting to recreate that for other people. I want to make music that rewires the brain: music that is challenging, yet groovy An aural psychedelic. The Thing, recorded July 2nd and 3rd, Mastered by Lupo at Calyx mastering, Berlin. Liner notes by Brian Morton. He switched from fiddle to guitar in the s, after returning from a two-year World War Two service in Europe, and immediately leaving his home in Arkansas for Chicago, sensing opportunity.
From there, Broonzy immediately set to work establishing himself, performing at various parties and social gatherings. Throughout the late 20s and into the s, Broonzy's fortunes gradually increased as word spread of his talents. During this time he recorded numerous singles for classic blues labels like Paramount, Gennett, Champion, and Vocalion, and began to regularly perform in Chicago's South Side venues. Big Bill Broonzy also set himself apart from his contemporaries into the s.
Many of the progenitor bluesmen of the time had given up music during the Great Depression, but Broonzy persisted, and continued to evolve his sound beyond traditional country blues. During this time, Broonzy would record one of his best-known singles, 'Key To The Highway', a blues standard which would also be covered by Little Walter, Eric Clapton, and the Rolling Stones and set the stage for a new wave of blues performers, and later rock and rollers, by being among the first of his genre to introduce electric instrumentation into his act.
The s were a banner year for traditional folk and country blues, where renewed interest in the styles led to new audiences in England and America. Bass Suite, No. Beauvais Cathedral Kent Carter. Steps Kent Carter. First released as an LP in on Emanem, Kent Carter's first almost solo album of almost free improvisations was reissued on CD in October with 20 minutes of extra material.
All the music was recorded in at the Chateau de Maignelay Beauvais, France , where the bassist resided at the time. Most of it was improvised but there are a few compositions resulting from commissions or multi-track experiments. When more than one part is heard, Carter usually performed all of the music, except in four cases where an extra musician was called in including Carlos Zingaro in the closing "Tarragona".
Although all of these pieces were clearly experiments both in terms of conceiving music and pushing the possibilities of crude recording means, they make for a beautiful, mature album.
With this third album not counting the two other collaborative ones , the Swedish band keeps digging their idea of a fresh approach to improvised music, with a number of influences from free jazz, psychedelic rock and noise. The album displays an intriguing cocktail of dark and brooding, hypnotic slowcore jazz. Orchestra : Actions. Featuring saxophonist Mats Gustafsson , this new album is a new interpretation of "Actions For Free Jazz Orchestra", an imposing work from , by Polish classical composer Krzysztof Penderecki.
The original work was back then presenting a 14 piece orchestra directed by himself, with musicians picked by legendary jazz trumpeter Don Cherry.AA (FRANCE) 14 € BARDET/GEORGEL/KPADE A LA SUITE CACHE CACHE & Ed SARATH TANDEMS CACHE CACHE & TYPO COULON CERISIER Pierre LAZULI DSOT BIG BAND D.