Rovo - Mon

Aural Amyl Nitrate. Long live ROVO.

"If you thought there was no chance you'd ever again hear music that sounded genuinely new, different, unique, and totally out of this world, Rovo's going to change your thinking. The Japanese sextet, featuring members of the Boredoms, Dub Squad, Demi Semi Quaver, Bondage Fruit, Bazooka Joe, and other Japanese underground outfits, offers a sound so new, different, unique, and out of this world that reviewers like this one get tongue-tied trying to describe it.

Analog comes crashing into digital in Rovo's world. Extraordinarily complex, heavily layered breakbeats form the blueprints with which the group erects its marvelous sound structures. Then Rovo throws in guitar, electric violin, fierce tribal percussion, and sometimes even flute and clarinet -- though you may not recognize them as such, they're so thoroughly distorted -- and a host of stunning effects that blur the disparate elements into a single continuum. Dub and drum and bass may be the influences you spot first, as the hard polyrhythms tend to rise to the fore, but hints of free improv, Krautrock, and spacey far, far-out psych abound. The instrumental compositions which result feel highly spontaneous, incredibly energizing, and truly beautiful, in a sophisticated yet deeply primal way. Listen with headphones for full effect -- there are a lot of sounds here, and you won't want to miss a single one.

Guitarist Seiichi Yamamoto (Boredoms), violinist Yuji Katsui (Demi Semi Quaver, Bondage Fruit), and synthesizer/effects technician Tatsuki Masuko (Dub Squad) started Rovo in Tokyo in 1996. Originally the group was sort of a space-rock group, before gradually developing their unique style of "man-driven trance," as it has sometimes been called." - Jason Atlock

They eat their gods

Popol Vuh - Hosianna Mantra

Florian Fricke's krautdementor troupe in their most hypnotic release.

Mazorca de Quebra

Go Organ! - I Remember Not Having The Hiccups

long overdue/late bloomer. i`m guessing this is the official 2010 release. puertorican 8bit dance-mania at its finest. tell all your friends about it.

get it now!


previously:
Go Organ! - Ate Bit

The Bad Plus - These are the Vistas

The breakthrough first album from the trio that changed the game up for jazz musicians. Not only are they incredibly well trained musicians, but they make it a point to show their take on major influences with covers from Aphex twin's "flim", Blondie's "heart of glass", and Nirvana's "Smells like teen spirit" ( I would have much preferred "Lounge act", but it is what it is).

Ornette Coleman said there's something special that happens when these guys play together, and I agree.

The Bad Plus - These are the vistas

Rapoon - Church Road

Rapoon is the main project of one of the founding members of the inscrutable, legendary :zoviet*france: (their output described by Phil England as "a series of infernal soundworlds that wanders between organic, non-linear, lo-fi explorations and fake ethnicity, creating a world where nothing is locatable and everything is suggestion, awaiting responsive imaginations"), Robin Storey.

"With the profound mystery surrounding the anonymity of the members of Zoviet France, the emergence of one of its original founders came as a surprise to diehard ZF fans. In the aftermath of a gruelling North American tour in 1991, Robin Storey left Zoviet France, taking with him a broad knowledge of effective-yet-tricky soundloop techniques. While on later albums like Shouting at the Ground, Zoviet France had been shifting into rich dronescapes that seemed to have a fog-like weightlessness, Storey wanted to shift towards an exploration of the rhythmic minimalism of Indian, West African, and Bangladeshi indigenous music. Over nearly two dozen releases as Rapoon, Storey has steadily delved deeper into the mystically charmed arcana of hypnotic rhythms, augmented by extensive use of looped samples, tape manipulation, and ghostly references to the '70s dub techniques of Lee 'Scratch' Perry.
Alchiva and Ochre, from 1993's Raising Earthly Spirits, stand as some of Storey's best work in either Rapoon or Zoviet France, brazenly revealing the dark insistent loops that Storey creates by forcing scratchy vinyl into locked grooves and steadily manipulating it with an arsenal of tricks that he would like to keep secret." - Jim Haynes

Coloso

Jaga Jazzist - One Armed Bandit

!!!!!
a little late on this one but surely this is going in for a 2010 classic.

prognissekongen sounds jaga frippish.

Scratch Acid - The Greatest Gift 1982-1986

True legends.

"Scratch Acid played a huge part in the noisy underground movement of the 1980s; they took punk to the dirtiest, dingiest mudhole they could find and sullied it from top to bottom until it looked and sounded like some hell-bound bogeyman. It's not too far-fetched to think of Scratch Acid as the American equivalent of the Birthday Party, the Texans donning the mantle that was dropped when the BP disbanded. The Greatest Gift contains everything the band ever recorded, including a few lo-fidelity instrumentals. Scratch Acid never received the notice it deserved, but the musicians could pound out brilliantly frenzied and highly original post-punk/noise rock that sometimes rivals the material released by singer David Yow and bassist David Sims' future (and much more well known) project, the Jesus Lizard. The first eight songs were originally released in 1984 as an eponymous EP; from the opening crashing bars of "Cannibal" to the terrifying lyrics heard on "Lay Screaming" (a song which reads like something culled from a medieval book about torture), this band obviously never had any desire to control itself. Only one slight reprieve can be found in the relatively tender "Owner's Lament," a song replete with weeping strings. Songs nine through 20 first saw the light of a sickly day as Just Keep Eating, Scratch Acid's one and only full-length that found the band expanding its musical palette: insane noise rock numbers ("Eyeball," "Holes"), jaunty, faux lounge grooves ("Amicus"), goofy Zeppelin-esque riffs ("Cheese Plug"), and a spot-on cover of the Webber-Rice rocker "Damned for All Time," complete with exclamatory horns. The remainder of the disc comprises the songs from their definitive statement, the 1987 Berserker EP. A little more money went into this recording; as the sound quality is better than on Just Keep Eating, it was definitely worth it. "Mary Had a Little Drug Problem" and "Flying Houses" are whirlwinds of pounding drums, foreboding basslines, and scathing, blinding guitar phrases. The band never played so well or wrote better songs. Highly recommended to any Jesus Lizard fan and noise rock/hardcore punk aficionado." - Will Lerner

Crampicup

Pauline Oliveros - Electronic Works (1965-1966)

Three compositions from pioneering American electronic composer these pieces date from 1965 to '66 and display her early explorations into tape music. The first piece I of IV is a real-time recording of a partially improvised experiment at the artist San Francisco Tape Music Center, which creates hypnotic droning effects with tape loops, and its duration builds to stunning sonic effect. Big Mother Is Watching You was produced at Toronto Electronic Music Studio a year later 1966, and is a development of Oliveroes techniques of repetition and transformation that characterized her work for the ensuing three decades. The tape-delay technique and sine-wave combination build a massive cloud of sound which floats through a reverberating architecture ' Doppler effect from the drones and tape loops create a three dimensional sound that is far too elaborate to be called minimalist, the harmonies bubbling within make for ecstatic listening pleasure. The final piece Bye Bye Butterfly is a short tone poem made with stereo-imaging techniques. This issue comes highly recommended as an insight into the fascinating early work of this maverick composer.
git.

Jim O'Rourke - The Ground Below Above Our Heads

Jim being droney & weird.

Food - Last Supper

Another great example of the Scandinavian "New Conception of Jazz". Led by Arve Henriksen (Supersilent, Christian Wallumrød Ensemble, Veslefrekk).

"New on Rune Grammofon from Arve Henriksen's exceptional Food project! Food was formed at the 1998 Molde international jazz festival when the profiled English sax player Iain Ballamy was invited to perform with three exceptional young norwegian musicians, including the incredibly gifted Arve Henriksen. It soon became clear that the blend of Iain's distinctive saxophone and Arve Henriksen's breathy trumpet textures was the perfect foil for the entrancing bass and drum trips created by Mats Eilertsen and Thomas Stronen. A key aspect to "last supper" is the delicate balance between the melodic and lyrical nature of Ballamy and Henriksen´s playing and the electronic soundscapes that Food started to explore with their previous album "veggie" - all glued together by an astonishing rhythm section. Another boundry-pushing album from one of the most innovative labels and musicians of our day - Highly Recommended." - Boomkat

Savagery

Dr. Israel - 7 Tales of Israel

First effort from a Suma Cum Laude graduate of the Rhythm Science course. Dub shall endure.

"Many are called but the chosen are few, so when Jah ready, you gotta move...

Dr. Israel has been an ever-present, ever-ready souljah in the WordSound army, contributing to every release to date including the Qaballah Stepper's timeless Dub In Fusion (WSCD004), the track "Saidisyabruklinmon (Nobwoycyantess)" from the subterranean scorcher Crooklyn Dub Consortium: Certified Dope Volume 1 (WSCD003) as well as cuts from the new Dubadelic, 2000: A Bass Odyssey (WSCD007). Now, he gets to shine on his own with 7 Tales of Israel, a dub journey through ancient landscapes on a caravan of drum and bass.

Yes, herbal vapors and biblical capers flavor this innovative approach to roots music in today's, dread era. Beginning in the lush Garden of Eden, the good Dr. resurrects the majestic power of the word with "Adam and Eve." He then plunges headfirst into the jungle on "Deborah," a smoother version of drum-and-bass. "The Tribulation of Job" presents an all percussive beatdown as the powerful vocals of Chemda Khalili swirl above the fray, while "Psalm 87" goes retro with a Tubby's echo-chamber dub style, swimming in the latest studio science. Dr. Israel does not discriminate against any style for Zion "shall be called a mother in whom men of every race are born."

Take heed, for the 7 Tales of Israel, brings glorious sounds for all of the children of creation." - Wordsound

Alms

2562 - Aerial

A magnificent dubstep release.

"Over a succession of rhythm melting vinyl releases for Tectonic, SubSolo and Philpot, Dave Huismans has asserted himself as the leading practitioner of forward thinking dancefloor motions currently in operation. Under the' Dogdaze, A Made Up Sound and his revered 2562 moniker Huismans has shocked the now merged techno and dubstep fraternities with a brilliantly consistent stream of bare bones riddims encompassing brittle 2-step, lurching techno and bass driven dub with a fractured brokenbeat aesthetic that sounds quite unlike anything else being produced today. Aerial is Huismans' massively anticipated debut album and contains some of the most deadly material produced under his 2562 guise, formed into a coherent statement of ten tracks set to detonate headphoness and Soundsystems around the world this summer. This CD edition pulls together four tracks previously dispatched over the course of three individual 12"s released in the last year, plus six sparkling fresh productions primed to dub the world into submission. The set skanks into view with 'Redux' plumbing the depths of a breezing downtempo dub cut in the finest Rhythm & Sound styles, and clearing the airspace for the snaking syncopations of 'Morvern'. From here there's a run of tracks culled from recent releases, ready to educate unblessed ears with some bass stepping sanctification, but the real treats for those who've been paying close attention come in the form of the stunning 'Basin dub' composed from delicate blue chords and a double-timed rhythmic intuition that couldn't have come from anyone else, followed by the equally crushing 'Greyscale', realisng many a technoXdubstep nerd's wet dream with a sacred stylistic blend of Burial, Basic Channel and T++ that leaves us floored. Finally another new effort 'The times' signs off the album with some moody and expansive dub chords whipped into spectral plumes over a coma-slow riddim that brings us full circle and ready for repeat. This album follows in the massively revered tradition of dub experimentation and rhythm science laid down in the lineage stretching from Lee Perry through King Tubby, Scientist, Steve Gurley, Dillinja, Photek, Rhythm & Sound, Kode 9 and Burial, so all we can say is that if any of those names have remotely affected you in any way you really need to check this album out. Without doubt one of the albums of the year - absolutely mighty."- Boomkat

Muro

The Angels of Light - New Mother

First album of M. Gira's post-Swans main project. As always, a brilliant affair.

"Gira's first post-SWANS projects were the primarily instrumental The Body Lovers and The Body Haters (see also "Number One of Three", "34:13"). With The Angels of Light, Gira returns to vocal based songs. And it's so good to hear Gira's voice and words again! Lyrically "New Mother" is probably his most personal work to date. Many of these songs reflect Gira's relationships with himself, his parents and Jarboe (also of SWANS): his faults (alcohol comes up more than once), regrets, love, sorrow, repentance. It's a confessional of sorts, very honest and genuine. Gira has many voices here: spoken, melodic, hums, quiet whispers, fragile whimpers and the occasional grating caterwaul. These songs focus on Gira's vocals and guitar, similar to the quieter side of recent SWANS and Gira's '94 solo album "Drainland". A few are solely Gira ("How We End", "Fear of Death") while the rest are more fleshed out. All are relatively quiet ... you won't find crescendoing walls of electric guitar or drones here, they've been replaced with beautiful layers of melodic acoustic/organic instrumentation. The numerous musicians contributing to this album (many of whom are veterans of past Gira/SWANS live and studio projects) weave an elegant tapestry of sound as backdrop, where necessary, to Gira's words. Look at the credits above and you'll understand the abundance of exquisite sounds to be found within these songs. The only person missing is Jarboe, but she is most definitely not forgotten ... this album is dedicated to and in many respects is about her. "New Mother" could also be considered an accompanying counterpart to Jarboe's '98 solo album "Anhedoniac". This is a bold step forward for Gira ... from the ashes of SWANS has risen an abundance of new expression through art and music. The packaging is first rate as is usually the case with Gira's projects. The digipack comes with a five panel insert that features all of the lyrics, credits and original photography by Wim van de Hulst (who also did "Drainland") one of which is a wonderful new portrait of Gira. If you're a fan of any of Gira's past melodic work you will love this disc. For anyone unfamiliar with Gira, The Angels of Light is a great starting point to his superb songwriting skills. I'm positive that "New Mother" will be near the top of my favorites list for 1999 …" - Mark Weddle

Link removed by request

Tinariwen - Amassakoul

Before these Touareg Desert Blues mofos got themselves well-known with the album "Aman Iman", they released two albums, and this their second. Nomadic roots music given a vibrant jolt of electricity.

"Tinariwen strip rock down to its basic building blocks of rhythm, guitars, and voice. On their second CD there are no fancy studio tricks or multiple overdubs. They stick to what they've shown they do well -- keep the music raw and emotional. While there are similarities to the desert blues of Mali, these Tuareg nomads from the Western Sahara are as much as rock band as the Stones at their best, capable of conjuring up magic with a guitar riff or lick. Oftentimes, the music has the same bluesy, undulating, hypnotic rhythm of a camel crossing the sand, as on "Aldhechen Manin." But they can also crank the amps and unleash something to tingle the spine and feet, which they do on "Oualahila Ar Tesninam," as frantic and primal a piece of rock & roll as you're likely to find. There's even a touch of rap on "Arawan." But there's a complexity in their basic approach, the interlocking layers of electric guitars and the plaintive, defiant voices. To listen to Tinariwen is to believe once more in rock and its power. This is angry and passionate; it's dangerous music in the very best sense. Western bands might have forgotten how to rock as if their lives depended on it; Tinariwen can teach them." Chris Nickson

RIP Yabby You

Static Static in Puerto Rico

Hailing from L.A. Static Static describe themselves as noisy new-wave. Most of the underground bands that have visited us in the past decade have either been punk, hardcore, garage, pop-punk or power-pop so to me this is a breath of fresh air.

check out their myspace.

Thursday, Jan 28
The Vatican
with: espaZmos
10:00 pm
$6.00

Friday, Jan 29
La Respuesta (Santurce, Ave Fernandez Juncos, 1600)
With: Necronazis y Davila 666
10:00 pm
$6.00

Cubist Blues

I don't know if any of my filler mates has this but anyhow, felt like this should be here.  

fuckin retarded good coming-together of three legends in their own way 

( Alan Vega , Alex Chilton, Ben Vaughn), make an impressive

jam session album in only 2 nights in 1996, NY.

nada mas con el testigo

Pain Teens - Destroy Me, Lover

Houston's finest purveyors of nightmarish noise rock, with demented vocalist Bliss Blood in particularly fine form in this release.

"Trance has signed a number of talented bands that together define a fairly new sound that is unique to the label. The Pain Teens find a way to pull their music through your head and while it flows there, pounding rhythms set the stage for eerie tales of torture and power. Obscure samples, freaky tape loops and mesmerizing guitar effects wash around throbbing percussion for a disturbing ride through the mind of a psychopath. Then you realize it’s not a psychopath at at all, but bits and pieces of every day life. Then they turn around and deliver such a simple and pretty ballad as their cover of “The Story of Isaac” and still manage to leave you with a major case of the willies. We love the gruesome, the tragic and the warped. It’s reality and the Pain Teens drink it for breakfast."- Grind

Nizoral

Listen up New Yorkers.

Dear Friends and roudy musicians Campo-Formio are on tour in your area. Check em out.







Here's their EP

Mothlite - The Flax of Reverie

With a name honoring the great Stan Brakhage, you'd expect this group's music to sound cinematic. And it does, wonderfully so. Led by Daniel O' Sullivan of Guapo, Aethenor et al.

"Something of a shadowy iconoclast, Daniel O'Sullivan has been making darkly sensuous music, heavy on the obscurantism, for some time now, be it with Guapo, Miasma & The Carousel Of Headless Horses, Æthenor or Sunn 0))). On his latest project he teams once more with programmer/producer Antti Uusimaki to script a beautifully composed macabre fairytale for adults... Grim like the Brothers, as heavy as an anvil made of clouds." - Rock-a-Rolla

Caldo de Oso

Steve Tilston - An Acoustic Confusion

Celtic Folk from Village Thing Records. The type I like to listen to when im unbearably sad or irritatingly happy, never in the dull in-between.

It's Not My Place To Fall.

Daniel Givens - Age

Chicago DJ and sonic explorer Givens brings us his vision of futuristic afrodelia. Exploring and merging all the variants of 20th Century Popoular Black Music into one glorious, thick, disorienting whole. Magnificent and cruelly ignored.

"This is the evolution of a new Negro, naturally..." intones Daniel Givens on "allies," the first track of his debut album. If Black people had to pick an album as a starting point with which to reinvent themselves, beyond the predictable traps of baller and shot caller, evading the "Erica Voyeur or Marcia Brady" dilemma, to be more than just a thug life advocate or the R&B crooner who would rather bump and grind than nurture and provide, this album would be considerably more challenging than most. Much like Ornette Coleman's "free" theories on jazz would spark debates that continue until this day, there is enough information on Age to keep a listener occupied well into the next century. For all intents and purposes, Age is a free jazz/post-rock release. But even that description is inadequate. Multiple listens can help trace familial ties to those who were here before Givens: Sun Ra, Miles Davis, Tricky, Carl Craig's Innerzone Orchestra, and many others could be referenced.

Each track is a journey unto itself; together they create an otherworldly experience. While a large percentage of this album is Givens' creation - he produced it himself and plays several different instruments - he does call on the assistance of a number of comrades within Chicago's artistic circles. Vocalist Seth Hitsky adds a haunting aspect on "rotation" with a spellbinding and spiritual utterance. Hitsky later dives into jazz scat exercise on "transitional," a drum 'n' bass bodied tune whose insides have been picked clean of its dance floor appeal. Josh Abrams' bass playing on "no visible color" leads the groove for Daniel's poetry to follow. His voice for prose can be a fixed monotone ("allies") or an impassioned Black Power chant ("never worship earth"). Musically, Daniel weaves a sonic tapestry for you to get lost in. The irregular time signature of "petals" makes the song sound like a more developed take on one of Tricky's abstract moments in time. "mandala/mural" signals a return to the motherland with the drudging sounds of an African drum section and a steady guitar pattern. It's as if Afro-beat was taken out back and severely flogged until it was forced to slow down the tempo. And the 18-minute, three-part opus "acknowledgement" is beyond words.

Daniel Givens was wise enough to mix past, present, and future sounds into this release, thereby creating a timeless work. What better time to listen to an album of this nature? Its effects will be felt long after his life span on earth has passed. Thankfully for us, that won't be for a long while. The reexamination of urban possibilities starts here. " - Macedonia

Motherland

Dean Roberts - Be Mine Tonight

New Zealand's deliverer of phantamasgoria in songform in one of his best solo efforts (after the masterpiece "..And the Black Moths Play the Grand Cinema"). Few can enter and turn a song inside out like he can. Produced by Valerio Tricoli of fellow tricksters 3/4HadBeenEliminated.

"Beginning with the post punk rock trio Thela and moving through White Winged Moth and into his solo recordings, Dean Roberts has marked himself as a guitarist of unique talents. Be Mine Tonight is the first recording from the New Zealander (now based in Vienna) since And The Black Moths Play the Grand Cinema was released in 2000.

Roberts has played a variety of solo gigs and played with some of the heavyweights of electrical/acoustic improvisation. �Be Mine Tonight shows how �Roberts has moved from electronic texturing into songwriting and arrangements, combining rock music and sound manipulation. �

Be Mine Tonight �is a recording of songs. �Slow, often wrenching songs where the brush of a cymbal, a voice or a plucked string can have great impact. �Through arrangement, processing and editing Dean Roberts has crafted out rock that presents listeners with familiar forms as it challenges them with oblique gestures. �Improvisational and electronic strategies are ably utilized to push the dimensions of rock songs played by a group of people together in one room.

As Roberts told Grooves magazine; "The idea was that we would do something with really elaborate arrangements using largely acoustic instrumentation. �Something like a 60s recording, and in place of a string quartet or orchestra playing harmonic parts, it was approached like imagining a contemporary music ensemble was used instead."

Be Mine Tonight is the very first production of a young engineer and composer Valerio Tricoli, a rising name in the world of improvisational music. �It was recorded in Bologna , Italy from Dec. 2000 to Dec. 2002. �Giuseppe Ielasi, of Fringes Recordings and a legend of Italian improvisational guitar, contributed prepared guitar, as did Christian Alati. �The deft drumming by Antonio Arrabbito marks his recording debut. Roberts played acoustic and electric guitars, piano, percussion, bass, harmonium and glass harmonica." - Kranky

Agape

Peter Brötzmann - Fuck de Boere : Dedicated to Johnny Dyani

Germany's Colossus of the sax turns pillars of concrete into dust with his unforgiving, blistering SOUND. An essential document of European free jazz.

"I am hoping that German saxophonist Peter Brotzmann will be given his just due one day as an avant garde Godhead. Maybe, just maybe, in the same fashion that saw the late mainstream hornman, Joe Henderson, become a reluctant icon, although past his prime playing. This two concert CD documents Peter Brotzmann in the maelstrom of like-minded European improvisors. Fuck De Boere is equal parts justified political diatribe and historical relic of the then burgeoning European outcast scene. "Machine Gun" is performed here as its first incantation, three months before the BRO/FMP release. Brotzmann leads this nine-piece aggregation in a wash of sonic spectacle. This version of "Machine Gun" is forty minutes of sometimes frustrating episodic beauty and excess, all dedicated to the late South African bassist, Johnny Dyani.

Even in this boys-noise of swirling tenor saxophones (3), blurping trombones, and the skrunk of Derek Bailey's guitar, Peter Brotzmann proves himself to be an acute listener.All in all, both pieces offer an uncompromising blend of free jazz that lacks the focus and variety of Brotzmann's subsequent work.Track listing: Machine Gun (17:34)/ Fuck De Boere (36:33).Personnel: Peter Brötzmann Nonet: Brötzmann, Willem Breuker, Gerd Dudek, Evan Parker- saxophones; Fred van Hove- piano; Peter Kowald, Buschi Niebergall- basses; Han Bennink, Sven-Ake Johansson- drums. Peter Brötzmann, Willem Breuker, Evan Parker- saxophones; Malcolm Griffiths, Willem van Manen, Buschi Niebergall, Paul Rutherford- trombones; Derek Bailey- guitar; Fred van Hove- piano (organ); Han Bennink- drums. Recorded: March 24, 1968 and March 22, 1970, Frankfurt, Germany." - Ludwig Van Trikt

Ruda

Talking Heads - Fear Of Music

My favorite Talking Heads record, all tracks are sheer perfection. Byrne & company in top-form with Eno on production duties.



Air.

Dub Echoes OST

the original soundtrack of the documentary. the album name pretty much explains it as it is. from classic dub tunes to the more experimental and broad world of dubstep music.

Dub Echoes - trailer from Bruno Natal on Vimeo.

witness!

RIP Rowland S. Howard

Rowland S. Howard, guitar player for the Birthday Party, Crime And the City Solution and These Immortal Souls and also a solo artist, died on December 30th waiting for a liver transplant. He was an enormous influence and inspiration for me and many others around these parts, as close to an idol as we could have. Rest in Peace Rowland, we'll remember you always.



Kiss You Kidnapped Charabanc w/ Dead Men Tell No Tales (with Nikki Sudden)



Teenage Snuff Film

Also my man Grumpy has posted the entire These Immortal Souls discography in his blog, cop it and check it out.And some more Rowland related goodness here and here.

Arthur Brown's Kingdom Come - Journey

More awesome shit from the God of Hellfire.

Pepin Galarza

Triosk meets Jan Jelinek - 1+3+1

The Australian electronic/jazz trio's debut album (2003). Jan Jelinek is a german electronic musician mostly associated with glitches and sampling. The electronic and jazz elements seem somewhat separate on this album, like jazz musicians experimenting within the borders of jazz form with electronic sounds in the background, as opposed to the integration demonstrated in the following albums, this is mostly due to the free drumming technique which was developed after this album. Moment Returns (2004) was released just one year later and already showcased a lot of progress in the concept of time and composition .

This album showcases good musicians interested in evolving and expanding their sound palette, it's a great step in the growth of these musicians, as demonstrated in the following albums.

Triosk meets Jan Jelinek - 1+3+1

Tetsu Inoue - Ambiant Otaku

For Ferdinand, japanese ambient to help with the astral jaunts.

\/\/\/\

gzus christ.

Le quiero dar las gracias a todos mis amigos por venir y gozar conmigo, los quiero a todos! Gracias a Kristen y a los bartenders del Cafe por dejarnos hacer escantes, Pandy, Raul y Dax por motivar con los crowd-pleasers, Samson por extender el pari poniendo de la gorda y al cumpleañero camuyeyo Kemuel por caerle, felicidades negro!

Arthur Brown's Kingdom Come - Kingdom Come

For Howard, Arthur's group after the dissolution of The Crazy World. Wonderful and demented prog/psych excursions of the highest order. Enjoy and more to follow from this band.

Morcilla

The Meters - S/T

Ive been on hiatus for far too long, here's a funkalicious offering. The seminal New Orleans outfit The Meters, their debut: an instrumental funk record thatll get you shakin and groovin, unless you're a nazi or dead.



git down.

Oren Ambarchi - Suspension

A great way to start enjoying the work of this magnificent Australian.

"Oren Ambarchi is an electronic guitarist and percussionist with longstanding interests in transcending conventional instrumental approaches. Born in Sydney in 1969, he has been performing live since 1986. His work focuses mainly on the exploration of the guitar, re-routing the instrument into a zone of alien abstraction where it’s no longer easily identifiable as itself. Instead, it’s a laboratory for extended sonic investigation. He has performed and recorded with Martin Ng (Australia), Christian Fennesz (Austria), Otomo Yoshihide (Japan), Pimmon (Australia), John Zorn (USA), Voice Crack (Switzerland), Sachiko M (Japan), Keith Rowe (UK), Phill Niblock (USA), Günter Müller (Switzerland), Evan Parker (UK), Toshimaru Nakamura(Japan) and many more. He recently toured with sunn0))), also contributing to their 'Black One' album from 2005."

"The brunt of Ambarchi’s work consists of gracefully looped guitar tones that, although often heavily processed so as to render their origins unrecognizable, are touchingly direct in their subtle shifts and warm, soft aura. This reissue of Suspension, then, serves to reassert Ambarchi’s ability to work with a darker, more sonorous palette. As with his more recent works (such as Grapes From The Estate), tracks still brim with energy, but here it is channelled in a more singular fashion; into more pensive – though also pretty – moods that are then captured from numerous angles.

Compositions hinge upon a simple superimposition of textures – a process which allows Ambarchi to shed a reliance upon complex and often distracting processing techniques and, in a rather precise manner, sharpen the angles and edges of these tones into dense, radiant drones that challenge as much as they engage.

In the early works, one often finds minor sixth drones accompanied by delicate metallic ricochets and other faint flurries of percussion that are hypnotic and even seductive in their elusiveness. Later, however, the lengthy stretches of prowling bell-like tones and the distant sputter of amplifier buzz seem no longer subject to gravity and linger in an orbital realm where notes hang, dissolve and reform in a variety of permutations. With “This Evening So Soon”, for instance, the miasma of shifting guitar drones float freely in a sensuous austerity, where each subtle alteration in timbre or momentum works to heighten the suspense laced in between the threads of these finely woven tapestries." - Max Schaefer

Fina China

Triosk - The Headlight Serenade

the third and final album of a great trio with a unique sound that makes any moment an epic moment.

do it!

Triosk - Moment Returns

Triosk was from Sydney, Australia. Born 2001, died 2007. This trio comes from two musical persperctives, jazz and electronic music (not trance or house, but as in sampling, resampling, and digital signal processing, etc.) and they were definitely good at both. Moment Returns is their second album.

This album has intense textures and fades in and out of beats that can actually be followed, most of the samples aren't in sync or quantized, add to that Laurence Pike's (drummer) ability to play without a time signature (perhaps inspired by Ornette Coleman's free jazz movement) and you've got no back beat to hold on to, it's great. On the other hand, songs like Love Chariot, Two Twelve are heavily rooted in the beat, balancing it out nicely.

Sit back, dim the lights, listen.

Triosk - Moment Returns

Aftermath

Last night's party was super fun.
Thank you to everyone who showed up and got shit-faced with us.
Here's the mix that was played.

Howard Roark
Sandunga Cat

Anniversary Party!

Celebrating a years worth of interwebz debauchery.
We'd be delighted if you'd join us while we put on some tunes & down some brews.

Tonight at 8:30 @ Cafe 103, Rio Piedras

Robert Ashley - Automatic Writing

One of the most important American composers of the 20th and 21st century and some of his most disturbing, powerful works.

"A 1996 CD compiling three early Ashley works from the years 1967-79 -- some of his most experimental and out-there works. A classic electronic music collection and an ideal intro into the somewhat foreboding oeuvre of Robert Ashley's recorded works. The title piece is a 46-minute classic from 1979, which rather famously formed the basis for Nurse With Wound's A Missing Sense. Steven Stapleton's commentary upon this summarizes the intense vibe of this recording: "A Missing Sense was originally conceived as a private tape to accompany my taking of LSD. When in that particular state, Robert Ashley's Automatic Writing was the only music I could actually experience without feeling claustrophobic and paranoid. We played it endlessly; it seemed to become part of the room, perfectly blending with the late night city ambience and the 'breathing' of the building." The piece features the voices of Ashley and Mimi Johnson, with electronics and Polymoog backing, with a switching circuit designed and built by Paul DeMarinis. A fascinating and mysterious work focused on "involuntary speech". The second piece on this CD is "Purposeful Lady Slow Afternoon" from 1968. It features the voice of Cynthia Liddell, backed by singers, bells and crackle. Originally issued on the Mainstream label, as an excerpt for a theatre work for amplified voices and tape. The final piece, "She Was a Visitor" is from 1967, originally issued on the infamous electronic compilation Extended Voices (CBS Odyssey), featuring experimental vocals works. Performed by the The Brandeis University Chamber Chorus, directed by Alvin Lucier. " Forced Exposure

El Seto

Techno Animal - Ghosts

More Techno Animal (you can find BOTB here). Kevin Martin and Justin Broadrick, pummeling your frontal lobes.

Canopy

Sandoz - Chant to Jah

Sandoz is Richard H. Kirk (Cabaret Voltaire, Sweet Exorcist et al) in righteous massive dub mode.

"Sandoz is the solo moniker of Richard H. Kirk from Cabaret Voltaire. Inspired by twenty years of listening to Jamaican music, Richard H. Kirk has now mixed contemporary electronic dance music with Jamaican reggae and dub styles on Sandoz In Dub-Chant To Jah. As a founding member of Cabaret Voltaire, Richard H. Kirk has been a pioneer of electronic music for more than twenty years embracing all the new developments in electronic dance music: In 1978 Cabaret Voltaire signed to a fledgling Rough Trade records releasing experimental electronic/post-punk classics such as 'Nag Nag Nag' and 'Do The Mussolini.' Ten years on and Cabaret Voltaire were sharing musical ideas with Chicago house pioneers such as Frankie Knuckles and Ron Hardy as well as their counterpart Detroit techno stars such as Derrick May and Ritchie Hawtin. With Sheffield's Warp Records acknowledging the debt that local group, Cabaret Voltaire, had played in defining electronic music, it was fitting that Richard H. Kirk started his solo project, Sandoz, on Warp's seminal Artificial Intelligence series. Twenty years on and Richard H. Kirk has made the logical link between his twenty years of experiments in electronic music and a similar process that Jamaican dub pioneers such as King Tubby, Lee Perry and Augustus Pablo were making in the 1970s. Sandoz in Dub -- Chant To Jah also makes the connection with contemporary Jamaican dancehall styles -- mixing elements of ragga, digital drum and bass and steppers into the equation." - Forced Exposure

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