Thursday, February 25, 2010

Team Teamwork's - Ocarina Of Rhyme + Vinyl Fantasy 7

Here are two video game remix mash ups from the genius minds of team teamwork. Featuring music from Koji Kondo from Zelda and Mario Bros franchises, and from Nobou Uematsu composer for most of the Final Fantasy titles. This is the freshest thing on the net right now.
The tracks in no album order in specific are featured the likes of artists like:
Jay-Z, MF Doom, Ghostface, Clipse, Spank Rock, Mike Jones, Aesop Rock, Kool Keith & Tom Waits just to name a few...

Wednesday, February 17, 2010

UT - Griller

They started smack dab in No Wave but survived, branched out and developed into a fearsome, razor sharp outfit.

"Hooking up with Steve Albini for 1989s "Griller" gave the band a more visceral punch – the bass gets a more muscular tone, the guitars sound like they could strip paint, and the drums thump with an authoritative purpose. With the percussive chair mostly handed over to newcomer Charlie D., Ut bordered on a bizarre form of outright accessibility here. While Charlie’s drums can pound with an almost leaden weight, he provides a previously unheard backbone for tracks like the propulsive “Canker” and “Fuel,” lending urgency to the chiming guitars and Young’s familiar yelps. The tense “Posse Necks” reaps a similar benefit, with a forlorn violin fighting against a six-string onslaught as Ham’s vocals negotiate grim territory. More often than not, though, those moments when the band returns to their traditional trio configuration sound the best – for “Spore,” Canal’s vocals careen around a dual guitar attack that Ham’s drums bisect, while album opener “Safe Burning” spotlights the playfully aggressive interplay the band had spent 10 years honing.
After "Griller" settled, Ut called it quits. Theirs was a music that always explored the darker implications of No Wave textures, never once ceding to the hooks or ham-fisted funk that invalidated the later work of many of their contemporaries. Ut never made a real attempt to engage with larger music structures and scenes in which they found themselves, and while this dedication to a decidedly inward aesthetic has subsequently marked their recordings as uniquely original, it has also unfortunately meant that they sound out of place when stacked against many of the bands that existed around the time they did. Not that that’s necessarily a bad thing – the records these three coughed up during their run sound tied to neither date nor place, evidencing three musicians with a singular vision that could never easily be pinned. At the same time, however, it throws into sharp relief the reasons why they have been largely forgotten. As a band that couldn’t easily be pigeonholed, Ut suffered the fate of general indifference. A shame, that is – these records sound even more invigorating today when compared against a sea of No Wave fakes whose only desire so far has been to replicate a long-lost zeitgeist they never fully understood." - Michael Crumsho


Mentirosos - Mundo Hermana (2010)

-keep it on the low down.
-you mean down low.

Friday, February 12, 2010

The Bad Plus - Give

The sophomore album shows how this "jazz" trio (in essence, not so much in the popular term) has grown together and established a signature sound, a large credit goes to Tchad Blake (producer and engineer). In my opinion, by the time Give came out, The Bad Plus had already established themselves as the "revitalizors" of the jazz world, always sending a clear message of what they want to do with music; with covers of Ornette Coleman's "Street Woman", The Pixies' "Velouria", and Black Sabbath's "Iron Man".

Valentines Shmalentines.

After your romantic night out with your signifant other drop by Rio Piedras and join the gents from Chasm-Filler who'll be playing songs of love and hate all thru the night, if you're single the latter will be more up your speed.

Sunday February, 14 @ 9pm
Cafe 103, Rio Piedras

Thursday, February 11, 2010

The Incredible String Band - The 5000 Spirits or the Layers of the Onion

A supreme achievement, one of the best psych-folk albums ever.

"The ISB's crazy, unpredictable alchemy -- where Indian music, British folk and Celtic mythology all party together -- is best preserved on this fantastic album. Nutball fantasy lyrics, ragged but competent instrumentation and a clear desire to go in the opposite direction of every single musician on the planet Earth in 1967 will make it nothing short of revelatory for the newcomer. Not only is the album art some of the very best of the '60s, but the fiery-gnome vocals and cuts like "The Hedgehog's Song" and "No Sleep Blues" are beyond weird. " - Mike McGuirk

Daft Prick

Wednesday, February 10, 2010

The Vocokesh - Through the Smoke

Wisconsin stellar shamen on the move. Named after the producer of Blue Cheer's classic twofer, "Vincebus Eruptum" and "Outsideinside".

Milwaukee: home of some of the planet's most seriously unhinged psychedelic rock. As unlikely as that locale may seem, such has been the case for the past twenty or so years as the players behind the long-running F/i and its offspring Vocokesh have kicked up enough space dust to permanently haze over the minds of underground avant-rock followers everywhere. Spinning off from the F/i mothership in 1991 so as to continue to explore extended psychedelic, improvised instrumental music, Vocokesh have left in their wake a bountiful discography, with Drag City and RRRecords issuing the bulk of it in the 1990's and reissues aplenty appearing on Lexicon Devil. Following up their darkly hallucinogenic fourth album The Tenth Corner (Strange Attractors, 2004), Vocokesh mastermind Richard Franecki & Co. sequestered themselves in their sonic laboratory, fiendishly concocting the next platter of extraterrestrial psychedelic soundtracks. Through the Smoke is the result, yet another brave excursion into the netherworld of rock.

With Through the Smoke, Vocokesh expand upon the ominous acid soundtracks that saturated The Tenth Corner. Combining the swirling guitars of Pink Floyd and the Kraut-inspired mayhem of Ash Ra Tempel with the early analog electronic surrealism of Tangerine Dream and Popol Vuh, Vocokesh continue to place pressure on the boundaries of sound, incessantly exploring cryptic soundscapes via their often times unsettling brand of electronics-drenched, drugged-out rock. On this outing, however, the soundscapes come mixed with some more Prog-like elements and even a touch of psych/garage riffing. "Vibe #6" stirs slowly with heady bass pulses, swooshing synths and subtle guitar lines, but quickly stumbles headlong into all-out mania as Franecki's guitar pyrotechnics spiral forth like alien tendrils, reverberations of a gong tolling the first wave of what is to be a long, dark trip. But a sidestep into garage-psych of "Vocokesh Theme Song" provides a nice respite, as the band exhumes the spirit of Electric Prunes-like fuzz and vibrato. The sojourn is short lived, as Vocokesh continue on, taking the listener on their impressionistic journey woven from total sound exploration.

Vocokesh manage to skillfully hybridize the best of the early 70's avant-garde into their cinematic improvisations. Florian Fricke, David Gilmour, Manuel Göttsching, Edgar Froese, Moebius & Roedelius and Fripp & Eno are all exhumed, but Vocokesh re-image the references into something far more extreme than the aforementioned ever imagined. Eerie and sonically provocative, Through the Smoke is one intense mind-moving hallucination. " - SAAH


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

Tuesday, February 9, 2010

Monday, February 8, 2010

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!

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.

Friday, February 5, 2010

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


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.

Wednesday, February 3, 2010

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


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.

Jim O'Rourke - The Ground Below Above Our Heads

Jim being droney & weird.