Lwr Dns - Twn Hnd Mvmnt

Reverby clangy fem-fronted rock from Balmer.



here.

Big Pooh - Sleepers

rapper big pooh, such a nice name for a rapper. the beats in this album are heavily banging and the mcs are dope. I strongly recommend this album if you are heavily into neck breaking beats. this is an old 2005 production but still a classic in its own right.

strongest man

Brian Eno - Small Craft On A Milk Sea

we all owe this one to the one and only Pituco and his great mustache. check out his bar, have a drink with the man and listen to some nice tunes while reading about his conversations with other fellow musicians.

gracias bigotín!

This Friday

Lightning Bolt - Hypermagic Mountain

Finally I get around to some Lightning Bolt. This band shows how bad two guys can kick your ass, that's right, just bass and drums. They do it consistently on every album and Hypermagic Mountain is no exception. Bad ass riffs, and super-tight compression make this album sound huge, and volume is a factor which must be considered in order to listen to these guys properly. They turn it up, so you should too.

Kevin Ayers

I've been slightly obsessed with Ayers work for the past couple of years, not to mention the oeuvre of his Canterbury peers. His whimsical style never ceases to amaze and his body of work holds up strong after 15+ albums and 35+ years. A true magnate of music history. Here I've compiled the majority of his later albums, If you're new to this cat's music I suggest you start at the beggining with Joy Of A Toy, one of the first albums I posted here actually.



-------------------------------------------------------


Kevin Ayers & The Whole World - Shooting At The Moon (1970)


(Live) Holland 7-30-70


Sweet Deceiver (1975)


Yes We Have No Mañanas So Get Your Mañanas Today (1976)


Odd Ditties (1976)


Rainbow Takeaway (1978)


That's What You Get Babe (1980)


Deja Vu (1984)


Falling UP (1988)


Still Life With Guitar (1992)


The Unfairground (2007)

As an added bonus a recent interview with Ayers conducted at Radio Bremen.

Previous Posts:
Joy Of A Toy (1969)
Whatevershebringswesing (1972)
Bananamour (1973)
Kevin Ayers-John Cale-Eno-Nico - June 1, 1974
Singing The Bruise: BBC Sessions 1970-1972
The Confessions Of Dr. Dream & Other Stories (1974)
Lady June's Linguistic Leprosy (1974)

Dub Specialist - High Fashion Dub Top Ten

dub specialist is Coxsone Dodd, a jamaican record producer that is responsible for a lot of records from artists like alton ellis, jackie mitto, the heptones and wailing souls.

love love

Jaylib - Champion Sound

this is a old one but still one for the books. collaboration between J Dilla and Madlib. you can probably tell by the name of the project.

el verdadero sonido campeón.

Qa`a - Chi`en

a couple of months ago we got an email from some dude saying "I see you got some this heat in this blog. check out this band, its got some this heat influence with some krautness". its a band from Barcelona and it definitely has some of those this heat soundscapes and a couple of grooves that remind me of can.

especially the one called speakerbox.

J Dilla - Welcome 2 Detroit

at last! some dilla in the chasm.

que desculiá esa portada.

Lady June's Linguistic Leprosy

Just stumbled across this lil treasure. Lady June is a broodingly chipper spoken word poet with first-class company: Digital master Brian Eno and Canterbury legends Kevin Ayers from Soft Machine plus Pip Pyle from Gong. A very interesting listen to say the least.



a chain is only as strong as its weakest link.

Hella and Me

A few years ago, a good friend turned me on to a band called Hella, then a guitar/drum duo. As a bassist, I immediately felt the need to fill that gap (and test my skills, big time). So I recorded the whole album, except for D.Elkan and Brown Metal, and tried to get it done in as few takes as possible so i left some mistakes in that i liked. Over all i think the bass lines stay true to the songs and add a little something to the harmony and rhythm. Well, there's not much more I can say except that it was a pain in the ass and I really enjoyed it.

Thanks for being awesome.

Hella and me - Hold your horse is

Can - Queueing Down

live paris 1973 krautness from the masters themselves. great sound quality and half-hour jams with classic tunes like 'vitamin c', 'spoon' & 'one more night'. damo suzuki at his finest.

do this.

King Crimson - The Great Deceiver: Live 1973-1975

enough said. classic fripp/wetton/cross/brufford lineup. check out this wiki article for more information.

CD1: Things Are Not As They Seem

CD2: Sleight Of Hand (Or Now You Don`t See It Again)

CD3: ...Acts Of Deception (The Magic Circus, Or Weasels Stole Our Fruit)

CD4: ...But Neither Are They Otherwise

have a nice day!

Arthur Verocai - Arthur Verocai

there is only one word to describe this album: TIMELESS. yes i said it. TIMELESS. a 1972 album that was so ahead of its time that it was never given its moment to shine as one of the greatest albums of the 70s. not until he was rediscovered by music historians and was invited to LA in 2009 to do a concert of the full album. this man made a fusion between contemporary brazilian harmony, strings, electric pianos, acoustic guitars, electronic instruments, male and female singers to create a wide musical palette that is still regarded as one of the biggest achievements of the 20th century. he gave his heart and soul to create and record this album but nobody cared about it at the time of its release, so Arthur got depressed, he quit making symphonic arrangement and started making commercial jingles for tv to make money.

please donwload this album and witness the beauty of music.

sylvia

Burning Spear - Social Living

a classic roots album filled with awesome harmonic explorations and praises to marcus garvey. this was one of the first reggae albums that i bought when i was in highschool and still it sounds like a timeless achievement in jah music. light one up and give thanks.

marcus say jah no dead

Shellac - Terraform

another one for the books. one of their greatest albums. classic bad-ass overdriven shellacness.

rush job

Luciano Perrone - Batucada Fantástica

1959 recording.

taken directly from toque-musicall:

"Indiscutivelmente um dos melhores discos de percussão que eu já ouvi. Luciano Perrone foi o grande mestre da bateria. Considerado por muitos anos o melhor baterista/percussionista do Brasil. Por este disco de ritmos brasileiros ele recebeu em 1967, o Grande Prêmio Internacional do Disco, instituído pela Academia Charles Cros de Paris. Este álbum é obrigatório na discoteca básica de qualquer DJ que se preze. Quem ainda não ouviu não pode perder essa oportunidade. Aliás, é bom dizer. Este disco está presente como indicação nos melhores blogs de música da rede."

que brazilón!

fuck yeah.

grab this QUICK!

Fantasmes: Album Release Party

Last Bummer y Red Shield presentan el release del nuevo disco de Fantasmes, Sidetracked.

Actos invitados:

Astrolab/io
Un.Real

DJ sets por...nosotros!


September 16, 9:00pm
Red Shield (ave. Roosevelt, Hato Rey)

Pink Floyd - Ummagumma

Because everyone should listen to it at least once in their lifetimes.

Sacre

Gavin Bryars - Jesus' Blood Never Failed Me Yet/The Sinking of the Titanic

Gavin Bryars played bass with Tony Oxley and Derek Bailey in The Joseph Hoolbroke Trio (one of the frist groups to explore non-idiomatic Improv), was a member of the Portsmouth Sinfonia and is a major composer of meditative, beautiful pieces that have a precise, focused system at heart. This are two of his best and most notorious compositions, released on Eno's label Obscure in the 70s.

"A holy grail among contemporary music collectors, this release on Brian Eno's Obscure label, which went out of print almost immediately, features two of the finest compositions of the late 20th century, both by Gavin Bryars. The title track had since been recorded again on two occasions, arguably to better effect on Les Disques du Crepuscule in 1990 and once, more pallidly, on Point in 1994, but this initial production was an extremely special event. Bryars' idea was to construct an aural picture of the disaster, complete with songs and hymns supposedly played by the ship's orchestra even as she was sinking. He combined this with the acoustical phenomenon of the enhanced ability of sounds to travel great lengths underwater and produced an eerie and romantic sub-aqueous soundscape of remarkable subtlety and beauty. Using minimalist techniques, the repetition and overlapping of hymns like "Autumn" assume a surreal aspect, at once sad and peaceful. His score was designed to incorporate new discoveries about the shipwreck (or to dispense with elements that proved false) over time; this performance includes taped reminiscences of one survivor and the tinklings of a music box salvaged by another. This is one gorgeous, haunting piece of music. As though one masterpiece wasn't enough, the second composition on the album might be even greater. Surely one of the most beautiful "concept" works ever created, "Jesus' Blood Never Failed Me Yet" begins with the faint, faded-in voice of a London tramp singing the old hymn plaintively but without pathos and more or less in tune. Bryars looped this tape so that it resolved in non-jarring fashion, then introduced -- ever so softly and gradually with each iteration of the verse -- instrumental accompaniment: first strings, then guitar and bass, and eventually the entire chamber orchestra. The lush, sensuous music, entirely sympathetic to the song, gives it increased strength and humanity as it swells to near-majestic proportions and then, just as gradually, subsides. The emotional impact of this 25-minute piece, in its honest and charitable stance toward the singer, cannot be understated. With this simple idea, limned with precision and beauty, Bryars was graciously content to achieve a lofty goal one time, to let it stand by itself and move on. A version recorded for Point in 1995, which included the gratuitous addition of Tom Waits accompanying the tape, pales in comparison to the original. Long a collector's item on vinyl, a CD issue was released in England on VirgiJAn U.K. in 1998 but it, too, quickly went out of print." - Brian Olewnick

JAMs

Gary Higgins - Red Hash

Obscure, magnificent psychfolk classic, recently dug out of its ignominious grave.

"Gary Higgins' only album has much in common with many other vaguely hippie-ish singer/songwriter records from the early '70s on small or vanity labels. There's a laid-back feel that seems two or three years out of time (or behind the times), like an exhausted hangover from the wilder peaks of the psychedelic era. Relative to this collector-oriented genre, however, the record's very much above average. For one thing, the production is much better than it is for many such endeavors that suffered from limited distribution — subdued and no frills, perhaps, but clear, well recorded, and well played and sung. Too, few other records of this sort are so downright melancholy, though without succumbing to the unhinged despair that consigns many of them to an extremely limited audience. It's more like being trapped in a room where the candles are burning down to their wicks, with the knowledge that there will be no encores once the music's over. Higgins was in prison in the early '70s, and while it might be too much to project his personal circumstances onto judgment of the proceedings, it does rather sound like the musings of a gentle soul who somehow lost his way or got steered down the wrong path. There are dark insinuations of insomnia, doubt, a loss of hope, and in the last lyric of the closing "Looking for June," desperate wondering as to where he's gonna get some dope. "Down on the Farm" sounds almost like a folky Captain Beefheart with its guttural vocals and twisted blues progressions, but it's not typical of an album that usually goes for a far more placid and mainstream (though slightly bent) singer/songwriter sound." - R. Unterberger

lloigor

Great Success!

Had a blast last nite. Thanks to everyone for showing up and cutting a rug, and the collaborators from both blogs for bringing the goods.

Charanjit Singh - Synthesizing: Ten Ragas To A Disco Beat

this is the reissue of the original 1982 album chopped into individual tracks thanks to Bombay-Connection. an electronic gem.

taken directly from The Wooliest Mammoth.

"In 1982, Bollywood session musician Charanjit Singh imported the latest synthesizer equipment into India, to modernize the sound of Bollywood scores. After studio hours however, Singh went to work on his own experiment using the new equipment, (Roland TR-808, Roland TB-303 ((the synth responsible some 5 years later for creating the sound of acid house)) and a Roland Jupiter-8 keyboard) which was to record traditional Indian ragas using the latest in musical innovation. The result is an amazingly fluid minimal record that sounds far ahead of it's time. It just so happens that in this recording Singh made the first house and acid house recordings ever. Three and five years respectively ahead of their appearance in the west. All the elements are there: hypnotic beat, mesmerizing melodies, danceability."


RAGA TIME!

Davey Graham & Shirley Collins - Folk Roots, New Routes

Extremely influential in the English folk scene & the predecessor to The Pentangle. The masterful Davey Graham showcases his innovative jazz-folk stylings with Shirley Collins celtic crooning. A gem.



here.

Radiohead - Hail To The Thief: Glastonbury 2003

full concert in HD!!
incredible performance.

Sam Cooke - Live At The Harlem Club, 1963

The epitome of CLASSIC. Energetic and fun in a way only Cooke is capable of.

Don't fight it (feel it)

Johnny Dowd - Wrong Side of Memphis

Dark tales spun by Death's troubadour from the land where the Power's in the Blood.

"An anomaly in contemporary rock right from the start, Johnny Dowd, a 49-year old moving company owner, debuted in 1997 (in Europe in 1998) with this sparse (most of the songs feature only Dowd himself) and often morbid collection of country noir. More closely related to Nick Cave, Sixteen Horsepower, and Tom Waits than to Uncle Tupelo, Steve Earle, or The Jayhawks, Dowd’s twisted tales of murder, obsessive dedication, and other sinful behavior can be truly disturbing. The music is a fitting match for his lyrics: “Murder” sets the awkward tone with a hypnotic country-blues rhythm accompanied by Dowd’s distorted slur, as he reports a murder (“there’s been a murder here today, the weapon was a knife, the woman wore a wedding ring, I don’t think she was his wife”). “Ft. Worth, Texas” is the story of a convict on death row reflecting on his sinful life. The protagonist “shot and killed (his) girlfriend, then (he) sat and watched her die”. There’s no time for repentance (“there’s still too many people I hate”), although his only company is the ghosts in his head. The minimally executed and bluesy “One Way”, which contains several biblical references (a thorny crown, a sword in the side, the burden of the cross), is followed by “Sick Like a Dog”, one of the album’s scariest songs by virtue of its hypnotic percussion, eerie synths, and Dowd’s croaking voice informing us that “Momma Death ain’t got no respect”.

Songs like “Average Guy” and “Wages of Sin” are other ventures into the neo-gothic religion-obsessed worlds of Flannery O’Connor’s Wise Blood or A Good Man Is Hard to Find, and Nick Cave’s The Ass Saw The Angel, where mentally scarred outcasts try to live with their obsessions (often women, liquor, and their own sinful past).“Ballad of Frank and Jesse James,” in which the murderer of Jesse James asks to be buried next to his victim, reminds me of Lou Reed’s calmer work, with a guitar tone that’s a ringer for VU’s “Jesus”.
In “John Deere Yeller” a man expresses his lifelong commitment to a girl, whom he describes in a set of comparisons that could be a proof of his love, but sound rather peculiar (“Cotton candy sweet are the taste of her lips, like Brigitte Bardot are the shape of her hips, her mind is as blue as the Texas sky, gonna love that girl ‘til the day I die”) and ultimately obsessive ("Gonna love that girl 'til the day I die" sounds wicked, coming from Dowd's mouth). This is made even worse by Dowd’s almost drunken slur. “Thanksgiving Day” is another album highlight whose central line “Be content with your life, it may not get any better”, combined with the repetitive finger-picking and shards of electric guitar, provides an eerie and utterly original atmosphere. In “Heavenly Feast,” Kim Sherwood-Caso is introduced as (co-)vocalist. While she would play a prominent role on Dowd’s later albums, her role is limited here to three songs. Notwithstanding that fact, she does make an impression, as her clear and icy voice is the exact opposite of Dowd’s broken voice, and it’s particularly weird to hear that girlish voice (combined with the gently paced music) utter phrases such as “hung me in a courtyard, they let me hang up there a while” (“First There Was”). “I Don’t Exist” might as well have been written by Ennio Morricone, as Kim Sherwood-Caso’s soprano, and Dowd’s melancholy melodica and classic guitar strumming reminds of the composer’s classic Western-work.

All this makes Wrong Side of Memphis, despite a few minor shortcomings (“Idle Conversation” and “Welcome Jesus” are lightweight collages that merely function as atmospheric mood pieces), one of the most intriguing debuts of the past few years. It's not that Dowd's main themes (love, loss, death) are that remarkable, but the uncanny way in which he presents them, often combining seemingly contradictory instrumentation, makes sure he's out of step. With a lo-fi debut like this, it was hard to predict where he’d go next, but very few people expected him to choose the path he chose for his subsequent albums." Guy Peters

Grit

Tom Zé - Se O Caso E Chorar/Todos Los Olhos

And here I give you a twofer from the most insane practitioner of the original Tropicalia. Amazingly creative sound-searcher with the melodic gift deep within him, no holds barred. In my opinion, superior to Os Mutantes, Veloso et al. If you can guess what's the cover of "Todos..." you get a no-prize :-)

hanging gardens

Cocteau Twins - Treasure

The ethereal classic.

Sandpaper

Chrome Children

Stones Throw & Adult Swim comp featuring MF, Dilla, Madlib & others.

giddit.

Shellac - Excellent Italian Greyhound

another nicely overdriven bad-ass production from the Shellac of North America band. its all about the attitude.

SPOKE!

Cluster - Zuckerzeit

kraut klassic.

Bachi Da Pietra - Non Io

"Bachi da Pietra (“stone worms”) is a two-man band whose dark and resonating music wraps around tunes of desolate candour and lyrics (in Italian) as dark and imaginative as broken love can be. A relentless drumming hovers over a huge wash of ride cymbals and a deep, plaintive voice, which is able to capture sadness, anger and yearning. The entire album is a visceral emotional journey: the dissonant blues-based songs develop around the steady drone of the singer’s voice, a trance-inducing vocal presence singing of grim meditations on life that are crafted and performed with disarming sincerity. Just like the mysterious and enigmatic characters that orbited their doom-laden, disturbing world, Bachi da Pietra is an unpredictable band that leaves the listeners feeling vulnerable, moved, and sometimes totally spaced out" [Last.FM]



Non Io

Caribou - Swim

caribou did it again with a nicely sounding production but very different from his earlier works. it seems he got pretty influenced by this new electro-club fad and he did his own take on it. its full of his trademark mixture of acoustic and ethnic sounding instruments along with a tribalist percussive feel that gives his music a unique vibe.

hell yeah for cover arts.

Shellac - 1000 Hurts

steve albini is the producer man behind the magic of many albums including Slint`s Tweez, Nirvana`s In Utero, Don Caballero`s American Don and Surfer Rosa by the fucking Pixies just to name a few. he actually estimated that he has worked on like 1,500+ albums by underground artists. anyway, THIS IS HIS BAND (yeah, he actually has a band) and its pretty rough sounding, distorted bass packing, spoken word cursed and overall fucking bad-assly performed. it`s an interesting listen. give it a try.

he kinda looks like a geek though and he drives a PT Cruiser too.

Fucked Up - The Chemistry Of Common Life

this punk-ass hardcore band from Canada shows some mad skills in music making. its a little hard these days to start a punk band and actually stand out from the rest. pushing the limits of its hardcore roots and making some good ol` noisy piss music while having a beautiful cover art for their debut album makes it worth to listen to. their live shows are a bit of a spectacle; things get destroyed and people get hurt. good times. the campo-formio boys are going to love this.

beautiful fucking cover art.