Time Out - Jujuburg

If Everybody Had an Ocean. Brian Wilson: An Art Exhibition

Exhibition

Tate St Ives (Cornwall, UK)

Until 23 September 2007

"This exhibition of art since the 1960s takes the life and music of Brian Wilson as its premise, the main creative force behind the Beach Boys between 1962 and 1967. Loosely chronological, the paintings, sculptures, installations, photo-text works and films evoke the trajectory of Wilson's life and music along with contemporaneous developments in art history and Southern California."

Jandek - You Walk Alone (1988)

"This is space-blues-rock at its weirdest... When this album is taken in comparison to some of the Early Period stuff, it’s hard to imagine how they could be the same artist. The songs here sound thought out and possibly rehearsed, but still spontaneous, like the hoot and holler of ‘War Dance’. Jandek makes his most accessible album not by abandoning his basic style but adding into it a more solid interpretation of the blues. He manages to capture not just the music but the spirit of the recordings. It sounds like he’s having a lot of fun, and that fun rubs off on the listener as well" Daniel Marks

“A celebratory exorcism... The progression of the guitar playing is astounding... It recalls the savage beauty of Mr. Howling Wolf... A masterpiece.” Jimmy Johnson

link @160

Carlos Paredes - Movimento perpétuo (1971)

"Look at the photograph by Augusto Cabrita. In the left, accompanist Fernando Alvim, waiting for recording engineer to adjust the microphone for Carlos Paredes. There is no other album sleeve in the history of Portuguese music that documents with such an insight the sessions of a remarkable recording.[...]

'Movimento Perpétuo' seems to have been recorded in the open air. Throughout the entire album you can hear a sound that does not come from the guitar strings -- Paredes's own breathing. [...]
The faith in the power of the guitar. The belief in the independence of the performance (the quality that differentiated and projected Paredes beyond the Coimbra ballad). To this 'Movimento Perpétuo' adds spectacle, and the artistic creations of those he wrote for. Three pieces invoke dance: 'Danças Portuguesas nº2', 'Valsa', 'Variações sob uma Dança Popular'. As had already happened in 'Guitarra Portuguesa' [Paredes' previous album], the record ends with a vocal-less 'song', 'Canção'. Again we find a film by Paulo Rocha (in the two 'Mudar de Vida' pieces) and also we see the theatre ('António Marinheiro')." João Macdonald (from the 2003 reissue CD liner notes)

Carlos Paredes: Portuguese guitar

Fernando Alvim: classical guitar

Tiago Velez: flute ("Mudar de vida")

link @320

Melvins - 10 Songs (1991)

Recorded live to 2 track at Ironwood, February 8, 1986

First released as Six Songs (1986):

tracks 1-3, 5-7

"The sound quality on this is pretty raw, being that it was recorded pretty cheaply on a 2-track, so it’s not going to have the greatest sound quality. But they manage to still be able to make everything come through, just very raw though. This is a great way to hear how the Melvins sounded in their earliest days, and believe me, they didn’t sound bad at all. They put forth some great riffs, which they have added on to over the years. Still a very good recording".

link @320

No Noise Reduction - The Complete No Noise Reduction (1995)

"In a sense Portuguese duo Paulo Feliciano and Rafael Toral put Gunderson's concept and attitude cheerfully into musical practice. They use just about any object associated with pop culture as their instruments. As is stated in one of the pieces, they have "borrowed from everyone else's universe". The forty-six tracks, ranging from zero seconds (it is cued as such) to an exceptionally long 4' 45", defy any description that would attempt to do justice to the variety in approaches and sounds resulting from them, and to the wit and the humor with which this album has been put together.

A few scant examples should suffice. Toral and Feliciano realized a piece that everyone whose musical awareness predates the digital era must have fantasized about: glue the halves of a broken record together so that the playing area has a side A and a side B component, then play the record. On another cut, Groove Grinder, they play scratchy run-out grooves. They make some heavenly sounds with tones of a music box played with serious warpage from a sampler and a sustain guitar. They rebound the whish and whoosh from an amplified spring coil by wringing it back and forth through a sampler and entitle that in poetic jest Sonic Spring. This work is nothing short of inspired. The shining new wheelbarrow pictured on the cover illustrates what may well be their motto: "The tools you use are just as pure and clean as the use you put them to".

René van Peer, Experimental Music Instruments

Rafael Toral: tapes, noise burst guitar, turntables, harmonica wire-jamming, sampler, etc.

Paulo Feliciano: turntables, sampler, bowed cymblas, r5 prog, drums, etc.

See comments for details

link @320

Elvis Presley - Suspicious Minds: The Memphis 1969 Anthology (1999)

Disc One

Disc One consists of the recordings that the producers regard as the most fully realized exponents of this one-time collaboration between Elvis and producer Chips Moman. Not every song was a full collaboration [...], but each represents the ultimate partnership between producer and artist that allows total creative self-expression.

Although sometimes at odds with each other, Elvis and Chips Moman created the classic FROM ELVIS IN MEMPHIS, which is represented by the first twelve tracks. These are complemented by the great "hit" singles "Suspicious Minds," "Mama Liked the Roses," "Don't Cry Daddy" and "Kentucky Rain." Disc One concludes dramatically with both "Stranger In Ny Own Home Town" and "Without Love," two of the songs that clearly meant the most to Elvis and into which he poured every ounce of emotion.

Disc Two

The disc lets you discover the intimate "music-making" atmosphere that happened at this sessions. The remainder of the material is weighted with ballads so the producers included informal jams, jokes and outtakes to give you a true sense of an Elvis recording session. The enthusiasm and inspiration that Elvis, Chips and the studio musicians brought to these sessions is clearly illustrated. SUSPICIOUS MINDS - THE MEMPHIS 1969 ANTHOLOGY provides unique testament to their remarkable talent.

Special note: The music track for "Poor Man's Gold" was recorded while Elvis stayed at home with laryngitis. When he returned to record his vocals, he was distracted by a fire engine's siren blasting through the studio walls! This went straight on tape - you can hear it by turning up the volume. This disruption ended Elvis' commitment to the song and this small segment is all that was ever recorded of Elvis' vocal.

[From the CD liner notes]

link@192 [Disc 1]
link@192 [Disc 2]

Duke Ellington - The Far East Suite (1967)

"Duke Ellington was just the kind of American the whole world could love. President Kennedy realized this when he dispatched Ellington on a tour of the Middle and Near East in 1963. With Duke as musical ambassador, Kennedy hoped to win the hearts and minds of the peoples of the East. Dutifully, Duke Ellington led his caravan of mighty musicians through the exotic cities of Amman, Baghdad, Ceylon, Tehran, Bombay, and Ankra. They performed the classic Ellington songs, all the while absorbing the sounds of what Ellington described as "a world upside down." Rather than trying to reproduce the music they heard on their journey through the East, Ellington and Strayhorn "let it roll around, undergo a chemical change, and then seep out on paper."

By opening The Far East Suite with a song entitled "Tourist Point of View," Ellington makes it clear that the album’s Eastern sounds are no more than the musical impressions of two Westerners. "Tourist Point of View" is fresh, dramatic, and mysterious—as the East always appears to unfamiliar eyes. With a nimble hand on the cymbals, the drumming of newcomer Rufus Jones is a key ingredient on the record—adding layers of Eastern infused polyrhythms to the mix. Johnny Hodges is spectacular on all of the album's nine original compositions, but nowhere is his playing more lush and evocative as on the beautiful "Isfahan." The song is one of the greatest examples of the writing genius of Ellington and Strayhorn. The fact that "Isfahan" was recorded in only two takes demonstrates the deep empathy of the entire band to the musical visions of Ellington/Strayhorn.

And when the individual musicians step out, every solo they take adds perfectly to the distinct vibe of each song. On the hard swinging "Blue Pepper (Far East of the Blues), Johnny Hodges rocks the house with a surprisingly mean tone. Jimmy Hamilton’s graceful clarinet playing is showcased throughout "Ad Lib On Nippon," an 11-minute Ellington composition inspired by his many visits to Japan. This lengthy track gives Ellington room to really stretch out on piano, highlighting his often overlooked playing. (...) Duke Ellington and his musical tribe "didn't want to do anything others had done before" when they set out to make The Far East Suite. The phenomenally accessible yet unprecedented music that they recorded over three days in 1966 is proof of just how brilliantly they succeeded.

John Ballon

link @192

The Incredible String Band - The Hangman's Beautiful Daughter (1968)

"Gee, I never knew medieval troubadours had access to LSD, as well."

"Actually, The Hangman's Beautiful Daughter is pretty normal... for the first fifteen seconds of its duration. The guitar strums out a fairly ordinary rhythm, and Williamson coos out what seems to be a fairly pretty folkish melody. 'The natural cards revolve, ever changing... [click 15 seconds click] ....seeded elsewhere planted in the ga-a-a-a-a-a-a-a-a-rden fair... gro-o-o-o-ow tree-e-es! gro-o-o-o-ow trees!' At this moment 'Koeeoaddi There' [original spelling preserved] lifts off the ground, and there's no turning back. At no single moment are you able to predict whatever is going to happen at the "single moment plus one" point. It's not like the conception of verse and chorus has been completely abandoned, nor do they always turn away from the idea of repetition of instrumental and vocal themes. But repetition and choruses are treated on par with lack thereof - it doesn't seem to matter much to these guys if they do repeat something or not, it sort of depends on the vibe they're getting". George Starostin

link @192

Stephen King - Cell (Audiobook, 2006)

Read by Campbell Scott

"In Cell King taps into readers fears of technological warfare and terrorism. Mobile phones deliver the apocalypse to millions of unsuspecting humans by wiping their brains of any humanity, leaving only aggressive and destructive impulses behind. Those without cell phones, like illustrator Clayton Riddell and his small band of "normies," must fight for survival, and their journey to find Clayton's estranged wife and young son rockets the book toward resolution".

"Campbell Scott (Roger Dodger, Big Night) reads this audiobook, and his soothing voice is a nice counterpoint to the suspense of the plot. The book is told mostly from Clay's point of view, but the occasional voice changes are handled deftly. There are, however, a few places towards the end where it sounds like another reader's voice is spliced in for the odd phrase, making me curious about the process of recording and producing an audiobook, but not distracting too much from the listening experience".

link [.aa format]

V/A - Angelica '95 (1996)

1. Lol Coxhill - The Red Flag
2. Heiner Goebbels - Die Befreiung des Prometheus
3. Jon Rose + Otomo Yoshihide - Ping pong, King Kong
4. Maarten Altena Ensemble - America is Waiting
5. Steve Beresford + Jon Raskin + Otomo Yoshihide - Release the Bats
6. Phil Minton + Veryan Weston - And Who's Next?
7. Steve Adams + Pat Thomas - SAT
8. Rova - Freedom in Fragments (extract)
9. Specchio Ensemble - Appendice alla Suite no. 1 (Remix)
10. Oban Sax Quartet - Mubak
11. Phil Minton + Veryan Weston - Elephant
12. Rova: Freedom in Fragments.
13. Specchio Ensemble: Collettivo Diretto #5
14. N.O.R.M.A. + Chris Cutler + Phil Minton - Trains tango
15. Heiner Goebbels - Die Befreiung des Prometheus (extract)
16. Mike cooper + Lol Coxhill + Chris Cutler + Edoardo Marraffa + Luigi Mosso + Larry Ochs + Jon Raskin + Pat Thomas - It Slipped my Mind
17. Lol Coxhill - Jumping Flea
18. Lol Coxhill - Oh, I Do Like to Be Beside the Seaside
19. Lol Coxhill - BMT Pot Pourri
20. Phil Minton + Veryan Weston - Copswebs
21. Rova - Freedom in Fragments (extract)
22. Jon Rose + Otomo Yoshihide - TV Shopping
23. Phil Minton + Veryan Weston - Rain or Hail
24. Lol Coxhill – Retreat

Recorded 2-7 March 1995, Angelica Festivale Internazionale di Musica, Quinta Edizione, Bologna.

link @320

See the release documenting the 1991 edition (Angelica '91) at Lucky's Cut-Out

Lesli Dalaba - Core Sample (1990)

"Elusive trumpeter Lesli Dalaba, a New York resident since 1978 (and a member of Wayne Horvitz's, Elliott Sharp's and La Monte Young's ensembles) contributed to renovate the vocabulary of the instrument with a style that turned even the most cerebral sounds into lyrical poems. Except for the solos and duets of Trumpet Songs and Dances (march 1979), her own compositions surfaced much later. Core Samples was mainly devoted to two multi-movement suites: Core Sample (1989), with two movements performed by the 10-piece Zlatne Ustne brass band (two alto saxophones, three baritone saxophones, a tuba, three Eastern European "truba" wooden trumpets and percussion), two duets with trumpeter Herb Robertson, two duets with guitarist Elliott Sharp and vocalist Sussan Deihim; and Violin Sentiment (1989), with Sharp, violinist Jim Katzin and a drummer".

1. Core Sample
(a) Algonkia
(b) Jurassia
(c) Cretacia
(d) Permia
(e) Now We've Done It
2. From Dust
3. A Violin Sentiment
(a) Ants in Panic
(b) Help Me Out (of Here)
(c) City that Never Wakes
(d) Hear It
(e) Ignore It
(f) A Dream
(g) So Easy...
(h) ... To Get Up
(i) Feel It
4. One Breath at a Time

Personnel
Lesli Dalaba - trumpet, truba
Herb Robertson - trumpet, cornet
Elliott Sharp - slab, guitar, bass clarinet
Sussan Deihim - vocals
Jim Katzin - violin
David Linton - drums
Charles K. Noyes - drums, saw
Jeff Greinke - sampled trumpet
Zlatne Ustne Brass Band - truba, alto sax, baritone horn, tuba, percussion

rapidshare part1 : part2 @320

Joe Morris Trio - Antennae (1997)

"Joe Morris plays the guitar unlike anyone else, ever, and has been doing so for the last two decades. It's actually easier to compare him to horn players like Jimmy Lyons and Eric Dolphy - next to whom he stands tall - if you like. Yeah. This is his fifth Trio record. The guitar-bass-drums trio format remains a favorite for Joe Morris, and the one that he has most amply documented in a highly diverse recorded oeuvre that stretches back to his first (self-released) album (also such a trio) in 1983... Most of my favorite bands for years were trios (I'll mention the Minutemen...). Three sides - all very, very live. Ease of entry into a totally unique sonic space. With such a group - Joe Morris as the principal lead - his singularly profound gifts as a player are full to the fore. The band - in top form and stunning throughout. And the songs - Joe Morris writes gorgeous tunes with a beckoning sense of mystery". -SJ

1. Synapse 8:17
2. Antennae 13:21
3. Silent Treatment 7:35
4. Stare Into A Lightbulb For Three Years 13:30
5. Human Pyramid 9:22
6. Elevator 15:09
7. Virtual Whatever 6:45

Joe Morris: guitar
Nate McBride: bass
Jerome Deupree: drums

link @320

Cassiber/Ground Zero - Live in Tokyo (1997)

"This recording documents Cassiber's first and only visit to Tokyo, where they gave concerts on two consecutive evenings in October 1992. There were to be only two more appearances - both at the Gulbenkian Foundation in Lisbon that December - before the band, after ten years of continuous work, quietly ceased to exist. Just before they left for Japan they invited Shinoda Masami to join them for the concerts, a collaboration that was both rewarding and pleasurable. A little over a month later he suddenly died at the age of 34, leaving the promise that he and Cassiber had exchanged for a second collaboration never to be fulfilled.
The second CD is a collection of pieces by Otomo Yoshihide and Ground Zero, which takes the live recordings of Cassiber's live performance in Tokyo as source material and reworks them by way of sampling, remixing, addition, and re-performance. It is an expression of Otomo's respect and homage to Cassiber and to Shinoda Masami and, as the last recording under the name Ground Zero, marks the end of the group which has been the main project for the past seven years". Noda Shigenori and Chris Cutler.

Personnel:
Disc 1
Christoph Anders: vocals, guitar, samples.
Heiner Goebbels: vocals, guitar, violin, piano, samples.
Chris Cutler: drums, percussion.
Shinoda Masami: alto sax.

Disc 2
Otomo Yoshihide: turntables, rhythm box, guitar, hard disk, CD-J.
Masuko Tatsuki: DX7
Mizuhiro: mono-poly
Nagata Kazunao: ARP 2600
Haco: vocals
Yagi Michiyo: 21 string koto, teeth clack
Sachiko M: sampler
Uemura Masahiro: drums
Hirose Junji: tenor sax
Naruyoshi Kikuchi: tenor sax
Yasuhiro Otani: computer
Chino Syuichi: piano, organ.
Otani Yasuhiro: computerNasuno Mitsuru : bassYoshigaki Yasuhiro: drums.

Check comments for details

link @320 (here again)
link @320 (here again)

Check some other records by members of Cassiber here, there, elsewhere and in this location, courtesy of Lucky's Cut-Out and Spring's Spring Any Day Now.

Silver Apples - Silver Apples (1968) + Contact (1969)

tracks 1-9: Silver Apples

tracks 10-18: Contact

Simeon: the simeon, vocals

Dan Taylor: percussion, vocals

"Silver Apples were a psychedelic electronic music duo from New York City composed of Simeon Coxe III, who performed as Simeon, on a primitive synthesizer of his own devising, and drummer Danny Taylor. The group was active between 1967 and 1969, before reforming in the mid 1990s. They were one of the first groups to employ electronic music techniques extensively within a rock idiom, and their minimalistic style, with its pulsing, driving beat and frequently discordant modality, anticipated not only the experimental electronic music and krautrock of the 1970s, but underground dance music and indie rock of the 1990s as well." Luís Filipe Menezes

link @320

Sonic Youth - Hold That Tiger (1991)

Recorded live in Chicago (Cabaret Metro) 1987.

"... an absolutely primo chunk of pre-"Daydream" SY, at a Chicago show introduced by none other than Steve Albini. A huge chunk of "Sister" is performed, as well as a few from "EVOL" and even "Brother James." The encore medley of Ramones tunes is also a total thrill. There are no real freestyle sonic digressions, something they indulged in the last time I saw them about a year ago as of this writing, but the songs themselves contain enough nooks and crannies to fill a library of bent notes and alternate tunings. If played at the proper volume (i.e., maximum) you'll hear it in yr sleep". Scott Bresinger

1. Intro
2. Schizophrenia
3. Tom Violence
4. White Kross
5. Kotton Krown
6. Stereo Sanctity
7. Brother James
8. Pipeline/Kill Time
9. Catholic Block
10. Tuff Gnarl
11. Death Valley '69
12. Beauty Lies In The Eye
13. Expressway To Yr. Skull
14. Pacific Coast Hiway

Ramones encore:
15. Loudmouth
16. I Don't Wanna Walk Around With You
17. Today Yr. Love, Tomorrow The World
18. Beat On The Brat

link @320 [Re-Up]

The NOW Orchestra - WOWOW (1999)

1. WOWOW (Coat Cooke)
"WOWOW is a five-section piece that reflects my influences, from the earliest jazz in the 20th century right up to our present time of the eve of the 21st century. This piece is dedicated to Duke Ellington"

2. The Yellow Sound (Ron Samworth)
"The Yellow Sound, a seven-section piece written for the NOW Orchestra, is a loose interpretation of a text from the Blake Reiter Almanac (1912), by visionary Russian artist Wassily Kandinsly, whose writings on the aesthetics of art, the problems of form, and the integration of universal elements (the correlation of colour and sound) have been an inspiration to me"

3. The Tyranny of Interest (Paul Cram)

"Several years ago I was sitting with Lisle Ellis in Parrsboro, Nova Scotia, with the Bay of Fundy stretching out beneath our feet. Someone said "That´s interesting" about something or the other, and Lisle said "I guess I'm not so interested in interesting anymore". There began for me long meditation on the nature of interest and the various ways we are manipulated and distracted from investigating our selves. The piece is an installment from that train of thought."

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"Incorporating three very long pieces of multiple sections -- by mainstays Cooke and Samworth, as well as by guest soloist Paul Cram -- this date demonstrates the NOW Orchestra's synergy as well as its knowledge of the large ensemble continuum that stretches from Ellington, Fletcher Henderson, and Basie to Sun Ra, the AACM Experimental Band, and Braxton's Creative Orchestra, all the way to Globe Unity, LJCO, and ICP. Yes, I mean that. Yes, they're that good. Coat Cooke's "Wowow" is one of the best performances I've heard all year ... And perhaps the finest compliment I can muster, this music had me itching to pick up my own instrument and join in. By all means, listen to this."

Jason Bivins, Cadence

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Personnel:

Coat Cooke: tenor, alto, baritone saxes, flute.
Ron Samworth: guitar.
Paul Plimley: piano.
Kate Hammett-Vaughan: voice
Graham Ord: tenor, alto, soprano saxes, flute, piccolo.
Mark Nodwell: soprano sax.
Ralph Eppel: trombone.
Rod Murray: trombone.
Brad Muirhead: bass trombone, tuba.
John Korsrud: trumpet, flugelhorn.
Bill Clark: trumpet, flugelhorn.
Peggy Lee: cello.
Paul Blaney: bass.
Clyde Reed: bass.
Dylan van der Schyff: drums

Special Guests:
George Lewis: trombone.
Vinny Golia: clarinets, flutes, saxes.
Paul Cram: clarinet, tenor sax.

Recorded at the New Orchestra Workshop's 20th anniversay in November 1997.
Released by Spool Record in 1999.

link @320 [back again]

Bernard Parmegiani - Pop'eclectic

Scandalous plunderphonia and expansive jazz experiments from the master of electroacoustics.

1. Du pop à l'ane (1969)
2. Pop'eclectic (1968)
3. Jazzex (1966)
4. Et après... (1973)

Featuring:

Track 3:
J.-L. Chautemps
Bernard Vitet
Gilbert Rovère
Charles Saudrais

Track 4:
Michel Portal

Tracks 1 and 2:
A host of pop and not so pop artists, including Messiaen, Zappa, Pink Floyd, Stravinsky, Doors, Who Else?

link @320

Sam Rivers - Crystals (1974)

Long before Sam Rivers' late 1990s big band albums, Inspiration and Culmination were nominated for Grammys, there was Crystals, from 1974. Although Crystals is Rivers' earliest foray into large-scale ensemble writing, it is by no means an embryonic effort.

Recorded in the halcyon days of the loft-jazz scene, Crystals is a somewhat more accessible affair than one would expect. In the experimental big band tradition of Muhal Richard Abrams, Anthony Braxton and Sun Ra, Sam Rivers' first big band album makes a fine contribution to this often under-sung genre.

The opening cut, "Exultation" lives up to its title. Horn lines weave around each other as River's soprano snakes through them, never flagging in intensity. "Tranquility" follows, with a funky acoustic bass and tuba ostinato leading the ensemble into a mid-tempo groove. "Postlude" is a short interlude that leads into the albums second side, starting with "Bursts," a scorching free-bop feature for River's furious tenor. The march-like collective improvisation "Orb" takes the energy level down just a notch to prepare for the climactic closer, "Earth Song".

Embracing the discordant linear quality of Muhal Abrams writing, albeit less rigid, more swinging and occasionally even funky, Rivers big band compositions are more accessible than Braxton's but further out than anything Mingus had attempted at the time. While Crystals may be the blueprint for his more recent big band albums, it is more than just a historical curiosity. Not for the faint of heart, Crystals is creative orchestral music at it's most challenging and rewarding. Troy Collins

1. Exultation
2. Tranquility
3. Postlude
4. Bursts
5. Orb
6. Earth Song

Sam Rivers: arranger, conductor, soprano & tenor saxs.
Fred Kelly: soprano, alto & baritone saxs, flute, piccolo
Joe Ferguson: soprano & alto saxs, flute
Roland Alexander: soprano & tenor saxs, flute, African flute
Paul Jeffrey: tenor sax, flute, bassett horn
Sinclair Acey, Ted Daniel, Richard Williams: trumpet, flugelhorn
Charles Majeed Greenlee, Charles Stephens: trombone
Joe Daley: euphonium, tuba
Gregory Maker: bass
Warren Smith: drums
Harold Smith: percussion

link @320

Negativland - A Big 10-8 Place (1983)

A concrète radio trip through San Francisco, or a surreal travelogue for suburban wastelands everywhere.

Mark Hosler, Ian Allen and David Wills: Conception and Production
David Wills: Narration
Mark's Dad: Whistling

link @320 (vinyl rip) [Re-Up]

Ensemble Gending - Soekarno Blues (1999)

Post-colonial Dutch Gamelan, from blues to electroacoustics.







1. Soekarno Blues (Willem Breuker)
2. Ghending (Per Norgard)
3. Carilon (Jan-Rokus v. Roosendael)
4. Kaleidoscoop (Sinta Wullur)
5. Orkes Bercahaya (Roderik de Man)
6. Cannibal Mass (Jacob ter Veldhuis)
7. Sonata da Camara (Klaus Kuiper)

link @320 [Re-Up]

Ikue Mori - Hex Kitchen (1995)

Ikue Mori: Drum Machines, Sampler
Kato Hideki: Bass
Zeena Parkins: Electric Harp, Keyboard, Accordion
Hahn Rowe: Guitar
Jim Stanley: Trombone
David Watson: Bagpipes, Guitar
Catherine Jauniaux: Vocal
John Zorn: Clarinet

1. Slush (2:36)
2. Woke Up Aghast (3:18)
3. Angler Fish (3:48)
4. Shiver (3:10)
5. Recipe (4:09)
6. Loops (3:28)
7. Kiss Of Fire (3:44)
8. Eight Million Ways To Die (4:20)
9. Clapper (2:49)
10. Dau Miu (4:10)
11. Hive (5:13)

link @320 [Re-Up]

Martin Tétreault + Otomo Yoshihide - 21 Situations (1999)

Martin Tétreault - turntables, records, prepared needles
Otomo Yoshihide - turntables, sampler, cd

"Released in 1999, Martin Tétrault and Otomo Yoshihide's 21 situations documents 21 short improvisations for turntables (with and without treatments on the needles and vinyl), sampler and CD. (...) Recorded in 1997, these 21 short (never much longer than 4 minutes, but most between 1-2 minutes long) deal with various themes that determine their titles: cartoon, science-fiction, conflagration, chant, jungle, chaos, tension, etc. "Satellite", for example, has an eerie cosmic-like sound; "Cartoon" is playful; and "Chant" contains a strange human-made squawking. The mood of this disc is really quite playful, and even though there are some dips into darker themes and sounds, the over-all feeling is one of spontaneous experimentalism. Scratches, scrapings, loops, sharp cut-ups and collage work, grating textures of the needles on treated vinyl, and short glimpses of what the original records may have sounded like are the elements that keep you on your toes throughout the entire recording".
Richard di Santo, Incursion

link @320 [Re-Up]

Lonnie Smith - Turning Point (1969)

Smooth organ-driven tunes for your cocktail occasions.

1. See Saw
2. Slow High
3. People Sure Act Funny
4. Eleanor Rigby
5. Turning Point

Lee Morgan: trumpet
Julian Priested: trombone
Bennie Maupin: tenor sax
Melvin Sparks: guitar
Lonnie Smith: organ
Leo Morris: drums

link@320 [re-up]

Ustad Ali Akbar Khan - Raga Madhuvanti (2002)

1. Alap, Jor ani Jhala
2. Gat in vilambit teenthal
3. Gat in drut teenthal

Ustad Ali Akbar Khan - sarod
Pandit Swapan Chauduri - tabla
Ken Zuckerman - tanpura

link@320 [re-up]

Mississippi John Hurt - Last Sessions (1966)

If you can find a bluesman more heartbreaking than this one, please put him in jail.







1. Poor Boy, Long Ways from Home
2. Boys You're Welcome
3. Joe Turner's Blues
4. First Shot Missed Him
5. Farther Along
6. Funky Butt
7. Spider Spider
8. Waiting For You
9. Shortnin' Bread
10. Trouble I've Had It All My Days
11. Let The Mermaids Flirt With Me
12. Good Morning Carrie
13. Nobody Cares For Me
14. All Night Long
15. Hey Honey Right Away
16. You've Got To Die
17. Goodnight Irene

link

Claudio Rocchetti _ Fhievel _ Luca Sigurta - Pocket Progressive (2004)

Claudio Rochetti - turntable, small percussions, radio

Fhievel - electronics, field recordings, objects

Luca Sigurta - cymbals, objects, toys


Total Time 34:15 © 2005

Recorded on 15 and 16 April 2004, Bologna, Italy

Cover design by Fhievel and Luca Sigurtà

link @320 [here again]

The Miracle of Levitation: Experimental Sounds from the United States and Japan (1995)

1. Ground Zero - Lam Cheng-ying
2. Uchihashi Kazuhisa - Solo Guitar
3. U.S. Maple - I Found a Place to Have My Kittens
4. Xome - Children Recognizing Meat as a Main Dish
5. Pencilneck - This Close
6. 7000 Dying Rats - If I Can't Understand It..., I'll Crush It
7. James Plotkin - Event Horizon
8. Tsunoda Tsuguto - Rena+Ami
9. Ruins - Still Live
10. Jim O'Rourke - Milena Dravic
11. Liminal - 04.16.94.21.24.20
12. Akiyama-Sugimoto - Blues for Prince Myshkin
13. Cult Junk Cafe - The Jackson Stomp
14. Melt Banana - Party-Hat
15. Lumbar Trio - The Resonance Handbook
16. Altered States - Mosaic (Excerpt)
17. Yasuhiro Ohtani - A Memory Book
18. Otomo Yoshihide - Guitar Solo
19. Flying Luttenbachers - This Is What We Do to Our Enemies
20. TV Pow - Big Fat Fuckin Zero

link @320

Johnny Cash - Desperado (A Boy Named Sue)

Double cd collection of hits and misses
See comments for details

disc:1@320
disc:2@320

Luc Ferrari - Interrupteur (1967) + Tautologos 3 (1970)

Interrupteur (1-4)

English horn, clarinet, bass clarinet, French horn, trumpet, violin, viola, cello, percussions, electric organs.

Tautologos 3 (5-9)

Flute, oboe, clarinet, trumpet, trombone, violla, cello, double bass, electric guitar, electric organ, vibraphone.

link @320

Killdozer - Uncompromising War on Art Under the Dictatorship of the Proletariat (1994)

Ever wondered how American rock would sound like if trotskyists were the ruling class? Killdozer show us that guitar distortion is the only way to avoid the distortion of ideals.

Comrade Michael Gerald (b, v)

Comrade Dan Hobson (d)

Comrade Paul Zagoras (g)


link @320

Boredoms - Chocolate Synthesizer (1994)

Sushi is driving tuna fish to extinction, and all manga are drawn by the same person. Let's face it: you don't need anything else from modern Japan except Boredoms.

link @320

SPK - Leichenschrei (1982)

Early "Industrial" frenzy by one of the most creative bands of the "genre". Terribly dynamic and organic, this is certainly one of their most accomplished records.

1. Genetic Transmission
2. Post-Mortem
3. Desolation
4. Napalm (Terminal Patient)
5. Cry from the Sanatorium
6. Baby Blue Eyes
7. Israel
8. Internal Bleeding
9. Chamber Music
10. Despair
11. The Agony of the Plasma
12. Day of Pigs
13. Wars of Islam
14. Maladia Europa (the European Sickness)

Personnel
Oblivion: synths, electronic rythms, tapes, vocals, shenai, syncussion, machinery, metal percussion
NE/H/L: synths, electronic rythms, tapes
Pinker: drums, syncussion, metal percussion

link @320

Miles Davis - Live Avignon 1988

Most Miles fans don't fancy his 70s funk/rock approach to jazz; his 80s projects are even more looked upon. This concert, loaded with keyboards and fat basslines, should prove that they are wrong.

1. Tutu

2. Movie Star

3. Splatch

4. Time After Time

5. Wayne's Tune

6. Full Nelson

Miles Davis (tp)
Kenny Garrett (as-fl)
Foley McCreary (g)
Robert Irving III (kb)
Adam Holzman (kb)
Darryl Jones (dm)
Rudy Bird (perc)

link @320

Ken Nordine - Colors (1966)

The voice-over man from a thousand commercials, Ken Nordine registers in your subconscious instantly: Wait, I know that guy! Smooth as an ice sculpture and ringing with "the voice of our sponsor," Nordine has personified authority since the 1960s. It's disorienting at first to hear the way Nordine lets go on this record with a Beat-inspired, mellifluous-sounding, Dr. Seuss-like exploration of the meanings of different colors. Many of the pieces are parables on racism and human behavior, but they're also totally silly, and meant to be. Recorded in the late 1960s, the 34 tracks manage to be sort of psychedelically goofy but charming at the same time. "Absolute gray is the grayest gray / That's the same distance from absolute white as it is from absolute black," Nordine almost-sings to a delightful, freeform studio backing of hip jazz. All your mix tapes will be very happy that you've bought this strange record to flavor them with. --Mike McGonigal

Chromatic extravaganza from the deep, sociological voice of Nordine.

1. Olive 2. Lavender 3. Burgundy 4. Yellow 5. Green 6. Beige 7. Maroon 8. Ecru 9. Chartreuse 10. Turquoise 11. White 12. Flesh 13. Azure 14. Puce 15. Magenta 16. Orange 17. Purple 18. Muddy 19. Russet 20. Amber 21. Blue 22. Black 23. Gold 24. Crimson 25. Brown 26. Rosy 27. Hazel 28. Mauve 29. Fuschia 30. Sepia 31. Nutria 32. Cerise 33. Grey 34. Coral

Ken Nordine: Vocals, Creation
Richard Campbell: Flute, Vibes, Marimba, Harpsichord, Drums

link @320

Die Like a Dog Quartet - Aoyama Crows (1999)

Peter Brötzmann: tenor sax, soprano saxophone
Toshinori Kondo: trumpet
William Parker: double bass
Hamid Drake: drums, frame-drum, percussion

link removed by request.
buy the record at FMP.

Frank Zappa - Lumpy Gravy (1967)

link@320