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In the early 70s, at the age of 18, Arthur Russell, a formally trained cellist, moved from Iowa to San Francisco; he studied North Indian classical music at the Ali Akbar College of Music and Western composition part-time at the San Francisco Conservatory of Music. It was during this time that he began his association with Allen Ginsberg: accompanying him on the cello as a soloist or in groups while Ginsberg sang or read his poetry. By the mid-70′s Russell moved to New York where he collaborated in the rock project Flying Hearts: which included artists such as David Byrne, Rhys Chatham, and Peter Gordon. The first piece comes from the mid 70′s with the Flying Hearts. “Ballad of the Lights” was written and recited by Russell; Ginsberg accompanies. The second piece “Pacific High Studio Mantras”, chanted by Ginsberg, is a Tibetan mantra recorded in July 1971.
tortured manic death drones; shrieking tones and lurching industrial collapse; ominous guttural loops and feral monasticism; looming dread and wretched release; spiritual genocide
Oakland duo collective rooted in the intersection of diversity and experimentalism: Zachary James Watkins cradles his guitar with an intense focus and yearning for tonality, no patience for weak timbre; Marshall Trammell embracing the drumset with comprehensive inclusion and a fluidity that thrives on constant derailment. an engagement with space, an ontology of sound, defining the effects of location / depth / placement / orientation on audio perception. recorded each solo, as opposed to previous works where interaction is key, the artists are allowed to examine their individual energies in isolation. don’t adjust your levels, the distant volumes are intentional in the exploration: meditations in resonance
Long tracks with rolling drones punctuated with occasional piano or guitar, no percussion. Synth and noise elements also intermingle. Meditation on loss and memory, a sense of the aftermath of a great storm. Chvad SB is based in Brooklyn and is a member of Controlled Bleeding.
1980 horror film about a scalping serial killer loosely inspired by the Son of Sam.
Joseph Yonker and brothers Davin and Kevin Chong giving us a postclassical minimal composition. It sounds like ambient drone. The tracks are short and I wish they were longer.
The Sleeping Cell is an Italian duo that seems currently to be back in sleep mode. This is their only CD from 2011. The singer Zaionair was the frontgirl for the electro project Minimod and for the Dub-System Almamegretta. Misterection aka Mario Grimaldi worked with Italian underground projects like Valderrama 5, Supervixens and Nista. Their music has traces of Prodigy, Nine Inch Nails, Lady Gaga and occasionally tiny bits of soundscape, lo-fi synths and blip explorations. This kind of anger/fashion synth-pop walks a thin line between cheese and intrigue — but here the lack of originality made the listening experience less rewarding. But good as a sudden ‘sugar fix.’
Succumb to the joy that is outsider artist. Succumb to the joy that is Mezzetin. Can not find anything out about this person. We do know that the recording is titled “Subduction” and that it is produced by George Duncan. There are 13 songs. That’s it. So let’s start.
Danish doom in the form of SOL on Cold Spring Records is a richly orchestrated, somber take on the loss of beliefs and ideals while one ages and passes from this plane. Lyrics by Emil Brahe, read by the deep voiced Thomas Bojden of Die Weisse Rose, talk of slight moments of hope, the passing of time, loss, decline. It’s all very dark and thoroughly enjoyable. The instrumentation of pump organ, electronics and sampler, tuba, violins and vocals create rich, passionate dark moods of thoughtfulness and sadness. The music sounds like something Stanley Kubrick would have jumped on, especially with his Ligeti fascination. The ongoing tale of the narrator as he faces the loss of his existence, and the hopelessness of his actions in life is a bit of a cold slap in the face. This type of dark gloom I enjoy. The musical accompaniment adds to and accentuates the message as well as caring it on its own. Brutally thought provoking.
A) German pianist Volker Bertelmann and electronic processing. Violin and bass on one track, otherwise all sounds come from the piano. Percussive rhythmic patterns.
A Special Light by David MacBride is a collection of solos and duets spanning the last decade. Throughout, the artist explores his relationship with his Chinese heritage (his mother was from China, his father from Scotland): a relationship he had never directly addressed in his work before. “All of these pieces,” he tells us, “reflect in one way or another Chinese musical and cultural traditions as I become more comfortable being direct in personalizing recognizable Eastern styles and aesthetics.” Ultimately, the aim of the music is for what the artist calls “a basic sense of serenity and focus.” MacBride’s work has been described as ambient, minimalist, luminous and impressionistic.
Vocals, sitar, tabla, saxophone, and piano make up the album Dawning by the ensemble Saffron. Formed in November 2009, the group is composed of musicians from the East and West: each bringing their own style, and all joined together by the love poetry of the Sufi mystic, Rumi. Saffron layers classical Indian music with a hint of jazz forms atop lines from Rumi in Persian. The music is meditative. Check out the first (haunted) track entitled “Dawning” at 21 minutes or the lively “Tease” at 17 minutes. But if those are too long for you there are shorter pieces as well.
This lively jazz release lives up to its name–the mixing of crisp apples with juicy oranges provides a counterpoint to the ears with the fine musicians conversing in a challenging and stimulating way. Oakland-based Wright composes the music and plays tenor sax and B-flat clarinet, and each piece is sustainable in its energy, with the likes of Lisa Mezzacappa contributing bass and Jordan Glenn on drums. This is not a snoozer at all, but rather uplifting and energizing.
This 2-CD release is a treasure, with its rich textures and sounds. Goudarzi’s voice is seductive as she sings/recites from memory the poetry of Rumi, accompanied by the masterful sitar music written and performed by Khan. Abhiman Kaushal gives everything a heartbeat with his tabla, and Ajay Prasanna’s flute weaves its way into this international brew in a mesmerizing way. The overall effect is compelling and tantric.
I can’t help but find this second release from Swedish singer-songwriter Anders Callenberg very appealing. Is it his easy voice? Is it the acoustic guitars and harmonica? Or maybe it’s the gentle electronic beats. All of these elements combine to create an overall mellow musical experience. Tracks 1, 5, and 6 are acoustic; tracks 2, 4, and 8 are electronic; tracks 3, 7, 9, and 10 are a nice combination of the two. Echoes, beats, strums, voices–trying to figure out the lyrics–a worthwhile endeavor and listen.
Bloodhammer, from Raahe, Finland, have been worshipping Satan for a long time, especially in the form of Bloodhammer since 1998. With a slew of releases under their belt, mostly EP’s, splits and singles, “Passion of the Devil” comes from their early middle period of 2005.
Life is always full of surprises. Unique weirdness is always just around the corner or was always there…. we just did not know it. Such is the case with Krozier & The Generator. Geoff Crozier of Victoria, Australia, was a shamanistic performance artist, musician, magician, seeker, seer, button pusher, reveling in the world of magick to push you and him to the limits of his psychedelic showdown. A true visionary weirdo and a reason why getting up in the morning is wonderful. This reissue of “Tranceformer”, originally put out on Generator or Rainbow Generator’s own label, is a major coup for Finders Keepers Records. These are recordings of live shows and rehearsals done between January 7th and 26th, 1981 prior to Geoff’s accidental death by “illusory self hanging.” First, Generator were/are an Australian experimental electronic duo who “were a semi-nomadic experimental electronic rock/inner-space synth band.” Put that in your hat and wear it. They became associated with Geoff back in Oz after his highly successful performances in the USA.
Youtube video selections are amazing. As is Julian Cope’s extensive review of the original recording.
The commercial success and subsequent mystery over Billie Joe and his death caught the imagination of listeners worldwide when the song “Ode to Billie Joe” was recorded in 1967. Almost taking on mythic status, it often outshines the other nine tracks on Bobbie Gentry’s first album of the same name. Bobbie Gentry’s disappearance from the entertainment industry in the mid 1970′s had the same sort of effect at the time. Though now fairly obscure to listeners, Gentry is still viable for a book written about “Ode” on the 33 1/3 series and commented by people in the know as highly influential.
-Born Roberta Lee Streeter in Chickasaw County, Mississippi.
The album is usually a quietly produced series of songs with Gentry playing acoustic guitar, finger picking each track in the familiar plunk plunka plunka beat. Background strings arranged by Jimmie Haskell and Shorty Rodgers fill out the sounds that accompany the tales of young country women and their exploits and desires while dealing with life in the backwoods and deltas of the deep south. The instrumentation mixed with her singing often gives you the feeling of that slowed down southern life. Gentry’s rich voice, which really takes on a solid level of quality in the song “Hurry, Tuesday Child”, moves throughout the compositions and never feels forced. Sonorous is the word to describe it. The songs are so enjoyable you just want to eat some poke salad annie with her while shooting the breeze, sitting on the porch. And then there is “Mississippi Delta” which may be one of the top underground club dance LOOSE IT songs from my twenties. It is one of the true definitive examples of country swamp rock. You’ll pull some muscles dancing to it. BOBBIE GENTRY RULES!!!!!!!!
Altogether ear-bending explorations that have fared well
KFJC was lucky to have the Cortical Foundations first pass at
The sounds were clearly ahead of their time, and I suspect this
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