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1)burning spear 2)full of joy this music breathes in jah face. 3)steppy stampy skampy for the crampy hoe doe let down easy dub break up. 4) pitter patter rain drop matter its a ting ding a ling jah’s music in the raining air. 5) learn bout marcus garvey dubwise, skitter skamper rhythm beat. 6) do you remember the days of slavery? 7) marley inspired jam 8) big footed sound trampling all over done on wanderer sty-le 9) ode mother africa home give call rasta 10) rings all about the days of slavery 11) tearjerker slowjamrock dance tune …14)belly bass, old style intro, massive dub mothership sonifics, ghetto tech, to 15)lush rainforest service sounded rhythm soggy amp puddle horn, pulse of the beast on the bass, all in slavery. -slotty sikh
1, roots in a digital atmosphere, love in a metal suit, synthi pads, ping pong digi dub up, protect up the african dance, hold your sweetie on 2, cabo sounds, given margarita present alpha blondy, to a kid even 3, or only for the most stoned, pick it up with a variation on burning spear and keep it clean, on 4, where as lovers calypso gets the prominent treatment on 5, in 6, a mix of buffalo soldier and your choice of radio lament ride on top a march at rasta pace. -slotty sikh
the latest skank, slow wine, and highest grade. belly first, dubs next, dabby sticky. addis pablo, champions of the sound, next wave roots. solid foundation sounds, bagged for this way or that, sparkling production. big up to i-vier from keida, riddim label summary cd, social, smart, cultivator, war is in the dance riddims. gentle pulse, heavy beating, kelissa, firm forms features futures. 6-7 dezarie virgin islands preference, to 8-9 track, defender sound. 10-11, 12-13, got it right here.
deflowered his trombone at a young age, pur spit spatter splatter free tuba-trom, backwards drifter dixie trum-bone, double tones, three or four grumpy speaker ripper tripping free toning, trigger recontact concrete acoustic electro sour grapes improv, with graduated tiers melodic subterfuge reverse trajectory waltz schemes of Ariel ascensional trom-black hole-bone tunnel query.
Lindsay, Mark; W. Michael Lewis; Robert Houston; The Wonderland Philharmonic “Shogun Assassin: Original Motion Picture Soundtrack” [Cinewax]
the source for agent orange from cage off hiphop 12″, mix in additional sampling from here, clockwork orange or baroque half whole synth note non stagnant pools of film spools in the same wonderful worlds as a lesser bernard fevre, not trailblazing, maybe just crackle crank pop B3, or starts good but quickly sounds dated as a synth hawkwind B4 or the best track rather fine for now not a must play electro pop B5 regardless of the toho idea of edo bakufu period and occidental visions of a ghoulish vampy campy 80s rock romp synth funk halloween party psych by the end but only ends B2 or a mood music sway or swingless should have just been an ishikawa goemon mythical emotion notions not the neitherworld of repeater loop key echo without the ching chong chiny cho that is so baddass B1 instrumentals except for voice track inclusions on the is that robert redford as the samurai or wtf a confederate union drum march or the trite bodies falling and the blood remarks except sick flesh rips slash gore effects A1 but de jure the simple music theory here of traveling three note chords arpeggios pairs and progression as voice leading octave apart timbres well explored at the time has that charm without the autre A2 and still dope slow procession funeral oriental airy shit A3 and proves material like this can be played a great deal that is to say well-shit A4 realizes dada diogenes
The dub album is 1-1 with the vocal album
Roots Reggae title track Black Star Liners about
An Xterminator production, Philip Fatis Burrell’s sound,
Currently active, in their 2nd iteration. From Japan,
Experiential music; the expression of absorption, both Guan (observe) and Ding (stabilize).
Belgium’s Jos Steen, known for his home recordings, thirty plus self releases, and for an approach to art and music informed by Don Van Vliet, here almost entirely avoids voice and acoustic guitar, a guitar that punctures like a piano, both full of meaningful willful association. Immediate precedents for this work might be Kurt Schwitters and Harry Partch. Dadaist collage, post-performance, anti-linear, an art of contraction, concision, and modified forms. Old timey, loosey goosey not following prescribed guidelines or general societal expectations. Comparable to computer software performances with acoustic sampling and live processing. Track A4 inspires a reflection) Is it beeping because it’s ready? Is it day because I hear the birds? Is it passing because I hear it skipping by? Couldn’t it be returning to an originary state, of night, of stasis, of beginnings, one sans change? To before the note was struck? Music as the way or path back to the start from the end (as beginning.) The music is the reverse of the perceived.
A1) Clicking, setting down on wood, and zombie groans. Start and stopping signals, pitch and speed shifts. Bird chirps. Some of the snippets are covered over and/or quiet. Occasional loud sounds stand out and might sonically wobble or vibrate. 2) Recitation of “got my violin ain’t got no…”, and remnants of glimpses of violin, early soundtrack orchestra, drunk speech or poetry in tongues, frenzied drawing, and deformations to everything pitched all to hell. 3) Some strings on a board, and hella loose, elastic rubber bands, and jaw harp, and some slapping or whacking on the board with counter vibrations on the strings, action reaction. 4) A slower tempo, and a clearer palette, and note the out of tune guitar note. B1) De-stringed proto-stringed guitar and CD player instrumentation mostly with classical and percussion, where there are drum fills, and cymbal crashes condensed and not, in actu. I think he does use an electric guitar in there somewhere but to just turn the amp on and maybe hit or bump it softly before turning off the mic. 2) A song with lots of noise in the style of blues. 3) Tuba? Comb and wax paper? Flies? Racetrack engines? Dirt bike maybe? A tinge of feedback at the end makes me wonder what he used to make it. 4) A drone makes this track more musical. Washing machine with three feet on the floor and flapping against thick paper tags.
I can imagine this guy taking a broken guitar out of the lobby, and whacking it with one of our mics in the studio while hand rotating a turntable and mixing a cd of solo percussions with a finger on the fast forward. Too bad he has passed away. Play the heck out of it, maybe someone will collect and issue his catalogue of self releases. New idol for dada diogenes.
Thomas Garrison is Control, and was also Exsanguinate, which share a similar sound, but note the Exsanguinate which is currently touring from the last few years are entirely different unrelated people. There are also very many Control groups, from the UK, Sacramento, New Jersey, and Wisconsin, for example. If you play metal, if you play noise, you probably have a place for power electronics with vocals on your show, or on your label which, case in point, the promotional material for this album also confirms that this is the first non-metal to appear on the Parasitic label. This album is titled “Out For Blood”, and the vampire doth exsanguinate the body of his prey, so there is a nominal linkage with his much earlier work, in fact I would also say it is difficult to differentiate between tracks on earlier Control albums and more recent Control albums, meaning for a particular piece, it could very well have appeared at any point in the spectrum, which together I would say betrays consistency. He is from, works, lives, and runs his Misanthrope studio in Santa Cruz. He has recorded and released around twenty five productions from a very good range of acts, lots of power electronics groups too, in more detail, lots of mini cdr and limited stuff, and a few full length cd stuff, in addition to simply the mastering on a few stuff. His work reminds me most of Tetsuo Furudate, but maybe you could also say, definitely not Prurient or Sutcliffe Jugend, but maybe a mix of something else?
A1) Shots of hairspray, sub-sonar, guitar like controlled feedback notes, somewhat high frequency pure tones, repeated motifs, tone feeling or tone coloring with a noise palette, echo delayed or on a four second cycle, or leaking from a hose, much more treble than the barely even bass. 2) Ominous entry, almost guitar, then almost two guitars. Not quite wall of noise, definitely not wall of sound, almost 4 or 5 types of noise going on, lots of droning noise, high power signals; w/ voice, pow bow wow vocalizations through dictaphone electronics filters the didactics, and not a fade out but a short removal of layers ends the piece. 3) Didgeridoo via electronics, digital scanlines or tv without the image, music, or even white noise, just the hum of the cathode ray tubes. Many more movements than the other tracks, a wall maybe not so high. After a minute vocals, more audible here. B1) Compositionally a pounding headache. Less going on here than in other tracks. Sounds like manipulation of two pools of noise with two different controls plus the treated vocals. 2) Melodically darker, a fantasy of nazi induced apocalypse. Asymmetrical polyrhythmic airtube noise, scraping, and high velocity wind-to-ear flapping simulacra. 3) Echo treated room acoustics simulation, to, reverse noise drone, factory-sized resonation of metal production, then including drum snare synthesis beats, and all along a foreground of noise variants in a wishwash of sound in the key of sleep patterns, and a non-noise last 20 seconds of beats. AB) All words are nonidentifiable, dada diogenes is interested in what you think it says.
Yost, while he was recording did so out of the San Francisco bay area, and was a multi-instrumentalist, perhaps more consummate on the bass, and clearly original for jazz guitar, but sounds great on soprano sax and flute which he also plays here. He has two records on John Fahey’s label Takoma. This is his third and last record and is a solo effort making use of overdubbing (1970) to produce it, and was his only album to be self released. The moniker North Star was used by several different companies in several different countries, but no other music was released by Yost other than his own, when he made use of it. The original pressing is quite rare, with super poor but playable condition copies going for over $100 U.S. dollars, and average to better condition ones going for $500 and up. As for what this is that we have. This reprint differs from the original in several ways. Aside from the pasted album art on front and back, and from the lack of writing on the spine, it has altered graphics in several places. The North Star logo and name has been entirely removed, except for the label on the record where, also, the “S” has been inverted. It sounds as though it was created from an audio transfer from an original issue vinyl and then re-pressed back onto vinyl, the reasoning being that the audio in some places appears to not be entirely clean with some noise heard in some areas, leading me to think the audio did not come off of a set of master tracks. What I was able to learn about this reissue record was that it seems to have come from out of Europe somewhere, and appeared sometime in the beginning of this year. I am guessing that whoever produced the reissue simply could not find Yost or sufficient information to do so in order to obtain the tapes or the rights to officially redistribute his music, or simply were not up to that task, meaning I conclude this is bootleg. About Yost himself, information is very scarce. He appears to have never been credited as having had any involvement on anyone else’s record ever, I definitely do not think he had anything to do with Stargard’s “Nine Lives” album from 1982. Also, while the geography might initially suggest as much, the editorial writer for the San Jose Mercury Phil Yost who died last year was far too young to be this Phil Yost the musician.
A1) The leska tunes are drenched in echo and are quite sublime. Flute and bass really establish the planar depths of the musical field. It begins by establishing a chorus from which two different developments are made, first, it is followed by a strong movements of melody, and secondly, it is stretched all far out into distant note spaces which ends the track. A2) Yost dives downward for the deepest bass notes that can make sense. Flute hopping then unusual meandering and finds a trail only to exit and tongue flap and hop around meanwhile the bass sorta just plays passages and notes which blur into one another without sticking much, around the low to mid registers, finally finding the high register before quickly returning for the coda. Memory or nocturne by jazz conventions. A3) The only track with sax. A great deal of two string dyad picking, almost classical guitar. He knows how to make the sax do circles and enter and leave those whirlpools well. Not much bass really, mostly the same few accompaniment motions. Halfway through though the bass gets bowed and the guitar gets strummed heavily and it goes the way of some Syrian Iranian traditional music movements but develops some trippy tension which is resolved to end on a “creator has a master plan” wavelength. B1) Turned it over and holy shit. Striking of the tambourine. Echoed out chords with the melody overlaid live on both guitar and bass. Charlie Haden or French jazz pop of Gainsborough comes to mind. B2) Tiny bell or triangle. Arpeggio chords throughout reappear. Feeling out the space on the bass. Pharoah Sanders comes to mind or some of the more interesting contemporary folk stuff we add. Rattling ball bell or likely just moving a tambourine around gently. Flute comes in and the bass line quickly becomes established rather than exploratory. Some notes of bowed bass occasionally that fills out the sound, then comes to follow the direction of the music like a cello might usually be played. Dada Diogenes keeps wanting to chant “a love supreme, a love supreme.”
Solo waveform electronics. Italy’s Stefano’s cinematic short library cuts to set mood, a capsule of scenes, A side, protasis or epitasis movements, while B side, definitely catastrophe, settled yet empty, durations, and tholing tears. 1) conga fills, kit, metal percussion, and a model synth timbre for painting with oils and brush, or on stage, for laser lights and smoke machine 2) the melody, laidback, but becomes more elaborate, the song structure grounded in repetition of a few parts without variations really. static cymbol, and leading bass line, brings to mind the Konami sound, and something like Contra. 3) tension or freedom at the heart of the machine, distanciation or otherwise known as contemplation. 4) a music box, with high frequency blurring or peaking and might vibrate even but definitely strident. where doth the melody reside? from the heart cometh and to the heart goeth. wonders the dada diogenes.
Raining cymbal tears, for rapid tensions that go pop. Seen as
Peers, focus on the process of school. Landlord, they don’t
Hovering hold hands heavy hot ‘Open the door’ key setup
The reality of this release is that it is off cassette which was never released, and 20 years later we are now getting the document allowing us to evaluate the sole work of Kiddus I, and here is how he fits in. CD One #1 African Brothers #3 Barrington Levi, Eek-a-mouse #4 Rock my boat, Clint Eastwood, Congos #5 Wailers, Israel Vibration, Burning Spear #6 Charlie Chaplin #7 Jimmy Riley #8 Morwells #9 Dennis Brown, Heptones, Melodians #10 Jacob Miller CD Two #1 Andrew Tosh, Jah Cure #2 Frankie Paul #3 Blood and Fire, Pressure Sounds #4 Twinkle Brothers, Black Uhuru, Daweh Congo #5 Extended Dillenger or Johnny Clarke #6 A much loved riddim. Junior Delahaye #7 Freddie McGregor, Winston Jarrett #8 Disco ska #9 Twilight circus dub sound system, Pablo Moses #10 Sean Paul #11 Ini Kamoze
Fluid vocal quilt, interlaced dubbed up voice mixing, farting mouth, tar pool delivery. Oh, ohhh, ahhh, bubbly saliva. Speaking goblin, orc? Similar to Phil Minton (who is better) or (more extreme than) Jaap Blonk (entailing a lost of meaning, comparatively). #1 Razor motor sustain and gurgle beat, like having a haircut in a dentist’s office. #2 Fish tank, old man aches and showers, cracking knuckles, pumping gold ink pens, and snake venom spray. #3 Morning yawn. None accapella except maybe #4. Five – Sounds of ocean boat zips, slides, white noise water crashing, things approximate to seagulls, action heavy, heavy wheezing, kissy sounds, and blowing your nose. #6 Scooter engine, leaf blower, two out of breath people, and armpit farts. #7 Burp, and falling to one’s side from over-eating, mouth noise. #8 Sped-up crowd chatter. #9 Gregorian chant and gurgle prayer. Later, the willy-nilly auctioneer shows up. #10 Slowed tour guide to dinosaur talk, then sped to Farsi speed. #11 is funny, scooby doo, bert and ernie, and more, also reggae blap blap. #12 Soothing to an asthmatic’s ears, clear breathing ways, and heavy sleep breathing. Obvious use of stereo hard panned 2 channel production. #13 More than mere technique. #14 More modern. #15 Donald duck meets the choir.
A side is home studio recorded, where the site of confluence becomes the basis for new sound music, where participants play round robin with objects and instruments, use their voice and hands to generate sound with more than just the tradition of a european tuned orchestra. A discord of music technique, this study break be it from musicology, literature, or vocal music studies, brought out an understanding of performance away from the bench and based it squarely on a kind of audiology, understood as where “creation and performance occur simultaneously” and “acoustics” [are tracked] within actual time and space” such as where in poetry action disrupts representation, and a kind of realism is exposed. These performances contain evidence of a later concern of some of it’s members, where in it can be heard/felt that sounds have transitioned environmental conditions, turning morning to night, sun to rain, house to hall to political address, worded as “directly connect[ing] everyday experiences with musical expressions in an attempt to transcend conventional music concepts”. A side is full on music in chaos. Weo weo (woman) re a re a (radio scan) percussive door, shakers, crunchy food, bugs bunny piano humor, bowed string, vibrating surfaces, inner pockets of sound, tapping on glass, pilot voice, large motorcades, and escape action sequences, oil drum and delay processing, slide flute and dolls; Group Ongaku is ensemble outre. Cacophony. Hear the sheer gravity of a synthesizer which inhales all the surrounding sound into a giant black hole. Is that someone cleaning the studio while they record? Later they get in on it, flipper jocking the on-off switch. Music concrete by sheer effort, and ingenuity with tape. B side is live at Sogetsu Hall. This is straight post classical-jazz improv. Alan Silva comes to mind, as does Lawrence Butch Morris. They hold off the percussion until the levee breaks and wamo, the performance is reinvigorated, except the musicians hadn’t yet returned from a walk around the hall, and so the performance returns to quiet development. Also some organ, or accordion with piano keys, comes in.
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