Andrew York Denouement Rar Files
Swallowing air and farting it out, that's the main life skill of the weatherfish. But what's best about him is his evocative German name: Schlammpeitziger. When German electronic artist Jo Zimmermann launched his solo career in the early 1990s, he chose to be identified with this creature living in the flat muddy waters of the European and Asian plains. Unlike the fish, Schlammpeitziger's early reputation was built on his inventive use of cheap Casio synthesizers and the use of composite nouns to name but his first five albums. This here is his eleventh, and while Schlammpeitziger's art has moved on, true to his nature it does contain some colorful references to farting. In this forest of mysteries, his schematic, fastidiously executed drawings function as explanatory systems that are funny but at the same time complex and occult. It maps out a non-physical world that is being triggered by events in the common world, but initially only takes shape in Schlammpeitziger's perception by means of impressions buffered in Schlamm-RAM and decoded in quick succession using enormous flows of incoming and outgoing catalytic energy.
Like his paintings, these formulas appear similar to seismographic studies: invisible vibrations are recorded and translated into new alphabets. In his search for inspiration, Schlammpeitziger is the eternal pedant, following up the most inconspicuous leads to find different ways of making sense of reality. A magnetist's curiosity drives this folklorist of the self, deep into the thickets of the world. Where others get caught up in well-worn symbolisms or cling to new age rituals with their drones and flickering lights, Schlammpeitziger is taking it easy. He turns his toes inwards, rotates his hips, and beams light signals up into the dark. Jo Zimmermann has the primal funk, a beat that can thread anything together. That certain clap, the short gaps between accents, not to mention the physicality of the bass taking care of the lower levels.
In all of this, Schlampeitziger's own movements are an invitation to join his parade of mysteries. For those looking for a future that doesn't reach back into the past but is searching for access to engrossment, Schlammpeitziger's radiation therapy of sound should be just the ticket. Distant Images is D.K.' S fourth release on Antinote. Distant Images confirms that the Paris-based musician has been, in fact, digging deeper in the same direction. S sound takes a step further into reality -- the most attentive ears will hear seagulls on 'Distant Images' while rain is softly falling on 'Leaving' -- and slightly departed from the digital universes that his previous records seemed to set in motion.
From the most abstract songs -- like the Steve Reich-ian 'Shaker Loops' -- to the most evocative ones, the five compositions on Distant Images are like stained glass, gently filtering natural light. In the early 1980s, the French musical duo Fondation, comprising Ivan Coaquette and Anannka Raghel, released three tapes of fantastic electronic music which owed much to the experimentalism of the seventies. Synthesizer, drum computer, solo guitar. Repetitive, meditative, hypnotic -- between ambient and synth pop. Les Cassettes 1980-1983 presents a selection of their finest pieces from this period.
Sep 06, 2009 Skeleton from '8 dreamscapes' by Andrew York (audio file) mscrux (Masao Suda) Loading. Unsubscribe from mscrux.
During an extended sojourn in Italy around 1970, the multi-instrumentalist Ivan Coaquette contributed to the highly experimental artist collective Musica Elettronica Viva, who were on a mission to liberate music from every form of convention. Back in France, he played in various experimental prog rock bands such as Spacecraft and Delired Cameleon Family. His wife Anannka began learning to play the piano at the age of four, studied music theory, and sang together with her father, a professional vocalist. Her focus subsequently shifted to theater and dance, but she would return to music, taking up piano and singing lessons again and playing in bands like Spacecraft, Pandemonium, Zed, and Chantal Grimm. Between 1980 and 1983 they managed to release three lovingly crafted cassettes. Opting for this format rather than the LP was not solely an economic decision. The duo stated a preference for the longer playing time which cassettes afforded.
All three tapes had a running time of around 60 minutes. Fondation created sonic collages underpinned by synthesizer, organ, drum computer, and guitar, enhanced by bursts of noise, field recordings, diverse percussion instruments, and the occasional wordless lament sung by Anannka Raghel. Although synthetic sounds are the 'foundation' of all Fondation pieces, synthesizers are not -- in contrast to 'classic' Berlin School (Berliner Schule) acts such as Tangerine Dream or Klaus Schulze -- especially prominent in their music. Noteworthy is the use of a Korg X-911 guitar synthesizer, related to the popular black series Korg MS-20 synthesizer.
The X-911 transforms a monophonic input signal into synthetic sound. The source instrument for this signal is revealed in its name. Thanks to their use of the X-911 guitar synthesizer, Fondation was successful in blurring the distinction between synthesizers and guitars with a synthetic sound. For this album, Bureau B have selected the most intriguing and illuminating tracks from the three tapes Metamorphoses (1980), Sans Etiquette (1980), and Le Vaisseau Blanc (1983). Restocked; nominated for two 2018 Grammy Awards: Best Historical Album and Best Liner Notes.
Dust-to-Digital's inaugural release, 2003's Goodbye, Babylon (DTD 001CD), included two recordings by a mysterious gospel musician from Texas named Washington Phillips, who died in 1954. After fielding inquiries about the hauntingly beautiful songs from listeners around the world, in 2013, Dust-to-Digital checked in with Michael Corcoran, the leading researcher on Phillips, to see if any new information had been uncovered. Indeed, Michael had some leads, but he would need a working budget to track them down.
Three years later, in 2016, after combing through various archives and talking with the last surviving people from the Simsboro-area who remembered Phillips, the name of Phillips's homemade instrument (the Manzarene) has been revealed, in addition to the time, place, and manner of his death and many anecdotes about his life. Dust-to-Digital now share this story with Washington Phillips and His Manzarene Dreams, a 76-page hardcover book by Michael Corcoran accompanied by a CD of recordings made by Phillips between 1927 and 1929. To ensure a superior listening experience, the label tracked down the most pristine original copies of Phillips's 78-RPM records, created high-resolution transfers, and had the audio expertly remastered for the best-sounding Phillips reissue to date. Hear the sublime, hypnotic, ethereal music of Washington Phillips in clarity like never before. Washington Phillips and His Manzarene Dreams includes song lyrics, label reproductions, and photos, along with liner notes by Michael Corcoran.
' The mystery of Washington Phillips begins the first time you hear his sweetly-sung Christian blues, bathed in a celestial haze of notes from an instrument that sounds like a child's music box. His music is a simple prayer, with the blessing in the asking, the singing, the playing. But his ethereal sound is also highly developed to the point of being almost psychedelic.
Where did this strange and moving music come from?' --Michael Corcoran. 2018 repress. 'Formed in Los Angeles in 1965, The West Coast Pop Art Experimental Band were considered by many to be the West Coast's answer to the Velvet Underground. The group created California psych/rock music that was both fragile and dreamy. Part One was originally released in 1967 on Frank Sinatra's Reprise Records.
Though they didn't achieve the fame or notoriety of other bands from the area, they have nonetheless achieved a cult status among collectors and people curious about a rich, albeit short-lived musical genre known as West-Coast Psychedelia. First time reissued in mono, from the original master tapes.' Kale Plankieren: Dutch Cassette Rarities 1981-1985 Vol. 1 features a wide range of artists ( Das Ding, Plus Instruments, De Fabriek) from the Amsterdam Fetisj scene and cities such as Rotterdam, Utrecht, The Hague, and Zwolle. Kale Plankieren offers a glimpse into the artistic DIY music movement that was growing extensively outside of mainstream circles. Compiled by Mark van de Maat.
Mastered by Rude 66. Also features: Boris Dzaneck, Y Create, Roy G. Biv, Rite De Passage, Rotterdans, Rotterdans, and Necronomicon. The beautifully printed record sleeve was designed by Steele Bonus. Includes liner notes (in English and Dutch) that paint a great picture of the context where these bands and artists lived and breathed. 2017 repress; Red vinyl.
Psyche is a Canadian dark-synth pop act centered around singer Darrin Huss who have continued to record and perform for nearly 30 years. Psyche's version of 'Goodbye Horses,' originally made famous by Q Lazzarus, has maintained their renown. Optimo offers a re-acquaintance with not only the exclusive re-workings of 'Goodbye Horses' and 'Prisoner To Desire,' but also with two of Psyche's instrumental tracks, 'Eating Violins' and 'Contorting The Image.' All four tracks are exclusive mixes to this release. 2017 repress; Grey vinyl.
Originally recorded between 1974 and 1978 at Industrial Records studio in London, The Space Between was first released as a 90-minute cassette in 1980 on Throbbing Gristle's Industrial Records label. It wasn't until 1991 that it was again released by Mute Records on CD.
For those who may not know, Chris Carter is one of the founding members of Throbbing Gristle, partners with Cosey Fanni Tutti (knows as Carter-Tutti and formerly recording as Chris & Cosey) who has been working with sound for over 40 years. Although tracks from The Space Between have appeared on numerous compilations since its release, the album has never been available on vinyl -- until now. This new vinyl edition on Optimo Music, now retitled The Spaces Between, doesn't include all the tracks on the original album but has been enhanced and remastered from the original two-track master tapes and has new cover artwork especially for this release. JD Twitch has this to say about the release: ' The original release featured fifteen tracks.
As I wanted to have a reasonably loud vinyl pressing, I have picked my favorites to appear here (not an easy task to narrow it down). In addition, there is a bonus track 'Climbing' which was recorded around the same time that was released by Coil's Geoff Ruston on his Men With Deadly Dreams cassette in 1981. One of the first-ever recordings to use an 808 drum machine, it still sounds as if it is from tomorrow. In my opinion, these are some of the key recordings in the history of electronic music. They were made using very basic equipment at a time when there was no blueprint for what electronic music could and should be. There is a beauty, an emotion and an imagination present here that is lacking in a lot of modern machine music.
This music is as vital and wondrous today as it was four decades ago.' All tracks have been remastered by Chris Carter in 2009 for this release. Musically, it's an electronic soundtrack for a sleazy sci-fi movie, with moments of uplifting beauty combined with bits of claustrophobic mania. Amazing stuff.
Late '80s South African dancefloor winners only! Selected by DJ Okapi and Antal, the Pantsula! Compilation holds tracks by Jivaro, The Hard Workers, Ayobayo Band, S.Y.B., and many more. The 12 tracks selected for Pantsula!
Come from a very unique, very different time and place. They represent the birth of electronic dance music in South Africa, through the songs of one particular independent label from the time: Music Team.
The sound represents the culmination of the bubblegum era, when South Africa's disco artists outgrew their American influences and forged an increasingly electronic and 'local' pop sound. Evolving over time since long before the '80s, the distinctly South African subculture of pantsula is more closely associated with an attitude, a style, and a signature dance, rather than any specific sound.
In the late 1980s and early '90s, Pantsula was also the name given to a new type of dance music taking over the streets of South Africa, influenced by earlier bubblegum and the rise of shangaan disco, but with a far broader appeal and a harder, purely electronic sound. This is the sharp electronic music that fueled the local Pantsula dances during the '80s and '90s. Family Guy Stewie Griffin The Untold Story Download Free. A must have for fans of bubblegum and kwaito music.
Also features The Equals, Jivaro, Scotch Band, Kakappa, Spirro, Rush, Linda Ziqubu, Chaka, and La Viva. 'First ever reissue and first time on vinyl for this unique Flying Saucer Attack live album, expanded with additional material and a new side four mix from Jim O'Rourke. Produced in collaboration with Dave Pearce / FSA and Bruce Russell (compiler of the original CD release for his Corpus Hermeticum label), featuring new artwork by Bruce Russell as well. While rightly known for the folk-influenced songs and spacey instrumentals of their proper albums, the briefly active live version of FSA unexpectedly delivered a blistering wave of electric sound.
Recorded at various shows in 1994, In Search Of Spaces heaves with long passages of feedback guitar racket, broken up by sections of surging rock music. The live band focused almost exclusively on visceral, trebly guitar noise-- which, while always a key element in their sound, was greeted by audiences with total mystification (and often disapproval). Following a few brief attempts to settle a lineup and play songs from their records, Dave Pearce / FSA abandoned live performance altogether, leaving behind this album (and the barely available P. Blues CDR) as the sole document of his in-person delivery.
Originally compiled and released in 1996, this reissue adds several minutes of music back to the original program that had been edited out by FSA for being 'too rock.' For side four, Jim O'Rourke revisited the original 1994 live tapes and has made a spooky and brooding new mix of music exclusive to this release.' Double LP version.
'Aotearoa, New Zealand, nineteen-seventy-something, the bottom of the South Pacific -- the largest Maori and Polynesian population in the world and a nation wanting to groove. Approximately three million people, two islands, hot summers, muddy winters, one TV channel until 1975, and all radio was AM. A constant supply of international soul, funk, and disco releases were available, but things got really interesting when local artists found their soul on vinyl. Heed The Call! Collects the best New Zealand material from the Afro-tastic days of 1973 to 1983. Artists include Mark Williams, whose 'House For Sale' became a sought-after Northern Soul single, the (three) Yandall Sisters (two of whom are pictured behind Mark WiIlliams on the cover), a teenage Tina Cross, Dalvanius and Prince Tui Teka -- all of these became household names in New Zealand. This collection mines some overlooked nuggets from their respective catalogs alongside lesser known acts like The Pink Family, with their non-secular floor sizzler 'Don't Give Your Life Away,' the gritty gospel soul of Sonia & Skee, and many others.
These are the songs that drove a country from black and white to technicolor, and, being a scene born in total isolation, it took turns that weren't heard anywhere else. This is funk, soul and disco if Studio 54 had been set up within five minutes of a dairy farm, a rugby club and a marae, and it finally let people dance.'
WRWTFWW Records announce the release of the long-anticipated, 30-years-in-the-making Psychos In Love original soundtrack, available for the first time ever in a super-deluxe, 7' grape-colored vinyl edition. Filled with sleazy funk, macabre synths, homemade electronic kitsch, anti-grape propaganda, and rewind-worthy dialogue excerpts, Psychos In Love is the ultimate lo-fi horror-rom-com soundtrack adventure. Housed in DIY no-budget sleeve; Loaded with extras, including words from film director Gorman Bechard, lyrics of the theme song, a promotional postcard with a picture of the cast, a poster of a woman attacked in a bathroom, and the infamous as-seen-in-the-movie 'I LOVE MY VCR' bumper sticker.
'This deadly Berlin-New Jersey nexus back in action, reinforced by the mighty Shifted. 'F Planet' itself is an in-for-the-kill stomper, husky and frantic, its sizzling bass and clanky hats inexorably dissolving in a sulphuric alarm of distortion and haywire bleeps. 'Astral Pilot' ties you into a swirl of frequencies, rhythms and mechanical growling, before finally disentangling itself into some kind of cosmic lift-off.
On the flip, grimly tightening the bolts, setting the controls inwards, and darkening and thickening its atmospheres into a kind of gut-churning possession, Shifted makes F Planet all his own.' Includes DVD. DVD is PAL format, region free. A journey inside the Sicilian chromosome of jazz, forgotten by the official history; the incredible story of a Sicilian who became the world's first man in jazz. Sicily Jass: The World's First Man In Jazz is a film directed by Michele Cinque, about the life, the music, and times of Nick La Rocca, a son of Sicilian immigrants, a self-taught cornet player, and leader of the Original Dixieland Jass Band, the New Orleans based combo which eventually recorded the first jazz record, in New York, in 1917.
Moving between fiction and documentary, while travelling from a timeless Sicily through New Orleans past and present, the film follows the infectious rhythms of early jazz and goes deep into an introspective journey narrated by the voice, the gestures and the puppets of Sicilian master Mimmo Cuticchio. Thanks to the special contribution of historians and jazz critics and along with the discovery of precious archive materials, the film will give the audience the chance to re-live both the incredible success and the sad decline of La Rocca and his fellow musicians. The voice of Nick La Rocca himself, caught in a hitherto unpublished interview, together with the intimacy of the tale of Nick's son, Jimmy, will lead the viewer to discover why La Rocca and his men are often forgotten within the official history of jazz.
Needless to add that Sicily Jass comes with an amazing soundtrack, curated by Mark Berenford and carefully remastered by Nick Dellow. The accompanying CD features the ODJB's historical 1917 recordings, along with a selection of extra tracks by illustrious contemporaries such as Louis Armstrong Orchestra, Joe Venuti, Bix Beiderbeck & His Gang, Fletcher Henderson and His Orchestra, and Red Nichols 5 Pennies, amazing recordings from the beginning of jazz, over 100 years old. Mark Berenford who also curated the extensive liner notes, is considered one of the most respected experts and most passionate collectors of early jazz and blues. Since 1990, Mr. Berenford has been the editor of Vintage Jazz Mart, the world's leading means for buying and selling rare jazz and blues 78s. Sicily Jass, the film and the soundtrack, come together in two formats: CD+DVD and LP+DVD.
LP version comes in a gatefold sleeve and includes the film's original poster. DVD language: English; Subtitles: Italian, English, French, Portuguese, Japanese. Kingston Sounds present a reissue of Horace Andy's Natty Dread A Weh She Want, originally released in 1979. The Natty Dread A Weh She Want set brings together two legends of reggae music.
The stylish and unmistakable falsetto voice of singer Horace Andy, and the production/DJ singing skills of Tapper Zukie. Both artists' catalogues of music stand up strong, but something special out comes from both of them on this set of tunes.
'Natty Dread A Weh She Want' was a massive hit when it was released by Tapper Zukie and Horace Andy, but this timeless track still sounds as fresh today as the day it was released in 1979, as do the other tracks on this fine album. 'Originally released on Grapefruit records in an idiotically limited edition, reissued here with new tracks. Marisa Anderson continues her streak of amazing solo guitar LPs. On first glance of the track listing you may feel like you've heard it all before -- classic folk songs and anthems -- but trust me, Marisa takes these tunes to places they have never been.
The vibe is heavy on this one. The guitar playing is beautiful at points and intense at others. Not for the faint of heart. Comes with liner notes written by Marisa herself!'
'We are proud to present two classic Minimal Wave tracks which have been on heavy rotation for years now, 'Computer Bank' and 'Like I Am, Comme Je Suis' remixed by The Floor (Veronica Vasicka & Karl O'Connor). Five Times Of Dust was formed in Bristol, U.K. In 1981 by Mark Phillips and Rob Lawrence. Mark had answered an advert that Rob had placed in a local record shop and later that year they went on to record and release their first tape, The Dadacomputer.
A standout track from that tape, 'Computer Bank' is a seminal, 'proto-techno banger'. The Floor remixed it a while ago to DJ it out and since then have been receiving many requests about where it could be purchased. The flip side features Unovidual & Tara Cross' 'Like I Am Comme Je Suis'.
It appeared on our first compilation entitled The Lost Tapes LP, in 2006. Unovidual was a Belgian producer involved with the Micrart Group (Autumn, Linear Movement, Twilight Ritual) and Tara Cross, a 'long lost girl from Brooklyn' who used to play in small NYC downtown clubs alongside Madonna during the early 1980s when she was still an unknown. Unovidual and Tara collaborated on several tracks through the mail during this time as well as in the studio.
'Like I Am Comme Je Suis' was recorded in a studio in Ghent, Belgium in 1985. We find both of these tracks prime examples of innovative and pioneering synth wave tracks that work on and off the dance floor.
And through these mixes, The Floor aim to stay true to the artists' original intentions whilst making the songs more dance floor oriented. Featured alongside these remixes, are two unreleased tracks. Rob Lawrence's 'Armoured Car' which at one point was released on a compilation CD as Robert (not to be confused with Rob Doran from Hard Corps) and Unovidual's 'Imponative', a beautiful minimal synth track which has remained unreleased to this day. The Five Times of Dust / Unovidual & Tara Cross EP is pressed on standard weight royal blue clear vinyl and housed in a hand stamped disco sleeve. Limited to 600 hand numbered copies.' Guillaume & The Coutu Dumonts is never one to shy away from fresh contrasts in his works, and there are no exceptions here -- all manner of dark-to-light, flacid-to-hard, and identifiable-to-WTF?
'Histories Vraies' brilliantly soundtracks the inevitable future moment when a season premiere costumed viewing party for Game Of Thrones unknowingly gets their punch spiked. 'Far Is The Field' counterattacks with the next level fusion of Sun Ra Arkestra-esque transmissions wrapped around a Humpty Dance-on-steroids bassline. Long-burner 'Whatever's Inside' rocks a sultry belly dancer's theme song at an FM and modular synth bazaar on Uranus. Honest Jon's Records present Solo Guitar Volume 1, a reissue of Derek Bailey's Solo Guitar release on Incus in 1971, with additional tracks included on previous reissues and a performance at York University in 1972. Kicking off a series of collaborations between Honest Jon's Records and Incus: three double-LPs of the legendary free-improvising guitarist Derek Bailey, solo and in duos with Anthony Braxton (HJR 201LP) and Han Bennink (HJR 202LP), augmenting the original releases with marvelous, previously unissued music. Recorded in 1971, Solo Guitar Volume 1 was Bailey's first solo album. Its cover is an iconic montage of photos taken in the guitar shop where he worked.
He and the photographer piled up the instruments whilst the proprietor was at lunch, with Bailey promptly sacked on his return. The LP was issued in two versions over the years -- Incus 2 and 2R -- with different groupings of free improvisations paired with Bailey's performances of notated pieces by his friends Misha Mengelberg, Gavin Bryars, and Willem Breuker.
All this music is here, plus a superb solo performance at York University in 1972, a welcome shock at the end of an evening of notated music. It's a striking demonstration of the way Bailey rewrote the language of the guitar with endless inventiveness, intelligence, and wit. As throughout the series, the recordings are newly transferred from tape at Abbey Road, and remastered by Rashad Becker. The records are manufactured by Pallas. Appraiser Austin Employee Haynes Software Download. 2013 release. Del Val Records present a reissue of Kevin Aprill's Sunset Upon An Imaginary Beach Of Latent Energy, originally released as a private press in 1971.
What Charlie Tweddle should have sounded like and/or if Peter Grudzien had done Metal Machine Music (1975). Ultra-deluxe LP reissue on the newly resurrected Del Val label -- obscure but legendary label previously responsible for early editions by The Brigade, The Bachs, Bent Wind, D.R. Hooker, Fifty Foot Hose, etc. Byron Coley in Bull Tongue Review: ' There's also a totally blissed side of Basho-style guitar jumboism on the reissue of Kevin Aprill's Sunset Upon An Imaginary Beach Of Latent Energy, which purports to be a lost acetate from 1971. Let's assume it's true. The cover art is dandy and the second side lives up to the Charlie Tweddle comparison -- quite zonked, although in a space age sorta way. It's a pretty cool record.
Keiji Haino, one of the foremost exponents of the Japanese avant-garde, always provides a masterclass in constantly shifting improvisation. John Butcher is a saxophonist of rare grace and power, who has expanded the vocabulary of the saxophone far beyond the conventions of jazz and other musics, to encompass a staggering range of multi-phonics, overtones, percussive sounds, and electronic feedback. Haino and Butcher met when Butcher opened for Fushitsusha at the show Cafe Oto arranged at St.
John, Hackney -- five years ago. In 2016, they were invited to play two duo concerts -- at The Empty Gallery in Hong Kong and at Cafe Oto in London. Otoroku present the audio documentation of their first UK meeting. Recorded live at Cafe Oto in July 2016, the results are an uncompromising milieu of swirling sound played out as a total union of these two legendary performers.
Haino's blues drenched guitar entices skittering notes from Butcher's sax playing as numerous sonic clues unravel over the course of this unique and compelling journey. Personnel: Keiji Haino - vocal, guitars, etc.; John Butcher - saxophones and feedback.
