Friday, June 30, 2006

Orbital - In Sides (1996) and In the Middle of Nowhere (1999)

Two superb albums by Orbital. I'll probably write more of a review later, but right now the weather is too nice to stay in sides (oooh witty!). Enjoy the music and enjoy the summer... Come to speak of that, both these releases actually fit really well to this season!


IFNKOVHGROGHPRM (Pt 1)
IFNKOVHGROGHPRM (Pt 2)








IFNKOVHGROGHPRM

Wednesday, June 28, 2006

The prodigal son returns from Alba!





The Scottish winds have blown the dust off the tattered coat that is my soul. Saw my lovely sister and her lovely toy boy again, visited the Edinburgh botanical gardens, went for a drive up north and came across a really eerie, abandoned church in Cloonie near Glamis. That's where I took the picture of the winged fellow above. And of course I had to pass by St Randies and its ruins of a cathedral - a very apt metaphor of my mind!

Saturday, June 17, 2006

Orbital - Snivilisation (1994)

Less fresh than their previous release but definitely more mature, I really like this album. Even though some think this is "dated" music, I like it and I don't mind dates either. I haven't had one in ages. So this is good stuff. Once again, intelligent and most enjoyable electronic music, but less techno-based than Orbital II. There's only one track I really don't like, which is their obviously hardcore attempt: they should really stay away from that stuff. More about that very soon... Listen closely to this one: if you have a pair of decent headphones, use them! Or if you have extremely tolerant neighbours (ie if you are Australian [What happened to Shane?] then sing a song) crank it up and enjoy the finely-tuned basses... Har har who can tell me the name of the king who tried to stop the waves of the sea?

Very highly appreciandied! (king, soul, andy album)

IFNKOVHGROGHPRM (Pt 1)
IFNKOVHGROGHPRM (Pt 2)

Orbital - Orbital II (1993)

"There is this theory of the Moebius... A twist in the fabric of space where time becomes a loop" (Star Trek)

"Even a stopped clock gives the right time twice a day" (Withnail and I)

These are a few of the sublime samplandies used by the techno-duo Orbitlandy in their Orbital II release, also denoted as the "Brown Album". I originandy tried to get this albandy because of their ultra-boring video that was shown on the ultra-boring channel MTV: "Lush 3-1": a bunch of adolescents being forced to attandy a sundandy thrift-market - andy oh boy could I connect to that! Andyway, enough andolescyent expression for now; this is one of the great early electronic albums of the nandynetees! Nice, crispy techno sounds is what you get with this cd. Don't tell me it's lousy or I'll send the Andyman to the underside of your bed; andy if that doesn't scare you, I'll send himher to the underside of your physical bottom.

Uhm, to attempty a serious note tonight: Orbital use intelligent and often funny methods of creating electronic dancandy music. Very innovative and great fun. Once againdy (god how mandy more?) an album to be turned up REALLY LOUD - especiandy the "Lush" series. Have fun andy make sure you drop an E - even though I don't do that andymore!!

Oh andy by the way: if you candy ever get your handies on the movie "Withnandy and I", do see it: it's superbandy!!!!!


IFNKOVHGROGHPRM

Sunday, June 11, 2006

Alec Empire - Generation Star Wars (1994)

FIGHT the imperial forces! That is what Alec Empire, the German electronic wiz-kid who features in Atari Teenage Riot, commands us to do on the booklet of this strange, chaotic, pretty heavy techno rampage release. I don't put this on too often, but it's quite a journey nevertheless. The first track is by far my favourite: in the beginning there was darkness, and then hell broke loose! Generation Star Wars is one of those albums that break all barriers between punk, techno, drum n bass and noise. I guess the track names can give you an idea of what to expect: utter immoral anarchy!! Be warned, therefore, you may not get into this on just one listening. Great material, especially on a quiet sunday afternoon tee-hee haw-haw! By the way, the inside of the sleeve serves perfectly as your desktop wallpaper if you cut it out and save it as a separate file... FIGHT the imperial forces!

Tracklist
1. Lash the 90ties
2. Stahl and Blausäure
3. 13465
4. Maschinenvolk
5. Sonyprostitutes
6. Blutrote Nacht Über Berlin
7. Pussy Heroin
8. New Acid
9. Smack
10. N.Y. Summer I
11. Konsumfreiheit
12. N.Y. Summer II
13. Microchipkinder
14. Sieg Über Die Mayday-HJ

IFNKOVHGROGHPRM (Pt 1)
IFNKOVHGROGHPRM (Pt 2)

Goddamnclit!


Fuckin peasants! If you ain't got the energy to drop a commenturd, you might as well suck my G.W. Bush biyatch!

Saturday, June 10, 2006

Praxis - Metatron (1995)

As I'm feeling lazy (for the Dutch-speaking among you, read: lees-ie) today, and as I haven't even listenened to this (third) release by Praxis (I'm into Renaissance, Curved Air and Darryl Way's Wolf these days), I'm just going to professionally copy-past ctrl-c/ctrl-v a review from the omniscient All Music Guide. You can also find a list of alternative names for Metatron in the comments section, wehey!

For the third manifestation of Praxis, Bill Laswell returned from the cut-and-paste trash metal of the second album, Sacrifist, to a band approach, as on the first, Transmutation. Concentrating on the core band of Buckethead, Brain and himself, he created an album which is close in spirit to the first one, but covers very different ground, and is also much weirder. From the touching opening ballad "Wake the Dead," we are in for a ride through everything Praxis has done before and much more: slow death metal riffs with damaged soloing on "Skull Creek," dub explorations on the relaxed "Cannibal" and the creepier "Warm Time Machine/Low End Transmission/Over the Foaming Deep," or mind-blowing shred guitar on "Turbine" and "Triad (The Saw Is Family)" -- the latter track toying, just like "Meta-Matic," with the listener's expectations by employing one killer riff after another without ever developing the way one expects. Calm interludes like "Cathedral Space" (hints of Colma) and the haunting "Double Vision" are included, as well as mysterious voice samples ("We Are Not Sick Men!") and some doses of Buckethead's typical silliness -- "Armed (TSA Agent #5)" has him playing the melody of "Jingle Bells" with a hilariously distorted sampler guitar, while "Warcraft (Bruce Lee's Black Hour of Chaos)" features kung fu screaming (an interesting connection to Yamatsuka Eye's performance on Sacrifist). On "Inferno/Heatseeker/Exploded Heart," Buckethead switches to electric bass and delivers a fascinating duel with Laswell. Throughout the album, Buckethead is awe-inspiring, playing not only with lightning speed and enormous precision, but also with dangerous intensity. The other two musicians are excellent as well, but the spotlight is clearly on Buckethead. The production, however, is the record's second star: there are interesting sounds abound (drilling sounds, oscillators, wind etc.), and each track (and virtually every guitar part) has a sonic identity of its own. Metatron is an incredible album (although beginners should start with Transmutation) and easily one of Buckethead's best showcases. ~ Chris Genzel, All Music Guide

Many thanks to Chardman for this post!

Erratum: I've just listened to this, and it's great fun! More listenable than Sacrifist, in fact.

Praxis_Metatron.rar (updated link!)

Friday, June 09, 2006

How to give and take simultaneously

aka the shitty chicken69 paradox

Thursday, June 08, 2006

CottonAndy Magazine - Fuzzy Peeps


CottonAndy is a monthly magazine of news, reviews and research on strange phenomena and experiences, curiosities, prodigies and portents, all of them related to a Belgian eccentric widely known as "the Andyman". Having first appeared on a television show in Belgium about three years ago, he achieved instant notoriety with his famous slogan, "A girfriend's miscarriage is a blessing for life." Religious and political institutions were appalled at the seemingly immoral stance of the (at the time) 25 year old male, but the public was wild about him. Why? They loved the "breath of fresh air" he brought to the lame Flemish tv environment; he was "so honest, so spontaneous"; elderly ladies faint-heartedly claimed him to be "the ideal son-in-law".

In the months following the show, he made numerous other appearances on television, even venturing as far as Holland and Germany. Teenaged German girls in particular were extatic about the young lad. "Wir lieben sein Kopf" one could often see printed under his cranial experiments (see picture below). After several years of petitioning and lobbying at the Belgian federal government, a law was finally passed which allowed the thousands-strong fanclub to publish the monthly CottonAndy, which is translated into several languages, such as German, English and Afrikaans.

The next step, the Andyman claims, is to enter the lucrative business of private manned spaceships. He is not daunted by such names as multi-billionaires Paul Allen, Jeff Bezos or Richard Branson. "My head is bigger than theirs," he jests, "and I don't think they've ever given any." However, one is never quite sure if the Andyman is telling the truth. For example, he has been heard to wish to overturn the Belgian and Dutch monarchies, to give aid to Iran's nuclear ambitions, or even to attempt the murder of the myriad of little boys who hold their thumbs in the Dutch sea dykes to keep Holland from flowing under. Well, I guess it is fair enough to state that his girlfriend's miscarriage was a blessing, after all.

Wednesday, June 07, 2006

Carter The Unstoppable Sex Machine - Post Historic Monsters (1994)

When I first heard this album, I hated it. The vocals reminded me of the Pet Shop Boys (don't ask me why!) and the music seemed just plain silly. Over the years, however, I really came to like it - so much so, that my good friend Dave ("Dave, is that you Dave? Where's your toilet, Dave?), who owned the album, gave me his cd. And ever since it has been in MY possession hahaa!

Post Historic Monsters provides you with hilarious indie pop rock, at times bordering on punk or garage rock, at times sweet and touching. Overally this is a really fun, enjoyable album. As I haven't heard any of Carter USM's other albums, I have no way of comparing it; although most reviews I've come across claim this is one of their weakest releases to date. Nevertheless, I still recommend it. If you don't like on your first hearing, give a couple more tries, as in my case that's what was needed to appreciate it. Give it a go, I'd say.

    Tracklist
  1. 2 Million Years B.C. (0:40)
  2. The Music That Nobody Likes (4:27)
  3. Mid Day Crisis (3:55)
  4. Cheer Up, It Might Never Happen (4:05)
  5. Stuff The Jubilee! (3:54)
  6. A Bachelor For Baden Powell (3:55)
  7. Spoilsports Personality Of The Year (5:03)
  8. Suicide Isn't Painless (1:18)
  9. Being Here (2:04)
  10. Evil (2:50)
  11. Sing Fat Lady Sing (3:34)
  12. Travis (3:03)
  13. Lean On Me I Won't Fall Over (3:40)
  14. Lenny And Terence (3:56)
  15. Under The Thumb And Over The Moon (3:43)
Total time: 50:15

Carter_USM_Post_Historic_Monsters.rar

Mercury Rev - Boces (1993)

Mercury Rev was formed in late 80s by several film students in Buffalo, NY. Initially, they simply composed soundtracks for experimental student films. Their academic mentor, minimalist composer Tony Conrad however, encouraged them to further their music.

1991 saw the release of their debut album, Yerself Is Steam. Their music, sprawling, noisy and psychedelic, found high critical acclaim, although the record sales were modest. The group members were fighting with one another due to substance abuse and musical differences, their live shows were also unpredictable. Thus the band's microclimate was very intense. Boces (1993) was an even more ambitious set of music than its predecessor. I once owned See You on the Other Side (1995), released after the ousting of their singer David Baker, but found it disappointing. No idea where it is at the moment...

The music here is wild, eccentric and experimental, at times moving into pure noise. Some tracks reach incredible levels of loudness (this is the band who got kicked off that oh-so-famous music tour for being too loud) with layer upon layer of instruments gradually being added. Oh yes, yet another album to crank up your system to. The lyrics are particularly strange - I suspect this album influenced my adolescent development into surreal weirdoness, and I guess that's a-okay. :-) Highly recommended dreamy psychedelic freak guitar pop!

    Tracklist
  1. Meth Of A Rockette's Kick (10:28)
  2. Trickle Down (5:03)
  3. Bronx Cheer (2:49)
  4. Boys Peel Out (4:28)
  5. Downs Are Feminine Balloons (6:29)
  6. Something For Joey (4:05)
  7. Snorry Mouth (10:54)
  8. Hi-Speed Boats (4:00)
  9. Continuous Drunks And Blunders (0:48)
  10. Girlfren (4:41)
      Total time: 53:45

      Mercury_Rev_Boces_192.rar

    Saturday, June 03, 2006

    King of Snakes


    Thus, at the age of thirty, or thereabouts, this young Nobleman had not only had every experience that life has to offer, but had seen the worthlessness of them all. Love and ambition, women and poets were all equally vain. Literature was a farce. [...] Two things alone remained to him in which he now put any trust: dogs and nature; an elk-hound and a rose bush. The world, in all its variety, life in all its complexity, had shrunk to that. Dogs and a bush were the whole of it.

    Virginia Woolf, Orlando (1928)

    Yankee B - Mucho Dinero (1998)

    Well, even though most reviews I've come across denounce this album, I'm actually very fond of this dancehall-hip hop crossover. Juicy, aggressive beats are combined with forward-bearing reggae vibes. Okay, so the lyrics are not particularly intelligent - whatever! This is an album to be cranked up and enjoyed in its raw power. But if you don't like either the heavier side of reggae or pumped up hip hop, then don't go for this one. Otherwise, enjoy! By the way, there's a remix (can I call it a "riddim? no idea...) of "War" by Bob Marley and a remake of "Sexual Healing" by Marvin Gaye. Dig it or dish it, I guess...

    Yankee_B_Mucho_Dinero_192.rar

    Friday, June 02, 2006

    Alexander Scriabin - Piano Studies

    Many of Scriabin's (1872-1915) works are written for the piano; the earliest pieces resemble Frédéric Chopin and include music in many forms that Chopin himself employed, such as the etude, the prelude and the mazurka. Later works, however, are strikingly original, employing very unusual harmonies and textures.

    Previously interested in Friedrich Nietzsche's "übermensch" theory, the Russian composer also became interested in Theosophy, and both would influence his music and musical thought. In 1909-1910 he lived in Brussels, becoming interested in Delville's Theosophist movement and continuing his reading of Hélène Blavatsky. (Numerous artists and thinkers were influenced by Theosophy [theos=god, sophos=wisdom, intelligence] at the time, e.g. the Russian painter W. Kandinsky and the Irish poet W.B. Yeats - both of whom I greatly admire.)

    Scriabin in 1894: "During such nights, the mind is silent, that dreadful, analysing, critical and destructive intellect and it allows me, even if only for a brief moment, to abandon myself to reflective contemplation and peace. How much peace is necessary for today's spiritually exhausted and morally depleted human beings. And it often seems that it is nature herself, the gentle mother of mankind, who is in command of making sure that humans find rest. It is as if she were whispering: come to me, poor lost creature; cast the false cloak from your shoulders, give your soul the space it needs to breathe calmly and peacefully. I still have miraculous tales for you, I shall douse weary times with enchanting dreams."

    And in 1897: "In the commotion of unchained elements, the soul struggles as though it were possessed by a real state of intoxication. From the depths of Existence rises the powerful voice of a demigod, whose song of victory is reverberated in a triumphant echo! But the soul is still too weak and before it reaches the top, it falls back down into the immeasurable depths of nothingness."

    This collection of etudes is one of the first to be released in this kind of completeness. It brilliantly shows the high level of contrast between his early and late periods (harmony vs atonality). For the more interested among you, the internet provides more than adequate information on this extremely fascinating pianist and composer. Highly recommended!

    Scriabin Vitaly Samoshko.rar

    Thursday, June 01, 2006

    Zita Swoon - I Paint Pictures On A Wedding Dress (1998)

    Essentially the same band as Moondog Jr., only now with another name and a slightly different cast, Zita Swoon has released several highly acclaimed albums since 1997. I Paint Pictures On A Wedding Dress is their second release under their new name, and it follows the same musical path initially taken by Moondog Jr. If you like their early work (see below), you'll more than probably enjoy this album. I don't think I need to tell you much more, as you can find most information about this band in my post below.

    Zita_Swoon_Pictures_Wedding_Dress_256.rar

    Moondog Jr. - Every Day I Wear A Greasy Black Feather On My Hat (1995)

    Moondog Jr. is a Belgian band led by the incredibly versatile and talented Stef Kamil Carlens. In august 1996 he left dEUS in order to concentrate more fully on his own work. In 1997, the group was compelled to change its name because an American blues artist called Louis Hardin (who performs in Germany under his artist name Moondog) had some complaints about the similarity of their names. The band changed it to Zita Swoon, of which I'll post an album pretty soon. When the "original" Moondog died in 2000, Zita Swoon didn't change their name back again.

    In the reviews the parallel with dEUS gets mentioned quite often, but it's in fact more accurate to address similarities with Tom Waits. It is probably no coincidence that the album was produced by Michael Blair, who earned his fame through his work with Elvis Costello and Tom Waits. Influences clearly range between jazz, rock, blues, avant-garde and classical music. Complex arrangements and high level musicianship ensure that Every Day I Wear A Greasy Black Feather On My Hat is a very interesting and overally good album, albeit not the easiest of listenings. I don't often put it on, but nevertheless I do recommend it -- especially if you like Tom Waits' music (which I generally don't).
    • Stef Kamil Carlens: guitar, vocals, piano, percussion
    • Tom Pintens guitars: piano, harmonium, clarinet, vocals
    • Benjamin Boutreur: saxophone
    • Aarich Jespers: drums, percussion, pipes
    • Thomas De Smet: upright bass
    Moondog_Jr_Every_Day_My_Hat_256.rar

    John Cage - Music For Prepared Piano (Sonatas & Interludes For Prepared Piano) (1946-1948)

    John Cage is one of 20th-century America’s great musical innovators. He experimented with prepared pianos, unusual percussion instruments, electronics, weird notation and even silence, as well as introducing the element of chance into the performance of his music. Schoenberg described him as "not a composer, but an inventor of genius." His most notorious work consists of 4'33" of silence, written in 1952. It was inspired by Cage's visit to Harvard's anechoic chamber, designed to eliminate all sound; but instead of promised silence Cage was amazed and delighted to hear the pulsing of his blood and the whistling of his nerves.

    John Cage was undoubtedly the composer who put the "prepared piano" concept on the world map, and coined the term. He credited Henry Cowell and (to a lesser extent) Erik Satie for contributing to the idea. Cage first prepared a piano when he was commissioned to write music for "Bacchanale", a dance by Syvilla Fort in 1938. For some time previously, Cage had been writing exclusively for a percussion ensemble, but the hall where Fort’s dance was to be staged had no room for a percussion group. The only instrument available was a single grand piano. After some consideration, Cage said that he realized it was possible “to place in the hands of a single pianist the equivalent of an entire percussion orchestra... With just one musician, you can really do an unlimited number of things on the inside of the piano if you have at your disposal an 'exploded' keyboard.” Cage would often quip that by preparing a piano he left it in better condition than he found it.

    In Cage's use, the preparations are typically nuts, bolts and pieces of rubber to be lodged between and entwined around the strings. Some preparations make duller, more percussive sounds than usual, while others create sonorous bell-like tones. Additionally, the individual parts of a preparation like a nut loosely screwed onto a bolt will vibrate themselves, adding their own unique sound. By placing the preparation between two of the strings on a note which has three strings assigned to it, it is possible to change the timbre of that note by depressing the soft pedal on the piano (which moves the hammers so they strike only two strings instead of all three [the soft pedal is traditionally called "una corda" on a grand]). Other prepared piano sounds can be reminiscent of mbiras, marimbas, bells, wood blocks, Indonesian gamelan instruments, or many other sounds less easily defined.

    "Wherever we are, what we hear is mostly noise. When we ignore it, it disturbs us. When we listen to it, we find it fascinating. The sound of a truck at 50 m.p.h. Static between the stations. Rain. We want to capture and control these sounds, to use them, not as sound effects, but as musical instruments."
    Cage on the future of music - from a lecture given in 1937

    John_Cage_Music_Prepared_Piano_256.rar