Le carnaval des animaux, No. 3: Wild Asses - Pianos 1 & 2 - Pianos 1/2
With songs ranging from the ambient bliss of his earlier classic Structures From Silence all the way to tracks that, in the right light and heightened mind state, could conceivably fill a dance floor, Dreamtime Return is Roach's most diverse and exploratory album. A welcome reissue of a truly essential piece that connects the legacy of peak era '80s Hearts of Space new age and the fourth world movement with a sound that presages the oncoming convergence of ambient and techno. London reed player Shabaka Hutchings is a relentlessly inventive and tireless musician.
While his renown spread around the globe with 's The Wisdom of Elders on Gilles Peterson's Brownswood Recordings, Sons of Kemet is where his forward-thinking ideas have been fully realized. That may not sound like your standard jazz quartet, but Sons of Kemet are far from standard jazz fare. The title itself is an attack on the concept of lineal superiority, the absurdity of the notion that one can possibly be more deserving by birthright. In his song titles, Hutchings offers alternate queens, powerful and influential Afro women from the famous to the familial Ada Eastman of album opener "My Queen Is Ada Eastman" is Hutchings' great-grandmother.
With the group's drum interplay and tuba driven basslines, one can't help but be reminded of New Orleans' brass band and second-line traditions, yet the reference points here lie further to the Southeast, deep in Hutchings' Afro-Caribbean heritage. Delivered with dramatic pacing and power, Idehen confronts themes of racism in contemporary London. It is these subtle allusions within Your Queen Is A Reptile that show Hutchings is not simply listing off names he read in a book, but rather he is paying homage to women that deeply inform his political views, compositional personality, his very self-identity.
For decades Impulse! For adventurous listeners, the signing of Sons of Kemet is a sincerely warm welcome. On the closing track Idehen sings, "I don't want to take my country back, I want to take my country forward. As Hutchings himself described his playing, "I'm trying to just spit out fire. Disco Inferno - D. Mixing an obsession with New Order and sampling with their own dark sensibilities, Disco Inferno took a colossal leap forward with their second album, D.
Go Pop. Released in on Rough Trade, Go Pop would become a high water mark for '90s experimental music — the post-rock equivalent of P. From the opening watery loops of "In Sharky Water" to the crushing bass and darting claustrophobic tension of "A Crash At Every Speed" and the deceptively beautiful "Footprints In The Snow" set against recordings of people literally running in deep snow, Ian Crause and crew somehow managed to make the record that you always knew The Teardrop Explodes heard in their heads. Highly recommended.
Released in , Roberto Cacciapaglia's second release, Sei Note In Logica , embraces his minimal classical leanings. While his first album, The Ann Steel Record , also from that same year is a retro-future pop album Sei Note In Logica is an avant-garde systems composition for voices, orchestra and computer. He takes a six note melodic phrase and runs it through every possible musical combination with a choir of female vocalists including the processed spoken voice of Ann Steel and the instrumentation of marimbas, strings, woodwinds and computer-based electronics.
Its emphasis on repetition and rhythm puts Cacciapaglia rightfully in a more well known circle of minimalist composers like Philip Glass, Steve Reich and Terry Riley. The album makes for a beautifully epic piece of economic means. Recorded in two parts, this vinyl reissue includes a cd of the vinyl recording plus a bonus version of the acoustic version of the piece with the ensemble without the computer derived enhancements and Ann Steel vocal.
Highly Recommended! Thunder Perfect Mind has long been considered one of the best and most well-rounded albums for the very prolific Current Up until this album, Current 93 had conjured a mythology out of occultism, apocalyptic literature and pataphysical dialectics that went hand in hand with the post-industrial research from Psychic TV, Clock DVA, Lustmord, etc. Yet, with Thunder Perfect Mind , Current 93's figurehead David Tibet began to explore his own relationship with these theologies and begin to actively form his own highly personal, visionary interpretations of ancient, esoteric texts.
The title to this record itself comes from a cryptic poem written in the 2nd Century and associated with a various heretical sects of Christian Gnosticism. The text describes a female deity who acts as metaphysical balance between the opposites on the earthly plane. Inspired by the beauty and riddles of this poem, Tibet firmly established the blueprint of Current 93's music which continues to this day: an eccentric reworking of '60s British folk tinged with an epistemological sadness that reflects Tibet's own notion of the fall of humanity against the backdrop of a Godly perfection.
Lilting melodies for acoustic guitar laced with violin and flute dominate Current 93's Thunder Perfect Mind , with the ever-present Tibet divining his own personal mythology with its pantheon that includes Christ, Hitler and Khalki as its protagonists as well as saintly references to his many friends notably Death In June's Douglas P and at least one proclamation toward one of Tibet's former lovers. As strikingly personal as Tibet's lyrics are, there is a portentous universality and stylized beauty that he invokes through his fragile folk music.
It's all about the cat! Sporting one of our favorite album covers ever, Yasuaki Shimizu's sublime fourth solo album from finally sees a LP reissue outside of his native Japan. Saxophonist and frontman for the group Mariah, whose Utakata No Hibi was a standout reissue last year, Shimizu employs a playful exuberance towards a modern atmospheric exoticism. Anchored by marimbas and saxophones, the wiley songcraft on Kekashi maneuvers dynamically between experimental pop, jazz, dub and cinematic ambient textures. Easily one of the best and highly anticipated reissues of the year.
Kekashi will appeal highly to fans of Yellow Magic Orchestra, Stereolab, Tortoise, Cornelius and the High Llamas as well as far out seekers of exotic pop rarities. A concept album performed entirely by Jones and his ventriloquist dummy partner, the titular T. Age of Individualism is part party record, part philosophical manifesto, part self-actualization workshop, part comedy routine. Originally released as a double 12" one at 33 rpm, one at 45 Age Of Individualism is 4 side long tracks of lo-fi synthesizer and drum machine funk that rival anything on the now legendary Personal Space compilation of electronic soul.
We're hesitant to label T.
A Listing of the Concerts of Leopold Stokowski 1921 to 1932
Hustler as outsider music because, while the record is extremely personal in its creation and vision, Jones performed regularly with his ventriloquist dummy in a traveling show at the time, and continues to perform live bookings to this day. The original packaging of Age Of Individualism was two cardboard covers bound together by a length of yarn, the idea being that this was the first volume of his personal statement and there would be many more volumes released which you would be able to house in the same package by loosening the yarn and widening the spine.
While Jones only released this lone document on vinyl, he has continued making music under the Preacherman moniker and has released keyboard instructional videos, all of which is highly recommended. Age Of Individualism has been lovingly reissued by our friends at Companion Records, so you know that the utmost care has been put into the sound quality and packaging. Released in a limited edition of copies, this probably won't last long. Plux Quba is a record that after the nearly 30 years of its existence remains impossible to categorize.
It's almost as if it was an alien broadcast beamed in from another planet. Little is known about its creator, Nuno Canavarro, outside of his native Portugal and its discovery is so unbelievably legendary and riddled with hearsay that it's easy to dismiss this as a probable hoax. Recorded in and released on a private label, it was believed to be discovered in by Jim O'Rourke while traveling through Europe with Jan St.
Liking what he heard, O'Rourke eventually started a label call Moikai in and the first release was Plux Quba remastered by Portuguese guitarist and composer Rafael Toral. That the sounds contained on Plux Quba would go on to heavily influence the sound of all three artists' later output not to mention bearing a strong sonic forbearance to Aphex Twin's early ambient pieces, Boards of Canada's nostalgic filmstrip melodies and Christian Fennesz's sublime Endless Summer is a bizarre case of cosmic synchronicity.
Rumors that this was an elaborate prank by the three electronic artists have since been quelled by enough evidence of Canavarro's existence as an architectural student, a member of semi-popular Portuguese new wave bands and his subsequent compositional work in Portuguese cinema. Indeed, the 15 tracks 8 of which are untitled - many clock in just over a minute of Plux Quba can be seen as a bridge between the electro-acoustic computer-processing works of Robert Ashley 's Automatic Writing and David Behrman 's Leapday Night on the Lovely music label and the advent of laptop-based electronica of the '90s.
Yet Plux Quba seems less aware than that, as if created in a total vacuum. Its mystery remains one of its key attractions. Each track is its own micro-universe of texture and mood. The first bursts of high piercing squelches, random cluster tones, bell drones and squeals, come off as abrasive and abstract, appear than disappear.
Its soft-volume minimal experiments are heightened by pauses of pregnant silence that are not easy on casual listeners. It's not until about five short tracks in that processed disembodied voices, bird-like chirps and chord washes begin to emote a tangible melancholy melody and that's when Plux Quba begins to work its magic. Made with electronics, melodica and pre-recorded tapes of acoustic instruments such as harp, flute, bells, marimbas, organ, an out of tune toy piano and accordion, the overall sound is augmented by whispered transmitted voices, abstracted squeals, glitchy computerized electronics, toy instruments, crying children, animal noises, Conet Project style shortwave babble and off-kilter hand percussion.
It's almost as if a computer was fed some primitive bedroom recordings performed by children and asked to mimic the results. The cover art with its childlike drawing and strange font layouts doesn't offer any clues either, unless one is versed in Portuguese perhaps.go site
List of Songs
But even then, Plux Quba seems to be mining a territory where language is useless as an orienting factor, but trades on a highly prevalent universality of emotion. It remains a singular and beguiling artifact that won't appeal to everybody, but offers massive rewards to the curious, adventurous and patient. Noir Et Blanc is a signature record for Crammed Discs, the Belgian label that has curated an eclectic roster of artists from around the globe since , including Tuxedomoon, Konono No.
After Noir Et Blanc , the two continued to work together throughout the '80s. Here, the two are joined by a very interesting cast of characters in the studio, including the analog synth duo CY1 comprised of Claude Micheli and Guillaume Loizillon , Fred Frith, Marc Hollander and Vincent Kenis the future producer of the Congotronics series. Within this inspired marriage of Central African music and post-punk electronics, Hector Zazou's arrangements are kept minimal yet funky through his supple sequencing. Even amidst the choppy, art-rock guitars and mechanized polyrhythms, Noir Et Blanc always turns its focus back to Biyake's marvelously rich voice.
Since the original release of the album, generations of fans, musicians and DJs have constantly re discovered thed album, hailing it as an unsurpassed Afro-electronic milestone. This eponymous recording is an impressive anthology into the broad history of Nocturnal Emissions, which started as an oblique electronic project, immolating at first with an industrial fury and later gliding into supple ambient soundscapes.
Nocturnal Emissions' earliest works are creeping mutations of primitive electonica implode into audio collages of overblown noise, distorted media cut-ups, and tape loops. Upon the adoption of more gear and technical prowess, the band began to embrace minimal-wave rhythms while keeping to their noise bursts and dead-eyed tonalities. Drawings Of O. LP Potomak. A brilliant reissue from the seminal German industrial ensemble Einsturzende Neubauten. This album represented the first full realization of the Neubauten project, with F.
The O. Such is the way the Neubauten seeks to employ sound on this record: cracked, naive and dangerous. Found objects, stolen radio transmissions, repurposed machinery and lots of metal bashing appear in this album, inspired as much by musique concrete juxtaposition as by punk fury. The desolate drone-centric piece "Armenia" and the propulsive "Vandium I-Ching" represent two of the extremes found on this ever-impressive album. The first album from Einsturzende Neubauten, released back in , found the band as a trio with the wild-throated frontman Blixa Bargeld buttressed by the anarcho-rhythmicists N.
Unruh and F. The band photo of Neubauten on Kollaps is quite telling, as a it parodies Pink Floyd's grand collection of instruments that emblazoned the back cover of Ummagumma.
Instead of the marching band sized collection of drums and mallets, there's an assortment of hammers, pipes, a couple of drills, a cheap looking synth, an ax yeah, there is a guitar, but there's also an ax! These are the instruments that Neubauten uses in the hyper-primitive, industrial-punk tracks found on Kollaps. Neubauten's amplified junkyard was a clearly a bold statement of DIY primitivism, this trio was not without their structural prowess, crafting anthemic blasts out of their rhythmic churns, bristling with sparkplug noise and rabid distortion.
The title track is a 8 minute monochord mantra, and the band actually pulls off an instrumental cover of Serge Gainsbourg's "Je T'Aime. A tremendous record. Solo recordings from Cosey Fanni Tutti are a rare offering. Her legendary history in British electronic music began in the early '70s through the transgressive collaborations in Coum Transmission that later morphed into Throbbing Gristle.
Concurrently, she pursued in intertwined avenues of performance art and collaged photographs, often of her own body from her work as a nude model for numerous porn magazines.
Time To Tell was her first solo outing, originally published as a single-sided cassette in via the British experimental magazine Flowmotion. Later CD editions featured an additional lengthy bonus track from a performance called "Ritual Awakening. The centerpiece to the album is the titular track that sprawls through her skeletal distillation of progressive electronics into a darkly blissed-out hypnosis of cyclical synth tones and sci-fi echo patterns. She delivers the lyrics in a hushed monotone, presenting a treatise on sexual expression through her own body and experiences in the sex industry.
As her words fade into the electronic miasma, cosmic synth melodies and appropriated dialogue samples flash to the foreground of this brilliant track. The other tracks reprise her electronic sequencing amidst vaguely mechanized calm augmented with her spooky guitar work and muted cornet. With parallels to Conrad Schnitzler's Ballet Stratique and a precognition of the "moon musick" period from Coil's sidereal ambience in the late'90s, Time To Tell remains and under recognized masterpiece in the broader context of England's Hidden Reverse.
It was this album that introduced Laraaji's majestic, electric zither ambiance to a wider audience. Discovered busking in Washington Square Park after years of self-releasing tapes, studying eastern mysticism and developing a practice of laughter therapy, Laraaji was soon after enlisted by Eno to release an album in his Ambient series, much as Eno did with Harold Budd. Comprised of two suites of music, "The Dance" and "Meditation", Laraaji employs gamelan-like rhythms on an electronically treated hammer dulcimer in the first suite, while the slowed down zither is featured in the second suite.
Eno as usual keeps a restrained but guiding role in delicately layering and treating the tracks with a beautifully soft-focus feel. An essential release! Brainticket - Cottonwoodhill LP Cleopatra. Cottonwoodhill , originally released in , the debut from Swiss psychedelic groove-meisters Brainticket, is simply one of the freakiest, LSD-trip inspired slabs of groovy musick of all times.
The first two tracks on side one, "Black Sand" and "Places Of Light", ease you into it, being laidback groovers laced with stabs of distortion; then the true "trip" begins, the utterly over the top, three-part "Brainticket", that starts on side one and spreads over all of side two, dense and propulsive and repetitive through the maddeningly-catchy psychedelic throb.
The vocalist Dawn Muir exasperatingly recites in real-time an acid trip in full bloom, with orgasmic yelps and uncomfortably numb sermonizing. It's the perfect soundtrack to completely mad. In addition to wah-wah guitar, organ, flute, tabla, and sci-fi electronics, there's layers of musique concrete through tapes of car-crashes, explosions, clanging bells, clattering trains, cheering crowds and a panoply of noise panic.
One of the most intense albums from the Krautrock scene even as this ensemble was Swiss and was huge inspiration on Steven Stapleton. Not only did Brainticket make it onto the legendary NWW-list that accompanied his first record, but he also covered the almight "Brainticket" suite. We have to admit Stapleton's version pales in comparison to the original! The art of Coil involves a confluence of the surreal, the deviant, the magical and the psychedelic, all stemming from their inception within Industrial culture in the early '80s.
Time Machines was conceived by Coil's John Balance, Peter Christopherson and Drew MacDowall back in as a series of audio hallucinogens, constructed by means of method acting. In any case, they can remove you from 'temporal reality. Such is deeply rooted in the tradition of kosmische electronica and psychonaut minimalism. La Monte Young, early Tangerine Dream, Nurse With Wound and certainly Coil stand at the pinnacle of a tradition for lysergic music that transcends the need for drug-taking to embrace the full experience. Time Machines remains one of the few truly successful pieces of electronic music in this liminal oeuvre.
Slow oscillating tones gird vibrating patterns, and black-hole echoes of rhythm slither in the distance behind slightly dissonant saw-tooth drones. This simple structural sensibility belies the investigative and imaginative prowess that Coil have long mastered. You can't just turn on a synthesizer and have these sounds spill from the circuitry. In Coil's calibration of electricity with chemistry, this immersive pool of sound is a stark document of their power in dissolving time. We've experienced a flutter of essential early 80's Japanese reissues the past couple years, and now Spencer Doran's imprint Empire of Signs may have just dropped the most obscure and best so far.
Recorded in Hiroshi Yoshimura's Music For Nine Post Cards was created to be "environmental music" also known as "kankyo ongaku" in Japan, and the same phrase used to describe Brian Eno's Ambient series, which was released four years prior. It would be convenient to listen to a small sample of this record and categorize it as background muzak. The album's concept is very similar to Eno's Music For Aiports , but compositions are stripped down and much shorter than anything that appears in the Ambient series.
A keyboard and a Fender Rhodes are the only instruments featured on this record. Yoshimura seamlessly overlays a tactile presence of the musician's hand onto dreamy overtones creating an ethereal ambience to the album. Yoshimura's slow, gentle, and soulful keys throughout leads the listener into intimate and poetic realms of interpretation. For fans of K. Alvarius B. Here donning his Alvarius B.
Yet at the same time, the Sun City Girls thrived on undermining any given perception as avant-rock geniuses with their impish humor that angrily jabbed with a misanthropic bile. Those who love the Sun City Girls may have come to an understanding to disagree with the politics of these jokes, but there's a recognition that the Girls needed to shove back at polite lefty-liberal society. Charlie Gocher died in , and the Bishop brothers dissolved the Sun City Girls in honor of their partner. Many of the ideas continue unabated in the Bishop brothers' solo careers.
Alan Bishop, especially as Alvarius B. Across the three albums, Bishop crafts effortless reconstructions of a century's worth of folk-rock-blues idioms through his slack acoustic-guitar splutter. His songs alternate between the sensible and the snarling in varying ratios across the trilogy. It may be true that the first volume is the most "melodic, savvy" of the three as Bishop quipped in his thorny press releases, but his bitter melodic croon persists throughout the trilogy. It may be true that Alan believes the second volume to be his favorite.
It may also be true that the final album may be the most problematic of the lot, but when is an Alan Bishop project not problematic? Art should never be easy. Now it's becoming almost impossible to get a skull-drilling startup off the ground unless you murder for the corporations or governments where you have highly organized protection from any enforceable law but at the expense of sacrificing all the glory for the anonymity required to maintain employment. So, unfortunately, the days of any zit topography random commoner being able to string together a few killings to hit the big time before being caught has almost come to an end.
This record, the third and final volume of my new three-LP set called Heathen Folklore , could serve as somewhat of a manual of inspiration on how one could start such a career, as risky and unpopular as it is. It gets much more fucked-up than the previous two LPs, and sometimes I think it's the best one due to that aspect. But killing isn't everything you know. There are many more ways to express yourself and reach the top of the charts these days.
In fact, I saw Burt Bacharach three weeks ago gripping a huge fucking machete while chasing modern dance music architects off his champion ship and into deep water where they hopefully became shark bait. Thompson directing snuff films. But most of that other weird shit you hear about these days is probably true. And I'm working on a film called Being Alvarius B. And I am. Can't wait to make more albums so I can write these album descriptions.
Now don't go asking me what the fuck that title means but I will say that it may be my favorite of the three. My 'fans', all of them, are pretty smart. I used to think only 67 people mattered on earth, now it could be far less, but it's beginning to trouble me how I've actually accumulated fans. So if you're not a moron, I don't mind if you buy this record.
I made more copies than I have fans so I need to expand on the audience a bit but I don't want fucking idiots buying my albums. A brand new car loses value the moment you drive it home, but my records will always go up in value like my Dodge Ram Van which tripled in value when I drove it off the lot so this is also an investment opportunity. If you were to walk slowly on a hot bed of coals you may discover that Don McLean never actually drove his Chevy to the levy and that the singer-songwriter is dead, just like all the poets.
What do contemporary poets and the entire Indonesian population have in common? Most of you cannot name even one of them. Homo Sapiens now love to complain and act as if they know how the world works by 'expressing' themselves on their social media networks - that's become the new poetry. And I think there are only nine people writing songs today that I respect, I'd have to check to make sure.
And the Thinking Fellers were a great band - I could name a dozen more from the past 30 years that I'd call contemporaries, but that's about it. And I almost forgot to mention that Mark Twain's old banjo appears on this record. There's only three or four good tracks on that and A Mark Twain August has six great tracks on it, at least. Maybe I'm lying and it's the innocent, straight record so maybe you should get Volume 3 instead if you're in a darker mood. But that's not really true either. Or maybe it's one of those records that grows on you the more you continue playing it, like a cancer.
The musicians who played on all three albums don't deserve to be involved in these kamikaze promotional descriptions so don't blame them for any of this. The modern world of record making has become so fucking dull and obedient that someone has to ram a poison dagger up your asses and since you're all under hypnosis, I promise you won't feel a thing. I could pay Dougie Jones to write this piece to match your intellect or hire a publicity company to promote it but who really gives a fuck?
By deciding to write my own album promos, I can perform some market research. Anyway, back to my new album. These songs are pretty good, most likely way better than your songs, and I don't even have time to be a real songwriter, so what does that say about you? It says that you suck. And most of you do.
But you should buy my new three album set because it's probably as good or better than any other LPs that will be released this year. But if you aren't ready to go all-in with confidence, then forget it. Originally released on Milestone in , Joe Henderson's The Elements is a landmark document of spiritual jazz and the iconic tenor saxophonist's finest hour.
Even when played through a thick haze of delay, Henderson's tone is distinct and powerful, honed over a decade of releases on Blue Note and Milestone. His earlier music had been decidedly post-bop, although it consistently pushed how far out jazz could go while still staying true to form. This record though is a true step beyond, with hints of psychedelia and fusion, Latin and African rhythms, and droning tanbura.
There are four compositions, each a meditation on one of the classical elements: Fire, Air, Water and Earth. The Elements gives us the rare treat of hearing Alice Coltrane play in someone else's ensemble, and her contributions are sublime. Remastered from the original tapes, The Elements is finally available again on vinyl and not to be missed. Chris Bell was an original member of mighty pop legends Big Star, but quit the band after their debut, 1 Record failed to propel them to super stardom.
For the next few years years, Bell struggled with depression while recording demo after demo. In , Bell released the single "I Am The Cosmos", an amazing little slab of practically perfect pop, an absolutely beautiful gem, dense with wistful harmonies and glistening instrumentation, which ended up being a big enough hit that it drove Bell to form a band to begin work on a new album. But before that could happen, Bell died in a tragic car accident.
I Am The Cosmos is a collection of all of his unreleased demos, but plays like some lost classic album. As good as any of the Big Star records for sure. A dark and brooding, dreamy and glistening pop masterpiece, from beginning to end. Super varied, from crunchy melodic power pop to deep introspective ballads, but somehow all the parts fit perfectly. So goddamn good.
A Listing of the Concerts of Leopold Stokowski 1933 to 1949
Arrangements creep from the corners in queasy synth fogs as skeletal rhythms of stutter-step basslines, flanged drum machines and muffled handclap flurries eddy in a collapsing gyre of echo. F ingers sculpt a subterranean dub at once spectral and sensuous. The runic psychedelia of Dal Forno's vocal limns the edges of songs, carving contours with washes of wordless tone and delay-smeared chirrups. As with both the previous F ingers album and Dal Forno's stunning solo debut You Know What It's Like , for this reviewer, one of 's standout releases, this is an unusually dense minimalism, its gauzy fragments of menace and melody hanging in negative space, distant yet looming.
Listening to this new album by F ingers, a series of dazzling postpunk counterfactuals press against your bleary eyes: sides three and four of Tago Mago cut to Adrian Sherwood's Tascam, Virginia Astley sitting in with This Heat, Liz Harris taking a knife to Bourbonese Qualk tapes. But even such vaunted comparisons stop well short of doing justice to the music on Awkwardly Blissing Out , which is undoubtedly among the best you will hear, this or any year. Holidays Records present a welcome first-time vinyl reissue of Maria Monti's Il Bestiario , a hidden gem of the Italian avant-garde.
Monti sings evocative texts by radical poet Aldo Braibanti, whose imprisonment in the late '60s under Fascist-era legislation caused a furor among the Left a few years prior to the album's release. Il Bestiario is anchored by Monti's hypnotic voice, around which the ensemble constructs lush electro-acoustic filigrees.
- Actors From The London Stage present Twelfth Night.
- The 14th Dalai Lama: A Manga Biography.
- Neural Bases of Motor Behaviour.
- The Mechanical Mind in History.
- Le carnaval des animaux (Saint-Saëns, Camille).
Braibanti's plaintive texts stand as wry allegories saturated by an inchoate desire — cautionary tales of snakes, peacocks and chameleons that only partly mask a more general protest against needless privation, loss and longing. While breathing the same air as Emmanuelle Parrenin, Brigitte Fontaine and Desertshore -era Nico, Il Bestiario remains an unlikely and beautiful record at the intersection of several visionary careers.
Santa Barbara's F. McMahon cut one record, 's impossibly rare Spirit Of The Golden Juice , before disappearing into the ether or, in reality, a career as a computer engineer. A brilliant slice of singer-songwriter folk-rock and one of the most brutally personal and honest treatise on the Vietnam War, Spirit Of The Golden Juice has long been one of the more coveted obscurities of the hippie era.
It was originally released on the Accent label, the sort of befuddling enterprise that released 45 after 45 of the most tepid schlock you've ever heard while simultaneously gracing the world with three and four figure garage, psych and soul rarities from legends like The Human Expression, and intriguingly named acts like Soul Injection, Silk Winged Alliance, and Peacepipe, as well as this lone r singer-songwriter masterstroke. These are the reflections of a young man unable to come to terms with what he has seen and a humanity that would allow such things to happen.
While the songs are anti-war, they are not cliched or preachy. Instead they are uniquely personal like "Black Night Woman" about the suicide of a GI's foreign girlfriend or "The Road Back Home" about struggling to find yourself after war. They are the songs of a man who spent the Summer Of Love in Southeast Asia, not San Francisco, a man who hated war not just on principle but because he had lived its atrocities.
While the Dylan comparison falls flat lyrically and vocally, where it makes perfect sense is in the musicianship; Spirit Of The Golden Juice plays out like a West Coast John Wesley Harding , as it employs a country session drummer whose in-the-pocket drum work is a centerpiece of the record - subdued yet funky, complex but unobtrusive. It's the perfect complement to McMahon's stellar lead guitar work which was inspired by surf wizards like The Ventures and Dick Dale. When transposed to the acoustic guitar as it is here, it delivers a swirling, haunting effect that renders the songs' even more powerful.
But nothing is as important to the record as that voice and those lyrics. The gripping tenor of McMahon's voice rivals that of Hardin and Neil. Dare I say it, while both of those more famous artists may have had higher highs in their songwriting career, neither of them ever put together an album as consistently honest and striking as Spirit Of The Golden Juice. Structures From Silence is one of those classic California records that, not too long ago, could be found languishing in bins up and down the coast for next to nothing.
Like Bobby Brown's Live and Laura Allan's Reflections , it's the kind of record that you never would have even done a double take on in the pre-internet age, until your more adventurous friend placed it in your hands and, ignoring your skepticism, just said "trust me. Roach began playing synthesizer at the age of 20 in , inspired by the usual suspects of Tangerine Dream and Kraftwerk.
His early recordings, first with the group Moebius and later solo, are interesting pieces of synth-pop and Berlin School electronics, but it is with 's Structures From Silence , his third album, that Roach forges his own path. The result is nearly 60 minutes of perfectly restrained and flowing, slow building, pure ambient. Structures From Silence is a wonderful record that deserves to be in the conversation with the likes of Eno, Hassell, Riley, etc.
It is impossible to point to a single Sun Ra album as being his best. One would be better served waving a hand or fully-extended arm towards the Arkestra's output from the late '50s onwards and nodding, "There. However, if your record shelf is about to collapse under the sheer weight of Saturn, there is really nothing like The Magic City. The epic title track alone is worth the price of admission. Out of print for far too long, we are thrilled to see it available again in a new edition on Everland Jazz. Izipho Zam was one of several sessions that Clifford Jordan had originally produced in the late '60s for a label that never came to be, and put out in the '70s as the Dolphy Series on legendary Spiritual Jazz imprint Strata-East.
It features Pharoah at the height of his powers both as a player and a bandleader, accompanied by some of the biggest names in the free and spiritual jazz underground. Chunky piano chords and tender electric guitar riffs lift Leon Thomas' ecstatic vocals to higher and higher peaks, with a cast of five drummers and percussionists teasing at the chaos to follow.
Sound engineer — D. Gaklin 1—6 Remastering — M. Allegrissimo — Intermezzo. Russian Dance arr. Dance of the Ballerine arr. The Shrovetide Fair arr. Sound engineer — I. Allegro moderato. XVI: 20 11 I. Veprintsev 1—4 Remastering — M. XVI: 20 1 I. Grossman Remastering — M. Allegretto vivace.
Leopold Stokowski Concerts -
Veprintsev 1 Remastering — E. Sound engineers: I. Veprintsev, E. Buneyeva Remastering — N. Buneyeva Remastering — E. Ad libitum. Menuetto capriccioso. Sound engineer — M. Pakhter Remastering — E. Presto non tanto. Das Lebewohl. Das Wiedersehen. Ivanov 1—6 Remastering — M.