With the same creative attitude documented through the mythic d'Avantage label , Berrocal later accumulated an extensive archive of unreleased recordings, some of which finally surface now on this new edition. Catalogue represents the most experimental and complex of Berrocal's records, as historical as contemporary modern, classic, and at the same time as fresh and strange as if it had been recorded last week.
During the same year Steven Stapleton frequently travelled to Paris to meet Jacques Berrocal to discuss a possible collaboration. Style: Jazz, Fusion. Engineer — Paul-Gerhard Landsiedel. Layout — Irene Giger. Distributed By — Mix-Musik.
Peter Giger — drums, percussion. The sound is not quite as experimental as Dzyan what is? To Skye I want a pleasant listening Series: nova musicha — n. Style: Abstract, Experimental, Free Improvisation. Recorded at Orthophonic Recording Studio, Roma. It's also neat how the drumming sounds influenced by the motorik beat; Friction can lock into a groove and not let go, while at the same time adding plenty of skronk.
The vocals are a mix of Japanese and English. Standouts include the manic "Cycle Dance" with excellent drumming and sax; Hige must have double-tracked , noir-ish instrumental "No Thrill", and the epic almost seven minutes! The sound is perfect, thanks to producer Ryuichi Sakamoto! Good luck finding this, but snag it on sight!
Friction is still going strong, with Reck and Hige stil on board. All of their material is consistently good, but the early material is best. Labels: avant-rock , no wave , noise rock , post-punk. Tuesday, February 9, Hugh Hopper, CBS, ; reissued by Cuneiform; available Cuneiform CD: 7 tracks, The late and greatly missed Hugh Hopper's first solo release, is in many ways one of his boldest and most fascinating works. This was a period when Soft Machine was devolving into basic jazz-rock; Robert Wyatt had already departed, and Hopper would depart himself the same year was released.
According to Hopper's liner notes, CBS was enthusiastic about his solo album until they heard the music, forcing Hugh to take out a bank loan to produce it. Then again, a loose instrumental concept album about the Orwell novel does seem like a strange commercial prospect. Truth be told, calling it a solo album is slightly misleading; on most tracks Hopper is accompanied by a truly great choice of players, ranging from Pye Hastings and Gary Windo to Lol Coxhill and John Marshall.
All of the tracks take their names from the ministries in the novel. The four shorter pieces are fairly accessible, with "Minipax I" being the most traditional-sounding thing on here.
The two long tracks are probably what made the label nervous. Obviously influenced by Terry Riley he admits it in the liners , this is a moody loop-based piece for bass, percussion, and mellophone. Constantly shifting and twisting over its length, this is a natural progression from Hopper's experimental Soft Machine contributions.
Good luck figuring out what instrument is making which sound! This time, Hopper's heavily modified voice and what sounds like bells accompany his bass playing, which truly sounds not a jot like a bass for the majority of both extended tracks. They're excellent examples of dark ambient, and while they contrast with the shorter pieces for the most part, this is a delightfully different experience taken as a whole. The domestic CD reissue has "Miniluv Reprise" as a bonus, which is a shorter and more rock-oriented version of said track featuring an extended lineup.
The Japanese CD features further bonus demo material, which I haven't heard. Labels: art rock , avant-rock , dark ambient , krautrock , modern composition , musique concrete , prog rock , space rock. The liner notes provide "aka do unseen hands make you dumb?
Pigface, ; reissued with bonus tracks by De Stijl; available CD: 4 tracks, Most readers of this blog are probably familiar with Smegma and if you're not, fix that quick! For his solo outing, long-time member Ju Suk Reet Meate pronounced "you secrete meat" just for the record filled two vinyl sides with an intriguing mix of spare noise rock and Reichian tape manipulation.
The sides each have a bunch of tracks, but they ebb and flow into each other and are mastered by side on the CD. Side one, subtitled "", features a nice contrabass solo and some nifty looped guitars in addition to the rather restrained and thus highly listenable sound collages.
That being said, other reviews have pointed out how refreshing it is that Meate doesn't feel the need to go in the red with his noise, and that really is a nice change. Surprisingly enough it all sounds a lot like contemporary turntablist efforts! They're fairly good but not especially enlightening, considering both are under five minutes. That being said, this is a solid listen and definitely worth acquiring.
Labels: avant-rock , early industrial , free improv , free jazz , musique concrete , no wave , noise , noise rock , post-punk , psychedelic , space rock. Compilation released by Acute see review for individual dates , ; available 18 tracks, Being the first band to be signed to Factory Records' American division, you'd have to be fairly special.
Ike Yard doesn't fail in that department one bit! Their arsenal of instruments included the standard guitar, bass, and drum kit, but those are the ONLY traditional instruments used. Each member is credited with synthesizers Compton specifically with bass synth , and other instruments include drum machines, found percussion, syndrum, and who knows what else.
Both Argabright and Compton handled vocal duties, with Argabright getting the lion's share. Sometimes considered a no wave group, and having some common ground with that scene, Ike Yard was really in a category of their own. These tracks find Ike Yard in full-on post-punk mode.
The bass and percussion lock into powerful grooves, aided by synth pulses and colored by swooping guitar accents. Fast-forward to Ike Yard have caught Factory's attention and have the honor of becoming Factory America's first signing. While still a decidedly American take on post-punk, these six tracks are far more influenced by classic dub and krautrock than by any contemporary groups except maybe the early industrial and EBM scenes.
The synths have a much more pronounced role; I was fairly certain there's no guitar or bass guitar on these tracks until Stuart Argabright assured me there is.
The remaining five tracks follow a similar path, with little quirks and kinks along the way to give each tune its own identity. As a bonus, this compilation features six previously unreleased outtakes from to None of these tracks would have been out of place on the proper releases; in fact, the eerie instrumental "Wolfen" is one of their best songs! I can't recommend this enough to fans of krautrock, post-punk, no wave, etc. You shouldn't have too hard a time finding it.
Diekmann also ended up in Death Comet Crew. Ike Yard made a recent comeback, and now consists of Argabright, Compton, and Diekmann. Their MySpace also has "Loss" and "Cherish", a demo called "Sweep" and an untitled live track from ' The latter two are not on this compilation possibly due to time limitations?
Labels: avant-rock , dub , early industrial , krautrock , no wave , noise rock , post-punk , space rock. Miller and Charles K. The first eighteen tracks are a mix of short-to-average-length studio and live works, while the last seven are crazed improvisations. Everything was recorded between and interestingly, some of the tracks aren't dated, but it's a good thing they were saved at all. Naturally, being limited to percussion would get stale after a while; luckily, Noyes and Miller had some great connections!
Zorn, Sharp, Arto Lindsay, Nicky Skopelitis, Bill Laswell, and Wayne Horvitz are just some of the names that pop up on these tracks, each adding their identifiable mark while never overshadowing the core duo. One of the improvisations supposedly features Derek Bailey playing a bit and then walking off in disgust, but I can't tell which one. The liner notes by Weasel Walter and Anton Fier provide some great insight, Fier's being about a particularly spectacular glass-smashing incident.
It's probably important to note here that "incendiaries", cocktail shakers, and saw are three of the instruments credited, and it's also worth noting that they occasionally set their drums on fire. Then there's the improvisations. At times they sound like early AMM jamming with the Blue Humans, and then some are even looser than that. Some reviews have expressed disappointment with the improvs; I think they're actually quite stunning for the most part.
The sound quality is superb, and even the live tracks sound remarkably good. Labels: avant-garde , avant-rock , free improv , no wave , noise , noise rock , post-punk. Two albums on one disc see review for individual release dates ; this compilation issued by New World Records in ; available 6 tracks, It's an odd pairing, but this compilation works! Meanwhile, fellow artists Nicholas Roussakis, Terry Jennings, Fahrad Machkat, and Robert Block provide instrumentation respectively: underwater clarinet, saxophone, violin, and prepared violin.
The liner notes claim no sounds are of electronic origin, but there definitely is some sort of mucking done to the tapes.
It's a fascinating piece, but the material surrounding it is even better! Tudor playing a prepared I think piano to the accompaniment of tapes featuring Maxfield manipulating the strings of said piano.
Maxfield's works occupy just under half an hour of this disc, while Budd's massive "The Oak Of The Golden Dreams" and "Couer D'Orr" from and , respectively fill up the rest of the space. These are much more drone-based than the work Budd is best known for, and that actually works in their favor. Budd appears to be heavily under the influence of Terry Riley on these pieces while still managing to establish a distinct identity of his own. Both of these tracks are peaceful yet never boring, and they provide a welcome counterpoint to Maxfield's considerably more abrasive pieces.
The Budd pieces are also an excellent example of minimalism's influence on later developments such as ambient. Every serious fan of electronic music, ambient, minimalism, and related genres needs to find this disc; you won't be disappointed.
Labels: ambient , avant-garde , drone music , early electronic , fluxus , minimalism , modern composition , musique concrete , psychedelic.
Newer Posts Older Posts Home. Subscribe to: Posts Atom. About Me Prof. Obsessed with music since early teenage years. Used to write for Movement Magazine. Mostly interested in pres experimental releases, but I do find a lot of posts material that's nothing short of amazing. No download links provided here; there's plenty of places to find them if you absolutely must, but please consider supporting the artists when possible. I do this just to spread my opinions of the music I love to others, and hopefully get a few people hooked on said music as well.
I'm always up for album suggestions as well, so please contact me if you have any! View my complete profile. Other blogs I enjoy. Very disappointing sound quality on this recording I have to keep writing there is minimum of 10 words. I have every single recording Pat Metheny has ever put out and I believe this is number one. It is not mainstream music. Closer to Free Jazz. How do you buy a very expensive Vibraphone, take years and years to learn how to play it and end up playing on one album?
Did this guy end up in jail or did he have a brain aneurysm? Very Good album not great Sound quality is fair to pretty good as the liner notes mention the The notes are wrong see above this 3 album release are all previously unreleased tracks according to the back of the LP Sleeve not to mention the song lengths and song titles are different I have both I know I have the album.
The use of both contrabass and electric bass on some tracks provides an interesting sound, considering the electric bass is treated to sound nothing like it should this isn't a bad thing!
It's hard to pick out standout tracks, since this all flows together perfectly and is best experienced all the way through.
The first and last tracks, "Triptik 2" and "Gaub 71" respectively, both feature the same fast rhythm which sounds like a mix of darbouka and primitive drum machine , but otherwise are different entities. This is the closest that "Tacet" comes to jazz, as the remaining tracks are pure explorations of sound, somewhere between free jazz and the cosmic explorations of Kluster et al.
I had always thought that Herbie had been the pioneer launching himself and me into a musical parallel universe with "Mwandishi, Crossings" and "Sextant", and nobody followed on that path.
Nothing quite like it - the closest comparison I can come up with is the free-jazz-in-a-reverberating-echo-chamber sound of Sun Ra's "Cosmic Tones for Mental Therapy" combined with the extraterrestrial electronic experiments of Pierre Henry, throw in some absurdist vocals, and I don't know. It's so odd. Satisfaction guaranteed! Free Frits.4/28(日) 新着廃盤cdセール 80年代以降のロック/オルタナ廃盤/貴重盤を一挙放出!! ※整理券は当日朝10時より当店入り口にて10 Missing: Michel Potage.