Sonically almost the archetypal Cherry Red band, over the course of this LP, Glaxo Babies wide-ranging post punk admixture manages to take in everything from mutant funk, nebulous atmospheric jams, sax squawk-driven post punk improv, dub technique, and itchy-scratchy Gang Of Four angularity and fuses it all in a way thats beautifully un-obvious.
***************NEW LINK POSTED SEPTEMBER 2012***************
Get it here
Following my post of their "Zap The Universe" LP around 10 days back, here's the debut EP by this roguish band of Beefheart-ian weirdniks. These arch roundelays through post-punk contortion are perhaps a wee bit less compacted and dizzying in their execution on this initial salvo, though even during their nascent stages, these Canadian mutants still sound more like flamingos in a fruit fight than most of their similarly inclined brethren.
***************NEW LINK POSTED OCTOBER 2012***************
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Following my post of their "The End (Gradient Of Texture)" EP a few days back, here's another cavalcade of lopsided but delicate as a doily maneuvers from these Japanese masters of whimsy gone wonky.
***************NEW LINK POSTED SEPTEMBER 2012***************
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Released on Christoph Heemann's Dom imprint, this is a massive and stellar assortment of surreal expositions from a roster of avant garde talent that, taken together, make this compilation something of a state of the union for this scene circa the early 90's. For me, things reach their peak under the stewardship of some of the more well known parties here, with stellar turns from Nurse With Wound, Christoph Heemann (in solo form as well as within HNAS and Damenbart), Vox Populi! and C-Schulz in particular standing out. This lengthy double CD set has been divided into four parts.
Get disc one part one Here
Get disc one part two Here
Get disc two part one Here
Get disc two part two Here
Another day, another Neue Deutsche Welle tape. Well...not so fast. This one, something of a minimal synth wonder, deserves your undivided attention. Bunsenbrenner N.9 hold an odd middle ground between the madly colorful percolations and permutations of the pro-doinkiness camp and the anxious sturm und drang mongering of the more down-in-the-mouth wing of this scene, this miscegenation winningly subverting expectations at every turn.
Get it Here
Continuing posting tape compilation releases from Broken Flag label ,here is another compilation from 1985.
I think there's no need for an introduction for Achim Reichel.Here we have a bootleg recording of 1973 concerts with excellent improvisation tracks from his works with the Machines mostly,never released officially with anykind of pic sleeve.Also AR 3 with the machines and Erholung LPs from 1973 and 1974 respectively.
French musician Laurent Pernice (former member of French band Nox) embraced the sampler and electronics and crafted the ethnic/industrial collage of Releases Details (Permis de Construire, 1988) and Sortie Vers la Ville (Permis de Construire, 1994), both further eroded by his jarring vocals. In between, he also released a more conventional work, Axident (Permis de Construire, 1992). The experiment continued with Sept Autres Creatures (Odd Size, 1996), Yppah (Moloko+, 2001), Infrajazz (2003) , Drosophiles & Doryphores (2004).
An electronic/progressive masterpeice by the Canadia singer Claudo Peloquin,known from his LP with Sauvageau from 1972 ,Laissez-nous vous embrasser où vous avez mal.An excellent very emotional LP reminding me a bit of Igor Wakhévitch and a bit of Iceland era Richard Pinhas. The only disavantage is it's very litle duration.
Inspired by the massive posts of thunderperfectmind fellow blogger ,in Direct Waves blog,of Broken Flag label recordings ,i will post some tapes here too,starting from this early and very important compilation.
"A magnificent double tape package featuring some of the finest music that's about at the moment. From all over the globe the hits just keep on coming and the variation of styles makes it an intriguing insight into the different directions being pursued in different countries.
Now seriously this one is A HELL of a record!First time i heard it remained speechless for 40 minutes(the time that record lasts).Magnificent combination of jazzy / experimental tunes combined with plingity -plong electronics Residents styleand all blended by the art/NDW sounds of Germany at the time of this release.Imagine Residents jamming with Sun Ra while Frieder Butzmann and Pascal Comelade are furiously joining them!
A long deleted rare Mini CD by the great Hector Zazou collaborating with David Sylvian here.Excellent atmospheric compositions based on poems of Arthur Rimbaud.Reminding the Belgian TUXEDOMOON period but still blended with the great talent of these 2 legends.Ambient electronics combined with ethnic hints creating an almost dreamy relaxed feeling ,sometimes a bit dark and scary but yet marvellous.
***************NEW LINK POSTED SEPTEMBER 2012***************
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An impossibly obscure album of highly advanced cosmic rock of levitational proportions by a complete mystery band. Yup...this one's a monster, and yet there is an almost complete absence of information to be found anywhere about this jawdropper, both on the web and on the sleeve itself. So too, even the collector I go this from hadn't the slightest idea of this group's provenance, so anyone out there with a clue, please do tell. As for the music, well...to these set of ears, the waterily trance-inducing and repetitively cascading sonics contained herein owes something to both Quebecois acidheads Dionne/Bregent and to Harumi Hosono's godhead collaboration with Tadinori Yokoo on Cochin' Moon. For those so inclined, this is a lysergic brainbomb waiting to happen...enjoy!
***************NEW LINK POSTED OCTOBER 2012***************
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The delicate but deformed soundworld proffered by this woefully overlooked unit is a virtual object lesson in how to conjure profound madness from only the daintiest, twee-est ingredients, a tack they share with contemporaries like After Dinner, Luna Park Ensemble and Pungo, though Katra Turana's specific composite takes this warped aesthetic template to even deeper heights of bird-like frailty, only to mindfuck you with a structural rug-pull from under your feet just as you're beginning to question your sanity for listening to such mincing la-di-da-ness. Beautiful sickness from a lost continent of demure Japanese dementia.
***************NEW LINK POSTED SEPTEMBER 2012***************
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A two-thirds's excellent EP of itchy Downtown NY-style skronk 'n' jitter that fuses it's scabrous Massacre-ism's to a Material-like white boy funk chassis, something that works a charm as long as said Massacre-ism's occupy the foreground. Should be a shoo-in for anyone thats been digging my posts of stuff like Fat and Gunjogacrayon lately...
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One of the first releases on the estimable German electronica imprint Stora turns out to be anything but electronica. Instead, The German unit Hammafest do a bang-up job of circumventing any sort of cursory parsing. I can detect hints here of
the Nurse With Wound of "Thunder Perfect Mind" and at other times, they promulgate a bongo driven weirdity that presages the doings of Asa Chang & Junray, but as with all the best work, it's fundamental character evades every attempt to pin it down. Brilliant stuff.
Get it Here
There are some true blue stunners tucked away within this R.I.O. compendium, something of a 1988 state of the union for
Recommended Records' German outpost Recommended/No Man's Land, though you might be deceived at first, as they've mysteriously frontloaded some of the lesser work here. For me, the astonishing German unit Uludag (once very accurately described as sounding like "the world's first Chinese R.I.O. band") turn in this compilation's capper, though Biota, Zoviet France (not R.I.O., but somehow they got sucked into Recommended's orbit 'round about this time), Skeleton Crew, Proof Of Utah, Bittova/Fajt and Half Japanese turn in contributions that are not to be sneezed at. This lengthy CD has been divided into two parts.
Get part one Here
Get part two Here
Due to very high temperatures in my area today(above 40 degrees) i will not be able to make any new posts today.....Sorry 'bout that....more posts by mutantsounds tomorrow.
Gaznevada adventure started at the end of the seventies when Billy Blade (vocal and sax), Bat Matic (drums), Andy Nevada (vocal and synth), Chainsaw Sally (bass) and Robert Squibb (guitar) decided it was time to give to their social / sonic hysteria a form. March, 1977. After the university riots some of them, start to live together in a flat in Bologna with other artists and friends. The aggregation place is an occupied house in Bologna where they lodge artists, musicians, designers, cartoonists and directors. At this time the name of the band is "Centro D'Urlo Metropolitano". With this band they write "Mamma dammi la Benza" the first and one track of "Centro D'Urlo Metropolitano" co-produced and distributed by the University Student Movement of Bologna in september 1977.
Here we got everything:punk,synth punk,psych,folk,industrial,jazzy tunes,even marching songs.All those combined excellent with a very impressive result by this Rammstein related band.Sometimes reminding me the excellent Pogues,Flogging Molly folk-punk energy in a more teutonic way combined with use of electronics and jazzy hints here and there.Highly recommended.
***************NEW LINK POSTED SEPTEMBER 2012***************
Get it here
Great and much underrated Italian musician.Electronic improvisations with one eye staring at free jazz tradion and the other in the European a-la Tuxedomoon electronic tradition.This is his most experimental work and his best imho.
***************NEW LINK POSTED SEPTEMBER 2012***************
Get it here
Essendon Airport was an Australian post-punk group from 1978-83 who explored experimental minimalist, electronic and funk music. They reformed in 2003.
Based in Melbourne, Essendon Airport began as an instrumental duo in 1978 with Robert Goodge on guitar and David Chesworth on Wurlitzer electric piano along with a home made drum machine bought from the Trading Post. Both members lived in or near the suburb of Essendon and took the name of Essendon Airport which since 1971 was no longer an international terminal (replaced by Melbourne Airport).
They later became a four piece adding drums - Paul Fletcher, and saxophone - Ian Cox, and finally a five piece with bass player Barbara Hogarth in 1982. The group disbanded in 1983. Each of these three line-ups produced quite different music. Essendon Airport performed around Melbourne's newly emerging post-punk inner-city venues such as The Crystal Ballroom, various galleries such as the George Paton and the Clifton Hill Community Music Centre (CHCMC), a venue for experimental music, performance and film during this time.Duo 1978-79The duo released the EP Sonic Investigations of the Trivial and the single Talking To Cleopatra with Anne Cessna both on Innocent Records.
Their EP was described at the time by Essendon Airport as .... songs which combine many of the most facile and insipid kinds of music in a redeemingly dignified manner.... creating new trivia out of old. All this takes place along with a kind of pedantic fetishism for small-repetition games - the music travels in circles, spirals and solid blocks of sameness and difference. This manifestation of Essendon Airport is perhaps less well known than the later ones but played some memorable performances around Melbourne including the Clifton Hill Community Music Centre and supports in front of bemused punters waiting for Midnight Oil and Jimmy and the Boys.
Quartet 1980-81Embellished with the arrhythmic drumming of Paul Fletcher and the often sweet, often brittle saxophone of Ian Cox. The four-piece performed a range of material from extreme minimalism to plundering the hidden resonances of the popular song. Examples can be heard on the album Palimpsest (Innocent Records). The group also made recordings for Fast Forward Magazine and a disc give-away for the Art Network Magazine.
Quintet 1982-83With the addition of bassist Barbara Hogarth the group developed material with an art/funk feel and performed many headliners at the Jump Club, Crystal Ballroom and toured to Sydney. Strangely the quintet did not release a recording. However there are tapes of Live-to-Air performances on 3RRR FM including their final performance at the Crystal Ballroom.
After the dissolution of Essendon Airport, Chesworth continued performing as a soloist and with a new group entitled Whaddya Want? He later formed the instrumental group the David Chesworth Ensemble. Goodge, Cox and Hogarth formed the nucleus of the successful pop-funk band I'm Talking which featured Kate Ceberano as lead vocalist.
Reformation 2003-In 2003 a compilation CD was released on Chapter Music entitled Sonic Investigations of The Trivial, comprising live and studio recordings of the duo from 1978-1980. Following this release Essendon Airport have given occasional performances in their original duo guise. They perform their original music having painstakingly transferred the drum machine sounds from old tapes on to computer and have also added some new pieces. Graham Lee (ex-The Triffids) has been accompanying them on pedal-steel guitar. In 2005 the trio commenced recording for a new CD release .
Members
David Chesworth - keyboard, vocals (1978-1983, 2003- )
Robert Goodge - guitar (1978-1983, 2003- )
Ian Cox - saxophone (1980-1983)
Paul Fletcher - drums (1980-1983)
Barbara Hogarth - bass (1982-1983)
Graham Lee - pedal steel guitar (2005- )
From Wikipedia
Visit their website
Not much known about this Austrian group,except the release of this great LP.In early TD vein electronic floating cosmic music ,sometimes scary.
I expect many will be jazzed to see this classic krautrock compendium finally made available again, after it's disappearance elsewhere in the music share blogosphere a while back. At this late date, It'd be hard to find anything particularly novel to add to the mountain of verbiage already expended on the marvels of Gottsching and Ash Ra Tempel. Suffice it to say that anyone
into the whole mythos really shouldn't be without this essential piece of the puzzle a moment longer, containing as it does some three solid hours of otherwise unavailable live Ash Ra Tempel material alone. Beyond that salient fact though lies one other detail, namely that the 20 odd minute Gottsching's solo track "Lotus" on disc 5 is for me easily one of the loftiest peaks in his entire recorded canon.
NOTE: THERE WAS INITIALLY A MISTAKE MADE WITH THE LINK FOR VOL. 4 PART 1 OF THIS POST. THIS HAS NOW BEEN CORRECTED.
Get vol. 1 part 1 Here
Get vol. 1 part 2 Here
Get vol. 2 part 1 Here
Get vol. 2 part 2 Here
Get vol. 3 part 1 Here
Get vol. 3 part 2 Here
Get vol. 4 part 1 Here
Get vol. 4 part 2 Here
Get vol. 5 part 1 Here
Get vol. 5 part 2 Here
Get vol. 6 part 1 Here
Get vol. 6 part 2 Here
What follows is the fourth installment in my ongoing series of postings of singles from the vdoandsound archives.
THE BIGGEST SQUARE THING-A SQUARE THINGS PREROGATIVE, 1989, USA
This offshoot project of the excellent post-V-Effect New York outfit Fish And Roses features Sue Garner working off the angular art rockin' side of her sound and is all the better for it, none of the homespun folksiness of her solo work being at all evident here.
BIG SWIFTY-EXPERIMENTAL ART FILM, 1996, USA
This Florida unit's droning improvs (predating the whole freak folk juggernaut by several years) on this single, sound like The Theater Of Eternal Music on horse tranquilizers accompanying the stoned mumblings emerging from the inside of Frank Zappa's piano.
BLAZEN, SHARP & GERBER-SLOTH, 1997, USA
Very effective liquidly churning, low-key nocturnal soundscaping from this Nashville trio.
BLAZEN Y SHARP-ORQUESTA EN RITMO...CON GRACIAS, 1994, USA
Not quite so low-key on this earlier outing, the Blazen/Sharp duo's dense soup of surreal electronic manipulations possessing something of an Electro-Static Cat vibe on this one.
THE MICKEY BLISS BAND-VENUS DRESSED IN PLASTIC GARBAGE, 1982, USA
The A side of this minimal synth mega-collectable (though that descriptor is mostly due to the presence of a drum machine on the first side) is a crisp bit of stripped art rock with a street smart lippy delivery at the fore, the B-side hitting a certain Here Come The Warm Jets stride thats even most appealing.
MICKEY BLISS-VIDEO LIZARDS/COCKTAILS FOR TWO, 1982, USA
Not sure whether this or the above came first (info on the web is near nil), but energy levels are much more jacked on this one, vocal swagger still to the fore, though this time with the synths set on blare. Intense and excellent.
PETE BRANDT'S METHOD-WHAT YOU ARE/POSITIVE THINKING, 1980, UK
Suave and distinctly Arthur Russell-like funk and disco inflected art pop whose lushness seems weirdly out of context for a "brown rice" UK DIY imprint like Fried Egg. Good shit.
BUTZMANN & SANJA-VALESKA EP, 1980, GERMANY
Frantic Neue Deutsche Welle psychosis from master of the game Frieder Butzmann, here in collaboration with a gal named Sanja, thats full of sped up pianos, gibbering vocals and claustrophobic electronics.
FRIEDER BUTZMANN-WHITE CHRISTMAS, 1980, GERMANY
Though this is Butzmann's single in name it actually amounts to a collaboration with Malaria, as both Gudrun Gut and Bettina Koster are present here to help Herr Butzmann disembowel these two Christmas chestnuts (the other to get the treatment is Silent Night, which "Goes Disco" according to the title, but sounds more like it goes sub-mental). A sick little counterpoint to my forthcoming post of The Hybrid Kids (ne Morgan Fisher) LP "Claws" which also finds novel ways to defile the spirit of christmas, albeit from a infinitely more well oiled and zany tack.
Get part one Here
Get part two Here
