Wednesday, January 31, 2007
Sea Train were a short lived band that grew out of the remains of the Blues Project.They produced one self-titled album on A&M in 1969 that has become regarded as a minor classic, combining classical,folk,rock and jazz forms to create a quite unique musical artefact.
Posted by mutantsounds at 1:03 PM
DENIZENS IN THE CROWD E.P. ,UK 1980
DISCO ZOMBIES:HERE COME THE BUTS 7", UK, 1980FK9:STRANGER AT THE HEART/COMPLETE SURVEILLANCE 7", UK,1980
Posted by mutantsounds at 12:27 PM
Toy Love were together for less than two years (1978-9) and spent a large part of that time in Australia. They released just one (self-titled) album, however the band members were apparently appalled by the mixing of the tracks which took the edge off the band's deliberately raw sound.
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Tuesday, January 30, 2007
Very rare and great one minimal synth compilation released in 1983 in UK by Glass records ,containing US bands!
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crack the whip AND film music (pt. 2) by JESUS COULDN'T DRUM
out of contact AND lesson by COLD WAR
hit the deck AND forward to regression by THE SLEEPING PICTURES
stop press AND robot chef by VERTICAL HOLD
andrew summers AND night time by THE KEVIN STAPLES BAND
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OPEN EYE RECORDS OE-LP502
Posted by mutantsounds at 1:33 PM
Posted by mutantsounds at 1:17 PM
It's misleading to call this rock music though, because rhythmically it doesn't use any conventional rock beats, and the percussion is used in a strikingly unusual way that gives a droney effect despite using a rapid stream of drum hits. That's drum, not drumkit. I don't think there's any drumkit used in this music. I suppose we could call this music "ecstatic psychedelic electric avant-folk music".
What's so amazing here is that the instrumental parts of the music are equally as idiosyncratic and startling as Ribeiro's bracing vocals. These people were from another planet. The avant-folk precursor to Magma.
Michael Anton Parker
Posted by mutantsounds at 12:54 PM
The Orchestra reflected Cardew's musical philosophy at that time. This meant that anyone could join, graphic scores were used (rather than traditional sheet music), and there was an emphasis on improvisation. The Scratch Orchestra arose from Cardew's 'Experimental Music' class at Morley College, London, which served as a venue for extra rehearsals for Scratch Orchestra concerts, but Scratch Orchestra rehearsals were also held separately.
The first meeting of the Scratch Orchestra was at St. Katharine's Dock, 1 July 1969. It was announced by means of a 'Draft Constitution', published in "The Musical Times" in June 1969. The Draft Constitution set out categories of musical activity: Improvisation Rites, Popular Classics, Compositions, and Research Projects. Cardew also proposed that the responsibility of programming of concerts be assigned in reverse seniority, so that the first concert, on 1 November 1969 at Hampstead Town Hall, was designed by Christopher Hobbs, an eighteen-year-old student of Cardew's at the Royal Academy of Music.
Despite the emphasis on free improvisation, the varying experience of the members, and the 'do your own thing' free aesthetic of the time, the Scratch Orchestra was a disciplined ensemble. Eventually the strains of Cardew's "reverse seniority", tensions between musically-trained and non-musically-trained members, and an increasing interest in political aesthetics led to a gradual change in the activities, and then the outlook of the ensemble. It was effectively inoperative by 1974.
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A book with 333 3/3 pages and 33 illustrations was the curriculum vitae (birth, evolution, ending) of l'Infonie, something that would characterise Kébèk from 1969 until 1973. With 33 artists, all lucid dreamers, L'Infonie became a polyvalent spectacle with paintings, sculptures, theatre, poetry, and music (popular, concrete, electronic and contemporary, folk and free jazz). The first book was followed by 6 others, 8 discs, a dozen of films, painting expositions, 5 theatre pieces.Walter retlaW uaerdouB Boudreau was the musical motor of l'Infonie, Claude Edualk Ts-Nyamreg St-Germain was the delirious teller, and Raôul luôaR yauguD Duguay was the verbal motor. Together they formed a creative basic trinity.Vol.33 Mantra is based upon Riley's in C, with Raôul Duguay, trumpet. It should have been perfect for my show in many ways. "In C" is like a kind of mantra in favour of life and its manifestation. Still inspired by the '67 expo, where new ways of living were considered (meditation, drugs, macrobiotic cooking,..) this meant another modification of our perceptions within the time limitation of a music piece. "In C" has the advantage of being able to be repeated to express that all in all manifestation ("touttt é to bouttt" / everything is in everything). Musically it was inspired by La Monte Young's "House of Dreams", performed by musicians like Terry Riley, Philip Glass, Steve Reich, Bob Ashley, John Cage, Karlheinz Stockhausen ("Mantra" & "Stimmung"). With Pandit Pran Nath from Tibet La Monte Young and Terry Riley sang the "Ôm" pulsation, expressed trough "in C" in 53 motives. Express everything or "Express toutt" becomes the life impulse of a kind of locomotive of life calling "toutt-toutt-toutt", followed by 53 wagons. All motves, languages are reassembled and dissembled by one another, as a symbol of the eternal change, an omega of evolution. The goal through this piece was to get to that ever changing evolution pulse, transforming into a hymn to life. Life and its creation are celebrated through the forming of each cell and atom.
Posted by mutantsounds at 5:19 AM
Monday, January 29, 2007
Posted by mutantsounds at 3:50 PM
Alan Jenkins Sherree Lawrence Michael Bunnage Peter Gregory with Neil Stout: guest lead guitar on Fish in the air/birds in the sea, (and he also engineered it all)
Posted by mutantsounds at 3:43 PM
Side 1 (Orange)Something else instead (3.29)
I love you little Bobo with your delicate golden lions (0.53)
Why do you squeak? (2.02)
Most people aren't fit to live part one (0.57)
Entropy of cubes (1.03)
Most people aren't fit to live part two (2.53)
Polanski's dog (2.47)
Twenty three exceptions (1.34)
O.P. 1 (0.20)
O.P. 2 (0.03)
Who's afraid of humans ? (4.39)
Side 2 (Yellow)(24.55)
Side 3 (Lemon)
A trillion sprods (13.23)
a) The dalmation b ) Natural forces c) 186,000 endings per second (4.19)
Side 4 (Cream)This is terrible (3.24)
All through summer (2.53)
Whose afraid of humans? (reprise) (0.51)
Roget's thesaurus (3.27)
A motor throbbed above the rim of the brush (3.44)
A trillion sprods (version) (3.03)
Sherree Lawrence: organ, piano vocals Michael Bunnage: bass, lead guitar on 'Trillion Sprods (version)' Peter Gregory: drums Alan Jenkins: vocals guitar and also John Grayland: trumpet, euphonium, oric programs (OP1+OP2) Andrew Nicholls: Alto sax Paul Devlin: cello side two Mark Orphan: double bass side two Ricky Willson: engineering Neil Stout: engineering (side two) David Wells: editting
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Posted by mutantsounds at 3:02 PM