as 2007 is coming to it's end and 2008 is read to make it's debout(!) i want to send to all of you my best wishes for the year to come and a big thank for making Mutant Sounds what it is now.I think 2007 was a very good year for our blog.I and Mutant crew assure you that 2008 will be as good as 2007 . Will be back to you just after new year's eve.
Happy new year 2008 ,full of good music and....keep your brains open!
Monday, December 31, 2007
Friday, December 28, 2007
Posted by mutantsounds at 8:07 AM
In 1979 Björk was singing in a band called Exodus with guitarists Ásgeir Sæmundsson and Þorvaldur Bjarni Þorvaldsson, bassist Skúli Sverrisson, and drummer Oddur F. Sigurbjarnason. In 1980 she left the band with Oddur and joined bassist Jakob Smári Magnússon and guitarist Eyjólfur Jóhannsson to form a band called Jam-80 because they were meant to play for just one gig, although they continued playing for a while.They performed a mixture of pop and punk music and never released any official record, but recorded a cassette demo during a gig at Hólabrekkuskóli which contained the following tracks: two songs by Janis Ian: “Run too Fast, Fly too High” and “The Other Side of the Sun”; two songs by Deep Purple: “Highball Shooter” and “Demon’s Eyes”; other tracks were “13-16” by Utangarðsmenn, “Boureé” by Jethro Tull, “Funky Town”, and two instrumental songs (untitled).This band came to an end when decided to create a punk band with more serious music. That is how Tappi Tíkarrass came into being by September 1981 with vocalist Eyþór Arnalds, who was replaced a few months later by Björk and a year later, Oddur was replaced in drums by Guðmundur Þór Gunnarsson.
The name Tappi Tíkarrass, which in Icelandic means “Cork the Bitch’s Arse” was given after Jakob’s father claimed that the band’s music “fitted like a cork in a bitch’s arse”.Tappi Tíkarrass combined elements of punk and pop music to create an exotic post punk with references to Siouxsie & the Banshees and the first stage of The Cure.
They started to record in August 1982 and released an EP titled Bítið Fast í Vítið which went out through label Spor. This 12” vinyl was formed of 5 tracks performed by Björk, who replaced the original vocals by Eyþór. The only song in English was “London”.They followed up in 1983 with the release of their first album titled Miranda, which was released by Gramm. This record consisted of 13 tracks and even though Tappi Tíkarrass was the less experimenting project of singer Björk, this album outstands with songs like “Kríó” which feature pop melodies, and “Tjet”, a song that renders a mellow start and ends with disco references.
Tappi Tíkarrass appeared on Rokk í Reykjavík, a TV documentary directed by Friðrik Þór Friðriksson. Tappi Tíkarrass was one of the 19 bands featured in the film and collaborated with two songs: “Hrollur” and “Dúkkulísur”, both of them sung by Björk and Eyþór with Oddur replacing Guðmundur in drums.
In 1983 they appeared on Nýtt Líf, a comedy directed by Þráinn Bertelsson. The film was shot in the Westman Islands and Tappi Tíkarrass played on stage two songs “Sperglar” and “Kukl” (better known as “Seiður”), under the supervision of Megas.
Despite the raise on the interest on this band as Björk developed into an international music artist, the discography of Tappi Tíkarrass has never been reissued and all the original releases are widely unavailable.The band has appeared only in two Icelandic compilations, Satt 3 which was released in 1984 and featured two live B-sides: “Sperglar” and “Seiður”. Finally, by 1998 record label Spor released Nælur, another compilation which contained the songs “Iltí Ební” and “London”, both of them taken from Bítið Fast í Vítið.
By July 1983 the band split up when Björk joined Purrkur Pillnikk’s singer Einar Örn Benediktsson, Þeyr’s guitarist Guðlaugur Kristinn Óttarsson and drummer Sigtryggur Baldursson, with Medúsa’s keyboardist Einar Arnaldur Melax, and finally Birgir Mogensen bassist from Spilafífl. Together they formed a goth-oriented and more experimental band called KUKL.
Jakob Magnússon and Guðmundur joined Bubbi Morthens to play in Das Kapital until 1985, then Jakob followed up with Bubbi & MX-21, and worked as a session player for several artists. In 2003 he released his first solo album, Bassajól. After playing in Das Kapital, Guðmundur withdrew from the music scene.After leaving the band, Eyþór Arnalds studied cello and continued with the band Todmobile and later joined singer Móa Julíusdóttir to form a band called Bong which achieved relative success in Iceland and England. He has released a few solo albums and then collaborated with Móa’s debut album Universal in 1998 and has worked in the Icelandic music industry as sound engineer. More recently, he got involved in politics running for mayor in the town of Árborg.Eyjólfur Jóhannsson continued playing with bands like Dá, The Wunderfoolzs, and in 2002 joined S.S.Sól. Oddur joined a heavy metal band called Foringjarnir, and he became an electrician. More recently he followed up with another band called Santiago releasing an album in 2002.
The last performance of Tappi Tíkarrass took place in 1987 when the band reunited to play at a night club called Safari.
Posted by mutantsounds at 7:44 AM
The Chrysanthemums-Little Flecks of Foam Around Barking ,2xLP,1988+Insekt Insekt(Go Germany),CD,1995,UK
As all you might have guessed i consider Deep Freeze Mice and all their reformations and relative bands(The Chrysanthemums,Ruth's Refrigerator,PO!,Junk Analysts,etc),as one of the most influential,amazing,important bands in the 80s UK underground music scene.Having posted quite many of the Deep Freeze Mice family recordings,and Chrysanthemums 1st LP and 7" ,here come 2 more.As always highly recommented !
The music was an odd blend of lo-fi Sixties pop, punk rock and progressive rock. Lyrics were often surreal in nature, and delivered by Burrows in a laconic English "pop" voice that recalled Ray Davies of The Kinks or Robyn Hitchcock.
The original band became inactive in the mid-1990s. Burrows and bassist Vladimir Zajkowiecz later recorded an album and single as Chrys&themums, creating a sound that was largely indistinguishable from the band's earlier releases.
Burrows went on to record as Yukio Yung and under various other aliases; he also become a successful author. Jenkins formed The Creams and opened a recording studio in Leicester, England. He currently plays in The Thurston Lava Tube.
~Stewart Mason, All Music Guide (2001)
Concerning Insekt CD it's all recorded live .Released as LP+7" box set,and CD boxset (this is the editition posted here).
Posted by mutantsounds at 3:53 AM
Denis Tagu, once a member of Hellebore, picked up bunch of musicians after the Hellebore's split (though I suspect that the former Hellebore members just assumed funny pseudonyms and continue to work in a realm of weird music for at least a few years (and more, for the linear notes promise band's ressurection in years to come, and thus 2003 being one of these years)). Lacrimae Rerum(L'Acre Hymne Aerait Rome) being listened to from a distance sounds like head on collision of 80's Residents and Barricade 3 era ZNR, at a closer "Look" listener recognizes a swarming mass of unexpected sonic combinations. More wavy than Hellebore (sometimes even discoid, and thus more in the spirit of the age). Pascal Comelade-like toy-sounds mingle with "serious" ones, say ZNR-ic or better said Satiesque keyboard passage, oozing out a myriad of eccentricities. Placed on the line of humor, but on quite the opposite side of [Hellebore's] Il y a des Jours, "Tout Comme Bach" is perhaps the finest example. Pretty good and highly recommended. Bec et Ongles is weirder in construction, looser and more playful, yet it sounds quite "normal". Playful to the degree of being thoroughly childish and containing 24 short tracks, it comes even closer to Klimperei, Pascal Comelade and other French "toylovers". The main point of this offering is not to concentrate on presentation of odd combinations but to present the everlastingness of the young spirits in general and their youth in particular. So the results are plainly charming and not mind-disturbing. It must be noted, though, that the work was accomplished with the help of L'Ensemble Raye members and associates (such as Brode Tango) in whose studio in Switzerland Bec et Ongles was recorded. The "unity" of the actors involved may help to grasp the further shift from brooding experimentation of early Hellebore days to childish ear friendliness of Look's Bec. The material thus sounds somewhat similar to Ensemble Raye efforts, but still, these may be light years away. Indispensable for any avant-prog collector.
-- Nenad Kobal for New Giblartar Enc. Of Prog. Rock
Awesome 1st LP released through AYAA label ,with contribution of Patrick Q. Wright of Legendary Pink Dots fame.A magic record....RIO experimentation at it's best.
Posted by mutantsounds at 3:33 AM
Following Eric's recent post of Brume stuff,here are 2 more tapes of his very early stuff.More abstract industrial construction here,yet sometimes it gets danceable!(well in a mutant way).The known hammers and metal-on - metal sounds,drilling your ears in a dark fiesta .
Unfortunatelly no pic sleeve scans of both tapes are available.Any help will be much appreciated.
Posted by mutantsounds at 3:21 AM
Thursday, December 27, 2007
Thought I'd offer up these additional three titles after Jim's massive Can bootleg post earlier today. I don't expect that reviews or explanations are required here. Live Can = essential listening. Enjoy!
Get Great Britain 1977 Vol. 2 Here
Get Free Concert part one Here
Get Free Concert part two Here
Get Future Days And past Nights part one Here
Get Future Days And past Nights part two Here
Posted by vdoandsound at 3:38 PM
Posted by mutantsounds at 6:44 AM
Wednesday, December 26, 2007
Following my previous post of Tuohihuilu, here 's his 1st LP from 1971 .Unfortunately no pic sleeve scans again.Please urgent help needed!Those 2 LPs although not much known and much ignored by visitors here, are milestones of Finnish prog/psych scene(well some may call it Jazz,...hmm i don't think so).Here are some additional infos found:
"Woodwind-player Seppo "Paroni" Paakkunainen has had a long career as a session musician, band leader and arranger, with a stylistic spectrum encompassing rock, pop, jazz, folk and classical. On the progressive front he has been the driving force behind the progressive folk group Karelia, while his horns have graced the albums of, among others, Wigwam, Jukka Tolonen and Pekka Pohjola. His first bonafide solo album, Plastic Maailma (LP Scandia SLP 559), is a kind of sweep through those many styles, progressive in the sense that styles are juxtaposed and explored with little prejudice. Four instrumentals join six vocal numbers where the gruff vocals of Harri Saksala alternate with the purer voice of pop-chanteuse Arja Saijonmaa, criticising consumerism, poking fun at contemporary sexual mores or singing praises to Nordic egalitarianism with the kind of sincerity that makes it hard to distinguish seriousness from levity. Throughout, the "Baron" acts as an old-style band leader, tastefully adding his saxophones and flutes to the normal flow of guitars, organs, pianos and rock rhythm section, resulting in some very colourful arrangements. He goes to East with the quasi-raga sitar/flute duet "Mango", grapples some hung-over blues-rock with "Laulajan blues" ("Singer's Blues") and takes delight in lightweight vocal pop with jazzy arrangements and a few progressive touches (e.g. sudden textural and dynamic shifts) in the likes of "Kun elämä alkaa" ("When Life Begins"). More obvious homages to prevalent progressive role models appear too: The flute carries the swaying main melody of "Ennen nyt" ("Before Now"), taking to Jethro Tull-like hoarse riffing and soloing during the instrumental interlude, while "Beat Bolero" has Coltraneish saxophone stabbing riffs in unison with the guitar and wailing over gloomy organ chords and the martial drumbeat, very much out of the Crimson cookbook. The end result is a slightly dated, but charmingly odd-ball collection that can be of interest to fans of early progressive. It is still best remembered for its surrealistic cover painting. --
Kai Karmanheimo for New Giblartar Enc of Prog Rock"
Posted by mutantsounds at 1:47 AM
The Red Crayola was a psychedelic, avant-garde rock band from Houston, Texas, formed by art students at the University of St. Thomas (Texas) in 1966. The band was led by singer/guitarist and visual artist Mayo Thompson, along with drummer Rick Barthelme (brother of novelist Donald Barthelme) and Steve Cunningham. Their work prefigured punk and the no wave scene in 1980s New York City.
Thompson has continued using the name, in its legally-required permutation The Red Krayola, for his musical projects since.
They make noise rock, psychedelia and occasionally folk/country songs and instrumentals in a DIY-punk fashion, an approach that presaged the lo-fi aesthetic of many 1990s US indie rock groups. Negative reviews have come often during The Red Krayola's history. A critic once wrote, "It's a band that has no idea how to play its instruments. In fact, they don't even know what instruments are, or if the guitarist has the ability to remain conscious long enough to play whatever it is a 'note' might be." He added, "This is a band that was paid ten dollars to stop a performance in Berkeley. If Berkeley's not having it, you know you're in for rough sledding."
In 1966 the band signed to International Artists, home label to fellow psych-rockers The 13th Floor Elevators that was run by Lelan Rogers (brother of country musician Kenny Rogers). In 1967 the label released the psychedelic album, Parable of Arable Land, featuring six songs by the original three members interwoven with a cacophony generated by approximately 100 anonymous followers known as The Familiar Ugly who appear on a number of noise tracks called Free-Form Freak-Outs. The album's title track was a tape loop of electronic sounds with musical improvisations layered on top of it, a sound that foreshadowed the Red Crayola's second recording.
The minimalist music album Coconut Hotel was recorded in 1967 but rejected by International Artists for its lack of commercial potential because of its complete departure from the full-sounding guitar/bass/drums/vocals rock sound of the Red Crayola's first album. Coconut Hotel featured such self-described tracks as "Organ Buildup", "Free Guitar" and a series of atonal "One-Second Pieces" for piano, trumpet and percussion. The album did not see release until 1995. During this period, the band performed a concert in Berkeley, California where they attached a contact microphone to a sheet of aluminium foil that was set under a block of melting ice. The Red Crayola also performed with guitarist John Fahey and recorded an entire studio album of music in collaboration with him, but label head Lelan Rogers demanded possession of the tapes and recorded documentation of those sessions has been missing ever since.
The band's second album to see release (and the first to be released with the new "Krayola" spelling) was 1968's God Bless The Red Krayola And All Who Sail With It. God Bless presented a middle ground between Parable of Arable Land and Coconut Hotel, having veered away from the cacophonous psychedelic approach of their first album, but performing short, minimalist songs on electric guitar, bass and drums (interspersed with occasional a cappella harmonies and piano interludes) to achieve some surprisingly melodic results and even more surprisingly off-kilter lyrics. Hints of the as-of-yet unheard music on Coconut Hotel also revealed themselves (the track "Listen To This" is a one-second piece with spoken introduction) and the album as a whole sounds more like the early post-punk of the late 1970s than the Red Krayola's hippie-era contemporaries. The album was not as well received as the band's first release and the Red Krayola's original lineup disbanded.
In 1969, Thompson recorded a solo album called Corky's Debt to His Father for a small label called Texas Revolution. The album, which has come to be regarded by many as the unheralded jewel of the Crayola catalogue, is devoid of Thompson's usual avant-garde indulgences, and consists instead of ten lyrically-dense but warm-hearted pop songs, in various styles - Dylan-inspired blues-rock, Tex-Mex pop-rock with psychedelic touches, and early country rock not dissimilar to the contemporary work of Gram Parsons and the Flying Burrito Brothers. Thompson was backed by studio musicians on the album and none of his usual Crayola (or 13th Floor Elevators) cohorts appear.
Mayo Thompson continued to make music, both under his own name and as The Red Krayola. He teamed up with American drummer Jesse Chamberlain and recorded the single 'Wives in Orbit' and the album Soldier Talk both of which could be seen as musical responses to punk rock. His collaborations in the 1970s and 1980s read like a roll call of the avant-garde and experimental artists and musicians of the era. The Red Krayola teamed up with the Conceptual Art collective Art & Language for three LPs: 1976's Corrected Slogans, 1981's Kangaroo? (also featuring The Raincoats' Gina Birch, Lora Logic and Swell Maps' Epic Soundtracks) and 1983's Black Snakes. Thompson joined Pere Ubu for a period in the early 1980s, performing on several releases, and provided soundtrack music for Derek Jarman. Throughout this time he was prolific as a producer for many other seminal experimental and alternative rock acts, including The Fall (1980's Grotesque (After the Gramme)), The Raincoats, Scritti Politti, Blue Orchids, Cabaret Voltaire, Stiff Little Fingers, Kleenex, The Chills and Primal Scream.
The 1990s found The Red Krayola with a new audience, who came to the group via musicians associated with Chicago's Post Rock scene and in particular the Drag City label, who had joined the band's ever-shifting line-up for a number of releases including the LPs Hazel (1996) and Fingerpainting (1999). These were, amongst others, Jim O'Rourke and David Grubbs of Gastr del Sol, the post-Conceptual visual artist Stephen Prina, German painter Albert Oehlen, George Hurley (formerly of The Minutemen and fIREHOSE), Tom Watson of Slovenly, and John McEntire of Tortoise. In 2006 the group issued an album, Introduction and an EP, Red Gold.
In 1995, Drag City released 1967's Coconut Hotel LP and in 1998 issued The Red Crayola Live 1967 with material from the Angry Arts Festival and Berkeley Folk Music Festival including their live collaboration with John Fahey.
Thompson is active as an art critic and currently lives in Edinburgh, Scotland, and in California, where he teaches at the Pasadena Art Center College of Design.
British Space Rock group Spacemen 3 recorded a version of "Transparent Radiation" from the Red Crayola's Parable of Arable Land, and the same album's lead track "Hurricane Fighter Plane" was covered by UK deathrock group Alien Sex Fiend in 1986 and by Scottish act Future Pilot AKA in 1996.
Although no introduction was needed for this influential band i had typically to place one here.This is a rare LP from 1983,released through Rec Rec in 1983 and rereleased in 1997 from Drag City (both now out of print).Coming out just after Kangaroo this LP is blending the great schizophrenic Mayo Thompson post punkish improvisation assisted by members of Essential Logic and as far as i remember Swell Maps ,mixing post punk ,jazz and psych hints.
Posted by mutantsounds at 1:15 AM
Posted by mutantsounds at 12:59 AM
Uve Schikora (vocals, soprano sax, piano, organ), Michael Schubert (vocals, 12-string guitar), Bernd Müller (organ), Jürgen Matkiowitz (guitar), Jurgen Diessner (bass), Reiner Miehatsch (drums), + Frank Schöbel (vocals)."
Posted by mutantsounds at 12:37 AM
Tuesday, December 25, 2007
By the 1970s, Finland had produced a number of interesting academic and avant-garde electronic music pieces, ranging from the electronic études of Bengt Johansson to M.A. Numminen's ear-razing experiments with digital-synthesizer pioneer Erkki Kurenniemi's "electric quartet". However, it was keyboard wizard Esa Kotilainen's Ajatuslapsi (LP Love Records LRLP 196) that really spearheaded the emergence of rock-oriented, Berlin-school synth music in the country. You can hear this on the album's centrepiece, the suite "Unisalissa" (In the Dream Hall) that spans its A-side. A few minutes into the piece, the harmony settles on to a single droning organ chord, over which a synthesizer slowly draws four-note melodic fragments that shine as incessantly as any mentally-disturbed jewel. Soon we have multiple synthesizer ostinati echoing across the Rubycon while the spooky organ and string-synthesizer's melodies prophesy a Phaedra-like tragedy. However, Kotilainen next goes beyond this familiar German space: most of the rest of the suite is taken up by a corrosive, Arabic-modal organ solo over the ominously trudging, buzzing and trilling synthesizer accompaniment. And as if to balance the electronic darkness of the piece, the brief coda has accordion playing a frostily folky melody, backed by that most Finnish of instruments, the kantele. On the B-side, "Avartuva nδkemys" (A Widening Perspective) is more an intricate sound-effect narrative than a fully engaging musical composition, but "Ilmassa" ("In the Air") is another hugely effective synthesizer meditation over a single organ chord. Kotilainen's work may lack Klaus Schulze's Wagnerian monumentalism or Tangerine Dream's atmospheric profundity. Instead its homespun production values, its modest instrumentation and its subtle folkloristic touches make it sound quite refreshing within a musical style that later has been followed, imitated, copied, remixed and sampled nearly to death with all the state-of-the-art electronic instrumentation modern technology has produced. It is derivative yet different enough to be interesting, if not earthshaking. Love Records' successor Siboney has been promising a CD re-release for years, but at the beginning of 2005 those were still just promises.
In addition to his prolific studio works and collaborations with the Lapp artist and author Nils-Aslak Valkeapää, Kotilainen has played with many Finnish progressive rock artists, including Wigwam and Jukka Tolonen. At one time he was the sole owner of a working Mellotron in the country. The white beast makes an appearance on his 1995 solo album Aamu joella - Morning by the River, but this album is more a showcase for his accordion and more about folk music than anything else. From 1999 on he has been the regular keyboard player for the reformed Wigwam.
From New Giblartar Encyclopedia of Progressive rock
One of the 70s milestones in electronic music.
Posted by mutantsounds at 2:46 PM
In 1985, after the split up of the political unit 'White Hospital', Tomo Kuwabara started up the unit Vasilisk with Yukio Nagoshi (percussions/guitars) and Chiaki (percussions). They made a first album called 'Whirling Dervishes' in 1987, released through Eskimo, which was the label established by Yun 'Grim' Konagaya. In this album they played several and unusual instruments: African skin-drums, African flute, Tibetan percussions, Ancestor's voices. In 1988 they made a second album called 'Mkwaju' with the same line-up and also released by Eskimo. Just after the release of this album, Tomo and Yukio joined Rose Mcdowall's new project Candy Cain. They toured through Japan during most of 1988. Around that time, Luciano Dari invited them to release their next album on his label Musica Maxima Magnetica. After the collaboration with the Rose's project in 1989, they started to record their third album 'Acqua' in London and Naples (Italy) with the same three members. 'Acqua' was released at the end of the same year by Musica Maxima Magnetica. After they came back from Europe, they started to compile and remix their previous material from the three albums in order to release their most intensive tracks on their debut CD release, entitled 'Liberation and Ecstasy'. After that they went into a long silence of 5 years. Tomo traveled around Asian countries for nearly 2 years starting in 1991, in order to search his identity as an Asian.... Most people knowing and expecting a lot from this unique band, were thinking they had stopped all activities, but that was not true! In fact during this time they had recorded two (still) unreleased albums. The first unreleased one was recorded in 1993 and it was called 'Tongue'. At that time the line up was changed as Yayoi (voice), Hidero (guitars) and Tomo (percussions). In 1994 they went to Moscow in order to make their own documentary program on TV and join the Contemporary Music and Art Festival. In 1995 they made a second unreleased album, recorded in Tokyo. Unfortunately they decided not to release these 2 albums as they thought the sound was odd and incomplete. They went further in song-oriented direction including a female vocalist...but they felt that direction was inappropriate for them, because of the lyrics; whereas most artists are using lyrics to express their policy, they felt the lyrics were a constraint, since they tend to define the image of music and imagination of listeners. After those chaos years, Tomo met Tsuyoshi (keyboard) and they started as Vasilisk to create a new sound with another method of musical expression. They were admiring the techno-sound with strong rhythm to create a state of trance like ancient shamans....full of united groove. So they choose the psychedelic trance sound which stimulates their brain directly without any words.
IMHO their best LP with a variety of styles,from dark ambient to strange ballads(one song is written by Suzanne Vega!).
Posted by mutantsounds at 2:34 PM
A1 Daze Of Trance Asshole Song
A3 7 From Life Eaten By His Own Dream
A4 Hidious In Strength For Zora & Priss
A6 Architectural Metaphor Innervistas
B1 Psi Field The Summoning
B2 Flagellants Protective Custody
B3 Holy Cow MKC-MWBD
B4 Coup De Grace Aufziehen
B5 Coup De Grace New Toxick Force
B6 Sleep Chamber Warming Up In Background, Raid By Police On Last Night
get it here
Posted by mutantsounds at 2:17 PM
Posted by mutantsounds at 1:59 PM
Continuing our explorations in 70s Swedish underground music scene ,here's a compilation came out through Silence label,gathering some of the most important folkish progressive acts of it's time. The whole project is blended by leftist feeling,pacificism,and all those "alternative" 70s ideologies.Musically it varys from folk to pilitic cabaret,some rockish tunes, protest ballads.
here's the tracklist:
1. Bernt Staf - Högenergi eller lågeneri (3:47)
2. Tore Berger - Kapitalets bön (4:01)
3. Elektriska Linden - Röster i vinden (4:14)
4. Turid - Solens Visa (5:56)
5. Roland von Malmborg - Stoppa all atomkraft (4:10)
1. Nynningen - Det löser sig (6:11)
2. Røde Mor - Kärnkraft (5:11)
3. Thomas Wiehe - Marianne (5:57)
4. Thomas Tidholm - Fortsättning följer (4:40)
Posted by mutantsounds at 1:20 PM
Vertical Slit was spearheaded by the prolific and uncompromising Columbus, OH-based singer/guitarist Jim Shepard, later known for fronting the band V-3. Formed during the mid-'70s, the loosely constructed Vertical Slit took its cues from Shepard's piercing, feedback-intensive guitar and corrosive lyrical outlook, first documented on the barely released 1977 cassette Slit and Pre-Slit. A series of releases followed -- 1980's The Live EP and 1981's Smudge 7" among them -- all barely heard or acknowledged outside of the Ohio underground community. Though recorded a good five or six years earlier, the live Under the Blood Red Lava Lamp cassette went unreleased until 1986, followed a year later by Basement 2115; only a subsequent feature in Forced Exposure magazine brought Shepard and Vertical Slit any kind of national attention, prompting collectors to begin futilely scouring bins for the band's long-out-of-print releases. 1990's Vertical Slit and Beyond assembled highlights from the group's catalog, but excepting the 1991 cassette Your Wife Is Licking My Strobe Light and Grinning, Shepard now focused virtually all of his energies into his new outfit, V-3, taking time off upon completing 1992's Negotiate Nothing after nearly losing his hand in an industrial accident. When V-3 resurfaced in 1996 with Photograph Burns, remarkably enough, they'd landed on a major label, American's short-lived Onion imprint. Sadly, Shepard committed suicide on October 16, 1998; he was just 40 years old. ~ Jason Ankeny, All Music Guide
The first tape is recordings from 1976-1980,more improvisational at it's song formating but with a punky feeling,while the 2nd one (your wife....) is live recording,more "in your face " punk rock in a Stooges,MC5 way. LAFMSish experimentation with hints of Pery Ubu,MC5,Sonny Sharrock,and Michael Karoli of CAN fame,with extraordinary guitar constructions and black humur lyrics.Missing the 2nd tape covers(any help?).
***************NEW LINK POSTED SEPTEMBER 2012***************
Get it here
Posted by mutantsounds at 12:36 PM
Their peculiar blend of raw guitars, electronics, Dutch lyrics and unconventional song structures was too hybrid for many. Those howewer who, without prejudice, would lend an ear to the band's music, discovered an energetic, authentic and uncompromising collective that stood above all trends. While so many Belgiaan "connaisseurs" had their doubts about the possibilities of international recognition for a band singing in Dutch, AROMA FI AMORE toured France, Switzerland and Spain; their records figured in alternative charts from Poland to Canada.
From beginning to end the nucleus of AROMA DI AMORE consisted of Elvis PEETERS, who in a inimitable, possessed way delivered his highly original lyrics, and Fred ANGST, guitarist mastering the heaviest riffs as well as refined tapestries of sound.
Furthermore, the line-up varied throughout the band's carreer with:- H.K. (Guitarist from 1982 until 1983)- Andrea SMITS (Organ from 1982 until 1985)- Luc PILLARDS (Synthsizer in 1986)- Jan WANDELAAR (Guitar and synthesizer in 1986)- Pulcherie (Saxophone in 1983)- Wout DOCKX (Bass from 1987 until 1988)and especially- Lo MEULEN (Bass from 1983 until 1987)and the late Frits DE CAUTER (Saxophone from 1984 until 1986)contributing to the music.
Posted by mutantsounds at 12:23 PM
Posted by mutantsounds at 11:59 AM
CAN-OUTTAKE EDITION-COMPLETE DEMO OUTTAKE REHEARSAL COLLECTION, 4xCDR, 2005 (RECORDED: 1968-1977), GERMANY
There's no need for backstory or explanation about this seminal Krautrock crew in these quarters, I expect. This four disc boot is a variable compendium of the incandescent and the not-ready-for-primetime (but then you'd expect that from rehearsal and soundcheck audio, no?). Anyone who's ever wondered what that post-Damo one-off trial run with Tim Hardin as vocalist sounded like need speculate no further (he appears on the track "Rehearsal"), though the results are as stillborn as you might expect and a low point of the set. 25 minutes of 1968 recordings set the stage here, with "Upduff's Birth" offering a fascinating window into the development of the musical portion of "Mother Upduff". With a group of magi as lofty as Can, even impromptu extemporizations have a real inherent fascination and those into the myth will find much to savor here. Disc two's 70+ minutes of Damo-era jams are a highlight of the set and lovely things to behold; especially the latter, a deadly 36 minute version of a two minute throwaway cut from "Unlimited Edition". Disc three is an equal eye opener: 59 minutes of otherwise unobtainable collaborations with Japanese avant chanteuse Phew; her wild, whacked and often Damo-like exhortations being overdubbed onto pre-existing recordings, if I'm interpreting the scant liner notes correctly. Whatever the case, this is a real gift for those who can't get enough of Phew's amazing collaborations with Can members over the years; the disc capping with an album length slab of desolate abstact weirdity, it's freaked out and frostbitten tone lending it a sound like some lost Vanity Records release from the early 80's. For 1975, it's intensely startling work. The 1975-77 period covered by disc 4 (in some ways, my favorite era, but then I'm the sort of loony that maintains that they peaked with "Out Of Reach", so what the hell do I know?) is unfortunately frequently pretty ropey sound quality wise, though the audio quality improves significantly for the latter half of the disc; the liquidy sizzle that's so much a part of why this era of Can is unimpeachable for moi coming across with ferocious vividness on the tracks, "Spree" and "Chairside Thumper".
Get disc 1 pt. 1 Here
Get disc 1 pt. 2 Here
Get disc 2 pt. 1 Here
Get disc 2 pt. 2 Here
Get disc 3 pt. 1 Here
Get disc 3 pt. 2 Here
Get disc 4 pt. 1 Here
Get disc 4 pt. 2 Here
Posted by vdoandsound at 4:36 AM
This insanely rare L.A. Free Music Society compilation manifests the most wooly and off-the-cuff facets of the cabal of dadaist noisemakers that comprised L.A.F.M.S. and is thus larded with jokey skits, stoned malarky and tape loop malapropisms, most proffered in bite-sized morsels of under a minute and a half. Pisstakey in parts, art brut brilliant at others, the latter primarily consisting of Patients' stunning 8+ minute communal trudge psych reworking of "Dreidle Dreidle Dreidle"; equal parts Parson Sound/Arbete Och Fritid heavy-lidded festival psych trudge and discombobulated contempo Finnish freak folk sprawl, and a passel of mad tidbits from Le Forte Four, Doodooettes and Ju Suk Reet Meate. Plus you get a 10 minute interview with Frederik Nilsen (Doodooettes, Bpeople, Extended Organ) pontificating on his work and life....and yogurt, ferrets and the smell of welded metal. Thanks to Brad Laner for the contents of this post.
Get the tape Here
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Posted by vdoandsound at 4:25 AM
Saturday, December 22, 2007
Luminous, elegant and often sensationally lovely psych pop confections that owe a substantial debt to Brian Wilson and Van Dyke Parks courtesy of what is, without a doubt, the least hip looking psych band that has ever existed. This features a pre-P.D.Q. Bach Peter Schickele, for those whom that means something (not I). To quote the cover: The Open Window has been described by reviewers as a chamber-rock-jazz trio, a pop-classical ensemble and a folk rock raga group, and all the names fit, except that they leave out the honky-tonk piano rolls and the Russian chants."
Get it Here
Posted by vdoandsound at 3:40 PM
Gristly and cantankerous faux Neue Deutsche Welle sturm und drang (geniale dilettanten variety) kicked up by two snarky teen rogues from L.A. intent on conning the sub-underground (apparently successfully) into believing that they were a legit NDW outfit, having secured releases under this ruse with two notable cassette imprints of the era. That one of said teens was in fact a barely post-pubescent Brad Laner (Steaming Coils, Savage Republic, Medicine, Electric Company and the person we can thank for this post's contents) shifts Stahlbau from merely being an amusing subcultural anecdote to a historical artifact of some heft, chronicling the birth pangs of Laner's fried sensibility en route to his life changing work with Steaming Coils some 2-3 years later, nascent flashes of which flicker during some of the most compelling moments here, particularly on Die Macht Der Reichen. Throbbing Gristle seems as much of an influence here as do the likes of Einsturzende Neubauten, especially on Todlicht Verungluckt, which starts with fangs bared but midway through begins tapping into a richer vein of juddering surrealism and art rock fragmentation before winding down with a cover of Can's "Soul Desert". Die Macht Der Reichen ups the stakes and widens the reach substantially, with scrambled art punk gestures gasping for breath in turbid pools of post-industrial sediment, sooty side steps into tenebrous ambience and stark bursts of electronic fizzle and splut all competing for airtime. Stahlbau's other member Mike Fey (a teen music guru to Brad and a member of Debt Of Nature's second line-up) penned a fake interview with himself in the guise of Stahlbau's Matthias Faller (Brad was known as Bernd Leitz) for the L.A. underground zine Unsound, which Brad also used to write for and which I've included below to both clue you into the spirit of the enterprise and to cement the legend.
"I am going to attempt to explain a few things about Stahlbau through an interview and my personal experiences with the "leader" of the band, Matthias Faller (in as far as that he can be called the leader of the band). I first met Matthias when I was 14 at a boarding school in Ottersberg near Bremen, Germany. Over the three years that I knew him he always seemed very distant from everything, a trait which most people who met him perceived as arrogance, which to a small extent, it may have been. There was one thing about him I always found amusing, even though odd, and this was his basic hatred of music. He would leave the room if you put on something he didn't like and that wouuld include everything except for the approximate 10 records he owned (all the Amon Duul albums, A few Can, Faust and Edgar Varese). These records were the only music that he would listen to. What does all that have to do with Stahlbau? Most people that I know that have heard the band are annoyed and/or intrigued by their sounds and attitude, and I believe that this can be directly traced back to Matthias' teenage years, although the group steadfastly denies there being a leader, it must be obvious that it is Matthias that dictates that sound as the influences are the exact same as the groups mentioned earlier, and it is true that he surrounds himself with those who are like minded, so as not to have to deal with what he calls "irrelevant influences". When I moved back to America in 1976, I lost contact with Matthias, and was therefore very surprised to receive a long letter and cassette in the mail in 1982, which contained most of what became their first release on Another Room's cassette label. Personally I find their material far more powerful than any other recent German band; their music is as if someone had found a way to successfully record emotions, and while most people hearing the cassette will (to an extent) assume that this emotion is pure anger and hatred, this is mostly true, but it seems to me that the main idea that the band is trying to put across is a deadly fear of what they honestly feel is our inescapable future (the story behind their cassettes is not some pretentious fable that they have recently devised to seem hip and dangeerous, but something that Matthias really believed would happen back when I first met him). There is a basic storyline behind their cassette which I will try to outline here briefly: the rich have, after war/holocaust/etc. managed to take over the world and, due to the vast financial resources that they had, were able to survive this completely unharmed. Everybody else (the few left) are too weak to make any kind of attempt to prevent this takeover. They are essentially slaves to the rich, and the rich, in order to ensure total submission, will immediately (actually have killed) anybody who disobeys, steps out of line, or does not fill their work quota (this is actually quite logical, as if the person charged is not given any chance to defend himself, cannot spread dissent, and hence, the people are governed by fear in a completely fascist state). The series of cassettes that the band hopes to put out will chronicle the events taking place there. Oh yeah, the story does not have a happy ending for the workers. The band tries to avoid all contact with their fans, not out of arrogance but because they feel that there is absolutely nothing that they could offer them outside of their music, and that any meeting between the group and a fan would be disillusioning to the fan, as the group is withdrawn around others to an almost absurd extent.
The group's next cassette will be out on Aeon by the time you read this.
The following is a short interview with Matthias conducted by Michael Fey, in August 1983.
Us: How long until the tape series is finished?
Matthias: Three, maybe four years. You see, we only record as we are asked to. When somebody desires to release our music we take up where we left off on the last tape and continue. This is good in that there exists absolutely no outtakes of ours that may be released at some other time. This affords us all the control over the music as we could hope for.
Us: As a German band it is a bit unusual for you to have no German label; to only be dealing (so far) with American labels. You are all but unknown in Germany, right?
Matthias: This is true, but then we have never geared our music for any specific market. Most of the people over here who heard our first music hated it, and this made us all the more determined to get it released. While it would have been nice to have had the cassettes put out on a German record label, the attempts to have this done were frustrating and degrading. You know, by having sent the cassette to Americans has shown how easy it was to generate interest. Too us it only matters that the music is released and our message heard. Germany had it's chance, and they lost it. Nobody here cares about the band, why should we care about them? Besides, as I said, we make the music as it is desired from the label. Most German labels would want a finished product and are not at all willing to wait six months to a year while we finish it for them. We feel that we have had much luck with getting music to people and have little to complain about. Besides, I think it to be quite novel being a German band without a German label, do you not?
Us: Will you tour?
Matthias: We will not be treated like animals while touring. If our conditions are met we will tour. So far promoters have found our proposals unacceptable, Until they are met, we won't tour. Live shows are uncomfortable to do for us, and if we do them, then we must have a very good reason to do them. Our conditions are these reasons.
Us: Why do you avoid contact with your fans?
Matthias: There is nothing we can say to them that would be of interest to them. Most who meet us are disappointed and think of us as cold, arrogant people.We are not, we just find it extraordinarily difficult to communicate with those whom we have never met and find being put in that position very uncomfortable. Look at it this way: If you are a fan of somebody's you probably have a very high opinion of them. But what if when you meet them and they are very worn out, or are not what you expected? Then you dislike that person as they have disappointed you, right? By avoiding contact with our fans, we also avoid disappointing them, which in the long run is better for both us and the fans, do you not think so? Our music says all we could say to them as strangers. Our music is our communique to our fans."
*********NEW LINK FOR TODLICHT VERUNGLUCKT POSTED OCTOBER 2012**********
Get Todlich Verungluckt here
NEW LINK FOR DIE MACHT DER REICHEN COMING SOON...
Get Die Macht der Reichen Here
Posted by vdoandsound at 3:31 PM