Great release from Konduktor records.This 40 minutes tape contains great minimal synth/experimental tracks,blended with a claustrophobic feeling .Reminds much Clock DVA early recordings, Voice of America era Cabaret Voiltaire,etc.Incredible!
Great improvisation folkish tape by this great Swedish band that exosts from 1971 .Connections with TRAD GRAS & STENAR.Anyone who can provide their first lp?
Here is the much desired by many friends of the blog collaboration of Arthur Brown and Craig Leon from 1984.Great minimal synth /psych blended with the crazed out Arthur Brown vocals.
"The Philadelphia-based noise rock collective Temple of Bon Matin sounds like early Hawkwind jamming with Glenn Branca's guitar orchestra, to the accompaniment of an extremely busy construction site. Their near-atonal freakouts are as challenging and uncompromising as rock music gets, but they have enough dynamics and compositional ideas to make their records more than simple exercises in repetition and annoyance.
The heart of Temple of Bon Matin is the duo of drummer Ed Wilcox and keyboardist John Mulvaney. Wilcox and Mulvaney are the group's only constants, with other members added and subtracted according to whim. The group's first album was recorded in 1993, but not released until 1995; Thunder, Feedback and Confusion is probably the group's most overtly rock-oriented work, with some of the songs even having recognizable melodies. Although Enduro was released less than a year later, the nearly three years between the recording sessions, added to this album's expanded roster of musicians, means that there's an enormous musical progression between the two, with a strong element of free jazz integrated into the hard rock textures. 1997's Bullet Into Mesmer's Brain is an even more out-there fusion of the MC5, Amon Duul I, and the early Red Krayola; its seven untitled tracks were recorded as live improvisations with an even more experimental Philadelphia ensemble, the Tibetan Bowlers.
Other than a track on the 1997 Hawkwind tribute Assassins of Silence and a collaboration with fellow Bulb Records artist Mr. Velocity Hopkins, Temple of Bon Matin were silent for several years after Bullet Into Mesmer's Brain as Wilcox and Mulvaney worked on other projects. The duo reconvened in 2001 and recorded a brand new fourth album, Cabin in the Sky. A live show from this era was printed up as a limited edition CD-R and sold through the Bulb Records website. "
~ Stewart Mason, All Music Guide
Unbelievably good space rock,combined with improvisational /free jazz elements creating a strange "out there" atmosphere.One of the strangest records i've heard lately.
***************NEW LINK POSTED SEPTEMBER 2012***************
Get it here
"This is the first solo album from sometime Tony Wakeford collaborator Tor Lundvall. Ice is a direct progression from his earlier collaboration with the said Mr Wakeford Leaves Of Autumn. Frozen Moon, Ice, Star Cathedral, Despair & Precious Angel are some of the tracks that make up the 19 contained within this release. This release is a fine example of the dark twisted ambient sounds that Lundvall can call from the darkest recesses of his mind. Dark yet truly beautiful, I cannot recommend this release enough. "
from Ice press release
Great dark electronic experimental recordings by this prolific artist. Released privately and long out of print.
Excellent experimental home recordings contributed by Adam (thanks!).Would really appeal to any fan of early Tuxedomoon,Renaldo and the loaf,Snakefinger, Residents! Too much underrated!
"The band was formed by vocalist David R. Edwards and instrumentalist T. Wyn Davies in 1982, with instrumentalist Patricia Morgan joining in 1985.[1] Edwards' lyrics were almost entirely in the Welsh language.[1] After four cassette-only releases on Casetiau Neon, the band had their first vinyl release in 1987 on Anhrefn Records, with the "Hugr-Grawth-Og" single, which was picked up by John Peel and led to a session being recorded for his BBC Radio 1 show (the first of five such sessions). The band's first album, Wyau (Eggs), was released in 1988, and was followed two years later with Pyst (Post) on the Ofn label. Davies left in 1990 and the group continued as a duo for a while, before being augmented by a series of musicians, notably drummer Al Edwards. Moving to Ankst Records, the Christmas-themed Blwch Tymer Tymor cassette was issued in 1991. Edwards collaborated with Ty Gwydr and Llwybr Llaethog on the 1992 album LL.LLV T.G. MC DRE, before releasing a final Datblygu album in 1993 with Libertino.[1] After a single, "Alcohol"/"Amnesia" in 1995, the band split up.
"The Evolution Control Committee (The ECC) is an experimental music band based in San Francisco. The ECC was founded by Mark Gunderson (a.k.a. TradeMark G.) in Columbus, Ohio, in 1987. It typically uses uncleared and illegal samples from various sources as a form of protest against copyright law. The ECC also produces numerous audio experiments, such as the disfiguring of compact discs in live performance, known as "CDestruction", and has produced a few video works as well, ranging from re-edited 50's corporate shorts to a Teddy Ruxpin reciting the works of William S. Burroughs. Other activities include culture jamming.
They are one of the pioneers of the mash-up or bootleg, where two or more songs are mixed together into a new track. According to Neil Strauss in the New York Times, "...many musical observers trace the official beginnings of the British bootleg scene to The Evolution Control Committee, which in 1993 mixed a Public Enemy a cappella with music by Herb Alpert." These are the now-classic "Public Enemy/Whipped Cream Mixes", with Public Enemy's inflammatory raps, "By the Time I Get To Arizona" and "Rebel Without a Pause" overdubbed onto instrumentals by Herb Alpert and the Tijuana Brass.
The ECC is probably best known for its song "Rocked by Rape", consisting of samples of Dan Rather's deadpan delivery describing various atrocities over looped riffs from AC/DC's "Back in Black". This work brought legal threats against The ECC by CBS, but by 2003, CBS appears to have let the issue go by. "Rocked by Rape" was nationally broadcast on NPR's All Things Considered in 2000[1]. It was even played at a roast for Rather, which was later broadcast on C-SPAN.
The ECC Logo.Since 2000, Gunderson has performed his works on stage through an electronic instrument of his own invention: "The Thimbletron." It is made of a pair of gloves with ten thimbles attached at the ends of the fingers, which are then wired to a laptop computer. As the thimbles are touched together, the laptop in turn plays a different sound sample. Gunderson claims that the device uses "thimbletronium energy" and warns that "thimbletronic radiation can leak unexpectedly due to a mishap during a live performance. The audience is advised to attend Thimbletron performances at their own risk." Gunderson has also modified a bread toaster in a similar fashion, with each depression of a lever playing a sample."
From Wikipedia
Wonderful experimental cut-up music here!This is their first ever release,one side is their first ever live show and the other one early studio recordings. Don't miss it!
After my long absence ,which will sadly be continued till i move and get organised in Germany, here's a new bunch of posts.Ton Lebbnink was the drummer of the legendary Nederlandish band ,Mecano.This is his 2nd private lp (first one was posted a while ago in the excellent No Longer Forgotten Music blog). Post punk experimentalism all through, not far from the early Mecano sound yet more abstract sounding. 
DET GYLNE TRIANGEL-MASKINDANS/FAR ALDRI NOK, 1982, NORWAY
Spiffy Norwegian minimal synth moodiness with a Keine Ahnung-like NDW vibe on "Maskindans" and some early Ultravox overtones on "Far Aldri Nok".
CHRISTOPH HEEMANN/ANDREW CHALK-CASSIA FISTULA, 2002, GERMANY/UK
Suspended and glassy drifts of gliss and blear from these two members of the now defunct Mirror, each chiming in with a side a piece that evanescently bleeds into the other.
CHRISTOPH HEEMANN-RETRACE, 1995, GERMANY
former HNAS and soon to be Mirror member Heemann here in his in-betweeny phase where a residual thread could still be traced back to the polymathic strangeness of HNAS via ghostly surrealist phenomena flickering at the edges of his glazed atmospherics.
HERMAN'S ROCKET-SPACE WOMAN, 1977, FRANCE
Absolutely fucking deadly space disco cheese godhead from the all-time master of the genre, Messr. Jean Pierre Massiera, otherwise known for his reality annihilating assaults on psych and prog via Les Maledictus Sound, Visitors and NWW-listers Horrific Child and his avant disco landmarks under the Venus Gang and J.P.M. & Co. monikers, which this Herman's Rocket material most closely resembles.
HIDDEN COMBO-KING OF SIAM/MUSIC FROM A SOPHMORE, 1981, USA
Boy...these cats don't make much of an attempt to disguise their Residents/Ralph worship with that cover, eh? And their tunes carry through on the promise in spades, Snakefinger's snarky prints leaving the most evifdent residue, though Nash The Slash, Pink Section, Christian Lunch and Null And Void are all clear points of reference for what's transpiring here as well.
THE HIGHER PRIMATES-TAKING IN THE SUMMER/LIVING IN A VACUUM, 1980, USA
A top tier minimal synth classic that evokes a unique frisson from rubbing wrenchingly evocative clarinet and synth themes with a strong akin to both Tuxedomoon and Nash The Slash against the grain of some truly inscrutable lyrics and commensurately goofy vocal delivery. 
HOLGER HILLER-TRANENINVASION, 1980, GERMANY
Two brief spurts (sorry...couldn't resist) of stellar post-Ralph Records Neue Deutsche Welle doink-a-rama from this godfather of the genre, here deploying tinker toy beats, retrofuturist synth theme kitsch and sing song vocalese inside an all encompassing atmosphere of amiable idiocy. Cover makes me wonder if Traneninvasion translates to trannie bukake though...
HIRNHEIMER-FORTSCHRITT/GRENZE, 1982, GERMANY
Pretty standard issue scrabble, lurch and sprechtstimme Neue Deutsche Welle action, but hey...standards were higher then. 
HI SHERIFFS OF BLUE-AINT BUT SWEET 16/MY BIG VACATION, 1980, USA
Destroyed and barely standing up blues punk blather of a vaguely Beefheartian cast from former Girls member and current Marianne Nowattny accompanist Mark Dagley's post Girls unit after his relocation to New York from Boston. Pretty much the template for the whole John Spencer/Pussy Galore/Doo Rag/Harry Pussy continuum, if ya ask me...
HOFFNUNG & PSYCHE-S/T, 2004 (RECORDED: 1981-82), GERMANY
And speaking of tinker toy Neue Deutsche Welle, here's a choice Casio nugget if there ever was one, Hoffnung & Psyche's EP having been rescued from 50 copy tape oblivion by the fine folks at Kernkrach, who've graced it with one of their typically curious handmade covers and though the photos seem to suggest otherwise, you'd swear that none of the synths heard could possibly be larger than the size of your hand.
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New Marks is the beatifically beautiful second album (thanks to the person who corrected me on the comment board) from this unique German trio who occupy a slippery terrain between a sort of fluidly wistful folk-inflected jazz rock style on one end (think Steve Tibbetts or Yves Laferriere) and a distinctive low key wandering improv M.O. on the other, which you could locate somewhere between Confluence and Billy Bang, though often rendered in a delightfully stoned fashion that gives this a distinct krautrock gravitas of a post-Dzyan sort.
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This long forgotten compendium was issued on the British Frux inprint, who brought you the equally superb Born Out Of Dreams compilation that Jim upped long ago. Just four units here (two related) and all at the top of their respective games, commencing with a truly exquisite and fairly atypical sojourn from DDAA thats as meditatively mantric as these Gallic art brut avatars have ever gotten, ultimately morphing into a spectral and Monitor-like detuned lurch. We Be Echo barrel through a bout of grey scale instrumental minimal synthy pound and then dramatically shift gears into pitch perfect femme vox synth pop without breaking a sweat, while Bene Gesserit serve up another choice round of their trademarked screwily seductive avant electropop and We Be Echo offshoot Iham-Echo close the proceedings in fine fashion with a protracted monochromatic minimal synth vista followed by an Eno-esque coda that seals the the whole shebang with a kiss.
Note: at the request of Kev Thorne of We Be Echo/Iham-Echo, I've removed the link to this post, as their material from this comp is evidently soon to be reissued and they therefore felt that the entirety of this post needed to be removed. Who am I to argue?
Following my post of this Swedish outfit's sublime second album, here's their fifth from four years on (with their name now spelled with a J instead of an I) and it's suffused with much the same elevated vibe of scintillating Swedish folk theme-derived aerated upfullness as was "II". Some of the bits here could conceivably scan as being a bit more whimsically slight of tone than their earlier era (mid-period Hoelderlin occasionally comes to mind), only for the proceedings to lunge into a blistering ethno-rock jam that'll quiet any reservations. A funk component is undeniably creeping into their formulation here on occasion as well, but that just adds a sexy new wrinkle to their admixture via their snaky way with a groove, methinks.
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Two of Japan's more formidable and outwardly bound units here, each proffering a monolithic 30+ minute track of exploratory probings. Rovo's track "Sino" finds this furiously propulsive ensemble at their most slippery and elusive; various strands of atmospheric mystery ultimately coalescing into bouyantly funky prog grooves that sound like Yann Tomita spritzing late-model Bondage Fruit with electronic bubbles from his Audio Science Laboratory. Date Course Pentagon Royal Garden meanwhile offer an object lesson in sampladelic postmodern post-everything post-rock; provisional assemblages consistently collapsing under avalanches of musical signifiers. Like their peers in Optical*8, O.A.D. or Demi Semi Quaver, DCPRG exist in the fissures between the funky, the proggy and the deconstructedly clusterfucked. Ground Zero on a Carl Stalling kick? Dee-lite produced by Eye Yamatsuka? It's all here, Date Course Pentagon Royal Garden concocting hot shit constructs of detourned kitsch and slink from their recipe of everything and the kitchen sink.
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As you have possibly noticed there's been some time with no new post from my side.This is because i'm preparing to move from my country to Germany in 2 months. As you may guess too many things to arrange. If there's any friend of the blog living in Northwest Germany you can provide me some infos please contact me . Thanks once more for all your support.
For the benefit of those of you who still collect original vinyl rarities, here is a link to a list of 10 experimental/psych/prog/what-the-fuck? obscurities that I've just posted on ebay as a sort of testing of the waters (just click on the hyperlinked text of the album that you're interested in to take you there). If enough interest is shown, further installments will follow in short order, so stay tuned and best 'o luck to all interested parties...
Eric
Pungent barbed R.I.O. vitriol thats simultaneously seething with a lust for chaos unleashed by punk and musically advanced/unbounded enough to make ironic play and enact on-the-spot deconstructions of the internal mechanics of the collision, here brought to you by the wing of the U.K. R.I.O. pantheon that seemed more than happy to miscegenate with the post punk scene, in this case, ex-Henry Cow-er Tim Hodgkinson, Bill Gilonis (Officer!, Hat Shoes), Mick Hobbs (Officer!, The Lowest Note On The Organ) and Rick Wilson (The Momes), with periodic interventions from Catherine Jauniaux. The cassette scrapbook/odds 'n' sods pastiche nature of this tape (edited with a hacksaw for maximum jump-cut disorientation) and it's live origins guarantee that The Work's machinations here are even more astringent than those featured on their Live In Japan LP from later in the year, when Homosexuals kingpin Jim Whelton and Chris Cutler would respectively take over the bass and drum seats vacated by Mick Hobbs and Rick Wilson. This is rude and extraordinary art rock malarky, the ramped up aggressiveness and lo-fi immediacy nudging this toward Blurt/Geeks territory on one side and something that oddly enough sounds more like a product of the post-Ruins 90's Japanese hardcore avant prog scene on the other. Thanks to an anonymous blog friend for this treasure!
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As promised, here's more preternatural brain food from Gilbert Artman's nonpareil post-Lard Free large-scale experimental ensemble/collective aesthetic weltanschuung, here in their late-model formulation and proffering an amalgam of massed horn blear and drear, overlapping cascades of choral intoning ladies and evocatively chiming key themes right out of the latter day Art Zoyd handbook, all deployed along parallel lines to those heard on their previously posted Live A Jakarta CD EP from four years hence. Thanks to the same anonymous blog contributor who gifted us with The Work tape for this one as well!
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This dumbfoundingly brilliant and penetratingly weird Mexican R.I.O. mindbomb comes courtesy of an ex member of Nirgal Vallis, whose album Jim posted way back at the beginning of 2007, though there was nothing therein to indicate that this fellow would soon be unleashing some of the more original and damaged sounding R.I.O. moves to have ever graced the face of this planet. The clear precedent for Ledesma Q's muse is the fantastically studio-fucked and acid melted spin on the R.I.O. ethos promoted by Bob Drake via his work in both 5uu's and The Science Group as well as on his solo albums, which Ledesma here somehow manages the hat trick of effectively meshing with disarmingly lovely folkloric themes, something that ultimately only compounds the brain scrambling nature of his enterprise; Ledesma spoonfeeding you morsels of delicate succulence only to blindside you with the maximally tweaked and colossally convoluted while you're mid-swoon. I feel dizzy.
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Note: As you can see from the above, I've made the decision with these last 5 posts to use Megaupload as the secondary host alongside Rapidshare rather that Sharebee, after their recent (if very sporadic) issues with third party advertiser-generated malware, which will be the case with all my future posts. Hope this proves to be an acceptable solution.
Nice wailing Chilean psych with a typically baked and inviting South American counterculture atmosphere and, to my ears, more of an akin to Argentine blasters like Montes, Malon or Relax. Not a life changer but a sweet bit of psychotropic exotica regardless.
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Note: As you can see from the above, I've made the decision with these last 5 posts to use Megaupload as the secondary host alongside Rapidshare rather that Sharebee, after their recent (if very sporadic) issues with third party advertiser-generated malware, which will be the case with all my future posts. Hope this proves to be an acceptable solution.
This compendium was issued on transvestite ivory tickler and experimental audio polymath Hoppy Kamiyama's seminal God Mountain label, which for a time back in the 90's simply ruled the resurgent Japanese avant prog underground, having issued scene defining artifacts by Koenjihyakki, Tipographica, Demi-Semi Quaver and Optical*8 amongst a host of others. All the aforesaid contribute tracks here, alongside turns from other J-Prog and avant rock notables of the era (Altered States, P.O.N., Bass Army), though the guiding aesthetic behind this particular compilation appears to be jugular-directed, most parties here offering up particularly brain pan scouring contributions.
Track listing:
1. Altered States-Bug
2. P.O.N.-Petenshi #1?
3. Koenjihyakkei-Doi Doi (live)
4. Tipographica-Infinity Street Car (Previously Unreleased Version)
5. Dennis Gunn-Porky's Out To Lunch
6. Bass Army-Sneak Attack
7. Doom-The Scraps Screamed
8. E*Trance-Forbidden Place
9. Demi Semi Quaver-Rosa's Gunflower
10. Dissecting Table-Humanism 1
11. P.O.N.-George #1
12. Optical*8*-God Speed!
13. Royal Squeezit-P No Sokkyokyoku
14. Ground Zero-Null & Void: Preview
15. God Mountain Orchestra-Lebanon Core
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Note: As you can see from the above, I've made the decision with these last 5 posts to use Megaupload as the secondary host alongside Rapidshare rather that Sharebee, after their recent (if very sporadic) issues with third party advertiser-generated malware, which will be the case with all my future posts. Hope this proves to be an acceptable solution.
It appears that certain Sharebee links are now generating pop-up malware warnings, evidently generated from one of the sites that one of their third-party advertisers could potentially land you on. Matt (Electric Voodoo) just discovered a handful of titles that seem to be doing this, and in investigating further I've located a few others. I'll be digging around further over the next few days to see just how pervasive this problem is and replacing those links that generate malware warnings as I go with Rapidshare ones. Ultimately, I may have to just replace all the extant Sharebee links on my posts if this situation proves to be affecting more than a handful of them, but whatever the case, it's impossible to imagine using their service any longer after this kind of BS. Yikes.....
Way back at the beginning of my work on MS, I posted several privately issued missives from this mindfuckingly wonderful and still extant project of ex-Homosexuals main mover Jim Whelton and his Homosexuals-connected accomplices Lepke Buchwalter (Milk From Cheltenham) and Ted Barrow (Orchestre Murphy/Up Murphy Street etc) that were only intended for the ears of those in their inner circle. WFMU/Wire Magazine's Dave Mandl is either one of these or knows someone who is, as it was via this fine gentleman that these sounds made their way to me long ago. Aah...but it seems that there was one more sense deranging epic from the DTCD camp still loitering in Mr. Mandl's shelves though and now, thanks to him, this last piece of the puzzle is here for your collective perusal and lemme tell ya...it's a beaut. Issued sometime between the late 90's and early 00's (anyone with more specific info, do tell...), Abyss alternately mines a vein of detourned media as sonic miasma and concocts cascades of faux-spooky/campy narcoleptic wooze ala L.A. Free Music Society's Extended Organ and Solid Eye, though their penchant for snarky media manipulation renders the results a bit more caustic on the palate than the doings of the LAFMS.
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