Sharebee bugs in new beta system preventing uploads tonight

Unfortunately, today's planned posts will now have to go up tomorrow, due to Sharebee's upload function crapping out tonight...

Due to computer meintenance there will be no more posts by mutantsounds today.More new posts tomorow.

NARWAL - NIRVANA 3,tape,199?,Netherlands

Following Eric's post of Narwal LP,here comes a tape by this alter ego of De Fabriek.Unfortunately no pic sleeve scans.

NEW LINK!

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V/A: Beyond Step One ,tape,1984,USA

Excellent industrial/electronics compiltation from the legendary Sound Of Pig Music tape label.

Tracklisting:
A1 Enstruction Final Solution
A2 Slab This Song Has No Title
A3 Walls Of Genius It's A Scary World Out There
A4 Viscera Nation
A5 Het Zweet El Voz A6 Unovidual Once...Ago
A7 Unovidual Bagdad Dreams
B1 Muslimgauze Under The Hand Of Jaruzelski
B2 Billy Club Puppet / Sharon Gannon / Wade Tucker We Come From Orgone
B3 F/i Glorystomper
B4 ABC Mutes Fuck Anthropology B5 ABC Mutes Pink Wants To Spit
B6 ABC Mutes Bore
B7 ABC Mutes Wanna Puke
B8 ABC Mutes Zyclon B

B9 ABC Mutes Electric Blanket

B10 Psychodrama The Living End B11 Psychodrama Father Of Hell
B12 X-Ray Pop Mystic Mama
B13 Los Monos Castles In The Sand
Note that tracks B1 and B2 appear as 1 track credited to Muslimgauze and tracks B4-B9 are not seperated ,in this rip.

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S.Y.P.H. - the Gevelsberg Tapes,1979,CD-R,Germany

The first S.Y.P.H. EP "much enemy - much honour" I in December 1979 with Rip off in Hamburg on the occasion of "noises for the 80er"-festival added itself. At this time the confrontation between "Punkrockern" (the Punk only as Punkrock in the style of Ramones and Sex Pistols accepted) and "artist luggage" (the Punk as liberty to experiments understood) already was in the full course, as the happening showed on the festival. I do not assume that the S.Y.P.H. EP met large agreement with the "Punkrockern", because she corresponded in keinster way, as itself S.Y.P.H. with the first Hamburg-festival, which "Into The Future" had presented in February 1979 live. No short Punkrockstuecke with amusing texts, but Synthi cheeping and Tapes with newscasts from the time of the Schleyer schleyer-Entfuehrung, in addition a three-dimensional sound as if the plate live was taken up in the exercise area with a Cassettenrekorder. If one however into the "sounding S.Y.P.H. book", one of Harry rise up yourself 1982 arranged 3-Cassetten-Sammlung with up to then mostly unpublished studio -, live and exercise area photographs (4 hours material), deepens, then this EP is Ausrut no. S.Y.P.H. played everything: Punk, Folkversuche, wild Sessiongedaddel and electronic Quaelereien. Altogether 40 minutes are to be found by the photographs from Gevelsberg on the cartridge collection, whereby some sounds rather incomplete of it. Which did not prevent me however from after I had heard the cartridges to play with the idea of a LP publication. A Cover I sketched at that time, but to more it was not enough naturally - and afterwards I think also that the idea was nevertheless not completely so good, but for InterNet release for burning it is always enough. There is by the way my knowledge the only Studio photographs of S.Y.P.H. with Ralf Doerper.
From the photographs from Gevelsberg the first 4 pieces appeared at that time as EP, and it actually concerns here the most compact photographs out of the whole session. The other pieces are clearly free, in particular "Fripption" that like a sound check sounds partial, perhaps even one were, with word setting from the transmitting room. Possibly the remainder of the photographs, except perhaps the longer version of Europe, developed only besides and for the publication on the EP was never considered, which did not prevent the volume however to pack a cutout from the Xylophon fun "Gevelsberg" as a "buzzer time Bluus" on its 3.LP "Live one here and there". The piece "pure joy" is called by the way "clammy secret" on the EP and shows that S.Y.P.H. the volume was, which itself at the most explicit all early German Punkband on the German autumn, which confrontation between state and RAF, on master home and the requirement of both sides that who not for her was her enemy was reacted. Thus the Cover shows two picture icons from this time, on the front a scene photo of the buggy, which the RAF used with the entfuehrung of employer president Hanns Martin Schleyer for stopping its car and for the weapon transport, on the back a photo of a helicopter passenger for a round flight over Karlsruhe, which was identified later than the looked for terrorist Christian clear, on the way of attack targets such as courts and public prosecutor's offices to obviously explore. Harry rise up describes on the S.Y.P.H. web page like it at that time 8 weeks long tried printering for the Cover to find, but none found, although the pictures were to be seen star in mirrors, and otherwise where. Finally those put the Cover to volume on a photocopier and tacked the two sheets together. Sometime after it the guitarist Uwe Jahnke must have gotten cold feet, because its cash on delivery is deleted on the Cover with Edding, equally on the supplement from Christian well clear production a xxxxxxxx well clear production became and the photo of clear by 2 Eddingstriche was made unrecognizable. Remember: 1979 were still no the involved one clearly that music and film would be their occupation way, the option of a civil career, possibly also at the state, were much more largely located in the area (Harry rise up made painter teachings) and it was the wedding of the professionals disqualification, where the participation in any demonstration and carrying red socks threatened to versauen on eternally the life way. This was at that time a concrete threat and surely many in its political acting intimidated (me also). Also the often spielerische, childlike element in the music of S.Y.P.H. was a reaction to the German autumn, because one could extract oneself thereby from both stick-serious political camps, like also the entire aesthetics of the early German Punk in West Germany of a verweigerung in relation to the cultural defaults from state and left opposition was (West Berlin with its strong radically left-wing element in the Punk is another topic). The party politics came only with the Deutschpunk back into the music.
Over the S.Y.P.H. EP Uli deer mountain in the Hamburg Fanzine "skirt music" wrote in October 1979 the following: "with present syph singel had I still the going TZE of paints in the back of the head my surprise all the larger, as only times rather unsektiererische loud from the grooves come. "industrial girl" is in-usual moderato discotheque beat a that me very well pleases. it continues to go with a contribution to the European integration ("Europe"). technorock. profetenstimme: Europe - peoples without border - peoples without work - peoples without a goal without hope - without believe without leaders - Europe marches without direction - without future - worker Europe (or so similarly) - your future determine you... very convincingly! modern romance: for alternation a punkig fetzendes piece text up to "we is not an animal" or like that which not to understand in the end still times 2 years back into the German autumn staatsmeinungsfetzen from news of the day & other pseudoobjective comments becomes together-installed likewise gespenstisch as one from the distance notices: schleyer schleyer-entfuehrung by demand for house he command for death penalty/abolishment of the force feeding/shooting of raf geiseln/mogadischo/baader enssin raspe suicide (or "suicide"?) & which passed otherwise still everything at hysterischen over reactions. 4 vokabeln is faded in of syph when assembling: heroism, property, home of one's own, master home! initially quotation: "the newspaper le moons meant, Germany was ill". a mad piece of music! however I have the impression that the terrorism topic is too much fashionably abused (not only with syph)... "

This is an unofficial release as far as i know with tapes recorded by SYPH in 1979 containing their 1st e.p.Very strange collection of avant punk weirdness.Don't miss it!Any more infos would be much appreciated!

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MAMMUT & UPPSALA posts problems.

Dear friends
both problems were identified and were fixed.A new rar file containing both ,track 7 from UPPSALA and the missing track 7 from MAMMUT posts ,will be uploaded to sharebee as soon as it's upload service is back(this means few more hours due to upgrade and maintenance,so i guess late at night or early morning CET). Sorry for the incovenience ,i know mistakes like these give to enemies of the blog to accuse us....but at last,who cares about them.Thank you all for your support .
Jim Mutantsounds

DEPARTMENTSTORE SANTAS-AT THE MEDIEVAL CASTLE NINETEEN 100-YEAR LIFETIMES SINCE, D.S., LP, 1984, USA

Trying to explain why this record is such a cornerstone item for me is gonna be something of a feat, as Departmentstore Santas' M.O. is an entirely elusive one. There's a certain guilelessness to the way experimentation is undertaken by this L.A. outfit, a kind of naif art brut, albeit one without the cloyingly cutesy overlay of, for instance, Jad Fair's work. Incredible pop smarts are secreted away in offhand gestures and art damaged jams erupt in the least likely places in Departmentstore Santas' mercurial shoebox universe, giving them a certain frisson I thought was exclusive to L.A. equally hermetic (if more acknowledged) Decayes.

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TOUBABOU-ATTENTE, LP, 1975, CANADA

This ecstatic funkified jazzy prog masterpiece is operating in such extraordinary aesthetic proximity to Canada's Contraction/Franck Dervieux/Ville Emard Blues Band axis, it's almost eerie. Of those, Toubabou's muse is closest to Contraction insofar as Lise Cousineau's gloriously moany vocal histrionics are the mirror image of Contraction's Christiane Robichaud's. No small thing that, as this very particular style of vocals is some of the most beautiful and emotionally charged of any I've ever heard. Just glorious. Musically, this is deeply nuanced and frequently wildly driving stuff, not least due to the massed percussion onslaught that underpins much of Attente. One of my favorites ever from one of the world's great unacknowledged musical undergrounds.

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ELECTRO STATIC CAT-DYSTELEOLOGY, LP, 1986, CANADA

This severely underrated Canadian post-industrial unit (soon to evolve into Empirical Sleeping Consort) mates an exceedingly Nurse With Wound-like approach to surrealism to a Leichenschrei-era SPK dead chill in a seriously accomplished fashion. This one's stood the test of time far better than most others from this era. Top notch weirdity!

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MIND/BODY/SPLIT-IF IT'S NOT ON IT'S NOT ON, LP, 1989, AUSTRALIA

Super nutty plunderphonically oriented group improvs featuring dada audio collagist Rik Rue and winds player Jim Denley and stitched in crazy quilt stylee around the snarky ruminations of lead vocalist (though narrator comes closer) Sherre Delys. Highly entertaining work.

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TONE REC-THUGNY-TRUGNY, CD, 1997, FRANCE

This French outfit (who would later morph into madcap electronica mavens Dat Politics) were, circa 1997, trafficing in some very enticing chilly, austere experimentation that hovers on the edge of rock motion in a decidedly This Heat fashion, something which places them very close to both Jim O'Rourke's 90's unit Brise-Glace and Germany's Village Of Savoonga.

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Yochk'o Seffer-Neffesh Music/IMA,LP,1977,France

It happened again!I was listening to this wonderful LP trying to write a review,but,i was so deeply "got into " this music that words could not come out of my mind.Only pictures....Dark,nightmarish sometimes ,pictures.Seffer is a saxophonist and clarinettist of Hungarian origin. He became well-known at the beginning of his career as a member of Magma and Zao.This LP is the 2nd part of a work named Neffesh music(first one is Adama).Adama with half this LP was reissued by Spalax records a few years back.Excellent complex compositions in the ZAO /MAGMA most experimental vein,with dark ,evocative,sometimes oppressing feeling.Ethnic chanting and jazzy passages creating a unique sound!Just a masterpiece!

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YOCHK’O SEFFER - Biography
French sax player and composer born in Miskolc (Hungary) on 10.7.1939, Seffer starts studying music at the age of 6. He moves to France in 1956 where he studies reeds, piano and composition at the Conservatoire de Paris, mainly with Nadia Boulanger but also as an occasional student with Olivier Messiaen. In 1959, at the Bohème, he performs with Mal Waldron, the first one in an endless list of partners (amongst others, Charlie Rouse, Phil Woods, Steve Lacy, Ornette Coleman, Pharoah Sanders, Dave Liebman, Kenny Barron, Joachim Kühn, Daniel Humair, Henri Texier)… In 1969 he creates Perception together with Siefried Kessler, Didier Levallet and drummer Jean-My Truong. The following year, he appears in Magma's line up. In 1973, he associates with pianist François "Faton" Cahen to create ZAO. In 1976, he initiates Neffesh Music, a musical ensemble including jazz improvisers and solists from Pierre Boulez' Ensemble Intercontemporain. Between 1983 and 1985, Jean-François Jenny-Clark, Kessler, Michel Godard and drummer Peter Gritz will be part of Chromophonie, a big band that will be followed by a saxophone septet (1986). In 1988, he adopts a quartet formula (with Kessler, François Méchali and Gritz) that plays Monk's compositions; that first tribute will be followed by another tribute, to Coltrane this time and with eighteen musicians. He is also a painter and a sculptor and the father of cellist Debora Seffer.
Coloured spots, smelting masses, nuances and violent patchworks, he plays music as he paints and sculpts, putting together the dancing lyrism of his compatriot and fellow musician Bartok, the colatranian fire and the sense of evidence of Monk, connecting all these various elements as a multi-instrumentist virtuoso(from soprano to bass saxophone) led by an inexhaustible passion.
X.M.
(extract of "Dictionnaire du jazz", collection bouquins, Robert Laffont)

from:http://www.rocktime.org/rio/bioseffer_english.htm

SBB(Szukaj, Burz i Buduj)-SBB (Wolanie o brzek szkla),LP,1978,Poland

SBB were a Polish fusion outfit, led by über-keyboard man Józef Skrzek, who produced several inventive albums during their career, especially their second and third, both from '75, Nowy Horyzont and Pamięć. Like many Eastern European bands (Omega spring immediately to mind), SBB's discography is a confused thing, with albums appearing in different territories under different titles, although their website seems to put matters straight by listing their releases not only in order, but with the month as well as the year of original release.
As a result, it seems Ze Słowem Biegnę do Ciebie is definitely their fourth album, and like its two predecessors, is a ripping slice of prog/jazz rock, consisting of two side-long pieces, one with vocals, although not a jot of the credited Mellotron, unless the extremely faint sustained sound on side one (which pretty much rules it out anyway) is what we're looking for. Neither the first nor the last time we'll hear from 'the inaudible 'Tron'. Or not. Fine album, anyway. Now, their second album of '77 really starts the ball rolling properly; SBB (Wołanie o Brzęk Szkła) (****) is a storming record, with some of the most incendiary MiniMoog playing (from Józef Skrzek) you may possibly ever hear scorched into its grooves/binary pits. This is a fucking great album, make no mistake, even for someone who generally avoids fusion, although, despite rumours, it appears to not only be entirely 'Tron-free, but hasn't actually got the thing credited. Follow My Dream (***½), from later the same year, hasn't got it credited either, but the year's second eponymous SBB album apparently has. Confused? Good.
Sadly, the band had 'normalised' considerably by Welcome, but it still has its moments, although, to be honest, they're few and far between. Opener Walkin' Around The Stormy Bay is a high-energy slice of prog-fusion, and How Can I Begin has some nice organ work, but most of the rest of the material's pretty dispensable. There's Mellotron credited on three tracks, but I can't hear the thing myself, so that's a fat 'zero' on the 'T' rating, then.
Memento z Banalnym Tryptykiem is a better affair, surprisingly, without all the cheesy vocal material of its predecessor (I believe this was due to leaving their previous label). There's some quite ripping fusion guitar work to be heard here, which, while creating its own problems, is vastly superior to awful attempts at songwriting. The side-long title track is especially good, building to a superb guitar-driven crescendo before a sudden tape cut. Mellotron's credited on two tracks but is, once again, completely inaudible.
The only (apparently) relevant SBB albums I now haven't heard are the above-mentioned 'Amiga album' and a cassette-only release from 1978, Jerzyk, although I've no idea whether or not the latter's made it onto CD anywhere. There's also a '79 Skrzek solo release, Pamiętnik Karoliny, but going by these three, I can't imagine what use Skrzek actually made of his Mellotron; the only other band I can think of who used it so little are Novalis. So, the only genuinely poor album I've heard by the band (apart from its opening track) is Welcome, but everything else is pretty much worth hearing, assuming you're into fusion.
From Planet Mellotron

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Marcie's Still Waiting-A Mysterious Song,E.P.,1985,Germany

Excellent and totally unknown German band,with this litle gem released in 1985.Mynimal synth/wave sounds,in the vain of early Sad lovers and Giants and Exhibit A.No infos found eveywhere ,even after extensive search.

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Mammut-st,1971,Germany

Born out of the jazz scene in Villingen (near Stuttgart, Southwest Germany) from musicians formerly of the bands The Rope Set and Those. Mammut were an obscure underground band, whose sole album was the result of no-holds-barred late night jam sessions at the MPS studios. Dark sounds, with hints of Amon Düül II, heavy blues-rock (in the more freaky Frumpy or Tomorrow's Gift vein), with all sorts of strange, ethnic and gothic touches combined in their music. Although the band themselves quoted Deep Purple's IN ROCK as a major influence, their spirit was purely Krautrock. Their sole album is a legendary rarity, and rightly so. The CD reissue was withdrawn due to legal problems.

From "The Crack In the Cosmic Egg"
Stoned freakout total kraut rockers loosing control and turn ordinary strarting kraut/psych rock songs to total chaos!

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Marie and the Atom - Spit it Out E.P(1985)+Yelow Read Aloud E.P(1983),New Zealand

Following my previous post of Marie And The Atom tape,here comes their 2 e.p.s released by Flying Nun records,and this completes their discography.Residentesque experimentation mixed with crazed out circus music,hints of jazzy impovisations pop-ish wave ballads in a dark ,stressed,sometimes epic mood....in parts the "Larks tongues in aspic" era King Crimson influence makes it's appearance. While 1985 e.p is mostly instrumental,the 1983 one is vocls oriented and generally speaking more musically approachable(well,in terms of how approchable an experimental recording can be....consider it something like Residents Not Avaliable era popish experimentation).
Sorry no pic sleeve scans.Help anyone?

Don't miss this!

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Andrea Centazzo Trio-Ratsorock,LP,1977,Italy

Fo;;owing my previous post of Andrea Centazzo's LP on PDU ,here's one more rare recording on Centazzo's Ictus label,from 1977.Ecellent free form Jazz improvisations !

NEW LINK!

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Morphogenesis -Formative Causation,LP,CD,1986/1997,USA

Morphogenesis started recording in January 1985 and our first public performance was at the West Square Festival in London in July '85. The group was formed by a group of people interested in exploring the possibilities of live electronic music and collective improvisation. Its members have diverse musical backgrounds - Ron teaches music technology at Morley College, Adam runs a club for impovised music, Roger wrote books and articles on new music, and we have all played in a variety of other groups ranging from Roger's involvement in Cornelius Cardew's Scratch Orchestra in the 60's, to Clive G's studio work with Nurse With Wound in the 80's and Mike's live and recorded work with Organum in the 90's. Additionally, Adam and Mike are both engaged in solo music production. Clive G. and Mike both have their own CD labels (Paradigm Discs and Mycophile respectively), and Clive G. also has a regular show on Resonance FM each week (playlists for Sound Poets Exposed).
The groups aim is to unify and integrate many diverse sound elements, (electronic, vocal, instrumental and environmental) within a context of continual formal evolution and group dialogue. We construct our own instruments in addition to using adapted or prepared conventional instruments - usually violin, piano and acoustic guitar. The range of timbres is further extended by means of filtering and other forms of signal processing. Contact microphones are used to amplify the sounds of bubbling water and other small sounds. All these accoustic sounds are enhanced by electronic filtering etc. One electronic instrument we use is a bioactivity translator which is used to measure the voltage potential of living organisms - including plants, fungi, and the human nervous system - and translate the biological rhythms into electronic sound. Other electronic instruments include a 4 speed portable reel to reel tape recorder and a multi speed CD player, both of which are used to explore short sounds. We do not use laptops or lengthy pre-recorded material.
Concert appearances include 2 concerts in Brussels, a WDR recording at the Stadtgarten in Cologne and numerous London concerts, including performances at the LMC festival, The Spitz, The Royal Festival Hall foyer, the Air Gallery and in July 2000 we supported Sonic Youth at the Shepherds Bush Empire. More recently, in 2003 we have played at the Podewil in Berlin and at Instants Chavirés in Paris. Interviews have appeared in EST, Resonance, Audion and Avant, while feature articles have appeared in The Wire and The London Magazine. An online article appeared in March 2005 at Perfect Sound Forever.
From:http://www.stalk.net/paradigm/morphogenesis.htm
in this recording Morphogenesis were:Adam Bohman, prepared violin, balalaika, objects; Ron Briefel, electronics, sound projection; Fred Sansom, prepared guitar, electronics; Clive Hall, percussion, piano; Michael Prime, water machine, radio, strings, electronics and sound projection; Roger Sutherland, percussion, piano, strings. Recorded in 1986 ,released in 1997 on CD by Mycophile records.

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GOA ET FRANKY BOURLIER-HORIZON, LP, 1974, FRANCE

Deeply tripped higher key sonic investigations from the Bourlier brothers, both known more from their work in the NWW-list and Futura label unit Horde Catalitique Pour Le Fin. All sounds included here are from self-made or modified instruments, the overall approach coming off like an acid informed Lasry/Baschet recording by way of Limbus 3/4.

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CONFLUENCE-ARKHAM, LP, 1977, FRANCE

Quietly gorgeous French jazzy prog of a very airy, languid and spacious sort, often focused around the wistful cello work of Jean-Francois Capon, whose devastating outfit Baroque Jazz Trio recently had their one eponymous album reissued. One of France's great undiscovered treasures.

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DER KOHLENKLAU-SPIELT AUF!, LP, 2003 (RECORDED: 1982), GERMANY

Gripping cheap, raw and nasty Neue Deutsche Welle synth-punk-into-post-industrial fuckery from Tommi Eckardt of the stunning NDW unit Gorilla Aktiv. Spielt Auf!" was originally released as a tape in miniscule quantities and was finally made available again (for about 5 minutes) via this 100 copy LP reissue.

***************NEW LINK POSTED SEPTEMBER 2012***************

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REZNICEK-KUBIN-MANCHA-IPSOMAT LEGRAND, 10", 1999, GERMANY

The deft collaboration between Gunter Reznicek and Felix Kubin that comprises the A side of this split 10" takes the combined aesthetic templates of these two avant electronica avatars in a decidedly more austere and chilly direction than normally anticipated from either of these sonic pranksters (though still leaving room for the occasional ridiculous robot vocal) in a way thats tensely Tietchens-y. Mark Mancha's two remixes of Ipsomat Legrand that occupy side B winningly rejigger the source into something equally wonky yet remote.

***************NEW LINK POSTED SEPTEMBER 2012***************

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DEMI SEMI QUAVER-S/T, CD, 1993, JAPAN

Beserko Japanese avant prog bombast whose Bondage Fruit cum Happy Family approach is offset by a curious funkiness and, for better or worse (or both simultaneously) dominated by the screw-loose jibber-jabber verbal diarrhea fits of Emi Elionola, whose in-your-face approach is a decidedly acquired taste and which in the wrong context can be deadly (see how she tanked Ruins' Symphonica album with her schtick). To these set of ears, such is not the case with Demi Semi Quaver. If anything, all these years on from this scenes' heyday, Demi Semi Quaver's endearing looniness make them something of a high water mark for avant prog of that era. Note: this lengthy CD has been divided into two parts.

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Scatterbrain -Mountains Go Rhythmic(LP,1984)+Strip the future(12'' e.p. ,1982),Denmark

Here's one more essential minimal synth post.Released in the Irmgardz label .No more infos available.Not to be confused with the Aussie band with the same name.

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Tom Dissevelt & Kid Baltan-Song of the Second Moon,LP,1968,USA

(first issue as Electrosonics)

Forst released in 1957 under the name of Electrosonics(see above) and then re-released in 1968 under the name of the 2 composers mentioned.Very early primitive electronic experimentations!

As promised!

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Alan Licht -Sink the Aging Process,LP,1994,USA

Licht was born in New Jersey in 1968. His earliest musical influences, in the 1970s, were mainstream rock bands like the Bee Gees and Wings—he remarks in an interview with Paris Transatlantic magazine that 'What made me want to play guitar was that painting of Wings in concert in the gatefold of Wings Over America. It looked so exciting... I wanted to be part of it.' Later, in school, he listened to punk and no wave bands like Mission of Burma, Hüsker Dü and Sonic Youth. However, his musical trajectory was set when his guitar teacher gave him a copy of Steve Reich's Music for 18 Musicians, which would lead to his discovery of other minimalist music. Licht majored in Film Studies at Vassar College in New York. Since the 1980s, he has worked and recorded with the bands Lovechild and then Run On, and with other avant-garde musicians including Jim O'Rourke, Rudolph Grey, Loren Mazzacane Connors, and La Monte Young. He has also recorded several solo albums.Licht's music draws on a wide range of different styles, from tape-loops, to noisy guitar (sometimes using a prepared instrument), to pure pop music.

***************NEW LINK POSTED SEPTEMBER 2012***************

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Nik Raicevic-Zero Gravity,LP,1975,USA

Here's one more by Nik Raicevic!This time from 1975.

More stoned electronic weirdness!

***************NEW LINK POSTED SEPTEMBER 2012***************

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V/A:Music From Mills ,3xLP,1986,USA

These records were published; In Celebration of the Centennial of the Chartering of Mills Collage 1885-1985. A selection of works featuring composers and performers from the Mills Collage Music Department and Center for Contemporary Music.
Includes compositions by: Elinor Armer, Robert Ashley, David Behrman, Luciano Berio, Anthony Braxton, Dave Brubeck, Howard Brubeck, Janice Giteck, Anthony Gnazzo, Lou Harrison, Katrina Krimsky, Darius Milhaund, Pandit Pran Nath, Paurine Oliveros, Maggi Payne, Larry Polansky, Steve Reich, Terry Riley, David Rosenboom, Ramon Sender, Morton Subotnik, "Blue" Gene Tyranny.
Cover: b/w with a print of The Critic Sees by Jasper Johns!
The Mills College Music Department and Center for Contemporary Music are proud to present this three-record set, released in celebration of the chartering of Mills College as a degree-granting institution in 1885. Since that time the Mills College Music Department has gained an international reputation for excellence in composition, performance and historical studies combined with innovation in contemporary musical media.
These records contain a mere sampling of the wealth of music that has emanated from Mills College during the last one hundred years. Most of the composers and performers represented are current or former faculty or students at Mills. The list of accomplished musicians responsible for the Mills reputation is very, very long. Regrettably, many of these world-class composers and performers are not included in this collection. This is due to limitations of space or circumstances of logistics and time and not to any evaluative, editorial judgements. We hope, however, that this collection will comprise an important historical and archival document and will help continue Mills' long-standing contribution to the evolution of American music.
The composers and performers represented on this album have donated their efforts and their music for this limited edition project. To them we express our deepest gratitude. Without their generosity and assistance this album would never have been possible. We also wish to acknowledge past Heads of the Mills Music Department whose tireless efforts and careful support were required to keep Mills in the forefront of contemporary music. In particular, many of the composers represented in this anthology came to Mills during the tenure of Margaret Lyon, who served as Head from 1955 to 1979. This tradition was continued by Susan Summerfield (1979-1984) and David Rosenboom (1984-present) and remains vital today.

Tracklist:

----Side 1----

1 Lou Harrison "Sonata No.2 from Six Sonatas for Cembalo" (2:43)

2 Terry Riley "The Ethereal Time Shadow (excerpt)" (9:20)

3 Luciano Berio "Chamber Music" (7:10)

4 Dave Brubeck "Summer Song, arranged by Howard Brubeck" (2:56)

----Side 2----

1 David Rosenboom "In The Beginning: Etude I (Trombones)" (9:48)

2 Robert Ashley "Flying Saucer Dialogue from the opera Atalanta (Acts of God)" (7:14)

3 Anthony Braxton "Composition No.62 (+30+96)" (5:48)

----Side 3----

1 David Berhrman "Interspecies Smalltalk, Part 2 (excerpt)" (5:42)

2 Elinor Armer "Thaw" (5:51)

3 Steve Reich "Melodica" (10:43)

----Side 4----

1 Maggi Payne "Subterranean Network (excerpt)" (7:21)

2 Darius Milhaud "Segoviana" (3:14)

3 Pauline Oliveros "Alien Bog (excerpt)" (6:22)

4 Anthony Gnazzo "Asparagas" (4:49)

----Side 5----

1 Katrina Krimsky "Apparitions" (9:15)

2 Larry Polansky "Four Voice Cannon #3" (1:49)

3 Pandit Pran Nath "Dira Dira Ta Na in Raga Bhairavi (excerpt)" (12:49)

----Side 6----

1 Janice Giteck "Breathing Songs From a Turning Sky (excerpt)" (7:29)

2 Robert Sheff "Remembering, performed by "Blue" Gene Tyranny" (2:27)

3 Ramon Sender "Audition (excerpt)" (2:54)

4 Morton Subotnick "The Key To Songs (excerpt)" (8:29)

***************NEW LINK POSTED SEPTEMBER 2012***************

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Ralph Lundsten - Thriller(underscore suite) OST,LP,1974,Sweden

You asked for it!So here it is!

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DG 307-(1973-5), LP, 1990 (RECORDED: 1973-1975), CZECHOSLOVAKIA

Following Jim's post of DG 307 material a little while back, here a sample of what these ferocious Czech dissident freaks were getting up to some years earlier. This is raw low-fi gutteral belching and growling avant rock of a variety so brutish, grimy and primitive, it makes The Plastic People sound like Abba. It frankly beggars disbelief that this was recorded during the years stated. Highly fascinating, warts and all.

***************NEW LINK POSTED SEPTEMBER 2012***************

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