FACELESS/OTTO KENTROL-FAKE/GHOST BOY-SPLIT LP, 1983, USA

Interestingly, though I've posted Otto Kentrol material in the past (which I'd deemed "excellent sax-skronking art damage"), their work here is not at all the reason for this split album being posted by me, their sensibility having taken a not terribly appealing (if nevertheless entirely distinctive) turn toward a fusion of slack mutant funk and supper club jazz in the intervening three years since the debut of theirs that I posted. No, it's entirely for Faceless' beautifully ungainly perambulations that this post is showing up here. Somewhat Beefheartian in approach (though not in a way particularly redolent of any of the other Beefheart-indebted units I've posted over time here), their M.O. filters these impulses through a mottled blanket of post no wave Downtown NY motion that's directly keyed into the same aesthetic territory being explored by the sundry bands included on the the Peripheral Vision compilation LP I posted a while back.

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ART ZOYD/J.A. DEANE/J. GREINKE-S/T, CD, 1990, FRANCE/USA

The ominous and riveting 23 minutes of otherwise unavailable (amazingly, seemingly to this day) material by French R.I.O. monsters Art Zoyd that comprises the first third of this three-way split CD dates from the post-Berlin era of their work (specifically the period between Nosferatu and Marathonnerre), with the synths and sampling that began significantly augmenting their chamber rock approach from this period onward affording their music a different sort of solemn gravity from their more acoustic based (if no less astringent) earlier work. Wish I could say I was more jazzed about the remainder of the discs contents, but both Jon Hassell and Butch Morris collaborator J.A. Deane and Jeff Greinke are ploughing similar furrows of ethno-synthiness that'd probably work effectively as Discovery Channel soundbeds, but are rather outside my personal musical remit. Any release containing 23 odd minutes of otherwise unavailable Art Zoyd pretty much sells itself though, methinks.

Get part one Here

Get part two Here

B-SHOPS FOR THE POOR-THE ICEBERG PRINCIPLE, CD, 1989, USA

Very much a product of it's time, the arch, angular horn-charty Downtown NY-meets R.I.O. sonics of this peculiarly moniked unit have a definite whiff of perky yet hectic Curlew style bippity boop about them, but they've been buffed to an oddly antiseptic shine by punchy 80's production values. In theory, this should come off as a chalk and cheese combo but in practice, it lands B-Shops in a fruitful and under-charted territory thats not far from the giddy sax-centric universe of Hajime Tachibana. These offbeat constructs are frequently offset by Sarra Tyrer's too-cool-for-you chanteuse stylizations, whose supple approach is like an unexpected silk caress in a pachinko parlor.

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S.T. Mikael-The Unknown,1991,LP,Sweden

Here's one more gem of the great S.T. Mikael,actually his 2nd release.

"Real disturbed garagy psych with his tormented vocals, guitars and a total homemade obscure vibe to it...tremendous acid bird cover painting. -Gregg Breth, USA.Fantastic Swedish Psych...one of the best of the last year!" - A Trip With Mushrooms, Netherlands

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

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Peter Scion-Through my ghost,CD,2002,Sweden

This one closes Peter Scion discography.As always wonderful!
BEHIND THE VEIL OF 'THROUGH MY GHOST''Through My Ghost' was recorded in the first week after the demise of Pangolin. I left the band during the sessions for our second, unfinished album in June 2000. The album was supposed to include a couple of newlywritten songs, and when I was free to take up my solo career again, I wanted to use them for 'Through My Ghost'. 'Under A Grey Sun', 'Funny' and The Devilish Mother' were all songs we had rehearsed with the band. I also had a couple of unreleased recordings that I thought fit into the context of the new album--'The Farthermost Shore'. 'Glad For You', and the song that eventually gave the album its title, 'Through My Ghost', were added along with a couple of songs that emerged during the solo sessions. I think that Pangolin is very much present in these recordings. My approach to the music was much more rock'n'roll than it had been previously, even in some of the mellower songs. In a way, this is the Pangolin album that never was. Kind of.The album was ready to be released soon after it was completed, but due to technical problems, lack of time and sheer bad luck, it took me almost two years to get it out. That's a long time for someone who is restless and constantly working on new songs. It's like having a mental constipation. I was very frustrated to have it stuck in a limbo. More than once, I almost scrapped the whole album, although people encouraged me not to give it up. Now I'm happy I didn't cancel the release. After all, I think it's a good album. During the delays, I also had the time to consider changes, and I eventually I dropped three songs from it in order to get a more cohesive record.I've been asked whether the song 'Funny' is a comment on the Pangolin split up, but the truth is that it isn't. At least, it wasn't when I wrote it. However, when I recorded it on my own, lots of the frustration and disappointment that the break up resulted in went into the song.I usually don't tell people what my favourite track is on a certain album, but I must admit that I have a special relation to 'Funny'. When I just had written it, I called it 'the WIll Oldham song' because it was so slow.I soon speeded it up a bit and in the end, it had switched from Will Oldham to Neil Young... It's a song that since I wrote has appeared my live sets from time to time. It's fun to play, and I like how it goes up and down in intensity and energy. It's a very organic song, and there's a lot of space for other musicians to shape it.'Warning!' is just for the fun of it. It's like a mix of Link Wray and Suicide. I love those early 60's guitar instrumentals. Someone once said that every guitar player has at least one song like that, and 'Warning!' is mine.'May She Fly High' was originally recorded during the 'Amethyst Dream' sessions, although this is a new recording done especially for the album. It's a song for all children everywhere, but most of all for my daughterEmma. A wishful song, a song of hope. When I think about it, it's probably a song for every person. It kind of says, don't let life bring you down, it's worth to go on. Save some of your sweetest dreams to paint a sad andgloomy day. Perhaps that is what 'Through My Ghost' is all about anyway. About not giving up, but to go on, always go on. Always. It's worth it.
From Tree music web page
PETER SCIONThrough My GhostLadies and gentleman (and especially fans of "Peter Scion, the folk artist") find your way to your most stable and comfortable chair. Not only because Through My Ghost is a magic piece of sonic goodness that demands your full attention, but also to avoid major injuries after falling from the shock waves of the freewheeling power chords of the wonderful Link Wray-esque surf-inspired opener, "Warning". This start unquestionably comes as a surprise, but it's a nice and inspired shock that'll find you intrigued to hear what this Swedish musician is up to this time. The rest of the music doesn't mean this is the departure from Peter's previous work that the opener suggests, but I'm still hesitating to label the music as folk as it's as much about singer/songwriter sensibilities and psych rock, which makes sense given that Peter doesn't really consider himself a folk artist in the first place. Through My Ghost was recorded right after the long-missed Pangolin combo called it quits, and perhaps that's why it's such a bleak and dark listen. But as much as breaking up from Pangolin seems to have been hard on Peter, it also seems to have been the starting point for hope, something that is especially evident in the beautiful closer "May She Fly High." It's a hymn for children in general and his daughter Emma in particular with crystal clear guitar work circling around the heavens without any desire of really going anywhere. The same can not be said about the organ-laced claustrophobia of "The Fathermost Shore" and the quietly crawling title-track, both of which are so melancholic they're difficult to listen to before the sun decides to call it a day. This is music made to listen to on the headphones when all the lights have gone out and all there is left is yourself and your own thoughts. But this is also something for all of you who discovered Peter's music though Pangolin, since it includes plenty of forays into soaring guitar psychedelia. "The Devil Is A Watcher" is particularly pleasing with its combination of heavy guitar explorations and sitar. "The Devilish Mother" is another favorite track with echoing guitar work folding in and out of the darkest realms with stunning ease. In our never-ending campaign for bringing heartfelt and honest music to the masses, I'm happy and honored to celebrate the arrival of Through My Ghost, Peter Scion's most consistently enthralling and powerful work to date.
review from Broken Face #14


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Matthew De Gennaro-Under The Sun,CD-R,2002+5,CD-R,2003,N.Zealand

Here are 2 excellent recordings of dark psych/folk by the genious Matthew De Gennaro.

Matthew De Gennaro : Under The Sun
This is the second private release of 50 only by Matti, played on archtop guitar, tape, accordion, chimes, drum, percussion, amplifier, clavioline, mouth organ, automaton, violin, aeolian harp, viola da gamba, piano and voice.
It’s a quietly evolving release. The first track, “Arrow Bold” has a carpet of fingerpicking guitar with stitches of textures from overtone sounds, from lighter to somewhat more saturated airy colours. On “Organ” there are chimes and organ droning or filling up the surrounding space, satturating in colours. “Ravenwood” is a short edit inbetween live recording improvisation with viola de gamba and a bass string. “Bells” starts with a loop of a bell sound with its overtone droning, then spotlights the musician, improvising loosely with guitar and voice, depressed in a dark kitchen, with the windows open, with background noises. “Heartstrings” on acoustic guitar with guitar overtone drones fills up spacey areas again. “Back of Beyond" is a concluding track with fingerpicking acoustic guitar, and an experimental texturing picking nstrument, with accordion and organ, and a few other instruments on the back, guiding the essence. This whole CD works like a soundtrack, describing a detailed environment.
Matthew De Gennaro : "5"

This third release is in fact very different. It is much more focused on the acoustic guitar fingerpicking (with some 'fantazias') and has some folk flavour too. I hear some instruments (organ/pipe like) that contribute to this sphere. The acoustic guitar becomes like a description of wood and a tree in nature, while the other instruments work like grass, flowers or birds, the environment, that makes the vision on the tree more beautiful and full. Matts' voice humming is nothing but another instrument, amongst the others, while the fingerpicking itself describes the real picture. ..“Day after Tomorrow” uses some part of a loop, but especially the one before last track “Hennig Christiansen” is a bit different with a family-noises-like environment-like loop mixed with some organ.* In some way this still is equally descriptive and sweet.. Last track is a very good and structured conclusion with some fingerpicking, an organ part and some song words. Very nice.
from http://psychedelicfolk.homestead.com/acidfolkreview8.html


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Maher Shalal Hash Baz-Souvenir de mauve,CD,1999,Japan

Maher Shalal Hash Baz is the artistic alter ego of Tori Kudo, a Japanese naivist composer and musician. The name is taken from Maher-shalal-hash-baz in the Book of Isaiah, and translates roughly as "Hurrying to the spoil, he has made haste to the plunder."
Tori Kudo has been cagey about details of his life before MSHB. He was once a member of a shadowy, revolutionary political party in Japan, although he has dissociated himself from politics since becoming one of Jehovah's Witnesses. He also works as a ceramicist.
He claims to have played classical and jazz piano, as well as playing organ in a Protestant church. His other musical influences included T. Rex and saxophonist Steve Lacy. He and his wife Reiko Kudo joined a band called Worst Noise when they moved to Tokyo; other members dropped out, leaving Tori and Reiko as a duo, known simply as Noise. Under this name they released an album called Emperor.
The impetus for Maher Shalal Hash Baz came when Tori met euphonium player Hiroo Nakazaki on a building site, and found that they shared an interest in the music of Mayo Thompson and Syd Barrett. Apart from the core trio (Tori on guitar and vocals, Reiko as vocalist, Hiroo with his trusty euphonium), the lineup has always been fluid.
After a couple of self-released cassette albums, the Japanese Org label released Maher Goes To Gothic Country (1991) and the 83-track box set Return Visit To Rock Mass (1996).
The group's profile outside Japan became much higher when Stephen McRobbie of The Pastels signed them to his Geographic label. They have released two albums on Geographic: the compilation From A Summer To Another Summer (An Egypt To Another Egypt) (2000) and the 41-track Blues Du Jour (2003); plus a number of EPs on various labels, including 'Souvenir De Mauve' (Majikick, 1999), 'Maher On Water' (Geographic, 2002), 'Faux Depart' (Yik Yak, 2003) and Live Aoiheya January 2003 (Chapter Music, 2005).
Tori Kudo has resisted defining the sound of his band, although in an interview with Tim Footman in Careless Talk Costs Lives magazine (August 2002) he declared "I am punk." There are also elements of folk, psychedelia and free jazz; the band's tendency to ask members of the audience to join in adds a sense of danger in live performance. Perhaps the best description comes from his own sleevenotes to From A Summer To Another Summer: "Error in performance dominates MSHB cassette which is like our imperfect life."
From Wikipedia
Strange folkish naive music with 2 long jazzy improvisations.

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Peter Scion-Sweet Sorrow Man,CD,1998,Sweden

Here's another Peter Scion gem from 1998.Dark folkish C&W (!) this time(note i hate C&W music ,but this one kicks ass).Here 's what Peter Scion himself tells about it:

ALONG THE TRACKS OF 'SWEET SORROW MAN'
NOTES BY PETER SCION
After three folk/psych oriented albums, I felt that I needed to change direction. I needed to take care of another great musical interest of mine--country music. Or at least, bring it out into light. I've always argued that there is country music hidden beneath the surfaces of the previous albums as well, although the influence wasn't as obvious as it is on 'Sweet Sorrow Man'. I find it very easy to imagine 'These Darkened Trees' with a swinging country groove, and it's still something of a dream to dress up 'In the Forest' in full bluegrass garb with banjos and fiddles and everything. Actually, the silly, tongue-in-cheek 'Last Song' that ended up as the hidden bonus track on 'Sweet Sorrow Man' was recorded during the 'Amethyst Dream' sessions!
'Sweet Sorrow Man' was originally supposed to come out as a cassette only EP. The working title was 'Songs of Dedication', and the songs planned for inclusion were 'Rain', 'Falling Through', 'Gentle Wandering Ways', 'Only Shadows of Her Presence', 'Like A Hurricane' and 'The Last Song'. But songs kept coming, and suddenly there were six new recordings. 'Gentle Wandering Ways' was dropped, the version of 'Rain' was substituted by a new and better version, and 'The Last Song' was, as said before, hidden away as a bonus track on 'Sweet Sorrow Man'. I wanted it there, because there was no way I could leave the listener stuck in the pitch-black sadness of 'Like A Hurricane'. It just wouldn't have been fair.
'Sweet Sorrow Man' was my personal favourite when it was released, and it's still very special to me. I'm really proud of 'Sweet Sorrow Man'. I decided to include the many cover versions, because I thought--and still think--they fit in nicely with the story I wanted to tell. I think 'Kathleen' is one of my best recordings to date. It was actually a friend of mine who suggested I should cover it, but at that time, I knew I couldn't. Then one day, it felt just right to do it. The song said everything I wanted to say. The vocals are a first take.
'Is It Raining in Seattle?' was written prior to 'Devachan', and it was in fact recorded for but dropped from the album. For 'Sweet Sorrow Man' the song was brought out again, but the original version wouldn't have worked within the context of this new context. However, I couldn't decide how to grab the song, and so slightly frustrated, I just turned up the recording volume and went for it. The levels were actually too high, so the entire song is a bit over-heated, but I love that devil-may-care attitude. Like with a lot of other songs on 'Sweet Sorrow Man', the basic track and most of the overdubs are first takes.
'Sweet Sorrow Man' is also the album I have pick songs from most often when performing live. 'Lover's Crime' and 'Is It Raining in Seattle?' both made their way into Pangolin's repertoire, and when the atmosphere is right, I still pull out 'Kathleen'. It's a timeless song of timeless emotions. Besides, if I can show Townes Van Zandt the tiniest bit of respect by playing his song, I will until the end of time.
Lars Holmquist at Domestica did the album cover. I brought him the pictures, and the next time I met him, the cover was finished. I loved it right away!
But to be honest, I'm not sure whether 'Sweet Sorrow Man' should be called 'country music'. Someone named the style 'Country & Northern'--I guess that's the best name for it. Because, you know, what does a Scandinavian know about country music anyway?

From Tree Music Webpage

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Double Leopards-Soulless Dust, Speed and Strength,CDR,2002,USA

Following my previous post of Double Leopards 1st effort here comes their 3rd selfreleased CDr limited to 100 copies.

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Syrinx -Long Lost Relatives,LP,1971,Canada

The birth pangs of electronic music within pop were often tentative affairs, as bands such as the Fifty Foot Hose and the Silver Apples had to absorb such obtuse (from a rock perspective) luminaries as Karlheinz Stockhausen or Morton Subotnick and then attempt to incorporate their complex ideas into the rather simple guitar/bass/drum rock idiom. By the seventies the moog synthesizer, still somewhat a novelty sound but more portable and affordable, would become a vehicle for the then-predominant progist post-Hendrix obsession with virtuosity, replacing the guitar in extended, self-indulgent (read: wankfest) solos – think ELP, Edgar Winter or Head East. Still others, such as Walter Carlos, reworked classical themes, thus establishing a veneer of respectability for the instrument.
Often ignored are those Germans - Popol Vuh or Cluster come to mind - who, perhaps because they were unencumbered by the burgeoning rockist protocol of rhythm/chords/solo (rock being a still fairly foreign presence at the time in Europe), coaxed spacy meandering “head music” from their synths. The overlooked Syrinx falls somewhat into this camp.
Syrinx is essentially the brainchild of songwriter/multi-instrumentalist John Mills-Cockell, who had previously helped found the Mind Expansion Centre in Montreal, a sort of free-form art space existent at the end of the 1960s. A resultant LP soundtrack to an installation there, the privately pressed Free Psychedelic Poster Inside, was released under the name Intersystems (a precursor it would appear to Stereolab’s Music for the Amorphous Body Centre, the accompanying music for a Charles Long exhibit at the Tanya Bonakdar Gallery in New York in 1995.).
Michael Panontin
If you enjoy Popol Vuh, Yatha Sidhra, The Third Ear Band,Intersystems or Tuxedomoon,you will surely love this!

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Underground Failure-st,LP,1970,Sweden

Atrue psych monster rarity alternating between melodic mellow moments and crazed fuzzed out bursts of wicked VU styled guitar.Availability of this album has slipped into oblivion.Only 150 pressed,but seems to be 2 alternative cover versions as you can figure out above.

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V/A:Voices, Notes & Noise,LP,1984,Germany

Great compilation by Recommended music from 1984 gathering some of the most important experimental acts of it's time.

Track Listing
Side 1Battle Hymn - Martin Bisi/Viki Galvez Bisi
120 Défunts Pour Une Patrie - Un Department
Easter Parade - Veedtharm Morgan Fisher
Mixture/Kitchen/Theatre - Mixed Band Philanthropist
Dance Up A Storm... - Let's Have Healthy Children
Labertino - Victor Nubla
Boxer Versus Wrestlers - Officer!
Another Insanity - Human Flesh
Tantine - Zazou/Bongo
F.M. Creatures - Ptôse
Und Endlich Stirbt - Goebbels/Harth/Stötzner
Side 2Gargamel Chex Les - Hellebore
The Flying Eyes Part IV - The Doo Dooettes
Elenka I - Lichtenstein Lingery
It Just Ain't So (Not A Cole Porter Song Unsung By Ella) - Nurse With Wound
Oil - Madi-Diddi
O.R. v/s Metronome - Debile Menthol
Schraubenzieher - Dissidents
Ein Walzer - Dressed Up Animals
999 (Nein Nein Nein) - The Lowest Note On The Organ
Vitesse - DDAA
120 Herzschläge - Christoph Wünsch
Like A Nightingale - Malcolm
Liebe Art Bears - Reinhold Brunner

Typed in blue lettering on the heavy plastic sleeve is the tracklisting and contact information for each artist as well as the "Visual Guide" crediting those responsible for the photo slides on the insert. This insert is a 12" sized clear plastic sheet of 72 photo slides (see primary image) featuring images by Pierre-Alain Hubert, Tom Recchion, Hummel/Homeyer, Christophe Desforges, Ruggero Maggi, Harry C. Poole, Albrecht D., Walter Schmidt, Jürgen O. Olbrich, Benedict Tisa, Jupiter Larsen, Ryszard Wasko, Paul Rutkovsky, Reinhold Brunner, Pete Horobin, Edgardo Antonio Vigo, Leland Fletcher, Bakhchanyan, Vittore Baroni, Ubaldo Giacomucci, Pawel Petasz, Giovanni Fontana, B. George, Stiletto, Mario Borillo, Gabor Toth, Paul Hurst, Peter Weiss, Ilse Garnier, Baina Masquelier, Andy J. Stenhouse, Marilyn R. Rosenberg, Meyer Enz. Lexikon, and Stephen S'Soreff.


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Fricara Pacchu-Waydom,tape,2005,Finland

A first solo recording(limited to 200 copies) from the lines of Maniacs Dream! Nasty and blasty Fricara is the coolest. Does this tell about Tao Tao's mutation with a carcass? No, this has nothing to do with problems. It goes over everything, it's the best, all the rest is wiped away. When Paavi heard this he said it was the best thing he had heard after hearing the Faust Tapes in 1995. The salesman was drunk and told the young pope to watch out for mushrooms starting to grow in his head.

Reviews

"If there’s any contemporary label that could pull off the difficult task of promoting the cassette format it’s probably the amazing Finnish Lal Lal Lal imprint. To tell you the truth I couldn’t care less about the format of Fricara Pacchu’s Waydom though, as it’s such an impressive slab of primitive folk clatter, deranged psychedelia, motorik krautrock and feedback-riddled ceremonies. Waydom is like an uncontrollable volcano of instrumentation floating together to an impressive and majestic lava flow, initially interesting for its power more than the mind-puzzling polyrhythmic structures laying beneath, that doesn't strike me until much later. It’s like a pulsating tangle of the styles mentioned above and it’s all repeated till it invokes a sinister aural nightmare. Waydom has the shamanic and somewhat tribal feel of Avarus and Siamese Temple Ball but is still sounds modern in a Sunroof! meets Dead C kind of way. Essential." - Mats Gustafsson / Broken Face

"Another killer hit from the Pfinland psych pscene. A lot of the music coming from this camp sounds like a bunch of people shaking things and blowing other things like crazy, which is usually pretty cool, but I like it even better when they use an electric guitar or two, lock in on some circular riffs, fall into a heavy backbeat, and make the whole thing shine like glowing embers. That's exactly what's going on here with Fricara Pacchu's Waydom cassette. We're talking LOCKED in -- hell yeah, these are grooves. Like all the best Finland stuff, it sounds like droned-out Sun Ra-meets-Dead C ethnic music that you can worship pagan concepts to with no persecution complex whatsoever. Apparently Fricara Pacchu is just one person, from the band Maniacs Dream, but he or she sounds like a band to me -- one of the best in Finland!" - Larry "Fuzz-O" Dolman / Blastitude

From LalLalLal

Awesome tape....take some weird folk mix it with twisted krautrock and then put it on the blender with spoonfull of freaked out psychedelia ...


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Corsican Paintbrush-Lichens & Moss,CD-R,2005,USA

Corsican Paintbrush was officially formed in the late spring of 2004, driving down the highway on the way out of the city. this project consists of brad rose (the north sea, the golden oaks, etc) and eden hemming rose (wax ghost, the cone bearers, etc). corsican paintbrush became the replacement for the ill-conceived duo-project, winter in prague. the latter concept was never that great and we decided we needed something different; something less constrictive. the name comes from the combination of two things on our mind that day. one) corsican mint. eden had just planted some in our balcony-garden, and we found it enthralling. two) the official state wildflower of oklahoma was in full-bloom on that drive: indian paintbrush. between indian mint and corsican paintbrush, the latter won out and there was joy. recording got underway immediately, however stalled in the thick hot air of the oklahoma summer. portions of the initial release, "lichens & moss," were recorded that summer, but it wasn't until a semi-drunken new year's eve that the sessions were finished. the result was a sparse forest clattering through a mythic haze. as 2005 transpires, new projects are underway... interest has grown in the project and the first edition of the debut cd-r (an edition of 55 copies) is withering away to dust. we move forward and we walk amongst the trees, smiling with the sun...

Instruments used: guitar, glockenspiel, piano, melodica, bouzouki, oud, keyboard, bells, nutshell rattle, seed pods, cardboard boxes, pennywhistle, tapes, recorder, train whistle, maracas, and clay pot.
From Digital Industries website

Combining lush instrumentation with clattering percussion and ramshackle beats, Corsican Paintbrush creates a new world of sound out of old world technology.Corsican Paintbrush paints an engrossing picture of a folk music never before encountered, and it does so with broad and yet delicate swaths of color and texture. Just don't call this sound New Age or Ethnic Folk, it digs deeper and broader than that, sounding at times like a piece from the richly diverse Sublime Frequencies collection, and at other times like a death march across the desert, carried on the back of the Sunburned Hand of the Man. Swerving feverishly between what could easily be chopped up Native American rhythms, sampled Celtic melodies, andspace-age funk played on trash heaps, the music of Corsican Paintbrush is actually all of this and none of it.

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Sex Museum-Fuzzface,LP,1987,Spain

Here's something different.Great psych garage/surf/mod from these Spanish legends.Maybe the Spanish Fuzztones?Great version of See See Rider and Psycho.This is their very rare 1st LP.Especialy posted for Mr. Vertigo. Summer's here and this record can be perfect companion for all mutantheads over there ,to their excursions in (mutant) beaches!

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Joel Vandroogenbroeck-Meditations vol.2,LP,1980,Belgium

.Joel Vandroogenbroeck (aka: VDB Joel) was the main, only consistent member in Brainticket, and on this library album the emphasis is on his flute talents, paired with some great Moogy electronics and mellow pre-new age ambience. Think Klaus Schulze meets Herbie Mann (well, not really), but it's a good start... Awesome meditative sounds ...

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Vampires' Sound Inc.-Psychedelic Danceparty,LP,1969,Germany

Vampires' Sound Inc. were actualy 2 German composers: Manfred Hübler and Siegfried Schwab. Blaring Stax horn sections, wild psychedelic fuzz box guitar, jazzy organ runs, strutting funkadelic drum and bass, and an occasional glockenspiel or sitar for freakout effect. Manfred Hubler and Siegfred Schwab toss this melange of styles into a Cusinart blender and hit the "puree" button. Jess Franco obtained the music for his soundtracks from two obscure albumns by "Vampires Sound" (the two German composers) called "Psychedelic Dance Party" and "Sexadelic", soley because he like the female vampire design on the album covers. Both LP's were transfered completly back to back in original running order on a CD called "3 Films by Jess Franco" which was limited to 500 copies. Groovy ,baby!

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V/A-BOWLING BALLS FROM HELL, LP, 1980, USA

For those into the mythos, this Cleveland/Akron underground compilation pretty much defines the term "must-have". Let's start with the inclusion of one of the greatest Pere Ubu songs that never was, here brought to you by the duo of David Thomas and Tin Huey's Ralph Carney. Just pure lunatic bliss. Now factor in two further Carney gems of damaged Residential rock and fully six GODHEAD tracks of instrumental minimal synth in a style redolent of The Human League circa The Dignity Of Labour by one Dennis DeFrange (virtually half the album) and you've got the makings of a stone cold classic. Really, there's not a duff cut in sight. Hell, even The Waitresses manage to turn in something great (well, they did start out weird, for the few who've heard their debut single) with a much odder version of their new wave hit "I Know What Boys Like", here mysteriously re-titled "Wait Here, I'll Be Right Back...".

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FAMLENDE FORSOK-ARS TRANSMUTATORIA, LP, 1990, NORWAY

Resolutely obscurantist in approach, the nebulous soporific netherworld Famlende Forsok inhabit bears a bit of a resemblance to some of the murkier corners of Nurse With Wound's musical universe (think The Murry Fontana Orchestra Plays The Hafler Trio), albeit abetted by great mouthfuls of narrative Norse verbiage which might prove clarifying for the Norwegian speaking among you, but for the rest of us, it just adds another layer of pleasurable obtuseness to their addled atmospheric constructs. Blearly buried synths burble and burr, washy trumpets smear resonances amidst distant ritualistic rhythms and vague half-melodies occasionally drift into earshot as That Voice continually fades in and out of focus. Beautiful.

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MARBLE SHEEP & THE RUN DOWN SUN'S CHILDREN-S/T, LP, 1989, JAPAN

The first Marble Sheep missive to gain release is actually chronologically their third set of recordings, the prior two album's of theirs that I've posted (Old From New Heads and Whirl Live) both being archival collections culling live material from a few years prior to the work at hand. Taken from a 100 copy LP reissue of their debut CD (presumably bootleg), the sound here is poised precisely midway between the monolithic and coruscating jams of those earlier sessions and the more loose, open and Grateful Dead-sy approach they'd questionably gravitate towards after this. At this juncture though, the atmosphere is still sufficiently thick with psychoactive juices and acid rock thunder to render such dodgy propensities dismissible, even the languid bits here having a luxuriant acid lacquer to them thats not a million miles away from what Sun Dial were getting at on the less furious portions of their deadly debut LP "Other Way Out".

***************NEW LINK POSTED OCTOBER 2012***************

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