A very lost and very mysterious album of French sound sculpture manipulation full of subtle tintinnabulations, shimmering bowed harmonics, hollowed out taps and great keeing curtains of Bertoia-like metallic cascades that interweave in an atmosphere pregnant with mystery. I don't expect that a lot of you staring at the vibe-laden photo on the rear are needing a lot of convincing right now. A 5:00 AM drift-off delight...
Get it via Rapidshare here
Installment number two in our trio of wonderful MIMI festival documents and perhaps my favorite of the set, side B in particular being a veritable feast of R.I.O. riches, beginning with one of the finer efforts from the post V-Effect downtown NY unit Fish And Roses, (whose debut E.P. I posted a little while back) and continuing on with a rip snorting live version of "La Chute De La Maison Usher" by the Quebecois all-star R.I.O. outfit Les Quatre Guitaristes De L'Apocalypso-Bar followed by a brilliant little bonbon of sly capering and tootling from organist Jo Thirion's post-Etron Fou Leloublan unit Art Moulu (their debut coming in my next round of posts) and a raw and garrulous burst of lopsided R.I.O. from one Die Schwindler, a group I don't recall running across anywhere else and one that I'd be fascinated to know anything at all about.
Track listing:
After Dinner-The Room Of Hair Mobile
Cassiber-Orpheus Mirror/I Tried To Reach You
Julverne-Layettes
Fish And Roses-Raisins
Le Quatre Guitaristes De L'Apocalypso-Bar-La Chute De La Maison Usher
Art Moulu-Corriges De Lecture
Die Schwindler-Neues Vom Hexer
Get it via Sharebee Here
Get it via Rapidshare Here
Emerging from the deepest recesses of the early American cassette culture network, this, the first of three Larry Mondello band missives I'll be unleashing on the unsuspecting masses in the coming days is a brain burner of Ralph Records/L.A. Free Music Society style gooning and girning hermetic lunacy from determined and recondite subcultural operatives whose mad audio screeds have heretofore been lost to the ages. I"ve upped a flood of work in the post-Residents/Beefheart mode since beginning here on MS and The Larry Mondello Band are in there with the best of 'em, the specifics of their attack coming closer to the nutty Dane's responsible for the Ivor Axeglovich LP's I posted long ago than most anything else I can readily summon at this moment. Squashed sonics, lopsided themes and gnomic utterances. Sounds like an evenings pleasure to me.
Get pt. 1 via Sharebee Here
Get pt. 2 via Sharebee Here
Get it via Rapidshare Here
-front+copy.JPG)
-insert+1+copy.JPG)
-insert+2+copy.JPG)
-tape+face+copy.JPG)
Predating their recently issued eponymous LP on Dekorder by four years, this blink-and-you-missed-it 50 copy cassette by Finnish freak folk/freak out operatives Jan Anderzen (Kemialliset Ystavat, Avarus, Tomutonntu etc) and Jani Hirvonen (Uton, Aan, Last Night On Earth) finds these two initiating a typically (if enjoyably) bedraggled pseudo ritualistic trawl through wheeze, twang, rustle and stumble on their way toward heavy lidded enlightenment.
NOTE: IT WAS BROUGHT TO MY ATTENTION THAT THIS TAPE CONTAINS THE SAME MATERIAL AS
IS ON THE NEWLY RELEASED HEVOSET LP ON DEKORDER, SO I'VE DELETED THE LINK AND AM REDIRECTING YOU Here WHERE YOU CAN PURCHASE A COPY OF THIS MOST EXCELLENT ALBUM.
Another great release from the ICR tapeography.George Garside's electronic spacey soundscapes,touching experimental and sometimes ethnic edges create a floating relaxing atmosphere, without getting boring. Another lost gem!
Wonderful electronic /experimental tape from the early 80s.Influences of early Clock DVA, early Cabaret Voltaire , Thomas Leer,Eyeless in Gaza are more than obvious. Also hints of experimental post punk DIY bands can be found.Atmospheres are dark claustrophobic, vocals are almost whisper, mucic sometimes scary.
An absolutely unknown gem!
Note: the label that originally issued this has been re-launched, as has this tape. Their online shop is Here
and their print catalog can be found Here
Following my previous post of Rick Crane's tape, here's 1 more,released on ICR tapes. Kraftwerian minimal synth combined with spacey excurtions in these wonderful recordings. A must!
Following my previous post of Dave Jones tape, here's the rest(i think) of his disk(actually tape)-ografy. Fantastic spacey electronics soundscapes all through,yet with a minimal synth feeling. # of them released through ICR and 1 is privately released.
I think no introduction is necessary for Mr. Colin Potter. Long time collaborator of NWW and founder of ICR records, in 3 more tapes from the early 80s.Great electronic compositions as always!Fantastic!Note that "Here" was released through Mirage tapes, while the other 2 are on ICR.
Not really sure what this is about. I think it's a ceremony in Trinity Church of NY backed by a rock group. Anyway this is a fantastic recirding remindin Mass in F Minor Electric Prunes, Igor Wakhevitch, recordings.Much organ work,combined with lyrics in latin, creating a mystic atmosphere.
Any more info will be appreciated!
Although posted elsewhere in the past , i decided to post these 2 LPs ,as they were requested a while back . Great acid damaged psychedelic guitar compsitions of this ex 39 Clocks member ,Jürgen Gleue , under the Phantom Payn moniker. An out of space combination of Bevis Front's lysergic tunes with Paul Roland's gothic acid psych ballads. In parts reminding me White Light,White heat era Velvet Underground, yet more trippy!
Creative Tapes release cover
ICR release cover
This album will only ring an obscure bell for the handful of you out there with a working knowledge of the esoteric world of gallery edition LP's, as this album in it's original edition (encased in a cage of chicken wire) was prominently featured in the genre defining book Broken Music that this crowd uses as a bible, along with a passel of other LP's in equally curious packagings from the Polish Alma Arts imprint. Knittel's compositions evidently span the worlds of orchestral, choral and chamber musics in addition to electronic and electroacoustic works, though this is the only artifact of his I've encountered over the years, and the electronics heard here give off a whiff thats anything but sterile. I'll freely admit that the lengthy Low Sounds that encompasses side two has resoundingly failed to set my world on fire (a case of truth in advertising, just low lying thrums....should give a woodie to all the onkyo obsessives out there, though....), but the A side....aaah...the A side's a bloody delight, the extended electronic confection that is "Lapis" airily whizzing about a sound world thats largely tonal, unexpectedly cheerful and ferociously blippy, it's slip 'n' slide synthetic interweavings immediately evoking several things for me, none of them particularly commonplace, from obscure library LP's like Michel Gonet's Futura or Patrick Vasori & Jan Yrssen's Transparence to Luc Marianni's Six Synthetic Suites, posted recently by moi.
Get it via Rapidshare here
Schwamm documents a formative moment in the history of the contempo Cologne electronica scene thats been promulgated by labels like A-Musik, Sonig and Gefreim and which has over the years gifted the world with the extraordinary likes of Mouse On Mars, Schlammpeitziger, Sack & Blumm and F.X. Randomiz among others, all these and other core personnel of this musical culture represented herein. Issued back during a transitional period when the artists involved we're more aligned with the post-industrial culture associated with the label Odd Size, the sense of aesthetics coalescing is pretty apparent here, some of the parties involved being still in their baby steps moments during this era (Schlammpeitziger, whom I normally adore in particular), but elsewhere, there's a wealth of desirable sounds to be found, especially on side B which goes from strength to strength, from the submerged Moebius-like lope of D.B. H.'s Randomiz-remixed "Slug" to Randomiz's own stunning contribution, "Dotter", a preternaturally prescient construction of bolt spitting pressurized mechanisms that sounds recorded last week and shows his fevered imagination already fully formed at this early date. That said, the highlight here might just be the track by Masters Cosmic Music, whose split LP with Schlammpeitziger I've previously posted: a bit of groggy and smeared sequence-pulsed insanity that sounds like Picky Picnic being sucked through Monoton's low-pass filter.
Track listing:
Schlammpeitziger-Brot Fur Atemnot
Jan Werner-Halbloch
Thrasier-Illegal Launch Found (Randomiz-mix)
Georg Odijk-Bovenbank
Zen Faschisten-Lisa
Marcus Schmickler-Lupo
Dies Duene Blad-Clear The Air
D.B.H.-Slug-141 BPM-(Randomiz-mix)
Frank Dommert & Jan Werner-3,6,9,12,Karneval
Fata Gaga-Bangladesh Burns
F.X. Randomiz-Dotter
Master's Cosmic Music-Cosmic Constructor
Joseph Suchy-12
Gereon Kaikuhl-Tulips
Sack-Mama Mir Ist Heiss
Get pt. 1 via Sharebee Here
Get pt. 2 via Sharebee Here
Get it via Rapidshare Here
The first of three superb compilation LP's (the following two coming shortly) documenting the activities of one of France's cornerstone R.I.O./improv/new music festivals during their 80's heyday. Despite the presence of several high profile folks on hand (Fred Frith/Skeleton Crew, Etron Fou Leloublan and Pascal Comelade among them), several of the most auspicious bits here actually come courtesy of some of the criminally unheralded operatives of R.I.O.'s second and third wave, particularly the concisely percolating perigrinations of France's sensational Virgule IV and Dutch nutters The Remotobs (whose sister group Nine Tobs is featured elsewhere on M.S.); their cheerfully tumbling structural eccentricities and gruff but impish delivery having a distinct simpatico with the Downtown N.Y. sound posited by the likes of Curlew and No Safety circa the mid to late 80's.
Track listing:
The Remotobs-Big Be Big (Purely Pergative Blues)
Etron Fou Leloublan-Blanc
Joseph Racaille et L'Ensemble Guillaume De Rachaux-Trente Et Un
Fred Frith-Making Seek And Hide
Skeleton Crew-The Way Things Fall
Regular Music-Idyllic Rhythms (Part II)
Virgule IV-Trahi Ton Secret
Les Batteries-Post-Polar
Pascal Comelade et Le Bel Canto Orquestra-Chanson Pop
Pascal Comelade et Le Bel Canto Orquestra-Park Guell
Get it via Sharebee Here
Get it via Rapidshare Here
-front+copy.jpg)
-inner+and+tape+copy.jpg)
-inner+copy.jpg)
With this tape, we complete the uploaded discography of this seminal 80's Aussie experimental rock outfit that featured noted electronic composer Paul Schutze, who's spectrally shaded instrumental post-punk-by-way-of-post-industrial constructs were effectively post rock before the genre existed. Interestingly though, while both LP's ("Ledge" and "Dog Photos") by them were very much of a shrouded and esoteric piece, the two tapes issued under their heading as well as the material they issued under the pseudonym The Invisible College tease out certain territories only hinted at on their vinyls. The material on EE, divided into subsections titled Vibrate, Scatter, Picture and Splinter spans the gap between "Nights"' atmospheric abstractions and The Invisible College's more forcefully driving and art rock-ish confections, each section highlighting a facet of their cumulative praxis, Vibrate foergrounding the rhythmically forceful dimension of their aesthetic as heard on the Invisible College material, Scatter proposing a more fractured and hermetic attack that carries a whiff of Can's ethnological forgeries, Splinter exploring the more nocturnal and mechanistic side of their nature and Picture setting it's sights on the cosmos with pore-penetrating widescreen tracts of alternately shearing and suspended krautrock-ish acid soundscaping that is perhaps the epiphanic peak of their whole discography. Thanks a million to Ben Lee for providing this treasure, the one bit of their discography I've been missing 'til now!
Get it via Rapidshare here
On the heels of umpteen other albums that I've posted by Brume, the exceptional and long-lived experimental electronic project of of Frenchman Christian Renou, here's one more, this one's post here spurred on by the recent dialogs on the comment boards regarding Carl Howard's work as Nomuzic under which moniker he issued a raft of work during the salad days of 80's American experimental cassette culture, several evidently soon to be featured here. Things start off rather more glassy/glaze-y/synth-patchy than regular Brume listeners will be anticipating and in so doing, fail to collar the listener in a way that suggests that highly evocative work is to follow, but follow it does, events reaching their peak on those tracks where fusillades of reverbed rhythms concuss their way through malarial atmospherics toward the sort of constructivist ends Renou was pursuing circa his Standard, Permafrost and Battery Hen Sabotage CD's.
Get pt. 1 via Sharebee Here
Get pt. 2 via Sharebee Here
Get it via Rapidshare Here
I hate having my hand forced, but Rapidshare's recent decision to eliminate links that have been uploaded anonymously (read: uploaded by a file spreading service like Sharebee)
after 10 downloads requires that I do so. After the number of issues we've faced over time with links being threatened by the respective situations with Massmirror, Xirror, Shareonall, Z-share etc, having a saved Rapidshare link of a file seems essential, so it appears that I'll now have twice as much uploading to do, as all my (that is vdoandsound's) posts in the future will now feature links for both Sharebee and Rapidshare, as do the five posts of mine below as well now.
This fabulously fucked sounding gem contains German post-NDW avant electronica maven Felix Kubin's collaborations with both Tim Buhre (whom he used to work alongside in the atonal post-industrial ensemble Klangkrieg) and, significantly, Asmus Tietchens. It's not stated anywhere which side Tietchens is involved in (or indeed of his involvement at all), but sonically, it's plain that side B's cycles and reverb-y detournments bear Herr Tietchens fingerprints. Every detail of the packaging is formulated for maximal confusionist amusement, beginning with designing it to appear to be a Scorpions bootleg (dig the morphed photo showing Tietchens manning the boards on a Scorpions session!), and said confusionist amusement is underscored by the sonics within, a deliciously damaged agglomeration whose formulations push a proactive grotesquerie that's been a latent gene in the larger body of work that Kubin's cobbled together in the intervening years, initially evident on early projects under his own heading like 1999's Jane B. Ertrinkt Mit Den Pferden 10" and latterly on projects like his Idiotenmusik 7". The queasily e.q.'ed source sonics on side A (presumably his work with Buhre) are rudely squeezed through the tubes of assorted jerry rigged electronic Rube Goldberg contraptions, before being alternately tweezed, suction pumped, squashed, vacuum sealed or inflated to capacity, all parts popping and pinioning like the bolts on some cartoon of a overloaded machine about to burst. Meanwhile, as alluded to before, Side B's presumably Tietchens-involved activities dance a different sort of fandango; a syrupy malaised quease of effects melted easy listening dismemberings, Werkbund/Mechthild Von Leusch-like cavernously reverbed devolving metallic rhythmic revolutions and insistent dadaist vocal loops.
***************NEW LINK POSTED SEPTEMBER 2012***************
Get it here
Continuing my posts of work from my own back catalog, here's one of our collective faves from our discography. Drug Bubbles was both the final document of the first phase of VDO's career (after which Matt would return to New Orleans from Dallas and initiate his solo Muz project, Doug Ferguson (R.I.P.) would turn his attentions to work on Yeti, David Fargason would join Liquid Sound Company and I'd undertake work on the first of Sound's two albums) and also represented a fundamental alteration in our usual approach, with tracks concatenated together into a dream logic pastiche from berserk live jams rather than painstakingly assembled layer by layer. Hard to know what the hell possessed us at the time (and it DOES sound possessed), but nearly 10 years after the fact, the resulting amalgam now sound like some sort of cosmic surrealist synth punk to these ears. Now there's a genre thats just waiting for someone to seize the mantle and run with it, eh?
Get it Here
