V.A. SOUNDTRACK FOR NAKED RUNNERS (2009)

ENJOY YOUR BODY
ARTIST`````VARIOUS
ALBUM`````SOUNDTRACK FOR NAKED RUNNERS
GENRE`````FUNK, JAZZ, NERDY, INSTRUMENTAL, RETRO, TRIPPY
YEAR````````2009
BLEEDING PANDA COMPILATION!

WHAT?
Some anonymous user here posed a challenge with a theme of naked running (he or she wanted it to be with some water sprinkles or something) but this name seemed a bit shorter and simpler. Also, someone criticized him/her for that, but I thought it was a ridiculous idea that should be definitely done. As it turned out, this is one of my catchiest compilations, but feel free to criticize it.

Now, it's filled with french perverse 70's LSD funk, some monstrous jazz + samba flipouts, several cult and very influental songs mixed with ridicule of The Beatles and the non-existent hippie-parody Dewey Cox himself.

This small collection went through some big changes over time. At first, I made it the most obvious way - indie experiments with japanese and NY noise bands (OOIOO, Optimo, Pullsallama etc.) but that was simply to simple, raw and it was'nt "romantic" and humorous enough. So I basically shifted entirely from that direction into sex, retro, french, jazz, kinky, ridiculous direction and tried to make a sort of a "soundtrack" that is not that tough at rhythm but more into the freedom loving atmosphere of the swinging sex organs .

Standout tracks, and maybe tracks that make this comp a must have (for those who never heard them before) are definitely: the gorgeous and life-fulfiling, jamming Andrew Bird's Coney Island Shuffle, Janko Nilovic's by far the best composition Xenos Cosmos from 1972 (the last 1 minute of the song is golden and the rest of his work is mostly crap), magickal Senor Coconut's - Rydeen, of course Serge Gainsbourg's cult classic Bonnie and Clyde, Sohail Rana's Soul Sitar - a perverse take on bollywood humour (Guys from Ninja Tune label had lots of fun remixing this gem) and the infinite Piggies - spitting humour from The Beatles. Also, I should mention Marsha Hunt with her nipple shaking (Oh No! Not) The Beast Day, a strangely missed groovy 70's funk club hit.

Enjoy this comp, leave a comment and maybe some ideas, links, whatever. I am always looking for new material to fuse.

TRACKLIST:
01 Medeski Martin & Wood - Pat A Cake (2008)
02 RJD2 - 1976
03 The Pinker Tones - L'Heros (2006)
04 Serge Gainsbourg - Bonnie and Clyde
05 Georges Garvarentz - Nues Dans L'eau (1970)
06 Sohail Rana - Soul Sitar (1970)
07 Marsha Hunt - The Beast Day (1973)
08 Paul McCartney - Coming Up (Thumbs Aloft Edit 2007) M
09 The Mystic Moods - Honey Trippin' (1975)
10 The Delfonics - Funny Feeling (1971)
11 Os Mutantes - A Minha Menina M
12 Andrew Bird's Bowl Of Fire - Coney Island Shuffle (1999)
13 The Beatles - Piggies (1968)
14 Walk Hard The Dewey Cox Story - Black Sheep (2007)
15 Der Dritte Raum - Swing Bop B (2008)
16 Senor Coconut and His Orchestra - Rydeen (2008)
17 G. Bordonneau & DJ BNX - Ultra Bossa (2000)
18 Janko Nilovic - Xenos Cosmos (1972)
19 Funkadelic - Can You Get To That (1971)

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STUDIO - YEARBOOK 1 (2007)

HUGE FIELDS OF POSSIBILITY
ARTIST`````STUDIO
ALBUM`````YEARBOOK 1
GENRE`````EXPERIMENTAL, ELECTRONICA, FUSION
YEAR````````2007

WHY:
Much has been said about this album but I've decided to post it anyway since it's a must listen for all who missed it in 2007.

A gorgeous pice of effort from Sweden.

ALBUM REVIEW: (pitchfork)
Never put stock in MySpace genre tags, but the page for Sweden's Studio says "Experimental/Afro-beat/Pop" and that's a decent start. It's vague enough for almost anything to happen, but with one specific reference point that pushes expectations in an interesting direction. The band consists of just two people, Dan Lissvik and Rasmus Hägg, though they do a nice job of sounding much bigger.

A lot happens in 70 minutes, as Studio basically functions in two modes. Much of the time they work in long form, winding melodic guitar lines around a core of clean, hypnotic rhythm. During these tracks they explore the trance-inducing repetition of Manuel Göttsching and gossamer lyricism of Durutti Column, and underpin the development with rhythms that allude to Can or the exotic tinge of Bill Laswell's Sacred System. Hard to say exactly how serious the "Afro-beat" mention on the MySpace page is, but it's not hard to hear the folding-in-on-itself quality of King Sunny Ade's guitar in something like the 13-minute "Life's a Beach!". There's even a hint of Nordic space disco in the reserved, easy funkiness of the gently modulating instrumental "Radio Edit".

As an album, it's long and all over the place, but somehow tight and disciplined; it feels like one unit working through various ideas and finding new ways for them to hang together. Subtle humor, both in the music and presentation, also helps keep the record afloat. All titles are in English but they're delivered with a playful twist. "West Side" alludes to Studio's hometown of Gothenburg, located on Sweden's left shore. "Life's a Beach!" is hopelessly goofy, but the music behind it is astonishing.

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CHRISTIAN PROMMER'S DRUMLESSON - DRUM LESSON VOL.01 (2009)

GOOD CLASSICS COVER WORK.
ARTIST`````CHRISTIAN PROMMER'S DRUMLESSON
ALBUM`````DRUM LESSON VOL.01
GENRE`````JAZZ, FUNK, COVER
YEAR````````2009

ALBUM REVIEW: (by soul seduction)
For part one of the the two DRUMLESSON albums, that CHRISTIAN PROMMER has planned to produce, he recorded 10 of his favourite dance classics as jazz interpretations. Taking his favorite dance tracks of the last two decades and transforming the energy and magic of the originals into a performance of a jazz quartet (piano, drums, perc. and bass) was quite an interesting journey for the composer/producer. All started with the idea to record an acoustic version of the DERRICK MAY classic Strings of Life to warm up for the production of his first solo album. He recorded the basic idea some time ago in his new studio on the country side near Munich. Upright piano played by ROBERTO DI GIOIA and drums by WOLFGANG HAFFNER. Thought of as a "one-off" track for the fun of it, it sat on the shelf for a long time until ALEX BARCK of the JAZZANOVA crew, came by and heard the track. Alex and the rest of the crew got so excited about this tune, playing it in their dj sets all over the world, that they soon decided to release a 12" with this track. Released in May 2007 it was a fast spreading phenomenon. Djs and music fans from all sides of the spectrum got into this track. DERRICK MAY also gave CHRISTIAN PROMMER his thumbs up. Nice. The idea of rerecording dance classics did not leave CHRISTIAN PROMMER’s head while he was preparing his debut album for Sonar Kollektiv. Feeling at home in the world between Jazz and Detroit Techno he decided to do an album project that had two parts. Vol. 1 reinterprets the dance classics in a jazzy fashion arranging and producing the record in an oldschool way. On Vol. 1 the track listing features tunes that CHRISTIAN PROMMER played in his dj-set at one point in his more than ten year long Dj journey.

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V.A. LANDSCAPES WE CANNOT SEE (2009)

unseen.
ARTIST`````VARIOUS
ALBUM`````LANDSCAPES WE CANNOT SEE
GENRE`````INSTRUMENTAL, EXPERIMENTAL, AVANTGARDE,
YEAR````````2009
BLEEDING PANDA COMPILATION!

WHY?
Celebration of the world unseen. This is a selection of my some of my favorite instrumental abstractions mixed with several classic, cult compositions by 16 very different and immensely powerful artists.

TRACKLIST:
01 Ariel Kalma - Planet-Air
02 Aziza Mustafa Zadeh - Singing Nature
03 Amon Düül II - Wie Der Wind Am Ende Einer Strasse
04 Mice Parade - Out of the Freedom World
05 The Zephyrs - What Voltage Is The Moon
06 Angelo Badalamenti - Laurens Walking
07 Frigg - Return From Helsinki
08 Medeski Martin & Wood - Old Paint
09 Drugs - Breathe
10 Jack DeJohnette & Foday Musa Suso - Ocean Wave
11 Grails - The Natural Man
12 Max Richter - Time Passing
13 Erik Satie - After The Rain - Gnossienne No. 4
14 The One Ensemble Of Daniel Padden - It's Wonderful To Think About Tigers
15 Greg Davis - Truly We Dwell in Happiness
16 Robert Fripp & The League Of Crafty Guitarists - Scaling The Whales


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RICARDO VILLALOBOS - FABRIC 36 (2007)

SUPERB, MINIMAL, ARTCY, CLUBBY.
ARTIST`````RICARDO VILLALOBOS
ALBUM`````FABRIC 36
GENRE`````MINIMAL, TECHNO
YEAR````````2007

UH:
A stylish mix of top notch minimalism. YummY:P Good stuff.

ALBUM REVIEW: (PITCHFORK)
Fabric 36 is Villalobos' ravenously awaited mix CD, and it just happens to be blended entirely from his own new productions and remixes. These cut-and-paste percussion clinics would be already straining with detail as stand-alone tracks, but their interlocking beats become ever more complex in the virtuoso way Villalobos meshes them, as when the opening electronic tones of "Groove 1880" sprout acoustic cymbal accents and jazz snares nine minutes later during "Moongomery". The hyper-percussive top end of the mix is perpetually bustling, too: Peppering his tracks with preverbal hiccups, askew extraneous rhythms, and halting half-melodies is one of Villalobos' favorite (and most effective) tricks throughout Fabric 36-- both for keeping the listener engaged and for lending his music its trademark uneasy quality. Phantom voices are layered into bad-trip swirls on "Organic Tranceplant" and "Fumiyandric 2". Strange sizzling noises flare up during an otherwise austere drum track. Fabric 36 constantly slips and slides around multiple percussive pulses, yet remains utterly sensual.

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ANDREW BIRD'S - OH THE GRANDEUR (1999)

HOT FUSION.
ARTIST`````ANDREW BIRD'S BOWL OF FIRE
ALBUM`````OH! THE GRANDEUR
GENRE`````RETRO SWING, ADULT
YEAR````````1999

ALBUM INFO:
Andrew Bird's second album Oh! The Grandeur reunites him with his Bowl of Fire counterparts, as well as some special collaborators like the Squirrel Nut Zippers' James Mathus. Recorded in New Orleans, the album builds on the hot jazz/Brecht vibe that Bowl of Fire pioneered on their first album Thrills, but focuses more on Bird's witty lyrics and deadpan delivery, as tracks like "Tea & Thorazine" and "The Idiot's Genius" display. Musically, Oh! The Grandeur keeps the live, one-take feeling of its predecessor, and Bird's fiddle playing is as expressive as ever.

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That thing I told you guys about

CLICK!

V.A. SHADOW MUSIC OF THAILAND (2008)

1960'S GROOVY THAILAND?
ARTIST`````VARIOUS
ALBUM`````SHADOW MUSIC OF THAILAND
GENRE`````POP, ROCK,
YEAR````````2008?
Recorded in the mid-‘60s in Bangkok, Thailand.

IN SHORT:
FFFFantastic selection of Thailand's pop-guitar groups of the 60's. Truly a great find.

ALBUM INFO:
SHADOW MUSIC was a broad term given to the Thai guitar pop movement of the 1960s and the groups that came out of it, all under the profound influence of early Western rock and roll. British instrumental wonders The Shadows (as in Cliff Richards & the Shadows) were the origin of the genre's title, also coined 'Wong Shadow' or early Thai 'String' music.

Shadow records were often marketed as 'Thai Modernized Music' which it was in the truest sense. Traditional Thai melodies were given the Shadow treatment; incorporating rock, surf, a-go-go, exotica, soul, blues, Latin and other worldly styles of the times. Inventive compositions and instrumental genius meet the occasional odd vocal arrangement and the results range from plaintive guitar and organ-driven lullabies to full-blown electric garage folk-psychedelia!

Featured on this collection are a handful of the leading recorded artists from the time; P.M. Pocket Music, The Son of P.M., P.M.7, Jupiter and Johnny Guitar. Throughout the 1960s, these groups forged a unique and highly self-referential Thai sound. One time pressing of 1500 LP copies and each of these beauties come in a full-color heavy-duty tip-on gatefold jacket featuring gorgeous original Thai Shadow LP artwork and of course 180 gram vinyl, so don't sleep on this one.

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ETHIOPIQUES - BLEEDING ETHIOPIA (2009)

MOST IMPORTANT AND INFLUENTIAL MUSIC FROM ONE OF THE MOST INTERESTING AFRICAN COUNTRIES
ARTIST`````VARIOUS
ALBUM`````ETHIOPIQUES - BLEEDING ETHIOPIA
GENRE`````JAZZ, FUNK, FUSION, R&B, TIGRIRNA MUSIC,
YEAR````````2009
COMPILATION BY BLEEDING PANDA

WHY?
This is one of my dearest compilations. It contains a personal selection from a 23 disc set of Ethiopian urban/funk/jazz/tigrirna music, mostly from the 60's and 70's.

Passage from "Haile's got a brand new bag" by Robin Denselow
Ethiopian music is very different from other African styles, perhaps because the country itself, with its long embrace of Christianity and no experience of western colonialism (though the Italians did invade the country in the second world war), has had such a different history. Musically, it has never been influenced by Cuban or other Latin styles, unlike west Africa. Instead, Ethiopian musicians looked to their own traditional music and to black America - a combination that came together in the extraordinary experiments of the 60s, when they created their gloriously distinctive fusion of local styles with American R&B, funk and free-form jazz.

INFO ABOUT THE SERIES:
Ethiopiques is a series of CD's featuring Ethiopian and Eritrean singers and musicians. Many of the Ethiopiques CDs compile various singles and albums that Amha Records, Kaifa Records, and Philips-Ethiopia released during the 1960s and 1970s in Ethiopia. Prominent singers and musicians from this era appearing on Ethiopiques releases include Alemayehu Eshete, Asnaketch Worku, Mahmoud Ahmed, Mulatu Astatke, and Tilahun Gessesse. However, some Ethiopiques releases are new recordings.

The Paris-based world music record label Buda Musique began the Ethiopiques series in 1997 and initially compiled Ethiopian popular music releases from the 1960s and 1970s. Some of the subsequent CDs focus on traditional music, while others highlight individual musicians or specific styles. As of September 2007, there have been 23 releases. None of the CDs feature today's synthesizer-based Ethiopian pop music. Francis Falceto is the editor of the series.

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PETAR DUNDOV - ESCAPEMENTS (2008)

REAL TECHNO REVIVAL
ARTIST`````PETAR DUNDOV
ALBUM`````ESCAPEMENTS
GENRE`````TECHNO, MINIMAL, RETRO
YEAR````````2008

WHOA!
Now, since i tend to trust in techno music ever since I started listening to it and since I always knew that it doesn't matter when mainstream techno easily and frequently starts to sound like pure empty crap (just like the rest of the mainstream music) and that this genre should be respected by critics just like any other genre, great examples of electronic repetitive brilliance always come as a huge breathe of fresh air which reinforce my desire to either dig up old stuff or wait 'till something new comes along.

Escapements is a beautiful injection and a slap in the face to the industry. It's retro in the truest possible way, the songs reach climax using only the hihats and crashes (just like it used to be) and the melodies never, ever stop. Read the great review below from some unknown source.



ALBUM REVIEW AND SOME BIO:
Techno music is a funny old game at the moment. The merest hint of fashion, or ego, and the old guard are up in arms. In 2008 then, they are marching with pitchforks on Berlin, waving banners proclaiming ‘we want the old Hawtin back’. It’s understandable, of course. This music was never about image, less so personality (put up your hand if you remember Rising High’s infamous “Faceless Techno Bollocks” t-shirts). It was owned by no one, a treasure discovered by those fortunate and open-minded enough to appreciate it simply on the basis of form. A lot has changed. Mixmag proclaimed that techno is now officially ‘sexy’ music. Er… it always was, thanks. But cue media frenzy. Everyone’s moved to Berlin. ‘Minimal’ is a — get this — ‘new sound’... don’t make me laugh. Sure, there is a slew of copycat, dullard 4/4 records going around that are about as cutting-edge as the Kaiser Chiefs, but this does not a musical revolution make. Far from it. And yet, as always, there are gems to be discovered by the adventurous. Techno isn’t dead, it’s just suffering from a dodgy botox job and a sketchy PR consultant.

Petar Dundov is a Croatian producer whose new album Escapements is a thing of absolute joy. Despite a number of previous releases, including one for Jeff Mills, I hadn’t come across his work until now. What Dundov has achieved so effortlessly here is to cross the apparent gaps in the world of techno, to remind us all of some things we may have forgotten. This album takes the word ‘minimal’ and applies it in the classic sense — long, meandering pieces that seem to do little yet are constantly evolving. Drums are pared right back, whole tracts of the album are powered by a simple kick and nothing else. You get the feeling that the club will explode with the momentous arrival of a hi-hat. And it will. But that won’t be for the lack of anything else going on. This album contains heavy synth action. This album contains a lot of — gasp! — arpeggios. For the oldest of the old guard, there was a time, fabled in the history books, when even trance was not a dirty word. Before it was co-opted by fluoro-adorned crusties in the '90s, trance and techno were almost interchangeable terms, particularly if a track was long and repetitive. Escapements harks back to this period and beyond (She In Purple gives a nod to Italo disco), but it’s not wilfully retro. It simply takes the perceived rules of modern minimal, techno and trance and throws them out of the window to create something rare: a truly honest record. And it bangs. The single Oasis is a monster. It is almost impossible to explain in words — just one of those tunes that is ten minutes of big sound system perfection, a guaranteed future classic. But Escapements also contains deep and reflective elements: Waterfall, for example, could easily be straight out of the Motor City with its big strings and deep, driving groove. Dundov’s not afraid to throw the drums out entirely either, with both opener Kanon and closer Anja’s Theme stripped bare of them.

So refreshing then, to hear this album. This is about as real and purist as techno music gets in 2008, and proves there’s plenty of life left in the old dog yet. Time to stop worrying about Hawtin’s jedi-knight-meets-flashing-bluetooth-box shenanigans and start concentrating on great techno records again. Make no mistake, in Escapements Petar Dundov has supplied us with one.

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EDEN AHBEZ - EDEN'S ISLAND (1960)

One of the goofiest efforts in the goofy exotica genre -- and brother, that's saying something, given the stiff competition.
ARTIST`````EDEN AHBEZ
ALBUM`````EDEN'S ISLAND
GENRE`````EXOTICA, KITSCH, OBSCURO
YEAR````````1960

I'M BACK
First, I want to thank everybody for their kind words of support for this blog of mine. I practically gave it up some months ago but then I checked my downloads which skyrocketed recently and started reading a shitload of positive comments. Obviously, people are diggin' my eclectic taste in everything that ends with .mp3. So -- I am back. Kachoing!

So, here's a great, great (one of the best) goofy odd 60's exotica albums of all times from one of the weirdest and unexplained composers ever. It's kitschy and almost child-like atmosphere, brilliance of arrangement with tasteful yet naive choruses of paradises lost and psychedelic roads of calmness, definitely lock-up the age of relaxed psy music makers into the 60's. It is very strange how far and "romantic" this record sounds. It's like we will never hear something this childish done with such an effort for detail.

WHO'S THE ODDBALL?
Ahbez boasted a resumé as colorful and mysterious as his music. Born Alexander Aberle in Brooklyn in the early 20th century, he changed his name in the 1940s shortly after moving to (where else?) California. A hippie a good 20 years before his time, he cultivated a Christ-like appearance with his shoulder-length hair and beard. He claimed to live on three dollars a week, sleeping outdoors with his family, eating vegetables, fruits, and nuts.

One of the genuinely strange characters of pre-rock American popular music, Eden Ahbez's main claim to fame was as the composer of "Nature Boy." The melodically and lyrically beguiling song was a huge pop hit for Nat King Cole; it would be covered by many other reputable performers, including Frank Sinatra, John Coltrane, Sarah Vaughan, and the Great Society (Grace Slick's pre-Jefferson Airplane band). But Ahbez's modern stature rests on a 1960 album that mixed exotica album and beatnik poetry. It rates as one of the goofiest efforts in the goofy exotica genre -- and brother, that's saying something, given the stiff competition.



ALBUM REVIEW:
Musically, Ahbez' 1960 outing was squarely in line with the exotica fad, utilizing then-unusual combinations of instruments (flutes, bongos, vibes) and sound effects like creaking boats to conjure up the aural equivalent of a tropical breeze. Unlike Martin Denny or Arthur Lyman, Ahbez often added his own spoken poetry, speaking of coves, paradise, and other idyllic subjects. Occasionally he even sang in a thin voice (he's no Nat King Cole). Even those who share Ahbez' yearning for heaven on earth must concede that his recorded effort to invoke these states is, to put it bluntly, sophomoric. Yes, it's good for some snickers from the exotica revival crowd, but that's almost definitely not what he had in mind when he was making this.

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CALEXICO - SONIC WINDS REUPLOADED!

It's up again so get it fast here.

El Guincho - Alegranza (2008)

A brilliant and beautiful Spanish album you all MUST download from my friendly neighbour HUMANOHOMOGENO.

MORPHINE - CURE FOR PAIN (1993)

CUTTING EDGE INDIE ALBUM FROM THE 90'S
ARTIST`````MORPHINE
ALBUM`````CURE FOR PAIN
GENRE`````ALTERNATIVE ROCK-POP
YEAR````````1993

ALBUM REVIEW (by Greg Prato):
With their cult following growing, Morphine expanded their audience even further with their exceptional 1994 sophomore effort, Cure for Pain. Whereas their debut, Good, was intriguing yet not entirely consistent, Cure for Pain more than delivered. The songwriting was stronger and more succinct this time around, while new drummer Billy Conway made his recording debut with the trio (replacing Jerome Deupree). Like the debut, most of the material shifts between depressed and upbeat, with a few cacophonic rockers thrown in between. Such selections as "Buena," "I'm Free Now," "All Wrong," "Candy," "Thursday," "In Spite of Me" (one of the few tracks to contain six-string guitar), "Let's Take a Trip Together," "Sheila," and the title track are all certifiable Morphine classics. And again, Mark Sandman's two-string slide bass and Dana Colley's sax work help create impressive atmospherics throughout the album. Cure for Pain was unquestionably one of the best and most cutting-edge rock releases of the '90s.

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WHITE NOISE - AN ELECTRIC STORM (1969)

OBSCURO TOP-NOTCH
ARTIST`````WHITE NOISE
ALBUM`````AN ELECTRIC STORM
GENRE`````ELECTRONIC, PSYCHEDELIC, OBSCURO, EXPERIMENTAL, "ROCK"
YEAR````````1969

WHY?
One of the most advanced electronic albums of its age (see Bruce Haack also), White Noise represents the true free spirited beginnings of pop culture being demolished and sampled, looped and twisted in ways nobody had heard before. A true obscuro album which stands out for its inventive approach to pop music.

WHO WERE THEY?
The White Noise project had its origins in the BBC's Radiophonic Workshop, whose previous claim to worldwide fame was the theme music to Doctor Who.

By the time White Noise's debut album, An Electric Storm, arrived in 1969, the Moog synthesizer had already started to make tentative appearances on pop records by the likes of the Monkees and Simon & Garfunkel. But no other pop or rock record before (or since) had been so painstakingly assembled using mainly homemade equipment and tape recorders.

REVIEW BY BOOMKAT.COM:
An Electric Storm is justly renowned among techno boffins as one of the first albums to fuse pop and electronic music before the advent of the Moog synthesizer. But you don't have to be versed in the language of sine waves and oscillators to enjoy this mostly delightful and hugely inventive album.

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REFRESHMENT: RELIGULOUS THE MOVIE (2009)

My first movie post so far. The links are not mine I got them in an e-mail so I decided to put them to good use. There are only 4 rapidshare parts so it should be a quick download.

CERTAINLY NOT THE BEST BUT POSSIBLY THE FUNNIEST RELIGION DOCUMENTARY EVER
DIRECTOR`````LARRY CHARLES
MOVIE```````````RELIGULOUS
GENRE```````````DOCUMENTARY, COMEDY
YEAR``````````````2008

MY SHORT REVIEW:
Bill Maher brings a fresh and direct attack on religion as a whole in this amazingly entertaining documentary. There are a number of movies and video lectures that are far more serious, important and fact driven than "Religuous" but some moments from this movie simply must be seen as they completely unravel the ENORMOUS amount of PURE bullshit some people can say in front of a camera and then stick to that. I'll post a big post about some critical documentary movies filled with recommendations and links to torrents and stuff soon so stay tuned.

Someone wrote a nice and short critique at imdb about this movie and I agree with it completely so you should read it below.

SHORT REVIEW FROM IMDB:
Author: ctg0724 from United States
Two things about this film took away a star. One was that Bill Maher spent so much time with the ones he tried to make look bad that he didn't meet with enough experts who could further the points he was making. The second problem is that the people he interviewed could have easily made fools of themselves without him cutting them off and lecturing them. That being said, let's get to the good points.

For one thing, he makes it so clear how illogical the mass amount of people can be. He exposes phony beliefs and shows how they can become very protective against his film crew. The film stock they put into use is done masterfully. Plenty of laugh out loud moments (particularly the image of Jesus as a teenager, you will see). My word must be taken as truth when I say that the final part of the film MUST be seen. This isn't just about cracking jokes on faith. This film is about the human race taking responsibility of itself and stopping the damage it has been doing for far too long.

PART 01
PART 02
PART 03
PART 04

V.A MONSTRUOSO INSTRUMENTALE! VOL. 01 (2009)

BULLSHITTO! FARTE! WHATEVERE! INSTRUMENTALLES!
ARTIST`````VARIOUS
ALBUM`````MONSTRUOSO INSTRUMENTALE!
GENRE`````INSTRUMENTAL
YEAR````````2008
BLEEDING PANDA COMPILATION! COVER DESIGN BY PANDA STUFFER.

WHAT?
This is a 16 track long collection of some of my favorite blasting instrumental songs. Generally, as the cover says, this collection has no meaning, has no intellectual value whatsoever and is pretty much a bunch of cult songs mixed with stupid cover versions (like Britney Spears Toxic cover) and interesting experiments along with kitsch trash Moog shitties that are fused together only by the fact that they all have balls and a clear tough attitude.
It spans decades - from 70's detective funk to new unexplainable experimental productions, and spans all continents and cultural influences.

All critiques and comments are very welcome. Also, I am preparing Vol. 02 so all your anarchical recommendations are very welcome.

And a Happy New Thingy to all of you:)

TRACKLIST:
01 Barry de Vorzon - Theme from The Warriors
02 Dennis Coffey - Scorpio (Alpha Omega)
03 Donald Byrd - One Gun Salute
04 Roger Davy - Crazy Flute Happy Guitar
05 Gert Wilden & Orchestra - Follow Me
06 Astro Can Caravan - Baia
07 Fuka Vicente -Tempura Soul
08 Mustafa Ozkent - Dolana Dolana
09 Ananda Shankar - Jungle King
10 Shawn Lee's Ping Pong Orchestra - Toxic
11 Stereophonic Space Sound Unlimited - Korla Rides Again
12 Aavikko - Cipetown
13 The Treblemakers - Freakshow
14 Secret Chiefs 3 - Jabalqa
15 Alamaailman Vasarat - Käärme toi ruton kaupunkiin
16 A Hawk And A Hacksaw - Zozobra

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I-F (VARIOUS ARTISTS) - MIXED UP IN THE HAGUE VOL. 01 (2000)

THE MOST IMPORTANT ITALO-DISCO LESSON TO LEARN
ARTIST`````I-F
ALBUM`````MIXED UP IN THE HAGUE VOL. 01
GENRE`````ELECTRO, ITALO-DISCO, EARLY TECHNO
YEAR````````2000

REVIEW BY JOHN BUSH:
I-f's Mixed Up in the Hague is an excellent dance-history lesson focusing on the electro-disco that's been such an influence on his productions. Wisely avoiding most of the endlessly compiled electro classics ("Planet Rock," "Rockit," "Clear") that tend to bore advanced listeners, I-f instead looks back to the motorized sequencer disco of the late '70s and early '80s with a parade of excellent obscurities. (Featuring track titles but no list of performers is undoubtedly not an oversight but a challenge to potential trainspotters out there.)

REVIEW BY BOOMKAT.COM:
I-F's 'Mixed Up In The Hague Vol. 1' - an uber-limited reissue of a record that is widely credited as being the best Italo/Electro mix of the past decade and accordingly changes hands for the kind of £££ that makes your eyes water despite it only ever being released on measly CDR. A crafty adjunct of the Parallax Corporation, I-F's legendary mix is a masterclass in the art of mixing, taking the blueprint as classic Italio-disco and the golden-age of European electro.

I-F capitalises on his keen ear by constructing a mix so intuitive it'll have you wondering how two decks and a mixer can sound so damn good. Great fun, a big recommendation.

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ASTRO CAN CARAVAN - 21st CENTURY DRIFTING EPISODE (2005)

FINLAND'S BIG BAND SPACE ROCK
ARTIST`````ASTRO CAN CARAVAN
ALBUM`````21st CENTURY DRIFTING EPISODE
GENRE`````BIG BAND, PSY-JAZZ, INSTRUMENTAL, EXPERIMENTAL
YEAR````````2005

ABOUT (FROM AURAL):
Highly experimental, with one foot solidly in the RIO camp and the other in outer space, Astro Can Caravan is an unconventional mix of large ensemble post-Sun Ra cosmic jazz, Magma-influenced Euro-fusion and Herbie Hancock/Miles Davis-styled avant-jazz funk. The 20 members of ACC (most of whom are apparently Finnish) all display a consummate musicianship and a keen awareness of the intricacies of ensemble playing throughout the ten tracks on 21st Century Drifting Episode, and in the process virtually create a new sub-genre one might call "big band space rock."

Imagine if Sun Ra's Arkestra were composed of members of Amon Duul II and Can - 21st Century Drifting Episode is the kind of album he would've done.

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ANDERS ILAR - LUDWIJKA - EXTENDED VISIT (2006)

UNDER OUR RUGS
ARTIST`````ANDERS ILAR
ALBUM`````LUDWIJKA - EXTENDED VISIT
GENRE`````IDM, MICRO, GLITCH, EXPERIMENTAL
YEAR````````2006

WHY? BY ME
The glitch-IDM scene used to be a kind of an experimental, elitist field in which electronic music makers showed their skills in achieving a functional composition with a minimal set of sounds. Nowadays, as usual, it grew into a huge scene of crap, piss and an occasional good record. Sweden based artist Anders Ilar made a really good record and what separates it from the today's rest and from the past are his fine skills in producing details, full sound and especially his gentle but melting bass lines that can heal your speakers. He is most definetly not Murcof, but he has a crouching layer of quality that many IDM "artists" dream of while being stuck inside this basically quite narrow sub-genre.

If you liked this you should like this one.

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EARTHLESS - RHYTHMS FROM A COSMIC SKY (2007)

NEW LEVEL OF PRIME STONER PSY ROCK JAM
ARTIST`````EARTHLESS
ALBUM`````RHYTHMS FROM A COSMIC SKY
GENRE`````STONER , ACID ROCK-METAL,
YEAR````````2007

PRAISES BY THOM JUREK:
They jam as Jimi Hendrix jammed, as Cream and Free and even Humble Pie jammed when they took it outside. But Earthless are always outside. They literally enter the sonic maelstrom of inspiration and free flowing, molten, deeply emotional energy where most felt it was at its peak, and they go up from there, moving into dusted rock realms not even dreamed of by the current jam band crew, the stoners or the droners, or even the heaviest of the doomers. They could hang with the most progressive of the metal bands around if they wanted to, but it's not in their credo. They don't see how long they can extend a chord; instead they see how many notes can fit into one, and how groove-oriented a tripped-out riff can get.



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OVAL - 94 DISKONT + MICROSTORIA - INIT DING (1995)

2 STANDOUT GLITCH ELECTRONIC ALBUMS OF 1995
ARTIST`````OVAL
ALBUM`````94 DISKONT
GENRE`````GLITCH, ELECTRONIC, IDM, INDIE
YEAR````````1995

WHY:
2 outstading examples of advanced electronic albums from 1995 from the same artist.

ALLMUSIC ON 94 DISKONT:
94 Diskont is undoubtedly a standout in the field of electronically advanced, glitch-heavy music. In addition to having clear resonance with those primarily interested in process, this record resides in an autonomous and highly aesthetic sonic universe, where bits of production and granulated noise easily melt into warm, repetitive arrangements. 94 Diskont was made with a lot of productive mediation and gadgetry, but the seams don't show.

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ARTIST`````MICROSTORIA
ALBUM`````INIT DING
GENRE`````LEFT-FIELD, ELECTRONIC, IDM, INDIE
YEAR````````1995

DIRECKSHUN ON INIT DING:
Microstoria is a fine experimental electronic outfit composed of Oval's Markus Popp and Mouse On Mars' Jan St. Werner -- but you wouldn't expect the collaboration to be as literal as Microstoria turned out to be. For all their combined creative juices, Microstoria is simply a meeting halfway between the mechanical atmosphere of Oval and the complex melodic quirks of Mouse On Mars. A simplistic formula to draw, perhaps, but it's surprising how very well the two styles of music mesh. Oval's random aloofness is retained, but its mechanical clicks and whirrs is replaced by warm synths and sporatic bits of electronic melody, a clear influence from Mouse On Mars. It's a compliment to both styles of each groups, and a pleasure in and of itself -- there's a reason they continue to release albums eleven years later. Init Ding is a great debut album from two artists who understand different aspects of complexity, and the resulting chemistry is palpable.

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CALEXICO - SONIC WINDS (2008)

SPAGHETTI TRAGEDY
ARTIST`````CALEXICO
ALBUM`````SONIC WINDS
GENRE`````AMERICANA, INDIE, ALTERNATIVE, EXPERIMENTAL
YEAR````````2008
NOT AN OFFICIAL COMPILATION!

WHY:
Many people are annoyed by Calexico on different levels and I can understand why. The singer is acctualy whispering most of the times because he sucks when he tries to sing with a full voice. They mostly sound really, really bad on live performances.Their music is mostly pure atmo-emo esthetics and their lyrics can sometimes be quite crappy.
But somehow I stayed with them for 5 years, mingling inside their spaghetti eclectic discography, always finding several gems on each album they published. I was always amazed by the fact that every time I listened to any of their albums I completely hated some songs while adoring 2, 3 tracks that blasted my mind.

If a band can play a spectacularly sad guitar solo like the one on "El Morro", create an apocalyptic song like "Humano" or make a good song like "Sonic Wind" - all of their other songs can be pure crap as far as I a concerned. I'll always listen to every new album they publish.

Here is my selection (my best of) of the often crappy often brilliant band Calexico.

TRACKLIST:
01 - Ritual Road Map
02 - Frontera
03 - The Ride (pt.II)
04 - All the Pretty Horses
05 - Two Silver Trees
06 - Sonic Wind
07 - Gipsy's Curse
08 - El Morro
09 - Dead Man's Will
10 - The Black Light
11 - Pepito
12 - Close Behind
13 - Clothes of Sand
14 - Humano (instrumental)
15 - Gift X-change
16 - Fade
17 - Woven Birds
18 - Over Your Shoulder
19 - Burn That Broken Bed
20 - Wash
21 - Glowing Heart Of The World

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Reuploaded on rapidshare.

PRINCE - BLEEDING JAZZ (2008)

UNDERNEATH THE MTV AWARDS
ARTIST`````PRINCE
ALBUM`````BLEEDING JAZZ
GENRE`````JAZZ, FUNK, PSY
YEAR````````2008
NOT AN OFFICIAL COMPILATION!

WHY:
Common music listeners very often accuse Prince of being "dance commercial crap pop with a couple of super-cool funky songs guy in tight green pants and a girly voice". They are most likely to link Prince to his occasional MTv top 10 blockbuster hits and dismiss him out of pure ignorance. Even the fact that some respectable music institutions acknowledge him as being the greatest pop male artist since Elvis fucking Presley, doesnt even bother people who just cant get over his looks, his open obsession with sex and his green leather tight pants and his skinny little twirly ass.

There is an entire dimension of Prince's career mostly known to his music aficionados and generaly music-obsessed people like me. So I've decided to make a 10 track long compilation of some of his jazz and psych-funk oriented songs which are less known to the general public. My apologies to hardcore fans - I havent included many of his experiments in an effort to make this compilation sound as coherent as possible.
Enjoy yet another side of Prince's universe.

TRACKLIST:
01 Prince - North
02 Prince - Osaka
03 Prince - Xhalation
04 Prince - Rainbow Children
05 Prince - When the Lights Go Down
06 Prince - Hallucination Rain
07 Prince - Xogenous
08 Prince - Xcogitate
09 Prince - Tokyo
10 Prince - West

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DR. JOHN - GRIS-GRIS (1968)

HIPPIE, VOODOO, PSYCH, MARDI GRAS, TRIBAL, HIGH NIGHT TRIPPIN' OF THE LATE 60's
ARTIST`````DR. JOHN
ALBUM`````GRIS-GRIS
GENRE`````PSYCHEDELIC, FUNK, ROCK N' ROLL, DRUGS?
YEAR````````1968

WHY:
This guy was something special in the late sixties. His debut album (Gris-gris) is quite an exploration of R&B blended in primitive voodoo aesthetics and coloured by some strange mystic/psych elements that I can't recognise. A very unique artist indeed. Lots of drugs involved too. Lots.

AN UNSUALY SHORT REVIEW FROM ALLMUSIC:
The most exploratory and psychedelic outing of Dr. John's career, a one-of-a-kind fusion of New Orleans Mardi Gras R&B and voodoo mysticism. Great rasping, bluesy vocals, soulful backup singers, and eerie melodies on flute, sax, and clarinet, as well as odd Middle Eastern-like chanting and mandolin runs. It's got the setting of a strange religious ritual, but the mood is far more joyous than solemn.

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