MAX TUNDRA - MASTERED BY THE GUY AT THE EXCHANGE (2002)

A COMPLETE SURPRISE FOR ME. ONE OF THE MOST TALENTED LESS KNOWN MUSICIANS TODAY. A MUST HAVE.
ARTIST`````````````MAX TUNDRA
ALBUM`````````````M. BY THE GUY AT THE XCHNG
GENRE`````````````EVERYTHING???
YEAR```````````````2002
























MY VIEW:
Here it goes: naive pop, parody post-rock, bubblegum pop, funk, trash, acoustic, Commodore 64, children's music, moog synthesizers, superfast -supercute beats with spacey effects, drill n' bass breaks, heavy electronics THAT ALL FIT INTO ONE 4 MIN SONG. And it sounds complete. It doesnt sounds like an experiment. Its like he was born with this ultra-music in his head.
This is a complete surprise to me. Enjoy this super-talented madman.

ARTIST BIOGRAPHY:
Ben Jacobs is notable for his musical schizophrenia, his back catalog for Warp and Domino a jumpy collision of found sounds, Squarepusher-type beat thrashes, and jaunty wrestling with "real" instrumentation. His second album for Domino sees Jacobs find his voice, no doubt back-flipping around the sound booth as he laid down lyrics to his funk-fueled spliced tape excursions. "MBGATE" is typical of the album -- a magically messed-up fusion of horn pushes, distorted songs, and general subverted pop craziness that does nothing but encourage the belief that if Prince hadn't burnt out in the early '90s, he'd have taken the name Max Tundra and hung out with a certain Guy Davie at a mastering house on North London's Randolph Street.

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JOSE GONZALES - IN OUR NATURE (2007)

THIS ALBUM IS NOT OUT YET! GET IT HERE BEFORE I GET FUCKED. JOSE'S SECOND PROMISING ALBUM. I DIDNT HAVE MUCH TIME TO LISTEN IN DETAIL BUT IT SEEMS QUITE GOOD.
ARTIST`````````````JOSE GONZALES
ALBUM`````````````IN OUR NATURE
GENRE`````````````INDIE POP
YEAR```````````````2007 (25th SEPTEMBER)












MY VIEW:
Considering the simplicity, quality and lush emotial experience of his debut album "Veneer", this album better be good. I've listen to it but not in detail and it sounds quite good. As I've noticed, this time, Jose is singing about the primitive side of humans. He is still using only his acoustic guitar occasionaly mixed with some simple tasteful percussions.

ARTIST BIOGRAPHY:
Swedish singer/songwriter José González is a star in his native land. His album Veneer was released there in the early 2000s and has achieved gold status. Far from the pop album you might expect from such a statement, the album is an entirely acoustic affair that reflects a childhood spent listening to equal parts bossa nova, classical, and post-punk by the likes of Joy Division. Touchstones for González's sound include Nick Drake, Paul Simon, Red House Painters, and Elliott Smith, all artists who are literate, quiet, and melancholy but also create memorable songs as well.

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FLASHBACKS : DRUG SONGS - HIGH AND LOW 1917 - 1944

RARE HISTORICAL CELEBRATIONS OF ILLEGAL SUPSTANCES!

ALBUM`````````````DRUG SONGS - HIGH AND LOW
GENRE`````````````JAZZ/BLUES
YEAR```````````````2002 (RECORDED 1917-1944)

ALBUM INFO:
Listeners under the impression that drug music began with "White Rabbit" and ended with "White Lines" would be wise to pick up the first and best volume in the German Trikont label's excellent Flashbacks series -- compiling 25 jazz, blues, and vocal cuts from the first-half of the 20th century, the set documents World War II-era vice and sin at its finest, deftly mixing radio hits with utter obscurities. The songs range from the benign (Gene Krupa's "Feeling High and Happy") to the explicit (the Memphis Jug Band's "Cocaine Habit Blues"), and while some of the selections are clearly reaching to justify their thematic inclusion -- Bukka White's immortal "Fixin' to Die Blues" almost certainly has nothing to do with "fixing" in the junkie lexicon sense of the term -- the pacing and sequencing are dead-on, and even novelty throwaways like Harry "The Hipster" Gibson's "Who Put the Benzedrine in Mrs. Murphy's Ovaltine?" stand up to repeated listening in this context. Excellent remastering and liner notes (in both English and German) round out the package

TRACKLIST

01 The Cat Is High - The Ink Spots
02 Junker's Blues - Champion Jack Dupree
03 Who Put The Benzedrine In Mrs. Murphys Ovaltine - Harry 'The Hipster' Gibson
04 Don't You Make Me High - Blue Lu Barker
05 I'm Wild About My Stuff - Kansas Joe and Memphis Minnie
06 You're A Viper - Stuff Smith & His Onyx Club Boys
07 Selling That Stuff - McKinney Cotton Pickers
09 Moonshine Man Blues - Peter Cleighton with Blind John Davis
10 Cigarettes, Cigars - Florence Desmond
11 Minnie The Moochers Wedding Day - Mills Blue Rhythm Band
12 The Ghost Of Smokey Joe - Cab Calloway
13 Let's Have Another Cup Of Coffee - Waring's Pennsylvanians
14 Dope Head Blues - Victoria Spivey & Lonnie Johnson
15 Wacky Dust - Ella Fitzgerald with Chick Webb & His Orchestra
16 Fixin' To Die Blues - Bukka White
17 Cocaine Habit Blues - Memphis Jug Band
18 Reefer Man - Baron Lee & The Blue Rhythm Band
19 Cocaine - Dick Justice
20 Jake Walk Papa - Asa Martin
21 Kickin' The Gong Around - Louis Armstrong
22 The Candy Man - Rosetta Howard & The Harlem Hamfats
23 Repeal The Blues - Ray Noble & The New Mayfair Orchestra
24 Feeling High And Happy - Gene Krupa & His Orchestra
25 Knockin' Myself Out - Jean Brady & Big Bill Broonzy
26 Smoke Clouds - Herbert Payne

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V.A. FUCK YOU IN 2007 VOL 1.

YEAH! FOR ALL THOSE TRENDY BOYZ + GIRLZ WHO NEED NEW CLUB SOUNDZ TO STAY OH, SO KOOL. ALL TRACKZ ARE FRUM 2007 FANCY-CONTEMPORARY POPULAR ELEKTRONIQ SCENE. SELECTION IS MINE SO LEAVE A COMMENT IF U LIKE IT OR HATE IT. ENJOYZ GRRLZ AND BOYZZ. SEE YA ALL LATERZZ.
ARTIST`````````````VARIOUS
ALBUM`````````````V.A. FUCK YOU IN 2007 VOL 1.
YEAR```````````````2007
GENRE`````````````INDIE ELECTRONIC/NEO ELECTRO/DANCE/HOUSE/GRIME/NOISE/ EXPERIMENTAL/FANCY/CLUB
COMPILED BY ME - (VALENTIN)

TRACKLIST:

01 Justice - Genesis
02 Benjamin Bates - Two Flies
03 Calvin Harris - Vegas
04 Hadouken - Tuning In
05 Chromeo - Fancy Footwork
06 Dj Mehdi - Hot-O-Momo feat. Xanax
07 Ben Mono - Blindsweep (feat. Killa Kela)
08 Tiefschwarz – Ghostrack (Original)
09 Lustral - Deepest Darkest Secret
10 Digitalism - Echoes
11 Sebastian - H.A.L.
12 Von Sudenfed - Family Feud
13 Dan Deacon - The Crystal Cat
14 Kavinsky - Testarossa (Sebastian Remix)
15 Justice - Waters Of Nazareth

DOWNLOAD "FUCKYOU" HERE:)

MAD SIN - SWEET AND INNOCENT? LOUD AND DIRTY (2003)

ROCKABILLY/PUNK/ROCK/HARD-CORE/ PSYCHOBILLY/TRASH DESTRUCTION - BRILLIANT
ARTIST`````````````MAD SIN
ALBUM`````````````SWEET AND INNOCENT?
GENRE`````````````PSYCHOBILLY
YEAR```````````````2003 (RECORDED 1998)

MY VIEW:
This is my favourite Mad Sin record. It was a breaking point for the band (they signed a major label with this album) and it was a breaking point for me (entering psychobilly sound), so I keep this album quite close to my heart.




BAND BIOGRAPHY:
from wreckingpit

If you thoroughly look back on the story of MAD SIN it is surprising that the band still exists without any split-up, collective suicide or at least regular internal fights. Founded 1987 by Köfte, who just dishonorable left school, Punk- and Rockabilly- guitarist Stein and four-week-bass-playing Holly, they struggled around with the help of some mates, who organized gigs in several shady bars of berlin. The daily booze was financed through gigs as streetmusicians in shopping-malls, where they played Rockabilly-, Country- and Blues-Songs to get the tourist's money.

Without any suspections about the business MAD SIN signed their first record-contract 1988 with a dubious figur of Hamburgs underworld - the result was an album which became a classic in the Psychobilly scene. Despite of the problems MAD SIN was getting more and more known. Their travelling brought them also to Holland where they got in touch with the Indie-Label 'Count Orlock' which released their masterpiece 'God Save The Sin'. This record showed for the first time the typical mixture of Rockabilly, Punk Rock, classical Hardcore and a lot of Psychobilly, which became pretty fast the trademark of the quartet. What followed were gigs with Bands like Faith No More, Gwar, Misfits, Suicidal Tendencies, Meteors and many more, and with their enthusiastic sound, Köftes oustanding stage madness and an explosive live-show that includes firespitters and similar attractions MAD SIN got fans of all kinds on their side. Because MAD SIN didn't want to live longer on the level of social security they soon forgot all doubts when Polydor lured with an unbelievable mass of cash. As soon as possible they went to Hamburg to the hand over of the money case and short after it to Malta to record an album.The result was ''Sweet and Innocent? ... Loud and Dirty!!!'' which was recorded in August 1998, some airplay and many on open air festivals. MAD SIN and the Polydor label couldn't get along very well. They thought the band was too excessive and not mainstream enough. To MAD SIN it seemed like a joke when they received another big case of cash from the label, just to leave again. But they still had loads of gigs to do and after 12 years they took the step of a second guitarerro.

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OSVALDO GOLIJOV - AINADAMAR (2006)

SOPHISTICATED "LOW ART" OPERA MASTERPIECE
ARTIST`````````````OSVALDO GOLIJOV
ALBUM`````````````AINADAMAR
GENRE`````````````OPERA/FUSION
YEAR```````````````2006

MY VIEW:
Coppola said it better:
"There are two sides of Osvaldo Golijov that attracted me: consummate musicianship and classical training, and as well a sense of modern life, clashing cultures and the integration of past and present into a generous musical canvas. As it turned out there was a third side – a kind and interesting human being and a wonderful friend."
Francis Ford Coppola

COMPOSER BIOGRAPHY:
After his Grammy-nominated debut album Ayre, here is the second world-premiere recording of Argentinean composer Osvaldo Golijov: Ainadamar.

Golijov is today’s hottest composer – young, innovative, creatively versatile, and rooted in different cultures and styles. “Like his fellow Argentinean Astor Piazzolla, Mr. Golijov does not harness popular music; he liberates it. The energy is freed from a simple dance band function and allowed to wander into modulating keys and new meters. This is ‘low art’ arranged in sophisticated sentences.

The one-act opera Ainadamar was composed in 2003 and revised in 2005. The plot centres on Federico García Lorca and his tragic death; the Spanish author was executed by Fascist soldiers early in the Spanish Civil War in a place the Moors called Ainadamar, or “Fountain of Tears”. As in the song cycle Ayre, the female title role is interpreted by Golijov’s muse, Dawn Upshaw.

Ainadamar was recorded in Atlanta with the Atlanta Symphony Orchestra under Robert Spano after a number of performances in the US. The respected critic Alex Ross of The New Yorker wrote, “the music is sensationally beautiful throughout!

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DAN DEACON - SPIDERMAN OF THE RINGS (2007)

FREAK THE FUCK OUT! HARDCORE ELECTRONIC MUSIC THAT SOME AWESOME TALENTED 6 YEAR OLD KIDS WOULD LOVE TO MAKE.
ARTIST`````````````DAN DEACON
ALBUM`````````````SPIDERMAN OF THE RINGS
GENRE`````````````ELECTRONIC/BUBBLEGUM POP
YEAR```````````````2007

MY VIEW:
A fat, bald, ugly, introspective (quite educated) master of music screaming for ice-cream and dancing like a teddy bear on LSD.

ARTIST BIOGRAPHY:
Electronic music composer Dan Deacon is based in Baltimore, MD, and is equally influenced by such diverse elements as Devo, Talking Heads, Scratch Orchestra, Raymond Scott, and Conlon Nancarrow. After several self-released projects, he moved to Baltimore and became an instant figurehead of the fledgling electronic music community. In November of 2004, he lost 60 pounds while making the transition from a diet of chicken and cookies to a healthy vegan lifestyle. Though he releases several projects in limited quantities, Acorn Master and Spiderman of the Rings were released by Psych-O-Path Records in 2006.

ALBUM INFO:
READ THE ENTIRE REVIEW HERE

Despite its cacophonous electronic surface, the best of Spiderman of the Rings hits the pleasure centers with a string of great pop singles. "The Crystal Cat" could almost be a straight-up surf-rock tune until the moment when Deacon's leader-of-the-pack goon croon becomes a grotesquely twisted helium shriek and the drums explode like illegal fireworks. "Okie Dokie" is basically "Wooly Bully" rewritten with Deacon's handmade tone generators and ring modulators.

See, Deacon makes "noise rock" that taps directly into the great lineage of batshit bubblegum pop. Spideman connects at various points with Kasenetz and Katz, Sam the Sham, happy hardcore and gabba techno, "Surfin' Bird", the twinkly melodies of an infant's mobile (the unexpectedly gorgeous "Big Milk"), the Ramones, Koji Kondo (composer-in-residence for the Nintendo Entertainment System), Max Martin, and Daft Punk. On an earlier EP, 2006's Acorn Master, Deacon covered Bobby Darin's "Splish Splash". That spastic take on a rock'n'roll classic feels with hindsight like an obvious run up to Spiderman.

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DAVID CROSS - IT'S NOT FUNNY (STAND-UP COMEDY 2004)

HATING KIDS, HATING BUSH, HATING EVANESCENCE... DAVID CROSS LIVE AND NICELY RECORDED.
ARTIST`````````````DAVID CROSS
ALBUM`````````````IT'S NOT FUNNY
GENRE`````````````STAND-UP COMEDY
YEAR```````````````2004

MY VIEW:
One of his best performances. Good audio quality.

ALBUM INFO:
It's Not Funny is David Cross' 2004 stand-up comedy album, released on Sub Pop Records. The track titles, like those on his previous record Shut Up You Fucking Baby!, have no relevance to the bits Cross does on the album and are instead there to make fun of material performed by other comedians, either on the whole or targeted at specific comedians; e.g. the seventh track is probably a stab at comedians such as Margaret Cho, and track 4 is probably a stab at parody artists like "Weird Al" Yankovic.

Cross has said the album's title references children being laughed at by their friends while trying to tell them something important, only to reply, "Come on guys, it's not funny." Stand Up! Records also released a limited LP edition of 500 for this release, as they had for Shut Up You Fucking Baby!. Like the CD, it also contains a hidden track that plays from the label out to a locked groove. This edition is a single LP, unlike its predecessor.

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PULSALLAMA - THE DEVIL LIVES IN MY HUSBAND'S BODY (1982) + OUI OUI (1983)

Original cover.

FURIOUS 12 GIRL BAND FROM THE EARLY 80'S NEW YORK UNDERGROUND SCENE
ARTIST`````````````PULSALLAMA
ALBUM`````````````2 EP's
GENRE`````````````EXPERIMENTAL
YEAR```````````````1982/1983

MY VIEW:
Brilliant.

BAND INFO:
Pulsallama was a short-lived, yet legendary, 12 piece all-girl percussion band who ruled Manhattan nightlife for a brief period in 1981 and 1982. Their sound has been described as "13 girls fighting over a cowbell." Pulsallama got a rave review in New Musical Express in which the reporter said he was "dancing, screaming and laughing, all at the same time!"

In early 1982 they were asked by Elliot Sharpe to contribute a song for a flexidisc to be distributed in a magazine. Since it was a freebie, they decided to give him their most retarded song, May. With portable tape recorder in hand, he came to their rehearsal studio to record May for posterity, but as soon as he arrived, the gals started brawling. The fighting became so intense it disturbed the derelicts outside, who began screaming and pounding on the door. The band snapped out of it and settled down to do the song. During the song, the drunks started banging and screaming again, or so it sounds. It's hard to tell; it might just be Pulsallama.

In May 1982 the band went to Intergalactic Studios, where Planet Rock was recorded, to cut their first single. While they waited hours for the engineer to show up, they were treated to the Planet Rock show tape hundreds of times, which rattled the battle prone babes' nerves. The resulting brawl nearly got them thrown out of the studio. A couple days later they were off to Asbury Park to open for the Clash, where an adoring audience of 6000 showered them with coins and cups of beer. Pulsallama's single, The Devil Lives in My Husband's Body became a minor college radio and cult hit.

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KONONO Nº1 - CONGOTRONICS (2005)

Original cover.
NON-STOP RAVING NOISE AFRICAN MADNESS FROM CONGO!
ARTIST`````````````KONONO Nº1
ALBUM`````````````CONGOTRONIC
GENRE`````````````BAZOMBO TRANCE MUSIC
YEAR```````````````2005

MY VIEW:
This is a complete and sudden surprise. You could call this - pure contemporary african rave. Unfortunately, of all the musicians in the world, Bjork was the first capitalist bitch who gave them a bunch of money to play for her...

NICE ALBUM REVIEW (by Steve Leggett):
This amazing record is the product of utility, coincidence, and accidental discovery as much as it is a product of academic deliberation, and it manages to sound old and traditional even as it is refreshingly (even radically) new and avant-garde. Konono No. 1 was formed in the 1980s by a group of Bazombo musicians, dancers, and singers from the Democratic Republic of Congo to play traditional likembe (thumb piano) music in the streets. They soon discovered, though, that they needed amplification to be heard and -- this is where the story of this album really begins -- they took a DIY and utilitarian approach by building their own amplification systems out of junked car parts, magnets, and other flotsam. Once assembled, the system produced a huge hum that Konono No. 1 embraced as part of the sound of the group. At the center of everything were three amped-up thumb pianos tuned to three different registers, and coupled with all manner of pots, pans, whistles, and brake drum snares for percussion and with the vocals blasting through megaphones, all embedded in the huge buzz and hum of the homemade PA system, the group accidentally created a sound that was at once both ancient and traditional and yet eerily akin to experimental 21st century electronica.

Congotronics is Konono's second album (the first was a live outing entitled Lubuaku), and while it was ostensibly recorded in a studio setting, it sounds wonderfully live and immediate, as if the dozen members of the group were standing on a busy street corner like some Congolese version of a second-line Mardi Gras band, only with thumb pianos instead of horns. Musical themes emerge and reemerge in the various tracks, and what sounds initially chaotic and random is revealed to be nothing of the sort, giving the whole album the feel of a ragged, joyous suite. Part traditional, part African rhumba, part smart avant-garde electronica, Congotronics is the sound of an urban junkyard band simultaneously weaving the past and the future into one amazingly coherent structure, and not only that, you can dance to it. This is the band Tom Waits has been looking for all his life.

The group recently finished collaborating with Björk on the song "Earth Intruders" from her studio album, Volta. They will also accompany her on her promotional tour for the album.

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Reuploaded 8/June/2010.

V.A. - SHIT! WE GOT PARADISE - COMPILATION BY VALENTIN (2007)

FEEL THE UKULELE!

Selection of my favourite old kitch hawaiian tunes. Some of these songs were recorded on vinyl around 1910 so expect that lovely glitchy waikiki-ukulele-love-makin' sound:)

Pay special attention to the (independently recorded) two last radio show tracks (16 & 17). This great radio show explains how hawaiian music vanished when it was discovered by raging american music industry. A must have.

Tracks:
01 Hawaii Calls Compilation - Introduction
02 Alfred Aholo Apaka - Song Of The Islands ( Na Lei O Ha
03 Kanui And Lula - Oua Oua
04 Nina Keali'iwahamana & Benny Kalama - E Lili'u E
05 Danny Kuaana - Mauna Kea
06 Hawaiian Cumquats - Untitled Song
07 Hawaiian Cumquats - The Pick of the Crop
08 Andy Iona & His Islanders - Hola E Pae
09 Andy Iona & his Islanders - Vana Vana
10 Lani McIntire - Hula Blues
11 Andy Iona - Hooheno Keia No Beauty
12 Jules Ah See - Sand
13 Lani McIntire's Hawaiians - Maika'i Wale No Kauai
14 Basil Henriques And The Waikiki Islanders - The Shadow Of Your Smile
15 Benny Kalama - Nani Waimea
16 Hawaii Why - Oh! 1
17 Hawaii Why - Oh! 2

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* This is not an official compilation.
* This compilation is made and uploaded by me.
* This is pure and utter piracy.
* Cover design is done by me.

V.A. - PIXEL MUSIC COMPILATION BY VALENTIN (2007)

Selection of my favourite chiptune music published by an independent online label 8bitpeoples. I intentionaly selected diverse styles of chiptune songs so people who never heard this kind of music could hear different approaches to this insanely retro way of sound making.

All songs on this compilation are published by 8bitpeoples and are free for you to download at their site www.8bitpeoples.com. You can download much, much more so I definetly recommend visiting and supporting this extraordinary stubborn label.

My next 8 bit compilation will be dedicated to the true sound of Commodore 64, Game Boy and Tetris.

Tracks:
01 She - Twilight
02 She - Yeah Yeah Beats
03 Skruvmejsel - Fiskmat
04 Alex Mauer - Blast First Level
05 I, Cactus - Green Cactus
06 Dorothys Magic Bag - Arablakaren
07 Mesu Kasumai - I-75
08 Mesu Kasumai - Mikes Monday
09 Coleco Music - Coleco Says How Are You
10 Factor6 - Axel Funk
11 Kplecraft - Ydodo
12 Random - Nightflower
13 Rushjet1 - Rocket Flight
14 Psilodump - Mutiny of the Robots
15 Kplecraft - 8-Bit Goa #2
16 xlk - Outra Mix
17 Goto80 - Comsten

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* This is not an official compilation.
* This compilation is made and uploaded by me.
* I am not sure if this is pure and utter piracy.
* Cover design is done by me.

Visit , download and support 8 bit music at
www.8bitpeoples.com

INFO ON CHIPTUNE MUSIC:
Chiptune, or chip music, or micromusic is music written in sound formats where all the sounds are synthesized in realtime by a computer or video game console sound chip, instead of using sample-based synthesis. The "golden age" of
chiptunes was the mid 1980s to early 1990s, when such sound chips were the most common method for creating music on computers. The restrictions
posed by the medium forced composers to become very creative when developing their own "electronic sounds". This is due to the early computer sound
chips having only simple tone and noise generators imposing limitations on the complexity of the sound.
The resultant chiptunes sometimes seem "harsh" or "squeaky" to the unaccustomed listener. Chiptunes are closely related to video game music. The term has also been recently applied to more recent compositions that attempt to recreate the chiptune sound, albeit with more complex technology.

YMA SUMAC - VOICE OF XTABAY (1950)

THE MOST EXOTIC AND ORIGINAL VOICE EVER. THE FIRST AND THE BEST ALBUM BY A WOMAN-WONDER-DEMON-FREAK. MASTERPIECE COMPOSITIONS BY LES BAXTER.
ARTIST`````````````YMA SUMAC
ALBUM`````````````VOICE OF XTABAY
GENRE`````````````EXOTICA/VOCAL
YEAR```````````````1950

MY VIEW:
Shit. She can sing in offbeat, scream like an animal and be beautiful. What more do you want? I bet she cooks good...

SHORT BIOGRAPHY:
A singer with an amazing four-octave range, Yma Sumac was said to have been a descendant of Inca kings, an Incan princess that was one of the Golden Virgins. Her offbeat stylings became a phenomenon of early-'50s pop music. While her album covers took advantage of her strange costumes and voluptuous figure, rumors abounded that she was, in actuality, a housewife named Amy Camus. It mattered little because there has been no one like her before or since in the annals of popular music.

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THE DUKES OF STRATOSPHEAR - CHIPS FROM THE CHOCOLATE FIREBALL (1987) REUPLOAD!!!

XTC - SONIC PSYCHEDELIC RETRO POP SIDE PROJECT!
ARTIST``````````THE DUKES OF STRATOSPHEAR
ALBUM``````````CHIPS FROM THE CHOCOLATE FIREBALL
GENRE``````````NEO PSYCHEDELIC/ALTERNATIVE
YEAR`````````````1987

Goddamit stop reporting this file!!!!!!!

MY VIEW:
If I might add (and not sound pretencious), it seems that some "ballad" songs (if u can call them that) from Mr. Bungle's "California" were influenced by this album. This applies to Scissor Sisters also (and many bands for that matter).

INFO: [allmusic.com]
During the mid-'80s, XTC developed a deep fascination with '60s psychedelia that manifested itself on their late-1986 masterpiece Skylarking. While Skylarking was filled with lush pop reminiscent of the Beatles and Beach Boys, it was generally a sober affair, since they decided to leave many of the lighter songs off the album for B-sides and future albums. During this time, they decided to develop their alter egos of the Dukes of Stratosphear, a way to let all of their infatuation with psychedelia flourish. Both the EP 25 O'Clock and the full-length Psonic Psunspot, collected on the single-disc Chips From the Chocolate Fireball, capture the sound of '60s psychedelia remarkably well. All of the sonic details, from the fuzz guitars to the cavernous echoes and sound effects, are in place, as are the self-consciously trippy lyrics. But what makes the Dukes of Stratosphear far more than a comedy band are the songs, which happen to be some of the best pure pop tunes XTC ever wrote: "My Love Explodes" has a tense, spiraling guitar line and melody; "Little
Lighthouse" and "You're My Drug" are wonderful pastiches; "The Mole From the Ministry" is a devilish homage to "I Am the Walrus" and Bowie; and the group rarely wrote a song as infectious as the bright, jangling "Vanishing Girl." Despite the clever craftsmanship, XTC has never sounded so carefree or effortless, been quite as immediately catchy or consistent — Chips From the Chocolate Fireball is too good to be overlooked as a side-project folly, because it truly is some of the best music XTC ever made. And, coincidentally, it's some of the best psychedelic pop ever recorded as well.

Biography: [allmusic.com]
In 1985, the British pop band XTC recorded an EP of affectionate parodies of '60s psychedelia and guitar-pop called 25 O'Clock. Instead of releasing the EP under their own name, they released the record under the name the Dukes of Stratosphear. Working with producer John Leckie, all three members of the group adopted pseudonyms — Andy Partridge was Sir John Johns, Colin Moulding was the Red Curtain and David Gregory was Lord Cornelius Plum. For this one project Gregory's brother Ian joined the band under the name Ian E.I.E.I. Owen. The EP was released without mention of XTC's name anywhere on the record, and the group claimed they had nothing to do with the project Two years after the appearance of 25 O'Clock, the Dukes of Stratosphear released a full album, Psonic Psunspot. By the time Psonic Psunspot appeared in 1987, XTC were beginning to admit in interviews that they were indeed the Dukes of Stratosphear. Later in 1987, both the EP and album were released on a single compact disc, Chips from the Chocolate Fireball.

TRY

V.A. - Sitar Beat Vol. 2, 3 & 4 (2006)

MEGAPACK! INDIAN HEAVY FUNK! BOLLYWOOD HARD-STYLE MASTERPIECES!
ARTIST`````````````Various
ALBUM`````````````Sitar Beat Vol. 2, 3 & 4
GENRE`````````````BOLLYWOOD HARD FUNK
YEAR```````````````2006


Unfortunately, I couldnt find volume 1 of this insane compilation but here are numbres 2,3 and 4. If anyone has volume 1, please let me know.

INFO:
The Sitar Beat series was built with the DJ in mind - collecting some of the wildest, heaviest and most psychedelic Indian Funk recorded and presenting it loud on wax, ready for the turntable.

The first four volumes were lessons in just how ahead of their time India's Bollywood composers were in the 60s, 70s and early 80s. They dug into Indian deep funk and psycho-psychedelic masterpieces recorded for the Bollywood film industry. Alongside full length killers like the funkiest track from the rare "Qurbani" soundtrack, there were Bollywood funk fiestas by acclaimed composers such as Kalanji Ananji and R.D. Burman, with extended breakbeats and re-edits that upped the funk to the boiling point. Together with Ravi's nephew Ananda Shankhar's instrumental Sitar freak outs were diva Asha Boshle's soulful wailings.

Culling its music from rare vinyl and utilizing tasteful restoration and remastering, Sitar Beat was the first time that many of these songs are heard by the record-buying public - at least in this form. Edits remove any bobbing and weaving, leaving funk that only flies straight ahead!

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MICHAEL BUNDT - JUST LANDED COSMIC KID (1977)

REDISCOVERING ELECTRONICA - 20 YEARS AHEAD OF ITS TIME!
ARTIST`````````````MICHAEL BUNDT
ALBUM`````````````JUST LANDED COSMIC KID
GENRE`````````````ELECTRONICA/CLUB
YEAR```````````````1977

MY VIEW:
Pay attention to "The Brain Of Oscar Panizza". A revolutionary track that still influences today's house/techno/trance producers and "La Chasse Aux Microbes", gorgeous 8 min emotional-space trip.

SHORT ARTIST INFO:
Living in Weinheim in the early 70s Germany, Michael Bundt used to play the bass with several bands as Nine Days Wonder on We Never Lost Control and Only the Dancers, Wintergarden on Wintergarden III, Medusa on a CBS single, and German Band called Nerve. In the mid 70s he decided to play solo and released 3 LPs, Just Landed Cosmic Kid, Neon, and Electri City, whereof "The Brain of Oskar Panizza" is still used in many club mixes.

Today Michael works as composer and producer of several bands and albums as Tritonus on Between the Universes. He lives in Mannheim, Germany and produces a great German Jazz Singer named Silke Hauck.

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MURCOF - MARTES (YESTERDAY) (2002)

FLESH AND BONES FROM A MICROSCOPIC WORLD
ARTIST`````````````MURCOF
ALBUM`````````````MARTES (YESTERDAY)
GENRE`````````````EXPERIMENTAL/GLITCH/MINIMAL
YEAR```````````````2002

MY VIEW:
All I can say is - This man uses real silence as an instrument and it sounds like a beautiful violin:)

SHORT ARTIST INFO:
Fernando Corona was born in 1970 in Tijuana, Mexico and was raised in the nearby port of Ensenada. In 2000 he returned to Tijuana where he has continued to live and work. He was for a time a member of the Tijuana-based Nortec Collective of electronic musicians under the Terrestre project name. Martes is his debut album under the name Murcof.

Short reviews:

"A very assured debut, creating a sound world that's undeniably 'now' yet conjouring an aura that is both active and peaceful, audaciously still... somewhere between Giya Kancheli and Apex Twin... a rare feeling of size and space"
John L. Walters, The Guardian

"Spooky and etherealmicro-dub from Mexico... Cologne-style crackles with an orchestral simplicity worthy of Arvo part or Henryk Gorecki... genuinely otherworldly and refreshingly bizzare"
dSide

"Strange, lucid, mysterious, heady and utterly compelling, it is without doubt the best thing ever to come out of Central America"
5 dancing men, 7 Magazine

ALBUM REVIEW:
taken from http://themilkfactory.co.uk

Martes mixes arid micro beats and electronic noises with beautiful atmospheric soundscapes to create a unique piece of highly emotional and textural music. Corona manipulates his delicate constructions with expertise, slowly introducing layer after layer of sounds to slowly build intense patterns where intricate melodies flourish freely. Despite Memoria being strangely reminiscent of Polygon Window's eponymous track, Corona establishes very little connections with the existing electronic scene, concentrating instead on developing his own rules. Strings, pianos and woods are fully integrated with the more electronic sounds, giving each track incredible consistency and evocative power. Again, when he introduces human voice, as on the stunning Mapa, Mir or the moving Muim, he works at creating symbiotic environments to the point where it becomes difficult to dissociate reality from synthesis. Muim, perhaps more than any other track on this album sums up the Murcof equation. Here, voice, cello, drones and static beats support and complement each other in the most exquisite way, creating a complex model of contemplative incandescence, not dissimilar to the composite minimalism of Pärt or Gorecki. Martes, by all means an elaborate Record, proves to be an extremely rewarding work. Far from being inaccessible and pretentious, the compositions are fluid and profoundly enjoyable. Corona seems to incorporate multiple levels of complexity all the way through, allowing the listener to appreciate this record from a different angle each time.

If the outer structure of Martes is electronic, the modern aspect of it is to be found in the more unusual components of Fernando Corona's music, and in the way they interact with each other. No other electronic record has ever offered such an extensive scope and sounded that coherent. This first Murcof album is intrinsically contemporary, and above all, a true masterpiece. Definetly, the 2002 Album of the Year.

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REQUEST - SIMIAN MOBILE DISCO - ATTACK DECAY SUSTAIN (2007)

Original cover. Cant fid a better one:(
"DANCE MUSIC YOUR AVERAGE INDIE KID WOULDN'T BE ASHAMED TO DANCE TO"
ARTIST`````````````SIMIAN MOBILE DISCO
ALBUM`````````````ATTACK DECAY SUSTAIN
GENRE`````````````ELECTRO/TECHNO/ALTERNATIVE
YEAR```````````````2007

MY VIEW:
I dont like it (alot) but a promise is a promise:)

BIOGRAPHY:
by Kenyon Hopkin

Consisting of remixers/producers James Ford and James Shaw, Simian Mobile Disco grew out of experimental electronic rock band Simian. They had originally formed Simian in the late '90s with Simon Lord and Alex MacNaughton in England. Not content with their roles in the band and becoming more interested in electronic dance and party music, the two latched onto DJ gigs while touring with the band. Eventually the duo split from Simian and dubbed themselves Simian Mobile Disco. Looking to prevent their own electronic dance tracks from sounding too polished and programmed, SMD have exclusively used analog equipment. The result was Attack Decay Sustain Release, out June 2007 through Wichita. Ford has also allowed time for production duties with Mystery Jets, Klaxons, and Arctic Monkeys.

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THE CHORDETTES - THE FABULOUS CHORDETTES (1991)

MUSIC FOR THE STRAIGHT AMERICAN YOUTH - LOVE YOUR COUNTRY, EAT THAT BURGER AND GET MARRIED. LOVE YOUR MAN BY THE WAY.
ARTIST`````````````THE CHORDETTES
ALBUM`````````````THE FABULOUS CHORDETTES
GENRE`````````````DOO WOOP/GIRL POP/VOCAL
YEAR```````````````1991

MY VIEW:
"Sweeter than a candy on a stick" is the best way to describe this lovely popular girl vocal band. If you were a straight guy or a girl in Middle America living in the 1950's, this would have been your favourite band.

Big thank you to O! Jelena for posting their video "Lollipop". It inspired this warm upload.

SHORT ARTIST INFO (by Richie Unterberger):
The Chordettes were one of the longest-lived vocal groups with roots in the mainstream pop and vocal harmonies of the 1940s and early 1950s. Although the four women's arrangements owed more to the Andrews Sisters than doo wop, they did, unlike many of their peers, prove fairly adaptable to the rock era. First establishing themselves with the huge (and non-rock) pop hit "Mr. Sandman" in 1954, they continued to chart in the last half of the 1950s and the early 1960s, often with covers of rock and R&B songs. The 2 1958 hit "Lollipop" was the biggest of these. Although the group sound (at least in retrospect) among the Whitest and squarest of rock artists, they introduced enough rock into their repertoire and production to sound more contemporary than they had on discs such as "Mr. Sandman."

ALBUM REVIEW (by Richie Unterberger):
allmusic.com

Fabulous Chordettes is a 12-song best-of with all of their biggest hits: "Lollipop," "Mister Sandman," "Zorro," "Never on Sunday," "Born to Be With You," "Eddie My Love," "Just Between You and Me," and more. All of the songs appear on the 32-song compilation Mainly Rock'n'Roll, also on Ace. Since that anthology is so much more comprehensive, and since it has liner notes, unlike this collection, it would seem a very strange decision indeed to give The Fabulous Chordettes precedence over the more extensive collection, even if it comes down to saving a few bucks.

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HUNTER S. THOMPSON'S FEAR AND LOATHING IN LAS VEGAS - (1996 AUDIO DRAMA)

Original cover. Cant fid a better one:(
THE ALL POPULAR LSD/MESCALINE/ETHER PSYCHEDELIC TRIP TO LAS VEGAS BUT THIS TIME - IN AUDIO ONLY!
ARTIST`````````````HUNTER S. THOMPSON
ALBUM`````````````FEAR & LOATHING IN LAS VEGAS
GENRE`````````````AUDIO DRAMA
YEAR```````````````1996


MY VIEW:
If you liked the all popular movie version with Johnny Deep, listen to this.

ALBUM INFO:
A theater-of-the-mind, 25th anniversary audio version of Hunter Thompson's substance-fueled journey into the savage heart of the American Dream, performed with obvious relish by a dream cast of counterculture vets and latter-day hipsters. Among the standouts: Harry Stanton as the dryly laconic narrator, downtown filmmaker Jim Jarmusch as the Duke (Thompson's alter ego), Buck Henry as a sinister desk clerk, and Spinal Tap's Harry Shearer as a fatuous police chief. This was recorded before Terry Gilliam's 1998 film version with Johnny Depp, and in some ways it's even more faithful to its mad, visionary source material.

THE INSANE CAST INCLUDES:
Harry Dean Stanton(narrator)
Jim Jarmusch(Duke)
Maury Chaykin (Gonzo)
George Segal (Dr. Bloomquist)
Joan Cusack (Lucy)
Jann Wenner (Rolling Stone Editor)
Todd Snider (Hitchhiker)
Jimmy Buffett (Cop In Desert)
Harry Shearer (Cop At Flamingo Registration, Executive Director and Police Chief At D.A. Conference, Biker At Mint 400, Lacerda, Dwarf, Sound Equipment Man, Voices Of Nixon and Walter Cronkite)
Buck Henry (Desk Clerk)

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MADJID KHALADJ - IRANIAN PERCUSSIONS (2001)

Original cover. Cant fid a better one:(
FROM THE ROCKS AND SANDS OF THE BURNING PERSIAN EMPIRE! ONE OF THE BEST IRANIAN PERCUSSIONIST EVER
ARTIST`````````````MADJID KHALADJ
ALBUM`````````````IRANIAN PERCUSSIONS
GENRE`````````````TRADITIONAL/ETHNIC/FUSION
YEAR```````````````2001

MY VIEW:
I was surprised that this guy is actually famous and popular... This album, brilliantly precise but insanely improvised, produces a much needed hypnotic expirence which I can only call "completely empty but filled like burning hell"... If I had this album during my "psychedelic years" - I'd probably be dead by now:)
Yes and... sorry people, no vocals, fancy production or cheap ambient effects. Just great desert drummin' untill the mornin' comes:) My favourite track is "The Esoteric".

NICELY WRITTEN SHORT BIOGRAPHY (by Eugene Chadbourne):

Of the many talented younger players from the Iranian classical music scene, this player of the tombak and other traditional instruments has made the most widespread inroads on the Western music scene, although the rewards of that may be questioned when they include soundtrack appearances on such Hollywood duds as Geronimo or Last Man Standing. The farthest thing artistically from a bad commercial film is the musical environment this artist came out of, the brilliant world of Iranian dastgah. Like the Indian raga to which it is related, compositions in this genre are based on various modal systems, which the performers extrapolate at great length, building up to high speed chases that are the dream of every percussionist. The instrument played by Madjid Khaladj is known as a tombak in Iran, a dombak in Turkey, and has an Irish relative in the bhodran. Khaladj began studying the instrument at the age of seven, the initial pounding and banging of a youth leading to a brilliant career as a traditional musician, pedagogue, composer, and lecturer.

He has mastered an entire family of Iranian percussion instruments, including the daf, which might sound like some kind of British insult but is actually considered a mystical drum. The musical adventures of Khaladj have led to collaborations with the traditional Armenian vocal group Kotchnak, as well as the laid-back California recording scene of world music wannabe Ry Cooder. The Iranian also went far from his roots when he recorded an album entitled Chopin, Impressions with pianist Leszek Mozdzer and the results of this collaboration can only be described as fascinating.

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ANOUAR BRAHEM - BARZAKH (1991)

DEBUT ALBUM BY THE BEST OUD PLAYER ON THIS PLANET
ARTIST`````````````ANOUAR BRAHEM
ALBUM`````````````BARZAKH
GENRE`````````````WORLD/ETHNIC/FUSION
YEAR```````````````1991

MY VIEW:
This is definetly one of the best musicians from the Middle East. This is his first and by my personal opinion - best and purest work.
I have included some photos and an inteview with Anouar from 2007.

ALBUM REVIEW (by Stephen Cook):

This starkly beautiful collection of 13 tracks by Tunisian composer Anouar Brahem is his debut release for the ECM label. The album spotlights Brahem's solo oud pieces, which range from the meditative ("Sadir") to the propulsive ("Ronda"). This solo work is nicely augmented by stellar contributions from violinist Bechir Selmi and percussionist Lassad Hosni; Selmi is featured on the transcendent "Barzakh," while Hosni figures prominently on "Souga" and "Bou Naouara." The three musicians come together for the joyous dance number "Parfum de Gitane." Throughout Barzakh, Brahem and the others forge an appealing mix of Middle Eastern sonorities and jazz phrasing, an intimate sound perfectly suited to the clean and spacious ECM recording style. This is a great title for fans of both international music and jazz.

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