Friday, November 30, 2007
WHAT WE DID ON GRASS...
I agree with this: "XTC was one of the smartest -- and catchiest -- British pop bands to emerge from the punk and new wave explosion of the late '70s. From the tense, jerky riffs of their early singles to the lushly arranged, meticulous pop of their later albums, XTC's music has always been driven by the hook-laden songwriting of guitarist Andy Partridge and bassist Colin Moulding. While popular success has eluded them in both Britain and America, the group has developed a devoted cult following in both countries that remains loyal over two decades after their first records."
Each song is a small gem, marrying sweet, catchy melodies to decidedly adult lyrical themes, from celebrations of love ("Grass") and marriage ("Big Day") to skepticism about maturation ("Earn Enough for Us") and religion ("Dear God"). Moulding's songs complement Partridge's songs better than before, and each writer is at a melodic and lyrical peak, which Rundgren helps convey with his supple production. The result is a pop masterpiece -- an album that has great ambitions and fulfills them with ease. [The initial release of Skylarking didn't feature "Dear God," which was originally the B-side of "Grass." After "Dear God" became an unexpected hit, "Mermaid Smile" was pulled from the album so the hit single could be added.]
DOWNLOAD XTC HERE
NASTY, TRASHED OUT HUSBAND & WIFE
ALBUM`````````````OUT OF BREACH
Angry, bitchy, nasty, freestyle punk-electro husband and wife band spreading hatred and obscene wishes...ummm...tasty.
Unless you're a shady label owner ("Tigerbastard"), an exploitative media land-shark ("Stop Bothering Michael Jackson"), an eBay pirate ("I'm Coming to Get You"), a cowardly DJ ("Like a Little B*tch"), a person who cuts in line at a money-exchange counter ("Extreme"), or a hater ("Haters"), there's no reason to feel truly antagonized by the second album from husband-wife duo Maurice Fulton (instruments, production) and Mutsumi Kanamori (vocals, "body fluids").
DOWNLOAD MU HERE
COVER DESIGN IS BY ME:-) just a little tribute.
YOU WANNA SUPER MOTORIK RIDE?
COMPILATION BY VALENTIN
This band is probably my first aware encounter with the indie post rock fever of the 1990's. I used to listen Stereolab insanely from 1998 till late 2002 - collected all their albums, EP's, singles and live performances and could consider myself being a fan (I hate that word). Many people find them irritating but also - many find them to be brilliant . I find them to be imortant for personal reasons - their "catchiness" and at the same time "alternativness" and "indieness" freed my musical taste (opened my eyes to say it in a kitchy way:) They present a positive, most original underground look on our naive world.
Few days ago I found my long lost Stereolab discography CD and added some missing albums (from 2002 - 2007). Now I present you my personal selection which only I could call "Best of" or "Stereolab's greatest". This selection spans their entire career, except for their first 2 albums which I didnt include because of poor production.
For people who dont know who they are - read the "BASIC BIOGRAPHY" txt below. Enjoy this fine, most influental super-cute and long lasting, seriously independent band.
Called "one of the most fiercely independent and original groups of the Nineties", Stereolab were one of the first bands to be termed "post rock". Their primary musical influence is 1970s krautrock, which they combine with lounge, 1960s pop, and experimental music. They are noted for their heavy use of vintage electronic keyboards, and their sound often overlays a repetitive "motorik" beat with female vocals sung in English or French. Stereolab often incorporate socio-political themes into their lyrics. Some critics say the group's lyrics carry a strong MarxistSurrealist and Situationist cultural and political movements. However, Gane is skeptical of labels such as "Marxist pop", and defends the band against accusations of "sloganeering".
message, and Gane and Sadier admit to being influenced by the
Although many of the band's albums have been underground hits, they have not found larger commercial success. The band were released from their recording contract with Warner Music when Warner's imprint Elektra Records folded. The release was reportedly due to poor record sales, and since then Stereolab's self-owned label, Duophonic Records, has signed a distribution deal with Too Pure. Duophonic holds the copyrights to the band's recordings, and on the label the band have released many limited-edition records.DOWNLOAD STEREOLAB HERE
SHIT. YOU SHOULD BE SCARED
ALBUM`````````````ROCKIN' HORROR DISC
GENRE`````````````EARLY ROCK n' ROLL
This is definetly not the "Ultimate" compilation on this subject but it still carries a lot of fun, romance and most importantly - underground sounds from forgotten artists of that age. Werevolves, zombies, vampires and all sorts of dangerous places and situations are here to scare and entertain your bored ass.
Is Ultimate 50's and 60's Rockin' Horror Disc really the ultimate '50s and '60s rockin' horror disc? No, considering it's missing well-known classics of the genre, like Bobby "Boris" Pickett's "Monster Mash," Screamin' Jay Hawkins' "I Put a Spell on You," and Jumpin' Gene Simmons' "Haunted House." But for a compilation of obscure mid-'50s-to-mid-'60s songs that mixed rock & roll with horror novelty lyrics and sounds, it does a pretty good job. And these 20 items are indeed obscure -- LaVern Baker (with "Voodoo Voodoo") is the only famous artist, though avid rock & roll fans will recognize a few of the others, like Bunker Hill and Kip Tyler. As tunes go, they're usually nothing to shout about, often confining themselves to stock basic early rock & roll progressions and arrangements, though sometimes with the ominous minor-key patterns common to monster-movie soundtracks.
Most of the time, though, it's rather wholesomely giddy romps through the lands of monsters, cemeteries, and ghosts, about as scary as a Halloween costume, but about as fun to put on.
Thursday, November 22, 2007
DESTROY GOD, FUCK WHITE MEN, STOP THE WARS, DON'T BE SO STUPID AND GET YOUR GUN
ARTIST``````````````OMAR RODRIGUEZ LOPEZ & LYDIA LUNCH
Albums like this one happen when someone with lots of spare time meets another person with lots of spare time and agrees with that person on these conclusions:
- God was the first cop + the first cock and we should get rid of him
- God is an invented retarded motherfucker that caused devastating wars
- Churches are evil, evil, evil places that spread hatred
- Women should not just marry, have kids and happily go shopping
- Women are opressed and should take weapons in their hands
- White men are guilty for pretty much everything
- America is one fucked up country
- America is guilty for today's wars (God commanded them)
- We should stop being stupid and take matters into our own hands
This album is definetly made for "artcy-horny-leftist-intellectual" masses but after all, it does have a strong message attached to it. I usually dont like musicians that openly want to change the world by simply telling people how stupid they are for believing in God. I am thinking the same way but I'm not shouting about it. BUT - this "artcy" album acctualy has something to offer: it's brutal, simple and has Rodriguez shredding his guitar non-stop. I think this album will not last very long but I recommend it anyway.
THESE SELECTED SAD SONGS ARE MEANT TO BE PLAYED AT MY FUTURE FUNERAL
ALBUM`````````````MUSIC FOR MY FUNERAL
GENRE`````````````SAD MUSIC FOR SAD OCCASION
This selection of various sad songs is a modest soundtrack for my small future funeral, wherever I might end up. From now on, I will always carry a copy of this cd in my inner pocket so if I accidentaly get killed in some strange land, people who find me can play these oddly simple and honest songs.
I also plan to give a copy to all of my best friends and family members. Just in case I die in friendly enviroment.
MUSIC FOR THIS EVENING
SELECTED AND CURATED BY VALENTIN
My personal selection of various indie-rock-pop-xperimental-prog-electronic songs for pleasant my evenings.
01 - Elliott Smith - Our Thing
02 - OP8 featuring Lisa Germano - Sand
03 - Tracy Chapman - I Am Yours.mp3
04 - M. Ward - Eyes on the Prize
05 - Nick Drake - River Man.mp3
06 - Jose Gonzalez - Lovestain.mp3
07 - Isobel Campbell And Mark Lanegan - It's Hard To Kill A Bad Thing.mp3
08 - Simon and Garfunkel - Scarborough Fair / Canticle
09 - Sufjan Stevens - The Upper Peninsula
10 - Sufjan Stevens - Redford (For Yia-Yia & Pappou)
11 - The American Analog Set - III
12 - Midnight Juggernauts - Dystopia
13 - Morphine - Swing It Low.mp3
14 - Labradford - The Cipher.mp3
15 - Múm - Green Grass of Tunnel.mp3
16 - Susumu Yokota - Don't Go Sleep
17 - Stereolab - Prisoner Of Mars
18 - Can - Last Night Sleep
19 - Cocteau Twins & Aphex Twin - Let My Fish Loose
20 - Kraftwerk - Heimatklange (The Bells of Home)
Sunday, November 18, 2007
COCKTAILS FOR EVERYBODY! POSITIVE MUSIC FOR THAT COLD, AWFUL SUNDAY MORNING
Now this is one talented crew. Basically, they transform other people's famous songs into latin-electro-jazzy-spacey-cute super-turbo-positive cover songs. Everybody thought that this band wouldn't last long but their good choices of songs, exotic vocals, great production and super catchy harmonies are still making my butt shake.
Positive music for that awful cold sunday morning.
Continuing on its cockeyed way through genre exercise and radical reinterpretation, Señor Coconut, having redone one set of electronic legends in Kraftwerk years back, takes another turn with the archly titled Yellow Fever. For indeed, it's the Yellow Magic Orchestra that gets the treatment this time out, but unlike the earlier effort, this is done not only with the individual participation of all three YMOTowa Tei to Mouse on Mars. The sheer number of mix-and-match efforts throughout, highlighted by a number of shorter pieces that serve as bridges between the full-on covers, could almost be a hip-hop album in an alternate universe, but the basic consistency at the heart of the album is clear -- Uwe Schmidt in his Señor Coconut guise, with vocalist Argenis Brito appearing throughout, transmogrifying YMO songs into classic Latin pop numbers. Brilliant.
Thursday, November 15, 2007
THIS ALBUM SHOULD BE CALLED "THE BIBLE OF DETROIT TECHNO"
ALBUM``````````````THE ART OF CONNECTING
GENRE```````````````MINIMAL DETROIT TECHNO
The only minimal techno producer/DJ I still like. As far as I am concerned, this album is one of the best minimal techno albums ever published. In terms of Detroit techno style - this was and is groundbreaking stuff from a groundbreaking producer. The song "The Bells" was one of few reason I went to techno parties in years 1999-2001.
Though Jeff Mills compiles previously released tracks for The Art of Connecting, the ten-track CD plays like a traditional album rather than a compilation. These ten tracks are culled from vinyl-only releases on Mills' Axis and Purpose Maker labels, and some of them, such as "The Bells" and "Java," are quite old, originally released in the mid-'90s. Yet, despite the thrown-together nature of The Art of Connecting and its old source material, it sounds surprisingly fresh, even if you're already familiar with these tracks. There's a careful balance of Mills' spacy, cinematic ambient recordings (here represented by album opener "Deckard" and closer "Utopia" as well as elements of "Nepta" and "Cobalt") offset some of his best Purpose Maker-style dancefloor tracks ("The Bells," "Java," "UFO") and his dystopian Axis-style work ("Pacific State of Mind," "Gamma Player," "4art"). The Art of Connecting overall functions well as an accessible sampler for anyone casually interested in Mills' diversity of output. You get a little taste of everything here while many of Mills' other CD releases tend to emphasize a particular style of his work, such as how From the 21st collects his spacy, cinematic ambient techno, Purpose Maker Collection his dancefloor tracks, and The Other Day his dystopian work. More than anything, The Art of Connecting succinctly showcases precisely how ably Mills has mastered all corners of the techno spectrum.
SETTING NEW STANDARDS IN ELECTRO/INDIE SCENE. FRESH. FRESH. FRESH. GREAT MUSIC LABEL.
ALBUM``````````````KITSUNE MAISON VOL. 4
One of my favourite electronic music labels today. I have nothing to say. You should read this great review from Stylus magazine. Its just gorgeous.
The Maison series exists to provide a snapshot of exactly how the label goes about wrecking dancefloors at the moment of its release date, and whether or not it proves as effective in the future probably matters to contemporary party-goers about as much as Blyleven's projected depreciation mattered to the batters who faced him during his no-hitter. The only thing that matters is that this stuff is mowing people down right now.
"But this is something else entirely. Labels such as "ambient" or "modern classical" fit for a few seconds, then the next passage in the song blows away the last, taking any attempt to classify along with it." - Stephen Fortner in Keyboard Magazine
ALBUM``````````````THIS BINARY UNIVERSE
The first track entitled "All That Makes Us Human Continues" was entirely written in Csound, taking roughly 6 months. You can call this man dedicated or you can call him a madman - it doesnt matter, this album is one of electronica's finest.
"This Binary Universe taps into BT's classical side, with expansive arrangements and intricate, albeit minimalist, thematic development. From the opening of "All That Makes Us Human Continues," BT reveals himself as a master of Eno-esque melancholy, as simple melodies evolve through an electro-orchestral instrumental palette. Lounge jazz with solos in the key of abstract, plaintive arpeggiated guitars, electro marches, minimalist hymns, and pastoral dreamscapes drive an album that seeks out joy and redemption, but not without traveling through the dark. The last track, "Good Morning Kaia," is a paean to his newborn daughter, and the most purely anthemic track on the disc.
The album makes extensive usage of a technique called circuit bending, often intentionally miswiring and short-circuiting keyboards, children's toys, and even Furbys to obtain interesting sequences of sounds that are processed and time-corrected, and then incorporated into the songs. Many of the beats and rhythms in the album were created by computer programs Brian Transeau developed himself to produce the effects he wanted.
1960'S IN 2007. CARIBOUS'S FINEST ALBUM.
GENRE``````````````INDIE ELECTRONIC - POP
Caribou's best album so far. It sounds like a beautiful emotional revival of that famous and unique psy-pop 1960's sound. I recommend - listening this album on your mp3 players and iPods while walking alone through crowded streets. Check out their official video for "Melody Day".
These tracks are first and foremost songs -- and not just because Snaith is singing a bit more. There's less of a "programmed" sound, although the productions are dense with tape cut-ups, layered harmonies, and various percussion lines threaded through the mix. And the sheer strength of the material is immediately apparent when the opener, "Melody Day," reveals itself as the best moment in Snaith's career. First of all, it sounds like it was recorded in 1966 by a British band that just missed the cut for the Nuggets, Vol. 2 box set, recalling '60s touchstones like the Move or Soft Machine. Not strictly a throwback, though, its ineffably crisp and kaleidoscopic production style ranks with the best of Dungen or Fiery Furnaces or Animal Collective (which is high praise indeed). Andorra may be a bedroom record, but it certainly doesn't sound like a bedroom record; it has the energy and intensity of group participation, and that makes it Snaith's best yet.
Monday, November 12, 2007
REDISCOVERED YOUNG GENIUS FROM THE 1960's BRITAIN WHO RESHAPED THE PROGRESSIVE SINGER/SONGWRITER GENRE - 30 YEARS AFTER HIS DEATH.
GENRE`````````````VOCAL/ BRITISH PROG-FOLK
RICHIE UNTERBERGER SAID IT BEST:
In the manner of the young Romantic poets of the 19th century who died before their time, Drake is revered by many listeners today, with a following that spans generations. Baby boomers who missed him the first time around found much to revisit once they discovered him, and his pensive loneliness speaks directly to contemporary alternative rockers who share his sense of morose alienation.
It's little wonder why Drake felt frustrated at the lack of commercial success his music initially gathered, considering the help he had on his debut record. Besides fine production from Joe Boyd and assistance from folks like Fairport Convention's Richard Thompson and his unrelated bass counterpart from Pentangle, Danny Thompson, Drake also recruited school friend Robert Kirby to create most of the just-right string and wind arrangements. His own performance itself steered a careful balance between too-easy accessibility and maudlin self-reflection, combining the best of both worlds while avoiding the pitfalls on either side. The result was a fantastic debut appearance, and if the cult of Drake consistently reads more into his work than is perhaps deserved, Five Leaves Left is still a most successful effort.
AN UNEXPECTED BRILLIANT ALBUM
Short story - this guy got bored with the repetative club/dance/electro scene around him and decided to - play his piano. A truly awesome and personal piece of work.
Near the end of the old millennium, someone once rapped, "Being futuristic these days means being futuristic on your own terms," which is entirely fitting when said rapper records an album of solo piano instrumentals. (Perhaps less instructive is what said rapper went on to say: "Being futuristic means loving worms, saving your sperm, wearing your pubes in a perm.") The former Chilly Gonzales has a hint of Gershwin in his playing, an urbane, contemplative take on the blues that sometime turns into a wry smile. He also has a hint of Satie, the spare and haunted sound of a music box turning slowly to a halt as it comes to the end of its wind. But what he also has is entirely his own, which not only makes this the best album of solo piano instrumentals by a rapper extant but also one of the finest solo piano albums not by a jazz or classical performer.
Obviously, there's a duality to any man who lit up stages with Peaches but also played with and produced Jane Birkin and Charles Aznavour, but Solo Piano is a disarmingly wonderful record.
PURE MINIMAL BEAT DRIVEN ENJOYMENT
All I can say is that considering the mainstream electonic music scene in 1997, this album should be praised for its bold ultra-minimal approach. Some songs are based on just one finely crafted loop of music that is literally repeated for 5 min, non-stop, without any breaks or changes and it feels + sounds gooood.
Yet another of prolific Cologne producer Wolfgang Voigt's guises, M:I:5 features his style of minimal bouncy dub bass beat techno that he would later further refine as Studio 1. Unlike the sparse palette of sounds present in his Studio 1 recordings -- strictly beats and nothing else -- Voigt chooses to integrate some colorful synth notes and other playful yet austere high-frequency sounds into the throbbing rhythms and creative structures of M:I:5. Following his debut on the legendary Structure label, Structuralism (later reissued on Auftrieb), Voigt has released his M:I:5 records primarily on his Profan label. In early 1998, he compiled much of his work under this guise on the Maßstab 1:5 album, released on Profan.