ALBUM`````Requiem For A Dying Planet, Sounds For Two Films By Werner Herzog - The Wild Blue Yonder - The White Diamond GENRE`````Classical, Electronic, Folk, World, & Country, Stage & Screen YEAR````````2006 Words By GLENN ASTARITA Recognized for his efforts with jazz drummer Gerry Hemingway, as well as numerous other roles as a session man and leader, Dutch cellist Ernst Reijseger is also known for his avant/classical/world music proclivities. Requiem For A Dying Planet was brought about when German filmmaker Werner Herzog approached Winter & Winter record label chief Stefan Winter to find "some very personal music for two documentaries, The Wild Blue Yonder and The White Diamonds.
Regardless of taste, preference or attitude, this is a curiously interesting progression of musical frameworks, setting forth notions of divine contemplation prior to a doomsday-like event.
This is a much more skilled, precise and organised selection of dark, cold synth tracks than on the previous comp. A few scattered oddities and classics give color to this emotional wasteland but overall - there is a prevailing feeling of doom.
A deep, dark mixture of unique and very memorable tracks (some very rare) that should be all listened as a whole. A definite standout is the Yabboq Penuel's 1.05 - I only wish it was twice as long.
This selection is definitely not for everybody as it takes away a lot of attention in it's uncompromising coldness and oddness - but that's why it's interesting and exotic at the same time.
Tracklist 01 Teddy Lasry - Workmen Choir (1981)
02 Florenza Mavelli - March Of The Soviets (2009)
03 A Blaze Colour - An Addict of Time (1982)
04 Hadamard - Take Me Away (2007)
05 Keen K & P Muench - The Spiral (Polygamy Boys Pain Mix) (2009)
I rarely listen to hip hop/rap and I probably know more about Mongolian folk but I liked this immediately + I have no idea where I got it from. There is basically nothing about this girl but I found some info about the label here:The Take Fo' Story.
Excerpt: Take Fo' Records is a little known (outside of New Orleans) music label that truly broke ground with its motley roster of artists and progressive attitude, yet it's never received adequate recognition for its pioneering role in music. Take Fo' welcomed gangstas but also ball busters, dancer-cum-rappers, party starters and probably the first openly gay rapper. Read the whole article here.
- I really love the way she just won't keep her mouth shut in more fast-paced tracks that are for me - the best ones. I have no idea what she is rappin about most of the time but the longer, faster and more irritating she does it - it just gets better and better. Add a lot of really sharp retro synth stabs pouring all over the place and you get some really choppy, hot, funky rhythms. The general attitude seems to be "we, over here, live like shit and we don't care" so I guess that may be one additional element why this obviously never got any coverage.