Conrad Schnitzler - Ballet Statique (1992 Reissue of 1978 Con)

ARTIST`````Conrad Schnitzler

ALBUM`````Ballet Statique

GENRE`````Electronic, Experimental, Progressive, Ambient

YEAR````````1992 / 1978

Review

This is truly one of the greatest electronic albums ever made and definitely the best place to start exploring the wonderful world of Conrad Schnitzler. Electric Garden is a masterpiece of atmospherics, reverberating drips in the canyons of your mind . Overloaded harmonisers and delays build to an orgasmic rush of nitrous oxide clangs that can seriously warp your mind.

M=Minimal continues their collaboration with electronic music legend Conrad Schnitzler, and presents after 30 years, the re-release of one of the key works from Conrad's large, adventurous back catalog. Ballet Statique is not only a musical milestone but also a highlight of music production. It was recorded in 1978 at the legendary Paragon Studio, Berlin by Tangerine Dream's Peter Baumann in the same period when other masterworks like Cluster's Großes Wasser and solo recordings by Roedelius and Asmus Tietchens were recorded. Ballet Statique was first released on the German Paragon label, under the original title Con (also issued on legendary French label Egg). This album is a must-have, and not only for fans of Emeralds and Oneohtrix Point Never.

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Wizzard - Wizzard Brew (1973)

ARTIST`````Wizzard
ALBUM`````Wizzard Brew
GENRE`````Progressive / Glam / Jazz Rock
YEAR````````1973

Album review:

Wizzard Brew is the first album by glam rock group Wizzard, released in March 1973. In the US it was released by United Artists Records as 'Wizzard's Brew' (with adifferent cover photo) and failed to chart.

In approach, the album was much more experimental than the group's hit singles, with elements of hard rock (an approach Wood's previous band The Move had explored on their 1970 album 'Looking On'), and improvisation, especially on the lengthy 'Meet Me At The Jailhouse'. Wood frequently used ring modulation to give the instruments a harsh, distorted sound, and the album may represent an early foray into recording technique that would eventually be called lo-fi. Critical and popular reaction was mixed.

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Magma - Mekanik Destruktiw Kommandoh (1973)

Extraterrestrial gospel

ARTIST`````Magma
ALBUM`````Mekanik Destruktiw Kommandoh
GENRE`````Art Rock, Jazz-rock, Fusion, Psychedelic,
YEAR````````1973

WHO:
Led by classically trained drummer Christian Vander, the Paris-based Magma have been, in their way, perhaps the ultimate progressive rock group; while other artists have achieved greater commercial success and critical acclaim, Magma have typified the many ambitions and excesses of the genre that won them as many detractors as fans, even going so far as to invent their own lyrical and musical language in order to bring their unique vision to life.

Review
(by Sean from www.progreviews.com)

This album is Magma's great opus. Whether one prefers one of their other studio or live releases to it, there is no doubt that Mekanik Destruktiw Kommandoh is the most original, definitive Magma album around (although this reviewer personally prefers the Mekanik Kommandoh version!).

Featuring a cast of thousands including a choir, brass section, flute and tuned percussion, Mekanik Destruktiw Kommandoh marries the stripped-down throbbing drive of Zeuhl with orchestral pomposity and operatic aspirations. To those who jokingly describe Magma as Klingon Opera, this is the album that would come closest. The power and command with which Magma drives their themes home with increasingly intense repetition is the key to understanding what the band is all about.

Magma can't really be compared to other progressive rock performers (although many can be compared to them). The dark majesty recalls the classical music of Wagner and Orff, particularly parts of Carmina Burana, but that's about as close as it gets. To understand Magma, one must experience Magma. This album is their masterpiece, and while it might be daunting for the sympho-head or neo-head, (try their live material as an intro instead) it is essential for anyone wanting to find out what Zeuhl was and is all about.

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V.A. BLEEDING TECHNO SERIES VOL.01 - EVOLVING TUNNELS (2009)

ELECTRONIC!
ARTIST`````VARIOUS
ALBUM`````BLEEDING TECHNO SERIES VOL.01 - EVOLVING TUNNELS
GENRE`````TECHNO, MINIMAL, DETROIT, ELECTRO, PROGRESSIVE,BERLIN
YEAR````````2009
BLEEDING PANDA COMPILATION!

WHAT?
For some time now I wanted to share some great techno/house/electro tracks I enjoyed but they were either to "4x4 clubby" for my compilations or simply long beatport frenzy club mixes and did not fit at all. So I decided to start regularly releasing compilations of just kool danceable club sounds overlooking their genres or bpm's.

Basically here are some older classics (Joey Beltram) blended with some fresh 2009 productions (Dusty Kid). As usual, this compilation is a bit awkward and doesn't function as a mix. Each song is pretty much for itself.

As promised in the Naked compilation, here is the futuristic original Der Dritte Raum - Hale Bop track. Standouts are definitely "Evolver", a storming surgeon precession minimal techno, Dusty Kid's flawless travelogue "Cowboys", DJ Hell's apocalyptic romantic "The Angst" from the over-promoted "Teufelswerk" album, Gatto Fritto's kitsch love affair "Invisible College" and one of the best produced Detroit electro tracks of all time "LBLB Detroit" from Jimmy Edgar. Pay attention to the sound panoramic quality of "LBLB Detroit" and turn up your volume as much as possible. Also, I should mention Detroit's second wave artist Kenny Larkin and his obscure and amazing "Vibin" - listen to the brilliant progressive bassline at 2:50.

Also, can someone recognize the theme melody in "I Am Plankton"??? It's killing me that I know it in the back of my mind, I know it's a classic theme but can't remember what it is...

TRACKLIST:
01 Der Dritte Raum - Hale Bop (Original Mix) (1999)
02 Peter Horrevorts - Evolver (2007)
03 Joey Beltram - Drome (1994)
04 Mike Monday - I Am Plankton (Album Version 2008)
05 Guy Gerber - Belly Dancing (Album Version 2007)
06 Dusty Kid - Cowboys (Extended Version 2009)
07 Petar Dundov - Waterfall (2008)
08 Dj Hell - The Angst (2009)
09 Jimmy Edgar - LBLB Detroit (2006)
10 Kenny Larkin - Vibin' (2008)
11 Gatto Fritto - Invisible College (2007)
12 Spirit Catcher - Hidden Memories (2007)

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BLACK DEVIL - DISCO CLUB (1978)

GET IN THE GLOOMY BEGINNINGS OF ELECTRO-ITALO-DISCO CRAZE!
ARTIST`````BLACK DEVIL
ALBUM`````DISCO CLUB
GENRE`````EARLY ELECTRO, EURO-DISCO, ELECTRONIC
YEAR````````1978

WHY:
The most exiciting moments in my music-obssesed part of life come when I re-discover early recordings that were so progressive and obscure for their time that their influence created entire sub-genres that last even today. This LP is a definitive example of a brilliant underground recording that over the years reached a super-cult status. Listening to this 1978 French vinyl you can clearly hear the future sounds of Felix Da Housecat and the rest of the electro-revival gang of the late 90's and early 00's. A truly remarkable piece of ambient, dark, beat-driven club minimalism that spawned hundreds of thousands of devoted acid-chewing clubbers around the globe.

ALBUM REVIEW FROM DISCOGS:
This is a very obscure release by one of the earliest of the euro disco artists who would later personify an entire genre. Originating from France, this release developed a major cult following all over Europe during the last 25 years and it is now considered to have been a major influence on many of the early 80's italo disco and euro disco artists who emerged on the scene shortly after this release. As for this LP - it's a 2-sided vinyl release with 6 songs all having a copycat sound effect that makes each song sound similar to the others. The only difference is a few tweeks to the synthesizer, the speed of the drum machine's BPM and some different vocals which ultimately allowed the amateur artists behind the Black Devil act to create their one and only LP. The songs were all recorded in real-time and all begin with that dark and wicked drum beat that sounds less like a disco song but more like the procession of a tribal ceremony in the jungles of Africa. Very bizarre, very rare, and very good music. Get it if you can!

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THE FLYING LIZARDS - THE FLYING LIZARDS (1979)

FEMINIST ANTHEMS AND BOHEMIAN CLICHES + ROCK RIDICULE
ARTIST`````THE FLYING LIZARDS
ALBUM`````THE FLYING LIZARDS
GENRE`````NEW WAVE, PROGRESSIVE
YEAR````````1979

WHY:
Read the great review below.

SHORT BIOGRAPHY:
Led by pianist David Cunningham, the Flying Lizards started as a novelty group that took classic rock songs and reduced them to parody with neo-Kraftwerk synthesizer minimalism and robotic deadpan vocal readings (as epitomized on the eponymous debut album by "Summertime Blues" and "Money"). The serious work shows Cunningham leaning towards the arty high-tech drone of Tangerine Dream, though, and that suffers from comparison with the inspired lunacy of the comedy turns.

David Cunningham and Deborah Lizard photographed in 1980 by Richard Rayner-Canham.

ALBUM REVIEW:
Thanks to the break-away success of the "Money (That's What I Want)" single, this Dada/Fluxus inspired debut album by The Flying Lizards became an instant sleeper (even being released on 8 track!), and ultimately made it onto a certain generation's list of "favorite albums of all time" because of it's catchy humor and accessibly abstract qualities. Arty and erratic, but somehow symmetrical, this album has everything from irreverent Zappa/Residents humor and catchy Kraftwerk robotics, to Eno sound-scapes and chilly, Joni Mitchell-esque ballads framed in Cage found-sound hi-jinks. The postmodern subjects of the album are often presented in a quirky and robotic sound that was appropriate for (and slightly ahead of) it's time.

Read the rest of the review here.

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APHRODITE'S CHILD - 666 (1972)

FOLLOW THE SYSTEM
ARTIST``````APHRODITE'S CHILD
ALBUM``````666
GENRE``````PROG-ROCK, ART ROCK
YEAR````````1972

WHY:
This over-the-top pretencious album is just tooo huge, titanic and monstruous. Eclectic messages about pretty much everything, glorius, mystified lyrics that occassionaly sound a bit "cheesy" along with a couple of infamous, experimental tracks like "Infinity" where a famous greek acctress yells "I am, I am to come. I was." while having an orgasm + one 19 min spectacular non-listenable mixed track. Everything a bombastic cult album needs is here and stuck together in 1, 18 hours of 1970's rock spectacle.

...and - I really hate Biblical references in music but sometimes, when put in right perspective and from a safe distance, mixed with lots of humor it can acctualy work as a pure concept and as pure musical pounding entertainment.

This is considered to be the very first "concept album" and one of the greatest achievements of the genre ever by the way.



BAND BIOGRAPHY:
A Greek band of the late '60s and early '70s, Aphrodite's Child scored only one European hit, "Rain and Tears." Though it was a big one, the group became little more than a trivia answer after keyboardist Vangelis PapathanassiouChariots of Fire

The band began to record their crowning achievement late in 1970: a musical adaptation of the biblical Book of Revelation, entitled 666. Silver Koulouris, having finished his Greek army duty rejoined the band. However, relations between all the band members were not good at the time, and continued to worsen during the album's creation. dropped his surname and hit number one with the theme to in 1981.

Essentially, 666 was Vangelis' concept, created with an outside lyricist, Costas Ferris. The music that Vangelis was creating for 666 was much more psychedelic and progressive rock oriented than anything the band had done before. This did not sit well with the other band members, who wished to continue in the pop direction that had brought them success. Furthermore, Roussos was being groomed for a solo career, and recorded his first solo single "We shall dance" (with Sideras on drums), and his first solo album On the Greek side of my mind, whereas Vangelis recorded the score for L'apocalypse des Animaux and worked on a single with his girlfriend Vilma Ladopoulou, performing with Koulouris using the pseudonym "Alpha Beta".

By the time the double LP 666 finally came out in late 1971, and having sold over 20 million albums[1], the band had already split.

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The lyrics for "666" here

TOM WAITS - 60 RAINDOGS (2008)

ESSENTIAL 60 SONGS
ARTIST`````TOM WAITS
MIX```````````60 RAINDOGS
GENRE``````ROCK, EXPERIMENT, BEAT POETRY, ADULT, PROG-FOLK
YEAR````````2008

DESCRIPTION:
This is my essential Tom Waits selection spanning his ENTIRE career. 60 songs that I find to be his best ones.

I've been listening to all of his albums I could get my hands on for full 10 years and still I am eager to hear what tricks he has under his filthy hat.

He is one of a few musicians I've listened enough to "know them by heart". If you are starting with Waits (or you already found him), you should check this out because there are no "best of" compilations that are so comprehensive such as this one.

I definetly recommend finding and downloading his entire discography. It does not matter if you like his early beautiful, gentle bluesish-jazzish failed love stories or his latter theatrical screams and shouts about drunken russian soldiers and melting chocolate jesuses - he is one of the most original, self-preserving and independent artists in modern music. And above all, he never had a big media support because he never needed it - the critics and his huge fan-base follow him everywhere he goes.

I intentionaly didnt include some all-time-songs that the critics praised because I wanted to make room for some of his experimentations that are also a solid part of his character as much as his "biggest songs". After all, you can always easily find some of his many official Best of's.

TRACKLIST:
01 1973 - Grapefruit Moon
02 1973 - I Hope That I Don't Fall In Love With You
03 1973 - Little Trip To Heaven
04 1973 - Martha
05 1973 - Ol' '50
06 1974 - San Diego Serenade
07 1974 - The Heart Of The Saturday Night
08 1976 - The Piano Has Been Drinking (Not Me)
09 1976 - Tom Traubert's Blues
10 1977 - Cinny`s Waltz
11 1977 - I Never Talk To Strangers
12 1978 - Christmas Card From A Hooker
13 1978 - Red Shoes By The Drugstore
14 1978 - Sweet Little Bullet From A Pretty Blue Gun
15 1982 - Old Boyfriends (with Crystal Gayle)
16 1983 - Rainbirds (instrumental)
17 1983 - 16 Shells From A 30.06
18 1983 - Shore Leave
19 1983 - Swordfishtrombones
20 1983 - Underground
21 1985 - Big Black Mariah
22 1985 - Anywhere I Lay My Head
23 1985 - Jockey Full Of Bourbon
24 1985 - Clap Hands
25 1985 - Singapore
26 1987 - Straight To The Top (Rhumba)
27 1987 - I'll Be Gone
28 1987 - Innocent When You Dream 78
29 1987 - Cold Cold Ground
30 1987 - Train Song
31 1987 - Blow Wind Blow
32 1987 - Yesterday Is Here
33 1987 - Way Down In The Hole
34 1992 - Earth Died Screaming
35 1992 - Goin' Out West
36 1992 - Such A Scream
37 1992 - I Don't Wanna Grow Up
38 1992 - Who Are You
39 1993 - Russian Dance
40 1993 - Just the Right Bullets
41 1999 - Big In Japan
42 1999 - Chocolate Jesus
43 1999 - Hold On
44 1999 - What's He Building
45 2002 - Everything You Can Think
46 2002 - God's Away on Business
47 2002 - Kommieneyuepadt
48 2002 - Misery is the River of the World
49 2002 - Fawn
50 2004 - Day After Tomorrow
51 2004 - Sins of My Father
52 2006 - Books Of Moses
53 2006 - 219
54 2006 - Lie To Me
55 2006 - Ain't Goin' Down To The Well
56 2006 - Altar Boy
57 2006 - Tell It To Me
58 2006 - Puttin' On The Dog
59 2006 - Never Let Go
60 2006 - Children's Story


My first uploads on mediafire in 3 parts.
DOWNLOAD PART 1
DOWNLOAD PART 2
DOWNLOAD PART 3

thx to http://ringlunatic.tumblr.com for support

MOTORO FAAM - ...AND WATER CYCLES (2007)

SWIRLING EVAPORATION FROM JAPAN
ARTIST`````MOTORO FAAM
ALBUM`````...AND WATER CYCLES
GENRE`````AVANT-GARDE, AMBIENT, GLITCH
YEAR```````2007

WHY:
Enjoyable, lush soundscapes with infinite number of glitchy layered beats carefully mixed with piano melodies and violin variations obscured by clouds of white noise and tough pads describing abstract conditions and movements in an orderly fashion. A touch of noise here, a hint of japan-piano-naive-kitch there, a tiny broken-beat inside with some cream production outside and you get this quite enjoyable record.

SHORT BIO:
MOTORO FAAM is hailed from Kanagawa, Japan and is an act made by three 23 years old musicians. Mizukami Ryuta takes care of the electronic side of this unique project (samples and programming) while Kobara Daisuke (violin) and Kato Ayumi (piano) both classical educate have a main input in the musical part.

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BRIAN ENO - BEFORE AND AFTER SCIENCE (1977)

ESSENTIAL.
ARTIST`````BRIAN ENO
ALBUM`````BEFORE & AFTER SCIENCE
GENRE`````EXPERIMENTAL, ROCK, PROG
YEAR```````1977

WHY:
I keep listening this album every spring for the past 4 years so here it is. I generaly dont like him much but this is one of my favourite albums and probably one of Eno's most important moments.

ALBUM REVIEW:
Before and After Science is really a study of "studio composition" whereby recordings are created by deconstruction and elimination: tracks are recorded and assembled in layers, then selectively subtracted one after another, resulting in a composition and sound quite unlike that at the beginning of the process. Despite the album's pop format, the sound is unique and strays far from the mainstream. Eno also experiments with his lyrics, choosing a sound-over-sense approach. When mixed with the music, these lyrics create a new sense or meaning, or the feeling of meaning, a concept inspired by abstract sound poet Kurt Schwitters (epitomized on the track "Kurt's Rejoinder," on which you actually hear samples from Schwitters' "Ursonate").

The music on Before and After Science at times resembles Another Green World ("No One Receiving") and Here Come the Warm Jets ("King's Lead Hat") and ranks alongside both as the most essential Eno material.

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APES AND ANDROIDS - BLOOD MOON (2008)

NEW, SHINY AND FANCY.
ARTIST````APES & ANDROIDS
ALBUM````BLOOD MOON
GENRE````INDIELECTRO/GLAM/ FUTUREROCK
YEAR``````2008

WHY:
Pure spectacular New York, New York fun. Shiny and fancy.

How they look like:


SHORT BIO & ALBUM INFO:
From obscuresound.com:
With their fusion of dance, electro-pop, and glam-rock, it makes the name Apes & Androids even more appropriate. Signifying both past (apes) and futuristic (androids) intentions, their veneration for influences both past and present is on full display. That was my initial thought process, but as the band members themselves clarify in regards to the origin of their name, I suppose that a sexually dominating response is appropriately in sync with their dramatically flamboyant display of operatically relevant pop music. “An ape is the embodiment of “ideal” male sexuality and an android, female sexuality. Everything’s about sex, right?!” the five-piece said collectively. “It also spoke to us because when we’re writing our music, we’re equally obsessed with really detached electronic motifs and animalistic, beastly ones!” Alright, well, however you would like to interpret that, there is no question that Apes & Androids are composed of five unconventionally entertaining personalities.

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TUNNG - GOOD ARROWS (2007)

DONT SAVE YOUR BODY BECAUSE YOU WILL DIE ANYWAY
ARTIST``````````````TUNNG
ALBUM``````````````GOOD AROWS
GENRE``````````````INDIE POP/ELECTRONIC FOLK?
YEAR````````````````2007

WHY:
It is hard to say what genre Tunng is developing but all I can say is that they sound really good. This album has that "its completely complete" statement attached to it and Tunngs mix of folk-electro-popish melodies with soft porn/intimate body parts lyrics are dressing this band in a rare original outfit that seems so rare these days.

ALBUM INFO:
For their third full-length, Good Arrows, British six-piece Tunng continue to deliver the same combination of folk, pop, and indie electronica that earned the band the description of "folktronica." Lightly programmed beats and blips pepper the acoustic guitar arpeggios that give the songs their base, as Sam Genders' soft vocals layer over themselves and those of the backup singers and the myriad other instruments that twist and squirm their way into the compositions. Kalimba, hammer dulcimer, clarinet, eclectic samples, and electric guitar all manage to find their way in, but they're arranged in such a way -- gently, sparsely, deliberately -- that nothing ever seems cluttered or ornate. This is helped in part due to the attention paid to structure here, because even with the noises and distractions and long stretches of space, there's a cleanliness to the songs, verses and choruses and even the occasional hook all playing an important part in the album's overall effectiveness.

DOWNLOAD TUNNG HERE

SUFJAN STEVENS - A SMALL REPRISE (2007)

ONE OF THE MOST TALENTED MULTI-INSTRUMENTALISTS TODAY
ARTIST``````````````SUFJAN STEVENS
ALBUM``````````````A SMALL REPRISE
GENRE``````````````INDIE ROCK/PROGRESSIVE
YEAR````````````````2007
COMPILATION BY VALENTIN

WHY:
This is THE ONLY American-patriot-religious-to the heaven and back musican that I like. He is probably one of the most talented younger american musicians today and still has a lot to cover. Enjoy his talent (while it lasts?).

This is my "Best Of" selection. Its not official, just so you dont get confused.

SHORT BIOGRAPHY:
Sufjan Stevens is an American singer-songwriter and musician from Petoskey, Michigan. Many consider Stevens' music to be lyrically focused and instrumentally rich. Lyrically, it often relates to faith and family. Stevens has enjoyed wide critical success in the United States.

He is considered part of the folk revival in indie pop, but his influences are very broad. His music has been likened to electronica and the minimalism of Steve Reich. Stevens originally announced plans to make a concept album for each of the 50 U.S. states, having begun the series with Michigan (2003) and Illinois (2005).

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DRIVING STEREOLAB (2007)

COVER DESIGN IS BY ME:-) just a little tribute.
YOU WANNA SUPER MOTORIK RIDE?
ARTIST`````````````STEREOLAB
ALBUM`````````````DRIVING STEREOLAB
GENRE`````````````INDIE PROG-KRAUTROCK
YEAR```````````````2007
COMPILATION BY VALENTIN

WHY?
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.

BASIC BIOGRAPHY
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

OMAR RODRIGUEZ LOPEZ AND LYDIA LUNCH (2007)

DESTROY GOD, FUCK WHITE MEN, STOP THE WARS, DON'T BE SO STUPID AND GET YOUR GUN
ARTIST``````````````OMAR RODRIGUEZ LOPEZ & LYDIA LUNCH
ALBUM``````````````SELF TITLED
GENRE``````````````INDIE/PSYCH PROG-ROCK
YEAR````````````````2007

MY VIEW:
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.

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V.A. - BEFORE SLEEP (2007)

MUSIC FOR THIS EVENING
ARTIST`````````````VARIOUS
ALBUM`````````````BEFORE SLEEP
GENRE`````````````INDIE/ROCK/ELECTRONIC/PROG
YEAR````````````````2007
SELECTED AND CURATED BY VALENTIN

MY VIEW:
My personal selection of various indie-rock-pop-xperimental-prog-electronic songs for pleasant my evenings.

TRACKLIST:
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)

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BT (BRIAN TRANSEAU) - THIS BINARY UNIVERSE (2006)

"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
ARTIST``````````````BT
ALBUM``````````````THIS BINARY UNIVERSE
GENRE```````````````PROGRESSIVE?
YEAR`````````````````2007

MY VIEW:
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.

ALBUM REVIEW:
"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.

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