Juan Trip' - Fireplace (2008)

VERY NON-CONSISTENT BUT A GOOD EFFORT
ARTIST`````JUAN TRIP'
ALBUM`````FIREPLACE
GENRE`````ROCK, PSYCHEDELIC, RETRO
YEAR````````2008

WHY:
This could have been a much better album but some amazing tracks make up for the general lack of coherence.

A RATHER NERDY ALBUM REVIEW (by someone?):
With twenty new tracks Juan proves that the mixture of futuristic music and the spirit of the Sixties and the Krautrock area mustn’t end up in a tasteless disaster. You know it’s easy, pick up an old idea and reinterpret it new and the success comes automatically… But Juan lives a different idea; with his heads in the clouds and the heart on the ground he puts different areas, styles and ideas together in his very personal style. Surely this music sounds like Velvet Underground, 13th Floor Elevators or Jefferson Airplane, but Juan doesn’t copy this music he makes music with an own identity, with own ideas. No copy and paste music, this is intelligent song writing mixed with a futuristic view on the past. If you hear a song made by Juan you won’t compare it with the past, you will recognize it as Juan’s music. And besides all this musical comparisons and ideas there is a main aspect about “Fireplace” this is music with a message, an identity and this music that takes you far away to places you never seen before. Wonderful and bewitching! Moviedreamintelligentmusic… or do you have any other idea for a name for such an outstanding music?


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You may also like:

AAVIKKO - DEREK (1997)

FINNISH IRONY
ARTIST`````AAVIKKO
ALBUM`````DEREK!
GENRE`````EXPERIMENTAL, TRASH, ELECTRO-POP-ROCK,
YEAR````````1997

WHY:
I forgot to upload this brilliant album ever since my Instrumetales compilation. Lots of links were deleted recently so I decided to help keep this album flowing.

ALBUM REVIEW
Bad Vugum's saga continues, this time with a release by Aavikko from Siilinjärvi, Finland. The group's previous record was a self-titled EP, interesting in itself because of its distribution: Apart from the hi-fi CD version, there was also a 7" version including the same songs but recorded on a lo-fi cassette recorder. Not only that, but the music itself was innovative: Aavikko was redolent of Add N to X's punkish qualities: acoustic drums and cheap keyboards playing songs strongly influenced by Russian folk music and Finnish synth-based themes. Derek! is a natural follow-up. The main concept is pretty much the same, but the production (if there is any) is better and the guys in Aavikko have a better idea of what they're doing. And although the sound quality is quite lo-fi, it represents Aavikko's punkish attitude and fits very well with the band's music. Melodies, which naturally are very important to Aavikko's music, are somehow naïve and childish, but then again it's intentional and the band itself possesses self-irony. Derek! is far from perfect; Aavikko still has a lot to learn and yet the band sounds innovative and new. Despite some limitations, Derek! is a great example of the notion that the most interesting music can be found on small record labels.


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You may be interested in:

V.A. MUSIC FOR CRASHING YOUR CAR VOL. 3 (2010)

FINALLY THE THIRD VOLUME FROM MY "CRASHING SERIES"
ARTIST`````VARIOUS
ALBUM`````MUSIC FOR CRASHING YOUR CAR VOL. 3
GENRE`````ELECTRO, TECHNO, ROCK, EXPERIMENTAL, REPULSIVE, OFFENSIVE
YEAR````````2010

WHY:
Damn it took me a looong time to complete this one. I have no idea if I will be able to compile a bunch of destructive tracks that I loved this much. It was really hard because I just couldn't find enough non-trendy tracks that have enough power and style to fit together nicely. As usual, I tried to span genres and years but remain in the electronic domain the most. This 3rd Crashing compilation is darker than the humorous 2nd one. It gets really black at some moments actually. Leave some feedback - I'd like to hear your thoughts on this compilation.

Anyways, I want to thank everybody on a beautiful support I enjoyed for quite a while (even when I'm absent for several months). Few new comps and some sequels are coming soon so stay tuned.

THE GRINDING TRACKLIST:
01 Moodymann - Det.riot (2008)
02 The Japanese Popstars - Rise Of Ulysses (2008)
03 Strangelets - Riot On Planet 10 (2008)
04 Joakim - Sleep In Hollow Tree (2006)
05 DJ Hell feat Alan Vega - Listen To The Hiss (2003)
06 Air - Be A Bee (2009)
07 Arnaud Rebotini - The Swamp Waltz (Original Mix) (2009)
08 Arnaud Rebotini - 1314 (Original Mix) (2009)
09 Bernard Fevre - Dangerous Mixture (2009)
10 Modern English - Life In The Gladhouse (1982)
11 The J.B. Pickers - Freedom of Expression (1971)
12 Ma Man - Ice Dogs (Short Moronic Cut By Panda Stuffer) (2005)
13 Reaper - Urnensand By Sam (2007)
14 Clark - Gonk Roughage (2009)
15 Mistabishi - Printer Jam (Original Mix) (2009)
16 Man Man - Fishstick Gumbo (2005)
17 Krazy Baldhead - 2nd Movement - Part 4 (2009)
18 Underground Resistance - Nannytown (1998)
19 Dusty Kid - Here Comes The Techno (Extended Version) (2009)
20 Isolrubin BK - Motor Vehicle Collision Victim Removal Procedure (1993)



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Download my 2 previous Crashing compilations below.

V.A. Chains and Black Exhaust (2002)

Rare Chicago Psych

ARTIST`````Various
ALBUM````` Chains & Black Exhaust
GENRE`````Funk, Psychedelic
YEAR````````2002

Review:

“Chains And Black Exhaust” is probably the best funk rock compilation in the world -- and it doesn’t even have a song with the word "butter" in the title, either. It is wild and untamed stuff (unlike the majority of “various artists” compilations of any genre) and every track hits the nail on the head of people with long-unrequited Hendrix/Hazel fixations. All tracks are mainly on the same organic level of physical deepness as "Free Your Mind And Your - as they usher your ass back into those days of blatantly uncomfortable intra-racial relations in the media and what seems like the top tier of the most forgotten yet memorable psychedelic funk, fuzztone soul and Jimi vamps taken to illogical extremes sifted out from a decade of flea market obscurities and distilled into one truly fine representation. The sleeve design sports exterior shots of what would appear to be biker gang social clubs that tie in neatly with the title (which initially threw many off the true trail of these tracks’ provenance -- as though this collection was comprised of amateur recordings by black sickle men who pumped out psychedelic sex grooves during their off-road hours in the confines of those subterranean HQs like some soul brother equivalent of Davie Allan & The Arrows) and although the album lists no titles or artists, this only increased the chatter of those in the know and inevitably forced to the surface 12 out of 16 titles (with the remaining four of dubious origin because where the hell else is a track called “Potted Shrimp” besides the classic “Trident Sessions” Stones bootleg, anyway?!) And out of this whole passel of gunked up funk only Curtis Knight, Hot Chocolate (don’t worry -- it’s early head days with no marshmallows at all) and Black Merda I had previously even heard, let alone heard of (Which I admit isn’t saying much, but all I mean is that the usual suspects are in no way present and accounted for in this remarkable compilation.)

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Pitchfork review:
http://pitchfork.com/reviews/albums/1911-chains-and-black-exhaust/

Headheritage review
http://www.headheritage.co.uk/unsung/thebookofseth/962

Orchestre T.P. Poly-Rythmo de Cotonou - 0+0=Zero (Zero + Zero = Zero)

AFRICA'S BEST KEPT SECRET
ARTIST`````Orchestre T.P. Poly-Rythmo de Cotonou
ALBUM`````0+0+Zero (Zero + Zero = Zero)
GENRE`````Funk, African, Voodoo
YEAR````````???

SHORT BIO:

Unfortunately political realities in Benin had left the Tout Puissant Orchestre Poly Rythmo bereft of international recognition, while big bands like Super Rail Band or Orchestra Baobab enjoyed a rebirth… But Poly Rythmo has always been recognised as one of the best orchestras in Africa, so much that the former leader of Super Rail Band in Bamako, Tidiani Kone, left his job in Mali to join the fabulous Poly Rythmo in the seventies.

Their repertoire draws inspiration from the regional poly-rhythmic blend called Sato or Sakpata, original Voodoo beats, which are married with the funk left behind by James Brown’s African tours. Their voices, brass section, guitar and percussion weaved together to crystallise a golden age in this musically-fertile nation. Most of their 500 songs were recorded live with a couple of microphones and a Swiss-made Nagra reel-to-reel tape machine. The studio was a living room in the noisy neighbourhood near Cotonou’s airport.

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Black Devil Disco Reuploaded!

http://deadpandas.blogspot.com/search/label/-BLACK%20DEVIL%20-%20DISCO%20CLUB

Chaino - Jungle Echoes (1959)

MINIMALIST EXOTICA
ARTIST`````Chaino
ALBUM`````Jungle Echoes
GENRE`````Exotica, Tribal, Afrobeat, Kitsch
YEAR````````1959

SHORT BIO:

The self-styled "percussion genius of Africa," exotica-era enigma Chaino was actually born Leon Johnson in Philadelphia in 1927; raised primarily in Chicago, the details of his early life are largely a mystery, although at some point he learned to play the bongos and began touring the so-called "chitlin" circuit of black nightclubs. During the mid-1950s he surfaced in Los Angeles, and with producer Kirby Allan entered the famed Gold Star studio to record a series of otherworldly jungle exotica LPs; the first, the 1958 Verve label release Jungle Mating Rhythms, featured not only a lurid fusion of African rhythms, primal chants and lusty moaning-and-groaning but also liner notes claiming "Chaino is the only survivor of a lost race of people from the wilds of the jungle in a remote part of central Africa where few white men have ever been...(he) could play seven or more drums at the same time, with such a blur of speed that you can hardly see his hands." In the months which followed, Chaino issued three more albums -- Jungle Echoes, Night of the Spectre and Africana -- each for a different label; on occasion, he also worked as a session musician, and even appeared in pair of feature films, Nighttide and The Devil's Hand. A notoriously difficult and eccentric figure, however, in time he and Allan parted ways, and Chaino's activities over the decades to follow remain unknown; with the resurgence of interest in exotica during the mid-1990s, his brother George Johnson discovered the percussionist's whereabouts and briefly brought him back home to Chicago. Chaino nevertheless resumed his nomadic ways soon after; following surgery to remove a brain tumor, he suffered a fatal heart attack on July 8, 1999.

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Mediafire is givin me a headache with it's upload problems so if there is something wrong with the .zip file please let me know and I'll re-upload it somewhere else.

Mark McGuire - Amethyst Waves (2008)

LAYERS
ARTIST`````Mark McGuire
ALBUM`````Amethyst Waves
GENRE`````Electronic, Ambient, Krautrock
YEAR````````2008

SHORT INFO:

Yet another new tape from Mark McGuire of Emeralds. And again - absolutely gorgeous. This time more kraut-inspired, psychedelic echoed synths versus melodic guitar loops, slowly expanding layers of mesmerizing sound.

Recorded live to cassette. Edition of 50 copies in Norelco style cases, second edition of 75 in round-corner cases. About 10 copies contain a vocal sample at the end of the A side.

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25 Most popular albums on bleeding panda blog

Here are 25 most popular albums from this blog. I am surprised that one of my earliest compilations is by far the most downloaded item here. I am not particularly happy with the Before Sleep compilation because when I listen it now it seems at some moments a bit cheesy (Landscapes is my dearest) but people seem to like it a lot. Also, a surprising entry is the Black Devil Disco Club album. It definitely seems now that it is gaining huge popularity as more people discover and stick to it.

01 V.A. Before Sleep
02 Gonzales - Solo Piano
03 Black Devil Disco Club
04 Iron & Wine - Our Endless Numbered Days
05 Dan Deacon - Spiderman of the Rings
06 Max Tundra - Mastered By The Guy At The Exchange
07 White Noise - An Electric Storm
08 Konono No1 - Congotronic
09 Dr. John - Gris-Gris
10 Andrew Bird's Bowl Of Fire - Oh! The Grandeur
11 V.A. Shadow Music of Thailand
12 I-F - V.A. Mixed Up In The Hague
13 Morphine - Cure For Pain
14 V.A. Disco Not Disco
15 Senor Coconut And His Orchestra - Yellow Fever
16 Astro Can Caravan - 21st Century Drifting Episode
17 Murcof - Martes
18 Tom Waits - 60 Raindogs Compilation
19 Ethiopiques - Ethiopia Bleeding
21 Eden Ahbez - Eden's Island
22 Clara Rockmore - Art of Theremin
23 V.A. Bleeding Africa
24 Ricardo Villalobos - Fabric 36
25 Monstruoso Instrumentale Vol. 01

Clark - Totems Flare (2009)

POWER OF TEXTURE
ARTIST`````Clark
ALBUM`````Totems Flare
GENRE`````Electronic
YEAR````````2009

ALBUM REVIEW by Brian Howe:

Think about the basic properties of beat-oriented electronic music. It emphasizes dynamic action, feelings of speed, impressions of light-- extremes and intricacies of sensation. It tweaks your senses with creative deformations of time and space, with strictly engineered frameworks lurking beneath sleek or gaudy facades. And as Simon Reynolds credibly argued in Energy Flash/Generation Ecstasy, it strives to create experiences instead of describing them. Doesn't it sound a lot like the state fair, and make it seem crazy that tinny speakers still blast mostly rock, rap, and country hits across the rides? Imagine Lindstrøm's slopes and plunges on your roller coaster; the Field's nested spins on the Tilt-A-Whirl.

In an obscure corner of the midway, Chris Clark mans the funhouse. He lays out certain conditions-- dark twisty passageways, treacherous stairs, and moving platforms-- but doesn't suggest that you experience them in any particular way. His songs are divided into bizarre chambers of clashing design. He's the rare case where a heavy-handedly metaphorical approach like this seems defensible. In interviews, Clark holds forth at length on process and ideas while neatly sidestepping taxonomical points. He has his go-to tricks: His specialty is the cataclysmic anthem, cobbled together from homemade break beats, glitchy jags of Euro- and acid-house, pockets of concussive noise, honeycombed synth lines, and contoured masses of distortion, all piled up in lunging heaps of coarse texture. He really doesn't seem to make any type of music, which means that there's no background proposition or guideline, and metaphor might be the only way to talk about it. As in the funhouse, you have to make your own way through.

Clark's voice works best when he uses it like just another sound source; say, as a stuttering, FX-laden pulse in "Look Into the Heart Now". Your attention is drawn to details like this because the compositions often feel under-imagined as songs. The aforementioned tracks make the first half of the album feel jumbled and cluttered. The fizzy syncopation of opener "Outside Plume" is enticing, but its lumbering synths and beat-dropping tangents thwart its momentum. Things do start coming together after the utilitarian vamp "Luxman Furs": "Totem Crackerjack" uses gusts of noise to enhance, not derail, its cadence, and has a confidently measured stride that carries it intelligibly from breakneck drums to delicate arpeggios. The home stretch has a satisfying continuity-- the revved-up but beatific "Future Daniel" runs into the rewinding ambiance of "Primary Balloon Landing"; the dark drive of "Talis" and "Suns of Temper" dissolves into the gentle guitar whorls of closer "Absence". That's how funhouses are supposed to work-- we know the chaos is an illusion, designed for our enjoyment by an orderly hand. Otherwise, they're just confusing and enervating.

Read the full review:
http://pitchfork.com/reviews/albums/13268-totems-flare/

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Dan Auerbach - Keep It Hid (2009)

ORGANIC RIFFS AND A FAMILIAR MOAN
ARTIST`````Dan Auerbach
ALBUM`````Keep It Hid
GENRE`````Indie Rock, Alternative, Punk Blues
YEAR````````2009

ALBUM REVIEW by Sean Murphy : Auerbach never seems to be straining himself or merely appropriating other, signature sounds just for the sake of doing so. The music he has so obviously, and voraciously, absorbed makes him who he is, pure and simple. For instance, on “Mean Monsoon” his voice is a chemical snarl that seems a bit like Peter Green filtered through early, dirty Junior Wells. The music is reminiscent of vintage Yardbirds, complete with tambourine tapping and chorus-crashing bongo flourishes. “When I Left the Room” features his now patented paranoid snarl, propelled by guitars that seethe behind a banjo (!) march. It is not unlike the best Black Keys material, with all the obvious and not-so-obvious influences on the surface, unfolding into something startling original. His voice, which at times is able to convey a pained vulnerability offset by a gruff, even defiant resolve, has improved with each album. On “Whispered Words”, possibly the best thing Auerbach has achieved to this point, all of his skills are on display: the opening build-up is Motown without the horns, with subdued guitar weaving around his plaintive vocals. As the song gathers steam, suddenly it takes a detour from Detroit and heads south into Stax territory, sans the crackerjack studio musicians. It is astounding that these very unique and even sacrosanct sounds are being incorporated in a fashion that manages to feel unforced and even organic.

Read the full review:
http://www.popmatters.com/pm/review/70150-dan-auerbach-keep-it-hid/

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Herbie Hancock - Gershwin's World (1998)

CLASSY
ARTIST`````Herbie Hancock
ALBUM`````From Bleep To Bleep
GENRE`````Jazz, Post Bop
YEAR````````1998

ALBUM REVIEW by Jim Newsom: Gershwin's World is a tour de force for Herbie Hancock, transcending genre and label, and ranking among the finest recordings of his lengthy career. Released to coincide with the 100th anniversary of George Gershwin's birth, this disc features jazzman Hancock with a classy collection of special guests. The most surprising of Hancock's guest stars is Joni Mitchell, who delivers a gorgeously sensual vocal on "The Man I Love," then provides an airy, worldly take on "Summertime." On these two tracks, she shows she has come a long way from her folksinger beginnings to become a first-class jazz singer in her own right. Stevie Wonder's unmistakable harmonica complements Mitchell's singing on "Summertime" and shares lead instrument space with his own voice on the W.C. Handy classic "St. Louis Blues." Jazzman extraordinaire Wayne Shorter smokes a solo spot on Duke Ellington's "Cotton Tail" and carves out some space for his soprano saxophone in the midst of "Summertime." A number of the young lions of jazz are featured on various cuts, and Herbie's old pal Chick Corea joins the leader for a piano duet of James P. Johnson's "Blueberry Rhyme." Gershwin's wonderful, extended "Lullaby" finds Hancock teamed with the Orpheus Chamber Orchestra, as does an attractive arrangement of a "Concerto for Piano and Orchestra" by Maurice Ravel, whose jazz influence can be heard on the piece. In addition, one of the most beautiful tracks on the album places star soprano Kathleen Battle's voice at the forefront of Gershwin's own "Prelude in C# Minor." Yet with all the fine performances by his guests, Gershwin's World remains Hancock's show, and he plays magnificently throughout. From beautiful to funky, percussive to melodic, improvisational to tightly arranged, Hancock and cohorts take a wondrous journey through the music and world of Gershwin.

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The Micronauts - From Bleep to Bleep (2000)

NO BULLSHIT HERE
ARTIST`````The Micronauts
ALBUM`````From Bleep To Bleep
GENRE`````Techno, House
YEAR````````2000

WHY?
I've heard this album a week ago for the first time and was blown away. This is one of the rawest, fearless tech-house albums ever. For the fullest effect listen on some bigass headphones.

ALBUM REVIEW: The title of the Micronauts' (mini-)LP debut is just as good as any, considering all but one of the songs feature "bleep" in the title, and there's a four-part series entitled "Baby Wants to Bleep." It's also completely in keeping with the duo's aesthetic, which injects a sense of humor and off-hand charm into the often sterile and increasingly academic field of acid techno. They function as a near-perfect incarnation of classic acid acts like Altern-8 or the KLF, both of whom produced great music but also recognized and exploited, for comic effect, Britain's acid revolution during the early '90s. With all the mayhem and track-to-track flow of the best hip-hop DJs (even though they're performing on 303s and 909s instead of turntables), the Micronauts tear their way through squelchy acid hysteria and continually test the upper limits of the frequency range. Though most of the humor is inherent in the track titles, the music is so kinetic that it's easy to envision Monier and Issakidis smirking behind their boxes even as they were programming the album. Except for the heavily processed freeform-electronics piece ("Bleeper 0+2") that cuts the album in two, Bleep to Bleep offers plenty of tweaked acid patterns and quite a few trips through heavy reverb.

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Kraftwerk - Tour de France Soundtracks (2003)

KLING KLANG, KLING KLANG, KLING KLANG,
ARTIST`````Kraftwerk
ALBUM`````Tour de France Soundtracks
GENRE`````Electronic
YEAR````````2003

WHY:
I am sure that most of the people fiddling around electronic music surely have this glorious album but since I find it to be one of the best electronic albums of this decade I just had to post it.

In short, this album was a slap in the face to the entire electronic scene (and wider) when it came out because Kraftwerk were (at that time) a hugely respected visionary act but - they were an 80's gem. Yes, they created and influenced every corner of music as much as The Beatles did but from the trendy critics narrow eyes they were simply - retro (I tend to disagree with this because when you listen to their 80's stuff it still sounds much fresher and open than everything that came out after them). Of course Daft Punk, Autechre and the whole techno movement gang updated their style (and the English accent) for 90's clubbers in dire need of something punchy and raw but nobody really expected something new from the Kings of Robots.

No matter how much I explore the endless possibilities of electronic musicians I always feel like sitting on a pile of Kraftwerk records while doing that. I wonder how does it feel when you ARE electronic music.

Short review:
The seeming ease with which the group unselfconsciously effects a seamless transition from its prior recordings to its latest creates the impression that the band cryogenically froze itself for seventeen years and then immediately re-entered a newly equipped digital studio.
http://www.stylusmagazine.com/reviews/kraftwerk/tour-de-france-soundtracks.htm

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Also, be aware of this:
“Finally, after cancellation and consternation Kraftwerk’s back catalog gets remastered and reissued…We think it’s – whisper – better than the Beatles.”

I was very surprised reading that Kraftwerk made this album completely in a software based studio using Cubase and lots of software effects. This is quite a big change considering their long history as hardware pioneers.
Read a short interview about the software used on this album.

Boredoms - 77 Boadrum (2007)

BOILING POINT
ARTIST`````BOREDOMS
ALBUM`````77 BOADRUM
GENRE`````EXPERIMENTAL, NOISE-ROCK
YEAR````````2007

FROM WIKI:

77 Boadrum was a concert held on July 7, 2007 (7/7/07) at 7:07 PM consisting of 77 drummers. The concert was organized by Boredoms. The title of the concert was a portmanteau of "Boredoms", "boa", "drum", and "77". It was held at the Empire-Fulton Ferry State Park in Brooklyn, New York. Two followup concerts, entitled 88 Boadrum, were held on August 8, 2008.

THE CONCERT FROM NY ENTERTAINMENT:
For such a monstrous event, the ending of the Boredoms' 77BoaDrum show in the shadow of the Brooklyn Bridge Saturday evening was surprisingly peaceful. Led by the Japanese noise-rock pioneers, BoaDrum presented 77 drummers at 77 drum kits spread out across a broad green lawn. In addition to the Boredoms at the center of the spiral, drummers from dozens of indie-rock and jazz bands participated; even Andrew WK was there, sitting behind a gleaming gold drum kit and playing as if he wanted you to enjoy the show as much as he himself was, which seemed to be quite a lot.

Read more: 77 Drums With a Dragon Charmer in the Middle -- Vulture http://nymag.com/daily/entertainment/2007/07/77_drums_with_a_dragon_charmer.html#ixzz0WH9AbxPK

DRUMMERS:

Entries in bold denote drum leaders.

0. Yamantaka Eye (Boredoms, Destroy 2, DJ Chaos X, DJ Pica Pica Pica, Hanatarash, The Lift Boys, MC Hellshit & DJ Carhouse, Puzzle Punks)
1. Yojiro Tatekawa (Boredoms)
2. Yoshimi P-We (Boredoms, OOIOO, Yoshimi and Yuka, UFO or Die, Free Kitten, Psycho-Baba)
3. Muneomi Senju (Boredoms, Para)
4. Hisham Bharoocha (Soft Circle, Pixeltan)
5. Jesse Lee (Rusty Santos, White Magic, Gang Gang Dance)
6. Brian Tamborello (Psychic Ills)
7. Butchy Fuego (Pit Er Pat, Matteah Baim, Death’s Groove)
8. Warren Huegel (Tussle, Citay, 3 Leafs)
9. Dave Abramson (The Spider Trio, Diminished Men, Climax Golden Twins, Maureen Whiting Dance Co.)
10. Chris Brokaw (Flashlights, The New Year, Come, Codeine)
11. Christopher Powell (Man Man, Icy Demons, Need New Body, Obey Your Brain)
12. Jim Black (AlasNoAxisE, Carlos Bica & Azul)
13. David Aron (Koi Pond)
14. Robin Easton (King Cobb Steelie)
15. Abby Portner (First Nation, Among Natives)
16. Taylor Richardson (Sunburned Hand of the Man)
17. Michael Catano (Buck 65, North of America, The Got To Get Got)
18. Aviram Cohen (Soiled Mattress and The Springs)
19. Jim Sykes (Parts & Labor)
20. Keith Connolly (No-Neck Blues Band)
21. Nick DeCarmine (Slow/Dynamite)
22. Jaiko Suzuki (Electroputas)
23. David Grubbs (Red Krayola, Squirrel Bait, Bastro, Gastr del Sol)
24. Jarred Barron
25. Chris Millstein (Home, Jah Division, Charter Oak)
26. Barbara Schauwecker (Animental)
27. Jared Burak (Wet Cement)
28. Pete Vogl (Koi Pond, Bi-Unicorn, Bow Ribbons)
29. Marianne Kozlowski (The Punks)
30. Nadav Havusha (Big A Little A)
31. Nathan Corbin (Excepter)
32. Clare Amory (Lake, Skint, Excepter)
33. Aaron Moore (Volcano the Bear)
34. Alianna Kalaba (We Ragazzi)
35. Rick Prior (Glass Shivers, Squabble Hut)
36. Josh Madell (Antietam)
37. John McSwain
38. Justin DeRosa
39. David Nuss (No-Neck Blues Band, Under Satan's Sun)
40. Count Hejnowski (No-Neck Blues Band, Malkuth, Dream/Aktion Unit)
41. Sadie Laska (I.U.D.)
42. Alan Licht (Text of Light)
43. Travis Harrison (Unsacred Hearts, Dracula Zombie USA)
44. Andrya Ambro (Antonius Block)
45. Jeff Salane (Panthers)
46. Jim Abramson (Dymaxion, Autobody, Bear Flames, Rhys Chatam Guitar All Star Dymaxion)
47. Andy MacLeod (Howling Hex)
48. Michael Evans (God Is My Co-Pilot)
49. David LeBleu (Mercury Program, Papercranes], Textual)
50. Adam Autry (ADD, Plate Techtonics, Onleyville Soundsystems)
51. Spencer Herbst (Matta Lama)
52. Dreiky Caprice (Express Fiesta Glacier)
53. Kid Millions (Oneida, Soldiers of Fortune, Jah Division)
54. Jim Siegel (Cul de Sac)
55. Jonathan Lockie (Sightings)
56. Lizzy Bougatsos (Gang Gang Dance, I.U.D.)
57. Andrew W.K.
58. Adee Connors (Ticwar, A Minor Forest, Lumen)
59. Mike Pride (MDC, Fushitsusha, John Zorn, Yoshihide Otomo)
60. Aron Wahl (Big A Little A)
61. Spencer Sweeney
62. Ryan Sawyer (Tall Firs, Stars Like Fleas)
63. Daniel Franz (Arboretum)
64. Chris Moore (Moore & Sons, Negative Approach)
65. Allison Busch (Awesome Color)
66. Miggie Littleton (Blood on the Wall)
67. Sara Lund (Unwound)
68. Eric Marc Cohen (Fly Ashtray, Dymaxion, Autobody, United Noise, Caroliner Rainbow)
69. Tim DeWitt (Gang Gang Dance)
70. Kayrock (Roxy Pain)
71. Josh Bonati (Big A Little A)
72. Jason Kourkounis (Bardo Pond, Hot Snakes, Burning Brides, The Delta 72)
73. John Moloney (Sunburned Hand of the Man)
74. Than Luu (M. Ward, Black Gold, Rachael Yamagata, shushshush, Adam Franklin)
75. Matthias Schulz (Enon, Holy Fuck)
76. Oran Canfield (Child Abuse, Dig That Body Up... It's Alive, Murder Murder)
77. Brian Chippendale (Lightning Bolt, Mindflayer, Black Pus)

On Viva Radio Collection of photos
Documentary

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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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D. LISSVIK - 7 TRX + INTERMISSION (2008)

STUDIO'S DAN LISSVIK SOLO PROJECT
ARTIST`````D. LISSVIK
ALBUM`````7 TRX + INTERMISSION
GENRE`````EXPERIMENTAL, DUB, FUSION, EASY
YEAR````````2008

FROM:
This album was recommended by Alisa from Norway.

ALBUM REVIEW FROM RESIDENT ADVISOR: As half of Sweden's foremost Balearic revivalists Studio, Dan Lissvik's already well known for poolside dance music that's more horizontally than vertically designed. But where Yearbook 1 and this year's remix collection Yearbook 2 found shape around the duo's bouncy, dub-infected rhythms, Lissvik's debut solo album 7 Trx + Intermission is, fittingly, more a one-man quest: a work intent on musically recreating a sense of beatific solitude. Without vocals and with track numbers over titles, Lissvik foregoes Studio's emphasis on trance-clatter and repetition. In their place are rippling Factory Records guitars, the barest rhythms and a decidedly Eastern-influenced spiritualism, making for an album that nurtures the spare and serene. He draws shapes and symbols in the sand out of lean, serpentine guitars, each open to the listener's angle of sight. Without partner Rasmus Hägg's synth shading, Lissvik's imagery is fit more for the desert than the beach, designed around great clean spaces without people or moving things to distract, just sound and silence in an odd tandem. Despite the emphasis on his ruminative side though, Lissvik hasn't completely neglected his band's taste for big-eyed joy. The album's longest excursion, "A3," shifts from boat holiday guitars into a breezy freeway spin atop hand drums and brawny bass, while "A4" makes easy Saturday night disco out of electronic piano and jaunty wood-cowbell rhythms, a kind of polyester anthem as cheap and delightfully fruitful as its opening chords suggest. "B2" best resembles Studio's knack for the hypnotic strut though; Lissvik filters quiet Eastern tones into a wanderer's dance jam, alternating the dim and contemplative with a more open-collared bass heavy approach. But it's clear that Lissvik's relying on open-vista psychedelia to carry the mood for most of 7 Trx + Intermission. "A1" turns a Spanish guitar intro into a curtain parting for a Sergio Leone film—one of the tense train depot scenes before all hell breaks loose—while "A2" is dressed in enough vague mysticism and candle-lit ambience for an early Doors track. "B1" makes for a kind of mystical Bazaar interlude, swapping out Villalobos' ethnic playgrounding for more solitary spoils. Blending tropical bird noises and what sound like sampled hand-drum patterns into a calm morning alarm that might gently coax you from your sleep, it's "B3" that generates quite a spell for such short length. For a member of a band that's always relied so heavily on the intoxication of repetition, this assured short-form design sometimes feels like a welcome new direction. After all: Yearbook 3 is probably still at least a year away. While we wait, Lissvik's solo debut marks not so much a holding pattern as a distraction well worth our winter attention on its own.

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