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Images Donate icon An illustration of a heart shape Donate Ellipses icon An illustration of text ellipses. Media Type Media Type. Year Year. Collection Collection. Creator Creator. Language Language. Sep 29, by Autechre. Nov 22, by Autechre. Apr 9, by Autechre. Apr 13, by Autechre.
Apr 12, by Autechre. Apr 8, by Autechre. Apr 4, by Autechre. Feb 23, by Autechre. Topics: dj, dj mix. Jul 14, by Autechre. Mar 30, by Autechre. Mar 25, by Autechre. The sense one gets is that the songs collected here are deigned to help us all rebuild that which has collapsed around us. This is not on infer that The Doozer has gone all instructional on us.
One of the great features of his songs has always been their way of combining abstract confusion with observational clarity, allowing simple words to create abstract images.
And that has not changed here. His brilliantly casual approach to this is what always makes people like me anyway , think about his music in terms of extending the sweetest traditions of Syd Barrett and Nick Nicely.
There is darkness built into this music, but it is countered with illumination. And if you so choose, you can spend many pleasant hours exploring the many mysterious corners of Convalescence. And that would be the right thing to do! The oddball indie-funk collective Dub Narcotic Sound System was spearheaded by vocalist Calvin Johnson , the former frontman of the legendary Beat Happening as well as the founder of the famed K Records label.
Named in honor of Johnson's own Olympia, WA-based basement studio Dub Narcotic, the project was begun in with a rapid-fire series of funk-, rap-, and reggae-influenced singles including "Bite", "Fuck Shit Up", "Booty Run", and "Shake-a-Puddin'"; from the outset Johnson was the group's sole constant member, although over the course of subsequent releases, including the EPs Industrial Breakdown , Ridin' Shotgun , and Ship to Shore , the revolving lineup grew to include Olympia scenesters like Lois Maffeo as well as Larry Butler , Todd Ranslow , and Brian Weber , all three members of the hip-hop unit Dead Presidents.
Liberated from the traditional constraints of time signature and key signature and fixed changes. Where sound responds to music. Clear vinyl. Originally released in , this album from Lee "Scratch" Perry is the final work to emerge from the Black Ark studio, before its permanent destruction. Includes an insert with extensive notes by David Katz. Operating from the fringes of the South African jazz scene, the enigmatic yet charismatic trombonist and pianist Malcolm Jiyane delivers a major contribution to the canon -- one shaped around dedications to key figures in his personal and professional life.
Several years ago, Jiyane was dealing with the death of a band member, the birth of a daughter and the passing of his beloved mentor Johnny Mekoa , founder of the Music Academy of Gauteng, which Jiyane attended from a young age. These life-altering events give shape to the music's emotional register and its thematic concerns.
In Black Music , his book of essays and critiques, Amiri Baraka makes the point that jazz musicians, be it in the construction of solos or in other aspects of composition, always draw on the works of their contemporaries or elders.
How much outsiders pick up on that is really dependent on how au fait they are with the music. In this album, Jiyane finds comfort in this well-trodden path. Two songs make for great examples. Jiyane's path to the realization of his debut album as frontman is more than merely one individual's breakthrough. Sounds from the Book of Bean is an assemblage of noises and texts related to "The Book of Bean" , Knowles' eight-foot tall walk-in book constructed at Franklin Furnace in New York.
This recording, the sounds of making the big book, was continually played back inside of the installation. Echoes of Yoshi Wada hammering together the circular spine of the book, other collaborators mixing ink, feeding a horse, the flowing waters of the Hudson Valley On the second side of the album, the piece "Essential Divisions" features Knowles performing with red, black, and white beans.
Recorded in Annea Lockwood 's underground studio, Knowles sounds the beans in glass, ceramics, wood, as well as in her mouth. Further bean histories and sound poems are recited, concluding with "Popular Bean Soup" -- an ancient recipe translated by George Brecht. Knowles' big books are, as she describes them, transvironments: a transformationally experienced environment.
The phenomenological nature of her book is distilled aurally in the case of this record. As Knowles describes the end of her book, "the reader leaves via a ladder or out the window and through a muslin panel printed with contradictory wisdom concerning beans and dreaming An expansive page booklet is included, holding graphics and writings from Alison Knowles, George Quasha , and Charlie Morrow.
Recorded by Alison Knowles, Design by Alison Knowles, cover image courtesy George Quasha. Jessica Higgins also adds voice to tracks 1, 3, 4, 5. The long-awaited foray into the Vietnamese rock, pop and soul sound of the late s and early s is finally here. Every song is a mini-masterpiece, be it heavy acid-rock psychedelia, horn- and guitar-drenched funk grooves, or gripping soul ballads reflective of life during wartime.
The tracks that form this collection cut a window into a rich musical Vietnamese music scene that has long been obscured, and for the most part, forgotten. As the scope of electrified Vietnamese music from the s and s begins to be revealed, it becomes evident that this was among the heaviest and most eclectic musical scenes of Southeast Asia at the time. These songs tell of war, love and what war does to love. All of them were recorded in makeshift studios and even U. Westernized forms of music in Vietnam had appeared during the latter 19th century, and especially during the early 20th century, under the influence of the French colonizers.
Tan Nhac trans. During the s and s, pulp ballads were being recorded by leading crooners of the time who alternated between modern and traditional forms of regional music. When the electric guitar hit the streets of Saigon, Vietnamese renditions of contemporary instrumental trends such as surf-rock, beat and twist soon emerged, followed by some pretty deep soul sounds inspired by Motown radio hits as well as funk grooves brought on by James Brown and his contemporaries.
By the mids, Vietnam had been ravaged by war for years. American G. This certainly included the music. The sounds of rock and roll dominated the radio waves, and Saigon nightclubs were teeming with new sounds. Musically, The Shadows and The Ventures soon gave way to The Beatles and The Rolling Stones as an enthusiastic set of young Vietnamese rockers signed on to the lifestyle, always eager to hear the latest musical trends the G.
This era saw the birth of a vibrant rock scene, yet rock music and anything that came close was commonly referred to as "soul" in the Vietnamese genre-listings. Like many cultures in Asia, Vietnamese music is recorded, marketed, listened to and disposed of in a relatively quick manner. This level of advanced ephemera ensures a degree of difficulty when trying to unearth and discover cultural histories. Literally, most of the music heard here has been brought back from the dead.
Features 70 minutes of classic original recordings compiled by Mark Gergis with extensive liner notes. Wewantsounds continues their Ryuichi Sakamoto reissue series with the release of the album Esperanto , composed for a performance by New York avant-garde choreographer Molissa Fenley. Produced and performed by Sakamoto with contribution by Arto Lindsay and Japanese percussionist Yas-Kaz , Esperanto is a fascinating instrumental work mixing electronica, ambient and synth pop.
Released in Japan in on Midi Inc. Esperanto originally came out in and was Ryuichi Sakamoto's sixth solo album. Coming after his stint with the influential Yellow Magic Orchestra , and also the worldwide success of Sakamoto's soundtrack for the film Merry Christmas Mr. Lawrence in which he starred alongside David Bowie , Esperanto was a return to Sakamoto's leftfield roots.
Composed as the soundtrack to a performance by New York choreographer Molissa Fenley a show commissioned by Japanese producer Shozo Tsurumoto , the album was masterminded by Sakamoto with the help of the cutting-edge electronic technology of the time the only external contributions are by Arto Lindsay on guitar and Japanese composer Yas-Kaz on percussion. Indeed, the album is a fascinating soundscape experimenting with the new sampler technology -- which, according to Ryuichi Sakamoto from a conversation with journalist Andy Beta mentioned in the liner notes, needed a computer that was huge at the time.
Esperanto is composed of eight tracks displaying a varied mix of influences. It's interesting to note that, a year later, the tracks from Esperanto would be turned into an experimental video project by New York visual artists Kit Fitzgerald and Nam June Paik collaborator Paul Garrin. A unique album in Ryuichi Sakamoto's rich discography, Esperanto is a groundbreaking work worth rediscovering in its full glory. Original artwork; includes two-page insert with a new introduction by journalist Andy Beta.
Audio remastered in Tokyo by Seigen Ono. Double LP version. Gatefold sleeve. Carson carved forward-thinking house anthems with limited equipment and only rudimentary syncing of electronic instruments. Joe McPhee 's response to the challenge of making a new CD of solo music during COVID was to go at it head on, to address the present in its starkest aspects, to reach for comfort in the music of great composers, and to speak directly to the virus in no uncertain terms.
The result is unlike any other of McPhee's many records, a variety show of improvisations, favorite compositions, field recording, multi-tracking, incantation and recitation.
After searching for the right studio-like setting with an ideal sound, but hampered by the restrictions of quarantine, he abandoned such hope and dug out a clothes closet in his Poughkeepsie house, where he could approach the task with an unconventional intimacy. Elsewhere he plays harrowing tenor saxophone improvisations, a plaintive tone entering his melancholic melodic sensibility. On the title track, McPhee layers a dozen aching blues lines atop a field recording of the namesake highway, and in another piece he discovers an entire drum choir in the noise of dripping water on a tin plate in his sink, something he dedicates to Ruth Bader Ginsburg , whose death was announced moments before he noticed the environmental sound.
The trip was sudden and didn't allow her to bring her instrument, but once there she was unable to return to New York because of the stringent lockdown.
For months she was stranded without her cello, unable to practice or make any music. This intense alienation took a long time to lift. Publication date check for other copies. As I understand the actual broadcast is different from the recording date. The broadcast date was supposedly , then again maybe this is the 're-broadcast' date from which this recording was sourced Related Music Beta question-dark Versions - Different performances of the song by the same artist Compilations - Other albums which feature this performance of the song Covers - Performances of a song with the same name by different artists.
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