Brigth Engelberts & the B.E. Movement ~ Tolambo Funk [Discogram, 1978]

Disco 001

A1. Civilisation in the World
A2. Free Me Now
A3. Tolambo Funk

B1. Let Me Hear Them Say
B2. Get Together
B3. Shifty Hand Woman

recorded at Lagos EMI Nigeria in 1978 on a 16 channel mixer



'Rare late 70s Afro soul from Cameroonese bassist and singer Brigth Engelberts – insistent, hyponotic and danceable grooves that points the way to myriad trends in soul in the decade to come, well beyond easily categorizable Afro funk & soul! Some numbers have a punchier, hypnotic rhythmic dynamic, others steer a bit closer to a psych soul vibe! The groove is fairly tight, with Engelberts backed by keys, drums, congas & other percussion, and some horns, and it's plenty funky!'

perch merch

Haruomi Hosono • Tadanori Yokoo ~ Cochin Moon [1978, King, 2005] 320/FLAC

KICS-1139

1. Hotel Malabar Ground Floor …Triangle Circuit On The Sea-Forest… 2:28
2. Hotel Malabar Upper Floor …Moving Triangle… 8:45
3. Hotel Malabar Roof Garden …Revel Attack… 8:58
4. Hepatitis 4:43
5. Hum Ghar Sajan 8:50
6. Madam Consul General of Madras 9:04



Composer - Haruomi Hosono
Keyboards – Shuka Nishihara, Hiroshi Sato, Ryuichi Sakamoto
Programmed By [Computer] – Hideki Matsutake
Artwork - Tadanori Yokoo

'Before performing with Ryuichi Sakamoto in classic Japanese synth pop outfit Yellow Magic Orchestra [or just YMO], producer and onetime session bassist Haruomi Hosono made his share of eclectic music. If you're familiar with YMO, you might imagine he was involved in Kraftwerk-influenced electronic music, or perhaps more traditional pop, but as it happens, he made his name as session bassist and playing in bands like the psychedelic Apryl Fool and folk rockers Happy End-- a far cry from the modernist slant of his reputation in the West. However, he also made a record in 1978 called Cochin Moon with keyboardist Shuka Nishihara, and future YMO bandmates Sakamoto and Hideki Matsutake that is arguably more bizarre and forward thinking than anything he's done since.

Cochin Moon-- co-credited to Pop artist Tadanori Yokoo, who did the incredible Bollywood-style cover art-- is an electro-tropical soundtrack to a fake movie of the same name. That is, there was no film called Cochin Moon, but after visiting India, Hosono was inspired to make music suggesting the exotic, luxurious, and seemingly wonder-filled scenarios played out in Indian cinemas. However, the actual sound he and his cohorts came up with is often a world away from India: Imagine a totally electronic world of chattering bugs, fluttering birds, magic harps and drums that alternate between a thud and a blip. Hosono shares compositional duties with Nishihara, and Sakamoto's playing style is readily on display, as are Matsutake's considerable programming skills. As a historical document to YMO fans, Cochin Moon is interesting; as a slice of out-music stuck somewhere between Tangerine Dream, Wendy Carlos and Disney's Fantasia"

a quick search in the engine reveals that this classic is pretty ubiquitous on the blogosphere, but most everyone seems to be sharing the same source folder. i knew when i embarked upon this blobbing endeavour that eventually eyed share a superior rip of this landmark album of candy coated gloops n' gleeps & that day has finally dawned, so please enjoy the upgrade

John Paul Young ~ The Life Of Ermie Scub [CMDC, 1980] 320kbps

SC 8922

A1. Ermie Has Feelers
A2. All The Sad Goodbyes
A3. Have You Seen The Boy In The Gutter With The Broken Mind?
A4. Our Time Escapes
A5. Summertime!
A6. Is That Why?

B1. The Monster In Ed
B2. The Girl Spells Grief
B3. Angels With Dirty Faces
B4. The Boulevards Of Hope
B5. Surrender To The Void



Electronics – Stanley A. Viezner
Performer [Instruments], Vocals – John Paul Young

'After founding Toronto-based art punk(ish) band Cardboard Brains back in 1976, and leading them through a pair of swell EPs (the frankly formulaic Cardboard Brains 77 and the poppier Black EP two years later) as well as a slot on the scene-defining Last Pogo LP, John Paul Young must have felt constricted by the form-fitting straitjacket of three-chord punk. Young was the middle-class son of medical doctors, and allegedly progeny of both Brigham Young and the founder of American rocketry, Dr. Robert Goddard, and was probably a poor fit for a Toronto scene populated by yobs, headbangers and street youth (as chronicled in Liz Worth's excellent Treat Me Like Dirt).

By 1980 Young had set off on his own, playing all the instruments on this quasi-conceptual collection of robot-like minimal synth tracks. And on a continent that was still digesting the original punk movement, The Life of Ermie Scub would surely have been as left-field as they came. With its period analog synths, percolating drum machines and disaffected vocals, the record had more in common with the early OMD, the Normal or even San Francisco's Units than much of what was happening in Toronto at the time. That said, the bulk of ...Ermie Scub is mopy and tedious, with Young's lethargic singing especially annoying. Still, there are flickers of brilliance here, like the two-minute 'Have You Seen the Boy in the Gutter with the Broken Mind?', a frantic electro-workout worthy of Martin Rev, or the whimsical synths on 'The Boulevards of Hope', which seem to edge curiously close to Residents territory [circa The Commercial Album].' ~ Michael Pananontin

i don't find the vocals tedious at all, but then i dig weird art punk. and though jp's voice might initially contrast with some of the gorgeous synth melodies on display here, this album has really grown on me over the years. definitely one for fans of Gary Wilson. please enjoy this interwebular upgrade of one of my favorite canadian synth joints, 320 blips later

Gil Trythall - Luxikon II • Echospace [Pandora, 1980] 320k

Pandora 801

A. Luxikon II 14:39
B. Echospace 12:34

mr. trythall’s two late-60’s 'country' themed moogsploitation lps are of course the gilded arches that keep the genre airborne, but it’s this 1980 collection [on the miniscule, west virginia-based pandora records imprint] that’s always been the real show of trythall’s creative vision ...

while 'luxicon ii' ‘s gorgeous deep-bass filtering, runaway arpeggiations, & spot-on 'electro' -tinged drum-machine gork is the stuff of legend ... i maintain that 'echospace' beats a good chunk of time-lag architect terry riley’s synth/ organ / tape-echo work at it’s own game ; it’s a sublimely deep aggregate of flowing sections, each involving pristine, fluttering auto-quantized flights of fancy

Gilbert Trythall, synthesist and composer, was raised in knoxville, tennessee. after studying composition at the university of tennessee with david van vactor, northwestern university with wallingford riegger, and cornell university with robert palmer, gil began composing electronic music in 1966 using a war surplus oscillator, two home tape recorders, patch cords, and a splicing bar. he now teaches at west virginia university.

in 1970, gil synthesized an album of country music classics, country moog which reached the country charts. country moog, and a sequel, nashville gold, were synthesized with moog modular equipment.

here, gil synthesizes two original compositions, luxikon ii and echospace.

luxikon ii was commissioned as a multimedia dance composition by the georgia united arts conference and premiered in atlanta on february 2, 1980. the first performance included projected lissajous laser patterns with choreography by catherine schane of georgia state university.

principal instrumentation for luxikon ii includes: moog iiic modular synthesizer, two interconnected micromoogs, eml 400 sequential sequencer, multivox analog echo, and a farfisa combo organ.

the revised version recorded here was first presented june 21, 1980 in an evening outdoor performance by the parthenon in nashville's centennial park as a part of a multimedia concert featuring multiple films by don evans in a production by the little marrow bone repair corporation.

echospace was commissioned by the atlanta contemporary dance company, joanne mcghee, choreographer, and frequently performed by that group.

echospace is repetitive and trance like. short motives return through a tape delay system developing a rich sonority of multiple echoes. the composition consists of thirteen sections, each based upon a six-note chord which is systematically related to the next. when the pattern returns to the beginning chord (the thirteenth section), the piece is concluded. instrumentation includes a moog illc modular synthesizer and a farfisa combo organ

one of the less academic [read: instantly gratifying] of the in miniature electronic lp as cdr reish's on keith fullerton whitman's creel pone imprint. a fine choice for the attention deficient among you as the compositions are relatively short & thoroughly compelling. echospace in particular is perfect in every way & reminiscent to mine ears of david berman moves. this upgrade made possible by the great Tom7865, 320 gleeps later

Conrad Schnitzler & Wolf Sequenza ~ Consequenz [1980, Captain Trip, 2008]

CTCD-614

01 Fata Morgana 5:13
02 Weiter 4:20
03 Tape 5 3:37
04 Bilgenratte 2:33
05 Afghanistan 5:31
06 Lügen Haben Kurze Beine 3:33
07 Nächte In Kreuzberg 3:48
08 Humpf 2:51
09 M5-477 4:39
10 Pendel 4:16
11 Wer Geht Da? 3:46
12 Copacabana 5:17

Bonus
13 Untitled 10:03
14 Untitled 8:25

Composed By - Conrad Schnitzler, Wolfgang Sequenza
Remastered By [Digital] - Souichirou Nakamura

Reissue of the 1980 private release with two bonus tracks in the 'Remastered & LP Cover Reissue Series' and the 'Early Self-Product Series'.

Recorded in 1980 except tracks 13 & 14 in 1982
Digital remastered at Peace Music Tokyo, Japan



by request & one of con's best. fun & catchy exploratory tron, 256 gleeps later. further

Maska Genetik - Quarantine 7"ep [Galakthorrö, 2006] 320 kbps

A1. Haut 3:27
A2. Quarantine 3:43
B1. Purple Surge 3:09
B2. Moments Of Truth 4:17

bonus 1. Ocean
bonus 2. White Tracks



Performer - Amon Radek
Limited edition of 498 handnumbered copies
Recorded and produced in Moscow 2004

'Amon Radek started off as a bass player in a band. The 90s drew to an end and he decided to strike out as a lone wolf and try out his talents in the Industrial-Music scene. Maska Genetik was born. First of all he worked mainly on pitched rhythms, Deutsch Nepal was a great influence on him here, until he heard November Növelet for the first time, and scrubbed his harddisc – Tabula Rasa – bought himself synthesizers and bravely took the first step in the direction that would later be released on Galakthorrö: Angst-Pop at its best.

On 'Quarantine' the listener will find four songs of the finest denial of life, arranged to form a 15 minute ride to hell, as Maska Genetik lets the famously notorious soviet synthesizers wail and embed deathly vocals in their pulsating death-wish exalting industrial rhythms. Everything is analog & therein lies the strength of Maska Genetik; the confident feel for a good combination of the ingredients that in the right place, and in the right dosage, melt together to form a satisfying union and become a true aural experience

Galakthorrö was one of the stops on the way for Amon Radek, the Muscovite melancholic in his search for good luck and happiness. Together we worked out a very good debut, which attracted lots of attention and became popular with every one who listened to it. This single ep created all the best conditions required to embark on a successful career as a dark electronics innovator. Unfortunately there was more than mere dark electronics to contend with, there was also a dark attitude to life, and all the difficult living conditions that that (sic) causes. That is what has prevented Amon Radek from continuing on this path. It always hits the innocents of this world, as everybody knows. Life can still be a tragedy.

Oh well, what can we say. The future looks pretty undecided, but as far as we know, he hasn't yet sold his equipment. We can but hope...' - label blurrrrrb

happy new year peeps. long time! all my friends agree, this is some of the most sinistral, authentically disturbed shit we've heard since old skool spk & throbbing gristle. if that's yr bag, don't miss it. word is this cat scored a bunch of vintage analog synths earlier this century, recorded these tracks & essentially had a nervous breakdown. quite a spooky legacy to leave & we're wishing him the best in 2011. included as a bonus are the two tracks from the aforementioned kosmoloko comp. try playing the sound samps together cuz it sounds dope. upgrades are go! 320 rips later

These Trails - These Trails [Sinergia, 1973] 320 kbps

01. These Trails 1:24
02. Our House In Hanalei 1:51
03. Of Broken Links 1:40
04. El Rey Pescador 3:07
05. Psyche I & Share Your Water 5:22
06. Hello Lou 3:47
07. Rusty's House & Los In Space 5:49
08. Psyche II 2:30
09. Sowed A Seed 2:17
10. Rapt Attention 2:15
11. Waipoo 2:36
12. Garden Botanum 3:31



Guitar - Dric Kingsbury
Synthesizer, Recorded By, Arranged By, Mixed By - Dave Choy
Written-By, Dulcimer, Guitar, Vocals - Margaret Morgan
Written-By, Guitar, Sitar, Vocals - Carlos Pardeiro
Written-By, Guitar, Tabla, Vocals - Patrick Cockett

Originally released in 1973
Recorded at Sinergia, Inc. Honolulu

'These Trails was an Honolulu, Hawaii group that was privately pressed on Sinergia Records in 1973. Their eponymous debut is an album that skillfully combines a keen sense of melody with otherworldly vocals from the enigmatic, late 'Margaret Morgan' and innovative sonic experimentation that over 30 years later has stood the test of time. What's more, the band furnished each of its tracks with the colours, scents and atmospheres of the botanical treasure of the volcanic Pacific island paradise that birthed them.

These Trails incorporate the synthesizer and multiple vocal tracks into something rich, moody and magical - with warbling frequency modulation complimenting Morgan's amazing slow vibrato, fleshed out by graceful acoustic guitars. The songs are full of simple beauty and the power of the performances will never diminish over time.

Each track stands out: "Psyche I & Share Your Water" is a 5 minute track begins with a calm, soothing Folk feel highlighted by some fine acoustic guitar work. Eventually it descends into bad trip territory with ghastly vocals and spooky electronics – an outstanding track, very trippy and worth the price of admission alone. 'Garden Botanum' is another strong highlight that hits like a ray of Hawaiian sunshine, the arrangements are free and green with lots of interesting twists, the vocals are beautifully exotic. 'Rapt Attention' is short, perfect ditty with a twee, joyful feeling and an incredible vocal performance. This is an unbelievably wonderful piece of music and one of the greatest albums of the 70s.' ~ ???

i humbly concur. the sweetest hawaiian psychedelique folk record ever manifested & still a favourite around deez parts. the tremulous trills of maggie's warbling vibrato, coupled with the gloop n' gurgle of vintage synths amidst a beautiful bed of acoustic alchemy make for an enchanting listen. nice feet too. upgrades are go. 320 blessings upon the originilluminator

Outer Space - Outer Space LP [Arbor, 2010]

ARBOR 098

A1. Quartz Synthesizer 3:38
A2. Scanlon 7:37
A3. Memory Bomb 5:38

B1. Removing A Hex 4:35
B2. Deathless 5:34
B3. The Planck Era 5:53

Mastered By - Keith Fullerton Whitman
Synthesizer [Arp Solus, Korg Ms-10, Korg Ms-20, Moog Voyager, Roland Rs-101], Sequenced By, Electronics, Vocals - John Elliott

Synthesizer [Ms-20, Flame Talking Synthesizer], Electronics - Ralph Haussmann [B2]
Written-By, Recorded By, Mixed By - John Elliott (4)

All songs written, recorded and mixed September 2008 - March 2010 in Cleveland, OH.
Vinyl is mostly clear/colorless with a small amount of black marbling. Edition of 650 copies

'John Elliott of Emeralds presents another dazzling solo opus following the Imaginary Softwoods LP, pressed up on cloudy clear vinyl, housed in beautiful glossy sleeve and limited to 650 copies for the universe. With 'Outer Space' Elliott effectively continues the studies of mid 20th century electronic music composers such as Nik Pascal and Laurie Spiegel, translating the potential of pure electrical signal into a sublime meditational tool, converting electricity into acoustic pressure, attempting to find the melody of physics. He's worked for three years on this album, eschewing the use of digital synthesizers and arpeggiation to sculpt analogue waves into an ocean of sound whose unfathomable depth couldn't be achieved without this deeply personal method of practice. With an array of synths, his melancholy milky way plumes elicit intrepid moods for the astral wanderer, cast off into the almost violent darkness of 'Quartz Synthesizer' to arrive at the tranquility of 'The Planck Era' six tracks later, dazed yet revitalised' - some distro hype

new-ish full length from the knob twiddler of emeralds. sold out i think. 320 rips!

David Vorhaus ~ Analogue Electronic Music 1979

Raymilland - Recordings '79-'81 [BDR, 2009] 320 kbps

01. No Good Trying - Syd Barrett 3:32
02. Climate 3:59
03. She's Got Medals - David Bowie 2:47
04. Lots/Lost 2:16
05. Overhead 3:31
06. Talk 5:15
07. Distant View 4:12
08. Talk 4:27
09. High And Wide 4:37
10. Climate II 3:47
11. Unumbered 4:47
12. Tronada 8:47



Bass - G. Black
Drums - R. Trammel
Guitar - D. Sundberg
Vocals, Synthesizer - R. Buscher



Tracks 1 to 4, 9 to 11 from demo tapes, unreleased and never commercially available
Tracks 5, 6 from rehearsal tapes, recorded live on cassette
Tracks 7, 8 from the Raymilland 7", 1980
Track 12 from the Sub-Pop #5 cassette, 1981

'Raymilland formed in the summer of 1978 in St. Louis and lasted until the fall of 1981. Although starting out playing standard punk covers by the Buzzcocks, Damned, and Ultravox, their original influences and ideas about music leaned more toward the no-wave bands of NY and the more experimental bands from the UK. Raymilland played live eight times; four in St. Louis and four in Chicago. A fifth Chicago date slotted to open for Joy Division never happened when the US tour was canceled due to the death of Ian Curtis. Raymilland released one single in 1980 on Praxis; an influential Chicago music/art magazine, had one song included on the first Sub-Pop compilation cassette, and another on a compilation cassette released by the legendary Dong Dong Tapes from the Netherlands. A self produced demo cassette to attract label interest and procure live gigs was so influential that Wax Trax Records sold bootleg copies in their Chicago retail store. Although the band was constantly recording; there were no further official releases. Almost 30 years later BDR Records persuades the band to release a collection of those recordings. The members reviewed their vast archive to assemble the definitive Raymilland collection, and the result is Recordings '79-'81.' - BDR press release

buy or cry

been loving this dankness for months & now it's your turn i guess. the caterpillar hood won't cover the head of you know you should be home in bed. 320 rips!

Black Devil - Disco Club [RCA, 1978] 320 kbps

A1 "H" Friend 5:43
A2 Timing, Forget The Timing 4:34
A3 One To Choose 4:57

B1 We Never Fly Away Again 4:53
B2 Follow Me (Instrumental) 5:15
B3 No Regrets 5:00



'Originally released in 1978, Black Devil's 'Disco Club' is an extremely rare disco masterpiece, an epic journey into the deepest electronic disco. The record is credited to Junior Claristidge and Joachim Sherylee, pseudonyms of two french library writers Bernard Fevre and Jacky Giordano, respectively. It was made manually in a recording studio in the suburbs of Paris using synths and occasional tape loops and a drummer. No midi or computers'

i am new to the game & don't really know the ropes, but owl instructed me not to post anything that's on a million other blogs unless i could somehow improve upon it. so yes, i see this is on a million other blogs, but when i mentioned these cats in the umberto drop, it made me realize that everyone seems to be sharing the same rip of this album. so here goes my transfer at 320 which naturally sounds amazing & will fit perfectly on your hq mixes ;-) i really envy any youngsters who get to hear this for the first time. do not hesitate to follow the link for more Bernie Fevre supersounds. the Musax material is particularly potent & provided there's interest, i just got a new black devil dub joint i could post in the future

KHA - YM ~ 10 " GMT LP [FLVM,1979]

A1. Balance
A2. Un Matin a St. Anand
A3 San Fedo
A4. Recontre Impromptue
A5. Big Ben
A6. Dernier Flash

B1. Voyage ou Comment y Aller
B2. Seven Easy Calls
B3. Special 2
B4. Melopee a Retard
B5. Georges
B6. 10 '' GMT



'Kha-Ym was a duo of Alain Gerbe and Jacky Michaud. Alain conceived the album on his own and essentially played all the other parts on the recording - bass, percussions, guitars and keyboards. He brought in Jacky to fill out the drums and add additional percussions. Influenced by their interest in progressive music, they decided to create an album. Alain wrote the music, and the duo practiced for some time before they began recording, in their home, with two Revox A77 tape machines. That way they put together all the tracks recorded to be included on their only album - 10" GMT. Knowing in advance that no big label would sign them because their music was not commercial [& punk was the flavor of the season at the end of the 1970s], they decided to press the album themselves at FLVM, a French ‘do it yourself’ label. Before taking it to press, the guys added some overdubbing at Roanne studio with sound engineer Mark Tamburro, and the album was released as a Roanne Music record. The big advantage at the Roanne studio were the additional instruments and the polyphonic Korg synth that Alain used through the recording.' source

'A duo, composed of a multi-instrumentalist (keyboards, guitar, bass, voice) and a percussionist, which offers an album constituted of multiple, short, varied, polished, inventive, instrumental pieces, with a naîve charm, sometimes evocative of EDEN, EGG or ROEDELIUS. The compositions are attractive, built around and developed around some organ's notes, some guitar's chords or some outlines of melodies, often delicate and fragile, constructed by the keyboards whose the multiple registers and sounds create solemn and precious tones or sometimes evoke the timbre of a harpsichord, a harp or a mechanical organ... Original and excellent' source

owl asked me to post some obscure 'classics' & while i've never been a huge fan of 'prog' per se, this is music to my ears. weird diy keyboard driven bedroom prog with some occasional baroque folque elements i guess & a really unique vibe throughout. no two songs sound the same & they have many different styles, all of them ace & super listenable. it was difficult to choose a representative sound sample because this record just keeps getting better & i have a different fav depending on the weather. i know i'm pretty terrible at writing record reviews but i hate reading them anyway. that's why there's quotes! a 320 rip of a wonderfully original album, perfect for a rainy day like today!

Alvin Curran ~ Canti Illuminati [Fore, 1982/ Fringes, 2004]

A1. Canti Illuminati [For Voice, Synthesizer, Tape] 26:50

B1. Canti Illuminati [For Choir, Synthesizer, Piano And Tape] 24:10

Chorus - Alessandro Bruno , Antonella Talamonti , Antonio Cesareni , David Thorner , Elisabetta Bordes-Page , Giorgio Caruano , Luca Miti , Manuela Garroni , Nicola Bernadini , P.Luigi Castellano , Sista Carandini

Voice, Synthesizer, Tape, Piano, Liner Notes -Alvin Curran
Recorded By - Kicko Fusco , Nicola Bernadini

Recorded February / March 1982 at the author's studio and at Mammuth Studios, Roma.
Reissue produced by Fringes and Mapidar. Edition of 1000 copies with two 6-page booklets. Originally issued by Fore in 1982, with original cover and liner notes, plus an updated presentation written by the composer



'Long out of print, this is an overdue reissue of American composer Alvin Curran's third record. Following his involvement in the live electronics performance group Musica Elettronica Viva, Curran embarked on a more personal pursuit utilizing his own voice and a patchwork of minimal synthesizer and field recordings. The two parts of Canti Illuminati show clear affinities to the vocal style of Pandit Pran Nath and Poppy No Good era Terry Riley, while also coming off like a denser version of Takehisa Kosugi's Catch Wave. Curran has had a lifelong affinity to the resonances of foghorns and their sonorities seem to serve as the general underlying drone and pulse of the first section. Curran's vocals, however, are what give the piece its rhythmic push. His tapestry of tape work and synthesizer delays matches the vocal intensity of his delivery; Canti Illuminati pt. 1 ends up most resembling the shimmering dronescapes of late-era Boredoms.

For the beginning section of the second half of Canti Illuminati, Curran brought in a choir; this is probably the least successful section of the disc. That may just be a matter of taste as I generally find chorus' of extended vocal technique to be somewhat corny. However, at about the 10-minute mark of the 24-minute piece the chorus fades away to an exquisitely beautiful extended passage comprised only of Curran's wordless vocals and lyrically minimal piano phrasing. Memorably haunting stuff that devolves at the final two minutes to a little bit of piano improvisation that seems to have been taken from the Great American Songbook. AWESOME!' ~ source

canti illuminati is love at first listen. for this drop i generously offer the option of FLAC, however kindly note that the 'cue' aspect was corrupted & i hastily deleted it, but the tracks are still separated, so deal. utterly essential listening; that brief snippet is hardly representative of the epic grandeur. some heady bidness. thx & praise to thee originilluminator. further more hither & thither

Maurizio Bianchi ~ Armaghedon [1984]

A Armaghedon Part 1
B Armaghedon Part 2

'Maurizio Bianchi from Milano, Italy, started working in 1979 using pre-recorded filtered sounds and in 1980 bought his own electronic equipment to 'produce technological sounds to work for a full awareness of modern decadence'

this is the go-to jam of late when we're painting or making some visual art over there in the corner. murky

Danielle Dax ~ Jesus Egg That Wept LP [Awesome, 1984]

A1. Evil-Honky Stomp ~ Guitar, Other [Tapes] - David Knight
A2. Pariah
A3. Fortune Cheats ~ Guitar, Other [Tapes], Other [Metal] - David Knight

B1. Hammerheads
B2. Here Come The Harvest Buns
B3. Ostrich ~ Guitar [Solo] - Karl Blake
B4. The Spoil Factor





Bass - Danielle Dax (tracks: B3)
Drums - Danielle Dax (tracks: A3, B1)
Electronic Drums [Tr 808] - Danielle Dax (tracks: B2, B4)
Engineer - Jonathan Steyn (tracks: A1 to A3, B2, B3)
Flute - Danielle Dax (tracks: A2)
Guitar - Danielle Dax (tracks: A1 to A3, B3)
Kalimba - Danielle Dax (tracks: B3)
Keyboards - Danielle Dax (tracks: A2, B1, B4)
Mastered By [Cut] - Porky (5)
Other [Bottles] - Danielle Dax (tracks: B2)
Other [Metal] - Danielle Dax (tracks: A3)
Other [Tapes] - Danielle Dax (tracks: B1 to B3)
Other [Tv] - Danielle Dax (tracks: B2)
Photography [Cover, From The Film "the Chimera"] - Holy Warburton
Piano - Danielle Dax (tracks: A3)
Piano [Honky-tonk] - Danielle Dax (tracks: A1)
Producer, Vocals, Music By, Lyrics By - Danielle Dax
Saxophone [Tenor] - Danielle Dax (tracks: A3)
Synthesizer [Synths] - Danielle Dax (tracks: A2, B2)

2nd album from Danielle Dax after leaving the Lemon Kittens. i have a particular fondness for ms. dax, especially in this period of her creative endeavors. prolly not something for the folkies but perhaps the mutants & weird beards will appreciate her charms? very effective tape loop fuggery, innovative percussive elements, interesting lyrics, superb vocals... my missus thinks she's a 'stone fox' too, her words :) a 320 vinyl rip

Franco Battiato ~ Sulle Corde di Aries [Bla Bla, 1973] 320kbps

A1. Sequenze E Frequenze
A2. Aries

B1. Aria Di Rivoluzione
B2. Da Oriente A Occidente

Composer, Vocals, VCS3, Guitar, Piano [Prepared], Kalimba ~ Franco Battiato
Soprano Vocals - Jutta Nienhaus , Rossella Conz
Guitar, Mandolin, Vocals ~ Gianni Mocchetti
Percussion ~ Gianfranco D'Adda
Producer ~ Pino Massara
Engineer ~ Gian Luigi Pezzera, Luciano Mariotti



'The album is made up of just 4 pieces. One sidelong and three that are around 5 minutes. The sidelong opener "Sequenze E Frequenze" features plenty of Battiato's signature VCS3 & vocals. At first it sounds like it might fit perfectly on either of the previous two albums, until this drops away and a single thump of percussion becomes a static backdrop for walls of beautiful pulsating feedback, twinkling piano & synth washes. Definitely more abstract than his previous work, it lacks none of the creativity, grace and attention to minute detail that makes his compositions so enthralling. The shorter tracks are also great. 'Aries' has some fantastic horn playing and 'Aria Di Rivoluzione' is a classic. Battiato delivers an impassioned vocal performance over a ponderous, spacey rhythm with more great horn work.'

'All in all, the album has a very 'holy' feel to it, a spiritual feel. It's like an ancient archeological find, a piece of art that is soothing and unsettling. It's about texture, ambiance, and mood....it is not about rock and roll songs. A masterpiece in my humble opinion.' ~ source

polycarb remaster of me favourite battiato joint, ripped at a robust 320. the other one owlready lives here. the mood on this album is spacier, slightly more mellow & maybe even spiritual? the man has a lovely singing voice & aint shy about using it effectively. even the occasional saxophone sounds good in this context. i have no insightful words, this record should prolly just be experienced. initially heard it on a sunday morning, coming down

Joe Gibbs & the Professionals ~ African Dub All-Mighty Chap. 3 [1978]

A1. Chapter Three
A2. Rema Dub
A3. Tribesman Rockers
A4. Freedom Call
A5. Jubilation Dub

B1. The Entebbe Affair
B2. Angolian Chant
B3. Zion Gate
B4. Jungle Dub
B5. Dub Three



Arranged By - Errol Thompson , Joe Gibbs
Artwork By - Joe Gibbs
Artwork By [Design] - Trevor Campbell
Bass - Lloyd Parks , Robbie Shakespeare
Drums - Sly Dunbar
Engineer - Errol Thompson
Guitar - Bo-Pee Bowen , Eric Lamont
Organ - Frankie Waul , Harold Butler , Tarzan Nelson
Percussion - Ruddy Thomas , Sticky
Piano - Frankie Waul , Tarzan Nelson
Producer - Errol Thompson
Saxophone [Alto] - Herman Marquis
Saxophone [Tenor] - Tommy McCook
Trombone - Vin Gordon
Trumpet - Bobby Ellis

'Once again, the producing & mixing was done by the great Errol Thompson. This time he used sounds such as buzzers, ringing bells & bird whistling. Don't let that throw you off this set because it is very good indeed. Dub musique had only been around a few years when this album was made & mixers were experimenting with all sorts of sounds, both from the original track & other sources. This was one of the first albums to use a keyboard synthesizer to any real extent & the sound is certainly different. Experimentation was the name of the game,and this is a continuation of it. Players like Sly Dunbar and Lloyd Parks play on most of these tracks and their musical stamp is all over this album. As on previous releases the basic tracks are in the 'rockers' style of music, then currently in fashion. There are versions of tracks by Augustus Pablo, Dennis Brown & Alton Ellis among others. This is another good set of dub, recorded during it's prime, which should be enjoyed by anyone who likes this style of Jamaican music.' ~ ?

another forever favourite. to fully disclose, this is a vinyl rip encoded at 256 kbps. it should be noted that i have access to the remaster at 320 that is [was?] commercially available as a 2-fer along with african dub chapter 4, but i feel like it must have lost the loudness war. it retains none of the subtlety & freshness that makes this album stand out & ends up sounding like uninspired contempo pap, in my humbleness. i'm certain you will agree if you have been privy to the reissue. amazing how something like remastering can literally make a record unlistenable if you're familiar with the original. i have been taking great pains to ensure that i am dropping the definitive versions of these records that can admittedly be found sounding less voluptuous on other blogs [no offense of course!]. to my knowledge, this rip has not been shared elsewhere that i am aware of, so if you have a different version, you might find this one a better way to go & that goes dubble for everything else i have dropped thus far :) since i no longer possess the vinyl that we had to flip to pay for something far less kool, this is the one i & i actually spin now mon. dub week!

Blackbeard ~ I Wah Dub [More Cut, 1980]

a1. electrocharge
a2. steadie
a3. jazzz
a4. reflections

b1. blaubart
b2. oohkno
b3. 'nough
b4. binoculars

Bass, Piano, Organ, Rhodes, Percussion, Engineer, Mixed By, Producer - Dennis Bovell
Engineer [Sound Effects] - Pat Stapely
Guitar - Dennis Bovell [1, 2, 4 to 8]
Written-By - Dennis Bovell [tracks: 1 to 3, 5, 8]
Drums: Drummie Zeb [1, 4, 6, 7 & 8]
Percussion: Jah Bunny [2, 3 & 4]
Polymoog: Nick Straker
Recorded & Mixed at Gooseberry's Studio

'Born in Barbados in 1953, reggae guitarist Dennis Bovell [sometimes known simply as Blackbeard] was one of the key figures on the London reggae scene of the late '70s & early '80s, not only as a solo artist but also as a producer. The band Bovell co-founded in the mid-'70s, Matumbi, was one of England's first self-contained reggae bands, and also one of the best; in addition, Bovell released several albums of solo dub experiments, which often featured jazz-pop keyboardist Nick Straker and producer Tony Mansfield [Captain Sensible, New Musik], both old school chums. As Blackbeard, Bovell released Strictly Dub Wize in 1978; he quickly became involved in production work for experimental post-punkers like the Slits and the Pop Group. I Wah Dub appeared in 1980 & found him delving further into electronic experimentation'

another nutter from the uk scene who was 'instrumental' in making the pop group & the slits sound perfect forever. another slept on album that deserves to be heard. anutta 320 rip

Robert Ashley ~ Private Parts LP [Lovely, 1978] 320 kbps

A. The Park 21:32
B. The Backyard 23:56

Piano, Synthesizer [Polymoog], Clavinet ~ 'Blue' Gene Tyranny
Tabla ~ Kris
Voice ~ Robert Ashley

Recorded at The Recording Studio, Center for Contemporary Music, Mills College
[Oakland, California] July, 1977

'Centered around the mesmerizing voice of Robert Ashley, this early version [released on LP by Lovely Music in 1978] of The Park and The Backyard is a masterpiece in its simplicity of form and in the purity and intensity of its effect on the listener. These two pieces were later to become the opening and closing segments of the seven part opera for television, Perfect Lives. "When Private Parts first hit the scene, everyone I knew had 'The Park' memorized within a month and quoted from it constantly. Ashley's series of non-sequitur images, fusing into a picture so lifelike that it never quite added up, brought a mystery into music theater that smashed our previous conceptions of the genre." ~ Kyle Gann

Giordano Bruno comes to mind, whoever he is... 320 kbps :)

Franco Battiato ~ La Convenzione / Paranoia 7" [Bla Bla, 1972]

A. La Convenzione 3:15
B. Paranoia 4:07



incendiary single recorded just after his 'Fetus' LP in '72. the big synths, rawkin riffs n' multi-tracked vocals on the first number almost make it sound like an Italian version of the band Sweet, only way more sinister. can i git a witness? heavy