B1 Hache 06 4:43 B2 Appel De Libra 1:10 B3. Poursuite 1:18 B4. La Ville 4:42 B5. Les Cosmonautes 2:12 B6. Avecandista 5:51 B7. Tis A Song 2:33
Bass - D. Cambier Brass - A. Rébé , Armani (2) , C. Dachez , D. Daure Design [Sleeve] - Georges Perdriaud , Roland Moreau Drums - C. Roulet Guitar - A. Martinet Guitar [Solo], Acoustic Guitar , Resonator Guitar [Dobro], Bass - Patrick Verbeke Organ, Vocals - Allan Jack* Performer [Birds] - J. Legras Photography [Back] - Guy Encina Photography [Front] - Jean Rous Sitar, Synthesizer, Keyboards, Directed By - Philippe Besombes Vocals - Biscotte , Brigitte Grossin , C. Beaumont , C. Brau , C. Verbeke , G. Perdriaud* , J.D. Umpleby , P.J. Knowles Vocals, Bass, Acoustic Guitar - Alain Legros Vocals, Whistle - Françoise Legros owl tracks written by Besombes except A10 [Verbeke] & B7 [A. Legros , Hoarau]
Recorded at Studios du Chesnay. Wednesday August 9, 1975. Music for the film of the Groupe Pattern [Roland Moreau, Georges Perdriaud & Jean Talansier].
now this is head muzak, puren simple. undoubtedly amongst the trippiest of slabs to spin whilst under the influence of superior psychedelics. heavy themes too. a much needed interwebular upgrade made possible by the impeccable taste & resourcefulness ov miskov ov exp etc fame. daps in kind dear brother. long-winded review just hither. 320 apparitions later. further
A1 Den Stiftsherren 4:54 A2 Negus 5:18 A3 Rosenkranz 8:31
B1 In Memoriam P.F. 1:40 B2 Niederlage 3:15 B3 Paranoide Reflexe 4:56 B4 Nachbarschaft Und Zeugung 3:14 B5 Weiter Nicht 7:00
Edition of 600 copies
Music By - Asmus Tietchens Producer - Okko Bekker Recorded in Audiplex Studios, Hamburg
i didn't know nuttin bout this intriguing album when i first laid eyes/ears on the thang & perhaps you shouldn't either. owl simply state that 'aus freude am elend' remains my fav from bra & the human voice is his primary sound source on this addictive slab. there's a whole intellectual process involved too, but you can read about that elsewhere. perhaps a cross-pond sonic cousin to similar strains emanating from the :zoviet*france: camp in the day. 320 gloops later
'Compelling artefact from an unknown operator experimenting with darkside structures and squashed percussive arrangements - sort of what you'd imagine obliterated dubstep produced by Mika Vainio would sound like. Strictly limited copies - all housed in a beautiful silver silk-screen sleeve - do not miss!* Clandestine avant-bass shocker from NYC courtesy of Chasing Voices. The 'Acidbathory' 12" is a long 1-track, single sided affair expressing a gnarled, scuzzy and uncompromising perspective on the darkside potential of low-end music. It's far removed from its cousins on the other side of the Atlantic, sharing their 139bpm DNA, but reared in a very different environment. Imagine Croydon estates and South London sprawl replaced by looming residential blocks, imposing skyscrapers and alleyways where the sunlight never reaches, soundtracked by mutant slow techno and Kevin Drumm records rather than 2-step garage and D'n'B. This aesthetic is exquisitely realised, from the unmarked matt-black centre stickers to the monochrome screen printed sleeve and the droning sludge step within, making this feel more like a Hospital Productions release than anything else. The closest analogs we could draw would be Scud & I-Sound's Wasteland project, a more controlled Cloaks, or Mika Vainio's more recent expeditions, but this is some mutant substance that refuses to stay put in any box. Well recommended!' ~ koombat
just learned of this most worthy electronic weirdness courtesy of the fine solar flares tumblr as re-blawged by killed in cars. dunno much about 'dubstep' as the kids are callin it, but i knows wot i likes & could swear i recognize the cover art from my distant hardcore past, but can't quite trace it. was the image used by zoviet france too? anyworms, much like the rest of the cognoscenti, we are enjoying this one thoroughly as we wind thru the bi-ways of new mexico, lovin on the majestique skies & largely untainted landscapes. incidentally, if you happen to know any good record diggin spots in taos or albuquirky, kindly illuminate. i promise we won't pillage the place as we are basically hobos. 320 rips yo
Conductor [Direction] - Henri-Jean Enu Guitar - Daniel Hoffmann Bass - Jean-Pierre Lentin Performer [Le Temps] - Sylvie Peristeris Guitar [Solo] - François Guildon Percussion - Dominique Lentin Violin - Léo Sab Piano - Benjamin Legrand Producer - Gérard
Recorded July 8th, 1971 and mixed December 7th, 1971 at Europa-Sonor studio
This album was originally planned for release as an LP on Futura Records in 1972. Test pressings were made [approximately 5 copies], but for financial reasons, the LP was never released. In 1994, Mellow Records issued the album on CD, in an edition of 200.
here's another blawgland upgrade that's been unjustly rotting in file hosting limbo since the early daze of der warbler, i believe because the fine folks at root blog [who we dearly love] thoughtfully upped it literally minutes before we intended to. as any cognizant blagger can readily attest, like-minded overlap is actually a fairly common occurrence & it's kinda trippy how seemingly synchronistic our collective subterranean sensibilities can be at thymes. i mean when i bought this disque some 15 years ago, youngsters really had to dig to hear more than a handful of artists on the then-mythical NWW list. happily, with the advent of the interwebs & generous individuals who regularly feed our heads by sharing obscure pearls on a daily basis, the landscape has changed dramatically, as has my concept of what 'underground' is. we never had it so good & i no longer think of any recording as being impossibly rare because you can find most everything if you dig deep enuff. still, i know what i like when i hear it & this one remains a holy grail of idiot savant garde off kilter free improv experimental spacerawk weirdness, like so many fabulous bands of the fertile 70's french underground scene. there's even a hurdy gurdy workout on here! i been turning my more adventurous frenz onto this sprawling masterpiece for many moons & certainly advise you wisely skore the recent vinyl re-ish if you got it like that. 320 kbps et skans en français + highly mf recommended
A1. Moshi 17:00 A2. Guilde's Song To Binkirri 2:55
B1. Gardenia Devil 6:00 B2. 14 Temps 4:50 B3. Bamako Koulikaro 3:50 B4. Afrika Freak Out 6:20
C1. Zombizar 7:20 C2. El Hadji 0:24 C3. Chechaoun 12:00
D1. Tindi Abalessa 10:25 D2. El Hadji 1:00 D3. Balandji In Bobo 3:06 D4. Sannu Ne Gheinyo 5:20 D5. El Hadji 0:20
Barney Wilen - tenor sax Michel Graillier - electric piano Pierre Chaze - guitar Simon Christian Tritsch - electric bass Micheline Pelzer - drums Didier Leon - takamba - oud Caroline de Bendern, Marva Broome, Babeth Lamy, Laurence - vox Composer - Barney Wilen [trx: B1, B4, C1, D4], Caroline De Bendern [trx: B1, C1, D4] Producer - Pierre Barouh Recorded By - Daniel Vallancien
Gatefold cover. Recorded in Studio Saravah. "Gardenia Devil" is taken from a poem of the chinese people. All other uncredited composed by tracks based on traditional folk songs.
'In 1970 Barney Wilen assembled a team of filmmakers, technicians and musicians to travel to Africa for the purpose of recording the music of the native pygmy tribes. Upon returning to Paris two years later, he created Moshi, a dark, eccentric effort fusing avant jazz sensibilities with African rhythms, ambient sound effects and melodies rooted in American blues traditions. Cut with French & African players including guitarist Pierre Chaze, pianist Michel Graillier and percussionist Didier Leon, this is music with few precedents or followers, spanning from extraterrestrial dissonance to earthbound, streetlegal funk.Wilen pays little heed to conventional structure, assembling tracks like 'Afrika Freak Out' & 'Zombizar' from spare parts of indeterminate origins' ~ amg
'A wild and groundbreaking record recorded by the great French tenor player Barney Wilen! Although he got his start as a bebopper in the 50's, Wilen sort of dropped out of sight by the end of the 60's and only emerged from time to time to cut strangely experimental sides. This record is unlike anything he ever made, and features a wild mix of African rhythms, ambient sound, and Wilen's deep deep tenor. By this point, Wilen had been absorbing a lot of different influences, from Coltrane, to Pharoah Sanders, to some of the European free players, and his sound is a weird mish mash of styles that weaves in and out of all the stuff on the record. It's a haunting bit of afro jazz & funky noise, with some cuts that are spacey, and others that are nice and funky.' ~ dusty
lately when i make a new jazz discovery, assimilate the sounds & decide i might wanna spread the gospel to you good peeps, a quick search in the engine reveals many a classique joint was owlready ushered into interwebular consciousness by one of several seminal jazz blawgs, whose illuminating arkhives will spread yer awareness like a fan. unfortunately, i seem to be about 3 years too late on some of the links when i trawl thru the backpages, but occasionally stumble upon a few rips in a roundabout way. thus, i am excited to bring you yet another pearl from the essential orgy in rhythm dustbin, on the groundbreaking saravah imprint. bacoso sez: 'Completely bonkers mash up of afro to free jazz with field recordings and vocal harmonies - out there and all the better for it. Recommended.' & eyed hafta humbly concur with that assessment. dear professor leary from a few years earlier comes highly recommended as well. 320remerciements à la révélateur d'origine. further
A1. Lovers And Other Strangers 3:09 A2. Glide/Spin 3:30 A3. In My Lifetime 2:20 A4. Cirrus 1:24 A5. A-Train 5:09 A6. New Voice 5:42
B1. Hands 2 Take 4:05 B2. An Age 2:31 B3. Steam Away 4:47 B4. Move On Up - Curtis Mayfield 5:27 B5. Another Story 3:08 B6. Lost And Found 2:47
FX, Guitar, Harmonica, Keyboards, Mixing, Perc, Tape, Violin, Vox - David Cunningham Vocals - Patti Palladin [A1, A2, A5, B1, B4] Bass, Guitar, Keyboards - Steve Beresford [A1] Guitar - Robert Fripp [A2, B6] Drums - J.J. Johnson (3) (tracks: A1, A3, A5) Keyboards, Vocals - Julian Marshall [A4, A6, B4] Bass - Val Haller [A3, A5] Saxophone - Gareth Sager [A5] Baritone Saxophone - Keith Thompson [B1] Bass - Ben Grove [B1] Bass Clarinet - Edward Pillinger , Rory Allam [B1] Horns - Anne Barnard [B1] Piano - Michael Nyman [B1] Rebec - Lucy Skeaping, Nick Hayley [B1] Trombone - Steve Saunders [B1] Vocals - Cheryl Lewis [A6]
'Led by pianist David Cunningham, the Flying Lizards started as [and largely continued to be] 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.
Fourth Wall attempts to evolve a happy medium, with helpers including New Yorkers Pat Palladin and Peter Gordon and new-jazz artist Steve Beresford. Cunningham moves uneasily between electro-pop and trance music (as in Steve Reich and Philip Glass). Well-produced and interesting...' ~ Trouser Press
sophomore album from these weirds & what an enduring slab tiz. the only ting that don't still sound fresh is some of the tape hiss, but i can deal. truly one the classics of 'the genre', with Beresford & Fripp lending their skills on a couple tracks. most will need it for the Curtis cover alone but there is much more to be gleaned here. radikal
A1. Hail (08:27) A2. Red For The Sun (03:55) A3. Forever Eyes (04:02) A4. Monsoon Clouds (03:49)
B1. Shacks Built From Plyboard (04:35) B2. Psychical (02:50) B3. Real Things (05:14) B4. Bonfires (07:35)
'Brian Pyle is well-known for his enterprising shamanism as one half of Nor Cal improv gurus Starving Weirdos but when off-roading in his Ensemble Economique buggy he seems to stumble onto even weirder psychogenic artifacts. "Psychical" is Pyle’s freshest full-length and easily his most drugged and dense. Thick, humid banks of synth-fog descend over looped cult hand-drum patterns, strangely panned waves of brainwash tones, and snippets of third world voices mumbling about blood and marijuana. As the name half-jokingly implies, EE is 100% Pyle’s creation intrument-wise, although his wife Phoenix does intone some possessed doom poetry over the crushing war drums of “Forever Eyes” and Tom Carter [of Charalambides] cameos with some searing white light guitar shrapnel on the creep-out raga of “Real Things.” All the pieces dissolve into one another, giving "Psychical" a dark-trip soundtrack mood, an upriver lost soul convoy into hostile off-radar territories, a thousand spectral voices misting down like blackening monsoon clouds. A total haunter, and an LP we’ve been spinning many midnights around NNF HQ. Black vinyl LPs in jackets with occult VHS artwork by Manda Beth Brown'. - NNF
here's the other aural staple of late from the self same taste maker extroardinheirs at en en eff, & eat's doowoozie. pass the sizzurp, i think i'm zowie. actually it reminded of a synthier asynchronic era aboombong gettin moonburned glands at rubberneck pagoda. my baby bro just made a stencil of this cover art & intends to follow these weirds, slanging bootleg tease in the parquenlot. 320 trips!
1. Funeral March — 8:19 2. In Dreams, We Are Together (Again I) — 9:06 3. Condlence Alarm — 1:13 4. Nothing Lasts Forever — 7:42 5. Fu-ka — 5:34 6. In Mourning in a Rain — 4:49 7. From the Window of a Pallid Tower — 4:17 8. What the Bird Told Me — 7:41 9. At Marsh — 5:40
'Trembling Strain is the project of musician Pneuma, whose real name according to sources I've read is Satoru Takazawa [apparently, he works in the field of psychiatry by day]. The aptly titled Anthem to Raise the Dead is a captivating work that springs from some deep, unconscious well, weaving within its 54 minutes a world of desolation and dread.
You've heard the old saying 'Less is more.' Nobody knows how to employ that adage as effectively in their arts as the Japanese. One immediately thinks in listening to this of the minimalist sound designs also characteristic of some Japanese horror films—not only the more recently successful Western imports such as The Grudge, but stretching back to older classics like Kwaidan—where percussive cracks, booms, and rattles are metered out to set the listener's hairs perennially on edge.
Yet at the same time throughout this work there is a rooted, ascetic spiritual element, and it wouldn't be too unreasonable to describe the band as an Asian kindred spirit to Popol Vuh. The band combines an array of stringed and percussion instruments [including the Japanese biwa] with vocal and organic sounds to produce elegant canvasses that seem to reach back throughout the centuries and to the departed lives that lived in them. This sense of spirituality gives the album a considerable degree of heart and dimension.
Tracks such as 'Funeral March' and 'From the Window of a Pallid Tower' are the pieces most in keeping with the title, and both make you feel immediately like you've been sealed inside some ancient Japanese crypt. The former piece opens with the heavy thud of a deep drum, then continues with the emergence of a sparse rhythm, the comfortless clang of chimes and wind noises, and zombie-gasps of the dead. The latter is an unsettling dirge with cello and doom-laden vocals, sounding like the Dead Can Dance having a nightmare. 'In Dreams We Are Together' follows the same expanded instrumental structure as 'Funeral March,' though is more melancholic in mood rather than sinister. It features a similar ritualistic beat, but replaces the various other percussions and ambience with a melodic stringed instrument and an androgynous, ghostly vocalist delivering a tormented aria to embrace the listener.
The band also includes several tracks that are amelodic and emphasize purely textural elements, yet are still very much in keeping with the mood of the album. For example, 'Condlence Alarm' [sic] from the title track suite is just that—a shrieking minute's worth of horns wailing to lament the dead. 'In Mourning in Rain' features what sounds like someone dumping a mass of pebbles onto a floor, together with shaker percussion and a female voice humming away tentatively.
On the entirely other end of the spectrum, 'What the Bird Told Me' is one of the most beautiful and accessible pieces on the album. It is also one of the few moments of repose, being a spotless interweaving of dulcimer, harp, and guitar amidst natural water sounds.
This may be a bit too spacious and thinly decorated for some, and if you like lots of notes and formal structure over atmosphere, this might not be for you. However, I find this to be a very potent album from a sadly under-mentioned band. How rare to get these albums, which from the start wholly abandon the surface to go in directly for something deeper, unspoken, and primitive.' ~ Joe McGlinchey
i really dug this band. i wish i still had more of their albums but they were lost in the whirlwind. this is their debut released in 1994, which remains a very potent & evocative expression. some ritual sounding schtuff
01 Patafisiskal Polska 02 Cafe, Copa, Puro 03 Neo-Realismo Del'Habanera 04 Midnight To Six Hands 05 A Glass Of Gaz 06 Return Of Johnny Guitar 07 4 Rroses Pour Marie 08 Valse De L'Aiguille Creuse 09 La Plaza D'Orient As Locus Solus 10 Waiting For Mister Motch On Beyrouth 66 11 Ava, In A Palindromic Garden 12 Patafisiskal Re-Polska
the arrangements & instrumentation on this album are more fleshed out than the compartively sparse Haïkus, but retain his singular style of repetitive melancholique simplicity in the most sublime way. nuff said. 320 remerciements à l'uploader d'origine. s'il vous plaît soutenir l'artiste
Gilbert Artman : drums, organ, piano Jean-Francois Pauvros : bass, guitar, harmonica, piano, vocal Jacques Berrocal : cornet, gong, flutes, vocal, words
rec. live April 16 & 17, 1982 at Brasserie Birseckerhof, Basel
amazing otherness from this way out improvisational supergroup of sonik experimenters. wicked fuggin good. at times kinda reminiscent of a more ramshackle [& french] Debris. seems our forefathers at mutant sounds upped this one previously at 192, but that link est mort. here it goes again at a robust (((320)))remerciements à espilos. +
01 Cair Camouflet 24:19 02 Levenswitch 2:30 03 At The Moment 2:08 04 Fidgety Foot 1:40 05 Low Creeper 3:54 06 Second Sight 4:17 07 Deekintaemae 1:27 08 Kess Saffer Plaint 2:25 09 Melangell 3:08 10 Look Into Me 1:55 11 Scatter 3:20 12 Kinto-Me 3:00 13 Amadan 3:15 14 Surge 1:40
original recordings 1987-1988
Composed By, Performer - Ben Ponton, Mark Spybey, Robin Storey Producer - Ben Ponton, Robin Storey
mysterious & prolific sound artists impossible to miss growing up in the 90s. :zoviet*france: set the bar incredibly high & made other experimenters i might have otherwise appreciated sound pedestrian. 'look into me' remains one of my owl thyme favourite artistic works of any genre/medium. 320 heartfelt thanks to some sweet sole out thar as this is by far the most chronic sounding rip ive found
