COLDCUT w/ FAT CAT

I was hit with a huge wave of nostalgia recently, after hearing the first track of a Butane mix posted on mnmlssgs. The sound of a ticking clock transported me back 17 years to a bedroom in South London, taping Coldcut's Solid Steel show off Kiss FM, back before they and their label Ninja Tune became a by-word for shit trip-hop for stoned home counties students. With this as my motivation I dug out and digitised this show, guest presented by Dave Cawley of Fat Cat Records — at that time not yet a label, just a lovely little record shop selling electronic music in a Covent Garden basement — where I'd go and spend all my money whilst not finishing projects at college round the corner. Dave worked in the shop along with Alex Knight and Lee Grainge (who collaborated with Hazel Bligh under the name Human, releasing 2 EPs, which I'll post at a later date).

This journey starts in Detroit with Juan Atkins and ends in LA with The Doors, spanning continents and decades between.

Tracklist:
Cybotron — Clear — 1983
John Carpenter — Christine — 1984
Kraftwerk — Autobahn — 1974
Ryuichi Sakamoto — Riot In Lagos — 1980
Reload — Le Soliel Et La Mer — 1993
Aphex Twin — Delphium — 1992
Sandoz — Digital Lifeforms — 1993
The Black Dog — Cost II — 1993
Mystic Institute  —  Ob-Selon Mi-Nos (Global Communication Remix) — 1993
Peter Gabriel — The Feeling Begins — 1989
Killing Joke — Change (Youth remix) — 1992
Beaumont Hannant — Tastes And Textures Volume 2 — 1993
Nicky Skopelitis — Tarab — 1993
The Doors — The End — 1967

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WHITEHOUSE

Whitehouse specialise primarily in extreme electronic music, a genre they pioneered in 1980, which in the late 80s greatly influenced, if not spawned, a wave of (in particular Japanese) 'noise' groups in addition to many other musicians in different fields. Early trademark sounds were layers of white and pink noise, subsonic bass sounds and ferocious electronic effects, with or without vocals. Since then they have also experimented with analogue and digital synthesis, and more recently, unconventional acoustic rhythmic elements. read more

Right To Kill, Dedicated To Dennis Andrew Nilsen (Come Organisation, 1983)

For more info on Whitehouse and 'Right To Kill' take a look at a good post on Dennis Cooper's blog

pre-Can

THE INNER SPACE: AGILOK & BLUBBO (1968)

The unreleased soundtrack to Peter F. Schneider's 1968 political satire. Psychedelic, stoned, agressive proto-kraut vibes courtesy of Irmin Schmidt, Holger Czukay, Jaki Liebezeit, Michael Karoli

(known a year later as 'Can' with the addition of Malcom Mooney and Damo Suzuki)

“Agilok & Blubbo is a faint, naïve and very interesting glimmer of Can before they were Can as all the musical ingredients are already in place -- the intro of sooth-drone Farfisa joined by a tape kebab of backwards overdubbed flutes; the electric guitar switches between a clearly-defined yet oddly tuned gypsy main riff and barely controlled burnout fuzztone soloing; the held-back yet insistent bass, the consistent rhythms and even Czukay’s edits between the main theme and interrupting cutaways all maintain in embryonic form the shape of THE CAN to come...” Head Heritage

also...



HERE

Nautica

Named for a character on the '60s TV show Flipper, Porter Ricks specializes in subaquatic dub techno, providing the closest touchstone to the static hum and fuzzy beatwork of their quasi label-mates Basic Channel. A collaboration between ambient maestro Thomas Köner and beatmeister Andy Mellwig, the duo debuted with three 12-inches on the Basic Channel sub-label Chain Reaction during 1995-96. Filtering out any of the harder effects from Detroit techno and Plastikman material with what sounded like an affinity for undersea SONAR frequencies and wind-tunnel ambience, the singles became quite popular with the growing experimental techno scene of the mid-'90s (and even influenced Plastikman in return). By the time of the 1996 CD collection BioKinetics on Chain Reaction, Porter Ricks had moved on to Force Inc with the double-pack Redundance EP, plus the singles "Spoil" and "Exposed." The duo also recorded a single for Barooni before collecting their Force Inc material onto a self-titled 1997 CD. Two years later, the Techno Animal collaboration Symbiotics appeared. Köner also has a long-running solo career, with a half-dozen albums recorded for Barooni. ~ John Bush

PORTER RICKS - ZEBU 10" (1996, Barooni)

& more

Sublime Frequencies mix

a mix Hisham Mayet made for the Wire magazine back in April

The Playlist:
1. The Big Bamboo - Mighty Panther
2. Rookoombey - Black Czar
3. Down The Road - The Tiger
4. Jamaica Mermaid - The Wigglers
5. Uncle Jo' Gimme Mo' - Wilmoth Houdini
6. The Gold In Africa - The Tiger
7. Love Alone - Lord Flea
8. Black But Sweet - Wilmoth Houdini
9. My Trip To Seville - Black Czar
10. Zingue Talala - Atilla The Hun
11. Speaking In Tongues - Cult Music Of Trinidad

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Sublime Frequencies

the Wire

Black Angel

The first 2 demos 'Rites'(1997) and 'Corpus'(2000) from Peruvian black/death culters

RITES

Adulthood Brum town Dee-ze production

∞

Infinity Window - Artificial Midnight (Arbor, 2009)

"...from the duo of Taylor Richardson (Prehistoric Blackout/Purple Haze) and Dan Lopatin (Oneohtrix Point Never). Full colour cover art from Robert Beatty of Hair Police. Two sides of lucid synth/drone magic that crosses the heavy, devotional air of classic Popol Vuh with the smokescreen style of early Double Leopards. Well beyond ‘mere’ drone/loop automating, this is deeply focussed, sensual tone float that combines the most mind-altering new age specifics with Industrial grime and sensual dream logic."

(sensual dream logic?)

Profan/Kompakt

v/a KOMPAKT 1 (PROFAN, 1996)

As a musician, Cologne figurehead, Wolfgang Voigt is better known under his endless pseudonyms – be it his more famous alias as MIKE INK, LOVE INC, M:I:5, STUDIO1, or GAS, he set the tone of trend in the early-mid ‘90’s for creating total anonymity in techno music. Credited for literally kicking off the German acid revival during 1991-1992 as MIKE INK with the single “Dialogue” (Trance Atlantic) he went on to refine a new sound of acid techno by matching the classic approach at time to techno with German folklore-ish rhythmic patterns and sounds (eg. Shuffle) thus liberating German techno from cloning what was happening in the United States at that time.

Read more »

Horror

Evil Pimp & Creep Lo - Kreepin Out Tha Kutz (1996)

more old Memphis devil shit from Bottom Of The Map

SCAT

Scat - Adicted to Hell cdr (2007)

Existing since the late '90s and virtually unknown, even in their home town of Ottumwa, IA, SCAT started out as a minimalist doom metal band with songs well over 30 minutes each. After some line up changes and unfinished recordings, gradually adding more "music" to their sound, SCAT emerged a great mixture of old school thrash metal and hook laden monster rock, putting more emphasis on riffs than pure sonic torture. "Adicted to Hell" re-records some of the songs developed during their transition period while adding new songs exclusive to this release. Make no mistake; this shit will fuck you up. Mortville

SICK

EXTORTION - SICK 12"(DEEP SIX, 2007)

NEW

Oh my bag!

Dadaist Manchurian plunderphonica

Stock, Hausen & Walkman - Oh my BAG! (Hot Air, 1998)

info

Bascom Lamar Lunsford

This "Minstrel of the Appalachians" performed hundreds of traditional songs and tunes that he learned from family members, neighbors, and other residents of western North Carolina. The breadth of Lunsford’s huge repertoire is represented, including ballads, folk songs, spirituals, 19th-century popular songs, and banjo and fiddle tunes. All tracks were recorded by Brunswick Records in the 1920s or the Library of Congress in 1949. Includes Old Mountain Dew, an original composition which found its way into both oral tradition and popular culture, Swing Low, and To the Pines, To the Pines. 55 minutes. "Hits faster and sweeter than a jug of corn liquor." (New York Post)

HERE

KVLTILATION

III

Ithdabquth Qliphoth, Defuntos, Trasgo, Saaamaaa, Nargaroth, Moonblood, Grenjar, Gormantatinus, Cosmic Church, Vinterriket, Nargaroth, Enemite














IV

Krystoffkristoffiton, Vargv, Christopher LG Hill, Luc Fierens, Amersoeurs, Nekrasov, Spectral Lore, Saaamaaa, Nibiru, Northaunt, Xexyz, Urfaust, Ancient Tundra, Immundus, Andrew Chalk.... and unknown, unremembered Artists of the black Arts

SATIN MASK

Levitate The White House

LOVE CRY WANT (1972)

"A beyond-gone hard/nuclear fusion quartet unlike anything we have going today. Larry Young’s on organ, right around the time of Lawrence of Newark, the singular sensation named Nicholas is on hot-rodded, ring-modulated prototype guitar synthesizer, and the double-drumming clusterfuck of Joe Gallivan and Jimmy Molnieri brings up the rear, situated in the park across from Nixon’s White House in 1972 and intensely focused, or so the President thought, on making that motherfucker levitate. (He had Halderman shut it down, that pig). Sounds like a weather balloon filled with gasoline rolled over hot coals – pounding freeform jazz/groove/rock that does not – cannot – let up. If you enjoy substances that temporarily alter perception and mindstate, this one just might kill you. Chocolate city meltdown envisioned as Vietnam protest, and every bit as relevant then as it is now."(Dusted)

info/buy @ WEIRD FOREST

Shake Junt Son

LIL' GIN - SHAKE JUNT (1995)

KILL 'EM

Lucifer Rising

BOBBY BEAUSOLEIL AND THE FREEDOM ORCHESTRA: LUCIFER RISING SOUNDTRACK (1981)

"Robert Kenneth "Bobby" Beausoleil (born November 6, 1947, in Santa Barbara, California) is a convicted American murderer and associate of the Charles Manson "Family" who is serving a life sentence. He killed music teacher and fellow associate Gary Hinman on July 27, 1969, and has been imprisoned since his arrest for that crime. He was an aspiring musician and actor at the time that he murdered Hinman."

"In the late 1970s, with the permission of the prison, he composed and recorded the soundtrack for Kenneth Anger's movie Lucifer Rising after Anger's first choice, Jimmy Page of Led Zeppelin, couldn't manage to deliver enough music for the film after three years of waiting, according to Anger." read more

LUCIFER RISING (KENNETH ANGER, 1972)

Tini Zabutykh Predkiv (1964)

"SHADOWS OF OUR FORGOTTEN ANCESTORS" (Sergei Paradjanov)

WATCH (autoplay)

playlist

ऋग्वेद

A historic recording from the Kirana Archive of Indian Classical Music.
Original studio session recorded in New Delhi, February 1968

Pandit Pran Nath - Ragas Of Morning And Night

info

I like it here

"Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with hte vibrations of the motor, forming an incessant soundtrack that echoes the jarring motion of the camera. Palestine creates a kind of composite instrument in motion as well as an "articulated personal drama" (1976). His stated desire for escape is contained by the boundaries of the island. Palestine was a trained cantor, and he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period." ubu

Keyser Söze

(co-founder of Three 6 Mafia)

666

MEMPHIS HORRORCORE

1995

BOTM