April 28, 2011

Conrad Schnitzler, a previous student of Joseph Beuys, and a founding member of Tangerine Dream and Kluster, as a soloist developed the idea of the “kassetten konzert” or cassette concert, utilizing pre-recorded synthesized sounds on separate tapes, which were mixed together through adjustments of volume and equalization into a vaster and more complex piece that formed his live remix performances. Each event is unique due to the element of unpredictability in his real-time improvisations, and this is a documentation of such a performance on 10th October 1984, Berlin. more...


April 17, 2011

Skate Video Days Vol 2 (add ons)

A few more tracks from days of yore to add to the old Skate Video Days Vol.1 compilation posted a few years back. I'll stress again... might not be your bag (music wise) if you're void of any nostalgia for grainy low-budget skate videos mind you.

YAWNING MAN - The Lonely Rancher
(Gullwing - Full Power Trip)
(Gullwing - Inside Out)
(Gullwing - Inside Out)
(Gullwing - Full Power Trip)
YAWNING MAN - Sweet Nuggat
(Gullwing - Inside Out)
(G&S - Footage)
THE CRY - Alone
(H-Street - Hokus Pokus)
(H-Street - Shackle Me Not)
FACTORY - Carnivore
(Gullwing - Inside Out)
WORKED WORLD (?) - Santos
(G&S - Footage)
WHEEZING MANIAC - Don't Come Close
(H-Street - Hokus Pokus)
YAWNING MAN - Crack, Harden, Dry
(Gullwing - Full Power Trip)



April 15, 2011

Tony Williams

Williams was born in Chicago and grew up in Boston. He began studies with drummer Alan Dawson at an early age, and began playing professionally at the age of 13 with saxophonist Sam Rivers. Saxophonist Jackie McLean hired Williams at 16. At 17 Williams found considerable fame with Miles Davis, joining a group that was later dubbed Davis's "Second Great Quintet." Williams was a vital element of the group, called by Davis in his autobiography "...the center that the group's sound revolved around." His inventive playing helped redefine the role of jazz rhythm section through the use of polyrhythms and metric modulation (transitioning between mathematically related tempos and/or time signatures).
Williams's first album as a leader, 1964's Life Time, was recorded during his tenure with Davis. In 1969, he formed a trio, The Tony Williams Lifetime, with John McLaughlin on guitar, and Larry Young on organ. Jack Bruce joined on bass later. Lifetime was a pioneering band of the fusion movement, a combination of rock, R&B, and jazz.

The Tony Williams Lifetime - Turn It Over (1970)


April 14, 2011

Les Rallizes Dénudés

Night of the Assassins - 3rd Sunset Festival August 3, 1976

April 05, 2011

Beat Happening

I thought to myself what's the most annoying thing i could post next to Mütiilation...
punk so poppy and twee that it could make milkshake pour from black metallers ears and turn bulletbelts into crayons

Down at the Sea
Run Down the Stairs
Honey Pot
Foggy Eyes
Bad Seeds
I Spy
Let's Kiss
Indian Summer
Ask Me
Cat Walk
Other Side
Knick Knack
Pajama Party In A Haunted Hive
Me Untamed
Crying For A Shadow
Nancy Sin
Red Head Walking
Tiger Trap
Pinebox Derby
Teenage Caveman
You Turn Me On
Hey Day
Angel Gone

Download [new link]


April 04, 2011


Remains of a Ruined, Dead, Cursed Soul  (Drakkar, 1999)

Dramatic nocturnal inversion metal invades aural consciousness with screams and riffs dissonant in both tone as chords in patternings constructing intersections at irregular rhythms and harmonies form the primordial antagonism from which the rest of the album is crafted, emphasizing a strong sense of transcendence in the phrases which rise from the dying chaos of disorder to create an intimation of direction so profoundly universal in the translation of its relative motion to tokens of order that its presence alters each song to conclude in an unfinished sense of emptiness within the mind of something desiring more. As such, this is Romanticism in theme and lyrically elegant music within the rubric of black metal gnarled riffing and drop-beat throbbing time division.

Phrasing is delicate and emphasizes similarity in structure and modal potential in harmony, forming fluid verses of melodic combination which slip elegantly from guitar over the hypnotic even pulse of linear percussion, and forms the aspect most admirable of this music, which is its ancient sense of European tastes in tone and architecture that lends to this work a gothic, archeological undertone. Shadowing in the form of structurally embedded allusions is light but significant and evolves with each iteration of motif in circular breakdowns depositing the disoriented listener in a final sequence of progressions suggesting the equilibrium to a healthily perverse chaos. ANUS