30/07/2020
27/07/2020
26/07/2020
Cardiacs - RES Music Video [w/ The Seaside 2015 Reissue Audio] [720]
Sadly, Tim passed away on 21 July 2020
25/07/2020
24/07/2020
22/07/2020
Pink Floyd Reunion - Time
So you run and you run to catch up with the sun but it's sinking ... ' ~ Pink Floyd
The Prettiest Star - David Bowie & Marc Bolan
Released otd in 1972 The incredible 7th album from T.Rex Full of Bolanic wisdom, warmth and charm . Amazing production by Toni Visconti. With one of THE most iconic album covers ever. Oh and Tony took the photos not Ringo Starr
Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here -- mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production. Bolan's guitar has a harder bite, the backing choruses are more up-front, and the arrangements are thicker-sounding, even introducing a string section on some cuts (both ballads and rockers).
Ambitious Lovers - Copy Me
Ambitious Lovers were a musical duo composed of guitarist/singer Arto Lindsay and keyboardist Peter Scherer, active from the mid-1980s to the early 1990s. Their music incorporated elements from Brazilian music and funk. Despite strong reviews from critics for their three albums, Ambitious Lovers found little success with mainstream audiences
Lindsay had earlier been active with DNA, a seminal group in New York City's noisy no wave music scene.
With Ambitious Lovers, however, Lindsay would reduce the abrasive qualities in his music (apart from his own distinctive, untrained guitar mangling), and increase the presence of standard pop music elements. Notable was a strong influence from Brazilian music and funk, with Lindsay sometimes singing in Portuguese.
Envy (1984) was the first of a projected series of albums inspired by the seven deadly sins, though Ambitious Lovers recorded only Greed (1988) and Lust (1991) before disbanding.
Peter Scherer – Ondulata (Very Neon Pet, 1994)
Peter Scherer is a composer, producer, keyboard and guitar player based in Zürich, Switzerland. Recent activities include predominantly working as a film music composer, arranger and an occasional mixer of music for CD's. In addition, Peter Scherer is currently teaching at Bern University of the Arts in the department of Music and Media Art.
Ambitious Lovers were a musical duo composed of guitarist/singer Arto Lindsay and keyboardist Peter Scherer, active from the mid-1980s to the early 1990s. Their music incorporated elements from Brazilian music and funk. Despite strong reviews from critics for their three albums, Ambitious Lovers found little success with mainstream audiences
Lindsay had earlier been active with DNA, a seminal group in New York City's noisy no wave music scene.
With Ambitious Lovers, however, Lindsay would reduce the abrasive qualities in his music (apart from his own distinctive, untrained guitar mangling), and increase the presence of standard pop music elements. Notable was a strong influence from Brazilian music and funk, with Lindsay sometimes singing in Portuguese.
Envy (1984) was the first of a projected series of albums inspired by the seven deadly sins, though Ambitious Lovers recorded only Greed (1988) and Lust (1991) before disbanding.
Most of their albums featured appearances from many prominent New York-based musicians, including guitarists Marc Ribot, Vernon Reid and Bill Frisell; Brazilian music legend Caetano Veloso; percussionists Nana Vasconcelos and Joey Baron; bassist Melvin Gibbs; and Nile Rodgers.
Their legacy helped promote the modernization and globalization of world music under a singular brand and helped forward careers of many performers, who have since recorded for record labels like Nonesuch Records and Luaka Bop.
Their song "It Only Has to Happen Once" was featured in the 1990 film Wild Orchid
21/07/2020
Arto Lindsay - Habite em mim
Y 7|JUNHO|2002
arto lindsay|música
É o americano mais brasileiro do planeta. E mais português também. Admirador de Pessoa, é um cantor suave de bossa-nova e outras sensualidades sonoras, feitas de experimentação e intuição. “Invoke” invoca a carne, a luz e a saudade. Arto vai estar em Coimbra no domingo.
arto lindsay
nas asas do desejo
É diferente, a música de Arto Lindsay, guitarrista com currículo feito nos Lounge Lizards e em quase tudo o que nasceu em Nova Iorque sob a égide “downtown”, mas que, a cada novo álbum editado a solo, tem vindo a despir a pele do conceptualista intelectual para se abandonar ao balanço das vagas da bossa-nova e de uma estranha mistura de doçura acre e delicada sensualidade.
Arto é hoje tão nova-iorquino como brasileiro e português. Produziu álbuns de Caetano Veloso, Carlinhos Brown, Gal Costa e Marisa Monte. É admirador de Tom Zé, dos Mestre Ambrósio e do movimento Tropicália, conhecendo a fundo a MPB (Música Popular Brasileira). Portugal também já o conhece, da direção artística do festival “Mergulho no Futuro”, que antecedeu a Expo’98. O regresso está marcado para domingo, dia 9, às 22h, em Coimbra, no Festival 10 de Junho.
“Invoke” sucede na sua discografia a solo a “Prize”, editado há 3 anos, e nele os ritmos brasileiros, a bossa-nova (é difícil não descortinar, na sua forma frágil mas luminosa de cantar, a presença tutelar de Tom Jobim e João Gilberto…) fundem-se com o groove e a eletrónica em aguarelas impressionistas.
Entre os convidados contam-se, do lado brasileiro, o guitarrista, cantor e seu amigo de longa data Vinicius Cantuária e elementos do grupo Nação Zumbi, enquanto do lado americano a ficha técnica regista os nomes de Peter Scherer, a banda de Baltimore, Avey Tare and Panda Bear (na orgia de ruídos e “loops” de “In the city that reads”, o tema mais desestabilizador de “Invoke”…), e, na produção, Melvin Gibbs, dos Rollins Band. Presença importante em “Invoke” é, ainda, a do clarinetista e teclista Stephen Barber, também responsável por uma parte dos arranjos.
intriga. Mas é Arto Lindsay, figura e voz franzinas capazes, no entanto, de infiltrar a música com subtis emanações do mesmo tipo de energia que alimentava as “sex machines” de James Brown e Marvin Gaye, que faz de “Invoke” um álbum com tanto de intrigante como de intriga.
Talvez a explicação resida no facto de grande parte das vocalizações terem sido gravadas pelo cantor “fechado dentro de um armário”, em sua casa, como confessou ao Y. Intrigante começa por ser a frase que se destaca em letras capitais na capa: “I’m a man”. Mas aqui, o músico explica não se tratar de qualquer manifestação de machismo encapotado, mas de “um slogan do movimento negro contra a segregação”.
Arto Lindsay não tem, aliás, a melhor das impressões do seu país, um “país que, depois das últimas eleições, ficou dividido ao meio, onde se fala muito de liberdade mas depois não se age em conformidade”. Há uma raiva latente – “Invoke” é uma canção sobre o desespero, diz – que Arto já tentara exorcizar no final dos anos 70 quando, em Nova Iorque, integrou o movimento “no wave”, variante mais intelectualizada mas não menos explosiva do punk, enquanto elemento dos DNA. Mas mesmo aí a sua costela lusíada já se manifestara. “Nos DNA fiz uma letra em português a partir das primeiras frases de alguns poemas de Fernando Pessoa que depois remodelei. Gostava muito de uma frase que ficou assim, ‘aos deuses peço só meu gesto que destrói’. Costumava gritá-la de uma forma bem punk nos concertos (risos).
Arto Lindsay não tem, aliás, a melhor das impressões do seu país, um “país que, depois das últimas eleições, ficou dividido ao meio, onde se fala muito de liberdade mas depois não se age em conformidade”. Há uma raiva latente – “Invoke” é uma canção sobre o desespero, diz – que Arto já tentara exorcizar no final dos anos 70 quando, em Nova Iorque, integrou o movimento “no wave”, variante mais intelectualizada mas não menos explosiva do punk, enquanto elemento dos DNA. Mas mesmo aí a sua costela lusíada já se manifestara. “Nos DNA fiz uma letra em português a partir das primeiras frases de alguns poemas de Fernando Pessoa que depois remodelei. Gostava muito de uma frase que ficou assim, ‘aos deuses peço só meu gesto que destrói’. Costumava gritá-la de uma forma bem punk nos concertos (risos).
Só tinha americano ouvindo, sem entender nada, e eu ali, sebastianista! (risos)”. Radicalismo e experimentação que este insuspeito profeta do Quinto Império não abandonou por completo: “De vez em quando ainda improviso tocando com o John Zorn, Ikue Mori ou Jim O’Rourke. E no próximo álbum, que será muito mais eletrónico, tenciono usar um ‘laptop’”.
luz. “Sebastianista” é o adjetivo que menos se esperaria ouvir da boca de um cidadão americano. Mas Arto, nunca é demais repeti-lo, confunde as expetativas e ilude os lugares-comuns. Depois dos EUA e do Brasil, Portugal é a sua terceira pátria. Arto conhece bem a luz de Lisboa. Uma luz que, se analisarmos com atenção, brilha em “Invoke”. Um dos temas do álbum, “Uma”, inspirou-se numa canção dos Ambitious Lovers (outro dos grupos que integrou), “More light”, que por sua vez se baseou nos últimos momentos de vida de Goethe, que “supostamente, na hora da morte, terá exclamado: ‘mais luz, mais luz’. Ninguém percebeu se ele queria mais luz ou se estava a ver mais luz”.
luz. “Sebastianista” é o adjetivo que menos se esperaria ouvir da boca de um cidadão americano. Mas Arto, nunca é demais repeti-lo, confunde as expetativas e ilude os lugares-comuns. Depois dos EUA e do Brasil, Portugal é a sua terceira pátria. Arto conhece bem a luz de Lisboa. Uma luz que, se analisarmos com atenção, brilha em “Invoke”. Um dos temas do álbum, “Uma”, inspirou-se numa canção dos Ambitious Lovers (outro dos grupos que integrou), “More light”, que por sua vez se baseou nos últimos momentos de vida de Goethe, que “supostamente, na hora da morte, terá exclamado: ‘mais luz, mais luz’. Ninguém percebeu se ele queria mais luz ou se estava a ver mais luz”.
Da luz de Lisboa reteve o músico nova-iorquino outra nuance, nas sombras de um alfarrabista, “quando andava a passear pela parte alta” da cidade. “Entrei numa loja de antiguidades, na companhia de um amigo americano, à procura de exemplares originais da revista Orfeu. O cara da loja apresentou um par de óculos, garantindo serem os óculos do Fernando Pessoa. Claro que não comprámos nada!” (risos).
Óculos e visão. Carne e espiritualidade. “Invoke” informa esta dicotomia, sintetizando-a em momentos de eternidade nos quais está presente “uma tristeza, uma saudade sensual que resulta da relação com uma força maior”.
“O materialismo tem, por outro lado”, diz, “um aspeto luminoso que leva a outro tipo de pensamentos, a uma exibição da liberdade.
Na música popular dos EUA, existe uma ligação entre gospel e a música profana em Marvin Gaye, Prince, Al Green… Eu sempre tive um certo receio, a minha formação não é religiosa. Embora o meu pai fosse missionário, rejeitei desde muito cedo a religião”. Apesar disso, confessa que “Invoke”, a canção, “também remete para os rituais do candomblé”.
Portugal e o Brasil voltam a atravessar-se no seu discurso, ainda para falar do espírito e da carne, mas também da linguagem e da incapacidade que sente em explicar as razões que o levam umas vezes a escrever em inglês e outras em português. “A Bíblia formalizou, de alguma forma, a língua inglesa moderna, através da chamada ‘King James version of the bible’, tradução comentada por um monarca do século XV, da mesma forma que Camões enformou o português. Quando me meto a escrever, muitas vezes essas imagens aparecem.
Portugal e o Brasil voltam a atravessar-se no seu discurso, ainda para falar do espírito e da carne, mas também da linguagem e da incapacidade que sente em explicar as razões que o levam umas vezes a escrever em inglês e outras em português. “A Bíblia formalizou, de alguma forma, a língua inglesa moderna, através da chamada ‘King James version of the bible’, tradução comentada por um monarca do século XV, da mesma forma que Camões enformou o português. Quando me meto a escrever, muitas vezes essas imagens aparecem.
Escrever em português é uma dificuldade que encaro como um desafio”.
Dessa vivencia dupla da língua nasceu a inovação, que chama o desespero, a magia, as sombras e a luz nos sons de uma bossa-nova “tão triste como o fado”, nascidos da absoluta assimilação da cultura luso-brasileira. “A sensualidade ligada à espiritualidade é um fenómeno brasileiro mas também muito ibérico. Portugal e Espanha têm uma forma de cristianismo muito particular, influenciada pelos romanos, é uma vivência extrema”.
“Invoke” – que é também o exercício industrial do tema “In the city that reads”, evocativo das descargas de uns This Heat (grupo que Arto conhece bem) – termina, porém, da forma mais leve, mas também mais ambígua, com “O beijo”, “uma música muito antiga, com uma letra cheia de delicadeza. A delicadeza que encontro no Brasil, algo que as canções americanas não têm – quando falam de sexualidade são em geral mais descaradas”.
Que é, finalmente, “Invoke”? Invocação de anjos ou de demónios? Arto Lindsay propõe um “claroescuro”, “sem auto-censura”, na tentativa de explicar essa oscilação de estados de espírito que é a mesma das ondas do mar. Ou será um “Pretty ugly”, título do álbum que Arto gravou de parceria co Peter Scherer, para a Made to Measure, em 1990? “É uma variação de um título de Thelonious Monk, ‘Ugly beauty’. ‘Pretty’ quer dizer não só ‘bonito’, como ‘bastante’”…
Frank Zappa perguntou uma vez numa das suas canções: “What’s the ugliest part of your body” (“qual é a parte mais feia do teu corpo?”). Depois de passar em revista a anatomia humana, a resposta veio, mortífera: “I know it’s your mind” (“sei que é a tua mente”). Arto ri-se: “Não sei se a perversidade é a parte mais feia do ser humano… Acho que é a violência, mas mesmo este termo é ambíguo, a violência é necessária, tem a ver com a vontade, ‘the will’. O diabo, se existe, está dentro da cabeça”.
Fernado Magalhães
SEU PAI - Arto Lindsay | Cuidado Madame (2017)
it was with this formation that I saw Arto Lindsay live.
Arto Lindsay, Care Madame (Northern Spy) 2017
In 2014, no wave pioneer and samba skronker Arto Lindsay returned after a long hiatus with best-of and live document The Encyclopedia of Arto. Now 13 long years after his last record of all-new material (2004’s Salt), Lindsay is officially back. Caution Madame is, arguably, his quintessential statement of the Brazilian and American musical cross-section that he first began perfecting in his post-DNA band Ambitious Lovers and via his solo work. With his trademark rhythmic strings-scratching as lethal as ever, the delicately-voiced Lindsay leads a rock-solid group (including bassist Melvin Gibbs) through a sexy, noisy and thrilling ride into tribal percussive-thwacking electro-samba.
Mako Sica - Invocation Preview (Feeding Tube Records)
Mako Sica, Invocation (Feeding Tube)
Chicago shred heroes Mako Sica have aced desert-rock and free jazz skronk over the last decade. For their latest mind-bender, the trio of guitarist / trumpeter Przemyslaw Krys Drazek, guitarist / vocalist Brent J Fuscaldo and percussionist Chaetan Newell have let loose with the chanting and bellowing ritual music of Invocation, their debut for Byron Coley’s Feeding Tube label. Bringing to mind the North African-inspired repetition of 75 Dollar Bill and the Greek inflections of Brooklyn own Rhyton, the slow-building hypnotic psych-rock otherworld Mako Sica creates is a rubberbandy and serpentine guitar lick-fest.
Joshua Abrams & Natural Information Society - Maroon Dune
Joshua Abrams & Natural Information Society, Simultonality (Eremite)
Composer and bass ace Joshua Abrams’ has been pulling the strings, literally, in Chicago’s post-rock, jazz and free-improv scenes for the last fifteen-odd years. He’s played with everyone from the late great Fred Anderson and Matana Roberts plus he cofounded country-bent minimalists Town and Country. But it’s in his own Natural Information Society—the rotating door ensemble of avant-heads of which he pilots—where Abrams has made his experimental star-making turn. That came through in flying colors on 2015’s Magnetoception and continues full-throttle on the dizzying and exhilarating pulsations bursting from the cosmically groovy seams of Simultonality. With Tortoise’y futuristic electro-prog throbs mixed with Alice Coltrane-esque psych-jazz spirituality and dripping with North African-inspired string-bending psychedelia (check out Abrams’ magical wielding of the guimbri, a three stringed lute from Morocco commonly used by Gnawan musicians), Abrams & Natural Information Society move body, mind and spirit on Simultonality.
Crown Larks - React [Official Music Video]
Crown Larks, Population (Already Dead)
From the land of post-rock, Shellac, Thrill Jockey Records and The Association for the Advancement of Creative Musicians (AACM), comes yet another group making a holy racket, albeit under-the-radar, in Chicago's underground scene and beyond: Crown Larks. On Population, the follow-up to 2015's Blood Dancer, the adventurous, free spirited noisemakers in Crown Larks form a psychedelic rainbow colored by soaring alto sax and flute-driving pirouettes, tribal-centric polyrhythmic action and organ-drenched post-jazz freak- outs on a Kraut-rock bender and topped by the cathartic wails of vocalists Jack Bouboushian and Lorraine Bailey.
Crown Larks - React [Official Music Video]
Crown Larks, Population (Already Dead)
From the land of post-rock, Shellac, Thrill Jockey Records and The Association for the Advancement of Creative Musicians (AACM), comes yet another group making a holy racket, albeit under-the-radar, in Chicago's underground scene and beyond: Crown Larks. On Population, the follow-up to 2015's Blood Dancer, the adventurous, free spirited noisemakers in Crown Larks form a psychedelic rainbow colored by soaring alto sax and flute-driving pirouettes, tribal-centric polyrhythmic action and organ-drenched post-jazz freak- outs on a Kraut-rock bender and topped by the cathartic wails of vocalists Jack Bouboushian and Lorraine Bailey.
20/07/2020
Grant Green - Lazy Afternoon
Personnel: Grant Green (g) Larry Young (org) Bobby Hutcherson (vib) Elvin Jones (ds)
CLUB OFF CHAOS - 565 F.S. (5)
Club off Chaos was founded 1994 by Jaki Liebezeit (of CAN-fame),Boris Polonski and Dirk Herweg in Cologne/Germany.But by the way we consider ourselves as an european band already!
Ubzub - Many Perspectives
Ubzub, a San Francisco band, during the nineties released such albums as Alien Manna For Sleeping Monkeys (Electromotive, 1996), and Triple Alien Threat (1998), both hybrids of childish, mocking, dadaist attitudes in the vein of Residents.
Peel Dream Magazine - Do It
Peel Dream Magazine – Agitprop Alterna (Slumberland)
From the first guttural guitar haze of “Pill,” you think you know what you’re getting. There have been lots of bands with that one perfect song capturing the bygone heyday of dream-pop and shoegaze. But across Peel Dream Magazine’s sophomore outing, the hits keep coming and the reference points keep collapsing in on each other. “Emotional Devotion Creator,” “Do It,” “Too Dumb” — each song finds Peel Dream exploring different iterations of psychedelic music and blurring the boundaries between them. The hooks, history, and philosophy all become detritus swirling together into a kaleidoscopic reinterpretation you can’t look away from. –Ryan
CAR SEAT HEADREST - Deadlines (Hostile)
Car Seat Headrest – Making A Door Less Open (Matador)
On Making A Door Less Open’s opening track, Will Toledo attests, “I believe that thoughts can change your body.” What follows is the result of much hard thinking about how to alter the substance of Car Seat Headrest. Often Toledo and his bandmates do so by building an electronic exoskeleton into the hearty alternative rock that made them indie-famous, lending a different sort of oomph to all the howling choruses and clever, sardonic observations. The sum total of their efforts is a thrilling left turn from a deeply consistent yet wildly unpredictable band. –Chris
Against All Logic - Illusions of Shameless Abundance (feat. Lydia Lunch)
Against All Logic – 2017-2019 (Other People)
Nicolas Jaar has been good to us this year. He released a new solo album, Cenizas, and there’s a promise of more albums on the horizon. He kicked off the year with a new album from Against All Logic, his side project that approaches the dancefloor reverentially and with an ecstatic glee. The songs on 2017-2019 are constantly clanging and anxious and spilling forward. “If You Can’t Do It Good, Do It Hard,” Jaar’s latest collaboration with Lydia Lunch, has turned into an enduring mantra for 2020, a reminder to keep on moving even when it feels hopeless. –James
19/07/2020
Nadia Comaneci - First Perfect 10 | Montreal 1976 Olympics
Nadia Comaneci - First Perfect 10 | Montreal 1976 Olympics
https://youtu.be/Yi_5xbd5xdE
melhor atleta olimpica feminina de sempre
the best, Romanian, later naturalized American was the best female Olympic athlete ever ... The perfect ten
nadia comaneci 10
18 luglio 1976
https://youtu.be/Yi_5xbd5xdE
melhor atleta olimpica feminina de sempre
the best, Romanian, later naturalized American was the best female Olympic athlete ever ... The perfect ten
nadia comaneci 10
18 luglio 1976
18/07/2020
MONO & A.A. Williams - Exit in Darkness (Official Video)
A.A. Williams, que mostrará o porquê de Forever Blue ser um dos debuts mais aclamados dos últimos tempos. Com influências desde o post-rock até à dark folk, e fazendo também referências a nomes como PJ Harvey e Emma Ruth Rundle, a assombrosa música da artista londrina soará pela primeira vez ao vivo em Portugal em 2021.
Esbatendo as fronteiras entre o post-rock e a música neoclássica, o quarteto japonês MONO propõe-se, nas suas próprias palavras, a "comunicar o incomunicável". Movendo-se graciosamente entre delicadas melodias, evocativas orquestrações e violentas paredes de som
12/07/2020
The Human Beinz Nobody But Me
The Human Beinz are an US American rock band from Youngstown, Ohio, originally known as The Human Beings. The original line-up featured Dick Belly (vocals, guitar), Joe Markulin (guitar), Mel Pachuta (bass) and Mike Tateman (drums).
The Beinz began their professional career with a devoted local fanbase, recording covers of songs by Them, The Yardbirds, The Who and Bob Dylan. The group was also the first to record “The Pied Piper,” which later became a #1 hit for Crispian St. Peters. The group had a reputation as masters of song interpretation.
The Residens Meet The Residents N-ER-GEE
Performer ["Nobody But Me"] The Human Beinz[Back cover:]
Viva Saturn - Abandoned Car
On the disbanding of Rain Parade in 1988. As David Roback form Mazzy Star, Steven Roback formed a new project,
Drew McDowall - Hypnotic Congress
In the early 80s Drew McDowall came from his homeland Scotland to London and quickly sank in a movement which was later described in a famous book England Hidden Reverse. Previously active in postpunk underground, Drew was continuously present on the scene, since the cultural revolution initiated by Throbbing Gristle, further developed by Psychic TV and Current 93.
His surname can surely be associated with Rose McDowall – an expressive vocalist of ultra sweet pop duo Strawberry Switchblade.
His ex-wife's voice is well known from unforgettable songs of Death In June, Current 93 or Sorrow. In the 80s and 90s Drew McDowall collaborated closely with Coil. He was present while creating, recording the legendary tracks and he participated in the non-musical passions of the departed musicians.
He co-produced the classic albums of Coil, as well as their epic collaborations, with which Peter Sleazy Christopherson and John Balance added a finishing touch to their legendary venture. For nearly 20 years Drew McDowall has been in New York, where he continues work among sound artists of new experimental scene, post – post - post industrial etc. His solo albums Collapse and Unnatural Chanel were released by NY based label Dais Records.
11/07/2020
Mama Told Me (Not To Come)
1970 - Randy Newman
Three Dog Night started a two-week run at No.1 in the US with their version of the Randy Newman song 'Mama Told Me Not To Come', which was also a No.3 hit in the UK. The song was first covered by Eric Burdon on his first solo album in 1966 and gave Tom Jones & Stereophonics
June of 44 - recorded syntax @ sala el Sol (Madrid)
June of 44 have announced their first studio album in 21 years. Revisionist: Adaptations & Future Histories in the Time of Love and Survival arrives August 7 via Broken Clover.
The LP includes new versions of tracks from the band’s previous LP, 1999’s Anahata. L
The new LP contains remixes by Matmos and John McEntire. When asked why the band felt the need to re-record older material for the new album, guitarist-vocalist Jeff Mueller told Rolling Stone, “The session for Anahata was pretty tough; many of the songs felt underdeveloped. Speaking for myself... it all just felt rushed and messy—I had very little grasp on how to organize and play my parts.”
June of 44 broke up in 1999, just five years after initially forming. In 2018, they reunited to play their first live performances together since disbanding.
Revisionist: Adaptations & Future Histories in the Time of Love and Survival:
01 A Chance to Cure Is a Chance to Cut Your Face (Matmos Remix)
02 ReRecorded Syntax
03 Cardiac Atlas
04 Post-Modern Hereditary Dance Steps
05 A Past to Face (John McEntire Remix)
06 No Escape, Levitate
07 Generate
The Residents God In Three Persons "The Touch" @ NYC MoMA 7:00 1.25.2020
The Residents God In Three Persons "The Touch" @ NYC MoMA 7:00 1.25.2020
https://youtu.be/3yy6EgGaokk
https://youtu.be/3yy6EgGaokk
The Residents God In Three Persons "Hard & Tenderly" @ NYC MoMA 7:00 1.2...
The Residents God In Three Persons "Hard & Tenderly" @ NYC MoMA 7:00 1.2...
https://youtu.be/bd74q_Xz1gs
https://youtu.be/bd74q_Xz1gs
10/07/2020
The Residents God In Three Persons "The Service" @ NYC MoMA 7:00 1.25.2020
https://youtu.be/Bgu5AoqxlWM
The Residents God In Three Persons "Kiss of Flesh" @ NYC MoMA 7:00 1.25....
The Residents God In Three Persons "Kiss of Flesh" @ NYC MoMA 7:00 1.25....
the Residents' God in 3 Persons Promo
The Residents, in collaboration with artist John Sanborn, are creating an extraordinary live multi-media version of their legendary 1988 album God in 3 Persons- the story of a disgraced evangelist and his twisted obsession with a pair of gender fluid conjoined twins.
Ohms
After the release of Three Futures in 2017—and an unceremonious record-deal termination shortly thereafter (4AD Records)—Mackenzie Scott (TORRES) nearly quit music. Calling the act of chasing commercial success a "delusional pursuit", she took three years to read, work, and otherwise climb her way "out of a tunnel", all the while reflecting on the future's veiled designs. The result of Scott's reflections is Silver Tongue, a new, self-produced work out now from Merge Records. The album—Scott's cleanest, most mature release to date—marks a new level of conviction for the entire TORRES project. Its nine songs, all evocative and transporting, strive toward a new vocabulary for connection, confidence, and queer love.
Lyrically, Silver Tongue traces the difficulties (and rewards) of trying to create a future tense with a new partner. In effect, it explores a geography of intimacy that many American 20-somethings are themselves trying to navigate. "Are you planning to love me through the bars of a golden cage?" she asks on the album's opener, "Good Scare". "You make me want to write the country song folks here in New York get a kick out of" ("Good Scare.") "I've saved records of your tenderness that you say don't exist." ("Records of Your Tenderness", a rhythmically intricate song that rhymes, subtly, with Björk's "History of Touches".) -- Jonathan Leal
Shall
The Soft Pink Truth - Shall We Go on Sinning So That Grace May Increase? [Thrill Jockey]
best album 2020 so far
Derived from Retinas
Recorded at Chicago's Jamdek Studio in the summer of 2018, what Mute Duo wrests from the somewhat unconventional instrumentation on Lapse in Passage is stunning. It's like David Lynch baked in the Texas heat. It's the soundtrack to a Cormac McCarthy-inspired fever dream. On "Derived From Retinas", the music begins slowly and deliberately, with sparse percussion pairing well with Wagster's pedal steel runs. A light drone is heard underneath, and the insistent, unsettling rattling of piano notes move in and out. The song works well as an introduction to Mute Duo's sound – dark, brooding, deliberate, adventurous. -- Chris Ingalls
Against Gravity
The music of Horse Lords – like all the best music – can be tough to categorize, but it's also a study in contradictions. Their music contains elements of math rock, krautrock, free jazz, minimalism, and other styles that may be a hard pill for the average music fan to swallow. While those genres may bring to mind bespectacled musicologists hunched over inscrutable sheet music, or perhaps Berklee students creating their brand of brainy jam music during a break in classes, the band have found a way to make these intricate, puzzle-like compositions soar with an electrified intensity that's uniquely engaging.
On The Common Task, Horse Lords packs a great deal of variety and a seemingly endless amount of possibilities into 41 minutes. It's the sound of a group that is infinitely curious. This isn't your uncle's moody, downbeat krautrock – it's a breathless celebration of the power of band dynamics. -- Chris Ingalls
Car Seat Headrest - "Can't Cool Me Down" (Official Lyric Video)
Making a Door Less Open invests in the psychic thickness of life's tiny, everyday moments. Think Proust's madeleine chased with light drugs and distortion pedals. Using stark compositional contrasts to explore the twin faces of joy and sadness, the project marks a notable shift away from the lo-fi net grunge Toledo pursued on Car Seat Headrest's numbered albums in the early 2010s and toward a new set of genre-bending experiments with future funk and electropop.
Lyrically, the record's ten songs—discrete episodes exploring everything from style biters to Hollywood superficialities—all add up to a sense of where inner life and the outer world meet. Through daydreams, interior monologues, and unanswered addresses, the band explore the frequent (and often unacknowledged) commingling of despair and silliness; so too do they focus on the ways that the surreal and the fantastic are increasingly structuring the contemporary mundane. -- Jonathan Leal
09/07/2020
Joy De Viva
Released on: 1997-05-18
Artist: The Stranglers
Lyricist, Composer: Brian John Duffy
Music Publisher: Complete Music Ltd
Composer, Lyricist: David Greenfield
Composer, Lyricist: Jean Jacques Burnel
Lyricist, Composer: John Ellis
Composer, Lyricist: Paul Roberts
06/07/2020
05/07/2020
LYDIA LUNCH & MARC HURTADO - HARLEM - Live at Electrochoc Festiva 2014
LYDIA LUNCH & MARC HURTADO - HARLEM - Live at Electrochoc Festiva 2014
04/07/2020
Is It You?
Anthony Moore (guitars, keyboards), his soon to be wife Dagmar Krause (vocals, piano, tambourine), and Peter Blegvad (vocals, guitars, sax)
03/07/2020
01/07/2020
Subscrever:
Mensagens (Atom)
LinkWithin
