30/11/2020
Crystalized Movements This WIdeness Comes 1990
Connecticut's Wayne Rogers is self-made psychedelic genius who has been working on parallel tracks to fullfil his transcendental musical mission. The records made under the moniker Crystalized Movements are simply pretexts for shimmering guitar shows. Rogers is a little Hendrix of the American small-town milieu. He can tap into the guitar's wildest effects to paint his simple songs all sorts of colors.
Mind Disaster (Twisted Village, 1983) is basically a set of improvised lysergic jams with drummer Ed Boyden.
Rogers found his true voice with Magic Hour. The band is half Crystalized Movements and half Galaxie 500.
Rogers and Biggar are joined by the deluxe rhythm section of Naomi Yang and Damon Krukowski. The single Heads Down (Twisted Village, 1994) hinted at a personal revision of slo-core cliches, but the following single After Tomorrow (Che, 1994), a ten-minute suite reminiscent of Pink Floyd and Hawkwind, upped the ante.
The intensity of the unreleased Damaged Lights (Twisted Village, 1991) is such that one would agree with the song I Am The Only Guitarist In The World And I'm Bleeding. While Rogers doesn't know the meaning of the world "focus", his sincerity and dexterity accomplish something that goes beyond Bevin Frond's holeographic reenactments.
Rogers put a real band together to record Dog Tree Satellite Seers (Twisted Village, 1987), and the result is a mixed bag: on one hand the partners force Rogers to think, not just hallucinate, but on the other one the Crystalized Movements tend to sound too often as yet another New York revival combo.
Magic Hour's guitarists Wayne Rogers and Kate "Village" Biggars started a psychedelic hard-rock project called Major Stars (Tom Leonard on bass, Dave Lynch on drums), that released The Rock Revival (Twisted Village, 1997), containing just four extended jams reminiscent of Blue Cheer and Jimi Hendrix, and Space/Time (Twisted Village, 1999), containing the 14-minute Apples To Grapes. Distant Effects (Squealer, 2002) offers a mature mixture of stoner-rock (Higher Meaning, Are We) and acid-rock freakouts (Hardly Mention). Like the previous albums, 4 (Twisted Village, 2005) contains a couple of melodic ditties and two instrumental space jams, Phantom #1 and Song For Turner. Better production and tighter playing account for an overall grander listening experience. While not original by any stretch of the imagination, Rogers' excursions into mind expansion are getting more effective and less redundant, almost surgical. Syntoptikon (2006), featuring a third guitarist next to the two founding guitarists, was less impressive.
The Major Stars hired rowdy vocalist Sandra Barrett for Mirror Messenger (2008), that contains the lengthy My People and especially Mirror Messenger, in which the three-guitar workouts have time to solidify. The shorter songs are rather trivial though, a problem that got worse on Return To Form (2010).
Zweistein "Wrong"
Zweistein was the project of German pop singer Suzanne Doucet (disguised under the moniker Jacques Dorian). The triple-LP album Trip, Flipout, Meditation (october 1970) was a post-psychedelic sound collage that drowned naive melodies under a thick layer of studio effects.
Doucet later became a pioneer of new-age music with the instrumental albums Transformation (1982) and Transmission (1983).
P16.D4- Alltag
P16D4 was a German band whose music bordered on the industrial and on the cacophonous. On their debut album Kuhe In 1/2 Trauer (Selektion, 1982) they managed to fuse the playful irrationality of dadaism and the oppressive tones of expressionism. Ralf Wehowsky, Roger Schonauer and Ewald Weber focused on an austere art and technique of loop and tape manipulation. Stefan Schmidt joined the ensemble on Distruct (Selektion,1995), a deconstructing remix of sound sources provided by friends of the industrial scene. The double album Nichts Niemand Nirgends Nie (1985), a collaboration with Achim Wollscheid, delved into musique concrete and electronic improvisation but, like the previous ones, ended up sounding more theoretical than emotional stuff. Tionchor (Sonoris, 1987) collects revised rarities, and is probably their most successful albums, precisely because it offers a variety of ideas instead of an obsessive analysis of one idea. Acrid Acme (Selektion, 1989) 1/2 Cut Cows
Ralf Wehowsky has released the solo works Acht (1992), the manifesto of his electronic and computer music, 14 (1992), that collects unreleased material of the last decade, Revu et Corrige` (Trente Oiseaux, 1995), When Freezing Air Stings Like Ice I Shall Breathe Again (Streamline, 1995), and the mini-album Nameless Victims (Metamkine, 1996). They explore the technique of having musicians exchange sound material and re-composing it. By pushing the concept to the extreme, the monumental (five CDs) Tulpas (Selektion, 1997) is virtually an essay on his work compiled by other musicians. Pullover (Table of the Elements, 1998), which uses voice as its source material, L'Oeil Retourne/Vier Vorspiele (Selektion, 1998), with Walter Marchetti, Yang-Tul (Anomalous, 1999), with Andrew Chalk, Cases (Selektion, 2001), with Kevin Drumm, simply refined the technique taking advantage of computers.
29/11/2020
Almost Perfect -THE RESIDENTS
O que você acha da ideia de The Residents como uma forma de Americana?
Para mim, há muito gótico sulista em The Residents - temperado por uma sensibilidade californiana.
Isso alimenta o destemor com o assunto? Tweedles (lançado em 2006) é bastante completo - o assunto é um desviante sexual, um desviante sexual predatório. É duro. É assustador. Quase ninguém tocaria em um assunto como esse. Onde é que isso veio?
É um dos álbuns mais esquecidos dos últimos tempos. É assustador. Onde é que isso veio? Eu não tenho certeza se eu sei.
Os residentes comemoram o Natal de 1978 E quanto ao Animal Lover (lançado em 2005)? Isso também é estranho, um álbum sobre como os animais veem o comportamento humano. O aspecto de observar de fora parece bastante Residencial.
Isso surgiu - da mesma forma que O Fantasma da Esperança surgiu de um interesse, e a ideia de desastres de trem era uma forma de trazer esse interesse à tona - um interesse pela obsessão e histeria em massa, o que as pessoas são capazes de acreditar, particularmente em grupos. Para mim, é um assunto infinitamente fascinante. Eles começaram a pesquisar movimentos de histeria em massa, pegando esse assunto e filtrando-o pela ideia de animais estupefatos vendo essas coisas acontecerem.
Eu estava me perguntando se Wormwood: Curious Stories From the Bible (publicado em 1998), que toma a palavra escrita como base - da Bíblia - é um paralelo estilístico com que também se baseia na palavra escrita?
RANDY- Para mim, o paralelo com The Ghost of Hope is Eskimo . A ideia do Eskimo era criar algo baseado no som, sendo a música um dos sons dentro da paisagem que eles estavam criando. Eles queriam voltar a essa estética - de usar o Eskimo como ponto de partida, "qual é o próximo álbum que poderíamos criar [para seguir o Eskimo]?" E, de certa forma, é O Fantasma da Esperança.
Qual é o limite da ambição dos residentes?
RANDY -Eu não sei se há limites para a ambição. Existem limites para a capacidade de realizar nossas ambições. Mas essas são duas coisas diferentes. A ambição é uma vasta orbe dourada ao longe. Mas existem recursos que permitem realizar nossas ambições e torná-las concretas.
Um desses recursos é a internet. Com The Bunny Boy (lançado em 2008), a série de filmes relacionados foi colocada na internet após o lançamento do álbum. A ideia para eles surgiu depois que o álbum foi concluído, ou foi tudo concebido junto, de uma peça?
RANDY- Eles foram concebidos praticamente juntos. Toda a ideia de Bunny e sua busca por seu irmão há muito perdido, isso foi o combustível para ambos e estava lá no começo.
um show ao vivo de Bunny Boy na França, em um salão de 2.000, 3.000 pessoas e foi intenso. Houve muitos gritos e berros no palco. No início, o salão estava bem cheio. Então, cerca de meia hora depois, olhei em volta e havia cerca de 200 ou 300 pessoas restantes. Os residentes alguma vez pensam no efeito que têm no público?
RANDY -Sim e não. Depende de como eles são atraídos por um projeto específico. Quanto mais compelidos eles são, mais sentem que precisam encontrar sua saída. Eu ouvi coisas confusas sobre o que as pessoas pensaram sobre o programa Bunny Boy. Parte da estética dos residentes é trazer teatralidade para seus programas e, no final das contas, esse era um programa que dependia muito da teatralidade. Mas havia muitas pessoas que não estavam preparadas para aceitar isso em um contexto de show, e eu entendo isso. Mas os residentes sentem uma certa obrigação de desafiar seu público.
Ulan Bator - NeuNeu (official)
Ulan Bator “NeuNeu” (single version) From Stereolith (Bureau B) Formed in Paris in 1993 by Amaury Cambuzat on vocals, guitar and keyboards, and bassist Olivier Manchion, Ulan Bator’s sound has been partly determined by their changing line-ups or collaborations – with Faust and Swans’ Michael Gira, among others. Over 20 years their music has taken in kraut-y repetition, post-rock guitar flourishes, kosmische synth work, intimate whispering and pounding drums
28/11/2020
26/11/2020
Jack Ruby - Hit And Run
Formed
1974, New York, NY, United States
Disbanded
1977
No Wave, Noise
Proto-Punk, Noise Rock, Musique concrète, Noise
Descriptors lo-fi, apathetic, anxious, nihilistic, atonal, avant-garde, male vocals, dissonant, chaotic, noisy
21/11/2020
Talking Heads - Life During Wartime - Stop Making Sense 1984
‘Stop Making Sense’. Part of this is owed to Talking Heads, a band at the top of their game in 1983. But it wouldn’t exist in its unique form if it wasn’t for director Jonathan Demme
19/11/2020
16/11/2020
15/11/2020
Unwound - Nervous Energy
OH THAT MUSIC ... AMAZING SONG ... TO HEAR ..
Unwound is UNDERRATED BAND ... great albums ...
14/11/2020
The Residents & Renaldo and the Loaf - Woman's Weapon
The song “Woman’s Weapon” off of the album was reportedly recorded while the Singing Resident was incredibly sick with strep throat, huddled on the floor with the microphone next to him.
Margaret Freeman- THE RESIDENTS
ANDY PARTRIDGE XTC. played guitar and sang on "Margaret Freeman" off of The Commercial Album
The Residents - Spotted Pinto Bean
the greatest debut album ever
where opera, Show tunes, and deformed honky tonk all nuzzle up alongside each other . It’s also worth noting that one of their early collaborators, the singer Pamela Zeibak, lends her vocal skills and Residential magic to ‘Spotted Pinto Bean’.
12/11/2020
11/11/2020
10/11/2020
08/11/2020
07/11/2020
Crom-Tech - X-Mas
The 1996 X-Mas EP by Malcolm McDuffie and Mick Barr's minimalistic avant-garde jazz infused punk duo, known as Crom-Tech.
The Residents: Tourniquet of Roses (Fingerprince, 1977)
The onion's in the fat
And the bacon's bought the bat
And the Posie's never even near the picture
(Now where to went that rotten egg
For feelin' up my lover's leg
I'll boil him 'til the begs to be a breakfast)
So I'm left all alone
Because my father fought the foam
And now I can't accept the pharmacy's prescription
So now there is a bank
Where once a summer spring
Reminded us of what we thought we ought to ding.a ling
For ringing ringing rockets
Roar a tub of a' lard today
And all that's left
Is something else
There is no more to say
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
Is no more to say now... Is no more to say...
01/11/2020
Nirvana - Plateau (Live On MTV Unplugged, 1993 / Unedited)
Simply amazing performance, on this day in 1994, Nirvana released MTV Unplugged In New York. A masterpiece.
the best... amazing performance, all recorded in a single take.
THE LAST BIG GULP - Jello Biafra and The Guantanamo School Of Medicine (...
When considering who to feature in the music section of the issue the week of the election, former Dead Kennedys man Jello Biafra seemed like an obvious choice. From the very start of his celebrated career, the man has never been short of a word about current affairs. Incisive and insightful, you might not always agree with every single thing he says, but he is at least always worth listening to.
He’s currently in the midst of dropping a string of singles/music videos which built up to the release of Tea Party Revenge Porn, the new album from his Guantanamo School of Medicine project. Typically incendiary, Biafra is understandably insistent that we study the lyrics in written form rather than just listen to the songs and soak them in that way. A Biafra song can be like a Monty Python movie — there are subtle but brilliant lines that you might not catch onto on first listen. This being an election year, he wants to make sure that everyone’s paying attention.
“We wipe out your jobs; Blame the immigrants too; Shot through the back; For breathing while black; Make racism great again,” he sings on the wonderfully titled “Satan’s Combover.” So despite the fact that the COVID lockdown has made it harder to produce physical copies right now, Biafra didn’t want to delay. We need to hear this now, so the album is being released in electronic format prior to the election.
“I felt with times being what they are, they’re staging a so-called election and what not, I really want to get a lot of this stuff out now,” Biafra tells us by phone. “I do think it came out pretty well overall too. I’m just not one of these people who tries to recapture my past or do formula old man punk, safe for older punk people my age. It’s designed to tear your head off and then out comes your mind and hopefully your body too.”
An interview with Biafra is different from any other. Yes, the guy can talk — anybody who has listened to his podcast or standup can tell you that. But the thing is, no words are wasted. He considers everything carefully, and asks questions while answering others. It’s maybe a little surprising that the album preceding this one, White People and the Damage Done, came out a full seven years ago given his desire to get word out.
“White People… was an anti-austerity concept album,” he says. “I don’t usually do concept albums — the Dead Kennedys’ Frankenchrist was an accidental concept album because when I saw HR Giger’s infamous painting which wound up inside it on the poster, great art makes your brain spin. I realized this was Reagan America on parade. I hadn’t done all the vocals yet so I could tweak a word here and there, and connect the songs. White People… was a little more planned out but also influenced by circumstances. You can guess what movement “Shockupy” was celebrating.”
Yeah, Biafra is unsurprisingly no fan of Trump — keen to point out that he stole the 2016 election, not just because of the electoral college but also because of the Interstate Crosscheck Project detailed by journalist Greg Palast.
“29 states opted in and gave their entire database of voters to one of the really powerful and scary Tea Party fascists behind the scenes — a guy named Kris Kobach from Kansas,” Biafra says. “He put all those 29 states’ voters together and set his program loose to flag any matching names which would mean they obviously voted twice. They claimed they flagged social security numbers and middle names, but he found a way in there and found they weren’t doing that at all. His program was skewed to eliminate people with names like Washington and many others, who were mainly African-American. If your name is Jose Martinez, all 5,000 of you didn’t vote.
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