27/04/2020
26/04/2020
25/04/2020
A Sudden Sway - Janes Third Party...1980 Chant
The band was formed in 1980 by Mike McGuire (vocals) and Steve Rolls (Guitar) after disbanding 1st generation punk band The Now. They recruited Pete Jostins (Bass), Shaun Foreman (Guitar & Keyboards) and Colin Meech (Drums), with various others contributing in their early days.[1] They were initially influenced by bands such as A Certain Ratio and Shriekback.[1] Their first releases were two self-financed singles, "Jane's Third Party" and the To You, With Regard EP, in 1980 and 1981 respectively
DAVID J. HASKINS (Bauhaus) - Who Killed Mr. Moonlight? (Acoustic)
David J Haskins
David J Haskins, better known as Daivd J, for the better part of his career is predominantly known for his works as a songwriter and bassist for the seminal goth rock band Bauhaus. Past Bauhaus his later work would consist of albums with David J and The Jazzbutcher while his former bandmates (guitarist Daniel Ash and his brother Kevin Haskins) were off without him recording as Tones On Tail. Later he would reunite with these two forming one third of the legendary pop band Love & Rockets. David J Haskins is now performing solo as an acoustic musician in the later 2000's, his work as a soloist covers his ground wth Bauhaus, Love & Rockets and his own written litanies. In 2018 David J Haskins appears on three releases available through Erototox Decodings including a self-released 7" consisting of "Bela Lugosi's Dead (Undead Is Forever)/Who Killed Mr. Moonlight?" 7", he performs bass on a record by Plume Veria entitled Fact | Fiction and his own solo release entitled Loner.
David J Haskins V For Vendetta (David J) - This Vicious Cabaret - 12'' - 1984
David J Haskins, better known as Daivd J, for the better part of his career is predominantly known for his works as a songwriter and bassist for the seminal goth rock band Bauhaus. Past Bauhaus his later work would consist of albums with David J and The Jazzbutcher while his former bandmates (guitarist Daniel Ash and his brother Kevin Haskins) were off without him recording as Tones On Tail. Later he would reunite with these two forming one third of the legendary pop band Love & Rockets. David J Haskins is now performing solo as an acoustic musician in the later 2000's, his work as a soloist covers his ground wth Bauhaus, Love & Rockets and his own written litanies. In 2018 David J Haskins appears on three releases available through Erototox Decodings including a self-released 7" consisting of "Bela Lugosi's Dead (Undead Is Forever)/Who Killed Mr. Moonlight?" 7", he performs bass on a record by Plume Veria entitled Fact | Fiction and his own solo release entitled Loner.
19/04/2020
18/04/2020
R.I.P. HENRY GRIMES -Jazz On a Summers Day - Clip
Morreu Henry Grimes, um dos maiores contrabaixistas do jazz
Tocou com lendas como Sonny Rollins, Charles Mingus, Thelonious Monk, Cecil Taylor ou Don Cherry.
O contrabaixista norte-americano Henry Grimes, nome histórico do jazz tinha 84 anos.
Grimes foi figura de proa na cena free jazz dos anos 50 e 60, tocando com nomes como Don Cherry, Sonny Rollins, Cecil Taylor, Charles Mingus, Thelonious Monk, Albert Ayler, Sunny Murray, Pharoah Sanders ou Archie Shepp, entre muitos outros.
No início dos anos 70, Grimes abandonou por completo a música, chegando-se mesmo a acreditar que teria falecido. Foi "redescoberto" no início do novo milénio, em Los Angeles, a fazer trabalhos temporários para se poder sustentar.
Após o também contrabaixista William Parker lhe ter oferecido um novo instrumento, Grimes voltou aos palcos, tocando não só em Los Angeles como no Vision Festival, em Nova Iorque, em 2003.
De lá para cá, colaborou com artistas contemporâneos como Marc Ribot, John Zorn, Matana Roberts ou Nels Cline.
R.I.P. HENRY GRIMES -Jazz On a Summers Day - Clip
Morreu Henry Grimes, um dos maiores contrabaixistas do jazz
Tocou com lendas como Sonny Rollins, Charles Mingus, Thelonious Monk, Cecil Taylor ou Don Cherry.
O contrabaixista norte-americano Henry Grimes, nome histórico do jazz tinha 84 anos.
Grimes foi figura de proa na cena free jazz dos anos 50 e 60, tocando com nomes como Don Cherry, Sonny Rollins, Cecil Taylor, Charles Mingus, Thelonious Monk, Albert Ayler, Sunny Murray, Pharoah Sanders ou Archie Shepp, entre muitos outros.
No início dos anos 70, Grimes abandonou por completo a música, chegando-se mesmo a acreditar que teria falecido. Foi "redescoberto" no início do novo milénio, em Los Angeles, a fazer trabalhos temporários para se poder sustentar.
Após o também contrabaixista William Parker lhe ter oferecido um novo instrumento, Grimes voltou aos palcos, tocando não só em Los Angeles como no Vision Festival, em Nova Iorque, em 2003.
De lá para cá, colaborou com artistas contemporâneos como Marc Ribot, John Zorn, Matana Roberts ou Nels Cline.
TV PARTY: Sublimely Intolerable trailer
The first 10% of this show sums up what we don't get on TV anymore. Technical difficulties. TV Party was live and improvised, and this meant casual disaster. This early episode gets off to an artistically agonizing start--the sound person is late, overdosing on drugs or both. Or it was the broken down equipment. Once the sound kicks in the show gets lively. Compton Maddux, a droll singer songwriter, is backed up by Debbie Harry and Glenn; the unique futurist soprano Klaus Nomi does one of his post-modern arias; Adny Shernoff, of the Dictators, plays the Beach Boys' "Be True to Your School" backed up by pom pom girls Tish and Snooky, the Manic Panic designers. Downtown legend director Eric Mitchell announces the opening of the now famous New Cinema theater and shows a clip from his film "Kidnapped" with Arto Lindsay, Duncan Smith and Anya Phillips. Brit director David Silver and photographer Kate Simon do the "white people talk about reggae" segment. Blondie's Chris Stein and Debbie Harry and the Patti Smith Group's Richard Sohl drop in to smoke a reefer and take calls from all the crazies in cable land. Chris explains all this isn't chaos, it's art.
BRUCE GEDULDIG-TEVEN BROWN CELLLIFE
A S8 film from 'An American Quartet', a performance series with Steven Brown, Bruce Geduldig, Winston Tong and William Passerelli.
The music was performed by Tuxedomoon and recorded in concert, circa 1980. It was released by Crammed Discs on Lost Cords, CBOY 1717
13/04/2020
12/04/2020
Jaguar
Short-lived French/American duo, existed in a nebulous territory for their brief but productive run in the early '80s. Happening in tandem with post-punk darkness, no wave abrasiveness, and synth pop's frigid approach to melody, . The group was largely the work of New York-based poet, lyricist, singer, and musician Jayne Bliss and French multi-instrumentalist Medak Mader. Early songs tend to be sharper and angsty, be it the stumbling synth pulse and metallic noisiness of "Strainer" or the muted moodiness of "Jaguar." Bliss' whispery vocals are both sinister and distant here, buried in the mix under layers of alien sounds trying to pass for pop. This mysterious veil lifts somewhat on blissful-but-caustic songs like "Le Mont Des Olives" or the post- Brian Eno melodicism of "Eve Ryonne." The sound is raw, but these songs' hypnotic layers of melody would resurface in different forms years later, the washes of guitar predicting shoegaze texture and the underwater production planting a seed for generations of lo-fi and dream pop artists yet to come.
Frank Dommert & H.N.A.S. - Hunsrück
H.N.A.S. (Hirsche Nicht Aufs Sofa) was founded by Achim P. Li Khan and Christoph Heemann in 1983. H.N.A.S.'s sound experimentation started in 1984 with a series of limited cassettes made for demonstration purpose or personal use. Their first LP release was "Abwassermusik" in 1985 (together with german experimental band Mieses Gegonge).
The group then recorded "Melchior" with Steven Stapleton, released on the United Dairies label the following year.
Frank Dommert & H.N.A.S. - Hunsrück
H.N.A.S. (Hirsche Nicht Aufs Sofa) was founded by Achim P. Li Khan and Christoph Heemann in 1983. H.N.A.S.'s sound experimentation started in 1984 with a series of limited cassettes made for demonstration purpose or personal use. Their first LP release was "Abwassermusik" in 1985 (together with german experimental band Mieses Gegonge).
The group then recorded "Melchior" with Steven Stapleton, released on the United Dairies label the following year.
P.G. Six - Quiet fan for SK
P.G. Six is one of the monikers used by Patrick Gubler, a New York singer/guitar player whose debut solo album, lo-fi aesthetic into a sophisticated songcraft akin Bert Jansch to or John Renbourn
P.G. Six - Quiet fan for SK
P.G. Six is one of the monikers used by Patrick Gubler, a New York singer/guitar player whose debut solo album, lo-fi aesthetic into a sophisticated songcraft akin Bert Jansch to or John Renbourn
C.O.T.A. || Blood And Soil
In San Francisco, the gothic clubs of SOMA reveled in the music Swwitchable Symphony of and especially Children Of The Apocalypse , who recorded the exoteric Ta 'Wil (1997).
Shinjuku Thief - Hallucinations
In Australia, Darrin Verhagen's Shinjuku Thief assembled collages of industrial, ambient, jazz and dance elements on Bloody Tourist (1992) and achieved the magniloquent orchestral gothic of The Witch Hammer (1993).
Ant-Bee -1990 - Pure Electric Honey
Just like in the previous decade, a number of Frank Zappa alumni launched solo careers based on unique (and uniquely iconoclastic) styles Ant Bee
11/04/2020
Max Richter - Dream 3 - in the midst of my life - Sleep (Official Video)
"Sleep", de Max Richter. Esta peça instrumental dura mais de 8 horas e vai ser transmitida por vinte rádios em simultâneo
A peça instrumental “Sleep”, do compositor Max Richter, com mais de oito horas de duração, vai ser transmitida em simultâneo, entre sábado e segunda-feira, em estações de rádio de 20 países, anunciou o músico.
“Há cinco anos escrevi ‘Sleep’ como um convite para fazer uma pausa nas nossas vidas tão preenchidas. Agora enfrentamos uma inesperada e indesejada paragem [por causa da pandemia da covid-19]. Não é fácil a adaptação a esta nova normalidade, que diariamente comporta ansiedade e sofrimento”, afirma Max Richter na página oficial.
Por isso, o músico fez uma parceria com 17 estações de rádio, que integram a União Europeia de Radiodifusão (EBU), e outras estações dos Estados Unidos, Canadá e Nova Zelândia, para uma transmissão coletiva daquela composição durante o fim de semana da Páscoa.
Assim, a composição instrumental será transmitida durante os períodos da noite e madrugada, entre sábado e segunda-feira, coincidindo assim com o tempo de sono dos ouvintes, em rádios como a BBC Radio 3 (Reino Unido), a RAI Radio 3 (Itália), a France Musique (França) ou a LRT Klasika (Lituânia).
10/04/2020
05/04/2020
Jeff Simmons - Lucille Has Messed My Mind Up
Lucille Messed My Mind Up is a 1969 album by Jeff Simmons, produced by Frank Zappa, who wrote two songs for the album under the pseudonym "La Marr Bruister". The title track, on which Zappa himself plays the lead guitar, was later recorded as part of Zappa's 1979 album Joe's Garage
The End of Violence - Disrobe / Medeski Martin & Wood
The End of Violence soundtrack neatly categorises thusly:
- A bunch of trendy indie snooze inducers, loosely organised around whatever hipster posturing was de rigeur that week, to wit: Ry Cooderised Latin tokenism -- Howie B, Los Lobos, Raul Malo, DJ Shadow, the Cood, Whiskeytown (emphasis added).
- U2 and flipping Sinead O'Connor trying to do Peej, To Bring You My Love-style, and -- wa-hey! -- producing listless soundtrack filler cast-off guff.
- Surprising and engaging oddities: EELS. Michael Stipe and professional hick-savant Vic Chesnutt have a boisterous duet. Tom Waits! Actually, that Howie B track is pretty good.
plus some intermissive tracks comprising completely uninteresting snippets of dialogue from the film, laden with Hollywood signifiers fortuitously filling in for the thing signified.
The remainder being the moistening dirty-old-man-in-a-mac Roy Orbison pant-wetter, 'You May Feel Me Crying', whose opening lines go, "When we make love / you know we're making love / to everyone we've ever made love to / So when you take him down inside / just know I'm there with you..."
HE SAID Pulling 3gs
Song-oriented effort of one half of Dome (or a quarter of Wire, if you wish), quite poppish even if maintaining a nervous vision and some peculiar ideas.
The sound aged very badly, hence the low rating. Good stuff from Graham Lewis. This time without Bruce Gilbert (also from Wire) where he did make terrific experimental soundscapes with. With an industrial sphere. At the end of the late 70's both Gilbert and lewis wanted more experiment into the music. One can hear that on the extra 7" edition which came with 154. Newman and Gotobed looked after the poppier stuff and Gilbert & Lewis showed some interesting experimental drifts.
This is one of the reasons that I liked Turns & Strokes and Eyewitness and Documents so much. Wire were like a diversed labaratory and in a direction battle.
Strangely enough Graham Lewis appeared with more poppie sounds and songslike music. It surprised me and somehow disappointed me. I think that was one of the reasons that the second coming of Wire was made possible. Lewis and Newman weren't so much apart anymore in musicviews. Surprisingly enough Colin Newman appeared to be the writer of much of the 70's Wire songs. At the time (mid 80's) Wire got to poppy and slick for my liking.
But...listening to the soloprojects of Graham Lewis'He Said one could find lots of near future Wire in here. Somehow it all got together. With He Said Lewis shows that he's versatile and can make different kinds of spheres in music. He's a very interesting creative musician. It shows on Hail. And...do'nt forget to check out Pulling 3g's.
This is one of the reasons that I liked Turns & Strokes and Eyewitness and Documents so much. Wire were like a diversed labaratory and in a direction battle.
Strangely enough Graham Lewis appeared with more poppie sounds and songslike music. It surprised me and somehow disappointed me. I think that was one of the reasons that the second coming of Wire was made possible. Lewis and Newman weren't so much apart anymore in musicviews. Surprisingly enough Colin Newman appeared to be the writer of much of the 70's Wire songs. At the time (mid 80's) Wire got to poppy and slick for my liking.
But...listening to the soloprojects of Graham Lewis'He Said one could find lots of near future Wire in here. Somehow it all got together. With He Said Lewis shows that he's versatile and can make different kinds of spheres in music. He's a very interesting creative musician. It shows on Hail. And...do'nt forget to check out Pulling 3g's.
04/04/2020
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