30/05/2020
Bright Eyes - One and Done (Official Lyric Video)
Bright Eyes has shared a third of its expected album of regression, however by title. It will be its first primer in a decade: the previous one was "The People's Key" (2011).
The new theme, "One And Done", features Flea's (Red Hot Chili Peppers) unexpected collaboration. In addition, Nathaniel Walcott provides orchestral arrangements and Miwi La Lupa has choirs.
29/05/2020
28/05/2020
27/05/2020
25/05/2020
24/05/2020
Josef K - Radio Drill Time
First single on Alan Horne’s Postcard label. Originally came in fold-out hand-coloured sleeves (& blue labelled French pressing), the reverse doubling as the cover for Orange Juice’s Blue Boy.
17/05/2020
Wolves
Multi-instrumentalist and talented creates a vibrant and timeless album. To the fourth studio album «Wolves and Wishes» Martin Dosh launches his most cohesive work to date, a "tour de force" that opens with a guitar riff, evolves note-by-note, with Dosh on synthesizers, vibraphone , drums, and absurd vocalizations, joining his usual collaborator Mark Lewis on the saxophone, and also with the presence of Andrew Bird on the track "Don't Wait ...", - one of the many contributions on the album. Of note is another disc with the quality label of -Anticon, from a list that continually challenges the labeling in its editions, giving total freedom to its artists, and they create works without compromise.
Rustic Hinge - Mastadon
Rustic Hinge encontraram o seu trabalho próximo dos Captain Beefheart,e ficaram para a história da música psicadélica britanica com o album"Replica" de 1970 e tardiamente editado em LP na Reckless Records, 1988
Valse de la Demoiselle aux Yeux Verts
From Nino Rota to the Rolling Stones, from Erik Satie to Brian Eno, from Soft Machine to Chuck Berry, through dance music, jazz, and circus music, Pascal Comelade's university is already well known. playing for over 30 years that Catalan makes music with creativity. In 1987 the self-taught musician edited his masterpiece «El Primitivismo», after several editions, this fourth is the most complete. It includes a double Cd with themes that were left out, rarities only edited on vinyl and cassette.
16/05/2020
97741
Experimental indie rock side project of Menomena's Danny Seim, the National's Bryan Devendorf, and trombonist Dave Nelson (David Byrne & St. Vincent).
Luxuria - Jezebel
L
Luxuria was a duo consisting of former Buzzcocks and Magazine singer/songwriter Howard Devoto and Noko. Devoto began working with the Liverpool musician a few years after the release of his solo album,…
Beast Box
Luxuria was a duo consisting of former Buzzcocks and Magazine singer/songwriter Howard Devoto and Noko. Devoto began working with the Liverpool musician a few years after the release of his solo album,…
Crayon
A one-man pop band, Dan Snaith's Manitoba project distills everything that's breathtaking and slightly absurd about several extremist alternative-pop movements of the '90s: the jangly white-noise of classic Too Pure/Beggars Banquet records (Pram, Stereolab); freewheeling pastoralia from Mercury Rev and Flaming Lips; and the warm '60s bubblegum of prime Elephant 6 pop music.
Stephen Malkmus - "Xian Man" (Official Lyric Video)
This will be the third solo album from Pavement frontman Stephen Malkmus. It's the counterpart to his last record, Groove Denied. While Malkmus gave his indie rock sound the electronic treatment (i.e. synths and drum machines) on his previous album, Traditional Techniques lives up to its name and features Malkmus on a range of acoustic instruments, from a 12-string acoustic guitar to a flute.
15/05/2020
Roxy Music - Virginia Plain - Official Video 2018
HAPPY BIRTHDAY BRIAN ENO
English musician, composer, record producer Brian Eno, best known for his pioneering work in ambient music. With Roxy Music he had the 1972 UK No.4 single 'Virginia Plain'. He has produced U2, Talking Heads, David Bowie, John Cale, Coldplay and Damon Albarn.
Mike Oldfield - Amarok (excerpt)
fez diversos álbuns dos mais variados estilos. Entre esses podemos destacar Amarok (1990), onde Mike mostrou seu extremo senso de composição e melodia, compondo uma música de 60 minutos, onde toca mais de 60 instrumentos, e mostrando vários estilos musicais, como a música portuguesa, flamenco, celta, africana, minimal, folk, progressiva entre outras.
Patio Song
Sounding like a bizarrely sweet and whimsical cross between progressive rock, psychedelia, and pure pop, Gorky's Zygotic Mynci were one of the most original and distinctive bands to emerge from the vital post-Brit-pop Welsh scene of the mid-'90s. Gorky's music followed unconventional time signatures and structures, as well as instrumentation (boasting everything from droning moog synthesizers to slurring trombones and steel guitars) and melodic patterns. Furthermore, the band's lyrics were rarely about conventional pop/rock subjects, and they frequently sang in Welsh, which made their already odd music sound even more alien to most listeners. Nevertheless, Gorky's developed a strong cult following in Britian, as well as America, ranking behind Super Furry Animals as the most popular band to emerge from the mid-'90s Welsh scene.
Ironically, Gorky's Zygotic Mynci formed long before Super Furry Animals. Unlike many Welsh bands of their age, the members of Gorky's did not begin a band after Manic Street Preachers appeared in the early '90s -- they began playing in the mid-'80s, when the band members were barely in their teens. Euros Childs (vocals, keyboards), Megan Childs (violin), John Lawrence (guitar), Richard James (bass), and Euros Rowlands (drums) were all attending school in Carmarthen, Wales, when they formed the group. Lawrence, James, and Euros Childs began making tapes in the bedroom, and they eventually added Euros' sister Megan and Euros Rowlands to the lineup. All of the group members came from upper-middle-class families, with Rowlands' father, Dafydd, being a poet who is the archdruid of the Welsh culture celebration Eisteddfod, while Lawrence's mother is a politician. The connections helped Gorky's Zygotic Mynci enter the Welsh culture quite rapidly. Throughout their teens, the band recorded and played festivals, as well as appearing on local television and radio. Eventually, the band signed with the Welsh independent label, Ankst.
THE LIMINANAS + ANTON NEWCOMBE Istanbul Is Sleepy OSTARA FESTIVAL 2017
The Limiñanas feat. Anton Newcombe - "Two Sisters"
From the compilation album
Mojo Presents Something Else: A Tribute to the Kinks
(February 2017)
Is She Really Going Out With Him?
3 May, 1980 ... the first live concert, I remembered that 40 years have passed since I saw it live in Portugal, in the old and mythical, Infante de Sagres pavilion
memories
14/05/2020
King Gizzard & The Lizard Wizard - People-Vultures (Official Video)
Created by Danny Cohen & Jason Galea
10/05/2020
Valkyrie
"The alchemical theme of the album is highlighted on the title track not just by the forging of high and low culture but with an Amebix-like compound of punk and metal that doesn't lose any power from either genre by the fusion. I've said it before and I'll keep on saying it until someone pays attention – if you've ever read Michael Azerrad's Our Band Could Be Your Life about the rich history of the American rock underground of the 1980s and found yourself thinking, 'Goddamn, why don't we have bands like Big Black, the Butthole Surfers or Fugazi anymore?' then Årabrot are for you. This is not to say that they are gnarly 1980s retro merchants like the phalanx of MBV and Sonic Youth copyists that litter small labels at the moment. Instead, they have a similarly radical outlook on making bracing, violent, forward-looking and potentially life-changing art." John Doran
Peter Laughner (Pere Ubu) - Ain't It Fun 1975 Photos Memories.Peter Laughner Remembrance (Rocket From the Tombs/Pere Ubu)
Peter Laughner Remembrance (Rocket From the Tombs/Pere Ubu)
WOODS - Where Do You Go When You Dream? (Official Video)
Woodsist
“Where Do You Go When You Dream?” Woods singer Jermey Earl asks on the lead single of the Brooklyn folk band’s 11th LP. It’s a question we all seem to be asking ourselves a lot more these days, as our dreams have had to suffice as our only true journeys out of the house in the desperate times we’re living in. To record Strange To Explain, Woods headed to Marin County’s bucolic Panoramic House Studio and the whirling keys and strings of songs like “Strange To Explain” and the aforementioned “Where Do You Go When You Dream?” gently transport you to that Pacific coast stretch of lush greenery flanked by Stinson Beach and Mt. Tamalpais. Whether or not Earl, Jarvis Taveniere and company were trying to make an escapist record, this is precisely what we need right now. —Adrian Spinelli
09/05/2020
RTP Palco abriu a 29 de Abril, com uma selecção de teatro, música, dança e outras artes para ver em casa
RTP a dar espectáculo(s) numa nova plataforma online
A RTP Palco abriu a 29 de Abril, com uma selecção de teatro, música, dança e outras artes para ver em casa. Os palcos são muitos, os artistas também e há um embaixador por mês a escolher os conteúdos.
https://www.publico.pt/2020/05/01/culturaipsilon/noticia/rtp-dar-espectaculos-nova-plataforma-online-1914600
DANÇA COREANA
https://www.publico.pt/2017/11/10/culturaipsilon/critica/a-sedutora-coreia-intergeracional-1791664
Imagens de um road-movie em silêncio com paisagens rurais percorre o fundo de Dancing Grandmothers, enquanto o público se instala. Ainda em silêncio, mas já com uma tela branca de fundo, Eun-Me Ahn, a coreógrafa coreana dita rebelde, de cabelo rapado (quando as mulheres coreanas são culturalmente incentivadas a manter os cabelos longos), e vestida em coloridos trajes tradicionais coreanos faz uma entrada subtil desenhando no espaço delicados e lentos movimentos, reminiscentes de uma fusão entre as danças tradicionais coreanas e o Butoh. Após este breve e gracioso início segue-se um quadro cénico contrastante que constitui a primeira parte da peça: música electrónica, desenho de luz pop, figurinos coloridos, com padrões diversificados, renovados à medida que os nove bailarinos entram e saem em palco em movimento contínuo, com gestos simples e fluídos, no que se assemelha ser uma abstracção da dança tradicional coreana ou, pelo que observaremos depois, a incorporação pelos intérpretes do movimento dançado de mulheres idosas coreanas.
Imagens de um road-movie em silêncio com paisagens rurais percorre o fundo de Dancing Grandmothers, enquanto o público se instala. Ainda em silêncio, mas já com uma tela branca de fundo, Eun-Me Ahn, a coreógrafa coreana dita rebelde, de cabelo rapado (quando as mulheres coreanas são culturalmente incentivadas a manter os cabelos longos), e vestida em coloridos trajes tradicionais coreanos faz uma entrada subtil desenhando no espaço delicados e lentos movimentos, reminiscentes de uma fusão entre as danças tradicionais coreanas e o Butoh. Após este breve e gracioso início segue-se um quadro cénico contrastante que constitui a primeira parte da peça: música electrónica, desenho de luz pop, figurinos coloridos, com padrões diversificados, renovados à medida que os nove bailarinos entram e saem em palco em movimento contínuo, com gestos simples e fluídos, no que se assemelha ser uma abstracção da dança tradicional coreana ou, pelo que observaremos depois, a incorporação pelos intérpretes do movimento dançado de mulheres idosas coreanas.
Fiona Apple - Rack of His (Audio)
A huge album, Fetch the Bolt Cutters, became in a few days the work that many will remember when these days of social isolation are also memory. Deeply personal American songs with global resonance.
Lonnie Liston Smith - Space Lady
Dr. Lonnie Smith: “Playing in Europe is different. It's like listening to the music for the first time, it's beautiful to see ”
It's all in his head: jazz, the organ, spirituality, curiosity and interest in new generations. All In My Mind, Dr. Lonnie Smith's album recorded live in 2017, has just been reissued by Blue Note in the luxury collection Tone Poet Series.
before the interview with Ípsilon, Dr. Lonnie Smith's agent (b. 1942, USA) politely asks us two things. The first is that we should not ask the American musician for the turban that, at least since 1976 (the year he appears with him on the cover of Keep On Lovin '), after the berets and hats ...
Chop Chop
Is it jazz? And rock? It's Melt Yourself Down!
Born from the ashes of Acoustic Ladyland, Melt Yourself Down are one of the essential formations of British jazz. They started by being inspired by Nubian music and, at 100% Yes, they still think that the saxophone is played like a guitar.
Sparks - One for the Ages (Official Video)
After nearly 50 years and two dozen albums, Sparks continue their reign of resonantly quirky art pop-rock delights on A Steady Drip, Drip, Drip.
03/05/2020
Karen Finley - Tales of Taboo
I SAW LIVE
Acclaimed American performance artist Karen Finley weaves together a collection of texts, letters and poetry from 1983-1994 which reflect her deeply personal testimony of the AIDS crisis. Written in Sand combines poetry, spoken word and music, with the help of talented multi-instrumentalist Paul Nebenzahl. Joe Turnbull was transported back in time.
2015 marks the 25th anniversary of Karen Finley’s seminal book, Shock Treatment, which candidly portrays the unfolding terror of AIDS in the 1980s, acting as a searing indictment of mainstream liberal culture that so badly mistreated the LGBT communities at the time. To mark the occasion, an expanded edition has been produced and Finley is taking her show on the road.
Written in Sand acts like a musical accompaniment to the book. Finley’s series of lamenting elegies set to music are interspersed with renditions of songs made by musicians who have since lost their lives to AIDS including Freddy Mercury and the B-52’s Ricky Wilson. The title references the romantic gesture of declaring ones love in the sand, whilst also asserting the ephemeral nature of something inevitably doomed to be swept away by the tide.
Barbican’s The Pit provided a suitably foreboding venue. The lights were dimmed on a packed room. Little flames flickered on the stage area as Finley and Nebenzahl entered, fittingly giving the feeling of a candlelit vigil. The latter dazzled with his virtuosic flute-playing. Finley, after hamming up the crowd a little, dropped her first bombshell – or should that be poem.
The beat poets’ influence on her disjointed, rambling style, full of repetition and grating cadences, was clear. It felt at times not so much a performance, as an unleashing of pure emotion – grief the chief among them, but there was also plenty of room for anger and guilt. It’s small wonder. Finley lost as many as 60 friends to AIDS. She is still evidently enraged at the society that so shockingly shunned them.
What followed was a litany of fury and mourning through the medium of spoken word, Finley describing the programme as a “list of funerals”. Her ire for the contemporary attitudes towards AIDS was fierce: family members told her “it must get easier when you’ve lost so many”. This said whilst complaining about their fad-diets or boring marriages; “sometimes,” she screams, “I pretend to have their problems”.
02/05/2020
Robert Anton Wilson & Genesis P. Orridge Discuss Aleister Crowley & Spec...
From early 1997 to sometime mid-1999 I had a talkshow called The Infinity Factory that was produced at Pseudo.com, the increasingly legendary “Internet TV Network,” creative madhouse and party central of downtown New York during the high-flying Silicon Alley dotcom years. (Ondi TImoner’s new Sundance Grand Jury Prize-winning documentary, We Live in Public chronicles the rise and fall of Pseudo founder Josh Harris and it’s a fascinating film, a movie well worth going out of your way to catch
The Infinity Factory was taped every Sunday evening at 8pm with a few exceptions. It was produced by Vanessa Weinberg who also DJ’d and mixed the show live. Vanessa was extraordinarily in tune with how the conversations were flowing and added an intricate bed of trippy music, samples and sound loops under what were often extremely psychedelic conversations to begin with—like this episode, with Robert Anton Wilson and Genesis P-Orridge. This show dates, I think, from Fall of 1997. When it was originally netcast it was when most people still had 56k modems and the video quality was fairly awful. Don’t get me wrong, it was pretty cool to be able to do something like this back then and there was a real “pirate radio” aspect to it as well that greatly appealed to me, but in truth it looked more like flickery animation than it did actual video. And it was the size of a postage stamp. There were probably well over 100 shows, each of them around 50 minutes, but I really can’t say for sure how many there were. Most of them are probably lost.
Pseudo had several floors, first two then three, in the no-frills building where Jeff Koons and Mark Kostabi still have their art studios, on the corner of Houston and Broadway. One floor had the business people and the producer’s offices and on the floor with the studio—which is where all the parties were—Josh Harris had his own apartment in the back. Each Sunday night, I’d usually I’d see him, cigar in hand, either leaving or returning from a poker game. It was, if memory serves on the 12th floor and this building had the scariest elevator I have, ever, ever used. It was super slow and extremely rickety. If I made it up and down in one piece each week, I breathed a sigh of relief, let me tell you.
When someone especially heavy was waiting for the elevator, I’d opt to use the steps, even if it was twelve long flights. Seriously, you took your life into your own hand with this elevator. I don’t know why Jeff Koons puts up with it. (Composer Gershon Kingsley, who was a guest on the show once, told me that taking that elevator and getting off at Pseudo was like entering Dante’s Inferno except that you went up instead of down. I don’t think he was joking)
Peter Gordon - Intervallic Expansion (1977)
ft. Steve Bartek, Jane Sharp , Lynne Morrow, Steven Mackay, Arthur Stidfole, Karl Young, Gene Tyranny, Tony Johnson, Maggi Payne, Rich Gold and Chuck Clark
no wave, jazz-funk, post-disco, art pop
Peter Gordon - Intervallic Expansion (1977)
ft. Steve Bartek, Jane Sharp , Lynne Morrow, Steven Mackay, Arthur Stidfole, Karl Young, Gene Tyranny, Tony Johnson, Maggi Payne, Rich Gold and Chuck Clark
no wave, jazz-funk, post-disco, art pop
Peter Gordon - Intervallic Expansion (1977)
ft. Steve Bartek, Jane Sharp , Lynne Morrow, Steven Mackay, Arthur Stidfole, Karl Young, Gene Tyranny, Tony Johnson, Maggi Payne, Rich Gold and Chuck Clark
no wave, jazz-funk, post-disco, art pop
beirut slump - Staircase
(1978 - 1979)
Lydia Lunch, Vivienne Dick, Liz Swope, Bobby Swope and Jim Sclavunos
The Red Krayola - Don´t Talk to Sociologists (from "Corrected Slogans", ...
i saw liveTHE RED KRAYOLA, at Teatro Circo, Braga ... and at the end I spoke with Mayo Thompson .. who was kind enough to sign the tickets and dedicate ... ONE OF MY LIFE'S CONCERTS .... I HAPPY
Jim Welton (a.k.a. L. Voag) - The Way Out
The Way Out LP+7"
1979 solo debut from the Homosexuals bassist Jim Welton (a.k.a. L. Voag) includes a bonus 7-inch of the rare Move EP. The Way Out is recommended for fans of Desperate Bicycles, This Heat and Mark Perry.
"The start of recording The Way Out crossed over with the last days of my involvement with the Homosexuals. Lovely as they were, the guys were demanding unswerving, vanilla rock 'n' roll fealty from me – something I just couldn't provide given my need to taste eight thousand musical ideas at once.
"The gravity around which The Way Out took shape issued from a decidedly asinine idea: what if we lived in a world where the music of the avant-gardists (Stockhausen, Oliveros, Henry) provided the best-selling, chart-topping pabulum of the day, while pop music (as we know it) was an obscure, nigh impenetrable, elitist niche product? L. Voag is a fiction used to describe a character from the pop milieu who, desperate for a hit, attempts to knock out a crossover album combining both worlds. Not surprisingly, he fails miserably.
"The Way Out was recorded at Surrey Sound Studios, founded in 1976 by brothers Nigel and Chris Grey.
"The gravity around which The Way Out took shape issued from a decidedly asinine idea: what if we lived in a world where the music of the avant-gardists (Stockhausen, Oliveros, Henry) provided the best-selling, chart-topping pabulum of the day, while pop music (as we know it) was an obscure, nigh impenetrable, elitist niche product? L. Voag is a fiction used to describe a character from the pop milieu who, desperate for a hit, attempts to knock out a crossover album combining both worlds. Not surprisingly, he fails miserably.
"The Way Out was recorded at Surrey Sound Studios, founded in 1976 by brothers Nigel and Chris Grey.
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