Sunday, May 31, 2009
Shadia Part 1
Shadia Part 2
"Wow, thank you random Bay Ridge video store...The friendly shopkeeper told me Shadia is one of the classic singers from Egypt. Haunting melodies and songs of possible heartbreak and disappointment by an old film actress? I adore this whole scenario (along with the design of the cassette cover)."-AwesomeTapesFromAfrica
Timebox-The Deram Anthology
"It's a pity how Timebox didn't have a successful career. From 1967 to 1969, they recorded five singles on Deram Records but they failed to top the charts. After their last single failed in 1970, they formed a band called Patto, a progressive jazz band that was somewhat successful. Fun fact: the Patto song "The Man" was recently just used for the trailer for the movie "Observe and Report".
To get back on topic, The Deram Anthology is a compilation album of 24 Timebox songs they made during their three years as a band. Some of tracks were going to be used on their 1968 album "Moose On The Loose" but it never got released. There's only one song on this compilation I really want to talk about. "Gone Is the Sad Man" is the track. I've had this song on repeat for several days now. Its a very dreamy psychedelic pop song. It also has a Beatles-esque sound because of its vocal harmonies and its catchy chorus. Then again, most bands made in 60s were always trying to make that Beatles sound. Anyways, what makes this song so dreamy is the vibraphone played by Ollie Halsall.
Ollie is the soul of the band. Besides the vibraphone, he also played guitar and sang backup vocals. He is considered one of the most underrated guitarist ever mostly because of his work in Patto. Many songs off the complemation don't really show much his guitar work but he sure as hell knew how to write songs. "Beggin'" another tune off the album that shows a lot of the creativity of Ollie. It sounds like lost Motown R&B track that will get stuck in your head for days.
I know this review is a little mediocre but most of the tracks off The Deram Anthology are very easy to listen to it. I'd recommend this album to anyone who likes any genre of music."-OliveMusic
Mor Thiam-Dini Safarrar
"Mor Thiam (born Mor Dogo Thiam in Dakar, Senegal, c. 1941) is a Senegalese drummer, cultural historian, and entertainment consultant. His surname is pronounced "Chahm."
Thiam, a member of the Dogon ethnic group, played drums from before the age of eight and had begun playing professionally by age 12. His surname, Thiam, means "historian" in his native tongue, and he comes from a family whose members use drums to tell the story of Senegal's Wolof people. His instruments include tama, sabar, and djembe.
Thiam settled in the United States in 1968, at the invitation of the noted choreographer Katherine Dunham. He settled in St. Louis, where he worked with Dunham and with the Black Artists' Group (BAG), a multidisciplinary arts collective. He has maintained homes in Atlanta and Dakar since the mid-1990s.
In 1973 and 1974 he performed with the jazz trumpeter Freddie Hubbard and has also performed and recorded with the World Saxophone Quartet. He toured Europe with the Alvin Ailey Dance Company (1989). He has also performed and recorded with the cross-cultural ensemble No World Improvisations, with Jin Hi Kim and Joseph Celli.
Thiam regularly serves as a consultant for many African projects around the United States and serves as the executive director of the Stone Mountain, Georgia-based Institute for the Study of African Culture.
Thiam's wife is named Kine Gueye Thiam. She is a dancer, and came to the United States in 1972. Thiam's son with Kine, Akon (born Aliaune Thiam), is an R&B singer.
Mor Thiam currently lives in Orlando, Florida."-Wikipedia
Saturday, May 30, 2009
Sunday, May 17, 2009
Karl Heinz Schafer-Les Gants Blancs Du Diable
"Moving right along with some french soundtrack goodness
This is a jacked link, this album is something i've meant to find in a while and then kinda forgot about. Just googled it, and it popped right up.
I've previously heard 2 tracks from it which I'll up shortly, and they're both phenomenal. More astute reviewers than I compare this favorably to classics like La Planet Savage and Melody Nelson. Enjoy
the movie itself is about a blind hitman btw, how badass is that"
Time & Space Machine-Vol 2
"Seguing perfectly into tarnished brass Wicker Man territory is the magically fearful work of The Time & Space Machine or Richard Norris, one half of the purple psychedelic paradox known as Beyond the Wizard’s Sleeve, whose second 12″ spans the chasm between The Emperor Machine and the aforementioned Karl-Heinz Schäfer, cramming the gaping space with acidized folk and “Psychomania” home-counties hillbilly rock, all warped by the blazing sun and flinching like a jazz-funk corpse."
People-Ceremony: Buddha Meet Rock
"PEOPLE - Ceremony-Buddha Meet Rock CD. Excellent reissue from Japan of one of the world's rarest ($4000-$5000)?and strangest?and one of the best?psychedelic albums (Teichiku, 1971), finally getting it's due in recent days; what is it? in essence, it is a Buddhist ceremony, complete with chants and finger cymbals and bells, but with great fuzz guitar chugging away over slide guitar and sitar throughout the proceedings; all this leads up to orgasmic female moaning over fuzz guitar towards the end of the album; luckily, liner notes explain everything in detail."
Friday, May 15, 2009
Thursday, May 07, 2009
Riceboy Sleeps *Link Updated*
known primarily for his haunting falsetto and other-worldly presence as
the singer in sigur ros, jon thor (jonsi) birgisson has - together with
his partner alex somers - been exhibiting artwork and staging
exhibitions under the name riceboy sleeps for two or three years now. a
couple of months back the early fruits of the musical side of this
collaboration surfaced in physical form for the first time, with the
track ‘happiness’, on the exemplary ‘dark was the night’ red hot
among such company as antony hegarty, arcade fire, sufjan stevens and
many more high and mighty names besides, it says something that jonsi &
alex’s sparse and haunting instrumental contribution was picked out by
many people who-ought-to-know as the apex of the record - especially
given that the track was neither finished nor mastered when the
deadline came around
now, however, the full-length riceboy sleeps’ album (the name having
migrated from artist moniker to album title) is finished and ready for
release. and, as with ‘happiness’, it is set to subtly redefine
expectations of slow and elegiac instrumental music in 2009
‘riceboy sleeps’ is human in a profound and verging-on spiritual way
it says nothing, literally, and yet living through its 68-minutes you
emerge feeling much has been revealed. its slowly evolving abstract
landscapes are both edifying and life-affirming. the record works as a
whole, and exists in a contemplative dream-state, unconstrained and
mesmeric, seemingly outside time
the record, however, is more active than its apparent antecedents in
the ambient output of brian eno, and other deliberately low-impact
works. ‘riceboy sleeps’ is awash with both tension and stimuli, as well
as being frequently, and stunningly, beautiful. a piece like ‘daniell
in the sea’ feels as natural as breathing, or more precisely like being
able to breath fresh air after a long period spent in stagnant
confinement. in fact both ‘daniell…’ and ’sleeping giant’ appear to
feature actual breathing, albeit through some kind of underwater
this filtering function of making the world seem at once alien and
as-new, is perhaps the strongest sensations to be derived from
listening to ‘riceboy sleeps’. jonsi & alex’s artwork has always been
intoxicated with the notion of innocence (as in many ways is his work
in sigur ros, although the only musical comparisons here would be with
the band’s most blissed-out atmospheric songs), so it is perhaps not
surprising that this washed-clean sensation should ring clear from this
played solely on acoustic instruments in iceland (and featuring
long-time string collaborators amiina, as well as the kopavogsdaetur
choir) and then endlessly toyed with on solar-powered laptops in a raw
food commune in some far corner of hawaii, ‘riceboy sleeps’ has a
suitably, uh, ‘organic feel’ to it; the wave-like lapping of its tidal
flow buried beneath analogue hiss, crackle, pulse and distortion; the
creaking of rigging and sometime indeterminate falling delicately over;
and, on ‘howl’, ruminative animal chirrups, grunts, snorts and purrs
sometimes it feels like a record coming back at you across the seas of
time, with ancient washington phillips-style tumbling musical figures
and stumbling crescendos as slow as a sunrise, or a weightless
mantra-like choir singing from somewhere in the middle ages down the
Tuesday, May 05, 2009
The Field-Yesterday and Today *Link Updated*
Mount Eerie-White Stag
"From March 30th to April 4th 2009, at the invitation of Matthew Stadler, I lived in a small room on the fifth floor of the so-called "White Stag Building" in the middle of Portland. The building belonged to the University of Oregon and had a long history of various occupants, from Asian immigrant garment manufacturers to students of architecture. I wandered the building at night with recording equipment after students had left, and ruminated on the site, specifically on what the spot must have been like before the building was even there. I heard that the native people in the area didn't consider the spot suitable for settling and that it was mostly a swampy stopping-over place for travelers headed upriver at dusk. Focussing on the rumor, hanging out mostly in the underground basement, I wrote songs from the idea that a mythical white deer had died in the swamp where the city of Portland would later grow, haunting the site forever. I read that the white stag exists in the mythology of many cultures as a perpetually pursued rare creature, never caught, like humankind's quest for happiness and spiritual fulfillment. The muddy brutal history of early Portland (and everywhere else in the region in the late 19th century) seemed like an appropriate punishment from an imagined animal god that had died in the mud among the stumps and cursed the place. Now in 2009 a sign of a giant white deer in neon looms above the site like a gravestone over the cars and homeless people on the bridge."
Monday, May 04, 2009
"It hopefully happens sometimes, when you receive a demo and with Beautiful Saito Koji didn’t lie about his title. This special piece was truly receive as a gift, felt like an endless sunrise. By listening to Beautiful you can dive into the specific repetitive Koji sound without any kind of apprehension. His duration signature also reveals a peaceful state of mind quietly painting an abstract impressionnist soundtrack.
Mainly concentrated on experimental guitar soundscape, Saito decided for this piece to play and inaugurate a melodic piano loop which, like a mantra, repeat and repeat endlessly his blessing hymn to life."-SEM Label
Nomo-Invisible Cities *Link Updated*
"Holy Shit! This album is fucking good! It blows Ghost Rock out of the water, and I loved Ghost Rock! Crescent might be the greatest song they've ever written!"-Me shortly after having listened to Invisible Cities for the first time
Prince Lasha Quintet-The Cry