Watermelon in easter hay

Bernard Parmegiani - Polyphonie

2011-12-06T05:21:00.001-08:00

The Smiths

2011-11-30T23:43:00.001-08:00

Nigo - (B)APE SOUNDS

2011-11-15T23:43:00.001-08:00

NIGO
(B)Ape Sounds (2004， Apesounds)
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Takashi Yoshimatsu - ２つのロマンス　名前のロマンス

2011-10-22T13:44:00.000-07:00

Takashi Yoshimatsu - Stellar Dream Dances

2011-10-22T13:42:00.000-07:00

Takashi Yoshimatsu (吉松隆)
Stellar Dream Dances (2008，Camerat)
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Orbital - Are We Here ?

2011-10-20T14:09:00.000-07:00

Orbital
Are We Here ? (EP) (1994，Internal)

1. Who Are They ?
2. Do They Here ?
3. They Did It
4. What Was That ?
5. Criminal Justice Bill ?
6. Industry Standard ?
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Robert Rich - Gaudi

2011-10-16T10:43:00.000-07:00

Robert Rich
Gaudi (1991，Valley Entertainment)

The artistic architecture of Antonio Gaudi inspired Gaudi, by Robert Rich. He finds a "subtle geometry" in the organicity of Gaudi's work. Music uses vibrations over time to express the spirit of humanity. Architecture evokes similar reactions -- both sublime and nameless -- through use of matter and space. Rich approaches his compositional style on a level that can be difficult to understand. Certainly, non-musicians will have difficulty grasping the structure and the concept of intonation. However, one does not have to know how to build a watch in order to tell time. Moreover, listeners do not have to understand the technical details in order to relate to Rich's emotional and spiritual strength and message. This, like all of his CDs, is an important musical statement. It stands on its own merits.
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Azuma – Azuma

2011-10-15T14:06:00.000-07:00

Azuma (Azuma Yoshitaka 東祥高)
Azuma (Private Music Records, 1987)
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Marcus Davidson - Cross-Pollination

2011-10-08T11:56:00.000-07:00

Marcus Davidson (with Chris Watson)
Cross-Pollination (2011，Touch)
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Merzbow - Amlux

2011-10-06T17:05:00.000-07:00

Merzbow
Amlux (2004，Important Records)
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SENS - Kaishin

2011-09-27T15:32:00.000-07:00

SENS - Kaishin (海神) (1988，PONY CANYON)
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Future Sound of London - My Kingdom

2011-06-05T07:15:00.000-07:00

FSOL - My Kingdom (1996，Astralwerks)
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Future Sound of London - We Have Explosive Remix EP

2011-04-18T02:52:00.000-07:00

Future Sound of London - We Have Explosive Remix EP (1997，Virgin)

01. We Have Explosive (Part 1)
02. We Have Explosive (Part 2) (Leon Del Mar Remix)
03. We Have Explosive (Part 3)
04. We Have Explosive (Part 4)
05. We Have Explosive (Part 5)
06. We Have Explosive (Oil Funk Remix)
07. We Have Explosive (Mantronik Plastic Formula #1)
08. We Have Explosive (Oil Dub)
09. We Have Explosive (Radio Edit)
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Michel Redolfi - Detours

2011-04-16T06:01:00.001-07:00

Michel Redolfi - Detours (1995，Mirage Musical)
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Fila Brazillia - Brazilification (Remixes 95-99)

2011-04-13T05:07:00.001-07:00

Fila Brazillia - Brazilification Remixes 95-99 (1999，Kudos)
CD1/CD2

Love, Peace & Trance - Love, Peace & Trance

2011-04-12T07:30:00.000-07:00

Love, Peace & Trance - Love, Peace & Trance (1995，Epic Records Japan)

Performed by "Love" (Mimori Yusa, vocals), "Peace" (Miyako Koda, vocals), "&" (Haruomi Hosono, programming, backing vocals), and "Trance" (Mishio Ogawa, vocals).
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DJ Deep - Respect to DJ Deep

2011-04-11T05:25:00.001-07:00

DJ Deep - Respect to DJ Deep (2001，Astralwerks)
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吉松隆 (Takashi Yoshimatsu) つのワルツ　虹色の薔薇のワルツ

2011-01-24T05:11:00.000-08:00

Nils Franhm & Anne Mueller - 7 Fingers

2011-01-05T08:41:00.000-08:00

Nils Frahm & Anne Mueller - 7 Fingers (2010，Hush Records)
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1993-12-04 BBC Radio 1 Essential Mix by Future Sound of London

2011-01-03T19:20:00.000-08:00

1993-12-04 BBC Radio 1 Essential Mix (Mediafire)

Every Single BBC Radio1 Essential Mix From 1993 To 2007

2011-01-03T19:14:00.000-08:00

Every Single BBC Radio1 Essential Mix From 1993 To 2007

Mark Fell - Multistability

2010-12-31T13:32:00.000-08:00

Mark Fell - Multistability (2010，Raster-Noton)

Mark Fell is one-half of the U.K. electronic duo SND; here as with SND, he makes glitchy electronic music that combines aspects of Ryoji Ikeda, Oval, and Autechre as well as various lesser-known artists on labels like 12k and Raster-Noton. It's glitchy, clicky stuff not particularly suited to dancefloors or headphone listening, as small digital tones leap from one side to the other while a percussion sound like a tiny rubber ball bouncing very fast between two highly polished surfaces repeats endlessly. Some tracks ("Multistability 7-A," "Multistability 10-A") combine synth patterns and digital handclaps in a way that almost approximates the smooth, minimal techno of the Kompakt label, but it's so repetitive and stop-start (at the same time) that actually gaining pleasure from the listening experience is pretty much out of the question. This is less like glitchtronica than it is the hearing tests where the listener is supposed to raise his or her hand when a tone appears in one headphone or the other. It has moments of beauty, but they seem incidental; the disc overall gives the impression of having been created by the software used to make it, for the amusement of an artificial intelligence with tastes far divergent from those of mere humans. (AMG)
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Boredoms - Rebore Vol.0

2010-12-18T09:24:00.000-08:00

Boredoms - Rebore, Vol.0: Vision Reaction (Warner Music Japan)
Boredoms' ringleader Yamatsuka Eye has never been one to sit still for long, and given his immersion into DJ culture in the late '90s, it's not surprising that he should want to issue another version of his band's Vision Creation Newsun. Although some remix albums are pegged as inessential curios, Rebore, Vol. 0 is so different from its source album that it nearly achieves status as a legitimate follow-up release, rather than just a companion piece. Eye chooses to emphasize a futuristic, electronically enhanced aesthetic instead of Vision Creation Newsun's cathartic, psychedelic brawn. Sometimes the sound is reminiscent of Eye's DJ Pica Pica Pica project, wherein he compiles a hyper-speed DJ mix of world music, electro, obscure techno, and even classical music. Despite Eye's interest in techno, Rebore, Vol. 0 actually tends to shy away from outright "beats." Most of the songs (all titled incorporating the number "7") start with a guitar or synthesizer line, and build upon that. "77" takes guitarist Seiichi Yamamoto's minimal arpeggio from the "circle" track on Vision Creation Newsun and adds space-age synth pings, what sounds like a deft xylophone line, and later brings in Hira's bassline, mostly buried in the original version. The mood is similar, but the execution is completely different, lending an intricate, graceful ambience to the piece. Likewise, "77777" takes Yamamoto's gentle, fingerpicked guitar figure and adds the sound of drummer Yoshimi's newborn child, later even soft vocals from Yoshimi herself. Some songs barely sound as if the same band could have produced them. "777777" takes a laid-back acoustic guitar figure and adds a tropical, bossa nova drum machine beat and in turn transforms the piece into a punchy Stereolab backing track. Rebore, Vol. 0 is different enough from Vision Creation Newsun that fans will have reason to listen, but more than that, it sits comfortably alongside Boredoms' best albums as a unique artistic experience.
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Hariprasad Chaurasia - Nada (Live in Jerusalem)

2010-12-09T10:08:00.001-08:00

Hariprasad Chaurasia - Nada (Live in Jerusalem) (2005，Nada Records)
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Haruomi Hosono & Bill Laswell - Interpieces Organization

2010-11-06T23:21:00.000-07:00

Haruomi Hosono & Bill Laswell - Interpieces Organization
(1996，Teichiku Entertainment)
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ASGP - Guitar Sam Guk Ji

2010-10-15T04:06:00.000-07:00

Asian Super guitar Project - Guitar Sam Guk Ji (吉他三國誌) (2007，Jazz World)
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Lustmord - Lustmørd

2010-10-06T15:41:00.000-07:00

Lustmord - Lustmørd (1981)

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!!! - Strange Weather Isn't It ?

2010-09-01T10:52:00.000-07:00

Chk Chk Chk - Strange Weather Isn't It ? (2010，Warp)

By the time of their fourth album Strange Weather, Isn’t It? !!! had been making records for almost a decade. Not too many bands can keep going for that long and continue to make records that have all the energy and quality they began with, but !!! have managed it. While many of the alumni of the dance punk boom of the early 2000s have faded away or changed their sound or just plain lost their way, !!! remain as good as ever and Strange Weather is full of the kind of ferocious and funky dance punk that they’ve always done. Taking barely any pauses for breath, the record is a headlong rush from beginning to end filled with exactly what fans of the group will want to hear. Unlike on their last album 2007’s Myth Takes there are no glam rock beats or ballads here, just floor filling jams mixed together like a stellar DJ set. Kicking off with one of their catchiest songs to date “AM/FM” and following it up with the dubbed up, hypnotic “The Most Certain Sure” is a great way to sequence the record. It drops you right into the !!! aesthetic and lets you know that there has been no drop off at all. Indeed the best tracks here equal the best tracks the group has done; apart from the two songs mentioned already, the slinky, hooky “Jamie, My Intentions Are Bass,” the bubbling “Even Judas Gave Jesus a Kiss” and the hard charging “The Hammer” will all fight for space on !!!’s Greatest Hits. Unlike their most similarly talented contemporary LCD Soundsystem, they don’t have the kind of songs that jump out at you and have you singing along. Their songs work more insidiously, creeping into your brain on the back of the bass lines and Nic Offer's buried-in-the-mix-but-insistent vocals. It’s a subtle kind of pop music and while it might work best on a dance floor, as a whole the record works well under headphones. Strange Weather may get some static for not being groundbreaking or risk taking but that’s okay. It’s just !!! at their best and that’s good enough. (AMG)
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Pete Namlook - Dark Side of The Moog 7

2010-09-01T10:47:00.000-07:00

Pete Namlook - Dark Side of The Moog 7 (2004，World Ambient)
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Steve Kuhn - Trance

2010-08-18T12:26:00.000-07:00

Steve Kuhn - Trance (1975，ECM 1052)
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Carl Stone - Al-Noor

2010-08-18T04:32:00.000-07:00

Carl Stone - Al-Noor (2007，InTone Music)
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Robert Rich - Calling Down The Sky

2010-08-18T04:28:00.001-07:00

Robert Rich - Calling Down The Sky (2004，Soundscape Productions)
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Michael Stearns - Planetary Unfolding

2010-07-01T05:57:00.000-07:00

Michael Stearns - Planetary Unfolding (Sonic Atmospheres，1985)

A masterful electronic symphony, it is based on the idea that the universe is made of sound rather than solid matter (a notion that has its roots in oriental philosophy as well as in some modern theoretical physics circles). Stearns's performances on the Serge synthesizer actually give the feeling that atoms, cells, planets, and other celestial bodies are creating a complex orchestration that is unfolding on itself and expanding into deep space.
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Claude VonStroke - Vocal Chords [Single]

2010-05-30T20:41:00.000-07:00

Claude VonStroke - Vocal Chords (Original Mix)
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ARCANA - Arc of The Testimony

2010-05-27T08:43:00.003-07:00

ARCANA - Arc of the Testimony (Axiom，1997)

Arc of Testimony is one of the last recordings to feature legendary drummer Tony Williams, and its bold, experimental textures are a fitting epitaph to his career. Arcana was formed by bassist/producer Bill Laswell with the intention of exploring the outer reaches of fusion, ambient and free jazz. Like the group's debut, Last Wave (released only in Japan), Arc of the Testimony is a freewheeling, unpredictable blend of electronic and acoustic sounds. However, this record is even more adventurous, since it finds a common ground between improvisation and post-production studio trickery. All of the musicians -- Williams, Laswell, saxophonist Pharoah Sanders, saxophonist Byard Lancaster, cornetist Graham Haynes, guitarist Nicky Skopelitis and guitarist Buckethead -- are open-minded and help push the music forward, resulting in a thoroughly involving, challenging listen.
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Ryuichi Sakamoto - BTTB

2010-05-27T08:33:00.000-07:00

Ryuichi Sakamoto - BTTB (SONY，1999)

Best known for his work as a soundtrack composer (The Last Emperor, Merry Christmas, Mr. Lawrence) and a founding member of avant-rockers Yellow Magic Orchestra, composer Ryuichi Sakamoto gets "back to the basics" with this album. Of course, "the basics" here involve simple impressionist-inspired piano ditties that often sound more like diluted Vangelis than compositions from the cutting edge. But that's OK, as long as you consider this as relaxing background music and not the shape of classical music's future. BTTB was a hit in Japan in 1999, especially because of the single "Energy Flow" (a piece that Sakamoto admits was originally written as a commercial jingle). This release features one new track ("Reversing") and plenty of other soothing, melodic works. --Jason Verlinde

Mika Vainio - Vandal EP

2010-05-20T19:25:00.000-07:00

Mika Vainio - Vandal EP (2009，Raster-Noton)

Mika Vainio's four tracks on "Vandal" EP show his preference for analogue working. He consequently develops a dynamic sound we all remember from PanSonic, working himself from a rather abstract structure towards arrangements which more and more suit a club setting. Straight beats, noise and the denial of the usual clicks&cuts elements are the ingredients for his contemporary version of electronic club music. The quality of his music will not only convince on the dancefloor but also on the home stereo. Mika's passion for dynamics, reduction and industrial oscillates between these three cornerstones and what his sound stands for: being physical, raw and profound beyond all clichés.
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The Blood of Heroes - The Blood of Heroes

2010-05-20T07:09:00.000-07:00

The Blood of Heroes (OHM Resistance，2010)

The Blood of Heroes is a collaboration project featuring Justin Broadrick (Godflesh, Jesu, Napalm Death) and Bill Laswell, with beats from Submerged and End.user and vocals from Dr. Israel. Post apocalyptic soundscapes and de-imaged electronic beats backed up with heavy guitar and bass. Features live drumming from KJ Sawka and Balazs Pandi, and sound design from film sound architect M. Gregor Filip. Powerful anthemic tracks collide with vicious drum n bass beatdowns and intersperse with breathtaking synth beauty and Aphex Twin style mezzed beats. The soundtrack to post-solarflare humanity!
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Osamu Kitajima - Benzaiten

2010-05-06T17:28:00.000-07:00

Osamu Kitajima - Benzaiten (1976)

1. Un
2. Taiyo
3. Tengu
4. Benzaiten
5. Whoma
6. Biwa
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VA. - The Future Sound of Jazz Vol.6

2010-05-03T16:16:00.000-07:00

VA. - The Future Sound of Jazz Vol.6 (1999，Compost)

Though it's six volumes in and counting, Compost's Future Sounds of Jazz series just keeps on shining. Recruiting a cast of varied standout producers -- Ian O'Brien, Fauna Flash, Tosca, Victor Simonelli, United Future Organization, Beatless -- helps immensely, as does the sheer variety of productions. All are nominally jazz-based, but vary from downtempo to trip-hop to drum'n'bass with no lack of flow.
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The Orb - Orbus Terrarvm

2010-04-27T23:43:00.000-07:00

The Orb - Orbus Terrarvm (1995，Polygram)

The perfect response to a music-scene swamped by what Paterson himself called "lame ambient noodling for seventy minutes," Orbus Terrarum brings the mothership back to earth for a collision with some surprisingly harsh percussion and noisy synth. The melodies and dub lines of previous Orb recordings are still in the mix, and the esoteric bent of Pomme Fritz is muted somewhat. Orbus Terrarum is definitely not the place to start, but it's still a worthy successor to U.F.Orb. The final track "Slug Dub" is an ambient epic with vocal samples taken from a children's story.
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Frank Zappa - Absolutely Free

2010-04-25T01:06:00.000-07:00

Frank Zappa - Absolutely Free (1967，Rykodisc)

Frank Zappa's liner notes for Freak Out! name-checked an enormous breadth of musical and intellectual influences, and he seemingly attempts to cover them all on the second Mothers of Invention album, Absolutely Free. Leaping from style to style without warning, the album has a freewheeling, almost schizophrenic quality, encompassing everything from complex mutations of "Louie, Louie" to jazz improvisations and quotes from Stravinsky's Petrushka. It's made possible not only by expanded instrumentation, but also Zappa's experiments with tape manipulation and abrupt editing, culminating in an orchestrated mini-rock opera ("Brown Shoes Don't Make It") whose musical style shifts every few lines, often in accordance with the lyrical content. In general, the lyrics here are more given over to absurdity and non sequiturs, with the sense that they're often part of some private framework of satirical symbols. But elsewhere, Zappa's satire also grows more explicitly social, ranting against commercial consumer culture and related themes of artificiality and conformity. By turns hilarious, inscrutable, and virtuosically complex, Absolutely Free is more difficult to make sense of than Freak Out!, partly because it lacks that album's careful pacing and conceptual focus. But even if it isn't quite fully realized, Absolutely Free is still a fabulously inventive record, bursting at the seams with ideas that would coalesce into a masterpiece with Zappa's next project.
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Mojave 3 - Puzzles Like You

2010-04-25T00:42:00.000-07:00

Mojave 3 - Puzzles Like You (2006，4AD)

A longtime fan of Mojave 3 has come to expect certain things from the band's albums -- things like relaxed vocals, wispy ballads, soft textures, and gentle soothing songs. There may have been the occasional uptempo tune with pronounced guitars, but this was the exception to the laid-back rule. Things have changed on Puzzles Like You. Fully nine of the 12 songs clock in at midtempo or above, and some might even be considered rockers! Chiming guitars, tinny organs and vintage synths, double-time drums, briskly shaken tambourines, and almost bawdy-sounding pianos all pop up in one spot or another to give complacent fans a jolt of energy. Songs like "Truck Driving Man," "Just a Boy," "Breaking the Ice," and "Puzzles Like You" sound like the work of a totally different, almost frisky band. Whether fans of the group will be satisfied with the three (admittedly) lovely ballads is a legitimate question; they may find the record too cheery and loose for their liking. Or they may hear the usual sweet vocal harmonies from Neil Halstead and Rachel Goswell (who has an increased presence on the album) and feel comforted. They may realize that, regardless of tempo, these are some of the strongest, most involving songs the band has ever recorded. They might come to regard the record as a masterful distillation of all their influences from country-rock to '60s pop to dusty Americana. They may notice that the record sounds like a progression for the group and not a total leap sideways. If they can come to any one of these conclusions, it's likely they will fall in love with Puzzles Like You, since it is one of the best guitar pop records of 2006 or any other recent year. It is always nice when a band keeps churning out perfectly fine records that all sound alike; for a band to create something as fine and accomplished as this so long into its career is almost miraculous.
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Terje Rypdal - Bleak House

2010-04-20T06:28:00.000-07:00

Terje Rypdal - Bleak House (1968，Polydor)

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L. Shankar - Touch Me There (with Frank Zappa)

2010-04-19T09:34:00.000-07:00

L. Shankar with Frank Zappa - Touch Me There (1979)

Indian violinist L. Shankar's debut LP in America is a wide-ranging affair and quite unlike his later albums of Indian classical music with tabla and ghatam. Frank Zappa, who added Shankar to his band for a few concerts during a late 1970s tour, produced this record and sings (under the pseudonym Stucco Holmes) on a piece he co-wrote with the violinist, "Dead Girls of London." This hard rocker is followed by the considerably mellower "Windy Morning," showcasing his incredible technique on electric violin with overdubs, though the leader's solos grow more intense with each chorus. Shankar's one vocal on the album, "Knee Deep in Heaters," is also the least interesting track, with a rather bland lyric by Zappa. "Darlene" is a complex piece that demands a lot of Shankar and Phil Palmer (heard on both guitar and mandolin). The strange ballad "Touch Me There" has an odd vocal by Jenny Lautrec, who seems to have trouble following her cue at the beginning of one chorus. "No More Mr. Nice Girl" is an extended, upbeat rocker, jointly written by Shankar and Zappa, that incorporates Jack Emblow's accordion in addition to some exotic keyboard work by James Lascelles, wrapping with a blazing finale by the violinist. This LP should be considered an uneven but worthwhile effort for the short-lived Zappa Records, though it was reissued on CD eventually.
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Music Compulsion

2010-04-15T08:56:00.000-07:00

hey guys, welcome to my another site: Music Compulsion
i would appreciate any ideas or comments, thanks.

Tomita - Planets

2010-04-15T05:50:00.000-07:00

Tomita - Planets (RCA，1976)

This was the most controversial Tomita album, where he uses Holst's spectacular, mystical suite The Planets as a launching pad for what amounts to a simulated spaceship trip through the solar system. Hence the title The Tomita Planets, which did not deter the Holst estate from trying (unsuccessfully) to pull this recording off the market at the time. When Tomita sticks to what Holst wrote, he follows every turn and bend of the score, save for a big cut in the last part of Jupiter and an eviscerated Uranus that nearly disappears altogether. Moreover, the music -- especially Venus -- often does lend itself to an electronic space flight fantasy, with Tomita's arsenal of phase-shifting, flanging, pitch-bending, envelope following and reversing choral effects and more on full display. It's the stuff between movements that provoked the purists -- the campy simulated mission control communications and electronic blastoff prior to Mars and the "noises" of space flight scattered throughout (including a nasty asteroid belt between Jupiter and Saturn). The most questionable idea was that of playing Jupiter's grand central theme on a tinkly electronic music box as a way to open and close the record -- which some will find satirical, others touching, still others tasteless. Indeed, Tomita seems to have it in for British pomp; when this theme is played within the context of Jupiter, he interrupts it with electronic chatter between mission control and the spaceship. Ultimately, The Tomita Planets is still good electronic fun, and it launched a series of space-themed concept albums by this electronic astronaut.
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Bill Laswell - Asana OHM Shanti (2006)

2010-04-07T05:39:00.000-07:00

Bill Laswell - Asana OHM Shanti (2006，META)
Bassist and producer Bill Laswell's 30-year musical journey has taken him through the wilds of rock, hip-hop, funk, electronica, ethnic fusion, and hellacious noise, but in recent years it seems like he keeps gravitating back to the ethno realm. There's always been a thick vein of dark mysticism winding like a black rope through his various musical projects. The degree to which he buys into the reality of any of the transcendence he peddles is an open question, but one thing is certain: no one writes a prettier bassline, or delivers it with more elephantine authority, or brings together more beautifully matched singers and players. His latest under the group moniker Asana (the core of which is a duo consisting of Laswell and percussionist Karsh Kale, joined by a variety of South Asian collaborators) finds him exploring Indian classical and devotional themes as expressed by singers Kiran Ahluwalia, Ustad Sultan Khan, Asha Puthli, and others. The pattern is set early on: Kale builds a tasteful but generally restrained rhythmic bed on which Laswell lays down a bassline of dark, rich suppleness, and then someone starts singing. When that someone is Ahluwalia, the resulting sound is joyful and soaring; when it's Khan, the sound is grittier and more earthbound. And when it's Vidya Shah, it's a sharp, keening wail offset brilliantly by Laswell's meaty bass and a juddering jungle breakbeat. Every track is brilliant, each one in a different way. Highly recommended.
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Solar Quest - Orgship

2010-02-03T14:02:00.000-08:00

Solar Quest - Orgship (SSR Records) 1994

Orgship is a stunningly beautiful hybrid of symphonic synths, pastoral ambience, dense atmospheres, and new ambience from Solar Quest (nee George Saunders). These individual soundscapes tell a tale of discovery and awakening. The sound design captures the moments individually and summarizes them collectively. There are no weak spots. This hybrid is unique and will appeal to fans of Eat Static, the Orb, and Banco de Gaia.

1 The Belle of Atlantis 11:27
2 Singtree 6:19
3 Awaken Kundalini 6:40
4 Liquid Sky 8:49 ------>> Highly Recommended !! ★★★★★
5 The Open Path 9:00
6 Save the Whale 8:13
7 Reqiem for a Lily 3:54
8 Flying Spirals 17:07
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Francis Dhomont - Sous le regard d'un soleil noir

2009-12-29T05:16:00.001-08:00

Francis Dhomont - Sous le regard d’un soleil noir (1996，INA-GRM)

Creative in the possibilities of sound recording, French-born composer Francis Dhomont put together the material on this album between 1979 and 1981. He is both a scholar and innovator of that field of recording experimentation called "electroacoustic composition" across the Atlantic. These eight pieces become episodic as periods of French spoken word, sweeping electronic sounds, and musical instrumentation alternate in subtextually related segments. These transforming works of tape manipulation are shape-shifting phantoms of sonic ectoplasm. Amorphous and unpredictable, they become philosophical mantras, as in the repeating "I'm an individual" of "Le Moi Divise (The Divided Self)," framed in linear, unexpected aural pathways. The titles translates as "Under the Glare of a Black Sun" and in Dhomont's surreal "acousmatic" world common themes as a monologue (here, the reading in French of psychiatrist R.D. Laing) and a murmuring crowd take on strange and wondrous implications when treated and placed in succession. A single recurring note (B natural) serves to bind each piece to its predecessor. If reality is only perceptions, then a change in these perceptions can alter reality. Through mesmerizing repetition contrasted with jarring polyphony, Dhomont artfully serves to make the common and real uncommon and unreal. The album becomes an intrapersonal voyage. Follow along the provided English translations and take a Conrad-ean journey into the peculiar, dark universe at the heart of each human being.

mediafire (all music in one file)

Francis Dhomont - Cycle de l'Errance

2009-12-29T04:42:00.000-08:00

Francis Dhomont - Cycle de l'Errance (2000，INA-GRM)

1. Points de fuite (1982)
2. Marine
3. Cartographie liminaire
4. Un certain embarquement
5. Thème de la fuite
6. Transfert I
7. En abîme
8. Transfert II
9. Palimpseste
10. Il ritorno [sections 1 & 2]
11. Espace / Escape (1989)
total duration: 76m52s

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Takashi Yoshimatsu (吉松隆) - Pleiades Dances

2009-12-02T11:37:00.001-08:00

Takashi Yoshimatsu - Pleiades Dances (Denon，1996)
Performer: Kyoto Tabe
Tracklist:

プレイアデス舞曲集III
　　さりげない前奏曲
　　左寄りの舞曲
　　球形のロマンス
　　右寄りの舞曲
　　聖歌の聞こえる間奏曲
　　過去のロマンス
　　多少華やかな円舞曲
　　プレイアデス舞曲集IV
　　前奏曲の記憶
　　静かなる雨の雅歌
　　西に向かう舞曲
　　間奏曲の記憶
　　遠く暗い牧歌
　　東に向かう舞曲
　　アレルヤの季節
　　プレイアデス舞曲集V
　　前奏曲の映像
　　暗い朝のパヴァーヌ
　　午後の舞曲
　　傾いた哀歌
　　夕暮れのアラベスク
　　真夜中のノエル
　　ロンドの風景
　　プレイアデス舞曲集I
　　フローラル･ダンス
　　ほぼ2声のインヴェンション
　　アップル･シード･ダンス
　　水によせる間奏曲
　　リーフレット･ダンス
　　ほぼ3声のインヴェンション
　　プラタナス･ダンス
　　プレイアデス舞曲集II
　　消極的な前奏曲
　　図形的なインヴェンション
　　線形のロマンス
　　鳥のいる間奏曲
　　断片的な舞曲
　　小さな乾いたフーガ
　　積極的なロンド
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Michael Jones and David Darling - Amber

2009-10-05T10:21:00.000-07:00

Michael Jones and David Darling - Amber (1987，Narada)

Rainfall
Sunshine Canyon
Indian Summer
Wu Wei
After the Sun
Dreamlight
Shadows of the Moon

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Embryo - We Keep On

2009-06-29T14:54:00.000-07:00

Embryo - We Keep On (1973)
We Keep On is the German art/jazz rock band Embryo's most successful recording. It's also one of their best. In late 1972, saxophonist Charlie Mariano joined Embryo along with guitarist Roman Bunka. Mariano's already encyclopedic knowledge of world music forms was a welcome addition to the band; they sought to fuse jazz and space rock -- à la their countrymen Can -- with the various rhythms and harmonic sensibilities of folk musics across the globe. Bunka also played the Turkish saz and was a great, if unconventional, vocalist. Embryo's leader, Christian Burchard, took up everything from drums to marimba to Mellotron on this set to complement pianist Dieter Miekautsch's Rhodes and clavinet work. And Mariano played not only sax and flute but nagasuram and bamboo flutes as well. Here, on "Ehna, Ehna, Abu Lele," West African rhythms danced with jazz rock and wove something entirely new from the roots of both. On "Hackbrett-Dance," saz, marimba, and percussion became something out of time and space that might have come from any North African nation, but found a place in the tripped-out world of psychedelic space music as well -- check the recordings of Angus MacLise for a frame of reference here. But it is on the Miles-influenced jazz-funk of "No Place to Go," which used the Jack Johnson groove to achieve new rock ecstasies, that the album really comes into view for its revolutionary contribution to the language of assimilation. The CD version also contains two welcome bonus tracks from the session, a nearly 16-minute "Ticket to India" and an eight-and-a-half-minute extended improv called "Flute, Saz and Marimba" that could have come from one of Don Cherry's early-'70s recordings. Highly recommended.
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playlist test

2009-05-18T01:41:00.001-07:00

player test

2009-05-13T11:27:00.000-07:00

BJORK - Voltaic

2009-05-13T02:11:00.000-07:00

Bjork - Voltaic (2009，Nonesuch)

Disc One (Volta)

Earth Intruders
Wanderlust
The Dull Flame of Desire
Innocence
I See Who You Are
Vertebrae By Vertebrae
Pneumonia
Hope
Declare Independence
My Juvenile
I See Who You Are (Mark Bell Mix)

Disc Two (Live In Olympic Studios)

Wanderlust
Hunter
Pleasure Is All Mine
Innocence
Army Of Me
I Miss You
Earth Intruders
All Is Full Of Love
Pagan Poetry
Vertebrae By Vertebrae
Declare Independence

Disc Three (Volta Remixes)

Declare Independence (Black Pus Remix)
Declare Independence (Ghostigital Remix)
Declare Independence (Matthew Herbert Remix)
The Dull Flame of Desire (Modeselektor's Rmx for Boys)
The Dull Flame Of Desire (Modeselektor's Rmx for Girls)
Earth Intruders (Lexxx Remix)
Earth Intruders (Mark Stent Radio Edit)
Earth Intruders (Xxxchange Remix)
Innocence (Alva Noto Unitxt Remodel)
Innocence (Sinden Remix)
Innocence (Simian Mobile Disco 12" Remix)
Innocence (Simian Mobile Disco Remix)
Wanderlust (Mark Stent Mix)
Wanderlust (Matthew Herbert Remix)
Wanderlust (Ratatat Remix)
Wanderlust (Mark Stent Instrumental)

Disc One
Disc Two
Disc Three

Zbigniew Karkowski & Tetsuo Furudate - World as Will III (2008)

2009-05-12T03:49:00.000-07:00

Zbigniew Karkowski & Tetsuo Furudate - World as Will III (2008，Sub Rosa)

1. Mergence
2. Below The Demarcation
3. Mix White
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V.A. - Driftworks (4CD collection)

2009-05-09T07:45:00.000-07:00

V.A. - Driftworks (Big Cat，1997)

CD1 - Thomas Koner - "Nuuk"
CD2 - Nijiumu (滲有無) - "Live"
CD3 - Pauline Oliveros & Randy Raine-Reusch - "In the Shadow of the Phoenix"
CD4 - Paul Schutze - "stateless"

Pat Metheny with Charlie Haden and Billy Higgins - Rejoicing [ECM 1271]

2009-05-09T00:50:00.000-07:00

Pat Metheny with Charlie Haden and Billy Higgins - Rejoicing [ECM 1271] 1984

Lonely Woman

Tears Inside

Humpty Dumpty

Blues for Pat

Rejoicing

Story from a Stranger

Calling

Waiting for an Answer

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Marion Brown - Afternoon of a Georgia Faun [ECM 1004]

2009-05-09T00:44:00.001-07:00

Marion Brown - Afternoon of a Georgia Faun [ECM 1004] 1970

01 Afternoon Of A Georgia Faun 17:08
02 Djinji's Corner 18:08

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VA. - Trone of Drones

2009-03-27T06:19:00.001-07:00

VA. - Throne of Drones (1995，Asphodel)

The original concept for the Asphodel subsidiary Sombient was to create a darker alternative to the relaxed "chill-out" music that emerged from the early-'90s rave scene. The first installment of their series of drone compilations was 1995's "The Throne of Drones." Assembling artists from different musical communities (some are played in clubs, some are considered new age, and others are associated with the avant-garde), Asphodel put together a varied and deeply satisfying collection of dark ambient music. While the individual tracks are distinctive enough, a similar feeling of tense uncertainty is consistent throughout. Robert Rich's "The Simorgh Sleeps on Velvet Tongues" sounds as if it was recorded in a massive cavern, with gongs that seem to reverberate for minutes and deep brass drones that could double as foghorns. Jeff Greinke's haunting "Low Ceiling" combines luminous extended tones with an animalistic wailing of uncertain origin, while Rythym & Noise offer a slightly warmer take on drone with "A Filament in Strata," a track not far afield from the processing experiments of Fripp & Eno. Biosphere's "En Trance" is true to its name, with hypnotic acoustic guitar strumming that renders it the most conventionally "musical" track here. At the other end of that spectrum is the extremely unsettling and atonal "Sound Characters" from mind-blowing installation artist Maryanne Amacher. Though it provided the title for her later album on Tzadik and would fit well on that brilliant release, "Sound Characters" is exclusive to this very worthwhile compilation.
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1. The Simorgh Sleeps On Velvet Tongues - Robert Rich
2. Mobius III - Ray Guillette
3. In The Catacombs (Again) - Steve Roach
4. Smudgeon - Iso Ambient Orchestra
5. Pool Of Mercury - Xopher Davidson
6. Equal Distance - Vidna Obmana
7. Retina Volt Stream - Gregory Lenczyck
8. Low Ceiling - Jeff Greinke
9. A Filament In Strata - Rhythm & Noise
10. En Trance - Biosphere
11: Etude For T.O.D. - David Darling
12. Sound Characters - Maryanne Amacher
13. Le Segue - Naut Humon

VA. - Storm of Drones (3CD)

2009-02-23T00:10:00.000-08:00

VA. - Storm of Drones (Asphodel，1996)
Disc: 1
1. Tangram - Normandeau, Robert
2. Valley Flow - Smalley, Denis
3. Marine
4. Lune Noire
5. Terre
6. Il Ritorno - Dhomont, Francis
7. Crystal Music
8. La Ou Vont Les Nuages
9. Cristaux Liquides
10. Hot Air - Calloway, Cab
11. Veils
Disc: 2
1. Reky into Dark Territory - Stearns, Michael
2. Merciful Eyes
3. Primal Image
4. Maritime Vision
5. Morning Light
6. It Is Hard to Know - Szymanski, Fred
7. Change of Direction - Fullman, Ellen
8. Reaching for Tomorrow - Copeland, Darren
9. Moire
10. The Last Leaf
11. In the Valley of the Shadows... (DJ Spooky Takes a Walk Through ...)
12. Twinge of Lunge
Disc: 3
1. Karyon
2. +/-1V
3. Klystron
4. Idle Sunder
5. Flyback Transformer
6. Temporal Filter Coefficient
7. Passage IV
8. Ephemera
9. Out from Under - Greinke, Jeff
10. Sirens at Propolis
11. Vot 3/2
12. Plaything

Jenny Lewis - Acid Tongue

2009-02-14T18:08:00.000-08:00

Jenny Lewis - Acid Tongue (Rough Trade，2008)

Somewhere along the way, Jenny Lewis decided that she wasn't an indie rocker but that she was a lady of the canyon, a singer/songwriter spinning stories on her own instead of languishing in a band with her ex-boyfriend. By the time of Rilo Kiley's too-eager-to-please crossover attempt Under the Black Light in 2007, being in Rilo Kiley was indeed languishing for Lewis, as the group muddled through tight-fisted funk harshly framed by an over-lit production. Acid Tongue, Lewis' second solo album, acts as a rebuke to all the considered calculation and perfunctory polish of Under the Black Light. Nothing about Acid Tongue feels over-thought, a problem that plagued both Under the Black Light and her solo debut Rabbit Fur Coat, whose rustic country-soul vibe occasionally played like a studied pose, particularly as Lewis picked up on every one of Elvis Costello's overheated literary lyrical tics. Experience -- either life or professional, it doesn't really matter -- has sanded away much pretension within her writing, taking Lewis down to her chosen foundation: early-'70s West Coast rock, rooted in country-rock but touching on gospelfied blues and R&B, pitched somewhere between Laura Nyro and Bonnie Raitt, colored by spooky ballads and sweeping strings swiped from early Elton John. As a solo artist, Lewis is a proud traditionalist, adhering to the constructs and conceits of classic singer/songwriters, which can come across as affectation if she's too careful to follow conventions, like she was on Rabbit Fur Coat. In stark contrast to that 2006 LP, Acid Tongue is open-hearted and thrillingly alive, an album that's all about a live band making a big, joyful noise in a small room. This was largely recorded live in a short span of time and it feels that way: when it rocks -- as it does on the furious "See Fernando" and "Jack Killed Mom," both picking up speed like a runaway locomotive -- it's invigorating, while softer moments like the girl-groupish "Trying My Best to Love You" have a warm intimacy. There's a communal vibe here, which is only appropriate as these sessions had a revolving open door, bringing in plenty of friends and guests, including old reconstituted hippies like Chris Robinson of the Black Crowes, wannabe troubadours like Lewis' boyfriend Johnathan Rice, both halves of She & Him, and Jenny's idol Costello, who appears for a rip-roaring duet on "Carpetbaggers" and lends his protégée some of his Imposters, including drummer Pete Thomas who gives this a wallop. This old-fashioned jam session gives Acid Tongue a crackling vitality but what's remarkable about the album is how much more comfortable Jenny Lewis seems here, as both a singer and writer. The vigorous music undercuts any lingering stodginess from Lewis' classicism but she's also shaken off the cobwebs on her writing, mastering an elusive, open-ended melancholy that makes "Black Sand" truly haunting and not wasting space even when "The New Messiah" spills out to upwards of ten minutes. Lewis isn't exploring new territory here; instead she's digging deeper, tossing out what hasn't worked and sharpening what has, finding a way to carve out a distinctive voice within a tradition instead of redefining the style. That's tough work, as it takes time to hone those skills, but Acid Tongue is where Lewis finally pulls it all together and delivers one killer of a record.

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Bernard Parmegiani - Chronos

2009-02-14T17:45:00.000-08:00

Bernard Parmegiani - Chronos (INA-GRM)

Bernard Parmegiani (Paris, France, 1927) started off as a sound engineer for French television (ORTF later known as RTF). Originally a mime during the four years studies at Lecoq & Decroux school, he joined the Groupe de recherches musicales (GRM) in 1959 for a two years master class. His first major work (Violostries) is composed in 1962 for a choregraphy performed for Thtre Contemporain d’Amiens directed by Jacques-Albert Cartier.Pierre Schaeffer gave him the direction the Musique-Image departement at ORTF. He composed during that period for numerous film directors, such as R. Lapoujade, P. Folds, P. Kamler, V. Borowczyck, P. Kast, J. Baratier or P. Kassovitz. He furthermore extended his musical researches in the field of video-art after a journey through the US. He directed three musical videos when he returned: L’OEil coute (1973), Jeux d’artifices (1979) for the research departement of ORTF, plus L’cran transparent (1973) in Kln (Germany) at West Deutsche Rundfunk (WDR) during his residency.His interests goes also live: he interacted during the seventies with jazz practitioners for improv sessions with french jazz fellows J.-L. Chautemps, B. Vitet or M. Portal. He went in London to perform live with The Third Ear Band.He realized numerous jingles & soundbites for public radio stations (France-Culture or France-Musique), public television service (Antenne 2) or airport (Aroport de Roissy).During his entire career, he finally realized music for stage (dance & theater), screen or media (radio & television alike). But he remains focused on electroacoustic music (or acousmatic music as defined by GRM long-time director Franois Bayle) conceived to be played back for the best rendition on the acousmonium broadcasting system developped by Groupe de recherches musicales (GRM).

A L' oeil Écoute (24:35)
B1 La Roue Ferris (11:04)
B2 L' Instant Mobile (10:16)

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Jean-Claude Risset - Invisible

2009-01-17T05:51:00.000-08:00

Jean-Claude Risset - Invisible (GMEM，1996)

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Aube - Flood Gate

2008-12-20T19:41:00.000-08:00

Aube - Flood Gate (Vanilla Records，1993)
1. Potential Energy (23:21)
2. Stirer (13:25)
3. Overflow (22:36)

Music Playlist at MixPod.com

Miles Davis - Live at Fillmore West 15.10.1970

2008-12-15T23:07:00.000-08:00

Miles Davis - Live at the Fillmore West October, 1970 (Private/Unissued Recording)

Miles Davis - trumpet

Gary Bartz - soprano and alto sax

Keith Jarrett - electric piano, organ

Michael Henderson - bass

Jack DeJohnette - drums

Airto Moreira - percussion

Jumma Santos [Jim Riley] - percussion

01. Honky Tonk

02. What I Say [includes voiceover from the broadcast advertising an upcoming gig]

03. Sanctuary
04. Yesternow
05. Bitches Brew

06. Funky Tonk / The Theme

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Just Music - Just Music [ECM1002]

2008-12-15T22:54:00.001-08:00

Just Music - Just Music (1969，ECM)

Alfred Harth: Tenor Saxophone, Clarinet, Bass Clarinet, Trumpet
Dieter Herrmann: Trombone
Johannes Krämer: Guitar
Franz Volhard: Cello
Thomas Stöwsand: Cello, Flutes
Peter Stock: Bass
Thomas Cremer: Percussion, Clarinet Recorded on December 13, 1969 at the Nettekoven Studios, Frankfurt. Produced by Just Music.

1. Stock - Vol - hard (18:50)
2. Just a Moment (19:00)
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武滿徹( Toru Takemitsu ) - Film Music by Toru Takemitsu Vol. 1

2008-11-29T01:39:00.000-08:00

(JVC，1990)

小林正樹監督作品篇
1. 怪談 Kwaidan
2. 切腹 Harakiri
3. 燃える秋 Glowing Autumn
4. からみ合い The Inheritance
5. 日本の青春 Hymn to a Tired Man
6. 化石 The Fossil
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Urszula Dudziak - Urszula

2008-11-24T08:29:00.000-08:00

(Arista，1976)
Singer Urszula Dudziak's second recording as a leader and first American record introduced to the jazz world a somewhat bizarre stylist. By sometimes using electronics to distort her voice and displaying a very wide range along with the ability to improvise freely, Dudziak was quite unique. All ten selections on this out-of-print Arista LP (including "Zavinul," "Mosquito Dream," and "Just the Way You Are," which is no relation to the later Billy Joel hit) are originals by the singer, with the emphasis on "original." The backup group includes guitarists Reggie Lucas and Joe Caro, keyboardist Harold Ivory Williams, and a guest appearance on one song by Dudziak's husband, Michal Urbaniak, on lyricon

Urszula Dudziak : voice, electronic percussion
Michal Urbaniak : lyricon on Track # 7
Basil Farrington : bass
Reggie Lucas : guitar
Joe Caro : guitar
Harold Ivory Williams : keyboards

1. Papaya (Dudziak) 4:02
2. Mosquito (Dudziak) 4:25
3. Mosquito Dream (Dudziak) 2:34
4. Mosquito Bite (Dudziak) 4:23
5. Just the Way You Are (Dudziak/M. Scott) 3:22
6. Sno King (Dudziak) 4:34
7. Butterfly (Urbaniak) 4:34
8. Zavinul (Urbaniak) 5:15
9. Funk Rings (Dudziak) 2:16
10. Call Me Monday (Dudziak) 5:12
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Isobel Campbell & Mark Lanegan - Sunday at Devil Dirt

2008-11-19T05:51:00.000-08:00

(v2，2008)

The second collaboration between Isobel Campbell and Mark Lanegan, 2008's Sunday at Devil Dirt, follows roughly the same template as the first, 2006's Ballad of the Broken Seas. The songs hit all the same signposts with stops at the lowdown country blues, and melancholy orchestral pop à la Nancy Sinatra & Lee Hazlewood, restrained British folk, and dramatic Bad Seeds-lite balladry. Once again, Campbell reverses the traditional pop formula of a male Svengali, writing, producing, and molding his female talent by writing all the songs and doing all the production and arranging herself, leaving Lanegan in the diva role. In fact, Devil Dirt is almost a carbon copy of Broken Seas in every way (except for the decidedly cheap looking album art). This similarity could be problematic and make the album less impressive or desirable; fortunately, the formula is strong and worth revisiting. Campbell's arranging skills have grown some too, though they were already strong, and the production is clean and dramatic. In spots, it verges on too clean (a little more grit would have made some of the songs more powerful, a little less NPR, and a little more dangerous) but never to the point of dulling the songs impact. The real treat of the record is hearing Lanegan's gruff baritone mesh queasily with Campbell's paper-thin vocals, their duets on "Who Built the Road?" and "Keep Me in Mind, Sweetheart" to name two are quite entertaining and charming. Lanegan's solo spots are treated with his trademark broken down melancholy growl; he's remarkably steady and reliable throughout (this album and his career) and gives the album a rocksteady foundation of melancholy soul. Campbell's vocal feature is a bit of a wobbler, though, as hearing her purr her way through a 12-bar blues is territory better left to Holly Golightly, she just sounds kittenish instead of sultry here. It's really the only stumble on the album though and more proof that a Svengali is better off staying in the background, especially if the world of sound he creates is as captivating as what Campbell creates on Sunday at Devil Dirt.

1. Seafaring Song

2. The Raven

3. Salvation

4. Who Built The Road

5. Come On Over (Turn Me On)

6. Back Burner

7. The Flame That Burns

8. Shot Gun Blues

9. Keep Me In Mind Sweetheart

10. Something To Believe

11. Trouble

12. Sally Don't You Cry

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DJ Krush - Oumupo 6

2008-11-15T03:56:00.000-08:00

(Ici D'ailleurs，2007)
The sixth in the series of 'remix' cds from French label Ici D'ailleurs sees legendary Japanese hiphop producer DJ Krush taking the reigns and attempting to rewire tracks from the Ici D'ailleurs catalogue. Obviously with a master such as Krush behind the wheel the results are somewhat predictably high quality, but by choosing to rework tracks from artists as outré as Thomas Belhom and Dominique Petitgrand we find him wrestling with music slightly removed from his comfort zone. This results in a peculiar album, a mix of French abstraction and romanticism and Japanese precision - something that's well worth a closer listen. Krush may not be the major league celebrity he once was but with this disc he shows he's still got the chops to compete with the big boys. Comes packaged in a rather lovely brown cardboard sleeve with a couple of little books... lavish doesn't even begin to explain it!

1. eric aldea : 01 (violatus)　　
2. narcophony : leo　　
3. thomas belhom : twice around the harbor　　
4. thomas belhom : web's voodoo　　
5. bastard : locate radiation　　
6. thomas belhom : who's big　　
7. the married monk : handsome　　
8. dominique petitgand : etat liquide / programme : mon geste
9. dominique petitgand : la rosee / julien ribot : fille no.70　　
10. I N fusd : earmuff　　
11. bastard : travelgum　　
12. the married monk : love commander　　
13. the digital intervention : the last writes / coma idyllique
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VA. - Swarm of Drones

2008-11-13T23:07:00.000-08:00

(1995，Asphodel)

Disc 1
01. rhythm & noise - looms
02 michel redolfi - palm canyon
03 robert rich - buoyant on motionless deluge
04 dj cheb i sabbah - hamam
05 steve roach - shard i
06 vidna obmana - flat earth
07 insect funeral - calming sorrow
08 robert fripp - 2000 ii
09 janis mattox - soli deo gloria
10 aloof proof - the ghost ship (excerpt)

Disc 2
11 ned bouhalassa - move i (drone mix)
12 jeff greinke - below
13 x-ray - annul
14 lull - slow fall inward
15 kk null / james plotkin - drowning in aurora
16 iso ambient orchestra - melisma
17 naut humon - deliquesce
18 gregory lanczycki - variable state optical amplifier
19 xopher davidson - lapsed transfer
20 maryanne amacher - sound characters composed for "SYNAPTIC ISLAND" and "A STEP INTO IT, IMAGINING 1001 YEARS"

喜多嶋修 (Osamu Kitajima) - Behind The Light

2008-11-13T22:53:00.000-08:00

(Higher Octave，1991)

After launching a successful career in a 1960s Japanese rock and roll band, Osamu Kitajima decided to go solo and explore the ancient instruments of Japan, such as the koto. Since then he has moved to America and completed at least 9 albums...He artfully blends the ancient musical traditions of Japan with contemporary instruments, creating his own distinctive fusion of East and West. He is an award-winning composer of music for commercials, video, television and film in the U.S. and Japan.

1. Behind The Light
2. Yesterday's Child
3. Mystic Whisk
4. The Three orders
5. Wings of Knowledge
6. Small Wonder
7. Forbidden Green
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Andreas Vollenweider - Behind The Garden, Behind The Wall, Under THe Tree..

2008-11-12T18:43:00.000-08:00

(Columbia，1982)

Vollenweider, a Swiss musician, performs on a mechanically altered concert harp. His instrument enables him to counteract the meditative properties of the harp with a strong rhythmic pulse. The results are very low-frequency bass tones in the harp, coupled with an almost orchestral sense of harmony. This very popular album is upbeat, centering and a real delight.

1. Behind the Gardens/Behind the Wall/Under the Tree
2. Pyramid-In the Wood-In the Bright Light
3. Micro-Macro
4. Skin and Skin
5. Moonlight, Wrapped Around Him
6. Lion and Sheep
7. Sunday
8. Afternoon
9. Hands and Clouds

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坂本龍一 (Ryuichi Sakamoto) - Smoochy

2008-11-12T17:58:00.000-08:00

(Milan，1997)
Inspired by both Brazilian music and the boundless possibilities of the Internet, electronic composer Ryuichi Sakamoto wrote Smoochy, an endlessly intriguing exploration of what happens when the old world meets the future. Using his Brazilian Internet concept as a foundation, Sakamoto goes on to add a variety of other musics, including jazz and Latin pop, to the music, creating a dense and fascinating musical web of electronics and percussion. Occasionally, he gets too self-consciously arty for his own good, but most of the album finds Sakamoto at his best.

1. Bibo No Aozora
2. Aishiteru, Aishitenai
3. Bring Them Home
4. Aoneko No Torso
5. Tango
6. Insensatez
7. Poesia
8. Dennogiwa
9. Hemisphere
10. Manatsu No Yo Ana
11. Rio
12. A Day in the Park
13. Tango (Version Castellano)
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Steve Roach/Robert Rich - Soma

2008-11-12T17:53:00.000-08:00

(Hearts of Space，1992)

Steve Roach and Robert Rich are the most important electronic ambient musicians in the U.S. SoMa is their highly acclaimed follow-up to their first collaboration, Strata. Soma, according to Vedic writings, is "a drink made from plants which could help one commune with the gods." It is also the Greek word for body. So they designed this CD to be a vehicle to traverse between the physical and spiritual worlds. It is deep stuff. The soundscape offers listeners the opportunity to pursue and achieve states of ecstasy. The only extracurricular involvement is from the souls of the music and the listeners. The psychoactive atmospheres penetrate the defenses of the spirit and use Earth's resonant rhythms to tap into the biorhythms. From that point forward, Rich and Roach are in control. Listeners will go to the far reaches of the netherworld and stay within the limits set by this duo. This CD is in a league of its own. Comparisons would do the other discs an injustice. It is an essential album for all fans of good music

1. Love Magick
2. Nightshade
3. Going Inland
4. Silk Ridge
5. Blood Music
6. Soma
7. Seduction Of The Minotaur
8. Touch

Yas-Kaz - Darkness in Dreams

2008-11-12T17:42:00.000-08:00

(Kuckuck，1991)

Compiled from six of his finest recordings, these selections illustrate the composer's gift for translating fantasy into sonic reality. Each cut is a world in itself, in which luminous zither cascades and tribal percussion tracks alternate with joyous folk dances and oriental melodies for full string orchestra that soar over waves of synthesized sequencer patterns. A good introduction to the varied moods of Yas-Kaz (most of his recordings are rare Japanese imports).

1. Darkness In Dreams
2. Shiro-I Hebi
3. Jungle Book
4. Junpu
5. Mr. Nowhere
6. Bamboo On The Beach
7. Camel Princess
8. Journey From Water
9. Taiga
10. Delight Of Ricefield
11. Cara-Kira-Windscape III
12. Finale = Calender
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Kenneth Newby - Sirens

2008-11-12T04:44:00.000-08:00

(City of Tribes，1997)

Newby's solo return after a four-year absence, Sirens is an immersive collection of ambient and environment electro-acoustic music with strong though restrained Middle Eastern and Southeast Asian influences. Newby intertwines a number of wordless vocal sources with drones, sparse percussion, and contributions on harp, rebab, bull fiddle, and didgeridoo from an assembly of guest artists. A strong, consistent album.

1. Saraswati

2. Sirens I
3. Luna
4. Howe Sound
5. Fathom
6. Eileithyia
7. Sirens II
8. Infinite
9. Mistress

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坂本龍一 (Ryuichi Sakamoto) & 渡邊香津美 (Kazumi Watanabe) - Tokyo Joe

2008-11-11T17:06:00.000-08:00

(Denon，1991)

1. Tokyo Joe
2. End of Asia
3. 在廣東少年 Zai Gvang Dong Shoo Nian
4. I'll Be There
5. E-Day Project
6. Thousand Knives
7. River Must Flow
8. Akasaka Moon

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山下勉 (Stomu Yamashta) - Sea & Sky

2008-11-11T16:51:00.000-08:00

(Kuckuck，1985)
If you enjoy the electronic orchestrations of Vangelis or the refined Japanese sensibility of Kitaro, this album is a must. Sea and Sky is a masterpiece. Working with the brilliant arranger Paul Buckmaster, Stomu Yamashta brings together his virtuoso synthesizer and percussion playing with the richness and power of full symphonic orchestra. From the surging initial ascent to the spectacular final crescendo, Stomu brings you images of the sea and sky in all their grandeur, with echoes of Debussy's "La Mer," the passion of Berlioz and the lushness of the great film scores. With the exception of one inexplicable section of light jazz, every moment of this 1984 album shines with a special energy.

1. A Photon
2. Appeared
3. And
4. Touched!
5. Ah...
6. Time
7. To See
8. To Know
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喜多嶋修 (Osamu Kitajima) - The Source

2008-11-11T16:42:00.000-08:00

(SONY，1986)
Osamu's first CBS release is the ultimate blend of East and West, electronic and traditional. The themes from The Source are memorable, cohesively uniting the three richly textured pieces. Ever shifting styles, tempos and powerful musical statements are continually heard, and Osamu never loses the flow or continuity of the whole work. From the 25-minute opening piece "Heavensent" to the 12- and 13-minute "Through Cosmic Doors" and "Eye to I," we're talking major masterpiece on this one. A group of fine musicians support him, playing lyricon, shakuhachi, synthesizers, acoustic and electric guitar, percussion, harp, and violin.

1. Heavensent
2. Thru Cosmic Doors
3. Eye to I
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坂本龍一 (Ryuichi Sakamoto) - Soundbytes

2008-11-11T16:32:00.001-08:00

(Rhino，1994)

1. Adelic Penguins
2. Daikoukai-Verso Lo Schermo
3. Replica
4. Milan, 1909
5. Relache
6. Variety Show
7. Senso-War - Ryuichi Sakamoto, Kubota, Haruo
8. Tibetan Dance
9. M.A.Y. In the Backyard
10. Japan
11. Slat Dance
12. A Rain Song
13. Ulu Watu
14. Water Is Life

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Steve Roach - The Lost Pieces

2008-11-11T16:03:00.000-08:00

(Projekt，1997)

Lost Pieces is a set of miscellaneous tracks that Steve Roach recorded from 1988 through 1992. Some of the pieces were for various artist collections; others were extra tracks from recording sessions. In the liner notes, Roach discusses how he had lost or forgotten about some of the compositions. Upon finding and listening to the tape, he is also able to recall and feel the emotions that inspired the music. Roach gathered these somewhat disjointed pieces and sequenced them to form some thematic integrity. It is through the inconsistency that he achieves consistency.

1. Eclipse
2. After the Dream
3. Mojave: At the Tree
4. Since We Are Away
5. Full Moon Prophesy
6. Red Shore
7. Repose
8. Three Reptiles Wait at the Opening to the Underworld
9. Expanding Again...
10. Closer
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Paul Winter - Canyon Lullaby

2008-11-11T15:32:00.001-08:00

(Living Music，1997)

Much is made in the liner notes of this recording about the lengths Paul Winter and his compatriots went to find just the perfect place in the Grand Canyon to record. For once, all the hyperbole is justified. The sound here is nothing short of breathtaking. Winter's saxophone reverberates off the canyon walls and has a truly transcendent sound and feeling. That said, the compositions — 21 of them, lasting over an hour in total time — are as evanescent as the sound of Winter's saxophone fading into the rocks, and there's only so much solo saxophone one can take (Winter's bandmate Paul Halley adds organ on two cuts). Interesting and exhilarating in small doses, Canyon Lullaby can go beyond soothing to soporific if listened to in one sitting.

1. Canyon Lullaby
2. First light
3. Honoring Song
4. Canyon chaconne
5. Dream of the basketmaker
6. Air for Keetu
7. Cornmeal medicine wheel
8. Redbud Siesta
9. Lizard lounge
10. Hummingbird's ballad
11. Afternoon sun
12. Waltz of the ravens
13. Lullaby at Pumpkin Springs
14. Dreamcatcher
15. Mars on the Rim
16. Midnight Blue
17. Moon Shadows
18. Music Temple
19. Rain Blessing
20. Sweet dreams, little one
21. Canyon chaconne (reprise)
mediafire

Praise - Praise

2008-11-07T14:50:00.000-08:00

(Giant，1992)

Praise is the London-based trio of accomplished musicians composers/instrumentalists Simon Goldberg and Geoff McCormack and vocalist Miriam Stockley. Their album of the same name is an intriguing amalgam of dance music, new age and global beat. Though largely electronic, Praise's strange, sweeping music is warm and somehow organic. World sounds — African rhythms to Middle Eastern swirls, Chinese flutes to Spanish flamenco — are woven through the sonic tapestry. In addition to Goldberg and McCormack's programming, musicians contributed to the album playing accordion, piano, organ, bamboo flute, sitar, bass, flute, saxophone, with African and Arab voices....

1. Dream On
2. Only You
3. Brand New Day
4. Easy Way Out
5. Solitude
6. Love
7. Pride
8. Chinatown
9. So Cold
10. Only You
11. Easy Way Out [Remix]

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Jon Hassell - Dressing For Pleasure

2008-11-07T14:19:00.000-08:00

(Warner Brothers，1994)

Two of the most memorable albums from the trip-hop and acid jazz era are by cornettist Graham Haynes (Transition) and trumpeter Ben Neill (Goldbug. Dressing for Pleasure preceeded them both. Usually, an adjective like "suave" doesn't sit easily on an ethnomusicologist whose knack for directness is grounded by his sense of beauty; neither does a label like "acid jazz." But this is Hassell's only album to fit its musical moment, following his appearance on the soundtrack of the crime film Trespass. The feel of a fully committed band is especially amazing — Hassell and drummer Brain work with an army of bassists (six, including Flea of the Red Hot Chili Peppers) and enough programmers (three) to field a dot com startup on a coffee break. Hassell's horn flits through a sexy blend of trip-hop's hard drum programs topped with soft, impassive electronic textures like a bird circling over a crowded intersection. Woodwind player Kenny Garrett and guitarist Gregg Arreguin provide thematic voices, too, but melody is rarely enough in this genre. As always, the real fun lies in how these instruments are broken up by the programmers, led by Jamie Muhoberec, a Hassell associate on Trespass and Fascinoma. Their work helps a trumpet melody, suave enough for Herb Alpert, sound like that artist playing through the blades of an electric fan. The sample of Duke Ellington's "Bakliff," laminated into "Destination: Bakliff"'s rhythms, prefigures the jazz covers on Fascinoma. And when that horn moans from between a camera shutter and Leslie Winn's coo-oohing in the sultry "Sex Goddess." Dressing for Pleasure is all that — an ethnomusicologist suavely dipping into a trip-hop trust fund. Old Morcheeba fans should duck into pawn shops to hunt for a copy.

1 G-Spot (Hassell) 5.03

2 Villa Narco (Hassell) 4.32

3 Kolo X (Hassell) 3.48

4 Personals (Hassell/Winer) 4.13

5 Club Zombie (Hassell) 3.28

6 Zeitgeist (Hassell) 3.51

7 Steppin' Thru Time (Hassell/Scaturro) 4.08

8 Destination: Bakiff (Hassell/Tizol) 4.16

9 Sex Goddess (Hassell) 4.30

10 Buzzword (Hassell/Scaturro/Mantia/Gore/Buckethead) 4.28

11 The Gods, They Must Be Crazy (Hassell/Scaturro) 5.42

12 Mati (Hassell) 4.2113 Blue Night (Hassell) 7.42

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Jon Hassell - City: Works Of Fiction

2008-11-06T19:18:00.000-08:00

(Warner Brothers，1990)

Several tracks on Jon Hassell's City: Works of Fiction feature dense electronic textures that are more fragmentary and aggressive than his prior work. However, the many polyrhythmic grooves on City are clearly reminiscent of Power Spot and point to the upcoming hip-hop of Dressing for Pleasure. Throughout City, Hassell's unique brand of exoticism prevails as he weaves his processed raga trumpet amidst a dazzling array of digital samples and electronic percussion, electric bass and guitar, and Masai voices from Kenya."Voiceprint" is densely packed with fragments of electronic percussion and samples; a popping bass searches for grooves that suddenly coalesce and then quickly disintegrate. Several fragmentary trumpet themes drift past while manipulated voices punctuate the kaleidoscopic textures. As with "In the City of Red Dust" and "Warriors," disorientation prevails over Hassell's usual languid cool. Hassell's echo-laden and harmonized trumpet themes lead "Pagan," which also features groove-oriented bass and percussion while disembodied samples chatter in the background. In particular, these tracks reflect Hassell's increasing interest in sampling technology as heard in Herbie Hancock's "Rockit" and Hank Shocklee's productions with Public Enemy.Harmonized trumpet calls and surging polyrhythms propel "Mombasa" and "Out of Adedara," as Hassell's Fourth World fascination becomes apparent. On "Mombasa," Hassell's distinctive trumpet glides and soars; multiple layers of trumpet interact and call out amidst the animated rhythms. In contrast, Hassell's trumpet leads "Rain" through cloudy samples and a subdued groove. "Ba-Ya D" features trumpet loops reminiscent of Possible Musics over which he layers melismatic cries of solo trumpet; moaning samples hover in the background. On "Out of Adedara," Hassell's weary trumpet brings the album to a quiet closing. As with all of Hassell's best work, his processed raga trumpet remains the focal point from which his highly imaginative musical conceptions emerge. On City, Hassell's trumpet bridges the new rhythms, textures, and technology to his futurist/primitivist Fourth World aesthetic. In the hands of lesser artists, these seemingly disparate worlds would collide. On City, Hassell transforms his unique imaginary music into aural realism.

1. Voiceprint (Blind From the Facts) (Hassell/Rona) [05:46]
2. Pagan (Hassell) [06:26]
3. Mombasa (Hassell/Rudolph) [08:03]
4. Tikal (Arreguin/Hassell) [03:06]
5. In the City of Red Dust (Hassell) [05:37]
6. Rain (Hassell) [06:28]
7. Ba-Ya D (Hassell) [06:02]
8. Warriors (Hassell) [09:22]
9. Out of Adedara (Hassell) [05:07]
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James Plotkin／Mick Harris - Collapse

2008-11-06T15:30:00.001-08:00

(Asphodel，1996)

Although Collapse combines two artists often associated with more conventional guitars/drums/bass arrangements (Plotkin with avant-thrash group Old Lady Drivers; Harris with Napalm Death and Painkiller), the album sounds anything but familiar, its chilling dronescapes resembling instead the damp, chilling room tone of some urban subterranea. While treated guitar does figure quite prominently in most of Collapse's five tracks, the bassy backgrounds and hissing fuzz leave much of the music to the subconscious, similar in some respects to the work of A Produce, Final, Jeff Greinke, and some Alio Die. One of the better examples of so-called "isolationist" ambient.

1. Momentum (11:58)
2. Collision (10:29)
3. Collapse (19:24)
4. Drench (14:41)
5. Dissolve (9:50)
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Øystein Sevåg - Bridge

2008-11-06T15:11:00.000-08:00

(Hearts of Space，1997)

Sevag's 1997 work Bridge, heads into more classical and acoustic territory, but keeps the fusion of jazz, ambient and ethnic elements that form his trademark style. "Cobalt" features an open improvisation between Sevag and his wife Maria on violin, while "Spiral" includes a string quartet and "Hanging Gardens" uses the Philharmonia of London's talents to create a chamber-jazz atmosphere. As a result, Bridge's experimentation culminates in some of Sevag's most expressive and nuanced work.

1. Seed
2. Spiral
3. Circle
4. Hanging Gardens
5. Chorale
6. Pulse
7. The Hermit's Horse
8. White Wings
9. Cobalt
10. Annual Rings

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武滿徹( Toru Takemitsu ) - Orchestral Workds IV: Coral Island, The Dorian Horizon, Etc.

2008-11-06T14:00:00.000-08:00

(Toru Takemitsu 1930~1996)

(Denon，1998)

1. The Dorian Horizan [1966] (9:14)

Coral Island - For Soprano & Orchestra [1962]
2. Accumulation 1 (2:46)
3. Poem 1 (3:20)
4. Accumulation 2 With "Corona 2 For Strings" (2:26)
5. Poem 2 (3:52)
6. Accumulation 3 (2:37)

7. A Flock Descends Into The Pentagonal Garden [1977] (13:14)

8. Archipelago S. For 21 Players [1994] (13:37)

9. Appendix: Corona 2 For String(s) [1962] (1:34) mediafire

武滿徹( Toru Takemitsu ) - 秋、ア・ウェイ・アローンⅡ、他　沼尻竜典＆東京都交響楽団

2008-11-03T16:50:00.000-08:00

(Demon，1997)

1. 秋 (1973) - 琵琶､尺八､ｵｰｹｽﾄﾗのための
(Autumn: into the fall after a little while)
2. ｱ･ｳｪｲ･ｱ･ﾛｰﾝⅱ (1981) - 弦楽ｵｰｹｽﾄﾗのための
(A Way A Lone II)
3. ｳｫｰﾀｰ･ﾄﾞﾘｰﾐﾝｸﾞ (1987) - ﾌﾙｰﾄとｵｰｹｽﾄﾗのための
(I Hear The Water Dreaming)
4. ﾄｩｲﾙ･ﾊﾞｲ･ﾄﾜｲﾗｲﾄ (1988) - ｵｰｹｽﾄﾗのための
(Twill By Twilight)
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Bootsy Collins - Glory B da Funk's on Me!: The Bootsy Collins Anthology

2008-11-03T16:00:00.000-08:00

(Rhino，2001)

William "Bootsy" Collins cut his teeth playing bass with the James Brown band in 1970, but when he landed in George Clinton's Parliament/Funkadelic crew in the mid-'70s, he quickly became a figurehead of Clinton's messier, trippier cartoon funk. Throughout the 1976-82 period condensed into this two-disc set, Bootsy and his Rubber Band were essentially P-Funk for kids. His records had all the stage-crowding chaos of the Mothership, with the politics and priapism replaced by goofy spiels about the excellence of, well, Bootsy, plus squelchy, googly sounds and his infamous star-shaped shades. The tone he got out of his star-shaped bass, like huge bubbles surfacing from the bottom of a lake, was heavy enough that he could slow things way, way down--"Jam Fan (Hot)" crawls like no other hard-funk record. That, in turn, let him be the half-serious loveman Clinton couldn't risk being (check out the wacky, spacy slow jam "Munchies for Your Love"). Glory B mostly collects unedited album tracks, though it also throws in 1980's lost demi-hit "Freak to Freak" (credited to Sweat Band) and the '82 single "Body Slam!"

Disc: 1
1. Stretchin' Out (In A Rubber Band)
2. Psychoticbumpschool
3. I'd Rather Be With You
4. Vanish In Our Sleep
5. Ahhh...The Name Is Bootsy, Baby
6. The Pinocchio Theory
7. Munchies For Your Love
8. What's A Telephone Bill?
9. Can't Stay Away
10. Very Yes
11. Roto-Rooter

Disc: 2
1. Bootzilla
2. Hollywood Squares
3. Shejam (Almost Bootsy Show)
4. Bootsy Get Live
5. Jam Fan (Hot)
6. F-Encounter
7. Mug Push
8. Freak To Freak (single version) - Sweat Band
9. Shine-O-Myte (Rag Popping)
10. Landshark (Just When You Thought It Was Safe)
11. Countracula (This One's For You)
12. #1 Funkateer
13. Take A Lickin' And Keep On Kickin'
14. Body Slam! (12" mix)

Yoko Ono/Ima - Rising (1995)

2008-11-02T15:18:00.000-08:00

"The making of the album served as a purging of my angst, pain and fear," writes Yoko Ono in a sleeve note to her first new album in a decade. "I hope it will for you, too." The angst, pain, and fear she cites come both from her childhood in war-torn Japan and such current-day scourges as AIDS. Ono returns to primal screaming on some tracks to express those feelings, and the album's music, played by IMA, a trio featuring her son, Sean Ono Lennon, matches her fury with hard rock and funk worthy of the Red Hot Chili Peppers. In the '80s, Ono turned to pop/rock without achieving a commercial breakthrough. Here, she returns to the abrasive style of her '70s work, which has turned out to be more influential on a generation of alternative rockers.

1. Warzone
2. Wouldnit
3. Ask the Dragon
4. New York Woman
5. Talking to the Universe
6. Turned the Corner
7. I'm Dying
8. Where Do We Go from Here?
9. Kurushi
10. Will I
11. Rising
12. Goodbye, My Love
13. Revelations

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Kool & The Gang - Gangthology

2008-11-02T15:05:00.000-08:00

A group with two distinct careers (and a matching fan base for each), Kool & the Gang recorded dozens of great sides during their 20-year career, but anthologists have often floundered when attempting to sum up the group with a decade-spanning collection. The problem is always the same: what's the correct ratio of early material (organic funk jams) to later material (synthetic urban pop), and how to sequence it? The Australian compilation Gangthology divides its track listing not by chronology but by mood, separating the contents into one disc titled "Wild" and one titled "Peaceful" (a concept sparked by Kool & the Gang's own Wild and Peaceful LP). The focus is justifiably on the band's early-to-mid-'70s artistic peak, with all but ten of the 33 tracks coming from that period and including all the major hits ("Hollywood Swinging," "Jungle Boogie," "Funky Stuff") plus a full dozen neglected album tracks of the time (like "Street Corner Symphony" and "Whiting H. & G."). The band's time with J.T. Taylor at the helm gets plenty of space too, with a miniset on the first disc comprising "Ladies Night," "Steppin' Out," "Celebration," "Get Down on It," and "Fresh." The second disc reveals — for those who've never investigated the band fully — that Kool & the Gang were just as good at making jazzy, impressionistic music (just listen to "Summer Madness" and "Winter Sadness") as they were with the hooky, chorus-led jams they're known for. One caveat, however: in attempting to fill out the second disc with "peaceful" material, the compilers were forced to include subpar material like "You Don't Have to Change" and "Messenger of Wisdom." How ironic that in looking for a different way to anthologize Kool & the Gang, they fell prey to the same pitfall; a better ratio here would have been 75% wild and only 25% peaceful.

Disc: 1 (mediafire)
1. Kool & the Gang - Kool & the Gang, Kool & the Gang
2. Funky Stuff - Kool & the Gang, Kool & the Gang
3. N.T. - Kool & the Gang, Kool & the Gang
4. Street Corner Symphony - Kool & the Gang, Bayyan, Khalis
5. Hollywood Swinging - Kool & the Gang, Bell, Robert
6. Rhyme Tyme People - Kool & the Gang, Kool & the Gang
7. Electric Frog, Pt. 1 - Kool & the Gang, Kool & the Gang
8. More Funky Stuff - Kool & the Gang, Kool & the Gang
9. Open Sesame - Kool & the Gang, Bell, Ronald
10. Come Together - Kool & the Gang, Bayyan, Khalis
11. Ladies Night - Kool & the Gang, Bell, Ronald
12. Steppin' Out - Kool & the Gang, Bell, Ronald
13. Celebration - Kool & the Gang, Bell, Ronald
14. Get Down on It - Kool & the Gang, Bell, Robert "Kool"
15. Fresh - Kool & the Gang, Kool & the Gang
16. Jungle Boogie - Kool & the Gang, Bell, Ronald

Disc: 2 (megaupload)
1. Breeze & Soul - Kool & the Gang, Kool & the Gang
2. Sea of Tranquility - Kool & the Gang, Kool & the Gang
3. Wichita Lineman - Kool & the Gang, Webb, Jimmy [1]
4. Lucky for Me - Kool & the Gang, Smith, Charles [2]
5. I Remember John W. Coltrane - Kool & the Gang, Bell
6. Heaven at Once - Kool & the Gang, Bell, Robert "Kool"
7. Sugar - Kool & the Gang, Kool & the Gang
8. Whiting H. & G. - Kool & the Gang, Bayyan, Khalis
9. Summer Madness - Kool & the Gang, Bell, Robert
10. Winter Sadness - Kool & the Gang, Bayyan, Khalis
11. You Don't Have to Change - Kool & the Gang, Kool & the Gang
12. Messenger of Wisdom - Kool & the Gang, Bayyan, Khalis
13. Free - Kool & the Gang, Bayyan, Khalis
14. Take My Heart (You Can Have It If You Want It) - Kool & the Gang, Brown, George
15. Too Hot - Kool & the Gang, Brown, George
16. Jones vs. Jones - Kool & the Gang, Brown, George
17. Wild and Peaceful - Kool & the Gang, Bell, Robert "Kool"

WAR - Why Can't We Be Friends (1975)

2008-10-30T19:13:00.000-07:00

Cut from the same cloth as the band's 1973 Deliver the Word LP, War's 1975 Why Can't We Be Friends? is a masterpiece in its scope and breadth. And, emerging as the last work the band would do for its longtime label, United Artists, it became a fitting swansong, powering up the charts and giving War its fourth and final number one hit. In recent years, the album has been overshadowed by the monstrously popular bass-beating and bright brass of its singular hit, "Low Rider." Indeed, the song would become the band's signature theme, as the Latino street-cruiser jam quickly became a live set staple and, much later, was reinvigorated through sampling on songs by the Beastie Boys, Stereo MC's, and Offspring. However, that one track, iconographic as it is, is by no means the only treat onboard Why Can't We Be Friends? There are far more interesting and superb treats roiling in the wake of "Low Rider." The snappy title track, which poses the question of the decade and, oddly, closes the album, is a feel-good thumper. Its bright brass punctuation and rakish vocals are wonderfully combined with an absolutely contagious reggae beat. Then, add the doesn't-get-much-better-than-that medley "Leroy's Latin Lament." Divided into four "songs," the music swings from the smart vocal opening "Lonnie Dreams" to the effervescent Latin jam of "La Fiesta." And, of course, where there's War, there's funk — this time on the seven-plus minute"Heartbeat." Wrap it all up with the poignant ballad "Lotus Blossom," and the result is pretty much perfection. Why Can't We Be Friends? remains one of War's truly outstanding efforts, and has become an integral part of the funk genre's landscape. It also remains the nightcap of their finest hour. War's ill-timed move to MCA changed the energy and focus of the band forever.

Artist: War
Album: Why Can't We Be Friends?
Release Date: 1975
Label: Rhino
Time: 44:04

1. Don't Let No One Get You Down
2. Lotus Blossom
3. Heartbeat
4. Leroy's Latin Lament (Medley)

a) Lonnie Dreams

b) The Way We Feel

b) Le Fiesta

d) Lament
5. Smile Happy
6. So
7. Low Rider
8. In Mazatlan
9. Why Can't We Be Friends?

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WAR - Youngblood [Soundtrack] (1978)

2008-10-30T18:59:00.000-07:00

The soundtrack to Youngblood, a film about an L.A. street kid starring Lawrence-Hilton Jacobs of Welcome Back, Kotter fame, seemed an obvious choice for L.A.'s ultimate street band. The selection of music would prove WAR's most diverse set to date, combining extended Latin jazz-jams ["Youngblood (Livin' In The Streets)]," funky breakbeats ("This Funky Music Makes You Feel Good"), simple pop treats ("Sing A Happy Song"), short audio samples from the film, and essential "chase" themes (the DJ favorite "Flying Machine -The Chase").

War did the music for this funky soundtrack to an early Lawrence Hilton-Jacobs film, and although most of the stuff on here is just typical War stuff, there's one track called "Flying Machine" that's a long funky chase scene-type track that's worth the price of the album alone! Other tracks include "The Kingsmen Sign", "Junk Yard", "Superdude", and "Youngblood".(dustygroove)

1. Youngblood (Livin' in the Streets)
2. Sing a Happy Song

3. Keep on Doin'
4. Kingsmen Sign, The
5. Walking to War
6. This Funky Music Makes You Feel Good
7. Junk Yard
8. Superdude
9. Youngblood & Sybil
10. Flying Machine (The Chase)

11. Searching For Youngblood & Rommel
12. Youngblood (Livin' in the Streets) (Reprise)

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The Bee Gees - Double Goldies (1994)

2008-10-30T18:31:00.001-07:00

Title: Double Goldies

Artist: The Bee Gees

Release Date: 9/2/1994

Label: Goldies

Album Type: Greatest Hits

CD 1
1. Spicks & Specks
2. In The Morning
3. Like Nobody Else
4. All By Myself
5. Storm
6. Butterfly
7. Exit, Stage Right
8. Coalman
9. I Am The World
10. Cherry Red
11. I Want Home
12. Monday's Rain
13. How Many Birds
14. Secondhand People
15. Born A Man
16. I Was A Love, A Leader F

CD2

1. Timeber
2. Claustropho
3. Could It Be
4. I Don't Think It's Funny
5. Three Kissess Of Love
6. Turn Around Look At Me
7. Every Day I Have To Cry

8. How Love Was There
9. You Won't See Me
10. Lonely Winter
11. Play Down
12. Big Chance
13. Children Laughing
14. Glass House

Jon Hassell - Vernal Equinox (1977)

2008-10-27T03:16:00.000-07:00

Artist: Jon Hassell
Title: Vernal Equinox
Label: Lovely Music
Released: 1977
Time: 51:19

Recorded in 1976 at the York University Electronic Media Studios in Toronto, Ontario, Vernal Equinox is Jon Hassell's first recording as a solo artist and sets the stage for his then-emerging career as a trumpeter, composer and musical visionary. "Toucan Ocean" opens the album with two gently swaying chords and delicate layers of percussion that provide a cushion upon which Hassell unfurls long, winding melodic shapes. His trumpet is sent through echo and an envelope filter, producing a stereo auto-wah-wah effect. "Viva Shona" features accompaniment by mbira, subtle polyrhythmic layers of percussion, and the distant calling of birds. Again filtered through echo, Hassell's gliding trumpet lines sound remarkably vocal. "Hex" features a bubbling, filtered electric bass part with a denser web of percussion. From his horn, Hassell elicits moans and sighs that are at first unaffected and later filtered. "Blues Nile" is a long, blue moan. Hassell's breathy, multi-tracked trumpet lines call and respond to one another, weaving a web of deep calm over an ever-present drone. This track clearly points the way to his later work with Brian Eno, in particular, their "Charm Over Burundi Sky." On the title track, Hassell's "kirana" trumpet style is in full bloom as he dialogs with the percussion. Hassell's most elegant melodicism blossoms forth here, and his unaffected horn often sounds disarmingly flute-like. The influences of his study of raga with Pandit Pran Nath are clearly discernible in the curvaceous melodic lines and overall sense of meditative calm within harmonic stasis. Throughout the album, percussionists Naná Vasconcelos and David Rosenboom add subtle, supple grooves and colors. "Caracas Night September 11, 1975" is a beautiful field recording featuring Hassell's plaintive trumpet commentary, subtle percussion interjections, and the sound of caracas humming and buzzing in the background. The first several tracks of Vernal Equinox bear the imprint of '70s-period Miles Davis, in particular the quiet ambience of "He Loved Him Madly" and parallel passages from Agharta. The envelope filter on Hassell's horn similarly draws a reference to Davis' use of the wah-wah pedal from that time. Nonetheless, in 1976, Vernal Equinox was remarkably unique and ahead of its time, and sowed the seeds of Hassell's influential Fourth World aesthetic, which he would continue to develop and refine. Decades after its release, Vernal Equinox still provides an enchanting and entirely contemporary listening experience.

　　Toucan Ocean (3:42)
　　Viva Shona (7:04)
　　Hex (6:20)
　　Blues Nile (9:51)
　　Vernal Equinox (21:56)
　　Caracas Night September 11, 1975 (2:10)

Watermelon in easter hay

Bernard Parmegiani - Polyphonie

The Smiths

Nigo - (B)APE SOUNDS

Takashi Yoshimatsu - ２つのロマンス 名前のロマンス

Takashi Yoshimatsu - Stellar Dream Dances

Orbital - Are We Here ?

Robert Rich - Gaudi

Azuma – Azuma

Marcus Davidson - Cross-Pollination

Merzbow - Amlux

SENS - Kaishin

Future Sound of London - My Kingdom

Future Sound of London - We Have Explosive Remix EP

Michel Redolfi - Detours

Fila Brazillia - Brazilification (Remixes 95-99)

Love, Peace & Trance - Love, Peace & Trance

DJ Deep - Respect to DJ Deep

吉松 隆 (Takashi Yoshimatsu) つのワルツ 虹色の薔薇のワルツ

Nils Franhm & Anne Mueller - 7 Fingers

1993-12-04 BBC Radio 1 Essential Mix by Future Sound of London

Every Single BBC Radio1 Essential Mix From 1993 To 2007

Mark Fell - Multistability

Boredoms - Rebore Vol.0

Hariprasad Chaurasia - Nada (Live in Jerusalem)

Haruomi Hosono & Bill Laswell - Interpieces Organization

ASGP - Guitar Sam Guk Ji

Lustmord - Lustmørd

!!! - Strange Weather Isn't It ?

Pete Namlook - Dark Side of The Moog 7

Steve Kuhn - Trance

Carl Stone - Al-Noor

Robert Rich - Calling Down The Sky

Michael Stearns - Planetary Unfolding

Claude VonStroke - Vocal Chords [Single]

ARCANA - Arc of The Testimony

Ryuichi Sakamoto - BTTB

Mika Vainio - Vandal EP

The Blood of Heroes - The Blood of Heroes

Osamu Kitajima - Benzaiten

VA. - The Future Sound of Jazz Vol.6

The Orb - Orbus Terrarvm

Frank Zappa - Absolutely Free

Mojave 3 - Puzzles Like You

Terje Rypdal - Bleak House

L. Shankar - Touch Me There (with Frank Zappa)

Music Compulsion

Tomita - Planets

Bill Laswell - Asana OHM Shanti (2006)

Solar Quest - Orgship

Francis Dhomont - Sous le regard d'un soleil noir

Francis Dhomont - Cycle de l'Errance

Takashi Yoshimatsu (吉松隆) - Pleiades Dances

Michael Jones and David Darling - Amber

Embryo - We Keep On

playlist test

player test

BJORK - Voltaic

Zbigniew Karkowski & Tetsuo Furudate - World as Will III (2008)

V.A. - Driftworks (4CD collection)

Pat Metheny with Charlie Haden and Billy Higgins - Rejoicing [ECM 1271]

Marion Brown - Afternoon of a Georgia Faun [ECM 1004]

VA. - Trone of Drones

VA. - Storm of Drones (3CD)

Jenny Lewis - Acid Tongue

Bernard Parmegiani - Chronos

Jean-Claude Risset - Invisible

Aube - Flood Gate

Miles Davis - Live at Fillmore West 15.10.1970

Just Music - Just Music [ECM1002]

武滿 徹( Toru Takemitsu ) - Film Music by Toru Takemitsu Vol. 1

Urszula Dudziak - Urszula

Isobel Campbell & Mark Lanegan - Sunday at Devil Dirt

DJ Krush - Oumupo 6

VA. - Swarm of Drones

喜多嶋 修 (Osamu Kitajima) - Behind The Light

Andreas Vollenweider - Behind The Garden, Behind The Wall, Under THe Tree..

坂本龍一 (Ryuichi Sakamoto) - Smoochy

Steve Roach/Robert Rich - Soma

Yas-Kaz - Darkness in Dreams

Takashi Yoshimatsu - ２つのロマンス　名前のロマンス

吉松隆 (Takashi Yoshimatsu) つのワルツ　虹色の薔薇のワルツ

武滿徹( Toru Takemitsu ) - Film Music by Toru Takemitsu Vol. 1

喜多嶋修 (Osamu Kitajima) - Behind The Light

山下勉 (Stomu Yamashta) - Sea & Sky

喜多嶋修 (Osamu Kitajima) - The Source

武滿徹( Toru Takemitsu ) - Orchestral Workds IV: Coral Island, The Dorian Horizon, Etc.

武滿徹( Toru Takemitsu ) - 秋、ア・ウェイ・アローンⅡ、他　沼尻竜典＆東京都交響楽団