(The Pipes) - Excepter - Alternation (Vinyl, LP, Album) download full album zip cd mp3 vinyl flac
Drumdance to the Motherland will render a majority of your record collection somewhat useless, but you're going to want to take that gamble. Utterly unique and essential document from way left of center. I love Air, but they always take so damn long between albums. Their next record isn't slated to come out until early next year, three years after their last full-length, Talkie Walkie.
In the meantime, Jean-Benoit Dunckel, one half of the French duo, has released his first solo album under the name of Darkel, and let me tell you, it almost feels like the real deal.
Like Air, there's no shortage of dreamy, retro-futuristic soundscapes, but there seems to be more of a human element present, with traditional rock instruments often taking precedence over the synthesizers, LP. Dunckel's melancholic melodies are also more immediate, with nods to '60s and '70s pop standing front and center.
But the album picks up the pace with "At the End of the Sky," a whimsical psychedelic number with a melody and slide guitar lead that are no doubt inspired by George Harrison; or the saccharine shuffle of "My Own Sun," which reminds me of Marc Bolan singing to the Kinks' "Dedicated Follower of Fashion. Rex-inspired stomper, as well as the throwaway bubblegum punk of "TV Destroy," and dubby, future funk with "Earth," its layers of synthesizer strings harkening back to Moon Safari.
Overall, this feels less conceptual than your typical Air album, but Dunckel does offer a diverse selection of tracks which prove to be more than just a stop gap release. If you're an Air fan, don't hesitate in picking this one up. The whitest boy alive!? More like the renaissance man of indie rock.
The guy does it all. Cause really, Erlend's coo remains as endearingly innocent as ever, and you can just totally see him shimmying his way around the studio delivering school's out proclamations like, "I'm caught in the motion and I just don't want to stop.
Sure, years of record buying has taught me to loathe the phrase "heavily anticipated" like the alarm clock on Monday mornings, but I seriously cannot wait for the new White Magic full-length. It's taken these guys and girls long enough to deliver some new sounds -- over two years since their debut EP, Through the Sun Doorsaw me getting all b-side on cats, proclaiming it as the real freak folk record of the year in spite of the fact that the likes of Devendra and Joanna Newsom dropped classics that year as well.
All seriousness aside, this is just to say that anticipation is legitimately high for the nightmarishly titled, Dat Rosa Mel Apibussounds very CocoRosie to me, but w'ever.
The sparse first single, "Katie Cruel" which happens to be a Karen Dalton cover and its piano-laced counterpart, "Hold Your Hand in the Dark," on the flip both come on like husky punches to the gut. Which is just to say they sound like trademark White Magic. A place where subtle math rock rhythms, renaissance hooks, and the haunted heft of Mira Billotte's bedraggled alto meet.
As if I couldn't get any more excited. The recorded legacy of the Blops, one of Chile's finest bands, finally available on CD!!! I've been waiting for this one ever since that super expensive three LP box set came out a while back and made my top ten of the year, so it's great to have it at a slightly more reasonable price and available to more people.
Born in the same cultural milieu as Congreso and Congregacion, Los Blops came together as a band in and recorded three brilliant albums before the dissolution of democracy in Chile in Like Congreso, they were as heavily influenced by American and British rock and roll as they were by South American Nueva Cancion, practicing and learning songs at legendary Chilean folk-singer Violetta Parra's house by day and tripping to Jimi Hendrix records at night.
The members lived communally, seeking a new order to their lives as they constantly worked at honing their craft. Strikingly full of purpose, they recorded each in under twelve hours, no doubt with a conviction that what they were doing was new and utterly important. All three records simply brim with gorgeous and original songs. Easily one of the best reissues of the year. My enthusiasm for free jazz documents has been tempered over the years, but there's an electric thrill that accompanies almost any reappearance of those hallowed documents cut by Japan's guitarist godfather, Masayuki "Jojo" Takayanagi.
Still of the jazz tradition enough so as LP evoke cool players be it Lee Konitz or Jim Hallit's not his ability to swing or chill that gets the noise contingency's dander up though, but rather his status as Japan's Sonny Sharrock, Derek Bailey, Ray Russell, and Rudolph Grey all rolled into one.
The documents capturing Jojo with Karou Abe live in the '70s are gnarly and caustic indeed, but my favorite recordings are of him with his group, New Direction Unit. Eclipse is one of the most revered though they all are, from Axis to Free Form Suitecaptured on March 14, Let's just say that it's not sitting in a dollar bin.
No need to put off buying that new car now, as this mini-LP reproduction holds all the lava. As is often the case with Jojo's "mass projections" a free-form sort of group heaveit builds slow, the players picking their spots, working towards a climax that boggles the ears. By the time of side two's "Second Session," the group is in a lather that is simply beyond words.
They burn incandescent for over 25 minutes that soars beyond belief. Fans of free jazz and Brotzmann, fans of Double Leopards and Wolf Eyes will find plenty of white-hot plasma here. Out of Cale's budding solo career, it didn't get any better than Parisand with the jump from Reprise to Island on the horizon, he seemed to know better than to try and top or repeat it.
If you already have a copy, this re-mastered edition contains, as bonus tracks, one outtake the acoustic blues of "Burned Out (The Pipes) - Excepter - Alternation (Vinyl and the entire album reassembled from alternate takes and demos, that will shed new light. If you don't have this record, now you have no excuse. If you enjoy the first four Eno solo records, here's the blueprint.
Some of the most striking lyrical imagery ever committed to pop is contained within its cream-white parlour; an incomparable merging of gentle yet assured songs, orch-pop, dub yes, dubcountry, blues, glammish rock, and pensive drone, and moreover, the sensibilities to merge all of these styles into a seamless, offhandedly academic bundle, and to create an album that improves with each listen, with songs that seem to grow more meaningful off of one another.
There may be no better sequence of songs than "Macbeth" into the title track and then into "Graham Greene. You owe it to yourself to introduce or reintroduce Paris into your life.
Now here's a record that legitimately deserves adjectives like "smoky," and "druggy," and "narcoleptic," and even though I've just started writing this blurb, I'm sure I'll use at least one of these words again in the ensuing paragraphs. Try not to roll your eyes if the phrase "kaleidoscope drones" pops up as well.
It's that kind of record -- an album of two smoky and enigmatic, mindfucked live performances from Vanguard's thinking man, Sandy Bull. But is it folk music!?
Guitar primitive? Instrumental jamming? Another J Spaceman joint!? What is this music? Plus, as is noted in the title, it all took place on Valentine's Day. Far out. I can't think of a more unsentimental place to take your lover -- let's go hear this notoriously erratic genius mutter to himself, while making the most gorgeously, genre-defying, twisted downer shit ever.
We'll try not to kill ourselves. That said, thank god somebody taped this stuff, because it makes the best early morning "I shouldn't have had that last Mojito" music ever. A gloriously narcoleptic told yalo-fi, and flat-out beautiful trip -- heaving, melodic drones, arhythmical netherworld raga virtuosity, and one unforgettable night of music haunting the liminal spaces of baby booming lovebirds in the San Francisco area.
Now only if someone had taped the conversations in the car rides home. Re issue of the year? Japanese folksinger Hako Yamasaki was only eighteen or nineteen when she released her sophomore album, Tsunawatariin Graced with a pathos-laden voice, she was able to summon almost unfathomable levels of desolation for a person of such tender years.
Eschewing any sort of sunny breeziness a la Sachiko Kanenobu, her early albums are practically exercises in forlornness, a point which her record company LP quick to drive home by commissioning brooding photographic portraits in muted tones of Yamasaki standing silently alone on rain soaked streets, while her long, jet black hair framed the reticent and troubled looks on her face.
They couldn't have captured the feel of her albums any better. The tempo is resolutely slow; songs begin with a whisper and slowly expand until Yamasaki's powerful lungs climax in a soul-shattering howl, with the restrained arrangements expertly framing the eventual intensity of her delivery. Exquisitely moody. Julia Guther and Berend Intelmann return with their sophomore release as Guther.
While they have, with charming success, refined their hazy pop sound, many of the basic elements remain: minimal, repetitive groves, layered keyboards and dreamy guitars, lovely and mysterious vocals. Guther practice a particularly Morr Music-esque blend of shoegazing pop that nestles, if not embraces, modern electronica, both retro and futuristic, and Sundet is a fine album well worth the wait. Fourcolor's debut, Water Mirror on Apestaartje was largely drone-based, while the follow-up, Air Curtainhinted at a more rhythmic direction, and on Letter of Soundsthe prolific Keiichi Sugimoto Minamo, Filfla explores even more structured territories.
The album, his second release on 12k, is more upfront and song oriented, with plenty of plenty of sliced and diced subtle beats, but never losing the warm and melodic qualities of his previous works check the massive dreamy scape of the last song, "Frame". Opener "02" is the closest Sugimoto has come to writing a proper pop song, with its precise beats and processed guitar hooks, and the stunning "Rowboat" features gorgeous ethereal vocals by Naoko Sasaki aka Piana.
Minimal and methodically calculated, yet utterly beautiful and accessible, electronic music by one of the best of the genre, this comes highly recommended. Totally jamming Indonesian band rescued from hopeless obscurity by the Shadoks label. If you're looking for some kind of Subliminal Frequencies styled ethno-psych madness you may want to look elsewhere, as their approach more closely resembles the song oriented aspect of groups like Traffic Sound or Juan de la Cruz. You can hear a ton of influences: West Coast psychedelia, Latin jams via Santana, and the toughness of mid-'60s American garage rock.
Which probably makes it all sound more pedestrian than it really is, because there does seem to be a certain strangeness to the entire proceeding that is nearly impossible to put your finger on.
You know how Clap Your Hands Say Yeah has the totally trainspottable influences but, gosh darnit, you can't really hold it against them cause they do it with such open-armed, just clever enough skill to pull it off? Well, say hello to Takka Takka. No, they don't sound like Clap Your Hands, but they are definitely brothers in arms, and I guess in more ways than one since they are actually joining them on their next tour. Where C. And like V.
We already knew that the Legends' main man John Angergard who also fronts the Acid House Kings likes Album) keep his fans guessing.
The recent domestic issue of Public Radio marked a pretty big stylistic departure from the Legends' previous album, Up Against the Legendsreplacing most of the sunny '60s pop influences and fuzzy Jesus and Mary Chain-styled guitars with somewhat bleaker mood, a la early-Cure and Felt. So popping the the Swedish songwriter's latest Legends offering into my CD changer, I had already assumed that Facts and Figures would not be a retread.
Still, I wasn't expecting a bouncy electro-beat and a vocodered lead vocal to come bounding out of my stereo speakers. Talk about a night and day difference from both Up Against and Public Radio. From start to finish, Facts and Figures is a true blue electro-pop album. Unlike the Junior Boys' recent release, which has more of a spacious, minimal electronic approach in the arrangements, Angergard goes for the new wave jugular, using lush layers of synthesizer pads and washes of reverb.
Had this been released four or so years ago, I am certain that Fischerspooner and Soviet fans would have been clamoring for this album, but even then, Angergard's endless wellspring of catchy, irony-free melodies would have separated the Legends from the electroclash pack. This illustration shows how flue pipes generate sound. Initially, the air inside the pipe is at atmospheric pressure.
What happens next is caused by the Bernoulli principle. Air LP the pipe is dragged out to join with the air in the wind sheet. This creates a low pressure condition inside the pipe. This doesn't last long because the higher atmospheric air pressure outside the pipe enters through the mouth and pushes the wind-stream into the pipe. Incoming wind pressure now begins to build up inside the pipe and pushes the wind sheet back out of the mouth of the pipe to atmosphere, and thus we have a repeating cycle.
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