cut me some slack.

a masterpiece to end the year on. the first two songs are a transcendent one two punch. for my man flash. thanks for being an inspiring light friend.

i don't need any more rules that keep me tied up.

i heard this for the first time in fall of 1994. a friend's older sister was a "punk" & played this along with a few other classics. at that time i was listening to a lot of nirvana & PiL, but black flag just struck me as this completely alien thing. & it was amazing to me that these guys were making this not too far from me. i knew right then & there that everything else paled in comparison & that punk was really invented in southern california in the late seventies. i always skipped ahead to the dez cadena tracks, but wished they had the raw lo-fi quality of the keith morris ones. anyway, enough rambling. put this on & smash a cop in the fucking face with a brick.

fuck muso.

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happy thanksgiving you fucks.

channel one ulysses.

Teranga Beat proudly presents Bai Janha alias "Sweet Fingers" and his psychedelic steamroller, Karantamba. Composer, arranger, guitar player in Guelewar and Ifang Bondi, Bai Janha is undisputedly the most important musician to have come from Gambia. Band leader of the groups Black Star, Whales Band, Fabulous Eagles and Supreme Eagles, founder of the group Alligators who later became Guelewar, Bai is the one who created the unique psychedelic sound in the region of Sene-Gambia, mixing traditional compositions with soul. His musical innovations contributed to the domination of Afromanding music in West Africa for more than a decade. This record presents Bai Janha with his last group, Karantamba, a school for young musicians, in a totally unreleased recording, recorded in Thi+¨s (Senegal) at "Sangomar" Club in 1984. The double gatefold LP's liner notes and CD's booklet include more information and photographs, outlining the living legend's musical career and the wicked percussive rhythms and compositions of this album. - amazon

so so so so good fellas. if anyone has the extra lp only bonus track get at me.

n-sub ulysses.

Jay Richford & Gary Stevan (aka Stefano Torossi).  Exact reissue of the beyond rare Carosello release.  A delightful and cinematic groovy crime-jazz-funk album filled with breaks & beats,  deep bass,  electric piano, flutes, horn stabs, Wah-Wah guitars & exquisite string arrangements reminiscent of Nino Nardini/ Roger Roger’s Stringtonic’s mindbenders but also Janko Nilovic at his best. Definitely one of the holy grails of library music. - golden pavilion records

i don't know if flash ever posted this, i don't remember if he did or didn't, not trying to step on toes. & i know this isn't terribly original amongst the internet's trilluminati, but hey, i've been listening to this record a lot lately, & maybe some new faces will be turned on by this gem. real fucking groovy shit right here. perfect for sunday trips if yr pickin' up what i'm puttin' down.

s.s. exploder.

Guruh Gipsy is an Indonesian band from the mid-1970s who fused American and European progressive rock with traditional Balinese and Javanese music.

Guruh Gipsy is basically a collaborative effort between Guruh Soekarno Putra – the fifth child of Indonesia’s first President, Soekarno – and Gipsy. Guruh was born in Jakarta, 13 January 1953 and since his childhood her mother (Fatmawati) reckoned that he had strong passion for art and strong sense of accomplishment. Unlike his sister, Megawati, whom later became Indonesia’s President, he pursued his dreams in art including music and choreography. He later established his own dance and music group called “Swaramaharddika” which was very famous in the 70s and 80s.

While Gipsy was basically a music group which its members are Nasution brothers: Gaury, Keenan, Odink, and Deby. It was previously established in 1966 under the name of Sabda Nada with members: Ponco Sutowo, Gaury Nasution, Joe-Am, Eddy, Edit, Roland and Keenan Nasution. They were very familiar with Balinese music and they ever did a gig at Bank Indonesia combining western with Balinese music with gamelan group led by Wayan Suparta Wijaya. In 1969 the band renamed themselves as Gipsy and the new line-up was established: Onan, Chrisye, Gaury, Tammy, dan Atut Harahap. They did cover for 70s groups like Procol Harum, King Crimson, ELP, Genesis and Blood, Sweat & Tears. In 1971 the line-up changed again: Keenan, Chrisye, Gaury, Rully Djohan, Aji Bandi, and Lulu. With this line-up the band played a gig in New York, USA.

This collaborative effort called GURUH – GIPSY was made possible due to Guruh strong passion for combining ethnic music of Bali based on pentatonic notes and western music which is based on diatonic notes. The effort took such a long time as it required sixteen (16) months of recording time. The elapsed time was used by Guruh for various complex activities, i.e. financing the project, scheduling with the only studio available at that time with 16-track system (Tri Angkasa), composing the music with Keenan Nasution (drums), Odink Nasution (guitar), Abadi Soesman (keyboards), Roni Harahap (piano/organ), and Chrisye (vocal). Actually, total studio days was 52 days.

The recording session was started in July 1975 and finished in November 1976. The long duration and difficulties faced during recording were due to many personnel involved during the session. It was not just Gipsy band members but it included violin players (Suryati Sumpilin, Suseno, and Fauzan), cello players (Sudarmadi Bambang Purwadi), contra bass (Amin Katamsi), flute (Suparlan), clarinet /hobo (Yudianto), and a group of Bali musicians. In addition to these there were backing vocals: Rugun and Bornok Hutauruk.

Music arrangement combining western music and Bali traditional gamelan required tight precision as the two had different spectrum in terms of notes and chords. For this purpose, Guruh spent a lot of time outside the studio to learn the subtleties of western music as well as Bali traditional music. He strived to find the best harmony that blended symphonic progressive rock with Bali tradional gamelan music.

His efforts paid off because the result was a brilliant album that was totally splendid!! It’s masterpiece of symphonic progressive rock album with experimental music. - lastfm

if those reyog tapes i posted became a rock band, then this would be that glorious majesty.

love is a bull market.

Dixon, who died last year at 84, is typically described as a force in the free jazz that emerged in the1960s. He was that, but Intents and Purposes defied labeling when Dixon recorded it more than four decades ago. This long overdue reissue confirms that the album withstands categorization. Its daring and forthright iconoclasm has substance that outlives much music that was conceived in protest or defiance in the roiling atmosphere of that era.
Dixon's trumpet and flugelhorn improvisations flow, jab, dance, flutter, growl and brood through, around and over the other musicians. In some cases, the other musicians are Dixon himself, overdubbed. The first of the two brief Nightfall Pieces has multiples of Dixon and flutist George Marge creating a mesmerizing soundscape. In the second, Dixon ruminates in call-and-response with himself across the stereo channels. Favoring low notes on his own instruments and those of others, he employs the ten-piece group in Metamorphosis to create rich substrata voicings. Bass trombone, bass clarinet, cello and two double basses are among the instruments that provide oddly reassuring contrast with Dixon, alto saxophonist Robin Kenyatta and bass clarinetist Bayard Lancaster, whose solos search almost to the edge of desperation. Metamorphosis includes written passages of subtle complexity that it would be easy to overlook in the passion of the performance.
In Voices, whether he achieves it on paper or by contrivance in the studio, Dixon manages to give his trumpet, Lancaster's bass clarinet, Jimmy Garrison's bass, Catherine Norris's cello and Robert Frank Pozar's drums fullness of sound one might expect from an ensemble half again bigger. Dixon's choice of musicians was eclectic; avant gardists like Kenyatta, Lancaster and Garrison alongside the mainstream trombonist Jimmy Cheatham and Marge, a reliable reed specialist of the New York studio scene.
To his credit, reissue producer Jonathan Horwich saw to it that the Dixon album looks like the original RCA Victor LP, down to the striking cover shot. It is a reminder that record packages were once a pleasure to handle and the notes easy to read. The liner notes are included as an insert that unfolds to nearly the size of an LP sleeve. More important, the quality of the sound recorded in RCA's storied studio B is flawlessly remastered. In a brief addendum to the notes, Horwich writes of Intents and Purposes, ''It stands as one of the most important and revolutionary musical expressions of the 20th century.''
That may be true.
''There was nothing like it before 1966/67 and there has been nothing like it since.''
That is true. --Doug Ramsey, Rifftides, 3/28/11 - via amazon (i know i'm lazy)

this is by far one of my favorite albums, right up there with mingus' black saint & the sinner lady. i could sum up the haunting beauty of this lp in two words: midnight jazz. it screams to be played in the dark dark hours of the night when yr spiritual quest is at it's most needed.

presidents of vice.

lo-fi casio over muddy drum beats recorded on a vhs cassette circa 1983. geneva jacuzzi is a dream boat. utterly perfect post punk record for the season.

cool senior high school.

**A super rare vinyl outing for one of the 20th century's most revered electro-acoustic composers, housed in debossed jacket designed by Stephen O'Malley and cut to vinyl by Rashad Becker at Dubplates & Mastering** Editions Mego's unarchiving of the unparalleled INA GRM catalogue reaches a momentous double header by Bernard Parmegiani - one of the 20th century's most revered and important electro-acoustic composers. Born 1927, Parmegiani started as a sound engineer for French TV in the early '50s, establishing a connection between sound and vision which he would explore to the deepest degrees after joining Pierre Schaeffer's Groupe de recherches musicales in 1959 for a two year masterclass. With his first works composed in 1962 and released in 1969, he essentially headed up the 2nd wave of sonic pioneers, following the foundational musique concrète of Pierre Schaeffer and Pierre Henry into a brave new world of electro-acoustic (or acousmatic) sound. Here we find two of his seminal works, pieces of ultra-vivid, immersive, visceral and shocking sound organisation marking the generational distinctions between his tutor's creations, and those of the next generation, now ready to inform future musical explorers. We've lived with Parmegiani's incredible 'L'Œuvre Musicale' CD box set for a few years now and it has offered us something new every single time - it's a real treat to finally have some of this work on vinyl, making this one of the most crucial of all of the concréte reissues of recent years. Simply put - it's a must-have. - boomkat

how could i tease y'all talking about this & hoarding it to myself & a few close comrades. so here you go. it's going to melt some fucking minds fershure brahs. & i'm going to go back now to hanging out with my cat & listening to my prurient cassette & smoking weed. have a good night.

ulythium.

i bought this cassette fairly recently, & it hasn't left my tape deck since. i probably listen to this at least four or five times a day the entire way through. vangelis is absolutely in top form on this one. although never having traveled to china before 1979, he took it upon himself to use the full array of his synth wizadry to construct beautiful washes of soft sound inflected with "far east" sounds. there are few moments of tension to build up the more contemplative moments to make it that more effective of a whole album to listen to. don't skip any tracks or otherwise yr missing out boss on all these subtle nuances like subaquatic bass notes pushing up against synth swells. a fucking rager right here.

ps not that y'all care about shit like this, but of course this is in glorious 320 to capture the full spectrum of sounds.

the sound of young america.

*Much needed reissue of this early computer music classic, recorded between 1977 and 1980 and one of the first albums to feature music produced almost entirely with digital synthesizers. Remastered from the original tapes and cut to vinyl at D&M Berlin - made in an edition of 700 copies only, initial copies come on strictly limited white vinyl* Digitalis dig deep to unearth and reissue one of the first albums to be produced almost exclusively on digital synthesizers. The work of Canadian composer and video artist, Jean Piché, his densely layered and harmonically rich 'Heliograms' was pieced together between 1977-1980, inspired by the music of Terry Riley, Steve Reich and Lou Harrison and enabled by new computer and digital synthesis techniques developed at Simon Fraser University (SFU) in Vancouver, BC, and Stanford University, California. It was released in 1982 by a small Canadian record label which specialised in classical music, but as history would have it, the label went bankrupt pretty much as soon as it came out and the treasure was obscured from the view of all but the most ardent electronic music fiends. Now rescued from the annals, we're presented with three solemn, star-gazing wonders which really need to be heard by a wider audience. The first piece and highlight, 'Ange' constitutes sounds created on the Systems Concepts Digital Synthesizer, aka the Samson Box, during a residency at Stanford University Center for Computer Research in Music and Acoustics (CCRMA) facilities. This prototypical system was designed to synthesize complex musical events in real time using FM synthesis, and once melded with the voices of Piché and Joanna Anonychuk back at the analog studio of SFU, its oceanic waves of microtonal frequency drift recall Popol Vuh's ultra-lucid and celestial elevations. It's joined by the more tentative, tingling microtonal piece 'Lamerlaube' on the A-side, while the two-part B-side returns to the Interactive Compositional System developed by Barry Truax at SFU. By contrast, it presents much more rhythmically and instrumentally diverse facets of his work, incorporating ecstatic organ bluster and moments of darkly blissful, Badalamenti-esque melancholy. It's a truly striking, historically important release, reminding us of everything from Suzanne Ciani to Vangelis, Leyland Kirby, Popl Vuh and beyond - now subtly enhanced by James Plotkin's remaster and a faithful vinyl cut at Berlin's D&M. - boomkat


cuz imma helluva guy. just got reissued not too long ago, a fucking beautiful engaging behemoth of a record. if yr into library, kosmische, electronic bleepbloopery or just plain ole fashioned mindfucks of music, then this is up yr alley u guise. i have listened to this album at least twenty or thirty times now, & it just gets better & better with each listen. the nuances are subtle, but hit you like a train once you discover them. i can't hype this record enough. this & that robert turman tape are all i've been listening to.

the sound of jazz to come.

library music has become a strong obsession of mine over the last few months now, and this is a fucking classique of the genre. anyone wanna hook a brother up with those sweet grm reish's comin out? i already have the parmegiani record. flash, ghostcap & owl, i'm lookin yr way my dudes.

the kingdom of heaven must be taken by storm.

sorry i was getting a hair cut.

yr my miss washington dc.

The original MGM soundtrack to this 1956 science-fiction classic is every bit as classic as the film itself! Louis and Bebe Barron created nearly every sound on the 23 selections electronically-which was unheard of during a time when most movie scores were entirely orchestral. In fact, this was so groundbreaking that they made their own synthesizers! Enjoy it now for each artificially generated plink, click, pop, whistle and roar.- amazon.com

fuck this is amazing. seriously some next level shit. i've been coming to realize that my contemporaries (& i suppose myself included in this) are mining the dead corpse of something that people perfected thirty to fifty years ago. download this & have yr mind blown.

50,000 watts of goodwill.

another entry from the hallowed halls of #ultrarare

a comment on ritual.

last train to cool.

pretty amazing psych folk for those wintertime blues.

the hickey underworld.

bruce haack is a fucking hoss.

a kid who tells on another kid is a dead kid.

from the hallowed halls of #ultrarare

spectra sonic sound.

not quite as good as economy rinne, but still fucking solid. a thousand person group of doctors scientists lawyers & dishwashers get together to create symphonies for the cosmos.

first.

obscure psych soundtrack.

alrite bb's.

so here's the deal kiddos. fuck the past, no re-ups. if you missed it, then i'm sure y'all can find someone on the internet with it. i'm going to keep on posting, but limited information. just the album, along with maybe the artist & title of the record, or maybe not. point being, if you see the cover, it looks interesting, grab it. i'd like to think i have pretty solid taste in muzak & you can be fairly certain if you follow this blog you will prolly enjoy it. anyway, be on the lookout for a flood of records. catch you on the flip amigos.

welp.

it looks as if some fucking jagoff reported me. half of my files seem to be down, which means the entire account might be taken down soon. if that's the case, i haven't been doing the best of jobs backing this shit up, so spookcity might be taking a sabbatical until i find a better means of posting, or who knows? maybe i'll ride off into the sunset like the owl did & leave y'all high & dry. adios motherfuckers.

djarum.

"The previously unreleased spooked-out psychedelic-jazz score to 70s Czech's 'other' favourite teenage witch flick." 'Saxana - The Girl On A Broomstick' is another Finders Keepers truffle hunted from the archives of the studio that brought you 'Valerie And Her Week Of Wonders', one of the most celebrated reissues in their immense catalogue. It includes the entire studio sessions (plus psychedelic effects) written by Angelo Michajlov and performed by the Karel Vlach Orchestra, 27 tracks in total including truly hefty sleevenotes from Andy Votel (we could barely pull them out of the jewel case, they're that weighty!). The film itself is a staple of the early '70s Czech new wave of fantasy films, which the Communist run state was considered a world leader in at the time, and whose popularity spread through Germany, Spain, Greece and Sweden thanks to the Czech film industry's renowned reputation. Angelo Michajlov had previously scored three films for children's movie director Josef Pinkava before 'Saxana', honing the charming style of wacky noises and catchy theme tunes on this disc, and working with Karel Vlach's Orchestra to create the big band theme tune anthem which would still be sung 40 years later, besides a dazzling range of cues and genuinely spooky incidentals, including one remarkable Sitar nugget. Angelo would later go on to work as a successful pop composer for various Eastern European labels such as Amiga in East Germany and Melodiya in Russia where he produced hgely profitable albums for Ukrainian actress and singer Sopha Rotaru. This album is a treasure trove of samples for the discerning beat breaker and a must for anyone who fell under the spell of 'Valerie...'" - boomkat

just in time for the season. if anyone has a link to the movie, hook a brother up!

city of scum.

i've been meaning to post this masterpiece for a while now. the japanese csny, or maybe burrito brothers. either way, it's honeyed harmonies over beautiful folky country rock.

re-upped 6/12/13.

i just couldn't get thin.

"Originally released as a small run cassette in 1987, only to fall into tape label obscurity, Robert Turman's industrial genre-bending masterpiece album Way Down finally has been excavated for a proper reissue after twenty-three years in the shadows. This album solidifies Turman as a cut above the rest with respect to his talent and his natural ear for experimental composition. Turman first came onto the industrial scene in the late 70s as the ominous other half of legendary noise outfit NON, alongside Boyd Rice, together releasing the now classic first NON single, Mode of Infection/Knife Ladder 7″ in 1977. After parting ways, Turman went on an excursion of self-released cassettes to which he fused every possible influence at his disposal, culling together past habits of experimental know-how and going forward into uncharted terrain. After his previous experimental efforts included on his Flux release in 1981, and even later in the prolific Chapter Eleven boxset, Turman turned the tables with the creation of Way Down, using synthesizer arrangements and drum machines alongside guitar solos, piano chords, tape loops and primitive sampling to create a whole new concoction of dance-like minimal synth blended together with the industrial darkwave noise he was mostly known for. After almost vanishing from the music scene, Turman resurfaced in 2005, teaming up with seminal noise musician Aaron Dilloway to not only reissue previous recordings, but to record and perform once again with new releases out on Hanson and Medusa. This vinyl reissue of Way Down serves as the blueprint of what Turman sought to render as a very accessible minimal synth/industrial album, yet keeping it just obtuse enough to make it one of the most brilliant and engaging albums to be ushered into the canon of 80s experimental culture." - boomkat

absolutely amazing, & perfect for the murky cold weather outside. i can't believe i've gone this long without hearing this masterpiece. it reminds me a lot of vatican shadow, so if yr into fernow's recent work, then this is right up yr alley amigos.

casio presets.

In 1968 brian jones of the rolling stones traveled to Morocco and taped parts of music at the Rites of Pan Festival. It's uncertain whether this should be considered a brian jones album, or an album by the Pipes of Pan at Jajouka, or an album by the Master Musicians of Jajouka, as the performers on this recording are most commonly known in the West. The important thing to know is that it's a document of Moroccan traditional music that achieves trance-like effects through its hypnotic, insistent percussion, eerie vocal chanting, and pipes. Originally divided into two untitled, unbroken LP sides (although these are broken down and officially titled on the CD reissue), it should be kept in mind that these are merely edited excerpts of performances which can last for hours, and thus they offer only a taste of the live event. Although the first part in particular builds and builds in relentless energy to whirling climaxes, there are discrete and different performances here, some featuring female chants, others less intense male vocals, and others passages of unaccompanied instruments which sound like flutes (credits and details on the original release are sparse). While this music had been performed in this fashion for a long time before jones documented it, this was among the first of such recordings to receive reasonably wide exposure (although it was released after jones' death) in Europe and North America. Thus this recording anticipated the wider popularity of trance-like music among both electronic rock and progressive African musicians later in the 20th century. - allmusic.org

super fucking crucial you listen to this. ecstatic chanting collides with beautiful hypnotique droning to create one enlightening slab of face melting beauty.

look out! soul is back.

This is an essential compilation of historic poetic and music works, almost all of them from the first half of the 20th century, largely by Futurist and Dadaist artists that, taken altogether, represents a huge aspect of our cultural history. Some of the work points towards later developments, aesthetic and technological, of electronic music.
Among the most important works included are the Futurist Luigi Russolo's 'Risveglio di una Citta' (1913), in which the composer uses noisemaking instruments to imagine the early morning sounds of urban life; Filippo Tommaso Marinetti's dramatic spoken text composition, 'La Battaglia di Andrianpoli' (1924), which invokes battle sounds; and Kurt Schwitters' famous sound poem, 'Die Sonata in Urlauten' (1932). Also included are Antonio Russolo's Corale' (1921) and 'Serenata' (1921), Filippo Tommaso Marinetti's 'Sintesi Musicali Futuristiche' (1931) and 'Definizione di Futurismo' (1924), Luigi Grandi's 'Cavalli + Acciaio' (1935), Wyndham Lewis' 'end of Enemy Interlude' (1940), Guillaume Apollinaire's 'Le Pont Mirabeau' (1912), Tristan Tzara, Marcel Janco, and Richard Huelsenbeck's 'L'amiral cherche une Maison a Louer', Marcel Duchamp's 'La Mariee mise a nu par ses Celibataires, meme', Richard Heulsenbeck's 'Inventing Dada' (1959), Tristan Tzara's 'Dada Into Surrealism' (1959), Jean Cocteau's 'Le Voleurs d'Enfants' (1929), and 'Tone Poem'. This is a magnificent document of the 20th century! - cdemusic.org

a really fascinating buy today in the shape of this collection of early recordings of some of my favorite artists & heroes. highly highly recommended!!!!!!!!

bobby's on the phone.

giallo jazz for the season. expect a goblin post & some fucking sweet misfits mix because it's that time of the year right?

inmates of heartache.

iceberg slim is the only man i take advice from.

teenagers from mars.

either you hate them for their perceived lack of talent from yr terribly narrow point of view or they created a beautifully engaging masterpiece of outsider pop. you be the judge chump.

blue jay way.

The music of Galicia has received a lot more exposure as it's become viewed as part of the Celtic world. But in 1952, when Lomax made these recordings, there were no such thoughts. However, a simple listen to the piping on "Muinera De Carballo" or the martial "Alborada de Ournese," with its heavy drumming, should be enough to stir familiarity. What is very different, however, is the vocal work, with its keening female harmonies, as on "Viene Cargado De Trigo," powered along by the sound of the tambourine. "Cantar De Vendimia" is choral with male and female voices, a folk song with liturgical overtones. What sets Lomax apart from many others making field recordings is his ability to coax a real performance from the singers or musicians, so they produce something special -- and that often results in full songs rather than the fragments that tend to appear on other collections. And that is what takes this out of the realm of the purely academic. For anyone interested in Celtic music and the Celtic diaspora, there's plenty of meat here, tracing similarities in vocal styles and the folk song of "O Nenino," for instance. Or you can simply revel in some untutored, unearthly harmonies on "Ay Rosina," with its almost-funereal pace giving the singers a chance to dig deep into emotion. Whether you listen to learn or simply for pleasure, there's plenty to enjoy here. - allmusic

absolutely stunning collection of gems recorded by my hero in a faraway land.

ps this is my 175th post by the way. i can't believe i've done so many in such a short amount of time.

i dreamt music.

my absolute favorite sun ra record... beautifully transcendent & a challenging & engaging listen.  again another pastebin find, so thank you thank you thank you to original ripper. i'm in the process of moving (yes this makes two moves in a month) so i won't be posting for the next couple of days. catch you on the flipside brahs.

freedom club.

some paisley jangle pop from the eighties for you to fight the cloudy day doldrums. the rain parade is pretty stellar, & this is their best lp. byrdsy harmonies collide with some c86 pop for the right amount of sunny fun. i could see this influencing bjm fer shure. one of the dudes went onto be in mazzy star if that's a selling point for anyone.

broadway sam.

The late Larry Young was an organist whose fairly brief career had lots of highs and very few middles or lows. Take this session from 1973 -- his first non-Blue Note date as a leader and post-Lifetime -- as a for instance. It is startling for its fresh look at how the organ is used in jazz and in improvisation, period. On Lawrence of Newark, Young enlisted a host of younger New York session cats who were hanging around the fringes of the funk and avant-garde scenes -- James Blood Ulmer, trumpeter Charles MacGee, Cedric Lawson, and about a dozen others all jumped into Young's dark and freaky musical stew. Made up of only five tracks, rhythm is the hallmark of the date as evidenced by the conga and contrabass intro to "Sunshine Fly Away." Deirdre Johnson's cello opens up a droning modal line for Young to slide his organ over in what passes for a melody but is more of an idea for a theme and a trio of variations. Armen Halburian's congas echo the accents at the end of the drum kit and Young's own tapering pronouncements moving back and forth between two and four chords with a host of improvisers inducing a transcendent harmonic hypnosis. The centerpiece of the album is "Khalid of Space Pt. 2: Welcome." Sun Ra's edict about all of his musicians being percussionists holds almost literally true in Young's case. The soprano saxophonist sounds as if it could be Sonny Fortune (billed as "mystery guest"), but he's way out on an Eastern modal limb. Young's right hand is punching home the counterpoint rhythm as Abdul Shadi runs all over his kit. Blood Ulmer is accenting the end of each line with overdriven power chords, and various bells, drums, congas, and djembes enter and depart the mix mysteriously. Young is digging deep into the minor and open drone chords, signaling -- à la Miles -- changes in intonation, tempo, and frequency of rhythmic attack. And the cut never loses its pocket funk for all that improvisation. It's steamy, dark, brooding, and saturated with groove. The CD reissue has fine sound and sells for a budget price; it should not be overlooked. The DJs just haven't discovered this one yet. Awesome. - some clown on allmusic

seriously can not say enough good things about this album. fucking grooving shit man, just put on & feel yr mind expand. also, not to step on anyone's toes, found this in some anonymous pastebin with no tags, so all thanks to the original ripper/poster whoever ye be.

in loving kindness.

this is an oldie but goodie. if yr not acquainted with the sheer fucking genius that gary wilson is, immerse yrself in this cat's music. creepy lo-fi funk from the lothario hiding under the bleachers watching you put yr hand up the head cheerleader's skirt.

the soundtrack to brian shortt walking into central market.

Once again delving deep into their archive of obscurities and long forgotten rediscoveries, Finders Keepers present this 1974 collaboration between French prog-pop star Jacky Chalard (and his group, Dynastie Crisis) with science fiction writer/voice actor, Gilbert Deflez. This album is like a psychedelic radio play, setting incredible French rock music backdrops against spoken passages. As tends to be the case with the best FInders Keepers releases, listening to Je Suis Vivant, Mais J'ai Peur is a transportive experience, taking you to a corner of the musical world you probably never knew even existed, and even if you don't understand the French well enough to keep up with what's going on, the band's soundtrack and the atmospheric sound designs that line the album give you ample cause to investigate this. Expect some great vintage pop songs and instrumental workouts nestled among the narrative pieces too - recommended. - boomkat

more french psychique face melters for the brahs who live in the atx & spend their nights at spiderhouse. fucking jazzed we get to hang out soon dude.

are you gonna look after my boys?

this will probably be the last ciani album i post here. this is her third album... it veers off into new age lite at moments, but it's a really strong entry into her body of work. not quite as majestic or transcendent as seven waves, but still essential if yr a fan.

parents just don't understand.

even more obscure french outsider psych weirdo vibes. jean-pierre massiera's turn radio on is a fucking gem, & if you haven't checked this out before this will blow yr mind.

i am yr singer.

Recorded during the same sessions as Gainsbourg's highly acclaimed masterpiece Melody Nelson it follows in a similar avant-garde rock-opera vein. L'Enfant Assasin Des Mouches (The Child Fly-Killer) is a supernatural tale written by Gainsbourg depicting the journey of the young child travelling through a nightmarish "Fly Kingdom". Vannier narrates the story with sparse music concrete sounds coupled with choirs, funky beats, cowbells, wah-wah guitars and ethnic strings. Comparisons could be made with some of Frank Zappa's Hot Rats material and Alain Goraguer's creepy Le Planet Sauvge. - amazon.com

to continue the ball rolling with more weirdo french psych shit from the sixties. this record is essential, with some really memorable guitar lines soaring out of nothingness & receding into the murky depths.

holy fuck!

L'un des disques les plus rares et les plus étranges que la France ait produite. De la pop psychédélique quelque peu freakbeat avec de superbes effets sonores et guitares fuzz! Des paroles poétiques, complexes et surréalistes. - http://requiempouruntwister.frenchboard.com

how is tonight the first time i'm hearing this masterpiece? this is some really jammy french outsider psych rock from the sixties that's heavy on the weirdo vibes.

smashing in the face of youth culture.

going to be seeing ariel next week, pretty psyched about this. the doldrums is one of my favorites from him, for kate i wait is one of the best pop songs ever written.

historia naturae.

more giallo jams for the midnight blues.

summer forever: a spookcityusa mix.

finally was able to upload the mix i wanted to share in july with everybody. these are all from albums i haven't posted, & don't really plan to. hope you dig.

1 t.s.o.l. - wash away
2 john maus - do yr best
3 los cinco latinos - maravilloso, maravilloso
4 them - gloria
5 suzanne ciani - liberator
6 dagmar andrtová-voňková - břicho
7 geneva jacuzzi - do i sad?
8 sérgio mendes & brasil '66 - ye-me-le
9 joe hisaishi - ''nausicaä of the valley of wind'' ~opening~
10 sven grünberg - nimetu
11 ilaiyaraaja - హే జమ్కూజమ్మా ముస్తాబయ్య టంకు టమ్మ [ఎస్. జానకి]
12 shawn lee - low riders in space
13 le shok - 122 hours of fear
14 mt. tjhris - reef dimmers
15 woody guthrie - hard travelin'
16 bernard herrman - thank god for the rain
17 first nes commercial
18 charles mingus - solo dancer
19 haruomi hosono - boku wa chotto
20 capsule - sweet time replay (feat. dahlia)
21 domingo cura - mincura (candombe)
22 ennio morricone - una spiaggia a mezzogiorno
23 horst chmela - wir sind ausgeliefert
24 zdeněk liška - malá morská víla
25 jean ferrat - ma mome
26 geinoh yamashirogumi - dark slumber
27 shoko asahara - sonshi's march
28 los trovadores - quimey neuquen

dear friends.

out of towners visiting, will be back online tomorrow with new jams।

<३
r

phonemes.

because this is what i like to listen to on saturday nights.

beneath the waves.

the voice of god singing to you through clouds of flaxen gold wisps & rainbows of the brightest gems in the prairieland of minnetrista.

that's an atrocious type.

FINALLY AVAILABLE ON VINYL The ever-reliable Johnny Trunk has outdone himself yet again, pressing up and reissuing the previously unavailable Edward Williams soundtrack to the 1979 BBC TV series 'Life On Earth'। According to the backstory behind this treasure, a lucky digger stumbled upon one of the original handful of copies privately pressed up by the composer for the musicians involved with the score। Trunk got wind of this, and as you can imagine became quite rightly overjoyed, as to his knowledge it was never commercially available. David Attenborough's original series was considered a groundbreaking piece of natural history television, and as anyone who has viewed any of the BBC's nature programmes will know, the music always plays a crucial role in the narration and ambience of such viewing. In contrast to the slightly ripe ebullience of soundtracks to todays HD, slow-motion nature-porn, 'Life On Earth' has a rich, and often haunting chamber suite backing, played by a majestic orchestral array of flutes, clarinets, strings and harp with subtle embellishments of Radiophonic electronics. The effect is remarkable still, even without the visuals, but we do have small markers in the titles, like 'Fish of the Sea - Shoals and Loners on the Reef' mirrored by shimmering harps, warbling clarinets and dreamy washes of synthesizer, or the gracefully alien drift of 'Comb Jellies - Gymnopedie for Jellyfish', with Satie-like flutes and angelic harps. It's an overwhelmingly wonderous and magical listen that any fans of Trunk records should be salivating over, while everyone else should really make the investment for the good of your record collection. Amazing. - boomkat.

this is absolutely stunning godtier stuff here.

pines of rome.

vangelis is on this shit! how does that not immediately sell this to you? this is one of my favorite new records, & it will definitely be yrs as well.

to gil hodges.

this one's for you buddy. i don't even know where to begin with this... i think any description i try to give is going to fall short of the glory of this tape. i got this in a batch along with the two reyog tapes. where the reyog tapes are transcendental vision quests, this is made for the tribal dance floor. i'm sure i butchered the tags, sorry. & if anyone has any sort of information about this, then get at me. i have some more aces up my sleeve that may have to wait for a little bit, but should be on the same level as these. dig it.

the eighth wave.

Sham Palace, the label owned and operated by Sublime Frequencies associate Mark Gergis, presents an amazing selection of intense and driving Dabke - the regional folk dance style popularised to some extent in the west by Omar Souleyman। Not limited to Souleyman's native Syria, this selection spans the Houran region "...a swathe of south Syria and north western Jordan, beginning just below Damascus, and encompassing the Syrian cities of Daraa, Suweida, Bosra, and the Golan Heights। Its populations include Syrians, Bedouin, Druze, Palestinians and Jordanians." It takes in seven stunning examples culled from cassettes and discs found in the cities of Daraa, Suweida, and Damascus, Syria between 1997-2010, predominantly using native microtonal keyboards to play both the rhythms and sampled mejwiz tones - that distinctively shrill, droning and hypnotic bamboo flute cadence - together with vocals drenched in echo and reverb to emphasise their impassioned emotional messages. They range from Ahmad Al Kosem's incendiary warning shot 'Love Is Not A Joke' to the EuroTechno-like arpeggios and pitched childrens voices on 'Mili Alay' by Mohamed Al Ali, through the steppin' torque and whooping delirium of Abu Sultan's 'Your Love Made Me Head Hurt' to an incredibly warped and near-psychedelic wedding celebration called 'Afrah Houran'. For exotic-minded DJs, open-minded parties and clued-up dancers, this is a must-have record!!! - boomkat

straight up face melting party jams right here.

o l d m o m s - melt jams ep.

i know one half of this group & that dude is a real stand up guy. modern r & b for codeine black outs. i can picture the xerox group from lfm being really into this if that means anything to any one outside of the ten vektroid listeners. call me man we should hang out soon. i owe you a beer.

cola cola.

more of the maestro. i don't know duders... this is good & all, but it has shit that fire star does as well. i would recommend getting this for the third song alone, it's some fantastique beauty. although what do i know? i'm just some dude on the internet.

the sighs.

Astonishing compendium of late '80s electro-funk and sweetest synth-pop from India (of all places!), issued on Bombay Connection - the label which unearthed Charanjit Singh's equally incredible 1982 acid raga LP!!! After the cherished 'Play That Beat Mr. Raja' LP bowled us out, and Finders Keepers' equally badass exposition, the work of "the Maestro" Illaiyaraaja is again exposed to full sunlight with this collection of 16 mindblowing themes from South India's Kollywood film industry. Crafted from almost entirely synthetic, electronic means, Ilaiyaraaja twisted the same machines which were being used elsewhere in the world to his own agenda, hatching a vividly colourful, eccentrically captivating adjunct to well known electro-funk and synth-pop imagined with bewildering attention to detail and lushly ornate arrangements. If you're only going to check a few of these, make sure to clock Yesudas & S. Janaki's coy, strutting duet 'Disco King', S.P. Balasubramaniam & Lata Mangeshkar's romantic dancefloor symphony 'Valaiyosai', and Anuradha's 'Baby', but you're encouraged to give them all a go! A huge recommendation। - boomkat

cannot recommend this enough. superbly exotique & fascinatingly catchy. the maestro deals in ear worms on this one. i swear you'll be humming vikram throughout yr day fershure.