miércoles, 22 de abril de 2009
It's 1988, Caroline Coon's predicted date for the end of the influence of Punk Rock. It's Spring and London, in the full ripened years of Enterprise Culture, sees its youth overdosing on style facism, commodity-buying and credit binges. Meanwhile, back in the world that never went away, that smoke-infested demi monde of pub backrooms and college bars, a band called THE WISHING STONES are presenting something for the disenfranchised to buy into. After flirtations within the narrow parameters of 'indie pop' (and several line ups) Wishing Stones mainman Bill Prince was now fronting a blowzy-but-deft rock'n'roll quartet. Wandering into Camden's Falcon pub in April, I witnessed (along with three men and a dog) one of the most searing guitar duels I'd heard since wearing out the grooves on Television's 'Adventure'. With Prince-all Stratocaster and gritted teeth vocals - was John Niven, his Billy The Kid, six string cohort perpetually raging full on. Here were frontmen steeped in the Dylan / Robertson, Hell / Quine and Verlaine / Lloyd - style Fender - toting double acts; and in Andrew Kerr and Stewart Garden, the Stones had an effectively unobtrusive rhythm section. But it wasn't all guitars. Bill Prince is a songwriter in the grand tradition, literate, but never name - droppingly verbose, his lyrics are little paranoid dramas, couched dreamy metaphors, all tossed out with that lugubrious voice - part doom - laden, part starry - eyed and almost innocent. After two great singles on the Sub Aqua label, the band split on the verge of a major tour. In March '89 I saw their last gig, bombing in front of 100 Spacemen 3 fans at the Notre Dame Hall when a ropey PA and the smell of patchouli oil overcame the miscast quartet. Their parting shot, 'Lost In The Well' was a fitting sayonara. The album The Wishing Stones had been working on in the Winter of '88 finally saw the light of day on the Heavenly label in 1991. For anyone who ever liked Punk Rock, Neil Young, Television or, erm Paris in the Spring, here's another vital item for your collection.
Wildwood (LP) Dec 1991 on Heavenly Recordings - HVN LP 04 - Lost In The Well - Wildwood - Long Time Coming - Spitchwick - Big Black Sky - Hanging Tree - Too Many Mansions - Slow Wheel's Turn - Dying On The Vine - The Long Road Out Of Town - Dead Man's Look
miércoles, 15 de abril de 2009
Main was formed in 1991 by Robert Hampson and Scott Dawson, former members of Loop. They combined ambient sound with layers of electric guitars and dark, foreboding emotional overtones. In 2006 Hampson announced that Main had been effectively disbanded in favour of his solo work.This is the entire EP series called HERTZ, sound: Main. words: R.Hampson,includes a booklet with many more pictures of dtchen and metamorphic rocks, as well as the name of each single spelled out in a semaphore-style code. CORONA dedicated to Alan Splet. saxophone by Joe Gardiner. KAON dedicated to Jon Gilmone. recorded dtve to 2-track at Thirst. produced by Main Recorded and mixed at Thirst.
Hertz Project: *Hertz 1 - Corona (12"/mini cd 1995)*Hertz 2 - Terminus (12"/mini cd 1995)*Hertz 3 - Maser (12"/mini cd 1995)*Hertz 4 - Haloform (12"/mini cd 1995)*Hertz 5 - Kaon (12"/mini cd 1995)*Hertz 6 - Neper (12"/mini cd 1995)
jueves, 2 de abril de 2009
John Zorn is an American avant-garde composer, arranger, record producer, saxophonist and multi-instrumentalist. Zorn's recorded output is prolific with hundreds of album credits as a performer, composer, or producer. His work has touched on a wide range of musical genres, often within a single composition, but he is best-known for his avant-garde, jazz, improvised and contemporary classical music.Eugene Chadbourne is an American improvisor, guitarist and banjoist. Highly eclectic and unconventional, Chadbourne's most formative influence is free jazz.This CD includes unreleased and remixed tracks by John Zorn and Eugene Chadbourne and features some of his earliest recordings - most of which are unavailable anywhere else.
Interview with John Zorn (Spanish)
miércoles, 1 de abril de 2009
Muslimgauze was a music project of Bryn Jones (17 June 1961–14 January 1999), a prolific British ethnic electronica and experimental musician.Muslimgauze music is often difficult to describe as sheer volume, content diversity and often singular stylings make for a confounding task. Nor did Jones produce any 'hit' albums or songs, rather he made music both as audio aesthetic exploration and to express outrage over on-going injustices in and against predominantly Muslim countries. Muslimgauze did incorporate elements from a variety of genres including Ambient, Techno, House, traditional-ethnic-percussion, experimental-electro-acoustic and Jamaican Dub among a myriad of other styles which he fashioned into his own.