miércoles, 14 de octubre de 2009

Rollins Band The End of Silence


















Rollins Band was an American rock group, led by singer and songwriter, Henry Rollins. They are best-known for the songs "Low Self Opinion" and "Liar", which both earned heavy airplay on MTV in the early 1990s.

Henry Rollins (born February 13, 1961 as Henry Lawrence Garfield) is an American singer-songwriter, raconteur, spoken word artist, writer, publisher, actor, radio DJ, and activist. After joining the short-lived Washington D.C. band State of Alert in 1980, Rollins fronted the California hardcore punk band Black Flag from 1981 until 1986. Following the band's breakup, Rollins soon established the record label and publishing company 2.13.61 to release his spoken word albums, as well as forming the Rollins Band, which toured with a number of lineups until 2003 and during 2006.

Critic Steve Huey describes their music as "uncompromising, intense, cathartic fusions of hard rock, funk, post-punk noise, and jazz experimentalism, with Rollins shouting angry, biting self-examinations and accusations over the grind."The End of Silence" is the fifth release and the third full-length album by Rollins Band.

http://en.wikipedia.org/wiki/Henry_Rollins

jueves, 8 de octubre de 2009

Robert Hampson Vectors
















Perhaps best known for his work as Main (with releases across esteemed labels like Sub Rosa, Fat Cat, (K-RAA-K)³ and Tigerbeat6), Robert Hampson arrives at Touch with three longform acousmatic compositions, two of which were commissioned by the prestigious and historic GRM (Groupe De Recherches Musicales), whose studio Hampson used for the mixing and mastering processes. So many of electronic music's earliest, most important works were devised and constructed at this venue, with artists like Pierre Schaefer, Bernard Parmagianni, Luc Ferrari and Iannis Xenakis all having played their part in the GRM's rich heritage. The tone and range of Hampson's music is very much in acknowledgement of these founding fathers of musique concrète, revelling in the sheer joy of sound as it's methodically and beautifully pulled apart and reassembled. Taking as his starting point a mixture of incredibly rich, tuned sonorities and more tactile, texture-based timbres, Hampson's music sounds and feels more like a biopsy of sound than a treatment of it: it's this approach that places his work in the same sort of lineage as his GRM forebears, seemingly never adding any external synthetic elements or instrumentation, instead navigating and revealing the inner workings of his sound recordings using a delicate electronic scalpel. 'Umbra' is an especially remarkable thing, packing vast amounts of auditory information into its seventeen minutes, working its way through a continuous flow of complex dissections. The end result is an immaculately well-produced virtual voyage for the ears. The next composition, 'Ahead - Only The Stars' was commissioned by Vibrö for a 7.1 Surround performance at the Planetarium de Poitiers. Inspired by Chuck Yeager and the astronauts of NASA's Mercury Missions the piece introduces itself with the sound of jet engines, going on to embrace a wordless trickle of radio transmissions, shattered into isolated bleeps, a rainbow of static and various other sounds tweezed from the stratosphere. It's another great piece of work, beautifully conveying a sense of emptiness, while skillfully intermingling unearthly noises with telecommunicaitons by-products - you get a real sense of encroaching on the frontiers of sound. Finally, 'Dans Le Lointain' finds Hampson returning to GRM for a rediscovery of his early '80s shortwave recordings, all manipulated within the traditional spirit of early tape music birthed within the hallowed halls of the Maison De Radio France. This is an album that sets itself apart from a great many contemporary electroacoustic albums both in terms of its sublime audio quality and its rigorous and loving adherence to the more academic strands of electronic music pioneered in the 20th century.
www.boomkat.com


http://www.roberthampson.com/

martes, 6 de octubre de 2009

Television Personalities Privilege
















The Television Personalities are an English group with a varying line-up. The only constant member is singer–songwriter Dan Treacy, who uses the band as a vehicle for his music. Their first release (January 1978) was the single "14th Floor / Oxford Street W1". Their second release, the EP Where's Bill Grundy Now? features one of their best-known songs, "Part Time Punks".'Privilege', was pencilled in for a Dreamworld release, but instead the band signed a contract with Fire Records, who released their first album for 6 years in 1990. 'Privilege' finally gave a release to material that had been honed in the live environment over the previous five years. The LP featured a strong collection of songs that included the playful single 'Salvador Dali's Garden Party'. Two EPs followed before another album, 'Closer to God' in 1992. This was a double album which contained much to admire, including a return to a more personal style of song writing, as seen on the tracks 'Very Dark Today' and 'My Very First Nervous Breakdown'.


http://www.televisionpersonalities.co.uk/

sábado, 3 de octubre de 2009

John Zorn's Masada Live in New York 1994



















Masada is a musical group with rotating personnel led by American saxophonist and composer John Zorn since the early 1990s. Masada is as much a "songbook" as a group, comprising more than 500 relatively brief compositions. Each song is written in accordance with a number of rules, including the maximum number of staves, the modes or scales that are used, and the fact that the songs must be playable by any small group of instruments. Given the historical associations of the project's name, the Hebrew titles of the compositions, and the Jewish imagery on the covers of the associated albums, Zorn was clearly exploring his Jewish roots, stating, "The idea with Masada is to produce a sort of radical Jewish music, a new Jewish music which is not the traditional one in a different arrangement, but music for the Jews of today. The idea is to put Ornette Coleman and the Jewish scales together."
The first group to use the Masada name was Zorn (alto saxophone), Dave Douglas (trumpet), Greg Cohen (double bass), and Joey Baron (drum set). On occasion, different drummers filled in for Baron -- most regularly Kenny Wollesen.


Subscribe via email

Enter your email address:

Delivered by FeedBurner

Subscribe to El estupor se hizo mármol... by Email

Powered by FeedBurner

The albums here are uploaded as a non-profit private copy and for the purpose of previewing/reviewing and should not be seen as a substitute for the original. If you like an album, buy it!. If you have a problem with one of these albums being online, let me know and it will be removed.