Archive for June, 2008

bonus: et hop!

June 27, 2008

this one was predictable – it was clear some more stuff related to the et hop!-series would pop up in my favourite used records stores. so here a little selection of recent finds. and you might take it as a good occassion to revisit some or all of these posts…

first is mister kurtis blow – i always have to smile how most write ups about him have to stress that “blow” comes from a blow like a push… yeah…

early (hey, this is from 1980!) hip hop at its best: juicy, funky – you just want that bbq get going. i am again amazed how perfect it is in evoking this kind of mood. the perfect summer record to bbq to. for the first side, that is. what is even more amazing is how bad side two is – urgh… i ripped both sides in one file each – side one has the tracks seguing into each other and for side two you can delete it in one click… well, have a listen for youself and tell me what you think. you can get it here.

although seven years later, i would still consider this fitting into early hip hop: kool moe dee. already a lot more explicit in its lyrics (and my copy has one of the early explicit lyrics stickers – in an other design then the now iconic one). yeah, it is already a lot cooler – not only does he sport these gold chains like blow already did – there are also some cool shades (wrap-arounds!) and on the back of the cover are some rather…hm…kinky white gloves… the music? a lot more hip hop already. and yes, the lyrics are fun. i mean it needs balls to open your record with with a rap about that hot girl that then turned out to be too hot. yes, kool moed dee was drippin’ and pussin’ and had to go see the doctor. and yes, he is of course the greatest in the game and all that…

also ripped from vinyl, this time track by track, you can get kool moe dee here.

and now for something different.

what sparked my interest in this record was that it looked like hip hop and came out on jello biafra’s alternative tentacles label. i thought it would be certainly worth a listen. i was right. not surpringsly for all familiar with alternative tentacles we are now in the segment of political hip hop. yes, i posted earlier consolidated and disposable heroes of hiphoprisy. with them chill. e.b. shares the political lyrics and the connection also to other political music (via his label) – very north american s.f. bay area, that. but then the music is mellower then the two bands mentioned before. yes, we stay with the summer groove… not much more i do know about chill. e.b. – he published that one record – but he still (or again) makes music as you can see / hear on his myspace site (although some are older tracks). seemingly there has been talk of a new record – but since that information is already a little bit dated it seems like this did not happen? and yes, i really like like the cover… chill e.b., born suspicious, also lovingly ripped from vinyl, can you get here.

to round that post off we finish with something not strictly hip hop but definitly queer. j.d. doyle played it as opening track in his special show dedicated to queer hip hop and i lately stumbled across the us-promo mixes: me’shell ndegéocello’s leviticus: faggot. here you get the glee club vocal, the glee club fm, the faggot vs. bitch mix and the album version. just be advised that the mixes are house… and me’shell you can visit on the web here.

bonus: why can’t we live together?

June 27, 2008

i’m gonna make a couple of posts with records that i and recordfinder mastah w found in the last months and that i would have posted in the respective posts if i would have had them then.

first is one of this fetish tracks of mine, timmy thomas’ why can’t we live together? this time in the two versions from 1992, the 1990 remixes. what you get is the war and peace mix, the original version (finally!) and the lasting peace mix, all ripped while sweating from vinyl. very early nineties, that beat. if you hear it you will know what i mean. and yeah, very summer, that. for this occassion i also re-upped all the other versions i posted at the time. and since i feel a little bit guilty of focussing only on that song, here you can get more music by timmy thomas… yeah, it’s music you always hope they would play at the beach. they just never do…

so – timmy thomas – the 1990 remixes 12″ you can get here. enjoy!

actualité: summer

June 21, 2008

monoto postcards

one man’s meat

June 20, 2008

not directly related (although it could also be labelled as “cross-grained electronic” – just a little bit earlier) – i was just in the mood. and i love the title – even if it is not meant in the way i would like it to be meant. and some fad gadget is never wrong. and yes, he’s the man who had on one of his tours a certain band called depeche mode as his opening act. ages later he was the opening act for them… and yes, you see him on the cover tarred and feathered – as he said in an interview at the time he really did it. and that it was one of his not so good ideas, since he spent most of the following week under the shower… but then he never was one to treat himslef with too much care – never forget his climbing the pa in a gorilla suit at a concert… and yes, a certain anton corbijn took the pictures (see also the cover of the lp gag). here is what you get:

Fad Gadget – 12″ One Man’s Meat
A1 – One Man’s Meat (remix)
B2 – Sleep (electro-induced original)
B3 – Ricky’s Hand (recorde live at the hacienda 1984)

lovingly ripped from vinyl. and here you get it. enjoy!

between bleep and a hard place

June 20, 2008

this post could be as well called further explorations in sound. in a way there are some parallels to the young gods – and of course they did influence each other. since cristian vogel is something like 10 years younger, he just started out in a different scene, the underground scene of the early nineties: techno. somewhere in the mid-nineties techno, more precise: european techno seemed to gain a self-confidence, to find its own sound seperate from the founders of techno. it seemed like it had made one of the next logical steps of hard electronic dance music (of course there were also other directions like gabber and happy hardcore and so on): no more hooklines, fuck melody. all we need are hard, wicked beats and a mean bass. so where part of the european techno scene started to develop the nemesis of this kind of techno, trance, others worked on a raw, muscular, dirty sound. in my recollection there were something like “two schools”: on the one hand there was very straight, banging and decidedly unfunky techno, and on the other hand there was banging, in a good way irritating, funky techno. whereas the funk of detroit techno was for me always a flowing, forward moving funk, the funk of this kind of techno was square. the difference seemed to be in the relationship to time: detroit techno seemed to go forward, towards the future. this other techno seemed to stay here – maybe postulating that this is the future, now (rereading this i just realize that “no future” takes on a very different meaning in this context).

and on the edge of this musical style was cristian vogel, putting music out on all the important labels of the time, music that always had the special cristian vogel quality. in need of a better word i always called it annoying – annoying in its unashamed, aggressive way of demanding to be heard. this was not music you just tapped your foot to – this music demanded to dive into it and to understand it with your body – and no, it was never made that easy for you to do that… seduction through denial of being seductive. something to work against – and yes, i like resistance when i dance.

from 1998, towards the end of the bloom of this kind of rude techno comes a dj-set by cristian vogel live on kiss fm, a berlin radio station. i still like this set very much – it is for listening purposes more accessible then other sets recorded on the dancefloor, but still manages to give you an idea of all the energy that could be unleashed with this kind of music. taped in a near-empty apartment in berlin (a big futon, a couple of books, many candles and a cheap boombox) you can get cristian vogel, dj-set on kiss fm, berlin, 23th of april 1998 here (ripped from tape in mono – see “cheap boombox”).

UPDATE: fun in the murky actually treated the recording a bit – so you might want to get that version. and trevor wilkes gives some more info on what you hear…

at about the same time he started working with jamie lidell under the name super collider. i remember hearing in the same period some first cuts from the record head on, which then got published nearly a year later. and i remember how we all listened to this music and how we finally got what the term “future funk” really means. yes, we were rather blown away. it had the same brashness like his techno productions, but using different structures and transporting the weirdness of sly and the family stone to a new generation, to the future. and i still think that this record is way ahead in its treatment of the voice which stands in music clearly as a signifier for authenticity and gets on this record acoustically so totally deconstructed that the machines sound more authentic… yeah, head on! so – time to listen to some super collider. since i did not find the original 12″ of darn’, you get super collider, darn’ (cold way o lovin)’ in the remix version of derrick carter here. and don’t be surprised: it is only one track – the other side has just the etched logo on it… and yes, its’ quite smooth – after all mister carter remixed.

after two longplayers super collider disbanded. jamie lidell started to work on becoming the modern-day sinatra (tough luck, robbie), and cristian vogel, although continuing to put out (mostly in the form of 12″) techno tracks was obviously dissatisfied with the direction electronic club music took. this became also apparent in the dj-sets which became sometimes the aural equivalent of a stiff middlefinger. but then he found a couple of ways to keep himself busy: he started producing and mastering, and took his music into different terrains. his release station 55 showed him being more, hm, song oriented then before – this might be due to his dissatisfaction with techno, his experiences with super collider, his experiences of starting to play in bands. what is interesting to note is that for one song someone the avid reader of this blog should know lends his voice. this someone is franz treichler from the young gods. yes, it’s all connected. they also collaborated on a score for the swiss choreographer gilles jobin. and gilles jobin comissioned a couple more scores for his dance-company from cristian vogel. which was the other direction cristian vogel’s music took: ambient textures, overlaying, strange rhythms, complex, and rather trippy. this gave him also the opportunity to present his music in a context different to clubs. one of these live sets, more precise, cristian vogel live at the springsix festival, graz on the 27th of may 2006, you can get here.

in a way it seems to work very nicely for cristian vogel these days: especially lately he also gained a lot of recognition for his remix work. the experience of writing and performing music in new contexts – or the decline of mainstream minimal (my favourite explanation – and anyway, as mb pointed out, we are all at the moment also looking back) seemed to have brought back the appetite for techno for cristian vogel. already nearly two years back in collaboration with ben mallot he published under the name black e some banging tracks. for me it is interesting that indeed there seems to waken a new interest in music that just kicks more on the dancefloor, and also in a taking up of the different threads of the 1990s (yep, laurent garnier comes here to mind, too). his most recent record the never engine, published late last year sees him back in techno mode. with new self-confidence and the old squareness (well, he never lost that, did he?) he shows once more that this kind of music can still be developed further. and i’ve seen him live not that long ago – and yes, it was reminiscent of a time i actually enjoyed going dancing, but luckily it was not nostalgic. and yes, in my eyes it was long overdue to do this next step…

by the way: the never engine as a music producing machine seems to exist – something with generating music through different algorhytms and with a nod to: orgon. yes, mister reich. no, not steve, wilhelm. argh – marcuse would just have been more elegant… more on that in this interview (in german). it has something to do with sexual energies and unconscious influences through sounds. how that sounds? you can have a listen of one of his new sets, apparantly generated with this never engine over at fun in the murky. in any case it is fun to see how cristian vogel uses different theories as stepping stones to explore further sonic territory – a while back the theme was space, as it can be heard in the above set from austria by way of some spoken words of mister william burroughs at the nova convention towards the end…

so – if you would like to have some more information on mister vogel, please visit his site. if you would like to have a quick listen to his music, some older, some new – and yes, there is also a young gods remix, you can visit his myspace site. and then i would also like to point out the myspace page of the band cristian vogel is a member of: night of the brain. dare i say it? yes – it is nearly pop – or let’s say it is a fresh take on indie-pop. well, just have a listen yourself!

further explorations in sound: more young gods

June 19, 2008

(source)

i already explained some of my views on the young gods. to a degree i always have to smile when i see them classified as “industrial” or whatever: they’re so much more. true, live they are usually a rock band with an enormous amount of energy. but already their second record l’eau rouge showed that there is more to it – that there is a curiosity to explore a lot more of sonic terrain. slowly they became more…psychedelic. a kind of psychedelic that seemed to open up a field between the doors and avantgarde electronica. it was nice to follow their path: a band that has been founded in the 1980’s, with musical influences going back to the 60s and 70s and always having an ear at the most recent developments. all these influences combined with the will to bring music further. this evolution culminated in the ambient album music for artificial clouds.

in retrospect it seems that their aural sculpture six dew points, comissioned for the swiss national exposition expo.02, was like a sketch for music for artificial clouds – and i always assumed that this title actually refers (also) to the artificial cloud of the expo.02. six dew point is officially not available – but if you are interested, you can get it here.

but then the young gods also kind of branched out in several directions, be it the respective soloworks and collaborations of the different members, be it special shows as the young gods like the aquanautic (if i remember the name correctly) show with two artists from geneva (ambient sound to projections of film loops depicting water – the two artists responsible for the visuals actually worked with two projectors like a dj, looping filmsequences), be it a unique concert with a symphony orchestra (for a special 20 years of the young gods show at the jazzfestival montreux), be it their live re-interpretation of a part of the woodstock movie.

somehow the celebration of the 20 years of the young gods (including the best of cd) seemed to be like a certain closure – and therefore also a new beginning. this cd, XXyears, came in two versions: the limited edition version came with a bonus disc, containing loads of remixes of their songs. since the limited edition is no longer availbale, i thought it interesting to make it available. you can get the bonus disc here.

yes – the festivities and the look back on 20 years of explorations in sound seemed to have in a way liberated the young gods. next was the album super ready / fragmenté – i’m tempted to call it “classic young gods”, again produced by roli mosimann (yes, hes has been mentioned here before), sounding very fresh, very much “we’re in the mood to kick ass again”. at the same time the young gods have been asked by the swiss magazine truce to be the first artists to start their series of truce diaries. this means a book with writings of the members of the young gods, texts from other people, interviews, pictures and collages. and it came with a cd full of – well, songs, and bits and pieces. it has a very trippy sitar version of stay with us on it – and the great version of la fille de la mort by greta gratos… yes, really something like a sonic diary, snapshots of very different situations, ready to let us imagine our own stories. and yes, also this is out of print – and yes, i also uploaded it for your personal little roadtrip here.

this comissioned work actually had a bigger impact then first thought – accompanying the release of this book the young gods have been asked to play a special show – an acoustic show. this grew bigger and bigger – to the release of their current record, knock on wood. but that is something for the next post on the young gods…

pearl

June 17, 2008

like balm – soothing. balm for your ears, cooling your nerves after too much exposure to all the noise out in the world. and like balm this music slowly permeats you and you realize that under that layer of silky electronic pop there is more, it goes deeper – it’s knowing music, telling you something you can not quite grasp…

i would describe it as unheimlich – i don’t know if it is the quiet, nearly whispering voice or the lyrics or the layered calmness of the music. i guess i just have to listen again and again to the music of philip waigl.

yeah, when i started this blog i thought i would post a lot more about netlabels and their artists – but then there are a couple of blogs doing that already very well – and i underestimated the fun to put stuff up from my (you guessed right: rather extensive) record collection. but philip waigl i already had in mind – i was somehow waiting for the right moment – and with all the electronica bewtween dancefloor and nightdrives and dark nights at home posted and mentioned in the preceeding posts i think now is a good moment. philip waigl came to my attention when he published his record monsters on the excellent netlabel thinner. and since then i like to loose myself in this music that in a strange way gets at you, inside you…

so i recommend you visit philip waigl’s website – there you’ll find more information and links to all the music he published on different netlabels, where you can download the respective albums – yes, for free. and have also a listen to his piano music (the riverside LP). yes, the web can be a wonderfull place…finding pearls.

data_streams

June 15, 2008

data streaming endlessly through the global networks, flowing into our brains. and before drowning, let me point you to some islands.

less lyrically put: following you’ll find my personal choice of interesting stuff. so let me be your selector.

murcof. something that i keep playing repeatedly – not least because the weather is cold and wet, but especially because it is beautiful and calm is murcof’s last record cosmos from last year. ovelaying textures and a slow deepness – drifting and evolving. and then it fits nicely in the sequence of the two preceeding posts – just more the bearish type. get an ear full of over at his myspace page. for more information, performance dates and a couple of videos please visit his website. and over at smuggled sounds you’ll find a recording of his, together with erik truffaz and talvin singh at the jazzfestival montreux (m even liked it hearing over the phone). and of course sound+ also features one of his performances from seattle in 2004.

convextion. somewhat elusive artist from texas. more textures, overlaying, but less ambient / classical / minimal then a special flavour of electro. it’s one of these sets i downloaded and it just played on my computer and i was doing something else and suddenly i realized that i’m listening to excellent music – yes, it slowly crept into my awareness. and yes, since then it is not leaving my playlist. convextion, live pa , manchester 25.04.2008 – get it here. yep, this also comes from sound+ (where you’ll also find some older live recordings of convextion – and it shows you that you should be on the mailing list – not everything is up on the website).

octave one. robert hood. claudio ponticelli. after all this rather slow electronica time for some techno: via the detroitinstitute comes a nice triple pack of elegant techno. at the moment i prefer the octave one-set. but this changes according to mood… a very nice robert hood mix you’ll also find here at the bodytonic music website.

baroquedub. leaving the electronic a little bit, but not totally – and hoping that summer will come eventually i would like to point to baroquedub (finally!) – mixtapes with many sounds around dub: from dubstep to laptop-dub to classic roots and some surprises. always quality, always interesting – and one can never have enough dubby sounds around, right? so stock up before summer is here!

urbanology. talking of dubby sounds: i mentioned this earlier, but i keep on listening to it, still. it is just so nice and manages to put me in a good mood even when it drizzles with rain. yep, you should finally get fat freddy’s drop. and while you’re there, have a listen at lou courtney – i’m in need of love. one of the great soulrecords. period.

leave your nine at home. and then there is a birthday to celebrate: leave your nine is two years old. that is pretty old in blog years, i suppose. so head over and sing a little birthday song…

the cookshop. and the cookshop celebrated a while ago his 500th post. respect. still bringing us all this wonderfully strange music… thanks!

audiofile. while we’re visiting favourites i would also like to point out a special segment over at the queermusicheritage: if you would like a regular update of new releases by lgbt artists, i recommend you listen to audiofile here. hidden there in the archive is a special show, containing the ten most influental songs for the lgbt community. of course my choice would have been rather different – but then that’s the fun of such lists, right? have a look and a listen here (just scroll down). one song that would have made it on my list as well, i think, is tom robinson’s glad to be gay. which brings us to the next stop in our little journey…

tom robinson. essential listening. zero g posted the first record of the tom robinson band: power in the darkness, which includes the above mentioned song glad to be gay. i repeat it again: ESSENTIAL LISTENING. what a record. and what lyrics. yeah! and he posted as well the live record tom robinson band: cabaret. and zero g is anyway very much worrth a visit. although it kind of bugs me that he posted that (another) record which i try to find since months. but that’s just the collector in me speaking right now. then i also urge you to visit tom robinson’s website: a lot more information, food for thoughts, other intersting stuf, and yes, some of his albums for free.

macho man randy savage. so – to end this post with something very virile…grrrrr….and…errr… rather different: the record of wrestling star macho man randy savage called, surprisingly: be a man. it can’t get much butcher then that. and then the cover! yes, i was just sold after seeing the cover. it’s perfect in its own way, somehow… you can get it over at burning down the dreams of forever.

so – i hope you enjoyed that little trip around and really hope you enjoy at least some of the sounds i pointed you to. as usual: be nice to all these friendly folks making such great stuff available.

groove my chord

June 15, 2008

this time it is the other way round then with john beltran: this music might sound very much like detroit, but it actually comes from…sweden. and yes, i do find aril brikha not only musically interesting…

seeing him live is very interesting: the way he manipulates his machines, moves to the beat, smiles is all very sensual. and obviously i am not the only one seeing it. usually there is a crowd of trainspotters and fellow musicians / dj’s standing around a dj / live act, watching every move of the artist performing, trying to find out the success of her / his music. but with aril brikha you have all these intimaditngly beautful women standing around, obviously taking his music and appearance in with a lot of pleasure… yes, and in the midst little old ugly me. yes, i then decided to dance – after all his music is gentle, but driving – it definitly strikes a chord…

to give you an idea of his performances here an excerpt from his performance at the fuse-in festival in detroit. aaahhh – i just love the way he moves. so let hime take you on a journey into the night:

the full set (but only the music), aril brikha live at the fuse-in / electronic music festival detroit 2005 you can get here.

and more aril brikha live you’ll find over at the excellent sound+ site.

and here you’ll find his myspace site with even more music.

enjoy!

this stream of clear fresh water…

June 11, 2008

we move from the big island with its fast moving weather to a more…balearic region. music like a clear, cold stream, running gaily down a heated up mountainside, jumping over rocks, running towards the sea, greeting us on the way, us that we sit in the shadow of pine trees, shading our eyes against the brilliant glare of the ocean. yes, this very often gets described as soothing music – that might be true, but make no mistake: it is very awake music.

what might come as a surprise after a first listen and especially after this introduction is that this music is coming from a city that can hardly be described as balearic: from detroit. after a second listen one might realize the affinity to the better known detroit techno sound: it is the production, the clearness (like fresh water), the basslines. john beltran is one of the lesser known names from detroit – this might be due that many of his (especially early) productions are not that dancefloor oriented like the productions of his better known peers. there is a closeness to some of carl craig productions, and yes, his first productions also came out on one of carl craig’s labels.

but then his first longplayers have been published through european labels: the first by r&s records (yeah, the belgian label that brought us in the nineties one now-classic after the other – just check their player on their website), the two follow ups via peacefrog (they also have an amazing list of artists). in the last years he moved a little bit away from the detroit techno influences and to more house-inspired sounds, incorporating also latin flavours and basically broadening gently the scope of his music. and although his name might be not that known, chances are that you already heard his music (some tracks have been comissioned for movies and tv-series) and / or one of the many remixes he made on one of the big-name chill out compilations (from buddha bar to ltj bukem’s earth).

so let’s just pretend that it is baking hot and that you need some aural refreshment.

first on the menu is earth & nightfall, his first longplayer from 1995. ripped from vinyl as four tracks (for each side one – most of the tracks segue into each other anyway), you can get it here. where the first three sides seem to be made to listen to in one go, side four differs a little bit: there are two more, hm, dancefloor oriented tracks – and an interesting little last track…

second we have the better known, second longplayer ten days of blue. more clearly detroit techno influenced then his predecessor, but still hardly any tracks with a “straight beat”, this record is seen as a classic these days: showing an alltogether different face of the detroit sound, and yes, still sounding very fresh. this time the tracks are longer, the bass deeper, and the opening track could be called in this context nearly harsh. someone told me it is hard to find – i don’t know about that, but it seems that the vinyl goes for quite a price, and that (at least where i live) the cd (like his first record, too) is not distributed anymore. well, you can get it here, lovingly ripped track by track from my vinyl.

if you would like to have a listen to some of his new stuff – you should! then have a listen over at his myspace page.

then i would like to add (yeah, acting all coy) that this is post number 200. although i haven’t planned a special post i am quite happy it is john beltran – not least because he is one of the handsome men in techno. this is remarkable since i had for a long time the impression that musicians and dj’s either look good or make good music. john beltran is one of the men proving me wrong – of course there has always been derrick may (which is in his cute way very sexy), and in the next post we not only stay with gentle and beautiful techno, but i will also present you one of the…hmm…well, let’s just say it: hottest man in electronica. and as a compensation to the rather odd pic on the cover of earth & nightfall, here something more…appealing. and yes, we’re back on the beach.

the weather is changing

June 10, 2008

it was in berlin: m invited me for dinner – also to introduce me to his lover of the time, t. we had a great and tasty dinner, talking about god an the world, sex of course, and a lot about music. it turns out that t was actually working for a city mag, writing about new releases of the more electronic and stranger kind. so the soundtrack to the evening was of impeccable taste. after dinner, our bellies filled with tasty food, our venes filled with warm red wine, having a coffee, t kind of jumped up and said “i have to play you this track – it’s a pre-release i just got in. i wonder what you think.” m just smiled broadly and agreed that i absolutely have to hear this piece of music – he would go to the kitchen and prepare the dessert… so t cranked up the soundsystem, we both layed back on that big bed and just listened.

just listened.

and…

…rapture.

before you read on i propose you download this, make sure your computer is jacked into a good system, turn up the volume, breath in, breath out and…just listen.

that’s how i got to know the wondefully strange musical world of leila. the title of her first record still describes best her music: like weather. rays of sunlight, passing clouds, heavy rain – all on one record. and then the wonderful voice of luca santucci. although leila usually gets put in the trip hop corner, i found at the time she was rather working on the future of funk, not unlike supercollider, or cristian vogel and jamie lidell on their respective solo works at the time. and it made very much sense that she published on aphex twin’s rephlex label.

but like other artists that got the label trip hop put on, she disappeared (after a second record) for quite a while. but now she’s back. the weather did change – in a first listen i actually thought it is a more subdued record. and yes, the extreme peaks might be missing, but there are still thunderstorms and the brilliant sunshine after the rain. it might be a little bit tinged by melancholia – or by maturity (ha!). it could also being described of leaving the quirkiness of a rephlex release and aquiring the smoothness of her new label, warp.

again she collaborates with different singers – of course with luca santucci, but then we also have martina topley-bird – yes, the former musical and (for a while) private partner of tricky. and then we have a singer the keeps on appearing and disappearing on likely and unlikely places: terry hall.

so let me take on a little excursion: terry hall first got known as member of the specials – yeah, when ska was still, you know, dangerous. after the specials he became more pop with fun boy three, collaborating with bananarama and having their most successfull record, waiting, produced by a certain david byrne. then it became even more pop with the colourfield and also with his later solo records. but then many of his records after fun boy three hardly got any recognition – and anyway one had the feeling that he kind of disappeared, made a couple of records and the disappeared again, just to pop up after a couple of years again with a new name, recording again, dispappearing again and so on… but then that is obviously not really true: long is the list of his collaborations, ranging from the aforementioned bananarama to tricky – the most longrunning one might be the one with the lightning seeds, and then a really surprising one on his last record released under his name, more precise under the name of terry hall & mushtaq (yes, the one from fun da mental) – and there is also a connection to mister albarn. pfuuh… and now he appears on the latest leila record. he obviously keeps himself rather busy. and yes, there are signs of a reforming of the specials, too… you might realise that i was actually planning a post about the man – but then i have been beaten by saltyka and his friends. and boy oh boy, they actually made a monster post. wow – respect! so go and have a look here.

back to leila: if you did not follow my instructions on the beginning of this post (insubordinate is the word), then i propose you either get her new record, blood, looms and blooms. by visiting her website, where you get redirected to her myspace, where you can listen to some of the new tracks. or, if you are in a more funky mood, you have a listen at her first record, like weather by getting it here. this is not my rip – so thanks to the original uploader! and now enjoy the weather!

comment

June 10, 2008

so – i finally managed to force m to leave a comment – and since there are quite some pointers i would like to represent this comment here – and add some comments of mine, too.

…btw: werner herzog has somehow become the epitomy of the selfcontrolled, ultracool director. he’s a true rockstar
e.g. when klaus kinski goes berzerk

true – very cool and selfcontrolled – and then he manages to tell us that he is the one to fear. fantastic.

the whole rant (enacted with pantoffel-puppets!) is here:
http://youtube.com/watch?v=Q4H-zPkjSts

or he gets shot
http://youtube.com/watch?v=ylXqc8TQ15w

or henry rollins sucks up to him
http://youtube.com/watch?v=B4i5WkkXdmc

well – there would be a lot to say about henry rollins, of course. what i find fantastic is that werner herzog comes across tougher then mister rollins when he explains the “being shot at episode” – which is an interesting episode (see link above) because we get to see his somehow surprising choice of underwear. hmmm…

unfortunately i am not that familiar with werner herzog’s body of work (especially concerning his newer stuff). what i found always fascinating was the relationship between him and klaus kinski, his alter ego, his nemesis, his best fiend:

the above clip is an excerpt from that movie, presenting a short bit of his (in)famous performance of jesus christ erlöser – more information you’ll find on this website.

what is somehow odd – because it fits in this series of posts of “old stuff”, of digging out music from the past, is that an interview of klaus kinski is one of my earliest tv-memories. i remember being totally flabbergasted – finally someone who dared to be, well, normal. to tell a journalist that the question asked sucks.

i might get around one day to do something more substantial on mister kinski – for the time being have a look at youtube: there is quite a lot to see. and funny to see that old interview and realising that next to him sits manfred krug (which is a different story again…).

mb?

June 10, 2008

mb stands for memi beltrame. and memi beltrame does movies. nice movies. wicked movies. time he becomes famous….

so here an indication where he comes from – a documentary, him discussing with his mother his early experiences with film… yeah, the early exposure to fellini and herzog explains quite a lot.

for more movies by mister beltrame (be it about spaghettis, be it about the (too) perfect lover) you can go here.

enjoy!

and for more information and fan-mail please visit his website.

rat race

June 9, 2008

for mb

fishing for words and melodies: garish

June 8, 2008

time to get a little bit more…contemporary.

the parrallel to the last post is that this band is also singing in german, although they would have a local dialect. and that it is also pop – but pop in a different sense: the reference coming to mind is definitly radiohead.

so let me introduce you to the austrian band garish. rather successfull in their native country, they are unfortunately, in my opinion, not very well known in the rest of the world. time i’ll change that (right, that’s called delusional). i got to know them with their second record, wo die nacht erzählt vom tag – the comparison to radiohead is definitly fitting: pop that is not afraid to explore different musical territories – in a way less gritty (i’m tempted to write cuter – alas, i did it) then radiohead, but then this is (like good pop should be) also deceiving. a very musical band with a talent for complex yet appealing melodies and a singer with – especially for german sung music – a unique way of phrasing and singing and singing wicked lyrics, playing with words and meanings. i remember seeing an interview with the band where as usual the question arose why they sing in german, and the singer answered that the german language just offers, already through its syntax (having the verb at the end of the sentence – i know it annoys many learning that language, since the sense of the sentence only becomes clear at its end) there are so many possibilities for playing with meaning and a great opportunity to deceive the listener…

how it sounds? well, here the first video they ever made, draussen fischt im eis (from the above mentioned record):

like what you hear? well, you can get garish – wo die nacht erzählt vom tag here.

somehow i did not like the record that followed, absender auf achse – but then i usually don’t like records with songs using children choirs (except it is marc almond) – well, that was not the only reason, somehow i was missing a certain coherence… but then i guess they finally had the time and means to explore different ideas. fair enough.

then their latest record, parade, which came out last year, is very good again – still that very musical sensibility, but this time in a certain way more….hmmm….rootsy? but then let’s not forget that they are from austria, so “roots” might means something else then americana. and then again there is another comparison that comes to mind – especially if you are going to hear the acoustic version of was kein wort je erklärt (from parade) below. it just very strongly reminds me of great lake swimmers… hmmm… (which gives me the opportunity to direct to there) but then as usual you might better listen to it yourself and draw your own conclusions – and enjoy!

and as always: for more information you can visit the band’s website.