Ethiopiques series. Some excellent music right here. Enjoy.
http://chocoreve.blogspot.com/2007_09_01_archive.html
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3282Muslimgauze~Hebron Massacre (SOL 24 #792 1994)
http://www.sendspace.com/file/h5sv6z
Written and recorded in a one-day session shortly after the titular event -- the February 24, 1994 murders of a number of Palestinians by a crazed Jewish settler at Hebron's Cave of the Patriarchs -- the one-track Hebron Massacre remains one of the bitterest and most straightforward indictments of Israel ever recorded by Muslimgauze. Given that Bryn Jones' entire musical career concerned such indignation in one way or another, that's saying something, but here his cause isn't limited to the blunt design of the release, featuring news clippings about the tragedy. Mixing a number of samples from interviews in response to the killings, the song has a shrill edge to it, thanks to the chillingly sharp main keyboard synth line set against soft but persistent percussion beats, with a low bass rumble further propelling the track. Simple in comparison to his other works, it still retains a sharp musical and lyrical power with enough alien beauty to make it worth repeated listens.
AMG
Muslimgauze~ Vote Hezbollah (SOL 17 1993)
http://www.sendspace.com/file/ifv22c
Vote Hezbollah' marks the return of Muslimgauze to Soleilmoon and Staalplaat. This CD is a departure from 1992's Zul'm (Extreme), with a rougher, more human feel to the music. Comprising just over 70 minutes of music, 'Vote Hezbollah' carries the listener on a journey into one of the world's most politically unstable regions: The Middle-East.
As ever, the principal influence behind Muslimgauze is the political situation in the Middle-East. There are no musical influences, only political facts and figureheads, for example Arafat, Gadaffi, Bhutto, etc. Such things are the starting point from which Muslimgauze music is taken. The recent events in Iraq and Kuwait have made this area the most important in the world. Quite soon every country is going to have to choose which side it is on: either to help free the people of Palestine, or to help Israel oppress them even further. The struggle for Palestinian freedom can be heard throughout the music of Muslimgauze. Indeed, there is a lot more to Muslimgauze than just a few pieces of music on a CD.
Soleilmoon
http://www.sendspace.com/file/h5sv6z
Written and recorded in a one-day session shortly after the titular event -- the February 24, 1994 murders of a number of Palestinians by a crazed Jewish settler at Hebron's Cave of the Patriarchs -- the one-track Hebron Massacre remains one of the bitterest and most straightforward indictments of Israel ever recorded by Muslimgauze. Given that Bryn Jones' entire musical career concerned such indignation in one way or another, that's saying something, but here his cause isn't limited to the blunt design of the release, featuring news clippings about the tragedy. Mixing a number of samples from interviews in response to the killings, the song has a shrill edge to it, thanks to the chillingly sharp main keyboard synth line set against soft but persistent percussion beats, with a low bass rumble further propelling the track. Simple in comparison to his other works, it still retains a sharp musical and lyrical power with enough alien beauty to make it worth repeated listens.
AMG
Muslimgauze~ Vote Hezbollah (SOL 17 1993)
http://www.sendspace.com/file/ifv22c
Vote Hezbollah' marks the return of Muslimgauze to Soleilmoon and Staalplaat. This CD is a departure from 1992's Zul'm (Extreme), with a rougher, more human feel to the music. Comprising just over 70 minutes of music, 'Vote Hezbollah' carries the listener on a journey into one of the world's most politically unstable regions: The Middle-East.
As ever, the principal influence behind Muslimgauze is the political situation in the Middle-East. There are no musical influences, only political facts and figureheads, for example Arafat, Gadaffi, Bhutto, etc. Such things are the starting point from which Muslimgauze music is taken. The recent events in Iraq and Kuwait have made this area the most important in the world. Quite soon every country is going to have to choose which side it is on: either to help free the people of Palestine, or to help Israel oppress them even further. The struggle for Palestinian freedom can be heard throughout the music of Muslimgauze. Indeed, there is a lot more to Muslimgauze than just a few pieces of music on a CD.
Soleilmoon
Animals are something invented by plants to move seeds around. An extremely yang solution to a peculiar problem which they faced. T. Mckenna
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3283Just ripped this vinyl LP I got from the Jazz Record Mart earlier this week:
A collection of early rockabilly 45s, featuring a bunch of unknowns (to me at least) like Johnny Cavalier, Paul Champlain (who sounds a lot like Mark Sultan), lots of others. Great stuff.
It's on the Esoldun (France) label, with a 1986 copyright. I can't seem to get much info about this company, just that they specialized in rockabilly reissues. Must. find. more.
A collection of early rockabilly 45s, featuring a bunch of unknowns (to me at least) like Johnny Cavalier, Paul Champlain (who sounds a lot like Mark Sultan), lots of others. Great stuff.
It's on the Esoldun (France) label, with a 1986 copyright. I can't seem to get much info about this company, just that they specialized in rockabilly reissues. Must. find. more.
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3284d865 wrote:Ethiopiques series. Some excellent music right here. Enjoy.
http://chocoreve.blogspot.com/2007_09_01_archive.html
He has great stuff, but so help me I cannot figure out what the password to those archive files are! It's right there on the fucking page and I can't figure it out.
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3285While looking for some stuff for Glynnis today, I came upon this album. I forgot how much I enjoyed it.
Blind Idiot God ~ Undertow (1989)
http://www.sendspace.com/file/g6aptx
For its second album, Blind Idiot God enlisted the services of producer Bill Laswell, but the results show little difference from the attack evidenced on the band's initial release. Once again, the band alternates between surging instrumental barnburners like "Sawtooth" and "Drowning" and spare, evocative dub-oriented songs. Both are handled with the same imagination and confidence that the group had previously exhibited; this was one extremely tight and talented power trio. Andy Hawkins' compositions often take surprising turns during their short duration, themes bending and elongating in a manner providing delicious tension. Ted Epstein's drumming is a marvel to hear, combining an overwhelming strength with an unusual subtlety of rhythmic choices that one doesn't often hear in music as ostensibly rock-based as this. Two tracks stand out as departures from the group's first album: a cover of George Clinton's "Alice in My Fantasies" wherein Blind Idiot God shows that it can also handle power funk quite capably, and the final cut, "Purged Specimen." For this number, the trio is joined by saxophonist, composer (he wrote the piece), and lover of hardcore thrash John Zorn. The track sounds much more like a Naked City song than a typical Blind Idiot God rave-up though, again, it's an example of the band successfully navigating hitherto unexplored territory.
AMG
Blind Idiot God ~ Undertow (1989)
http://www.sendspace.com/file/g6aptx
For its second album, Blind Idiot God enlisted the services of producer Bill Laswell, but the results show little difference from the attack evidenced on the band's initial release. Once again, the band alternates between surging instrumental barnburners like "Sawtooth" and "Drowning" and spare, evocative dub-oriented songs. Both are handled with the same imagination and confidence that the group had previously exhibited; this was one extremely tight and talented power trio. Andy Hawkins' compositions often take surprising turns during their short duration, themes bending and elongating in a manner providing delicious tension. Ted Epstein's drumming is a marvel to hear, combining an overwhelming strength with an unusual subtlety of rhythmic choices that one doesn't often hear in music as ostensibly rock-based as this. Two tracks stand out as departures from the group's first album: a cover of George Clinton's "Alice in My Fantasies" wherein Blind Idiot God shows that it can also handle power funk quite capably, and the final cut, "Purged Specimen." For this number, the trio is joined by saxophonist, composer (he wrote the piece), and lover of hardcore thrash John Zorn. The track sounds much more like a Naked City song than a typical Blind Idiot God rave-up though, again, it's an example of the band successfully navigating hitherto unexplored territory.
AMG
Animals are something invented by plants to move seeds around. An extremely yang solution to a peculiar problem which they faced. T. Mckenna
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3286I loved Blind Idiot God.
Seeing them live was a revelation, mostly because it was nearly incomprehensible how they could play that loud and not liquefy themselves.
BIG were so loud that earplugs were useless.
BIG were so loud that when they played CBGB, you could hear them in the deli across the street.
BIG were so loud that I saw Andy Hawkins break glasses just by playing some high notes on his guitar - I believe he played a Bitch, or possibly a Warlock.
Seeing them live was a revelation, mostly because it was nearly incomprehensible how they could play that loud and not liquefy themselves.
BIG were so loud that earplugs were useless.
BIG were so loud that when they played CBGB, you could hear them in the deli across the street.
BIG were so loud that I saw Andy Hawkins break glasses just by playing some high notes on his guitar - I believe he played a Bitch, or possibly a Warlock.
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3288burun wrote:I loved Blind Idiot God.
I still love them. Well, the 'not dub' stuff, anyway.
I was just getting into things when Blind Idiot God was a local band (I think...maybe they just played St. Louis constantly for some deranged reason). None of the 'punks' liked them, and I was caught in the slipstream around several shows...
Now, I regret. The first LP sounds mammoth, and is in no way retardo-cliche, unlike almost every single other local act of that time.
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3289rayj wrote:I was just getting into things when Blind Idiot God was a local band (I think...maybe they just played St. Louis constantly for some deranged reason).
No, they were from St Louis.
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3290Glenn W. Turner wrote:rayj wrote:I was just getting into things when Blind Idiot God was a local band (I think...maybe they just played St. Louis constantly for some deranged reason).
No, they were from St Louis.
Well, then, chalk them up on the failure board...along with Big Black, for fuck's sake...
My first (crap) band actually played a bill with them. We left before they started. 'Funny looking' older dudes started showing up...
Damn. At least I caught that last Hammerhead show with the original lineup...