Artist: The Remote Viewer Album: I Can’t Believe It’s Not Better Label: Mobeer Release date: July 2008 Genre: Electronic Style: Ambient Pop/Downtempo RIYL: Epic45, The Boats, Marsen Jules
“It’s been over 3 years since the Remote Viewer’s last album “Let your Heart Draw A Line” so it’s been quite a wait – but from the instant you start playing this amazing set of tracks you find yourself comforted by the familiar yet forever beguiling sound this band makes.
Delicate percussive underlays, pops and whirrs, tinkling melodies, banjo strums, loose piano arrangements and an assortment of found sounds mingle in with deep, almost gargantuan basslines that accompany many of the Remote Viewer’s finest tracks.
There are some surprising treats in store too – with band member Andrew Johnson allowing his singing voice to be heard properly for the first time in years, while faithful family member Nicola Hodgkinson contributes some of her vocal magic to proceedings.
With packaging to die for (it took the label endless late nights to get all the elements together – more or less everything has been hand made) we’re thinking that this is one of the most beautiful and sublime releases we’ve laid our hands on in a while.” [Boomkat]
[The Remote Viewer - Open MySpace page in a new window]
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In 2003, to promote an Italian wine (Pellisero), for some reason, a promotional CD was sent to wine distributors!
Very surreal!! … Eno music never really encourages me to drink wine! Everything else does, however!
This promotional CD included 5 unreleased Brian Eno tracks.
The music sounds like outtakes from “Bell Studies” period.
Ripped in FLAC with cover scans.
Tracklisting
1) Study 16 (x5, x3, series ratios) 2:32 2) Study 17 (pythgorean ratios) 4:12 3) If a bell became a drone 2:14 4) Campion Bells 2:25 5) Bell Study with distant delay 5:22
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Hikaru Utada- born January 19, 1983 in NYC- , also known by her fans as Hikki, is a singer-songwriter, arranger and record producer in Japan.
She is well-known internationally for her two theme song contributions to Square Enix’s Kingdom Hearts video game series:”Simple and Clean” and “Sanctuary”.
1. Automatic 2. Another Chance 3. In My Room 4. Movin’ On Without You 5. Never Let Go 6. Amai Wana ~ Paint It, Black 7. Time Will Tell 8. B&C 9. Give Me A Reason 10. First Love
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Imogen Heap (born December 9, 1977) is a Grammy nominated English singer-songwriter from Romford, London, most famous for her work as part of Frou Frou and for her 2005 solo record Speak for Yourself, which she wrote, produced and mixed herself. In 2006, she was nominated for two Grammy Awards.
Frou Frou were an English electronic music duo composed of Imogen Heap and Guy Sigsworth.
Tracklisting
1. Let Go 2. Breathe In 3. It’s Good To Be In Love 4. Must Be Dreaming 5. Psychobabble 6. Only Got One 7. Shh 8. Hear Me Out 9. Maddening Shroud 10. Flicks 11. The Dumbing Down Of Love
1. Headlock 2. Goodnight and Go 3. Have You Got It In You? 4. Loose Ends 5. Hide and Seek 6. Clear The Area 7. Daylight Robbery 8. The Walk 9. Just For Now 10. I Am In Love With You 11. Closing In 12. The Moment I Said It
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Pink Floyd – The Dark Side of the Moon [SACD-DTS 5.1] 30th Anniversary Edition SACD Release: 2003 | Label: EMI |Genre : Progressive Rock Included : CUE + Wav + Covers | Size : 500 MB
WARNING!!!
Audio Format: Digital Surround DTS 5.1
To play DTS CDs you need to have equipment that supports DTS and a surround sound system that is capable of decoding the DTS signal. Don’t play this on equipment that isn’t compatible because you’ll only hear static.
Super Audio CD (SACD)
The Super Audio CD (SACD) features two disc layers. One layer contains a standard version of the album that works on any CD player. The other layer includes high-resolution stereo and a 5.1 surround version of the recording that works on SACD-compatible DVD players and home theater systems. Both layers employ SACD’s Direct Stream Digital (DSD) encoding process that samples the music 64 times faster than CD for unprecedented fidelity.
Dark Side of the Moon, originally released in 1973, is one of those albums that is discovered anew by each generation of rock listeners. This complex, often psychedelic music works very well because Pink Floyd doesn’t rush anything; the songs are mainly slow to mid-tempo, with attention paid throughout to musical texture and mood. The sound effects on songs like “On the Run,” “Time” and especially “Money” (with sampled sounds of clinking coins and cash registers turned into rhythmic accompaniment) are impressive, especially when we remember that 1973 was before the advent of digital recording techniques. This is probably Pink Floyd’s best-known work, and it’s an excellent place to start if you’re new to the band.
Genevieve Williams
The Dark Side of the Moon (titled in the 1993 CD release as Dark Side of the Moon) is a 1973 concept album by Pink Floyd. It explores the nature of the human experience, with themes such as birth, time, greed, conflict, travel, mental illness, and death.
It is considered by many fans and critics to be the band’s magnum opus, and is generally hailed as the record that defined their sound. It was a landmark in rock music, featuring radio-suitable songs such as Money, Time, Us and Them, and Brain Damage/Eclipse that also incorporate ethereal concrete sound techniques. Some critics use the album as a point of reference between classic blues rock and the then-new genre of electronic music. However, the work’s softer touches of lyrical and musical nuance are what make Dark Side stand apart from its peers. All four of the band members participated in the writing and production: David Gilmour, Nick Mason, Roger Waters, and Richard Wright. It is the first Pink Floyd album with all lyrics credited to Roger Waters. It is the third bestselling album of all time and stayed longer on the US Billboard Top 200 chart than any other album in history (741+ weeks).
Tracklisting
01. Speak To Me 02. Breathe 03. On The Run 04. Time 05. Great Gig In The Sky 06. Money 07. Us And Them 08. Any Colour You Like 09. Brain Damage 10. Eclipse
Total Time: 42:59
Line-Up: - David Gilmour / guitars, vocals, VCS3 - Nick Mason / drums, percussion, tape effects - Roger Waters / bass, vocals, VCS3, tape effects - Richard Wright / keyboards, vocals, VCS3
With: - Dick Parry / saxophone (6-7) - Clare Torry / lead vocals (5) - Leslie Duncan / backing vocals - Lisa Strike / backing vocals - Barry St. John / backing vocals - Doris Troy / backing vocals Details 5.1 Surround mix by James Guthrie Assistant engineer Joel Plante 5.1 and stereo mastering by Doug Sax and James Guthrie Assisted by Joel Plante and Gus Skinas Mixed and mastered at das boot recording DSD authoring for SACD by Gus Skinas
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Sigur Ros – Discography Lossless: EAC rip (FLAC+CUE+LOG) | Full Covers 7 Albums | 66 tracks | Total Time: 07:09:45 | 2.41 GB
“with a buzz in our ears we play endlessly”
The greatest thing to come out of Iceland! Well, after that gorgeous, yet nasty and very drunk, chick (see pic below) I met when I went there 5 years ago, who in between infinite gulps of raw vodka, kept Mr. Stupid junior stiff as an icicle (well, Iceland is damn cold!!) for three full fun filled days …. and three full fun filled nights!
Man, it took a hell of a long time to thaw Mr. Stupid junior out after those exploits!!
Awwww …. we’re made of memories (or mammaries), and all we’ve got are memories (or mammaries) !!!
Artist’s impression by Mr. Stupid junior. Not necessarily accurate…. In fact, not remotely fucking accurate!
Ahem ….. what the fuck was I talking about? Ah yeah … Sigur Ros !
Better than Bjork?, a moron asks (we get lots of that species here!)?
Better than Bjork? …. Well, to put it subtly, a squeaking drooling rat crawling over my dying body would sound better than Bjork!
Sigur Rós are a great Icelandic slow-motion rock band (according to the band’s own fucked up definition!) with post-rock elements.
The name is derived from the name of lead vocalist Jónsi Birgisson’s little sister Sigurrós. According to their website, it is pronounced “si-ur rose”. They hail from the same creative and vibrant Icelandic music scene as múm and Amiina. They released their first ever foray into film-making with their tour documentary, Heima in late 2007.
History
Jón Þór (Jónsi) Birgisson, Georg Hólm and Ágúst Ævar Gunnarsson formed the group in Reykjavík, Iceland in August 1994.
They soon won a record deal with a local record label, Bad Taste.
In 1997, they released Von (Hope) and in 1998 a remix collection named Von brigði. The name is Icelandic wordplay: Vonbrigði means “disappointment”, but Von brigði means “hope alteration”. (In English, the album is sometimes known by the alternative name “Recycle Bin”.)
International acclaim came with 1999’s Ágætis Byrjun (“An alright start”) for which the band were joined by Kjartan Sveinsson. The album’s reputation slowly spread by word of mouth over the next two years. Soon many critics worldwide hailed it as one of the best albums of its time and the band was playing with Radiohead and other big names. Drummer Ágúst left the band after the recording of Ágætis Byrjun and was replaced by Orri Páll Dýrason.
After the release of Ágætis Byrjun, the band became perhaps most well known for Birgisson’s signature style of playing guitar with the bow from a cello, accentuated with reverb, creating a sweeping, fluid sound that is unique for an electric guitar.
In early 2001, Sigur Rós set out to record some songs in their newly-completed álafoss swimming pool studio with their friend Steindór Andersen who is a fisherman and chairman of the Icelandic poetry society, called Iðunn. Steindór is a chanter/singer of the traditional Icelandic epic poetry form called Rímur. Only 1000 copies of the EP were printed and sold in the spring tour of 2001.
In 2002, their highly anticipated follow-up album ( ) was released. Upon release all tracks on the album were untitled, though the band later published song names on their website. Famously all of the lyrics on ( ) are sung in vonlenska (“Hopelandic”), nonsensical vocalisations which resemble the sound of the Icelandic language.
It has also been said that the listener is supposed to interpret their own meanings of the lyrics which can then be written in the blank pages in the album booklet.
In October of 2003, Sigur Rós joined Radiohead in composing music for Merce Cunningham’s dance piece Split Sides; Sigur Rós’s three tracks were named Ba Ba Ti Ki Di Do and released in March of 2004. The three tracks (Ba Ba Ti Ki Di Do) are separate endeavours, but the band intended that all three be played at the same time to form one single track. The band’s 1997 debut album Von also finally found a U.S. and U.K. release in October of 2004.
Their next full-length album, Takk… (Thanks…), was released on September 13, 2005, with a legal download of their first single, Glósóli, made available on August 15.
For North American fans, Sæglópur was made available for download on August 16. Hoppípolla, the second official single from Takk…, was released on November 28 alongside a new studio remake of Hafsól, a song which was previously released on the band’s 1997 debut, Von.
An extended Sæglópur EP was released on July 10th in most parts of the world and on August 8th in the United States. Its original release date was May 8th, but because of the sudden demand of “Hoppípolla”, especially in the UK due to its inclusion on BBC’s ‘Planet Earth’, it was pushed back from that date. Sigur Rós recorded three new songs for the EP (Refur, Ófriður, and Kafari).
The Hvarf/Heim double album was released on November 5th 2007, comprising two separate albums. Hvarf contains reworkings of songs dating back to the bands’ first album, whereas Heim contains live acoustic versions of more well known songs. The double album was an accompaniment to the film Heima.
Sigur Rós have sold over 2.5 million albums worldwide.
Sigur Rós are currently touring worldwide and their newest album Með suð í eyrum, við spilum endalaustwas release on June 23 2008.
Sigur Ros – Discography
[b]Von (1997)
Tracklist 1. sigur rós [9:46 mins] 2. dögun [5:50 mins] 3. hún jörð [7:17 mins] 4. leit að lífi [2:33 mins] 5. myrkur [6:14 mins] 6. 18 sekúndur fyrir sólarupprás [0:18 mins] 7. hafssól [12:24 mins] 8. veröld ný óg óð [3:29 mins] 9. von [5:12 mins] 10. mistur [2:16] 11. syndir guðs (opinberun frelsarans) [7:40 mins] 12. rukrym [8:59 mins]
Tracklist 1. ba ba [6:12 mins] 2. ti ki [8:49 mins] 3. di do [5:42 mins]
Takk… (2005)
Tracklist 1. takk… · 01:57 mins 2. glósóli · 06:15 mins 3. hoppípolla · 04:28 mins 4. með blóðnasir · 02:17 mins 5. sé lest · 08:40 mins 6. sæglópur · 07:38 mins 7. mílanó · 10:25 mins 8. gong · 5:33 mins 9. andvari · 06:40 mins 10. svo hljótt · 07:24 mins 11. heysátan · 04:09 mins
Hvarf-Heim (2007) double album
Tracklist hvarf studio cd 1. salka 2. hljómalind 3. í gær 4. von 5. hafsól
heim live acoustic cd 1. samskeyti 2. starálfur 3. vaka 4. ágætis byrjun 5. heysátan 6. von
Med Sud I Eyrum Vid Spilum Endalaust (2008)
Tracklist 1. gobbledigook · 3:05 mins 2. inní mér syngur vitleysingur · 4:05 mins 3. góðan daginn · 5:15 mins 4. við spilum endalaust · 3:33 mins 5. festival · 9:24 mins 6. með suð í eyrum · 4:56 mins 7. ára bátur · 8:57 mins 8. illgresi · 4:13 mins 9. fljótavík · 3:49 mins 10. straumnes · 2:01 mins 11. all alright · 6:21 mins
yes, this a file containing the links only, moron!
Big thanks to Allende
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We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
Hirano Yoshihisa & Taniuchi Hideki – Death Note OST I Artist – Hirano Yoshihisa & Taniuchi Hideki Album – Death Note OST I, II and III Year – 2006-2007 Genre – Instrumental Experimental Post-rock (A mix of everything!)
A wonderful score by Yoshihisa Hirano & Taniuchi Hideki for the acclaimed Death Note.This is the score for the first movie in the series.
Yoshihisa Hirano(平野義久) is a Japanese composer, born in 1971. He is known for his very orchestral feeling when it comes to his musical style used for anime scores.
In the past he has created musical scores for Midori Days, Air Master, Strawberry Panic, Ouran High School Host Club; his most recent work was done for the hit movie Death Note.
タニウチヒデキ, Taniuchi Hideki, born on November 15th in Hokkaido, is a Japanese musician and composer, best known for his work on composing soundtracks to anime series.
Aside from his work as composer, Taniuchi also plays guitar in the Japanese Rockband Shocking Lemon.
In recent years, his popularity was increased due to his works for various anime series, such as Otogizōshi, Akagi, Kaiji and not least due to the worldwide hit DEATH NOTE.
For the latter, Taniuchi composed the 3 OSTs in collaboration with 平野義久 (Yoshihisa Hirano).
Tracklisting
01 Death note 02 Jiken 03 Light’s Theme 04 L’s Theme 05 Kinchou 06 Senritsu 07 Kodoku 08 Tomonari 09 Kitai 10 Tokusou Kira han 11 L’s Theme B 12 Shunjun 13 Tsuiseki 14 L no Nakama 15 Tokusou 16 Shinigami kai 17 Taikutsu 18 Rem 19 Death note Theme 20 Kyrie 21 Domine Kira 22 Teloelogy of death 23 Low of Solipsism 24 Requiem 25 Immanence 26 Dirge 27 Light Lights up light 28 Alert 29 the WORLD (Tv Size) 30 Alumina (Tv size)
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Sigur Rós fans take note: although the Icelandic art-rockers get prominent billing on this film soundtrack, they contribute only two songs. The bulk of Angels of the Universe comes from film composer Hilmar Örn Hilmarsson, who adopts a suitably melancholy, tormented tone for the most of the disc, as befits the soundtrack to a dark film about mental illness. I haven’t seen Angels of the Universe, but by all accounts it’s a very powerful but relentlessly bleak affair. It’s also become one of Iceland’s most successful films of all time, which probably says as much about the national character of that frigid little island country as it does about the quality of the film.
Since most listeners will skip right to the end for Sigur Rós’ two closing tracks, let’s start the review there, as well. “Blum blum bambalo” finds the band in mournful mode, with the solemn march of a bass drum punctuating the drone of Jonsi Birgisson’s bowed guitar and melancholy, choir boy vocals. Although unmistakably a Sigur Rós track, “Blum blum bambalo” achieves a kind of solemn grandeur I haven’t heard from the band before, and it’s by far the most interesting thing Angels of the Universe has to offer. After a sweeping finish, the track segues into the churchy rock melodrama of “Death Announcements and Funerals”, a noisy instrumental based on a popular Icelandic funeral hymn. It will probably leave all but Sigur Rós’ most ardent fans scratching their heads — they sound less here like the future of Icelandic music and more like the past of British prog rock. Not since Jethro Tull’s heyday has anyone taken folk music themes and puffed them up into such headbanging bombast.
The rest of Angels in the Universe is mostly sobbing strings and the occasional plaintively plucked guitar; Hilmarsson’s music has the quiet emotiveness of all good soundtrack music, but outside the context of cinema it’s simple and fairly repetitive. He does inject some interesting, avant-garde tonalities, the like of which you’ll never hear in a Hollywood soundtrack — the layered strings of “Memory” and “Degradation” echo the work of other maverick film composers like The Piano’s Michael Nyman. Occasionally Hilmarsson jolts his listeners with something different — “Over the Bend”, for example, erupts mid-way into an ominous rumble of acoustic and electronic percussion that rises and falls in volume against the dark backdrop of those slightly off-key strings that are Hilmarsson’s signature sound. Other tracks that stand out for their sheer disturbingness are “Journey to the Underworld”, in which a single violin saws gnat-like through a series of atonal chords, and “Relapse”, which uses a distorted drum solo to create a very fair sonic approximation of a nervous breakdown. But for the most part the pleasures in Hilmarsson’s music are subtle and small — this is not catchy stuff, even by the offbeat standards of Icelandic music.
Still, Angels of the Universe has its moments. In addition to the mournful majesty of Sigur Rós’ “Blum blum bambalo”, there are at least two Hilmarsson tracks, that surpass their status as soundtrack fragments and stand on their own as striking compositions: the Steven Reich-like “Schiller in China” and the achingly beautiful “Te Morituri . . .”. For fans of this kind of dissonant yet romantic string music, Hilmarsson is certainly a composer worth getting to know, either here or on his other major motion picture soundtrack, Children of Nature. As for fans of Sigur Rós — well, for a band that takes as many risks as they do, one out of two ain’t bad.
Tracklisting
01. Approach-Dream 02. Memory 03. The Black Dog And The Scottish Play 04. Degradation 05. Over The Bend 06. Colours 07. Journey To The Underworld 08. Shave 09. On The Road 10. Another Memory 11. Relapse 12. Coma 13. Schiller In China 14. Helpless 15. Te Morituri… 16. Bium Bium Bambalo 17. Death Announcements And Funerals
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Future Sound Of London – Environments II (2008) Mp3 / 320 kbps / RS and multi mirror
This genus of music is really not our normal cup of Jack Daniels but we did like this lot back in the day! I think we had Lifeforms and Dead Cities and they got a lot of play!
I hadn’t heard anything about them in a while though. I thought they’d died! But apparently not!
The Future Sound of London are a prolific British electronic music band comprised of Garry Cobain and Brian Dougans. The duo are often credited with pushing the boundaries of electronic music experimentation and of pioneering a new era of dance music.
Although often labelled as ambient, Cobain and Dougans usually resist being typecast into any one particular genre. Their work covers most areas of electronic music, such as ambient techno, drum and bass, trip-hop, ambient dub, acid techno and often involves extreme experimentation; for example they have, since the turn of the millennium, experimented with psychedelic rock under their Amorphous Androgynous alias.
The artists have been fairly enigmatic in the past but have become more candid with their fanbase in recent years with social websites like Myspace, Youtube, their forum and many interviews in which Cobain almost always speaks for them both. In addition to music composition, their interests have covered a number of areas including film and video, 2D and 3D computer graphics, animation in making almost all their own videos for their singles, radio broadcasting and creating their own electronic devices for sound making.
Tracklisting
1. Viewed From Above (2:34) 2. Glacier (Part 1) (8:56) 3. Serengeti (4:32) 4. Colour Blind (3:35) 5. A Corner (3:29) 6. Newfoundland (2:04) 7. North Arctic (3:19) 8. Factories And Assembly (5:04) 9. Ice Formed (4:17) 10. Small Town (3:14) 11. Nearly Home (3:38) 12. Boca Manu (2:22) 13. Journey To The Centre (3:41) 14. Glacier (Part 2) (6:22)
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Four Tet – Pause released in 2001 MP3 / 320 kbps / 84.63 mb
Another album we liked a lot a few years ago.
Amazon.com’s Best of 2001;
Kieran Hebden is, it has to be said, something of a genius. The groundwork for Pause was laid when Dialogue–his debut solo album under the guise of Four Tet–landed in 1999, an album that redrew the parameters of inventive dance music.
A peculiar mix of live-sounding instrumental jazz and technologically super-precise laptop dance trickery, it sounded nothing like Hebden’s actual group–the post-rockers Fridge–and, as it happened, very little like anything else in existence. Where Dialogue employed jazz sax and flute in its evocation of a 21st-century jazz meltdown, Pause goes even further, coiling whispers of harp and zither over layer-on-layers of fidgeting, rattling percussion.
His inspirations? Well, like his friend and protégé:, Canadian tech-wizard Manitoba (whose Start Breaking My Heart is easily the equal of Pause), Hebden collects sounds and melodies from a dizzying array of places–ancient British folk music, the rattle of typewriter keys, the gurgle of running water, even a field recording of a children’s playground. Genius? There really is no other word for it.
-Louis Pattison
Tracklisting
1. Glue Of The World 2. Twenty Three 3. Harmony One 4. Parks 5. Leila Came Round And We Watched A Video 6. Untangle 7. Everything Is Alright 8. No More Mosquitoes 9. Tangle 10. You Could Ruin My Day 11. Hilarious Movie Of The 90′s
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OCEAN OF SOUND (1996) [2 Discs Various Artists] Mp3 160
This is a stunning eclectic collection of marvellous music I bought soon after it came out and thoroughly enjoyed!
Until some bimbo I was dating back then, borrowed the CD and lost it!
Subtitled; “A Collection of Music to Accompany David Toop’s book, Ocean of Sound,” this two disc set is like no other music collection you’ve ever heard!
David Toop (born 5 May 1949) is an English musician and author, and as of 2001 was visiting Research Fellow in the Media School at London College of Communication. He was notably a member of The Flying Lizards. He was a prominent contributor to the British magazine The Face. He is a regular contributor to The Wire, the U.K. based music magazine.
Toop published his pioneering book on hip hop, Rap Attack, in 1984. Eleven years later, Ocean of Sound appeared, described as Toop’s “poetic survey of contemporary musical life from Debussy through Ambient, Techno, and drum ‘n’ bass.”
Since the 1970s, Toop has also been a significant presence on the British experimental and improvised music scene, collaborating with Max Eastley, Brian Eno, Scanner, and others. In 2001, Toop curated the sound art exhibition Sonic Boom, and the following year, he curated a 2-CD collection entitled Not Necessarily Enough English Music: A Collection of Experimental Music from Great Britain, 1960-1977.
The rather scholarly Toop, back in the mid nineties, produced a wonderful book on the origins and diaspora of modern music – focusing on ambient/ minimalist music – and also complied a masterful music collection to illustrate his themes and concepts.
Amazon.com describes Toop’s amazing book as;
“A member of a radical editorial collective on the cutting edge of British music criticism in the 1970s, later a critic for more standard papers, including the Times, David Toop’s second book covers a vast expanse of music. His tour-de-force survey describes a dissonant and invigorating clash of music and noise from western classical to Javanese gamelan, from Claude Debussy to Miles Davis to Brian Eno, from disco to techno to ambient. He discusses the changes in our sound world caused by the global reach of radio and recordings, and shows himself a rigorous pluralist, open to all styles and forms, but unafraid to offer robust criticism in any musical sphere.”
Altered States iii, Crystal World excerpt
In their search for absolutes, a number of music critics have looked to Riley as the definitive starting point for various trends: minimalism, extreme repetition, all-night trance improvisations and tape-delay systems.
Pieces such as In C, A Rainbow In Curved Air, and Poppy Nogood and the Phantom Band were important in their time because they signalled two important changes in the way the worlds of music and comerce worked.
One: a composer was writing pieces which had grooves and improvised around modes (just like John Coltrane, Miles Davis, Frank Zappa and half the rock bands in Psychedelia), which sounded as if psychotropics had been involved at some stage of the compositional process, which explored new technology and studio processing. Two: the albums were packaged by Columbia as rock albums, despite being on the Masterworks series, so implying that the razor wire dividing so-called classical, rock, jazz, art and commerce had been cut in a few places. Never mind the embarrasing occurence of hippie-speak on the In C sleevenotes – ‘No preconceptions, you just dig it’ – the sort of thing that Oliver Stone might exhume for another chapter of his Sixties revisionism.
The music, as musicians and sleevenote writes love to say, spoke for itself. Essentially modest, Riley downplays all of this. After all, his contribution to the late 20th Century mix emerged out of collaborative work and improvisations with La Monte Young, Pauline Oliveros and Chet Baker.
After the first flush of enthusiasm for minimalism and systems music, Riley and Young tended to be dismissed as old hippies, past their peak, while Philip Glass, Steve Reich, John Adams and Michael Nyman slid with varying degrees of compositional credibility into a new orthodoxy of avant-garde populism.
But as Riley says, life goes in cycles. Suddenly, the open works of Riley and Young seem more expansive, more useful to the fractured nature of music in the Nineties than all that knitting machine repetitiveness and it’s mutations.
– David Toop excerpt from his book “Ocean of Sound” published by Serpents Tail
Like the book, the discs cover an incredible array of sound and music. From Erik Satie to John Cage, to Ornette Coleman to Les Baxter to My Bloody Valentine to The Velvet Underground to Aphex Twin to Miles Davis to Brian Eno ! And loads more wonderfully eclectic music!
All your common or garden left of field “weird” music (well, weird to Robbie Williams fans anyway!)
But then there’s the really weird stuff!
Yap, we also get some strange but compelling stuff – sounds of Bearded Seals, recordings of Howler Monkeys (not a band, like the awful Arctic Monkeys! In fact, not a band at all!), sounds from a Buddhist Ceremony ….. you name it, it’s here!
Rather strangely, Howler Monkeys sound far better than Arctic Monkeys !!!
Track Listing
Disc 1
King Tubby – Dub Fi Gwan Herbie Hancock – Rain Dance Aphex Twin – Analogue Bubblebath Jon Hassell – Empire III Ujang Survana – Sorban Palid Claude Debussy – Prelude A L Apres ‘Midi D Un Faune’ Les Baxter – Sunken City My Bloody Valentine – Loomer Brian Eno – Lizard Point Shunie Omizutori Buddhist Ceremony The Vancouver Soundscape – The Music Of Horns And Whistles Howler Monkeys Peter Brotzmann Octet – Machine Gun Harold Budd – Bismillahi ‘Rrahmani Rrahim’
Disc 2 Miles Davis – Black Satin Terry Riley – Extract From Poppy Nogood “All Night Flight” Detty Kurina – Coyor Panon Ornette Coleman – Virgin Beauty John Zorn/David Toop – Chen Pe I Pe I Paul Schutze – Rivers Of Mercury The Velvet Underground – I Heard Her Call My Name Bearded Seals Holger Czukay & Rolf Dammers – Boat-Woman-Song The Beach Boys – Fall Breaks Back Into Winter (Woody Woodpecker Symphony) African Headcharge – Faraway Chant Sun Ra – Cosmo Enticement Music Improvisation Company – Untitled Deep Listening Band – Seven-Up John Cage – In A Landscape Erik Satie – Vexations Suikinkutsu Water Chime
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The French percussion ensemble Quatuor Hêlios has, since their inception in 1986, been dedicated to performing the early compositions of American avant-garde composer John Cage. Their 1991 release, John Cage: Works for Percussion, is a compilation of seven of compositions written by the groundbreaking composer between 1939 and 1943. Quatuor Hêlios, which takes its name from the mythical Greek sun god, performs Cage’s challenging compositions presented on this CD solidly. Played by members Isabelle Berteletti, Jean-Christophe Feldhandler, Florent Haladjian, and Lê Quan Ninh, the compositions on this release reflect Cage’s interest and dedication to the promotion of an often-overlooked component in traditional Western art music: rhythm. It was in 1933, after witnessing Varése’s percussion composition “Ionization” (1931) being performed at the Hollywood Bowl under the direction of conductor Nicolas Slonimsky, that the 21-year-old Cage decided to dedicate himself to writing percussive compositions for such instruments as coffee cans, snare drums, lion roars, prepared pianos, and conch shells.
While living in Seattle during 1938 and 1939, Cage collaborated with the experimental dancer and choreographer Merce Cunningham, organized a percussion ensemble, and began to work as a musical accompanist for dancers at Cornish College. Since stage space was limited at the tiny Cornish, Cage came up with the idea of mimicking the timbres and sounds of his percussion ensemble by preparing a standard piano’s strings with forks, springs, and other sundry miscellany. The John Cage: Works for Percussion CD contains a number of work’s that utilize prepared piano: “First Construction (In Metal),” “Second Construction,” “Amores,” and “She Is Asleep.” In 1939, Cage composed “Imaginary Landscape No. 1.” This work, which is not presented by the quartet on this CD, was written for two variable-speed turntables, frequency recordings, cymbal, and piano. During the same year, the prodigious 27-year-old composer wrote “First Construction in Metal.”
This ten-minute work, which is the concluding cut on this CD, ebbs and flows with amazing dynamics as it makes use of a large palette of metallic objects. By 1940, Cage had moved to San Francisco where he wrote this CD’s first track, “Second Construction..”
This work moves in and out of changing time signatures, prepared piano ostinatos, tom-tom melodies, and brake drum bells lines. The composition “Double Music,” which is the fourth of Cage’s works presented on this CD, is actually a collaboration with another American composer, Lou Harrison. Harrison’s fondness for the gamelan music of Bali and Java comes through in the complex interlocking rhythms and cyclical presentation of the various gongs on this cut.
As a member of the avant-garde, Cage is remembered alongside of such visionaries as Boulez, Berio, Stockhausen, Kagel, Cowell, as well as Harrison, to name but a few. His contribution to the world of music is immeasurable as he helped to open the minds and ears of Western audiences to the limitless possibilities inherent in percussive compositions.
―John Vallier, All Music Guide
Tracks:
Second construction [1940] (7:29)
Imaginary landscape no. 2 [1942] (5:22)
Amores [1943] (9:43)
Double music [1941] (4:39)
Third construction [1941] (10:06)
She is asleep [1943] (11:40)
First construction (in metal) [1939] (10:03)
Recorded “live in studio” at CCAM, Vandoeuvre-Lès-Nancy, France in July 1989
Cover photo: Marcel Duchamp’s A bruit secret, 1916
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
John Cage: Sonatas & Interludes for Prepared Piano (WER 60156-50)
Classical | APE & CUE | 1989 | 3 parts / 199 Mb
“As important, highly prized recording (WERGO 60151-50) which approaches Cage’s music without compromise … Pierce’s interpretation is a mixture of strength, poetry and beautiful harmonies.”
- Jean Francois Pioud, Etude Reveu, Paris, France, October 1989
John Cage: Sonatas & Interludes for Prepared Piano (1946-1948)
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
John Cage: A Chance Operation (The John Cage Tribute) (1993) Classical | EAC (APE & CUE) | 525 Mb Various mirrors: Rapidshare, Depositfiles, Megaupload & more!
Some typical Cage genius/madness!
This two-CD set celebrating John Cage features works by various luminaries in the international avant-garde circle performing works by or in memoriam of the iconoclastic composer John Cage.
Programmed to random play by the listener qua co-creator and mixed with whatever other sounds the listener brings to the listening space and whatever sounds happen to be present, the album becomes what Cage calls “real music,” not a relic of music: One hundred and forty-one minutes of 183 pieces of 23 works, in any order, with any other sounds!
The irony will not be lost on fans of Cage’s work that a recorded tribute album for a composer who disliked the recorded medium is at best a strange tribute. But that said, considering the uniqueness of the collection — and indeed the clout of the listed performers — even the most orthodox of Cage disciples will be pleased with this recording.
Performances range from David Tudor’s electronic explorations to Patrick Moraz’s performance of Cage’s “Dances for Prepared Piano.” Laurie Anderson is featured reading texts by Cage over her own compositions on several tracks, and these add a fair amount of unity to this sprawling collection.
The final work on this recording is entitled “New York City” and is an ambient recording of the environment outside Cage’s apartment.
Some would say that Frank Zappa’s participation alone in this project, featuring his rendition of Cage’s infamous 4′33″, is worth looking into.
Tracklisting *
CD 1
The Kronos Quartet : Pieces (30) for String Quartet: Excerpt(s) 1. Excerpts For Thirty Pieces For String Quartet 2. Excerpt From Thirty Pieces For String Quartet
Patrick Moraz: Three Dances for 2 Prepared Pianos: no 1 3. Three Dances For Prepared Piano, Dance #1 4. Dance 2: Three Dances for Prepared Piano 5. Dance 3: Three Dances for Prepared Piano
Jackson Mac Low, Anne Tardos: First Four-Language Word Event in Memoriam John Cage 6. First Four-Language Word Event in Memoriam John Cage 7. First Four-Language Word Event in Memoriam John Cage 8. First Four-Language Word Event in Memoriam John Cage 9. First Four-Language Word Event in Memoriam John Cage 10. First Four-Language Word Event in Memoriam John Cage 11. First Four-Language Word Event in Memoriam John Cage 12. First Four-Language Word Event in Memoriam John Cage 13. First Four-Language Word Event in Memoriam John Cage 14. First Four-Language Word Event in Memoriam John Cage
Christian Wolff, Roger Zahab: Six Melodies Variation for Solo Violin Ken Nordine Ken Nordine: A Cage Went in Search of a Bird Earle Brown: Three Solos for Trumpet Laurie Anderson: Cunningham Stories (At the Age of Twelve…) Ryuichi Sakamoto: Haiku FM Larry Austin, Robert Black: Art Is Self-Alteration Is Cage Is David Tudor: Webwork Yoko Ono: Georgia Stone
CD 2
Laurie Anderson: Cunningham Stories (Merce Cunningham Phoned His Mother…) Oregon (Ralph Towner, Glen Moore, Paul McCandless ): Chance/Choice Takehisa Kosugi: 75 Letters and Improvisation David Van Tieghem: Living Room Music James Tenney: Ergodos I for John Cage Laurie Anderson: Cunningham Stories (Every Morning…) Robert Ashley: Factory Preset Frank Zappa: 4′ 33″ John Cale: In Memoriam John Cage — Call Waiting Meredith Monk: Aria Laurie Anderson: Cunningham Stories (The Cunningham Company…) New York City (recorded outside of John Cage’s apartment in New York City)
* You may find detailed information on this CD, including complete track listing, widely available on the web.
We do not host any files here. If this post contains a link to content hosted elsewhere, this is content found by a simple search on the worldwide freedom web. However, if for some valid reason, you object to a said content, or any content here, please let us know and we will remove the content in question.Any content linked to here is only meant as a taster for the original work itself and is posted on the strict understanding that anyone who downloads the taster, deletes said content within 24 hours. We would assume that these fans will then buy the original work and we greatly encourage them to do so.
Cocteau Twins – Treasure (1984) APE, 232 Mb Released November 01, 1984 Recorded August-September 1984 Genre Dream pop Length 41:19 Label 4AD – CAD412 Producer Cocteau Twins
A wonderful album of ethereal beauty from a consistently excellent and innovative group!
That this is one of their greatest albums, is saying something!
Treasure was the third album by the Cocteau Twins and, with this album, the band settled on what would, from then on, be their primary lineup: vocalist Elizabeth Fraser, guitarist Robin Guthrie and bassist Simon Raymonde.
Some of the song titles seem to be inspired by Gerard de Nerval’s book Aurélia or his Les Filles du Feu.
The title “Ivo” is named after the album’s record label 4AD founder Ivo Watts-Russell.
1. click on “Подождать и скачать бесплатно” or the photo of the sitting girl (in the middle of the page to the right).
2. if the same page is re-upped. Do the same as before!
3. the new page now has the classic BOX and 4 numbers above it to fill in. Do so and click on “ckayatb” (f the 1st page appears again. do the same from the start! it means the server is busy)
4 finally (!), in the new page there is a 30 second counter, wait and then click on the link “ckayatb”
This is a collection of Floyd tracks remixed together. These tracks are not repeated on any other remix collection in the same form. Like the title suggests, this ambient interpretation of Floyd tracks lives up to its name. This album was released around 1998 in limited edition. It is not found anymore anywhere since I found only limited information about it on the web, and it has no entry at Amazon.
The eight minute version of “Echoes” is quite good and much better than the one on Meddle remix with nice manipulation of the keyboards and guitars. “Sheep” is entirely mind blowing. This remixed version is hellish and menacing. Definitely a step above the other remixed version. A 16 minute version of “Another Brick in the Wall” sparkles with lots of layered sound that is tastefully done. “Shine On You Crazy Diamond” lives up to its ambient potential. “Time” is much better than the other remixed version with samples from the Pulp Fiction movie. A drum machine throughout the song with samples from “Is There Anybody Out There” is injected throughout. This is an effectual and strong ending to the disc. Definite ear candy.
Tracklisting
1. Echoes (Deep sea mix) 2. Sheep (Grazing mix) 3. Another brick in the wall (Cement mix) 4. Shine on you crazy diamond (Madman mix) 5. Time (Minute mix)
Mirror: 3 parts Part1 31 MB 1. Echoes 9:37 2. Sheep 13:13 Part2 23 MB 3. Another Brick in the Wall 16:26 Part3 34 MB 4. Shine on Your Crazy Diamond 12:20 5. Time 12:47
1. Triumphant 2. Only this moment 3. 49 percent 4. Sombre detune 5. Follow my ruin 6. Beautiful day without you 7. What Else Is There? 8. Circuit Breaker 9. Alpha Male 10. Someone Like Me 11. Dead To The World 12. Tristesse Globale
1. So Easy 2. Eple 3. Sparks 4. In Space 5. Poor Leno 6. A Higher Place 7. Royksopp’s Night Out 8. Remind Me 9. She’s So 10. 40 Years Back / Come 11. Remind Me – (Someone Else’s Radio mix) 12. Poor Leno – (Royksopp’ Istanbul Forever Take) 13. Remind Me – (Ernest St. Laurent mix) 14. Poor Leno – (Silicone Soul Hypno House Dub)
Lucia Hwong – Goddess vol.1 Awakening (1998) New Age | MP3 320 kbps | Rapid Share | 136 MB Total Playing Time: 56:22 (min:sec) Total Size : 129.1 MB (135,347,715 bytes) Codec : LAME 3.97 / Bitrate : 320K/s 44100Hz Joint Stereo / ID3-Tag : ID3v2.3
Lucia Hwong has a degree in ethnomusicology, experience in writing for New York dance companies and multimedia artists, and a stamp of approval from minimalist innovator Philip Glass, who has acted as her mentor to a certain extent.
Her masterfully produced, electro-acoustic albums on the Private Music label are filled with ethereal yet sensual dreamscapes and breathless, rhythmic journeys through fantastic worlds.
Unfortunately, Hwong disappeared from the recording scene after the release of her second album, Secret Luminescence. She resurfaced in the late nineties to release a trilogy of work including 1998′s Goddess Awakening, Vol. 1, 1999′s Goddess Celestial Realms, Vol. 2 and Goddess Mystical Visions, Vol. 3.
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The 25-Year Retrospective Concert of the Music of John Cage (WER 6247-2) 
