The Non-Mainstream Music Report, 8/2004 (Pt. 1)

[TR@SH|DFS] ▄▀▀▀▀▀▄ ▄▄▄ ░ ░ ▄▀▀▀▀▀▀▀▄▄ █ ▄███▄ ▀▄▄ █ ░ ▒ █ ▓▓███▄▄ ▀▀▀▄▄▄▀▀▀▀▀▀▀▀▀▄ ▐▌ ▓█▀██▄███▄ █ ▒ ▓ █ ▓██▀ ▀█████ ▄▄▄ ▀█████▀ ▀▀▀▀▄ ▐▌ ▓██ ▓██ ▓█ ▀▀▄▓ ▄▓▓▄▄█▄▄▄▄▀▄ ▄██▌▓████ ▓██ ████ ▀▄ ▐▌ ▓██ ░▒ ▀ ▄▀ ▓██ █▐▌▄▄▄▄▀▀▀▀▄▀ ▓██ ░ ▓██▀ ░▐▓██ ▓███▌▐▌░ █ ▓██ ▒░░▒ ▓█ ▓██ █▄▀▐▓█▀███▀▀ ▄▓██ ░▄▄▄▄▄ ░ ▓██ ▄██▀▀▄▄▀ ░ ▀▄ ▓██ ▒░░░ ▓██ ░ ▄ ▀▀ ▐▀▄▄▓███▀ ░ ▀▀▓██▌ ▓██▀██ ▄▀▀▒ ░ ░▀▄▀▓██▄ ▒░ ▓██ ░ ▓██░ ▄▓█▐▓██▀▀ ▄▄▄▄▄ ▓██▌▓██ ░ ▓█▄▀▄▓ ▒ ▒ █ ▀▓▓██▄ ▐▓█▄▄ ░▐█ ▄▓▀▀ ▓██▄▄░ ▄▓███▌▐▓██▐█▌▒░░ ▓██▄▀▄▓▒ ▄▓▄▄█ ▀▓▓██▄ ▀▓▓████ ▓████▄ ▀▓▓██████▀▄████▀▄█ ▒░▒░ ▓▓██ █▓▓▄ ·hit2k . amok . yard . tr . dps . sb . amrc . gf . drum . ser . bex· Welcome to Muzzik's biweekly non-mainstream music report! Much love to the scene, no hate, and extra props for those taking the time to read here. To start off: this is not a 'hater' magazine, and we aren't trying to insult or bring anyone down with it. Our aim is pure and simple: to bring the scene's attention back to the music! All involved in this report are lovers of music, with no politics or dramatic baggage, We just want to share the love! That is why, every 2 weeks, we'll compile a list of the best non-mainstream records released in the scene, and give you all the info you need to decide whether or not you want to hear them. We do this because, each day, records slip under the radar because people may not know the name on the album -- but that doesn't mean they wouldn't love the music inside. We feel it's time for other music -- non-mainstream, underground, whatever you want to call it -- to push forward and be heard by more ears around the world. We hope this report can turn you on to things you may not have found otherwise, and perhaps cause some people to expand their opinions of what they call 'music.' The Non-Mainstream Music Report is now a joint venture, compiled by 11 groups, but it is important we stress that we won't always be able to list all of the scene's great releases. Because of this, we ask other dedicated groups to start their own reports, magazines, etc. And if you're a dedicated group who feels your vision fits in with ours, please get in touch to join up! There are hundreds of albums released each day, but so little information provided! More information distributed means more knowledge, and more knowledge means smarter, better-educated listeners. And even though we don't get to say it enough in the nfo's: support the artists!! It goes without saying that these are not millionaire pop stars, and they need to sell records in order to be able to create more of them. With all that said, please, enjoy the report. :) *Siteops! The Non-Mainstream Music Report script -- which is available in the accompanying zip file -- is a quick and easy way to access all of our suggestions. By creating symlinks to all of the records listed in the report we hope to save you time and effort while seeking out this great music. ________________________________________________________________________________ . .:[+] HiT2k [+]:. . ________________________________________________________________________________ >>> Trevor_Dunns_Trio_Convulsant-Sister_Phantom_Owl_Fish-RETAIL-2004-ESC Release Date: 2004-08-13 Label Info and Catalog #: http://www.ipecac.com IPC-052 Artist/Album Info: Trevor Dunn-bass Mary Halvorson-guitar Ches Smith-drums I was born in 1968 in a small Northern California logging town not far, in spirit anyway, from David Lynchs Twin Peaks. For some reason, at the age of 13, I started playing electric bass. I had some good teachers who turned me onto Miles Davis, Bill Evans and Herbie Hancock, plus my mom had some Mingus and Ahmad Jamal records lying around. At the same time I was listening to what a lot of teenagers were listening to in the 80s: Punk and metal--Slayer, DRI, Venom, the Swans, etc. Then I went to a small university & started studying contrabass and classical music. I really got into the 20th century masters: Webern, Messiaen, Ligeti, etc. My 1st bass teacher hooked me up with some other kids & within months of my 1st lesson I was already in two bands. My 1st professional gig was at age 17, and around that time I formed a band with some high school friends. We called it "Mr. Bungle". There was a point when I was involved simultaneously with this avant-rock band, the university orchestra & big band, a 50s rock bar band (my job), and a couple of local jazz quartets. I moved to San Francisco in 1992 & Mr. Bungle signed to Warner Bros. When we weren’t touring I was meeting people like Ben Goldberg, John Schott, and Graham Connah & playing a lot of creative music night after night. Around that time I had the idea to form my own "jazz" trio that I would approach "compositionally" but would also incorporate elements of "rock" music, like power chords. In 1998 a Dutch label called Buzz Records released my 1st trio recording "Debutantes & Centipedes". In 2000 I moved to Brooklyn, NY feeling a little complacent in SF. Up to this point in time I’ve played on over 40 recordings including several with John Zorn, Mike Patton’s metal group Fant?mas and other "jazz" groups. Recently I’ve been playing with Marc Ribot, Zorns Electric Masada, David Krakauer’s Klezmer Madness, Hilmar Jennson, Jenny Schienman, and a duet with harpist Shelley Burgon. As a sideman it’s difficult to find the time for ones own projects. Recently I made the time & found 2 young musicians to help me play on the new trio-convulsant CD: Ches Smith plays percussion in contemporary classical concerts & drums in a rock band called Theory of Ruin. Mary Halvorson, guitarist from Boston, leads several of her own groups & has played with Anthony Braxton and Joe Morris. People ask me what kind of music it is and I never know what to say. There is counterpoint; there are power chords & atonal melodies. Sometimes it swings; sometimes it tries hard not to swing. There are complicated written passages & sections of free improvisation. It’s not fusion but it does combine disparate styles & yet I like to think of forms developing organically as opposed to a cut-and-paste technique. Whether I’m listening to Throbbing Gristle or Britney Spears I absorb what comes my way. It’s all music to me, and why shouldn’t it be? I consider myself rootless because I accept all. I have no ties & nowhere to go. And the music I write is a result of that. * >>> Trio_S--Trio_S-2002-HiT2000 Release Date: 2004-08-01 Label Info and Catalog #: Zitherine Records 001 Artist/Album Info: Trio S is a trio led by Doug Wieselman on clarinets and guitar, with 'cellist Jane Scarpantoni and drummer Kenny Wollesen. The compositions are by Wieselman with reference to melodies he has heard in the natural world, using live looping and improvisation. "It's three of my favorite musicians, and the music is incandescent" -Laurie Anderson Doug Wieselman - is co-leader of Kamikaze Ground Crew - (2 cds on New World Records and 2 cds on Koch Jazz). He played as guitarist and clarinetist with John Lurie's Lounge Lizards from 1996 to 1999, and has recorded with Lou Reed,Tricky,Victoria Williams, Robin Holcomb,Wayne Horvitz , Anthony Coleman and Sue Garner, among others. He has written for theatre in collaboration with director Robert Woodruff and The Flying Karamazov Brothers as well for dance with choreographers Jerome Robbins and Paul Taylor. "... (he) makes music you can see" - Village Voice. Jane Scarpantoni - has played with the Lounge Lizards form 1990 to 1999. She has appeared on many recordings as 'cellist and/or string arranger for many artists including Patti Smith, Natalie Merchant, Tricky,Sparklehorse and Lou Reed who she is currently working with. Kenny Wollesen - is currently playing with Bill Frisell and Steven Bernstein's Sex Mob, as well as John Zorn's Electric Masada. He has recorded with Tom Waits, Sean Lennon, Norah Jones and many others. "... the group's beautifully languid performances evoke their subject remarkably well...the playing here is gently brilliant, with melodies hinted at rather than trumpeted... This music can work its way into your subconscious to the point where you almost forget you're listening to it." Dave Mandl, Wire Magazine * >>> The_United_States_Of_America--st-Remastered-2004-HiT2000 Release Date: 2004-08-01 Label Info and Catalog #: Sundazed 11124 Artist/Album Info: Fueled by the avant-garde sonic ammo of keyboardist/composer Joe Byrd and the haunting vocals of Dorothy Moskowitz, the United States Of America found a way to permanently hardwire space-age electronic music to the heart of rock and roll on their highly desirable, self-titled 1968 debut. Byrd's kaleidoscopic musical excursions and Gordon Marron's searing violin orbit around the icy vocals of Moskowitz, who -- with a passing resemblance to early Jefferson Airplane belter Signe Anderson -- remains the group's center, steady as a rock. This heady mind-trip is reissued with the participation of both Byrd and Moskowitz, sports 10 amazing bonus cuts, comprehensively fascinating liner notes by Byrd, himself, and -- newly mastered from the original analog source tapes -- has never sounded better. AMG Review (4.5/5 Stars): Originally released on Columbia in 1968, this is one of the legendary pure psychedelic space records. Some of the harder rocking tunes have a fun-house recklessness that recalls aspects of early Pink Floyd and the Velvet Underground at their freakiest; the sedate, exquisitely orchestrated ballads, especially "Cloud Song" and the wonderfully titled "Love Song for the Dead Che," are among the best relics of dreamy psychedelia. Occasionally things get too excessive and self- conscious, and the attempts at comedy are a bit flat, but otherwise this is a near classic. http://www.allmusic.com/cg/amg.dll?p=amg&token=&sql=10:is9ks34ba39g * >>> John_Renbourn--Collected-1999-HiT2000 Release Date: 2004-08-01 Label Info and Catalog #: Music Club MCCD 388 Artist/Album Info: John Renbourn: Collected (Music Club) Collected showcases the ex-Pentangle member's articulate, technical style through an engaging sequence of themes for guitar, woodwinds, percussion and the odd vocal. Predominantly collated from three of his finest albums, John Barleycorn (1977), The Black Balloon (1979) and The Nine Maidens (1985), it gathers together a plentiful CD of Renbourn's tasteful exercises in joy, melancholy and meditation, and drawing on musical styles from many centuries past. Themes like the opening English Dance and Circle Dance are impeccably executed re-workings of medieval lines. The Variations On My Lady Carey's Dompe, New Nothynge and Bourree I & II display Renbourn's affinity and understanding of Renaissance lute and virginal music, intelligently adapted and successfully capturing a suitably lachrymal or courtly air. The mood turns decidedly more expansive with the eclecticism of the lengthy Black Balloon incorporating some jazzy 'ECM-ish' inflections. So too Sidi Brahim, with its spirited tabla accompaniment and dizzying flute melody, further emphasising the diversity of Renbourn's art. Aficionados will already own much of this material but for those new to the genre and embarking on an exploration of folk music's finest exponents, Collected is as good a place to start. * >>> VA_-_Melatonin_Meditations_on_Sound_in_Sleep-2CD-2004-BCC Release Date: 2004-08-01 Label Info and Catalog #: Artist/Album Info: http://www.room40.org EDRM402 Melatonin – Meditations on sound in sleep. During sleep, a process controlled in part by the body's use of the chemical Melatonin, our brain functions in a markedly different fashion to our waking life. As an example, reading is noted by many sleep researchers to be a quite unusual process, whereby words simply fall off the page, their graphical meaning abstracted as various sections of the brain recline into states of rest. Something similar is true for sounds we hear generated within dreams. The way in which incidental atmospheres complement, interrupt or interfere with our sleep suggests a new set of understandings. It is these concepts that are explored here in a deeply personal and reflective manner. Lawrence English Oct 2003 Featuring new works from Chris Watson, Stephen Vitiello, AI Yamamoto, Oren Ambarchi, DJ Olive, Lawrence English, Pimmon, Marina Rosenfeld, Skist, Timeblind, DJ/rupture, John Chantler, Scanner, Zane Trow, David Toop, Steinbruchel, Philip Samartzis, Barrett, Musgrove, Sinclair, Martin Ng, Tetuzi Akiyama, Frost, Gail Priest, Tim Koch and Janek Schaefer. * >>> Feist_and_Tony_Scherr-Live-Ltd.Ed.-2002-DPS Release Date: 2004-08-03 Label Info and Catalog #: Artist/Album Info: Live Session, No Label. you may know leslie feist as being the indie-rock goddess from by divine right and (now) broken social scene fame. she also has quite the solo career which has just started to really take off with the release of her new record "let it die" on universal records. this is a live session she did with tony scherr who is an indie-sideman playing integral roles in the music of such notable artists as bill frisell, john lurie (lounge lizards), steve bernstein (sex mob), and norah jones. this disc reflects feists earlier style of guitars and strings indie rock which she has since somewhat abbandoned/altered in her latest release. * >>> Fog-Live_Performance_Recording-Ltd.Retail-2004-soup Release Date: 2004-08-05 Label Info and Catalog #: Dinkytown Artist/Album Info: Limited cd-only release on Dinkytown Records! Silk Screened covers! Oy! A little taste of what Fog is like live sometimes! These are songs played with the Fog Band live in Minneapolis, 6 from a show at the Bryant-Lake Bowl and 2 recorded in Dosh's basement. * >>> Joelle_Leandre-William_Parker--Contrabasses-1998-HiT2000 Release Date: 2004-08-06 Label Info and Catalog #: LEO (LR261) Artist/Album Info: Joelle Leandre - double bass William Parker - double bass Truly, "double basses" are what we have here. Both L?andre and Parker are widely known in their own circles as two of the preeminent bassists of the new music. This series of four duets and two solos (one each) proves just how utterly fascinating an all-bass recording can be. Both L?andre and Parker are so "musical" in their mutual ? though widely different ? approaches to rhythm and harmony that this intersection couldn't help but be lyrical in at least some way. Parker, coming from the American free jazz school, is a more overtly rhythmic player. His lock on harmonics comes from the physical size of the bass and his approach to opening it up percussively via the plucked, slapped, and pounded strings, which results in different tonalities that are incorporated into a modal framework of time and space. L?andre, who was reared in the European classical school and broke out to become an improviser of great diversity and depth, uses harmony in a serial manner, attempting to never repeat herself until she runs through all tonal possibilities; even in ensemble playing where timekeeping is paramount, she can swing with the best of them. Combined, these duets of bowed, plucked, strummed, and slapped basses conjure a swirling universe of spatial rhythms and stretched time. In other words, the time-space continuum (especially when you add L?andre's and Parker's voices to the mix) becomes warped from the inside out. The sound of this recording is pure musical imagination being "made flesh" in front of an audience that must have been pleasantly surprised when encountering the result. URL: www.leorecords.com/ * >>> Fires_Were_Shot-Solace-2004-JCE Release Date: 2004-08-01 Label Info and Catalog #: Asphodel Artist/Album Info: Solace is a collection of complex emotions, warm guitar tones, and sculpted noise. Each genre-defying song contains image-evoking soundscapes, guitar melodies, and has the gritty quality of spontaneous performance. This is not drone, electronic, or ambient; it is very analog, very experimental, and extremely cinematic, evoking the arid geography of the band's southwest Texas home. * >>> Nicolas_Roseeuw_and_Argo_Ensemble--Vlasnaald-1997-HiT2000 Release Date: 2004-08-07 Label Info and Catalog #: Artist/Album Info: Instrumental and classical work with lots of cello, great piano parts violin...and sophisticated compositions. In the vein of Gatto Marte. Conductor : Valentino Corvino Valentino Corvino : violin & laughter Marco Dalpane : paino & preparations Marianna Finarelli : cello Michela Munari : cello on 9 -10 Marco Verza ; clarinet and bassclarinet Nicola Zonca : Marimba, Melodica, small percussions Stefano Zorzanello : sax alto & soprano, piccolo Kristof Ruseeuw : double bass RECORDED 6-10 january and 8-9 september 1997 at Centro musica regionale Modena Nicolas Ruseeuw is also member of Belgian band FUKKEDUK. * >>> Davenport--Free_Country-2003-HiT2000 Release Date: 2004-08-07 Label Info and Catalog #: Foxglove Recordings 005 Artist/Album Info: "23 Productions head Clay Ruby brings us another disc full of diamonds and pearls. Five tracks, some longer than others, full of dirty blues aesthetics and a hint of curry. I listened to these in the rain and could barely escape the mud. Field recordings say "I come from the earth," while the voices of the chorus rise high into the trees. Glacier drones are an endangered species here as Davenport flirts with structure. Acoustic guitar and violins duel well into the night, long after the fires burned out. Ltd to 92 in handmade covers." - Foxglove Recordings www.digitalisindustries.com Check Davenport--Sun_Your_Open_Mouth-2004-HiT2000 from 2004-08-08!. * >>> Dedication_Orchestra--Spirit_Rejoice-1992-HiT2000 >>> Keith_and_Julie_Tippett--Couple_In_Spirit_II-1996-HiT2000 >>> Keith_Tippett--Mujician_I_and_II-1998-HiT2000 >>> Keith_Tippett--Une_Croix_Dans_Locean-1995-HiT2000 >>> Mujician--Spacetime-2002-HiT2000 >>> Paul_Dunmall_Octet--Desire_and_Liberation-1997-HiT2000 >>> Paul_Dunmall_Octet--The_Great_Divide-2001-HiT2000 Release Date: 2004-08-08 Artist/Album Info: KEITH TIPPETT (member of the above bands and projects) pianist, composer, educator, big band leader For over thirty years Keith Tippett has been at the forefront of contemporary European jazz and new music – as a pianist, composer, bandleader, band member and musical educator. Tippett’s work ranges from his unique free improvisation as a solo pianist and with duos and small groups such as the quartet Mujician, to compositions for, and performances with, contemporary classical groups (including the Composers’ Ensemble, Kokoro and the Kreutzer String Quartet) and large-scale works for Jazz Orchestra. All the above rips are highly recommended. * >>> Joanna_Newsom--Walnut_Whales-EP-2002-HiT2000 >>> Joanna_Newsom--Yarn_And_Glue-EP-2003-HiT2000 Release Date: 2004-08-10 Label Info and Catalog #: No Label Artist/Album Info: a remarkable new musical singer, songwriter and all-around talent, Joanna Newsom. To those of you who don’t already know her, that is — Joanna’s cassettes, CD-Rs and mp3s have been making the rounds among the sharp-eared discerning types out there for whom new music is a joy and a pleasure that can’t be denied. Raised in the tiny gold-rush town of Nevada City, California, Joanna Newsom began playing harp at the age of eight. She studied Celtic, Senegalese, Venezuelan, and Western Classical harp techniques. By the end of high school her intention was to be a composer. Soon, however, Joanna found her interest shifting to a different kind of music, reflecting her love for Appalachian folk and bluegrass. For the first time, she was starting to sing alongside the harp. Her first home-recording (the unstudied and exuberant “Walnut Whales”) was initially handed out to friends only, but soon Newsom was being contacted by a number of strangers who had somehow gotten a copy. One of these strangers was Will Oldham, who invited Newsom to join a tour he was planning for the following spring. That winter she played a few shows supporting her friend Devendra Banhart, as well as Cat Power. Soon Newsom was selling out small venues in the Bay Area (where she now lives), and receiving extremely positive local and national press. The next move was to make an album. And here it is. Joanna’s music has more of an affinity with the folk revival of the 60s, or the bluegrass movement at present, than with most contemporary “folk” (or “anti-folk”) scenes. Affinities aside, her style could hardly be called bluegrass; nor does it evoke the pastoral tonalities of 60s folk: she sings about whalebones, sleep, grammar, mollusks, accumulation, automobiles, owls, burning boats, string collections, milk, teeth, bridges, balloons, cake, colors, and kin, all in an otherworldly, ragged-sweet voice that defies convention. Her harp arrangements are at times ethereal and delicate, at others galloping and ornate, but never overwrought — presenting not so much a mere fusion of influences, as an inquiry into the places where those influences naturally intersect. She considers the late composer Ruth Crawford Seeger (who was one of American folk music’s earliest advocates, as well as a vanguardist composer) to be a major influence, because of Seeger’s ability and desire to reconcile the tenets of experimentalism with her love for a beautiful melody. * >>> Charalambides--Charalambides-1997-HiT2000 >>> Charalambides--Historic_6th_Ward-1996-HiT2000 >>> Charalambides--Houston-1998-HiT2000 >>> Charalambides--Internal_Eternal-1999-HiT2000 >>> Charalambides--Our_Bed_Is_Green-1997-HiT2000 Release Date: 2004-08-10 Label Info and Catalog #: Wholly Other Artist/Album Info: Long regarded as the champions of the underground, the Charalambides have come to be the lead representatives of the mystery and passion that is free-folk and contemporary psychedelic music. Houston, TX's Charalambides have existed for over a decade, yet they remain nearly as mysterious as the day their first cassette was birthed. Emerging in 1992 as the duo of Tom & Christina Carter, the Charalambides' music differed from many of their supposed musical peers at the time. Where many so-called psychedelic artists were content to run through heavy guitar, acid-washed redux, the 'Bides seemed to draw from their dusty south California and further experimenting with sparse guitar tones, and Christina taking her vocal work further while residing in Philadelphia. Wherevever the fate of the Charalambides lies, it's safe to say they've already etched their name in the history of underground music. * >>> The_Fog_In_The_Shell-A_Secret_North-Retail-2004-gF Release Date: 2004-08-10 Label Info and Catalog #: Dufresne Artist/Album Info: THE FOG IN THE SHELL is the perfect mix between solo release by Steve Von till, Scott Kelly, Neurosis, some 5ive's stuff and psychotic doom sound. http://www.dufresneattack.com/TFITS.htm <- reviews http://www.undermybed.org/fog/disco.html * >>> K.C._Milian-Self_Titled-2004-gF Release Date: 2004-08-10 Label Info and Catalog #: Holidays Records Artist/Album Info: Post-rock from Italy. <- Beautiful :) * >>> James_Yorkston_And_The_Athletes--Just_Beyond_The_River-Advance-2004-UBE Release Date: 2004-08-12 Label Info and Catalog #: Domino Records (Advance) Artist/Album Info: Just Beyond The River is James Yorkston and the Athletes’ second LP, following their critically lauded debut, Moving Up Country (Rough Trade Shops’ album of the year) from 2002. Bringing to light the extraordinary new folk sounds of Fife’s Fence Collective (King Creosote, Lone Pigeon, UNPOC et al) James Yorkston has been something of a best kept secret up until now; quietly making a modern music of great import, but with a subtlety and hushed self-confidence unmatched by just about any other singer-songwriter out there right now. Recorded and produced by Kieran (Four Tet) Hebden over a period of 2 weeks at Bryn Derwen studios in Wales, Just Beyond The River is a bold record. James’ subtle skills as a songwriter really come to the surface, and the playing, as always remains untouchable. During the sessions the guys sat around listening to a mixed bag of old favourites and newer discoveries – Faust, Michael Hurley, Anne Briggs, D’Gary. Not since Will Oldham took post-hardcore rockers Slint on as his backing band have such influences helped create so beautiful a record. In some ways Just Beyond The River picks up where Moving Up Country left off. The tight jazz-folk styled performances from Reuben, Doogie, and Faisal bubble away throughout this new record, whilst the songs have more authority, more clarity, and a slightly darker edge to them on this outing. It’s like James has his very own great Coltrane quartet with him! Perhaps unsurprising, with Hebden on board… The elasticity of these songs of love, lust and loneliness, suggests they could be traditionals that were just waiting to be found and re-rendered; the transparency of the production acts as a perfect window through which to view the songs. Everything is clear, you just have to travel with them, find that something just beyond the river… * >>> Taylor_Deupree_and_Christopher_Willits_-_Mujo-2004-BCC Release Date: 2004-08-11 Label Info and Catalog #: plip-3011 Artist/Album Info: Deupree and Willits unite again in their second collaborative release. Mujo builds on the duo's growing process which was initiated on "Audiophere 08" , the acclaimed Deupree/Willits cd released by Sub Rosa in late 2003. Mujo develops their collaborative and living process of generating music, and locates new paths and branches of sonic exploration. Mujo is a Japanesse word that means constant change, or transience. Inspired by ideas and principles of wabi-sabi, Willits and Deupree set out to generate a music that celebrated the beauty of things imperfect, impermanent and incomplete. This music holds an elusive fragility. There are structural elements in constant flux, forms with cracks, melodies tickled with beautiful imperfections, phrases incomplete and broken. The music seeps, and wanders, remaining gaseous and solid all at once. The albums duration seems to trace a line, or flow from from light to dark, external to internal. Built upon a series of loose jams and guitar improvisations, the music has a fresh under-produced and natural quality to it. Live collaborations were recorded in Deupree's brooklyn studio in late fall 2003 and spring 2004, times of natural change and transformation. fragments and whole recordings of thoses sessions were subject to further processing in Willits' San Francisco studio and in Deupree's 12k headquarters. Mujo is the continued exploration of what will surely become a long and influential collaboration between these two unique sound artists/musicians. Their work highlights each artist's own unique aesthetics but more importantly creates a third, unique voice, that is not just a simple sum of their two sounds. ________________________________________________________________________________ . .:[+] AMOK [+]:. . ________________________________________________________________________________ >>> Fanatic_Drive-California_PROPER-(BELT004)-Vinyl-2004-NTSMP3 2004-07-28 Label: Beltdrive Genre: Hardstyle review:M Another hit from Beltdrive. cover from the ultra hit Mama and Papas "Caalifornia dreeeeeeaaaaaming" feel the 60es with the hard sound of today! * >>> Soman-Revenge-Limited_Edition-MCD-2004-FWYH 2004-08-09 Label: Out of Line Genre: Rythmic Industrial/Trance review:M new limited release from the kick-ass live performer Soman. featuring Lahannya http://www.soman.de http://www.lahannya.com/lahannya * >>> Genesis_P-Orridge_and_Astrid_Monroe_-_When_I_Was_Young-2004-BCC 2004-07-28 Label: Genre: Trip-Hop review:M "As the world awaits the remarkable reunion of Throbbing Gristle and a subsequent studio album from the group, this surprise full length from Throbbing Gristle and Psychic TV founder Genesis P-Orridge, and produced by Astrid Monroe, has been slowly coming to fruition and it arrives with perfect timing. The true identity of Astrid Monroe has been kept a secret from all parties involved in the release of this CD. His production work is the only indication we have of who this gifted artist could possibly be. Slow, deliberate and lushly orchestrated, the eccentric instrumentation swirls pensively around audio tracks created by Genesis P-Orridge almost as if P-Orridge was the leader of a more adventurous Portishead or possibly even Massive Attack. Dark and dreamy, When I Was Young is a surprisingly unique addition to the P-Orridge catalog. It's emphasis on P-Orridge's unique word play, voice and annunciation create an eloquently pronounced lyrical and music journey." http://www.genesisp-orridge.com/ * >>> VA-Hardstyle_Attack_Vol._2-2004-SMO 2004-08-04 Label: Trendline Genre: Hardtrance review:M strange release, first the title, the music on there has absolutly nothing to do with hardstyle, it's all good acid/hardtrance Also all the tracks are quite old if not very old. But anyway it's a really good selection so I had to list it. Hear the 303s bleed! "I am the big brother and I'm watching you..." * >>> VA-The_Future_of_Hard_Dance_002_Live_DJ_Mix_by_Yoji_Biomehanika-CD-2004-USF 2004-08-06 Label: Superb Trax Genre: Hardtrance review:M If you're like me, saw Yoji at least twice in the past 30 days at some festival, then you must download that. It gives a good impression of the vibe when he's out there. http://www.yojibiomehanika.com/ Also check out Sensation-The_Anthem_2004-SVCD-2004-SE in MV you can see the japanese master briefly in action ;) Hopefully the DVD isn't too far away. ________________________________________________________________________________ . .:[+] YARD [+]:. . ________________________________________________________________________________ >>> Big_Youth-Ride_Like_Lightning_(Best_Of_1972-1976)-2CD-2002-RAC Release Date: 2004-08-08 Label info and Catalog #: Trojan #06076-80284-2 Artist/Album Info: "A man with a message, Big Youth arrived on the music scene in the wake of U-Roy, Dennis Alcapone, and I-Roy, but quickly established his own style, threatening to eclipse them all. The consummate cultural toaster, the DJ ruled the dancehalls across the '70s, and although his career flagged in the next decade, he returned with a vengeance in the '90s, and continues to have an impact on both his own nation and beyond. Born in Kingston, Jamaica, on April 19, 1949, Manley Augustus Buchanan had his moniker long before he had picked up a mic. He was named Big Youth by his co-workers at the Kingston Sheraton hotel, where the tall teen was employed as a mechanic. Initially, he toasted to himself (the DJing equivalent of air guitar), but eventually he took the chance of picking up the mic at a few parties. The enthusiastic response he received prodded him to perform at dances, and by the late '60s, he had a small, but avid following. This fan base swiftly grew and as the new decade arrived, Big Youth was now DJing regularly at Lord Tipperton's sound system, quickly becoming the top DJ for the outfit. By this point, U-Roy, Alcapone, and I-Roy had already made their vinyl debuts, but Big Youth would wait another year, finally releasing his first single in January 1972. He cut "Movie Man" for African Museum, Errol Dunkley and Gregory Isaacs' label, and the song fittingly utilized the rhythm to Dunkley's own "Movie Star." Surprisingly, the single was barely noticed; other producers had no better luck. "The Best Big Youth" (also known as "Black Cindy"), cut with Jimmy Radway, sank without a trace. Lee Perry did no better with "Moving," a version of the Wailers' "Keep on Moving." Producer Phil Pratt thought for sure his two cuts were chartward bound, but both "Tell It Black," a version of Dennis Brown's cover of "Black Magic Woman," and "Phil Pratt Thing," a sublime version of Derrick Harriott's "Riding for a Fall," followed its predecessors into oblivion. Even "Fire Bunn," produced by Niney Holness over his own smash "Blood & Fire" rhythm, failed to ignite the Jamaican buying public. The drought was finally broken by a young (just out of his teens) up and coming producer, Gussie Clarke. For "The Killer" single, he had the DJ toast over the rootsy Augustus Pablo number, and the result was magnificent. The pair followed it up with "Tippertone Rocking, another major hit. Big Youth was now in demand. The ever-innovative producer Keith Hudson dragged a motorcycle into the studio to capture its revving engine for "S.90 Skank," a tribute to the popular Honda motorcycle, and roared Big Youth to the top of the Jamaican chart. Their follow-up, "Can You Keep a Secret," a duet between the toaster and his singing producer, did almost as well. In between times, Big Youth cut a pair of songs for Glen Brown, "Come Into My Parlour" and "Opportunity Rocks," the latter employing the popular "Dirty Harry" rhythm. Both were actually recorded the same day as "S.90 Skank." That same week, the DJ also cut a quartet of songs for Prince Buster: "Leggo Beast," "Cain and Abel," "Leave Your Skeng" (a version of "Get Ready"), and "Chi Chi Run" (cut over the rhythm of John Holt's "Rain From the Skies"). That latter track titled a various artists compilation that featured the DJ, a young acolyte Little Youth, a trio of top vocalists (Alton Ellis, John Holt, and Dennis Brown), all produced by Prince Buster. Big Youth's own debut album, Screaming Target, arrived in 1973. Produced by Gussie Clarke, the album was stuffed with classic rhythms from the likes of Gregory Isaacs and Lloyd Parks, and filled with hits as well, including the magnificent title-track. The DJ seemed to have now glued himself to the chart and during that year, four of his songs, including "Screaming Target" (a version of K.C. White's "No No No" and Buster's "Chi Chi Run"), the Derrick Harriott-produced "Cool Breeze," and the Joe Gibbs-produced "A So We Stay" (a version of Dennis Brown's "Money in My Pocket"), sat proudly on the Jamaican Top 20 for the entire year. Gibbs notched up a total of three hits with Big Youth in 1973, along with the aforementioned single, there was also "Chucky No Lucky" and the topical "Forman Versus Frazier." From boxing bouts to the "Facts of Life," a hit cut for Sonia Pottinger, Big Youth was the tops on any topic. He'd matured swiftly, from a barely understandable mumbler who exhorted the crowds with typical U-Roy or Alcapone-sque exhortations, to a more relaxed, conversational style. And it was this very ease of delivery -- relaxed, but so perfectly timed to the rhythms -- that had entranced the nation. In 1974, Big Youth launched his own label, Negusa Nagast, it was later followed by a second, Augustus Buchanan. The former's name was particularly telling and is Amharic (the Ethiopian language) for King of Kings. It announced a further shift in the DJ's performance toward a full-on cultural chanter/toaster. Negusa Nagast debuted with a quartet of the DJ's singles, "Hot Cross Bun," "Mr. Bunny," "Children Children," and most spectacularly of all, "Streets in Africa." This latter was a cover of War's "The World Is a Ghetto," and features Dennis Brown backed by the equally sonorous tones of the Heptones. Big Youth released his second album this same year, Reggae Phenomenon, and it was as phenomenal as its title suggested. It featured new songs (all chart-bound), remakes of earlier cuts, and smash hits like the title cut (another version of Dennis Brown's "Money in My Pocket") "Dread Inna Babylon," and "Natty Dread No Jester") (a version of the Paragons' "Only a Smile"). And the DJ's phenomenal chart success continued with producer after producer. Glen Brown scored with "Dubbie Attack," Tony Robinson oversaw the mighty "House of Dreadlocks" and "Mammy Hot and Daddy Cold," Buddy Davidson produced "Johnny Dead," while Yabby You sat behind the desk for the most seminal of them all, "Yabby Youth," the first of several versions the DJ would cut over the "Conquering Lion" rhythm. Big Youth would again pair up with Dennis Brown for the Harry J.-produced "Wild Goose Chase." Niney Holness liked what he heard and kept the duo together for his "Ride on Ride On." The two would go on to record a stunning version of Bob Marley's "Get up Stand Up." Marley's version wasn't alone; besides toasting over classic rocksteady rhythms, Big Youth was now increasingly utilizing heavier roots rhythms. Most notable was "I Pray Thee," a version of the Abyssinians' "Satta Amasa Gana," which was another seminal smash hit, and the DJ also cut a version of Burning Spear's classic "Marcus Garvey." Two more Wailers' versions also appeared around this time, Marley's "Craven Choke Puppy" and Bunny Wailer's "Bide Up" became, respectively, "Craven Version" and "Black on Black." In 1975, the Dreadlocks Dread album appeared, a seminal album overseen by Prince Tony Robinson and split between Big Youth's toasts and instrumental dubs. Accompanied by Skin, Flesh & Bones Band, the album remains a masterpiece of dread roots and provocative cultural toasts. Dreadlocks Dread had a massive impact on the U.K., where it was picked up by the Klik label and prompted Big Youth to tour there the following year. 1976 brought two albums in its wake, Natty Cultural Dread and Hit the Road Jack, both self-produced by a self-confident Big Youth at the peak of his powers. Again the albums featured a clutch of Jamaican smashes -- "Ten Against One" and "Wolf in Sheep's Clothing" amongst them -- and new numbers equally biting at the chart bit. Interestingly enough, Natty Cultural Dread also boasts "Every Nigger Is a Star," backed by the I-Threes making their recording debut. Also featured are some of Big Youth's surprising covers. In the past, he'd versioned Motown hits, Gene Pitney, Al Green, and Otis Redding, "Dock of the Bay" of course. Now along with the title-track, there was even "If I Had a Hammer." 1977 brought the masterful "Four Sevens," a clever version of Culture's "Two Sevens Clash." Produced by Niney Holness, the pair followed up with the provocative "Six Dead, 19 Gone to Jail." Having now signed to the Frontline label in the U.K., Big Youth's debut album for the Virgin subsidiary was 1978's Isaiah First Prophet of Old, a fiercely roots record produced by D Russell. The DJ also had a cameo role in the movie Rockers. He's absolutely unmistakable, stepping out of a flash car and flashing a smile that shows off his front teeth embedded with red, yellow, and green jewels, as his long dreads whip around his face. But behind these eye-catching trappings was a thoughtful and thought-provoking DJ, as his records proved time and time again. 1978 also saw the release of the "Green Bay Killers" single, a fierce diatribe on the death of a group of rastafarians at the hands of the Jamaican army. Perhaps Big Youth was now seen as too radical for Virgin, and the label chose not to release the DJ's next two albums, Progress and Rock Holy. Nor did they pick up on the former's dub companion, the excellent Reggae Gi Dem Dub, remixed by the up and coming master Sylvan Morris. However, the toaster's grip on Jamaica was also beginning to loosen, and a new generation of chatterers were beginning to come to the fore. Big Youth continued to record, but no longer ruled the charts, and most of his singles were now self-produced and released through his own labels. The Heartbeat labels' Some Great Big Youth collects up many of these late-'70s, early-'80s material; the label's follow-up collection, The Chanting Dread Inna Fine Style, concentrates on earlier Negusa Negast singles. The increasing violence in the dancehalls prompted him back into the studio in 1982 for "No War in the Dance," cut for producer Lloyd Parks. He proved his popularity wasn't totally gone, with a steaming, hits-filled set at Reggae Sunsplash before an adoring audience that summer, giving a repeat performance the following year, and again in 1987. In 1985, Big Youth released a surprising new album, A Luta Continua, where he transformed from toaster to singer and roots rasta to jazzman, accompanied by Jamaican jazz hero Herbie Miller. However, 1988's Manifestation found the DJ regaining his footing, for a roots-drenched set split between excellent toasting and sub-quality singing. Two years later, Niney Holness brought Big Youth back into the studio and cut the remarkable "Chanting." The DJ also contributed a fierce "Free South Africa" to the One Man One Vote artists' album. Big Youth later performed at the Japansplash festival in Osaka, with his powerful set caught on 1991's Jamming in the House of Dread album. He reappeared with a vengeance at Reggae Sunsplash the following summer. With his profile now the highest it had been in years, Big Youth guest-starred on Capleton's I Testament album, Mutabaruka's Gathering of the Spirits, and Creation Rebel's Feat of a Green Planet. In 1995, the DJ released his own new album, Higher Grounds; overseen by Junior Reid, it was an intriguing mixture of R&B, reggae, and other styles. Another powerful set at Reggae Sunsplash was delivered the following year. The new millennium saw the release in the U.K. of the compilation Tell It Black, a two-CD set that rounds up 31 seminal songs from 1972-1975. But that pales next to Natty Universal Dread, released by the British Blood & Fire label that same year. Three albums and a total of 51 tracks brilliantly wrap up the best from 1973-1979 and include a clutch of Negusa Negast singles that have never been reissued." - www.allmusic.com http://www.bbc.co.uk/music/profiles/bigyouth.shtml http://www.roots-archives.com/artist/4 http://www.trojan-records.com/ * >>> Ijahman_Levi-I_Am_A_Levi_(12_Inch_BRIJL01)-Reissue-VLS-2004-RAC Release Date: 2004-08-08 Label info and Catalog #: Basic Replay #BRIJL01 Artist/Album Info: "Surely this is music-making of any kind at its most inspired. Recorded in 1975 in London's Gooseberry Studios by Dennis Harris, Ijahman Levi - aka Trevor Sutherland - remembers his unscripted performance 'pouring out from inside'. Maybe the short spell he'd just spent at Her Majesty's Pleasure has to do with it. This is the original, way superior version of the song recut for Island. The dub too is breathtakingly powerful - a Shaka special. Every home should have a copy, really." - http://www.basicchannel.com/item/BRIJL-01 "Ijahman Levi (born: Trevor Sutherland) has been on the cutting edge of Jamaica's music for more than four decades. While his 1985 duet with his second wife, Madge, "I Do," remains his best known tune, reaching the top position on the British music charts, Levi has continued to influence reggae and ska vocalists with his eclectic approach and songs of spirituality, love and humanity. Educated to the high school level in Kingston, Levi was mentored by vocal teacher Joe Higgs. Recorded his first single, "Red Eyes People," under the guidance of Stranjah Cole for Duke Reid Productions, at the age of thirteen. Shortly after moving with his with his band, Vibrations, which he formed in 1965, Levi became a regular performer at the Q club. After the group's disbanding, he formed Youth And Rudie And The Shell Shock, with which he performed until launching his solo career, as Youth, in 1966. Courted by several record companies, Levi recorded singles for Polydor in 1967 in 1967 and Decca in 1968. Levi's career was temporarily stilled when he was arrested in 1970 a sent to prison for three years. While imprisoned, he assumed the name of Ijahman Levi and wrote the classic tune, "Jah Heavy Lord." Released from prison in 1974, Levi found refuge at the house of Rastafari at the St. Agnes Place headquarters of the Twelve Tribes. Much of his time was spent studying -the Bible. In 1975, Levi recorded "Jah Heavy Lord" for the Concrete Jungle subsidiary of Dip Records. Singing on Rico Rodrigues' album, Man From Warika, for the Island label, Levi was signed to a recording contract by the label's owner Chris Blackwell. His two albums on Island -- Haile I Hymn, released in 1978, and, Are We A Warrior, released in 1979 -- were produced by late Jamaican producer Geoffrey Chung. Following the success of the two albums, Levi left Island and formed his own label, Tres Roots Records International", in 1980. The following year, he married his second wife, Madge. Ijahman remained active in the 1990s. In 1991, he performed at the Zimbabwe Sunspalsh. Five years later, he was invited to the Gambia state house as a special guest of President Jammeh." - http://www.mmguide.musicmatch.com/artist/artist.cgi?ARTISTID=346252&TMPL=LONG#bi o http://www.basicchannel.com/label/Basic+Replay http://www.roots-archives.com/artist/380 * >>> VA-Uptown_Top_Ranking_Joe_Gibbs_Productions_1970-1978-CD-2003-JAH Release Date: 2004-08-09 Label info and Catalog #: Trojan #? Artist/Album Info: "This superb showcase of Joe Gibbs' production talent is also a superb showcase of the gems that are held in the vaults of Trojan Records. If you don't want to shell out the big money for the various Trojan box sets or the History of Trojan Records sets, then this single CD provides an efficient, inexpensive alternative. Several of the tunes on Uptown Top Ranking will be familiar to most reggae fans ("Love of the Common People," "Maga Dog," "Money in My Pocket," "Uptown Top Ranking"), but even experienced listeners should find treasures they hadn't previously heard. Perhaps it'll be Ken Parker's groovy "Hello My Little Queen (My Girl Josephine)" -- the vocal version of Augustus Pablo's "African Queen" dub (also included) -- or Leo Graham's simply irresistible "A Win Them" or Sylford Walker's "Burn Babylon" or Johnny Lover's "Head Cup" or Trinity's "Three Piece Suit and Thing," to which the better-known "Uptown Top Ranking" is a reply. Looking down this line-up of songs, it's amazing that one man produced them all. From the smooth stylings of the Mighty Diamonds' "Ghetto Living" to the harsh DJ sound of Prince Far I's "Heavy Manners" to the rural richness of the Ethiopians' "Band You Belly," there's something for everyone." - http://www.reggae-reviews.com/uptowntopranking.html "Producer Joe Gibbs' (born Joel A. Gibson) career spans a healthy chunk of Jamaica's musical history. From the early days of rocksteady to '80s dancehall, Gibbs put together a slew of hits by such island stars as Pioneers, Dennis Brown, the Heptones, Culture, Frankie Paul, and Nicky Thomas. Along with his contemporary, producer Bunny "Striker" Lee, Gibbs can lay claim to being one of the most important of Jamaica's musical giants, due not only to the fact he stayed active for such a lengthy amount of time, but also because he was able to produce a consistent run of hits of the highest order. Born in Montego Bay in 1945, Gibbs' sojourn as a producer began after he spent some time in the United States qualifying to be an electronics engineer. Upon returning to Jamaica, Gibbs set up his own TV repair shop at 32 Beeston Street, Kingston and eventually began selling records there as a sideline. Further exploring the local music scene, he also helped producer Ken Lack out as an assistant and record promoter. Gibbs soon began to strike out on his own, though, setting up a two-track studio in the back of his shop and recruiting the already established Lee Perry to oversee sessions -- Perry had already cut his teeth during the ska years as both an engineer and producer for Clement "Coxsone" Dodd and Prince Buster. Next, with the encouragement of Bunny Lee, Gibbs started his own Amalgamated label in 1967. The first single he produced, Roy Shirley's "Hold Them," would eventually go down as what many feel is the first rocksteady song. By 1968, Gibbs was in full swing as one of the island's most popular producers. And even though Perry would depart the same year to form his own Upsetters label, Gibbs kept on rolling by, enlisting the talents of the young Winston "Niney" Holness to carry on as session supervisor (the Perry split was apparently not the most amicable of business dealings, as evidenced by the subsequent release of Perry's pointed volley at Gibbs, "People Funny Boy," and Gibbs' response, "People Grudgeful Boy"). Up until 1971, in fact, Gibbs released over a hundred singles, many of them smash hits. His roster at the time boasted some of Jamaica's top singers and groups, including Errol Dunkley, Ken Parker, Peter Tosh, the Versatiles, the Slickers, and of course Pioneers. Perry also cut a few sides while with Gibbs, including "Kimble," "Thank You," and his nom de plume song, "The Upsetter." Gibbs, like many of the new crop of producers to emerge during the rocksteady period (Derrick Harriott, Clancy Eccles, Lloyd Daley, Lee, et al.), also cut many instrumentals under such leaders as tenor saxophonists Carl "Cannonball" Bryan and Tommy McCook and even delved into the burgeoning DJ terrain with fine work by Sir Lord Comic and innovator Count Matchuki. Holding the varied output together was Gibbs' main studio band during this first golden stretch, Lyn Taitt and the Jets. Along with McCook and Bryan, Taitt's stellar band also featured such revolving personnel as bassist Jackie Jackson, drummer Hugh Malcom, organists Aubrey Adams and Ansell Collins, pianist Gladstone Anderson, and guitarists Hux Brown and Lloyd Willis -- the horn section was no less distinguished, with the likes of trumpeters Johnny "Dizzy" Moore and Bobby Ellis and trombonist Vin Gordon sitting in on many a record. Adding to this hefty arsenal, Gibbs also enlisted the help of another hot band of the period, the Hippy Boys, which featured the Barrett Brothers rhythm tandem, guitarist Alva Lewis, and organist Lloyd Charmers. As 197O rolled around and rocksteady evolved into the sounds of early reggae, Gibbs found his first international success with Nicky Thomas' "Love of the Common People," which went number nine in the U.K. that summer. At the same time, Gibbs began expanding his holdings by introducing three new labels, Jogib, Shock, and Pressure Beat. He also opened his New York Record Mart at 11 South Parade, Kingston and set up his own two-track studio in the Duhaney Park district. During this time, Gibbs released fine sides by the Ethiopians, Parker, Delroy Wilson, and the Heptones (including the two very popular volumes of The Heptones and Friends). In 1972, Gibbs switched his studio operations to 20 North Parade, Kingston and soon cut one of his best-known hits, Dennis Brown's "Money in My Pocket." At this time, Gibbs also teamed up with the engineer Errol Thompson, who had already been working at Randy's Studio for several years. The two men would go on to produce more than 100 number one records over the next several years and eventually become known as the Mighty Two. By 1975, Gibbs relocated once again, this time building a 16-track studio and record pressing plant at 24 Retirement Crescent, Kingston. The hits kept coming, sometimes on such additional Gibbs' imprints as Crazy Joe, Town & Country, and Reflections. Along with more smashes from Brown, Gibbs, and Thompson also found gold with, such as the Mighty Diamonds' "Ghetto Living" and Sylford Walker's "Burn Babylon," as well as by way of a variety of successful cuts by Gregory Isaacs, Jacob Miller, Prince Alla, Junior Byles, and Dennis Walks. It was also at this time that Gibbs released the influential roots record, Two Sevens Clash by Culture -- the album would not only bring fame to the group in Jamaica, but it would find a receptive audience with English punks a few years later. Gibbs also continued releasing instrumentals, in addition to some very fine dub sides. Along with his '70s band, the Professionals -- which included bassists Lloyd Parks and Robbie Shakespeare, drummer Sly Dunbar, guitarists Earl Chinna Smith and Bingi Bunny, organist Ossie Hibbert, and various alumni from the Jets -- Gibbs and Thompson put out such classics as the State of Emergency album and the four volumes of the African Dub series. Aside from many Studio One and Treasure Isle rhythms, these instrumental and dub sides also featured many tracks Gibbs used for his own vocal hits. From 1977 until the end of the decade, Gibbs and Thompson continued to score hits. Starting with Marcia Aitken's reworking of the Alton Ellis song, "I'm Still in Love (With You)," as a base, Gibbs spun off such popular versions as Trinity's DJ smash "Three Piece Suit and Thing" and Althea and Donna's amusing "Uptown Top Ranking." The latter song would soon find its way to the top of the English charts by the beginning of 1978. Of course, Gibbs continued to find success with the great Dennis Brown. In 1979, Brown and the Mighty Two put out two of the singers best albums, Words of Wisdom and Joseph's Coat of Many Colors -- along with a fine version of Marley's "Slave Driver," the album also featured a very successful reworking of Brown's first Gibbs hit, "Money in My Pocket." And to compliment all the vocal, dub, and instrumental sides, Gibbs revisited his earlier DJ work with fine work by Big Youth, Prince Jazzbo, Ranking Joe, Dillinger, I Roy, Lui Lepke, Clint Eastwood, and Kojak & Lisa. More vocals flowed, too, namely hits by John Holt, Barrington Levy, Cornell Campbell, and Beresford Hammond. Unfortunately, Gibbs also spent many years during this golden period in court. The dispute was over the copyright for Charley Pride's "Somebody Loves You," which Gibbs reworked into a J.C. Lodge hit cover. The legal battle eventually forced Gibbs to drop out of the recording business, leaving him financially strapped. For the latter half of the '80s and early '90, Gibbs stayed out of sight but was still able to keep connected to his legacy through his son Carl's Miami-based Rocky One label, which re-released several of Gibbs' records from the rocksteady, reggae, and early-dancehall days. By 1993, Gibbs had recovered and eventually rebuilt his studio at 24 Retirement Crescent. He also regrouped with longtime partner Errol Thompson and brought in Pioneers vocalist Sidney "Luddy" Crooks to beef up the Mighty Two production team. Quality recordings soon came to the fore, including tracks by Alton Ellis, Gregory Isaacs, Eric Donaldson, Lloyd Parks, and Tanya Stevens. By 1998, Gibbs would even set up his own offices in Miami and Brazil. During the '90s, this most illustrious of Jamaican producers got the kind of reissue program he so richly deserves. On top of several Rocky One compilations and discs under the Joe Gibbs Enterprises umbrella (including two CDs covering the African Dub Almighty records), Trojan has released a handful of discs taking in Gibbs' rocksteady and early-reggae period, including The Reggae Train, Joe Gibbs Mood, Get On Up!, and Jackpot of Hits: Explosive Rocksteady. Trojan has also put out the Uptown Top Ranking collection, which rounds up a generous helping of Gibbs' '70s hits. In 2001, the label honored Gibbs with an anthology, Love of the Common People, which covers his prime 1967-1979 period. Gibbs' rocksteady and reggae singles can also be found on a few compilations on Heartbeat (including Explosive Rock Steady: Joe Gibbs' Amalgamated Label), as well as on several other English compilations -- many of which are now out of print." - www.allmusic.com http://www.roots-archives.com/artist/215 http://www.trojan-records.com/ * >>> Augustus_Pablo-Frozen_Dub-VLS-197x-YARD Release Date: 2004-08-13 Label info and Catalog #: Rockers #7AP 1834 Artist/Album Info: Classical 7" by the man who brought the melodica into reggae. "Surely Horace Swaby - AKA Augustus Pablo - is still one of the main references of the Roots-reggae, and this not only for the peculiarity of its sound and the beauty of its productions but for raise the humble melodica in an instrument able to catch up a deep and sincere sense of spirituality. Its sweet melody and its innovative agreements have influenced the Rockers style of 70's and inspired musicians of various origin, include early 90's english roots movement. He debut is of 1971 with the cut Iggy Iggy recorded for Randy. Then he recorded for many great jamaican producers: Lee "Scratch" Perry, Joe Gibbs, Yabby You, Winston Riley, Derrick Harriot, Bunny Lee and Gussie Clarke. In spite of that, its own productions (Hot Stuff, Rockers and Message) those that have had the greater impact on the world-wide public reggae. Beyond playing with the brother Garth his sound system, Rockers Hi-Fi, Augustus Pablo began to produce cuts for singers and djs: Hugh Mundell, Big Youth, Dillinger, Junior Delgado in late 70's and Yami Bolo, Johnny Osbourne and Earl Sixteen later. The contribution of Pablo to the Reggae music is very important. Its debut is of the 1974 with This is Augustus Pablo, follows Thriller and Ital Dub, King Tubby Meets Rockers Uptown - masterpiece of 1976 - has been followed two later years from its first entire instrumental: East of the River Nile. To this splendid album, which follow other smash hit the two compilations Original Rockers and Hugh Mundell 's Africa Must be Free and Blowing With the Wind. Then he was dedicated to of compiiations of its first jobs whose more recent is Valley of Jehosaphat. Perhaps a fragile and esile physicist and a schivo and classified character explain because its tour were always sporadic and because in the last years it went away definitively from the great public; in spite of that he could himself often be met to Kingston in its Rockers International Shop in Orange Street." - http://www.elrockers.org/2/new/bio.html http://www.elrockers.org http://www.roots-archives.com/artist/53 http://www.reggae-vibes.com/concert/augpablo/augpablo.htm http://www.jahsonic.com/AugustusPablo.html http://en.wikipedia.org/wiki/Augustus_Pablo * >>> Jah_Shaka-Royal_Dub-LP-1989-YARD Release Date: 2004-08-13 Label info and Catalog #: Shaka #? Artist/Album Info: "I first heard Jah Shaka in June 1981 at The Havana Club in Derby. It was a Wednesday night and the place was packed. I?d heard a lot of sounds before like Sir Coxsone, Fatman, Quaker City and Jah Tubbys and I?d heard a lot about Shaka so I was eagerly anticipating it. I wasn?t disappointed. He was playing with another sound from Derby whose name I?ve forgotten. They were good - crisp, clean and heavy with some good music, but when Shaka started playing it was like an earthquake in the place. He played one piece of plastic to sign on with and then pure dubplate the rest of the night - vintage Twinkle Brothers, Pablo, Johnny Clarke, King Tubbys, Scientist etc. I was standing a few feet away from his ampcase and was transfixed by ?the little shortman? bobbing up and down in the air, eyes rolling like a man possessed as his speakers literally shook the walls to their foundations and the sirens and syndrums cut through your ears like piano wire. I was also amazed to see his deck vibrating up and down several inches yet not jumping on a track once; such are the tricks of soundmen. After each tune he played the crowd just stood in silent admiration - awe, even. To this day I still regret not having carried my tape machine in there. Four hours later, the dance finished and I was a confirmed Shaka follower. As a final footnote, my ears didn?t stop ringing for three days afterwards. Jah Shaka is a dub extremist, taking the music beyond the limits of excess. Concentrating on the stomach churning frequencies of bass and ear piercing tops, he hammered dubs home with a vengeance and added his own extra dimensions of sonic madness with the sirens, syndrums and chants which were fed through a pair of H&H tape echos and bent into splinters of aural excess reverberating throughout the dance. I consider him to be the most important figure on the dub scene today, not only in the UK but also internationally, for without him the scene would have died a death many years ago. Every single person without exception who has produced dub music or started a roots sound system in the past 10 years has been directly or indirectly influenced to do so by Shaka, and his dances have become a phenomenon, attracting a large, diverse and multi cultural audience, taking in venues which would previously have been considered unthinkable to host a reggae sound system. The story of Jah Shaka really started in the mid 1970?s. Here are some reminiscences on that period as related to me by a former member of his sound crew in that era: ?Shaka used to get his dubs from the producer Winston Edwards. He had an arrangement where any good tune being made in Jamaica, he was the first to get it, long before it was released. He also got more cuts than anyone else and better cuts then anyone else. That?s how he made his name. At one time he used to sign on with 12 cuts of Kill Nebuchanezzar by Fred Locks when he was playing with another sound. There was no way that anyone could match it, so that was that, he?d finished the other sound off before the dance had even begun... Eventually he?d worked his way round every sound in the country and dealt with all of them... except one, Sir Coxsone. Coxsone was regarded as the number one then and they?d heard about Shaka and they?d been avoiding playing him until finally a dance was arranged and they played together for the first time. It was in Croydon in 1976. Well Shaka went for it that night and half way through the dance, Lloyd Coxsone took the mic and said ?Stop the dance, stop the dance! In all my years in sound system I?ve never heard a sound like Jah Shaka.? And that was it, that was the night Shaka took the crown as number one in England and from then on nobody could touch him for years...? Throughout the late 1970?s & early 1980?s the self-styled ?Zulu Warrior? could be seen regularly in London at venues like Club Noreik in Tottenham, Studio 200 in Balham, Cubies in Dalston & most famously in the basement at the legendary Phoebes in Stoke Newington, a former drinking club owned by east end gangsters the Kray twins, where he had a Friday night residency for several years. When Shaka gave a lecture at Stamford Hill Library in the mid 80?s, the place was full of soundmen & assorted dreads, one of whom summed up the Phoebes sessions by saying, ?I received my spiritual education there ? Phoebes was my church and Shaka was my preacher?. Shaka also travelled the length and breadth of West Indian Britain, from Huddersfield to Bristol to teach the ?country? sounds how it was done. In 1980 he featured in a brief but memorable sequence in the film ?Babylon?, sirens blazing through Johnny Clarke?s title tune. In an NME feature on sound systems the same year, Shaka was amongst those interviewed, stating, ?The National Front and me would have a lot in common. We want to go back to Africa and they want to send us there?? There are many legendary stories surrounding Shaka; like the night in Northampton when Coxsone?s mcs were mouthing off about a Lee Perry dub they had and Shaka silenced them by just looking over, shaking his head, and putting a finger to his lips; the night at Acton Town Hall when Soferno B announced that they were the only sound in the world to have Ijahman?s ?Moulding? and Shaka responded to their 2 average cuts by playing 15 killer cuts of his own; the night at Southall just after King Tubbys death when Joey Jay tried to do a tribute to King Tubbys with a minutes silence and Shaka repeatedly interrupted him by saying ?No man, Tubbys was my bredren and he never liked silence, he always had music playing?run a music.? Joey Jay tried his silent tribute again and failed and was forced to play a King Tubbys plastic before Shaka hammered the message home with a murderous Tubbys dubplate; The night in Phoebes when a dread walked in wearing a dress and carrying a broom handle with a doll tied to the end and spent the entire session standing in the middle of the dancefloor twirling the long handle round and round his head; the night when singer Errol Dunkley is reputed to have thrown bottles at Shaka for, according to different versions of the story, either playing too many cuts of a riddim, or refusing to play an Errol Dunkley tune, and Shaka responded by?? but that?s another story." - http://www.jahwarrior.com/jahshaka.html http://www.jahshakasoundsystem.com/ http://go.to/jahshaka http://www.roots-archives.com/artist/615 * >>> VA-Dread_Vs_Comb_Soundconnection_Vol4-R-Evolution_Dub_Mix-CD-2004-YARD Release Date: 2004-08-13 Label info and Catalog #: R-Evolution Magazine #? Artist/Album Info: Short, but great dub mix. If you're fond of any kind of relaxed electronic music, then this is simply a must for you. http://www.r-mag.de/revoshop/store.php http://www.dread-vs-comb.de/ * >>> VA-Stereograph_Sound_Live_In_Norwood_08-01-TAPE-1980-YARD >>> VA-Downbeat_Live_In_NY_-_5_The_Hard_Way-TAPE-1984-YARD Release Date: 2004-08-13 Label info and Catalog #: none Artist/Album Info: Ever seen a 20+ years old DJ set? Her you go... At the time when hiphop deejaying were still in its children shoes, and noone even heard of techno & co., record spinning culture was in full bloom in Jamaica already. And here you have two good examples. On one tape it's Stereograph a.k.a. Stur Grav, the legendary sound system operated by veteran artist U-Roy, the other tape features New York's foundation soundsystem "Downbeat The Ruler". The so-called "selector" (the term "DJ" means toaster/rapper in Jamaican context, not the one who spins the decks) plays the newest tunes on one deck (playing with 2 decks, as called "english style", became popular in Jamaica only in the late 80s), first the vocal then the instrumental version. On some points various artists join the soundsystem on the mic and kick their lyrics over the instrumentals. This is real reggae history! Tapes like these are more essential than any studio album of that genre. * >>> VA-Reggae_Hits_69_Vol_1-LP-1969-YARD Release Date: 2004-08-13 Label info and Catalog #: Pama/Economy #ECO-3 Artist/Album Info: A compilation illustrating an aera of change in Jamaican music. Ska became slower, rocksteady was born... But it's still a way to go to deep, mystic roots sounds of the mid-70s, and the tunes present on this LP still keep the playful, cheery style of ska music. http://www.xs4all.nl/~tapirs/pamalp.htm ________________________________________________________________________________ . .:[+] TR [+]:. . ________________________________________________________________________________ >>> Vector_Lovers-Vector_Lovers_(Retail)-2004-RNS Release Date: 2004-08-06 Catalog #: none, not in stores yet - it will be published on Soma Rec. Info: http://www.somarecords.com/artists/vectorlovers Artist/Album info: Soma's new signing Vector Lovers presents his new album, a stunning masterpiece of electronic sounds and wicked grooves. Short description of what is is? Well, if you like and know releases from artists like Carl A. Finlow, Drexciya, Anthony Rother (his older stuff), this is certainly something to make you smile delightfully. Let me copy some text about the artist, referring to their previous EP release: "Robot Ashido Funk EP" (this has been released by SnS a while ago already) The essential release has already been sold out via Vector Lovers own 'Iwari' label. Limited to 500 copies, this collection of awe inspiring electronic music has already caused quite a stir in the press with IDJ listing it in their best '10 best techno/ electro releases of the year', Jockey Slut celebrated it's 'stunning electro melodies' and a review in DJ magazine stated 'coming on something like latter-day Daft Punk but with a better sense of style, this tune is simply begging to be massive....' Who are the Vector Lovers then? Vector Lovers is actually a bloke from Reading called Martin Wheeler. Martin moved to York in 2001 and now lives on the street where legend Frankie Howard spent his early years. Ooh, I say... What's his story then? He wears a stolen Lyle and Scott sweater and has a flick haircut (dyed bergundy with ink from a felt pen marker). He listens to Depeche Mode and likes smoking out of his bedroom window while flashing his day-glo terry towelling socks at passing schoolgirls. Uh huh.... We're talking Eighties right? Yep - the time when Martin discovered Kraftwerk's 'Computerworld' and bought his first synth - a casio CZ101 (ok, it's not as cool as a Moog or Juno, but it was at least used for the bassline to the Thompson Twins 'Don't Mess with Doctor Dream'). So, he's been making music for a wee while? ....as well as computer games - he was the geek behind several ZX Speccy top ten hits....You might find some embarassing teenage interviews if you've got old computer mags in your attic/shed. What now? He's stopped wearing towelling socks, and makes the most incredible electronic music, he has started his own label, 'Iwari.com' and has signed to Soma Recordings for an album which will be released in July. His frazzled funk remix of Funk D'Void's 'Way Up High' has also recently been released to outstanding reactions. Prepare to have your circuits fired!! * >>> James_Ruskin_-_Solex_Remixes_(BP024)-Promo_EP-2004-TR Release Date: 2004-08-14 Label/Cat-#: Blueprint Rec., BP024 Info: www.blueprintrecords.net Amazing release is that one! James Ruskin highlights again his own label, Blueprint. Probably the deepest sounds for this year, a useful release is that one. A lot of possibilities to mix it with other present releases. A1 Is totally freaky and hot! A2 Your choice, not mine - same for B1. B2 The last one made a good hit for good! You can find it on all good playlists! By the way, make sure to get James_Ruskin-Circuit-Vinyl-2004-TGX, the previous Ruskin release, as well! * >>> Monosurround-We_EP-(1ST_DECADE022)-Vinyl-2004-BEX: Release Date: 2004-08-12 Label/Cat-#: 1st Decade 022 Info: www.1stdecade.de/www.monosurround.de heavy basslines amassing your stomach combined with breaky electro beats and some trumpet-like & scratch sounds form a really euphoric and hypnotizing track on the a-side (track 1). this track could be the answer to the question you find in the vocals: "what is it all about?". not really something to start a set with, but once you got the crewd moving, its gonna rock em for sure. track 2 is pushing too but has too many vocals for my taste. still better than many b-sides of other releases :) the last track is breaky aswell, flavoured with some old- and newschool electro sounds. something for the beginning of a set to warm up the people. this is the first release i knowingly heard from monosurround, so i cant compare it to older ones. but if they focus on releasing stuff like the first track, we can expect some great tunes from the two guys from berlin in the future. just as they state on their website www.monosurround.de: dance-ability x audibility x versatility = monosurround * >>> Stefan_Schrom-I_Feel_For_U-Boxer_018-VINYL-2004-BPM Release Date: 2004-08-04 Genre: Acid/Electro Label/Cat-#: Boxer Sport, BOXER018 Info: www.boxer-recordings.com stefan schroms second solo release after some really successful releases with wessling. this time he seems to just fall in love with acid. the whole track on the a-side is filled with dark knarzing acidsounds which will prolly make a bend in your brain :) and who was better for making a remix for this kind of music than ada aka michaela dippel? right. noone. this girl really became one of my favourite newcomers of the last months. her remix on the b-side got touched by her unmistakable, partly bubbling sound without losing its original flavour. be sure to check out the ada releases on areal aswell. ________________________________________________________________________________ . .:[+] DPS [+]:. . ________________________________________________________________________________ >>> Genesis_P-Orridge_and_Astrid_Monroe_-_When_I_Was_Young-2004-BCC Release Date: 07-28-2004-08-13 Label Info: Important Records, imrpec035 Artist/Album Info: Throbbing Gristle/Psychic TV veteran Genesis P-Orridge teams up with the mysterious "Astrid Monroe" for something rather special. Seeing a P-Orridge release tagged as Trip-Hop intrigued me somewhat, but music genralisation asside, we have an exceptional album that combines deliciously orchestrated soundscapes, tired beats, and P-Orridge's unique take on spoken word. Not a depressing album by any means, but certainly dark enough to scare your neighbours. Unexpected, but welcome nonetheless. * >>> moonstarr--detroit-(sk037)-VLS2004-kW Release Date: 08-01-2004 Label Info: Sonar Kollektiv SK037 Artist/Album Info: kw said: Canada's finest broken beat producer with a monstrous track dedicated to classic detroit stuff - watch out for the dangerous slowed down break. dps sez: The first track is indeed monstrous. Could do without the rest of the jazzy and broken beat junk on the record, however. This guy’s come a long way from the early TTC-lovin’ days! * >>> Adam_Marshall-Experimental_House_Approach_EP-(ANT04)-Vinyl-2004-BEX Release Date: 07-31-2004 Label Info: Antenna International US (ANTENNA 04) Artist/Album Info: bex said: Slamming funky techno house with a jackin edge. Very Experimental dps sez: You can also check http://www.juno.co.uk/IP/IF153483-01.htm for previews. House for people who don’t like house. * >>> Lackluster-R_U_Oho-EP-2004-soup Release Date: 08-04-2004 Label Info: Merck/DeFocus Artist/Album Info: forced exposure said: Originally released in 2000 on the now classic, but extinct, Defocus label. Though you may be able to track down the original gem at Smallfish (UK) or around London. We felt it didn't really get proper attention with the rest of the world, so we have re-released this superb collection of under-exposed tracks with new mastering and art. Remixes of Lackluster by well known Merck artists, Brothomstates (Warp), Sense (Neo-Ouija, U-Cover), Esem, and Xhale fill this vinyl with superb electronica, plus a bonus cut by Lackluster himself. dps sez: A fine complement to Lackluster--Remix_Selection_One-(Psychonavigation)-2004-sb, released back in July. Mellow and subtle, not cliched and cloying. Up there with some of the best Arovane or Plaid tracks. * >>> VA_-_Difficult_Easy_Listening-2004-BCC Release Date: 08-02-2004 Label Info: Nonplace Records Artist/Album Info: An interesting if altogether pedestrian take on electronica-jazz. Burnt Friedman covers two Atom Heart tracks (they work together as Flanger) that really don't sound different from their originals at all. The whole thing is kind of cheesy, but the first half is kind of engaging. * >>>Odd_Nosdam-Le_Mix_Live-2004-soup Release Date: 07-27-2004 Label Info: Anticon Artist/Album Info: Odd Nosdam's propensity for clever mixes and record-crate-plundering isn't exactly on display here. Unlike his last album (No Wig for Ohio or whatever), which was incredibly groovy and very cohesive despite being a collection of seemingly disparate samples and tracks, this mix is pretty weak. Not to mention there's an unbelievable amount of irritating vinyl noise all over the whole thing. * >>>Der_Zyklus-Biometric-(CX17)-Vinyl-2004-BEX Release Date: 08-12-2004 Label Info: Clone 012 Artist/Album Info: Wow. Now THIS is cool. Dopplereffekt have never once disappointed me, and this new release is no exception. Very, very finely crafted sci-fi-ambient-electro brilliance from the Detroit masters. I'll add that last year's album, Linear Accelerator, was one of the finest dark ambient albums ever created. I can't wait to hear what the Der Zyklus album is like. ________________________________________________________________________________ . .:[+] SB [+]:. . _______________________________________________________________________________ >>> Charles_Atlas--To_The_Dust_From_Man_You_Came_and_To_Man_You_Shall_Return-2004-HiT2000 Release Date: 2004-07-26 Label Info and Catalog #: Ochre Records OCH047LCD Artist/Album Info: Charles Atlas are back with 'To The Dust...', the new album which is the follow up to the 'Worsted Weight' album, also released on Ochre. It is the fifth album from this San Francisco outfit and is, once more, beautifully recorded. Charles Wyatt and Matt Greenberg have benefitted from the enlistment of Sacha Galvagna (formerly of Mute's Rosa Mota). Sacha joined prior to the recordings of 'Worsted Weight' and once again on this new album, his focused playing continue to refine the band. This album possesses a curious combination of beauty and dislocation which includes a mature and atmospheric selection of pieces ranging from delicately treated piano flourishes, viola drones and other worldly synth bleeps. Gentle and eerie pieces are juxtaposed with unsettling musical collages. -- http://www.ochre.co.uk * >>> Proem-Socially_Inept-Vinyl-2004-soup Release Date: 2004-08-04 Label Info and Catalog #: Merck www.m3rck.net Artist/Album Info: "Mr. Richard Bailey, aka Proem, has been quiet for awhile,... but he's been busy. Very busy making Socially Inept, the most densely emotive Proem record to date. His second 12" on Merck, described by Richard as being sweeter than a vegan triple chocolate peanut butter mousse with an extra thick crust. You'll find many of his 'patented sweet' Proem melodies and arrangement. He has traded in most of his Burnplate crunch for some of the smoothest and most precise beats, and his more varied structure and progression definitely display a maturity not seen previously. Containing 5 tracks from the CD, plus a bonus vinyl only remix by Esem." -- fe.com There are a couple of netlabel releases that are worth good attention: a great album for download by Mikkel Metal: http://www.thinnerism.com/releases.php?r=thn058 from the site: "aka Mikkel Meldgaard is from Danmark and after playing in some rock bands, he switched to electronic music and has produced two 12" records. The works collected on his MP3 release are from 2001-2003 and we get six of them, plus four remixes by others. Mikkel's music is click related with some fine dub influences." a very nice EP from Ilkae called Stained Glass Confetti: http://www.monotonik.com/content/releases/mtkmp133.html from the site: "rather gorgeously scattershot electronica with both chiptune and idm influences. From the get-go with 'The Lockpick Almanac', we can dig the lush sounds and ever-so-slightly abstracted melodies, and 'Outfoxing A Unicorn' spaces things out further with a marvelously weird jig of a track, before 'Tin Crow' brings things home with obtuse atom-spherics and weightlifter class complexity." * sb specialize in electronic, yet we do enjoy a lot of other music, which is why the Muzzik report is so wonderful. its difficult to swim through the hundreds of titles each day to find the gems, music lovers like us need help locating the good stuff. couldn't find too much worth mentioning in our incoming apart from features in the last Muzzik report. looking forward to this issue to find out what we've missed and hoping for better in the latter half of august. cheers, sweetbeats. ________________________________________________________________________________ . .:[+] AMRC [+]:. . ________________________________________________________________________________ >>> Amorphis-Elegy-(Reissue)-2004-RNS Release Date: 2004-08-11 Label Info: Relapse Records Release Info: Elegy is the point where Amorphis began to show what their name really means. "Amorphous" - having no definite shape. What all started with death metal now becomes more melodic, gothic, psychedelic-like. With Elegy you can find a transition to their new style which is fully developed with the following album "Tuonela" and they even used their new logo on this album for the first time. This album shows us both sides and it seems like they don't know which path they should choose. Especially the vocals differ from death metal grunting to clean vocals sometimes within one song e.g. in "Against Widows" and "Weeper On The Shore". Some people may like this new style but others who like the previous album "Tales From The Thousand Lakes", which was indeed an excellent death metal album, may curse this new style. To me it seems like they made a good decision to bring more clean vocals and melodic guitar parts into their songs. "Elegy" is just a try which appeals to both sides of fans. Songs of this album that are worth mentioning would be "The Orphan", "On Rich And Poor" and a nice acoustic version of "My Kantele". It was definitely a good idea to choose this new path even though some fans of their old death metal style might be disappointed. Love it or hate it! This reissue features previously unreleased live versions of "Better Unborn", "Against Widows", "The Castaway", and "Black Winter Day". * >>> Axis_of_Advance--Obey-Promo-2004-UBE Release Date: 2004-08-01 Label Info: Osmose Productions Formats/Catalog #: CD (OPCD 162/N?4367-2) - VINYL (OPLP 162/Ltd to 500 copies) Release Info: This is the newest release from Canadian black metal band Axis of Advance. More information about the band can be obtained at http://www.osmoseproductions.com/AOA/AOA1.htm In the casual style of a black metal band, Axis of Advance moves between varying tempos... from the moribund doompace to uptempo threshing with abrupt punctuations, emphasizing the melodic structure of accompanying guitar narrative. The listener is not forgotten with epic weaving of melody into landscapes of time and space agitated by furious technique and motion, using the forward motion of high energy music to allow themes a space to expand enough to be recognized, allowing numerous variants on riffs in structures bridging tonal spaces defined by families of riff motifs, and allowing structural changes in tempo, tone location and direction; the resulting narrative orchestrates its events through linear music. Complexity and speed alone would have made this gratifying, but it joins the higher echelon of artists who can create (in the postmodern style) a stream of esoteric data which combines in a theory of existence expressed in music, with its depth of texture and inexhaustable mood and variations in intensity. A furnace against heat death and despite its fairly primitive sound and aesthetic of delivery, this violent offering affirms the power of chaos over systematic processing. For that despite its membership in the more directly assaultive style of black metal, this release encodes a high degree of experience in its shock of sound redoubt. * >>> Bloodbath--Nightmares_Made_Flesh-Promo-2004-ViC Release Date: 2004-08-12 Label Info: Century Media Release Info: Swedish brutal death metal butchers BLOODBATH have finished their new killer album "Nightmares Made Flesh"! After the departure of vocalist Mikael Akerfeldt (Opeth), BLOODBATH researched intensely among befriended musicians and can now proudly announce their new line-up entries of vocalist Peter T?gtgren (Hypocrisy, Pain) with his heaviest, most intimidating vocal delivery ever, and drummer Martin "Axe" Axenrot (Witchery, Satanic Slaughter), replacing now-guitarist Dan Swano (Edge Of Sanity, Nightingale, Infestdead), who played the drums on the previously released "Breeding Death" EP (2000) and the debut album "Resurrection Through Carnage" (2002). Guitarist Nystrom comments the release as follows: "After being resurrected through carnage our nightmares made flesh! This time we promise the world an even more brutal and varied piece of real and pure death metal. Take the outstanding performances by the new members Axe and Tagtgren into account and BLOODBATH will prove no longer only to be a tribute to death metal; but also death metal's very own elite." "Nightmares Made Flesh" will be released September 27th, 2004! Please keep an extra eye on the limited vinyl edition, which will be released on the same date as the normal CD! * >>> Entombed - Averno Release Date: 2004-08-09 Label Info: Candlelight USA Release Info: Inferno w/Averno is the eighth studio album from the three-time Scandinavian Grammy Award nominated five-piece. Recorded at famed Atlantis Studios in Stockholm (Abba, Lenny Kravitz), Inferno w/bonus US disc Averno was produced by Entombed and Per Gunnerfeldt (best known for his work with The Hives, (Int) Noise Conspiracy). The album finds Entombed in unmistakable raw form and features some of their best material to date. All Music Guide says, ?Entombed proves that its latest musical incarnation is no less dangerous than any of its previous work; a monolithic, guitar-heavy set with lyrics that shake you to your very soul.? Kerrang adds, "Entombed remind us all exactly how amazing extreme metal can be." Released in Europe during 2003, Inferno w/Averno?s US release is an impressive 2cd package that features a wealth of extra material and enhancements not available on the European export. With fall US touring plans already in the works, it is going to be a widely exposed album and year-long priority. Dating to 1987, Entombed were one of the first to champion the early sounds of European death metal; a title they still retain today. The band, however, with record sales worldwide in excess of 500,000 units have never been one to rest on their pedigree or highly regarded credentials. Inferno w/Averno, album line up featuring vocalist LG Petrov, guitarists Alex Hellid and Uffe Cederland, bassist Jorgen Sandstrom (now departed) and drummer Peter Stjarnvind, finds the band delivering an album that is both classic and contemporary and one that crosses standard extreme/aggressive boundaries. Track listing for Inferno w/Averno includes: (disc one) Retaliation, The Fix Is On, Incinerator, Children Of The Underworld, That's When I Became A Satanist, Nobodaddy, Intermission, Young & Dead, Descent Into Inferno, Public Burning, Flexing Muscles, Skeleton Of Steel, Night For Day, (disc two) When Humanitys Gone, There are Horrors of 1000 Nightmares, Random Guitar, Retaliation (video edit), Albino Flogged in Black (video edit), Retaliation (Enhanced Video), Albino Flogged in Black (Enhanced Video). This disc can't even come close to living up to such Entombed classics as "Left Hand Path" and "Wolverine Blues", but nonetheless it is still Entombed and the release should be given a listen because they pretty much kick ass! * >>> Jag_Panzer-Casting_the_Stones-Promo-2004-AMRC Release Date: 2004-08-09 Label Info: Century Media Release Info: "Casting the Stones" is scheduled for release on October 19 through Century Media Records. Said to be "a more aggressive version" of 2001's "Mechanized Warfare", the new album was recorded in part at Tampa's Morrisound Studios with producer Jim Morris. The cover artwork for JAG PANZER's new album, "Casting the Stones", has been posted online at the web site of acclaimed artist Mattias Nor?n. Check it out: http://www.progart.com/images/2004_12b.jpg Biography: Jag Panzer was formed in the early 80's by high school students Harry Conklin, John Tetley, Mark Briody and Rick Hilyard. Known by the name 'Tyrant', the young musicians became popular on the local club circuit by playing original songs along with metal classics by Judas Priest, Iron Maiden, Black Sabbath and Rainbow. Tapes of the band's original music were often requested, so the guys decided it was time to enter a recording studio. Late one evening in May 1981, the band booked 3 hours at a small 4-track studio and emerged with their first demo - a cassette featuring one song entitled 'Tower of Darkness'. Studio recording proved to be very enjoyable for the musicians, so they booked time 5 months later at a larger 8-track studio. This studio session would yield two songs which would become Jag Panzer classics - 'Battle Zones' and 'The Crucifix'. This new two song demo caught the eye of fanzine editor Andrew Banks. Although the fanzine, Heavy Metal Times, was published out of Texas, Andrew Banks happened to be living in Colorado Springs at the time. The band met with Andrew, struck up a friendship, and gave him an armful of demo tapes to take with him on a trip to Los Angeles (home of several newly formed U.S. indie metal record labels). Andrew returned from Los Angeles with good news - 2 record labels, Azra Records and Metal Blade Records were both impressed with the demo tapes. However, there was also a bit of bad news, it turned out that a long established California band was also called Tyrant. A name change was in order. The young musicians mulled over contract offers from both labels while at the same time searching for a new band name. A book was found at the local library which showed a large aggressive looking tank called a Jagdpanzer. They liked the name but felt that it may be difficult to pronounce for people in America. The 'd' was dropped in the name and the band officially became 'Jag Panzer'. The contract from Azra Records offered color covers for both releases (rare at the time, most indies did only black and white) so the band signed a deal with them for 1 e.p. and 1 album. The band entered Startsong Studios in 1982 to record their first release - a five song untitled e.p. The band planned to re-record the 2 demo tracks plus 3 new songs - 'Death Row', 'Metal Melts the Ice' and 'Iron Shadows'. The recording sessions went well until it was time to record 'The Crucifix'. Guitarist Mark Briody did not own an acoustic guitar, he had previously rented one for the recording of 'The Crucifix' demo. This time around the music store did not have an acoustic guitar available for rent, so the band reluctantly decided to save 'The Crucifix' for the first full length album. It was a decided that a move to Los Angeles would be most beneficial for the band's career. In early 1983, they packed up their belongings and headed for the west coast. The Los Angeles move proved to be unsuccessful for the band. For no release on the shelves yet, little equipment and a very uncommerical sound, gigs were impossible to get. It was during rehearsals in Los Angeles that the band realized that they needed an additional guitarist to enhance their sound. A local guitarist was scheduled for an audition. He was unable to make the audition, but he didn't want to disappoint the band, so grabbed the local music want ads and searched for someone to take his place in the audition. He came across a guy that sounded perfect - a lead guitar player looking to join an all original metal band. The guitarist's name was Joey Tafolla. Joey auditioned and blew the guys away with his aggressive tone and fast fluid melodic solos. Jag Panzer was now a five piece band. The e.p. was released in 1983 and immediately became a favorite of the underground metal scene. The untitled record become known among fanzines as 'The Tyrants E.P.'. The e.p. was released in both black vinyl and picture disc formats. The band moved back to Colorado in late 1983 to begin working on their first full length album. The writing went quickly and the back returned to Startsong Studios to record 'Ample Destruction'. Prior to the release of 'Ample Destruction', Jag Panzer decided to book an all original metal show in Colorado Springs. Club owners were reluctant since all original shows traditionally did not do well unless the band was established and had radio support. Since Colorado radio was not receptive to Jag Panzer, they guys hit the streets, passing out flyers and posters for 2 months in reparation for the big concert. The night of the show came. The club owner expected 50 people but surprisingly 425 people showed up that night. The show received rave reviews from the local music press. Jag Panzer was on their way to establishing themselves as a premier live band. 'Ample Destruction' was released in 1984 to incredible reviews world wide. Letters poured in daily from Europe praising the band. 'Ample Destruction' was available only as an import in Europe, so the amount of mail from there was very encouraging. Jag Panzer decided to pursue a record deal in Europe so that 'Ample Destruction' could be released domestically there. Incredibly, no European label was interested in 'Ample Destruction' or 'The Tyrant's E.P.'. Despite placing near the top of every critics 'best of' charts, the band could not secure a European licensing deal. Drummer Rick Hilyard left the band in late 1984. His replacement was a veteran of the Denver rock scene, Reynold 'Butch' Carlson. Reynold awesome technical ability and excellent showmanship added a new dimension to the band. The band regularly sold out their own shows and supported international acts such as Grim Reaper and Slade. Touring opportunities became non existent for Jag Panzer. European promoters were reluctant to book the band since Jag Panzer had no record deal there and no domestic releases. American promoters felt that the lack of airplay would make a full scale U.S. tour difficult. The band decided to concentrate on getting a new record deal. A new demo was recorded which featured songs such as 'Shadow Thief' and 'Viper'. Response to the new demo was very positive and several major labels paid a visit to Colorado to see the band. The labels were impressed with the live performance but did offer any contracts. They felt that the band lacked commercial radio appeal. Jag Panzer were unwilling to become more commercial, so there was no hope of any deal. Vocalist Harry 'The Tyrant' Conklin left the band to join Riot. Joey Tafolla and Reynold Carlson quit Jag Panzer and began work on Joey's first solo release for Shrapnel Records. Mark Briody and John Tetley begin searching for new members. Filling the lead guitar slot was easy. The band turned to longtime friend Christian Lesegue. Christian was known for his clean playing and incredible speed. The drum throne was filled by a teenager by the name of Rikard Stjernquist. Rikard impressed the guys with his fast feet, power hitting and his love of classic indie metal. Everything was in place except for vocals. San Antonio native Chris Cronk briefly held the vocalist spot, as did Steve Montez (from Denver). Finally a vocalist was found - Bob Parduba. Bob used a sing for the Denver based metal band 'Alloy Czar'. 'Alloy Czar' were known for their killer vocals. Bob was a perfect fit for the new Jag Panzer. The band booked time at Avalanche Studios in Denver and began recording an album's worth of material. The band solicited the album, entitled 'Chain of Command', to several labels. Interest was strong, including an offer from a major label. The band also did a series of high profile gigs around this time, opening up for such acts as Helloween and Megadeth. Although a major record deal was offered, it turned out to be a poor contract. The band didn't sign the deal. Vocalist Bob Parduba and guitarist Christian Lesague left the band shortly thereafter. Without a vocalist and lead guitarists, the nucleus of John, Mark and Rikard decided to focus on songwriting. It was at this time that 'Ample Destruction' was licensed to Metal Blade Records for the U.S. and Metalcore Records for Europe. The e.p. was licensed to Mausoluem Records for the world. Two other record labels, Bonzai Records and Barricade Records released 'Ample Destruction' without consent from the band. Vocalist Daniel Conca and guitarist Chris Kostka joined Jag Panzer in the early 90's. The new members brought a thrash edge to the band as opposed to the very melodic 'Chain of Command' lineup. A new demo was recorded and a deal was struck with Rising Sun Records out of Germany. In 1994 the band released a single 'Jeffrey' and an album entitled 'Dissident Alliance'. 'Dissident Alliance' was subsequently licensed to Pavement Records for a U.S. release. These releases proved to be failures for the band as fans were not receptive of the new lineup. However, the lineup did do their first tour of Europe in support of Overkill. Daniel Conca and Chris Kostka then left the band. The three remaining band members spent the next year building a recording studio and writing new material. Two news tracks were recorded without vocals or lyrics. The band felt that the new tracks would suit Harry's voice well and asked him if he wanted to sing on these new songs just for fun. Harry added lyrics and vocals lines and the songs came out excellent. The recordings went so well that everyone agreed that the demo should be circulated. The band sent tape copies out to various tape traders around the world. Within weeks there was a strong buzz in the underground about the new Jag Panzer demo. Century Media approached the band in regards to signing a long term deal. The label offered a decent budget and the chance to work with legendary metal producer Jim Morris. A suitable deal was hammered out and the band signed a long term agreement with Century Media Records. Former guitarist Joey Tafolla was asked to contribute solos to the new album, entitled 'The Fourth Judgement'. Unfortunately prior commitments prohibited Joey from touring or doing anything further with Jag Panzer. 'The Fourth Judgement' was released in 1997 to stunning reviews. A full European tour was planned, but the band needed to find a new lead guitar player. The band been asking fellow musicians if they could recommend anyone. Everyone named the same guitar player - Chris Broderick. Chris auditioned and floored everyone by playing every solo from 'The Fourth Judgment' note for note. Chris's incredible stage presence and virtuoso guitar playing helped make the European tour with Gamma Ray and Hammerfall a huge success. 'The Fourth Judgement' featured an older Jag Panzer track called 'Shadow Thief'. This track had been unreleased but bootlegged many times. It was picked for 'The Fourth Judgement' because it had long been a fan favorite, both live and on bootlegs and demos. The release of this song prompted Jag Panzer fans to ask for the release of other unreleased Jag Panzer material. Century Media was bombarded with requests for these older unreleased classics. It was decided that the next release will feature a mix of new material and the most requested of the older unreleased material. A fan poll was conducted and the older songs were picked. These songs, along with 'Iron Eagle', 'Displacement', 'The Age of Mastery', 'Twilight Years' and 'The Moors' became the newest Jag Panzer opus, entitled 'The Age of Mastery'. Reviews for 'The Age of Mastery' were outstanding and the band embarked on several tours. The first was a headlining tour of Europe, followed by a support slot with Iced Earth in America and lastly an appearance at the Wacken Open Festival in the summer of 1999. Following the successful tours, the band began work on it's most ambitious album to date - a concept album based on MacBeth. The band worked night and day on the material, often scrapping songs and rewriting lyrics completely. After 1 year of solid work writing and rewriting, the band was record to record 'Thane to the Throne'. Once again, master producer Jim Morris was enlisted to work on the album. Completed the first week of February 2000, 'Thane to the Throne' exceeded the band's expectations. The hard work paid off with a brilliant piece of intense metal - 'Thane to the Throne'! Songs started developing very quickly after the release of 'Thane to the Throne'. The band decided to take an 'old school' approach to songwriting. This meant covering a wide spectrum of the band's influences, which lead to a variety of songs being written. After 10 solid tracks were penned, Jag Panzer once gain enlisted the help of producer Jim Morris for the recording of the new album. During the month of February 2001 the band spent time in studios located in Colorado, Arizona and Florida. The final tracks were mixed at Morrisound Studios and the newest Jag Panzer opus 'Mechanized Warfare' was complete. * >>> Rotting_Christ--Sanctus_Diavolos-Promo-2004-ViC Release Date: 2004-08-12 Label Info: Century Media Release Info: The opening track of Rotting Christ's new CD "Sanctus Diavolos": "Vision Of A Blind Order" features a kickass guest appearance on lead guitar by Dream Evil/Firewind/Nightrage axeman axeman Gus G. As previously reported, "Sanctus Diavolos" will be released through Century Media on September 20th. The album has been described as "the band going back to their darker, more savage musical roots and attitude" and was mixed by producer to the gods and Dream Evil guitarist Fredrik Nordstrom. Vocalist/guitarist Sakis produced the album. In other news, Poland-based Metal Mind Productions recently released the "In Domine Sathana" DVD, which features a 190 minute retrospective covering the band from 1996 to 2003. * >>> Shadows_Fall-The_War_Within-Advance-2004-AMRC Release Date: 2004-08-01 Label Info: Century Media Release Info: The dynamic thrash metal quintet Shadows Fall's highly anticipated new album, The War Within, is now set for a September 21st release. The stunning new offering, produced again by Zeuss (Hatebreed) at Planet Z Studios in the band's home state of Massachusetts is the follow-up to the band's critically acclaimed disc, The Art of Balance, and features 10 tracks of sonic devastation. The War Within, their fourth full-length release, is the group's most unrelenting, yet dynamic offering that further proves why they are one of the leaders of their genre. The disc features solid musicianship and a strong sense of melody throughout. Shadows Fall is what Metallica could have evolved into if they would have gotten heavier instead of wussing out and putting out the boring shit they release now. * >>> Soulfly-Prophecy-2CD-(Import)-2004-FNT Release Date: 2004-08-06 Label Info: Roadrunner Records Release Info: Japanese version of the latest Soulfly CD. This CD features some cool bonus tracks such as live versions of the Soulfly songs "Spit", "No Hope, No Fear", and even a Sepultura tune "Roots, Bloody Roots", and "Spit" from the Sepultura CD "Roots". Soulfly is not as interesting as Sepultura was in my opinion, nonetheless, they have something to say musically and Max Cavalera still has a strong presence in the metal community. Max Cavalera (vocals, guitar, sitar, berimbau); Marc Rizzo (guitar); Bobby Burns (bass); Joe Nunez (drums, percussion). Additional personnel: Asha Rabouin, Danny Marianino (vocals); Ljubomir Dimtrijevic (flute, bagpipes, percussion); David Ellefson (bass); Meia Noite, Kaval (percussion); John Gray (samples); Mark Pringle (background vocals). Recorded at The Salzmone Studio Oasis, Mesa, Arizona. Max Cavalera's fourth outing under the Soulfly banner finds the former Sepultura frontman as fierce as ever. Beginning with the wailing siren riffs of the title track, PROPHECY combines new-world issues with old-world religion. Throughout the album, the dreadlocked Cavalera conjures up images of Zion, using spiritual themes as an intriguing counterpoint to razor-sharp guitar lines and tight rhythms. As on past Soulfly records, the songs often consist of movements, rather than more conventional structures; "Living Sacrifice" features a dub-like breakdown, while "Mars" incorporates an extended flamenco guitar solo that morphs into a reggae jam. However, there's still room for some pure, undiluted metal, as revealed on a powerful, straightforward version of Helmet's "In the Meantime." In a surprising conclusion, "Wings" features soulful, R&B-tinged lead vocals by Asha Rabouin, and a horn-laden instrumental finale, proving yet again that Cavalera aims to keep Soulfly as unpredictable as possible. ________________________________________________________________________________ . .:[+] gF [+]:. . ________________________________________________________________________________ >>> Joan_of_Arc-Joan_of_Arc_Dick_Cheney_Mark_Twain___-2004-iTS Release Date: 2004-08-04 Label Info and Catalog #: Polyvinyl Records Artist/Album Info: Prepare yourself. With a new label, a new direction, and a new set of songs, Chicago's Joan Of Arc add another chapter to their eight year history with this release. Simply put, its their best album yet. It expands upon the usual tradition of experimentation and gadgetry with the inclusion of an overall sense of cohesivemess and underlying melody. Its eccentric yet accessible. * >>> VA-Ratatat_Remixes_Mixtape_Volume_1-2004-JCE Release Date: 2004-08-02 Label Info and Catalog #: Audio Dregs Artist/Album Info: Crown Heights' Ratatat (Mike "Snake" Stroud and Evan ''E*Vax" Mast) have been making music since 2001 but 2004 is turning out to be quite a year for the forward-thinking duo. Their self-titled debut LP has a little bit of everything -- metal, IDM, glitch, rock -- all filtered through Masts' signature production sound. Ratatat write karaoke music in its most intelligent and artistic form. On this mixtape they reconfigured (mainly looping) some of their original tracks under acapellas of Billboard chart topping hip-hop. * >>> The_Fog_In_The_Shell-A_Secret_North-Retail-2004-gF Release Date: 2004-08-10 Label Info and Catalog #: www.dufresneattack.com Artist/Album Info: "Seeing only six tracks on the back of this Italian unit's disc, I figured it was an EP. Wrong! Try more than 40 minutes of bleak atmospheres and plodding rhythms in the vein of a stripped down Neurosis or something. There aren't that many bells and whistles. Occasionally there will be some well handled synths or subtle ambient textures, but it's really just guitar, drums, bass, and vocals. And hell, most of the vocals are very softly delivered, almost sung in a whisper, while most of the tracks revolve around repetitious instrumentation that builds and sways back and forth from flowing clean melodies to hard hitting distorted rhythms (with a major emphasis on the calm and sinister clean passages). "Livings' Dreams Are Deads' Lives" runs nearly six minutes without percussion, just acoustic guitars, very faint ambient keyboards, and almost inaudibly lulled singing. The instrumental "A Man Escaped" uses dryer clean guitars bordering on an emo style, with lots of frantic drum fills really thickening up the space; while "Toward the Crimson Eye" takes a similar approach layering acoustic guitars in against numerous samples, some of which are from slightly generic titles such as "Taxi Driver" or "Apocalypse Now" - distracting from an otherwise excellent piece of droning, hypnotic instrumentation. Closer "I Can Be the Chaos, They Can Be the Structure" is still based around clean guitars and soft vocals, but it's far "heavier" atmospherically, definitely the most intense track herein, eventually using more driving distorted guitars than any other piece. I like the recording, too. All they need to do is make the distortion thicker and more in your face. Everything else sounds awesome. I'd turn the vocals up a little, but the drums are perfect, the clean guitars and experimental textures are great, etc. The layout is stripped down but pretty cool, with some abstract high contrast artwork and a minimal color scheme, as well as numerous band photos and other random images in the center spread. The only text really appears under the tray, and no lyrics are included. This is an interesting disc. Not overtly original per se, but something a little different. In a way if they used distortion more often it would make them less unique, but at the same time I think it would make them better, as there aren't quite enough dynamics here. This is worth checking out, though. definitely an experiment in what constitutes "heaviness"." VERY RECOMMENDED!! ________________________________________________________________________________ . .:[+] DRUM [+]:. . ________________________________________________________________________________ hey folks, these days we are very busy, so here we only got a short and quick list of some stuff we liked. ok, not much DRUM genres, but still great music. next time we will spend more time in this ... stay tuned :) love and peace to all of you ... dont hate, just love! * >>> David_Hudson_-_Gunyal-1998-CMG Release Date: 2004-08-07 Label Info and Catalog #: Black Sun Records Artist/Album Info: A member of the Tjapukai tribe in northern Queensland, Australia, didgeridoo player David Hudson has once again teamed with producer and ambient artist Steve Roach to create his fourth album, Gunyal. The title refers to a giant, prehistoric reptile whose mythic story has passed orally through aboriginal generations. Known to Australian aborigines as goannas, these reptiles existed some 20,000 years ago, according to archaeologists, and it's this kind of transcendent connection to an ancient past that spills through on Gunyal. Listeners will find their imagination swept into the Australian outback as soon as they push the "play" button. Sounds of the deep, rolling didgeridoo drone over rhythms created by click sticks, boomerang clap sticks, and rocks. While Rainbow Serpent and Woolunda: Ten Solos for Didgeridoo were more stark representations of the didgeridoo, Gunyal travels more profoundly into the aboriginal soul with Roach's ethereal crescendos and atmosphere. While plenty of CDs thickly embellish the didg with electronics or modern grooves, Gunyal relies on the simplicity of tradition and the subtle trimmings of ambient sound. * >>> Ganga_Giri_-_Didj_Mania_(Best_of)-2000-CMG Release Date: 2004-08-07 Label Info and Catalog #: Phantom Records Artist/Album Info: 000 compilation for Australian Aboriginal didjeridu player featuring the very best tracks from his previous 3 releases. Giri is fast gaining an international reputation as one of Australia's finest didj players, having just completed work on Peter Gabriel's forthcoming album. 9 tracks total. 2000 release in a standard jewel case inside a slipcase. * >>> Ijahman_Levi-I_Am_A_Levi_(12_Inch_BRIJL01)-Reissue-VLS-2004-RAC Release Date: 2004-08-08 Label Info and Catalog #: Basic Replay Artist/Album Info: Born Trevor Sutherland in manchester, jamaica - Ijahman Levi's integral role in mid seventies english roots reggae has been undeservedly overlooked. Here figures the supreme original version of the Ijahman classic, cut for the Dip label in 1975. It would be nice to think his equally heavy 'Jah Heavy Load' might find a space in the reissue programmes soon as well. Ijahman recorded this fresh out of a spell in The Big House, and here improvises his vocal to telling, testifying effect. Three versions extend the bluesy songness of the vocal, mad space echo effects like a bad experience with a lift shaft, should cause any weakhearts to flee from their fierce interjections. The song became perhaps better known on the extended recut of the rhythm made for Levi's Island debut 'Hail I Hymn', but the originals and three dubs contained here indicate a far more underground and less over-produced alternative. Not to be missed - another essent. * >>> Ras_Mc_Bean-Pack_Up_And_Leave-CD-2004-JAH Release Date: 2004-07-29 Label Info and Catalog #: Irie Ites Artist/Album Info: Coming from Guyana, Ras Mac Bean is a talented singer living in France for two years now. After travelling South America and the Caribbean, several Tours and collaborations on several compilations he now works with Irie Ites for bout a year now and as a result of this collaboration his first own CD "Pack up and Leave" is about to get released this month. The artist signed a compilation titled Link’Up, where he was featured with two solo tracks ("Dragon", "Wa dem a go do") as well as a duo with Lorenzo ("Brotherly Love") in 2003 and delivered another appearance on the Kingston Love-Sampler (Discograph, 2004) together with Sizzla, Dennis Brown, Turbulence, Luciano, Shinehead and others. Ras Mac Bean caused a sensation for first time at the " Jamaican Sunrise Festival". During the first two concerts, the public was simply captured by his show and the vibe. People are now eagerly expecting the first solo-production from this spiritual and warm artist. * >>> VA-Merck_Mix_3-2004-soup Release Date: 2004-07-27 Label Info and Catalog #: Merck Artist/Album Info: The 4-year anniversary of Merck brings us their third mix CD. Composed entirely of tracks from the Merck catalog and containing all tracks not previously used in any Merck Mixes. Artists included: Adam Johnson, Aphilas, Blamstrain, Deceptikon, Esem, Frank And Bill, Ilkae, Landau, Lackluster, Machine Drum, MD, Mr Projectile, Proem, Proswell, Secede, Sense, Syndrone, Tiki Obmar and more. Spanning the Merck time-line, the full spectrum of styles is represented. Containing previously unreleased and exclusive tracks by Sense, Lackluster and a remix of Ilkae by Landau thrown in for that 'trainspotter' touch. Mixes that weave the songs together in a variety of creative and interesting ways, even the most die-hard Merck fanatic will have something new to enjoy. This is the second mix to be done by Ben Cormier and Dan Hartrell from Toronto, who displayed their adept mixing skills on Merck Mix 2. ________________________________________________________________________________ . .:[+] SER [+]:. . ________________________________________________________________________________ >>> The_Uncle_Devil_Show-A_Terrible_Beauty-(Retail)-2004-RTB Release Date: 2004-08-04 Label Info and Catalog #: Compass Records Artist/Album Info: Featuring Del Amitri frontman Justin Currie, Simple Minds drummer Jim McDermott, and cult Scot singer Kevin McDeromtt, The Uncle Devil Show's debut album is a brilliantly off-kilter nugget of jangling Anglo-pop, marked by shimmering psychedelic production and a distinctly warped lyrical slant. http://www.theuncledevilshow.com * >>> The_Retrosic-God_Of_Hell-US_Retail-(Metropolis)-2004-CHR Release Date: 2004-08-01 Label Info and Catalog #:Metropolis http://www.metropolis-records.com (MET 329) Artist/Album Info: It has been almost two years since the band's second release and they are ready to release their third album, God of Hell, in North America with Metropolis Records. God of Hell has already reached the number 1 position on the German alternative charts, "Album of the Month" in several scene-magazines, and has also been the winner of numerous sound-check awards in Europe. The press hails: 'God of Hell is a masterpice, setting signs for a long time!' An amalgamation of hard beats, biting vocals and musical elements ranging from Indian flutes and military drums to a boy's choir. Zaide's amazing voice and trombones grace several tracks on the album to help make it The Retrosic's most exceptional release to date. The North American version of God of Hell contains the bonus track 'Passion (1st sign)' and a multimedia video for 'The Storm,' which has already earned several international awards for composition and animation." God of Hell clearly speaks its leitmotif: "Destroy The World To Save It." ' -Metropolis-Records.com blip http://www.retrosic.com * >>> VA-Collateral-OST-2004-RNS Release Date: 2004-08-10 Label Info and Catalog #: UMG / Universal Artist/Album Info: Not so typical soundtrack for a blockbuster movie. * >>> Omnia--Crone_Of_War-2004-HiT2000 Release Date: 2004-08-05 Label Info and Catalog #: Zap Prod. (ZP02) Artist/Album Info: Listening to OMNIA: "Crone of War" for the first time is like the first time you had sex: you're not sure what exactly is happening, you don't know what to think about it, but it sure is great! And you know you'll want more ... Although "Crone of War" is OMNIA's 4th CD to date, it is the first to cover the full range of their wide spectrum of musical styles as they perform them nowadays. Because OMNIA is really into this "misty-swirly" "heyaheya" "tree huggie" kind of stuff they only play on authentic (acoustic) instruments, and all the music on "Crone of War" has actually been played by them and their guests (no samples, drum computers, synthesizers etc.). Also, none of the recordings have been compressed, so as to keep the natural dynamics and emotion intact. Line-Up: Steve Evans-van der Harten: various flutes & whistles, bouzouki, war drums, vocals,mouth harp, horns bells Jennifer Evans-van der Harten: Neo-Celtic harp, war drums, sansula, vocals, bodhran, horns, shakers Louis Aubri: Slideridoo, war drums, vocals, guitarcittern, horns Guest musicians: Joe Hennon (Shantalla): Guitar Oliver Sa Tyr (Faun): Bouzouki, Nyckelharpa http://www.omnia-neocelt.com * >>> Idaho-Vieux_Carre-2004-SDR Release Date: 2004-08-05 Label Info and Catalog #: Kalinkaland Records Artist/Album Info: Nice indie pop from Germany. http://www.kalinkaland.de * >>> Amorphis-Elegy-(Reissue)-2004-RNS Release Date: 2004-08-10 Label Info and Catalog #: Relapse Records http://www.relapse.com/ Artist/Album Info: Containing some of Amorphis' most memorable melodic metal ever, ELEGY imperceptibly interweaves a keen sense of melodic structure with harmonies from Finnish folk-song, lush keyboard atmospheres, psychedelic guitar tones, and an array of vocal styles. Special deluxe reissue featuring never-before-heard bonus material! http://www.amorphis.net ________________________________________________________________________________ . .:[+] BEX [+]:. . ________________________________________________________________________________ >>> Monosurround-We_EP-(1ST_DECADE022)-Vinyl-2004-BEX Release Date: 2004-08-12 Label Info and Catalog #: http://www.1stdecade.de 1st decade #022 Artist/Album Info: "With "we", the berlin duo have produced a new track which, from the start, makes it clear that their musical understanding of "mega" has developed a new quality. fat electro beats form the backbone for this neck-breaker and its hymn-like elements deliver a massive dose of endorphins. "we" is asignal and a statement. we are monosurround and we are rock 'n' roll.. or whatever. apart from the title track, the new ep offers 2 further club-compatible tracks that will please friends of dance. and the astonished listener again asks himself: how the hell do they do it?" http://www.electronix-network.com/info.php?catid=1st22&SID * >>> Maps_and_Diagrams-Tactile_Love_EP-(ARABLE003)-Vinyl-2004-BEX Release Date: 2004-08-13 Label Info and Catalog #: Arable #003 Artist/Album Info: "Third slice of loveliness on the Arable imprint, founded this year by Robin Saville of ISAN. Robin has co-produced the four part title track with Tim Martin of Maps and Diagrams, fully reflecting his hands-on creative approach to the label. 'Florin Base' sets us rolling, all welling tones and beautifully intimate acoustic guitars - highly reminiscent of the best elements of one of our most loved long players from last year - Corker-Conboy's fabulous first album. Then the first instalment of 'Tactile Love' ushers in a padding, gently percussive, undulating theme which inevitably brings total immersion and a sense of anticipation. Tim's work flows with a gentle yet surprisingly crisp fusion of flowing acoustic guitars, gently crushed digital beats and spine-tingling melodies that float in ghostly fashion and imbue proceedings with a lost ambience that brings to mind not only the work of Isan but also that of Xela and, in places, Bernard Fleischmann. It's hard to create music that floats so effortlessly and gently without sounding overly soft, yet Maps And Diagrams manage to delve into that preserved late-night space with loving originality and a deep understanding of pace and atmosphere. This is sublime, personal music; a soundtrack to introspection that will change your mood regardless of setting or time of day, beautiful and melancholy with equal measure. Lovely stuff." http://www.boomkat.com/item.cfm?merchID=14267 ________________________________________________________________________________