Tracklisting:
1. "Disco Hospital" – 2:18
2. "Teenage Lightning 1" – 1:49
3. "Things Happen" – 4:22
4. "The Snow" – 6:41
5. "Dark River" – 6:27
6. "Where Even the Darkness Is Something to See" – 3:05
7. "Teenage Lightning 2" – 5:09
8. "Windowpane" – 6:11
9. "Further Back and Faster" – 7:55
10. "Titan Arch" – 5:02
11. "Chaostrophy" – 5:37
12. "Lorca Not Orca" – 2:04
13. "Love's Secret Domain" – 3:52
Coil "Love's Secret Domain"
Basskraft: A Bass Tribute to Krafwerk
Tracklisting:
1 Trans-Europe Express (4:18)
2 Autobahn (4:17)
3 It's More Fun To Compute (4:14)
4 Musique Non-Stop (4:56)
5 Pocket Calculator (3:42)
6 Computer World (5:12)
7 Numbers (4:11)
8 Home Computer (4:08)
9 Tour De France (4:08)
10 The Robots (3:52)
11 Computer Love (3:33)
12 A Digital World (3:54)
13 The Beat (4:26)
14 Mega Mix (4:38)
Consolidated, "Butyric Acid" (1994)
Label: London Records
Catalog#: CDP 1303
Format: CD, Maxi-Single, Promo
Country: US
Released: 1994
Genre: Electronic, Hip Hop
Style: Breakbeat, Trip HopTracklisting:
1 Butyric Acid (3:53)
2 Butyric Acid (Mindfuck Mosh) (5:10)
Remix - Commander Mindfuck
3 Butyric Acid (Oblomov Syndrome Mix) (6:40)
Remix - Meat Beat Manifesto
4 Dog & Pony Show (3:42)
Various Artists: If You Can't Please Yourself, You Can't Please Your Soul (1985)
Tracklisting:
1 Scraping Foetus off the Wheel: The Only Good Christian Is a Dead Christian (3:26)
2 Cabaret Voltaire: Product Patrol (4:19)
3 Test Dept.: Total Nervous Phenomonom (3:40)
4 Marc Almond: Love Amongst the Ruined (6:36)
5 Psychic TV: Twisted (2:57)
6 The The: Flesh and Bones (4:00)
7 Coil: The Wheel (2:41)
8 Yello: The Roxy Cut (4:30)
9 Virginia Astley: Waiting to Fall (3:27)
10 Einstürzende Neubauten: Wardrobe (2:39)
Lords of Acid: Voodoo-U
Tracklisting:
1 Voodoo-U (3:58)
2 The Crablouse (4:15)
3 She And Mrs. Jones (4:40)
4 Do What You Wanna Do (4:06)
5 Young Boys (3:55)
6 Out Comes The Evil (4:24)
7 Mister Machoman (4:34)
8 Marijuana In Your Brain (3:57)
9 Special Moments (4:04)
10 Dirty Willy (3:44)
11 Drink My Honey (4:01)
12 Blowing Up Your Mind (3:56)
13 Young Boys Go To Studio 54 (3:27)
14 Lords On 45 (3:55)
15 The Crablouse (Van Acker Mix) (4:40)
16 The Real Thing (3:32)
a couple zappa things
FZ's "Cheap Thrills", a comp intended to introduce new fans to some of the breadth of zappa's repertoire. try it out.
also, check these hot rats radio commercials. terrible quality but a neat insight into the marketing of zappa's first "solo" album. download
Consolidated, "Friendly Fa$chism" (1991)
a classic. a little dated musically, but by no means bad, here's an early album from perhaps the most political band ever, Consolidated.
Tracklisting:
1 Zero (0:21)
2 Brutal Equation (4:13)
3 Our Leader (1:01)
4 Unity Of Oppression (4:01)
5 The Sexual Politics Of Meat (3:43)
6 Typical Male (5:18)
7 Entertainment Tonight (0:40)
8 Dominion (4:04)
9 Friendly Fascism (5:01)
10 College Radio (1:27)
11 We Gotta Have Peace (3:30)
12 Meat Kills (3:34)
13 Stoned (6:54)
14 Your Body Belongs To The State (1:49)
15 Crusading Rap Guys (5:29)
16 Murder One (2:52)
17 White American Male '91 (The Truth Hurts) Part 2 (5:12)
18 Music Has No Meaning (5:17)
1st half 2nd half
Lorenzo Arruga & Dave Lombardo: Vivaldi: The Meeting
L. Arruga, D. Lombardo, & Friends
Vivaldi: The Meeting
Thirsty Ear
Now here's something I've been waiting an eternity for. Finally, a great metal musician proves to the world that metalheads can handle "real" music. You want to trick your snobby friends into listening to metal? (Probably not, why would you have friends who don't share your tastes in music?) Give them The Meeting . After they tell you it's the most amazing record they've heard all year, inform them that they've just listened to Dave Lombardo, the former drummer for Slayer, perfectly crank out selections from Vivaldi's "Four Seasons," "Ottone in Villa," and "Orlando Furioso." (It's only fair to warn you that, while I do indeed love classical music, I am an extreme novice to it, bear with me...)
Mr. Lombardo is, mind you, accompanied by Luca Avanzi on oboe, contralto Caterina Calvi, Giorgio Carnini on organ, Ottavio Dantone on harpsichord, soprano Paola Quagliata, and Mauro Scappini on flute; Lorenzo Arruga conducts and plays harpsichord and keyboards as well. This is not a metal record. It is a classical album featuring world-famous classical musicians. Dave Lombardo, however, took up the challenge, and makes this an awesome work. It must be heard to be understood and believed. The Meeting , which conductor Arruga conceived, was based on Cuban novelist Alejo Carpentier's Concierto Barroco , a story about Vivaldi meeting a Cuban percussionist. Since Dave Lombardo happened to be born in Cuba, and Arruga's into metal(!), the recording appears to be a fulfillment of destiny. Your destiny, as a metalhead or classical freak should be to get this album and blow your mind. Harpsichord and double-pedal speed metal drums? Accompanying an opera soprano? The result is incredible, crank it up!
1. Un apparizione / "Guarda in quest'occhi"
2. Una sfida : "La tempesta d'estate"
3. Preludio alla pena amara / La pena amara
4. Vedro con mio diletto
5. Nel profondo
6. Agitata da due venti
7. Un congedo : Il canto del pastore
[download]
Nine Inch Richards: Closer to Hogs
| 1 | Closer (The Closer To Hogs Mix) (4:22) | |
| 2 | Closer (Closer To The Hogs II The Immaculate Kitten-Radio Mix) (4:17) | |
| 3 | Closer (The Long Horn Version) (4:51) | |
| 4 | Deadbeat (4:11) |
[
Awry (self-titled) (2001)
New York's AwRY is a refreshing ode to the delight of nighttime. Bandleader Shara Worden has an incredible knack for crafting awe-inspiring songs of intricate rhythm and lusciously dark melody. Aside the spacey guitar ambiance of bandmate Shane Yarbrough, Worden invokes a primal understanding of emotion with her soprano voice and gushing willingness to put it all on the table. Like a darkly organic Portishead, AwRY's music is like staring at your pond reflection on a lonely and moonlit night. Beauty like this doesn't come around very often. - Eric Elbogen, Digital City New York
cornelius: sensuous
Cornelius
Sensuous download
[Everloving; 2007]
Rating: 7.8
The 1997 Matador release of the still-great Fantasma established Cornelius (Keigo Oyamada) as the far-East posterboy for indie-rock globalization. As the most recognizable representative of downtown Tokyo's Shibuya-Kei movement (also responsible for Pizzicato Five, Buffalo Daughter and Fantastic Plastic Machine), Oyamada’s Beck-like star potential and wildly creative imagination led to a stateside buzz all-too-rare for Japanese musicians. But a release schedule that includes five-year windows between albums isn't the best way to maintain hype. It was 2002 before the follow-up Point boiled Fantasma down to its essence: a wonderful fusion of rubbery, acoustic micro-house rhythms. With another five years now having passed, Sensous represents yet another step forward for Oyamada’s unique headphone pop. It’s not quite the departure that Point was from Fantasma, but it feels like a natural next step.
Sensuous opens with Oyamada revisiting one of Point's main techniques: composing songs with the individual sounds kept clearly separate. His fascination with the hi-fi stereophonic demonstration records of the 1950s and 60s-- the ones that presented the full range of the stereo spectrum through whirring, buzzing sound experiments-- finds its full and rewarding realization here, but in function more than form. Often on Sensous, as on Point, it often feels as though Oyamada starts by writing normal songs, but then inserts sounds into the places where there are none, erases the original melody, and keeps the music's negative.
The title track is a meditative series of plucked guitar strings-- not completely unlike something you'd hear on Four Tet's Rounds-- phased between the left and right channels. But this initial sense of serenity quickly gives way to the more recognizable bustle of "Fit Song". It replaces the sonorous acoustic with the muted, clipped strum of an electric guitar, which provides the rhythmic bed for the first minute of the song, as bass drums and hi-hats bounce around with Oyamada’s single-word incantations ("just," "fit," "click"). The song feels like a stylized metropolitan soundtrack, but its video (which is included on the disc) suggests a more modest milieu that reflects the song's senses of humor and wonder. Syncing the movements of typically inanimate objects to the music, the video, like the album, is indulgent and geometric: sugarcubes form steps for a pair of spoons to climb, toothbrushes dance in a circle, the contents of a coin purse form a floating infinity symbol.
"Fit" also marks the record's first appearance of Oyamada's favorite instrument of late (and, it should be noted, a point of friction for many listeners): a spacy, sonorant synthesizer that provides a soft and windy counterpoint to the skipping stones all around it. Later on the irresistable "Beep It", the synth serves a new-wavier rhythmic purpose, with Oyamada's monosyllabic mojo more resembling the sounds of a retro-futuristic aerobics class, and "Music" gradually introduces the instrument into its melange of chirping guitars and melismatic vocals, lending the song a fluffy, space-age buoyancy.
Sequenced after the copy-machine-sampling "Toner", "Watadori" feels like an extended fever-dream from a nap under an office desk. Multiple layers of soft-jazz guitar tick off and ascend higher and higher, coalescing into busy-but-gentle treble-buzz, the equivalent of twenty different CTI-label records played at the same time. Oyamada's newfound predilection for the oft-criticized and elevatored music is most fully realized on Breezin'", an inventive interpolation of the jazz-pop standard made famous by Gabor Szabo and later, George Benson. The song feels like perfect source material for Oyamada to work with, and while he thoroughly launders it of its core melodic structure, he manages to maintain its, well, breeziness. Like an installation piece on a constant loop, ascending three-note synth runs and chimes provide a chilly melodicism as the song works its way, over and over, to a surprisingly lilting payoff. Its doppelganger, "Gum", emerges later, with his vocals ping-ponging over a punk-metal guitar drone previously explored on Point's "I Hate Hate".
Sensuous ends with a second, even less-expected cover: a faithful update of the Rat Pack standard "Sleep Warm", on which Oyamada augments Frankie and Dean’s maudlin sentimentality with his own vocodered vocals and loud, trilling synth flourishes. While this version certainly would be tough to fall asleep to, its album-closing position makes it feel more like a film-closing credit roll, similar to The White Album’s "Good Night". Now, apparently, we just have to wait five more years for the sequel.
-Eric Harvey, April 13, 2007
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