arDATE = new Array( "August 2007" ) arARTIST = new Array( "Pearls Before Swine", "Kandis", "Beautiful Newborn Children", "Poto & Cabengo", "Xela", "Sandycoates", "Burnt Friedman & Jaki Liebezeit", "Johan Skugge", "Lassigue Bendthaus", "Mark van Hoen", "Kim Hiorthoy", "Near The Parenthesis", "Bionic Boogie", "The Ebony Moods", "Jimmy Swaggart", "Ultravox", "Thomas Wayne", "The 4 Deuces", "Tony Mottola", "Baby Washington", "Breather", "21 thefatrooster", "22 hungryhippo1970", "Illusion of Safety", "Various Artists", "Nam June Paik", "Reverend C. L. Franklin", "Terry Gibbs", "Tournesol", "Various Artists", "The Wisdom of Harry", "10cc", "Various Artists", "Portland", "Siegmar Fricke", "Minny Pops", "World of Pooh", "Crispy Ambulance", "Colleen", "Colleen", "Colleen", "Colleen", "Colleen", "Tiny Bradshaw", "Sonny Knight" ) arTRACK = new Array( "A1 - The Jeweler", "A1 - untitled", "A3 - A Good Dose", "A5 - Delta Farm", "A2 - Linseed", "A1 - Air and I", "B1 - The Librarian", "04 - Dekadenze", "09 - Soul Access", "01 - Real Love", "02 - Soliga Dagens Slappiga Trosor", "08 - I Remember It Differently", "A2 - Risky Changes", "A-Side", "B3 - I'll Fly Away", "A1 - Reap The Wild Wind", "A-Side", "A-Side", "A1 - Boulevard of Broken Dreams", "B-Side", "A1 - Radiation", "21 thefatrooster", "22 hungryhippo1970", "B-Side", "B6 - Lady June: Well In It", "01 - Prepared Piano for Merce Cunningham (edit)", "A1 - Give Me This Mountain, Pt. 1", "A5 - My Yiddish Momme", "C1 - Henka", "09 - Alec Treecity: Beach Asterisks", "B3 - Marsh Blues", "A3 - I'm Not In Love", "All", "04 - Cake", "03 Dermabrasion", "A1 - Night Out", "A2 - Druscilla Penny", "", "02 - Ritournelle", "01 - Summer Water", "07 - What is a Componium, Part 2", "07 - Sea of Tranquility", "42 featured", "A-Side", "B-Side" ) arTITLE = new Array( "The Use Of Ashes", "Dilldop", "Hey People!", "Nuit du Plomb", "The Dead Sea", "Melody Memory", "Secret Rhythms 2", "Volume", "Render", "Playing With Time", "Hopeness", "Go Out And See", "Bionic Boogie", "I've Got News For You", "Jesus is the Sweetest Name I Know", "Quartet", "Tragedy", "W-P-L-J", "Guitar...Paris", "Let's Love in the Moonlight", "Loves and Disloves", "21 thefatrooster", "22 hungryhippo1970", "Seven Years Later", "Senationnel No. 2", "Works 1958.1979", "Give Me This Mountain", "Jewish Melodies in Jazztime", "Kokotsu", "Segmentation", "Staying In With The Wisdom of Harry", "A Night in Paris", "Artiffacts", "Distal", "Selective Resections", "Minny Pops Live", "Timeless/Positive/Infinity", "Live on a Hot August Night", "Everyone Alive Wants Answers", "The Golden Morning Breaks", "Colleen et Les Boites A Musique", "Les Ondes Silencieuses", "42 featured", "Powder Puff", "Confidential" ) arLABEL = new Array( "Reprise", "Karaoke Kalk", "Domino", "Karaoke Kalk", "Type", "Antenna Farm", "Nonplace", "Mitek", "Kk", "Apollo", "Smalltown Supersound", "Music Made By People", "Polydor", "Theron", "Jim Records", "Chrysalis", "Fernwood", "Music City", "Command", "Neptune", "Sonic Incision", "21 thefatrooster", "22 hungryhippo1970", "A State Of Flux", "Illusion Production", "Sub Rosa", "Chess", "Mercury", "Apollo", "Segment", "Lissy's", "Mercury", "Artifacts Records", "n5MD", "Clinical Archives", "Plurex", "Bananafish Magazine", "37 video", "Leaf", "Leaf", "Leaf", "Leaf", "Leaf", "King", "Vita" ) arFORMAT = new Array( "LP", "12-inch EP", "12-inch LP", "12-inch LP", "12-inch LP", "12-inch LP, ltd silkscreened jacket", "12-inch LP", "CD", "CD", "CD", "CD", "CD", "12-inch LP", "78 RPM disc", "12-inch LP", "12-inch LP", "7-inch single", "7-inch single", "12-inch LP", "7-inch single", "12-inch LP", "21 thefatrooster", "22 hungryhippo1970", "7-inch single", "Cassette", "CD", "12-inch LP", "12-inch LP", "12-inch LP", "CD", "10-inch LP", "12-inch LP", "Flexi-Disc", "Minisisc", "MP3", "7-inch single", "7-inch single", "Video", "CD", "CD", "CD", "CD", "mp3", "7-inch single", "7-inch single" ) arDESC = new Array( "By now, most of us are familiar with this song from This Mortal Coil's cover on the Filigree and Shadow album. The original was also resurrected on TMC's box set after the This Mortal Coil ceased and desisted. So, here it is, from its original source. The psychedelic folk band Pearls Before Swine was the brainchild of singer, composer and cult icon Tom Rapp, born in Bottineau, ND in 1947; after writing his first song at age six, he later began performing at local talent shows, and as a teen bested a young Bob Dylan at one such event. Upon relocating to Melbourne, FL, Rapp formed Pearls Before Swine in 1965, recruiting high school friends Wayne Harley, Lane Lederer and Roger Crissinger to record a demo which he then sent to the ESP-Disk label; the company quickly signed the group, and they soon travelled to New York to record their superb 1967 debut One Nation Underground, which went on to sell some 250,000 copies. The explicitly anti-war Balaklava, widely regarded as Pearls Before Swine's finest work, followed in 1968; the group -- by this time essentially comprising Rapp and whoever else was in the studio at the moment -- moved to Reprise for 1969's These Things Too, mounting their first-ever tour in the wake of releasing The Use of Ashes a year later. Read More...", "Kandis was the project name under which the several of the earliest releases on the now huge Cologne-based Karaoke Kalk label appeared. A pseudonym of KK co-owner Jens Massel, Kandis' drowsy ambient electronica is similar to that of the more abstract of Mouse on Mars or the more minimal of Simon 'Freeform' Pyke or the Austrian Mego label.", "This amped-up, speed-crazed gang of pop punks is pretty cagey about who they are, where they came from or where they're going from here. Even the label claims never to have met them in person, and only to have spoken on the phone once or twice. If you're looking for backstory, look elsewhere. There's nothing here to focus on but the music -- which, fortunately, is pretty damned excellent.

The Beautiful Newborn Children's sound is fast-paced garage, sort like Jet with their hair on fire. It's bashed out in unison, with mountains of distortion blasting apart two- and three-chord melodies. 'A Good Dose' opens with a frantic, pogo-vaulting guitar riff, pushed from behind by two- and four-slamming drums. The singer, buried behind a haze of noise, oozes charisma anyway, with that slack motherfucker delivery that's halfway in your pants before you realize it. Stark, stripped-down tracks like 'Paper Mill' bounce along on jagged four-four rhythms, spiraling chaotically into breakdowns before reverting to verse and chorus. Like many bands of their ilk, the Beautiful Newborn Children cram a lot into less than two minutes -- the brief 'Left, Right, Forward' spits out rapid-fire riffs, lyrics and drumbeats like a much longer song stuffed into a tiny closet.

Hey People! is the most elemental kind of rock 'n' roll -- easy to love, but hard to convey in words. Like pornography: I know it when I see it. ", "The paths of Jens Massel and Michael Cramm had already crossed within the Kandis (see Bunny Number 2) project, normally the incarnation of only Massel. The idea of a collaboration between the two rather quickly germinated in their spirits but it was to take another form and another name. That name was Poto & Cabengo. Poto and Cabengo is taken from the names of identical twin sisters (real names Grace and Virginia Kennedy, respectively), who used a secret language of their own invention up to the age of about 8. Poto and Cabengo is also the name of a documentary film about the girls made by Jean-Pierre Gorin and released in 1979. So, does the music of the duet have such a quality? If the music can be perceived like a form of language, that of Poto & Cabengo is not an especially revolutionist. Varying between a folk of antique dealer and tasty electronic old stories the two men remain in the common run of people. That is not to imply that this is bad. On the contrary, the disc is rather good. Without really having really astounding compositions J.Massel and M.Cramm carry out a debut filled with some top notch melodies. This is a disc that only the label as Karaoke Kalk can produce. ", "In the few short years that the Type imprint has existed, it has evolved from flirting dangerously close to the Touch records sensibility enough to almost be seen as derivateive to having found its own unique, prolific voice. representative of the label is the solo output of the label honcho, John Twells, operating here as Xela, with a track from The Dead Sea full-length, in this case, appropriately pressed on gorgeous blood-red vinyl. Read More...", "Sandycoates is the solo project of Greg Moore, one half of Oakland's legendary Moore Brothers. The acoustic duo is well known for their tight harmonies and an eclectic- yet-totally-natural approach to folk pop; Their electrifying live shows impart a raucous zen on even the most drunken and unruly of gatherings. The last couple of years have been pretty busy for Greg, issuing a couple of stellar Moore Brothers records, guesting on several other local releases (including those of Bart Davenport) and collaborating with Olympia's Lois Maffeo on The Owl and the Pussycat, one of Kill Rock Stars' best reviewed albums of 2003.

As Sandycoates, Greg takes his eclecticism to the next level; Regularly playing solo acoustic shows as part of the burgeoning San Francisco/Bay Area folk scene while collaborating with local producers on songs that range widely across the pop spectrum. Like a peek into Greg Moore's record collection, Sandycoates pays homage to 50 years of collected influences, from Baroque Pop to Laptop Dub. Fans of the Moore Brothers will instantly recognize Greg's uncanny pop sensibility and sweet, breathy tenor, but a Sandycoates record brings a whole new context of layered harmonies and studio oriented composition.", "Since their first collaborative album 'Secret Rhythms' (1) came out on Nonplace in 2002, Friedman & Liebezeit have been playing live all over the world, improving their cyclic grooves and creating new ones. The 8 tracks on Secret Rhythms 2 are no overt spectacular high-brow arrangement hellraisers - while being tight and containing a large amount of curious suspense, these Secret Rhythms are playful, open, transparent, sequential, hypnotic even. In this respect, Friedman & Liebezeit lean to the World Music side, without giving in to the temptation of any Jazz instrumentation or even improvisation.

The first two pieces on Secret Rhythms 2 were released in May 2005 on a teaser vinyl 'Out In The Sticks' and appear here in completely new versions. The only vocal track on this album 'The Librarian' is a collaboration with David Sylvian . The song appears in a different version on the album 'Snow Borne Sorrow' of the band Nine Horses, consisting of Sylvian, Steve Jansen and Burnt Friedman on the label Samadhi Sound. Read More...", "johan Skugge has been working with music for 15 years and been active in the field of electronic music during the last five. With the prior Album release under his own name 'Objects and Buildings' (Source) he made himself a name at the Swedish minimal techno scene associated with international renomated swedeish artists such as Andreas Tilliander and Mikael Stavöstrand. Skugge also has an thick list of collaborations with well known characteres in the swedish experimental technno/art/experimental music scene.", "Yet another alias of the prolific Uwe Schmidt (aka Atom Heart...right? ;-) )

", "One half of Pop band Locust, Mark Van Hoen is actually also a critically acclaimed composer with five albums, numerous stage appearances and many visual exhibitions under his belt. Despite the wide range of previous releases this album definitely belongs on the Dance and Ambient page due to its innovative synthesised stand point.The title of the album best describes the contents: Mark plays with the concept of time in every single track. Musically, each tune bears an off-beat element through the way an instrument is mixed or in the way the vocals are layered on top. It's something of an experiment based on the idea that recorded music lives in non-real time and that recorded music cannot be reproduced live. Consequently tracks appear to skip in places, samples of old works are reintroduced and tempos just wander all over the place. Playing With Time also offers variations on an eclectic musical basis, borrowing from techno, peaceful far-Eastern music and trashy industrial sounds which culminate in an open, contemplative space in the final track 'Love Is All'. The whole thing sounds extremely arty-farty but the sound scape is so deep and diverse that it's accessible to anybody into laidback beats and soothing, beautiful noise.", "'Hopeness' is Hiorthøy's first all new material since his contribution to the amazing 'Pro Bono Publico' album back in 2002. This five track, thirty minute EP finds Kim flexing his bittersweet muscle with engrossing, lilting melodies recorded with that all encompassing hi-fidelity lo-fi attitude that typified his classic album 'Hei'. 'Mandarinerna' start's off with it's clattering backwards drums, electric piano sounds, childlike voices and optimistic aura - wondrous. 'Soliga Dagens Släppiga Trosor' adds a looping acoustic bassline over freestyle static clicks and pops just like Jan Jelinek's loopy jazz sampling with a broad grin on his mug plus at the end a bugged out drum maniac gets busy rounding out another killer track. 'Alt Mäste Blu Anorlunda' is a mini-gem of melodic ambience before the 11 min 'You Know The Scorfe' drops. Imagine broken beat meeting funky alpine folk and your halfway to describing this track - dope cuts it straight to the chase. Last up is 'Ek, Bok, Tistel, Äpple' a simple gorgeous piano solo, plus the lo-fi'esque recording technique throughout brings to mind the unique stylings of Rhythm & Sound or Vincent Gallo.", "Near the Parenthesis is Tim Arndt, a San Francisco based electronic musician. While playing piano and guitar in several bands through the years, Tim has continually been grounded in electronic and experimental music. His current approach focuses on full compositions, gentle and restrained, yet deeply layered and evolving. Passages never stray too far major or minor, centering themselves in between, and grow unexpectedly from simple rhythms and chords to swirling combinations of sound intensified with dissonance before resolving itself and quietly exiting.", "Gregg Diamond was a pianist, drummer, songwriter, and producer who was active in the jazz and disco music scenes of the 1970s. Diamond wrote the song 'Hot Butterfly,' which was released in 1978 under one of his group's names, Bionic Boogie, with Luther Vandross providing lead vocals. His other popular songs included 'Risky Changes' (released by Bionic Boogie in 1977), 'Dance Little Dreamer','Cream (Always Rises to the Top)', 'Starcruisin'', 'Fancy Dancer', and 'Tiger, Tiger (Feel Good For a While)'.

Diamond's association with Vandross came off the success of David Bowie's 'Young Americans' album, which both Luther and Gregg's brother Godfrey—his full time engineer—contributed to. He also produced a breakout album for TK recording artist George McCrae, scoring a massive club hit with 'Love In Motion', which Diamond produced and wrote. His biggest commercial success was as writer and producer of the single 'More More More' recorded by the The Andrea True Connection in 1975.", "The Ebony Moods sang in an archaic 1940s style that wasn't going to sell at this date, despite its gorgeousness. The group was a female-led male ensemble, and both sides were written by one Louise Baker, who may have been the lead singer.

The Ebony Moods consisted of a female lead singer (alto instead of soprano this time around) and two male vocalists. This however, was a much hipper ensemble than most, and the musical backing is superior, as we might expect with Earl Washington at the helm. 'I've Got News for You' features an excellent jazz guitar solo (as yet unidentified). The flip 'Grand, Nice, Swell' sounds too close to ''SWonderful' for comfort, but the mambofication is interesting. Earl Washington supplies the mambo piano solo, the guitarist gets a second outing, and a Latin percussionist is added.

The record got a belated but generous review in Billboard in October of 1955. Regarding 'I've Got News for You' (which got a 73 rating), the Billboard reviewer said 'mixed group does a relaxed appealing performance. Gal Singer, who carries the lead, has quality.' On the flip (which got a 72 rating), the reviewer said, 'has a lilt and a Latin beat. Pleasant chanting.'

Judging from the matrix numbers (which indicated that the records were mastered and pressed by RCA Victor--maybe also recorded at the RCA Victor Studios on Navy Pier--while the 'F' prefix marks 1955), the accompaniment on both sessions was by the brothers Washington. Despite the favorable trade press, the record probably languished in boxes at the distributor.", "Does this really need any editorial from me?", "While Ultravox formed originally in 1973, it wasn't until this album hit the States in 1982 that Ultravox became a hip-pocket essential for fans of opunk and early techno-pop alike. Reap the Wild Wind became an anthem in those days...and a classic now.

Ultravox in 1979:
", "Tragedy was a hit song in 1959 for Thomas Wayne and the DeLons. It rose to #5 on The Billboard top 100. The music and lyrics were written by Gerald H. Nelson and Fred B. Burch. It was re-released by the Fleetwoods in 1961, and rose to #10. Brian Hyland also released it in 1969, but it only made it to #56. Wayne's hit was released on Fernwood Records in Memphis, Tennesee, which was owned by Ronald 'Slim' Wallace 1957-1965. While this is the most popular version, it is not the original version. First recorded by the escorts in 1958, its cover hierarchy is as follows: Thomas Wayne & The Delons (1959), Brenda Lee (1961), The Fleetwoods (April 1961), Brian Hyland (1969), Bette Midler (1976), Danny Gatton (April 27, 1993), Jerry Garcia (April 20, 2004).", "This record is probably most famous for being the namesake of the famous New York City radio station, which first came to prominence in the mid 70s as New York's premiere hard rock station. WPLJ-FM 95.5 New York.

Sharing the Rovers' 'Ichi-Bon Tami Dachi' session in late '54 was a quartet from the Salinas, CA area called the 4 Deuces, who like-wise enjoyed popular success but received no money. Of the two songs the 4 Deuces recorded that day, Dobard only released one: 'W-P-L-J', a paean to white port mixed with lemon juice. The record sold very well, probably several hundred thousand copies at least, and the Italian Swiss Colony wine company - which offered a yellow vinyl copy of 'W-P-L-J', free with every bottle of white port - rerecorded the song as an advertising jingle. But as one group member, Luther McDaniels, later put it, 'My name was on (that song) with Dobard's, but he had registered it in his own name...I didn't get a cent from 'W-P-L-J.' Read More...", "One of the greatest guitarists, (18 April 1918 – 9 August 2004) released dozens of solo albums and worked extensively with Frank Sinatra and Perry Como. He as well has orchestrated albums for Burl Ives. He also played with Doc Severinsen's Orchestra on The Tonight Show and composed music for the films Running on Empty and Violated as well as the 1950s television series Danger, which starred Yul Brynner.

Appropriately at home on the Command label, this is vintage 1965.", "Justine Washington, 13 November 1940, Bamberg, South Carolina, USA. Washington's (aka Jeanette Washington) tremendously moving voice, earthy but sophisticated, perfectly epitomized uptown soul. Yet unlike her southern counterparts she has never experienced great crossover recognition, although once cited by Dusty Springfield as her all-time favourite singer. Washington was raised in Harlem, singing first in a vocal group, the Hearts, in 1956, and 'Lonely Nights', the Hearts hit, will be in a future edition of Moonlight Radio. She became a solo artist the following year and built a career with 16 chart entries during a decade and a half, most of them during the 60s, recording in New York first for Donald Shaw's Neptune label and then for Juggy Murray's Sue label. Read More...", "Breaking glass, falling pipes, and bouncing ball bearings recall the rhythms used by such notables as German industrial band, Einstruzende Neubauten, and San Francisco performance artist and musician Z'ev. But BREATHER surrounds these rhythms with an almost Eno-esque synth sounds and calm vocals to create a more subtle, emotion laden product.

BREATHER was an experimental group with strong leanings towards performance art. Having existed in an embryonic stage for over three years, BREATHER came to life early in 1984, releasing their 'Loves and Disloves' album and reaping very positive responses from both college radio stations and progressive media. BREATHER consists of Robert Bolman aka Bliss Blast, Thom Iwatsubo, and Linda Lamme.

Loves and Disloves was highly overlooked in its day, and now seems to be garnering a fair amount of chatter in collectible circles... ", "21 thefatrooster", "22 hungryhippo1970", "Illusion of Safety is the longterm project of founding member Dan Burke. Burke has been experimenting with sound since 1981 following, and inspired by seeing, the final two performances by Throbbing Gristle. The original formation of IOS began in 1983 when Burke began working with the avant-rock group Dot Dot Dot. This incarnation of the group was based on free form improvisation. It was Burke's first musical collaboration with others, and for the other members it was a release from conventional musical structures, venturing into noise and textural atmospheres. Click for more text and images. ", "The Sensationnel cassette-magazine series was a much lauded publication produced by the French label Illusion Production, home of the band DDAA. They were issued in very limited quantities, and are priceless. I've just got the one edition, Issue number 2, and it is a wonderful collection of the European underground of the time, circa 1982. There were five issues in the series, each with spoecially designed packaging and of very limited quatity. The track presented here is from a performer known as Lady June, where she tells an allegorical story of meeting a talking turd and all of the hazards that go along with that. The tape itself is somewhat in poor repair and tends to drag against the motors of any cassette player it is inserted into, but I managed to get a reasonable play through for you. Click for more images...

", "Nam June Paik is a Korean artist most famous for his late-1960s sculptures involving altered television sets and magnetically distorted images presented upon them. Nam June Paik participated in the Neo-Dada art movement, known as Fluxus, which was inspired by the composer John Cage, and his use of everyday sounds and noises in his music. He made his big debut at an exhibition known as Exposition of Music-Electronic Television in which he scattered televisions everywhere, and used magnets to alter or disort their images.

In 1964, Paik moved to New York, and began working with classical cellist Charlotte Moorman, to combine his video, music, and performance. In the work TV Cello, the pair stacked televisions on top one another, so that they formed the shape of an actual cello. When Moorman drew her bow across the 'cello,' images of both her playing, and images of other cellists playing appeared on the screens. In 1965, Sony introduced the Portapak. With this, Paik could both move and record things, for it was the first portable video and audio recorder. From there, Paik became an international celebrity, known for his creative and entertaining works.

Paik also has a body of recorded work, and here is an excerpt from on eof his very long selections. This collection spans two decades of his recorded work.", "The Reverend Franklin was no doubt one of the most influential, charismatic leaders in the City of Detroit. He's probably best known as Aretha Franklin's father, but in his lifetime recorded 76 albums of gospel songs and sermons of his own. He also helped organize a freedom march to end racial discrimination in downtown Detroit in 1963, with Rev. Dr. Martin Luther King at his side. He died in 1984.

", "Terry Gibbs began his career at the age of 12 after winning the Major Bowes Amateur Hour Contest and subsequently began touring professionally. He spent many years as a drummer and percussionist playing gigs until his affinity for bebop motivated him to turn down a scholarship to Julliard as a timpanist and return to the vibes. Six decades of inspirational vibe playing and technique, Gibbs is recognized as one of the best ever to grace the genre of bop.", "From the heady early 90s, Tournesol's slowed-down funky drum n bass sound was always a splendid late night listen, and as such, was featured as the opening theme to my radio program for several years. Here it is again. The image at left does not justify the cover, gorgeously designed by the now huge Designers Republic, with a translucent silver metallic overprint. Genius.", "The first compilation released by Segment features experimental, minimal and ambient tracks, beeps & clicks electro, as well as more traditional, melodically enriched IDM domain, exposing nine projects from Eastern/Western Europe and the United States. The CD is a varied collection of ethereal moods, deeply drilling grooves, electronic murmurs and clicking percussion. This track of off-kilter, fractured work is from NY based musician Alec Treecity. ", "The alias of highly regarded English singer/songwriter Pete Astor and a small group of close associates, The Wisdom Of The Harry were formed in 1997. Initially an outlet for Mr. Astor’s burgeoning skills with the Atari console, 8-track tape recorder and junkshop sounds from long forgotten easy listening LPs, the band allied these elements with Astor’s flair for the perennial Velvet Underground stylings gleaned as leader of Creation Record’s pioneers The Loft and The Weather Prophets. This potent new hybrid was soon attracting the buzz of critical approval - for many, it seemed, the directness of song and the alien murmur of electronics were equally alluring and The Wisdom Of Harry had all the angles covered...", "Deriving their name from the metric total of semen ejaculated by the average male, the tongue-in-cheek British art-pop band 10cc comprised an all-star roster of Manchester-based musicians: vocalist/guitarist Graham Gouldman was a former member of the Mockingbirds and the author of hits for the Yardbirds, the Hollies, Herman's Hermits and Jeff Beck; singer/guitarist Eric Stewart was an alum of Wayne Fontana & the Mindbenders; and vocalists/multi-instrumentalists Kevin Godley and Lol Creme were both highly regarded studio players. Formed in 1970, 10cc began as a session unit dubbed Hotlegs; after establishing residence at Stewart's Strawberry Studios, Hotlegs scored a surprise U.K. smash with the single 'Neanderthal Man,' subsequently issuing an LP, Thinks: School Times and touring with the Moody Blues. Read More...", "One of the most obscure and enigmatic records I own. Blistering garage/psych/punk/proto-industrial, apparently the recorded output of a scene in the Richmond VA area from the late 60s through 1978 or so. I've included the entire set of recordings here in two mp3 files, as you'd hear them on each side of the flexi...

Click here for more images, titles and liner notes. The liner notes give an extensive history of the record, so don't miss them!", "Portland (aka Spencer Lytle) is obsessed with his computer and the sounds that it makes. He uses these sounds to write music that expresses his emotions in ways words never could. Love, sadness, anger and everything in between can be heard swimming through his songs meshed intricately with crackles, scrapes, clicks and washes. Portland finally decided to let the world listen in on his conversations with his CPU...

", "Clinical Archives is independent netlabel for eclectic and illogical electronic music. The basic directions : abstract, free improvisation, dark ambient, noise, avantgarde, experimental, industrial, electronica, field recordings, glitch, microsound, montage, psychedelic, soundscape, sound art, spoken word, strange and other forms. There are tons of free full length releases...visit them!

Siegmar Fricke started his first musical experiments in 1981 using tape-recorders and shortwave-radio signals to create collages of musique-concrète that has been recorded on various cassettes. After intense activities in the European tape-scene between 1985 and 1993, where I first became familiar with his work, Siegmar Fricke founded the project Efficient Refineries together with Miguel A. Ruiz from Madrid who is already active in the Spanish electronic scene since the 80s. Further CD-collaborations with the Italian sound-artist Maurizio Bianchi and were realized: 'ENDOKRANIOSIS' (on Tibprod/Norway) and 'STROMA~KONKRET' (on Monochrome Vision/Russia). Together with his fiancee Heike Böhm another CD has been published on the Norwegian label TIBPROD: [A:M:B] 'Chloramphenol'. Read More...", "Of all the fascinating bands to emerge from the twinned label stable of Factory and Crepuscule in the post-punk era, Dutch electro pioneers Minny Pops are probably the least understood, and least lauded. Which is a great pity, since much of their output still impresses today as powerful and original experimental music. The creative anchor to Minny Pops was Wally van Middendorp, a key figure in Amsterdam's underground Ultra art movement, and founder of the Plurex label in early 1978. His first single, as Tits, coupled We're Glad Elvis Is Dead with Daddy Is My Pusher (PLUREX 001), and was a fairly typical new wave record, though darkly humorous. Read More...", "World of Pooh is one of the stops along the way in Babara Manning's extensive recording career. This track was culled from the single included with an issue of the notorious Bananafish magazine, whose theme for that edition was The Carpenters. The included single was a twisted tribute to K&L.

", "Alan Hempsall and Robert Davenport formed Crispy Ambulance in Manchester in 1977, originally as a two-man outfit, adding two further members, Keith Darbyshire and Gary Madeley, to the line-up in the following year. With original influences acknowledged as Magazine and Hawkwind, they co-wrote nearly all of their material and developed a distinctive style that has attracted a modest but international following.

During their original five years together they recorded sessions for local and national radio and released several records on the Aural Assault, Factory and Factory Benelux record labels. They played numerous gigs throughout the UK, both as headline act and as support to better known bands such as Joy Division and Killing Joke, culminating in a two-week tour of Holland, Belgium and Germany with fellow Factory band Section 25 in January, 1982. They disbanded Crispy Ambulance at the end of the same year and went on to pursue other projects, having established a catalogue of three singles and an album. Further material was later released, including a fourth single in 1984, recorded two years' earlier in a Belgian studio during the tour.

In 1999, after an absence of almost seventeen years, they reformed for a 'one-off' gig in Manchester to promote the re-release of two earlier album titles on the LTM record label. Since then they have brought out a live recording of the 1999 reunion gig, a further retrospective album and a brand new studio album of all-new material. Recorded in January 2002 and released on Darla, 'Scissorgun' was promoted by a four-show mini-tour of the USA east coast in November of the same year, marking the band's first ever visit to the States.

In February 2003, Crispy Ambulance returned to the rehearsal room once again to prepare for a return visit to the ICA in London in May (they were last there in 1981) and a second studio album for Darla. Recorded in June, 2003, 'The Powder Blind Dream' was released in April, 2004.", "Everyone Alive Wants Answers is the haunting 2003 debut full-length of work of then-26-year-old Parisienne Cecile Schott. No more tangible thoughts were conjured from the stark jumble of digital mandolins that stumble so meticulously throughout the title track of this album than a walk through a park where you can almost hear eeryone else's thoughts. Colleen has surveyed the landscapes of organic music made digitally and done it more successfully than most, given the immediate grandeur and impact of Everyone Alive Wants Answers. 'Ritournelle' plays like a ballroom dance scene in a Tim Burton movie, all delicate chimes and sweeping strings. This full-length debut is absolutely gorgeous, a warm inviting swirl of ambient symphonics and contemplative interludes. It's an amazing thing to spring this CD on someone when traveling late at night alone through country roads...", "To describe the ten hand-crafted compositions that comprise The Golden Morning Breaks as minimalist psychedelia would be both an oversimplification of the genres and a disservice to the musings Colleen, whose complex combinations of melodic guitar, glockenspiel, keyboards and found sounds recall neither John Cale nor the 13th Floor Elevators. Still, her second album for the Leaf label, bounds forth in both directions with equal aplomb, resulting in a sound that is at turns disturbing, humorous, playful and dreamlike – simultaneously seductive and reductive.

Even a cursory listening to this all-instrumental offering reveals a number of intriguing influences. 'Floating in the Clearest Night' and 'The Happy Sea' share not only a disposition for precious song titles, but also a common musical vernacular with Flying Saucer Attack and the occasional Bardo Pond record. Truly, a number of the songs on The Golden Morning Breaks seem to have been recorded with a barely-melodic vocal track in mind, only to have it removed at the last moment. The absence of lyrics, though, is scarcely a fault, exemplified best by 'I’ll Read You a Story' – seven minutes of fleeting, plucked melodies that unfold and develop just like the title implies.

In contrast to the Bliss-Out tendencies on a number of tracks lies the more-playful, if occasionally less-fulfilling, psychedelic tinge of compositions like 'The Sweet Harmonicon' and 'Mining in the Rain.' Certainly rooted in the same percussive territory as other songs found here, and bearing a marked similarity to recordings by Pipa-ist Min Xiao Fen, these songs sound not as much like self-contained compositions as lost fragments from a Syd Barrett-era Pink Floyd album. Undeniably intriguing, if occasionally precious, Schott’s gift for controlled improvisation makes these songs tenable interludes in an otherwise thoroughly-engaging album. Underscoring this point, perhaps intentionally, is the remarkable 10-minute closing track 'Everything Lay Still,”' which combines playful chimes, droning guitar and keyboards into a single magnificent theme that displays at once both sides of Colleen’s dual nature.", "'It seemed like a dream opportunity to explore further the miniature continent of sound that music boxes in all their variety generate,' says Colleen’s Cécile Schott in response to the carte blanche handed to her by national radio station France Culture’s Atelier De Création Radiophonique to record music for a special broadcast. The commission would have remained just that, but Schott was so pleased with the results she decided to give the nod for the recordings to be released on this 38-minute EP, under a temporarily revised artist name.

No stranger to the use of music boxes in her recordings and live performance, the consciously limited palette yields extraordinary dividends; this is arguably the most intimate and wonderfully melodic release of her career to date. Composed entirely using music boxes (but for one track), the pieces use everything from miniature boxes hidden in 1940s birthday cards to large Victorian boxes. Not content with the orthodox sounds produced by the boxes, Schott hijacked them, playing them with her fingers or with mallets on the comb. She re-sampled and affected pitch and delay in a quest to produce unique sounds and melodies.

Utilizing the natural loop in each box, the different boxes move in and out of time, evoking memories of childhood. This playful nature ebbs and flows throughout the EP like a stream unsure of its chosen path. Sounds reminiscent of harps ('What Is A Componium? Part 2'), xylophones and Fender Rhodes ('Your Heart Is So Loud'), and electronics ('Calypso In A Box') appear and then disappear on the landscape, fooling the listener into believing that the noises emanate from more than one type of instrument.", "On her album 'Les Ondes Silencieuses', Parisienne sonic sculptress Cecille Schott aka Colleen has abandoned the samples and loops which characterised her previous long players, preferring instead to employ natural sounds and tones. But, ever inventive, this approach led to the 26-year-old Parisienne using Baroque instruments such as the viola da gamba and the spinet, a smaller relative of the harpsichord. The end result is a shimmering, evocative collection of homespun, frequently fragile musical moods which showcase Cecille's considerable compositional talents. She also recently scored 'Serie' - the last dance work by the acclaimed French-Swiss choreographer Perrine Valli and has completed a successful UK tour with her label mates Triosk.", "Parisian sound sculptress Colleen's music is more atmospheric than a room full of nervous ghosts. Her liking for 17th Century instruments is obvious and itself fascnating. Whether it's the viola da gamba (a 7-string ancestor of the cello), the spinet (a variation of the harpsichord), the clarinet, crystal glasses, the guitar, or simply a sample, Colleen's creations have always used the lush, mesmeric qualities of a bygone era to evoke the atmospheric gloom of the ethereal music she makes today.

It seems a shame to tarnish the delicate perfection of Colleen's music with words - this is music that needs to be listened to late at night, free of everyday distractions. You'll find yourself entranced by a mesmerising spider's web of sounds that sound like they've been beamed in from another place, another time.

Colleen's simple but effortlessly charming music is an entrancing potion laced with magical details - naïve instrumentals filled with warmth, melody and soul, played on a broken music box, a glockenspiel or a guitar, phasing in and out, on the verge of collapse. Above all, this is wonderfully human. Another girl, another planet.

Be sure to visit Colleen's website.", "Tiny Bradshaw was one of the most prominent bandleaders of the '30s and '40s who led groups of essentially jazz - trained musicians into the developing (and more commercial) field that came to be known as rhythm & blues. A vocalist with other bands early in his career, Bradshaw formed his own band in 1934 and kept it going through the early '50s, enjoying five Billboard hits (and also recording the original 'Train Kept A -Rollin'') with King Records (where he was a labelmate to many of the other leading jump blues performers of the era). Bradshaw's band produced such saxophone stars as Sonny Stitt, Red Prysock, and Sil Austin; among the vocalists to record with the group were Roy Brown, Arthur Prysock, Lonnie Johnson, and Tiny Kennedy. ", "Joseph Smith, aka Sonny Knight, had one ambition: to be an author or a jazzman. Born in Illinois, he moved to Los Angeles with his family in the early 1950s. Intending to pursue an academic career, the urbane Smith was slowly drawn toward the music business which he viewed with a permanent air of bemused detachment.

In 1953, while attending Los Angeles State College, he went to see the Mesner brothers, owners of the thriving R&B interest Aladdin Records, trying to sell a song to his idol Amos Milburn. The Mesners were not interested in his song, but signed Smith as a singer. He was dubbed Sonny Knight (his own play on words) for two releases on Aladdin, the first of which was 'But, Officer' (Aladdin 3207), which was covered for the white market by comedian Steve Allen on Brunswick.
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