Friday, November 02, 2007

You will never be apart | Breyer P-Orridge

"Lady Jaye died suddenly on Tuesday 9th October 2007 at home in Brooklyn, New York from a previously undiagnosed heart condition which is thought to have been connected with her long-term battle with stomach cancer. Lady Jaye collapsed and died in the arms of her heartbroken "other half" Genesis Breyer P-Orridge."
Gen, you are the man I've seen only once and pray for... No more words...

Sunday, June 24, 2007

Palm Coast | Deserved Week

Back to work on Thuersday. Two weeks of vacation passed... passed hardly. Cause this time I spent my annual leave in ruins, reconstructing our kitchen. 24 hours (in sum) spent in IKEA. A day or so – on construction market. And the rest of time – separeted in one room stuffed with kitchenware, used and freshly wrapped, with the door looked from the outside by the deliberate builders. And now it just would be fatal to push me into the office. So, as far as I got my visa (it was approved but I still have no documents in hands) I'm going to prolong my leave - detination - Florida, Palm Coast... Scarcely I will find any SH record stores in there and for sure I will not be able to ripp any of the items bought, if... so, no profit for the bloggers... but at least I'll spend a few days in another dimension.

Tuesday, June 19, 2007

SY | 26 years... and they are still the same

"Yeah, I take my baby down to the corner and I buy him a soda-pop"
Sonic Youth "Washing Machine" ' 1995

Were on their gig yesterday night... "Good to be back here in Moscow" - Thurston Joseph Moore said. They really were here in 1989... 18 years ago... All around 50 years old post-post-post-punks were jumping, loosing their jacks, playing with pedals and amps. I am 27 years old and 44.(4) % of my life I've been waiting for this night. Now it's gone... Do not know what to say.

Monday, June 18, 2007

Chris & Cosey | Yet Incomplete Discography

Sounds like a manifesto "Trust, Obsession, Action". Three more pieces by Chris & Cosey.

Minimal Synth, Avant Pop, Industrial...

Download C+C "Action" | LD Records ' 1987 (63.8 Mb) This is a compilation from various live performances. LP ripp. Also available on CD.
Download C+C "Obsession" | Play It Again Sam ' 1987 (29.1 Mb) Pre-released by Nettwerk as 12" as well, with two tracks cut off: "Obsession (Short Mix)" and "Metroeme".
Download C+C "Trust" | Nettwerk ' 1989 (69 Mb) I own this Canadian LP, but "Trust" was also reissued the same year on SPV Recordings and PIAS. CD versions from PIAS and Nettwerk are also available.
(All sleeves are embeded, you can see these in iTunes artwork section).

• No reason to retype all sleeves info you can easily find some on Discogs.

PS. As for this post and for the previous one containing C+C the pics had been taken from Chris Carter's stream on Flickr.

Tuesday, June 12, 2007

Even Dwarfs Sarted Small | Auch Zwerge haben klein Angefangen

Sleepless for 24 hours by now. Accidentely hit on a clip from Werner Herzog's "Auch Zwerge haben klein Angefangen" ("Even Dwarfs Sarted Small") ' 1969. Lay this out together with work of one of my favorite photogrpaphers Roger Ballen. The image above is a piece from "Shadow Chamber" series I've once managed to pull into "a" magazine although it's too bizzare to be printed in non-art-observing periodical. One cigarette and go to bed.

Tuesday, June 05, 2007

Bring Philip | Major Record Company Records

One more thing from Shanghai. I promised myself not to re-upload gemms I'd downloaded from any other site and before this upload I'd kept my promise. But this EP sounds so similar to the previous post subject and was in such a heavy rotation duiring our stay in China that I think... I'll Bring Philip "Endoscopy" ' 1983. Previously posted by Mutant Sounds and described in full caliber by Vdoandsound.
"This early 80's Aussie outfit specialized in colorful, high strung and art damaged new wave of an immediately gripping sort, with a highly studio crafted sound featuring lots of startling stereo imaging (the sort of thing that a certain crowd likes to refer to as "zolo"), but also featuring, it must be said, a strong akin to Nothing To Fear-era Oingo Boingo, right down to the highly Elfman-esque vocalese. If thats a sphincter clenching prospect for you, avert your ears, though it's a fully happy proposition in these quarters..."
(The sleeves are not embeded as you easily can have a look at these on MS... on the same reason there is no sleeve info in the post but MS has taken the close up of the envelope, so the info is also available there in jpeg format).

A maximal synth record (as well). Damaged new wave. The Gender Solution Dance.

Download Bring Philip "Endoscopy" (34.7 Mb)

Friday, June 01, 2007

Gary Allen | 19NINETY9

No uptades for a while... We (me and my wife) have travelled to Shanghai. Now we are back with a whole bunch of impressions these are slightly vapouring from day to day - work, ordinary needs, unusual heat (yesterday it was 43 degrees centigrade here in Moscow) help to make these transparent faster. So, in attempt to "keep it real" I post the Shanghai OST... no playlist, no miscellaneous assemblage of pop masterpieces of all the times - just an EP that had pierced through my head in it's "stereo" manner during our stay in China. A while ago Vdoandsound (Eric Lumbleau) wrote on Mutant Sounds: "Damaged electropop-into-mutant-funk curiosity, sounding not remotely like anything else I've ever heard." Same shit here, Eric...
Gary Allen "In White America" (This Hollow Valley Broken Jaw of Our Lost Kindom), 12''. Released on 19NINETY9 Records in 1982.
(The sleeves are not embeded, as I do not possess this release at the moment but you easily can have a look at it on MS... on the same reason there is no sleeve info in the post but MS has taken the close up of the envelope, so the info is also available there in jpeg format).

A minimal synth record? No fucking way, this is a maximal synth record. Overflowing sound pastry. An obscure pop masterpiece... "He lost control again".

Download Gary Allen's "In White America" (This Hollow Valley Broken Jaw of Our Lost Kindom) (26.5 Mb)

PS. Just wanted to ask if anyone hit on this page has got any other Allen releases, be so kind to share. Thanks.

Sunday, April 29, 2007

Chris & Cosey | Incomplete Discography

Genesis P-Orridge: “As to the Cosey being with Chris situation beinganything to do with TG splitting up. Absolutely not. Cosey and Chris had been sleeping together since we all met. Often in the bed with me. Yes I was very heartbroken initially to see her leave. But mainly because she felt compelled to do it secretly, behind my back, not in a mature, open way. The deception made me distraught. By 1981 I was married and very happy with everything except TG." ' Taken from the footnotes to "PostPunk 1978-1984" by Simon Reynolds.

From the very begining... Chris & Cosey

Minimal Synth, Avant Pop, Industrial...

Download C+C "Heartbeat" | Rough Trade ' 1981 (78.6 Mb)
Download C+C "Trance" | Rough Trade ' 1982 (46 Mb)
Download C+C "Songs Of Love & Lust" | Rough Trade ' 1984 (76.7 Mb)
Download C+C "Technø Primitiv" | Rough Trade ' 1985 (86 Mb)
Download C+C "Take Five" | Nettwerk ' 1987 (68.1 Mb) I own this Canadian LP, but "Take Five" was also reissued on LD Records (a defunct sublabel of PIAS) in 1987.
Download C+C "Rise" | Nettwerk ' 1989 (37.9 Mb) Again, one from my collection is Canadian but actually the release was twice repulished - by SPV Recordings and PIAS, both dated 1989.
(All sleeves are embeded, you can see these in iTunes artwork section).

• No reason to retype all sleeves info you can easily find some on Discogs.

Wednesday, April 18, 2007

XTC "3D EP" | Virgin

First of all, this child above is completely OK... For wonderers, there is the whole story at end of the post.

"3D EP" was the band's vinyl debut. It was released on October 7, 1977 on Virgin Records. It was 12" single and was initially proposed with a 7" single (known as the 3D Single). However instead of issuing both Virgin recalled the 7" at the very last minute (however a few singles did escape). The singles that do exist have been known to fetch upwards of $1,000. ' Taken from Wikipedia.
In three songs the sound of XTC is firmly established. “Science Friction” promotes equally the skills of all the band members. Andy attacks his guitar to produce the most jagged mixture of ska and chord riffs anywhere west of early Gang Of Four. Terry maintains a steady fast pop dance beat, intentionally not interacting with Andy’s ska guitar pulls. Colin plays bouncy and creative bass guitar while Barry creates a twisted-carnival fun-house atmosphere with his farfisa organ. The stop & go rhythms defy you to dance and then make you spastically trip over yourself when you do. Mostly there’s Andy’s voice - puns and wit delivered in a voice that prefers to stutter and hiccup the words. If you listen to just Andy Partridge on the first few albums you’ll hear the most under-rated singer/guitarist in the history of new wave. His playing is jagged, intense, pissed and often discordant with the rest of the song, while his voice is an acrobatic marvel. “She’s So Square” is a more straight-forward pop song while “Dance Band” represents the other side of early XTC - slow, robotic dance anthems for manipulated and alienated youth (a theme expressed often in early new wave). ' Taken from Old Punks.

• The sleeve info:
1977 Virgin Records
Andy Partridge - Guitar, Vocals
Colin Moulding - Bass, Vocals
Terry Chambers - Drums, metal door of microphone cupboard, filing cabinet
Barry Andrews - Keyboards, Vocals
Produced and engineered by John Leckie
Tapes 'worked' by Haydn Bendall
Vans and Smooth Talk Steve 'Fullblast' Warren, Jeff 'money' Fitches
Recorded and mixed at EMI Studios, Abbey Road, London NW8
Printed in England by Robor Limited
(All sleeves are usually embeded, you can see these in iTunes artwork section).

Bizarro pop, early new wave.

Download XTC "3D EP" (18 Mb)

PS. "Pic story". Serching for some pic based on any correspods to that 12'' name or sleeve design to illustrate this post I've hit on that photo of Laura from Portland, Oregon. Here is the story: "I really envied my friends with freckles. So one fine day I got a brown felt-tip marker and gave myself freckles. It did not work very well". The corresponds are dubious - felt-tip markers were also used on 3D LP cover and here is E.T. printed on the T-shirt, well, that's almost "EP"=)...

Saturday, April 14, 2007

Siglo XX "View of the Weird" | PIAS

"Twentieth Century" is a literal translation of "Siglo XX" from Spanish. But "Siglo Iks Iks" or "Siglo Veinte" also terms an anarchist movement during the Spanish civil war...
Siglo XX was a tin mine in Bolivia. Along with the Catavi mine, it was part of a mining complex in the area. The mine was nationalized following the "Bolivian National Revolution" of 1952, when the Revolutionary Nationalist Movement and its allies overthrew the military junta. Siglo XX and other mines were placed under the control of a new state agency, the Corporación Minera de Bolivia. On June 24, 1967, government troops and a new military junta marched on the mine and committed the largest massacre of workers in Bolivian history. In 1987, as part of an economic restructuring deal with the International Monetary Fund and World Bank, the government shut down production at Siglo XX.
Well, what the hell was this historical excursus done for?..
The band members were from Genk, a depressed industrial city located in the Belgian province of Limburg. A peaceful village with a population of 2,000 by the begining of the twentieth century and the biggest city in Limburg, peaking to a population of 70 000 by the middle of the twentieth century, after a large quantity of coal was found there in 1901. In 1966 the coal pit of Zwartberg closed down and... by the end of the 1980s, the two remaining coal mines of Winterslag and Waterschei were also closed. 70 000 of unoccupied, beside these who managed to employ the Ford Motor Company factory... a painful present of poverty.
See the link?..

As Siglo XX, Antonio Palermo, Dirk Chauvaux, Erik Dries and Klaas Hoogerwaard started with their release of a single without a record company "The naked and the death" in 1980. The gloomy dark-new-wave sound of that 7" the group were to repeat all through the eighties. A sound that - much to their disgust - has been described by the critics as "cold wave".
"View Of The Weird" is a 12'' EP (EP, I suppose), recorded and released 1987 on Play It Again Sam (PIAS). For tracking down, here is the quick access discography.

• The sleeve info:
"View Of The Weird" Produced by Luc Tijtgat and Siglo XX
"Silent Crowd" Produced by Ludo Camberlin and Siglo XX
All songs and instruments by Siglo XX
Coverdesign by Tone Loenders
(All sleeves are usually embeded, you can see these in iTunes artwork section).

So called "cold wave".

Download Siglo XX "View of the Weird" (20.5 Mb)

Wednesday, April 11, 2007

Au Pairs | Kamera Records

The Au Pairs formed in Birmingham in 1979, part of what became known as the "second wave" of punk, or simply "post-punk". The Au Pairs was fronted by Lesley Woods (on vocals and guitar (who was at the time one of only a handful of "out" lesbians in the whole punk music scene). The other members included guitarist Paul Foad, bassist Jane Munro and drummer Pete Hammond.
The Au Pairs were able to use their mixed line-up to highlight gender clash in their songs, with lyrics celebrating female sexuality and power stuggles between the sexes in relationships; they also took obligatory swipes at the conservative political climate sweeping England after Margaret Thatcher was elected Prime Minister. The group released two studio albums, "Playing with a Different Sex" in 1981 and "Sense and Sensuality" in 1982. Interestingly, after their bootleg "Equal But Different" was released in 1983, an official version of the same concert was released as the LP "Live in Berlin" (with two less songs than on bootleg, however... but I've got that one - give it a comment and I know there is someone to upload it for). Their last release was the BBC Sessions, also released in 1983. The group disbanded later that year. In the late 1980's Lesley formed a band called The Darlings with Ellyot Dragon and Debbie Smith (of Curve, Echobelly and Snowpony), who later went on to form Sister George. But then left the music industry. She now works as a lawyer. Guitarist, Paul Foad remains an active musician, playing and teaching guitar in and around Birmingham. Bass player Jane Munro works as an alternative therapist in Birmingham. Pete Hammond also remains an active musician and teaches percussion in Birmingham.

So, "Sense and Sensuality" released by Kamera Records in 1982 is their second and actually the last album. Characteristics: Munro's heavy and prominent bass lines accented by two choppy guitars, "mid-hi" new wav-ish drums. "Sense and Sensuality" songs counstructions are so brittle and dissonant, the atonal bass and guitars are trying to shake the melodic grid holding it still at the same time. The album is a solid piece, 10 tracks, absolutely different melodically, but all the ingredient listed above draw the LP scheme so precisely that in case you like a track, you'll like the whole piece.
In case you would like to track down this release, there are still several items used on ebay (not that rare actually), but "Sense And Sensuality" was twice reissued on CD, first on RMP Records in 1993 and then on Castle Communications (a subsidiary of Sanctuary Records) in 2002 (remixed and digitally remastered from the original master tapes).

• The sleeve info:
KAM 010
Lesley Woods - guitar, vocal
Jane Munro - bass
Paul Foad - guitar, vocal, cello
Pete Hammond - drums
Plus: Chris Lee - trumpet, Olly Moore - sax, Keith Knowles - synthesizers, John Suddick - synthesizers, Milt Hampton - vibraphone.
Cut by John Dent (Sound Clinic)
Recorded at Jacobs Studios
April-June 1982
Engineered by Terry Barham and Ken Thomas
Produced by Au Pairs and Martin Culverwell
Published by Ideal Home Noise
Sleeve adapted by Martin Culverwell from a design by El Lissitzky
Artwork by Citizen Bank
Printed by Centre Print
Distributed by Stage One.
(All sleeves are usually embeded, you can see these in iTunes artwork section).

A well-known resouce, I suppose, but... take a look at them young and furious at New wave photos.

Post-punk or new wave, whatever - true masterpiece.

Download Au Pairs "Sense And Sensuality" (60.2 Mb)

Friday, March 30, 2007

Martha and the Muffins | Dinsong (Virgin)

Here is Martha and the Muffins – a new wave band out of Toronto that got started in 1977 and "Metro Music" - their debute LP dated 1980.
In fact, there were actually two Marthas in the group: Martha Ladly (vocals) and Martha Johnson (vocals and keyboards), who was later one half of the duo M+M.
Mark Gane: "In May of 1977 as a young visual artist/experimental musician, I was invited by fellow Ontario College of Art student David Millar to start a band with him. The punk/new wave scene had been going for a few years and its ironic and distainful stance against the blandness of 1970's mainstream culture was immediately appealing. Suddenly, everyone around seemed to be starting a band or was in one already."... cut... "We were signed to Dindisc/Virgin Records in London and by the summer of 1979 we were recording our first album, "Metro Music", at The Manor, just outside of Oxford, England" – as told by Martha... cut... "Unfortunately, as with many young groups, the pressures of success and fame brought on differences of opinion, personality clashes and ultimately the erosion of band unity. It was very difficult for those six people to weather the changes that came with the success in 1980 of Metro Music" and the world-wide top ten hit "Echo Beach". Here the history of Martha and the Muffins ends and the M+M's one starts...

PS. From "Today's Parent" (June/July) – review by John Hoffman: "What happens to pop stars when they have kids? Some, like Martha Johnson, try their hand at children's music. Many have taken this shot, and most miss the mark- Not Johnson. She and partner (family as well as musical) Mark Gane were collaborators in Martha and the Muffins (subsequently known as M+M), a Canadian group that enjoyed some international success in the '80s. Songs from the Treehouse, her first album for children, is pretty much what you might expect from the folks who brought us Echo Beach. The music is simple and melodic with a clean, modern sound that, fortunately, resists the temptation to overindulge in technology, even though it's synth-based. One highlight is My Little Sister, a catchy little a cappella tune about learning to talk, made all the more appealing by the recorded babblings of Johnson's daughter Eve. Overall, it's a fresh new sound in children's music, and that's quite an accomplishment these days in a genre where few stones have been left unturned".=)

Here are some links all these citations has been taken from: Wikipedia on Martha and the Muffins, Women of 1970's Punk, A site dedicated to the musical artistry of Mark Gane and Martha Johnson OKA (once known as) Martha and the Muffins AKA M+M, Russian web page on Martha and the Muffin – fuck, is that what I see?

• The sleeve info:
Carl Finkle – bass
Mark Gane – guitar, synthi A
Tim Gane – drums
Andy Haas – sax
Martha Johnson – vocals, keyboards
Martha Ladly – vocals, keyboards, trombone.

Produced by Mike Howlett
Sequencer on "Terminal Twilight" - Mike Howlett
Engeneered by Richard Manwarning
Assistant Engeneer - Lawrence Diana (ADVISION)
Tape op. - Paul Menpes
Recorded at The Manor, August 1979
Mixed at The Manor and ADVISION, London
1980 Dindisc, Dinsong Limited.

Sleeve based on map 30M/11 of the National Topographic System with kind permission of DEPARTMENT OF ENERGY, MINES AND RESOUCES, OTTAWA, CANADA. (All sleeves are usually embeded, you can see these in iTunes artwork section).

Canadian Musician 81: "The English used to call them pop. Now they don't know what to call them. We just call them Martha and the Muffins". Absolutely new wav-ish piece.

Download Martha and the Muffins "Metro Music" (63.9 Mb)

Friday, March 23, 2007

Kevin Dunn and the Regiment of Women | Armageddon Records

Third – I still count gems of mine. And the first LP I bought... Kevin Dunn and the Regiment of Women "The Judgement of Paris", Armageddon Records 1981, Atanta. Of course, I thought it was Kevin Drumm... was in such a nervous tremor, visiting the vintage LP store near by for the first time=). Thanks God, it was Dunn... First a Fan, then sole leader (and member) of a Regiment of Women.
"The Judgement of Paris" is a striking modern-music pop album by this onetime member of Atlanta's great pioneering independent band, the Fans. In reality a solo album, with lots of synths and guitars, Dunn mixes technical flash with semi-demented musical ideas, camouflaging nutty lyrics in engaging melodies and closing out the proceedings with an instrumental "Somewhere Over the Rainbow," complete with devolving rhythms." [Ira Robbins, whoever she is.]
What's so special about this release: the number of rythmic and melodical changes per time unit, the density of musical ideas for such a monotonic and moodish direction as new wave. These adroit pop tunes are made of absolutely "non-pop" stuff... it's amaizing. For exqmple, the A-Side "Creep" is so "dense", "CPM" enough and to spare, the "non-pop" effected guitar solo is absolutely unique... Listen to the drum machines – "nonconvetional" would not be exact enough. It's TR606... I think... or TR 808... programmed so uncommon, fast and almost falling out of step...well, it can take time to compose a full description, but there is no sence. Sometimes you got to just let the record speak for itself.
Get this gem, dig for more on Dunn... buy this LP if you can, write him a message on "His"Space...
Just wanted to mention, for further search... a great resource, one page only, on Atlanta area new wave bands.
If onyone has any other releases from Dunn's RW or Fans ripped or has been in time with downloading "Nadine" (his first solo 12'' containing a cover of the Chuck Berry classic and a song about the Soviet era underground comic character Oktyabrina) from CRUD CRUD, please, let me know.
• The sleeve info:
ARM3 Kevin Dunn and the Regiment of Women "The Judgement of Paris" (12")
Kevin Dunn and the Regiment of Women are: Kevin Dunn, Debbie Heidel, Lenore Thompson, Terry Coburn
Produced by Kevin Dunn except Tootsie 1produced by Bruce Baxter and Kevin Dunn
Engineered by Bruce Baxter/Recorded at Channel One, atlanta, 3.12.80 to 13.3.81
Executive Production: Danny Beard
Cover by Sean Bourne
Thanks to: Alfredo Villar for consultation on bass and backing vocal arrangements; Clark Musical Instrument Co. for sundry essential assists; etc., etc....

Once again, absolutely new wav-ish piece... unusual up to the limit.

Download Kevin Dunn and the Regiment of Women "The Judgement of Paris" (63.9 Mb)

The Sensational Creed | Beggars Banquet

The Sensational Creed is kinda band-phantom for me... absolute info absence. I mailed to Mutant Sounds and left comments on several blogs more in attemp to get any info that would be somewhat more than just niggardly cat description. Well, anyway, The Sensational Creed "Nocturnal Operations" is a masterpiece... and nevertheless I cannot inform you in a worthy manner, this LP is the one I would like to share more than any. Beggars Banquet is an English independent record label that began as a chain of record shops owned by Martin Mills and Nick Austin. In 1977, spurred by the prevailing DIY aesthetics of the British punk rock movement (then at the height of its popularity), they decided to join the fray as an independent label and release records under the Beggars Banquet imprint. Two daughter labels, Situation Two and 4AD Records, were launched to release artists like The Pixies, Cocteau Twins and others. Situation Two was the label to press the first The Sensational Creed 7'' under the same name three years later their 12'' "Nocturnal Operations" was pressed on Beggars Banquet. This ripp was done from the 1984 BEG 12''.
• The sleeve info:
BEG 125 T Sensational Creed "Nocturnal Operations" (12")
All titles written by Sensational Creed
"Nocturnal Operations": Christine Beveridge* – Voice; Steve Reid – Voice, Instruments; Mixed and Produced by M. Hedges, B. MacKenzie and S. Reid
"Down Pericomoscopes": S. Reid – Voice, Instruments; S. Mason – Synthesisers; B. MacKenzie – Tubular Bells; Mixed and Produced by M. Hedges, B. MacKenzie and S. Reid
"The Voyage of the Titanic": S. Reid – Instruments; Howard Hughes – Grand Piano, Emulator; Jamie McCormack – Euphonium; Mixed and Produced by S. Reid
* Christine Beveridge, Billy MacKenzie's friend from Dundee, Scotland. Christine and Billy were old friends. They met in The Crypt, Billy's clothes shop in Dundee, where Christine was a "regular costumer". Later, she had moved in London with Steve Reid, and that's where she met Billy again in 1981. According to the Glamour Chase (Maverick Life of Billy MacKenzie (Paperback)) biography, she moaned about being forced to sing in that breathy style by Billy.
Any additional info would be appreciated. No sleeve attached, sorry... problems with a scanner (I do not paste the covers into the post body but these should be embedded and seen in iTunes as "Artwork"... not this time*).
*Upadated, now with the front and back of the sleeve scans embeded.

"So, brilliant, but obviously too strange for that time, to be a hit"... tricky avant-pop with, shaking vocals by Reid, breathy one from Beveridge... really twisted bass lines are the well produced supplement for the simple drum lines structure... new wave masterpiece... it's outstanding.

Download The Sensational Creed "Nocturnal Operations" (29.8 Mb)

Sunday, March 18, 2007

Tuning Shrines | Temple Records

As my survey of the wast "hauntology" array here comes the first (awaited and thoroughly prepared...) ripp from the orginal UK print dated 1984. Temple Records curated by Genesis P-Orridge and the T.O.P.Y (World Network System) are the units to thank for that homogenic piece (and my Maranz 6300+Logic Express as well=)).
• The sleeve info:
TOPY 007 Turning Shrines "Face Of Another" (12")
All titles written by TURNING SHRINES
Produced by FRED (*) for Temple Records 1984
Recorded at EUPHORIA, Boston, USA
Mastered by Steve Angel at UTOPIA, UK
Collage by ASAKO
Editor in Chief: Genesis P-Orridge
* Fred Giannelli - a member of the band. As far as I see, he was a drum programmer, sound engeneer - and this massive reverbs is a result of his FX presets=). "Fred has been producing some of the finest techno and minimal tracks as the Kooky Scientist, as well as his working with Richie Hawtin and Dan Bell on the Spawn project for Plus 8 after his early recordings with The Turning Shrines and his work on the new PTV albums". You can read irrefragable (more or less) interview with Giannelli here.
Sorry, but there is no file on two other members of the Turning Shrines: Asako and Neal... no surnames on the envelope, no any scarps on Google... anyone can help?

Strongly reverbrated guitar noises and slides, deep and muted bass lines, drum machines simple "newwavish" patterns – a minimal synth piece curated by Gen P.

Download Turning Shrines "Face of Another" (31.7 Mb)

Saturday, February 24, 2007


"Robespierre's Velvet Basement", "Roping Wild Bears", "Vibing Up The Senile Man", etc. Listed are the strange letters in double commas from the "senile" LP sleeves I've found in the basement of the near by building. There is a small room... or a big one... difficult to estimate the space cause the space is stuffed with 100 000 LPs – pasteboard boxes jauntily marked as... "POST POST", for example... dusty secondhand with 7.64 USD for the new wave "no-name" and up to 76.4 USD for an item from Woebot list.
Being inspired by Mutant Sounds music sharing activity (and depressed a bit at the same time... however it's the subject for the separate discussion) I've decided to share a piece of content bought lately in this small store in the middle of nowhere. Although I am too busy at the moment (no time to update my "four-days" podcast), I will try to place several gems as soon as I can... look for updates...

Wednesday, January 31, 2007

Vert | Update

In November I reviewed Vert's "Some Beans and an Octopus". Finishing and pushig "PUBLISH" I left the line "In awiting mode for the Adam's playlist..." leaving the post in "to be continued" mode. It' s February. And I've got an e-mail from Adam.

Subject: Re:
Sorry that it's taken so long, I've got problems with my elbows at the moment, too much computing and piano playing, so I can't really type any more.
Anyway, here's a list of my top five track from last year which I compiled for a radio station here in Cologne:
• Klaxons, "Gravity's rainbow"
• Spank Rock, "Rick Rubin"
• Tom Ze, "Ave Dor Maria"
• TV on the Radio, " Wolf like me"
• Tom Waits, "Lucinda"
Thanks for listening,

Friday, January 19, 2007

BBC Radiophonic Workshop | II

Next level. "Radiophonic Workshop" – no cognizance? Read the previous post.
Reading some scarps of Ekkehard Ehlers' interiview (cannot clearly recall the source) I've found a line on matter of two questions: "What?" and "How?", both are endlessly relevant for a listener (by the way, in that interview, Ehlers rejects the influence of "How?" question on his own experiments... a slyness, I think). In opposition, isn't it bewitching to look at Thomas Brinkmann cutting and scratching 12'' with a knife (a short video) for his "Klick" or the Staalplaat YOKOMONO 10 vinyl killers - toy car record players, each customised with its own fm transmitter when the sound comes through a set of radios receiveing the signals transmitted by the toy VWs. It's not the problem of spectacularity. Here the process becomes a part of the final result (a short video).
So this post is an extract of the Radiophonic's "tech" history, the history of the process. Cause when in 1959 you're asked to produce "...out of existance..." (citation from Delia Derbyshire (will not link her name – the next post theme!) interview from BBC Radio Scotland's Orginal Masters in 1997) sound, you have no choice but to fail or to become a pioneer.
There are few "tech" facts listed below in no particular order which impressed me while familiarize with BBC Radiophonic Workshop in pre-synth era.

"In 1958, the Radiophonic Workshop began by providing musique concrète material for radio. Using a wide range of equipment, often obtained from other departments, it soon acquired an enviable reputation for the sounds and music that it created for radio and television". © Ray White 2001 (and all texts in quotation marks further).

| M I X I N G
"Sound mixing was provided by an outside broadcast mixer, originally used during the war. Jeff Bottom of Radio Projects once recited a tale concerning a mixer that had been installed in the dome of St Paul’s Cathedral for Winston Churchill’s funeral. For some inexplicable reason, it managed to fall down from the BBC’s commentary position onto the aisle of the church, but was almost unscathed, apart from the glass in its meters and the valves. However, to the credit of BBC engineering, but not to those in the vicinity, it left an embarrassing dent in the floor!"
| T A P E M A C H I N E S
"In 1962, the Workshop received six Philips tape machines. These were the first high-quality machines to be used in the Workshop. All incorporated three tape heads (erase, record and replay), allowing the user to check the quality ‘off tape’ whilst creating a recording. Although only considered ‘semi-professional’, they were absolutely perfect for fast editing. A standard BBC editing block and a splicing tape dispenser was fitted to each machine. Single-sided razor blades were used for editing: this was a safety nightmare, requiring ‘razor-blade’ boxes that would ensure their safe disposal. In front of the tape deck was a BBC-designed panel containing switches that could prime the ‘remote start’ facility provided on the mixing desk. This allowed the machine to be started in playback or record, with green and red indicators on the desk showing the setting. Three of these machines were arranged in a line, allowing a tape to pass through the heads of every machine. A special remote control box allowed one or more machines to be started by means of a single switch. This was an incredibly flexible arrangement, since any of the machines could be in recording mode. The tape could be drawn out as a loop between any pair of machines, or a tape loop could be created that returned from the third machine back to the first. Such a loop was conveniently held at tension by a special spring-loaded ‘loop stand’. This was a modified microphone stand with a sprung arm, the end of which contained a tape guide".
| E F F E C T S
Reverberation "was provided by a small echo room located in the basement of the building. This had bare painted walls, was cold and damp, but had a loudspeaker with an amplifier at one end and a microphone at the other. It featured a sloping ceiling, although the author never really found out whether this was for acoustic reasons or simply a structural necessity. Despite having a reverberation time fixed by the dimensions of the room, the actual sound quality was quite good".
Delay, "discovered first as the delay introduced between the record and replay heads of a tape machine, later been explored running a tape directly from the left hand spool of one tape machine to the right hand spool of another, passing both sets of record and replay heads. By drawing the tape out between two machines on a sprung loop stand (or bottles, if stands weren’t available), the delay on the output from the second machine could be extended. Also, the audio output of the second machine could be carefully mixed back into the input of the first machine, so creating rising and falling ‘waves’ of sound". But still it was impossible to get the delay in range of 1/100 second using the scheme mentioned above. The inquisitive Italian company Binson offered tape echo effects without the hassle of tape. "...Binson Echorec Baby, had a spinning metal drum, surrounded by tape heads that produced multiple delays".
Stretching. "Another device, the Tempophon, was strapped to the side of a tape machine, with the tape passing its spinning replay head. Since the tape speed in relation to this head was set by the Tempophon itself, irrespective of the actual speed, it was possible to vary the pitch without altering the tempo".
Composite effects or processing tricks. "Echo rooms, plates and springs were commonly used. Most echo springs gave awful results, although hitting them could often generate interesting sounds! One popular trick involved copying a tape backwards and adding reverb, then playing it forwards to give a reverse echo. Equalisers, preferably of the "graphic" type, were much in vogue for musique concrète. Passive versions, comprising simply of coils and capacitors, often provided a remarkable degree of quality (Q), enabling dramatic changes to be made to any sound. The mechanical voices were created using a simple ring modulator, consisting of three transformers and a ring of four diodes. An untreated speech signal was connected to the ‘main’ input, with a low frequency (usually upwards of 15 Hz) applied to the ‘carrier’ input. A multiplexer – this specially-constructed device contained of a circle of fixed capacitor vanes, connected to the outputs of the tape recorders. The multiplexer’s output came from a rotating vane, driven by a variable-speed motor. As this turned, each signal was heard in sequence, one sound fading into the next".
| S A M P L I N G
There is no special point in listing the sources of sounds used at the Workshop as such could take "a while". Just wanted to mention an interesting machine, sort of storage – "the BBC’s Programme Effects Generator (PEG) provided ‘spot effects’ for radio drama. This device used a separate tape cartridge for each effect, the tape being pulled out of the cartridge, played and then drawn back in again. A further development of PEG was the Mellotron, a keyboard instrument with cartridges containing sampled instruments".

End. Next level – Delia Derbyshire.

Monday, January 15, 2007

BBC Radiophonic Workshop | I

"What is the noise supposed to be that precedes the two-o'-clock Television News? It sounds like a nightmare in a railway train!" – F. M. M., Shrewibury (Letter to Radio Times, 10th November 1960).

Two weeks, no line. I've been beating around this theme considering the right direction to approach from, the volume would be enough for the comprehensive observation, start point, adequate end. Finally, feeling myself a senescent and exhausted writer with no word in reserve, I type something masturbating my own interest.
Well, the passage in quotation marks, meant to be an epigraph, is a reaction of the bearer on BBC Radiophonic Workshop activity results. "Radiophonic Workshop? Do they repair radio sets?" – one more reaction of the contemporary. "The trouble with the future is that you never fully know about it until you’ve passed it…" – Roger Limb.
"In 1957, a small group of BBC producers and studio managers began using ‘radiophonic’ techniques to create pioneering music and drama programmes. The process consisted of recording real sounds, such as those created by the human voice, bottles, bells, musical instruments, percussion devices or even boxes of gravel or pebbles. These were then manipulated to produce entirely new material. Tape machines provided reverse playback, speed and pitch changes, or were used to create sound loops, whilst reverberation and equalisation could modify the sound quality. Various elements of the work were edited together using tape-splicing techniques, often note-by-note. This was a time-consuming business, requiring endless skill and patience, but the results were often very impressive. These processes, similar to musique concrète, created or enhanced the atmosphere in a programme, but weren’t considered an ‘art in itself’. The leading light of the group was Daphne Oram (take a look at her Radiophonic archive shooted by Mark Pilkington... she left on January 5, 2003), a studio manager who was also trained in music, together with Desmond Briscoe and Norman Bain.
The BBC, having seen the potential of this new aspect of broadcasting, established a Radiophonic Effects Committee. This decided to set up a Radiophonic Workshop, using outdated equipment from the BBC’s Redundant Plant, as well as £2,000 that was to be spent on additional requirements.
The Workshop was initially established in a large area created within Rooms 13 and 14 of the BBC’s studio complex at Maida Vale."
It will take long tell the whole story, moreover it will consist of further copy-paste of the extraordiary detailed source... Ray White's text.
For those who cannot fix on letters: Alchemists of Sound – BBC' trifling pardon for no credit, no CD, no honored attention neither to the Radiophonics inter vivos, nor to the legacy they had left.
To be continued...

Tuesday, January 02, 2007

My Noisy Matchbox

"Taking advantage of this democratisation of recording technology, "My Noisy Matchbox" will offer people from all walks of life a stimulating opportunity to produce an audio snapshot of their lives." Created by Simon James and Curtis James.