Forum Klix.ba

joki wrote:john mayall & the blues breakers-road dogs:I,II, III, IV

Reissue of classic solo debut album from 1984. Brilliant Trees remains for me one of the great albums, not only of the 1980s, but of all time; it warrants reapprasial from the decade many choosed to simplify. I think it should be classed alongside some of the classic albums in those endless, infinite lists, alongside the usual suspects: Astral Weeks, Maxinquaye, Timeless etc...This deluxe reissue offers an improved sound over the 'Compact Price' precursor- though the absence of any extra tracks is a slight letdown (there could have been room for Bamboo Houses/Bamboo Music & Forbidden Colours- especially as the latter has been taken off Secrets of the Beehive & didn't turn up on compilation Everything&Nothing!)Or how about the rare re-recording of Brilliant Trees from 2001? Having said that, these seven tracks remain a joy.

OPening track Pulling Punches is a more subtle refinement of the territory of Japan's The Art of Parties- Sylvian dispensing with anything approaching conventional rock music for several years. Backwaters stems very much from the same place as Sylvian's year zero, 1981's Ghosts- a suitably minimal electronic piece where Can's Holger Czuckay trades vocals with Sylvian, a wonderful contrast prefiguring Tricky & Martina Topley-Bird on Maxinquaye (it should last longer, Aumgn-length, I feel!).

Brilliant Trees was much more of a departure for Sylvian- though he uses a typically wonderful supporting cast of musicians: Czuckay, Japan-members Richard Barbieri & Steve Jansen, Jon Hassell, Danny Thompson, Mark Isham, Riuchi Sakamoto, Kenny Wheeler, Phil Palmer etc. The emphasis on lush acoustic-orchestrated songwriting that would be definitively offerred on Secrets of the Beehive is first explored here on the gorgeous The Ink in the Well. This song namechecks Cocteau & Picasso and has a wonderful blend of double-bass and flugelhorn backing up Sylvian. Very much the kind of song that Scott Walker fans had wanted from Scott since 1969!

Nostalgia fuses a sample of Persian Love Song and has a suitably ambient soundscape- here we can hear the kind of song that Sylvian would master in 1986 with Before the Bullfight (it also gave the title to 1984's Japan-compilation Exorcising Ghosts). Single Red Guitar remains a joy- one of Sylvian's rare forays into pop music, though it does have a jazzy-feel with that piano, double bass & Isham's trumpet solo. It is songwriting on the level of a Bond Theme and has that wonderful line "If you ask me, I may tell you- It's been this way for years"- which just shows that Sylvian has a vast sense of humour (come on!- have you heard Pop Song??????)

The other tracks see Sylvian collaborate with avant-garde trumpeter Jon Hassell- Weathered Wall fusing a synthetic soundscape with Hassell's otherworldly sounds. Even better is the concluding title track, which opens with Hassell's amazing trumpet- an alien ambience fading in with a lone organ and then Sylvian's bare vocal. The song stays in a minimal key for awhile- the words are wide open "Is this grip on life still my own?...There you stand, making my life possible/Raise my hands up to heaven, but only you could know, my whole world stands in front of me/By the look in your eyes..." The song eventually builds adn advances, my only quibble again is its length- very rarely do I want a song to advance off into infinite realms. Here's an exception. The direction of Brilliant Trees leads towards 1985's Words with the Shaman/Steel Cathedrals- which is found on the lovely reissue of Alchemy: An Index of Possibilities...

Brilliant Trees is the first of Sylvian's masterpieces from the 1980s (the other is Secrets of the Beehive, though the rest is almost as good. Yes, even Plight&Premonition!). It's one of the key Sylvian albums alongside Beehive, Rain Tree Crow, Dead Bees on a Cake and the recent Blemish. Could I imagine life without it?- the horror, the horror...

Compiled by leading Reggae writer Stephen Nye; this; the latest in Trojan's ever-popular 3 CD box series features 50 of the most chilled Reggae cuts from the sixties and seventies; performed by an array of popular artists. Put simply; never before in the history of popular music has a more comprehensive collection of cool sounds been available on one package.

Jarney wrote:

joki wrote:john mayall & the blues breakers-road dogs:I,II, III, IV

pasword?

Blemish is ex-Japan frontman David Sylvian's long-awaited follow-up to 1999's Dead Bees on a Cake. That album was, in part at least, a celebration of his love for wife Ingrid Chavez and couched in suitably blissful and luxuriant jazz/ambient tones. Blemish, by contrast, is a fraught, wracked and occasionally embittered affair, a more difficult though equally rewarding listening experience. The opening title track, for example, is a lengthy and anguished excursion, its lyrical theme of estrangement set to a broody, quivering guitar chord and punctuated by moments of musical violence.
There are three bold collaborations with veteran British improv guitarist Derek Bailey, whose spare, atonal haiku tones will present a challenge to those who turn to Sylvian for comfort listening. The scratchy, CD-skipping effects of "The Only Daughter" are also calculated to disconcert the listener, while "Late Night Shopping" is shot through with disquieting intentions and laced with sinister strains of avant-garde noise. This, however, is a brave album and in its own way as beautiful as its predecessor in its starkness.

Blemish is the first album of Sylvian-penned songs since 1999's wonderful Dead Bees on a Cake- the time between has seen the Approaching Silence instrumentals;the Everything&Nothing compilation; collaborations with Tweaker Russell Mills & Riuchi Sakamoto & a world tour that showcased an artist still very much at the height of his powers. & then Sylvian parted company with Virgin after 20years- the state of the music industry at present having become appalling since the corporate buyouts et al in the late 1990s. But there was still a place for Sylvian- here setting up his own label with brother Steve Jansen- Samadhisound is offering up work that major labels haven't the imagination to comprehend (but, ironically, used to bankroll) Samadhisound is just one of many independent labels creating their own world, alongside such imprints as Bella-Union, Swim, Leaf, Rephlex, Warp, Sub Pop, Rough Trade, Contstellation, Ninjatune, Truckrecords etc Can it be a coincidence that so many different kinds of music are expressed in these labels?- so, if you can find it, there is plenty of wonderful music around. Such as Blemish- which long-time Sylvian fans should adore & going on its healthy sales on Amazon, proves that you can find an audience despite the horrors of major labels & marketing...

Blemish feels like the start of something new- which it is- though there are precedents for it in Sylvian's oeuvre. Followng his pro-tools epiphany circa Dead Bees...Sylvian has begun to work in his own home studio (because you can) & even work from a distance (eg Linoleum with Tweaker)Alongside setting up the label, projecting a world tour & working on an album with Steve Jansen (& one hopes, having a life between!), Sylvian has produced Blemish. Sylvian has always talked of the joys of improvisation, particularly in relation to Rain Tree Crow (1991) & here he set himself a short period in which to write & produce this whole record. Blemish is a complete antithesis to such brilliant (but protracted) releases as Brilliant Trees & Dead Bees on a Cake.

It's minimal stuff- precedents for it in Sylvian's back catalogue include Dobro#1, Boats for Burning & Come Morning. There aren't lush ambient soundscapes here- the songs are basically a blend of Sylvian's vocals and guitar. A very raw record, it made me think of such albums as Bonnie'Prince'Billy's I See a Darkness, Rainer's Alpaca Lips & Mark Hollis debut album. Not that it sounds like them particularly- but they share a non-compromisng stripped feel...I also felt reminded of Dylan's Time Out of Mind, in terms of the way bleak material is dealt with (eg Standing in the Doorway) & maybe Red House Painters also? & like Paul Westerberg, Shelley-Devoto & Mark Eitzel, a way forward has been found with a home studio & the indie ethic it produces.Like those albums above, it lives in its own uncompromised world...

The title track is a 13-minute slice of minimal bleakness (perhaps putting words that could never be written for a previous track such as Stigma of Childhood (Kin)?), Sylvian never having created something so intense and long- though all the tracks are minimal, there is much going on underneath the music (listen to the undercurrents of The Only Daughter)

Blemish may not be a particularly instant album, an album that sinks in with each subsequent play- Sylvian isn't close to any of his poppier material (Orpheus, Red Guitar, Godman)but tracks like the heart knows better, how little we need to be happy & the closing a fire in the forest I think will easily rank next to the best of Sylvian's material. Derek Bailey (Guitars, Drums'n'Bass) guests on several tracks- we are drifting somewhere between an avant garde take on Americana, the blues & jazz (& there are some wonderful harmonics between Sylvian & himself!) So Blemish is more Gwei-Lo than Radiohead, more Midnight Sun than The Scent of Magnolia and for me, one of the best albums I've heard in some time! Blemish is well worth investing in, though approach with an open-mind (which a seasoned Sylvian fan should have by now!); plus it has a wonderful cover! I'd say Blemish should be more of a concern to own than the glut of lovely Japan/Rain Tree Crow/Sylvian reissues surfacing on Virgin. A lovely surprise...

(New York, NY) - The Dandy Warhols will release their fifth album, Odditorium or Warlords of Mars, on September 13th.

Named (at least partially) after the band's infamous Portland studio headquarters, Odditorium or Warlords of Mars finds the band venturing beyond the synthesized pop of 2003's Welcome to the Monkey House into expansive new musical terrain, while frequently revisiting the stripped-down sound of their earlier years.

The album was produced by frontman Courtney Taylor-Taylor with longtime band collaborator Gregg Williams and mixed by Tchad Blake (Elvis Costello, Latin Playboys, the Bad Plus) and Taylor-Taylor.

Opening with a tongue-in-cheek introduction from A&E host Bill Kurtis, the album is full of the band's trademark heady mix of seamless rock hooks and sonic experimentalism, spanning turned-on drone rock, country blues, electronic pop and deep psychedelia -- all spun through the Dandies' kaleidoscopic musical palette.

"Love is the New Feel Awful" is a psyched-out mini-symphony of squalling guitars, whispered harmonies, tribal drums and intercepted satellite transmissions. "The New Country" is, yes, a countrified stomper with dreamy layered vocals and a deep-space hootenanny full of banjos, harmonicas, picking and - quite likely - grinning. "Down Like Disco" sets off in a Crazy Horse-worthy gale of unbridled electric guitars and peaks with a sun-soaked chorus and a twisted trail of feedback.

Lead single "Smoke It" is classic Dandies all the way - part classic Brit rave-up, part Velvet Underground comedown , part blacklight psych, part workmanlike country/western, and all their own. The song's video features the band performing the song in the Odditorium for 40 visibly impressed dogs.

The Dandy Warhols will herald the album's release with their only live performance of the summer at Lollapalooza, to be held in Chicago's Grant Park on July 23rd and 24th. A full-scale North American fall tour will be announced shortly, along with an acoustic "Suitcase Tour" in which the band will play using everything they can fit into a single suitcase (besides acoustic guitars).

The Dandy Warhols can be also be seen as co-stars of Ondi Timoner's hit documentary film Dig!, winner of the Grand Jury Prize Documentary at the 2004 Sundance Film Festival. The film, narrated by Taylor-Taylor, chronicles the uniquely dysfunctional relationship between the Dandies and their unpredictable friends the Brian Jonestown Massacre.

Imagine distilling the work of Leonard Cohen, Tom Waits, Stephin Merritt, Brian Wilson, Randy Newman, and Rudy Valee into a single musical concoction, and you might begin to imagine the sound of Richard Swift's debut. The Novelist is a concept album about an aspiring writer searching for love in Depression-era New York City. "The music is a mix between experimental electronic grumblings, catchy pop and 1930s-era swing, with banjos, vaudeville trumpets and snappy percussion. If, like most of Swift's music, it sounds outlandish, it also masterfully cuts to the EP's thematic core of wistful yearning and loneliness."

We realize that you've never heard of Richard Swift. We here at Secretly Canadian will change that. In fact, Richard Swift will consume your life. "The Collection Vol. 1" is a great place to start. "The Novelist" - Swift's highly acclaimed, succinct, eight song, nineteen minute and thirty-eight second-long, audiophile archivist experiment - immediately ushers the listener deep into the recesses of Swift's creative core for a kaleidoscopic trip aboard an intergalactic vaudevillian steamship with a speakeasy code-word. Yet, "The Novelist" is only one small manifestation of Swift's entire musical manifesto and only one-half of this double-disc set. "Walking Without Effort" - the second disc in the two-disc set - is the first, and perhaps most deceptively complex, yet decisively understated, Swift release to date. A slight step eastward from the eclectic musings of "The Novelist", "Walking Without Effort" intentionally paints another image, and baptizes believers born-again into Swift's unique brand of sonic schizophrenia. Gramophones are replaced by 8-tracks and Persian rugs are covered with shag, as Swift nods to the early 70's solo efforts of McCartney and Harrison, while waving to Burt Bacharach and Van Dyke Parks. They're just passersby as he drives down main street in a Rolls Royce Silver Shadow. Don't be scared, be excited that Swift intends on writing and releasing music until the day he dies and intends to never make the same record twice... not even on a double-disc.

Bianca and Sierra Casady are CocoRosie. They are sisters, born in separate states and raised all over the map. They grew apart early in life, not really getting along and living different lives. But they met again in Paris, unsure and unaware, not knowing that it would lead to the recording of one of 2004's most haunting releases, La Maison de Mon Reve.

Now the sisters are nearly inseparable. They've been active for most of 2004, playing dates across the U.S. and making several jaunts to Europe for tours playing with TV on the Radio, Bright Eyes, and Devendra Banhart, among others. They are currently working on new material for a 2005 release.

Largely acoustic, lo-fi and sparse, yet this still produces a hauntingly beautiful album from this previously unknown New York female duo. CocoRosie make unusual, challenging music, where odd scratching and clanking noises accompany eerie melodies. Wilfully uncommercial, yet absolutely fascinating, La Maison de Mon Reve was one of 2004 most unique offerings.

The CAN cozen everything that should define them. Their attitude toward music was needed but it wound up neglected. Nobody really approached recording like The CAN (an acronym for Communism Anarchy Nihilism). No two CAN albums sound alike. There is no doubting some congruence with multiple genres when listening to Monster Movie. These “influences” are proper, since CAN sought to recreate something primal. When free jazz mixes with psychedelia it yields a kick in the throat. Even though they knew the music of Karlheinz Stockhausen and Terry Riley well, they could go in different directions as they chose to.

The CAN approached music more like an Albert Ayler or Eric Dolphy but Monster Movie does at times resemble early Pink Floyd or Captain Beefheart. “Father Cannot Yell” ignites the album from the start. It was the first track the group recorded from the album. American sculptor Malcolm “Desse” Mooney laces his incredibly musical fuming into the mix.

“Yoo Doo Right” is an “instant composition” (the group didn’t call it improvisation since what they improvised was form). It’s an unusually long (20 minutes) song for 1960s rock. The group had only minimal equipment. They played and when one of the pre-amps started smoking Holger Czukay decided the song was over.

Monster Movie was the first album the group released though they did record another earlier, later released as Delay 1968. It was difficult to find anyone who would release The CAN’s albums. They resorted to releasing Monster Movie in a limited fashion (it was later re-released on United Artists).

This album sounds like CAN recorded it in a modified garage. It has that rawness you can’t fabricate if you try. There is a little more substance to CAN’s next few albums, but Monster Movie is on the same level as their next few albums with Damo Suzuki. This is an important facet of CAN’s sound. They could rock out in with somewhat straightforward sounds without sounding straightforward at all.

Can's first album after the departure of vocalist-supreme Damo Suzuki finds them at the top of their game. For those unfamiliar with the band, it's almost impossible to imagine exactly what they sound like. Rhythm is at the heart of everything they do. In a way, Can anticipated the World Music boom of the 80s by succumbing to the polyrhythms and primal, heartbeat pulse of African and South American drumming styles. Of course, there is a fair amount of James Brown in the mix as well.

Texturally, the band were masters. Here, keyboards color every track with a kind of rootless waterstroke. Earlier in their career, the band had ventured into psychedelicism and trippy washouts, but here they are focused geniuses. Karoli's guitar is one half Velvet Underground and the other half alien melody seeker.

The first half of the album is comprised of short songs in various groove guises. While not quite reggae, there is plenty of skank to "Dizzy Dizzy". "Come sta..." makes use of the innerspace/outerlimits sound of Schmidt's piano and keyboards. You'd be hard pressed to find a more 'organic' keyboard album. "Splash" is basically a 7/8 jam that is a simultaneous testament to group improv and tape editing.

It is my opinion that Can's absolute peak came with "Chain Reaction"/"Quantum Physics". For those curious, this is where techno started. But this is not just dance music. This is the work of masters. Primal, relentless kick drum pulse is colored by restless guitar and keys washes. "Chain Reaction" is what ambient music means to me, though it is oubtlessly not what you'll find in the New Age section of Blockbuster. Incredible. And just when you're being transported into another plane, the bottom drops out. "Quantum Physics" keeps up the meter, but tears away the rhythmic facade. What we're left with is the skeleton of music. Creeping toms, peeking bass, and the gentle tide of Irmin Schmidt's soundscapes. Everything Can had been hinting at comes together: impressionism via beat.

The overall effect is something of an epiphany, or atleast a cleansing. The best music has the ability to transform the listenter, to fundamentally change how the listenter perceives his life and the world. For a brief moment in time, Can was a guide.

krava wrote:hej strucnjaci,
ne znam da li je vec bilo...ali mozete li mi pronaci stone temple pilots mtv unplugged?

hvala hvala

krava wrote:hej victory,

nece ovaj link

Surrounded By Silence should have been re-titled Bedroom Producer Gone Wild. What’s not to adore about laptop sound alchemist Prefuse 73 (Scott Herren), who, like RJD2 and Diplo, crafts rare soundscapes that Bjork fans, backpack rap dukes and Pluto natives adore. But what happens when such sonic experiments go slightly awry? Unlike Vocal Studies, where there appeared to be some cohesive links between tracks, Prefuse goes a bit collabo crazy here, with over a dozen multi-genre guest vocalists and emcee’s, with mixed results. When the unlikely duo of Ghostface and El P jump on "Hideyaface", they sound unfocused over Herrens audio clutter, as does the Masta Killa and GZA fuelled "Just The Thought". Was Surrounded Herren’s license to indulge his inner RZA or Def Jux (Aesop Rock and Beans also guest)? Perhaps. But when Herren sticks to what he does best, that is, building brilliant found sound collages, and digitizing any thing he can get his hands on, the results are gorgeous; "Expressing Views Is Obviously Illegal" carries that distinctly Prefuse-esque boom bip, as does "Pagina Dos" with it’s seductive banjo playing parts. When he teams his beats up with New York electro indie rock scenesters Claudia and Alejandra Deheza from On!Air!Library! on "Pastel Assasins" or Blonde Redhead’s Kazu in "We Go Our Own Way", the tracks breathe much better. An uneven yet stimulating listen.

mirzoni wrote:@ Victory (opet):

slusaj, koji je password za Blemish Davida Sylviana?

hvala

mirzoni wrote:Brilliant Trees upload deleted...

Neko ko ima part 1 da downloadam?
Victory?

hvala unaprijed..