
Radiohead - Hail To The Thief
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Hey! Music!Twisted programmings, a unique humour and futuristic improvisations are some of the characteristics of Lisa Carbon's sound, which has been copied by many throughout the years.
Partly recorded in San Jos頨Costa Rica), Lisa's hometown, 'Trio de Janeiro' was then mainly completed under the guidance of her long time companion Atom? in his Frankfurt studio.
When the first Lisa Carbon recording was released back in 1992 (The Lisa Carbon Trio: Opto Freestyle Swing, 12" on Pod Communication), the German magazine Frontpage gave it one star (out of 6) and declared it "not music". Magazines come and go, but Lisa is still here.
The music was controversial, and while for some it was the most unhip thing to listen to, for others it was an enlightenment. Much has happened since then and Lisa Carbon ignored styles and trends,
and instead created them. In 1995, musical fashion caught up with her. Her music, once declared unmusical, had become the hype to follow when Rephlex released her second album Polyester after a two year delay. Lisa's sound was still fresh, so fresh in fact that it was even emulated by those who used to be trendy in 1992. But Lisa grew tired of the unprofessionalism in the music business, and so joined producer Atom Heart's label Rather Interesting in 1997, and the album Trio De Janeiro was born.

1. LiptonesFor what might seem out of place as a Luke Vibert release, when in contrast to his work as Wagon Christ, Vibert's latest work "Yoseph" jaw breaks with Acid.
It's risky for any artist to break his/her own mold. In listening to "Yoseph" we travel back to core electronic roots, entrenched in early acid forms, with Luke Vibert delivering a heady blend of beats, strung together only as Vibert can, while still remaining accessible.
For fan's of Viberts current work, ie: Big Soup, Tally Ho, Musipal etc. Do not expect the same series of fruity loops and samples in what has become a feature of Vibert's music. While this work varies from anything of late, "Yoseph" is as rich and untamed as some of his earlier works. See: Wagon Christ - "Throbbing Pouch". Vibert & Simmonds "Weirs".
In what smachs as a love affair with Acid, the tracks are equally unquie but share a sense of continuity throughout each listen, with EP release, "I love Acid" being a stand out favorite. Do listen to the samples available on Amazon, though they are not enough to give this album the credit it deserves. Some people might not get it, or understand how important and really great "Yoseph" is. "Yoseph" is a bold piece of work, saturated in Acid, made accessible to pedestrian taste buds, make sure you don't miss out.
**For similar content check out Acid favorite, "Railway Raver"

A refreshing change from the Average White Band, Air's Premiers Symptomes has it all, baby. It is so smooth... Smooth like the pina colada I'm about to order. Ooooh yeah, smooth. The sound of a lazily tapped hi-hat, chattering brushes, the shake of a maraca, all overlaid with unhurried and unobtrusive synth melodies... the bass keeping time for the horn section... did I say it was smooth?
This is free jazz lacquered with electronica, impeccably clean, lacking any sense of awkwardness or amateurism, Premiers Symptomes' only drawback is that it's merely 27 minutes long (just five tracks) and it leaves you wanting more. Perhaps that was its purpose, what with the recent release of their full- length Moon Safari. It'd be enough to make me think if it wasn't so, so smoooth. Would you like a sip? Yes, there. As I was saying, the balance between the electronic and organic is superb, craftily whetting the appetite for future treats.







-----------------------This Grunge Alternative-Metal band formed in 1984 in Seattle, Washington USA by lead singer Chris Cornell, guitarist Kim Thayil, bassist Hiro Yamamoto and drummer Matt Cameron.
In the summer of 1987, the quartet released the first single, "Hunted Down", during that year followed the 6-track EP "Screaming Life" and in 1988 one more EP titled "Fopp" in advance of the band's debut full-length album,"Ultramega OK".
Signing to a major label, A&M Records, a year later, the group released its second album, "Louder Than Love", cracking The Billboard 200 chart.
Shortly after the album's release however, Yamamoto left and was first replaced by ex-Nirvana member Jason Everman and eventually permanently by Ben Shepherd in early 1990.
The year 1991 saw, Cornell and Cameron collaborated with members of Pearl Jam in Temple Of The Dog, a tribute to Mother Love Bone lead singer, Andrew Wood, who overdosed in 1990 and Soundgarden's third album, "Badmotorfinger", climbed The Billboard Top 200 peaking at #39 and spawning the alt-Rock radio-friendly single "Jesus Christ Pose".
During the following few years Soundgarden toured extensively and supported Guns 'N Roses in the States, their next album was the breakthrough "Superunknown", it rose to the top spot in U.S. Top 200 chart, upon its release in March 1994 spawning three Mainstream Rock top 5 hit singles including the #1 "Black Hole Sun", "Fell On Black Days" and "Spoonman" plus the #11 "My Wave" and the #13 "The Day I Tried To Live", all the five single cuts also stormed The Modern Rock Tracks chart sending the album into triple-platinum territory and finally Soundgarden took home two Grammy Awards: "Black Hole Sun" won for Best Hard Rock Performance and "Spoonman" for Best Metal Performance.
The band's fifth albun, 1996's "Down On The Upside", peaked at #2 on Billboard's Top 200 chart highlighted by two #1s Active Rock hit singles: "Blow Up The Outside World" and "Burden In My Hand", followed two more singles, "Pretty Noose" and "Rhinosaur" which reached the #4 and #19 spots respectively on The Mainstream Rock chart.
On April 9, 1997, the members of Soundgarden stunned the music world by announcing that they were disbanding; Cameron replaced Jack Irons behind the Pearl Jam's drum kit and Chris Cornell embarked on a solo career.
"A-Sides", a retrospective collection, was issued in November of 1997, the record contained "Bleed Together", a previously unreleased track, which peaked at #13 on Mainstream Rock chart.

Tracklist CD1 :dZihan & Kamien (pronounced Jay-hahn and Kammy-en) are a Vienna-based nu-jazz duo. They have had several artist albums out, and this is their first album of remixes. The album 12 tracks consists of remixes artists working in diverse areas: contemporary jazz (Lyn Leon), nu-jazz or jazz-house (Atjazz), fusion (Nitin Sawhney) and electronica (Bob Holroyd). Thrown in are remixes of two older pieces: Don’t Explain by Billie Holiday, which appeared on the Verve Remixed compilation; and the steamy Je T'Aime...Moi Non Plus by Serge Gainsbourg, his only really famous song, which is given a thorough working over with excellent results. I had not heard of half of the artists on this album, and for some, I could not find out anything about them - dZihan & Kamien appear have sought out some niche recordings to work with along side some better known names.
The feel of the album overall is downbeat, the end result being a nu-jazz album. This release slides in well beside artists such as Kruder and Dorfmeister and Tosca, although the approach taken by dZihan & Kamien is a little more earnest. I think that Kruder and Dorfmeister, and Tosca are a little more playful in their work, but I say this as a point of comparison and description, not as a criticism.
The album is still light and breezy, perfect for chill afternoons or dinner parties. You know the deal! If one were to attempt to classify downbeat and chill albums, this would lie toward the more sophisticated end. Personally I enjoyed listening to it, but do not find it riveting. If you get into nu-jazz, and albums such as those released by Tosca, you will get into this.
The journey is pleasant, with some lovely sounds and atmospheres created. A few tracks shone for me. The reworking of Nitin Sawhney’s Homelands deepens the mood while adding an edgy electronic sound, while the remix of Tosca’s Busenfreund lightened the track, giving it more bounce. The final track Bernhard Lang’s Schrift III is also a wonderful piece of electronica, and easily my favourite on the album.
But what makes this release unusual is the second CD of dZihan & Kamien originals played by a fully acoustic jazz quintet. The tracks on the second CD come from their two previous artist albums, and have been given a jazz improvisation treatment. The idea is to infuse modern electronic compositions with an old jazz feel. Does the idea work? Well, the excepts available sounded good, but I do not know jazz well enough to say if they are.
The tracks on the second CD come from their two previous artist albums. Many of the tracks were also rearranged for a 22 piece orchestra, the results of which were released as The dZihan & Kamien Orchestra: Live in Vienna in 2003, a recording of a live performance. What all this says is that these are a couple of serious musicians unafraid of experimenting with their music. If, like me, you enjoy hearing different arrangements of tracks (e.g., different remixes) which explore the potential within the music, then here is a relatively uncommon chance to hear not just remixes, but totally different acoustic arrangements of tracks which were originally primarily electronic.
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1. Song 1The 1999 Miles Davis tribute, Panthalassa: The Remixes, was a moment of truth. For each piece of industry hypethat designates a techno or hip-hop artist as "the next John Coltrane," there's a musician forced to contend with a legacy ill-suitedto their own worthy (if not always timeless) art. But while other Panthalassa remixers drove stakes through the heart of Miles' liveevil, DJ Krush managed to transport "Black Satin" into a serene hip-hop context without leaving a single smudge on its finish.
But that's not surprising. Japan's Krush is a hip-hop wonder twin seemingly capable of tag-teaming with anyone, from Milesand Kazufumi Kodama (on trumpet) or Mos Def to Zap Mama (on the mic). He can drop heavy solo instrumental records(Kakusei), but his ability to work a cohesive album out of individual collaborations - on Milight and now Zen - is unrivaled.Holding the project together is Zen's production: equal parts Permier's boom-bap and the Soulquarians' incensusal jazz tapping.Get aggro with the lead-pipe swang of Company Flow's "Vision of Art," smile while you're crying to the warbling guitar on"Candle Chant (A Tribute)," then lurk in instrumental psychedelic murk with ?uestlove on "Endless Railway." Krush's album hasall the controlled weight and organic intensity of a bonsai garden: the perfect balance of thick, heavy rhythmic roots with delicateleafy ambience. I won't succumb to the same hyperbole that got day-tripping-hoppers trying to outshine "In a Silent Way" andproclaim Krush another Miles Davis, but I will call him miles ahead.

1. Meth Of A Rockette's KickWith Boces, Mercury Rev took everything that made Yerself Is Steam such an impressive debut and made their second album even more so. Over the course of ten minutes, opening epic "Meth of a Rockette's Kick" moves from dreamy musing to guitar-fueled crests -- and throws in flutes, harps, a brass section, and a choir for good measure -- announcing that the group is at the height of its powers. Thrashy freakouts like "Trickle Down" sound even more explosive and stand in sharper contrast to the Technicolor pop of "Something for Joey" and "Hi Speed Boats," while the sweetly lovelorn "Bronx Cheer" and "Downs Are Feminine Balloons" (key lyric: "If there's one thing I can't stand, it's up") reveal the vulnerability beneath the group's jet-powered guitars. But Boces doesn't just perfect the sound Mercury Rev pioneered on Yerself Is Steam, it expands it in predictably unpredictable ways. The Cheshire cat jazz-pop of "Boys Peel Out," the sleepwalking speed metal of "Snorry Mouth," and the spooky, smoky finale "Girlfren," though very different from each other, are equally captivating examples of the band's witty, innovative modus operandi. Mercury Rev never released another album as joyfully, unselfconsciously creative as Boces; after chief weirdo David Baker departed, the band pursued other fascinating directions, but this album remains one of the highest points of its career.

1. Empire State (Son House In Excelsis)After David Baker left the group for weirder pastures, the rest of Mercury Rev returned with See You on the Other Side, an album very much in the group's expansive, experimental tradition, yet distinct from its work with Baker. The sprawling compositions, elaborate arrangements, and jazzy leanings Mercury Rev perfected on Boces return on See You on the Other Side, as exemplified by the opening track, "Empire State (Son House in Excelsis)." But without Baker's merry prankster vocals, the album feels a bit unbalanced, as though the group was still adjusting to making music without him when the album was recorded. The lean, tense "Young Man's Stride" could've had even more impact had Baker sung it but, for the most part, Jonathan Donahue handles all the vocal duties ably, swinging the group toward its gently whimsical side in the process. The brilliant single "Everlasting Arm" sweetly deconstructs Pet Sounds-style pop years before that became one of indie rock's dominant styles, while "A Kiss From an Old Flame (A Trip to the Moon)" lives up to its title with giddy, swirling flutes and otherworldly backing vocals. Dreamy, yearning songs like "Sudden Ray of Hope" and "Racing the Tide" revel in the unabashed prettiness that Mercury Rev used to hide under layers of freaked-out guitars, and "Peaceful Night," the group's quirky take on Tin Pan Alley songwriting, proves that they weren't getting less inventive as time went on, they were just getting subtler about it. See You on the Other Side's relatively short length adds to its rather unfair middle-child status, but it pointed the way toward Mercury Rev's breakthrough with Deserter's Songs, and is a completely charming -- if underrated -- album in its own right.

1. Chasing a BeeMusic dictated not by logic but by intuition, Yerself Is Steam is an album at war with itself, split by its desire to achieve both melodic pop bliss and white-noise transcendence within the same space; it succeeds brilliantly, avant-bubblegum fuel injected by fits and flourishes of prismatic chaos. From the comic malevolence of David Baker's mad-scientist creations to Jonathan Donahue's opiate lullabies, Yerself Is Steam is vividly cinematic -- between the roller coaster feedback of "Coney Island Cyclone" and the narcoleptic ebb and flow of the climactic "Very Sleepy Rivers," the songs perfectly evoke their titular aspirations; likewise, from the album title (say it out loud) onward, the lyrics revel in the quirks and idiosyncrasies of language, buoyed by a homophonous prankishness and dada rhyme schemes, which, in their own odd way, suggest a kind of poetry. A near-perfect debut from a band that would only get better from here on out. The American edition appends the superb single "Car Wash Hair,"


1 Dragging Me DownInspiral Carpets couldn't really sustain their vision over the course of an entire album, yet they made a number of infectious Madchester singles, which became fairly big hits in England. The Singles collects all of the group's U.K. hits, from the swirling, sunny "Joe" to "I Want You," a duet with the Fall's Mark E. Smith that had previously been unavailable on album. Over the course of 17 tracks, nearly every one of the band's great moments ("This Is How It Feels," "Dragging Me Down," "She Comes in the Fall," "Saturn 5," "Uniform") is featured, making Singles a definitive overview of the laid-back baggy band's career.