Label: Illuminated Paths - IP-036a,Illuminated Paths - IP-036b,Illuminated Paths - IP-036c • Format: CDr Album CDr Business Card, Album Cassette Mixtape C60All Media Ultimate Worked On Bundle! • Country: US • Genre: Electronic, Hip Hop • Style: Ghettotech, Cloud Rap
Finally got my hands on this epic Crystavox — Bonus disc released by Roxx Records in ! This Bonus CD also contains a few other cool rarities available only on this disc! Top notch metal through and through. I love these guys! Hard to find!.. Very Rare Cd! Apparently this is Disciples 2nd Full length demo album released on there independent label. This is way before the band got signed in so it is very rare to find this cassette. Disciple would go on to win many dove awards! Great stuff….. This is very rare!
Brothers Jamie and Mick Rowe started this band in the mid eighties they were first called travail. This is there last and final show as Tempest in in Evansville Indiana.
Jamie Rowe would go on to sing for Guardian. This show is pretty rare! It sounds very similar to album release. A great demo , great sound , great production! Blood bought record label ……. Very rare demo indeed! This is a great demo by Second Chance who later became Armageddon. One guy named Robert Lee does all the drums , guitars and Bass while Mike Vance does all the vocals on this demo.
Not sure why? This is one of my favorite early white metal bands! This is the second demo by Second Chance dated Mike Vance on all vocals!
A great demo blazing wasteland song would make it on East Coast Metal Compiliaton Album by regency records label. Who knows? Amazing stuff! Rare demo for sure! This 8 song album was released in and I just heard about them recently.
Very short …. But good…And very rare! This band is really great they sound like a mix between the Scorpions , Dio and Iron maiden! I love the cover design very metal! It makes you wonder why these guys never became big in the white metal realm like Stryper? The songs are great! Great rare demo! Mark Krischak musical career is very fascinating! His talent is beyond remarkable! Mark Krischak was the founding member of The Lifesavors way back in Before Knott took over changing the name to The Lifesavers in It is very confusing to follow all the bands Mark Krischak has been involved with.
So thankfully someone made a chart to hopefully simplify this matter! In it was the new Orange County ,CA bands that had everyone talking.
At the same time John Wimber Vineyard was encouraging the band to tour the country and help plant Vineyard churches. But Mike Knott had no plans on church planting, and in frustration He quit The Lifesavors right before the band got signed to Refuge Records for the release of Dream Life. Mike Knott — Vocals , Guitar. Chris Wimber — Bass. Kevin Annis — Drums. I recorded 6 of the songs and Brian sang 5 of them.
However, he had a large number of other bands before and after The Lifesavors. He had well over tapes of the various bands, from formal demos to bootleg live recordings to jam box recordings of practice sessions. The process apparently was that people would order a few of the tapes by number, and then he would fit as many of those on to one long blank cassette or more if needed and send them to you often with minimal packaging.
The quality of the tapes were not that bad, but obviously spliced together at the source and then dubbed quickly on this tape one song carries over from side 1 to side 2, and The Coolers is missing the last songs.
The practice demo contains a lot of improvisation, starts and stops, working out the chords and parts, and so on. So I am not sure what the two extra songs are, since they are cut off here.
Just an interesting look into the way the tape trading underground was. Jeani Bond maybe? Also note that this compilation was sent after Krischak moved to japan. They had humble beginnings playing churches, clubs, coffeehouses ,or anywhere they could play in the Louisville , Kentucky area under the name Matrix as a three piece band.
Dale and Troy Thomspon grew up playing southern style church music and at a very early age they had a gospel group called The Hillview Lads. Matrix was Troy and I and Steve Childers who played drums. At that particular time I played bass guitar. This was in We were very theatrical. We had outrageous costumes and experimented with the use of pyrotechnics and lots of fog and dry ice for smoke. He and I were raised on music, we were raised on gospel music, bluegrass, country music.
And we basically I guess saw a band called Asher play at a skating rink in Louisville Kentucky. And they absolutely just blew my mind! Because it was the first christian rock band, I had ever witnessed , and this band Asher was brilliant and would have been popular today. So that was the nudge that it took for me to go and buy a fuzz pedal as they call it. And I put a pickup in my acoustic guitar and started practicing with a fuzz pedal and an acoustic guitar.
At the time Troy was playing Bass and I realized. And I played Bass for awhile. Really that was the starting point. When I saw this band Asher. A guy named Billy Sutherland it was His band. He was one of the greatest guitarists to this day that I have ever seen. I had the pleasure of playing with Him in a band called Warrior, after His band Asher had disbanded. The funny thing was. So I bought a Bass amp, and Bass guitar and went to the audition. I said are you going to show me?
And oddly enough I ended up in the band Warrior, so everything I played I memorized. Because I was not a Bassist. So that lasted about a year, and Troy and I got together and the next thing you know we had a little thing going called Matrix. Matrix played anywhere and everywhere they possibly could — churches, night clubs, and coffee houses. Matrix played wherever the doors were open!
Troy remained a faithful roadie and explosive expert for us. I sang lead on only one song in Warrior because at that time I was new to the rock scene and was a bit of a folk style singer. After that the three of us began Matrix. Steve Childress was a fantastic drummer, but after a year, school and work drew him away.
He was replaced by Joey Johnson, who was replaced by Steve Gilbert. Matrix — Monkey See Monkey do — Demo — I believe above song list is most correct for this demo.
Several of the songs here made it on to later Bride albums. These two Demos were used to promote Matrix Image and were sold at their shows and were used to try to get record deals. Mickey Mouse Shirt Advert Below.
This was the third of the four Matrix demos that they released before signing to Pure Metal records and changing name to Bride. I finally got my hands on the actual tape and made a rip myself, since all of the collections out there tend to be wrong in some ways.
The style is early 80s heavy metal, not too far from what they recorded on the debut Bride album. The cover for this is actually a standard picture from a normal camera that was cropped down to size — and no liner notes.
It seems they might have used different images for different copies. Track — Evil That Men Do. Track — Show No Mercy. Track — I Can Fly Now. Track — Child Of Hell. Track — Butterfly. Pale Horseman on Bandcamp. A self-titled four-track debut EP from Argentina heavy rockers Yo, Moreno finds the band coming out swinging. Yo, Moreno on Thee Facebooks. Yo, Moreno on Bandcamp.
Now Playing Loading See the latest updates. The Obelisk highly supports you getting your groove on. There goes another 0. Tweets by jjkoczan. It howls, wails, cries, whispers and screams. There are two long pieces, one even spanning the entire second side and two shorter pieces of some highly dramatic stuff.
This too is improvised, just as Troller's release, but where's that structured, rhythmic and uplifting, Felizardo goes down, to the deepest pit of black despair. Before it was two records, which was too much, now it's one and that's enough for a day! This new album "sees a sharper scalpel at play resulting in a more nuanced release which unfolds a curious journey of suburban psychedelia". However, the good news is that Penultimate Press sums up some of the sounds and techniques used which includes 'voice and body sounds, recording of non-musical processes, actions and events, breath, tapes of animal sounds slowed and sped up, processed field recordings, electronics, percussion, tape delay, sample of old Folkways records and Esperanto text to voice translations".
All of which, so I assume are taken to the computer and put together by Gulbenkoglu into a collage of sound. There is just one piece, 'A Gift Like A Hollow Vessel', which happens to be spread out over the two sides of the record.
As before Gulbenkoglu creates a fascinating world with sound even when it is quite an abstract world of course, but none the less and excellent form of musique concrete. It's never loud, and yet it is also never really a form of ambient music, perhaps due to its collage form in which sounds suddenly disappear while others may continue.
Besides for a bit of spoken word at the beginning and the end of the piece it is all-instrumental. Some sounds are more recognizable than others and again the word poetic comes to mind. Some of the passages are quite intimate and personal, with Gulbenkoglu whistling or humming, or making very small sounds. I am not sure if there is a narrative per se, but is that necessary? I very much enjoyed this delicate record; the previous was the best so far I wrote, but this one is on par with that. I had not heard of Francis Plagne before.
He's from Melbourne and apparently released "four full length albums framed around more 'song' oriented spheres", worked with Andrew Chalk, Joe Talia and Crys Cole and part of "that Food Court record released on Graham Lambkin's Kye label".
This one, so sayeth Penultimate Press is "his first solo which exclusively orbits a more abstract domain". To that end Plagne uses flute, harmonium, keyboards, microphones, organ, paper, percussion, recorder, synthesizer, tapes, tuba, voice, whistle and zither.
I could assume Plagne is a highly gifted virtuoso on all of these instruments, which justifies playing all of them, but I think that's not the case. He plays them as he sees fit and that's great. In a more romantically notion I can envisage Plagne in his home studio, surrounded by these instruments and each of these are used to play a bit, regardless if he's proficient on them, and once he completed the circle of instruments he places them on a multi-track program on his computer and starts playing them together, in various combinations until he has found a dialogue which he is happy with.
The music has that improvised touch to it, in which all of these instruments used play a role, big or small, at one point, but none of this quick or hectic. The music is quite intimate and introspective, with slow, long passages of drifting sounds.
I am reminded of some of Timo van Luijk's work and vaguely, whenever Plagne plays the harmonium, of Raymond Dijkstra. The organisation of these sounds is loose, but that's the charm of this record. Very refined experience! Some of his previous work has been reviewed before Vital Weekly , and and he works with field recordings and electronics in his solo work.
I had not heard of Mark Harwood before. In January Hopkins and Harwood played their first concert, on the roof of a bakery, which was successful enough to start on recording together. Originally they set out to work with individual, without knowing what the other was doing this is not a romantic notion from me this time, but something mentioned in the information and then later on structured the "found sound, field recordings, electronics and voice".
There is certainly links to be spotted towards the work of Gulbenkoglu here, but this duo isn't as refined. Which is no complaint. And which is not to say this is noise, far from it. The sounds used by Hopkins and Harwood are simply a bit cruder, rougher than Gulbenkoglu's. One could, romantic notion again, imagine them walking around with Dictaphones taping street sounds and back home flick on a synth, add some delay pedals and do some vocalizations and create something that has a sort of haunted house film soundtrack quality over Gulbenkoglu's more radio drama.
I would also think they use more electronic apparatus to alter their original sound material. The music is neatly obscured and vague in its dramatic textures in a way that I find most appealing. It has that lo-fi noise texture that is perhaps these days the common place, but it is something I am simply a sucker for and this duo delivers a most promising debut album. It is a problem in the world of modern classical music; who do you mention, the composer or the performer?
It all started with the people from the Slovakian label Mappa discovering a church in Kyjatice, in the southern part of Slovakia, and they wondered how this church could be brought to life again, filling it with sound and so they commissioned Sarah Hennies for two compositions for a single vibraphone, which "analyses the psychoacoustic dimensions of the space".
Lenka Novosedlikova performs it and these are two radical pieces. First of all both aren't very loud per se, and of course that is not necessary a bad thing, not at all. It leaves room for additional adjustment by the listener who is now free to decide how to fill his own space with these sounds. There are similarities and differences between both pieces. One striking difference is that the first side works with the higher end frequencies and the other side with the lower range.
On the first side there is a quick attack of the instrument making it all sparkle and bounce around the space. Novosedlikova's playing is rapid so lots of overtones emerge and at louder volume can become quite piercing. The second side has a somewhat slower attack and played in the lower region of the instrument it is not per se loud and working the space with overtones but more an introspective piece.
With some clever placing of microphones there is quite some space suggested here and it is a beautiful record that leaves much room for the listener to adjust to it's environment, which is certainly something that worked for me very well. Playful in that sense that this record is packed on the outside like an old school bootleg, stating this is a live recording at Madison Square Garden, February 30th, That was a great date, the best date there is.
It lists as special guests misters Gilmour, Zappa, Harrison, Voorman, Young and Dylan, as well as Brian Ladd doing bathroom security - if you don't get that joke, that's fine. I thought it was very funny. On the insert we read that this album was recorded at the Provino Club in Augsburg, Germany, on October 14th, The line up consists of Joseph B.
Their krautrock is never straight forward, without bass and drums laying some kind of groundwork that is driving, motorik beat, but it is a rather a freefom jam with everybody doing their own bit, with Gromley's saxophone sparse but never quiet.
It is not necessarily a wild ride, and it's not a Trump bashing campaign, but his voice does pop up towards the end of the first side. Track titles are fake in as much there is not really separate tracks to be spotted, but they were in the mood to do some, such as 'Wish You Were Her'. It is strange, it is deliberate vague, it's jazzy, it's improvised, there are field recordings and spacious synths and samples.
All true, my dear, all true. Unlike the man in the White House, I only deal in writing what I hear and don't deal in alternative facts if it suits me better. A great soundtrack, so I noticed, to be playing when reading the new book by Bob Woodward. Her membership of the Idea Fire Company of which she is, along with her husband Scott Foust, a founding member and them together are the only members that continue until these days. With Graham Lambkin they had a trio called Tart, which was mostly active in the early parts of this century with two LPs, and concerts; more on this in a bit.
As before recorded at their own Wunderwaffen Studio, which is a fancy way of saying 'at home', and seeing Borecky play on a live Facebook stream, I know this is an upright piano, rather than see the Bosendorf Grand Imperial, which is the Rolls Royce among the piano, says Charlemagne Palestine.
Listening to this, I had the same feeling as before; what if Borecky had the chance of going into a big studio and record her work with a great piano? Would that improve the overall quality or would it perhaps take away some of the more charming naive quality her music now has? Boreckly plays lovely little melodic pieces. Think of Idea Fire Company's minimal approach more of which in a bit , strip away any electronics and follow the repetition of the keyboard. That's what Borecky does in her piano playing.
Obviously one easily thinks of Satie's piano works, but Borecky's compositions are even less complex I should think. I am not very well versed on the way the world of classical music works, and besides Satie, I would think of Debussy or Chopin, and I might be wrong. If there were room for Nils Frahm in this world, then I'd say; get Karla Borecky, get her a grand piano and let her do a recital.
Her work more than deserves it. Is there a good community to organize gigs and parties? Any fanzines or radio shows supporting the local scene? I mean underground, dirty and gritty sound, half legal places, good parties. On the other hand, the release for Kraftjerkz went very fast, it was only a few months from submitting the tracks to the actual release, so.. Oh I better not start preaching, it could go on for pages.
Maybe I could write a book one day. Can you tell us about your current line up and how did you guys started playing together? Jonas : Well there have been a few developments only quite recently, unexpected, just prior to the show we did in Helsinki at Deadly Beat.
Dee : Owen left the band unexpectedly and for personal reasons and so myself and Jonas decided to honour the date in Finland and see how we stood with live as we have quite a few good commitments booked this year already.
Jonas : But be assured, whatever course it takes, myself and Dee and very much looking forward to the forth coming live dates and producing new material for the next series of vinyl releases. I see no reason why certain circumstances should affect our development and output as a band. I studied music exclusively at college and University. Somehow I feel like it would take away something from the performance.
I want to be free out there in the wilds. I guess we were brought together for a mutual love of this genre and the eventual desire to put a band together which was something that seemed to be lacking from the scene. In which other music projects have been involved before and what drove you to form Noi Kabat? A good way to learn is just join a band. Its different now with the introduction of digital technology and what you can achieve in home recording and performance with computers and audio software.
At the time I was just starting to learn, it was more about getting hold of an instrument, drums or electric guitar or whatever and playing in rehearsal rooms, the physical element, not creating music on a computer. I went back to full time study which culminated in a post graduate in printmaking at the Royal College of Art. It was only with this band that I started to explore the potential of electronic drums.
Dee : I had essentially been attempting to form bands for years until this happened. When you live in London though I think every drummer has about 5 bands on the go and can never give you the full attention you desire.
This form actually started with me and Dorian Cox ex-Long Blondes and Owen was to produce it, for whatever reason though it ended up being us three. Would still have liked to hear what me and Dorian could have produced though. Dee : Noi Kabat means nothing and everything at once. For me anyone can make their own judgements. It is interesting going on tour and asking each country how they relate to it, what words it is similar to in their own dialect, how they pronounce it etc.
Can you tell us about the authors and the works from this period that influenced you? Jonas : I think the Science Fiction writing is something that is a particular interest of Dee. Although obviously I do enjoy similar literal genres which may go to feed the stylistic choices of the band, the atmosphere and feel.
So more phantasmagorical, magical than science fiction proper perhaps. Well, I worked in bookshops for many years and my interest and specialties were always golden age of science fiction and slightly obscure gothic, decadent classic literature.
I think there is a certain element of escapism in both types of literature that I am fond of. The way it translates in lyrical form or even musical form is a sense of impending collapse always bubbling at the surface, the singer is not the saviour though a la Ziggy Stardust, more the fore warner of doom, minor chords a semi tone apart. Everything should feel slightly confining and yet very distant with our music I feel.
A claustrophobic horizon perhaps. After a first self-released cassette in , a CDr split with Soft Riot on 0. Is it something important for you? Obviously the recording and production has been self initiated yes. And it is so accessible now to record well. I think the only difference that we have is that we have a live drummer where as most bands on the scene are a singer and synth player.
Jonas : We want to do things our way and work with people we respect and have a shared goal. It never feels difficult to write or work on new music. When we are able to take time to rehearse and make music it comes very naturally. Would you sign with a major label if you ever get the opportunity? Jonas : It would be great to share the burden of financing shows, tours, recordings etc… through a label that has more resources for these things. It would free us up to concentrate on the music. It has to be the right people.
I admire bands that have retained integrity throughout their career despite being tempted by commercial forces. I know a friend who signed for Fiction, so fame hungry and in that deal had all of their writing presence taken away from them. Ghost writers were brought in for them. Stupid deal to sign obviously. Labels like Mute or Rough Trade I think friends of ours have enjoyed and those would be the ultimate goal for me. I do most of the visual design for the band; sleeve artwork etc… But it is all done on consensus anyway which makes it collaborative.
Musically, I have been dabbling with making my own recordings.
25th Floor - Tiamat - World´s End (CD), Outro / K20e, Serenade For A Wealthy Widow - Fats Waller & His Rhythm - Serenade For A Wealthy Widow / Sweetie Pie, Never Too Late - Girlschool - The Collection (CD, Album), Shere Khan, The Tiger - Wayne Shorter - Atlantis (CD, Album), Cherry Wine - The Baker Brothers - Hear No Evil (CD, Album), Here And Beyond - Behemoth (3) - Zos Kia Cultus (Here And Beyond) (CD, Album), Temple Of Love ( Original Album Version) - Harriet* - Temple Of Love (Tuff Stuff Edit) (CD), Everybody Loves A Carnival - Various - Musikexpress 14 - EFA (CD), Questions Of My Childhood - Kansas (2) - Leftoverture (Vinyl, LP, Album), 20Six Hundred - Phantasmagoric (File, Album), Блеск В Её Глазах - Владимир Кузьмин - Две Звезды (CD), Taint No Use - Freddy Gardner - Sideman Supreme (CD) Reveal The Truth - Coldblooded - In Pain There Is Life. (CD)