MALON-"EL CAMINO" "DALE NEGRO", LP, 1972, ARGENTINA/FRANCE

Featuring the remarkable Miguel Abuelo (check out his killer work with Nada, if not in the know) it's sort of amazing to me that this pearl of the South American psych/prog scene has not yet been posted somewhere given the great number of blogs devoted to the topic, but there ya go. Malon were a Argentine/French unit whose sound is so exotic and sensual, you'll wish you could slather it on your skin. I hear everything from France's flute proggin' NWW-lister Jean-Cohen Solal and the badass bandito psych of Mexico's La Revolucion De Emiliano Zapata to Peru's Traffic Sound and even (don't sneer) instrumental Santana in here.

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QUAD-S/T, LP, 1997, UK

Gary Ramon of Sundial's first solo album under the Quad moniker is a sitar soaked miles deep kosmiche mindbomb, second only to his work on Sun Dial's "Other Way Out", which was, for my money, one of the top 5 best psych albums of the 90's. Essential.

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BLACKHUMOUR-ROMANCE, LP, 1990, CANADA

This Canadian audio artist sculpts thick disorienting mulches of vocal source material and arrays the results in ways that are alternately sense befouling and maddeningly static but always strangely compelling.

***************NEW LINK POSTED SEPTEMBER 2012***************

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SIMON STEENSLAND-THE SIMON LONESOME COMBAT ENSEMBLE, CD, 1993, SWEDEN

As requested, following my previous post of Simon Steensland's Zombie Hunter, here's his almost equally staggering debut album of doom laden R.I.O. brilliance

***************NEW LINK POSTED SEPTEMBER 2012***************

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Alejandro Jodorowsky-El Topo OST,LP,1972,USA

As requested!An extraordinary psychexotica soundtrack to a magnificent movie!

nothing more to say!

highly recommented!

***************NEW LINK POSTED SEPTEMBER 2012***************

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Note!this is ripped without seperating tracks,just as side a and side b.

Pierre Favre-Abanaba,LP,1972,France(Futura label)

Pierre Favre has been performing as a solo percussionist since the beginning of the Seventies. Since then, critics have been in accord about the exceptional quality of these solos. In describing Favre’s art as a soloist, one cannot speak of a demonstrative virtuosity with which the greats of percussion demonstrate their styles and techniques of accompaniment. On the contrary, with Favre one finds from the beginning a personal musical vision – to be understood in the same sense as a sonata is a meant for piano. For the first time in 1984, Pierre Favre composed for a percussionist ensemble which included Paul Motian, Fredy Studer, Nana Vasconcelos and himself (“Singing Drums“, ECM 1274). With “Singing Drums“, Favre endowed his vision with its first actual orchestral form. “Les Tambours du Temps“ take this development a step further. Although two of the four instruments in this new ensemble are horns, the group’s concept is essentially rhythmical. The 1984 quartet has condensed as i were to become the duo Pierre Favre-Lucas Niggli. Niggli differs from the percussionists of the Sixties generation through a personal expression which is energetic and flexible and requires no fashionable muscular performances. The percussionist duo creates the framework in which the saxophonist and clarinettist Roberto Ottaviano and the tubist Michel Godard operate. A unique uplifting power of song can be ascribed to the former, which casts a special light onto the underlying rhythmic landscape. The latter unites power and melodic finesse in his tuba, form which he easily brings forth the tonalities of large drums or those of the highest soprano scale. The intervention of both horn players punctuate, illuminate and comment on the percussionist discourse. Simplified and summarized: “Les Tambours du Temps“ exchange roles – often it is the horns which accompany the percussionists. Swiss – born drummer and percussionist Pierre Favre started working at the age of seventeen as a professional musician. He became a member of various European big bands, played with American and European jazz greats and led drum workshop throughout Europe, United States and Japan. His interest in complex drum rhythms and unusual sounds led him from Free Jazz ( Martial Solal, Don Cherry, John Tchicai, Albert Mangelsdorff, Michel Portal ) to World Music (Nana Vasconcelos, T.V. Gopalkrishnan). Inventiveness is one of the most distinctive features of his approach.
This is his solo LP from 1972 in the FUTURA label .Avantgardish jazz experimentations all through.Note that this is percussions and drums solo improvisations!

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Tom Dissevelt-Fantasy in Orbit,LP,1963/7,USA

Some of the earliest electronic recordings were produced, in the late-1950s and early-60s, by Netherlands-based composers/keyboardists Tom Dissevelt and technician Kid Baltran (born: Dick Raaijmakers). Their 1957 debut album, Song Of The Second Moon, included the groundbreaking electronic composition, "Sonik Re-entry". Although they continued to collaborate on an album, Glas in 1958 and a seven-inch single, "Electronic Moments" in 1959, Dissevelt had replaced Baltran with another technician when he recorded his 1964 album, Fantasy In Orbit.
Dissevelt's subsequent solo compositions were compiled and released as Intersection: Orchestra And Tape Electronics. As of 2003, Dissevelt was working on a CD overview of Dutch popular and applied electronic music from 1956 to 1966. ~ Craig Harris, All Music Guide

An astronauts musical impression while orbiting the Earth.Electronic compositions of Mr. Thomas Dissevelt.Songs of the Second moon LP coming very soon!

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Below find the 2nd issue from 1967 artwork

John Pfeiffer-Electronomusic (9 Images),LP,1968,USA

Very little info available about this except that John Pfeiffer was a producer at RCA first working on the technical side, as a design engineer.He studied music and engineering at the University of Arizona and Bethany College in Lindsborg, Kan. After naval service during World War II, he moved to New York, where he attended Columbia University and worked as a jazz pianist before joining RCA in 1949. He worked on teams that developed stereo and quadraphonic recording techniques. He was also a composer and combined his interests in music and engineering in "Electronomusic," an album of his own experimental electronic music that he recorded for RCA in 1968Υ. the instruments are evidently his own inventions - full scan of LP cover and back contain nores

Inharmonic Side-Band! Contraformer! Programmer and Sines! Parametric Blocks! Metric Transperformer! Alphormer and Set! Duotonic Transform! Sequential Sines! Simpliformer! No idea who this guy is or what he used to make the weird sounds contained on this one but it's definitely an electronic curiosity. Somewhere between the avant-garde and Tom Dissevelt's clever poptronic music but with a weird, unique vibe.

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Nik Raicevic-Beyond the End... Eternity,LP,1971,USA

Another Nik Raicevic oddity!Here's an amusing story about this LP ,i found at RYM site:
"This has got to be one of the most unusual electronic albums I have ever heard! Talk about a forgotten relic from a forgotten era! Even the early works of Tangerine Dream on the Ohr label takes a back seat compared to this album from Los Angeles-bases synthesis Nik Raicevic. His albums have been pretty much known only by the most die-hard and fanatical LP collectors, those looking for the off-the-wall stuff that's never seen a CD reissue (and not likely to). I was exposed to Raicevic back when I was a small kid in 1979. My dad had a copy of _Magnetic Web_ (1973) for about a week and got rid of it. I liked it, but for some reason he did not. It took me years to find out who did _Magnetic Web_, and once I found out, I discovered it was Nik Raicevic. Little is known of this guy (finding info on him online is next to impossible), but one thing for sure was when he quit the music business around 1976, he sold his big modular Moog to none other than Steve Roach, then a former racecar driver, but later a big name in the New Age/electronic genre (yes, the same guy who teamed up with Australian didgeridoo player David Hudson in the 1990s, although of course he had no albums out in '76). Around the time he gave up on music, he did provide some sci-fi artwork to an Iowa-based pomp rock band called Locust (who released the album Playgue in 1976). Also I found out he provided some percussion on the Rolling Stones' Goats Head Soup album, which I find extremely surprising, because the Stones were so much more mainstream than anything Raicevic was recording. I was trying to figure out why my dad got rid of _Magnetic Web_ so fast in my dark recesses of my early childhood. While much more recently the opportunity for me to get that album hadn't arised for me quite yet, I was given the chance to get this earlier release, _Beyond the End... Eternity_, and I got a copy! It all makes sense, if the "music" on this album is anything to go by, it's little wonder why my dad got rid of _Magnetic Web_, it must've been too far out for his likings. _Beyond the End... Eternity_ was Nik's first album after being kicked off the Buddah label following the release of _Head_ (the album with the coloring book included). This album was released on Narco Records, and it's basically a sound effects library album. It's nothing but electronic bleeps and laser sounds, with some droning Moog. Nothing remotely resembling a tune or a melody, Jean Michel Jarre or later Tangerine Dream this is not. The album cover is truly a time piece, with that trippy sci-fi cover done by Raicevic himself. The minute you hear the opening cut, "Beyond the End", you hear mainly electronic wailing sounds that sounds like sirens. The next cut, "To Go, To Do, Is to Be" features that odd droning Moog and more sound effects. The rest of the album is more or less the same, bearing titles like "The Mist that Drifts Away", "Deathless", "The Wanderer, "Life's Timelessness", and "Eternity". This is truly a wonderful album to clear parties with, because of all those relentless electronic effects. I also love that raw analog sound. This is truly one album you'll either give a one or a five star rating, but because I like this off-the-wall stuff, I give it a five star rating. And to think three more albums will be released from him before dropping out of the music business. None of his albums have ever been reissued on CD, so you have to get it on LP (or 8-Track). I know my parents would hate this album (like they did _Magnetic Web_), but that's not my problem, if you're looking for the most off-the-wall stuff, give this album a spin.

***************NEW LINK POSTED SEPTEMBER 2012***************

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David Borden-Music for Amplified Keyboard Instruments,LP,1981,USA

David Borden (b. December 25, 1938 in Boston, Massachusetts) is an American composer of minimalist music. In 1969, with the support of Robert Moog, he founded what is considered to be the first synthesizer ensemble, Mother Mallard's Portable Masterpiece Company. In addition to his work with electronics and the Mother Mallard ensemble, David Borden has written music for various chamber and vocal ensembles. He is also an accomplished jazz pianist.
Borden's compositions are heavily influenced by the repetitive minimalist style of Philip Glass, Steve Reich, and Terry Riley. Borden is also very interested in counterpoint, best demonstrated in his large scale series of works The Continuing Story of Counterpoint, Parts 1-12.
David Borden was commissioned to write the score to the 1973 film The Exorcist by director William Friedkin. However, less than a minute of Borden's music was actually used in the film (Mike Oldfield's Tubular Bells was prominently featured on the soundtrack instead.)
Borden participated in the many activities surrounding the 30th anniversary of the founding of Mother Mallard's Portable Masterpiece Company in 1999, including several live performances and CD reissues on the Cuneiform record label.
He is currently the Director of the Digital Music Program at Cornell University.
From Wikipedia

Thanks to Dr Wommm for the sleeve link.

***************NEW LINK POSTED SEPTEMBER 2012***************

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Jon Appleton & Don Cherry- Human Music ,LP,1969,USA

At the dawn of the 1970s, ‘going electric’ had become commonplace for jazz musicians; ‘going electronic’ was a different matter. Many musicians plugged in, filtered and distorted their keyboards, basses and horns, reaching for an unholy, ecstatic din or the youthful muscularity of the groove, but few wholeheartedly embraced the abstract space of studio electronics or took up the challenge of how to improvise with them.
Enter Don Cherry, who, if anyone, was well-suited to the task of combining improvisation and electronics. Cherry had spent the better part of a decade fleshing out Ornette Coleman’s approach to collective composition, and he had also started to build his own vision, one in which whole musical styles and cultures merged and themselves became modes around which to improvise.
This adventurous spirit led to an invitation to act as artist-in-residence at Dartmouth College. The invitation came from Jon Appleton, himself a composer and, more importantly, the builder of the college’s electronic music studio. Their collaboration over a two-week period in February 1970 gave us Human Music, originally released on producer Bob Thiele’s Flying Dutchman imprint, and now re-issued by Water.
Electronic space is something we today conceive of as hyper-flexible, a highly malleable dimension where everything becomes a texture, a timbre, where music gives up its cultural signifiers and becomes mere sound. So with Cherry on board and Appleton at the controls, all the ingredients for what we could call one of the founding documents of electro-acoustic improvisation were present; in this case, though, rough prototype might be more apt.
For one, the interaction between man (Cherry and his pocket trumpet, kalimba, hand percussion and voice) and machine (Appleton’s use of Robert Moog’s wall-system synthesizer) produces very little flow. The motion is stop and start, with Cherry producing sounds that soon receive a reply from Appleton’s set-up. The liner notes tell us that Appleton’s electronics were triggered by what Cherry played. This results in dialogue that feels one-way, such as on “Oba”, where Cherry produces cascades of half-melodies on his trumpet and the electronics shadow his playing, adding layers of effects, but the layers are oil and water, not a compound.
On “Abo” a sonic compound does appear, with Cherry’s kalimba, flute and manipulated vocalizations blending with Appleton’s erratic signals, pitch-bends and accents. Here the essentials of improvisation - give-and-take, transformative dialogue and the unifying of diverse voices – appear, and the use of electronics to achieve those essentials bears fruit. Unfortunately, on Human Music, this synthesis is often lacking, and it seems that Cherry and Appleton’s ideas outstripped their technology, and their execution.
By Matthew Wuethrich

From Dusted Reviews

Note: link removed as this has recently been reissued by Water Records

CORRECTED R.L. CRUTCHFIELD'S DARK DAY LINK UPLOADED

In what will now hopefully prove to be the last time that I'll need to post a message of this sort, I've corrected the R.L. Crutchfield's Dark Day link that, as many had complained, had loud extraneous noise on it, much as my previous Honeyelk upload did. While I've not yet sussed out what the hell caused both of these uploads to crap out (while all my other recent uploads seem to work fine), from this point on, I'll be diligently sifting through the tracks I intend to upload once they're converted to MP3 format to make sure that there aren't any screwups of this sort in the future...

JAC BERROCAL-HOTEL HOTEL, LP, 1986, FRANCE

One of this idiosyncratic French musical provocateur's finest moments and laden with ace contributions from an international cast of oddballs including Pierre Bastien and Clive Bell, the provisional constructs Berrocal and co. jerry-rig around the free floating music signifiers that comprise Berrocal's aesthetic M.O. are slippery, beautiful things, riding across the seams of art song, meditative orientalia, drunken free jazz bleat, dark electropop, hazy jazz reverbed into Hassell-esque fourth-worldisms and other less readily peggable tactics. Elliptical higher key work from a master.

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IMP.INK.-S/T, LP, 1980, SWEDEN

A charmingly confounding lost slice of Swedish underground experimentation that's sitting in a curious little corner of it's own invention. D.I.Y. explorations of the cosmos are intriguingly constrained by technical limitations into assuming multiple odd postures only to be swept asunder by sudden interventions of squalling free improv, soundbites from The Lone Ranger, lopsided skeletal jazz rock, demented vocal looning and sundry other maneuvers expressly designed to screw with your brain.

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NARWAL-THE ALBUM, LP, 1991, NETHERLANDS

This wonderful psychedelic electronic side project of Holland's De Fabriek slowly wraps a thick hazy blanket of sense saturating kosmiche gloop around your frontal lobes in a way that begs comparison to HNAS-related projects like Damenbart and Mimir.

NEW LINK!

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TRIPTIC OF A PASTEL FERN-STAR VERSUS CUBE, 12" EP, 1991, USA

Brain rattling weirdity of a decidedly singular sort, TOAPF was the project of one Treiops Treyfid, who seemingly faded into oblivion after firing this crazed missive into the maw of a disinterested subcultural milieu. Ranting and raving, mutated electronic textures, metallic cacophony rhythms and a Residential touch in the overarching approach to aspects both humorous and claustrophobic.

***************NEW LINK POSTED SEPTEMBER 2012***************

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HIDEKI MATSUTAKE/CHOJURO KONDOJ/MASASHI KOMATSUBARA-EDO, LP/CD, 1978, JAPAN

Obscure reissue from 2000 of an equally obscure late 70's "old-meets-new" electronic concept album, Matsutake, Kondoj and Komatsubara herein concoct a fairly enticing fusion of 70's Tangerine Dream-style cosmic electronics and Japanese traditional instrumentation, hence the title "Edo". The legitimately tripped and the patently cheesy are pretty much kissing cousins here, but if you're susceptible to such miscegenation, you could do far worse than cocking your ear this way.

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NEW CORRECTED LINK FOR HONEYELK HAS BEEN POSTED

Thanks to anonymous for pointing out that there was a defect in the Honeyelk link that caused a loud buzzing noise. I haven't the foggiest idea what caused it to happen, but it's now been re-upped in corrected form.

R.L. CRUTCHFIELD'S DARK DAY-EXTERMINATING ANGEL, LP, 1980, USA

Unlike the candy coated minimal synth immediacy of Dark Day's Window LP, which I posted a few days back, Robin Crutchfield's post-DNA unit are here trafficing in something rather more stark and eerie, and for me it's every bit as winning. I get a strong whiff of both early Tuxedomoon and Monitor in their command of tension-building and the somewhat processional quality of Dark Day's motion here and it's a lovely thing to behold.

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GEORGES GRUNBLATT-K-PRISS, LP, 1980, FRANCE

Grunblatt was a member of Heldon in their earlier days and here on his 1980 solo, he's helped out by the entirety of Heldon's late model line-up (albeit not always at the same time), meaning, Pinhas, Patrick Gauthier and Heldon's ace rhythm section of Francois Auger and Didier Batard as well as Weidorje guitarist Michel Ettori. For Heldon fiends, this makes this something of a holy grail, but there are reasons beyond just K-Priss' line-up to bestow upon it such wild praise. The other principal reason is that this is not just great French electronic prog, it's great *cheese* as well. I wouldn't necessarily call this disco-prog, but it's got all sorts of highly winning and amusing period details that really sends this over the top for me on multiple levels.

***************NEW LINK POSTED SEPTEMBER 2012***************

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