fuck muso.

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happy thanksgiving you fucks.

channel one ulysses.

Teranga Beat proudly presents Bai Janha alias "Sweet Fingers" and his psychedelic steamroller, Karantamba. Composer, arranger, guitar player in Guelewar and Ifang Bondi, Bai Janha is undisputedly the most important musician to have come from Gambia. Band leader of the groups Black Star, Whales Band, Fabulous Eagles and Supreme Eagles, founder of the group Alligators who later became Guelewar, Bai is the one who created the unique psychedelic sound in the region of Sene-Gambia, mixing traditional compositions with soul. His musical innovations contributed to the domination of Afromanding music in West Africa for more than a decade. This record presents Bai Janha with his last group, Karantamba, a school for young musicians, in a totally unreleased recording, recorded in Thi+¨s (Senegal) at "Sangomar" Club in 1984. The double gatefold LP's liner notes and CD's booklet include more information and photographs, outlining the living legend's musical career and the wicked percussive rhythms and compositions of this album. - amazon

so so so so good fellas. if anyone has the extra lp only bonus track get at me.

n-sub ulysses.

Jay Richford & Gary Stevan (aka Stefano Torossi).  Exact reissue of the beyond rare Carosello release.  A delightful and cinematic groovy crime-jazz-funk album filled with breaks & beats,  deep bass,  electric piano, flutes, horn stabs, Wah-Wah guitars & exquisite string arrangements reminiscent of Nino Nardini/ Roger Roger’s Stringtonic’s mindbenders but also Janko Nilovic at his best. Definitely one of the holy grails of library music. - golden pavilion records

i don't know if flash ever posted this, i don't remember if he did or didn't, not trying to step on toes. & i know this isn't terribly original amongst the internet's trilluminati, but hey, i've been listening to this record a lot lately, & maybe some new faces will be turned on by this gem. real fucking groovy shit right here. perfect for sunday trips if yr pickin' up what i'm puttin' down.

s.s. exploder.

Guruh Gipsy is an Indonesian band from the mid-1970s who fused American and European progressive rock with traditional Balinese and Javanese music.

Guruh Gipsy is basically a collaborative effort between Guruh Soekarno Putra – the fifth child of Indonesia’s first President, Soekarno – and Gipsy. Guruh was born in Jakarta, 13 January 1953 and since his childhood her mother (Fatmawati) reckoned that he had strong passion for art and strong sense of accomplishment. Unlike his sister, Megawati, whom later became Indonesia’s President, he pursued his dreams in art including music and choreography. He later established his own dance and music group called “Swaramaharddika” which was very famous in the 70s and 80s.

While Gipsy was basically a music group which its members are Nasution brothers: Gaury, Keenan, Odink, and Deby. It was previously established in 1966 under the name of Sabda Nada with members: Ponco Sutowo, Gaury Nasution, Joe-Am, Eddy, Edit, Roland and Keenan Nasution. They were very familiar with Balinese music and they ever did a gig at Bank Indonesia combining western with Balinese music with gamelan group led by Wayan Suparta Wijaya. In 1969 the band renamed themselves as Gipsy and the new line-up was established: Onan, Chrisye, Gaury, Tammy, dan Atut Harahap. They did cover for 70s groups like Procol Harum, King Crimson, ELP, Genesis and Blood, Sweat & Tears. In 1971 the line-up changed again: Keenan, Chrisye, Gaury, Rully Djohan, Aji Bandi, and Lulu. With this line-up the band played a gig in New York, USA.

This collaborative effort called GURUH – GIPSY was made possible due to Guruh strong passion for combining ethnic music of Bali based on pentatonic notes and western music which is based on diatonic notes. The effort took such a long time as it required sixteen (16) months of recording time. The elapsed time was used by Guruh for various complex activities, i.e. financing the project, scheduling with the only studio available at that time with 16-track system (Tri Angkasa), composing the music with Keenan Nasution (drums), Odink Nasution (guitar), Abadi Soesman (keyboards), Roni Harahap (piano/organ), and Chrisye (vocal). Actually, total studio days was 52 days.

The recording session was started in July 1975 and finished in November 1976. The long duration and difficulties faced during recording were due to many personnel involved during the session. It was not just Gipsy band members but it included violin players (Suryati Sumpilin, Suseno, and Fauzan), cello players (Sudarmadi Bambang Purwadi), contra bass (Amin Katamsi), flute (Suparlan), clarinet /hobo (Yudianto), and a group of Bali musicians. In addition to these there were backing vocals: Rugun and Bornok Hutauruk.

Music arrangement combining western music and Bali traditional gamelan required tight precision as the two had different spectrum in terms of notes and chords. For this purpose, Guruh spent a lot of time outside the studio to learn the subtleties of western music as well as Bali traditional music. He strived to find the best harmony that blended symphonic progressive rock with Bali tradional gamelan music.

His efforts paid off because the result was a brilliant album that was totally splendid!! It’s masterpiece of symphonic progressive rock album with experimental music. - lastfm

if those reyog tapes i posted became a rock band, then this would be that glorious majesty.

love is a bull market.

Dixon, who died last year at 84, is typically described as a force in the free jazz that emerged in the1960s. He was that, but Intents and Purposes defied labeling when Dixon recorded it more than four decades ago. This long overdue reissue confirms that the album withstands categorization. Its daring and forthright iconoclasm has substance that outlives much music that was conceived in protest or defiance in the roiling atmosphere of that era.
Dixon's trumpet and flugelhorn improvisations flow, jab, dance, flutter, growl and brood through, around and over the other musicians. In some cases, the other musicians are Dixon himself, overdubbed. The first of the two brief Nightfall Pieces has multiples of Dixon and flutist George Marge creating a mesmerizing soundscape. In the second, Dixon ruminates in call-and-response with himself across the stereo channels. Favoring low notes on his own instruments and those of others, he employs the ten-piece group in Metamorphosis to create rich substrata voicings. Bass trombone, bass clarinet, cello and two double basses are among the instruments that provide oddly reassuring contrast with Dixon, alto saxophonist Robin Kenyatta and bass clarinetist Bayard Lancaster, whose solos search almost to the edge of desperation. Metamorphosis includes written passages of subtle complexity that it would be easy to overlook in the passion of the performance.
In Voices, whether he achieves it on paper or by contrivance in the studio, Dixon manages to give his trumpet, Lancaster's bass clarinet, Jimmy Garrison's bass, Catherine Norris's cello and Robert Frank Pozar's drums fullness of sound one might expect from an ensemble half again bigger. Dixon's choice of musicians was eclectic; avant gardists like Kenyatta, Lancaster and Garrison alongside the mainstream trombonist Jimmy Cheatham and Marge, a reliable reed specialist of the New York studio scene.
To his credit, reissue producer Jonathan Horwich saw to it that the Dixon album looks like the original RCA Victor LP, down to the striking cover shot. It is a reminder that record packages were once a pleasure to handle and the notes easy to read. The liner notes are included as an insert that unfolds to nearly the size of an LP sleeve. More important, the quality of the sound recorded in RCA's storied studio B is flawlessly remastered. In a brief addendum to the notes, Horwich writes of Intents and Purposes, ''It stands as one of the most important and revolutionary musical expressions of the 20th century.''
That may be true.
''There was nothing like it before 1966/67 and there has been nothing like it since.''
That is true. --Doug Ramsey, Rifftides, 3/28/11 - via amazon (i know i'm lazy)

this is by far one of my favorite albums, right up there with mingus' black saint & the sinner lady. i could sum up the haunting beauty of this lp in two words: midnight jazz. it screams to be played in the dark dark hours of the night when yr spiritual quest is at it's most needed.

presidents of vice.

lo-fi casio over muddy drum beats recorded on a vhs cassette circa 1983. geneva jacuzzi is a dream boat. utterly perfect post punk record for the season.

cool senior high school.

**A super rare vinyl outing for one of the 20th century's most revered electro-acoustic composers, housed in debossed jacket designed by Stephen O'Malley and cut to vinyl by Rashad Becker at Dubplates & Mastering** Editions Mego's unarchiving of the unparalleled INA GRM catalogue reaches a momentous double header by Bernard Parmegiani - one of the 20th century's most revered and important electro-acoustic composers. Born 1927, Parmegiani started as a sound engineer for French TV in the early '50s, establishing a connection between sound and vision which he would explore to the deepest degrees after joining Pierre Schaeffer's Groupe de recherches musicales in 1959 for a two year masterclass. With his first works composed in 1962 and released in 1969, he essentially headed up the 2nd wave of sonic pioneers, following the foundational musique concrète of Pierre Schaeffer and Pierre Henry into a brave new world of electro-acoustic (or acousmatic) sound. Here we find two of his seminal works, pieces of ultra-vivid, immersive, visceral and shocking sound organisation marking the generational distinctions between his tutor's creations, and those of the next generation, now ready to inform future musical explorers. We've lived with Parmegiani's incredible 'L'Œuvre Musicale' CD box set for a few years now and it has offered us something new every single time - it's a real treat to finally have some of this work on vinyl, making this one of the most crucial of all of the concréte reissues of recent years. Simply put - it's a must-have. - boomkat

how could i tease y'all talking about this & hoarding it to myself & a few close comrades. so here you go. it's going to melt some fucking minds fershure brahs. & i'm going to go back now to hanging out with my cat & listening to my prurient cassette & smoking weed. have a good night.

ulythium.

i bought this cassette fairly recently, & it hasn't left my tape deck since. i probably listen to this at least four or five times a day the entire way through. vangelis is absolutely in top form on this one. although never having traveled to china before 1979, he took it upon himself to use the full array of his synth wizadry to construct beautiful washes of soft sound inflected with "far east" sounds. there are few moments of tension to build up the more contemplative moments to make it that more effective of a whole album to listen to. don't skip any tracks or otherwise yr missing out boss on all these subtle nuances like subaquatic bass notes pushing up against synth swells. a fucking rager right here.

ps not that y'all care about shit like this, but of course this is in glorious 320 to capture the full spectrum of sounds.

the sound of young america.

*Much needed reissue of this early computer music classic, recorded between 1977 and 1980 and one of the first albums to feature music produced almost entirely with digital synthesizers. Remastered from the original tapes and cut to vinyl at D&M Berlin - made in an edition of 700 copies only, initial copies come on strictly limited white vinyl* Digitalis dig deep to unearth and reissue one of the first albums to be produced almost exclusively on digital synthesizers. The work of Canadian composer and video artist, Jean Piché, his densely layered and harmonically rich 'Heliograms' was pieced together between 1977-1980, inspired by the music of Terry Riley, Steve Reich and Lou Harrison and enabled by new computer and digital synthesis techniques developed at Simon Fraser University (SFU) in Vancouver, BC, and Stanford University, California. It was released in 1982 by a small Canadian record label which specialised in classical music, but as history would have it, the label went bankrupt pretty much as soon as it came out and the treasure was obscured from the view of all but the most ardent electronic music fiends. Now rescued from the annals, we're presented with three solemn, star-gazing wonders which really need to be heard by a wider audience. The first piece and highlight, 'Ange' constitutes sounds created on the Systems Concepts Digital Synthesizer, aka the Samson Box, during a residency at Stanford University Center for Computer Research in Music and Acoustics (CCRMA) facilities. This prototypical system was designed to synthesize complex musical events in real time using FM synthesis, and once melded with the voices of Piché and Joanna Anonychuk back at the analog studio of SFU, its oceanic waves of microtonal frequency drift recall Popol Vuh's ultra-lucid and celestial elevations. It's joined by the more tentative, tingling microtonal piece 'Lamerlaube' on the A-side, while the two-part B-side returns to the Interactive Compositional System developed by Barry Truax at SFU. By contrast, it presents much more rhythmically and instrumentally diverse facets of his work, incorporating ecstatic organ bluster and moments of darkly blissful, Badalamenti-esque melancholy. It's a truly striking, historically important release, reminding us of everything from Suzanne Ciani to Vangelis, Leyland Kirby, Popl Vuh and beyond - now subtly enhanced by James Plotkin's remaster and a faithful vinyl cut at Berlin's D&M. - boomkat


cuz imma helluva guy. just got reissued not too long ago, a fucking beautiful engaging behemoth of a record. if yr into library, kosmische, electronic bleepbloopery or just plain ole fashioned mindfucks of music, then this is up yr alley u guise. i have listened to this album at least twenty or thirty times now, & it just gets better & better with each listen. the nuances are subtle, but hit you like a train once you discover them. i can't hype this record enough. this & that robert turman tape are all i've been listening to.

the sound of jazz to come.

library music has become a strong obsession of mine over the last few months now, and this is a fucking classique of the genre. anyone wanna hook a brother up with those sweet grm reish's comin out? i already have the parmegiani record. flash, ghostcap & owl, i'm lookin yr way my dudes.

the kingdom of heaven must be taken by storm.

sorry i was getting a hair cut.

yr my miss washington dc.

The original MGM soundtrack to this 1956 science-fiction classic is every bit as classic as the film itself! Louis and Bebe Barron created nearly every sound on the 23 selections electronically-which was unheard of during a time when most movie scores were entirely orchestral. In fact, this was so groundbreaking that they made their own synthesizers! Enjoy it now for each artificially generated plink, click, pop, whistle and roar.- amazon.com

fuck this is amazing. seriously some next level shit. i've been coming to realize that my contemporaries (& i suppose myself included in this) are mining the dead corpse of something that people perfected thirty to fifty years ago. download this & have yr mind blown.