3
I was hit with a huge wave of nostalgia recently, after hearing the first track of a Butane mix posted on mnmlssgs. The sound of a ticking clock transported me back 17 years to a bedroom in South London, taping Coldcut's Solid Steel show off Kiss FM, back before they and their label Ninja Tune became a by-word for shit trip-hop for stoned home counties students. With this as my motivation I dug out and digitised this show, guest presented by Dave Cawley of Fat Cat Records — at that time not yet a label, just a lovely little record shop selling electronic music in a Covent Garden basement — where I'd go and spend all my money whilst not finishing projects at college round the corner. Dave worked in the shop along with Alex Knight and Lee Grainge (who collaborated with Hazel Bligh under the name Human, releasing 2 EPs, which I'll post at a later date).
This journey starts in Detroit with Juan Atkins and ends in LA with The Doors, spanning continents and decades between.
Tracklist:
Cybotron — Clear — 1983
John Carpenter — Christine — 1984
Kraftwerk — Autobahn — 1974
Ryuichi Sakamoto — Riot In Lagos — 1980
Reload — Le Soliel Et La Mer — 1993
Aphex Twin — Delphium — 1992
Sandoz — Digital Lifeforms — 1993
The Black Dog — Cost II — 1993
Mystic Institute — Ob-Selon Mi-Nos (Global Communication Remix) — 1993
Peter Gabriel — The Feeling Begins — 1989
Killing Joke — Change (Youth remix) — 1992
Beaumont Hannant — Tastes And Textures Volume 2 — 1993
Nicky Skopelitis — Tarab — 1993
The Doors — The End — 1967
Download
This journey starts in Detroit with Juan Atkins and ends in LA with The Doors, spanning continents and decades between.
Tracklist:
Cybotron — Clear — 1983
John Carpenter — Christine — 1984
Kraftwerk — Autobahn — 1974
Ryuichi Sakamoto — Riot In Lagos — 1980
Reload — Le Soliel Et La Mer — 1993
Aphex Twin — Delphium — 1992
Sandoz — Digital Lifeforms — 1993
The Black Dog — Cost II — 1993
Mystic Institute — Ob-Selon Mi-Nos (Global Communication Remix) — 1993
Peter Gabriel — The Feeling Begins — 1989
Killing Joke — Change (Youth remix) — 1992
Beaumont Hannant — Tastes And Textures Volume 2 — 1993
Nicky Skopelitis — Tarab — 1993
The Doors — The End — 1967
Download
3
Whitehouse specialise primarily in extreme electronic music, a genre they pioneered in 1980, which in the late 80s greatly influenced, if not spawned, a wave of (in particular Japanese) 'noise' groups in addition to many other musicians in different fields. Early trademark sounds were layers of white and pink noise, subsonic bass sounds and ferocious electronic effects, with or without vocals. Since then they have also experimented with analogue and digital synthesis, and more recently, unconventional acoustic rhythmic elements. read more
Right To Kill, Dedicated To Dennis Andrew Nilsen (Come Organisation, 1983)
For more info on Whitehouse and 'Right To Kill' take a look at a good post on Dennis Cooper's blog
2
also...
HERE
THE INNER SPACE: AGILOK & BLUBBO (1968)
The unreleased soundtrack to Peter F. Schneider's 1968 political satire. Psychedelic, stoned, agressive proto-kraut vibes courtesy of Irmin Schmidt, Holger Czukay, Jaki Liebezeit, Michael Karoli
(known a year later as 'Can' with the addition of Malcom Mooney and Damo Suzuki)
“Agilok & Blubbo is a faint, naïve and very interesting glimmer of Can before they were Can as all the musical ingredients are already in place -- the intro of sooth-drone Farfisa joined by a tape kebab of backwards overdubbed flutes; the electric guitar switches between a clearly-defined yet oddly tuned gypsy main riff and barely controlled burnout fuzztone soloing; the held-back yet insistent bass, the consistent rhythms and even Czukay’s edits between the main theme and interrupting cutaways all maintain in embryonic form the shape of THE CAN to come...” Head Heritage
HERE
0
Named for a character on the '60s TV show Flipper, Porter Ricks specializes in subaquatic dub techno, providing the closest touchstone to the static hum and fuzzy beatwork of their quasi label-mates Basic Channel. A collaboration between ambient maestro Thomas Köner and beatmeister Andy Mellwig, the duo debuted with three 12-inches on the Basic Channel sub-label Chain Reaction during 1995-96. Filtering out any of the harder effects from Detroit techno and Plastikman material with what sounded like an affinity for undersea SONAR frequencies and wind-tunnel ambience, the singles became quite popular with the growing experimental techno scene of the mid-'90s (and even influenced Plastikman in return). By the time of the 1996 CD collection BioKinetics on Chain Reaction, Porter Ricks had moved on to Force Inc with the double-pack Redundance EP, plus the singles "Spoil" and "Exposed." The duo also recorded a single for Barooni before collecting their Force Inc material onto a self-titled 1997 CD. Two years later, the Techno Animal collaboration Symbiotics appeared. Köner also has a long-running solo career, with a half-dozen albums recorded for Barooni. ~ John Bush
PORTER RICKS - ZEBU 10" (1996, Barooni)
& more
0
a mix Hisham Mayet made for the Wire magazine back in April
The Playlist:
1. The Big Bamboo - Mighty Panther
2. Rookoombey - Black Czar
3. Down The Road - The Tiger
4. Jamaica Mermaid - The Wigglers
5. Uncle Jo' Gimme Mo' - Wilmoth Houdini
6. The Gold In Africa - The Tiger
7. Love Alone - Lord Flea
8. Black But Sweet - Wilmoth Houdini
9. My Trip To Seville - Black Czar
10. Zingue Talala - Atilla The Hun
11. Speaking In Tongues - Cult Music Of Trinidad
DOWNLOAD
Sublime Frequencies
the Wire
3
Infinity Window - Artificial Midnight (Arbor, 2009)
"...from the duo of Taylor Richardson (Prehistoric Blackout/Purple Haze) and Dan Lopatin (Oneohtrix Point Never). Full colour cover art from Robert Beatty of Hair Police. Two sides of lucid synth/drone magic that crosses the heavy, devotional air of classic Popol Vuh with the smokescreen style of early Double Leopards. Well beyond ‘mere’ drone/loop automating, this is deeply focussed, sensual tone float that combines the most mind-altering new age specifics with Industrial grime and sensual dream logic."
(sensual dream logic?)
Infinity Window - Artificial Midnight (Arbor, 2009)
"...from the duo of Taylor Richardson (Prehistoric Blackout/Purple Haze) and Dan Lopatin (Oneohtrix Point Never). Full colour cover art from Robert Beatty of Hair Police. Two sides of lucid synth/drone magic that crosses the heavy, devotional air of classic Popol Vuh with the smokescreen style of early Double Leopards. Well beyond ‘mere’ drone/loop automating, this is deeply focussed, sensual tone float that combines the most mind-altering new age specifics with Industrial grime and sensual dream logic."
(sensual dream logic?)
0
v/a KOMPAKT 1 (PROFAN, 1996)
As a musician, Cologne figurehead, Wolfgang Voigt is better known under his endless pseudonyms – be it his more famous alias as MIKE INK, LOVE INC, M:I:5, STUDIO1, or GAS, he set the tone of trend in the early-mid ‘90’s for creating total anonymity in techno music. Credited for literally kicking off the German acid revival during 1991-1992 as MIKE INK with the single “Dialogue” (Trance Atlantic) he went on to refine a new sound of acid techno by matching the classic approach at time to techno with German folklore-ish rhythmic patterns and sounds (eg. Shuffle) thus liberating German techno from cloning what was happening in the United States at that time.
From there he reoriented his focus on the essentials of a distinctive brand of German minimalist techno by launching the Profan and Studio 1 labels, still recognized as sources of purist techno music due to his analytical, almost religious affection for the four-on-the-floor beat. This defined Voigt’s output far against the dominant trends of hyper-hybridized post-rave dance music and into a techno dimension all his own.
By the mid-1990’s Voigt had reached a temporary peak in his career. Regardless, he never really stopped pursuing and developing his true creative music passion. Going back to the 1980s, Voigt began working under a self realized concept he named BLEI. Taking in the most varied sound models, he began to extract elements from classical, polka, or brass music, and along with electronic pop music and German Schlager sounds form a distinguished and unique pop music style that would fit in with the subculture at that time. In the early 1990s, influenced by Techno, VOIGT began to experiment with a timbal marching through strongly alienated, free-floating string loops. These elegiac tracks, their lack of beginning nor end beginninglessness and endlessness, their intoxicating, smooth and partly amorphous structure sounded to him like evaporating gas and thus, GAS music was born. GAS is the vision of a sonic body between Schönberg and Kraftwerk, between French horn and bass drum. GAS is Wagner goes glam rock, and Hansel and Gretel on acid. GAS is there to take you on a seemingly endless march through the under woods - and into the discothèque - of an imaginary, nebulous forest. The 2008 box set release of “Nah Und Fern” compiled the complete GAS releases originally released on Mille Plateaux and was brought forward to massive critical acclaim. Leading experimental collective Raster-Noton also issued in 2008 an art-book featuring Voigt’s visual work inspired by GAS and an accompanying CD of unreleased music dating back to the early moments of GAS. Inspired by the overwhelming response, Voigt presented the first live show of GAS in late 2008 in Leipzig and continues to perform around the world.
He remains active both live and in the studio with long-time production partner, Jörg Burger as Burger/Voigt (once Burger/Ink). More information on them is available on the Burger/Voigt artist page.
It goes without saying that Wolfgang Voigt is a co-founder of Kompakt.
v/a KOMPAKT 1 (PROFAN, 1996)
As a musician, Cologne figurehead, Wolfgang Voigt is better known under his endless pseudonyms – be it his more famous alias as MIKE INK, LOVE INC, M:I:5, STUDIO1, or GAS, he set the tone of trend in the early-mid ‘90’s for creating total anonymity in techno music. Credited for literally kicking off the German acid revival during 1991-1992 as MIKE INK with the single “Dialogue” (Trance Atlantic) he went on to refine a new sound of acid techno by matching the classic approach at time to techno with German folklore-ish rhythmic patterns and sounds (eg. Shuffle) thus liberating German techno from cloning what was happening in the United States at that time.
From there he reoriented his focus on the essentials of a distinctive brand of German minimalist techno by launching the Profan and Studio 1 labels, still recognized as sources of purist techno music due to his analytical, almost religious affection for the four-on-the-floor beat. This defined Voigt’s output far against the dominant trends of hyper-hybridized post-rave dance music and into a techno dimension all his own.
By the mid-1990’s Voigt had reached a temporary peak in his career. Regardless, he never really stopped pursuing and developing his true creative music passion. Going back to the 1980s, Voigt began working under a self realized concept he named BLEI. Taking in the most varied sound models, he began to extract elements from classical, polka, or brass music, and along with electronic pop music and German Schlager sounds form a distinguished and unique pop music style that would fit in with the subculture at that time. In the early 1990s, influenced by Techno, VOIGT began to experiment with a timbal marching through strongly alienated, free-floating string loops. These elegiac tracks, their lack of beginning nor end beginninglessness and endlessness, their intoxicating, smooth and partly amorphous structure sounded to him like evaporating gas and thus, GAS music was born. GAS is the vision of a sonic body between Schönberg and Kraftwerk, between French horn and bass drum. GAS is Wagner goes glam rock, and Hansel and Gretel on acid. GAS is there to take you on a seemingly endless march through the under woods - and into the discothèque - of an imaginary, nebulous forest. The 2008 box set release of “Nah Und Fern” compiled the complete GAS releases originally released on Mille Plateaux and was brought forward to massive critical acclaim. Leading experimental collective Raster-Noton also issued in 2008 an art-book featuring Voigt’s visual work inspired by GAS and an accompanying CD of unreleased music dating back to the early moments of GAS. Inspired by the overwhelming response, Voigt presented the first live show of GAS in late 2008 in Leipzig and continues to perform around the world.
He remains active both live and in the studio with long-time production partner, Jörg Burger as Burger/Voigt (once Burger/Ink). More information on them is available on the Burger/Voigt artist page.
It goes without saying that Wolfgang Voigt is a co-founder of Kompakt.
0
Evil Pimp & Creep Lo - Kreepin Out Tha Kutz (1996)
more old Memphis devil shit from Bottom Of The Map
1
Scat - Adicted to Hell cdr (2007)
Existing since the late '90s and virtually unknown, even in their home town of Ottumwa, IA, SCAT started out as a minimalist doom metal band with songs well over 30 minutes each. After some line up changes and unfinished recordings, gradually adding more "music" to their sound, SCAT emerged a great mixture of old school thrash metal and hook laden monster rock, putting more emphasis on riffs than pure sonic torture. "Adicted to Hell" re-records some of the songs developed during their transition period while adding new songs exclusive to this release. Make no mistake; this shit will fuck you up. Mortville
0
Dadaist Manchurian plunderphonica
Stock, Hausen & Walkman - Oh my BAG! (Hot Air, 1998)
info
3
This "Minstrel of the Appalachians" performed hundreds of traditional songs and tunes that he learned from family members, neighbors, and other residents of western North Carolina. The breadth of Lunsford’s huge repertoire is represented, including ballads, folk songs, spirituals, 19th-century popular songs, and banjo and fiddle tunes. All tracks were recorded by Brunswick Records in the 1920s or the Library of Congress in 1949. Includes Old Mountain Dew, an original composition which found its way into both oral tradition and popular culture, Swing Low, and To the Pines, To the Pines. 55 minutes. "Hits faster and sweeter than a jug of corn liquor." (New York Post)
HERE
This "Minstrel of the Appalachians" performed hundreds of traditional songs and tunes that he learned from family members, neighbors, and other residents of western North Carolina. The breadth of Lunsford’s huge repertoire is represented, including ballads, folk songs, spirituals, 19th-century popular songs, and banjo and fiddle tunes. All tracks were recorded by Brunswick Records in the 1920s or the Library of Congress in 1949. Includes Old Mountain Dew, an original composition which found its way into both oral tradition and popular culture, Swing Low, and To the Pines, To the Pines. 55 minutes. "Hits faster and sweeter than a jug of corn liquor." (New York Post)
HERE
3
III
Ithdabquth Qliphoth, Defuntos, Trasgo, Saaamaaa, Nargaroth, Moonblood, Grenjar, Gormantatinus, Cosmic Church, Vinterriket, Nargaroth, Enemite
IV
Krystoffkristoffiton, Vargv, Christopher LG Hill, Luc Fierens, Amersoeurs, Nekrasov, Spectral Lore, Saaamaaa, Nibiru, Northaunt, Xexyz, Urfaust, Ancient Tundra, Immundus, Andrew Chalk.... and unknown, unremembered Artists of the black Arts
SATIN MASK
0
LOVE CRY WANT (1972)
"A beyond-gone hard/nuclear fusion quartet unlike anything we have going today. Larry Young’s on organ, right around the time of Lawrence of Newark, the singular sensation named Nicholas is on hot-rodded, ring-modulated prototype guitar synthesizer, and the double-drumming clusterfuck of Joe Gallivan and Jimmy Molnieri brings up the rear, situated in the park across from Nixon’s White House in 1972 and intensely focused, or so the President thought, on making that motherfucker levitate. (He had Halderman shut it down, that pig). Sounds like a weather balloon filled with gasoline rolled over hot coals – pounding freeform jazz/groove/rock that does not – cannot – let up. If you enjoy substances that temporarily alter perception and mindstate, this one just might kill you. Chocolate city meltdown envisioned as Vietnam protest, and every bit as relevant then as it is now."(Dusted)
info/buy @ WEIRD FOREST
LOVE CRY WANT (1972)
"A beyond-gone hard/nuclear fusion quartet unlike anything we have going today. Larry Young’s on organ, right around the time of Lawrence of Newark, the singular sensation named Nicholas is on hot-rodded, ring-modulated prototype guitar synthesizer, and the double-drumming clusterfuck of Joe Gallivan and Jimmy Molnieri brings up the rear, situated in the park across from Nixon’s White House in 1972 and intensely focused, or so the President thought, on making that motherfucker levitate. (He had Halderman shut it down, that pig). Sounds like a weather balloon filled with gasoline rolled over hot coals – pounding freeform jazz/groove/rock that does not – cannot – let up. If you enjoy substances that temporarily alter perception and mindstate, this one just might kill you. Chocolate city meltdown envisioned as Vietnam protest, and every bit as relevant then as it is now."(Dusted)
info/buy @ WEIRD FOREST
5
BOBBY BEAUSOLEIL AND THE FREEDOM ORCHESTRA: LUCIFER RISING SOUNDTRACK (1981)
"Robert Kenneth "Bobby" Beausoleil (born November 6, 1947, in Santa Barbara, California) is a convicted American murderer and associate of the Charles Manson "Family" who is serving a life sentence. He killed music teacher and fellow associate Gary Hinman on July 27, 1969, and has been imprisoned since his arrest for that crime. He was an aspiring musician and actor at the time that he murdered Hinman."
"In the late 1970s, with the permission of the prison, he composed and recorded the soundtrack for Kenneth Anger's movie Lucifer Rising after Anger's first choice, Jimmy Page of Led Zeppelin, couldn't manage to deliver enough music for the film after three years of waiting, according to Anger." read more
LUCIFER RISING (KENNETH ANGER, 1972)
BOBBY BEAUSOLEIL AND THE FREEDOM ORCHESTRA: LUCIFER RISING SOUNDTRACK (1981)
"Robert Kenneth "Bobby" Beausoleil (born November 6, 1947, in Santa Barbara, California) is a convicted American murderer and associate of the Charles Manson "Family" who is serving a life sentence. He killed music teacher and fellow associate Gary Hinman on July 27, 1969, and has been imprisoned since his arrest for that crime. He was an aspiring musician and actor at the time that he murdered Hinman."
"In the late 1970s, with the permission of the prison, he composed and recorded the soundtrack for Kenneth Anger's movie Lucifer Rising after Anger's first choice, Jimmy Page of Led Zeppelin, couldn't manage to deliver enough music for the film after three years of waiting, according to Anger." read more
LUCIFER RISING (KENNETH ANGER, 1972)
4
A historic recording from the Kirana Archive of Indian Classical Music.
Original studio session recorded in New Delhi, February 1968
Pandit Pran Nath - Ragas Of Morning And Night
info
1
"Strapping a video camera to himself as he drives a motorcycle around an island, Palestine harmonizes with the engine, maniacally repeating the phrase, "Gotta get outta here...gotta get outta here..." His chanting voice merges with hte vibrations of the motor, forming an incessant soundtrack that echoes the jarring motion of the camera. Palestine creates a kind of composite instrument in motion as well as an "articulated personal drama" (1976). His stated desire for escape is contained by the boundaries of the island. Palestine was a trained cantor, and he often used his moving body and sustained vocalizing to generate a physical and aural intensity in his musical/video performances of this period." ubu
