Galeote

2 Many DJ's - 2002 - As Heard On Radio Soulwax, Pt. 2

2011-08-06T13:50:00.002-05:00

Soulwax members Stephen and David Dewaele inaugurated the alias 2 Many DJ's for a series of radio-show mix sessions, few (if any) of which were recorded live; with the magic of computer processing, the pair spent hours constructing pinpoint mixes with editing software, deconstructing pop music of the '60, '70s, and '80s with multiple layers of familiar songs. And as unlikely as it appeared they'd ever be able to issue a proper album, 2 Many DJ's debuted a full-length mix with 2002's As Heard on Radio Soulwax, Pt. 2, a feat of licensing endurance and computer-aided mixing with few parallels at this early date in the history of mash-ups. (It's available only as an import, fully licensed and bonded for the notorious Benelux countries alone.) An hour-long mix with nary a pause for breath, the disc balances late-period electro-techno with some of the most hilarious one-over-another collisions of previously unimagined duets in history. When the vocal on a pitched-up "I'm Waiting for the Man" finally drops out, it's difficult not to be a little shocked once you realize that midway the beat morphed into "Dance to the Music," and Lou Reed's hip whine is replaced by an a cappella version of "Oh Sheila." Sexual frustration (the Stooges' "No Fun") competes with sexual release (Salt-N-Pepa's "Push It"), the wistful one-shot "I Wish" by Skee-Lo sounds a bit more extroverted when pasted over the Breeders' "Cannonball," and "Independent Woman, Pt. 1" by Destiny's Child gradually gives way to "Independent Woman, Pt. 0" -- that is, Dolly Parton's "9 to 5." There's as many incredible rare grooves on this record as there are familiar shots, a sure tribute to 2 Many DJ's as combination collectors/mixers/taste-makers than anything else. Most of the ideas here really aren't new -- just talk to Grandmaster Flash or Kool Herc about borrowing any records at hand to keep a crowd moving -- but 2 Many DJ's have acres of talent and great ideas about constructing a mix record.

1 Peter Gunn Theme/Where's Your Head At [Head-A-Pella] Mancini 2:49
2 Fuck the Pain Away Peaches 1:38
3 I'm Waiting for the Man Reed 0:57
4 J'Aime Regarder Les Mecs/Dance to the Music/Oh Sheila [Acapella] 0:57
5 I Wanna Be Your Dog Alexander, Asheton, Asheton, Pop 1:44
6 Disko Kings 1:28
7 The "O" Melody/Silverscreen-Shower Scene 2:56
8 No Fun/Push It 2:31
9 Joe le Taxi/Crush on You [Acapella] Langolff, Roda Gil 2:28
10 Funkacise/Motocross Madness/French Kiss 3:03
11 Serious Trouble Mukai, Zongamin 1:39
12 Androgyny [Thee Glitz Mix] Erikson, Manson, Marker, Vig 1:16
13 Disc Jockey's Delight, Vol. 2/Kaw-Liga [Prairie Mix] 2:30
14 Shake Your Body 2:11
15 Into the Stars [Firebird Remix] 0:58
16 Concepts/99 Luftballons 1:37
17 Independent Women, Pt. 1 /Dreadlock Holiday [Acapella] 3:30
18 9 to 5/Eple Parton 2:29
19 Death Disco 0:43
20 Keine Melodien Jeans Team 1:46
21 I Wish /My Gigolo/Cannonball [Acapella] 3:30
22 Human Fly 1:33
23 Danger! High Voltage 1:42
24 Don't Bring Me Down 1:57
25 Hand to Phone Equation, Kuperus 1:40
26 La Rock 01 Vitalic 2:37
27 I Was Made for Loving You Child, Ponica, Stanley 1:59
28 The Beach/Sandwiches [Acapella] 2:12
29 I Sit on Acid [Soulwax Remix] 2:56
30 Start Button 1:58

¡Aquí!

Drive Like Jehu - 1994 - Yank Crime

2011-07-24T17:00:00.003-05:00

The band's second and, unfortunately, final album, Yank Crime is as worthy and awesome as its predecessor, losing not a jot in the change from independent to major label status. Including some longer, more complex tunes this time around, Drive Like Jehu is otherwise essentially unchanged, fusing brawling, crisp rhythms and high volume intensity with technical complexity, feeling like a mad science experiment gone completely out of control. Aside from the guest backing vocals on the frazzled angst explosion "Luau!" by fellow San Diego music fiend Rob Crow, it's again all down to the band's four members, with drummer Trombino providing the strong, take-no-prisoners mix. Perhaps even more than the debut, Yank Crime solidified Drive Like Jehu's reputation as kings of emo. While use of that term rapidly degenerated to apply to sappy miserableness by the decade's end, here the quartet capture its original sense, wired, frenetic, screaming passion, as first semi-created by the likes of Rites of Spring. Whether making it short and sweet, as the surprisingly gentle instrumental "New Intro" demonstrates in three minutes, or taking time, like the nearly ten-minute conclusion "Sinews," the band wastes not a note. Froberg's sense of intense, almost accusatory delivery is astonishingly dramatic throughout, whether in full cry or with a touch of restraint, as on the rhythmic chorus of "Do You Compute." His guitar partnership with Reis is still in full cry, creating honestly epic zoned and screaming feedback roars and waves -- the aforementioned "Do You Compute" is one fine example, as is "Luau!," which builds to a awe-inspiring, eternally ascending rise. While a recording of the band's incendiary live shows would be the best way to remember the quartet, Yank Crime is a thoroughly excellent if unexpected way to bow out, artistic rock that actually, honestly, and totally rocks.

1 Here Come the Rome Plows Drive Like Jehu 5:44
2 Do You Compute Drive Like Jehu 7:12
3 Golden Brown Drive Like Jehu 3:14
4 Luau Drive Like Jehu 9:27
5 Super Inison Drive Like Jehu 7:24
6 New Intro Drive Like Jehu 3:32
7 New Math Drive Like Jehu 4:06
8 Human Interest Drive Like Jehu 3:24
9 Sinews Drive Like Jehu 9:12

¡Aquí!

Los Abuelos De La Nada - 1983 - Vasos y Besos

2011-07-24T14:18:00.002-05:00

Vasos y Besos es el segundo disco de la agrupación argentina Los Abuelos de la Nada. Con este material llega la consagración definitiva de la banda, principalmente por su segundo single Mil Horas Y Canciones como No Se Desesperen, Sintonía Americana, Así es el Calor y Chalamán que les brindan una difusión constante.
Las composiciones de Miguel Abuelo toman un lugar de privilegio en el álbum. Grandes poesías como Yo Soy Tu Bandera y Espía de Dios son muestras de ello. Además incluye una canción que formaba parte de los primeros demos de Los Abuelos, Mundos in Mundos. Con todos estos ingredientes, Los Abuelos de la Nada lograron un álbum exitoso que captó al público joven, los acercó al público masivo con las composiciones de Calamaro, sin perder la calidad que caracterizó siempre a la banda y en especial a la obra de Miguel Abuelo.
Luego de la presentación del álbum en Velez Sarfield, Daniel Melingo abandona la formación para dedicarse a su banda Los Twist, que estaba en pleno crecimiento con su primer disco La Dicha en Movimiento. Su lugar es ocupado por Alfredo Desiata.

No se desesperen
Así es el calor
Yo soy tu bandera
Sintonía americana
Espía de Dios
Cucarachón de tribunal
Vamos al ruedo
Mil horas
Hermana Teresa
Chalaman
Mundos in-mundos

¡Aquí!

Hammill, Peter - 1996 - Tides

2011-07-24T13:41:00.003-05:00

All tracks recorded during The Lanzarote Music Festival, December 1989

1 My Room 7:16
2 Too Many Yesterdays 4:38
3 Just Good Friends 10:07
4 Mirror Images 10:32
5 Time To Burn 11:23
6 Untitled 8:54
7 Stranger 6:14
8 Where The Actors Go 5:16

¡Aquí!

Vibracathedral Orchestra - 1999 - Mothing

2011-07-24T11:57:00.002-05:00

Private release available at concerts and mail-order. Comes in a handpainted sleeve.
First issue from the Bradley-Campbell-Flower axis. Includes the full 23 minute version of "Falling Free You & Me" from the 10-inch.

1 The Beauty Of Refined Rusticity
2 High Reach Driver
3 Souls Of Centrifuge
4 Fave Welfare
5 Transvestite Electrics
6 Falling Free You & Me

¡Aquí!

VA - Metal/Hard Rock Covers, Vol. 219

2011-07-23T11:58:00.004-05:00

01 - Styx - Find The Cost Of Freedom (Crosby, Stills, Nash & Young)
02 - Lorihen - Slave To The Grind (Skid Row)
03 - Fozzy - Live Wire (Motley Crue)
04 - Savatage - Day After Day (Badfinger)
05 - Ascension Of The Watchers - Sounds Of Silence (Simon & Garfunkel)
06 - Six Feet Under - Shoot To Thrill (AcDc)
07 - Plan 4 - Tv Crimes (Black Sabbath)
08 - Freedom Call - Hiroshima (Wishful Thinking)
09 - Deja Vu - United Forces (S.O.D.)
10 - Fate Keeper - Theatre Of Pain (Blind Guardian)

¡Aquí!

Anti-Flag - 1998 - Their System Doesn't Work For You

2011-07-23T11:41:00.003-05:00

2000's Their System Doesn't Work for You resurrects the nine tracks from 1998's limited-edition EP, North America Sucks, and adds ten previously-unreleased, later-vintage tracks for good measure. The songs from the EP are prime Anti-Flag, political punk that never loses its sense of humor even when making its most important points. "Indie Sux, Hardline Sux, Emo Sux, You Suck!" decries the Balkanization of the D.I.Y. scene in the '90s to the album's catchiest chorus, while the title track and "Anti-Violent" take aim at the usual suspects. Unfortunately, with only a couple of exceptions, the later tracks sound like half-baked filler; indeed, the beyond-lo-fi sound suggests that they might be rough demos not originally intended to be heard outside the band, a supposition backed up by the lazy, sluggish performances, and meandering song structures. There are a few promising tracks among the dross, particularly "Betty Sue Is Dead," which makes incredibly effective use of an old-school punk-reggae middle section in the style of the Ruts, but overall, the second half of Their System Doesn't Work for You doesn't work for anybody.

1 I Can't Stand Being With You 2:05
2 Their System Doesn't Work for You 2:31
3 We've Got His Gun 2:25
4 Born to Die 2:05
5 The Truth 2:40
6 You'll Scream Tonight 5:15
7 Indie Sux, Hardline Sux, EmoSux, You Suck! 2:05
8 Anti-Violent 3:05
9 20 Years of Hell 2:32
10 I'm Having a Good Day 2:41
11 I Don't Want to Be Like You 3:30
12 Too Late 2:50
13 I Don't Need Anybody 3:49
14 Betty Sue Is Dead 3:14
15 If Not for You 3:16
16 Meet Your Master 3:57
17 We Won't Take No 2:34
18 Save Me 3:00
19 I'm Feeling Slightly Violent 3:29

¡Aquí!

Abuelos De La Nada - 1982 - Los Abuelos De La Nada

2011-06-10T11:43:00.002-05:00

No te enamores nunca de aquel marinero bengalí
Sin gamulán
Como debo andar
En la cama o en el suelo
Ir a más
Tristeza de la ciudad
Creo que es un sueño más
Levantando temperatura
Guindilla ardiente
Te vas rica
Se me olvidó que te olvidé

¡Aquí!

Hammill, Peter - 1998 - This

2011-06-08T10:51:00.002-05:00

Even if the gang of the pH quartet are supporting Peter, he wanted this album to be a very much personal matter (at least he said so).

But, as usual, it is the more band oriented songs that I will prefer. "Unrehearsed" has the indefinite Graaf feeling I like so much. Mighty Jackson is as great as ever and Stuart's violin is just remarkable. When you would combine these elements with a passionate vocal part, you just have to acknowledge that this song is outstanding.

Same perspective for "Since the Kids" which is another highlight from "This". More tranquil but same passion. These moments are pure joy. During his long and (too) prolific career, Peter has dotted his albums with such wonderful songs.

I wasn't really enthusiast about Peter's output in the nineties and "This" might well be his best work since "Roaring Forties" or "Out Of Water". The delicacy of "Nightman" or "Fallen" is so moving. Hammill at his best. Like he should have always been. Stuart being a very good add-on of course.

Some less inspired songs here and there ("Stupid", "Always Is next") bring the listener back on earth again. The long and closing epic is more on the experimental and atmospheric side.

About this song, Peter said: "This was entirely improvised as far as music is concerned. I began playing one morning in a completely open - if somewhat anxiously reflective and somber - frame of mind. Just I'm making music, in a free sense. I played my parts...my performance...in one continuous pass, adjusting the various sound sources I was using as I went.

Again, a process of editing brought the piece into (admittedly long) shape. By this time the vocal line, theme and lyrics were well under way. David and Stuart's contributions were made under strict rules: they were allowed only two passes each. The first was without having heard the music at all; the only reference points I gave them were It's 14 minutes long and it's Antarctic. I remain really happy with this piece".

My feeling is probably more mixed, but "This" remains a good album in the man's discography. Three stars.

1 Frozen In Place [Fragment] Hammill 0:47
2 Unrehearsed Hammill 7:01
3 Stupid Hammill 4:26
4 Since the Kids Hammill 5:57
5 Nightman Hammill 6:16
6 Fallen (The City of Night) Hammill 5:36
7 Unready [Fragment] Hammill 0:42
8 Always Is Next Hammill 3:58
9 Unsteady [Fragment] Hammill 1:02
10 The Light Continent Hammill 14:00

¡Aquí!

Richard, Little - 1957 - Here's Little Richard

2011-06-08T09:39:00.002-05:00

Little Richard had been making records for four years before he rolled into Cosimo Matassa's J&M Studio in New Orleans and cut the epochal "Tutti Frutti" in the fall of 1955, but everything else he'd done -- and much of what others had recorded -- faded into insignificance when Richard wailed "A wop bop a loo mop a lomp bomp bomp" and kicked off one of the first great wailers in rock history. In retrospect, Little Richard's style doesn't seem so strikingly innovative as captured in 1956's Here's Little Richard -- his boogie-woogie piano stylings weren't all that different from what Fats Domino has been laying down since 1949, and his band pumped out the New Orleans backbeat that would define the Crescent City's R&B for the next two decades, albeit with precision and plenty of groove. But what set Richard apart was his willingness to ramp up the tempos and turn the outrage meter up to ten; "Tutti Frutti," "Rip It Up" and "Jenny Jenny" still sound outrageous a half-century after they were waxed, and it's difficult but intriguing to imagine how people must have reacted to Little Richard at a time when African-American performers were expected to be polite and the notion of a gay man venturing out of the closet simply didn't exist (Richard's songs were thoroughly heterosexual on the surface, but the nudge and wink of "Tutti Frutti" and "Baby" is faint but visible, and his bop threads, mile-high process and eye makeup clearly categorized him as someone "different"). These 12 tunes may not represent the alpha and omega of Little Richard's best music, but every song is a classic and unlike many of his peers, time has refused to render this first album quaint -- Richard's grainy scream remains one of the great sounds in rock & roll history, and the thunder of his piano and the frantic wail of the band is still the glorious call of a Friday night with pay in the pocket and trouble in mind. Brilliant stuff.

1 Tutti Frutti LaBostrie, Little Richard, Lubin
2 True Fine Mama Little Richard, Penniman
3 Can't Believe You Wanna Leave Price
4 Ready Teddy Blackwell, Marascalco
5 Baby Little Richard
6 Slippin' and Slidin' Bocage, Collins, Little Richard…
7 Long Tall Sally Blackwell, Johnson, Little Richard…
8 Miss Ann Johnson, Little Richard
9 Oh Why? Scott
10 Rip It Up Blackwell, Marascalco
11 Jenny, Jenny Johnson, Little Richard
12 She's Got It Little Richard, Marascalco

¡Aquí!

VA - 2002 - Hellfire: A Tribute To Tool

2011-06-08T08:31:00.005-05:00

In the jazz world, tribute albums are inescapable. Every week, jazz artists are recording tributes to Duke Ellington, Miles Davis, Antonio Carlos Jobim, Cole Porter, or someone else they admire. But in rock, they aren't as plentiful -- for every Bob Dylan, Doors, or Rolling Stones tribute that gets recorded, there are a lot more Ellington or George Gershwin tributes coming from the jazz world. One of rock's more tribute-minded labels is Cleopatra, which has paid homage to countless rockers. As a rule, Cleopatra's tribute albums are interesting -- and this 2002 release (which finds 12 different artists providing Tool covers) is no exception. Even if A Tribute to Tool is mildly uneven; it has more ups than downs and offers a lot of intriguing takes on the headbangers' songs. The best covers are the ones that bring something new or different to a familiar song; operating on that premise, the artists on this CD acknowledge Tool on their own terms instead of slavishly emulating the band. While Tool's forte is alternative metal, A Tribute to Tool is full of industrial, darkwave, and goth rock interpretations of its songs. Not everything on the CD works, but most of the time, A Tribute to Tool hits its mark. Mists of Avalon successfully gives "Prison Sex" a goth makeover, while an industrial outlook works well for Translation Collapse on "Reflection," Beauty on "Disgustipated," and Razed in Black on "Part of Me." One of the best tracks is the Electric Hellfire Club's "Opiate" makeover; Hellfire's campy, over-the-top sense of fun is quite a contrast to Tool's artsy leanings. Do those with only a casual interest in Tool need to hear 12 Tool covers? Probably not. But Tool's hardcore fans will find this CD meaningful if they also have an appetite for industrial, darkwave, and goth rock.

1 Disgustipated Beauty 3:31
2 Reflection Fuchigami, Translation Collapse 4:44
3 Stinkfist Hyena 4:59
4 Part of Me Razed In Black 3:38
5 Intolerance Style 4:34
6 Die Eier von Satan Haujobb 4:49
7 4 Rosetta Stone 4:59
8 Ænema Collapse Into Reason 5:00
9 Hush Pistel 3:47
10 Opiate Electric Hellfire Club 4:38
11 Prison Sex Mists Of Avalon 4:38
12 Sober Butler, Enemies 4:43

¡Aquí!

Turner, Tina - 1984 - Private Dancer

2011-06-07T11:37:00.002-05:00

In 1984, a 45-year-old Tina Turner made one of the most amazing comebacks in the history of American popular music. A few years earlier, it was hard to imagine the veteran soul/rock belter reinventing herself and returning to the top of the pop charts, but she did exactly that with the outstanding Private Dancer. And Turner did so without sacrificing her musical integrity. To be sure, this pop/rock/R&B pearl is decidedly slicker than such raw, earthy, hard-edged Ike & Tina classics as "Proud Mary," "Sexy Ida," and "I Wanna Take You Higher." But she still has a tough, throaty, passionate delivery that serves her beautifully on everything from the melancholy, reggae-influenced "What's Love Got to Do With It" to the gutsy "Better Be Good to Me" to heartfelt remakes of the Beatles' "Help," Al Green's "Let's Stay Together," and David Bowie's "1984." A reflection on the emptiness of a stripper's life, the dusky title song is as poignant as it is depressing. Without question, this was Turner's finest hour as a solo artist.

1 I Might Have Been Queen Hine, Obstoj, West-Oram 4:10
2 What's Love Got to Do with It Britten, Lyle 3:49
3 Show Some Respect Britten, Shifrin 3:18
4 I Can't Stand the Rain Bryant, Miller, Peebles 3:41
5 Private Dancer Knopfler 7:11
6 Let's Stay Together Green, Jackson, Mitchell 5:16
7 Better Be Good to Me Chapman, Chinn, Knight 5:10
8 Steel Claw Brady 3:48
9 Help! Lennon, McCartney 4:30
10 1984 Bowie 3:09

¡Aquí!

Abuelo, Miguel - 1984 - Buen Día, Día

2011-06-06T09:39:00.004-05:00

Unico disco solista editado en Argentina por Miguel Abuelo en 1984 en paralelo a la grabación del disco de Los Abuelos De La Nada "Himno De Mi Corazón".

De las diez canciones que componen el disco hay 2 temas que fueron grabados en 1978 en París Francia en el 'Manderly Studio' por el ingeniero Denis Coutard, ellas son: la reversión de "La Balsa" y "Va Silvestre Bajo El Sol".
De las ocho restantes que se grabaron en 1984 se destaca una reversión de su clásico "Mariposas De Madera".

Su anterior trabajo solista de 1973 "Miguel Abuelo et Nada" sólo fue editado en Francia y Bélgica dos años después de haberse grabado, es decir en 1975, bajo el sello de su productor francés Moshe Naim quien actualmente tiene los derechos de ése disco. Luego de la muerte de Miguel, se intentó en los años 90's hacer una publicación en argentina del disco de 1973, la cual no se concretó debido a los elevadísimos derechos que pretendía cobrar el Sr Naim por ceder los masters.

01. La Balsa
02. Pica Mi Caballo
03. La Mujer Barbuda
04. Americano Soy Del Sur
05. Apúrate Josefina
06. Verilí
07. Días De Kuberito Díaz
08. Va Silvestre Bajo El Sol
09. Mariposas De Madera
10. Buen Día, Día

¡Aquí!

Hammill, Pater - 1997 - The Union Chapel Concert

2011-06-05T13:15:00.002-05:00

A one-time event stemming from an offer to percussionist Guy Evans to do anything he wanted at the Union Chapel in London. An idea to collaborate with Peter Hammill on a variety of semi- improvisational material partly built on samples of Hammill's music soon expanded to incorporate more traditional performance ideas as well as connections to Evans' own colleagues in the Echo City troupe. By the time the planning stage was over, Hammill and Evans had decided to bring in members of Echo City, regular Hammill collaborator Stuart Gordon, drummer Manny Elias, and, to cap things off, longtime Van Der Graaf members Hugh Banton (who had retired to a life of organ-building) and David Jackson, who not only turned up with sax and flute in hand, but with his Soundbeam rig as well.

The resulting live album, spread over two discs, is an impressive document. It is certainly Evans' show all the way, with some of the best drumming Evans has ever captured on record, though Hammill gives a good account of himself -- as Evans says in his sleeve notes, Hammill instantly took up the gauntlet that Evans threw down. As a result, the album includes some of Hammill's best live playing, including a ferocious reading of "Accidents." For some, though, the highlight will most likely be the rousing, 15-minute performance of "Lemmings," which amounts to a Van Der Graaf Generator reunion. There is, however, far more to recommend this two-CD set. By far one of the most powerful Hammill showings to date.

Disc 1
1 Introduction
2 Fireworks
3 A Forest of Pronouns
4 Anatol's Proposal
5 After the Show
6 Roger and Out
7 Accidents
8 Four Kinds of Rice/Hello/Resolution
9 Women of Ireland
10 Ship of Fools

Disc 2
1 Hamburg Station
2 Seven Wonders
3 Adagio for Strings
4 Red Shift
5 Lemmings
6 Outroduction
7 Traintime

¡Aquí!

New Year - 2001 - Newness Ends

2011-06-03T11:08:00.002-05:00

When the Kadane brothers -- Matt and Bubba -- disbanded Bedhead, it was at the height of that band's creativity and excellence. Wherever they went, well-deserved critical acclaim seemed to follow, and for good reason: Their music was intricate, touching, and emotional to a degree few bands ever reach. Bedhead's final album, Transaction de Novo was particularly affecting. The New Year is led (and all its songs are written) by the Kadane brothers, who were apparently less taking a break from each other than from the project they had created. The New Year's debut album, Newness Ends, comes after the band had played only a handful of shows, and while it has obvious similarities to Bedhead, the reason for the name change is also apparent. The most blatant difference is the tempos on Newness Ends. Whereas Bedhead records rarely made it past a crawl, these new songs take a similar songwriting approach and hit the gas a bit. The first track, "Half a Day," announces the difference with a bouncing rhythm, something heretofore not seen by the Kadanes. The true test of Newness Ends' greatness, though, is whether it would stand on its own as a debut album by a group of unknowns, without having to live up -- or down -- to die-hard fans' expectations. Clearly it does, blending the brilliant writing and playing of these two slow rock pioneers' past an present. It's a step sideways into amazing, only partially discovered territory.

1 Half a Day Kadane, Kadane 3:56
2 Reconstruction Kadane, Kadane 3:21
3 Gasoline Kadane, Kadane 3:34
4 Great Expectations Kadane, Kadane 2:40
5 Simple Life Kadane, Kadane 3:29
6 One Plus One Minus One Equals One Kadane, Kadane 4:23
7 Alter Ego Kadane, Kadane 2:44
8 The Block That Doesn't Exist Kadane, Kadane 2:38
9 Carne Levare Kadane, Kadane 2:37
10 Newness Ends Kadane, Kadane 3:19

¡Aquí!

VA - 2004 - Flowers Made Of Snow

2011-06-02T09:50:00.002-05:00

1-1 Coph Nia – The Oath
Performer – Aldenon Satorial 4:19
1-2 Protagonist, The – The Sick Rose
Vocals – Jonathan Grieve 4:54
1-3 In Slaughter Natives – The Vulture
Performer – J. Havukainen* 4:55
1-4 Olen'k – Season Of Tears 3:25
1-5 All My Faith Lost ... – Sleep Now
Performer – Frederico*, Viola* 4:03
1-6 Last Hour, The – Into Empty Depth
Performer – Roberto Del Vecchio 4:01
1-7 Apatheia – Safehouse
Performer – L. Andersson* 3:24
1-8 Ataraxia – Incabala 3:31
1-9 Ordo Rosarius Equilibrio – Yesterday Brings But A Serpent Of Ash 5:01
1-10 Hesperos* – The Warm Whisper Of The Wind
Performer – Alessandra Santovito 4:08
1-11 Sibelian – The Sin Eater
Performer – Stephen Svanholm
Lyrics By – Bob Reeves 8:51
1-12 Sanctum – Lie Low
Performer – Håkan Paulsson, Jan Carleklev, Ulrika Carlsson* 4:27
2-1 Desiderii Marginis – Where I End And You Begin 4:48
2-2 raison d'être – Mouldering The Forlorn II
Performer – Peter Andersson 6:44
2-3 Atrium Carceri – Impaled Butterfly
Performer – Simon Heath 5:00
2-4 Mz.412 – In Hoc Signe Vinces
Performer – Drakhon, Nordvargr*, Ulvtharm* 6:53
2-5 Brighter Death Now – While You Sleep
Performer – Roger Karmanik 4:42
2-6 IRM – My Mother
Photography [Booklet] – H. Sternudd 6:28
2-7 Deutsch Nepal – Of Parasites And Disguises
Performer – Lina Baby Doll 7:11
2-8 Nacht – Death Posture
Performer – Tania Stene 3:55
2-9 Beyond Sensory Experience – The Trade 4:11
2-10 Sephiroth – Therasia
Performer – Ulf Söderberg 7:21
2-11 Skin Area – Choose Art... Not Life 6:01

¡Aquí!

Womack, Bobby - 1999 - Soul Brother

2011-05-30T10:35:00.002-05:00

1 What Is This? Womack 2:36
2 I'm a Midnight Mover Pickett, Womack 2:04
3 If You Want My Love, Put Something Down on It Womack, Womack 3:43
4 Don't Look Back Robinson, White 2:49
5 How I Miss You Baby Carter, Womack 3:18
6 I'm Gonna Forget About You Cooke 2:28
7 I Can Understand It Womack 4:06
8 You're Welcome, Stop on By Thomas, Womack 3:45
9 I'm Through Trying to Prove My Love to You Womack 3:50
10 I Don't Wanna Be Hurt by Ya Love Again Womack 3:24
11 Check It Out Womack 3:51
12 So Many Sides of You Ford, Womack 3:46
13 Where There's a Will There'sa Way Ford, Womack 3:04
14 Across 110th Street Johnson, Womack 3:52
15 Just My Imagination Womack 5:08
16 If You Think You're Lonely Now Griffin, Moten, Womack 5:30

¡Aquí!

Abuelo, Miguel - 1974 - Et Nada

2011-05-30T10:03:00.002-05:00

Una banda formada por todos exiliados latinoamericanos. Miguel en voz y guitarra rítmica; Dani Sbarra en guitarra eléctrica y coros; Daniel Rodriguez en batería, Carlos Beyris en violoncello; Pinfo Garrigo en bajo; y Juan Dalera en quenas. Una superbanda para Moshe Naim, el productor, quien en su pensamiento se imaginaba en pocos años "lleno de dinero". Nada de eso pasó, nada.

"Miguel Abuelo et nada" nunca ha sido editado en Argentina. Mientras las cintas master se encuentran en una casa de París junto a su dueño, pasan los años y los amantes del poeta siguen sin poder tener un original de ese disco. En Francia hubo una edición en CD, que hoy en día es inconseguible.

El disco frances de Miguel "Miguel Abuelo et Nada" es un Lp muy al estilo Jethro Tull , por tratar de encasillarla, y contiene una version de casi 9 minutos de Pipo La Serpiente (Estoy aqui parado, sentado o acostado), entre otras perlas.

"Miguel Abuelo fue el mejor artista del rock que hubo en el mundo. Nunca habrá otro como él" afirma Moshe Naim, editor del trabajo, desde su casa de París
Hay quien considera este trabajo injustamente olvidado como lo mejor de Miguel. Si no es asi, le pega cerca .

1 - Tirando piedras al río (Abuelo)
2 - El largo día de vivir (Abuelo)
3 - Estoy aquí parado, sentado y acostado (Abuelo-Lernoud)
4 - El muelle (Abuelo)
5 - Señor carnicero (Sbarra)
6 - Recala sabido forastero (Sbarra)
7 - Octavo sendero (Sbarra)

¡Aquí!

Hammill, Peter - 1997 - Sonix

2011-05-30T09:49:00.002-05:00

1 Emmene-Moi Bare Theme
2 A Walk in the Dark
3 In the Polish House
4 Dark Matter
5 Hospital Silence
6 Four to the Floor
7 Exercise for Louis
8 Labyrinthine Dreams
9 Emmene-Moi Full Theme

¡Aquí!

Dokken - 1999 - Erase The Slate

2011-05-30T00:32:00.003-05:00

George Lynch departed the Dokken reunion following 1997's Shadowlife, handing the reins over to ex-Winger guitarist Reb Beach. Beach has more than enough chops to fill Lynch's shoes, and although he brings his own musical personality to the riffs and solos, the songs' melodies are still recognizably Dokken. Unfortunately, those melodies are typical of post-reunion Dokken more often than not, with the band seemingly struggling to come up with the big chorus hook and just not quite getting there (a problem, come to think of it, that sometimes plagued the band in their heyday as well). Although Beach acquits himself well, the songwriting ultimately sinks the record; besides, at this stage of the game, it's difficult to believe Don Dokken when he sings "I must confess, I'm the maddest hatter of them all." Erase the Slate is workmanlike retro-'80s hard rock at its best, and thoroughly unmemorable at its worst.

1 Erase the Slate Dokken 3:47
2 Change the World Dokken 4:35
3 Maddest Hatter Dokken 4:38
4 Drown Dokken 4:53
5 Shattered Dokken 4:40
6 One Nilsson 3:10
7 Who Believes Dokken 4:23
8 Voice of the Soul Dokken 4:12
9 Crazy Mary Goes Round Dokken 3:00
10 Haunted Lullabye Dokken 4:47
11 In Your Honor Dokken 4:31
12 [Untitled] Dokken 1:16

¡Aquí!

VA - 2000 - Stoned Immaculate: The Music Of The Doors

2011-05-29T20:31:00.002-05:00

Essentially Elektra Records' tribute to a band that originally helped put them on the map, Stoned Immaculate: The Music of the Doors was assembled by producer Ralph Sall, with a heavy concentration on mainstream-oriented alternative rock. While some tracks are the straight-up covers typical of tribute albums, die-hard Doors fans have greater reasons to pay attention. The surviving band members appear on several tracks -- sometimes as a backing unit, sometimes as individual guest collaborators -- with frequently vital-sounding results. Echoing the Fatboy Slim "Bird of Prey" single (coincidence that this was released around the same time?), producer Sall also incorporates sampled Morrison vocals, usually over atmospheric, electronic-tinged backing tracks; this tactic also produces beyond-the-grave Morrison duets with John Lee Hooker and William S. Burroughs. However -- perhaps logically -- it's the band performances that have the most life to them, especially those involving the Stone Temple Pilots and Ian Astbury. Even though Stoned Immaculate occasionally suffers from typical tribute-album unevenness, it's overall a fitting testament to the Doors' legacy.

1 Break on Through (To the Other Side) Stone Temple Pilots 3:47
2 Riders on the Storm Creed 6:18
3 Light My Fire Train 3:43
4 Peace Frog Smash Mouth 3:02
5 L.A. Woman Days of the New 3:47
6 Love Me Two Times Aerosmith 3:20
7 Under Waterfall Doors 3:12
8 Wild Child Cult 3:22
9 Roadhouse Rap Morrison 1:03
10 Rock House Blues Hooker, Morrison 5:34
11 Is Everybody In? Burroughs 2:43
12 Hello I Love You Oleander 2:36
13 Touch Me Astbury, Cult 4:38
14 Children of Night Cervenka, Farrell 3:02
15 Love Her Madly Diddley 4:54
16 The Cosmic Movie Doors 3:03
17 The End Days Of The New 16:04

¡Aquí!

Scott-Heron, Gil - 1974 - Winter in America

2011-05-29T20:09:00.003-05:00

Gil Scott-Heron was at his most righteous and provocative on this album. The title cut was a moving, angry summation of the social injustices Scott-Heron felt had led the nation to a particularly dangerous period, while "The Bottle" was a great treatise on the dangers of alcohol abuse. He also offered his thoughts on Nixon's legacy with "The H2O Gate Blues," a classic oral narrative. Brian Jackson's capable keyboard, acoustic piano and arranging talents helped make this a first-rate release, one of several the duo issued during the 1970s.

1 Peace Go With You, Brother (As-Salaam-Alaikum) Jackson, Scott-Heron 5:27
2 Rivers of My Fathers Jackson, Scott-Heron 8:19
3 A Very Precious Time Jackson, Scott-Heron 5:17
4 Back Home Jackson, Scott-Heron 2:51
5 The Bottle Scott-Heron 5:14
6 Song for Bobby Smith Scott-Heron 4:38
7 Your Daddy Loves You Scott-Heron 3:25
8 H2O Gate Blues Scott-Heron 8:08
9 Peace Go With You, Brother (As-Salaam-Alaikum) Jackson, Scott-Heron 1:10
10 Winter in America Scott-Heron 8:23
11 Song for Bobby Smith Scott-Heron 4:46
12 Your Daddy Loves You Scott-Heron 4:25
13 The Bottle/Guan Guanco Scott-Heron 11:56

¡Aquí!

Abuela Coca - 2010 - Vos

2011-05-29T18:42:00.001-05:00

La pared
Veo Veo
Voy a Buscar en Mi
Tanto Tiempo
Respeto
Ozono
Oxígeno
Y a la Abuela También
Paso a Paso
Brillar
Ya Está Siendo
Vos

¡Aquí!

Hammill, Peter - 1997 - Everyone You Hold

2011-05-29T16:02:00.002-05:00

Everyone You Hold is one of Peter Hammill's better latter-day albums. Although he hasn't changed his style much to speak of, the washes of keyboards, expansive tempos, clattering percusssion and loud, processed guitars are filtered through better compositions this time around, resulting in his most focused and engaging album in years.

1 Everyone You Hold Hammill 5:59
2 Personality Hammill, Hammill, Heusen 6:04
3 Nothing Comes Hammill 3:56
4 From the Safe House Hammill 6:13
5 Phophorescence Cosentino, Hammill 5:12
6 Falling Open Hammill 6:14
7 Bubble Hammill 6:30
8 Can Do Hammill 6:49
9 Tenderness Hammill 4:51

¡Aquí!

No Doubt - 2000 - Return Of Saturn

2011-05-29T15:40:00.003-05:00

Return of Saturn is an almost defiantly mature record about two things: Stefani's exploration of a troubled romance and her own romantic ideals, plus a serious attempt by the group to not only keep new wave alive, but to make that adolescent music relevant to an older audience. It's a high concept, but Return of Saturn is filled with satisfying contradictions. It's melodic, but deceptively complex; it can seem frothy, but it's never frivolous. No Doubt's desire to expand the emotional template of new wave is the perfect match for Stefani's themes -- she may be writing about love, but she's not writing adolescent love songs. Fragments of her teenaged romantic fantasies remain, but she's writing as a woman in her late 20s. She's tired of being another "ex-girlfriend" -- she wants to fall in love, get married, and have a family. It's a subject that's surprisingly uncommon in pop music, which would alone make Return of Saturn an interesting album. What makes it a successful one is that the band delivers an aural equivalent of Stefani's lyrical themes. They also begin with their adolescent musical ideals, adding depth and detail to their pop-ska foundation. They balance their non-ironic love of new wave with contemporary production and a sensibility borrowed from classic rock: that albums are greater than the sum of their parts. Surprisingly, they pull it off -- it's a far stronger record than Tragic Kingdom, even if the catchiest numbers don't have the same swagger and punch as their previous hit singles. So be it. With Return of Saturn, No Doubt have made a terrific, layered record that exceeds any expectations set by Tragic Kingdom. Not only have they found their voice, they know what to do with it.

1 Ex-Girlfriend Dumont, Kanal, Stefani 3:32
2 Simple Kind of Life Stefani 4:16
3 Bathwater Dumont, Kanal, Stefani 4:02
4 Six Feet Under Kanal, Stefani 2:28
5 Magic's in the Makeup 4:21
6 Artificial Sweetener Dumont, Kanal, Stefani 3:54
7 Marry Me Kanal, Stefani 4:38
8 New Dumont, Stefani 4:26
9 Too Late Dumont, Kanal, Stefani 4:16
10 Comforting Lie Dumont, Kanal, Stefani 2:52
11 Suspension Without Suspense Stefani 4:10
12 Staring Problem Kanal, Stefani, Stefani 2:43
13 Home Now Dumont, Kanal, Stefani 4:34
14 Dark Blue Dumont, Kanal, Stefani 10:30

¡Aquí!

VA - 2003 - Miaoussers Xmasterpiece

2011-05-29T15:10:00.003-05:00

A community that has existed since the creation of rooms on soulseek, Miaoussers are proud to present their 2003 Xmas (and debut) compilation: Xmasterpiece. This 9-track ep demonstrates the christmas spirit with sounds of electro, hip-hop, jazz, and some heavy shit too.

01 - kabuki-funk_-_holy_night_acid_night
02 - maw_-_tree_of_bass
03 - debmaster_-_la_jungle_belle
04 - antoine_-_mon_vilain_sapin
05 - canamail_-_douce_nuit
06 - magikillah_as_bbb_feat_cinema_-_vive-le-vent-dhi-ver
07 - cinema_-_los_peces_spanish_xmas_song
08 - mystiks_feat_lacroixrousselibre_-_labus_de_noel_debmasters_mix
09 - ninkasi_feat_lacroixrousselibre_-_santa_claus_trip_maws_mix

¡Aquí!

Griffith, Nanci - 1986 - The Last Of The True Believers

2011-05-29T15:04:00.002-05:00

This is Nanci Griffith's fourth and final release on Rounder Records' folk subsidiary, Philo. At the time Griffith relocated to Nashville, TN, her decidedly Texan sense of musicality had already begun developing subtle hues of Appalachia as well as the cosmopolitan country that would inform her mid- to late-'80s stint on MCA. However, it is the overwhelming strength and conviction in the singer/songwriter's original material on The Last of the True Believers that remain indelibly impressed upon enthusiasts and critics alike. As such, Griffith has retained a copious sampling from the disc in her subsequent live performance repertoire. Griffith's crystalline vocals are well matched to the warm, earthy acoustic instrumentation on the intimate "More Than a Whisper" and "The Wing and the Wheel." At times, the delicate interplay creates a mutual envelopment of the human vocal instrument with that of the stringed nature -- most notably on the heartfelt "Love at the Five and Dime." By way of contrast, Griffith defies her somewhat introverted image on the tongue-in-cheek (no pun!) love song "Looking for the Time (Workin' Girl)" and the effervescent waltz "Love's Found a Shoulder." Lying nestled between are spry melodies such as "Banks of the Pontchartrain," featuring some nice picking from Béla Fleck (banjo), and "Goin' Gone," which perfectly captures some of Lloyd Green's finest pedal steel work on the disc. Griffith's pure and otherwise unaffected performance style would continue to carry through her subsequent efforts, most notably Lone Star State of Mind (1987), which in many ways is a companion, rather than simply the follow-up, to The Last of the True Believers.

1 The Last of the True Believers Griffith 2:47
2 Love at the Five and Dime Griffith 4:33
3 St. Olav's Gate Russell 3:03
4 More Than a Whisper Griffith 3:42
5 Banks of the Pontchartrain Griffith 3:39
6 Looking for the Time (Workin' Girl) Griffith 2:43
7 Goin' Gone Alger, Dale, Koller 4:19
8 One of These Days Griffith, Reed 2:54
9 Love's Found a Shoulder Griffith 2:19
10 Fly by Night Griffith 2:36
11 The Wing and the Wheel Griffith 2:41

¡Aquí!

Hammill, Peter - 1996 - X My Heart

2011-05-29T14:49:00.002-05:00

Longtime fans of Peter Hammill know that his recorded output is very unpredictable. He's released some of the finest albums in thinking-man's rock (1973's Chameleon in the Shadow of the Night, 1986's And Close as This, etc.), as well as a few that were directionless and/or self-indulgent (1983's Loops & Reels, 1988's In a Foreign Town, etc.). In the early '90s, Hammill fans' patience was tested by a string of ineffective albums (Roaring Forties and others), and they feared that Hammill would never return to the quality of his past triumphs. So they must have been relieved when Hammill released one of his best and most consistent albums ever, X My Heart, in 1996. It features one of his most beautiful ballads, "Earthbound," which features heartfelt vocals and a gorgeous string accompaniment. "Narcissus (Bar & Grill)" will delight fans with its classic Hammill style, while "A Better Time" shows that he's one of the more underrated vocalists in rock music today. Definitely one of his finest, and a good place to start for newcomers to the unpredictable and challenging world of Peter Hammill.

1 A Better Time [Acapella] Hammill 5:14
2 Amnesiac Hammill 5:36
3 Ram Origami Hammill 5:28
4 A Forest of Pronouns Hammill 5:18
5 Earthbound Hammill 5:23
6 Narcissus (Bar & Grill) Hammill 6:45
7 Material Possession Hammill 6:09
8 Come Clean Hammill 5:02
9 A Better Time Hammill 5:33

¡Aquí!

Yatha Sidra - 1974 - A Meditation Mass

2011-05-28T10:33:00.002-05:00

Yatha Sidhra's only record, the aptly titled A Meditation Mass, is a strange mystical experience stretched over four parts that segue almost seamlessly into one another, though the Spalax CD has a slight break between tracks two and three, where the original record changed sides. (The earlier Laser Edge reissue ran the tracks without the break.) Though the record was released in the early '70s, it has that late-'60s acid-haze, hippie ambience without coming off clichéd or dated. It starts off with watery noises and a wind hum, until eventually a flanged acoustic guitar riff gently floats into the mix, very dreamy and hypnotic over the whir of electronics. The piece slowly ebbs and flows as other instruments are pulled into the strange cosmic drift of sounds: washes of cymbals, vaguely ethnic percussions, a flute, vibes, and other sounds, even some group chanting with electronically treated voices, while the guitar weaves steadily to keep it together as it slowly builds up. On the second and third part the band veers into far more free-form improvisation, from jazzy sections with an upbeat swing to electric guitar over a trance-like rhythm to a bizarre drum and flute duel to intense freakouts before once again becoming calm and relaxed. Part four winds the album up where it began, with the acoustic guitar riff and tribal percussion and spacy electronics and flute building up to more chanting -- there is no beginning or end. One might compare Yatha Sidhra with other Krautrock bands like Ash Ra Tempel, Popul Vuh, or Limbus 3, but Yatha Sidhra's striking originality is like nothing else.

1 A Meditation Mass, Pt. 1 Fichter, Fichter 17:43
2 A Meditation Mass, Pt. 2 Fichter, Fichter 2:59
3 A Meditation Mass, Pt. 3 Fichter, Fichter 11:59
4 A Meditation Mass, Pt. 4 Fichter, Fichter 7:16

¡Aquí!

VA - 2008 - Metal / Hard Rock Covers, Vol. 213

2011-05-27T20:55:00.003-05:00

01 - Exawatt - Odissea Veneziana (RondΓ² Veneziana)
02 - Overkill - Cornucopia (Black Sabbath)
03 - Monster Magnet - 2000 Lightyears From Home (The Rolling Stones)
04 - Christian Ice - Whenever Wherever (Shakira)
05 - Ministry - Radar Love (Golden Earring)
06 - Into The Arena - Highway Star (Deep Purple)
07 - Threshold - Supermassive Black Hole (Muse)
08 - Sadist - Relax (Frankie Goes To Hollywood)
09 - Black Rose - Because The Night (Patti Smith)
10 - Profane Omen - Slave To The Grind (Skid Row)

¡Aquí!

Crematory - 1995 - Illusions

2011-05-27T10:47:00.002-05:00

Illusions is Crematory's third studio album, distributed through Massacre Records.

Reflexionen - 1:54
Faces - 5:35
Tears of Time - 5:00
My Way - 5:02
Lost in Myself - 4:46
An Other...? - 5:20
The Atmosphere - 3:29
The Beginning of the End - 4:39
Sweet Solitude - 4:53
Dreams of Dancing - 5:30
...Just Dreaming - 4:41
Visions - 3:55

¡Aquí!

Abuela Coca - 2006 - El Cuarto De la Abuela

2011-05-26T10:56:00.002-05:00

El empleado del mes
Mala herencia
A eso voy
El artesano
Nada es como me lo imaginaba
El alquimista
El pez por la boca muerde
Se duerme otra vez
San Felipe & Santiago
Curo mis heridas
El penitente
Derrocha
Angel de la guarda
De allá

¡Aquí!

Hammill, Peter - 1994 - There Goes The Daylight

2011-05-26T10:25:00.002-05:00

"There goes the Daylight" offers 72 minutes of a live concert at The Grand, London, on April 29th, 1993. Peter Hammill, singing and playing the guitar, staffed an unconventional rock band ("The Noise") for this evening with his exquisite fellow musicians Stuart Gordon (violin, guitar), Manny Elias (drums) and Nic Potter (bass). No keyboards, no saxes here. The concert was recorded by David Lord, mixed and produced by Peter Hammill in an excellent way.

The 12 songs are taken from Peter Hammill's solo albums "Over" (1976), "Sitting Targets" (1981), "In a Foreign Town" (1988), "Fireships" (1991), "The Noise" (1992) and the Van der Graaf album "The Quiet Zone, the Pleasure Dome" (1977).

The concert must have been rehearsed well, the musicians play with enthusiasm, but still sound very relaxed. All concert long "The Noise" act as a band and there's no focus an any of the musicians on the stage.

The intonation of the songs mainly reminds to the sound of "The Quiet Zone" or "Vital" (1978) and so is not every Peter Hammill's fan's taste. But there are two tracks here for which it is worth owning the album.

The first of these songs is "Sign". The Noise play a stunning version of this tune from "Sitting Targets" (1981), also published by Peter Hammill and the K Group on "The Margin" (1985). Stuart Gordon uses his violin here as a rythm guitar and produces a funky rythm section together with drums and bass. It's most interesting to compare the three released versions. The interpretations are totally different on the basis of the same song.

The other track is "Lost and Found" from "Over". One of my all time favourites. Peter Hammill plays a marvellous guitar on this live version. I could listen forever to the heavenly swinging chords at the beginning of the song. The guitar solo at the second part of the song is as breathtaking as on the studio version.

The booklet shows five pictures with most expressive portraits of the band and it's members.

A most rewarding album for Peter Hammill listeners, no must for others.

1 Sci-Finance (Revisited) Hammill 5:21
2 The Habit of the Broken Heart Hammill 6:34
3 Sign Hammill 7:58
4 I Will Find You Hammill 5:22
5 Lost and Found Hammill 7:58
6 Planet Coventry Hammill 6:25
7 Empress's Clothes Hammill 5:05
8 Cat's Eye/Yellow Fever (Running) Hammill, Smith 6:10
9 Primo on the Parapet Hammill 12:17
10 Central Hotel Hammill 5:33

¡Aquí!

Xaal - 1991 - En Chemin

2011-05-26T09:38:00.002-05:00

Xaal's first album was quite a revelation for the prog scene in the early 90s. The mixture of Crimson trend, jazz-rock and regular melodic symph prog that the band developed across this album's repertoire felt really amazing, regarding that it was really mature for a debut and for such young musicians. Also, you will find lots of energy in the trio's performances and a clever use of complexity in the arrangements: at times, that complexity is enhanced by the use of some RIO-inspired tricks, like dark ambiences and subtle dissonant textures. "En Chemin" is really great, from beginning to end. The opener 'L'enfant' is related to the KC-meets-Camel aura that Shylock recreated and mastered some time ago. 'Ballade' goes to the fresher vibes of funky-jazz, with the added intervention of a duet of sax and trumpet that helps the basic trio to fulfill properly the joyful demands of the basic jam. 'Hkunk's Garden' retakes the path of track 1, only including some exotic flavors in the main theme; just to keep the logic working, I guess, the title track, track no. 4, displays a predominant jazzy colorfulness just like track 2 did, but this time, including some disturbing adornments in the interlude that may remind the listener of some sort of accessible RIO. 'Talisman' is driven softly and tastefully through the trend of fusion, portraying a patently modern sound, like some sort of Tribal Tech without a background of digital synths. After a mysterious and subtly dense guitar-synth intro, 'Le Vieux Chasseur de Papillons' follows a similar path to that of the title track: the energetic climax that is built up before the closing reprise of the intro theme shows how powerful this trio was. 'Ascension' finds the band exploring seriously and deeply their taste for accessible RIO: the darkness of the motifs and counterpoints is elegantly achieved, although perhaps a little more strength could have been used here. But strength is what is not missing at all in the 11-minute 'Byblos', which installs a "Red"-era KC vibe on a solid jazz-rock basis during the first part. Then comes a languid interlude based on aleatory guitar and synth layers, from which the dissonant fire of the second part emerges in a majestic way. This time, the use of guests on brass instruments serves as a vehicle for RIO mannerisms, helping to build up a climax. This is the richest number in the album. The frenzy of the 1-minute 'Finale' sounds like a funny impersonation of the release of inner demons: a surprising, joyful way to end a great album.

1 The Child [L'Enfant] Xaal 6:25
2 The Walk [Ballade] Xaal 5:32
3 Hhunk's Garden [le Jardin] Xaal 3:58
4 On the Way [En Chemin] Xaal 6:37
5 Talisman Xaal 5:14
6 The Old Butterfly Hunter [le Vieux Chasseur de Papillons] Xaal 7:40
7 Ascension Xaal 6:38
8 Byblos Xaal 11:09
9 Final Xaal 0:52

¡Aquí!

VA - 2004 - World Psychedelic Classics 3: Love's A Real Thing - The Funky Fuzzy Sounds Of West Africa

2011-05-25T15:57:00.004-05:00

A1 Orchestre Poly-Rythmo De Cotonou Dahomey* – Minsato Le, Mi Dayihome
Written-By – Eskill Lohento 3:16
A2 Super Eagles – Love's A Real Thing
Producer – E.K. Royce
Written-By – Badou Jobe, Papa Touray 2:57
A3 Moussa Doumbia – Keleya
Producer – Albert Loudes, Catherine Loudes
Written-By – Moussa Doumbia 6:41
B1 Sorry Bamba – Porry
Executive Producer – Songhoi Records
Written-By – Sorry Bamba 8:16
B2 No.1 De No.1* – Guajira Van
Written-By – Maguette N'Diaye 5:11
C1 William Onyeabor – Better Change Your Mind
Written-By, Producer – William Onyeabor 8:21
C2 Ofo & The Black Company – Allah Wakbarr
Producer – Dave Bennett
Written-By – Larry Ifediorama 3:29
D1 Bunzu Sounds* – Zinabu
Written-By, Producer – Faisal Helwani 3:19
D2 Tunji Oyelana & The Benders – Ifa
Producer – Odion Iruoje
Written-By – Tunji Oyelana 4:59
D3 Orchestre Regional De Kayes* – Sanjina
Written-By – Orchestre Regional De Kayes* 6:00

¡Aquí!

Abuela Coca - 2000 - El Ritmo del Barrio

2011-05-25T14:20:00.003-05:00

El ritmo del barrio
Walking
H20
Santa soledad
Templo
Para ver las estrellas
007
Nega
Quién lo diría
Ta'salao
Cable (mira dentro tuyo)
Cría cuervos

¡Aquí!

Hammill, Peter - 1994 - Roaring Forties

2011-05-25T12:42:00.002-05:00

From the cutting edge of "Sharply Unclear," athrough the insistent, throbbing "Talk Turkey," across the gentle instrumental bridges and into "A Headlong Stretch" (a twenty-minute, seven-part tempestuous journey through life) and all the way to the peaceful, gently-beautiful "Your Tall Ship," this album is an example of Hammill's musical, poetical and inspirational best.

1 Sharply Unclear Hammill
2 The Gift of Fire Hammill
3 The Gift of Fire (Talk Turkey)
4 You Can't Want What You Always Get
5 A Headlong Stretch
6 Your Tall Ship Hammill

¡Aquí!

A - 2002 - Hi-Fi Serious

2011-05-24T10:06:00.003-05:00

Great pop-punk records are actually a fairly rare creature in the overall picture of alternative rock. Despite the high volume of releases, whole years go by without a significant or exciting album being made in the genre. That is why the blissfully sweet Hi-Fi Serious is such a wonderful surprise. Whereas in the past A always showed potential, on this record they took that step forward that so many of their contemporaries are afraid to take. And what a step forward it is; gorgeous hooks, excellent production, and anthemic choruses that border on hair metal at times all add up to an irresistible sound that should appeal to any fan of the genre. By cutting away the snotty Green Day worship that makes so many of these groups obnoxiously coy, the group can explore other genres without any concern over sounding too ironic or goofy. They have definitely moved in a more commercial direction on this record, adding elements like synthesizers and heavily processed backup vocals that might damage their credibility, but make their music just that much better. The booty-shaking title track may be the best pop song the group has ever crafted, moving from the tense and driving verses to a swaggering chorus with such ease that it's a wonder they never displayed this sort of songwriting talent before. The fantastic "Nothing" feels like it could burst apart at any moment, but instead it holds together with a chorus that burns its way into your brain and refuses to leave. "Took It Away" feels like it's breaking apart toward the middle, then it makes a dramatic turn into a breezy Southern California section that brings the song to the next level. "Starbucks" is almost too catchy to be likable, but they manage to turn the song into a cutesy-but-endearing pop nugget by the end. And "The Distance" is either a pleasantly unique punk-pop anthem or the best hair metal song written since Poison's "Ride the Wind," and that is really the only way to describe it. Any fan of this genre who isn't afraid of a little experimentation should find themselves highly rewarded by giving this a shot. In a genre that is hideously oversaturated, it is a genuine relief to hear albums like this. It reminds the listener of how good this genre has the potential to be when in the hands of musicians that aren't afraid to be poppy first and punk second.

1 Nothing A , Perry 3:42
2 Something's Going On A , Perry 2:58
3 6 O'Clock on a Tube Stop A , Perry 3:14
4 Going Down A , Perry 4:09
5 Took It Away A , Perry 3:29
6 Starbucks A , Perry 3:18
7 The Springs A , Perry 4:28
8 Shut Yer Face A , Perry 3:43
9 Pacific Ocean Blue A , Perry 3:27
10 The Distance A , Perry 3:37
11 W.D.Y.C.A.I. A , Perry 3:27
12 Hi-Fi Serious A , Perry 5:55
13 Champions of Endings A , Perry 7:17
14 Nothing [CD-ROM Video] A , Perry 9:56

¡Aquí!

VA - 2010 - The Metal Forge, Vol. 2: A Tribute To AC/DC

2011-05-23T10:50:00.002-05:00

1. Steel Panther - Whole Lotta Rosie 4:02
2. Mutiny Within - Highway to Hell 3:12
3. Skindred - Back in Black 4:38
4. My Ruin - Have a Drink on Me 4:15
5. Wolf - Dirty Deeds Done Dirt Cheap 4:12
6. 4 Wheel Drive - Rock and Roll Ain't 3:27
7. The More I See - A Touch Too Much 4:11
8. Jettblack - Let Me Put My Love Into You 4:06
9. 77 - Bad Boy Boogie 4:41
10. Thunderhorse - Rise Demon Rise (Bonus Track) 3:48
11. Pay No Respect - Game Over (Bonus Track) 2:50
12. Godsized - Head Heavy (Bonus Track) 4:42
13. The Mercy House - Greed (Bonus Track) 5:22
14. Merrick - Ten Times (Bonus Track) 4:42
15. Disarm Goliath - Raining Steel (Bonus Track) 3:42

¡Aquí!

Exodus - 2004 - Tempo Of The Damned

2011-05-23T09:45:00.003-05:00

Given up for dead over a decade earlier, the mighty Exodus -- the original kings of thrash metal -- made an unexpected but long-rumored return in 2004 with the release of their sixth studio album, Tempo of the Damned. But what had been intended as a long-awaited reunion of their seminal Bonded by Blood lineup was tragically thwarted with the sudden death of vocalist Paul Baloff in early 2002. Fittingly, Baloff was duly supplanted by none other than Steve "Zetro" Souza, the man who'd replaced him in the first place and who had gone on to sing on every Exodus album thereafter, including their mid-period thrash classic Fabulous Disaster. Of course the fact that Souza was clearly the better and more reliable vocalist (albeit not as fun a character as Baloff) should not be overlooked, and with the welcome involvement of long-gone founding drummer Tom Hunting, Tempo of the Damned still serves as quite the family reunion. It also doesn't disappoint musically, picking up the pieces right where the band's star-crossed career had fallen apart 11 years earlier with the underrated Force of Habit, and turning in a performance that is, at once, vintage Exodus and mindful of modern recording standards as well. All of the old, much loved Exodus hallmarks are here: lyrics filled with biting, sarcastic social commentary; no-fuss, jagged thrash metal; and unparalleled technical precision.

As has always been the case, it's the dazzling six-string tag team of Rick Hunolt and Gary Holt (quite simply the tightest rhythm guitar duo in the history of thrash -- Slayer included) that truly drives the Exodus bullet train over lightning runs like "Scar Spangled Banner" and the wonderfully retro-named "Impaler." Their solos are as musical as the riffing is not, and, as heard on excellent examples like "Shroud of Urine" and "Forward March," always typified by inventiveness without excess pyrotechnics. About the only deviation from the band's tried and true formula of old comes in the shape of Souza's more varied vocal styles, including a less whiny, wholly uncharacteristic full-throated death roar for the standout "War Is My Shepherd." Tempo of the Damned's second half isn't quite as memorable, the likes of "Sealed with a Fist" and "Throwing Down" suffering from the same sort of aimless riffage that had mired disappointing earlier efforts like Pleasures of the Flesh and Impact Is Imminent, but "Culling the Herd" manages to buck this trend with plenty of fireworks, and the title track still moshes with a vengeance. Taken as a whole, Tempo of the Damned successfully resurrects Exodus as the potent and formidable thrash machine of old. The fact that they are well aware of their strengths, and content to stick with them to the end, is what makes this such a welcome release for the band's loyal followers, as well as younger fans looking to understand what got heavy metal where it is today.

1 Scar Spangled Banner Holt, Public Domain 6:41
2 War Is My Shepherd Holt, Souza 4:27
3 Blacklist Holt 6:16
4 Shroud of Urine Holt 4:51
5 Forward March Holt, Souza 7:38
6 Culling the Herd Holt 6:07
7 Sealed With a Fist Holt 3:35
8 Throwing Down Holt, Miller 5:01
9 Impaler Baloff, Hammett, Holt, Hunting 5:24
10 Tempo of the Damned Holt 4:21

¡Aquí!

Abuela Coca - 1998 - Despues Te Explico...

2011-05-22T15:57:00.003-05:00

01. Que pasa
02. Afoxe
03. Sexy Girl
04. Roberto
05. Toda menina Baiana
06. Chicos ricos
07. San Pedro
08. Himno de mi corazón
09. Pulgoso
10. Asesinos son
11. Che bo!
12. Coco claro
13. La ley

¡Aquí!

Hammill, Peter - 1993 - Offensichtlich Goldfisch

2011-05-22T15:17:00.002-05:00

An excellent idea (if, perhaps, a somewhat self-indulgent one): 12 of Peter Hammill's finest recent songs, rendered into the German language that his more stentorian vocals seemed to be striving for, even in English. Titled for Out of Water's "Evidently Goldfish," the album is dominated by material from the early '90s: cuts from Fireships and The Noise account for more than half the album, while the remainder is culled from 1988's In a Foreign Town and 1986's And Close As This. But Offensichtlich Goldfisch is no simple retread of already familiar material. Although little more than the vocals were re-recorded from the original master tapes, the musical textures change immensely in their new setting, regardless of whether or not one understands German. Familiar imagery is skewed, expected emphasis is delayed or dismissed altogether, and Offensichtlich Goldfisch unexpectedly emerges as one of the most surprising albums that Hammill has put his name to in a long time.

1 Offensichtlich Goldfisch 5:02
2 Dich Zu Finden 4:46
3 Die Kälte Killt Den Kuss 4:12
4 Favorit 5:06
5 Kaufhaus Europa 5:11
6 Der Lärm 6:13
7 Oase 5:44
8 Die Prominenz Küsst Sich 4:34
9 Die Tinte Verlischt 4:23
10 Auto [Wieder im Wagen] 4:02
11 Gaia 5:38
12 Schlaft Nun 4:39

¡Aquí!

Dead Kennedys - 1982 - Demo Tape

2011-05-22T13:37:00.002-05:00

¡Aquí!

VA - 2002 - Magic Bus Tracks

2011-05-22T11:25:00.005-05:00

From June until August of 2002, artists from Warp Records traveled across Europe, presenting to the world their latest musical and multimedia creations. The tour saw the artists collaborating and causing general havoc from the confines of a huge, state-of-the-art silver bus. Magic Bus Tracks is the limited-edition album commemorating the Ken Kesey meets Magical Mystery Tour-inspired festivities. Seemingly invigorated by the spirit of camaraderie, the participants are at the top of their respective games on the tracks compiled here. Luke Vibert's gloriously bouncy "Countdown" is a smartly arranged miasma of sonic textures. Richard Devine's "Mov Macros 7" is a thunderstorm of dark tones. "Simple" sounds like Mira Calix tossed Curve samples into a 30th century blender. Plaid's "Quickemit" is more of the gorgeous, complex techno for which the duo is known. Chris Clark's furious "Spinning Spines" assembles maddening slices of classic industrial noir in creating an atmosphere of dread and sweaty tension. A funny, spooky video for Plaid's "Itsu" sees director Pleix blending computer graphics and live-action video into a cautionary tale about corporate greed, office worker lust, and pet pigs. Magic Bus Tracks shows the reciprocal dedication and trust between Warp and its roster of artists.

1 Astrobotnia – Untitled 3:48
2 Luke Vibert – Countdown Written-By, Producer – Luke Vibert 4:40
3 Hecker – Hyperbolic Cosine Yea II Written-By, Producer – F. Hecker* 1:59
4 Richard Devine – Mov Macros 7 Written-By, Producer – Richard Devine 7:19
5 REQ – Soulplot Written-By, Producer – REQ 4:39
6 Mira Calix – Simple Written-By, Producer – Chantal Passamonte 3:50
7 Plaid – Quickemit Written-By, Producer – Plaid 5:27
8 Phoenecia – Sunset Condor Written-By, Producer – J.Kay*, R. Del Castillo* 4:55
9 Russell Haswell – 03:01:21 2002 Schirn Kunsthalle Frankfurt 3:01
10 Chris Clark – Spinning Spines (Aldi Edit) Written-By, Producer – Chris Clark 4:18

¡Aquí!

Puente, Tito - 1957 - Dance Manía

2011-05-21T15:50:00.003-05:00

Dance Mania, Tito Puente's best-known and best-selling album, came ten years into his career, but at a time (1957) when the craze for mambo and Latin music was beginning to crest. (Another landmark LP, Pérez Prado's Havana 3 A.M., had been released the previous year, and Prado's "Cherry Pink and Apple Blossom White" had hit number one in 1955.) Recorded as part of a just-signed exclusive contract with RCA and appearing in vibrant sound as part of the label's Living Stereo series, Dance Mania exploded with a series of tight arrangements, propulsive playing, and the features of new additions in vocalist Santos Colón and conguero Ray Barretto (who helped, in part, make up for the recent loss of Willie Bobo and Mongo Santamaria to Cal Tjader's group). Puente didn't dilute his sound for Dance Mania -- unlike the many commercial crossover LPs that were released by both established groups and ad hoc studio collectives -- but his hard mambos here were performed at tempos that encouraged dancing by more staid LP-buyers, slightly slower than the high paces of his Tico sides or Palladium shows. Brassy and swinging, yes, and certainly as precise as a great Latin band could get, but not as torrid as Spanish Harlem dancers would be accustomed to. Most were Puente originals, spanning mambo and cha-cha and guaguanco, and Dance Mania built the foundation for great Latin LPs to come.

1 El Cayuco Puente 2:33
2 Complicación Aguabella 3:18
3 3-D Mambo Santos 2:23
4 Llego Mijan Puente 3:10
5 Cuando Te Vea Puente 4:10
6 Hong Kong Mambo Puente 3:42
7 Mambo Gozón Puente 2:44
8 Mi Chiquita Quiere Bembe Puente 3:55
9 Varsity Drag [Mambo] Brown, DeSylva, Henderson 2:48
10 Estoy Siempre Junto a Ti Delgado 3:10
11 Agua Limpia Todo Aguabella 2:55
12 Saca Tu Mujer Puente 3:02

¡Aquí!

Abuela Coca - 1996 - La Abuela Coca

2011-05-21T15:05:00.002-05:00

Abuela Coca, grupo musical uruguayo de rock latino iniciado en 1992 por Alfredo Gianotti, el "Chole", (voz y guitarra) junto a los músicos Cacho Rodríguez (percusión), Javier Bonga (saxo) y Omar Santiago (bajo). Se caracteriza por un estilo musical que fusiona rock, reggae, rap y ritmos afro-latinos, entre otros.

1- Cotorra
2- Noche
3- Lo que falta
4- Sumcom II
5- Salvador
6- Soulca
7- Resbalón
8- Te digo baby
9- Sin palabras
10-Vagos
11-Nega

¡Aquí!

Hammill, Peter - 1993 - The Noise

2011-05-21T14:27:00.002-05:00

Loud, powerful and energetic music, balanced by poetical and clever lyrics. "The Entertainer" is an immediate success while "The Noise" is a prime example of Hammill's style of rhythmic and arrhythmic rock. A stab-in-the-back for the materialistic '90s society is cleverly disguised in the almost-pop "Great European Department Store," and the Finale -- the slowly building, haunting "Primo on the Parapet" -- reminds us to remember the past. Another unforgettable collection from Mr. Hammill.

1 A Kick to Kill the Kiss Hammill 4:11
2 Like a Shot, the Entertainer 5:12
3 The Noise Hammill 6:12
4 Celebrity Kissing 4:33
5 Where the Mouth Is 5:33
6 The Great European Department Store 4:58
7 Planet Coventry Hammill 4:01
8 Primo on the Parapet Hammill 8:35

¡Aquí!

VA - 1997 - May Your Songs Always Be Sung: The Songs Of Bob Dylan

2011-05-21T11:08:00.003-05:00

With only a pair of exceptions (think Hendrix and the Byrds), Bob Dylan's compositions are associated most with and recorded or performed best by Dylan himself. Tribute albums or collections of covers can never possess the grit and fire of his best material, especially those songs either intensely personal ("Positively 4th Street," "My Back Pages") or polemical ("Masters of War," "Talking World War III Blues"). Still, especially for great fans of Dylan's songs, hearing them in unfamiliar versions can often add meaning to lyrics or themes. May Your Song Always Be Sung: The Songs of Bob Dylan, a collection from German BMG Ariola, compiles versions separated by over three decades, most of them quite far afield from the originals but many of them performed by distinctive artists with something to add to the originals. Two of the best open the collection: Michael Hedges' atmospheric "All Along the Watchtower" and a mournful "Masters of War" from José Feliciano. The Box Tops' 1969 version of "I Shall Be Released" is a splendid fusion of country and soul, though Harry Nilsson's contribution is a ragged "Subterranean Homesick Blues" from 1974. At least half a dozen of the songs come from artists with far too much Dylan influence to make it on their own, including the Zimmermen, "Europe's number one Bob Dylan tribute band."

1. All Along The Watchtower-Michael Hedges
2. Blowin' In The Wind-Bobby Bare
3. Chimes Of Freedom-Phil Carmen
4. Never Say Goodbye('97 Version)-Steven Keene
5. Series Of Dreams-Zimmerman
6. Memphis Blues Again-Thomas Helmig
7. When The Night Comes Falling From The Sky-Jeff Healey Band
8. Seven Days-Jimmy Barnes
9. Trust Yourself-Carlene Carter
10. Highway 61 Revisited-Rita Chiarelli
11. Masters Of War-Jose Feliciano
12. Subteranean Homesick Blues-Nilsson
13. Ballad Of A Thin Man-The Sports
14. All I Really Want To Do-The Hooters
15. Sign On The Window-Jennifer Warnes
16. I Shall Be Released-The Box Tops
17. Blind Willie McTell-Dream Syndicate
18. Mighty Quinn-Gotthard
19. Knockin' On Heaven's Door-Leningrad Cowboy's

¡Aquí!

Absurdo - 2006 - Despierta Sentidos

2011-05-21T10:38:00.003-05:00

“…cansados de vivir inmersos en sus vidas absurdas consumidas de falsas historias durante toda la historia…”

A mediados del 2001 nutridos del eterno rock comienza a gestarse lo que en el 2005 se consolidó como El Absurdo.

Una banda de rock de la ciudad de Tigre, Bs. As., Argentina, que avanza con canciones propias, intensas y verdaderas.

La formación actual cuenta con Nico (Guitarra - Voz), Maxi (Batería - Coros), Mono (Bajo - Coros), sumándose en discos y actuaciones en vivo artistas invitados en voces, saxo y teclados.

Una noche así
Queda igual
El silbido
Alternativa
Mundos débiles
Ajenos
La baladita
Entra presagio
Presagio
Paladar de pocos
Ojos de la vida
Despierta!

¡Aquí!

Jarboe - 2005 - The Men Album (2CD)

2011-05-20T20:31:00.004-05:00

Disc 1

1 This Is Life Jarboe 6:01
2 Found DeSouza, Jarboe 3:21
3 To Forget DeSouza, Jarboe 4:17
4 Reason to Live Child, Stanley 5:09
5 Redeemer (Lion) Jarboe 1:33
6 A Woman's Dreams Jarboe 7:42
7 Into Feral Jarboe 1:54
8 Feral Blixa Jarboe 2:07
9 Feral Jarboe 8:37
10 Your Virgin Martyr LeBan 7:15

Disc 2

1 This Is Life, Meridien Howard, Jarboe, Ross 5:54
2 Angel David Jarboe 4:04
3 Dark Strong Sauce Jarboe 0:44
4 Bass Force/Angel Jim [Low Rider Mix] Jarboe 8:36
5 Torn Kiss Torn 2:17
6 Penance Izzo, Jarboe 8:41
7 Subtraction Jarboe 4:53
8 Jarboe Feral (Durga) Jarboe 1:08
9 When the Sun Rises Jarboe 2:56
10 Edward Life Jarboe 12:52

¡Aquí!

Hammill, Peter - 1992 - Fireships

2011-05-20T12:51:00.001-05:00

Fireships is one of Hammill's most consistently quiet, intimate works; a collection of relationship odes similar in mood to 1984's The Love Songs. Hammill, even at his most reflective, is highly poetic and intense. Each of the nine numbers is given ample room to breathe, with most ranging between 5 and 7 minutes. A hint of tragedy, a smoldering fire, burns below the surface of even the most languorous numbers, like the highlight "His Best Girl."

1 I Will Find You Hammill 4:46
2 Curtains Hammill 5:49
3 His Best Girl Hammill 5:05
4 Oasis Hammill 5:44
5 Incomplete Surrender 6:38
6 Fireships 7:20
7 Given Time Hammill 6:38
8 [Untitled Track] 4:19
9 Gaia Hammill 5:33

¡Aquí!

VA - 2004 - Metal / Hard Rock Covers, Vol. 103

2011-05-19T20:14:00.002-05:00

01 - Ten Masked Men - Cry Me A River (Justin Timberlake)
02 - Diamond Dogs - You Can't Always Get What You Want (The Rolling Stones)
03 - Glory - Bolero (Ravel)
04 - Daniel Flores And Friends - Wild Frontiers (Gary Moore)
05 - Sultan - Fade To Black-No Leaf Clover (Metallica)
06 - Faith No More - I Started A Joke (Bee Gees)
07 - Baltimoore - Mississippi Queen (Mountain)
08 - Believer - Like A Song (U2)
09 - The Mad Ones - Mama, I'm Coming Home (Ozzy Osbourne)
10 - Confligo - Moonlight Shadow (Mike Oldfield)

¡Aquí!

Simon & Garfunkel - 1968 - Bookends

2011-05-19T19:21:00.004-05:00

In March of 1968, Robert Kennedy was still alive and offering a vision for a way out to the America that had deeply entrenched itself in the Vietnam War. The inner-city rebellions in 1967 had shaken the youth culture's image of their own summer of love in that year. The beginning of America's crippling identity crisis had begun to shudder through the culture that would erupt with the death of Kennedy later that spring and the tragedy of the Democratic National Convention in Chicago later that summer. Before it was all over, Martin Luther King, Jr. had also lost his life. In pop culture, rock was exploding everywhere in Western culture. The impact of the Beatles' Sgt. Pepper's Lonely Heart Club Band and the Beach Boys' Pet Sounds -- both made in 1966 -- and the appearance of Jimi Hendrix on the pop scene in 1967 had ushered in a new way of making records, a way that not only referred to and portrayed everyday life but was part of its acceptance for what it was before attempting to transcend it. Earlier that spring, Simon and Garfunkel had slipped their fourth album into the bins with a whisper, the confoundingly literary, profoundly poetic and stunningly beautiful Bookends. Columbia Legacy has presented us S&G's entire catalog painstakingly remastered with extra tracks. The sound on these discs -- and Bookends in particular -- is amazing. It is literally true that there are instrumental passages and studio atmospherics that have never before been audible. As a pair, the two were seemingly equal collaborators with producer and engineer Roy Halee on a highly textured, multi-layered song cycle that offered observations on everything from urban crises that were symptomatic of larger issues, the prospect of old age and death, the loss and dislocation of those who desperately wanted to inherit an American Dream but not the one offered to them, surreal yet wistful reflections on youthful innocence lost forever to the cold winds of change.

Bookends is a literary album that contains the most minimal of openings with the theme, an acoustic guitar stating itself slowly and plaintively before erupting into the wash of synthesizers and dissonance that is "Save the Life of My Child." The uneasy rock & roll that carries the song through its disaster and the revelation of "Oh my grace, I've got no hiding place," which is the mere hint of what is to come in this wide open terrain of the previously familiar but completely unknown. The classic "America" is next, a folk song with a lilting soprano saxophone in the refrain and a small pipe organ painting the acoustic guitars in the more poignant verses. The song relies on pop structures to carry its message of hope and disillusionment as two people travel the American landscape searching for it until it dawns on them that everyone else on the freeway is doing the same thing. Its sweetness and sophisticated melodic invention are toppled by the message of the song and it becomes an ellipsis, a cipher, turned back on itself into disappearance, wondering what question to ask next. The sound of a lit cigarette is the opening of "Overs," a balladic study in the emptiness at the end of the relationship. The sound of inhaling and exhaling of the smoke tells the entire story. Also woven into the mix is a two-minute field recording of the voices of old people made by Garfunkel, collected from nursing homes and centers for the aged. The disembodied voices are chilling and heartbreakingly beautiful in their different observations, entire lifetimes summed up in a few seconds. This interlude leads into "Old Friends," which carries the message deeper as the image of two old men sitting on a park bench in languid statements of life lived ordinarily but poetically share not only their memories but also the commonality of their fear. A horn section threatens to interrupt the reverie, carrying the chaos they feel, their lack of control over current events, but is warded off as denial and the gentleness of the melody returns and fades into the album's opening theme, suggesting that we preserve our memories. As "Fakin' It" kicks to the fore, we feel the separation inherent in Simon's generational view of the unconscious separation of heart and mind. The tune is as full of hooks as a fishing boat and Halee swipes a bit from the Beatles' "Tomorrow Never Knows" and eases orchestral layers into the mix, subtly of course, but ever-present and recognizable nonetheless. With "Fakin' It," the depth of the album's meditation presents itself in earnest. Synth lines and handclaps give way to snare drums and acoustic guitars, and the first appearance of loss shows itself for what it is, the passing of life, moment by moment, memory by memory so quickly, that pretending is somehow preferable to the reality of everyday life. When the horn section and strings bring the crescendos and the lyric asserts, "This feeling of fakin' it/I still haven't shaken it/I know I'm fakin' it/I'm not really makin' it." Even Leonard Cohen's dark prophecies never stated the case so plainly -- in a folk-rock tune. The identity crisis inherent in the jazzy "Punky's Dilemma" melds the loss of innocence and childhood with the cynicism of present-day living. The final four tracks of the original album, "Mrs. Robinson," the theme song for the film The Graduate, "A Hazy Shade of Winter," and the album's final track, the George-influenced "At the Zoo," offer as tremblingly bleak a vision for the future as any thing done by the Velvet Underground, but rooted in the lives of everyday people, not in the decadent underground personages of New York's Factory studio. But the album is also a warning that to pay attention is to take as much control of one's fate as possible. The bonus tracks, a different take of "Old Friends" and "You Don't Know Where Your Interest Lies" -- which ended up as the B-side of "Hazy Shade of Winter" -- add dimension to what was easily the most ambitious recording of Simon & Garfunkel's career. Its problematic themes, spare yet striking arrangements, and augmented orchestral instrumentation created a backdrop for the sounds of a generation moving through a workaday world they no longer accepted as real, a world they never understood in first place. That S&G never overstate the case here, never preach to the converted but instead almost journalistically observe the questions in the process of their being asked is a monumental achievement. That they did so in three- and four-minute pop songs is almost inconceivable for the time.

1 Bookends Theme Simon 0:32
2 Save the Life of My Child Simon 2:48
3 America Simon 3:35
4 Overs Simon 2:18
5 Voices of Old People Garfunkel, Simon 2:07
6 Old Friends Simon 4:05
7 Bookends Theme Simon 2:35
8 Fakin' It Simon 1:23
9 Punky's Dilemma Simon 3:19
10 Mrs. Robinson Simon 2:17
11 A Hazy Shade of Winter Simon 2:17
12 At the Zoo Simon 2:22

¡Aquí!

Abrelatas - 1984 - Energía Para Compartir

2011-05-19T19:00:00.001-05:00

Abrelatas nace en 1981 en La Plata y logra una buena aceptación en el circuito underground de esa ciudad. Esta banda recibió muy buenas críticas por su debut discográfico ("Energía para compartir", 1984), pero el disco careció de difusión.

Con un gran esfuerzo editaron su segundo LP, "Prendas íntimas" (1985), pero ante el escaso apoyo recibido y las bajas ventas, los shows en vivo se tornaron más esporádicos, hasta que Pássaro fue convocado por Raúl Porchetto y la bada se disolvió.

1-energia para compartir
2-que coche tiene el doctor
3-mi moto impresionante
4-salgamos a jugar
5-me haces vibrar
6-no puedo verme tan mal
7-mi querida graciana
8-hoy no llores
9-tengo todo el ambiente
10-me persigue el capataz
11-la academia de rock and roll

¡Aquí!

Takanayagi, Masayuki - 1970 - Call In Question

2011-05-19T16:01:00.002-05:00

Fierce, gutteral free jazz, spewing chunks and blocks of full-on cataclysm. A massive energy corralled and thrown by the frenetic playing of guitarist Masayuki Takayanagi. A cacophony of seemingly little purpose but with plenty of power behind the squealing, screeching, skittering, stuttering, and sociopathic siren calls. It may sound like a bunch of noise but there are bounds to this noise, a containment of pure human feeling within this near-perfect storm. Even when it paces itself its meandering seems sinister and ready to pounce. The rhythm section underpins and the reeds (and flute?) accentuate and scour your grey matter, but it's mostly up to Takayanagi to fry your synapses.

pure demolition far ahead from the time (1970(!)). Keiji Haino was born by the bowels of the Takayanagi's "Mass Projection" concept of guitar playing here. the transformation of a cool-jazz guitarrist to the noisiest guitarrist that the free-jazz ever met. neither Hendrix, Velvet or Stooges (even Haino)... they are a bunch of kids close to Takayanagi's destruction in "Call in Question" (other one i would recommend is "Mass Projection", made with Kaoru Abe). it is an real introspective journey to our most raw psyche.

1. Extraction (19'04)
2. Intermittent (13'15)
3. Excavation (21'08)

¡Aquí!

VA - 2004 - Absolute Power Metal: The Definitive Collection, Vol. 5

2011-05-19T14:08:00.002-05:00

01- Royal Hunt - game of fear
02- Blind Guardian - Battlefield
03- Burning Point - Signs of danger
04- Cryonic Temple - Gatekeeper
05- Darkmoor - The night of the age
06- Desdemona - Event Horizon
07- Domine - Ariochc the Chaos Star
08- Dreamtale - Return to the Sea
09- Edenbridge - Starlight Reverie
10- Freedom Call - The Eyes of the World
11- Guardians Of Time - The Rise of Triopticon
12- Horizon - Hometown Star
13- Kamelot - Wings of Despair
14- Manigance - Ange Ou Demon
15- MVP - Crucified
16- Phantom - Well of Souls
17- Arwen - Times Gate
18- Black Majesty - Colliding Worlds
19- Chinchilla - The Highest Price
20- Stratovarius - Against the Wind

¡Aquí!

Wobble, Jah - 2004 - I Could Have Been A Contender

2011-05-19T11:33:00.003-05:00

Disc 1

1 Public Image 2:57
2 Fly 2 Wardle 4:01
3 Ketmagyl (Don't Go Away) Cookson, Usmanova, Wobble 4:52
4 Visions of You Adams, Reynolds, Wobble 5:33
5 Mehmeda Majka Budila Sulejmanovic, Wobble 3:09
6 Becoming More Like God Adams, Reynolds, Wobble 3:19
7 Mistralazul 2 Count, Miranda, Sparkes, Wobble 4:07
8 I Offer You Everything Wobble 3:50
9 Shout at the Devil Atlas, Dubulah, Sparkes, Wobble 4:05
10 Blacksmith Carter, Cookson, Traditional, Wardle 5:02
11 Blacksmith Dub Carter, Cookson, Traditional, Wardle 3:38
12 Elevator Music 3 Wobble 5:19
13 Josey Walsh Adams, Reynolds, Wobble 3:57
14 Tyger Tyger Wobble 4:54
15 Requiem III Wobble 6:54

Disc 2

1 Poptones 7:47
2 Betrayal Dub Wobble 6:02
3 How Much Are They Czukay, Wobble 4:47
4 Invaders of the Heart Mix 2 [Mix 2] Maltby, Marland, Murray, Partis… 4:32
5 Swan Lake (Death Disco) 4:11
6 Snake Charmer Czukay, Kevorkian, Marland, Wobble 6:21
7 Songs of Innocence Wobble 6:47
8 Fly 1 Wardle 6:08
9 Funeral March Wobble 4:50
10 Lam Tang Way Dub Wobble 3:31
11 The Dunes McGowan, Wobble 4:58
12 So Many Years Adams, Harrow, Schoots, Wobble 2:52
13 Lam Saravane Dub Laos, Wobble 4:26
14 A Man I Knew Kenelly, Wobble 6:07
15 Elevator Music 1 Wobble 6:28

Disc 3

1 Gone to Croatan Dieng, Laswell, Sanders, Skopelitis… 15:29
2 Spinner Eno, Wobble 2:57
3 A13 Harrow, Wobble 3:44
4 Passage to Hades Bell, Parker, Rasle, Sanders, Wobble 13:33
5 The Mystery of Twilight Part 2 Budd, Heynes, Laswell, Leibezeit… 24:31
6 Left Where It Fell Eno, Wobble 6:57
7 The River Suite (Extract) Wobble 12:41

¡Aquí!

Abonizio Sainz - 2005 - Cualquier Tren a Ningún Lado

2011-05-18T11:40:00.002-05:00

01 - No Estamos A Salvo
02 - Carta A Un Ladron
03 - Descreo
04 - Naranjas
05 - Noche
06 - Pibe Del Sur
07 - Volar
09 - La Sombra De La Guitarra
10 - Tus Brazos En Cruz
11 - Fauna Marina
12 - Cualquier Tren A Ningun Lado
13 - La Negrita De Moron
14 - Esta Velocidad
15 - El Como Y El Porque
16 - Historia De Mate Cocido

¡Aquí!

Hammill, Peter - 1990 - RoomTemperatureLive

2011-05-17T08:47:00.002-05:00

With his 1990 in-concert, two-CD set Room Temperature: Live, Peter Hammill took an approach similar to his earlier The Margin: Live -- it contained few overdubs and very little audience applause. Recorded during a month-long winter tour (which included the United States, Canada, and England), the band consisted of Stuart Gordon (violin), Nic Potter (bass), and Hammill on keyboards, guitar, and vocals. The performances are, for the most part, stark and haunting, no doubt due to the absence of a drummer. But this may be the closest the listener will ever get to the heart and soul of Peter Hammill, since there is nothing for him to hide behind on such bare tracks as "The Wave" and "Something About Ysabel's Dance." Also, the stunning emotion contained in Hammill's vocal delivery has been captured on tape flawlessly throughout (perhaps this album provides the ultimate showcase for Hammill's vocals). Other standouts are "Cat's Eye/Yellow Fever (Running)," "Hemlock," and one of Hammill's best-known songs, "The Future Now." Each disc runs over the 70-minute mark, while the intensity and consistency of the performance never dips. Certainly one of the more unconventional live albums in recent times, Room Temperature: Live is sure to please just about any Hammill fan.

Disc 1
1 The Wave Hammill 3:40
2 Just Good Friends Hammill 5:16
3 Vision Hammill 4:51
4 Time to Run Hammill 5:01
5 Four Pails Hutchinson, Smith 6:19
6 The Comet, The Course, The Tail Hammill 9:45
7 Ophelia Hammill 4:12
8 Happy Hour Hammill 9:16
9 If I Could Hammill 5:57
10 Something About Ysabel's Dance Hammill 7:38
11 Patient Hammill 10:02

Disc 2
1 Cat's Eye/Yellow Fever (Running) Hammill, Smith 6:04
2 Skin Hammill 5:31
3 Hemlock Hammill 8:20
4 Our Oyster Hammill 7:12
5 The Unconscious Life Hammill 5:57
6 After the Show Hammill 11:01
7 A Way Out Hammill 8:46
8 The Future Now Hammill 4:07
9 Traintime Hammill 5:53
10 Modern Hammill 10:51

¡Aquí!

Maestoso - 2007 - Caterwauling

2011-05-16T13:03:00.002-05:00

14 years passed between Wooly Wolstenholme's solo debut and his second set, and another decade was gone before a third album appeared, credited to the artist's new solo moniker Maestoso. 2004's One Drop in a Dry World, was swiftly followed by Grim, and a mere two years went by before Caterwauling landed on the shelves. While One Drop was an exuberantly diverse musical affair and Grim a wildly creative concept set, Caterwauling neither explores new musical territory nor presents an overarching theme. A far more introspective affair, here Maestoso seems intent on solidifying his musical ideas. There again, the artist is not immune to current events or their antecedents, tracing the long historical trek of the "Soldier of Fortune" across a free-form jazzy, prog rocker. Flipping the coin, Maestoso then follows a patriotic young enlistee down "The Road to Nowhere." The latter's a perfect pop/rocker, and almost reminiscent of the Jam at their epic heights. Maestoso's sympathetic portrayal of both these characters is belied by the heavy-hitting "Shoes," a requiem for war's multitudinous innocent victims, that begins in quiet beauty, then explodes into progressive metal-laced rock. This triptych of death is the set's only concessions to current climes, bar the sarcastic expose of our "Pills"-popping culture, with the rest of the album given over to more personal affairs. There's a trio of moody, yearning numbers in the center of the set -- the revelatory "Closure," the emotive rocker "Always," and the introspective "I Don't Like You." One can draw one's own conclusions that the group is book-ended by "The Collector" and "Tonight Could Be the Night," electrifying numbers both, but representing death and beginnings respectively. The lilting "Matilda Yarrow," in contrast, is a gentle lullaby, "Strange Worlds" a succinct sci-fi story set to a grandiose pop backing, and "Blossom Hill" a return to simple pastoral pleasures. Joined once again by Kim Turner, Steve Broomhead, and Craig Fletcher, alongside a guesting Geoffrey Richardson and Jake Fletcher, the music and arrangements are magnificent, the quieter numbers glistening, the rockers spectacular. Not as immediately mind-blowing as One Drop, nor as cohesive as Grim, Caterwauling, instead strengthens the links to Wolstenholme's own past with Barclay James Harvest.

1 Caterwauling 0:49
2 Soldier of Fortune 11:36
3 The Road to Nowhere 4:08
4 Matilda Yarrow 5:04
5 The Collector 4:04
6 Closure 2:44
7 Always 4:06
8 I Don't Like You 3:33
9 Tonight Could Be the Night 4:10
10 Shoes 3:43
11 Strange Worlds 2:16
12 Quicksand 5:30
13 Blossom Hill 3:53
14 Pills 3:11

¡Aquí!

VA - 2003 - Replay Debussy

2011-05-16T11:24:00.003-05:00

1 Mangurekan – Auraton
2 Terre Thaemlitz – Prélude A L'Après-Midi D'un Faune
3 Alvin Lucier – Amphorae
4 Jamie Lidell – Taught To Box
5 Paul Paulun – 29°57' N | 78°10' E
6 Ryuichi Sakamoto – Sakamoto's Debussy
7 Christian Von Borries – La Plainte, Au Loin, Du Faune
8 Pierre Henry – Par Les Grèves
9 Porter Ricks – Porter Ricks Mix
10 Panasonic SV-3800 – Used By Permission

¡Aquí!

Abonizio, Adrián - 1991 - Demos

2011-05-16T10:54:00.002-05:00

- Y ahora
- Violetas
- País del ojo negro
- Te hablo
- Todo es humo
- Cambios
- Amelia
- Familia de artistas

¡Aquí!

Van Morrison - 1970 - Moondance

2011-05-16T10:16:00.004-05:00

The yang to Astral Weeks' yin, the brilliant Moondance is every bit as much a classic as its predecessor; Van Morrison's first commercially successful solo effort, it retains the previous album's deeply spiritual thrust but transcends its bleak, cathartic intensity to instead explore themes of renewal and redemption. Light, soulful, and jazzy, Moondance opens with the sweetly nostalgic "And It Stoned Me," the song's pastoral imagery establishing the dominant lyrical motif recurring throughout the album -- virtually every track exults in natural wonder, whether it's the nocturnal magic celebrated by the title cut or the unlimited promise offered in "Brand New Day." At the heart of the record is "Caravan," an incantatory ode to the power of radio; equally stirring is the majestic "Into the Mystic," a song of such elemental beauty and grace as to stand as arguably the quintessential Morrison moment.

1 And It Stoned Me Morrison 4:30
2 Moondance Morrison 4:35
3 Crazy Love Morrison 2:34
4 Caravan Morrison 4:57
5 Into the Mystic Morrison 3:25
6 Come Running Morrison 2:30
7 These Dreams of You Morrison 3:50
8 Brand New Day Morrison 5:09
9 Everyone Morrison 3:31
10 Glad Tidings Morrison 3:13

¡Aquí!

Hammill, Peter - 1988 - Spur Of The Moment

2011-05-15T21:56:00.003-05:00

1 Sweating It Out Evans, Hammill 6:40
2 Surprise/Little Did He Know Evans, Hammill 9:34
3 Without a Glitch Evans, Hammill 3:33
4 Anatol's Proposal Evans, Hammill 4:06
5 You Think Not? Evans, Hammill 4:33
6 Multiman Evans, Hammill 8:11
7 Deprogramming Archie Evans, Hammill, Ridout 1:52
8 Always So Polite Evans, Hammill 5:28
9 An Imagined Brother Evans, Hammill 5:26
10 Bounced Evans, Hammill 5:20
11 Roger and Out Evans, Hammill, Ridout 1:37

¡Aquí!

Wovoka - 2006 - II

2011-05-15T21:38:00.001-05:00

1 To Jesus Acedo With Love 4:13
2 The Angels Have Flown Mada Away To Glory... Rejoice 11:01
3 Autumn Fingers 3:24
4 The Sapling Tree Whispers Truth Of Peace 2:49
5 And The Sun Shown Down On Wovoka 9:52
6 La Fin Tar 1:20

¡Aquí!

VA - 1996 - Musica Celestia Sampler

2011-05-15T14:45:00.004-05:00

1 Stoa – Partus
2 Chandeen – Strawberry Passion
3 Love Is Colder Than Death – In Silence And Tears
4 Anchorage – Dawn
5 Rise And Fall Of A Decade – Pure Hands
6 Mellonta Tauta – Pull The Chariot
7 Speaking Silence – The Call From Inside
8 Manic P. – Lost In Silence
9 Black Rose (2) – Instant
10 Sleeping Dogs Wake – Swan Song
11 Shape Shifter (4) – Acts Of God
12 24 Hours (2) – The Sea Is My Soul
13 Attrition – I Am

¡Aquí!

17 Hippies - 1999 - Wer Ist Das?

2011-05-15T13:52:00.002-05:00

Based in Berlin, Germany, the 17 Hippies started off in 1995 as a trio playing the otherwise unlikely mix of Cajun and Baroque music. Gradually, they expanded their line-up and eventually ended up as an orchestra consisting of twenty, sometimes even thirty musicians. Coming from different backgrounds like rock, jazz and classical music, the band members assimilated virtually any musical style available and blended all of this into their own unique sound. Thus, they feel equally at home whether playing at boisterous wedding parties or in the chamber music room. Appearances at the renown SXSW festival in Austin, Texas in 1998 or the simultaneous release of CDs in French, German and Italian in the respective countries in 1999 all contributed to the growing global reputation of this ensemble of world citizens. The band also pursued other projects such as the release of a book of music for children (1999) and the soundtrack for the Andreas Dresen movie Halbe Treppe (English title: Grillpoint) (2002) which won a prize at the 2002 Berlinale, the renown Berlin film festival, and is one of the highlights of post-reunification German cinema.

1 Le Déserteur 1:22
2 Freilachs 1:35
3 Alabama Jubilee 2:17
4 Jolie Blonde 3:26
5 Ershter Tants 3:24
6 Maxglaner 3:08
7 Tarantella 2:29
8 Saragina Rumba 2:09
9 Niall's 2:46
10 Mandelay 4:02
11 Mustafa 2:20
12 Ungarn-Walzer 2:12
13 Zweutletscht 2:10
14 Ukrainskyi Tanietz 1:53
15 Chassidic Song 4:38
16 Broyges Tanz 20:58

¡Aquí!

Abonizio, Adrián - 2006 - Extraño Conocido

2011-05-15T13:31:00.003-05:00

Reversiones de conocidos que fueron interpretados tambien por gente como Baglietto

Mirta de regreso
Dios y el diablo en el taller
Dormite patria
El témpano
Cantandole a los vivos
Historia de Mate Cosido
Plantas Argentinas
La villa de los milagros
Rieles de San Pedro
En tierra firme

¡Aquí!

Hammill, Peter - 1988 - In A Foreign Town

2011-05-15T11:31:00.003-05:00

Although not considered one of Peter Hammill's best by longtime fans, 1988's In a Foreign Town does contain some worthwhile material. Produced by Hammill himself, the album is far more upbeat than most of his past work, and sounds like mid-'80s Genesis at times. But it may be one of Hammill's most musically varied albums; just give a listen to the new wave sound of "Invisible Ink" (one of the album's catchiest and strongest tracks), the Talking Heads-like "Sci-Finance (Revisited)," and the Adrian Belew/King Crimson sound of "Auto." But the anemic '80s production of the material tends to take away from the compositions; it's the complete opposite of earlier Hammill releases, where he kept things more straight-ahead. The song "Under Cover Names" contains completely un-Hammill-like, cheesy Miami Vice keyboard sounds. The only track where the Peter Hammill-of-old resurfaces is on the stark piano/voice composition "The Play's the Thing." If the one-dimensional production was replaced with more interesting sounds, In a Foreign Town would have turned out better, since there was still plenty of strong Hammill songwriting present.

1 Hemlock Hammill 6:30
2 Invisible Ink Hammill 4:18
3 Sci-Finance (Revisited) Hammill 4:19
4 This Book Ameli, Columbo, Hammill 5:11
5 Time to Burn Hammill 5:11
6 Auto Hammill 3:57
7 Vote Brand X Hammill 4:01
8 Sun City Night Life Hammill 4:31
9 The Play's the Thing Hammill 4:52
10 Under Cover Names Hammill 4:17
11 Smile Gronemeyer
12 Time to Burn Hammill

¡Aquí!

Faeth En Ztatik - 2000 - Flatline

2011-05-15T11:08:00.003-05:00

I am human. I breathe filth and contamination. Phyisical greed spills out of my oil choked pores (razor scraped raw skin red) and suffocates reason (because I allow it to {for just one touch, for just another, just one more}) for satisfaction (is being addicted, is eating broken glass). A need to justify denying reproduction. Stimulation. Release. Lies. Betrayal. Abandonment. Stimulation. Release. Lies. Betrayal. AbandonmentStimulationReleaseLies. Enough. No more. Sickmachine. Malfunction-Pathetic. Delusion. Insecure. What do you want from me? Am I pretty? (stained-rag-stitch-cloth-painted-face-cracked-{rot}). obsessed with being beautiful. With feeling appreciated. needed. wanted. understood. loved. Human filth. We need nothing. We want everything. There is no basic necessity. We are unecessary. I am disease. Contagen incarnated. Consume. breathe sleep, breed and eat and breathe and sleep.., breed. needmachine. Consume. Spawnwaste. Hate down to chemical screaming instinct. Heartpoundchestplate. I am spineless. Ameboa. This is damnation. Hell is animal yearning. Constant. Tearing at the mind. Degradation. Don't touch me. (It's only natural afterall). I am made of lies. Selfdeceptionloathing deprivation. Not of sound mind and body. Touch me. Please don't touch me again. Kill my senses. No sighthearsmelltastetouch again. Don't make me cut it and burn it away. This is addiction. I am junksick. Fuck your drugs. I need an overdose. now. need. againagainagain. Never. Again. Always. Sick with need. Always. -not- beautiful. I refuse this programming with vehement failure consistant as digital transmissions (like it matters). I am thoughtless, algorithmic. There is nothing left. My mind is (echos of what once could have been). animalsurvivalmachine. beast. I am tired of pretending. Dig fingers beneath my skin. Coercion. Tear it out of me while I scream behind smiles. Love. (laughter) Love. Remove the thousand masks. We are damagemachines.

1 - Faeth en Ztatik - The Padded Cell (Neurosis Remix by Faeth en Ztatik)
2 - Wumpscut - Wreath of Barbs (Escaping the Flesh Remix by Faeth en Ztatik) (First Draft)
3 - Flatline (inspired by Maschinelike's "Flatline".)
4 - Maschine's Blut (Faeth en Ztatik vs Maschinelike)
5 - Red Shift
6 - Snake River Conspiracy - Lovesong (Unmasked Desperation Remix by Faeth en Ztatik)
7 - Mir (Vocals)
8 - Asymmetric Warfare(v0.2)
9 - Eventual Decay V3
10 - Scars
11 - Android Lust - Refuse (Remix/Cover by Faeth en Ztatik V5)
12 - Strange Time 2 (Shred 4)
13 - The Cure - Want (Cover by Faeth en Ztatik)

¡Aquí!

VA - 1986 - Sounds From True Stories

2011-05-15T10:14:00.003-05:00

This soundtrack to the Talking Heads film True Stories was the second release in a planned trilogy, the last of which -- the film's actors covering the Talking Heads songs from the album -- never surfaced. Fortunately, this second volume did, a selection of background music and non-David Byrne tunes written for the film. Of the Byrne-penned selections, only a few borrow from Heads songs, and the original compositions, perched somewhere between Penguin Cafe Orchestra and a general Americana feel, are pleasant. Meredith Monk's "Road Song" does Byrne one better in this department, and Carl Finch's incredibly silly "Mall Muzak" suite pokes cockeyed fun. The only proper songs here are Terry Allen's "Cocktail Desperado" and Steve Jordan's Tex-Mex "Soy de Texas," both romping good fun.

1 Cocktail Desperado
2 Road Song
3 Freeway Son
4 Brownie's Theme
5 Mall Muzak
6 Dinner Music
7 Disco Hits
8 City of Steel
9 Love Theme from "True Storeis"
10 Festa Para Um Rei Negro
11 Buster's Theme
12 Soy de Tejas
13 I Love Metal Buildings
14 Glass Operator

¡Aquí!

Velvet Underground - 1968 - White Light / White Heat

2011-05-15T00:18:00.003-05:00

The world of pop music was hardly ready for The Velvet Underground's first album when it appeared in the spring of 1967, but while The Velvet Underground and Nico sounded like an open challenge to conventional notions of what rock music could sound like (or what it could discuss), 1968's White Light/White Heat was a no-holds-barred frontal assault on cultural and aesthetic propriety. Recorded without the input of either Nico or Andy Warhol, White Light/White Heat was the purest and rawest document of the key Velvets lineup of Lou Reed, John Cale, Sterling Morrison, and Maureen Tucker, capturing the group at their toughest and most abrasive. The album opens with an open and enthusiastic endorsement of amphetamines (startling even from this group of noted drug enthusiasts), and side one continues with an amusing shaggy-dog story set to a slab of lurching mutant R&B ("The Gift"), a perverse variation on an old folktale ("Lady Godiva's Operation"), and the album's sole "pretty" song, the mildly disquieting "Here She Comes Now." While side one was a good bit darker in tone than the Velvets' first album, side two was where they truly threw down the gauntlet with the manic, free-jazz implosion of "I Heard Her Call My Name" (featuring Reed's guitar work at its most gloriously fractured), and the epic noise jam "Sister Ray," 17 minutes of sex, drugs, violence, and other non-wholesome fun with the loudest rock group in the history of Western Civilization as the house band. White Light/White Heat is easily the least accessible of The Velvet Underground's studio albums, but anyone wanting to hear their guitar-mauling tribal frenzy straight with no chaser will love it, and those benighted souls who think of the Velvets as some sort of folk-rock band are advised to crank their stereo up to ten and give side two a spin.

1 White Light/White Heat Reed 2:47
2 The Gift Cale, Morrison, Reed, Tucker 8:19
3 Lady Godiva's Operation Reed 4:56
4 Here She Comes Now Cale, Morrison, Reed, Tucker, Tucker 2:04
5 I Heard Her Call My Name Reed 4:38
6 Sister Ray Cale, Morrison, Reed, Tucker, Tucker 17:27

¡Aquí!

Hammill, Peter - 1986 - Skin

2011-05-14T22:57:00.002-05:00

All but a reunion of Van Der Graaf Generator in terms of personnel, and hearkening to the latter-day spirit in terms of some of the tone, Skin is nonetheless Peter Hammill continuing to declare his own direction minute by minute, rather than plotting overarching career goals. There is more of a dependence on MIDI on this album, and a lot of obvious keyboard support, but the core human players come through loud and clear, especially Guy Evans on drums and David Jackson on saxes. It is odd to hear Hammill belting his way through a song with the support of sampled and synthesized horns and a rocking beat, especially when the song is about the death of art ("Painting By Numbers"), but it's also a welcome relief -- that ability to flex is exactly the thing that has helped to keep the man's creative existence alive since 1967. The album is also highlighted by "Four Pails," a beautiful song by longtime Hammill confederate Chris Judge Smith. The album has had several CD releases, with the Fie! release having improved sound.

1 Skin Hammill 4:18
2 After the Show Hammill 4:20
3 Painting by Numbers Hammill 4:01
4 Shell Hammill 4:18
5 All Said and Done Hammill 3:40
6 A Perfect Date Hammill 4:14
7 Four Pails Hutchinson, Smith 4:30
8 Now Lover Hammill 9:47

¡Aquí!

X-Cops - 1995 - You Have The Right To Remain Silent

2011-05-14T21:00:00.002-05:00

A short-lived side project assembled by the members of costumed shock thrashers GWAR, X-Cops penned comedic hardcore and speed metal ditties inspired by the humorous darker side of law enforcement. Going under such imaginative stage names as Sheriff "Tubb" Tucker (vocals), Sgt. AlDepantsia (guitar), Lt. Louis Scrapinetti (guitar), Patrolman Cobb Knobbler (bass), Cadet Billy Club (drums), Mountain Bike Officer Biff Buff (vocals), Sgt. Zypygski (vocals), and Detective Philip McRevis (samples), the members of X-Cops locked up their debut album, You Have the Right to Remain Silent, in 1995. But they managed only a single the following year before retiring from the force and, once again, concentrating on donning their GWAR outfits thereafter.

1 Interloper Derks, Orr 3:18
2 Barbells Derks, Lee, Orr 3:30
3 Cavity Search Dunn, Lee 1:57
4 Zipper Pig Brockie, Gorman 1:51
5 Welcome to New Jersey Brockie, Dunn, Lee 2:22
6 Your Mother Dunn, Lee, Orr 4:20
7 The Party's Over Brockie, Lee, Orr 2:35
8 5-0 Dunn, Lee, Orr 1:52
9 Tune Up Time 1:06
10 Third Leg Dunn, Lee, Orr 1:55
11 Paddy Wagon Rape Brockie, Dunn, Lee, Orr 3:05
12 Highway Star Blackmore, Gillan, Glover, Lord… 5:55
13 You Fucked Up Dunn, Lee, X Cops 4:02

¡Aquí!

VA - 2003 - Music From The Wattstax Festival & Film

2011-05-14T13:35:00.003-05:00

As it is with the multiple Woodstock soundtrack albums, it's hard to keep up with what's on the soundtrack discs bearing the name Wattstax in the title, counting the two initial volumes that came out in the 1970s, and now this three-CD package. Making matters more confusing is how, as the title of this set infers, the albums mix music from the festival with music from, or somehow associated with, the film Wattstax (which had some scenes, musical and otherwise, that actually didn't take place at the Wattstax festival itself). And to make matters yet more confusing, Music from the Wattstax Festival & Film, for all its generous length, isn't simply a combination of the Wattstax music that appeared in the '70s on either Wattstax, The Living Word: Live Concert Music from the Original Movie Soundtrack or Wattstax: The Living Word, Vol. 2. A lot of tracks from those albums do appear on these three CDs, but some don't; plus, Music from the Wattstax Festival & Film adds 17 previously unreleased songs, as well as one (Isaac Hayes' "Theme from Shaft") that previously appeared on Isaac Hayes at Wattstax. It's something of a head-hurting exercise to keep it all straight. But ultimately, the most important thing to bear in mind is that Music from the Wattstax Festival & Film is the best, and certainly most bountiful, of the Wattstax-spawned discs, though it's marred by the exclusion of some previously issued tracks from the other Wattstax releases.

Most of this was indeed recorded at the Wattstax festival on August 20, 1972, featuring live soul from many artists on the Stax label. Most of the best performances from the previous Wattstax iterations were retained, among them well-recorded selections by the Staple Singers (whose four songs include "Respect Yourself" and "I'll Take You There"), Eddie Floyd (doing "Knock on Wood"), the Bar-Kays (whose nine-minute "Son of Shaft/Feel It" is a highlight), Albert King, Carla Thomas, Johnnie Taylor (with an eight-minute "Steal Away"), the Emotions, and Rufus Thomas. Some of the best cuts, however, are found in the dynamic previously unreleased material by lesser-known Stax artists, like Louise McCord's "Better Get a Move On," Lee Sain's "Them Hot Pants," Little Sonny's funk-blues "Wade in the Water," the Newcomers' Jackson Five-like "Pin the Tail on the Donkey," and Mel & Tim's hit "Backfield in Motion." The addition of some gospel songs also reflects the breadth of music at the festival, though the gospel tunes aren't as inspiring as the soul ones. On the whole, it's an important document of some of the better, live-'70s soul recordings. Arguably, however, some of the less interesting, previously unissued songs, should have been excluded to make room for some tracks by Albert King, Johnny Taylor, and Little Milton that showed up on the two Wattstax, the Living Word volumes, but somehow didn't make it onto Music from the Wattstax Festival & Film.

Disc 1
1 Salvation Symphony Warren, Wattstax '72 Orchestra 7:56
2 Introduction Jackson 5:51
3 Lift Every Voice and Sing Weston 3:39
4 Heavy Makes You Happy (Sha-Na-Boom-Boom) Staple Singers 3:38
5 Are You Sure Staple Singers 4:02
6 I Like the Things About Me Staple Singers 5:55
7 Respect Yourself Staple Singers 4:38
8 I'll Take You There Staple Singers 5:15
9 Precious Lord, Take My Hand Manning 4:25
10 Better Get a Move On McCord 4:01
11 Them Hot Pants Sain 4:10
12 Wade in the Water Little Sonny 4:20
13 I Forgot to Be Your Lover Bell 2:37
14 Explain It to Her Mama Temprees 2:49
15 I've Been Lonely (For So Long) Knight 3:54
16 Pin the Tail on the Donkey Newcomers 2:47
17 Knock on Wood Floyd 3:41

Disc 2
1 Peace Be Still Emotions 9:08
2 Old Time Religion Golden 3:39
3 Lying on the Truth Allen 3:39
4 Up Above My Head Allen 4:02
5 Son of Shaft/Feel It Bar Kays 9:19
6 In the Hole Bar Kays 2:57
7 I Can't Turn You Loose Bar Kays 3:48
8 Introduction Porter 4:03
9 Ain't That Loving You (For More Reasons Than One) Porter 3:32
10 Can't See You When I Want To Porter 10:28
11 Reach Out and Touch Somebody's Hand Porter 3:17
12 Niggas (Spoken Word) Pryor 2:19
13 Arrest/Lineup (Spoken Word) Pryor 2:38
14 So I Can Love You Emotions 6:10
15 /Show Me How [Group Introduction] Emotions 5:37

Disc 3
1 Open the Door to Your Heart Little Milton 7:02
2 Backfield in Motion Mel & Tim 5:30
3 Steal Away Taylor 8:12
4 Killing Floor King 3:49
5 Pick Up the Pieces Thomas 2:53
6 I Like What You're Doing (ToMe) Thomas 3:34
7 B-A-B-Y Thomas 2:50
8 Gee Whiz (Look at His Eyes) Thomas 3:10
9 I Have a God Who Loves Thomas 4:43
10 The Breakdown Thomas 4:39
11 Do the Funky Chicken Thomas 4:35
12 Do the Funky Penguin Thomas 5:47
13 I Don't Know What This WorldIs Coming To Soul Children 6:53
14 Hearsay Soul Children 7:30
15 Theme from Shaft Hayes 4:40

¡Aquí!

Coroner - 1985 - Death Cult EP

2011-05-14T12:19:00.002-05:00

From their modest beginnings as roadies for avant-garde Swiss metal legends Celtic Frost, the members of Coroner carved out one of the most unique careers in the European thrash metal scene. The trio was originally pegged as a conventional thrash band, but their jaw-dropping musicianship and increasingly complex, almost prog rock compositions soon won over most critics, some of which labeled them the Rush of thrash metal. Over the course of eight years and six albums, the band fought constantly to expand the limiting boundaries of thrash, yet achieved only limited commercial success for their efforts. Still, their fearless experiments have allowed their albums to endure and stand the test of time better than many of their more celebrated peers.

Guitarist Tommy T. Baron (real name Thomas Vetterli) and drummer Marquis Marky (aka Marky Edelmann) put in various tours of duty as roadies for the seminal Celtic Frost before founding Coroner with bassist/vocalist Ron Royce in 1985. In fact, Frost main man Tom Warrior sang on their Death Cult demo. Subsequently signing to the German Noise label, the band debuted with 1987's R.I.P., then quickly followed it with 1988's Punishment for Decadence, which featured a surprising cover of Hendrix's "Purple Haze." With 1989's transitional No More Colour, Coroner truly inaugurated their golden era and raised their standards on every front: from the stylized album artwork to the slower, tighter rhythms and riffs which revealed their incredible technical proficiency to the experiments which began breaking away from the limitations of thrash metal, both musically and lyrically.

This ambitious vision came to full fruition with 1991's amazing Mental Vortex, which included a daring reconstructed cover version of the Beatle's "I Want You (She's So Heavy)." Recorded by top thrash producer Tom Morris, many expected the album to push Coroner's career to the next level and introduce them to a wider audience. But whether due to changing musical climates (alternative rock had just arrived) or simply being too ahead of its time, things just didn't play out that way. Disappointed though they were, the band regrouped and came up with an even more daring, unconventional album in 1993's Grin, which abandoned much of the thrash-based aggression of their early days and focused on challenging dynamics and eerie atmospherics. This move proved too radical even for longtime fans, ironically, and they remain split over the album's merits, some seeing it as a total sellout, while others consider it the band's greatest triumph. Coroner were apparently unsure themselves and succumbed to mounting inner tensions a short while later to go their separate ways.

Noise Records wasn't quite ready to let the band die, however, forcing guitarist Baron to compile 1995's Coroner (a collection of outtakes, new tracks, and classic cuts) nearly a year after the group's demise, which required the help of drummer Peter Haas stepping in for the uncooperative Edelmann. After this release, Vetterli temporarily fronted his own band, Clockwork, before joining German thrashers Kreator for one album. Edelmann assumed drum duties with his former mentor Tom Warrior's new band Apollyon Sun.

1. Spectators Of Sin 06:42
2. Spiral Dream 04:43
3. Aerial Combat 06:15
4. The Invincible 07:00

¡Aquí!

Abonizio, Adrián - 2000 - Todo Es Humo

2011-05-14T11:49:00.004-05:00

01- Todo es humo
02- Amigos de lo ajeno
03- Vivir
04- Te hablo
05- El verbo corazón
06- Echesortu
07- La puerta
08- Te di, te di, te di
09- El soldado y la reina de las nieves
10- Club de almas
11- Familia de artistas
12- La villa de los milagros
13- Por esta vez
14- Y ahora
15- Dios y el Diablo en el taller

¡Aquí!

Hammill, Peter - 1986 - And Close as This

2011-05-14T10:55:00.003-05:00

Peter Hammill seems to alternate between releasing unpredictable work (the rock opera The Fall of the House of Usher, the electronic, experimental Loops & Reels, etc.), and his trademark style (straight-ahead arrangements for voice and one other instrument, usually guitar). And Close as This would fall into the former category, since it's comprised exclusively of pure arrangements (in this case, voice and keyboard). It's hard not to be impressed by the emotion in Hammill's voice on the songs "Other Old Clichés" and "Beside the One You Love." And like all of his past work, Hammill will often unite gentle music with sometimes overtly intense vocals ("Too Many Yesterdays"). The keyboards on the album have been filtered through a computer, updating the classic Hammill sound laid-down on his earlier (and best) work, Chameleon In the Shadow of the Night. But Hammill would unfortunately not pursue this style for a while -- his next album, In a Foreign Town, would be the complete opposite of And Close as This, containing overblown production, and an extremely dated '80s sound. And Close as This, however, is one of Hammill's finest.

1 Too Many of My Yesterdays Hammill 4:47
2 Faith Hammill 4:27
3 Empire of Delight Emerson, Hammill 4:43
4 Silver Hammill 5:31
5 Beside the One You Love Hammill 5:12
6 Other Old Clichés Hammill 4:07
7 Confidence Hammill 6:37
8 Sleep Now Hammill 4:42

¡Aquí!

Stargate 1973 - 1992 - Swoon EP

2011-05-14T02:43:00.002-05:00

Some distance from where he ended up, of course, but still plenty to enjoy in this very early EP of bouncy Cologne techno from Wolfgang Voigt, aka Mike Ink and several dozen other peusdonyms. Here he’s in the esteemed company of Jorg Burger and (on the flip) Walker from Air Liquide too. Always delighted, by the way, to hear yet another techno track that shamelessly steals the title of a rock classic, especially something as truly lame as DSotM.

A1. Dark Side of the Moon
A2. Planetfall
B1. Solitaire
B2. Swoon

¡Aquí!

VA - 2004 - The Polar Express OST

2011-05-13T16:58:00.001-05:00

The soundtrack to Robert Zemeckis' groundbreaking film adaptation of Chris Van Allsburg's popular children's book The Polar Express celebrates the season with both classic and contemporary holiday flair. Composers Glen Ballard and Alan Silvestri provide the latter, relying on swelling choral arrangements, tender ballads, and polarizing yuletide offerings from Stephen Tyler and Josh Groban. Tyler struts his stuff on the amiable but derivative "Rockin' on Top of the World," a three-chord rave-up that finds the Aerosmith mouthpiece channeling a pack of howler monkeys, but it's Groban's syrupy, future American Idol favorite "Believe" that serves as the soundtrack's commercial centerpiece. Tom Hanks does his best Gene Wilder on the whimsical and strangely unnerving title track, a wonderfully unhinged performance that will have Willy Wonka fans clamoring for more, and the winsome vocals of preteens Matthew Hall and Meagan Moore give the ballad "When Christmas Comes to Town" a real sense of wonder. Silvestri's orchestral pieces are effective in tone, yet ape Danny Elfman's Edward Scissorhands theme so shamelessly that lawyers on both sides must have had words early on in the production. The Polar Express is ambitious for sure, but the fact that its most sincere pieces are the six classics that make up its caboose is telling. [The Polar Express is also available in a Special Edition that includes a decorative box and artwork from the book.]

1 The Polar Express Hanks 3:25
2 When Christmas Comes to Town Hall, Moore 4:07
3 Rockin' on Top of the World Tyler 2:35
4 Believe Groban 4:18
5 Hot Chocolate Hanks 2:33
6 Spirit of the Season Silvestri 2:33
7 Seeing Is Believing Silvestri 3:47
8 Santa Claus Is Coming to Town Sinatra 2:35
9 White Christmas Crosby 3:05
10 Winter Wonderland Andrews Sisters 2:43
11 It's Beginning to Look a LotLike Christmas Como, Fontane Sisters 2:40
12 Silver Bells Smith 2:39
13 Here Comes Santa Claus Andrews Sisters, Crosby, Crosby 3:04
14 Suite from The Polar Express Silvestri 6:02

¡Aquí!

Jurassic 5 - 2002 - Power In Numbers

2011-05-13T16:54:00.002-05:00

Like a few other notable sophomore records from hip-hop acts (De La Soul Is Dead, The Low End Theory), Jurassic 5's Power in Numbers is darker than their first full-length; not as fresh and exuberant, but much more mature and intelligent. Granted, fans may not be happy to hear they've changed the formula so soon, or that the production doesn't play a starring role as it did on Quality Control. Instead, DJ Nu-Mark and Cut Chemist play it close to the vest, setting off the rhymes with a few well-placed beats and split-second samples (as well as the usual flute loops). Of course, allowing more room to hear four of the best rappers in hip-hop twisting tongues and telling tales has to be welcomed, and Jurassic 5 prove up to the added responsibility. Displaying a focus and intensity basically unseen in rap music during the past decade, the group practically bursts with message tracks; the skeletal first single "Freedom" finds Chali 2na and Akil delving into the concept as it relates to everything from Third World poverty to the American penitentiary system. "Remember His Name" and "Thin Line" (the latter with Nelly Furtado) are dark tales of urban passions, and they're a step forward in that it's not just the raps that are intricate, but the storytelling also requires a few listens to understand. The group still has plenty of time for a few old-school anthems like "What's Golden" and "A Day at the Races," with Big Daddy Kane bringing his alliterative ammo to the track. And the instrumental jam "Acetate Prophets" shows DJ Nu-Mark and Cut Chemist refining their skill for merging turntablism and excellent productions. Perhaps the best statement of Jurassic 5's purpose comes from the group itself, on "If You Only Knew": "What we do is try to give you what you ain't used to."

1 This Is Givens, Henderson, Macfadden, Potsic… 0:53
2 Freedom Givens, Henderson, Macfadden, Potsic… 3:19
3 If You Only Knew Givens, Henderson, Macfadden, Potsic… 3:51
4 Break Burt, Givens, Henderson, Macfadden… 3:16
5 React Givens, Henderson, Macfadden, Potsic… 0:56
6 A Day at the Races Givens, Hardy, Henderson, Macfadden… 4:02
7 Remember His Name Givens, Henderson, Macfadden, Potsic… 3:44
8 What's Golden Akil , Chali Twona, Givens, Henderson… 3:08
9 Thin Line Furtado, Givens, Henderson, Macfadden… 4:45
10 After School Special Givens, Henderson, Macfadden, Potsic… 2:41
11 High Fidelity Givens, Henderson, Macfadden, Potsic… 3:07
12 Sum of Us Givens, Henderson, Macfadden, Potsic… 3:28
13 DDT Kool Keith 0:42
14 One of Them Givens, Henderson, Macfadden, Potsic… 3:18
15 Hey Givens, Henderson, Husayn, Macfadden… 4:25
16 I Am Somebody Gamble, Givens, Henderson, Macfadden… 4:05
17 Acetate Prophets Givens, Henderson, Macfadden, Potsic… 6:31

¡Aquí!

Abonizio, Adrián - 1990 - Los Años Felices

2011-05-13T16:51:00.001-05:00

Adrián Abonizio es un conocido guitarrista y compositor, miembro de la Trova Rosarina que llega a Buenos Aires a principios de los ochentas.

Sus composiciones, entre las cuales se destacan El témpano, Mirta, de regreso, Dios y el Diablo en el taller se hicieron muy conocidas de la mano de Juan Carlos Baglietto.

A pesar de esto, su carrera se vio dificultada por su renuencia a participar de sellos discográficos grandes, porque, como dijo en una entrevista: "no encontré la gente que trabaje dignamente, que busque lo artístico, que es lo que yo pretendo".

01. Mi dulce señorita.
02. Palestinos.
03. Santo y ladrón.
04. El cielo terminó.
05. La marca de setiembre.
06. Haciendo falta.
07. Beso tu dolor.
08. Corazón de barco.
09. Un Zappo en la boca.
10. Los años felices.
11. Amor de la bruma.

¡Aquí!

Hammill, Peter - 1985 - The Margin

2011-05-13T16:48:00.003-05:00

Recorded live in Glasgow, Edinburgh, and London in December of 1983, The Margin -- Live captures Peter Hammill in intellectual rock mode, rather than the acoustic style that he is often associated with. Hammill is backed by a superb band, the K Group (which includes John Ellis on guitar, Nic Potter on bass, and Guy Evans on drums and percussion), who are jaw-droppingly tight and technically brilliant. Amazingly, there are absolutely no overdubs found anywhere on the album. And the audience's applause has been erased, so you get the best of both worlds -- the energy and spontaneity of a live concert with the clarity of a studio recording. The album's opener, "The Future Now," contains continuously shifting dynamics, and borders on hard rock. "Porton Down" is quite a departure for Hammill, with its opening bluesy feel (due to Ellis' slide guitar), and is a showcase for the expertise of Evans' drumming. Midway through, the group gets to relax on a couple of lighter numbers ("Empress's Clothes" and "Labour of Love"), before returning to rock & roll ("Sitting Targets"). The Margin -- Live may very well be the definitive Peter Hammill concert album.

1 Future Now Hammill
2 Porton Down Hammill
3 Stranger Still Hammill
4 Sign Hammill
5 The Jargon King Hammill
6 Empress's Clothes Hammill
7 The Sphinx in the Face Hammill
8 Labour of Love Hammill
9 Sitting Targets Hammill
10 Patient Hammill
11 Flight Hammill

¡Aquí!

VA - 2007 - Insomniacs (Dreaming), Vol. 6

2011-05-11T10:58:00.002-05:00

CD 01:
01. Double V - Moscow Morning (Andy Hagerty Ambient Version)
02. Matt Darey feat. Tiff Lacey - Always (Reuben Chillout Mix)
03. Schiller mit Jette von Roth - Der Tag (Du bist erwacht) (Fernsehfassung)
04. Skyscraper - The Hymn 2006 (Update Project Ambient Mix)
05. S-Tune - Flying with Sunset (Original Mix)
06. Icone pres. Blue Manta - I feel lost (Marco Torrance's Chill Out Mix)
07. Karen Overton - Your loving Arms
08. Matt Darey ft. Tiff Lacey - Always (Floris de Haan Radio Edit)
09. S-Tune - Nightflight (Original Mix)
10. Massive Attack - Safe from Harm (Perfecto Mix)

CD 02:
01. Union Jack - 2 Full Moons and a Trout (Caspar Pound Remix)
02. Namlook - Subharmonic Interference (excerpt)
03. Alias & Tarsier - Plane That Draws A White Line
04. Andrew Thomas - M+K
05. Paski - Rain Clouds (Original Mix)
06. Mikkel Metal - Decline
07. Coldplay - Talk (Junkie XL Club Remix)
08. Zehavi and Rand - Paroxetine (Hydroids Just Chillin Mix)
09. Chicane - Looking Down (Drax & Goodings Room with a View Remix)
10. Schiller mit Jette von Roth - Wolkentraum

¡Aquí!

Björk - 1995 - Post

2011-05-11T09:04:00.002-05:00

After Debut's success, the pressure was on Björk to surpass that album's creative, tantalizing electronic pop. She more than delivered with 1995's Post; from the menacing, industrial-tinged opener, "Army of Me," it's clear that this album is not simply Debut redux. The songs' production and arrangements -- especially those of the epic, modern fairy tale "Isobel" -- all aim for, and accomplish, more. Post also features Debut producer Nellee Hooper, 808 State's Graham Massey, Howie B, and Tricky, who help Björk incorporate a spectrum of electronic and orchestral styles into songs like "Hyperballad," which sounds like a love song penned by Aphex Twin. Meanwhile, the bristling beats on the volatile, sensual "Enjoy" and the fragile, weightless ballad "Possibly Maybe" nod to trip-hop without being overwhelmed by it. As on Debut, Björk finds new ways of expressing timeworn emotions like love, lust, and yearning in abstractly precise lyrics like "Since you went away/I'm wearing lipstick again/I suck my tongue in remembrance of you," from "Possibly Maybe." But Post's emotional peaks and valleys are more extreme than Debut's. "I Miss You"'s exuberance is so animated, it makes perfect sense that Ren & Stimpy's John Kricfalusi directed the song's video. Likewise, "It's Oh So Quiet" -- which eventually led to Björk's award-winning turn as Selma in Dancer in the Dark -- is so cartoonishly vibrant, it could have been arranged by Warner Bros. musical director Carl Stalling. Yet Björk sounds equally comfortable with an understated string section on "You've Been Flirting Again." "Headphones" ends the album on an experimental, hypnotic note, layering Björk's vocals over and over till they circle each other atop a bubbling, minimal beat. The work of a constantly changing artist, Post proves that as Björk moves toward more ambitious, complex music, she always surpasses herself.

1 Army of Me Bjork, Massey 3:54
2 Hyper-Ballad Bjork, Gudmundsdottir 5:21
3 The Modern Things Bjork, Massey 4:10
4 It's Oh So Quiet Lang, Reisfeld 3:38
5 Enjoy Bjork, Tricky 3:56
6 You've Been Flirting Again Bjork, Gudmundsdottir 2:29
7 Isobel Bjork, De Vries, Hooper, Sjón 5:47
8 Possibly Maybe Bjork 5:06
9 I Miss You B., Bjork 4:03
10 Cover Me Bjork, Gudmundsdottir 2:06
11 Headphones Bjork, Tricky 5:40

¡Aquí!

Hammill, Peter - 1984 - The Love Songs

2011-05-11T08:37:00.003-05:00

This odd collection delves, seemingly at random, into the corpus of Peter Hammill songs that, inasmuch as they discuss the fraught path of romantic entanglements, can be construed as "love songs" -- although anybody picking up a copy as a Valentine's gift for his or her own significant other might well regret it. And not only because the sentiments and emotions expressed are often a long way from love itself. Re-recordings and remixes dominate, but that cannot disguise the album's failings. The ten songs here date, in the main, from the sequence of albums Hammill cut for the Charisma label during the 1970s, and that is where they are best experienced. Although the revisions have certainly tightened some hitherto loose arrangements (most noticeable on Over's "(This Side Of) The Looking Glass"), the frail immediacy of the original recordings has been surrendered in favor of a lush homogeny that disguises the songs' roots beneath a uniformity that, frankly, grows a little wearing after a time. Unleashed within the proto-punk apocalypse of Nadir's Big Chance, for example, "Been Alone So Long" emerged a shocking oasis of spellbinding longing. Sandwiched between the never-especially-great "My Favourite" and the drab "Ophelia," it simply sits and scratches itself. "Again" (from In Camera) similarly loses impact within its new surroundings, while the two cuts from Hammill's Fool's Mate debut, "Vision" and "The Birds," sound positively maudlin when divorced from the earnest poetry that once surrounded them. And so forth. In terms of the actual songs, The Love Songs is an excellent digest of one side of Hammill's mighty muse. Lumped together on the off chance that the emotions they share might bind them as a musical experience, however, they instead emerge a one-dimensional and ultimately dispiriting collection of moans.

1 Just Good Friends Hammill 3:55
2 My Favourite Hammill 3:04
3 Been Alone So Long Smith, Smith 5:03
4 Ophelia Hammill 3:11
5 Again Hammill 3:38
6 If I Could Hammill 5:04
7 Vision Hammill 3:18
8 Don't Tell Me Hammill 4:43
9 The Birds Hammill 3:43
10 (This Side Of) The Looking Glass Hammill 6:59

¡Aquí!

Komputer - 1997 - The World Of Tomorrow

2011-05-11T08:04:00.002-05:00

Consciously retro in an electro-pop kind of way, The World of Tomorrow succeeds because the group doesn't try to sidestep their obvious debt to Kraftwerk. The analog synthesizers, vocoderized singing, and lockstep beats all point to the godfathers of techno, and Komputer does a good job of it. They even manage to push the envelope a bit farther, with commentary -- albeit superficial -- on tracks like "Bill Gates" and "More Automation." As a tribute LP, The World of Tomorrow is delicious fun; as a standalone work, however, it fails to add much to the Kraftwerk legacy.

1 The World of Tomorrow Komputer 4:11
2 More Automation Komputer 5:07
3 Bill Gates Komputer 4:26
4 Valentina Komputer 4:53
5 Looking Down on London Komputer 4:14
6 Terminus Interminus Komputer 7:40
7 Singapore Komputer 4:50
8 The Perfect Pop Band Komputer 4:09
9 Komputer Pop Komputer 5:17
10 Motopia Komputer 3:04
11 Valentina [Phobos Mix] Komputer 7:15
12 Valentina [Probe Mix] Komputer 6:03
13 Looking Down on London [Metroland Mix] Komputer 8:19

¡Aquí!

VA - 1995 - Lollop Sampler

2011-05-10T21:16:00.002-05:00

A1 Modern Conception – The Will Of Life 8:49
A2 DJ Dan & Ho – Let's Go FUNK DUB (D.M.R Mix) 4:57
B1 Tuttle & Dynamo Laboratory – Electronic Listenng 11:20
B2 Liberal Music – In The Valley, In The Cosmos (Scene 1) 6:13
C1 Reflection – Flower For The Moonlight 5:27
C2 Voice Of The Instrument – Nite Groove (DJ's Late Nte Trax) 7:02
D1 Child's View – The Scenery Of S.H (Nadja's Taking Mix) 7:20
D2 Filter Works – Lag 6:58

¡Aquí!

Incredible Bongo Band - 1973 - Bongo Rock

2011-05-10T13:38:00.005-05:00

Unlikely godfathers of hip-hop, the Incredible Bongo Band was a revolving-door group of studio musicians led by bongo player Michael Viner, who by day worked as an executive at the MGM label and ran its short-lived Pride subsidiary. Viner had worked on Bobby Kennedy's ill-fated presidential campaign before entering the music industry as a talent scout and A&R man in Los Angeles. By the early '70s, he was successful enough to start his pet side project the Incredible Bongo Band, taking unused studio time to record percussion-heavy instrumentals and pop covers with African and Latin influences. He placed two songs on the soundtrack of the 1972 B-movie The Thing With Two Heads, released on Pride, and the following year issued the first Incredible Bongo Band full-length, Bongo Rock, which reportedly featured a guest spot by Ringo Starr. Viner's funked-up version of the Shadows' "Apache" went on to become one of hip-hop's earliest breakbeat staples, as first-generation hip-hop DJs Kool Herc and Grandmaster Flash came to rely on its percussion breaks to get block parties moving. "Apache" went on to provide the basis for the Sugarhill Gang's hit of the same name, and stands as one of the most sampled tracks in hip-hop history. The single "Bongo Rock" charted in the lower reaches of both the pop and R&B lists, and eventually assumed a status similar to "Apache" in the hip-hop world (though with lesser magnitude). Viner assembled a follow-up album, The Return of the Incredible Bongo Band, in 1974, but the band came to a halt not long after; Viner was getting overly ambitious (a planned session with the London Symphony Orchestra fell through), and mainstay drummer Jim Gordon fell prey to severe mental difficulties, all of which spelled the end of the road. The British Strut label later reissued both of the group's albums on a two-fer titled Bongo Rock: The Story of the Incredible Bongo Band.

01 - Let There Be Drums
02 - Bongolia
03 - Kiburi
04 - Apache
05 - Sing Sing Sing
06 - Dueling Bongos
07 - In a Gadda Da Vida
08 - Raunchy
09 - Bongo Rock
10 - Hang Down Your Head, Tom Dooley Your Tie's Caught in Your Zipper
11 - Sharp Nine
12 - Okey Dokey
13 - Pipeline
14 - When the Bed Breaks Down, I'll Meet You in the Spring
15 - (I Can't Get No) Satisfaction
16 - Wipeout
17 - Last Bongo in Belgium
18 - Got the Sun in the Morning and the Daughter at Night
19 - Slightly Reminiscent of Topsy

¡Aquí!

Abonizio, Adrián - 1984 - Abonizio

2011-05-10T12:49:00.002-05:00

Adrián Abonizio es un conocido guitarrista y compositor, miembro de la Trova Rosarina que llega a Buenos Aires a principios de los ochentas.

Sus composiciones, entre las cuales se destacan El témpano, Mirta, de regreso, Dios y el Diablo en el taller se hicieron muy conocidas de la mano de Juan Carlos Baglietto.

A pesar de esto, su carrera se vio dificultada por su renuencia a participar de sellos discográficos grandes, porque, como dijo en una entrevista: "no encontré la gente que trabaje dignamente, que busque lo artístico, que es lo que yo pretendo".

Cantándole a los vivos
Corazón del milagro
Caballos de carrera
Pintar la sangre
Rieles de San Pedro
Zamba Señorita
Plantas argentinas
La sombra de la guitarra

¡Aquí!

Peter Hammill - 1983 - Patience

2011-05-10T10:19:00.002-05:00

Rock, roll, dance, sorrow, bewilderment, sadness...the classic, gentle love song "Just Good Friends": the unmistakably-Hammill time signatures, rhythms and vocal of "Jeunesse Doree"; the perfectly-timed silences of "Comfortable," with its almost-churchlike acoustic backdrop, and the human frailty of "Patient" make this another excellent offering from Peter Hammill.

1 Labour of Love Hammill 5:55
2 Film Noir Hammill 4:19
3 Just Good Friends Hammill 4:28
4 Jeunesse Dorée 4:53
5 Train Time Hammill 4:24
6 Now More Than Ever 5:38
7 Comfortable 4:54
8 Patient Hammill 6:12

¡Aquí!

Womega - 1975 - A Quick Step

2011-05-10T09:45:00.003-05:00

This obscure band came from Belgium and was a big discovery for me because they really sound good, they released only one album in 1975 named A quick step. The bands was formed by the 3 brothers Vanlessen who also are the main composers of the pieces. The music is quite eclectic with nice mellotron passages, warm vocals and some sax and jazzy interplays added here and there - not far from canterbury flavour . This album is hard to find both on vynil or Cd but if you do don't hesitate to listen, they worth it. The best piece is for me the opening track Nympho's Belly Button - here Womega shines on every instrument and can fight with the big names in prog, the rest are also very ok for an oscure band. So a big 4 stars for them, they desearve it. The CD that i own is bought from Syn-phonic label at rezonable price for such an unknown band, under japanese mini lp sleeve format. So go and get it.

1. Nympho's Belly Button (5:12)
2. Along Came You (4:21)
3. Christo Said (4:51)
4. (Sweet) Sleeping Sixteen (5:37)
5. Bagatel (1:57)
6. Heros Of Flames (3:51)
7. Tearful Thoughts (6:57)
8. Tu Quoque (5:11)
9. Untitled (1:21)

¡Aquí!

VA - 1999 - Electro Lounge

2011-05-09T19:23:00.004-05:00

Electro Lounge features a meeting of the finest musical minds in the electronica and lounge circles, and celebrates the best of both genres. Classic lounge and vocal jazz cuts by artists like Martin Denny, Yma Sumac, Dean Martin, Julie London, Louie Prima and John Barry are remixed and reworked by contemporary electronic acts like Utah Saints, Gus Gus, Meat Beat Manifesto and Uberzone; the results bring together music's past and future today.

1 Prologue 0:11
2 Hypnotique [Uberzone Remix] Denny 7:07
3 Lonesome Road [Mu-Ziq Remix] Elliott 4:20
4 Watermelon Man [Remix] King Curtis 5:44
5 Tutotial 0:15
6 Sway [Remix] London, Martin 4:45
7 The James Bond Theme [Remix] Holmes 4:45
8 Jump, Jive, An' Wail [Remix] Prima 4:33
9 The Good, the Bad, and the Ugly [Oldskool Gusgus Mix] Holmes 5:29
10 Tutorial 0:10
11 Do It Again [Wagon Christ Remix] Holmes 3:34
12 Seance on a Wet Afternoon [Omni Trio Remix] Barry 5:27
13 Gopher Mambo [Q-Burns Abstract Message Remix] Sumac 5:21
14 Staccato's Theme [Happening at Waldo's Mix] Bernstein 5:16
15 Epilague 0:10
16 Caravan [Eat Static Remix] Buzon 5:47

¡Aquí!

Abisal - 2005 - Take A Trip

2011-05-09T11:33:00.003-05:00

La banda: Formados con la intención de tocar música surf instrumental (rock californiano de los años 60) el grupo se presenta en distintos escenarios de la Ciudad de Buenos Aires y la Costa Atlántica Argentina a partir del año 2002. Con un repertorio de temas de The Shadows, The Ventures, Dick Dale y The Astronauts en el año 2003 graban “Surf Guitar” y lo presentan en el Centro Cultural Rojas en un show junto a “The Supersonicos” (uruguay). En 2005 lanzan”Take a trip” su primer cd oficial. Se destacan los originales y las versiones de temas de Henry mancini y Astor Piazzolla. Comparten shows con Cienfuegos, Massacre, Mimi Maura, The Tormentos, Los Kahunas y Flavio Casanova entre otros artistas. Durante 2005 y 2006 Abisal forma parte de la banda sonora de los siguientes programas de tv: “MDQ para todo el mundo” y “Chau Domingo”.. En Abril de 2008 vuelven a los escenarios con nueva formacion y entran a los estudios TIXA a registrar nuevo material

01 – Penetration
02 – The Hearse
03 – Take A Trip
04 – Surf Party
05 – Libertango
06 – Midnight Too
07 – Banzai Pipeline
08 – Surf Rider
09 – El Toro
10 – Movin’
11 – Misirlou
12 – The Ultrafactor
13 – Pyramid Stomp
14 – Caveman

¡Aquí!

100 Demons - 2004 - 100 Demons

2011-05-09T11:16:00.002-05:00

The line between hardcore and metal just gets blurrier and blurrier, and that's probably a good thing. But it does lead to some strange hybridisms -- such as metal albums (like this one) that last only 26 minutes, or hardcore albums (like this one) that combine a big, chesty, macho singing/yelling style with whiny, self-obsessed lyrics ("I'm dying in my own arms," "I never asked for this pain," etc.). 100 Demons exemplify this hybridization musically as well, and (despite the occasional lyrical excesses) that's mostly a good thing. The band's twin-guitar attack sticks mostly to the utilitarian grind and roar of hardcore, but there's a genuinely elegant guitar solo on "Something Terrible," and while singer Pete Morcey generally sticks to the same utilitarian grind and roar in his vocal approach, there is some genuinely elegant singing on the surprisingly melodic "Repeat Process." It's kind of hard not to snort at the overblown grandiosity of lines like "My brothers aren't afraid/I trust my life in their hands/They'll fight by my side/Until the bloody end" (the bloody end of what -- the all-ages show?), but these are the sentiments that rally the crew together, and there's really no arguing with the music itself.

1 Time Bomb One Hundred Demons 2:54
2 Destiny Never Came One Hundred Demons 2:42
3 Dying in My Own Arms One Hundred Demons 2:23
4 Repeat Process One Hundred Demons 3:20
5 Something Terrible One Hundred Demons 3:20
6 Lord Have Mercy One Hundred Demons 2:18
7 Non Believer One Hundred Demons 2:33
8 His Father's Son One Hundred Demons 3:19
9 Never Surrender Virtue (No Desit Virtus) One Hundred Demons 2:49

¡Aquí!

Hammill, Peter - 1983 - Loops & Reels

2011-05-09T10:28:00.002-05:00

Peter Hammill fans should be warned that Loops & Reels is a bit of an experiment, and not comparable to any of his other releases (Hammill himself calls this album an abnormal work). Originally an inadequate-sounding, tape-only release in 1983, it has since been remastered as a CD, which obviously helped clear up the muddy sound. And although it contains some interesting compositions, a few too many self-indulgent tape experiments keep the album from becoming anything more than an oddity. The first track on the album, "A Ritual Mask," features Hammill's voice accompanied by a foreign stringed instrument called a kora, with primitive drumming being added later in the tune. And "The Moebius Loop" turns out to be a successful experiment, with Hammill singing over a repetitive loop of simple piano and unearthly backing vocals. But it's pointless and overtly long tracks like "An Endless Breath" and "My Pulse" that test one's patience after awhile, since they contain no real music, just sonic scraps and buzzes. Loops & Reels is of interest only to the Peter Hammill completist; casual fans should begin with one of his "proper" albums.

1 Ritual Speak
2 Critical Mass
3 Moebius Loop
4 Endless Breath
5 In Slow Time
6 My Pulse
7 Bells, The Bells

¡Aquí!

Ayler, Albert - 1965 - Spirits Rejoice

2011-05-08T17:07:00.003-05:00

Recorded live at New York's Judson Hall in 1965, Spirits Rejoice is one of Albert Ayler's wildest, noisiest albums, partly because it's one of the very few that teams him with another saxophonist, altoist Charles Tyler. It's also one of the earliest recordings to feature Ayler's brother Don playing an amateurish but expressive trumpet, and the ensemble is further expanded by using bassists Henry Grimes and Gary Peacock together on three of the five tracks; plus, the rubato "Angels" finds Ayler interacting with Call Cobbs' harpsichord in an odd, twinkling evocation of the spiritual spheres. Aside from that more spacious reflection, most of the album is given over to furious ensemble interaction and hard-blowing solos that always place in-the-moment passion above standard jazz technique. Freed up by the presence of the trumpet and alto, Ayler's playing concentrates on the rich lower register of his horn and all the honks and growls that go with it; his already thick, huge tone has rarely seemed more monolithic. Spirits Rejoice also provides an opportunity to hear the sources of Ayler's simple, traditional melodies becoming more eclectic. The nearly 12-minute title track has a pronounced New Orleans marching band feel, switching between two themes reminiscent of a hymn and a hunting bugle call, and the brief "Holy Family" is downright R&B-flavored. "Prophet" touches on a different side of Ayler's old-time march influence, with machine-gun cracks and militaristic cadences from drummer Sunny Murray driving the raggedly energetic ensemble themes. For all its apparent chaos, Spirits Rejoice is often surprisingly pre-arranged -- witness all the careening harmony passages that accompany the theme statements, and the seamless transitions of the title track. Spirits Rejoice is proof that there was an underlying logic even to Ayler's most extreme moments, and that's why it remains a tremendously inspiring recording.

1 Spirits Rejoice Ayler 11:41
2 Holy Family Ayler 2:11
3 D. C. Ayler 8:00
4 Angels Ayler 5:30
5 Prophet Ayler 5:36

¡Aquí!

VA - 1995 - New Wave Club Class-x, Vol. 4

2011-05-08T16:19:00.003-05:00

1 Cramps, The – Human Fly
2 Normal, The – Warm Leatherette
3 Grace Jones – She's Lost Control
4 New Order – Everything's Gone Green
5 Jah Wobble, Jaki Liebezeit and Holger Czukay – How Much Are They?
6 Suns Of Arqa – Acid Tabla
7 Bauhaus – She's In Parties
8 Red Zebra – I Can't Live In A Living Room
9 Names, The – Calcutta
10 Psychedelic Furs* – Heartbeat
11 Paul Haig – Heaven Sent
12 Anne Clark – Our Darkness
13 Nitzer Ebb – Let Your Body Learn
14 Altered Images – Happy Birthday

¡Aquí!

ABBA - 1981 - The Visitors

2011-05-08T15:19:00.004-05:00

ABBA's final album was recorded during a period of major personal shakeups, principally in the decision by Benny Andersson and Frida to follow the same route to divorce that had already been taken by Björn Ulvaeus and Agnetha Faltskog. Both male members of the group would soon remarry, but at the time, despite all of these changes in their circumstances, The Visitors was never intended as ABBA's swan song -- they were to go on recording together. That may explain why, rather than a threadbare, thrown-together feel, The Visitors is a beautifully made, very sophisticated album, filled with serious but never downbeat songs, all beautifully sung and showing off some of the bold songwriting efforts. The title track is a topical song about Soviet dissidents that also manages to be very catchy, while "I Let the Music Speak" sounds like a Broadway number (and a very good one, at that) in search of a musical to be part of, and "When All Is Said and Done" is a serious, achingly beautiful ballad with a lot to say about their personal situations -- even "Two for the Price of One," a lighthearted song sung by Björn Ulvaeus about answering a personal advertisement, offered several catchy hooks and beautiful backup singing. "Like an Angel Passing Through My Room" ended the original album on a hauntingly ethereal note, but not as any kind of larger statement about the quartet's fate. The intention was to keep working together, but Andersson and Ulvaeus' growing involvement with their stage project, Chess, prevented any further work together by the group beyond three songs, "The Day Before You Came," "Cassandra," and "Under Attack" -- they're all present as bonus tracks on the 2001 remastered edition (in gatefold packaging), along with the orphaned B-side "Should I Laugh or Cry" from the same sessions as The Visitors, and only add to the appeal of the original album.

1 The Visitors Andersson, Ulvaeus 5:45
2 Head Over Heels Andersson, Ulvaeus 3:46
3 When All Is Said and Done Andersson, Ulvaeus 3:17
4 Soldiers Andersson, Ulvaeus 4:37
5 I Let the Music Speak Andersson, Ulvaeus 5:18
6 One of Us Andersson, Faltskog, Lyngstad… 3:54
7 Two for the Price of One Andersson, Ulvaeus 3:35
8 Slipping Through My Fingers Andersson, Ulvaeus 4:02
9 Like an Angel Passing Through My Room Andersson, Ulvaeus 3:34

¡Aquí!

Abisal - 2003 - Surf Guitar

2011-05-08T14:41:00.004-05:00

Abisal se forma a partir de una idea de Maneco Saez (ex guitarrista de Club Gong y Baccarat, actual músico de Mimi Maura), con la intención de versionar clasicos del surf-rock.
La banda tiene un repertorio que incluye temas de Dick Dale, The Astronauts y The Shadows, entre otros,
siempre respetando el tradicional sonido surf.

Integrada por; en primera guitarra Maneco Saez, Martin Aloé (músico de Mimi Maura y Cienfuegos) en guitarra rítmica, Abel Clementino (actual bajista de Sergio Pangaro/Baccarat) en bajo y Emiliano Rajmilevich (actual Papas Ni Pidamos) en batería, el grupo se presenta en distintos escenarios de la Ciudad de Buenos Aires y la Costa Atlántica Argentina durante mas de 2 años. A fines de 2003 editan en forma independiente "Abisal Surf Guitar", primer producción de la agrupación. En Mayo de 2004 tocan en "Niceto Club" junto a Mimi Maura, realizan un ciclo de shows en "Carnal" los miércoles de Junio, en Agosto actúan en "Antidomingo" (Pinto Música), en Octubre 2 shows mas en "Carnal", a fines de Noviembre son invitados a participar de los festivales "Surf & Arte 2004" y "Surf Festival 3", compartiendo escenario con Carnales, Massacre, Zorros Petardos Salvajes, Distortion Surf y The Surfacers.
En Diciembre entran a grabar en los estudios TEC-SON "Take a trip" su primer cd oficial con temas originales. Se espera el lanzamiento del disco para Junio del 2005 junto a un videoclip.

1 Rise´n fall
2 Torque Wrench
3 Pipeline
4 Mr. Moto
5 Casbah
6 Apache
7 Beyond Zone x
8 Midnight
9 Kon Tiki
10 Atlantis
11 Wipe Out
12 Boss
13 Kawanga
14 Werewolf

¡Aquí!