Thursday, May 31, 2007

Under The Yew Possessed


from scaruffi:

"McDowall became a fixture in the magic/gothic entourage of Current 93 and Death In June. To play a similar brand of medieval folk, she formed a new duo Sorrow, with multi-instrumentalist Robert Lee. The music on Under The Yew Possessed (Piski Disk, 1993) is ethereal pop that dispenses with rhythm and is centered around the vocal performance of McDowall."


from rosemcdowall.com:
"SORROW is an English-based band that is the brain child of Rose McDowall, once known as one half of the 80s pop duo, STRAWBERRY SWITCHBLADE. Rose's first band was called THE POEMS, an experimental three piece based in her hometown of Glasgow. While still with The Poems, Rose also joined with Jill Bryson as STRAWBERRY SWITCHBLADE. The Poems released one EP entitled Achieving Unity, but they broke up shortly after its release, when Strawberry Switchblade began to gain popularity. Switchblade's top-five hit, "Since Yesterday," is featured on many 80s compilations, and still receives considerable club and radio play. Switchblade disbanded in 1986.
Since 1985, Rose has worked with many other bands, including Current 93, Coil, Death In June, Felt, and Psychic TV. Through the years Rose has carried on working in a more experimental vein, and ultimately formed SORROW, releasing their first LP, Under The Yew Possessed, in 1993. They have since produced: Sleep Now Forever (1999), Final Solstice (1999), and Let There Be Thorns (2001). "


Beautiful, neo folk influenced, pop informed. Classic.

Please note, Tonton has Spell currently, another great Rose piece, this time teaming with Boyd Rice for some beautiful pop.

Wednesday, May 30, 2007

Songs Of An Impotent Troubadour

" As urgently as Tiny sought talent, luck, and fame, urging himself to "never give up" the driving force in his journey has always been romance. To hear him speak of the perfect beauty of women and his 50 years of romantic pursuits is to realize that the romantic ballad of the early 20th century has always been his calling card, his elixir, his magic bouquet of flowers. Women born in the '70s can be swayed by his gift for recalling songs from the '20s, it turns out. I've seen it happen time and time again: a young girl will approach him at a shopping mall and introduce herself, and he, in front of whoever is passing by, will sing a song featuring the girl's name in the title or chorus as if she is the only woman on the planet. The girl, usually awestruck, will never again be as easily impressed by, "Hey, I've got Nine Inch Nails tickets-what's your name?" These songs, old and forgotten by the general populace, can paint an alluring, even intoxicating, picture of a perfect and waiting love, if delivered with confidence and mastery by the right troubadour."
Detour Magazine Aug1996. Written by Bucks Burnett.

Tiny Tim Discog

Tracklisting:
1 Welcome To Tiny Tim's World 2 The Ice Skaters Song - 1994 3 Poem For Elizabeth Taylor - 1947 4 You're The Only One - Song For Elizabeth Taylor 5 Tiny Tim's Search For The Magic Princess 6 The Destruction Of The Captain America Collection 7 Tiny Tim's Quest For Elizabeth Taylor 8 When I'm Feeling Sad - 1948 9 Jane - 1948 10 Our Little Secret - 1958 11 Stephanie - 1958 12 Pretty Baby - 1958 13 Don't Call Me Anymore - 1958 14 Whispering Voices - 1958 15 Heaven Only Knows - 1958 16 Dear Tuesday - 1960 17 Tiny Tim At The Café Bizarre 18 Hello Ellie Halsey - 1963 19 Tiny Tim At Page Three 20 If I Could Ride A Spaceship - 1964 21 Tiny Tim Records His 78 Classics 22 Spoiled - 1964 23 Just Another Girl Called Judy - 1964 24 Tiny Tim Receives "Siddhartha" From Miss Bluebell 25 The Tragedy Of Romance 26 Introducing Miss Dixie! 27 Forever Miss Dixie - 1982 28 Tiny Tim Meets The Eternal Princess 29 Jessica Hahn I - 1989 30 I Used To Love Jessica Hahn, But Now I Love Stephanie Bohn - 1990 31 Jessica Hahn II - 1989 32 Santa Claus Has Got The Aids This Year - 1980 33 She Left Me With The Herpes - 1980 34 The Ballad Of An Impotent Troubadour - 1995 - Tiny Tim 35 Just What Do You Mean By 'Antichrist'? - Tiny Tim with Current 93 and Nurse With Wound
info from brainwashed :
Sleeve Notes - An Impotent Troubadour A Valentine's Message From Tiny Tim. Why do I call myself by that name? Because it is true. However, I still yearn and love to sing love songs to young, beautiful girls. My private parts may not function too well, but my heart for love and romance is on fire. May this message give encouragement to those who are impotent - To keep singing Even if your bell stops ringing
Postscript: Since I wrote the above I have found, as the song says, "There may be life in the old boy yet". Certain fluctuations have occurred since I have been with Miss Sue. However, at this writing, things remain fairly the same. I am not encouraging, heaven forbid, sin; but in some sexual moments there has been life. I would still say, on the whole, everything remains the same. I want to thank Mr. Burnett; Mr. Tibet; Mr. Mike Dubonis, my friend for just being there; Miss Sue M. Gardner for the blind faith she has in loving the Impotent Troubadour and by doing so her faith in Jesus Christ exceeds the angels; Miss Barley Vogel for taking the greatest photograph of Miss Stephanie I have ever seen; and Miss Stephanie, the Eternal Princess, for allowing this picture of her and me to be used in this album. It is my pleasure and thrill to have Miss Stephanie's image on the Impotent Troubadour album. Tiny Tim, Valetine's Day, 1995
The Bemused Producer Writes... I FIRST learned that Tiny Tim was a songwriter in September 1982. We met on the 12th at a Dallas performance, and during an interview he played a song that he had written for his then current flame, Miss Dixie. In 1984, he played a song for me about Santa Claus having the "Aids". Around 1990, he played a song he had written about my friend Stephanie Bohn. When he played me another song about Tonya Harding in 1994, I asked him if he would ever consider recording all his of his original compositions for an album to showcase his song writing talent. he said he would undertake the task if I wanted to arrange the session. And so, on July 6, 1994, Tiny told his story. For three hours he spoke of his quest for romance, bursting into song and anecdote, as if he could neither control nor stop the unfolding drama. Amazingly, Tiny recalls each girl that he has met and loved in astounding detail. The humour and the warmth of these stories capture forever the unique experience that is Tiny Tim. The mood of the songwriting varies from serious to hilarious, and presents Tiny in a new light; fans may now enjoy him as a composer, as well as a performer. Big Bucks Burnett, Valentine's Day, 1995
Front cover: painting by Steven Stapleton; photograph courtesy of Donna Rose and Randy Reeves. Photograph on back of booklet by John Gasperick. Inner inlay photograph of Miss Stephanie and Tiny Tim by Barley Vogel. Photograph of Big Bucks Burnett by Stephanie Bohn. Back cover portrait by Danny Hurley for his kindness in letting us use his photograph of Tiny Tim. Recorded July 6, 1994. Engineered by Phil York. Album concept by Big Bucks Burnett © Durtro 1995. all songs (p) Ourbouros 1995, except "Forever Miss Dixie", which is originally (p) Street Of Dreams 1982, and which has been kindly assigned to Ourbouros for the purpose of this release only. All songs by Tiny Tim, except "Heaven Only Knows", which was co-written by Tiny Tim and Bob Gonzalez.
On My Knees Before The Eternal Troubadour From the first moment I heard Tiny Tim, I wanted to give him a Trophy. He arrived straight up into the ranks of my two classic heroes, Louis Wain and Arthur Machen. This is a world where purity dare not show its face; where honesty is crushed by heartless wretches and hypocrites; where the sweet songs and sentiments of yesteryear are cynically scorned. But Thank God for Tiny Tim. A man who is aware of the deepest abysses of human nature - and of the goldentipped heights of heaven on earth to which only romance can bring us. It is my great pleasure and honour to be involved with this album; Tiny Tim sings from the heart - his heart - and from his experience. He's tramped the tearstained streets of showbusiness, looking for that fabled golden paving stone. And he has found it. But not in that Great Beast, that Scarlet Woman, that painted hussy that drips insincerity in her lie-by-numbers "entertainment" industry of today. Let me tell you his secret: he has found it in the fairytale world of beautiful women, where romance is never ending - if only you know how to read her book aright... This album reveals the inner Tiny Tim; listen and you will hear the truth that calls out from the soul of An Impotent - and Eternal! - Troubadour. May God bless Tiny Tim - and never, never stop blessing him!And thank you for your support Miss Kat, Mr. Stapleton, Mr. Burnett, Mr. Sharp, Mr. Balance, Mr. P., Mr. Rice, Miss Allegra, Miss Alison, Mr., Gibson, Mr. Trench, Mr. Blackburn, Miss Babs and, of course, Mr. Tiny Tim himself. Tiny asked me to point out that the "Aids" referred to in his classic composition "Santa Claus Has Got The Aids This Year" refers to the well-known weight-reducing candy bar, not the terrible disease, which came into the headlines some years after he wrote his song. I also wish to mention that this album does not contain all of Tiny's self-penned compositions, such as his wonderful tribute to Jim Morrison, Janis Joplin and Jimi Hendrix, "Why Did They have To Go?", and a couple of other songs which were felt to be too personal to be included here. For this recording of "Just What Do You Mean By 'Antichrist'?", Current 93 and Nurse With Wound eternally lie and cry: David Tibet, Steven Stapleton, David Kenny, Cho Youngsou, with vocals by Tiny Tim. David Michael Tibet, Tinyland, London, Valentine's Day, 1995

Photograph below from Detour and by Stephen Stickler.

p.s.I can't find Tiny's Christmas album. If anyone could lend a hand...



Tuesday, May 29, 2007

Scatology (Stevo Pay Us What You Owe Us Vol.1)

from brainwashed
Remastered by Thighpaulsandra, and fully authorized by Coil.It features a different cover from the Some Bizzare edition, with the text "Stevo, Pay Us What You Owe Us!" printed on the cover and spine, in reference to the fact that Stevo at Some Bizzare has not paid them for the many CD reissues he has released. The cover also states that this is Volume 1 in a series of remastered reissues, with Volume 2 being Horse Rotorvator and Volume 3 being Love's Secret Domain. The spine mistakenly has it printed as Volume 2.
In his "Coil Album Guide", Dave Piniella writes: Coil's first full-length album, Scatology is part of the backbone of Coil's great albums (along with Horse Rotorvator and Love's Secret Domain). This is Coil at their early, industrial stage. The album is about making good music from shitty sounds, hence the title. Most of the songs are harsher and less polished than more recent releases. "Restless Day" and it's description of a mundane life filled with ennui is accented by strange tickings and a throbbing bass. "The Tenderness of Wolves" features vocals by Gavin Friday and the album ends with a somber rendition of "Tainted Love", which was originally released as a single with two album cuts ("Aqua Regis" and "Panic") was later added to the CD reissue. Coil's cover and subsequent video of "Tainted Love" was their reaction to the AIDS epidemic of the era (mid-to-late 1980's). Originally released on Force & Form/Some Bizzare, (along with Horse Rotorvator), the illegitimate repressing of these albums has been the cause of much anger and frustration on Coil's part. The short version: Stevo (from their old label) kept on releasing the album(s) and screwing Coil out of their share of the profits.


Monday, May 28, 2007

Live St. Peters, Preston, 1 October 2004 (Torch Songs Bonus CD)


I purchased Torch Songs for the Liles and stayed for the Coleclough.

from tokafi.com:
"The bonus disc to this double LP of two heavy 180g Vinyl records sees him in live action at the “Intergration 3” festival, a concert which incidentally also forms the backbone to some of the tracks to be found here, and documents how he starts with the sounds of various outwardly unspectacular objects and slowly changes their timbre and functionality in a process which takes them into a mysterious yet never depressive space."

Info on this date from Andrew Liles News:
1st October 2004
Intergration 3
St Peters Arts Centre, St Peters Square, Preston
Andrew Chalk · a rare solo performance from this member of Mirror. Jonathan Coleclough & Geoff Sawers · duo performance of a new piece combining live music and live video. Andrew Liles · solo performance from 'the last alchemist of experimental music.'

from the art of memory: (regarding Torch Songs)
"this is another truly sublime drone album from the master jonathan coleclough. there is not much to say about it, i think describing this kind of music is a bit like talking about the air, i just wanted it put on the art of memory (blo)ssoming (g)oat because it is such a great thing."


Night Wearing Feathers



at jennie ritchie irr.app.(ext.)


" a collaboration with At Jennie Richie called "Night Wearing Feathers" (actually by the newly-created organism known as Apt. J(ext)ie Irrchie, but that's all a little too technical to go into here.) " from Oneiromantic Ambiguity Collective 2006 updates

irr.app.(ext.) myspace february 2006 developments:
"The next irr. audio twaddle to enter the world will most likely be a collaborative record with At Jennie Richie called 'Night Wearing Feathers', to be issued by Psychform in late March/early April. This will be a 3" CD with cover art provided by Stan Reed, released in a handmade edition of 200."





The Lepore Extrusion


From Textura:
Brainwashed, true to form, has issued the material as part of its Handmade series, meaning that the disc is not only packaged within a letterpress-printed sleeve but, more importantly, comes with extras, in this case a video of the installation featuring narrative by McKernan and an accompanying essay (Is Evolution Evil?).

from wiki:
This is the score to an interactive video installation by New York-based visual artist Daniel McKernan titled Is Evolution Evil?, which featured the world's #1 transsexual, Amanda Lepore. Thighpaulsandra has been a member of Queen Elizabeth (with Julian Cope), Spiritualized, and Coil and has released four full-length albums on his own. Amanda Lepore has recorded music with the Fatal Art Syndicate, has been featured on TV shows like Entertainment Tonight, and has a Swatch watch, "Time Tranny," which was at one point the fastest selling limited edition Swatch! Daniel McKernan took photographs and video of Amanda and combined them with music from Thighpaulsandra to create the exhibition which opened in June of 2005 in New York. Included as enhanced content is a video of the installation with narrative by McKernan, an essay on Is Evolution Evil?, and schematic. The music is three movements mixed by Thighpaulsandra into one long piece which is just as eerie and precious as a superstar like Amanda Lepore is.

The spectral haze that opens The Lepore Extrusion is reminscent of Thighpaulsandra's work with Coil, a fluttering drone offset by slow-motion sound effects. It creates an eerie and dark presence, quite at odds with the hyper-glam persona of its subject, that gradually attracts a series of tones and timbres to pierce the shadowy cosmic glow. The second section of this single 45 minute track is more minimal with suspended tones, casting off gliding electronics into the stark alien terrain. Metallic clanging fashions a somewhat vague melody in the final section above a shimmering drone, before a series of random processed computerised sounds are unleashed. As those sounds gradually dissipate the space age synth music returns, culminating in a swirling vortex of pure black sound. The Lepore Extrusion disc is expanded with a behind the scenes peak at Mckernans' video installation which forces the viewer into the mindset of an exhibitionist, an essay entitled Is Evolution Evil? Surgical Transformations as the New Punk Aesthetic in the 21st Century focussing on gender, transgender, fame and celebrity with emphasis on the body modifications and gender transformations of Orlan, Genesis Breyer P-Orridge and Amanda Lepore. The work of Thighpaulsandra varies greatly from the electronic group improvisations of Rape Scene and Chamber Music to the colourful idiosyncracies of his I, Thighpaulsandra and Double Vulgar solo releases, The Lepore Extrusion is perhaps the most structured and restrained piece from this talented Welsh musician, whose impressive discography takes in Coil, Julian Cope, The Waterboys and Spiritualized. The Lepore Extrusion is part of Brainwashed's Handmade series released in an edition of 500 handmade letterpress sleeves. I picked up a signed edition from Thighpaulsandra.com and you shouldn't waste time here as The Lepore Extrusion is a darkly alluring electronic and synthesizer score. - Tony Dickie, Compulsion

Saturday, May 26, 2007

Who Can I Turn To Stereo

a Tune time machine
b Landed at granma's
c Woollen numbness of anaesthesia
d Yagga Blues
e Livin' fear of James Last
f Space funk with springs
g Easy Snapping
h Home is where the heart is
i Monument to Perez Prado
j Approaching Darkness fish
k Darkness fish
l The standard table of daddy

All I can say is that given my certainly not-complete knowledge of the Nurse catalogue, from the 30-odd pieces I've heard, this one is likely the most accessible album as a whole, for the novice particularly. But, I'm partial to this album. Tres Magnifique!
Great lineup, fantastic weirdness and cohesive rhythms dance together and smile.
but don't take my word for't.
"While at the time of this recording, Steven Stapleton did not have internet access, the text printed on the CD as well as the spoken words were taken from the Exquisite Corpse found on this website. Pictured on the sleeve/booklet include Peter Christopherson and Jhonn Balance of Coil , Alan Trench, Alison Webster, and David Gibson of World Serpent, Edward Ka-Spel of LPD , Petr Vastl (Aranos) , Darragh Grealy (dj and animator, sounds contributor), Davide Meroni (the Italian voice on the album), David Tibet , Sarah Fuller (female voice on the album), Steven Stapleton , Matt Purcell (engineer Harmony Row Studios), Peat Bog (with Freddy). "
From JCope's Head Heritage:
"It has much in common with Krautrock (yes, again!), particularly the tape editing (Can, Faust), as well as the modulation and splice experiments of 20th century classical avant-guardists (Stockhausen, Henri, Cage etc.). But these are just touch points, rather than starting blocks. This music has something deranged about it (like The Residents), but it’s very listenable and not nearly as hard work as I’m probably making it sound (unlike (much of) The Residents.). Synthetic rhythms pitter patter as weird and wonderful noises, often with no immediately apparent source, jump in and out. A surrealist narrative in a gorgeous brown voice with a Spanish accent drops in now and then to give us the impression that a story is unfolding. Each track flows into the next giving the whole album a ‘concept’ feel. The ‘concept’, however is of our own making, as any themes are too oblique to be a concrete concept. Hell, the concept is the NWW sound, not any bash-you-round-the-head-till-you-get-it lyricism. This record is bloody difficult to describe. Mainly because I’m scrabbling around for reference points, but this music sounds like the product of a hermetically sealed environment and a singular aesthetic. Effects are used, not merely as aural colouring-in but for a purpose. If this sounds like serious stuff, then I’m also misleading you, because there are large doses of dark humour here too. I probably also haven’t got across the beautiful nature of much of this record. ‘Yagga Blues’ is a sumptuous piece of exotica. Oh, and moments of genius like using the sampled words ‘…to communicate’ looped, as a mantra rhythm-track just make the hairs on my arms stand up!" 320


SOTW (Do You Think Of Music?)


01 Egyptian Basses
02 Acid Jam 2
03 Journey To Avebury
04 Anal Staircase (Relentless Mix)
05 Assassins Of Hakim Bey
06 Blue (Special Alternate Combination Mix)
07 Is Suicide A Solution?
08 Bee Has The Photos
09 Acid Jam 3
10 The Wheel (Vox)
11 Red Scratch
12 Theme From Gay Man's Guide To Safer Sex
part one part two
That is it for the tracks uncirculated. The tracks below are on the Backwards Demo Tape.
If you can't find it, holler.
"Gnomic Verses"
"Spastiche"
The last 2 tracks listed at Wiki I don't believe I have, tho I could be wrong. More research needed on my part.
They are:
"Nasa Arab (No Skin (Aural Circumcision))"
"If It Wasn't Wolves, Then What Was It"
Other than that, alles ist gut. Tracklisting IS correct. Enjoy!

Thursday, May 24, 2007

Chagrin, SOTW Tracklist Corrections, New Posts in a Minute

SOTW:
1, 2 the same
3 Red Skeletons II
4 Anal Staircase (Dionysian Mix)
5 The Spoiler (lp version)
6 Protection II
7 Keelhauler
8 Rush (Black Sun Mix)
9, 10 the same

Sorry I'm just now realising that gaffe. This is correct, though.
I'm sure no one out there works in theatre, but suffice it to say that regardless of all the preparations involved, moving the set downstage 6 feet meant oh so much more.
Have had load in this week. Very much unlike vacation, but keeps me away from here all the same.
Soon: Part 2 of SOTW, more cullings from JB's Cassettes, odds and ends.
In the meantime:
Totally Fuzzy Bonga Modern Klezmer JuJu
never a dull moment alice rabbit odd bits carnival of headache
beware the blog

aloha

Sunday, May 20, 2007

Song Of The Week (When You Listen To Coil...)


From Brainwashed Coil FAQ:

"What were the Songs of the Week? How can I get them?
Song of the Week was a series of MP3 songs given away free from the website. Unfortunately some people decided to abuse that free privilige by redistributing them.
That led to people obtaining the songs w/o the disclaimers posted on the site which clearly stated the feature would be removed if people tried to sell the songs on CD-Rs instead of give them away.
People are still trying to sell the CD-Rs, so if you see them, demand the songs for free, since they got the songs for free. "

"Why doesn't Coil simply release all the Songs of the Week?
There's an issue of Quality Control that Coil like to have with their own music. Many of the featured songs were things in their early stages, unmixed, unproduced, unreleased or abandoned.
Lots of those songs will resurface at some point in more polished Coil-friendly versions. Coil have become popular over the years for their quality of music and to release something of unfinished nature wouldn't be much like their style. "

Song Of The Week (When You Listen To Coil...)

01 Pre-Original Chaostrophy
02 pHilm (vox)
03 Anal Staircase (Dionysian Mix)
04 The Spoiler (lp version)
05 Protection II
06 Rush (Black Sun Remix)
07 Keelhauler
08 Red Skeletons II (also referred to elsewhere as "Stoned Circular III")
09 Static Electrician
10 The Dark Age Of Love (w/Marc Almond on vocals)
part 1 part 2

Please note: When these were originally put out for consumption, they were 128. here at 320. Hope that's alright.

John Barrett Cassette Dubs Vol. 6 1983 Abbey Road Video Show



Infos and tracklist

"Prior to the early 1980's, it was pure hearsay amongst Beatles aficionados as to what was inside the EMI vaults pertaining to the group's residency at Abbey Road and other studios from 1962 until 1970. Also, very little was known about actual recording dates of their album and singles. Most of the information that was available to fans came from contemporary reports in UK music magazines such as "New Musical Express" or "Melody Maker", or fan mags like "Beatles Monthly". This info, some correct, some not, was then regurgitated in many of the earlier Beatles books, such as Roy Carr and Tony Tyler's "An Illustrated Record" or Harry Castleman and Wally Podrazik's "All Together Now".

All of this uncertainty was to change beginning in 1981. That year, an engineer at Abbey Road named John Barrett found he had cancer, and was looking for a way to occupy his time while undergoing treatment. Ken Townsend, the manager of the studios at the time, thought that finally going through the vaults and seeing exactly was and was not there with regards to the Beatles' many recording sessions would be an excellent task for the ailing engineer.

Throughout 1982, Barrett was also compiling audio material for a Beatles multi-media show that would take place in the famed Abbey Road Studio 2 while it was being refurbished in the summer of 1983. While this cataloging and assemblage for "The Beatles At Abbey Road" (as the show was to be imaginatively titled) was occurring, Barrett was running cassette dubs of some of the more interesting material for his own use. Some of the material was mixed as he was running his tapes, while some tracks where the original mixes done at the time of the recording sessions. Barrett knew what he was doing; he dubbed off lengendary tracks such as "Leave My Kitten Alone", which had never been issued, as well as the more interesting alternate takes in the vaults like "Norwegian Wood" take one. Also, many of the tracks he dubbed where stereo mixes of titles that at the time hadn't seen the light of day in stereo, or had seen limited release, such as "This Boy"."

Shown at Abbey Road Video Show between July 18, 1983-September 11, 1983

Part 1 Part 2

Thursday, May 17, 2007

The Dead Submariner


Andrew Liles
from Beta-lactam Ring Records:
Click here for Mp3 Audio Samples
Artist: Liles, Andrew
Title: THE DYING SUBMARINER (A Concerto for Piano and Reverberation in Four Movements) Deluxe
Label: Beta-lactam Ring Records
Format: 2xCD
From Blr:
"2CD edition. First 300 copies include a bonus CD (not a CDR) album entitled "THE DEAD SUBMARINER (A Concerto for Bowed Guitar and Reverberation in Three Movements)" with a numbered and signed insert. Leviathan low end growls belch a hazy pitch into the sea, rendering daylight useless to penetrate the unknown depths. Andrew's concerto for piano and reverb conjures many spirits, including that of wrathful Poseidon. The piece (in 4 movements) also conjures the spirit of nothingness. A sense of complete loneliness prevails in the echoey death throes. The faint scent of forebears fascinated with watery graves and abandon lingers from the wake of such pieces as Gavin Bryars’ The Sinking Of The Titanic and many of Harold Budd's early works, though Liles’ fitful concerto paints his submariner's demise more as a dissonant, prolonged struggle than as a melodic, majestic descent. Spatially, the work tends to build into shifting layers similar to Charlemagne Palestine, Henry Cowell's clusters or La Monte Young's Well Tuned Piano (though Andrew's work is not based on a microtonal system). The ringing resonances sometimes fan out as distinct harmonic phrases, and sometimes the notes simply propagate and clash with the reverb creating ripples of pure metallic sound, even to the point where the piano's strings melt into the sculptural, welling up more like tidal pools alongside Bertoia and Dumitrescu. A beautifully disturbing wet suit suite of sonic sound."

Each piece is structured differently, with Dead Suub worked in a complimentary fashion to Dying. The mood/tone is similar. 320.
This was my introduction to Liles, purchased on a whim and after hearing some samples at his MySpace
and at his site proper.
Also at the Liles site: video, reviews, and the shop

Excerpt from Brainwashed Interview (Lucas Schreicher) with Andrew Liles:
..."[LS] You've told me before that you like to stay away from computers, but sometimes it's difficult for me to imagine how your music comes together live before you edit, arrange, or change it in any way. Why do you dislike working with computers and how do you feel it affects your writing and recording process? [AL] I write down all my ideas down then collate them. I always have a fixed idea about what I am going to do and an axis on which the whole project will turn. I write all the music in my head and on paper, then record the sounds and mix it on a computer. I am not opposed to using computers at all, I multi-track and record on the computer. I detest computer 'instruments' and never use them. Most of the music is 85% done outside the computer; I only use the computer as an editing and mastering tool, really. I think to make music purely on the computer is just number crunching, it has its place but it's not for me. [LS] Much of your music seems very organic to me, each piece on a record informing the next and naturally implying the next movement. The Dying Submariner perhaps more so than any other record. To what extent is this organic sound intentional? Is this a result of how you see the music in your head, before it is recorded, or is it somehow a result of how you compose music?[AL] It is both, that and a keen ear and sense of direction. I can't say it is purely intentional of course! There are a lot of flukes and random elements flowing that seem to find the right niche at the right time. I have made a lot of records now and know (well, at least I think I know) how to mould a piece and help it find its natural progression. ...
...[LS] The Dying Submariner came in a limited edition that featured a second disc, The Dead Submariner (A Concerto for Bowed Guitar and Reverberation in Three Movements). Any chance we will see the music on that disc elsewhere? Why did you choose to accompany the piano record with a disc of bowed guitar? [AL] The Dead Submariner is unlikely to appear again. I chose to make a record using a bowed guitar to emulate and compliment the piano piece, as it was a 'live' stringed instrument: it made sense to me. I thought it would be more fitting and I didn't want to include a throw away item as many limited editions can be a bit slap-dash. I didn't want to cut corners with a remix of the piano versions or some extra, unrelated piece of music. [LS] Where did The Dying Submariner come from? Many of your records are conceptually focused and I do not think this one is any different. While the artwork is very dark and perhaps meant to relate a sense of fear or even claustrophobia, for me some of the music was quite playful. Was this juxtaposition intentional? [AL] I don't really want to advertise where the idea came from on The Dying Submariner, but again I think it is pretty obvious what it's about. The music is in part meant to be quite playful but never humorous or frivolous."

I cannot stress to you the importance of purchasing this and other artist's offerings. It keeps them in business, feeds many ears, and helps labels continue releasing quality sounds and packaging.

Scribble Seven



A Liles, C Potter, Scribble 7


From Brainwashed NWW Live
June 2006Scribble Seven
Live US Portland, Oregon
Sabala's at Mt. Tabor
Personnel
Steven Stapleton Colin Potter Andrew Liles Matt Waldron Freida Atban Stan Reed Vic Shukla
Notes
Supported by Colin Potter Andrew Liles Green Milk From The Planet Orange Orbit Service. Second Scribble Seven performance
neat article from Portland Mercury Dec. 2004 preceding a Stapleton artshow.
please note: above image is, I believe, not from this performance. If anyone could point me to images from the Portland gig, I would appreciate it. Same goes for images inside zip.
I did not attend. A kind bird made this available somewhat recently.
If anyone reading this has an opportunity to see any of these artists perform live, GO TO'T.
Supporting these types of sounds benefits us all. Buy these guys' albums. They are all so varied, you pretty much can't go wrong. Off the soapbox.
Also, not my original recording, so 192. (But I sure am thankful for it!)

Some Head





"4th February, 1999
The musickian known as THIGHPAULSANDRA has joined COIL as a permanent member as of today. Thighpaulsandra is a member of SPIRITUALISED and QUEEN ELIZABETH (with Julian Cope), as well as working with Jodie Evans of ANAL. He is a classically trained musician who has made a long and deep study of the work of Stockhausen. He is a wonderful bright Pagan STAR in his own rite and I are very happy he accepted my invitation. Now we are 5 sided. Pentagrammatical. Complete. "


Tracks: Black Nurse, Tudor Fruits

Eskaton 21 CD EP1000 copies
Released March 1st, 2000.
From the release notes: "This CD was initially sold at the Royal Festival Hall event with Coil and is now being made available to the general public. Some Head consists of two pieces of music: 'Black Nurse' & 'Tudor Fruits'. Full-time Coil member Thighpaulsandra takes care of synthesisers/piano/horn/vocals and is joined by Coil's John Balance on vocals/text and Hans Jürgen Raüsch takes care of enforcement/retractors. The CD is housed in a sheer Black c-shell package and comes with a sticker on the front. Thighpaulsandra plays keyboards for Spiritualised and Julian Cope. "



excerpt:

"Born June 19th in Pontypridd, Wales as Timothy Lewis to a family of musicians. His grandfather being a conductor and mother, Dorothy Lewis an opera singer. He was frequently taken to classical concerts from an early age and studied French horn, church organ and piano. He was a member of the cathedral choir at Cathedral School in Llandaff, Wales as well as Christ College, Brecon, Wales. "




This is the first proper appearance of Thighpaulsandra. After meeting him at a concert in 1997 JBalance struck up a musical alliance that would take Coil to new heights. (And get him out of Spiritualised:)

2 tracks of electronic bliss. A precursor to "I, Thighpaulsandra"

Definitely worth your while.
Also, check out the Download button at his site. Incl. Michael Publicity e.p.

Tuesday, May 15, 2007

Cups In Cupboard


AndrewLiles & Tony Wakeford
From discogs:
THE WARDROBE(Tony Wakeford & Andrew Liles)
'CUPS IN CUPBOARD'Released: Oct 2005
Genre: Electronic Style: Experimental, Ambient
Notes: Limited edition CD of 500 signed copies
(Currently OOP )
TRACK LISTING
1 MothBalls (3:56)
2 The Unopened Brown Envelope (2:45)
3 A Mercurial Character With A Spice Of Idiocy (4:57)
4 Lost (1:36)
5 The Smell Of Paddling Pool (8:46)
6 Swishing Stick (3:10)
7 Arcade (5:51)
8 Lake And Tree (2:50)
9 Wind In The Willows (7:23)
10 Windows (2:58)
11 Cups In Cupboard (2:17)


Review at Brainwashed by Jen Warren
excerpt re: A Liles
"The art of the sound collage and drone music has a group of key members. Mirror, Christoph Heemann, Andrew Chalk, William Basinski, and perhaps just a few more are known and loved and create music that invokes images from other worlds; be those images frightening, sublime, or esoteric, it is impossible to deny their visceral impact. Andrew Liles has been added to that list of elusive and wonderful musicians"

I have come into the musicks of Liles as of last year. I thoroughly enjoy all of the Liles I own. Strange, familiar - he plays his own instruments, except where noted and then manipulates that sound, folding in found sounds and happy accidents. One of his latest endeavors is part of Beta-lactam Ring Records Black Series. From Dec. 2006, Liles is releasing a cd a month for twelve months. Check THAT out. 15 Questions w/A. Liles
Wakeford I know of through DIJ and Sol Invictus. Don't always dig the SI, but the Wakeford/Stapleton release "Revenge Of The Selfish Shellfish" was good!. Haven't heard it in many moons. Wayyy OOP, that one.
The way in which Liles is such a good collaborator is really quietly spoken in this piece. 320.

Ambiant Otaku

part one part two

following info from discogs: Released: 28 Mar 1994
Label:Fax +49-69/450464 Catalog#: PS 08/043
Style: Ambient
Notes: Limited to 1000 copies.
Also released on Ambient World label (aw 017).
Tracklisting:
1 Karmic Light (17:04)
2 Low Of Vibration (11:11)
3 Ambiant Otaku (10:49)
4 Holy Dance (15:36)
5 Magnetic Field (17:47)
"AmbiEntrance: Can you explain the term "Otaku" for those who may not be familiar?
Inoue: "Otaku" is kind of a nerd, a collector. In Japan, it's used as a negative term.
AmbiEntrance: Did you "plan" for Ambiant Otakuto become such a rarity?
Inoue: No, I didn't. I don't believe in "limited release".
AmbiEntrance: Did you have anything to do with its re-release?
Inoue: No, I'm not to do with the re-release.Peter was mentioning about people paying 100 dollars for a disc and it was really ridiculuous. Many people asked, so he decided to release it again*.
What I don't understand is when people still want me to make music like that.
I usually make music which I hear in my head, right now I don't hear Ambiant Otaku 2... maybe in the future. "
*please note: this title has gone OOP since this interview.
I heard Inoue before I listened to Eno. I now understand whence Tetsu's influences, but it's the way he does it. I went on a binge some years ago, grabbing up as many of his titles as I could afford. Kicking myself for not making backups for all:) This is where his sound started to affect so many, where he began to commit his sonic diaries to album. Sublime. 320.

Angry Eelectric Finger (Spitch'Cock One)


Discogs

2004 March CD UK United Dairies UDCD0300
edition of 2000 in digipak .
Track Listing:
Root Canal Splinter (Penetration mix) - Cyclobe / Nurse With Wound (11:19)
Paraparaparallelogrammatica - Irr. App. (Ext.) / Nurse With Wound (12:18)
Mute Bell Extinction Process - Jim O'Rourke / Nurse With Wound (10:38)
(Flute and sax by Hansi Fischer and Tim Belbe of Xhol Caravan on Mute Bell)
Sleeve Notes
A selection that may or may not be included on the forthcoming 3 disc set ANGRY EELECTRIC FINGER. Cover art by Babs Santini . Thanks to Paul Jackson.
"Angry Eelectric Finger (Spitch' Cock One) is the first installment of Nurse With Wound's most ambitious project to date. It's a remarkable mixture of Industrial and Avant Garde pop styles featuring Sonic Youth's Jim O'Rourke, Ex-Coil sound twisters Cyclobe, Kraut rock legends Xhol Caravan, and San Francisco's weirdest pop combo Irr. App. (Ext.) Each artist has collaborated with Nurse With Wound's Steven Stapleton to create a 4-part suite of alarming freshness and originality. This, the first in a 3-part installment of Angry Eelectric Finger (Spitch' Cock One), is as stated limited to just 2000 copies on CD. Babs Santini, as always, supplies cover art on this release."

From Brainwashed (as written by J Dean):
"...It is this same intensely collaborative spirit that manifests on Angry Eelectric Finger (Spitch'Cock One), a newly-issued prologue to an upcoming triple-album set featuring collaborations with Cyclobe, irr.app.(ext.), Jim O'Rourke and Xhol Caravan. These were long-distance reciprocations, with Stapleton sending raw materials to each of the artists, who were free to recontextualize and mutate the sounds as they saw fit. These longform remixes were sent back to Stapleton, who added some finishing production touches and let them stand. This unique process has yielded a series of tracks in which the personalities of Stapleton's musical accomplices come through very strongly, even as they each reverently pay homage to the work of Nurse With Wound. The disc opens with a piece credited only to NWW, a classic 11-minute brain-twister that utilizes bending, distorted bass guitar strings to disorienting effect. Each metallic pluck swoops and dithers around a senseless insectoid rhythm, the piece eventually expanding into a blasted Cold War furnace factory dominated by an ancient, wheezing iron lung. Erudite Nurse-o-philes will recognize these sounds from An Akward Pause and the Current 93 collaboration Bright Yellow Moon, Stapleton clearly enforcing the "recycled sound" aesthetic from the outset. "
Could not have said it any better myself. A good example of like minds creating with the third mind. 320

Alice Rabbit has posted a fantastic NWW piece on youtube I hadn't seen before this a.m.

Wall Of Sacrifice


Personnel : Douglas P., David Tibet, Rose McDowall, Boyd Rice, Nikolas Schreck, Andrea James, Jan O'

Tracklisting:
1. The Wall of Sacrifice 2. Giddy Giddy Carousel 3. Heilige Leben 4. Fall Apart 5. Bring in The Night 6. In Sacrilege 7. Hullo Angel 8. Death is a Drummer

According to Douglas, this title has been out of print for over a year and it's rerelease is not imminent. A good addition to the many sounds and masks of Death In June.
Originally released in 1989, this edition was remastered and released through Tesco 2003.
Wiki has this to say.
Per Brainwashed, "This album was at the time thought to be the last Death In June album. It marks the first collaboration of Douglas P. with Boyd Rice of NON. The track "Hullo Angel" was also recorded for Current 93's "Swastikas for Noddy" album. "
I know what I think, but did a search for info and thoughts regarding this album. Here's a fair assessment from a not-so-avid fan. For me, as intimated in a review at discogs , this is an in-between album regarding songwriting and styling, with some of Douglas's good dark pieces, and some of his best neofolk songwriting (for lack of a better description - I mean, in my opinion, he kinda was at the forefront of this sound.), which foreshadow his coming albums. It was limited to 666 copies on lp when initially pressed. Not for all, but worth a listen. A must for the fan currently without. While some of the tracks on this album appear, too, on Discriminate, the versions aren't necessarily the same. 320
P.S. DIJ has offerings at itunes. Don't know exactly what, but fyi.

Monday, May 14, 2007

Horse Rotorvator



This is the album that turned me on to Coil. Originally released in 1986, a friend found a copy of it on cassette at a thrift store in Prattville, AL USA back in 1991. I'd honestly say hearing it changed the way I listened to music. Perhaps not en toto, but to a large degree. This issue of it is a 2001 release. With the blessings of Coil, Thighpaulsandra remastered this release. Jhon and Peter had previously taken it out of circulation, but it had been "released" in that time by its label sans Coil's nod. They then re-titled it "Stevo Pay Us What You Owe Us! Volume Two - HORSE ROTORVATOR - Remastered."

This is my desert island group. They are/were beyond description.

Sunday, May 13, 2007

A Handjob From The Laughing Policeman


Steven Stapleton and Colin Potter on this one. Limited to 300 and packaged with initial pressing of Soundpooling. Glad to have a copy. The sounds herein are culled from all over Nurseland, with some specifics given in the writing below. Good stuffs! 320.
"The Bonus disc cleverly entitled A Handjob from the Laughing Policeman is a remix extravaganza. A wicked 1 track re-work of Free Death / African Mosquito / Two Golden Microphones / Shipwreck Radio and probably many more obscure ones buried within. Wandering close into Coil territory the first half got me moving around the room like an unhinged pixie - a crooked disco classic for sure… where as the second half was more, chilled... a dub workout with some lovely grating freight train metal and spacey washes. The latter end is a slight return to the first disc with ‘Indernacht…’ on infinite loop, a whispering apparition in wharfside fog, accompanied by short wave flutterings. Stapleton’s voice can be heard through the murk repeating the syrupy words... it’s coming out of the void echoing itself doubling itself over and over ... all to a mellow ring modulation with the words – ‘Well there you are’ bringing the disc into a silent conclusion."
from:

From Brainwashed :
2006 June CD UK ICR Distribution ICR55 300 In wrap-around-sleeve in plastic wallet
Track Listing
1. A Handjob From The Laughing Policeman (44:04)
Sleeve Notes : Conceived by Nurse With WoundMixed by Colin Potter
Note:Only available with initial copies of Soundpooling

For All My Little Friends



from rhino handmade notes on "God Bless Tiny Tim: The Complete Reprise Recordings"

Born Herbert Khaury in 1932 New York City, falsetto-voiced Vaudevillian cult icon Tiny Tim enjoyed 15 minutes of fame following his hit 1968 version of “Tip-Toe Thru' The Tulips.” He appeared on the debut episode of Rowan & Martin's Laugh-In and married Miss Vicki on Johnny Carson's Tonight Show, attracting the largest audience in that show's history. He was instantly recognizable with his long, curly hair; prominent nose; and signature ukulele.

In the mid '60s, after performing for years in New York clubs under such names as Larry Love and Barry Dover, Tiny Tim recorded some demos with producer Richard Perry, who would go on to make records for Captain Beefheart, Ringo Starr, Carly Simon, Rod Stewart, and Barbra Streisand. After catching the ear of Reprise Records' Mo Ostin and signing to the label, Tiny was paired with the producer for what would become 1968's God Bless Tiny Tim, which contained the above-mentioned breakout single. Crafted to capture Tiny's Tin Pan Alley charms while also appealing to the mass market, the album combined old songs with flights of fancy and psychedelic studio techniques.

Tiny and Perry quickly got to work on the more straightforward Tiny Tim's 2nd Album, but a small-label release of a shoddy 1962 performance arrived first, putting off fans awaiting the follow-up to God Bless. In any event, Tiny received a warm welcome at London's Royal Albert Hall in October of 1968, performing to a crowd that included all four Beatles plus The Rolling Stones. A children's record, For All My Little Friends, was recorded and released in 1969, but Tiny's contract with Reprise soon expired and was not renewed. He went on to build a 25-year post-Reprise discography that resembles, according to Barry Hansen's liner notes to this release, a “crazy quilt of one-off albums and singles, including some very nice work”

From tinytim.org:
"For All My Little Friends"
Tiny's third and last album for Reprise. This was Tiny's children's album which includes classic versions of "On The Good Ship Lollipop", "Sunshine Cake", and "I'm A Lonesome Little Raindrop" among others. This album was produced by Richard Perry and Gene Shiveley and was released in the summer of 1969. It was nominated for a Grammy but lost out to a Peter, Paul & Mary album.

side A tracklist:
1 On the Good Ship Lollipop 1:59
2 Sunshine Cake 2:12
3 Mickey the Monkey 2:02
4 Hot and Cold Water 0:40
5 Two Times a Day 1:30
6 Chickery Chick 1:44
7 Oliphant the Elephant 0:55
8 I'm a Lonesome Little Raindrop 2:47

side B tracklist:
9 They Always Pick on Me 2:12
10 Aren't You Glad You're You 1:55
11 Sadie the Seal 1:42
12 The Viper 2:06
13 Bill the Buffalo 1:58
14 Remember Your Name and Address 2:15
15 What the World Needs Now Is Love 3:15

Ripped from vinyl, but I didn't do it, so don't know those particulars (hence sides A&B as whole tracks.) No noise reduction. "Original" cd-r used to rip. 320kbps.

what's in a name

Originally intended to be an honorarium to R. Gordon Wasson, the term wassonii had to be relegated to history. Until now:)
Good article about wasson





following info from:
stainblue

Unable to locate this species in the field, Roger Heim and Rolf Singer based their descriptions of this mushroom on dried specimens purchased from Matlazincan Indians in the marketplace of Tenango del Valle, in the Nevado de Toluca region of the State of Mexico. In 1958 Heim described this fungus as Psilocybe wassonii, but without any Latin designation; Singer and Smith described it in the same year as Psilocybe muliercula (muliercula = "little women"). Both descriptions reported this fungus growing in Pinus forests surrounding the town of Tenango del Valle. However, after several expeditions to the area, Dr. Gaston Guzman located it 10 kilometers from Tenango del Valle in an Abies forest on the slopes of the Nevado de Toluca [Guzman 1958; letter to author 1999].

Closely related to Psilocybe zapotecorum, this mushroom prefers a similar habitat -- rich, dark soils in marshy areas -- where it can be found fruiting throughout summer in small groups or dense clusters.

In 1979 Guzman, along with Stephen H. Pollock, described a new entheogenic species found by them in the Naolinco region of the State of Veracruz, Mexico. This mushroom prefers rich soils in deciduous forests where it can be found fruiting singly or in small groups. The pseudorhiza at the base of the stalk is characteristic. This species was named Psilocybe wassoniorum to honor Wasson and his wife Valentina, and to remedy the nomenclatural dispute regarding Psilocybe wassonii.


here: "Wasson's Psilocybe" (Psilocybe wassoniorum Guzman et Pollock).







I have no idea of the frequency for this blog. Kinda depends. Check back, though!