Journey Through A Burning Brain Part III-211010

Howdy folks, Here is last Thursdays playlist:

Ian's set:
Funki Porcini - Belisha Beacon
Alif Tree - Rain River
The Cinematic Orchestra - Theme De Yoyo
Rocketnumbernine - Matthew and Toby - part 2 (radio edit)
Brasstronauts - Slow knots
The Killamanjaro Darkjazz - Lobby

DJ Jimbob's set
Yeasayer - Ambling Alp (for Tara)
Ariel Pink's Haunted Grafitti - Round and Round
The Gregory Brothers - Auto-Tune the News #13(ft Weezer)
Can - Fall of Another Year
Cocteau Twins - Persephone
Dan Deacon - Padding ghost
Deerhunter - Never stops (I think I played this)
The National -
Blood red shoes - I wish I was someone better (for Clare, Jo and Nate)
Gonjasufi - Shes Gone
Hype Williams - 03 Untitled
Neutral Milk Hotel - The King of Carrot Flowers Pt. One
Neutral Milk Hotel - The King of Carrot Flowers Pt. Two
Ratatat - Drugs
Sleigh Bells - Rill Rill
Sly and the Family Stone - Underdog
Stasis - I'd Like To Thank The Academy (for Nik, RIP)
Tame Impala - It is not meant to be
Toro y Moi - Imprint After

Hope you enjoyed, there most likely won't be a show next week as I'm lasertagging, but feel free to sent me requests, and or a personal radio show via phone or skype :D
Peace y'all
James

Journey Through A Burning Brain Part II-141010

Hey boys and girls hope everybody enjoyed last nights show. Here is the playlist in no particular order:

Spotify Playlist (UK only):
JTABB 141010
Set Guitars to Kill - And So I Watch You From Afar
Gold Gun Girls - Metric
Auto-Pilot - Yellow #5
Desire Be Desire Go - Tame Impala
Butt-House Blondies - Ariel Pink's haunted Grafiti
Everything Always Goes Wrong - A Place to Bury Strangers
Jail-House-Frog - Amon Duul II
Summertime Clothes - Animal Collective
Sugarless - Autolux
Lover Of Mine - Beach House
Jet Black Boogie - Fatso Jetson
If I Had A Heart - Fever Ray
Duet - Gonjasufi
Hanky Panky Nohow - John Cale
Take Pills - Panda Bear
Treats - Sleigh Bells
Hung Up On A Dream - The Zombies
Upstairs - Women
I Do What I Want, When I Want - Xiu Xiu
Auto-Tune the News #6 - The Gregory Brothers
O.N.E. - Yeasayer
Status Quo - Ducktails
dEUS - Put the freaks up the front
CAN - The empress and Ukraine king.

Enjoy, Requests are welcome for next week.
I can upload any albums if you ask me.
James
Peace

Journey Through a Burning brain 071010

Hey guys thanks for listening, check out the abnds myspaces, last fm or amg pages, if anybody wants an upload of any of these songs/albums let me know. requests for next week are also welcome. The playlist from 07/10 in no particular order was:

Deftones - Back To School (Mini Maggit)
Russian Circles - Fathom
Metric - Help I'm Alive
Phoenix - Lisztomania
Sleigh Bells - Tell 'em
Autolux - Census
Autolux - The Bouncing wall
Ennio Morricone - La Bambola
The Drums - Let's Go Surfing
Cocteau Twins - Lorelei
Animal Collective - My Girls
Sleepy Sun - The Chain (Live)
Neutral Milk Hotel - In the Aeroplane Over the Sea
Beach House - Norway
Woods - The Number
Ariel Pink's Haunted Graffiti - Fright Night (Nevermore)
Roommate - New Steam
My Bloody Valentine - When You Sleep
Baroness - A Horse Called Golgotha
Brian Eno - Here Come The Warm Jets
The Gregory Brothers (Schmoyoho) - Auto Tune the news #10
Stasis - A Drop in the ocean (My band)

Hope you all enjoyed
Tune in next week 7-9pm GMT
URB http://people.bath.ac.uk/su9urb/
James x

Gazing Inside, Rocking Back and Forth

Dead Meadow - Dead Meadow - 2001


















Man,

this summer comes along psychedelically...

today seventy years ago in 1940, Igor Sikorsky performs the first successful single-rotor helicopter flight.

Today is also the day I present Dead Meadow's debut to you.
You may choose to find a connection.

Infused with yesterday's gig in Rotterdam I have to admit, I am now addicted.
I give away the drug for free.

This music is too heavy to perceive, too soft to accept, too disillusioned to believe and too real to be true. Set your tones low, turn up the volume.
I remain celebrating. I hope you'll too. This one is a journey through,


and beyond the fields we know

Let's Hope for a Psychic Psummer

Cave - Psychic Psummer 2009

krautrock, psychedelic, minimal, experimental (as always), groovy

Juan es su nombre?!

This post is dedicated to the Dark Lord himself(or visitor #666). Frosty greetings to the scalding hellfire of Beelzebub’s residence thus… which happens to be an island somewhere in the atlantic ocean just around the corner of Miami, I think.

I’ve got some contemporary krautyness to share, originated in Chicago, Illinois.

This is mazy goodness. You will make acquaintance with hypnotic, repetitive, tense, meditative, aggressive and explosive riffs/tunes etc. pick one.

It makes you wanna dance, or at least pick your brain…

To my great disappointment I missed out on both live shows in Holland last year, for revolutionary reasons though.

Recline, dance, consume.

Requiem for John Sex in mediocre sound quality:

MySpace

Allmusic

John is his name since 1511

Fresh, legal winds are blowin'

Ergo Phizmiz - The Faust Cycle or The House of Dr. Faustus 2009
radio play, experimental, inter-everything


"Faustus....FAUSTUS....Faustus. faauuuustuuuuuus. ..."

"Suddenly all the bird people turn in unison and stare at me. Marcel Duchamp stops speaking, staring right ahead. I've obviously interruped something, I should be going."

"I pick up a sausage, the problem is I'm vegetarian, but I'm also English and I can't quite yet figure out what comes first, I better have a bite."





I felt like this blog could need some contemporary crazyness.

This radio play is epic. Epic in terms as, "I hardly managed to sit through reading Ulysses" or Peace &War maybe, or as I havn't properly finished Paradise Lost or Beowulf. However, I don't know how appropriate it is to compare this piece of art to some poopy, old literary canon(s). Although it comes close if considering the major allusion in its title, Ergo Phizmiz certainly created something like a post-post(without the war)-modern faustian feeling.
To set a contrast: this artist is tagged as Avant-Retard on last.fm, maybe some people just don't get it. Avant, avant, avant.

Expect some kind of deeply disturbing, elevating yet jolly sound-meditation.. for hours and hours and hours...
This intertextual explosion is a mix of narrated passages which will penetrate your mind in a poetry-like, dreamy, collage, trip -like fashion, interwoven with longer and shorter and longer pieces of, well to keep it simple, music.

It's free.

Expect everything.

If I Can have wings then you Can have some more.

Can-Tago Mago-1971
Krautrock, experimental, progressive.



















After a rather crazy weekend involving red wine, 5AM vodka, Hawkeyes struggling to another win and a haunted cornfield, today is thankfully another lazy Sunday, which means another lazy Sunday afternoon post for you guys, and a huge step in out journey through Can's discography, in the first of their three masterpieces; "Tago Mago", "Ege Bamyasi" and "Future Days". "Tago Mago" is the first full album to feature Damo Suzuki after his warm up on the previous album "Soundtracks". The album is one of my favorites, one I will never get old off. Its depth, creativity, composition and sheer crazyness of the album makes it for me one of the essential albums I post on this blog.

All the songs are excellent, with the first half being the stronger, mainly due to its listenability, as the 2nd halfs swirling noise in the epics "Aumgn" and "Peking O" are hard to access for quite some listens through the album,

The first half contains 4 near perfect songs, songs in a style and of such pure expression that hadn't been heard before. "Paperhouse" is the album opener, its downbeat pulse and flowing keys work to create something simply beautiful and the rather simple sympathetic guitar creates a sad yet honest feel to the song. Its not until Jaki Leibzeit's drums really kick into the song after the first few minutes that you get a true idea of where this album and band are heading. The rest of the song is a swirling organised sonic mess of epic proportions. Damo's sound, tone and lyrics really work well, and the band have much more creative freedom than with Mooney. The pause in the middle is just enough time to catch your breath before the ferocious closer to the song, in which Irmin Schmidt pushes along the band with great force straight into the next song "Mushroom".

The song is even more downbeat than "Paperhouse" bordering on insanity, the torment displayed in Damo's muttered lyrics influences the whole feel of music, this song portrays madness so well, its hypnotic. A huge explosion begins the next song and what a stunner it is, 7 minutes of pure brilliance.
"Oh Yeah" is an atmospheric consuming juggernaut. Damo's backwards singing creates a rather uncomfortable feel from the out, and Jaki's drumming is truly magnificent on this song and especially the next "Halleluhwah". I've listened to both songs just to absorb the drumming and vocals as something by themselves. But really the main ethos of Can and why they are so good is the fact that the band has no egos, its not about virtuoso performances and long decadent solos that would plague English progressive music, its about creating fluid, meaningfully expressive music, the skill its takes to turn 5 individuals in to one sound is much more than simply technical prowess.

"Halleluhwah" is 18.32 minutes long, but do not let you put you off, its a stunning song and as mentioned a testament to Leibzeit's drumming expertise. It has a similar feel as the rest of the album, essentially that the drums and bass keep their heavy hypnotic rhythm whilst Karoli and Schmidt are free to explore and weave sounds together over the top, to play with and enhance Damo's vocals. One must not also forget that many of the songs came from extended jams in between takes, and that Holgar Czukay'spioneering editing techinques allow the album to not watse one note, and "Halleluhwah" is that beat-trance monster example of Can's sheer excellence.

Side two contains the swirling madnesses that are "Aumgn" and "Peking O" as well as the closer "Bring Me Coffee Or Tea". "Aumgn" is a wonderful listen, dark and disturbing but with a hint of of the ambigious beauty that the album has at its center. It perhaps show its length too much unlike "Halleluhwah", and so does "Peking O" which are small issues in such an excellent album. "Peking O" is pure experimentalism, and Damo's song, as he chants and screams chaotically to a variety if themes and sounds. Its a crazy song, hard to fathom or make any sense out of, but that not the point, its just to enjoy 12 minutes of musical insanity.
The albums ends with "Bring Me Coffee Or Tea" a respite from the previous 30 minutes and a welcome comedown, much more peaceful than the rest of the album, yet still fits in wonderfully.

Tago Mago was an album not appreciated commercially or critically at the time, yet at least now is being heard by more people. A true masterpiece of the era, its pioneering, deep, beautiful. A gargantuan in experimental music, it has influenced nearly all those who have heard it. One should see this as an album, however I have described the songs.
Next time will be "Ege Bamyasi" the 2nd flawless album by Can from 1972.
Enjoy
jamscoopa

Info
Paperhouse Live (on youtube)
Spoon
AMG
Please buy this album from a good retailer or:
US
UK
Or please delete after 24 hours and then buy:
Oh yeah (256kbps)

She who talks loud, saying nothing

Neil Young - Dead Man OST (1996)




















Sick greetings from my coughy and nose running deathbed,
I thougt it quite appropiate to feature this epic soundtrack today, also I feel like this soundtrack is particularly enjoyable while enduring a rather delirious and fuzzy state of mind.
If you didn't come across the film Dead Man by Jim Jarmusch or the soundtrack by Neil Young yet, start with either, the soundtrack entails plenty of dialouge, which gives a good impression of the film.
I'm too brainpained to paraphrase:
"Neil Young recorded the soundtrack by improvising (mostly on his electric guitar, with some acoustic guitar, piano and organ) as he watched the newly edited film alone in a recording studio. The soundtrack album consists of seven instrumental tracks by Young, with dialog excerpts from the film and Johnny Depp reading the poetry of William Blake interspersed between the music." (wiki)
I'd also like to contribute this adept film review.
FrauWurst


Mix of main theme, excerpts, and clipshow:



Please buy DVD and CD.
Try here

Can I have some more please...?

Can-Soundtracks-1970
Krautrock,experimental, soundtrack



















What a wonderfully lazy sunday afternoon is is today, the sun is out, the ferocity of my hunger has been satisfied by a burrito, Hawkeyes are ranked 13th after beating Penn State and I'm listening to the second Can album, and it all fits perfectly. Soundtracks is as it says a series of soundtracks to films performed by Can, along with two original songs featuring the bands former singer Malcom Mooney who would leave due to mental health problems, and the rest featuring the newly acquired frontman and talisman Kenji Damo Suzuki. More about the band members next time with the incredible masterpeice "Tago Mago".

The first three songs feature in the film Deadlock, 1970, directed by Roland Klick; "Don't Turn the Light On, Leave Me Alone", Damo's first recorded performance is from the film Cream, "Soul Desert" is from the film Mädchen... nur mit Gewalt, the epic "Mother Sky" is from the Jerzy Skolimowski film Deep End, and the Mooney sung "She Brings the Rain" is from the 1971 film Bottom - Ein großer graublauer Vogel .

The style of this album is oceans apart from their next 3 albums and it only comes close to the originality, exuberance and mind-fucking nature of these stunning albums, but this album holds a special place in my heart/brain.

The whole album seems to ache, it longs for something, and it torments itself about it repeatedly, stabbing away at its own heart. As I said the band were still finding its sound at this point, but the departure of Mooney and Suzuki's introduction really advanced their sound into the extraordinary directions they would explore.

The story of Damo Suzuki's initiation into the band is also extraordinary. On a morning before Can were due to play a gig , Czukay and Liebezeit were sitting in a Munich cafe, when they came across the japanese traveller Suzuki. They invited him to trial for the band and he played the gig that evening, he would become iconic, with his inaudible spontaneous lyrics sung in a variety of languages, he was what would elevate Can to one of the most innovative and influential bands of the time.

The album itself is like a prototype for whats to come, the Mooney songs are much evolved from monster movies more bluesy meets Velvet Underground inspired sounds, and contains the repetitive chaos which would shape "Tago Mago". Without doubt the highlight of this album is the 15 minute epic "Mother Sky". An epic beast, it blows me away every time I listen, its swirling monotony hypnotizes the listener, and Damo's slurred incomprehensible vocals capture your whole consciousness. It captures Can so well, the apparent contradictions of the underlying mechanical bass and drums, the guitar which melodic at some points, and tearing at others, fuses the song together, allowing Damo's insane ramblings to sound so beautiful and natural. Mother Sky is a song to hear intently and involve yourself in like no other, a real journey, it really hits you hard, not for the quiet background listeners please. Get high, drunk, turn it up loud, turn off the lights and immerse yourself. God I love Can
jamscoopa

For more info:
Spoon
Pitchfork
Please buy from a good retailer or:
UK
US
Or please delete after 24 hours:
Deadlock

I Can see why you'd like this......

Can-Monster Movie-1969
Krautrock, experimental, progressive.


















Hallo, ich heisse jamscoopa und ich prezenten Can-Monster Movie. If you'll excuse me for ruining the german language I will present to you in chronological order (of release) the condensed discography of one of my favourite bands Can. I will start with the first proper Can album and the only one featuring the original singer Malcom Mooney.

From AMG:
Always at least three steps ahead of contemporary popular music, Can were the leading avant-garde rock group of the '70s. From their very beginning, their music didn't conform to any commonly held notions about rock & roll -- not even those of the countercultures. Inspired more by 20th century classical music than Chuck Berry, their closest contemporaries were Frank Zappa or possibly the Velvet Underground. Yet their music was more serious and inaccessible than either of those artists. Instead of recording tight pop songs or satire, Can experimented with noise, synthesizers, nontraditional music, cut-and-paste techniques, and, most importantly, electronic music; each album marked a significant step forward from the previous album, investigating new territories that other rock bands weren't interested in exploring.

This first album by Can, is fairly atypical of the sound they would evolve to and perfect in the trilogy of "Tago Mago", "Ege Bamyasi" and "Future Days". Malcom Mooney's voice adds something completely different than from his replacement Damo Suzuki, his bluesy, raw and broken voice tells of troubles which surface most on the stand out song "Yoo do Right".

"Yoo do Right" is a 20-minute monster, edited down from a 12-hour jam of terrifying proportions and beating its way through 8 minutes of white-hot guitar and keys that pulls your chest apart, drums clattering in circles and squares and obese rhomboid patterns about your head, before falling to the silent click of drumsticks and a boiled-to-nothing whisper and then lurching back to unending life, strafing and spinning and rending all in its path.

Monster Movie was released in 1969, and is Can's most rock-oriented album by a considerable margin. Its songs are raw and aggressive-- very much informed by The Velvet Underground's larval trance-rock-- and they mark Malcolm Mooney as nothing if not an inspired amateur. "Father Cannot Yell" leaps out of the gate with a hi-speed keyboard flutter and the snap of Jaki Liebezeit's snare. Although the band would later perfect a kind of ambient funk, here they were brawny (though precise), determined rockers to the hilt; five minutes into "Father Cannot Yell", the song climaxes with a blaze of bass, drums, and fuzzed-out guitar, and an entire legacy of minimalist rock (from Neu! to Comets On Fire) is predicted. Of course, the 20-minute "Yoo Doo Right" is the centerpiece, and gives the best indication of what Can would do afterward. The murky, primal atmosphere of drums that dominates the track never allows the listener to escape the band's propulsion; like much of Can's best music, "Yoo Doo Right" seduces me into hypnosis, and winds through a seemingly endless array of textures and variations. Monster Movie is an amazing debut, but would be Mooney's last. He suffered a nervous breakdown onstage and returned to America.

A great start to a great band, more to come.
jamscoopa

For more info:
Spoon
Pitchfork
Please buy this album from a good retailer or:
UK
US
Or please delete after 24 hours:
MnM 256kbps