Mostrando entradas con la etiqueta 2003. Mostrar todas las entradas
Mostrando entradas con la etiqueta 2003. Mostrar todas las entradas

domingo, 29 de mayo de 2011

VA - 2003 - Miaoussers Xmasterpiece

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!

lunes, 16 de mayo de 2011

VA - 2003 - Replay Debussy


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!

sábado, 14 de mayo de 2011

VA - 2003 - Music From The Wattstax Festival & Film

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!

domingo, 8 de mayo de 2011

Abisal - 2003 - Surf Guitar



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!

martes, 27 de abril de 2010

VA - 2003 - Punk Goes Metal, Vol. 1

Punk Goes Metal is a concept compilation, as it finds 17 of punk rock's quirkiest groups covering many heavy metal classics in their own special way. Occasionally, the songs take on a new life based on the band's interpretation (such as Link 80's brass section in Metallica's "Harvester of Sorrow"), while others stick to the integral metal qualities that left the chosen song imbedded on so many sweaty, long-haired headbangers' minds when it first came out (as does A.F.I.'s version of "My Michelle" or Dynamite Boy's superb cover of AC/DC's "TNT"). These groups have done an outstanding job of refreshing old classics, and at times old metal songs that many wish had never been unearthed, and that is the sole reason why Punk Goes Metal succeeds. Enjoyable and often humorous, this is a compilation that fans of '80s metal or '90s punk should own.

sábado, 14 de noviembre de 2009

Tango Crash - 2003 - Tango Crash

To call the music on Tango Crash unpredictable is a major understatement. From post-bop jazz (with fine solos from soprano saxophonist Rodrigo Dominiguez) and sound explorations to touches of tangos (featuring the bandoneon of Pono Topia), haunting and somewhat spooky vocals, world fusion, and completely uncategorizable electronic music, this program will certainly keep listeners guessing. Some of the tracks (particularly "DJ Peron") are bizarre throwaways, while others feature romantic melodies and impressive musicianship. This is definitely a mixed bag, a really eccentric program.


¡Aquí!

sábado, 12 de septiembre de 2009

Kopernik - 2003 - Kopernik

LEWIS and DELANEY began the studio sessions that became KOPERNIK in the Fall of 2001. "We wanted to do something together that was completely fresh and challenging for us, and a departure from the ordinary song/beat-based structure." LEWIS explains, "The pieces are slowly built-up off of my initial abstracts of both organic and synthetic sounds, with an equally abstract narrative in mind. Then, Tim comes in and adds new melodies, chord stacks and strong but supple bass lines to the original themes and phrases. Finally, after adding a few highlights and accents, we both step back and strip the piece down in layers, sometimes revealing new simpler and chance discoveries… new colors." The result of this additive/subtractive "crushing", as LEWIS calls it, is a music that avoids over-extension, lacking decadence and avoiding ambient clichés, and instead, through a narrowing of means, brings only the sounds and colors which are indispensable. And lest this sounds like an exercise in navel-gazing studio geekery - like so much discursive studio and digital masturbatia commonly produced, their live performances resound with just as much solidity, strength, and fire: you most definitely need to hear these cats live! Musically, the recordings have their foundations in modern avant-garde composition - Gorecki, Barber, and even at times Penderecki.
You may be reminded of the sweet melancholy of New German Cinema soundtracks (Popol Vüh, Jürgen Knieper). But on top of the same sense of breathing and pregnant space found in the works of these composers, KOPERNIK builds a burning playfulness and thoughtful hesitation - deconstruction – that speak more of electronic influences like vintage electro-ambient recordings, and the far-reaching fusion jazz of the 70's, Terje Rypdal, Eno (think Discreet Music), and Mahavishnu Orchestra. These recordings were created in the winter of 2001 and are decisively winter pieces. Not in that they are cold or barren, but rather because they seem to symbolize the self-intiated activation of one's own energy, imagination and passion that the barrenness and stillness of winter seems to demand. KOPERNIK provides a narrative about the process of discovery, terrae incognitae, new worlds and insights, told by the discoverer himself, without arrogance or exaggeration - there can be no arrogance regarding discovery when one realizes that the Discovered (uncovered thing) was and is actually a constant, and for the sharing of the Everyman. No flags posted, no proud-ass colonialist stance with fists on hips, shining chin, and one leg propped up high on new rock – you know the pose - not even a loud summons for an audience. But rather, what is left in KOPERNIK's discovery is the genuine interest that listeners are able to take good from something constant: an archetypal, prescient and trans-lingual source of our breathing.

This record embodies something that we love at EASTERN DEVELOPMENTS MUSIC, the same universal property that we hope has been and will be common to all of our future releases: an absolutely magical and positive Presence. A capacity to hold the listener, whether through hard-ass beat or through flowing phrase, in a mutual stare that is at once loving, respectful, intrigued, and ultimately Human: simple.



¡Aquí!