Jarboe - 2005 - The Men Album (2CD)

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!

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

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!

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!

Van Der Graaf Generator - 2005 - 0506-Live At The Royal Festival Hall (2CD)

¡Aquí!

Jandek - 2005 - Glasgow Sunday

Satan donned his winter coat on October 17, 2004 when the mysterious Jandek made his first known public appearance at the Glasgow club the Arches -- appearing in conjunction with Scotland's Instal Festival, billed simply as a "representative from Corwood Industries." On that day, and backed by Richard Youngs on bass and Alex Nielson on drums, Jandek crossed the threshold from myth to reality, proving that the gaunt, enigmatic image that graced his record covers for over a quarter century was indeed the selfsame figure behind this vast body of strange, powerfully affecting music. For Jandek devotees, it's virtually impossible to separate what Glasgow Sunday is from what it represents -- not just a document of his landmark coming-out performance, it's also irrefutable proof of the man's existence, which both complements and complicates all that has come before it. On the one hand, the live Jandek experience is remarkable -- the music thrashes and soars like the flying pig it is, sharpening the visceral edge of his best recordings to achieve something vaguely approximating a recognizable form of rock & roll. But on the other hand, there's an inescapable sense of loss -- the Loch Ness Monster had been captured, Deep Throat unmasked, and the riddle of the pyramids solved. Of course, that leaves the tantalizing question of where Jandek goes from here, which may be more than enough to keep his devotees on their toes; after all, answers don't merely solve mysteries, they also create new ones.

		1		Not Even Water		10:29
		2		Where I Stay		7:34
		3		Darkness You Give		9:42
		4		Sea of Red		7:55
		5		Real Wild		6:30
		6		Don't Want to Be		6:01
		7		Blue Blue World		6:47
		8		The Other Side		6:49

¡Aquí!

Can - 1971 - Tago Mago

With the band in full artistic flower and Suzuki's sometimes moody, sometimes frenetic speak/sing/shrieking in full effect, Can released not merely one of the best Krautrock albums of all time, but one of the best albums ever, period. Tago Mago is that rarity of the early '70s, a double album without a wasted note, ranging from sweetly gentle float to full-on monster grooves. "Paperhouse" starts things brilliantly, beginning with a low-key chime and beat, before amping up into a rumbling roll in the midsection, then calming down again before one last blast. Both "Mushroom" and "Oh Yeah," the latter with Schmidt filling out the quicker pace with nicely spooky keyboards, continue the fine vibe. After that, though, come the huge highlights -- three long examples of Can at its absolute best. "Halleluwah" -- featuring the Liebezeit/Czukay rhythm section pounding out a monster trance/funk beat; Karoli's and Schmidt's always impressive fills and leads; and Suzuki's slow-building ranting above everything -- is 19 minutes of pure genius. The near-rhythmless flow of "Aumgn" is equally mind-blowing, with swaths of sound from all the members floating from speaker to speaker in an ever-evolving wash, leading up to a final jam. "Peking O" continues that same sort of feeling, but with a touch more focus, throwing in everything from Chinese-inspired melodies and jazzy piano breaks to cheap organ rhythm boxes and near babbling from Suzuki along the way. "Bring Me Coffee or Tea" wraps things up as a fine, fun little coda to a landmark record.

		1		Paperhouse	Can, Czukay, Karoli, Liebezeit ...	7:28
Composed by: Can, Czukay, Karoli, Liebezeit, Schmidt, Suzuki
		2		Mushroom	Can, Czukay, Karoli, Liebezeit ...	4:03
Composed by: Can, Czukay, Karoli, Liebezeit, Schmidt, Suzuki
		3		Oh Yeah	Can, Czukay, Karoli, Liebezeit ...	7:23
Composed by: Can, Czukay, Karoli, Liebezeit, Schmidt, Suzuki
		4		Halleluhwah	Can, Czukay, Karoli, Liebezeit ...	18:32
Composed by: Can, Czukay, Karoli, Liebezeit, Schmidt, Suzuki
		5		Aumgn	Can, Czukay, Karoli, Liebezeit ...	17:37
Composed by: Can, Czukay, Karoli, Liebezeit, Schmidt, Suzuki
		6		Peking O	Can, Czukay, Karoli, Liebezeit ...	11:37
Composed by: Can, Czukay, Karoli, Liebezeit, Schmidt, Suzuki
		7		Bring Me Coffee or Tea	Can, Czukay, Karoli, Liebezeit ...	6:47

¡Aquí!

Zorn, John - 1995 - Redbird

Proving once again that some of his most beautiful pieces come when he is paying tribute to someone, Redbird, a tribute to the artist Agnes Martin, is a work of ambient and minimalist grace. The album consists of two pieces: a shorter percussive piece called "Dark River," and a 41-minute work for harp, viola, cello and percussion called "Redbird." Each conveys a hypnotic quality that does justice to its subject. Martin is an incredibly spiritual artist, whose minimal gestures on canvas and paper exude auras of calm. Redbird captures that sense in music and, in its continuity, becomes one of Zorn's most effective tributes. As always, Zorn has managed to collect a group of extremely talented musicians, and their execution of this album makes it even more perfect.

		1		Dark River	Zorn	8:51
		2		Redbird	Zorn	41:01

¡Aquí!

Einstürzende Neubauten - 1981 - Kollaps

Einstürzende Neubauten's first album, as one might imagine, is their most primitive and radical effort, the purest expression of their original aesthetic. This makes the album both historically significant and conceptually intriguing, of course, but what's most interesting about this album is that it still sounds surprising decades after its release. Often, albums that are considered extreme art statements upon their debut sound almost quaint a few years later, but while Kollaps perhaps sounds less extreme to ears that heard industrial music turned into disco pabulum by the likes of Nine Inch Nails than it did before, songs like the eight-minute title track and the rumbling live closer, "Negativ Nein," are still a fascinating blend of rhythm and random bashing, tonality and atonality, with anguished vocals by Blixa Bargeld that often seem to have little connection with anything else in the piece. The brief tracks, like the 80-second "Sehnsucht," are even more extreme explorations of pure noise. Starting as early as the next album, Einstürzende Neubauten would begin slowly introducing more mainstream musical concepts into their aesthetic, making Kollaps as undiluted a listening experience as there is in the entire catalog.

		1		Tanz Debil	Einsturzende Neubauten	3:23
		2		Steh auf Berlin		3:46
		3		Negativ Nein	Einsturzende Neubauten	2:27
		4		U-Haft Muza		3:40
		5		Draussen Ist Feindlich		:48
		6		Hören Mit Schmerzen		2:32
		7		Jet 'M		1:24
		8		Kollaps		8:03
		9		Sehnsucht		1:21
		10		Vorm Krieg		:20
		11		Hirnsäge		1:55
		12		Abstieg and Zerfall		4:28
		13		Helga		:11
		14		Negativ Nein [live]	Einsturzende Neubauten	4:37

¡Aquí!

Ubzub - 2002 - Alien Manna For Sleeping Monkeys

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Negru Voda & Third Eye - 1994 - An Impulse Of Fear-Raudive Experiments

		An Impulse Of Fear
A1	Negru Voda	Death In Your Eyes
A2	Negru Voda	Hide Your Face
A3	Negru Voda	Mental Feedback (The Attack)
A4	Negru Voda	Tribes Of Cannibals
A5	Negru Voda	Incinerate
A6	Negru Voda	Impulse Of Fear
		Raudive Experiments
B1	Third Eye (2)	Black Friday
B2	Third Eye (2)	The Enigma Of Death
B3	Third Eye (2)	Lucid Dreams
B4	Third Eye (2)	Precognition

¡Aquí!

Mazzacane Connors, Loren - 1989 - In Pittsburgh

This reissue of a St. Joan/Black Label release from 1989 was a project related to the late Chicago band Gastr Del Sol, comprised of Jim O'Rourke and David Grubbs. Their aim was to reissue classic criminally under-heard recordings: this, Derek Bailey's Aida, Folkarabe, and others. Unfortunately, the band broke up and the label went belly-up, leaving their distributor Drag City to unload the remaining copies. There are a few out there so snap them up while you can. This gig features guitarist Loren Mazzacane Connors playing "Trouble in Mind" twice with a couple of wondrously creative "Preludes" in between, creating a suite of the entire work. So stark is the original, and so drawn out its phrasing, we are tempted not to hear it as that nugget of American folk song, but as a new one offered in the sprit of dislocation, disappearance, and the erasure of the America that song represented. Connors' "Preludes," with their distant tones and slight dissonances, attest to this as well. They carry within them the root of "Trouble in Mind," but also of Neil Young's "Cortez the Killer." They cross boundaries between blues, folk, classical, and jazz musics, slow as a turtle, and as careful as a preacher with a new bible. In fact, the music here is the word, stretched to the breaking point where it bleeds into only sound and resonance. When Connors reenters "Trouble in Mind," he plays as if from another world; his key change is evident as a different sense of purpose. The tune is now played as a reverie, for something erased and barely remembered for what it was. This is the deep blues Robert Palmer wrote of, a sense of "how did I get here and not remember where I cam from or even what I was?" And as if on cue, the second "Prelude" prepares us for an entry into the world of those very same blues, prepared from ether only to return there. The absorption of atmosphere and texture inherent in every phrase and fragmented line suggests a melody that never quite comes. "Wish Train" becomes the ghost that rode in on the wind of Mazzacane Connor's guitar. It has the tenderness of a lullaby and the vastness of eternal space floating about its open tuning like a star. It calls back and forth across musical history for an answer but all it gets is an echo. But in that echo is all the music you could ever want to hear. Both "Child's Blues" and "Fallen Son" are the end pieces of generational changes in music, in sound, in culture. Connors, like John Cage and Mark Rothko before him, sees and hears the value in not ordering sounds along a particular path even if that path has been drawn out in advance. Hence, where the 12 bars are supposed to be placed are sparse notes and large spaces where notes, harmony, and melody once existed. Touch, sense, and aural interrogation are the only bones left on the skeleton of Connor's blues, and even these are ghostly, spectral in their languid elegance and deep sense of sadness and remembrance. And as if this weren't opaque enough, Suzanne Langille wraps her voice around Lonnie Johnson's "Blue Ghost Blues" with such an ethereal sensuality it's difficult to hold the lyric because you are too busy listening to the way the words drip from her mouth like honey. She's singing of being haunted by the presence of the disappeared, but it sounds like she wants to possess the bodiless essence of that personage within hers, no matter how horrifying. We can only wonder if hearing this originally, Margo Timmins of Cowboy Junkies decided she wanted to be a singer and front a rock & roll band dedicated to playing the blues her brother had so obviously appropriated from Connors. But it's an old story, and the majesty and grace with which Langille and Connors play out this old, obscure blues points to another kind of disappearance, of this music from the culture at large. Their emphasis is not on how dead the music is at this juncture, but how absent we are from our emotional and cultural heritage. This is a wondrous album of profound implications.

		1		Trouble in Mind	Connors	4:16
		2		Prelude 1	Connors	2:24
		3		Trouble in Mind 2	Connors	1:57
		4		Prelude 2	Connors	2:14
		5		Wight Train	Connors	3:25
		6		Child's Blues	Connors	3:58
		7		Fallen Son	Connors	3:17
		8		Blue Ghost Blues	Johnson	6:12

¡Aquí!