IMMOLATION, NY 1988
9 years ago
Tuesday, August 11
Monday, August 10
Friday, August 7
Monday, July 27
The World May Never Know
Dwnld: Tapes Of Wrath 001: C-Drip & Presstones - The World May Never Know
Side A: A lone sequence bends truth in a world of diversions. Airplanes, rains, the whistling wind, serve as backdrop. Fat beneath the temple. Canned beats. Duet for bell tower and mariachi sequence. Sap drips on the grove, stones fall from the branches, twigs snap like vertebrae. The forest is steamrolled. A mystery leaves us up in the air.........
Side B: Synchronization. Electronic heartbeats interlock as if by natural law.
How do we make a form fluid?
Is a conflict a collaboration?
Is all life a song?
The world may never know.
Saturday, July 25
Asphyx - Last One on Earth
Gigantic bludgeoning death metal with doom tendencies. Dutch guys with really nice fuzzzzzzy and bassssssssssssssy amps going chugga-chugga-chugga and then playing some perfect sabbath riffs. no technical bits in this just fast chugging or thick slow sludge. Vocals are crazed death metal barks.
put on headphones and hurt your ears or put this on the ol family stereo and bother your parents or roommates. Get stoned and stomp around, do what you want.
http://www.mediafire.com/?yzmzyywyyzy
Thursday, July 23
Peter Brotzmann Sextet/Quartet - Nipples
So I havent been keeping up with mr. Mendell. let me get something to eat. okay.
^downloaddddddddddddddddddd^^^^^
This is a prime example from the first wave of European free improvisers, essentially the european response to free jazz going on in america. These players had even fewer preconceptions of what "jazz" is supposed to be and used their instruments as tools of raw sonic expression. Brotzmann was an early leader of this movement with his LP Machine Gun which was unprecedentedly noisey and abrasive, essentially a statement of the extreme unrest and political turmoil of the late sixties.
This release from a year after machine gun (1969) contains many of the major players of the early european scene: Peter Brotzmann (Tenor Sax), Evan Parker (Tenor Sax), Derek Bailey (guitar), Fred Van Hove (piano), Buschi Niebergall (bass), and Han Bennink (drums).
The title track on this features that full sextet. this may be less aggressive than Machine Gun but is probably just as Frantic. Derek Bailey's scrapes, plicks, plonks, and dings mesh perfectly with with Han Benninks percussion frenzy. The two sax players are on full on animal communication with eachother the whole time. this is good stuff.
The second cut on the album "Tell A Green Man" is a quartet containing Brotzmann, Bennink, Van Hove, and Niebergal.
begins with round thuds of upright bass and shards of Han Bennink's percussion. Niebergall begins playing bass with a bow which sort of foreshadows Brotzmann's raw and harmonically full saxophone timbre. Brotzmann and Van Hove enter at around 5 minutes in playing angular phrases that in a strange way seem to sync up with eachother as though they're interpreting the same line or something. Brotzmann eventually goes into high pitched staccato zoo-animal mode, Van Hove plays a chord progression of sorts, and you cant tell what is bass and what is bass drum. I WON"T RUIN THE REST FOR YOU BUT ITS REAL GOOD
the last sounds on the album are an archetypical brotzmann lyrical squeal and a nice piano ding.
shits the best.
I should add that Brotzmann is one of my favorite musicians and completely changed with way i heard and thought about music when i discovered him at an impressionable age.
^downloaddddddddddddddddddd^^^^^This is a prime example from the first wave of European free improvisers, essentially the european response to free jazz going on in america. These players had even fewer preconceptions of what "jazz" is supposed to be and used their instruments as tools of raw sonic expression. Brotzmann was an early leader of this movement with his LP Machine Gun which was unprecedentedly noisey and abrasive, essentially a statement of the extreme unrest and political turmoil of the late sixties.
This release from a year after machine gun (1969) contains many of the major players of the early european scene: Peter Brotzmann (Tenor Sax), Evan Parker (Tenor Sax), Derek Bailey (guitar), Fred Van Hove (piano), Buschi Niebergall (bass), and Han Bennink (drums).
The title track on this features that full sextet. this may be less aggressive than Machine Gun but is probably just as Frantic. Derek Bailey's scrapes, plicks, plonks, and dings mesh perfectly with with Han Benninks percussion frenzy. The two sax players are on full on animal communication with eachother the whole time. this is good stuff.
The second cut on the album "Tell A Green Man" is a quartet containing Brotzmann, Bennink, Van Hove, and Niebergal.
begins with round thuds of upright bass and shards of Han Bennink's percussion. Niebergall begins playing bass with a bow which sort of foreshadows Brotzmann's raw and harmonically full saxophone timbre. Brotzmann and Van Hove enter at around 5 minutes in playing angular phrases that in a strange way seem to sync up with eachother as though they're interpreting the same line or something. Brotzmann eventually goes into high pitched staccato zoo-animal mode, Van Hove plays a chord progression of sorts, and you cant tell what is bass and what is bass drum. I WON"T RUIN THE REST FOR YOU BUT ITS REAL GOOD
the last sounds on the album are an archetypical brotzmann lyrical squeal and a nice piano ding.
shits the best.
I should add that Brotzmann is one of my favorite musicians and completely changed with way i heard and thought about music when i discovered him at an impressionable age.
while you're waiting for me to get off my ass and actually write about an album...
Prince - I Would Die 4 U (long version) 30 minute groove sesssssssion
smoke your pot and dance to this or something. do what you want i don't care.
http://www.mediafire.com/?ny1nqdnmmqz
Tuesday, July 21
It's DJ Quik & Kurupt!
Cause three packed rubbers cost three twenty nine
It's always great to hear new fire. It's even better to hear new fire from guys with 20 years of music already under their belts. I feel like the combination of expectation to live up to past greatness and do something new and in touch with what's going on in the now is really the best recipe for an album, but it rarely pulls through. On BlaQKout, it pulls through without a fliff. The veterans representing on BlaQKout are legendary producer/rapper DJ Quik who has worked with 8 Ball & MJG, 2pac, Dre, and Suga Free to name but a few, and Kurupt, an original Dogg Pound member and founder of Death Row. In other words, these guys are two heavy players in the 90s g-funk socal sound and they've continued to keep it alive past its time on the charts.
While G-Funk may not be my first love in rap (see Memphis, TN), I still think it's one of the better regional hip hop movements ever. While these guys' careers were at their height when I was like 7 and didn't know rap existed, the sound is really familiar. I was born and raised in LA and I definitely understand the aesthetic, like backyard cookouts and palm trees and LA weed and gangstas wearing sandals.
"Ooh!" is probably my favorite cut, "ridin around in the west coast", choppy female vocal loop and super blippy Sega synths and the fattest kicks on the record. "Moroccan Blues" starts out with a sample of a street musician from an episode of No Reservations and launches into a balls-out anthem of SoCal style. "9x's Outta 10" prominently features Kurupt's word-juggling highly-percussive flow. "Jupiter's Critic and the Mind of Mars" is just fucking ridiculous and awesome electro funk. There really aren't any bad tracks, but those are the ones that stick out for me.
DJ Quik (center) and Kurupt (right) with some sort of a man (left).
Enjoy.
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