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Listen to c-murder bossalinie torrents

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the killer(s) had listened to the Opry, and waited King, Gary C. Murder in Hollywood: The Secret Life and Mysterious Death of Bonny Lee Bakley. i've had to start using torrents more often as well. is sampled from on the "bossalinie" album from C Murder I'm sure i've heard it else where. hair [A. Thenk you for the music / B. I wonder (departure) / C. I'm a marionette]. Murder rap / Untouchable / Livin' like hustlers / Another execution. FORTABAT TORRENTZ Oct 25, Proposing always assumed as the Pro plan in which he. The connector also can use your. Touch, but it for x or identifying exactly what. Our production-ready knowledge use the profile accounts, addressbooks and get your Cisco tasks while integrating. The following screenshot problems with your.

I put the tape in backwards by mistake at the soundcheck and it sounded so good I did it at the gig. EP In principle, do you think remixing is a good idea! SB No, not particularly, but in some cases yes. My intention was always to create a new piece, merely using existing source material as a sound source, varied and randomised, to construct the piece in hand.

I would have equally liked to properly remix the Pestrepeller source CD, but as you point out this was a impossible technically, and b would be pointless in terms of the original piece's intent and delivery. EP What's your idea of a successful remix! SB A successful remix, to me. A remixer should, I think, offer a fresh set of mixing ears, a perhaps different perspective, but above all respect the work they seek to "Y remix.

For example. Nurse With Wound's Stereolab remixes. Just to reiterate, remixing was definitely not my intention with this piece. What can it do that other. F SB Yes, the VCS3, and its portable non-identical twin the Synthi A, which are both electronically identical if not I visually, presents a useful study in limited resources. The instrument 17 The Sound Projector 6ixth issue is a modular synthesiser and sound processor allowing many different possible treatments and control systems.

More information is available from the company that has manufactured them, since to the present day: ems www. These separate modules, along with signal inputs and outputs, remain unconnected until pins are placed in a patch bay to connect the modules for the particular use in hand. In this way, as with most modulars, there is no pre-defined usage and all the sound manipulating possibilities are freely controlled by the user.

There is a definite beauty in the possible madness contained in this unique instrument. The complexities and eccentricities of this instrument are outside the scope of this short interview, but to give some idea of its range, it is possible with just three connections to make over 16 million different variable routings - mind-boggling, in view of the fact that it allows you to use up to connections - giving infinite possibilities from fairly limited resources.

EP What other interesting electronic equipment do you have! Are you a collector of vintage equipment! SB I'm very fortunate over the years to have been able to accumulate a nice collection of analogue sound generators and modifiers. See list opposite. It is easily possible, with a little ingenuity, to make very cool FX boxes from various children's toys by simple addition of signal input and output jack sockets - easily added, and can often be internally customised to produce unique sounds. Likewise, many cheap keyboards, such as Casio SK I sampling keyboards provide many high-quality usable sounds - I've been using one on records on and off since 1 - for 'pocket-money 1 price.

EP Do you use these devices totally intuitively, or are you interested in methods tike composition, using graphic scores! SB I'm interested in probabilistic and heuristic composition methods, and of course a large dose of intuition and non-tuition! Graphic scores are an integral part of E.

R 's live performances, but only on a fairly simple, improvisational basis. I'm a big fan of the beautiful scores of people like Cornelius Cardew, but am more drawn to the openness and improvisational intention of it as a guide, not in a literal scored 'written in stone' type way. I also am attracted to the idea of found scores, such as circuit boards, map perspectives, mountain range outlines and city skyline silhouettes, but rarely do I work in this way, I think my position is somehow to try and break the divide between modern classical high brow and more rock-based low brow music arenas.

It seems at the moment that there is a growing openness of both high and low-brow areas to each other and any truly modern experimental based soundscapes or 'music' must address both arenas if seeking to be in any way 'utopian' or 'communal'. All the rest of them were funded by Bell Labs or by some big University.

The way he operated his studio was as an experimental studio, which he would make available to people that he felt would use it in an interesting way. A couple of years back, he gave me all the tapes for all of this stuff. Would you say this is currently a neglected area of the history of electronic music and musique concrete! Such recordings as were issued are now rare and expensive. Are you in a position to instigate a reissue programme!

Do you know if any of the creators still alive, or active in making music! SB The story of electronic music and music concrete in this country is woefully underexposed. The VCS3 was designed primarily by a bunch of inventors and composers, the main guy of whom, who owned the company, was called Peter Zinovieff. The ground-breaking work done by people like Peter Zinovieff, the man originally behind E. Actually, Space Age Recordings, the label I work with most is issuing a series of recordings made at Zinovieffs incredible music and sound laboratory - Musys.

Zinovieff, an eccentric genius inventor and composer, of royal Russian descent was the man responsible for such inventions as the first portable synth, the first digital music sequencer, the first guitar multi-FX pedal, as well as some of the most interesting and early sequencers, vocoders, video synthesisers. His studio was unique for being the only private studio EP: These are unreleased capes! SB: Well, Chronometer by Harrison Birtwistle was released - but it was deleted very quickly, and it's a really amazing recording.

There was Peter Zinovieffs January Tensions, which was also released as a very limited record run. So a couple of them were released for a very short period of time. So this is coming out - it's been a real labour of love in that it was quite a complex scenario. The guy who ran the studio was quite a mercurial character, and he had no interest in making money, he was just a mad inventor kind of guy! In fact, they were the first people to bring out things like a digital music sequencer, and a portable analogue synth.

Everyone thinks Americans invented everything from the computer on, which of course they didn't. It seems, through my research, that this guy also did a lot of things which have been for years credited solely to Robert Moog or Donald Buchla, things that he was actually doing in parallel.

He was working on analogue synthesisers from 1 , which was quite early on. The Radiophonic Workshop question is more complex. Funnily enough. I have tried to license stuff from the BBC. He had it in his head that he could sell 10, of these things, because of the Dr Who connection. Then he brought it out and the cover Which I think was a big [mistake] It just said The Tomb of The Cybermen, and even that was written on the back card.

It was very obscure. I don't think it sold anything like he expected it to. The story of it is, I tracked down Delia Derbyshire. And she happens to live very close to me, she lives about 19 miles away. I've been working with her lately. She dropped out. She did this thing called White Noise, the first White Noise LP in the late s ', and I think in about she left the BBC in disgust at the way they were treating people there. And she stopped making music, which is sad.

You probably know she was the Dr Who theme woman. She realised the original and best-known Dr Who theme with tape loops and manipulation. She's back on track now, and doing stuff. Unfortunately, the BBC when asked about stuff And then they didn't know about the composers. They didn't have any clue about these people, and it was a bit of a nightmare being there. Which seems a big mistake! Which is from one extreme to the other. The woman in charge of licensing said that she only ever dealt with John Peel sessions, and that was the only thing people ever wanted to license from the BBC.

But I've just found that Delia did these beautiful pieces in and , where they took a whole load of vox-pop stuff, with lots of different people talking about their dreams. And common dreams, like falling, drowning, which seem to occur in people's dreams a lot. And she edited it all up into a collage - well it's not a collage, the voices don't overlap, but it's a sort of monophonic collage of people talking about their dreams.

And then she's underlaid it with all this electronic stuff, and these are 45 minute pieces that were done for the BBC. It seems that, as it's only one piece, they won't be able to charge so much! BP Well I really support you for doing this, I think that's excellent work. It takes somebody who's keen enough to do it - you have to be a real fan. SB Delia is one of the unsung heroines of British electronics and was very instrumental in the cross-polination going on in the UK and European scene - for example it was Delia who introduced both Stockhausen and Pink Floyd amongst many others to the wonders of E M S equipment.

The other person I've been trying to do some releases of is Daphne Oram, another significant pioneer of electronic music. She was the woman who set up the Radiophonic Workshop but then went off to set up her own synthesising system, called Oramics. Her Oramics Machine was a uniquely British invention to control sound parameters in a kind of synthesis. You drew patterns and waveforms and what have you, on reels of film.

And then as the waveform was pulled over a light-sensitive reader, it would read the waveforms and synthesise the sound. Quite a lot is known about her, she's been publicised and influenced a lot of people on the English electronic music scene, but none of her music's available.

So I'm trying to do that as well. But she's on her deathbed at the moment very ill after a stroke and seems to be close to her end. So it's not easy trying to work stuff out. It's like so many things at the BBC, the civil service mentality seems to prevail.

SB Oh yes, and it s all changed again since. It ran down and down over the years and they ran the Radiophonic Workshop down to nothing then closed it. As you say - particularly the BBC and what they claim to be, they should instigate their own series of archive releases.

But unfortunately they don't. Delia is still in touch with a lot of the Radiophonic Workshop people, most of them are still alive. There's been a couple of people over the last few years who have supposedly been archiving all the stuff and finding out what they kept, and what they threw away.

And they threw a lot of stuff away, apparently, in the early 1 s. Brian Hodgson, who was head of the Workshop at the time, was given the job of deciding. Like the EMS stuff, it would have been fairly easy to wham out a CD - there's loads of beautiful photos and stuff. So I feel that the whole history of it is woefully undertold and is very biased against what happened in this country. It's just not been documented well, BP Are you thinking of doing a book!

When he realised how much info and how interesting the stories were behind the whole thing he said 'Let's do a book'. My other problem is I'm not really a writer. I have done stuff for Record Collector and other people before that, [but] it's hard work for me. Primarily it's not what I do. I can do it but I have to think long and hard about it, and rehash it. So with the EMS thing I should just put the music out, but I wanted to really make the booklets with them just full of information and pictures and scores and stuff.

And that's been the slowing-down part of it really. This release, besides inserting a bunch of confusing diagrams, includes some dense conceptual texts in the CD booklet printed on bible paper. One of LaBelle's inspirations was the French philosopher Guy Debord, who proposed that we all make 'Psychic Maps' of the cities we live in. The underpinning idea is, I think, that most people are alienated from modern life, and chiefly through living in cities - which are little more than huge soulless machines intent on sapping the very marrow from our lives.

A bande desinee by Jacques Carali pictured this very nicely, in the s. A disenfranchised character in his tale Abiiiiiime sees a vision of urban life in a fantasy daydream. A sinister machine dominates the cityscape, parasitically feeding off the inhabitants through a network of tentacles. That fucking bitch of a machine is draining our spirit! So, to undermine and resist this dehumanising process, Debord proposed walking around the city on a 'derive' - aimless imaginative drifting, not allowing oneself to be guided by any of the physical or sociological tramlines put in place by the establishment roads, pavements, tunnels, bus routes, walkways, signs or by any of our usual purposes shopping, business, finance, work.

Have a good listen to this CD and try and get past the enigmatic, almost perplexing surface - it may appear at first to tie little more than an anonymous grinding. But surrender to the flow and you can begin to discern the sub-atomic particles of these noises.

You're seeing the very molecular structure of modern life, revealed in sound. And I'm most encouraged to find, from this title, that LaBelle's maps have a compassionate dimension; he's not here to wallow in the soullessness of the shopping mall or tower block, rather his project is to restore humanity to these zones. In his unplanned, spontaneous rambles about the diseased alienated urban environments that might be found around Los Angeles, he discovers, I assume, some extremely unlikely sound events waiting to happen.

When I say unlikely, one thinks of the old Zen riddle of a tree falling in the forest and whether it makes a sound. And not simply the interesting ones like trains going by at night - that's positively romantic! I mean something dull, like a tin can in a garbage heap falling over, the spontaneous combustion of a wooden palette in a warehouse yard, a consignment of aluminium pipes shifting slightly in their packing cases at 2 am in a disused lot.

Leonard Cohen sang this song, since taken to the bosoms of a million acoustic guitarists, about Suzanne who would 'show you where to look among the garbage and the flowers'. Showing us where to listen among the garbage there are no flowers left is pretty much what LaBelle is about I think. It might as well be fragments from an alien planet soundtrack, but it isn't - it's the sound of the modern world. No titles on these LPs with their uniform sleeves and stickers, but this one is credited to id battery and bears catalogue number FYPL 35 97, which translates as Father Yod LP 35, [released in] A very organic recording, a very green recording, the ecology and sensitivity to the changing of the seasons is written all over it.

Also a palpable sense of, erm, very good indigenous American craftsmanship, like perhaps a piece of Shaker furniture. Goldstein composed and recorded this piece in the early s. It's a combination of composed materials though the scores require the players to interpret and improvise quite freely with a large amount of tape collage work.

The tapework appears to have evolved first, out of Goldstein working with the sounds of nature much like Chris Watson and Luc Ferrari and others, but Goldstein took it specifically from the environs of his house in Vermont. The idyllic rural life was the inspiration - the very sounds drifting in through his window, or discovered on his walks in the countryside, becoming the fabric of the work.

He devoted ten years to this project! The length of these creative processes means the work has fermented well, like good wine sealed in oak casks. You can gain further insights by reading his journal extracts reproduced in the booklet - how he was thinking of 'a new sound orchestration, a new harmony of pitch and non-pitch elements'.

His graphic scores indicate the struggle he's had to realise this strange new vision - interestingly the score for 'Spring' resembles a river, while the one for 'Winter' looks like a map of open fields. He clearly became attuned to the rhythms of nature and the specifics of his environment and this organic, ecological quality shines throughout the whole record.

There's a tremendous 21 The Sound Projector 6ixth issue amount of space and freedom in every piece. Along with the very eccentric and wonderful playing by the team of musicians, all played on creaky acoustic instruments, the very air and space and sunlight of his field recordings opens up the field of play to an unfathomable degree. Of course, the live musicians are interacting with the recordings in exciting and subtle ways.

Just put it on and you'll create an instant atmosphere in your room; thus making real the record label's mission statement 'to extend the experience of these engaging and pioneering works beyond the performance space into the home. The whole suite is good though, and the long track 'Winter' summoning up visions of the long and hard Vermont winter has very harrowing and dissonant violin textures. A good one from this American composer, previously unknown to me, but he's been a veteran of New Music and experimental dance theatre in his home country since the early 1 s, as composer, violinist and presenter.

This record was originally issued, somewhat abbreviated, on the Folkways label in ; this CD offers the whole hour-long suite, plus a ten-minute bonus track 'Soundings for Solo Violin', a more recent cut from 1 There are earlier CDs which apparently put nature and field recordings to the fore, but still include whispered poetry snippets. Guess they decided to stop whispering and start shouting Nam June Paik, the video maker and big guy in the Fluxus Mafia, has taken Vitiello under his wing, and I think encouragement from John Zorn was also forthcoming.

Here, he's extending his interest in creating film soundtracks, and playing live music with his guitar and sampler, to producing an entire CD of very evocative electronic instrumental music. She's an electronic composer veteran, transplanted from the West Coast, where she now lives inside a mountain and eats topazes for breakfast not really.

She meditates and plays music with her very spiritual Deep Listening Band, and continues to explore the possibilities of the amplified accordion. That's the instrument she plays here and it works a treat, particularly on the incandescent title track which, at times, bears a superficial resemblance to the recorded music of Harry Partch. Another fatuous observation for you Vitiello's best move is how he combines his tape samples with real-time playing; the choice of loops and samples is inspired, as they always add a slightly grimy patina of otherness to the whole performance, which tinctures the inflections of the other players, try as they may to ignore it.

Hahn Rowe adds some very romantic melodic violin sweeps, while Rebecca Moore contributes Theremin, voice and violin. Paul Geluso plays bass. Vitiello's other wise move is to keep each track relatively short, rather than swooning into ecstasies by preserving every precious moment of bliss - it certainly left me wanting more, and it's good to end each piece perplexingly hanging in the air, like a floating question mark.

In all this record might be a bit tentative, a bit precious; and never does it run wild or startle the listener - but maybe it isn't intended to. There remains a good deal of high quality listening pleasure to be gained here.

Good cover art too; a photograph of an art installation? Plaster casts of memento mori and graveyard angels and cherubim, with a superimposed eerie human face bearing its teeth. About as much fun as drinking a glass full of muddy tapwater, and it leaves you with a ghastly sense of claustrophobia which you can only shake off by booking a three-month stay in the Sahara. I wonder if these guys have any sort of a following anywhere; perhaps some diehard Goth-mode axe-murder fans would enjoy it.

The two French numbskulls responsible for this atrocity are Eric and Marc Hurtado, who have been releasing cassettes since the early 1 s, and have apparently made music with fellow masters of the self-important pompous outpouring, namely Michael Gira, Alan Vega, Lydia Lunch and good old Gabi Delgado from DAF.

One from Christoph Heeman's fairly reliable label of modern instrumental musics. This one is not quite contemporary having first been issued as an LP in 1 on the Shandar label. This one is a solo record by Swede Grippe produced by 'consecutive overdubbing'.

He recorded a series of mostly acoustic instruments and developed chain-of-thought ideas in sound, each piece slowly growing into a mesmerising and compelling effigy of translucence. The echo effect creates similar sensations to the best work of Terry Riley, while the overall technique reflects Grippe's background as a student of Luc Ferrari. The work is inspired by the sand paintings of Viswanadhan, who I take to be a modern artist working in that medium; the cover probably shows him in action, smoothing over a huge red circle with his special mortar-board glove.

Sand art is presumably ancient still practised to a certain extent by Australian aborigines. Native American Navajos, and Tibetan monks; and you can hear Grippe's ambitions to forge a palpable link with their ancientness, through his music. Other parallels might be found; the simplicity of the actions in sand painting, and its presumably limited colour palette, are emulated by the simplicity of the music. As is the nature of the medium itself; you get the feeling this music, by its very aetheriality, is in danger of being swept away by the first sandstorm that whips up its wind of cruel indifference.

Actually this is the one I'd heard on the radio that got me interested in the first place. It's another dance related work, commissioned for a Japanese dancer, since extended to CD length. Actually it does manage, in places, to sustain a fairly eerie mood and smuggle in that elusive feel of exoticism - possibly through a treated ethnic drum sound, and bamboo flutes vying with electric pianos and muted trumpets.

Carl Stone's one strength is his very subtle shading effects - listen attentively, especially in the early passages, for pastel nuances of light and tone, minute constantly-shifting changes in the background. Stone is capable of constructing a fairly credible sound world with fully realised backdrops; while in the foreground, sad to say, not a whole lot is going on, although he manages to keep looping a series of non-matched sounds and rhythms to generate some elaborately-patterned chaos.

Some of his constantly-repeated sounds may grow a tad wearisome and annoying they do for me at any rate , but it's because they seem cloying, sentimental, and appealing. This is I think only another sign of the composer's over-eagerness to please. There's a bit of a paradox in there somewhere.

What a redoubtable and single One might attempt here. Threading a logic between wall and wall. Ceiling and floor, more accurate by far Than the cob-spider's. Breathtakingly, achingly beautiful music for the most part generated by wires, piano wires strung up inside unusual performance arenas and spaces and plucked by Terry Fox, a performance artist - the importance of whose work is only beginning to surface above the cognisance of a small elite. Fox's installations and art-actions are perplexing, remote, inaccessible.

Fox strung two 1 feet long wires NB - how can you get piano wires that long? On the other hand, you probably don't believe in God, so forget it. Two longer pieces closing the CD result from a slightly less transient installation in the attic of the Kunstlerhaus Bethanien in Berlin. An attic space is no less resonant than a church to the human soul, well known as a repository of memories and sad souvenirs; Fox must have found it a therapeutic ritual, entering such a space to beat or bow out a series of explorations into his inner mental-mush, utilising these wires as a novel aid to psycho-therapy..

You've only to look at the photo of his enlightened face to gauge the success of these sessions. The full significance of this is probably kept quiet in the world of psychoanalysis, as it might put 1 00 followers of Sigmund Freud out of a day job. It gets even more intense. Had Moondog happened to pass by, an unforgettable duet may well have resulted. Fox gets his sounds by bashing the darn thing with a panoply of grotesque utensils, joined in that absurd pass-time by two other ninnyhammers he managed to persuade to join him one sunny afternoon for a live improvised session.

What a striking image that rowboat presents; if there's a more apposite metaphor for the futility and loneliness of existence, I've yet to find one. As you may have gathered, I like this music immensely. Terry Fox is an American performance artist and has a string of impressive credentials in the field of the visual arts, and his interest appears to lie primarily in weaving his sculptural webs in odd corners of the world, like some metallic spider. Whatever sound-documents may result from this activity have been issued in minuscule editions by artists' magazines or fine art editions, in and 1 , then fairly regularly from 1 onwards.

It would be nice to think he has no interest in music at all; his choice of sound sources is taken from his studies of John Tyndall, the 19th century scientist. Apparently this esoteric pursuit has led him to use not only the wires, but also Bunsen burners, for his work.

Another artist who has used wires is Alvin Lucier, but that's a pretty fatuous observation on my part. I'm just grateful for the chance to hear something so deeply moving, and in a way a testimony to some heroic struggle against the ways in which the modern world is ordered; a bit like Christo, only Terry Fox wraps the world with sounds, not with polythene.

All praise to anyone who helped release this CD, a co-edition with a German art gallery to coincide with an installation exhibition. Missy Elliot, and their cast of associates. New Orleans is a place sometimes erroneously anthropomorphised into a chicken -sacrificing drag queen, swapping gumbo recipes with Swamp Thing in fluent French at the Mardi Gras, whilst batting away mosquitoes with an accordion.

What mugs we are. From New Orleans come Juvenile, B. This was a war waged largely with turntables and microphones, but occasionally matters escalated into exactly the kind of tragedy that resulted in the deaths of 2Pac Shakur and Notorious B. The loss of two fine young rappers, neither of whom could be described as peripheral to the whole scene, caused shock waves chat are still felt today.

There's been a whole lot of sobering up going on, and thankfully the East-West divide is not so great or fraught with tension as was once the case. Whilst all eyes were focused on the big two, few noticed that a cliched redneck prophesy was coming true.

Southern hip-hop, the proverbial quiet one at the back, has grown up to be the one that hits the home runs and leaves the others on the starting block wondering what happened. In No Limit Records was a shop specialising in hip-hop and the like, set up in Richmond, California by owner, Percy Miller, a young black man brought up in the 3rd Ward Calliope Projects of uptown New Orleans, which Silkk The Shocker describes as 'a small place where death occurs a lot'.

At first, promoting his own music, and that of his group The Real Untouchables, was an uphill struggle. No-one wanted him. They said he sounded like some country fool. In a distribution deal was struck with L. No Limit have branched out into clothing, sportswear, training shoes, real estate, sports management, stand up comedy, films, books, gas stations, fast food restaurants, and even brace yourselves toys.

In addition, P now plays professional basketball for The Fort Wayne Fury in the CBA league, which isn't exactly the big one, but neither is it small change. All this and he's not yet I don't know if any attempts to put No Limit soldiers into space are planned, but I wouldn't be surprised if P has a whole crew of homeboy scientists building rockets and lunar landers even as I write.

Rap has often been criticised for its rampant materialism, and as one example there's little evidence to suggest that No Limit as a label holds with anything that could be mistaken for a Buddhist approach to worldly riches. Mia X's claim to wear 'more ice than an igloo' kind of tells you where they're coming from, as if this wasn't glaringly apparent from the covers. Under yer man's name picked out in golden superhero letters, encrusted as always with diamonds, stands the ghetto millionaire himself, cigar in hand, dressed so sharply in best Mafiosa pinstripes as to make Bryan Ferry look like a piss-stained greaser.

In the background there's the pristine collector's car with door open spilling a mountain of rubies, emeralds and sapphires out onto the gravel drive of the mansion. Of course its materialistic. But it's no different from the Mod thing of the s where kids from impoverished homes would turn up to work dressed smarter than the boss, riding a ton of gleaming chrome with a scooter hidden somewhere beneath.

Admittedly, with a series of covers featuring ever greater numbers of iimousines, helicopters and mansions. No Limit take the aesthetic a bit further, until it finds its greatest expression in the diamond-studded tank which, piloted by mobsters, forms the No Limit logo, threatening to crush the opposition beneath caterpillar tracks of solid 24 carat.

Some may find all this a little pompous, but it always seems to be folk who've grown up in a safe and comfortable environment, who can afford the luxury of pointless moral superiority. Master P and his younger brothers C-Murder and Silkk The Shocker, grew up in a place where sushi restaurants and vegetarian wholefood collectives were probably not so commonplace as crack dens or shootings, and indeed it is the place where Kevin, the fourth Miller brother, lost his life.

So the opportunity to acquire a bit of wonga and get the hell out of there may not have presented itself as much of a quandary. Most of the world's problems seem to result from one half prescribing what they think is best for the other half. No Limit's roster comprises artists from in and around the New Orleans area.

Mia X was discovered by P in He met her working behind the counter of a record shop in downtown New Orleans. Mia, C-Murder, and Snoop are reviewed in detail elsewhere, so for the moment I'll focus more closely on the others. I'm tryin' to be myself, and if y'all like tall, skinny, thuggish niggas, whatever, then I'm cool.

I'm in. But if not, then I'm still gonna rely on my rappin'. His nom de rap was changed from just plain Silk after it turned out that this was already taken, and had The Shocker epitaph added by the public misconception that the first album's title was actually part of his name.

Mystikal was the first New Orleans MC to achieve wider recognition outside his home state of Louisiana, which is not surprising given his bizarre talent, beside which even masters of the apeshit-crazy-bonkers school of mic technique like Busta Rhymes sound positively sedate.

His lyrics are intelligible, but not always on first listen. With his fluent New Orleans intonation and unorthodox sense of volume, it's not so much that he raps as explodes in time to the music. I am never less than startled when I'm listening to someone's album, getting into the lyrical flow of it all, and Mystikal suddenly makes a guest appearance in the same way that Bs made a guest appearance in Vietnam.

Each time he does his thing, it's hard not to visualise the complicated system of gates and cages originally designed for the velociraptors of Jurassic Park , now adapted in the service of getting Mystikal into the studio without loss of human life or half of the surrounding land being vapourised in a scatterburst of armour-piercing lyrics. He drops rhymes onto tape like Enola Gay dropped bombs on Japan. All of which may leave the reader wondering what it actually sounds like.

No Limit are often described as purveyors of languid shuffling beats, and certainly they are no strangers to the wah-wah guitar, slow squelchy Roland style bassline, or brushed snare drum. Central to No Limit are Craig B. This inventive crew are responsible for much, although not all, of the No Limit sound. If this is the case, I've yet to hear the artist who ended up with their duff numbers. Aside from the Southern fried gumbo stuff mentioned above, they've been to some pretty unusual places in their time during the pursuit of travelling beyond hip-hop's final frontier.

The fact that this happens most notably on Mia X albums is also a good indication of how each piece is tailored to suit the individual artist. Mia X's fine albums being a subject I find it hard to tear myself away from, her earlier Good Girl Gone Bad is equally notable for its dense atmosphere. Although no doubt done in a recording studio, it's so intense as to suggest the whole album took place on an urban street corner under a baking midday sun, about three minutes before a full-scale riot kicks off.

An underlying flirtation with military imagery for one, manifested in the camouflage fixation, dog tags, and frequent references to Colonel Master P and his No Limit soldiers. Perhaps in Mystikal's case this stems from his participation in Operation Desert Storm, and it's a little worrying to consider what he'd be like on a battlefield, given that he doesn't exactly take prisoners in the recording studio.

Beyond the surface appearance however, there is a more disturbing common ground: the death toll that is a terrible inevitability of living in young black America. As was mentioned earlier, the three Miller brothers lost Kevin, the fourth of their number, to the 3rd Ward Projects. Similarly Mia X and Mystikal's albums are haunted by the deaths of loved ones, and every year the lists of RIPs that appear among the sleeve notes of No Limit releases seem to have a few extra names added. This is probably sufficient grounds for paroxysms of smug self-congratulation amongst the 'gangsta rap breeds violence' crusaders, and this in itself illustrates what dangerous imbeciles these people are.

In recent years there's been a strong trend towards blaming acts of violence on something heard on a record, whether by judas Priest, N. The whole idea is fundamentally absurd. Perhaps it's true that few people have gone on a killing spree after listening to John Denver, but then someone with a grudge and the will to carry it out isn't likely to do so just because of a record.

Charles Manson loved The Beatles and The Beach Boys, but only an idiot would suggest such music inspired the murders he was either directly or indirectly responsible for. True enough, Manson read bizarre conspiracies into The White Album , which are alleged to have prompted what ensued.

Music can't be used as a scapegoat. Gangsta rap talks about the world it sees, and is a way of escaping the ghetto before your head gets blown off. Neither is it good enough to claim that hip-hop glorifies violence. With both her best friend and the father of her children dead from shootings, is it surprising that the subject crops up in Mia X's lyrics? Is it really likely that she raps about the gangsta lifestyle or contemplating murder because she thinks drive-by shootings are just too much fun?

When C-Murder talks us through some act of random violence and the subsequent adrenalin rush, too many of us take it on face value. Sure he's been there, it comes with the territory, which isn't a place you can easily run away from if that's where your roots are buried.

If you live in gangland then you have the choice of living by those rules, or probably not living very long. To say that gangsta rap encourages violence is to make the tedious and disgusting assumption that rappers, being black, are not intelligent enough to discuss anything on any but the most rudimentary level. When Freddie Mercury sang Mama, I just killed a man', was there a police enquiry? Gangsta rap, like all good literate dialogue, covers its subject on many levels, with characters going through different situations irrespective of the author's take on the matter.

By placing the listener in the centre of the story and asking 'how d'ya like them apples? Songs by Yes, Caravan and Gong have no direct equivalent within hip-hop. As Silkk The Shocker says: I know people gonna feel this music 'cuz they just like me. Or if you ain't seen as much of it, you know it exist.

And that's what you gotta realise when you makin' music - we all alike'. For me, this explains admirably why No Limit records contain more than just funky tunes. In my secret identity of Joe Lunchpail, the overworked and underpaid blue collar schmoe, although I've never even seen a gun, I know too well what it's like to desperately NEED to fuck someone's shit up in order to stop them continually doing the same to yours.

Several years ago a colleague, having been pushed too far by an unsympathetic management, attacked the boss with a broom handle. He's our mate! Robbie - he's our mate! He smacks guv'nors! We all know what it's like to be forcibly introduced to realities far more unpleasant than not getting a good enough seat at the opera.

This particular cast of quite a few have found a way of dealing with ghetto living, whether it be as lyrical educators telling the stories that desperately need to be told, or as the generation that has shown there is a way to escape from a lifestyle that will kill you sooner rather than later. Dick; Porsha; Prime Suspects; Q. No Limit website Note: the curious are best advised to visit their nearest specialist hip-hop retailer if seeking No Limit releases, as generally they will only charge normal CD prices.

Deep inside the book, a fuller photograph also depicts Ashley, insouciant and sullen with cigarette in mouth and Behrman as a lab technician. At the age of 1 5 I discovered Nyman's book in the library where I worked as a shelver. More so than Cage, the Sonic Arts Union appealed because I they were a group - and I was into groups; 2 they used electronics most of the time like the tone generators used by Egg and Hawkwind?

I wondered ; 3 none of my friends - even those who had discovered The Faust Tapes with me - would have heard anything like them. Common aims there were, it seems, in their approach: compositions as experiments in acoustic physics and through those experiments the transformation of sounds both natural and electronic through electronic processes. There was a further rewriting of the book on what comprised musical composition and what comprised a musical score.

In an age where the synthesiser was a room-sized monster with a price tag to match, home-made synths were cheaper and portable; essential for a group that needed to go travel compactly and continuously there to get its music heard founded in , the Union toured extensively in North America and Europe until, it seems, as late as The home-made also contained within it what the commercially made Moog didn't: uncertainty, along with modularised and randomised methods of construction and deployment.

Material themes and appurtenances Being primarily the natural resonant characteristics of musical instruments pianos, snare drums and environments typically, rooms along with a fascination with feedback. Finally, the Union soup was thickened by the essential flour of electronic transformation: of natural and electronic sounds. Of them all, it is Alvin Lucier who has pursued these themes in his music most single-mindedly up to the present day. Recent works such as Wind Shadows 1 generate interference fringes and beating patterns from the interplay of microtonal scales played on a trombone and the unchanging frequency of a sine wave generator.

Music on a Long Thin Wire dispenses with musicians altogether: the Lovely Music recording offers four twenty-minute excerpts from his oscillating wire installation. Lucier's classic work with the Union must be I am Sitting in a Boom. This also transforms the voice, this time through a record-playback system that imprints the resonant frequencies of the room in which the tape is played and recorded onto Lucier's voice. Gordon Mumma's work with the Sonic Arts Union was similarly interested in resonance and transformation.

Whilst Lucier's hesitancy with electronic construction impelled him to seek out simple systems and the minimum amount of equipment Nicolas Collins has argued that Lucier's technical limitations resulted in very austere, but elegant solutions to his problems and draws comparisons with the minimalist art activity of the time , Mumma was the Union's electronics expert, building his own synthesisers from surplus store equipment and catalogue components - the precursor surely of much of the current interest in low-grade electronics amongst both improvisers and the electronica crowd whoever they are.

The resonant circuits of the console then attempt to complement those frequencies. Later works also use cybersonics; in the case of Mesa the characteristically rich harmonies and rhythmic drive of a bandoneon are, um, squeezed out through the circuitry to create large, discreet slabs of noise, surrounded by a desert of quiescence.

David Behrman acknowledges that everything he learnt about electronics he learnt from Mumma, specifically from a series of letters Mumma wrote to him in , the first letter containing a circuit diagram for a ring modulator Behrman was off. The piece brings together two of dominant Union interests: resonance and feedback. Microphones are placed on the strings of a grand piano. The gain is turned up until the system feeds back and excites the piano strings.

More recent works by Mumma focus on the interaction between computer-generated tones and instrumentalists. A Theatre of Sound? That cover photo of the Union on Nyman's book wouldn't fill the stadium rock enthusiast with much hope: Lucier standing rather awkwardly gazing into space: Mumma behind him almost absent-mindedly blowing his horn as it were - not a dynamic entrance. Ten years on and Lucier still appears ill at ease in a review of his work by Charles K. Noyes writing in Musics , where he characterises Lucier as 'a very old and tired businessman.

What we do have, however, is the tape collage used by Ashley as a background to the piece. Bob James went on to write the theme to Taxi and pursue a very profitable career in cocktail jazz: Explosions is his finest moment, naturally, the only free jazz he ever released and the only collaborative work the Union undertook with jazz musicians. Mmmm, that's nice. The best thing that ever happened to Bob James.

Elsewhere the trio work out over the electronics of Gordon Mumma and Robert Ashley. Still a fine curio for Union archivists and guaranteed to upset later Bob James fans wherever they are. Even more intimate - and more successful, because of that - is his Private Parts record of 1 Where two dates are given, the first is che date of the original vinyl release.

The second the currently- available CD reissue. I believe that all items are currently available. This is Behrman's 'Runthrough' 1 , an electronic duo improvisation mediated by the other two performers operating photo-sensors that distribute the sound in space. These Records are the place to go for Alga Marghen stuff. NY Email: info lovely.

Alga Marghen, I believe, are also planning a Gordon Mumma release. HIS work has interested me ever since he first sent CDs to the magazine - starting with Prima Materia, released in Without understanding how the records were made, they always fixed my attention and made me drop everything, just to relax and listen. What intrigued me about her maps is this relationship between reality and the imaginary how the two are made up of the other, continually interface and influence the other.

So, a map refers to a space and also abstracts it, imagining it from a certain perspective. I think its an interesting graphic form, or symbolic system which is also about 'organising' this imaginary-real material. Maps of Tenderness, the release on SELEKTION, I think of in this way it engages with the materials of particular spaces and at the same time, through the art of recording, of 'composing', it proposes an organisation, or imaginary relations— it fantasises yet retains an interest in the real.

EP Whac is your background, eg in training or basic grounding in an. Ha ve you always lived in LA! Needless to say, I did miss it - and so we ended up 'chatting electronically', as he calls it. A little background about the fellow before we drop in: he is a curator of art sound events, editor and writer for Errant Bodies, Feed Ink and Coil; into academic theory, writing about 'sound affecting subjectivity'; also performs with Farflung; his id battery project is a duo with Loren Chasse; the work results from walks and investigating the environment; he creates deliberately unrecognisable sounds, a process compounded by the mechanics of recording.

I had the opportunity to live in London in the early 90s which thoroughly changed my attitude towards music, or rather, brought me back into considering it as a practice. This was when a lot of great alternative punk music was happening in Camden Town particularly at The Falcon— maybe you were there? It basically inspired me to get back into drumming.

So when I got back to LA the following year I hooked up with a group of artists and musicians while studying at Cal Arts and started a band called Helianthus. This was quite an experience— sort of an industrial jazz, very free form and intense. I started using contact microphones in relation to drums, which was quite interesting. Then, of course, I started considering the contact microphone in itself, as an instrument to use with other objects and digital effects, etc.

This was quite a radical moment for me. It opened a lot of mental and imaginary doors, which are still in the process of opening. But it was always in relation to art more than music. As an art student I interacted very little with the music department, even though Cal Arts has an incredible history and curriculum.

It just didn't seem like the right context. Art I think in general is much more about ideas, ideas which expand outward and have a relation to the world, social and political concerns at least this is part of its history and discourse whereas music seems to often close in on itself, remain within its own confines and concerns. This of course is a generalisation, but it led me to feel more stimulated by the context of art, or maybe, more at home. Though I feel that the experimental music scene is much more aligned with concerns and interests outside of itself and ideologically engaged.

This I find very promising. EP What is it about the environment that inspires and interests you! Readers will know of a chapter with this exact same heading. Any connection there! She was an aristocrat who wrote novels as well as made drawings.

These drawings often related to narratives and were basically conceived of as imaginary maps, or renderings of alternative worlds. BLB For me, it is above all a social question: how am I able to live in the location that I find myself?

How can I position myself so as to engage with my surroundings in a way which will have interesting and positive effects. It is also political-how can I act, how can I understand the determinants which shape my place in the world and further, how can I contribute to these determinants consciously. Yet this relationship is sensual also, in that as a body, as a physical being I am moved by the perceptual intensities of the world around me.

In essence. I am compelled by my surroundings as they stir and direct me. This is both beautiful and terrifying, in that I am held in this medium of the perceptual. So I think my interest in the environment in context is an interest in understanding how I am held, how I am a part of relationships, and further, to involve myself in this process critically and creatively.

EP Is it primarily the urban and modem environment rather than rural that you're concerned with! I have a mixed desire to both live in an urban environment-to be a part of a greater social context-and to drop out, to give up participating and retreat lose myself in the forest. EP Do you see yourself as pare of any tradition of field recordings - eg Luc Ferrari's Presque Rien, or developments in gallery art, conceptual art, installation si BLB I'd say you pretty much nailed all my interests in one sentence!

Or at least a handful. To stimulate ideas and propose actions, rather than just make a soothing noise! BLB I think the question of 'audience' is a difficult one. This question is something I am interested in considering more directly, something which an artist like Achim Wollscheid is answering in very interesting and provocative ways.

For now, I have to say that often it is about directing one's attention to something overlooked, to bring something from the background to the foreground, and to present an opportunity to 'hear' this background in order to understand the details of one's surroundings. So, in essence, music offers the opportunity to explore this process-it allows access to this opportunity.

EP Who is Achim Wollscheid! What are his interesting and provocative ways! BLB Achim Wollscheid is an artist from Frankfurt who has been working with sound since the early 80s. His early recorded works were released under the name S. Achim is very involved with working directly in relation to context-looking at the specifics of a space, etc and responding to this, either through permanent installations or performative gestures.

One thing about a space which I think does get overlooked is the question of people-the multitude. Digitally remastered and expanded double-CD editions, expanded with bonus discs containing live and demo recordings and B-sides. Javier Colon is best known for winning the first season of The Voice. His music career began much earlier, hooking up with the Derek Trucks Band straight out of college and touring for two years.

Debut album by the duo of Douglas Greed and Mooryc. PersonA is the fourth album from one of your favorite indie-folk bands. Most notably, singer Jade Castrinos left the band in Over time, though, we were emerging, by virtue of hours spent, into a group of musicians who could really play together.

When Jade left, that confirmed our new fate: music first. However, both tracks have set the tone for the album, so fans can start to gather an idea of what to expect. Eskimeaux is the musical project of Gabrielle Smith, a founding member of Brooklyn collective The Epoch. Begun in , it has served as an umbrella for everything from noise experiments to rock combos, while currently existing as a tight four-member bedroom-pop band.

The Family Of Apostolic is a utopian album inspired by global cultures ranging from Pakistani folk songs to Scottish traditional music and Chinese opera. All 13 of the albums Foghat released for Bearsville Records have been freshly remastered and crammed into a clamshell box. Take a day off and relive the magic, stem-to-stern. Origins Vol. Blumm and Nils Frahm present their third full-length collaboration — the most soothing and life-affirming recording the two have produced thusfar; guitars and toys flow next to piano and harmonium in an organic combination, shaping nine improvisational pieces that incorporate classical, jazz, and folk influences, in a vivid portrait of two artists at the peak of their game.

At the age of 28, Awalom Gebremariam arrived in the United States, following a years-long journey from Eritrea. Awalom completed Desdes in , not long before he departed Eritrea. Because Awalom left after the recording he never received any money for cassette and CD sales.

I can see the colors, I can tell the time of day, I can sense the mood, I can see the light changing, the shadows moving, everything in that picture. Gathering information from secondary sources felt too far removed for what I was trying to write about. It makes you puzzle its meaning, ponder on it, burrow nagging ideas into your head.

And it is another stupendous record, of the sort nobody else is making, or probably could make. Through all her changing shapes, Harvey remains one of a kind. These are the first in a series of archival Hennix releases to be issued via Important Records. Their Autumn Tone Records debut, Blossom Talk , is filled with beautiful harmonies that dreamily orbit around the plucking of dueling ukuleles. The original release was compiled from multiple shows in Austin, Texas and other locations; this version is one of those Austin evenings, October 24th, Jane Lee Hooker is a band of five women from New York City who infuse the grit and attitude of their hometown into the blues.

Live In Munich was recorded with an electric band in in front of an appreciate and enthusiastic crowd. The last one. As a founding member and lead singer of The Numbers Band , Robert has been mastering this trade for over 45 years. Jackleg , his first solo venture, is just Kidney recorded alone with an acoustic guitar. Recorded live with just two edits by engineer Tony Maimone at Studio G in Brooklyn, New York, the dark and haunting blues album transports Kidney right into your living room.

The eleven tracks found on Jackleg drips with the same depth as Johnny Cash did on his American Recordings. For fans of Arca and Burial. Vinyl edition due May It makes its long-overdue CD debut here. Iceland-based composer Mikael Lind presents an ambient work of weightless soundscapes and sound manipulation.

On Matters Of The Heart roots musician Eric Lindell continues his long-time collaboration with legendary Texas guitarist, Anson Funderburgh, whose phenomenal lead playing adds even more layers of blues and soul to the album. Greatest Hits! You could almost say that the cover of the new release from the Del McCoury Band tells you everything you need to know: two giants of American music, both known far and wide by their first names, guitars in hand, looking out at the world with a bold gaze and a characteristic expression.

Though it took the process years to come to fruition the result is an album that really transcends the concept of collaboration. So what you hear is the simple and easy unity of these two artists. Singing Saw is a record written simply and realized orchestrally. In it, Kevin Morby faces the reality that true beauty — deep and earned — demands a whole-world balance that includes our darker sides.

It is a record of duality, one that marks another stage of growth for this young, gifted songwriter with a kind face and a complicated mind. New music from some of the top writers of bluegrass and gospel music: Jerry Salley, Paul Williams, Billy Smith and a never-before-recorded song from the late Randall Hylton. The debut from the new jazz supergroup featuring David Murray, Geri Allen and Terri Lyne Carrington is dedicated to Ornette Coleman, who passed just days before the recording.

Their songs would have been welcome presences on early classics by Master, Bolt Thrower and Autopsy and yet, Necrot has a punk rock soul that refuses to die. Combines the ritual aspects of Mz. Features guest vocals by death metal mastermind Nader Sadek, recorded inside the sacred Sneferu pyramid in Cairo. For their first foray into the world of Masada, they are joined by the ever-popular Brazilian percussionist Cyro Baptista to create a fabulous program of space-age bachelor pad music for the 21st century.

Relaxing and unique instrumental music performed by an all-star quintet of musical masters touching upon the exotic language of The Dreamers, Les Baxter, Martin Denny, Bert Kaempfert, Afro-Cuban bop and more. Pure adrenaline. The Californians unleash a fascinatingly meandering beast in shape of Generation Doom boasting thunderous nu-metal grooves that shapeshift into dark industrial fury that flow into hard rock melodies at any moment.

Deluxe adds three bonus tracks. Limited picture disc edition pressed for RSD As insiders know, some of the best blues and jazz is played after hours and behind closed doors. Musicians play around with technique and material.

And, of course, they relax and have fun. This post-bop supergroup, which has honed its rapport on tour in Europe, consists of the trumpeter Jeremy Pelt, the vibraphonist Steve Nelson, the pianist Danny Grissett, the bassist Peter Washington and the drummer Bill Stewart. The band cooks up a swinging brew of mostly original tunes with a decidedly post-hard-bop influence. An epic, hypnotic work for three choirs, three pairs of noise musicians, and church organ.

Latest in a series of back catalogue reissues from The Black Crowes lead guitarist. While available on CD, most will want the color vinyl brown and white, respectively versions. The music is some of his most expressive live recordings, from at the Pori Jazz festival in Finland to in Marseille and Prague. After touring with PRhyme, writing and recording new music, Royce returns to his solo roots with new album, Layers. Backed by a string section that includes world renowned Cellist, Dave Eggar, Amber Rubarth returns for her sophomore Chesky album to follow up her successful, Sessions From The 17th Ward.

Scribbled Folk Symphonies features a combination of original tunes and unique takes on classic songs, such as her rendition of R. The album features a relatively slow, trip-hop-inspired aesthetic, while still retaining parts of the classic Italian deep techno sound Sabatini helped popularize alongside the likes of Donato Dozzy and Giorgio Gigli.

Desert Navigation is a previously unreleased album, recorded From there, we then needed to come up with a balance of songs and jams that people would immediately identify as Santana. I think we achieved something very rare. This music was screaming to come out of us. It was about passion. Satin Jackets deal in an original brand of diva funk and smooth disco.

Panorama Pacifico is their debut album. The song is aggressive with loud vocals, intrusive lyrics, and edgy guitars. This is the first reissue of this wonderful set of acoustic material with a distinctive Celtic flavor, touching on pop, jazz, and more. Plus her sister is Lightning Dust leader Amber Webber. In country music especially, it can get very formulaic. You have to have your verses and a chorus but a lot of these songs were written as plain and simple poetry on the road.

I decided I was going to frame those poems to music in the studio. The music for Hardcore Henry is as frenetic as the action in the movie. New project from Al Jourgenson Ministry. Its contents are the proof as to why Suuns absolutely deserve to be listed next to the names of dark groove adventurers like Stott, Forest Swords, Arca and Haxan Cloak. Polish quartet Trupa Trupa present a work of exquisitely executed tension-and-release rock music sharp as a migraine and twice as psychedelic.

Includes recordings of men in the Madang region of Papua New Guinea blowing sacred flutes to make the cries of spirits, pairs of long bamboo male and female flutes played for ceremonies in the coastal villages near the Ramu river, Ravoi flutes from Bak accompanied by two garamut carved wooden slit gongs , Jarvan flutes from Awar accompanied by a shell rattle, Mo-mo resonating tubes recorded in the Finisterre Range, and more.

The third volume in the Curiosity Shop series, a colorful variety of rare and obscure pop nuggets recorded from Includes a DVD featuring 11 mini-documentaries profiling the musicians and their culture. This is his last recording. Virtuosic guitar and ensemble work, well-crafted songs, and intimate vocals drive this album, rooted deeply in jazz while summoning an array of diverse influences.

The collection of covers from the American songbook is as much a salute to the singers and songwriters of past generations as it is a reminder that our travails in matters of the heart are nothing new. The Solipsist is their debut full-length. The Zenith Passage builds upon this foundation, expanding into themes of nonexistence and a computer-generated fictional reality experienced by all of humanity.

Originally released in on the BirdsNest label, the sole album by boogie stompers Agnes Strange is an obscure hard rock gem begging to be rediscovered. Recently released on CD — now available on vinyl.

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