Saturday, 23 September 2017

SOUNDGARDEN


























"superunknown"
Year:    1994
Country:    US
City:  Seattle
Label:    Universal music
Format:    CD, LP
Tracks:    15
Time:    73 min.
Genre:    rock
Style:            Alternative Rock












"superunknown" is the fourth album by the rock band Soundgarden. It was released on March 8, 1994 through A&M Records (Universal Music). The band began work on the album after touring in support of its previous album, Badmotorfinger (1991). The resulting album captured the creativity and heaviness of the band's earlier releases while displaying a more diverse range of influences of 60's and 70's decade as: Led Zeppelin, Black Sabbath, The Velvet Underground or The Doors, to mention just a few ones.





The album was a critical and commercial success and became the band's breakout album. It peaked at number one on the Billboard 200 and reached high positions on charts worldwide. Five singles were released from the album: The Day I Tried to Live, My Wave, Fell on Black Days and the Grammy Award-winning songs Black Hole Sun and Spoonman, the latter two of which helped Soundgarden reach mainstream popularity. In 1995, the album was nominated for a Grammy for Best Rock Album. The album has been certified five times Platinum in the United States.





The album's recording sessions took place from July 1993 to September 1993 at Bad Animals Studio in Seattle, Washington. The band worked with producer Michael Beinhorn. Regarding the change in producer from previous collaborator Terry Date to Beinhorn, guitarist Kim Thayil said, "We just thought we'd go for a change." The album was mixed by Brendan O'Brien. Soundgarden began work on the album about two months after finishing its stint on the 1992 Lollapalooza tour. The individual band members would work on material on their own and then bring in demos to which the other members of the band would contribute. Frontman Chris Cornell said that the band members allowed each other more freedom than on past records. Thayil observed that even though the band spent as much time writing and arranging as it had on previous albums, it spent a lot more time working on recording the songs. Soundgarden took the approach of recording one song at a time. The drum and bass parts were recorded first for each song, and then Cornell and Thayil would lay down their parts over top.





Cornell said that getting to know Beinhorn contributed to the length of time Soundgarden spent working on the album. The band spent time experimenting with different drum and guitar sounds, as well as utilizing techniques such as layering, resulting in an expansive production sound. Cornell said, "Michael Beinhorn was so into sounds. He was so, almost, anal about it, that it took the piss out of us a lot of the time…By the time you get the sounds that you want to record the song, you're sick and tired of playing it."Soundgarden took a break in the middle of recording to open for Neil Young on a ten-day tour of the United States. The band then brought in Brendan O'Brien to mix the album; O'Brien had come recommended by Pearl Jam guitarist Stone Gossard. Thayil called the mixing process "very painless," and bassist Ben Shepherd said it was "the fastest part of the record".
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Friday, 22 September 2017

BURIAL

























"untrue"
Year:    2007
Country:    UK
City:    City
Label:    Hyperdub
Format:    CD, LP
Tracks:    13
Time:    60 min.
Genre:    electronic
Style:            Dubstept            Ambient









William Emmanuel Bevan, better known by his stage name Burial, is an electronic recording artist from London. His music contains elements of future garage, dubstep, 2-step garage, ambient and jungle music. His eponymous debut album was released in 2006 to critical acclaim. The Wire magazine named it their album of the year, along with achieving fifth place in the Mixmag 2006 Album of the Year list, and eighteenth in the best of the year list of The Observer Music Monthly supplement. Burial's second album, Untrue, was also released to critical acclaim and was the second-highest rated album of 2007, according to the review-collating website, Metacritic. In recent years Burial has released a series of acclaimed long-form EPs.
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Saturday, 16 September 2017

COCK SPARRER



























"Idem"
Year:    1978
Country:    UK
City:    London
Label:    Decca
Format:    CD , LP
Tracks:    10
Time:    30 min.
Genre:    rock
Style:             Oi!








Cock Sparrer is the first album by rock band Cock Sparrer. It was released in 1978 on Decca Records only in Spain. In 1977 Decca released two singles by Cock Sparrer, "Running Riot" b/w "Sister Suzie" and "We Love You" b/w "Chip on my Shoulder", neither of which achieved much success. Although the band recorded an album's worth of material, Decca dropped the band in 1978 and didn't release the album in the UK, but oddly did release it as this self-titled album in Spain, which featured the four songs released on singles and six more. The album was for the first time made available in UK in 1987 entitled "True Grift" by Razor Records. In 2000, the album was released by the austrian label DSS Records, which re-arranged the tracks and called it "Diamonds & Pearls". Then, in 2006, Captain Oi! released it "the decca years", which featured the album with 5 more tracks recorded during the same time. This album is usually described as "Oi! music" but in fact, there are also more music influences as classic rock'n'roll, pub rock or glam rock in the style of early 70's decade bands.
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"shock troops"
Year:    1982
Country:    UK
City:    London
Label:    Razor
Format:    CD , LP
Tracks:    10
Time:    30 min.
Genre:    rock
Style:             Oi!






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"running riot '84"
Year:    1984
Country:    UK
City:    London
 
Label:    Syndicate
Format:    CD, LP
Tracks:    10
Time:    32 min.
Genre:    electronic
Style:           Oi!










"running rio'84" is the third Cock Sparrer album and also their last one of their first era, from their beggining in 1976 until 1984. The album comprise eight new studio songs plus two old songs recorded in live, and became in their most commercial failure probably due their attempt to suggest new wave and synthpop public. The album use in all songs different electronic instruments as: drums, keyboards and modulated voices, perhaps with the goal to sound closer to new wave and to get a bigger public. But the result was in fact the opposite, and Cock Sparrer public and followers didn't accept very well the album. The thing is the band decided to dissolve, still in 1984, and didn't to make music again until ten years later, in 1994. Despite all, it's still a good album, but more melodic and softer than the rest.
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"guilty as charged"
Year:    1994
Country:    UK
City:    London
Label:    Bitzcore
Format:    CD, LP
Tracks:    11
Time:    40 min.
Genre:    rock
Style:            Oi!








Ten years after dissolution and a long hiatus of inactivity, Cock Sparrer decided to reunite again some day of early 90's decade, and to record this brilliant album entitled "guilty as charged" through label "Bitzcore Records". Later there have been several re-issues in also different formats.
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"two monkeys"
Year:    1997
Country:    UK
City:    London
Label:    Bitzcore
Format:    CD, LP
Tracks:   13
Time:    40 min.
Genre:    rock
Style:             Oi!





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"here we stand"
Year:    2007
Country:    UK
City:    London
Label:    Pirates Press
Format:    CD, LP
Tracks:    14
Time:    40 min.
Genre:    rock
Style:            Oi!






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"forever"
Year:  2017
Country:  UK
Label:  Pirates Press
Format:  LP
Tracks:  12
Time:   36 min.
Genre:  rock
Style:         Oi!






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Monday, 11 September 2017

PROPELLERHEADS



























"decksandrumsandrockandroll"
Year:    1998
Country:    UK
City:    London
Label:    [PIAS]
Format:    CD
Tracks:    13
Time:    70 min.
Genre:    electronic
Style:            Breakbeat









Propellerheads were a British big beat musical ensemble, formed in 1995 and made up of electronic producers Will White and Alex Gifford. The term propellerhead is slang for a nerd, and when Gifford and White heard a friend from California use this in a conversation, they thought it would be the perfect name for their band.
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Sunday, 10 September 2017

PETER J WOODS



























"I've told lies before"
Year:    2016
Country:    US
City:    Milwaukee, Wisconsin
Label:    Lurker bias
Format:    cassette
Tracks:    5
Time:    42 min.
Genre:    electronic
Style:            Noise             Spoken words







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"the lawrence tapes"
Year:    2016
Label:    Phage Tapes
Format:    cassette
Tracks:    4
Time:    40 min.
Genre:    electronic
Style:            Noise











Trio of Peter J Woods, David Collins and Chris Burns. BoK is a noise project using a lot of glitchy electronics and what sounds like field recordings of scraping metal. Reminds me of the Due Process LP. Its not exactly harsh but its not ambient either. Lots of jarring tones the fade in and out with electonic humming keeping it all together. Very well composed with a high use or restraint to keep emotions tense during the entirety of the 40 minute cassette. Edition to 100 copies.
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"impure gold part. II"
Year:    2015
Label:    FTAM
Format:    LP
Tracks:    3
Time:    32 min.
Genre:    electronic
Style:            Noise            Piano





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"impure gold part I"
Year:  2014
Label:  FTAM
Format:  LP
Tracks:  3
Time:  30 min.
Genre:  electronic
Style:            Experimental            Noise





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"my head was a sledgehammer"
Year:  2013
Label:  FTAM
Format:  cassette
Tracks:  4
Time:  36 min.
Genre:  acoustic
Style:        Free Jazz





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"big time weepers"
Year:  2011
Label:  FTAM
Format:  CD
Tracks:  2
Time:  40 min.
Genre:  electronic
Style:        Circuit Bent





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"read this. don't read this"
Year:  2009
Country:  US
City:  Milwaukee
Label:  Community college
Format:  cassette
Tracks:  2
Time:  25 min.
Genre:  electronic
Style:        Dark Ambient









Few times we can to listen to Peter J Woods recording music and sounds in the field of dark ambient, death ambient and similar blackened music styles. This cassette here was recorded in 2009, in a ultra-limited edition to 55 copies. The tape comprise two long, slow and deep songs very meditative and calm. This is a good work no doubt.
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"what we've done"
Year:  2008
Label:  Razors and medicine
Format:  cassette
Tracks:  4
Time:  29 min.
Genre:  electronic
Style:        Noise        spoken words





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"afterthought"
Year:    2008
Country:    US
City:    Milwaukee
Label:    FTAM
Format:    CD
Tracks:    3
Time:    30 min.
Genre:    electronic
Style:            Noise             Spoken words





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"femme cheval"
Year:    2008
Label:    Heavy psych.
Format:    cassette
Tracks:    2
Time:    30 min.
Genre:    electronic
Style:            Drone            Noise




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Sunday, 3 September 2017

JUKKA-PEKKA KERVINEN



























"coffee beans"
Year:    2017
Country:    Finland
City:    Helsinki
Label:    Unfoundsound
Format:    digital
Tracks:    4
Time:    25 min.
Genre:    electronic
Style:            Glitch           Ambient








 
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"some utopian force / oxymoron"
Year:    2013
Country:    Finland
Label:    Ilse
Format:    digital
Tracks:    8
Time:    25 min.
Genre:    electronic
Style:            Glitch





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Wednesday, 30 August 2017

HYPE WILLIAMS
























"rainbow
Year:    2017
Country:    UK
City:  London
Label:    Big Dadà
Format:    CD, LP
Tracks:    20 
Time:    25 min.
Genre:    electronic
Style:            Leftfield            Experimental









According to its former members, Hype Williams was never a band. It was more of an art project, of which Dean Blunt and Inga Copeland were given temporary care. But when the pair began to work under their respective names with 2012's Black Is Beautiful, nobody else picked up the baton. And as a series of recent releases have tried to revive the project, Blunt's fingerprints remain all over it. Last year's 10 / 10 could have been offcuts from his recent Babyfather project; January's Guccistreams 2 resembled his rainy solo LPs The Redeemer and Black Metal. These were online-only tidbits—a statement accompanying Rainbow Edition declares them fake. This album is the real deal: the first Hype Williams LP in six years, and with entirely new personnel. But Blunt still seems to be lurking.





Race, a subject increasingly central to Blunt's work, is placed front and centre. (In opener "Madting," a woman berates her male interlocutors for being "Uncle Toms.") Titles reference US R&B (Salt 'N' Pepa's Spinderella; a lyric from the 1998 Kelly Price single "Friend Of Mine") and Leimert Park, a neighbourhood in LA—the subject matter and recording location, respectively, of Blunt's recent neo-soul project Blue Iverson. In a classic Blunt technique, oblique narrative is supplied by voices, delivered down crackly phone lines or via old TV. And in contrast to the psychedelic bedroom soup of Hype Williams' last album, 2011's One Nation, Rainbow Edition is more of a Babyfather-style mixtape: 20 beats, short and loop-locked, their snub 808 basslines and minor-key melodies dog-eared with distortion.





We'll likely never know who's behind the album, and in any case Hype Williams was always more than just a riddle to be solved. But Blunt's probable role hints at Rainbow Edition's shortcomings. It lacks the depth, intrigue and smirking beauty of the group's best work—a product, presumably, of Blunt and Copeland's peculiar chemistry—but doesn't replace it with anything fresh. For all that, it's not bad. Its hip-hop miniatures span the bizarro spectrum, from chest-beating stadium rock ("Loud Challenge") to shoegaze zone-out ("Puredamage"). And there are moments of headturning weirdness, as in "The Whole Lay," where an autotuned singer mewls off-key: "Where do we go? Why are you keeping me? I wanna know... "





There's beauty in there, too. Closing track "Kandy" samples Jim Cartwright's 1986 play Road, about working class Lancastrians in the Thatcher years, and the best tracks follow this gloomy lead. The likes of "Baby Blu" and "Smokebox" wallow in a noirish, romantic misery familiar from The Redeemer. Even better are the album's two longest tracks: "Spinderella's Dream," with its ghostly synth choirs, and "#Blackcardsmatter," which turns a dark late capitalist joke - "all I gotta say is: black cards matter" - into an oozing dirge.
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