Review: Acclaimed Japanese artist Cornelius is back with a new three-song EP, Bad Advice/Mind Train, featuring a collaboration with Arto Lindsay. The EP's first single, 'Mind Train,' is an epic nine-minute track inspired by Yoko Ono which blends ethereal space-pop with minimalist structures and bursts of exhilarating chaos. Cornelius describes 'Mind Train' as a symbol of spiritual and inner exploration that is designed to prompt self-reflection. The accompanying video, created by renowned visual stylist Keita Onishi, enhances this journey with stunning retro-futuristic graphics that allow you to explore your own interpretations.
Review: David Michael Tibet's exploration of the arcane mysteries through Current 93 are an intriguing subculture all of their own, sat somewhere to the side of Coil and the other mystics of the post-industrial scene. In Menstrual Night was released in 1986 as two long form pieces that layer up voices into a mesmerising swirl. The cast of collaborators on the project include such luminaries as Steven Stapleton, Keiko Yoshida, Rose McDowall, Boyd Rice and the late John Balance. Now House Of Mythology have created a faithfully recreated picture disc vinyl edition, sure to be quickly gathered up by the faithful followers of this fascinating corner of electronic music.
Review: Talk about adaptive design. Zoh Amber, Chris Corsano and Bill Orcutt are anything but household names, but rank among the finest musicians in the US today. All three have carved a name for themselves as improvisational maestros, capable of working with others on-the-fly to create powerful sounds and soundtracks in a display of artistic talent you just don't get to see - or hear - everyday. Corsano and Orcutt were no strangers when Flower School was recorded, around spring 2023. Nor were Amba and Corsano - the pair had just finished a joint tour of the US West Coast. The three had never engaged together, though, but they probably should have. An album that represents each individually, but also shows how they can create something greater as one, this is a freewheeling, freeform exploration of sounds between jazz, industrial, grunge, alternative rock, blues and noise.
Review: Jim Black's Houseplant sees the progressive-jazz drummer continue to refine his signature style, a fusion of jazz and rock that's as quirky as it is inventive. While not a radical shift from his previous works, this 2009 release showcases Black's distinctive approach to drumming, blending complex rhythms with sly, punchy backbeats that keep the session lively. Backed by his longtime band Alas No Axis, Black delivers a sprightly set with guitarist Hilmar Jensson, whose polytonal riffs add texture, and saxophonist Chris Speed, who brings a smoother edge to the more intense moments. Tracks like 'Malomice' highlight the band's ability to shift seamlessly between acid-rock and jazz, with Speed's saxophone weaving off-kilter melodies over Black's precise, crashing grooves. The mood softens on introspective cuts like 'Elight,' where the musicians ease into more delicate, atmospheric territory. Bassist Skuli Sverrisson provides the glue, his limber playing driving the energy throughout. Houseplant is a masterclass in balancing catchy riffs with jazz improvisation, offering an intense but melodic exploration of jazz-rock fusion.
Review: This is the second of three inventive and influential albums that John Cale released through Island Records in the mid-70s. The Velvet Underground founding member was in stellar company with Brian Eno, Roxy Music's Phil Manzanera and one of the most prolific studio session guitarists of all time, Chris Spedding, all appearing on the album. The album is stacked with bangers, but of note is the life-affirming and soulful 'Dirtyass Rock 'n' Roll; his cover of 'Heartbreak Hotel', which is one of the best covers ever recorded and 'I'm Not The Loving Kind'. The latter gained recognition most recently when the late, great Mark Lanegan covered it beautifully for his Imitations album. Cale will forever be a wellspring of inspiration.
Review: John Cale's Word For The Dying album was first released in 1989 on the Opel label. It was produced by Brian Eno and is Cale's "heartfelt response to the Anglo-Argentinian War." It takes the form of Cale's favourite Dylan Thomas' poetry set to music and the lyricism and melodic phrasing throughout is truly sympathetic and complementary. The compositional qualities of this album are astounding and make for a resonant listen. This reissue comes via All Saints on limited clear vinyl and a download code is included.
Review: Recorded for BBC Radio In Concert during Can's 1973 UK tour, this exceptional live performance showcases the cult favourite band at their peak. The five-piece group did their usual trick of expertly weaving together repeating themes and riffs while responding to each other in real-time. The dynamic interplay between keyboards from Schmidt, guitar from Karoli and Suzuki's vocals is driven by the powerful Czukay and Liebezeit rhythm section. Featuring comprehensive sleeve notes and full recording details, this release includes all tracks written by Can members Czukay, Karoli, Liebezeit, Schmidt and Suzuki, all of which were captured live at The Paris Theatre, London on February 19th. A great bit of Can history.
Review: RECOMMENDED
You always feel like you've pushed through the other side of the mirror when it comes to CAN. A mysterious, groove-laden, funk-infused yet utterly lucid place where guitar hooks seem to come out of the walls, rhythmic hypnosis draws listeners ever-deeper into a place that, while perhaps not entirely theirs, is one which they helped build in the outer limits of late-1960s surrealist rock.
Laying the foundations for early progressive and krautrock with an avant-garde approach to songwriting, by the time this Stuttgart gig took place they had almost a decade of work to go at, and yet as the tracklist suggests the band always had improvisation at their core in a live setting. Concerts that would transport crowds far beyond the venue, into thick layers of melody, hooks and strange effects, every single recording of every show is a genuine moment in history never to be repeated again.
Review: Krautrock legends, visionary iconoclasts and one of the most influential bands of the last half century they may be, but not many folk would have had Can pegged as a singles band, given that their origins in the kaftan-clad realm of the late-'60s and early-'70s tended more to full-length explorations in which the full force of their expression could be unleashed. This triple vinyl compilation not only rubbishes this preconception but offers a glimpse into the full spectrum of sound, from the sky-kissing serenades of 'Future Days' to the dancefloor-filling swagger of 'I Want More' and even the unlikely Christmas carol 'Silent Night'. A life-affirming compilation from a gang of longhairs like no other.
Review: CAN fans can best believe this one won't be a flash in the pan. Slated for this coming December via the unmatched Mute label, 'Live In Brighton' documents an important snapshot in the krautrockers' live game, and is the second album in a curated series of their live concerts. First recorded on tape, it's now been carefully restored and remastered from the original run. Catch whiffs of a rare Michael Karoli vocal on track 3, as well as a Jaki Liebezeit solo on track 5, and even a rare live jam version of their 'Vitamin C' on track 7. This one also comes with an extensive booklet full of sleeve notes and other tidbits by journalists Kris Needs and Rob Young.
B-STOCK: Sleeve damaged but otherwise in excellent condition
Keele 77 EINS
Keele 77 ZWEI
Keele 77 DREI
Keele 77 VIER
Keele 77 FUNF
Review: ***B-STOCK: Sleeve damaged but otherwise in excellent condition***
Can Live in Keele 1977 captures a key performance from one of the most innovative bands of all time. This long remoured album features Can's late-period lineup: Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay, joined by Rosko Gee on bass. Czukay's shift to "waveform radio and spec. sounds" adds an otherworldly layer to the band's hypnotic, avant-garde textures. Pieced together from archival and fan recordings, the album highlights the unpredictable and experimental nature of Can's live performances during their 1976-77 peak. The inclusion of tracks that fans have long considered the best of their live work brings a raw, dynamic energy. Fans of Can's legendary improvisations will appreciate the diversity of sound, from ambient passages to intense, chaotic jams. Live in Keele 1977 stands as a crucial document of the band's legacy as they explore "inner space rock" and live sonic exploration.
Review: Can Live in Keele 1977 captures a key performance from one of the most innovative bands of all time. This long remoured album features Can's late-period lineup: Irmin Schmidt, Jaki Liebezeit, Michael Karoli, and Holger Czukay, joined by Rosko Gee on bass. Czukay's shift to "waveform radio and spec. sounds" adds an otherworldly layer to the band's hypnotic, avant-garde textures. Pieced together from archival and fan recordings, the album highlights the unpredictable and experimental nature of Can's live performances during their 1976-77 peak. The inclusion of tracks that fans have long considered the best of their live work brings a raw, dynamic energy. Fans of Can's legendary improvisations will appreciate the diversity of sound, from ambient passages to intense, chaotic jams. Live in Keele 1977 stands as a crucial document of the band's legacy as they explore "inner space rock" and live sonic exploration.
Review: Live in Aston 1977, the latest installment in Can's series of live album releases, offers a fresh perspective on the band's dynamic stage presence. Released via Mute and Future Days, this release provides a glimpse into a challenging period for Can, following the mixed reception their eighth studio album, Saw Delight, elicited. Despite any expectations of a decline in energy or creativity, the live performances captured on this album defy such notions. Instead, they showcase Can's enduring vitality and adaptability, reaffirming their reputation as a band capable of captivating audiences with their unpredictable live shows. Notably, Live in Aston 1977 marks the debut of bassist Rosko Gee (Traffic) within the Can Live series. His addition to the lineup injects a fresh energy into the band's sound, complementing the innovative contributions of Irmin Schmidt, Jaki Liebezeit, Michael Karoli and Holger Czukay. Accompanied by a booklet, this release offers fans a deeper insight into Can's live performances during this period. It serves as a reminder of the band's relentless pursuit of sonic exploration and improvisation, making it a valuable addition to the Can discography for both longtime fans and newcomers alike.
Review: An unwitting, but perhaps perfectly fitting tribute to the recent passing of Japanese improviser and vocalist, Damo Suzuki, Mute and Spoon Records have collaborated on a series of Can live albums, overseen by founding member, Irmin Schmidt, and 'Live In Paris 1973' is the first to feature Suzuki. Recorded at L'Olympia on 12th May 1973, this is an important, liminal moment in the band's history, following totemic albums, 'Tago Mago' (1971) and 'Ege Bamyasi' (1972), and echoes of the latter can be heard in the Paris performance. The show also came three months before the release of 'Future Days', the final Can album with Suzuki, before he left the group and temporarily abandoned music altogether. 'Live In Paris 1973' follows 'Brighton 1975', 'Stuttgart 1975' and 'Cuxhaven 1976', all of which were critically lauded and appeared widely in Reissue Of The Year polls.
Nowadays A Woman's Gotta Hit A Man (Early mix) (4:00)
Clear Spot (Rough mix - instrumental) (3:47)
Crazy Little Thing (Rough mix - instrumental) (3:06)
Dirty Blue Gene (Rough mix - instrumental) (3:44)
Big Eyed Beans From Venus (Rough mix - instrumental) (4:33)
Kiss Where I K'aint (2:55)
Sun Zoom Spark (Rough mix - instrumental) (2:32)
Nowadays A Woman's Gotta Hit A Man (Rough mix - instrumental) (4:23)
Little Scratch (2:58)
Low Yo Yo Stuff (Rough mix - instrumental) (3:47)
Dirty Blue Gene (alternate version 3) (3:05)
Circumstances (alternate version 2) (3:30)
Review: Captain Beefheart - AKA Don Glen Vliet - was apparently looking to right some of the wrongs that accompanied the release of his previous records with this 1972 outing. Although catapulted into the cult premier league with Trout Mask Replica three years earlier, and delivering three very good records between then and this, commercial success had continued to evade the arty blues master, something he went out to rectify here.
Failing to chart in the UK, and peaking at 191 in the Billboard 200 Albums Chart stateside, it's hard to make any big claims about him achieving that goal. Nevertheless, Clear Spot is a timeless slice of evidence in support of his legendary status, with the raw, grizzled sound we love him for defines everything here, not to mention incredible guitar riffs and genuinely innovative song craft (see the broken and surreal 'Golden Birdies' for one example.)
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