THE RESIDENTS

bill

Avant-Garde Rock
Experimental
Mixed Media
Alternative/Indie Rock
Experimental Rock

MARCAS CARDEAIS


Pop/Rock
Alternative Singer/Songwriter
Alternative/Indie Rock
Lo-Fi

MASCARA DE CERA

 Indie Rock, Alternative Rock, Pop/Funk
Experimental Rock


PONTOS CARDEAIS

AVANT ROCK-VANGUARDA-AVANT GARDE

EXPERIMENTAL-ELECTRONIC-INDUSTRIAL

John Fahey Commemorative Beer Can

MY AUTUMN'S DONE COME

Based on two interviews done by Jan Sneum in San Francisco 1978 and Copenhagen 2016, this program puts a focus on THE RESIDENTS, an American music and art team working between strict avant-garde and pop in a very unusual balance between true do-it-yourself attitudes and elegant, creative commercial strategies. The voices are JAY CLEM, spokesperson for The Residents until 1982, and HOMER FLYNN, current spokesperson and part of The Residents' realm since day one – a realm forever under the spell of the Theory of Obscurity.

SNEUM's PALACE #7: The Residents in two voices

From the Opera "Snakewoman" Libretto by Eugenie Chan. Music by Byron au Yong.
Voice-Laurie Amat. Cello-Loren Dempster.

Are You A Woman Now

A fully improvised vocal improvisation at the Paris Loop Jubilee 2014

Paris Loop Best 2014 #2

Come To The City

The War On Drugs - "Come to the City"

Title track from the forthcoming Gojira album, due out June 26 on Roadrunner Records.

L'Enfant Sauvage (Special Edition)

Gojira - L'Enfant Sauvage

An exclusive track from Disc B of Brain in The Wire

Comes in a metal box with a poster, keychain, patch, and image booklet.
Poster and inserts by Daniel McKernan
Other artwork by Jon Whitney

Originally available as a boxset in an edition of 2000. This edition has sold out. Each disc and extras currently available for seperate purchase.

Volcano the Bear, "New Seeker (alternative version)"

 Jessica Bailiff - acoustic guitar and vocals
Nathan Admunson - bass on A1, A2, B1 + vocals on A2 and B1
Michael Anderson - textures on A1, melodica on A2, treated guitar on B1

Produced by Berry Kramer and Maurice Woestenburg for VPRO Radio "De Avonden," November 2002.
With additional help by Jesse Edwards, 2004.
Limited to 500 light green 7" singles.
Pre-orders come with a CD-R of the music + all the other 7" singles released on Brainwashed thusfar.

Four songs from Jessica including "Shadow," only released on the Brain in the Wire compilation (I'm beginning to think this really is my song or something!), the haunting "Mary" from her self-titled third release on Kranky, "Beautiful Soul," which dates back to her 1998 debut on Kranky, Even in Silence, and an exclusive song, "Come and Close My Eyes," a Flying Saucer Attack cover. All recordings are obviously exclusive. Jessica arrived at Kranky by way of Low, having her first two albums produced by Alan Sparhawk at 20 Below in Minneapolis. She has gone on to record more solo singles and albums and has appeared on record with bands Rivulets, Saturday Looks Good to Me, Flashpapr, and Red Morning Chorus, and makes up part of the core nucleus of bands Clear Horizon, Northern Song Dynasty, and Eau Claire. www.brainwashed.com/jb for more images and sounds from her.

By far the most accessible of the Brainwashed singles, Jessica Bailiff contributes 4 live songs, taken from a session on VPRO Radio in 2002. Treated guitar, undisclosed "textures" (drones), melodica and bass accompany Jessica's acoustic guitar and vocals on these tracks recorded while on tour supporting her self titled third album for Kranky. In this setting, Jessica has less protection from the ability to build atmosphere in the studio, which strips the songs bare and exposed, which works well. "Beautiful Soul" (originally released on her first album) is anchored by a drone built from bass and melodica, allowing the guitar and vocals to soar high above the mix. "Mary" shows Jessica embracing the post-shoegaze folkstress that she is. The single ends with a cover of Flying Saucer Attack's "Come and Close My Eyes." It's a notable homage to her current bandmate's former band (she and Dave Pierce released a collaborative album under the name Clear Horizon). While the cover is enjoyable to hear, I think trying to improve on an FSA recording is a doomed prospect. - Dick Baldwin, FakeJazz

The human physical presence of Kranky recording artist Ms. Bailiff is present in the acoustic guitar and her forlorn folk-ish vocals but despite the obvious pop structure the unfledged lo-fi sound (the songs come through a light fog of grainy atmosphere) gives this release a distant removed feel. They used to call music like this Dreampop, but Jessica isn't obsessed with her shoes or the floor on these four live tracks, she lost in the songs. The final track, oddly enough a Flying Saucer Attack cover, "Come and Close My Eyes" sounds the most personal and human piece here. - Scott McKeating, Stylus

Jessica Bailiff is represented by four tracks on "Live on VPRO, Amsterdam" (Brainwashed 7"). Her vocals and acoustic guitar blend with haunted atmospherics, sounding especially lonely and lovely on her cover of Flying Saucer Attack's "Come and Close My Eyes". - Byron Coley, The Wire

Bailiff's songs are pop but sound almost folky due to her soft voice and the languid lo-fi sounds. She is a veteran on the Kranky roster by way of Low (her first two albums were produced by Alan Sparhawk at 20 below in Minneapolis) and she is also a member of Clear Horizon, Northern Song, Dynasty and Eau Clair. The tracks on this release, recorded live in VPRO studios in Amsterdam, are hushed and slightly grainy. First track "Shadow" stands out as a melancholic plea, introducing her soft and dewy vocals. "Beautiful Soul" (a song from her 1998 debut) follows and is much more akin to Low's style than the previous track. Side B begins with the haunting "Mary" (from Bailiff's third release on Kranky). The song features ample acoustic accompaniment to a sweet yet ominous vocal melody. Bailiff finishes the set with a cover of Flying Saucer Attack's "Come and Close My Eyes." All of these songs are wonderfully textured with subtleties (melodica, treated guitar, etc). This is the warm heart of this three single set--dreamy, lovelorn and humble. - Andrew Iliadis, Only Angels Have Wings

Para el ultimo deje el excelente paso por mis oidos de la misteriosa Jessica Bailiff. Con una guitarra acustica y sonido envolvente tino el dia de un cielo soleado a un gris palido y profundamente melancolico. Los bueno de estas canciones es que son lo suficiente hundidas o profundas como para dejar escuchar al interior (uups.. parezco Luisa Delfino), pero no lo demasiado densas como para cagarte la tarde. El ambiente que propone Jessica es solitario pero no denso, sentido pero no asfixiante y eso se nota en el minimalismo de las cuerdas acusticas rasgadas con cierta pesadez. Me recuerda cierto aire a Espers, en el sentido profano de la comparacion, aunque en el caso de Jessica, parece un alma que va pelandose capa por capa mostrando de a poco su luz interior. Es extrano el caso de "Shadow" que a pesar de ser una melodia lenta debil superficialmente, se percibe una extraordinaria fuerza e impetu: lo que parecia un hilo de agua cayendo desde 3 metros, es una avalancha capaz de pechar un hipopotamo vaguisimo con la fuerza de Conan el barbaro. Concluyendo, si tendria que unir todos estos trabajos de algun modo que no sea pensar en su distribucion por la brainwashed, pensaria en su optimismo pleno. Es decir, a pesar de ser levemente oscuros o un tanto violentos, tienen una energia positiva (uiuuppsss...me sigo pareciendo a Luisa Delfino), un lento pero alentador fluir de movimientos que acompana de forma ritmica a mi bienestar. La vida esta hecha sin dudas para disfrutar. - Pavlo Picco, deVelvet

Bailiff, always the gentlest and most breezy-sounding of artists in the Kranky label stable, offers up four live radio recordings in a trio that provides minimal yet effective backing. The simplicity an acoustic nature of her songs lend themselves to the branding of folk music, but there's too much pop structure here for the tag to truly stick. Bailiff's songs are just as warm and welcoming as they were in the years since I last heard her. Includes a Flying Saucer Attack cover. - Doug Mosurak, Dusted

Recorded live for VPRO Radio in The Netherlands, Jessica Bailiff's 'coke bottle,' transparent vinyl disc includes three originals and a cover of Flying Saucer Attack's "Come and Close My Eyes." Enhanced by Michael Anderson's blurry textures and Nathan Amundson's bass, Bailiff's entranced whispers and acoustic strums distinguish "Shadow." The gentle "Beautiful Soul" originally appeared on her 1998 Kranky debut Even in Silence while "Mary," from her 2002 self-titled album, is rendered haunting by the background haze of Anderson's treated guitar. In a lovely rendition, she imbues "Come and Close My Eyes" with delicate intimacy. - Ron Schepper, Textura

The lovely voice of Jessica Baliiff underpinned by some equally lovely understated strummed guitars. Melancholy and heartfelt music and singing - I always think of her as a very grown up singer song writer - someone who has matured to a point where the frills and possibly cliched bits are lond gone, and you are left with a essense of depth and emotion. You might have gathered that I really like this. Recommended. - Smallfish

Recorded just shortly after the release of her last, self-titled album, this 7" is a rare document of Jessica Bailiff's sound away from the studio. Included are two songs available on her full-length recordings, a cover of "Come and Close My Eyes" by Flying Saucer Attack, and a version of "Shadow," which was previously available only on Disc A of the Brain in the Wire compilation. While her live sound is more bare compared to what she does inside the studio, Bailiff's siren-like voice and hypnotic guitar playing is enchanting, sounding as though it's coming through the ether from some far away, and sometimes sad, place. What this 7" release most exceptionally highlights is Bailiff's song-writing ability. She writes elegantly and fluidly, pacing her music perfectly, allowing her voice to melt into her rhythmic guitar melodies with ease. Her style is completely her own, but not without sympathetic and inviting tones. She can make me believe that she's in the room with me, whispering to me and relating stories pulled from all over the world. There's never an element out of place in her music and each one of these four recordings proves that she's one of the finest writers and performers around. - Lucas Schleicher

Jessica Bailiff, "Shadow (live on VPRO radio)"

Aranos - all instruments

For some time I found the hypocrisy of "religions" we generally hear of and which seem to dominate the "western civilisation" rather irritating. Christians, followers of Islam and those of Jewish faith all share the Old Testament of the Bible yet seem to be unable to live together without resorting to pretty much constant warfare. This, of course is not a new phenomenon. Crusades, persecution of Jews, wars between different factions of Christians, or different factions of Islam are a constant feature of western history. Why? Obvious explanation stares one in the face: The Bible itself. The Old Testament - root of all three main western faiths is a seductively beautifully written justification of violence and abhorrent behaviour mainly perpetrated by God and his followers. I could elaborate how this also spills into New Testament (killing of the fig tree, many of Paul's actions, Apocalypse etc), but if you are interested, you can read the crap yourself. "No Religion" and "Spitting Revivalist Dreams of Everlasting Pain" are an expression of my dismay. - Aranos

Limited to 500 green vinyl 7" singles. Pre-orders come with a CD-R of the music + all the other 7" singles released on Brainwashed thusfar.

The avant-garde violinist Aranos is a confederate of perennial industrial weirdoes Nurse With Wound, and that group's screwy aesthetic shines through clearly on his two oddball tracks here. "No Religion" takes its title a bit too literally, consisting mainly of a pounding bass beat with simplistic chanted vocals over the top ("I've got no religion, and I'm glad, glad, glad"). There's a brief interlude in the middle for a very angry faux-square-dance violin solo; at the end, the chanters are swallowed up in waves of moaning and shimmering digital noise, a welcome relief from the track's monotony. The B-side, fortunately, isn't quite so preachy, consisting instead of a sparse, tense collage of scraped metal, ear-piercing violin abuse, and electronic processing. If Aranos were aiming to express outrage and absurdity, this glorious racket--and not the literal-minded soliloquy of the flipside--would be the perfect way to do it. "Spitting Revivalist Dreams" is infinitely more effective as a pure visceral piece of music, proving once again that musicians should focus on making sound, not manifestos. - Ed Howard, Grooves

The liner notes to this installment of the Brainwashed 7" series explain that both songs are an expression of Aranos' dismay at the hypocrisy of religions - particularly those founded on the Bible. Citing it as the source of the constant warfare between Christianity, Islam and Judaism, it's a "seductively beautifully written justification of violence." Most of "No Religion" is very repetitive, comprised of a drum (?) pulse and a chant: "I've got no religion and I'm glad," with a treated / filtered noise loop bit at the end. Side B, "Spitting Revivalist Dreams of Everlasting Pain" is much less orchestrated and obvious. Instead, it bares its teeth and honestly approaches the anger and frustration called for in the proposed goal of these tracks. Violent shrieks, jarring feedback and overloaded inputs are interspersed with harsh scrapes, groans and explosive bursts. The A side eases into the theme while the B side claws hungrily into its core. - Dick Baldwin, FakeJazz

An angry Czech Irish growls out a folky singalong about the abuses forced on us by our organised religions with the chorus "I've got no religion and I'm glad, glad, glad, I'm so glad that I don't have to hate." Accompanied only by a light Suicide tribal type beat the song grinds into your head only to be split in two by a startling unexpected gypsy fiddle. It ends as you might have guessed with an anarchic feast of sound and the sharpening of metal on metal over buried dog growls. The epically titled b-side is the sound of a Violin with an STD, repeated listens are unnecessary in order to get his point. - Scott McKeating, Stylus

..."No Religion / Spitting Revivalist Dreams of Everlasting Pain" by the Czech / Irish maniac Aranos, probably best known for his Nurse With Wound collaborations. The A side is a sharp slap in the face of organised dogmatic ecstasy (and the horrors that are committed in its name), the flip is a candy-centred, electroacoustic dip into the trauma noise trough. Very worth a swig. - Byron Coley, The Wire

Some of you may recognize Aranos from his ties to Nurse With Wound although for most this is probably the first you've heard of him. This is the first of a bunch of 7" singles that he is planning to release this year, and this single is by far the most out there of these three. Where to begin? Side A's "No Religion" is a million miles away from Side B's "Spitting Revivalist Dreams of Everlasting Pain." "No Religion" begins with a quick, light beat and minor percussion. Aranos sing-speaks all over it about, well, religion, and how much trouble it actually creates in the world. He sings "I got no religion and I'm glad, glad, glad" while dropping stories of hypocrisy and persecution. Aside from a very brief section of violin the song follows a similar pattern until it degrades into looping abstractness at the end. Where Side A held a repetitive beat, no such structure is found on "Spitting Revivalist Dreams." The song is a pure affair with noise. Metallic screeching permeates this songs core; what sounds like sheet metal is rubbed against the edge of another metallic surface. An echo effect is kicked in to add some (unneeded) dissonance to the proceedings. There may also be some type of drilling or welding tool in there as well. Congratulations on making one of the most difficult songs to endure this year, Aranos. - Andrew Iliadis, Only Angels Have Wings

Tengo que admitir que cuando recibi este paquete con todos estos vinilos mi reaccion primera fue una cierta leve decepcion. En casa no tengo ningun tipo de tocadiscos con el cual podia escucharlos. Pero cuando hice coincidir el lugar, la hora, el aparato y las ganas, todo fue maravilloso. Asisti por vez primera a un evento tan importante como lo es la romatica escucha de un long play. Los oidos se concentran, los ojos se cierran y todo apunta al medio de la recta trazada por los dos parlantes. En este caso, los ejemplos son variados y los estilos diferentes para tamanos descubrimientos: Aranos es un viejo, padre o abuelo de la vanguardia chescoslovaca que no se ha cansado de protestar en todos estos anos mediante los sonidos que insesantemente emanan de sus poros, ahora un tanto cerrados. "No religion" (tema con el cual se abre el single) tiene un bajo semi cuartetero y una voz repitente que clama con la acidez necesaria y la ironia reinante "Yo no tengo religion / y estoy contento / porque no necesito odiar", manifestando la principal virtud del ateismo en estos tiempos en que corren, post 11 de septiembre. Y es que la protesta del viejo es muchisimo mas totalizadora que la anarquia de muchos manifestantes de Seattle. La energia se siente presente en las venas y esa violencia se transforma de a poco en amor. "Spitting Revivalist Dreams of Everlasting Pain", se tranforma en su segundo tema electroacusticamente hablando, hiriente y supurante como corte de cuchillo, en donde el silencio cobra (a pesar de su poca predominancia) un papel chocante - pavlo picco, deVelvet

"No Religion" starts out as a long and very repetitive, croaking rant against Christianity, Islam and Judaism, blaming the Old Testament as the root of all the world's crises of faith, and the need to defend one's own worldview against such corrupt documents. He digs into it with a fast polka/gypsy beat and comes off not unlike how the Sun City Girls might with the same inspiration. On the flip, we're presented with a screeching, atonal piece for violin and (I'm assuming) contact mics, building nicely in form and structure as the track unwinds. - Doug Mosurak, Dusted

The two pieces on Aranos's green disc are as eccentric as his other work (Tangomango, Bering Sea). The A side's "No Religion" is dominated by the Czech-born Bohemian Irish resident's defiant rant ("I got no religion and I'm glad") with the briefest of violin appearances dropped into its middle. (Describing the Old Testament as "a seductively beautifully written justification of violence and abhorrent behaviour mainly perpetrated by God and his followers" will leave no one guessing Aranos's thoughts on the matter.) The B side's "Spitting Revivalist Dreams of Everlasting Pain" continues his "expression of dismay" in a writhing instrumental exercise of violin scrapes and clanging noise. - Ron Schepper, Textura

This is right odd. A plodding techno beat with lyrics and twisted folk-esque music that you'd expect to find in some local pub being dished out by the resident nutter! Flip for abrasive electronic oddness - cacophonous even... - Smallfish

Of the three 7" records released by Brainwashed this month, Aranos' two songs stand out as shocking and strange, even with his already strange discography considered. "No Religion" gets straight to the point as a thumping bass drum and tambourine fade in, Aranos sings, "Oh, I've got no religion and I'm glad." Where many of his lyrical outings have been ethereal and surrealist in many ways, for this song Aranos has come down to earth with a definite and unmistakable message: religion, hate, and violence seem to go hand in hand. It's not a revolutionary thought, but Aranos is obviously pissed off. His delivery cannot be mistaken for sarcasm and there's no hint of metaphor nor a sign of symbolism anywhere in his words; this is a direct voice speaking exactly as its source feels. "No Religion" feels like it should belong at a party, too, the bouncing bass and drum rhythms are joyous sounding and Aranos' slash of violin playing is upbeat and bright, betraying the seriousness of the lyrics. I've found myself singing this on my way to work so as to pick my mood up, "I've got no religion and I'm glad, glad, glad, I'm so glad that I don't have to hate." "Spitting Revivalist Dreams of Everlasting Pain" picks up where "No Religion" leaves off. The mechanical, sputtering sound of dying industry that closed up side A are enhanced and pumped up a thousand-fold on side B. It's a noise track in every sense of the word, ringing with piercing shrieks, heavy metallic crashes, and buzzing electronics. Aranos processes these sounds, turning the volume up, along with intensity, at some points, and letting the sounds rumble on the horizon at others. It's like a sonic fit, tossing everything about the room in a sudden and fierce display of absolute frustration. The intensity, at some points, is frightening and, as the song continues to churn on, never giving up, it becomes quite clear why this was coupled with "No Religion." Sometimes talking or singing about a feeling or idea isn't enough, sometimes sound translates the ideas with such clarity that a word might spoil everything. - Lucas Schleicher

Aranos, "No Religion"

 Jack Dangers
Lynn Farmer - Drums [A]
Mike Powell - Samples and keys [A]
John Wilson - Guitar [A]

53 editions come numbered in a special sleeve handmade by Jack Dangers.

Meat Beat Manifesto (a band hardly needing an introduction) offer a stellar slab of fried sounds. Side A, "Lovefingers," is a Silver Apples cover, which opens with a clip of a woman retelling a story of her husband (I think) claiming he'd been attacked by a spaceship. This leads perfectly into a catchy, psychedelic and mutated groove, bringing to mind early Faust. This comparison is hammered home when a blast of oscillators and fuzzy filters splatter themselves across the rest of the grooves. Side B follows a similar pattern with "Radio Free Republic." Starting with a voice sample (presumably from a b-movie), it moves into a heavily rhythm-centric pattern which slowly develops over a shifting pallette of synthesizer bleeps and bloops. - Dick Baldwin, FakeJazz

Where in the past Jack Dangers was the man you seek out for some pre-Big Beat busy prehistoric electronics and bollock kicking breaks here we find him at his monitor a little more relaxed. Still peppering his tracks with samples, he moves further into a Hip-Hop Techno area on "Radio Free Republic" where aggression and pace are not the norm. More interestingly is the Silver Apples cover on the A side which is a short blast of harsh electronic pop ending prematurely in short wave radio abuse. - Scott McKeating, Stylus

We have another sexy Brainwashed 7" in this week. This one is by Meat Beat Manifesto and it's on super thick weapon stylee grey vinyl. You know someone ordered a record this week and referred to it as a plate. I've never had that happen to me before but it did amuse me. Holding this sturdy little fella makes me realise if you didn't like the music you could tape up the hole in the middle and use it as some kind of stupid dining service. However if you did that it would be criminal cos here we have a totally cool slab of Jack Dangers instrumental hip hop infused brilliance which doesn't sound too unlike Boards of Canada to be honest. And there's a cracking Silver Apples cover of Lovefingers on the B side. This be my single of the week... - Norman Records

Meat Beat Manifesto, "Radio Free Republic"

http://www.smalltownsupersound.com/2012/03/21/neneh-cherry-cherry-album-june/

Neneh Cherry + The Thing - Dream Baby Dream (Four Tet remix)

An exclusive song from the Brainwaves 2008 triple CD.

Boduf Songs, "Left Behind Like A Piece Of Shit"

http://asthmatickitty.com/believe-you-me

A beautiful thing happened when Asthmatic Kitty artists Helado Negro and Julianna Barwick first met: they got to know each other. The result, a new collaborative band, OMBRE, and a brand-new full-length record, Believe You Me.

OMBRE, "Tormentas"

The Bongos were one of the most distinctive bands to come out of the bustling Hoboken pop scene in the early '80s -- Richard Barone's songs were gloriously hooky, but also forcefully propulsive enough to live up to the group's name (aided immeasurably by Rob Norris' agile bass and Frank Giannini's precise drumming), and Barone's guitar work managed to be melodic and oblique at the same time, carrying the tune while allowing room for his own sonic interjections, which could be noisy or richly smooth at will. The Bongos were different enough from their contemporaries that Drums Along the Hudson has dated remarkable little since it was released in 1982, sounding less like "new wave" than a simply timeless example of smart, edgy pop. The joyous charge of the opening cut, "In the Congo," is pure glorious sugar rush, "The Bulrushes" is fraught with seductive mystery, "Three Wise Men" very nearly beats the Feelies at their own high-tension game, and "Glow in the Dark" is one of the most charmingly off-kilter love songs ever.

Here is the music video for this remake of "The Bulrushes" (produced by and featuring Moby), from "Drums Along The Hudson - Special Edition", directed by Richard Kerris. http://www.youtube.com/watch?v=6ORablbodLM and here is the original 1982 video for "The Bulrushes," directed by Phil Marino and edited by yours truly http://www.youtube.com/watch?v=zcgILoeOXKg

The Bongos - The Bulrushes (2006 Remake w/Moby)

Gojira - Liquid Fire

"Waking Dream" is the third single from Bleeding Rainbow's upcoming album "Yeah Right" (out Jan 29, 2013). Available on limited 7 inch and digital download.

Yeah Right

Bleeding Rainbow - Waking Dream

Music by Throbbing Gristle. Additional production by Crazy Tape.

Throbbing Gristle - Something Came Over Me (Crazy Tape Said Knock You Out)

http://asthmatickitty.com/silver-and-gold
http://asthmatickitty.com/sufjan-stevens
http://sufjan.com

From Silver & Gold, Songs for Christmas Vol. 10: Christmas Unicorn.
Available November 14th on 5xCD boxset and digital, and later in LP boxset.
Preorder here:
http://sufjanstevens.bandcamp.com/album/silver-gold

I’m a Christmas unicorn
In a uniform made of gold
With a billy goat beard
And a sorceror’s shield
And mistletoe on my nose

Oh I’m a Christian holiday
I’m a symbol of original sin
I’ve a pagan tree and magical wreath 
And a bowtie on my chin

Oh I’m a pagan heresy
I’m a tragic-al Catholic shrine
I’m a little bit shy with a lazy eye 
And a penchant for sublime

Oh I’m a mystical apostasy
I’m a horse with a fantasy twist
Though I play all night with my magical kite 
People say I don’t exist

For I make no full apology
For the category I reside
I’m a mythical mess with a treasury chest 
I’m a construct of your mind

Oh I’m hysterically American
I’ve a credit card on my wrist
And I have no home nor field to roam 
I will curse you with my kiss

Oh I’m a criminal pathology
With a history of medical care
I’m frantic shopper and a brave pill popper 
And they say my kind are rare

But I’ve seen others in the uniform
Of a unicorn just like me
We are legions wide and we chose no sides
We are masters of mystique

For you’re a Christmas unicorn 
I have seen you on the beat
You may dress in the human uniform, child
But I know you’re just like me 
I’m a Christmas Unicorn! (Find the Christmas Unicorn!) 
You’re a Christmas Unicorn too!
￼￼￼
It’s all right. I love you.

Preorder

Sufjan Stevens, "Christmas Unicorn"

'Explosia' is taken from Gojira's latest album 'L'Enfant Sauvage' which you can buy right now at http://www.roadrunnerrecords.co.uk/release/L%27Enfant+Sauvage

Gojira - Explosia

Sebastian Rochford & Brian Eno - Dream Nails

Buy Wondrous Bughouse' on CD/LP/Cassette http://fatpossum.com/products/wondrous-bughouse

Buy iTunes - https://itunes.apple.com/gb/album/wondrous-bughouse/id604313154


Youth Lagoon "Mute"

The '60s Music for Sync Licensing (Film & TV)
www.cleopatrafilmtv.com 
For Inquires please contact: 
Benny Cardenas 
tel: (310) 477-4000 
email: benny@cleorecs.com 
(P) (C) 2012 Cleopatra Records, Inc.. All rights reserved. Unauthorized reproduction is a violation of applicable laws

Santana - Evil Ways

From the upcoming release Invisible Life on Asthmatic Kitty Records
asthmatickitty.com/merch/invisible-life/

Lyrics:
pesadillas
se confunden
cuando llegan a ti
largas vueltas
se ven
en tu mente
revuelto
acá
formas tus ilusiones
chica bañaras con mis palabras
alguien
quiere pensar en ti tanto
conozco
conozco bien

Helado Negro, "Junes"

Over My Head

Another track from my archives. This was done in my teens on a Tascam 244 Portastudio 4 track cassette recorder. I'm playing the keyboards and a high school friend, Pete S., is on guitar. He was the high school guitar wizard. I collected and arranged the audio clips which were probably from the radio given there high quality as I could record radio to cassette but TVs at the time didn't have line outs. The song is a tribute to a guitarist called Snakefinger who had a very wild playing style. 

Snakefinger  (Wayback Track)

Raging Lung

Bachman Turner Overdrive - You Ain't Seen Nothing Yet

PETER JEFFERIES
"The Last Great Challenge in a Dull World"
IND 123 CD/LP/MP3

Peter Jefferies’s extraordinary debut solo album, "The Last Great Challenge in a Dull World", first saw life as a cassette via the Xpressway label of Port Chalmers, New Zealand, in 1990. As a result of some international underground acclaim in fanzines and mailorder catalogs – for both the album and a striking 7-inch, “The Fate of the Human Carbine”, released around the same time – it soon appeared on LP and CD as well, through the Ajax label of Chicago. Within a handful of years it slipped out of print and out of sight. Roughly 20 years later that situation is being amended by De Stijl with a vinyl reissue that includes the songs from the attendant single and no amount of remastering whatsoever.

Though no one’s gotten around to writing a book on it yet, "The Last Great Challenge in a Dull World" nonetheless stands as one of the singular singer-songwriter albums of all time, existing on a sparsely populated plane with "Pink Moon", "I Often Dream of Trains", "Blues Run the Game", "Our Mother the Mountain" and not many others. In a sandy voice that soothes and slashes, Jefferies offers a compassionate, piercingly lucid view of the endeavor of life, all our pain and small glories rendered in tones both harrowing and tender. On piano, drums and percussion, he pounds out melodies that roar, sweep and lilt, accompanied on many songs by the serrated guitars of a variety of players. Featuring a small team of South Island heavy-hitters – all three members of the Dead C as well as David Mitchell (3Ds), Alastair Galbraith, Kathy Bull (Look Blue Go Purple, Cyclops), Nigel Taylor and Robbie Muir (who’s cobilled on the single) – Last Great Challenge provides a pivot point in Jefferies’s formidable recording career, which included two bands he shared with his brother Graeme in the ’80s, Nocturnal Projections and This Kind of Punishment, and four further solo albums, as well as stints in bands here (Mecca Normal, Two Foot Flame) and there (Plagal Grind, Cyclops, and collaborations with Shayne Carter, Jono Lonie and Chris Smith).

This immediate and affecting album has been a comfort and a guide for me since it came out. Sit a spell and see if it doesn’t speak to you as well.

~ Mike Wolf, NYC, 2013


Peter Jefferies & Robbie Muir "Writing Carbine"

Tenth track from the LP "The Raw and the Cooked" by Chris Corsano and Bill Orcutt.

Chris Corsano & Bill Orcutt - The Raw and the Cooked – Track 10

steve piccolo: voice
fabiano marcucci: bass
diego d'agata: bass-keyboards
manlio maresca: guitar
marco di gasbarro: drums - keyboards
antonio zitarelli: percussions, steels, glockespiel

music and lyrics: philip charles lithman a.k.a. snakefinger
rearrangement by fingerprints orchestra

Paris Loop Best 2014 #2

AmatWorks