Tzadik Records

Buy 'Passing Through The Wall' by Zevious @
AMAZON (digital & physical): http://amzn.com/B00E334J9I
WAYSIDE MUSIC (physical - ships worldwide): http://www.waysidemusic.com/Music-Products/Zevious---Passing-Through-The-Wall__Rune-spc-367.aspx
ITUNES (digital): https://itunes.apple.com/us/album/passing-through-the-wall/id687622587
BANDCAMP (hi-fi digital): http://cuneiformrecords.bandcamp.com/album/passing-through-the-wall

“Zevious split the difference between the Tony Williams Lifetime and the 80s Downtown scene...[they make] algebraic music feel wholly organic , almost swinging."
– Jazz Times

"...Zevious is for anyone who loves aggressive, rock-oriented improv with grooves and some semblance of a song...these guys put their music degrees to work...letting us know that being intense doesn't mean you can't have arrangements and following a script doesn't mean you can't let your hair down."
– DownBeat

Zevious are a trio—guitarist Mike Eber, drummer Jeff Eber (cousins, not brothers), and bassist Johnny DeBlase. They started out as jazzbos in 2006, but they got over it; they "went electric," as the old folks say, with DeBlase putting down his upright bass and Mike Eber picking up the Telecaster that gives his tightly knotted lines their sting. The music they wrote shifted from jazz chords and head-nodding swing to tumbling, noisy rock that recalls instrumental-skronk powerhouses like Don Caballero, the Nels Cline Singers, Dysrhythmia (for whom Jeff also plays), Behold…The Arctopus, Hyrrokkin, King Crimson (circa 1975), James “Blood” Ulmer, and more.

Their first release for Cuneiform, After The Air Raid, rightly gained them a lot of attention for their modern and powerful approach to electric jazz. The group gathered good press and enthusiastic audiences, as the band spent a good bit of 2010 and 2011 touring.

According to the band, the goal on 'Passing Through The Wall' is to induce a trance-like state in the listener through repetition, non-conventional melody and challenging song structure. The compositions are based around large cycles of layered poly-rhythmic patterns against octave displaced melodies; the individual parts working together to create dense, pulsating textures. The title 'Passing Through The Wall' is fitting for the music on this album because the band is challenging the listener to literally “pass through a wall” of sound, transforming their state of mind in the process. As Mike explains, "Every piece that we write, we’re trying to explore a particular concept, and on this album we really tried to play with layered time. So at some point or throughout entire tracks, we’re actually playing in three time signatures at once—I might be in one, Johnny’s in another, Jeff is playing both and then on top of that, another one."

On 'Passing Through The Wall,' the trio is tighter, crazier and more intense than ever and this is certainly their greatest achievement to date. Working once more with engineer Colin Marston (Behold… The Arctopus, Dysrhythmia), their live sound has been clearly and accurately captured in all its hugely roaring, polymetric glory! It's a ferocious 48-minute slab of muscular, intelligent instrumental music that breaks musical and stylistic barriers.

Zevious, "Entanglement" from 'Passing Through The Wall' (Cuneiform Records)

11 月 29 日，相徵發了一條微博：「江湖傳聞，蝦米音樂明年 1 月份關閉。一個時代要結束了嗎？」
這個沒有實錘的消息一下子傳遍了朋友圈、微博，甚至還成爲豆瓣、知乎上面的熱門話題。很多人都在哀嚎「不要關！」「不行不同意！」「我的青春也要結束了嗎？」，我作爲用了蝦米 11 年、累計播放 19 萬的忠實用戶，也沒想到竟然有這麼多人舍不得蝦米。
現在，網上已經有很多文章說了蝦米爲什麼關閉、回顧蝦米的歷史，但卻沒有人從「用戶」的角度來聊這件事情。所以，這期節目我和從事音樂運營工作的鴨鴨，聊了聊我們爲什麼都舍不得蝦米音樂。
【主播】
拾壹，新媒體從業者，播客「Vibration 歪波音室」主播
【嘉賓】
鴨鴨，音樂運營、音樂內容策劃
【後期】
迪卡普裏鑫，拾壹，陳太太
【本期討論話題】
[05:39] 早期的蝦米記憶
[09:08] 自己組建的聽歌會
[14:08] 你的蝦米籤名是什麼
[19:02] 蝦米的隱藏功能——交友軟件
[26:41] 最出彩的評論區
[29:59] 早期的蝦米歷史
[31:21] 超級編輯和音樂專題
[34:33] 神奇的算法推薦
[38:50] 超過1000種曲風流派
[42:31] 蝦米真的會一去不復返麼
本節目的文字和圖像資料， 將在公衆號「聲動活潑」上呈現。
【部分提及樂隊/音樂】
Trip-Hop 三巨頭：Massive Attack、Portishead與Tricky
MONO-Karelia (Opus 2)
腰樂隊- 硬漢
Chance - Little, Big, Our Stars
【背景音樂】
Genius Enterprises STEMS INSTRUMENTS
You're Trouble STEMS BASS - Rich in Rags
【關於我們】
網站：https://fanchaoliuclub.fireside.fm/
郵件：ting@sheng.fm
公衆號 / 微博 / LinkedIn：聲動活潑
支持/打賞我們：http://shengfm.cn/donation


我們爲什麼都舍不得蝦米音樂？

The Kidnapper Bell

John Zorn - Pacifica

"Beautifully crafted instrumental music of the highest standard."
– Postcards From The Yellow Room

"Guapo take classic prog tropes and revivify them...brazenly and gloriously, it brandishes all the hallmarks of golden-era prog rock, but given a steroid boost and stripped of ego."
– The Quietus

"The foursome's sound is fashioned from coordinated chaos, discordant harmony, stimulating but dark auditory shades and graphic musical de-construction."
– Audiophile Audition

"...continues the upward trajectory of development for the band...this is a killer of a progressive work..."
– DPRP

"[Guapo] are conversant with the complex language of R.I.O...their trick is to add an urgent, assertive rock dynamic, which wrests their knotty harmonies and shifting time signatures from the sphere of contemporary classical chamber music towards something direct and gutsy."
– Prog

Celebrating 20 years in the game, the much-admired instrumental, experimental rock band Guapo are celebrating by releasing ‘Obscure Knowledge’, their explosive new album and tenth release!

The group started their life as a heavy bass/drums duo playing post-hardcore, noisy rock, but in the two decades since, they have expanded their instrumentation and their stylistic references to become one of Europe's most highly respected 'muscular and modern' experimental/progressive rock bands. 

Centered around founding member and extraordinary drummer David J. Smith, the group on the album also features three additional heavy-weights of British experimental rock: 

Kavus Torabi-guitar (also of Knifeworld, Cardiacs, Gong)
Emmett Elvin-keyboards (also of Chrome Hoof, Knifeworld)
James Sedwards-bass (also of Thurston Moore Band, Chrome Hoof)

The album's 43 minute long track is a dynamic, fluid beast that takes the listener on a scenic journey through loud New York minimalism, celestial drones, avant rock, kosmiche-noise, rockin' riffs and way beyond.
 
Smith, who is also a sculptor as well as drummer, looks after the aesthetic considerations of Guapo and is keen to provide a backstory for their albums. Smith explains: "The title of the piece of music and album is derived from the psychoactive rituals of various Native American people who are said to 'tap into obscure knowledge' when performing certain rituals and rites of passage." 

Guapo, "Obscure Knowledge I" [Radio edit] from 'Obscure Knowledge' (Cuneiform Records)

Kismet

Riffs de Tool, tocados por mi. 
Guitarra ---> Digitech "Hot Head" Distortion ----> PC.

Tool Riffs

04. John Zorn - Benicia

TOOL Remix(Kiener)

Remix of MK Ultra featuring my buddy A.J. Lewandowski on bass

MK Ultra Remix (Feat. Cannibalistic Zombie)

John Zorn - Miller's Crake

Tool - sober (MagicTofu remix)

PURCHASE The Kandinsky Effect - 'Synesthesia' @
AMAZON (digital & physical): http://www.amazon.com/Synesthesia-Kandinsky-Effect/dp/B00A04YGR4/
WAYSIDE (physical - ships worldwide): http://www.waysidemusic.com/Music-Products/Kandinsky-Effect---Synesthesia__Rune-spc-358.aspx
ITUNES (digital): https://itunes.apple.com/us/album/synesthesia/id592523257
BANDCAMP (hi-fi digital): http://cuneiformrecords.bandcamp.com/album/synesthesia

Conceived on Paris’s cosmopolitan jazz scene, forged on the road in America, and informed by international currents in electronic music, The Kandinsky Effect is a jazz power trio for the 21st century.  The trans-Atlantic band, based in New York City and Paris, makes its Cuneiform debut with 'Synesthesia', a roller-coaster ride of an album marked by fierce grooves, subtle electronic textures, intricate metrical shifts, and a commitment to empathic group interplay.

Featuring Warren Walker on saxophone and electronics, bassist Gaël Petrina, and drummer Caleb Dolister, The Kandinsky Effect explores a distinctive swath of sonic territory, inspired by similarly electronica-laced ensembles like Kneebody and Jaga Jazzist. With a long history as a cutting edge format, the saxophone, bass and drums trio is usually employed by horn players looking to explore harmonically unfettered improvisation. The Kandinsky Effect finds a different kind of freedom in the lack of a chordal instrument.

The album opens with the rough and tumble “Johnny Utah,” which has little to do with Keanu Reeves’ surfer/FBI agent in the beloved 1991 film “Point Break,” except maybe a brooding sense of momentum, a relentless drive enhanced by clattering percussion breaks. Like several of Walker’s tunes “M.C.” moves sleekly through a series of sections, each built upon a different rhythmic theme or motif. In the same way, “Walking…” sounds more like a series of helter-skelter sprints over broken ground than a leisurely stroll. 
 
While the band excels at acceleration, The Kandinsky Effect also knows how to slow down, playing melodies that ooze and saunter. On Walker’s “Cusba,” the band displays a knack for mysterious balladry, with a coolly disquieting theme. The atmosphere gets thicker on “WK51” with the clattering march-time snare chatter building cinematic tension, the coiled calm before a deadly confrontation. The album closes with “If Only,” another ominously serpentine line with subtle layered effects that make it clear the trio has absorbed lessons from Bjork, Squarepusher, and Aphex Twin in developing a lapidary but spacious sound.

Over dozens of shows performed in North America and Europe, the well-travelled trio of Walker, Petrina and Dolister had honed their collective sound to a fine polish. The transatlantic met in a studio mid-way between New York and Paris – in Rejkavik, Iceland! – to record their new album. The result was 'Synesthesia', The Kandinsky Effect’s second release, and the group’s first recordings on American-based, internationally-distributed Cuneiform Records. Featuring 11 captivating tracks that are simultaneously rhythmically gorgeous, groove-laden, compositionally interesting and immediately accessible, 'Synesthesia' promises to spread the sensory magic of The Kandinsky Effect’s transatlantic jazz worldwide.

The Kandinsky Effect, "Johnny Utah" from 'Synesthesia' (Cuneiform Records)

Diego Perinetti: Bass, Guitar, Ebow, Keyboards, Production
Camilo Bywaters: Drums
Clemente: Sax

04. John Zorn - Benicia

berk24

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