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MARCAS CARDEAIS

BraiNwasheD

Music for today28th Feb

Denis

Millimetric -  Dans mes yeux (Lyynk Remix)

Coil's infamous remixes of Nine Inch Nails finally appear. 

Nine Inch Nails vs Coil: Closer (Unrecalled)

Nick Cave & Current 93 - All The Pretty Little Horses

We will miss you James Izzo aka Thread aka "The Boy Without Hands"

Coil, "Dark River (the Null Tributary remix by Thread)"

We will miss you James Izzo, aka "Thread" aka "The Boy Without Hands"

Bowery Electric, "Saved (Readwriteerror Mix By Thread)"

This is a remix that James Izzo gave me years ago. It was never released anywhere. RIP James, you're missed.

Meat Beat Manifesto, "Wildlife (Thread remix)"

This was given to me by James Izzo (Thread) back in 1999. It is unclear as to which song or songs he has remixed by Pan Sonic (Panasonic back then).  RIP James, you're missed.

Pan Sonic, "unknown (Thread remix)"

artist: Charalambides
title: Exile
catalog#: krank158
formats available: 2LP / CD / digital
release date: October 03, 2011

Exile is the new Charalambides album. Five years in the making, it was recorded between 2006 and 2010 in various locations in New Hampshire, western Massachusetts and New York City, mixed at Black Dirt Studios, and mastered at Sand with Paul Gold. The group remains the core duo of Christina and Tom Carter, with contributions on one track by the string section of Helena Espvall and Margarida Garcia. 

Deeply imbued with the full historical spectrum of american folk and blues song form, Exile is a tapestry of suppliant invocations directed at the heart of the unseen spiritual forces surrounding us. Dense arrangements and thickly-overdubbed tracks sit side-by-side with material that ranks among the sparest and most skeletal the group has recorded, giving Exile the psychic scope of their classic Market Square album while building on the refinements of the more recent Likeness and A Vintage Burden releases.

This album quite coincidentally marks Charalambides' 20th anniversary, as it was the fall of 1991 when they first started playing, and they made their live debut in December of that year. Since their last album, Tom Carter has released a series of collaborations and solo works on a wide array of labels, while Christina Carter has been steadily releasing her solo work through labels including her own Many Breaths imprint.

track listing:
1. Autumn Leaves 2. Desecrated 3. Words Inside 4. Immovable 5. Before You Go 6. Into the Earth 7. Wanted to Talk 8. Pity Pity Me 9. Rider* 10. Down in the Valley* *LP only bonus tracks

selected discography:
A Vintage Burden 2006
Likeness 2007

press quotes for Likeness:
“Itʼs in the tangled intermingling of drone and chime, guitar and naked voice, where the likenesses become talismanic and strange, impossible to fully decipher.” Dusted

“Mesmerizing guitar drones that may dissolve your brain.” Spin

“This is modern folk music, and by taking handfuls of influences past and present Charalambides have created their most futuristic sounding record to date.” Boomkat

“The mix of the sentimental with the bleak further encourages the disparate mood of unease, making this one of the band's most engaging releases in some time.” Raven Sings the Blues

Charalambides, "Before You Go"

Into Nowhere remix 1 for the Dismantled -Disease contest


Dismantled - disease (Into Nowhere MIX)

This is the first of an ongoing series of songs by the DEATH OF THE WEST Side project "Covered Wagon" which will feature gothic/western covers of songs obscure and not so obscure beginning with the wunderbar HOTEL Y which originally appeared on the BLUE ROOM CD in 1998  and was written and composed by EDWARD KA-SPEL (of the Legendary Pink Dots -natch!) All music and vocals by Deadwood Dick in homage to the mighty Prophet Qa'spel. Gothic Western guitars and bassline yet to be added so it ain't all that western just yet but it is kinda goth!

COVERED WAGON presents a rendition of Edward Ka-Spels Hotel y (the fuk knot)

Come To The City

The War On Drugs - "Come to the City"

Ka-Spel:Hammill

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"

Cause 4 Concern - Never Acid Again [Neonlight Drumstep VIP] (C4CDIGUK012) OUT NOW!!!

Tom Waits (on Jim Wilson): "Wilson, he's always playing with time. I heard a recording recently of crickets slowed way down. It sounds like a choir, it sounds like angel music. Something sparkling, celestial with full harmony and bass parts - you wouldn't believe it. It's like a sweeping chorus of heaven, and it's just slowed down, they didn't manipulate the tape at all. So I think when Wilson slows people down, it gives you a chance to watch them moving through space. And there's something to be said for slowing down the world."

Source: "Woyzeck to run at Freud Playhouse". Daily Bruin (USA), by Andrew Lee. December 3, 2002

Find more on the recording on this link: http://www.democraticunderground.com/10023815586

Tom Waits on Tom waits talking about this recording - http://gloriousnoise.com/2008/tom_waits_interviews_tom_waits

More on the recording - http://hearingvoices.com/transcript.php?fID=142

You can buy original recording here - http://www.amazon.com/Gods-Chorus-Crickets-Jim-Wilson/dp/1932192077?tag=viglink124132-20

Original recording from the author - http://www.constancedemby.com/godscricketchorus_f.html

And more: http://scienceblogs.com/startswithabang/2013/10/13/weekend-diversion-is-this-an-amazing-chorus-of-slowed-down-crickets/

Jim Wilson | God's Chorus of Crickets | crickets audio recording slowed way down

Greater Than One, "We Don't Have Weekends"

Crematory - Tears of Time (Dance Remix)

Current 93 is one of my favorite artists of all time. I was very, very hesitant to post this, because I didn't want my c93 tribute to be one measly remix. I wanted to do an album, but I couldn't find enough songs that I could remix. If anyone wants to do and EDM Current 93 tribute album, hit me up. I post this with the utmost respect to David Tibet, one of my biggest musical influences. 

Current 93 - Whilst the Night Rejoices Profound and Still (DJ Broken Record Remix)

As we stare beyond the windows there
Over all the gardens
That have never been
And will never grow again
How long...how long?
The shining winking stars
The clouds too high, so high
Pointing to some final star
The dull face of the sky
The sound of the calling of the distant village bell
And all that....
And all that....
The sun is not enough for us any longer
And her smile, though she wears a hat, and her cheery rays, do not blanket
With their glorious glare, 
The burning body, with distorted nimbus I see so well
Just beyond my neighbor's house
It does not blank out 
The last sigh of the soul
Whilst the night rejoices profound and still
At the edge of your street
Both shadow and destroyer
But not, alas, the comforter 

Current 93 - Whilst the Night Rejoices Profound and Still (DJ Broken Record Remix)

Taken from the 'From The Shadows' Album by Black Sun Empire. Out Now on BSE Recordings. 

Buy Vinyl: http://www.triplevision.nl/release/BSELP006SAM/
Buy Mp3/Wav: http://www.beatport.com/track/eraser-neonlight-remix/3808469

Black Sun Empire - Eraser [Neonlight Remix] (BSELP006SAM) OUT NOW!!!

 An online music community with Web sites for numerous acts, weekly reviews, videos, music, podcast, festivals, and a small record label.

Coil, "Dark River (the Null Tributary remix by Thread)"

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