Soft Machine mix

soft machine

laswell

singles

Cuneiform Releases for January/February 2015

2015 February 24

2015 March 13

canter

Soft Machine - Esther's Nose Job

I thought I'd give it up for good,
'cause none of my actions are understood.
I thought I'd really leave,
and my coming back's something you'd never perceive.
I thought I'd make it;
Yes, I really thought I'd make it,
but then you smiled, you didn't rile
me,
now I'm running back
running, running back.
I saw a vision of a love long deceased
and a chilly wind coming from East.
I know I can say I did my best,
but there were no more warm winds from the West.



Running Back - Van Der Graaf Generator

This song is all about melancholy, expressed through melody. The personal memories attached to this song are just as bittersweet, although they represent a positive experience overall.

Soft Machine - Memories

Tom Waits - Romeo is Bleeding

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Sut Sanaen #2

Khun Narin's Electric Phin Band - Sut Sanaen #2

The new album, 'Moonlight,' is out now.

Hanni El Khatib's 'Moonlight' LP on iTunes: smarturl.it/hekmoonlight

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Hanni El Khatib - "Moonlight"

♫  Full article ♫: 
http://www.deephouseamsterdam.com/full-premiere-baltra-vision-original-mix/

Michael Baltra is a New York local making a name for himself in the city's nightlife for being the handsome and charming DJ who keeps crowds alive in the city’s seductive clubs. For his debut EP on Safer At Night, he spawns a hypnotic whirlwind of sexy and tripped out late night grooves. One of the key tracks is The Vision, a futuristic and melodic dive into the deep that you can hear exclusively here for the very first time.

Baltra's debut on Safer At Night Records will be released on the 21st of October.

♫ Full Article ♫  

Full Premiere: Baltra - The Vision (Original Mix)

From the forthcoming album, 'Rapture,' in stores Feb 17, 2015.

Pre-Order Rapture on iTunes & get "Blame" instantly: http://found.ee/RaptureiTunes

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Tropics - "Blame"

De Lux - "Marquee Moon" (Television Cover)

Soft Machine were one of the greatest UK avant/jazz-rock bands of all time and their work continues to be name-checked by today's hip experimentalists. 

Released for the very first time here is the Soft Machine's television broadcast, recorded for Germany's famous "NDR Jazz Workshop" on May 17, 1973. This performance was one of the earliest shows by the quartet of Roy Babbington (electric bass), Karl Jenkins (oboe, baritone sax, soprano sax, electric piano), John Marshall (drums) and Mike Ratledge (electric piano, organ). This was a very high profile appearance by the group and for this performance Soft Machine made it a special show. They performed a set of their repertoire in their quartet format and then for the second set they were augmented by two guests: guitarist Gary Boyle (who had just started Isotope) and saxist Art Themen. This addition brings an exciting & different sound to the repertoire and make this more than 'just another live release'. Additionally, Hugh Hopper had just left the group, but he makes an guest appearance performing 1983; the only known live version of this composition. This long sought-after performance has never been seen since its original broadcast over 35 years ago.

Soft Machine, "Stanley Stamp's Gibbon Album" from NDR Jazz Workshop: Hamburg, Germany, May 17, 1973

The brutal-jazz power trio Schnellertollermeier doesn't screw around. Their uncompromising attitude is even apparent before you hear a note of their music -- it's right there in that deliberate tongue-twister of a name. Their fresh and uncompromising mix of jazz, punk, rock, sound and free improvised music, combined with great musicianship, interplay and a lot of energy, immediately hits the bullseye!

The three men behind the music, guitarist Manuel Troller, bassist Andi Schnellmann, and drummer David Meier, are all eclectic musicians. Schnellmann earned a degree from the Jazz School of Lucerne; Troller studied with British guitar legend Fred Frith and has collaborated with famed U.S. jazz drummer/composer Gerry Hemingway, among others; Meier's ability to bring his own voice into many different musical contexts has made him one of the most sought-after drummers of his generation and he has toured in most parts of Europe, as well as Russia, China and Japan.

In 2006, the three musicians, all around the age of 20, started the trio. Very quickly after their first concerts and their their 2008 debut album, Holz, they become something of a 'underground buzz' in Switzerland, leading to many further appearances. While Holz mostly featured traditional structures of composing revealing their eclectic influences (ranging from Tim Berne to John Abercrombie to Mr. Bungle etc.), Schnellertollermeier soon started working on new material, seeking a more personal sound, both compositionally and improvisationally. The result of this work, combined with the many concerts the group was playing, was their second album Zorn Einen Ehmer Üttert Stem, which was enthusiastically received critically and led to appearances in the most important clubs as well as festivals in Switzerland and Austria.

The group now had a more clear and more original roadmap they were traveling: the group's 'traditional jazz' elements were being subsumed by the brute energy from rock and experimental music, as well as improvisational soundscapes, minimal music and, finally, jazz in the modern, broad, experimental sense. Additionally the idea of a band sounding like one compact organism, with every element having its own importance and clear function, found its result on X. On X, the traditional function of the instruments - the classic power trio of bass, guitar and drums - have clearly been expanded, the bands energy as well as their compositional and performance qualities are even more intense and original than before. The songs, whether long or short, crushing or ambient, have absolutely no padding on them.

schnellertollermeier, "X" (excerpt) from 'X' (Cuneiform Records)

Guitar summits don't ascend higher than when legendary British free-jazz pioneer and longtime session ace Ray Russell meets the brilliant California avant-improv overachiever and Antarctic diver Henry Kaiser in the realm of The Celestial Squid. With more than countless session and soundtrack performances to his credit, including the early James Bond film scores, Russell is returning to his bone-rattling, noise-rocking roots for the first time since the very early 70s. You'll be shaken and stirred as Kaiser, Russell and eight super friends deliver a no-holds-barred, free-range sonic cage match.

Russell created some of the early '70s' most outrageously outside music, releasing hallmark works of guitar shock-and-awe. Russell's "stabbing, singing notes and psychotic runs up the fretboard have nothing to do with scalular architecture," wrote All Music's Thom Jurek, "but rather with viscera and tonal exploration." Russell anticipated the wildest and most intrepid vibrations of Terje Rypdal, Dave Fuzinski, Sonic Youth, Keiji Haino, Tisziji Muñoz and their boundary-dissolving ilk. Russell is hardly a niche performer, though. Untold millions of music and film fans have actually, if unknowingly, already enjoyed Russell's riffs – at least if they saw any of the James Bond films that John Barry scored, beginning with Dr. No in 1962.

For over 40 years, Russell would not make such exploratory music until West Coast guitar experimentalist Henry Kaiser called him out of the blue and asked if he would be interested in co-leading an ensemble in the style of his '71 masterpiece, Live at the ICA: June 11th 1971. Russell was surprised and delighted by the offer, and readily accepted. Why had he waited so long to once again explore the free-jazz spaceways you might well wonder? Simple – no one had asked him to do so!

So on April 12, 2014, Henry Kaiser and Ray Russell – along with drummers Weasel Walter and William Winant, bassists Michael Manring (electric) and Damon Smith (acoustic), and saxophonists Steve Adams, Joshua Allen, Phillip Greenlief, and Aram Shelton – entered Berkeley, California's Fantasy Studios for a day-long session that resulted in The Celestial Squid, a nearly eighty-minute embryonic journey through the deepest waters and most cosmic heights of improvised music. Except for melodic heads and compositional structures, everything on The Celestial Squid is improvised, down to some astonishing extemporaneous horn arrangements. While The Celestial Squid echoes the raw energy and youthful bravado of Russell's earliest achievements, this music synergizes the combined power and imagination of all ten of these musical masters into a force to be reckoned with.

Henry Kaiser & Ray Russell, "GuKTen LIMPo" from 'The Celestial Squid' (Cuneiform Records)

"...a mind-bending, eclectic and challenging sonic stream that doesn’t contain even a shred of pretentiousness, but is full of creativity, individuality, expressivity and outside of the box thinking." - Igloo
"Come to this show blindfolded and you’ll have a hard time believing the music is being created by just three people." – Capital Bop

"The Kandinsky Effect is an accomplished band not because they implement electronics into jazz music, but rather for how they utilize electronic configurations to make their music radiate." – Audiophile Audition

"...five solid years of recording and touring have fine-tuned their approach, stretching out beyond the confines of jazz into many directions, with electronics, funk grooves, bop, touches of punk, progressive rock, ambient and much more....not content to just re-tread what’s been done before them, but determined to break new ground at every turn, all the while keeping their sound completely listenable and satisfying." – Exposé

On Somnambulist, The Kandinsky Effect wields its musical power in a welcoming way. Their third album isn't form-eschewing free jazz, nor are the tonalities the trio employs particularly "out". The real revelation -- and revolution -- comes simply in the way saxophonist Warren Walker, bassist Gael Petrina, and drummer Caleb Dolister organize sound.

The trio is a purist's nightmare -- and not only that of a jazz purist either. Since their first, self-titled album came out in 2010, The Kandinsky Effect has been boldly blending jazz with elements of everything from hip-hop to electronic music, making for an idiosyncratic amalgam that never goes exactly where you might expect it to;  nothing can completely prepare you for its marriage of groove, atmosphere, and incendiary playing.
Bandleader Walker feels the album is the most effectively conceived collection of what he wryly calls the group's "nerd music" to date. "I feel like I had a clearer idea of what I was looking for in the sound of my compositions and how to approach writing for this group," he says, "it's a sort of coming-of-age piece."

The ability to incorporate a broad range of musical, geographical, and emotional influences into their music is at the core of The Kandinsky Effect's makeup. Formed 2007 in Paris, France, the original lineup included Petrina and Parisian drummer Gautier Garrigue. In 2010 they recorded their first album, The Kandinsky Effect. While influenced by hip-hop and electronics, the album was much more rooted in jazz and featured mostly acoustic instrumentation. Dolister joined for 2013's Synesthesia, which began to expand the band's sound, blending everything from Petrinas fondness for electronica to Dolister's love of heavy rock bands like Meshuggah, and Walker’s unique approach to composition and electronic soundscapes. 

Over the years, the group has traveled extensively, performing multiple trips and tours in Europe, Asia, and North America, perfecting what Dolister calls their "intellectual groove instrumental music." And from the slip-sliding beats and slithering sax lines of opening track "Copalchi Distress Signal" to the insistent pulse and layered, lyrical melodies of closing cut "Muji," there's a feeling of the refinement process reaching fruition on Somnambulist.

The Kandinsky Effect, "Somnambulist" from 'Somnambulist' (Cuneiform Records)

In the history of British jazz, there were few voices as unmistakable as Mike Osborne's alto saxophone, but his story is one of the tragedies of British jazz. Within 15 years of his first recordings, simmering mental illness had taken over and forced him away from his musical compatriots in vibrant London and brought him back to his native Hereford (near the Welsh border), where he lived under care until his death in 2007, his saxophone silent for decades.

But during his career, Osborne was one of British jazz's most versatile players, working with members of the various spheres creating a new indigenous British jazz: the Spontaneous Music Ensemble circle; the crowd around the South African Blue Notes; members of the Canterbury Scene; and the modernists centered on John Surman.

Dawn presents Osborne in both his earliest surviving recording, as a co-leader with Surman of a quartet from 1966, and in 1970 with the first known recordings of his mighty trio with the transplanted South African rhythm team of Harry Miller and Louis Moholo. These unearthed recordings not only fill in important gaps in Osborne's own discography but in the history of British jazz as a whole.

The first six tracks, recorded in 1970, are by his trio, his main vehicle as a leader and featuring his most long-standing partners in Miller and Moholo. The band only made two albums during its lifetime, Bordercrossing and All Night Long. Dawn is significant for presenting the trio years before these sessions and demonstrating that the group's sound, marked by Osborne's tart melodicism, Miller's brawny lines and Moholo's propulsive freedom, was established at the beginning of their partnership.

Listeners will then travel back four years earlier, with four recordings taken from a period when names now famous were just coming out from the shadow of Britain's traditional jazz scene. Osborne, 24, is there in his first recording, Surman, 21, in only his second, supported by Miller and drummer Alan Jackson. This was an era of formal suits and allegiance to the innovations in American jazz happening on labels like Blue Note and ESP-Disk', reflected in the performances and the material.

In all, there is well over an hour of excellent quality, previously unheard and unreleased recordings here, as well as a 12 page booklet with informative liner notes and many previously unseen photos. This is an important document historically, but even more importantly, it's really great music.

Mike Osborne, "An Idea" from 'Dawn' (Cuneiform Records)

Soft Machine were one of the greatest UK avant/jazz-rock bands of all time and their work, whether their earliest performances as a psychedelic band, who were contemporaries of, and shared stages with Syd Barrett's Pink Floyd and the Jimi Hendrix Experience, all the way to being one of Europe's best known 'fusion' bands, their work continues to be name-checked by today's hip experimentalists.

By mid 1973, Soft Machine had gone through a tremendous amount of personnel turnover and a shifting in their sound over the previous year. The band now consisted of founding member Mike Ratledge (electric piano, synthesizer), Karls Jenkins (electric piano, piano, sax, oboe), Roy Babbington (electric bass) and John Marshall (drums and percussion). Having already collaborated with a guitarist, Gary Boyle (as documented on NDR Jazz Workshop), upon meeting guitarist Allan Holdsworth, then in the early stages of his professional career, in November, the group invited him to join the band, which he did, becoming the first guitarist to join the band in over 5 years!

With the addition of a musician of Holdsworth's prowess,  Soft Machine decided to take a fresh start and develop material that would feature their virtuosic new addition in a fitting manner. Jenkins and Ratledge composed a whole new repertoire which was road-tested on extensive tours of North America and continental Europe in the first half of 1974 and which would ultimately make up the Bundles album, widely acknowledged as a jazz-fusion classic alongside the best exponents of the genre worldwide.

On July 4, 1974, Soft Machine were invited to perform at the prestigious Montreux Jazz Festival in Switzerland, sharing the spotlight with such headliners as Billy Cobham’s Spectrum, Larry Coryell’s Eleventh House and the Mahavishnu Orchestra. This alone was evidence of the band being a dominant presence on the now widely popular jazz-rock scene, which had evolved out of the unique and edgy sound that the band had pioneered a few years before. Switzerland 1974 is this performance, captured just a couple of weeks before the studio sessions for Bundles. The hour-long set is the only available visual document of the Ratledge-Marshall-Jenkins-Babbington-Holdsworth  line-up, and it includes live versions of the entire album, most notably the classic “Hazard Profile” suite, augmented with individual showcases for each member as well as a collective improvisation and brief snippets from Six and Seven. As well as retracing Soft Machine’s transformation into one of the leading exponents of jazz-fusion, it provides a rare chance to witness the genesis of Allan Holdsworth’s unique, innovative and unbelievably fluid and dexterous playing, before he went on to universal acclaim with Tony Williams’ New Lifetime, the prog-rock ‘supergroup’ U.K., Jean-Luc Ponty, Bill Bruford and ultimately his own electric fusion groups.

Caveat: Due to the age of these tapes and how they had been previously mixed, edited, used, and stored, there were multiple visual and audio sources of this show in varying lengths, each with their own flaws. While significant flaws could not be completely eliminated, very special thanks are due to our engineers Doug Moon and Udi Koomran, who worked from these multiple copies in order to make the final result as good as it can possibly be. This was deemed the best available option in light of this document’s archival/historical importance.

Soft Machine, "Hazard Profile" (excerpt) from 'Switzerland 1974' (Cuneiform Records)

"...a feast of heavy, odd-time riffing" 
– Washington City Paper 

"...a stunning example of both virtuosity and clever composition...amazing, and amazingly consistent...." 
– All Music Guide 

"Seldom is music so challenging also so easy to listen to." 
– Prefix 

"...there’s something revitalizing about hearing a band like Upsilon Acrux hitting their stride...." 
– Dusted 

“Upsilon Acrux is Amazzzzzzzzing” 
- Thurston Moore (Sonic Youth) 

“Upsilon Acrux makes some of the most detailed compositions I have ever heard” 
– Nels Cline 

"Active in various configurations for a decade, the SoCal quintet condense hundreds of ideas into an instrumental supercollider and keep them vibrating on the brink of fission. The result is scary. The compositions -- spun with tight intensity by two guitars, synth, bass and drums -- link and overlap fragments from all over the musicsphere: Zappa carnivalations, Television accelerations, science polka, metallic fury, distant reggae. It’s nervous, sparky, often dissonant but more listenable than you’d think, even the 28-minute “Transparent Seas,” a work of symphonic scope spanning from switchback blasts to crushed nobility, with an elegant waltz in the middle so you can catch your breath...Strong cover art, funny song titles (“Keeping Rice Evil”) -- it’s hard to fault Upsilon Acrux except to wonder why they limit their audience to smart folks obsessed with metal/punk/art imaginings by fringineers.... Most of us come to music when we want to get drunk and screw; Paul Lai and his cabal get out their axes when they want to drink espresso and do calculus. Takes all kinds. Fortunately." 
- metaljazz.com

Upsilon Acrux is an instrumental quintet (dual guitars, keyboards, bass and drums). Their music is generally very intense, loud, hard-hitting and unbelivably virtuosic. Upsilon Acrux's music is demanding on many levels, but mostly it demands that you listen to it a number of times before forming an opinion, because only after you've gotten familiar with it can you get past the sheer complexity and onslaught of it all and hear the amazing musicality of what they are doing. This combination of blazingly fast, interwoven musical lines delivered at blinding speed mixed with their unique melodic sense makes Upsilon's music instantly recognizable. They are one of the most creative and original of the shockingly large number of great post-punk, avant-garde rock bands today. This is their sixth album of explosive, intense and surprisingly beautiful intricate, instrumental rock music.

Upsilon Acrux, "Landscape With Gun And Chandelier" from 'Radian Futura' (Cuneiform Records)

New Single from Mocca's Latest Album, Home (2014)

---

Changing Fate

In the darkest hour of night
I’m sitting here
Waiting for your reply

In the coldest chill of night
I’m standing still
Waiting for your sign

What do we have now?  Take a look at us..
Though it takes courage.. do we have enough?
Do we let love depreciate or do we dare to change our fate?

In the twilight hue of dawn
I lie awake quiet and withdrawn

On the window pane the beating rain
Plays a lonely song

What do we have now?  Take a look at us..
Though it takes courage..do we have enough?
Do we let love depreciate or do we dare to change our fate?

In the coldest chill of night
I’m standing still
Waiting for your sign

What do we have now?  Take a look at us..
Though it takes courage..do we have enough?
Do we let love depreciate or do we dare to change our fate?

Take a look at us..do we have enough? (what about us now)
Take a look at us..do we dare to change our fate? (what about us now)
Take a look at us..do we have enough? (what about us now)
Take a look at us..do we dare to change our fate?

In the darkest hour of night
I’m sitting here
Waiting for your reply

Mocca - Changing Fate

"I could easily fill a page talking about any given minute of this album, but suffice it to say that if you’ve ever loved Magma’s apocalypticisms, Neu!’s ghosts in the machine, or Beefheart’s Dada boogie—or at least dreamed of watching the Mormon Tabernacle Choir fall down a very long flight of stairs—it might be for you." 
- Monica Kendrick/Chicago Reader 

"...[Cheer-Accident] meld difficult, angular rock with absurdist lunacy in intentionally disturbing ways that are just brilliant." 
– Alternative Press 

"There are few ensembles that can make noise sound both as mysterious and as strangely inviting as Cheer-Accident." 
– Delusions of Adequacy

For over 20 years, Cheer-Accident have been a creative, interesting force in rock music. They constantly strive to surprise their audience and themselves with constant reinvention. Fear Draws Misfortune is their 16th release and arguably their best release so far, as well as their album which strives the furthest towards a powerful balance between personalized and unique studio techniques and the excitement of a visceral, live, well-honed rock band. Which is saying something. 

It is a strongly compelling and high-reaching album that uses a wide variety of ideas, styles and studio techniques, resulting in a cohesive and ambitious album of art-rock. The basic band is a trio who between them perform on vocals, keyboards, trumpets guitars, bass and drums, but they are augmented by 15 additional musicians who, each in their own way, bring their own musical gifts to the album. Fear Draws Misfortune reveals a fortuitous intersection between Cuneiform and Cheer-Accident, both of whom have long admired the other and both of whom finally decided to do something about it! This long overdue marriage, which neatly coincides with a timely (and quite lengthy) cover-feature article in December 2008's Signal To Noise magazine, promises to hurl Cheer-Accident into wider recognition.

CHEER-ACCIDENT, "According To The Spiral" from 'Fear Draws Misfortune' (Cuneiform Records)

Captain Beefheart's music is the quintessential 'outsider art music' of the second half of the 20th century. Despite the fact that he retired from music over 25 years ago, his music resonates more strongly than ever as an influence on contemporary music. Fast 'n' Bulbous offer a unique slant on the songbook of one of contemporary music's most idiosyncratic musical figures. The band features seven great, well-regarded musicians drawn from the rock and the jazz worlds: co-leaders guitarist Gary Lucas (who was in the final incarnation of Beefheart's Magic Band) and saxist/arranger Phillip Johnston (of the Microscopic Septet) as well as drummer Richard Dworkin, and baritone saxist Dave Sewelson (both also of the Micros), trombonist Joe Fieldler (Ed Palermo Big Band and Satoko Fujii's big band), bassist Jesse Krakow (of Time of Orchids and Doctor Nerve) and trumpeter Rob Heinke (also of Doctor Nerve). With a strong, creative line-up like this, you know that you will be getting something more than just a 'cover band' and you indeed are. Heartfelt, exciting and it both rocks and swings!

"As with their first album Fast 'n' Bulbous take on a fascinating selection of songs from the Beefheart songbook covering albums from Safe As Milk through to Ice Cream For Crow. 

The familiar tunes are redefined for a brass section and Don's voice is echoed by horns as the band grapple with the mysteries of the Beefheart rhythm and add their own compelling improvised embellishments taking the songs to a new place. And it's all done with an obvious love of the music and a sense of fun." from www.beefheart.com 

"...a perfect fit for hungry Beefheart fans the world over...Fast 'n' Bulbous have painstakingly retooled the Captain's best-known works as big-band instrumental compositions. The results are fairly staggering...this collection is a masterful reinterpretation of rock's Grand Surrealist's best work. Brilliant!" 
– The Big Takeover

Fast 'N' Bulbous, "Woe-is-uh-Me-Bop" from 'Waxed Oop' (Cuneiform Records)

Pre-order Alessandro Cortini's Forse 3 and a deluxe Forse t-shirt box set here: 
http://importantrecords.com/imprec/imprec418

Alessandro Cortini "Scappa" from Forse 3  2xLP   Pre -Orders available now

New records coming all year. This one's free.

http://temporaryresidence.com/artists/prefuse73

© 2015 Temporary Residence Ltd.

Pre-Order New Albums

Storms Over Raqqa

Bill Fay "War Machine" off forthcoming album 'Who is the Sender?' on Dead Oceans out April 27th/28th

Pre-order via SCD/Direct: http://smarturl.it/billfay_scd?iQid=wm.sc // iTunes: http://smarturl.it/billfay_itunes?iQid=wm.sc // Amazon: http://smarturl.it/billfay?iQid=wm.sc // Your local record store: http://smarturl.it/billfay_indies?iQid=wm.sc

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Bill Fay - "War Machine"

Colin Stetson and Sarah Neufeld - "The sun roars into view"
from 'Never Were The Way She Was'

available 28 April January 2015 on Constellation:
cstrecords.com/cst113

Never were the way she was

Colin Stetson and Sarah Neufeld • "The sun roars into view"

Taken from the EP 'd/evolution remixed' released as Download.

LCC 'Quarz (Tujiko Noriko Remix)' (EMEGO 198X)

Artist: Prefuse 73
Title: You Are Now Poison
Album: Forsyth Gardens
Release Date: April 28, 2015

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Pre-Order iTunes: https://itunes.apple.com/us/album/forsyth-gardens/id967334047

Pre-Order on iTunes

You Are Now Poison

Melé - 01 - JAM1

Melé - 02 - Heaven & Hell (Melé Edit)

Melé - 03 - Dusty

Melé - 04 - Wanna Be Startin Somethin' (Edit)

Spaced is previously unreleased studio recordings recorded in early/mid 1969 by the "classic" Soft Machine trio line-up of Hugh Hopper [bass], Mike Ratledge [electric piano/organ] and Robert Wyatt [drums]. These heavily manipulated/ looped/etc. recordings were originally presented as the backdrop to a multi-media work entitled Spaced. After it's week-long performance, the tapes were forgotten for over two decades until rediscovered by Mike King. These recordings feature the band at their most radical, and while they would never again use the studio in such an extreme fashion, the work done here definitely influenced later works such as Third and Hugh's 1984.

Soft Machine, "Spaced Two" from 'Spaced' (Cuneiform Records)

Cuneiform Records is an independent record label releasing adventurous, boundary-bursting music by artists from around the world. Founded in 1984.