released 2104 on TROUBLE IN MIND
http://troubleinmindrecs.com

Nicht Zu Stoppen

Jason Molina ft. Will Oldham, Alasdair Roberts - 'September 11, 2001'

Read Alasdair’s words behind the recording here: http://bit.ly/jms11_blog

September 11, 2001

Jason Molina ft. Will Oldham, Alasdair Roberts - "September 11, 2001"

disappears 'halcyon days'

• GET STONED with these 14 mindblowing psych rock versions of classic Rolling Stones songs performed by the newest leaders of experimental space rock! 

• Includes Clinic’s hallucinogenic take on “I Know It’s Only Rock & Roll (But I Like It),” The Vacant Lots’ stimulating version of “She Smiled Sweetly,” The Allah-Las’ gorgeous “Stoned,” Pure X’s haunting “Beast Of Burden” and many more!

• Available on both CD & vinyl!


Track Listing:
 ---------------------------------
1. Lorelle Meets The Obsolete - What A Shame
2. The KVB - Sympathy For The Devil
3. Shiny Darkly - Under My Thumb
4. Yeti Lane - Sway
5. Clinic - It’s Only Rock & Roll (But I Like It)
6. Sons Of Hippies - Gimme Shelter
7. The Vacant Lots - She Smiled Sweetly
8. Celestial Bums - Child Of The Moon
9. Tashaki Miyaki - Take It Or Leave It
10. Allah-Las - Stoned
11. Pink Velvet - (I Can’t Get No) Satisfaction [CD ONLY]
12. Pure X - Beast Of Burden [CD ONLY]
13. Cheval Sombre - As Tears Go By
Sonic Boom (Spacemen 3) produced 
14. The Tulips - Wild Horses



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http://cleorecs.com/ (P) (C) 2015 Cleopatra Records, Inc.. All rights reserved. Unauthorized reproduction is a violation of applicable laws
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 [Tags: #CleopatraRecords #TheRollingStones #PsychRock #Psychedelic  #LorelleMeetsTheObsolete  #Tashaki Miyaki #AllahLas #TheOrchard #E1 ]

1. Lorelle Meets The Obsolete - What A Shame

Picture You (Prod Reklusive)

Let's dance (David Bowie cover) - Live by Moodoïd feat Leonie Popo at Château d'Hérouville

Jean Bernard Raiteux 
Les Demons
FKR086
LP | Digital

The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time.

Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art.

Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.

www.finderskeepersrecords.com

Jean Bernard Raiteux - The Weakness Of Rosalinda

Live At The Venue

Never Known

When Lali Puna released "Our Inventions" back in 2010, it was a long overdue return for the band; in fact, more than half a decade elapsed between the current LP and its predecessor. However, the Munich-based foursome now seems to want to make up for that, dropping this new EP in early 2012, at a point when "Our Inventions" is still lingering in the air. It's an afterburner of sorts, a remix addendum, an early continuation fittingly entitled "Silver Light".
Before singer Valerie Trebeljahr and her band mates officially hand over the original recordings, they set the tone with a beautifully rendered cover song: Lali Puna's take on Mort Garson's "I've Been Over The Rainbow", originally released on the LP "The Wozard Of Iz" (1968), a dark parody of the original "Wizard", sounds both forsaken and strangely welcoming as they venture deeper and deeper into the void that is to be found at the very core of this track. With this choice Lali Puna not only pay homage to the late-great moog master who died in 2008, but also present a song that works as a stunningly ruminative prelude to "Silver Light". 
It's obviously dark now, and the night is upon us: Cornelius' remix of "Hostile To Me" washes over the listener like a beautiful lullaby, it's soundscapes shimmering at sundown or night-fall, moments that do not sound hostile at all; instead, by combining multiple vocal parts Keigo Oyamada ultimately even manages to lift this track to almost ethereal heights – obviously something Lali Puna would never dare themselves. Since "Our Inventions" was heavily concerned with the downsides of progress, and posing questions about our constant need to stimulate growth, it's a logical step to present Trebeljahr's lyrics (such as "destroy this place") in this downshifted way. "Leave your signs on the wall", she sings, but these are signs that are no longer tangible; it's nothing but a last flicker in the darkness surrounding us. 
In Los Angeles it doesn't really get that dark; only in the hills, a place a certain Will Wiesenfeld aka Baths calls home. This Will not only has some amazing sideburns, but he's also the perfect guy to deliver a remix of a track like "Move On": Baths will always turn the original into something with a lot of oomph, even if it's just to get things moving in his hometown, the capital of heavy traffic and congestion. However, Baths and his whooshing, brainfeeding approach as a producer are not an unlikely choice for "Silver Light" – after all he's an artist hailing from the anticon. camp, and by now it's almost a tradition to collaborate with musicians from Munich or Weilheim. 
Finally, hailing from the same camp, there's Odd Nosdam, who just recently collaborated with Saroos: "Safe Tomorrow" done Nosdam style is another massive, broad expanse of sound; it's a new take with more internal pressure, even though ultimately, after more than six and a half minutes, he follows Trebeljahr's request to please "try to make it home by night". And it's true: Nighttime is certainly the best time of day to enjoy the silvery glow of this EP.

buy 

Lali Puna : i ve been over the rainbow (coverversion)

From the forest floor:

"Having unearthed The Fugs CIA man some years before, we were shocked to discover a newer more sinister agency had taken over from the diatribe's protagonist so we updated Tuli Kupferberg's list of ills...

"Of course every time the song is now mentioned online, a blip of data triggers a filter that enters a file that rings a bell in a bunker deep under a mountain in Pennsylvania. So now the forest is full of agents looking for us, and we are taping up our microphones and cameras and walking backwards through our own footprints to shake them off..."

Snapped Ankles - CIA Man (NSA Man Violation)

Can 3CD Box Set - 'The Lost Tapes' released on Mute on 18 June (Europe) /June 19 (US)

PRE-ORDER NOW: http://bit.ly/can-thelosttapes
US: http://amzn.to/Jdnvds

For more information sign up here: mad.ly/signups/50703/join

Limited edition 10" square, old fashioned tape box style packaging with 24 page 10" booklet.

Includes exclusive sleeve notes by Irmin Schmidt and Ian Harrison.

The Lost Tapes is a 3 CD set of unreleased tracks, they are an opportunity to hear unreleased material, brand new tracks as if you were there, from the halcyon days, not outtakes.

The tracks cover the period from 1968 through to 1977 and were compiled by Irmin Schmidt and Daniel Miller.
The album features studio material recorded at Schloss Nörvenich and Can Studio, Weilerswist with the Can line up of Holger Czukay on bass, Michael Karoli on guitars, Jaki Liebezeit on drums and Irmin Schmidt on keyboards, and on most tracks, vocals from Malcolm Mooney or Damo Suzuki.

Irmin Schmidt explains "Obviously the tapes weren't really lost, but were left in the cupboards of the studio archives for so long everybody just forgot about them. Everybody except Hildegard, who watches over Can and its work like the dragon over the gold of the Nibelungen and doesn't allow forgetting."

Official Store

CAN - A Swan Is Born

Vielleicht kann man sagen, dass hier Freigeister der Diskotheken melancholische Parolen auf die Tanzfläche schütten.
Oder eine Synthesizer-Orgel, ein Schlagzeug und ein Konservenbass versuchen das zu sagen, was viele nicht verstehen.
Oder Poesie vor Prosa. Oder Tanz vor Musik. Oder die Dinge von Gestern im Zeitgeist von Morgen. Oder auch alles umgekehrt.
Alles ist Klaus Johann Grobe. Alles ist Duo. Alles ist modern. Und alles ist Heute.

Nicht Zu Stoppen

Klaus Johann Grobe

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