Allergrößten Respekt vor dieser Musik! Vielen Dank!!!

Popolvuh

Buy "Olivia (Seams Remix)" in The Ghostly Store: http://www.theghostlystore.com/products/shigeto-olivia-seams-remix

Shigeto - Olivia (Seams Remix)

Here's a blues that I'm been playing for years.

My other songs:

http://soundcloud.com/undefined-people/sets/undefined-peoples-greatest/

John Fahey - Some Summer Day

"Bury the Lines" is the second single from Eaters s/t debut out April 15 on Driftless Recordings / Dull Tools.

www.driftlessrecordings.com



Eaters - Bury The Lines

Track from the new Alex Cortiz album "New Works Vol.1" Available now at all major download stores and streaming sites.

New Works Vol.1

B Chill

Pomegranate

Bagpipe Blues

Introducing the first single from Italian duo, Throw Down Bones, whose debut album will be out 1st December. Those who saw them at Liverpool Psych Fest will know these guys have a unique electronica sound laden with guitars and rhythm that gets the party people moving.

Throw Down Bones' debut self titled album will be released on vinyl including deluxe edition, CD, cassette and digital. 

Available for pre-order here : http://fuzzclub.com/collections/fuzz-club-releases/products/throw-down-bones-s-t-album

Throw Down Bones - Saturator

track from the album CUMMI FLU / Z . ( ALBUM LABEL / MORR )

CUMMI FLU / Z.

The Train

I'm making a mirror

Aguirre I (L'Acrime Di Rei)

Tosca - My First [Nicola Conte Version]

PRE-ORDER: patrickcowley.bandcamp.com/album/afternooners

Dark Entries and Honey Soundsystem Records have teamed up once more to release the final volume of gay porn soundtracks by San Francisco-based musician and producer, Patrick Cowley. One of the most revolutionary and influential figures in the canon of disco, Cowley created his own brand of Hi-NRG dance music, “The San Francisco Sound.” Born in Buffalo, NY on October 19, 1950, Patrick moved to San Francisco in 1971 to study at the City College of San Francisco. He founded the Electronic Music Lab at the school, where he would make experimental soundtracks by blending various types of music and adapting them to the synthesizer.

By the mid-70’s, Patrick’s synthesis techniques landed him a job composing and producing songs for disco superstar Sylvester, including hits like “You Make Me Feel (Mighty Real)”, “Dance Disco Heat” and “Stars.” This helped Patrick obtain more work as a remixer and producer. His 18-minute long remix of Donna Summer’s “I Feel Love” and his production work with edgy New Wave band Indoor Life were both of particular note. By 1981, Patrick had released a string of dance 12″ singles, like “Menergy” and “Megatron Man”. He also had founded Megatone Records, the label upon which he released his debut album, “Menergy”. Around this time Patrick was hospitalized and diagnosed with an unknown illness: that which would later be called AIDS. Throughout 1982, he recorded two more Hi-NRG hits, “Do You Wanna Funk” for Sylvester, and “Right On Target” for Paul Parker, as well as a second solo album “Mind Warp”. On November 12, 1982, he passed away.

In 1979 Patrick was contacted by John Coletti, owner of famed gay porn company Fox Studio in Los Angeles. Patrick jumped on this offer and sent reels of his college compositions from the 70s to John in LA. Coletti then used a variable speed oscillator to adjust the pitch and speed of Patrick’s songs in-sync with the film scenes. The result was the VHS collections “Muscle Up” and “School Daze” released in 1979 and 1980. “Afternooners” is the third collection of Cowley’s instrumental songs, recorded in between 1979 and 1982. Some of these recordings are demos from the album "Mind Warp".  All songs were originally untitled, so we’ve used the titles from Fox Studio’s 8mm film loops. This compilation also includes three bonus tracks found in the archives of fellow Megatone Records recording artist Paul Parker and the attic of teenage friend Lily Bartels. Influenced by Tomita, Wendy Carlos, and Giorgio Moroder, Patrick crafted a singular sound from his collection of synthesizers, percussion, modified guitars, and hand-built equipment. The listener enters a world of forbidden vices, evocative of Patrick’s time spent in the bathhouses of San Francisco. The songs on “Afternooners” reflect the advances of the equipment available at the onset of the 1980s. Cowley's unadulterated electronic forms are stripped down and dubbed up. Lush electronic percussion, soaring synthesizer riffs and low slung funk grooves comingle on these magnificent soundscapes.

Featuring 70 minutes of music never before released on vinyl. All songs have been remastered by George Horn at Fantasy Studios in Berkeley, CA. The vinyl is housed in a gatefold jacket designed by Berlin-based artist Gwenael Rattke, featuring black and white photos of Patrick in his studio that opens to a full color array of x-rated scenes from the Fox Studio vaults. Included is a fold-out poster featuring a handmade collage using photography and xeroxed graphics of classic gay porn imagery and an essay from Drew Daniel of Matmos. For Patrick’s 67th birthday, Dark Entries and Honey Soundsystem Records present a glimpse into the futuristic world of a young genius. These recordings shed a new light on the experimental side of a disco legend who was taken too soon.

Afternooners

Patrick Cowley - Hot Beach

I remember the first time I read W.E.B. DuBois eclectic masterpiece The Souls of Black Folk. The way in which this Weberian scholar flowed from personal account to prose to sociological analysis to music and even political intervention has had a lasting impact on my own work as a cultural anthropologist. It made me understand that as scholars we must use different means in order to give expression to the totality of the lived experience: There is only so much in an academic text.

The experience of alienation has always been at the heart of my scholarly and artistic practice. I have used academic writing, lecturing, theatre performance and electronic improvisation to understand and represent it as a theoretical concept, postcolonial condition and lived experience. I believe, some issues need to be told like a story, some analyzed in most abstract terms and others need to be sung like a gospel. The medium changes the message.

In this sense, I guess, I’m a singing cultural anthropologist.

For some time now I have been engaged in the use of dystopian themes and sounds to paint a sonic picture of structural racism and whiteness of our present. But recently I have grown weary of this Ballardian idea of Future Now and the resulting phantasmagorian aesthetics myself and others have been invested in. The widespread availability of Digital Audio Workstations, sequencers, loopers and delay pedals has lead us into a futuristic cul de sac best described by Mark Fisher as the very absence of future.

Likewise, I am most skeptical of the “naturalist” countermovement, the return of folk. Especially in Germany, I am convinced there is no such thing as an innocent or progressive folk musical expression as it is always connected to the idea of the homeland (“Heimat”) which in turn produces the colony. It seems to me, the current zeitgeist is stuck between a “museum of a dystopian future” and a “museum of an idealized past”, but I wanted to sing about the present.

So, I involuntarily returned to pop music in its two-folded meaning of something popular and addressing not an essentialist notion of “Volk” or its woke cousin “communities”, but society as a whole.

I entered the studio just with a few lo-fi sounding melodies and rhythms from my circuit bent CASIO synthesizer. I had no clue what the finished product would sound like. But as soon as Markus started drumming, in a way strangely reminding me of CAN’s Ethnographic Forgery Series, my uptight sounds were suddenly embedded within a warmer global sound spectrum. The alien at home and abroad and the strange overlapped: We were seeing one and the same sound differently but were gently held together by Tobias’ producing.

Making music is about building coalitions. It’s about suggesting an articulation of styles, sounds and people, that hasn’t materialized, yet, but may help us in the current crisis: I wanted Amon Düül II to send their drug induced archangel thunderbird to rescue the refugees, that had tried to escape the police by climbing up a tree in Munich in 2016. I wanted Sun Ra to taunt far-right protesters in Chemnitz in 2018. And I wanted to mourn the loss of a former kebab shop cum discotheque that served as proof that there is such a thing as a minoritarian universalism.

SCHLAND IS THE PLACE FOR ME is a pop album featuring songs of alienation, not only as a tragic experience, but as a pop-cultural promise. Maybe Bill Callahan sung it best, “I am Star Wars today, I am no longer English grey”. I want those who suffer from alienation to stand in alliance with those who seek alienation, and vice-versa. A coalition, that tolerates the possibility that we are moved by the same groove for contrary reasons.

Schland Is The Place For Me

Fehler Kuti: Mayday Mayday

Popol Vuh are considered as an influential German 70s Progressive Rock avant-garde act and are known as a pioneering band in Ambient-Electronica and Progressive Rock Music. Their records "Affenstunde" (1971) and "In den Gärten Pharaos" (1972), played with the Moog III Synthesizer, are claimed to be fundamentally influencing works in Electronica. They went down in the annals of German film music history with their soundtracks for legendary cinema classics like "Aguirre", "Fitzcarraldo", "Nosfeartu" and "Cobra Verde" by German film director Werner Herzog. 

In the light of a current rediscovery of the 1970s Ambient- Electronica and German Progressive Rock movement featuring bands like Kraftwerk, Can, Tangerine Dream, Klaus Schulze or Harmonia, Popol Vuh is now the 2nd band, being remixed by today´s Electronica avant-garde, including treats by Stereolab, Mouse on Mars, Peter Kruder (Kruder & Dorfmeister), Thomas Fehlmann (The Orb), Moritz von Oswald, A Critical Mass, Alex Barck (Jazzanova), Roland Appel, Mika Vainio (Pan Sonic), and Haswell & Hecker. 

 Many thanks to the great interest and the great mixes by all of the above. 

Remixes uploaded to SoundCloud can become a part of this page, feel free to contact us on the SoundCloud forum. 

I'm making a mirror

popolvuh

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