know one more decision Very amusing phrase..
know one more decision Very amusing phrase..
But when we were finally able to talk to each other and to forgive each other, she did eventually listen [to part of the album]. She said she can make it through what happened. It was very hard for her to listen to it. But she forgave me eventually. Of note is the care with which Fitzsimmons approaches any mention of his ex- wife in his music or interviews, scrupulously avoiding identifying her, even by first name.
Whether this is motivated by courtesy, a specific desire for anonymity, or some other concern is unclear. Nevertheless, although the woman is absent, as the primary addressee her presence is a permanent fixture on The Sparrow and the Crow.
Ahn may be giving voice to this mysterious woman, but the words she sings were written by Fitzsimmons and thus it is still his voice we hear through her silvery tones. Throughout the album, then, Fitzsimmons as speaker is addressing both his absent ex-wife and his present audience of observers. After all, for people who are neither celebrities nor politicians, requesting forgiveness from a person one has wronged usually involves contacting that person and apologising in a personal manner rather than making a public pronouncement, yet in this case, Fitzsimmons has made a public statement of contrition, apparently without first contacting the woman from whom he is seeking forgiveness.
Moreover, performing these songs in front of third parties seems almost like an affront, a sort of public airing of dirty laundry.
What speech-act is brought into existence by it? If it is forgiveness, by whom is Fitzsimmons being absolved? Alternatively, if Fitzsimmons felt the need to demonstrate sincerity to his ex-wife by involving the audience as witnesses, her presence at a concert would seem to be key.
As a method of obtaining forgiveness, regardless of whether it came from his ex-wife, his audiences, or himself, the writing of these songs clearly fell short.
In one of his more impassioned declarations Fitzsimmons admits:. Write these fucking hardcore honest songs! Play them! And then you can move on! But that just fucked me up worse. Every single night I had to think about this shit, and no one was helping me. People were clapping, but.
Anna Gurdy, With Brother. I needed fucking help, I was in a bad place. Over the years, Fitzsimmons has touched on the personal difficulty of performing songs from The Sparrow and the Crow numerous times and his interpretation of that experience has changed.
In a interview, it seems as though the excruciatingly public nature of the confession is what made the experience of performing these songs at once humbling and cathartic:. I was able to purge some of my guilt, I think, because I was admitting that I was the asshole in front of anyone that would ever hear the music. With the audience playing the role of confessor, this ritual of confession became something re- enacted every time he took the stage.
In a sense, the songs have accomplished their purpose: even though Fitzsimmons and his ex-wife are not reconciled, on some level they have forgiven each other for the mutual pain caused. One of the ways Fitzsimmons preserves this separation involves representing mental and emotional boundaries with physical objects, including a carpet he places on stage in order to delineate the physical and temporal space in which he gets to re-enter the emotional turmoil the songs represent.
I can just drive by. Yet, after Fitzsimmons and his ex-wife reach some level of rapprochement, the evaluation of performative sincerity becomes part of how audiences approach Fitzsimmons—a part of the performative frame through which his behaviour is interpreted. This reveals a central tension between the private and the public in confessional performance.
This tension parallels a movement from sincerity to authenticity in the discourse. In the context of musical performance, the two are closely linked to the point wherein the words are frequently used to describe the same activities: the authentic genuine, original, natural performance is one in which the performer behaves sincerely i. However, one distinction to be preserved is that the authentic action, though ultimately socially constructed, nevertheless asserts itself as the genuine, or real, form of a given action.
In other words, it adheres to a set of understood external ideals. In contrast, the sincere action is one that accurately represents an internal state.
Sincerity thus makes no claims for the veracity of an action, but rather focuses on what the individual undertaking such an action believes. This is not to say, for instance, that such a pronouncement would be infelicitous in the case of an arranged marriage or the like. By discussing the importance of authenticity in evaluating Fitzsimmons, or indeed other confessional indie artists, I do not suggest that their performances are any more authentic than those of other performers; rather, I reveal the ways in which confessional indie audiences willingly overlook the constructed nature of these performances in favour of interpreting them as congruent with the confessional ideal of authenticity.
The question of authenticity is an abiding concern within music criticism, but what actually is it and how do we construct it? Although it is often associated with purity and naturalness, it is socially constructed rather than existing in a cultural void.
In both contexts, authentic indicates something that is not false, or something that is not an imitation of another. In any case, authenticity is something negotiated by performers and audiences from within a particular set of conventions rather than being derived from an objective set of standards.
Authenticity in performance is perhaps the most salient type of authenticity for this project, but it is also one of the hardest to pin down. Although the listener recognizes that the performance is a constructed image of sincerity, he or she willingly—even eagerly—accepts it as a genuine attempt at truthful expression.
Furthermore, the authentic does not inhere in any individual sound or structure, but is constructed by an audience in a particular cultural and historical situation.
Thus, we can speak of the indie aesthetic of authenticity as something distinct from the rock or folk or Britpop aesthetics of authenticity. Understanding how his music may be perceived as authentic thus requires understanding how indie music as a whole is perceived as a vehicle for authentic artistic expression.
The centrality of authenticity for confessional indie leads me to suggest that establishing a Fitzsimmons performance as authentic is a key concern for both artist and audience. Communication through song not only entails the interweaving of words and music, but also extramusical factors. As can be seen in Figure 2. In the studio recording with Priscilla Ahn, this gulf is as much aural as verbal, with the timbral differences between the singers signalling the presence of multiple personae.
The lyrics thus imply the change in speaker both through the change in pronoun and the emphasis on guilt implicit in the first verse and the frustration evident in the second. In both the solo and duet versions, the parallel musical structures of the first two verses give the impression of mirrored experiences expressed by the different characters. One interpretation of these lines is that the speakers are asking a divine power for release from the burden of their mutual guilt, whilst another suggests that the speakers are actually addressing each other or the listening audience and admitting their inability to continue in a failed relationship.
Contrast this active violence with the neglect of the second pair in which Fitzsimmons abandons his wife. A second topic concerns the innocence of his ex-wife, presenting her first as a. The third topic uses the imagery of demons to characterise the relationship between Fitzsimmons and his personal failings. The reversal of power relationships this topic depicts is also one of the most arresting textual elements in the entire album: in the first verse, Fitzsimmons sings that his demons walk beside him and that they are the ones who tell him not to abandon them, suggesting that a triumphant Fitzsimmons is struggling free of their influence.
Yet, by the end of the song, all sense of triumph is gone as the repentant Fitzsimmons pleads with the demons to stay as they dance around him—one can only imagine with a sort of gleeful abandon.
Between the first two verses which set up the conflict and the devastating conclusion of the third verse comes the chorus: a simple, repeated plea for absolution. The lyrics themselves are swathed in a musical environment that emphasizes finger-picked guitar, piano, and light drums. On his first two albums, Fitzsimmons recorded himself playing all of the instruments heard on the albums, before layering them together to achieve a supple and subtle interweaving of different sounds.
His later albums bring in other artists as musicians, allowing Fitzsimmons to focus on singing whilst experimenting with new instrument combinations.
These choices regarding instrumentation and recording techniques have implications for the wider perception of his music as an authentic statement of personal significance. In terms of recording, imperfect quality, a limited sonic palette, and even mistakes in diction or instrumental accompaniment are all taken to be markers of a real, rather than elaborately staged, experience.
No tricks or editing. Just hit record and sing and play it honestly. Among the key factors in live performance are extramusical indicators such as dress and demeanour. On the surface, Fitzsimmons seems to fit the stereotype of the hipster type of indie singer-songwriter: promotional photos demonstrate proclivities for plaid flannel shirts, knit caps, combat boots, and braces, while fans and reviewers regularly comment on his luxuriant beard.
At a concert in March , he spoke about the challenges of adopting a child and made jokes about forgetting to take his medication as an explanation for his at-times erratic behaviour. In a review of a concert in Leipzig, Germany, the blogger at aufgemischt! Former psychotherapist. Enjoys whiskey and plaid shirts. Still not convinced by the Warren commission. The overall impression of Fitzsimmons is of an unpretentious, down-to-earth personality that harmonises with the blend of indie folk and electronica in his music.
Even though he looks out at the crowd in between songs and at his band members during instrumental breaks he usually sings with closed eyes see. At first glance this might seem alienating to audience members who have come to expect a performance that is as much visual as aural, but instead it suggests a level of absorption in the musical experience that dovetails with the expectations of performing as meaningful experience.
To view this image, please consult the copy of the thesis held in the University Library, University of Cambridge. Unique softness that surrounds with fluffy calm. Landscape of life sketched with dreams and memories.
Depth of nostalgia touching a trembling spot. Information about the number of tickets sold is not available for all of these performances, so instead I have listed the size of the performance venue according to the venue specifications. For the Lions Tour in , Fitzsimmons travelled with a band, but in his early tours he frequently played as a solo artist. Even though his later musical style incorporates more instruments and layered sounds, he frequently alternates between playing with a band and the solo acoustic shows with which he began his career.
Whether he plays alone or accompanied by a band, the relatively small size of the venues ensure that audience members stand or sit quite close to him during the concert.
The inside of the CD case and the CD itself are covered in hand-drawn art showing a heavily bearded man presumably Fitzsimmons in a variety of everyday scenes standing on an escalator, riding in the back of a pickup truck, etc. He has returned to Europe several times in the last several years and says it remains a special place for him.
The implications are clear: The Sparrow and the Crow and Derivatives are, if not quite two sides of the same coin, intimately connected. Later albums continue the focus on the individual, but there is a marked move away from the iconography that links these two.
It is tempting to believe that this positioning of Fitzsimmons as authentic within the trappings of a particular music genre is purely a marketing choice driven by commercial concerns. Who is speaking? For whom? These questions must be addressed in any study of authentic confession.
When Dylan left the folk sensibility for the Dark Side of rock music some of his fans felt he had invalidated all the things he had meant for them, but what they were actually reacting to was a profound disconnect between the rock style of performance and the folk persona they had come to expect.
Edward T. Eliot in regard to poetry: in a poem, the author read here composer or performer as appropriate to music might speak to herself, address an audience, or assume a character. Regardless, there is always someone—and someone in particular—speaking. The division between performer and persona opens up interesting avenues of research by separating the physical body of the performer from the consciousness he, she, or they embody. For the audience, this is an aural reminder that the man on stage is both person and performer; it is possible that it is also a means of mental segregation for Fitzsimmons himself—between the person he is and the stage presence he embodies.
Popular music is replete with performers who slip between various personae: the high-profile reinventions of performers such as Lady Gaga and Madonna are merely the best-known examples. Some performers develop personae so completely that they entirely obscure the real person behind it all. Disentangling the human being from the star can be delicate work! Although both Gaga and Fitzsimmons operate within discourses of authenticity, they perform authenticity using different means.
The confluence of person and persona is particularly relevant to the music of Fitzsimmons and other similar artists because their music is both conceived and perceived as biographical, or even autobiographical. The veracity of the first two of these may be impossible for the outsider to evaluate with certainty, although I have suggested there are reasons to be sceptical of both; however, the latter involves audiences and can be explored in greater depth. It is to them that I now turn. Audiences who have bought in to the assumption that indie music offers an authentic personal experience expect, or perhaps even demand, that these artists present their experiences in a genuine way.
In the case of the music discussed here, these personal experiences are sometimes-harrowing stories of the breakdown of human relationships, and yet the audience enjoys hearing them.
As the audience, then, what is our place: confessors? Fellow victims? Perhaps all of the above. Participation in music through performance or through listening enacts these social relationships that connect performers to each other and to the audience.
In the case of Fitzsimmons, the relationships in question can be conceived in multiple ways. However, these relationships are not created and sustained through musical performance even though they are the subjects of the musical. Of more relevance to this study are those connections created between Fitzsimmons and his audience, particularly in the context of The Sparrow and the Crow, as well as those created among members of his audience. Some of these comments are aimed directly at establishing a particular closeness with Fitzsimmons.
Things have changed for the better because my God works all things together for my good. Soon I will be experiencing what you are in this sweet photo. Congo Natty - Get Ready feat.
Congo Natty - Jah Warriors feat. Congo Natty - London Dungeons feat. David Gilmour - Wot's Craig Owens Of Chiodos] Part 2 economics Version DJ Shadow feat. Easy Star All-Stars - Sgt. Junior Jazz We take no responsibility for unsolicited material sent to us. Please enclose a stamped, SAE envelope. Inquiries in the first instance should be made via email or fax. Throughout this time, Akai has engaged in offering quality home entertainment products specializing in the audio and video arenas.
Available from all leading photographic and specialty stores For further information please contact: HE Perry Limited. Phone 10 33 Email sales heperry. Used in the mm SWD lens, this technology enables the E-3 to provide swift and accurate focusing for a wide range of. When the mm sWd lens is used with the e-3 at a focal length of 60mm.
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With free-angle Live View as standard and rugged reliability, the Olympus E-3 enables demanding photographers to achieve image perfection in the most challenging environments. Proof, if ever it was needed, that the been playing out over global warming behind the scenes. Many will remember the now widely discredited investigatemagazine. Get informed mate change believers like release it for the first time New Zealand author and here in New Zealand.
Both shot to the Well, not so fast. Then a US-based publishing company of record 20th century warmth. Get informed. Canadian researchers Ross McKitrick and Steve McIntyre have Knowledge, in this case is definitely power and this magazine been battling for years to get access to the raw data used by the UN and publishing company have done more to give you a chance to team. A couple of months ago it was finally released, and when all read the real story on global warming than any other publisher the tree samples — rather than just a special handful — were added to or media outlet in New Zealand.
Tell your friends. Help build an the computer programme, suddenly the modern warm period loses outcry that the government dare not ignore. How embarrassing, to be caught with utterly dodgy scientific studies.
John Key fails his fellow New Zealanders by introducing an emissions trading scheme, a totally unjustified tax on energy and productivity. Climate change minister Nick Smith loudly and proudly trumpeted in parliament how much better off New Zealanders would be with their scheme, but he is a stranger from the truth, no emissions trading scheme can benefit New Zealanders, especially those on low incomes.
The cost of administering this tax regime and the economic retardation effect from the uncertainty it generates, with business investment, is where the serious damage is done, all for no climate related benefit whatsoever.
I challenge Nick Smith to justify to NZ citizens how his emissions trading scheme can influence climate change and why he supports a tax based on science fiction, at a time when NZ struggles to emerge from the worst recession since ? As courageously demonstrated by Czech Republic president Vaclav Klaus at the United Nations summit last week, true leaders stand firm on principle through adversity. Our prime minister and Nick Smith are no more than lemmings content to follow each other over the cliff.
Kevin Campbell, Awhitu, Franklin. You cannot blame home owners for attacking developers, at present they have no alternative for compensation. What else can administrators or developers do? No wonder developers flee, they are vilified for the blunders initiated by the BIA. Defending my 4 year litigation has not only cost my family home but my self-esteem, self-confidence and my life has been shattered, leaving me emotionally and financially devastated and heading for bankruptcy.
I have done nothing to be ashamed of and yet I feel like a criminal and I am sure home owners agree, that we have been betrayed,. You did an excellent job in presenting the issues involved in a clear and rational manner and your provision of numerous references means the reader can study the topics further.
The problem now, as you indicate in your final pages, is for citizens to control the politicians in the Climate Change decisions, not the other way around. I enjoy reading the various articles in Investigate magazine and in particular the comments of your Education writer. Perhaps in a future edition, Investigate magazine would be able to deal with the possibility of parents taking control of schools away from bureaucrats as has happened in other countries.
Choose from classic wood settings to elegant stone table-top dining suites. View the full range of tables, chairs and essential outdoor accessories at your nearest showroom, online or phone for a free catalogue. Brian Gailer, via email. However, his attempt at justification is all in vain. Note that evolution is no longer a religion! I have dealt briefly with testability in relation to evolution in my October letter.
This is why we refer to divine creation as special creation. We cannot discover by scientific investigations anything about the creative processes used by God. Your correspondent complains that I did not provide even one piece of what I have deemed the mountain of empirical evidence in support of evolution. It is silly because there is no more reason to label evolution i. Which I suspect is really the intention of creationists like your correspondent all along, most particularly in relation to evolutionary science.
I think I can be forgiven for assuming that when atheism is described by Mr Maclachlan as at root meaningless and purposeless then the implication is its adherents must lead meaningless and purposeless lives.
We are assured this is not the case. Although fully capable of having a meaningful and purposeful life, that life apparently is still lacking any firm philosophical foundation.
Yet I have already informed Mr Maclachlan that atheism is compatible with the cosmic perspective as revealed by science, and that atheism can merge into secular humanism. The near universality of the genetic code strongly supports the view that life has arisen only once on this planet and that therefore all organisms are related to one another through common descent. Warwick Don, Dunedin. What am I saying by that? The first principle of science is to define and make everything measurable. Evolution Oxford English Dictionary, : evolve: unfold, open up, develop, deduce.
Evolution in the sense of evolve and develop has been applied to describe the change a staphylococcus undergoes to become resistant to penicillin. The bacterium evolves to adapt to a new environment.
It mutates and mutation is thus a form of evolution. Yes, that is evolution and as such I believe in it. But I said that I believe. How does one define belief? In a Biblical sense believing means to have faith, and that faith is the acceptance of Christian concepts in the absence of scientific proof thereof. To define non-Christian faith is somewhat more difficult: I do believe in everything that can be undeniably proved by science.
So, is there anything wrong with accepting science and still believing the Bible? If man can be proven to come from apes — even going back to amoebas, Christians must accept that and need not be scared of real science. Come on Christians; what scientific fact will make you depart from your religion? Maybe there is a devil who knows that the science behind some science is not promoting science, but demoting the Bible.
Francois du Toit, via email. It depends on which theory is used. But did you know they are also affordable? Also, individual ink cartridges on all models mean you only replace the cartridge you use. For further information please visit www. Extra shipping charges apply to overseas orders of Investigate. As long as it is understood that the definition of species is not the same as that of the biblical kind then, as I said, the special theory is non-controversial from a creation perspective.
Using a clear definition of evolution avoids the game of bait and switch, that most common and tedious tactic of evolutionary apologists. Moreover as a nested hierarchy is based on the comparison of points of similarity any number of items or entities can be placed in a hierarchy without assuming common descent.
Indeed, designed structures like cars can easily be placed into such a pattern. In truth however, the general theory predicts only one pattern. That is a clearly defined lineage from ancestor to descendant. That is the pattern necessary to establish evolution as a viable option. It is this pattern of a clear lineage that is lacking from the evidence.
Mr Don might plead the paucity of the fossil record, but Darwin claimed the same thing. Mr Don claims that intermediate forms exist, and defines them as organisms possessing features characteristic of two other groups.
However we only need to look at the platypus to see how subjective that criterion is. The platypus possesses features common to beavers and ducks, yet no one would regard it as a transitional form. As an aside, to claim that the tiktaalik was transitional between fish and amphibians is scientifically vacuous. The statement does not identify a phylogeny; it merely creates the illusion of one. The ancients placed Earth in the lowest sphere because of their disregard for the earthly compared to the excellence of the heavenly spheres.
Copernicus exalted the Earth by moving it away from the centre. Further research has taught us how unique our planet is in the universe. Mr Don wants to see science taught in the science classroom. So do I. However he has yet to establish that evolution is science. Jason Clark, Auckland. The people of Wanganui spoke in a referendum. There are always complaints about tyranny of the majority but if democracy is not upheld then this will be another case for tyranny of the minority.
Poetry Is it poetry? Then send submissions to Poetry Editor Amy Brooke:amy investigatemagazine. A fade of dyes across the mists of Venice. Seemingly perpetual. Yet steeped in transience. Her dress is masquerade to foil the crowd. All evidence of femininity is camouflaged behind the male facade. Her face is luminous. A stroke of brush da Vinci style and Mona Lisa fresh. Yet skilfully conspicuous. Her speech is eloquence to overpower the avarice of usurer and free the fate of borrower from forfeiture.
Her tone is clear across the dank canals of bigotry. Joy Ogier. They should not exceed words, and we reserve the right to edit for space or clarity. All correspondence will be presumed for publication unless it is clearly marked to the contrary. Never re-type aNother documeNt agaiN!
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All rights reserved. All other trademarks referenced herein are the property of their respective owners. Dog lovers could even estabRules, especially petty ones, are bent or broken when there are lish a fighting fund, to pay fines for cafe owners should an overno consequences, and everyone turns a blind eye, according to zealous ranger not understand the way things work.
But next the Culture Smart guide to Poland. Sounds like my kind of place. Having recently become the owner of the mongrel Biggles, I Although NSW is not communist, its web of bureaucracy rivals anything the Eastern Bloc could offer, and the attitude of its fed- am more forgiving of dog-related inconvenience than I used to be.
But it is unspeakable to allow a dog to sit on a cafe table, or up people is the same. Take, for instance, the latest dog ban in Mosman. The habit of dressing up shih tzus and bichon frises in bows is something wellbeing. It is part of the insidious and self-centred trend in pet owning that can be overlooked in the interests of community harmony.
A labrador lying contentedly under an outdoor cafe table, while — anthropomorphism, or humanising. As with the upbringing of children over a generation, the fashits owner drinks a low-fat cappuccino, is a familiar sight. According to the NSW Companion Animal Act and Food Safety ion for dogs has been laissez-faire, with pooches sleeping with Act, this is not strictly legal, as dogs must be a good 10 metres away owners on their beds, perching on couches, having the run of the house, plied with human from areas where food is confood, weekly blow-dries and sumed or prepared at cafes.
Dogs and cafes have anxious when left alone. She even dog trainer, John Vella, reached an amicable accomsuch pampering can lead to modation all over Sydney. And, of taking care of them. A growing sense of entitlement from a few dog owners in and such behavioural problems as digging, chewing or barking. He is run off his feet by dog owners desperate to no choice but to remind cafe owners of their licence obligations.
In an attempt to mollify dog-loving ratepayers, this week the dog gets so anxious when left alone. Another client has a big American staffordshire terrier which appropriate tie-up areas for dogs in the vicinity of their business sleeps on his bed. In a country in which even the reserve powers of the Governor- couch.
Like it or not, dogs are unreconstructed rankists. Anyone they General are not codified, there is merit to letting sleeping dogs lie. Excessive cuddling had made Biggles feel he was top dog, as, in the wild, only the alpha is groomed by the others.
Only when dinner is over is the dog allowed to eat. This is to mimic wolf eating habits and assert the dominance of the dog owner. He is the only movie director to have had three generaWhich, even on the Whoopi scale, sounds less like rape, or even tions of his immediate family murdered — his mother by the Nazis, rape-rape, and more like his wife and unborn child by rape-rape-rape-rape. By the age of 13, the pattern of But heigh-ho. He eventually was In a movie, the father hasty exits arrested en route to Zurich would die or survive for a to receive a lifetime-achievetearful reunion with his boy.
Debra Winger denounced the Swiss freakily literal pre-echoes of the violence in his adult life. Except that there are millions of children cares deeply about his art and its place in the world. Which was distracting. With braces. But Hollywood big shots treat people in particular, little people, individuals, like garbage. So what? Until The Pianist briefly revived his reputation, Polanski had spent the previous quarter-century making leaden comedies Pirates , generic thrillers Frantic and lame arthouse nudie flicks Bitter Moon with the not-yet-famous Hugh Grant.
The Roman Polanski of Chinatown was a great director on his way up, his best years presumed to lie ahead. The junk of the past 30 years pretty much killed that. Why, Harvey, it profits a man nothing to give his soul for the whole world, but for Bitter Moon? Yet all truly great art is made in the tension between freedom and constraint. In demanding that an artist be placed above the laws of man, Mr. Ritual Tibetan instruments as used by the ensemble include dunkar, silnyen, bub, damaru, kanling, nga, and -of course- shang.
The group went on to release albums on Ideologic Organ and Brave Mysteries. Limited to copies in an outsized foldout card sleeve. Being close enough to "The Bush Prophet" musically, it is rather full of light melancholy than dark anxiety, with quite a lot of bright moments setting off the overall moody atmosphere.
Being a kind of nostalgic remembrance of the early 80s, it has much in common with :Zoviet France: works from this era, combining its typical ethnic percussion loops with trancey fascinating ambience of background drones and surreal enigmatic samples. Edition of numbered and signed copies by RLW P The nightmare has been produced as a sound feature for radio resonance, London, in mid and was "aired" on internet October 3rd It is dedicated to Benjamin Green and would not have been possible without the help of Dorothea, Soeren, and Sonja.
Index points are set for your pleasure. The feature itself embraces the whole CD. Total Time: Rock in opposition to Rock In Opposition. Un Festin Sagital's formulae are Sagittarian with surprises. The dense, electro-motorik opening statement that SEEMS like it will be thematic, is eventually reneged upon by tiny sounds orbiting disembodied voices. A congregation of folk-psych and noise follows on in the tradition of anti-tradition, pronating on the side of a rather thrilling, ghostly top tenor performing expert vocal routines on the uneven bars.
Upon the arrival the album's truest progressive gnostication, it becomes clear that, while beautiful with a little bit of a Crimson tide running through it, UFS prefers its musical limbs remain dislocated.
This is especially evidenced by the final reverberating drone of floating on the far side of the galaxy at journey's end. Along with copper and unmanufactured ferro-alloy materials, UFS are one of Chile's finest exports.
Imagine the master tape turning up in Chile.. Un Festin Sagital is a group I'd never heard of before, but I reckon I'll spend the next few years hearing them again and again. According to the Explosive Ordinance Field Guide: "Uw Hypotheekadvies should be handled with great care as it is one of the most powerful EO's, especially if detonated through speakers in the comfort of one's own home.
Imagine a heavily armoured Glenn Branca guitar army falling DOWN an UP escalator in such a way that they never reach the bottom and are forever tumbling and crashing. Now throw DNA down the same escalator and pour acid on that. Like agates gone wild, their abstract explorations come delivered via sledgehammer and arrive on the plate as oddly conceived gemstones with insects trapped inside.
It smells like the teen spirits of Naked City and Laddio Bolocko lurk underneath UH's woodpile, but despite the improv flavour of UH's pummeling, they skew away from jazz and lean in more towards prog than Zorn and Co. UH's chaos fleshes form and even descends into subtle soundscapes in between the rat-a-tat blastpatter. A beautiful monstrosity of Nature and Nurture.
Once more Mynationshit digs into the background of human misery. Leaving aside simplistic views, dogmas and straight thoughts this introspective work talks about the pursuit of honesty, against materialism and arrogance of the post-modern man. It's a dark work but its full of stoicism and vitalism necessary for the time we are living.
Limited edition copies Vinyl 12 inch grams. Inspired by the dark sounds of cold wave, post punk and classic soundtracks as well as the early wave of 80s industrial music. The sound is a rich vein between early industrial emissions and the sort of pulsing lightlessness found in early European synth pop. New pressing of copies with different colour cover blue. A sound that veers towards minimal, post-punk structures, while retaining some of Suicide's urban angst. Longer songs, symmetric and expansive melodies coupled with a more refined result, production-wise.
Recorded using percussion synthesizer amdek pck, it shows the great sound manipulations talent of this japanese artist at its best. The release comes as a beautiful paper folder limited to copies. This time it is a collaboration with a well-known spanish experimental artist Miguel A. While Russians took care of the basic sounds and samples, Miguel did the mix, arrangements and mastering of the music.
The release comes in a full-colour digisleeve, 6 tracks, 51 minutes. Recorded live during short Russian tour made in September , it is unique since the lineup was made of Russian artists and only Roger himself was a part of the common European live incarnation of BDN.
The persons behind Anthesteria and LamiaVox have joined him in Moscow while the guys from Bardoseneticcube and were together with him on stage in St. The basic parts of the tracks have been sent to them all in advance, so they have prepared their own vision of this material, thus it was nothing like a spontaneous improvisation or jam-session, but pure conceived and well-organized collaboration. Both shows have been recorded on a multi-channel devices, then carefully mixed and mastered, so the final quality is close to the studio one without losing any bit of the raw energy of live performance.
The real gem in our roster, not to be missed! The release is limited to copies and comes in a special embossed foldout envelope with cardboard inner sleeves. The music of the project has become more accessible for unexpirienced listeners: traditional ambient-ritual basement is enriched with rhythmic electronics, melodic synthesizer tunes and even guitar parts.
The release limited to copies comes in a beautiful double digipak with full-colour booklet. Limited edition of This time it's a reissue of his main project Raison D'Etre latest studio album initially released in on Cold Meat Industry. It is alive and breathing, a creature with a knife that cut deep wounds in your body while your soul shatters for air.
It is a psychosomatic and transgressive disease opressed by a compulsive behaviour manifested in dualities - the one of your body and mind - and states of metamorphoses - mind becomes flesh become wounds become fluids become stains. Play it loud if you want to become the martyr. Play it low if you are the innocent victim. There are no levels in-between.
Violent and intense, it is a hell of an ordeal. But withstand and you are promised bliss. This version of the album has been expanded with an extra disc containing 60 minutes of previously unreleased early-versions-of-the-original-album-tracks.
The release comes in a special foldout 6-panel digisleeve and includes two full colour inserts. This is their debut full-length CD, combining layers of delicate noise with voice samples and rhythmical patterns, creating an unique atmosphere of despair and anxiety.
War ". This split release is a commemoration of one of the most tragic pages of Russian history in the XXth century - the Russo-Japanese War. This lost war became a deep scar in the national consciousness of that period and turned out to be among the most painful and powerful incentives to the following first Russian revolution and further eventual decline of the Russian monarchy. This CD is a try to revive the deep anxiety and the premonition of the upcoming relentless social shock which had overwhelmed the Russian nation in those times.
Stalnoy Pakt presents maybe their most melodic tracks to date here, the distinctive bands multi-layered dark ambient is melted with old military Japanese song samples and old Russian lyrics narrations, sometimes adorned with piano chords or martial drums. Anthesteria's cold gloomy tunes combined with choir chants and gramophone record samples aggravate the atmosphere of the dull waiting for the imminent disaster. The album is concluded with authentic historical recording of the classic track of the period called "Na Sopkakh Manchzhurii" performed by a very famous singer of that time Mikhail Vavich.
This funeral waltz dedicated to the victims of this war drives the overall feel of despair and grief up to the highest limit. The album could be compared to the best examples of history inspired works such as LJDLP early releases, but with its own very special purely Russian depressive mood.
An absolute must! The release comes in a special A5 folder package with a lot of inserts and limited to copies. Their recordings are far from mere transcriptions of dreams to tape; they are the gossamer residues of once vivid memories, passed through mesmeric filters to slowly dissolve present reality into soft focus fragments of thought.
Musically, these translations fall both on the sublime and, at times, on the malevolent side of the ambient fence. Sen - Troum's contribution to Staalplaat's luminary Mort Aux Vaches series - is fixated on the North Sea where sheets of black ice creak under the tidal currents that roll onto a rocky beach.
Troum sees no need to utter any direct references, implying their metaphors begind a bleak drone haze of guitars, bells, voice, and keyboards treated with a heavy dose of synthetic cathedral reverb. Sen reveals Troum's postindustrial background with a churning drum machine which rumbles underneath the complex tonal patterns like an antiquated seaside factory. Troum, more so than their precedent incarnation Maeror Tri, has the potential to invoke awe through their hypnogogic expanses of droning sound.
Rarely have they failed to push beyond their potential, and Sen is no exception. Silk-screen printing on a microcorrugated cardboard, limited edition of copies. Substantially new in project creativity a five-part ambient space dedicated to the Culture Solar beginnings and transfiguring seeds disseminating. Vresnit art is turned to research primary being experience - human consciousness conditions being resonant to the general nature.
Sparkling cosmogonic Drone Ambient twined from voices, string and wind instruments, bells, singing bowls, electronic instruments and field recordings. The release is limited to copies and comes in a full-colour cardboard folder. The years have passed, they are influenced by German electronics, experimental sounds, space synth, minimal synth, ambient, industrial For this goal they began their way armed with a selection of analogue and digital synths, adding analogue DIY machinery, semi-modular systems and a clear influence of the science fiction that has been with us for decades, either in cinema, literature, soundtracks and, above all, electronic synth music created from the 70s, 80s and 90s.
No sooner does it seem that its sweet bloom has died back for the season, when suddenly a new sprout opens with a different series of miraculous colours. Things Past is soooo things future. Another progressive electro masterpiece that strays beyond the borders of new wave revivalism and glitch-craft, yet, unselfconsciously draws upon the most intriguing elements of both, arriving at its own, unique musical conclusion.
Very similar and sponsored by their friends Calibro 35, this first album merges original songs with reinterpretations of songs by Morricone 'Metti Una Sera A Cena'. Cipriani 'Femina Ridens' , De Angelis 'Goodbye My Friend' and others in an upbeat and ironic crossover of styles and genres, including easy listening, funk, porn groove, beat and sexy soundtracks. He also won prizes for these soundtracks. In the tradition of the legendary Italian playboys. Including no less than 12 bonus tracks, here's is a remastered reissue of this highly rated Italian soundtrack from The CD is presented in a miniature LP-sleeve boasting the original artwork.
On compact disc, here's a remastered version with sound taken from the original tapes of this fine Italian film score from , with six bonus tracks added.
The CD is presented in a digipack and includes a poster. T Soundtrack to classic police movie from First time CD. Stationed on Chicago's west side, between the Fisher brothers worked their novelty act at any club that was willing to bend the city's stiff liquor laws. Three 45s were cut for their homespun Fised and Fished labels, with the third featuring the first known recordings of notorious bluesman Johnny Dollar.
Chock full of photos stripped from family photo albums, the 12 page booklet tells the complete Soundmaster story, from their earliest days backing J. Hutto to Little Ed's final snare cracks for Southside Movement. Housed in a tipped-on 7" box, the set sets a new standard for funk 45s. Simple in design, passionate in delivery, this blues-funk landmine from the lates sits at the rarely traversed intersection of the J. This 45 contains canyons of wide-open drums, courtesy of Dyke and the Blazers original timekeeper, Rodney Brown.
The band featuring former Stax-artist Walker, has quickly become a sensation in their hometown of Nashville, Tennessee, and the rest of the world won't stay behind.
Patsy on Jesus. Elvis without the pelvis. A mother, a wife, even an ordained minister. In the space of 20 years Fern Jones would perform in over tents and churches for nearly 50, people.
She'd release two albums and a few impossibly rare 78s, and write one song that would be a classic on the gospel circuit for years to come. So why hasn't anyone ever heard of Fern Jones? How is it possible that rockabilly scholars can tell you every detail about the players on Fern's album, but not a single thing about her?
In what world can a musician be covered by Jimmie Davis, the Blackwood Brothers, Jimmy Swaggart, and even The Man In Black himself, Johnny Cash, and yet register not so much as a footnote in any history of country or gospel music?
How could something so wonderful be so impossibly obscure? From a purely historical perspective, we knew we had to release this record. Following successive explosions of brown-eyed and latin soul in Los Angeles and New York in the mid and late '60s, Lorain, Ohio's Boricua underdogs went on a recording tear in nearby Cleveland, going all-in on a series of no-budget recordings at Boddie and Way Out. With a voice that rivaled any on the Fania roster, Willie Marquez led the rotating cast of Latino teens through numerous underfunded recording sessions for the Day-Wood, Beth, and Lorain Sounds imprints, the lo-fi fruits of which are compiled here.
Track list: 1. Loving You 2. To Be Sure 3. Cold Wine 4. Todos 5. Full of Love 6. Here We Go Again 7. Trivialities 8. Untitled 9. Listen People Just Call Me. Bookended by his dynamic albums 'Hot Chocolate' and 'Understand Each Other', this collection gathers period singles ''77 , collaborations, and an unreleased live album cut in '73, revealing a genius in a musical microcosm of fearless and confident creation.
This is a priceless 4LP set. And it's a spectacular one! Channeling Vietnam nightmares, grass, LSD, unhinged sexuality, poverty, and violence, these Afro-American bikers from the Dayton, Ohio underground had created a spiritual sound that was uniquely their own.
They released two singles in the early '70s and also recorded a bunch of other tracks, many of which are included on this album. This vastly unheard slice of gritty, hazed-out psychedelic funk-soul-rock finally gets it's due.
Includes many self penned tunes and two covers, including a mind expanding version of Curtis Mayfield's 'Hell Below'. Storming the gates of Chicago's premier recording studios, the erudite party band explored permutations of soul, jazz-fusion, new wave, and disco with little regard for studio rates or the availability of magnetic tape.
The attractive gatefold LP edition boasts magnificent reproductions of never-before-seen images from the archives of Chicago photographer Steven E. Meticulously mixed from the original multi-track sessions by Sean Marquand Phenomenal Handclap Band , Universal Togetherness Band is presented in peak fidelity.
Filling in, around, and on top of the original 'The Capsoul Label' collection, 'Capitol City Soul' is a trove of completely unissued and underissued treasures from Moss and company.
From the vaults under the basements under the garages of one of the nation's most unsung music scenes. This double-LP set is ensconced in a thick tip-on gatefold jacket splashed with a colourful spread of vivid archival imagery accumulated over a decade of research into the Columbus, Ohio culture.
Possibly the most influential of all the 60s Miami soul label's, the Deep City sound not only changed the Metro-Dade area, but set the tone for disco powerhouse TK's impressive run in the 70s. He was the writer, arranger and producer of some of the most beautiful Chicago soul records in the '60s and '70s.
Too bad these all went out of print weeks after being released. These 24 tracks tell Pegue's epic tale, from dedicated music producer, to DJ making corny radio jingles that usurped the tens of thousands of air-time hours the songs included here so richly deserved. This '70s LP is a genuine undergroud soul cult classic, financed by the world of street prostitution! The remarkably well performed music is firmly ensconced in 'Innervisions'-era Stevie Wonder, with nary a trace of his work as a writer for Bill Moss' Capsoul label a few years prior.
Smooth, sexy, and synthy, it's a peerless sprawling psychedelic soul concept album. The original 9-song LP has been expanded to nineteen tracks, including 7 previously unreleased panty soakers.
The band, featuring former Stax-artist Walker, has quickly become a sensation in their hometown of Nashville, Tennessee, and the rest of the world won't stay behind. Boasting a perfectly calibrated vocal quartet, an aggressive rhythm section, and stacks of Rhodes, Rolands, and Hammonds, the danceable act failed to win favor with frigid Midwest audiences.
Tracked in , this bundle of never-before-released basement demos throw Harris' beloved Philadelphia Sound into an unfinished root cellar, pelting it with Clavinet attacks, disco skats, and infectious hooks.
Tracklist :Taake -Sl The Process of Comprehension2. The Enlightened One3. Revocation of the Fallen4. Imposed Afterlife5. Deformed Construct6. Tracklist :Deity of Knives and Pointed Appari Nuclear War Now! Si le groupe a ensuite pris un vir A Wanderer's Call and Orison3. Transcendental Lawlessness4.
The Visit5. Interlude - La Rage5. Les Se Oh Death Determinate, Preach and Lead Us Astray Ancient Hymns to the Goddess of War Inanna 2. Battle of Ypres Song for My Fune Tracklist :Alter Fields of Flesh2.
Phobos Descent3. Armoured Apocalypse4. Plagued by Mortality5. Per Maleficium6. KC Exhalement 4. Strokes Of A Goya3. Black Chariot4. Something Soulless5.
Waratah Blooms6. Destroy, Desecrate Nothing But Death Dark Clouds Gathering Change What's It Gonna Take 2. New World New Eyes3. One More4. Perfectly You And Tracklist :LeprosariumThe Last Snowfal Monge, producteur et guitariste du groupe, son artwork est l'oeu Wide Awake but Still Asleep2.
Death, Rattle and Roll3. Steely Dan4. Ease of Mind5. Shrunken Head3. Towers Of Dark Pantheon Curse Of Ak-Kadyn Where Thunder Reigns Full Moon Triumph Old Stone In The Woods The Sword Of Erlik Butcher Doc's Shack of Shock2.
I Want to Murder Y Bandcamp Facebook Ayam mysla al tawabeet Die Wahl der Q A Promise Of Darkness Arcane Gestalts Our SeedLe Eyes Turned Black Intro - Song For My Death The Clones Of Bruce Lee2. Impossibly Mismatched3. Knocked Down Repeatedly4. Ballad Of Bolo To Welcome The Withering2. The Odious Ordeal Joe McKee The Black Labyrinth2. Tracklist :EO40VK Cet album consiste en 3 tit Only distant echoes reign Freedom Uncharted feat. Open the Otherness Pillars of Fate From Nothing2.
Tracklist :Chant de batailleLa Productions aux formats CD, LP et digital. Fast and Filthy2. Fire in Sight3. Frostbite Bitch4. Mud City Maze5. Ride the Rails7. UBunker Under Siege 8. God of the Masses Tracklist :Moon CyprianVoidsoulLe titre "Dawn Walker" Darker Thoughts Fall From Grace The Devil Embraced Death created Time2. The Burning Eyes of Satan3. In the Shadow of the Alchemyst5. I Fyres of Koth Ch Il s'agit du premier album du groupe depuis son retour en On retrouve dans ce groupe notamment le guitariste C.
Wisdom of the Tracklist :Settimo requiemFuriaSonno d'eternoNotturn Chicken Caravan Deluxe2. Manannan Mac Lir3. Your Endless Serendipity 4. Killer Monk5.
Country Cousins Meet the Wolf6. The Curse of the bready bready Flute7. The Beginning of An End 2. My Favourite Enemy 3. The Great Divide 4. Soil of The Grave 5. The Rise and The Fall 6. Mad World Tears For Fears Tracklist :Under the HornsCold In Tracklist :VaporizeDisgraceMessiahPrel A Records.
Den Tredje Dagen2. Den sista resan5. Dimension 5 CD Bonus Track Reaper Abyss Real Rain 2. Reign Power Above All Born 3. Oath Viol Fauces De Saturno Instinto Genozida El Torment The One3. The Holy4. The Truth5. The Eye7. The StrenghtLe titre "The Eye", premi Exhumed Visions3.
Paralytic Scourge4. Aeons In Dis5. Festering Vacuity6. Churning of the Shallows7. Cosmic Shield2. Martyr's Gaze3. Moths of Zeta5. Cold Logic6. Bathing Raw in the Blood of Pigs7. Into The Realms of L Il s'agit du titre d'ouverture "Cold Guiding Light" que vou Tracklist :AbstinenceUngrund.
Cosmic Trip2. Frau Kuhnkes Kosmos3. So I did all that, and I think I saw the band to its logical conclusion. In the end, it was only Iggy and I left alive. I just had the ability to sort of do what I wanted at that point. Just enjoying playing with really great singers and musicians, going out there and doing what I want. When Scott Asheton initially became sick, some tour dates were completed with Toby Dammitt on the stool.
However, no real thought was given to moving forward as a band without either Asheton brother. I felt like it was kind of ridiculous.Deep-Pression / Cold June - Cold Floors to Embrace, Wet Soils to Dig in / CD-R Defaillance - Defaillance / DigiCD Contra Mundum in Aeternum / LP Flame of War - Long Live Death! / CD Flame of War - Transcendence / CD Legacy / LP (Black Vinyl) Hakuja - Legacy / LP (White Vinyl)