A time to Relax

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Dancing Kathak all night long (Repost)

As appears in Digital MeltdOwn: Following the success of the first Sitar Beat compilation CD, a collection of Indian and Indian-inspried European funky selections from the 60s and 70s, the crew knew they had to come deep for the sequel. So for Volume 2, they go straight to heart of India with some of the rarest, and best tracks recorded between the years of 1970 and 1984.

Nearly all of these tracks are appearing on CD for the first time. Sixteen tracks of rare and funky Indian flavor, blending heavy beats with the sounds of the sitar and the inimitable vocal sounds of beloved Indian singers such as the ubiquitous Asha Bhosle and producers/songwriters like Kalyanji Ananji and R. D. Burman. Most of the tracks are culled from Bollywood sound tracks from the 70s and early 80s. Enormously popular, often wild and packed with action and romance, these films put the intense music of star composers like Burman and Kalyanji & Anandji at the forefront.

The strange, psychedelic sounds possess their own cultural mish-mash of flavors combining traditional Indian instrumentation and melodies with film music s intensity, and incorporating styles from American/Western music from about 5 years or so behind the trend. Funk, psychedelic rock, disco and proto-electro jump out from the grooves of Sitar Beat Volume 2 and hit you harder than a mouth full of spicy masala. This is soul from the Sub-continent at it's best.

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The Real Unsung Heroine [The British Pride] (Repost)

Delia Derbyshire was born in Coventry, England, in 1937. Educated at Coventry Grammar School and Girton College, Cambridge, where she was awarded a degree in mathematics and music. In 1960 Delia joined the BBC as a trainee studio manager. She excelled in this field, but when it became apparent that the fledgling Radiophonic Workshop was under the same operational umbrella, she asked for an attachment there - an unheard of request, but one which was, nonetheless, granted. Delia remained 'temporarily attached' for years, regularly deputising for the Head, and influencing many of her trainee colleagues.To begin with Delia thought she had found her own private paradise where she could combine her interests in the theory and perception of sound; modes and tunings, and the communication of moods using purely electronic sources.

Within a matter of months she had created her recording of Ron Grainer's Doctor Who theme, one of the most famous and instantly recognisable TV themes ever. Thus began what is still referred to as the Golden Age of the Radiophonic Workshop.

Derbyshire was the first person there with any higher music qualifications, but as she wasn't supposed to be doing music, much of her early work remained anonymous under the umbrella credit 'special sound by BBC Radiophonic Workshop; before long the Workshop's TV output had overtaken work produced specifically for radio broadcast. Derbyshire was called upon to do music for drama and documentary programmes set in the distant past, the unseen future or deep in the human psyche - in fact any area where an orchestra would be out of place. Science, arts and educational programmes also benefited from her abstract style. Her work with Barry Bermange on the four Inventions for Radio is perhaps the best illustration of Delia's intuitive way with soundscaping. Derbyshire soon gained a reputation for successfully tackling the impossible. When asked to "make some TV title music using only animal sounds" - much thought and ingenuity resulted in Great Zoos of the World. Delia always managed to soften her purist mathematical approach with a sensitive interpretative touch - 'very sexy' said Michael Bakewell on first hearing her electronic music for Cyprian Queen.

Derbyshire also worked with the composers Sir Peter Maxwell Davies, Roberto Gerhard (on his 1965 Prix Italia winning 'Anger of Achilles'), and Ianni Christou, doing sound treatments of their orchestral music. She was also assistant to Luciano Berio at the 1962 Dartington summer school.

Delia's works from the 60s and 70s continue to be used on radio and TV some 30 years later, and her music has given her legendary status with releases in Sweden and Japan. Delia believed that the way the ear/brain perceives sound should have dominance over any basic mathematical theory, but as with most things in life it is important to know the rules in order to advantageously bend or break them. By the mid 1970s Derbyshire was disillusioned by the apparent future of electronic music and withdrew from the medium; after a bunch or works, she finally passed away in Northampton, England, on July 3rd 2001

She is constantly mentioned, credited and covered by bands from Add n to (x) and Sonic Boom to Aphex Twin and The Chemical Brothers, and of course, this humble homage goes for her.

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Find me into the crowd!!!

The A Go-Gó Mob Rules

The New Futurism? (Repost)

Pure rhythmic noisy machine beats, avoid to apply directly into the temporal lobe.

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Electrifying the Sands (Repost)

Not so much to talk about Beats Antique, just hear and discover their incredible world of mixtured sounds, specially if you're into Tribal-Belly Dance music.

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Electrolatin, aahhh UH!! (Repost)

The man behind the concept is Uwe Schmidt, a german musician, composer and producer, who's actually pointed as the real father of Electrolatin, Electrogospel and Acidton rhythms...No one can be indifferent in front of this strange and kinky musical proposal, can you imagine Kraftwerk or Deep Purple played by a latin combo??
Time to dare.

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Atomic Marriage (Repost)

Talking about Messer Chups is talking about experimental weird sounds; they are a band from St.Petersburg, Russia, founded in late 90's by Oleg Gitarkin, who had previously performed with Oleg Kostrow under the name of Messer für Frau Müller (often Messer Chups is considered a "spin-off" band of Messer für Frau Müller, i'm not totally agree).

Messer Chups' music often features a fundament of surf drums on which they build collages of samples from odd sources, like circus music, jazz, east European animation soundtracks, and American B-pictures. On top of that they lay solos from guitar and theremin. The overall effect is one of loving parody and good fun.

Come here and meet the Bride!!

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Mashed Lynch (Repost)

A “film” consists of a “sequence” of photographs or drawings “projected” on a screen in such “rapid” succession that they create the optical illusion of moving persons and objects (this is due to the persistence “of” vision). A tune is a succession of musical tones forming a rhythmic, catchy whole, and a song is a piece of music sung or composed for singing, et la sange est sur la branche.

Films often couple their images with tunes and songs in order to heighten sensations, to deepen meanings. This is a true statement. David Lynch, one of the men who “lead the team” in the creation of films—a profession termed director—has participated in the coupling of film to music. Yes. Some of Lynch’s memorable images have been supplemented with notable music. These songs and tunes, grouped together, are often made commercially available (“soundtracks”) and can be obtained at your favorite local vendor.

With these soundtracks in hand, and with songs divided into vocal and instrumental, enterprising lads and lasses can blend these song elements with those from other popular songs, producing what men from Edinburgh to Aberdeen call “mashed-ups.” These men are also known to eat something called “neeps.” These men are regarded as unstable.

So then: David Lynch, his films, the music of those films, the people who watch these films and hear their music, and the fanciful bootleggingses that result from fabulously legal song sampling. But why? Not sure. But for now, let’s not question why. Let’s dip a toe in . . . feel the deep waters offered here . . . gently remove our Directoire drawers (underpants that are straight, full, and knee-length, often referred to as “Directoire knickers,” a British noun, historical in nature) . . . and lower ourselves, bit by bit, into the water. It feels nice, then it feels not as nice. And suddenly it all feels so strange. You happen to visit a recommended website and, before you know it, you’re naked and wet. This is David Lynch.

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How do i look??

A time off between my brain surgeries....cheers to all!!

Bon Jour Paris, 1969 (Repost)

After making his name in '97 co-writing the track "Ce Matin La" -- which would appear on countrymen Air's '98 debut LP Moon Safari -- Patrick Woodcock played some other tracks to longtime friend and sound engineer Pierre Begon-Lours, who agreed to co-produce them at his own studio with partner Stephane Luginbuhl, thus providing the tripartite genesis from which Mellow (in honor of the Mellotron keyboard) would organically develop. Rehearsals moved out of the studio and into Begon-Lours' Parisian home, where the two producers brought a range of influences from Pink Floyd to King Crimson to Frank Zappa to bear on frontman Woodcock's saccharine song structures.

A seven-piece live debut at the Big Beat Boutique in Brighton, England preceded the release of Mellow's '98 eponymous single on French label Atmospheriques. The group's vintage future-pop full-length Another Mellow Spring arrived three years later in '01. Black Science Orchestra's frontman Ashley Beedle (who some will remember from behind the bar at London's infamous Black Market Records) scores a perfect 10 with his "No Jazz Mix." Luxurious keys are spread over a bed of crimson chords and male vocal harmonies to create some serious lights-out material.

Director Roman Coppola enlisted Mellow's lighter-than-air Euro-lounge sound for his first feature, CQ, set naturally enough in Paris of 1969, pretty much the epicenter of Mellow's stylistic inspiration. The movie concerns the gradual dissolution of the line between fantasy and reality on the set of a science-fiction movie set in the far-off year 2000. Mellow's feathery downtempo score fits seamlessly around a few vintage French pop numbers by the likes of Jacques Dutronc and Claude François. Vocalist Alison David provides the sensual crooning on "Take Me Higher."

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Welcome Back, Golden Voices (Repost)

The Khmer Rouge was the name given to the followers of the Communist Party of Kampuchea, the totalitarian ruling party in Cambodia from 1975 to 1979, led by Pol Pot. This organization is remembered primarily for its policy of social engineering and the genocide this caused. Its attempts at agricultural reform led to widespread famine, while its insistence on absolute self-sufficiency, even in the supply of medicine, led to the deaths of thousands from treatable diseases (such as malaria). Brutal and arbitrary executions and torture carried out by its cadres against perceived subversive elements, or during purges of its own ranks between 1976 and 1978, are considered to have constituted a genocide.

The Khmer Rouge government arrested, tortured and eventually executed anyone suspected of belonging to several categories of supposed "enemies":

• Anyone with connections to the former government or with foreign governments.
• Professionals and intellectuals—in practice this included almost everyone with an education, or even people wearing glasses (which, according to the regime, meant that they were literate).
• Ethnic Vietnamese, ethnic Chinese, ethnic Thai and other minorities in Eastern Highland, Cambodian Christians , Muslims and the Buddhist monks.
• "Economic saboteurs:" many of the former urban dwellers (who had not starved to death in the first place) were deemed to be guilty by virtue of their lack of agricultural ability.

In those times, singers like Sinn Sisamouth, Ros Sereysothea and Pan Ron (members of the "Golden Voices") were part of a thriving pop music scene in Phnom Penh that blended elements of Khmer traditional music with the sounds of rhythm and blues and rock and roll to make a Westernized sound akin to psychedelic or garage rock; unfortunately, as 4.8 million khmer citizens, all they died by execution, leaving a mute gap into the khmer musical scene.

Dengue Fever is a six-member band from Los Angeles who combine Cambodian pop music and lyrics with psychedelic rock; Many of the songs are covers of 1960s Cambodian rock tunes by artists of the Golden Voices; in 2005, the band toured in Cambodia, to critical acclaim. The film Sleepwalking Through the Mekong documents the band's touring in Phnom Penh and other major cities.

Enjoy the soundtrack of the film, the golden voices are here again.

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The Origins of Farsipop (Repost)

Amazing Persian psychedelic pop, funk, soul and boundless grooves from the 60s & 70s.

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First Post..Welcome!!

Welcome to Distorded Cortex, a Crazy Monkey's Brainmap Site, designed to share and (re)discover sounds.

Go and Map your brain!!