Misty fog from the autumn shores (Repost)

From the master of obscure machine sounds Justin Broadrick, here is a great album to see the sea following the eternal pulse of universe.

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Easy to find....a gift to mankind

Now the links are named as the albums.... i'm waiting for the comments!!!

Jakarta A Go-Go (Repost)

Dara Puspita (Flower Girls) was Indonesia’s most successful girl band of the 1960s. While there were many popular female vocalists in Indonesia at that time, they nearly all relied on the services of a backing band. Dara Puspita was one of the few girl groups who actually played all their own music as well. They hailed from the city of Surabaya in East Java and first formed in 1964 with the line-up of sisters Titiek Adji Rachman (Titiek A.R.) on guitar and Lies Soetisnowati Adji Rachman (Lies A.R.) on bass, along with Susy Nander on drums and Ani Kusuma on rhythm guitar. In April 1965 Lies left the band for a month to finish school and was replaced on bass by Titiek Hamzah. When Lies returned she took the place of Ani on rhythm guitar and Titiek Hamzah stayed on as bass player. It was with this line-up that the band set out to conquer the world.

In 1965 the band relocated to Indonesia’s capital, Jakarta, and soon gained a reputation as a sensational live act, bashing away on their instruments, screaming out their songs and jumping up and down. Even though it was often hard to hear the songs through all the mayhem, audiences thought it was great and often joined the band to dance around on the stage. The band’s stage act and the songs they played were clearly influenced by contemporary British bands such as the Beatles and the Rolling Stones, whose music at the time was banned in Indonesia. The Jakarta band Koes Bersaudara (Koes Brothers) was actually put in gaol for playing rock and roll, but it seems that Dara Puspita was never seriously troubled by the authorities, although they were warned not to perform Beatles’ songs.

Why Dara Puspita was never targeted by the authorities is a bit of a mystery, but was probably due to them being still relatively new on the scene in Jakarta and having not yet released a record. In late 1965 the political situation in Indonesia swung 360 degrees and rock and roll could be played again with impunity, so when Dara Pupita’s first album, Jang Pertama (The First), was released in 1966 they had little to fear. There is no mistaking the influence of other bands’ music on many of the songs here, such as the Rolling Stones’ Satisfaction riff in Mari-Mari (Come On, Come Here) or the Dave Clarke Five’s Glad All Over in Tanah Airku (My Homeland).

Dara Puspita followed up their first album with the self-titled Dara Puspita later in the year and in 1967 put out two albums, Green Green Grass and A Go Go. The title track from the latter album, and the song Believe Me, are good examples of the band’s beat credentials.

The band was a popular attraction in Indonesia and also in the region, playing to enthusiastic crowds in neighbouring countries, such as Thailand and Malaysia. In 1968 they took the almost unprecedented move for an Indonesian band of trying their luck in Europe and spent the next few years touring in England, Holland, France, Belgium, Spain, Germany and Hungary. They even played in Turkey and Iran. While in England they recorded two singles for CBS and recorded another for Philips in Holland. In late 1971 the band returned to Indonesia and played a number of concerts, but enthusiasm was starting to wane and in April 1972 they played their last show. Susy was keen to keep going and together with Titiek Hamzah recorded a number of albums using the Dara Puspita name, but it was really the end.

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The New Antique Beats

Collide is the second album from BEATS ANTIQUE Their sound is a unique fusion of old & new. They blend turn-of-the-century Dust Bowl Americana roots music with Middle Eastern Bellydance, Electronica, and down tempo Hip-Hop to create a unique fusion all their own.

Tribe it!!

Asian Groovy Attack!! (Repost)

This superb collection of Singaporean 60’s beat, pop, and “off-beat cha-cha” instrumental classics from original vinyl 45’s offers 22 supercharged beat-a-go-go tracks defy a common held belief that the Chinese couldn’t rock, groove, or swing back in the 1960’s. The vocals are sung in the dialects of Mandarin and Hokkien and they soar with catchy hooks atop groovy, clever beats.

There’s plenty of electric guitar, organ, and crazy percussion rocking and twisting behind it all, at times reaching quite a mad and freaky state of affairs. The record’s finale “Happy Lunar New Year” sung by Linda Yong may be the weirdest New Year greeting ever recorded. Every single cut is a winner and it never lets up from start to finish.

Although most of the lyrics focus on love, innocence, and festive atmospherics, there’s an epic vibe to the music that rivals other extremely well-recorded and unique pop styles emanating from the surrounding Southeast Asian scenes during the late 1960’s. Seminal bands of the period like The Stylers and The Silvertones are well represented here too.

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Messages from the Artic (Repost)

Tanya Tagaq Gillis is an Inuit throat singer from Nunavut, Canada, on the south coast of Victoria Island. She first began to practice throat singing after attending school, and later studied visual arts at the Nova Scotia College of Art and Design University, while there developed her own solo form of Inuit throat singing, which is normally done by two women.

Although she has become a popular performer at Canadian folk festivals, such as Folk on the Rocks in 2005, she is best known both in Canada and internationally for her collaborations with Björk, including concert tours and the 2004 album Medúlla. She has also performed with the Kronos Quartet and Shooglenifty and featured on the Aboriginal Peoples Television Network.

Her innovative, solo style of throat singing seeks to push the boundaries of emotion and to express the primitive instincts she believes still reside deep within our flesh. She describes her evolution over the past six years as a process of going deeper and deeper into her performance to the point where she virtually “leaves her body” and lets the expression take over.

Definitively a must, pay attention at track 2, featuring Mr. Mike Patton at the scream-mic.

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A Call from the Grasslands (Repost)

The amazing band Huun Huur Tu comes from Tuva, a republic of the Russian Federation, a sparsely settled Siberian land of grasslands, boreal forests, and mountain ridges. Huun Huur Tu's music features native instruments and preserves and develops some of the world's oldest forms of music making. The best-known genre of Tuvan music is Xöömei (throat-singing) in which naturally produced overtone vocal sounds create astonishingly unique textures and harmonics.

The new album Eternal is a collaboration with electronic musician & record producer Carmen Rizzo, who transforms this ancient music into an enticing blend of ambient electronic, exotic rhythms and lush acoustic textures. This wonderful album takes you through a dream-like sequence featuring bowed ancient strings colliding with low-end keyboards while the haunting voices of Huun Huur Tu howl through the mesmerizing pulses. A musical journey for all looking to escape.

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East Meet West (Repost)

SEDAA, in persian means “voice“ and connect the traditional mongolian with the oriental music to a unusual yet fascinating whole. They enchant one with ancient instruments of the nomads and take you to a colourful world of moods and vibrations between the Orient and the Mongolian steppe.

Skilled in Ulan-Bator (the capital of Mongolia), the mastersingers Nasaa Nasanjargal and Naraa Naranbaatar who are known by the musical group Transmongolia, offer with their orchestral undertone singing and the Mongolian throat singing "Höömii" an exotic listening experience and create the sounds of nature. They accentuate their mystical singings with traditional stringed instruments such as the Morin khuur (horse head violin), originally made from the horse's body, and the Ikh khuur (horse head bass).

Born in Isfahan, the Iranian multi instrumentalist Omid Bahadori who established his reputation through the group Rangin, gives the ensemble its oriental touch. With drums and the guitar, he tops the sentimental musical melange off. Wild rhythmic pieces, like the trot of the horses and tender ballads carry the listener on a musical journey through the vastness of the steppe. With their Debut-Album “Mongolian meets Oriental” Sedaa created an own innovative sound experience from these ancient musical cultures.

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The Rising of Moloch (Repost)

 It is the future, and humans are divided into two groups: the Thinkers, who make plans (but don't know how anything works), and the Workers, who achieve goals (but don't have the vision). Completely separate, neither group is complete, but together they make a whole. One man from the "thinkers" dares visit the underground where the workers toil, and is astonished by what he sees...

Original Complete Score from the amazing 1927 Fritz Lang's Metropolis

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Throat Warriors (Repost)

As a gift to my dearest pretty Mata Kurii, here is the amazing record from Tuva-landers masters of throat Khoomei chants Huun-Hur-Tu; the most distinctive characteristic of the Huun-Huur-Tu's music is throat singing, in which the singers sing both the note (drone) and the drone's overtone(s), thus producing two or three notes simultaneously. The overtone may sound like a flute, whistle or bird, but is actually solely a product of the human voice.

The group primarily uses native Tuvan instruments such as the igil, khomus (Tuvan Jew's Harp), doshpuluur, and tungur (shaman drum). However, in recent years, the group has begun to selectively incorporate western instruments, such as the guitar. While the thrust of Huun-Huur-Tu's music is fundamentally indigenous Tuvan folk music, they also experiment with incorporating not only Western instruments, but electronic music as well.

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The People of Today (Repost)

"The Tomorrow People" was a british children's science fiction TV series (not well known outside the UK), produced by the UK's Thames Television between 1973 and 1979; it was all about the next step in human evolution (officially called "Homo Superiors") who were born with special powers such as teleportation and telepathy. Whenever the was trouble, The Tomorrow People would step in and help sort it out.

A large portion of The Tomorrow People soundtrack was taken from the Standard Music Library's "ESL104" LP. In fact, all but four tracks from "ESL104" were used to score The Tomorrow People; the composers that contributed to "ESL104" were none other than BBC Radiophonic Workshop members and electronic music pioneers Delia Derbyshire and Brian Hodgson (using the pseudonyms "Li De La Russe" and "Nikki St George" respectively) along with Dudley Simpson (Doctor Who, Blake's 7) and David Vorhaus (here's the 2006 remastered version)

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Meet the Pioneers (Repost)

BBC Radiophonic Music was the first compilation of music released by the BBC Radiophonic Workshop. It featured music by three of the Workshop's most prominent composers, John Baker, David Cain and Delia Derbyshire. The music varied between incidental music and signature tunes, which had been used by various BBC programmes, as well as some radio jingles.

The selection demonstrated many of the methods used by the composers at the Radiophonic Workshop, including musique concrète tape editing and their use of primitive early electronic oscillators. It featured mostly original compositions, except for Baker's arrangements of the traditional "Boys and Girls" and "The Frogs Wooing", and Derbyshire's version of Johann Sebastian Bach's "Air".

In 2002 the compilation was remastered by Mark Ayres (the version included here), and re-released with two bonus Derbyshire songs; the original composition "Time to Go" and her version of "Happy Birthday". The album was originally released in 1968 for use as library music, but later given a commercial release in 1970 on the new BBC Records label.

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See how the cortex works (Repost)

In the early 1970s, Bill Holt produced a recording called "Dreamies" - a collage of songs performed on guitar and synthesizer (a Moog Sonic 6) combined with snippets of found sound ("dreamies" is a term coined by Isaac Asimov in 1955 in a short story called "Dreaming is a Private Thing", it refers to manufactured dream sequences.)

The album consists of two long tracks (originally one on each side of the record) called Program 10 and Program 11, a reference to the Beatles' Revolution #9. "Dreamies" includes excerpts of radio and television broadcasts as well as samples taken from recordings by the Beatles. It is one the earliest examples of sampling in popular music.

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Rays and Sparks (Repost)

As request by my faithful reader (and brother) Gonzalo here's a great work from late 60's called "Electrical Storm", as said by specialists, a real must in the electronic music: White Noise is an experimental electronic music band formed in London in 1969 by American-born David Vorhaus, a classical bass player with a background in both physics and electronic engineering. He was initially joined by BBC Radiophonic Workshop composers Delia Derbyshire and Brian Hodgson, both ex of electronic music project Unit Delta Plus.

The album was created using a variety of tape manipulation techniques, and is notable for its early use of the first British synthesizer, the EMS Synthi VCS3. Amongst many oddities, the first track on the album, Love Without Sound, employed sped-up tape edits of Vorhaus playing the double bass to create violin and cello sounds.

"I use voices a lot too, but not as conventional vocals. I always use a lot of voices, and if somebody having an orgasm in the background is used as part of one of the waveforms, it makes the sound more interesting, without the listener actually knowing what they're hearing." (David Vorhaus)

The band recorded the first two tracks with the intention of producing a single only, but were then persuaded by Chris Blackwell of Island Records to create an entire album. At this point the group set up the Kaleidophon Studio in a flat in Camden Town, London, and spent a year creating the next four tracks. The last track was put together in one day when Island demanded the completion of the album.

This album remains popular over 40 years after it was recorded, and many electronic musicians cite it as an influence. Delia Derbyshire has become a major cult hero after her death and many of her recordings have been released posthumously; although not initially commercially successful for Island, it has over the years proved to be a cult classic, going on to sell hundreds of thousands of copies worldwide, namechecked by such contemporary artists as The Orb and Julian Cope, influencing contemporary acts such as Broadcast, Add N to (X), and Secret Chiefs 3; by the way, a brief extract can be heard in the Hammer Film Productions film Dracula AD 1972.

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The Tiny Wonderful Grass People (Repost)

Amazing score composed by french musician Bruno Coulais, that sings about the life of our small neighbors hidden into grass, in fact it is a documentary of insect life in meadows and ponds, using incredible close-ups, slow motion, and time-lapse photography. It includes bees collecting nectar, ladybugs eating mites, snails mating, spiders wrapping their catch, a scarab beetle relentlessly pushing its ball of dung uphill, endless lines of caterpillars, an underwater spider creating an air bubble to live in, and a mosquito hatching.

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