Friday, November 23, 2007


Troissoeur is a fascinating contemporary ensemble. They are a real revelation within the new belgian music wave. They offer their audience a surprising experience: warm, imaginative and full of emotions. The group consists of four musicians with a highly skilled musical background, an inexhoustible imagination and sense of humour.
This show is from the Troisseoeur tour consisting of six shows in Flanders.

Leuven, Belgium - Stadsschouwburg 2003.
01 intro 02 Sitora 03 Aijeste 04 ? 05 Kjilmee 06 ? 07 ? 08 Sano 09 Ostoriosto 10 ? 11 Levina.
mp3 @ 256 kbps

Monday, November 19, 2007

Latin Playboys

David Hidalgo and Louie Perez of Los Lobos hooked up with Tchad Blake and producer Mitchell Froom for this side project, a twisted and avant-garde take on roots music. Latin Playboys draw from blues, border music, experimental studio trickery, and cinematic sound textures on their ambitious self-titled 1994 album. All of the material was composed by Hidalgo and Perez, and shows a considerably more experimental direction than their work with Los Lobos. Dose (followed in 1999) is another complex sonic architecture layering electronic effects, guitar fuzzes, orchestral snippets, loops of exotic percussions, piano figures, eccentric keyboards.

Bimbo's 365 Club, 28.03.1999
01. Mira! 02. Chinese Surprize 03. Ten Believers 04. Mustard* 05. Ironsides 06. Latin Trip* 07. Crayon Sun 08. If 09. Dose 10. Viva La Raza* 11. Cuca's Blues 12. Manifold de Amour* 13. Same Brown Earth 14. Locoman > 15. Toro 16. (Crowd/Tuning) 17. Palatero* 18. Forever Night Shade Mary.
* with Lisa Germano on violin

mp3 @ 256 kbps
>> download part 01
>> download part 02

Belle And Sebastian

Belle And Sebastian are an extended ensemble from Glasgow (Scotland), headed by singer Stuart Murdoch, and represent one of the most intriguing acts of the Britain scene at the end of the century.

"Our Favourite Party Songs", March 31, 2004
01. Passion Fruit 02. Expectations 03. Step Into My Office Baby 04. Wrapped Up In Books 05. The Model 06. I'm Waking Up To Us 07. You Made Me Forget My Dreams 08. You Don't Send Me 09. You're Just A Baby 10. Dog On Wheels 11. Slow Graffiti 12. I'm A Cuckoo 13. If You Find Yourself Caught In Love 14. Stay Loose 15. Wrong Girl 16. Dirty Dream Number Two 17. Sleep The Clock Around.

mp3 @ 256 kbps
>> download - part 01
>> download - part 02

Mark Kozelek

San Francisco's Red House Painters, an acoustic quartet led by introverted poet Mark Kozelek, penned the depressed mantras of Down Colorful Hill (1992): shy guitars that played chords as if they were reciting rosaries, and moribund dirges that seemed to end before beginning but then lasted for eternity, created quietly unnerving atmospheres that blurred the border between sorrow and ecstasy. Like with the music of Leonard Cohen, Tim Buckley and Nick Drake , the effect was both subdued and majestic, a contradiction that became the quintessence of their art.

The recording is very clear, and it is stereo, and Mark is very upfront in the sound. I have cross faded over a droput between tracks 5 and 6 on disk 1, and done a couple of fades, and cross fades to tidy the show. No EQ, or other treatments have been made to the recording, I have just made the audience sound continuous throughout the show. Solo concert with Mark in a very good mood, some lovely versions, some of his impressions and karaoke singling, and he is in great voice as always.

Fez NYC, 15 September 1998
cd1 1 St. John 2 Ruth Marie 3 Cruiser 4 Uncle Joe 5 Grace Cathedral Park (acapella) 6 Things Mean a Lot (acapella) 7 Wop-a-din-din 8 Strawberry Hill
cd2 1 Japanese To English 2 Byrd-Joel 3 24 4 River Sing 5 What's Next to the Moon 6 Michael 7 Mistress

mp3 @ 256 kbps
>> download cd1 - part 01
>> download cd1 - part 02
>> download cd2

Nina Nastasia

Singer/songwriter Nina Nastasia creates intimate, spectral music that evokes some lost, skewed take on Americana and that is often laced with haunting strains of viola, cello, and bowed saw. She counts among her admirers the notoriously picky, celebrated producer Steve Albini, who engineered her first two albums and who has vehemently sung her praises. Nastasia's debut, Dogs, was released in 1999 on the tiny indie Socialist Records but was out of print by the end of 2000.

That evening, she was singing, playing the acoustic guitar, and was accompanied with a doublebass player and an accordian player.

"Les Femmes s'en Mêlent" Festival, 2005.05.01
01 How I Like a Fight 02 I Say That I Will Go 03 Superstar 04 Oh my Stars 05 You, Her and Me 06 Ocean 07 The Matter (of Our Discussion) [Boom Bip] 08 [unknown]

mp3 @ 256 kbps
>> download

Mazzy Star

If psychedelic music had a voice in '90s post-punk, Mazzy Star may have been its strongest reincarnation. Mazzy Star much prefered the dark side of psychedelia, as exemplified by the most distended tracks of the Doors and the Velvet Underground. Their fuzzy guitar workouts and plaintive folky compositions are often suffused in a dissociative ennui that is very much of the 1990s, however much their textures may recall the drug-induced states of vintage psychedelia.

Although Mazzy Star was nominally a full band, they were basically the core duo of guitarist David Roback and singer Hope Sandoval with backing musicians.

The audio quality on the CD really is perfect. It has 16 songs and includes all the hard-to-find b-sides plus a few tracks of unknown origin.

The Other Side
(Live, B-Sides and Rarities from studio)
01. Fade Into You (Live) 02. Ride It On (Live Acoustic) 03. Sometimes Always (Live) 04. I'm Gonna Bake My Biscuit 05. Under My Car 06. Tell Me Now 07. Hair and Skin 08. Tell Your Honey 09. Had a Thought 10. Flowers in December 11. Sometimes Always 12. Ride It On (Live) 13. Ghost Highway (Live) 14. Blue Light (Live) 15. Into Dust (Live) 16. Bells Ring (Acoustic).

mp3 @ 256 kbps
>> part 01
>> part 02

Tuesday, July 31, 2007

John Fahey at PolyTech 1969

Worcester PolyTech, MA 1969.
Here's an early John Fahey show you don't see too often. I received this in trade, so don't know its lineage.

01. Steamboat Gwine 'Round De Bend/Death of the Clayton Peacock/Worried Blues
02. The Voice of the Turtle
03. Owchita/Revolt of the Dyke Brigade /Requiem for MJ Hurt

mp3 @ 256 kbps download >>>

However, this is widely circulated by collectors, so if you already have a copy of this, this'll be the same as the one you already have. It sounds like an audience recording to me. Sound is good and listenable. Quite a lot of hiss. Fahey is quite playful and experimental here - a nearly 12 minute version of Voice Of The Turtle!

Tortoise & The Ex at Maison des Arts

Festival Sons d'Hiver Maison des Arts, Créteil 16th of February, 2007.
All those songs were made for this special events and are yet unreleased.

setlist :
01. intro (00'55)
02. part 1 (10'18)
03. part 2 (05'45)
04. part 3 (18'42)

Band : (Tortoise) Jeff Parker : guitar John McEntire : keys Dan Bitney : percussions Doug MacComb : bass John Herndon : percussions (The Ex) Terrie Ex : guitar G.W. Sok : vocals Andy Moor: guitar Katherina Ex : drums.

mp3 @ 256 kbps download >>>

Good song quality for a stunning performance ! This bunch of songs is very repetitive and powerful, I'll hope you'll get in the trance...

Here are some pictures of the show :

Monday, July 30, 2007

Brian Eno Music for Prague

This was a one-off CD of sound sketches made by Brian when he was working on his 1998 installation with Jiri Prihoda in Prague. The CD was donated to an auction in aid of South London Arts in January 02001 and raised £400. Not to be confused with the inevitable 2-CD bootleg audience recording. I received my cdr copy in a trade. The material is unreleased. One long ambient track .

Brian Eno, Music for Prague (1998) sound installation, wood, plaster carton, particle board, CD players which show cardboard models of the very installation.

mp3 @ 256 kbps download >>>

Steve Reich re-activated

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Jack Rose re-activated

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John Cage re-activated

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Saturday, July 28, 2007


Abandoning the piano for the electric guitar, Cave's new project Grinderman (Anti, 2007) signaled the end of an era. While the album still used the Bad seeds, the sound (not to mention the lust) harked back to the cacophonous frenzy of the Birthday Party. Cave and his cohorts release primal energy of an almost punkish intensity in Get It On, Depth Charge Ethel, No Pussy Blues, Honey Bee and Love Bomb. Cave's traditional (adult?) side permeates the brooding When my Love Comes Down and the elegiac Man in the Moon. A rejuvinated bard adopted the stance of the demonic pervert and found a new mission in life.

Madison Square Garden New York City July 24, 2007.
1. Grinderman 2. Get It On 3. Depth Charge Ethel 4. Electric Alice 5. (I Don't Need You To) Set Me Free 6. Honey Bee (Let's Fly To Mars) 7. Man In The Moon 8. When My Love Comes Down 9. No Pussy Blues 10. Love Bomb.

mp3 @ 256 kbps download >>>

Akron / Family re-activated

> post
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Slint re-activated

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Don Caballero re-activated

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Friday, July 13, 2007

DivShare removed all my files

Hi guys,

unfortunately DivShare removed all my files.
I'm plannig to use another mp3 host so... any suggestion are welcome!!

In meantime I can say: DON'T USE DivShare !!
Please use this post to insert your upload requests.

Thursday, July 12, 2007

Don Caballero

Pittsburgh math rockers Don Caballero were one of the first bands to expand on the work of genre innovators like Bastro, Bitch Magnet, and (especially) Slint. Their music was entirely instrumental, and while their guitar interplay was as complex and dissonant as any of their peers, the real driving force behind their precisely calibrated attack was virtuosic drummer Damon Che. In essence, it was Che's manic explosions and stop-on-a-dime shifts in time signature that mapped out the trail his bandmates followed. His whirlwind of percussion helped pace the crashing din of the rest of the quartet, yet they also had a firm grasp of dynamics and often slowed things down into a heavy dirge. And despite the influence of jazz, there was no improvisation -- all the group's compositions were carefully structured, no matter how chaotic they seemed. Don Caballero recorded several albums for Touch & Go over the '90s to generally positive critical response, before going their separate ways in 2001.

June 22nd, 2006 The Note Chicago, IL.

01. Mmmmm Acting, I Love Me Some Good Acting 02. Sure We Had Knives Around 03. I Agree..... No!.....I Disagree 04. World Class Listening Problem 05. In The Abscence Of Strong Evidence To The Contrary 06. Palm Trees In the Fecking Bahamas 07. Haven't Lived Afro Pop 08. And And And, He Lowered The Twin Down 09. I'm Goofballs For Bozzo Jazz 10. Railroad Cancellation 11. Encore Break (applause) 12. Fire Back About Your New Baby's Sex 13. Cold Knees [In April]

mp3 @ 256 kbps download >>>

Tuesday, July 10, 2007

Grizzly Bear

Grizzly Bear is the project of New York's songwriter Edward Droste. He debuted with the gentle bedroom-folk tunes of Horn of Plenty (2004), but matured with Yellow House (Warp, 2006), recorded by a real band (drummer Christopher Bear, keyboardist and bassist Chris Taylor, guitarist Daniel Rossen) and much better arranged. Lullabye, Knife and Colorado were complex compositions that were easily ascribed to the psychedelic-folk revival, but were more properly a kind of atmospheric folk-rock rather than full-fledged psychedelic folk.

Here's two wonderful sets (acoustic & electric) with beautiful, haunting vocal arrangements from the Brooklyn based group currently touring in support of their record "Yellow House".

KEXP Seattle,WA October 04, 2006 (acoustic set)
1. Intro 2. Plans 3. Service Bell 4. Interview 5. Little Brother 6. Interview 7. Knife 8. Interview/Outro

mp3 @ 256 kbps soon available >>>

KEXP Seattle,WA February 16, 2007 (electric set)
1. Intro 2. Easier 3. Knife 4. Interview 5. He Hit Me (And It Felt Like A Kiss)* 6. On A Neck, On A Spit 7. Interview/Outro [* Crystals cover]

mp3 @ 256 kbps soon available >>>

Grizzly Bear are:

Edward Droste
Christopher Bear
Chris Taylor
Daniel Rossen

Friday, July 6, 2007

Diane Cluck

Diane Cluck is a New York-based singer-songwriter affiliated with the Antifolk scene centred around open mic nights at the Sidewalk Cafe. She has recorded five albums since 2001. Her music is more sophisticated than many artists' of the genre, played using acoustic guitar, piano, organ, harmonium, and xylophone. Influenced by the French composer Erik Satie her music also uses discordant effects and demonstrates a confident grasp of dynamics. Her song Monte Carlo appeared on the Rough Trade compilation Anti Folk Volume 1 in 2001 alongside other luminaries of the scene. She has collaborated with Jeffrey Lewis and Herman Düne in the past.

June 28, 2006 The Attic, Santa Cruz, Ca.
1. -intro 2. Heat From Every Corner 3. Just As I Should Be 4. A Phoenix And Doves 5. Sandy Ree6. Easy To Be Around 7. -tuning 8. My Teacher Died 9. Bones And Born Again.

Audience recording from the dat master tape. Acoustic show from the woman Devendra Banhart called "my favorite singer-songwriter in all of New York City". Diane played a short but sweet set.

mp3 @ 256 soon available >>>

Thursday, July 5, 2007

Steve Reich

Far from being monolithic, Reich's career can be neatly divided in stages. In the first stage (It's Gonna Rain) he was only interested in the process and was largely indifferent to the performance. In the second state (Violin Phase) he was mostly interested in the performance being driven by the process. In his third stage (Music For 18 Musicians), he became interested in the tonal quality (in the "sound") and in harmony (although still from the viewpoint of rhythmic complexity) In the fourth stage , he focused on counterpoint and emotional content (Tehillim), thus shifting the emphasis towards used larger and larger ensembles (Desert Music) and rediscovering his Jewish roots. He then returned to electronic music, but from the vintage point of sampling technology (Different Trains). That brief parenthesis was followed by a new stage: large-scale works for the theater (The Cave) and the concert hall (City Life).

For this post, I combined three of Steve Reich's compositional highlights together.

Tehillim (1981) - Musica Sacra 1999 Theater aan het Vrijthof, Maastricht September 17, 1999. 01 Tehillim Part I-Fast 02 Tehillim Part II-Fast 03 Tehillim Part III-Slow 04 Tehillim Part IV-Fast

Percussion Group Amsterdam & Delta Ensemble - conductor Jurjen Hempel Barbara Borden - soprano Tannie Willemstijn - soprano Yvonne Benschop - soprano Ananda Goud - soprano.

Different Trains (1988) - Muziekcentrum Vredenburg (kleine zaal), Utrecht February 25, 1998.05 I-America-Before the war 06 II-Europe-During the war 07 III-After the war.

The Smith Quartet: Ian Humphries - violin Charles Mutter - violin Nic Pendlebury - viola Deirdre Cooper - cello.

City Life (1995) - Gruber Mozartsaal Konzerthaus, Vienna January 30, 2003.08 "Check it out" (first seconds are missing) 09 Pile driver/ alarms 10 "It's been a honeymoon-Can't take no mo" 11 Heartbeats/ boats & buoys 12 "Heavy smoke".

Ensemble "Die Reihe" - conductor HK (Heinz-Karl).

mp3 @ 256 kbps soon available >>>

Saturday, June 30, 2007

Shipping News

Louisville's Shipping News advances a thoroughly modern kind of experimental rock, with bristling riffs, chameleon-like rhythms and convoluted harmonies. It's no surprise that the band's members are veterans of the Louisville noise-rock scene: Jeff Mueller (now in June Of 44) and Jason Noble (now in Rachel's) are both ex-members of Rodan and Kyle Crabtree pounded the skins in Eleven Eleven. The group formed in the fall of 1996 when Jason Noble and Jeff Mueller collaborated to create music for the Chicago-based syndicated National Public Radio program "This American Life". Kyle Crabtree was recruited as drummer, rounding out the group. The group's sound is similar to those of earlier Louisville, Kentucky indie rock bands such as Slint and Rodan as well as Mueller's former band June of 44.

2005.04.29 Chicago, IL Schubas.
01. [ intro ] 02. Paper Lanterns (Zero Return) 03. Louven 04. (Morays Or) Demon 05. [ unknown ] 06. Sheets And Cylinders 07. It's Not Too Late 08. Axons And Dendrites 09. Books On Trains.

Jeff Mueller - guitar, vocals
Jason Noble - guitar, vocals
Todd Cook - bass
Kyle Crabtree - drums, vocals

mp3 @ 256 kbps soon available >>>

Friday, June 29, 2007


Touted as "Nashville's most f*cked-up country band" by their label Merge Records, Lambchop was arguably the most consistently brilliant and unique American group to emerge during the 1990s. Their unclassifiable hybrid of country, soul, jazz, and avant-garde noise seemed at one time or another to drink from every conceivable tributary of contemporary music, its baroque beauty all held together by the surreal lyrical wit and droll vocal presence of frontman Kurt Wagner. Although Lambchop's ever-rotating roster would later expand to over a dozen members, the group formed in 1986 as a simple three-piece teaming Wagner, guitarist Jim Watkins, and bassist Marc Trovillion, former high school classmates already ten years removed from the educational system. Originally dubbed Posterchild, the trio made its earliest recordings in Trovillion's bedroom, self-releasing a series of cassettes with titles like I'm F*cking Your Daughter. In time, the lineup began to grow and the band regularly performed live in and around the Nashville area, often at the area record shop, Lucy's (not coincidentally owned by Wagner's wife, Mary).

"Tanz und Folkfest Rudolstadt" Germany July 2, 2004.
01 Intro 02 The Book I Haven't Read 03 Each Time I Bring It Up, It Seems To Bring You Down 04 Nothing But A Blur From A Bullet Train 05 Low Ambition 06 Caterpillar 07 The Lone Official 08 You Masculine You 09 Up With People 10 Theone 11 (Get A) Grip (On Yourself).

If the audience at this July 2, 2004 concert in Germany were expecting an energetic performance, they were in for a surprise. The relatively short and relaxed set (less than one hour) comprises songs from the group's current release, Aw C'mon/No, You C'mon, and Nixon - the group's sixth album and the one that "introduced" Lambchop to the world. Backed by the Dafo String Quartet, Wagner is attentive but it is that glowing intimacy that makes this perfect late-night listening.

mp3 @ 256 kbps soon available >>>


Texas' Bedhead, led by Matt Kadane, exlored a state of mind between psychedelic trance and teenage angst on What Fun Life Was (1994) and Beheaded (1996). Their ameobic pieces "grew" rather than simply exist: they were the object of a gradual, evolutionary (and potentially neverending) process that slowly brought the emotions into focus.

1998.05.20, De Avonden, VPRO, Amsterdam.
1. radio intro / Smoke 2. interview 3. The Present 4. interview 5. interview / Gasoline 6. interview 7. Golden Brown (The Stranglers) 8. interview 9. To The Ground 10. interview 11. Bedside Table / radio outro 12. The Unpredictable Landlord 13. Dead Language 14. The Dark Ages15. Crushing (alternate version) 16. Bedside Table

Radio 5 broadcast, slight FM or tape fuzz, might have been broadcast in two parts (1-11 and 12-16).

mp3 @ 256 kbps soon available >>>

Thursday, June 28, 2007

Palace Brothers

Known alternately as Palace, Palace Songs, and Palace Brothers, this outfit is the project of guitarist/vocalist Will Oldham. Palace Brothers takes the harsher side of country and folk and reworks it into devastatingly spare, intense indie rock. Oldham's voice whimpers and whines like a centegenarian, and the simplicity and effortlessness of the songs suggest that they are timeless. While Palace Brothers are definitely a high concept group, the music speaks for itself.

07.08.1994 Hoboken, NJ, Maxells.
01 gulf shores 02 ohio river boat song 03 idle hands are the devil's plaything 04 o lord are you in need? 05 merida 06 king me 07 o how i enjoy the light 08 stable will 09 newpony 10 you will miss me when i burn 11 pushkin 12 i send my love to you 13 meaulnes 14 i am a cinematographer 15 come in 16 (thou without) partner.

There are very few tape hiss/drop outs but overall this is a great gig by the Palace Brothers at their peak!

mp3 @ 256 kbps soon available >>>

Wednesday, June 27, 2007


Tortoise basically reinvented progressive-rock for the new millenium when they anchored their musical drifting to dub and jazz pillars. The geometry of their sound started with the very foundations of the line-up, which was basically the union of two formidable rhythm sections, Poster Children's drummer John Herndon and Eleventh Dream Day's bassist Doug McCombs plus Gastr Del Sol's rhythm section (drummer John McEntire and bassist Bundy Ken Brown), augmented with Tar Babies' percussionist Dan Bitney. They were not only inspired by the historical rhythm sections of funk and dub, but they set out to obscure that legacy with a more far-reaching approach.

The Independent San Francisco CA June 22, 2007

CD1 (65:54): 1. It's All Around You 2. Monica > 3. In Sarah, Mencken, Christ, and Beethoven There Were Women and Men 4. Benway 5. Ten-Day Interval > Swung From The Gutters 6. Six Pack 7. Crest 8. Five Too Many 9. Magnet Pulls Through > Eden 2 10. Along The Banks Of Rivers 11. Blackjack 12. (encore break).
CD2 (33:37): Encore 1: 1. Salt The Skies 2. Eros 3. I Set My Face To The Hillside 4. (encore break) 5. Seneca 6. Unknown > Dot/Eyes.

mp3 @ 256 soon available >>>

Tuesday, June 26, 2007


Fennesz uses guitar and computer to create shimmering, swirling electronic sound of enormous range and complex musicality. “Imagine the electric guitar severed from cliché and all of its physical limitations, shaping a bold new musical language.” - (City Newspaper, USA). His lush and luminant compositions are anything but sterile computer experiments. They resemble sensitive, telescopic recordings of rainforest insect life or natural atmospheric occurrences, an inherent naturalism permeating each piece.

Fennesz, Vainio, Zanusi 2003.11.03, Frascati, Amsterdam.
1. GRM Experience (long improvisation).

mp3 @ 256 kbps soon available >>>

Monday, June 25, 2007

Silver Jews

A beautiful mess of indie rock, country-rock and lo-fi with lyrics both witty and profound, the Silver Jews were formed in 1989 by writer/musician David Berman with his friends, guitarist/singer Stephen Malkmus and drummer Bob Nastanovich. The trio performed together as Ectoslavia when they studied at the University of Virginia; after graduation, they moved to New York and shared an apartment. Dubbing themselves the Silver Jews -- after the Silver Apples, the Silver Beatles, and slang for blonde-haired Jewish people -- they played noisy, often improvised songs, mostly for the sheer enjoyment they got out of playing together after a hard day's work. At the time, Berman and Malkmus were guards at an art museum and Nastanovich was a bus driver. After work, they would record songs into people's answering machines, but even after the band's sonics improved, the basic idea of friends playing together in a spontaneous way became the Silver Jews' trademark style.

Berman's sophisticated lyrics have come to dominate the band's music and critical reputation. Berman had long been steadfast in his almost complete refusal to play live, and so surprised the indie world when he announced their first ever tour in the spring of 2006. Berman is also a published poet. His collection Actual Air was released in 1999 and received favorable reviews from The New Yorker and GQ.

03.21.2006 Starlight Ballroom Philadelphia, PA.
This was the 9th show on the first ever Silver Jews tour.

1. Inside the Golden Days of Missing You 2. Animal Shapes 3. Smith & Jones Forever 4. Pet Politics 5. I'm Getting Back Into Getting Back Into You 6. Random Rules 7. New Orleans (w/ Bob Nastanovich on drums) 8. Horseleg Swastikas 9. Dallas 10. Trains Across the Sea (w/ Bob Nastanovich on drums) 11. The Poor, The Fair and The Good 12. Black and Brown Blues 13. Slow Education 14. How Can I Love You (If You Won't Lie Down) 15. Punks in the Beerlight Encores 16. There Is A Place 17. Sometimes a Pony Gets Depressed.

mp3 @ 256 kbps soon available >>>

Uri Caine

Jazz pianist/composer Uri Caine brings an eclectic array of disciplines and influences to his music. His own Jewish heritage, his classical and jazz training, and his interest in electronics combine in ambitious hybrids that are often challenging but always inventive.
This well-rounded approach to music culminated in the aptly named debut album Sphere Music, released in 1992. Caine's spontaneity and technical prowess as a musician and composer combine on the album, making it a jazzy tour of moods and styles. Sphere Music also inaugurates Caine's collaboration with clarinetist Don Byron. Together, the two have played everything from Thelonious Monk's "Round Midnight" to klezmer music to modern classical, with Byron's ensemble Semaphore.
Caine followed Sphere Music with 1996's Toys, 1997's Primal Light, and 1999's I Went Out This Morning Over the Countryside, all of which feature his signature blend of fluid, visionary postmodernism. The late '90s brought international attention to Caine's projects reworking, reinterpreting, and reinventing the works of classical composers for the Winter & Winter label.

Cully (CH), March 30, 2007 Uri Caine Ensemble: Plays Mozart.
Ralph Alessi (tp), Chris Speed (cl), Joyce Hammann (v), Uri Caine (p), Nguyen Lê (g), Michael Formanek (b), Jim Black (dr).

01 Sonate pour piano, en do majeur (extrait). 1er mouvement (W. A. Mozart) 02 radio announcer 03 Symphonie, no 40, en sol mineur (extrait). 1er mouvement (W. A. Mozart) 04 radio announcer 05 Symphonie, no 41, en do majeur (extrait). 2ème mouvement (W. A. Mozart) 06 radio announcer 07 Quintette pour clarinette, en la majeur (extrait). 4ème mouvement (W. A. Mozart) 08 radio announcer 09 Symphonie concertante, en mi bémol majeur (extrait). 3ème mouvement (W. A. Mozart) 10 radio announcer 11 La flûte enchantée. Opéra (extrait). Air de la reine de la nuit, acte I (W. A. Mozart) 12 radio announcer 13 Don Giovanni. Opéra (extrait). bati bati, o bel Masetto, acte I (W. A. Mozart) 14 radio announcer 15 Sonate pour piano, en la majeur (extrait). Marche Turque (W. A. Mozart) 16 radio announcer 17 Free form Mozart (Uri Caine Ensemble) (not complete) 18 radio announcer

mp3 @ 256 kbps soon available >>>

Friday, June 22, 2007

Thinking Fellers Union Local 282

Thinking Fellers Union Local 282 were remnants of San Francisco's hippie/freak culture of the 1960s, and heirs to the Residents' theatrical madness. Tangle (1989) and especially Lovelyville (1991) collected eccentric, amateurish, irreverent and manic-depressive miniatures that overflowed with echoes of the most disparate genres (free-jazz jamming, funeral music, heavy-metal riffs, Indian pow-wow music, folk lullabies). The unifying theme of these musical landmines was the performance, which evoked the Holy Modal Rounders in their most irrational moments. There was no limit to human imagination in the demented cabaret of Mother Of All Saints (1992), a chaotic excursus through jazz, bluegrass, exotica, Ennio Moriccone and Frank Zappa, a super-collage of sonic debris assembled by vocalist Anne Eickelberg, percussionist Jay Paget, multi-instrumentalists Brian Hageman and Mark Davies on a wealth of instruments. Faithful to Dada's principle of art as a paradox, the band was at its childish peak. Then they retreated to the amusing surrealism of Strangers From The Universe (1994) and jumped on the "lo-fi pop" bandwagon with I Hope It Lands (1996) and Bob Dinners And Larry Noodles Present Tubby Turdner's Celebrity Avalanche (2001).

05 July, 1990 KCSB Studio, Santa Barbara, CA.
Sound: Very Good (+) Preventing this from receiving a grade of excellent is some modest static fuzz/distortion that almost sounds like weak radio reception (?) Sorry no set list.

mp3 @ 256 kbps soon available >>>

Daniel Johnston

Visual art was not only Daniel's original mode of creative expression, but was something that Daniel always imagined he would make a living at. His "cast of characters," including Casper, Jeremiah the innocent frog, Polka-Dot Underwear Guy, Joe the Boxer, Vile Corrupt, Sassy Fras the Cat and a host of monsters, ducks, naked cut-off torsos and superheroes are as essential to understanding Daniel as any other element, and often appear in his songs. Art and music together express Daniel's complete vision, and although every musical release has contained examples of his artwork, he is just beginning to gain widespread recogition as a visual artist.
Over the course of his career, Daniel's songs have been covered by many great artists including Yo La Tengo, Firehose, Mo Tucker, Eddie Vedder, Sparklehorse and Kathy McCarty, who devoted an entire album to covering Daniel's songs called "Dead Dog's Eyeball," which was regarded by many as one of the best albums of the '90s. Daniel has built an ever-growing fan base as he continues to tour the world. Last year, he was personally booked by Daivd Bowie for the Royal Festival Hall's annual Meltdown Festival. Much praise has been bestowed upon Daniel in recent years, including some very strong words from Matt Groening, creator of "The Simpsons," who calls Daniel "my favorite songwriter." Matt, by the way, is producing this year's much-heralded "All Tomorrow's Parties" music festival at UCLA and has already booked Daniel to appear.

2001-09-02 Bumbershoot Festival PCC Northwest Court Stage Seattle, Washington.


mp3 @ 256 kbps soon available >>>

Thursday, June 21, 2007

Akron / Family

Akron/Family are four extremely nice, sincere and well-mannered young men from rural America who came to NYC (in 2002) to make music, hoping to find a thread of real magic still winding through this city’s music scene. They certainly did just that, but they did it by retreating into a tiny Brooklyn apartment, where they made their own world instead, in complete and stubborn isolation. They proceeded (while simultaneously growing alarmingly long beards and developing a playful but hermetic quasi-religious/sonic worldview/creed known as “AK” or sometimes “AK-AK”) to make several albums worth of recordings on crude home equipment – the material compulsively chopped, spliced, and orchestrated into fractal jewels of song and schismatically opposed atmospheres.
They accrued at least 3 albums worth of music in this obsessive manner. Along the way, they sent me the increasingly compelling results. Ryan, who sings lead on most of the songs, has one of those pure and sonorous voices that when sliding up to the higher registers inevitably evokes comparisons to angels and elicits uncomfortable feelings in girl and boy alike, but when they all sing together it’s like the goddamn Beatles or Beach Boys or maybe an eerie and twisted version of The Band.

Ekko Utrecht NL 2006.04.14
01 suchness 9:47 02 moment 7:04 03 rainforest 10:56 04 small shape 6:36 05 blessing forks 16:52 06 ali 4:18 07 raising the sparks 14 (incomplete; missing the last +/- 4 minutes).

mp3 @ 256 kbps soon available >>>

Wednesday, June 20, 2007

John Fahey

John Fahey made folk music more fit for the classical auditorium than for a Nashville stage. John Fahey is the man who introduced the stream of consciousness into folk music, and turned folk music into classical music, and then made it cross the boundaries of western and eastern music. The spiritual father of the "american primitive guitar", Fahey turned the guitar solo into a metaphysical exercise.

Guitar Excursions Into The Unknown UK Tour 1999
Brudenell Social Club, Leeds, UK, September 30, 1999.

John Fahey - Electric Guitar Daniel Shervington - Organ (disc 2 tracks 1 and 2) Unknown drunken harridan - trainwreck vocals (disc 1 track 4).

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mp3 @ 256 kbps download disc 2 >>>
Sound Quality - very good - no hiss, but quiet. Some audience noise, but not too obtrusive.
Do not download this if you are expecting classic acoustic John Fahey. This is from his last tour of the UK - the "Guitar Excursions Into The Unknown" tour. Listen to his CDs of the period to get a flavour of what to expect. However, this is still very musical compared to other shows from this tour that I've heard. The tracks with the organist on disc 2 are quite

There was only a few people there probably not even 30!

Keiji Haino

Keiji Haino is easily one of avant garde’s most mysterious figures, never seen in proper lighting or without his trademark black glasses. Aside from playing countless different instruments, Haino also finds time to front the almighty psychedelic power trio Fushitsusha. He has also guested in countless other projects including John Zorn’s Painkiller and Asahito Nanjo’s Musica Transonic and has collaborated with Loren MazzaCane Connors, Alan Licht, Boris, Merzbow and more. He is truly one of the most impressive musical figures recording today.

Keiji Haino with Gozen Yoji
11.21.1980 Shibuya Yaneura , Tokyo, Japan.
This stuff doesn't contain song title. And I have completely no info of this.
Keiji Haino played with Gozen Yoji that is japanese punk band several times. This is pure punk sound. Not too avant garde like ordinary style of Keiji Haino. Decent quality.

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Tuesday, June 19, 2007

Squirrel Bait

Adored by critics and a small cult following, the seminal Squirrel Bait remain consistently underrated in terms of their influence on post-hardcore punk and alt-rock. A big part of that is due to their unfortunately scant recorded legacy: two albums, both under half an hour, both only sporadically available. Their visibility certainly wasn't helped by the lack of a bustling scene in their native Louisville, KY, at the time (though they helped kick start one), nor by the high-school-age members' youth, which made it difficult to tour and to make the transition to college. Furious and melodic, Squirrel Bait's music was most often compared to Hüsker Dü but that only began to capture the essence of their high-tension dynamics and angst-riddled mania. Their sensibility was often compatible with the emerging Dischord stable, yet indebted to heavy metal as well, and their musical chops foreshadowed the intense prog-punk that would become one wing of the emo movement. Most of Squirrel Bait's members remained active musicians after the band's dissolution, playing in bands that ranged from grunge and indie rock to experimental math rock and post-rock. Squirrel Bait were formed in Louisville circa 1983 by vocalist Peter Searcy, guitarists David Grubbs and Brian McMahan, bassist Ethan Buckler, and drummer Britt Walford.

This is one for the obscurists with good taste amongst you. This is a compilation of stuff by the Kentucky band Squirrel Bait , now those of you who have heard of them will now what an excellent band theywere but for those of you that haven't get hold of a copy of the Skag Heaven CD which contains their total output it's one of the greatest albums ever release.
This is a full show from 1st Avenue Minneapolis from 8-8-86 (tracks 1-17), its a decent audience recording and then the other tracks are demos from '84 and '85 (tracks 18-26) which are decent quality although there is some hiss. I recieved these in a trade a couple of years ago.

1st Avenue Minneapolis 8.8.1986 + Demos '84 - '85.
1. Kid Dynamite 3:41 2. Virgils return 3:07 3. Hammering so hard 3:44 4. Final chapter 3:11 5. Choose yr poison 3:50 6. Too close to the fire 2:41 7. Mixed blessing 2:32 8. Thursday 4:23 9. Slake train comming 3:06 10. Hey joe 3:48 11. Rose island road 4:06 12. Perfect 2:00 13. Tuning 1:38 14. Kick the cat 3:40 15. When I fall 4:45 16. Sun god 2:59 17. Tape from California 3:56 18. Unknown 2:45 19. Unknown 1:12 20. Black poster child 2:30 21. Unknown 1:47 22. Unknown 1:10 23. Disguise 1:17 24. Unknown 0:58 25. Unknown 1:47 26. When I fall 2:08

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Chicago Underground Duo

The Chicago Underground find the common elements between the best jazz, the most progressive electronic music, and the free spirit of rock and roll and play like there are no demarcations between any genres. The result is infinitely more effective than other improv or noise experiments for at least three reasons. First, the songs do not sound like they simply let the tape roll and started banging away, but that they only released the successful experiments, where an actual song actually resulted. Second, the Chicago Underground seem to be less about destroying theory and structures and more about pretending none of that stuff existed and seeing where their unfettered imagination would take them. Third, they reject the notion that modern music must either be purely mechanical (as a reflection of context) or purely organic (as a salvation from context) and have merged the two poles into a musical cyborg, making it more accurately reflect the modern context: it is not the machines that control the humans or vice versa, but the two in tandem are dependent on each other, resulting in a new hybrid bio-mechanical entity.

Babylon, Ottawa, Ontario Canada Aug. 23rd, 2000.
Set 1 Tracks 1-5 (small glitch at ~0 m:20 sec of set 1, present on master dat).
Set 2 Tracks 6-10 (slight late start on track 6, maybe 5-10 seconds missing).

This is the only source circulating from this show.

mp3 @ 256 kbps soon available >>>

Monday, June 18, 2007

The 6 Organs Of Admittance

Ben Chasny's Six Organs of Admittance is one the most revered ensembles in the underground avant-garde folk movement of the early 2000s. Chasny's combination of deft finger-picking in the mold of John Fahey and Leo Kottke, heady psychedelic drones, and mantra-like vocals became one the finest musical examples of what some had dubbed the "new weird America." In 2003 Chasny became a full-time member of heavy San Francisco space rockers Comets on Fire. The prolific Chasny released SUN AWAKENS in 2006 under the Six Organs moniker in addition to performing and recording with, among others, Comets on Fire, Howlin Rain, and Current 93.

Definitive albums:
For Octavio Paz (2004)
School Of The Flower (2005)
Sun Awakens (2006)

Terrastock 5 10-12-2002 Axis Boston, MA USA.
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Matmos is M.C. Schmidt and Drew Daniel, aided and abetted by many others. In their recordings and live performances over the last nine years, Matmos have used the sounds of: amplified crayfish nerve tissue, the pages of bibles turning, a bowed five string banjo, slowed down whistles and kisses, water hitting copper plates, the runout groove of a vinyl record, a $5.00 electric guitar, liposuction surgery, cameras and VCRs, chin implant surgery, contact microphones on human hair, violins, rat cages, tanks of helium, violas, human skulls, cellos, peck horns, tubas, cards shuffling, field recordings of conversations in hot tubs, frequency response tests for defective hearing aids, a steel guitar recorded in a sewer, electrical interference generated by laser eye surgery, whoopee cushions and balloons, latex fetish clothing, rhinestones on a dinner plate, Polish trains, insects, ukelele, aspirin tablets hitting a drum kit from across the room, dogs barking, people reading aloud, life support systems and inflatable blankets, records chosen by the roll of dice, an acupuncture point detector conducting electrical current through human skin, rock salt crunching underfoot, solid gold coins spinning on bars of solid silver, the sound of a frozen stream thawing in the sun, a five gallon bucket of oatmeal.

2001-11-13 Köln, DE Opernhaus.
01. Ur Tchun Tan Tse Qi 02. Spondee 03. Sun at 5 and 04. For Felix (and all the rats) 05. Unknown.

I received this rare Matmos show in a trade some time ago. It was originally labeled 2002-11-13, but after a thorough investigation, I verified this to be a show from 2001. I wrote a mail to M.C. Schmidt and he told me Matmos was not on tour in Germany in 2002. As for verification beyond that, Bjork and Matmos played in Köln on 2001-11-13, so the dates match up very nicely there.

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Vocalist/guitarist Geoff Farina (a graduate from music school where he studied jazz), bassist Eamonn Vitt and drummer Gavin McCarthy formed Karate in 1993 out of Boston. The early singles were: Death Kit/ Nerve (Self Starter Foundation, 1994), The Schwinn (Lonesome Pine, 1995), Cherry Coke (Art Monk Construction, 1995). In 1995 the band added bassist Jeff Goddard (who had moved to Boston in 1987 to study classical music) and Eamnonn Vitt moved to second guitar. Their self-titled debut and follow up, In Place of Real Insight, are two of my favorite CDs of all time.

mainzer theatre merced, ca 25 october 2002
1. remain relaxed 2. ice or ground 3. number six 4. in hundreds 5. cancel 6. caffeine or me 7. south 8. original spies 9. first release 10. today or tomorrow

mp3 @ 256 kbps soon available >>>

Farina about this show: "Ciao Ricardo,
Yeah, this sounds pretty good. Go ahead and post it and send me a link/note when you do so I can link to it. Thanks!"

Friday, June 15, 2007

Jack Rose

Jack Rose member of the legendary drone/noise/folk group Pelt since 1995. Pelt along with Tower Recordings, UN, Charalambides was one of the early groups who forged a new sound that combined free improv, drone, traditional folk music in the early to mid nineties, later coined "weird new america" by the Wire's David Keenan in the early oughts. Since 2001 Rose has pursued his own path in the solo acoustic guitar solo genre as invented by John Fahey. Like Fahey Rose draws his inspiration from early rural American musicians like Charley Patton, Skip James and Blind Blake. In addition to those influences he gleans inspiration from Robbie Basho, Ry Cooder, Zia M. Dagar, La Monte Young, Terry Riley. Jack incorporates all of these elements into his own idiosyncratic style and it is his sound and his alone. Since 2002 he has released 3 critically acclaimed LP's for the Eclipse label, 2 cd's for VHF, a 14 min track alongside fellow travelers: Rick Bishop, Stiffen Basho-Junghans and Tetuzi Akiyama on the now influential "Wooden Guitar" anthology released by Locust and one LP side on the massive triple LP set "You Shall Know the Roots, by it's Fruits" with Six Organs of Admittance, Ursa, Joshua, Dreaded Fooled, MV and EEC that was released and went out of print this year. This year his 4th LP/CD, "Kensigton Blues", will be out in aug/sept on the VHF, Beautiful Happiness and Tequila Sunrise labels.

VPRO Dwars session January 16, 2007 DeSmet studio's Amsterdam, Holland.
Broadcast February 1, 2007 Dwars, Concertzender The Netherlands
01 Intro 02 Kensington blues 03 Cross the Northfork 04 Rappahanda river rag 05 Dusty grass 06 Mis maze place 07 Closing.

mp3 @ 256 soon available >>>


Douglas may be familiar to many of you as the bassist for Eleventh Dream Day, Tortoise and most recently Pullman, an all-acoustic collaboration that features members of Come, Directions in Music and Rex. During the last two years Brokeback has released two singles and played numerous live dates throughout the U.S. and in Europe. Through Brokeback, Douglas has sought to explore something not as densely structured as his other musical outings with a focus on rhythm and texture. The idea with Brokeback is to keep things simple and let the melodies hang in the air. By the nature of this decision the music is sparse, but not without sounding full and realized.

Brokeback returns to the Empty Bottle after a performing absence of over a year. Realized by bassist Doug McCombs, Brokeback, whatever the cast of revolving contributors, is a compositional endeavor that focuses on rhythm and texture. McCombs has three albums to his credit using the Brokeback moniker, the latest of which, Looks as the Bird, was released by the local Thrill Jockey imprint.
If you've enjoyed this recording please visit to purchase more great music from Brokeback.

January 10th, 2007 Empty Bottle Chicago, IL.
1. The Wind Up Bird 2. From The Black Current / After the Internationals 3. In the Reeds 4. Cindi 5. Everywhere Down Here 6. Another Routine Day Breaks 7. Sometimes A Cold Rain Can Push Down On The Back Of Your Head.

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John Cage

In the spring of 1975, Ken a friend from town of Columbus, Georgia, say that John Cage was doing an artist-in-residence program at Columbus College, and was giving a performance on the coming Friday night.
That night Ken taped most of Mr. Cage's performance, as well as part of the "meet and greet" on the stage afterward. Marc and one of his friends asked Mr. Cage a couple of good questions, and his answers tell us a lot about the work he presented that night.
"Empty Words" is a four-part "non-syntactical" work based on the journal of Henry David Thoreau. For thereading, Mr. Cage sat at a desk with a lamp and a watch, the text on a book stand, and read part of the third part of the work, which has only syllables and letters. Mr. Cage gives an extended explanation of the work in his introduction, which is track one of this show. The reading, track two, lasted longer than the 30 minutes captured. The tape ran out, and Marc did not flip the cassette and record the rest of this part of the program.
Track four, "Music for Marcel Duchamp" (1947), is performed by Mr. Cage on a prepared piano, which I believe was an upright piano rather than a concert grand. As he explains in his introduction, track three, the work was written for Duchamp's segment of the film "Dreams That Money Can Buy" by Hans Richter.
Track five is a recording on the stage of the auditorium, during the post-program question and answer perioddescribed earlier. Mr. Cage gives more insight into his work and this evening's performance. From what he reveals in answer to Ken's question about the watch, I gather that each performance of "Empty Words" is unique, based on chance operations which involve his watch. Also, we learn that there were slides projected during the "Empty Words" performance, but Mr. Cage indicates that these were not coordinated with his reading.

For this the recording, noise reduction was used only on track one, the introduction to "Empty Words," to improve the clarity of Mr. Cage's introduction to the piece. A parametric equalizer and spectrum analysis graph were employed to isolate and filter out hums from the auditorium air conditioning system. Volume was boosted on tracks one and three, both introductions spoken off-mic by Mr. Cage. The audio level of "Empty Words" is unaltered from the original recording, as the loud and quiet passages are essential elements of the work.

I am looking for more information about this performance. I know that an art instructor at the school was filming with a 16mm camera while I was on the stage with Mr. Cage and Marc and his friends, but I do not know how much more was filmedor whether that film still exists. Any additional information would be welcomed.

Auditorium, Columbus College Columbus, GASpring, 1975. 1. Introduction to "Empty Words" 2. Empty Words (incomplete) 3. Introduction to "Music for Marcel Duchamp"4. Music for Marcel Duchamp 5. Questions and Answers.

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Thursday, June 14, 2007


Shellac have a distinctive, minimalist sound based on unusual and urgent time signatures, repetitive heavy rhythms, an angular guitar sound, and Albini's surreal, bitingly sarcastic lyrics. Songs typically do not have traditional verse/chorus/verse structure and the arrangements are sparse, to the point where some describe them as "amelodic". Shellac's signature sound is often associated with their enthusiasm for vintage Travis Bean guitars, a rare brand of aluminium-based instruments. Albini is also known to use copper plectrums and unique guitar straps that fit around the waist rather than over the shoulder. The band prefers the intimacy of smaller clubs, and live appearances are sporadic.Shellac are also renowned for their unconventional modus operandi. Touring is often an excuse for the band to take time away from their day jobs (Albini and Weston are both recording engineers; Trainer works at a commercial photographer's studio in Minneapolis) instead of being used to promote a recent record or even for financial gain. Indeed, Shellac do not have a "fixed fee" for performances like most bands, instead preferring to take the door charge minus expenses such as promotion, running costs and venue fees. They have also been known to ask venues to remove ticket charges they regard as unnecessary.

1995-03-24, Gargoyle, St. Louis.
1. instrumental 2. Crow 3. Song Of The Minerals 4. Mouthpiece 5. My Black Ass / interlude 6. Disgrace 7. In A Minute 8. The Admiral 9. The Guy Who Invented Fire / interlude 10. Dog And Pony Show 11. Wingwalker 12. Wingwalker (continued) 13. Il Porno Star 14. The Rambler Song 15. Spoke.

I'm not sure that this is from the St. Louis show, because at the beginning of the first track you can hear Bob say "Welcome to the Fireside Bowl" which means this would be a Chicago show. Leave a comment if you want more Shellac live shows on Perforated Lines.

mp3 @ 256 soon available >>>