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

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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.

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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).

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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!

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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.

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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).

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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.

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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

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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.

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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.


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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).

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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.

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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

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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.

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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.

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Castanets is the musical project of Raymond Raposa, a San Diego native currently residing in New York City. While Raposa is the only constant member of the band, his records and live performances often feature a seemingly never ending rotating cast of musicians, the line-up often changing from night to night in a single tour. Castanets were one of the more prominent proponents of the so-called freak folk movement that took place in the U.S. music scene in 2003-04.

3.10.07 Caledonia Lounge, Athens GA
01) Intro 02) ? 03) You Are The Blood 04) ? 05) Industry And Snow 06) All That I Know To Have Changed In You

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Otomo Yoshihide & Yamatsuka Eye

Otomo Yoshihide is a Japanese experimental musician, turntablist and guitarist. He played in rock bands while at college, but turned to improvisation after discovering free jazz and free improvisation musicians like the guitarist Derek Bailey, the saxophonist Kaoru Abe and guitarist Masayuki Takayanagi (from whom he had lessons).

Yamataka Eye's existence originated in Kobe, Japan, in the year 1964. He first garnered public attention with his existentially-challenged noise group Hanatarash. Their recordings, while intensely powerful presentations of chaos, only hinted at the destructive potential of the live performances. The most infamous shows had Eye nearly lopping his own leg off with a saw, and driving a small backhoe into the wall of the club. In the mid-80s, Eye turned his attentions to his current group, the Boredoms, and found a way to further harness the creative potential of chaos.

Otomo Yoshihide & Yamatsuka Eye
20001-03-25 The Metro Kyoto, Japan. (.....and Killer Performance !! )
First part are 9 short tunes with mr Eye doin' everything ( nice singing too ), & Otomo... I guess He is doin' somethin' too.......and last one is a 30 minutes improvisation with no singing.

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Wednesday, June 13, 2007


Tindersticks were one of the most original and distinctive British acts of the '90s, standing apart from both the British indie scene and the rash of Brit-pop guitar combos that dominated the U.K. charts. Where their contemporaries were often direct and to the point, Tindersticks were obtuse and leisurely, crafting dense, difficult songs layered with literary lyrics, intertwining melodies, mumbling vocals, and gently melancholy orchestrations. Though their music was far from casual listening, Tindersticks gained a dedicated cult following in the mid-'90s, beginning with their eponymous 1993 debut album. Their latest release is entitled "Waiting For The Moon" and was released by Beggars Banquet in 2003.

1997.10.30 Metro, Chicago
01 Don't Look Down 02 Let's Pretend 03 I Was Your Man 04 My Sister 05 Bathtime 06 A Night In 07 Kathleen 08 CFGF 09 Her 10 Jism 11 She's Gone 12 Sleepy Song 13 Talk To Me 14 Another Night In 15 Rented Rooms 16 Tiny Tears 17 If She's Torn.

Almost 10 years old recording, great performace and quality!

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Naked City

Zorn: The music I wrote for Naked City is the kind of music that gets better the more it is played. I wanted to improve the quality of my live performances and using the same musicians served precisely this end.
The Naked City project (which, compared to the completely improvised ones, is based on composition) was to see how many kinds of music can be made with the same ensemble, to write very different things for the same group.

October 9, 1988 Victoriaville, Canada Actuelle Festival.
1. Snagglepuss 2. The Sicilian Clan 3. Graveyard Shift - The Way I Feel 4. Batman 5. A Shot In The Dark 6. Reanimator 7. Surfer Girl - Chuch Key 8. Latin Quarter 9. Back In The Earth 10. Taxi Driver 11. The James Bond Theme 12. Ecars 13. Den Of Sins 14. Poverty.

Rare FM recording. Pure energy!
Leave a comment if you want more naked city live shows on Perforated Lines.

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Tuesday, June 12, 2007


Post-rock was clearly more "instrumental" than "vocal", and Rachel's merely formalized this fact with an all-instrumental format and a chamber ensemble built around Rodan's guitarist Jason Noble, pianist Rachel Grimes and viola player Christian Frederickson. Handwriting (1995) augmented the rock trio with strings and keyboards, but, rather than aiming for an orchestral sound, it downplayed the multitude of "voices" in favor of an artful exploration of timbres, while the narrative languished somewhere between the Clubfoot Orchestra's dark soundtracks (minus the expressionistic overtones) and the Penguin Cafe' Orchestra's minimalist dances (minus the nostalgic and exotic factors). By the time of The Sea And The Bells (1996), this somber hybrid had evolved into hermetic and severe avantgarde music.

11-17-1997 Cincinnati, OH @ Sudsy Malone's.
Recording Location: 15' from stage, DFC.

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Monday, June 11, 2007


Physics was an instrumental band from San Diego, California, USA that had featured a rotating cast of musicians, but was mainly composed of Jeff Coad on synths, Rob Crow on guitars, Jason Soares on guitars, brothers Will Goff and John Goff on guitars/synths, and Cameron Jones on drums. Formed in late 1993, Physics was heavily influenced by Krautrock, minimalism, and electronic music, though were often lumped into the math rock genre.
After Physics dissolved in 2000, Jason Soares and Jeff Coad went on to form the more electronic-based Aspects of Physics, with two releases on the imputor label. Will and John Goff went on to form the electronic band SSI. They currently have two releases Pax Romana and E Pluribus Unum out on their label Chlorophyll Records.

11/21/99 40th St. Wherehouse Oakland, CA
01 intro
02 seventh elevenths
03 level 4
04 delay

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Mauricio Kagel

Mauricio Kagel, born in Buenos Aires on 24 December 1931, is among the most distinctive composers of contemporary music. From the very beginning his name has been associated above all with music theatre, the genre in which he has perhaps exerted the greatest impact. Besides his radical innovations in this area, however, he has also developed a highly personal aesthetic in his absolute music.Kagel’s creative output has been enormous. It encompasses not only stage, orchestral and chamber music in an extremely wide range of instrumental settings, but also film scores, radio plays and essays. Throughout its broad spectrum, his music reveals a breach with any and all forms of academicism as well as close ties to tradition, especially to the German tradition.Imagination, originality and humour are the hallmarks of this multimedia artist. With inexhaustible powers of invention, Kagel makes use of a very wide array of expressive devices which, although often caustic and provocative, are always placed in the service of musical discourse.

1 broken chords - 21:48 (swr sinfonieorchester baden-baden & freiburg, michael gielen)
2 radiophantasie "rrrrrrr.." 7 pieces for mixed choir - 15:47 (gunilde cramer-reimold, piano / swr vokalensemble stuttgart, mauricio kagel)
3 anagrama for 4 soli, sprechchor & ensemble - 19:23 (ingrid ade, hanna aurbacher, manfred ackermann, richard anlauf - soli / swr vokalensemble, ad-hoc-instrumentalensemble, mauricio kagel)
4 mitternachtsstück (midnight-piece) for voices & instruments - 18:33 (ursula gerlach-kleint, barbara miller, manfred gerbert, ewald liska - voice / swr vokalensemble stuttgart / members of the RSO Stuttgart, mauricio kagel).

these are some collected pieces by mauricio kagel, all broadcasted by swr 2. broken chords was recorded on 31.may 2005 at konzerthaus freiburg and broadcasted on 1. july 2005.the other pieces were aired on 16. march 2005.

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Sunday, June 10, 2007


This show really amazed me. Such wordly, old-sounding music, coming from such young musicians. The room was pretty small, and the crowd was very enthusiastic.

2006-10-18 Holocene Portland OR.
01. (the crowd waits) 02. The Gulag Orkestar 03. Brandenburg 04. After The Curtain 05. -banter1- 06. Elephant Gun 07. Mount Wroclai 08. The Canals Of Our City 09. -banter2- 10. Postcards From Italy 11. -banter3- 12. Closing Song 13. -banter4- 14. Brazil 15. -banter5- 16. Scenic World > Ederlezi 17. -banter6- 18. Siki Siki Baba 19. encore break > band intros 20. Transatlantic.

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This is an ultra-rare performance of AMMmusic by this elemental, yet reclusive groupof improv pioneers who are acknowledged as pivotal influences on many improv groups,notably Henry Cow, who were to follow.
Actual members of AMM have varied over the years and even performance to performance,Keith and Eddie being a core from 1966, when AMMmusic was first recorded. This particulargroup is exceptionally rare and to my ears, the very best I've ever heard from AMM.
The performance is humbling, awesome and about as extreme as music gets (as opposed tonoise from meisters like Merzbow and Borbetomagus). Dynamics are absolutely huge andquite amazing, given limitations of the cassette medium, audibly better replayed on theAiwa 880 deck It is amazing to think that much of this recording is actually acoustic and a credit tothe skill of all these improv masters. It is one continuous recording with episodic trackmarkers added manually, except for the tape flip between tracks 3 and 4 which is amazinglynot really audible, so I did not do any editing or cross-fading.
Other details of the recording are not known, except it was in January as part of the'Music and Ideas of 1968' celebrations so possibly the anniversary in 1988.
Noise from cassette and FM is there, but a lot of the audible noise is from Keith Rowe'sradios that can be heard switching on/off especially at the beginning, so it doesn't mattermuch anyway.

Keith Rowe - tabletop guitar, radios and electronics
Rohan de Saram - cello
John Tilbury - piano
Eddie Prevost - percussion

16.30 Part 1
27.02 Part 2
19.11 Part 3
05.45 Part 4
00.48 Applause > Radio announcer

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Friday, June 8, 2007


Slint, formed by Squirrel Bait's guitarist Brian McMahan and also featuring drummer Britt Walford, bassist Ethan Buckler and guitarist David Pajo, represented a major shift in musical purpose: they were more intimidating than exciting. The mostly-instrumental music of Tweez (1989) kept the tension and the neurosis of hardcore but lost the passion and the narrative logic. It was "pointless" music. It was a stylistic black hole which sucked the history of rock music, in which the history of rock music virtually ended.

Paradiso, Amsterdam The Netherlands May 21, 2007.
01 Breadcrumb trail 06:20 02 Nosferatu man 05:28 03 Don, aman 06:42 04 Washer 09:02 05 For dinner... 05:13 06 Good morning captain 07:53 07 Glenn 07:03 08 Rohda 03:47 09 King's approach 10:06

Running time (complete) 73:39
A new song was played this evening (King's approach).
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Zammuto Willscher


> Box
> Star
> Balls
> Nut
> Rings

Thursday, June 7, 2007

The Books

Books guitarist Nick Zammuto has said that early in the band's development he was challenged by a friend to make music that couldn't possibly be used on a film soundtrack. Whether or not it was intentional, the Books have in a sense followed through on this request. By seeding their tracks with voices-- many actually drawn from obscure movies-- the Books have ensured that their music exists as a self-contained world of its own, one that doesn't easily lend itself to reinforcing an unrelated image. Their songs are their own little movies.

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