mardi 27 octobre 2009

Terry Riley - Atlantis Nath (2001)

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1. Crucifixion Voices [5:43]
2. Mosque [1:06]
3. Derveshum Carnivalis [3:06]
4. Wedding Song [2:08]
5. Emerald Runner [13:18]
6. Gha Ten in Darbari [4:35]
7. Asención [15:23]
8. Asención Final Chord Rising [2:22é
9. Remember This [6:01]
10. Only a Day [6:04]
11. Even Your Beloved Wife [4:53]
12. The Crucifixion of My Humble Self [9:22]



Terry Riley [voice, piano, synthesizer, midi realization]
Luc Martinez [recording & sound design on Mosque, sound design on Ascención Final Chord Rising, field recordings from India, mix and mastering]
Frederic Lepée acoustic fretless guitar and acoustic percussion on Only a Day, conducting on Remember This]
John Deaderick [spoken text on The Crucifixion of My Humble Self]
The Nice Opera String Quartet [on Remember This]
Adolf Woelfli [text of The Crucifixion of My Humble Self]
Chris Harvey [illustrations & design]

Mosque and Ascención Final Chord Rising composed by Luc Martinez.
Wedding Song co-composed by Terry Riley and Luc Martinez.

The rest of the pieces composed by Terry Riley.

jeudi 22 octobre 2009

Esquivel - Exploring new sounds in stereo (1959)


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1. My Blue Heaven (2:51)
2. Bella Morra (2:22)
3. Boulevard of Broken Dreams (3:00)
4. Lazy Bones (2:42)
5. Spellbound (3:27)
6. All of Me (2:14)
7. Whatchamacallit (2:30)
8. La Ronde (2:24)
9. My Number One Love (2:52)
10. The 3rd Man Theme (2:23)

Passionant ce disque, non ?

Los Brasilios - Brazilian Beats (1967)


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Esquivel - Space-age bachelor pad music

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lundi 19 octobre 2009

Bill Plummer - Cosmic Brotherhood (1968)


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Bill Plumber used to be a jazz bassist until he succumbed to the spirit of the times, bought himself a sitar and hooked up with some like-minded musicians. "Journey to the east' is the lead track from their self-titled album and, although slightly kitsch, give a real impression of the times.

Source : elbo.ws

Robert Drasnin - Voodoo (1960)

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In 1960 the Tops Record Company (always quick to cash in on the latest trend) released an Exotica record by Robert Drasnin entitled "Voodoo." Little did anyone suspect that Robert Drasnin’s first and only album would soon become one of the most sought after and coveted of all Exotica records. In 1996 the album saw a CD release on Dionysus "Lost Episode" label then later that year on Pickwick. Then in 1999 nearly 40 years later with the help of Skip Heller, Duane Schulthess and the Minnesota Contemporary Ensemble, Robert Drasnin conducted and played the first ever live debut of "Voodoo" in its entirety!

Source : Ele-mental.org (interview of Robert Drasnin)

Nico Muhly - Speaks Volumes (2006)


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Twenty-five-year-old composer Nico Muhly has been a bit of a celebirty in downtown New York circles recently, having worked with everyone from Antony (who guests on this record) to Philip Glass to Bjork. One of his symphonies premiered at Avery Fisher Hall when he was 22, and he has been promoted heavily by New Yorker critic Alex Ross. His debut here on the promising Bedroom Community label features seven gorgeous tracks combining electronics and acoustic chamber music, and it’s a stunning record in myriad ways. Produced by Valgeir Sigurdsson (Bjork, Bonnie “Prince” Billy), Speaks Volumes is an album that defies easy categorization, ostensibly classical, but with a playfulness and sense of adventure that separates it from traditional chamber music. Muhly throw much into the mix, from soft violins to staccato reeds to heavy percussion, creating an exquisite record never lacking in humor and fun. The amazing closer, “Keep in Touch,” features a stream of violas matched with Antony’s wordless vocals, bringing the record to a powerful finale.

Source : soundfixrecords

dimanche 18 octobre 2009

Ingram Marshall - Alcatraz


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Alcatraz is a truly collaborative work. I had long talked with Jim Bengston, a friend since the sixties, about the possibility of combining image with music in a meaningful way. We agreed that there had to be a subject which the photography and the music must separately illuminate; but they ought to inform each other as well. He visited San Francisco on a regular basis when I was living there in the early eighties and somehow the idea of the lonely island as a subject crept into our collecive consciousness. Jim's penchant for photographing open, stark landscapes and looming, lonely places seemed perfect for Alcatraz; it appears, in its semi-ruined state, to be an extension of the natural world which surrounds it. My fascination with the sounds of the maritime environment around San Francisco Bay, as witness my "Fog Tropes" of 1982, made the "soundscape" of Alcatraz a natural attraction for me.

Beginning in the Fall of '82, Jim photographed out on the island on numerous occasions over a period of two years, and I sallied forth on several of these expeditions with tape recorder and microphone, recording the sounds of buoys, birds and fog horns as well as singing and gambuh flute playing in some of the resonant spaces of the prison. I also captured the famous roar of the cell doors' mechanized closings - this chorus of metal echoing through the wildly reverberant spaces of Alcatraz is probably the perfect sound print of the desolation and utter finality of the place.

For me the music and pictures have always exuded meaning, although I am loath to be specific, leaving it to those regarding the pictures and listening to the music to find their own hermeneutics.

--Ingram Marshall

Track List

1. Prelude - The Bay 6:22
2. Introduction 4:51
3. The Approach 3:41
4. Inside 2:57
5. Rules and Regulations 3:03
6. Cell Doors 2:51
7. Solitary 4:27
8. Escape 4:27
9. End 3:31
10. Postlude - The Bay 10:01

Total: 46:19

Source : Newalbion

Janacek - Sinfonietta & Glagolitic mass


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Tanger - Le Detroit (2000)


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Le Détroit est un grand disque d'évasion, d'amour et d'exaltation, entre Paris et Tanger, entre l'Europe et l'Afrique. Tanger même où le groupe homonyme s'était établi pour enregistrer en partie ce deuxième album somptueux, chaud, humant un hymne de liberté à boire comme un nectar d'un jardin lointain. Billy Ficca, batteur de Television et Gary Lucas, guitariste de Captain Beefheart font entre autres, parmi les invités, partie de l'aventure. A l'écoute de ce disque, dont la moitié des titres est symphonisée par les arrangements du Pro Arte Orchestra dirigé par David Whitaker, des rêves et des fantasmes pénètrent dans la tête et peignent l'esprit aux couleurs d'une folie douce et grandiloquente. Entremêlée dans des mélodies enivrantes, la voix de Philippe Pigeard plane (majestueusement sur "Le Détroit" survolé, artificiellement pour "L'Internationale Hallucinex"), se déclare en flamme brûlante ("Danse", la sérénade à mourir "A Toi La Seule"), profondément sussurreuse (le trip dub crapuleux "A Travers Soie"). Il y a aussi les morceaux avec Dar Gnawa, groupe marocain traditionnel et local de là-bas, sans lequel cet album ne serait pas totalement essentiel avec son intro d'ouverture du début, les instrumentaux "Petit Socco" et "Tanjah Vibes", et la magnifique retouche de "So Long Marianne" de Leonard Cohen. Après "Eva", tentation de réconciliation qui emprunte un air de "Baby I'm Gonna Leave You" de Led Zeppelin, le long final "Aux Lumières De Six Heures" (9 minutes 15) nous dépose sans violence dans une douceur aurorale remplie d'amertume solitaire. Le voyage s'achève, mais quel voyage !

Avis aux aventureux qui souhaitent oublier l'ennui du train-train journalier: traversez Le Détroit, laissez vous transcender par l'ivresse de ses horizons d'où s'épousent à merveille la musique d'Occident et celle d'Orient , car franchement vous auriez tort de vous en priver.

Source : xsilence.net

1. Ouverture
2. Le Detroit
3. Oui Peut Etre
4. Danse
5. Petit Socco
6. Paris 1999
7. New So Long Marianne
8. Toi La Seule
9. Merry Go Round
10. Tanjah Vibes
11. L'internationale Hallucinex
12. Travers soir
13. Eva
14. Aux lumières de six heure

Bertrand Burgalat - The Sssound of Mmmusic (2000)


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jeudi 8 octobre 2009

Tak Shindo - Mganga (Tiki tim rip)


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A bona fide musicologist by education, Tak Shindo was responsible for some of the more authentic uses of exotica instruments in exotica recordings.

Shindo served in the U.S. Army Military Intelligence Service as a Japanese language instructor at Fort Snelling, Minnesota. After his discharge, he studied under the G.I. Bill at Los Angeles State College (now Cal State University, Los Angeles). After graduating with a bachelor's degree in music, he did graduate work at the University of Southern California over the course of the next decade, including study with the great film composer Miklos Rozsa, and eventually earned a masters degree.

Shindo's graduate work took that long because he was also working full time as a studio composer. He worked with most of the big television and movie studios of the time, including Columbia, 20th Century Fox, Warner Brothers, Desilu, Disney, NBC, and CBS. Among the shows he worked on were "Hawaiian Eye," "The Dinah Shore Show," "Gunsmoke," and "The Untouchables." While with CBS television, he penned the themes to "The Ed Sullivan Show," "Wagon Train," and "Adventure."

Shindo's albums for Capitol, Edison International, and Mercury all feature a mix of eastern and western musical styles and instrumentation. Most of them use a standard studio band with Oriental instrumentation, covering standard Western material such as "Caravan" and "Wagon Wheels." The novelty effect was perhaps shorter-lived than the caliber of craftmanship Shindo put into them deserved. Although most of his work on others' recordings went uncredited, his name does show up on two interesting albums: The Yellow Unicorn, which features Rod McKuen reciting his poems to a mix of Japanese and western instruments played by Shindo and Julie Meredith; and East Meets West, on which organist Paul Marks plays Japanese pop and folk songs on the Wurlitzer while Shindo provides suitable accompaniment on the koto and other Japanese instruments.

Shindo studied Japanese music extensively and was often tapped to score or provide incidental music for films dealing with Oriental subjects and settings, like Sayonara, Stop Over Tokyo, and Dawn of Asia. He collected Japanese instruments, wrote a history of Japanese music, and lectured extensively on Oriental music. In the mid-1960s, he joined the faculty of Cal State Los Angeles and left the studio system. He remained active in the Nisei veteran's organization, Go For Broke, and composed two pieces for the first anniversary celebration of the Go for Broke Monument in downtown Los Angeles in 2000.

Source : Spaceagepop.com

Fantomas - Suspended Animation (2005)


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Nico Muhly - Mothertongue (2008)


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Within the space of his short, yet incredibly illustrious career, Nico Muhly has contributed his talents as an arranger to recordings by Bjork, Bonnie 'Prince' Billy, Rufus Wainwright and The National, while also enjoying a successful sideline as a composer in his own right, presenting works in conjunction with a variety of high profile orchestras - he even finds time to work as a performer and conductor for Philip Glass on his various film soundtracks. Mothertongue is the sophomore solo effort from Nico Muhly, following up on the wide acclaim of his 2006 debut, Speaks Volumes, and marking a further step towards genre cross-pollination and a more avant-garde approach to the conventions of composed music. The album is segmented into three different suites, the first (itself titled Mothertongue) being an exercise for ensemble and choir, which begins with female vocalists chanting numbers and dispensing information as if sifted through some granular synthesis plugin. In addition to the predictably luscious string section backdrop, Muhly injects some electroacoustic presence into the mix on 'Shower', via watery samples, and chiming glockenspiel and piano strikes, mirroring the raindrop effect given by the recordings. This first cycle of pieces concludes with 'Monster', the final component of the Mothertongue suite, characterised by bold, percussive chord changes and an awkward time signature, all made to sound thunderous under the supervision of producer Valgeir Sigurdsson, who brings a heaviness to the sound balance you'd be unlikely to find on many other recordings in the field of modern composition. The next suite is titled Wonders, and retains the female choir from Mothertongue, this time setting it against harpsichord, percussion and brass arrangements, often sounding quite playful in its rhythmic instability and occasional ventures into discord. The final sequence, titled 'The Only Tune' is a collaboration with fellow Bedroom Community artiste, Sam Amidon, who helps fashion an exended folk narrative, beginning with the banjo plucking of 'The Two Sisters' before shifting into less familiar territory on the bluegrass operatics of 'The Old Mill Pond'. By this point, any notions of comfortable, conservative Americana are out the window and you're confronted by a highly experimental clash of vastly different musical schools, before finally, 'The Only Tune' restores a semblance of normality with a lovely piece of widescreen folktronica. Quite unlike anything you're likely to encounter, this second album from Nico Muhly shows even greater ambition than its predecessor, establishing a language that's far removed from the kind of easy-going post-Blue Notebooks modern composition that's become so widespread. Very highly recommended.

Source : Boomkat

jeudi 1 octobre 2009

Kurt Weill - Aufstieg und Fall der Stadt Mahagonny (1930)

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La Monte Young - Dream House 78' 17" (Shandar, 1974)

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Pandit Pran Nath - Ragas (1972)


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Tom Waits - Real Gone (2004)


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All songs written by Tom Waits and Kathleen Brennan.

  1. "Top of the Hill" – 4:55
  2. "Hoist That Rag" – 4:20
    • Les Claypool - Bass
    • Marc Ribot - Guitar
    • Brain - Percussion
    • Casey Waits - Percussion
    • Tom Waits - Vocal
  3. "Sins of My Father" – 10:36
    • Larry Taylor - Bass
    • Marc Ribot - Guitar, Banjo
    • Tom Waits - Vocal, Guitar
    • Brain - Percussion
  4. "Shake It" – 3:52
    • Les Claypool - Bass
    • Brain - Percussion, Claps
    • Larry Taylor - Guitar
    • Marc Ribot - Guitar
    • Casey Waits, Mark Howard, Trisha Wilson - Claps
    • Tom Waits - Vocal
  5. "Don't Go into That Barn" – 5:22
    • Larry Taylor - Guitar, Bass
    • Harry Cody - Guitar
    • Brain - Percussion
    • Casey Waits - Percussion
    • Tom Waits - Vocal, Percussion
  6. "How's It Gonna End" – 4:51
    • Harry Cody - Banjo
    • Larry Taylor - Bass
    • Tom Waits - Vocal, Guitar
  7. "Metropolitan Glide" – 4:13
    • Larry Taylor - Bass
    • Harry Cody - Guitar
    • Brain - Percussion
    • Casey Waits - Turntables
    • Tom Waits - Vocal, Guitar
  8. "Dead and Lovely" – 5:40
    • Larry Taylor - Bass
    • Casey Waits - Drums
    • Marc Ribot - Guitar
    • Tom Waits - Vocal, Guitar
  9. "Circus" – 3:56
    • Tom Waits - Vocal, Chamberlain
    • Casey Waits - Drums
    • Mark Howard - Bells
  10. "Trampled Rose" – 3:58
    • Marc Ribot - Cigar Box Banjo
    • Larry Taylor - Bass
    • Brain - Percussion
    • Tom Waits - Vocal
  11. "Green Grass" – 3:13
    • Larry Taylor - Bass
    • Tom Waits - Vocal, Guitar
  12. "Baby Gonna Leave Me" – 4:29
    • Les Claypool - Bass
    • Marc Ribot - Guitar
    • Brain - Percussion
    • Tom Waits - Vocal, Shakers
  13. "Clang Boom Steam" – 0:46
    • Tom Waits - Vocal
  14. "Make It Rain" – 3:39
    • Larry Taylor - Bass
    • Casey Waits - Drums
    • Marc Ribot - Guitar
    • Tom Waits - Vocal
  15. "Day After Tomorrow" – 6:56
    • Larry Taylor - Bass
    • Marc Ribot - Guitar
    • Tom Waits - Vocal, Guitar
  16. "Chickaboom" – 1:17 (hidden track)
    • Tom Waits - Vocal

Anjali - The World of Lady A (2003)

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When Gareth Gates meets the Kumars and goes Bollywood in a video, it's safe to say that the "new Asian underground" has comfortably arrived overground. One of its core figures, Anjali Bhatia, has here sculpted a more sophisticated, vibrant sound than the one presented on 2000's more sample-based debut, Anjali. Though it may not exactly put her up there with the Pop Idols (she's a bit too sophisticated for that), it should by rights ensure her a Mercury Music Prize nomination.

The World of Lady A is ravishingly exotic, embracing thunderously funky soundtracking, hip-hop beat mash-ups echoes of spy movies and bhangra parties, and, on the closing track, Stinging Sitars x 9, an inevitable hoedown from the school of Ravi Shankar. Through it all, there's Bhatia's soft, cooing voice, pitched between breathy Jane Birkinism (Rainy Day) and Billie Holliday seduction (Seven x Eight). Sleeved in lurid pinks, yellows and reds, the album recalls the exultant psychedelia of Primal Screams Screamadelica. This is a hugely sexy record by which it's almost impossible not to be aroused on some level.


Source : The Daily Telegraph 30 August 2003

Les primitifs du futur - Trop de routes trop de trains (1992)


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01 La Femme Panthere Et L'Homme S


02 La Belle Et La Manouche


03 Trop De Routes, Trop De Trains


04 Sous Les Toits De Paris


05 Fable Doudou


06 Mona Desire


07 L'Amour Au Couteau


08 Marie-Musette Marie-Putain


09 Rag-A-Meuf


10 Passez La Monnaie


11 Bix Land


12 Docteur Bottleneck


13 Le Blues Des Primitifs


14 Le Zipholo

Schoenberg - La nuit transfigurée (1899)


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Vivaldi - Six Cello Concertos


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Rameau - Pièces de clavecin en concert

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Bach - Brandenburg concerto 1&2

The Brandenburg concerti by Johann Sebastian Bach (BWV 1046–1051, original title: Six Concerts à plusieurs instruments) are a collection of six instrumental works presented by Bach to Christian Ludwig, margrave of Brandenburg-Schwedt, in 1721 (though probably composed earlier). They are widely regarded as among the finest musical compositions of the Baroque era.

Source : Wikipedia

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Korla Pandit - Exotica 2000 (1996)

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Les Baxter - Ritual of the Savage (1951)


I receved a request from DMCA asking me not to share this one. Sorry !

Ultra-Lounge Vol. 1 - Mondo Exotica (V.A)

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