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Topic Closed4 little gems (139)

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Poll Question: Which one do you prefer ?
Poll Choice Votes Poll Statistics
2 [40.00%]
1 [20.00%]
1 [20.00%]
1 [20.00%]
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hellogoodbye View Drop Down
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Direct Link To This Post Topic: 4 little gems (139)
    Posted: April 18 2015 at 02:50
Alesia Cosmos : Exclusivo !
https://www.youtube.com/watch?v=VZ7jNOhQtu4

Novac : The Fifth Word
https://www.youtube.com/watch?v=Q3XIWpk8bIc

Luis Perez : En El Ombligo De La Luna
https://www.youtube.com/watch?v=9LOoNVhSpzk

Schlachtvieh : Ein Rock Oratorium Gegen Den Kreig
https://www.youtube.com/watch?v=b7fZGQBVWfA
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Direct Link To This Post Posted: April 18 2015 at 02:57
Novac – The Fifth Word (1970) [MP3]



Novac (4) ‎– The Fifth Word

Label:
Hör Zu Black Label ‎– SHZM 804 BL
Format:
Vinyl, LP, Album 
Country:
Released:
Genre:
Style:

Tracklist

A15th Word9:09
A21st Word6:34
A3Present 2nd Ave5:17
B1I' Am Classified Freed Speak / I' Am / Saturday Night Approval14:06
B2Beyond The Look2:22

Notes


https://www.youtube.com/watch?v=sUn9q0r9J74

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Direct Link To This Post Posted: April 18 2015 at 08:04
Clap to the brave who went with Luis Perez ! Terrific album !
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Direct Link To This Post Posted: April 18 2015 at 12:14
All new to me but I voted for Alesia Cosmos. Great stuff.Thumbs Up
Magma America Great Make Again
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Direct Link To This Post Posted: April 18 2015 at 12:23
Those guys have two albums from 1983 et 1985. No Cd yet. It's a pity.  I'm gonna buy a turnable. Smile
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Direct Link To This Post Posted: April 18 2015 at 21:52
I went with Novac, never heard of any of these but there was some good ones Pierre.
"The wind is slowly tearing her apart"

"Sad Rain" ANEKDOTEN
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Direct Link To This Post Posted: April 19 2015 at 04:56
Thansk John ! I don't expect too much votes on this one. Too weird, I think. 
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Direct Link To This Post Posted: April 19 2015 at 06:39

Quick Overview

Private unknown Xian prog experimental krautrock, not as crude as first Kluster albums but very interesting : male/female vocals, church/hammond organ, fuzz guitars, flute, felectronic and psych effects and spooky vocal narrations on two tracks! must be discovered., Imagine the Okumenische beatmesse with electronic effects and avantgarde percussions ..Top Copy!


Schlachtvieh ‎– Ein Rock-Oratorium Gegen Den Krieg

Label:
Kanon ‎– K 01 130, Kanon ‎– K 01 130 LP
Format:
Vinyl, LP, Album 
Country:
Released:
Genre:
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TracklistHide Credits

A1Einleitung
Written-By – Unknown Artist
6:09
A2Zwei Männer
Written-By – Wolfgang Borchert
0:57
A3Josua
Written-By – Unknown Artist
3:25
A4Kreuzzug
Written-By – Novalis (4)
6:22
A5Menschenjagd
Written-By – Ernst Von Salomon
4:36
B1Warum Sind Wir Die Weinenden
Written-By – David Luschnat
4:59
B2Zwei Männer
Written-By – Wolfgang Borchert
1:34
B3Elegie
Written-By – Krystof Baczynski*
5:31
B4Friedenslied
Written-By – Raimon
6:14

Credits

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Direct Link To This Post Posted: April 20 2015 at 05:44


Luis Pérez - Ipan In Xiktli Metzli, México Mágico Cósmico, En El Ombligo De La Luna

**Hand-numbered edition of 500 housed in gold ink screen-printed jacket and Spanish liner notes** The highly promising Sacred Summits label debuts with a reissue of Luis Perez's private-pressed cosmic obscurity, 'Ipan In Xiktli Metztli'. Beautifully recorded in Mexico, 1981, it offers a mescaline-sharp vision of deep grooving "cosmic ethnography" combining pre-Colombian percussion and wind instruments with electric guitar, tape delay and synths in free-roaming and extended suites. Perez's background in well-known (in Mexico, at least) folk ensemble Huayucaltia evidently feeds into this, one of only two known solo albums, but the key descriptor is blatantly psychedelic. The side opens with a pair of concise, light-footed groovers, all rattlesnake shakers and melodic percussive cadence rent upwards with astral wind instruments and richly evocative nocturnal atmosphere, seemingly preparing us for two extended trips coming off like a prime Jodorowsky soundtrack. The first, 'Etimología Del Nombre Mexico' projects ritualist prog grooves into a haunting soundsphere of synth swirl and chant awash with tape delay and riding the wave between lush ecstasy and abyssal darkness while the 2nd suite, 'Al Culto Solar' peers further still with truly desolate, shivering synth atmospheres pierced by a comforting voice which leads further into the "other" side and a phantasmic array of patterned basslines, demonic wail and utterly mind-blowing synth hallucinations. Serious stuff, treat with care for celestial rewards.


Luiz Pérez — En el Ombligo de la Luna
((Not on label) no#, 1981/2013, CD)

by Peter Thelen, 2013-04-01:

Cover artOne of the earliest examples of "Prehispanic Fusion," a style combining the pre-colonial music of Mexico with modern electronics and progressive rock, channeling the spirit of ancient cultures. The style later gained broader recognition with Jorge Reyes, Antonio Zepeda and others. En el Ombligo de la Luna is pretty much where it all started. The first track "In Alteptl Tonal" introduces the percussion, ancient wooden flutes and bird-whistles that form the cornerstone of this style, but as the album progresses modern instrumentation is slowly introduced; electric guitars, then synthesizers and bass are in full deployment by the middle of the third track that closed side one of the original LP, along with wordless vocalizing. The side-long title suite features many haunting quiet parts that can thankfully now be heard clearly, utilizing winds, layered percussion, guitars, and synths, building slowly to a climax, followed by a short section of ancient poetry, leading into the spirited midsection where pulsating bass mixes with jagged synth sounds, morphing into a magnificent passage for layered synths. The closing section then reintroduces the percussion and flutes from the opening section. This is most welcome reissue, especially given that most Mexican LP pressings of the 1980s were very noisy, full of clicks and pops and other irregularities. While the limitations of the original analog recording are still audible on a very close listen, all of those horrible pressing issues are now gone; what remains is one of the magical gems of Mexican progressive music sounding better than it ever has before.

by Jon Davis, 2013-12-10:

I would imagine that when this album was first released back in 1981, people referred to it as "timeless." It starts out with a wooden flute and a wide array of shakers and other percussion, and in the listener's imagination, it's something that could have been recorded 500 years ago if the technology had existed to record it. The second track continues with wooden flute and percussion, though it concentrates more on drums and wooden sounds than on shakers; there's also something that sounds like a conch shell being blown. The credits (as far as my Spanish will get me) merely say that all instruments are of Pre-Columbian origin with the exception of guitar, bass, echo chambers, frequency analyzer, phase shifter, sin-ei (not sure what that is, maybe a synthesizer, since I'd swear I hear one), and gong. The modern instruments start appearing on the third track, but Pérez handles the transition so smoothly that it's not jarring. About five minutes into "Ketzakoatl Yauh Miktlan" he develops a groove reminiscent of Mike Oldfield, which isn't a bad reference point since both are multi-instrumentalists who build up music part by part in the studio. The way Pérez combines these ancient and modern instruments seems perfectly natural, which leads to another "timeless" factor — this is music not rooted in any particular time, which could exist anywhere on the timeline from ancient times into the future. In some ways, En el Ombligo de la Luna is a precursor to some World Music, but I wouldn't push that comparison too far. This recording stands on its own regardless of its innovation at the time of original release, another way in which it is "timeless.


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Direct Link To This Post Posted: April 21 2015 at 03:53

Exclusivo!

Alésia Cosmos

Paru en 1983, ce disque vynil illustre parfaitement le courant des groupes français de rock expérimental dans les années 80. Une musique toujours très créative aux influences variées : improvisations vocales et instrumentales, électroacoustique, rock trituré, Moyen et Extrême orient..., à la fois sauvage et raffinée.

Interprètes :
Marie-Berthe Servier : voix,
Bruno de Chènerilles et Pascal Holtzer: voix, guitares et électronique,
Pierre Clavreux : voix et percussions, Lotfi Ben Ayed : percussions


https://www.youtube.com/watch?v=g-aBqDgzv8s

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