Sunday, March 6, 2011

Two Lone Swordsmen, The Fifth Mission (Return To The Flightpath Estate), 1996

Label: Emissions Audio Output
Styles: Ambient Techno, IDM

Andrew Weatherall's first post-Sabres outing (together with Keith Tenniswood) is a truly beguiling cachet of alternately moody and unexpectedly funky down- and mid-tempo electro. Miles more complex and integrated than such future-funk wibblers as the Clear Records stable, Fifth Mission is often as tear-jerkingly emotional as it is goofball lino material; machine music imbued with more than a bit of humanity. Uniformly excellent.
- Sean Cooper (Allmusic Guide)
Source: (

The Two Lone Swordsmen are British house DJ and producer Andrew Weatherall and studio engineer Keith Tenniswood. They had formed in early 1996, following the dissolution of Weatherall's influential Sabres of Paradise techno act, and since then have indulged themselves in styles ranging from electro and 4/4 techno to post punk and downtempo breakbeat. Emissions Audio Output, was the first label they had worked with, and was run by Weatherall. However, the small nature of the operation limited the duo's success, which caused them to look elsewhere and they subsequently signed to Warp Records, making them labelmates with acts such as Autechre and Boards of Canada, as well as setting up the Rotters Golf Club label for their more dancefloor-friendly output under various other guises.

In 2004 they released From the Double Gone Chapel, exhibiting more of a late 1970s dub and post punk sound than their previous work, influenced heavily by groups like PiL. It was released with the single Sex Beat, a cover of the popular Gun Club song. Their latest album, Wrong Meeting, was released in April 2007, with Wrong Meeting II following a month after. Set solidly in the dub rock vein they explored on From the Double Gone Chapel, the duo venture into sleezy country and LCD Soundsystem-style punk funk disco.


01. Little Did We Know
02. The Best of Stealth
03. A Slow Drive West
04. Big Man Original
05. Spark
06. Lino Square
07. Search for a Car
08. Glenn Street Assault Squad
09. Gang Sweep Shuffling
10. The King Mob File
11. Enemy Haze
12. Beacon Block
13. Two Barb Quickstep
14. Switch It
15. Rico's Helly
16. The Backstair Rattlers
17. Paisley Dark
18. Extended Branch Brothers


Part Two:
Part Three:


Download Mediafire



Wanda Jackson, Queen Of Rockabilly, 2000

Born October 20, 1937) Jackson is an American singer, songwriter, pianist and guitarist who had success in the mid-1950s and 60s as one of the first popular female rockabilly singers and a pioneering rock and roll artist. She is known to many as the Queen (or First Lady) of Rockabilly.
Jackson mixed country music with fast-moving rockabilly, often recording them on opposite sides of a record.

As rockabilly declined in popularity in the mid-1960s, she moved to a successful career in mainstream country music with a string of hits between 1966 and 1973, including "Tears Will Be the Chaser for Your Wine", "A Woman Lives for Love" and "Fancy Satin Pillows".

She has enjoyed a resurgence of popularity among the rockabilly revival in Europe, and was inducted into the Rock and Roll Hall of Fame as an Early Influence in 2009
Source: Wikipedia: 

This album was Recorded between 1956 and 1963. Includes liner notes by Rob Finnis and digitally remastered by Duncan Cowell (Sound Mastering Limited). 

Wanda was the first country and rock n roll singer to teach me a woman could growl! I would say Jackson's music is the epitome of rockabilly, with heavy, twangy guitars, a good, solid base and some serious drum shuffling. With such a great gritty voice and superb skill, it's surprising this album was released in 2000.

01. Baby Loves Him
02. Mean Mean Man
03. Fujiyama Mama
04. Cool Love
05. Honey Bop
06. I Gotta Know
07. Let's Have A Party
08. Money Honey
09. Long Tall Sally
10. Hot Dog! That Made Him Mad
11. Searchin'
12. Savin' My Love
13. Kansas City
14. Hard Headed Woman
15. Tunnel of Love
16. My Baby Left Me
17. Sticks And Stones
18. Who Shot Sam?
19. There's A Party Goin' On
20. Brown Eyed Handsome Man
21. You Don't Know Baby
22. Tongue Tied
23. Riot In Cell Block #9
24. Slippin' And Slidin'
25. Fallin'
26. Rip It Up
27. Rock Your Baby
28. Whole Lotta Shakin' Goin' On
29. Honey Don't


Thursday, March 3, 2011

Ulver , Shadows of the Sun, 2007

 01. Eos
02. All The Love
03. Like Music
04. Vigil
05. Shadows Of The Sun
06. Let The Children Go
07. Solitude
08. Funebrae
09. What Happened?

 Timelessly beautiful, envelop yourself in a few few hours of meaningful silence in appreciation of the ebb and flow of solitude, darkness, joy and sorrow. 

If "Shadows Of The Sun" could be considered an exercise in mourning, then "Funebre" would definitely represent the actual funeral. The second half of the track features a lengthy piano solo, in which the 'classical composition' techniques are particularly evident, while the theramin returns to give the song an otherworldly distance to it. Finally, "What Happened?" (an appropriately titled song, as I will explain in a minute), begins with uneasy 'industrialesque' noises humming in the background, while the last piano melody slowly hangs over your head like a death sentence. A bell begins tolling shortly before two minutes. However, the Oslo String Session Quartet quickly moves in and delivers their most moving moment in the album, a fitting end for the album.

Source credit: Music For The Rest Of Us:



Yoga Megafauna ,RETAIL, 2009

 I keep discovering new, exceedingly thrilling dark music.

The fusion of black metal and dark electronic music continues to gain steam with the release of Megafauna, the first proper full-length from Yoga. The band’s name might signify a rejuvinating, esoteric form of exercise, but the sounds of this epic 12-track journey illustrate an audible fate far more taxing than two hours of holding the downward facing dog pose. Here, synthesizers are cauterized of their sonic sheen, implementing a muddy, caustic veneer more in line with a scratchy, old 78 than a shiny, new 12-inch and creating a sound drenched in murky dissonance and creepy ambience that would make Tobe Hooper’s arm hairs stand on end. This is something like a field recording of some soundtrack to a nightmare scored by an unholy studio session between Xasthur and Alan Lomax. And if that seems like something which would appeal to you—yes, it is that awesome.

Above Source: 

Album Info:
Album: Megafauna
Year: 2009
Genre: Black Metal

1. Yoga - Seventh Mind
2. Yoga - Flying Witch
3. Yoga - Encante
4. Yoga - Wagion
5. Yoga - The Hidden People
6. Yoga - Dreamcast
7. Yoga - Fourth Eye
8. Yoga - Black Obelisk
9. Yoga - Treeman
10. Yoga - Warrior
11. Yoga - Haunted Brian
12. Yoga - Chupacabra's Rotting Flesh


Geneva Jacuzzi, Kooze Control, 2008

1. love caboose
2. clothes on the bed
3. group dynamic
4. runaway dna
5. eskimo
6. space heater
7. zombie shark
8. walkin again
9. nonsense nonsense
10. mouth erection
11. zombie talk
12. leave us alone
13. shark cave
14. alligator
15. human head
16. never tired
17. it's great not to care
18. i don't care
19. debbiegetthefuckoutofmyhouse
20. red dot

Here's more great music from the Ariel Pink connection. Geneva Jacuzzi is currently rumored to be living with Ariel Pink's frontman.

Geneva Jacuzzi takes you on a mystical leap into No Woman's Land, drops you off, and waves goodbye, leaving you in a time whirlpool back to the early to mid - eightees where you're suddenly left to fend for yourself. The whole album is rudely nostalgic and sensible in its own way. This album makes for the perfect 'trip down memory lane' sensation, for all those that lived their childhood with a twist of fun.

Also off of Ariel Rosenberg's Human Ear Music label, Geneva Jacuzzi (Geneva Garvin) is one wicked vamp of a character whose musical aesthetic is the closest thing to a sibling or maybe an immediate cousin to Ariel Pink's Haunted Graffiti.

Aside from familiar relations, Geneva Jacuzzi, also of Bubonic Plague, poses another striking resemblance to groups like The Knife and Super Creep, if those two alone have any in common. They don't, but still. Geneva Jacuzzi brings at most a handful of her own tricks to the table, building a stable, mysterious, and hauntingly cold composition for her '08 release Koose Control. Slightly similar to these crazies or vise versa: Ariel Pink's Haunted Graffiti, Bubonic Plague, Super Creep, The Knife, Panther, Glass Candy, Vibe Central.

Geneva Jacuzzi's website:

This Source:

Geneva Jacuzzi - Kooze Control (2008)

Buy here - $18 inc. shipping and handling -

MORE buy (and images)

Source: Vinyl International:

Wednesday, March 2, 2011

John Maus, Love Is Real, 2007

   'LOVE IS REAL' Free MP3s

Do Your Best | My Whole World Is Coming Apart
UTR015 | Digipack CD / LP | 14 tracks, 46 mins | 19 Nov 2007 | Buy

John Maus' second album 'Love Is Real' is an apocalyptic journey through the nostalgic streets of our home towns deep into the recesses of the human heart. It is a map of self discovery, rejection and escapism captured across 14 songs of melancholic baroque pop music. Similar in style to his 2006 debut 'Songs', the album is a mixture of exploratory synthesiser theatrics, tensely-strung bass lines and insistent drum machine clicks and pops, all set off by John's deeply resonant reverb-drenched vocal. 'Love Is Real' is a more reflective and realised effort than 'Songs' however, focusing its attentions on impulsive song writing and inspired musicianship, replacing the reminiscent feel of the first record with genuine poignancy.

'Love Is Real' is an album of contrast, of obscurity and familiarity, of darkness and light. Moments of intense disco anxiety warning against the sin of avarice - "Too Much Money" - find themselves rubbing shoulders with romantic virtuoso fugues - "Green Bouzard". The juxtaposition of the buoyant 80's synth pop alongside John's sombre, sometimes even morose lyrics is another good example of this tension. "Without you girl, I'm going over the edge" Maus sings over the four-to-the-floor dance rhythm of the album's prescient closer 'Times Is Weird'. Over the fantastical keyboard gymnastics of 'The Whole World's Coming Apart' John finds relief in repeatedly confessing "This is my nightmare, my nightmare". It's contrasts like these which point towards John's preoccupation on this album with confused emotions and misunderstood intentions.

Whilst 'Love Is Real' maintains the same anthemic genius and sense of humour that it's predecessor revelled in - the impassioned 'Rights for Gays' being perhaps the most neurotic example - this album finds its strength in its more delicate and revealing moments. The superbly mournful 'Do Your Best' is an elegiac paean to true love - "Reach out your hands to the one alone, in the city tonight" croons Maus to baritone abandon, sounding like a man resisting his own best advice. Similarly 'Tenebrae', the album's tour de force, follows the grand tradition of many classical composers who have tried to convey the suffering, 'great noise' and joy of the Holy Week in music over the last 300 years. It is a stately and majestic song which soars and pulses into inevitable splendour becoming the focal point of this remarkable album.

'Love Is Real' is a record about facing the demons within, searching through eternity and finding hope in the darkness of these uncertain times. It's about never giving up and holding out for the one you love. Put simply it can only be an album by John Maus.


This man is a musical genius in every sense of the word. He knows how to manage his PR and own recording and playing live. He's the embodiment of all that is art and replica, for replica is art in its true sense. I believe we can only learn to mirror true beauty when we see it. It is then that we learn to master the appreciation for it, and therefore the skill. I am so excited about John Maus' work, and terribly in love.

Pitchfork Review:
Find it at: Insound Vinyl | eMusic | Amazon MP3 & CD
My favourite John Maus blog:

John Maus , Songs, 2006


Don't Be A Body | Just Wait Til Next Year
UTR003 | CD | 16 tracks, 54 mins | 20 Mar 2006 | Buy

'Songs' is Maus' debut, his life work, which was written and recorded at home over the course of five years. It's a twisted baroque pop record that brings to mind early 80's hits and coming-of-age movie soundtracks. Almost entirely electronic, the Maus sound is created from synthesisers, drum machine, bass and his remarkable vocals, which are pitched somewhere between Ian Curtis, Calvin Johnson and David Bowie
The record is a manic lo-fi masterpiece, which blurs addictive melodies, emotive lyrics and dreamy soundscapes to memorable effect. Permeated by feelings of intense nostalgia, with this album Maus has created a testimony to lost romance and to longing. These combine in such a way to make the listener feel as through they have stumbled across a lost classic. Ambitious in his musical and thematic scope, Maus touches upon timeless subjects such as the conflict between the mind and body, unrequited love, death and eternity.

John Maus  myspace
“We Must Become the Pitiless Censors of Ourselves” (due April 2011)
Maus is undoubtedly an artist one would admire and any musician aspire to be. Besides having worked on is music project for years, Maus teaches at The University of Hawaii and went to Cal Arts.  he’s worked with Panda Bear and Ariel Pink and has garnered tons of respect from both of them and the DIY music community at large.  He releases his own stuff via Upset The Rhythm.  Below is one track off his upcoming release and some old ones:

mp3s ::
JOHN MAUS - ‘And The Rain’ (new single)

JOHN MAUS - ‘Do Your Best’
Publish Post

JOHN MAUS - ‘My Whole World Is Coming Apart’
JOHN MAUS - ‘Don’t Be A Body’
JOHN MAUS - ‘Just Wait ‘Til Next Year’
(via weekly tape deck)

above photo © Mark Blower


Anna Domino, L'Amour Fou Compilation, 1991

When Anna Domino left the Ottawa that was her adolescent home, she left for good. Of course, she was just Anne Taylor back in 1975, a kid getting out of high school and suburbia in the same shot, being dragged around the world by an itinerant mother who had given her birth in Japan, a childhood in Florence, and finally some turbulent high-school years in the second coldest capital city on the planet.

"I think I'm one of those people who just isn't at home," says Domino from her loft in New York, her base since the late '70s. "Because I moved around a lot as a kid there isn't any place that I can really go back to. This is a place that I've landed in, and it's as at-home as it's ever going to be."But even after she had fallen in love with New York, Europe and Crépuscule called. Her career was launched from Belgium in 1983 with a single called "Trust In Love," followed by the EP East And West, then a self-titled album in '86. They begged a bigger audience, but over the years in Crépuscule's "willingly negligent world," as one British weekly called it, Domino became best known for who she should have been: the next Sade, the next Suzanne Vega, the next Julee Cruise...

Still, if Anna Domino is the great lost '80s songstress, she still has an active career that's gearing up for phase two. After an imposed break since 1990's Mysteries Of America, as Crépuscule slowly dissolved, Domino came back late last year with a gorgeous collection of her hits, or rather, Favorite Songs from the Twilight Years: 1984-1990. The retrospective was released by Cargo's Janken Pon label, and Domino credits local imprint boss Kevin Komoda with kickstarting the project. She's also got an album of new material ready to go, and then there's her new band Snakefarm--essentially her same electroacoustic aesthetic applied to "traditional North American songs of murder, trains and she-won't-sleep-with-you-so-you-beat-her-up-and-throw-her-in-the-river."

Canada is getting Domino going again. She will perform in this country for the first time this week. "It feels so strange to be going up there to play now," says Anna. "I'm so happy about it, but at the same it seems like it should have happened a decade ago."

An interesting  electronic album for those who prefer sound, etheral eightees pop.

01 Home
02 Pandora
03 Paris
04 Bonds Of Love
05 Isn't That So
06 Tamper With Time
07 Bead
08 "Oh Beautiful..."
09 Dust



Ariel Pink - Gray Sunset

Ariel Pink (born Ariel Marcus Rosenberg; June 24, 1978) is a Los Angeles-based recording artist who is sometimes associated with the freak folk and nostalgia pop scenes.

In December 2010, Pitchfork named "Round and Round" the number 1 song on their list of The Top 100 Tracks of 2010. Ariel Pink's Haunted Graffiti have been chosen by Animal Collective to perform at the All Tomorrow's Parties festival that they will curate in May 2011.

Source: Wikipedia.

John Maus, We Must Become The Pitiless censors Of Ourselves, 2011

FREE mp3 available NOW for "Quantum Leap":

John Maus - Quantum Leap (Upset The Rhythm / Ribbon Music)

We Must Become The Pitiless Censors Of Ourselves track listing:
01. Streetlight
02. Quantum Leap
03. ...And The Rain
04. Hey Moon
05. Keep Pushing On
06. The Crucifix
07. Head for the Country
08. Cop Killer
09. Matter of Fact
10. We Can Breakthrough
11. Believer

Love is Real by John Maus was an understated gem from 2007, which reflected his love for gloomy lo-fi pop with a distinctly melancholy hue to it. It’s taken four years, but Maus finally has a follow-up record ready bearing the excellent title We Must Become The Pitiless Censors Of Ourselves.

The album will be released on the Ribbon Music label, which is a subsidiary of Domino, on June 28, and it’s being previewed by the track “Quantum Leap,” which you can hear in the Sound cloud clip below. Check out the full track listing below the audio file—can’t wait to hear the song “Cop Killer.” 
JOHN MAUS lives in his birthplace of Austin, Minnesota. Whilst working towards his PhD in Political Science he also composes music that taps into melancholic fantasy and affirms that we are all truly alive. Questing synthesisers, tensely strung bass lines and chasing drum machines providing the perfect backdrop for John's deeply resonant reverb-drenched vocal. Born in the decade of synth pop and sharing his birthday with George Frideric Handel, John started making music when Nirvana posters went up on every teenager’s wall. It’s this curious conflux of influences that partially helps to describe John’s music. It’s a world where the Germs jam with Jerry Goldsmith, Cabaret Voltaire relocate to Eternia and Josquin des Prez writes a new score for RoboCop. The confrontation of punk, the fleeting poignancy of 80’s movie soundtracks, the insistent pulse of Moroder and the spirituality of Medieval and Baroque music all find salvation in John Maus.

John Maus’ debut album proper entitled ‘Songs’ was released in 2006. It was a record permeated with aching memories; a perfect testimony to lost romance and longing. It’s awe-inspired follow-up ‘Love Is Real’ (released on UTR, 2007) proved a more cohesive listen in terms of focus and emotional depth. Maus finally returned last year to the heavy snows of the Midwest to finish album number three, ‘We Must Become The Pitiless Censors Of Ourselves’, set for release this June.
This is the artwork for free track Quantum Leap which also appears on iTunes.

‘We Must Become The Pitiless Censors Of Ourselves’ breaks new ground for Maus. The shirt pulling and air punching of his impassioned live performance is finally captured in all its frenzied appeal alongside a tender inner space. ‘Pitiless Censors’ looks towards the future in all its absurdity. It’s a record where promise takes the lead for the first time, providing a counterpoint to John’s default existential calling. This is perhaps best shown with new track ‘Quantum Leap’ available through the link above and via iTunes as of now. ‘Quantum Leap’, a song full of dead zones, glancing slaps and oscillating solos. “Heart to heart, mind to mind, we are the ones who seem to travel through time,” intones Maus resolutely through the mist. John’s lyrics are as likely to touch upon themes of Cronenberg gore just as much as the musings of Jacques Rancière. It’s this no-brow approach that makes things interesting, casting Maus as a savant and allowing his music to startle us in ways whereby we open up to the unimaginable.

If that's wet your interest here's a list of John's impending live performances too at SXSW and throughout darkest Europe.

Check out info on this album and John Maus' LIVE Schedule:

Throbbing Gristle, 20 Jazz Funk Greats, 1979


Throbbing Gristle is a British industrial music and visual arts group that evolved from the performance art group COUM Transmissions. The band consists of Genesis P-Orridge (bass, violin, vocals, vibraphone), Cosey Fanni Tutti (guitars, cornet, vocals), Peter "Sleazy" Christopherson (tapes, found sounds, horns, vibraphone, synthesizer), and Chris Carter (synthesizers, tapes, electronics).

Throbbing Gristle's confrontational live performances and use of often disturbing imagery, including pornography and photographs of Nazi concentration camps, gave the group a notorious reputation. However the group always maintained that their mission was to challenge and explore the darker and obsessive sides of the human condition rather than to make attractive music.

Throbbing Gristle pioneered the use of pre-recorded tape-based 'samples', and made extensive use of special effects to produce a distinctive, highly distorted background, usually accompanied by lyrics or spoken-word performances by Cosey Fanni Tutti or Genesis P-Orridge. Though they asserted they wanted to provoke their audience into thinking for themselves rather than pushing any specific agenda (as evidenced by the song "Don't Do As You're Told, Do As You Think" on Heathen Earth), Throbbing Gristle also frequently associated with the anarchist punk scene. They even appeared on the infamous Crass pamphlet Toxic Grafity, with a condensation of their own propaganda parody series, Industrial News.

In 1977 they released their debut single United/Zyklon B Zombie, followed by an album, Second Annual Report. Although pressed in a limited initial run of 786 copies on the band's own Industrial Records label, it was later re-released due to high demand on Mute records, however this later release was reversed with all tracks playing backwards and in reverse order. This was followed by a series of albums, singles and live performances over a four year period.

20 Jazz Funk Greats is the third full-length album by Throbbing Gristle.


    20 Jazz Funk Greats
    Released     1979

   1. "20 Jazz Funk Greats" – 2:51
   2. "Beachy Head" – 3:42
   3. "Still Walking" – 4:56
   4. "Tanith" – 2:20
   5. "Convincing People" – 4:54
   6. "Exotica" – 2:53
   7. "Hot on the Heels of Love" – 4:24
   8. "Persuasion" – 6:36
   9. "Walkabout" – 3:04
  10. "What a Day!" – 4:38
  11. "Six Six Sixties" – 2:07
  12. "Discipline (Berlin)" – 10:45
  13. "Discipline (Manchester)" – 8:06


The Areola Treat fan video

I had once blogged about the Areola Treat ep. This is one female-fronted band I do like. Not simply because it is indeed female-fronted but because they come across as genuinely honest, not pretentious or trying too hard to replicate other 'in' artists you hear of nowadays, and have a genuine sensibility and technique I can relate to with respect to other types of music I have in my collection. And surprisingly underground! Sure hope they plan on keeping it that way. They're what I would call a no-fancy-nonsense, no-lacy-polish act, just meaningful, yet playful.

I am posting a live gig video that was taken by a fan, presumably. Whoever took it should really have got them from the front though, however,but no complaints seeing this is a better quality video of theirs I could find. On first listening,  the vocals on the Areola Treat ep reminded me a hell of a lot of Siousxie and the Banshees, Patti Smith, Malaria, Hagen, Nico, sometimes hints of  karen O, (although not really a fan) as well as some other interesting female artists I'd heard and loved. A band to watch out for and see live.

Jacqueline Taieb, Complete Masterworks of French Mademoiselle, 2004

 Label : Rca

Jacqueline Taieb was born in Tunisia but raised in France. As a very young teen in the mid 60's, she recorded singles during the ultra-cool YeYe scene. Her biggest hit was "7 Hueres du Matin" which she also recorded in English as "7:00 AM". Garage Rock fans enjoy her because of the edgy use of guitar on this song and her hip cultural references to Paul McCartney, Elvis, Little Richard, and The Who. Here's a tribute I made homaging her, as well as Mod clothing designer Mary Quant and the Swinging London era.   

The above information was taken off Blue Beat in My Soul

This album was one of the very first French, YeYe albums to thrust me wide-eyed into the beautiful, imaginary and yet so real Mod world. Not only is Jacqueline truly one of France's 1960's leading ladies of Ye Ye, she has been widely copied elsewhere in French spheres up until the present day, but also covered by other artists alike as well as appreciators of 60s French pop. Such artists include French model - turned singer Mareva Galanter.
01. 7 Heures Du Matin
02. Le Coeur Au Bout Des Doigts
03. La 1ère À Gauche
04. La Fac De Lettres
05. Bientot Tu L'oublieras
06. Juste Un Peu D'amour
07. Bienvenue Au Pays
08. Le Printemps A Paris
09. Maman Jusqu'ou Tu M'aimes
10. La Plus Belle Chanson
11. Petite Fille D'amour
12. On Roule À 160
13. Ce Soir Je M'en Vais
14. Bravo
15. 7am

Listen Here