Geneva Jacuzzi, Kooze Control, 2008

Tracklisting:
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.

AnnaF.

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: http://www.genevajacuzzi.org/

This Source: http://andsoonasitwas.blogspot.com/2008/06/geneva-jacuzzi-kooze-control-08.html



Listen:
Geneva Jacuzzi - Kooze Control (2008)

Buy here - $18 inc. shipping and handling - http://www.myspace.com/zombieshark

MORE JACUZZI...to buy (and images)

Source: Vinyl International: http://www.vinylinternational.com/lamaze.html

GENEVA JACUZZI "SPACE HEATER" from Multinauts on Vimeo.

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.

Source: http://www.upsettherhythm.co.uk/johnmaus.shtml

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: http://pitchfork.com/reviews/albums/11283-love-is-real/
Find it at: Insound Vinyl | eMusic | Amazon MP3 & CD
My favourite John Maus blog: http://rougesfoam.blogspot.com/2009/07/heaven-is-real-john-maus-and-truth-of.html

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.

Tracklisting:
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

RAPIDSHARE:
http://rapidshare.com/files/105384741/l_amour_fou.rar.html

(http://www.montrealmirror.com/ARCHIVES/1997/032797/music2.html)

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

   

FREE mp3 available NOW for "Quantum Leap":
http://bit.ly/quantumleapmp3

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:http://upsettherhythm.blogspot.com/2011/03/john-maus-we-must-become-pitiless.html
 

Nico, Camera Obscura, 1985

 


Camera Obscura (Darkened Chamber) is the name of an experimental avant-garde music album recorded and released by Nico in 1985. It was produced by John Cale, marking their first studio collaboration since The End in 1974. It was Nico's final studio album before her death three years later.

Nico's vocal style is somewhat different from her prior records, with some songs bearing similarities to Dead Can Dance's Lisa Gerrard. The jazz standard "My Funny Valentine", by contrast, has a more standard legato vocal style, despite her very deep contralto. Many of the tracks offer a refined version of the new wave gothic rock of her previous album, Drama in Exile. The album is dedicated to her then manager, Alan Wise.

Sonically, the album follows on from Drama of Exile in that Nico's core songs are given full band arrangements. Whereas Drama of Exile carried a strong North African influence and exotic, New Wave-inspired instrumentation, Camera Obscura makes use of synths and drum programming.

The album's oldest composition, "König," was originally recorded for Desertshore and re-recorded some fifteen years later for Camera Obscura. A version was included in the Philippe Garrel fim, La Cicatrice Intérieure (1972). John Cale reportedly wanted to produce the song with a more percussive, synth-based arrangement in keeping with the rest of the material, but Nico insisted it should be kept as a solo harmonium piece.

Another early song re-imagined for the recording sessions was "Tananore," which Nico had performed at a Cale concert in Marseille on April 12, 1975 and kept in her set ever since. Nico had incorporated "My Funny Valentine" into her set since February 1982. "My Heart Is Empty" and "Fearfully in Danger," meanwhile, had been set mainstays since her Library Theatre appearance in Manchester on June 16, 1983.

Nico performed songs from Camera Obscura up until her death, although there are no known performances of opening instrumental "Camera Obscura" or the song "Into the Arena."

Source: Wikipedia

This is truly one of my favourite albums by Nico. Few have had the ability to turn melancholy into pure art.

Tracklisting:

01. Camera obscura
02. Tananore
03. Win a few
04. My funny Valentine
05. Das lied von einsanen madchens
06. Fearfully in danger
07. My heart is empty
08. Into the arena
09. Konig

 Listen:
http://rapidshare.com/files/391813684/Nico__1985__Camera_Obscura.rar

The Cramps , Discography, 1980 - 2003

... like this! - oh baby I see you in my frigidaire - yeah baby I see you in my frigidaire - behind the mayonnaise, way in the back - I'm gonna see you tonight for a midnight snack - but though it's cold you won't get old - 'cause you're well preserved in my frigidaire - yahhhhhhh.... ("TV Set") 

In the spring of 1976, The Cramps began to fester in a NYC apartment. Without fresh air or natural light, the group developed its uniquely mutant strain of rock’n’roll aided only by the sickly blue rays of late night TV. While the jackhammer rhythms of punk were proliferating in NYC, The Cramps dove into the deepest recesses of the rock’n’roll psyche for the most primal of all rhythmic impulses -- rockabilly -- the sound of southern culture falling apart in a blaze of shudders and hiccups. As late night sci-fi reruns colored the room, The Cramps also picked and chose amongst the psychotic debris of previous rock eras - instrumental rock, surf, psychedelia, and sixties punk. And then they added the junkiest element of all -- themselves.

1979 saw The Cramps opening for The Clash in New York and undertaking a second tour of the West Coast. Their gig at Keystone, Palo Alto, CA, being broadcast live by KFAT. Around this time the band came to the attention of Miles Copeland III who signed them to his IRS/Illegal label. He set The Cramps up with a British tour with The Police and in June gave their Vengeance singles a release as the Gravest Hits EP (UK Indie Chart #41, 2 wks). In July they went back to Sam Phillips' studio in Memphis with Alex Chilton to begin work on their first album, Songs The Lord Taught Us, which was not released in March 1980 (UK Indie Chart #18, 18 wks), much to the band's displeasure, and included covers of Jimmy Stewart & His Nighthawks' Rock On The Moon, The Sonics' Strychnine and Little Willie John's signature number,Fever, which was released as a single in June 1980 (UK Indie Chart #12, 9 wks).

This 1980 debut long player by the crystallized Lux Interior-Poison Ivy-Bryan Gregory-Nick Knox lineup was again recorded by Alex Chilton, this time at the Sam C. Philips Recording Studio in Memphis, in what has long since become legend material, in no small amount due to the historical/astrological coordinates at work, the Chilton/Cramps team up itself, inept studio hands being kicked out of the recording booth, Bryan Gregory´s "abrupt departure" before touring this album, take your pick.

Here we see the band having a larger go at, let´s say, scribbling down songs instead of grave robbing them from rock´n´roll´s pet cemetery - although "Tear it Up" (Billy Burnette), "Strychnine", (The Sonics), "Fever" (Eddie Cooley/John Davenport) and the very much "Psychotic Reaction" (Count Five) sound alike intro for "I´m Cramped" keep one foot firmly stomped on poverty row rock history for perspective.

A wonderfully rough edged studio noise trickery/fuzz/echo sprinkled affair that is a primordial part of what the eminent status this band holds is based on.

With this band it would be pretty minute to try and single out one album before any other for the new listener, except maybe the comps., so if you come across this in any form this should come as no disappointment for the discerning ghoul out there.

Text:   C-60 Low Noise : http://c-60lownoise.blogspot.com/2007/11/cramps-songs-lord-taught-us-1980.html



Tracklisting:
    1. "T.V. Set" - 3:12
   2. "Rock On The Moon"  - 1:53
   3. "Garbageman" - 3:37
   4. "I Was a Teenage Werewolf" - 3:03
   5. "Sunglasses After Dark"  - 3:47
   6. "The Mad Daddy" - 3:48
   7. "Mystery Plane" - 2:43
   8. "Zombie Dance" - 1:55
   9. "What's Behind the Mask?" - 2:05
  10. "Strychnine"  - 2:24
  11. "I'm Cramped"  - 2:37
  12. "Tear It Up"  - 2:32
  13. "Fever"  - 4:17
  14. "I Was a Teenage Werewolf (With False Start)" [Original Mix] - 4:48
  15. "Mystery Plane" [Original Mix] - 2:39
  16. "Twist and Shout" - 2:32
  17. "I'm Cramped" [Original Mix] - 2:37
  18. "The Mad Daddy" [Original Mix] - 3:15


Listen:
http://rapidshare.com/files/358808486/The_Cramps_-_Songs_the_Lord_Taught_Us.zip

Listen:
http://www.megaupload.com/?d=WZOLRD1Y

Blondie, Plastic Letters , 1977

 

1. Fan Mail

2. Denis
3. Bermuda Triangle Blues (Flight 45)
4. Youth Nabbed As Sniper
5. Contact In Red Square
6. (I'm Always Touched By Your) Presence, Dear
7. I'm On E
8. I Didn't Have The Nerve To Say No
9. Love At The Pier
10. No Imagination
11. Kidnapper
12. Detroit 442
13. Cautious Lip

BONUS TRACKS

14. Once I Had A Love (aka The Disco Song) (1975 Version)
15. Scenery
16. Poets Problem
17. Detroit 442 (Live) Recorded live 11/6/78 at the Walnut Theatre in Philadelphia

Rapidshare Link:

http://rapidshare.com/files/11093254/Plastic_Letters_1977.rar

The Call , Modern Romans , 1983

 

Walls Came Down

Turn a Blind Eye
Time of Your Life
Modern Romans
Back From the Front
Destination
Violent Times
Face to Face

All About You

Rapidshare Link:

http://rapidshare.com/files/399192711/1983_modern_romans.rar