Twittering Machines

August 30th, 2011

Do albums have a chance?

Posted by michael lavorgna in Audio, Music

When I was a kid (our daughters hate anything that follows those words but try to bear with me) I didn’t have any kind of electronic entertainment in my bedroom other than a stereo. One time a friend and I actually left my warm and comfortable house to walk to his house in the winter in the night ’cause he just got a lava lamp. These physical facts forced us, or coerced us, into getting into albums – Side 1 and Side 2. This kind of time, LP-time, was what we had more than enough of.

(more…)

August 29th, 2011

Little Axe Records – The exclusive distributor for Mississippi Records!!

Posted by michael lavorgna in Great LPs, Music, News


Little Axe Records
The exclusive distributor for Mississippi Records

Need we read more? I know I mentioned Little Axe in the New Releases post but this news deserves its own. Finally a one-stop shop for all things Mississippi Records.

My only recommendation for their site is to have a “I would buy this record if you reissued it” button along with a field for entering your email address under each of the records on the Discography page. This way anyone who doesn’t yet own Washington Phillips heavenly What Are They Doing In Heaven Today? can let Mississippi Records know they’d like another chance.

August 29th, 2011

New Releases

Posted by michael lavorgna in Music, New Releases


Hobo Sonn
Wary The Mind

I’d almost forgotten about Hobo Sonn’s last and first and mind-boggling (maybe it boggled itself right out of my mind!) self-released LP The Thundering Nature of Reality. But how could I? Other music, other noise shaped and twisted into anonymous industrial machine dread. From Amen Absen, 330 copies the first 120 include a bonus CDR *if you order from the above link).


The Kilimanjaro Darkjazz Ensemble
self titled

2 x 12″ reissue of The Kilimanjaro Darkjazz Ensemble’s 2006 debut. Cello, trombone, violin, beats, guitar, bass, vocals and electronics processed for your listening pleasure. The story:

The Kilimanjaro Darkjazz Ensemble (TKDE) formed in 2000 as a project to compose new music for existing silent movies. Jason Köhnen and Gideon Kiers, both graduates of the Utrecht School of Arts, combined their audio and visual skills to reinterpret classic movies by F.W. Murnau (Nosferatu) and F. Lang (Metropolis).

In 2004 UK trombonist Hilary Jeffery and Swiss cellist Nina Hitz joined TKDE to record the self-titled debut album which was released on Planet Mu Records in May 2006. The ensuing tour saw Eelco Bosman and Paris based vocalist Charlotte Cegarra join, forming the Ensemble into a sextet.  London based violinist Sadie Anderson joined in 2008 to supply the group with extra power on stage.

the kilimanjaro darkjazz ensemble – self titled (album preview) by experimedia


Mahmoud Ahmed
Jeguol Naw Betwa

“as good as it gets & as close to universally perfect music as ever has been made.” May be. Ethiopian super voice Mahmoud Ahmed’s 1978 release reissued.  But the bigger news, yes bigger than universally perfect music, is Mississippi Records (who put this out) has a new online distributor – Little Axe Records. Enter at your own risk.

pssst – It appears as if the previously sold-out-in-an-instant Grouper titles – AIA: Dream Loss and Alien Observer resissues are available through their Distributed Titles page.

 


August 28th, 2011

Grinderman 7″ “Get It On” #23 Promo Knickers

Posted by michael lavorgna in Music, News, Stuff

Spotted these on eBay. With two days left for the auction, bidding is at GBP 11.50 ($18.66). Get your Grinderman on!

August 28th, 2011

Preparedness

Posted by michael lavorgna in News

August 26th, 2011

Limited Edition Eames

Posted by michael lavorgna in News, Stuff

in pure black

The “Asia Edition”. Only 100 produced. ¥854,700.

August 24th, 2011

What’s he building in there

Posted by michael lavorgna in Music, News

Today’s tasks (with 1 diversion).

August 23rd, 2011

The D/A Diaries

Posted by michael lavorgna in Audio

The D/A Diaries: A personal memoir of engineering heartache and triumph
Hitoshi Kondoh, Burr Brown Products Group of Texas Instruments;
English translation by Rusty Allred, Distinguished Member of the Technical Staff, Texas Instruments* 2/20/2002 7:31 AM EST

When the guys in charge listened to the prototype I saw dubious faces and was asked a variety of questions such as “Is the source coming from the PC corrupted?” In the end I was told to measure the audio performance. When I announced the results in a subsequent meeting I was told the distortion was an order of magnitude too high; the THD+N was 0.03%.

I wondered what was wrong with 0.03%, but was told that “We could never sell a device with this performance as one of our own.”

For a 16 bit, 48 kHz system, I would have to achieve at least 0.003%!

I was faced with (attacked by) a problem. Some asked, “Is the digital data getting corrupted somewhere?” But rigorous VHDL simulations did not locate such a bug. For the first time I had the feeling that analog is awful…

I went into this thinking “Since we are processing digital signals, we can expect good sound as a matter of course, and from here on we are dealing with digital!” So this experience was a real shock.

*A version of this article entitled, “Story of the Development of USB D-A Converter,” appeared in the Japanese publication, Design Wave Magazine, June, 2000, pp. 28 – 47.

 

August 22nd, 2011

New Releases

Posted by michael lavorgna in Music, New Releases


Nina Simone
Sings The Blues

4 Men With Beards give us one of Nina’s high notes (JDs favorite Nina if I’m not mistaken). Originally released in 1967 and her first on RCA, this new release is on 180 gram vinyl. Nina rules.

Nina Simone Backlash Blues by deejaygs


Isador Ducasse
s/t

Isadore Ducasse was also known as the Comte de Lautréamont author of the pre-surrealist surreal novel Les Chants de Maldoror (super-highly-recommended reading) but that’s not who we’re talking about here. This Isadore Ducasse is Jefre Cantu-Ledesma and William Trevor Montgomery who played together in Moholy-Nagy (highly recommended viewing) and Cantu-Ledesma is also the head of the wonderful Roots Strata label (highly recommended listening). This self titled release was meant to be a soundtrack for a western but that didn’t happen but I’m glad this record did. Sounds more alien than Dylan’s Pat Garrett & Billy The Kid. From Blackest Rainbow and they only made 500 copies.


Village of Spaces
Alchemy and Trust

Another Volcanic Tongue Tip Of The Tongue (I really should just defer) and it sounds so amazing I already ordered mine. Village of Spaces (who used to be Uke Of Phillips and Uke Of Spaces Corners) who are Daniel Beckman and Amy Moon are from Maine and are joined by a host of guests including Michael Hurley! Folk sounds positively hallucinogenic. Released on Turned World Records. 500 copies. Listen for yourself and hear what you think.

Ovum’s influence by Village of Spaces


Various
Fanafody: A Collection Of Recordings & Photography From Madagasikara Volume II

Do you remember that amazing triple LP release from Mississippi Records called Fihavanana? And do you remember how it sold out before the ink dried on the sleeves? And then Mississippi released the amazing LP Fanajana that collected some of the highlights from Fihavanana onto one record for us poor saps that missed getting Fihavanana? Well, this is less poor saps Volume II.

various – fanafody collection of recordings and photos from madagasikara volume ii (album preview) by experimedia

August 21st, 2011

Machine Gun Vinyl Reissue!!

Posted by michael lavorgna in Great LPs, Indispensable Records, News


The Peter Brötzmann Octet
Machine Gun

Free jazz lovers take note – Slowboy Records of Düsseldorf, Germany has reissued The Peter Brötzmann Octet’s legendary Machine Gun (1968) on LP in a limited run of 500. Here’s what I had to say about this record and here’s what Volcanic Tongue has to say about this reissue:

Beautiful deluxe reissue on heavy vinyl with 3 colour silkscreened tip-on sleeves of this seminal Central European free jazz blow-out from 1968, only Brotzmann’s second album as leader and still one of the founding documents of European improvisation. A parallel to John Coltrane’s epochal Ascension, Machine Gun combines ferociously aggressive ensemble playing that mimic the sounds of artillery with some incredible break-out soloing from Evan Parker, Fred Van Hove, Willem Breuker and Brotzmann. In between the walls of sheet metal there are occasional big band vamps that function as transports to earlier big band traditions as the group simultaneously honour and raze jazz tradition. The line-up is phenomenal, with the horns of Parker, Breuker and Brotzmann going up against two drummers – Han Bennink and Sven Johansson – two bassists – Peter Kowald and Buschi Niebergall – and pianist Fred Van Hove. Still one of the greatest free jazz sides ever recorded and central to any collection of free jazz. Can’t recommend this enough and this edition *sounds* better than ever. Edition of 500 copies and already sold out at source.

The original LP on FMP is hard to come by and not cheap (think $75 and up) and the CDs can run $25 and up so this looks like a sound investment. Run don’t walk…

August 20th, 2011

Bob Dylan: Pat Garrett & Billy The Kid

Posted by michael lavorgna in Film, Great LPs, Music


Bob Dylan
Pat Garrett & Billy The Kid
Original Soundtrack Recording

Director Sam Peckinpah didn’t know who Dylan was when it was recommended he be brought in to write music for his film. So Dylan went down to Mexico to audition:

“Sam says, ‘Who’s Bob Dylan?,’” recalls James Coburn.

“Oh yeah, the kids used to listen to his stuff. I was kinda thinkin’ of that guy Roger whatsisname, King of the Road guy, to do it.” And we all said, “What!! You gotta see Dylan,”…He said, “Okay, bring Dylan down.”…So the night we were over at Sam’s house and we were all drinking tequila and carrying on and halfway through dinner, Sam says, “Okay, kid, let’s see what you got. You bring your guitar with you?” They went in this little alcove. Sam had a rocking chair. Bobby sat down on a stool in front of this rocking chair. There was just the two of them in there…And Bobby played [his songs]. And Sam came out with his handkerchief in his eye: “Goddamn kid! Who the hell is he? Who is that kid? Sign him up!”

The story also goes when Dylan first showed up on the set of Pat Garrett & Billy The Kid to play his part as “Alias”, Kris Kristofferson joined him while director Sam Peckinpah showed them some dailies and Peckinpah was so pissed at the quality of the footage he stood up on his chair and pissed on the screen (Someone should compile all of the ‘people pissing on things’ stories like Jackson Pollock peeing into Peggy Guggenheim’s fireplace and separate the book into two sections – people who were drunk when they did it, and people who weren’t). All’s I can say is I love this movie, even the cut-version (sorry Sam), and I love the soundtrack especially “Knockin’ On Heaven’s Door” (who doesn’t?).

On “Knockin’ On Heaven’s Door”:

Drummer Jim Keltner cried, “There weren’t any overdubs on that, the singers were singing live, little pump organ, Roger McGuinn I think played [guitar]. This was for a particular scene in the movie when Slim Pickens is dying and that’s the first time I ever cried while I played. It was the combination of the words, Bob’s voice, the actual music itself, the changes, and seeing the screen…In those days you were on a big soundstage, and you had this massive screen that you can see on the wall, [with] the scene…running when you’re playing. I cried through that whole take.”

Jerry Fielding, who was brought in to ‘supervise’ Dylan on his soundtrack, thought, “It was shit.”

Starring Kris Kristofferson, James Coburn, and a cast of the crustiest cowboy character actors this side of Durango – Chill Wills, Katy Jurado, Jack Elam, Slim Pickens, Barry Sullivan, Dub Taylor, R.G. Armstrong, Elisha Cook, Jr. and Paul Fix. And of course Bob Dylan as “Alias”. Released in 1973 the soundtrack came out the same year.

I had an opportunity to see Eric Clapton perform “Knockin’ on Heaven’s Door” in Philly in the later ’70s and it was the highlight of his portion of that show. Muddy Waters had opened for Clapton which was the highlight of the entire show.

August 19th, 2011

Johnny Cash & Nick Cave: I’m So Lonesome I Could Cry

Posted by michael lavorgna in Music

John Baboujon sent me an email yesterday. The subject line read, “Thought you might be interested” and the body contained this link.

John was right. And as all things Internets go, I found my way to the above song which I’d never heard before today. Ahhh, what a great way to begin a Friday.

Thanks John.

August 19th, 2011

More Listening

Posted by michael lavorgna in Audio

August 18th, 2011

Thanks for clicking!

Posted by michael lavorgna in News

I’m sending out a big thank you to the 0.6% of you who are clicking on “Sponsored Links” (you know who you are). Because of your diligence, TM is going to see some AdSense revenue for the first time in our history!

August 18th, 2011

South African Audio Archive

Posted by michael lavorgna in Art, Music


Siemon Allen
Rave and Tempo, 2009
Epson K3 archival ink on Epson Velvet Fine Art Paper, archival tape
80″ x 80″, Gordon Schachat Collection

South Africa-born artist Siemon Allen speaks to the communicative power of records:

Records the most current of the collection projects is a massive archive of South African audio material. This ongoing project, currently evolving into a web based audio resource includes the work titled Makeba!, an almost comprehensive collection of the exiled South African singer’s recordings released internationally in the form of vinyl, tapes and CDs, and specifically targeting similar recordings pressed in multiple countries.

Records began when I came across one of Makeba’s early records (1965) in a thrift store in the United States. After reading the text on the cover I was struck by the political nature of its message and became interested in how in the simple act of listening to a piece of music a listener might be made aware of South African political issues. Also of interest to me was the fact that the audio medium was itself instrumental in the distribution of the anti-apartheid message internationally and, perhaps ironically, how the commodity culture of the music industry might become the distributor of a political message and in doing so be an agent of change.

Allen’s currently working on archiving his records collection and making it available on flatinternational:

The South African Audio Archive is a non-profit project developed by flatinternational. This website is dedicated to establishing a visual archive of rare and sometimes unusual South African audio documents as artifacts.

There’s an absolute wealth of information attached to each visually stunning record cover. Absolutely worth a visit.

VARIOUS ARTISTS
KWELA


Batsumi
s/t


THE DRIVE
DRIVE LIVE

MAHOTELLA QUEENS
MEET THE MAHOTELLA QUEENS


GWIGWI’S BAND
KWELA BY GWIGWI’S BAND


BATSUMI
s/t

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