Talking about The Petards, one of my favourite songs of that period by any band is "Stone By Now" on their 1969 album "Hitshock". Tymeshifter (whose reviews I respect) says of the album on Rate Your Music "Breathtaking! Absolutely tremendous, fuzz guitar driven, prog/psych hard rock. Possibly my favorite krautrock album of all time."
Yes, there's always this wonderful forgery of a band, but it's so good that I own everything they've released... ...and on vinyl which has become a kind of rarity for me this century.
Talking about The Petards, one of my favourite songs of that period by any band is "Stone By Now" on their 1969 album "Hitshock". Tymeshifter (whose reviews I respect) says of the album on Rate Your Music "Breathtaking! Absolutely tremendous, fuzz guitar driven, prog/psych hard rock. Possibly my favorite krautrock album of all time."
That The Petards track is not half bad, whether it counts as Cosmic Music, well that's another story.
Released in partnership with and as a fundraiser for The Bob Moog
Foundation on it’s 15th anniversary and the second anniversary of the
opening of the Moogseum in Asheville, NC, the music on ‘Moogmentum’
carries forward a legacy of exceptional beauty and craftsmanship and
speaks to the timeless elegance and possibilities of Moog instruments.
Yup, she's a modern treasure. Really enjoy all of her albums. She's one of the few people who can play mini-moog without it driving me up the wall. Her early albums as a free-jazz drummer are worth listening to as well.
Yup, she's a modern treasure. Really enjoy all of her albums. She's one of the few people who can play mini-moog without it driving me up the wall. Her early albums as a free-jazz drummer are worth listening to as well.
Yeah! Thanks for that Mothership video. Everything looks so clean and her approach looks so effortless, but I guess that you really learn all about your equipment and just ride it with your inspiration. Listening to the recordings is great, but actually seeing her in action is really a treat.
Jazz? Hip-Hop? Soul? All these and more! Available at Bandcamp
For his sophomore album, alto saxophonist Marcus Joseph, presents a project entitled Beyond The Dome, a body of work that explores themes of personal and external limitations, the idea of what binds us to who and where we are and the transcendence of perceived obstacles to become our authentic selves.
Australian composer, producer and singer/song writer Lucy Kong releases her sophomore album Colour Projections through Kammerklang.
A sonic exploration in three movements, Colour Projections cycles through a wide colour pallet of acoustic and electronic landscapes, guiding the listener on a journey of musical discovery. Taking inspiration from Gavin Bryars’ Jesus’ Blood Never Failed Me Yet, each movement’s minimalistic themes gradually diverge and morph to reveal a myriad of evolving sound colours.
In her own words, Lucy Kong explains: “for my second effort I wanted to go back to the basics. My debut album ElectroBloom was a high concept album with a number of different genres rolled into one, so for Colour Projections the plan was to strip it right back and focus solely on melody and arrangement. What resulted was three movements comprising of simple, minimalistic themes, which undergo a vast series of differing arrangements.”
She continues: “Musically I wanted to capture a feeling of hope in the three movements. At the time of writing I was going through a very stressful and busy period but what helped me stay focused and grounded was the Biblical passage from Romans 5:3-5 which says, ‘Not only so, but we also glory in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope.’ It’s in times of great challenge where we grow the most.”
credits
released November 25, 2019
Composer: Lucy Kong
Violin: Julia Lim (Track 1,2)
Cello: Thomas Wills (Track 1), Isabelle Hamby (Track 1)
All other instruments, programming, recording, sound engineering, producing, mixing and mastering by Lucy Kong.
A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscences, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.
Comments
Cravinkel and The Petards are pretty obscure but, interestingly, have extensive write-ups on Wikipedia.
https://de-m-wikipedia-org.translate.goog/wiki/The_Petards?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=nui,sc
https://de-m-wikipedia-org.translate.goog/wiki/Cravinkel?_x_tr_sl=de&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=nui,sc
Talking about The Petards, one of my favourite songs of that period by any band is "Stone By Now" on their 1969 album "Hitshock". Tymeshifter (whose reviews I respect) says of the album on Rate Your Music "Breathtaking! Absolutely tremendous, fuzz guitar driven, prog/psych hard rock. Possibly my favorite krautrock album of all time."
but it's so good that I own everything they've released...
...and on vinyl which has become a kind of rarity for me this century.
That The Petards track is not half bad, whether it counts as Cosmic Music, well that's another story.
She's one of the few people who can play mini-moog without it driving me up the wall.
Her early albums as a free-jazz drummer are worth listening to as well.
Rated in the top 20 albums for 2008 by ProgArchives and deservedly so.
http://www.progarchives.com/album.asp?id=21184
https://www.youtube.com/watch?v=uflRnt-H3aI
Everything looks so clean and her approach
looks so effortless, but I guess that you really
learn all about your equipment and just ride it
with your inspiration. Listening to the recordings
is great, but actually seeing her in action is really a treat.
Jazz? Hip-Hop? Soul? All these and more! Available at Bandcamp
Lucy Kong - Colour Projections
A sonic exploration in three movements, Colour Projections cycles through a wide colour pallet of acoustic and electronic landscapes, guiding the listener on a journey of musical discovery. Taking inspiration from Gavin Bryars’ Jesus’ Blood Never Failed Me Yet, each movement’s minimalistic themes gradually diverge and morph to reveal a myriad of evolving sound colours.
In her own words, Lucy Kong explains: “for my second effort I wanted to go back to the basics. My debut album ElectroBloom was a high concept album with a number of different genres rolled into one, so for Colour Projections the plan was to strip it right back and focus solely on melody and arrangement. What resulted was three movements comprising of simple, minimalistic themes, which undergo a vast series of differing arrangements.”
She continues: “Musically I wanted to capture a feeling of hope in the three movements. At the time of writing I was going through a very stressful and busy period but what helped me stay focused and grounded was the Biblical passage from Romans 5:3-5 which says, ‘Not only so, but we also glory in our sufferings, because we know that suffering produces perseverance; perseverance, character; and character, hope.’ It’s in times of great challenge where we grow the most.”
credits
Composer: Lucy Kong
Violin: Julia Lim (Track 1,2)
Cello: Thomas Wills (Track 1), Isabelle Hamby (Track 1)
All other instruments, programming, recording, sound engineering, producing, mixing and mastering by Lucy Kong.
Also on Emusic
https://www.dailymotion.com/video/x66qbiv
A new ship of fools sails on Bolombia lands! These strange people seem to celebrate the whole jazz universe and african idioms, but they've never been in Africa. The great continent, more than physical, is a mental place of encounter and psychedelic skids. Neurotic and schizoid sorcerers, a furious wind drags them towards the total effervescence of the groove: an unprecedented cauldron of dangerous substances, hybrid styles and influences mixed with secret recipe. Their music is an explosive bubble of expressions, a feverish, impulsive and unstoppable ritual. A cosmic attitude, such as Heliocentrics or Embryo, marries the majestic and floating sounds of synths and psych organs, acidified by toxic dub sparks and deadly funk forays. A crazy horn section travels without maps from Sun-Ra and Ethiopian echoes, hard-bop reminiscences, to sudden and virulent Balkanisms, making this soup an indecipherable combination of flavors.