Do you sometimes really like an album but then find that other people think that it’s pretty ordinary!!??
My example is New Zealand Psych Rock band Space Farm’s 1972 s/t album. To my mind it’s excellent, particularly the first track “Space Farm”, the second one “Homeward Bound” and the seventh one “Gypsy Queen”. But everybody else thinks it’s just okay. How could they all be so wrong!
Interested to hear if you’ve had similar experiences and do try the YouTube link below and let me know what you think of Space Farm. Good, bad or ordinary!
@peterfrederics - Well, that could describe much of my library. It used to drive me nuts in my youth that with all the variety of albums I had back then, folks would pick Cheech & Chong. I've had my fair share of folks who disliked something that they've never heard but I think I've taken it all in stride. As for Space Farm, I only listened to track 1 and look forward to hearing the rest when I get to the esses. I see YouTube has an expanded set with individual tracks.
Re-issue from January this year of an early Mego release, allegedly the first ambient release on that label. Very delicate and airy. Peaceful and dreamlike. Proper ambient for proper dreamers if you will
TMT always has me debating with myself. The lyrics are often built on clichés (in this case, life is like a river, it carries you downstream, you have to sink or swim, my feelings run deep) and have a kind of surface naivete that initially turns me off. Then I start chiding my cynical self and its pretensions to sophistication and find that the songs draw me in if I let my guard down a little, and the directness becomes refreshing. Music that wears its heart on its sleeve.
Exceptional spiritual jazz record from Argentina that was laid down in 1975.
Thanks for the reminder about this one. Somewhere... and I do mean "somewhere" probably over the rainbow, I have a cheeky cd-r rip of this album found during the happy daze of "sharity blogs". It's up on YouTube for those who want a listen. Think maybe of Coltrane's cover of "Softly, As in a Morning Sunrise" or similar.
Now that is a good point, and the answer is that until just now I didn't realise that there was one. I don't automatically click on images. Anyway the YouTube rip has a couple of nasty bumps and scratches so thanks for pointing that out.
Remember that for years I've nearly always linked my covers to a source - usually, in the past couple of years, Bandcamp. It's why it gets frustrating sometimes when someone points out what they think is an exceptional album - only to leave you hangin'.
Remember that for years I've nearly always linked my covers to a source - usually, in the past couple of years, Bandcamp. It's why it gets frustrating sometimes when someone points out what they think is an exceptional album - only to leave you hangin'.
I plead the Fifth - or more to the point I blame the shared bottle of 10% Orkney Breweries Ale I started the day with...
By placing the installation’s headphones on our ears, we hear the unmistakable voice of Felipe Calderón “…que restablecer la seguridad no será fácil, ni rápido, que tomará tiempo, que costará mucho dinero, e incluso, y por desgracia, vidas humanas. Pero ténganlo por seguro, esta es una batalla en la que yo estaré al frente, es una batalla que tenemos que librar, y que unidos, los mexicanos, vamos a ganar a la delincuencia” (“…that to restore security will not be easy or fast, that it will take time, that it will cost a lot of money and even, unfortunately, human lives. But be certain that it is a battle that I will lead, it is a battle that we must fight and that, together, us Mexicans, will beat delinquency.”)
Next, the sound becomes inaudible, not because it can´t be heard but because it is impossible to listen to it willingly. After the presidential address, the voice of a woman crying is reproduced saying “déjame pasar, es mi hijo, es mi casa” (“let me in, it is my son, it is my house”. Someone else, with a thick accent from Chihuaha narrates how a car stopped in front of the house and from the car, someone killed two boys with a shotgun. The person in car has fourteen or fifteen years old and left a note: “Faltan 11. Vamos a venir por ellos” (“Eleven to go. We will come for them”).
The array of horrors continue: stories by members from the army, deserters, policemen, cartel members, and anonymous voices intertwine with sounds of gunshots, executions, duels and parties. Its a collage with various recordings taken from the internet that document life of a country where war has been declared against drug-trafficking. There is a point where a cartel member narrates how him and his partners cross to the US to buy guns.
This work was originally commissioned for the exhibition PCFS – Post Colonial Flagship Store, in 2014 at the freiraum quartier21 of the MuseumsQuartier in Vienna. In the show several artists used the flagship store model that beyond selling look to position the brand through key products and exclusive experiences to create critique about neocolonialism in a contemporary world.
South of Heaven touches on the asymmetric relationship between the US and Mexico using the analogy between music, guns and drug distribution and economy. Martínez shows how the US is the principal distributer of content in the internet as well as the largest consumer of drugs that get made or travel through Mexico and also the largest supplier of guns for the cartels as they promote a war against drugs. The sound played through the speakers of a person sniffing coke grows as does our discomfort with the various elements of the work.
Our northern neighbors don’t know the phrase that in Mexico is part of a collective imaginery, “Poor Mexico, so far from God and so close to the USA!”
Comments
Ian Hawgood
The Fire Will Die At Night nyop / archive.org Spiral Into Somewhere nyop / archive.org
Enfants Ruraux nyop / archive.org A Life In Abstract Colours nyop / archive.org
Before I Let The Sunshine Rot nyop / archive.org
My example is New Zealand Psych Rock band Space Farm’s 1972 s/t album. To my mind it’s excellent, particularly the first track “Space Farm”, the second one “Homeward Bound” and the seventh one “Gypsy Queen”. But everybody else thinks it’s just okay. How could they all be so wrong!
Interested to hear if you’ve had similar experiences and do try the YouTube link below and let me know what you think of Space Farm. Good, bad or ordinary!
https://youtu.be/xLuRKBYLxeE?t=13
As for Space Farm, I only listened to track 1 and look forward to hearing the rest when I get to the esses. I see YouTube has an expanded set with individual tracks.
and, here's a couple of morning listens. Thanks again to @Germanprof- The other albums are from Ian Hawgood's Koen Music label and the 15 album discography is still available for £1 so I still have some more to look forward to. Here's where it began, perfect early morning listening when the house is so quiet.
Ian Hawgood + Stijn Hüwels - Bloom nyop A guitar refrain for garden plants nyop
Wolfskin nyop We Are Better For Being Built This Way nyop
Piano Works nyop The Shattered Light nyop
Wolven (A Modern Interpretation) nyop
Tujiko Noriko – Crépuscule I & II
Re-issue from January this year of an early Mego release, allegedly the first ambient release on that label. Very delicate and airy. Peaceful and dreamlike. Proper ambient for proper dreamers if you will
Allison Russell - The Returner
Ictus
Terry Riley - Ictus w/Blindman Kwartet - In C Keiko Harada, Ictus - After The Winter
Steve Reich, Ictus, Synergy Vocals - Drumming Fausto Romitelli, Ictus - Professor Bad Trip
Luciano Berio, Mike Patton, Ictus Ensemble - Laborintus II
US American folk/rock musician and singer.
Born July 4, 1974 in Towson, Maryland.
Daughter of Lowell George and Elizabeth George.
Plus a beautiful voice and half of The Bird And The Bee
All Rise Inara George w/Van Dyke Parks - An Invitation
Accidental Experimental Dearest Everybody
Now that is a good point, and the answer is that until just now I didn't realise that there was one. I don't automatically click on images. Anyway the YouTube rip has a couple of nasty bumps and scratches so thanks for pointing that out.
@rostasi thanks, many moons ago, for teaching me how to link my covers to a source. I’ve done it every time without fail ever since!
I plead the Fifth - or more to the point I blame the shared bottle of 10% Orkney Breweries Ale I started the day with...
Ini Kamoze Statement
Pirate Shocking Out
A psych album released in 2020, it is one of my favourite albums this year.
Mind you, it goes on my list of albums that I seem to like much more than everybody else does!
A Mexican artist, creating works in multidisciplinary art, including experimental and electroacoustic music, actions, video, installation and site-specific projects, mainly focused on sound as source and theme.
Cubensis archive.org Archives 2006 archive.org
El Hombre Que Se Sofoca Two Espressos In Separate Cups
KK Null/Israel Martínez/Lumen Lab - Incognita The Minutes archive.org
South Of Heaven archive.org
In collaboration with Diego Martínez
By placing the installation’s headphones on our ears, we hear the unmistakable voice of Felipe Calderón “…que restablecer la seguridad no será fácil, ni rápido, que tomará tiempo, que costará mucho dinero, e incluso, y por desgracia, vidas humanas. Pero ténganlo por seguro, esta es una batalla en la que yo estaré al frente, es una batalla que tenemos que librar, y que unidos, los mexicanos, vamos a ganar a la delincuencia” (“…that to restore security will not be easy or fast, that it will take time, that it will cost a lot of money and even, unfortunately, human lives. But be certain that it is a battle that I will lead, it is a battle that we must fight and that, together, us Mexicans, will beat delinquency.”)
Next, the sound becomes inaudible, not because it can´t be heard but because it is impossible to listen to it willingly. After the presidential address, the voice of a woman crying is reproduced saying “déjame pasar, es mi hijo, es mi casa” (“let me in, it is my son, it is my house”. Someone else, with a thick accent from Chihuaha narrates how a car stopped in front of the house and from the car, someone killed two boys with a shotgun. The person in car has fourteen or fifteen years old and left a note: “Faltan 11. Vamos a venir por ellos” (“Eleven to go. We will come for them”).
The array of horrors continue: stories by members from the army, deserters, policemen, cartel members, and anonymous voices intertwine with sounds of gunshots, executions, duels and parties. Its a collage with various recordings taken from the internet that document life of a country where war has been declared against drug-trafficking. There is a point where a cartel member narrates how him and his partners cross to the US to buy guns.
This work was originally commissioned for the exhibition PCFS – Post Colonial Flagship Store, in 2014 at the freiraum quartier21 of the MuseumsQuartier in Vienna. In the show several artists used the flagship store model that beyond selling look to position the brand through key products and exclusive experiences to create critique about neocolonialism in a contemporary world.
South of Heaven touches on the asymmetric relationship between the US and Mexico using the analogy between music, guns and drug distribution and economy. Martínez shows how the US is the principal distributer of content in the internet as well as the largest consumer of drugs that get made or travel through Mexico and also the largest supplier of guns for the cartels as they promote a war against drugs. The sound played through the speakers of a person sniffing coke grows as does our discomfort with the various elements of the work.
Our northern neighbors don’t know the phrase that in Mexico is part of a collective imaginery, “Poor Mexico, so far from God and so close to the USA!”
J. Boogie's Dubtronic Science Soul Vibrations
Soul Vibrations: Dub Remixes Undercover
The Shakespearean Frog - Elite Toilet Soap (2020) (Comfy Synth, Ambient)
Parallèles Telectu Cutler Berrocal
The Oblique Sessions Superdisque
Just an incredible album:
MDLV Antigravity
Exterior Lux Transcodex