Thursday, September 30, 2004

Another mp3 I uploaded for you today is "Moritat von Mackie Messer" (also widely known under its English title, "Mack the Knife"), the famous Kurt Weill/Bertolt Brecht song from their, especially the latter's "Die Dreigroschenoper" ("The Three Penny Opera") - here sung by Brecht himself. You can read more about the song's history on The Straight Dope and find it on the "Entartete Musik" sampler (of which I only have the first disc).
More Death in June. Yeah, I know there already was a Death in June post last Saturday, but I promise these will be the last Death in June mp3s you'll get here for the next let's say three months. Plus this is live, coming from a 2002 bootleg which I got anotherday and still haven't listened to completely; the songs can be found on the same two albums which the mp3s in the last Death in June post were taken from, "Rose Clouds of Holocaust" and "All Pigs Must Die!" and don't you just love the lo-fi drums and the "laaa, laaa, laaa, laaa" in the beginning of "RCoH".

"All Pigs Must Die" (live)

"Rose Clouds of Holocaust" (live)

Tuesday, September 28, 2004

Now, this next one is a fucking huge download, it's over 19 MB, but it's worth it. Faust's "Krautrock", and that's what it is: a nearly twelve minutes long Krautrock hymn from their 1974 album "Faust IV". Basically, here Faust got to their form: it's a big step from wild Amon Düülish exercises on "Faust So Far" to this.

In other news, Craig from songs:illinois told something about how strange things can happen in music industry in the comments to my entry about FSK.
And drop by at *6ize to pick up a fun Tom Waits track from 1976.
It's the newly (actually herewith) declared Twin Tuesday on Antificial Radio Weblog, which basically means that, along with other mp3s of course, Aphex Twin and Aphex Twin related tracks will be posted every Tuesday right here on this blog. And here you go: I am almost seducted to say that following is an Aphex Twin rarity, but there's one thing that keeps me from doing so. AMG once qutie correctly wrote about Aphex Twin and Autechre that they are "about as close to being techno superstars as the tenets of the genre and the limitations of its audience will allow". Now, such "superstars" do not have any tracks that are publically available and at the same time could be called "rare" in 2004. Somewhere in their private basements maybe. But at least the track I uploaded for you does not belong to the most well-known AFX tracks, coming from the unofficial album "Melodies from Mars". Ten untitled tracks and two tracks that later were featured on the "Richard D. James Album"; they often sound rawer than the latter recording, but nevertheless are a must have. Here's the twinnishly playful Track 03.

Sunday, September 26, 2004

There's a guy in Russia who calls himself Don Gan or DJ Gan, and while his music is not really great, it's still fun at times. Some mp3s are available on, some on his LiveJournal; I'll direct link because both places are in Russian.

"Ivan Kupala vstretilis' s Nirvanoy" ("Ivan Kupala met Nirvana") (mash-up with a band that performs russian folk songs)
"Ne Nado Shutit' s Voynoy!" ("Don't joke with war!") - Vladimir Zhirinovsky, the leader of the Liberal Democratic Party of Russia, once held a drunken speech in Iraq where he, among other things, called George W. Bush a "shitty cowboy", threatened to sink the American continent into the waters of "The Atlantic Pacific Ocean" with the help of Russian scientists etc. Parts of this recorded speech, with "George, you shitty cowboy, fuck / Don't joke with war, fuck" and "Look, what a sky, fuck, Baghdad!", were sampled in this one.
"Apocalyptica vs. Vinni Puh" ("Apocalyptica vs. Winnie the Pooh") - I do not like Apocalyptica much, but this mash-up has got something.
"My Slchastlivy, Vincent?" ("Are We Happy, Vincent?") - trip-hop with the German synchronization of "Pulp Fiction"'s audio track sampled here.

There's more, but it's either only really understandable for a Russian speaker, like a tune with Brezhnev sampled, or not that much fun.

Saturday, September 25, 2004

Some Death in June here. No, I did not upload anything from their first two albums, although I do agree that their best days are long over. But you all know their first two albums anyway, and as it seems to me, their later stuff is less popular. Firstly, here's a track called "Disappear in Every Way" from their 2001 opus "All Pigs Must Die!".
Interestingly, it was one of the first things I've heard of Death in June and one of the first things I liked. It isn't particularly interesting musically, but it's a good song, and I am not offended by the way it is made. Mainly because I like the connection of the deathinjunish calm with the lyrics.
Secondly, here's "Rose Clouds of Holocaust" from the equally titled album. Now, I do know that there's a big never-dying discussion about Pearce, DiJ's frontman, being a neonazi or not being a neonazi, and I think this whole discussion is based on wishful thinking. The people do not want him to be a right extremist; that's why they are hysterically seeking for arguments that would prove that he isn't. To me, it is clear that he is; if he shouldn't be, I do not see any idea behind the lyrics actually. And it doesn't even smell like irony, too. Yes, I know that art and real life are two fully different areas of acting, but firstly, we are not talking about art music like Laibach here but instead about a clear case of pop music, and pop music is often enough a sort of special case, and secondly, as I already said, I seriously do not see anything in DiJ's music that would speak for Pearce not denying the holocaust, for example, like in this song. If - if! - it should be some other idea behind the lyrics, then the whole thing just sucks big time. And I think it's decent pop music, neat songs. If you want, you can call that wishful thinking.
I also cannot see how the fact of Pearce being a neo nazi matters for the fact that the songs are neat. Not going to DiJ concerts out of ideological reasons is seemlingly a slightly more complicated case; but if one does like the music and just does not want to pay the artists because he or she thinks it's neo nazi propaganda, one oversees the fact that he or she supports this propaganda by listening to the songs. If you are able to develop a critical distance to it - and you certainly should be able to do so whatever music is involved, when being concerned with music, you should be able to develop a critical distance to the music, the lyrics, etc. - why should you avoid gigs? The only reason could be that you do not want the artists to spread their music so that it reaches the neo nazi scene, but if you want to prevent their music from spreading out, this wish comes in an immediate conflict with the fact that you actually are listening to the music.
So EmptyFree once pointed me to the great Ergo Phizmiz and particularly his covers of The Velvet Underground's "White Light/White Heat" (available on his web site for free download) and of Aphex Twin. The latter are possibly the best AT covers made so far and definitely the best AT covers I've heard (soon to be rereleased on Solnze Records, also featuring - you guessed right - Messer für Frau Müller - read post about them); what I uploaded for you is an Aphex Twin cover made by The Bad Plus, which is not at all that good but still neat somehow: "Flim". Being a kind of a jazz trio, they tried to imitate the alienated drums with acoustic instruments, and to keep the rhythm. Still, it's not great; it's nice, but it bores a bit. The album which the track is taken from, "These are the Vistas", would actually be quite boring anyway if it wasn't for "Flim" and their heavily dissonant version of "Smells Like Teen Spirit". May work well as background music, however.

Friday, September 24, 2004

"Stained Sheets" by James White and The Blacks.

James White is the other name of Mr James Chance. I guess you couldn't name yourself and your band like that today. No, this is not 70's porn music! Free jazz saxophone improvisations never were included in a porn movie (if you know one, however, send me a copy). It's a wild mix of disco, funk, free jazz and fun samples (often described as "No Wave", while Chance himself doesn't seem to really like the term). I didn't know about White before quite shortly and first heard him on Epitonic I believe. You can get two other of his tracks there.

Tuesday, September 21, 2004

I like Television's "Marquee Moon" a lot, and I really tried listening to parts of "The Blow-Up". Nope. I'm not sure whether they just had a bad day when it was recorded or the poor sound quality really did that much to the material, but it sucks. It's astonishingly boring compared to the studio versions of the same songs. And it doesn't seem to have the energy that a good live album of such a band has to have.
"Live at the Old Waldorf" is different. While the songs are rawer in concert, they still keep the Television squiggledness that you know an like from "Marquee Moon". Here's a live version of "Venus" from this 2003-released (don't worry, it was recorded on June 29th 1978, in the same year as "The Blow-Up") album.

Organizatory: Once again, I explicitly point you to 20 Jazz Funk Greats. This blog, as far as i can judge, started pretty much around the same time as Antificial Radio Weblog did, and I'd like to say a thank you to this probably best mp3 blog I know (why, except for mine of course) in terms of musical content. 20JazzFunkGreats brought me to Suicide. And it started with, amongst others, Throbbing Gristle & NEU!, which definitely wins my sympathy. Check it out.
A track from FSK's first LP, "Stürmer". FSK or Freiwillige Selbstkontrolle, said to be the favourite German band of John Peel, released their first recordings on a label named ZickZack (probably known to some people through Einstürzende Neubauten's releases), which was later to become the omnious What's So Funny About, now amongst others featuring Messer für Frau Müller (I wrote about them before). I'm not sure about FSK's later work because I've heard too little of it, but this first album, wonderfully funny and fresh, recorded with a drum machine which sounds fairly cheap to me, is worth hearing. Here's "Was Kostet die Welt" ("How Much is the World").

Organizatory: There were no posts yesterday because I was having some trouble with a virus or my antivirus software fucking up the computer system (I'm really not sure which one of the two was actually causing the most visible part of the fucking up). Sorry for that.

Thursday, September 16, 2004

A short post today with some Richard Hell. The Neon Boys were the predecessor band to Television somewhere in the first half of the seventies, existed a year or a couple of years and disbanded before finally reuniting as the above-mentioned group, with Richard Hell quitting before the recording of "Marquee Moon" to form the Voidoids. Here are two tracks from that EP issued on Shake Records in 1980.

Richard Hell & The Neon Boys - "Love Comes in Spurts"
Richard Hell & The Voidoids - "Don't Die"

Organizatory: I'm going to Leipzig tomorrow on Friday, so there will be no updates here on this week-end. On Monday the 20th, I'll be back; in the meantime, I suggest you frequent 20 Jazz Funk Greats, An Idiot's Guide to Dreaming and Totally Fuzzy.

Tuesday, September 14, 2004

A classic tune from Fehlfarben's classic 1980 album "Monarchie und Alltag": "Ein Jahr (Es geht Voran)". The best thing about this song is the guitar riff played most of the time and the "Es geht voran!" line immediately following it. And a good thing about that is that you can sing nearly anything to this riff's melody. Once it's got you, you probably won't get rid of it so soon.

The Eno dispersion on music blogs seems to be even wider than i actually supposed: Nuclear Beef has been having an Eno track up for almost two weeks now. 20 Jazz Funk Greats wrote about Eno yesterday, too, also giving an mp3. This given, I propose mp3 bloggers, following the "Suicide Week" initiated by 20 Jazz Funk Greats, declare an International Eno Day (or Week). Please make your suggestions.

Monday, September 13, 2004

Since I have the feeling that Brian Eno was getting heightened attention on some blogs in the last few days (see totally fuzzy, itsmatt), I thought I might upload a Nol' song called "Privet (Brian'u Eno)" ("Greetings (to Brian Eno)"). I wrote about Nol' before. Now, this one is from their third album, "Severnoe Bugi" ("Northern Boogie"); it had, on the one hand, songs with lyrics and stuff on it, and on the other hand some instrumentals, and the track I uploaded belongs to the latter.

It does strongly remind of Eno, but it's certainly different, including some bayan (the frontman's instrument) and i believe some alienated balalaika (this would suit Nol' very well, however).

(Nol's frontman, Fyodor Chistyakov, in 1991)

Another one I give you is one of Chistyakov's later works, when he wasn't on drugs anymore, but instead on Jehova's witnesses and recording children songs (seriously). Rather boring stuff mostly, but here's "Pink Floyd", a track from his 1999 album "Pesni dlya Druga, Kotoryi Lyubit Rok" ("Songs for a Friend Who Likes Rock Music").

It's a mockery on "Shine on Your Crazy Diamond", played like a brave march with midi-like synths and of course with bayan. I already mentioned that Pink Floyd sucked EVER after the "Ummagumma" live album. Get this track I tell you.

I downloaded the new Björk album that so many people are talking about today. Haven't listened to it entirely (and I doubt that I will), but here's what I'll tell you after what I've heard of it.
I've said before that Björk is hopelessly overrated, and guess what, "Medulla" (or what I've heard of it) didn't change this impression. She is mediocre. Boring. And don't tell me that it's such an interesting idea for her to do a vocals-only (or almost-vocals-only) album (Take a look at Murakami for a parrallel: he's a simple storyteller. The fact that there are "unbelievable" things going on in his stories doesn't change anything about this. Instead, at least the western Murakami hype tried to keep him up as the writer of the end of the 20th century. This guy just writes neat stories without depth; the sort of books you'd take with you on a train if you just want to read something distracting and non-challenging for a couple of hours). It's a nice idea, yeah. But this album is not more interesting than her previous works, it's unreflected; I actually wonder why the hell she decided to do a vocals-only album because neither it's an all too consequent implication of her previous works nor did it change anything about what she does. Could be tolerable background music. Yeah, the expression of feelings, whatever, we all know that. Could you please fuck off now.
Oh yes, I guess I should give you an mp3 from "Medulla"... Here you go. "Where is the Line".

Sunday, September 12, 2004

I once dug out a sampler called "70s Italian Gangster Jazz"; not that it had anything to do with jazz, it now actually came out to be a compilation of soundtracks for 70s gangster movies (scroll down to the Lucertola Media release), which I presumed before anyway.

So it's bad soundtrack music. Wait, I like it. It's awfully moody. Me & my girlfriend thought up a movie outline while listening to it. I couldn't help but upload all three "Violent Rome" versions by Guido & Maurizio de Angelis.

"Violent Rome" (first version)
"Violent Rome" (second version)
"Violent Rome" (third version)

Organizatory: I'm trying to limit the traffic and the volume which the mp3 files take on my server, so from now on, the mp3s will be available online for two weeks.

Saturday, September 11, 2004

On to other bootlegs. I wasn't really into Pavement for a rather long while; maybe the reason for it was that I pretty much began with their later stuff. I liked some songs, like „Shady Lane“ or „Major Leagues“, but that was it. As far as I remember, "Slanted & Enchanted" lay around for a while without really being heard. Maybe it later was because I expected Pavement to sound like Sonic Youth too much, and they didn't. They also didn't sound like Nirvana (By the way, I do think that Nirvana was a good band. It's not a depressive-teenager past. It's just that they had good songs. You have to admit that their songs were good. I know exactly that when nobody can hear it and no one of your friends is around, you listen to "Dumb", once a year, with pleasure. Or do you play the whole record, and afterwards, you dig out the "Unplugged" album? And then, possibly, you head on to "Bleach"? Admit it). And then, their first album somehow stroke me, and I believe the first song to strike me most of all from the album (which, generally, undoubtedly is good) was "In the Mouth a Desert". Today, I uploaded an early live bootleg version of it for you, from the famous "Stray Slack".

Their two first albums were a nice "goodbye to the rock'n'roll era". Dancing on the grave of rock music with guitars is what builds up a parallel to Sonic Youth there (although they were different from SY). Strangely enough, they bored with pop rock (especially on the last two of their recordings) from then on.

Friday, September 10, 2004

I found an Eno/Byrne bootleg entitled with "Bush of Ghosts demos" the other day. When listening to parts of it for the first time, I was somehow disappointed because the demo versions didn't strongly differ from those included on the final album and it even appeared to possibly be a fake, with an interview piece added to the beginning and some hissing effects laid over the record. It came out though (after comparing the version of "Regiment" available on the album and the one on the bootleg) that the recording apparently consists of actual demo versions, some tracks even having been newly added. Searching Google didn't give too many results; "Bush of Ghosts demos" may be identical with "Ghosts", which bootleg is mentioned on
What I uploaded for you is the demo version of "Regiment". The bass is tuned stronger than on the album version (which, on the other hand, could be a result of the shitty quality), which makes it work slightly more aggressive. So yes, it does differ from the album version. Slightly, slightly. If you need any more proof for it before you start downloading, hell, it's in an other key.

Thursday, September 09, 2004

How about some post-easy listening? Never heard of it? Well, this is what Messer für Frau Müller call their music, and I find it's a fitting title. They use samples from soviet as well as western television and radio programs and plays, films, music records etc.; all this laid over some bigbeat/bigbeat-electronica. Here are two tracks from "Second Hand Dreams"; the first one's the one sampled in the flash animation on their site.

"The Best Girl in USSR"
"Our Address in Web:" (They sampled Kraftwerk in this one)

Organizatory: The problem has with seems to have still not been fixed for me.

Tuesday, September 07, 2004

While you all are hopefully waiting for the new extended CD release of "The Name of this Band is Talking Heads" to finish downloading or to be delivered to your house, I have uploaded two tracks from it for you. In case you are NOT familiar with what this album is, get it immediately. Talking Heads were quite different in studio and live; their irony was somewhat more bitter on stage, which in a certain sense surely was consequent. People go to such shows mostly when they already have heard the albums; given that they have understood the irony of this music, you may then present it more atrabiliously in a certain way. Both tracks I uploaded have been newly added to the album's CD version. Here you go:

"The Book I Read" (from the first disc)
"Warning Sign" (from the second disc)

Monday, September 06, 2004

I'd like to point you to Legendary Pink Dots' "Nouveaux Modes Exotiques". Epitonic has it up as well (with lower bitrate, 128 kbps, as far as I remember), along with some other LPD mp3s ("Inside" from the same album is sort of nice, too - Scroll down to "Chemical Playschool 10"). Jim Haynes wrote that "Chemical Playschool 10" was "oddly enough, a pretty coherent album of trance rock gems that draw heavily from the krautrock trinity of Can, Neu, and Faust"; now, you can argue about whether those three actually were, as they are called there, "the krautrock trinity", but the track actually has some kraut-rockish elements, although it's definitely far away from krautrock.

Organizatory: Thanks to herr k. & his totally fuzzy for constantly linking my blog in the last few days. I'm not sure whether he's currently particularly supporting mp3 blogs hosted on which, like me, are still having problems with or whether it's just that he likes the mp3s I put up in my recent posts, but anyway, much less people would download them if it wasn't for him.
Time for some Kraftwerk rarities, and this one is from a live bootleg from 1981. That's the same year in which "Computerwelt" was released (the gig was played already after its release), and a studio version of this song can be found on it (as well as on the awfully dull "Mix", made ten years later. You must admit it, it WAS dull. It was exactly the type of commercial-techno-influenced early-nineties electro pop you do not want to hear; and that made to THOSE songs. I do like "Electric Café" quite a bit, although it by far wasn't as interesting as their previous albums and it lacked those low-key reserved Kraftwerk vocals with the exception of "Der Telefon Anruf", but "The Mix" was horrible. I also cannot understand why the hell people who do know Kraftwerk's albums recorded in the 70s and the early 80s would go to a Kraftwerk show in 2004. Come on, going to an autopsy gig? Just to see those guys stand around on the stage? It's a mystery indeed). It's "Computer Liebe", and I like the singing quite a lot.
I also remember having had a couple of rather early Kraftwerk live bootlegs, but I am not sure whether I still have them anywhere on CD. However, if I should find them, I'll post something from them.

Sunday, September 05, 2004

When I wrote about Akvarium, I forgot to link to a recording which pretty much falls out of the line of their regular records and which is also rumoured to not have been recorded by Akvarium at all. It consists of four instrumental tracks, quite free-jazzy at times, called "Muzyka Obschestvennyh Tualetov" ("Music of Public Toilets"). Nevermind the artwork because it came much later; the original recording didn't have a cover at all. You should get along on the linked site because the tracks are numbered; the server may be rather slow from time to time, so if the speed is below 1 K/sec, try again later.

Organizatory: My entries seem to have stopped appearing on and Web Nymph. Is anyone experiencing similar problems? The feed seems to work perfectly.
I promised it and here they are: Two Gogol Bordello tracks, one from each studio album.

"Nomadic Chronicle" (from "Voi-la Intruder")
"When the Trickster Starts A-Poking (Bordello Kind of Guy)" (from "Multi kontra Culti vs. Irony")

Musically, the second track (and the second album generally as well) is closer to (gypsy) punk rock. Get them both. It's a shame they are so little-known.

Saturday, September 04, 2004

I already wrote about Bobby Conn once. What I gave you then was an apparently improvised short semi-song he played on a television show. What I give you now is '69 Année Erotique, actually a Serge Gainsbourg cover and an absolute must hear.
It wasn't included on any of the four Conn studio albums, nor can it be found on any Conn EP, but instead on the "Camp Skin Craft Now Wave" sampler. The presence of Jim O'Rourke is quite sensible (He produced and performed on "Rise Up!" as well), but it's Bobby Conn nevertheless. Get it.
The next one is well-known; it's from Buzzcocks' "Spiral Scratch" EP, and I think that that recording and "Time's Up" definitely were their best. Not that what they did afterwards was bad. No, I like quite a few of their later songs, like "Harmony in my Head", and I do have "Product". Quite a few songs still were good. But it didn't have that we're-sixteen-we-cannot-sing-and-we-cannot-play-but-we-do-it-anyway-because-we-want-to flair anymore. Yeah, I know they weren't sixteen at the time of "Spiral Scratch", and they weren't even eighteen, but nevermind. They sounded like they were. This schoolboyishness I think is something I missed on Sex Pistols' "Nevermind the Bollocks..." because it's something I like about the British punk explosion. Maybe it's also that it sort of too much met every cliche of the punk explosion, which it quite naturally did because it, well, started it, but hey, I got into the whole punk rock story from the "wrong" edge with the Dead Kennedys. And after that, I heard the Buzzcocks' "Singles Going Steady" and pretty much at the same time X-Ray Spex. Later on Wire's great "Pink Flag". So the Sex Pistols came at the end and didn't impress me too much. Hell, I know how "Anarchy in the UK" goes, what more can you ask for?
Here's "Breakdown" from Buzzcocks' "Spiral Scratch".

Friday, September 03, 2004

Amon Düül II. I listened to "Yeti" another day; it reminded me of Ummagumma-live-album-Pink Floyd (by the way, they sucked ever after that recording, but itself, it was great) and Akvarium (I linked some of their stuff and a couple of cover versions earlier). Download the improvised "Yeti Talks to Yogi"; maybe I'll upload more Amon Düül & Amon Düül II stuff later on.