Quite simply, THE album of the 90s. For the longest time, I was held by my teenage sensibilities, from Loveless to OK Computer (yes, I admit it, sorry). I discovered this a couple (maybe four now?) years back, and I finally made the effort to purchase my own copy (off of which this is ripped at a high bitrate) last year. There are older masterpieces, from In a Silent Way, etc. etc. (you can see my list), but none better. That is lofty praise, but this is an album that earns it. If you've followed this blog for any period of time, you know that I like a lot, but love a little. I LOVE this album. Each and every moment on this album is the culmination of the downtown scene, where jazz and the avantgarde tendencies once diverged and then came together, on equal footing, to discuss their adventures and collaborate.

This music is FREE, but not in the sense of a blowout, but moreso freely lyrical. Indeed, Cooper-Moore amazes me. I love no other collection of piano solos more than those that exist on here, and I just posted work from a master and idol, Andrew Hill. That deserves praise for how wonderful it is, and where it is in the timeline of music, but this album's density, complexity and precision, obliterate most of what came before it. If you've ever heard Susie Ibarra pontificate on the music, you'd think she was a token or sluggish. If you've ever heard her play, you'd realize that her inability to pass off interesting ideas about the music (I'm referring to a recent DVD about the downtown scene where it is all hippie BS and nothing meaty about the music) is because speaking about such beautiful drumwork is absolutely redundant. Each solo is lovingly placed in context and emphasized in a way that illuminates the rhythm in the melody.

There is so much more to this album. 23 of my RYM friends rated it, but only 60 other people have rated it. I've always been under the impression that this is widely regarded as a perfect album. If you don't have this, get it now. This is probably the best album that will ever be posted on KiC.

PS. William Parker. That is all.
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We've long moved on to another location. However, this site has gotten out of control, so I've cleaned it up a bit. A few upload requests have been honored for the last time, the design has been tweaked, and spam has been cut down (drastically).

Below are the links to the active iterations of KILLED in CARS.

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last.fm

RYM

Given the impressive size of his back catalogue (measured both in depth and breadth), it is easy to approach a new Evan Parker album with trepidation. This reaction is understandable; it seems almost natural to expect that after decades of output, an artist or band must begin churning out steaming turds -- with age it all comes undone, or something like that. So then Mr.
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Here's another from docperkins (and I strongly recommend it):

Some people believe that a photograph captures the soul and fend-off a camera as if the essence of their being is about to be abducted at the imminence of a click. Ablinger atonal works operate along the same capturing principle, extracting the music of celebrities’ speeches, concomitantly to the celebrities uttering that speech.
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Rdeča Raketa is a Vienna-based duo comprised of Maja Osojnik and Matija Scdellander, whose 2010 collaborative cassette, “Old Girl, Old Boy,” combines their admirable and respective training in electronic and improvised music composition.
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last.fm

RYM

A Moraine is a geological phenomena; the accumulation of unconsolidated debris, soil and rocks compacted under glacial drifts. Over time these assemblages of loose matter form topographic features gradually exposed to the surface world by retreating glaciers.

Govrins' work evokes this process. Particles of sound are held in a state of suspension, encapsulated by frosty ambiance.
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If the universe operated in accordance with my own personal whims and motives, then KiC would phase out this whole avant-classical thing it's gotten itself entrenched in and start posting really great jazz records again. I'm going to try to get the ball rolling with what in my eyes is at least a very good one. First Impressions made - at the risk of sounding like a complete ass - a truly great first impression.
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Things fade in and out a lot on Jesse Somfay's A Catch in the Voice.

The Canadian producer's latest album is split across two discs, with the first containing ambient compositions and the second being more minimal techno-based.
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last.fm

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Continuing with our series of "What's So Great About Modernity?" is this wonderful collection of Vinko Globokar compositions. Those who are familiar with Globokar likely are thinking, "wait a minute here;" I ask these readers to indeed wait as I provide a snippet of Vinko's background. Mr.
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last.fm

RYM (Cage)

RYM (Tenney)

When an ensemble dedicates itself to performing and recording the music of other composers it’s often tricky to balance the intentions of the composer with the musical identities of the performers. One hopes that they will realize the composer’s intentions to the fullest of their abilities but at the same time inject the music with new ideas or energy.
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1) I'm just going to get this out of the way: You are not able to download this album here. Erstwhile is a distributor, and they don't take kindly to our types robbing them of a fistful of dollars (dollars they actually deserve, as opposed to say EMI). Also, this record came out just last year. Go buy it. It's worth it.

2) This post is my response to Taylor's Tatsuya Nakatani post, located just south of here.
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