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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. Like Green Report 12, Let's Fall in Love! is a solo percussion record. I hear one big difference between this and Green Report and that is this: Let's Fall in Love! is actually a good record. Whereas Nakatani is content to wander from instrument to instrument and noodle a bit at each one, Carlsson creates gorgeous (and occasionally frightening) textures out of a handful at a time, slowly developing a piece to feel like a well-rounded composition rather than an off-the-cuff improvisation (this record is improvised, mind you). "My Heart was Screaming Like a Cow" is one of my favorite solo percussion tracks ever, mostly for what appears to be the use of a snare drum to generate a sympathetic buzz juxtaposed to a bowed god-knows-what, creating the illusion of a distorted signal. That kind of trickery is something I truly swoon over, and it is my hope that some of you may find yourselves swooning over Let's Fall in Love! as well.

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Labels: Artist: Erik Carlsson Genre: Free Improvisation Label: Bombax Bombax
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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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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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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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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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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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