While this material is of enormous historic value for its insights into both early minimalism and the early recording career of Cale, it should be cautioned that most rock listeners -- even most Velvet Underground fans -- will find this hard going, and not much like even the most extreme Velvet Underground improvisations. None of the selections approach rock songs, or conventional songs of any sort, in structure; there's no singing.

The droning viola that Cale employed in Velvet Underground pieces such as "Venus in Furs" also comes into play on some pieces, including some on which his viola is accompanied by Tony Conrad's violin.

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Brian EnoJohn Cale. Textures Wrong Way Up This album was very Catholic, Latin and all. This might seem like an odd choice of subject matter for a Moog record, but at the time composers and producers of electronic music were exploring many genres of music with the hope of producing another blockbuster like Switched-on Bach.

A Moog Mass is remarkable for several reasons. It is important as an early collaboration of Margouleff and Cecil and it skillfully combined music composed for the Moog with cello and harpsichord plus spoken word and electronic vocalizations. Wendy Carlos, whose famous synthesized vocalizations would appear on the soundtrack to A Clockwork Orange Decemberreports that she was working on this technique long before she worked on music for the film.

Her creative approach to voice synthesis used a ten-band Moog fixed-filter bank and corresponding envelope followers and voltage-controlled amplifiers to encode and decode the vocals. And when was the last time you had a talk with The Man Upstairs? Posted in Jimi After The Locust - John Cale - Stainless Gamelan: Inside The Dream Syndicate Volume III (CDpsychedelic rock. Gatefold, black and white cover. Text for side one left of gatefold with text for side two on the right. Most likely due to budget shortcomings, the cover is engineered with a design using one single piece of cardboard - simply folded - without any glue or adhesives.

Instead of housing the record within a sort of pocket the way most gatefold designs would the disc sits between two folded flaps. Posted in David Gouldreggae. Roots reggae interpretations of traditional Hebrew prayers This has been done before -- remember King Django's Roots and Culture? On a slow, funky arrangement of the familiar "Shalom Alechem," Amy Glicklich contributes vocals that are at once silky and smoky; the horn section of Boston's crack Pressure Cookers band provides tight and supple support throughout.

For an even spacier experience, check out the dub version of this album Adonai in Dub on the Tzadik label. Highly recommended. Posted in Ed Sandersfolkfreak-folkpsychedeliaThe Fugs. Ed Sanders - Truckstop Listening to the opening track of Ed Sanders' recently reissued solo album, Sanders Truckstop Collectors' Choice MusicI couldn't help thinking about time's passage.

A satirically mawkish country narrative in the manner of Hank Williams' "Luke the Drifter" cuts or Red Sovine, "Jimmy Joe, the Hippybilly Boy" tells the story of an Ozark Mountains hippie who loses his life after rescuing two car passengers from a raging big blue river. His long hair gets entangled in the rear-view mirror. These days, the very word "hippie" has become so degraded that the idea of a comic pastiche saluting the freak flag doesn't have the same Album) that it did back in More's the pity.

But before we look too closely at Sanders debut solo album and its follow-up — 's Beer Cans on the Moon — we should probably backtrack to the man's career as a once and future Fug. The most underground of underground group, the Fugs were a poets' band; both Sanders and fellow songwriter Tuli Kupferberg were fixtures in the New York beat scene and their first releases as the Fugs appeared on a label primarily known for avant-jazz releases.

Though they eventually graduated to a major label, Reprise, they still remained known as a cult group, primarily because of their anarchically satirical political songs and their explicitly sexual lyrics. In terms of subject matter, the Fugs' closest peers were the Mothers of Invention, but where big Mother Frank Zappa generally approached his sexual themes with a dollop of puritanical distaste, the Fugs were more openly hedonistic.

Too, while Zappa once famously proclaimed that his lyrics were primarily in the service of his music — a means of getting us musical illiterates to pay attention to his bizarre compositional creativity — Sanders and Kupferberg's first loyalty remained to the spoken word.

You can see this creative dynamic at play in Truckstop, Sanders' first album after his group's big break-up. A mocking country album, the disc — despite the presence of musical smarties like David Bromberg and Bill Keith — feels musically half-realized. You hear it in a track like "The Maple Court Trajedy," sic with its laborious tempo changes or the indifferently played "Heartbreak Crash Pad.

But, as the song titles hint, Sanders' lyrics are frequently quite risible in a stick-to-the-straights kinda way. A cut like "Crash Pad," which details the fall back into hippiedom of a straight-arrow family man, is the lyrical equivalent to Zap!

When Sanders sings in his exaggerated twang that he's never "going back to Honkville again," you can visualize it coming out of the mouth of one of Gilbert Shelton's furry comic dopers. Subtle, this ain't, but it's definitely true to its era. Perhaps in the hands of a more musically focused artist, Truckstop might've been a minor satiric masterwork, instead of just an interesting sixties artifact.

But Sanders' decision to give all the songs a faux country treatment ultimately works against the record, which grows flat over eleven tracks — sounding in the end like a snarkier version of Ringo Starr's weak Nashville tribute, Beaucoups of Blues. Frank-n-Furter proclaimed his sexual proclivitiesthough those who weren't around at the time might wonder what all the snipe is about.

Those seeking a bit of the Fugs' old sexual outrageousness have to make due with "The Plaster Song," a mild tale of a country musician's encounter with a "plaster-casting girl" that would've probably come across funnier in a more diverse musical setting.

Posted in heavy-psychpsychedelic rockVarious Artists. Groovy Pop Session A classic compendium from the early era of French underground music, Groovy Pop Session captures a few cornerstone units in their infancy, with Ange delivering their typically wrenching Gallic spin on the early Genesis sound and Pulsar offering a glimpse of what their epic Floydian grandeur sounded like four years before hitting the studio with the same eponymously titled track.

Other notable tracks include ones by Absinthe no idea otherwise about 'em who turn in a powerhouse bit of spooked and Leslie cabinet-filtered psychedelia and Tac Poum Systeme, who managed a few other singles in their lifetime and here churn out the quite odd "Everybody Needs Somebody To Love".

Posted in africanafro soundafro-funkafrobeatVarious Artists. For its commemorative 10th release, Analog Africa indulges in Burkina Faso, one of the jewels of the Sahel, a harsh and arid strip that straddles the southern Sahara, stretching from Dakar in the west to Djibouti in the east. Formerly known as Haute Volta, Burkina Faso's sound was organized and nurtured during the country's time as part of a vast patchwork making up French colonial West Africa.

West Africa was and continues to remain deeply interconnected. Mandingue melodies and guitar techniques from Mali and Guinea, however, were by far the most defining traits of a potent African mix that distinguished the Voltaic style between and Regional orchestras outside After The Locust - John Cale - Stainless Gamelan: Inside The Dream Syndicate Volume III (CD the capital proudly boasted the contemporary sound through ensembles such as Echo del Africa National and Volta Jazz, and exported much needed skilled musicians back to the capital.

Record labels across Burkina Faso sprung up to capture the newly born mystic and soulful sound taking over the country. Despite its humble beginnings as a record shop, CVD came to dominate the industry. By the mid 70's, Ouagadougou had become a hotbed for African music, filled with touring bands, gifted instrumentalists and hypnotic vocalists. Talent was Album), to say the least. Jean Claube Bamago, the founder of Afro-Soul System, went from being a "musician's tailor" to a celebrated singer.

Posted in krautrockpsychedelicPyramidspace rock. Pyramid Gorgeous German acid rock project. The obscure and underrated "Dawn Defender" is constantly mysterious, abstract and experimental, delivering interlocking electronic soundscapes punctuated by electric guitar manipulations and echoing effects. The album was originally released Tony Robinson for Pyramid label. Pretty closed to the Cosmic Jokers first and A. Posted in droneexperimentalJohn Caleminimalism.

This third volume of the Inside the Dream Syndicate series is also the fourth to feature John Cale, his Sun Blindness music, recorded during the same period is somehow outside this series. All of the pieces date from the early to mids. The set opens with the title cut, with Morrison and Cale performing on something called a "cembalett" small cimbalom and a fretless guitar. Here, as in many of the early minimalism pieces, the concentration was on modulation and pitch, here recumbent themes payer upon one another as a main pulse flows through the center of the mix.

Various tonalities and timbres glint in and out of the musical body creating an entirely new set of sonorific pulses. On the album's longest work, "At About this Time, Mozart Was Dead and Joseph Conrad Was Sailing the Seven Seas Learning English," at nearly half an hour for wollensack, viola, and guitar, tape edits are sliced into the mix, altering whole tones and creating intervals out of seeming half and semi-quavers.

Interestingly, since the notion of the piece is to move ever upward, these cuts seem to create intervals of modulation where there were none. There is also an awesome, fearsome piece between Cale and Conrad who plays something called a "thunder machine" to accompany Cale's electric piano on "After the Locust.

The tape experiment with the Fire Department is akin to something Luc Ferrari would create in the late s, and is interesting in that it gives nothing of its source material away in the mix. The piece with After The Locust - John Cale - Stainless Gamelan: Inside The Dream Syndicate Volume III (CD and Jennings, "Terry's Cha-Cha," is a lighthearted bit of musical misanthropy that has nothing whatsoever to do with minimalism, but everything to do with MacLise's later involvement in studying Eastern music.

There is melody, harmony, and a sense of rhythm from MacLise that is otherworldly. Again, this is another revelatory chapter in a music from a bygone yet ever present era. Electronic, Ambient Author: artmuss Although all of the recordings on this three-CD box set had been previously released on other Table of the Elements discs, this brings together most of the avant-garde i.

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John Cale and the Theatre of Eternal Music. John Cale.

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9 thoughts on “After The Locust - John Cale - Stainless Gamelan: Inside The Dream Syndicate Volume III (CD, Album)

  1. View credits, reviews, tracks and shop for the CD release of "Stainless Gamelan: Inside The Dream Syndicate Volume III" on Discogs.

  2. Album reviews > Stainless Gamelan: Inside the Dream Syndicate Volume III. Review by Ken Clark. In the third and final CD of the series of recordings from the s made by Tony Conrad of John Cale's experimental music, further diversity is revealed. These pieces appear to have two components to them.

  3. May 21,  · Stainless Gamelan: Inside the Dream Syndicate - Volume III, an Album by John Cale. Released 8 January on Table of the Elements (catalog no. TOE-CD; CD). Genres: Drone, Minimalism. Featured peformers: Tony Conrad (recording engineer, mastering engineer, producer), Gerard Malanga (photography), David Fricke (liner notes), Jeff Hunt /5(1).

  4. Dec 29,  · Disc: 3 - Stainless Gamelan: Inside The Dream Syndicate Volume III 1. Stainless Steel Gamelan, cembalet & fretless guitar 2. At About This Time Mozart Was Dead And Joseph Conrad Was Sailing the Se 3. Terry's Cha-Cha, for ensemble 4. After The Locust, for electric piano & thunder machine 5. Big Apple Express, for viola, tape & voice 6. Cold.

  5. Disc: 3 - Stainless Gamelan: Inside The Dream Syndicate Volume III 1. Stainless Steel Gamelan, cembalet & fretless guitar 2. At About This Time Mozart Was Dead And Joseph Conrad Was Sailing the Se 3. Terry's Cha-Cha, for ensemble 4. After The Locust, for electric piano & thunder machine 5. Big Apple Express, for viola, tape & voice 6. Cold.

  6. Dec 30,  · Disc: 3 – Stainless Gamelan: Inside The Dream Syndicate Volume III 1. Stainless Steel Gamelan, cembalet & fretless guitar 2. At About This Time Mozart Was Dead And Joseph Conrad Was Sailing the Se 3. Terry’s Cha-Cha, for ensemble 4. After The Locust, for electric piano & thunder machine 5. Big Apple Express, for viola, tape & voice 6. Cold.

  7. John Cale - Stainless Gamelan: Inside the Dream Syndicate - Volume III () This third volume of the Inside the Dream Syndicate series is also the fourth to feature John Cale, his Sun Blindness music, recorded during the same period is somehow outside this series. to accompany Cale's electric piano on "After the Locust." It feels like.

  8. John Cale - "After the Locust" - Stainless Gamelan: Inside the Dream Syndicate Volume III - Table of the Elements Women of the SS - "Sex Experiment #1" - Untitled - Inner-X-Musick The Conet Project - "Nomer " - Recordings of Shortwave Numbers Stations - Irdial.

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