[Music] Redefining Russian Techno

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From the Bandcamp article, which can be found here:

Russian techno is stylistically varied—from ultra industrial to sleazy disco, hazy cassette labels to crisp and urbane house. But often there’s a moodiness, an underlying bleakness to the sound that feels like it’s channeling a harsher Soviet past. Certainly, experimentation is rife, and “live”-ness is important—musicians performing live hardware shows seem to be every bit as important as DJs. But most important of all, there’s a freshness, a lack of cynicism, a sheer delight in crazed sounds and textures that can make even the most familiar musical tropes feel like you’re hearing them for the first time.

[Music Podcast] Napoli Fusion 70

https://www.mixcloud.com/widget/iframe/?feed=https%3A%2F%2Fwww.mixcloud.com%2Fmaxvibes%2Fnapoli-fusion-70%2F

Naples, Italy wasn’t a completely bad experience for me. It gave me some of the best music I’ve heard in some time, and I got to browse my mate Paolo’s collection!

Thanks to Jazzcat, who posted this.

The tracks are as follows:

Track 1: from the album “Napoli Centrale” (Ricordi 1975) by Napoli Centrale
Track 2: from the album “Mattanza” (Ricordi 1976) by Napoli Centrale
Tracks 3 & 4: from the album “Sotto E ‘Ncoppa” (Carosello 1976) by Tullio De Piscopo Revolt Group
Track 5: from the album “Toni Esposito” (Numero Uno 1974) by Toni Esposito

[Music] Spooky Tooth & Pierre Henry – Offering

https://www.youtube.com/watch?v=FdCmvE0Vnbk

I am well aware that some of my friends and colleagues hate this song, considering it near the bottom of Pierre Henry’s musical canon. So be it.

The reason I’m featuring this tune, however, is for two reasons. First, it was my introduction to Henry’s work. I wasn’t much of a hard-rock guy, and Spooky Tooth didn’t hold a lot of interest for me, but seeing the record cover had me wondering what sort of racket these guys were making. Second, the concept of a rock/experimental mass, based on the Apostolic Christian model, left me intrigued.

I know that Henry’s fellow composer, Pierre Schaeffer, was a devout Roman Catholic, but I read nothing of Henry’s beliefs over the years. Still, it was a nice gesture, an interesting project, and a doorway to Pierre’s far more adventurous works.