This disc was a wonderful find! Canturbe were an Argentian progressive rock band working out of Buenos Aires. Their sound is classic prog, but with touches of metal, folkloric music and even tango on one track. Argentine reissue specialists Viajero Inmovil have released another stunner.
My first introduction to the world of Paul Bowles, as well as the Sub Rosa record label, was through this disc. The combination of stories read by Bowles himself, as well as the artwork and ambiance by storyteller Mohammed M’Rabet, made it wonderful bedtime listening, allowing me to transport my mind to what a hazy, stoned Tangier must have been like in the 1950s and 60s. This aged very nicely.
Outside of the link provided, I have no info on the band, and it’s a shame there isn’t much more to tell you about these guys other than this is nice, funky, and damn near danceable.
Born Peter Bramall in November 1950, Bram Tchaikovsky first came to prominence as a member of the pub rock band The Motors in 1977, subsequent to playing in several local rock bands in Lincolnshire during the late ‘60s. Following his decision to leave The Motors, Bram opted to form his own eponymous power pop band, with Mike Broadbent on bass and keyboards, and Keith Boyce on drums. The trio signed to the Radar label in 1978 and went on to achieve a US Top 40 hit in 1979 with ‘Girl of My Dreams’. Several band member changes and two albums later, Bram Tchaikovsky made the decision to split from the band and retire from the music business entirely.
This lovingly assembled package, fully endorsed by Bram Tchaikovsky himself, contains all three BramTchaikovsky albums Strange Man, Changed Man (1979), The Russians Are Coming (1980) and Funland (1981), plus all…
View original post 95 more words
Thanks to the Good Lord above for giving the world Steve Feigenbaum and Cuneiform Records, who continue to release, digitally, their amazing wares.
David Borden and Mother Mallard have their roots in American minimalist music. This particular release is the middle section of a 12-part series of variations for minimalism in the same way the Goldberg Variations were for Johann Sebastian Bach and classical music.
I can’t think of a Brazilian singer I adore more than Joyce Moreno, and that’s saying quite a bit considering the legendary talent that has come out of the country.
Though recorded in 1976, this release, as great as it is, didn’t see a proper release until 2009.
The unreleased Euro pysch score to the French/Portuguese X-rated version of The Devils meets The Witchfinder General! Synchronised by Spanish anti-establishmentarian, sexual liberator, die-hard independent filmmaker and unrepentant voyeur Jess Franco (Vampyros Lesbos/De Sade). Composed entirely by French composer Jean-Bernard Raiteux aka Jean-Michel Lorgere (Sinner/Harlem Pop Trotters) and presented here in full soundtrack form for the first time.
Proudly claiming the dubious accolade of the Spanish sexploitation version of The Devils as the distributor’s most bankable asset, this previously banned 1973 European witch flick would rip the art house facade from Ken Russell’s well polished box office smash and push the envelope way beyond the closet titillation of the gentrified new wave controversy seekers. Delivered on a comparable shoestring budget as the 55th feature in Jess Franco’s filmography of approximately 203 completed movies, The Demons (Les Démons), directed under the Anglicised pseudonym Clifford Brown, took many of the Franco’s sexually stylistic watermarks (epitomised in his Vampyros Lesbos trilogy) adding witchcraft, possession and nunsploitation against a rural Mediterranean backdrop before disappearing into the woods. Whilst clearly taking inspirational plot cues from Michael Reeve’s The Witchfinder General (UK 1968) and drawing comparisons with scenes from Eiichi Yamamoto’s Belladonna Of Sadness (Japan 1973) this B-Movie reduction of Franco’s wide palette of colourful ingredients has in recent years provided enthusiasts/champions/defenders of the workaholic horrotica bastion with a rare and treasured addition. Future-proofed by an essential component, omnipresent in Franco’s films, it is the mysterious commercially unobtainable soundtrack music that cements the unwaning interest in his risqué brand of unconventional shock/schlock sinema (not hindered my the enigmatic title card misinformation that often surrounds the original composers) and the music herein that has given Franco’s harshest critics a second chance/reason to reevaluate this man’s unapologetic art.
Following on from Finders Keepers previous expanded release of Bruno Nicolai’s score for Franco’s 1970 adaptation of De Sade (FKR069) this record stands as another tribute to Franco’s life which he lived through the mechanisms of a camera with relentless zeal and a passion to challenge every aspect of movie making along the way. UNDERground, OVERambitious, RIGHT on, LEFTfield, BELOW the radar but ABOVE criticism. INdulgent and OUTrageous, but never middle of the road, Jess Franco was many things but he wasn’t pretentious and never delivered art for art’s sake and I feel honoured to have spent time with him. Franco was in fact a realist, he kept both feet firmly on the ground and a keen eye behind the right side of the lens and if Jess did have any demons his films were his exorcisms, the critics were the bloody judges and his legacy (through the medium of X-rated cinema of variable quality) is immortal.
Lebanese DJ and crate-digger supreme Ernesto Chahoud has done sterling work collecting some of the most impressive 7-inch sides to come out of Ethiopia. BBE Records has done a great job in remastering and packaging this collection. What I’m looking most forward to is seeing the 3-LP collection. It looks gorgeous.