Saturday, March 28, 2015

weird music







ALIEN TRANSISTOR (GERMANY)

N 035CD

SAROOS: Return CD (N 035CD) 15.50
Click-clack, click-clack, click-clack: The beat of riding on a train before the invention of pneumatic suspension was no jazz. But combined with the landscape passing by the window, its steady, pulsing beat had consequences. Digressing thoughts, imagination kicking in -- this principle can be heard on Saroos' third album. The three band members, who live in Berlin and Munich, have toured Italy by train numerous times. They liked it a lot -- you travel more slowly, you tour at low revs, with enough click-clack to make it click in the head. Take "Tsalal Nights." A rhythm, as straight as if drawn with a sewing machine, yet the music lets your brain whir casually and playfully in all sorts of directions. Retro-futurism in a slightly psychoactive form -- more H.P. Lovecraft than Jules Verne. "Spiaggia di Pluto" throbs in extraterrestrial chill, but with the stylish coolness of a Kubrick-space-lounge in the year 2001, whereas "Kraken Mare" lets the listener float through a sea of glacial sounds -- and then, in the closing moments, tugs them in a rhythmic eddy. Compared to their earlier albums, the beat seems so unrestrained that the sound has sufficient room. Sometimes jungle-electro-exotica wobbles through the undergrowth of sound in elliptic circles, sometimes the foghorn strikes up a savage dub, as if King Tubby was circulating through the analog nirvana after a particularly massive spliff. This makes the album not only more organic, but also more social. More man, less machine. When guests came round in the studio, the samplers remained turned off. This, of course, leaves marks. Not all as big as Fenster's Tadklimp, who contributed a bagful of sounds and had his fingers on the mixing console. Whoever expected a jam album from Saroos? But this is it.































































LIGHT IN THE ATTIC

LITA 098CD

ERICKSON, ROKY: Don't Slander Me CD (LITA 098CD) 15.00
"Housed in a deluxe gatefold 'tip-on' jacket with 18 page booklet, liner notes by Joe Nick Patoski. Includes rare/unseen archive photos and ephemera. If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986's Don't Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and -- in 'Burn the Flames,' later found on the Return of the Living Dead soundtrack -- even power ballads. Erickson was just 15 when he wrote 'You're Gonna Miss Me,' the song that epitomized the garage rock movement and inspired punks, rockers, and noisemakers ever since. In another life, Erickson and Austin-based band could have been as big as any of the '60s legends still making music today. But fate took Erickson down a meandering path via the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968. Erickson's experiences in the hospital proved to be fertile inspiration for his music -- on leaving, he formed the group Roky Erickson and the Aliens and began penning songs about zombies, demons, vampires, and -- to counter the B-movie monsters, the real-life monsters of social injustice."

LITA 098LP

ERICKSON, ROKY: Don't Slander Me 2LP (LITA 098LP) 26.00
""If The Evil One was the album that broke Erickson out of the indie ghetto and brought him to a worldwide audience, the follow-up, 1986's Don't Slander Me was the one that showcased his rock and roll sensibilities like no recording before. Losing the more out-there and exotic elements of earlier and future albums, it presents us with Erickson the rocker, playing punk, rockabilly, blues and -- in 'Burn the Flames,' later found on the Return of the Living Dead soundtrack -- even power ballads. Erickson was just 15 when he wrote 'You're Gonna Miss Me,' the song that epitomized the garage rock movement and inspired punks, rockers, and noisemakers ever since. In another life, Erickson and Austin-based band could have been as big as any of the '60s legends still making music today. But fate took Erickson down a meandering path via the Houston psychiatric hospital where he was institutionalized for almost a decade following a diagnosis with paranoid schizophrenia in 1968. Erickson's experiences in the hospital proved to be fertile inspiration for his music -- on leaving, he formed the group Roky Erickson and the Aliens and began penning songs about zombies, demons, vampires, and -- to counter the B-movie monsters, the real-life monsters of social injustice. 2LP housed in a deluxe gatefold 'tip-on' jacket with liner notes by Joe Nick Patoski. Includes download card for the full album, an etching on side D by artist Travis Millard, plus rare/unseen archive photos and ephemera."

LITA 099CD

ERICKSON, ROKY: Gremlins Have Pictures CD (LITA 099CD) 15.00
"Housed in a deluxe gatefold 'tip-on' jacket with 32 page booklet, liner notes by Joe Nick Patoski. Includes rare/unseen archive photos and ephemera. By 1986, Roky Erickson's career had endured twists, turns, and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Don't Slander Me showed off his rock 'n' roll sensibilities. But Erickson was difficult to manage -- and patience was running out. 'I'd given up after the second album,' Erickson's then-manager, Craig Luckin, has said. 'I had enough.' Yet a third album -- arguably his best -- was to be found, if not created. Gremlins Have Pictures is an anthology of Erickson's solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Don't Slander Me (LITA 098). Collected here, the odds and ends of Erickson's post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled 'Anthem (I Promise).' The span of time is great -- from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Don't Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Raul's punk club in Austin after he'd returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson's recording career."

LITA 099LP

ERICKSON, ROKY: Gremlins Have Pictures LP + 7" (LITA 099LP) 24.00
""By 1986, Roky Erickson's career had endured twists, turns, and a late-period purple patch marked by incredible music and self-destructive behavior. The Evil One (LITA 097) broke him out of the indie underground and Don't Slander Me showed off his rock 'n' roll sensibilities. But Erickson was difficult to manage -- and patience was running out. 'I'd given up after the second album,' Erickson's then-manager, Craig Luckin, has said. 'I had enough.' Yet a third album -- arguably his best -- was to be found, if not created. Gremlins Have Pictures is an anthology of Erickson's solo work following his extended incarceration at the Rusk State Hospital for the criminally insane, beginning with his first live performance (opening for a screening of the Texas Chainsaw Massacre in Austin) all the way to Don't Slander Me (LITA 098). Collected here, the odds and ends of Erickson's post-incarceration work tell a story of a man finding his musical feet, ranging from Dylan-like folk strumming to the big, Neil Young-like rock of the unparalleled 'Anthem (I Promise).' The span of time is great -- from The Ritz Theatre tracks, recorded in Austin in 1975, at the debut performance by The Aliens, to those troubled Don't Slander Me off-cuts. Other tracks were cut with the Explosives, the band Roky started working with at Raul's punk club in Austin after he'd returned to Austin in 1979, following the departure of the Aliens. Together the various tracks deftly summarize Roky Erickson's recording career. LP housed in a deluxe gatefold 'tip-on' jacket with eight page booklet, liner notes by Joe Nick Patoski, and a bonus 7" containing tracks 13-16 from the CD. Includes download card for the full album plus rare/unseen archive photos and ephemera."

Wednesday, July 13, 2011

Make your files social besides your identity

I wonder, how come my computer is not so social, jet.
Everything i have in my storing devices can be accessed people with better computer skills/tools. So why bother to secure them, close them off from everyday surfers?


Story how computer's go online and how we are not afraid anymore.
Potential of computing & "social-pc portal"

The basics:

Thursday, August 31, 2006

Peter Björn and John - Young Folks

if i told you things i did before
told you how i used to be
would you go along with someone like me
if you knew my story word for word
had all of my history
would you go along with someone like me

i did before and had my share
it didn't lead nowhere
i would go along with someone like you
it doesn't matter what you did
who you were hanging with
we could stick around and see this night through

and we don't care about the young folks
talkin' 'bout the young style
and we don't care about the old folks
talkin' 'bout the old style too
and we don't care about our own folks
talkin' 'bout our own style
all we care about is talking
talking only me and you

usually when things has gone this far
people tend to disappear
no one would surprise me unless you do
i can tell there's something goin' on


hours seem to disappear
everyone is leaving i'm still with you

it doesn't matter what we do
where we are going to
we can stick around and see this night through

and we don't care about the young folks
talkin' 'bout the young style
and we don't care about the old folks
talkin' 'bout the old style too
and we don't care about our own folks
talkin' 'bout our own style
all we care about is talking
talking only me and you

and we don't care about the young folks
talkin' 'bout the young style
and we don't care about the old folks
talkin' 'bout the old style too
and we don't care about our own folks
talkin' 'bout our own style
all we care about is talking
talking only me and you
talking only me and you

talking only me and you
talking only me and you