Sparks, ‘Thank God it’s Not Christmas’ (1974) From Kimono My House (remaster), EU UNIVERSAL ISLAND RECORDS 984 341 7 CD (2006) Old Man Gloom, ‘Christmas Eve Part I’ From Christmas, USA THE MAGIC BULLET RECORD CO MB060 2 x LP (2004) The Shaggs, ‘Philosophy of the World’ From The Shaggs (compilation), USA ROUNDER CD...
Trans (First Performance) From DEUTSCHE GRAMMOPHON 2530 726 LP (1976) Prozession (1967) From GERMANY STOCKHAUSEN 11 CD (1994) Gruppen for Three Orchestras (1955-57) From DEUTSCHE GRAMMOPHON 137 002 LP Kurzwellen (1968) From GERMANY STOCKHAUSEN 13 CD (1992) Stop for Orchestra (London version 1973) From DEUTSCHE GRAMMOPHON 2530 442 LP (1974) Struktur III from Kontakte...
The owner of Vinyl-On-Demand records is, of course, FRANK MAIER and not FRANK DOMMERT as printed. Frank Maier writes: “Frank Dommert runs Entenphuhl-label in Cologne and is part of Georg Odijk’s A-Musik Shop but he has nothing to do with me”. This mistake occurs in the Philip Sanderson interview and in the Vinyl Viands...
Quite a harmonic roaring blaster is Das Zerstoren, Zum Gebaren (BN028CD) from The New Blockaders, a single 49-minute wodge of broodingly evil metallic thunder recorded at All Tomorrow’s Parties in 2006, an event at which I did not assist, but was apparently curated by Thurston Moore. With a slightly longer credit list and thank-you...
A selection from the 16th issue of the magazine Tibetan Red, Fouta Djalon’ (fade) From Fouta Djalon, SPAIN GLIPTOTEKA MAGDALAE GMGTSMMSAND014 CD (2006) K K Null, (Track 5) From Fertile, UK TOUCH TO:74 CD (2007) Southern Man and Pykrete, ‘Distance Player’ From No More Love, USA PHASERPRONE RECORDINGS PPR003 CDR (2004) Jazkamer, ‘Tentacles...
Much to my great shame I have never been to Cecil Sharp House in all the time I have lived in London, despite professing my interest in hearing and studying the folk music of the United Kingdom. However on Saturday 1st December 2007 I made the trek to North London to meet my friend...
On Friday night (30 November 2007), I saw Charlemagne Palestine‘s performance at the LMC Festival of Experimental Music. The Cochrane Theatre somehow seems a most fitting venue for the music – small and intimate. This probably worked in favour of the quieter more minimal acts; in fact Clive Graham and myself were refused entry...
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