So I sandboxed, poked and prodded at iTunes for the first time… and ended up with a manifesto.

iTunes-Logo

You know what’s coming, but if you delight in watching me writhe and convulse in the corner, read on.  I’d never once connected to itunes.apple.com as I knew in advance that it had nothing to offer.

But a 17 year old kid assured me that they provide various masters of each recording for the listener to sample to help them identify which they should purchase.

This was, of course, completely false.  By “various masters” he meant that Dark Side of the Moon was available in TWO formats -

 The 2011 CD remaster
ooooooor….
The 2011 CD remaster (with bonus tracks).

So there you are.

But I was already deep in the filth so I said, “what the hell” and started throwing artists at its ‘search’ box.

I figured I’d start out with the easiest of pitches – the 2010 EMI Beatles Box Set.

iTunes ONLY offers the stereo edition and doesn’t even HINT that the Mono Box even exists!

Beginning to sweat, I looked up their page for Captain Beefheart…

NO MENTION OF TROUT MASK REPLICA.  But that’s okay, it’s only one of the most important and critically acclaimed records of its decade.

The 49 awesome albums recorded by Ash Ra Tempel and Manuel Gottsching?  Not today, sorry.

Pete Namlooks’ monumental Fax +49-69450464 record label – not a single word of any one of the 238 legendary albums.

So I tried another approach – searching for Deutsche Grammophon classical releases.

Lo and behold – iTunes offers NO MEANS of searching by record label!

Want to peruse the Ninja Tune catalog?  Forget about it if you’re on iTunes.

Warp Records?  Ohr?  Brain?  Mute?  Mo-Fi?  Too bad.

And the 94 albums produced and recorded by LTJ Bukem on Good Looking Records and its various sub-labels?  You’re going to have to search for them one at a time. (Psst – don’t bother… they aren’t there anyway.)

Salvador Dali’s notorious opera, Être Dieu?  Not so much as an artist entry for the man.

Dig Nurse With Wound?  Only the 26 CD releases of their ~100 disc catalog are available for purchase.

The same applies to Tangerine Dream.  Beside an all-too-small sampling of their most popular early albums, iTunes is overrun with 80s-2000s compilations and soundtracks.  The pink years were easily their best work, but they never happened according to this marketplace.

Independent artists?  Not a single one I searched for produced any results.

Albert Ayler’s Spiritual Unity – arguably his best free jazz work – doesn’t exist.

The original German master of Stockhausen’s Kontakte?  Forget about it.

Wordless Music Orchestra’s historical live recording of William Basinski’s Disintegration Loops?  Never happened.

Spacemind’s 62 hours of psybient works?  Not a one.

Raymond Scott’s Manhattan Research Inc. collection?  Issued in the Netherlands, but nowhere on iTunes.

The Electronic Music series produced by Turnabout records throughout the mid-60s?  Nope.

The popular Franklin Mint 100-disc Classical Collection?  Nadda.

NASA’s majestic Symphonies Of The Planets series?  The cat’s eaten it.

What It Is: Funky Soul & Rare Grooves Box Set?  Not a scrap.

(This one killed me) Kraftwerk’s three critical early albums – Kraftwerk I, Kraftwerk II, and Ralf und Florian?  No, no, and no.

Max & Dima’s 131 releases?  0 on iTunes.

Alban Berg?  Not even an artist page.

Anton Webern?  Zilch.  (However Shoenberg gets some unfair attention.)

Throbbing Gristle has 137 albums and singles.  Six of them are on iTunes.

The hundred-odd crazy moog/bachelor pad/and early synth records which defined the age of futurama in the 50s and 60s?  If not for iTunes’ lonely copy of Perrey & Kingsley’s The In Sound From Way Out, you’d never know they happened.

The mash up craze popularized by 2ManyDJs “As Heard on Radio Soulwax” series?  You’ll have to settle for Girl Talk.

Well done, iTunes.  At least we can say you’re consistent.

 ·                  ·                  ·

The world’s most popular public tracker currently offers over 6.2 million torrents, ranging from single albums to massive discographic archives.  And the top 168 active private trackers host an additional 1.6 billion torrents collectively.  Suddenly, iTunes’ measly 37 million individual songs seems rather inconsequential.

The audiophile community has built a tremendous archive of analog-only issued recordings which cannot be purchased digitally anywhere on the web.  This community remains the simplest and most informative resource for discovering rare music.  It inspires an average of $1200 in vinyl purchases annually for this user, alone… and there are many more like me.

I will not publicly endorse file sharing, but it clearly demonstrates the dire need for a change in the fundamental operation of the music market today.

#anythingbutitunes

Moving to the Cloud

The time has come my friends.  On Jan 13th, 2011 I replaced my text-based Excel record  database with an OrangeCD visual db.  After 3.5 years of extracting data from web-based services, publishing quarterly reports and backing up to an external disk every month, I’ve finally smartened-up and made the move to the cloud.

When I first made the transition from text to a visual db, I thoroughly tested and evaluated each of the prominent softwares of the time.  True to form, I went through the same process with the three biggest online systems this week before setting my catalog free.

FIRST UP – RateYourMusic.com.

Your RYM profile consists of an avatar, a brief profile description, and your top 5-10 favorite composers/artists.  Supported formats are limited to CD, LP, and cassette.  The service does not appear to support official releases of electronic files.

RYM - Collection

RYM – Collection View

RYM permits users to add pressings missing from the db, with a simple preset interface for labels, artists, etc.  The site has a strict upload policy stating that album art images must be from your personal copies, (understandable for reasons of copyright but a frustrating complication just the same.)  Artist pages are accompanied by a profile and a sidebar of related user-generated lists.

RYM - List Browse

RYM – List Browse

RYM - Chart Browse

RYM – Chart Browse

The real power of the site is not collection management, but user-constructed lists and user-sourced album rankings for any search term, artist or genre you enter.  And surprisingly, RYM is not just for music.  The list tools have categories for books, films, games, and more.

User lists are a breeze and are fun to build.  To try this feature out I created a list of films inspired by the writings of Philip K Dick.

https://rateyourmusic.com/list/innerspaceboy/philip_k_dick_inspired_filmography/

At present, RYM includes just under 1 million artists and 2.8 million releases.  Building an RYM collection of my top 300 LPs took 3 evenings (roughly 100 titles per night) plus a handful of manual submissions for rare albums not already in the RYM database.

THE NEXT CONTENDER – MyRecordList.com

MyRecordList recently premiered on the scene boasting that it could provide analytics that discogs.com could not.  I was intrigued so I gave it a try.

After signing up on the site I clicked the link to import a CSV.  I tried exporting raw text from rateyourmusic.com and with a little tweaking (artist columns needed to be merged from FIRSTNAME LASTNAME to a single column), and some quick column re-assignment I successfully constructed  an importable CSV.  The resulting set only contained artist, title, format and year values, so I clicked the big red “DELETE ALL” button and started again – this time from MyRecordList’s preferred import method – Discogs.com.

MyRecordList Collection

MyRecordList Collection

While Discogs lacks support for importing CSVs, its export feature is solid.  MyRecordList wisely incorporated a direct “Import from Discogs” feature so the upload was seamless.  However the result was a clunkily-constructed and sluggish visual interface with a few display variables and absolutely no support for album cover syncing. There is an “automated” lookup tool to find album art, but the process is manual and handles only one album at a time, each prompting the user for input.

But on to the analytics that the site so boldly advertised.  Clicking the large “Your Stats” button I was presented with an over-simplified summary of my test-library, again consisting of my top 300 LPs.

MyRecordList Stats

MyRecordList Stats

None of the tables could be viewed as charts or graphs, and the only infographic the site offered was a pie chart of my library’s formats.

This was thoroughly disappointing, though hardly unexpected.  Any of these metrics are easily determinable from within the discogs.com site, simply by exporting a CSV into Excel or a similar application.

Discogs offers far more information, sorting functions, a community forum, up-to-the-minute sales history, archival organizational standards, and has already established itself as the premier marketplace for used and new vinyl, so there is little reason to look to another site for more, (excepting, of course, contacting labels directly for upcoming releases.)

Simply put, myrecordlist.com is clunky, slow and offers nothing that can’t be achived quicker and more easily on already-established mainstays like discogs.  And I quickly grew tired of seeing their loading screen every time I navigated to another page or view.

MyRecordList Constant Loading Screen

You’ll be seeing a lot of this.

But there was a clear upside to the experiment – rebuilding my database on discogs.com – something I’d been meaning to do for several years.  And building the test library of 300 LPs was easier on Discogs than on the two previous sites.  I completed the task in just 3 hours (three times faster than with the RYM interface.)

 The clear winner – Discogs.com

Discogs contains data for 3.3 million artists – more than three times that of RYM, and has approximately 5 million releases. And unlike the other two sites, Discogs supports 23 languages for worldwide accessibility.

Discogs - Collection - Text w Statistics

Discogs – Collection – Text View w Statistics

For those still clinging to their locally-hosted databases – consider the following advantages of Discogs:

- Eliminates the hassle of local backups to external drives and the paranoia of data loss.

- Offers the same album information you would otherwise have retrieved online for your locally-stored catalog

- Exports easily to a CSV should you require it

- Share your collection with users on the largest and most popular music cataloging site on the web

- Features an active discussion forum

- Discussion groups based on any topic you can imagine (or start your own.)

- High regulatory standards of organization

Discogs - Groups

Discogs – Groups

And lastly, Discogs supports more audio formats that you can dream of.  Sure, they have over 3 million standard 33 1/3 LPs, 1.6 million CDs, and about a million 7” singles, but they also have shellac, flexi-disc, acetate, FLAC, floppy disk, memory stick, Betamax, Edison disc, Ambisonic, Selectavision and one – (count ‘em… ONE) entry for a Bulgarian limited edition 2-track stereo 30 ips RMG Studio Master reel-to-reel.

After 3.5 years of creating extra work for myself, I’ve now embraced the future of music database management.

 

Calling all aging ravers and bedroom rockers… listen up.

Fellow Dirts,
Riders of the sainted rhythms,
disappearing down the tube hole on Farringdon Street,
with Whiplash Willy the motor psycho.

I’m looking at YOU.

Underworld header
To celebrate its twentieth anniversary, Underworld’s Dubnobasswithmyheadman has been meticulously remastered at Abbey Road for a deluxe reissue by Rick Smith. Revisiting the original MIDI files, Rick uncovered a wealth of previously unreleased material and rare alternate mixes that sit alongside the record”s original companion singles and remixes and offer a fascinating insight into the creation of the record. The resultant release is the definitive version of one of those rare records that truly deserves to be described as a classic.

Thunder thunder lightning ahead
To coincide with the re-release of Dubnobasswithmyheadman, Underworld will play the album in full at a one-off show at London’s Royal Festival Hall on Saturday 11th October 2014. This show will offer fans a unique chance to see Underworld in one of the capital’s most iconic venues playing this classic album in its entirety for the first time. Tickets cost £35/£30 and are on general sale from 4th July.

Pre-order dubnobasswithmyheadman on underworldlive.com before 2nd July and get access to tickets to the Royal Festival Hall show 24 hours before they go on general sale. 
(Tickets are available to Southbank members on 2nd July, underworldlive.com pre-orders on 3rd July and general sale from 4th July)

When you pre-order you will also get the remastered version of Cowgirl straight into your inbox.

KarlNME
Formats include a limited Super Deluxe 5-CD Box Set with book containing memorabilia and newly created artwork by design collective tomato; a 2-CD Deluxe Edition; remastered single CD; 2LP on 180 GM vinyl; Blu-ray Audio and Digital Equivalents.

Dubnobasswithmyheadman is the first remastered work to be released, there are plans in place to remaster and reissue all of the Underworld’s studio albums in the next few years.

In all its glory

Here is the track listing for the Super Deluxe 5 CD boxset which also includes a 50 page book of memorabilia and new artwork by tomato;

CD1 Dubnobasswithmyheadman

1. Dark & Long
2. Mmm…Skyscraper I Love You
3. Surfboy
4. Spoonman
5. Tongue
6. Dirty Epic
7. Cowgirl
8. River Of Bass
9.M.E

CD2 Singles 1991 – 1994

1. The Hump (Wild Beast)
2. Eclipse (Released As Lemon Interrupt)
3. Rez
4. Dirty (Released As Lemon Interrupt)
5. Dirtyguitar
6. Dark & Long (Hall’s Edit)
7. Dark & Long (Dark Train)
8. Spikee Cd3 Remixes 1992 – 1994
1. Mmm…Skyscraper I Love You (Jam Scraper)
2. Cowgirl (Irish Pub In Kyoto Mix)
3. Dark & Long (Most ‘Ospitable Mix)
4. Mmm…Skyscraper I Love You (Telegraph 16.11.92)
5. Dark & Long (Burts Mix)
6. Dogman Go Woof
7. Dark & Long (Thing In A Book Mix)

CD3 Remixes 1992 – 1994

1.Mmm…Skyscraper I Love You (Jam scraper)
2.Cowgirl (Irish Pub in Kyoto mix)
3.Dark & Long (Most ‘ospitable mix)
4. Mmm…Skyscraper I Love You (Telegraph 16.11.92)
5. Dark & Long (Burts mix)
6.Dogman Go Woof
7. Dark & Long (Thing in a Book mix)

CD4 PREVIOUSLY UNRELEASED RECORDINGS 1991 – 1993

1. Concord (3 Comp75 id9 A1771 Aug 93A)
2. Dark & Long(1struffid3A15512)
3. Mmm…Skyscraper I Love You (A1765 Sky Version id4. Harmone6 COMP43)
4. Mmm…Skyscraper I Love You (After sky id6 1551 2)
5. Can You Feel Me? (from A4796)
6. Birdstar (A1558 Nov 92B.1)
7. Dirty Epic (Dirty Ambi Piano A1764 Oct 91)
8. Spoonman (version1 A1559 Nov92)
9. Organ (Eclipse version from A4796)
10. Cowgirl(AltCowgirlC69MixfromA1564)

CD5 LIVE JAM KYME RD (PREVIOUSLY UNRELEASED LIVE REHEARSAL RECORDED IN THE BAND’S HOME STUDIO IN 1993)

1.Mmm…Skyscraper I Love You
2.Improv 1
3.Bigmouth
4.Improv 2
5.Big Meat Show
6.Improv 3
7.Spoonman

uwl-live-6
This release is a milestone for the Dirties.  We’ve all shared our copies of  “Thing in a Book,” “‘Ospitable,” the Dubno rehearsal cassette, and every one of the other glorious rarities that appear on the Super Deluxe set over these past 20 years.  These tracks circulated privately among the Dirty forum members for ages while other odds and ends appeared only briefly a decade ago on the retired Underworld website.  Dedicated fans from the corners of the web have compiled well over 2,600 tracks between studio outtakes, official and unofficial live releases, Karl’s web diaries and Tomato ANTI-ROM and other multimedia.  But this release will be the first time these recordings will be available (as raw .WAVs, no less) on an official release.

John Bush of Allmusic.com called it “music for aging-raver activities like driving cars, pushing swings, or jogging on treadmills.”

Regardless, Rick and Karl have been making incredible music for over thirty-five years, and the two latest collaborations with “senior citizen soundscape artist” Brian Eno are no exception.

Tomorrow High Life will arrive on my doorstep, and I look forward to perusing the new Tomato publication when it follows.

…and the light it burns my eyes.

Readings in Modern Music

Anyone who follows this blog with any frequency knows how much of a stretch it is for me to dig a contemporary recording, let alone a modern track by a “band” instead of a composer.  Even scarcer still are the selections I enjoy which contain lyrics and any sort of verse structure akin to rock.

The above is particularly applicable at present as I’ve spent the past week delving deep into the masterworks of musique concrete and electroacoustic composition – recordings which not only abandon contemporary pop structures like lyricism and melody, but forgo the entire tonal system itself, instead favoring abstract and atonal plunderphonics!

So it is with immense surprise and satisfaction that I state the following – A user contacted me on last.fm this week and shared  an unsigned band’s recent video… and I absolutely loved it!

They call themselves Museum – four gents from Berlin who self-released their album, Traces Of on their own label – beat is murder.

museum band
Traces Of followed the release of two EPs – Exit Wounds and Old Firehand but the 2012 single “The Law” is the fan-recommended track which introduced me to their work.  (They actually do the whole lowercase-sentence-fragment thing but I’ve capitalized their releases here for the sake of readability.  Sorry lads.)

Their official site is inactive, simply stating that the album’s release is scheduled for Jul 6, 2012, however the band appears to be active with a performance scheduled at FiestaCity 2014 on Aug 29th – Place du Martyr, Verviers, Belgium.

This recording came onto my radar at quite an opportune time.  The first thing I noticed from the first 20 seconds of the tune’s music video was that the band had incorporated elements of tape music and musique concrete as the very foundation of the track.

The lyrics did not detract from the layering of minimal, looped sounds, as they too were cut up in a fragmented presentation which would have made Burroughs proud.  And while the kaleidoscopic video effect is nothing new, it works well with the track.

Check it out for yourself – “The Law” from Museum.

I began the week with the discovery of a historic jazz release in the Netherlands which should arrive in the post in the next 10 days (Stay tuned for a special feature with high-res photos once it arrives!)

I had been compiling data on the milestones of free jazz and was very happy to find one of them re-issued by Impulse! Records in 2011 – the same label which released the original recording in 1968.

Archie Shepp - Magic of Ju-Ju

The psychedelic cover art commanded my attention when I found it in a local record shop, and while I had never listened to Archie Shepp before I knew I had to check out this record.

I previewed it for a mere 30 seconds – whetting my sonic appetite with Shepp’s free jazz psychedelic tenor frenzy accompanied by five (count ‘em – FIVE) talking drum percussionists.  30 seconds was all I needed.

I instantly purchased the record and added it to my jazz collection, delighted by my discovery but slightly irked that there was no mention of this album by any of the free jazz essentials lists I had compiled.  That’s just further evidence that you’ve really got to get out there and dig.

But on to today’s theme – Music Lit.  I knew it was going to be an intellectually stimulating week when I found Julian Cope’s legendary music crit, Krautrocksampler offered up on the Web in PDF format.  As you’re probably aware, this title is long out of print and the author has sworn never to reissue it.  Copies surface on various marketplaces for hundreds of dollars.   Thankfully, a dedicated fan painstakingly scanned every page of the book, and while it is hardly archival quality, it is the only way most of us will ever see the book.

Krautrocksampler

This will be a pleasure to peruse over the coming weeks, even in its crudely-photocopied form.

I picked up another jazz book from a local used bookshop as it was only a few dollars and I was curious to see what a writer would have to say about jazz in the middle of the era. The bulk of the text was written in 1962, with the “jazz-rock” chapter at the end likely added for the 1975 and 1979 printings.

What Jazz is About
Erlich’s perspective of jazz is hardly academic, and clearly it is not intended to be. The book’s approach is that of a simple love of the genre and acts as a guided tour through the history of its greatest influences, from African drum music to field hollers all the way up to the Third Stream and jazz-rock era.

From a historical context the book successfully builds a fundamental framework of jazz’s legacy. The language is elementary and makes for an effortless read, with a circular structure of artist introductions, childhoods, development, and lasting impacts.

However there are many titles available which better-examine what will soon be a century of jazz culture. There are very few references to What Jazz Is All About anywhere on the Web, and even fewer reviews. I’ve since moved on to better-known resources for further exploration of the genre.

History of Jazz

The History of Jazz by Ted Gioia is Amazons’ best-selling jazz text.  I’m enjoying it thus far, and was happy to see that it included a Recommended Listening index at the end of the book.

I also ordered two highly-acclaimed guides to 20th Century avant-garde music – The Rest is Noise: Listening to the 20th Century and Audio Culture: Readings in Modern Music.

The Rest is Noise and Audio Culture

The Rest is Noise was a Pulitzer Prize Finalist and cracked the New York Times’ Top 10 Books of the Year.  Audio Culture is a compiled volume of manifestos and writings from every music theorist from the first discussions of noise by Jacques Attali and Luigi Russolo to a piece about post-digital tendencies in contemporary computer music by microtonal composer Kim Cascone.

Best of all, Audio Culture includes a hefty index with a chronology of noteworthy recordings, a glossary and a Select Discography.

I also enjoyed watching a documentary film this week titled, In the Ocean – A Film About the Classical Avant Garde which sparked my further exploration of musique concrete.

One of the interesting things I took from the film was the discovery that Cage was really interested in Finnegans Wake (his 1979 mesostic composition, Roaratorio is entirely based upon the novel both in structure and in content.)  And by delightful coincidence – what very title arrived in my mailbox just one day earlier?

Finnegans Wake

The Law of Very Large Numbers is a beautiful thing in practice.

All these new music books inspired me to print up some appropriate bookmarks, so I made these… (extra points if you can name the jazz record which featured the Jackson Pollock print.)

Bookmarks 06-14-14 sm

So pick up the music books I’ve featured, check out Magic of Ju-Ju and I’ll be back next week with a fantastic new box set!

Celebrating our 100th Post – Silence and Empty Words

Pencils ready!

Dear readers,

This is officially the 100th entry at The Innerspace Connection.  I have wonderful things planned for the coming month, featuring more great music and original content.  Innerspace has grown significantly in its readership in the last few years, and now I’m looking to you to find out what content you’d like to see in the next 100 posts.

I’m reaching out every active reader and passive lurker who follows this blog to answer this quick-and-easy 9-question survey.  Your responses will help me deliver the content you’re looking for in the future.   Thank you!

Click here and take the survey now!

It was a wonderful weekend.  My girlfriend spend it spinning Franz Liszt LPs,  and I picked up the next installment of John Cage’s lectures and writings for my library.

I queued up one of my new genre autoplaylists of modern-classical piano works while I read.  The list consisted of composers like Zazie Von Einem Anderen Stern, Ólafur Arnalds, Dustin O’Halloran (who you likely know from his collaboration with Adam Wiltzie performing as A Winged Victory for the Sullen), and selections from Reinbert De Leeuv performing the early piano works of Erik Satie.

This put me in a nostalgic Windham Hill mood, so I also threw in George Winston’s simple but enjoyable piano solos into the mix.  I finished off the set with the Interludes LP from Mannheim Steamroller which excerpts all the interludes from the Fresh Aire series of albums.  All in all excellent “thinking music” for a summer afternoon exploring the compositional processes of John Cage.

Mannheim Steamroller - Fresh Aire Interludes

I’m still working my way through SILENCE: Lectures and Writings [50th Anniversary Edition] from last year’s Christmas wish-list.  My girlfriend and I stopped into our local used bookshop and I was delighted to come upon Cage’s Empty Words: Writings ’73-’78 which picks up right where SILENCE left off.

John Cage - Silence and Empty Words

Empty Words is hardly casual bathroom reading, as you can see from the random page selection below.  But in the full context of Cage’s writings it begins to make (some sort of) sense.

John Cage - Empty Words (excerpt)

I’ve just ordered another reference text – Audio Culture: Readings in Modern Music by Christoph Cox and Daniel Warner.  I came upon the title quite by chance while researching texts on minimalism, and upon reading a particular review of the book I instantly ordered a copy.  Here is the review – from CMJ New Music Monthly.

“[Audio Culture] is an indispensable primer full of the theories behind noise, Free-jazz, minimalism, 20th century composition, ambient, avant-garde and all the other crazy shit your square-ass friends can’t believe you actually like. With writing and interviews from all the players in question (quoting Stockhausen is five points in hipster bingo), this book deconstructs all the essential ideas: Cage’s themes, Eno’s strategies, Zorn’s games and Merzbow’s undying love of porno.” –CMJ New Music Monthly, 7/04

The humor and wit of the review sold me 100% before I’d even read the item summary on Amazon.  This is particularly noteworthy as I rarely read texts written after the late 1970s.  (I have an affinity for Golden Age science fiction and classics of music non-fiction.)

I’ll be certain to post a review of the title, along with a second modern publication which I’ll keep under my hat for the moment.

That’s it for now.  Stay tuned for more, and if you haven’t already -  Click here and take the survey now!

Happy 100!

Further Adventures in Vinyl Heaven

INTERSTELLAR OVERDRIVE: The Shindig! Guide to Space Rock

It’s been a wonderful week of research and first-listens.  I’ve also been enjoying the special edition INTERSTELLAR OVERDRIVE: The Shindig! Guide to Space Rock.

I must apologize for my delay in featuring the much-anticipated collaborative release from Brian Eno and Underworld’s Karl Hyde. It was a record which demanded careful reflection, and it took some time to form a conclusive perspective of their first commercial effort together.

Eno & Hyde Album Shot 1

Eno and Hyde have actually know each other and worked together for many years. Their last collaborative performances were the Pure Scenius concerts – three live improvised performances in Sydney featuring Eno, Australian improv trio The Necks, Hyde, Jon Hopkins and guitarist Leo Abrahams.

My first exposure to the new LP was the demo of track 1 – “The Satellites” which admittedly left me less than impressed. The track heavily features canned synth horns which seemed out of place for a recording from these two artistic pioneers. An album trailer soon followed on enoweb, which successfully re-invigorated my anticipation of what madness might be contained within the grooves of this mysterious new disc.

Two copies of the deluxe edition of Someday World arrived in the post – the first mangled within its flimsy overseas envelope, and the second two weeks later. These special edition pressings, limited to 750 copies worldwide, included a photo postcard and a glossy print reminiscent of the art Tomato was producing at the end of the millennium.

Eno & Hyde - Someday World Print

It was only after I had experienced the album in its entirety, along with a few television and radio performances and interviews that I truly appreciated the album as a whole.

Eno & Hyde performed the album’s clear A-side on Later with Jools Holland on BBC Two. This particular track, “Daddy’s Car” is one of the better implementations of the aforementioned synths blended with Eno’s trademarked polyrhythmic percussion and pop sensibility.

The energy is heightened in the album’s two longest cuts – “Mother of a Dog” and “When I Built This World,” the latter of which is perhaps the best example of Eno’s brand of avant-garde rock. The second half of the track is a slow build of multiple synth lines which crescendo to an apex at the finale – highly recommended for headphone listening in a darkened room.

But it was their 45 minute live music and interview set on BBC 6music that really secured my love of the record.   The interview was quite revealing and the enhanced perspective has left me with a greater understanding and appreciation of this strange new LP from my two greatest inspirations. Eno stated that many of the tracks were culled from fragments of “beginnings” he had collected over many years of composition. In hindsight, I detected many sounds as being sourced from past albums like Nerve Net, The Drop, Small Craft, Headcandy, Spinner and even from the Japanese 77 Million AV Installation CD compilation. There’s even a bit of noise-guitar-plus-spoken vocals a la “Blank Frank” if that’s what you’re looking for. And the lyric, “strip it down / make it simple / useless words” from “Strip It Down” might have been lifted right from a card in the Oblique Strategies deck.

Eno & Hyde - in the studio

In all, the album is a mix of strengths and weaknesses, but I perceive the record as more of a collaborative stepping stone than a milestone. On Someday World, Eno & Hyde are simply experimenting together. In the 6music interview, Eno commented that he had initially set out to make a dark electronic record, and was surprised by how “happy” it turned out.

To be absolutely honest I find it difficult to review this album objectively.  As I’ve mentioned in previous entries, Karl Hyde’s Dubnobasswithmyheadman was the very first record I heard which exposed me to a world outside of top 40 radio rock. His brilliant design work with John Warwicker in Tomato’s mmm…skyscraper: A Typographical Journal of New York directly inspired my career in the field of graphic design. And Eno’s Music for Airports seeded my lifelong love of all things ambient and drone. To witness these two men working together is a dream come true, and I couldn’t ask for anything more.

Eno & Hyde Album Shots 2

[UPDATE] Eno has now released an augmented reality app for Someday World!

On the subject of ambient music – I came to a stark realization yesterday. As much as I love ambient and early synth compositions, I had miraculously managed to live 32 years without listening to Vangelis’ film score to Blade Runner.

The most complete edition available is the unparalleled Esper ‘Retirement’ Edition – 25th Anniversary Culmination – a 5CD bootleg, but far more faithful to the actual score than any commercial release. (Think of it as the Dr. Ebbetts or the Purple Chick edition.) 8-minutes into my first listen I was searching for a copy on vinyl.

BRERE25AC - Blade Runner Esper Retirement Edition CD Case (Front)

As you likely know, the soundtrack had a rough history. It began with the New American Orchestra’s Orchestral Adaptation of the score, released in the UK and throughout Europe in 1982.

New American Orchestra - Blade Runner Soundtrack LP 1982

The actual original soundtrack release was delayed for over a decade, until 1994. The 1989 compilation Themes included some tracks from the film, but it was not until two years after the 1992 Director’s Cut premiered that the proper score saw an official release.

The first official Vangelis soundtrack was a CD released on Atlantic/BMG in 1994. An LP was issued in Brazil that year but I cannot verify whether or not it was a legitimate release. Similarly, a vinyl bootleg surfaced in 2003 but is not of consequence.

This 2013 Audio Fidelity remastered 180g virgin vinyl translucent red pressing is the first-ever official worldwide release of Vangelis’ soundtrack on vinyl and was limited to 5000 copies. I feel incredibly fortunate to be able to add this to my library.

Blade Runner Ltd Ed Red Transparent Vinyl (Front)

Blade Runner Ltd Ed Red Transparent Vinyl (Gatefold)

Blade Runner Ltd Ed Red Transparent Vinyl (Disc A)

Blade Runner Ltd Ed Red Transparent Vinyl (Disc B)
I was surprised by the album’s packaging – it has one hell of a UV gloss coat and the gatefold sleeve is beautifully heavy.  I really appreciate quality packaging when I see it.

As I was on a bit of a roll I decided it was time that I owned a copy of The Velvet Underground & Nico in its original format.  (It’s just one of those LPs that everyone on the planet should have.)  After a brief search through discogs I thought it would be fun to pick up the banana-yellow vinyl edition from 2000. Though only 500 copies were pressed it is surprisingly affordable and surfaces regularly on discogs.com. I ordered two copies so that my lady-friend can enjoy it as well.

Velvet Underground & Nico - Banana yellow vinyl pressing

And finally – I acquired one more classic-collaboration this week. Cluster & Eno was released in 1977 – the same year as Before and After Science. Music For Airports would follow the next year, but Cluster & Eno stands strongly on its own as an essential milestone in Eno’s ambient family of albums.

Cluster & Eno - Cluster & Eno LP

The cover photograph has grabbed my attention every time the record surfaced but I was never quite “ready” for the album.  Now that I’ve properly-digested hundreds of classic krautrock albums, I feel daft for not having picked it up sooner.

I suppose this fantastic haul makes up for my leaving the spring record show empty-handed.

And I’m already hard at work on next week’s post – a special in-depth exploration of how to manage large digital music libraries.  When I reached 77,000 recordings, I quickly realized that it was time to re-evaluate my music management system, and I’m happy to share my strategies with the listening community.

Stay tuned!

Modern BBC Docu-Rock and Ambient Space Treasures

Friends, I have some very special records in store for you, and many more in the post on their way.

Recently I was exploring related-artist lists for long-standing favorites Sundae Club and Lemon Jelly on a number of music services.  One result had quite an intriguing name, so I gave them a listen.

Public Service Broadcasting is a project of J. Willgoose and Wrigglesworth from London.  The association with Jellyheads and fans of Sundae Club is instantly apparent – their music is electronic, but with a uniquely organic (and perhaps an emotive) element that separates it from the countless electro-pop artists of the day.

PSB uses samples from old public information films, archive footage and propaganda material, which fits well in a playlist of Found Sound Orchestra and Future Loop Foundation recordings.

The result, when paired with their minimalist geometric album packaging, is a krautrock-flavored mechanical sort of BBC documentary music, if you can imagine such a thing.

I enjoyed their INFORM • EDUCATE • ENTERTAIN LP, but was most impressed by THE WAR ROOM EP.  Just one look at the album jacket and anyone who follows my blog with any frequency will instantly understand why I just had to acquire this glorious disc.

 

Here is your new desktop wallpaper.  You're welcome.

Here is your new desktop wallpaper. You’re welcome.

See if you can detect traces of the metronomic percussion of Neu!’s “Hallo Gallo” in PSB’s music, or a touch of Kraftwerk inspiration in the packaging of INFORM • EDUCATE • ENTERTAIN.

Public Service Broadcasting - Inform-Educate-Entertain

On to other treasures, I had perused the Record Store Day list for April 2014 but no items particularly grabbed me so I sat the holiday out and saved my cash for the seasonal record show that followed.

In the days after the holiday, I stumbled upon a redditor who ran an independent record store in the States offering limited edition RSD items at store-price to those who couldn’t make it that day.  He listed an album that had entirely escaped my radar – a condensed and remastered 50-minute distillation of the epic 24-hour “7 Skies H3″ by Flaming Lips.

Available exclusively for RSD, this was most fans’ only opportunity to own a piece of the notorious track, of which 13 copies were produced and sold on a hard drive encapsulated in a real human skull.

Flaming Lips - 24hrskull - 7 Skies H3
The offer was extended to fellow redditors at 11am on the morning of Easter Sunday, and I didn’t hesitate for a single second.  To make the situation even more exciting, I discovered that I had just sold a record I had received for free for the exact price of the Flaming Lips album, which chalks up to getting it for free!

Flaming Lips 7 Skies H3 and KLF MINUS SIX

I should caution fans who acquire this record, however – The album ships with a download code from Warner Music, but the file is not what it appears to be.  There are no options for MP3 quality (or for a FLAC download) – the album automatically downloads a set of files marked as 256 CBR.  I was a tad suspicious of Warner Music so I tested the file and it appears to be only a paltry 128kbps MP3.

If anyone can verify this I would love to hear from you, but I was extremely disappointed that this rare recording was essentially presented in the sonic equivalent of a Napster file from 1999.

"I'm telling you... realplayer is going to be HUGE."

“I’m telling you… RealPlayer is going to be HUGE.”

Regardless, best to focus on the positive – like that mysterious KLF item from the Lips’ photo above!

I cannot express the level of my excitement in finally hearing this special recording.  You may well recall my featuring of Disc 6 and of The KLF Remix Project Part III in earlier entries.

This new disc was to be the ninth in the series of unofficial reworkings of the KLF’s catalog – masterfully engineered and easily one of the finest ambient recordings of the year. Sadly, due to issues beyond the producer’s control, the disc will not be released to the public.

The disc contains a 2014 72-minute epic rework of the original Space LP created 24 years ago, originally as a collaboration between Dr. Alex Paterson and Jimmy Cauty – the original line-up of The Orb.

For those who aren’t familiar with the outstanding KLF: Recovered & Remastered unofficial releases from my past entries, let me bring you up to speed.

1987. British acid house. Drummond. Cauty. The Justified Ancients of Mu Mu. The Timelords. The JAMs. One World Orchestra. 2K. The Stadium House Trilogy. Doctorin’ the Tardis. Anarchism.   The White Room. The Illuminatus! Trilogy. Top of the Pops. America: What Time is Love? The Manual. A lost road movie. The K Foundation. Extreme Noise Terror. Why Sheep? Waiting. The Rites of Mu. Chill Out. The birth of Ambient House. Burning a million quid on the Isle of Jura. Abandon all art now. And Space.

There. That about sums it up.

20 years into the silence that followed the K Foundation’s exit from celebrity a man surfaced who set himself to the task of recovering and remastering the KLF’s catalog to fill the void left in Cauty and Drummond’s absence.

The first six releases, catalog #KLF 001 RE – KLF 006 RE were brilliant, and the sixth release, Live From The Lost Continent 2012 presented listeners with a 77-minute stadium-packed concert that never was.

Following this triumph, two more released emerged – KLF MINUS-ONE and KLF MINUS-FOUR, each better than the EP before.

But our hero had one last stupendous project up his sleeve. And in April of 2014, it was complete.

A message from its creator revealed that MINUS-SIX was to be:

“…a 72 minute remodel of the classic SPACE release, sounding like a cross between ‘Silence’ (from Pete Namlook’s legendary Fax +49-69/450464 label), SPACE, and classic ambient drone releases. It’s almost like Trainspotting for KLF fans.”

The original Space LP (1990)

The original Space LP (1990)

The final piece is a monumental achievement – a new Music for Airports, or perhaps a new Selected Ambient Works Vol II.  It effectively unites sparse white-noise drones with all of the familiar elements of the original Space record which made it so memorable.  It is brilliantly subtle, while simultaneously making the sounds of simulated space flight an exciting and dramatic experience.

Then came the crushing news – the MINUS SIX project had suddenly been halted, and there were to be no more releases in the series.

I make no exaggeration when I state that, with this loss, the ambient music audience is experiencing its own Nick Drake, or more accurately – its own SugarMan.

searching-for-sugar-man-poster

At least this dude got his own movie.

Worse yet – because Rodriguez had a nation celebrating his work for generations an ocean away from his quiet daily life, and at least Nick Drake experienced posthumous success – becoming a household name in the years which followed his untimely demise.

But production of MINUS-6 has been cancelled. Quite sadly, the millennium’s ambient and drone audience and the millions of listeners who grew up with the KLF may never hear this record.

Its legend is shroud in mystery. Will KLF fans ever know the engineer’s name?  Why the sudden cease just before unveiling his holy grail?

But perhaps it is the legend and the mystery that adds a touch of vitality to the series.

And I still have hope. The K Foundation announced a 23-year moratorium on all projects beginning November 1995. Perhaps, in honor of the 2018 reformation of the KLF, our mysterious friend will emerge.

My sincerest hope is that the man behind these nine fantastic EPs one day receives the recognition (and listenership) that he deserves.

If you’re out there – Bring the beat back.

The+KLF

 

Miles has arrived, and he is LIVE.

The Miles Davis official website and Facebook page have been brimming with news about the March 25th release of MILES AT THE FILLMORE Miles Davis 1970: The Bootleg Series Vol. 3.  I’ve really enjoyed discovering Miles’ work for this period, and the notion of new live material certainly caught my attention.

Sadly, these recordings are set for release exclusively on CD, with no option for vinyl or digital download that I could see.  The official site does make mention that many of Davis’ recordings are currently being “remastered for iTunes…” (and I will bite my tongue here.)

Not to have my excitement shattered, I hurried over to discogs.com.  The official site stated that these recordings had for the most part only been available as bootlegs before this new release.  A few minutes of digging and I learned that a sampling of both shows were issued on an official compilation double LP on the Columbia label in 1970.  I instantly dismissed this option and pressed onward.  Surely, I could secure a copy of at least one of these legendary performances complete and in a vinyl format.

While on the hunt I found that these two performances are said to have been a pivotal moment for Davis – introducing the deadheads and other rock and roll cultures of the Fillmore scene to fusion and Davis’ own brand of new jazz.  Furthermore it is said that these performances are what secured Miles Davis’ induction as the first instrumentalist in the Rock and Roll Hall of Fame.

And that’s when I found it.  Apparently, the Fillmore West performance was released in its entirety as a double LP in 1973, exclusively in Japan.  But before I scrambled for the discogs marketplace, I acted instead, on a hunch.

I phoned the Bop Shop in my old home town of Rochester, NY.  Tom at the Bop Shop has been the core of the jazz scene in the city for over 30 years.  He’s brought countless jazz acts to the city, and his shop is a must-visit for any discerning music fan.

I told him what I was looking for, and he breathed deep.  “Jeez, I’ve never come across that record,” he confessed.  But before ending the call, he asked me to hold on while he dug around in his back stock just in case.

30 seconds later, he returned to the line.  “Here it is!  Black Beauty, 1973!”

This evening it was waiting on my doorstep.  There’s nothing better than finding great music you never knew you wanted.

DSC04379
DSC04374

DSC04380

DSC04381

And here’s a 30 minute sample from the performance.

Space Music (Literally)

If you had to sum up what Earth is like, what would you say?

“Sounds of the Earth” – The Voyager Golden Record was Earth’s message to the stars in 1977.  It recently exited our solar system in September of 2013 with the Voyager I space probe, and carries greetings in 55 languages, and sounds ranging from a child’s laughter, to whales singing, to a Brandenburg Concerto and Blind Willie Johnson playing the blues.

Voyager Golden Record

Sadly, only two copies were pressed, and each affixed to the Voyager I and II.  In fact, the copyright owners for the images and music on the actual record signed agreements which only permitted the replay of their works outside of the solar system.

Fortunately for we Earthlings, CD copies of the images and recordings of the Voyager Golden Record were included with Murmurs of Earth – a deluxe hardcover book detailing the contents of the historic LP.  Warner New Media would eventually release a CD-ROM version of the album in 1992.  And thankfully, each of these releases surface with some regularity on Amazon and eBay.

Murmurs of Earth Hardcover
Here is the complete LP:

But to take space music one step further – in 1993, Brain/Mind Research and LaserLight Digital ‎released a 5-disc set titled, Symphonies of the Planets.  These recordings were based on electromagnetic data of the outer Solar System, as recorded by instruments on board the Voyager I and II.

Symphonies of the Planets

The result is over two and a half hours of low-end drone frequencies.  Wonderful study-music and a great way to make your listening room feel ten times its actual size.

Disc One of Five:

And what entry on the subject of Space Music would be complete without the soundtrack to Carl Sagan’s Cosmos: A Personal Voyage?

The Music of Cosmos
The Music of Cosmos (1981 LP)

This will forever be the sound I associate with space, and I’m sure the same goes for the millions of others who grew up watching Sagan’s Personal Voyage.  More than any Tangerine Dream album, more than  Tomita’s reimagining of  Debussy’s work on the Snowflakes Are Dancing LP, and more than any Fax/Namlook/Schulze record… the Cosmos soundtrack is an album for the ages.

But on to the present day, the space music that everyone is talking about today is Alan Silverstri’s score to the new Cosmos: A Spacetime Odyssey.

Cosmos: A Space Time Odyssey
Here is a track from Vol 1 of 4, now available on iTunes.  Silverstri is known for his work conducting and composing film scores, such as the memorable soundtracks for the Back to the Future trilogy, Who Framed Roger Rabbit, and Forrest Gump,  but perhaps most importantly it was his score to Carl Sagan’s Contact film from 1997 that made him the ideal composer for this, the latest project made in Carl Sagan’s memory.

We’re crossing our fingers for a 4LP box set when the series completes.

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