Ce que j'écoute...

[OzKÄr KRapÖ]

Merci OzKÄr KRapÖ, j'écoutais justement MON POTE / MESCALITO. Ne savait pas qu'il y avait d'autres choses!

Dans ce cas là, je te conseille vivement celui-ci, plus dans le genre du 45t (avec entre autres, son frère Patrick Müller, Philippe Doray et toujours Ruth Ellyeri) :

ILLITCH [Thierry MÜLLER] "10 Suicides" (LP. Scopa Invisible. 10007. 1980) [FR / minimal electro-pop - post punk]



http://rapidshare.com/files/13208699/ilitch_-_10_suicides.rar

[infra-violet]

DJ Spooky vs Dave Lombardo : Drums of Death (2005), inégal mais de bonnes plages  

C'est vrai qu'il y a des morceaux assez énorme sur cet album.
Le seul truc qui me saoule c'est les "hugh hugh" de DJ Spooky...

Lombardo est bien le batteur de Slayer et c'est une vrai pointure au niveau batterie, du même niveau que Mick Harris (ex Napalm Death, actuel Painkiller, Scorn...)    

[Tribalmazoot]

Emerson, lake and palmer le premier album du même nom 1970

Enorme      

EMERSON, LAKE & PALMER est la formation mythique du génie des claviers Keith EMERSON (THE NICE), du bassiste-chanteur Greg LAKE (KING CRIMSON) et du batteur Carl PALMER (ATOMIC ROOSTER). Outre une virtuosité qui en fait l'égal de Rick WAKEMAN (YES), le premier cité est réputé pour ses frasques scéniques: sans doute influencé par la guitare en feu de Jimi HENDRIX, il s'ingénie à enfoncer des couteaux dans son orgue Hammond, avant de secouer ce dernier comme un damné, tout en continuant à en jouer simultanément !!!

[vendredi]

les vertus thérapeutique du rap...
j'étais au fond du gouffre, harassé par une journée de boulot merdique et ce morceau de KRS One m'a redonné gout à l'alcool, maintenant je headbang en buvant de la bière tout seul alors qu'il ya environs 20 minutes j'étais prêt à aller me coucher...

GET



YOURSELF




UP....

[Alain Deschodt]

Gérard Manset : Comme un guerrier (1992), tout n'est pas à sauter au plafond (not. les première et dernière chansons) mais de bons titres parsèment ce disque plutôt rythmé avec cette belle voix toujours inimitable

[OzKÄr KRapÖ]

Michael O'SHEA "Michael O'Shea" (CD. Dome/WMO 12CD. 2001 / rec.1981-85) (IRE / neo folk - minimal - instrumental)

http://rapidshare.com/files/86913993/michael_o_shea__dome_1982_.rar

Here's one of the most obscure Wire related releases. This gem was released by Wire specialists WMO in 2001 and it's already out of stock. Music is eperimental folk ,was originaly released in 1982 (partially) and was produced by Gilbert & Lewis. Concerning Micael O' Shea:
"Michael O'Shea was an eccentric, maverick world musician. He was a virtuoso of the Mo Cara, a 17-string instrument he invented and built, on which he created hauntingly melodic works combining elements of Celtic and Asian musics. Although primarily a busker, in the early '80s he enjoyed a brief legitimacy, releasing one album and even opening for Ravi Shankar at London's Royal Festival Hall.
O'Shea was born in Northern Ireland in 1947 but grew up in the Irish Republic. Keen to see the world, he joined the British Army at 17. However, military life didn't suit him; he went AWOL for two years and was court-martialed. On release from jail, he moved to London where he gravitated toward the folk scene, mixing with musicians like Ewan MacColl and Peggy Seeger.
In the mid-'70s, he went to Bangladesh as a volunteer, returning with dysentery, hepatitis, and a sitar. While convalescing he learned to play the sitar and then busked around Europe and the Middle East. In France he traveled with an Algerian who played an instrument known as the zelochord. O'Shea hit on the idea of building a hybrid of a zelochord, a hammered dulcimer, and a sitar; the result was the Mo Cara (Gaelic for "my friend").
Back in London, O'Shea busked with the Mo Cara, the bizarre sight and sound of the instrument instantly attracting crowds. In early 1980, he was spotted by a talent scout for Ronnie Scott, who was fascinated by the Mo Cara's mix of East Asian, South Asian, and Irish sounds. Scott offered the Irishman a residency in his club's prestigious Downstairs Room and became his agent. This led to his opening for Ravi Shankar at the Royal Festival Hall and he even played on a Rick Wakeman project, although his contribution was subsequently discarded.
Despite encouraging signs, O'Shea's career did not take off and he returned to busking. While playing in Covent Garden, O'Shea was noticed by Tom Johnston, an early member of The The. Johnston introduced O'Shea to Wire's Bruce Gilbert and Graham Lewis, who asked him to record for their Dome label. Due to his previous disappointments, O'Shea was ambivalent about others' efforts to launch his career and was convinced that his music was best-suited to spontaneous street performance. An invitation to Blackwing Studio was nonetheless extended. A year later, he appeared unannounced, saying his horoscope augured well, and recorded the album.
In 1982, O'Shea worked with Tom Johnston and Matt Johnson on a projected album, but nothing came of it. Later that year, he collaborated on two tracks for John Denver Stanley's Content to Write in I Dine Weathercraft. In 1985, he played on the title track of Larry Cosgrave's Easter Island. (Material from the Stanley and Cosgrave projects appeared on the 2002 CD reissue of O'Shea's self-titled album.)
In the late '80s O'Shea became involved in the burgeoning rave scene and rarely performed. In December 1991, he was struck by a van in London and died two days later.
~ Wilson Neate, All Music Guide "

[riz]

sounds interesting

[infra-violet]

Le dernier Bastard Noise est vraiment très bon : un grand moment de noise pure.      

[vendredi]

no more-suicide commando ce morceau tellement énorme qu'il arrive à être à la fois froid et sensuel, détaché et intense.

au point que je ne trouve aucun smiley pour illustrer ce post.

[Plan9]

 cela faisaitun siecle que je n'avais pas écouté la version studio, bien l'hallu, redecouvre certaine partie guitare, cuivre...

 

[Sigmund Stella Artois]

[bloup]

Le dernier Bastard Noise est vraiment très bon : un grand moment de noise pure.      

Bonne nouvelle ça ! Je vais tester.

[OzKÄr KRapÖ]

no more-suicide commando ce morceau tellement énorme qu'il arrive à être à la fois froid et sensuel, détaché et intense.

au point que je ne trouve aucun smiley pour illustrer ce post.

Un classique du genre, tout simplement.

-------------------------------------------------------

The TOM & MARTY BAND "Affraid to go to Sleep" (cassette. 1982) (US / diy synth)

http://sharebee.com/8eaa67cc

The dark-tinged synthy (nominally minimal synthy) bleep 'n' splut-scapes that The Tom & Marty Band specialize in are cheap, grotty and strangely gripping, with the A side featuring appended monologue-ish lip flap that tugs it in the purgatorial direction of The German Shepherds and John Bender and an all-instrumental B-side that finds them grasping toward a charmingly rudimentary but curiously affecting musicality that sounds like a teenaged Martin Rev locked in your closet

.
"sounds like a teenaged Martin Rev locked in your closet"... je ne saurais trouver une meilleure définition.

[Ludmila de Hazebrouck]

tu nous gates trop oskär Hambar !    

et for me (for me for me dable)   :

Sunn O))) >>>> Black One

[Kiki aux Morilles]

tu nous gates trop oskär Hambar !    

et for me (for me for me dable)   :

Sunn O))) >>>> Black One

tuerie de chez tuerie celui la!

Pour ma part c'est:

Goresoerd - Goremarket Mid-Prices