Ever wish the motorik 4-bar intro to ZZ Top's "I Thank You" lasted much, much longer? I've given into my darkest impulse by looping that sweet groove for a full 17 minutes.
Et si je profitais de mon déménagement pour enfin encadrer mes memorabiles de #Stereolab ? 15 ans que je veux encadrer mon test print de mon album favori de tous les temps, l'album qui resterait l'unique si je devais en avoir qu'un à garder, et 15 ans que je ne l'ai pas fait. Dont acte, ça partira chez l'encadreur cette semaine, et je mettrai le prix qu'il faudra pour conserver au mieux ces objets.
Am Samstag wird für mich ein kleiner Traum wahr. In Berlin gibt's jetzt endlich eine Jam Session für Heavy Psych Freaks. 😉 Und wer darf den Abend eröffnen? Meine neue Band 'Anasha'. 🤩
Kommt vorbei, spielt mit, bringt auch gerne eure Instrumente mit!
"Too constantly changing, too fluid and intimately connected as a feature of the alternative music world, too irrevocably wedded to the present — it felt as if obstacles would simply flow through him."
For the first album spotlight, I had every intention of going with our very first submission. However, as we learned this morning that the brilliant Damo Suzuki has left us, we’re going to take a look at number 245 on The List, CAN’s 1972 masterpiece, Ege Bamyasi, submitted by myself (Mastodon handle: buffyleigh).
CAN, an experimental German band that is considered a pioneer of the “Krautrock” (or kosmische Musik) scene, had a number of different vocalists over its 20 (or 30?)+ year run. Suzuki was perhaps the band’s most well-known vocalist, if not their most beloved. While the previous album and first to feature Suzuki, Tago Mago, is heralded by many to be CAN’s best, Ege Bamyasi was my personal introduction to the band.
In particular, the first time I knowingly ever heard CAN was via the incredibly catchy song “Vitamin C”, featured in Baz Luhrmann’s short-lived Netflix musical drama, The Get Down (2016-7). The funky beat and Suzuki’s arresting way of singing made the song stick in my head for days, until I finally tracked it down. I immediately ordered a copy of Ege Bamyasi on vinyl, and it’s since been one of my most played albums.
In honor of Damo Suzuki, give Ege Bamyasi – or Tago Mago and/or Future Days (his final album with CAN) – a spin. A live album that features one of the last shows Suzuki played with the band is also set to come out later this month, so keep an ear open for that one.
I never listened to “Oh Yeah”’s backmasked vocals in reverse before. I think they might be a bit more intelligible than the forwards vocals? It’s neat how the song is almost a musical palindrome.
Here’s my favorite Can song.. Such an incredibly innovative band.
And I just love this video. Damo embodies their whole vibe so perfectly in the footage included here (mostly from a free concert they held in a park in Hamburg).
I was going to wait until next Wednesday for Music Women Wednesday for this one, but I need to talk about this album right now.
'Precious Dream' by Hot Garbage came out today and I just finished listening to it. It's perfect. More than likely will make my top 20 this year unless 20 other amazing albums somehow surpass it. I doubt they will. Both Juliana and Alex Carlevaris sing, they're siblings. It's like psych, garage, post punk, shoegaze? But there's also some wild bluesy and dark country-ish vibes. It's amazing fuckin SONGWRITING is what it is. This is Hot Garbage's second album, now I gotta check out their first.
Something else to look forward to in the new year!
"Out on May 2nd through Faber, Neu Klang: The Definitive History of Krautrock is an oral history of the genre featuring some of its most influential figures. Authored by Hamburg-based journalist Christoph Dallach, the book explores how krautrock became a precursor for the explosion of electronic dance music that followed.": https://ra.co/news/79867
Hans-Joachim #Roedelius as a small boy meeting a polar bear and beginning to hear strange cosmic music in the whistling coastal wind. #kosmische#krautrock