Retro-Futuristic Tapes #1 – Floating Gardens of the 21 Century

 

Here´s the first of a series of retro – futuristic mixtapes, this time focussing on german kraut music of the late 70es, with excursions to japanese and belgian / dutch psychedelia & minimal wave electronica.

with tracks and excerpt by

intro: hototogisu

günther schickert / ash ra / can / holger czukay / ameel brecht / edgar wappenhalter / rodion g.a. / decades / harmonia / desolation wilderness / white rainbow / anadolu bayramiari / shimshon miel / silver pyre / cluster

outro: ES

for detailed tracklist write me
125 min.
by
the little dog laughed

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Re: Little Dog Radio Shows 2011 – 2018

 

 

 

 

 

 

 

 

 

 

Though I´m doing a pause producing regular radio emissions, here´s a replay of (almost) all of the around 50 radio shows, I did for piradio, 88.4 fm in the last 7 years

There are the shows for my own “the little dog laughed radio”, sometimes with guests, but as well the first few shows I did for Jean – Marie Dhur´s “abendlandung” and Falko Teichmann´s “the dopeness” ,  as well as specials like a John Peel special show together with Niki Matita´s “sub cult” radio with live music by Lukas Lonski and M.I.P.V.´s Laura L. and a dt 64 radio homage live @ kino babylon in 2016.

Enjoy…

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dt 64 special @ babylon mitte:

john peel special: (for some reason embedding this one is not working here)

https://www.mixcloud.com/SubCult_Radio/2015-10-08-pi-peel_daysubcult-klänge-jenseits-des-hauptstroms-mit-niki-matita-joe-le-taxi/

 

 

 

 

 

 

 

 

 

 

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Polygraph Heartbeat

Mesmerizing debut by Razen´s Ameel Brecht out on KRAAK since January in an edition of #300. Music to calm you down & to survive tropical berlin summers, melodies letting you forget the misery of the world in a society shifting.

*

‘Music is an openhearted gamble; whatever lengthens the day, whatever gets you through the night.’

Next to being one of the core members of the acoustic deep listening ensemble Razen, Ameel Brecht is a trained guitar player who has a life-long involvement with the instrument’s repertoire under his belt. On his debut album “Polygraph Heartbeat”, he puts his guitar-heart on the line by means of 9 compositions for steel resonator and resonator mandolin.

The album is a reflection of polyphonic music as seen through a multi-coloured and highly personal lens, as Ameel’s guitar idiom crossbreeds a classical technique and weird open tunings with a love for early ragtime, slide grandmasters and baroque music. As is the case with Razen’s body of work, Brecht’s solo pieces confront because of their pureness and their focus on essential sound. Clear, precise phrases leave room for silence and slowly open a passageway to a undefined in-between world. Carried by a brutal and razor-sharp slide, nervousness and a languidly brooding atmosphere occasionally cut through the stillness. The transparent lyricism is not without a number of sonic shocks that expose Ameel as a former club-dweller and as fan of the Voivod guitarist Denis D’amour.

”Polygraph Heartbeat” is an album which shows a committed musician who employs control and craftsmanship in order to dissect the Condition Humaine of the 21stCentury.
credits

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Essential reissues : Atarpop 73 & les collectif le temps des cerises

A few years ago born bad records released the amazing compilation “mobilisation general – protest and spiritual jazz from france 1970 – 1976”. It featured the amazing track “attention- l´arm”. Now Staubgold released lately the first official reissue of the epigonic LP “attention l´armée” by Atarpop 73 & les collectif le temps des cerises.

Listen to an essential existentialistic document of the french protest movement.

10 December 1974. 200 conscripts exit the casern of Draguignan in order to demonstrate in the streets of the city. They make part of those clandestine soldier committees multiplying themselves all over France with a view to unite the young activists of the extreme left with the anti-militarists. This dispute is a backwash of the student manifestations in spring 1973 against the Debré law reforming the military service.

The “Collectif du Temps des Cerises” founded by François Tusques, one of the pioneers of the French free jazz, decides to support the insubordinates. Denis Levaillant, 22 years old at the time, becomes the driving force of this discographical project. It’s with another big name in jazz, Jef Gilson in his studio Palm, the group records the compositions of Levaillant, appearing under the pseudonym Serge Igor, as well as cover versions of traditional Spanish music, among others the mythic “El paso del Ebro”.

The young French jazz avantgarde scene of the early 70s participates in that session which brings together musicians like Jean-Jacques Avenel, Pierre Rigaud, Jean Méreu, Antoine Cuvelier, Gérard Tamestit, Guy Oulchen, Christian Ville, Robert Lucien, Carlos Andréou et Kirjuhel. The graphic designer collective Atarpop 73 creates the sleeve of the album which was released in an edition of 3000 copies and sold during the student manifestations.
This radical report of a rebellious youth raising from the still glowing ashes of May 1968 brings to our ears a jazz as spiritual as revolutionary.
Attention, disc is burning !

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Golden Apples of the Sun

* a summer´s kraut mixtape *

featuring tracks by:
jac berocal, david fence, vincent epplay / ashra / Beautify Junkyards / cortex /
Bixio, Frizzi, Tempera / Pierre Raph / Mint Field
Group Doueh & Cheveu / Vagabond / the liminanas
The Space Lady / the Microphones / Richard Youngs

*
by joe le taxi
05/18

the photo is a collage of the amazing 7″ called “why ?” out on blackest ever black by jac berrocal / david fence / vincent epplay and the 1979 lp ba ashra “new age of earth”, some excerpts of them are featured here as well

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Now Only

Phil Elverum´s second lp released after the tragic death of his wife Geneviéve Castrée is called “now only”, released already a few weeks ago. After listening to it over and over again, I have to say, it´s again a collection of remarkable heartbreaking breathtaking songs as a follow – up of last years “a crow looked at me”, sometimes even with biographical storytelling like Mark Kozelek does like in the overwhelming centerpiece Tintin in Tibet or in the outbreak in the ironic chorus “now only”

“people get cancer and die / people get hit by trucks and die / people just living their lives … some people have to survive and find a way to feel lucky to still be alive / to sleep through the night”

I say now only

I sing to you
I sing to you

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Nat Birchall´s Cosmic Language

Amazing spiritual jazz release by saxophonist Nat Birchall out in late 2017 via Jazzman. Stumbled upon it while being in Paris lately in a record shop (superfly) and couldn´t stop listening to it.

Think of Marion Brown, Horace Tapscott or Phil Cohran. But then again you´ll find arabic influences on side b like “dervish” or “a prayer for” with harmonium that reminds of Abdou el Omari´s kraut – keyboard 70ies sahel sounds.

A timeless cosmic spiritual jazz masterpiece.

jazzman:

Cosmic Language sees the UK-based saxophonist, composer and arranger return to Jazzman Records with a cross-cultural approach: an exploration of the parallel musical paths of jazz and Indian ragas. Here he takes influence from spiritual jazz forebears such as Alice Coltrane and Yusef Lateef and introduces the Indian harmonium to his band, where it takes the place of the piano. Making new connections to realise his transcendental ambitions, it’s a logical next step in making music as spiritual cleanser.

(…)

Crucially, the ragas tap into the idea of of music as a means of spiritual release. As Birchall explains, “The whole act of making music is a spiritual experience. It’s during performance and when playing music that I look for a kind of truth. It’s with music where I find myself feel closest to attaining that ‘enlightened’ kind of feeling.” “On rare occasions I’ve actually felt as though I was listening to the music being played rather than being involved in making it, almost like an out-of-body experience.”

This natural feeling comes from Birchall’s attitude toward jazz music. He sees it as an essential part of day-to-day life: instead of brightly-lit, occasional entertainment in lugubrious concert halls, he considers it an everyday, vital source of inspiration. At a moment where jazz-influenced music is undergoing creative renewal and wider appreciation, it’s an important perspective that’s found resonance elsewhere. His experiences and the world around him are filtered through his music, and he looks to have his music “be it live or on record, absorbed in the same quotidian way. To me, it’s an integral part of society, an everyday thing,” he says. “You should hear the music every day.


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