Pylon Sounds

Here's the debut 12'' by new wave/new romantic band Figures on a Beach, released in 1983. A little more poppy than I usually go for, but there's tons of great hooks and melodies here, especially in the title track.

The band formed in Michigan (relocating to Boston) and released three LPs and a handful of singles before splitting in 1991. Their tracks are generally cult staples of the era, and can still be heard in some clubs to date. After splitting, Chris Ewan went on to play with Stephin Merrit in the Future Bible Heroes project, a more new wave offshoot of The Magnetic Fields. Ewan provided the new wave/disco backdrop for the band.

Though I do enjoy the majority of the band's discography (including the Don Was-produced track- "Breathless"), this 12'' is my favorite. Here's the information:



Figures on a Beach- Swimming 12''
1. Swimming
2. Feel Like Glass
3. Decay
4. Everything But Heaven

*download it here*

-->You need to install or upgrade Flash Player to view this content, install or upgrade by clicking here.-->

Here's the lone LP by French synthpop act Candidate, released in 1987. There's very little to be found about this two piece, but there are a few other releases of theirs kicking around, including a split K7 and a split 7'' with Gangrène. Would love to hear them, should anyone out there have a copy kicking around!

Otherwise, you can expect some killer minimal synth grooves, with a little bit of edgy guitar thrown in for good measure. a nice mix of tension and melody here. Sticking with today's theme, you can also find Strange Girl on one of the Tribute to Some Bizarre compilations... Here's the info:



Candidate- Side By Side LP
1. Strange Girl
2. Starway
3. On The Ice
4. Subterrateen
5. On//Off
6. Last Day
7. The Wound

*download it here*


EDIT: Turns out a different rip of this LP was already uploaded by bx59cppw, with extra information and links to the band's other material! Feel free to visit his blog and send some love!

Here's something I've seen kicking around a few wantlists, and rightfully so. Killer minimal synth meets dark post-punk guitarwave tracks here from this Belgian band. This is their only release, though I'm sure most have heard of this band via the Tribute to Some Bizarre series. They remind me quite a bit of bands like Siglo XX and the previously uploaded Bildenzone LP.

Not much more to be said about this one, so if anyone else has any information to share, please do! P.S.- the grammatical error in the title seems to be intentional.



Vibø- One To Many 12''
1. Clinical Death
2. The Game
3. Clinical Death (Proloog)
4. Machine
5. World Is Ours
6. Grandma

*download it here*

Another mixtape of cosmic balearic vibes here. This one from Sqwelsch. Download it here.

This Hot Toddy track makes my headphones happy...



Full tracklist:

01. The Alan Parson Project - A dream within a dream
02. Eagles - King of paris (rove dogs edit )
03. Jan Hammer - Black sheep (rb edit)
04. Black Sabbath - Planet caravan (dj steef edit)
05. Jan Hammer - Crockett's theme
06. Phil Collins - In the air tonight
07. Beatfanatic - Awright!
08. Hot Toddy - I need love
09. G.A.N.G - Incantations
10. Blue Night - Turn me loose
11. Tina Turner - What's love got To do with it (Lord Of The Isles Re-shape)
12. Hatchback - Closer o forever
13. The Rolling Stones - Heaven

Download Tommyboy's new cosmic jams mixtape: Pleasure Control. Do it.

Tracklist:

Main Stem – Creative Use of Space
The Family – Desire (45rpm)
Jan Hammer – Crockett’s Return
Giorgio Moroder – To The Bridge
Sue Ann – My Baby
Iam Siam – Talk To Me (Dub)
Frank Duval – Ogon
Simple Minds – Somewhere in Summertime
Keyboard Affair – Tubular Bells (Rayko Balearic Edit)
Adrian Gurvitz – Hit Man
Michael Cretu – Flying to Heaven
Barrabas – On The Road Again
Debra Dejean – Are You Loving Somebody
The Rolling Stones – Miss You
Stories – Brother Louie (Mike Simonetti Edit)
The Edge – One Foot in Heaven
Pete Shelley – Give It To Me (wrong speed)
Cube – Prince of the Moment
Karat – Blauer Planet (edit)
Domputeur Mooner – Le Coq Rouge
Milkways – Love For N.R. (wrong speed)
Roland Bocquet – Epsilove
Criminal Element Orchestra – Gotta Have It
The Durutti Column – Contra / Indications
Pleasure Control – On The House
Laid Back – It’s The Way You Do It (Velvet Spike Mix)
Louis – Pink Footpath (Instrumental)

Almost forgot I had this one kicking around. Thanks to bx59cppw for the nudge! This is a classic German 12'', released in 1982. Four tracks of synth weirdness here. Post-punk rhythms, fast minimal synth arpeggiations, and a very NDW approach to things, all wrapped up in four short, but incredibly sweet tracks. The Tonträger 58 Hagen label also released the Kein Mensch 7'', a similarly great release.

Not much more to be said about this one, so let's get to the good stuff:



X-Quadrat- X-Quadrat 12''
1. Kauf Dir Die Freiheit
2. Immer Und Ewig
3. Der Digitaltanz
4. Information

*download it here*

I am back from extended holidays to the chagrin of all I'm sure. I couldn't keep quiet on hearing this album, Gustavson's second. The first is the most wigwam-like, by the third one (1980) one senses he has lost something or maybe the invincible steamroller of pop rock had crushed his progressive spirit. In the second however he truly went all-out, crafting a kind of progressive rock symphony with elements of jazz, modern classical, and electronics. I repeat the same themes that have come up over and again in my posts, how these brilliant musicians from the seventies assembled a style of music that transcends all styles. It's as if one had the 3 primary colours: jazz rock and classical, and all other artists worked in shades of one colour, but here we finally have a full palette with glorious mixed shades of every imaginable tint. We have three worlds of music that seem to never miscegenate but in progressive we at last get a kind of superior breed that is willing to heterotically mix genes. What makes music truly great? One has to accept that creative originality is a big component because this is an art form whereby one is often seeking new chord changes, melodies, structures-- this is the case even in baroque music or standard AM radio. But the powerful bond with emotion is another factor, like no other in my opinion, music does a kind of open-heart massage that is instantaneous and profoundly mysterious.

When I hear this piece of music, an evocation of the four seasons, I am amazed at every second. What are these chord changes doing clashing into each other so surprisingly? What are the sounds that change so constantly, new harmonies, played by new keyboards, constantly and swiftly moving like ships on enormous waves. How did these musicians so totally reinvent the language we use to communicate harmonious sounds? Certainly no one has played some of these chords in this sequence in the history of humankind before.
The album starts with a gorgeously full sounding shopping centre type electric organ sound that progresses into a very spacey whole tone scale, are we lifting off into the sky with ufos? (If so I hope I packed the prep H.) Suddenly patrick moraz makes an entrance with a sustained chord synth solo which repeats the whole tone pattern in chords this time, E flat F B A major chords all, very effectively giving that aurora borealis-space station feel.
Now we are into spring so the requisite flute and oboes play atop Jukka's keyboards. Some beethoven-like patterns are evocative of birdsongs, but I would give all of Ludwig's musical output for this one little slice of gustavson and as I said so many times before I will never understand why people sit in philharmonic halls for Eroica and not for this masterpiece performed live. Some quite remarkable dissonances appear after the flute heyday reminding me of Olivier Messiaen style compositions. I have to wonder again how deep the musical education of the composer was, or if we are dealing here with pure unadulterated genetic genius. Then the music gets even more symphonic with french horns and other chamber instruments rounding out the one-chord sostenutos. We are taken into Terry Riley territory with electronic pianos swirling all round playing diatonic scales, some repeated pentatonics like tangerine dreaming. Then, abruptly we get wigmamlike piano chords breaking into the electronic efflorescence and the summerish oboe (de rigeur in any estival evocation) plays some really beautiful short melodies atop changing piano chords. Some horn patterns suggest liveliness and the intense activity of the heat.

Side 2 presents the jazzier side of summer with vibes, significant percussion. After a minute we get a sudden break and that gorgeous, inimitable fender rhodes comes out, oh man, if I could marry a sound, I would marry the fender rhodes sound. Why are there so few of us left who adore it? What happened to loving the sound of instruments? It's as rare today in the general population as a night without wide-screen TV. So Jukka plays a very lazy, laid-back type of jazzrock song here, I guess we are in the dogdays of summer, long before there was any thought of global warming and the consequences of human depredations on the earth. Innocent were those days, few ever thought about limits, despite the club of rome, but as the years go by we are getting closer and closer to the bars of our cage, and the imminence of our potential for self-destruction.
A beautiful viola solo ensues on top of grand piano, again we get a sense from this of how great a composer Gustavson was. This track alone would make for an incredible song on its own, but he has hidden it away almost unseen within this symphony on which he must have spent hours and hours of hardworking time. For what sake? For the sake of his work being lost and forgotten on the internet amongst a few hundred fans in a world of 7 billion? Human existence looked at in this way is incredibly cruel. Listen in particular to the chords that Jukka plays, remarkably complex chords that would have impressed Scriabin or been stolen by Stravinsky in a bad mood. Now of course as we get further into autumn we get a cello playing, how predictable but necessary the instrumentation must be in these seasonal works. Why is this gorgeous chamber music not played in the local concert hall? The work closes with a more symphonic and bright passage, fittingly enough evoking the idea of light.

Wow-- this is the kind of work that Mike Oldfield attempted to do but couldn't. It truly is a cohesive, unique, well-crafted whole, flowing together beautifully, packed full of interesting ideas. It is neither rock nor classical nor jazz-rock, but a perfect and perfectly assembled combination of all sounds and styles and streams of music humanity has conceived of. What a masterpiece.

Valon vuoksi (1979): (For the sake of light)

1. Taivaan täyteyttä (Fullness of Sky)
2. Pieni talvinen ylistysruno (A Small Wintry Ode)
3. Kevättalven "kuume" (The Fever of Early Spring)
4. Kevät "raskaus" (Spring Pregnancy)
5. Kevät kesä "syntyneenä talven kohdusta" (Spring Summer Born From the Womb of Winter)
6. Kesä (Summer)
7. Kesän kunniaksi... (For Summer...)
8. Syys kesä (Autumn Summer)
9. Syksy (Autumn)
10. Syys talvi (Autumn Winter)
11. Ikuisuus jatkuvuus (Eternity Continuity)
12. Valon vuoksi (For the Sake of Light)


Jukka Gustavson, keyboards, percussions
Tim Ferchen, marimba, xylophone, clockwork, vibraphone, tubular bells, kettledrums
Pekka Suvanto, drums, gongs, cymbals, bells
Gunnar Lausund, alto flute
Panu Antere, oboe
Pentti Mikkonen, viola
Seppo Ristolainen, viola
Risto Fredriksson, cello

A million thanks to Isabel for this...

I am back from extended holidays to the chagrin of all I'm sure. I couldn't keep quiet on hearing this album, Gustavson's second. The first is the most wigwam-like, by the third one (1980) one senses he has lost something or maybe the invincible steamroller of pop rock had crushed his progressive spirit. In the second however he truly went all-out, crafting a kind of progressive rock symphony with elements of jazz, modern classical, and electronics. I repeat the same themes that have come up over and again in my posts, how these brilliant musicians from the seventies assembled a style of music that transcends all styles. It's as if one had the 3 primary colours: jazz rock and classical, and all other artists worked in shades of one colour, but here we finally have a full palette with glorious mixed shades of every imaginable tint. We have three worlds of music that seem to never miscegenate but in progressive we at last get a kind of superior breed that is willing to heterotically mix genes. What makes music truly great? One has to accept that creative originality is a big component because this is an art form whereby one is often seeking new chord changes, melodies, structures-- this is the case even in baroque music or standard AM radio. But the powerful bond with emotion is another factor, like no other in my opinion, music does a kind of open-heart massage that is instantaneous and profoundly mysterious.

When I hear this piece of music, an evocation of the four seasons, I am amazed at every second. What are these chord changes doing clashing into each other so surprisingly? What are the sounds that change so constantly, new harmonies, played by new keyboards, constantly and swiftly moving like ships on enormous waves. How did these musicians so totally reinvent the language we use to communicate harmonious sounds? Certainly no one has played some of these chords in this sequence in the history of humankind before.
The album starts with a gorgeously full sounding shopping centre type electric organ sound that progresses into a very spacey whole tone scale, are we lifting off into the sky with ufos? (If so I hope I packed the prep H.) Suddenly patrick moraz makes an entrance with a sustained chord synth solo which repeats the whole tone pattern in chords this time, E flat F B A major chords all, very effectively giving that aurora borealis-space station feel.
Now we are into spring so the requisite flute and oboes play atop Jukka's keyboards. Some beethoven-like patterns are evocative of birdsongs, but I would give all of Ludwig's musical output for this one little slice of gustavson and as I said so many times before I will never understand why people sit in philharmonic halls for Eroica and not for this masterpiece performed live. Some quite remarkable dissonances appear after the flute heyday reminding me of Olivier Messiaen style compositions. I have to wonder again how deep the musical education of the composer was, or if we are dealing here with pure unadulterated genetic genius. Then the music gets even more symphonic with french horns and other chamber instruments rounding out the one-chord sostenutos. We are taken into Terry Riley territory with electronic pianos swirling all round playing diatonic scales, some repeated pentatonics like tangerine dreaming. Then, abruptly we get wigmamlike piano chords breaking into the electronic efflorescence and the summerish oboe (de rigeur in any estival evocation) plays some really beautiful short melodies atop changing piano chords. Some horn patterns suggest liveliness and the intense activity of the heat.

Side 2 presents the jazzier side of summer with vibes, significant percussion. After a minute we get a sudden break and that gorgeous, inimitable fender rhodes comes out, oh man, if I could marry a sound, I would marry the fender rhodes sound. Why are there so few of us left who adore it? What happened to loving the sound of instruments? It's as rare today in the general population as a night without wide-screen TV. So Jukka plays a very lazy, laid-back type of jazzrock song here, I guess we are in the dogdays of summer, long before there was any thought of global warming and the consequences of human depredations on the earth. Innocent were those days, few ever thought about limits, despite the club of rome, but as the years go by we are getting closer and closer to the bars of our cage, and the imminence of our potential for self-destruction.
A beautiful viola solo ensues on top of grand piano, again we get a sense from this of how great a composer Gustavson was. This track alone would make for an incredible song on its own, but he has hidden it away almost unseen within this symphony on which he must have spent hours and hours of hardworking time. For what sake? For the sake of his work being lost and forgotten on the internet amongst a few hundred fans in a world of 7 billion? Human existence looked at in this way is incredibly cruel. Listen in particular to the chords that Jukka plays, remarkably complex chords that would have impressed Scriabin or been stolen by Stravinsky in a bad mood. Now of course as we get further into autumn we get a cello playing, how predictable but necessary the instrumentation must be in these seasonal works. Why is this gorgeous chamber music not played in the local concert hall? The work closes with a more symphonic and bright passage, fittingly enough evoking the idea of light.

Wow-- this is the kind of work that Mike Oldfield attempted to do but couldn't. It truly is a cohesive, unique, well-crafted whole, flowing together beautifully, packed full of interesting ideas. It is neither rock nor classical nor jazz-rock, but a perfect and perfectly assembled combination of all sounds and styles and streams of music humanity has conceived of. What a masterpiece.

Valon vuoksi (1979): (For the sake of light)

1. Taivaan täyteyttä (Fullness of Sky)
2. Pieni talvinen ylistysruno (A Small Wintry Ode)
3. Kevättalven "kuume" (The Fever of Early Spring)
4. Kevät "raskaus" (Spring Pregnancy)
5. Kevät kesä "syntyneenä talven kohdusta" (Spring Summer Born From the Womb of Winter)
6. Kesä (Summer)
7. Kesän kunniaksi... (For Summer...)
8. Syys kesä (Autumn Summer)
9. Syksy (Autumn)
10. Syys talvi (Autumn Winter)
11. Ikuisuus jatkuvuus (Eternity Continuity)
12. Valon vuoksi (For the Sake of Light)


Jukka Gustavson, keyboards, percussions
Tim Ferchen, marimba, xylophone, clockwork, vibraphone, tubular bells, kettledrums
Pekka Suvanto, drums, gongs, cymbals, bells
Gunnar Lausund, alto flute
Panu Antere, oboe
Pentti Mikkonen, viola
Seppo Ristolainen, viola
Risto Fredriksson, cello

A million thanks to Isabel for this...

Japan. Schoolgirl. Talent show. Chooses to play obscure prog piano concierto. Gets lukewarm reaction. Melts. My. Heart.



Just to show she wasn't fucking kidding...

Here's one of two posts lined up to get you through the weekend. First, we have what I believe to be the complete discography of Italian band Chrisma, a synthpunk outfit active in the late 1970s. The band combined a Marlene Dietrich kind of vibe with krautrock, Chrome-esque guitar lines, disco rhythms, and primitive synthesizers for a futuristic and incredibly eclectic sound. Very ahead of their time, as far as I'm concerned, especially when you hear the drastic jump in styles between the first 7'' and the debut LP.

The band takes its name from combining the first names of members Christina Moser and Maurizio Arcieri. Their earliest recordings were made in Vangelis' home studio, which more than likely explains their futuristic sound. There's even a rumor kicking around that Vangelis himself performed on Chinese Restaurant, but he is not listed in the album credits.

While the band was formed in Italy, they sang the majority of their songs in English, which helped earn the band a few fans stateside. You can still hear "Black Silk Stockings" (IMO, the band's best track) in various clubs to date. In 1980, the band changed their name to Krisma and took a more synthpop turn, releasing five LPs and a slew of singles. Perhaps I'll cover them someday in the future, but otherwise, here's the full Chrisma output- two LPs and two 7'' records. I didn't include a few of the other 7''s, as the band would double up on album cuts for b-sides. Here's the rundown:



Chrisma- Amore 7'' (1976)
1. Amore
2. Sweet Baby Sue



Chrisma- Chinese Restaurant LP (1977)
1. Thank You
2. Black Silk Stocking
3. Lola
4. C-Rock
5. What For
6. Wanderlust
7. Lycee
8. Mandoia
9. Thank You



Chrisma- U 12'' (1977)
1. U Part I
2. U Part II



Chrisma- Hibernation LP (1979)
1. Calling
2. Aurora B.
3. Rush '79
4. Hibernated Nazi
5. Gott Gott Electron
6. We R.
7. So You Don't
8. Lover
9. Vera Platz

*download all four here*

In case you're not sold on downloading this discography, peep a performance of "Black Silk Stocking/Lola" here, complete with a latter day interview with the band, for those fluent in Italian. Awesome.

Pardon the technical difficulties- it seems as if both the Troubled Gardens and the Chrisma files were corrupt at some point. Troubled Gardens was reuploaded immediately on Friday, so track 1 ("Voice Carryovers") should now be intact. The Chrisma discography issue has just been brought to my attention today, and it has been reuploaded. With 200+ downloads before a single complaint, I'm surprised no one mentioned it sooner!

Hopefully, the problem has been rectified- but do chime in and let me know if not.

Just found a sealed (!) copy of this killer 12'' for super cheap, so figured I'd share it for you all. I can't seem to find a ton of information about Troubled Gardens, but expect some bass-heavy and driving post-punk/coldwave sort of vibe here, hailing from the United States. Three of the songs here are vocal ragers, while the other three are more dub-inspired jams.

This 12'' was released in 1985 by Fountain of Youth records, home to bands like The Crippled Pilgrims, Government Issue, and The Velvet Monkeys. This is one of their final releases. Here's the information:



Troubled Gardens- Eden Revisited 12''
1. Voice Carryovers
2. Incredible Changing Dub
3. Silent Cry
4. Domination Dub
5. Hour Of The Sun
6. Spy Dub

*download it here*

REUPLOADED- track 1 should no longer be corrupt!