Festwca

Damn, do you really want to review everyone! Are the Nova Mob coming too?

I am among those who turn up their noses. Back in the day, there were still a few songs I appreciated, I had even learned to play "If I Can't Change Your Mind" on the guitar. The EP Beaster (from the same year) was a bit better.

What a beautiful page, so many tips (and I'm taking notes...)

I really think so :)

I have only heard Sueno Latino mentioned, Trans-Europe Express is one of my all-time favorite electronic records.

@odradek: there’s a review here on DeB by Marcel Proust (an expert on all sorts of drones) about one of their non-drone records. @mah: did you only read the first sentence? Because then I go into quite a bit of detail, maybe too much technical stuff. @Arnoldlayne: I was also surprised by your appreciation: do you really like post-77 commercial dance??? @ghemison: of course, I’ll mark it too, but who knows when I’ll listen. @everyone: thanks

Oh yes, I’m aware of that too - am I becoming electronic as well??? - However, it seems to me more on the ambient drone side, and in that realm, Jessamine and Loren 'Mazzacane' Connors are more than enough for me. Still within the drone sphere (but more on the psychedelic side), the collection "Harmony of The Spheres" is absolutely stunning (featuring Bardo Pond, Roy Montgomery, Flying Saucer Attack, and the aforementioned). Mmm, it might just call for a review...

eheh, I was waiting for comments from ghemison and zion. I remain a rotten rocker at heart, but if I may (from the depths of my electronic ignorance), I would recommend to those present an album from this year, faintly related to these techno-dance territories. They are called The Field, and the album is "From Here We Go Sublime." I stumbled upon them on Pitchfork (even though I don't visit the site that often), and it turned out that it stuck with me, and I've had the pleasure of listening to it a few times.

Great. I have two albums by these gentlemen, I like them without driving me crazy.

Welcome back, Odra. I confess that after seeing your return (even if only as a commentator), I was hoping for an appearance on my page. Hello. Short is beautiful, of course. I’ll add a few more pieces in the commentary phase (from the notes of the booklet written by the man himself): at that time, Manuel Gottsching (if you haven't realized it yet: the guitarist of my favorite psychedelic group of all time) kept the studio (stuffed with all the machines, computers, synthesizers you can imagine) always on day and night. This way, he could start playing/recording whenever he wanted, whenever inspiration struck him. At the end of 1981, after a tour with Klaus Schulze (another Giant of kraut-rock), at home but with his mind still “in concert,” he began improvising the two famous chords. He got so into it that he carried on for an hour, and in the end, it resulted in a perfectly balanced and fluid recording. Even untouched by the usual flaws (I quote: crackling, dropouts, distortion, abrupt level changes). Of course, he had recorded many other "home jams," but this one left a mark on him, and after listening to it for years, finding no flaws of any kind, in 1984 he decided to bring it out of the drawer. The rest is history.