Amoeblog

Der Blutharsch's Psychedelic Farewell

Posted by Aaron Detroit, November 18, 2009 02:30pm | Post a Comment

Austrian apocalyptic-industrial collective Der Blutharsch have just released their follow-up to last year’s The Philosopher’s Stone. The appropriately titled, Flying High!, reaches a peak in the bad-trip psychedelic heights the group began maneuvering towards on 2005’s When Did Wonderland End? (which remains the group’s most accessible album to-date). High’s CD slipcover uncharacteristically features a tongue-in-cheek photo of a presumably hallucinogenic, heart-shaped cake with the album’s title written in blue icing - preemptively answering the question one might ask upon first listen of this disc: “What kind of drugs are these people on?!?”

Der Blutharsch began as a one-man project featuring only Vienna-based Albin Julius just prior to leaving the medieval/ritual duo, The Moon Lay Hidden Beneath A Cloud, in 1999. Over the last decade, Der Blutharsch sojourned through phases of dark-ambient, post-Industrial, martial-industrial, and neo-folk collaborations with Death In June’s Douglas P. before settling into the gloomy apocalyptic-rock the now-expanded-to-a-4 member group plays. Julius has caught a lot of flack over the years for his various aesthetic and stylistic choices, from the Laibach-like controversy caused by critiques over military-related artwork and samples to angering fans over his apparent all-together abandonment of martial-industrial, a genre he is often credited with helping found. Julius, seemingly unfazed by any of this, has delivered one of the strongest albums in his discography. This means the band will end on a “high” note, now that Julius has announced that this will be the last Der Blutharsch album of new material as he plans to retire the name and move on to other projects.

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The evolution of the music video, part II (1950s - 1960s)

Posted by Eric Brightwell, August 6, 2009 01:45pm | Post a Comment
As persuasively and incontestably argued in The evolution of the music video, part I  (1890s - 1940s), the music video began not in the '80s, as is often wrongly assumed, but the '90s... the 1890s (if we accept the basic concept of videos being one stand-alone work of one song/one visual). From the humble sound experiments at the dawn of the celluloid age through the artistic flowering of Soundies, many musical promos were created of high historical and artistic importance. In the 1950s and '60s, videos moved from bars and clubs to the living room, as television became the new venue for music promotion.

Cineboxes, Scopitones and Color-Sonics
According to the Quixotic Internet Accuracy Project, the term "music video" was coined by DJ (VJ?) J.P. "The Big Bopper" Richardson in 1959. That year, the Cinebox hit the scene, essentially following in the footsteps of Soundies by manufacturing videos for what was essentially a jukebox with a visual component. In 1965, the Cinebox was re-branded the Colorama in the US. The following year it was again re-branded, this time as the Cinejukebox.

Cinebox Brochure  Frankie Avalon and a Cinebox Cinebox highlights

Hugh Hopper 1945 – 2009

Posted by Whitmore, June 10, 2009 07:09pm | Post a Comment
 
When I was about 13 years old I became a regular customer at Platypus Records on Hollywood Blvd about a half a block east of Vermont in Hollywood. It was all about their inexpensive used records. I still spent a small fortune from money I earned the old fashioned way; recycling cans and bottles, mowing lawns and stealing money from my mom’s purse. I found great records for pennies. And one that left an indelible mark on my rookie ears was the Soft Machine album, Volume Two, released in 1969 and featuring Robert Wyatt on drums and vocals, Mike Ratledge on piano and Hammond organ, Brian Hopper on saxophone and Hugh Hopper on bass and guitars. I think I paid 99 cents for the album.
 
When I bought that record all I knew about Soft Machine was that they were part of some mysterious and legendary English Canterbury music scene, they hung out with Syd Barrett’s Pink Floyd and once toured the US as an opening act for Jimi Hendrix. Volume Two is still one of my all time favorite records. Over the years I’ve worn out more than a few copies.
 
This past Monday, idiosyncratic composer, art-rock bassist extraordinaire, veteran of some two dozen diverse solo albums and Soft Machine member, Hugh Hopper, succumbed to his year long battle with leukemia. He was 64.
 
In his years before Soft Machine, Hugh Colin Hopper, born April 29, 1945 in Canterbury, Kent, found himself immersed in the burgeoning Canterbury scene and emerging bands like Gong, Hatfield and the North and Henry Cow. In the mid sixties he was working with Daevid Allen and Robert Wyatt in the Daevid Allen Trio. That band evolved into the Wilde Flowers, an almost mythic pop and soul band consisting of his brother Brian, Robert Wyatt, Kevin Ayers and Richard Sinclair that spun off into two influential progressive rock groups, Caravan and Soft Machine.
 
Hopper joined Soft Machine in 1968 after their tour with Hendrix, contributed two compositions to their first self titled album, recorded in New York. Their sophomore release saw Hopper not only adding his virtuoso bass work to the mix but also composing half the tracks. He would remain with Soft Machine through 1973 and the album entitled 6. About the time Soft Machine was moving from a psychedelic, progressive rock sound into more of a jazz/fusion outfit, Hopper departed, recording his classic solo record 1984 at about the same time. His first effort was a decidedly non-commercial adventure filled with avant-garde soundscapes, tape loops, and free improvisation.
 
After his stint with Soft Machine, and in between his own solo projects, Hopper worked with some of the most original musicians of the last thirty years; Carla Bley, Keith Tippett, Robert Wyatt, Elton Dean, Pip Pyle, Stomu Yamashta, Phil Miller, Lol Coxhill, Allan Holdsworth, Chris Cutler, Yumi Hara Cawkwell and bands like Gilgamesh, Isotope and Soft Heap. In 2002 Hopper began a new association with several former Soft Machine members. Originally named Soft Works, they later renamed the reunion Soft Machine Legacy; besides touring extensively throughout Europe and Asia, they’ve also released four CD’s, two studio and two live recordings.
 
After his diagnoses last summer with leukemia, a benefit concert was held for him at London's 100 Club in December, featuring friends and many of his legendary musical collaborators from all phases of his career.
 
Just two days before his death he married his longtime companion Christine.




Carnival of Light

Posted by Whitmore, November 21, 2008 06:52pm | Post a Comment

"Carnival of Light," the long-rumored, almost mythical 14-minute experimental Beatles track, may soon see the light of day. Composed and performed only once for an electronic music festival in 1967, Sir Paul McCartney earlier this week confirmed that the recording exists, and the piece once thought to be too experimental for mainstream tastes might actually see a release date sometime in the near future.

In the 1990’s while preparing the Anthology collection, the Beatles plus producer George Martin vetoed its inclusion, deeming the track as being "too adventurous" for release. But McCartney feels the public is ready for the psychedelic/avant-garde inspired tune, which is said to include improvised distorted guitar, church organ, gargling, backwards tape sounds, random cacophony and band members shouting words or phrases like "Barcelona!" and "Are you all right?"

First though, approval from the estates of John Lennon and George Harrison, plus permission from Ringo Starr and George Martin would be required.

I found a video on YouTube that claims to contain actual  "Carnival of Light" music. Of course if this is a real Beatles tracks, it's brilliant! If this is in fact not a recording from he Beatle's, it  just  becomes ... more stuff.

The Kingsmen

Posted by Whitmore, August 8, 2008 10:00pm | Post a Comment


45 years ago today, on August 8, 1963, a band from Portland, Oregon, The Kingsmen, initially released their classic version of "Louie Louie" on Jerden Records. Written by Richard Berry in 1955, it has since been recorded by hundreds of artists, becoming a rock standard, especially for garage bands cranking their amps to 10 in beer soaked clubs and basements everywhere. Richard Berry recorded his version in 1957, and it was released on the Los Angeles based label Flip Records. The original version is sung in a more of a bluesy-calypso style and tells the story of a Jamaican sailor bragging to his pal Louie about his "fine little girl" back on his island home.

The best-known version is of course by The Kingsmen and has always been thought of as being outrageously obscene, describing lascivious acts of extreme perversion in such detail as to warrant an investigation by the FBI-- an investigation that ended without prosecution. Here are the legendary lyrics:

Louie Louie, oh no
Me gotta go
Aye-yi-yi-yi, I said
Louie Louie, oh baby
Me gotta go

Fine little girl waits for me
Catch a ship across the sea
Sail that ship about, all alone
Never know if I make it home

Three nights and days I sail the sea
Think of girl, constantly
On that ship, I dream she's there
I smell the rose in her hair.

Okay, let's give it to 'em, right now!
 
See Jamaica, the moon above
It won't be long, me see me love
Take her in my arms again
Tell her I'll never leave again

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