mUsistenZ

Friday, 26 March 2010

Brendan Perry - Live at Brussels Botanique Orangerie, 20th March 2010 (2010)

Last March 15th, a monday night, I had the privilege to witness one of the most magnificent concerts in years - Brendan Perry was in Portugal for the 1st time!
My post isn't about that particular magical moment I presenced in Braga.
In fact, this post is about a gig in Brussels, only five days later, that someone had the kindness to share on the net.
The sound quality is superb, it was directly recorded from the sound mixer.
As on his portuguese shows, Brendan played a lot of outstanding new material, which will be part of his new album "Ark" (to be released in June), along with some classic Dead Can Dance stuff.
Don't miss it for anything!

O Yuki Conjugate - Sunchemical (1995)

Following my two previous posts of O Yuki Conjugate, "Equator" & "Primitive", here's "Sunchemical", a collection of powerful remixes released after the album "Equator".
Hope you like it!

Thursday, 25 March 2010

Monolake - Silence (2009)

This is the most recent release by Monolake, an electronic musical project formed in Berlin in the mid 90's by Robert Henke and Gerhard Behles.
It will certainly appeal to fans of Autechre, Pole or Murcof.
Enjoy!

Biosphere - Microgravity (1991)

Biosphere - Patashnik (1994)

Biosphere is, probably, the most successful project by Geir Jenssen since his departure from Bel Canto.
These were the first two albums he released under that moniker.
Great ambient-minimal-techno, hope you like it!

Fusing elements of composition derived from environmental experimentalists such as Brian Eno, Jon Hassell, and Walter Carlos with the rhythmic backbone of urban dance styles such as techno and acid house, ambient techno's popularity would grow with the popularity of artists such as the KLF, Irresistible Force, Higher Intelligence Agency; and of course Biosphere.
Jenssen's fascination with science-fiction in general (specifically, space) powers his debut album.
Welding eerie samples to house rhythms, Microgravity has a sinister quality that's refreshing compared to much ambient-house of the early '9os.
One reason why Jenssen's work stands out from the flood of early '90s ambient/techno releases is his strong sense of the quirkily creepy. Intensified by the, on the one hand, pretty, on the other, disturbing music, buried synth strings and a soft pulse accentuated by clattering noises deep in the mix, it kicks off the striking Patashnik very well. (Taken from AMG)