2010 Enric Casasses & Pascal Comelade – N'Ix 我想了好久，Gong或披头士或某，才想起来，Disset Anys是SoftMachine的WeDiditAgain。

战争结束之后，制造炸药的工厂荒废下来，氮肥的制造者很高兴，因为他们的繁荣年代即将来临。由于氮肥的价格低廉，农民们选择那些最能吸收氮肥的农作物。作为依据单一特质被挑选出来的物种，它们有一个普遍性的缺陷——脆弱。这是我听完新专辑《麻音乐》之后的感受。在此之前，我已经有将近两年时间没有听国内的地下音乐。时间改变了一些人与棋子的编排组合，却没有改变我对此类作物的最初印象。 它的封面，是一个被压缩的肛门，上面印着“被侮辱的姿势”，单纯从设计上，它就很充分地表达了它的反大众审美趣味倾向。这没有什么不妥，虽然大部分自诩为激进派的摇滚乐手都未必如他们的封面那样，表里如一；它的歌词表设计，让人想起那些据说为民间观影组织播放的电影，说着方言，配着英文；它的歌词，比如“踢烂一个社会只需一脚／这是一代的耻辱／这是一代的任务／……” 社会、一代、耻辱……这些大词，与其说它们让我想到一种支持少众艺术的知识分子的大无畏气魄，不如说它们让我想到拉大旗做的虎皮，它们曾经以相似的形式出现在独裁者的年代，比如罗伯斯比尔的年代或者著名的“水晶之夜”。虽然出发点是自由的、独立的，但往往因为空乏其身最后总是以一场血腥结束。在另一些歌词中比如“异端的权利／是战栗的呐喊”，似乎在回盼茨威格充满绝望热情的赋格曲，但因为缺乏慎醒的思考，听上去和它的歌名一样名符其实——《哆嗦哆》。事实上，它的大部分歌词，像是一股融合了排比、比喻、拟人、拟物等等定语和状语的怨气——从来没有一种怨气真正能够接近事物的本质。 它的乐手，是国内一些很有名气的地下乐队。如果说看完《英雄》我感到以经济和增长为主流的观念对一个普通公民的压力，那么听完这张中国摇滚乐专辑，我只能感到沮丧。真诚如果仅仅作为创作原动力的一个方面，是很单薄的。“真诚”这个词，如果用物理学来解释的话，随着每次更深入和更细致的观察，事物与事物之间相互作用的结果发生改变，词的意义也就随之改变。 它的技术，哦，我差点忘了，它很久以前就形成一个传统，它似乎是反技术的。那么不谈也罢。 P.S:如果说2003年我对国内乐队们的表现丧失了热情与期待，那么，这张唱片结结实实打了我一个耳光。如果你厌倦了华北的金属们，武汉已死去的朋克们，还有不伦不类的电子及隐晦的独立流行，那么这张唱片将是你最好的聆听工具。这张唱片集合了“美好药店”，“废墟”，以及我个人最喜欢的“木推瓜”近乎完美的作品，尤其是“木推瓜”那三首，在主唱兼主创宋雨哲离队后，已经成为绝唱。 我推荐这张唱片，是因为对国内摇滚乐仍怀有满腔热情的人们来说，这将是人手一张的唱片。

Given total creative control by producer and friend Frank Zappa, Beefheart and his Magic Band rehearsed the material for this 1969 album for over a year, wedding minimalistic R&B, blues, and garage rock to free jazz and avant-garde experimentalism. Warner Brothers Records.

Franco Battiato, born Francesco Battiato (Ionia, March 23, 1945 - Milo, May 18, 2021), was an Italian singer-songwriter, composer, musician, and painter.

Bass – Paolo Carrus Drums – Tore Corazza Guitar – Cicci Solinas, Pietro Carrus Keyboards, Vocals – Piero Salis

Japanese reissue of the Italian progressive rock act's 1972 album, packaged in a miniature LP sleeve. A trio from Turin, formed in 1970 by keyboard player Alluminio and drummer Ostorero with various guitarists (Guido Maccario, Aldo, Andrea Sacchi, Piero Tonello, then Enrico Cagliero), they only lasted for a couple of years and their only album, Scolopendra, was issued when they had already split. Arcangelo. 2004.

Italian two-on-one reissue combines the Italian progressive rock act's 1973 self-titled debut album, 'Dedalus' with its 1974 follow-up 'Materiale Per Tre Esecutori E Nastro Magnetico'.

One of the most ambitious debuts in rock history, Freak Out! was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical progression; the first half is dedicated to catchy, satirical pop/rock songs that question assumptions about pop music, setting the tone for the radical new directions of the second half. Opening with the nonconformist call to arms &Hungry Freaks, Daddy,& Freak Out! quickly posits the Mothers of Invention as the antithesis of teen-idol bands, often with sneering mockeries of the teen-romance songs that had long been rock's commercial stock-in-trade. Despite his genuine emotional alienation and dissatisfaction with pop conventions, though, Frank Zappa was actually a skilled pop composer; even with the raw performances and his stinging guitar work, there's a subtle sophistication apparent in his unorthodox arrangements and tight, unpredictable melodicism. After returning to social criticism on the first song of the second half, the perceptive Watts riot protest &Trouble Every Day, & Zappa exchanges pop song structure for experiments with musique concrète, amelodic dissonance, shifting time signatures, and studio effects. It's the first salvo in his career-long project of synthesizing popular and art music, high and low culture; while these pieces can meander, they virtually explode the limits of what can appear on a rock album, and effectively illustrate Freak Out!'s underlying principles: acceptance of differences and free individual expression. Zappa would spend much of his career developing and exploring ideas -- both musical and conceptual -- first put forth here; while his myriad directions often produced more sophisticated work, Freak Out! contains at least the rudiments of almost everything that followed, and few of Zappa's records can match its excitement over its own sense of possibility.

77年に発売されたアルバムのCD化。わらべ唄,声明,三味線音楽など新境地を開拓した3枚めのアルバム。5のウィットは抜群だ。故小泉文夫の解説も付いている。

Borgmann Live in Poland

Recorded in December 1997 and March 1998 in Oakland, California.

Salle Gaveau spawned from the Japanese Avant-prog band Bondage Fruit, birthed by guitarist Natsuki Kido. Their archetype Tango sound wa s highly influenced form masters Astor Piazzolla, with all performers versed in Argentinean Tango. The band made their first appearance as a group in 2003, consisting of Natsuki Kido (guitar), Naoki Kita (violin), Yoshiaki Sato (accordéon) and Keisuke Torigoe (contrabass). In October 2005, Masaki Hayashi (piano) joined the band, rendering the line-up complete. The other release is also posted 1 La Cumparsita (Extracto en Sampler) 2 Ecosistema representado por cuentos infantiles 3 Endiablamos al diablo 4 Rain at 3:00 P.M. 5 Magic shadow show 6 Three Sundays in a Year 7 Saya melihat terang bulan di gang 8 Rhinoceros vipers marched 9 Afterglow above Jimbo-cho 10 Messy order

Recorded at Moat Studio, London on 1 February 2002. Executive-Producer – John Zorn Guitar – Derek Bailey Mastered By – Scott Hull (2) Producer – Derek Bailey Recorded By – Toby Hrycek-Robinson

Bass – Igor Tikomirov, Sasha Titov Computer – Youri Gourianov Guitar – Yuri Kasparyan Keyboards – Sergey Kuryokhin Vocals – Olga Kondina

downyのドラマー秋山タカヒコ、ベース仲俣和宏を中心に、伊東真一(HINTO、killing Boy(レギュラーサポート)、元スパルタローカルズ)、藤井友信(MUSIC FROM THE MARS)、中村浩 (中村浩 Quartet)で構成された超絶技巧派バンド"fresh!"が、活動8年の集大成となる初CDを遂にリリース。超高次元でコントロールされた音のカオスを、あなたはどう受け止める?! downyのドラマー秋山タカヒコ、ベース仲俣和宏を中心に、伊東真一(HINTO、killing Boy(レギュラーサポート)、元スパルタローカルズ)、藤井友信(MUSIC FROM THE MARS)、中村浩(中村浩Quartet)というインクレディブルなメンバーで構成された超絶技巧派バンド"fresh!"が、活動8年の集大成となる初CDを遂にリリース。プログレッシブなサウンドを軸にダークでドコカへ沸点を求めるが、またソノ中から沸点が次々発生し、発火する花火のような、予測不能の音の連鎖のスリルと鉄壁のアンサンブルに身悶えする、このメンバーだからこそ成し得た"ポスト"をさらに更新する最新鋭現代アヴァンロック。そして。5曲目「ナンジャの空」にはdownyの青木ロビンが参加。 Members: Guitar: 伊東真一(HINTO,killing Boy(レギュラーサポート)、ex-Sparta Locals)/Guitar: 藤井友信(MUSIC FROM THE MARS)/Sax: 中村浩(中村浩Quartet)/Bass: 仲俣和宏(downy、ex-karen etc.)/Drums: 秋山タカヒコ(downy, ex-karen, Loves, etc.) 【Profile】 結成2004年、downyのドラマー秋山タカヒコ、ベース仲俣和宏を中心に 結成。ギターにHINTO、killing Boy(レギュラーサポート)、元スパルタローカルズの伊東真一、MUSIC FROM THE MARSの藤井友信、サックスにJAZZ畑の中村浩Quartetの中村浩をメンバーに迎え、月1本から2本の都内のライブで活動中。ヨーロッパ、福岡でのツアーも経験。轟音かつ一発ですべての音を包み込み攻撃するようなサウンドは他に見当たらない。そして、ライブはエグくてどこかユーモラス。ジャズ、ロック、ファンク、クロスオーバーさせたサウンドは昨今のインストバンドとは一線を画す存在。