born in texas, raised in kentucky; david pajo is a musician. his name is not in common parlance, but pajo has been involved in much of the greatest music of the last two decades. he first played out in the early 1980s. he went on to instant infamy with the group slint.
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north marine drive is the debut album of ben watt. the album was released on cherry red in 1983, prior to watt's success in everything but the girl, and reached number one in the uk indie chart the same year. the tone of the album is reflective and melancholic, reminiscent of some of the more stripped-down work of everything but the girl.
movietone create beguiling musical statements that draw explicit influence from the coastlines of england. when the band recorded a film as a backdrop to their live shows, it featured band members in home made sea-creature outfits and concluded with one of the group wriggling about in the sand dressed as a starfish while their last, lovely release the blossom filled streets invoked images like "1950s chairs weathered by the salt in the air, rocks and grey and the sand and the yellow and the aquamarine in the ocean.
2007 debut solo album by berlin-based guitarist and composer takeshi nishimoto.
monologue was recorded in a one-day session in a church in berlin, the natural acoustics providing a perfect ground for takeshi's compositions.
rhys chatham altered the dna of rock music. the new york-born composer began as a classically-trained flute prodigy, but by 1975, chatham had drastically changed course---having studied under terry riley and la monte young (whom he later went on to work with)---and was fusing the overtone-drenched minimalism of john cale and tony conrad with the relentless, elemental fury of the ramones
orcas is a band by haze-pop auteur benoît pioulard and post-minimalist composer rafael anton irisarri. theirs is a style deeply rooted in personal variations on songform and ambient craft, and as a duo they bridge the furthest outlying aspects of their previous solo work published on kranky, touch, miasmah, room40, and ghostly international. on their debut album as orcas song and abstraction become one entity.
the marine girls were a post-punk group from hatfield, hertfordshire. the group was formed in 1980, by two sixth form school friends: tracey thorn and gina hartman. originally, thorn just played guitar and hartman was the lead vocalist and percussionist. thorn overcame her shyness and started singing too by the time they started making records. they were later joined by jane fox on bass and her younger sister, alice, on joint vocals and percussion.
when snowball was released in 1989, the cover art itself made a statement. released in a plain mauve cover, on 10" vinyl, with the song titles simply printed on the back, the debut album from london's the field mice showed their post-punk roots with artwork so basic as to be boldly provocative.
roland bocquet who created this album has been the keyboard player for the french rock band catharsis from the late 1960s to 1977. 'paradia' is his first solo album and there were more to come. “paradia” is a mostly instrumental record with a very lightweight expression.
colleen is french multi-instrumentalist cecile schott, who uses her voice and the treble viola da gamba (a baroque instrument with gut strings), to weave intricate stories about the human mind and heart. captain of none is the most melodic album in her repertoire, with fast-paced tracks rooted down by prominent bass lines and assorted percussive effects. it is also an album that breaks new ground for colleen in terms of production. while previous works centered around sample-based or looped, minimal compositions, on captain of none schott significantly changed her approach, setting her viola and her voice as focal points. captain of none is inhabited by delicately crafted, other-worldly pop songs incorporating dub-inspired techniques.
the sound of the fifth benoit pioulard full length is lush and verdant, a temperate rain forest of ear ecstasy that reflects the environment surrounding the artist. a mostly instrumental work, it is an adept melding of song and sound, melody and texture, the intangible and the palpable, that in an abstract sense recalls the more fractured and loose end of the 70's krautrock movement.
after being involved in 60s michigan folk and garage-rock bands such as the shillelaghs and peter & the prophets, dave bixby started playing acoustic guitar and experimenting with lsd. after a year of drug abuse he felt broken. starting a soul-searching, spiritual journey, he wrote ode to quetzalcoatl and most of the material for his second album, harbinger’s second coming in just one month and a half. shrouded in mistery, the legend of dave bixby has grown in the recent years.
"tormented,religious,moody drug damaged acid folk from usa."