Dawid Szczesny - Luxated Symmetry

Dawid Szczesny - Luxated Symmetry 2008, Wroclav

Dawid Szczesny is a Pole whose principal methodology is to cut up and rearrange acoustic instruments – chiefly percussion and double bass – in jittery constructions that sound like they’re hovering between bricolage and modern composition.  However much material Szczesny works with, and it sounds like he’s got a surfeit of samples he’s just itching to squeeze into these arrangements, the end results often sound uncannily like group improvisations.This is an unexpectedly potent kind of structured spontaneity, largely dominated by percussion, which loosely tumbles and clatters in shambling, seesawing patterns, bolstered by meandering, cut-up acoustic bass rhythms.  The fetishising of the Ambient crackle and hiss of vinyl based source material is virtually the only predictable sampling characteristic on display.  Instead, Szczesny follows a willful, crazy-paving path of skewed internal logic, his assembled pieces sounding loose but probing: his angular musical excursions filled in with endlessly shifting details which fit into his overall sound.

Get it here

Mr. Oizo – Analog Worms Attack

Mr. Oizo – Analog Worms Attack 1999, Paris

Get it here

René Lussier – Le Trésor De La Langue

René Lussier – Le Trésor De La Langue 1989, Montreal

 
Le trésor de la langue (English: The treasure of language) is an album of music released by the guitarist René Lussier on the Ambiances Magnétique label in 1989. Many consider it to be Lussier's greatest album.
The album contains several interviews with residents of Québec of the importance of the french language within the province. A number of famous historical recordings are also featured, including Charles de Gaulle's famous "Vive le Québec libre!" speech of 1967 and a recitation of the FLQ Manifesto. These spoken-word recordings are interspersed with the music, as Lussier plays a single note on his guitar to correspond with every syllable of speech. He is quoted as saying, "It's remarkable what melodies we speak to each other every day! And no one's the least bothered by these phrases, but transpose them into music and they can become surprising, even disturbing!"
Although much of Le trésor de la langue is devoted to the continued importance of French in Québécois culture, its message is not one of unadulterated Québec nationalism. The album includes a poem by Richard Desjardins entitled "Qui s'en souvient?", which chronicles the destruction of several Native American societies by English and French colonialists. The liner notes also refer to contemporary events in Canadian politics as a "poisoned chalice" for the survival of the language.

Get it here

Fennesz - Endless Summer

Fennesz - Endless Summer 2001, Wien 

About Fennesz:

Christian Fennesz (born 25 December 1962) is an Austrian musician who uses white noise to create his electronic compositions.

He lives and works in Vienna and Paris, and is often credited on albums simply as Fennesz.

In the late 1980s he formed a band called Maische, with a 'noise meets pop' approach similar to bands such as Sonic Youth and My Bloody Valentine. Despite the local popularity of the group, Fennesz was uncomfortable with the band setup and left.

Afterwards, he became involved in the Viennese techno scene of the early 1990s. From there on, he began to collect his own equipment and produce music based loosely around guitar and synthesizer sounds.

His solo compositions emphasize guitar texture and the burying of pop melodies under layers of effects.

Fennesz had ties with the Vienna-based label Mego, and is now signed to Touch in the UK.

Get it here

Fennesz - Black Sea

Fennesz - Black Sea 2010

All tracks composed, performed, record and mixed at Amann Studios/Vienna and c-street/Paris except "Glide" which was recorded live in Paris and then edited and mixed at Amman Studios. Anthony Pateras's prepared piano on "The Colour of Three" was recorded at Amman Studios in 2005.

Get it here 

Fennesz - Szampler

Fennesz - Szampler 2010

"A collection of samples I made for my old Ensoniq EPS-16 Plus and ASR-10 samplers that I used between 1989 and 1996." – Fennesz, 7 Jan 2010.

Get it here

Edward Artemiev - Solaris

Edward Artemiev - Solaris Music From The Motion Pictures
1990, Moscow

Born 30 November 1937 in Novosibirsk. Artemiev is a Russian composer of electronic music and film scores. Probably best known for his music in the Soviet era films by Andrei Tarkovsky, Nikita Mikhalkov and Andrei Konchalovsky, he has been composing since the 1960s.
In the latter part of the 1950’s, the engineer and mathematician Yevgeniy Murzin had a problem. He had just realized his life long dream of constructing music synthesizer (then called "ANS") but knew no musician with sufficient imagination to explore its vast potential. In 1960, upon meeting 22-year-old Edward Artemyev, a recent graduate of the Moscow conservatoire, Murzin immediately felt he had found what he was searching for in the young composer, who embraced the new instrument and quickly mastered its many subtleties. Artemyev has since composed numerous works varying from electronic avant-garde to film music. He is probably best known for his collaboration with A. Tarkovskiy composing music for his films: "SOLARIS" in 1972, "THE MIRROR" in 1975 and "STALKER" in 1979; and with such filmmakers as Andrei Mikhalkov-Kontchalovskiy and Nikita Mikhalkov.

Get it here

Agitation Free - 2nd

Agitation Free - 2nd 1973, Berlin

Get it here

Agitation Free - Malesch

Agitation Free - Malesch 1970, Berlin

Agitation Free was formed in 1967 by Lutz 'Lüül' Ulrich, Michael 'Fame' Günther, Lutz 'Ludwig' Kramer and Christoph Franke. Famous for their multimedia light shows, they became the house band for the infamous Zodiac club in Berlin. In 1968, they were joined by vocalist John L., who was fired within in the year, possibly for his naked stage antics. In 1970, Ludwig Kramer left and was replaced by Ax Genrich. Likewise, Christoph Franke left this year to join Tangerine Dream (who like Ash Ra Tempel shared practice space with Agitation Free). To replace these losses, the group recruited Jörg Schwenke and Gerd Klemke. Klemke was not to last long though, and the group finally stablized in 1971 as a quintet with the addition of Michael Hoenig and Burghard Rausch. In 1972, the group toured Egypt, Lebanon, Jordan and Greece during which time they made recording which appeared on their first LP "Malesch". In March 1973, Schwenke left the group and was replaced by Stefan Diaz. At the same time, a second drummer, Dietmar Burmeister joined the group. This line up was featured on the posthumous release "Last", and without Diaz the group recorded their "2nd" LP in July 1973. Shortly after this Diaz quit and was replaced by Gustl Lutjens. The group made their final recordings in February 1974, which also turned up on the "Last" LP. The group disbanded after a goodbye concert in Berlin, November 1974. However, in recent years the band has reformed with original members and played a concert in Tokyo at beginning of February 2007.

Get it here