The Pop Hell - Narrow (3) - Cassettes (CDr)

The issue is not the cassette format per se, but the fact that one can record on cassettes. Many record industry spokesmen have blamed the increasing sales of cassette hardware and blank cassettes for the recent decline in record sales, arguing that when one consumer buys an album these days, a number of that person's friends will The Pop Hell - Narrow (3) - Cassettes (CDr) the album rather than buying one for themselves.

In fact, record-industry representatives in the United States and Britain The Pop Hell - Narrow (3) - Cassettes (CDr) been pressing for a tax on blank cassettes.

There's a great deal of research being conducted in an attempt to come up with some technology, such as a coded signal on a record, that would prevent its being taped. We're hoping for a breakthrough there, but it also seems to me that it would be in the best interests of the recording industry to levy a tax on blank cassettes which would help offset the losses suffered by the companies and their recording artists from home taping.

The British Phonographic Industry, or BPI, has been pressing for a similar tax; a spokesman for the organization maintained recently that ''home taping is gradually killing the music industry. But organizations like the BPI do not always mirror the opinions of The Pop Hell - Narrow (3) - Cassettes (CDr) their members. Chris Blackwell, the president of Britain's Island records, drew the ire of the BPI earlier this yearwhen he began marketing Island's most popular albums in a cassette configuration called One Plus One.

The albums are recorded on one side of a high quality, chromium dioxide cassette manufactured by the German firm BASF; the other side of the cassette is left blank. Several years ago, Advent issued classical cassettes with blank second sides in the United States and caused no apparent furor, but times have changed.

The BPI argued that the One Plus One packages were open invitations to home taping and asked its members not to help market them. Most of the major British record stores, including chains owned by record companies, stocked the One Plus One cassettes anyway, and they began selling briskly.

Warner Bros. But several British companies have reacted to the One Plus One format with ideas of their own. In the United States, Columbia and other major labels have reacted, if only indirectly, by considerably upgrading the packaging of their prerecorded cassettes. The cassette version of the latest album by Columbia's popular rock band Journey, for example, includes a fold-out sheet with colorful graphics and all the information that is included in the album package.

This is a departure from the minimal packaging that usually accompanies cassette releases of popular albums. Nothing new, not particularly great, but executed with great care: exactly the kind of music which people should release on a cassette.

Black cover with silver inkt, edition of copies. Did the project of Ryan Huber stop or was it in hibernation? The previous was reviewed back in Vital Weeklyso me thinks not very long ago.

Lots of fuzz is used, so we might be able to say that the biggest influence is shoegazing here. In hibernation or not, this one is actually quite nice again. The next step would be expansion: more song like structures, a singer perhaps, or real drums.

For his 'Sensacions Desplacades' he sticks his microphone outside but not really in the water, as we should think is somewhat required with this label. Its a work that has a flow however, perhaps alike water, but it seems less based on composition principles and more about going with the flow of the recording that is the background drop of it.

I have no idea what that is, but it may seem that it is a recording of a motorway, to which he adds a bunch of other field recordings and mainly uses the equalization to transform it during its fifty-one minute The Pop Hell - Narrow (3) - Cassettes (CDr).

This is a true sound-scape, without too much care for detail or dramatic courses, but that is perhaps not always necessary.

Not the best work around, but all in all quite alright. They are credited with computer, magnetic field detectors, analog synthesizer and short wave radio. Maybe, looking at the title, it was a recording made without the presence of any audience, or perhaps not many, but then surely people missed out on an excellent thirty The Pop Hell - Narrow (3) - Cassettes (CDr) excursion in the world of magnetic, static and moving waves. Static it seems, but that's only when heard superficially.

If you listen closer, you'll find that this actually moves all the time. Hissy, high pitched, with occasionally a deeper end, crackling with radio waves and all such like.

There are even bits of percussive sounds in there, courtesy perhaps of Kahn perhaps which adds also the vibrancy of the whole thing. A refined work by these masters of the finest drone around. Sometimes I like what he does, sometimes it annoys me a bit. I guess it depends on the mood I'm in. This work is apparently influenced by T.

Eliot's 'Four Quartets', which I didn't read of course, and Brandal uses for his omni present, slightly distorted drone work, guitar, violin, keyboards and loops. About this work I have mixed feelings too. I like the beginning and the end, especially the last track, 'Arriving Where We Started', with their open feel to it.

In between we have a couple of more muddy tracks of distorted sound, dragging on and on. Not bad at times, not great at others. Brent Fariss is a contrabass player with The Gates Ensemble and Sirsit, and this might be the first time I hear his solo music.

These pieces all use, to some extend or another, contrabass, electronics and field recordings. Four quite long pieces that all have a certain minimalist quality, even when say 'hidden voices' such as in 'Three Spirit Recordings' provide with something that is not ongoing or sustaining. I thought this was a pretty fine release of shifting electronics, lo-fi textures, acoustic debris and other fine rumble.

A fine production that takes care of the various details in a very dynamic range. Great release. Matamoros is duo of R.

Lee Dockery synth, upright bass, electronics and Derek Rogers synth, percussion, vocals, electronics and they have played a couple of shows in their hometown Austin, Texas. It starts out with synthesizer, which sort of shimmer throughout the whole piece, then slowly percussive bangs are added, bits of vocal like sounds but as the piece evolves things smooth out, get softer and tranquil.

Its all highly improvised, but it has actually a great atmospheric quality - loose but atmospheric. Alfred Harth I know from the days he was working with Heiner Goebbels. Together they had a very fruitful collaboration in the 80s. But this is clearly history. No idea how things developed for Alfred 23 Harth over the years, I have to admit. His solo releases are very few from what I understand, which is a bit astonishing for a musician with such a long career.

And now we are dealing with his newest try. Some tracks contain early informal recordings of mine fromwhen I was 23 years old", explains Harth. This work is part of a project Harth started inusing sax, contact microphones for feeding devices as the Kaoss Pad, plus laptop. In this project Harth's long time experience of using devices and effects culminates in a fantastic work.

Yes, this is a great work. I'm totally flabbergasted at moments. Harth uses extended techniques only, so to speak. So his music is very far out, but at the same time it is very nearby. It is not losing itself in the world of technical possibilities, but Harth constructs musical buildings with a heart beating in it.

Many, many musical ideas find their place in Harth's imaginative compositions. Music that is very rich and with depth. Only politicians and the police make any money.

It takes Hawking and his PhD student 18 months to get a handle on the refutation, most releases not just in noise are so narrow they slip through needles eyes with ease.

Communication is in the main simplex these days, who wants a conversation, just the hope that obscurity brings money. Whatever happened to Dido. And I wont buy the Wire as they wont run my ads. Anyway some writer spends 5 years at Uni and still thinks Deleuze means Common sense when he says common sense.

As such how can anyone approach a subject. I'll rewrite that in case you think I'm just parsing words, its been said of me. No I mean "common sense is the norm of identity from the point of the pure Self. But they all say they do. There is a lot of swearing. Shiszh- so it's a case of anything- well no. Even a bad image, bad recording - even the tumult of unheard releases is the "clamor of Being" - see I can do Badiou too.

The cover art doesn't bother me. It's punk. It's Straight to Hell. Hey, soniclovenoize, what about the real Cream "Goodbye" album, with the same format as Wheels Of Fire. Those are the tracks I chose for the studio disc: Side A 1.

Theme for an Imaginary Western 3. What a Bringdown 4. Presence Of The Lord 5. Badge 2. Rope Ladder to the Moon 3. Tickets to Water Falls 4. Deserted Cities of the Heart 2. White Room 3. Tales of Brave Ulysses Side D 1. Sleepy Time Time 3. Cool idea. I would have included "The Clearout" here, since Cream actually attempted that song at one point and I think it would have been a natural for them.

Black Rain 2. The Telephantasm 3. Night Surf 4. Kristi 5. Taree 6. Live to Rise 7. Twin Tower 8. Flutter Girl 9. Toy Box Birth Ritual Rowing Or make a version of the "4-Track" Demo. This is an intresting blog that you have posted, you shares a lot of things about Security Officers ,Security Guards and Mobile Patrols. Which are very informative for us. I'm also not a huge Clash fan, but I do occasionally like them.

This reconstruction is probably the best Clash album as far as I'm concerned. Great job! I look forward to checking out more of your work! I just discovered your site. You do outstanding work, Mr. I never felt that the album-plus-singles-and-b-sides hung together until I got The Beautiful People and Kill Time; those two put things right.

It needed one more killer track; an extended mix of Radio Clash. Brilliant job on this. Have returned to this post a few times over the years, and again, the passing of Ranking Roger brought me back again. A question i've always had but never asked is what is the source for this being the original Mick Jones running order? You mention the Mick Jones master but i've not been able to find this info elsewhere.

Are you able to shed some light on this? Thanks, Christian. A specific poster on the SH forums has heard and seen Mick's original master. About Me Hal Jalikeakick View my complete profile. Posted by Hal Jalikeakick at PM 5 comments:. Labels: King Crimson. Continuing my never-to-be-quenched thirst for vinyl, here's a great offering from the European anti-CD label Sodium Haze Records.

Pressed in perhaps batches of pieces correct me if I'm wrong thereyour chances of snagging one are very limited Side one features three tunes from the "Rome Goes Pop! The quality is simply stunning. The last track is of mention as it contains vocals. For those of you unfamiliar with the extra titles, these tracks were performed on the road during as part of a concept piece "The Man and The Journey".

The versions presented here are notable for their differences from the normal concert routine. The sequence of songs on this album are simply superb. Hope you like it. Posted by Hal Jalikeakick at PM 2 comments:. Labels: Pink Floyd. This is an excellent Audience Recording. There is a 2 second dropout during Magic Bus at 7m32s and also a slight tape drag present during the intro at 6s.

This was the last of three nights at Fillmore West and the day before their court appearance in New York the following morning for a scuffle on stage at the Fillmore East on 16th May.

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