on life, music etc beyond mainstream


1) Neil Young: Flying On The Ground is Wrong, aus LIVE AT THE CELAR DOOR, LP 2/6, 7´11´´

2) British Sea Power: Remarkable Driving Feat, aus FROM THE SEA TO THE LAND BEYOND, CD 04, 4´58´´

3) Stephan Micus: The Music of Stones, Part 2, aus THE MUSIC OF STONES, CD 02, 5’22“

4) Harold Budd: Jane 3, aus JANE, CD 03, 5´07´´

5) Robbie Basho: Green River Suite, aus VISIONS OF THE COUNTRY, LP 1/1, 7´46´´

6) Labradford: Up to Pizmo, aus FIXED:CONTEXT, CD 02, 6´18´´

7) Chris Eckman: Ghosts Along The Border, aus HARNEY COUNTY, LP 2/2, 5´17´´

8) Juan Atkins & Moritz von Oswald: Electric Garden (Original Mix), aus BORDERLAND, CD 04, 9´00´´ (Ausschnitt)


This entry was posted on Samstag, 4. Januar 2014 and is filed under "Blog". You can follow any responses to this entry with RSS 2.0. Both comments and pings are currently closed.


  1. Michael Engelbrecht:

    Zu der CD von British Sea Power: „If you were going to make a film about the relationship between the ocean and British culture, choosing the band British Sea Power to do the soundtrack might seem a little too on the nose for some folks, but it turns out director Penny Woolcock knew just what she was doing.

    British Sea Power’s score for Woolcock’s From the Sea to the Land Beyond isn’t the first time they’ve written music for film — in 2009, they wrote and recorded a new score for Robert J. Flaherty’s classic (staged) documentary Man of Aran — and as before, the group reveals a rare gift for building atmosphere and emotional intrigue with its music.

    While the usual guitars and keyboards play their role in the score, From the Sea to the Land Beyond is frequently punctuated with minimal but effective string and horn arrangements (Abi Fry’s viola is used to splendid effect), and drummer Matthew Wood is a standout, his bold rhythms interacting beautifully with the frequently stark surfaces of the music. A few of the tracks feature vocals, but most do not, and the instrumentals are eloquent enough to communicate without words, conjuring powerful images of the beauty and forbidding power of the ocean that at once sustains and threatens the people who live near its shore.

    Dotted with intelligently applied sound effects and bits of newsreel narration, From the Sea to the Land Beyond often recalls Rachel’s‘ post-rock masterpiece The Sea and the Bells in its evocative impact and thoughtful embrace of elements outside the palette of most rock bands; this isn’t rock & roll, but what it is is something very special, and this is the rare film soundtrack that works nearly as well on its own as it does accompanying another artist’s images. (Allmusic)

  2. Michael Engelbrecht:

    zu der Platte von Labradord: „I always seem to run across David Lynch references when it comes to Labradford, and I guess they’re valid … I, however, keep coming back to Michael Mann and his icy-cold, cobalt blue scenes in stark, cautiously decorated white abstract homes containing glass blocks up the wazoo and an ocean view to die for … Labradford create mood music for those who spend their nights contemplating their immediate surroundings … the art on their walls, the person in bed next to them, the way candle light bounces on the ceiling when the candle is placed under an A/C vent … anything, really … Bastard 60’s Nashville and surf guitar teamed with brainy electronic blips and waves makes a disturbing and hypnotic team … Opening with an 18 minute-plus piece takes guts, and requires patience … This band’s music blooms … it doesn’t happen in seconds … it’s meant for a solitary listener…If you have the will power to digest this type of aggressively-lazy music, you can sit back and conjure up countless images in your mind to it…Labradford is not for the antsy…nor is it for those who like to read along with lyrics … there are none …“ (Irving Rank)

  3. Uwe:

    Guten Morgen !

    Sendung hat mir SEHR gefallen. Aber: diese klirrenden Glissandi (nenn‘ ich mal so), mit dem das Publikum und Neil Young’s „Ansage“ vermischt war, stammt die tatsaechlich von der ‚Cellar Door‘ ?

  4. Michael Engelbrecht:

    Yes, sir! Am Ende lief, hoffentlich gut hörbar die Vinylrille endlos, während meine Stimme zwei Strophen des Eckman-Songs noch einmal nachwirken liess, und dann „the electric garden“ lockte …

  5. sylvia:

    Hallo Micha!
    Klar traumhaft schöne sendung von dir,federleichte steinmusik-nur ein schäferstündchen konnte schöner sein.
    Am ende war ich schon up up and away und hab nur noch deine stimme gehört,nicht was die sagte.
    Kannst das bitte nochmal schreiben?!

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