Jun 19, 2023
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Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
So, this is another episode on my random tracks selection where I played the random tracks from my vinyl collection and post those interests me at the instant (where copyright allows).
#4 Changes - David Bowie
A live version from the first leg of Bowie's 1974 tour was released on David Live; it was notable for Bowie singing the words "children that you shit on" as opposed to "spit on". This version was also released on the album Rock Concert (Netherlands 1979) and as a B-side of the Spanish version of the single "Knock on Wood". A live recording from the second leg of the 1974 tour (previously available on the unofficial album A Portrait in Flesh) was released in 2017 on Cracked Actor (Live Los Angeles '74).
So, this is another episode on my random tracks selection where I played the random tracks from my vinyl collection and post those interests me at the instant (where copyright allows).
#3 The Snow is Dancing - Ruth White
Ruth White was commissioned by EMI around to record Short Circuits, covering Satie, Debussy, Verdi and others, including a clever bee sound on Flight of the Bumble Bee, but also with many cosmic sounds, and using various electronic organs as well as the Moog. Â Whiteâs arrangement of The Snow is Dancing was almost as convincing as the later Isao Tomita version
So, this is another episode on my random tracks selection where I played the random tracks from my vinyl collection and post those interests me at the instant (where copyright allows).
#2 Behemoth - Talker
Chicagoâs Karl Meier & Johnathan Krohn aka Talker properly realise the projectâs industrial potential with âHariâ, their debut LP for Downwards. Last spotted on a 12" with expanded version of 'Cut The Weightâ from the 'Halhaâ compilation, this appearance feels more affected, atmospheric, bitterly resolved. Thereâs eight tracks on offer, including the monstrous doom copulation of 'Meniscusâ featuring label-mate, Kerridge, amongst the Eraserhead ambience of 'Hariâ or the ghostly industrial romance of 'Image Unionâ, whilst the bombed-out techno hulk of 'Behemothâ and the 'floor-razing mission, 'Frame Captureâ more than capably carry the dancefloor weight thru to Ventolin-style breakbeat workout, 'Anthonyâ and the gothic thunder of 'Phalanxâ.
Anya is live and ready to show you everything. Watch her strip, dance, and perform exclusive shows just for you. Interact in real-time and make your fantasies come true.
Free to watch ⢠No registration required ⢠HD streaming
So, this is another episode on my random tracks selection where I played the random tracks from my vinyl collection and post those interests me at the instant (where copyright allows).
#6 Gentle Sarah - Thomas Browne
Gary Wright, credited with playing piano and organ on here, together with Mike Jones who plays guitar were forming a short lived band in 1971 called Wonderwheel. Gary, a member of Spooky Tooth (see Spooky Two LP), together with Jerry Donahue who played with Fairport Convention, are probably the best known figures credited with performing on this LP. So the fact this LP was released in 1971, seems somewhat strange especially as it is penned under Browneâs name, someone who appears to have flown under the radar, as I can find absolutely no information whatsoever about him. Why, when forming your own band and releasing music would you appear on another offering? It is recorded on the Vertigo label, which if my memory serves me correct, supported the likes of Black Sabbath in the 70âs so Thomas F. Browne definitely had his admirers in certain quarters. Vertigo had its origins in the UK and was considered to be one of the foremost record labels in the world with a very distinctive black and white swirl as its logo.Â
So, this is another episode on my random tracks selection where I played the random tracks from my vinyl collection and post those interests me at the instant (where copyright allows).
#5 Circle - Goldmund
Pennsylvania native Keith Kenniffâs output as Goldmund has established him as one of the preeminent composers of minimal piano-based ambient music alongside peers like Hauschka, Dustin OâHalloran, and even Ryuichi Sakamoto, who himself once described Kenniffâs work as âso, so, so beautifulâ. Hyperbolic as it may sound, Goldmundâs newest collection Occasus may be his most exquisite yet. Where his previous recordings trod faithfully and sincerely on paths of dimly lit, polaroid-esque nostalgia, Occasus deepens the undeniable aesthetic that was hard-won over eight previous Goldmund albums, while expanding the palette to include desultory clouds of synthesizer and a tastefully distressed analog sheen.
The word Occasus means downfall, end, or the rising and falling of heavenly bodies. The title is apt in more ways than one: while the emotional tone of the album denotes bittersweet feelings of conclusiveness, it also perfectly soundtracks the quiet moments when we look up to the sky, and humbly relearn the smallness of our lives as cosmic objects churn slowly overhead with bewitching indifference. Occasus feels deeply personal, private, and hushed yet simultaneously grand, colossal, and profound. Remarkably Kenniff is able to capture micro and macro with equal fidelity.
Tangential to prior Goldmund material, there are a few moments of Occasus that feel dark and menacing like âNo Storyâ and âThreadâ, both of which broach urgent paranoia, and provide a refreshing counterweight to the idyll typical of the project. Kenniffâs music has always been unquestionably gorgeous, but seeing it set against an occasionally manic backdrop makes the moments of light shine that much brighter. Even when elements of Occasus play by the rules harmonically, they tend to unfold with a satisfying level of rhythmical disregard. "I like mistakes, I like when things don't go perfectly,â says Kenniff of his wabi-sabi ethos, âI do have a tendency to want for things to be perfect and precise, but I have to also realize that a lot of things I like about music and art are very rough and impulsive, the slight imperfections that give something or someone a unique voice."
To that end there are few artistic voices as distinct as Goldmundâs. Using only a few simple ingredients (piano, synthesizer, reverb, and a little more) Kenniffâs sound has become so universal that you'd be forgiven for not knowing who it belongs to. Knock offs be damned, every Goldmund recording is cut from an inimitable fabric woven out of emotional intelligence, honesty, vivid imagination, and skillful restraint. Occasus is another strong chapter in an ever more gratifying catalog.
"You're face to face
With the man who sold the world"
