Squonk wrote:

X-rated Bob wrote: Jackie Leven - Forbidden Songs of the Dying West.

Another artist I've had on my "must listen to" list. No verdict yet.

Also another artist on the list of "folks Bob listens to who physically could not sing at one time". Which is not a long list.

Still not too sure what to make of him. I have some friends in Scotland who worship him. Still to hear this album though

ftcl wrote:

Psean wrote:

ftcl wrote: Right now, I'm listening to Sabbat - Dreamweaver. Trying out different cartridges on my tt, and the pressing I have has particularly harsh sibilance. Seemed a good way to test how (if at all) different they sound.

Cool. What turntable have you got?

Interested to know if you do hear any difference between cartridges.

At the moment I'm using a Marantz Model 6300.

I'll have to come back to you re the cartridges. First impressions are yes, but that might just be me trying to convince myself...

Squonk wrote: Steeleye Span - Live at Last

Great Live album with Martin Carthy who brings more of a roots folky sound back to the band.

X-rated Bob wrote: Squonk, you get around! What a broad range of music you listen to. Not many people I know would listen to prog rock and the godfather of English folk in the same month (I don't). Breadth and curiosity are good things when it comes to music, and you have both in spades.

I saw Carthy in London in 2008. I didn't know much about him, though I was aware of his reputation. I guess I was expecting something like Ralph McTell on steroids. Wrong! For about the first five minutes I was thinking "this guy is from MARS". For the rest of the evening (he did a 45 minute set, took a break, then did about an hour), I was thinking that this was the most amazing live music experience of my life. And I still think that. His performance was so utterly convincing, and I don't know if he does this knowingly or not, but a guitar rings like a bell when this guy plays, and he sets up these chiming, sustained drones and it's damn hypnotic. There was conviction in his performance (he's not really a guitarist when he plays live, he's a storyteller first and foremost), great skill and yet this economy to his playing - so potent, but so little flash. And all the time his guitar is sounding like somebody's smacking these big bells with a really expensive hammer. The very last number he did was an instrumental and then, at last, the fireworks went off.

I still get excited thinking about it.

Squonk wrote:

X-rated Bob wrote: Squonk, you get around! What a broad range of music you listen to. Not many people I know would listen to prog rock and the godfather of English folk in the same month (I don't). Breadth and curiosity are good things when it comes to music, and you have both in spades.

I saw Carthy in London in 2008. I didn't know much about him, though I was aware of his reputation. I guess I was expecting something like Ralph McTell on steroids. Wrong! For about the first five minutes I was thinking "this guy is from MARS". For the rest of the evening (he did a 45 minute set, took a break, then did about an hour), I was thinking that this was the most amazing live music experience of my life. And I still think that. His performance was so utterly convincing, and I don't know if he does this knowingly or not, but a guitar rings like a bell when this guy plays, and he sets up these chiming, sustained drones and it's damn hypnotic. There was conviction in his performance (he's not really a guitarist when he plays live, he's a storyteller first and foremost), great skill and yet this economy to his playing - so potent, but so little flash. And all the time his guitar is sounding like somebody's smacking these big bells with a really expensive hammer. The very last number he did was an instrumental and then, at last, the fireworks went off.

I still get excited thinking about it.

This video brings out the storyteller and I am intrigued by his picking style, it's off the charts

My next UK visit will be planned around seeing him play live somewhere.

Psean wrote:

lindsmuse wrote: Pearl Jam - anything by them - I can't get over the drummer actually. And then Tool - Lateralus.

Anyone heard the new Pearl Jam record?

Psean wrote: Diablo Swing Orchestra
=

In the realm of microtonality, absolutes are non-existent, and common practice theory offers no light to guide the composer. What little theory there is comes from the science of psychoacoustics, from researchers seeking to generalize and quantify "consonance". This consonance-centric view is a siren for seemingly all the bewildered musicians who find themselves adrift in the uncharted waters of microtonality, and many have heeded its call only to run aground and founder indefinitely in an unmusical limbo. Igliashon Jones, the man behind City of the Asleep, has long been a voice against the worship of consonance, and with "Transcendissonance" he has sought to put his objections into music.

On this album, Igliashon makes use of a variety of tunings designed to be as theoretically dissonant as possible, with shockingly pleasant results. Within the confines of tunings such as 11, 13, and 18-EDO, 180-cent equal tuning, and a host of unequal mathematically-derived scales, Igliashon weaves complex tapestries of harmony and melody that are truly xenharmonic. Though experimental in nature, this album is anything but academic; in keeping with the typical City of the Asleep style, "Transcendissonance" is a genre-defying electronic gruel of stuttering glitch, melodic electronica, expansive post-rock, and thumping techno (to name a few ingredients). Though the tunings are a central focus of the album, this is music that can be appreciated by the most casual of listeners, further proving that theoretical dissonance is no deterrent to writing accessible music.

Chad Adam Browne wrote: Been enjoying a a microtonal electronic project called City of the Asleep, you can download their album for free from here: http://split-notes.com/007/

The blurb:

In the realm of microtonality, absolutes are non-existent, and common practice theory offers no light to guide the composer. What little theory there is comes from the science of psychoacoustics, from researchers seeking to generalize and quantify "consonance". This consonance-centric view is a siren for seemingly all the bewildered musicians who find themselves adrift in the uncharted waters of microtonality, and many have heeded its call only to run aground and founder indefinitely in an unmusical limbo. Igliashon Jones, the man behind City of the Asleep, has long been a voice against the worship of consonance, and with "Transcendissonance" he has sought to put his objections into music.

On this album, Igliashon makes use of a variety of tunings designed to be as theoretically dissonant as possible, with shockingly pleasant results. Within the confines of tunings such as 11, 13, and 18-EDO, 180-cent equal tuning, and a host of unequal mathematically-derived scales, Igliashon weaves complex tapestries of harmony and melody that are truly xenharmonic. Though experimental in nature, this album is anything but academic; in keeping with the typical City of the Asleep style, "Transcendissonance" is a genre-defying electronic gruel of stuttering glitch, melodic electronica, expansive post-rock, and thumping techno (to name a few ingredients). Though the tunings are a central focus of the album, this is music that can be appreciated by the most casual of listeners, further proving that theoretical dissonance is no deterrent to writing accessible music.

Cause maybe it may intrigue somebody ?