“Monsters Of Surf” is a new surf compilation available now digitally and coming out on CD on February 18th from DingDong Records. The album compiles 22 tracks by surf bands from North America, South America, and Europe and focusses on the heavier, more progressive, fringe, and experimental surf being created today. Get it while it’s hot.
This is the age of transparency, so Zapoppin’ gave their latest album a honest title, to make sure Mumford & Sons fans don’t buy it accidentally and play it in front of their parents. Of course the staff at Weirdomusic.com loves ugly music. We can’t get enough of it. We have it for breakfast every morning. Check the album for yourself on Bandcamp, or buy it on cassette and play it in front of your parents.
Guitarist/Multi-Instrumentalist Eddie Brnabic‘s biography includes a long list of productions, collaborations, tours and releases. His new album “Subtle Realms” sounds like a long-lost 1970s space-rock album. And we mean that as a compliment!
Quilted Cherry Podium, of Norman, Oklahoma, is a one man band stand crafted by artist and woodworker, Hunter Roth. The podium houses an amp, 15” organ speaker, Leslie rotating speaker, tray for synthesizer and it’s topped off with a Drum Buddy. Roth sings into his turned cherry bomb mic and hypnotizes behind his podium with his synced instruments and song. And it sounds like this:
“Opinions are like onions they are digestible but for best results you must peel back the outer layers until you end up crying and realizing that the core….”. Oh forget it, you can read that text on Doom Salad’s Bandcamp if you like. We prefer to listen to their music.
Pianist and arranger Bruno Heinen was heavily interested in composer Karlheinz Stockhausen from an early age. The luminous presence of wind-up music boxes from his childhood are at the heart of his exquisite arrangements of Stockhausen’s Tierkreis.
Both Bruno’s parents – cellist Ulrich Heinen and violinist Jacqueline Ross – had worked with the composer and electronic music innovator Karlheinz Stockhausen in the 70’s in Germany when he composed Tierkreis (1974-5) for 12 music boxes. Bruno’s father had acquired 4 of the music boxes, and Bruno’s fascination with the piece began in the family home.
Tierkreis (meaning “the signs of the Zodiac”) has 12 melodies based on tone rows, one for each star sign. Heinen has adhered to Stockhausen’s brief instructions for the popular work, allowing for any combination of instruments, but that the performance should begin with the melody falling under the star sign of the selected date, and end with a repeat of the opening melody.
Heinen brings his classical training and jazz sensibility, with traces of funk, west coast flavour and Blue Note inflexions, to his substantial reworking of the composer’s ideas. Certain movements include improvising with the melodies and music boxes, while others involve reharmonising. His sextet of distinctive players bring their diverse experience to their readings and improvisations.
Stockhausen was a great believer in improvisation, and his influence rubbed off on a wide array of jazz musicians during his lifetime and since, including Miles Davis, Cecil Taylor and Herbie Hancock.
It’s five years since Heinen first arranged Tierkreis for a jazz sextet, but in 2010 he also arranged the work rather differently for cello, double bass and piano for a performance that also included his father Ulrich Heinen, the long time principal cellist of the City of Birmingham Symphony Orchestra.
Tierkreis recorded with Markus Stockhausen’s blessing, in April 2012 at Eastcote Studios, was produced by Philip Bagenal and Bruno Heinen. The album is dedicated to Heinen’s former teacher, the pianist and composer, Pete Saberton, who died in 2012.
More info here.
“Ultra Violet” by Paul Hayworth was recorded on cheap home 4-track tape machine, left to gather magnetic radiation scars for two decades and then slowly roasted in a walkman, re-mastered on 16 track digital and now turned into an ‘atmospheric supernova’ on Bandcamp. So there you go.