the taj mahal travellers

The Taj Mahal Travellers - August 1974

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"The four sides of August 1974, each about 20-minute long (the length that fit on an LP side), present the Travellers at their most sophisticated. The first jam is a concert of cosmic hisses that ebb and flow, distortions that scour the abysses of the psyche, sinister wailing and rattling that create a metaphysical suspense. At first, it straddles the line between Pink Floyd's Astronomy Domine and Klaus Schulze's Irrlicht, but then it becomes more and more abstract, recalling Sun Ra's extraterrestrial jazz-rock. Percussions are used sparingly. Violin, harmonica, bass, tuba, trumpet, synthesizer, mandolin duet in a subliminal and obscure manner. There is no melody, there is no logic. Just "voices", both subhuman and supernatural, that resonate with a universal inner voice. The second jam is a cacophonous gathering of timbres and gamelan-like tinkling, over which Tibetan chanting and droning intone a demented psalm. Halfway into the piece, the band seems to lose interest in playing, so the rest of the track is a rarified wind of tenuous sounds. The third track continues this silent journey into the unknown, with odd percussive patterns and random dissonance. As the chaos increases and exuberant voices join in, the bacchanal turns into a surreal pow-wow dance. The last jam continues the program of eerie noises and unlikely counterpoint in an atmosphere that is both dreamy and austere. We are transported to a floating zen garden, traveling on a flying saucer. A wavering harp-like melody invites to meditation, and, for a while, the spiritual mood prevails. Then the percussions break the spell, introducing the usual element of indeterminacy and heresy, and the trip ends, one more time, in the resonating depths of distant galaxies."

sounds like: floating

bunalim

Bunalim - s/t

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"First-ever CD reissue of some of the most amazing Turkish music ever recorded: wild, raw and with fuzz guitar all over. Bunalim (which means "depression" or "frustration" in Turkish), founded in 1969, was one of the most well-known underground groups on the Turkish music scene of the early '70s. Although their discography is limited to only a few singles, Bunalim is regarded as a seminal band in Turkish music history, who paved the way for its members to find fame later on in their careers (playing with Erkin Koray, Mogollar, Ter, Edip Akbayram). Bunalim released 6 singles which are incredibly rare, and never completed a whole album. They were produced and managed by legendary Turkish rock musician and instigator of the Anatolian rock movement Cem Karaca, one of the most important rock singers in Turkey during the 1970s. This release is a blend of their work from 1970-1972, and features everything from American-influenced garage to early punk experiments to fuzzed-out psychedelic heavy Eastern drone, including a cover of Iron Butterfly's "Get Out Of My Life, Woman" ("Yeter Artik Kadin") sung in Turkish. They say about the band: "God, they were crazy! Running all nude down the Istiklal Street, psychedelic light shows, crazy paintings all over the stage wall and screaming of LSD! LSD! in their live shows." As good as the best recordings from Erkin Koray, Bunalim are, even for most Turkish collectors, a well-kept secret. The LP version reissued by Shadoks sold out within a blink of the eye."

sounds like: the stooges except uh turkish

the snivelling shits

The Snivelling Shits - I Can't Come

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"This one came out of nowhere and kicked our asses. And to be totallyhonest, as is often the case, we ordered it almost entirely because theband had an awesome name, heck, they're called the Snivelling Shits.Fingers crossed we threw it on, and what do you know? The sound was as snotty and snarly and snarky and catchy and punk as fuck as the name implied. The 'Shits were a joke band, formed by music journalist Giovanni Dadamo in 1977, designed to take the piss, but they ended up whipping up abatch of songs as good as if not better than any other groups at the time. Some impossible blend of the Buzzcocks, the Undertones, the Modern Lovers, The Sex Pistols, the Damned and the Velvets. Propulsive drumming, looped hypnotic riffing, and Dadamo's high pitched invective over the top. Take "I Can't Come", a bawdy sex tale about bedroom misadventure, with an insanely long list of other luminaries who couldn't come, culminating in the classic "Jesus Of Nazareth, heeeeeee can't come!" delivered in a snotty nasal whine. The rest of the tracks are just as funny: "Only 13", "Terminal Stupid", "I Wanna Be Your Biro", the all in French "Et Moi, Et Moi, Et Moi" and the impossibly catchy "Bring Me The Head Of Yukio Mishima". Every song here is a stone cold classic. Why these guys weren't huge it's hard to say. Might be because they didn't take it all that seriously, or the fact that they only ever recorded EIGHT tracks in their whole brief career, all collected here, along with some demos as well as the holiday chestnut"There Ain't No Sanity Claus" with the Damned (Dadamo also wrote a couple songs for those guys) and the previously released "isgodaman?"which was included on a comp under the pseudonym Arthur Comix because the record label didn't want the word Shits on their record cover."


sounds like: brattiness