mixtapes for weathers and moods / music for good days and bad days

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2018. április 14., szombat

04-14-2018 11:08 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2000-2004 / 2h 21m

04-14-2018 11:08 FAVTRAX:MiX ~ 33 FAVOURiTE tracks 2000-2004 / 2h 21m  >>Calexico, Tindersticks, The Clean, Suzanne Vega, The Tiger Lillies, The Jon Spencer Blues Explosion, Funki Porcini, David Bowie, Oceansize, Wovenhand<<


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An imaginative American multi-instrumentalist duo whose roots-influenced music draws on highly eclectic influences, from Tex-Mex to indie rock. / Calexico take their name from a town on the border of California and Mexico, and the title certainly fits the band, who've been mixing musical approaches and cultural perspectives with elan ever since group leaders Joey Burns and John Convertino began working together. Fusing the dusty sounds of the American Southwest with spaghetti western soundtracks, Mexican mariachi themes, vintage surf music, cool jazz, and a broad spectrum of Latin influences, Calexico are an eclectic ensemble whose work is as distinctive as it is unpredictable.
Ritual Road Map (Joey Burns / John Convertino) 1:15
El Picador (Joey Burns / John Convertino) 3:14
Ballad of Cable Hogue (Joey Burns) 3:28
Fade (Joey Burns / John Convertino) 7:43
from Hot Rail 2000
Continuing the Tijuana Brass meets Giant Sand and Ennio Morricone in a dark neuvo-waveo spaghetti Western approach they've gradually refined over the past two albums, multi-instrumentalists John Convertino and Joey Burns keep exploring terrain they've uniquely staked out. While not as cinematic, sprawling, and impressive as 1998's The Black Light, the duo create vivid soundscapes as dry, hot, and shimmering as the weather of their Tucson, Arizona home...

 Acclaimed English sextet whose melancholy, obtuse songwriting and the baritone vocals of Stuart Staples made them indie darlings during the '90s. / Tindersticks were one of the most original and distinctive British acts of the '90s, standing apart from both the British indie scene and the rash of Brit-pop guitar combos that dominated the U.K. charts. Where their contemporaries were often direct and to the point, Tindersticks were obtuse and leisurely, crafting dense, difficult songs layered with literary lyrics, intertwining melodies, mumbling vocals, and gently melancholy orchestrations
Dying Slowly 4:36
People Keep Comin' Around 7:11
Can Our Love... 5:57
from Can Our Love 2001
A new label and a renewed sense of collaboration between the members of one of England's finest resulted in Can Our Love..., the loosest record yet in Tindersticks' decade-long existence. Here, they've lost all remaining self-consciousness. The listener is all the better for it. This lack of self-consciousness is the good kind -- the kind derived from locking into place and letting things come naturally, chucking any degree of preconception out of the window...

Original New Zealand punk band that began life in the 1970s, then returned to prominence in the '90s. / The Clean were one of the most influential New Zealand bands of the post-punk era. They formed in the town of Dunedin in 1978, when Hamish Kilgour (drums) and his brother David (guitar) recruited David's school friend, guitarist Peter Gutteridge. Soon afterward, they opened for New Zealand punk rockers Enemy.
The Clean
Stars (Hamish Kilgour / Robert Scott) 5:21
Crazy (David Kilgour / Robert Scott) 2:43
Circle Canyon (Robert Scott) 4:45
from Getaway 2001
Legendary New Zealand indie rock pioneers the Clean always had a hard time staying apart. Through the years, they would go their separate ways to work on other bands, like the Bats for one shining example, or on solo careers, but some inescapable force always drew them back together. When they made 2001's Getaway, the Kilgour brothers, David and Hamish, and Robert Scott hadn't made a record together in four years, yet it's clear from the opening notes of the first song, the prettily droning "Stars," that their almost telepathic chemistry was still as strong as ever... It's no coincidence that two members of one of the bands considered indie rock's best make guest appearances here; Ira and Georgia of Yo La Tengo owe plenty to the Clean, and their being on the record is a tribute to both the Clean's historical importance and their continuing mastery.

Her literate, artful, and intellectual brand of troubadourism rescued the singer/songwriter tradition from the clutches of sentimentality. / Suzanne Vega was the first major figure in the bumper crop of female singer/songwriters who rose to prominence during the late '80s and '90s. Her hushed, restrained folk-pop and highly literate lyrics (inspired chiefly by Leonard Cohen, as well as Lou Reed and Bob Dylan) laid the initial musical groundwork for what later became the trademark sound of Lilith Fair (a tour on which she was a regular). 
Suzanne Vega
Penitent (Suzanne Vega) 4:16
Widow's Walk (Suzanne Vega) 3:33
(I'll Never Be) Your Maggie May (Suzanne Vega) 3:47
from Songs In Red And Gray 2001
...So, listeners who responded strongly to her first three albums but found the Froom discs off-putting (and there were plenty of them) should be alerted that, sonically, Songs in Red and Gray is ready to welcome back old fans. Produced by Rupert Hine, it has the kind of carefully played acoustic guitar work and close-up vocal miking that characterized Suzanne Vega and Solitude Standing. That makes it easier to appreciate Froom's departure from Vega's personal life as well as her professional one, however. This is very much a divorce album, its songs frequently touching on romantic discord and the resulting fall-out. Vega is both precise and artful in describing the situation...

London art rockers who combine opera, cabaret, and performance art with irreverent lyrics. / With their signature blend of chanson, opera, and Gypsy music, London-based experimental rock trio the Tiger Lillies are difficult to define in one sentence. The group began its revels in the bawdy vaudeville traditions of prostitution, opium dens, and the seedy life of the eternal street musician in 1989, when singer Martyn Jacques placed an ad for a drummer and bass player. His only responses were from Adrian Huge and Phil Butcher, respectively, who completed the band's original lineup.
The Tiger Lillies
Moon Over Soho (Martyn Jacques) 3:54
Police (Martyn Jacques) 2:01
Bitch (Martyn Jacques) 1:28
from Two Penny Opera 2001
...Think of Bertolt Brecht’s Threepenny Opera, a play set to music: a narrator with a white painted face mask enters, barks obscenities at the audience and then whips up energy on stage to make the lehrstucke vivid and immediate, explaining the world as it is. Now imagine The Two Penny Opera, The Tiger Lillies album, and a ‘cheaper’ version. Three figures on the stage: a bass player who also plays the saw, a drummer with a constantly moving kit which includes a hanging chicken and a baby doll, and an accordion player who sings in a bowler hat and grotesque make up. The Tiger Lillies are not only visually distinctive, but visually unforgettable. But it is their sound which amazes and takes the breath away...

Indie '90 trio that bent the rules of rock while demonstrating a devotion to the music’s R&B roots. / After a long and semi-successful tenure as leader of scuzz-rock heroes Pussy Galore, Jon Spencer shook up his anti-rock vision and hooked up with guitarist Judah Bauer and drummer Russell Simins to create the scuzz-blues trio the Jon Spencer Blues Explosion. Postmodern to the core, there was a genuine irony in the band's name; little of what they play resembles standard blues. There is, however, a blues feel to their sound, meaning that in many instances they appropriate aspects of the blues and incorporate them into their anarchic, noisy sound.
The Jon Spencer Blues Explosion
Sweet n Sour (The Jon Spencer Blues Explosion) 3:15
She Said (The Jon Spencer Blues Explosion) 4:17
Money Rock 'n' Roll (The Jon Spencer Blues Explosion) 3:01
from Plastic Fang 2002
The Jon Spencer Blues Explosion's wild blues on critical albums like Orange and Now I Got Worry defined the band as belonging in a league of its own. The electronica mold of 1998's Acme album was sophisticatedly different, but the grit found in the band's previous work was nearly absent. The band might have known it as well -- a change in direction was due. The Jon Spencer Blues Explosion's eighth record, Plastic Fang, doesn't overlook anything this time, for the album exudes a new power. Spencer and his mates sought the expertise and slick work of musician/producer Steve Jordan, who brought brashness back to the front...

Eclectic downtempo producer from Oxfordshire; helped to build the strong reputation of the Ninja Tune label. / Funki Porcini is artist and DJ James Braddell, whose swirling mixtures of downtempo breaks, smooth ambience, and disjointed drum'n'bass helped put the Coldcut-owned, South London-based Ninja Tune label on the map.
Funki Porcini
What Are You Looking At? (Funki Porcini) 5:30
We're out of Here (Funki Porcini) 2:59
16 Megatons (Funki Porcini) 4:17
from Fast Asleep 2002
Chillout albums were all the rage during the early 2000s, but despite the attention, no one had made a record quite like Funki Porcini's Fast Asleep since the glory days of ambient techno, when the Orb's "A Huge Ever-Growing Pulsating Brain That Rules From the Centre of the Ultraworld" merged Tangerine Dream, the Mad Professor, and Larry Heard into a collage of pastoral bliss. Fast Asleep, though obviously functional in a variety of contexts, wasn't designed to soundtrack trips back from the clubs or lazy nights at home with friends, and as such, it neatly side-steps the conscious hipness that usually compromises chillout records. James Braddell, a downbeat veteran stretching back more than a decade, crafted Fast Asleep to move in and out of its framework, with lengthy transitions introducing -- or deconstructing -- virtually every production...

The mercurial music icon widely considered the original pop chameleon and figurehead for countless musical movements. / The cliché about David Bowie is that he was a musical chameleon, adapting himself according to fashion and trends. While such a criticism is too glib, there's no denying that Bowie demonstrated a remarkable skill for perceiving musical trends at his peak in the '70s...
David Bowie
New Killer Star (David Bowie) 4:40
Pablo Picasso (Jonathan Richman) 4:04
Never Get Old (David Bowie) 4:24
The Loneliest Guy (David Bowie) 4:11
from Reality 2003
Instead of being a one-off comeback, 2002's Heathen turned out to be where David Bowie settled into a nice groove for his latter-day career, if 2003's Reality is any indication. Working once again with producer Tony Visconti, Bowie again returns to a sound from the past, yet tweaks it enough to make it seem modern, not retro. Last time around, he concentrated on his early-'70s sound, creating an amalgam of Hunky Dory through Heroes. With Reality, he picks up where he left off, choosing to revise the sound of Heroes through Scary Monsters, with the latter functioning as a sonic blueprint for the album. Basically, Reality is a well-adjusted Scary Monsters, minus the paranoia and despair -- and if those two ingredients were key to the feeling and effect of that album, it's a credit to Bowie that he's found a way to retain the sound and approach of that record, but turn it bright and cheerful and keep it interesting. Since part of the appeal of Monsters is the creeping sense of unease and its icy detachment, it would seem that a warmer, mature variation on that would not be successful, but Bowie and Visconti are sharp record-makers, retaining what works -- layers of voices and guitars, sleek keyboards, coolly propulsive rhythms -- and tying them to another strong set of songs. Like Heathen, the songs deliberately recall classic Bowie by being both tuneful and adventurous, both hallmarks of his '70s work. If this isn't as indelible as anything he cut during that decade, that's merely the fate of mature work by veteran rockers. So, Reality doesn't have the shock of the new, but it does offer some surprises, chief among them the inventive, assured production and memorable songs. It's a little artier than Heathen, but similar in its feel and just as satisfying. Both records are testaments to the fact that veteran rockers can make satisfyingly classicist records without resulting in nostalgia or getting too comfortable. With any luck, Bowie will retain this level of quality for a long time to come.

Oceansize were one of numerous British bands crafting epic, moody soundscapes in the post-Radiohead era. However, they couldn't be pigeonholed as a Coldplay/Travis clone; their influences ran the gamut from space rock old (Pink Floyd) and new (Mogwai, the Verve) to alternative metal (Jane's Addiction, Tool), shoegaze (My Bloody Valentine, Swervedriver), and even the avant-garde (Can, Tortoise). 
I Am the Morning (Oceansize) 4:18
One Day All This Could Be Yours (Oceansize) 4:23
Saturday Morning Breakfast Show (Oceansize) 9:04
from Effloresce 2003
Manchester's Oceansize compose a mechanical flow of post-rock/experimental ticks and beats on their debut album, Effloresce. As the title aptly suggests, Effloresce bursts forth with feverish punk edges and ethereal electronics for an aggressive guitar storm. Mike Vennart (vocals/guitar), Steve Durose (guitar/vocals), Gambler (guitar), Jon Ellis (bass), and Mark Herrin (drums) seem content with the album's constant apprehension, and the shifty dynamic works...

David Eugene Edwards' project for his brand of Southern gothic, based on rustic old-timey music and featuring his dark, theatrical performance style. / Winding dark, atmospheric lyrics with a fierce spiritual bent around elements of vintage folk and gospel music as well as rootsy rock & roll, Wovenhand was founded by David Eugene Edwards, formerly the frontman with brooding alt-country act 16 Horsepower...
Sparrow Falls (David Eugene Edwards) 4:45
Bleary Eyed Duty (David Eugene Edwards) 4:30
To Make a Ring (David Eugene Edwards) 4:33
Into the Piano (David Eugene Edwards) 3:38
from Consider the Birds 2004
As one third of Denver, CO, progressive country-tinged outfit 16 Horsepower, David Eugene Edwards established himself as a songwriter with a knack for injecting his dense, cryptic, and dark moods into his music, and with his second outing under his solo, side project guise, Wovenhand, Edwards continues down a similar path. For the majority of Consider the Birds, Edwards truly embraces the "solo" tag by performing every instrument... The whole concoction then circles around itself like a rickety, wooden roller coaster filled with coincidental assemblages of complementing sounds. One can't help but wonder how overwrought Edwards must be when he's practicing his music, but Consider the Birds once again affirms, no matter how emotional and extended he might be, Edwards never seems to be toting an empty heart.

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