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And then he fell behind on his child-support payments. The men in that room, almost without exception, were casualties of the end of the manufacturing era. Most of them had continued to work with their hands even as demand for manual labor was declining. Since , manufacturing has lost almost 6 million jobs, more than a third of its total workforce, and has taken in few young workers. The housing bubble masked this new reality for a while, creating work in construction and related industries.

Many of the men I spoke with had worked as electricians or builders; one had been a successful real-estate agent. Now those jobs are gone too. Henderson spent his days shuttling between unemployment offices and job interviews, wondering what his daughter might be doing at any given moment. In , roughly one in 20 men of prime working age, like Henderson, was not working; today that ratio is about one in five, the highest ever recorded.

Men dominate just two of the 15 job categories projected to grow the most over the next decade: janitor and computer engineer. Women have everything else—nursing, home health assistance, child care, food preparation. But the steady accumulation of these jobs adds up to an economy that, for the working class, has become more amenable to women than to men. The list of growing jobs is heavy on nurturing professions, in which women, ironically, seem to benefit from old stereotypes and habits.

Theoretically, there is no reason men should not be qualified. But they have proved remarkably unable to adapt. Over the course of the past century, feminism has pushed women to do things once considered against their nature—first enter the workforce as singles, then continue to work while married, then work even with small children at home. Many professions that started out as the province of men are now filled mostly with women—secretary and teacher come to mind. Nursing schools have tried hard to recruit men in the past few years, with minimal success. Teaching schools, eager to recruit male role models, are having a similarly hard time.

The range of acceptable masculine roles has changed comparatively little, and has perhaps even narrowed as men have shied away from some careers women have entered. The economic and cultural power shift from men to women would be hugely significant even if it never extended beyond working-class America. But women are also starting to dominate middle management, and a surprising number of professional careers as well.

According to the Bureau of Labor Statistics, women now hold They make up 54 percent of all accountants and hold about half of all banking and insurance jobs. A white-collar economy values raw intellectual horsepower, which men and women have in equal amounts. It also requires communication skills and social intelligence, areas in which women, according to many studies, have a slight edge.

Perhaps most important—for better or worse—it increasingly requires formal education credentials, which women are more prone to acquire, particularly early in adulthood. Just about the only professions in which women still make up a relatively small minority of newly minted workers are engineering and those calling on a hard-science background, and even in those areas, women have made strong gains since the s.

Office work has been steadily adapting to women—and in turn being reshaped by them—for 30 years or more. Joel Garreau picks up on this phenomenon in his book, Edge City , which explores the rise of suburbs that are home to giant swaths of office space along with the usual houses and malls. When brawn was off the list of job requirements, women often measured up better than men. They were smart, dutiful, and, as long as employers could make the jobs more convenient for them, more reliable.

The movie Office Space was maybe the first to capture how alien and dispiriting the office park can be for men. Disgusted by their jobs and their boss, Peter and his two friends embezzle money and start sleeping through their alarm clocks.

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Near the top of the jobs pyramid, of course, the upward march of women stalls. Prominent female CEOs, past and present, are so rare that they count as minor celebrities, and most of us can tick off their names just from occasionally reading the business pages: Meg Whitman at eBay, Carly Fiorina at Hewlett-Packard, Anne Mulcahy and Ursula Burns at Xerox, Indra Nooyi at PepsiCo; the accomplishment is considered so extraordinary that Whitman and Fiorina are using it as the basis for political campaigns. Only 3 percent of Fortune CEOs are women, and the number has never risen much above that.

Even around the delicate question of working mothers, the terms of the conversation are shifting. Last year, in a story about breast-feeding, I complained about how the early years of child rearing keep women out of power positions. But the term mommy track is slowly morphing into the gender-neutral flex time , reflecting changes in the workforce. For recent college graduates of both sexes, flexible arrangements are at the top of the list of workplace demands, according to a study published last year in the Harvard Business Review.

And companies eager to attract and retain talented workers and managers are responding. What are these talents? Once it was thought that leaders should be aggressive and competitive, and that men are naturally more of both. But psychological research has complicated this picture. In lab studies that simulate negotiations, men and women are just about equally assertive and competitive, with slight variations.

Men tend to assert themselves in a controlling manner, while women tend to take into account the rights of others, but both styles are equally effective, write the psychologists Alice Eagly and Linda Carli, in their book, Through the Labyrinth. Over the years, researchers have sometimes exaggerated these differences and described the particular talents of women in crude gender stereotypes: women as more empathetic, as better consensus-seekers and better lateral thinkers; women as bringing a superior moral sensibility to bear on a cutthroat business world.

But after the latest financial crisis, these ideas have more resonance. Researchers have started looking into the relationship between testosterone and excessive risk, and wondering if groups of men, in some basic hormonal way, spur each other to make reckless decisions.

The picture emerging is a mirror image of the traditional gender map: men and markets on the side of the irrational and overemotional, and women on the side of the cool and levelheaded. But the perception of the ideal business leader is starting to shift. The old model of command and control, with one leader holding all the decision-making power, is considered hidebound.

The aim is to behave like a good coach, and channel your charisma to motivate others to be hardworking and creative. The model is not explicitly defined as feminist, but it echoes literature about male-female differences.

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A program at Columbia Business School, for example, teaches sensitive leadership and social intelligence, including better reading of facial expressions and body language. A study attempted to quantify the effect of this more-feminine management style. It could be that women boost corporate performance, or it could be that better-performing firms have the luxury of recruiting and keeping high-potential women. But the association is clear: innovative, successful firms are the ones that promote women. If you really want to see where the world is headed, of course, looking at the current workforce can get you only so far.

More than ever, college is the gateway to economic success, a necessary precondition for moving into the upper-middle class—and increasingly even the middle class. And demographically, we can see with absolute clarity that in the coming decades the middle class will be dominated by women. But the implications of that gap have not yet been fully digested. In a stark reversal since the s, men are now more likely than women to hold only a high-school diploma. This spring, I visited a few schools around Kansas City to get a feel for the gender dynamics of higher education.

I started at the downtown campus of Metropolitan Community College. Metropolitan is the kind of place where people go to learn practical job skills and keep current with the changing economy, and as in most community colleges these days, men were conspicuously absent. One afternoon, in the basement cafeteria of a nearly windowless brick building, several women were trying to keep their eyes on their biology textbook and ignore the text messages from their babysitters. One woman, still in her medical-assistant scrubs, looked like she was about to fall asleep in the elevator between the first and fourth floors.

Yet, a few years later, the tidal wave of women continues to wash through the school—they now make up about 70 percent of its students. They come to train to be nurses and teachers—African American women, usually a few years older than traditional college students, and lately, working-class white women from the suburbs seeking a cheap way to earn a credential. As for the men? Well, little has changed. He had to hide his books from his friends, who would tease him when he studied.

Then came the excuses. It makes some economic sense that women attend community colleges—and in fact, all colleges—in greater numbers than men. But it makes sense only up to a point. The well-paid lifetime union job has been disappearing for at least 30 years. Kansas City, for example, has shifted from steel manufacturing to pharmaceuticals and information technologies. Men, it turned out, had a harder time committing to school, even when they desperately needed to retool. They tended to start out behind academically, and many felt intimidated by the schoolwork.

They reported feeling isolated and were much worse at seeking out fellow students, study groups, or counselors to help them adjust. Mothers going back to school described themselves as good role models for their children. Fathers worried that they were abrogating their responsibilities as breadwinner. The student gender gap started to feel like a crisis to some people in higher-education circles in the mids, when it began showing up not just in community and liberal-arts colleges but in the flagship public universities—the UCs and the SUNY s and the UNCs.

Like many of those schools, the University of Missouri at Kansas City, a full research university with more than 13, students, is now tipping toward 60 percent women, a level many admissions officers worry could permanently shift the atmosphere and reputation of a school. The other three student-government officers this school year were also women.

Burress, a cute, short, African American year-old grad student who is getting a doctor-of-pharmacy degree, had many of the same complaints I heard from other young women. Guys high-five each other when they get a C, while girls beat themselves up over a B-minus. Girls get their degrees with no drama, while guys seem always in danger of drifting away.

UMKC is a working- and middle-class school—the kind of place where traditional sex roles might not be anathema. Yet as I talked to students this spring, I realized how much the basic expectations for men and women had shifted. They would be a campus of Tracy Flicks, except that they seemed neither especially brittle nor secretly falling apart.

Victoria, Michelle, and Erin are sorority sisters. After college, she will apply to grad school and look for internships. She is well aware of the career-counseling resources on campus. Among traditional college students from the highest-income families, the gender gap pretty much disappears. But the story is not so simple. Wealthier students tend to go to elite private schools, and elite private schools live by their own rules. In , a study by the economists Sandy Baum and Eban Goodstein found that among selective liberal-arts schools, being male raises the chance of college acceptance by 6.

Now the U. Jennifer Delahunty, the dean of admissions and financial aid at Kenyon College, in Ohio, let this secret out in a New York Times op-ed. Gender balance, she wrote back then, is the elephant in the room. A typical female applicant, she said, manages the process herself—lines up the interviews, sets up a campus visit, requests a visit with faculty members. Clearly, some percentage of boys are just temperamentally unsuited to college, at least at age 18 or 20, but without it, they have a harder time finding their place these days.

There were good industrial jobs, so you could have a good industrial, blue-collar career. Now those jobs are gone. Since the s, as women have flooded colleges, male enrollment has grown far more slowly. And the disparities start before college. Researchers have suggested any number of solutions. A movement is growing for more all-boys schools and classes, and for respecting the individual learning styles of boys.

Some people think that boys should be able to walk around in class, or take more time on tests, or have tests and books that cater to their interests. In their desperation to reach out to boys, some colleges have formed football teams and started engineering programs. Most of these special accommodations sound very much like the kind of affirmative action proposed for women over the years—which in itself is an alarming flip.

Whether boys have changed or not, we are well past the time to start trying some experiments.

Politics, Gender and Conceptual Metaphors | SpringerLink

It is fabulous to see girls and young women poised for success in the coming years. But allowing generations of boys to grow up feeling rootless and obsolete is not a recipe for a peaceful future. Marriages fall apart or never happen at all, and children are raised with no fathers. What would a society in which women are on top look like? We already have an inkling. This is the first time that the cohort of Americans ages 30 to 44 has more college-educated women than college-educated men, and the effects are upsetting the traditional Cleaver-family dynamics. In , women contributed 2 to 6 percent of the family income.

Now the typical working wife brings home This idealized family—he works, she stays home—hardly exists anymore. The terms of marriage have changed radically since And increasing numbers of women—unable to find men with a similar income and education—are forgoing marriage altogether. In , 84 percent of women ages 30 to 44 were married; now 60 percent are. In , among American women without a high-school diploma, 43 percent were married.

And yet, for all the hand-wringing over the lonely spinster, the real loser in society—the only one to have made just slight financial gains since the s—is the single man, whether poor or rich, college-educated or not. Includes CD. Both have worked on various experimental and performative projects together since He recently released under the name Scheich In China and he is one of the founders and curators of the Hamburg-based club Kraniche, which gained attention as an experimental art and music place in Hamburg.

He's curated exhibitions, performances, and readings. Nikolai von Sallwitz, known as vocalist and producer Taprikk Sweezee, has composed music and sound design for film, theater, and a various number of art and pop projects, and he has collaborated with visual artists such like Chris Hoffmann, Andreas Nicholas Fischer, and Robert Seidel who crafted a real time performed video piece for one of the tracks. In late , in Scandinavian solitude, quite a number of tracks were recorded by Esmark and some of the work is presented here over two parallel albums named M?

Esmark's musical setup is mainly build analog. Instruments like drum computers and synth boxes have been connected in constantly changing chains of FX and filters. Some were recorded on tape and fed back into the compositions. Track names are partly reflections of bio-geography and cartography of the place where the material was recorded.

The dark and hidden polyphony of their debuts, M? He recorded his debut single, 'Disco Pants' in the late s for producer Don Mais. He was murdered in Jamaica in Reaching a near-mythical status amongst fans of free jazz's most worldly intrepid explorer, these seldom heard Paris soundtrack sessions known as Music, Wisdom, Love have evaded collectors' grasps and confused historians for exactly 50 years.

What previously might have been regarded as an unlikely coupling, with the benefit of half a century of archival hindsight, this release documents the essential cosmic collision of two fantastic planets. Devi Mambouka gives voice to Lulu in the song and inhabits the heroine's indifference to bourgeois convention with graceful and sensual defiance. The lyrics herald transformations and builds on the ideas of Siren's previous songs. In the barren context of contemporary dance music, which seems indifferent to the ideas of art and philosophy, Siren draws inspiration from lyricists like David Bowie, Joni Mitchell, and writers like John Ashbery and William Burroughs.

Lulu's sleek production and affecting rhythms evoke a journey taken, nocturnal and urgent. Cover art by Erik Foss. By the folk revival was nearly in full swing, pushed forward by the likes of Pete Seeger, and it was in fact the first year of the Newport Folk Festival. In that light, John Lee Hooker took a break from his Chicago electric blues recording career and returned to his country blues roots with an acoustic blues LP that featured the stripped-down sound of just Hooker and his acoustic guitar.

Essential acoustic blues. Reissued here on gram LP; Includes download code. Dagored present the first vinyl reissue of Sandro Brugnolini's Gli Arcangeli, originally released in Later, he became very prolific as a composer and performer under his own name, as well as under pseudonyms such as Narassa.

One of the first pure jazz soundtracks for film belongs to him: it was and the movie was Enzo Battaglia's Gli Arcangeli. Includes two bonus tracks. Color vinyl; Edition of Deluxe box set version. The year saw one of the most remarkable findings in the long treasure-hunting history of Die Schachtel: the complete set of recordings of the early manifestation of one of the most legendary improv group of all time, the Gruppo di Improvvisazione Nuova Consonanza.

Only a part of them were published in a CD-only boxset in an edition of , titled Azioni , which also featured a DVD with the original film Nuova Consonanza shot by Theo Gallher during the rehearsal and concert that the group held on March 19th and 20th, , at the Galleria d'arte Moderna in Rome. Spanning from free-jazz to total abstract noise to wild electronic sounds, their music was -- and remains -- one of the most dynamic, original, and uncompromising expression of a period defined by intense experimentation and musical bravery, anticipating experiments to come in years following.

Or, to put it simple, "They were utterly unique," as per the words that John Zorn, who expressively wrote for this edition. Remastered by Giuseppe Ielasi. Available in three versions. All versions include a page, sewn-bound, LP-size book in English and Italian, complete with essays, memories shared by the group, a new article by Valentina Bertolani exploring in detail the techniques of the group, a chronology, a collection of original reviews by Maurizio Farina, and a set of unpublished black-and-white photos of the group playing in Venice's Teatro Della Fenice in , taken from the archives of the Venice Biennale.

Standard LP version. Dimensions extends its influence with the start of its label -- Dimensions Recordings. The label launches with a track compilation across three separate discs, An Introduction. Part 1 has an earthy, worldly feel to it. Istanbul's Kerem Akdag provides the jazz-tinted, deep roller "Getdownsoclose", making use of lush pads and rushing snares.

Maryland's James Tillman closes with soulful vocals on "Wander", which sit gracefully over transcendental keys and compellingly loose drumming. Part 2 sees four American artists provide more dancefloor leaning contributions. Marcos Cabral's "Prochainement" is a driving, dubbed-out melter with stomping kicks and big-room claps under fuzzy synths, whilst Byron The Aquarius drops his signature dose of funk into "Full Moon", which features MDMA.

DJ Aakmael's "Transit" is a raw, flexing cut, to be expected considering his massively impressive output. Part 3 is made of intergalactic oddities and twisted techno. French artist Upwellings demonstrates his purist approach, uniting elements of dub and techno on "Soft Shadows". Fachwerk label boss Mike Dehnert presents a raw but melodic track in "Tokio". Chicago's Steven Tang, as Obsolete Music Technology, rounds off the release with "Comb Freq", a devastatingly powerful mix of acidic, bleeping dancefloor energy.

A four-record anthology of Soundwalk Collective. Hertzian frequencies, radio interceptions, fragments of voices, singing sands, shortwave transmissions, archival recordings, vanished worlds, chaotic harmonies, daunting moments of confusion, an audible entropy, elation, and an endless search for beauty into chaos. The box set gathers four previously unreleased studio compositions by the New York and Berlin-based group of artists-musicians: Ulysses Syndrome, Medea, Empty Quarter, and Bessarabia, and a booklet including "Black-Winged Night", an essay by musician and writer David Toop, and a conversation between Soundwalk Collective and Dischi Fantom founder, Massimo Torrigiani.

The four compositions -- mastered by Stefan Betke -- are the result of extensive journeys and field recordings in the Mediterranean basin, the Black Sea, the Rub' al Khali Desert, and the region around Odessa, once known as Bessarabia. An international genre-bending group of artists-musicians with studios in New York City and Berlin, the three members of Soundwalk Collective Stephan Crasneanscki, Simone Merli, and Kamran Sadeghi bound in Manhattan to produce concept albums, sound installations, and live performances, often in collaboration with other artists, musicians, and writers.

Selected tracks from Transmissions are being broadcast internationally as part of Every Time A Ear Di Soun, the radio program of documenta14, curated by Adam Szymiczyk. An excerpt from the included essay by David Toop: "I hear this displacement of refrains. I am not fixed within signs but adrift within signals. Like a bat or a dolphin, I hear scanned frequencies otherwise inaudible to my human limitations and these voices and tones captured from the aether seem to me to?

After taking a break from touring and diving into the studio, H. The EP features the driving title track "Karma", which is an ethno-techno anthem, and the B-side "Nostalgia", a dreamy deep house tune. Koch turns Marchal's piano improvisation parts into distilled loops, creating a distant hopefulness that drives through this track's core. The elegance of Delhia's vocals combined with the driving remixing skills of Chi Thanh amplifies the essence of Koch's uplifting dancefloor hymn. It's a gloomy upbeat composition that unifies the signatures of both auteurs.

For the 21st anniversary of Regis's pivotal debut album, the Brum techno overlord has remade the scene of the crime from original stems and salvaged 8-track tapes. The unyielding results effectively present a doctored version of his seminal -- some may say game-changing -- record, featuring new studio versions and unreleased sequences. It's basically a stronger, fitter version of his most prized LP, loaded with sounds as brutally functional as the city which birthed them.

Originally recorded in September in Room , Digbeth, Birmingham aka Scorn's studio -- sandwiched between Tony De Vit and Broadcast's recording spaces -- Regis used one drum machine, one synth, and one FX unit to nail home a back-to-basics approach to techno; one inspired as much by the direct immediacy of Chicago house as the febrile DJ sets of Jeff Mills, but also drawing a crucial "X factor" from his background as a bit of a hooligan, with form in a number of post-industrial, EBM, and punk units.

When Gymnastics first hit the 'floor, it was considered shocking anathema to the swell of manicured, proggy arrangements which were by then dominating the spotlight of British dance in clubs and the media. It was loopy, stripped-to-the-bone, and shark-eyed, always moving forward and without the faintest recourse to melody or harmony -- simply reveling in the gnashing tension and swerve of raw, clattering drum machines, and monophonic synth jabs. Big Beat or trance it fucking well wasn't. From the grumbling refusal of "We Said No" and the austere wall-banger "Allies" that boot off the album, through the 16th note nag of "Translation" to the rictus jag of "Sand" and the metallic bite of "The Black Freighter", this is timeless, primal dance music that still causes friction wherever it's deployed.

James Brown is dead. Long live Regis. New reworked artwork original featured the Twin Towers photographed in Remastered and cut by Matt Colton. Auf Der Ufer consists of three new tracks. The eight-minute meditation "Pumapunku" marries Balearic flair with otherworldly synth-spheres. This is the third of three in the series. Having made her mark on Brazil's rich musical legacy with three best-selling albums to date, Rio's original nu-bossa queen returns with a tour de force of golden-era Brazilian soul music.

For her most up-lifting and danceable album to date, Sabrina has as always enlisted her father Alex Malheiros -- bassist of samba jazz-funk legends Azymuth -- and visionary London based producer Daniel Maunick aka Dokta Venom , son of Incognito's Bluey. With her debut album Equilibria , Sabrina arrived on a wave of instant acclaim. Six years on, Sabrina returns with Clareia.

Mellower moments are found in "Em Paz", on which Sabrina's beguiling harmonies find an anchor in the rhythmic acoustic guitar of Ze Carlos', who Sabrina heralds as being "the best guitarist I have ever worked with". Azymuth's keyboardist Kiko Continentino's deft Rhodes, piano, organ, and synth playing, add ever more textures of distinctly Brazilian brilliance throughout, while tropical brass and flute arrangements on cool bossa-jazz movers "Vai Maria" and "Sandore", come from Brazilian saxophone legend Leo Gandleman, a man who has worked with everyone from Gal Costa to Gilberto Gil.

The rhythm section combines Daniel Maunick's seamless drum programming and the organic polyrhythms of Brazilian percussion legend Jakare, all punctuated by Alex Malheiros's inimitable occasionally slapped jazz-funk bass, giving the album its irresistibly danceable pulse. Clareia is an inter-generational masterclass of Brazil's soulful spectrum, led by a pioneering voice of today's scene on the very top of her game.

LP version with download code. Andrea Belfi born is an international respected electroacoustic musician and composer. He began playing drums at the age of He studied art in Milan, before becoming involved in experimental music and since he's been in collaboration with a wide range of artists, currently residing in Berlin, Germany.

The new label exists parallel to Float PR, the London based agency dedicated to the promotion of unique artists and projects, and Andrea Belfi is the first signing. Titled Ore, the album places the drums as its centerpiece, while textures are embellished and mutated through electronic manipulations and dark, eerie sonic details. Over the years, Belfi has built a sound-world that artfully combines a modest drum set-up with an equally concise electronics component.

He has searched long to produce and refine the acoustic timbres of his music, but has now reached a certain point of fulfilment, courtesy of his Saari drum-kit from Finland. Melded seamlessly with the acoustic elements are a Nord modular and sampler. On Ore, Belfi attains a masterful synthesis of these two sonic realms. Belfi has gained a reputation for his energetic and charismatic performances, both as a solo musician and within numerous collaborations. Belfi became an instant highlight following a sold-out gig at London's Barbican Centre, lighting the stage with an impressive and explosive drum solo that became one of the most memorable moments from the evening.

I was looking for something very raw, something sonically and acoustically complex. The title Ore actually was suggested by my wife. I had to look up the meaning and loved the concept -- something raw that you can extract, and the refinement into a precious material. It's a very simple metaphor but there's a lot there, you can just put that word out and you don't have to explain too much. You give an input to the listener, and just leave it to the imagination.

Red vinyl version with download code; Exclusively made for independent record stores. Chef Raekwon's Only Built 4 Cuban Linx remains firmly planted as one of the defining triumphs in their artistic legacy. The oft referred 'Purple Tape' has been cited and debated by many as the greatest Wu-Tang solo project to date and remains a bullet point in any discussion involving the greatest 'cocaine rap' or 'street hop' albums of all time. In continuing with its proud tradition of honoring historically significant hip hop albums, Get On Down is honored to present Raekwon's Only Built 4 Cuban Linx for the first time ever on double translucent purple vinyl housed in a high density re-sealable poly bag.

This edition features, for the first time ever on vinyl, the formerly CD-only bonus track, 'North Star Jewels. This is the definitive must-own vinyl edition of Raekwon's masterpiece. And for good reason: they both captured one of the late s most important and influential crews at their highest powers of lyricism and musical invention. Released in , when the hip-hop world was truly beginning to explode and reach new heights of sales and exposure around the world, the album is arguably as powerful as the group's first two. Lyrically there was never a question about KRS' power, and on Ghetto Music he continues to impress, teach and ask important questions.

Coming off the critically acclaimed The Infamous, Havoc and Prodigy hit the lab and came back with a soundtrack that is fitting to its title. Havoc's production is atmospheric; laced with his trademark drums loops and sharp pianos stabs. Add Prodigy's trademark flow and it's evident that the pairing is such an amazing match. While Hell On Earth is essentially a continuation of The Infamous you can still hear the growth in both performers and Hell On Earth stands as some of their best work.

Times are tough, the economy is rough, everybody's tryin' to make a dollar. Sometimes you get away from yourself. Won't you go back and break bread, while we still have some to break?


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Times were indeed tough for everyday folks in the waning days of the Nixon era. Escape-ism was needed. Humanity sometimes seemed to be in short supply. But James Brown and his assembled People Records roster were always there to take soul music fans away from their everyday trials and tribulations, even while occasionally funking up negative situations for instance, 'Rockin' Funky Watergate,' one of the centerpieces of this album. The heavy grooves laid down by trombonist and bandleader Fred Wesley, saxophonist and arranger St.

Clair Pinckney and Fred's assembled 'New J. But it is one that added to the powerful musical and social legacy of that crew. It's an air-tight, eight course meal, with most platters clocking in at four delicious minutes each. Breakin' Bread is a truly memorable funk stew, with warm, call-and-response vocals, complicated-but-laidback soul, and an important message? In fact, there isn't much time to catch your breath on Breakin' Bread, and that's a beautiful thing.

Reissued on LP with a sumptuous, five-color, 22" x 22" poster of the cover art, all wrapped in a Stoughton Tip-On jacket and thick polybag, there is never a bad time to revisit this classic maybe replacing your worn-out original copy. Or, just as importantly, let it blow your mind for the first time. The group are not only key figures in the development reggae, they were among the first to utilize the word in a song title which lead to the popularization of the very term reggae. In The Dark is the group's second internationally released full length, the follow up to Funky Kingston.

Like Funky Kingston, this release is in the pantheon of the greatest reggae albums of all time. Sure, that's not an official list, but you know it when you hear it. In addition to stand out cuts like the James Brown influenced ' Was My Number' that had previously been issued as singles the group recorded all new material at Dynamic Sounds Studios in Kingston.

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One of those cuts is perhaps the most unique reggae covers of an American hit record. Reissued in a lovingly re-printed version of the original LP sleeve, Get On Down now presents a superb reissue of a legendary piece of music history. Recorded before their first album came out , this record features three primeval versions of tunes from their debut record and eight goodies, standards and originals, that were not featured on any official studio and live recording up to 's Workingman's Dead. This recording brings you right there, on a magic night in November , when psychedelic rock was still something fresh and exciting and the emerging hippie movement had not exploded yet.

That came half a year later with the invasion of Haight-Ashbury. But these recordings are not only of historical importance, their musical value is amazing. The band smokes on stage throughout the performance. The sound is muggy for sure, but each instrument comes through as it should and the simmering duels of guitar and organ make your head swirl. This album will certainly make the young generation of '60s music aficionados go crazy. A new beautiful cover artwork and great overall sound quality restoration make this album a joyful experience.

The overall atmosphere is just haunting. The release is reminiscent of early Doors or Iron Butterfly live recordings. A band at it's prime with the world to gain and nothing to lose. Campus, originally released in Few acts have a cult reputation such as The Centurians, or The Centurions as they were originally called. In , they changed their name to The Centurians for legal reasons. The main point of interest though is this set of killer tunes. The Centurians are definitely a Californian band. But they seem to come from the darker, windier, and dirtier part of the beach, where only overly tattooed bikers get their willing victims laid and the rough sea craves for the lives of daring surf maniacs.

The music is surf rock'n'roll, but it's different to most of the fluffy good time party bands. The bass guitar plays a mean line with all the tunes to give 'em a bent-out-of-shape spine, at which the beats of the drum, the desperately howling saxophone, and the gloomy twangy guitar, get tightened with rusty wire. The performance presented here is excellent. The musicians belong to the best of their genre.

The atmosphere is just utterly mysterious, dark, and dusty, and the steaming hot melodies and the fuzzed-out bass and saxophone lines will have you grasping for air. The most popular tracks here are the ones that appeared on Pulp Fiction, "Bullwinkle Pt. The whole record has this desperate expression, a hunger for life, and a love young fellows from the darker side of town had back then, and still have. A long overdue proper reissue of a long-lost classic. Includes six bonus tracks. If you are curious how Japanese pop music sounded in the early '60s, here is one of the most popular examples.

This reissue will hopefully intrigue fans of abundantly orchestrated '60s pop to listen to Kyu Sakamoto, who sadly perished in an aircraft accident in , one of the biggest events of its kind in flight history. What do you hear from this very young but already experienced man? Mysterious, soulful songs with big orchestral arrangements, tunes that show elements of Latin music, such as bossa nova, typically elegant doo wop, and pop ballads of the day with heartwarming melodies, some exotic tunes that draw influence from what western people might consider Japanese music, real or fictional.

The most popular tune that became a worldwide hit is "Sukiyaki", which later received great success with the German language version by The Blue Diamonds, a Dutch band of Indonesian origin. Sakamoto did not spare any style popular in the '50s up to the early '60s. You'll hear elements of chanson among many others. The whole album is relaxed and beautiful, and is executed with a friendly expression. The orchestra, the big band, whoever accompanies Kyu Sakamoto, dresses all the compositions with passionate and pliable garment of absolute elegance. This album definitely is certainly joyous.

The use of Japanese language, which might appeal to native speakers and those with a fondness for exotic aspects, makes this record even more outstanding. It's a colorful and memorable effort.

Looks aren't everything. Believe me, I'm a model. - Cameron Russell

Another wonderful live session by the multi-instrumentalist Maurizio Abate, captured by Ulrich Rois Bird People in during his exhibition at the old location of the art association eLaSTiCo -- in the center of Bologna -- then mixed and edited by Maurizio himself. To be considered a twin release of the Live From The Border EP published in , this single-sided release features a twenty-minute track that builds a ritual and meditative soundscape with the processed sound of a hurdy-gurdy and a harmonica.

Squadra Omega teams up again revealing itself in the shape of a trio composed of -- exactly as for the session which gave birth to Il Serpente Nel Cielo -- OmegaFrank drums , OmegaG8 bass, electronics , and OmegaMatt guitar, organ, sax, electronics. An improvised session recorded live by Matt Bordin at Outside Inside Studio, where the Squadra goes nervously free -- constantly suspended and harmonically non resolved -- following a trail of skilled atonal jazz rock guitar tunes leading to moments of dazed electronics. Definitely not an easy-listening album, wonderfully rendered.

For fans of early ECM records. Honest Jon's presents the second of two compilations Lagos Chop Up HJR LP being the first focusing on music from the Nigerian city of Lagos circa the s, s, and s considered to be the golden age of African popular music. With many African nations fighting for or gaining independence, locally produced modern music was seen as a powerful expression of new national identity. From West Africa came '60s highlife, which then influenced Fela Kuti's Afro-funk of the '70s, while from the traditional Yoruba religion came juju, fuji, waka, and apala tracks, all of which are included here.

Honest Jon's Records reissues this classic from Afrobeat co-creator and master drummer Tony Allen. The much-lauded Lagos No Shaking pays tribute to the powerful sounds and rhythms of Allen's homeland of Lagos, Nigeria, marking a return to the classic percussive stylings which harken back to his seminal contribution to Fela Kuti's Africa 70 and Egypt This is the real thing -- raw and uncut, recorded in Lagos over ten nights with a piece band, including the finest musicians in the city, not least deep horn-blasting from Lekan Animashaun Baba Ani and Show Boy from the killer Fela line-ups, and the palm-wine veteran Fatai Rolling Dollar, who adds his throaty, commanding tones and throbbing agidigbo thumb piano to four tracks.

But the key element is, of course, Allen's powerful, yet magnificently relaxed drumming, which keeps everything in perpetual rocking motion, tempering the hard funk edges of classic Afrobeat with earthier Lagosian flavors. Indeed, while the album's observations on Lagos life are aptly tough and sardonic, this is a warmer, more down-home, perhaps more humane album than anything Fela ever produced.

Afro-funk, stone-classic dance music in six-minute chunks. This is the eagerly? Splazsh is an adventurous, ultra-modern, thoroughly British affair, rummaging about in the inner lives of house and techno, and brilliantly elaborating the accomplishments of his debut, Hazyville WERK CD. Determinedly off? He's a hard man to pin down -- somehow a key player in the post?

The South Londoner's acclaimed debut lived up to its name: a series of dream-like sketches and ideas.


  • The Athletic Horse - E-Book: Principles and Practice of Equine Sports Medicine;
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  • For Splazsh, the fog has lifted, the sounds are less submerged than before, but still sticky and close -- a signature combination of exuberance and introversion, luminescence and puzzlement. Worlds of disturbance and melancholy revolve giddyingly inside the insidious funk of tracks like "Get Ohn" and "Lost. There is a reflectiveness -- the ambient drift of "Futureproofing," the radiophonic judder of "Supreme Cunnilingus" -- in amongst the industrial, synth? His own label, Werk Discs, has proven itself one of the most formidable and taste?

    In love with the mysteries of groove and repetition, Splazsh is both a culmination and a new beginning for Actress -- a substantial and eccentric work from a brave and coolly individual artist. Gatefold 2LP version. The deadly concision, the rhythmic punch and dramatic timing, the spry, side-to-side detailing of a cavernous stage, the crisp-biscuit vocal sampling and Middle Eastern percussion -- their sound signatures are not so much totalled as squared. Truly an album, the music is multi-leveled -- dark as anything at times, but engrossingly varied and emotionally shaded, always on the move.

    Gatefold double LP version. The Moritz Von Oswald Trio opens a new chapter. There's a new configuration to the project, with Tony Allen joining original members Moritz von Oswald and Max Loderbauer. Allen, the legendary drummer who's amassed a formidable catalog both as a solo artist and as part of Fela Kuti's band, has taken over percussion duties from Vladislav Delay.

    Together, von Oswald, Loderbauer, and Allen form something close to a dream team, two masters of the electronic sphere meeting an afrobeat pioneer. Allen had already established a rapport with the group before they entered the studio to record Sounding Lines -- he's been touring with von Oswald and Loderbauer for more than a year, playing live shows around the world. The album, which was mixed by Ricardo Villalobos, maintains the project's trajectory -- a fearless exploration of dub techno, classical music, and jazz -- but the prevailing mood feels looser and more organic than ever before.

    Allen's imperious percussive work sits tantalizingly in the mix. His drums meet the electronics of von Oswald and Loderbauer in a way that renders the project in new, vivid colors. Sometimes Allen provides flourishes of drums notably on "4" while at other times spectral synths come to the fore as on "5". Von Oswald, a masterful composer and arranger with a deep understanding of space, paints the crevices of each composition on Sounding Lines with rich detail.

    Individually, von Oswald, Loderbauer, and Allen are formidable and hugely influential musicians. As a trio, they've conjured something remarkable. Tony Allen, drums; Max Loderbauer, synthesizers; Moritz von Oswald, percussion sequencing, synthesizers, additional electronics. Artwork by Marc Brandenburg. Stephen O'Malley deploys the second in a trio of documents of his improvisational prowess following his crushing Fuck Fundamentalist Pigs, which was brought forward in tribute to the November Paris attacks and released in December The minimalist electric guitar mantra Dread Live was performed at Studio Helmbreker in Haarlem, Netherlands, on September 6, , and recorded by Mathijs Ton, with technical support by the great Tos Nieuwenhuizen, using a hypercardioid ribbon mic with immaculate '70s valve amp backline.

    The set was programmed as part of the opening of the Dread -- Fear in the age of technological acceleration exhibition at De Hallen Haarlem, curated by Juha van't Zelfde. It renders 40 minutes of Sunn O 's O'Malley at his most depressive and heavy and is something akin to a slow-motion baptism by waves of tarry, blackened harmonic distortion, holding the listener under its sinking pressure. How low can you go? O'Malley knows. Mastered and cut by Matt Colton. Edition of hand-numbered copies. Limited repress. In solo mode, stripped of his usual accomplices and collaborators, O'Malley is no less than an elemental force.

    His durational meditations absorb and consume with steady-handed wave after wave of charred, sustained, and sub-harmonized chords casting the mesmerizing minimalist practice of La Monte Young into the physicality of Black Sabbath's original, heavy metal die. As the 2nd half dawns he begins to deliver more crushing blows, drawing out and subsiding the chords with a patented, gut-wrenching and vivifying power that transcends rock, avant-garde, minimalism -- all of that -- to awaken dormant senses not usually experienced with other musics or concise temporality.

    As with many of the most affective heavy drone recordings by Sunn 0 , among others, a modicum of patience is required in order to attain the right state for reception, but once your mind and body are malleable, the impact is deliciously visceral, primal and whelming. Individually hand-numbered edition of copies. Stephen O'Malley on Fuck Fundamentalist Pigs upon its initial release in December "On 8 January , the day following the Charlie Hebdo murders in Paris the city I have called home for the last eight years , I started a week-long tour of Norway.

    During this jaunt I faced the toxic reality daily of the horrible blossoming events intermittently via television. The Trondheim concert on 9 January depicted here happened on a particularly intense day in this timeline Through a web of emotions resolving distance, disintegration, the intense power of the moment and the brutal fundamentalist, cultural and psychological aspects behind. Like most of us I have also sometimes fallen for the constant baiting toward anger, outrage, paranoia and fear in the daily life, often but not always misdirected, but it is not debilitating by any means.

    It's clear that as an experimental guitar player I have absolutely no political power or even ability to articulate in those forms but it's important to take the opportunity to say 'fuck you' in these situations. To the fascist and fundamentalist movements. To the absurding of the worst sides of monotheistic belief systems. And not only the perpetrators behind these events but also on other sides including the reactive and opportunistic. Those with most to gain are the underlying authoritarians in our own societies who have opportunities to implement and increase their control even further for their gains.

    The 'security' changes we face in fact may also result in yet further increase in the loss of liberty and freedom. The reactions aimed toward increased separation of cultures, xenophobia, nationalism, and especially racism are highly regrettable. I hope these recordings offer a small sense of solace in the time, even for the few hundred who hear them. This record is actually the third part of a trilogy of live solo guitar records we intended to be released on iDEAL during spring Composed by Stevie Jones, and performed together with Georgie McGeown, visual artist Vikki Morton Muscles Of Joy, Suckle , and Trembling Bell's Alex Neilson, Light The Currents is a bright and buoyant acoustic arrangement in two parts; the first written for a special performance at an exhibition of artwork by Katy Dove in October , the second written afterwards as a response to the exhibition and the experience of playing there.

    Aqua-blue vinyl, single-sided, silkscreened B side; Includes insert and photograph; Includes download code; Edition of numbered. Micromanic is a colossal slab of percussive energy composed and performed by Berlin based Matti Gajek. Micromanic begins with tentative steps, which morph into a chattering electronic birdsong before giving way to an assertive, hammering bassline. The structure eventually crumbles into discordant noise and echoes, eventually giving way to something gentler. Gajek weaves a complex and varied narrative with absolute technical aplomb, resulting in an experimental and hypnotic recast of krautrock.

    Translucent purple vinyl, single-sided, silkscreened B side, Includes insert and photograph; Includes download code; Edition of numbered. Intervallo present a reissue of H. From the very first second, Impact: Synthesized Sound And Music is a difficult, icy release, embracing many cornerstones of what would become known as industrial music. These 16 sonic experiments are totally devoted to VCS3 synthesizers, which are the main architects of whirling escapes, white noise, and sonic landscapes in the mood of early Warp releases.

    It's a really peculiar library music album, filled with incredibly contemporary sounds and atmospheres. Unlike Distortions by Blue Phantom , whose super groovy and almost hard-prog tracks are all credited to H. Tical, this is a totally different sonic planet - and it's difficult to figure out what kind of images could be paired with such an extreme experiment, which is a one-of-a-kind effort in Sciascia's more traditional career as a composer. Moreover, the musical delirium is enhanced by the usual beauty of the titles, such as "Colluvium", "Metastasis", "Trigonos", "Intercosmic", "Rubidio", or "Laser", mixing Latin and English.

    This is a wonderful, alienating album made of "static" music, totally estranged from the idea of movement. A true desert island album, or better said, an abandoned planet album. Intervallo's third reissue in the incredible series of nature-themed libraries originally released in the first half of the '70s by Cardium, Chic, Nereide, Musical, Rhombus, Spring, and Weekend labels. Real hardcore collector items which gave birth to a small cult during the last four decades.

    La Natura E L'Uomo, Italian for "nature and mankind" , first came out in ; despite being part of the same series as Biologia Marina and Ittiologia part of Intervallo's reissue series , it is actually a different affair, in which the avant-garde urge partly leaves room for sweeter, acoustic atmospheres.

    But there are also amazing examples of ambient experimentations such as "Protozoi" or "Venus", both featured in two versions. The main characters of this release are pretty much the same ones we met in the other volumes: Alessandro Alessandroni, Franco Tamponi, and Amedeo Tommasi. La Natura E L'Uomo also introduces two new names: Marco Di Marco, author of the tracks with a more definite easy listening mood, is a pianist and a jazz composer from Bologna, while the alias Kema hides Alessandroni's wife, the amazingly talented Giulia De Muittis, who was an equally formidable force.

    She and her husband are responsible for the most enticing tracks of the album: "Bassa Marea", "Pescatori", and "Venus". Double LP version.