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Various ‎– Recommended Records Sampler (1982)
Postado por J.V. em sábado, 15 de junho de 2019.


Label:
Recommended Records ‎– RR eight & nine
Format:
2 × Vinyl, LP, Limited Edition, Sampler 
Country:
UK
Released:
01 May 1982
Genre:
Electronic, Jazz, Rock
Style:
Abstract, Art, Rock, RIO, Experimental, Avantgarde








Tracklist

A1VogelFlaschenzug
Drums, Vocals, Keyboards, Percussion – VogelLyrics By – Robel VogelPercussion – Nagel ShlegelPercussion, Backing Vocals – Lu Written-By – Vogel
A2FaustExtract 5 From Faust Party Three : "The Voice Of The Pumpkin."
Bass, Trumpet – Jean-Herve PeronDrums – Zappa DiermaierGuitar – Rudolf SosnaKeyboards – Joachim IrmlerRecorded By – Kurt Graupner, Uwe NettelbeckSaxophone – Gunther WusthofWritten-By – Faust
A3Art BearsAll Hail
Bass, Guitar, Piano – Fred FrithDrums – Chris CutlerLyrics By – Chris CutlerRecorded By – David VorhausVoice – Dagmar KrauseWritten-By – Cutler, Frith
A4Stormy SixReparto Novità
Bass – Pino MartiniDrums – Salvatore GarauGuitar, Trombone, Voice, Vibraphone – Franco FabbriLyrics By – Umberto FioriOrgan, Synthesizer, Guitar, Saxophone, Violin – Tommaso LeddiVoice – Umberto FioriWritten-By – Martini, Fiori
A5The HomosexualsWalk Before Imitate
A6Joseph Racaille & Patrick PortellaOn Ne Plus Compter Sur Ses Doigts
Clarinet – Patrick PortellaLyrics By – Joseph RacailleVocals – Joseph RacailleWritten-By – Racaille, Portella
A7Feliu Gasul*
Written-By – Gasul
B1The Black SheepStrangelove
Guitar, Drums – Daddy Longlegs Trumpet, Voice – Red PhantomeTuba – Rock Steady Voice – Zeena PlotnikVoice, Clarinet – L. ChemistWritten-By – Sheeps
B2Univers ZeroInfluences
Bass Guitar – Guy SegersClarinet – Dirk DescheemaekerDrums, Percussion – Daniel DenisKeyboards, Guitar – Andy Kirk Recorded By – Eric FaesViolin – Alan Ward Written-By – Kirk
B3Aksak Maboul / The Honeymoon KillersBoss De Crosses Dans Le Doulos
Bass – Vincent KenisDrums – Jean-François Jones JacobGuitar – Gerald FenerbergGuitar, Vocals – Yvon VrommanKeyboards – Marc HollanderVocals – Veronique Vincent
B4The WorkHoudini
Bass – Mick HobbsDrums – Rick WilsonEngineer – Etienne ConodEngineer [Assistant] – Bubu Steiner, Pete Bullen, The WorkGuitar – Bill GilonisGuitar [Hawaiian] – Tim HodgkinsonLyrics By – Tim HodgkinsonWritten-By – The Work
B5Henry CowSlice
Bass – Georgie BornBassoon, Saxophone – Lindsay CooperDrums – Chris CutlerGuitar – Fred FrithOrgan, Saxophone, Clarinet – Tim HodgkinsonRecorded By – Etienne ConodWritten-By – Cooper
B6Henry CowViva Pa Ubu
Bass – Georgie BornBassoon, Saxophone – Lindsay CooperDrums – Chris CutlerGuitar – Fred FrithLyrics By – Tim HodgkinsonOrgan, Saxophone, Clarinet – Tim HodgkinsonRecorded By – Etienne ConodWritten-By – Hodgkinson
B7Decibel Radio Extract
Bass Guitar – Walter Schmidt Clarinet – Javier BavieraDrums, Percussion – Jaime CastanedaPiano, Synthesizer – Carlos RobledoViolin – Alejandro SanchezWritten-By – db
C1Art ZoydSimulacres
Bass – Thierry ZaboitzeffGuitar – Alain EckertPiano – Patricia DallioSaxophone – Gilles RenardTrumpet – Jean Pierre SoarezViolin – Frank Cardon, Gerard HourbetteWritten-By – Hourbette
C2The MuffinsTwo Extracts From Chronometers
Drums – Stu AbramowitzFlute, Clarinet, Saxophone, Xylophone – Tom Scott Guitar, Violin – Michael ZentnerPiano, Organ – Dave NewhouseWritten-By – Newhouse, The Muffins
C3Heiner GoebbelsBerlin - Kudamm 12 April 1981
Recorded By, Mixed By – Etienne Conod, Heiner Goebbels, Robert VogelSynthesizer, Performer [Rythmmachine], Piano, Cello, Electric Guitar, Acoustic Guitar – Heiner GoebbelsTrombone – Andreas Boje, Anne-Marie RoelofsWritten-By – Goebbels
C4Amos Steer Clear Of England
Performer – Amos, C.D. Greyt, Sara V.Technician [Slave Master] – Charles BullionWritten-By – Balloona, Otto Dix
C5ConventumCommerce Nostalgique
Double Bass – Pierre CartierDrums – Eduardo PipmanElectric Guitar – René LussierFlute – Jean DeromeWritten-By – Duchesne
C6Hector ZazouVera C
Cello – Iseux ChoixFlute – Xavier Le MasneGuitar – Rafael Giminez-FauvetyMarimba – Francois VerlyOboe – Magali LeberreRecorded By, Mixed By – H. Zazou, J. BoutaudViolin – Jean Bernard DubuissonWritten-By – Zazou
D1This HeatPool
Bass, Keyboards – Gareth WilliamsDrums – Charles HaywardGuitar – Charles BullenWritten-By – This Heat
D2The ResidentsWalter Westinghouse
Written-By – The Residents
D3R. Stevie MoorePedestrian Hop & Copy Me
Recorded By – Robert StevieWritten-By – Moore
D4Ron PateI Talk To My Haircut
Written-By – Pate
D5Picchio Dal PozzoUccelin Del Bosco
Bass, Trombone, Guitar, Voice – Andrea CecconDrums, Performer [Chincagleria], Vibraphone, Organ – Aldo Di MarcoGuitar, Flute, Voice – Paulo GriguoloPiano, Organ, Synthesizer, Alto Saxophone, Voice – Aldo De ScalziTenor Saxophone, Flute, Clarinet – Roberto RomaniWritten-By – Scalzi, Marco
D6Robert WyattThe Internationale
Performer [Personnel] – RobertRecorded By – Ian Solomon

Companies, etc.

  • Phonographic Copyright (p) – Recommended Records
  • Pressed By – Nimbus
  • Printed By – Third Step Printworks
  • Printed By – Frank Rook Ltd.
  • Printed By – Image Print Resources
  • Lacquer Cut At – Nimbus
  • Recorded At – Sunrise Studios
  • Recorded At – Wümme
  • Recorded At – Kaleidophon Studios
  • Recorded At – Studio D'Hennuyères
  • Recorded At – Studio Anagramme
  • Recorded At – El Ralpho Studios
  • Recorded At – The Crypt Studios
  • Recorded At – Studio G, Genova
  • Mixed At – Sunrise Studios
  • Mixed At – Studio Anagramme

Credits

  • Design [Cover Design] – Chris Cutler, E.M. Thomas
  • Edited By [General Editing] – Chris Cutler
  • Mastered By [Production Mastering] – Jon Jacobs

Notes


Limited edition of 3000.

Fold-out card outer in clear PVC bag with glitter print.
With insert including titles, lyrics and RR label information.

Track B5 ends in a locked groove.
Track D4 listed as "Fun In The Fundus" on label.

Side A time: 28:06
Side B time: 30:45
Side C time: 31:00
Side D time: 30:08

Cover printing:
PVC bag: Third Step Printworks
Card outer: Frank Rook Ltd. London
Inner: Image Print Resources

Cut & pressed. Nimbus

Track A1 recorded at Sunrise Studio Switzerland.
Track A2 recorded at Wümme in 1972/3.
Track A3 recorded at Kaleidophon, London in Winter '80.
Track B1 recorded at M.C.C.B. in Feb. 1982.
Track B2 recorded at Hennuyeres Jan 82.
Track B4 recorded 6 mixed 9/10 November '81 at Sunrise.
Tracks B5, B6 recorded at Sunrise Studio, Switzerland in Jan & August 78.
Track B7 recorded on Mexico City University Radio Station 1979.
Track C2 recorded at Unconscious Quantum Laboratories in 1979. This mix 1982 at CAB Studios.
Track C3 recorded and mixed at Sunrise Studio, Kirchberg, Switzerland, August 1981.
Track C6 recorded & mixed at Anagrame (Paris).
Track D2 recorded at El Ralpho & The Crypt Studios, California, Nov 76-Jan 77.
Track D5 recorded at 'Studio G', Genova, 1981.
Track D6 recorded at Wave, Twickenham 28./29. August 1981.

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John Greaves - Songs (1994)
Postado por Andre Carvalho em segunda-feira, 27 de maio de 2019.










John Greaves foi um dos principais nomes do lendário Henry Cow e do National Health, bandas ligadas à cena de Canterbury. Sua carreira solo é rica em albums que exploram sonoridades e experimentações minimalistas dentro da própria cultura dos songwriters britânicos. O álbum "Songs" de 1994 parece ser o mais legítimo herdeiro dessa tradição. Com texturas sombrias e inusuais que se ligam diretamente ao Rock In Opposition, também vagueiam dentro do pop (no sentido menos pejorativo deste termo), tem por resultado final algo criativo e original mas surpreendemente familiar. 





Line-Up:

• Robert Wyatt
• S'ange
• Caroline Loeb
• Kristoffer Blegvad








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The Nels Cline Singers - Instrumentals (2002)
Postado por Andre Carvalho em quinta-feira, 28 de março de 2019.










Composed By Nels Cline
Artwork, Layout – Carole Kim
Contrabass – Devin Hoff
Drums, Percussion, Loops, Effects – Scott Amendola
Electric Guitar, Twelve-String Guitar, Baritone Guitar – Nels Cline





[Download - FLAC]



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Capital Air – Our Machine (1998)
Postado por J.V. em quinta-feira, 7 de março de 2019.



01. Our Machine  (1:03)
02. Jesus Disturbed  (2:01)
03. Up in Heaven  (2:27)
04. Die Endlessly  (4:34)
05. Dead Flowers  (1:47)
06. Soul for $20  (3:50) 
07. God's So Proud  (3:09)
08. Shot  (2:19)
09. Thinking Man (2:07)
10. Yeh-Yeh  (3:55)
11. Hate  (3:39)
12. On with It  (1:38)
13. Light of Day  (4:05)
14. Lucky Girl  (2:34)
15. Are You Still Alive  (2:47)
16. A Better Way  (2:19)
17. Blue  (1:14)
18. Pistol  (3:08)
19. Given In  (1:12)
20. Angel  (1:51)
21. Mr. No  (1:59)
22. 1,000,000 Friends  (2:45)
23. Vegas Whore  (1:47)
24. Nothing but the Truth  (2:34)
25. No Name Singer  (2:37)
26. Music Box  (0:43) 

'Capital Air/Our Machine 1998 Vernon Gunn/Gari Ziroli. Our Machine was recorded mostly in NYC in a magic time called the nineties on a Fostex 4 track casstette [sic] recorder. The beats were provided by a Casio keyboard rescued from the trash.'

released January 1, 1998

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The Ex - How Thick You Think / That's Not A Virus (2014)
Postado por Andre Carvalho em sexta-feira, 18 de janeiro de 2019.











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Shin Gojira Music Collection (2016)
Postado por Andre Carvalho em domingo, 13 de janeiro de 2019.



O último filme do Godzilla chamado Shin Gojira lançado em 2016 sob direção de Hideaki Anno é surpreendente em vários aspectos, e um dos principais dele é a trilha sonora. O uso de alguns temas antigos originais ou rearranjados, ou ainda retirados de outras obras (como Neo Genesis Evangellion), trouxeram uma nova vida surpreendente pra obra.













 





De Organographia - Music of the Ancient Sumerians, Egyptians and Greeks (1999)
Postado por Andre Carvalho em quinta-feira, 25 de outubro de 2018.


Greek Music from Egypt (from the Oxyrhynchus papyri) 

1. Musical excerpts, Anonymous (2nd c. A.D.) POxy. 4461, column ii, lines 1-9.
trichordon, syrinx monokalamos, yympanon, psithyra, kroupeza, krotala (small cymbals)

2. Lament, Anon. (2nd or 3rd c. A.D.) POxy. 4465.
autos paidikos, kithara, lyra

3. Fragment 1, Anonymous (2nd c. A.D.) POxy. 4462.
trichordon, kithara, autos parthenios, syrinx monokalamos, kroupeza, kymbala

4. Paean, Anonymous (3rd or 4th c. A.D.) POxy. 4466.
syrinx monokalamos, pandoura, lyra, kroupeza, krotala (small cymbals)

5. Trochaic fragment, Anon. (3rd c. A.D.) POxy. 3162.
autos teleios (double pipes)

6. Four settings of a line from "Epittepontes" by Menander Anonymous (3rd c. A.D.) POxy. 3705.
Four different examples of music for the same line of text are given.
Translation: "Of what area? What memor-"
voices, kithara, lyra, krotala (small cymbals)

7. Excerpts mentioning Eros and Aphrodite, Anon. (2nd or 3rd c. A.D.) POxy. 4463.
Fragments of three distinct compositions.
pandoura, bronze bell, psithyra, tympanon;
aulos hyperteleios, kithara;
syrinx monokalamos, barrel drum, kroupeza

8. Musical excerpt, Anonymous (3rd c. A.D.) POxy. 4467.
trichordon, pandoura, two kitharas

9. Hypolydian excerpt, Anonymous (2nd or 3rd c. AD) POxy. 4464, lines 3-8.
The plectrum is pressed on the string to obtain an accidental on the kithara.
kithara, echeia

10. Fragment 3, Anonymous (3rd c. A.D.) POxy. 3161 verso fr. 3.
bagpipe, tympanon, timbrel, kroupeza, krotala (small cymbals), hand-clapping, finger-snapping



Sumero-Babylonian Music 

11. A zaluzi to the gods (Hurrian Hymn 6), Anonymous, copied by Ammurabi (c. 1225 B.C.) R.S. 15.30 + 49, 17.387.
This nearly intact piece is preserved with the remains of 30 other hymns in the Hurrian language on a series of baked clay tablets found at Ugarit. Modern transcription of the Babylonian musical notation on these tablets is made possible through the discovery of several period musical texts that explain the terms used in the tuning of the lyre through seven diatonic modes. Several modern authors have offered interpretations of these terms, but disagree on certain key points. We have followed M. L. West's melodic interpretation (5). The Babylonian system does not include notation for rhythm. Text underlay is problematic since the text and music are written separately. There is almost a 2:1 ratio between the number of syllables and the number of notes, so, if the melody is repeated, the match of syllables to notes is fairly good with a few minor adjustments; on the tablet between the text and music there is a double dividing line with signs indicating a repeat of some kind. Present understanding of the Hurrian language is limited, thus making a complete translation impossible; it seems to be a hymn to the goddess Nikkal, wife of the moon god, with a few translatable phrases including "you love them in your heart" and "born of you".
voice, long-necked lute, asymmetrical lyre, bronze bell

12. Hurrian Hymns 19 and 23, Anonymous (c. 1225 B.C.) R.S. 19.149 and 18.282.
Two fragmentary hymns with parts of four and six lines of notation respectively. Here the first pitch of each notated interval is played along with the melody note at the beginning of each series of repetitions (see above).
asymmetrical lyre, long-necked lute, goblet drum, terracotta bell, clappers

13. Hurrian Hymns 13 and 12, Urḫiya/Anon., copied by Ipšali (c. 1225 B.C.) R.S. 19.164d and 19.147.
Hymn fragments with parts of two and four lines of notation respectively.
double reed pipes, goblet drum

14. Hurrian Hymn 2, Anonymous (c. 1225 B.C.) Fragmentary hymn with parts of twelve lines of notation. asymmetrical lyre, terracotta bell

15. Hurrian Hymn 8, by Urḫiya (c. 1225 B.C.) R.S. 19.84.
Fragmentary hymn to a goddess with parts of seven lines of musical notation.
three-holed vertical flute, asymmetrical lyre, two sistra, goblet drum

16. Hurrian Hymn 5, by Puḫiya(na) (c. 1225 B.C.) R.S. 14.18.
Fragmentary hymn with parts of five lines of notation.
asymmetrical lyre, goblet drum, terracotta bell

17. Hurrian Hymns 4, 21 and 22, Anonymous (c. 1225 B.C.) R.S. 14.15, 19.154 and 19.164c.
long-necked lute, harp, hourglass drum, clappers, bronze bell, sistrum

18. Hurrian Hymns 7 and 10, Anonymous (c. 1225 B.C.) R.S. 19.155 and 19.148.
Hymn 10 refers to the goddess Hebat.
asymmetrical lyre, hourglass drum

19. Hurrian Hymns 16 and 30, Anonymous (c. 1225 B.C.) R.S. 19.164a and 19.164b.
conch, harp, two-holed whistle

20. Musical Instructions for "Lipit-Ištar, King of Justice", Anonymous (c. 1950 B.C.)
N. 3354. Preserved on a clay tablet from Nippur are the instructions for the musical accompaniment to the hymn "Lipit-Ištar, King of Justice, Wisdom, and Learning", the text of which survives in several sources. This hymn is thought to date from the time of Lipit-Ištar's reign, making it the world's oldest surviving example of musical notation. Given are the starting note, two intervals that may indicate predominate notes of sections, and the mode (6).
asymmetrical lyre



Egyptian Music 

21. Trumpet call, Anonymous,
after the description given by Plutarch in Moralia (lst c. A.D.). Plutarch describes the manner in which the Egyptian trumpet was played: "But for them (the people of Busiris) even to hear a trumpet is a sin, because they think it sounds like the bray of an ass" and "The people of Busiris and Lycopolis do not use trumpets at all, because they make a sound like an ass; and altogether they regard the ass as an unclean animal". This instrument is capable of producing two effective pitches (approximately f#´´ and c´´) as well as a less stable fundamental (b flat). Since there is no mouthpiece in the modern sense, higher harmonics are extremely difficult to produce. Assuming that no more than two harmonics were sounded in normal use, Plutarch's remarks give us a basis for this call, taking the order of pitches and rhythm from the natural bray of the ass.
Egyptian trumpet

22. Isis sistrum rhythm, Anonymous,
after the description given by Lucius Apuleius in Metamorphoses (2nd c. A.D.). Apuleius described the rhythm performed on the sistrum at the apparition of the goddess Isis as a "triple shake of the arm". Hans Hickmann (7) interpreted this rhythm as three equal notes followed by a rest in order to separate each group of three. The participation of trumpeters is also described.
sistrum, 3 Egyptian trumpets

23. Theban banquet scene, Anonymous,
from a tomb painting found at Thebes (c. 14th c. B.C.) The painting depicts a scene of four rows of seated guests preparing to attend a banquet with guests on the left of each row displaying chironomy signs and instrumentalists on the right. The signs, indicated by the various inclinations of the guests' arms, apparently documents the rise and fall of the melody being played by the musicians (9). Rhythm and mode are conjectural; the scale used here is taken from an extant three-holed Egyptian vertical flute in playable condition.
long-necked lute, three-holed vertical flute, harp, hourglass drum, clappers, sistrum

24. Harp piece (A), Anonymous (7th or 6th c. B.C.) Brooklyn Museum 58.34.
This example of what is apparently musical notation survives on an Egyptian statuette now in the Brooklyn Museum (8). It consists of two figures, a harpist and what may be a musical director or chironomist (whose right arm is unfortunately missing): a tablet in front of the second figure displays a series of horizontal lines with short vertical strokes in a variety of positions relative to the lines. This would seem to be a graphic representation of the various inclinations of the arm of the chironomist indicating the rise and fall of the melody being played by the harpist (9). We have interpreted here the horizontal line as representing the lowest pitch of the melody; the height of a given stroke above the line indicates its relative intervallic distance above the lowest note. The smallest meaningful differences should indicate scale steps, since the melodic movement in the bulk of the ancient repertoire is predominantly stepwise. Rhythm and mode are unknown; the scale used here is taken from an extant three-holed Egyptian vertical flute in playable condition.
harp

25. Harp piece (B), Anonymous (7th or 6th c. B.C.)
The same piece as above (with somewhat altered tuning in agreement with the reed pipes), performed on a variety of common Egyptian instruments.
3 barrel drums, frame drum, clappers, double idioglottic reed pipes, harp, three-holed vertical flute, sistrum, menat, kymbala











 





Autechre ‎– Draft 7.30 (2003)
Postado por J.V. em sexta-feira, 21 de setembro de 2018.


Label:
Warp Records ‎– WARPCD111
Format:
CD, Album 
Country:
UK
Released:
07 Apr 2003
Genre:
Electronic
Style:
Leftfield, Abstract, IDM, Experimental


Tracklist

1Xylin Room6:09
2IV VV IV VV VIII4:50
36IE.CR5:38
4Tapr3:14
5Surripere11:23
6Theme Of Sudden Roundabout4:51
7VL AL 54:56
8P.:NTIL7:07
9V-Proc6:00
10Reniform Puls8:38

Companies, etc.

  • Phonographic Copyright (p) – Warp Records Limited
  • Copyright (c) – Warp Records Limited
  • Published By – Warp Music
  • Published By – EMI Music Publishing Ltd.

Credits

  • Illustration [Digital Images], Design – Alexander Rutterford
  • Mastered By – Noel Summerville
  • Producer – Ae
  • Written-By – Brown, Booth

Notes

The name Draft 7.30 supposedly derives from the album being the 30th edited version of their 7th album.

℗ 2003 Warp Records Ltd © 2003 Warp Records Ltd.
Published by Warp Music \ Electric And Musical Industries.
Made In England.

Issued in a standard jewel case with four stiff card inserts


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