The German pair, Moritz von Oswald and Mark Ernestus have made some of the finest minimal and other techno of all time and their Rhythm & Sound moniker is just another outlet for their stellar talent. I’ve previous posted Maurizio (here) and Basic Channel (here) and the latter, of course, are so good they get to appear in the strapline to this blog (the highest of all praise).
With Rhythm & Sound, the focus is on dub and reggae more generally. This track is a throwback to the great reggae of the 70s with both a vocal version and then the dub – perfect! Shalom provides the vocals on this one.
The vocal and then the dub!
I’ve always had a bit of a contrarian streak about me and this post gives me a chance to show it off twice!
Firstly, I am unashamed to say that I really like (early) Orchestral Manoeuvres in the Dark – “Electricity”, “Enola Gay”, “Joan of Arc”, “Tesla Girls”, etc, really are peerless classics from the synth-pop era. All sorts of aspersions relating to geography teachers and “dad dancing” have been cast about the band but, really, this is pretty lazy criticism (and, as a king of dad dancing myself, rather offensive to boot!). Their influences are sound and their execution, largely, impeccable.
Secondly, not only do I really like Orchestral Manoeuvres in the Dark but I really love this album track! It’s from their fourth LP, Dazzle Ships, and, in truth, it hasn’t got the pop sheen of their earlier singles. Nonetheless, it’s a wonderful piece of (pop) electronica with some great samples and a beautiful melody. The only downside is that, on occasions, the tune gets dangerously close to “The Bonnie Banks ‘o Loch Lomond”. However, it is also a waltz and that trumps any pseudo Scottish considerations!
Frankly, name me another blog that would bother with this? Quitters!
On this momentous day for Greece, I thought I’d better post something relevant.
Despite his death coinciding with the election results, I simply couldn’t warrant putting something on the blog by Demis Roussos …. also, despite my late father’s love for Nana Mouskouri, I’m afraid that a prime example of her irritating warbling was also ruled out early on in the deliberations.
This left me with a choice between “Grease” by Frankie Valli (clever wordplay of the highest order), “The Greeks Don’t Want No Freaks” by The Eagles (a record of stupefying banality), something challenging by Iannis Xenakis (could have earned some Brownie points with my avant-garde followers) or, this, a rather nice piece composed by Vangelis for the film Chariots of Fire.
Interestingly, Vangelis was another artist beloved of my late father. Looking back, my dad may well have had the highest proportion of Greek artistes among any record collection outside of Greece itself.
No matter, this is a typically thoughtful piece of mid period Vangelis electronica.
I only stumbled upon Monoton a few years ago and it still surprises me that nothing that they did impacted upon my consciousness during the 1980-1983 period when they were most active. To quote from the usual sources:
Monoton was founded in 1979 by hypermedia wizard Konrad Becker as an art project that underwent various transformations and collaborations in its exploration of psycho-active sound programming and its psychosocial contextualizing.
Staggering that such a toe-tapping, chart aiming, project didn’t reach the ears of a callow 16 year old…. Living In Hong Kong…. Who still appreciated a bit of AC/DC alongside the Joy Division canon and who wasn’t averse to a spot of Madness and Adam and the Ants. Where was Trevor Horn when he was needed?
Nonetheless, I now have three Monoton CDs which are worthy, but rewarding, discs but had not heard this particular track until this evening. Using the wonderful Spotify to check out new tracks, I stumbled upon this ditty which appears on the 2009 Monoton release “Eight Lost Tracks”. The other seven are very tedious but, by the magic of Amazon, I was able to purchase the one good track on the album for £0.89. Not sure what the hypermedia wizard would make of that bit of business but, no matter, here it is.
Suffice to say that this track was originally recorded sometime between 1981 and 1983 and, three listenings in, it is clearly well worth a place in the pantheon of the bestmusicofalltime. What to expect? Well, perfect, “toytown” techno whose innocence and simplicity only adds to the allure. It has no proper beginning nor, indeed, a proper end. It just is 4:54 of pop perfection.
Take it away Konrad …
On so many levels this is a wonderful and groundbreaking record.
One of the founding documents of minimalist, ambient, techno, chillout, etc, music. A perfect follow-up to the last post featuring Aphex Twin at his peak.
Also, the first ever release on Virgin Records; this bankrolled Mr Branson for years.
For me, I remember listening to it on the radio in the car as my dad and mum drove me and my sisters up the winding roads to the very top of The Peak in Hong Kong in late 1973 or early 1974 to see Comet Kohoutek. Still recall the otherworldy nature of the music and then the crisp chill on The Peak as we watched the apparently immobile but, ultimately, uncanny Kohoutek staining the night sky. Even more memorable was watching satellites smoothly and silently passing overhead.
Quite a night.
This was the soundtrack.
Just one of the many wonderful pieces of ambient electronica released by Brian Eno and a variety of collaborators in the early 1980s.
“An Ending (Ascent)” is the final track on the Apollo: Atmospheres and Soundtracks LP released in 1983.
This music was originally recorded in 1983 for a feature length documentary movie called “Apollo” later retitled For All Mankind, directed by Al Reinert. The original version of the film had no narration, and simply featured 35mm footage of the Apollo moon missions collected together roughly chronologically, and set to Eno’s music as it appears on the CD.
Excerpts from the track also featured in the opening ceremony of the 2012 Olympic Games to accompany the showing of photographs of “friends and family of those in the stadium who cannot be here tonight”.
Always loved this record since hearing it on Volume 12 of the Disco Pogo for Punks in Pumps CDs given away with Jockey Slut magazine in the early 2000s.
One of the best releases on DJ Hell’s International Deejay Gigolos Records label.
Posted today as this was the soundtrack at the Olympic Stadium last night following Usain Bolt’s wonderful 100m victory. Remarkable atmosphere in the stadium!
A short video and then the full version of the track.