Charles Valentin Alkan - Concerto for Solo Piano; Troisième Recueil de Chants

"[...] Much of Alkan's music is of surpassing difficulty, taking it way beyond the realm of the amateur and playable only by virtuosi with transcendent techniques. Published only sporadically and without a champion, what hope did it have when born without life-support even in that piano-ridden age? In the annual series of 'Six petits concerts' that Alkan inaugurated in 1873, although he programmed a number of his own works, his main attention was on all the major keyboard composers from Couperin to Saint-Saëns, taking in W. F. Bach, Kessler and Czerny en route, as well as Field, Moscheles and Chopin (but, notably, no Liszt). The series ended in 1877 and Alkan retired into obscurity, only occasionally being coaxed back into the limelight at social gatherings when, it was said, he was a most lively conversationalist. Visitors to his home tended to be rebuffed. When Friedrich Niecks, Chopin's biographer, called on him and asked the concierge whether Monsieur Alkan was at home, the reply was a decisive 'No'. On further enquiring when he could be found at home, the reply was an equally decisive 'Never' (though when Niecks encountered Alkan at Erard's a few days later 'the reception of me was not merely polite, but most friendly').

"Alkan died on 29 March 1888. The cause of death was one of the most improbable in musical history—crushed to death by a bookcase that toppled over as he reached up to retrieve a book in his Paris home. Apart from his immediate family, there were just four mourners at his funeral.

 

"The development of the piano in the early nineteenth century ran hand-in-hand with technical advances. A great number of etudes were published aimed at specific areas of technique, most of them devoid of musical merit until the collections by Moscheles (1827) and Chopin (1833 and 1837) carried the genre into the realm of poetry. Liszt developed this further with his 'Études d'exécution transcendante', published-after several revisions—in 1851; these twelve studies were more extended, of far greater technical difficulty and demanded huge reserves of physical stamina when played in concert. 

 

"Three years earlier, Alkan had published in two volumes his 'Douce etudes dans sous les tons majeurs, Op. 35'. Starting in A major and moving up in a logical progression of fourths (A, D, G etc.), they are of a similar length and scope to Liszt's Etudes. In 1857 came the companion to Op. 35, following a similar cycle of fourths: 'Douze etudes dans toms les tons mineurs, Op. 39'. Here the pianistic stakes are raised—considerably. Indeed, Ronald Smith, that indefatigable champion of Alkan, suggests that the very term 'etude' must seem singularly inappropriate, 'that is until one considers these works as studies in the translation of orchestral sonorities into their pianistic counterpart'. These twelve studies span 277 pages and contain some of the most uncompromising writing in the entire literature of the piano, 'our only remaining evidence,' says Smith, 'of a technique that caused even Liszt to feel uneasy when playing in Alkan's presence'. [...]

"'Alkan wrote five volumes of Chants: Opp. 38 (two books), 65, 67 and 70. He took as his inspiration and model Mendelssohn's 'Songs without Words', not merely sharing their harmonic language and length, but following the key sequence of Mendelssohn's first book, Op. 19 (E major, A minor, A major, A major, F sharp minor and G minor), even ending with a barcarolle. Mendelssohn's 'songs' appeared in eight collections composed between 1830 and 1845; Alkan's were composed between 1857 and the early 1870s." (Jeremy Nicholas. From the liner notes.)

Performer: Marc-André Hamelin

1. Concerto For Solo Piano, Op. 39 Nos. 8-10: I. Allegro Assai

2. Concerto For Solo Piano, Op. 39 Nos. 8-10: II. Adagio

3. Concerto For Solo Piano, Op. 39 Nos. 8-10: III. Allegretto Alla Barbaresca

4. Troisième Recueil De Chants, Op. 65: I. Vivante

5. Troisième Recueil De Chants, Op. 65: II. Espirits Follets: Prestissimo

6. Troisième Recueil De Chants, Op. 65: III. Canon: Assez Vivement

7. Troisième Recueil De Chants, Op. 65: IV. Tempo Giusto

8. Troisième Recueil De Chants, Op. 65: V. Horace Et Lydie: Vivacissimo

9. Troisième Recueil De Chants, Op. 65: VI. Barcarolle: Assez Lentement

 

flac/16-bit

Charles Valentin Alkan - Twelve Studies in all the Major Keys, Opus 35

"Alkan's monumental Twelve Studies in all the Major keys, opus 35, is a virtuosic tour-de-force for the pianist. Each study develops an aspect of technique but each is also pure Alkan - millions of notes and thunderous drama. McCallum has been praised world-wide for her Alkan performances, displaying prodigious technique and poised musicianship." (Summary from Presto Classical. See here.)

 

Performer: Stephanie McCallum

1. 12 Studies In All The Major Keys, Op. 35: First Suite, No. 1 In A Major. Allegretto

2. 12 Studies In All The Major Keys, Op. 35: First Suite, No. 2 In D Major. Allegro

3. 12 Studies In All The Major Keys, Op. 35: First Suite, No. 3 In G Major. Andantino

4. 12 Studies In All The Major Keys, Op. 35: First Suite, No. 4 In C Major. Presto

5. 12 Studies In All The Major Keys, Op. 35: First Suite, No. 5 In F Major. Allegro Barbaro

6. 12 Studies In All The Major Keys, Op. 35: First Suite, No. 6 In B-Flat Major. Allegramente

7. 12 Studies In All The Major Keys, Op. 35: Second Suite, No. 7 In E-Flat Major. Adagio, Allegro Moderato, Andante, 'L'incentie Au Village Voisin'

8. 12 Studies In All The Major Keys, Op. 35: Second Suite, No. 8 In A-Flat Major. Lento-Appassionato

9. 12 Studies In All The Major Keys, Op. 35: Second Suite, No. 9 In C-Sharp Major. Amplement Contrapunctus

10. 12 Studies In All The Major Keys, Op. 35: Second Suite, No. 10 In G-Flat Major. Adagio. Amor - Mors, Chant D'amour - Chant De Mort

11. 12 Studies In All The Major Keys, Op. 35: Second Suite, No. 11 In B Major. Posement

12. 12 Studies In All The Major Keys, Op. 35: Second Suite, No. 12 In E Major. Etude De Concert (Technique Des Octaves), Andando

flac/16-bit

Jean-Philippe Rameau - Pièces de Clavecin en Concerts; Suite en La

"Rameau self-published these pieces in Paris in 1741, and entitled them: 'Pièces de clavecin en concerts, avec un violon ou une flûte, et une viole ou un deuxième violon'. Rameau was 58 years old, and considered the master of French opera following 'Hippolyte et Aricie', composed in 1733. The works featured on this CD are therefore clearly from his mature period. [...]

 

"These are Rameau’s only chamber music works. The 'concerts' were published together with an accompanying 'Notice to concertgoers', a kind of program-note. Rameau acknowledged that it was 'the success of recent sonatas for harpsichord and violin' which encouraged him to try his hand at chamber music. He is probably referring to the 'Pièces de clavecin en sonates avec accompagnement de violon', published by Mondonville around 1734. In the aforementioned 'notice', Rameau is very specific about the effect he is looking for in the 'Pièces de clavecin en concerts': 'The quartet configuration should dominate most of the work,' he wrote. 'It is necessary not only that the sounds of the three instruments blend together, but also that the players hear one another clearly. Above all, the violin and the viol need to support the harpsichord, and clearly delineate accompaniment versus thematic material. An understanding of the character of each piece will lead to the necessary balance.' Rameau could not have been clearer. [...]

 

"The 'Pièces de clavecin en concerts' are a kind of link between the Italian trio sonatas and Bach's polyphonic trios. An example of the latter would be the trio sonata which concludes the 'Musical Offering'. Another example would be the keyboard sonatas – for harpsichord or pianoforte – with violin or ad libitum accompaniment which were developed considerably at the end of the XVIII century, especially in France. In this compositional style the keyboard has the lion’s share of the music, whereas the string instrument simply doubles the melody or punctuates the bass line. Invigorated by his experience in the theatre, Rameau frees himself from the framework forged by his Italians and French predecessors, and elaborates and expands the trio form. Each 'Concert' has an almost symphonic aspect, where the harpsichord is free of its conventional polyphonic function. Instead, it becomes a solo instrument in its own right alongside two partners which add luminous, complementary sounds." (From an interview of Bruno Procopio by Adélaïde de Place. Found in the liner notes.)

 

Performers: Bruno Procopio, Patrick Bismuth, François Lazarevitch, Emmanuelle Guigues

1. Premier Concert In C Minor: I. La Coulicam

2. Premier Concert In C Minor: II. La Livri

3. Premier Concert In C Minor: III. Le Vézinet

4. Deuxième Concert In G Major: I. La Laborde

5. Deuxième Concert In G Major: II. La Boucon

6. Deuxième Concert In G Major: III. L’Agaçante

7. Deuxième Concert In G Major: IV. Premier Menuet Et Deuxième Menuet

8. Troisième Concert In A Major: I. La Lapoplinière

9. Troisième Concert In A Major: II. La Timide

10. Troisième Concert In A Major: III. Premier Tambourin Et Deuxième Tambourin En Rondeau

11. Nouvelles Suites De Pièces De Clavecin: I. Allemande

12. Nouvelles Suites De Pièces De Clavecin: II. Courante

13. Nouvelles Suites De Pièces De Clavecin: III. Sarabande

14. Nouvelles Suites De Pièces De Clavecin: IV. Les Trois Mains

15. Nouvelles Suites De Pièces De Clavecin: V. La Triomphante

16. Quatrième Concert In B-Flat Major: I. La Pantomime

17. Quatrième Concert In B-Flat Major: II. L’Indiscrète

18. Quatrième Concert In B-Flat Major: III. La Rameau

19. Cinquième Concert In D Minor: I. Fugue La Forqueray

20. Cinquième Concert In D Minor: II. La Cupis

21. Cinquième Concert In D Minor: III. La Marais

flac/16-bit

Inhalant - Laced

Thick, emotive dark ambient from Texas-based Chad Odom, released as a CD on his own label Propulsive Audio in 2002. The first track is a slow, subtle build of droning fuzz while the second is meatier, shorter and more direct.

 

1. Untitled

2. Untitled

mp3/320kbps

Joseph Haydn - Piano Sonatas Nos. 29 & 33-35

 

"Haydn wrote his 'Sonata No. 29 in E-flat major, Hob. XVI:45', in 1766, an important year in his life. To his relief, the old Kapellmeister Gregor Werner died in March, a few months after he had complained bitterly and unjustifiably of Haydn's neglect of his duties. His death brought Haydn the undisputed succession and allowed him now to buy a house in Eisenstadt, still the principal residence of the Esterhazy family. The sonata, described in its title as a Divertimento, was intended for the harpsichord, the likely choice of instrument for all the earlier sonatas. The first movement opens with a characteristic melody, marked by a rising third. There is a contrasting second subject, accompanied by the broken chords of an Alberti bass, before the end of the exposition, which is then repeated. The central development very properly makes opening reference to the first subject, in a minor key, and this returns in due form to start the recapitulation, separated from the second subject by a brief element of drama. The A-flat major Andante, leading to a secondary theme in the key of E-flat, completes the first section of the movement, which is then repeated. The second section opens with the first theme, now in E-flat major, introducing a development of the material, which is finally heard again in recapitulation. The last movement follows the same formal pattern, its secondary theme offering a chance for modest display in its pattern of repeated notes. Again the first section is repeated, followed by a central development that begins with a reference to the first subject. The movement continues with a recapitulation of the material, suggesting at times the textures and harmonies familiar from the work of Domenico Scarlatti. 

 

"The dynamic directions in 'Sonata No. 33 in C minor, Hob. XVI:20', make it clear that it was designed for the Hammerklavier, the fortepiano, an instrument capable of making quick dynamic changes. The sonata was written in 1771 and its key of C minor is bound to remind a listener of the use that Mozart made of the same key in writing for the keyboard. It was one of a set of six keyboard sonatas by Haydn published in 1780 by Artaria with a dedication to Caterina and Marianna von Auenbrugger, pianists whose performance Haydn greatly admired. Leopold Mozart too wrote favourably of their talents during the course of a visit to Vienna in 1773, but his son, ten years later, was scathing about the achievement of their father, whom he refers to as Doctor Auernszucker, in a German opera libretto. Between the first subject and the E flat major second subject is a relatively extended passage that includes an element of rhetorical recitative, suggesting the influence of Carl Philipp Emanuel Bach, second son of Johann Sebastian, with whose earlier keyboard sonatas and writing on the subject Haydn had been familiar from his days in Vienna, after leaving the choir-school. In the central development, in which much initial use is made of the first subject, there is room for Sturm and Drang, before the return of the material, rhetorical recitative and all, in recapitulation. The opening theme is characterized by the repetition of the opening note of the melody. The repeated first section duly modulates from A-flat to E-flat major, before the central development, with its shifts of tonality, and the abridged recapitulation, in a movement great tenderness. There is inevitable drama in the last movement, broadly in the same formal pattern but allowing for purposeful technical display allied to strong feeling in a prophetic vein, a foretaste of the path the keyboard sonata was later to take. 

 

"Haydn's 'Sonata No. 34 in D major, Hob. XVI:33', has been conjecturally dated to the early 1770s, between 1771 and 1773. It was published in London by Beardmore & Birchall in 1783. The first movement, in an overtly cheerful mood, offers a repeated exposition, duly contrasting the tonic and dominant keys and finding room for an element of surprise, as it approaches its coda. The material is developed in a central section that again introduces moments of hesitation, a delay of expectation, before the recapitulation. The slow movement is in D minor, the opening soon lightened by a shift to F major for the secondary theme of a repeated exposition. The same key opens the development, but the original key soon returns to complete the movement in a recapitulation. The last movement starts with scarcely a pause. In the style of a minuet, this follows the principal theme with a D minor section. The major and minor themes are varied, with the D major returning finally in its original form, to undergo a further, concluding transformation. 

 

"The 'Sonata in A-flat major, Hob. XVI:43', was also published as one of the same set of three in London in 1783. It is thought to have been written between 1771 and 1773. The second subject of the repeated exposition at first suggests a transposition of the first theme, but soon moves into other territory in a display of triplet figuration. This rhythm, whether in accompaniment or in melodic contour, has a leading part to play in the central development, at the end of which a rhetorical pause leads to a recapitulation. The slow movement takes the form of a minuet and trio, both in the tonic key and suggesting the scherzo rather than the formal dance. The sonata ends with a Rondo, its first episode closely related to the sprightly first theme. A minor key episode introduces an element of dramatic tension, quickly dispelled by the return of the principal theme. When it finally returns, after a further excursion into more dramatic territory, it is subject to subtle changes in outline, wide leaps in the right hand to test the accuracy of the performer, before the sonata comes to an end." (Keith Anderson. From the liner notes.)

 

Performer: Jenő Jandó

1. Piano Sonata No. 29 In E-Flat Major, Hob. XVI:45: I. Moderato

2. Piano Sonata No. 29 In E-Flat Major, Hob. XVI:45: II. Andante

3. Piano Sonata No. 29 In E-Flat Major, Hob. XVI:45: III. Finale: Allegro Di Molto

4. Piano Sonata No. 33 In C Minor, Hob. XVI:20: I. Moderato

5. Piano Sonata No. 33 In C Minor, Hob. XVI:20: II. Andante Con Moto

6. Piano Sonata No. 33 In C Minor, Hob. XVI:20: III. Finale: Allegro

7. Piano Sonata No. 34 In D Major, Hob. XVI:33: I. Allegro

8. Piano Sonata No. 34 In D Major, Hob. XVI:33: II. Adagio

9. Piano Sonata No. 34 In D Major, Hob. XVI:33: III. Tempo Di Menuet

10. Piano Sonata No. 35 In A-Flat Major, Hob. XVI:43: I. Moderato

11. Piano Sonata No. 35 In A-Flat Major, Hob. XVI:43: II. Menuetto

12. Piano Sonata No. 35 In A-Flat Major, Hob. XVI:43: III. Rondo: Presto

flac/16-bit

Joseph Haydn - Piano Sonatas Nos. 20 & 30-32

 

"'Sonata No. 20 in B-flat major, Hob. XV1:18', among those apparently originally intended for harpsichord, has been conjecturally dated to 1766 or 1767. In March of the earlier year Gregor Werner had died, and Haydn had been appointed his successor, now finding it convenient, amid the re-organization of the Esterhazy musical establishment, to buy a house for himself in Eisenstadt. The ornamented first subject of the opening Allegro moderato, with its dotted, ascending arpeggio outline, leads, imperceptibly enough, to the now expected change of key to the dominant, F major, and to a secondary theme that involves the rhythmic variety of triplet semiquavers and syncopation. A reference to the first subject starts the central development of the material, with its changes of key and mode, before the recapitulation of the first section, with the modulation necessary for restoration of the original key. The B-flat major second movement, in triple time, follows a similar formal pattern, offering a secondary theme built on a descending sequence, a central development section and a final recapitulation. 

 

"'Sonata No. 32 in G minor, Hob. XVI:44', has been dated, again conjecturally, to the years from 1768 to 1770, although others, as with 'Sonata No. 20', have preferred a date between 1771 and 1773, providing only 1788 as a terminus post quem, the date of publication of Sonatas Nos. 31 and 32 by Artaria. The principal subject in G minor is followed by a brighter secondary subject in B-flat major, leading to the expected development, with its excursions into other keys and use of sequential patterns before the recapitulation and closing section. The following G minor Allegretto is contrasted with a G major section, both varied in turn on repetition. 

 

"For the 'Sonata No. 31 in A-flat major, Hob. XVI:46', the earlier dating of 1767 or 1768 is preferred. The choice of key allows for excursions into relatively unfamiliar territory as the sonata progresses. The opening subject of the first movement has all the rhythmic variety that is a feature of Haydn's melodic writing. A dramatic B-flat pedal-point precedes the second subject material, with its triplet semiquaver figuration and the development allows further varied elaboration of the pedal-point of the exposition. The following Adagio, in D-flat major, finds a place for contrapuntal writing, as the thematic material unwinds, again with contrasting secondary material in the dominant key and a varied repetition that moves to a brief cadenza before the final bars. The final movement, dominated by its principal theme, again allows infinite variety within its formal pattern. 

 

"'Sonata No. 30 in D major, Hob. XVI:19', the fourth sonata included here, also seemingly intended originally for harpsichord, has a dated autograph of 1767. The first movement, marked Moderato has a swinging first subject in the middle register of the keyboard. The secondary material makes use of descending and then ascending patterns of thirds and sixths, against a repeated note, and the closing section makes extensive use of an accompanying triadic pattern. The central development finds a place for drama, before three arpeggiated chords bring the section to an end, to be followed by the recapitulation. The A major Andante brings a little surprise in its initial presentation of the principal theme, very briefly interrupted by a sudden break in the first three bars, before resuming its full course. There is due contrast of key and theme in the secondary material, both to form the substance of the second section of the movement. The syncopated main subject of the Finale is followed by a D minor episode, re-appearing in a more elaborate form before a second, A major episode. The main theme returns once more, to be followed by a grander restatement, at first with a return of the original syncopation, before an Alberti bass moves the sonata towards its emphatic conclusion." (Keith Anderson. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 20 In B-Flat Major, Hob. XVI:18: I. Allegro Moderato

2. Piano Sonata No. 20 In B-Flat Major, Hob. XVI:18: II. Moderato

3. Piano Sonata No. 32 In G Minor, Hob. XVI:44: I. Moderato

4. Piano Sonata No. 32 In G Minor, Hob. XVI:44: II. Allegretto

5. Piano Sonata No. 31 In A-Flat Major, Hob. XVI:46: I. Allegro Moderato

6. Piano Sonata No. 31 In A-Flat Major, Hob. XVI:46: II. Adagio

7. Piano Sonata No. 31 In A-Flat Major, Hob. XVI:46: III. Finale - Presto

8. Piano Sonata No. 30 In D Major, Hob. XVI:19: I. Moderato

9. Piano Sonata No. 30 In D Major, Hob. XVI:19: II. Andante

10. Piano Sonata No. 30 In D Major, Hob. XVI:19: III. Finale - Allegro Assai

flac/16-bit

Joseph Haydn - Piano Sonatas Nos. 48-52

 

"The first of the set, the 'Sonata in C major, Hob. XVI:35', is among the better known. It opens with a cheerful first subject, allowing the conventional announcement of a second subject, an opportunity for some display in the development and a varied return of the thematic material in the recapitulation. The F major Adagio opens in stately mood, its first theme repeated in an embellished form and returning transposed and varied to form a central section, before the return of secondary thematic material, now in the tonic key. The last movement is dominated by its principal theme, with a contrasted passage in C minor before its final, triumphant return. 

 

"The second sonata is in the key of C-sharp minor and opens ominously enough before moving to E major, where the same theme now has a contrapuntal accompaniment in descending scales. The development, based on this material, gives a chance for dramatic display, before the return of the opening motif and key and the subsequent recapitulation. The second movement, Scherzando, offers a lightening of mood. There is an opening section in A major, followed by a contrasting section in A minor. These are then presented in variation followed by the return of the opening A major theme, a varied episode in the same key, before the final appearance of the principal subject. The sonata ends with a Menuet in C sharp minor, framing a C sharp major. 

 

"The 'Sonata in D major, Hob. XVI: 37', again gives scope for modest brilliance in its opening theme and the following transition, as well as in its contrasted second subject, all of which offers material for development before the return of the first subject and key in recapitulation. The slow movement, a D minor Largo e sostenuto, is very short, almost in the manner of a Baroque movement that serves to introduce a rapid finale. The last movement here, marked Presto ma non troppo, also bears the instruction innocentemente, an apt indication of the character of the principal theme. It serves to punctuate a D minor and a G major episode, before re-appearing in a final ebullient section.

 

"The Auenbrugger sonatas continue with a 'Sonata in E-flat major, Hob. XVI:38'. The monothematic first movement duly explores foreign keys in its central development and provides a chance for virtuosity in the transitional material that links first and second subject of the recapitulation. A C minor Adagio has moments of distinct drama, leading, without a break, to a final movement in which the principal theme is repeated after a central episode in A flat major. 

 

"The 'Sonata in G major, Hob. XVI:39', like the second movement of the C-sharp minor Sonata, which it closely resembles, follows the major first subject with an excursion into the tonic minor. A variation of the first section follows, with an E minor section preceding the final return of the first key and theme. The slow movement, a C major Adagio, has almost the stature of a concerto movement, as it unfolds. It is followed by a lively final movement in which the first theme provides much of the substance of the second. There is further harmonic exploration in the development, before the recapitulation, now reaching a lower register of the keyboard." (Keith Anderson. From the liner notes.)

Performer: Jenő Jandó

1. Piano Sonata No. 48 In C Major, Hob. XVI:35: I. Allegro Con Brio

2. Piano Sonata No. 48 In C Major, Hob. XVI:35: II. Adagio

3. Piano Sonata No. 48 In C Major, Hob. XVI:35: III. Finale: Allegro

4. Piano Sonata No. 49 In C-Sharp Minor, Hob. XVI:36: I. Moderato

5. Piano Sonata No. 49 In C-Sharp Minor, Hob. XVI:36: II. Scherzando: Allegro Con Brio

6. Piano Sonata No. 49 In C-Sharp Minor, Hob. XVI:36: III. Menuet: Moderato

7. Piano Sonata No. 50 In D Major, Hob. XVI:37: I. Allegro Con Brio

8. Piano Sonata No. 50 In D Major, Hob. XVI:37: II. Largo E Sostenuto

9. Piano Sonata No. 50 In D Major, Hob. XVI:37: III. Finale: Presto Ma Non Troppo

10. Piano Sonata No. 51 In E-Flat Major, Hob. XVI:38: I. Allegro Moderato

11. Piano Sonata No. 51 In E-Flat Major, Hob. XVI:38: II. Adagio

12. Piano Sonata No. 51 In E-Flat Major, Hob. XVI:38: III. Finale: Allegro

13. Piano Sonata No. 52 In G Major, Hob. XVI:39: I. Allegro Con Brio

14. Piano Sonata No. 52 In G Major, Hob. XVI:39: II. Adagio

15. Piano Sonata No. 52 In G Major, Hob. XVI:39: III. Prestissimo

flac/16-bit

Knurl - Periodic Nephromucilaginocity

Driving, intelligently crafted noise from Canadian Alan Bloor. As usual, recorded live with analogue equipment and without overdubs. Released as a CD on Canadian experimental label Total Zero in 1999.

 

1. Untitled

2. Untitled

3. Untitled

4. Untitled

5. Untitled

mp3/256kbps

Carl Smith - There Stands the Glass

Another release featuring a great rendition of the song that Webb Pierce made famous in the early 1950s. The majority of these songs were popularised by Pierce, making this the kind of musical tribute that is common in the country music industry. They are performed and reimagined excellently by Smith. Released on Columbia in 1964.

 

1. Slowly

2. Wondering

3. Love, Love, Love

4. Back Street Affair

5. So Used To Lovin' You

6. I'm Tired

7. There Stands The Glass

8. More And More

9. How Do You Talk To A Baby

10. Yes I Know Why

11. That Heart Belongs To Me

12. I Don't Care

 

mp3/320kbps

Skin Crime - Parasite

Goliath CD release from Americans Skin Crime on Japanese noise label Xerxes in 2001. Raw sound recorded from 1996 to 1998, then digested into this release over the proceeding three years. An excellent exposition of Skin Crime's harsh noise abilities in their prime. 

 

1. Uncinaria Stenocephala

2. Anoplocephalia Perfoliata

3. Thysanosoma Actinioides

4. Rhipicephalus Sanguineus

5. Cochliomyia Hominovorax

flac/16-bit

Deterge - Prince of Palo Alto

 

 

Released on quality Rhode Island noise label Bacteria Field in 2018. Now sold out, but see their store here. Jim Haras executes his signature style of atmospheric, foreboding and disturbing power electronics. Themes appear to surround sex, intelligence and learning disabilities.

 

A. Nobel Prize Sperm Bank

B. Genetically Disadvantaged

 

mp3/256kbps

Conway Twitty - Look into My Teardrops

The great country singer lends his voice to several excellent songs (with very pleasing arrangements and musicianship). In particular his renditions of 'Fraulein' and 'There Stands the Glass' are rewarding over and over again. Released on Decca in 1966. 

 

1. Don't You Believe Her

2. Almost Persuaded

3. I Don't Want To Be With Me

4. I Made Her That Way

5. The Wild Side Of Life

6. There Stands The Glass

7. Look Into My Teardrops

8. If You Were Mine To Lose

9. Fraulein

10. Take Me

11. Another Man's Woman

12. Before I'll Set Her Free

mp3/320kbps

Tom T. Hall - Ballad of Forty Dollars and His Other Great Songs

Collection from 1969 including many classic songs and displaying Hall's remarkable talent for cast iron American songcraft and inimitable storytelling: most notably 'That's How I Got to Memphis', which is surely one of the best original love ballads ever put on record.

1. That's How I Got To Memphis

2. Cloudy Day

3. Shame On The Rain

4. Highways

5. Forbidden Flowers

6. Ain't Got The Time

7. Ballad Of Forty Dollars

8. I Washed My Face In The Morning Dew

9. A Picture Of Your Mother

10. The World The Way I Want It

11. Over And Over Again

12. Beauty Is A Fading Flower

 

mp3/320kbps

Aaron Dilloway & John Wiese - Sniper Counter Sniper

Collection of harsh noise material recorded between 2007 and 2019 by the two veteran American sound artists. Ranges from meaty, high intensity assaults to sparse reverberations and intoxicating loops. Old school, high satisfying harsh noise. Released on Dilloway's Hanson records as a CD in 2019. Also included a special edition release featuring a collectible coin (see here, doesn't appear to be available as a digital download through Hanson). 

 

1. Dumbells

2. Zero Loss

3. Windage

4. Scrambler

5. Junk Food

6. Sling Pressure

7. Putty & Plastic Water

mp3/320kbps

Knurl - Floritura Deuteranopia

Intense and varied live analogue noise from Canadian Alan Bloor. Artwork is by Patrick O'Neil (Skin Crime). Released on O'Neil's Self Abuse sub-label Solipsism as a CD in 1998. Edition of 100.

1. Untitled

2. Untitled

3. Untitled

4. Untitled

5. Untitled

6. Untitled

7. Untitled

8. Untitled

9. Untitled

10. Untitled

11. Untitled

mp3/192kbps

LHD - Opaque

"Harsh city crust" from "double flamethrowers" Phil Blankenship and John Wiese. Both are on excellent form here throughout this intense display of sonic pyrotechnics. Released on Ron Lessard's Pure label in 2005. 

 

1. Untitled

2. Untitled

3. Untitled

mp3/256kbps

Webb Pierce - The Wondering Boy

Fantastic collection of early material from 1950s superstar honky-tonker Webb Pierce. This is an extended LP-length disc based on an earlier 1954 10" containing some of the same songs (see here). 'There Stands the Glass' has been covered often (Conway Twitty and Carl Smith deserve mentions) but never sung quite so sensationally as Pierce does here. 'Love, Love, Love' and 'Slowly' are also particular standouts, but the overall quality is very high throughout.

 

1. Wondering

2. There Stands The Glass

3. That's Me Without You

4. Don't Throw Your Life Away

5. Love, Love, Love

6. If You Were Me

7. Back Street Affair

8. It's Been So Long

9. Slowly

10. That Heart Belongs To Me

11. Yes I Know Why

12. I'm Gonna Fall Out Of Love With You

mp3/128kbps