Lou Reed, John Cale & Nico - Le Bataclan '72

Style: Proto Punk, New Wave.
Similar Artists: Brian Eno, Leonard Cohen
Recording year: Get Back Records, 2004.

After decades of being circulated on inferior-sounding bootlegs, the January 1972 reconvergence of Velvet Underground (VU) co-founders Lou Reed (vocals/acoustic guitar), John Cale (guitar/viola/piano/vocals), and Nico (vocals/harmonium) in Paris at Le Bataclan has been committed to CD. A suitably noir mood hangs over them as they stonily amble through VU staples and key entries from their concurrent solo endeavors.

They commence with a slow and almost methodical "Waiting for the Man" as Cale offers up a simple piano accompaniment to Reed's casual guitar and lead vocal. Reed aptly describes the bleak torch reading of "Berlin" as his "Barbra Streisand song" before unveiling a profoundly minimalist interpretation. It captures the unnerving mood inescapably defining the city in the wake of WWII. They return to the early VU for an inspired "Black Angel Death Song." Reed's rhythmic chiming guitar incongruously fits beside Cale as he whittles away an austere viola counterpoint. Back briefly to Reed's eponymously titled debut for a very Dylanesque delivery of "Wild Child."

The reconnection between the duo begins to gel significantly if not audibly throughout an intense "Heroin," immediately recalling what makes the Cale/Reed combo so appealing. Cale seizes the reigns for the melodically and lyrically involved "Ghost Story" from Vintage Violence (1970). One rarity is Cale's "Empty Bottles," which he contributed to Jennifer Warnes' Jennifer (1972) album. Nico finally takes the spotlight for a healthy sampling of her work, couching a trio of post-VU efforts around three of her most memorable sides during her brief time in the band. They saunter into an intimate and warmly received mini-set featuring "Femme Fatale," "No One Is There," and "Frozen Warnings" of off Marble Index (1969), as well as "Janitor of Lunacy" from Desertshore (1970).

The show concludes with another trip into the VU songbook on a comparatively optimistic "I'll Be Your Mirror" duly juxtaposed against an edgy and sinister "All Tomorrow's Parties." While fans and pundits hopefully proclaimed the performance as the return of the Velvets, alas it would not be so. Le Bataclan '72 (2004) is a no-brainer for all dimension of VU, John Cale, Lou Reed, and/or Nico enthusiasts.

Fields Of Haze... Underground for all.

Ray Charles - Genius loves company

Genere: Soul, Jazz Blues

Similar artists: Johnny Otis, Fats Domino, Lou Rawls

Recording year : Jvc Victor, 2004.


Ray Charles was the musician most responsible for developing soul music. Singers like Sam Cooke and Jackie Wilson also did a great deal to pioneer the form, but Charles did even more to devise a new form of black pop by merging '50s R&B with gospel-powered vocals, adding plenty of flavor from contemporary jazz, blues, and (in the '60s) country. Then there was his singing; his style was among the most emotional and easily identifiable of any 20th century performer, up there with the likes of Elvis and Billie Holiday. He was also a superb keyboard player, arranger, and bandleader. The brilliance of his 1950s and '60s work, however, can't obscure the fact that he made few classic tracks after the mid-'60s, though he recorded often and performed until the year before his death.

Blind since the age of six (from glaucoma), Charles studied composition and learned many instruments at the St. Augustine School for the Deaf and the Blind. His parents had died by his early teens, and he worked as a musician in Florida for a while before using his savings to move to Seattle in 1947.

In the early '50s, Charles' sound started to toughen as he toured with Lowell Fulson, went to New Orleans to work with Guitar Slim (playing piano on and arranging Slim's huge R&B hit, "The Things That I Used to Do"), and got a band together for R&B star Ruth Brown. It was at Atlantic Records that Ray Charles truly found his voice, consolidating the gains of recent years and then some with "I Got a Woman," a number-two R&B hit in 1955. This is the song most frequently singled out as his pivotal performance, on which Charles first truly let go with his unmistakable gospel-ish moan, backed by a tight, bouncy horn-driven arrangement.

Genius Loves Company is the last studio album Ray Charles completed before his death in June 2004. Prior to this, the last studio album he released was Strong Love Affair in 1996, which was a stab at modern pop, filled with new songs and given an adult contemporary sheen. It was not one of his most distinctive efforts, even when judged against his latter-day albums, and it disappeared not long after its release. Charles left Warner and, years later, signed with Concord, who released Genius Loves Company, which had a decidedly different approach than the all-modern Strong Love Affair.

Fields Of Haze.

In The Nursery - A page of madness

Género: Experimental, Alternative, Soundtrack

Artistas similares: Les Jumeaux, Test Dept, Young Gods

Año de grabación : ITN Corporation, 2004.

Formed in Sheffield, England by brothers Klive and Nigel Humberstone in 1981, In the Nursery explored a strange fusion of industrialized military rhythms and classical and film soundtrack music. Devoted more to the former in their early years, the band debuted in 1983 with the mini-album When Cherished Dreams Come True, also contributing to several compilations over the next two years. After the 1985 Temper EP, the group's initial lineup had evaporated, leaving only the Humberstone brothers to record their first full-length effort, 1986's Twins, which began to explore classical influences in greater depth. Percussionist Q and French bilingual vocalist Dolores Marguerite C were added for 1987's Stormhorse, which was intended to resemble the soundtrack to an imaginary film.

The fifth in In the Nursery's series of silent film soundtracks, A Page of Madness itself is perhaps both the most obscure and most striking of the movies the Humberstone brothers have worked with so far. The liner notes describe a mid-'20s film depicting the life of a man who works as a janitor in an insane asylum to be near his wife, committed there for having trying to kill their child -- a strong subject no matter what the time or place. Combined with film techniques that suggest parallels to Man With a Movie Camera, earlier scored by In the Nursery, it gave the Humberstones a rich palette to work with.

Fields Of Haze.

Lisa Gerrard & Patrick Cassidy - Immortal memory

Género /Gender: World fusion, Alternative rock

Artistas similares / Similar Artist: Delerium, Elizabeth Fraser, Forest for the trees

Año de grabación / Recording year: 4AD, 2004.


Lisa Gerrard compositora y cantante australiana. Integrante principal de la desaparecida banda Dead Can Dance. Ella es mejor conocida por su profunda voz de contralto.

Lisa creció en el barrio multi-étnico de East Prahan, donde convivió entre las culturas griega, turca, italiana, irlandesa y árabe. Esta diversidad cultural tuvo gran influencia en su música, particularmente en sus posteriores álbumes con la banda Dead Can Dance y en su trabajo solista.

Immortal Memory es un trabajo realizado entre Lisa Gerrard y el compositor irlandés Patrick Cassidy. Obra realizada como un ciclo entre la vida, la muerte y el renacer, esta obra se ha descrito como un soundtrack de película huérfana.



Lisa Gerrard is an Australian singer and composer. Main member of the extinct band Dead Can Dance. Well known by her deep voice of contralto.

Lisa grew in the multi-ethnic district of East Prahan, where she coexisted between the cultures Greek, Turkish, Italian, Irish and Arab. This cultural diversity had great influence in her music, particularly in its later albums with Dead Can Dance and with her solo work.

Immortal Memory is a collaboration between vocalist Lisa Gerrard and Irish composer Patrick Cassidy. Billed as a cycle of life and death and rebirth, Immortal Memory is better described as an orphaned film score.





Fields of Haze.

Theodor Bastard - Pustota

Género: Etno Gothic

Artistas similares: Dead Can Dance, Bel Canto

Año de grabación: Pandaimoni, 2004.


Theodor Bastard es un dúo ruso con una fructífera carrera musical, como desconocida, que en la última década han dado cuerpo a seis trabajos, siendo este “Pustota” el más reciente de ellos.

Su música difícil de clasificar, pero destilan un sentimiento extremo sin duda alguna, y es que la angustia se desliza entre armonías orientales copándolo todo, rotos quejidos de máquinas de un futuro alienante que marcan el inexorable ritmo de las composiciones, y la voz serena y diáfana de Yana, aligerando una carga de dolor que en ocasiones parece inalterable, hipnótica, lisérgica.

Si bien las guitarras en este álbum son anecdóticas, no lo es su sentimiento, que le confiere a todo el trabajo una gran coherencia compositiva. Reflejo todo ello de la multi-etnicidad rusa que quiere ser occidental pero que siempre ha bebido de oriente, y es que es encrucijada de dos continentes, dualidad de espíritu de un potencial sonoro siempre escondido si de la observancia ortodoxa y académica de la música se escapa.


Theodor Bastard is a Russian duo with a fruitful musical race as unknown, that in the last decade has given birth to six works, being the most recent of them 'Pustota' . Their music it's difficult to classify, but distills an extreme feeling doubtless, and is that the anguish slides between Eastern harmonies winning it everything, broken complaints of machines of a alienante future that mark the inexorable rate of the compositions, and the calm and diaphanous voice of Yana, lightening a load of pain that sometimes seems unalterable, hypnotic, lysergic.

Although the guitars in this album are anecdotal, it is not it his feeling that confers to all the work a great compositional coherence to him. Reflection of that is the Russian multi-etnicity that wants to be western but always in the east, and that's because the crossroads of two continents, duality of spirit of a always hidden sonorous potential of the orthodox and academic musical observance.

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Fields of Haze.

Wave Romantics (Dark ballads and Underground Rock Classics)

Continuando con los discos recopilatorios, en esta ocasión les presentamos la compilación -Wave Romantics- realizada por la disquera alemana Edel, en ella se presentan artistas muy conocidos de la escena wave obscura, como por ejemplo: Nick Cave and The Bad Seeds, Anne Clark, Christian Death, Bauhaus, Killing Joke, Wolfsheim, entre otros.
Como dato curioso, agregaron un grupo español conocido ampliamente por nuestras tierras, a Héroes del Silencio, que aunque no son propiamente seguidores de esta corriente, la canción se deja escuchar.


Disfruten pues este álbum, muy recomendable para ser escuchado al atardecer y con la compañía de un buen libro, cortesía de Fields of Haze.




http://www.4shared.com/file/114478123/bd837f38/Wave_Romantics_1.html

http://www.4shared.com/file/114478127/baeebb21/Wave_Romantics_2.html


Fields of Haze.

Klinik - Live 2004

Género: Electronica / Industrial

Artistas similares: Snowy red

Klinik, (a veces llamado The Klinik), es una banda Belga de música industrial, formada en 1982 por Marc Verhaeghen.

En 1985, Verhaeghen unió esfuerzos con otras dos bandas, "Absolute Body Control" (con Dirk Ivens y Eric van Wonterghem) y "The Maniacs" (Sandy Nys) para formar una sola agrupación "Absolute Controlled Clinical Maniacs". Este extraño nombre fue desechado en poco tiempo por un nombre más corto "The Klinik" fue llamado entonces. Nys prondo dejó la banda para formar "Hybrids", seguido en 1987 por van Wonterghem, y así dejar el dúo clásico de Klinik, Dirk Ivens y Marc Verhaeghen.

Klinik pronto hizo un nombre en la escena músical, con su sonido frío y duros beats de EBM en sus presentaciones en vivo, tanto Ivens como Verhaeghen actuaban con sus cabezas envueltas en gazas y largos abrigos negros de piel. La voz aguda y letras minimalistas de Ivens era complementada con los sintetizadores de Verhaeghen. Esto no duró mucho tiempo y después de varios álbums las diferencias entre ambos se volvieron irreconciliables hasta el punto de seguir cada uno sus carreras por separado.

Ivens and Verhaeghen se volvieron a reencontrar por una serie de conciertos en 2003 y 2004, el cual te presentamos en "Fields of Haze", disfrútalo.


http://www.4shared.com/file/114272415/c0e2485c/Klinik_-_Live_2004.html