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แจก เครดิต ฟรี 2018

Episode 462: April 19, 2020

Brainwashed Radio: The Podcast Edition Episode 462 is live

It's aother hour + of music including new and old tunes from Tanya Donelly, Noveller, Enablers, Bonnie 'Prince' Billy & Matt Sweeney, Diamanda Galás, The Soft Boys, Future Museums, Beatriz Ferreyra, 24 Carat Black, and The Angels Of Light.

Thanks to all the artists, labels, and listeners who continue to stay with us during these tough times.

Thanks you Timothy for the photo of the podcast playing on the home office puter.

NOW AVAILABLE through SPOTIFY and AMAZON (links below) in addition to the other platforms.

Review, share, rate, tell your friends, send images!

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Forced Exposure New Releases for Week of 4/20/2020

New music is due from Patrick Shiroishi, Dire Wolves, and Rolin/Powers Duo while old music is due from Red Kross, Oneness of Juju, and Quatermass.

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Clarice Jensen, "The Experience of Repetition as Death"

I was legitimately blindsided by Clarice Jensen's wonderful 2018 debut (For This From That Will Be Filled), but it left me with absolutely no idea what to expect from her in the future, as it was an unusual collection consisting of a collaboration, an ambitious solo position, and a piece posed by Michael Harrison.? As such, it was hard to tell if Jensen was a brilliant cellist with great taste, an extremely promising poser, or both.? With the spellbinding The Experience of Repetition as Death, Jensen definitively confirms that she is both, as she ingeniously employs loops and effects to craft a beguiling, varied, and richly textured five-song suite inspired by personal tragedy, Freud, and Adrienne Rich.? Though death is a definite and deliberate theme, Jensen transforms it into something sublime, transcendent, and achingly beautiful.? Moreover, the album's mesmerizing centerpiece ("Holy Mother") pletely decimates any preexisting conceptions I had regarding what one person can achieve with a cello.

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Jim White and Marisa Anderson, “The Quickening”

The start of the album made me think of what my grandmother would have said: “What is this twaddle?” and “Is this what you call music?” White is foremost a drummer, first founding Dirty Three with Warren Ellis and Mick Turner, and with bands as varied as Cat Power, PJ Harvey, and The Blackeyed Susans. Conversely, Marisa Anderson is a classically trained master of melancholic guitar rooted in American folk, neo-classical and African guitar styles, with an early foundation in country, jazz and even circus bands. With musicians as these at the helm, this bees perfect jam music; not jam as in “jam band” or Grateful Dead, but a rich psychedelic tapestry woven by practiced hands that take pleasure in breaking the rules of jazz foundations and serve to transport the listener to new heights.

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Beatriz Ferreyra, "Echos+"

Beatriz Ferreyra, former pupil of Gorgy Ligeti, is an experimental music poser with many distinguished accolades. An academic who has published notable papers, she now works as a free poser taking missions for concerts, festivals, ballets, and films. On Echos+, we hear her in peak form crafting intriguing and unique experiments in vocal manipulation. She uses the voice as base material for stereo-shifting puter music creations that arrest and delight.

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Félicia Atkinson, "Everything Evaporate"

This latest release from Félicia Atkinson is ostensibly a minor and somewhat transitional one, as it is a cassette intended as a sort of culminating document of a year spent traveling and performing.? As with all recent Atkinson releases, however, the reality is more plex, enigmatic, and deeply conceptual than anything that can be easily summarized in just one sentence.? Partly inspired by the paintings of Helen Frankenthaler and partly intended as "a reassessed document of public performance with improvised studio interventions acting to break the linear stream of the live-on-stage temporality," Everything Evaporate is an intriguing and sophisticated release that seems to exist at the borderline of form and dreamlike abstraction.? As such, it is not the optimal entry point for the curious (that would be 2019's The Flower and the Vessel), but deep listening reveals this release to be every bit as absorbing as the rest of Atkinson's recent hot streak.

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Robert Piotrowicz, "Euzebio"

Euzebio is Robert Piotrowicz's first record of solely modular synthesis after a period of working within different contexts.? The recent Crackfinder was a collaboration with Jér?me Noetinger and Anna Zaradny, and Walser was a film soundtrack, so there has not been a "pure" Piotrowicz record for a while.? It is obvious, however, that he has not lost his way when it es to his preferred instrument.? Again he coaxes some of the most varied sounds yet from his bank of electronics (in this case Buchla and EMS synthesizers), and focuses not just on the noisier characteristics of his previous works, but also some more traditional, rhythmic structures to vary things nicely.

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Roedelius, "Selbstportrait Wahre Liebe"

Hans-Joachim Roedelius is better known for his work as a founding member of the bands Cluster and Harmonia, both household names for fans of 1970s krautrock. This solo album, Selbstportrait Wahre Liebe, feels like a more clinical approach to krautrock, with all of the difference and repetition and none of the bombast. Filled with stately electronic keyboards and synthesizers, this minimalist document has the hair-raising effect of a calm, deliberate tea ceremony.

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Sir Richard Bishop, "Oneiric Formulary"

Oud, Lute, acoustic guitar, or lap steel guitar? While my musical knowledge is varied, my ear is not trained to pick out the many instruments used or mimicked by Bishop. He makes guitars sound like any of these aforementioned instruments, at any point in time, with practiced fingers and the equivalent musical knowledge of a library with every note he plays, a master guitarist proficient in a variety of guitar techniques and knowledge of music traditions. His latest album excels in his freer use of experimentation with theme and electronics, crafting a "dream pharmacy" as the title implies.

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Klara Lewis, "Ingrid"

I was quite curious to see which direction Klara Lewis's latest album would take, as her previous solo releases were generally quite radical and hyper-constrained in their avoidance of anything resembling conventional instrumentation.? While both Ett and Too are aptly described by Editions Mego as "eerie rhythmic variations," such a summary falls short in conveying the uniqueness of Lewis's vision, as it often felt like she was quixotically attempting to pose pop songs solely from murky field recordings and decontextualized fragments of beats and melodies.? With Ingrid, however, Lewis makes a dramatic and unexpected aesthetic reversal, as she slowly transforms a haunting and melodic cello loop into a wonderfully gnarled and heaving longform piece.

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The Eye: Video of the Day

17 Pygmies


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Review of the Day

Ladyfest

"Oh beloved woman of liberty, e to me, burn away all my impurity," beseeches that preacher of individuality Jaz Coleman on the primal invocation of the awesome new Killing Joke album. No big surprise that he didn't grace Ladyfest Manchester with his presence, busy as he is hailing the Fall of the US Empire, but a lot of women of liberty did. There was no death but at least one resurrection at the show. The organisers, including Heena the librarian, Jo (lynchpin of the Blame the Parents collective) and Lee (of Help Yourself Manchester) did a flawless job of creating an impressive new alternative environment. The only shame was that the carnival could last for just four days, and I only caught the second half.
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