Hello, The Formula 1 is back in action this weekend, after their summer break the greatest track of the series is to be mastered. An arrogant Hamilton made no qualifying effort as the penalty points he incurred this weekend for having 3 new motors delivered for the rest of the season. A ridiculous penalty system makes it possible to swipe all penalty points in one race. And as Spa is a circuit with plenty overtaking possibilities Hamilton should easily reach 6th even when starting from the back. The Red Bulls and Ferrari looked fast in qualifying, with Max Verstappen becoming the youngest driver ever at the front of the grid just 0.1 sec behind Rosberg, i expect him to lead the first 2 laps after which DRS is enabled and Rosberg just rushes by, on one of those long straits, not much to do against a car that runs 11 km faster and has DRS enabled. Tactics will play an important role tomorrow and a win for Ferrari is surely possible as well Exiting...
About today's artist, multi-instrumentalist Steven Wilson has gradually become one of the U.K.'s most critically acclaimed cult artists. Born in Kingston Upon Thames in London in 1967, Wilson was inspired to pursue a career in music after devouring his parents' Pink Floyd and Donna Summer records, and by the age of 12 he had already started to experiment with different guitar and recording techniques. ... N'Joy
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After stints in several groups including psychedelic duo Altamont, prog rockers Karma, and new wave band Pride of Passion, Wilson went on to form art pop outfit No Man with vocalist Tim Bowness in 1987 and his most famous creation, Porcupine Tree, in the same year, both of which he continued to alternate between, releasing 16 albums overall from 1991 until 2009. Despite these two long-term commitments, Wilson still found the time to pursue other projects, recording material under the guise of ambient electronica act Bass Communion, Krautrock revivalists Incredible Expanding Mindfuck, and Blackfield, a collaboration with Israeli rock star Aviv Geffen, during the '90s alone.
Insurgentes Showcasing his versatility, he also became an in-demand producer, working on records by the likes of Norwegian jazz vocalist Anja Garbarek, prog metallers Orphaned Land, and former Marillion frontman Fish; a music reviewer for Rolling Stone and Classic Rock magazine; and a guest vocalist on albums by Pendulum, Dream Theater, and Jordan Rudess. From 2003, Wilson also began toying with the idea of a solo career, releasing several two-track singles featuring an original composition and a cover version (of tracks originally recorded by Alanis Morissette, ABBA, and Prince), but it wasn't until 2008 that he released his first solo album, Insurgentes, whose recording sessions also became the subject of a documentary/road movie by Danish photographer Lasse Hoile.
Grace for Drowning His sophomore outing, Grace for Drowning, a double CD consisting of two albums titled Deform to Form a Star and Like Dust I Have Cleared from My Eye, followed in 2011, the same year he embarked on his first solo tour, was asked to remix the back catalog of King Crimson, and worked with Opeth lead singer Mikael Åkerfeldt on an album under the name of Storm Corrosion. Get All You Deserve, an audio/video package that documented the 2011 tour (with a crack band), appeared late in 2012.
The Raven That Refused to Sing and Other StoriesWilson then began writing in earnest for his new group (which included former Miles Davis keyboardist Adam Holzman and lead guitarist Guthrie Govan). The Raven That Refused to Sing and Other Stories is a conceptual work based on a series of linked short stories written by Wilson or co-authored with Hajo Mueller. Wilson was also able to coax Alan Parsons out of semi-retirement to co-produce and engineer this set, which was released in early 2013. In October of the same year, he released the audio/video concert set Drive Home. The package featured a new animated video of the title track as well as "The Raven That Refused to Sing," two new songs, and a concert from Frankfurt during the previous tour.
Cover Version In the summer of 2014, Wilson released Cover Version, an album compiled from six singles recorded between 2003-2010 and originally issued individually on his Headphone Dust label. Each featured a pop cover on the A-side and an original on the flip; all songs were performed completely solo. In late 2014, Wilson began discussing and previewing Hand. Cannot. Erase., a concept album directly and metaphorically inspired by the real-life story of Joyce Vincent, a London woman who passed away and whose body lay undiscovered for two years surrounded by undelivered Christmas presents, despite the fact that she had many friends and acquaintances. It was issued in March of 2015. Later in the year, a double vinyl compilation of songs featuring Wilson's more accessible pop/rock material was released as Transience.
Wilson took his all-star band -- Holzman, Govan, Nick Beggs, Dave Kilminster, Craig Blundell, Marco Minnemann, Chad Wackerman, and Theo Travis on a sold-out European tour. After a short break, he and the band revisited the Handsessions, finishing four songs that had their origins there, and one from his previous album The Raven That Refused to Sing. He also re-recorded "Don't Hate Me," previously cut by Porcupine Tree in 1998. He titled the 37-minute-long album 4½, as it formed an interim release between Hand and an as yet unnamed forthcoming studio project. It was released in January of 2016 during the band's European and American tours.
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Even though the amount of material he recorded would strain most musicians' lifetime abilities, a listen to this fine release again compounds the regret that Bryn Jones hadn't lived to do more. The matching of two inspired, self-contained musicians like Jones and Steven Wilson turned out to be a dream collaboration, with both bringing their similiarly wide scope but different aesthetic senses to the drawing board. It would be easy (and accurate) enough to simply say that Wilson brought the textures and Jones the beat -- the printed credit list says as much. Given the duo's constant reworking of the material until both were satisfied, though, it's more likely the truth is an equal contribution on all levels. Consider the opening track -- initially it sounds like it would just be something Bass Communion might do with a buried rhythm punch, but then Jones fully lets loose a stuttering, at points distorted, hip-hop loop while Wilson carefully arranges his guitar samples and atmospherics around it. There's even a hint of wah-wah! In contrast, "Three," the lengthiest cut, begins as pure Muslimgauze aggro-Arabic beat from Jones before Wilson adds in a cyclical, processed feedback chime, with the song then evolving from there into an astonishing, chaotic variety of different approaches and tempos between the two. The sense of how well the two could work together comes through even stronger on the more abstract cuts. "Two," with its heavily flanged and twisted rhythm loops and hits, makes for incredibly adventurous listening on its own, while the slow build of Wilson's heavenly but chilling backing increasingly sets the tone. Meanwhile, the hissing, wheezing rhythm of "Five" makes for an excellent conclusion to the album, its alien, factory-like tone going through both Jones' trademark heavy electronic punishment and Wilson's calmer, weirdly beautiful approach.
Muslimgauze vs Bass Communion (flac 404mb)
01 One 8:34
02 Two 7:23
03 Three 13:04
04 Four 4:57
05 Five 10:39
06 Six 9:30
07 Seven 9:03
Muslimgauze vs Bass Communion (ogg 187mb)
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The Bass Communion album Loss is not about the violent moment of loss, but its aftermath. The crushing melancholia, the endless questions of “what if?” and “why?”, as well as the concepts of regret, missed opportunity, or a feeling or moment in time that can never be recaptured. But even in the midst of this gloomy scene, hope and light are born, for loss is never total. Memory lingers, a residue of evidence is left behind, and life goes on.
Pacific Codex is Wilson's (and his side project Bass Communion's) most avant-garde album to date. This album features Wilson and Theo Travis using metal sculptures by Steve Hubback to produce sounds. This source material was later extensively processed and assembled by Wilson into two 20-minute pieces. A percussion album this is not, nor is it industrial-sounding, as some readers might be expecting from the above details. Wilson's treatments have retained some of the percussive quality of the metal (gong-like attacks, the deep rumble of sheet metal being flexed), but most of the aural landscape here evokes the sea: soft rolls on metal translating into waves crashing on the shore; wide, boundless spaces hiding bottomless depths of sound. Pacific Codex contains no melodies, no beats. It can be summarized as an abstract construction of metal-based soundscapes that have been "liquefied" through digital processing. The approach is not particularly new and the result is more of a listening experience than an enjoyment, but Wilson managed to produce an interesting piece out of limited source material. .
Bass Communion - Loss + Pacific Codex (flac 246mb)
Loss
01 Loss Side 1 19:34
02 Loss Side 2 18:52
Pacific Codex
01 Pacific Codex 1 20:27
02 Pacific Codex 2 19:39
Bass Communion - Loss + Pacific Codex (ogg 136mb)
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Molotov and Haze is the eighth studio album released by British musician, songwriter and producer Steven Wilson under the pseudonym Bass Communion. The album consists of four tracks, and, according to Steven Wilson's website, is divided in two sections: "2 noisy tracks (Molotov) and 2 transcendently beautiful tracks (Haze)." All pieces were generated from guitar and recorded from 14 to 17 February 2008. The album was issued in miniature card gatefold sleeve. The atmosphere of the music tends towards the dark and melancholic, but is expressed with an almost Zen-like beauty. Recently, Wilson has started working with a guitar and laptop configuration, and the first material in this style is contained on this album, trsckd ranging from the darkly beautiful to stark bleakness..
Bass Communion - Molotov and Haze (flac 300mb)
01 Molotov 1502 15:30
02 Glacial 1602 13:10
03 Corrosive 1702 12:26
04 Haze 1402 23:10
Bass Communion - Molotov and Haze (ogg 117mb)
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An extremely limited (and extremely expensive) CD documenting a rare (the first!) live appearance by Steven Wilson, aka Bass Communion, at a festival curated by the mighty Fear Falls Burning. Across numerous releases Bass Communion is very hard to pin down. The core elements remain the same (bass and drone) but the presentation is always very different and varied, making Steven Wilson's project one of the best of the "laptop" droners-whether you'll get a piece of distorted room crushing bass vomit or some jazz-inflected Tortoise-esque-but-way-better-than-they-could-ever-hope-to-be style post rock, it will almost always be expressive, engaging, textured and interesting. Bass Communion has always rewarded deep listening. The performance is comprised of two tracks, recorded live in Antwerp in November 2008 the opener is a 37 minute snooze-athon dominated by atonal guitar wisps and aggravating rises and falls in volume. The track never gets close to any sort apex despite an ever-present attempt at creating tension and even the sporadic fallbacks to bass-heavy drone-throb do little to alleviate the boredom or advance the piece. The second piece fairs a little better but it's only seven minutes-i guess Steven figured that the audience would lose interest unless he was constantly "changing things up" soundwise. This piece is much more familiar Bass Communion territory and reminds me a lot of the work he did on "Molotov and Haze", the glacial slab of glitch-sludge hell that he recorded for Important Records last year.
Bass Communion - Chiaroscuro (flac 230mb)
01 Chiaroscuro 37:50
02 Fusilier 7:55
Bass Communion - Chiaroscuro (ogg 100mb)
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About today's artist, multi-instrumentalist Steven Wilson has gradually become one of the U.K.'s most critically acclaimed cult artists. Born in Kingston Upon Thames in London in 1967, Wilson was inspired to pursue a career in music after devouring his parents' Pink Floyd and Donna Summer records, and by the age of 12 he had already started to experiment with different guitar and recording techniques. ... N'Joy
xxxxx xxxxx xxxxx xxxxx xxxxx
After stints in several groups including psychedelic duo Altamont, prog rockers Karma, and new wave band Pride of Passion, Wilson went on to form art pop outfit No Man with vocalist Tim Bowness in 1987 and his most famous creation, Porcupine Tree, in the same year, both of which he continued to alternate between, releasing 16 albums overall from 1991 until 2009. Despite these two long-term commitments, Wilson still found the time to pursue other projects, recording material under the guise of ambient electronica act Bass Communion, Krautrock revivalists Incredible Expanding Mindfuck, and Blackfield, a collaboration with Israeli rock star Aviv Geffen, during the '90s alone.
Insurgentes Showcasing his versatility, he also became an in-demand producer, working on records by the likes of Norwegian jazz vocalist Anja Garbarek, prog metallers Orphaned Land, and former Marillion frontman Fish; a music reviewer for Rolling Stone and Classic Rock magazine; and a guest vocalist on albums by Pendulum, Dream Theater, and Jordan Rudess. From 2003, Wilson also began toying with the idea of a solo career, releasing several two-track singles featuring an original composition and a cover version (of tracks originally recorded by Alanis Morissette, ABBA, and Prince), but it wasn't until 2008 that he released his first solo album, Insurgentes, whose recording sessions also became the subject of a documentary/road movie by Danish photographer Lasse Hoile.
Grace for Drowning His sophomore outing, Grace for Drowning, a double CD consisting of two albums titled Deform to Form a Star and Like Dust I Have Cleared from My Eye, followed in 2011, the same year he embarked on his first solo tour, was asked to remix the back catalog of King Crimson, and worked with Opeth lead singer Mikael Åkerfeldt on an album under the name of Storm Corrosion. Get All You Deserve, an audio/video package that documented the 2011 tour (with a crack band), appeared late in 2012.
The Raven That Refused to Sing and Other StoriesWilson then began writing in earnest for his new group (which included former Miles Davis keyboardist Adam Holzman and lead guitarist Guthrie Govan). The Raven That Refused to Sing and Other Stories is a conceptual work based on a series of linked short stories written by Wilson or co-authored with Hajo Mueller. Wilson was also able to coax Alan Parsons out of semi-retirement to co-produce and engineer this set, which was released in early 2013. In October of the same year, he released the audio/video concert set Drive Home. The package featured a new animated video of the title track as well as "The Raven That Refused to Sing," two new songs, and a concert from Frankfurt during the previous tour.
Cover Version In the summer of 2014, Wilson released Cover Version, an album compiled from six singles recorded between 2003-2010 and originally issued individually on his Headphone Dust label. Each featured a pop cover on the A-side and an original on the flip; all songs were performed completely solo. In late 2014, Wilson began discussing and previewing Hand. Cannot. Erase., a concept album directly and metaphorically inspired by the real-life story of Joyce Vincent, a London woman who passed away and whose body lay undiscovered for two years surrounded by undelivered Christmas presents, despite the fact that she had many friends and acquaintances. It was issued in March of 2015. Later in the year, a double vinyl compilation of songs featuring Wilson's more accessible pop/rock material was released as Transience.
Wilson took his all-star band -- Holzman, Govan, Nick Beggs, Dave Kilminster, Craig Blundell, Marco Minnemann, Chad Wackerman, and Theo Travis on a sold-out European tour. After a short break, he and the band revisited the Handsessions, finishing four songs that had their origins there, and one from his previous album The Raven That Refused to Sing. He also re-recorded "Don't Hate Me," previously cut by Porcupine Tree in 1998. He titled the 37-minute-long album 4½, as it formed an interim release between Hand and an as yet unnamed forthcoming studio project. It was released in January of 2016 during the band's European and American tours.
xxxxx xxxxx xxxxx xxxxx xxxxx
Even though the amount of material he recorded would strain most musicians' lifetime abilities, a listen to this fine release again compounds the regret that Bryn Jones hadn't lived to do more. The matching of two inspired, self-contained musicians like Jones and Steven Wilson turned out to be a dream collaboration, with both bringing their similiarly wide scope but different aesthetic senses to the drawing board. It would be easy (and accurate) enough to simply say that Wilson brought the textures and Jones the beat -- the printed credit list says as much. Given the duo's constant reworking of the material until both were satisfied, though, it's more likely the truth is an equal contribution on all levels. Consider the opening track -- initially it sounds like it would just be something Bass Communion might do with a buried rhythm punch, but then Jones fully lets loose a stuttering, at points distorted, hip-hop loop while Wilson carefully arranges his guitar samples and atmospherics around it. There's even a hint of wah-wah! In contrast, "Three," the lengthiest cut, begins as pure Muslimgauze aggro-Arabic beat from Jones before Wilson adds in a cyclical, processed feedback chime, with the song then evolving from there into an astonishing, chaotic variety of different approaches and tempos between the two. The sense of how well the two could work together comes through even stronger on the more abstract cuts. "Two," with its heavily flanged and twisted rhythm loops and hits, makes for incredibly adventurous listening on its own, while the slow build of Wilson's heavenly but chilling backing increasingly sets the tone. Meanwhile, the hissing, wheezing rhythm of "Five" makes for an excellent conclusion to the album, its alien, factory-like tone going through both Jones' trademark heavy electronic punishment and Wilson's calmer, weirdly beautiful approach.
Muslimgauze vs Bass Communion (flac 404mb)
01 One 8:34
02 Two 7:23
03 Three 13:04
04 Four 4:57
05 Five 10:39
06 Six 9:30
07 Seven 9:03
Muslimgauze vs Bass Communion (ogg 187mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
The Bass Communion album Loss is not about the violent moment of loss, but its aftermath. The crushing melancholia, the endless questions of “what if?” and “why?”, as well as the concepts of regret, missed opportunity, or a feeling or moment in time that can never be recaptured. But even in the midst of this gloomy scene, hope and light are born, for loss is never total. Memory lingers, a residue of evidence is left behind, and life goes on.
Pacific Codex is Wilson's (and his side project Bass Communion's) most avant-garde album to date. This album features Wilson and Theo Travis using metal sculptures by Steve Hubback to produce sounds. This source material was later extensively processed and assembled by Wilson into two 20-minute pieces. A percussion album this is not, nor is it industrial-sounding, as some readers might be expecting from the above details. Wilson's treatments have retained some of the percussive quality of the metal (gong-like attacks, the deep rumble of sheet metal being flexed), but most of the aural landscape here evokes the sea: soft rolls on metal translating into waves crashing on the shore; wide, boundless spaces hiding bottomless depths of sound. Pacific Codex contains no melodies, no beats. It can be summarized as an abstract construction of metal-based soundscapes that have been "liquefied" through digital processing. The approach is not particularly new and the result is more of a listening experience than an enjoyment, but Wilson managed to produce an interesting piece out of limited source material. .
Bass Communion - Loss + Pacific Codex (flac 246mb)
Loss
01 Loss Side 1 19:34
02 Loss Side 2 18:52
Pacific Codex
01 Pacific Codex 1 20:27
02 Pacific Codex 2 19:39
Bass Communion - Loss + Pacific Codex (ogg 136mb)
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Molotov and Haze is the eighth studio album released by British musician, songwriter and producer Steven Wilson under the pseudonym Bass Communion. The album consists of four tracks, and, according to Steven Wilson's website, is divided in two sections: "2 noisy tracks (Molotov) and 2 transcendently beautiful tracks (Haze)." All pieces were generated from guitar and recorded from 14 to 17 February 2008. The album was issued in miniature card gatefold sleeve. The atmosphere of the music tends towards the dark and melancholic, but is expressed with an almost Zen-like beauty. Recently, Wilson has started working with a guitar and laptop configuration, and the first material in this style is contained on this album, trsckd ranging from the darkly beautiful to stark bleakness..
Bass Communion - Molotov and Haze (flac 300mb)
01 Molotov 1502 15:30
02 Glacial 1602 13:10
03 Corrosive 1702 12:26
04 Haze 1402 23:10
Bass Communion - Molotov and Haze (ogg 117mb)
xxxxx xxxxx xxxxx xxxxx xxxxx
An extremely limited (and extremely expensive) CD documenting a rare (the first!) live appearance by Steven Wilson, aka Bass Communion, at a festival curated by the mighty Fear Falls Burning. Across numerous releases Bass Communion is very hard to pin down. The core elements remain the same (bass and drone) but the presentation is always very different and varied, making Steven Wilson's project one of the best of the "laptop" droners-whether you'll get a piece of distorted room crushing bass vomit or some jazz-inflected Tortoise-esque-but-way-better-than-they-could-ever-hope-to-be style post rock, it will almost always be expressive, engaging, textured and interesting. Bass Communion has always rewarded deep listening. The performance is comprised of two tracks, recorded live in Antwerp in November 2008 the opener is a 37 minute snooze-athon dominated by atonal guitar wisps and aggravating rises and falls in volume. The track never gets close to any sort apex despite an ever-present attempt at creating tension and even the sporadic fallbacks to bass-heavy drone-throb do little to alleviate the boredom or advance the piece. The second piece fairs a little better but it's only seven minutes-i guess Steven figured that the audience would lose interest unless he was constantly "changing things up" soundwise. This piece is much more familiar Bass Communion territory and reminds me a lot of the work he did on "Molotov and Haze", the glacial slab of glitch-sludge hell that he recorded for Important Records last year.
Bass Communion - Chiaroscuro (flac 230mb)
01 Chiaroscuro 37:50
02 Fusilier 7:55
Bass Communion - Chiaroscuro (ogg 100mb)
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Dear Mr. Rho, could you please reup these albums? Many thanks in advance!
ReplyDelete