Akachashu - 47'20"
1 - "彩-SAI-" (ACIDMAN / Equal / 2004)
ACIDMAN is one of the various Japanese rock groups dabbling in elements of what is generally considered Post-Rock, elongated compositions that emphasize texture and atmosphere over traditional pop structures. Like many of their Japanese contemporaries, they're technically proficient to an extreme, easily obscuring the fact that they're a three-piece. They can be somewhat dull, as the songs all end up sounding very similar to one another, but that one song they write time and time again has its place. They also get bonus points for being a Japanese group that primarily sings in Japanese, rather than ramshackle Engrish.
2 - "Shikaku Maru Ten" (CAN / Tago Mago B-Side / 1971)
I know the proprietor of this here blog is not the greatest fan of these Krautrock legends, but it's hard to deny the undeniable groove monster that was Jaki Liebezeit. He killed every track like a trap-kit assassin. As with most songs from their golden era with Damo Suzuki, they set up a pulse and just ride out into the sunset, all while Damo jabbers about whateverthefuck. I think this one is something about his favorite shapes.
3 - "Terra" (Caetano Veloso / Muito / 1978)
I don't really know anything about the man, nor do I know much about Brazilian music in general, but I love this song.
4 - "We're Strangers Now" (Happy Body Slow Brain / Dreams of Water / 2010)
Recent years have brought a rebirth in the use of unvarnished 80's synth patches, presumably because they can be paired so effortlessly with auto-tuned vocals. Here we have some dudes, two of whom used to mine mopey teenage pussy while touring with Taking Back Sunday, freaking some chunky pop-rock over Moog washes and sick sick sick drumming. Lesson learned: everything's better with some sick sick sick drumming.
5 - "Hilo" (Antibalas Afrobeat Orchestra / Security / 2007)
New-school Afrobeat gurus who recently took their shit to Broadway in order bring the sound of Fela Kuti to the masses. Though that Afrobeat sound is obviously present, they keep it modern by letting the songs maintain some semblance of pop structures with vocal hooks and a more concise approach.
6 - "Low-Concept, High Maintenance" (Grüvis Malt / Backout Smiling / 2000)
One of my all-time favorite bands, managing to evolve out of the stifling musical culture of late 90's frat-rock and rap-metal, of which their first full-length has a number of similarities to. At some point they were approached by Sony and recorded a 3-song EP of material that would later appear on "...With the Spirit of a Traffic Jam" in slightly different form. The vocal cadence here still carries an air of their origins as heirs to the throne of 311, but the band had started to move away from the PBR party sound and embrace their talents (and weirdness) to flex on DnB rhythms, distorted metal licks, and dissonant brass harmonies.
7 - "Guider Tells of Silent Airborne Machine" (Henry Cow / Henry Cow Box / 197X)
By the sound of it, this was a loose composition from the Unrest-era, as the outro uses some piano motifs from "Half Awake, Half Asleep". Even at their most free they maintain this strange vibe that keeps me locked in. Not their best work by any means, but an interesting piece by a unique group.
8 - "Andy Warhol" (David Bowie / Hunky Dory / 1971)
I've always wondered if he actually recorded this in one take as the intro seems to be suggesting. A great song on a great album.
9 - "A Bao A Qu" (Boris / Mabuta no Ura / 2005)
Wrap it up, B! Fuzzed out trashy anthems, Boris does it best. Blow out yr speakers!