Trumpets Of Consciousness
Approximate

Belle copie w/ inner sleeve. Pressage français. Avec Green, Steve Hillage renoue avec ses deux premiers albums, avec des titres space et des spirales de synthétiseurs. Mention spéciale au très funky Unidentified (Flying Being) et à The Glorious Om Riff, reprise de Master builder de Gong, paru en 1974 sur You. C'est le dernier album rock réussi de sa période solo, avant une nette baisse de qualité sur les opus suivants, hormis Live Herald et l'ambiant Rainbow Dome Musick. C'est un des albums préférés d'Ed Wynne, le guitariste/claviériste d'Ozric Tentacles1.La pochette représente une Pyramide poisson de John Michell, un auteur et peintre britannique qui a un intérêt particulier pour les formes géométriques. Son travail repose sur la figure géométrique Vesica piscis : l'intersection de deux cercles de même diamètre dont le centre de chacun fait partie de la circonférence de l'autre.L'album est d'abord sorti sous la forme d'un vinyle vert transparent, puis sous celle d'un disque noir normal. L'édition verte était assortie d'un poster de Hillage devant une chaine de montagne, avec la "pyramide poisson" imprimée sur le visage2.Cet album se classa à la 30e place des charts britanniques.Steve a beaucoup utilisé une guitare synthétiseur Roland GR-500 sur l'album. On notera la présence de Nick Mason à la batterie sur la pièce Leylines to Glassdom sur le disque original, ainsi que Clive Bunker ex-Jethro Tull, aussi comme batteur sur les 4 pièces bonus enregistrées en concert au Rainbow de Londres, sur la pièce Not Fade Away (Glid Forever). Steve Hillage – Chant, guitare électrique, guitare synthétiseur, synthétiseursMiquette Giraudy – Synthétiseurs, vocoder, chœursCurtis Robertson Jr – BasseJoe Blocker – BatterieNick Mason : Batterie sur Leylines to Glassdom, production

Beautiful !

A hard core noise with riffs as heavy as the animal that gave its name to the band (Morse means Walrus in french). Fast games, incisive and sacadés as the code that gave the name to the band. A big sound dirty and dense. 9 tracks recorded by Michael late 2012 / early 2013 and mastered by Scott Hull (Pig Destroyer / Agoraphobic Nosebleed) in May 2013 titles. Artwork by From The Coffin.

Osondi owendi. What is cherished by some is despised by others. One man’s meat is another man’s poison. Different strokes for different folks. To each their own. Osondi owendi.It’s a conventional aphorism in the Igbo language but if you utter the word “osondi owendi” in Nigeria today, the first thing that comes to anybody’s mind is the cucumber-cool highlife music maestro Chief Stephen Osita Osadebe and his legendary album that takes its name from the adage. Released in 1984, Osondi Owendi was instantly received as Osadebe’s magnum opus, the crowning event of an exalted career stretching back to the early years of highlife’s emergence as Nigeria’s predominant popular music.Stephen Osadebe first appeared on the music scene in 1958 as a spry, twenty-two year-old vocalist in the Empire Rhythm Skies Orchestra, directed by bandleader Steven Amechi. With his dapper suits, urbane Nat King Cole-influenced vocal stylings and jaunty, uptempo, calypso-scented dance tunes, he personified the frisky spirit and anxious aspirations of a young, educated generation that had come of age in the wake of the Second World War, in a Nigeria that was rapidly shaking off British colonization and marching towards an independent future. 1959 would be the year that he truly made his mark in the business with his debut solo single “Lagos Life Na So So Enjoyment.” A giddy exhortation of the music, sex, fun and freedom availed by life in the big city, the song became a sensation and an anthem, and Stephen Osadebe became the leader of his own popular dance band, the Nigerian Sound Makers.Osadebe would ride this wave of acclaim through most of the nineteen sixties, but a change in direction would be called for at the dawn of the seventies. As Nigeria emerged from a devastating civil war, so did a new generation of youth inspired by rock and funk, confrontational sounds reflective of a more violent, less idealistic era. All of the sudden, the idioms of the post-WWII dance orchestras that nurtured Osadebe’s cohort seemed quaint, the stuff of nostalgia. Osadebe needed to evolve to respond to the new tumultuous, turned-up times.His response? He cooled it down.Abetted by a new crop of fire-blooded young players, Osadebe slowed his music to a mellow, meditative tempo, brought forward the lumbering, Afro Cuban-accented bass and percussion, from the rockers he borrowed searing lead lines on the electric guitar. Over this musical bedrock, doesn’t so much as sing as he dreamily muses, coos, sighs aphorisms, words of wisdom and inspiration. “When one listens to my music, all I say appears meaningful,” Osadebe explained his lyrical approach, “at times they are in the form of proverbs which provoke much thought afterwards.” The result is a blend that is both rollicking and soothingly languid. Osadebe christened the style Oyolima—a tranquil, otherworldly state of total relaxation and pleasure. Osondi Owendi represents oyolima at its finest, and possibly Nigerian highlife in epitome.Osondi owendi. What is cherished by some is despised by others. In some way, the album’s title constitutes a paradox. Because Osondi Owendi is a record that it’s almost impossible to imagine being despised by anybody.

In 1970, Kevin and David met whilst they were working in the Labour Exchange Office on Aytoun St, Manchester. Both played guitar and had been searching for other musicians who played atmospheric music. Kevin had been playing in small clubs in Manchester and David performed in a few local bands. One evening, they jammed together at Kevin’s family home, and quickly realized that their playing blended together to form the basis of the sound they had been looking for. In the late ‘70s, the music scene in Manchester was bursting with new bands and music.However, Kevin and David had little in common with the local acts, being disciples of a more meditative approach. They followed a path of their own, reaching for an otherworldly sound that they heard from artists like John Martyn, David Crosby, Erik Satie, Terry Riley, Eberhard Weber, Alice Coltrane, and Ralph Towner. They experimented combining their acoustic guitars and David’s bass with various effects pedals and techniques to try and achieve a warm and expansive sound that rides the line between ambient, jazz, and psychedelic folk Music.Towards 1981, they had written eleven songs and accompanied a few with Moog synthesizer laid down by Rob Baxter. All were recorded on cassette decks in their simple home studios. They named this collection of music “Light Patterns”, after a poem Kevin had written. With Light Patterns complete, they set out to find a label to represent their music. They started playing a few gigs in Manchester; Band On The Wall, the Gallery, and other venues, such as Rotters which local promoter Alan Wise had organized. They set up with small amps along with their effects and played as though they were back at home. As Kevin remarks, “It was unusual, to say the least, to play such venues in a low volume chilled out way. However, people listened, often in shocked curiosity, and some even asked for tapes.”Peter Jenner, of Blackhill Enterprises, eventually picked up the album for his new label, “Sheet”. Peter had managed lots of experimental bands and solo artists, including Pink Floyd in their early Syd Barrett days. He always favored outsiders! The tapes were taken to Strawberry Recording Studios in Manchester, who were surprised when Kevin and David walked in with just a couple of home-produced cassette tapes. Fortunately, they liked them and agreed to master the album. It was then sent to Portland Recording Studios in London for final mastering to vinyl. George Peckham, aka “Porky”, did the pressing with a personal message in the deadwax; “Kaftans, Candles and be Cool Man”. The artwork for the album cover was done by the late Barney Bubbles, a truly visionary artist.After the album’s release, the pair continued to play together regularly until David moved away from the city. Kevin still resides near Manchester in the rolling hills outside of the city. He continues to experiment with dreamy music in his loft, and we are set to share a selection of his ethereal archival and current compositions in the coming months. David lives a quiet life in a small coastal town in the South, he likes to sail and is an avid cricket fan. We’re excited to make Light Patterns accessible again for the first time in nearly 40 years, remastered from the original tapes. As the original press release said, “Put the album on, lie back and enter the land of no floors”.