Suicide – Ghost Riders (1986)

FrontCover1.jpgSuicide was an American musical duo intermittently active between 1970 and 2016, composed of vocalist Alan Vega (June 23, 1938 – July 16, 2016) and instrumentalist Martin Rev. The group’s music made pioneering use of minimalist electronic instrumentation, including synthesizers and primitive drum machines, and their early performances were confrontational and often ended in violence. They were among the first acts to use the phrase “punk music” in an advertisement for a concert in 1970.

Though never widely popular among the general public, Suicide have been recognized as among the most influential acts of their era. Their debut album Suicide (1977) was described by Entertainment Weekly as “a landmark of electronic music,” while AllMusic stated that it “provided the blueprints for post-punk, synth pop, and industrial rock.” Rolling Stone called them “an unmeasurable influence on the industrial dance, noise, techno, ambient, and electronic scenes of the 1980s and 1990s.”

Ghost Riders is a live performance album by Suicide, recorded in 1981 and released in 1986 by ROIR. (by wikipedia)

FrontCover2.jpgOriginally a cassette-only release, this live recording at Walker Arts Center in Minneapolis marked Rev and Vega’s tenth anniversary. And while not as deliberately offensive as some of their earlier live gigs (the impossible-to-locate 23 Minutes Over Brussels), this is a compelling, interesting document of their ever-evolving stage show. Not as transcendent as their debut album, but well worth the effort. [Ghost Riders was reissued on CD by the French Danceteria label in 1990 and ROIR in 1991.] (by John Dougan)

Whether or not you really like Suicide or not shouldn’t play a factor in listening to this record. It is a collection of two live concerts recorded in 1981.

I read a book one time and it had this interview with Alan Vega. He said that when started out they would have people throw bottles at them and try to fight them during performances. Listening to this record, I sort of understand. I don’t really want to “fight” because I have developed a respect for the band, but I want to do something.


Before “sweet white lady” the first song on side 2, alan vega gives a radically chilling warning about heroin. Best part of the record. His scream, it will make you want to stay away and hide. But I really think it’s an unorthodox invitation to actually experience a band. (thugsupermarket.blogspot)

Recorded live 9/19/81 at the Tenth Anniversary Suicide Concert
at the Walker Art Center, Minneapolis, Minnesota.


Martin Rev (keyboards, drum programming)
Alan Vega (vocals)


01. Rocket USA 4.54
02. Rock N’ Roll (Is Killing My Life) 5.14
03. Ghost Rider 7.07
04. Dream Baby Dream 6.20
Sweet White Lady 8.42
06. Harlem 9.55
07. 96 Tears (Martinez) 4.38




Alternate frontcovers



Steven Osborne – Feldman / Crumb (2016)

FrontCover1.jpgAlthough they were leading figures of the avant-garde in the 1970s and 1980s, Morton Feldman and George Crumb are an unexpected pairing on this 2016 Hyperion release by pianist Steven Osborne, because they employed dissimilar techniques and achieved rather different results. Feldman is perhaps best known for his extremely long and harmonically dense works of the 1980s, while Crumb’s use of extended instrumental techniques and mystical references made him one of the most imitated composers in the last half of the 20th century. Yet they both explored the quiet end of the dynamic range, and the otherworldly feeling of their music often reveals a mutual affinity for introspection and intuition. The short Feldman pieces, Intermission 5, Piano Piece 1952, and Extensions 3, were all composed in 1952 and are rather scattered and sparse, unlike the sustained mood and consistently delicate sonorities of Palais de Mari, Feldman’s final work, which reflects his interest in slowly evolving processes. Crumb’s Processional is a mix of tonal and modal elements clashing over a pulsing rhythm, and it is surprisingly loud and aggressive when compared to many of his earlier works. Yet A Little Suite for Christmas, A.D. 1979 is more in keeping with Crumb’s evocative style of the 1970s, and its short movements are reminiscent of Makrokosmos I and II. After hearing this album in its entirety, one can understand Osborne’s choices and appreciate a stylistic continuity between them, though the program reveals these composers’ differences more starkly than their similarities. (by Blair Sanderson)

Steven Osborne

Steven Osborne (piano)



Morton Feldman:
01. Intermission 5 4.24

George Crumb:
02. Processional 9.49

Morton Feldman:
03. Piano Piece 1952 3.39
04. Extensions 3 5.30

George Crumb: A Little Suite For Christmas, A.D. 1979:
05. The Visitation 2.39
06. Berceuse For The Infant Jesu 1.35
07. The Shepherds’ Noël 1.15
08. Adoration Of The Magi 1.23
09. Nativity Dance 0.59
10. Canticle Of The Holy Night 3.07
11. Carol Of The Bells 2.09

Morton Feldman:
12. Palais De Mari 26.16

Steven Osborne2




Andy Summers & Robert Fripp – Bewitched (1984)

FrontCover1On Andy Summers and Robert Fripp’s second album, Bewitched, the duo offered a new batch of their instrumental songs, which turned out to be much more rock-oriented than their texturized 1982 debut, I Advance Masked. The album was originally going to be a more musically varied affair — at the time, Summers talked about recording calypso and Tex-Mex/Ry Cooder-like tunes with Fripp, but they never saw the light of day. Like its predecessor, it contains plenty of great guitar work, with songwriting being stressed over instrumental virtuosity.

For example, Summers and Fripp know how to subtly insert challenging sections into their songs (such as the 7/4 time signature in “Maquillage”), without making them seem like an obvious attempt to impress fellow musicians. Although ’80s-sounding electronic drums are primarily used for backbeats (such as the track “Train”), it doesn’t take away from the album’s charm. Whereas their last album featured a few compositions that were quite King Crimson-like, their sophomore effort contains a few that sound like Police instrumentals (the title track). Unfortunately, Bewitched would prove to be Summers and Fripp’s last collaboration together. (by Greg Prato)


Paul Beavis (drums)
Robert Fripp (guitar, keyboards, synthesizer, percussion, drum machine & more)
Jesse Lota (tabla)
Andy Summers (guitar, keyboards, synthesizer, percussion, drum machine & more)
Chris Winter (saxophone)

01. Parade (Summers) 3.03
02. What Kind Of Man Reads Playboy (Summers/Fripp) 11.11
03. Begin The Day (Summers/Fripp) 3.38
04. Train (Summers) 4.35
05. Bewitched (Summers) 3.55
06 Tribe (Summers/Fripp) 3.30
07. Maquillage (Summers/Fripp) 2.19
08. Guide (Summers) 2.35
09 Forgotten Steps (Summers) 4.02
10- Image And Likeness (Summers/Fripp) 1.31



Pierre Henry avec Spooky Tooth – Ceremony (Messe Environnement) (1969)


Pierre Henry (9 December 1927 – 5 July 2017) was a French composer, considered a pioneer in the musique concrète genre of electronic music.


Pierre Henry was born in Paris, France, and began experimenting at the age of 15 with sounds produced by various objects. He became fascinated with the integration of noise into music. He studied with Nadia Boulanger, Olivier Messiaen, and Félix Passerone at the Paris Conservatoire from 1938 to 1948.

Between 1949 and 1958, Henry worked at the Club d’Essai studio at RTF, which had been founded by Pierre Schaeffer in 1943 (Dhomont 2001). During this period, he wrote the 1950 piece Symphonie pour un homme seul, in cooperation with Schaeffer; he also composed the first musique concrète to appear in a commercial film, the 1952 short film Astrologie ou le miroir de la vie. Henry scored numerous additional films and ballets.

Two years after leaving the RTF, he founded with Jean Baronnet the first private electronic studio in France, the Apsone-Cabasse Studio

Among Henry’s works is the 1967 ballet Messe pour le temps présent (Dhomont 2001), a collaboration with choreographer Maurice Béjart that debuted in Avignon (Rubin 2001,[page needed]). In 1969 Henry collaborated with British rock band Spooky Tooth on the album Ceremony.

Composer Christopher Tyng was heavily inspired by Henry’s “Psyché Rock” when writing the theme to the popular animated cartoon show Futurama. The theme is so reminiscent of the Henry’s song, it is considered a variation of the original.

Henry died on Wednesday 5 July 2017 at Saint Joseph’s Hospital in Paris, at the age of 89.

Pierre Henry performs live.

Ceremony is a 1969 album by progressive UK rock band Spooky Tooth in collaboration with French electronic and “found-object” composer Pierre Henry. The album takes the form of a church service. A Pierre Henry-free version of the closing track “Hosanna” with different lyrics appears on 2015 Universal release ‘The Island Years 1967-1974’ under the title “When I Get Home.” The release also includes an alternate take of “Have Mercy” (also without Henry) and a session outtake titled “Shine a Light on Me.”

The album is considered by singer and songwriter Gary Wright to have ended the band’s career. “Then we did a project that wasn’t our album. It was with this French electronic music composer named Pierre Henry. We just told the label, ‘You know this is his album, not our album. We’ll play on it just like musicians.’ And then when the album was finished, they said, ‘Oh no no — it’s great. We’re gonna release this as your next album.’ We said, ‘You can’t do that. It doesn’t have anything to do with the direction of Spooky Two and it will ruin our career.’ And that’s exactly what happened.” (by wikipedia)

Rare single from 1969

It’s fair to say that Ceremony: An Electric Mass is unlike any other release by an English band normally rooted in the blues. Think of it as Spooky Tooth’s version of Concerto for Group and Orchestra by Deep Purple, in which, after two or three promising blues-based rock releases, one member of the band somehow convinces the others to go for a wildly ambitious, experimental concept album. Jon Lord persuaded Deep Purple to dive into the deep end, and Gary Wright convinced Spooky Tooth to welcome acclaimed French composer and musique concrète pioneer Pierre Henry for this electronic mass. Henry’s atonal arrangements don’t fare too badly against Spooky Tooth’s piercing guitars and bluesy wail, although Wright left the band after Ceremony (just as Lord never had the same influence on Purple again, leaving Ritchie Blackmore to lead them on to heavy metal glory). (by Mark Allan)


Pierre Henry (synthesizer, electronics)
Mike Harrison (vocals, keyboards)
Luther Grosvenor (guitar)
Mike Kellie (drums, percussion)
Andy Leigh (bass, guitar)
Gary Wright (vocals, electronic organ, keyboards)


01. Have Mercy 7.51
02. Jubilation 8.25
03. Confession 6.53
04. Prayer 10.50
05. Offering 3.26
06. Hosanna 7.33

All tracks composed by Pierre Henry and Gary Wright



Pierre Henry2
Pierre Henry (9 December 1927 – 5 July 2017)

Ricardo Januario – Urban Cello (2015)

FrontCover1Another piece of music which I bought in Portugal 2 weeks ago … Ricardo Januario played in a street of Porto, but he´s much more than just a “street musician” :

Ricardo Januário Ribeiro Ferreira was born in Mirandela in 1984. He began his musical studies at the age of 12 at the “Escola Profissional de Arte de Mirandela (Esproarte)” – Mirandela Vocational School of the Arts, under professor Arnold Richard Allum. From 2002 to 2007 he studied under Eliaz Arizcuren and Ran Varon at the Utrecht University of Music in the Netherlands, where he graduated with distinction in Music Teaching and Performance.

Throughout that period, he enjoyed the sustained support and dedication of the great cellist and teacher Madalena de Sá e Costa. He dedicated his final course dissertation to Madalena de Sá e Costa; and he wrote his professional aptitude test under the title: “The life and works of Madalena de Sá e Costa”.

RicardoJanuario01He has attended master classes with cellists of international renown, including: Paulo Gaio Lima, Miguel Rocha, Pieter Wispelwey, Anner Bylsma, Patrick Demenga, Márcio Carneiro, Dimitri Perlin, Dimitri Fertshman, Timora Rosler, Raphael Wolfish, Jeroen den Herder, Gavriel Lipkind, Asier Polo and Vivian Makie.
He has played with several groups, including: the Benelux Trio, Modern Quartet, HKU string quartet, Camerata Ibero Americana, Netherlands Camerata, Luso Cello Ensemble, Aproarte, Esproarte, Metropole Erasmus Orchestra, HKU String Orchestra, NSO Orchestra and the Rotterdam Continuo (Opera).

LiveInPortoAugust2015_2Ricardo has been intensely involved in teaching since 2007. He taught a Young Talent class at Utrecht, taught cello and was the orchestra director and coordinator of the Mirandela Generation Orchestra project. He has been a cello teacher at the Mirandela Academy of Music, coorinator of stringed instruments at the Bragança Music Conservatory, cello teacher at Esproarte and leader of the Esproarte symphony orchestra.
He has regularly performed solo in concerts, with orchestras, in duets and trios, playing in major musical centres. He has conducted master classes throughout Portugal, including Braga, Bragança and Seia, as well as abroad in France and Switzerland. He has also been a teacher in master classes given by the International String Academy, assisting Professor Ran Varon.
He is currently cello tutti with the orquestra do norte (orchestra of the north)

And this is his very first solo-album; it´s a private release and you can buy this CD if you are lucky enough to meet Ricardo Januario in the streets of Porto.

And it´s a brilliant CD: a perfect mixture between classical and avantgarde music, I guess, this is probably one of the best albums I ever presented in this blog.

All you have to do is to listen and to marvel … In other words: A fantastic album !

And I add as a bonus two more songs, which I found on youtube !

Ricardo Januario (cello, electronics)
Pedro Teixeira (duduk, oboe on 08. + 09.)

01. Braun Inspiration 7.07
02. Drawing 6.44
03. Vivents 3.56
04. Do You Felt 4.07
05. Looping 8.35
06. Loving Pizz 4.05
07. Final Sketch 7.25
08. Voyage (bonus track) 7.32
09. Cello and Live Electronics – Full improvisation (bonus track) 11.44

Music composed by Ricardo Januario