soundtrack to a six-hour PBS miniseries focusing on the history of slavery and its effects upon American culture, reflecting perspectives both black and white; included here are amazing harmonic vocalizations emulating plantation work songs, traditional African pieces on the kora, African-American church choirs and banjo folk, striking traditional European vocalizations and instrumentals on the harpsichord, bagpipes, and other instruments--the music here relates more than could any historian
bouncy 1970s reggae tending a bit toward ska; he sounds like a mischievous little kid on this recording
{various}
Angels of Life in a Psychic Wasteland
Eerie Materials
strange to insane tunes from around the globe; includes contributions from Charming Hostess, Eugene Chadbourne, Violent Onsen Geisha, Thi-Linh Le, Mieskuoro Huutajat, Transkaakko, and LAS Galore (if you know any of them), among others
Billy Bang
Commandment
No More
harsh and contorted violin improvisation interspersed with shouts and other extraneous sounds; not your typical violin solos by any measure [1997 release]
cranking HR/punk collides with seething soul spewed out by a Diva {Lisa Kekaula} who'd make Tina Turner wish she were young again; let it blast, indeed
reissue of this classic 1970 release combining Indian and Middle Eastern influences with harp-focused ethereal jazz; Pharoah Sanders and others join in as guests [1997 release]
voodoo-laced sax/flute/percussion jazz improv. recorded back in 1980; Hemphill and Smith create a very ominous environment with this collaboration and read each other's intent masterfully
zany and raucous yet uncanny convergence of bluegrass, klezmer, Middle Eastern music and other elements; leaves you discombobulated yet yearning for the enlightenment attainable only via the Lords of Zorlock
a mixture of Indian ragas & Pakistani qawwalis with Laswell's modern beat influences; this release leans far more toward the traditional than the modern, unleashing its latent power
re-release of this 1974 masterpiece of electro-acoustic music; sounds converge and disperse with uncannily freaky elegance, maintaining a compositional context behind a facade of randomness
focused wretchedness, in a good way; all kinds of wondrously scraggly tunes from the likes of William Carlos Williams, Pineal Ventana, God Is My Co-Pilot, Who Killed Teacher? and others in a similar vein
re-release of these turbulent 1991/1992 EPs on one CD; John Zorn, Bill Laswell and Mick Harris churn out frenzied yet lurking pieces incorporating aspects of dub into screaming noizjazz
PunkProgScreamingTwistedness; there's a new bassist this time around who really deals out some powerful chops to accompany the 100-armed drummer/vocalist
quirky-jerky time-signature-oblivious rock from Prague that somehow manages to integrate all kinds of unusual traditional Eastern European influences, among a host of other influences, into its assault [1995 release]
stark, scary/eerie beat-laced rock that drags you into its darkness
Big Joe Williams
These Are My Blues
Hightone/Testament
haunting blues recorded in at Rockford College, IL in 1965; Williams employs spooky tremolo techniques on his distinctive 9-string guitar for this gripping live performance
William Carlos Williams
Collection Plate
Shoestring
torrents of noizjazz; grabs you by the neck and flaps you around like a wet noodle then dumps you in a heap to contemplate your existence
