| | Basic Channel CD - Import
Basic Channel collects material from the Basic Channel, Maurizio, and Chain Reaction label family founded by Moritz Von Oswald and Mark Ernestus. The compilation contains edited 12-inch single versions of tracks by artists like Cyrus, Phylyps, Quadrant, Octagon, Radiance, and Q 1.1. ~ Steve Huey Basic Channel Songs | 1. | Q-Loop - Basic Channel |
| 2. | Remake Basic Reshape - Basic Channel |
| 3. | Mutism - Basic Channel |
| 4. | Quadrant Dub I - Basic Channel (edit) |
| 5. | Radiance II - Basic Channel (edit) |
| 6. | Lyot - Basic Channel (remix, edit) |
| 7. | Presence - Basic Channel (edit) |
| 8. | Q1.1 - Basic Channel (edit) |
| 9. | Q1.2 - Basic Channel |
| 10. | Radiance I - Basic Channel |
| 11. | Radiance III - Basic Channel (edit) |
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Basic Channel Review
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Purchase Basic Channel CD To buy, Click on price to add to cart | Organized Konfusion CD (1991)
Basic Channel
 $8.49   
Out of print on cassette on Hollywood [720616121226] - (D99)
Organized Konfusion: Pharoahe Monch, Prince Poetry (vocals).
Additional personnel includes: O.C. (rap vocals); Vicky (vocals); Adam Ant Anton (guitar, piano); Chuck (saxophone); Chris Conway (drums); The Merrick Park Baptist Gospel Choir (background vocals).
Producers: Organized Konfusion, Snap, The Foolish Mortals, Kid Nyce, So Unique.
Engineers include: "Adam Ant" Anton, Al "Taz" Machera, Alex.
Recorded at Power Play, Long Island City, New York; Rawlstons, Brooklyn, New York; Calliope, New York.
Personnel: Vicky (vocals); Anton P., Adam Ant Anton (guitar, piano); Chuck (saxophone); Chris Conway (drums).
Audio Mixer: Organized Konfusion.
Recording information: Calliope Studios, New York, NY; Power Play Studios, Long Island City, NY; Rawlston Recording Studios, Brooklyn, NY.
Photographer: Alice Arnold.
The inspired debut album from the duo of Prince Poetry and Pharoahe Monch was arguably the underground rap album of the 1990s, at a time when "underground," aside from Ultramagnetic MC's, didn't really yet exist in the coherent manner that it would later in the decade. It most definitely represented an alternative and ran perpendicular to much of what passed for mainstream hip-hop in 1991, with the possible exception of the Native Tongue family, ...
| | Boards Of Canada Geogaddi CD (2002)
Basic Channel
$13.45  
Highly anticipated new album features 23 tracks. Warp Records.
Boards Of Canada: Marcus Eoin, Michael Sandison.
Recording information: Hexagon Sun.
Photographers: Marcus Eoin; Michael Sandison.
Geogaddi, the most anticipated sophomore full-length from an IDM act since Aphex Twin's SAW 2 in 1994, certainly looks and feels similar to the 1998 Boards of Canada debut, Music Has the Right to Children. The package design includes artful, bleached-out photos of children playing, while the lengthy track listing balances short vignettes with longer tracks. Fans will be delighted to hear that the music also reveals no great departure from one of the most immediately recognizable sounds in electronica; a pair of Scottish cottage producers apparently whiling away the hours creating music, Boards of Canada specialize in evocative, mournful, sample-laden downtempo music often sounding as though produced on malfunctioning equipment excavated from the ruins of an early-'70s computer lab. Geogaddi has a bit less in the way of melodics (the prime factor why Music Has the Right to Children was an immediate classic) and, as a result, sounds slightly less like trip-hop for fairy tales and more like the slightly experimental, but definitely produced, electronic music it is. Still, Boards of Canada surely haven't lost their touch for creating spectral machine music: "1969" is particularly lovely, with starburst ...
| | Aphex Twin 26 Mixes For Cash CDs (2003)
Basic Channel
$18.49
Aphex Twin: Richard D. James.
The words "remixed by Aphex Twin" tend to arouse apprehension and suspicion inside the heart of musical normality. Since the early `90s, Richard D. James's most notorious moniker has become synonymous with a disdain for the classic tropes of remix-science, a kind of devil-may-care pranksterism that goes some way in explaining 26 MIXES FOR CASH, a two-disc collection spanning nearly two decades of Aphex Twin's musical malfeasance. Reworking a mind-boggling diversity of material from artists as varied as Nine Inch Nails, Jesus Jones, and Philip Glass, Aphex applies his mischievous mad-scientist methods to create not slick dance-floor fodder, but ingenious textural and rhythmic flights of fancy--usually containing little regard for the supplied source material. From the ethereal majesty of Seefeel's "Time to Find Me" to the plangent orchestral havoc of Philip Glass's version of Bowie's "Heroes," 26 MIXES FOR CASH contains solid examples of Aphex's elastic, genre-bending experimentation.
Before Aphex Twin, remixes were dancefloor fodder and singles filler, hired out and produced with an eye to crossover success in different markets with what was largely the same piece of music (apologies to masters of the form Tom Moulton, Shep Pettibone, and Arthur Baker). After Aphex Twin, dozens of electronic and experimental outfits considered entire remix albums de rigeur, a process certainly not influenced by the release of Madonna's You Can Dance or Paula Abdul's Shut Up ...
| | Autechre Amber CD (1994) Reissue
Basic Channel
$10.59
In small but noticeable ways on this, their sophomore release, Autechre begin to break from the clean, if at times obvious, artistic techno from their debut record, and reach instead toward something far more distinct. Sean Booth and Rob Brown weren't quite there yet, but their self-production is even more accomplished than before, and their instincts to steer away from overly polite electronic dance music come ever more to the fore at various points throughout Amber. "Foil" begins the album with a distinctly spooky feel to it, with droning keyboards playing out over a series of spare percussion patterns; the heavy echo and crumbling, lo-fi bass feel of the track reduces its straightforward danceability, creating an ominous introduction to the album. "Silverside" at once strips things down to a more minimal approach. A string synth section plays out over first gently thudding then more pounding beats. Then a more off-kilter section with distorted vocal samples and sounds provides part of the melodic accompaniment and rhythm. "Glitch" has a nice roiling rumble to it; it isn't as fragmented as later releases, but veers a little more closely to the edge in comparison to earlier songs. "Piezo" is also worth noting, with uplifting synths balancing out a very quirky, almost intrusive series of rhythms, while "Yulquen" eschews beats entirely for a slightly disturbing though still beautiful track which rivals prime Aphex Twin. For all this, Amber does suffer a similarity to Incunabula, in that a couple of tracks could be removed ...
| | Maurizio CD (1997) Reissue
Basic Channel
$13.15
Concentrating on volumes four through seven in the M Records series, Maurizio collects edits of seven tracks, adding one original 12" mix and one unreleased mix. Each of the nine tracks layer heavy dub effects and synthwork over midtempo house rhythms with plenty ...
| | Madlib Beat Konducta Vol. 3-4: India CD (2007)
Basic Channel
$11.79 
As prolific as he is talented, producer extraordinaire Madlib moved east for his second Beat Konducta installment, In India. Unlike Vol. 1-2, which was themed around an imaginary film, Vol. 3-4 has no clear overarching purpose, and the 34 tracks connect to one another only because their samples were all taken from Indian records from the '70s and '80s. And it's here that Madlib's high output works both positively and negatively for him. On one hand, he's able to offer an extraordinary amount of different sounds all tabled around a unifying idea (the sitar, the tabla), from the very RZA-esque "Smoke Circles" to the percussive "Freeze" to the fuzzy, layered vocals of "Dancing Girls Theme." But he also relies almost solely on his own innate and insane amount of natural skill, without always thinking much about the finished product, too excited about the next thing he's going to create to even remember what he did a few minutes before, and this carelessness shows up now and again, weakening the overall effect of the record. Cuts like "Masala," "Another Getaway," "Dark Alley Incidental Music," and "The Rip Off (Scene 3)" seem hastily thrown together without much consideration for either the album as a whole or even the tracks themselves, a little too droney and atonal to do much more but loop around tiredly. Of course, this same kind of approach, this flexibility, can also produce ...
| | Jesus Christ Superstar: 20th Anniversary Recording CD (1992) Hilites; Highlights
Basic Channel
$8.99
| | Conway Twitty Rock N Roll Collection CD (2004) (Import) United Kingdom
Basic Channel
$9.39
Though it's still a little pricier than a domestic release, the Universal International imprint has come up with an acceptable and thoroughly enjoyable collection of Conway Twitty's early rock & roll hits and rockabilly sides. While Twitty is best known as a blockbuster singer and writer of country music classics, he began his career following in the footsteps of Elvis Presley. The 21 cuts here all reflect Twitty's raucous side, instead of his equally effective ballad style -- making it inexcusable that ...
| | ICARUS Six Soviet Misfits CDs (2003)
Basic Channel
$16.59
Icarus: Ollie Brown, Sam Britton (programming).
Six Soviet Misfits compiles two years of Icarus releases onto two compact discs. Disc one collects the UL-6 and Soviet Igloo EPs. Disc two holds the entirety of 2002's Misfits. What becomes clear over the course of the two discs is that Ollie Bown and Sam Britton are comfortable mining two musical genres: the jazzy, skittering drum'n'bass associated with Amon Tobin and Squarepusher, and the mournful clicks + cuts new-millennium IDM made popular by Morr Music and Kompakt artists. Indeed, the material from Misfits sees Icarus as a kind of missing link between Squarepusher and Múm, as drum'n'bass clattering blends effortlessly with sweet brittle ambient tones. Friends Dan Snaith (aka Manitoba) and Kieran Hebden (aka Four Tet) should be credited with getting a buzz started for the duo, as they name checked Icarus repeatedly in the music ...
| | Mark Robinson Origami & Urbanism CD (2003) Enhanced CD
Basic Channel
$12.05
| | Percy Faith Swing Low In Hi Fi/A Look At Monaco CDs (2004)
Basic Channel
$10.69
2 Lps On 2 Cds B/W "A Look At Monaco"
2 LPs on 2 CDs: SWING LOW IN HI FI (1956)/A LOOK AT MONACO (1963).
A ...
| | Jandek End Of It All CD (2004)
Basic Channel
$6.75
| | T Rex Slider CD (1972) (Import) Japan
Basic Channel
$43.09
The 1997 reissue of THE SLIDER features 3 additional tracks that did not appear on the original release; "Cadillac," "Thunderwing" and "Lady."
Marc Bolan/T. Rex: Marc Bolan (vocals, guitar); Mickey Finn (vocals, percussion, congas) Steve Currie (bass); Bill Legend (drums).
Additional personnel: Howard Kaylan, Mark Volman (background vocals).
Recorded at Chateau D'Herouville, Paris, France and Rosenberg Studios, Copenhagen, Denmark. Includes liner notes by Mark Paytress.
All tracks have been digitally remastered.
Buoyed by two U.K. number one singles in "Telegram Sam" and "Metal Guru," The Slider became T. Rex's most popular record on both sides of the Atlantic, despite the fact that it produced no hits in the U.S. The Slider essentially replicates all the virtues of Electric Warrior, crammed with effortless hooks and trashy fun. All of Bolan's signatures are here -- mystical folk-tinged ballads, overt sexual come-ons crooned over sleazy, bopping boogies, loopy nonsense poetry, and a mastery of the three-minute pop song form. The main difference is that the trippy mix of Electric Warrior is replaced by a fuller, more immediate-sounding production. Bolan's guitar has a harder bite, the backing choruses are more up-front, and the arrangements are thicker-sounding, even introducing a string section on some cuts (both ballads and rockers). Even with the beefier production, T. Rex still doesn't sound nearly as heavy as many of the bands it influenced (and even a few of its glam contemporaries), but that's partly intentional -- Bolan's love of a good groove takes precedence over fast tempos or high-volume crunch. Lyrically, Bolan's flair for the sublimely ridiculous is fully intact, but he has way too much style for The Slider to sound truly stupid, especially given the playful, knowing wink in his delivery. It's nearly impossible not to get caught up in the irresistible rush of melodies and cheery good times. Even if it treads largely the same ground as Electric Warrior, The Slider is flawlessly executed, and every bit the classic that its predecessor is. ~ Steve Huey
Although 1971's ELECTRIC WARRIOR was the first album on which all the pieces finally came together for marc Bolan and T. Rex, the follow-up, THE SLIDER was Bolan's masterpiece. The album on which Bolan's characteristically inscrutable, hippy-dippy lyrics were perfectly balanced with crunchy glam-rock guitar riffs and great, whomping drum fills, THE SLIDER is a masterpiece of glam boogie. ...
| | Natto Quartet Thousand Oaks CD (2005)
Basic Channel
$17.09
Released two years after Headlands, the group's debut, Thousand Oaks brings proof that Natto Quartet might be in it for the long run, and most certainly has the strength to do so. "East meets West" is not a new concept in music, not even in free improvisation. What sets this album apart, though, is that there is no "East meets West" going on here -- in fact, there is no "East" or "West" at all. Chris Brown's disembodied piano notes and Tim Perkis' subversive electronics sound as exotic or outside of one's own culture as Philip Gelb's shakuhachi and Shoko Hikage's koto. And it seems likely that Japanese listeners would feel the same way. After all, no one in this group plays his or her instrument in a conventional way. Hikage's bowing techniques in "Chawan Mushi" make the koto sound like a Chinese erhu. Gelb bends notes on the bamboo flute in ways that should be impossible. Brown's playing may be the most conventional on this album, as he doesn't use preparations or play directly on the strings a lot, but he engages the koto in complex dialogues and uses an unsettling form of fractured phrasing. Perkis' computer doesn't add a modern touch to the sound palette as much as it expands it from the inside. The album consists of seven tracks recorded in the studio. "Ume" is the longest one at 11 minutes, and is given the task of setting the mood. It is not the group's best effort, but it puts the listener in a receptive frame of mind. The other improvisations are all shorter (between three and nine minutes) and exquisitely started and stopped. "Kinpira" and "Kuri-ae" stand out, mostly because of the range of emotions they set in motion, but each track features a very strong level of ensemble playing. Thousand Oaks is the album of a group that is in complete possession of its art but still holds a few surprises for the future. Come for the unorthodox instrumentation, stay for the level of collective improvisation. ~ François Couture
Critics called Natto Quartet's April 2003 debut, Headlands, "exotic, equisitely crafted, and eye opening" (Signal to Noise) and "music for our time" (AllAboutJazz.com), with The Wire's Bill Shoemaker noting, "each sound has the self-contained integrity of a stroke of masterful calligraphy." "The sound is so arresting and unique," mused WEMU Music Librarian/Cadence Senior Columnist Michael G. Nastos, ...
| | Jamie Bergeron I Know Dat's Right CD (2008) Reissued
Basic Channel
$13.89
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