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4 Mar 2017

Luis Pérez “Ipan In Xiktli Metzli, México Mágico Cósmico, En El Ombligo De La Luna” 1981 Mexico Folk Rock,Electronic,World,Art Rock,Prog.Cosmic







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Luis Pérez “Ipan In Xiktli Metzli, México Mágico Cósmico, En El Ombligo De La Luna” 1981 Mexico Folk Rock,Electronic,World,Art Rock,Prog.Cosmic
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**Hand-numbered edition of 500 housed in gold ink screen-printed jacket and Spanish liner notes** The highly promising Sacred Summits label debuts with a reissue of Luis Perez's private-pressed cosmic obscurity, 'Ipan In Xiktli Metztli'. Beautifully recorded in Mexico, 1981, it offers a mescaline-sharp vision of deep grooving "cosmic ethnography" combining pre-Colombian percussion and wind instruments with electric guitar, tape delay and synths in free-roaming and extended suites. Perez's background in well-known (in Mexico, at least) folk ensemble Huayucaltia evidently feeds into this, one of only two known solo albums, but the key descriptor is blatantly psychedelic. The side opens with a pair of concise, light-footed groovers, all rattlesnake shakers and melodic percussive cadence rent upwards with astral wind instruments and richly evocative nocturnal atmosphere, seemingly preparing us for two extended trips coming off like a prime Jodorowsky soundtrack. The first, 'Etimología Del Nombre Mexico' projects ritualist prog grooves into a haunting soundsphere of synth swirl and chant awash with tape delay and riding the wave between lush ecstasy and abyssal darkness while the 2nd suite, 'Al Culto Solar' peers further still with truly desolate, shivering synth atmospheres pierced by a comforting voice which leads further into the "other" side and a phantasmic array of patterned basslines, demonic wail and utterly mind-blowing synth hallucinations. Serious stuff, treat with care for celestial rewards...............

One of the earliest examples of "Prehispanic Fusion," a style combining the pre-colonial music of Mexico with modern electronics and progressive rock, channeling the spirit of ancient cultures. The style later gained broader recognition with Jorge Reyes, Antonio Zepeda and others. En el Ombligo de la Luna is pretty much where it all started. The first track "In Alteptl Tonal" introduces the percussion, ancient wooden flutes and bird-whistles that form the cornerstone of this style, but as the album progresses modern instrumentation is slowly introduced; electric guitars, then synthesizers and bass are in full deployment by the middle of the third track that closed side one of the original LP, along with wordless vocalizing. The side-long title suite features many haunting quiet parts that can thankfully now be heard clearly, utilizing winds, layered percussion, guitars, and synths, building slowly to a climax, followed by a short section of ancient poetry, leading into the spirited midsection where pulsating bass mixes with jagged synth sounds, morphing into a magnificent passage for layered synths. The closing section then reintroduces the percussion and flutes from the opening section. This is most welcome reissue, especially given that most Mexican LP pressings of the 1980s were very noisy, full of clicks and pops and other irregularities. While the limitations of the original analog recording are still audible on a very close listen, all of those horrible pressing issues are now gone; what remains is one of the magical gems of Mexican progressive music sounding better than it ever has before.
by Jon Davis, 2013-12-10: ..........................

I would imagine that when this album was first released back in 1981, people referred to it as "timeless." It starts out with a wooden flute and a wide array of shakers and other percussion, and in the listener's imagination, it's something that could have been recorded 500 years ago if the technology had existed to record it. The second track continues with wooden flute and percussion, though it concentrates more on drums and wooden sounds than on shakers; there's also something that sounds like a conch shell being blown. The credits (as far as my Spanish will get me) merely say that all instruments are of Pre-Columbian origin with the exception of guitar, bass, echo chambers, frequency analyzer, phase shifter, sin-ei (not sure what that is, maybe a synthesizer, since I'd swear I hear one), and gong. The modern instruments start appearing on the third track, but Pérez handles the transition so smoothly that it's not jarring. About five minutes into "Ketzakoatl Yauh Miktlan" he develops a groove reminiscent of Mike Oldfield, which isn't a bad reference point since both are multi-instrumentalists who build up music part by part in the studio. The way Pérez combines these ancient and modern instruments seems perfectly natural, which leads to another "timeless" factor — this is music not rooted in any particular time, which could exist anywhere on the timeline from ancient times into the future. In some ways, En el Ombligo de la Luna is a precursor to some World Music, but I wouldn't push that comparison too far. This recording stands on its own regardless of its innovation at the time of original release, another way in which it is "timeless..............................

The intruments were played in the album are from pre-colombian culture and design from the several regions of the Mexican Country. "Expresión de cultura musical, fomento sostenido por el ISSSTE, subdirección de Acción Cultural". México 1981. ...............

This tantalising prospect of a label splashes down with an amazing LP self-released by Luis Perez in 1981 within his native Mexico only. A kind of cosmic ethnography combining pre-Columbian percussion and wind instruments together with guitar, tape delay units and analogue synthesisers: a mystical weft of giddily deep grooves and experimentation. A limited edition beautifully presented in numbered, silk-screened sleeves with notes......................

The highly promising Sacred Summits label debuts with a reissue of Luis Perez's private-pressed cosmic obscurity, 'Ipan In Xiktli Metztli'. Beautifully recorded in Mexico, 1981, it offers a mescaline-sharp vision of deep grooving "cosmic ethnography" combining pre-Colombian percussion and wind instruments with electric guitar, tape delay and synths in free-roaming and extended suites. Perez's background in well-known (in Mexico, at least) folk ensemble Huayucaltia evidently feeds into this, one of only two known solo albums, but the key descriptor is blatantly psychedelic. The side opens with a pair of concise, light-footed groovers, all rattlesnake shakers and melodic percussive cadence rent upwards with astral wind instruments and richly evocative nocturnal atmosphere, seemingly preparing us for two extended trips coming off like a prime Jodorowsky soundtrack. The first, 'Etimología Del Nombre Mexico' projects ritualist prog grooves into a haunting soundsphere of synth swirl and chant awash with tape delay and riding the wave between lush ecstasy and abyssal darkness while the 2nd suite, 'Al Culto Solar' peers further still with truly desolate, shivering synth atmospheres pierced by a comforting voice which leads further into the "other" side and a phantasmic array of patterned basslines, demonic wail and utterly mind-blowing synth hallucinations. Serious stuff, treat with care for celestial rewards.
Boomkat

In the early 1980s, there was a small explosion of interesting and very unique progressive music coming out of Mexico. One of the paths being explored at that time was music that fused progressive music and ambient music with the instruments of pre-Hispanic Mexico; the sounds BEFORE the conquerors came and changed the continent hugely. The bigger names in the field were Suso Saiz and Jorge Reyes, but one of the first people to release a record that gained attention outside of Mexico was Luis Perez, who released this album in 1981.
"This tantalizing prospect of a label splashes down with an amazing LP first released by Luis Perez in 1981, originally within his native country of Mexico only. A kind of cosmic ethnography combining pre-Columbian percussion and wind instruments together with guitar, tape delay units, and analog synthesizers: a mystical weft of giddily deep grooves and experimentation. A limited edition beautifully presented in numbered, silk-screened sleeves, with notes."
Wayside,,,,,,,,,,,,,,,,

Credits:

Cover – Laurence Giordano
Executive Producer – ISSSTE
Music By, Arranged By, Performer – Luis Pérez
Recording Supervisor – Fernando Roldán, Francisco Miranda

Tracklist
A1 Suite Al Culto Solar - In Altepetl Tonal 3:19
A2 Suite Al Culto Solar - Xochiyaoyoloh 5:32
A3 Suite Al Culto Solar - Ketzalkoatl Yauh Miktlan 14:34
B1 Ipan In Xiktli Metztli 21:21 

Colomach “Colomach” 1974 Nigeria Afrobeat,Afro Rock Ethno Folk Psych





Colomach “Colomach” 1974 Nigeria  mega rare Afrobeat,Afro Rock Ethno Folk Psych…recommended…!
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Soundway present a very limited vinyl-only re-issue of a truly unique and obscure LP from 1974. Performed bythe cultural rock band Colomach and led by Northern Togo musician Gneni Mamadou, this record was recorded in EMI Nigeria’s state-of -the-art studio and only ever released in Nigeria in tiny numbers. 

The original record is one of the rarest Afro-rock LPs ever made and has almost vanished since its production nearly 40 years ago. 

The album is a truly original fusion of traditional music from the arid Sahel region of West Africa (the northern areas of Togo, Ghana, Benin, Cote D'Ivoire, Nigeria and parts of Burkina Faso and Mali) with raw ‘garagey’ psych-rock that was honed playing alongside similar 'cultural'bands of the era such as Hedzoleh Soundz and Edzayawa. ………….. 

Mysterious drum driven psychedelia of some Malian students in a Nigerian studio. Think Exuma / Dr. John. Colo below Mach disappeared promptly in niets.Highly recommended!…………. 

Out in 1974 on the mythical “EMI Nigeria” record label, this album is the one-and-only from the band Colomach, led by the Togolese Gneni Mamadou. 

This is one of my favourite Nigerian albums, because this band didn’t try to copy American Funk ; it includes 10 tracks from very different musical genres, from deep traditionnal Sahel sounds to Fuzzy Zambian Afro Rock Style !!………. 

An inspired cultural rock outing with Northern Togo musician Gneni Mamadou at the helm. With bristling bolts of fuzz streaking over beds of crunchy percussion accompanied by an epiphany of chants, Colomach helps map the Sahel soundscape of the 1970s. A top-drawer recording made at EMI Nigeria in 1974. 

Pearl coming from Nigeria. The group Colomach was formed in the mid-70s in Lagos and launched a unique and rare album in 1974, with a very low number of copies and was only reissued in 2013, by Soundaway. 
The eponymous album features 10 short tracks and quite similar to the rock that was in Africa 70s, garage rock with heavy influences from psychedelic, zam rock and afrobeat beyond traditional music made in the region. The fuzz guitar dominates, along with good passages of traditional percussion and drums. The lyrics are all in the local language, giving even more uniqueness to this record. …. 

The latest release from Soundway is with us, and it appears to be quite the special one. The more eagle eyed devotees among you may already know that Colomach’s tracks have appeared on a couple of infamous compilations in recent history (Soundway’s ‘The World Ends‘ and ‘Nigeria Rock Special‘ compilations), however, this is one album (recorded in 1974) that seems to have become as rare as hens teeth ever since. 
Although it might loosely be labelled as an ‘Afro-Rock’ LP, the tracks support the claims in the press release that the recording is so much more. The dominant sound is definitely one of West African ‘garage’ origins, however elements of ‘Zamrock’ and Afrobeat can be heard, as well as a fairly conspicuous nod to the deserts in the North. 

Limited to 500 copies on vinyl, the Colomach release is set to remain hard to come by in its original format. Alternatively you can pick it up digitally and on CD, but before that is your only option try and grab a copy on wax here whilst you can. 

Kpanlogo (Folklore) was the track that properly brought the release to my attention. Although it is fairly synonymous of the melodic, masculine songwriting on show it doesn’t come anywhere close to telling the full story. This is one album you really should give your time……………… 

Performed by the cultural rock band colomach & led by northern togo musician gneni mamadou, this record was recorded in emi nigeria’s state-of -the-art studio & only ever released in nigeria in tiny numbers. the album is a truly original fusion of traditional music from the arid sahel region of west africa (the northern areas of togo, ghana, benin, cote d'ivoire, nigeria & parts of burkina faso & mali) with raw 'garagey’ psych-rock that was honed playing alongside similar 'cultural’ bands of the era such as hedzoleh soundz & edzayawa. the original record is one of the rarest afro-rock lps ever made & has almost vanished since its production nearly 40 years ago. …………………….. 


Tracklist 
A1 Enoviyin
A2 Ottoto Shamoleda
A3 Cotocun Gba Gounke
A4 Bernadetta
A5 (Flute) Sweet Sounds From Colomachi
B1 K Assa Kpa Sama Kpa
B2 Kpanlongo (Folklore)
B3 Pipan
B4 Yebo Blues
B5 (Acoustic Guitar) Sonorites Sahelienne 

MC Coil “All Our Hopes” 1979 Germany private Prog Rock








MC Coil “All Our Hopes” 1979 Germany ultra rare private Prog Rock 
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McOil's only album is a keyboard driven heavy prog LP with lots of strong guitarwork. The vocalist doesn't convince me but the material is still pretty enjoyable. While this record is mostly a progressive rock album it also includes lots of hard rock elements and also some heavy metal influences can be heard here and there.

I find the B-side to be the better side here. The first side is pretty decent but the second side is definitely a good one. "Sailing Around" and "What's This Life" are my favourite songs on this record. I would rate this album with 3,25 stars if I could. If you dig keyboard/organ driven hard rock bands such as Deep Purple or Uriah Heep you should give a try to McOil as well. The album was originally released as a private pressing and it hasn't been reissued on vinyl yet....by...CooperBolan ..........

McOil were a late 70s heavy progressive rock group from southern Germany with only a 7" single and the album 'All Our Hopes' (CD 004, 1979) to their credit. The foursome developed a full-bodied sound on the back of Karl Wild's hearty mid-tone guitar riffs (think Boston). Keyboardist Walter Litz also served as the band's vocalist, sounding gruff and powerful like Graham Bonnet (ex-Rainbow). The title track is your standard epic progressive multi-part suite, but I can't slag it off as it's pretty well done. Next, they turn around with the very heavy and psychedelic "This Time Should Never End," and now I'm sold on McOil as a winner (even with the drum solo...not so bad, really!). If the band had been from England instead, they almost certainly would've been lumped in with the NWOBHM (rightly or wrongly), and considered one of the better ones I imagine. And rightly so...McOil might not have been a trend-setter in Germany, but they produced some really intelligent heavy rock. Well, the 'intelligence' of the hard-rock polka that introduces the bonus track "A Better Day" (the B-side to the 1978 single) is debatable, but that's an exception!

The most represented band on the GoD label with three CDs to date, Arktis' self-titled debut (CD 005) recorded in 1973 appeared first. Often along the lines of Captain Beyond, Arktis wrote heavy blues rock tunes with a psychedelic slant colored by Karin Töppig's potent voice. The first two of the four album tracks are more in the standard classic rock style, but are interesting works nonetheless. "Jeff the Fool" shows off more psychedelic tendencies in a short form (just 3 1/2 minutes) with even a hint of Amon Düül II's weirdness. In contrast, the album's finale "Rare Girl" clocks in at 20 minutes, their answer to "In-a-Gadda-da-Vida." Following the initial 'song riff' and Töppig's gritty vocals and then a loose bluesy jam, the freaked-out portion then kicks in about half-way and carries us on through to the song's final reprisal. Personally, I found their strength to be in their structured works as their jams were somewhat tentative, although that tendency seemed to reverse by the next album. Three bonus tracks are tacked onto the end to fill 45 minutes, all recorded by Conny Plank in 1974 for an intended second that never materialized in the end. The latter two are unspectacular, but "Is it Real?" is a cool uptempo swirly number, even though the title phrase sounds more like "It's a Drill!!" given the heavy accent. All in all, my favorite of Arktis' three works on GoD........By Keith Henderson......Garden of Delights.........

Nice hard-edged krautrock. Not a masterpiece, but very enjoyable album that is definitely worth finding. I like Karl Wild's rough vocal delivery unlike many other reviewers. Some moments here remind me of early 1970's Scorpions albums, but overall this one much more progressive. It's a great release, especially for the 1979, when most other prog bands were making awful commercial crap trying to "catch-up" with punk and new-wave.....by......faust3d ..........

Prime time for progressive rock had already passed by when in 1979 McOil released their album 'All our hopes' in an edition of 1000 copies the style of which must be classified as a heavier type of progressive rock. As well as the bonus track taken from the band's one and only single the original master tapes could be used for mastering the CD as they were in perfect condition due to excellent storage in the Ege sound studio. Almost unknown until now are early recordings of 'Be careful' and 'Sailing around' from the compilation 'Rocksession '79' (AVC K 793203ST, February 1979), at that time with female vocals. ................


Credits
Bass – Norbert Kuhpfahl
Cover, Design – Alex Pohle
Drums – Andy Tischmann
Guitar, Backing Vocals – Karl Wild
Keyboards, Vocals – Walter Utz

Tracklist
A1 Be Careful 4:12
A2 All Our Hopes 9:28
A3 This Time Should Never End 6:34
B1 Mask Of Life 5:00
B2 Sailing Around 5:57
B3 Once In The Summernight 4:00
B4 What's This Live 5:58 

Lone Star “Todas Sus Grabaciones” 1972-1979 Spanish Rock







Lone Star “Todas Sus Grabaciones”  1972-1979 Spanish Rock 
full  3 CD  in google+……..





















































 3 CD Box Set: Es uno de los más grandes grupos de rock español. En este triple CD hemos recopilado todas sus grabaciones en Unic y Diplo. Rock de enorme calidad, con temas que han logrado el título de inimitables, de legendarios. Exitos como “Canta conmigo rock and roll”, “Chica solitaria”, “My sweet Marlene”, “Ana María”.... y otros muchos de este cuarteto catalán, en este lanzamiento único en el mercado....
.All his recordings (1972-1979) 3 CD Box Set: It is one of the largest Spanish rock groups. In this triple CD we have compiled all his recordings in Unic and Diplo. Rock of enormous quality, with themes that have achieved the title of inimitable, of legendary.  Exitos as“Canta conmigo rock and roll”, “Chica solitaria”, “My sweet Marlene”, “Ana María”.............. 
Tracklist 
1-1 Chica Solitaria
1-2 My Sweet Marlene
1-3 Ana Maria
1-4 If By Night I Call Your Name
1-5 Nathalie
1-6 Halleluyah
1-7 Pajaro de Fuego
1-8 Maybe Tomorrow
1-9 Maquina Infernal
1-10 ¿Por Qué?
1-11 I Got Nobody
1-12 ¡Adelante!
1-13 It's Saturday Night
1-14 Canta Conmigo Rock And Roll
1-15 That Old Rock And Roll
2-1 I Wanna Be With You
2-2 Let's Rock Togheter
2-3 Up The Highhway
2-4 Pobre Pescador
2-5 Stranger
2-6 El Camino
2-7 Ashtar
2-8 El Rock de la Carcel
2-9 Old Man River
2-10 L'Amor S'en Va
2-11 La Oveja Negra
2-12 Mi Nueva Gente
2-13 Alas En El Cuerpo
2-14 Vuela Libre
2-15 Punta D'alba
3-1 Introduccion
3-2 Quien No Anda No Se Mueve
3-3 El Papel Social
3-4 ¿No Sera?
3-5 Horizonte
3-6 Noria De Feria/Tiempo/Introducción
3-7 Tierra Salvaje
3-8 No Time To Say Goodbye
3-9 Soldadito de Plomo
3-10 Roocking Boogie Woogie
3-11 Rayo de Plata
3-12 I Don't Wanna Know Your Name
3-13 Bajo El Sol

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