Spuma Pu – Spuma Pu (2017)

Pan Y Rosas Discos

Bandcamp

• Freeformfreakout 
• Avant-garde 
• Experimentalism 
• Improvised music 
• No Wave 
• Improvised noise 
• Electronic music 
• Leftfield 
• Radiophonic art

Comment: from conservative point of view it is a chaotic bullshit which does have a few in common with traditional songwriting. In fact, some shards of the traditional song structure are demolished into unknown. More profoundly, there are up some layers from CAN's most experimental tracks like Aumgn, and Peking O by Tago Mago, the twisted electro-punk ethic of Suicide, improvised noise ethic of Borbetomagus and No Wave in general. You can hear hallmarks of experimental music like sheer experiments with radio short waves, gritty electronic music, vowel and gurgling dashes, unexpected turns in different directions, accelerated and decelerated sonic effects. Mostly it comes out like an obscure radio play from the 70s (one of the best experimental genres). It reminds me of Sarah Raisines who did already appear at RMH, and Pan Y Rosas Discos and is represented on the release. In a word, let's set your mind free to embrace the aforementioned madness. The mind-provoking outing is a bit in the discography of Pan Y Rosas Discos.

Edith Alonso – Límite (2017)

Pan Y Rosas Discos
Free Music Archive

• Improvised music 
• Avant-garde 
• Experimentalism 
• Electronic music 
• Micronoise 
• Electro-acoustic 
• Leftfield 
• Drone 
• Live session

Comment: these 21 minutes provide a saturated glimpse into the health of grayish noise. The listener can hear static loaded drones which in turn are enriched by slamming electronic piercing and electro-acoustic clanging. The vicissitude of the release keeps changing throughout the course thereby keeping up interest and welcome tension. I guess someone of us may imagine the whole to collapse eventually but it will not happen though. It is not a sterile but a fertile universe of blurred sounds being fed up by an electric bass, and a synthesiser played by Edith Alonso in a club in Madrid in February 2017. The outing is a bit in the discography of Pan Y Rosas Discos.

Cecilia Lopez & Wenchi Lazo – Abailable (2017)

Pan Y Rosas Discos

Free Music Archive

• Experimental electronica 
• Avant-electronica 
• Electronic music 
• Improvised music 
• Experimentalism 
• Avant-garde

Comment: thereafter I had perceived the analogue charm of Death Tricheco's Party Music I felt strong discrepancy with 6-track release (clocking in at a 49-minute) because it seemed to be so modern, straightforward and aggressively incisive. Cecilia had played synths and Wenchi had played on electronic drums but it was being very far away from any kind of electronic device-led pop music. It immediately embarked on with culminating progressions giving no traditional way to progress stepwise into something bigger and enchanting. Later on, the culminating peaks would be reconstructed and you could see more sublime effects and distinctive features covering the bottom. From the top to its very bottom. The electronic gross sonic volume would be minimised and changed into different lines and segmentations having been followed by one another. At the final part the music is being dominated by grayish electronic torrents and intense signal-alike rushes. That's effective. That's the effect. In the final track you would be a witness of the duo's tongue-in-cheek attitude. The ear-provoking issue is a part of the discography of Pan Y Rosas Discos, an active imprint from Chicago, Illinois.

Alex Elgier and Cecilia Quinteros - Hiken! (2017)

Pan Y Rosas Discos

Free Music Archive

Bandcamp

• Free jazz
• Improvised music 
• Avant-garde 
• Experimentalism 
• Electro-acoustic

Comment: first of all, these 27 minutes and some seconds additionally are sexy and puckish. It is played by a man and a woman thereby creating a sultry synergy between each other. Furthermore, the finishing part of the composition is quite eargasmic and ending with a powerful culmination. In fact, it starts off in the same manner. On the other side, it is prankish because of consisting of an improvisational set which in turn consists of an innumerable amount of chords and abrasive key appearances on the piano and the cello respectively as if played on a prepared instrument with an extended technique. I would prefer to call it modal jazz because both instruments used to progress in different directions to eventually meet each other in mutual areas in a quite agitated and frantic way. Like demonstrating the clash between the sexes. And thereafter getting together again. Like the human life supposedly used to be. That's cool, I mean highly ear-provoking even if it is quite austere and abrasive by its instrumental park. Musically it used to be a play with angularity and deformations where the chords will get partly broken and then repaired again. Intensity is a third component within the formula. And it is the basic cycle of the cooperation. The intriguing  outing is a bit in the discography of Pan Y Rosas Discos, a dwelling place for experimental music worldwide.

Red Kite – Sunburst 2006-2012 (2017)

Pan Y Rosas Discos

• Experimental electronica 
• Avant-electronica 
• Experimentalism 
• Micronoise 
• Avant-garde 
• Ambient 
• Leftfield 
• Ambient drone 
• Musique concrète 
• Organic electronica 
• Space music 
• IDM

Comment: this bunch of 13 tracks within the span of 63 minutes establishes a sonic universe filled in with disparate corners, ear-catching progressions and exuberant soundscapes where the listener can enjoy mellow timbres, elemental noises, natural sounds from our world, peaky glitches, creepy drones and elliptically iterative rhythms. At times you can perceive it as if vamped up of debris. As if a soundscape being collected from the bits of sonic junkyard. Ultimately it can be said there is a sort of bold line which unites all the details and minutiae with one another in a gentle way. Of course, the palette is even richer including such elements as hypnotic dream pop (Saloize iii), sublime IDM and glitch-tinged pop (Cetus) and profound ambient/space music (Sureste (Ciudad Inacabada)) which is a positive surprise in any cases. Behind the project is the Spanish musician Sergio Sánchez. This astounding outing is a part of the discography of Pan Y Rosas Discos from Chicago, Illinois, USA.

Cinchel – Temporary Radiance (2017)

Pan Y Rosas Discos

• Ambient 
• Shoegaze
• Noise rock 
• Avant-rock 
• Experimental rock 
• Electronic music
• Art music

Comment: by listening to this 3-notch issue you may hear nothing else but an innumerable amount of layers being tightly put on each other. The result is something amazing but Cinchel has been a brand for a while. An audible, even tangible radiance is present for all those 68 minutes you can feel how the result seems to be melting and billowing from one supposed point to another yet the points are unfixed and unlocated. You are not allowed to point to anywhere. Due to a My Bloody Valentine from Chernobyl may sound in this way. From one peak of sonic hill down up to another being surrounded with thick fog. It is the artsy sort of rock music being produced by an electronic musician. That's fabulous. The issue is a part of the discography of Pan Y Rosas Discos.

Isabel Nogueira – Hybrid (2017)

Pan Y Rosas Discos

Free Music Archive

• Experimental electronica 
• Sound art 
• Avant-garde 
• Noise 
• Avant-electronica 
• Experimentalism 
• Spoken word 
• Piano music 
• Drone 
• Electro-acoustic 
• Abstract 
• Leftfield

Comment: if to compare this 7-notch outing to H Stewart`s Letter to Kansas City (2011, Folksoundomy) being commented yesterday at RMH one can find out some gross similarities. First of all, it involves chords induced by a keyboard and this in turn is being wrapped up by austere, glitched-out noise clouds wiggling and wobbling like an outing by a rabid composer of having gotten back his/her inspiration recently and now he/she is very enthusiastic to flood a track with a bunch of different bits and methods. Gaga over. Lady Gaga over? No, it is a different, more subtle story with regard to the superstar. On the other side, if Letter to Kansas City can be considered the songwriter album of H Stewart so far then Hybrid does not provide focus on lyrics. There is up one track which chimes like a record from a nightmarish comedy session being backed up by gruesome electronic music and at times there are up some snippets of spoken word. However, having your ears to be set on these compositions more closely you can feel true richness of the album. Furthermore, this album is to set different parts against each other thereby establishing a dynamic contrast. Calmness and silence created through the aforementioned piano and clavichord chords and pulsating, piercing droning, intense electronic bubbling and torrents of modest white noise on the other side are adeptly juxtaposed. However, at Inner Voices one can surprisingly perceive of how those intense signals can be emotive and gentle in a way. In a nutshell, listen to it and get wowed away with it. That's invigorating and exalting. The outing is a part of the Chicago, Illinois,US-based imprint Pan Y Rosas Discos. Isabel Nogueira is a female musicologist-artist from Porto Alegre, Brazil whose music can be compared with the likes of Big City Orchestra, Maja Ratkje, Laurie Anderson, Zoviet France.

Jazznoise – Obra Sintètica (2017)

Pan Y Rosas Discos

Free Music Archive

• Noise 
• Avant-garde 
• Drone 
• Sound art 
• Abstract 
• Experimentalism 
• Leftfield 
• Experimental electronica
• Non-music

Comment: there are up 28 and a half minute which can be considered either a dream or nightmare from very deep of your subconscious mind. Indeed, beautiful compartments in the beginning will get interrupted by varied noises with different timbre, tonality and intensity. Even worse, the borderline between the beauty and ugliness is substantially blurred and thereby being guileful and dangerous for your inviolate mind. And you are going to get even more disturbed and messed up because the crowd noises you arguably cannot stand for in every day's life may sound pretty good in the face of fucked up machine humming and reverberating echoes of harsh steel. While listening to this span I was thinking of how relative all the things around us seem to be though we are seeking to find out absolute truth and things on its own. And how much and how quickly all is changing around us. Pertaining to experimental/avant-garde /electro-acoustic/noise music/improvised music/jazz music within the netlabel scene earlier on it was being headed by Moscow-based imprint Clinical Archives but now as it is being defunct for almost three years it is being led with the same intensity and rush by an imprint from Chicago, Pan Y Rosas Discos. There is no slots just to be let free in the scene.

Sabrina Siegel / Bryan Day / Tom Djll / Bob Marsh – Ocean Of Lakes (2015)

Pan Y Rosas Discos

• Improvised music 
• Electro-acoustic 
• Avant-garde 
• Psycho-acoustic 
• Sound poetry 
• Avant-jazz 
• Experimentalism 
• Free jazz

Comment: in fact, there is much to say about this set of 6 compositions because it is musically and emotionally complex, intense, and mind-provoking. All the music is conjured up by such instruments as kalimba, modular synth, cello, bass guitar, trumpet, voice, and invented instruments (so listen to the issue to figure out the instruments more concretely). It can be said the issue is an fine example of interesting sounds yet all of that will constitute a perceivable whole subsequently. For instance, Sabrina Siegel`s vowel effects and other kinds of sound poetry (additionally I remmond listen to such artists as Maja Ratkje, Jaap Blonk, Roomet Jakapi) used to range from soothing to hirsute, the same could be said about Tom Djll`s synthesiser effects which used to lay over the whole spectre atop, at times changing into something being close to emergency signals. At times it is free jazz with modifications, at times it is more electro-acoustic music with creepy variations, at times the combo enjoys its more silent yet idiosyncratic soundscape being obviously winded from intense sections. Yet its architectural buildup is somewhere between the aforementioned styles. More profoundly, the tempo is slowed down, in fact it is the main approach of determining the pace which is accelerated by spasmodic trumpet whiffs, zigzag acoustic noises and Siegel`s incisive vocal acrobatics now and then. The lower tones are conjured up by a cello, and a bass guitar. The issue is a part of the discography of Pan Y Rosas Discos. As Heraclitus said many thousand years ago that no man ever steps in the same river twice the same could said about the recent one with regard to the perception of it.

Dadala – It So Happens (2016)

Pan Y Rosas Discos

Free Music Archive

Dadala

• Free jazz 
• Electro-acoustic 
• Improvised music 
• Avant-garde 
• Ambient 
• Electronic music 
• Experimentalism

Comment: I guess it happened sometime in the end of the 00s when I first made acquaintance with the music of Dadala it happened probably via lastfm. The last years and last albums by Dadala are related to Pan y Rosas Discos, an imprint from Chicago, Illinois, USA whose intention is to promote improvised and jazz-related music. Because of that description it can be said the virtual combo (or long-distance combo or not in real time recording combo) has found a proper output for their issues. Richard Dunlap has been the propulsive force behind it who has been involved in recording music since the mid-80s. However, it is not absolutely correct to describe the combo as jazz because its music involves so many facets and styles – more profoundly, at It So Happens from electro-acoustic minimal approach, anti-gravitational and spaced-out improvisation snippets and tickling electronic effects to more tumultuous appearances and compelling progressions; it is an album wherein the compartments are not distinctly separated from each other but incessantly searching for having joint points between them. Very right issue indeed. By the way, one month ago the artist issued another album called The Executive Suite under the record label.

Sarah Rasines – Tommy Hilfiger (2016)

Pan Y Rosas Discos

Free Music Archive

• Experimentalism 
• Musique concrète 
• Avant-garde 
• Electronic music 
• Glitchtronica 
• Micronoise 
• Improvised music 
• Abstract 
• Avant-electronica

Comment: there are some characteristics which used to leap to the eye (ear). The issue is a very short tenure of 5 compositions clocking in at a 10 minute. Secondly, some compositions are very disparate ranging from field recording samples and glitched-out minimal electronic gaits and the manipulations of a short wave radio to folksy, homespun accordion glimpses. The issue is created by a visual and sound artist from Bilbao, the Basque Country. Sarah Rasines has been an active woman of performing in different venues and galleries across Spain during the last five years. The Basque accordion trikitixa represented on polka and canción popular is played by Òscar Ortiz Guemez. This mind-provoking outing is recorded in Bilbao, and in Hämeenkyrö, Finland by using a PC, a mixing desk, and a recorder. It is pleasant to follow of how the issue is adeptly equilibrated between natural and synthesised sounds. And what about the short waves of a radio to be manipulated for? The issue is a bit in the discography of Chicago, US-based imprint Pan Y Rosas Discos.

Lương Huệ Trinh – Illusions (2016)

Pan Y Rosas Discos

• Ambient 
• Acousmatic music 
• Electro-acoustic 
• Ambient noise 
• Musique concrète 
• Leftfield 
• Post-industrial 
• Soundscape 
• Avant-garde 
• Drone 
• Experimental electronica 
• Avant-garde 
• Experimentalism 
• Electronic music

Comment: Lương Huệ Trinh is a composer from Vietnam whose issue Illusions consists of two long-running compositions. If to juxtapose both of the tracks with each other it can be said they start in a similar manner as if being induced by the tone generator. Indeed, it makes sense in the starting part to slowly progress into more evocative and exuberant. Machine sounds are threaded by more and less faint droning of the chants and eerie industrial (ambient) noises full of interior greyish power and volatile undulations. There are some differences as well. At Illusions the main narrative is saturated with the sound of a machine which used to loop and at the same time slamming the soundscape around it. It is majestic and beatific simultaneously. Return II involves a bagpipe-alike progression in the middle of the track which eventually will be replaced with a catchy techno rhythm. You can perceive fine tickling and swaying electronic sounds before it. All of that reminds me a little bit of Rolf Dammers and Holger Czukay`s album Canaxis 5 (1969). There is up a central composition, Boat-Woman-Song by employing Vietnamese singing. All in all, it can be admitted it is a great, highly idiosyncratic issue opening up something ennobling and extraordinary (which cannot be delineated by mind, though). It is an example of transcendental music. The issue is a part of the discography of Pan Y Rosas Discos (from Chicago, Illinois, USA). 

Elbio Barilari and Andy Cohn – Fluid Timescape (2016)

pan y rosas discos

Free Music Archive

• Kosmische Musik 
• Avant-garde 
• Experimentalism 
• Synthwave 
• Electronic music 
• Live session 
• Ambient 
• Improvised music

Comment: the last tenure of mine with regard to Chicago-based pan y rosas discos imprint was dedicated to Dioxadol Borges' outing Siconauta Tourist Class. It was an issue of being heavily keyboard-driven and riveted with different kind of rhythms. The result was quite poppy while flying in the face of some incisive experimental elements. There is another synth-based issue though providing a little bit different tendencies in comparison to it. Andy Cohn is a man of having more than 3000 instruments worldwide in his mythical warehouse. It is his 37-minute session with Elbio Barilari. Elbio was playing a vintage JP-8000 Roland synthesiser, and Andy was playing a Steinway piano, a Roland Juno-D synth, and a Yamaha CP-70M electric piano. The outing is something peculiar and strange and ennobling at the same time and stylistically a drift between Kosmische Musik, wonky improvised music and analogue keyboard-driven synthetic landscapes. Yet the process is punctually controlled – at least it seems to be so. One can hear Tangerine Dream, and Sun Ra to appear sporadically in some snippets, though some more abstract flows may suggest early electronic music pioneers to be sitting on their rough machines. What about the time to be described in conjunction with the music? Does it exist as an entity or is it just an illusion or at least an effect of our perception? By listening to these 2260 seconds all these hypotheses are set up on air to last on. It needs no answers to be answered for. Tension coming out of it it is up there as an instrument. All in all, it is certainly an outstanding outing from the previous year.

Dioxadol Borges – Siconauta Tourist Class (2016)

pan y rosas discos

• Psychedelic 
• Improvised music 
• Acid pop 
• New Age 
• Avant-garde 
• Experimental pop 
• Mood music 
• Avant-pop

Comment: before having any factual knowledge about this Uruguayan artist while having listened to this 13-track in a row for many times I rather would have thought of Dioxadol Borges as an artist from Chicago, the home city for pan y rosas discos. Chicago, Illinois, USA is being known due to many experimental music and improvised music scenes, one of them is improvised music/free jazz scene involving such artists as Isotope 217, Brokeback, David Grubbs, Chicago Underground Duo, Chicago Underground Orchestra if to name some well-known ones. In fact, all these artists are genre-fluid, and the same could be said about Dioxadol Borges. Roughly, it could be said the issue is heavily electronic keyboard-driven being accompanied by different sorts of rhythms. At times it is quite laid-back and New Age-y, sometimes driven by more aggressive beats and sonic effects and studio trickery. Those more placid moments remind of another South American (an Argentinian living in Brazil) artist Humberto Luis Schenone, and early albums by Dave Keifer aka Cagey House. Within those more tumultuous moments one can enjoy bold drumming and acidic keyboard beams and mutant, machine-repressed vocals engulfing you in an exuberant way (for instance, at tecnochipland). In a word, the result is somehow chill and mirthful to be adeptly reconciled. It depicts a balanced and graceful motion. Solid work.

Daniel Barbiero / Ken Moore – Frequency Drift (2016)

pan y rosas discos

• Improvised music 
• Avant-garde 
• Electro-acoustic
• Live session 
• Experimentalism

Comment: a first thought of mine was it is music for cello, and live electronics. However, I was totally wrong because instead of a cello Daniel Barbiero plays a bowed double bass, and Ken Moore employs a tam-tam (it is a percussion instrument consisting of a metal plate that is struck with a soft-headed drumstick). It embraces seven improvised compositions full of space, and time, full of different frequencies and changes within it. Even if one used to think of it to as an austere one because of a minimal amount of instruments it is in fact a far more than a sum of its initial parts. It is saturated with grayish delay effects, achromatic reverberations, some gong-induced slams and mournful drones beneath it. In the terms of metal as an element, it is filled with different sort of clattery, rusty grinding and reddish-tinged rattles. It must be called synaesthesia, if you hear colours or at least the spectra of them. This could be a good soundtrack for a contemporary gothic motion picture, at least to depict some (horrendous) scenes within it. As I understood the tracks are not recorded in one and the same place, not during the one tenure. The issue is a part of the discography of Chicago, US-based experimental imprint pan y rosas discos. Very intriguing outing indeed.

Barriere, García, Gris - Chamber Music (2011)

pan y rosas discos

• Improvised music
• Avant-garde
• Micronoise
• Sound-art
• Experimentalism
• Microtonal
• Non-music
• Abstract
• Electro-acoustic

Comment: when did you listen to the sound of your refrigerator recently? Have you ever consciously done it? This 18-track improvised issue of electronic sounds is not about your sensual, intimate life, it might be about your everyday life surrounded by machines in your home. One could hear squeaks, thumps,crackles and slightly abrasive noises coming out from different corners and walls and tiny slots for your pleasure, at least I hope so. Technically it is a collaboration of three musicians who make difference by creating a soundscape you don not used to notice in your ordinary life. Of course, those sounds are amplified and thereby more nuanced and directed than surrounding sounds usually used to be and because of that one will pay more attention to them. Obviously it is a session of improvised music and because of that is a little bit more than just listening to an average session of electro-acoustic music. Secondly, I have always felt to be enthralled by the aesthetic of the so-called "errors" (the sharp sounds of snapping noises). The issue is a part of the discography of Chicago, US-based imprint pan y rosas discos which in turn is a lille yet important part of the profile of the city`s experimental music.               

Cagey House – Sometimes Always Never (2015)

pan y rosas discos

Free Music Archive

/Ambient, Post-rock, Post-folk, Experimental pop, Art pop, Mood music, Alternative pop/

Comment: I have frequently wondered about how much time has passed and how much things around us and within the artist`s aesthetic has changed during the course between some artist`s first and most recent albums. Baltimore, Maryland, US-based artist Dave Keifer aka Cagey House started off sometime in the mid of the 00´s with electro-vamped tracks while revealing rock music impulses inside it. Later on, his sound had changed toward more artificial yet wondrous world of deliberately chosen rhythms and sounds somehow similar to Oneohtrix Point Never had unveiled on his album R Plus Seven to a more wide audience (2013). Indeed, Keifer showcased this spellbinding, hyper-realistic world a little bit earlier than Daniel Lopatin did. However, Keifer`s aesthetic has changed throughout this awesome course, it is like moving across fragile yet rewarding path to amend and discover himself, to add new sonic notches into the bar thereby magnifying the legacy of honest music. His brand new one Sometimes Always Never is quite trance-y and restrained saturated with iterative jazz-y drum relied rhythms and guitar sounds being a new aspect in his sonic palette. Indeed, this time Keifer`s music could sometimes be described with the term “post-rock” because those guitar patterns with more or less delayed glockenspiel chords represented within it used to conjure up intriguing dynamics and emotive associations which may resemble of such combos as Mice Parade, Mercury Program, and The Dylan Group, for instance. Cagey House`s last albums have been issued on pan y rosas discos, the label dedicated to release innovative, improvisation-based music. I have no explicit overview about Keifer`s methods of how he creates compositions in the sense of how much it is determined (I mean to be previously set out and then exactly programmed) and how much there has been space for improvised aspects. In fact, the improvised music could also be determined getting its inner impulse from the planned goal. Then the chaos is more organized and may even be more impressive rather than just aimlessly slamming and rattling around. Indeed, I am being quite curious for technical aspects but by listening to Sometimes Always Never my drive to know it just dissolved. Simply I am enjoying of how these sounds move, meander, and come across to the other side. In a word, it is an outstanding issue.

Aaron Yabrov – Tonmuseum (2015)

pan y rosas

Bandcamp

/Hauntology, Avant-garde, Acousmatics, Organic electronica, Dark wave, Abstract, Experimentalism, Dark ambient/

Comment: this album consists of a couple of compositions titled as Tonmuseum, and Pendulum. The issue is composed of found sounds and one pre-recorded analogue synthwave. By listening to it I shall have to admit the result is obviously more overwhelming than the sum of its components. Emotionally it is thoroughly eerie and enchanting like a picture being envisaged about a Sabbath of the witches. Furthermore, these elaborate sounds herald doom to happen in a near future. The artist exerts the sounds of church bell which is a welcome source to disrupt silent ambient flows around or amplifying solemn components to an extent to change its intention into something sinister. Mostly throughout the course the sounds seem to be elaborately buried and restrained to create a slot to release sonic events through it. At times the soundscape is varicoloured with high-pitched piano chords which soon will be channelized into the usual,obscure sound. Aaron Yabrov used to accelerate and decelerate some sonic bits therefore providing more twists and variables to the soundscape. The result is frantic and reverberating both emotionally and sonically. It is the follow-up to his album From Above And Below. 

Iris Garrelfs - Breathing Through Wires (2014)

Pan y rosas

/Experimental electronica, Avant-garde, Micronoise, Electro-acoustic, Spoken word, Live recording, Abstract, Sound-art/

Comment: Iris Garrelfs is an experienced musician/artist who has been active for almost three decades. This compilation involves 5 lengthy live improvisations recorded in the United Kingdom between 2012 and 2014. Her music consists of two elements predominantly – her vowel effects and voice bending is accentuated with minimal electronic components either being separated from her voice or coming out of it. At times she mimics the sounds of animals (duck`s quacks, swine`s belches, evil dog`s snarling), at times the music of her is layered and looped with multiple voices (some of them are slowed down into moaning, some of them are slightly speeded up), at times the listener can perceive more nervous and orgastic syllables juxtaposed against more tranquil, angelic voice appearances as if depicting the life course of someone. Her sound proves that a very minimal, stepwise approach on only one word (as the final track builds up in this way) with some sonic manipulations could essentially be enthralling and convincing. Iris Garrelfs´ music could be examined side by side with the likes of Meredith Monk, Laurie Anderson, Roomet Jakapi, Maja Ratkje, Jaap Blonk, Diamanda Galas, Michael Schiefel. In a nutshell, it is a thought-provoking legacy from the potent voice and sound artist. 

Jim Lace/Alex Nova – Twists (2014)

Pan y Rosas Discos

Free Music Archive

/Darkgaze, Synth rock, Krautrock, Experimental rock, Leftfield, Improvised music, Psychedelic rock, Space pop, Motorik, Experimental rock, Acid rock/

Comment: this set of 7 tracks shows up an experimental approach regarding psychedelic pop and rock music. Although it is released on Pan y Rosas Discos, mainly improvised and jazz-centred music record label, this whole demonstrates how rock music should sound in its own frantic way while no abandoning its poppy touch. It starts off with darkly sounding shoegaze-y guitars and electronic undercurrents which will be jettisoned in favour of knee-deep psychedelic progressions, vocoder induced alien vocal sounds, motorik synth rock and at least guitar based improvisations. Ultimately it is an outstanding issue full of glamour and expressive strength.