Friday, April 6, 2012
Meco - Star Wars and Other Galactic Funk (1977)
Tuesday, March 13, 2012
TOO MUCH FUCKIN VUH
LOL @ this picture
I was re-watching Herzog's Nosferatu (yes, AGAIN) just the other night, and, once again, I was completely bowled over not just by the dismal/beautiful cinematography and natural wonder of the whole goddamn thing, but by the creepy, hypnotic score contributed by everyone's favorite Teutonic prog-jockeys Popol Vuh. As usual, brief ponderance morphed into lingering obsession, and today, I present you with two more droning Vuh/Herzog collabos, namely 1972's Aguirre, The Wrath of God and 1982's Fitzcarraldo. If you are looking to be utterly bummed/mind-blown by either a movie or a movie soundtrack, I can heartily suggest each of these entries--both films are super crushing in a depressive yet visually stunning way, and the swirling Vuh tapestries which accompany them are their perfect audio marriage.Forget what you know about these two flicks. Forget Klaus Kinski completely losing his shit and driving everyone on set nuts with each successive role. Forget Herzog accidentally killing off, like, half of his crew with each movie he made from 1970-1985. Forget the fucking critical acclaim and forget the jungle diseases and forget that episode of Metalocalypse where they go all "Dethcarraldo" on the Amazonian natives.
Just soak in the dark, bummer vibes Popol Vuh is laying down for you on this rainy Tuesday afternoon, and thank sweet, sweet Odin that Hollywood still hasn't started on Aguirre 2: Pizarro's Revenge (starring Tom Hanks!) just yet... Nor Fitzcarraldo, Shot In 3D!
Some things are still sacred.
AGUIRRE OST (1972)
Download HEREPurchase HERE
FITZCARRALDO OST (1982)
Download HEREPurchase HERE
Also, LOL @ guy playing one ride cymbalPopol Vuh Last.FM
Thursday, March 8, 2012
THE IRON BUTTERFLY CONSPIRACY
Iron Butterfly, mid 70's. Philip Taylor Kramer pictured at far left.
I doubt that anyone with any sort of passing knowledge of music history doesn't know who Iron Butterfly is ("In-A-Gadda-Da-Vidda"?), so I'll hop right into the meat of this story without too much preamble. Let it simply be known that despite the fact that they produced only one hit song, Butterfly has existed in one form or another, on and off, for over 45 years now, experiencing probably double-to-triple as many lineup changes as IllCon stand-bys like Incantation or Napalm Death, all the while completely avoiding record industry trappings like "record sales" or "critical acclaim". They peaked in 1969, my friends, no secret there, but have managed to cling to life, like a horde of burnout zombies, ever since.Today's story is only tangentially related to the band itself, insofar as it revolves around a dude (Philip Taylor Kramer, pictured above right with the sick pink Warlock) who played bass, sang, and played keyboards for the band for only 3 years (1974-'77), appearing on only two critically-panned albums (Scorching Beauty and Sun And Steel, both released in 1975). Taylor's story is a zany and mysterious one, and one that I was completely unfamiliar with until last week's episode of IllCon Radio (thanks to caller "Floyd from Arkansas" for the tip).
Philip Taylor Kramer's life story is speckled with high weirdness and scientific anomaly, to the point that his stint in Iron Butterfly remains a mere footnote. After his departure from the group, he acquired a degree in aerospace engineering via night school, which he applied to numerous technological adventures in the following two decades. Kramer's abrupt "disappearance" (death? suicide? transdimensional ascension?) in 1995 remains a mystery to this day, surrounded by rumor, conspiracy, and nefarious connotation.
Band photo from another early Kramer project, Gold. Phil is again pictured at far left.
Right: Photo of a skull identified as belonging to Philip Taylor Kramer, discovered in Decker Canyon (near Malibu, CA) in 1999.After obtaining the aforementioned degree, Phil moved on to several odd pursuits, among them helping the US Defense Department develop a guidance system for their infamous MX Missile series in the 1980's (NOT the Brazilian thrash metal band). He rode the Silicon Wave of the late 80's and early 90's in Southern California, proving himself a pioneer in the fields of both facial recognition systems (see also: BIOMETRICS) and fractal compression (I still don't 100% understand how fractal compression works, but you can start HERE and work your way out).
Eventually (and strangely), he went into business with Randy Jackson (left)--NOT the American Idol judge/former Journey bassist, but brother of our old pal Michael. They formed a company called Total Multimedia, Inc., wherein Phil served as an executive from 1990 until his cessation-to-be in 1995. The company specialized in compression techniques for CD-ROMs (special focus on the previously-mentioned "fractal" offshoot), and their greatest claim to fame was that they "developed the first video compression capable of producing full motion video from a single speed CD-ROM" in 1992.But Phil had other interests outside of business and CD-ROM compression. He had a burning desire to discredit the theories of one man, an evil tyrant whose ideas haunted Kramer to the bitter end:

Einstein: WHAT A DICK.Seriously. Let's skip all the biometrics/facial recognition creepiness for a second and get down to the proverbial "brass tacks". Ever heard of a little theory called "special relativity"? I bet you have.
Wikipedia: "(Special relativity) generalizes Galileo's principle of relativity—that all uniform motion is relative, and that there is no absolute and well-defined state of rest (no privileged reference frames)—from mechanics to all the laws of physics, including both the laws of mechanics and of electrodynamics, whatever they may be. Special relativity incorporates the principle that the speed of light is the same for all inertial observers regardless of the state of motion of the source.
This theory has a wide range of consequences which have been experimentally verified, including counter-intuitive ones such as length contraction, time dilation and relativity of simultaneity, contradicting the classical notion that the duration of the time interval between two events is equal for all observers. (On the other hand, it introduces the space-time interval, which is invariant.) Combined with other laws of physics, the two postulates of special relativity predict the equivalence of mass and energy, as expressed in the mass–energy equivalence formula E = mc2, where c is the speed of light in a vacuum. The predictions of special relativity agree well with Newtonian mechanics in their common realm of applicability, specifically in experiments in which all velocities are small compared with the speed of light. Special relativity reveals that c is not just the velocity of a certain phenomenon—namely the propagation of electromagnetic radiation (light)—but rather a fundamental feature of the way space and time are unified as spacetime. One of the consequences of the theory is that it is impossible for any particle that has rest mass to be accelerated to the speed of light."
Would YOU trust this guy?
HELL NO. Philip Taylor Kramer, missile-maker, fractal compressor, digital-face-recognizer, and stony-hippie-bass-noodler, wasn't having any of this shit. His life goal was to disprove the theory of special relativity, to develop a "warp drive" via quantum mechanics that would not only negate Einstein's "you can't go faster than the speed of light" bullshit, but also open up the gates of the cosmos. After all, wouldn't the cancellation of "E=mc2" indicate such a possibility? Kramer believed so, but his highly-coveted personal research never had a chance to fall upon the unsuspecting public.(Anyone else keeping up with CERN's baffling "beyond the speed of light" results over there at the LHC recently? Anyone? No?)
Kramer began getting paranoid about his studies, thinking that perhaps his ambitions about space/time travel might be ruffling some feathers with his previous employers (i.e. The Man). Shit started getting weird. I'll let Wikipedia tell you the rest:On February 12, 1995 he drove to Los Angeles International Airport to pick up an investor. He spent forty-five minutes at the airport but failed to meet the investor. Kramer did make a flurry of cell phone calls, including one to the police during which Kramer said, "I’m going to kill myself. And I want everyone to know O.J. Simpson is innocent. They did it."
He was never heard from again. This led to a massive search, many news reports, and talk show segments including an episode of The Oprah Winfrey Show, America's Most Wanted, The Unexplained ("Strange Disappearances," first aired 5/7/2000), and Unsolved Mysteries some years later. An article in Skeptic reported numerous conspiracy theories about his death.
On May 29, 1999, Kramer's Ford Aerostar minivan and skeletal remains were found by photographers looking for old car wrecks to shoot at the bottom of Decker Canyon near Malibu, California. Based on forensic evidence and Kramer's emergency call to the police, authorities ruled his death as a probable suicide committed on the day on which he was last heard.
Cool. Seems pretty tidy. No loose ends to tie up here, folks.
Seriously, if you've SEEN The Naked Gun, you know this guy's innocent.According to Kramer's family, he had never displayed any sort of self-destructive/suicidal qualities and was, despite his well-founded paranoias, a pretty content and easy-going guy. After all, he was a millionaire.
According to evidence gathered at the scene, he died with 40 cents in his pocket.
Nothing to see here.
Here's the previously-mentioned Unsolved Mysteries segment in its entirety. Warning: the audio is utter shit (turn it up).
More on the Iron Butterfly Conspiracy via Above Top Secret.
Tuesday, February 28, 2012
No Visible Scars
As my esteemed colleague, Judge Shredd, mentioned below, We are in the end times. You only have to look at the economic and environmental situations across the globe, the rampant crime and disease rates, mankind has run its course. Mother Nature isn't too happy anymore and Megaupload is gone. We are facing extinction.
During these bleak times you need bleak music to soundtrack those last few heartbeats and breaths escaping you as the world slows down.
No Visible Scars managed to gain my attention with the 1970's/80's Giallo/Exploitation/Porn inspired artwork and imagery, they're love of the timeless C-90 tape, and the fact quite a few of the digital releases are free. Most Illcon followers should be able to relate to one of those. I decided to give a heads up on a few of the releases worth investigating.
There you go gang. They have the usual places online here and here. I'm digging this label a lot recently. You should to.
Wednesday, January 25, 2012
Frippin' Out Part 1 - Before Crimson

It would be pretty lame to make a King Crimson megapost on Ill Con, especially in light of their recent battles with Spotify. Every dork on the internet knows and loves KC. You would be hard pressed to find a techy guitar player that doesn't worship Red and I know I've fallen into a YouTube rabbit hole or 3 watching old Crimson footage. So hey let's not be lame, let's be awesome and post these pre-Crimson all-killer-no-filler little known recordings by one of the greatest psychedelic rock outfits ever: Giles, Giles and Fripp.
Their first and only release, 1968's "The Cheerful Insanity Of..." is exactly that. Totally drugged out, blissful, trippy and silly. A bit Bonzo Dog Band, a little Beach Boys, A LOT of Monty Python, all Fripp'd out with his jazzy shreds all over. Just a complete awesome (non-brutal) listen.
I'm not going to get into a whole bio and life story on these guys because British people are hella boring. Basically these two bros (actual brothers) wrote a buncha songs and needed a singer and keyboard player. They took out an ad and this awesome guitar player that couldn't sing answered instead. They let him live with them and proceeded to produce a ton of home demos. Their demos kicked so much ass that they got a record deal and put out that thing I just posted up there ^^. These demos circulated in the underground prog dork circles for years and now I present to you THE BRONDESBURY TAPES for your listening pleasure. I like these a lot. Better than the actual album.
Next time: PART 2 - After Crimson! The NYC Trilogy and lots of cocaine with Eno and Bowie!
Thursday, January 12, 2012
Karma To Burn - Almost Heathen


Hailing from West Virginia, Karma To Burn show both their southern roots and their influences on Almost Heathen. They are an obscure band. Roadrunner initially picked them up, and they were forced to record their debut with a vocalist at the demand of the the record company. Almost Heathen was put out by Spitfire Records and this gave the band a bit more freedom to do what they wanted. They have since left Roadrunner and moved to greener pastures at Napalm Records. They are completely instrumental and it's a breath of fresh air to listen to something without vocals (I'm a vocalist, so bear with me here). This album rocks on so many levels! This is what "stoner metal" is all about! (In my opinion at least).
Fans of Corrosion Of Conformity, Down, High On Fire, Dragged By Horses, Machete, Pentagram, and the like will undoubtedly like this album.
So without further ado, I am simply going to allow you the chance to check it out for yourself. I'll even give you a download link (how's that for being nice?!) just don't be a a complete hippie and simply download it... Buy it man, dude! (Wait, I'm asking the IllCon readership to do what again? Ha! I must be high...)

Wednesday, December 7, 2011
WHAT'S THE STORY, WISHBONE?












COOL STORY BRO.
Too much fucking metal on IllCon these days. Anyone remember Prog Blog Wednesdays? Fuckin' A. That shit was chill as fuck. I think everyone just needs to light up a giant hooter and tune in to some of this shit:
"Metal". Psshhht.
WISHBONE ASH (1970)
Download HEREPurchase HERE
PILGRIMAGE (1971)
Download HEREPurchase HERE
ARGUS (1972)
Download HEREPurchase HERE
Website/Last.FM
PS: Did you idiots know that Stephen Hawking himself visited Illogical Contraption Radio last Friday? Or that he was chair-pitting at an Anal Cunt concert at Gilman in '88? Get caught up:
Almost as good as that time Michael Dorn called in, right?
Wednesday, November 9, 2011
H.P. Lovecraft - II (1968)

It's little surprise that the work of H.P. Lovecraft has resonated through metal as much as it has. Preoccupation with otherworldly evil, a whole-hearted willingness to offer point blank depictions of situations meant to dismay anyone with delicate sensibilities, and a concision that can be appreciated by even the most ADD-addled Napalm Death fan. It's a relationship that extends back to the genre's origins (“Behind The Wall Of Sleep” gracing Black Sabbath's first album), and one that has little parallel in any other style.
From what I can gather, however, the first band to lay bare their debt to Lovecraft's work was the California-by-way-of-Chicago band with the rather unsubtle moniker H.P. Lovecraft. The band started as a collaboration between folk session musician George Edwards and classically-trained multi-instrumentalist Dave Michaels, after the owners of Dunwich Records (that's right) suggested the name and morose aesthetic to the members. The band recorded their an eponymous debut album which, while featuring the langorous title track “The White Ship,” was a largely uninspired affair, a melange of fairly standard garage rock and pop psychedelia that was being heavily peddled at the time.
The band relocated to the more hippie-friendly climes of San Francisco in late 1967, and were generally well-received, selling thousands of albums in the Bay Area alone and touring the West Coast heavily. Due to the extensive touring schedule, the band had little time to prepare material for their sophomore release and when it came time to record H.P. Lovecraft II, the band had to rely on studio improvisation, orchestration, and extensive use of trippy sound effects. The resulting album was received far less warmly despite the fact that it demonstrates a band utilizing a variety of strengths to create something that stood apart from the sunnier side of most rock music being produced at the time.
Shame this guy doesn't show up.
Tightly-intertwined vocal harmonies display the two singers' varied backgrounds, songs drop away into eerie sound effects or string sections, brief bits of narration provide a sinister edge. The fact that all the Strawberry Alarm Clock fans of the world didn't get it is a testament to its power. It was an exploration of the soul's darker corners, still psychedelic, but in a way that only occasionally references the flowers and sunshine tropes of the band's contemporaries. Yeah, they sing about love sometimes, and there aren't too many literal references to Lovecraft's literary works, with notable exceptions like “At The Mountains Of Madness,” but the general mood is one of a band reaching for something more unsettling than their contemporaries and succeeding wildly, providing an effective evocation of Lovecraft's writing and a portent of the manner in which his writing would affect similar somber-minded bands for decades to come.
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