A double-disc compilation of over two and a half hours of remixes, Auntie Aubrey's Excursions Beyond the Call of Duty, Pt. 1 includes Orb reworkings of well-known bands (Primal Scream, Erasure, Depeche Mode, Killing Joke) and more obscure acts (Keiichi Suzuki, Love Kittens). Several mixes sound a bit dated, and the scattershot quality of the set can distract listeners, but the inclusion of several epiphanous moments (Material's "Praying Mantra," Primal Scream's "Higher Than the Sun," and Sun Electric's "O'Locco") makes the album worthwhile for fans.
With their new full-length album "Faint" Beyond Sensory Experience are back revisiting ghosts of the past to create memories of the future. Eleven divergent studies of transformation elements result in BSE’s most complete and intriguing album to date; full of liquid dark ambient soundscapes, salient samples and entrancing melodies. Hold your breath and close your eyes, when winter turns to water, day turns to Faint.
In the early 70's, jazz pianist and composer Hiromasa 'Colgen' Suzuki and his self-titled trio (with Kunimitsu Inaba on bass and Hideo Sekine on drums) started working on a project of musicians which should have made a lengthy series of concept albums mixing jazz rock and world music called Rock Joint. Musicians that worked around this albums were more of jazz background and some of the musicians stayed in the line-up of both albums released as Rock Joint projects even though the style of music was slightly different; first 'Rock Joint Biwa' was centered around the japanese instrument biwa, giving a fresh feel to album's early jazz influenced psychedelic rock (conceptually inspired by mythology in the ancient book Furukotofumi), while the second one 'Rock Joint Cither' was oriented around sitar and Indian music…
Here Lucky goes to Memphis. Several years into a solo career, the former blues whiz kid plays good keyboards and guitar, and sings stirringly on originals and covers from all over the black music map (Stevie Wonder, Jimi Hendrix, Les McCann & Eddie Harris, blues piano master Roosevelt Sykes, etc.) His modern soul-cum-blues is hot, sweaty, and aggressive, and he gets the job done in busy arrangements shared with the Memphis Horns, honey-throated back-up singers, and muscular hired guns like bassist Willie Weeks and drummer Crusher Green. Peterson had the good sense to collaborate with New Yorker Jim Payne when writing five songs for the album, including the killer slow blues instrumental that doubles as the album title.