Ray Lynch (also known as Raymond Lynch) is a classically trained guitarist and lutenist. He was born in Salt Lake City, Utah in 1943 to a musical and artistic family[1]. His mother was a classical pianist and watercolor artist who was famed for her more vibrant Style of Music which many think was related to her more Vibrant paintings. At age 6, Lynch began studying the piano until age 12, where he was inspired by the music of Andres Segovia’s classical recordings and decided to pursue a career in music. He attended both St. Stephen's Episcopal School as well as Austin High School in Austin, Texas, then attended the main campus of University of Texas for one year before moving to Barcelona, Spain where he apprenticed to the classical guitar teacher, Eduardo Sainz de la Maza, for three years[1]. Leaving Spain, Lynch then returned to the University of Texas where he studied music composition. While at college Lynch was invited to New York City to join The Renaissance Quartet where he performed the classical guitar and lute for several years[1].
In the early days of his musical career, Lynch was an unknown classically trained guitarist and lutenist who began writing instrumental recordings that blended classical and electronic components into melodic soundscapes. His debut album, The Sky of Mind (1983) artfully meshed his early classical music training with spatial melodies, and the album became an underground success. When Lynch released his second album Deep Breakfast (1984), he and his wife Kathleen sold over 50,000 albums out of their small apartment in San Rafael, California before licensing the music to a distributor[1]. Deep Breakfast has sold over 1 million copies without the benefit of performing, and was the first independently released album to be certified Gold by the R.I.A.A.[2]
Lynch’s third album No Blue Thing (1989) won two Billboard Awards, and in 1993, Lynch followed up with his fourth album, the classical Nothing Above My Shoulders but the Evening featuring members of the San Francisco Symphony. Lynch’s fifth and most recent album, Ray Lynch: Best Of, Volume One (1998) is a retrospective of his work and includes three new music tracks.
Ergo Phizmiz is a diverse and multifaceted artist,
working across eccentric pop music, collage, radio-art,
installations, and performance. His work is disseminated
and presented globally on a regular basis across platforms
and media, and his reputation as a typesetter and creative
explorer is constantly growing....
Un Nuit Dystopia / Hommage Michel Foucault
A new mp3 compilation features a brand spanking new
Ergo Phizmiz track "Mystery of Hadness". The album, entitled
Un Nuit Dystopia" also contains composition from Ryuta K,
Henry Gwiazda, Sara Ayers, Kol Sonzgln, Bunk Data, and Makryham.
You can download the entire thing for free here.
Labels: ergo phizmiz
, michel foucault,Makryham
, sara ayers
Bronski Beat formed in 1983 when Somerville, Steinbachek and Bronski shared a three-bedroom flat in Lancaster House in Brixton, southwest London. Apparently the band's name was "God Forbid" before Bronski Beat was suggested by Bronski, as a pun on the group name of Roxy Music and the main character from the Günter Grass novel The Tin Drum.
Bronski Beat signed a recording contract with London Records in 1984 after doing only nine live gigs. The band's arresting debut single, "Smalltown Boy", the tale of a boy who was cast away by his family for being gay, was a huge hit, peaking at #3 in the UK Singles Chart. The single was accompanied by a memorable promotional video directed by Bernard Rose showing Somerville eagerly trying to make friends at a swimming pool then being attacked by a homophobic gang and being returned to his family by the police and having to leave home. (The police officer was played by Colin Bell, then the marketing manager of London Records). "Smalltown Boy" reached #48 in the US charts and peaked at #7 in Australia. It is now widely considered a 1980's classic, in addition to being a gay anthem.
"Smalltown Boy" established the trio as an outlet for gay issues – all three members are gay – and the follow-up single, "Why?", while focusing on a faster energetic musical formula, was more lyrically focused on anti-gay prejudice. It also achieved Top 10 status in the UK, reaching #6, and was a Top 10 hit for the band in Australia. The song was also covered by metal band Paradise Lost on their Symbol of Life album.
At the end of 1984, the trio released an album which was provocatively titled The Age of Consent. The inner sleeve listed the varying ages of consent for consensual male homosexual activity in different nations around the world. At the time, the age of consent for sexual acts between men in the UK was 21 (compared with 16 for heterosexual acts). The album hit #4 in the UK chart, #36 in the US, and #12 in Australia.
A third single was released amid controversy before Christmas 1984: a revival of "It Ain't Necessarily So", the George and Ira Gershwin classic (from Porgy and Bess) which questions the authenticity of Biblical tales. It also reached the UK Top 20.
In 1985, the trio joined up with Marc Almond to record a version of the Donna Summer classic "I Feel Love". The full version was actually a medley, also incorporating snippets of Summer's "Love to Love You Baby" and John Leyton's "Johnny Remember Me". It was a huge success, reaching #3 in the UK, equalling the chart achievement of "Smalltown Boy", and was memorably described by one critic as "the gayest record ever made".[1] Although the original had been one of Marc Almond's all-time favourite songs, he had never read the lyrics and thus incorrectly sang "What'll it be, what'll it be, you and me" instead of "Falling free, falling free, falling free".
The band and their producer, Mike Thorne, had gone back into the studio in early 1985 to complete both " I Feel Love" and "Run From Love" which was also planned to be a single. PolyGram (London Records' parent company at that time) had pressed a number of promo singles and 12" versions of the song, sending them out to both radio and record stores in the UK. However, the single was shelved as tensions in the band, both personal and political, resulted in Somerville leaving Bronski Beat in the summer of that year. "Run From Love" was subsequently released in a remix form on the Bronski Beat album Hundreds & Thousands. Somerville then went on to form The Communards with Richard Coles.
Bronski Beat recruited John Foster as lead singer, credited as John Jøn. A single, "Hit That Perfect Beat", was released in January 1986, reaching #3 in the UK. It repeated this success in the Australian charts and was also featured in the film, Letter to Brezhnev. A second single, "C'mon C'mon", also charted in the UK Top 20 and an album, Truthdare Doubledare, released in May 1986, peaked at #18. The film Parting Glances (1986) included Bronski Beat songs "Love and Money", "Smalltown Boy" and "Why?". During this period, the band teamed up with producer Mark Cunningham on the first-ever BBC Children In Need single, a cover of David Bowie's classic "Heroes", released in 1986 under the name of The County Line.
Foster left the band in 1987.
In 1989 Jonathan Hellyer became lead singer, and the band extensively toured the USA and Europe with back-up vocalist Annie Conway and had one minor hit with the song "Cha Cha Heels", a one-off collaboration sung by American actress and singer Eartha Kitt. The song was originally written for movie and recording star Divine, who was unable to record the song before his untimely death in 1988.
1990-91 saw Bronski Beat release four further singles, for the Zomba label, "Zed Beat", "I'm Gonna Run Away", "One More Chance" and "What More Can I Say", produced by Mike Thorne.
Foster and Bronski Beat teamed up again in 1994 and released a techno "Tell Me Why '94" and an acoustic "Smalltown Boy '94" on the German label ZYX Music.
In 1995 the album Rainbow Nation was released, once again featuring Hellyer as lead vocalist.
In 2008 the signature keyboard riff from "Smalltown Boy" was featured in the September song "Cry for You"
Bronski Beat signed a recording contract with London Records in 1984 after doing only nine live gigs. The band's arresting debut single, "Smalltown Boy", the tale of a boy who was cast away by his family for being gay, was a huge hit, peaking at #3 in the UK Singles Chart. The single was accompanied by a memorable promotional video directed by Bernard Rose showing Somerville eagerly trying to make friends at a swimming pool then being attacked by a homophobic gang and being returned to his family by the police and having to leave home. (The police officer was played by Colin Bell, then the marketing manager of London Records). "Smalltown Boy" reached #48 in the US charts and peaked at #7 in Australia. It is now widely considered a 1980's classic, in addition to being a gay anthem.
"Smalltown Boy" established the trio as an outlet for gay issues – all three members are gay – and the follow-up single, "Why?", while focusing on a faster energetic musical formula, was more lyrically focused on anti-gay prejudice. It also achieved Top 10 status in the UK, reaching #6, and was a Top 10 hit for the band in Australia. The song was also covered by metal band Paradise Lost on their Symbol of Life album.
At the end of 1984, the trio released an album which was provocatively titled The Age of Consent. The inner sleeve listed the varying ages of consent for consensual male homosexual activity in different nations around the world. At the time, the age of consent for sexual acts between men in the UK was 21 (compared with 16 for heterosexual acts). The album hit #4 in the UK chart, #36 in the US, and #12 in Australia.
A third single was released amid controversy before Christmas 1984: a revival of "It Ain't Necessarily So", the George and Ira Gershwin classic (from Porgy and Bess) which questions the authenticity of Biblical tales. It also reached the UK Top 20.
In 1985, the trio joined up with Marc Almond to record a version of the Donna Summer classic "I Feel Love". The full version was actually a medley, also incorporating snippets of Summer's "Love to Love You Baby" and John Leyton's "Johnny Remember Me". It was a huge success, reaching #3 in the UK, equalling the chart achievement of "Smalltown Boy", and was memorably described by one critic as "the gayest record ever made".[1] Although the original had been one of Marc Almond's all-time favourite songs, he had never read the lyrics and thus incorrectly sang "What'll it be, what'll it be, you and me" instead of "Falling free, falling free, falling free".
The band and their producer, Mike Thorne, had gone back into the studio in early 1985 to complete both " I Feel Love" and "Run From Love" which was also planned to be a single. PolyGram (London Records' parent company at that time) had pressed a number of promo singles and 12" versions of the song, sending them out to both radio and record stores in the UK. However, the single was shelved as tensions in the band, both personal and political, resulted in Somerville leaving Bronski Beat in the summer of that year. "Run From Love" was subsequently released in a remix form on the Bronski Beat album Hundreds & Thousands. Somerville then went on to form The Communards with Richard Coles.
Bronski Beat recruited John Foster as lead singer, credited as John Jøn. A single, "Hit That Perfect Beat", was released in January 1986, reaching #3 in the UK. It repeated this success in the Australian charts and was also featured in the film, Letter to Brezhnev. A second single, "C'mon C'mon", also charted in the UK Top 20 and an album, Truthdare Doubledare, released in May 1986, peaked at #18. The film Parting Glances (1986) included Bronski Beat songs "Love and Money", "Smalltown Boy" and "Why?". During this period, the band teamed up with producer Mark Cunningham on the first-ever BBC Children In Need single, a cover of David Bowie's classic "Heroes", released in 1986 under the name of The County Line.
Foster left the band in 1987.
In 1989 Jonathan Hellyer became lead singer, and the band extensively toured the USA and Europe with back-up vocalist Annie Conway and had one minor hit with the song "Cha Cha Heels", a one-off collaboration sung by American actress and singer Eartha Kitt. The song was originally written for movie and recording star Divine, who was unable to record the song before his untimely death in 1988.
1990-91 saw Bronski Beat release four further singles, for the Zomba label, "Zed Beat", "I'm Gonna Run Away", "One More Chance" and "What More Can I Say", produced by Mike Thorne.
Foster and Bronski Beat teamed up again in 1994 and released a techno "Tell Me Why '94" and an acoustic "Smalltown Boy '94" on the German label ZYX Music.
In 1995 the album Rainbow Nation was released, once again featuring Hellyer as lead vocalist.
In 2008 the signature keyboard riff from "Smalltown Boy" was featured in the September song "Cry for You"
Sara Ayers and Ryuta.K
Kyzyl To Samarkand
Running time: 0:53:06
Released: 07/2008
$9.99
$11.24Genres
Ambient
Chillout
Experimental
Gothic
Soundtrack
Sara Ayers and Ryuta.K
Kyzyl To Samarkand
More
Kyzyl To Samarkand is the culmination of a year-long collaboration between Japanese dark ambient experimentalist Ryuta.K and US vocalist-composer Sara Ayers.
The music is foreboding, ethereal, plaintive and dense; diaphanous vocals float over surreal beds of field recordings, molten noise and nervous guitars, evoking the sound of an ominous journey on a pan-Asian silk road.
Tokyo-Chiba based experimental musician Ryuta.K (oVdk & Bunk Data, Ryu) creates electronic and electro-acoustic sonic textures that he describes as “Post sampling kinetic non-hierarchical nonlinear non-equilibrium forth world muziq!"
New York composer Sara Ayers creates haunting soundscapes using her voice: sampled, layered, looped and pitch-shifted, building intricately woven washes of sounds that ebb and flow from delicate lullabies to banshee wails.
Overdose Kunst has Japanese musicians Takeshi.f
and Ryuta.k
have been collaborating as Overdose Kunst since 2001. They base
themselves in Tokyo, Chiba and Hiroshima. They create experimental
electronic and electro-accoustic music that they call "Post sampling
kinetic nonhierarchical nonlinear nonequilibrium forth world muziq!".
albums)))1. Non-form material machine
2.Incested by social machine
Usyukuro label artist))
Japanese musicians Takeshi.f and Ryuta.k have been collaborating
as Overdose Kunst since 2001. They base themselves in Tokyo,
Chiba and Hiroshima. They create experimental electronic and
electro-accoustic music that they call “Post sampling kinetic
nonhierarchical nonlinear nonequilibrium forth world muziq!”.
non-form material machine
This is postmodernstructure word(desire be machine)
The album starts with the heavy sample mangling atmospherics
of i should want to be alan lomax in new domain.
Immanence in digital domain is Key like folk gathered by alan lomax.
This song is seatle altanative band”The walkabouts” cover ,sand&gravel
We are then surprised by the song-ish guitar based piece medium’s message.
title reminds us Marshall McLuhan.McLuhan is known for coining the expressions “the medium is the message” and the “global village”. de-employed delivers us paranoia induced by arcade games.Max/msp meets arabic or indiana forth world music modal scale like dorian or aeorian.
They have been inspired by Lacanian Denial thology.de-employed has abstract meaning.
The at times almost pastoral 464 drifts half way between folk and electronics.
464 also most sinister tune for one who can understand japanese.but bansuri is good feel.
requia for ethnic cleansing lulls us out with vocals in a language previously unheard,
requia for ethnic cleansing is equal that norwegian americana band midnight choir ’s
Death’s threshold step#2 .Max/msp as sampler meets continental Europa.
and just the slightest hint that things are actually very very wrong.
An often beautiful and sometimes unsettling album,it will reach 5000 dwnload ,soon,
And ,System of timbre with Autopoiesis or Affordance
Usyukuro label artist))
Japanese musicians Takeshi.f and Ryuta.k have been collaborating
as Overdose Kunst since 2001. They base themselves in Tokyo,
Chiba and Hiroshima. They create experimental electronic and
electro-accoustic music that they call “Post sampling kinetic
nonhierarchical nonlinear nonequilibrium forth world muziq!”.
non-form material machine
This is postmodernstructure word(desire be machine)
The album starts with the heavy sample mangling atmospherics
of i should want to be alan lomax in new domain.
Immanence in digital domain is Key like folk gathered by alan lomax.
This song is seatle altanative band”The walkabouts” cover ,sand&gravel
We are then surprised by the song-ish guitar based piece medium’s message.
title reminds us Marshall McLuhan.McLuhan is known for coining the expressions “the medium is the message” and the “global village”. de-employed delivers us paranoia induced by arcade games.Max/msp meets arabic or indiana forth world music modal scale like dorian or aeorian.
They have been inspired by Lacanian Denial thology.de-employed has abstract meaning.
The at times almost pastoral 464 drifts half way between folk and electronics.
464 also most sinister tune for one who can understand japanese.but bansuri is good feel.
requia for ethnic cleansing lulls us out with vocals in a language previously unheard,
requia for ethnic cleansing is equal that norwegian americana band midnight choir ’s
Death’s threshold step#2 .Max/msp as sampler meets continental Europa.
and just the slightest hint that things are actually very very wrong.
An often beautiful and sometimes unsettling album,it will reach 5000 dwnload ,soon,
And ,System of timbre with Autopoiesis or Affordance