Wand - Golem - VINYL LP

In the annals of punk, few albums hit with the seismic force of Nomeansno's S*x Mad. Released in 1986, this was more than a record, it was a detonation. Amid the Cold War and the Reagan era's cultural tension, S*x Mad erupted as a raw, furious, and utterly fearless statement that redefined what punk could be.From the opening blast of InchDad,Inch Nomeansno made it clear they weren't following anyone's blueprint. The Wright brothers Rob and John, alongside guitarist Andy Kerr, forged a sound that fused hardcore intensity with the precision of jazz, the elasticity of funk, and the cerebral bite of art rock. The result was unlike anything else emerging from the scene at the time.Lyrically, S*x Mad dove headlong into alienation, addiction, and societal rot. These are subjects punk had tackled before, but rarely with such intelligence and emotional gravity. Rob Wright's snarling vocals and razor-edged bass lines delivered every word with conviction. Even the controversial cover art, an original painting by Andy Kerr was censored by some retailers,. This just underscored the band's willingness to confront discomfort and provoke dialogue.Recorded at Profile Studios in Vancouver with producer Cecil English (D.O.A., Subhumans), S*x Mad captured the raw electricity of Nomeansno's live shows while revealing the intricate musicianship that set them apart from their peers. Though critics at the time didn't always know what to make of it, S*x Mad has since become a cornerstone of experimental punk. A record that influenced everyone from the Melvins and Primus to Faith No More and System of a Down (and that's just to name a few). It's daring blend of aggression, intelligence, and innovation continues to inspire new generations of musicians and fans.Nearly four decades later, S*x Mad remains a masterclass in musical defiance. It remains challenging, exhilarating, and utterly timeless

While, unlike Mozart, Haydn never made a living as a keyboard soloist, he nevertheless came nearest to Mozart in the best known of his keyboard concertos, No. 11 in D major.

« Siamo tutti in pericolo » is the third by the French artist Golem Mecanique on Ideologic Organ.Golem Mecanique is the artist name of Karen Jebane, a conceptual singer who also utilises a very special French instrument known as the BAB, a kind of mechanised vielle (hurdy-gurdy)... one of the more incredible inventions of the La Nòvia group's legendary instrument builder Léo Maurel.With « Siamo tutti in pericolo » Karen moves into a zone of difference. No long drone track but several songs in Italian with a minimalist drone box. Some lamento, canto, traditional patterns, composed about the last day and night of Pier Paolo Pasolini.A music sacred and gothic, an arcane and moving tribute to a literary master.« Siamo tutti in pericolo » (we are all in danger) are words from Pier Paolo Pasolini. They were the last words in the last interview he gave.And then, we do not know what happened till his murder on an Italian beach. Pasolini is someone who has awaken me to many things and his movies are usual companions of my days.I remembered having seen Accatone and Teorema when I was 14 years old and I guess I felt in love.I then discovered the silent violence, the erotism, the desire, the raw aesthetism, the ancient myth and the wrath.« Siamo tutti in pericolo ».We do not know what happened when he left the place he gave the interview in. No clue, no witness till the discovering of his severed body few days after.« Siamo tutti in pericolo ».I tried to be the eyes that saw in the dark, the voice that tells what his last day and night were, the ghost that summons the memory.I have composed songs as if they were traditional ones, using repetitive patterns as they could be in traditional rythms, like tarantella.The drone is minimalist and I tried to give the drone box the sound of a traditional hurdy gurdy (even if it is a kind of a hurdy gurdy).« Siamo tutti in pericolo ».I gue