Riccarda Nathalie Bereiter und Sabrina Klemensberger (Vilters-Wangs / SG bzw. Zofingen / AG) unter der Leitung von Prof. Sculean, Zahnmedizinische Kliniken, Forschung Parodontologie. A biofilm pocket model to evaluate different non-surgical periodontal treatment. Alt.angst, Anxiety in the modern world. Alt.backup-software, A newsgroup for IT profesionals to discuss the benifits of backup and the tools used to do this. Alt.binaries.pl.multimedia, Audio-wizualne materialy dla Polakow. Alt.binaries.playgirl, Pictures and related media from Playgirl Magazine.

Prolegomena The purpose of this book is to examine anew and from a number of different perspectives the highly complex and controversial relation between literature and society. This is not meant to be a study in sociology or political science; the analysis of literature - its structure, content, function, and effect - is our primary concern. What we shall try to find out is how the imaginative work is rooted in and grows out of the parent social body, to what extent it is influenced in subject matter as well as form and technique by the domi­ nant climate of ideas in a given historical period, and to what degree and in what manner literature 'influences' the society to which it is addressed. The stream of literary influence is of course difficult to trace to its putative source, for here we are not dealing, as in science, with isolated physical phenomena which can be fitted precisely within some cause-and-effect pat­ tern. The relationship between literature and society is far more subtle and complex than social scientists or cultural critics commonly assume.

Well, this is the first of what I am willing to guess will be many slim lists over the summer. Still some plenty of stuff in the bins and new used hitting the shelves every day. Come for a dig..pick of the week. Various: Highlife on the Move (Soundway) 3LP/2CD In conjunction with compiler and highlife researcher Dr.

Markus Coester, Soundway Records present a very special release. Double CD & triple 180g gatefold vinyl (with a bonus 7 inch). This 45 includes the two first ever recordings by a certain Fela Ransome Kuti with his band The Highlife Rakers. Recorded by Melodisc in London in 1960 both tracks have been unearthed after more than fifty years in hiding. In many ways this compilation is a prequel of sorts to Soundway’s groundbreaking Nigeria & Ghana Special compilations, telling the early story of modern highlife’s foundation & formulation.

It traces the music from West Africa to London, adding elements of jazz, mambo and calypso along the way and paving the way for the afro sounds of the 1970s. Accompanied by a 44 page CD booklet and 12 page vinyl booklet, the notes by Dr.

Coester include rare photographs, labels and advert reproductions alongside some stunning and very rare recordings. File Under: Highlife, Afrobeat, Ghana, Summer.new arrivals. Tyondai Braxton: Hive1 (Nonesuch) LP Nonesuch releases HIVE1, the label debut from Tyondai Braxton. Written and recorded throughout 2013 and 2014, the recording comprises eight pieces that were originally conceived for a performance work called HIVE that debuted at New York’s Guggenheim Museum in 2013.

Following its New York premiere, HIVE was performed at the Sydney Opera House, the MONA FOMA festival in Tasmania, and London’s Barbican Centre as part of Nonesuch’s 50th anniversary celebration. The piece was created as a live multimedia work that was part architectural installation and part ensemble performance with five musicians sitting cross-legged atop their own space-age oval pods. Designed by Danish architect Uffe Surland Van Tams, each pod was programmed to complete the sonic mood of the piece with ever-changing LED light emitting through its perforated wooden walls.

The piece derived its name, as Braxton told London’s Guardian, because “there’s a very social aspect to what’s happening in this project. Technologically speaking, the performers of the piece are very connected together.” Praised by the Washington Post as “one of the most acclaimed experimental musicians of the last decade,” Braxton has been writing and performing music under his own name and collaboratively, under various group titles, since the mid-1990s.

He is the former frontman of experimental rock band Battles, whose debut album Mirrored was both a critical and commercial success. Since departing Battles in 2010, Braxton has focused on composing music for HIVE, as well as composing commissioned pieces for ensembles such as The Bang on a Can All Stars, Kronos Quartet, Alarm Will Sound, and Brooklyn Rider. In 2012, he collaborated with Philip Glass during the ATP I’ll Be Your Mirror festival. He has also performed his orchestral work Central Market with the Los Angeles Philharmonic, London Sinfonietta, BBC Symphony Orchestra, and New York’s Wordless Music Orchestra.

File Under: Electronic, Experimental Coliseum: Anxiety’s Kiss (Deathwish) LP Founded by Louisville musician Ryan Patterson and including Kayhan Vaziri and Carter Wilson, power trio Coliseum have grown to become one of today’s quintessential contemporary punk bands. Autumn Leaves Solo Guitar Pdf File. Successfully melding progressive musicianship, hardcore fervor, and vital social awareness into one constantly evolving artistic vision. Over the last decade Coliseum have released music on a host of labels including; Temporary Residence, Relapse, Level Plane, Auxiliary (Ryan’s own label), and Deathwish. Anxiety’s Kiss is the new album from Coliseum, recorded at The Magpie Cage by producer/engineer J.

Robbins (Jawbox, Burning Airlines). Anxiety’s Kiss is a hook-laden maturation of the Coliseum sound.

Nods to their early D-Beat leanings are there, but it is their willingness to embrace Post-Punk melody and explore the space between notes that make Anxiety’s Kiss so alluring. Confidently growing within the punk world, without ever leaving it behind. “We Are The Water” kicks things off with a synth-driven stomp while lyrically serving as a poignant social awakening and call for human empathy. Amidst a tangle and twang of melody, “Course Correction” and “Wrong/Goodbye” then emerge to tackle the ripe subjects of class division and police brutality. “Drums & Amplifiers” picks up pace, taking on those who reflect on their punk past rather than absorb the spirit that still charges the air around us.

It’s not all social and subcultural commentary though. The dizzying “Dark Light Of Seduction” and sultry “Sharp Fangs, Pale Flesh” (where J. Robbins guests performing the BulBul Tarang) are darkly provocative narratives about the power of lust and love. In soul and tone, they both interject an emotional underbelly to it all.

Robbins also adds bass on “Comedown,” an industrial-tinged romp led by Vaziri’s baritone guitar and Wilson’s booming toms. Coincidentally, it is also the first Coliseum song ever recorded to not feature Patterson on guitar. “Sunlight in a Snowstorm” is the band at their most melodic, with a snow-covered New York City as its lyrical backdrop.

The high beam lit, cinematic noir of “Driver at Dusk” and infectious, fuzzed-out “Escape Yr Skull” lastly descend to close out the album. A flawless, yin and yang pairing that is Coliseum at the peak of their experimental and anthemic powers. File Under: Punk, Goth D’Angelo: Brown Sugar (Virgin) LP In 1995, D’Angelo – born Michael Eugene Archer and Virginia-raised to a Pentecostal preacher father – made an undeniable impact on the music world with the release of his 4x Grammy Award nominated debut album Brown Sugar, ushering in a new and inescapable neo-soul sound with classic hits such as the album title track, “Lady,” “Cruisin,” and more. The multi-talented artist handled nearly all of the production, instrumentation, arrangements, songwriting and vocals on the acclaimed 10-track stunner and strategically positioned himself as the next Hendrix-like deity in black music, after Prince and Lenny Kravitz. In celebration of the 20 year anniversary of this classic album UMe will be reissuing it back on vinyl for this first time in almost 10 years, on limited edition colored vinyl! File Under: Soul, R & B Racontwoers: Live at Third Man (Third Man) LP The Raconteurs are made up of four old friends.

While Brendan Benson, Jack White, Patrick Keeler and Jack Lawrence have all known each other since meeting in the late ‘90s on the underground Detroit garage circuit, it took an unfinished lyric by Benson in the summer of 2004 for them to coalesce as a band. That lyric (“find yourself a girl/and settle down/live a simple live/in a quiet town”) once completed by White (“Steady as she goes”) while Lawrence and Keeler were nearby (ready to drop some serious bass and percussion backing respectively) was the birth of the Raconteurs. Their songs are perfect modern approximations of classic rock. On Record Store Day, April 17, 2010, Brendan Benson and Patrick Keeler along with Mark Watrous and Andrew Higley performed a re-worked set of Raconteurs songs in celebration of the re-release of Broken Boy Soldiers on LP at Third Man Records.

20 flight rock! File Under: Rock, White Stripes Ruscigan: Viaggio Nel Domani (Dagored) LP A daring experimenter and former student of Karlheinz Stockhausen, Guido Baggiani aka Ruscigan collaborated with Piero Umiliani at Umiliani’s Soundworkshop Studios to create Viaggio Nel Domani, originally released in 1972.

It still surprises the listener with its clarity of execution and sense of musical adventure. This first ever reissue is pressed on clear blue vinyl and limited to 500 copies. File Under: Electronic, Library Stark Reality: Roller Coaster Ride (Now Again) LP Despite their relatively short career, the Stark Reality’s catalog is among the most celebrated and storied in the world of far-out psychedelic jazz in which they operated. Their album Roller Coaster Ride has long been one of the most sought-after pieces of their output, unavailable until it was issued by Now Again Records in 2003 as 1969. Roller Coaster Ride features the original six tracks restored and remastered from the original tapes, along with extensive liner notes and annotations by Egon of Now Again Music and legendary musician Ahmad Jamal, who released the band’s legendary album Discovers Hoagy Carmichael’s Music Shop on his boutique label AJP Records in 1970. File Under: Jazz, Funk, Psych Yob: Clearing the Path to Ascend (Relapse) LP Two years after leveling the expectations of critics and listeners alike with Atma, doom trio powerhouse Yob unleashes Clearing The Path To Ascend, an aptly titled album for what will undoubtedly be the crowning achievement for a band whose journey now nears two decades of creating music as commanding as it is cathartic.

As is the Yob way, the tracks here don’t simply offer a vacuous glimpse into the already riff-soaked doom genre. These songs demand the tandem attention of mind, body, and soul – etching a mark across a sound that finds Yob as formidable and unequaled as they’ve ever been. True ascension requires a destruction of those barriers that prevent any movement forward. Unsurprisingly, Yob pummels any and all of these obstacles with absolute authority, clearing the way for a genuinely visceral listening experience and climbing upward into a realm that sets the band in a heavy metal place that has been and will always remain wholly their own. Yob’s music is not unlike the path that’s led them to their current place among heavy metal’s elite, slowly building from a hushed ethereal vapor into the thunderous and masterful tumult of sound domination. The ethereal mists of Eugene, Oregon no doubt provided the perfect catalyst for founding member and vocalist Mike Scheidt to call up the signature of surging doom that would soon come to garner Yob its current position as one of the most respected and revered bands in all of heavy metal.

While giving due sonic credit to cornerstone influences such as Cathedral, Sleep, Electric Wizard, and Black Sabbath – Yob immediately set out to define a sound wholly singular and utterly devastating in its cathartic enormity, incomparable to any other music being created at the time. Those threads of progressive rock and drone that have always underscored the music of Yob are now fully realized with Clearing The Path To Ascend, as each track forges into the next with a ferocity that’s as completely unhinged as it is utterly focused. Drummer Travis Foster wields his signature rhythmic furor here with bombastic precision while bassist, Aaron Rieseberg, coils around the sonic tide with an unforgiving churn – all the while in a deadly synchronicity with Scheidt’s uncanny vocal range and its pendulous movement between the triumphant howls of a medieval madman and the earth splitting growls of a war-battered titan. With Clearing The Path To Ascend, Yob explores a thunderous dimension that’s familiar in its auditory clout but completely new in the execution of its trajectory, taking the band’s sound into a remarkable place as ethereally compelling in its aesthetic as it is merciless in the magnitude of its sound. LP includes download card for entire record.

File Under: Metal.Restocks. Antibalas: s/t (Daptone) LP Belle & Sebastian: Boy with the Arab Strap (Matador) LP Cocteau Twins: Heaven or Las Vegas (4AD) LP Father John Misty: Fear Fun (Sub Pop) LP Funkadelic: Maggot Brain (Westbound) LP Lightning Bolt: Fantasy Empire (Thrill Jockey) LP Tim Maia: Nobody Can Live Forever (Luaka Bop) LP The National: Trouble Will Find Me (4AD) LP Jim O’Rourke: Simple Songs (Drag City) LP William Onyeabor: Who Is?

(Luaka Bop) 3LP William Onyeabor: Boxset 1 (Luaka Bop) 5LP Pixies: Doolittle (4AD) LP Sinoia Caves: Beyond the Black Rainbow OST (Jagjaguwar) LP Tool: Lateralus (Zoo) LP Tool: 10,000 Days (Fanclub) LP Tool: Anima (Fanclub) LP Vampire Weekend: Modern Vampires in the City (XL) LP War On Drugs: Slave Ambient (Secretly Canadian) LP Patrick Watson: Love Songs for Robots (Secret City) LP Zombies: Begin Here (Repertoire) LP Zombies: Odessey & Oracle (Repertoire) LP Tagged,,,,. Well finally the weekend I’ve been waiting for!

The next six weeks are probably going to be rather grueling, but should be worth it. Not that it has anything to do with any of you, or records. But I’m sure I’ll have plenty of great reno stories for you as things progress. Anyway, some really swell stuff in this week so without any further adieu.pick of the week. Jim O’Rourke: Simple Songs (Drag City) LP/CD “Yes, Simple Songs is an album of songs sung by Jim O’Rourke all the way through!

It has been ten years since Jim’s voice rang out from a new album. Ah, when James Michael was just a wee lad, he sang all the time, with a lovely little lilt to his voice, like all the children do. But the songs he sang gave his parents no end of consternation: ‘Great Decei-verrr! Cigarettes, ice cream, figurines of the Vir-gin Mar-eeee!’ Aye, if only we’d-a been there — little Jimmy’s career would have started much sooner. Child labor laws be damned!

It’s hard to believe it has been nearly fourteen years sinceInsignificance. When that album hit in late 2001, we heard once or twice how it was too bad that it wasn’tEureka Part 2.

Then in 2009, when The Visitorreturned Jim to the orchestrated instrumental feel ofBad Timing, people wondered when we’d have another album like Insignificance! Now, has the world caught up with Jim? Maybe — but only because he let us. What Simple Songs sounds like. At this point, the range of sounds and songs that have turned Jim’s head are numerous enough to have crushed together into something that is unmistakably his — the vast, glossy and glittering O’Rourkian (yes, like Kervorkian) wall of sound. The music’s got OCD quality, played so immaculately by so many instruments, and most of them by the creator’s hand. This time’s really the widest screen yet for Jim’s popular song-style, truly breathtaking!

As for the songs themselves, one may have to resist the urge to skim the lyrics to try and guess who the target of each ditty might be — but this ain’t ‘You’re So Vain,’ okay kids? And you’re definitely NOT Warren Beatty. Simple Songs was worked over, from source material to finished mix, for five years or more now. Jim’s writing is kinda rooted in the approach of Insignificance — frosted pop tarts that leave a darkly bitter aftertaste.

So bilious not even Jim can listen to it all the way through! Fine, it’s not for him to listen to anymore — WE can’t stop from listening. It’s like a beautiful car wreck we can’t look away from or stop feeling AMAZING about. Super fun stuff.” File Under: Pop, Indie.new arrivals. Acid King: Middle of Nowhere, Center of Everywhere (Svarte) LP Roll out the red carpet – Acid King are breaking their ten year studio silence with a new, deliriously heavy album, “Middle Of Nowhere, Center Of Everywhere”. On their fourth outing, the three-piece maintains the corrosive concoction at the heart of their identity, while simultaneously progressing.

In order to achieve that goal, the musicians riffed away in their Bay Area practice space, and the good old fashioning jamming yielded eight artfully architected tracks bookended by an Intro and an Outro, fusing together a cohesive journey. “Middle Of Nowhere, Center Of Everywhere” was recorded at both Sharkbite and Tiny Telephone Studios in San Francisco, mixed at Different Fur Studios and produced by Acid King and Billy Anderson. Striking artwork from famed tattoo artist Tim Lehi (who has designed cover art for High On Fire, Earthless and Witch) provides a preliminary indication of the cosmic scope of the musical innards. Certain pillars uphold the underground. Their influence pervades throughout future generations, shaping the sound, style, and spirit of artists for years to come.

Such can be said of Acid King, bubbling up from San Francisco in 1993 through a fog of revved up riffs, thunderous drums, and hypnotic vocal howl. This unholy triumvirate of visionary, vocalist, and guitarist Lori S, drummer Joey Osbourne, and bassist Mark Lamb existed before terms like “stoner rock” and “doom metal” entered the musical lexicon. Their seismic chemistry transfixed audiences everywhere from high-profile festivals such as Hellfest and Roadburn to now iconic shows alongside peers such as Sleep and Mystick Krewe of Clearlight. Acid King returns to its throne with 2015’s full-length “Middle Of Nowhere Center Of Everywhere”.

File Under: Metal, Doom, Stoner Atomic Bitchwax: Gravitron (Tee Pee) LP New Jersey’s legendary, riff-centric power trio The Atomic Bitchwax (aka TAB) returns with gargantuan riffs and jaw-dropping psych sonics on its sixth full length LP,Gravitron. Now featuring TWO members of Monster Magnet – bassist/vocalist Chris Kosnik and drummer Bob Pantella – alongside shred-tastic gunslinger Finn Ryan, the band has perfected its unique style of NYC hard rock that High Times appropriately tabbed, “thunder-boogie.” On Gravitron, The Atomic Bitchwax’s Rush-like riff mazes and carpal-tunnel-inducing riffs are on full display; every note bleeds with urgency.

There’s far too much exuberant energy on the record to lazily tag this as “Stoner Rock”; this is high-octane, ’70s-based hard rock infused with stabs of psychedelia and landslides of Tommy Bolin-inspired guitar heroics! Gravitron is an A-level masterclass in bad ass Rock’N’ Roll and cements the The Atomic Bitchwax as an undeniable force in today’s heavy music landscape. File Under: Stoner, Psych, Hard Rock Blanck Mass: Dumb Flesh (Sacred Bones) LP Blanck Mass is Fuck Buttons’ Benjamin John Power. His initial ambient creations were to be studio only, and were a collection of beat-less shimmering soundscapes, released on Mogwai’s Rock Action label. Interest steadily grew and soon his crafted worlds were to reach the ears of billions as his track, “Sundowner,” was used extensively in the 2012 London Olympics Opening Ceremony. Ben then followed up his self titled debut with a successful EP release on Software into a more beat driven territory, and has since taken Blanck Mass out of the studio and into the live sphere, touring as main support to the likes of Sigur Ros and Jon Hopkins.

Blanck Mass’ newest album Dumb Flesh will be released on Sacred Bones Records in May 2015. Power explains, “There must have been at least three occasions where I re-produced the whole thing, replacing instrumentation and experimenting with new machines until I was happy with where the evolution of the project had arrived. That’s the difference between the subject matter of Dumb Flesh and the process of creating it; an end point can be reached. Saying that, I don’t like to stick around in one place too long so we’ll see where this leads to next.” File Under: Electronic, Ambient, Techno Nick Cave & The Bad Seeds: Henry’s Dream (Mute) LP 1992’s Henry’s Dream, Nick Cave & The Bad Seeds’ seventh studio album, contains songs critics and fans alike have come to regard as indisputable classics from the band’s oeuvre: “Papa Won’t Leave You, Henry,” “Christina the Astonishing” and “Jack the Ripper,” to name just a few.

Yet, for the band, Henry’s Dream undeniably epitomizes – much more so than any of their other albums – the loss of control that ensues when one has exerted but a slippery grip on some very vertiginous circumstances. “Henry’s Dream,” explains Cave, “was one of the first records that I came to with an absolute sound in my head as to how this record should be. What I wanted to make with Henry’s Dream was a very violent acoustic record, basically using storytelling and acoustic instruments to create a really fucked up and violent sound, but which was in no way heavy. This, sadly, didn’t happen.” The Good Son had evidenced a decided shift to a more “classic” form of songwriting; combined with less jarring arrangements and overall smoother production than earlier albums, it seemed to betoken a broader potential appeal.

In Mick’s evaluation, Nick’s songwriting had become “a lot more coherent and focused. Breeze Keygen Music. ” Compared to his earlier work, a tune like “The Ship Song” could “maybe seem a bit like a straight pop-rock song, if you want to look at it that way.” Apparently their record label did look it at that way: “Mute suggested that we get a ‘real’ producer to produce our next record. I think they heard The Good Son, heard a whole lot of ballads there, and possibly thought that they weren’t exploited or recorded in the right way,” conjectures Cave. Mick confirms, “Daniel [Miller, head of Mute] just suggested, ‘Maybe it’d be good to actually get a producer this time and see what happens.’ So we did.” Nick knew exactly what he was looking for in a producer: “I remember sitting and going through records and I was actively trying to find a record that sounded the least produced.

That’s why we came up with David Briggs; it felt like he just let those Neil Young records just happen organically and had little involvement in them. It felt like he recorded Neil Young and his band as he found them.” Band personnel had changed substantially since recording The Good Son. The core of Nick, Blixa, Thomas and Mick remained unchanged. Kid Congo Powers had returned to The Gun Club (leaving Mick to handle rhythm guitar duties) and two new members were welcomed into the fold, both of them Australians: Conway Savage on piano and ex-Triffid Martyn Casey on bass. This unit proved to be rough and ready and fully capable of tackling Cave’s material head on, especially when it came to throwing down live studio performances.

Blixa Bargeld enthuses, “What was really great about this record is the majority of that material was recorded together as a band – one take, classical way, all of them playing together – which is something that I cherish a lot.” It appeared all systems go for a hell of a record, but the band’s warm glow of anticipation quickly dissipated. Briggs didn’t want to fly out to NY to record, so the band came to California, ending up out in Van Nuys, at Sound City studio in the San Fernando Valley. Unfortunately, Mick found Briggs’ choice of studio (like the one they had to use in Brazil for The Good Son) lacking. Normally when deciding on a studio, Mick notes that he “would choose quite ambient rooms so that we could get the room sound going. I thought there had been a mistake made with the studio when we went to LA.

We let all that stuff go, but in the back of my mind was the feeling that it was the wrong decision.” Nick Cave & the Bad Seeds took in many hard-learned lessons from their exposure to Briggs’ modus operandi. One of the more positive drills ingrained by their tormenter was the value of multiple basic takes.

Mick acknowledges: “We’d always just get lazy and go ‘Ah, that’ll do.’ Briggs actually just kept us playing on, like two or three takes beyond where we’d normally have stopped. So we learned from that, a lot actually: we learned to push that a bit harder and it was worth it.

Even if it felt like a bit of a drag, it was worth it and that stayed with us I think.” Thomas on the other hand, is skeptical that Briggs actually had a clue what to look for in those takes: “He didn’t say anything. He just stood there in the control room next to us, playing the air guitar.” Nick found it impossible to deal with Briggs. “It sounds ridiculous, but you had to be there,” says Nick. “No matter how angry or pissed off we got, he was just on the controls and did what he wanted.

At some point, we all gave up.” Cave’s worst fears had been realized: “We watched our record be taken away from us. It just sounded to me really different from the record that I wanted to make.” Evidently Briggs understood it as his designated duty to assume command of a bunch of guys who didn’t really know how to make a record and deliver what he thought was the best possible product; but having this extraneous person in the equation in an unassailable position of authority had impaired Nick and the band‘s ability to communicate freely and effectively between them. Blixa’s succinct summary of the whole mess: “I think too many people worked on this record.” Ironically, Henry’s Dream became one of the Bad Seeds most loved records. File Under: Rock Ceremony: The L-Shaped Man (Matador) LP Ceremony’s fifth studio album, The L-Shaped Man, uses singer Ross Farrar’s recent breakup as a platform to explore loneliness and emotional weariness, but it is by no means a purely sad album.

Rather than look inward, Farrar uses his experience to write about what it means to go through something heavy and come out the other side a different person. In order to tell Farrar’s story, Ceremony have almost completely stripped back the propulsive hardcore of their previous records, turning every angry outburst into simmering despair. “We’ve always tried to be minimalists in writing, even if it’s loud or fast or abrasive,” says lead guitarist Anthony Anzaldo. “It’s really intense when I hear it. Not in a way where you turn everything up to ten.

Things are so bare, you’re holding this one note for so long and you don’t now where it’s going – to me, that’s intensity.” That intensity is apparent on “Exit Fears,” the first full song on the record. It meticulously pairs Justin Davis’ loping bassline, which pulls the track along, with Anzaldo’s icy, minimal guitar work. It brings to mind some alternate version of Joy Division that hasn’t quite lost all hope. It gets close to exploding, but instead plays the shadows, never quite rising above a nervous simmer.

The sound is abetted by producer John Reis, who honed his skills in seminal bands like Rocket from the Crypt, Drive Like Jehu, and Hot Snakes. Much of the gravelly aggression he experimented with in those bands is present on The L-Shaped Man. “Recalling the post-punk of Joy Division, the Fall and Wire – if those bands had spent more time in weight rooms than art galleries.” – Rolling Stone File Under: Punk, Post-Punk.