Dear Readers -

It has been over seven years since the Savage Saints uprising. With great regret and after much thought we decided to suspend the activities of the blog. We have asked you about symbolic donation but without any answer. We no longer have the energy and motivation to continue posting. Thank you for all the kind words, comments and activity. Goodbye - Savage Saints Crew

Drodzy Czytelnicy -

Mięło ponad 7 lat od powstania Dzikich Świętych. Z wielkim żalem i po wielu przemyśleniach postanowiliśmy zawiesić działalność bloga. Nie mamy już energii ani motywacji do dalszego prowadzenia. Dziękujemy Wam za wszystkie miłe słowa, komentarze i aktywność. Do miłego - Załoga Dzikich Świętych.

Dear Readers - If you are interested in our existence please support us via PayPal. We will be happy to repay you by posting your ads and informations. Please contact us.


Koji Asano - Rabbit Room Reservation Center (2005)

One of the world's most imaginative composers, Koji Asano defies simple categorization. A native of Japan who now resides in Barcelona, Spain, Asano has composed tunes for dance performances, film soundtracks, and video art exhibitions. Solo pianists, guitar bands, computers, string quartets, and his own Tokyo-based group the Koji Asano Ensemble have performed his compositions. According to the San Francisco Weekly, Asano "eschews the well-worn path of familiar music making contexts for a less traveled route involving feedback, computers, and electronics." Asano has collaborated with a diverse range of musical and visual artists. In 1997, he provided accompaniment for exhibitions of sculpture and painting in Moscow, Pushkin, and Latvia. Two years later, he composed a string quartet for a presentation of Bruno Letort's Megapoles project, featuring the Smith Quartet at the Vingtième Théâtre in Paris. In October 2001, a new composition was premiered by Banda Municipal de Barcelona. (Craig Harris)

After a certain lull, Koji Asano was due for a strong release of new music, and this is it. Rabbit Room Reservation Center deserves a place among his five best albums of sound art. It seems that the piano serves once again as the main sound source here, but electronic treatments overpower it completely, letting the acoustic instrument surface only sporadically. The album consists of three pieces of ten, 23, and 24 minutes, presented as movements or variations of a single work. "Rabbit Room Reservation Center I" exposes the material: piano notes shrouded in digital decay that gives birth to aural illusions. There is much room for silence and a certain majesty to the music. The second piece brings listeners down a couple of octaves, with the notes grainy gongs instead of small bells. A thicker soundscape emerges, but there is still a large element of spatialization, as if belfries were calling each other over a particularly echo-prone valley. The third piece pushes the transformation further, straight into harsh noise territory, the piano -- and its computerized bell/gong persona -- drowned out by the ripples of digital reverb. The sound swells up to the size of a full-fledged harsh noise band. The process underpinning the whole album may be simple, but Asano has obviously paid a lot of attention to the composition of these stark pieces. Don't pass this one by. (François Couture)


VA - Burmese Folk and Traditional Music (1953)

The 16 tracks on this collection feature traditional music from the Southeast Asian nation of Burma, also known as Myanmar. Drums, cymbals, bells, and a harp are some of the instruments featured―as are the Western violin and guitar, with strings tuned differently. Liner notes explore the characteristic tempo and scale used in Burmese music, and provide notation and background on the songs. (folkways)


The Holy Ghost Reception Commitee #9 (1968-1969)

Dennis Blair Guitar, Guitar (Bass), Vocals
Rich Esposito Guitar, Vocals
Elmer Gordon Producer
Bob Kearney Guitar, Vocals
Mark Puleo Guitar, Harmonica, Vocals

Christian psychedelic quintet the Holy Ghost Receptive Committee #9 was the brainchild of Anthony Myers, a teacher at New York City's Regis High School -- assigned circa 1967 to work with students to write and perform contemporary minded songs that could be played at Mass. He assembled guitarists Dennis Blair, Rich Esposito, Bob Kearney and Mark Puleo, along with bassist Larry Johnson. The project proved so successful that Myers landed the group a recording contract with ecumenical publisher Paulist Press, and in 1968 the Holy Ghost Receptive Committee #9 (so named by a fellow student) issued its first LP, Songs for Liturgical Worship. After a 1969 follow-up, The Torchbearers, the group dissolved; Blair later enjoyed a career as a stand-up comic, opening for the legendary George Carlin for over a decade.

Rictus - Christelle Ou La Découverte Du Mal (1981)

Daniel Corbont : Bass
Daniel Aizier : Guitar
Marcel Bony : Guitar
François Corbont : Drums
Pierre Pomet : Drums
Jean-Claude Schmidt : Singer
Rol Brultey : Keyboards

Christelle is a 6 year old girl. She is happy. One day she meets an Evil Genius who makes her have bad hallucinations. Each song is one of her hallucinations.

Reissue of a rare, 250 copy private press progressive rock album from France, rated 5 stars in the Pokora Books. Recorded on a 4 track Akai in the small town of Luxueil-les-Bains, this album was only sold at a few shows and in one local shop. Pressed at the small Le Kiosque D’Orphee pressing plant, this was truly a private offering with the band having made and glued the covers themselves. A long album, including the 14+ minute progressive gem ‘Theme Guerre’, the music spans from lo-fi fuzz laden numbers to strong progressive songs with numerous bridges and changes.

Conceptually a Rock Opera, but plays like a full length progressive album that could rival anything from France at the time.

Remastered with wonderful sound quality, this is sure to open the ears of many who’ve overlooked the band until now. (source)

Lol Coxhill & Morgan Fisher - Slow Music (1980)

Recorded in 1980, this collaboration between master tape manipulator Morgan Fisher and legendary improvisational saxophonist Lol Coxhill sees the two explore a mutual interest in treating their work as mere raw material for further experimentation and re-modeling. Working in Fisher’s Notting Hill home studio, Coxhill’s performances (including Handel’s ‘Largo’ and his own ‘Pretty Little Girl’) were recorded and reworked using a number of innovative studio techniques to create entirely new material, some of which was used as a background for further performances by the pair, the rest treated to further manipulation via tape delays, synthesiser filters and other electronic equipment, resulting in multi layered tape loop pieces, drones and sound collages. (cherryred)


Sros Lords - Slimernetik Punk from Detroit

Savage Saints,

Sros Lords has been a band 5 years. We are from Detroit.

The original lineup was 4 members . 
jamie Drums
morgan  guitar/vox
al synth 
phil bass

But now it`s 3 members 
jamie drums 
morgan guitar /vox
cait synth 

Now we have a synth with bass low-end. We are signed to Earyummy records from Chicago. We are a Slimernetik punk band. Were into many things...................................................................... We love eating pasta and pizza. Also we don`t use bandcamp or soundcloud. We have our own site... sroslords.com     .............   That has a song on it from our album ...Rule......... called Slow Death

"It's hard to write objectively about our songs or our sound, but I do think that I can say what our intentions are from the start. Generally that tone is pretty vicious, which is how youhave to play when you're playing weird gigs. you never have too much time to setup and breakdown, and that's a big part of a show. The brevity of the songs has to do with two things things I think. We don't want to bore the audience with repeating ourselves too often, and I just can't write good lyrics fast enough. This brevity is also reflective of our punk rock childhoods and the garage rock that's so deeply rooted in detroit."

Jamie on how SROS Lords started:
"SROS Lords was started around 2010, and we got the name from the building I lived at for 10 years in downtown detroit. its the legendary bagley optical, at one point named Site Rite Optical. We added Studios for our friends' place where we did the first single for Urinal Cake. I've been playing guitar for a long time, probably since I was 16. For the last decade I've been playing the same guitar, although I don't know if I'm allowed to mention the band or anything like that. Jamie is a really adventurous player, who frequently breaks his drums and even severs electrical cords sometimes. Cait has played bass and guitar in several bands too, and does sound engineering. Her sound reflects her taste in both older and newer technologies."


Jesse Graves (1972)

Great early 70s country blues private press album. Mr Graves has a great taste and picks some real nice traditionals and choice artists to play. The whole album has a raw or ‘from the basement’ tone; rough vocals, harmonicas, bottlenecks, foot stomps and hand claps.





The Ahmad Jamal Trio - The Awakening (1970)

A collaboration of all the styles encompassed throughout Jamal's career, The Awakening makes an excellent relaxing album, showing off Jamal's piano chops with some excellent rhythmic grooves.
If there was ever a man that never received the credit he deserved, that man was Ahmad Jamal. Jamal played jazz piano differently from everyone else. He had the classical chops to play all over the place and use his jazz knowledge to run across the piano with all kinds of different scales, but Jamal was smarter than that. He knew that 32nd note runs for 8 minutes straight would get boring and tiring. He used space and silence so well that it inspired much of Miles Davis’ playing. However, the world gives Davis the credit for revolutionizing that style of playing. The general public doesn’t even list Jamal in the top ten jazz pianists of all time. Obviously, that means nothing to Jamal, as displayed in his track title I Love Music. That’s really all that matters, and that mindset shines through brilliantly on The Awakening.

The Awakening is about twenty years past when Jamal inspired Miles Davis so directly. Jamal himself seems to have made an evolution in his sound, allowing himself to show off his incredibly fast piano chops in variation. He still plays with his trademark sparseness, but not to the degree of Miles on his works like Sketches of Spain and Kind of Blue. Being the only instrument capable of handling melody for any length of time, Jamal forces himself to give some variety in his style of playing. Also, being limited to only one sound, his style of playing and the feel of the entire trio needs to be the main sources of variation to keep the album interesting. To a considerable degree, Ahmad and his trio pull it off well. Ranging from straight up swing to a completely authentic bossanova style to a jazzy, Bill Evans-esque piano solo, the variation in style is remarkable. Despite Jamal going all over the place on the piano with all kinds of great rhythmic and harmonic intricacy, the rhythm section locks itself in place and never lets anything speed up or slow down.

However, Jamal is the star of the show, especially since I Love Music is the best song on the album. The majority of the song is just Jamal, showing off all of his piano skills. Despite the rhythmic speed and complexity, the real focus is in the harmonic structure. It is beautiful in so many ways, through its tasty chords and seemingly frantic jumping around. Still, even in all its complexity, Jamal manages to create memorable melodies and motifs. As a result of his traditional sparse style, Jamal feels the need to create a true melody, which makes I Love Music all the more enjoyable. Near the end, the rest of the trio enters, allowing Jamal to lay back a bit. The song stands as a jazz piano epic, far reaching and complex while still showcasing some of the simplest moments on the album.

While I Love Music sweeps up the listener in its gorgeous rubato and wavering tempos, Patterns lays down a great groove with a descending melody. The bass plays along with Ahmad for the head before jumping into a quick yet groovy bassline. It takes the stylings of Miles Davis on his earlier electronic recordings such as Filles de Kilimanjaro and puts it with an upright bass. It gives the atmosphere a slightly older feel, much more acoustic. In 1970, entirely acoustic music was beginning to die away, so The Awakening came as a breath of old, yet still fresh. The ending of the song has the greatest climax possible for a song as laid back as Patterns, a giant slowdown with epic piano chords that Jamal still plays with a delicacy. Hammering them and filling the recording would simply destroy the mood of the song. Patterns shows the mix of an old atmosphere with modern harmonization and grooves

Ahmad Jamal and his trio make excellent jazz music that draws together the best of both worlds. Utilizing many different grooves, including swing and a funkier fusion style while mixing it with modern harmonies and a timeless instrumental atmosphere, The Awakening is certainly worth a listen. The album shows more than just Ahmad Jamal. His rhythm section lays down fantastic grooves, no matter what style they are in. They prove to be excellently trained jazz musicians and able to keep up with Jamal’s piano. Although known for his sparseness and usage of space, Jamal takes a turn showing many huge runs. Still, he creates memorable melodies that keep the album interesting and immediately listenable. (source)

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