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London Perfect Lives shopkeepers Bruno and Danny share an hour of discoveries each month, Dipping into charming private press releases, cozy dub & dancehall, way out of left-field synth pop & postpunk, among other surprises..
Prestonian singer songwriter Rainy Miller presents the progress check, a bi-monthly show playing an hour of archived experiments and influences.
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There are/were at least two acts/projects called Neo Museum:
An electronic minimalist act from Japan, active in the 1980s.
Nouvelles Ethnologique de L'Obscur (NEO) Museum was a continuation of the group Hellebore. After the latter folded, guitarist Antoine Gindt, sax/clarinet player Alain Casari, and drummer Daniel Koskowitz formed this new outfit and released a single album in 1985. Unfortunately, this incarnation did not last either, but were fortunate to at least have a single record of their efforts. The music is influenced by RIO pioneers such as Henry Cow and Etron Fou Leloublan.
As for the album, it is a smorgasbord of maniacal Henry Cow soundscapes bouncing from pillar to post and never letting up with its catchy jazzifications and unintellectual punches of avant-garde saxophone and Frithian guitar. A delirious display of dashing Krimsionesque doodlings is also present on track 2 (Un sidérurgie no.1). Think In the Court of the Crimson King buttressed against some Larks' Tongues in Aspic and Western Culture and you should get a feel of how much of this album sounds. Track 3 (Un sidérurgie no.5) sounds very much like an abandoned Nucleus or Graham Collier track and has a very catchy riff to it. The sax work is impeccable and reminds me of a crazier David Jackson. The bass work is also very interesting and wanders around in the background yet is a vital cog in the motion that is Nouvelles Ethnologique de L'Obscur Museum.
There are/were at least two acts/projects called Neo Museum:
An electronic minimalist act from Japan, active in the 1980s.
Nouvelles Ethnologique de L'Obscur (NEO) Museum was a continuation of the group Hellebore. After the latter folded, guitarist Antoine Gindt, sax/clarinet player Alain Casari, and drummer Daniel Koskowitz formed this new outfit and released a single album in 1985. Unfortunately, this incarnation did not last either, but were fortunate to at least have a single record of their efforts. The music is influenced by RIO pioneers such as Henry Cow and Etron Fou Leloublan.
As for the album, it is a smorgasbord of maniacal Henry Cow soundscapes bouncing from pillar to post and never letting up with its catchy jazzifications and unintellectual punches of avant-garde saxophone and Frithian guitar. A delirious display of dashing Krimsionesque doodlings is also present on track 2 (Un sidérurgie no.1). Think In the Court of the Crimson King buttressed against some Larks' Tongues in Aspic and Western Culture and you should get a feel of how much of this album sounds. Track 3 (Un sidérurgie no.5) sounds very much like an abandoned Nucleus or Graham Collier track and has a very catchy riff to it. The sax work is impeccable and reminds me of a crazier David Jackson. The bass work is also very interesting and wanders around in the background yet is a vital cog in the motion that is Nouvelles Ethnologique de L'Obscur Museum.
Thanks!
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Thanks!
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