Sunday, 30 September 2012

Factory: Manchester from Joy Division To Happy Mondays

In a dark, northern city in the late 70s, five dreamers built a record label - Factory; 3 classic bands - Joy Division, New Order and Happy Mondays, and Britain's first super club - The Hacienda.
Led by Tony Wilson, they created a unique collision between conceptual art and street music. This is the story of how a TV presenter (Wilson), an out of work actor (Alan Erasmus), an art student (Peter Saville), a DJ (Rob Gretton) and an aspiring record producer (Martin Hannett) pioneered Britain's independent pop culture, imagined a new Manchester, and blew a shed-load of money.
Featuring an extensive interview with Factory's creative genius Anthony Wilson who sadly died Friday 10 August 2007, this 90 minute documentary celebrates the triumph, tragedy and human comedy that was Factory and is a fitting tribute to Wilson's contribution to British pop culture and to Manchester.
Directed and Produced by Chris Rodley
Narrated by John Simm

Kristinn Hrafnsson interview

'It's like living in a space station'

Shove Alan Jones in a chaff bag

Richie Hawtin Live

Two words...

Fugn hippies!!!

Rolling Stone's 500 Worst Reviews of All Time

You can't erase or rewrite history, especially when it comes to record reviews. Some of Rolling Stone's greatest (or should that be worst) are currently being collated.
Sample gems include:
Hendrix: Are you experienced ~ "The poor quality of the songs, and the inanity of the lyrics, too often get in the way."
Byrds: Sweethearts of the rodeo ~ "It's really very uninvolved and not a difficult record to listen to."
Love: Forever changes ~ "It's weakest point is in the material. Some songs meander and lack real melodic substance."
Of course all 3 of those records went on to make Rolling Stone's 500 greatest records ever made list. Like I said, you can't rewrite history.
Click here to enjoy more of Rolling Stone's far from greatest moments.
(Thanx Stan!)

We are 4!!!


The Stone Roses - Blood on the Turntable

Saturday, 29 September 2012

The Mexican Mormon War

Obama does Jazz

(Thanx Robin!)

Mark Eitzel - Don't Be A Stranger (Albumstream)


Leonard Cohen, Belgravia, London (1974)

“This was the first time I had met Leonard Cohen. I’d heard his album Songs From A Room when it came out and found it totally depressing, although it was a fave of lonely people on dark, rainy Sunday afternoons in bedsits everywhere. I went along with Melody Maker writer Roy Hollingsworth to do an interview and we found Lenny relaxing by a window with his bare feet up on his manager’s desk. To my great surprise, rather than sad, he turned out to be one of the funniest and witty characters I’d met. Since that day I’ve loved his music and can even enjoy Songs From A Room. He’s still one of the finest songwriter/poets on the planet!”
Photographer Barrie Wentzell

Voting for Obama jeopardizes the ‘eternal salvation of your own soul’

How to Help Iran Build a Bomb

Jeff Tweedy on why you should vote

Samuel L. Jackson: WAKE THE FUCK UP!

25 Adult Jokes In Cartoons That You Never Understood As A Kid

Kind of Blue

Kind of Blue is a studio album by American jazz musician Miles Davis, released August 17, 1959, on Columbia Records in the United States. Recording sessions for the album took place at Columbia's 30th Street Studio in New York City on March 2 and April 22, 1959. The sessions featured Davis's ensemble sextet, which consisted of pianist Bill Evans (Wynton Kelly on one track), drummer Jimmy Cobb, bassist Paul Chambers, and saxophonists John Coltrane and Julian "Cannonball" Adderley.
After the entry of Bill Evans into his sextet, Davis followed up on the modal experimentations of Milestones (1958) and 1958 Miles (1958) by basing the album entirely on modality, in contrast to his earlier work with the hard bop style of jazz. Though precise figures have been disputed, Kind of Blue has been described by many music writers not only as Davis's best-selling album, but as the best-selling jazz record of all time. On October 7, 2008, it was certified quadruple platinum in sales by the Recording Industry Association of America (RIAA). It has been regarded by many critics as the greatest jazz album of all time and Davis's masterpiece.
The album's influence on music, including jazz, rock, and classical music, has led music writers to acknowledge it as one of the most influential albums ever made. In 2002, it was one of fifty recordings chosen that year by the Library of Congress to be added to the National Recording Registry. In 2003, the album was ranked number 12 on Rolling Stone magazine's list of the 500 greatest albums of all time.
Kind of Blue has been cited by writers and music critics as the greatest jazz album of all time and has been ranked at or near the top of numerous "best album" lists in disparate genres. In 2002, Kind of Blue was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry.In selecting the album as number 12 on its list of the 500 greatest albums of all time, Rolling Stone magazine stated "This painterly masterpiece is one of the most important, influential and popular albums in jazz". On December 16, 2009, the United States House of Representatives passed a resolution honoring the fiftieth anniversary of Kind of Blue and "reaffirming jazz as a national treasure". It is included in the book 1001 Albums You Must Hear Before You Die, described by reviewer Seth Jacobson as "a genre-defining moment in twentieth-century music, period."
Track listing
All songs written and composed by Miles Davis except where noted (see content section for more information). Only six complete takes of the five songs on the album exist:.
No. Title Length
1. "So What" 9:22
2. "Freddie Freeloader" 9:46
3. "Blue in Green" (Miles Davis and Bill Evans) 5:37
4. "All Blues" 11:33
5. "Flamenco Sketches" (Miles Davis and Bill Evans) 9:26
Reissue bonus track
No. Title Length
6. "Flamenco Sketches (Alternate take)" 9:32
Tracks 1, 2 and 3 (side one on the original vinyl release) recorded March 2, 1959; tracks 4 and 5 (side two) recorded April 22, 1959. All tracks recorded at Columbia 30th Street Studio, New York City.

Miles Davis -- trumpet, band leader
Julian "Cannonball" Adderley -- alto saxophone, except on "Blue in Green"
Paul Chambers -- double bass
Jimmy Cobb -- drums
John Coltrane -- tenor saxophone
Bill Evans -- piano (except "Freddie Freeloader"), liner notes
Wynton Kelly -- piano on "Freddie Freeloader"
Teo Macero -- production


Bowie & Burroughs (1974)

Terry O'Neill

♪♫ Primal Scream & Kim Gordon - I Want You/I Wanna Be Your Dog

Islington Town Hall, London September 13th 2012. Film soon

Neil Young on PONO

This will have the Flac's better than mp3 brigade creaming their jeans. Dig the Koori tee!

Portugal: File Sharing For Personal Use Is Legal

In a move that should remind you of Spain's ruling that personal file-sharing was legal, before America's entertainment industry helpfully wrote the Spanish people a new law (wait...what!!?!?), file-sharing for personal use has been declared legal in Portugal. How could something so monumental happen, you wonder? Well, funny story: the entertainment industry made it happen.

The tale goes something like this. An anti-piracy group sponsored by the entertainment industry called ACAPOR got all uppity about Portuguese filesharing a year ago and decided to helpfully deliver boxes (yes, physical boxes) of IP addresses suspected of filesharing infringing files to Portugal's Attorney General's office. They did this while wearing shirts that proclaimed "Piracy is illegal" in case anyone thought they were there for a cause that is actually useful and/or interesting.
“We are doing anything we can to alert the government to the very serious situation in the entertainment industry,” ACAPOR commented at the time, adding that “1000 complaints a month should be enough to embarrass the judiciary system.”
Secure in their knowledge that justice would be done, ACAPOR's minions then went home and did whatever it is these kinds of people do when they aren't making fantastic amounts of noise and generally making fools of themselves...

♪♫ Jon Spencer Blues Explosion - Attack (Remixed by Alec Empire)

Friday, 28 September 2012

♪♫ Hank Dogs - 18 Dogs/Whole Way


FINAL ACADEMY / 2012 - Horse Hospital, Bloomsbury, London (October 27th, 2012)

This event honours The Final Academy which took place in London 30 years ago this October, and which featured William Burroughs, Brion Gysin, 23 Skidoo, and Psychic TV.
Organised by Joe Ambrose, FINAL ACADEMY / 2012 will feature :
-The movie Words of Advice; On the Road with William Burroughs
-Language Virus by Raymond Salvatore Harmon with music by Philipe Petite,
-William Burroughs, 1914-1997 by Gerard Malanga
- Spoken word performance by Scanner and others.
FINAL ACADEMY / 2012 will be marked by the pubication of Academy 23, an anthology edited by Matthew Levi Stevens featuring Jack Sargeant, Joe Ambrose, Gerard Malanga, Emma Doeve, Paul Green, and John Balance (Coil).
Soundtrack for the event provided by Testing Vault, Plague Doctors featuring DJ Mix by DJ Raoul, Islamic Digger No1. One Way, Alma featuring Joe Ambrose.
Words of Advice ( Dir. Lars Movin, Steen Møller Rasmussen) features previously unseen footage of Burroughs on tour in the late 80s, plus rare home movies of Burroughs in Kansas towards the end of his life. Contributors include Patti Smith John Giorno, Islamic Diggers, and Bill Laswell.
Scanner is one of the leading electronic musicians of his generation. In 2004 he was commissioned by Tate Modern to create thir first sonic art work. He is a contributing editor to
Raymond Salvatore Harmon is a distinguished American graffiti atist, painter, and filmmaker. Utilizing new media, urban art, and interactive architecture in coordination with public performance, graffiti style ad bombing, and web based social engineering Harmon's work has carved out an over arching form of contemporary media insurgency.
Gerard Malanga was, according to the New York Times "Warhol's most important associate." A poet and photographer, Malanga's best known photographs feature his friends Iggy Pop, William Burroughs, and Bob Dylan.
Joe Ambrose directed the movie Destroy All Rational Thought featuring William Burroughs and co-prodced the album 10% featuring Marianne Faithfull, John Cale, Paul Bowles, William Burroughs, and Scanner.
Images: Matthew Levi Stevens

The Origin of the Psychic Cross

The psychic cross was designed roughly by me. Dan Landin helped today up the ruff edges. (aka Stan Bingo). The proportions are supposed to be 2 to 3.i.e. Say the vertical is 3 inches long. Then the two larger crossing lines at top and bottom are 2 inches long and the centre smaller crossing line is two thirds of 2 inches. (too tired to work that out). It contains the Christian cross, the so-called inverted “satanic cross” by being superimposed they symbolize the nullification of that whole judeo-xtian totalitarian disaster that has left millions dead over 2000 years and still counting. The logo for Zyklon B gas used in death camps during Hitler’s maniacal decade of irrational mass tyranny was three horizontal lines through a vertical line BUT the centre line was longer than the other two. By reducing the large centre line to a short one it symbolizes the reverse of POISON and mutates it to PURITY, There is a pattern you can create, a grid of crosses that reveals the negative spaces between all the solid P. crosses becomes swastikas. My lifelong connection with Tibet and its Buddhism has reminded me that Asia, and in fact most cultures have used the “sun wheel” motif in design and spiritual belief systems for literally thousands of years. The empty space represents that swastika as the symbol forever associated with Hitler’s insanity, a dark shadow, its potential for harm held back by the communal positivity of the Psychic Cross. The One True TOPI TRibe and all those who use it as a symbol of their personal quest for wisdom and positive, compassionate change are able to recognize like-minded individuals in a non-verbal reaction that bypassing imposed, suppressive cultural filters and block of conditioning allows more readily for positive contact with their ad hoc “tribe”. Burroughs and Gysin did a lot of research into heiroglyphics and concluded the collect and process information directly in the entire nervous system. There is no translation into formal, linear language. Magic is believed to “work” by passing a clear focused desire directly into a deep consciousness that enables our mind to be re-programmed for behavioral change. And until root redundant negative behavior, knee jerk fears, prejudices, self sabotage and other issues exploited by those who would maintain power and control over us, the human species will continue its ever more destructive loops and EVOLUTION will be left on hold. The Psychic cross, and this part is rickety due to our unfamiliarity with Japanese and Chinese (Gysin studied Japanese, Burroughs Mayan codices and Egyptian Hieroglyphs). We have been told by people with these 2 oriental languages as their first language that, if you remove the bottom horizontal it means honorable warrior in Japanese, in another variation it means connection to nature. We registered the Psychic Cross as our international trademark to have the option to prevent dishonorable or destructive, or meaningless profiteering. Once a group put a big P Cross on a CD release without asking permission knowing they would sell extra copies to the TOPI Tribe as they’d assume it WAS part of their gradually growing and precious TOPI cultural experiment
- Geneis Breyer P'Orridge

Psychic TV: First Transmission (1982)


Shock and Bore

Language Virus

The Partner

Why I burned my 'Proof of Aboriginality'

Legalize Heroin. Ban Hippies

Raymond Pettibon

♪♫ PIL - Reggie Song (Later with Jools Holland)




Ross Kemp has reported from Afghanistan and confronted bloodthirsty gangs in all the far-flung corners of the world.
Yet the toughest place he's ever been is a lot closer to home - Glasgow.
There'll be a reason why I left back in the seventies!

Speed Camera Shy - Blindspot by the Lighthouse (Hashashan remix)

Raymond Antrobus dropping some poetry
(Thanx Fritz!)

'100' (from 0 to 100 years 150 seconds)

In October 2011 I started documenting people in the city of Amsterdam, approaching them in the street and asking them to say their age in front of the camera. My aim was to 'collect' a group of 100 people, from age 0 to 100. At first my collection grew fast but slowed down when it got down to the very young and very old. The young because of sensivity around filming or photographing children and the very old because they don't get out of the house much. I found my very old 'models' in care homes and it was a privilege to document these -often vulnerable- people for this project.
I had particular problems finding a 99 year-old. (Apparently 100 year-olds enjoy notoriety, but a 99 year-old is a rare species...) And when I finally did find one, she refused to state her age. She simply denied being 99 years old! But finally, some 4 months after I recorded my first 'age', I was able to capture the 'missing link' and conclude this project. Enjoy.
(By the way: together these people have lived 5050 years...)
Shot on a Panasonic GH2
Lenses used: mainly a Cosmicar TV lens 25mm 1.4, Panasonic 20mm 1.7
(Thanx Sander!)

Hüsker Dü - Zen Arcade (1984 / Full Album)

1. "Something I Learned Today" 00:00
2. "Broken Home, Broken Heart" 02:01
3. "Never Talking to You Again" 04:06
4. "Chartered Trips" 05:48
5. "Dreams Reoccurring" 09:27
6. "Indecision Time" 11:09
7. "Hare Krsna" 13:22
8. "Beyond the Threshold" 16:57
9. "Pride" 18:34
10. "I'll Never Forget You" 20:22
11. "The Biggest Lie" 22:42
12. "What's Going On" 24:45
13. "Masochism World" 29:10
14. "Standing by the Sea" 31:56
15. "Somewhere" 33:19
16. "One Step at a Time" 37:44
17. "Pink Turns to Blue" 38:34
18. "Newest Industry" 41:17
19. "Monday Will Never Be the Same" 44:23
20. "Whatever" 45:15
21. "The Tooth Fairy and the Princess" 49:11
22. "Turn on the News" 51:54
23. "Reoccurring Dreams" 56:21

Thursday, 27 September 2012

A bullet shot into Play Doh


New Stanford/NYU study documents the civilian terror from Obama's drones


Australian #NatSecInquiry is Filling Me With Worry

US calls Assange 'enemy of state'

In U.N. Speech, Assange Demands U.S. End Persecution of WikiLeaks and Bradley Manning

Nick Lowe & Andy Williams (March 1978)

It was March 1978 at I was down at Top of the Pops with Jake Riviera and Nick Lowe, we were hanging around between the Rehearsal and the taping of the Show, it was Nick's first appearance and he was all dressed up in his Riddler Suit waiting to perform Breaking Glass. Then I spotted Andy Williams on the other side of the Studio. You were not supposed to have cameras but of course I had one hidden under my jacket, I grabbed Nick and marched him over to where Andy was standing. "Just go and talk to him" I said, "What about" said Nick, "I dunno, anything, tell him you want to produce his next record, just keep him talking long enough for me to get three frames, then we just leg it before I get caught taking photos in here" So Nick goes over and starts to say something to Andy, he has no clue who in the hell we are or why i'm trying to take pictures, the encounter lasts about 20 seconds before I run back over to the other side of the Studio where Jake is standing. "I've got it!" "What?" "Pictures of Nick and Andy Williams, it's brilliant, a total set up and he fell for it" I was smiling gleefully, "Excellent" said Jake as he smiled back with that wonderful Puckish grin he used to sport so well. The picture ran in the following weeks NME and a legendary photo made it's only appearance in print. I posted an alternate frame on Facebook a few months back, it coincided with Nick's gig at Town Hall here in New York. After the show we were hanging around backstage when someone showed Nick the photo on a cellphone, "A total ambush" he said immediately, "the poor bastard had no chance, he had no clue who we were or what we were doing" Of course that is totally true but I don't regret it for a moment. If I had not taken it then I could not post it here in recognition of the sad news of his death earlier today. He was a good sport, he could easily have had me thrown out, but, luckily he didn't...
Chalkie Davies

Talk Talk - Live At Montreux 1986 (Full Concert)

  1. Talk Talk
  2. Dum Dum Girl
  3. Call in the Night Boy
  4. Tomorrow Started
  5. My Foolish Friend
  6. Life's What You Make It
  7. Does Caroline Know
  8. It's You
  9. Living in Another World
  10. Give It Up
  11. It's My Life
  12. I Don't Believe in You
  13. Such a Shame
  14. Renée
Sometimes the internet is an unexpectedly beautiful place!

Ease off...

Sage advice for this gentleman perhaps?
(Very NSFW)

Miles Davis interviewed by Bill Boggs circa 1986 (Complete broadcast)

"I have been told by people over the years that this was an historic interview. 'Do you ever remember Miles Davis being on a talk show?' Apparently not too many people do cause they keep telling me this is unique. How'd it happen? Well the entire long form story is part of my play 'Talk Show Confidential,' but the Cliff Notes version is: I ran into Miles when I was in a restaurant in Los Angeles. Actually, he came to my table and said hello. 'That Midday was like my Today show,' he told me in that raspy voice. It turned out he'd been watching me for years and said, 'I always wanted you to interview me.' So the way this whole thing happened was he asked me what I was doing and I told him I had a show in Philadelphia called 'Timeout' and he basically said let's arrange to do it. And about a month or so later, there he was. I was not pleased that the producers of the show chose to add other guests. It should have been just Miles and me for the entire hour. But they were afraid he wouldn't carry the ratings-small thinking, in my opinion, since his appearance on the show made headlines and was discussed before and after on local radio. Anyway, the charming Maurice Hines, an old friend joins in as do some young trumpet players-which sort of worked..See for yourself..Miles Davis circa 1986 in Philadelphia." - Bill Boggs

Andy Williams R.I.P.


Wednesday, 26 September 2012



Paul Westerberg - My Road Now (New Song/Free Download)

(Thanx Martin!)

Magnetik North - Peitsche/Fuck the Napkin/Long Way Back/Kings of the Robot Rhythm

Magnetik North is ‘live drum electronics’. Drum performances are fed through processors, samplers and sequencers to produce layers of rhythmic patterns that interact with each other. Other instruments are melted into different textures so that only the harmonic content remains. This is a new project from Ian Tregoning, engineer and producer for artists as diverse as Yello and Fela Kuti.
Now collaborating with Jaki Liebzeit, the legendary drummer from CAN, to add his endless evolving rhythms. The finished results are a hypnotic blend of industrial, classical, Krautrock and Detroit electronica. Like listening to a ‘raga in an earthquake’.
Musicians :
IAN TREGONING electronics, percussion
LEE HARRIS (from TALK TALK) djembe, chinese percussion
KUMO shaker, ARP 2600
TIM HUTTON trumpet

Double-vinyl release : Now available thru RoughTrade, Phonica, iTunes and here
Magnetik North



What The Future Sounded Like (2006)



Moog is a 2004 documentary film by Hans Fjellestad about electronic instrument pioneer Dr. Robert Moog. The film features scenes of Dr. Moog interacting with various musical artists who view Moog as an influential figure in the history of electronic music.
Moog is not a comprehensive history of electronic music nor does it serve as a chronological history of the development of the Moog synthesizer. There is no narration, rather the scenes feature candid conversation and interviews that serve more as a tribute to Moog than a documentary.
The film was shot on location in Hollywood, New York, Tokyo, and Asheville, North Carolina where Moog's company is based. Additional concert performances were filmed in London and San Francisco.
The film's 2004 release was designed to coincide with the fiftieth anniversary of Moog Music, Robert Moog's company that was founded as R.A. Moog Co. in 1954.

Bad vibrations: Mike Love sacks Brian Wilson, Al Jardine and David Marks from Beach Boys anniversary tour

Maestro (The History of House Music & NYC Club Culture)

Documentary about House music and how it all started in New York’s underground clubs in the 70-80′s. The film takes you back to the first clubs (Paradise Garage, The loft etc.) and to the people who were involved.

Andy Warhol: The Complete Picture (2002)

The Power Of The Situation

Discovering Psychology: The Power Of The Situation with Philip Zimbardo, Ph.D

Everyone back to Myspace???

First Listen: Flying Lotus - Until The Quiet Comes

For nearly a decade, electronic composer Steven Ellison, a.k.a. Flying Lotus, has churned out living, breathing collages of hip-hop, dubstep, jazz and blues. A disciple of the late beatmaster J Dilla, Ellison is the current king of the beat scene in Los Angeles.
Both his own music and the music of the artists on Ellison's Brainfeeder label have turned what started as instrumental hip-hop into a sound of his own. It's a wonky bundle of skittering beats, bass-heavy bottoms and delicate, melodic tops. Over the years, FlyLo has added to and refined this voice, and Until the Quiet Comes (out Oct. 2) plays like it comes from a tunesmith intimately familiar with his toolbox.
Ellison wends his way through a wide, dizzying canyon of sounds and sensations, all while keeping his cool. The result is intricate enough to make listeners scramble to dissect every little flourish in the mix, but it's also so sonically brash and powerful that it's hard not to let the whole body of sound wash over you. Until the Quiet Comes operates as a continuous thread of music, with a coherent flow of transitioning moods.
It starts off busy: "All In" is an introduction spun from bells, snares, shakers, harps, guitars, basses, kicks and a lilting voice in the background. The temperature cools as a voice wafts into the mix and seduces the ear into another barrage of thumping drum patterns. It's a method Ellison has mastered: lulling listeners with intoxicating melodies, then smacking them upside the head with a sobering bass kick.
This is far from the only trick in FlyLo's bag. Take, for example, "Sultan's Request": Forceful from the outset, the bending synths romp through the track as though they could rip holes through a dance floor. That is, until the low end comes in: an absurd drop of snaking bass that dwarfs the monster sounds preceding it. Then, Ellison jumps out of this low-frequency swamp back into the upper register, by bringing in helium-huffing samples that bounce beneath a steady string of hand claps. He moves from low to high, dense to sparse, mellow to frantic, dark to light, and almost always hits a sweet spot somewhere in between.
Ellison also possesses a knack for bringing in talent, whether as head of the exquisitely curated Brainfeeder or as an artist in search of featured guests. Featured on Until the Quiet Comes are past collaborators Erykah Badu and Thom Yorke. In "See Through to You," layers of Badu's voice are woven into loose, overlapping patterns that function as fibers in FlyLo's sonic quilt. Elsewhere, Yorke's voice haunts "Electric Candyman" with a reverb-thick roll. The Brainfeeder bassist Thundercat is here, too, making an appearance in "DMT Song," a swirling bag of vocals and plucked strings. Niki Randa and Laura Darlington's contributions exemplify Ellison's penchant for using vocals with a ghostly quality to them.
At just more than three-quarters of an hour, Flying Lotus' new album beats with a heart unique to its creator. With each release, FlyLo adds to his palette of sounds without cluttering his arrangements. Until the Quiet Comes is Ellison's most sonically adventurous and least muddled journey yet, as well as a trip worth taking over and over again — the quiet can come later.
Sami Yenigun @'npr'

Listen HERE

Anoushka Shankar - Festival Les Nuits de Fourvière 7/9/12 (Complete Concert)

Anoushka Shankar (born 9 June 1981) is a British sitar player and composer who lives between the United States, the United Kingdom, and India. She is the daughter of Indian sitar player Ravi Shankar and Sukanya Shankar. She is the paternal half-sister of Norah Jones

Anoushka Shankar: A Sitar Player In Andalusia (Listen/Download)

♪♫ Nusrat Fateh Ali Khan - Allah Hoo


One of THE greatest singers of all time. When this man opened his mouth to sing, angels came out...

Qawwali Flamenco - Allah Hu

Qawwali Flamenco

The last thing I remember...

(Thanx Consuela!)

New mix from King Midas Sound's Kiki Hitomi

1. Blondie (Rapture) cover
2. Zomby (Witch Hunt) x Neil Young (Old Man)
3. Evian Christ (Thrown like Jacks) x Velvet Underground (Venus in Furs)
4. Portishead (Machine Gun) x Sister Nancy ( Bam Bam) x Ras G
5. Actress (The Kettle Man) x Missy Elliott (She's A Bitch / Work It)
6. Mark Prichard (Elephant Dub) x Buju Banton (Murderer)
7. Modeselektor (Grillwalker) x Grace Jones (Pull Up To The Bumper)
8. Omar Souleyman (Li Raja Behawakom) x The Bug (Skeng)
Free download. Click on gold @ symbol to left HERE.

‘We do not need any more proof’: Leaders tell UN it’s time to act on rape in war

Mona Eltahawy defaces 'anti-jihad' ad in Times Square station


Peter Christopherson/Coil press conference (30/10/02)

Earth - Fowlers Live, Adelaide (14/9/12)

Appearing for the first time ever in both Australia, and Adelaide - Earth delivered a fantastic set, mixing in great new songs and old favourites. Despite a few technical difficulties, someone ignoring the "no flash" rule, and a low battery causing the final song to only be half recorded, the show was amazing!
Featuring a brand new song, Badger, this recording offers a good look into Earth doing what they do best.
Dylan Carlson - Guitar
Adrienne Davies - Percussion
Don McGreevy - Bass
(Thanx Martin!)
Especially nice as I had to pass on the Melbourne gig due to my recent foot op...

Van Morrison - Born to Sing: No Plan B (2012)

out 2 October 2012

Review in Jazzwise Magazine by Stephen Graham:

"Van Morrison (v, p, el g, as), Paul Moran (Hammond Org, kys p, t), Alistair White (tb), Christopher White (ts, ct), Dave Keary (g), Paul Moore (b) and Jeff Lardner (d). Rec. date not stated
Van Morrison has jazz in his blood, only a fool would think otherwise, and Born to Sing is the latest proof although none is needed. His second for Blue Note, the first What’s Wrong With This Picture? was notable for the poignant ‘Little Village’, a song his fans immediately took to their hearts. Chances are the title track ‘Born to Sing’ will be joining the pantheon of his best songs of the last 25 years, up there with the wondrous ‘Fast Train’, ‘Only a Dream’, and ‘Celtic New Year’. On this, his first studio album since Keep it Simple, this time recorded unusually in his home town of Belfast, Morrison has come up with the goods once again after the commercial and critical success of Keep It Simple and the huge interest shown when he followed it by releasing a live album based on his great 1960s masterpiece, Astral Weeks.
Why he delivers here is mainly because of the anthemic title track, with its showband feel and rousing lyrics, although other tunes such as the bluesy ‘Pagan Heart’ are among a string of strong songs. ‘Close Enough For Jazz’, which adds words to an older instrumental version of the song, is a grower, with some deep-down low singing from Morrison, who turned 67 at the end of August, and a melody that recalls some of his playful work with Georgie Fame on albums such as How Long Has This Been Going On? ‘Educating Archie’ is the joker in the pack, recalling in its title, but not in its lyrics, an old radio show, later on TV, featuring a self willed ventriloquist’s dummy eventually ruling the roost. The album, which also tackles issues facing society including the relentless pursuit of money whatever the cost on the song ‘If In Money We Trust’, has a stripped down small band backing with fine trombone, good horn unisons and a stand-out electric guitar intro cutting the air like a razor on ‘Pagan Heart’."

♪♫ Defunkt Millenium - Believing In Love (2012)

Defunkt Millenium plays Defunkt classic from 1982 "Believing in Love" at Grafelfing Festival (Munich) 2012
Joe Bowie- trombone/vocals,
Kim Clarke- bass/vocals,
Adam Klipple- keyboards/vocals,
Tobias Ralph- drums/vocals,
Vincent Brijs- baritone sax/vocals
Composers Janos Gat/Joe Bowie

Jeff Mills & Orchestre National d'Ile-de-France - Salle Pleyel Paris (23/9/12)

Tuesday, 25 September 2012

Daft Punk: Interstella 5555 - The 5tory of the 5ecret 5tar 5ystem (2003)

The idea for Interstella 5555 formed during the early Discovery recording sessions. Daft Punk's concept for the film involved the merging of science fiction with entertainment industry culture and was further developed with their collaborator Cédric Hervet. All three brought the album and the completed story to Tokyo in the hope of creating the film with their childhood hero, Leiji Matsumoto. After Matsumoto joined the team as visual supervisor, Shinji Shimizu had been contacted to produce the animation and Kazuhisa Takenouchi to direct the film. With the translation coordination of Tamiyuki "Spike" Sugiyama, production began in October 2000 and ended in April 2003.The cost of the film is said to have been $4 million.

Mitt Romney and the myth of self-created millionaires

Sigur Rós - Ekki múkk

Sigur Rós 'Valtari' Mystery Film Experiment: Ekki múkk by Nick Abrahams
Taken from the "valtari mystery film experiment" - more details:

Scott Walker's Bish Bosch due December 3

Bish (n. sl.), bitch
Bosch, Hieronymous (c. 1450–1516), Dutch painter
Bish bosh (sl.), job done, sorted

“I was thinking about making the title refer to a mythological, all-encompassing, giant woman artist.” Scott Walker
A Hieronymous Bosch painting can’t be apprehended in a single blink of an eye. The Garden of Earthly Delights is made up of panels in parallel, with scores of tiny actions and allegorical representations teeming in every square inch of canvas. The painting is big enough to encompass heaven and hell.
Perhaps we should listen to Scott’s music in the same way we’d approach a Bosch canvas. You probably won’t understand it after one viewing, but you can become obsessed with one corner detail another until you eventually come to some understanding of how the different parts fit together and complement each other.
“It’s moving on a bit each time we go. Hopefully it’s getting nearer and nearer the kind of thing that’s in our heads. Little things are improving, a bit more focused. The style is improving.”
Since the 1960s, Scott Walker has scaled the heights of pop superstardom, produced some of the most revered solo albums of the late sixties, coasted on his laurels during the seventies, then metamorphosed into something very different. The music he has been making at his own pace since the early eighties might be utterly estranged from the songs that made him a household name, but they stem from the privacy he requires to write this complex and hugely inventive music.
Bish Bosch is the latest in Scott’s discography to pursue the line of enquiry he began back in 1978, with his four devastatingly original songs on the Walker Brothers’ swansong, Nite Flights, and continuing through Climate of Hunter (1984), Tilt (1995), The Drift (2006). He has continued to mature and develop in a late style utterly at odds with the music that made him a superstar, a lifetime ago, but which is totally honest, uncompromising and transcendent.
Scott began writing his new material around 2009, and recorded it sporadically over the following three years, while he was also involved in composing a work for the ROH2 ballet Duet for One Voice, chorographed by Aletta Collins. Unsurprisingly for a long-term exile from his native America, Bish Bosch is a great melting pot of clamouring voices and languages, swift scene-changes (the album’s geographic reach covers Denmark, the Alps, Hawaii, the ancient landscapes of Scythia, Greece and Rome, and Romania), time-travelling jump-cuts, and metaphors from medical science and molecular biology that seize you by the throat...

Sound Of Creation: Adrian Sherwood's 13 Favourite Albums

'I know music means nothing to some people but for others it's like Bill Shankly and football and life and death. It's everything, it's all consuming. That's how growing up was for me. That was my upbringing'
Fired up in his pre-teens by the first great wave of reggae in the UK charts, Adrian Sherwood has been active in the music business since the age of 13 as a DJ, producer of Lee "Scratch" Perry among others, solo artist and label founder. In the mid-1970s, as co-founder of labels like Carib Gems and Pressure Sounds, he was instrumental in the distribution of some of Jamaica's most legendary massive recording and recording artists into Britain.
However, it's as the founder of On-U-Sound during the post-punk era that he is most famous, having applied his blistering dub treatments not just to artists on his own roster such as Bim Sherman, African Headcharge and Tackhead, but also to a range of sometimes unlikely artists that includes Mark Stewart, Sinead O' Connor, Depeche Mode, Skinny Puppy and Einstürzende Neubauten. He cut his first solo album, with the heartfelt title of Never Trust A Hippy, in 2003. Last month saw the release of his latest solo work, Survival & Resistance.
Sherwood met up with the Quietus to discuss 13 favourite albums, which range all the way from Ray Charles and BBC library music to Augustus Pablo and Burning Spear...
Nice to see that Adrian can't get his head around fugn Pink Floyd either!!!