PHOTOS
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The Driven describes the people running loose in the interior of the mental health section of the prison. "Auto-PILOT" - as fellow resident Semyon Bumagin called them. We were never sure if the Russian really had Alzheimer's, was faking in hopes of a reduced sentence, or was gaming us so well that us being unable to tell was all a part of his master plan.
Submerged - beats / synthesizers
Bill Laswell - bass guitar / bass noise
Balázs Pándi - live drums
Matt Labozza - effectron II / guitars / noise
SHVLFCE - artwork
Summoned by Submerged at Black Site Studio
Submerged vs. Bill Laswell "The Driven"
taken from the forthcoming album
After Such Knowledge, What Forgiveness?

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Adrian Sherwood's love affair with reggae began as a teenager in High Wycombe. He started DJing in his early teens and then threw himself into the music industry—by the time he was 20 he had run a record shop, set up a distribution company and run multiple record labels. In the 1980s he forged a name for himself as a producer, putting his own distinctive, uncluttered stamp on all kinds of music, from reggae to industrial to jazz. The number of projects he's leant his name to is staggering. He's made psychedelic Afro-dub with Africa Head Charge, remixed Depeche Mode, hit the studio with Lee 'Scratch' Perry, dabbled in experimental hip-hop with Tackhead and overseen reggae collectives like Singers & Players. He burst out of the blocks in 2015, releasing a collaborative album with Pinch and starting a new compilation series called At The Controls. He stopped by our London office this month to discuss the highs and lows of his four-decade career

Spooked

Tracklists

The Pop Group

"Irony. Utility. Pretext."

They said it’s not enough
just to shoot us down
It’s a sound that’s systematized
It’s a noise just to drown us out
But when your time is come
we’ll all be there
just to watch you fall
And then one by one
all the parasites will just fall off

You put your vote in a ballot box
This one’s marked UNDP
Inscribe your
tyrant’s name in blood
Choice is the guillotine

We’ll put our faith into Afro Pop
in a decolonized context
Espouse the aesthetes’
contempt for ethos
Irony. Utility. Pretext.

“Embrace primitive man”
(La-la-la-la-la, you say)
“Destroy primitive man”
(La-la-la-la-la, you say)

“With our art
we’ll transcend again”

You put your hand out to shake
Then they export you in chains
You fought
for centuries for change
And they gave you
more of the same
They swapped the dogs
and the cross
for sublimated forestalling
They changed the names
of the boss
until you forgot who it was

Find your favorite color
so you can wash it out
in your hymns
Correcting primitive cracks
into straight lines
Superiority is born again

We’ll put our faith into Afro Pop
in a decolonized context
Espouse the aesthetes’
contempt for ethos
Irony. Utility. Pretext.

But all you can say is...

Algiers
This is from 2012...how did I miss this? Debut album coming out in June on Matador

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*Clickbait

You just know our s̶u̶b̶u̶r̶b̶a̶n̶ ̶s̶o̶l̶i̶c̶i̶t̶o̶r̶ sorry Attorney General will not understand this at all

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Meanwhile just one day after Australia's data retention scheme was passed...

Featuring: Little John, Pampidoo, Philip Fraser, Tippa Lee & Rappa Roberts, Yami Bolo, Danny Culture and Barry G
Via
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Let me play you “Arleen,” by General Echo, a seven-inch 45 on the Techniques label, produced by Winston Riley, a number one hit in Jamaica in the autumn of 1979. “Arleen” is in the Stalag 17 riddim, a slow, heavy, insinuating track that is nearly all bass—the drums do little more than bracket and punctuate, and the original’s brass-section color has been entirely omitted in this version. I’m not really sure what Echo is saying. It sounds like “Arleen wants to dream with a dream.” A dream within a dream. Whether or not those are his actual words, it is the immediate sense. The riddim is at once liquid and halting, as if it were moving through a dark room filled with hanging draperies, incense and ganja smoke, sluggish and nearly impenetrable air—the bass walks and hurtles. Echo’s delivery is mostly talkover, with just a bit of sing-song at the end of the verse. It is suggestive, seductive, hypnotic, light-footed, veiling questionable designs under a scrim of innocence, or else addled, talking shit in a daze as a result of an injury: “My gal Arleen, she love whipped cream/Every time I check her she cook sardine….”

John Renbourn R.I.P.

HERE
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"The Roots of Black Protest" Max Roach & the J.C. White Singers
Arthur Burghardt as Frederick Douglass

HERE

Why does Jeremy Clarkson get me so angry?

HERE
Interestingly on the day that Australia brought in mandatory data retention because you know "terrorism" that Alex Murray one of the journalists who worked on this piece at the BBC said on Facebook: "One of our key findings is that the importance of "radicalisation by internet" is less important than friendships and peer groups, which challenges one narrative which is frequently repeated and induces a public paranoia about the threat"

The third in a series of four shows. This and others can be downloaded at Swamp's blog

New data world order: government can read every Australian like an open book

Even if we wanted to live in a police state, history suggests that we can never really truly deal with terrorism.
And that perversely, the best way to tackle extremism of any sort is to keep an open, accountable society with a free media, able to do its job, interrogating not just governments, but those whose opinions tend to drift off into the political extremes...
Obviously there’s been a lot of discussion and debate about the metadata legislation and I haven’t been in the country long enough to really get involved at a personal level.I would like to take a closer look and see what we can do with that, but I think that we need to, as I said, hold to those principles and have a bigger debate about what the relationship should be between the press and the government.Which way do we want to go with this? Do we want to head towards more authoritarianism or head towards more accountability? That’s the way the slider works. It seems to me to be quite binary and we need to be conscious of that dilemma.That’s the discussion that the nation needs to have

Peter Greste calls for universal charter of media freedoms

A selection of scenes taken from the opening of Soy Cuba (Я Куба) Mikhail Kalatozov (1964)

The Iron Whim is a history of writing culture and technology. It covers the early history and evolution of the typewriter as well as the various attempts over the years to change the keyboard configuration, but it is primarily about the role played by this marvel in the writer’s life. Darren Wershler-Henry populates his book with figures as disparate as Bram Stoker, Mark Twain, Franz Kafka, Norman Mailer, Alger Hiss, William Burroughs, J. G. Ballard, Jack Kerouac, Hunter S. Thompson, Northrop Frye, David Cronenberg, and David Letterman; the soundtrack ranges from the industrial clatter of a newsroom full of Underwoods to the more muted tapping and hum of the Selectric. Wershler-Henry casts a bemused eye on the odd history of early writing machines, important and unusual typewritten texts, the creation of On the Road, and the exploits of a typewriting cockroach named Archy, numerous monkeys, poets, and even a couple of vampires. And by broadening his focus to look at typewriting as a social system as well as the typewriter as a technological form, he examines the way that the tool has shaped the creative process
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Melbourne lanes

Van Morrison: Astral Sojourn

HERE
Drawing by Stanley Mouse