Tuesday 24 March 2015

Phil Manzanera on Jay Z, Kanye West and the riff that changed his life

Sign o'the times


Grievous Angel - Sonic Router Mix #93


Tracklist:
Kerri Chandler & Monique Bingham: In The Morning (Lost Love Dub) [Bigga Sounds 2006]
Shackleton: Blood Rhythm (Grievous Angel Edit) (2011)
Jamie Woon: Night Air [Ramadanman Remix] (Grievous Angel 130 Edit) [Candent Songs 2010]
Zander Hardy: Attack [Deep Teknologi Records 2010]
Oddyssey: Use It Up and Wear It Out (Grievous Angel Edit) [RCA 1980]
Unknown Soulja: Killing Kong [Unreleased 2010]
Don Morris: Amiga [Deep Teknologi Records 2010]
Grievous Angel: Kleer [Unreleased 2011]
DJ Gregory: Don’t Panic [Faya Combo 2009]
T.Williams: Drumstrumental [Deep Teknologi Records 2010]
DiscoKaina: Click Me On (Grievous Angel Remix) [Unreleased 2011]
DJ Gregory & Gregor Salto: Con Alegria (Solo ‘More Cowbell’ Remix) [Defected 2009]
Grievous Angel Vs Kalbata: Reload [Unreleased 2011]
Grievous Angel feat. Rubi Dan: Move Down Low VIP [Soul Jazz 2010]
Wiley: Electric Boogaloo (ROLLER EXPRESS RMX) [One Love 2010]
Delphic: Halcyon. (L-Vis 1990 Remix) [Chimeric Records 2010]
Felix Da Housecat: Kick Drum [2009]
Grievous Angel: Lush Vibes [Unreleased 2010]
Shackleton: Blood Rhythm (Grievous Angel Funky Remix) [Unreleased 2011]
Interview
MORE MIXES

Friendly neighborhood Kamala Khan, and the changing face of superheroes

Labor And Journalists Have Sold You Out On Brandis' Surveillance Law

Adrian Sherwood - NTS Radio (10-17/3/15)


Fritz Oz: William S. Burroughs in the studio

The Bug VS Soundmurderer (Peel Session 13/11/03)

The Bug
Soundmurderer

Download
Info

Monday 23 March 2015

The Ex's Pukebox

HERE

Sekkleman B2B LQ - Live Vinyl Mix @Railway Hotel (15/3/15)

Sunday 22 March 2015

KiKu ft Blixa Bargeld & Black Cracker - Marcher Sur La Tête

KiKu
Yannick Barman and Cyril Regamey describe KiKu as a modular, avant-garde machine which, thanks to its modular system and open line-up, is never complete and continually dares to push boundaries.
Founded 11 years ago as an acoustic improvisation duo, Barman and Regamey the band’s trumpeter and percussionist have been taking on a more varied and flexible musical form. In February 2003 during a series of 20 concerts at the Swiss Théâtre de l’Oriental in Vevey they developed a sound that ventured into the realms of electronic music and since then have been tearing down the boundaries which often still divide jazz, classical chamber music, electro and rock.
This journey into as yet unexplored soundscapes has taken KiKu around the World to Vietnam, New York and the Willisau Jazz Festival. They’ve met many musicians, from Malcolm Braff to local Big Bands (Léon Francioli, Franco Mento, Julian Sartorius, Jean-Pierre Schaller among others) with whom they’ve collaborated on their different projects.
For the first time ever Barman and Regamey who met at the Lausanne Conservatory are working with words for `Marcher sur la tête’ their third album to date. For KiKu the spoken word serves as primary material, as open code, on this current project. They took words from the poem ‘Belehrung’ by the German poet Hermann Hesse and introduced these free elements which are complemented by David Doyon’s electrifying guitar into their steadily growing tracks.
The voice that recites these words is none other than that of Blixa Bargeld from Einstürzende Neubauten. Guided by a seductive Bargeld the listener is taken through a forbidding landscape that he ploughs through with his recital. From time to time the New York rapper and slam poet Black Cracker takes up the sceptre with his freestyle lyrics, thereby significantly widening the field that KiKu is creating.
With ‘Marcher sur la tête’, an album of unprecedented density, KiKu is succeeding in bringing together a musically adventurous spirit with the spoken word

The oddly beautiful and sometimes disturbing artistic talent of the nation’s drug cops

John Lydon & Ian Curtis reimagined as super heroes

Via
Butcher Billy

Black Cab - Live @Howler Brunswick Melbourne (20/3/15)


(Click arrow to download)
Closing Ceremony
Supermädchen
Combat Boots
Kornelia Ender
Victorious
Go Slow
My War
Sexy Polizei
586
Underground Star/Heart's On Fire
Photo: JesseT
Recorded on handheld Tascam DR-40

Saturday 21 March 2015

Friday 20 March 2015

Black Cab - My War (Live @Shebeen 21/1/15)


The first time this track was played live

Black Cab - Closing Ceremony/ Supermädchen/ Victorious/ Sexy Polizei (Live to air 3PBS 4/2/15)

Closing Ceremony
Supermadchen
Victorious
Sexy Polizei
(Click titles to download)
Photo: Lucy Spartalis
Black Cab are playing tonight at Howler which unfortunately if you haven't got a ticket is now sold out. I shall be there with my Tascam, so you will be able to hear their set here tomorrow

Tim Mitchell: Sonic Transmission (Chapter 12 - Little Johnny Jewel)


Through July and August 1975, Television continued to play at CBGB and in August Patti Smith began recording ‘Horses’. Verlaine contributed guitar on one track, making only a brief appearance in the studio in the process (producer John Cale recalls having ‘zero interface with him – except via a fleeting Patti entourage’149).There was already more than enough confrontation in the studio, anyway, where the joint presence of Smith, Allen Lanier and Cale (‘I wasn’t sure if (Patti) wanted to bed me or have me record her,’149 Cale says) had already raised the emotional temperature to boiling point. On that song, ‘Break It Up’, Verlaine’s contribution is distinctive but far from definitive, with short, preparatory runs and then climactic surges that almost overload Smith’s vocals. His solo, too – unexceptional and slightly ragged – shows little sign of what was to come from his own recorded work. Once more, he seemed to be keeping his real capabilities under wraps.On the night of August 19th, Television were sitting around in Patti Smith’s rehearsal room, down the hall from the offices of her Wartoke management company, and Verlaine decided that it was time they they recorded their own single. Having saved up some money from their live appearances, they now had, for the first time, enough in hand to make the proposition economically viable. Verlaine had Smith’s recent ‘Piss Factory’ as a successful precedent, not to mention the recording of ‘Horses’ to spur him on – a reminder that, once again, his band were behind the pace.That night, six possible contenders were recorded, with each band member playing in a separate room (‘We’d hear each other through the walls,’ Fred Smith later recalled3), and Verlaine plugging his guitar directly into the four-track recorder they were using, which had been borrowed from Smith’s drummer Jay Dee Daugherty. The band recorded a couple of their older songs, ‘Hard on Love’ and ‘I Don’t Care’, the newer ‘Friction’, ‘Prove It’ and ‘Little Johnny Jewel’ (on which Verlaine overdubbed some piano and organ) and a version of ‘Fire Engine’.‘Fire Engine’, like ‘Psychotic Reaction’, the other cover version in their live show, was a garage-band song dealing with altered states of mind. Both these songs explore the effects of the kind of derangement of the senses that Rimbaud had espoused as a way of finding new truths. Mental dislocation was a subject that Verlaine had already dealt with in ‘Poor Circulation’ and also in ‘Double Exposure’, a dramatisation of what he was later to say was the root of insanity
Due to a publisher’s error, Sonic Transmission was printed without its twelfth chapter, ‘Little Johnny Jewel’

Theresa Stern: Mess with my face and see it split (1973)

Richard Hell
Tom Verlaine

Theresa Stern was born on October 27, 1949, of a German Jewish father and a Puerto Rican mother in Hoboken, N.J., directly across the Hudson from New York City. She still lives there, alone, where all the poems in this book were written over a four month period in the summer and fall of 1971. She has since devoted that of her time not spent in flipping coins to composing a love story, THIN SKIN. It describes the murder, in ten chapters fired by Theresa, of her closest friend.

WANNA GO OUT?
is a question often asked on the streets around the cheaper bars in New York and Hoboken.

First poem in Wanna Go Out?:
STARS I WAS
Stars, why did you describe me?
You could have had a tree for a tattoo.
Why did I have to be these colors?
It's an ulterior motive, this 3-D nothing.
I loved him so much
but I accidentally dropped an electric toothbrush
into my cunt
and fried his johnson.
My box of chocolates start singing "This Is My Father's World" and
I ram a tooth into the baritone nougat.

Last poem in Wanna Go Out?:
YOU STRANGER I'M TIGHT AND JUICY
The stranger and the moon are good buddies.
The stranger is a puddle
and the moon is the moon's reflection in the puddle.
This is as close as we poets can come to life.
I depend upon your mercy as a goose upon a cigar.
Close this book I scream and come look me up so we can fuck as long
as I don't have to talk.
I'm not about to pay any of my debts ever.
Gored by Beethoven, you should know what it's like to be built
inside a little bottle out of wood.
The stranger has a cigar and is observing geese
pass across the moon like an intricate model ship
or symphonic violins, and all I can do is dream of mud, oh mud, mud.
Via
Mary Harron interviews Theresa Stern (Punk #4)

My copy of 'Wanna Go Out?' is autographed by Richard Hell. I really should have taken it down to Hobart when I went to see Television there. I wonder what Tom Verlaine's reaction would have been?

Thursday 19 March 2015

Sherwood & Pinch - Gimme Some More (Tight Like That)

The Pop Group - We Are All Prostitutes (Live @Bowery Ballroom NYC 17/3/15)


Thanks Joly!

Soft Machine - Ce Soir On Danse (Paris 10/67


Kevin Ayers
Mike Ratledge
Robert Wyatt

Daevid Allen, Soft Machine & The New Statesman

For Val XXX

Image and video hosting by TinyPic

Robert Wyatt interviewed by George Galloway (RT Sputnik 20/2/15)


Start at 13:02 to avoid all the wank beforehand

Daevid Allen & Robert Wyatt as extras in ‘Playa de Formentor’ (1964)

Soft Machine - Poem For Hoppy (Live at UFO in 2/6/67)


This was the day after John Hopkins was sent down for 9 months. Arrested for cannabis possession, Hopkins elected for trial by jury. In court on 1 June 1967, Hopkins claimed that cannabis was harmless and that the law should be changed. The judge, describing him as "a pest to society", sentenced Hopkins to nine months in prison for keeping premises for the smoking of cannabis and possession of cannabis, although he served only six months. Hoppy started UFO with Joe Boyd whose voice is heard at the beginning saying to "cut the record"

The Unlikely Story of 'A Change Is Gonna Come'

Wednesday 18 March 2015

WTF?

Skintologists ft Nyusta - Light To The Shadow

Terry Riley on Daevid Allen

...Daevid and I remained friends through that whole period in Paris. I got Daevid into tape loops. I played him this stuff I had done in San Francisco with Anna Halprin like “Mescaline Mix” and pieces like that. Daevid got really interested in that and started doing a lot of stuff with tape loops. We used to jam a lot together in Paris. I’d also hang out on his houseboat on the Seine. It was very funky. He probably got it for $50 or cheaper. It was tied up to a quai and was a very small, one-room space. He lived there the whole time I was in Paris. We had mutual friends down at The Beat Hotel in Paris. We’d go down there a lot. We’d meet people like Brion Gysin and William S. Burroughs there. Our cultural life at the time involved going from the houseboat to The Beat Hotel. We ran into many interesting people.
MORE

Picós: Colombian sound systems


At the end of the 60’s the afro population of the Colombian Atlantic Coast developed an alternative to enjoy, and in turn, locally spread their preferred music; they built hand-made sound systems capable of triggering a huge party. These sound systems are known in the Colombian Caribbean as Picós. These Colombian sound systems were known, among other things, for having their own name (El Timbalero, El Coreano, El Isleño) as well as for their over-the-top appearance, and for having audio components that magnified their sound power to the maximum.
The so-called Picós, as mobile stations, began in the 60’s to create the basis of an urban, popular and contemporary culture that expresses itself through these powerful sound machines. The sound systems became the center of social and economic networks of craftsmen DJs, owners, music sellers, producers and purchasers, which together, on a small scale, make up an informal economy generated specifically to build, transport and operate these "mobile cultural spaces" which were popularly baptized as Picós.
The PICÓ documentary aims to tell the story of the Maury family in Barranquilla, Colombia, who for 40 years have lived in a house in the La Magdalena neighborhood, which in turn they transformed into a place where people gather, known as "La isla del encanto (the Island of enchantment)."
PHOTOS

The Biggest Drug And Gun Market On The Dark Web Just Disappeared And Millions Of Bitcoin With It

Adrian Sherwood:'What doesn’t Evolve Stays in the Realm of Nostalgia'

Bladerunner model shop photos



MORE

Jerry Dammers Allstars ft Hypnotic Brass & Space Ape - Ghost Town

The Spaceape RSD 7"



The Spaceape - Ghost Town (ft Kode 9)/At War With Time (ft The Bug) Hyperdub 7" Strictly Ltd RSD release
LIMITED EDITION OF 1000 COPIES ON GOLD VINYL - GOLD FOIL-BLOCKED SLEEVE WITH IN MEMORIAM CARD INSERT RELEASED IN TRIBUTE TO STEPHEN SAMUEL GORDON AKA THE SPACEAPE, 1970 - 2014, R.I.P.

Sugarmen - Dirt


Produced by Mick Jones

Earl Sweatshirt - Grief

The Irrationality of Alcoholics Anonymous