Monday, 30 March 2015
Sunday, 29 March 2015
Saturday, 28 March 2015
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Submerged VS Bill Laswell - The Driven
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?
Friday, 27 March 2015
RA EX.243: Adrian Sherwood
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
Algiers - Irony. Utility. Pretext.
"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...
HA!
Wha Dat Hi Fi In Session (1985)
Featuring: Little John, Pampidoo, Philip Fraser, Tippa Lee & Rappa Roberts, Yami Bolo, Danny Culture and Barry G
Via
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Luc Sante: Arleen
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….”
Continue reading
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Max Roach & M’Boom, Bobby Hebb with Ron Carter & The Persuasions - Live on SOUL! (17/11/71)
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"The Roots of Black Protest" Max Roach & the J.C. White Singers
Arthur Burghardt as Frederick Douglass
Thursday, 26 March 2015
Tracking Britain's jihadists
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"
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Peter Greste on the just passed metadata bill
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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
Darren Wershler-Henry: The Iron Whim - A Fragmented History of Typewriting (2005)
Download
Wednesday, 25 March 2015
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Scott Ludlum VS George Brandis
Scott Ludlum makes Brandis, um, squirm in 2014
Australia's new draconian Medadata Retention Bill will no doubt be passed today and the online copyright infringement code passed by the end of the week. Perfect timing really as 'Game of Thrones' starts next month and of course is shown out here on Murdoch's Foxtel network. Maybe it is time for all Australians to look for a VPN
...and in case you haven't seen it before here's our Attorney General 'explaining' metadata
Final word goes to Scott
Australia's new draconian Medadata Retention Bill will no doubt be passed today and the online copyright infringement code passed by the end of the week. Perfect timing really as 'Game of Thrones' starts next month and of course is shown out here on Murdoch's Foxtel network. Maybe it is time for all Australians to look for a VPN
...and in case you haven't seen it before here's our Attorney General 'explaining' metadata
Final word goes to Scott
Australian Music Group Wants ISP's To Spy On Their Customers To Stop Piracy
Tuesday, 24 March 2015
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
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Monday, 23 March 2015
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
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
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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 - Closing Ceremony/ Supermädchen/ Victorious/ Sexy Polizei (Live to air 3PBS 4/2/15)
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
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