WTF???

Justice Elizabeth Curtain denied when sentencing Clinton Rintoull to 20 years jail for his "ferocious and brutal" attack on Liep Gony that the murder was  racially motivated.

He had wrtten "fuck da niggers" on the wall of his house and announced shortly before the attack that he was "going to kill the blacks".

Liep Gony was Sudanese.

Justice Curtain of the Victorian Supreme Court here in Melbourne you are a fugn idiot and this song is for you:

Heaven 17 - We Don't Need This Fascist Groove Thang

Snowpocalypse! 14th and U snowball fight - 19th December 2009

You in there Fifi? 
(...or just sipping yr Moet at the sidelines?LOL!)
Actually this light hearted story has an over the top Police twist
More from Fifi here.

Interviews w/ Derrick May, Juan Atkins & Kevin Saunderson from 1988-90

HERE

Jingle Bell - Punjabi Tadka

Noise & Capitalism

Noise & Capitalism

Publisher: Arteleku Audiolab (Kritika series), Donostia-San Sebastián (Gipuzkoa)

Publication date: September 2009.

ISBN: 978-84-7908-622-1

Contributors: Ray Brassier, Emma Hedditch, Matthew Hyland, Anthony Iles, Sara Kaaman, Mattin, Nina Power,  Edwin Prévost, Bruce Russell, Matthieu Saladin, Howard Slater, Csaba Toth, Ben Watson.

Editors: Mattin & Anthony Iles

‘Noise’ not only designates the no-man’s-land between electro-acoustic investigation, free improvisation, avant-garde experiment, and sound art; more interestingly, it refers to anomalous zones of interference between genres: between post-punk and free jazz; between musique concrète and folk; between stochastic composition and art brut. – Ray Brassier

This book, Noise & Capitalism, is a tool for understanding the situation we are living through, the way our practices and our subjectivities are determined by capitalism. It explores contemporary alienation in order to discover whether the practices of improvisation and noise contain or can produce emancipatory moments and how these practices point towards social relations which can extend these moments.

If the conditions in which we produce our music affects our playing then let's try to feel through them, understand them as much as possible and, then, change these conditions.

If our senses are appropriated by capitalism and put to work in an ‘attention economy’, let's, then, reappropriate our senses, our capacity to feel, our receptive powers; let's start the war at the membrane!

Alienated language is noise, but noise contains possibilities that may, who knows, be more affective than discursive, more enigmatic than dogmatic.

Noise and improvisation are practices of risk, a ‘going fragile’. Yet these risks imply a social responsibility that could take us beyond ‘phoney freedom’ and into unities of differing.

We find ourselves poised between vicariously florid academic criticism, overspecialised niche markets and basements full of anti-intellectual escapists. There is, afterall, 'a Franco, Churchill, Roosevelt, inside all of us...' yet this book is written neither by chiefs nor generals.
Here non-appointed practitioners, who are not yet disinterested, autotheorise ways of thinking through the contemporary conditions for making difficult music and opening up to the willfully perverse satisfactions of the auricular drives.

The distribution of this book is going to be done by trading:

If you are an artist, musician, writer or engage in any creative activity, we would very much appreciate that you send a sample of your work as a form of exchange for the book. Otherwise you can write a critical response to the book and send it to Arteleku.

If you are a distributor or a label or a publisher and you want to get copies of the book for distribution, you can send single copies of different books, zines or records in exchange and Arteleku will send you copies of the book in return.

Any material sent to Arteleku will become part of Arteleku's library and people will have free access to this material.

Post: Arteleku, Kristobaldegi 14 (o nuevo P. Ainzieta), Loiola Auzoa, 20014 Donostia - San Sebastián (Spain).
Email: arteleku@gipuzkoa.net

Arteleku might take some time to reply and to send the books but they will do it as soon as they can.

This book can be downloaded as a PDF file:

HERE

Iran Special: Austin Heap on “The Attack on Twitter”

Copyright Criminals Trailer

Copyright Criminals, a documentary about digital samplings head-on collision with copyright law, features many of hip-hop musics celebrated figures—including Public Enemy, De La Soul, the Beastie Boys, and Digital Underground—as well as emerging artists from record labels Definitive Jux, Rhymesayers, Ninja Tune, and more. The documentary also provides an in-depth look at artists who have been sampled, such as former James Brown drummer Clyde Stubblefield, as well as commentary by another highly sampled musician, funk legend George Clinton. 

(Thanx Don!)

Tom Waits - Chritmas Card From a Hooker in Minneapolis

This sounds really interesting

Electroacoustic Music History Volumes 1 - 12

Disc 1 includes works by Oliver Messiaen, John Cage, Pierre Schaeffer and Pierre Henry. Disc 2 includes works by John Cage, Herbert Eimert, Robert Beyer and Otto Luening. Disc 3 includes works by Bruno Maderna, Karlheinz Stockhausen, Vladimir Ussachevsky, Herbert Eimert, Karel Goeyvaerts, Pierre Henry, Otto Luening and Michel Philippot. Disc 4 includes works by Bengt Hambraeus, Giselher Klebe and Edgard Varèse. Disc 5 includes works by Michael Koenig, Ernst Krenek, Henri Pousseur, Bruno Maderna, Karlheinz Stockhausen, Vladimir Ussachevsky, Luciano Berio and Franco Evangelisti. Disc 6 includes works by György Ligeti, Bruno Maderna, Henri Pousseur, Iannis Xenakis, Luciano Berio, Pierre Boulez and Reginaldo Carvalho. Disc 7 includes works by Bruno Maderna, Edgard Varèse, Pierre Schaeffer, Iannis Xenakis, György Ligeti and Luciano Berio. Disc 8 includes works by Pierre Schaeffer, Luciano Berio, Aldo Clementi, Mauricio Kagel, Bruno Maderna, Max Mathews and Luigi Nono. Disc 9 includes works by Bruno Maderna, Henri Pousseur and Iannis Xenakis. Disc 10 includes two versions of Kontakte, by Karlheinz Stockhausen. Disc 11 includes works by Jorge Antunes, Milton Babbit, Luciano Berio, Niccolo Castiglioni and Bruno Maderna and disc 12 includes works by Henri Pousseur, Jorge Antunes, Herbert Eimert, Bruno Maderna and Bernard Parmegiani.

All the details

@'Dualtrack'

...and while you are there leave a comment so that we will get to hear all this amazing music!

Big furry head

Sorry - that is NOT a meaningful climate change deal!
Thom Yorke's take here

The Clash - White Riot Tour: Harlesden Colosseum, London (Nick Kent, NME, 19 March 1977)

NICK KENT comes out of hiding to offer himself as a

'punk' sacrifice to the ritualistic 'beat' of THE CLASH,
THE BUZZCOCKS, THE SUBWAY SECT and THE SLITS...and hangs around to join in the ceremony himself. Well, sort of...

London this week has been witnessing dramatic new developments in the so-called 'punk' youth movement currently sweeping the country. From his secret headquarters, last thought to be a cupboard situated somewhere in the Clapham South area, Chairman Mal "The Mug" McContent wrought mighty changes in the system when, in a message to his party, he informed all concerned that from now on the 'punk' ethos could only be attained not, as previously was the law, by 'gobbing' on pedestrians anywhere within the Kings Road district, but by beating rock critics over the head with rusty bicycle chains and running away.

In a detailed manifesto, "The Mug" drew up the exacting rules by which all interested parties could achieve the ends of this "offensive". First he claimed 'punk' predators needed to search out these "scumbag jewboy hypocrites" (as the rock critic element was to be referred to thenceforth) in places like the Roxy, the Marquee and the Nashville.

They should then "irritate" their victims by means of quick kicks in the shin, "accidentally" pouring beer over them while passing by, etc, .and, eventually, when the victim is aggravated enough to retaliate, they should bring in a mate who will "pacify" the critic by brandishing a large knife approximately two inches from the latter's face, and start swinging the chain directly against the cranium of one's victim until stitches are thought to be necessary. The predator should simply "run away".

The manifesto adds that, as a bonus, anyone causing "the critic" to "get what he deserved" could expect to join members Johnny Rotten and Sid Vicious in a reconstructed Sex Pistols. The first direct consequence of this latest dramatic occurrance, after a surprisingly lethargic immediate response to the call-to-arms, has been the counter-ploy  announcement from one Nick "Judas" Kent (considered by Mal McContent's collective to be one of the most desirable craniums amongst the 'rock' critic' crowd to shatter) that he was willing to be the first official sacrifice to this 'new order'. "Well, it's cheaper than a lobotomy, innit?" quipped the ageing 'hack' from his bomb shelter/bachelor pad below a massage parlour in Kilburn. "No, but really...you've gotta dig it," he continued. "These kids are where it's at, you know. Heavy duty destruction, the breaking down of the old way. I mean, Johnny, Sid, those guys...they're so soulful, so honest.

"I'm truly touched they even mention my name at their press conferences these days. 'The biggest hypocrite walking the face of the earth' – that's pretty heavy, right – and I'm flattered, 'cos, dig, I'm hip to the trip. It's like the same as when me and Iggy Pop used to..."

KENT WAS later seen down at the Colosseum in Harlesden, a Pakistani cinema that has suddenly allowed the New Wave to 'do their thing' at the premises on a trial basis. Friday night saw The Slits, Subway Sect, Buzzcocks and The Clash performing to a 50/50 crowd of fanatics and mongoloid impersonators whose usual habitat is the Roxy Club. Kent had arrived early to check out the basic geography of the place and see where the best spot would be to have his 'lobotomy' executed. Despairing somewhat at the timid lack of 'activity', he'd disappeared to the pub, thus missing all-girl 'punk' band The Slits, who had been performing their sound check when he left.

Mildly fortified, Kent returned just in time to witness

The Subway Sect. Ah, this is more like it, he thought, looking down at the bunch directly in front of the stage. There was this one guy, see, who looked, exquisitely like a vole sniffing glue, squirting globules of the stuff into the hair of his 'mates' when not falling around or pushing people over, or else getting his four or five cohorts to chant something along the line of "Boring old farts – sitting down" to all those comparatively disinterested souls behind them.

Monsieur Vole, Kent was duly informed, actually ran a New Wave fanzine. Heavy, he thought – and how suitable! He was quite ready to descend from the circle to let the ritual commence...until he noticed a disturbing lack of weaponry being openly brandished. What, no chains, no knives, no...steel combs, even!

His heart sank.

And the band would have been just right, too. They were absolutely godawful. Drawing together what shards of logic and perception he hadn't discarded specially for the occasion, Kent realised that unless one had a hernia or something equally debilitating, it would be quite impossible to dance to The Subway Sect's music. Such planned obsolescence, so resolute a 'blankness' of attitude...such crappy instruments...and such a determined inability to finger even the most mundane chord shapes imaginable...

And then there were The Buzzcocks, who certain factions of the crowd knew beforehand, because they were shouting "Breakdown! Breakdown!" – which turned out to be the title of this band's only record so far. This duly was churned out as their first song and, sounding exactly like a cheap, sloppy Ramones workout, set the precedent for every other 'toon' to come. Trouble was, though, this lot come from "up t'North, lahk", and t'singer looks and sounds unerringly like some punk Wee Georgie Wood who's just swapped his old ukelele for an electric guitar. Also, excepting the singer's puckish frame all swathed in black; the other bully boys in the group all chose to wear these quite grotesque pop-art shirts which even The Who wouldn't have worn for publicity shots circa 'Anyway Anyhow Anywhere'. They looked and sounded dreadful, anyway, and Kent quite firmly had decided that their presence onstage to coincide with his 'scalp graft' was so simply not on. He laid low in the 'gods', waiting for The Clash to providejust the right moment.

THE CLASH eventually came on, to be faced with immediate equipment problems: "And it's all new stuff," moaned the guitar player aggressively, in his special bright red outfit resembling 'pop star' army fatigues. He and the other two frontmen had obviously already seen a bit of 'geldt' from their reputed six-figure deal with CBS. The old paint-flecked jumble sale duds, for example, once so defiantly modelled so that the 'kids' could easily copy the band's style and attitude, had been dumped for custom made threads: extravagant space cadet uniforms – or at least that's what they most resembled – with big lapels and all manner of seamstress embellishment. They looked like pop stars (albeit rather subversive ones), glamorous enough to be comfortably slotted into some suitably futuristic scaffolding on the Supersonic set. It made Kent remember the previous afternoon, when he'd heard 'White Riot', The Clash's single, at the NME office – and at first had been disappointed at its patent lack of 'menace' until he realised that the chorus had been made insidiously catchy enough to become a sort of football chant. That it was commercial enough, in other words, to be truly subversive. Anyway, sod the new clothes and new quipment! They looked and sounded good, and were probably eating regularly. Starvation, after all, doesn't always enhance commitment; it more often than not brings malnutrition and makes one listless and low-energy irritable. When the band kicked into 'London's Burning', Kent also recalled the first (and only previous) time he'd seen The Clash – when they were battling hard against shoddy equipment, with out-of-tune guitars constantly threatening to destroy the intense energy level but never quite succeeding. There was a tension to their sound then which set them apart from all the other bands simply because it was really was tainted with all the desperate industrial rhythms of their native environment. Nothing, mercifully, had been lost.

'London's Burning', as performed in Harlesden, stiff smouldered with equal quotients of rage and the sheer exhilarating rush of speeding down the Westway. Kent settled back to watch this band. He suddenly felt involved in this music. Of course, the kids in the front were going apeshit now. Pushing each other over, tossing beer every-whichway... living on zombie-time, as ever. Suddenly Joe Strummer stopped between numbers, "Stop throwing beer at me! I don't like it," he stated in a decisively no-bullshit way. Kent dug that. After all, even Iggy hadn't told the arse-wipes at Aylesbury, involved in said activity, to "quit it". A cool guy. this Strummer.

The three-pronged Clash visual was great too. Guitarist Mick Jones pushing himself physically to the limits, bassist Paul Simenon like something straight out of Muscle Beach Party, succeeding on bass exactly like the Richard Hell of Television days when Patti Smith wrote of the latter, "his bass playing is total trash but he has this way of approaching the instrument that is so physical it comes off sounding real sexy."

And Strummer dead centre, very, very authoritative.

Strummer's stance sums up this band at its best, really: it's all to do with real 'punk' credentials – a Billy The Kid sense of tough tempered with an innate sense of humanity which involves possessing a sense of morality totally absent in the childish nihilism flaunted by Johnny Rotten and clownish co-conspirators.

That is what Eddie Cochran had, what Townshend had...not some half-baked feelings about anarchy or any of that other jive.

"To be outside the law you must be honest" isn't just some hip piece of rhetoric: it adds up perfectly and always will just as long as human beings need to take up a rebel stance.

The Clash's music is taking on other dimensions as the band moves on, too. It's no longer just a Ramones-ish adrenalin spitfire rush, there's a rock steady readjustment here and, like I said about the single, a sharp commercial bite to the numbers that, combined with the best new wave lyrics/sentiments currently in town courtesy of songs like 'Janie Jones', '1977', 'Protex Blue', 'I'm So Bored With The USA' (the only recent I'mso-bored rock declaration Kent could even halfway stomach), and the new 'Garage Land', that makes for truly subversive rock.

As they left the stage, Kent thought The Clash took up exactly where Ian Hunter's Mott The Hoople left off, anyway – a perfect rock critic analysis, that.

He was just leaving the cinema, thoughts of selfsacrifice conspicuous by their absence, when he noticed some yob approaching. "I'm Bruce Lee's son – what are you going to do about it?" he muttered.

Nothing happened, of course. It took him at least a minute to remember he'd heard the line coming from Joe Strummer's lips only half an hour earlier.
I caught this tour in Edinburgh (as it was banned in Glasgow by the council) with the added bonus (?) of The Jam all for one pound fifty pee! 
Followed by a long sleepless night at Waverley Station in the company of Tony D & Skid Kid from 'Ripped & Torn'. 
One of the best night's of my life. 

Bonus Audio:

The Clash 
Live Edinburgh Playhouse 
7th May 1977

NQ - Like Styrofoam Bleeding (mp3/FLAC)

As Autumn creeps in, we have a stunning album for you from Cologne, Germany based artist Nils Quak. This album is a lovingly crafted blend of pulsating drones, distant field recordings and repetitious minimalism. Nils has also chosen to include with this album, his own custom made Max/Msp application. The app is included in the zip files, in both standalone Windows and Mac versions.

1. Leaving Town
2. Dalmond
3. Drip
4. Grin
5. Farewell To A Ghost
6. You Will Never Be Home Again
7. Highwires And Stardust Memories
8. If It Would Be Different At All
9. Trainyards
10. Pachinko Depression
11. Autobahnkreuz München Nord
12. Wet Sunshine And Moving Cars
13. Like Styrofoam, Bleeding 
    

Written and recorded in 2009 by Nils Quak at The Space Without A Name.

HERE

MLZ Mix 1 by modernlove

   

New MashUptheTown podcast

Podcast 36 - Dreadlocks Returns to the 36th Echo Chamber

This podcast contains:
Artist; Song; Album

1. King Tubby: The Roots Prophet; Balmagie Jam Rock
2. Niney featuring the Soul Syndicate; Smile Dub; Present Dub
3. Solomon Jabby; Rootsman Dub; Revolutionary Dub Vibrations Chapter 1
4. Lennox Miller/Jah Coller; Better Must Come/Speaks His Mind; Jack Ruby Hi-Fi
5. Dennis Alcopone; Segregation Is Wrong; The Good Old Days of the 70's
6. Dubmatix; Dub in Me Hand, Rengade Rocker
7. Oneshot; Rotten Town; 1st Shot
8. Dub Killer Combo; Balistica; Root Boy
9. Big Joe, Natty All in a Row; Keep Rocking and Swinging
10. Jama Sound; Rapido Sol; Superpanorama
11. Ring Craft Posse; Waterford; St. Catherine in Dub
12. Crystalites; Undertaker's Burial; Blow Mr. Hornsman: Instrumental Reggae 1968-1975
13. King Tubby and Soul Syndicate; Great Stone; Freedom Sounds in Dub
14. Herman's All Stars; Nightmare; Blow Mr. Hornsman: Instrumental Reggae 1968-1975
15. Midnite; Frequency; Infinite Dub
16. Charlie Chaplin; Chaplin Chant; Bushyard Telegraph
17. Phil Pratt; Danger Ubx; Dial M for Murder in Dub Style
18. Brad Osbourne; King Zion; King of Dub

This podcast was initially just about the reggae, and that it is a global phenomenon now, much to the pioneering efforts of the late Bob Marley, but it is also about the continued musical explorations and initatives of many other musicians, initially in Jamaica, and now the world. It is also about the message, that the world needs to be shared, that the colonial mentality of the past should be a thing of the past, and not something daily rekindled by corporations and armies.
I reference in particular here the plight of the people of West Papua, and their ongoing struggle against the oppression of the Indonesian military, who pay their soldiers in seized properties, and the neglect of governments' around the world on the West Papuan's struggle for their own independence. The large corporations intent on stealing, with assistance of corrupt officials, is the modern colonialist plague that was meant to be left for the scrapheap and the history books, instead it is OUR modern history of the world.
Reggae has always been about the struggle against oppression, and one hopes that the New Year will bring the changes the world needs, that people's lives and lands will be respected before and after any contact with government and corporation, there are too many living daily lives of destruction, violence and horror solely to feed the greedy pockets of a few, the struggle continues, hope you like the mix...

 @'Pod-O-Matic'

Once again my friend Paul has surpassed himself (!)

Do also check out his previous podcasts, some of the best compilations currently doing the rounds of the interwebbythingy
PS: Was indeed a drag that we didn't catch up last week, have a good hexmass and we have to catch up soon
Regards/