No flowers
Musicians: Why it’s still a good idea not to quit your day job
Saturday, 19 February 2011
exiledsurfer exiledsurfer
via ►@martinchulov: Bahrain's Crown Prince just announced that the army has been ordered off the streets of Manama
Scientist vs The Upsetters - Live at Fabric, London
Scientist needs no introduction. As a protégé of King Tubby at Dromilly Road he started out learning the tools of the trade, fixing electronics and working on four channels, before he moved on to the sixteen channel desk at Channel One Studio in Jamaica, where he engineered a host of albums, often working with the Roots Radics. His musical vision as well as his deep knowledge of the technical side of things have made him an undoubted godfather of dub with one of the most expansive discographies of the last three decades and counting. This set was recorded live at Fabric, during the launch party for Tectonic's new dub vs dubstep project, Scientist Launches Dubstep Into Outer Space. And while Scientist got busy in the booth, the live band on stage was latest incarnation of The Upsetters, who were not only Lee 'Scratch' Perry's house band but also form the nucleus of The Wailers. Big Showdown!
Velvet Underground - Under Review (Documentary)
The Velvet Underground Under Review is a 75 minute film reviewing the music and career of one of rock musics most influential collectives, a band which esteemed music journalist Lester Bangs claims started modern music. It features rare musical performances never available before as well as obscure footage, rare interviews and private photographs of and with Lou Reed, Andy Warhol, Sterling Morrison and John Cale. The film also features rarely seen promo films, material from Andy Warhols private film collection, interviews with colleagues, producers, musicians and friends, TV clips, location shots and a host of other features.
If the video is blocked for your country try this link
Tim Hecker - Ravedeath, 1972 (2011 - Albumstream)
A title like Ravedeath, 1972 is great because of all the possible associations it calls up. A time-traveling techno explosion, a John Brunner novel title, a 1960s Frug winding down in a horrible dry gulch? Whatever all the possible associations, when Tim Hecker begins the album with the at-once shuddering feedback glitch and distant soothing bliss of "The Piano Drop," the Canadian composer does seem to thrive in an intersection of possibilities from multiple sources. If the principle of plundering the past to create the future is well established, Hecker engagingly demonstrates how the many possibilities it offers remains open. Split into three multi-part pieces and several stand-alone compositions -- some with titles continuing the titular approach, such as "Analog Paralysis, 1978" -- the overall effect of Ravedeath, 1972 is a balance between sheer sonic wooziness and a focused sense of construction; nothing seems wholly random in each song's development even as the feeling can be increasingly disorienting. Of the multi-part pieces, the first, "In the Fog," lives up to the name -- instead of enveloping obscurity, however, it's more like a serene float in darkness, with the organ tone loop running throughout the second and third parts providing a bed that whirs and arcing grinds rise and fall on, an underscoring of violence that melds and contrasts with the otherwise calm progression. The concluding "In the Air" almost inverts this, with the feedback tones and growls stabbing out more directly in the first part while the second increasingly brings in the otherwise half-sensed piano. "Hatred of Music," meanwhile, doesn't sound like a radical change from the other parts in terms of overall feel or in matching with the title's sentiment, but the low rhythmic rumble of the second part, a steady progression punctuated by soft piano additions and what sounds like a howling, looming threat in the distance, is pure atmosphere at its best. Then there's "No Drums," which finds in its own calm way the kind of beautiful, dark-toned ambience that has informed the best work in the field of disturbing but never aggressive electronic music. (Ned Raggett - allmusic; 4/5)
1. The Piano Drop
2. In The Fog: I-III
3. No Drums
4. Hatred Of Music: I-II
5. Analog Paralysis, 1978
6. Studio Suicide, 1980
7. In The Air: I-III
ALBUMSTREAM
Friday, 18 February 2011
Faiz Ali Faiz & Titi Robin - Festival Au Fil des Voix 2/16/11
Faiz Ali Faiz (Urdu: فیض علی فیض; born 1962 in Sharaqpur, Pakistan) is a Pakistani qawwali singer.
Faiz was born into a family of seven generations of qawwals. He studied classical music with Ustad Ghulam Shabir Khan and Ustad Jafat Khan, and qawwali music with Muhammad Ali Faridi and Abdur Rahim Faridi Qawwal. He was a close acquaintance with the world-renown qawwali performer Nusrat Fateh Ali Khan, and is considered the latter's spiritual successor within the genre. Faiz Ali Faiz regularly performs the qawwal "Mustt Mustt", a signature song of his deceased mentor.
Faiz Ali Faiz was nominated for a BBC Radio 3 World Music Award in 2005 and 2006.
Thierry "Titi" Robin (born 1957 in Angers, Maine-et-Loire, France), is a French musician influenced by gypsy, tzigane and Arabic music, and by the musicians Camaron de la Isla and Iraqi oud player Munir Bashir. Robin plays the guitar, oud, and bouzouki. He has given numerous concerts, in South Africa, the Middle East, and France.
He has frequently collaborated with Gulabi Sapera, who has appeared on several of his albums to lend his distinctive vocals peculiar to gypsy motifs. He has also been involved in extensive collaborations with Erik Marchand, a musician from Brittany focusing on reinterpretations of that region's distinctive Celtic music.
01:10:54
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A Day in the Life of a Love Doll
Opening at New York’s Salon 94 Bowery on the day after Valentine’s Day, The Love Doll: Days 1-30, presents Simmons large-scale, color photos and video of her mail order roommate, which she gradually befriends. Documenting her from day one, when she emerges from a box in only a slip, Simmons takes her under her wing — buying clothes and creating a fantasy lifestyle for her in the artist’s New York apartment and country house. The lively results expose a psychological situation, where the doll partially sheds its designated role as a sex object and begins to take on an identity projected on it from Simmons’ poetic imagination.
Laurie Simmons – The Love Doll: Days 1-30 is on view at Salon 94 Bowery February 15 to March 16.
Shy U.S. Intellectual Created Playbook Used in a Revolution
Gene Sharp: From Dictatorship To Democracy(PDF)
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