Thursday, 5 December 2013

How to speak Death Metal English. Oh and this!

♪♫ Cosey Fanni Tutti - Bioschismic

‘Bioschismic’
“Time becomes plastic. Your experience of time morphs................And when you come out of it, on the strong days right before the next scheduled infusion, all of that time compresses into blurry waves of noise.” Xeni Jardin
Time is defined by and within the human experience yet the dominance of ‘linear’ time prevails. We are inextricably linked with time, ‘Life’ is measured in time.
Depending on particular situations our experience of time can be elusive, appear stretched, accelerated, and on occasions all too specifically in synch with defined parameters. Audio recordings, film, Internet, and photography are some of the means by which we choose to mark ‘times’. Such documentary methods signify our need to externalise particular events and also to activate memories.
‘Bioschismic’ is created solely from audio and photographic documentation of Xeni’s time spent receiving chemotherapy. The repetitive drip drip rhythm of the toxic chemicals measured in precise doses over a specific period of time provide the prospect of extending (life) time. Time is the dominant force yet the effects of the drugs change the experience of time to a space that is other worldly - a different time zone - a schism within and for life itself.
Cosey Fanni Tutti
‘Bioschism’ - inspired and made possible by Xeni Jardin

Aversion To Repetition: Cosey Fanni Tutti Interviewed

Wednesday, 4 December 2013

♪♫ Gary Clail - The World's Gone Crazy (HippyPunk Revibe)

Remix by Libby Lawes from Gary's forthcoming album

A Stark Three Decades Documenting an Uncle’s Troubled Life

Billy Bragg on Spotify

Billy Bragg writes:

Spotify have just announced that they are going to give artists direct access to their data, including how much their work has earned, in the hope of bringing some transparency to the heated debate over royalty rates on the streaming service. They've just put up a website which explains how artists royalties are calculated and, most importantly, how they are distributed.
The key to understanding why some artists feel that Spotify do not pay enough for their music can be found in the section labeled 'Royalties: in detail'. Here you can see that Spotify pays 70% of the money it receives to rights holders - aka record labels and publishers.
This year, by their own estimates, they've paid over US $350 million to rights holders. The labels and publishers must be really pleased. So why are artists not sharing in this bonanza? The problem is right there in detail no4:
"Once Spotify has paid a rights owner the total royalties due for their accumulated streams, that label or publisher pays each artist according to that artist’s contractual royalty rates."
By making the raw data available directly to artists, Spotify is shining a light onto years of shady practices by major record labels, who are relying on low royalty rates set in the old days of vinyl to protect their bottom line in the digital age.
Spotify is a business just like any and wants to make as much money as possible, but with this unprecedented move, it has shown that it is willing to work with artists to help them secure proper remuneration for their work.

Spotify royalties: in detail

♪♫ Dr Dub @Shanty Town Ramsgate (23/8/13)

ON.U Sound Celebration's Dr Dub is resident DJ at Adrian Sherwood's recently opened underground club Shanty Town in Ramsgate. This is a recording of his first deejay-set at the club.
Tracklist