Exile's Gig of the Year

Photos by Joe Lewit
Well following on from the let's be honest less than stellar show supporting Tangerine Dream, Black Cab hit the high notes at their album launch in Melbourne on Saturday night. Definitely the best I have ever seen them play with added appearances by the mighty Steve Law and Shags Chamberlain. Alongside the customary cover of Dream Baby Dream we were treated to a version of New Order's 5-8-6 as well. I did start to record the show but after a couple of minutes decided to stop and get the dancing shoes on

Dirty Three - NPR Music Tiny Desk Concert (October 2012)

Set List
"Rain Song"
"The Pier"
"Last Horse On The Sand"
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Dirty 3 gig at Meredith Music Festival in 2004

Because the average age of the typical white Melburnian is twenty-five, it’s not plausible for them to claim they attended the Nirvana gig at the Palace in 1992. In 1992, all of today’s white Melburnians were about seven years old and living in Mount Waverley. This is where the Dirty 3 show comes in. It’s a gig that strengthens white Melburnian culture by providing an event around which its members can experience a sense of shared belonging. If you are new to white Melburnian culture, ask someone, “what’s Meredith like?” White Melburnians have talked each other to death over this show (remember: all of them were there), so a newcomer could easily parachute their way into a new friendship group by getting them to rehash their experiences to a fresh audience.
The Dirty 3 played at dusk on the Saturday night as storm clouds gathered over the stage. Thunder could be heard in the distance. Both literal and metaphorical electricity was in the air. The violinist had big hair, and everybody swore it was standing on end because of the lightning in the atmosphere. I don’t remember what happened after that

(Stuff white people like in Melbourne)

De La Soul feat. Chuck D - The People (Free Download)

This track is called "The People" and it features the legendary Chuck D from Public Enemy. You can download it for free at our website goo.gl/9DWGVZ.
The idea for the song came from a couple of samples, and the track's vibe is earnest and has a pressing tone to it. The lyrics are commentaries of our struggles and successes, our weaknesses and strengths... the experiences... and trials and tribulations we have faced as human beings, a race, and as individuals. Lyrically Chuck brings a sense of authority and urgency. The power in his voice demands your attention. With Chuck on the track this is a dream come true for us.
Originally "The People" was suppose to drop in June around the same time the Chuck D/Hot 97/Peter Rosenberg situation took place. We chose to hold off and not add fuel to any fires. Our next aim was for a Black Friday release. Coincidentally the Ferguson tragedy took place, and more recently the non-indictment verdict. Somehow this song was destined to be a part of something more than just dropping a joint. We hope it will lend itself to something positive in these difficult times.
We created some merchandise for this song that is for sale (The People T-Shirt & Sweatshirt). Proceeds from the merch will be donated to two organizations: All Star Code and I Love Ferguson.
All Star Code is an organization that helps under served youth make their way into the tech industry. We've been building, strategizing, and working with developers for the past year, and we understand the importance of education in tech. We have a music tech company that we'll be launching soon called Daisy (daisycollective.com/). It's important that we have more people from our community and our culture involved in this space. We just want to do our part in making that happen and ultimately help build the future of music.
I Love Ferguson is a organization that's helping to rebuild the town of Ferguson, MO. We feel strong about helping and supporting the small businesses that have been affected in that area.

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HA!

How Eno’s co-opting of Jon Hassell’s avant-garde style changed the course of music

Before & After

Via

Giant Giant Sand - Live on KEXP (October 2012)

Black Cab 'Games of the XXI Olympiad' Abum Launch at Howler Brunswick Tonight

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Black Cab Live at Melbourne Town Hall 16/11/14

Photo

Sure it was a spectacle but musically a bit...my recording is also a bit...roll on tonight for the real thing

Tweet o'the Day

The Rise & Fall & Rise of Sensational

Crazy Wisdom Master
Sensational
(Thanx Stylo!)

Kissinger seems never to have read the Universal Declaration of Human Rights, or the Déclaration des droits de l’homme. 

Inside The Golden Dawn

Mark Goodall: Salford Drift - a psychogeograpy of The Fall (PDF)

HERE

Bruce Johnson & Martin Cloonan: Dark Side of the Tune - Popular Music and Violence (PDF)

Written against the academically dominant but simplistic romanticization of popular music as a positive force, this book focuses on the 'dark side' of the subject. It is a pioneering examination of the ways in which popular music has been deployed in association with violence, ranging from what appears to be an incidental relationship, to one in which music is explicitly applied as an instrument of violence. A preliminary overview of the physiological and cognitive foundations of sounding/hearing which are distinctive within the sensorium, discloses in particular their potential for organic and psychic violence. The study then elaborates working definitions of key terms (including the vexed idea of the 'popular') for the purposes of this investigation, and provides a historical survey of examples of the nexus between music and violence, from (pre)Biblical times to the late nineteenth century. The second half of the book concentrates on the modern era, marked in this case by the emergence of technologies by which music can be electronically augmented, generated, and disseminated, beginning with the advent of sound recording from the 1870s, and proceeding to audio-internet and other contemporary audio-technologies. Johnson and Cloonan argue that these technologies have transformed the potential of music to mediate cultural confrontations from the local to the global, particularly through violence. The authors present a taxonomy of case histories in the connection between popular music and violence, through increasingly intense forms of that relationship, culminating in the topical examples of music and torture, including those in Bosnia, Darfur, and by US forces in Iraq and Guantanamo Bay. This, however, is not simply a succession of data, but an argumentative synthesis. Thus, the final section debates the implications of this nexus both for popular music studies itself, and also in cultural policy and regulation, the ethics of citizenship, and arguments about human rights.
HERE

John Cale: Heroin, Wales and Me

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