[E.O.M.S.]

Friday, 19 March 2021

New Age Steppers: Stepping Into A New Age (1980-2012)

An anthology set of the group that launched the On-U Sound label with the first album and single, New Age Steppers were a collective with an evolving line-up, built around the driving forces of Ari Up (The Slits) and producer Adrian Sherwood

Their records featured contributions from several singers and players from the UK post-punk vanguard such as the Pop Group, The Raincoats and The Flying Lizards; colliding with established movers from the reggae world such as Bim Sherman, Style Scott and George Oban.

Info

Adrian Sherwood & Ari Up (Photo by Kishi Yamamoto)

CD1 – NEW AGE STEPPERS, 1981

1. Fade Away

2. Radial Drill

3. State Assembly

4. Crazy Dreams and High Ideals

5. Abderhamane’s Demise

6. Animal Space

7. Love Forever

8. Private Armies

CD2 – ACTION BATTLEFIELD, 1981.

1.My Whole World

2. Observe Life

3. Got To Get Away

4. My Love

5. Problems

6. Nuclear Zulu

7. Guiding Star

CD3 – FOUNDATION STEPPERS, 1983

1. Some Love

2. Memories

3. 5 Dog Race

4. Misplaced Love

5. Dreamers

6. Stabilizer

7. Stormy Weather

8. Vice Of My Enemies

9. Mandarin

CD4 – LOVE FOREVER, 2012

1. Conquer

2. My Nerves

3. Love Me Nights

4. The Scheisse Song

5. Musical Terrorist

6. The Fury Of Ari

7. Wounded Animal

8. The Worst Of Me

9. Revelation

10. The Last Times

11. Death Of Trees

CD5 – AVANT GARDENING, 2020

1. Aggro Dub Version

2. Send For Me

3. Izalize

4. Unclear

5. Singing Love

6. I Scream (Rimshot)

7. Avante Gardening

8. Wide World Version

9. Some Dub

10. May I Version

Black Circle Records

Designing The New Age: The Art Of Andy Martin

Today is the day the 'avant-gardeners' arrive

Sun City Girls - Gladtree Festival (Amherst MA 10/4/04)

Here's a playlist of the Sun City Girls 2004 mini-tour that I filmed. One more vid to come (not a show, but a talk about Sublime Frequencies at Anthology Film Archives) if I can get that tape to digitize! https://t.co/bR3nFNbFGA
— Marc Masters (@Marcissist) March 17, 2021

Alan Bishop (Sublime Frequencies) has a monthly radio show archived

HERE

Once Upon A Time in the Maghreb

Jason Isbell - Cover Me Up (Austin City Limits)

I had this song stuck in my head the entire week I was printing these @jasonisbell lyric posters. Don't get me wrong it's a great song, but c'mon, man, can I get a new earworm around here?
5 colors, hand-pulled on @frenchpaperco Butcher Blue. pic.twitter.com/aqHKAfeDg3
— Skillet Gilmore (@skilletgilmore) March 18, 2021

Peter Brötzmann: Tree on Hill 2 (Ink and instant coffee on paper 2009)

Peter Brötzmann Paintings & Objects

Peter Brötzmann: Along The Way (Artwork from 2010 - 2020)

Being on the road so much, the time-space between the tours is not long enough for preparing big canvases and starting oil-paintings. You use what’s on the table - paper, cardboard, an empty cigar box, pens, felts and brushes, ink in a glass or a Chinese ink stone. You use what there is and that’s what we musicians call improvising and that’s what the works in this book are about [and my life too]: IMPROVISATION

Peter Brötzmann, Wuppertal, October 2020

Texts by Brötzmann, Stephen O'Malley, John Corbett, Karl Lippegaus, Heather Leigh, Sotiris Kontos, Thomas Millroth, Markus Müller

228 pages, in English, hardcover, first edition 2021

HERE

Thursday, 18 March 2021

My eldest kids thirty odd years ago...

No Opinion (Anti-Thought)

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Richard Hell by Martyn Goldacre (London 1994)

gettyyimages

...Oh But man these are all about THAT jacket!

Kevin Richard Martin - White Light / Red Light

Kevin Richard Martin confesses he has "always had a love/hate relationshipwith the saxophone.". "After you hear Pharoah Sanders, John Coltrane, Albert Ayler or Peter Brotzmann even, you just question any possibility of finding a fresh sound or approach, due to the instant connotations the sound has.." Having given up professionally playing the instrument since 'Curse of the Golden Vampire's 'Mass Destruction' in 2003, he may have temporarily lost the will to blow the horn, but he hadnt lost the long term aim to "reduce its sound to pure gulf stream air" by other means. So for both 'White Light' and 'Red Light', Kevin decided to resample his old sax recordings, and additionally explore various sound libraries/vst instruments as the departure point, to see just how heavily the instrument could be chopped, screwed, stretched and dubbed in his lab, to try and locate his "own sound". Martin informs me enthusiastically, "there were no other sounds or sources utilised on these albums, other than saxophone or additionally, specifically synthetic sax, filtered through layer upon layer, wave upon wave of fx..."

More on White Light here and Red Light here