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 
Adrian Sherwood & Ari Up (Photo by Kishi Yamamoto)
Black Circle Records
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.
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
Sun City Girls - Gladtree Festival (Amherst MA 10/4/04)
+ Once Upon A Time in the MaghrebHere'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
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?
— Skillet Gilmore (@skilletgilmore) March 18, 2021
5 colors, hand-pulled on @frenchpaperco Butcher Blue. pic.twitter.com/aqHKAfeDg3
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
Thursday, 18 March 2021
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..."
Subscribe to:
Posts (Atom)
