Hawkwind 1984-02-16 Thames Hall, Slough, UK
42 minutes ago
Monday, 4 October 2010
Partially Buried - A Burial Mix
Burial - Untitled
Burial - Exit Wounds
Burial & Breakage - Vial
Jamie Woon - Wayfaring Stranger (Burial Remix)
Burial - Untrue
Bloc Party - Where is Home? (Burial Remix)
Burial - Distant Lights
Burial - Ghost Hardware
Burial - Archangel
Burial - Nite Train
Burial - Near Dark
Burial - South London Boroughs
Burial - Southern Comfort
Burial - U Hurt Me
Burial & Goldie - Deity
Burial - Unite
Blackdown - Crackle Blues (Burial Remix)
Burial - Fostercare
Burial - Endorphin
Burial - Night Bus
Burial - In McDonalds
download link
via murdelta
Sunday, 3 October 2010
UK Soundmap
What does Britain sound like?
Join the British Library in creating the first nationwide sound map.
Take part by publishing recordings of your surroundings using the free AudioBoo app for iPhone or Android smartphones or a web browser.
When uploading soundscape recordings via Audioboo, add the tag 'uksm' and they'll appear on the SoundMap
Visit the SoundMap and enjoy listening to sounds.
Psych Meds In Jails
A ground-breaking, year-long investigation by Youth Today has uncovered ample evidence that many youths incarcerated in American juvenile facilities are getting potent anti-psychotic drugs intended for bipolar or schizophrenic patients, even when they have not been diagnosed with either disorder.
The findings are derived from records of state juvenile systems that provided sufficiently detailed information on their use of these anti-psychotics – called “atypicals.” Only 16 states responded to a nationwide survey by Youth Today, meaning that a majority of states either would not or could not demonstrate that they were even monitoring the use of these medications on incarcerated juveniles.
The atypical anti-psychotics were being used to treat a wide variety of diagnoses, including intermittent explosive disorder, oppositional defiant disorder and even the more common attention deficit and hyperactivity disorder.
Critics believe most of these diagnoses are simply a cover for the fact that prisons now use drugs as a substitute for banned physical restraints that once were used on juveniles who aggressively acted out.
“Fifty years ago, we were tying kids up with leather straps, but now that offends people, so instead we drug them,” says Robert Jacobs, a former Florida psychologist and lawyer who now practices psychology in Australia. “We cover it up with some justification that there is some medical reason, which there is not.”...
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John Kelly @'Youth Today'
Rock Arena: John Cale interviewed by Suzanne Dowling 1986
Aaah Suzanne. Aaah John!
I actually had just arrived in Australia when I went to see John Cale at The Universal Theatre (long since gone...) in Fitzroy on this tour.
It was strange as he sang "...she came in from Amsterdam, the change has done her well" at the opening of the set as that was where I had previously lived.
I still have a nice recording of this show somewhere in a storage shed in deepest, darkest Seaford!
Saturday, 2 October 2010
Paul Kelly @ Basement Discs yesterday
(Photos: TimN)
Was a great day here in sunny Melbourne yesterday.
Got my tickets for the Leonard Cohen gig at Hanging Rock with Paul Kelly supporting and then trooped off to the city to see a little lunchtime session with PK reading and performing from his new A-Z collection down at Basement Discs, which I have never seen so packed for one of their instore gigs.
A much more eloquent review
HERE
Got my tickets for the Leonard Cohen gig at Hanging Rock with Paul Kelly supporting and then trooped off to the city to see a little lunchtime session with PK reading and performing from his new A-Z collection down at Basement Discs, which I have never seen so packed for one of their instore gigs.
A much more eloquent review
HERE
Friday, 1 October 2010
Behind The Magic: Recording Stevie Wonder’s 'Superstition'
When Stevie Wonder’s “Superstition” was released in November of 1972, Wonder had already had many hit records under his belt and his trajectory of fame was well underway. In early 1972, he began to assert more autonomy over his creative direction and began collaborating with electronica pioneers Bob Margouleff and Malcolm Cecil.
This era, which was one that saw many artists asserting more artistic control over their recording careers, saw Wonder enter his prolific and introspective “classic period,” which produced some of R&B’s most interesting crossover records such as Music of the Mind, Talking Book and Innervisions. In 1972, Wonder had completed a North American tour with the Rolling Stones and this helped expose his music to larger and more receptive audiences, further catapulting his well-deserved exposure and fame well beyond its Motown base. Interestingly, Wonder had originally written “Superstition” for Jeff Beck (indeed, a different version appeared on a later Beck album entitled Beck, Bogert & Appice). In the end, though, he wisely decided to record and release it himself. He did end up handing over another track to Beck called “’Cause We’ve Ended as Lovers”--one of the more emotional tracks on Beck’s Blow by Blow album.
Electric Lady Studios and “Tonto”
Oftentimes there are people behind the scenes who play an important role in developing an artist’s sound. In the case of Stevie Wonder, this was undoubtedly the case—especially during the early ‘70s. Robert Margouleff and Malcom Cecil were Wonder’s “production team” and the wheels of his success in the studio. Each of them brought very distinct skills to the table: Cecil was very musically inclined, while Margouleff’s strengths were in synth programming and other areas. They were both more than capable as recording engineers.
By the time they started recording “Superstition” in 1972, the team already had one record together under their belt. They had settled into New York City at a new studio in Greenwich Village called Electric Lady. Electric Lady was the creative home of none other than Jimi Hendrix until his untimely death in 1970. Designed by legendary studio designer John Storyk, it was also arguably the first “artist-driven” studio in the world...
This era, which was one that saw many artists asserting more artistic control over their recording careers, saw Wonder enter his prolific and introspective “classic period,” which produced some of R&B’s most interesting crossover records such as Music of the Mind, Talking Book and Innervisions. In 1972, Wonder had completed a North American tour with the Rolling Stones and this helped expose his music to larger and more receptive audiences, further catapulting his well-deserved exposure and fame well beyond its Motown base. Interestingly, Wonder had originally written “Superstition” for Jeff Beck (indeed, a different version appeared on a later Beck album entitled Beck, Bogert & Appice). In the end, though, he wisely decided to record and release it himself. He did end up handing over another track to Beck called “’Cause We’ve Ended as Lovers”--one of the more emotional tracks on Beck’s Blow by Blow album.
Electric Lady Studios and “Tonto”
Oftentimes there are people behind the scenes who play an important role in developing an artist’s sound. In the case of Stevie Wonder, this was undoubtedly the case—especially during the early ‘70s. Robert Margouleff and Malcom Cecil were Wonder’s “production team” and the wheels of his success in the studio. Each of them brought very distinct skills to the table: Cecil was very musically inclined, while Margouleff’s strengths were in synth programming and other areas. They were both more than capable as recording engineers.
By the time they started recording “Superstition” in 1972, the team already had one record together under their belt. They had settled into New York City at a new studio in Greenwich Village called Electric Lady. Electric Lady was the creative home of none other than Jimi Hendrix until his untimely death in 1970. Designed by legendary studio designer John Storyk, it was also arguably the first “artist-driven” studio in the world...
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Curtis Berry @'ProSound'
Minority Rules -
How Sweden's far-right rose from neo-Nazi skinheads to populist Muslim-baiters to the country's new kingmakers.
John Cage's 4'33'': the festive sound of a defeated Simon Cowell
How long does it take to make an annual tradition? The idea of fixing the Christmas No 1 via Facebook is only three years old, but already feels cosy. In fact, to some of those trying to send a song to the top of the charts, it's a given that Rage Against the Machine scored but the first of many such victories. "It seems obvious that a similar Facebook-inspired campaign will triumph again," writes the webmaster of a Surfin' Bird for No 1 group. It seems even more obvious that it won't, since every fanbase with a grudge against The Man is massing their forces separately and dissension is rife. The Children of Bodom group doesn't even mention Simon Cowell: "Better than Rage, anyway," it huffs. Splitters!
To have any point, this kind of campaign needs to do two things. It should still seem like a clever idea months after you sign up, and it should be funny even if it completely fails to top the charts. The only effort this year with a hope of ticking these boxes is Cage Against the Machine, whose candidate for Christmas No 1 is a recording of John Cage's 4'33". This notorious "silent composition" from 1952 will "make Simon Cowell's head explode", promise the organisers. The piece is already a flypaper for all kinds of official foolishness: one recording on YouTube has had its audio disabled for copyright infringement.
The group's activity so far is predictably jocular – "I'm humming it already," writes one member. Others ask after remixes. It's the social media equivalent of a Radio 4 panel show, and I wonder if that mildly donnish atmosphere would dissipate if the campaign got the kind of momentum that turned the Rage effort from a gag into a cause. You get the impression most of the 15,000 Cage fans so far care as much about showing that they get the joke as any eventual result. And why not – it's a good joke: the well-known horror radio presenters have for "dead air" makes the idea of four blank minutes anywhere in the chart a ticklish prospect.
I found the group particularly appealing because I was in the audience for a performance of Cage's piece earlier this year. In fact, I was the audience: one friend performed the piece, another recorded it, and I listened. I'd wanted to hear 4'33" for ages – one of the peculiarities of it is that statements like that invite derision, but it's true. And I wasn't disappointed: as in a long ceremonial silence you become aware of the tiniest sounds, which is part of the point. Cage saw the piece as an experiment in interpenetration: letting chance sounds affect – and in this case overwhelm – what the composer intends. The performance ended just when I'd stopped expecting it to. Afterwards, with those 273 seconds sealed off as a recording, time seemed to race: so many sounds just getting lost. The moment passed and we went to the pub.
Researching 4'33" later I found that we'd got the piece wrong – it was composed as three separate movements, and Cage was explicit that it be presented as such. He took five years between his conceptualising the idea and actually writing it – he knew 4'33" would be seen as a joke or a stunt and deliberately took as much effort over it as possible in order to prevent that interpretation. That was surely in vain: the piece reflects preconceptions. If you come to it as art, or a joke, or a stunt then everything new you find out about it will point in that direction.
So would Cage have disapproved of the Facebook campaign? I'm not so sure. You could try an elaborate justification along the lines of social media events interpenetrating the established order, but it's easier just to look at why the piece is 4'33" long. According to Cage historian Larry Solomon, the original conception of the piece was as a response to canned music, and he knew it would be roughly four and a half minutes long, since that was the average Muzak song length. So while he might raise his eyebrows at the campaign's tone, stopping Cowell is as true a use of 4'33" as any.
Tom Ewing @'The Guardian'
HA!
NOTICE This video contains an audio track that has not been authorised by WMG. The audio has been disabled. More about copyright
'Exile' received yet another DMCA take down notice yesterday, this time for linking to the legal Grinderman stream at VPRO in The Netherlands, which incidentally is still up.
WTF???
The RIAA/BFPI are making it very hard to like record companies to say the least...
Settlement freeze? It was barely a slowdown
The official statistics supplied by the Central Bureau of Statistics describe the story behind the 10-month construction moratorium in the West Bank. The story can be called many things but "freeze" is certainly not one of them. What took place in the past few months is, in the best case scenario, not more than a negligible decrease in the number of housing units that were built in settlements.
The data that appeared in the bureau's tables clearly show that. At the end of 2009, the number of housing units that were actively being built on all the settlements together amounted to 2,955. Three months later, at the end of March 2010, the number stood at 2,517. We are therefore talking about a drop of a little more than 400 housing units - some 16 percent of Israeli construction in the West Bank over that period.
The sounds of lamentation and wailing coming from the settler functionaries, for whom moaning is a profession, shouldn't surprise anyone. After all, they did not cease to whine even when Ehud Barak, "the leader of the peace camp," built 4,700 housing units for them in 2000, the only entire year he held the position of prime minister.
But the truth is that the settlers know better than anyone else that not only did construction in settlements continue over the last 10 months, and vigorously, but also that a relatively large part of the houses were built on settlements that lie east of the separation fence, such as Bracha, Itamar, Eli, Shilo, Maaleh Mikhmas, Maon, Carmel, Beit Haggai, Kiryat Arba, Mitzpeh Yeriho and others.
The real story behind the PR stunt known as the freeze took place in fact in the months prior to that, during which the settlers, with the assistance of the government, prepared well for the months of hibernation foisted upon them. In the half year that preceded the declaration of the freeze, which started at the end of November 2009, dozens of new building sites sprang up, especially in isolated and more extreme settlements east of the fence.
This piece of information is also well documented in the bureau's numbers. In the first half of 2009, they started to build 669 housing units in the settlements, and then, as the months wore on, the pace of construction increased. Thus in the second half of 2009, no fewer than 1,204 housing units were built - an increase of some 90 percent in construction starts as compared with the first half of the year...
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Dror Etkes @'Haaretz'
Thursday, 30 September 2010
Hollywood legend Tony Curtis dies aged 85
Tony Curtis, the 1950s Hollywood heartthrob who won acclaim as a sleazy press agent in Sweet Smell of Success and earned stardom as a skirt-wearing saxophone player in Some Like It Hot, has died aged 85, Sky News reported.
Curtis appeared in 90 movies and was nominated once for an Academy Award, for Stanley Kramer's The Defiant Ones (1958). Curtis impressed critics in the film about a prison escape, playing a convict shackled to a black inmate (Sidney Poitier) he despises until they forge a bond fleeing through the US South.
A year later, Curtis co-starred with Marilyn Monroe and Jack Lemmon in Some Like It Hot, the Billy Wilder comedy about two musicians who hide from the Chicago mob by donning dresses and joining an all-female band. In 2000, the American Film Institute called it the funniest US movie ever made...
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Afghan opium production 'halved'
Opium production in Afghanistan has almost halved in the past year, a United Nations report says.
The sharp drop is largely due to a plant infection which has drastically reduced yields, says the UN Office on Drugs and Crime.
But it warns that production is unlikely to stay low, with rising prices tempting farmers to cultivate more opium poppies.
Afghanistan produces 90% of the world's opium, the main ingredient in heroin.
The UNODC's 2010 Afghan Opium Survey showed production in 2010 was at its lowest level since 2003, estimated at 3,600 tonnes - a 48% decrease from 6,900 tonnes in 2009.
"This is good news but there is no room for false optimism; the market may again become lucrative for poppy-crop growers so we have to monitor the situation closely," said Yury Fedotov, executive director of UNODC.
But with opium prices rising again after years of steady decline, the UNODC has warned that production is unlikely to stay low.
The total area of the country used for poppy cultivation remains unchanged despite government eradication programmes, and Mr Fedotov has called for a comprehensive strategy to counter the opium threat.
Most of the poppies are grown in the restive southern and western provinces, the report says, underscoring the link between the insurgency and the opium trade.
Last year Helmand accounted for nearly 60% of the country's total production of the drug, the UNODC said.
What a fugn moron!
Right Of Center Media Leave James O’Keefe Stranded Over Latest Stunt
The Script!!!
...and on page 3 you will see he has no taste in music either LOL!
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