ALEXI LALAS Far From Close 1996
1 minute ago
Sunday, 8 January 2012
Seventeen different artists with different visions on electronics from all over the world: Digitonal, Hobo Cubes, IJO, Joel Tammik, Krill.Minima, Maps And Diagrams, Mind Over Midi, Ninestein, Pawn, Pleq, Sense, Sleppy Town Manufacture, Sonmi451, Sraunus, The Green Kingdom, The New Honey Shade, Yvat. We would like to thank all the artists involved in this release for their good work, and all the people who support us.
17 tracks © 2011 Leaves
Style: Electronic
Compiled: Egidijus Kausylas (Egg)
Design: Tomas Toleikis
Mastered: Emery
01 Pleq – Someone Like Comes Into Your Life (feat. Fraqsea)
02 Sonmi451 – Tohoku
03 Sense – Mysoul Transition
04 Krill.Minima – Sonnenbad
05 Ninestein – Papa November
06 Yvat – Equant Mirror
07 The New Honey Shade – Human Energy
08 Maps And Diagrams – We Are Not Here To Protect You
09 Joel Tammik – Maa Lugu
10 Mind Over Midi – What On Earth
11 Pawn – Discolored Photograph Out-Take
12 The Green Kingdom – The Largest Creature (dub)
13 Digitonal – Polaris
14 Sraunus – Begales
15 Sleepy Town Manufacture – Pinqwyj
16 IJO – 3001 Feets Under
17 Hobo Cubes – Systems Expired
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Pig City
In the late 1970s Brisbane was known to the rest of Australia as a big country town, and on the surface it was a citadel of conservative rural Australian values.
The Country Party had been in power for nearly two decades, and the premier, Sir Joh Bjelke-Petersen, ruled the state with an iron fist, never hesitating to use the Queensland police force to stamp out any resistance to his notoriously corrupt regime.
It was in this context that a smouldering culture of rebellion was born among the students and other residents in the city's inner suburbs, which manifest in public protests, acts of civil disobedience, and -- in defiance of a legislated ban against them -- in sometimes violent street marches. This growing wave of dissent also found expression in the energetic and distinctive music which began to emerge from Brisbane at this time, and which kick-started Australia's wider punk and alternative rock scenes.
The Saints, the Go Betweens and the Riptides, the Laughing Clowns, the Hoodoo Gurus and Gangajang all had their roots in the Brisbane punk scene of the 1970s, and would go on to have a huge influence on Australian music, paving the way for some of Australia's most successful later acts, including Savage Garden, Powderfinger, Screamfeeder and Regurgertator.
The 2004 book Pig City by Andrew Stafford was the first serious attempt to tell the story of Brisbane's coming of age through this potent mix of music and politics. The opening of the city's first community radio station, 4zzz, in 1975, became a vehicle for the emergence of this powerful nexus between music and politics in Brisbane during this era. It's been argued that, at the time, 4zzz offered the only alternative and articulated voice of opposition to the prevailing state government of the day in Queensland.
Tony Collins recalls his own experience of Bjelke-Petersen's Queensland, during the years that he spent living in Brisbane, working as a young broadcaster at 4zzz.
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(Thanx Chuck!)
Caveat: Ed Kuepper, one of the key players in the above doco has just remarked on Facebook
'I could be a bit pedantic about aspects of the time line in this documentary because it blurrs things that happened almost a decade apart but maybe some other time...'
Ryan Estrada: Pulgasari
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...and now the masterpiece itself!
John Sinclair reviews Sun Ra's 'Wake Up Angels'
This year has marked the arrival of a very special collection in Art Yard’s Sun Ra catalog: the reintroduction of monumental and pivotal performances with Wake Up Angels: Sun Ra and his Arkestra Live at Ann Arbor Jazz and Blues Festival 1972-74. John Sinclair and Peter Andrews were the people responsible for organizing and presenting the Ann Arbor Blues and Jazz festival events. Under their Rainbow Multi-Media Corporation, the Arkestra were hired for the festival held in 1972 to close out the opening evenings schedule of performance. The Arkestra was expanding into philosophical spoken word elements into their sets, lavish dance arrangements, very heavy African and Latin poly-rhythmic percussion additions, cosmic space sound collages, cerebreal improvisations into regions unknown and a very advanced form of orchestration that marveled techniques akin to Duke Ellington and Fletcher Henderson, both of which were some of his closest and most respected teachers. Sun Ra had relocated to Philadelphia from New York in the late 60′s from a fairly long period of activity there. Pivotal recordings would soon come forth while Sun Ra would focus on underground projects and releases with his Saturn Records imprint started in Chicago during the 50′s. After a successful tour of the West Coast in 1969 and a lot of touring in France, UK and other regions of Europe in 1970, 1971 and on. Sun Ra of the 70′s was activated in a way he had never been before...
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Understanding Cult Thinking
Diane Benscoter spent five years as a "Moonie." She shares an insider's perspective on the mind of a cult member, and proposes a new way to think about today's most troubling conflicts and extremist movements.
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amandapalmer Amanda Palmer
RETWEET MELBOURNE!! Dresden Dolls are playing a free outdoor show today with@OCCUPYMELBOURNE. 2:30 pm @ collins&swanston
RETWEET MELBOURNE!! Dresden Dolls are playing a free outdoor show today with
As Kurtz said:
Saturday, 7 January 2012
Eve Arnold RIP
Friday, 6 January 2012
Bukowski says:
- Sunlight Here I Am: Interviews & Encounters 1963-1993
JackofKent David Allen Green
Twelve random strangers, at taxpayers' expense, now sit in a room discussing fisting, watersports, and BDSM.#ObscenityTrial
Twelve random strangers, at taxpayers' expense, now sit in a room discussing fisting, watersports, and BDSM.
TEDxOxford - Rachel Felder and Alan McGee: A Discussion on the Music Industry
Have to agree about Glasgow schools in the seventies...
3,000 killed in South Sudan massacres
More than 3,000 people were killed in South Sudan in brutal massacres last week in bloody ethnic violence that forced thousands to flee, the top local official in the affected area said.
"There have been mass killings, a massacre," said Joshua Konyi, commissioner for Pibor county in Jonglei state."We have been out counting the bodies and we calculate so far that 2,182 women and children were killed and 959 men died."
United Nations and South Sudanese army officials have yet to confirm the death tolls and the claims from the remote region could not be independently verified.
If confirmed, the killings would be the worst outbreak of ethnic violence ever seen in the fledgling nation, which split from Sudan in July.
A column of 6,000 rampaging armed youths from the Lou Nuer tribe last week marched on the remote town of Pibor, home to the rival Murle people, whom they blame for cattle raiding and have vowed to exterminate.
The Lou Nuer gunmen attacked Pibor and only withdrew after government troops opened fire.
Over 1,000 children are missing, feared abducted, while tens of thousands of cows were stolen, Mr Konyi added, who comes from the Murle ethnic group.
UN humanitarian coordinator for South Sudan Lise Grande said earlier this week that she feared "tens, perhaps hundreds" could have died.
South Sudan army spokesman Philip Aguer he was still awaiting reports from forces on the ground.
"For the assessment to be credible, they must have gone into the villages to count all the bodies."
The UN estimates ethnic violence, cattle raids and reprisal attacks in the vast eastern state left more than 1,100 people dead and forced 63,000 from their homes last year.
@'ABC'
His last words: an extract from Gil Scott-Heron’s 'The Last Holiday'
I always doubt detailed recollections authors write about their childhoods. Maybe I am jealous that they retain such clarity of their long-agos while my own past seems only long gone. What helped me to retain some order was that by the age of 10 I was interested in writing. I wrote short stories. The problem was that I didn't know much about anything. And I didn't take photos or collect mementos. There were things I valued, but I thought they would always be there. And that I would.
There was Jackson, Tennessee. No matter where I went – to Chicago, New York, Alabama, Memphis, or even Puerto Rico in the summer of 1960 – I always knew I'd be coming back home to Jackson. It was where my grandmother and her husband had settled. It was where my mother and her brother and sisters were all born and grew up. It was where I was raised, in a house on South Cumberland Street that all of them called home, regardless of what they were doing and where they were doing it. They were the most important people in my life and this was their home. It was where I began to write, learned to play piano, and where I began to want to write songs.
Jackson was where I first heard music. It was what folks called "the blues". It was on the radio. It was on the jukeboxes. It was the music of Shannon Street in "Fight's Bottom" on Saturday night, when the music was loud and the bootleg whisky from Memphis flowed. The blues came from Memphis, too. Shannon Street was taboo at my house, something my grandmother didn't even think about. We never played the blues at home...
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Thursday, 5 January 2012
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