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Friday 11 October 2013
Thursday 10 October 2013
♪♫ Four Tet - RinseFM (6/10/13)
On
Sunday, the 6th of October 2013, Kieran Hebden, better known as Four
Tet, took over the Rinse FM airwaves for a very special one-off extended
8 hour show featuring guest mixes from Caribou, Floating Points,
Anthony Naples & Pearson Sound, which ran all night from 9pm until
5am.
Tracklist
Tracklist
Julian Assange's letter to Benedict Cumberbatch
Dear Benedict,
Thank you for trying to contact me. It is the first approach by anyone from the Dreamworks production to me or WikiLeaks.
My assistants communicated your request to me, and I have given it a lot of thought and examined your previous work, which I am fond of.
I think I would enjoy meeting you.
The bond that develops between an actor and a living subject is significant.
If the film reaches distribution we will forever be correlated in the public imagination. Our paths will be forever entwined. Each of us will be granted standing to comment on the other for many years to come and others will compare our characters and trajectories.
But I must speak directly.
I hope that you will take such directness as a mark of respect, and not as an unkindness.
I believe you are a good person, but I do not believe that this film is a good film.
I do not believe it is going to be positive for me or the people I care about.
I believe that it is going to be overwhelmingly negative for me and the people I care about.
It is based on a deceitful book by someone who has a vendetta against me and my organisation.
In other circumstances this vendetta may have gone away, but our conflict with the United States government and the establishment press has created a patronage and commissioning market – powerful, if unpopular – for works and comments that are harmful to us.
There are dozens of positive books about WikiLeaks, but Dreamworks decided
to base its script only on the most toxic. So toxic is the first book selected by Dreamworks that it is distributed to US military bases as a mechanism to discourage military personnel from communicating with us. Its author is publicly known to be involved in the Dreamworks production in an ongoing capacity.
Dreamworks' second rights purchase is the next most toxic, biased book. Published and written by people we have had a bitter contractual dispute with for years, whose hostility is well known. Neither of these two books were the first to be published and there are many independent authors who have written positive or neutral books, all of whom Dreamworks ignored.
Dreamworks has based its entire production on the two most discredited books on the market.
I know the film intends to depict me and my work in a negative light.
I believe it will distort events and subtract from public understanding.
It does not seek to simplify, clarify or distil the truth, but rather it seeks to bury it.
It will resurrect and amplify defamatory stories which were long ago shown to be false.
—
My organisation and I are the targets of political adversary from the United States government and its closest allies.
The United States government has engaged almost every instrument of its justice and intelligence system to pursue—in its own words—a 'whole of government' investigation of 'unprecedented scale and nature' into WikiLeaks under draconian espionage laws. Our alleged sources are facing their entire lives in the US prison system. Two are already in it. Another one is detained in Sweden.
Feature films are the most powerful and insidious shapers of public perception, because they fly under the radar of conscious exclusion.
This film is going to bury good people doing good work, at exactly the time that the state is coming down on their heads.
It is going to smother the truthful version of events, at a time when the truth is most in demand.
As justification it will claim to be fiction, but it is not fiction. It is distorted truth about living people doing battle with titanic opponents. It is a work of political opportunism, influence, revenge and, above all, cowardice.
It seeks to ride on the back of our work, our reputation and our struggles.
It seeks to cut our strength with weakness. To cut affection with exploitation. To cut diligence with paranoia. To cut loyalty with naivety. To cut principle with hypocrisy. And above all, to cut the truth with lies.
The film's many distortions buttress what the prosecution will argue. Has argued. Is arguing. In my case, and in that of others. These cases will continue for years.
The studio that is producing the film is not a vulnerable or weak party.
Dreamworks' free speech rights are not in jeopardy – ours are.
Dreamworks is an extremely wealthy organisation, with ties to powerful interests in the US government.
I must therefore question the choices and motives behind it: the opportunism, fears and mundanity; the unwritten rules of film financing and distribution in the United States; the cringe against doing something useful and brave.
I believe that you are a decent person, who would not naturally wish to harm good people in dire situations.
—
You will be used, as a hired gun, to assume the appearance of the truth in order to assassinate it. To present me as someone morally compromised and to place me in a falsified history. To create a work, not of fiction, but of debased truth.
Not because you want to, of course you don't, but because, in the end, you are a jobbing actor who gets paid to follow the script, no matter how debauched.
Your skills play into the hands of people who are out to remove me and WikiLeaks from the world.
I believe that you should reconsider your involvement in this enterprise.
Consider the consequences of your cooperation with a project that vilifies and marginalises a living political refugee to the benefit of an entrenched, corrupt and dangerous state.
Consider the consequences to people who may fall into harm because of this film.
Many will fight against history being blackwashed in this way. It is a collective history now, involving millions of people, because millions have opened their eyes as a result of our work and the attempts to destroy us.
I believe you are well intentioned but surely you can see why it is a bad idea for me to meet with you.
By meeting with you, I would validate this wretched film, and endorse the talented, but debauched, performance that the script will force you to give.
I cannot permit this film any claim to authenticity or truthfulness. In its current form it has neither, and doing so would only further aid the campaign against me.
It is contrary to my interests, and to those of my organisation, and I thank you for your offer, and what I am sure is your genuine intent, but I must, with inexpressible regret, turn it down.
Julian Assange
Via
Wednesday 9 October 2013
Doggystyle @FIFA 14
"As much as the good folk at EA endeavour to cross their 't's and dot their 'i's, they're helpless to avoid a few glitches slipping through the system; such is the demands of computer programming.
And a pretty epic one has made its way into FIFA 14.
When an attacking player inadvertently ends up lying on the ball after losing the balance, the opposing keeper proceeds to 'get the leg over' and dry hump him like a dog in heat until he manages to squeeze the ball out from underneath him."
And a pretty epic one has made its way into FIFA 14.
When an attacking player inadvertently ends up lying on the ball after losing the balance, the opposing keeper proceeds to 'get the leg over' and dry hump him like a dog in heat until he manages to squeeze the ball out from underneath him."
♪♫ 100% Ikonika Mix (2013)
2. Ikonika – Miracle Whip (Dub)
3. Ikonika – Mr. Cake (Hyperdub)
4. Ikonika – Lights Are Forever (Hyperdub)
5. Ikonika – Eternal Mode (Hyperdub)
6. Ikonika – Aqueous Cream (Hum + Buzz)
7. Ikonika - Manchego
8. Ikonika – Rumble Strips (Dub)
9. Ikonika – Passenger (Dub)
Via
Tuesday 8 October 2013
♪♫ Hamell On Trial - The Terrorism of Everyday Life
I secured new management in 2006 in the hopes of bringing my show into a more theatrical arena. The Invasion Group with the management team of Peter Casperson and Steven Supporta had been integral in the breakthrough success of American comedian Bill Hicks in Europe. They helped me obtain a steady, weekly residency at a new comedy club on 14th Street in NYC named Comix. They brought out director Kate Valentine who had had much success with the Va Voom Room, an avant burlesque extravaganza and she was looking for a new challenge and it all fell into place.
She would come to the shows, take notes, we would meet and rehearse. It culminated in several sold out shows at The Knitting Factory, (see Christgeau's review below), and director Richard Hurst, at the time enjoying much success with his Bill Hicks show in London, suggested bringing the show to Edinburgh Scotland which hosts the world's largest, month long, Fringe Festival. It was there that I won the prestigious Herald Angel Award. What you are hearing here is just a random night of live recording, not the most effusive on the crowd's part unfortunately as opposed to some of the weekend nights but you get the picture. Enjoy!
The great 'dean of rock critics' Robert Christgeau wrote this about me in the Village Voice after seeing one of the sold out rehearsal shows for The Terrorism of Everyday Life:
www.villagevoice.com/2006-03-07/music/ed-s-not-dead/full/
All of Ed's albums can be got at a name your own price (GIVE THE MAN SOME MONEY) at Bandcamp HERE
♪♫ DJ Moneyshot - Solid Steel Radio Show 2/8/2013 Part 1 + 2
It's another special show
as our own DJ Moneyshot presents another classic album deconstructed
for the Solid Steel 25th Anniversary. Public Enemy's 'It Takes A Nation
of Millions to Hold Us Back' is also 25 years old and to honour both
occasions DJ Moneyshot shows us once again why he's the mixtape king
with the career-best offering, Solid Steel and the Hour of Chaos. Over
60 blistering minutes he takes in all the beats, breaks, samples and
spoken word nuggets that made this seminal Bomb Squad production such an
explosive release. Amongst the vast stack of tracks in the mix, expect
words of wisdom from Louis Farrakhan, exclusive interviews with Hank
Shocklee, and all the soul, rock 'n' roll and early rap tracks that went
into making up P.E's (if not hip-hop's) finest album. If you enjoy the
mix, why not read Moneyshot's exhaustive feature on the album in the
pages of this month's Future Music magazine? ( itunes.apple.com/gb/app/future-mu…id451416904?mt=8 )
Follow Solid Steel on Facebook and Twitter
www.facebook.com/pages/Solid-Steel/175027509192663
twitter.com/DK_SolidSteel
PART 1 + 2 - DJ Moneyshot twitter.com/DJ_Moneyshot
V/A _ 87 Long Island Radio Dial Intro _ mp3
Mr. Magic & Marley Marl _ Public Enemy Diss - WBLS, MARCH '87 _ mp3
The Bar-Kays _ Son of Shaft _ Stax
Malcolm X _ Message to the Grassroots _ Afro Records
The Disco Four _ Do It, Do It _ Enjoy Records
Bobby Byrd _ I Know You Got Soul _ Polydor
The JBs _ The Grunt _ Polydor
Public Enemy _ Night of the Living Baseheads (Video Version) _ Def Jam
Public Enemy _ Bring the Noise (acc) _ Def Jam
Louis Boston _ Fonk A Job _ mp3
Hank Shocklee _ Excluisve Interviews _ Moneyshot's Own
Public Enemy _ Night of the Living Baseheads (Terminator X Meets DST and Chuck Chill Out Instrumental Mix) _ Def Jam
Lafayette Afro Rock Band _ Darkest Light _ America Records
Minister Louis Farrakhan _ Minister Farrakhan Speaks at "Jack The Rapper Family Affair" Conference _ Final Call Records
Sly & The Family Stone _ Sing a Simple Song _ Epic
The JBs _ Gimme Some More _ Polydor
James Brown _ Escape-ism _ King Records
Rufus Thomas _ Live at Wattstax _ Stax
The Bar-Kays _ Live at Wattstax _ Stax
Aretha Franklin _ Rocksteady _ Atlantic
Run DMC _ Sucker MCs _ Profile Records
Chubb Rock _ Rock 'n' Roll Dude _ Select Records
Public Enemy _ Night of the Living Baseheads (Anti-High Blood Pressure Encounter Mixx) _ Def Jam
James Brown _ Funky Drummer _ King Records
Slayer _ Angel of Death _ Def Jam
Public Enemy _ She Watch Channel Zero _ Def Jam
David Bowie _ Fame _ EMI
Big Audio Dynamite _ BAD _ Columbia
Masterdon Committee _ Funkbox Party _ Enjoy Records
GrandWizzard Theodore _ Fantastic Freaks At The Dixie _ Chrysalis
Public Enemy _ Caught, Can We Get A Witness (Pre Black Steel Ballistic Felony Dub) _ Def Jam
Public Enemy _ Live at London DMC 1988 _ DMC
The Sweet _ Funk It Up (David's Song) _ RCA Victor
Bobby Byrd _ Hot Pants (Bonus Beats) _ Urban
Bobby Byrd _ Hot Pants _ Urban
Double Dee + Steinski _ Lesson 1 _ Tommy Boy
Queen _ Double Dee + Steinski _ EMI
Public Enemy _ - Rebel Without a Pause (acc) _ Def Jam
Public Enemy _ - Prophets of Rage (Video Mix) _ Def Jam
Run DMC _ Here We Go (Live at The Funhouse) _ Profile Records
Spoonie Gee & The Treacherous Three _ Love Rap _ Enjoy Records
James Brown _ Cold Sweat _ Polydor
Original Concept _ Pump That Bass _ Def Jam
Public Enemy _ Don't Believe the Hype _ Def Jam
Prophets of Rage Documentary _ "Sampling" _ BBC
Earth, Wind & Fire _ Shining Star _ CBS
Kool & The Gang _ Who's Gonna Take the Weight _ De-Lite Records
Funkadelic _ Get Off Your Ass and Jam _ Westbound
Kurtis Blow _ Christmas Rappin' _ Mercury
Commodores _ The Assembly Line _ Motown
Funkadelic _ Butt-To-Butt Resuscitation _ Westbound
Juice _ Catch A Groove _ Greedy Records Ltd
Boogie Boys _ Rappin' Ain't No Thing _ Mike & Dave Records
Marva Whitney _ It's My Thing _ Polydor
Kurtis Blow _ AJ Scratch _ Mercury
James Brown _ Give It Up Or Turnit Loose (In The Jungle Groove remix) _
The Temptations _ I Can't Get Next to You _ Tamla Motown
The Escorts _ Little Green Apples _ Alithia
James Brown _ I Got Ants In My Pants _ Polydor
Trix Cereal _ 60s Commercial _ mp3
Melvin Bliss _ Synthetic Substitution _ Sunburst Records
Isaac Hayes _ Hyperbolicsyllabicsesquedalymistic _ Enterprise
Public Enemy _ Terminator X Speaks With His Hands _ Def Jam
Beastie Boys _ Fight for Your Right to Party _ Def Jam
Stevie Wonder _ Living of the City _ Tamla Motown
Mountain _ Long Red (Live) _ Island Records
Public Enemy _ Live on Soul Train _ mp3
T-La Rock _ It's Yours _ Partytime Records
Public Enemy _ Cold Lampin' With Flavor _ Def Jam
Whodini _ Fugitive _ Jive
The Chakachas _ Jungle Fever _ Polydor
Sly & The Family Stone _ You Can Make it if You Try _ Epic
Salt 'n' Pepa _ My Mic Sounds Nice _ Next Plateau Records Inc.
Davy DMX _ One For the Treble (Fresh) _ Tuff City
Jefferson Starship _ Rock Music _ Grunt Records
James Brown _ Soul Power _ King Records
Public Enemy _ Rebel Without a Pause (DJ Moneyshot's 'More Nation's Samples' Remix) _ N/A
Joeski Love _ Pee Wee's Dance _ Vintertainment
The Soul Children _ I Don't Know What This World Is Coming To _ Stax
V/A _ Outro _ N/A
(Thanx Stan!)
Follow Solid Steel on Facebook and Twitter
www.facebook.com/pages/Solid-Steel/175027509192663
twitter.com/DK_SolidSteel
PART 1 + 2 - DJ Moneyshot twitter.com/DJ_Moneyshot
V/A _ 87 Long Island Radio Dial Intro _ mp3
Mr. Magic & Marley Marl _ Public Enemy Diss - WBLS, MARCH '87 _ mp3
The Bar-Kays _ Son of Shaft _ Stax
Malcolm X _ Message to the Grassroots _ Afro Records
The Disco Four _ Do It, Do It _ Enjoy Records
Bobby Byrd _ I Know You Got Soul _ Polydor
The JBs _ The Grunt _ Polydor
Public Enemy _ Night of the Living Baseheads (Video Version) _ Def Jam
Public Enemy _ Bring the Noise (acc) _ Def Jam
Louis Boston _ Fonk A Job _ mp3
Hank Shocklee _ Excluisve Interviews _ Moneyshot's Own
Public Enemy _ Night of the Living Baseheads (Terminator X Meets DST and Chuck Chill Out Instrumental Mix) _ Def Jam
Lafayette Afro Rock Band _ Darkest Light _ America Records
Minister Louis Farrakhan _ Minister Farrakhan Speaks at "Jack The Rapper Family Affair" Conference _ Final Call Records
Sly & The Family Stone _ Sing a Simple Song _ Epic
The JBs _ Gimme Some More _ Polydor
James Brown _ Escape-ism _ King Records
Rufus Thomas _ Live at Wattstax _ Stax
The Bar-Kays _ Live at Wattstax _ Stax
Aretha Franklin _ Rocksteady _ Atlantic
Run DMC _ Sucker MCs _ Profile Records
Chubb Rock _ Rock 'n' Roll Dude _ Select Records
Public Enemy _ Night of the Living Baseheads (Anti-High Blood Pressure Encounter Mixx) _ Def Jam
James Brown _ Funky Drummer _ King Records
Slayer _ Angel of Death _ Def Jam
Public Enemy _ She Watch Channel Zero _ Def Jam
David Bowie _ Fame _ EMI
Big Audio Dynamite _ BAD _ Columbia
Masterdon Committee _ Funkbox Party _ Enjoy Records
GrandWizzard Theodore _ Fantastic Freaks At The Dixie _ Chrysalis
Public Enemy _ Caught, Can We Get A Witness (Pre Black Steel Ballistic Felony Dub) _ Def Jam
Public Enemy _ Live at London DMC 1988 _ DMC
The Sweet _ Funk It Up (David's Song) _ RCA Victor
Bobby Byrd _ Hot Pants (Bonus Beats) _ Urban
Bobby Byrd _ Hot Pants _ Urban
Double Dee + Steinski _ Lesson 1 _ Tommy Boy
Queen _ Double Dee + Steinski _ EMI
Public Enemy _ - Rebel Without a Pause (acc) _ Def Jam
Public Enemy _ - Prophets of Rage (Video Mix) _ Def Jam
Run DMC _ Here We Go (Live at The Funhouse) _ Profile Records
Spoonie Gee & The Treacherous Three _ Love Rap _ Enjoy Records
James Brown _ Cold Sweat _ Polydor
Original Concept _ Pump That Bass _ Def Jam
Public Enemy _ Don't Believe the Hype _ Def Jam
Prophets of Rage Documentary _ "Sampling" _ BBC
Earth, Wind & Fire _ Shining Star _ CBS
Kool & The Gang _ Who's Gonna Take the Weight _ De-Lite Records
Funkadelic _ Get Off Your Ass and Jam _ Westbound
Kurtis Blow _ Christmas Rappin' _ Mercury
Commodores _ The Assembly Line _ Motown
Funkadelic _ Butt-To-Butt Resuscitation _ Westbound
Juice _ Catch A Groove _ Greedy Records Ltd
Boogie Boys _ Rappin' Ain't No Thing _ Mike & Dave Records
Marva Whitney _ It's My Thing _ Polydor
Kurtis Blow _ AJ Scratch _ Mercury
James Brown _ Give It Up Or Turnit Loose (In The Jungle Groove remix) _
The Temptations _ I Can't Get Next to You _ Tamla Motown
The Escorts _ Little Green Apples _ Alithia
James Brown _ I Got Ants In My Pants _ Polydor
Trix Cereal _ 60s Commercial _ mp3
Melvin Bliss _ Synthetic Substitution _ Sunburst Records
Isaac Hayes _ Hyperbolicsyllabicsesquedalymistic _ Enterprise
Public Enemy _ Terminator X Speaks With His Hands _ Def Jam
Beastie Boys _ Fight for Your Right to Party _ Def Jam
Stevie Wonder _ Living of the City _ Tamla Motown
Mountain _ Long Red (Live) _ Island Records
Public Enemy _ Live on Soul Train _ mp3
T-La Rock _ It's Yours _ Partytime Records
Public Enemy _ Cold Lampin' With Flavor _ Def Jam
Whodini _ Fugitive _ Jive
The Chakachas _ Jungle Fever _ Polydor
Sly & The Family Stone _ You Can Make it if You Try _ Epic
Salt 'n' Pepa _ My Mic Sounds Nice _ Next Plateau Records Inc.
Davy DMX _ One For the Treble (Fresh) _ Tuff City
Jefferson Starship _ Rock Music _ Grunt Records
James Brown _ Soul Power _ King Records
Public Enemy _ Rebel Without a Pause (DJ Moneyshot's 'More Nation's Samples' Remix) _ N/A
Joeski Love _ Pee Wee's Dance _ Vintertainment
The Soul Children _ I Don't Know What This World Is Coming To _ Stax
V/A _ Outro _ N/A
(Thanx Stan!)
Monday 7 October 2013
♪♫ Robert Wyatt - Rivmic Melodies (excerpt) from '68'
PRE-ORDER/PURCHASE '68' by Robert Wyatt @
AMAZON (digital & physical): www.amazon.com/68-Robert-Wyatt/dp/B00EI63LJY
ITUNES (digital): itunes.apple.com/us/album/68/id687598452
BANDCAMP (hi-fi digital): cuneiformrecords.bandcamp.com/album/68
WAYSIDE (physical-ships worldwide): waysidemusic.com/Music-Products/W…une-spc-375.aspx
"After a half a dozen listens I am convinced this is of the very best archival releases EVER.
The creativity was pouring out of RW at that time and the freedom he had doing these demos reveal a sense of freshness that is really exciting – also there is a feeling of warm intimacy like we get to be the fly on RW's studio wall in 1968 - the interview is amazing too. Do not miss this."
–Udi Koomram, engineer.
"Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities."
–Aymeric Leroy, author and historian of the 'Canterbury Scene'.
"A stunning archival release that sheds new light on early Soft Machine. A must-have for Softs fans"
–Sid Smith, journalist
For over 45 years, Robert Wyatt has been a major, creative force in music, having had a major impact on the beginnings of both psychedelic rock and jazz/rock in the UK with Soft Machine, to his eventual long solo career as a unique singer/songwriter.
In September, 1968, the Soft Machine had just finished their second, exhaustive tour of the USA supporting the Jimi Hendrix Experience. At the conclusion of the tour, vocalist/drummer/multi-instrumentalist Robert stayed, working on recordings in Hollywood and New York City. Upon Robert's return to England to re-start the Soft Machine in December, 1968, these documents lay forgotten. Two of them were eventually found and issued, but half of these recordings were unreleased and thought lost forever...
Now, for the first time, all four of the recordings Robert made in '68 are collected together and released, all carefully worked on and presented in the best possible sound quality – and the recorded sound here is surprisingly excellent overall!
This release is fully authorized by Robert and the liners include an in-depth interview with Robert about his recollections of this period, with insights into his songwriting process, recording procedures and previously untold anecdotes of this period of his work and life.
There are four tracks. Two of the demos are shorter songs. Of these, one of them was a track Robert used to play with the Wilde Flowers, Brian Hopper's Slow Walkin' Talk, while the other features music that would later be re-worked by Robert and appear on the 1st album by Matching Mole!
The bulk of the material - the two long suites - were later re-recorded by the Soft Machine; Rivmic Melodies later became the basis of side one on Volume II (1969) and Moon In June showed up as Robert's showcase on Third (1970). The two side-long epics are particularly worth noting how they present, even in this very early stage of his career, Wyatt's seamless integration of song fragments and instrumental passages within a unified whole, his stream-of-consciousness, often self-referential lyrics interspersed with witty asides (soon to become a defining characteristic of the 'Canterbury scene'), matched by Wyatt's equally idiosyncratic singing.
These tracks serve as a template for the post-psychedelic Soft Machine's career as founders of European jazz/rock and the entire release is a precursor to Robert's post-band, solo career.
www.cuneiformrecords.com
www.twitter.com/cuneiformrecord
www.facebook.com/cuneiformrecords
AMAZON (digital & physical): www.amazon.com/68-Robert-Wyatt/dp/B00EI63LJY
ITUNES (digital): itunes.apple.com/us/album/68/id687598452
BANDCAMP (hi-fi digital): cuneiformrecords.bandcamp.com/album/68
WAYSIDE (physical-ships worldwide): waysidemusic.com/Music-Products/W…une-spc-375.aspx
"After a half a dozen listens I am convinced this is of the very best archival releases EVER.
The creativity was pouring out of RW at that time and the freedom he had doing these demos reveal a sense of freshness that is really exciting – also there is a feeling of warm intimacy like we get to be the fly on RW's studio wall in 1968 - the interview is amazing too. Do not miss this."
–Udi Koomram, engineer.
"Some have called this - the complete set of Robert Wyatt's solo recordings made in the US in late 1968 - the ultimate Holy Grail. Half of the material here is not only previously unreleased - it had never been heard, even by the most dedicated collectors of Wyatt rarities."
–Aymeric Leroy, author and historian of the 'Canterbury Scene'.
"A stunning archival release that sheds new light on early Soft Machine. A must-have for Softs fans"
–Sid Smith, journalist
For over 45 years, Robert Wyatt has been a major, creative force in music, having had a major impact on the beginnings of both psychedelic rock and jazz/rock in the UK with Soft Machine, to his eventual long solo career as a unique singer/songwriter.
In September, 1968, the Soft Machine had just finished their second, exhaustive tour of the USA supporting the Jimi Hendrix Experience. At the conclusion of the tour, vocalist/drummer/multi-instrumentalist Robert stayed, working on recordings in Hollywood and New York City. Upon Robert's return to England to re-start the Soft Machine in December, 1968, these documents lay forgotten. Two of them were eventually found and issued, but half of these recordings were unreleased and thought lost forever...
Now, for the first time, all four of the recordings Robert made in '68 are collected together and released, all carefully worked on and presented in the best possible sound quality – and the recorded sound here is surprisingly excellent overall!
This release is fully authorized by Robert and the liners include an in-depth interview with Robert about his recollections of this period, with insights into his songwriting process, recording procedures and previously untold anecdotes of this period of his work and life.
There are four tracks. Two of the demos are shorter songs. Of these, one of them was a track Robert used to play with the Wilde Flowers, Brian Hopper's Slow Walkin' Talk, while the other features music that would later be re-worked by Robert and appear on the 1st album by Matching Mole!
The bulk of the material - the two long suites - were later re-recorded by the Soft Machine; Rivmic Melodies later became the basis of side one on Volume II (1969) and Moon In June showed up as Robert's showcase on Third (1970). The two side-long epics are particularly worth noting how they present, even in this very early stage of his career, Wyatt's seamless integration of song fragments and instrumental passages within a unified whole, his stream-of-consciousness, often self-referential lyrics interspersed with witty asides (soon to become a defining characteristic of the 'Canterbury scene'), matched by Wyatt's equally idiosyncratic singing.
These tracks serve as a template for the post-psychedelic Soft Machine's career as founders of European jazz/rock and the entire release is a precursor to Robert's post-band, solo career.
www.cuneiformrecords.com
www.twitter.com/cuneiformrecord
www.facebook.com/cuneiformrecords
Sunday 6 October 2013
Saturday 5 October 2013
Friday 4 October 2013
Third letter to Miley
Miley
I have no interest whatsoever in meeting you. You had plenty of time yesterday to abuse Amanda Bynes .. an entirely innocent party.. and myself.. who also did nothing to deserve your abuse.. along with every other sufferer of mental health problems and every person who suffered abuse at the hands of priests.
You can take five minutes today between g- string fuckin' changes to publicly apologise and remove your abusive tweets. If you do not then you don't give a shit who you mock and what damage you do by being so ignorant.
When you publicly apologise to Amanda and myself and all mental health sufferers as well as all who were abused by priests that will end the matter as far as I am concerned.
what you did yesterday was designed to damage me and my career and has caused me enormous distress and harassment and has potential to damage my career, since you deliberately gave the impression those tweets of mine were not two years old but reflect my current condition. If you cannot apologize I will have no choice but to bring legal proceedings against you since it is extremely hard to be given work when people think one is suffering from mental illness.
I have no interest in or desire to cause you trouble but if you do not apologise for having deliberately tried to cause me hurt and trouble personally and professionally I will have to bring pressure upon you.
When you end up in the psych ward or rehab I'll be happy to visit you.. and would not lower myself to mock you.
Be a proper woman and make the public apologies I have listed above. Your hosting SNL is a bullshit reason for not taking five minutes to do the right thing and your behaviour yesterday will rebound upon you very badly.
You have no business abusing Amanda Bynes or anyone else. How do you think you made her feel yesterday? How do you feel when your friend Britney Spears is mocked and humiliated for having had mental health problems? I know I personally want to bash those who treat her that way. If she is your friend and more importantly if you are a true friend to her.. you ought apologise for joining those who mock and humiliate women who have been too nice frankly, to manage the music business without sensibly losing their minds.
Cease behaving in an anti-female capacity. You will become the victim of it shortly. Soon it will be you the media 'crazy' .. and you will not enjoy it.. and you will appreciate people (like myself) standing up for you. Which I will be happy to do.. if you earn my respect today by apologising publicly.
Sinead
I have no interest whatsoever in meeting you. You had plenty of time yesterday to abuse Amanda Bynes .. an entirely innocent party.. and myself.. who also did nothing to deserve your abuse.. along with every other sufferer of mental health problems and every person who suffered abuse at the hands of priests.
You can take five minutes today between g- string fuckin' changes to publicly apologise and remove your abusive tweets. If you do not then you don't give a shit who you mock and what damage you do by being so ignorant.
When you publicly apologise to Amanda and myself and all mental health sufferers as well as all who were abused by priests that will end the matter as far as I am concerned.
what you did yesterday was designed to damage me and my career and has caused me enormous distress and harassment and has potential to damage my career, since you deliberately gave the impression those tweets of mine were not two years old but reflect my current condition. If you cannot apologize I will have no choice but to bring legal proceedings against you since it is extremely hard to be given work when people think one is suffering from mental illness.
I have no interest in or desire to cause you trouble but if you do not apologise for having deliberately tried to cause me hurt and trouble personally and professionally I will have to bring pressure upon you.
When you end up in the psych ward or rehab I'll be happy to visit you.. and would not lower myself to mock you.
Be a proper woman and make the public apologies I have listed above. Your hosting SNL is a bullshit reason for not taking five minutes to do the right thing and your behaviour yesterday will rebound upon you very badly.
You have no business abusing Amanda Bynes or anyone else. How do you think you made her feel yesterday? How do you feel when your friend Britney Spears is mocked and humiliated for having had mental health problems? I know I personally want to bash those who treat her that way. If she is your friend and more importantly if you are a true friend to her.. you ought apologise for joining those who mock and humiliate women who have been too nice frankly, to manage the music business without sensibly losing their minds.
Cease behaving in an anti-female capacity. You will become the victim of it shortly. Soon it will be you the media 'crazy' .. and you will not enjoy it.. and you will appreciate people (like myself) standing up for you. Which I will be happy to do.. if you earn my respect today by apologising publicly.
Sinead
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