Better known to most of us as The Bug, Kevin Richard Martin acts as a shapeshifter between genres. His contribution produced especially for Elevate, picks up where his album series "Frequencies for leaving earth", launched during the first lockdown left off. In this deeply personnal project, he devotes himself to intensely immersive soundscapes that develop a uniquely dystopian undertow.
This contribution was first aired on Thursday, March 4th at 11:30 p.m. CET through Austrian national radio station Ö1
Tracklist:
Kevin Richard Martin - Untitled 15
Kevin Richard Martin - Shepard tone 1 (Low hypnotic)
Kevin Richard Martin - Untitled 7
Kevin Richard Martin - Untitled 2
Kevin Richard Martin - A Broken Home (Taken from 'Frequencies for Leaving
Earth Vol.5')
OPN ft Roger Robinson - Replica
Kevin Richard Martin - Untitled 12
Kevin Richard Martin - Shepard tone 1 (High hypnotic)
Kevin Richard Martin - Untitled 4
Kevin Richard Martin - Refraction 5 (Taken from 'Sedatives')
Ana Roxanne - A study n Vastness
Kevin Richard Martin - Wife or Mother (Taken from 'Return to Solaris')
Kevin Richard Martin - Hallucinations (Taken from 'Hazy')
Robert Wyatt - Strange Fruit
Lockdown Grooves is part of Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union. In Cooperation with Ö1
2 Bassists ; Bill Laswell and yours truly , in the dressing room , before a show in Brooklyn a few years ago . You never know...maybe before too long those days will be back again . But nothing’s ever certain is it? Pic by Yoko pic.twitter.com/hzhNVdyUQ2
The new single is dedicated to influential LA cosplayer, sci-fi author and '60's pornographer, William 'Bill' Rotsler and will be out late March. The track will feature on Black Cab's upcoming sixth album due for release later in 2021
I've caught Black Cab a couple of times so far in 2021. Both with limited sitting audience numbers.
Really looking forward to things getting totally back to normal as they are still currently the best live band in Melbourne and due to Covid we are still blessed with having Wes on drums...here's a couple of tracks recorded (a year apart) on my trusty Tascam. 'Untitled' from Jan 2020 before the lockdown hit last year and old fave 'Supermädchen' recorded at Black Cab's last Melbourne gig
Untitled - live at Nighthawks Fitzroy (Jan 2020)
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Supermädchen - live at The Corner Hotel Richmond (Jan 2021)
Funnily enough a friend of mine had come up to Glasgow from London where he worked for Charisma Records and was going to catch The Scars live supporting The Banshees at The Apollo on the 8th September 1979 before possibly signing them to PRE Records. Of course the gig was cancelled due to the drama in Aberdeen the night before and we ended up going to the most boring party in Byres Road. Oh well never have seen The Banshees live but I did get to see The Scars numerous times
JG Thirlwell is interviewed in Brooklyn, NYC in 1986 by Tim Ritchie for his radio show on Sydney's Triple J station. The interview is cut up, sampled, stretched and reassembled by John Jacobs, Tim's producer back in Sydney, resulting in a stream of consciousness of Foetal Excellence.
This 30 year old piece of radio collage was recovered and remastered by DJ HDD in Sydney and is the first in a series uncovering Australia's previously lost radiophonic works.
It is notorious that in Bristol (to that I can speak myself, but probably in many other places) he (Coleridge) went so far as to hire men "porters, hackney-coachmen, and others" to oppose by force his entrance into any druggist's shop. But, as the authority for stopping him was derived simply from himself, naturally these poor men found themselves in a metaphysical fix, not provided for even by Thomas Aquinas or by the prince of Jesuitical casuists. And in this excruciating dilemma would occur such scenes as the following: "0h, sir," would plead the suppliant porter, suppliant, yet semi-imperative (for equally if he did and if he did not show fight, the poor man's daily 5s. seemed endangered) "really you must not; consider, sir, your wife and-"
Transcendental Philosopher: "Wife! what wife?I have no wife."
Porter: "But, really now,you must not, sir. Didn't you say no longer ago than yesterday"
Transcend. Philos: "Pooh, pooh! yesterday is a long time ago.
Are you aware, my man, that people are known to have dropped down dead for timely want of opium?"
Porter: "Ay ,but you tell't me not to hearken "
Transcend. Philos: "Oh, nonsense!An emergency, a shocking emergency, has arisen, quite unlooked for. No matter what I told you in times long past. That which I now tell you is that, if you don't remove that arm of yours from the doorway of this most respectable druggist, I shall have a good ground of action against you for assault and battery
Note: The passage Burroughs reads here is from De Quincey's 1856 revised edition of 'Confessions of an English Opium Eater'. It doesn't appear in the 1821 edition.
The passage concerns Coleridge's (1772 - 1834), not De Quincey's, reported attempts to curb his own laudanum addiction, attempts so half-hearted & inept they're amusing, as Burroughs points out.
The last time I saw this film prior to watching it just before was at a showing at the London Film Makers Co-Op in Camden I think in 79 that also had all the memebers of TG present
We did it! Thank you everyone!!!!!!! I can’t believe we have a number one album. I’m honestly so humbled and grateful for everyone’s support. ❤️❤️❤️❤️❤️❤️❤️❤️❤️❤️ #Mogwai4Number1
This is a solo oud version of “Lonely Woman” by Ornette Coleman. I’ve loved this melody ever since I first heard it over 30 years ago. A while back, I had the idea of playing and recording it on oud – the melody has always struck me as very Arabic/Middle Eastern sounding – it has a sobbing/emotional feeling that you hear in certain kinds of Arabic vocal music and modes. It’s only recently though that it has made sense to attempt a version of it. I’ve been exploring the idea of covering Free Jazz ‘standards’ that could work on oud and would have an emotional resonance on the instrument (I’ve recently recorded versions of “Ghosts” by Albert Ayler and “India” by John Coltrane ). This is what led me back to this piece… I recorded it at home in Montreal with one microphone and one take
Tracks from Electronic Revolution/Real English Tea Made Here/Nothing Here Now But The Recordings/10% File Under Burroughs/Vaudeville Voices/Dub Spencer & Trance Hill/Ministry/Laurie Anderson/Bill Laswell & Material. Also features The Master Musicians of Joujouka with and without Ornette Coleman
Repost