tag:blogger.com,1999:blog-79166102023-11-16T02:49:48.795-08:00Laughterlaugh·ter /ˈlæftər, ˈlɑf-/ -noun 1. an inner quality, mood, or disposition suggestive of laughter; mirthfulness 2. subject or matter for amusement 3. the manifestation of joy, mirth, or scorn 4. "Laughter casts a glance, charged with the mortal violence of being, into the void of life." -Georges BatailleLucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.comBlogger24125tag:blogger.com,1999:blog-7916610.post-53630105483915221932008-04-07T15:51:00.001-07:002008-04-07T15:52:10.755-07:004/7 Show...You guessed it - <a href="http://laughtrack.wordpress.com">visit the Wordpress site</a> for 2 more hours of music, some videos, and a bit about bicycle awareness.Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com72tag:blogger.com,1999:blog-7916610.post-42558427088367514922008-03-31T13:56:00.000-07:002008-03-31T16:29:43.236-07:003/31 Now Ready + Fun with Ligeti's MetronomesHello, again. The 3/31 edition of Laughter is now available <a href="http://laughtrack.wordpress.com/">at the Wordpress site!</a><br /><br />Perhaps you'd enjoy taking a look at <a href="http://www.youtube.com/watch?v=X8v-uDhcDyg">this fine video</a> before visiting that link.<br /><br />György Sándor Ligeti was featured at the beginning of today's show and has many fine works, but this one is especially unusual and fun. It doesn't really get going until after the 50 second mark so you can jump to that point and not miss a thing.<br /><br />Check back, soon - This site is going to change pretty dramatically soon and while it will still update with regards to the Wordpress site, it's functionality will no longer have anything to do with my radio show. I will be linking to that site from ZBC as soon as I can get back in the studio and change the website displayed on the playlist.<br /><br />Thanks for listening,<br />LukeLucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com1tag:blogger.com,1999:blog-7916610.post-39441003858911612602008-03-24T15:14:00.000-07:002008-03-24T15:16:42.232-07:003/24 Show available @ Wordpress + Stars of the Lid Tour ReminderHello, again! The 3/24 edition of Laughter is currently available <a href="http://laughtrack.wordpress.com">at the Wordpress site</a>. A new review has also been posted there (on Brainwashed, too). More updates soon to come, including some rare and out of print music that I've not had an easy time finding anywhere on the internet.<br /><br />Thanks for listening and enjoy...Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com2tag:blogger.com,1999:blog-7916610.post-47399734907675257722008-03-18T16:54:00.000-07:002008-03-18T16:59:38.646-07:00RIP Arthur C. Clarke<div style="text-align: center;"><div style="text-align: left;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYgRu5SNeug7mjsbyaUQmzLUa9NLyld6dRdwicNhtNu2nPWlpFnFEhDZ0QX2AomZXu899x8ltq7dBGOAT45JKexin097xtp8sMKOsZNKfgO-gy5fS4uI5wrX60HQxbdx1fxJmE_w/s1600-h/2001.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYgRu5SNeug7mjsbyaUQmzLUa9NLyld6dRdwicNhtNu2nPWlpFnFEhDZ0QX2AomZXu899x8ltq7dBGOAT45JKexin097xtp8sMKOsZNKfgO-gy5fS4uI5wrX60HQxbdx1fxJmE_w/s320/2001.jpg" alt="" id="BLOGGER_PHOTO_ID_5179235231037598034" border="0" /></a><i>“<span class="body">The limits of the possible can only be defined by going beyond them into the impossible.</span>“</i><br /><br /></div><p style="text-align: left;">One of the world’s greatest writers has died. I’ll never forget the way <i>2001</i> made me feel the first time I saw it: tiny and monumentally blessed.</p><p><a href="http://ap.google.com/article/ALeqM5jfE8qUikNEG6MVWqYku2k8BD_RcgD8VG4BB00">Rest in peace.<br /></a></p></div>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-42769892803099969232008-03-17T11:12:00.000-07:002008-03-18T09:45:43.283-07:003/17 show at Wordpress, ft. Raymond ScottHead over to my site <a href="http://laughtrack.wordpress.com/">@ Wordpress</a> to download the current show. The site is now completely updated and features a massive number of videos and music related to the one and only Raymond Scott. This may be a name most of you are familiar with, but if you find yourself asking, "Who is this Raymond Scott?" then don't waste another second and click on the link. There is, as usual, 2 hours worth of music to download as well as plenty of background information about this innovator of electronic music.<br /><br />This site may eventually come to serve another purpose for me, but for now check both sites every once in a while to catch the latest updates. I'm thinking of starting a mailing list to keep everyone up to date, but that'll have to wait a little while longer.<br /><br />Thanks for stopping by and enjoy!Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-49483643114188297212008-03-10T12:08:00.000-07:002008-03-10T12:16:19.552-07:003/10 Show Available at Wordpress SiteHello again, everyone- from now on I'll be updating <a href="http://laughtrack.wordpress.com">the Wordpress site</a> first and this site later, if at all. Extra things may still show up here from time to time, but I'll make note of it on the other site if that happens to be the case. Until everyone gets used to the new address, I'll continue to link from this site to the other. The Autechre mix is still available and this week's show just went online. Please leave any comments or questions on that site or send me an email and I'll be glad to write back. Hopefully I can get Revolutionary Army of the Infant Jesus <a href="http://thedarksun.blogspot.com/2008/02/laughter-282008.html">to visit us here again</a> and perhaps lure them into an interview (if you're still out there watching, don't be shy).<br /><br />Thanks for stopping in and enjoy!<br /><br />LukeLucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-11678705166171240892008-03-08T15:46:00.000-08:002008-03-08T16:04:51.298-08:00Portishead News and an Autechre TreatHead on over to the <a href="http://laughtrack.wordpress.com">Wordpress version of Laughter</a> to grab a nice 2+ hour Autechre mix I recently uploaded. The .zip file will only be available for a few days, so grab it while you can.<br /><br />Also, the new Portishead has leaked. I've got a little write-up about it over at the other site, too, but I won't be uploading that. If you want to read what I have to say about it head on over there. If you want to download it then just start doing some Google searches; Google is virtually the best MP3 file-sharing software available if you use the advanced search function properly.<br /><br />I've also posted some new links in the sidebar under Organized Noise; give them a look.<br /><br />Thanks for stopping by...Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com1tag:blogger.com,1999:blog-7916610.post-28685778780642066392008-03-06T16:57:00.000-08:002008-03-06T17:53:05.506-08:00Dates and Times for Northeast Regional Noise and Power Electronics FestivalShane Broderick from Boston's <a href="http://www.myspace.com/tdsogf">twodeadsluts</a> <a href="http://www.myspace.com/tdsogf">onegoodfuck</a> sent me an email informing me that dates and times have been solidified for the Northeast Regional Noise and Power Electronics Festival. Here is the updated schedule:<br /><br />NORTHEAST REGIONAL NOISE AND POWER ELECTRONICS FESTIVAL<br />At America's Longest Running Drag Club<br /><a href="http://www.jacquescabaret.com/">Jacques Cabaret / Underground</a> (website)<br /><a href="http://maps.google.com/maps?hl=en&um=1&ie=UTF-8&q=Jacques&fb=1&cid=0,0,8546086168466756363&near=Boston,+MA&oi=manybox&ct=10&cd=1&resnum=1">79 Broadway - Boston, MA</a> (map)<br /><span style="color: rgb(255, 0, 0);">21+ ONLY</span> and $10/Day<br /><br /><u>Friday March 14th 2008</u><br /><span style="color: rgb(255, 0, 0);">6pm - 930pm</span><br /><br />Bloodyminded<br />Twodeadsluts Onegoodfuck<br />Karlheinz<br />Cathode Terror Secretion<br />Sharpwaist<br /><br /><u>Saturday March 15th 2008</u><br /><span style="color: rgb(255, 0, 0);">3pm - 8pm</span><br /><br />Ahlzagailzehguh<br />Halflings<br />Angeldust<br />FFH<br />Shallow Waters<br />Craniopagus<br />Bereft<br />Sewer Goddess<br />Nurture Abuse<br /><br />Performing after the noise shows on upstairs stage:<br />"The Cast Of Mis-Leading Ladies"<br />Kris Knievil, Destiny, Mizery Lakia Mondale, & Fena Barbitall.<br /><br />---<br /><br />If you want to hear some of these bands before deciding whether or not to attend <a href="http://thedarksun.blogspot.com/2008/02/noise-in-boston-late-show-and-upcoming.html">check out this post</a>, which contains a number of links to various Myspace pages and free music. Many of these bands are well known for their live performances and for good reason. If you're intrigued even a little bit go out and see these bands do what they do, you won't soon forget it.<br /><br />More updates, soon, including out-of-print and hard-to-find recordings from Luke's CD-R vault.<br /><br />Image courtesy of Doug Savage, from Adam Kellie, who has evidently begun the "fantastic" drinking game my last show spawned.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK1NjU2zAsOoddAkfW6ja-36e0ScQDek-HHsRt5sQHLiDHlpVaqT9la-n7V_2uET58XCWAd06dhsoR12JH3UG8bU1hbqihOXJ73EOuurXpPzo4lUfNBiGrP_nKF3XEmV_D57wKxw/s1600-h/fantastic.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhK1NjU2zAsOoddAkfW6ja-36e0ScQDek-HHsRt5sQHLiDHlpVaqT9la-n7V_2uET58XCWAd06dhsoR12JH3UG8bU1hbqihOXJ73EOuurXpPzo4lUfNBiGrP_nKF3XEmV_D57wKxw/s200/fantastic.jpg" alt="" id="BLOGGER_PHOTO_ID_5174809870409698482" border="0" /></a>Lucas Caldwellhttp://www.blogger.com/profile/07505180823802875566noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-18314762297530070492008-03-03T18:36:00.000-08:002008-03-03T22:15:24.834-08:003/3 show, Adam Kellie, E.E, Angel, Extras, and the Word "Fantastic"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_Vn6GOmqm-TqUcYesI7GZywjlOQvdBAFlTAuFadA0vD_j9OXsC4rqgCpNoRyIlWZy0A-vvzMdiIw3rgs-KTKTk0Wr6H7mzP-2GhBZ0TCUHh2Pno0et4jwXU4VVg9n9wcTh6dQw/s1600-h/angel_kalmukia.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX_Vn6GOmqm-TqUcYesI7GZywjlOQvdBAFlTAuFadA0vD_j9OXsC4rqgCpNoRyIlWZy0A-vvzMdiIw3rgs-KTKTk0Wr6H7mzP-2GhBZ0TCUHh2Pno0et4jwXU4VVg9n9wcTh6dQw/s200/angel_kalmukia.jpg" alt="" id="BLOGGER_PHOTO_ID_5173746576012419554" border="0" /></a>Plenty to talk about this week, but I will keep most of it brief. There are two very different shows available for you to download this week (that's four hours of music). The first show is this week's edition of Laughter, featuring the talents of Boston-area resident <a href="http://pixelsound.blogspot.com/">Adam Kellie</a> and former Somerville resident <a href="http://www.redsunsoundroom.com/">Peter Koniuto</a> (more about them below) as well as Ohio-based <a href="http://www.myspace.com/eemedina">noise mastermind E.E</a> and the epic, dark, nearly transcendent trio called <a href="http://www.editionsmego.com/twiki/bin/view/Editionsmego/CataloguePage#emego087">Angel</a>. I posted some information about E.E and <a href="http://www.wiseowlrecords.com/">Wise Owl Records</a> in a <a href="http://thedarksun.blogspot.com/2008/01/technological-problems-andrew-liles-and.html">previous post</a>, but I want to stress how impressed I am by <span style="font-style: italic;">The End of Deconstruction</span>. A review of this double-CD release is still forthcoming, so please be patient. Angel is Ilpo Väisänen (Pan Sonic), Hildur Guðnadóttir (Lost In Hildurness) and Dirk Dresselhaus (Schneider TM). I'll simply state that their collaboration only barely resembles any of their independent work.
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<br />Adam Kellie was gracious enough to provide me with some of his music over the last month and after repeated listens I found myself more and more impressed with his work. The track I played, "Khatanga," was recorded in 2000 by Peter Koniuto, who also provided all the percussive work and many of the loops used for the song. If you check out <a href="http://www.redsunsoundroom.com/">Red Sun Soundroom</a> you can listen to his work as Pseudophone for free. Multi-instrumentalis Adam Kellie, in addition to being a talented musician, is also a photographer. Over the course of a couple e-mail conversations he explained to me how he approaches both mediums:
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<br /><span style="font-weight: bold;">"</span><span style="font-weight: bold;">I don't really consider</span><span style="font-weight: bold;"> [my work] 'electronic' music.' I find it more organic than that. The</span><span style="font-weight: bold;"> process has, for me, been a mood/tone based creation-experience... [I'm] not </span><span style="font-weight: bold;">necessarily trying to show off my guitar chops, but rather trying to create a</span><span style="font-weight: bold;"> mood or sense of place...</span><span style="font-weight: bold;"> Which leads me to my photography. I've tried to tell a story, create a</span><span style="font-weight: bold;"> mood, or relate feeling in my photos as well as in my music.</span><span style="font-weight: bold;"> </span><span style="font-weight: bold;">Composition has always been a priority for me...</span><span style="font-weight: bold;">. Photography is something that I've studied and</span><span style="font-weight: bold;"> loved for a long time (since high school or before) and I find</span><span style="font-weight: bold;"> that I'm able to do it in bite-size chunks..."
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<br />His music is, without a doubt, visually evocative and highly structured, but neither rigid nor cold. I picked "Khatanga" for this week's show specifically because it blended musical styles so effortlessly; Can, Coil, The Orb, Talking Heads, Brian Eno - there's a lot going on in this song. It's likely you'll be hearing more from Adam Kellie on Laughter in the future - for now check out <a href="http://pixelsound.blogspot.com/">his blog</a> and leave him a comment.
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<br />Here are the download links and the playlist for this week's show, check below for two more hours of music.
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<br /><a href="http://www.mediafire.com/?mmilgbfxymj">download - Laughter 3/3/2008 - Part I</a>
<br /><a href="http://www.mediafire.com/?wziw1s1m99x">download - Laughter 3/3/2008 - Part II</a>
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<br /></span> <meta equiv="Content-Type" content="text/html; charset=ISO-8859-1"><title>Spinitron</title> <style type="text/css"></style><b>01. Liars</b> “Plaster Casts of Everything” from <i>Liars</i> (2007) on Mute
<br /><p><b>02. Dead Meadow</b> “The Queen of All Returns” from <i>Old Growth</i> (2008) on Matador</p><p> </p><b>03. Nick Cave & the Bad Seeds</b> “Red Right Hand” from <i>Let Love In</i> (1994) on <u>Mute U.S.</u><p> </p><b>04. Magazine</b> “I Wanted Your Heart” from <i>Secondhand Daylight</i> (1979) on <u>Virgin</u><p> </p><b>05. Codeine</b> “3 Angels” from <i>Pickup Song/3 Angels 7"</i> (1991) on <u>Glitterhouse</u><p> </p><b>06. Steven R. Smith</b> “In Light” from <i>Owl</i> (2007) on <u>Digitalis Industries</u><p> </p><b>07. Bear in Heaven</b> “For Beauty” from <i>Red Bloom of the Boom</i> (2007) on <u>Hometapes</u><p> </p><b>08. Neu!</b> “Hallogallo” from <i>Neu!</i> (1972) on <u>Astralwerks</u><p> </p><b>09. White Rainbow</b> “Mystic Prism” from <i>Prism of Eternal Now</i> (2007) on <u>Kranky</u><p> </p><b>10. Scraping Foetus off The Wheel</b> “Throne of Agony” from <i>Nail</i> (1985) on <u>Self Immolation/Some Bizzare</u><p> </p><b>11. Zeni Geva</b> “Autobody” from <i>Disgraceland 7"</i> (1993) on <u>Alternative Tentacles</u><p> </p><b>12. Autistic Daughters</b> “A Boxful of Birds” from <i>Jealousy and Diamond</i> (2004) on <u>Kranky</u><p> </p><b>13. Adam Kellie and Peter Koniuto</b> “Khatanga” (2000) on <u>Red Sound Room</u> — http://pixelsound.blogspot.com/
<br /><p><b>14. Nudge</b> “Love-In Accident” from <i>Elaborate Devices for Filtering Crisis</i> (2003) on <u>Tigerbeat6</u> </p><b>15. E.E & the Owl Archimedes</b> “Liminal State” from <i>The End of Deconstruction</i> (2008) on <u>Wise Owl Records</u><p> </p><b>16. Angel</b> “Aftermath: The Mutation” from <i>Kalmukia</i> (2008) on <u>Editions Mego</u><p> </p><b>17./18. Eliane Radigue</b> “Jestun Mila” from <i>Jetsun Mila</i> (2007) on <u>Lovely Music</u><p> </p><b>18. Irr. App. (Ext.)</b> “A Distended Particular” from <i>Dust Pincher Appliances</i> (2003) on <u>Crouton
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<br /></u><p> </p><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjak0u6_m8UpGXDpW4JDE8oGcnsgf2aOT4aMzjWXJ-YJG0K30f6DhNUAkP_tYqVuTTqwLe7AikbmFnJ1eWhamqeDa3VRyZbSuUiZpWND0kxVksOmfG9aolDahOehoKXKi_4mmkk-A/s1600-h/brown_mustard.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 102px; height: 136px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjak0u6_m8UpGXDpW4JDE8oGcnsgf2aOT4aMzjWXJ-YJG0K30f6DhNUAkP_tYqVuTTqwLe7AikbmFnJ1eWhamqeDa3VRyZbSuUiZpWND0kxVksOmfG9aolDahOehoKXKi_4mmkk-A/s200/brown_mustard.jpg" alt="" id="BLOGGER_PHOTO_ID_5173744196600537554" border="0" /></a>Today also marked the beginning of spring break for everyone at Boston College and as a result WZBC is short a few DJs this week. So, there was a second Laughter-related broadcast over the air waves, except this one had no particular format and featured WZBC's own dj dani. Any further broadcasts made by us shall be known as Brown Mustard and will likely feature a similarly odd-ball playlist. This show was put together on the spot and is basically us having fun in the studio. It features way more talking by me than I would like and a severely high number of instances of the word "fantastic." I want to promise everyone I will not be using that word ever again on any show in which I play a part. In fact, I intend to wipe this word completely from my vocabulary... except for those instances where it is most appropriate and no other word will do. In fact, why not play a drinking game using these mp3s? Get your friends together and every time I say the word "fantastic," take a drink...
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<br />I will refrain from talking so much during any show unless I am asked by somebody to do so - I say some pretty stupid things, but if you ignore that you'll find that the show is a lot of fun...
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<br />I hope you enjoy this extra broadcast. dani has a show on WZBC every Monday from 7am-10am (just before me). She plays consistently fantas... excellent music and you should listen to it.
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<br />Thanks for stopping by!
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<br /><a href="http://www.mediafire.com/?4o3h9ag5xjt">download - Brown Mustard 3/3/2008 - Part I</a>
<br /><a href="http://www.mediafire.com/?bmy1ehiov2t">download - Brown Mustard 3/3/2008 - Part II
<br /></a><meta equiv="Content-Type" content="text/html; charset=ISO-8859-1"><title>Spinitron</title> <link rel="icon" href="favicon.ico" type="image/x-icon">
<br /> <link rel="shortcut icon" href="favicon.ico" type="image/x-icon"><style type="text/css"><br /> body { <br /> font-family: Verdana, Arial, Helvetica, sans-serif;<br /> font-size: 76%;<br /> color: black; <br /> background: white; }<br /> p {<br /> font-size: 1em }</style><b>01. Joy Division</b> “Twenty Four Hours” from <i>Closer</i> (1980) on <u>Qwest</u><p> </p><b>02. Neptune</b> “Blue Glass” from <i>Gong Lake</i> (2008) on <u>Radium/Table of the Elements</u><p> </p><b>03. Brown Jenkins</b> “Dagonite” from <i>Dagonite</i> (2007) on <u>Moribund Records</u><p> </p><b>04. Om</b> “Unitive Knowledge of the Godhead” from <i>Pilgrimage</i> (2006) on <u>Southern Lord</u><p> </p><b>05. The Fucking Champs</b> “Thor Is Like Immortal” from <i>IV</i> (2007) on <u>Drag City</u><p> </p><b>06. Skinny Puppy</b> “Worlock” from <i>Rabies</i> (1989) on <u>Nettwerk</u><p> </p><b>07. You've Got Foetus on Your Breath</b> “I Am Surrounded By Incompetence” from <i>Deaf</i> (1981) on <u>Thirsty Ear</u><p> </p><b>08. The Tear Garden</b> “The Center Bullet” from <i>The Tear Garden</i> (1986) on <u>Nettwerk</u><p> </p><b>09. The Legendary Pink Dots</b> “Ego Tripper” from <i>The Legendary Pink Box</i> (1989) on <u>Play It Again Sam</u><p> </p><b>10. Bonnie Prince Billy</b> “Madeleine-Mary” from <i>I See a Darkness</i> (1999) on <u>Palace Records</u><p> </p><b>11. Abruptum</b> “Hostes Orco Hostium Legiones Dis Manibus Pacis Ruptores Ultioni” from <i>Evil Genius</i> (2007) on <u>Southern Lord
<br /></u><p> </p><b>12. Funeral</b> “Heartache” from <i>Tragedies/Tristesse</i> (2006) on <u>Freedom Findland
<br /></u><p> </p><b>13. Richard Crandell</b> “Diagonal” from <i>Wayfaring Strangers: Guitar Soli </i>(2008) on <u>Numero Group
<br /></u><p> </p><b>14. Jandek</b> “Know Thy Self” from <i>Ready for the House</i> (1978) on <u>Corwood</u><p> </p><b>15. The Bird Names</b> “New Mexico” from <i>Wooden Lake/Sexual Diner</i> (2007) on <u>Unsound Records</u><p> </p><b>16. V/VM</b> “WINDuckyQuacker” from <i>Help Aphex Twin 1.0 </i>(2001) on <u>V/VM Test</u><p> </p><b>17. Agoraphobic Nosebleed</b> “Vapor Lock” from <i>Bestial Machinery</i> (2005) on <u>Relapse</u><p> </p><b>18. Josh</b> “Nasha Pyar Da ft. Smurfette” from <i>Mausam</i> (2006) on <u>VIP Records</u><p> </p><b>19. Tonal Oak</b> “In the Kitchen” from <i>Man Trouble</i> (2007)
<br /><p><b>20. Leng Tch'e</b> “Tightrope Propaganda” from <i>Marasmus</i> (2007) on <u>Relapse</u> </p><b>21. Feu Thérèse</b> “Les déserts des azurs” from <i>Ca Va Cogner</i> (2007) on <u>Constellation</u><p> </p><b>22. Neoangin</b> “I Miss Diego” from <i>Scratchbook</i> (2007) on <u>Alive</u><p> </p>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com1tag:blogger.com,1999:blog-7916610.post-33725955932306536502008-03-03T12:34:00.000-08:002008-03-03T12:59:45.634-08:00Testing new website, Myspace, FacebookQuick update, here -<br /><ol><li>Today's show will be posted when I get back home, tonight. Look for two shows; both Laughter and the show with WZBC's dj dani. The latter is chaotic to say the least and I use the word "fantastic" way too much throughout.<br /></li><li>I'm testing <a href="http://wordpress.com/">Wordpress</a> out right now and coming to enjoy all the extra functionality their website provides for publishers and users. If you check the sidebar you'll see <a href="http://laughtrack.wordpress.com/">a link to my site at Wordpress</a> (or you can just click that link). I'll be updating that site as well as this one for a time, but if I enjoy Wordpress enough I'll likely move the site over there.<br /></li><li>I'm also creating a Myspace and Facebook page for Laughter. <a href="http://www.myspace.com/laughtersite">The Myspace page</a> is also linked in the sidebar. Stop on over, say hello. The Facebook page is upcoming. Once you see that link, say hello there, too.</li></ol>Check back soon for the shows.<br /><br />Thanks for visiting.Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-91060126973718529392008-02-27T21:36:00.000-08:002008-02-28T09:05:04.352-08:00Phew, Phew<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyxgxDNb2erBdaYrOIjlOY6qTLMtLpJH2DnGlgMEuX-fFikJ3AgztpgNNpLBiyyOMbK2D7qkp-qi24LZX_JsVJvJgrbeNRuv8KUSfQ2QVhzSlCm2M_Y0wwD7pIbcogXUQyku2C0w/s1600-h/phew.jpeg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyxgxDNb2erBdaYrOIjlOY6qTLMtLpJH2DnGlgMEuX-fFikJ3AgztpgNNpLBiyyOMbK2D7qkp-qi24LZX_JsVJvJgrbeNRuv8KUSfQ2QVhzSlCm2M_Y0wwD7pIbcogXUQyku2C0w/s200/phew.jpeg" alt="" id="BLOGGER_PHOTO_ID_5171916583698992450" border="0" /></a>Here for your enjoyment is <a href="http://www.japanimprov.com/phew/">Phew's</a> debut LP, originally released in 1981 on <a href="http://www.discogs.com/label/Pass+Records">Pass Records</a>. This album caught my eye primarily because it featured the talent of Can's Holger Czukay, though in what capacity I am still uncertain. There's kraut-like rock throughout the record ("Closed" and the awkwardly nightmarish "Doze") as well as some relatively abstract songs reminiscent of the better material from <span style="font-style: italic;">Stolen and Contaminated Songs </span>(check out "Dream" and compare it to Coil's "Who'll Fall"). At times I was reminded of OOIOO's rhythmic fixations and even Cabaret Voltaire's minimal approach to dance music. Still, there's a logic to Phew's odd dynamics that holds the record together and prevents it from being a random collection of material.<br /><br />Phew got her start with the Japanese punk band Aunt Sally and has also recorded with <a href="http://www.japanimprov.com/novotono/index.html">Novo Tono</a> and <a href="http://www.japanimprov.com/yotomo/newjazzquintet/index.html">Otomo Yoshihide's New Jazz Ensemble</a>. I'll be trying to locate more of her work; in the meantime you can download the self-titled album below. It will be available for a limited time only.<br /><br />Enjoy.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFZ7J7vkC7x5PgNQLWseEv98zDph-TK5yhCCFJZzdEv8V13qHdxoT5n8iT4kJpj2pnSCCLnsM1gNplB5rwSlINL92UKGLxL1nTnRFeLawXNAIeD_gvPx2NViLQ4CStEsR6IF30ag/s1600-h/phew_st.jpeg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFZ7J7vkC7x5PgNQLWseEv98zDph-TK5yhCCFJZzdEv8V13qHdxoT5n8iT4kJpj2pnSCCLnsM1gNplB5rwSlINL92UKGLxL1nTnRFeLawXNAIeD_gvPx2NViLQ4CStEsR6IF30ag/s200/phew_st.jpeg" alt="" id="BLOGGER_PHOTO_ID_5171916334590889266" border="0" /></a><br /><br /><br /><br /><br /><br /><br /><br /><br />Phew, <span style="font-style: italic;">Phew<br /></span>1981, Pass Records, LP<br /><br /><a href="http://www.discogs.com/artist/Yoshitaka+Goto"></a>01. Closed (3:15)<br />02. Signal (4:28)<br />03. Doze (5:14)<br />04. Dream (3:15)<br />05. Mapping (3:41)<br />06. Aqua (3:48)<br />07. P-Adic (3:32)<br />08. Fragment (3:52)<br />09. Circuit (1:37) <p>Played and produced by Phew, Jaki Liebezeit, Holger Czukay, Conny Plank, and Yoshitaka Goto</p> Recorded and mixed at Conny's Studio and Czukay's Editing Laboratory<br />Recording engineer: Conny Plank<br />Mastered by Hiroshi Shiota at Tokyo Recording Co., Ltd.<br /><a href="http://www.sendspace.com/file/7y1kfe"><br />download, .zip</a>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com1tag:blogger.com,1999:blog-7916610.post-15101429503454639382008-02-25T10:07:00.000-08:002008-02-26T07:37:51.154-08:002/25 show, Julian Kytasty, and Auktyon<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7-EUpNyElhjPbutykAbf9Sod0itPQyvmXa391HVU-Mr0TkYIsQ2mJNOAsbzIIb6ifndi76EcPtGQgC06oe21WgcLd8Wyulm0BzIjajt4k0NETWlViPfBpli8240MoSRlW8bKoTw/s1600-h/kytasty.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 142px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh7-EUpNyElhjPbutykAbf9Sod0itPQyvmXa391HVU-Mr0TkYIsQ2mJNOAsbzIIb6ifndi76EcPtGQgC06oe21WgcLd8Wyulm0BzIjajt4k0NETWlViPfBpli8240MoSRlW8bKoTw/s200/kytasty.jpg" alt="" id="BLOGGER_PHOTO_ID_5171003018805689218" border="0" /></a>Lots of interesting new things this week and I still haven't gotten around to last week's features. I promise those will come soon, but because I have time now and the music is fresh in mind, I'd like to write a little about Julian Kytasty and Auktyon.<br /><p>Julian Kytasty was born in 1958 in Detroit, Michigan to a family of Ukrainian refugees. Following his father's and gradfather's lead, Kytasty picked up the <span style="font-style: italic;">bandura</span> and in 1980 he moved to New York City and founded the New York Bandura Ensemble. According to the liner notes for <span style="font-style: italic;">Black Sea Winds</span>, the <a style="font-style: italic;" href="http://en.wikipedia.org/wiki/Bandura">bandura</a> is a strange hybrid of the lute and medieval lap harp. If you want to see what one looks like, <a href="http://www.youtube.com/watch?v=nBiqErpeAbA">check out this video</a> of Kytasty performing. The album itself is a document of songs traditionally played by blind musicians from the Ukraine known as <a href="http://en.wikipedia.org/wiki/Kobzar"><span style="font-style: italic;">kobzari</span></a>. These songs, called <a href="http://en.wikipedia.org/wiki/Duma_%28epic%29"><span style="font-style: italic;">duma</span></a>, were performed on an instrument called the <a style="font-style: italic;" href="http://en.wikipedia.org/wiki/Kobza">kobza</a>, but many artists in the 20th century, including Kytasty, began utilizing the <span style="font-style: italic;">bandura</span> instead. Apparently Stalinist Russia was not kind to the <span style="font-style: italic;">kobzari</span>, primarily because their music dealt with religious themes, and in the 30's they effectively became outlaws. Kytasty writes,<br /></p><p><span style="font-weight: bold;">"Many [<span style="font-style: italic;">kobzari</span>] doubtless died, along with millions of the rural population, in the famine of 1933; others were individually arrested and executed. There is considerable evidence that at some point in the 1930's the remnants [</span><span style="font-style: italic; font-weight: bold;">kobzari</span><span style="font-weight: bold;"> survivors] were rounded up for a Congress of Traditional Singers from which no one returned. The numbers speak for themselves. The folklorists of </span><span style="font-weight: bold;">the 1920's documented a living epic tradition of several hundred singers, with regional distinctions of repertoire and performance sytle; by 1939, when another congress of traditional performers was held, only four </span><span style="font-style: italic; font-weight: bold;">kobzari</span><span style="font-weight: bold;"> took part. The survivors had changed over to modernized banduras and performed 'progressive' repertoire featuring newly composed </span><span style="font-style: italic; font-weight: bold;">dumy</span><span style="font-weight: bold;"> about Stalin and Lenin."</span></p><p>Since that time the <span style="font-style: italic;">bandura</span> has been the instrument of choice - it is not the same instrument employed by the <span style="font-style: italic;">kobzari</span>, but the style of music played on the <span style="font-style: italic;">bandura</span> often pays homage to those blind singers. The song featured on the show, "Cossack Lament," is of the oldest <span style="font-style: italic;">kobzar</span> songs known, dating back to the 16th and 17th century. It is a lament sung as part of a <a href="http://en.wikipedia.org/wiki/Cossack">Cossack</a> funeral rite. I've also uploaded "The Song of Truth and Falsehood." The lyrics to this song speak for themselves:</p><div style="text-align: center;"><span style="font-weight: bold;">"There is no truth in the world,</span> <span style="font-weight: bold;"><br />Truth is not to be found,</span> <span style="font-weight: bold;"><br />For dire Falsehood has started calling itself Truth.</span><br /><br /><span style="font-style: italic; font-weight: bold;">Truth (Pravda)</span> <span style="font-weight: bold;"><br />For now Truth stands outside the threshold,</span> <span style="font-weight: bold;"><br />And Falsehood sits at table with the wealthy.</span><br /><br /><span style="font-style: italic; font-weight: bold;">Falsehood (Nepravda)</span><br /><span style="font-weight: bold;">For now Truth is cast into dungeons,</span><br /><span style="font-weight: bold;">And Falsehood invited into the mansions.</span><br /><br /><span style="font-weight: bold;">And the need to know the difference.</span><br /><br /><span style="font-weight: bold;">But the Lord is Truth, shall crush Falsehood,</span> <span style="font-weight: bold;"><br />Chastise pride, raise high the temple."</span><br /></div><br />The music is indescribably beautiful and simple; you can <a href="http://www.mediafire.com/?1yde0wtxzbv">download "The Song of Truth and </a><a href="http://www.mediafire.com/?1yde0wtxzbv">Falsehood" here</a>.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlJ3uVhSiA8Ub1DtNgmCwGrte_slItYWym8ea0NQKuj0mTHjHJyVR8ons-27tUOYVzPqtb2_gIH1rk-YUNOHyguB-pfMbS3NdLdft7BiTYvdD4BQwSoQswfco4fCDfVivFpj3lA/s1600-h/auktyon.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjPlJ3uVhSiA8Ub1DtNgmCwGrte_slItYWym8ea0NQKuj0mTHjHJyVR8ons-27tUOYVzPqtb2_gIH1rk-YUNOHyguB-pfMbS3NdLdft7BiTYvdD4BQwSoQswfco4fCDfVivFpj3lA/s200/auktyon.jpg" alt="" id="BLOGGER_PHOTO_ID_5171004019533069202" border="0" /></a>A good friend recently introduced me to a Russian rock band called <a href="http://www.auktyon.com/">Auktyon</a>. There's plenty of information about them on their website and all over the internet, but what follows are the basics. The band has been around in one form or another since 1978, but didn't take on their current name until 1983. They claim their influences as everything from reggae to the ethnic music of North Africa and jazz. Writers have compared them to everything from The Residents and Captain Beefheart to Robert Wyatt, Pere Ubu, Beck, Leonard Cohen, and Black Sabbath (to name just a few). The song played during the show ("Samolet") sounds like something out of a spy movie and "Boyoos" sounds like a demented folk tune filtered through the Boredoms. Beyond that I simply don't know how to describe this band. I've uploaded both "Boyoos" and another track ("Letcheek") for you to enjoy. Any other information you may want about the band can be found at their site. For those of you in Boston, Auktyon will be playing March the 25th at the <a href="http://www.mideastclub.com/">Middle East Club</a> (Downstairs).<br /><br />Thanks to Tom for the heads up!<br /><br /><a href="http://www.mediafire.com/?ts2pgpnmlxt">Auktyon "Boyoos" from <span style="font-style: italic;">Zhopa</span> (1990)</a><br /><a href="http://www.mediafire.com/?wgh1bn92z0h">Auktyon "Letcheek" from <span style="font-style: italic;">Bodoon</span> (1991)</a><br /><br />I hope you've all been enjoying the show and the website. If you have any comments, questions, or requests you can leave them at this site or email me at the address provided in the sidebar. Thank you for listening and enjoy.<br /><br /><a href="http://www.mediafire.com/?mljxnc9ndei">Laughter 2/25/2008 - Part I</a><br /><a href="http://www.mediafire.com/?dt3ixjtxdle">Laughter 2/25/2008 - Part II</a><br /><br /><p><b>01. Lamb</b> “Gorecki” from <i>Lamb</i> (1997) on <u>Fontana</u> </p> <p><b>02. Meat Beat Manifesto</b> “Helter Skelter” from <i>Helter Skelter/Radio Babylon</i> (1990) on <u>Play It Again Sam</u> </p> <p><b>03. Badawi</b> “Voices from the Sky” from <i>Soldier of Midian</i> (2001) on <u>ROIR</u> </p> <p><b>04. Julian Kytasty</b> “Cossack Lament” from <i>black sea winds</i> (2002) on <u>November Music</u> </p> <p><b>05. Dead Can Dance</b> “Cantara” from <i>Within the Realm of a Dying Sun</i> (1987) on <u>4AD</u> </p> <p><b>06. Rachel's</b> “A French Galleasse” from <i>Selenography</i> (1999) on <u>Quarterstick</u> </p> <p><b>07. Holger Czukay</b> “Witches' Multiplication Table” from <i>On the Way to the Peak of Normal</i> (1982) on <u>Mute</u> </p> <p><b>08. Nurse With Wound</b> “The Self Sufficient Sexual Shoe” from <i>Rock 'n' Roll Station</i> (2006) on <u>Beta-lactam Ring</u> — originally released 1994 </p> <p><b>09. Harmonia</b> “Dino” from <i>Musik von Harmonia</i> (2006) on <u>Lilith</u> — originally released 1974 </p> <p><b>10. Electrelane</b> “Between the Wolf and the Dog” from <i>No Shouts No Calls</i> (2008) on <u>Too Pure</u> </p> <p><b>11. Swans</b> “Miracle of Love” from <i>White Light from the Mouth of Infinity</i> (1991) on <u>Young God</u> </p> <p><b>12. Sleep Chamber</b> “Invocation” from <i>Secrets ov 23</i> (1993) on <u>Music Maxima Magnetica</u> </p> <p><b>13. Death in June</b> “C'est Un Rêve” from <i>Dead Sunwheels</i> (1989) on <u>NER</u> </p> <p><b>14. Bardo Pond</b> “Nomad” from <i>Cypher Documents I</i> (2005) on <u>3 Lobed</u> </p> <p><b>15. Auktyon</b> “Samolet” from <i>Zhopa</i> (1990) — see website for more info: <a href="http://www.auktyon.com/" target="_blank">http://www.auktyon.com</a> </p> <p><b>16. Popul Vuh</b> “Kyrie” from <i>Letzte Tage - Letzte N</i>ä<i>chte</i> (1997) on <u>Think Progressive</u> — originally released 1976 </p> <p><b>17. NON</b> “God & Beast” from <i>God & Beast</i> (1986) on <u>Mute</u> </p> <p><b>18. Coil</b> “Red Weather” from <i>Unnatural History II</i> (1995) on <u>Threshold House</u> </p> <p><b>19/20. Chris Watson / BJ Nilsen</b> “No Man's Land” from <i>Storm</i> (2006) on <u>Touch</u> </p> <p><b>20. Schlammpeitziger</b> “Schlafatemwagen” from <span style="font-style: italic;">Augenwischwaldmoppgeflöte</span> (2000) on <u>A-musik</u></p><p><b>21/22. Chris Watson / BJ Nileson </b>"SIGWX” from <i>Storm</i> (2006) on <u>Touch</u> </p> <p><b>22. Itsnotyouitsme</b> “Great Day” from <i>Walled Gardens</i> (2007) on <u>New Amsterdam</u> </p>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com63tag:blogger.com,1999:blog-7916610.post-88538960377431922662008-02-24T08:01:00.000-08:002008-02-24T08:17:33.835-08:00Review: Luasa Raelon, "Into the Void"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaZfLGKk6iU58B3jMVb7yxyY61WEbIMc29V-IXjz9a5zkKp6y4KW8SX3VsNphBxfga_x4hLHCCVjMgFS0pH4vh_-Q5KSzYo3PwBLLOhh_FZZm_cKB23YF86rac-etLDW4_xYoGHQ/s1600-h/luasa_raelon-into_the_void.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaZfLGKk6iU58B3jMVb7yxyY61WEbIMc29V-IXjz9a5zkKp6y4KW8SX3VsNphBxfga_x4hLHCCVjMgFS0pH4vh_-Q5KSzYo3PwBLLOhh_FZZm_cKB23YF86rac-etLDW4_xYoGHQ/s200/luasa_raelon-into_the_void.jpg" alt="" id="BLOGGER_PHOTO_ID_5170579917282392930" border="0" /></a>David Reed is obsessed with the dark. Every synapse in his brain aims to realize a stygian monstrosity from the most basic electronic utterances. <em>Into the Void</em> successfully gathers those expressions into a crawling black chorus of sound, like a cantata sung for the terror infinite and empty space can inspire. <p>A meditative bleakness is amassed over the course of <em>Into the Void</em> with only the most cosmic instruments. The imaginary sounds of a supernova, the electric pulse of magnetic fields, and the icy explosions of colliding asteroids all play a role in Reed's swirling orchestras. And his songs do sound as though they are played by a group of empyrean and sentient beings. Unlike other artists who claim the fertile grounds of noise as their birth place, Reed's work is sober and composed instead of desultory and manic. Explosions radiate and dance with an observable intelligence instead of crashing and decaying senselessly and Reed never allows his bellowing cries to spill over into a continuous and bland stream of white noise.<br /><br />That dedication to clarity ranks as one of this album's greatest strengths. Beyond being tightly controlled, every detail of Reed's heavenly pandemonium resounds as clearly as a bell no matter how busy it gets. No song depends on microscopic activity, but each breath of solar wind washes through the mix unhindered by sloppy production or over-zealous volume. This allows Reed to use the existing small details in each song to his advantage. On "Gravitational Pull" the presence of a monotonous synthesizer melody acts as a strong contrast to an ever-changing parade of radio noise; the two constantly pull at each other and manifest a tension that would not be possible if either were given over to excess. The absence of familiar musical conventions is made all the more powerful by the inclusion of distinct rhythms and melodic announcements. Both "Mariners" and "Dark Matter" depend on these recognizable features; without them both songs would sound all too static. Yet, if those features were anything more than occasional flourishes both songs would lose their ambiguous terror. Reed constantly plays a game of balance on each track, hushing any surfeit of sound in favor of a well-planned deficit.<br /><br />Perhaps excess is the attractive and distinguishing feature for many extant experimental outfits, but I'm glad to hear Reed utilizing the power of subtlety and understatement. The spaces he leaves in his music are deceptive, often hiding the most surprising and effective moments. The best portions of this album are accompanied by silence or an illusory sense of it created by spaces opened up in the music; Reed has a talent for creating such abyssal places and decorating them with a real sense of foreboding and uncertainty. His compositions are unique and entirely synthetic, but somehow organic and frighteningly unpredictable despite their well-formed structures.</p>---<br /><br /><span style="font-style: italic;">Into the Void </span>is available on <a href="http://www.crucialblast.net/" target="new">Crucial Bliss</a>.Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-27853857585257652532008-02-19T19:07:00.000-08:002008-02-19T20:25:44.708-08:002/18 show, Gary Reynolds and the Brides of Obscurity, Crawling Chaos, and more...<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbliiH2qvcRFwEJKlTZfSz80-tpXCZm0dDzrZY2NRPEf4wiM33vKfMDQ2_Z9LvR74BOs2iLQRayfxg7tzcaD4Ndj2JkRBsZCNiw3uZ8pQ4vhloQpxKzQCG6bwn-8z7U9ZZW6S-vQ/s1600-h/gary_reynolds-brides.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgbliiH2qvcRFwEJKlTZfSz80-tpXCZm0dDzrZY2NRPEf4wiM33vKfMDQ2_Z9LvR74BOs2iLQRayfxg7tzcaD4Ndj2JkRBsZCNiw3uZ8pQ4vhloQpxKzQCG6bwn-8z7U9ZZW6S-vQ/s200/gary_reynolds-brides.jpg" alt="" id="BLOGGER_PHOTO_ID_5168910381890059074" border="0" /></a>Lots of new stuff this week, including a new file-sharing host for my zip files. You may have noticed that all of my previous mp3 links have disappeared - that's due to the fact that Sendspace deletes any files uploaded to their servers after a fixed amount of time. The 300 MB size limit was attractive because it allowed me to upload the entire show as one file. Mediafire has no time or download limit on anything uploaded to their servers, but they only allow files of 100 MB to be uploaded. As a result, the show comes in two neatly divided zip files, now. The first zip file contains the first half of the show, the second contains the second half. I will not be re-uploading any previous shows unless I receive requests for them. As far as full albums or individual song mp3s are concerned, I will not re-upload them even by request. Any future posts containing full albums will utilize Sendspace and will be available only for a limited amount of time.<br /><br />Due to being busier than normal the last week or so I do not have a write up ready for this show. As it stands, I think it is one of the best yet and features a good number of impressive new bands as well as some old favorites that I've been listening to lately. Among the highlights on this show was Gary Reynolds and the Brides of Obscurity, Bear in Heaven, and the obscure Crawling Chaos. I'm in the process of finding out as much as I can about all three bands, so keep checking back for information. I also have a review of the latest Luasa Raelon on the way and, as mentioned before, a few little extras coming up... including a fairly obscure Japanese LP featuring a member of Can.<br /><br />Thanks for listening and enjoy.<br /><br /><a href="http://www.mediafire.com/?ap1ah9dbttf">Laughter 2/18/2008 - Part I</a><br /><a href="http://www.mediafire.com/?adezdmhnvbw">Laughter 2/18/2008 - Part II</a><br /><p><b>01. Talk Talk</b> “I Believe in You” from <i>Spirit of Eden</i> (1988) on <u>EMI</u> </p> <p><b>02. Bonnie "Prince" Billy</b> “The Seedling” from <i>The Letting Go</i> (2006) on <u>Drag City</u> </p> <p><b>03. The Helio Sequence</b> “Keep Your Eyes Ahead” from <i>Keep Your Eyes Ahead</i> (2008) on <u>Sub Pop</u> </p> <p><b>04. The Raybeats</b> “Soul Beat/Intoxica” from <i>It's Only a Movie</i> (1983) on <u>Shanachie</u> </p> <p><b>05 .The Whitsundays</b> “Bring It On Home” from <i>The Whitsundays</i> (2008) on <u>Friendly Fire</u> </p> <p><b>06. Annabouboula</b> “Let's Go to Jail” from <i>In the Baths of Constantinople</i> (1990) on <u>Shanachie</u> </p> <p><b>07. Bear in Heaven</b> “Shining and Free” from <i>Red Bloom of the Boom</i> (2007) on <u>Hometapes</u> </p> <p><b>08. Valet</b> “Fire” from <i>Naked Acid</i> (2008) on <u>Kranky</u> </p> <p><b>09. Gary Reynolds and the Brides of Obscurity</b> “Who Do You Love” from <i>Santiago's Vest</i> (2008) on <u>Electrokitty</u> </p> <p><b>10. True West</b> “It's About Time” from <i>S/T EP</i> (1983) on <u>Bring Out Your Dead Records</u> </p> <p><b>11. The Trypes</b> “Music for Neighbors” from <i>The Explorers Hold</i> (1984) on <u>Coyote</u> </p> <p><b>12. Ida</b> “The Killers 1964” from <i>Love Prayers</i> (2008) on <u>Polyvinyl</u> </p> <p><b>13. Stranger to Stranger</b> “Crowded Room” from <i>Casting Shadows</i> (1984) on <u>Hopewell</u> </p> <p><b>14. Atlas Sound</b> “Cold As Ice” from <i>Let the Blind Lead Those Who Can See But Not Feel</i> (2008) on <u>Kranky</u> </p> <p><b>15. The Camberwell Now</b> “Spirit of Dunkirk” from <i>Meridian</i> (1983) on <u>Duplicate</u> </p> <p><b>16. 17 Pygmies</b> “Lazarus” from <i>Jedda by the Sea</i> (1985) on <u>Resistance Records</u> </p> <p><b>17. Jason Molina</b> “Pyramid Electric Co.” from <i>Pyramid Electric Co.</i> (2004) on <u>Secretly Canadian</u> </p> <p><b>18. Crawling Chaos</b> “Macabre Royale” from <i>The Gas Chair</i> (1981) on <u>Factory Benelux</u> </p> <p><b>19. Univers Zero</b> “Heatwave” from <i>Heatwave</i> (1987) on <u>Cuneiform</u> </p> <p><b>20. Biting Tongues</b> “Compressor” from <i>Compressor</i> (1986) on <u>Factory</u> </p> <p><b>21. The Orb</b> “Perpetual Dawn” from <i>The Orb's Adventures Beyond the Ultraworld</i> (1991) on <u>Fontana Island</u> </p> <p><b>22. Aphex Twin</b> “4” from <i>Richard D. James</i> (1996) on <u>Warp</u> </p>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-38047183314771310132008-02-18T22:07:00.000-08:002008-02-18T22:47:10.556-08:00Noise in Boston and Upcoming MP3sFirst, apologies that the February 18th edition of Laughter has not yet been posted. Due to being a little busier than usual, I may not have the show posted until later tomorrow evening. Please visit again then; I'll also have some extras posted by that time.<br /><br />Some of you may be interested in the fact that a number of noise bands are coming to Boston and performing at Jacques Cabaret. Among the performers are Karlheinz, Bloodyminded, and Halflings. It's being billed as the <span class="postbody"> NORTHEAST REGIONAL NOISE AND POWER ELECTRONICS FESTIVAL and will be held on the 14th and 15th of March at 8pm; the price of admission is $10 each night. Here's a rundown of the bands:<br /><br /></span><span class="postbody"><a href="http://www.myspace.com/officialbloodyminded"> Bloodyminded</a> (Chicago)<br /><a href="http://www.myspace.com/23fith">Fire In The Head</a> (Wellfleet, MA)<br /><a href="http://www.myspace.com/twohalflings"> Halflings</a> (Bronx)<br /><a href="http://www.myspace.com/tdsogf">Twodeadsluts Onegoodfuck</a> (Boston)<br /><a href="http://www.myspace.com/cathodeterrorsecretion"> Cathode Terror Secretion</a> (Port Washington, NY)<br /><a href="http://www.geocities.com/collapsedhole/"> Ahlzagailzehguh</a> (?, NY)<br />FFH<br />Karlheinz (Allston, MA)<br />Angeldust<br />Shallow Waters<br /><a href="http://www.myspace.com/craniopagus"> Craniopagus</a> (Boston)<br />Bereft<br />Sharpwaist<br /><a href="http://www.myspace.com/sewergoddess187"> Sewer Goddess</a> (?, MA)<br />Nurture Abuse<br />and Special Surprise Guests<br /><br />Anyone who can't attend this year's <a href="http://www.nofunfest.com/2008.html">No Fun Fest</a> should consider attending. If you're at all interested, the above links are to each band's Myspace page or homepage (where mp3s are available). If you've never listened to any of these bands, might I suggest turning down the volume on your computer before clicking on anything and avoiding headphones the first time around.<br /><br />Enjoy.<br /></span>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com4tag:blogger.com,1999:blog-7916610.post-75113501677498373842008-02-11T10:44:00.000-08:002008-02-19T17:32:15.649-08:002/11/2008 Show, more RAIJ, Annabouboula, and Rebetika<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh32B4A1k2Xv9jlN7THQxDPVkASMH0zKPVUWOsfHn_D9b7WWdUPzuiKLCW7Eh0FZS8sZZmdzrsrmqDDvMt40jJoXRB-tHWwpFm1tCtWYt_zLXFG19AqPOgOQkerW6DLYivOn5jnOQ/s1600-h/annabouboula.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh32B4A1k2Xv9jlN7THQxDPVkASMH0zKPVUWOsfHn_D9b7WWdUPzuiKLCW7Eh0FZS8sZZmdzrsrmqDDvMt40jJoXRB-tHWwpFm1tCtWYt_zLXFG19AqPOgOQkerW6DLYivOn5jnOQ/s200/annabouboula.jpg" alt="" id="BLOGGER_PHOTO_ID_5165797539917773618" border="0" /></a>Strange show this week: as promised Nicolas Collins' "Vaya Con Dios" received fuller attention and was accompanied by a series of pieces by collage/noise artist Ekkehard Ehlers. Revolutionary Army of the Infant Jesus received some more attention (deservedly so), too, but a strange technical glitch and one intense song after another made the show feel unbalanced and too weighty. Nevertheless, there are some fine songs on this show, including a hypnotic guitar-drone piece by Aidan Baker, one of the best songs Honey Owens has ever written, and a strange Greecian blues hybrid from a band called Annabouboula. Their sound really floored me, so I took some extra time to read up on them. Unlike Revolutionary Army of the Infant Jesus, there's plenty of information about this trio available. Summarily, Annabouboula was Anna Paidoussi, George Sempepos, and Chris Lawrence. Using their heritage as a foundation, Paidoussi and Lawrence took on a Greek term that can be translated as "noisy confusion" and began situating traditional Greecian music next to modern, synth-laden dance music. As if that were not unique enough, they eschwed the popular Greek canon of music and instead infused <a href="http://en.wikipedia.org/wiki/Rebetiko">Rebetiko</a> (Greece's version of the blues, check <a href="http://www.youtube.com/watch?v=rAMNRp3DAsA">this video</a> out and perhaps take the time to watch the BBC documentary, which begins <a href="http://www.youtube.com/watch?v=9cPbCXWGJMo">here</a>) and other obscure forms of music from around the Mediterranean into their work.<br /><br />David Sanborn hosted a show in the 80's called Night Music. This program played host to an uncommon variety of musicians and musical forms, including Miles Davis, Pharoah Sanders, Sun Ra, John Zorn, The Residents, Pere Ubu, The Pixies, Sonic Youth, Adrian Belew, Diamanda Galas, Julee Cruise, and even Annabouboula. That this show was ever taken off the air is stupefying (more so because no commercially available documents of this show are available). Thankfully, fans recorded several episodes and <a href="http://www.youtube.com/watch?v=WDKjcjFV894">Annabouboula's performance on Night Music</a> can be found over at Youtube. A little research also revealed a connection between Annabouboula and They Might Be Giants by way of John Linnell. According to the<a href="http://tmbw.net/wiki/Annabouboula"> They Might Be Giants Wiki Database</a>, Linnell played accordion and organ on both <span style="font-style: italic;">Hamam</span> and <span style="font-style: italic;">In the Baths of Constantinople</span>.<br /><br />As far as I can tell, much of Annabouboula's music is out of print at the moment. Normally that means I would upload the record for your pleasure, but I currently do not have the means necessary for ripping an LP to mp3. If I find a digital copy, I'll make sure to make it available. In the meantime, download the show and enjoy.<br /><br />A brief note - you'll notice that the numbering below is a little strange towards the end. Any two songs referenced by the same number refers to the fact that they were played simultaneously.<br /><br />Thanks for listening...<br /><br /><s><a href="http://www.sendspace.com/file/gh7kf3">Laughter, 2/11/2008, .zip file</a></s><br /><b><br />01. Cerberus Shoal</b> “Unmarked Boxes” from <i>Mr. Boy Dog</i> (2001) on <u>Temporary Residence</u><p> </p> <p><b>02. Current 93</b> “Lucifer Over London” from <i>SixSixSix : SickSickSick</i> (2004) on <u>Durtro</u> — originally released in 1994 on <span style="font-style: italic;">Lucifer Over London</span> </p> <p><b>03. Popul Vuh</b> “Wanderer Through the Night” from <i>Tantric Songs</i> (1981) on <u>Celestrial Harmonies</u> </p> <p><b>04. Golden Death Music</b> “Lost in Violence” from <i>Ephemera Blues</i> (2007) on <u>Helmet Room</u> </p> <p><b>05. Shalabi Effect</b> “Mr. Titz (The Revelator)” from <i>The Trial of Saint Orange</i> (2002) on <u>Alien8</u> </p> <p><b>06. Muslimgauze</b> “A Nation” from <i>The Rape of Palestine</i> (1989) on <u>Parade Amoureuse</u> </p> <p><b>07. Revolutionary Army of The Infant Jesus</b> “Man of Sorrows” from <i>Mirror</i> (1991) on <u>Apocalyptic Vision</u> </p> <p><b>08. M2 (Squaremeter)</b> “The Cry of Morgoth” from <i>War of Sound</i> (2003) on <u>Ant-Zen</u> </p> <p><b>09. Aidan Baker & Thisquietarmy</b> “Blood” from <i>Orange</i> (2006) on <u>Thisquietarmy Records</u> </p> <p><b>10. Old Time Relijun</b> “In the Crown of Lost Light” from <i>Catharsis in Crisis</i> (2007) on <u>K</u> </p> <p><b>11. Yeasayer</b> “No Need to Worry” from <i>All Hour Cymbals</i> (2007) on <u>We Are Free</u> </p> <p><b>12. Bon Iver</b> “Flume” from <i>For Emma, Forever Ago</i> (2008) on <u>Jagjaguwar</u> </p> <p><b>13. Valet</b> “Blood Is Clean” from <i>Blood Is Clean</i> (2007) on <u>Kranky</u> </p> <p><b>14. Panther</b> “Puerto Rican Jukebox” from <i>14 KT God</i> (2008) on <u>Kill Rock Stars</u> </p> <p><b>15. Annabouboula</b> “Don't Worry Ma” from <i>In the Baths of Constantinople</i> (1990) on <u>Shanachie</u> </p> <p><b>16. Hot Chip</b> “Shake a Fist” from <i>Made In The Dark</i> (2008) on <span style="text-decoration: underline;">Astralwerks</span> </p> <p><b>17. Apparat</b> “Fractales Pt. 1” from <i>Walls</i> (2007) on <u>Shitkatapult</u> </p> <p><b>18. Ekkehard Ehlers</b> “Albert Ayler (8)” from <i>Plays</i> (2002) on <u>Staubgold</u> </p> <p><b>18/19/20. Nicolas Collins</b> “Vaya Can Dios” from <i>Let the State Make the Selection</i> (1985) on <u>Lovely Music, Ltd.</u> </p> <p><b>19. Ekkehard Ehlers</b> “Robert Johnson (9)” from <i>Plays</i> (2002) on <u>Staubgold</u> </p> <p><b>20. Ekkehard Ehlers</b> “Robert Johnson (10)” from <i>Plays</i> (2002) on <u>Staubgold</u> </p>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-78014450384209678912008-02-04T09:20:00.000-08:002008-02-19T17:32:56.882-08:00Laughter, 2/4/2008 and Revolutionary Army of the Infant Jesus<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37E9H1tXM5Kn2Npfd02LupcFSRN8ufUufNaF1toMowSYM4BEifZE89Cho2FQ5dfElExp_Du3KNmY5oDeDZn0NmJALgrWQorNXfuFf-35yk7ZhQT3JhXMQZqqPQtnVMtgd8bQHKA/s1600-h/revolutionary_infant_jesus.jpeg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi37E9H1tXM5Kn2Npfd02LupcFSRN8ufUufNaF1toMowSYM4BEifZE89Cho2FQ5dfElExp_Du3KNmY5oDeDZn0NmJALgrWQorNXfuFf-35yk7ZhQT3JhXMQZqqPQtnVMtgd8bQHKA/s200/revolutionary_infant_jesus.jpeg" alt="" id="BLOGGER_PHOTO_ID_5163177242737637586" border="0" /></a>This week's edition of Laughter comes as three mp3 files in one zip file. The first hour is split into two unequal parts and the second part is one mp3 file. This week's highlight came in the form of a group called Revolutionary Army of the Infant Jesus. Evidently not much information about this band exists anywhere on the internet and the information that does exist is scant at best. <a href="http://lost-in-tyme.blogspot.com/2006/11/revolutionary-army-of-infant-jesus.html">Lost in Tyme</a> has a post with still-functioning links to their double-CD release <span style="font-style: italic;">The Gift of Tears / Mirror</span> as well as a link to their EP, <span style="font-style: italic;">Paradis</span>. Evidently this band only had four releases: <span style="font-style: italic;">The Gift of Tears</span> was released in 1987, <span style="font-style: italic;">Mirror</span> in 1991, their double-CD collection in 1994, which includes two additional and never-before-released songs, and <span style="font-style: italic;">Paradis</span> in 1995. Pretty much all the information I've been able to find on this Liverpool-based band is at that website - I've yet to run into an interview of any sort and the information provided on the record is less than satisfying. As far as the music itself goes, it warrants comparisons to bands like Dead Can Dance or <span style="font-style: italic;">Thunder Perfect Mind</span> era Current 93, but the similarities are superficial at best. Certain tracks brought Popul Vuh to mind and others sound vaguely like less abrasive Organum records. It's a mixture between mystical acoustic music and more abstract soundscape work constructed from chants, bells, and bowed instruments. Though the band's name invokes Christ, the track played on the show summoned thoughts of ancient mystery religions and their obscure, pseudo-erotic rituals. If anyone reading this blog has more information about this band, please contact me.<br /><br />Below you will find the playlist and .zip file as usual. Thanks for listening and enjoy.<br /><br /><p><b>01. Martin Rev</b> “Rocking Horse” from <i>Clouds of Glory</i> (1985) on <u>New Rose</u> </p> <p><b>02. Liars</b> “Rose and Licorice” from <i>Athiests, Reconsider</i> (2002) on <u>Arena Rock</u> </p> <p><b>03. Man Or Astro Man?</b> “Many Pieces of Large Fuzzy Mammals Gathered Together at a Rave and Schmoozing with a Brick” from <i>A Spectrum of Infinite Scale</i> (2000) on <u>Touch & Go</u> </p> <p><b>04. Revolutionary Army of the Infant Jesus</b> “Transfiguration” from <i>The Gift of Tears</i> (1988) on <u>Probe Blus</u> </p> <p><b>05. Yeasayer</b> “Forgiveness” from <i>All Hour Cymbals</i> (2007) on <u>We Are Free</u> </p> <p><b>06. Idjah Hadidjah</b> “Hiji Catetan” from <i>Tonggeret</i> (1987) on <u>Icon</u> </p> <p><b>07. Talking Heads</b> “I, Zimbra” from <i>Fear of Music</i> (1979) on <u>Sire</u> </p> <p><b>08. Faust</b> “Apokalypse” from <i>ravvivando</i> (1999) on <u>Klangbad</u> </p> <p><b>09. Desormais</b> “To Sing Before Going to Sleep” from <i>Iambrokenandremadeiambroken...</i> (2003) on <u>Intr_Version</u> </p> <p><b>10. The Teardrop Explodes</b> “Like Leila Khaled Said” from <i>Wilder</i> (1981) on <u>Phonogram</u> </p> <p><b>11. Bill Nelson</b> “Eros Arriving” from <i>The Love that Whirls (Diary of a Thinking Heart)</i> (1982) on <u>Cocteau</u> </p> <p><b>12. Jean Michel Jarre</b> “Oxygene (Part IV)” from <i>Oxygene</i> (2008) on <u>EMI France</u> — originally released 1976 </p> <p><b>13. Of Tanz Victims</b> “Brain Remain” from <i>Haunting the Empire</i> (1986) on <u>Bunker</u> </p> <p><b>14. Zoviet France</b> “Side A Part 1” from <i>Mohnomishe</i> (1983) on <u>Red Rhino</u> </p> <p><b>15. Echran</b> “Render at 4:30” from <i>Echran</i> (2005) on <u>Ebria</u> </p> <p><b>16. Luasa Raelon</b> “Spectral Transmissions” from <i>Into the Void</i> (2007) on <u>Crucial Bliss</u> </p> <p><b>17. Aluk Todolo</b> “Obedience” from <i>Descension</i> (2007) on <u>Public Guilt</u> </p> <p><b>18. Aranos</b> “Yevka Sings” from <i>Throat Clearance</i> (2005) on <u>Pieros</u> </p> <p><b>19. Doc Wör Mirran</b> “Birth” from <i>Labyrinth: Birth -> Death</i> (1989) on <u>Musical Tragedies</u> </p> <p><b>20. Spectre Folk</b> “Bindi Clip” from <i>Spectre Folk</i> (2006) on <u>3Lobed</u> </p> <p><b>21. Nicolas Collins</b> “Vaya Con Dios” from <i>Let the State Make the Selection</i> (1985) on <u>Lovely Music, Ltd.</u> </p><s><a href="http://www.sendspace.com/file/5t7j67">Laughter, 2/4/2008, .zip file</a></s>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com3tag:blogger.com,1999:blog-7916610.post-71311916198982578972008-01-28T09:35:00.000-08:002008-02-19T17:35:45.455-08:00Learning how to use a CD-Recorder, Andrew Liles, and Laughter, 1/28/2008<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rb6Mb3snFjYjWidrNBe8Rl0aOdVUzKfvU1g66YpF7BLaZE2YtJUgTsLgEY4tNBT1CGmESmTgvPvDbkB-BCDvZ8ewACQyXBQCAduAbsWzLPE27XbndwG6kv2MimXQJ26PVDW-rg/s1600-h/ghosts_on_magnetic.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 100px; height: 100px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5rb6Mb3snFjYjWidrNBe8Rl0aOdVUzKfvU1g66YpF7BLaZE2YtJUgTsLgEY4tNBT1CGmESmTgvPvDbkB-BCDvZ8ewACQyXBQCAduAbsWzLPE27XbndwG6kv2MimXQJ26PVDW-rg/s200/ghosts_on_magnetic.jpg" alt="" id="BLOGGER_PHOTO_ID_5160582880627390658" border="0" /></a>Due to some difficulty with hardware in the studio, this week's edition of Laughter will not be available for download. Unfortunately the recorder I use to make the show available each week recorded nothing but silence for two hours; thankfully the reason for this has been explained to me and next week I'll have a show uploaded and available for you. Such is life in the shadow of electricity. There is good news, however. Several individuals called in while Andrew Liles' "Ghosts on Magnetic Tape (Reconstruction) II" was playing and wanted to know where and how they might be able to obtain a copy. There were 1,000 total copies of <span style="font-style: italic;">Ghosts on Magnetic Tape (Reconstruction by Andrew Liles) </span>made. 500 were "regular" copies, 200 were "special art editions," and another 300 came packaged with the original <span style="font-style: italic;">Ghosts on Magnetic Tape</span> by Bass Communion. As far as I can tell this album is completely out of print, which is good news for you because that means I'm willing to upload it for all of you to enjoy. This album was released by Steven Wilson's <a href="http://www.swhq.co.uk/headphone_dust.cfm">Headphone Dust</a> label in 2004. Please visit his website and order something from him; Bass Communion is an excellent project and that label releases excellent album after excellent album. You're getting something for free from them, so go there and buy something in turn - the original <span style="font-style: italic;">Ghosts on Magnetic Tape </span>is still available and is also quite good.<br /><br />If you are interested in Andrew Liles' music, there are a number of places you can go to find his music and find out more about him. The first place to look is <a href="http://www.andrewliles.com/">his website</a>. News, music, a comprehensive discography, and a biography are available there. <a href="http://brainwashed.com/">Brainwashed</a> is host to a number of reviews of Andrew Liles' work, many of which were (shameless plug) written by me. Sound samples from each of those reviews are available at Brainwashed.; simply go to the site, click on reviews in the side bar, and then search for his name. I've also had the privilege to interview Mr. Liles by email. That interview is available <a href="http://brainwashed.com/index.php?option=com_content&task=view&id=5904&Itemid=91">here</a>. There are two other interviews available <a href="http://www.adverse-effect.co.uk/ae.html">here</a> and <a href="http://www.tokafi.com/15questions/15-questions-to-andrew-liles/">here</a>.<br /><br />I will try and make sure that next week's show is recorded properly. Until then you can check out some of my previous shows listed below. If any of the links have expired, let me know. I will re-upload those as soon as possible. Also, the E.E track played today is available for free at <a href="http://www.wiseowlrecords.com/">Wise Owl Records</a>. A number of listeners called in and asked about that song, as well. <s>The disc itself is out of print</s>, but the music is still available! <span style="font-weight: bold;"><br /><br />UPDATE: </span>Wise Owl Records has informed me that some copies of <span style="font-style: italic;">The End of Deconstruction </span>are still available! If you download the album and like it, buy the album. I know there's an economic recession going on right now, but these guys need to eat, too! And it's more than likely that your money will go towards them putting up more free mp3s and assembling more packages as awesome as <span style="font-style: italic;">The End of Deconstruction</span>. Look for a review of this album to appear here and on Brainwashed, soon.<br /><br />Thanks for listening - any comments or requests you'd like to make can be left at this website or you can e-mail me at the address listed below in the sidebar.<br /><br />Enjoy.<br /><br /><s><a href="http://www.sendspace.com/file/fv0rtd">Bass Communion - <span style="font-style: italic;">Ghosts on Magnetic Tape, Reconstruction by Andrew Liles</span> - full album, .zip file</a></s><br /><p><b>01. The Human League</b> “Blind Youth” from <i>Reproduction</i> (1979) on <u>Virgin</u> </p> <p><b>02. Thomas Leer & Robert Rental</b> “Day Breaks, Night Heals” from <i>The Bridge</i> (1979) on <u>Industrial Records</u> </p> <p><b>03. Fad Gadget</b> “For Whom the Bells Toll” from <i>Under the Flag</i> (1991) on <u>Mute</u> — originally released 1982 </p> <p><b>04. The Legendary Pink Dots</b> “Disturbance” from <i>The Maria Dimension</i> (1991) on <u>Play It Again Sam</u> </p> <p><b>05. Daniel Johnston</b> “Spirit World Rising” from <i>1990</i> (1990) on <u>Shimmy Disc</u> </p> <p><b>06. Kawabata Makoto</b> “Door of Your Enigma” from <i>Hosanna Mantra</i> (2007) on <u>Important</u> </p> <p><b>07. Wire</b> “Three Girl Rhumba / Ex Lion Tamer” from <i>Pink Flag</i> (1977) on <u>EMI</u> </p> <p><b>08. Full Fathom Five</b> “Smoke Screen” from <i>Smoke Screen</i> (1989) on <u>Link Records</u> </p> <p><b>09. The Long Ryders</b> “And She Rides” from <i>10-5-60</i> (1983) on <u>PVC</u> </p> <p><b>10. Christian Kiefer</b> “The Lovers” from <i>Dogs & Donkeys</i> (2007) on <u>Undertow</u> </p> <p><b>11. Davenport</b> “Trolling the Wake Song” from <i>Rabbit Foot's Propeller</i> (2005) on <u>3Lobed</u> </p> <p><b>12. Bohren & Der Club of Gore</b> “Kleiner Finger” from <i>Geisterfaust</i> (2005) on <u>Wonder</u> </p> <p><b>13. Bass Communion</b> “Ghosts on Magnetic Tape (Reconstruction) II” from <i>Ghosts On Magnetic Tape</i> (2004) on <u>Headphone Dust</u> — remixed by Andrew Liles </p> <p><b>14. E.E & the Owl Archimedes</b> “Liminal State” from <i>The End of Deconstruction</i> (2008) on <u>Wise Owl Records</u> (download this for free @ <a href="http://www.wiseowlrecords.com/" target="_blank">http://www.wiseowlrecords.com</a>) </p> <p><b>15. Christ.</b> “Skylab One” from <i>Metamorphic Reproduction Miracle</i> (2002) on <u>Benbecula</u> </p> <p><b>16. Courage of Lassie</b> “The Rose” from <i>The Temptation to Exist</i> (1986) on <u>Amok</u> </p> <p><b>17. Lichens</b> “Faeries” from <i>Omns</i> (2007) on <u>Kranky</u> </p> <p><b>18. Phew</b> “Dream” from <i>S/t</i> (1986) on <u>Pass Records-Japan</u> </p> <p><b>19. Nadja</b> “Breakpoint” from <i>Truth Becomes Death</i> (2005) on <u>Ah Syd</u> </p>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com16tag:blogger.com,1999:blog-7916610.post-25697850001378121102008-01-24T10:23:00.000-08:002008-02-19T17:34:36.713-08:00Laughter, 1/24/2008<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIh4V85wOHVE3oSdQTaMrp9aMCB4B01RADJVUZ2qlWTQ1pF7hqsOaKdAZYDOnjig9Wt-su2rllaFtXWsTpy3cmEit7reSAKvA95AfChn7VeO1hbs0asx04NIHHC7NLfj2wx6c5Jw/s1600-h/popul_vuh.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIh4V85wOHVE3oSdQTaMrp9aMCB4B01RADJVUZ2qlWTQ1pF7hqsOaKdAZYDOnjig9Wt-su2rllaFtXWsTpy3cmEit7reSAKvA95AfChn7VeO1hbs0asx04NIHHC7NLfj2wx6c5Jw/s200/popul_vuh.jpg" alt="" id="BLOGGER_PHOTO_ID_5159111021104855218" border="0" /></a>Below you will find the play list and zip file for my latest show on WZBC. Popul Vuh has been impressing me for the last couple of weeks and today I stumbled upon <i>Letzte Tage - Letzte N</i><span style="font-style: italic;">ä</span><i>chte</i>, a fine cut of German pseudo-krautrock from 1976. If you don't know much about Popul Vuh, here's a little information for you: the band was founded in 1970 by Florian Fricke with percussionist Holger Trulzsch and Frank Fiedler. <i>Affenstunde</i>, their first album, explored various kinds of found-sound electronic music as well as ambient and so-called "new age" music. <span style="font-style: italic;">In den Gärten Pharaos </span>continued this kind of exploration, but afterwards Fielder began moving away from electronic keyboards and synthesizers and picked up the traditional black and white keys - Fricke, in the meantime, began using music as a means of exploring various religious themes and in 1972 the band released <i>Hosianna Mantra<span style="font-style: italic;">. </span></i>Eventually Werner Herzog became familiar with the band and in turn Fricke and company contributed to the soundtracks for several of his films, including <span style="font-style: italic;">Aguirre</span>, <span style="font-style: italic;">The Wrath of God</span> and <i>The Enigma of Kaspar Hauser</i>. Popul Vuh continued releasing music until 2001, when Fricke passed away. The group disbanded shortly thereafter. Wikipedia includes a nice quote from Klaus Schulze, which appeared in the liner notes of the <i>Hosianna Mantra </i>reissue and pinpoints part of what makes Popul Vuh's music so appealing to me:<br /><br /><i>"Florian was and remains to be an important forerunner of contemporary ethnic and religious music. He chose electronic music and his big <a href="http://en.wikipedia.org/wiki/Moog_synthesizer" title="Moog synthesizer">Moog</a> to free himself from the restraints of traditional music, but soon discovered that he didn't get a lot out of it and opted for the acoustic path instead. Here, he went on to create a new world, which <a href="http://en.wikipedia.org/wiki/Werner_Herzog" title="Werner Herzog">Werner Herzog</a> loves so much, transforming the thought patterns of electronic music into the language of acoustic ethno music."</i><br /><br />There are a couple of Popul Vuh tracks included below that do not appear on the radio show. The first is from their debut album, <i>Affenstunde </i>and a the second is from their excellent 1979 release, <span style="font-style: italic;">Die Nacht der Seele.<br /><br /></span>Enjoy.<br /><br /><p><b>01. The Residents</b> “Infant Tango” from <i>Meet the Residents</i> (2004) on <u>Euro Ralph</u> — originally released 1973 </p> <p><b>02. Captain Beefheart</b> “Nowadays a Woman Gotta Hit a Man” from <i>Dust Blows Forward</i> (1999) on <u>Warner/Rhino</u> </p> <p><b>03. End</b> “Countdown to the End” from <i>The Sounds of Disaster</i> (2004) on <u>Ipecac</u> </p> <p><b>04. Nobukazu Takemura</b> “Toybox with Moonshine” from <i>Child & Magic</i> (2002) on <u>Warner Japan</u> </p> <p><b>05. Otto Von Schirach</b> “Boombonic Plague” from <i>Chopped Zombie Fungus</i> (2003) on <u>Schematic</u> </p> <p><b>06. Bene Gesserit</b> “Existentialisme” from <i>A High, Happy, Perverse and Cynical</i> <span style="font-style: italic;">Cry of Joy</span> (1986) on <u>insane</u> </p> <p><b>07. Sonny Sharrock</b> “Many Mansions” from <i>Ask the Ages</i> (1991) on <u>Axiom</u> </p> <p><b>08. Paul Schütze</b> “The Mutant Beautific” from <i>New Maps of Hell</i> (1992) on <u>Extreme</u> </p> <p><b>09. The Soft Machine</b> “As Long as He Lies Perfectly Still” from <i>Volume 2</i> (1969) on <u>Big Beat</u> </p> <p><b>10. Glenn Branca</b> “Lesson No. 1 for Electric Guitar” from <i>Lesson No.1</i> (2003) on <u>Acute</u> — originally released 1980 </p> <p><b>11. Autistic Daughters</b> “Spend It on the Enemy (While It Was Raining)” from <i>Jealousy and Diamond</i> (2004) on <u>Kranky</u> </p> <p><b>12. The Tower Recordings</b> “I Didn't Know That Hajji Smoked/ID Can Hear the Magic Spring” from <i>Folkscene</i> (2001) on <u>The Communion Label</u> </p> <p><b>13. Popul Vuh</b> “Oh Wie Weit Ist Der Weg Hinauf” from <span style="font-style: italic;">Letzte Tage - Letzte Nächte</span> (1997) on <u>think progressive</u> — originally released 1976 </p> <p><b>14. A. Wiltzie Vs. Stars of The Lid</b> “I Love You, but I Prefer Trondheim (Parts 1-4)” from <i>Ulver 1993-2003: 1st Decade in the Machines</i> (2003) on <u>Jester</u> </p> <p><b>15. Coil</b> “Another Brown World” from <i>Unnatural History II</i> (1995) on <u>Threshold House</u> — song originally released 1989 on Sub Rosa </p> <p><b>16. KTL</b> “Estranged” from <i>KTL</i> (2006) on <u>Editions Mego</u> </p> <p><b>16. Aleister Crowley</b> “Various” from <i>The Great Beast Speaks</i> (1993) on <u>Disgust 1</u> </p> <p><b>17. Current 93</b> “Black Ships Ate the Sky (Alternative Mix)” from <i>Brainwaves: Disc C</i> (2006) on <u>Brainwashed</u> </p> <p><b>18. Sunburned Hand of Man</b> “Buried Pleasure” from <i>Rare Wood</i> (2004) on <u>Spirit of Orr</u> </p> <p><b>19. Popul Vuh</b> “Kyrie” from <span style="font-style: italic;">Letzte Tage - Letzte Nächte</span> (1997) on <u>Think Progressive</u> — originally released 1976 </p><s><a href="http://www.sendspace.com/file/p5mwzb">Laughter, 1/24/2008, .zip file</a></s><br /><br /><s><a href="http://www.sendspace.com/file/zhbld0">Popul Vuh - "Train Through Time" - bonus track from </a></s><s><i><a href="http://www.sendspace.com/file/zhbld0">Affenstunde</a><br /><span style="font-style: italic;"></span></i></s><s><a href="http://www.sendspace.com/file/lvhrbz">Popul Vuh - "Wo bist Du, der Du überwunden hast?" - from <span style="font-style: italic;">Die Nacht der Seele</span></a></s>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com2tag:blogger.com,1999:blog-7916610.post-65774578650669302972008-01-23T12:17:00.000-08:002008-02-19T17:37:30.806-08:00Radio, 01/23/2008<div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN1U7sOSLePUYdYEhR9nbuXE_UrtUGUKnFJudldmiRvknU2TYW9cN4bIj5BjhyIeBrVlIjEnc2lHnspq7UsO52T6sDpuISTwHQtJudiqUGaK4A9Paf6o0SgQMWju5Ap-ihKXQ6WA/s1600-h/333.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhN1U7sOSLePUYdYEhR9nbuXE_UrtUGUKnFJudldmiRvknU2TYW9cN4bIj5BjhyIeBrVlIjEnc2lHnspq7UsO52T6sDpuISTwHQtJudiqUGaK4A9Paf6o0SgQMWju5Ap-ihKXQ6WA/s200/333.jpg" alt="" id="BLOGGER_PHOTO_ID_5158781687307565202" border="0" /></a>I subbed from 1pm to 3pm on WZBC, today and happened upon some great music from three different compilations released by three different labels. Most people are probably familiar with <a href="http://www.touchmusic.org.uk/">Touch Records</a>; they've released music from the likes of Pan Sonic, Rafael Toral, Fennesz, Ryoji Ikeda, Biosphere and many others. For their 25th birthday, Touch released a compilation of 25 new songs that most of you are probably familiar with... but I am just stumbling upon it and wanted to upload a couple songs from it because it so captured my ears. I've included what may be one of Christian Fennesz's finest recordings to date.<br /><br /><br /><br /><br /><br /></div><div style="text-align: justify;"><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo9WuTpLQf5p3UxUVsNoWK39guWuDrX50-pzX40csoB5Nr7VRR1kOvpNSiHUCE5a9D8BiB1tZqRAU9PkshHdnJS1nd_g_TnVe5EKBqaquzkJyu5gz_K_LnEb8FZHVsFaN6Vp_08Q/s1600-h/New+Deutsch+2.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 150px; height: 150px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgo9WuTpLQf5p3UxUVsNoWK39guWuDrX50-pzX40csoB5Nr7VRR1kOvpNSiHUCE5a9D8BiB1tZqRAU9PkshHdnJS1nd_g_TnVe5EKBqaquzkJyu5gz_K_LnEb8FZHVsFaN6Vp_08Q/s200/New+Deutsch+2.jpg" alt="" id="BLOGGER_PHOTO_ID_5158783731711998114" border="0" /></a>In addition to a couple tunes from that comp, I've uploaded a couple songs from the <span style="font-style: italic;">Gommagang Start </span>comp and the excellent <span style="font-style: italic;">New Deutsch </span>comp. <a href="http://www.gomma.de/">Gomma</a> is a little label from Germany that specializes in slightly off-kilter dance-electronic music and moody stuff more suitable for bedroom listening late at night. Their compilation separates these two approaches onto two discs and I've included a track from both. On the whole this label misses more than it hits, but the two songs included below are heads and shoulders above the rest. <a href="http://www.gigolorecords.com/index.pl">Gigolo</a><a href="http://www.gigolorecords.com/index.pl"> Records</a> (careful, link not completely work safe), on the other hand, specializes in just about every kind of dance music you can possibly imagine, including the really clunky, clumsy, and primitive German synthesizer music from the late 70's and early 80's. <span style="font-style: italic;">New Deutsch </span>features 24 tracks from 19 different bands. There's a range of styles on the disc, but principle among them is the muddy, sloppy, and over-simple pop tune. I was reminded of Fad Gadget, early Human League, and Harmonia right away, but some of these songs have a little of the post-punk sound to them. The entire disc is worth listening to, but the two songs below were post-show highlights for me. Below is the play-list and downloads.<br /></div><br />Enjoy.<br /><br /><p><b>01. Grauzone</b> - “Film 2” from <i>New Deutsch</i> (2003) on <u>Gigolo</u><br /><b>02. Bjorn Torske</b> - “Hatten Passer” from <i>Feil Knapp</i> (2007) on <u>Smalltown Supersound</u><br /><b>03. Mofongo</b> - “Loco” from <i>Tumbao</i> (2007) on <u>Aagoo</u><br /><b>04. Kid 606</b> - “Whereweleftoff - Fortune Cookie Remix by Atom (TM)” from <i>P.S. I Dub Ya</i> (2001) on <u>Tigerbeat 6</u><br /><b>05. Damiak</b> - “Fnificun” from <i>Micalavera</i> (2007) on <u>N5md<br /></u><b>06. Can</b> - “One More Night” from <i>Ege Bamyasi</i> (1972) on <u>Spoon/Mute<br /></u><b>07. Bene Gesserit</b> - “Femmes aux Yeux D'Argile” from <i>Fashion is a Dirty Word</i> (1987) on <u>Dead Man's Curve<br /></u><b>08. Popul Vuh</b> - “In der Halle des Lernens” from <i>Die Nacht Der Seele</i> (1979) on <u>Spalax</u><br /><b>09. Rosy Parlane</b> - “Atlantis” from <i>VA: Touch 25</i> (2006) on <u>Touch</u><br /><b>10. Black Dice</b> - “Seabird” from <i>Beaches & Canyons</i> (2002) on <u>DFA</u><br /><b>11. Blindganger</b> - “Spiel ohne Worte” from <i>New Deutsch</i> (2003) on <u>Gigolo</u><br /><b>12. Ike Yard</b> - “N.C.R. (Funkstorung RMX)” from <i>Gommagang Start</i> (2005) on <u>Gomma</u><br /><b>13. Oval</b> - “Class” from <i>Dok</i> (1997) on <u>Thrill Jockey</u><br /><b>14. Nathan Halverson</b> - “Nurse / Shark Pt. 2” from <i>Nurse / Shark</i> (2007) on <u>Peapod</u><br /><b>15. Converter</b> - “Error” from <i>Blast Furnace</i> (2000) on <u>Ant-Zen</u><b><br />16. Sightings</b> - “A Rest” from <i>Through The Panama</i> (2007) on <u>Load</u><br /><b>17. Nurse With Wound</b> - “Yagga Blues” from <i>Livin' Fear Of James Last</i> (2005) on <u>Castle</u><br /><b>18. Fire on Fire</b> - “Amnesia” from <i>5 Song EP</i> (2007) on <u>Young God Records</u><br /><b>19. LCD Soundsystem</b> - “Tribulations” from <i>s/t</i> (2005) on <u>DFA</u><br /><b>20. Feyd</b> - “Wait” from <i>VA: Gommagang Start</i> (2005) on <u>Gomma</u><br /><b>21. Six Organs of Admittance</b> - “Shelter from the Ash” from <i>Shelter from the Ash</i> (2007) on <u>Drag City</u><b><br />22. James Blackshaw</b> - “Transient Life in Twilight” from <i>O' True Believers</i> (2006) on <u>Important</u></p><p><span style="text-decoration: underline;"></span>---<br /><br />mp3s:<br /><br />from <span style="font-style: italic;">New Deutsch</span><br /><s><a href="http://www.sendspace.com/file/649jah">Moreno - "Suicide Commando"</a></s><br /><s><a href="http://www.sendspace.com/file/e7605s">Grau Zone - "Esibär"</a></s><br /></p><p>from <span style="font-style: italic;">Gommagang Start<br /><span style="font-style: italic;"><span style="font-style: italic;"></span></span></span><s><a href="http://www.sendspace.com/file/wyb1wv">Ike Yard - "N.C.R. (Funkstörung RMX)</a></s><br /><s><a href="http://www.sendspace.com/file/pi5v6i">Feyd - "Wait"</a></s></p><p>from <span style="font-style: italic;">Touch 25</span><br /><s><a href="http://www.sendspace.com/file/i2frzh">Christian Fennesz - "Tree"</a></s><br /><s><a href="http://www.sendspace.com/file/ewscgv">Peter Rehberg - "TT 1205"</a></s></p><p><br /></p>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com1tag:blogger.com,1999:blog-7916610.post-14676965534455885702008-01-21T12:14:00.000-08:002008-01-21T12:50:56.683-08:00Black Mountain, "In the Future"<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspUo2FV3ycxzIkjpwIsP-UQSapDE515h-md9Y34SRwFmllJqvkhRGWkPo_Q3utAbwDnoSBMafQ58f3dbpJyK7KzOeuwy-5LoIdRhHgyEkuz09wQBjW5qG1_4GbY1KKyAp0w9kjw/s1600-h/blackmountain-inthefuture.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhspUo2FV3ycxzIkjpwIsP-UQSapDE515h-md9Y34SRwFmllJqvkhRGWkPo_Q3utAbwDnoSBMafQ58f3dbpJyK7KzOeuwy-5LoIdRhHgyEkuz09wQBjW5qG1_4GbY1KKyAp0w9kjw/s200/blackmountain-inthefuture.jpg" alt="" id="BLOGGER_PHOTO_ID_5158025869558571458" border="0" /></a>Arrayed in dystopian garb and armed with righteous indignation, Black Mountain pounds out one explosive song after another, each of which echoes the despair, fear, and disappointment that populates Stephen McBean's lyrics.<br /><p>The world is a bleak place in McBean's eyes. It is full of violence, injustice, doubt, and little else. If hope exists it lay dormant beneath a constant threat of dehumanazing and near-invisible evils. There's plenty of melodrama on <em>In the Future</em> and much of its bombast serves to positively amplify Black Mountain's brute approach to rock 'n' roll. "Stormy High" begins the record with a sudden and heavy jerk. It stomps about wearing tattered guitars and half-moaned vocals with confidence, drawing its sex and grit together closely enough to warrant thoughts of "The Lemon Song" and Robert Plant convulsing on stage in a fit of orgasmic delight. McBean's idea of danger, however, revolves less around his penis and more around enslavement or the kinds of demons that haunt lazy men. Their debt to blues and '70s rock is hard to miss, but the band proceeds to carve the lazy "Angels" out of sweet pop mechanics and epic synthesizer swells. This song is the first sign that Black Mountain is out to do more than rehash the tumultuous birth of heavy rock; they clearly aim to sit psychedelic pop, rock, and metal beside one another, with the stylings of America's "southern rock" music added for good measure. Other bands have gone down this road to varying degrees, but Black Mountain's approach to genre-bending is especially bold. There is no fusion of elements on <span style="font-style: italic;">In the Future</span>, each of these genres are simply mashed together, their individual identities kept pure and separate.<br /><br />"Tyrants" represents the first all-out mashup on the record. It begins like a titanic military march across a barren desert; the guitars erupt in rhythmic fashion, followed exactly by aggressive drumming. With the introduction of a dusty bass line and resigned beat, the song quickly shifts into a lower gear. Enormous spaces open up in the music and a seething synthesizer begins to circle through the song like a vulture. The lyrics and music then work themselves back into a frenzy propelled by an infatigable disdain for the evil men do. A deep serenity pervades much of the song in the form of cascading electronic melodies and a rubbery rhythm, but its all sandwiched between heavy guitar riffs and a solo that calls Satan to mind more than Timothy Leary. It's neither a metal tune nor a psychedelic rock song nor a blend of these two things; it's a shape-shifting monster that emphasizes rhythmic guitar performance and spaced-out pseudo-improve in equal measure. In contrast, "Wucan" emphasizes psychedelic rock's influence on the band. After a fuzzy and vaguley funky rhythm section sizzles out, the music is shot through with thick, almost cheesy keyboard atmospherics. Those keyboards shimmer and wobble in acidic light while the band plugs along beneath the vast reach of their sound. As is the case with the rest of the album, there is an epic and foreboding quality to the music that reaches beyond the confines of pop and rock convention. Then again, I had to make sure Richard Wright wasn't listed anywhere in the liner notes after the song ended.<br /><br />The bombast of unrestrained playfulness doesn't always work in the band's favor, however. There are moments where the music is as awkward as some of McBean's more introverted and indecipherable lyrics. "Stay Free" clunks along with a beautiful melody and an ethereal vocal performance, but it sounds flat sandwiched between "Wucan" and "Queens Will Play." After a number of inventive songs the album becomes predictably and upon inspection the lyrics are both confounding and over-simple. Perhaps someone with more time than I can make sense of these lines: "Bodies at sundown / Stiff on their knees / Beautiful ponies / So beautiful / They'll kill us all." On the one hand McBean's concerns come across loud and clear, but on the other hand his desire to compress a range of complex and diverse emotions into only a few lines leaves something to be desired. This is true not only of his poetic abilities, but of the band's musical abilities as well. "Evil Ways" could have been a great voodoo jam spiced with American brute force, but it ends up sounding awkward with its lumpy chorus and superfluous instrumentation. I admire bands that shoot for the stars, but Black Mountain don't always succeed in getting there.<br /><br />"Bright Lights," the album's 16 minute dénouement, highlights the band's best and worst qualities. The lyrics are less than stellar, but the instrumentation blends the band's gentle and aggressive qualities without flaw. The entire middle portion of the song is an extended psyche-jam brimming over with all manner of interesting minutae. There's a delicate mixture of drone noises and melody on this song and it seems as though the whole thing could fall apart at any moment. The song highlights just how fragile some of the band's compositions are; in their reappropration of multiple genres the band sometimes overlooks the fact that their music depends on just how enjoyable that reappropration could possibly be in the first place. Their energy and confidence helps make some bad songs tolerable, but without that energy the record could have easily fell apart.<br /><br />That energy is this quintet's greatest virtue and when it is paired with solid songwriting Black Mountain sound both unique and as massive as their name implies.</p><p>---<br /></p><span style="font-style: italic;">In the Future</span> is available on <a href="http://www.jagjaguwar.com/">Jagjaguwar</a>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-21526899576655300742008-01-17T10:15:00.000-08:002008-02-19T17:38:04.906-08:00Laughter, 1/17/2008As promised, my weekly radio show on <a href="http://www.wzbc.org/">WZBC</a> is now available for download. Contained in the zip file below is two, one-hour mp3s. These mp3s contain the entirety of my show, minus a brief concert report read at the top of the hour. There are two track 19s listed because those two records were played simultaneously. Any comments or questions can be left on this site or sent to me by email.<br /><br />Enjoy.<br /><br /><p><b>01. Black Mountain</b> - “Wucan” from <i>In the Future</i> (2008) on <u>Jagjaguwar</u> </p> <p><b>02. Low in The Sky</b> - “Dialogue with a Shadow” from <i>We Are All Counting on You, William</i> (2007) on <u>Abandon Building</u> </p> <p><b>03. Harmonia</b> - “Gollum” from <i>Deluxe</i> (2006) on <u>Lilith</u> </p> <p><b>04. Flying Lotus</b> - “Spicy Sammich” from <i>Reset</i> (2007) on <u>Warp Records</u> </p> <p><b>05. Portable </b>-<b> </b>“Arrabida” from <i>Powers of Ten</i> (2007) on <u>Sud</u> </p> <p><b>06. Klimek</b> - “(Sun)fall” from <i>Milk & Honey</i> (2004) on <u>Kompakt</u> </p> <p><b>07. Alog</b> - “The Beginner” from <i>Amateur</i> (2007) on <u>Rune Grammofon</u> </p> <p><b>08. Bon Iver</b> - “Blindsided” from <i>For Emma, Forever Ago</i> (2008) on <u>Jagjaguwar</u> </p> <p><b>10. Fire on Fire</b> - “Amnesia” from <i>5 Song EP</i> (2007) on <u>young god records</u> </p> <p><b>11. Randall of Nazareth</b> - “Read Your Name” from <i>Randall of Nazareth</i> (2007) on <u>Drag City</u> </p> <p><b>12. Volcano the Bear</b> - “Burnt Seer” from <i>Amidst the Noise and Twigs</i> (2007) on <u>Beta-lactam Ring</u> </p> <p><b>13. Jandek</b> - “Hilltop Serenade” from <i>Six and Six</i> (1982) on <u>Corwood</u> </p> <p><b>14. Static North</b> - “Ours, That Night Got Away From Us” from <i>Static North</i> (2007) on <u>Self Released</u><br /></p> <p><b>15. Edward Ka-Spel</b> - “Prisoners of War” from <i>Tanith and the Lion Tree</i> (1991) on <u>Third Mind</u> </p> <p><b>16. Eu</b> - “Said” from <i>Warm Math</i> (2002) on <u>Pause 2</u> </p> <p><b>17. The Tuss</b> - “Rushup I Bank 12” from <i>Rushup Edge</i> (2007) on <u>Rephlex</u> </p> <p><b>18. Jan Jelinek</b> - “Planeten in Halbtrauer” from <i>Kosmischer Pitch</i> (2005) on <u>~Scape</u> </p> <p><b>19. Jonathan Coleclough and Andrew Chalk</b> - “Sumac” from <i>Sumac</i> (2004) on <u>ICR</u> </p> <p><b>19. The Ghost Orchid</b> - “Various Tracks” from <i>An Introduction to EVP</i> (2005) on <u>Ash International</u> </p> <p><b>20. Hirsche Nicht Auf Sofa</b> - “Grundgütiger! Der Drang Verstärkt Sich (K.i.F.)” from <span style="font-style: italic;font-size:100%;" >Küttel im Frost</span></p><p> (2002) on <u>DOM</u> </p> <p><b>21. Einsturzende Neubauten</b> - “Weil Weil Weil” from <i>Alles Wieder Offen</i> (2007)<br /></p>---<br /><s><a href="http://www.sendspace.com/file/5lplhx">Download: Laughter, 1/17/2008, .zip file</a></s><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIK5UTc1kWLMzOKdx1OCInQvB_SMQhR0vlXAH7KE9VixdwvVzZugzrzUAGV1VHEK2PbpjIzA8gM426uXJZFLpZ0ME8UQrkjKpCi0VCjdwfNrh18OE2Ovh7TtABYXa11-NbaaA0lA/s1600-h/luke_radio.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer; width: 293px; height: 218px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIK5UTc1kWLMzOKdx1OCInQvB_SMQhR0vlXAH7KE9VixdwvVzZugzrzUAGV1VHEK2PbpjIzA8gM426uXJZFLpZ0ME8UQrkjKpCi0VCjdwfNrh18OE2Ovh7TtABYXa11-NbaaA0lA/s320/luke_radio.jpg" alt="" id="BLOGGER_PHOTO_ID_5156515071862530482" border="0" /></a>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0tag:blogger.com,1999:blog-7916610.post-7967288227399257802008-01-15T09:40:00.001-08:002008-01-15T10:50:51.267-08:00Reviews and Radio<span style="font-size:100%;">Today I begin posting music reviews in order to archive my writing over the next year. My hope is to make my reviews from Brainwashed available to individuals who do not read that site and to use this blog as a tool to improve my writing. I encourage everyone to post comments and critical feedback. I will also be posting play lists from my radio show on WZBC 90.3 FM in Newton, Massachusetts. Currently I run the station on Thursdays from 10 AM until noon, but that will likely change in the forthcoming weeks. The show is called "Laughter" and, as you will see, I play a wide variety of experimental and rock music. With any luck I will also be posting mp3s from that show, soon. What follows are my first reviews of the new year and the first few radio shows, too. <a href="http://brainwashed.com/">Brainwashed</a> hosts one-minute sound samples of nearly every review they now publish; if you wish to hear samples of songs from these albums, please visit the site.<br /><br /></span><span style="font-weight: bold;font-size:100%;" >Rolan Vega, "Documentary"<br /></span><span style="font-size:100%;">on <a href="http://www.community-library.net/">Community Library</a></span><span style="font-weight: bold;font-size:100%;" ><br /></span><span style="font-size:100%;"><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdaaexsM8bc3FXq2Lv2Gsd2fV94mZwbIvo9Mg2OjZy6fhvmrGKghJQP3Zy1hhaBMIhzXsMmWaa_h5P2RPjD89HpnquuMFqbWeJps7Vd6ziqo0zZiWoHyMf6UM7tEk8TDeZ9XQJA/s1600-h/rolan_vega-documentary.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOdaaexsM8bc3FXq2Lv2Gsd2fV94mZwbIvo9Mg2OjZy6fhvmrGKghJQP3Zy1hhaBMIhzXsMmWaa_h5P2RPjD89HpnquuMFqbWeJps7Vd6ziqo0zZiWoHyMf6UM7tEk8TDeZ9XQJA/s200/rolan_vega-documentary.jpg" alt="" id="BLOGGER_PHOTO_ID_5155762511987892594" border="0" /></a></span><span style="font-size:100%;">Rolan Vega's ambiguous debut on <a href="http://www.community-library.net/">Community Library</a> suffers from its unfocused genesis. In part a tribute to movie and television soundtracks, </span><span style="font-style: italic;font-size:100%;" >Documentary</span><span style="font-size:100%;"> is an intriguing </span><span style="font-weight: bold;font-size:100%;" >compilation</span><span style="font-size:100%;"> of Vega's synthesizer compositions but not an entirely successful </span><span style="font-weight: bold;font-size:100%;" >album</span><span style="font-size:100%;">.<br /><br />Released last year, </span><span style="font-style: italic;font-size:100%;" >Documentary</span><span style="font-size:100%;"> wobbles between being an academic salutation and a directionless compilation of synthetic melody and rhythm. The music itself was composed at different times for different media and purposes; these songs were used variously as live scores, soundtracks for short films, and accompaniments to Vega's own video projects. The result is an uneven collection of songs. No matter how intriguing many of these compositions are, listening through from beginning to end can become a chore. While an emphasis on completion may have demanded the inclusion of many short and unique tracks, their inclusion on </span><span style="font-style: italic;font-size:100%;" >Documentary</span><span style="font-size:100%;"> represents the majority of the album's disposable fare. Video may have originally given depth to these tracks, but standing alone they inspire little more than an anxious desire to move to the next song.<br /><br />Fortunately Vega is an adept composer capable of producing uneasy moments, triumphant crescendos, fecund sound-scapes, danceable rhythms, and unique aural episodes. Given time and patience, </span><span style="font-style: italic;font-size:100%;" >Documentary</span><span style="font-size:100%;"> blooms and showcases some undeniable gems.<br /><br /></span><span style="font-size:100%;">Both "Viva Myria" and "Playlite" contain an enchanting depth and complexity. The former relies upon synthetic drift to weave its spell while the latter hums to the stuttering of a suffocated percussion section. Neither offers more than a minimal number of musical sources, but both call very strong images to mind with little effort. If it were not for the two intervening shorts, "4 Autiim" would have complimented them both nicely. For five minutes it pulses with electronic waves of sound and metallic snares, engendering a fleet of sci-fi memories as played by whirring robotic musicians. My three favorite pieces on this album call to mind sci-fi movies, actually, all of them dense and distorted with an undeniable element of foreboding included.<br /><br />The disc closes with "Documentary," a piece sure to call some other soundtrack-obsessed musicians to mind. With the sound of chirping birds in tow, Vega ends his album with a warmth characteristic of the soundtracks composed for nature documentaries and PBS specials. It does not come as an unexpected surprise nor is it wholly un-listenable, but it's a bit of a disappointment; Vega is at his best when he's cutting his own path, not emulating someone else's. </span><span style="font-style: italic;font-size:100%;" >Documentary</span><span style="font-size:100%;"> provides enough to enjoy, but lacks both continuity and consistent quality.<br /><br /></span><span style="font-size:100%;"><span style="font-weight: bold;">Marc Hannaford, "The Garden of Forking Paths"</span><br />on <a href="http://www.xtr.com/">Extreme Records</a><br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfmoKH8AD48ff2jJdb3dVjaLpPn56sQxwl1liDjXVDrQItwmGMaceqm3jpeysSaysXuqKW87Jqf0VgmO0CqJiSgdon-aLW8z4vpHZXCe3NtSY4pd4JHyMdppg7Ivk3VcWLlOaGew/s1600-h/hannaford-the_garden.jpg"><img style="margin: 0pt 10px 10px 0pt; float: left; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfmoKH8AD48ff2jJdb3dVjaLpPn56sQxwl1liDjXVDrQItwmGMaceqm3jpeysSaysXuqKW87Jqf0VgmO0CqJiSgdon-aLW8z4vpHZXCe3NtSY4pd4JHyMdppg7Ivk3VcWLlOaGew/s200/hannaford-the_garden.jpg" alt="" id="BLOGGER_PHOTO_ID_5155763302261875074" border="0" /></a></span><span style="font-size:100%;">Accessible, improvisational jazz is given new life at the hands of this exceptional quartet. Australian pianist Marc Hannaford leads his group through a variety of musical approaches, drawing a lively dialogue out of each of them that entertains with ease. This quartet reaches deep into their imaginative bag of tricks and pull out one stunning performance after another.<br /><br />In some ways it seems all too easy to release an album of improvised music. With the advent of cheap recording it is possible for almost anyone to assemble a bunch of half-assed recordings produced over the course of a few extended jams and call it an album. Woe to the thoughtless noise-maker indeed, for his kind is populating the internet with increasing regularity. I expected so much from Marc Hannaford. I must admit a certain amount of cynicism when it comes to modern jazz recordings; all too often they favor technique over content and, as is the case with other genres that claim improvisation as a cornerstone of their craft, fail to provide much to appreciate beyond the technique itself. Hannaford, Scott Tinkler, Ken Edie, and Philip Rex know a thing or two about improvisation, however. They exhibit a thoughtfulness in their play that the likes of Albert Ayler and John Coltrane recognized as invaluable to the art form. With an eye on certain compositional principles and methodologies, each member of this quartet contributes their own character and reason to eight superb recordings of controlled chaos.<br /><br />"Sauna Twins" begins with Hannaford's incongruous and drunken piano playing; he stumbles and careens across his ivory keys in seemingly random jumps, ranting with a persistent vigor that pretends coherence. Philip Rex soon answers his call on bass, entering open spaces in the conversation with light jabs and punchy deliveries. It's not hard to imagine that the two musicians are in conversation with each other, one calling out in a certain chord, the other responding with a quick urgency. The addition of Edie's drums and Tinkler's trumpet suddenly clouds this exchange, but soon each musician falls in with the other, filling in the gaps that one or the other leaves. In no time at all (and without introduction), the massive "G.E.B." is in full swing. The instruments have, in the span of just over four minutes, become characters of their own. Sometimes they compliment each other by falling into near silence together, other times they appear to argue, one yelling in order to claim dominance, the other three huddling together before launching a counter-attack. The beauty of many of these performances is that they feel genuinely organic, like the best written dialogues. For all the random components at play, however, there is a unifying theme at work in the background, a theme that each of the musicians manage to keep in mind as they parade through their own musical arguments.<br /><br />Clocking in at over 17 minutes long, one might expect "G.E.B" to become boring or overwrought, but each of its varied movements not only seem necessary, they're downright beautiful. Tinkler's trumpet performance, especially in the last five minutes or so, is nearly epic in all its 64th-note glory. Rex's percussive force is immense, his hands creating a virtual parade of power throughout the entire piece. It might be argued that "G.E.B." lays too many cards on the table too early; both "Pure Evil" and "All Booze" seem small in its shadow, but both are appealing and set the rest of the record up quite well. The initial and deceptive calm of "I'll Go Down..." (Hannaford's solo piano performance) is all the more powerful because of the way it contrasts with "All Booze" and "Pure Evil" features some pseudo-funky bass and drum explosions that'd make Squarepusher more than just a little jealous. There's a lot going on throughout <span style="font-style: italic;">The Garden of Forking Paths</span>. It's equally diverse, random, tight, well-conceived, and welcoming. I'm as impressed with the music as I am with the technique that spawned it.<br /><br /></span><p><span style="font-size:100%;"><b>Caldwell, Subbing (ZBC Rock) Jan 7th 2008, 10.00AM to 12.00PM</b></span></p> <table summary="playlist display" cellspacing="1"><thead> <tr> <th><span style="font-size:100%;">Artist</span></th> <th><span style="font-size:100%;">Song</span></th> <th><span style="font-size:100%;">Disk</span></th> <th><span style="font-size:100%;">Year</span></th> <th><span style="font-size:100%;">Label</span></th> </tr> </thead> <tbody> <tr> <td><span style="font-size:100%;">Thinking Fellers Union Local 282</span></td> <td><span style="font-size:100%;">Selections from A Fistful of Dollars</span></td> <td><span style="font-size:100%;">Everyday / Selections From... 7"</span></td> <td><span style="font-size:100%;">1995 </span></td> <td><span style="font-size:100%;">amarillo</span></td> </tr> <tr> <td><span style="font-size:100%;">Silkworm</span></td> <td><span style="font-size:100%;">Our Secret</span></td> <td><span style="font-size:100%;">The Chain / Our Secret 7"</span></td> <td><span style="font-size:100%;">1992 </span></td> <td><span style="font-size:100%;">Aurora</span></td> </tr> <tr> <td><span style="font-size:100%;">Clearlake</span></td> <td><span style="font-size:100%;">Don't Let the Cold In</span></td> <td><span style="font-size:100%;">Don't Let The Cold In</span></td> <td><span style="font-size:100%;">2000 </span></td> <td><span style="font-size:100%;">Dusty Company</span></td> </tr> <tr> <td><span style="font-size:100%;">Siddal</span></td> <td><span style="font-size:100%;">Angel Wars</span></td> <td><span style="font-size:100%;">7"</span></td> <td><span style="font-size:100%;">1993 </span></td> <td><span style="font-size:100%;">Bedazzled <a href="http://www.bedazzled.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">Pseudo Code</span></td> <td><span style="font-size:100%;">Far Away From My Own land</span></td> <td><span style="font-size:100%;">7"</span></td> <td><span style="font-size:100%;">1984 </span></td> <td><span style="font-size:100%;">Waving Graphic</span></td> </tr> <tr> <td><span style="font-size:100%;">Disappointed a Few People</span></td> <td><span style="font-size:100%;">Dead in Love</span></td> <td><span style="font-size:100%;">Dead In Love</span></td> <td><span style="font-size:100%;">1986 </span></td> <td><span style="font-size:100%;">Psyche</span></td> </tr> <tr> <td><span style="font-size:100%;">Ed Kuepper</span></td> <td><span style="font-size:100%;">Electrical Storm</span></td> <td><span style="font-size:100%;">Electrical Storm</span></td> <td><span style="font-size:100%;">1986 </span></td> <td><span style="font-size:100%;">Hot Record</span></td> </tr> <tr> <td><span style="font-size:100%;">Peter Laughner and Friends</span></td> <td><span style="font-size:100%;">Me & the Devil Blues</span></td> <td><span style="font-size:100%;">Take the Guitar Player for a Ride</span></td> <td><span style="font-size:100%;">1995 </span></td> <td><span style="font-size:100%;">Tim Kerr</span></td> </tr> <tr> <td><span style="font-size:100%;">Roni & the Jitters</span></td> <td><span style="font-size:100%;">Wild Weekend</span></td> <td><span style="font-size:100%;">7"</span></td> <td><span style="font-size:100%;">1980 </span></td> <td><span style="font-size:100%;">Rockpool</span></td> </tr> <tr> <td><span style="font-size:100%;">Scout Niblett</span></td> <td><span style="font-size:100%;">Kiss</span></td> <td><span style="font-size:100%;">This Fool Can Die Now</span></td> <td><span style="font-size:100%;">2007 </span></td> <td><span style="font-size:100%;">Too Pure <a href="http://www.toopure.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">Salem 66</span></td> <td><span style="font-size:100%;">Across the Sea</span></td> <td><span style="font-size:100%;">7"</span></td> <td><span style="font-size:100%;">1984 </span></td> <td><span style="font-size:100%;">Homestead</span></td> </tr> <tr> <td><span style="font-size:100%;">Misfits</span></td> <td><span style="font-size:100%;">London Dungeon</span></td> <td><span style="font-size:100%;">Collection I</span></td> <td><span style="font-size:100%;">1986 </span></td> <td><span style="font-size:100%;">Plan 9</span></td> </tr> <tr> <td><span style="font-size:100%;">Ranch Hands</span></td> <td><span style="font-size:100%;">Stomp It</span></td> <td><span style="font-size:100%;">7"</span></td> <td><span style="font-size:100%;">1984 </span></td> <td><span style="font-size:100%;">Egon Records</span></td> </tr> <tr> <td><span style="font-size:100%;">Songs:Ohia</span></td> <td><span style="font-size:100%;">The Big Game is Every Night</span></td> <td><span style="font-size:100%;">Magnolia Electric Co.</span></td> <td><span style="font-size:100%;">2003 </span></td> <td><span style="font-size:100%;">Secretly Canadian <a href="http://www.secretlycanadian.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">Bonnie "Prince" Billy & Dawn McCarthy</span></td> <td><span style="font-size:100%;">The Signifying Wolf</span></td> <td><span style="font-size:100%;">Wai Notes</span></td> <td><span style="font-size:100%;">2007 </span></td> <td><span style="font-size:100%;">Drag City <a href="http://www.dragcity.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">The Raybeats</span></td> <td><span style="font-size:100%;">Instant Twist</span></td> <td><span style="font-size:100%;">It's Only a Movie</span></td> <td><span style="font-size:100%;">1983 </span></td> <td><span style="font-size:100%;">Shanachie Records</span></td> </tr> <tr> <td><span style="font-size:100%;">Cabaret Voltaire</span></td> <td><span style="font-size:100%;">James Brown</span></td> <td><span style="font-size:100%;">Micro-phonies</span></td> <td><span style="font-size:100%;">1984 </span></td> <td><span style="font-size:100%;">Virgin <a href="http://www.roughtrade.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">The Residents</span></td> <td><span style="font-size:100%;">Kaw-Liga</span></td> <td><span style="font-size:100%;">Stars + Hank Forever</span></td> <td><span style="font-size:100%;">1996 </span></td> <td><span style="font-size:100%;">ralph records</span></td> </tr> <tr> <td><span style="font-size:100%;">Orbital</span></td> <td><span style="font-size:100%;">Impact (The Earth Is Burning)</span></td> <td><span style="font-size:100%;">Orbital 2</span></td> <td><span style="font-size:100%;">1993 </span></td> <td><span style="font-size:100%;">FFRR</span></td> </tr> <tr> <td><span style="font-size:100%;">Kinski</span></td> <td><span style="font-size:100%;">Argentina Turner</span></td> <td><span style="font-size:100%;">Down Below It's Chaos</span></td> <td><span style="font-size:100%;">2007 </span></td> <td><span style="font-size:100%;">Sub Pop <a href="http://www.subpop.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">Six Organs of Admittance</span></td> <td><span style="font-size:100%;">Jade Like Wine</span></td> <td><span style="font-size:100%;">shelter from the ash</span></td> <td><span style="font-size:100%;">2007 </span></td> <td><span style="font-size:100%;">Drag City <a href="http://www.dragcity.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">Cranes</span></td> <td><span style="font-size:100%;">Shining Road</span></td> <td><span style="font-size:100%;">EP Collection 1 + 2</span></td> <td><span style="font-size:100%;">1997 </span></td> <td><span style="font-size:100%;">Dedicated <a href="http://www.holymountain.com/" target="_blank">URL</a></span> </td> </tr> <tr> <td><span style="font-size:100%;">Front Line Assembly</span></td> <td><span style="font-size:100%;">Big Money</span></td> <td><span style="font-size:100%;">Gashed Senses & Crossfire</span></td> <td><span style="font-size:100%;">1989 </span></td> <td><span style="font-size:100%;">Wax Trax! <a href="http://www.waxtrax.com/" target="_blank">URL</a></span></td></tr></tbody></table><span style="font-size:100%;"><br /></span><p><b>Caldwell, Subbing (ZBC Rock) Jan 9th 2008, 10.00AM to 12.00PM</b></p> <table summary="playlist display" cellspacing="1"><thead> <tr> <th>Artist</th> <th>Song</th> <th>Disk</th> <th>Year</th> <th>Label</th> </tr> </thead> <tbody> <tr> <td>Mark Arm</td> <td>Masters of War</td> <td>7"</td> <td>1990 </td> <td>Sub Pop <a href="http://www.subpop.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Archers of Loaf</td> <td>Web in Front</td> <td>Web in Front</td> <td>1993 </td> <td>Alias <a href="http://www.aliasrecords.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>13 Ghosts</td> <td>Movie Night at Brackett's</td> <td>Movie Night at Bracketts 7"</td> <td>1999 </td> <td>Babydoll</td> </tr> <tr> <td>Majesty Crush</td> <td>Sunny Pie</td> <td>Sunny Pie / Cicciolina 7"</td> <td>1992 </td> <td>Vulva</td> </tr> <tr> <td>Love Camp 7</td> <td>Huxley in Hollywood</td> <td>7"</td> <td>1990 </td> <td>Bowlmor</td> </tr> <tr> <td>The Royal Macadamians</td> <td>Relax in Lebanon</td> <td>experiments in terror</td> <td>1990 </td> <td>island record</td> </tr> <tr> <td>Disposable Heroes of Hiphoprisy</td> <td>Language of Violence</td> <td>Language of Violence 12"</td> <td>1992 </td> <td>4th & B-Way</td> </tr> <tr> <td>Die Krupps With Nitzer Ebb</td> <td>True Work - Mix</td> <td>The Machineries of Joy</td> <td>1989 </td> <td>BCM Records</td> </tr> <tr> <td>Magnetophone</td> <td>Monitor Rocket Science</td> <td>You Should Write Music / Monitor Rocket Science 7"</td> <td>2000 </td> <td>Earworm <a href="http://www.earwormrecords.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Pinch</td> <td>Widescreen</td> <td>Underwater Dancehall</td> <td>2007 </td> <td>Tectonic</td> </tr> <tr> <td>Pole</td> <td>Winkelstreben Ghislain Poirier Remix</td> <td>Steingarten Remixes</td> <td>2007 </td> <td>Scape <a href="http://www.scape-music.de/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Burial</td> <td>Raver</td> <td>Untrue</td> <td>2007 </td> <td>Hyperdub</td> </tr> <tr> <td>Alasdair Roberts</td> <td>As I Came In By Huntly Town</td> <td>The Crook of My Arm</td> <td>2001 </td> <td>Secretly Canadian <a href="http://www.secretlycanadian.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Eyeless in Gaza</td> <td>Invisibility</td> <td>Invisibilty</td> <td>1981 </td> <td>Cherry Red <a href="http://cherryred.co.uk/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Echoboy</td> <td>She</td> <td>Pure New Wool</td> <td>1999 </td> <td>For Us</td> </tr> <tr> <td>Citizen's Utilities</td> <td>King County Derelict</td> <td>7"</td> <td>1995 </td> <td>Shangri-La</td> </tr> <tr> <td>Inspiral Carpets</td> <td>Commercial rain</td> <td>Joe EP</td> <td>1990 </td> <td>Moo</td> </tr> <tr> <td>Razor Penguins</td> <td>The Math Professor</td> <td>7"</td> <td>1986 </td> <td>Ice Works</td> </tr> <tr> <td>Sid Presley Experience</td> <td>Public Enemy #1</td> <td>Public Enemy #1 / Hup Two Three Four 7"</td> <td>1984 </td> <td>I D</td> </tr> <tr> <td>Man Or Astro-Man?</td> <td>King of the Monsters</td> <td>Welcome to the Sonic Space Age</td> <td>1996 </td> <td>Clawfist</td> </tr> <tr> <td>The Hate Bombs</td> <td>Ghoul Girl</td> <td>Ghoul Girl / She Bit Me</td> <td>1997 </td> <td>Baby Doll Records</td> </tr> <tr> <td>Jonathan Fire Eater</td> <td>The Beautician</td> <td>Tremble Under Boom Lights</td> <td>1996 </td> <td>The Medicine Label <a href="http://www.themedicinelabel.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Daniel Johnston</td> <td>Speeding Motorcycle</td> <td>Yip/Jump Music</td> <td>1983 </td> <td>Homestead Records</td> </tr> <tr> <td>The Bloods</td> <td>Button Up</td> <td>Button Up 7"</td> <td>1981 </td> <td>Exit International</td> </tr> <tr> <td>Elephant</td> <td>Dance on Me</td> <td>7"</td> <td>1998 </td> <td>Mock Rock</td> </tr> <tr> <td>Electric Sound of Joy</td> <td>Play Away</td> <td>play away</td> <td>1997 </td> <td>Earworm <a href="http://www.earwormrecords.com/" target="_blank"><small>URL</small></a> </td> </tr></tbody></table><br /><p><b>Caldwell, "Laughter" (ZBC Rock) Jan 10th 2008, 10.00AM to 12.00PM</b></p> <table summary="playlist display" cellspacing="1"><thead> <tr> <th>Artist</th> <th>Song</th> <th>Disk</th> <th>Year</th> <th>Label</th> </tr> </thead> <tbody> <tr> <td>Future Sound of London</td> <td>We Have Explosive</td> <td>Dead Cities</td> <td>1996 </td> <td>Astralwerks <a href="http://www.astralwerks.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Test Dept.</td> <td>New World Order</td> <td>new world order</td> <td>1991 </td> <td>Ministry of Power <a href="http://www.pias.be/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Stereo Taxic Device</td> <td>Soman</td> <td>Stereo Taxic Device</td> <td>1991 </td> <td>KK-Records Belgium</td> </tr> <tr> <td>Strange Nursery</td> <td>To Whom the Unit is Attached</td> <td>Strange Nursery</td> <td>1989 </td> <td>Strange Nursery</td> </tr> <tr> <td>Penguin Cafe Orchestra</td> <td>More Milk</td> <td>Broadcasting from Home</td> <td>1984 </td> <td>Editions EG</td> </tr> <tr> <td>Dark</td> <td>Drifting</td> <td>Tamna Voda</td> <td>1991 </td> <td>CMP</td> </tr> <tr> <td>Can</td> <td>I Want More</td> <td>Flowmotion</td> <td>1976 </td> <td>Virgin <a href="http://www.roughtrade.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Einstürzende Neubauten</td> <td>The Garden</td> <td>ende neu</td> <td>1998 </td> <td>Nothing</td> </tr> <tr> <td>Breather</td> <td>Maya</td> <td>Loves and Disloves</td> <td>1984 </td> <td>Sonic Incision</td> </tr> <tr> <td>Lida Husik</td> <td>Billboard</td> <td>Bozo</td> <td>1991 </td> <td>Shimmy Disc</td> </tr> <tr> <td>Dog Faced Hermans</td> <td>Cactus</td> <td>Humans Fly</td> <td>1988 </td> <td>Calculus</td> </tr> <tr> <td>The Leaving Trains</td> <td>Hometown Blues</td> <td>Well Down Blue Highway</td> <td>1984 </td> <td>Bemisbrain Records</td> </tr> <tr> <td>Husker Du</td> <td>MTC / Don't Have a Life</td> <td>Land Speed Record</td> <td>1982 </td> <td>SST <a href="http://www.sst.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Labradford</td> <td>Scenic Recovery</td> <td>Labradford</td> <td>1996 </td> <td>Kranky <a href="http://www.kranky.net/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Valium Aggelein</td> <td>Abheben in Stereo</td> <td>Hier Kommt Der Schwartze Mond</td> <td>1998 </td> <td>Audio Info Phenomena</td> </tr> <tr> <td>Squarepusher</td> <td>Do You Know Squarepusher</td> <td>Do You Know Squarepusher</td> <td>2001 </td> <td>Warp <a href="http://www.warprecords.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>DJ Food</td> <td>Monocle (Silver Dub)</td> <td>The Quadraplex ep</td> <td>2001 </td> <td>Ninja Tune <a href="http://www.ninjatune.com/" target="_blank"><small>URL</small></a> <a href="mailto:n" target="_blank"><small>EMAIL</small></a> </td> </tr> <tr> <td>R.U.O.K.</td> <td>The Job Interview</td> <td>R.U.O.K.</td> <td>1998 </td> <td>Quantum Loop</td> </tr> <tr> <td>Faust Vs. Dälek</td> <td>T-Electronique</td> <td>Derbe Respect, Alder</td> <td>2003 </td> <td>Staubgold <a href="http://www.staubgold.com/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Fennesz</td> <td>City of Light</td> <td>Venice</td> <td>2004 </td> <td>touch music <a href="http://www.touchmusic.org.uk/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Blackgirls</td> <td>Moonflower</td> <td>Procedure</td> <td>1990 </td> <td>mammoth records</td> </tr> <tr> <td>John Fahey</td> <td>Joe Kirby Blues</td> <td>The Great Santa Barbara Oil Slick</td> <td>2004 </td> <td>Water</td> </tr> <tr> <td>Charalambides</td> <td>The Good Life</td> <td>Likeness</td> <td>2007 </td> <td>Kranky <a href="http://www.kranky.net/" target="_blank"><small>URL</small></a> </td> </tr> <tr> <td>Dead C</td> <td>Comme Toi Meme</td> <td>The Whitehouse</td> <td>1995 </td> <td>Siltbreeze</td> </tr></tbody></table>Lucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com11tag:blogger.com,1999:blog-7916610.post-38849126718477132772007-05-16T20:08:00.000-07:002008-01-10T19:33:35.452-08:00Starting with deathI ignored Jerry Falwell most of my life, taking note of his existence only when his flamboyantly fundamentalist language and political views loosed some controversy. Jerry Falwell had a way of shooting himself in the foot and he had a way of belittling his fellow men despite the Christian beliefs he claimed as his own. I detect, intuitively, that the worst for Falwell is yet to come. He was hated by many, derided by many, and attacked throughout his career because of his racism, his inability to approach any of his opponents rationally, and because of the outrageous conspiratorial tone he often took in arguing for the end of human rights groups and civil rights activists. A lot of people are celebrating his death, but beside that celebration lay another route. The worst <span style="font-style: italic;">is</span> yet to come for Falwell, but not as the result of spitting upon him in death. I'll leave a better judge to consider his soul. As for what Falwell did while he was alive, I feel we are called to judge his actions in some way, to at least illuminate the source of all the hatred directed at him.<br /><br />Jerry Falwell: founder of the moral majority, notorious racist, bigot, and fundamentalist extraordinaire. His passing is doubtlessly a relief to many people who feel hatred and fundamentalism are like a cancer on the side of a nation that deserves much better. A man responsible for claiming that <span style="font-style: italic;">"</span><span style="font-style: italic;" class="sqq">AIDS is not just God's punishment for homosexuals; it is God's punishment for the society that tolerates homosexuals" </span><span class="sqq">is likely to find more enemies than friends, yet I feel as though the celebration of his death is in poor taste. If it is not in poor taste, then it is certainly detrimental to the health of the individuals who find themselves diametrically opposed to the kind of propaganda and pornography Falwell was so fond of spewing. Falwell may have celebrated the plight of homosexuals infected with AIDS, but that is not cause enough to take joy in his death. What deserves judgment and our contempt now that Falwell is in the ground is the legacy he has left behind and the kind of political battleground he helped to spawn.<br /><br />Falwell enjoyed seeking blame where blame was least conspicuous. He blamed the ACLU, lesbians, gay men, feminists, abortionists, and "pagans" for the events of September 11th, 2001, claiming that it was the will of God punishing this country for its tolerance. This was typical of Falwell's approach to gaining political leverage: </span>if he could assault his political enemies by use of an unrelated tragedy, he would. If he could use a politically controversial topic as a means for disseminating his own ethical agenda, he would. If he could belittle an entire group of people in order to win popularity among his peers in a public space, he would. His paranoia often got the best of him, leading him to make such statements as, <span style="font-style: italic;">"</span><span style="font-style: italic;" class="sqq">The ACLU is to Christians what the American Nazi party is to Jews" </span><span class="sqq">and, <span style="font-style: italic;">"</span></span><span style="font-style: italic;" class="sqq">Textbooks are Soviet propaganda." </span>He had no shame; he almost uniformly ignored rational argument in all his political maneuvering and took the opportunity to land a low-blow whenever it best served his "moral majority." Some might say he was opposed to free speech (as evidenced by his legal battle with Hustler's Larry Flynt) and to basic human rights (as evidenced by his attitude towards any non-heterosexual, non-Christian individual). What are we to make of a man that stated, <span style="font-style: italic;">"</span><span class="body"><span style="font-style: italic;">I think the Moslem faith teaches hate"</span> and <span style="font-style: italic;">"I am a Christian"</span> and ,<span style="font-style: italic;"> "</span></span><span style="font-style: italic;" class="body">If you're not a born-again Christian, you're a failure as a human being?" </span><span class="body"><br /><br /></span>His agenda was built on a kind of tunnel-vision that prevented him from acknowledging one of the most important aspects of his religious upbringing: love thy neighbor. He was incapable of following this, what Christ enumerated as one of the most important commandments (see <a href="http://www.nccbuscc.org/nab/bible/matthew/matthew22.htm">Matthew 22:36-40</a>), second only to "love the lord, your God, with all your heart."<br /><br />Of course he apologized numerous times for his language, though it was difficult to tell if he was sincere. Much of what Falwell had to say sounded suspiciously like hate speech, the kind of speech one would expect to hear from hate groups notorious for their religious and racial intolerance. Time passed as it does and, with few exceptions, Falwell slowly fell out of the limelight in the years leading up to his death. It would be nice if such a silence were sufficient for excusing Falwell from his blatantly hateful, narrow-sighted, almost fascist commentary. It isn't, however, and what Falwell has given to the world looks dangerous, spiteful, and woefully misguided. He has inspired a generation of individuals that look up to him, many of them aspiring to political office through the gates of <a href="http://www.liberty.edu/">Liberty University</a>, the school he founded. If his example is to be followed, then this nation can expect more egregious attacks on non-fundamentalist politics and organizations, all in the name of a religious agenda that doesn't quite follow the dogma it proudly espouses.<br /><br />The secular world isn't alone in its criticism of Falwell's policy and tactics, several of the Christian faith have expressed concern over what effect Falwell has had on this nation. The following is taken from <a href="http://www.cnn.com/2007/US/05/15/falwell.legacy/">a CNN article covering Falwell's death</a>:<br /><br />"<em>He made it comfortable for churches to get actively involved in politics," says the Rev. Barry W. Lynn, executive director of Americans United for the Separation of Church and State. "His strategy will be continued by his would-be successors -- a focus on hot-button issues like gay marriage (rather than significant moral issues like child poverty and health care), and an eagerness to make outrageous statements to the media, in order to build a </em><em>religious-political empire."<br /><br /><span style="font-style: italic;"><span style="font-style: italic;"><span style="font-style: italic;"></span></span></span></em>Falwell began his career vehemently protesting any relationship between politics and religious orders, but in the end found it to be most profitable to encourage that relationship. All of these negative things to say about Falwell and yet <em>I can't celebrate his death </em>. I suppose part of the lesson is that you get what you give: Falwell lacked compassion, lacked tolerance, and often celebrated the defeat of those politically opposed to his views, no matter how relevant or compelling his opponent's point of view may have been. He was representative of everything that's wrong with modern American politics: he was always casting stones, so it is of little surprise that stones are being cast back on his grave ten-fold. Hatred begets the same, as does intolerance.<br /><br />There's plenty of reasons to dislike Falwell and what he stood for, plenty of reasons to feel sick in the face of his intolerance, but to return him the favor is to suffer the same evil he suffered. His death is not the kind to be celebrated; celebrations are meant to cement someone or something in our memory and it would perhaps be best to let his death pass in silence and to let his memory fall away as quickly as possible. Even Larry Flynt found something to like about Falwell, making him a bigger man than I am in many ways. I used to think I would like nothing more than to see Falwell pass on, but his death does us little good because his intolerance is going to survive him for years to come.<br /><br />So I'll make a suggestion: forget him, for his legacy and his policies are eminently forgettable, adolescent, and gravely uninformed. He's taken all of his errors to his grave and in the end there's a far better judge waiting for him than any of us could hope to be. If you're religious, rest easy knowing that God will take him care of him as only God can. If you are not religious, be relieved knowing that history, too, will take care of Falwell, but only if we commence with forgetting him by surpassing him and pushing his evils out of our society.<br /><br />Falwell had a family and friends and no matter how evil I want to think Falwell and his associates were, I can't imagine that they are so inhuman that his death has left them without grief. <p>I don't want to advocate anything for Falwell, I am not capable of forgiving him and I'm not suggesting that anyone should attempt that monumental task. Instead, I'd like to leave him, forget him, and let better judgment arrest his legacy and leave it in the dust where it belongs. Falwell has presented us with a challenge, one that will go a long way in bettering this country if we can succeed in answering it fully. Putting Falwell and his brand of politics to rest will give a whole new meaning to a very old epitaph: rest in peace. </p> <p>Keeping that in mind, I'd like to wish his family, Falwell himself, and everyone he supported or hated, peace.</p> RIP, Jerry Falwell (Aug. 11, 1933 - May 15, 2007)<br /><br /><strong>"Hatred does not cease by hatred, but only by love; this is the eternal rule." </strong>-BuddhaLucas Caldwellhttp://www.blogger.com/profile/14016928888889471896noreply@blogger.com0