tag:blogger.com,1999:blog-193825232024-03-21T02:11:15.514-07:00Ferrite Love Connection - Dissensus Cassette SwapTape Headhttp://www.blogger.com/profile/12739611023208341789noreply@blogger.comBlogger34125tag:blogger.com,1999:blog-19382523.post-74823312054312288382013-08-01T13:12:00.001-07:002013-08-01T13:12:35.320-07:00Some photos of my Sweet/Sour tape, by paoloI never put photos up earlier, so here they are<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBl8xEvma-n5QJ23nJx-4mpzNe0CGxQa_5R4hYaKS40HqdqCbFxPEW8ICU1InD5u9Y2oHCWzJbEfML2mdKLsHJjXJSoGUlo6Rm69V6eUS_dOGsTxH8xpmkZm6H6JYGW3m4SjxFxg/s1600/2013-07-31+21.40.45.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBl8xEvma-n5QJ23nJx-4mpzNe0CGxQa_5R4hYaKS40HqdqCbFxPEW8ICU1InD5u9Y2oHCWzJbEfML2mdKLsHJjXJSoGUlo6Rm69V6eUS_dOGsTxH8xpmkZm6H6JYGW3m4SjxFxg/s320/2013-07-31+21.40.45.jpg" width="320" /></a></div>
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[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-62639557775961180832013-07-10T09:15:00.000-07:002013-07-10T09:16:23.025-07:00Review of Paolo's Sunshine Mix Tape, by Owen Griffiths<b>Paolo's Sunshine Mix from Glasgow- Vitamin D</b><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7MlQrWAWWiGNWEqOMnbcf4bg5tljMmd7hEEImC1tuWAcGFw3j8KCsvLjg3tU09YLP0omUPMTbxHkQIHlUQyXXIlqg8shDD8_hOyo8u6IE0L_sycHVc5qBmETro9-Hpw7695mlYQ/s1600/PAOLO+Tape+Swap+cover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="177" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg7MlQrWAWWiGNWEqOMnbcf4bg5tljMmd7hEEImC1tuWAcGFw3j8KCsvLjg3tU09YLP0omUPMTbxHkQIHlUQyXXIlqg8shDD8_hOyo8u6IE0L_sycHVc5qBmETro9-Hpw7695mlYQ/s320/PAOLO+Tape+Swap+cover.jpg" width="320" /></a></div>
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<b>Vitamin D side A</b></div>
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All right, I couldn’t resist a sneaky look at the track
listing before slotting the tape in. Only recognised one name out of the corner
of my eye and after a second or two decided to go at the tape completely blind.
Makes things more interesting that way. Ideally with this tape swap I want to
come across scenes I’m not familiar with, so this blend of (presumably current)
slowish house/ techno/ tech house definitely fits the criteria. Not exactly a
Theo Parrish level of sluggishness or his type of production style- something
slightly different thanthat. I’ll state from the start that I didn’t find a lot of this
dark natured music particularly summertime focussed- it belies tapes' name but that's not a criticism overall. So track by track:</div>
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A1. Weird beatless intro that surely samples a movie from
the early days of colour cinematography; imagine the twisted court music of a
1950’s Macbeth feature film or the soundtrack to Ken Russell’s ‘The Devils’.</div>
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A2. Elgato is someone I remember from the Dubstep forum
days. I’m probably committing a cardinal sin in Hardwax circles when I say ‘if
I heard this record in a record shop’s headphones I wouldn’t buy it because the
tune doesn’t reallygo anywhere’. Super-repetitive for sure, but in the context of
this tape it scrubs up well enough and I can understand why some people are
happy to fork over 6.99 for it. Not a bad inclusion for Paolo’s set but a piece
of plastic unlikely to find a place in my record box.</div>
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A3. I really like this one, properly atmospheric deep house
tune that sounds great mixed out of the previous one. More of this kind of
stuff please.</div>
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A4. Skilful blend into this appealing harmonic breakdown-
doesn’t quite live up to it’s initial promise though, especially when it goes
all techy in the second half.</div>
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A5. Big track that upwardly slides us out of the trough
created by the rinsed out previous record. Proper late 80’s/ early ‘90’s US
house but no doubt a recently produced bit of mimicry. Good.</div>
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A6. It appears that this is the illusive Dub Techno genre
that everyone talks about but I’ve somehow managed to avoid up till now. Bit of a
short filler track (presumably) designed as a bridge between this and the much more upbeat upcoming tune. Okay but too much of this stuff would be irritating.</div>
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A7. I could swear by that saxophone that this is a Marc
Kinchen track (edit: it is). This is more my sphere of influence I suppose though
it’s a good one I haven’t heard before- no doubt because it’s a Summer 2011
release rather than from nineteen ninety-whenever. Judging by the Defected records adverts that plague
Youtube at the moment for their new DJ mixes the recent MK one seems
uninspired- though that could just be the A&R people only showing clips of
the radio friendly singles on the short adverts even though there’s plenty of
other gems on the actual CD/ MP3 whatever. Apologies for my ramblings- it’s
hard to get the bad taste out of my mouth looking at what Strictly Rhythm are
playing at by gently pushing former production kings Mood II Swing towards
making lowest common denominator Ibiza house, ie. the antithesis of what
classic NYC house is all about. Whereas FXHE/ Omar S clearly don't give a fuck.</div>
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A8. The closest house gets to a Gatecrasher style
euphoria hands in the air moment. Sensibly calms down before the high pitched keys causes the track to rise upwards out of the earth's atmosphere.</div>
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A9. A slightly soulless Todd Edwards sound a like fresh from
the cutting house floor. Can’t hold a candle to vintage Todd of course, but a
track in this vein is a welcome release for Summer 2013.</div>
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<b>Vitamin D- side B</b><br />
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B1. Nice beatless intro track. I forgot to mention that all
the tracks on side A are beatmatched. The tunes on this side are not. It’s not
entirely clear whether this record is left over from the earlier set as a bridging track to the decidedly eclectic & more laid back second half. Perhaps the tape ran out too soon. But if we assume otherwise and pick up on that word <i>eclectic</i>…</div>
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B2… this one sums up the aesthetic very well. It’s some weird live band with a
half-strangled woman singing a disturbing lullaby, alongside one of those
repetitive guitar twangs that I’m guessing reggae musicians invented and refused to give up on. I must
confess to being one of those few people who don’t know who Hype Williams is
(isn’t he a millionaire hip hop producer? Edit: no he’s a video director) but I
know Shangan as being one half of the notorious North Dublin <i>Ballymun </i>estate.
Perhaps this studio hook up was a misguided experiment by some well meaning new
age drugs councillor to get her class of poor junkies to describe their anxieties
through the medium of experimental music. What was it the liberal teacher said
in the film heathers- “Whether to kill yourself or not is one of the most
important decisions a teenager can make”. Incidentally this record has a short
period of silence in the middle that had me twice rushing to my cheap ghetto
blaster to make sure it wasn’t chewing up the tape.</div>
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B3. How I imagine a Kraftwerk LP sounds, really. I’m a bit
ignorant on that count. Turns out that this is the Human League in art college
mode, before they discovered catchy choruses. Had they waited ten years before
making it they could’ve shrink-wrapped the twelve and punted it round Berwick
Street stores pretending it was a hot US import from some precocious black producer from Chicago or Detroit.</div>
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B4. Teutonic sounding female vocals on a live sounding band.
Not my favourite track from the tape. Has what seems like an exciting key change at the end
that actually turns out to be…</div>
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B5. A perfectly clean segue into this track here. Not sure how to
describe it really. Say no more</div>
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B6 Now this Faust record is a nice and cheerful indie ish
thing that could arguably have been made anytime in the last forty years.
Proper sunshine stuff at last. Though it seems like it was cued up at the fag
end of the track, I would’ve appreciated hearing it in its entirety before it
goes into the jingly jangly guitar feedback outro.</div>
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B7. Borderline fiddly dee music with hippyish overtones,
perhaps found by Paolo digging through maw & da’s dusty twelves that have
languished in the loft for years. The lyric comes correct with a chorus of
“this morning I woke up”. It is safe to say that Sunshine has arrived.</div>
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B8. Picking up the pace with an uptempo ‘70’s guitar
instrumental a la Fleetwood Mac. I mean that in a <i>good </i>way, not in an ironic
hairstyle way. Clearly the peak hour track of this side of the tape as we’re
coming up to the final furlong. This is the second time my wikipedia searches have
turned up the work Krautrock. Not sure what to make of that given my ignorance
of the style. Owen's’ opinion- “nice enough”. The Red Army Factions verdict-
“Vapid imperialist music purveyed by the Fascist Pig State to anaesthetise the
German youth to the existentialist Capatalist corruption that stunters their growth, swinehundt"”. I'll let you decide whose view is more accurate.</div>
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B9. A clean break and then a well-chosen punk tune to round
things of. “Do we miss you, do yes we do. You’re father sends his regards to
you. Will I write, well once in a while. I’ll send my love and a molotov
cocktail too!” Late 70's cockney Punk at it's more accomplished.</div>
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All in all I think this cassette has parallels with my own
in that one side is definitely stronger than the other one. I’ve listened to
side A half a dozen times (and will put it in again) but despite a few okay
records the b-side can be a bit more of a chore- saying that I will make effort to get into it. Top marks for effort. Was this the kind of thing I expected from the Dissensus Tape swap? Fuck knows, because I didn't know what to expect really.</div>
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<br />[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-55358427768421127042013-07-06T04:21:00.002-07:002013-07-06T04:21:49.425-07:00Sweet/sour tape review by paoloI got my tape a few weeks ago. I have no idea who it's from but it's nicely packaged in gold chocolate-type packaging, like you'd find around a Galaxy bar or a Ferrero Rocher. One side is coloured pink with the word SWEET, the other side is coloured green with the word SOUR.<br />
<br />
I've never reviewed anything before so I'm just going to go through it track by track and sum up at the end.<br />
<br />
Sweet side<br />
<br />
1. Lady singing a sad, wistful song over a 4:4 beat. This sort of sounds like something that you might hear in Starbucks or possibly on a moody advert for Apple, which I would normally hate this stuff but it actually works well. It's quite emotionally affecting. Off to a good start<br />
<br />
2. Nice head-nodding house tune. Not exactly bedroom music but not a big dancefloor tune either. Would be good for doing housework to on a sunny day<br />
<br />
3. Slightly more downbeat house tune, with bittersweet, yearning vocals and strings. Nice bassline<br />
<br />
4. I think this is what would be called 'boogie'. I saw Krystal Klear DJ recently and this is like something he would play. It certainly is a sweet summer tune.<br />
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5. Going a bit deeper here but still house. Features a glockenspiel and a voice saying 'you're searching' a lot. It's been pissing it down with rain all day but the sun comes out when this track is on (I don't think the two things are connected but it fits with the summertime vibes of this tape)<br />
<br />
6. More boogie, this time with cut-up vocals about looking into my eyes. Still rolling along at about 110 bpm. Goes a bit piano house about halfway through<br />
<br />
7. Tempo goes up slightly (I think). This one has a sort of dark yet funky bassline, a bit like 'I Feel Love' by Donna Summer. There's a woman saying the same thing over and over but I can't make out what it is<br />
<br />
8. This is bouncy as hell. There's a big fat bassline and a really low voice talking with a high-pitched voice about something or other, and a bunch of people singing about how much they like techno funk. This would be great to dance to when drunk<br />
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9. More chilled but still funky. Somebody sings about electronic funk and how it can't be stopped, and there are also robot voices<br />
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10. Lipps Inc - Funky Town. This is the only track on the tape that I recognise and it's a belter. Amazing disco-pop, if you've never heard it<br />
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11. Eighties-sounding synthpop/house/electro tune, with big room vibes and a catchy synth line. Also someone saying 'move up, get down'<br />
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12. The start of something a bit more downbeat with sad-sounding piano that is cut off by the end of side one<br />
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Sour side<br />
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1. Sleazy electro funk, nice and slow. Carrying on where the first side left off, with a lyric about hugging your brother from another town. Very eighties in a good way<br />
<br />
2. Disco pop about having a high school crush with a catchy hook. Could be described as sultry<br />
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3. Boogie disco with a sample from 'The Hall of Mirrors' by Kraftwerk and French vocals. Still got the bouncy summertime vibes of the first side<br />
<br />
4. More boogie but more house than disco, complete with vocals about the beat not stopping until the break of dawn<br />
<br />
5. Upbeat house tune which just seems a bit nondescript/bland to be honest<br />
<br />
6. This is better. Vocal classic-sounding acid tune with loads of energy, must be an excellent club track<br />
<br />
7. Bouncy house tune with a big fat bassline and a deep vocal asking if I'm afraid of the boogie monster (I'm not)<br />
<br />
8. Cool, almost garagey house track. Quite deep but maintains the bounciness<br />
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9. Big room tech-house stomper, which I'm not really feeling so much. Maybe just not in the right mood<br />
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10. Wicked hardcore tune to finish the tape. Has a guy singing about not speaking the language or understanding the words and awesome synth stabs. I feel I should recognise this for some reason but I don't. This perks me up a bit and gives me a wee adrenaline buzz<br />
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<br />
Overall, this is ninety minutes or so of choice summertime house/disco/boogie music which I imagine would be ace to dance to. Whoever mixed it is solid technically and allows each track to play out for a decent amount of time, which I like. Also exposed me to a bunch of music I'd never heard before because I don't listen to a lot of this sort of thing[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-48548605694918711712013-05-09T14:41:00.001-07:002013-05-09T14:41:37.618-07:00 The Noughties Cower Behind Me And Are AbasedI don't think anyone had sent me a cassette for about a decade when I received this FOUR YEARS AGO. Several years down the line I've started buying them again and they've plopped through the letterbox with reassuring regularity.<br />
<br />
I shat myself when I saw the new Tape Swap on Dissensus. After a mild heart attack about not having reciprocated last time with a tape of my own <i>it turns out that I had</i>. Thank fuck. I don't want to get into Danny's bad books.<br />
<br />
Also, incredibly, I managed to find the one (or at least I think it was this tape?) that <b>Bassbeyondreason</b> (if it was him?) sent me.
It's a Maxell UR C90, which came wrapped in the cover of a Toyah single, which is still around here somewhere and regularly confuses the shit out of me when I am rifling through my sevens.<br />
<br />
The cassette case has <i>“hope you endure the music!”</i> written on it in black felt tip pen. Which I have. Several times I think, but not for several years now. It's good – a proper “everything but the kitchen sink” affair which still has a slightly drunken aesthetic of its very own.
I assume there was a track-listing but I suspect that this would have been on a piece of paper which has long since been recycled or perhaps lies hidden in a secret compartment of my former abode. So I shall do this review “blind” and promise not to use spotify and google or whatever.<br />
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<b> </b></div>
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<b>SIDE ONE</b><br />
<br />
(1) Starts off in fine style with some anarcho punk crud-fi business about not wanting to die in a nuclear holocaust. Good bass. Had finished before my laptop hard started up.<br />
<br />
(2) Then some vintage disco funk. The daughter taps her pencil along to the drum break. Which is as close as you get to an endorsement in this house.<br />
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(3) Spoken word about some woman named Barbara losing weight. <i>“What are you listening to Dad, it sounds like The Muppets?” </i><br />
<br />
(4) Yankee hardcore: <i>“there's nothing wrong with being sensitive and looking like a dork”</i>. A searing critique of jock culture? Kinda. I have to explain to the daughter that the vocal about treating women like shit is a parody of idiot men. Hmmph.<br />
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(5) FEEDBACK AND THRASH! GRUFF MALE VOICE INTONING ABOUT SOMETHING UNPLEASANT! Realm of grindcore, methinks! Good testosterone music. Followed by a slightly bizarre segue into...<br />
<br />
(6) Harry Enfield's “Loadsamoney” novelty single from the Stock Aitken Waterman era. It's not very good, but seems recorded quite badly which makes it tonally interesting at least.<br />
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(7) <i>“BLEEEEAAAAAAAGH!” </i>More thrash. I was never really into all this but it still takes me back to my youth. Men with denim and lots of bad hair trying to persuade me that I will really like some album with cliched horror lettering on the cover. Good times. This one goes on too long though I reckon.<br />
<br />
(8) Ska punk? We are truly taking the scenic route here! We should all unite, apparently. Why not? Seems to have keyboard horns - a pet hate of mine, but it's OK when the double speed skank kicks in. I suspect the curator of this tape has had as many drunken dances in seedy punk clubs as I have.<br />
<br />
(9) Then some Vybz Kartel (?) on a repetitive gynaecological tip which I am <i>really really hoping</i> that the daughter doesn't hear. <i>Awkward</i>. Good tune though.<br />
<br />
(10) More your anthemic balls-out epic rock with loooong intro. Great riff but terrible slurred rawk vocals.<br />
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(11) Gospelly soulful funk. With a bit of distortion which I think is unintended but pretty crunchy and great nonetheless.<br />
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(12) Some folky christian hallelujah stuff. Yep. A bit stiff compared to the “Oh Brother Where Art Thou” OST. Possibly because this is more modern and more european? It skips a bit, which might be Satan's influence.<br />
<br />
(13) Nasty X-rated anti-social American punk about a security guard who calls up working girls on the job. <i>“I watch topless dancers and I wonder if I have cancer”</i>. Riiiiiiiiiight. Quite cool – exactly the kind of thing you want on a mixtape – I know there's a tonne of good USA punk out there but I'm fucked if I'm going to wade through it myself.<br />
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(14) A folksy reel, I guess you would call it. Good accelerations. I point out to junior that this is a weird tape. <i>“Oh yeah, like none of your other stuff is weird, Dad...”</i> Fair play. Oh hang on – this has sort of a breakbeat thing happening as well? “World” music alarm is twanging?!<br />
<br />
(15) Screams and incoherent vocals. Japanese? The Boredoms or something? Ace. Lots of short bursts of noise. Then MOAR thrash. It's good to have some of this now and again, it certainly stops things getting too polite. It has also driven the daughter from the room, although the cat remains. This sounds like one of those seven inches which has 18 tracks on one side.<br />
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(16) Some kind of militant female chanting call and response.<br />
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(17) A female vocal intones “Free Jah Jah Children” and there is about 10 seconds of bassline. END OF SIDE ONE.<br />
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<b>SIDE TWO</b> </div>
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(1) Kicks off with a song from the TV show Lassie which is all campy country and pretty great for an opener.<br />
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(2) We are then into some hey nonny nonny folk stuff with a female vocalist doing something “until she is sore” which is pretty great, in a Wickerman kind of way?<br />
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(3) An ace thrash cover of what I assume is a Wurzels song about cider? I went to a posh Hauschka and Johan Johannsson gig at the Barbican last year and the guy I was with bought me cider by mistake – I got a proper suburban teenage flashback off it. Mixtape novelty business! Someone knows my level...<br />
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(4) Next track is folksier again with more of a glam rock feel somewhere and a male vocal. Appears to be a penny whistle solo. Hmmm. Much of this track was obscured by my better half coming in having just finished her work and wanting a chat. I bet Simon Reynolds never gets that.<br />
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(5) Some proper vinyl clickery heralds the next track which takes us to... AFRIIIIIKKKKKKAAAA! Bhundu Boys twinkly guitars and maybe the sun will stay out tomorrow. Hard to know what these chaps are singing about but it's a million miles away from all that “Afro-Noise” dreck. It's got a long freakout at the end where the tempo ramps up. Proper.<br />
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(6) Then someone is gargling over bar-room bluesy rock. They are “lie-ing in a bed of fire” apparently which seems like a serious health and safety violation. This is exactly the sort of music I don't have any of. Nor do I want any of it, really, except perhaps as a soundtrack to some demented roadtrip?<br />
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(7) Boom! Hip-house techno redemption! With snare rolls! Hands in the air! And a bit of echo in the breakdown. This sounds like 90s and possibly German? That rather good midpoint between the Venga Boys and Happy Hardcore. FUN and not for the purists. (which is perhaps the over-arching philosophy of the tape). Some nice hoovery bits with breakbeats. First tune that I am tempted to find out what it is...<br />
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(8) Piano balladry? Why? WHY? <i>“In the spiritual sky”?</i> Like a hippy Elton John. <i>“If you are so attached to the material world - it is hard to see the one you looooove” </i>it seems. I can only imagine the look of utter ridicule I would get from the one <i>I</i> love if I mooted detaching ourselves from the material world.<br />
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(9) Some funky jazzy breakbeat electronica follows. With kung fu film vocal sample? We must be back in the 1990s again? Not a complaint from me – far from it! Little bit of wobble going on also. Fair takes me back innit. I'm impressed that all this stuff is completely new to me, man is doing good. Some fucked up bits on the vinyl it seems too. Proper. Goes on a bit long though.<br />
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(9) Some NOISE! Feedback and shit. Plodding rock submerged beneath it. Fab. Glitched up or maybe a jumping record? Possibly this is a mash up of an actual metal record and an experimental noise thing? Great idea. Doom! Sweat! An exhortation to “KILL! [something indistinguishable]”. This is what I hope Wolf Eyes would sound like, but I bet they don't.<br />
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(10) Cheesy disco, OBVIOUSLY. Oh actually it's a Sesame Street tune. GOLD. Not heard this one either, even though I grew up on Muppet Show LPs (and have encouraged my own offspring to do the same). Various characters over slap bass – what's not to like? Cuts short. END OF SIDE TWO.<br />
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Phew!<br />
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JOHN EDEN <br />
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[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-8485926859576091372009-04-19T12:07:00.000-07:002009-04-19T20:35:46.597-07:00Danny L's tape <div><br /></div><div>I must say I was chuffed to receive a really eclectic tape (despite taking the one-genre route for my own compilation) that still hangs together and provides a narrative of sorts. I’m glad to say Danny L pulled it off here. Luckily I happen to be a big fan, if not an obsessive collector of Blues, Reggae, Psyche-punk and folk so this tape really hit the spot and gave me what I wanted. I did fret about all this when deciding on what to do for my own tape. Usually when making a comp. for someone you’ll know a fair bit about the recipient’s tastes beforehand but this Dissensus Tape Swap thing was a bit more of a shot in the dark. There’s also something wickedly self-serving about making a mixtape that can backfire badly if you’re not careful. Ooh the pressure…<br />I'm not much of a writer, so I decided to pad this review out a little with a few relevant youtube links. Hopefully this hasn't violated the code of the Dissensus tape swap and Danny won't be too offended...</div><div><br />The first side serves as a nice illustration of the various and varied permutations of Rhythm n Blues music: Ska, rock n roll, rockabilly twang, urban sleaze-rock and garage psyche.<br />The tape kicks off with ‘Blue Monday’ by Louisiana bluesman Smiley Lewis, then into the laid back “Jack and Jill Shuffle” by the splendidly named <a href="http://www.youtube.com/watch?v=XttgOA6Ftss">Theophilus Beckford. This latter track’s offbeat piano skank is a clear precursor to Ska, </a>and The Mellow Larks’ ’Time to pray’ is a great example of the Gospel influence in Reggae, long before the Rastafarian faith dominated the Island’s musical ethos.<br />It can be easy to underestimate the fundamental influence American Rhythm and Blues music has had on Jamaican music after the wild sonic innovations of Dub and Dancehall, but this is the stuff that rocked Jamaican sound systems for years until the island forged its own distinct sound. So it was nice to hear this stuff juxtaposed. Tracks like <a href="http://www.youtube.com/watch?v=Ry_--Y0qsoA">The Gaylads’ ‘Lady with the red dress on’</a>, Andre Williams’ ’Pearl time’ and <a href="http://www.youtube.com/watch?v=-V9ikQn58NY">The Marathons’ ‘Peanut Butter’</a> all share a certain raw energy and sense of playfulness.<br /><br /><a href="http://www.youtube.com/watch?v=MU-0cng7i-I&feature=related">Hasil Adkins’ She Said</a> was the only song on the tape I was really familiar with, and it’s a long-term favourite of mine. More wild and deranged than anything else at the time, and that’s saying a lot for Rockabilly. The Cramps knocked out a rockin’ version of this too and the rest of Side 1 is dedicated to the sort of scuzz rock that would have floated their boat.<br />There’s more demented rock n roll from a very strange sounding man named Homer Edison: a cautionary tale about the perils of that most foolish of teenage automobile-related kicks, the ‘Chickie Run’, illustrated nicely by this classic film clip:<div><br /></div><div><span class="Apple-style-span" style=" white-space: pre; font-family:Arial;font-size:10px;"><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/LGUYsuYudVA&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/LGUYsuYudVA&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object></span><br />Trouble is James Dean made it look cool didn’t he?<br /><br />The moody twang of <a href="http://www.youtube.com/watch?v=oDH9KeOKUFM">Duane Eddy‘s, ‘Stalkin’</a> is next. I’ve always loved this sort of guitar sound, drenched in reverb and tremelo, yet still crisp and cutting, sending a shiver down the spine. The production and arrangement on Duane Eddy’s records was superbly loud and crisp, the sax sound on here is almost obscene in its raunchiness. There, I’ve said it…sometimes I love a bit of raunchy sax! Ahem…<br />Arnand Schuabroeck ups the sleazometer next with the charmingly titled ‘Ratfucker’, sounding uncannily like Lou Reed. Its a compelling slice of New York trash-rock if a little off-putting in its nastiness. Armand sounds like a truly unpleasant man, but I enjoyed it nonetheless in the same way that I enjoy listening to Johnny Rotten singing ’Bodies’, or any number of gangster rappers and grime MCs digging in the dirt. Its perhaps slightly too beholden to Lou Reed to be truly great though.<br />Side one ends with a sequence of ’Nuggets’ style psyche-punk tunes, all in thrall to The Rolling Stones and The Who at their most amped up. The Misunderstood must have deafened themselves in the studio recording ‘<a href="http://www.youtube.com/watch?v=wFlZeFNAhmk">Children of the Sun,</a>’ so loud and raucous are the guitars and drums. Love it!<br /> M<a href="http://www.youtube.com/watch?v=yJIoEzVJxQE">orgen’s ‘Welcome to the Void’</a> and <a href="http://www.youtube.com/watch?v=TNZRXrgkHF0">Colosseum‘s ‘The Kettle‘</a> (famously sampled by Norman cook) are no less hard rocking. This strand of Hard-psych is probably much more Rock than it is punk really, the sort of stuff that lead to Black Sabbath rather than The Stooges I reckon. Anyway, I couldn’t resist cranking these up to get the full effect, and they make a great end to side one.<br /><br />So solid so far, but things started to get really interesting for me on Side 2. I was on much less familiar ground here. After <a href="http://www.youtube.com/watch?v=Aysz7yJX5lE">another decent psych-rock track from Factory</a> , came the spooky t<a href="http://www.youtube.com/watch?v=xez4o1ujOPI">heme tune to the 70s Sci-fi TV series, The Tomorrow People</a>. A long way before my time, but it’s the sort of thing I would have liked as a kid, and it’s a brilliantly evocative slice of Radiophonic uncanniness.<br /><br />There’s insect related balladry next of course with <a href="http://www.youtube.com/watch?v=5MPMEVcVe-Q">‘Lacewing’ by Chrysalis </a>(according to the you tube blurb here Spider Barbour, the author of this song is now “a naturalist devoted to the lives of moths and butterflies.” funnily enough….). The flutes (or mellotron?) give this song a similar sort of vibe to ‘The Fool on the hill’. The melody is very pretty but it’s a terribly miserable song ; ‘Oh how I dread to go on…’. The next choice doesn’t let up on the misery either: <a href="http://www.youtube.com/watch?v=iTe9rhLC2XE">Julie Felix’s</a> version of Bert Jansch’s ‘Needle of Death’.<br />'Harrowing’ would be a lazy description of a song like ’Needle of Death’. While I quite like this song and Julie Felix’s cover version, I’m probably more conditioned to prefer the Lou Reed approach to this subject matter which seems much less simplistic and immediate than the sad eyed misery ballads of the folkies (I’m thinking of Neil Young’s “Needle and the damage done’ here. Always one of my least favourite Young songs). For those early sixties folk singers the loss of innocence is always mired in regret, rarely accompanied by euphoria and release. They can get a little wearing as a result and I’d probably reach for the fast forward button say, seven times out of ten when it gets to this track. Same goes for Lacewing I’m afraid…<br /><br />You’ll be glad to hear that I cheered up immensely when I heard the next track; <a href="http://www.youtube.com/watch?v=1dP4ux-hRek">Annette Peacock’s ‘I’m the one’</a>. The centrepiece of the tape for me, I was genuinely stunned when I heard it. After an ominous intro of mournful horns and free jazz drums, a sort of strange electronic cyber-chirrup suddenly enters and the song begins. Its difficult to describe but what followed put me in mind of some of the most far out and groovy music of the late 60s/early 70s: Sly Stone, Miles Davis, even The Beatles of ‘I Want You’ and ‘Happiness is a Warm Gun‘. Heavy, moody music, sweaty with desire. That weird electronic skronk that lifts the track into the realms of the truly strange turns out to be Annette’s (stunning) voice fed through an early synthesiser. Wow…<br /><br />The next three songs on the tape are all taken from musicals. Haunting jazz with Jean Pace's 'Afro Blue' (<a href="http://www.youtube.com/watch?v=olOYynQ-_Hw">here is John Coltrane’s version of it</a>) and Mary Lou Williamson’s ‘The Devil is a Woman with a Red Dress on’, with its fantastically complex vocal arrangements. I’m feeling it…<br /><br />An all time Children’s classic next with Inchworm, taken from the film Hans Christian Anderson. It’s beautifully sung and arranged, and educational too!<br /><object width="425" height="344"><param name="movie" value="http://www.youtube.com/v/fXi3bjKowJU&hl=en&fs=1"><param name="allowFullScreen" value="true"><param name="allowscriptaccess" value="always"><embed src="http://www.youtube.com/v/fXi3bjKowJU&hl=en&fs=1" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object>. . Funnily enough it turns out that John Coltrane also featured this song in his sets for years, and would have played it along with tunes like ‘Afro Blue’ and his classic version of ‘My Favourite things’. So there you go…<br /><br />Some obscure 60s jangle-folk from Judy Henske comes next. ‘Charity’ is a pretty good song, lifted by a rousing chorus, picking up the pace a bit.<br />The selection takes a rather more bizarre turn with the English poet John Betjemen reading his own ‘<a href="http://www.youtube.com/watch?v=cWMIGaGAOA4">Licorice fields at Pontefract’</a> over a sort of soft-psych backing track. It’s a little daft and whimsical for my tastes but it at least prompted me to read up a bit on John Betjemen, who I’ll admit I knew next to nothing about until now. Interesting chap…<br /><br />Next, another familiar melody in an unfamiliar context with Paul Mauriat’s sitar-driven, orchestral version of the Supremes’ classic ‘You keep me hanging on’. Like the Tomorrow People theme, the arrangement features these great tremulous melody lines that seem to be a blur of horns, strings and human voices all singing in unison, in an echo chamber. At least that’s what it sounds like to me. Who knows?<br />(a completely irrelevant aside, but check out <a href="http://www.youtube.com/watch?v=yqlzgItsVSQ">this video of the original in which at around 1.24 mins Diana Ross is momentarily possessed by the Devil!</a> This really freaked me out… )<br /><br />Fresh’s ‘Borstal Theme’ starts with a narration from an authentic sounding young Borstal tough before a big OTT rock opera piece of silliness kicks in. To be honest I’ve always disliked rock opera’s like Tommy or the Pretty Things’ S.F. Sorrow and this is definitely along those lines. (Apparently the ’Fresh out of Borstal’ concept album was inspired by a conversation with Pete Townsend).<br /><br />By now I’m wanting to hear something more soulful and rootsy after all this weirdness so I’m happy that the tape ends with a couple of fine reggae selections, book ending the tape nicely. Glenn Miller (no, not that one…) is also known for making American style Soul records like <a href="http://www.youtube.com/watch?v=jDyaAA1bvLE">this</a>,<br />but this tape’s selection, 'Dungeon' is a lovely piece of rocksteady with those fantastic backing harmonies in the style of The Heptones.<br /><br />Then the tape runs out halfway through the final, unlisted reggae number. I press eject and turn it over…<br /><br /></div><div><br /></div></div>[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-8769023533335514252009-04-11T05:26:00.000-07:002009-04-11T05:49:53.640-07:00STN - “Up Against The Wall, Mum!”First things first, the packaging and name of this tape are a little unsettling. The cover features a demonic-looking puppy and enclosed was a picture, I presume of STN, sporting a gas-mask and apparently “fucking suffocating” in a Morrison’s photobooth. In-keeping with the slightly disturbing art, the tape’s title, Up Against The Wall Mum, had me worried about the contents as particularly aggressive music is generally not one of my more preferred types. I had a while to dwell on this prior to listening, as tracking down a tape player proved more difficult than I had expected. <br /><br /><a href="http://img.photobucket.com/albums/v359/tokunbo/cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 600px; height: 799px;" src="http://img.photobucket.com/albums/v359/tokunbo/cover.jpg" border="0" alt="" /></a><br /><br />I was finally able to check out Side A on a tape machine at the university library, sat right next to the microfilm viewers. Things start off pretty tough with Kurtis Mantronix “Mad”, Cutty Ranks, Capleton and a particularly hard-edged cover of “Ain’t No Sunshine” by Bounty and Lady, but by the middle of this side things are about as far from aggressive as you could imagine. STN drops in some religious words from Harold Smith and clean soul from Clem Curtis and Lord Large. Such are the twists and turns on this side that in the second half there’s doom metal from Pentagram, as well as some psychadelia from GOD and Love. Yet despite the twists and turns, the side never feels disjointed. The mood changes from Mantronix through other bass driven music – Capleton, Yusk 2k, Barrington Spence – gradually getting older and more chilled out, until finally at Clem Curtis things turn around, and the jam at the end of “Stuck in a Wind Up” leads on to the guitar driven end of side A.<br /><br />I drew an entirely un-musical, un-scientific graph of three of the elements I thought were prominent in the first side, swing, looseness and toughness:<br /><br /><a href="http://img.photobucket.com/albums/v359/tokunbo/graph.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="http://img.photobucket.com/albums/v359/tokunbo/graph.jpg" border="0" alt="" /></a><br /><br />As you can see, tuff-ness forms a nice “U” shape, with Clem Curtis marking the middle. The three elements combine in equal measure for track 5, Yush 2k’s “Fade Away”.<br /><br />Side B’s title “Screamers and Howlers” is a little misleading. I was expecting a direct follow-on from the metal and rock from the end of “Stompers and Lurchers” but in fact the opener is “No Government” by Nicolette, a post trip hop piece. This is nicely followed by Shakleton’s “New Dawn” which makes me think once again of the sonic proximity of dubstep and trip-hop. The Eastern vibes of “New Dawn” are taken even further in Old and New Dreams' "Chairman Mau" and this is followed by possibly my favourite track of the tape “Sound of the Rain” by Death Chants. It features acoustic instruments, some wailing and morse code-esque electronic beeps, all combined in a intriguing fashion. After Death Chants, the tape runs through a near gamut of styles. Foot tappin’ blues from Sonny Terry, spiritual sounds in Lloyd Chalmer’s “Conversation with death” and Skinny Puppy screaming “I know where the monster is!”<br /><br />It’s difficult to really do the tape justice in writing. Partly due to my lack of knowledge about many of the artists, partly because I’m crap at writing, but mostly because of the breadth it covers. There are individual tunes I’ll track down (Death Chants, Sonny Terry, Alan Vega), but mostly it’s the subtle cohesion and themes that make this mixtape work perfectly as a whole.<br /><br />Side A – Stompers and Lerchers<br /><br />Kurtis Mantronik – Mad (Bleeker Street Hip-Hop Forumla)<br />Cutty Ranks – Armed and Dangerous (Goldie’s Beef Bass Mix)<br />Capleton – God Mi Love<br />Bounty + Lady – Ain’t No Sunshine<br />Yush 2k – Fade Away<br />Barrington Spence – Go Deh Natty<br />Alton Ellis – Preacher<br />Harold Smith + His Majestic Choir – We Can All Walk a Little Bit Prouder<br />Clem Curtis + Lord Large – Stuck in a Wind Up<br />Gary Walker – No No No<br />Link Wray – Deusces Wild<br />GOD – Mo Pal<br />Pentagram – Nightmare Gown<br />Roky Erikson – The Creature With the Atom Brain<br />Love – Discharged<br /><br />Side B – Screamers and Howlers<br /><br />Nicolette – No Government (Plaid Mix)<br />Shackleton – New Dawn<br />Old New Dreams – Chairman Mao<br />Death Chants – Sound of the Rain<br />Sonny Terry – Lonesome Train<br />Lloyd Chalmers – A Conversation With Death<br />Skinny Puppy – Monster Radio Man<br />Alan Vega – Cry A Sea of Tears<br />23 Skidoo + Pharoah Sanders – Dawnin’<br />Resess – Study #1 for Symphony #1<br /><br />(Review from Tox)[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-55263488251142798122009-04-09T03:46:00.000-07:002009-04-09T03:47:07.092-07:00IdleRich reviews Matt BOK, well the other reviewers have done something more interesting than merely listing the songs and saying what they like about each but, in the absence of any clever ideas I’m going to do it the old fashioned and simple way. Got the cd through the door already knowing it was from Matt but not really sure what to expect except for a vague idea that he was a contributor to Woofer and therefore likely to be into reggae and other related music…. to my surprise however, after a spoken sample the tape kicks off with a couple of hard rocking tunes from Bitch Magnet and Fury. I really struggle with this kind of stuff I have to be honest and I don’t think either of these is going to be the one to reel me in. Of the two I much prefer the second, which is far more aggressive and raw with a desperate and on edge sounding vocal ramping up the excitement levels and competing with the pummelling drums to force its way into your head. It does what it wants to quickly and effectively making its predecessor seem bloated in comparison.<br />After these things take an immediate turn for the better; I’ve always enjoyed Captain Beefheart without feeling the need to track down all his stuff and the next track – Here I Am I Always Am – is new to me and also rather good. It’s catchy and filled with tempo changes and sticks in your head to the extent that I’ve often found myself humming it at random points of the day. The next track is an uncharacteristically (from what I’ve heard) hooky number from Albert Ayler – it’s quite similar to Beefheart but also somewhat odder with the way that bits unexpectedly drop out and the vocal is stuttered or just stops at one point. Love the all over the place drumming later on that sounds like some nutter whacking fuck out of some pots and pans…. but I think I’m noticing a pattern of sorts here now with tunes coming in pairs that are arguably similar. This continues with Patches by Clarence Carter and a disco tune from Barry White. I did some research here (did I cheat?) and apparently Patches was a big and “sentimental” hit for CC in the seventies but it’s new one to me. Well, it certainly is sentimental, it’s also fucking brilliant with a massive chorus and a great cheesy story of battles against poverty and adversity that has me almost in tears when I listen to it drunk and which I listen to many times when I’m drunk. I love this kind of stuff and this is great. Also enjoy the next one, a relatively restrained vocal performance from White over a slinky, multicoloured slice of disco. Not quite as good as its predecessor but a worthy follower I think.<br />OK, after the last pair we get a couple of more electronic things. The first – Cathart by Isan – sounds like it would fit easily on to a seventies electronic library (kind of reminded me of the Klaus Weiss one I put on the tape I made for Matt in fact, in feel and sound if not really in song structure) except rounded out to give you a full experience - instead of frustratingly finishing after 38 seconds and leaving you with the dawning realisation that the rest of the album is total bobbins which is the listening experience I associate with the average library track. It feels cold and sounds like a signal from outer space though probably not one to us, just something we might catch part of by accident as it passes through our galaxy and that we will never be able to understand. Yeah, I like it a lot.<br />Some of this feel is preserved for the next track - Shackleton remixed by Pole – except the sounds this is created from seem to be more earth bound, sonic detritus in fact, unwanted noises from machines that are designed for other purposes – which is a round about way of saying that the I’m pretty sure that the main instrument here is a photocopier fleshed out with a few more exotic bendy sounds as it nears the end. It’s got a kind of funky little groove to it with Pole’s trademark warm glitches on top, another very nice track. <br />And now some of the predicted reggae starts to show up beginning with LV feat Dandelion and a track called CCTV – an inspired follow up to the previous track as it keeps the same kind of low key groove going and uses a related sound palette, becoming more cinematic and slinky in feel as it continues until finally it’s replaced with another cinematic and ghostly (and wicked I should say) reggae tune from The Shanti-ites. Next more reggae and I don’t really need to say much about this track having already asked what it was on dissensus (it’s listed as “?” on the listing as it’s an uncredited b-side) and bought it – I will say that everyone who has been round my house when I’ve played it has asked what it was so it should be clear that it’s really good. Then some Lee Perry with a track that reminds me in a weird kind of way of Double Heart by Robert Rental, one of my all time favs – although it doesn’t really sound anything like it, must be something similar in the lyrics I suppose although it’s called Nuh Fe Run Down which doesn’t tie in too well either.<br />Then our selector obviously decided it was time for a change in pace, DJ Vadim feat Demolition Man with a hectic (or at least hectic compared to the last few tunes) slice of reggae hip-hop, good fun and with one really cool noise that keeps cropping up when you least expect it. The next track raises the energy levels higher still, K-Rock/Linda Lovelace “Brock Up, Mash Up” consists entirely of those lyrics in a brilliant/annoying high pitched voice over huge electronic bass and beats. It’s effervescent and another I find myself humming after just one listen. The next track I can’t quite read the title of but it could be Cancer Queen which would be good because it’s the name of a book I just read. Either way it’s made from a vocal loop and sirens and a wired bassline which crashes in every now and again for that added danceability factor, after a few listens it struck me what a funky track this is. Saying this is strikes me that one thing I ought to make clear in general about this tape is that I’d definitely like to hear a few of these tunes out – although probably not the next one, a reworking of the Penis Song from Monty Python over some breakbeat drumming with the odd bit of computerised stretching thrown in every now and again.<br />Two hip-hop tracks next – Murs first up and I’m not really feeling it that much I’m afraid. A powerful lyric is backed with a beat that’s not really interesting enough to engage you for the whole thing and the hodge-podge of samples doesn’t really grab me either. The next track from Mr Lif starts more interestingly but again doesn’t really keep that interest until the end.<br />Then Fairport Convention, a band I’ve never quite been able to make my mind up about. My friend played me some of their stuff that was nice but some of it is just plain annoying. This one – Angel Delight – is somewhere in the middle for my money. It certainly has an annoying edge to it but somehow survives that to make it a kind of marmite type pleasure. I need to listen to the lyrics more carefully to figure out even roughly what is going on in what appears to be a narrative but it seems to be something a little strange to say the least.<br />Then finally a track called Fucked Up, an appropriate ending to a great mix. An irreverent bit of exuberant punk swearing that sounds as though the band are enjoying it and you can’t be going too far wrong if you’ve got that coming through in your tunes. So overall, a really good mixture of styles with some killer selections (Isan, Clarence Carter, ? etc) and, inevitably, a few I wasn’t quite so keen on and which never takes itself too seriously – which is exactly what you’re hoping for when you sign up here, to find out about someone else’s tastes and what makes them click musically. I think I’ve had a good whistle-stop tour round part of Matt’s collection and I like it – sounds like it would be a good place to go and visit properly and spend more time in the bits I liked the best. Thanks a lot for this Matt and same to Dan for organising.[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-73396535226817698232009-03-31T21:07:00.001-07:002009-03-31T21:09:04.569-07:00John Eden's magickal mystery tape(Review by Bassbeyondreason)<br />This tape came with the tracklist inside another sealed envelope, with a recommendation of blind listening. Mr Eden will be pleased to know that I managed not to peek at the tracklist before listening (although I couldn't bring myself to throw away the envelope unopened). Side A was a solid mix of (mainly unfamiliar) roots reggae/one drop. I ended up playing it quite a bit while reading/resting/napping, and it worked well. Side B was the real treat though, with a lot of industrial and noise taking me back to my early teenage years, including a Consolidated song I haven't listened to in at least 7 years, so cheers for the flashback. Also had one of Stewart Home's musical efforts, which I was impressed by and will be investigating, plus some foreign punk band whose name I don't remember (and don't have the tracklist to hand), who were great and completely new to me. Roll on next swap![o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-84853483268360813232009-02-25T08:30:00.000-08:002009-02-25T08:46:50.080-08:00IdleRich “Blank” cassette swapThis started so badly, my cassette deck falling at the first hurdle- that is, in making a tape. After eighteen years service (bought with my first ever grant cheque from Richer Sounds in Newcastle-Upon-Tyne), it finally gave up the ghost immediately I pressed the button with the red circle, first record cued up and ready to go.<br /><br />So, my contribution became a one away CD- all data immediately erased- and meant that in order to play the tape compiled by Rich, I had to dig around in various boxes searching for my old cassette walkman. Which I failed to locate. Instead, I have been listening to it on a dictaphone which uses full size tapes (rather than the mini-ones that I used to tape Morecombe and Wise with and then listen to under the pillow at night). <div><br /></div><img id="BLOGGER_PHOTO_ID_5306773498811192162" style="DISPLAY: block; MARGIN: 0px auto 10px; WIDTH: 263px; CURSOR: hand; HEIGHT: 320px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgXIP7YDoDeYgefMVbC7I3-MGriexW1_53dx7AaZ6xGiYz6rf7s8lh20iUU2SqlST5FdcrwT7_sPTl_zSNpjLmWAPezaUNk7csLw1iQzWvqVdce02YJN9xZg7MhpYJmTcHA3jYtOQ/s320/sony+dictaphone.jpg" border="0" /><br />However, it is possible that the poor audio reproduction qualities of the battery hungry Sony TCM-84V may not be a bad thing. This is because Rich’s tape seems to mine a seam of obscurities where the dust and accumulated resins present on the physical artefact actually enhance the overall listening experience.<br /><br />This is of course, pure conjecture, as I have not researched or Googled any of the artists presented herein. That seemed wrong. I only briefly glanced at the track list, having read a nice note from the man himself. I only recognised a couple of names, Morricone being one. I think. I don’t have the bit of paper in front of me.<br /><br />Overall, this excellent tape places me in a woozy state of mind, slightly concerned for the creators of the music, who it would seem, are trying to create classic pop/rock songs but somehow failing to due to some sort of mental derangement. Good.<br /><br /><br />Press play.<br /><br />“Hello there, hello there…” a Pinky and Perky impersonator states over 1960s surf music, with added electronic overdubs. A bass throb punched in by a drunk. Frighteningly fast Morse Code signals- a panicked message from the future (or past).<br /><br />This is followed by what sounds like library music with a French lounge God doing his best to get the girls. I wish I understood French. I’d love to see the TV programme this (may) come(s) from- all smart suits and Gitannes. It would, no doubt have a classic ‘Bad Trip’ episode.<br /><br />[I may as well mention this now. I know next to nothing about 1) library music (beyond a Vibert compiled ‘Nuggets’ compilation and from memories of that, I’d put a fair bit of the music here into the genre. I've wanted to know more, but other things -reggae- have always got in the way), or 2) the rest of the stuff on the tape. So I, as with the above comments and those that follow, could be way off and/or hugely offensive. I’m listening in the dark here.]<br /><br />An interlude with layers of effects. This time a ghost sings along with a looped bass/ piano/ drum trio funking it up in European fashion.<br /><br />A Flute! Spaghetti Western guitars! A Triangle! Axelrod sounding? Nice.<br /><br />Then the Clangers bang pots inna Konono No. 1 style. Is it any surprise that Rich started a thread on Dissensus about Psychedelic music? No.<br /><br />An orchestra tunes up. A Tuba. Chanting. More overdubs- crowd noise, surf guitar, guttural utterances, construction site banging, blowing through a straw into a glasss of water. Church bells. A baby cries. A Rewind. You can still dance to it. A pretty remarkable feat.<br /><br />Wonky deep soul. Men are bastards. But hey, come on in! I’m in a spin! I want your love.<br /><br />The electronic wiggle thread reappears, this time over kosmiche wah-wahing, aided by a jazz drummer, feeling free. Scat singing! It works! Must be exhausting searching all this stuff out.<br /><br />Rich loves that distorted bass sound too. I bet that break’s been sampled to fuck. I’m rocking in my chair. Woo Hoo!<br /><br />By now, I’m fairly ashamed of my meagre CD- a lack of ‘WTF?’ obscurities; rather a Radio6 show without the talking. Apart from ‘The Penis Song’. At least it wasn’t all reggae.<br /><br />A vocal number comes and goes. I was writing the above. A vain attempt to cover my back.<br /><br />A change of pace. A couple of Disco/Funk numbers. Like wot DFA copied.<br /><br />Bit of a skronk out at the end of the next one.<br /><br />Fuck it, bung it all in. See what comes out. As long as the drummer keeps us on track. Which (s)he does. Jaunty horror business. The whipcrack a tad threatening.<br /><br />A late night drive in a Citroen DS. Away from the city. Still got the F. Some Mellow Candle ‘wooing’ for emphasis. They escaped. But only just. Phew.<br /><br />Drum machines and synths left to run. Good timing, My brain could do with time to consolidate.<br /><br />Turn Over. Press Play.<br /><br />Intros and outros are important, especially on tapes. (Better on tapes- you get four goes). On side two, we’re invited to the circus to see the Indian rubber boy, fat ladies, sword swallowers and snake charmers, amongst other things. Some acts multi-task others eat animals alive. A sense of Nick Cave overtaken by Ju-ju.<br /><br />Some 1960s optimistic beat- pop. Seems a bit straight up after side one. The band members probably wore Winklepickers. Which- to me- are more interesting than the music playing:<br /><br />“They [Winklepickers] attained some notoriety, when they first appeared, as a result of being worn in gang fights (sometimes by both sexes) though it seems that contemporary newspaper reports of such clashes were, as ever, sensationalised flights of the imagination on the part of bored journalists with nothing better to write about. In fact, although the Winklepicker looks lethal, it would be far more likely for damage to be caused to the delicately pointed shoe than to the opponent in any serious kicking incident…” (Wikipedia).<br /><br />We get back on track. Someone’s having fun putting their voice through a barrage of effects. I hope it’s a love song, though I can’t tell. What was that Pink Floyd song that Ween copied? Something to do with weasels in a cave? Anyway, the vocal multi-tracking at the end of this song is like that.<br /><br />More effect laden vocals, this time combined with electronica rather than a hammond. ‘Synth-pop’ would be too fluffy a term. Add some Krautrock. I wonder if Rich will like the ISAN tune I included on his comp? The singer here sounds a bit like Mark Gardener in the chorus. I’ve still got the Ride demo somewhere. On cassette, natch.<br /><br />The next one could well be created by 1960s Haight-Ashbury types before going all Butthole Surfers covering ‘Hurdy Gurdy Man’ for a few bars. Is the tape player warbling? Wow? Flutter? Probably meant to sound like that. A brief piano outro? Crazy hippies.<br /><br />A sax plays the ‘I want your soul’ melody from Aphex’s ‘Come to Daddy’. Or is it ‘I’m a man, yes I am, yes I am’? Don’t know who sung that. Anyway, the enjoyable drums/hammond/guitar combination continues.<br /><br />Any attempt to guess the nation of origin of this one could well make me look like a racist twunt. The mystical Far East meets Dixieland jazz. That crass enough for you?<br /><br />Do the Mashed Potato*! Inna echo chamber.<br />*No, that’s not the right dance- it should be the one where you put your hands on opposite knees and stuff.<br /><br />Crikey, sexy girl wants to dance with me. Can’t say no.<br /><br />Dr Bizarre likes his synths, but laughs evilly.<br /><br />Then The Adventure Game meets Fat Boy Slim (sorry). Add vocoder.<br /><br />Tape ends.<br /><br /><br />I’m exhausted doing all that.<br /><br />So, a wicked cassette from areas of music I have at best a passing knowledge of and I didn’t know a single song in the entire 90 minutes. I don’t feel the need to dig much deeper with this sort of stuff, but that is in no way to demean of diminish the quality- I dread to think the amount of time Rich has spent trawling through dusty record shops searching out these gems. I’m just glad I now own a tape that I can use to quench a thirst I didn’t know I had, as and when required.<br /><br />I believe Rich deejays, and if this is the sort of music he plays out, I’d heartily recommend an evening in his company.<br /><br />Lots of love,<br /><br />Matt B[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-43793676028657201562009-02-17T03:47:00.000-08:002009-02-17T03:53:59.934-08:00Benny B's Garage MixesIt was with some trepidation I opened the first package in this round of the Dissensus tape swap and noted that it was all Garage! Two mixes back to back, one 1997-98, the other from 2001-2003. Blimey - house music! It’s been so long! Soundtrack to my youth in a lot of ways… many a misspent night was spent bopping away googly-eyed to repetitive beats, from my late teens to my late 20s really. Going back earlier, I can remember listening to what was probably the first house music shows in London, Jazzy M (on errmmm… LWR?) and hearing the acid house on pirates. Early Trax singles found their way out to Ilford and used to nestle alongside Nu Groove, with Soul II Soul and Just Ice in my record boxes. These days however, house music has been washed out of life, alongside clubs, drugs and dancing sadly. None of the latter have gone completely but all are lot less frequent than they used to be. House music in the last few years has most regularly been heard as annoying, distant thump through floors and walls, prompting mucho bitching on my part if it happens to be my flat. <br /><br />Anyway, as it’s a mix, I’m not going to do a track by track breakdown. I’m going to more write about my reactions and pull out a few tunes which stood out to me. I decided to listen to this tape while doing simple tasks like the washing up and cooking. Stuff where I like my brain to wander off. I must confess for the opening couple of songs on first listen I wasn’t feeling it – but gradually I began to warm up, as dormant parts of my brain came back on line. In a way, it felt like what I was doing was retraining my ears. Instead of looking for the various indefinable whatever-they-ares I normally go for, I felt I was tuning into something much simpler, and listening for something very different. Simple structures - drumsbeat/hi-hat, bass, various samples and mid tones sounds and stabs – and in these structures, the pleasures seemed to come out of tuning into the way these elements interplayed, listening for both the pleasures of repetition and the slight variations in tone and texture. I also found myself listening just to sound in itself a lot more, just simple noises that got me going. For instance, I particularly liked the bass sound on “Mr Maniac” by Genaside II - deep and resonant but still a bit cheap sounding and tinny, as if made by flatulent Metal Mickey. Another example of this is “Bad Boy” on Side 2 – loads of different sounds bouncing off each other – rolling bass, bruk up ragga samples, alongside other tones, stabs and clicks. Great tune. I may be getting weirdly overanalytical here (consequences of listening to dance music at home and writing about it maybe?) but it reminds me of dub – not so much how it sounds, but in the interplay of parts. <br /><br />Another aspect for me was very much connotation – the connections and memories summoned up by these simple textures. I know that I like that bass soundd because of a couple of old UK house/hardcore records I used to know (I keep thinking Unique 3 but am not sure if this is right.). As I stood there, with my hands deep in suds, other pleasures came to mind. Not so much memories of clubbing, but synthaesthic impressions – dim red light, dry ice, just moving, spacing out, certain little fantasies I used to have while dancing. “Deep Inspiration” by Double 99 was a a particularly good example of this – just the simple keyboard riff reminded me of the idea/concept/impression of clubbing in NY the Paradise Garage. Not that I’ve ever been but I imbibed a ton of style magazine articles, pirate radio interviews and fragments of clubland history that this groove summons to mind.<br /><br />On the subject of connotations, I will admit this cuts both ways. The four four beat in particular has negative connotations for me – years of hearing it, muffled, through next door neighbours wall etc meant, at moments, I'd have an adverse reaction. I almost felt I had to distract myself by listening to other elements in the mix. I’m sure this is also consequence of listening to the mixes on my crappy cheap stereo in the kitchen – I’m sure these beats aren’t meant to be just meant to be heard, but felt instead. A couple of tracks I found a bit boring for this reason – not enough extra going on - I think it might’ve been the Wesley J & Shimano ones?<br /><br />Some other tracks that stood out for me – both the tracks by G.O.D. , they seemed to me heavier, with more of a jungle/ragga feel coming in. Lots of snapping kick drums and again farty UK basslines again. I liked “Lickle Rolla” as well for the breakbeaty feel and the ringtone bassline.<br /><br />Alrighty, to sum up then - I’d say I enjoyed the mix the most, when I imagined myself dancing and let myself go into my impressions and memories of clubbing. There’s an edge of nostalgia for that stuff with me, the scent of sweat and amyl nitrate. Also, the more I listened to it, the more I like it – it’s not just about retuned ears here, there’s something hypnotic going on. Giving in to the repetition. Musically, I seem to lean towards the UK/ragga/jungle axis, which is unsurprising given my affection for reggae. I’m not sure if I’m the target audience for this kind of mix anymore but I really enjoyed it, and it’s been really interesting to reengage and think about the music in a way I never used to, though without the bursts of weekend hedonism, I can’t imagine getting fully back into it. Overall, then top stuff, and thanks a million.<br /><br /><span style="font-weight: bold;">DannyL</span>[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-18412253164678968592008-11-24T04:46:00.000-08:002008-11-24T04:59:55.558-08:00FLC - Round 4<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCY6fVwD0JZWYYbrcczqZK8t024cc9M3zr2yoDpkt970xoie7d-05NMz5pkrkYWSEiy1FRjo0VUGliLwjVHsL6MQ8k0TbmtvI31u25JpW_zEYVYqarsPgnhKr0rixlwDUST4OlQ/s1600-h/tape.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 400px; height: 300px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCY6fVwD0JZWYYbrcczqZK8t024cc9M3zr2yoDpkt970xoie7d-05NMz5pkrkYWSEiy1FRjo0VUGliLwjVHsL6MQ8k0TbmtvI31u25JpW_zEYVYqarsPgnhKr0rixlwDUST4OlQ/s400/tape.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5272207996974063378" /></a><br />A new round of the Ferrite Love Connection has been announced! To ensure that everybody who actually participates gets a tape, this time all tapes will be distributed from one central location. Sign-up here (ferriteloveconnection at gmail dot com) or over at <a href="http://dissensus.com/showthread.php?t=8480" target="_blank">the thread on dissensus</a>. <a href="http://dissensus.com/showthread.php?t=8480" target="_blank">Check the thread for more info</a>.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-15502694359688864952008-05-10T07:07:00.000-07:002008-05-10T09:13:02.448-07:00DeathwaveReceived this tape through the post accompanied by a large cellophane food bag filled with sweeties. I devoured the gobstoppers and jellies while surveying the tape labelled ‘Deathwave: The Sound of One Hand Snapping’. Overjoyed at the free sugar and suspicious as to the anonymous sender’s luck with regards to the choice of bribe I placed the tape aside until review time and lit my spliff.<br /><br />The first track is some crazy, indescribable music. One bit of sound in it reminded me of that rave hardcore vibe and then it drifted into something that sounded like Bladerunner Vangelis. After several minutes of listening I thought that whoever has put this together knows what they are doing as a soundscape began to form. Tracks are expertly faded together and the sound quality is good.<br /><br />The music then changed to some funky electronic beat like I was now in the seventies. A synth layered in that connected this track with the previous and I sat back and chilled listening quietly for a moment. After a while glockenspiel and harpsichord elements broke the hypnotic beat and then kicked up into gear like some Akira dance. A male vocal joins the fray and now I’m tapping my foot along to a growling bass.<br /><br />Wow, the first side ended with a skipping track that then got turned off at just the right moment. Impressive structuring. Flipped over to side two and the pace is kept up with a slamming guitar riff and fast pace drums. The music then goes quite dark and eventually we come to a sampled voice repeating the phrase “Please everybody if we haven’t done what we could’ve done we’ve tried”.<br /><br />This is an intense mix. The second side drifts off into a group of songs that meld together despite their obvious differences. My tape player actually broke half way through this section and I had to stop the tape and turn everything off for a few minutes. There is a recurring fault which prevents me from using this machine much where it will start to add really loud static to whatever is playing. Switching it off for a few minutes and back on again will rectify it for an unknown period of time. Hopefully the end of the tape.<br /><br />A cute piece of music has just broken the long previous section. Sounding like whistling birds in a crystal lake. A dramatic end approaches and my sender does not disappoint with a beautiful alien Indian ambient track that suddenly cuts off to finish.<br /><br />Overall, I was impressed. Technically superb, expertly structured and with a strong set of tracks, I was entertained and amazed without getting bored. However, what shone most was the obvious time and effort invested in this tape and for me that is what really made it stand out.[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com3tag:blogger.com,1999:blog-19382523.post-50232050262049843032008-04-16T07:39:00.000-07:002008-04-16T08:00:18.155-07:00Around The World at 33 1/3In line with the traditions of the Dissensus Tape Swap this review is late. Apologies for that. Nevertheless, on with the music…<br /><br />Being one of the more music obsessed of my friends, and having plenty of time on my hands, I’m more used to being the giver than the receiver when it comes to mixtapes, so it was nice to get this CD through the post the other month and listen to someone else’s compilation.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6pUKOefTBdTl1w8QtIOCqAGNo_mFIbTXq4ZnX2CnuDInjIFcRuYbV1FGBNvXlWqkmgpYu8LsJNH75uuf_uqm8cnDLQCnIsSlirT9kNzAFWWJqd8ytvgGaGKD_8MCq4wXcwvsELg/s1600-h/DSC00170.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6pUKOefTBdTl1w8QtIOCqAGNo_mFIbTXq4ZnX2CnuDInjIFcRuYbV1FGBNvXlWqkmgpYu8LsJNH75uuf_uqm8cnDLQCnIsSlirT9kNzAFWWJqd8ytvgGaGKD_8MCq4wXcwvsELg/s200/DSC00170.JPG" alt="" id="BLOGGER_PHOTO_ID_5189854105380942338" border="0" /></a><br />The tape’s title “Around the World at 33 1/3” pretty much sums up the breadth of music contained on the maxed out CD-R. A quick glance at the tracklisting revealed very few artists I was familiar with, short of The Beach Boys, Love, Lee Perry and Gal Costa, and to be honest I wouldn’t have expected any less from a Dissensian. Yet far from being an educational chore this is a lively trip through music from at least four, possibly five, continents, each track featuring a different language from the previous.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWapPc9cr80j8SOJNTM6cvDpmH2G9jN8dEKJg5bLF5CgWd1g0lawIQ1XmSNwn2EIBb4TtzlASKB3vtNalWXyO1vt_-djZDrbiJUgrIsjQQzAFZWL2c6MUTe-YK76qcg-VHEwtV4Q/s1600-h/DSC00171.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjWapPc9cr80j8SOJNTM6cvDpmH2G9jN8dEKJg5bLF5CgWd1g0lawIQ1XmSNwn2EIBb4TtzlASKB3vtNalWXyO1vt_-djZDrbiJUgrIsjQQzAFZWL2c6MUTe-YK76qcg-VHEwtV4Q/s320/DSC00171.JPG" alt="" id="BLOGGER_PHOTO_ID_5189854985849238050" border="0" /></a><br />I’m not overly familiar with many of the styles of music on “Around the World…” and hence I’m hesitant to put genre tags to the contents, but safe to say it features film soundtracks from both Holly and Bollywood (David Shire and R.D. Burman), Krautrock (Krokodil), Jazz (Rufus Harley) and plenty of others. A common theme is the generally upbeat tone and all the tunes are very listenable. I’ve stuck this tape on pretty regularly for pure enjoyment over the last couple of months and it makes a good pottering record. I’ve found myself singing along to languages I don’t even understand on more than one occasion which is a good sign.<br /><br />In terms of compilation, it flows well and sounds like it’s been recorded live straight off of vinyl. I’d like to imagine Peter Gunn surrounded by record sleeves, rifling through to pick out tunes as the previous one plays. In actual fact, the smooth progression and careful ebb of the atmosphere possibly belies more careful planning than the hastily written tracklisting suggests.<br /><br />If I had to pick out favourite tracks, the Rufus Harley tune 8 Miles High is a definite stand-out. Even amongst the plethora of styles, this bag-pipe jazz tune sticks out a mile. There’s also a heavily funk infused Chinese tune with no name (“I can’t read Chinese”) which caught my attention and on a more laid-back tip a prog track, which I think is Insane by Mantis, which, well, goes insane at the end. The nameless Lee Perry tune is suitably space-out too.<br /><br />So I guess "Around the World at 33 1/3" is the mixtape ideal - edutainment in the best possible sense. Beyond that its an enjoyable mixtape that's stayed close to my CD player since I received it and doesn't look like it'll be moving any time soon.[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com2tag:blogger.com,1999:blog-19382523.post-49109084359712890162008-03-03T02:31:00.001-08:002008-03-03T02:33:07.460-08:00COMING VERY SOON....If you made a tape and included a letter apologising for the Korean track that skipped, don't worry, review is coming very soon...delays caused by massive redundancy swoop at work that's shaken everything up, having to resolve a fraud case with the bank and general mishaps and mayhem, which hasn't given me enough time to do the tape justice...so hang tight, it'll be here soon....[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-77560472332920488082008-02-25T22:23:00.000-08:002008-02-25T22:24:38.273-08:00Loads of Hardcore!I’ve never got a mixtape in the post before. I wasn’t even aware that people used the internet for this sort of thing, although it should really have been obvious from the outset. I mean, as soon as those scientists had finished transmitting large parcels of data all over the north-eastern United States way back in the early days, the next thing they did must have been swapping mixtapes, right? Or something. Anyway, I had no idea what might be contained within the brown paper envelope that arrived in my letterbox. Could be anything, really, which is kind of the point. Turns out it was CD. A CD with ‘Illegal Rave’ written on it in magic marker. The cover was a basic plastic sleeve with a tantalisingly incomplete flyer inside. One side of the flyer informed me that from 9pm to 6am every Friday night, something went on at a place called ‘Milwaukees’. The other side of the flyer had a picture of a large crowd gathered behind a steel fence, as well as one of two guys clearly having quite a nice time, thanks very much. So I put the disc in my CD player and pushed the button. A voice springs out of the speakers…<br /><br />Bloke A: “You got any hardcore?”<br />Bloke B: “ Whazzat mate, sorry?<br />Bloke A: “I said, you got any hardcore?”<br />Bloke B: “Hardcore?! Yeah sure, we got loads of hardcore! We got Reinforced Records, Moving Shadow Records, Strictly Underground Records….what you want, mate, c’mon, what you want?<br />Bloke A: “Have you got Trip to Trumpton?”<br /><br />A-ha! So it’s hardcore! I’d been having what you might call tantalising brushes with this thing that people called hardcore for some time now, but I’d never actually managed to get around to listening to any, apart from lots of half-remembered pitched-up Kylie vocals and huge kick-drums in the closing stages of raves. I wasn’t sure I was going to like a whole CD full of that kind of thing. Thankfully, this wasn’t anything of the sort. This was completely mental. The music poured into the room, covered in a thick layer of static. Piano rolls, huge wobbly bass. Ropey mixing, weird pitch-shifts. Rhythms all piling in on top of each other. Bloody brilliant. I hadn’t heard anything this exciting in ages. I mean, it didn’t sound that great. This wasn’t yer hi-fi, buddy. It wasn’t melodically complex or even particularly ordered. It wasn’t conforming to a set of boundaries outside those imposed by the technology used to make the music, or if it was it made a very good job of hiding the fact. No, this was pure, unbridled, noisy energy and it sounded like dancing! It sounded like good times on the dancefloor with all your best friends and those guys standing in the queue at Milwaukees. The disc went on for about an hour, and the lack of track markers meant that there was no going back if I wanted to hear the end. The end came halfway through a really neat build-up, but I suppose that’s kind of appropriate, if a little bit disappointing.<br /><br />So thanks, mysterious Londoner. It’s not every day you get to hear just over an hour of fresh, oddly resonant music that gets you dancing around your living room like a man possessed. I’ll be seeking out some more of this kind of thing, for sure.[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-14386786189283545952008-02-11T17:29:00.000-08:002008-02-11T19:01:01.400-08:00SUPERSTAR DJS FUCK OFF! - From LDN to the ChiI have so much Ferrite Love I cannot even describe how excited I was to receive my tape in the mail. And even better -- <span style="font-style: italic;">it came from the UK</span>! Part of the reason I hang around Dissensus is to soak up all the lovely Brit vibes, so this rubbed my Anglophilic pleasure zones right before I opened the package! I did face some not-insubstantial disappointment, however, after ripping into the envelope -- in violation of established rules and long-held customs, the tape <span style="font-style: italic;">was not decorated</span>!<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieabt_FiYvAuixT5pRCg2ssgWc6I3iw-Qf20uTL4TaMvUOag7OPHhsfV68FWufMwILjsf1AmilhSZQI2We1JhVS4WubrMBZEiw79mQT6Qcm86PuWTIokhTmpXiUwHsuTzd8IA24w/s1600-h/tapexchange1.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieabt_FiYvAuixT5pRCg2ssgWc6I3iw-Qf20uTL4TaMvUOag7OPHhsfV68FWufMwILjsf1AmilhSZQI2We1JhVS4WubrMBZEiw79mQT6Qcm86PuWTIokhTmpXiUwHsuTzd8IA24w/s320/tapexchange1.jpg" alt="" id="BLOGGER_PHOTO_ID_5165920932892775906" border="0" /></a><br />However, in the charitable spirit of international mix exchange, I will dub this a deliberate aesthetic choice, and actually, now that I think about it, quite appropriate for the rough-around-the-edges contents contained therein.<br /><br />I was further delighted by the tracklisting, handscrawled on a piece of notebook paper: I recognized barely any of the artists and NONE of the songs. Exactly why I got into this business. And the flippant description! I knew this would be something special.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrw9lVsM3zuxHEdRaiwp2meAwsZC8vzI1Vbouqh9pLmna5HsCBNqGsbJPQ46HbHzicC5_bMUPs5oUR5KhoB1ev6AU6B6Kde1E8gqanE3lXN2DkHUv4KS8i9cbjtAVUZpewWN6gQ/s1600-h/tapexchange2.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEitrw9lVsM3zuxHEdRaiwp2meAwsZC8vzI1Vbouqh9pLmna5HsCBNqGsbJPQ46HbHzicC5_bMUPs5oUR5KhoB1ev6AU6B6Kde1E8gqanE3lXN2DkHUv4KS8i9cbjtAVUZpewWN6gQ/s320/tapexchange2.jpg" alt="" id="BLOGGER_PHOTO_ID_5165921534188197362" border="0" /></a>I will refrain from narrating the entire contents, but I'll do my best to describe the music: PUNK AS FUCK without an overwhelming amount of punk. Really, the mixture of reggae, punk, jungle/breakcore, with the odd bit of grime/bhangra/pub chant made me think "AUTHENTIC UK CULTURAL PRODUCT" many times, and I said as much to my friends if they happened to be in the car with me: "Yeah, you know, I got this tape from North London... got connections on the interweb doncha know..." If I were a mixtape archaeologist (and Xenu willing, I will be some day), I'd say the fella who recorded this (on his "battered, 14-year old aiwa tape deck") is between 30 and 40 years of age, of Irish extraction but currently living in London (and probably a bit bitter about it), peppers his diction with liberal doses of "fuck" and "cunt," can drink me under the table, and has a box of 7-inches in his closet that pisses on my entire record collection from a great height. Some indications of at least one poorly made amateur tattoo from his teen years, but an all around clever guy. Apologies if I'm off the mark, this is practice.<br /><br />Anyway, the MUSIC! Most of it I enjoyed greatly -- I've always believed track selection is 90% of what makes a good mix, and this one had it in spades. In fact, within days I had downloaded Lee Perry's "Dubbing Psycho Thriller," Z-Factor's "Fast Cars" (I am going to kill many a mixtape with this no-wave gem, don't let my secret out), and Salma Agha's sublime Bollywood funk, "Sote Sote Adhi Raat." Side A is practically perfect, except that the Resonance FM Midnight Sex Chat bit at the beginning is too unintelligible and basically sounds like someone watching television in the next room. My no-count friends (aka DRUNKS) also loved the punk songs and the overall working class atmosphere the tape provided for the Nissan, as frequently my car trips include too much gay dance music and too much rap in incomprehensible languages. The Slaughter and the Dogs track went over particularly well with this crowd.<br /><br />Where my friends and I differed was on the prevalence of pub sing-a-longs and other Irish folky bits on Side B, and that's because I'm a nancyboy without a drop of Irish blood in my body. I fast-forward through the John Cooper Clarke every time. Give me more of the Tuff To The Bone, it makes me feel well hard (you see what this British culture does to me). HOWEVER, I forgive the tape all minor sins on established anthropological grounds -- I am not such a philistine that I can't recognize EXCLUSIVE AUTHENTIC CULTURAL PRODUCT when I hear it, and I continue to keep this tape close at hand. I just hope its Spartan decor doesn't let it get lost in my pile of FAR INFERIOR mixtapes which I have similarly neglected to label. Good sequencing, consistent volume, and shit-hot track selection makes this a treasured artifact in my music collection, exotic origins notwithstanding. And I'd trade your tape recorder over mine in a hot minute.<br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRFEghnO3uS0TrS8mImOL_LpXzf4IurcD8yTM7XqzgO4ANngzeV9X4xSkDNuMpvkhs7sEXKpQT4otbcniWunicb3karfOyXsjShiZpn4NBJvy3rBaVK2SdrAEPePmhH7dHWeyZRA/s1600-h/tapexchange3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhRFEghnO3uS0TrS8mImOL_LpXzf4IurcD8yTM7XqzgO4ANngzeV9X4xSkDNuMpvkhs7sEXKpQT4otbcniWunicb3karfOyXsjShiZpn4NBJvy3rBaVK2SdrAEPePmhH7dHWeyZRA/s320/tapexchange3.jpg" alt="" id="BLOGGER_PHOTO_ID_5165922028109436418" border="0" /></a>[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-931741991448832332008-02-04T10:00:00.000-08:002008-02-04T10:02:27.982-08:00<div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPErSIavKs8GdoW2p83t0zXxLKAnoyGn0_pbD9Xc1WlMdBRK5oziZKH-EuI3Ct7oAOI1UsOyvOPawVjkohsBYEIjouy3QlsreQWqrghLEBAu0qdf46zWQhnyA995PAwuD18bTPWA/s1600-h/Scan0002.jpg"><img id="BLOGGER_PHOTO_ID_5163184438749570546" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPErSIavKs8GdoW2p83t0zXxLKAnoyGn0_pbD9Xc1WlMdBRK5oziZKH-EuI3Ct7oAOI1UsOyvOPawVjkohsBYEIjouy3QlsreQWqrghLEBAu0qdf46zWQhnyA995PAwuD18bTPWA/s400/Scan0002.jpg" border="0" /></a><br /><br /><br /><p class="MsoNormal" style="LINE-HEIGHT: 200%"><br />“<i>All you freaky ass ho’s from the north to the south,<br />stick out your tongue<br /><span style="font-size:0;"></span>and get these balls up in your mouth”<br /><br />DJ Deeon – Gimme Head<br /><br /></i><span style="font-size:0;"></span><span style="font-size:0;"></span>One thing that may always be a mystery too me is why girls seem to absolutely love Ghettotech. Lyrically it’s some of the most vulgar and misogynistic music there is; but hell when it comes time to drop ones booty to the floor it seems it’s ‘the dirtier the better’ as a rule. I’m sure not complaining though cause it certainly raises the temperature of a dancefloor on a Saturday night and really, I think we all know to take this with a pretty big grain of salt(no matter what Dj Assault’s true intentions are…). But I digress, for this is no ghettotech mix (although I just happen to know and love all 3 tracks here and only a few others on the rest of the tape), no it’s 18 songs and 45 minutes of relentless, energetic, eclectic, bass-heavy and sweat inducing peak-time tunes.<br /><br /><span style="font-size:0;"></span><span style="font-size:0;"></span>I’d go through each tune but I’d run the risk of sounding like an ignorant fool so I’ll stick with the 8 that I know for sure and gloss over the one’s that caught my ear that I don’t know. The three aforementioned Ghettotech songs help gets things warmed up, first with Aaron Carl’s seductive <i>21 positions</i>, mmm I love sexy girls singing about dirty things…mmm that bassline, oo yeaaa…ahem. Next we have the previously quoted <i>Gimme Head</i> by DJ Deeon, hmm wonder what this songs about (songs got an undeniable beat though)…and then, a classic, Assault’s <i>Dick by the Pound</i>. This is the second Ghettotech song I ever heard, I know its second because it’s the song after <i>Ass’N’Titties </i>on <i>Mr Mutha Fukha</i>. I love this song because of the back and forth vocals which are strangely…err…do I dare say, charming?! (now that is <b>not</b> the right word…). Next up is a pretty epic female fronted Baile Funk track which I haven’t a clue about but if the author of this tape wants to spill the beans, you know...I’d appreciate it and stuff.<br /><br /><img id="BLOGGER_PHOTO_ID_5163184735102313986" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4Sut5I8w2k7rEOOMQ10f1F2ZYrk8yMKjo0NqVfRyVo4bHmW68hn1lkh1lxs-DUNhJ1sef6an1HMmM9LJYcRf0hpNu5m-BpPZ6Mh97YvmMt9reCBXKaOxRge7QleH2lmZdVQZ-Lw/s320/Scan0005.jpg" border="0" /><br /><span style="font-size:0;"></span>The next song is Dexplicit feat. Nana – <i>Lost Control (wideboys booty juice mix)</i> a bassline tune I didn’t know at all when I first got this tape, but the past month I’ve been poking my nose around the web(or mainly just Continuum’s blog and the Dissensus thread) and happened upon it completely by accident. It’s actually a pretty great song for some reason I can’t really put my finger on. In a genre where every song sounds the same, it’s one of the few songs that sounds different, but really it doesn’t sound different at all…ugh I have no idea how to describe this song, but I just know I like it(and pretty much everything else Dexplicit has a hand in).<br /><br /><span style="font-size:0;"></span><span style="font-size:0;"></span>The next song is by the mighty Blaqstarr (who I wish would release a whole lot more since everything he’s done is golden to my ears). <i>All the girls around the world</i> is simply a great B-more track, the signature stuttering beat, the androgynous vocal beckoning the girls to the dancefloor and the wonderful little descending guitar sample floating in the background holding everything together; pure bliss(yes that’s all it takes for me to achieve bliss). We then segue into another song I’m a big fan of, Akon’s <i>Don’t Matter (Calypso remix)</i>. I’m assuming pretty much everyone’s heard the original, yea this version’s better, that’s all I’m gonna say about that.<br /><img id="BLOGGER_PHOTO_ID_5163185559736034834" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj8ep5AcmQEt57LmIr_Y-w8zdO7rdnAVB59TdEMN9qzyGKfWSPA4EYEWuS2E0KlFMK0rVynUN6vVQwYba412l5H43EM3EbmEBNsg1sgb3JiXW8LKtGB04IhCeH48BN1BMehO_wqAA/s320/Scan0003.jpg" border="0" /><br /><span style="font-size:0;"></span><span style="font-size:0;"></span>There really is only one song on here that I can say I’m not a fan of. I don’t know who it’s by but it’s some weird reggaeton song sampling <?xml:namespace prefix = st1 /><st1:place st="on">Europe</st1:place>’s <i>Final Countdown</i>. Yea the song’s the sample and some drums and some shouting in Spanish over it…meh. A couple of songs later tough Mr. (or Mrs.??) DJ makes me completely forget that hiccup and drops a song my roommate would always play when we were passing the bong around, but I was always too mashed to remember who it was. Anyways it queued up a whole lot of nostalgia (ah the nostalgia of two years past) and the first time I heard it on the tape I was so surprised I think I almost cried and I rewound it 3 or 4 times. Anyways I scrambled to finally figure out who the hell made this wonderfully bizarre politically charged Calypso tinged track. I guess it was a song called <i>Wanted (Dead or Alive) </i>by Manhattan Transfer originally, who I admittedly don’t really know anything about, but the version on this tape is a cover I think cause the beats a bit heavier, the vocalist’s different and there’s these bleeping noises over the top. The version I downloaded is good but not as good as the one on the tape.<br /><br /><span style="font-size:0;"></span><span style="font-size:0;"></span>Ok the next two songs gave me a shit eating grin because they were incredibly stupid (in absolutely the best way imaginable). The first is a fiery Baile Funk track, which is a genre which is always wacky. It opens up sampling the theme from Star Wars, queue angry Brazilian rapping and heavy bass, nuff said, awesome track.<span style="font-size:0;"> </span>The next is a sped up dubbed out mix of Michael Jackson’s <i>Billie Jean.</i> This song does inexplicable things to people on the dancefloor, great great great track and if I don’t find out who did this song soon my life will be left incomplete. Anyways the tape pretty much winds itself up with the Cutty Ranks song <i>A Who Seh Meh Dun(Wake De Man)</i> which is a real pleasant end of the night tune ideal for those end of party L’s when everyone that’s not important has already left. </p><p class="MsoNormal" style="LINE-HEIGHT: 200%"><span style="font-size:0;"></span><span style="font-size:0;"></span>O’ I guess I should say at this point the A side to this tape is completely inaudible, maybe that’s why it’s called <i>Is That All There Is?</i> It’s quite alright I tested this one side at a house party a bit ago and you can’t give a better review to a party mix than to have 20+ people dropping it and making it sweat. That wraps up my horribly written slapdash review. Peace.<br /><br />NOW REVIEW MY TAPE PLEASE!!<br /><span style="font-size:0;"></span><span style="font-size:0;"></span><br /><span style="font-size:0;"></span><span style="font-size:0;"></span><img id="BLOGGER_PHOTO_ID_5163185826024007202" style="DISPLAY: block; MARGIN: 0px auto 10px; CURSOR: hand; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgRN4Fb0-Irdp4-1dOWTTEUy9RrjFpnmPR26AC6DuI-3WphJPkr8sowWAESLmHecviwBsmB2UuGA-H1MgGG9TH7rd6xgl3SHd6PBDTxSkSWKjqJMzwpuh3WJR2Dv5qTQ4mFZjWVrQ/s320/Scan0001.JPG" border="0" /><br /><span style="font-size:0;"></span><span style="font-size:0;"></span><br /></p></div>[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com2tag:blogger.com,1999:blog-19382523.post-1773637113779142842008-02-04T04:15:00.000-08:002008-02-04T04:34:28.245-08:00First???<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxlF2tfotKJolBVhF4ohfl-AL7zWqQaecTVgne99RYR1mMgZU8glYyZqFxtfX9bnfdOx-9_jHB6fZUWqQ3TwFoRghBG-my30PdJfls1xovzHvnqZzt2WTP9Bz2u_-Q_xRxT7_lw/s1600-h/cassette.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhmxlF2tfotKJolBVhF4ohfl-AL7zWqQaecTVgne99RYR1mMgZU8glYyZqFxtfX9bnfdOx-9_jHB6fZUWqQ3TwFoRghBG-my30PdJfls1xovzHvnqZzt2WTP9Bz2u_-Q_xRxT7_lw/s400/cassette.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5163100107066713554" /></a><br />My tape arrived much later than Herr Lepper had planned, months and months after I sent my tape out. My first problem was finding something to play it on. My old tape deck had died for the second time. I dug around in my attic and found an old Walkman.<br /><br />I knew quite a few of the artists on the tape: Jap Noise exponents Ghost, blind beatnik jazzbo Moondog, Norwegian Art-Metal band Noxagt, UK Folk super-group Pentangle, obscure bruised American Folkster Jack Rose, US Indie Rock Comets on Fire (is that right?) and apocalyptic gimp Charles Manson. I think that gives quite a good idea of the flavour of the tape itself. It was quite a gnarly, depressing compilation of burnt-out sonics. There was however a very distinct palette that was being used and it was refreshing to not have to listen to any modern electronic beats, even if one track a kind of Avant-Undie thingummy with that Will Oldham’s cousin doing nasal rapping over occluded beats did make a showing.<br /><br />Given the provided artwork and the Northern England postcode I guessed, or rather imagined, that the compiler was once at something like Liverpool Art School. For my own part, and perhaps in direct contradiction to my last comments, I wondered how it was possible to make such a tape without a greater allusion to the dominant drive of 1990s music, dance. It was like that decade had never happened, though I’m sure many people are glad it has been brushed under the carpet. There was something markedly un-deconstructed about all the tracks, and that's always a quality I enjoy.<br /><br />What struck me most however was the wonderful rich treacly sonics of my old Walkman. I subsequently made the pledge to move back to cassettes on a grander scale. If I had a tape-deck in my hatchback it wouldn’t keep getting broken into! There are some marvellous old tape decks, Nakamichis and Tandbergs, and using one would mean I’d keep a pure analogue pipeline from my old records. The mix-tape as a vehicle<br />can’t be beat can it?<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgntcnlvQgc3eYF-kUFFcdInDIftoxylHSrLLEohux32rAq7TFB9QacmY7IJTUrSPHmxOaw52aAJrFXDF88w6JNXuWp_sRFpKsDkASwB8ee-hEjIaf6gPFre7vVA43fpdZmSCWnzQ/s1600-h/text.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgntcnlvQgc3eYF-kUFFcdInDIftoxylHSrLLEohux32rAq7TFB9QacmY7IJTUrSPHmxOaw52aAJrFXDF88w6JNXuWp_sRFpKsDkASwB8ee-hEjIaf6gPFre7vVA43fpdZmSCWnzQ/s400/text.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5163101043369584098" /></a>[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-2981683205338238492007-12-07T15:51:00.000-08:002007-12-07T15:53:43.032-08:00The tapes are in the mail!<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfqGuuv7Bnq682Z5Dp8z8hzkjupSVVVW0t3a3fnPZq9RWjNSRlvjeNMn9hFqa-fvqwhuq1iw-gFGfc8KQ-eWBy635fg0TrXrJI3UCMASDFO10VDg7yHIcDS0FeXJxCy_ckzMz4xg/s1600-h/postman.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfqGuuv7Bnq682Z5Dp8z8hzkjupSVVVW0t3a3fnPZq9RWjNSRlvjeNMn9hFqa-fvqwhuq1iw-gFGfc8KQ-eWBy635fg0TrXrJI3UCMASDFO10VDg7yHIcDS0FeXJxCy_ckzMz4xg/s400/postman.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5141383254514773922" /></a><br /><br />Watch this space for reviews in early January.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-24092725444249279192007-10-03T07:08:00.000-07:002007-10-19T09:12:38.243-07:00Third Time Lucky!<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqZAyD5KERljdJDjrQ3qEHwCTjoAwZ8Jc25xexxHPG62ZgevE_vKZ6sCCqwnYrtNIiETZg0aT_tmttu3yier71XykHVrlRbFuwwnU_nDXCDPpvwIpWxB3ciV1aGUatRF4zRWOWBA/s1600-h/C90.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqZAyD5KERljdJDjrQ3qEHwCTjoAwZ8Jc25xexxHPG62ZgevE_vKZ6sCCqwnYrtNIiETZg0aT_tmttu3yier71XykHVrlRbFuwwnU_nDXCDPpvwIpWxB3ciV1aGUatRF4zRWOWBA/s400/C90.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5117117094122771826" /></a><br /><br />Sign-up is now closed.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-4101308909752838192007-06-22T06:01:00.000-07:002007-06-22T06:09:53.783-07:00The End of Round 2Since there hasn't been a review posted in almost a month, I guess this round of the Dissensus Cassette Swap is over. Big ups to everyone who participated, and by participated I mean sent a tape and/or wrote a review.<br /><br />In Round 1 we had five reviews out of twenty or so participants. In Round 2 we had six reviews out of fifteen participants, so I guess that's better.<br /><br />Watch out for Round 3, coming soon.Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-19382523.post-21600108877140631372007-05-28T17:31:00.000-07:002007-05-28T20:04:03.313-07:00FUTURE-RETRO FLAMBE‘Cor what fantastic diy-futurist packaging’ I said to myself upon prising open the jiffybag that fell on my doormat.<br /><br />Now, I never know whether, upon receiving a lovingly-hand-taped mixtape to look through the tracklisting before listening, or just to dive in there and read up later – it’s been a while since I received a tape, not realising fully that it’s a whole other way of listening – no convenient skipping of duff tracks or any of that stuff. Plus the fact that for me even the act of listening to a tape requires unpacking a huge and dusty late 80s midi-system and setting it up in the corner of the front-room, so casual listening is out of the window.<br /><br />The overall concept of the tape, if I get it, right, is that huge swathes of groovy club music (LCD Soundsystem, Soulwax, etc) are hopelessly retrophile in their sonix, and likewise there’s the whole past of vintage tracks which sound like they’ve bypassed 20 years to be plundered. This tape, then, is the axis where the new-retro and the vintage-futurists collide. or summat. <br /><br />The retro impulse is a tricky one to contend with, innit, and it’s all pervasive in our endlessly voracious culture with it’s deadening compulsion to repeat and repackage the exciting new things of the past as though they’re gonna unproblematically retain their shock-of-the-new despite the passing of – I dunno – 30 years. look no further than the Franz Ferdinand, or maybe more contemporaneously The Klaxons. In a way the fixation on an unending golden era of about 20 years ago doesn’t really qualify as a nostalgic impulse cos the ideology that there’s-nothing-new-to-be-done is so ingrained that all that can remain is a deferential forelock-tugging towards the canon of classic-rock /‘authentic’ soul / ‘real’ hip-hop / ‘raw’ garage rock (…) as a perpetual golden age whose values must still be adhered to: musicianship / soul / presence. The Hornby-esque ‘real soul’ problem is exactly what’s up with the execrable opening track from Mark Rae (of Rae and Christiansen) which throws into 5 minutes more smarmily soulful and groovy tropes than you could fit into a Westbourne Grove wine bar. I can imagine nodding off to it at The Big Chill, or maybe having Just Jack chuntering banal social observations and stoner armchair philosophy over it. I’ll be the first to admit, despite the glorious packaging* (I can’t get over the packaging!) it’s not a good start.<br /><br />Mercifully, thanks to some extraordinarily deft mixing skills, this morphs quickly into the slightly less ‘classic soul’ fixated robo-funk of Soul Mekanik – and the chattering electro-grooves and burbling synths, are rather like slipping into a warm bath. I’ll check more of their stuff out – didn’t they get roped into producing Kylie or Madonna or someone like that? I can imagine that, if they haven’t already. Sounds very French, like the post-Daft Punkisms of Mirwais, etc.<br /><br />And speak of Daft Punk & they shall appear – this time remixing Scott Grooves’ slightly lumpy funky house homage to the Mothership Connection, lending it some Zapp-esque bounce n squelch. I’m feeling better already. I should also point out that this tape features some exemplary mixing and cutting, and the mix ploughs on into more French retro-funk, via Falke&Braxe’s remix of Kelis’ also-ran track ‘Bossy’, rendering it into a pre-Marley Marl OldSkool hip-hop set-piece. While this is no less in thrall to a mythic ‘realness’ of a golden age (all the endlessly reiterated tales of the Bronx, birth of Hip Hop, Block Parties, Breakers, Good Vibes, etc etc.) this at least retains a sense of distantiation and irreverence leading to something more than a slavish facsimile. I hadn’t noticed the mix gathering tempo towards all things funky house, but before we know it Eric Prydz is in the mix (yup, him who did that Steve Winwood track which plagued the world (well, at least Western Europe) for several months last year (or was it the year before?), here with an equally mindless but slightly less irksome slice of funkiness. <br /><br />While it has the benefit of not making you want to go out and throttle people with your bare hands if you ever hear its incessant refrain, it’s ultimately pretty nondescript. But then, it’s in the mix, right? Luckily now I’ve blinked it’s gone again. I think another track’s gone by before we roll into a new remix of OT Quartet’s mid-90s hardbag anthem ‘Hold That Sucker Down’ which accompanied many of my formative binge drug-abusing and raving days, I’ll make no secret. And if it’s found its way into the hearts of the new Hed Kandi generation via some au courant remix action then so much the better. The remix loses none of the amyl-nitrate fuelled epic grandeur and hypnotic arpegiattions of the original – I’m just glad Rollo didn’t rope in his sister (Sister Bliss of Faithless infamy) or ‘rapper’ ‘Maxi Jazz’ to lend it some wordly philosophical insight. Fuck, hearing that riff again has set my jaw aching. And with that we sail towards the end of a side of ecstatic highs snatched from the jaws of a couple of slightly drab lows. <br /><br />Then we come to the retro-futurist side of the tape:<br /><br />This side sits much more into the electrohouse vein, like the latter stages of Side One, with a nod of Ritzy winebar funky house biznizz. Some vintage discoid actions creeps in c/o Boys Don’t Cry and Lipps Inc’s exemplary ‘Funkytown’ – which is unimpeachably a stone-cold classic. The side is let down by the inclusion of Eric Prydz’ execrable reworking of Pink Floyd’s ‘Another Brick In The Wall’ which if you were really pushed you could say exudes some sort of boisterously cocky FHM swagger, but really it’s the nadir of modern civilisation. From here on the ElectroDisco/Funky House vibes are whipped into the thin sky-high atmospheres of helium trance, boomp-da-boomp-da whoosh as things skid to a dizzying halt leaving me spinning back to earth with a bump. <br /><br />It’s been a dizzying trip. Partly fun, partly dire, partly just plain WTF??? Confusing. Overally I’d reckon the concept would benefit from more of a collision-course approach, maybe mashing up a juxtaposing retro future and contempo-retro in more of a jarring manner to get a grip on the continuities and ruptures, but overall I reckon this does what it says on the tin; plus it’s a good pre-going-out warmup tape too, or it would be if I ever actually went out. More than full marks for the packaging though, and the deck-proficiency skills. It’s an honour to receive such a lovingly crafted thing in every way!!<br /><br />*Pics coming very soon![o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com1tag:blogger.com,1999:blog-19382523.post-13468425008515553672007-05-16T16:03:00.000-07:002007-05-16T16:10:24.582-07:00From the Divine to the Ridiculous<a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-2hrl_ratr1xQ_3TtRVd3vek4E_TlPpO80rKWKcxbEbVVsJEfiszIUjTE7TUido2-J-7YFoJR8HUkwqnkdV5thCO5_XcZl7z9c4v89HgzkAoIU-SFrAP-q6FeWZtt39oGmHs57A/s1600-h/SubRid+cover.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-2hrl_ratr1xQ_3TtRVd3vek4E_TlPpO80rKWKcxbEbVVsJEfiszIUjTE7TUido2-J-7YFoJR8HUkwqnkdV5thCO5_XcZl7z9c4v89HgzkAoIU-SFrAP-q6FeWZtt39oGmHs57A/s400/SubRid+cover.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5065298838781239586" /></a><br />Never really tried my hand at reviewing before but here goes I guess. Although this is a cd it’s divided in to two distinctive parts and titled from the Divine (the first “side”) to the Ridiculous (“side” two). The first broadly consists of religious or at least spiritual music while the second doesn’t have such a unifying theme at first glance – maybe it is just ridiculous. Great weird artwork on the front with men wearing strangely familiar masks and the theme is illustrated inside with a burning heart for the first side and a pentagram for the second. Anyhow, I can’t really think of a more interesting way to do this than describe each song bit by bit so that’s what I’m going to do.<br /><br />The tracks on the first side are kinda overlapped without being mixed so the beginning of the new one fades in as the old fades out, something that works fairly well here I think.<br /><br />First up is Howe Gelb with “That’s How Things Get Done”, it starts off promisingly enough with a kind of funky beat and slightly scuzzy guitar sound but to be honest it is only slightly scuzzy and really a little bit too polished. By the time his annoying voice kicks in I’m not liking this at all. Back the annoyingly nasal and not-rough-enough voice with some even more annoying backing singers (think Leonard Cohen) and if it wasn’t all one mix I’d be on the fast forward button.<br />Next up is Laura Veirs with To the Country, this is wimpy, watery folk that reminds me of the hold music on some number (which escapes me now) that I regularly have to ring for work. Without the insipid vocals it wouldn’t be too bad I guess but there they are, all over it. <br /><br />Blind Boys of Alabama with a version of Ol’ Time Religion follows, this is more like it! BBA always remind me of going to visit my girlfriend’s parents because her dad is a fan and they’ve soundtracked many a (lost) game of scrabble. Gotta love the power of the vocals here, the conviction and the way they do that thing where they all sing different bits at the same time with only an organ on the offbeat to keep time. The song itself always reminds me of that Russ Meyer film where the girl with the big breasts (you know the one right?) keeps singing it on the radio – also Captain Beefheart uses a snippet I seem to remember, either way this is great.<br /><br />Sacred Harp Singers – I’m Going Home, not quite so keen on this to be honest. Just a bit too straight and reminds me of the kind of thing that I would probably hear if I went to church on a Sunday in the village where I grew up (except slightly better done).<br /><br />Now another gospel tune, strangely enough when this cd plopped through my door an album featuring a version of Jesus On The Mainline was sitting on the turntable, that take (by the Hopson Family) cannot compare to this barnstorming version, it’s absolutely fucking rocking and for me possibly the highlight of the whole cd, reckon I’ll have to get myself a copy of this. Just crazy, frantic and tight brassy gospel that rises to an absolutely bonkers finish while still holding it all together. Brilliant brilliant tune. Oh yeah, it’s by the Dirty Dozen Brass Band. (Also reminds me of Alabama 3’s perversion of this song – Shoot Me Up In The Mainline – which I kinda like).<br /><br />The cd is really hitting its stride now, following on from that last one there is no let up with Marion Gaines’ take on Grandma’s Hands, beautiful gospel-soul perfect for a sunny Sunday morning (which is just what it is now as I type). This is an ace and emotional version and another highlight of the thing.<br /><br />Son House’s version of John The Revelator next – it’s Son House; it’s John The Revelator; it’s wicked. Such a powerful rough voice carries this with nothing else except some background clapping to keep time. I love this. Never really understood the point of “revelator” though, do you really need to make up a word for something if it only applies to one person?<br /><br />I’m not really a Bob Dylan fan (nothing against him either mind) but I was pleased to see that the track that features on this cd is the one that a friend once played me to trick me into liking Bob Dylan – the reason being that there is no way you would know it’s by him. The track is All The Tired Horses (here re-named All The Pretty Horses, a McCarthian slip?). It’s a kind of euphoric sun-coming up kind of song with a repetitive refrain sung by a group of women over a string-type background. When the cd finishes it’s this one that’s in my head so it must be doing something right and a few listens through reinforce this as it definitely grows on me. Very nice tune.<br /><br />As for the next one from Aretha Franklin (How I Got Over), it’s good and everything but I’d been enjoying those last few so much this one doesn’t seem quite up to the previous standard.<br /><br />The next three tracks are all reggae which I thought was a pretty clever way of staying with the religious theme yet totally changing the style of music. Unfortunately though, while all of these tracks are ok none really grabbed me by the balls or left any kind of real impression on me to be honest. The first is African Head Charge and Somebody Touch I which I found mildly irritating due to its repeated “I” chorus, the others are VC – By His Deeds and Jah Jah Promise by Johnny Osbourne, neither of which are quite melodic or heavy or unusual or anything enough to be particularly memorable I’m afraid. After a few listens I find myself singing along to the Osbourne one but only in the way that you do if you hear anything enough.<br />At this point are a number of silly samples (Orbital and KLF I seem to remember) which break up the tape and, I guess, signify the change from divine to ridiculous, the Satan bit being particularly appropriate.<br /><br />This second bit starts off nicely with a cunning reversal of the spiritual imagery that has dominated the first part in the form of Paradise Don’t Come Cheap by New Kingdom. This is a dramatic slice of soundtracky hip-hop with lyrics spat out in a style that reminds me in a strange kind of way of Tom Waits (though don’t ask me to explain why I think that, perhaps something to do with the way it sounds kind of hard but also as though he has a lisp – not that Tom Waits has a lips but sometimes he sounds as though he ought to have or something). Slow crashing beats and exciting (and equally crashing) string stabs all combine well with the vocal to make this great fun and a welcome change of pace from the last few nondescript tunes.<br />Keeping with the same angry (yet, to me at least, humorous,) style as the last, Team Shadetek’s Brooklyn Anthem is also a great rabble rousing shouter and in my book you can’t find fault with someone who uses the word “cantankerous” in their tune especially when it’s over a fast bubbling ragga-style rhythm with lots of weight on each beat like this one.<br /><br />Oh yeah, should say that the tunes on this “side” are overlapped more subtly or else cut in right on the beat and there are a couple of points where I had difficulty working out exactly which bit was part of which song, if there are any errors later on or right now for that matter then that’s why. The next tune, DJ Rupture’s Rumbo Babylon it says, is all bass and pummelling, yet funky and swinging beats with industrial grinding noises and the occasional echoed snippet of vocal over the top. Works very nicely and is surprisingly easy on the ears for something made out of such harsh sounds. Then this is where I get confused, towards the end of this tune (or maybe the start of the next) a stupidly catchy melody suddenly appears on top of this beat, it sounds like a sample from Chris Rea’s Auberge (remember that?) although sadly I don’t think it is, either way I like it. I’m going to take a guess that this is still the same tune because of the way the quick cuts in the Aubergey bit mimic the beat so well.<br /><br />That all grinds to a halt, there are a few funny noises before a heavy reggae beat with more mechanical crashing noises and booming noises appears with the archetypal whipcrack sound on the offbeat. Yet more vicious break-beat banging noises of various types and a nasty pulsing bassline that drops in and out make this one both stop-start and yet immediately appealing. The track is Soundboy by Kovert.<br />Some crying and ravey stabs introduce DJ Scud’s No Love. I’ve got an album by Scud and I have to say that it’s not exactly glued to my turntable (ie I haven’t listened to it for about three years) but I was pleased when a quick check revealed that this tune is not from that. In fact compared to that album this track of (yet more) reggae swings and random flat beats, screams and machine gun sounds is positively friendly. Those last three electro tunes have all been quite similar but all good enough in their own right so fine by me.<br /><br />Staying with the lilting (if that can really describe dj Scud) sound but a definite change in feel next for Born Jamericans with Yardcore. The sounds are a lot more organic and there is a real mc really (sort of) singing but in comparison it sounds a little weak. Not bad, not good, I won’t remember it tomorrow. I suppose I can see the logic in including it as it makes a nice bridge to the next tune - Guns are Drawn by The Roots, nice melodies and all but again fairly forgettable. I’m sure by the title (and ‘cause it’s The Roots) that they are on about something important but I can’t be bothered to listen closely enough to find out. Same goes for Nightmares on Wax with 70/80s (Upbringing Mix) except that this is worse, in fact I actually find this irritating, it’s obviously going for that sunkissed, mellow, blunted, headnodding etc vibe but I reckon that there is a fine line between that and being smug whimsy and for me this is on the wrong side.<br /><br />New Flesh – Wherever We Go suddenly kicks it up a bit with a welcome change of pace, a dangerous, wired bassline and fast chatting start it off well but I find that the chorus (as so often) doesn’t match up to the verse and leaves you kind of treading water until the verse and bassline force their way back in. Still a good enough tune though and that bassline is growing on me more as I listen.<br />Finally back to the electro sounds of a few tracks ago though this time more straight ahead than the “swung” feel of the previous tunes. Another killer bassline, that insistent percussion that graces so many electro tunes to great effect and someone who sounds like Mark E Smith. In fact, I dunno why I said that, it obviously is MES, speaking slightly more sense than usual he demands “give us the fucking cod”. More boingy noises that increase the excitement followed by some screechy sounds in the higher registers for good measure and this is great even without the stupid lyrics that add that extra dimension. It’s Ghostdigital (featuring Mark E Smith I assume) and In Cod We Trust, this seems to ring a bell somewhere in the back of my mind but I just don’t know why.<br /><br />That’s the end and I have to say that even if I didn’t like all the tunes there were a lot that I did like (and quite a few I really liked) and I really appreciated the thought that had gone in to it what with the themed sides and the progression from track to track not to mention the artwork. The person getting my tape won’t benefit from anything like that and whoever did this one has made me feel that I ought to have made more of an effort.<br />Thanks a lot anyway, hope the review wasn’t too harsh.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkNlYpZ1g1rftpajEKlHogbLsVFQLrJOqce79iizlHN19ctt2NUTCS4Folr_BoiBDegmDET9GIRdg2naDnKb1JV21OwJFAtGZKR-ZgWVJx61Yn-oZDU0I1BAdCKTFFrBVGX8qBLg/s1600-h/SubRid+back.jpg"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkNlYpZ1g1rftpajEKlHogbLsVFQLrJOqce79iizlHN19ctt2NUTCS4Folr_BoiBDegmDET9GIRdg2naDnKb1JV21OwJFAtGZKR-ZgWVJx61Yn-oZDU0I1BAdCKTFFrBVGX8qBLg/s400/SubRid+back.jpg" border="0" alt=""id="BLOGGER_PHOTO_ID_5065299152313852210" /></a>[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com2tag:blogger.com,1999:blog-19382523.post-30562638341321939602007-05-08T12:39:00.000-07:002007-05-15T03:36:55.705-07:00...progology...<em>Well </em>1st thing to say about my cassette is that it took a circuitous route to reach me, via the downstairs neighbours of my x-roomy on the other side of town then dropped off by hand by his kind partner, all of them apparently charmed by the polite hand written cover letter accompanying the tape, as was i, which courteously explains that the tape itself also had a circuitous route to compilation, involving travelling to another whole city to access appropriate equipment, which in turn affected the selection by way of limiting the available discs for the compiling<br /><a href="http://www.tembang.com/images/berita/KOES_3.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 250px;" src="http://www.tembang.com/images/berita/KOES_3.jpg" border="0" alt="" /></a><br />(& i'm not even gonna mention the trials & tribulations involved in making the cassette i sent off on a trans-continental journey to my brave recipient, (as i indulged in a lengthy moaning diatribe in my tracklist/cover note) in the end the best way of making this accessible to me would have been to just rip the whole lot onto mp3 - i hate to say it, & i won't reveal now whether i restrained myself due to purist ferrite love principles or just that it didnt occur to me til later.<em>ok?</em>)<br /><a href="http://www.45toursderockfrancais.net/rockfrancais/photos/electricmaxbandv.jpg"><img style="float:right; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 300px;" src="http://www.45toursderockfrancais.net/rockfrancais/photos/electricmaxbandv.jpg" border="0" alt="" /></a><br />i am very happy to report that <strong>all </strong>tracks on cassette were 100% new to me, as well as almost all of the artists - this is <em>ideal</em>, so i made sure to listen a few times without referring to the track list, let the sounds merge and the sonic rinse wash thru my brain 'dolby no' on C20 'personal stereo cassette player' off my mum down in sunny piltonistan... later on i sought a 'sanyo' equipment from my good colleague marcia which has facilitated me to listen to the tape a good few more times, checking the tracklist and paying a fair amount of attention ... enough to get a clear idea of my favorite moments (& those to hit the old >>ff button) find myself occasionally humming songs to myself at inopportune moments far from the venerable 'cassette playing apparatus' <br /><a href="http://207.228.243.82/crud/akim.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px;" src="http://207.228.243.82/crud/akim.jpg" border="0" alt="" /></a><br />some highs and lows:<br />some lovely moments and some persistent earworms there ... the zombie drumsong has been rotating around my brains today with a flavour of rotting calypso and echos of slavery and sickly sweet sugarcanes - my vision of a foetid Belafonte was not so far from reality as it turns out the song is by a yankee soap actor<br /><br />the tape opened <em>extremely </em>well - it hit me with a bit of droning zurna that discordant pipe that always starts my juices swilling o yes - the first track comes up like a turkish grimly fiendish - very taking themselves seriously sounding vocals over baroque hevvy metalesque groove, (gratifyingly when I checked out this track the auteur was 100% EXACTLY as my minds eye visualized him….)<br /><a href="http://www.diskotek.arkaplan.com.tr/catalog/images/sari1.jpg"><img style="float:center; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 400px;" src="http://www.diskotek.arkaplan.com.tr/catalog/images/sari1.jpg" border="0" alt="" /></a><br /><em>o yeah</em><br />now, getting down to the nitigriti of reviewing brings me face to face with my own wilful ignorance about musicology, i've always enjoyed music that is amorphous and somehow approached it with an aggressively anti-trainspotterish attitude. what i always preferred was a mixtape compiled by my mate with a tub of ja 7" - no popstar pictures on the covers, untraceble versions, producers without oeuvre so that the id of any actual 'author' just dissolves and is left irrelevant by glorious and mighty confusion of riddims and dubplates, obscurity as strength (his handwriting more indecypherable even than my beloved compiler of this tape). Later on in the irresponsible music voyeur's career i loved the house mix tape from down the market; shouty mcs sprawling over beatmatches without end or beginning... nextly came cassettes ripped off pirate junglist fm: nameless tracks that break in the charts 18 months later, bigshoutouts but no bother of trackid & certainly noones getting any royalties…<br />into the 21C in this favored planet of mankind we encountered the mp3, the mp3blog and the scourge of p2p - further anonymising tracks into luscious muddles of inconsistent & incompatible id3tagging, wholesale looting of catalogs introduces another motive for assault on authorship and ownership, disruption of decades of discography in favor of whatever you can find on <em>demna, 6arab, matsuli, mazika, bennloxo, barefiles</em> - slsk's bland interface rendering track id down to: <br />filename.mp3 <br />yumyum. burp<br /><br />scuse me<br /><br />so, after my initial impressions of some nice bits (and some sore points) i followed up by delving into google...where I was quite ambushed by a musicological revelation: it seems that the selection is mainly from the genre known as <strong>'prog'</strong>. <br />interestingly i have up til now <em>zero </em>acquaintance with 'prog' at all, but this inspired & intrigued me, i was particularly impressed by the age of the music which was all a lot older than what i'd thought; some tracks i'd assumed retro actually were in fact futuristic, <br /><a href="http://www.vangelismovements.com/CRockFrontB.jpg"><img style="float:right; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px;" src="http://www.vangelismovements.com/CRockFrontB.jpg" border="0" alt="" /></a><br />having browsed several prog resources (via guru woebot) &updated& backdated my prog ology after this rude revivalist introduction to the new/old world of prog, i dug up my cassette player from 1995 in the hope of new insights re-visiting the selection thru the lens of prog vision (marcia's apparatus having been reclaimed) but the tape decks are hopelessly clogged & the machine is good for nothing but pirate radio :)<br /><br />another high<br />was what i sounded to me like afro funk mixed to afropop on side one mmm lush - one of them includes one of the few female vocals in the selection, (erm why no girls in prog? a mustache thing??) the geographical distribution of the artists impressed me as i'd no idea of the internationalist scope of the prog konspiracy. these tracks turned out to be from Indonesia & by son of asha bhosle. <br /><a href="http://images.indiaplaza.in/Stores/Movies/Images/Sansani_mvcd_85x85.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 85px;" src="http://images.indiaplaza.in/Stores/Movies/Images/Sansani_mvcd_85x85.jpg" border="0" alt="" /></a><br />a theme of nostalgic not quite gothic and not quite psychobilly-ish flavour thruout, always sounding modernist, often using drum machines, electro rather than guitar, some synth and some solid electronica beats, some rocking theremin, peppered with some few tracks of standard soulful blues/r&b that sounded older than the rest & a bit incongruous<br /><a href="http://www.milesago.com/Artists/Images/russell.gif"><img style="float:right; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px;" src="http://www.milesago.com/Artists/Images/russell.gif" border="0" alt="" /></a><br />one track which made me feel strongly ambivalent opened with a heavily u2 sounding vocal (=cha!) moving along over some very cheeky fluting, side 2 starts with a very suicide-sounding black safari with some satisfying animal sounds uh uh then the selector comes thru with some longer more houseical tracks - one particularly agreeably sleazy number dribbles me right back to tha 90s with a very moist 'just for tonite baybeee' chorus that <em>almost </em>got to italo, moving to some sounds that are rather zappatistic, a classic can style blisssed out explosion leads us into an espanol version of nancy sinatra's bangbang - yes we liked that mix thankew<br /><a href="http://musicaememoria.altervista.org/equipe84-bangbang.jpg"><img style="float:left; margin:0 10px 10px 0;cursor:pointer; cursor:hand;width: 200px;" src="http://musicaememoria.altervista.org/equipe84-bangbang.jpg" border="0" alt="" /></a><br />definitely the low point was that <em>grim </em>vocal on 'leave the driving to uuusss' that song brought me dooown, with it's failed teen hollywood diva yuppie nonsense vocal - it did however drop me into a deep reminiscence down a memory-rabbithole as follows:<br />a very early memory of the dawn of home video culture watching the wiz of oz and some oldskool dizney kartoons on what i can remember as gurt chunky cassettes in some type of wall-mounted playa type gizmo - this fragmentary recollection of the early 70s cutting edge techno before the vhs/betamax format wars the re-surfacing of this long-suppressed intrusive prog recollection is somehow an interesting meditation in terms of this project marking the ARES END OF KASSETTE KULTURE.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBprn7gCF-1zu3_bKVmEbu2nQjnlmxGAvgmni8QknUanq2H1jrGY5DYf0bSinQI6RuFMD-d3HOeOIVk9P1iPop6nFCLloDl_BcGx5q-NCH8j_TiX5K0NhKcUE-XQCJ3-_jOhQW8A/s1600-h/mixensus.JPG"><img style="display:block; margin:0px auto 10px; text-align:center;cursor:pointer; cursor:hand;width: 200px;" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBprn7gCF-1zu3_bKVmEbu2nQjnlmxGAvgmni8QknUanq2H1jrGY5DYf0bSinQI6RuFMD-d3HOeOIVk9P1iPop6nFCLloDl_BcGx5q-NCH8j_TiX5K0NhKcUE-XQCJ3-_jOhQW8A/s200/mixensus.JPG" border="2" alt=""id="BLOGGER_PHOTO_ID_5064522490384880850" /></a>cheers'en[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com4tag:blogger.com,1999:blog-19382523.post-82255837700483365992007-05-01T11:00:00.000-07:002007-05-03T12:13:51.506-07:00A Cocktail of Arabic Musical JoyAt least, that’s how the letter accompanying my tape translated the Arabic title. Certainly an apt description for a cassette boasting tracks from Egypt, Yemen, Kuwait, Saudi Arabia, United Arab Emirates, Lebanon and even Syria. I must confess a shocking lack of exposure to Arabic music. The only remotely middle-eastern flavoured examples that come to mind are from adventure movie soundtracks like <u>Raiders of the Lost Ark</u>, <a href="http://xanadistic.vox.com/library/audio/6a00cdf7e37f6d094f00d09e5f5accbe2b.html" target="_blank">Bladerunner</a>, and <u>The Cell</u>, the latter of which contains the startling and beautiful <a href="http://www.jajouka.com/" target="_blank">sufi music of the Jajouka</a>, a Moroccan hill tribe. This is one time, though, when my ignorance is a good thing. <a href="http://dissensus.com/showthread.php?&t=5663" target="_blank">There is nothing more exhilarating than the first listen to a fresh musical discovery</a>, and we’re not taking about a new band here; we’re talking about a whole new genre of potentially untapped artistic genius. And I am all about the art.<br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiijzeHIEoI53bdkP_k9anZdF4kAj9aMOz1GG3oJKQbC0MD2wtsbngP6OUttYQwxmk4p4N6dexJjMo4LZHPBqUBkHg2BudjTP9vCQB-4hwjbdmYk392BDtdCyRKf_gyIgBZJQHTdQ/s1600-h/art.jpg"><img id="BLOGGER_PHOTO_ID_5059655566589039730" style="DISPLAY: block; MARGIN: 0px auto 10px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiijzeHIEoI53bdkP_k9anZdF4kAj9aMOz1GG3oJKQbC0MD2wtsbngP6OUttYQwxmk4p4N6dexJjMo4LZHPBqUBkHg2BudjTP9vCQB-4hwjbdmYk392BDtdCyRKf_gyIgBZJQHTdQ/s400/art.jpg" border="0" /></a>The letter also apologized profusely for the sound quality, or lack thereof. Evidently the tape was recorded from downloaded mp3s and satellite TV rips. Ordinarily, I would be very critical of the use of mp3s, but given the efforts of the sender (‘cause you know he had to beg to use that stereo) to make the tape, I can only chuckle and shake my head.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEios4HRGMN2Ad2TbdfjvKD8A5vVmxOYnGzOjRtjryJ5wUB4iA6hpjpW7qSUTuK_AUkzEFpS8IJG_TTZQuI_3r9b3by6Fsp5shraA9gmtrWXAFSUv9xBGbETUwqCH0-YexpCcLWl3g/s1600-h/setup.jpg"><img id="BLOGGER_PHOTO_ID_5059655819992110210" style="DISPLAY: block; MARGIN: 0px auto 10px; TEXT-ALIGN: center" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEios4HRGMN2Ad2TbdfjvKD8A5vVmxOYnGzOjRtjryJ5wUB4iA6hpjpW7qSUTuK_AUkzEFpS8IJG_TTZQuI_3r9b3by6Fsp5shraA9gmtrWXAFSUv9xBGbETUwqCH0-YexpCcLWl3g/s400/setup.jpg" border="0" /></a>Frankly, I counted myself lucky I was able to listen to it at all, the package was so beat up (Did you forget to tip your mailman at Christmas?). Apart from the sound being mostly in one ear (a problem I solved with a flip of the mono/stereo switch on my mixer), the quality of the recording was actually pretty good.<br /><br />On first listen, I quickly realized that I was going to have to review this tape based on sonics alone. Other than the notes kindly provided by the sender, I have no clue as to the lyrical subject matter and Googling Arabic track titles and artist names using the Latin alphabet is an exercise in futility. It was a challenge, to say the least, and I can only hope that I’ve done it justice.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk7an3N4qgUNkJR6KW48kmKTSas-B-ATXeZBd5eNfqBhOAp31UmJIOlVbaVVdhS86FFuLTB3HPvgZV8K8O4A8L_aHdCUARKcNUgE8a5r2Eep2gK1tb7WxYozS8DLKtrv_EP_OO_g/s1600-h/Arab+veil.jpg"><img id="BLOGGER_PHOTO_ID_5059656193654264978" style="FLOAT: right; MARGIN: 0px 0px 10px 10px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk7an3N4qgUNkJR6KW48kmKTSas-B-ATXeZBd5eNfqBhOAp31UmJIOlVbaVVdhS86FFuLTB3HPvgZV8K8O4A8L_aHdCUARKcNUgE8a5r2Eep2gK1tb7WxYozS8DLKtrv_EP_OO_g/s320/Arab+veil.jpg" border="0" /></a>Side 1 kicks off with a surprisingly sexy Egyptian number by Sa’ad Al-Sghair. Recorded from the (movie?) soundtrack to <u>Qissaat al-hai al-sha’bi</u>*, I expect that this is an example of the pop end of the Arabic music spectrum. The track features cut-up samples of what I presume are ethnic instruments like the nasal-sounding ney (although I swear I hear an accordion in the mix) over lush synth pads and a sinuous rhythm. Vocals are performed by Amina*, who’s smoky voice effectively sells lyrics that the sender describes as “the filthiest I’ve encountered.” “Jump up on the carriage, oh yeah, ride it…” and, “various remarks about cucumbers and houmous…” sound like they might be the most lascivious I’ve ever heard, too. It’s a great start to the tape and really wet my appetite for more.<br /><br />The next two songs, both by Yemeni artist Abu Bakr Salim, are what I imagine represent a more typical, traditional approach to Arabic pop music. The second of the two, Gesher min Al-Moz (Sweet As Bananas*), is the superior song. With a gentle, laidback rhythm and a call-and-response between male and female choirs, “Gesher” puts me in mind of a cast musical number like “Summer Nights” from Grease (could be way off on that one, but there you go).<br /><br />Track 4 is by Kuwaiti artist Nawal (not to be confused with the Lebanese singer of the same name*). “Tamen Qelbi” (track title) is how I imagine Arabic club music; traditional instruments over 808 beats. Again, strings are at the forefront of the song, usurped only by the vocals. However, instead of being sweeping, the strings repeat a hooky little minor chord motif in much the same way synth loops are used in European dance music. The string-loop effect allows the listener to focus more on the vocals while maintaining the authenticity of the Arabic pop sound. It’s a tremendously successful tactic and I wish I had this track in my DJ bag.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh-VZhVe7W8fVVBAnXmQxNdOLLLXDMFzYSkIcaPsmhZ26GK4EuHs31qt2yY2hIrZYRwAorxCU6s3ZYq5rlVYjlLvt1VKACJUDq9f9p8y6j1MW2YzcHNEzPga1zWhQWlLt4yFVSkw/s1600-h/musician.jpg"><img id="BLOGGER_PHOTO_ID_5059657409130009762" style="FLOAT: right; MARGIN: 0px 0px 10px 10px; WIDTH: 324px; HEIGHT: 248px" height="242" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjh-VZhVe7W8fVVBAnXmQxNdOLLLXDMFzYSkIcaPsmhZ26GK4EuHs31qt2yY2hIrZYRwAorxCU6s3ZYq5rlVYjlLvt1VKACJUDq9f9p8y6j1MW2YzcHNEzPga1zWhQWlLt4yFVSkw/s320/musician.jpg" width="338" border="0" /></a>The next three songs, one by Nawal and two from Mohamed Abdou, are from live sets. Alas, I’m not hearing anything new in these tracks. As with all of the previous tunes, strings are the instrument of choice. I understand why stings are so popular in Arabic pop; bowed instruments lend themselves very nicely to the ululating nature of the Middle Eastern vocal. As a fan of the Pet Shop Boys, it can never be said that I don’t appreciate strings in pop music, but by this point I’m getting tired of violins overshadowing the far more interesting ethnic instruments. I suspect that the string quartet has the same stranglehold on Arabic pop that guitar & bass has on European and North American pop. It also occurs to me that I’m not steeped enough in the genre to discern the subtle differences in these three compositions.<br /><br />Happily, the tape’s compiler obliges my short attention span and drops a lovely triptych of tunes by Emirati singer Hussein Al-Jesmi. The first, “Al-Shaki”, is a short a cappella study of the Middle Eastern vocal. Clocking in at only 1:21, the track sounds like a singer warming up, complete with comments from unnamed bystanders. The appeal is perhaps a bit voyeuristic, but there’s something deliciously raw about hearing the different attempts at perfection. The two tracks that follow are versions of “Fegadtik”, one live and one polished. This is an old mix tape trick of mine, too; start with a live version and blend into the version released on CD (or vice versa). The transition is abrupt, but that’s to be expected given the rudimentary recording set-up. “Fegadtik” is a haunting lament featuring only vocalist and piano (no strings, thank god). The vocals are startlingly effective: Despite the fact that I can’t understand a word he’s saying, I can feel the singer’s pain. As an instrumental the song(s) evoke a piano bar or jazz club, a lone pianist at the keys. Adding the Arabic vocals to the mix jumbles that image with one of “The Blue Parrot” from Casablanca. The fusion of east and west has produced something extraordinary. It’s the best thing on Side 1 and is the perfect climax to the first half.<br /><br />Side 2 opens with a pop track similar to those on Side 1. “El-Leila Helwa” (“Night is Sweet”*) is sung by Madonna Al Lebnania, whose vocals are indistinguishable from Amina’s (Side 1, Track 1). Again, the ubiquitous strings make an appearance. Fortunately, they are used sparingly as stabs and blurts. What makes this track stand out is not the instruments or the vocals, but the frenetic rhythm section. The drums are nuts! The complexity of the rhythms would leave many a breakbeat producer standing stunned with his mouth open in the middle of the dancefloor.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVTVMYaW4a8klNA9eb221KYZpi1ZGDbGzsyWvsQDW12RWgCt8Ee-McQ-iglU11UZjWfBG3cLGHli_CtWOUZJcygccnmGBtznatX62O4JgdyLlgC7sAS1gUfHuY-NCYZjtI4pF_wQ/s1600-h/arab_eye.gif"><img id="BLOGGER_PHOTO_ID_5059658010425431218" style="FLOAT: left; MARGIN: 0px 10px 10px 0px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVTVMYaW4a8klNA9eb221KYZpi1ZGDbGzsyWvsQDW12RWgCt8Ee-McQ-iglU11UZjWfBG3cLGHli_CtWOUZJcygccnmGBtznatX62O4JgdyLlgC7sAS1gUfHuY-NCYZjtI4pF_wQ/s320/arab_eye.gif" border="0" /></a>Tracks 2 and 3 blend into an intense, live a cappella by Egyptian songstress Sherine. The range of this woman is astounding. The songs, both titled “Garah Tani”, sound to me like a songs of worship, but not in the dire, dry style typical of western hymns. I would describe it more in terms of black gospel music from the southern United Sates; joyful music, a surrendering of yourself to the beauty of belief. I’m far from religious, but by the end I was cheering along with the crowd.<br /><br />Sherine’s songs lead perfectly into 23 more minutes of live a cappella brilliance. No, really. I love every minute. The two a cappellas are credited to “Anon ?”, which could be the man’s name or an abbreviation for anonymous, and bookend a mostly instrumental soundtrack snippet from the film <u>Ghazlan fil Ghaba Il-Dieb</u>. Both a cappellas are titled “Mawai”, so I am unsure whether they are two parts of the same piece or separate performances. Regardless, the first 13 minute portion is the highlight of the tape. The song builds from a drone through a relatively sedate vocal to a crescendo where the singer is practically screaming. The crowd reacts in a similar manner, both men and women urging the vocalist on to greater and greater heights, setting up the feedback loop that is the cornerstone of all remarkable live performances. At one point, the “band” cuts in with an uptempo mixture of drums, flutes and strummed instruments, only to be cut off seconds later. You can almost hear the vocalist waving his hand to shush them, knowing, perhaps, that the connection he has with the crowd is fragile. Like the preceding songs, the sense that the singer is worshipping is very strong. As the track’s energy wanes, the tape switches to the soundtrack segment.<br /><br />Judging by the syncopated strings (again with the strings!) and the electronic instruments, I expect it was chopped out of the middle of some action movie or spy thriller. In fact, if it weren’t for the choirs of male and female Arabic singers, and of course the title, it could have come from any film at all. With this relatively minor ethnic inclusion, it merely sounds as if it would be right at home in the middle of an Indiana Jones chase scene. While the track may be a bit common sonically, it is effective at maintaining the pressure generated by the first half of Side 2.<br /><br /><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrN9Z3EyugE5MUEBnxLo_J_GJeKd8WIE5QIvOiVUGqXu5nAj5me455Dvx_5EWErpnlTaHLrrhuAMUR61UxtS5bLyQ1D-0MzIf5IzBNzusZ0ICRAMA2p_Q9QoWwyM3mrVhCOudpg/s1600-h/Arab20.gif"><img id="BLOGGER_PHOTO_ID_5059658349727847618" style="FLOAT: left; MARGIN: 0px 10px 10px 0px" alt="" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhtrN9Z3EyugE5MUEBnxLo_J_GJeKd8WIE5QIvOiVUGqXu5nAj5me455Dvx_5EWErpnlTaHLrrhuAMUR61UxtS5bLyQ1D-0MzIf5IzBNzusZ0ICRAMA2p_Q9QoWwyM3mrVhCOudpg/s320/Arab20.gif" border="0" /></a>The third and final part of this section feels like a rewind. It’s the same song as the first part, and sounds very similar in terms of crowd noise and instrumentation. That’s OK, though. I’m happy to get another listen. Astonishing vocals, simply astonishing.<br /><br />The tape closes on a melancholy note. “W Kaberna” by Najwa Karam opens with a full orchestra before downshifting to a downbeat duet. The orchestra sits low in the mix, rather than front and center, and eventually develops into a drone, leaving the focus to the male and female vocalists. The back and forth between the singers reminds me of Peter Gabriel's "Don't Give Up", where Peter and Kate Bush go back and forth in a he-said-she-said. It’s a dramatic finish to an eclectic mixture of ethnic sounds.<br /><br />It must be said that it takes great courage for all of us in the Ferrite Love Connection to put our tastes on display. All it would take is some Neanderthal with no interest in anything other than his/her own insular opinions and your carefully constructed analogue masterpiece is cut down in a blaze of scathing blog text, if it gets reviewed at all. Even compared to the rest of us, it had to take some set of stones to compile, record, and send <u>A Cocktail of Arabic Musical Joy</u> to some anonymous member in the wilds of eastern Canada, a place where Celtic and Country reign hand-in-hand. But the gamble paid off. It may be blasphemy to say it on a blog dedicated to analogue glory, but if the compiler could just put them on a CD and send it to me at the same address…?<br /><br /><u>Side 1<br /></u>From soundtrack of Qissaat al-hai al-sha ‘bi – Sa’ad Al-Sghair [Egypt]<br />7an Waqt Al Lega – Abu Bakr Salim [Yemen]<br />Gesher min Al-Moz – Abu Bakr Salim [Yemen]<br />Tamen Qelbi – Nawai [Kuwait]<br />Ana Be Kheir (Live in Doha 2007) – Nawai [Kuwait]<br />Darb Al-Mahaba (Live in Doha 2007) – Mohammed Abdou with Abu Bakr Salim [Saudi]<br />Ayooh (Live) – Mohammed Abdou [Saudi]<br />Al-Shaki (Live) – Hussein Al-Jesmi [Emirates]<br />Fegadtik (Live) – Hussein Al-Jesmi [Emirates]<br />Fegadtik 2006 – Hussein Al-Jesmi [Emirates]<br /><br /><u>Side 2<br /></u>El-Leila Helwa – Madonna [Lebanon]<br />Garah Tani (Intro) (Live 2006) – Sherine [Egypt]<br />Garah Tani (Live) – Sherine [Egypt]<br />Mawai – Anon ? [?]<br />From soundtrack Ghazlan fil Ghaba Il-Dieb – Unknown [?]<br />Mawai – Anon ? [?]<br />W Kberna – Najwa Karam (&Wadi??) [Lebanon]<br /><br />*As noted in the sender’s letter.[o±o]http://www.blogger.com/profile/08399486301260634435noreply@blogger.com2