November 03, 2015
January 11, 2014
The Peel Sessions (1989)
Put it this way; I used to listen to this cassette on mornings I had to get up at the asscrack of dawn to go to work at a job I hated, and it woke my sleepy ass up faster than caffeine ever did. Within the first few blasts of noise, I mean songs, yet. And I mean blasts of noise in the best possible way, as this is grind at its purest and most undiluted. The late, great John Peel somehow managed to capture the rawest of the raw in aural form, as this album sounds like it was recorded in a garage, with trashy drums, ultra-grungy downtuned guitar and obscenely fuzzed-out bass, and Lee Dorrian's vokills right in your ear like he's screaming and roaring right next to you. And it is a brilliant representation of what Napalm were about "back in the day".
From blasts of sound only a few seconds long to (slightly) more coherent attempts at songs, alll the great classic ND stuff is here on display; "The Kill", "Lucid Fariytale", "Instinct of Survival" (featuring Mickey's most deranged whirlwind screams ever), their choice cover of Siege's "Walls", "Deceiver" (which blatantly rips off the intro riff of Repulsion's "The Stench of Burning Flesh") , it is all here, all good, and all GRIND. Lee sounds like he's demonically possessed here on every tune (he has never done it for me in Cathedral, I have to say, after hearing all this especially), and Mickey's trademark bloodcurdling "whirlwind screams" will make you cringe in terror.
Many (if not most) of these songs sound alike, but at this insanely, impossibly high level of energy and intensity who cares? And this album WILL get your blood rushing, your heart pounding, and you ecstatically screaming your head off every second of the roughest ride you will *ever* experience. Who cares if you can't understand a word they're saying, this is the best representation of ND you will get at their noisiest and most sense-obliterating and cardiac-arrest-inducing before they toned it down a little in favor of a more metal-influenced direction musically. Get this and know what true devastation is. Metal Archives
July 13, 2013
the uploader's comments:
Here's a little (now) historical gem I've been carrying around on VHS for 18 years. After rediscovering it in a long lost box, I've digitized it so the whole world can enjoy.
Originally broadcast on public cable access, I caught part of the show late one night in June 1995 and was inspired enough by what I saw to email the station requesting a rebroadcast. This recording was a result of that email -- my own personal rebroadcast and instructions per the station to "set your VCR."
Fresh Stand-Up Comedy at Maplewood Community Center
June 15, 1995
The audible buzzing during parts of Mitch Hedberg's set is an artifact of the old VHS tape. It only happens on certain camera angles where his shirt creates a moiré effect. Thankfully, most of the show doesn't have this audio glitch.
Mitch Hedberg's movie - Los Enchiladas! [wiki]
March 17, 2013
CITIZENS ARREST was a Hardcore band from New York that existed during the late 80's / early 1990's. The band members all met and grew up in the old NYHC CBGBS scene eventually ending up as a band on the lower east side at Abc No Rio. We played tons of shows, kicked ass, recorded a demo, 7" ep and a full length album. Unfortunately the band split up for good due to musical differences but the legend of CXA remains. Members of Citizens Arrest went on to other bands like Taste of Fear, , One Sided War, Funebrarum, Forced Expression, Hell No, Moses etc.... KEEP HARDCORE PUNK ALIVE!
Also go read an interview with CxA in this zine from 1989, In Memory Of #4
if you fancy it, read this mammoth interview on New York Hardcore 1986-1993 (featuring Daryl Kahan of Citizens Arrest)
March 14, 2013
10 part series originally made for Polish television... one-hour dramatizations loosely based on the Ten Commandments. In either dosage, Mr. Kieślowski's ambitious fresco offers a profound vision of human fallibility. Each film is a self-contained whole, but because of the interlocking structure major characters from one episode pop up in the background of others. The films are further linked by locale (all take place in the same Warsaw apartment complex); a haunting score by the composer Zbigniew Preisner; and an unnamed young man who appears silently, momentarily and inexplicably in each episode.
A good description of The Decalogue is it’s a larger examination of smaller unsolved issues we all carry around in ourselves. Most of the problems could have been avoided if the character's had made different decisions. Kieslowski gives cinematic voice to ethical problems in a way perhaps that no other director has. The Decalogue series debates with itself, a discussion of fundamental life issues, which only ideologists and moralists have bow-tied solutions for, but which people in general can agree on are extremely complicated dilemmas.
"It comes from a deep-rooted conviction that if there is anything worthwhile doing for the sake of culture, then it is touching on subject matters and situations which link people, and not those that divide people. There are too many things in the world which divide people, such as religion, politics, history, and nationalism. If culture is capable of anything, then it is finding that which unites us all. And there are so many things which unite people. It doesn't matter who you are or who I am, if your tooth aches or mine, it's still the same pain. Feelings are what link people together, because the word 'love' has the same meaning for everybody. Or 'fear', or 'suffering'. We all fear the same way and the same things. And we all love in the same way. That's why I tell about these things, because in all other things I immediately find division." Krzysztof Kieślowski
March 10, 2013
This was a concert video released thru Sonic Death, filmed on January 5th, 1985 in the Mojave Desert. This was SY's first west coast excursion, and one of the first shows performing the Bad Moon Rising material. It was filmed on 2 cameras by a couple guys from Flipside. It's actually not quite the entire show -- "Ghost Bitch" is missing between "I Love Her All The Time" and "I'm Insane" (you can see Lee w/ the acoustic guitar momentarily).
GILA MONSTER JAMBOREE: This gig, January 5, 1985, 100 miles out into the Mojave Desert, was our first "L.A." gig, first time we'd played on the west coast, part of an airplane tour from Seattle on south. That picture of us "in the back of a Chevy" on the Death Valley '69 12-inch is also from this trip. The gig was organized by one Stuart Sweezy, now of Amok Press (check it out!), who had this penchant for strange locations -- Minutemen and Meat Puppets on a barge on the S.F. Harbor, another desert gig with Einsterzende Neubauten... your ticket entitled you to a map to the gig site which was not handed out until the morning of the show (to prevent scans). Else you could buy a place on one of the buses hired to transport those transported souls with better things to do than cope with the road. The gig started early in the day with Psi-Com, which featured a barefoot Perry Farrell skanking in the sand and waxing poetic. Redd Kross followed, and by the time we went on it was about twilight. These songs were mostly brand new at the time, from the as-yet unreleased Bad Moon Rising LP. We'd waited a long time to make it west, and this was a pretty perfect introduction. Bob Bert was on the drums with us at the time. The cover photo, by someone named Alan Peak, all trails and blurr, sums up the occasion quite well. Band portrait by Naomi Petersen. This video was shot by the folks at Flipside Magazine. After us came the Meat Puppets, who played on into the night as the desert cold set in, under a big ring around the moon.
1. Brother James
2. Kill Yr Idols
3. Brave Men Run
4. Death Valley '69
5. I Love Her All The Time
6. I'm Insane
8. Burning Spear
February 17, 2013
February 14, 2013
December 31, 2012
Why Be Something You're Not was a public access show run by punks in Detroit on cable TV. There were two known episodes filmed, the first featuring interviews and performances by the Necros, Negative Approach, and The Displaced, and the second with interviews and performances by the Crucifucks, Fate Unknown, and the Misfits. Negative Approach do a fucking great set with material from the EP and LP plus a few unreleased songs.
December 24, 2012
November 19, 2012
Documentary based on the book Jamming (written by Pleikys in 2006), tells the story about the practice and political importance of radio jamming in the 20th century. Based on archival research and sources from various archives in many Eastern European countries, the film traces the technology and various forms of radio jamming as an instrument of political and ideological warfare in Cold War Europe.
October 08, 2012
September 01, 2012
This modern tale ventures below the streets of Bucharest, Romania, to introduce us to five members of a "family" of orphaned, abandoned or runaway children living in the Piata Victoriei subway station. Ranging in age from nine to the mid-teens, the children beg and steal to buy food and Aurolac, which they sniff to get high. ...more
August 06, 2012
June 21, 2012
BEAM is a high-tech music weekender, a playground of homemade instruments and sonic installations, where you can listen to, watch and learn how to create your own physically living electronic music. BEAM was devised by Artistic Director Sarah Nicolls to explore the potential physicality of electronic music. The focus on electronic music being created LIVE is explored through a programme of performances, demonstrations, installations and workshops. BEAM brings together a global audience of artists, researchers, DiY electronics builders and enthusiasts, from beginners to veterans.
Marco Donnarumma will be teaching how to build and use his performance driven bio-sensing contact mic apparatus, which you get to keep it at the end of the workshop.
In the visual tradition of Len Lye (see previous post) yet harnessing the aural aggression of live noise performance (just as compatriot Justice Yeldham does), artist Sally Golding employs in her practice "torchlight printed sound film, hacked sonic devices, motorised colour filters, stroboscopic light, refracting lenses and physical interference... warping the output of the projector’s light and sound into a hypnotic and frantic field of colour, form and noise fuzz."
Without the aid of the usual sound software, and commencing with only a blank TextEdit document and JITLib, four piece laptop group Benoît & the Mandelbrots "harness the process of writing software in real-time, expressing sonic structures as live source code."
BEAM takes place 22 - 24 June 2012 at Brunel University, Uxbridge.
In 1935 Len Lye was the first person to make a film without a camera, not in an effort to be innovative or particularly different, but simply because he couldn't afford to pay for a camera as well as the film. So he painted directly on the film, in full colour, treating it like a moving painting. He even scored the films with his own jazz compositions, improvising both elements as he worked, one influencing the other in equal measures. In time he became friends with Hans Richter, Georgia O’Keefe and Le Corbusier, they supported his experimentation in virtually every art discipline that occurred to him, perpetually furthering his obsession with ‘pure figures in motion.’ He made some of the earliest and significant kinetic sculptures in the early 60's. He wrote poetry and philosophy throughout his entire life. Later on he continued to push the boundaries of film, with ‘scratch’ films such as the incredible Free Radicals (1958).
June 03, 2012
To judge from popular-press reviews that greeted its release, Jennie Livingston's film Paris Is Burning (Off-White Productions, 1991) has left a significant number of its viewers pleasantly surprised. What surprises them is not only what was widely registered as Livingston's intrepidness in venturing among the black and Latino habitués of Harlem's drag-ball scene, which the film portrays, but also—and more significantly—the actvities of the film's subjects themselves, particularly their precise replication (in the context of the ball's regimented competitions) of the styles and behaviors of a range of social types recognizable from daily life, from mass-media productions, or from both. John Howell, commenting in 1989 on rough-cut footage from what was then Livingston's work-in-progress, gives a fairly typical account of contestants' achievement of such "Realness," as it is called in the ball context:
"In costume and poise, these artificial Yalies and businessmen would be utterly indistinguishable from the "real thing" on the campus or in the office. Similarly, any general would salute troops who paraded with the spit-and-polish panache of the voguers who impersonate marines. Every detail is duplicated to the minutest degree, from body language to personality, from clothing to accessories (briefcases, American Express cards, plane tickets, and Wall Street Journals for the businessmen, letter sweaters and textbooks for the students)."
from Private Affairs: Critical Ventures in the Culture of Social Relations
By Phillip Brian Harper
May 19, 2012
Critical writers on the blues have often disputed the difficult question of whether the "canon" of classic country blues recordings made between 1924 and, say, 1940 really represent the cream of the talent available at the time, or whether in fact those artists who found their way into the Paramount or Genntt recording studios were only the lucky few - the tip one might say of the blues ice-berg floating beneath the sea of white indifference and hostility.
Myself, I am such a believer in the power of the "almighty dollar" that I am convinced that, once the record companies had realized the profits to be made from the country blues singers, whom they had first ignored, they left singulary few stones unturned in their search for any artists with commercial potential.
However, of course, this does not mean that no fish slipped through the net; and names like Fred McDowell and Mance Lipscomb spring easily to mind. In fact, by the late fifties, a number of devoted researchers were combining the Southern country districts continually on the lookout for any folk musicians practising their art in out of the way corners.
In 1958 just such a man, Frederic Ramsay Jr., editor of a jazz magazine, was guided by a local sax-player of his aquaintance to a slum called Buckner's Alley deep in the negro suburbs of Natchez, Mississippi. There he was introduced to the artist whose work you can hear on this album. Known only by his nickname of Cat-Iron, he at first declined to record any blues at all, saying "Since I been converted, I sing the hymns." This he proceeded to do, and with just what fervour you can hear on side two of this record. However, fortunately for us, he later in the afternoon relented and risked damnation to extent of laying down the six folk blues that will delight you on side one.
As far as I know these are the only recordings Cat-Iron ever made, indeed I am afraid I do not even know if he is still alive; but, on this album, his voice stakes his claim for all time to the proud title of Bluesman. Mike Raven, July 1969
Cat-Iron is really William Carradine, and I presume the Cat-Iron comes from the way coloured slurred the name.
According to his wife, Fannie Carradine, who is still living in Buckner's Alley, he was born near Garden City, Mississippi. He died in 1958 and said he was 62 years old.
Apparently his blues singing consisted of songs about the history of Natchez, such as the tornado of 1840 and the dance hall fire in the thirties. He lived near a place called Tin Can Alley and apparently some of his songs were jokes about this. Elenora Gralow
Cat-Iron - Sings Blues And Hymns (Folkways, 1958)
May 09, 2012
Spike Jonze's first foray into video was Video Days (after World Industries Rubbish Heap in 1989)—(sic), a twenty-minute-long tape of a skateboarding team named Blind doing tricks in various suburban settings. It's standard stuff shot on a single handheld camera, but Jonze brought something new to the form. The opening sequence shows prepubescent Guy Mariano riding to the Jackson Five's "I Want You Back" -- a bold and ironic departure from the usual hardcore-punk and speed-metal soundtracks found on skate tapes. To get permission to use the song, Jonze convinced his lawyers to tell the Jacksons' copyright administrator he was using it in an anti-drunk-driving film. To justify his claim, he then shot a sequence in which the team's mostly underage members swill booze as they hurtle down a dirt road in a giant blue Lincoln that eventually careens into canyon. NYMag
Blind in Paris