March 29, 2012
When Throbbing Gristle was terminated in 1981 Chris Carter and Cosey Fanni Tutti signed to Rough Trade Records and began recording and performing as CHRIS & COSEY. From the very start they indulgently utilised electronics, sampling, rhythms and Cosey's distinctive vocals, cornet and guitar style. In 1982 they formed their own offshoot record label Conspiracy International for their more experimental recordings and collaborative projects. CTI continues to run alongside CARTER and TUTTI's more accessible work.
Chris & Cosey: CTI – Elemental 7 (1983):
Elemental 7 (1984)
European Rendezvous - CTI Live 1983 (1984)
Billed as the “ultimate space rock spectacle of the 1970’s” The original production first appeared on the Canadian stage in 1975, but was cancelled because of its controversial and shocking subject matter. Producer and author Stephen Zoller, and director Tibor Takacs have since turned the property into an 80-minute feature film.
Throughout the movie, the character of the title haunts the streets of Anywhere City in a trenchcoat and Borsalino hat, as ethereal as his mission — like the Fourth Horseman of the Apocalypse, the rider of the white horse whose purpose is shrouded in mystery. He embodies innocence and Christ-like victimized purity, yet his presence signals an onslaught of frenzied destruction and mindless depravity.
Time, space and mankind itself are manipulated for their ultimate shock values in Metal Messiah. Indeed, it is a film that consumes itself with a self-directed study of power abuse. Rock and roll and fascism coexist in a lifestyle of sex, violence and dark prophesies. Read more
March 27, 2012
OK I know nothing of this fella, never heard of him, that is until I stumbled across a video whilst perusing a YouTube channel I visit fairly regularly called The Hills of Granada which hosts the amazing John Trubee videos, the D.U.I. VHS clips and other mad shit. So, after gorping at the net for an hour or so I found absolutely nothing on this strange character Mr Smack, well apart this post on Dangerous Minds ...which enlightened me to the man a little, so if you can be arsed go read it.
And the point of all this being? Well, I've shamelessly ripped the tracks from the said YouTuber ...if you FLAC snobs don't mind getting dirty?
Smack Kills 12" EP (1982)
Death or Glory EP (1982)
Death Rocks 7" (1983)
March 26, 2012
Folk music of the Sahara is an intoxicating experience of sight and sound captured among the Tuareg and Libyan people of North Central Africa. Filmed from the perspective of actually being one of the performers, this mind-blowing IN YOUR FACE document captures the spirit of Libyan folklore and the essence of emotion armed with pounding rhythms and wailing vocal choruses. Both men and women are featured here equally as overseers of the hybrid forms of expression where central African traditions collide with the tones and colors of the Arab world creating one of the most unique overviews of Saharan folk music ensemble and dance the outside world has ever witnessed. The diversity of faces is extraordinary, every costume is stunning, and the women are among the most beautiful on earth. If you ever wondered where some of western music’s more exotic ideas originated from ( Sun Ra’s Arkestra/call and response choruses/ trance drumming/ and even some forms of modern hip-hop) this is a great place to start! Sublime Frequencies
March 25, 2012
March 19, 2012
by Dave Schlossbach
Vert skating's final battle against the likes of young street pioneers Mike Carroll, Henry Sanchez, Sean Sheffey and more. Modern skateboarding's harshest renaissance era captured mainly through contest footage accompanied by a wicked soundtrack.
Alexander "Sasha" Shulgin is the scientist behind more than 200 psychedelic compounds including MDMA, more commonly known as Ecstasy. Considered to be one of the greatest chemists of the twentieth century, Sasha's vast array of discoveries have had a profound impact in the field of psychedelic research. By employing unorthodox methods including, working from a makeshift lab in his home and testing his creations on himself, Shulgin has gained the reputation of a modern day alchemist within the scientific community.
At one point, Dirty Pictures transports us to Burning Man, where we watch a pack of free spirits cruising around the desert in flame-spewing tentacle-mobiles. Which is exactly the kind of blissy neon bacchanalia that springs to mind when we think of recreational Ecstasy use. But what started it all? Here, filmmaker Étienne Sauret gives us an endearing portrait of Alexander “Sasha” Shulgin, the man who first popularized MDMA. A former Dow Chemical drug developer who went off the reservation long ago, Shulgin continues his homebrew experiments to this day. Quiet, thoughtful, and meandering, Dirty Pictures shows him puttering in his woodshed lab (a wild alchemist’s tangle), getting raided by the DEA, and hanging out with his fellow subversive chemists. A celebration of invention rather than a pro-drug screed — the “dirty pictures” are actually the molecular diagrams Shulgin lovingly draws on the outside of his chemical vials.
Rare documentary about magical healing in the Himalayas. Directed by Michael Oppitz and narrated in part by William S. Burroughs.
The film explores in fascinating detail the Great Inner Asian Tradition of shamanism, as preserved in the secluded society of the Northern Magar in Central West Nepal. Part One focuses on the sumptuous rituals performed by the Magar shamans during their night-long seances. Their methods of diagnosis and treatment, their techniques of possession and their ritual journeys, undertaken to recover the fugitive souls of their patients, are all encoded in a rich, symbolic language of signs and gestures. Part Two concentrates on the transmission of the shaman's profession; following successive tests of aptitude and initiation rites, a shaman (male or female) is born on a conifer tree, the tree of life, during a lavish three-day ceremony. West German filmmaker Michael Oppitz (who dedicates his film to Maya Deren) attempts to recreate the ethnographer's experience visually: what are at first seemingly incomprehensible images and sequences gradually take on meaning as the takes become longer and the film approaches real time. Mythical songs, in which all present-day activities of Magar healers are codified, are at the core of Magar religious life and determine its ethos, which in essence is epic.
March 17, 2012
Yuri Alexandrovich Bezmenov (also known as Tomas David Schuman; 1939 - 1997?) was a journalist for RIA Novosti and a former KGB informant from the Soviet Union who defected to Canada.
In this shocking video Yuri Bezmenov exposes the KGB's subversive tactics against western society. He explains how Marxist ideology is deconstructing Western values, destabilizing the economy, and provoking 'crises' in order to sovietize the free world.
March 16, 2012
Reich was influenced by fellow minimalist Terry Riley, whose work In C combines simple musical patterns, offset in time, to create a slowly shifting, cohesive whole. Reich adopted this approach to compose his first major work, It's Gonna Rain. Composed in 1965, the piece used a fragment of a sermon about the end of the world given by a black Pentecostal street-preacher known as Brother Walter. Reich built on his early tape work, transferring the last three words of the fragment, "it's gonna rain!", to multiple tape loops which gradually move out of phase with one another.
The 13-minute "Come Out" (1966) uses similarly manipulated recordings of a single spoken line given by Daniel Hamm, one of the falsely accused Harlem Six, who was severely injured by police. The survivor, who had been beaten, punctured a bruise on his own body to convince police about his beating. The spoken line includes the phrase "to let the bruise’s blood come out to show them." Reich rerecorded the fragment "come out to show them" on two channels, which are initially played in unison. They quickly slip out of sync; gradually the discrepancy widens and becomes a reverberation. The two voices then split into four, looped continuously, then eight, and continues splitting until the actual words are unintelligible, leaving the listener with only the speech's rhythmic and tonal patterns.
Reich's first attempt at translating this phasing technique from recorded tape to live performance was the 1967 Piano Phase, for two pianos. In Piano Phase the performers repeat a rapid twelve-note melodic figure, initially in unison. As one player keeps tempo with robotic precision, the other speeds up very slightly until the two parts line up again, but one sixteenth note apart. The second player then resumes the previous tempo. This cycle of speeding up and then locking in continues throughout the piece; the cycle comes full circle three times, the second and third cycles using shorter versions of the initial figure. Violin Phase, also written in 1967, is built on these same lines. Piano Phase and Violin Phase both premiered in a series of concerts given in New York art galleries.
Reich also tried to create the phasing effect in a piece "that would need no instrument beyond the human body". He found that the idea of phasing was inappropriate for the simple ways he was experimenting to make sound. Instead, he composed Clapping Music (1972), in which the players do not phase in and out with each other, but instead one performer keeps one line of a 12-quaver-long (12-eighth-note-long) phrase and the other performer shifts by one quaver beat every 12 bars, until both performers are back in unison 144 bars later.
Early Works: Come Out - 1966 / Piano Phase - 1967 / Clapping Music - 1972 / It's Gonna Rain - 1965
Watch Steve Reich: A New Musical Language (documentary, 1987)
March 15, 2012
March 14, 2012
"Suite 212 is the personal New York sketchbook of pioneer video artist, Nam June Paik. Each work is an electronic collage of his impressions of some aspect of the city, observed with a vision that is international, individual and generally indescribable."
Sublime snapshots of the now-extinct 1970's Washington Square 'University' characters, the Lower East Side art scene, Allen Ginsberg and even Paik's own distortion techniques and influences. Edited as a series of short segments designed for WNET's late-night television schedule. The first segment is a bit dry but keep the faith and your brain will be bent, saturated and fragmented like the CRT's this modern day Prometheus manipulates.
Nam June Paik
Posted by MG
March 12, 2012
March 11, 2012
March 01, 2012
For over a decade, Revenge has persisted in cultivating what is arguably one of the most confrontational sounds in the metal underground. Immediate, controlled and utterly violent, their work stands alone in the depth of its hostility and refusal to follow trends. more
“The scam has come undone. Move on it or step aside. Take your place at the back of the line. When it’s time to move equalization begins. Behold forced correction.”