We were on the cover of the NME, all in wheelchairs, it looked great - most of us who played at my Drury Lane concert are on there, Mongezi Feza's just behind Julie Tippetts, and Mike Oldfield is there. Nick Mason's face is stuck on. It was a real laugh doing it, although there were, I believe, people who wrote to the NME saying it was a bit tasteless... I can't think why. I thought it was a very good idea
Matching Mole performing "Gloria Gloom"(Bill MacCormick) and "Part of the Dance"(Phil Miller), live on the French TV program "Rockenstock" in 1972
Robert Wyatt - Drums, Vocals
Phil Miller - Guitar
Bill MacCormick - Bass
Dave MacRae - Keyboards
“I’m not playing to the Pope,” she snapped with classic ferocity. “He may not even be there! But I expect there’ll be a bunch of cardinals …” (Audience applause, laughter.) “It’s a Christmas concert for the people, and it’s being televised. I like Pope Francis and I’m happy to sing for him. Anyone who would confine me to a line from 20 years ago is a fool!” (Much applause.) “I had a strong religious upbringing, and the first word on my first LP is Jesus. I did a lot of thinking. I’m not against Jesus, but I was 20 and I wanted to make my own mistakes and I didn’t want anyone dying for me. I stand behind that 20-year-old girl, but I have evolved. I’ll sing to my enemy! I don’t like being pinned down and I’ll do what the fuck I want, especially at my age … oh, I hope there’s no small children here!” (Huge applause.) Via
On the eve of their first ever Australian tour, London-based DFA recording artists Factory Floor have shared an exclusive mix to set hearts racing for their late, late Meredith Music Festival performance & dancefloor-rattling club shows around Australia.
Marcellis - 'Donnie'
Erol Alkan - 'Bang! (Beau Wanzer Adjustment)
Sleeper Thief - 'Haunting'
Helena Hauff - 'Break Force'
Silent Servant - 'Edit 1'
Daniel Avery - 'Water Jump'
Mike Mind - 'Resonate (Hobo Remix)'
Roman Lindau - 'Borne'
Interpol - 'My Desire ( Factory Floor remix)'
Forward Strategy Group - ' Labour Division' Via
What is schizo-culture according to you?
William Burroughs: Well, I think the “schizo-culture” here is being used in rather a special sense. Not referring rather to clinical schizophrenia but to the fact that the culture is divided up into all sorts of classes and groups, etc., and that some of the old lines are breaking down, and that this is a healthy sign... HERE
The DUSTdevils developed naturally and independently they just had the misfortune to customize, expand upon and modify some of the same no wave-and Glenn Branca-derived themes that were SY hallmarks. The group’s early evolutionary work attests to the Devils’ authenticity and individuality. The ‘86-‘88 releases date from a period of exile in Leeds, where British guitarist Michael Duane and Australian vocalist/guitarist Jaqi Dulany (aka Jacqui Cohen) had relocated after meeting in New York. At some point, The Wedding Present’s Keith Gregory was drafted to play bass.Seeds in the Spoil and Rhenyards Grin show promise, despite some tame, tentative entries and a dated, glossy sheen that flirts with goth pop. Fierce, urgent strumming and Jaqi’s panic-stricken lullabies (imagine a smacked-out Chrissie Hynde) save the day, as do less syrupy numbers like “Encient,” “False Dawn” and the dazed “In Its Own Light.” Initially appearing in a toned-down version on a 1987 flexi, “Mother Shipton” was elongated into a treble-frenzied ear-shredder for the A-side of The Dropping Well EP. The deliberate emphasis on volume and harshness also suits the 12-inch’s two less excessive tracks. Gutterlight further dashes inhibitions. Duane’s screeching, alien chords and Jaqi’s slashing-to-soaring voice infuse gorgeous, intricate songs with grit and decay, energy and exhilaration. While Sonic Youth’s clang has always been pure punk rock, the Devils take brittle tumult into more sensual and fragile realms. Created in England, shelved by Fundamental, mastered from a cassette tape and issued after a return to NYC, Geek Drip tries to duplicate its predecessor. Nevertheless, “Stripper” rattles away as menacingly as ever, and “Feeding Fat City” and “Mack” unveil daring, labyrinthine arrangements. In 1989, Duane and Dulany found future Pavement bassist Mark Ibold and reunited with former drummer Reed (né Sam Lohman, who would leave for Japan and join expat Canadian lugs Nimrod). Recorded by Kramer, the smoking, less rigid Teenbeat 7-inch barrels over “Encient,” two from Geek Drip (the revamped “King Woody” will kick your ass) and the all-new “Seen Heat” with an unstoppable, amphetamine rush.
Struggling, Electric and Chemical has Wharton Tiers’ production and another change in percussionists. Jaqi’s voice is totally shot (she speaks hoarsely rather than sings) , but the LP’s highlights find the Devils in their shining prime. The anthemic intro to “Throw the Bottle Full” and the boiling coda of “The Revenge of Cruiser Gurner” catapult the quartet’s songwriting and rhythmic prowess to a higher plane. A long-overdue interpretation of The Fall’s “Hip Priest” swings with feedback and slop. Were it not marred by so much atmospheric filler, Struggling, Electric and Chemical would surpass Gutterlight as these veterans’ studio apex.
After that notable accomplishment, all hell broke loose. Circle X/Loudspeaker drummer Martin Köb, eventual Ui head Sasha Frere-Jones, Wider leader (and Glenn Branca sideman) Dave Reid, Matador co-honcho Gerard Cosloy, and Uncle Wiggly/Fly Ashtray guitarist James Kavoussi all served time in the Devils between 1990 and ‘93. Jaqi and Michael split up, Jaqi split the country and Jackie Nemitz (ex-STP) briefly and inappropriately served as frontperson. Her sawdust-throated replacement, the late Jon Easley (ex-Sorry, Crown Heights), fared only slightly better.
From 1984 to the 1993 Extant session, almost 50 people had backed Duane with and without Dulany. Then she returned. The Extant E.P. contains two surprisingly great, upbeat shearings, the less dour mood of which recalls an invigorated modernization of the Devils’ Leeds-era outings. Fronted by the un-melodious, Thalia Zedek-ian vocals of Jaqi Cohen, the band delivered the scorching, punkish litanies of “Psychonaut” and “Receiver”. However, the highlights are the two lengthy tracks, that suddenly introduce techno beats and industrial noise: “Extreme Vagrant” manages to fuse Velvet Underground, Blondie and Pere Ubu, dub and disco-music, “Getting The Hard Hit” inflicts heavier damage by adding pounding, scorching Ministry fury.
Another falling out with Dulany in the mid-1990s apparently ended the saga for good. Taken from a ‘93 flyer for a gig postponed after Jaqi beat the stuffing out of Michael, a picture inside Extant depicts the terrible twosome as England’s infamous Moors Murderers. That about says it all.