Wednesday, 31 August 2016

I shall be here on Friday night with Spacey

With this show Astrotwitch and Be Free continue their experiment in collaboration, and mixing their different creative styles. Now that they are in their home city expect the collaboration to include more production and more new experiments. Come out to see how these two artists, both heavily influenced by street art practices, blend together to create something fun and colorful
Lane's End Gallery, 404 Fitzroy Street Fitzroy, Melbourne 3065

Pink & Teal, Ink & Glue

Sami Elu plays「Chopstick Piano」( 割り箸ピアニスト、サミエル)


In Memorium

Wearing my overdose awareness day badge with pride and thinking of young Bouwka (15) who sneaked off and scored one night in Amsterdam and due to the social stigma attached to using heroin (BLOODY JUNKIES) shot up for the first time alone and was found dead the next morning


Welcome to the zoo: what it feels like to report a presidential campaign

Tuesday, 30 August 2016

Sunn O​)​)​) - Live @Tavastia Helsinki Finland (27/8/16)


How To Save Mankind From The New Breed Of Killer Robots

The Millenial Whoop

The Sonny Sharrock Quartet - Stupid Fuck (NYC 1988)

Sonny Sharrock - guitar
Melvin Gibbs - bass
Abe Speller - drums
Pheeroan akLaff - drums

Sonny Sharrock’ s Footprints on the Moon

Dennis Cooper's blog is back from the Google wasteland

After the shitstorm of Google deleting the blog it is back now with a Beatrice Dalle day. 
As Dennis says:
Hey! I wasn’t sure if I’d ever get to say that to you again.
But here we are! Obviously, it’s been a rough two months, but I’m ready to go back to normal, if you guys are. This was the post that was up the day the blog was disabled. I’m leaving the p.s. and the comments that came in before the shut down as they were, and of course please add your comments today. Between now and next Monday, you will be getting posts that were already set up and originally intended to launch before the blackout, and then on Tuesday we’ll go all new. The archive of the old blog will slowly appear here, but I have to do hands-on restoration on each one, so it’s going to take virtually forever. Okay, enjoy the day, and I look forward enormously to getting to talk with you again!
It's always worth checking out and Dennis himself had some very kind words to say about this blog when I first started EOMS.
Welcome back!

Lambchop - The Hustle

Harvey Pekar meets Sun Ra and his Arkestra!

Click to enlarge

Fuck this town. I'm moving

Many years back, much like Willie and Waylon had years before, Merle Haggard said,
"Fuck this town. I'm moving." and he left Nashville.
According to my sources, it was right after a record executive told him that "Kern River" was a bad song. In the last chapter of his career and his life, Nashville wouldn't call, play, or touch him. He felt forgotten and tossed aside. I always got a sense that he wanted one last last proper victory lap of his own, and we all know deserved it. Yet it never came. And now he's gone.
Im writing this because I want to go on record and say I find it utterly disgusting the way everybody on Music Row is coming up with any reason they can to hitch their wagon to his name while knowing full and damn well what he thought about them. If the ACM wants to actually celebrate the legacy and music of Merle Haggard, they should drop all the formulaic cannon fodder bullshit they've been pumping down rural America's throat for the last 30 years along with all the high school pageantry, meat parade award show bullshit and start dedicating their programs to more actual Country Music.
While Im venting about the unjust treatment of a bonafide American music legend, I should also add, if for no other reasons than sheer principal and to get the taste I've been choking back for months now out of my mouth, that Merle was supposed to be on the cover of Garden & Gun magazine's big Country Music issue (along with myself) a few months back.
They reached out to both of us in October of last year while I was on a west coast tour. Merle was home off the road so I took a day off and traveled up to Redding.
He was so excited about it and it goes without saying that I was completely beside myself along with my Grandfather who has always been a HUGE Merle fan. We spent the whole day of the interview visiting in his living room with our families and had a wonderful conversation with the journalist. Then we spent about two hours outside being photographed by a brilliant and highly respected photographer named David McClister until Merle had enough...he was still recovering from a recent bout of double pneumonia at the time and it was a bit cold that day on the ranch.
But then at the last minute, the magazine's editor put Chris Stapleton on the cover without telling anyone until they had already gone to print. Don't get me wrong, Chris had a great year and deserves a million magazine covers...but thats not the point.
Its about keeping your word and ethics.
Chris also knows this as he called me personally to express his disgust at the situation. Dude's a class act.
The editor later claimed in a completely bullshit email apology to both Merle's publicist and ours (Chris and I share the same publicist) that they didn't get any good shots that day.
David McClister..
2 hour shoot..
no good photos..
OK buddy,..whatever you say.
Anyway, Merle passed away right after it came out.
Some days, this town and this industry have a way of making we wish I could just go sit on Mars and build glass clocks.
Shortly after I initially posted this it was announced that Miranda Lambert would be the award recipient.
Before people start chasing clickbait by putting words in my mouth I feel the need to clarify that I was not aware of this at the time of my original post and my words were in no way directed at her. I know that Merle liked and respected her so it's good to see there is at least some blue sky in all of this.
I don't know Miranda nor have I ever met her but something tells me that in her heart, she knows I'm dead on. I am also aware that the ACM is a West Coast organization originally created to recognize West Coast artists like Merle and they have handed Merle many trophies over the years,..even in the last 15 or so mind you. It's also worth noting that the last one was handed to him by none other than Miranda Lambert herself.
But all of this is irrelevant as none of it has anything to do with the original point I was trying to make. My point was that all of these organizations don't walk it like they talk it. I called The ACM out directly because they are simply the latest in a long line of organizations that have done the same since Merle's death...and even before. Showing homage and handing lifetime achievement awards to the greats of yesterday while claiming to uphold and hold dear the original values and integrity of Country music's legacy. Yet these are just hollow words...merely empty semantics. One needs only to look glancingly at the majority of the music that they, along with the CMA's, predominantly choose to recognize and promote at their award shows.
I fully realize that as I type this, meetings and conversations are taking place on music Row to ensure I am blackballed from the industry and that's perfectly fine with me. Im not sure how you can blackball somebody you don't acknowledge in the first place anyway. Yet, even though they mostly go out of their way to ignore artists like myself and Jason Isbell, I assure you they are more than aware of our existence. They are also well aware that we don't need them. Our last albums went to #1 without any help from the Mainstream Country Music establishment...and our next albums will too. With that said, I have no more need to make enemies with these people than I have a need to be their friends. If anything I'm trying to help them. Because more and more everyday, people are waking up to the situation and they are pissed. Perhaps Country Music, especially Nashville, should wake up too before it's too late.
I should also go ahead and add here that whether or not I am nominated for a CMA award this year, I will not be attending the ceremony for no other reason than the fact I already have a sold out show scheduled in Des Moines, Iowa on the night of the awards ceremony and I have no plans to change that.
Mostly though, I just wish Merle was still alive.
I'd love for them to all hear his thoughts on the matter.
P.S. Fuck this town. I'm moving.
Sturgill Simpson

Remember when?

One (wo)man's terrorist is one another's freedom fighter but the point is valid

Listen: John Fahey's Strange Mixtapes for a Record Store Clerk

The Beatles - Live @Candlestick Park San Francisco, CA. August 29, 1966


The Avalanches - Essential Mix BBC Radio 1 (27/8/16)

Emahoy Tsegué & Maryam Guèbrou - The Story of the Wind
Unknown - Hello
Dion McGregor - Snowflakes
Dion McGregor - Midget City
Ratatat - Black Heroes
Wild Man Fischer - The Leaves Are Falling
Sun Ra - Enlightenment
Nancy Dupree - James Brown
The Joubert Singers - Stand On The Word
Cindy & The Playmates - Now That School Is Through
Grateful Dead - Shakedown Street
Edan The Humble Magnificent - Fumbling Over Words That Rhyme
Nina Simone - Ain't Got No, I Got Life (Live)
Betty Everett - 1900 Yesterday
Moondog - Fog On The Hudson (425 W 57th Street)
Wild Man Fischer - Wild Man On The Strip Again
The Temple City Kazoo Orchestra - Stayin' Alive
Krak Attack CX Kidtronik & Tchaka Diallo - Fame Rapp
Moondog - Up Broadway
The Parliaments - What You Been Growing
Paul McCartney & Linda McCartney - Monkberry Moon Delight
Africa - Light My Fire
Clarence Reid - Miss Hot Stuff
Edan The Humble Magnificent - Funky Voltron (feat. Insight)
Stark Reality Discovers Hoagy Carmichael's Music Shop - Dreams
Madlib - Rock Konducta Vol 1
Unknown - The Snake
Ohio Penitentiary 511 Jazz Ensemble - Psych City
Blair - Life
Nancy Dupree - What Do I Have
Donald Byrd And The Blackbirds - Jazz Alphabet (Live)
Play Along At Home Rhythm Band - Pease Porridge Hot
Dick Rosmini & Hello People - Experiments (Teac Home Recording)
The Broads - Sing Sing Sing
Shooby Taylor - The Human Horn
Don Armando's 2nd Ave. Rhumba Band - I'm An Indian Too
The John Cacavas Golden Space Orchestra - Hydrogen and Helium
Bruce Haack - Lie Back
Bruce Haack - Sing
Frank Zappa - Oh No
Hermeto Pascoal - Som da Barba (Music From the Beard) (Live)
Blair - Virgo Princess
William Onyeabor - Better Change Your Mind
Thurston Moore & Lee Ranaldo - The Year Punk Broke
Thurston Moore - Thurston @ 13
Jack Fascinato - Music From A Surplus Store
Clara Mondshine - Die Drachentrommler (Dragon Drummers)
Frank Zappa - Excentrifugal Forz
Bruce Haack - Rubberbands
The Stooges - L.A. Blues
Bad Brains - Big Take Over
J-Jems - Dance
Bruce Haack - Motorcycle Ride
Chandra - Kate
Tony Schwartz - Music In The Streets
Ata Kak - Daa Nyinaa
Yoko Ono - Walking On Thin Ice
The Slits - I Heard It Through The Grapevine
William Onyeabor - Let's Fall In Love
Black Dice - Glazin'
Univ. of Ghana Postal Works - Cancelling Stamps At The University Of Ghana Post Office
Joe Moks - Boys And Girls
The Pointer Sisters - Don't It Drive You Crazy
David Essex - Rock On
Paul McCartney - Check My Machine
Jimmy Van M & Richard Hieronymous - I Weigh With Kilos
Hanny Nahmias - Hanna's Sabbath Dress
Sinkane - How We Be
Mort Garson - The Wozard of Iz
Uriah Heep - Wake Up
Black Milk - Wake Up
Mort Garson - Prologue
Frank Zappa - Mom and Dad
The Zombies - Hung Up On A Dream
Tony Schwartz - Music In The Streets


Monday, 29 August 2016

We're Still Here (now)...De La Soul's new album 'and the Anonymous Nobody...’

...that ending

Kid Congo & The Pink Monkey Birds - La Araña

A French mixtape by Kid Congo & the Pink Monkey Birds


Kid Congo & The Pink Monkey Birds - Live @The Old Bar Melbourne (28/8/16)

Mick Harvey and Spencer P. Jones guested 

Video by Carbie Warbie

Karl Blau - That's How I Got To Memphis / Fallin' Rain

You can explore some tracks from his extensive back catalogue at the FMA 

Sunday, 28 August 2016

The Eye of The Cyclone (French Punk Documentary)

Featuring Alain Pacadis, Asphalt Jungle, Bazooka, Jean Néplin, Metal Urbain, Lou's, Dogs, Starshooter, Guilty Razors, Parasites, Lucrate Milk, Olivenstein, Elles sont de sortie, Taxi Girl, Marie France and more
Merci Olivia

Death in Vegas - Consequences Of Love (Chris & Cosey Remix)

Death in Vegas' Richard Fearless has been a longterm fan of everyone's favourite experimental electronica duo Chris & Cosey. So has adult entertainer, writer, and artist Sasha Grey. So Sasha Grey and Richard Fearless teamed up for a new C&C/Throbbing Gristle inspired album that came out a few months back.
Chris & Cosey then did the honourable thing and decided to remix one of Death in Vegas' tracks. The result is this blisteringly globular, delightfully dark take on Consequences of Love

Death in Vegas Pick Their Favourite Chris & Cosey Records

Grandmaster Flash Beats Back Time

Donald Trump broke the conservative media

Primal Scream - 100% Or Nothing (Anton Newcombe Remix)

Big Belly Nothing 100% Dub (Bobby Salasse And Primal Jam)

Saturday, 27 August 2016

We want plates

Alex Chilton - My Rival

Video footage by William Eggleston from 'Stranded in Canton' of Alex Chilton and Sid Selvidge playing "My Rival" in Memphis, TN, circal mid-1970's
Stranded In Canton

Imagine: The Colourful Mr Eggleston

In The Real World

Daft Punks

Bill Laswell / William Burroughs Mix

Thanks Simon

Guy Debord 3D Action Figure

3D-printed Guy Debord action figures. Produced by McKenzie Wark, design by Peer Hansen, with technical assistance by Rachel L. Modified by Patrick Lichty.
(Thanx to Ken for the images!)

A Cavalier History of Situationism: An Interview with McKenzie Wark


Alabama GOP mayor gets racist on Facebook after losing to black candidate

Peter Whitehead on filming The Dubliners

Seven Drunken Nights (1968)

Friday, 26 August 2016

Pubic Service Announcement


The late Lulu Larsen interviewed by Romain Slocombe for a book on the history of Bazooka (French)

Lulu Larsen R.I.P.
Damn! Just went to the Bazooka site above and it is now 404! There is this though

Olivia Clavel, Lulu Larsen et Loulou Picasso
Merci Olivia
I am not sure when I first came across the Bazooka art collective, sadly not as well known outside France as they should be. They did some illustrations for the NME back in 1977 or 78 and were responsible alongside Barney Bubbles for the stunning cover for Elvis Costello's 'Armed Forces' album. 

I have to keep sending off to France for their books (a very expensive way of getting them by the time you pay postage!)
There was a site 'Une Regarde Moderne' (again now 404) that commented on the news daily in art form and from what I can gather with my (very) limited French they ran into copyright problems with their photo-manipulation.
Pranksters! They used to do supplements for the French paper 'Liberation' and after the artwork was approved they would change it just before printing!

Massive Attack ft. Ghostpoet - Come Near Me

The Woodentops - Why Why Why (Demo)

First Woodentops Why Why Why demo 1985.
Frank De Freitas, Simon Mawby, Benny Lee Staples, Rolo Mcginty, Alice Thompson. Recorded Terminal Studios Elephant and Castle, Engineered by Martin Rex

So whats with the Why?
Why Why Why began its life early 1985 on an 8 track Teac in Peckham Rye. I had a Linn drum and made a beat, a hand recorded synth sequence, acoustic and bass was it. It was on all the time I was in the flat. In a way it was my personal thing, a kind of electro Afrobeat sound making a fun atmosphere in the place. I had a visit from Benny who had not long been with us at The Woodentops and I played him it. We started obsessing on it and pretty soon it became more percussive, the guitar was playing the sequence and so it had developed a live band shape to it. So it went to the rehearsal room to see how it worked. All the band instantly loved it. It was our new imaginary disco tune.
We had been in the habit of playing the same song endlessly all day, bits of it over and over, then putting the changes together, all of this after hours and hours of just playing the main riff and holding it until it had our legs going and had finally become tight and danceable . Why Why Why went though the process.
I came in with the chorus one day, I'd found myself singing it, knowing not 'why'. It was slowly developing from a remix kind of thing into a song. It was when we began singing why why why forever over the chorus to be able to sing and play at the same tim , that the neighbours, always tolerant to the max began to wonder how much more they wanted us in there. We got our first 'Please will you shut up or play something else for gods sake' screech-a-thon. That from a bunch of artists who did our artwork and all!
We just loved to play it. the atmosphere sounded better again than at my flat. Somewhere in the middle of it I began writing words for it, it was no longer 'Africa Satellite' it was now Why Why Why. The world was at war in the Middle East, It was a moment of chaos, peak oil anxiety and nuclear debate. Danger of all kinds for mankind. It was hard to stop writing words in fact.
So far the acoustic guitar had generally been in there not as a prominent feature just chipping away keeping time. When I started singing verses it began to come forward in the mix. Thats when the almost flamenco aspect came to the front with the African style. I had so much lyrics written by now. As work on the song had been interrupted by tours, where we played it at sound checks to keep it warm, it had taken almost to xmas that same year to the point where I asked if anyone else would like to add a verse so they could begin writing.I would just pull verses out of the bag at random. Simon and Benny did so. We did our first recording of the song at Terminal Studios, Elephant and Castle. It was that recording Adrian Sherwood made his remix from. I have it somewhere.Perhaps I will dig it out. We recorded it again for the album 'Giant'. Can you believe? we ran out of time to complete it. A big disappointment for us. It should have been on that album.
So our favourite song to play grew into a club hit. For us this was the most exciting thing, what we thought was club floor on our terms worked for others too. We went out to clubs all the time in all different countries and loved to dance instead of going to another bar or the hotel room. So our dream disco in the rehearsal room was now a reality! Its well documented how both the remix and the live version became part of the club scene. Its a great story and there's no need to repeat the story here.
In 2015 Trevor Fung, a Dj who features in the original explosion of the track, messaged me to see if he could do a modern remix. I realised there is no 80's master tape to pass on to him. The demo 24 track master disappeared long ago and there was no chance of getting the live version master either. So I asked him what tempo he wanted and The Woodentops went in to Slowfoots' studio and recorded it in an afternoon.
In the time it took Trevor (He's a busy dj) to deliver his mix I began to get more enquiries from dj's looking to do a mix themselves. All people i'd witnessed or new friends like Leo Mas coming in and it was mushrooming into more then just a remix. In the middle of it all I'd met Mark Jones, whose label Wall Of Sound I was well aware of, I was into a lot of their releases in the 90's. With him came more remixes and it was fast looking like a 'versions' album. Then the mixes began to be delivered. I began to see what happens when they are played out too. Oh my gosh! On its 30th anniversary the track has fresh new legs from people who adored the original. A few different 'scenes' are covered in the collection. Justin Strauss and Bryan Mette have somehow made it sound Paradise Garage, New York. Leo Mas and Fabrice have made it pure flamenco disco. Steve Proctor and Trevor Fung have brought out a more hard Detroit angle, Spatial Awareness's one is lyrical, wormy and dark, Lisbon Kid have a cinematic ultra modern electro chic Ritz sound to theirs and Denis The Night's version is totally rocking Panic in the party. Stampede.
A few DJ's/acts had been ' honoured' to be asked to do one but in the end were too busy to get it done in time. Shame perhaps, but Im not sure the package would be any better than it already is in my opinion.
So any second now its out there, on sale. I'ts already banging away in many a night club, the DJ reviews are amazing. Even Boy George replied to his copy in capital letters of respect. We have numerous 5 out of 5's no bad reviews, there's always one mix that they like that stops the hatchet coming down!
We had Move me, Well Well well, Good Thing, Everyday Living, Stop This car, quite a few that went down great but I think this song is really our 'biggest'. It went outside the Rock and Pop, played in the clubs as a live piece amongst mainly computerised tracks, it crossed over before anyone else knew what crossing over was at the time. Its back !
- Rolo McGinty

I have to say that Rolo is one of the nicest blokes I have ever met. 
I first came across The Woodentops pretty early in their career when they were doing the first of their month of Wednesday night gigs at Dingwalls in Camden where I was working at the time. I was working behind the bar when it came for them to do their set but even as I was pouring drinks I was very impressed by them so much so that the following week I made sure that I took my break while they were playing and the next two times I took the entire night off. I used to see them as much as I could when I was living in London (and even had the original bassist move into our house) and after moving to Amsterdam I caught them there (and Haarlem, Utrecht and Rotterdam). I did unfortunately miss seeing the funktified line up with Skip MacDonald having moved out here to Australia by then.
Anyway I saw that they were releasing a 100 copies of the new remixes CD so I sent a message to Rolo asking if he could keep me one until my next dole cheque and he said not to worry he would send me a copy. 
As I said, he truly is one of the nicest guys