Heart of the Matter
Fame and Fortune
Boys in the Band
The Milkman's Horse
What Katie Did
Anthem for Doomed Youth
The Man Who Would Be King
You're My Waterloo
Can't Stand Me Now
Death on the Stairs
Time for Heroes
The Good Old Days
(Claude-Joseph Rouget de l'Isle cover) (accapella)
Music When the Lights Go Out
Up the Bracket
What a Waster
Don't Look Back Into the Sun / Tell the King
Erich Consemüller, Marcel Breuer and his "harem" (from left to right: Marta Erps-Breuer, Katt Both and Ruth Hollos-Consemüller), ca. 1927 Weimar Classics Foundation
The photo, taken by Consemüller, a student and photographer at the Bauhaus, captures the junior master Marcel Breuer around 1927. The title of the picture refers to the women standing next to him as Breuer’s ‘harem’. The women appear self-confident, with cool gazes and tousled shocks of short hair, and in modern dress. Marcel Breuer is looking at his companions sceptically, with his arms crossed. These are ‘my’ women?!
The title expresses the precise opposite of what the photo itself shows – the modernity, emancipation, equality, or even superiority, of the women in it. The actual date of the photo is hard to judge from their haircuts and clothing. It could just as well have been made in the 1980s, when women’s emancipation was reaching new heights.
Marcel Breuer is looking at the Bauhaus women disconcertedly, with a distanced gaze and a dismissive posture. From 1925 to 1928, Breuer headed the carpentry workshop at the Bauhaus as a junior master. The women shown include Breuer’s wife Martha Erps (left) and Ruth Hollós, the wife of the photographer. The architect Katt Both is standing in the middle. The viewer is caught by the penetrating gazes of Both and Erp. Ruth Hollós-Consemüller, by contrast, seems to be suppressing laughter as she looks towards the photographer (her husband). The photo’s title may possibly have been given to it when they were examining the final product later and someone jokingly remarked that the women were apparently Breuer’s ‘harem’. But what is the role played by Marcel Breuer in the harem? Is he its sultan/patriarch or eunuch/superintendent? In the role-play, Breuer seems to be looking at the women to check that they are properly spruced up. Erich Consemüller’s photo once again reflects the modern basic feeling and relaxed fun that were characteristic of the Bauhaus. Via Marcel Breur & the WomenofBauhaus
The other day I found this excellent recording on an old hard drive with absolutely no recollection of ever hearing it before or indeed where I got it from. I remember at the time being somewhat pissed off that Scratch and Adrian were only doing the one show in Sydney and not coming down here to Melbourne as I think Adrian's previous working visit was the Audio Active/Tackhead/Mark Stewart & The Maffia 'Out of Control' tour that Mambo promoted in the mid nineties. I recorded the Melbourne Zu-Zu's gig which I must try and grab out of storage one day. This is a couple of hours well spent Review Photographs Get the full recording HERE
This month Carhartt WIP Radio is bringing you a show by Adrian Sherwood and his legendary label On-U Sound. During a career of more than 30 years, Sherwood produced and remixed artists such as Lee "Scratch" Perry, Primal Scream, Depeche Mode or Einstürzende Neubauten amongst others. His label On-U Sound, formed in 1980, is worldwide known for cutting edge releases that are rooted somewhere between dub, experimental, Reggae, Post-punk and electronica. Furthermore many On-U Sound releases greatly influenced the sounds of today like ambient and techno. Recently many On-U Sound records of artists and collectives like African Head Charge, Singers & Players or Bim Sherman got re-released and Sherwood himself produced, dubbed and released contemporary bands like the Japanese trio Nisennenmondai. For Carhartt WIP Radio Adrian Sherwood tuned in a mix that grooves between the past, present and future of On-U Sound.
Ghetto Priest - Slave State (feat. Junior Delgado) [from forthcoming album "Slave State"]
Mark Stewart - Awidk [unreleased]
Nisennenmondai - 3 [from the newly released album "#N/A"]
Ital Horns with Dub Syndicate - Metropolis [from unreleased album "Blow The Man Down"]
Cha Cha - Dub No Frontiers (Excerpt) [unreleased]
Roots Manuva - Hit It (Alternative Version) [from current album "Bleeds"]
Dub Syndicate - Wadada (feat. Prince Far I) [from the 1991 album "Stoned Immaculate"]
Congo Natty - UK Allstars In Dub (Adrian Sherwood Remix) [from current album "Jungle Revolution In Dub"]
Coldcut/Adrian Sherwood feat. Junior Reid, Elan & Lee Perry [forthcoming project] - Divide And Rule
L.S.K. - Way Of The World [unreleased]
Denise Sherwood - Ghost Heart [unreleased]
Junior Delgado - None Shall Escape [unreleased classic version on "Masters of Deception" rhythm]
Missing Brazilians - Quicksand Beach Party [1981 original from the album "Warzone" reissue and also available on the Trevor Jackson compiled "Science Fiction Dancehall Classics"
Adrian Sherwood - Starship Bahia [from the album "Survival and Resistance"] Adrian Sherwood Interview
Isolation Download Photos: Gennady Revzin Tapetweaking from my original handheld Tascam recording by Andrew from the band
Hillsborough is an in-depth, moving account of Britain's worst sporting disaster, in which 96 men, women and children were killed, hundreds injured and thousands traumatised. Beginning with that fateful day, 15 April 1989, the film details the horror of the tragedy, told through the experiences of those directly involved: fans, survivors, family members and police officers. Many speak publicly for the first time.
It captures the horror of the crush on the terraces, revealing the prejudices held by the police towards football fans. It exposes the police commanders' abject failure in leadership as the tragedy unfolded, and their deceit and determination to deflect responsibility for their failures in crowd management onto those who survived.
The documentary exposes the lack of dignity shown to bereaved families as they arrived in Sheffield to identify their loved ones laid out in body bags on a gymnasium floor. It considers the impact of the orchestrated vilification of fans in the media and, as a consequence, their public condemnation. By interviewing those involved, it recounts the 27-year campaign for justice fought on behalf of the 96 who died
Hugo Race in conversation with Mark Mordue (Wheeler Centre Melbourne 31/3/16)
Here's Mark's review of 'Road Series'. More of Hugo's writing can be found here. It's funny I used to go and see The Wreckery when I first came out to Australia in the mid eighties but I never really followed his career. Got to say I am very impressed with his writing and in fact even went down to my local bookshop to order Road Series after reading the review
1. Ryuichi Sakamoto - Dying
2. Nick Cave & Warren Ellis - Investigation
3. Tom Cora - Hibou Perdu (Lost Owl)
4. Alfred Schnittke - 'Sabran' Je Pesen Sikh, Gde Karhdyj Stikhby
5. Martin Duffy - Hymn
6. St. Kilda - You Are In Every Dream
7. Hamlet Gonashvili - Berikatsi Var
8. The Tsinandali Choir - Kaxuri Mravaljamieri
9. John Martyn - Small Hours (Instrumental)
1. Anne Briggs - Highlodge Hare
2. Bridget St John - Ask Me No Questions
3. Linda Perhacs - Parallelograms
4. Dot Allison - Montague Terrace (In Blue)
5. Judee Sill - The Kiss
6. Gillian Welch - I Dream A Highway
7. Kendra Smith - She Brings The Rain
8. Glissando - Floods
9. Freida Abtan - Creeping Ivy
10. Ruby Throat - My Head
11. Rosa Yemen - Herpes Simplex
12. Geraldine Fibbers - You Doo Right An early morning all female vocal mix as daybreak hits Melbourne
A mix of musical styles though predominantly north African.
After opening aptly on this Sunday morning with Baaba Maal's 'Call to Prayer' we find ourselves 'tranceported' by music from both the mountains and medinas of Maroc, by the psychedelic sounds coming from the Congo in the mid seventies and by the present-time desert blues of Tinariwen and Group Inerane.
From Algeria by way of Paris, London and New York to the Ju-Ju lands of Nigeria.
1. Baaba Maal - Call To Prayer
2. African Head Charge - God Is Great
3. Akure Wall - Oyindamola
4. Okay Temiz - East Breeze
5. The Invaders of The Heart - Bomba
6. Rachid Taha - Barra Barra
7. Group Inerane - Kuni Majagani
8. Tinariwen - Cler Achel
9. King Sunny Ade - Ja Funmi
10. Joujouka with Ornette Coleman - Snippet #1
11. Maleem Mahmoud Ghania w/ Pharaoh Sanders - Mahraba
12. Gnawa Music of Marrakesh - Toura Toura Tour Kelilah No. 2
13. Joujouka with Ornette Coleman - Snippet #2
14. Udokotela Shange Namajah - Sobabamba (We Will Get Them)
15. Le Super Borgou de Parakou - Congolaise Benin Ye
16. Basokin ft. Mi Amor - Malume
Originally posted on this blog seven and a half years ago with a slight reworking this morning If this compilation doesn't want to make you dance barefoot under the sky then you are already dead
1. Conemelt - Dronemelt
2. Lokai - Taora Atoll
3. Daryl Hall - Urban Landscape
4. Ollie Olsen - Scum Moon
5. Alva Noto and Ryuichi Sakamoto - Halo
6. Demdike Stare - Forest of Evil (Dawn)
7. The Mount Fuji Doomjazz Corporation - A Bad Trip/A Place For Fantasies/Murder Amongst Mannequins
8. Nadja/Black Boned Angel - I
9. Mokira - Ode To The Ode To The Street Hassle
Vanessa Feltz: Do you still maintain that they [Shah’s remarks] were not [antisemitic]?
Ken Livingstone: No. She’s a deep critic of Israel and its policies. Her remarks were over the top. But she’s not antisemitic. And I’ve been in the Labour party for 47 years. I’ve never heard anyone say anything antisemitic. I’ve heard a lot of criticism of Israel and its abuse of the Palestinians, but I’ve never heard someone be antisemitic.
Feltz: She [Shah] talked about relocating Israel to America. She talked about what Hitler did being legal. And she talked about the Jews rallying. And she used the words Jews, not Israelis or Israel. You didn’t find that to be antisemitic?
Livingstone: No. It’s completely over the top [but] it’s not antisemitic. Let’s remember, when Hitler won his election in 1932 his policy then was that Jews should be moved to Israel. He was supporting Zionism. [He then] went mad and ending up killing 6 million Jews. But the simple fact in all of this is that Naz made these comments at a time when there was another brutal Israeli attack on the Palestinians. And there is one stark fact that virtually no one in the British media ever reports: in almost all these conflicts the death toll is usually between 60 and 100 Palestinians killed for every Israeli. Now any other country doing that would be accused of war crimes, but it’s like we have a double standard about the policies of the Israeli government.
Feltz: You see some people will say there is a double standard operating in the Labour party. That’s that, really, a flagrant antisemitism, a deeply embedded systemic antisemitism, is hidden behind a mask of anti-Zionism or criticism of Israeli foreign policy. But that’s not what it really is. It is really, as John Rentoul, the political commentator said ... ‘These are long-term Jew haters, and they can use criticism of Israel as a cloak behind which to mask that sentiment?’
Livingstone: He’s lying. As I’ve said I’ve never heard anyone say anything antisemitic. But there has been a very well orchestrated campaign by the Israel lobby to smear anybody who criticises Israeli policy as antisemitic. I had to put up with 35 years of this, and then being denounced because back in 1981 we were campaigning to say the Labour party should recognise the Palestine Liberation Organisation. We were accused of antisemitism but then 12 years later the leader of the PLO is on the White House lawn, shaking hands with the prime minister of Israel.
Feltz: How could it be then that you would think that it is alright for Naz Shah to mention Hitler at all? If her comments were anti-Zionist, or anti-Israeli foreign policy, why would that be part of the argument? Why would Hitler’s name even come into it.
Livingstone: I don’t think she should have done that. As I said, she was over the top. But we need to step back and look at the anger there is at the sort of double standards. We have just had a decade of painful standards against Iran. We invaded Iraq because we thought they were going to get nuclear weapons, but Israel has had nuclear weapons for 40 years at least and there’s never any sanctions, never any complaint from anyone in the west. And it is these double standards that make people angry.
Feltz: What do you think over the top means? Over the top of what?
Livingstone: Basically to think of antisemitism and racism as exactly the same thing. And criticising the government of South Africa, which is pretty unpleasant and corrupt, doesn’t make me a racist, and it doesn’t make me antisemitic when I criticise the brutal mistreatment by the Israeli government. And let’s look at what someone who is Jewish actually said, something almost very similar to something Naz has just said: Albert Einstein. When the first leader of Likud, the governing party now in Israel, came to America he [Einstein] warned American politicians: “Don’t talk to this man, because he’s too similar to the fascists who fought in the second world war”. Now if Naz or myself had said that today we would be denounced as antisemitic, but that was Albert Einstein.
Feltz: Lord Levy says that Ken Livingstone, in saying that those things are not antisemitic, and I quote “must be living on another planet. Vanessa, will you ask him is he living on another planet and which one is it?”
Livingstone: After Jeremy [Corbyn] became leader I was having a chat with Michael [Lord Levy] and he said he’s very worried because one of his friends, who is Jewish, had come to him and said the election of Jeremy Corbyn is exactly the same to the rise in power of Adolf Hitler. So, frankly, there has been an attempt to smear Jeremy Corbyn, and his associates, as antisemitic from the moment he became leader. But the simple fact is we have the right to criticise what is one of the most brutal regimes that’s going in the way it treats its Palestinians.