Monthly Archives: June 2010

Guest Mix #17 // Growing

For our 17th go-around we have got a special treat from Joe D. of GROWING. He’s brought together a wonderful bag of gems that will liven up any heavy afternoon buzz. Genre hopping through obscure classics and changing up tempos at the perfect spots, Joe D. creates 75mins of dee-lite. Where the hell else are you going to hear Eric Copeland, Gram Parsons, Gangsta Boo, and crazy Soviet acapellas all on the same mix?…..yeah that’s what i thought. Eclectic goldmine filled with satisfaction.

And in GROWING news, they released an LP (“PUMPS”) a few of months back on Vice Records. The record is another fantastic release from the Brooklyn based trio and showcased the bands ability to expand their sound palette even further. Also they are playing a show with Wolf Eyes and Black Dice at Secret Project Robot in Brooklyn, NY on July 7th and they will be making an appearance at All Tomorrow’s Parties later this year. Anyhow get your hands on the guest mix…and buy the “PUMPS” LP HERE.


NOW BE THANKFUL – Fairport Convention
BY AIR – Labani Kalunga & Fikshala Band
COUNTRY BOY – Heptones
SLOMO – Chris Carter
MEA CULPA – Byrne & Eno
JEAN IS DEAD – Descendents
NWAMPFUNDLA – Tshe-Tsha Boys
TIMEWARP – Eddy Grant
BIT PART IN A BAD MOVIE – Born Against live at Gilman St.
ANYWAY – Luke Roberts
GEORGIAN SONG – Musics from the Soviet Union
MUNAYE – Mulatu Astatke
FLYIN’ SHOES – Townes van Zandt
LET THEM DIE – Smoking Popes
ENFA ODO NDI AGORO – J.A Adolfo and the City Boys
SCONES AND BULL – Eric Copeland

Also…check out some GROWING below…
A vignette for “Drone Burger” off their latest album PUMPS

Here’s a video for “Reconstruction” that Joe D. put together himself

Tagged ,

People Like Us & Wobbly – Music For The Fire

We have hyped the film skills of People Like Us before but this time around….the musical skills will be seen. In addition to producing amazing “recycled” video installations, People Like Us dabble in the art of sound collage bringing together a plethora of vintage sound bites. To my understanding the sample technique is referred to as “plunderphonics” which is where random samples are weaved together to create a whole new audio experience….kinda like what the Books do. Smart, but not too smart where it’s not smooth and enjoyable, these jams have definitely got it going on.

Here’s what PLU said about the album on their WEBSITE:
Strangely direct and evocative for an album assembled entirely from a patchwork of disparate sources and music both obscure and over-familiar, Music For The Fire comes with an illustrated lyric sheet which reproduces the countless sampled voices as a single if utterly schizophrenic text — a bedtime story that is wildly inappropriate for actual children. No reliable narrators, just the familiar and absurd, which on different spins of the disc might strike you as either maudlin, poignant or almost painfully hilarious. There is a way out of the maze, but it’s up to you to find it.


1. Fiction
2. Naked Little Girl
3. Sheep Laid Out To Dry
4. Partner
5. Okay
6. Giant Love Ball
7. Goodbye
8. Woman
9. Female Convict
10. Pick Up
11. Everyone Along
12. Hello
13. A New Baby
14. Fertile
15. Bad News
16. Understanding You
17. Pain

Tagged ,

Sweet Bulbs // Eyes Feathers

Honestly, there is never too much infectious pop music with female vocals. With that said…this up and coming Brooklyn quartet recently finished their debut album which will most likely be released by BlackBurn records. Recently, I stumbled upon a track of theirs called Springstung and instantly wanted more. I contacted the band and they sent me the album version of their first song, Eyes Feathers. yeeYEE!


Link: EyesFeathers

Check out their myspace to hear the original recording of this track and a couple more crunchy treats!

Tagged , , ,

Uh-Oh: Hurricane Season and the BP Oil Rig Disaster

Upon reading this article in May, I figured more people would talk about this, it didn’t happen. So hurricane season is upon us and now we have to wait and see what happens. This article being a month old still has some relevance. I wouldn’t feel right if I didn’t do my part and post this for the daily visitors to this blog to read.

By David Lindorff

One thing you don’t hear much mention of in all the coverage of the BP oil rig blowout that is now pouring 210,000 gallons of oil a day into the Gulf of Mexico, just a few dozen miles off the coast of Louisiana, is the 2010 hurricane season, which officially starts on June 1, but which can start significantly earlier.

This is, after all, an El Nino year, so storms could be more frequent and stronger than usual. In 2007, recall, the first storm of the season was Tropical Storm Andrea, which reached a size strong enough to merit a name on May 7.

Why does this matter? Because any attempt to use booms or chemicals keep the oil away from the Gulf Coast would be completely impossible in the event of a major storm entering the Gulf. The combination of high winds, storm surges and high waves would push the oil slick way inland up the bayous and onto the shelter islands that protect 40 percent of America’s wetlands.

It could do worse, too. The strong winds in hurricanes, sweeping across the surging waves they have created, suck up a considerable amount of surface water and blow it inland. This time, however, those winds could also end up picking up a considerable amount of the oil slick floating on the sea’s surface, which would be deposited as rain well inland, damaging croplands and forests, too.

Meanwhile, NASA and government scientists are warning that the well could end up turning into a gusher, releasing as much as 2 million gallons of oil a day into the Gulf – ten times the amount currently coming out of the broken well.

Why isn’t anybody talking about this hurricane issue? A Google search for the words “hurricane season” and “BP Oil leak” turned up lots of references to the “devastation of Hurricane Katrina,” but there is nary an article in a major news story about what effect this year’s hurricanes might have on the clean-up effort from what is likely to be a bigger oil disaster than the Exxon Valdez spill in Alaska.

So far, it’s looking increasingly likely that there will be no quick shutdown of the blown-out BP well, meaning that it could keep spewing out its contents into the Gulf, probably at an increasing rate, for several months. That would put it well into the middle of this year’s hurricane season, making it almost certain that at least one hurricane or tropical storm will pass right over the area and push that giant oil slick ashore.

And that’s not to mention what effect an untimely hurricane might have on any attempts to shut down the well. The most likely strategy is drilling several new wells that could both relieve the pressure on the current well, and also that could be used to pump mud or concrete or some other heavy, thick compound into the leaking well to try and stop it up. A major hurricane could wreak havoc with the new drilling rigs, particularly if only smaller ones are available for the job on short notice. A hurricane could also thwart efforts to drop a large tent over the leaking well – another scheme that is being contemplated, that would presumably funnel the rising crude oil into pipes that could deliver it to tankers for removal.

So far, all the talk has been about the urgency of getting booms in place to keep the oil slick from coming ashore, which it is starting to do now. But the real urgency should be to try to shut the thing down securely before the first hurricane hits, and to get as much of the already floating oil either chemically treated, burned off or skimmed before that hurricane arrives and blows it all ashore.

If you want a real disaster scenario, imagine this: a big hurricane – say Category 4 or 5 – enters the Gulf and heads straight for New Orleans again, and blows out the levees again. Last time, there was a fairly toxic stew of water covering much of the city. This time it would be water mixed with millions of gallons of crude oil.

The Katrina disaster would look like a picnic by comparison.

Hmmmm. No wonder neither BP nor the government are talking about hurricanes.


Tagged , , ,

Sonido Martines

The afternoons are getting hotter and hotter and it’s becoming the perfect time to bring out the cumbia. And Sonido Martines’ mix Sonambulo Orientalista…perfect 20minute cumbia joyride. It’s a vinyl mix of straight Amazonian cumbia from the old days. The psychedelic era brought the demand for amplified instruments and that mixed in with folk traditions helped create some electrifying sounds. This mix is like a window into the golden age of cumbia. And if you like this, be sure to check out the Roots of Chicha compilation.

Here’s what it says about him on his MYSPACE:
SONIDO MARTINES is South America’s finest cumbia selector & tropical crate-digger. In his mixes cumbia rubs up against chicha, vallenato, dancehall, and hiphop, as well as latin urban beats from all over. He’s a tireless record-digger and a sought-after remixer, known for turning classic (& obscure) cumbias into dancefloor bangers. He based in La Paz, Bolivia, but travels travels widely around South America looking for records and DJing, especially in Lima (Peru), Bogota (Colombia), and Buenos Aires (Argentina).

Check out the El Sonambulo Orientalista mix

And here is a remix with Fefe he did of a classic by Los Destellos….

Tagged , , ,

Women – Public Strain

Fresh of the presses…..the new Women album has found its way on the the interweb and let’s just say that these Canadian natives have done it again. The new album shows them expanding their sound to more melodic pop plateaux. To me it sounds like they have been diggin on a lot of New York bands; a cup of Sonic Youth, a dash of Velvet Underground, and a smidge of Grizzly Bear. And like on their debut, these guys come through with some fascinating instrumentation. This one will definitely make the list of 2010 greatness.

Preview 3 of the tracks below…

Heat Distraction
(This one’s for those all-nighters in Gotham City)

(Pop perfection)

Venice Lockjaw

(Hit the lights and take it down a notch)

The LP comes out on August 23 on Jagjaguwar, so be sure to pick it up.

Tagged ,

C’mon and Dance Too

A gem of a compilation of 60’s Norther Soul and Doo-Wop. Are you a fan of the Eccentric Soul series…then you will eat this one up all the same. “I Gotta Know” by The Tonnettes is one the smoothest soul creations ever, and Lou Pride…guy gets crazy like Otis Redding. This compilation piles together 28 jams that will get those asses on the dancefloor. Perfect with whiskey, hot summer afternoons, and rooftops.


1. Lou Pride / I’m Comun’ Home In The Morn’un (3:00)
2. E.rodney Jones / R&b Time, Pt. 1 (2:38)
3. Norma Jenkins / The Airplane Song (2:35)
4. Judy Hughes / Fine, Fine, Fine (2:11)
5. Louise Louis / Wee Oo I’ll Let It Be Your Babe (3:00)
6. Flirtations / Stronger Than Her Love (2:51)
7. Eddie Parker / Love You Baby (2:50)
8. Helen Ferguson / My Terms (3:00)
9. Tonnettes / I Gotta Know (1:40)
10. Sunlovers / You’ll Never Make The Grade (2:31)
11. Martells / Where Can My Baby Be (2:46)
12. Joan Moody / We Must Be Doing Something Right (2:35)
13. Shirley J Scott / Goose Pimples (2:49)
14. Millionaires / You’ve Got To Love Your Baby (2:12)
15. Boss Four / Walkin By (2:25)
16. Contenders / You Gotta Do What You Gotta Do (2:15)
17. John & The Weirdest / Can’t Get Over These Memories (1:55)
18. Gene Anderson / Baby I Dig You (2:33)
19. Gene Woodbury / Ever Again (2:28)
20. Magicians / Is It All Gone (2:58)
21. Tamala Lewis / You Won’t Say Nothing (2:24)
22. Spencer Wiggins / We’ve Got A Love That’s Out Of Sight (2:13)
23. Yvonne Baker / I Can’t Change (2:19)
24. Gloria Taylor / Poor Unfortunate Me (2:20)
25. Fabulous Jades / Come On & Live (2:33)
26. Casanova Two / We Got To Keep On (2:40)
27. Madeline Wilson / Dial L For Lonely (2:14)
28. Dave Love / Colalined Baby (2:58)

Get it!

Tagged ,

Krzysztof Kieślowski’s escape from documentaries

Universality is not the neutral container of particular formations, their common measure, the passive (back)ground on which the particulars fight their battles, but this battle itself, the struggle leading from one particular formation to another. Take Krzysztof Kieślowski’s passage from documentary to fiction cinema: we do not simply have two species of cinema, documentary and fiction; fiction emerges out of the inherent limitation of the documentary. Kieślowski’s starting point was shared with all the cineastes in the Socialist countries: the conspicuous gap between the drab social reality and the bright, optimistic image which pervaded the heavily censored official media. The first reaction to the fact that, in Poland, social reality was “unrepresented,” as Kieślowski put it, was, of course, the move toward a more adequate representation of real life in all its drabness and ambiguity – in short, an authentic documentary approach:

“There was a necessity, a need – which was very exciting for us – to describe to the world. The Communist world had described how it should be and not how it really was…If Something hasn’t been described, then it doesn’t officially exist. So that if we start describing it, we bring it to life.”

I need only mention Hospital, Kieślowski’s 1976 documentary, in which the camera follows orthopedic surgeons on a 32-hour shift. Instruments fall apart in their hands, the electric current keeps breaking, there are shortages of the most basic materials, but the doctors persevere hour after hour, and with humor…Then, however, the obverse experience set in, best captured by the slogan used recently to publicize a Hollywood movie: “It’s so real, it must be fiction!” – at the most radical level, one can portray the Real of subjective experience only in the guise of a fiction. Toward the end of the documentary First Love (1974), in which the camera follows a young unmarried couple during the girl’s pregnancy, through their wedding, and the delivery of the baby, the father is shown holding the newborn baby in his arms and crying – Kieślowski reacted to the obscenity of such unwarranted probing into the other’s intimacy with the “fright of real tears.” His decision to move documentaries to fiction films was thus, at its most radical, an ethical one:

“Not everything can be described. That’s the documentary’s great problem. It catches itself as if in its own trap…If I’m making a film about love, I can’t go into a bedroom if real people are making love there…I noticed, when making documentaries, that the closer I wanted to get to an individual, the more objects which interested me shut themselves off.
That’s probably why I changed to features. There’s no problem there. I need a couple to make love in bed, that’s fine. Of course, it might be difficult to find an actress who’s willing to take off her bra, but then you just find one who is…I can even buy some glycerine, put some drops in her eyes and the actress will cry. I manged to photograph some real tears several times. It’s something completely different. But now I’ve got glycerine. I’m frightened of real tears. In fact, I don’t even know whether I’ve got the right to photograph them. At such times I feel like somebody who’s found himself in a realm which is, in fact, out of bounds. That’s the main reason why I escaped from documentaries.”

The crucial intermediary in this passage from documentary to fiction is Camera Buff (1979), the portrait of a man who, because of his passion for the camera, loses his wife, child, and job – a fiction film about a documentary filmmaker. So there is a domain of fantasmatic intimacy which is marked by a “No trespassers!” sign and should be approached only via fiction, if one is to avoid pornographic obscenity. This is why the French Veronique in The Double Life of Veronique rejects the puppeteer: he wants to penetrate her too much, which is why, toward the end, after he tells her the story of her double life, she is deeply hurt and escapes her father. “Concrete universality” is a name for this process through which fiction explodes documentary from within – for the way the emergence of fiction cinema resolves the inherent deadlock of documentary cinema. (Or, in philosophy, the point is not to conceive eternity as opposed to temporality, but eternity as it emerges from within our temporal experience – or, in an even more radical way, as Schelling did it, to conceive time itself as a subspecies of eternity, as the resolution of a deadlock of eternity.)
—excerpt from “The Parallax View” by Slavoj Žižek with quotes from Kieślowski

Tagged ,

Lagos Disco Inferno

One of the highlights from the neverending series of African funk/disco/rock compilations that have been making their way to the surface over the past few years. Lagos Disco Inferno will get you going like a dancing machine. Disco was worldwide in the 70’s and Lagos must have been on fire with these artists hanging around. It’s been fantastic to see the recent dedication to rediscovering lost classics….hats off to those who seek out good music. I like it

Here’s what Dusted Reviews had to say about the comp:
Lagos Disco Inferno is a triumph of a comp, assembling a wide range of disco and boogie sounds from a moment of riotously creative activity. The liner notes paint a picture of a post-war party of unprecedented proportions, “the era of sheer ecstasy,” and the music attests to as much. Here, disco is not the shiny, goofy crap that spawned “Disco Sucks” t-shirts and novelty records, but instead a wide-open canvas for profound body connections, a forum where dancing takes on near-transcendental qualities, where partying isn’t a distraction but a full affirmation of the deepest communal joys


Boogie Trip – Doris Ebong
African Hustle – Geraldo Pino
Bad City Girl – Grotto
Don’t Put Me Down – Pogo Ltd
Everybody Get Down – Asiko Rock Group
Boogie Train – Paradise Stars
Rover Man – Emma Dorgu
Boredom Pain – MFB
Take Life Easy – Christy Essien
Dancing Machine – Tirogo
Root – BLO
Hang On – Nana Love

Tagged ,

Guest Mix 16 // Spectrals

In case you weren’t aware of who has been creating those wonderful melodies that have been emanating from Leeds this past year…’s Spectrals. Channeling 60’s era garage/surf rock, Spectrals produce perfected timeless pop. And Louis (man behind the curtain) was cool enough to get some of his favorite jams together for us to nibble on. Doo-wop, Jazz Standards, UK garage pop are just some of the genres swimming around the mix which gives us a keen sense of where Spectrals inspirations come from. Martin Scorsese should hire Louis to pick the music for his next gangster film, “Sonny Boy” and “Is It Asking Too Much” could have totally been in Mean Streets. Another essential mix…


1. You’re Gonna Hear From Me – Scott Walker.
2. Sonny Boy – The Berets.
3. Another Girl – Comet Gain.
4. Don’t Sing Love Songs – The Caravelles.
5. Spell Bound – The Twilighters.
6. I Don’t Need Your Love – Skrewdriver.
7. Oh, How To Do Now – The Monks.
8. Is It Asking Too Much – Jerry Vale.
9. Cheque Book – Dr. Feelgood.
10. Baud To Tears – The Verlaines.

Don’t forget, Spectrals have a 7″ coming soon on Slumberland Records and their full lenght LP “BAD PENNY” will drop later this year.

And just for kicks, listen to Spectrals do what they do below:
“Keep Your Magic Out Of My House”

“Leave Me Be”