Monthly Archives: September 2010

Into the Woods

A while back I posted some music by Josh Woods, a musical project called Ears in the Wall.(it’s some good stuff and I highly recommend you check it out.) He has a new musical project with Austin Wood and it’s out there somewhere between lofi, house, noise, idm, techno, and experimental music.

Their first release is pretty much crazy as fuuuuck. It’s like a nightmare sequence during a kids movie, dark yet euphoric. The dance/electronic grooves keep the tracks moving while the noisy more experimental aspects of the songs put it in it’s own category of dopeness.

Their second track entitled Haunted Forest Dance is more of a straight ahead techno jam. It has elements of noise/ambient music and a little bit of minimal techno glimmers but it’s a four on the floor dance party starter. That’s all you need to know!

The dudes might make an appearance on Fool’s Paradise Radio soon. Stay tuned for updates.

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El Guincho – Pop Negro

And now….the return of El Guincho! He’s back with a follow-up to 2008’s amazing Alegranza and he’s taking a step away from old record samples and venturing into electronic drum kits and radio-friendly hooks. Yet he still maintains that jolly Tropical Pop feel while expanding his bag of tricks on Pop Negro. “Bombay”(which is the first single) sets the stage for the rest of the album, by throwing us into a wash of hand claps and vibes. And “FM Tan Sexy” is the jam to put on as the sun is coming up. El Guincho delivers yet again…


01 – Bombay
02 – Novias
03 – Ghetto Facil
04 – Soca Del Eclipse
05 – Lycra Mistral
06 – FM Tan Sexy
07 – Muerte Midi
08 – (Chica-Oh) Drims
09 – Danza Invinto

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Artist to know: Dysneyland

Just a bedroom project from some dudes in the UK that wrote a number of songs, picked a band name, and made a myspace in mid August. Luckily for them they have already got some attention in the blogosphere. Lofi pop goodness with slight dash of psychedelia. Reverb’d vocals, joy division-esque bass lines, and upbeat drum arrangements.

I heard Dirty White on dontdiewondering and Walking Wounded on their myspace….

but was surprised to find Bearing Gifts in my inbox. The track is a brilliantly crafted pop tune, it’s like a sunny day during winter time. I dig it.

Oh yeah they love Insecticide and Fun Time by Iggy Pop.

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Tarnac 9 & the coming insurrection

The Tarnac 9 are the organization that wrote The Coming Insurrection. A ground breaking book on you guessed it…the coming insurrection!

They are a seemingly mellow group who moved to a small village in France to live frugally, who fostered community and shunned capitalism as an AdBusters article stated. 300+ young people moved from an upper middle class lifestyle to the poor village of Tarnac, in hopes to get a way from a capitalist, socially unjust world.

The group lived a simple life and collectively ran a mobile delivery service, a restaurant, a cinema club and an informal library. They spent time creating community and worked on changing the world on a local level.

After their book was published and translated to over 30 languages they have become a target for the conservative right figures like Glen Beck and also the capitalist institution as a whole. They where charged with terrorism for their extreme views.

Here is what Wikipedia had to say about their book:

The book is divided into two parts. The first attempts a complete diagnosis of the totality of modern capitalist civilization, moving through what the Invisible Committee identify as the “seven circles” of alienation: “self, social relations, work, the economy, urbanity, the environment, and to close civilization”.[2] The latter part of the book begins to offer a prescription for revolutionary struggle based on the formation of communes, or affinity group-style units, in an underground network that will build its forces outside of mainstream politics, and attack in moments of crisis – political, social, environmental – to push towards anti-capitalist revolution. The insurrection envisioned by the Invisible Committee will revolve around “the local appropriation of power by the people, of the physical blocking of the economy and of the annihilation of police forces”.[3]

The book points to the late 2000s financial crisis, and environmental degradation as symptoms of capitalism’s decline. Also discussed are the Argentine economic crisis (1999-2002) and the piquetero movement which emerged from it, the 2005 riots and 2006 student protests in France, the 2006 Oaxaca protests and the grassroots relief work in New Orleans after Hurricane Katrina as examples of breakdown in the modern social order which can give rise to partial insurrectionary situations.

You can read the text in it’s entirety here, please spread the word.

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Gold Panda – Lucky Shiner

Finally….the debut album from Gold Panda has arrived! He has teased us with little taste of his monster mash production skills with his wonderful EP’s (“Quitter’s Raga” and “You”). He hails from Essex, United Kingdom and has been roaming the blogosphere for a little over a year now dishin’ out remixes and slappin originals with his own upbeat vision of minimal electronics. Recorded at his grandparents house over the holiday season, “Lucky Shiner” proves that Gold Panda is here to stay…get it while it’s hott!


01 You
02 Vanilla Minus
03 Parents
04 Same Dream China
05 Snow & Taxis
06 Before We Talked
07 Marriage
08 I’m With You But I’m Lonely
09 After We Talked
10 India Lately
11 You
12 Greek Style
13 Casio Daisy
14 Rush Job

Preview two of the tracks below…..

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Walsh // Smoke Weed About It

Somewhere between dark synth pop, blissful chillwave, hip hop(?), and some electro inspired elements create a sonically beautiful ep. A driving home late album…Umm, after a little too many hits off the blunt. The guest Emcee wasn’t too annoying either, his flows are cocky but well spit. The other vocalist he has on the album I could do with out, but oh well. Walsh is from Beverly, Tennessee out of all places. I found this album off of the No Modest Bear blog check em out if you haven’t by now, the dudes who run it got good taste.


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The Parlour Suite // Welcome to the Garden Party ep

The Parlour Suite is a husband and wife duo residing in Lake Minnetonka a city 15 miles west of Minneapolis. The lovely couple where nice enough to send a copy of their latest ep which was self released in April. TPS create charming pop jewels and sappy love songs, reminiscent of a more innocent era. Here are a pair of songs from Welcome to the Garden Party.

The Goldenhand is a tale of love, a summery song that will leave you tapping your toe and take you to your happy place. The moving bass line and percussive noises round out the track to create a marvelous time.

Up from Underground isn’t a summery jam but still does the job. I can picture myself burning this song on a mix cd for a cute barista at a neighborhood cafe. Bells and whistling are nice addition to mellow song.

Check out their Myspace.

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Marco Ferreri’s “Dillinger Is Dead”

Excerpts from “Apocalypse Now” essay by Michael Joshua Rowin and April 1969 issue of Ombre rosse magazine

Where Marco Ferreri’s earlier films contained straightforward, if transgressive, allegories about characters with clearly defined goals, in a world recognizable according to the standards of cinematic realism. Dillinger Is Dead throws narrative, psychological, and symbolic common sense out the window. Dillinger‘s trajectory may seem simple – a gas mask designer played Michel Piccoli (Glauco, although his name appears only in the script) returns home after work, cooks himself dinner, discovers a gun he believes belongs to Dillinger, seduces the maid, and shoots his wife in the head – but the refusal of clear-cut logic, its contradictory symbols, and its moral ambiguity open it to endless interpretation. (Even this new approach would not be radical enough for Ferreri, however: in the late sixties and early seventies, he helped produce hard-core leftist films by Glauber Rocha, and Jean-Luc Godard and Jean-Pierre Gorin’s Dziga Vertov Group, and, forever dissatisfied with the ability of cinema to make a social impact, he would later lament that Dillinger was too easily recuperated by the mainstream.)

April 1969, Ombre rosse
Interview by Goffredo Fofi and Ruggero Savinio

Critics have praised Dillinger Is Dead for its rigor and coherence, for the fact that there is no lapses in it.

It was easier to achieve that in the case of Dillinger than in my other films. But I should say that this sort of praise strikes me as ambiguous at best. The film owes its unity to the subject matter itself and to a set of technical choices: there is very little dialogue, for example, and that absence makes the sounds essential. Things like that.

Most of the objects and machines the protagonist avails himself of have a clear meaning. Still, we would like you to tell us something about his screening of the home movie of the hands. Could you talk about that, and also say something about the specific function of the TV clips, the underground film, and the cameo appearance of Italian film historian Adriano Apra?

The hands? It is a fetish of mine. It is also, and more to the point, an important aspect in the characterization of the protagonist: his hands, you will notice, are always busy, always manipulating something, doing things. This busyness is the exaggeration of an obsessive tic. The home movies gives this tic the chance to lead a life of its own, independent of the life of the main character. As for the TV clips, the basic ideas was to show the uselessness of language, of words that try to frame ideas by circling around them without ever getting to the heart of the matter. This is another exaggerated tic. The aim is to point up the vacuity of so much spoken language.

Do you believe that it is possible, working within a system, to make films that pull the rug out from under it and throw it into crisis?

Cinematographic channels are capable of absorbing everything. The operations required to throw the system into crisis are external to films themselves. In other words, it is not a matter of making a certain type of cinema as opposed to some other type. It would be good to break up certain organizations, form new groups…The value of the work ends up depending on factors that are extrinsic to the film, instead of intrinsic to it. The channels are the usual, age-old ones, and we are always working on unsteady ground. Cinema as an antialienation weapon – there you have a theme that has not yet received serious consideration. Dillinger might be useful to twenty people…But I make a film that will be seen and appreciated by the thousand people I probably hate the most. I mean all those characters who make up the so-called cultural world: people who haunt art galleries and art-house cinemas. A clan of the most hateful people around, or who I, at any rate, find least congenial…That’s why I want my next film to resemble my older ones. I want it to be much more provocative. I want to make a film in truly bad taste! I am not sure this is the right way to go; probably even this won’t have the desired effect. Some days ago, I saw a Cuban film called Las aventuras de Juan Quin Quin [by Julio Garcia Espinosa], and I think there is a lot we can learn from it. The film is a lesson to the public, and what is interesting is that the tone in which this message is delivered is just right: the language is such that it satisfies the public, who can relate to it, and the director as well, who can remain interested in it. The film manages to demythologize a Western hero by showing how to steal rifles and things like that. It does so in the best way: getting the public to think while being entertained.

What is the audience you make films for?

What audience? Well, that is a question one cannot afford to ignore, and one that comes up with increasing urgency in our day and age: step by step, we move forward…A film is useful if it serves some political purpose. Dillinger Is Dead is no use at all, since all it does is please the cultural ghetto. And who cares about that? Even provocation is no use anymore, for it, too, is immediately digested, along with everything else What is missing today, I think, is the impulse to render the audience, and the public in general, active. But how are we to do that? Maybe things were better-actually, things were better-at the very start, during the time of Méliès, the time of the fair booths, when, by means of the fair booths, thousands of new ideas reached the masses. We have to think seriously about the people who go to the movies, and about their money. If only it were possible to go back to the fair booth! Think about the worker who leaves his or her job dead tired at the end of the day: Why should we make him or her work yet another two hours? To please ourselves? Do we want to give this audience – we who are always working within the system, by the way – films that succeed only in pushing them aside, since it is never clear to them what the films are saying, what sense they make, and what use can they have? If this is what we are doing, then we are also robbing the workers in our turn. Obviously, it is a matter of language. Let’s take you as an example. You guys represent the politicized film buffs of Ombre rosse, a publication that is supposed to be offering the public something new. Why, then, don’t you stop using the aristocratic and technical vocabulary that tends to grace the pages of this publication and takes as you model Don Milani’s best-selling Letter to a Teacher instead?

Do you believe in the utility of an art-house circuit that would serve as a kind of countercircuit?

To do what? To screen what? In the case of Dillinger, of course, I asked the distributors to release it as quickly as possible after the premieres, in small theaters – the ones that already work a bit like a pre-art-house network. But it doesn’t matter so much. On the contrary, what exactly would be shown in this countercircuit? Films meant to educate the public in the same old paternalistic way? People are conditioned to see certain things. But maybe we ourselves are wrong. A countercircuit that includes Ponzi, Orsini, Amico, the Taviani brothers, Pasolini, Bertolucci, myself…what sort of unity would that be? What sense would that make? This countercicuit you mention is, after all, only another fruit of the same system. Soon enough, this countercircuit will become very fashionable; theater owners will notice that it is a profitable business and they’ll jump on it. This has already happened in Paris…Auteur cinema, they call it. And this auteur cinema is, precisely, an overly personal cinema. Take Orsini’s The Damned of the Earth: it is a political film, yes, but it is too difficult, too personal; the original Frantz Fanon text is quite complicated already, so try to figure out what the film will look like (I confess I haven’t seen it yet). A countercircuit certainly promotes a change of scene, and it does hold out the possibility of seeing something decent. But let’s not fool ourselves. This countercircuit is entirely integrated with the main one. There is nothing to do about that. Maybe we should do what Rossellini did in turning to television, since Rossellini, I hate to say it, is the only one who seems really to have understood a few things. The Taking of Power of Louis XIV is an important film, as important as Rossellini’s opinion on didactic cinema.

Why, then, do you keep making films “within the system”?

Right, why continue? We need to find formulas that are more popular. Are we right to provoke? Is that really called for? My ideas here are a bit confused, I am sure, but not so confused that I fail to notice that the cinema we make is useless. In situations such as ours, every form of discourse becomes personal. As such, these forms of discourse are completely ineffective, for honest and dishonest people alike. I am totally useless, and so are you. Not least because we’re missing a common political discourse to which we can refer…As for students, they cannot, with all their defects, be all that useful. This does not mean that a director should not try to break through his or her isolation and establish a common discourse. And I don’t mean by that the specialized discourse offered by morons like those aficionados of the Cinémathèque Française. That stuff is ridiculous, and incoherent to boot. Take their former passion for Hollywood films – why do they forsake it now? They are always moving to the “new” thing, but they fail to see that their discourse is always behind the times.

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John Luther Adams // the light that fills the world

Now that school is starting back up I figured it would be appropriate to offer up some music to study to. The light that fills the world is a triumphant 3 song piece that will calm the most chaotic day and more importantly help get the creative juices flowing. The 3 songs are mostly soft percussive pieces with atmospheric sounds.

John Luther Adams is a beast, living in a 16’x24′ cabin in the middle of Alaska creating absolutely beautiful environments and being fully inspired by the Alaskan Landscape.

The Light That Fills the World
The Farthest Place
The Immeasurable Space of Tones


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Secret Colors – Dreamersss

Alright Secret Colors….keeping that lo-fi ambient cassette ball rolling. Hazy ambient landscapes drawn with with honey drenched guitars and keyboards along with slo-mo beats that drift perfectly in and out of the mix. Exploring similar musical terrain as Lay Bac, Dolphins Into the Future, and Ducktails. Bringing you that joyful noise that stimulates those beautifully nostalgic synapses in your brain. If you like what your hear, head over to Secret Colors MYSPACE to hear more. Do yourself a favor and let in the ambient goodness into your rotation, it’s good for ya.


1. Hammock Vibe
2. Beach House
3. Drifting
4. Boardwalk
5. Eyelid Paintings
6. Dusk
7. Things Got Heavy
8. Spliff Ceremony

And on a random sidenote….Gaspar Noe’s new film Enter the Void…i think so

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