Monthly Archives: November 2010

Squadra Blanco – Night of the Illuminati

Mysterious dark disco gem!!! Try to find this one on vinyl….for less than 84 euros. This strange record from The Hauge (Holland) surfaced around 2006 and has been building a bigger and bigger following since the recent craving for all things “-Wave“. Squadra Blanco is another moniker of Danny Wolfers who also produces music under the name Legowelt whose sound is described as a “hybrid form of slam jack electronix combined with deep chicago trax, obscure & romantic ghetto technofunk, EuroHorror Soundtracks, Italo disco and such”. From the opening track on this record…’re hooked.


1. Night Of The Illuminati
2. Squadra Intrepido
3. The Dream That Doesnt Stop
4. Theme From The Forgotten Cable Car
5. The Night Must Fall
6. Berg Hotel
7. Purification The City Shall Burn Tonight
8. We Are The Illuminati

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Abel Ferrara’s “The Driller Killer”

A few days before Halloween, I stumbled across this classic slasher flick in it’s entirety on Youtube. It’s definitely on par with other grimy Abel Ferrara films like Bad Lieutenant and Ms. 45. It was filmed in 1979 and stars Abel Ferrara himself as the tortured artist turned driller killer maniac. It’s sort of like a demented take on Taxi Driver with way more music and sex. This movie is perfect for those rainy midnight slasher cravings. Enjoy…

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Chancha Via Circuito – Rio Arriba

Chancha Via Circuito’s new album, Rio Arriba, has been a Fool’s Paradise favorite for the past couple of months, so we thought it appropriate to share the goodness. The “cumbia digital” scene has been growing steadily for the past few years, and Chancha Via Circuito along with the rest of the ZZK crew from Buenos Aires have played a huge part in bringing this new form of cumbia to the masses. “Rio Arriba” is the second full length album from Chancha Via Circuito and shows him furthering the crisp clean organic sound production into an expansive midnight cumbia netherworld. “Rio Arriba” seems similar to an opiate induced sleepwalk through that movie Legend. Time for that 21st century cumbia….weeebeeee

Preview the whole album below. Or go HERE to make it yours.

Also don’t forget to check out the Chancha’s exquisite Los Pastores Mixtape he did for XLR8R earlier this year.

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Ghosts on Tape & Rollie Fingers – Buddy House Mix

Two of the Icee Hot residents teamed up and put together a gem of a mix. Speaking of Icee Hot Brenmar, who made a mix for us a while back which is our new featured post, is going to be at Icee Hot this Saturday and it’s free if you rsvp. Come out it should be a good time!

Check out this mix and see what will be in store for you on Saturday!

01. Iamthatiam – Vibrations & Harmonies 2
02. Teengirl Fantasy – Cheaters
03. The Mole People – Break Night
04. Hunee – Bobo
05. Bernard Badie – Time Reveals
06. Tebza M’remb’l – Supreme Attention (Gumzitos Homeground Advantage Mix)
07. Jono – Soldiers Of Zion
08. Tony Lionni – Out Of Sight
09. Recloose – Can’t Take It feat. Dwele
10. Anthony Shake Shakir – Assimilated (Falty DL Remix)
11. Bob Holroyd – African Drug (T Williams Keye Mix)
12. Soul Designer – The Soul Is Back (Luke Slater Remix)
13. Maddslinky – Lost On Tenori Street
14. T Williams – Heartbeat feat. Terri Walker (Mosca Remix)
15. Roy Davis Jr. – Gabrielle (Live Garage Mix)
16. Jacques Greene – The Look
17. Spencer Parker – You Got Me
18. Kim English – Nite Life (Sound Factory Mix)
19. Derrick May – Daymares, It Is What It Is
20. The Untouchables – Dance To The Rhythm
21. Lone – Reschooling
22. Martyn – Shook Up
23. Hieroglyphic Being – Fingerprints Of The Gods
24. A-J Scent – Da Posse (Jamie Anderson Remix)
25. Jules Wells – Impasse

TBD…remix, edit, remix

The hype of TBD started way back on Election Night 2008 when Justin Vandervolgen (Out Hud, !!!, and Golf Channel Recordings) and Lee Douglas (The Stallions) announced the formation of TBD live on Beats In Space radio. They were super drunk and totally hyped about their new project TBD while providing a killer DJ set on that podcast. And ever since they have been letting loose by releasing numerous Remixes & Edits on various labels such as Permanent Vacation, Internasjonal, and their own TBD Sounds label. And this past September saw the release their own 12inch “OH MY” on DFA records and it showcases the trademark TBD explosiveness that lurks in all of their other remixes & edits. Peep some their handiwork below:

Traks Boys – Yellow (TBD remix)

Populete – Mommy (TBD remix)

Cos / Mes – Gozmez Land (TBD remix)

Buy TBD records HERE.
Or go to TBD’s facebook page.

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Booze Wazi: an audio visual art party w/ guest dj Disco Shawn

If you had fun at last month’s edition of booze-wazi come and join us for another dose. That shit was crazy last month we had people dancing on tables, some random dude dropped his pants, and someone even broke one of the lamps. We turned radio bar in to a mad house.

Multi-Channel video projections will be provided by Gold Wave and the folks taking care of the live painting are Project Elefont artist Chris Granillo, Jonny Nagel, and Lorenzo Vasquez.

For the music side of things we are bringing DJ extraordinaire DISCO SHAWN to Oakland to make some of the selections for the night!

If you have been living under a rock and don’t know who Disco Shawn is he’s one of the men behind Bersa Discos, the label that pretty much brought experimental cumbias from Argentina to North America. Shawn’s a resident dj at two of San Fransisco’s dopest parties Tormenta Tropical and Icee Hot. Not to mention an ex- radio dj who was on KALX and Live105. Oh yeah and he’s an editor for Xlr8r as well.

The Resident Dj’s Bobby Peru and Eloi from fool’s paradise radio and Fatees the yole boy reppin’ gurp city/mega kut tapes will be in full force on Saturday.

So stop by and have a cheap drink and maybe dance a little.

9pm to last call.
Shot of Tequila and a Beer $5.
!!$2 well drinks w/ student id!!
Radio Bar, Downtown OAKLAND



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Nobuhiko Obayashi…and “HOUSE”

Excerpt from “The Housemaidens” by Chuck Stephens

A pioneering figure in the Japanese experimental film scene that sprang up at the end of the 1950s, Nobuhiko Obayashi (born in 1938) had begun making short Super 8 movies in 1956, and soon became closely associated with fellow cineastes Donald Richie Takahiko Iimura, with whom he would cofound the experimental film collective Film Independant in 1964. Obayashi’s 8 and 16 mm short films almost always centered on young women emotionally stranded between skipping rope and the skipping heartbeats of first love: sprightly and painstakingly pixilated visions of female longing, of adolescents forever distracting themselves from their imminent coming-of-age with quasi-carefree (and, under Obayashi’s percussively pianistic editing strategies, graphically dazling) games of hopscotch and hide-and-seek, at once bewitched and bewildered by the mostly peripheral (though, as in his 1966 masterpiece Emotion, often somewhat comically and ominously vampiric) men hovering in their midst. Today, Obayashi remembers mainly the impact that seeing the first films of the French New Wave, particularly Godard’s Breathless, had on his and his compatriots’ sensibilities, although on the evidence of as early an Obayashi film as 1960’s Dandanko, Canadian filmmaker Norman McLaren, who’d been similarly experimenting with hand-drawn and collage animation with live-action, often quirkily pixilated footage since the 1940’s, seems equally to have had his (perhaps secondhand) influence. Whatever his inspirations, Obayashi’s implementation of a variety of “handmade” filmmaking approaches (not unlike some of A Hard Day’s Night director Richard Lester’s pop art stylings) seemed custom designed for a certain strain of somewhat less than radical 1960s youth culture: his was a sensibility steeped in a romanticism far more Truffaut than Godard, and as politically and aesthetically muted when compared with contemporaries like Oshima as a Peter Max might seem in comparison with Robert Rauschenberg or Jasper Johns.

Obayashi spent nearly two years preparing the narrative and commercial particulars of his feature film debut, first concocting House‘s script from the collection of frights his preteen daughter suggested, then conspiring with the pop group Godiego (pronounced go-die-go, like the fourteenth-century Japanese emperor Go-Daigo) on the film’s assortment of pop ballads and searing synthesizer boogie, all in time for the soundtrack album to be releases well in advance of the film. Care was taken, too, to season the film with timely cultural touchstones: here an appearance by a Tora-san look-alike, there a ringer for actor Bunta Sugawara in his then popular Truck-yaro (Bastard Trucker) guise; there’s even a reference to Pure Hearts in Mud, the Momo-Tomo romance to be released as the surefire A feature to House‘s marketing gamble B. As for the myriad stylistic flourishes (faces that melt into the flame, a disembodied head hungrily nibbling on an unwary butt) that make Obayashi’s film so visually overwhelming, it was if the director had been preparing for them his entire experimental filmmaking and advertising careers. The story of a motherless teenage girl named Gorgeous who, disappointed by the imminent remarriage of her soundtrack composer father, precipitously cancels their planned summer vacation together and instead sets out with six of her schoolmates for a visit to her long-unseen maternal aunt’s house in the countryside…But who cares about the story! House is a film far more focused on the telling than the tale, haunted by more formalist freak-outs, sudden excursions into time-warping slow motion, and ludicrously lysergic, analog-age matte effects than any other twenty Japanese films released that or any other year.

The narrative, in its essence, is in fact a rather well-worn one in Japanese folklore and horror movie culture, familiar from such films as Kaneto Shindo’s kabuki-bound Black Cat and Nobuo Nakagawa’s lurid Ghost Cat Mansion. What makes Obayahi’s film so thoroughly extraordinary is twofold: first, the virtually limitless visual variations and sound design fever schemes (cocks crowing, babies wailing, piano glissandi and thunderous waves crashing on an unseen shore) with which he transforms the story’s traditional elements (which go beyond those bakemono/kaibyo components to include, among other things, various evocations of ukiyo-e illustration master Hokusai’s famous ghost-headed Oiwa lantern), to such a startling degree that Japanese audiences in the 1970s, as do audiences around the world today, found the film fresh and utterly new; and second, the obvious glee Obayashi takes in pushing the roricon (Lolita complex) richness of his subjects – a bevy of tender beauties, most of whom appear in increasing stages of undress as the film progresses – as he torments and terrorizes them. Not since the work of outsider artist Henry Darger, who ransacked children’s books to create epic collage tapestries depicting armies of oft-naked girl warriors in battle, have so many magnificently demented possibilities for simultaneously empowering, imperiling, and eroticizing pubescent young women been gathered so dazzlingly together in one place – and never at such a speed-demon pace!

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Elephant & Castle // Analouge ep

David Reep aka Elephant and Castle hailing from Oakland, Ca put out this EP in August. I completely slept on it until now. An euphoric psychedelic take on beat making with as much floating ambiance as there is neck breaking beats. Music for an early morning hike up a hill with a joint in your pocket to smoke when you get to the top.

take some time out of your day and listen to this..

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