Featuring footage from the original 1903 Alice In Wonderland silent film. (Audio from live gig @ The Captains Rest, Glasgow, 11/09/10). Edited together by Julian Dicken
The Cosmic Dead
Tuesday, December 13, 2011
Tuesday, October 11, 2011
Alan Parsons Project Eye In The Sky
Eye In The Sky
Still one of the best albums ever produced...
Mammagamma
The Contemporary Cowboy - Jazzman
What does the cowboy do at the metro station? He is playing his never ending song ... He's not one who´s get lost, like the clichee cowboy of our naive Hollywood fantasy, he is an urban man of our times, a contemporary cowboy. Just like the life of a cowboy is diverse and full of variations, the music of the 5th Ensemble Du Verre album isn't just based on one style, but it is a powerful statement about the urge to do your own thing, just like a cowboy, the man with "True Grit".
Tuesday, September 13, 2011
Stripes n Spokes ~ Tea With Audrey
Audrey
The Early Years
upward mobility
getting our legs
learning to dress
shades of black & white
mind expansion
everything stops for tea
Kashmir - Jimmy Page & Robert Plant HD (No Quarter 1994)
No Quarter: Jimmy Page and Robert Plant Unledded with the Egyptian Ensemble and the London Metropolitan Orchestra
Friday, August 26, 2011
Thursday, August 25, 2011
Monday, July 25, 2011
Amy Winehouse ~ Big Whiner..
Pretty little diva done dead and gone..
This is Amy, the blackest white girl singer since Dusty Springfield..
Amy does Rehab on the David Letterman Show
Now she's fading Back to Black...
farewell little darling!
Brooklyn Funk Essentials - Bellybuttons
Brooklyn Funk Essentials - I Got Cash
Brooklyn Funk Essentials - Istanbul Twilight
Essential Funk: Brooklyn Funk Essentials is a music collective who mix jazz, funk, and hip hop, featuring musicians and poets from different cultures. The band was conceived in 1993 by producer Arthur Baker and bassist and musical director Lati Kronlund. In the mid-1990s, the group became a staple of the New York City club scene. Their debut album Cool and Steady and Easy (1994) scored an underground hit with the rendition of Pharoah Sanders' "The Creator Has a Master Plan". The following album, In the Buzzbag (1998), included Turkish folk music rhythms and instruments, recorded in consortium with the Turkish clarinettist Hüsnü Şenlendirici. Further albums followed in 2000 and 2009 which more resembled their first offering.
Musicians involved in Brooklyn Funk Essentials' projects include:
- Hanifah Walidah (aka Sha-Key) (vocals)
- Joi Cardwell (vocals)
- Papa Dee (vocals)
- Everton Sylvester (vocals)
- Ipec Scnot (vocals)
- Stephanie McKay (vocals)
- Everton Sylvester (poets)
- Cengizhan Elibol (drums)
- David Allen (poets)
- Jazzy Nice (DJ)
- Yuka Honda (keyboard)
- Josh Roseman (trombone)
- Paul Shapiro (saxophone)
- Yancy Drew Lambert (vocals, drums)
- E.J. Rodriguez (percussion)
- Lati Kronlund (guitar, bass)
- Yıldıran Göz (oud)
- "Bassy" Bob Brockman (trumpet, flugelhorn)
- David Jensen (tenor saxophone)
- Iwan van Hetten (keyboard, trumpet)
Albums
- Watcha Playin (2009)
- Make Them Like It (2000)
- In the Buzzbag (1998)
- Cool and Steady and Easy (1994)
http://www.brooklynfunkessentialsmusic.com/
Saturday, July 16, 2011
I Fell in Love with a Dead Boy
Antony and the Johnsons
All the girls want to know who's the sweetest boy on death row..
Mouse on mouse - DoIT
Groovy kick on beat.. Beat that mouse !!
The Size of the Synth...
"We like to examine the structure of every single sound," says St Werner. "We spend a lot of time on this. And then, once you put these sounds into the song, you see another structure. You see the narrative, which is more arranged, more linear, more like a song with introduction and verses and chorus. All these parts, all these bits of narration, have many levels, and every sound itself has different frequency and dynamic characteristics and things. We like to see the core of a song, and in there are lots of different sounds. They're like a composition, and they have to work with each other and one has to lead to the next one. The story told in our music makes you willing to accept a lot of strange things.
"How we produce sounds is very intuitive, and the result of a long process. We may work a couple of weeks on a track, and put all sorts of things in, and the narration is changing, the structure is changing. It's an awareness of feeling... where the space in the track is, and how every time you add something, the space can become even larger. We follow this and watch it and the more we get into it, the more we see space here and another possibility there that can hint at another direction, and in certain places it can become very dense and in other places it can open up.
 The MOM processing arsenal includes the odd home-made speciality. |
"We want to create space, we want to shape space — we don't want to stuff the music. But often the more you throw into the track, the more the story, the personality of the track, becomes clear. Sometimes you have to be very strict, and decide that certain things should not happen. That's a constant game and it changes by how you feel on any particular day. But we feel there's so much space in music that we can do this. There's no other art form that has the space music has. Music for me is pure structure.
"A sound triggers emotions and references in your mind and it may be something that you don't fully understand, and there's a sound right next to it that you hear on another level. All these relationships become like a well-cooked dish. You can taste the ingredients separately, but all together they make something different. When you have all those different elements, you can't control it any more. It's so complex that it's playing with you as much as you play with the music. I like that, when music really invites you to see what you can do with it. And then you get to that feeling in the studio of producing something that feels very unique and very special to you, and that probably no-one else has made before."
Thursday, July 14, 2011
Two Books You Should Never Read
Rock 'n' Roll Babes from Outer Space...
What It Takes to Get to Vegas - Not.
Bring Me the Head of Alfredo Garcia (1974)
Fuck, Eat, Shit, No One Here Gets Out Alive
directed by Sam Peckinpah
starring Warren Oates, Isela Vega,
Robert Webber, Gig Young, Helmut Dantine
After being screwed in the ass by various producers and powers-that-were for thirteen-odd years, Sam Peckinpah simply made lubing up a part of his morning routine. So along comes producer Martin Baum, with the backing of United Artists, to give him free rein on the making of Bring Me the Head of Alfredo Garcia. And Peckinpah thanked them by squeezing out an utterly repulsive, rancid piece of shit that, pacing-wise, lurches on rubber legs like an accident victim in his first week of physical therapy, and displays shocking dips both in quality and in consistency of mise-en-scèneand lighting (at least in its first half). Bennie (Warren Oates) is an American dirtbag down in Old Mex, playing piano in a shithole dive behind a pair of shades and a fog of tequila breath. Critics said Oates was a mere character actor who wore the occasional lead role like an ill-fitting suit. Bennie might as well have expired at the midway point, and the rest of the film could simply be a dying man's fever dream of redemption as he withers away in the Mexican sun. It's what happens when Nixon's America infects the Mexican countryside with its greed and savagery and violence; when the modern world of corporate murder in three-piece suits blithely waves its suitcases full of dinero, its ladies-in-waiting and its Coca-Cola chairs in the face of a land where tenement shacks, beat-to-shit family cars and little boys who wipe the gringoes' windows for a couple of pesos define a way of life. Be it an endless war abroad or the gradual decaying of our ability to face ourselves in the mirror -- sooner or later, we all have to face the "merchandise" we've bought.Robert Webber, Gig Young, Helmut Dantine
Gloria Guida & Lilli Carati - TRIBUTO ( Avere Vent'anni )
What they wanted to know two girls experience , but not if it made nothing….SIN! Vittorio Caprioli Ray Lovelock Leopoldo Mastelloni Fernando Cerulli Daniel Vargas Vincenzo Crocitti Licinia Lentini George Serene Bracardi Well-born Daniela Doria
POSSESSION VENT' YEARS of Skilled swordsman - Fernando Di Leo (1978) sung from Gloria Guide film. The film has been one of the most censured and controversial from that era. Você tem um encontro com Gloria Guida e Lilli Carati na quarta-feira
NÃO PERCA A EXIBIÇÃO DO POLÊMICO “VINTE ANOS” (AVERE VENT’ANNI) DE FERNANDO DI LEO NA PRIMEIRA SESSÃO DO COMODORO REALIZADA EM 2010
Gloria Guida
Gloria Guida & Lilli Carati
Yoga - Encante
Music by Yoga from the Megafauna Album on Holy Mountain Records -
Video by Kevin DiTrapano - imsosorrydad.com
"alien soundtracks from cryptozoology documentaries played back as a black metal 78"
"Understand this: Yoga dispenses a sinister frailty of howling swellsin hissing static that combusts into crawling shock heaps, to the effectof Mayhem performing Twin Peaks incidentals in a prairie recordedby The KLF. A brief description casts them as black metal's answer to Throbbing Gristle. The texture-based rendering of their compositionssails them on a strange sea between song and sound effect as itbobs along the waves like a dead man s bottled message. Aspects ofGoblin rehearsals in dead hills is interrupted as Monster Zero carvesmountain sides with lightning breath. Oscillating leads pummel intochurning riffs as if Caledonia was performed in an echo chamber near Lodi, New Jersey. The extrinsic properties of this work may resultin disambiguation."
http://www.holymountain.com
Video by Kevin DiTrapano - imsosorrydad.com
"alien soundtracks from cryptozoology documentaries played back as a black metal 78"
"Understand this: Yoga dispenses a sinister frailty of howling swellsin hissing static that combusts into crawling shock heaps, to the effectof Mayhem performing Twin Peaks incidentals in a prairie recordedby The KLF. A brief description casts them as black metal's answer to Throbbing Gristle. The texture-based rendering of their compositionssails them on a strange sea between song and sound effect as itbobs along the waves like a dead man s bottled message. Aspects ofGoblin rehearsals in dead hills is interrupted as Monster Zero carvesmountain sides with lightning breath. Oscillating leads pummel intochurning riffs as if Caledonia was performed in an echo chamber near Lodi, New Jersey. The extrinsic properties of this work may resultin disambiguation."
http://www.holymountain.com
Joe D'Amato's Buio Omega set to the music of Special Feeling
Buio Omega (aka Buried Alive, Beyond The Darkness)
Tuesday, May 24, 2011
Damien Hirst Skull a Day Saturday June 4 2011
Damien Hirst Skull a Day Saturday June 4 2011
http://skulladay.blogspot.com
John LeKay also claimed Hirst had copied the idea of For the Love of God from LeKay's crystal skulls made in 1993, Spiritus Callidus and said, "I would like Damien to acknowledge that 'John really did inspire the skull and influenced my work a lot.' Copyright lawyer Paul Tackaberry reviewed images of LeKay's and Hirst's work and saw no basis for copyright infringement claims in a legal sense. LeKay, who claims to have been a friend of Hirst’s between 1992 and 1994, and who shared a mixed show with him in New York in 1994, said of the diamond skull: “When I heard he was doing it, I felt like I was being punched in the gut. When I saw the image online, I felt that a part of me was in the piece. I was a bit shocked.” LeKay, a 46-year-old Londoner who lives in New York, created 25 of the skulls in 1993. Inspired by Mayan skulls, he used crystal to make his skull glisten. “When the light hits it, it looks as if it is covered in diamonds,” he said. Over the years, he has explored the idea repeatedly, covering skulls made of soap and wax with artificial diamonds and Swarovski crystals.
http://en.wikipedia.org/wiki/Damien_Hirst
(DACS) demanding action be taken over works containing images of his skull sculpture For the Love of God made by a 16 year old graffiti artist, Cartrain, and sold on the internet gallery 100artworks.com. On the advice of his gallery, Cartrain handed over the artworks to DACS and forfeited the £200 he had made; he said, "I met Christian Zimmermann [from DACS] who told me Hirst personally ordered action on the matter." In June 2009, copyright lawyer Paul Tackaberry compared the two images and said, "This is fairly non-contentious legally. Ask yourself, what portion of the original–and not just the quantity but also the quality–appears in the new work? If a 'substantial portion' of the 'original' appears in the new work, then that's all you need for copyright infringement... Quantitatively about 80% of the skull is in the second image." Cartrain walked into Tate Britain in July 2009 and removed a pack of "very rare Faber Castell 1990 Mongol 482 series pencils" from Damien Hirst's pharmacy installation. Cartrain had then made a "fake" police appeal poster stating that the pencils had been "stolen" and that if anyone had any information they should call the police on the phone number advertised. Cartrain was arrested for £500,000 worth of theft. In 2007, artist John LeKay said he was a friend of Damien Hirst between 1992 and 1994 and had given him a "marked-up duplicate copy" of a Carolina Biological Supply Company catalogue, adding "You have no idea how much he got from this catalogue. The Cow Divided is on page 647 – it is a model of a cow divided down the centre, like his piece." This refers to Hirst’s work Mother and Child, Divided—a cow and calf cut in half and placed in formaldehyde. In 2010, in The Jackdaw, Charles Thomson said there were 15 cases where Hirst had plagiarised other work. Examples cited were Joseph Cornell who had created a similar piece to Hirst's Pharmacy in 1943; Lori Precious who had made stained-glass window effects from butterfly wings from 1994, a number of years before Hirst; and John LeKay who did a crucified sheep in 1987. Thomson said that Hirst's spin paintings and installation of a ball on a jet of air were not original, since similar pieces had been made in the 1960s. A spokesperson for Hirst said the article was "poor journalism" and that Hirst would be making a "comprehensive" rebuttal of the claims.
The 18th Century skull is entirely covered in 8,601 jewels, while new teeth were made for the artwork at a cost of £14m. The centrepiece of the 41-year-old's creation is a pear-shaped pink diamond, set in the skull's forehead. The £12m-worth of diamonds are said to be ethically sourced. Hirst said his piece, called For the Love of God, is "uplifting, takes your breath away". -- "It works much better than I imagined. I was slightly worried that we'd end up with an Ali G ring," he added. "You just want it to be flawless, like a diamond is a flawless. We wanted to put them everywhere," Hirst said of the skull. "They go underneath, inside the nose. Anywhere you can put diamonds, we've put diamonds. "I wouldn't mind if it happened to my skull after my death," he added. The artist said that he was inspired by an Aztec turquoise skull at the British Museum, and hopes that his work will eventually be displayed at the institution.
• For The Love of God, a platinum cast of an 18th century skull covered in 8,601 diamonds.
http://en.wikipedia.org/wiki/For_the_Love_of_God_(artwork)
• The Death of God, (2006). Household gloss on canvas, human skull, knife, coin and sea shells. This painting, which is a part of a group of others which were made in Mexico, are believed to be "the beginning of Hirst's Mexican period".• Alberge, Dalya. (27 June 2007). "My old friend Damien stole my skull idea", The Times. Retrieved 10 December 2007.
• Hirst unveils £50m diamond skull", BBC, 1 June 2007. Retrieved 1 June 2007.
http://news.bbc.co.uk/2/hi/entertainment/6712015.stm
http://skulladay.blogspot.com
http://en.wikipedia.org/wiki/Damien_Hirst
The 18th Century skull is entirely covered in 8,601 jewels, while new teeth were made for the artwork at a cost of £14m. The centrepiece of the 41-year-old's creation is a pear-shaped pink diamond, set in the skull's forehead. The £12m-worth of diamonds are said to be ethically sourced. Hirst said his piece, called For the Love of God, is "uplifting, takes your breath away". -- "It works much better than I imagined. I was slightly worried that we'd end up with an Ali G ring," he added. "You just want it to be flawless, like a diamond is a flawless. We wanted to put them everywhere," Hirst said of the skull. "They go underneath, inside the nose. Anywhere you can put diamonds, we've put diamonds. "I wouldn't mind if it happened to my skull after my death," he added. The artist said that he was inspired by an Aztec turquoise skull at the British Museum, and hopes that his work will eventually be displayed at the institution.
• For The Love of God, a platinum cast of an 18th century skull covered in 8,601 diamonds.
http://en.wikipedia.org/wiki/For_the_Love_of_God_(artwork)
• The Virgin Mother, a massive sculpture depicting a pregnant female human, with layers removed from one side to expose the fœtus, muscle and tissue layers, and skull underneath. This work was purchased by real estate magnate Aby Rosen for display on the plaza of one of his properties, the Lever House, in New York City.
http://www.wirednewyork.com/images/art/damien_hirst_virgin_mother.jpg
http://www.wirednewyork.com/images/art/damien_hirst_virgin_mother.jpg
• The Inescapable Truth, (2005). Glass, steel, dove, human skull and formaldehyde solution.
• The Death of God, (2006). Household gloss on canvas, human skull, knife, coin and sea shells. This painting, which is a part of a group of others which were made in Mexico, are believed to be "the beginning of Hirst's Mexican period".
• Hirst unveils £50m diamond skull", BBC, 1 June 2007. Retrieved 1 June 2007.
http://news.bbc.co.uk/2/hi/entertainment/6712015.stm
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