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b/art's Playlist for Friday, 31 Maart (23:00 - 00:17)
RIP-Dury & Mayfield, Long Live WTM "His hope was a rope and he shoulda known" -- Curtis Mayfield | |
| Cut | Artist |
|---|---|
| The Wreck This Mess Straight Story Mix #.4.w21.t.99m | |
| Binghi (Brain Melter Mix) | Twilight Circus [1] |
| Valley Dub | Twilight Circus [2] |
| Mental / Slowed | Starfish Pool [3] |
| Deep [Excerpt / Exclusive] | Starfish Pool [1] |
| Hi | Curd Duca [4] |
| I Wanna Be Straight | Ian Dury [5] |
| Bliss #31 | Curd Duca [4] |
| Conduit 23 [Exclusive] | DJ Spooky [1] |
| (Don't Worry) If There's a Hell Below We're All Going To Go | Curtis |
| Mayfield [6] | |
| I Just Wanna Take Common Sense To High Places - WTM Jingle | |
| Schweb | Curd Duca [4] |
| Freddie's Dead | Curtis Mayfield [6] |
| Manc | Curd Duca [4] |
| Hit Me With Your Rhythm Stick | Ian Dury [5] |
| Schwirr | Curd Duca [4] |
| Book of the Great Awakening [Exclusive] | Spectre [1] |
| Red Zone | Graham Haynes [7] |
| Scrapyard (Mr. Zo) [Advanced Remix] | Egon Zo vs Digidub [1] |
| Bang Your Box | P.A.L. [8] |
| Wanklankulina [Exclusive] | Silk Saw [1] |
| Inside Unruly Radio | Furt [9] |
| Kraa / Retroplof | Jaap Blonk [10] |
| I'm So Proud | Curtis Mayfield [6] |
| People Get Ready | Curtis Mayfield [6] |
| Plasma (Freshwater Mix) | Qualia [11] |
| I'm Going Off Duty Now Long WTM outro with crickets | |
| [1] "Wreck This Mess: Remission 2: Ambient-Industrial vs Electronic-Dub vs Hypnotic-Grooves" on Noise Museum www.zone51.com/noisemuseum This is volume 2 of the WTM series. It includes Twilight Circus, Spectre, Systemwide, Dub Factory, Extremadura, Botom Botom, Holon, Silk Saw, DJ Spooky, Egon Zo vs Digidub, Audio Active, Starfish Pool, Andrew Lagowski. "Wreck This Mess: Remission 2: Ambient-Industrial vs Electronic-Dub vs Hypnotic-Grooves" on Noise Museum www.zone51.com/noisemuseum This is volume 2 of the WTM series. It includes Twilight Circus, Spectre, Systemwide, Dub Factory, Extremadura, Botom Botom, Holon, Silk Saw, DJ Spooky, Egon Zo vs Digidub, Audio Active, Starfish Pool, Andrew Lagowski. Here Laurent expands the empire of WTM, into new unforeseen markets. This is a painstakingly and precisely edited disc. He is very particular about what he likes and here it all fits into a meticulous polemic of sound and noise against hyper-mediated commerce. The Starfish Pool cut is pure beautiful insanity - a mechanical loop of menacing jangling machinery that ends up lilting along until you find yourself not scrunching your shoulders but unwinding. One of the choicest cuts. Systemwide fits in with new roots Muslimgauze and Rootsman. BSI www.bsi-records.com Holon sounds a lot like they have studied the likes of Depth Charge. Very explosive and ups the stakes of dub. It is is pure joyous freeform breakbeats havoc - result of a meeting between Starfish and Riou. One of the killer cuts is by Twilight Circus, ex-bassist of the Legendary Pink dots [a great band in their own right], Ryan Moore, based in Holland, is producing some of the heaviest and most breathtaking dub sounds. The cut by DJ spooky [the man so many critics love to diss] is back with more interesting work - this time making us very ill-at-ease with a cut that seems to sound like a cd skipping and repeating. A very cutting piece I think. Spectre, at their best, here -sans lyrics - pumping out the gruesome dingy beats to gloomy effect - that make you FEEL Greenpoint Brooklyn. | |
| [2] "Crooklyn Dub Outernational Presents: Certified Dope, vol. 3" on Word Sound www.wordsound.com is the Consortium's "Escape From NY" strategy, meaning they got out into the international satellite cities. A bit outside themselves. What dub thrives on is syncretic infusions of other references. Hybridizing, a constant decentering of the expected and thisis what happens here. Their signature deep introspective existential-vs-holy waves of dub ripple outward to great effect. Inward and outward so that the deep scraping-the-bottom waves can stir up some new silt and mud. Excellent disc with works by Irish, English, Dutch (to great lower bowel shaking effect by Nijmegen's own Twilight Circus) Germany, Holland, New Zealand, Japan and Jamaica. This is the best propaganda that slow does not mean lethargic or boring. Because slow beats take longer to evolve there is the chance for faith h to take hold, for a reorientation of an impatient culture to anticipate every tidal wave of dub. Highly recommended. With among others: old cockpit mates like Laswell, Roots Control, Scarab and Spectre as well as new flight crew members such as The Bug, Twilight Circus, Layng Martine and others... | |
| [3] "Illusions of Move - Chapter Blue" on Hymen www.klangstabil.com or hymen@gmx.com via Ant-Zen is an incredible mix of hyper and hypo. Dark ambience with Kraftwerk in speed machines. A bi-polar schizoidal convergence, very sophisticated tapestry of sound structures - atmospheres filled with static and turbulence. A bi-polar schizoidal convergence, very sophisticated tapestry of sound structures - atmospheres filled with static and turbulence. Great material that weaves in the repulsive and the seductive. | |
| [4] "Elevator #3: Digitalanalog Mood Music" on Mille Plateaux www.mille-plateaux.com Curd Duca is one of my personal faves. What he does best is open the door to aural paradise and then shut it before you cansay 'AHHH.' This forces your attention, you cannot use the music which loops tightly between cuts as a way out of your own daily mishaps. You remain at the edge of listening chair. This cd contains 40+ cuts. Here he goes further into the fields of noise blips, scratches and manages to package them into nifty 30-sec. Sound sachets. | |
| [5] "Jukebox Dury: Stiff's Greatest Dury's" by Ian Dury & the Blockheads on Stiff America, 1981. Ian Dury died March 27, 2000 of canceer. He had been a Ave of mine because of his terse and bawdy humor and being among the first to get the uptight punkers who were suspect of anything with soul to dance - and laugh while doing it. His funky approach to insouciance was anchored by Chas Jankel's jazzy-soul-oriented playing and songwriting. He had been hobbled by polio at age 7 and he gave music a gritty, soulful, barroom brawly feel to the punk scene. His British and acerbic humor remained difficult for American audiences which to me made him all the more cause to embrace. I love a number of his singles like "Hit Me" and "Reasons to be Cheeerful" and "I Wanna Be Straight" and even the deemed-offensive "Spasticus Autisticus" released in the year of the Disabled. Is fortunes went downhill after the early 80s although he managed to get some things out there even acting in Roman Polanski's "Pirates" and Peter Greenaway's "The Cook, The Thief, His Wife And Her Lover." He went public with his cancer in 1998 but never stopped singing, writing his naughty lyrics and -- in the end promoting good causes. | |
| [6]
"The Anthology: 1961-1977" Curtis Mayfield solo and with the
Impressions. He died the day after X-mas, 1999 without much mention,
certainly not as much mention had he been white like Kurt Cobain.
Most of the web has not bothered to even acknowledge his death and
carry on as if he is just a commercial piece of product. Curtis
Mayfield was an influential, mellifluous R&B singer who was not
without social conscience and this gave spunk [perseverance in
adversity] to his soul as he sang about injustice and civil rights.
He'd been a paraplegic since 1990 when a lighting scaffold fell on
him at an outdoor concert in Brooklyn. His health slowly deteriorated
over those years and in 1999 a leg was amputated because of diabetes
related to the injury. I love the song "People Get Ready" and the songs from "Superfly." His music was maybe nice or sweet but the sentimentality never became sloshy or false. Plus he offered a sharp look into social conditions. He never gave up on Love and faith and pursued the racial and political issues, sexual equality ["Keep on Pushing,"] of the day with a kind of balanced blend of anger, indignity and beauty. He also presaged many of the mixed genres and hybridized sounds of today - he added bongos, bass, horns and wah-wah effects to early works as well as reverb for a rich [remix - dubby] sound. "Superfly," easily rivals Isaac Hayes' classic "Shaft" score. It's falsetto-inflected vocals and great rich production stand the test of time. Springsteen covered "Gypsy Woman" on the 1994 album A Tribute to Curtis Mayfield. Mayfield recorded the single "Superfly 1990" with Ice-T in 1990, and, for the soundtrack to The Mod Squad, recorded "Here But I'm Gone (Part II)" with Lauryn Hill. He was heavily sampled to good effect by Ice T on his "Pimps, Players & Private Eyes" cd. Herbie Hancock, Deniece Williams and many hip hop and rap artists have covered his works. Mayfield wrote, sang and played on most of the Impression's many hits, including the atmospheric "Gypsy Woman," the often-covered "It's All Right" and the haunting and poetic "People Get Ready," which was adopted as an anthem by the civil rights movement. "People Get Ready" - "People get ready, there's a train a-comin'/ You don't need no ticket, just get on board" - were purportedly about more than the civil rights movement. " He had some dozen top-10 singles in the '60s and '70s, and wrote hits for Chicago soul singers, such as Major Lance ("The Monkey Time") and the Staple Singers' "Let's Do It Again." | |
| [7] 'bpm" by Graham Haynes on Knitting Factory http://www.knittingfactory.com is a very intersting and strong disc from KF. Haynes is the son of jazz legend Roy Haynes and here shows that it is possible to bridge the gap between old jazz and new sound. It is a record rich in sampling but also soulful jazz as well as a wide array of sounds that go the gamut from Bengal to avant garde. And if that isn't enough breadth - half the cuts are jazzy scratched interpretations of Richard Wagner. | |
| [8] "Release" on Ant Zen www.ant-zen.com out of Germany. Part of this already-submerged-emerged scene that melds jazzy forays with cool electronica and then invests it with all the jittery speed of drum and bass. Bands like this are the new frontier of the brittle edge of where music is noise and noise suddenly begins to sound comfortably musical and in no time your ears are being threatened again. Techno made jazzy with a suffusion of aberrant noise. | |
| [9] "Angel" by Furt on the small Dutch label of neglected musics, JDK Productions jdkprod@xs4all.nl presents cartoon music -- if everyday life's encounters were a cartoon. The music [word used advisedly] seems to gain its own inner momentum like some of the wackiest cartoons - Loony Tunes - where the characters drive each other nuts. In some ways, reminds me of Une Drame Musical Instantané | |
| [10] "Vocalor" on Staalplaat http://www.staalplaat.com/ Blonk is someone to be reckoned with. He brings an insanity and kinetic fervor to words that would make the Futurists proud. He seems to be scat singing to some strange celestial disharmony to make of pre-sense vocals something almost logical -- As I have said before, he could easily front the Spike Jones City Slickers band with his brand of mad-capped scat singing. | |
| [11] "Dubbed on Planet Skank" on Dubmission dubmission@btinternet.com includes some great stuff including this. This is material which hybridizes anything that comes in its path - water, ether, electronix, beats, message, roots so that it all gets liquified into some bio-electrical amniotic inflammable material. Excellent selection, proof that dub can go with the punches and evolve. Purists be damned. Includes Doof, Zion Train vs Sounds from the Ground, Dubolition, Lithium6 and Alpha & Omega-- I have played this cut on numerous occasions. | |