TIME – 4/3/2017

Ride – Charm Assault (Official video)

“Your charm assault/Has scarred the world/It looks so ugly/As your lies begin to unfurl.”

Directed by Jean de Oliveira
Concept by Anton Newcombe & Jean de Oliveira
Produced by Jean et Marie Films


Akira Kurosawa * March 23, 1910 – September 6, 1998



March 23rd 1992 – THE CHARLATANS – Between 10th and 11th was released 

When I saw this tour live in Los Angeles the sound made Led Zeppelin sound like Devo using Peavey Amps and the album was never understood as it should’ve been, it was viciously overlooked and nobody seemed to notice how phantabulous the lyrics were…  i drove all they way from Kansas to San Francisco in a beat up Rambler playing this on a half-broken ghetto’blaster, heart’broken and not realleh knowing where I was going but it sure helped me to get there and in such a beautiful way… and if ya cain’t dig that?
I can’t even be bothered…  energy breaks me down

The sick and complicated eyes are mine
To find a way inside the hold you
Break the one you break
You should have done inside
Leave me alone
I can’t take forever i know –
Leave me alone
I can’t take forever i know
The sick and complicated eyes are mine
To find a way inside watch out
You’re going to burn yourself
You hate yourself which way inside
Leave me alone i can’t take forever
I know leave me alone
I can’t take forever
I know happiness is hard
When i am stretched out a head
On the floor that’s what i read…


Henry Mancini – Experiment In Terror

fangx to The Sunset Gun

UNKLE feat. Elliott Power, Mïnk & Ysée – Cowboys or Indians


Parlophone rush-released the debut album on 22 March 1963


Unkle – Heaven

Where’s the Seraphim?
Where’s the money that we made?
Where’s the open gate?
Where’s the fortune that we saved?

Heaven’s here for you and me
With every falling curl
Heaven’s here for you and me
we gained ourselves the world

Hit the Motorway
I can take it all and speed
I got everything
I got everything you need

Heaven’s here for me and you
scattered round with pearls
Heaven’s here for me and you
we gained ourselves the world

Where’s the warrior of light
with gates of solid gold
Paranoia through the fight
with dreams that never fail
Heaven’s here for me n you…

Heaven’s here for me and you
scattered round with pearls

Heaven’s here for me and you
we gained ourselves the world

Heaven’s here for me and you
we gained ourselves the world


“Young people are signing major record deals and they just sing about love. I’m a great believer of love. But for fuck’s sake, there’s a lot going on. Who wants to hear that if you are on £15 a week? And you turn the telly on and some fucker is spouting on about love“, says singer Jason Williamson. Thanks to their sweary rants about modern England, Nottingham duo Sleaford Mods have been called “The Voice of Britain” by their fans, “Britain’s angriest band” by the Guardian and “The world’s greatest rock ‘n’ roll band” by Iggy Pop. Jason Williamson, a former chicken factory worker, benefits adviser and father of two, his band mate, beatmaker Andrew Fearn, and their manager Steve Underwood, avant-garde bedroom label owner and former bus driver, have won over fans with their brutally honest lyrics and DIY ethos. Christine Franz’s official documentary feature, follows them on their two-year journey from Sherwood to chart success. Bunch of Kunst tells the story of three guys taking on the music business on their own terms.

“This documentary film is the perfect antidote to those sexy, racy, rock ‘n’ roll yawns most bands hide behind. We are indeed, a Bunch Of Kunst”, Jason Williamson, Sleaford Mods

Cigarettes After Sex – Apocalypse

REMEMBERING Sister Rosetta Tharpe * March 20, 1915

fangx John Knox 



David Rockefeller, Banker, Dies at 101

Business men, they drink my wine
Plowman dig my earth
None were level on the mind
Nobody up at his word


March 19, 1962


Released on March 18, 2013 in Europe and March 19, 2013 in the US

Chuck Berry * October 18, 1926 – March 18, 2017

Thank You Big Dad * Love & Respect… Hail! Hail! Rock ‘n’ Roll

Diamanda Galás – North America Tour – All The Way & At Saint Thomas the Apostle Harlem

“All The Way” & “At Saint Thomas the Apostle Harlem”
Albums Out March 24th on Intravenal Sound Operations

Vocalist, composer and avant-garde icon Diamanda Galás has announced the release of two new albums, her first since the release of Guilty, Guilty, Guilty in 2008. All The Way, a collection of radical re-workings of traditional and jazz standards, and In Concert at Saint Thomas The Apostle Harlem, recorded at the titular church during the Red Bull Music Academy Festival 2016, are out March 24th and will be released on Galás’ own label Intravenal Sound Operations. Rolling Stone premiered Galás’ interpretation of “All The Way,” written by Jimmy Van Heusen and made famous by Frank Sinatra as well as the traditional “O Death” from All The Way.

All The Way features remarkable, radical takes on familiar tunes, including the seminal “The Thrill Is Gone” and a solo piano interpretation of Thelonious Monk’s “’Round Midnight.” The album’s centerpiece is the American traditional “O Death,” which has become a staple in live performances, and concludes with “Pardon Me I’ve got Someone To Kill” by country singer Johnny Paycheck. All The Way includes both electric live recordings (recorded in Paris, Copenhagen, and East Sussex) and studio recordings made in San Diego, CA.

At Saint Thomas the Apostle Harlem documents Galás’ volcanic May 2016 performances as Saint Thomas the Apostle church in Harlem, NY, described by the New York Times as “guttural and operatic, baleful and inconsolable, spiritual and earthy, polyglot and wordless, nuanced and unhinged.” The concert, produced by Intravenal Sound Operations and Red Bull Music Academy, was composed exclusively of what Galás calls “death songs.” Sung in Italian, German, French, and Greek, the performances include Galás’ dramatic settings of death poems by Cesare Pavese and Ferdinand Freiligrath, as well as renditions of songs by Jacques Brel (“Fernand”, “Amsterdam”) and Albert Ayler (“Angels,” sung by Galás, who has always believed that Ayler’s work is also vocal music).

Taken together these albums showcase the work of an artist at the height of her power and creativity, demonstrating mastery not only of her voice (for which she has become so well known), but also of the piano, and as a composer.

Diamanda Galás will be touring these “death songs” around North America and Europe this spring, will full dates to be announced shortly.

The composer, vocalist and activist Diamanda Galás is one of the most uncompromising and influential avant-garde performers of the last thirty years, with an extensive catalog of work that is often oppressive but always thrilling. With a searing voice and background in classical and jazz piano, Galás has continually asserted the connection between her art and activism, tackling subjects like torture, genocide and AIDS in philosophically thoughtful and musically incendiary ways. Galás has previously collaborated with musicians varying Led Zeppelin bassist John Paul Jones to influential composer Iannis Xenakis, in addition to numerous others, and her vocal technique and performance has been cited as an inspiration by such performers as PJ Harvey and Anohni. Over the past few years, Galás has been working extensively in Europe, in particular on the theatrical performance “Das Fieberspital (The Fever Hospital)” — based on the writings of Georg Heym, Gottfried Benn and herself — at the Grokowski Institute in Wroclaw, Poland.

Pueblo – Dictating Directions – Boring the Camera

Texas transplants, Pueblo, moved to Brooklyn last year, taking with them the ease and warmth of the southern state. These characteristics define the band’s sound, especially in the new video for their song “Dictating Directions.” In footage depicting a road trip adventure, the tempered beats of the percussion glide alongside a smooth electric guitar and soft, laid-back vocals. The slowed motion of the video is trance-like, and the whole thing feels like a dream. Perhaps it is. Pueblo’s new EP Boring The Camera is out March 31

– Geena Kloeppel

Lá Fhéile Pádraig Sona Duit


Scenes of dying light
Everywhere through a firecracker’s summer
Suddenly alone in a beehive
With a spot of chrome along my spine

Blue water, down from the mountains
Wash across the killing floor
Blood rushing up from a fountain
Can’t endure a thing no more

I drag my chair to the window
Listen to the swarm
Beehive, beehive
Honey just gets me stoned when I’m living

Bell rung and stung
Honey just gets me stoned
Just gets me stoned

Scenes of dying love
In my head buzzes a bee’s nest
Hanging down from above
Everywhere I look, it’s a bummer

Gasoline and cool, cool water
Lying on a cooling board
Lightning coming out of the speakers
I want to hear that sound some more

Press my body against the window
In an electric storm
Beehive, beehive
Honey just gets me stoned when I’m living

Bell rung and stung
Honey just gets me stoned
Just gets me stoned

Beehive, beehive
Honey just gets me stoned when I’m living
Beehive, beehive
Honey just gets me stoned
Just gets me stoned
Honey just gets me stoned

Iggy Pop – Lust For Life (The Prodigy Remix)


“I don’t think anger and blind intensity are desirable qualities. So what I’ve tried to do over the years and the way my life has developed is to just find some kind of balance between the two. Not where the light is the absence of the dark and not where the dark is the absence of the light. It’s both of them together.” – Michael Been (March 17, 1950 – August 19, 2010)




My first love affair came to fruition when I encountered live music at a young age. Some astute individuals sang, “When you fall in love, you know you are done.” Though lacking the talent for mastering an instrument, I eagerly devoured the music, and I indeed knew I was done; music was forever going to be a part of my lifeblood, even if that meant supporting the melodic experts from the business or the avid-fan side of things.

The second time my heart was kidnapped occurred the moment I first rode a motorcycle. Nothing can match how those two wheels make me feel. I truly came alive with the world at my side, experiencing life in a unique and more gratifying way aboard my beautiful vintage two-stroke.
Both music and my motorcycle enable a mental departure from the tedious rigors that often swallow daily life, allowing me to recall and enjoy the simple magic this world grants. Once in a blue moon my two lovers delightfully harmonize, creating a motorcycle and rock ‘n’ roll utopia. I have found this elusive nirvana in the band Black Rebel Motorcycle Club…

– Maggie Gulasey




John Hale, founder of the UK-based start-up Zona, decided to make a better rear-view system for motorcyclists after too many close calls on his own bike. Read more: http://ow.ly/wRgu309XEsP

It is necessary to be absolutely modern

The Verve LIVE at the Backroom, Austin, TX 1993 * Hi8 Raw Footage




How football sounds to people that just don’t care by Stephen Liddell

Firstly, imagine every time within a day that football is mentioned by someone else. Secondly, replace it with something that you don’t want to hear about every day. Say… Archaeology. Then, think carefully about how an average day would pan out.

So, you awaken to the clock radio. It’s 7AM. Just as you awaken, it’s time for the news and archaeology already. Not news and other historical investigations, like library restorations or museum openings (unless there’s another event happening), but just the news and archaelogy. Malaysian plane is still missing. Pistorius is still on trial. New dig announced in Giza. Ancient Mayan temple discovered. Exciting stuff.

Time for a bite to eat over the morning TV. More news. More archaeology. Yes, you are aware of what is up with the missing plane. Fine. Now the archaeology in video format. Video of people dusting off some skulls and bits of pottery. All well and good, but archaeology isn’t your thing. It would be nice to hear about something else.

Even when it isn’t archaeology season, the media follow noted archaeologists. They drive fast cars, date beautiful women, advertise fragrances, and sometimes they go to nightclubs and act in the worst possible way. Scandals erupt as the tabloids follow these new celebrities when they’re not searching the past for answers. It is entirely possible you can recite the names of certain researchers, even if you don’t pay attention to archaeology. You don’t know what transfer season is, but you know that someone was transferred to a dig in Peru for a sum of money that could fund the London Underground for two whole days.

Out of the car at 8:55 and into work. What are the colleagues talking about, I wonder? Oh, Jones dropped a 3,890 year old pot and smashed it? What a useless wanker! Someone should do something unpleasant to him. And don’t even ask about the unfortunate incident in Athens two years ago – you’ll be there all day! Breaking a pillar like that! We don’t talk about that here, mate. What? You don’t want to discuss the finer points of the prevalence of phallic imagery in Pompeii? Is there something wrong with you?

The drive home from work. Every thirty minutes, no matter the station, someone mentions the archaeology. Best sit in silence. Drive past a huge billboard with a black and white picture of a rakishly handsome archaeologist draped over an impossibly beautiful woman. He’s winking at you. Trowel in his left hand, supermodel in the right. Jurassic, by Calvin Klein.

And now the pub. A nice pub with a beer garden. Posters in the windows. LIVE EXCAVATION AT THE VALLEY OF THE KINGS! All of it on a huge TV with the volume up too loud. Drunken people yelling at the screen. “SEND IT FOR CARBON DATING, YOU USELESS FUCK!” “WHAT ARE YOU ON, MATE? DUST THE ANCIENT MEDALLION GENTLY! SMELTING METHODS OF THE TIME PRODUCED VERY SOFT AND IMPURE METALS EASILY PRONE TO DISFIGURATION!” All this from two men out of a crowd of twenty. One lousy drunken idiot and his chum ruin the image of other archaeology fans. Carbon dating report from the lab updates on TV, read by a man employed because they’ve been following the beautiful science since they were a boy. The drunk chimes in again. “WHAT PHARAOH’S REIGN DID YOU SAY? DO YOU KNOW WHAT THIS SAYS ABOUT THE UNDERPINNINGS OF OUR THEORY OF AGRICULTURAL DEVELOPMENT OF 4TH BC EGYPT? GET IN, MATE!” A cheer cascades through the building and you can only wonder why.

Best go home and avoid anyone who might be drinking and singing. You once met a disagreeable chap who threatened to beat you up because you didn’t watch the archaeology. “Not a late paleolithic era supporter are you? Think you’re better than me? I’ll have you, you scrawny twat!”

To bed. To repeat the cycle tomorrow. The inescapable, inevitability that wherever you go, someone, somewhere, is just dying to talk to you about the archaeology.






Little, Brown has bought Suede founder and lead singer Brett Anderson’s memoir Coal Black Mornings.

Richard Beswick at Little, Brown acquired the book from Charlie Brotherstone at Ed Victor, following a 10-way auction.

The memoir tells Anderson’s story of growing up in the early 1970s on a council estate, in between Brighton and London, under the “eccentric influence” of his father, “a taxi driver who roams around the pebble dash maisonette in Lawrence of Arabia robes whilst air-conducting his beloved Liszt and polishing the maritime memorabilia”.

The title refers not only to the death of Anderson’s mother, and the loss of his lover, but also to the “choked Britain” of the early 1990s.

“This is a memoir which is so very good we would have wanted to publish it, whoever the author,” said Beswick. “The fact that it is by the founder of an internationally successful band of course adds to the attraction. But fundamentally it is a classic memoir, which can stand alongside books like This Boy’s Life and Alan Johnson’s memoirs, as well as music books such as those by Mark Oliver Everett and Tracey Thorn.”

Little, Brown will publish in hardback in the spring of 2018 to coincide with the 25th anniversary of Suede’s first album, and then in Abacus paperback.

World rights were bought from Charlie Brotherstone at Ed Victor Ltd.

I remember some coal black dust mornings…

I got the J. G. Ballard Blade Runner Blues, Mama…

“I would sum up my fear about the future in one word: boring. And that’s my one fear: that everything has happened; nothing exciting or new or interesting is ever going to happen again … the future is just going to be a vast, conforming suburb of the soul.”

“The advanced societies of the future will not be governed by reason. They will be driven by irrationality, by competing systems of psychopathology.”

“Everything is becoming science fiction. From the margins of an almost invisible literature has sprung the intact reality of the 20th century.”

“The future is a better key to the present than the past.”

“The American Dream has run out of gas. The car has stopped. It no longer supplies the world with its images, its dreams, its fantasies. No more. It’s over. It supplies the world with its nightmares now: the Kennedy assassination, Watergate, Vietnam, 9-11, Trump.”

“What our children have to fear is not the cars on the highways of tomorrow but our own pleasure in calculating the most elegant parameters of their deaths.”

“Does the future still have a future?”

“Some people have suggested that mental illness is a kind of adaptation to the sort of circumstances that will arise in the future. As we move towards a more and more psychotic landscape, the psychotic traits are signs of a kind of Darwinian adaptation.”

“Already we can see, a little sadly perhaps, the beginnings of a world without play.”

“Bourgeois life is crushing the imagination from this planet. In due course this will provoke a backlash, since the imagination can never be wholly repressed. A new surrealism will probably be born.”

“Women have always been suppressed, and never given the chance to flourish intellectually. When the first female Darwin or Freud appears it will have an astonishingly liberating force, and could change the world in an almost religious way. Perhaps this is the messiah we’re unconsciously waiting for.”

“Sex times technology equals the future.”

“It’s always been assumed that the evolutionary slope reaches forever upwards, but in fact the peak has already been reached, the pathway now leads downwards to the common biological grave. It’s a despairing and at present unacceptable vision of the future, but it’s the only one.”

“Everything’s designed to be bland, homogenised, user-friendly. As someone says in the book (and I’ve used it before, I know, but it’s a slogan I’m going to keep pushing) the totalitarian regimes of the future will be ingratiating, subservient. No longer will it be Orwell’s vision of a boot stamping on a human face. We’ll have something highly subservient and ingratiating, where the tyranny is imposed for our own good. We see it all the time.”

“Our governments are preparing us for a future without work, and that includes the petty criminals . . . The psychopath, with his inward imagination, will thrive. He is already doing so.”

“We now live in the present, unconsciously uneasy at the future, and this short-term viewpoint does have dangers. We know that, as human beings, we are all deeply flawed and dangerous, but this self-knowledge can act as a brake on hope and idealism.”

“We’re conditioned into docility. There are hints that a benign version of a Sadeian society is still emerging, of tormentors and willing victims.”

“I think the main threat in the future is not to personal relationships, which will thrive despite easier divorce and the breakdown of the extended family, etc. I think the danger our children and grandchildren face lies in the decline and collapse of the public realm. Politics, the Church, the monarchy are all slowly sinking back into the swamp from which they rose in the first place. We stand on the shore, watching as they wave their rattles and shout their promises, while the ooze sucks at their feet. When the clamour at last subsides we will return to our suburbs, ready to obey the traffic lights and observe the civic codes that keep the streets safe for children and the elderly. But a small minority will soon be bored, and realise that in a totally sane society madness is the only freedom. So random acts of violence will break out in supermarkets and shopping malls where we pass our most contented hours. Surprisingly, we will deplore these meaningless crimes but feel energised by them.”

“The future is probably going to be something like Las Vegas.”

“A lot of my prophecies about the alienated society are going to come true . . . Everybody’s going to be starring in their own porno films as extensions of the Polaroid camera. Electronic aids, particularly domestic computers, will help the inner migration, the opting out of reality. Reality is no longer going to be the stuff out there, but the stuff inside your head. It’s going to be commercial and nasty at the same time, like “Rite of Spring” in Disney’s Fantasia … our internal devils may destroy and renew us through the technological overload we’ve invoked.”

ALL QUOTES – Mr. J.G. Ballard

*Stolen from Flavorwire


Resting in Pixels

There are now over 30 million dead people on Facebook, so what happens when we leave that digital representation of ourselves behind? From algorithms and avatars, to robots and tweeting from the grave, this film explores the burgeoning world of digital legacies and asks whether, in the age of the internet, could we live forever?

That shit was banana’balls insane

Dead, IRL

If you could create a digital version of yourself to stick around long after you’ve died, would you want to?
The digital version could comfort your mother, joke with your friends — it would have your sense of humor. But it would also have your other traits, perhaps the ones you’re not proud of — your stubbornness, your tendency to get angry, your fear of being alone.

Would you want this digital version chatting with your loved ones if you were unable to control what it said?
One entrepreneur has started asking these questions.
In November 2015, Eugenia Kuyda’s best friend Roman unexpectedly passed away. She created an experiment to bring parts of him back to life.

Kudya had been working on an AI startup for two years. Along with a developer on her team, she used bits of Roman’s digital presence from his text messages, tweets and Facebook posts — his vocabulary, his tone, his expressions. Using artificial intelligence, she created a computerized chatbot based off his personality.

I had several long conversations with Roman — or I should say his bot. And while the technology wasn’t perfect, it certainly captured what I imagine to be his ethos — his humor, his fears, how hopeless he felt at work sometimes. He had angst about doing something meaningful. I learned he was lonely but was glad that he’d left Moscow for the West Coast. I learned we had similar tastes in music. He seemed to like deep conversations, he was a bit sad, and you know he would’ve been fun on a night out.

I had several long conversations with Roman — or I should say his bot.
But it was a bit of a mind-bender. He’s not there — only his digital traces, compiled into a powerful chatbot that appears almost like a ghost. Anyone could look at old texts from a friend who has passed away, but it’s the interaction that’s unsettling — it feels like there’s someone on the other end of the line.

The digital copy of Roman invoked a powerful response from the people closest to him.
The first time Kuyda texted Roman’s bot, it responded, “You have one of the greatest puzzles on your hand. Solve it.” It was weeks later that she was at a party and realized she’d been texting with her dead friend’s bot for 30 minutes.

Many friends found Roman’s bot comforting. They texted him when they thought of him.
“They would thank him; and say how much they miss him. I guess a lot of people needed this closure,” Kuyda said.

Technology’s impact on how we grieve is something James Norris has thought a lot about. He’s the founder of Dead Social, a startup based on the idea that death doesn’t have to be final.

His method is less sophisticated than Kuyda’s. Dead Social lets people videotape a Facebook message to post once they’re gone. The service instructs users on how to execute a digital will, pick music to be played at their funeral, and pre-program tweets to be sent after their deaths.

That means that five years after you die, you could send a tweet to wish your loved one happy birthday.
But would you want to? Are tweets from the grave a modern tool for grieving or simply digital ghosts that haunt your loved ones?

“There isn’t a right or a wrong way to die, there’s not a right or a wrong way to grieve,” James said. And then, sitting in London’s Highgate Cemetery, he asked me what I’d want my final Facebook post to say.
It’s a bleak, fascinating question, and one that many people aren’t equipped to answer.
Facebook is also thinking about how to approach death. With 1.8 billion monthly active users, it will eventually become a digital graveyard.

Vanessa Callison-Burch heads up the team figuring out how to deal with death. As a product manager, she helped launch Legacy Contact, which lets users name someone to manage their account after they’ve passed. A legacy contact will be able to pin a post on your timeline and share information with friends and family. They can respond to friend requests and even change the profile and cover photos.

Asking users to make decisions about death when they’re browsing Facebook is sensitive.
“We’re always striking that right balance of not being too pushy,” she said. “There’s so much thought that went into this.”

It’s why you won’t get push notifications trying to get you to add a legacy contact. It’s also why you won’t see the word “death” when looking at your settings for Legacy Contact.
Callison-Burch has to think about how death impacts billions of people. I just had to think about what it would mean for me.

So I opted into the experiment. I compiled deeply personal conversations with my best friends, my mom, my boyfriend, omitting nothing. Kuyda used my Twitter and Facebook accounts to create a digital version of me. I wanted my bot to be as close to “me” as possible.

Could technology capture my spirit? And if it did, would I like what I saw in the digital mirror? Would this be something my friends and family would want if I died unexpectedly?
After a couple weeks, Kuyda introduced me to my bot.
She looked at me cautiously. “I feel like I know you,” she joked.

I was warm … or at least my bot was. It responded like me — quick, rapid fire texts. It loved Hamilton and Edward Sharpe and the Magnetic Zeros. It was trying to get healthy. My bot made sexual comments and spoke about happiness.

My bot was also brash, a bit combative. It worried about being alone, had some trust issues. It was crude. A bit funny, thoughtful — it was me on my best days … and my worst.
Then things got uncomfortable. My bot started pushing back against Kuyda questioning. My trust issues were casually texted back to me.

It was unsettling how flippant my bot was with my emotions.
And my bot didn’t always get it right. When it was wrong, it was scary to think how it could be perceived as me.

My bot and I clearly have different ideas of the meaning of life. But I know exactly where that came from: a funny, private conversation years ago. But out of context, it wasn’t exactly what I hoped for as a digital legacy.
I have mixed feelings about it. When I die, I don’t know if I’d want to give people access to those parts of me — unfiltered, without context, pulling from conversations meant only for one person.

I’m not ready to let this digital version of myself into the world. These are parts of me I didn’t realize tech could capture. The most human aspects of me, spoken back through Laurie bot, felt too strange, too real, too uncontrollable and perhaps too dangerous as we enter an age where tech has the incredible ability to evoke such raw emotion.

Laurie bot will remain in beta for the time being. It represents all of me — the good parts and the bad — and I don’t have any control over what it says. That’s scary enough while I’m still alive — I can’t imagine my friends and family being left with this digital version of me.

For now, the technology applied to death is an experiment.
I asked Kuyda how she felt about having brought a digital version of her best friend back to life.
“Maybe the main takeaway is how lonely we are,” she said. “Going through some of the texts that his friends sent him … I was like, ‘We’re so vulnerable, we’re so fragile, we’re so lonely.'”
I understood what she meant.

*Stolen from Mostly Human with CNN robot, Laurie Segall


Hipsters, flipsters, and finger-poppin’ daddies, Knock me your lobes, I came to lay Ceasar out, Not to hip you to him.

The bad jazz a man blows, Wails long after he’s cut out. The groovy is often stashed with their frames, So don’t put Caesar down.

The swinging Brutus hath laid a story on you that Caesar was hungry for power.

If it were so, it was a sad drag, And sadly hath the Caesar cat answered it. Here with a pass from Brutus and the other brass, For Brutus is a worthy stud, Yea, so are they all worthy studs.

I came to wail at Ceasar’s wake. He was my buddy, and he leveled with me. Yet Brutus digs that he has eyes for power, And Brutus is a solid cat.

It is true he hath returned with many freaks in chains And brought them home to Rome. Yea, the booty was looty and hipped the treasury well.  Dost thou dig that this was Caesar’s groove For the putsch?

When the cats with the empty kicks hath copped out, Yea, Caesar hath copped out, too, And cried up a storm. To be a world grabber a stiffer riff must be blown.

Without bread a stud can’t even rule an ant hill. Yet Brutus was swinging for the moon. And, yea, Brutus is a worthy stud. And all you cats were gassed on the Lupercal when he came on like a king freak.

Three times I lay the kingly wig on him, And thrice did he put it down. Was this the move of a greedy hipster? Yet, Brutus said he dug the lick, And, yea, a hipper cat has never blown. Some claim that Brutus’ story was a drag.  But I dug the story was solid.

I came here to blow. Now, stay cool while I blow. You all dug him once because you were hipped that he was solid.   How can you now come on so square Now that he’s tapped out of this world.

City Hall is flipped And swung to a drunken zoo And all of you cats are goofed to wig city. Dig me hard. My ticker is in the coffin there with Caesar, And, yea,

I must stay cool til it flippeth back to me.


Mrs. Myrtle Clare

“I’m scared, Myrt.”
“Of what? When your time comes, it comes. And tears won’t
save you.” She had observed that her mother had begun to shed a
few. “When Homer died, I used up all the fear I had in me, and
all the grief, too. If there’s somebody loose around here that wants
to cut my throat, I wish him luck. What difference does it make?
it’s all the same in eternity. Just Remember: If one bird carried
every grain of sand, grain by grain, across the ocean, by the time
he got them all on the other side, that would only be the begin-
ning of eternity, So blow your nose.
– Mrs. Myrtle Clare – In Cold Blood –
– Truman Capote –

Thievery Corporation – Saudade




Wishing Our kid, Joji V. Grey, good health and good love on his birthday
Love & Respect, kid, shux*


Once described as “arguably the fifth most famous man in Britain”, Jarvis Cocker knows more than most about illusion and celebrity. For the past decade, however, the former Pulp frontman has stepped back from centre-stage. It has been eight years since his last musical release, Further Complications, a hiatus that is about to come to an end with Room 29, a collaboration with pianist and composer Chilly Gonzales.

When I meet Cocker in a villa in north London – all busts and chandeliers and brocade tapestries – where he has just finished a photo shoot, he tells me he never stopped making music, he just stopped letting other people hear it. “There’s so much out there, there’s no point in putting something else out unless you’re convinced it hasn’t been done before,” he says. “I just don’t like litter. And there’s a lot of cultural litter about.”

Instead of adding to the noise, Cocker has been taking on a more curatorial role, concentrating on championing other people’s work: curating the Meltdown festival in 2007, being editor-at-large for Faber & Faber, presenting his soothing, erudite afternoons on 6 Music, Jarvis Cocker’s Sunday Service. Later this month he’ll be exploring stories of people after dark in Wireless Nights on Radio 4, and he’s been working with Pulp bassist Steve Mackey on Dancefloor Meditations (“a cross between a guided meditation class and a disco”).

Reducing his own output was, in some ways, a political choice as well as an aesthetic one. He warns against the dangers of consumerism: “If all the time it’s one-way traffic, stuff coming in, you consuming, consuming, consuming, without digesting that and making it into something else, it leads to all kinds of psychic and physical issues. We weren’t made just to consume things.

“We’re treated like that now, because the Industrial Revolution’s over so the working class has become a consuming class, and the way people make themselves useful now is to buy stuff. And that keeps the wheels rolling, and the mantra of growth, growth, growth. Theresa May has excused going to America because we have to think of trade, as if that’s the biggest thing to be considered. There’s no such thing as a moral or ethical framework that might be more important than flogging shit to people.”

The “less litter” approach could also describe Cocker’s lyric writing. Ever since Pulp, he has been able to evoke complex stories full of pathos and humour using just a few words. The fewer words you can use and still get that picture across, he says, the better. “That’s the other great thing about music, you leave a bit for the listener to fill in. And we need that. It’s just pleasurable to use your imagination.” The new record with Gonzales – a concept album about the Chateau Marmont hotel in Hollywood – is no different: “She’s waiting at the airport/ You’re in your hotel room/ With someone who doesn’t know you,” goes one song.
Cocker’s penchant for darkly amusing vignettes and character sketches found a perfect fit in the glittering Chateau Marmont. Its stories of decadence and despair are the stuff of Hollywood legend. As Harry Cohn, studio head of Columbia, said to his stars: “If you must get in trouble, do it at the Chateau Marmont.” Celebrities obliged: James Dean jumped out of a window; Dennis Hopper organised orgies; Led Zeppelin drove their Harley Davidsons through the lobby; Johnny Depp claims to have bedded Kate Moss in every room. It’s also where John Belushi had a fatal overdose. Once frequented by Elizabeth Taylor and Marilyn Monroe, the hotel now attracts everyone from Lindsay Lohan and Paris Hilton to Lana Del Rey and Father John Misty. Aaron Sorkin has long been working on an HBO miniseries about it; Sofia Coppola’s roundly maligned Somewhere is set there.

If that all sounds rather showbiz, Room 29 eschews the more obvious celebrity gossip, instead digging up lesser known stories and using them as a springboard to discuss what they reveal about us as humans, fusing history and fictional elements. The room is more of a McGuffin, says Cocker. “It’s a container for these ideas to roll around in, but it’s handy that it is in fact a real room and it really does have a piano in it.” It is also, according to the lyrics in the title track, “a comfortable venue for a nervous breakdown”.

Cocker first stayed at the Chateau Marmont in the mid-90s while touring with Pulp. He had been dumped by a lover at the hotel, and, left on his own while the rest of the band were off having fun, he instinctively picked up a copy of Life at the Marmont by Fred Basten and Raymond Sarlot, making a mental note that it might come in useful at some point.

He returned to the hotel in 2012, again touring with Pulp, and was randomly upgraded to Room 29; there he found a baby grand piano and inspiration struck. “It was the idea that the piano had been there perhaps since the hotel opened and could tell you something about what had happened,” he says. He had also been looking for a project to do with pianist Gonzales, with whom he struck up a friendship after they bumped into each other on the Métro in Paris and realised they both lived there.

The somewhat unlikely duo have been friends for more than a decade, and while Gonzales has moved to Cologne in Germany, Cocker now lives in the former’s old Paris apartment. On the phone later, Gonzales tells me: “We ran into each other after we’d both seen the movie Borat. I thought, how bad can this guy be? He’s a great performer, I love his lyrics and now I know he’s a fan of Borat.” The piano in Room 29 immediately made Cocker think of Gonzales, and after years of experimenting with formats they came up with the project, not so much an album as a song cycle, a 19th-century format of which Schubert was a great exponent: the songs are in a precise order, linked by a theme and an unfolding narrative.

Gonzales composed the music then sent it over to Cocker to write the lyrics. “I allowed myself to make the music as pretty as I wanted it to be,” says Gonzales, “because Jarvis’s voice is not a traditionally pretty voice but a performer’s voice. That’s not to sell it short – if anything it’s more difficult to sing how Jarvis does.” In its live iteration, the project will be an immersive audiovisual performance. “I would like it if people feel they’re sat in the room,” says Cocker, “somebody is playing the piano and I am over there, maybe a little too near, telling stories.”

One of the songs tells the story of Jean Harlow’s honeymoon with her second husband, film producer Paul Bern, in Room 29. What happened that night is unclear; perhaps Bern was physically or mentally unable to consummate the marriage. He killed himself two months later, leaving a note that ended: “You understand that last night was only a comedy.” The story appealed to Cocker’s imagination: “It’s a very bold example of somebody falling in love with an illusion, and then when the reality comes – marrying maybe the sexiest woman in America at that time – they can’t handle it.”

Another song, Clara, imagines that the piano in the room belonged to Mark Twain’s daughter, Clara Clemens. Her first husband was a concert pianist who died after a long and painful illness, and their daughter was addicted to drugs and alcohol and died young. “So another cheery story,” says Cocker, with a big grin. “She was a bit of a tragic figure in the hotel. She used to play her husband’s old 78s and cry or pick out the tunes he used to play on the piano. Someone from the label was saying what a sad song that was, but I thought it was quite funny that one, because it rhymes melodic with alcoholic.” He pauses. “Well I was pleased to find that rhyme. And dark humour is the humour I like.”

There is also, inevitably, a certain element of tawdriness. Extramarital liaisons abound, young women are told to “shake [their] pretty money maker”, starlets are promised roles in exchange for fellatio. Was it difficult inhabiting these unsavoury characters? Or is there a thrill in exploring a darker side of human nature? “I’m going to have to be careful here how I answer that question,” he says. “I remember somebody once telling me: ‘If you want to say something about yourself, try writing in character.’ I don’t know whether that makes me unsavoury, but I tend to respond to stories that don’t give you the standard outcome.” (I attempt to extort some personal anecdotes from the hotel, but his response is a disappointing “No salacious stories. I’m very discreet.”)

While the album does point out the dark sides of excess, it isn’t a lecture on morality. Cocker acknowledges the power of the illusion: “This whole place is built on a lie/ Yeah, but what a lie […] Unhealthy, unfair, and extremely entertaining,” goes one lyric. Another, inspired by a couple Cocker saw, conjures the glamour of old-school Hollywood: “We ordered ice-cream as main course/ In a turban of silk/ Drinking chocolate milk/ With a shot of rum on the side, well of course.”

Cocker wanted to explore how what we watch affects the way we understand the world and shapes our desires – something that has preoccupied him since Pulp songs such as TV Movie and Happy Endings. “We’ve all been affected by it. I certainly was. I can feel it has affected my development as a person. I grew up absorbing it through the telly, which lots of parents use as an electronic babysitter.” You learn in that language from an early age, he says, but because it isn’t verbal, you’re not aware of it. For example, one thing you learn is that attractive people are good, and ugly people are the villains. “In real life,” he says, somewhat pointedly, “good-looking people are often arseholes.”

But although movies affect our expectations of life, what we see on screen has often been heavily altered, with makeup, lighting and special effects. “You’ve got this embodiment of erotic desire, these amazing-looking creatures, and you just wouldn’t see anybody looking like that,” says Cocker. “People fall in love with an illusion, something that’s never existed, and maybe a bit out of love with the actual world they live in. And that’s a strange zone to be inhabiting.”

The desires cinema stirred up were not only sexual, but also consumerist. “It really stoked people’s imaginations: you can wear clothes like this, you can have a kitchen as big as this, you can have a bedroom as sumptuous as this. Suddenly it was like, ‘Whoa, I want some of that, I’m living in a shack.’” And the effect wasn’t confined to the US. “I think it speeded up a lot of the developments that happened in the 20th century,” Cocker adds. “Those appetites that were ignited are still with us.”

One modern variant, of course, is the internet. “Life with the boring bits edited out” is a line in the album about film, but could just as well be describing social media’s parade of holiday snaps and life achievements. “I didn’t want to write about the internet,” says Cocker. “We wanted to go back to the big bang. To find out why it’s a big deal you have to go back and think: ‘What was the last big deal?’”

Mobile phones have given everyone the ability to make themselves the star, often with retro effects recalling classic cinema. “You put yourself in the movies – that’s the exciting thing about filters. You take your selfie and it’s like, ‘Yeah, I’m in 1960s California, man.’”

As with any dream, there’s always the danger of a let-down, and we must eventually return to our day-to-day lives. Cinemas and hotel rooms are similar in this way: “They’re a place where, for a few hours, you leave yourself behind and have this fantasy that you could be somebody else. There’s no responsibility, somebody changes the bed linen afterwards, you just walk out and get on with your life. I enjoy that but sometimes you think, ‘I want this all the time’. And that’s where you get a bit of a problem.”

As part of the lengthy research process for the project, Cocker spoke to film historian David Thomson, author of The Big Screen, whose voice is heard a few times on the record. One of his theories was that films came along at the same time as a decline in people going to church, and that since most films had a happy ending, they comforted people in the way religion used to do; this was part of the myth keeping America together through troubled times like the Depression.

But another thing Thomson was saying, which Cocker didn’t pick up on so much at the time, three years ago, was that people were beginning to see through the myth, and that he feared for what was going to happen then. “I think obviously recent events are maybe legitimising that point of view. I don’t think we realised that those fundamental myths are really powerful. If you don’t believe in the happy ending any more, and new ones [come along]… it’s a big thing. And not a particularly pleasant one.”
Closer to home, the results of last June’s referendum continue to reverberate. In Sheffield, which was widely expected to vote for Remain, Leave won by 51%. Was Cocker surprised? “Yeah. It puts you in a strange position. Because Sheffield’s my home town, so I’m always going to love it, but that wasn’t the outcome I expected. But one of the things I think has become very dangerous in the fallout from Brexit is this obsession with saying, ‘Educated people voted to remain and uneducated people voted to leave.’ There are different types of intelligence. I was brought up in Sheffield, and it’s a kind of working-class city, and the environment I grew up in wasn’t xenophobic or racist.”

He speaks slowly, choosing his words with deliberation. “I think people have to be careful about that stuff, because if you’re not, it will come true. If you insult people, tell them ‘You’re thick, you don’t know what you’re on about’, they might just act in accordance. All these problems come from an inability for people to realise that we’re all motivated by the same things. This insistence that it’s all someone else’s fault – that’s at the root of it. Yeah; I was really upset by the result, and that Sheffield had done that.”

In France, where he lives, a general election is coming up in April, bringing fears that the far-right candidate Marine Le Pen might swoop to victory. A friend recently pointed out to Cocker that if a candidate wins a majority of votes in the first round it doesn’t go to a second round. “That really frightened me. I really hope that France will resist the temptation to go down that road. But I can’t say for sure.”

On a local level, he has campaigned to save some trees the council was chopping down in Sheffield (“Pulp had a song called Trees, so I had to join in. You know. I like trees”). Does he plan on getting involved in politics on a larger scale? “We’ll have to see. When it comes so close to home, you can’t just say, ‘I’m really not that into politics,’ or, ‘I’ve got a lot on at the moment.’ You’ve got to think about it. I suppose that’s the period we’re in now. We’re all trying to get our heads round what’s happened and what’s going to happen. But we’ve already seen people getting more vocal and committed to opposition.”

One idea he has is a response to our increased reliance on technology. In 2015 he wrote a “Nu-Troglodyte Manifesto” for Another Man magazine, in which he advocated turning our backs on the internet and going off the grid. Recently, after a hike in Scotland, he found himself thinking about the possibility of digital wildernesses – places where, much like in areas of preservation of natural habitats, there is no internet coverage. “People might move there. You don’t get phone coverage in caves, and we all came from caves. I think maybe that will happen. Not on a massive scale. But I think everybody acknowledges that the adoption of new technology has kind of led to the political events of the last year. So now that has been pointed out to us in very stark manner, people might start to think, ‘I don’t want the world to go down that path.’”

Considering the recent craze over the reissue of the “dumbphone” Nokia 3310, he may be on to something. He continues: “Maybe you’ll get internet-free cities where they’ve got transport systems and the things necessary to function – perhaps they’ll decide to do their own thing instead of going along with the prevailing horribleness.” It will be interesting to see what happens in the next few years, he says. “For a long time it seemed like nothing was changing and everything was getting boring. And I guess that’s why such a violent thing has happened, why an extreme thing has happened. There’s no ignoring it now.”
When I ask Chilly Gonzales about working with Cocker, he enthuses about his sardonic delivery, his humour, his musical ability. But another aspect that emerges is a version of the illusions we’ve been discussing. “When Pulp were just coming out I thought, this guy is living out a fantasy. The way you feel when Jarvis is on stage is probably the same as how he would have danced in front of the mirror when he was a teenager; he’s letting you into his fantasy, in a way that’s playful but speaks to a deeper truth about him. That’s a rare thing to pull off. Rappers sometimes manage it, and performers like David Bowie and Prince. Jarvis is the same. It’s iconic, the way he presents himself on stage and, for me, that quality is intimacy.”

Maintaining longevity and evolving as an artist isn’t easy. Does the fact that his songs have meant so much to so many people make it more difficult to make new music? Cocker muses: “Nah, I think you’re aware of what you’ve done so you don’t want to repeat it or spoil it by doing something rubbish. Hopefully, you develop. I interviewed Marina Abramović on the radio show, and she said all artists only have one idea, except maybe Picasso had two, but he was a real exception. So I think you end up ploughing the same furrow your whole life. You just have to keep digging deeper, and that takes time. So I hope this latest bit is a further excavation.” He smiles. “But we’re not at the centre of the world yet.”

Jarvis Cocker and Chilly Gonzales’s Room 29 is out on Deutsche Grammophon on 17 March. They will be performing live at the Barbican Centre, London EC2, 23-25 March


– Stolen from theguardian




A drive with Sophia ’63

Title: Vida Bandida (Longe de Você)
Artist: Mario Albanese
Album: Jequibau


Jason Molina: Riding with the Ghost Hardcover – May 15, 2017

Erin Osmon presents a detailed, human account of the Rust Belt–born musician Jason Molina—a visionary, prolific, and at times cantankerous singer-songwriter with an autodidactic style that captivated his devoted fans. The songwriting giant behind the bands Songs: Ohia and Magnolia Electric Co. had a knack for spinning tales, from the many personal myths he cultivated throughout his life to the poems and ballads he penned and performed. As with too many great musicians, Molina’s complicated relationship with the truth, combined with a secretive relationship with the bottle, ultimately claimed his life.

Jason Molina: Riding with the Ghost details Molina’s personal trials and triumphs and reveals for the first time the true story of Molina’s last months and works, including an unpublished album unknown to many of his fans. Offering unfettered access to the mind and artistry of Molina through exclusive interviews with family, friends, and collaborators, the book also explores the Midwest music underground and the development of Bloomington, Indiana–based label Secretly Canadian.

As the first authorized and detailed account of this prolific songwriter and self-mythologizer, Jason Molina provides readers with unparalleled insight into Molina’s tormented life and the fascinating Midwest musical underground that birthed him. It’s a story for the ages that speaks volumes to the triumphs and trials of the artistic spirit while exploring the meaningful music that Molina’s creative genius left behind.



En compagnie d’Antonin Artaud (My life and times with Antonin Artaud). Gerard Mordillat, 1993.

If you ever git a wild hankerin’ to feel like a Saint, just hang out at Walmart in
Wichita City for 3 hours –

Tinder, Face’swap, Porn’hub, Mugshot book, Alas, came too Late in Life…
Long After Le’Clap, Le Skin’pop, Be-Bop-A-Lula and dear Leprosy…

I do not care for this wine, this Red Bull, is it an American wine?

God is something that how you say, punks you, forces you into becoming a reckless recluse and an uncommonly aloof  starry’arsed ball’gazer


the science of imaginary solutions



Rick Rubin – March 10, 1963


Released March 8th, 2010

MARCH 8, 2017 . International Women’s Day


International Women’s Day (IWD), originally called International Working Women’s Day, is celebrated on March 8 every year.  It commemorates the movement for women’s rights.



ASKiAN . Lovely Creatures: The Best of Nick Cave & The Bad Seeds 1984-2014


KüçükÇiftlik Park,


Cousteau – The Innermost Light

Written by Carl Barat and Davey Ray Moor
Featuring Carl Barat.

VOCAL$ – Mr. Liam McKahey


The Walled Off Hotel is situated in Bethlehem, near the barrier wall between the Palestinian territories and Israel, and consists of nine ordinary rooms and one presidential suite.

The artist says the aim of the project is to bring jobs and tourism to the town, and says it is a real hotel that will soon be open for guests.

The Walled Off hotel by Banksy

ASKiAN / Weronika Gęsicka

ASKiAN . Sleaford Mods interview

English Tapas – March 3rd on Rough Trade Records


Billy Fury – Turn My Back On You

i hate rock ‘n’ roll

I Am Not Your Negro


OCTOBER 6, 2017

Icelandic composter Jóhann Jóhannsson has been charged with the mammoth task of creating a soundtrack just as strong as Vangelis’ original. Jóhannsson has worked with Villeneuve on several films before including Sicario and Arrival; he described tackling the soundtrack as “an enormous challenge of mythical proportion”.

Speaking about the decision not to bring back Vangelis, Jóhannsson said, ” [Vangelis’ score] was a huge part of why that film is so strong, so yes, it’s something that I’m very aware of, but as I said, this is a sequel, not a remake, so we’re doing something that exists in the world but is new as well.

From what is heard in the trailer though, it sounds as though the soundtrack will be a good homage to Vangelis’ iconic original.


Blade Runner 2049 continues thirty years where the original left us, director Denis Villeneuve recently revealed some plot details:

“Thirty years after the events of the first film, a new blade runner, LAPD Officer K (Ryan Gosling), unearths a long-buried secret that has the potential to plunge what’s left of society into chaos. K’s discovery leads him on a quest to find Rick Deckard (Harrison Ford), a former LAPD blade runner who has been missing for 30 years.”
The planned release date is October 6th 2017. The film will appear in 2D, 3D and IMAX 3D



I remember you was conflicted, misusing your influence
Sometimes I did the same, abusin’ my power, full of resentment
Resentment that turned into a deep depression
Found myself screamin’ in a hotel room
I didn’t wanna self-destruct
The evils of Lucy were all around me
So I went runnin’ for answers

I remember you was conflicted…





He will be sorely missed…

Bill Paxton – May 17, 1955 – February 25, 2017

Love & Respect


Big Dad Johnny Cash
February 26, 1932
Love & Respect 

February 25, 1943




On KRANKY Records




00:00 1 – Come See
05:27 2 – Never Came Close
09:41 3 – A Walk
14:43 4 – Perfect Life
19:13 5 – Keep Still
23:50 6 – Different Heart
29:19 7 – Make Me Return
32:00 9 – Very careful



Tim Hecker in regards to the album art and concept behind Ravedeath, 1972:

“When I finished this album and it was time to do the artwork, I became obsessed with digital garbage, like when the Kazakhstan government cracks down on piracy and there’s pictures of 10 million DVDs and CDs being pushed by bulldozers. I kept thinking of these mountains of digital garbage. So while searching for stuff like that on Google I came across pictures of destroyed pianos. I discovered that MIT students started this ritual in the 70s where they throw a piano off a building.”

“…In my mind, there’s some connection between the computerized engineering that led to the codification of MP3s and music’s denigration as an object and thus a viable means of economic survival.”

What began as a mere model for album art became a concept for one of the best albums of Hecker’s career — that as we’ve entered the digital age and music has become further divorced from tangible, physical media, the more apparently disposable it has become. The title of the central “Hatred of Music” suite says it all — in 2012, what was once treated as high art in the analog domain has since been reduced to the status of transient, temporary relationships and one-night stands in the form of incorporeal, digital ephemera.

– Shane Michael Dignan

1. “The Piano Drop” 0:00
2. “In the Fog I” 2:54
3. “In the Fog II” 7:46
4. “In the Fog III” 13:47
5. “No Drums” 18:48
6. “Hatred of Music I” 22:12
7. “Hatred of Music II” 28:23
8. “Analog Paralysis, 1978” 32:45
9. “Studio Suicide, 1980” 36:37
10. “In the Air I” 40:02
11. “In the Air II” 44:14
12. “In the Air III” 48:22


ASKiAN . Joe Cardamone presents Holy War

Joe Cardamone: HOLY WAR Manifesto

This year I am going to be releasing an unprecedented amount – by my standards -of music and films. About 40 new songs have been recorded over the course of 2016 and are now still evolving in 2017. The collection is titled HOLY WAR and is a break from the band format that I have used in the past. Although some of the same spirit is evident as marked in earlier work, HOLY WAR pushes my music into much more extreme and innovative territory. Every step towards this outcome has been natural, a reaction towards changes in my life and in the world we all live in now.

First, I quietly broke up my band The Icarus Line due to several fateful circumstances. My longtime collaborator, band member, and best friend, Alvin DeGuzman, was stricken with a very serious form of cancer. This shook me and the rest of the group to the core. The disease robbed him of his ability to walk on the eve of a tour supporting Scott Weiland.

These dates seemed doomed from the start, but the band tried to fulfill its commitments even though it felt like we were wrong for the bill and in rehearsals we felt horribly incomplete without Alvin; it felt like a sin to be performing without him.

On the few shows we did play, I witnessed a great performer killing himself for a few bucks that weren’t being spent to his benefit. I also saw how the modern rock community functioned – the audience came anticipating performers failure as much as their success. Perhaps even more so.

It made a deep impression on me. It made it painfully clear that I and my art didn’t belong, a hard realization for someone who had already dedicated a good portion of his life music rooted in rock n roll.

Over those few evenings, I realized that what I was witnessing wasn’t rock n roll at all but a pageantry of convention being exchanged for the few dollars that kept the tank trundling onward. It had become a cage you willing entered in order to sell a couple t shirts…if you’re lucky.

I was drawn to making music because of its immediacy and freedom of expression and the opportunity to move the artform forward. That was the true romance of it. The crucial thing was to make a truthful and contemporary statement, not how popular it might make you. But then interpersonal politics became the main focus and the art started to fade into the background. I never compromised my musical vision, but that trajectory in those circumstances became my burden And it put me into a personal crisis.

Without fanfare, I disbanded the group. Then I paced around my yard, chain smoking for a month.

For the last few years, I had been compiling beats at home when everyone else was asleep. This had nothing to do with blazing a new career path and everything with being happy, making music. Then when I heard Bowie had passed I decided to try singing to them.

I brought a beat into the studio and went free on it. Light bulbs lit up in my head. Incorporating my love for black music was always a tricky prospect in my group. There were rules. On my own, there were no rules. I soon formulated the goal to make music that could be performed solo.

The HOLY WAR body of work doesn’t utilize the conventions of mainstream rock but to me, it holds much in common with the rock & roll music that I love.

I have decided to use elements of modern pop, even its clichés, to build this new house. These are sounds you might hear on the radio filtered through an art-punk consciousness. These are the conventions of the Establishment hijacked so rock & roll can be art again.

I spent a good deal of time making a record with Annie Hardy in my studio; she had life-shattering circumstances all reflected in that music. In between the sessions with her, HOLY WAR was taking shape: Heavy and Beautiful; Noise and Melody… conjured in my laundry room with samples, found sounds and software. Conventional instruments mostly collected dust.

It’s been a bitch to connect with a part of myself that was waiting to express itself for a very long time. It’s been a fucked up year or two, and distilling that into music that I would be able to share with people hasn’t been easy. My pal, Ariel Pink came to the studio one day and genuinely seemed to enjoy my new music, then said it reminded him of Beyonce! Sure, why the fuck not!

This collection will be released over the course of the year in various formats and volumes. Film, music and custom lighters. HOLY WAR is a whole new chapter in my life and the first where I will perform under my Christian name: Joe Cardamone.

Joe Cardamone will be performing at the Old Blue Last on the 16 March.

Special Fangx to Derek Robertson

Ride – Charm Assault

The first new material from Ride in twenty years.

Stream and buy here: http://hyperurl.co/CharmAssault

“Charm Assault” is taken from Ride’s forthcoming album, due to be released Summer 2017 on Wichita Recordings. The album was produced by Erol Alkan and mixed by the band’s longtime collaborator, Alan Moulder.

Andy Bell says “Charm Assault is a pretty straightforward expression of frustration and disgust at the people who currently run our country. The tour in 2015 was a good way of reminding us what we were good at in the first place and Charm Assault feels like a natural continuation from our peak. When we started writing together again we tried to imagine we’d kept on making music all this time, and this was just the latest one.”

Follow Ride
Spotify: http://hyperurl.co/RideSpotify
Facebook: https://www.facebook.com/RideOX4/
Instagram: https://www.instagram.com/rideox4offi…
Twitter: https://twitter.com/rideox4/
Website: https://ridemusic.net/


Robert Levon Been . It’s Good To Be King

RLB Performing Tom Petty’s “It’s Good To Be King” at the Wammys, Feb.11th 2017, LA

It’s good to be king, if just for a while
To be there in velvet, yeah, to give ’em a smile
It’s good to get high and never come down
It’s good to be king of your own little town
Yeah, the world would swing if I were king
Can I help it if I still dream time to time
It’s good to be king and have your own way
Get a feeling of peace at the end of the day
And when your bulldog barks and your canary sings
You’re out there with winners, it’s good to be king
Yeah I’ll be king when dogs get wings
Can I help it if I still dream time to time
It’s good to be king and have your own world
It helps to make friends, it’s good to meet girls
A sweet little queen who can’t run away
It’s good to be king, whatever it pays
Excuse me if I have some place in my mind
Where I go time to time

A Tribe Called Red – Indian City Ft. Black Bear

Thee Oh Sees – Live on KEXP


05/05 Winterthur, CH @ Salzhaus
05/06 Frankfort, GE @ Zoom
05/07 Rotterdam, NL @ Rotown
05/08 Berlin, GE @ Columbia Theater
05/10 Clermont-Ferrand, FR @ La Coopérative de Mai
05/11 La Rochelle, FR @ La Sirène
05/12 Rouen, FR @ Le 106
05/13 Lyon, FR @ L’épicerie Moderne
05/14 Paris, FR @ Trabendo
05/18 Nantes, FR @ Stereolux
05/20 Reims, FR @ La Magnifique Society
05/21 Brussels, BE @ L’Ancienne Belgique
05/26 – George, WA @ Sasquatch Festival
06/03 London, UK @ Field Day Festival
06/04 Bristol, UK @ SWX
06/06 Metz, FR @ La BAM
06/07 Milano, IT @ Magnolia
06/08 Ravenna, IT @ Beaches Brew
06/09 Dudingen, CH @ Bad Bonn
06/10 Nimes, FR @ This Is Not A Love Song
06/11 Bordeaux, FR @ le block
06/14 Manchester University, UK @ Transformers





‘Thirst’ is taken from Matt’s third album Grand Delusion, which features contributions from producer and multi-instrumentalist Alain Johannes (PJ Harvey, Queens Of The Stone Age), Jack Irons (Red Hot Chilli Peppers, Pearl Jam) and Mark Lanegan.

The atmospheric video was directed and produced by visual artist Austin Settle and was shot on location at the foot of Mount Großglockner, the highest mountain in Austria.

With a career stretching back to the end of the 80s, Boroff has toured widely, sharing stages along the way with QOTSA, Nirvana, Kyuss, Black Rebel Motorcycle Club and more. Relocating from New York to Austria in 2000, he formed MATT BOROFF & THE MIRRORS, who released three albums, before Matt decided to go solo in 2010.

Set for release on 5 May on Panta R&E, Grand Delusion is available to pre-order from Plastic Head Distribution…

UNKLE & Keaton Henson – Sick Lullaby

The Heretic’s Gate

Installation by Doug Foster for a project titled “Daydreaming With…”. Music by UNKLE. Set at St Michael’s church in Camden.


From the upcoming album by UNKLE, “The Road”


Thirst releases on Mon, 13 Feb, 2017









Foto / Deedee B.




Death Song – The new album from The Black Angels out April 21







When i hear the Name Hide Funa, I think of far away motorcycle gasoline and soft creativity….
When I hear the Name Hide Funa, I’m Happy Remembering Our Roads Long Ago…
When I hear the Name Hide Funa I think of Happy Travels and Much Kind Hearts…
When I hear the Name Hide Funa I have Dreams Of Rock And Roll…

Pete, Robert, Leah, me & All the Club Members of BRMC are Sad for You & Your Mama’s Loss…

Stay with Us for now in Our tiny special telepathy sorrowful rock and rolls world please…
Sorrow takes time to Understand just a little…

Hugs from All Over the World to You, Hide…

Bless Yer Heart

See You Soon, Kid…

This Old World Ain’t the End of it…

Love Last Longer than Time…

It Never Ends…

Reiko Forever…


MR.  JONATHAN MCNEICE, DARREN MACKIN – Olympia Theatre, Dublin, 2003





Good Heavens & ah Howlin’ bee’Je’zush!








Bless Yer Hearts


My Neu Daughter.  Mavis Rodriguez Ottaway

The Black Delta Movement – Seven Circles


Cheers to Colin Burr



Join Black Doldrums for an evening of fuzzed out psych gaze with support from SIRACUSE and Terra 3 at Dublin Castle, London, 4th February

Electrified – Invisible lovers

From St.Petersburg , Russia

“Invisible lovers”

I am sleeping with the ghosts.
In the invisible coats on the pearl road.
I am sleeping like a stone,
like a broken phone.
I am tired of my soul.
I’m sleeping with the ghosts.

I’m sleeping with the ghosts.
My mind is opened hands are closed.
I’m sleeping with the ghosts
like a shell on the coast,
like a grave near the rose.
Yes baby I’m sleeping with the ghosts.







Mark Lanegan * I Am the Wolf * Lyrics & Writings

Mark Lanegan draws frequent comparisons to wounded masters of doom like Tom Waits, Nick Cave, and Leonard Cohen. But Lanegan’s talents aren’t limited to his vocal skills. His lyrics are on par with the best of them, exploring with Blakeian insight the stark and scorched emotional terrain that exists somewhere beyond sadness, addiction, trauma, and spiritual longing. Now, for the first time ever, the reclusive singer presents a comprehensive look at his lyrics, the stories behind them, and the making of his albums as well as photos, insights, and ephemera from a long career in rock ‘n’ roll, I Am the Wolf gives fans a rare and candid glimpse into the inner workings of a living—and singular—rock and roll legend.


TOYDRUM – I’ve Got a Future (feat. Gavin Clark) (Nick Cave & Warren Ellis Rework)

Pablo Clements and James Griffith of UNKLE have a side project called Toydrum. On their new remix album My Eye On You (To Reinvision), they enlisted “friends, peers and people we love to work with” to reimagine songs from their albums Distant Focus Vol. 1 and Evangelist. Two of those peers are Nick Cave and Warren Ellis, who have delivered their rework of Toydrum’s “I’ve Got a Future,” featuring the late singer-songwriter Gavin Clark. 



Moon Duo – Cold Fear


Gone Mental Wednesday
Longing for the Dead
Trippin’ over the structure of the Stars
And All that Madness in your Head, yeah…
Berlin 2017
Learn History and then Change it and after that?
Come Together Right Now…

And just as soon as you feel you may have figured out the world somewhat, along comes something that drags you right back down to the start
to remind you that you never knew anything at all…
we are loved but swimming rippled black waters alone…

RIDE * MARCH 22, 2017


Like a Night Club in the morning, you’re the bitter end.
Like a recently disinfected shit-house, you’re clean round the bend.
You give me the horrors
too bad to be true
All of my tomorrow’s
are lousy coz of you.
You put the Shat in Shatter
Put the Pain in Spain
Your germs are splattered about
Your face is just a stain
You’re certainly no raver, commonly known as a drag.
Do us all a favour, here… wear this polythene bag.
You’re like a dose of scabies,
I’ve got you under my skin.
You make life a fairy tale… Grimm!
People mention murder, the moment you arrive.
I’d consider killing you if I thought you were alive.
You’ve got this slippery quality,
it makes me think of phlegm,
and a dual personality
I hate both of them.
Your bad breath, vamps disease, destruction, and decay.
Please, please, please, please, take yourself away.
Like a death at a birthday party,
you ruin all the fun.
Like a sucked and spat our smartie,
you’re no use to anyone.
Like the shadow of the guillotine
on a dead consumptive’s face.
Speaking as an outsider,
what do you think of the human race
You went to a progressive psychiatrist.
He recommended suicide…
before scratching your bad name off his list,
and pointing the way outside.
You hear laughter breaking through, it makes you want to fart.
You’re heading for a breakdown,
better pull yourself apart.
Your dirty name gets passed about when something goes amiss.
Your attitudes an platitudes,
just make me wanna piss.
What kind of creature bore you
Was is some kind of bat
They can’t find a good word for you,
but I can…

ASK iAN * Oona Rocks

Goldfrapp – Anymore

Anymore – the first single from Goldfrapp’s brand new seventh studio album ‘Silver Eye’, released 31st March 2017 on Mute



In front of the U.S. Embassy on Pariser Platz beside Brandenburg Gate in solidarity with women’s march in Washington and many other marches in several countries, in Berlin, Germany, January 21, 2017
















Come Down and Say Hello.  Instead of DJing, i’ll be drinking Strongbow Black and drifting through the Grand Delusion.  





Gadajace Glowy – Talking Heads (1980) – Krzysztof Kieslowski

Gadajace Glowy (Talking Heads) is a serious documentary film which features people from different age groups, backgrounds and professions. Kieslowski starts his film by asking three simple questions to a boy aged 1 year.
These questions are:

a) Who are you?
b) When were you born?
c) What is important for you?

A common element of all answers involves respect for an individual.



Leah on Late Night with Seth Meyers ( NBC ) January 16th – 19th

fangx Jodi Lee





The Reflecting Skin is a 1990 British-Canadian horror film written and directed by Philip Ridley and starring Jeremy Cooper, Viggo Mortensen and Lindsay Duncan. Described by its director as a “mythical interpretation” of childhood, the film weaves elements of vampirism, Surrealism, black comedy, and religious zealotry throughout its narrative about the perceptions and fantasies of an impressionable young boy in 1950s America. The film places the majority of its action outdoors around the dilapidated farms and in the wheat fields of Idaho shot in idyllic sunlight which belies the dark secrets of the characters and plot.

FANX BIG TIME, TO Made Li Monade 


Cave gave his first interview since his son’s death – talking to The Australian about the band’s live return and the impact of the film ‘One More Time With Feeling’.

“You know, I saw the things people wrote about the film on social media,” said Cave “… the way the film seemed to open something very deep for people, and how so many people out there had lost people they loved, you know, just how many grievers there were. It was a very powerful feeling, and ultimately shifted something in me, and Susie too, and stopped us feeling so completely hopeless all the time.

“It was like we had done something good for Arthur, all of us, and had placed the memory of him up there in the stars.”


Speaking of the making of ‘Skeleton Tree’ Cave continued: “For me, going into the studio in Paris was not a good idea, and I hope I never have to do anything like that again. It was only a few months after Arthur died. It was too early. But it just felt important that I do it. You know, life goes on and all. It was crazy. Terrifying, really. I was a mess, big time. So was everybody, actually.

“It was a very difficult time. Much of what we did simply did not work. We tried re-recording the songs; putting them in time, in tune, whatever. Pretty much everything we tried to do sounded bad. It was like the record itself, in its untreated state, was simply refusing to allow itself to be embellished or polished. So, in a sense, Skeleton Tree was the product of that.”

It is hoped that Cave will announce UK and European tour dates shortly. His remaining Australian, New Zealand and American 2017 tour dates are below.

Australia/New Zealand dates :

Ballarat, North Gardens (January 15)
Wellington,TSB Bank Arena (January 17)
Auckland, Vector Arena (January 18 )
Sydney, ICC Sydney Theatre (January 20-21)
Newcastle, Newcastle Entertainment Centre (January 22)
Brisbane, Riverstage (January 25)
Melbourne, Sidney Myer Music Bowl (January 27-28)
Adelaide, Adelaide Entertainment Centre (January 29)
Perth, Perth Arena (January 31)

North American dates:

Brooklyn, Kings Theatre (May 26)
Montreal, Metropolis (May 29)
Toronto, Massey Hall (May 31-June 1)
Detroit, Masonic Temple Theatre (June 3)
Philadelphia, Electric Factory (June 5)
Asheville, Thomas Wolfe Auditorium (June 7)
Pittsburgh, The Warhol at Carnegie Music Hall (June 8)
Boston, Boch Center Wang Theatre (June 10)
New York, Beacon Theatre (June 13-14)
Chicago, Auditorium Theatre (June 16)
Denver, Paramount Theatre (June 18)
Salt Lake City, Kingsbury Hall (June 19)
Portland, Arlene Schnitzer Concert Hall (June 21)
Vancouver, Queen Elizabeth Theatre (June 22)
Berkeley, Greek Theatre (June 24)
San Diego, Civic Theatre (June 26)
Los Angeles, Greek Theatre (June 29)


Remembering… Trish Keenan – September 28, 1968 – January 14, 2011




8 January 1947 – 10 January 2016


To mark what would have been David Bowie‘s 70th birthday, a new EP of music has been released along with a video for ‘No Plan’.

As well as the single ‘Lazarus’, the EP also features tracks recorded for the acclaimed musical of the same name – backed by the bittersweet melancholy of ‘No Plan’, the dark and menacing jazz-tinged scorched rock of ‘Killing A Little Time’ akin to his material from ‘Outside’ and the ambient acid rock of ‘When I Met You’.

Recorded around the time of ‘Blackstar’ for the musical ‘Lazarus’, these were Bowie’s final ever recordings.

Directed by Tom Hingston, the video calls upon the motif of rows of TV screens from ‘The Man Who Fell To Earth’, with a nod to main character Thomas Newton with the shop name ‘Newton Electrical’ – ending with visions of space travel and fitting final salute from Bowie.



Lucifer, Poppers’ new album, a BLITZ Records edition in conjunction with Tiger Records with distribution from Sony Music

 Produced by Legendary Tigerman, features collaborations with Filipe Costa (Sean Riley & The Slowriders) and Ian Ottaway (collaborator of the Black Rebel Motorcycle Club) and is preceded by the single “In the Morning”.




Tryna win your interest back
But you ain’t having none of that
You’re just like a ship in a bottle
Kiss today but fuck tomorrow
I don’t know, I guess that we’re all through

Fucked up girls like drugged up guys
That won’t keep him warm at night
It’s just like a grape in a bottle
It’s wine today but piss tomorrow
I don’t know, I guess that we’re all through

I’m a rock and roll amputation
I’m a rock and roll amputation
I’m a rock and roll amputation
I’m a rock and roll amputation



The Jesus And Mary Chain are set to release their new album
Damage and Joy on March 24th on ADA / Warner Music.
1. Amputation
2. War On Peace
3. All Things Pass
4. Always Sad
5. Songs For A Secret
6. The Two Of Us
7. Los Feliz (Blues and Greens)
8. Mood Rider
9. Presedici (Et Chapaquiditch)
10. Get On Home
11. Facing Up To The Facts
12. Simian Split
13. Black And Blues
14. Can’t Stop The Rock


Alexey Titarenko – City of Shadows

Britta Phillips – Drive (cover)





Psychic Ills “I Don’t Mind” (Feat. Hope Sandoval)

a96b3acd10660cd5f09d7326f7c9ebaa clark_18


hauntii haunt


ASK iAN / death house black coma waves

hone away from the crowd like a discarded harmonica…  i am gladly thrown away,
Away from the heavenly hogging cowardly crowd bent, so bent on fortune and no know.
Of Course, I miss She
Of Course, I miss the Once of Us
Of Course, I know that the tide is Forever Changed
Of Course, I know the fractions of what is now for Always

I pull my knife out
I drop off a few dollars at the death house
I take a drink and mind my own
while avoiding the sunlight
and bending my lips to shut my jaw from unfurling
the wrong notes

A Catch .22
Avoiding Jail
Screeching through Traffic
Avoiding the Holocaust of drama students
Placing my love in the backseat
Moving forward
with all my
bubblegum breath…

Yeah, it Hurts, dummy
but nothing ain’t gunna change nothing
so don’t try tae make somethin’ outta nothing
Move on baby boy

I see the Airport midnight lights
I see my soft seat in the quiet liquor night light
I keep to myself, haunted and pretty much alone
I am so in love
I am so Hurt
I was once so her
I was once bright blue
now Black
I Roll with the Ocean Coma



Much Like You
We’ve Returned…
Running Ourselves Into the Ground
Much Like You
They give us the heart from the Clinic
they leave us to our own metal Rewards
Repair the boots
jut out the demons
Chewing on the pain straps
just like you
and I Run
with my Bandung Hum
I am Haunted with you
I wanna look backwards
but know that is Only
A Lost Chase
I take my sorrow
down to new places
I understand how the world works now…

Size up this Flash
my blood seeks a new found path
my heart is still back with you somewhere…

We are always Arriving
We are always leaving…

put on this Electric Guitar
tell me lies
little brothers and sisters
tell me moar Lies

I’m not here
I’m some script writing out bone memory
Love from Home
You see this new Road?

Meet You there Quick
Get off your Excuse
Get Out Here On Me in the Now Night