late-breaking news. no time so i just cut & paste their promo text:
Pure Fire Returns!!!
Tues., May 1, 9 p.m.
APT, 419 West 13th St. (at 9th Ave.) Manhattan
FREE + OPEN BAR from 9 -10 (Sagatiba cachaca!!!)
DJ Rupture (Soot Records, Tigerbeat 6)
Rupture blesses us with another 3-turntable exercise in advanced vinyl manipulation, hot on the heels of his new mix CD Shotgun Wedding 6: Secret Google Cheat Codes.
Plus Pure Fire Resident DJs Criterion, NRON, Peter Gunn, Reaganomics and Smallchange spinning the best in urban beats, from dubstep, jungle, breakcore, grime, dancehall, rap, breaks and beyond. Come down and support what we hope to be a new monthly at a sweet spot to hear music on a great system. Open bar from 9 – 10 on Sagatiba cachaca drinks.
Ash: Scotty. You’re going to be Ok. You’re going to be just fine.
Scott: Ash. It’s not going to let us leave. Cheryl… Cheryl was right,
we’re all gonna die here!
Ash: No, we’re not going to die.
Scott: We’re all gonna die. All of us!
Ash: No, we’re not going to die! We’re not going to die! We’re gonna
get out of here. Now listen to me Scotty. Is there a way around the
bridge? Scotty! Listen to me please for God’s Sake! Scott!!
Scott: Ash. Ash. I don’t wanna die. You’re not going to leave me are you Ash? Are you?
I don’t wanna die. You’re not going to leave me here are you? Are you Ash? Hahahahaha
Ash: Scotty! Now c’mon listen to me for God’s Sake! Is there a way
around the bridge?
Droid – Scotty
buyable. Droid = Kromestar. His work shows serious Skreamland talent for both bass-wobble and plastic reggae.
today’s song is from Golden Afrique vol. 1, although it’s available (cheaper) at Calabash. not sure if this is an Ibrahim Sylla production, but the band from Guinea-Bissau slots nicely into the extremely beautiful category.
You can’t really go wrong with ’5 interlocking electric guitars and several-part vocal harmonies’ from West Africa:
Super Mama Djombo – Dissan Na M’bera
the informative Calabash write-up traces Mama Djombo’s arc through revolution and repression to conclude “what are left are magnetic tapes”.
a life & time unspools down to whatever medium can remember it: wet brains, hard drives, paper books, magnetic tapes, circular pieces of plastic inscribed with tiny mountains of sound that came from bodies and moved bodies somewhere, once.
bIG NeWs! — I’ll be starting a weekly radio show on WFMU this June. Expect lots of exclusive tunes & special live guests. 91.1 FM in the New York City area, with excellent internet streaming.
I’m looking for an assistant to help produce the show. I’VE GOT STRONG NEW IDEAS regarding radio’s possibilities & maybe you could help… The person must be familiar with basic audio editing and HTML-podcast-blog use, with a passion for local radio and cosmopolitan bass and (if i’m really lucky) poets/performers whose work happens in sound.
please pass the word on to any NYC-area individuals who might be down. contact: firstname.lastname@example.org
** in 2002 I did a 1-hour mix (realAudio stream) for FMU.
5 years back & it still bumps future-now.
** i’m DJing at a FREE wfmu PARTY @ Southpaw, Brooklyn this Saturday. info. Doors at 8pm, I go on at 9. and I’d recommend coming early since it’s likely to fill up, what with these bands and all…
I’ll be accompanied by Daniel Perlin on video. (we’ve performed together in Europe a bunch, this is our first thing in the US). Catch Daniel’s live audio pieces at Harvard this evening.
** Caroline Bergvall as selector! Check her ‘March selection’ of free mp3s on Ubuweb. People Like Us, Masaoka’s Ritual with Giant Hissing Madasgar Cockroaches, Caetano Veloso & more (pets).
ps. “ritual with giant hissing madagascar cockroaches” was performed by the artist Miya Masaoka with thirteen madagascar cockroaches triggering the insects’ amplified hissing while crawling over her body.
getting into the radiophonic spirit, here are my hands on John Peel’s show, live at Maida Vale. ah, the good ol’ days… no giant cockroaches, just foxes on the city streets outside (from Failme’s Flickr.)
it’s true: Movado’s elaborate and evil nature makes you look for classical references to describe it adequately, duppy machiavellian. and then there’s the cold stare of power achieved by naming a song ‘Amazing Grace’ and plastering your long haunting void melodies on top of the church notes.
Movado – Amazing Grace
this replaces a popular hymn. it’s the opposite of what you do when you do a cover version.
the Vybz Kartel track on this riddim – Tremor – is hotter but Movado’s is colder.
The other thing is that: real gangstas use vocoders. (vocoded Imazighen rural pop coming soon). Image below from The Fader’s Movado cover story, downloadable.
sometimes i forget that i make things that people can actually buy.
Boomkat — single of the week!
i confess a weakness for accordions.
if you’re rushed for time listen to the second one first.
Cool Arrow Cumbia mix – excerpt 1
Cool Arrow Cumbia mix – excerpt 2
2 contiguous fragments of an excerpt of a very recent cumbia mix caught streaming here. Includes a handful of Celso Piña tracks.
Excerpt 2 contains Piña’s song from the film Babel, a track that would be brilliant if Manu Chao hadnt used a similar formula to sell millions of records, imbedded in a movie about a complex and interconnected world where personal struggles are shot through by larger machinations of power and bursts of dangerous unpredictability, a multi-tiered society where the powerless connect with the privileged in increasingly violent encounters, realism, and the characters in this land with the most emotional depth are North American movie stars with perfect teeth like everybody who has ever had braces, only brighter.
Babel is about Brad Pitt trying to date Cate Blanchett on the secret while his girlfriend buys babies in Africa and a Japanese girl keeps pulling up her skirt. It’s hard to keep a secret if you are famous. The movie-version Moroccan kids with the gun didn’t have a real gun, they were Pakistani kids with a plastic replica in the sun-baked Spanish landscape where drought has forced entire provinces to abandon farming and work offering ‘Moroccan/American Southwest’ film location services at sub-Saharan wage scales, on the low-end of which stand these kids’ “parents”, the adults who control the child actors, the ones who get paid for the kids’ work.
Things were better before Andalusian tourism collapsed, taking the hospitality sector with it. Elsewhere, a Mexican woman loses children that aren’t hers. The Japanese girl stands naked because she has thrown her clothes off the roof.
The Pakistani child actors who dont get anything aren’t on the wage scale. Division by zero f*cks arithmetic. And in the real-life version that the movie is based on, these kids had a digital camera they were trying to “shoot” runaway lovers Pitt and Blanchett with, to get photographs to sell to the highest paying gossip magazine. The fees can be astronomical. Apparently they just upload them via Blackberry once the money arrives in their online offshore bank account. It’s considered ‘paper-free business’ and the carbon rebates for companies and incorporated individuals are rumored to be indulgent.
greek, indian, arabic, hugh tracey african recordings, a compilation of blank-label reggae 7″s,
depth, quality, ALBUM RIPS. dj-listener as librarian as gift-giver as
Magic of Juju blog
a record shop whose employees give away the rare LPs
(my only gripe is Rapidshare. why dont they use Zshare or something that doesnt limit yr downloads?)
one of the many reasons i like Cam’ron is b/c his in&out uptown niggerati avant-garde pink-thug wordplay Harlem cryptohomo flimflamboyant whipcrack poetry lifestyle partakes of a lineage that began with Langston Hughes.
The Harlem Renaissance never ended.
Cam just brought in Lamborghinis & advanced banjee realness.
And now Oh Word adds to our understanding by sharing the AMAZING discovery of Cam’ron’s rhyme notebook.
(the rest of it is better than the cover!)
The thing about Killa Cam dotting his ‘i’s with lil hearts and generally acting like a middle-school girl is that it is somehow completely believable, and this, coupled with the fact that somebody put A LOT of time into it, just pushes OhWord’s work over the edge into nextlevelness & we thank the internets, whose magic functioning Cam explains here.