HEADCOLD
i picked up some vinyl & a cold in the UK; because of the latter i only got energy to post a few snippets of the former:
Danny
Weed - Cloud 9 (?)
(excerpt)
on untitled transparent vinyl from Southside Recordings. Unflashy ethnik grime riddim from the talented mister Weed. Haiku style -- everything where it needs to be.
Violin, vox, percussion: a Moroccan swirl! Andy Moor gave me this. Nothing informative to say right now but I'll remedy that "soon".
Chase
& Status featuring Riko, Trim, and Scratchy - Top Shotta
A legal 12" on Breakbeat Kaos with Capleton remixed on one side and Roll Deep MCs on the other!! Exciting and useful.
"Thanks for the cardigan" - Trim
(The
flip side, 'Duppy Man', versions 'Slew Dem' on d&b style beat that's
at once brash and roundabout.)
WHEN ANYTHING CAN HAPPEN, EVERYTHING MATTERS
((( MUDD UP! goes down down down. still dont know why. Ooops! well here we are. ))))-
British writer Ian McEwan will be at the British Council in Barcelona
tonite, 7:30pm.(Yesterday, arrgh) His recent novel, Saturday, is very clever & good -- he may in fact be getting better at tightening the noose -- I wouldn't burn it at all, even if I were cold.
in other quasi-literary (non)news, i found a new Spanish translation of Hideo Yamamoto's Homonculus!! Doesn't appear to have been inked into English yet. Dark psychological lines about trepanation & a guy who lives in a car but can't afford gas for the tank... & it gets much weirder than that. AB recommended it to me in Hiroshima as an example of the strange depths & heights of Japan's alternative graphic novel scene.
Dear Collective Intelligencers: will some of you kind folk suggest a few good jazz auto/biographies? I've read Space is the Place and Beneath the Underdog. (I'm more interested in the nitty-gritty social panorama than musical minutiae.)
I'll be DJing in Leeds this Saturday. @ The Basement. Kick snare kick! (more UK dates next week)
-
& if you are in London this Friday, come check the opening of Kernel Panic, a gallery show @ Temporary Contemporary.
Among other delicious artwork, Kernal Panic includes a video installation by NYC artist Daniel Perlin & myself. Nobody got arrested during the filming, so all is good. The sound design is in Nettle mode, bristling.
Opening: Oct 28, 6.30pm - 11pm. free (unlike everything else in London)
Perlin will do an exciting sound piece at 7pm (something about drilling CDs, realtime sampling), then various live lo-fi electronic people for the rest of the evening.
Exhibition continues 29th Oct - 20th Nov 2005, Sat & Sun, 12-6pm
EUGENE'S 10 STEP PROGRAM, WEB 2.5
There are endless important depressing things to talk about in the world, but a blog is both outhouse and master bedroom in the house of distraction, so without further ado:
No joke! Just stumbled across this. His is funnier than mine. I'm cool with that.
This Is Fun To Make A Computer Blog On The Website.
a strong
(and possibly defunct) manifestation of Web 2.5
Collective intelligence is web 2.0 (post-bubble silicon valley tech-guru chic)
Collective hysteria is web 2.5 (HEY OWLS, GET YOUR HORNS!!! THEN YOU CAN PLAY THE SONGS WITH THE RABBIT!!! )
Web
2.5 = "a misunderstanding mistranslation, not
a technology"
meme flow:
Web
1.0 -->
Web
2.0 --> Web 2.5
personal
websites --> blogging (blogs) --> bogs
(bog people)
hegemony of the professional --> hegemony of the amateur --> hegemony of the rabbit's hamburger hats
fact-checkers,
proof-readers --> spell-checkers --> u r a q t
Netscape / IE
--> Greasemonkey / Outfoxed
--> Nanotech
Mindcontrol Devices
English
--> Inglish --> Tagalog
Dial-up --> Wi-Fi --> Warsurfing
Microsoft
--> Google --> Google
(Maps) Cheat Codes
Nirvana --> The White Stripes --> The Shaggs
copyright
--> the
right to remix --> all rights re-severed
Bill
& Linus --> you & us --> Kirk/Spock (K/S)
WHEN THE SUN GOES DOWN
you think it's a happy beat?
the weight of the world, the pressure of bad links and more general forgetfulness, a wall-less room filled with people rubbing the backs of people they already know.
scouring open-air markets on the edges of town for the gift of smallness. barter down the price, the price wears us down to a nub.
&
then thinking back to bathtub bootleggers living under the typewriter
in Harlem, 1923.
from
Jean Toomer's Cane:
Who
set you flowing?
Money burns the pocket, pocket hurts,
Bootleggers in silken shirts,
Ballooned, zooming Cadillacs,
Whizzing, whizzing down the street-car tracks.
- - - - - -
What happens. Who set you flowing? Taking real poems dead serious you start to realize the exactitude of that vivid caring force which, under Langston Hughes' pen, coalesced into what we call poetry, spreading and living and asking: What happens to a dream deferred? Does it dry up like a raisin in the sun? Does it sag like a heavy load? Does it, could it possibly, truly, explode?
All
the force is there. And once again, the question ain't rhetorical.
A queer half-century before Lil Jon, Langston wrote--
Dream Boogie
Good
morning, daddy!
Ain't
you heard
The
boogie-woogie rumble
Of
a dream deferred?
Listen
closely:
You'll
hear their feet
Beating
out and beating out a--
You
think
It's
a happy beat?
Listen
to it closely:
Ain't
you heard
something
underneath
like
a--
What did I say?
Sure,
I'm
happy!
Take
it away!
Hey,
pop!
Re-bop!
Mop!
Y-e-a-h!
--Langston Hughes
- - - - - - - - -
A question mark curves back on itself, but incompletely.
Before he can describe the beat he wants to know if you can hear what's underneath.
UK REPLAY, NATIONALISM ESPAÑOL
Mizzle upped the Rupture radio set here
whole
show streamable here for a week
"I was trying to work out the reason we love him so much and I think its because you hardly ever come across a man so utterly reckless and so agile at the same time." - Breezeblock announcer Mary Anne Hobbs
*
* *
The reader comments about nationalism in Spain in a recent post of mine have been expanded on La Mancha blog, by the nephew of Spain's Minster of Culture no less!
a smart, cool-headed take on Spain's 'sedentary nationalism'. in English.
For
those of you following the immigrant debacle/hysteria/tragedy in
Spain's lil' Moroccan colonies of Ceuta and Melilla, be sure to peep
the Rodney King moment captured
on film:
Spanish cops pork beating up on an injured sub-Saharan
African.
BREEZEBLOCKER
Tonite I'll be
doing a DJ set on the BBC Radio 1's Breezeblock program. They tell me
I can do 'anything', so long as I don't include fake news broadcasts.
(No War of the Worlds tonight my friends)
Show starts at 1AM (early tues. morning) UK time, aka midnite in Spain, monday 7pm in NYC, etc. The Beeb is good about internet streaming, so you can listen in.
For the technical trainspotters out there, I'm got a piece in the current issue of EQ Magazine (Neal Pogue & some dude from Blink 182 on the cover) where I breakdown exactly what was going on, decks & mixer-wise, in some of the trickier moments of my Minesweeper Suite mix CD.
EQ's got a David Banner article online right now. Wherein we learn that Banner's MPC2000 has 'God First' inscribed on it, in sharp contrast to Kanye West's Forat-customized Louis Vuitton MPC:
Forat's gear customization page a must for everybody who needs to eyeball stuff like this or the RZA's MV-8000.
The bonus in writing for EQ is that the magazine actually reaches Spain -- I can pick up a physical copy -- therefore it exists, unlike Santa Claus or global warming or black Republicans who haven't been implanted with nanotech mindcontrol devices.
THERE'S HARDLY ANYBODY TO PLAY WITH AROUND HERE
Goodness
gracious!
If you haven't seen the Shining trailer yet, I strongly suggest that you go watch it right now.
I can't wait til this level of video hacking becomes as commonplace as audio refixes, bootlegs, and mashups; the thrill of the digital lies in its lack of integrity, its readiness to be not only replicated but f*cked with.
or,
All work and no play makes Jace a dull boy
& THE BLACKS UNLIMITED
Mudd Up! has been making too much sense lately. Ima remedy that next week.
in SELLOUT news, Jason Gross provides a wide-angle historical look, and MIA's Honda ad is now streaming... from her record label's website! Point # 3 in full effect, or as On the Download puts it "Car commercials are the new MTV."
ok, tunes--
Zimbabwean exile Thomas Mapfumo's music has graced Mudd Up! before. (interesting Escape-from-Mugabe asylum ruling today.)
Thomas
Mapfumo & the Blacks Unlimited - Kupera Kwevanhu
Easy to mistake this song for a happy one: the voluptuous bass, the Caribbean-influenced bounce, the seeming cheerfulness of it all. Could almost be a theme for a children's TV show.
Yet the title translates to 'The Perishing of the People', and the (all-caps) liner notes inform: THIS IS A SORROWFUL SONG ABOUT THE TERRIBLE SUFFERING AND PERISHING OF THE PEOPLE OF MOZAMBIQUE WHO HAVE BEEN PLAGUED BY WAR AND FAMINE FOR SO LONG.
From
1989's excellent album, Corruption. His '80s LPs are worth
searching for on the basis of cover art alone...
* * *
Wiley also knows about serious music that could double as the theme for a kids' TV show:
Wiley
- What Do U Call It (Igloo Bass mix)
This was b-side to the big single on XL, the genuis beat-less bass mix that prances and shimmies.
(I admit an addiction to Wiley bass mixes, formerly known as devils mixes, they are like the grime's haunted skeleton.)
* * *
As promised, here's some music by the Culture Musical Club, from Zanzibar. They are playing in Barcelona on October 21st at the Caixa Forum as part of their nice Músiques del Món festival.
Culture
Musical Club - Sasa Sinaye
Theme: 'It is true that she was mine, but now she is no longer mine. I loved her at my best and she was lucky that I fulfilled all her demands so that she should remain true to me. However, she betrayed me. He who wants her is free to take her. But Alas! He will experience that same fate.'
This was recorded live to 2-track in Zanzibar, lyrics sung in Swahili, the whole deal heavily influenced by Arabic music & instrumentation, especially from the 1930s when Umm Kulthum and Abd el Wahhad's films were popular all over the Islamic world.
From the 1989 album 'The Music of Zanzibar, Taarab 4'
THING THAT GO BUMP IN THE NIGHT
Easily one of the best caches of 'creative commons' audio on the net-- Freesound. Everything from geotagged field recordings to 'weird male scream pack'. [via the utterly caffeinated Sneakmove]
all that raw audio, you might need to mulch.
* * *
Last
year I played an 8pm solo show in one of the superfamous Antoni Gaudí
buildings here -- La
Pedrera.
Right b4 the gig my friends & I were hanging out outside and this
kid I recognize comes walking towards us. Brown-skinned skater type I
know i've seen around -- is he a fan? does he come to my shows? where
have we met? Then it hits me:
Pharrell Williams. I pull out and
realize he's flanked by a HUGE bodyguard and a scrabble of fanboys
behind him. Of course, Skateboard P wasn't there for me, N.E.R.D. was
playing the next night & he was out checking the fancy
architecture...
Point--
this Thursday Andy Moor & Anne-James Chaton are peforming
there at 9pm,
as part of L.E.M.,
a free and very narrow-minded "experimental music festival"
here in Barcelona. More proof of the equation, quite popularly
practiced here in Catalunya, that government funding plus cultural
nationalism equals bad art.*
[for a more nuanced, less boldfaced breakdown, read my comment in the
comments section...] More precisely stated, govt. funding
plus cultural nationalism attracts and supports and promotes bad art,
although thankfully there are exceptions, Andy & Damo Suzuki at
this years L.E.M. being some of them.
*Speaking of nationalism, the Catalan skinhead phenomenon is (almost) intriguing. They tend to be pro-Franco, anti-Cataluynan autonomy (and thus in stark contrast with all the more presentable Catalonian nationalists pushing for greater regional independence).
Spain's, um, leading extreme right bookstore is up in the Gracia neighborhood, in case you want to get some Catalan- or Spanish-language reading material on why 'the white race' is superior to all other races, or if you need a CD of Third Reich marching songs. Or perhaps you just want to break windows.
In other weirdness, skinheads across Spain are pro-Franco (naturally) and anti-Israel/anti-Jew (neoNazis: as faithful as puppies), but many are also, less expectedly, pro-Palestinian -- ideologically at least; they tend to be vocally if not violently anti-'Moor'.
The
pro-Palestinian neoNazi thing appears to based on the thinking, not
quite logical, that 'the enemy of my enemy is my friend', although
there is something fascinating/repulsive about a guy with an iron
cross tattoo arguing about US-backed Israel's "Zionist atrocities" and
"genocidal expansionism against Palestinians" after he's
finishing hassling some Moroccans or spraypainting 'white power'
graffiti slogans, of which Spain has no lack.
AUTOCHTONOUS (TAMIL) HEAT
the fun I Love Baile Funk mix over at Reasoner comes complete with tracklist and context (and Candy Shop refix!). Meshes well with the Guardian/Blender article.
our sellout dialogue spills over into Spanish. ¡Que bueno!
...just heard my first two LIGHTNING BOLT songs and i'm embarrassed to say that they really do seem as ridiculously kick-ass as everybody has been saying they are for years. (outside chance i saw em at Fort Thunder & just didnt know what was going on). Better late than never...
for an hour of thumping Tamil / Sri Lankan beats of the nonM.I.A. variety --
Dr Auratheft - Tsunami Terror Mix
Unexpected heat, the very best kind! Anthemic homophobe reggae lyrics work their way into the mix too, alas.
Dr
Auratheft seems to be a Dutch dude -- note Dr and not DJ -- who
shares a treasure-trove of 'Mix
of the Month' mp3s online. No tracklists, none at all.
I
look unkindly upon folks who host hours and hours of
obscure/hard-to-locate music on the web -- or press it on CDs and
sell it, Sublime Freq
style --, and then give no information about the musicians whose work
they are sharing, no clues as to where the curious listener can start
looking for more. Not cool. On his African funk/psych mix, I
recognize some bands that
release widely available CDs and tour Europe &
would benefit from exposure.. EDIT: Dr Auratheft corrects me: "I do post tracklists via email (and publish them at the Totally Fuzzy blog) - I can add you to my list if you want." -- well, great!
I sent the Tsunami mix to Timeblind, who knows. ok, let's go to GUEST BLOGGER MODE.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
Timeblind informs:
This music is tamil! The tamils are a minority in sri lanka and mostly live in tamil nadu, ... the music is mostly made in chennai, second film center of india. Most of the dancehall mixes are probably done by expats in paris or london. same with the hindi / northern stuff.
The
first few tracks on the mix are very Tamil with more of a "villager"
vibe but produced probably in Chennai. These are roots tracks,
starting off the mix by stating the culture. The drums are South
Indian--Tavils etc. Bollywood would use more Tablas when it wants to
indicate roots. Bhangra is Punjabi (language and people) and uses the
Dohl. Most of that is produced in England or Queens. The
Dohl beat has been recorded so many times that it only needs to
be sampled now. The Tamil stuff tends to have a lot or even
mostly live recorded tight miked drumming.
The rest of the
mix gets into the Film Hit / Dancehall or Hip-Hop mashup mode that
has been very big in the Bollywood and Bhangra markets but here using
the more neglected Tamil hits.
there's
much freakier tamil stuff out there with more changeups and sound
effects.
I posted two new ones so you can link to these too if
people want more.
I even put the pictures inside the mp3s.
http://crucial-systems.com/2767/Tamil_Deva_Super_Hit_Hit_that_tavil
http://crucial-systems.com/2768/Tamil_Deva_Super_Hit_The_Triplets
i
have a lot of bad pop too, but the hindis are better at that.
Tamil
vs. Hindi is a big cultural language conflict.
The Tamil people
are religiously Hindu (as is all of India and perceivable reality),
and the Tamil language is a classical language, 4000 years old, with
a huge literary tradition on the level of Sanskrit, but Sanskrit is a
dead language now. Hindu is related to Sanskrit. Many southern
languages relate to classical Tamil.
The "Hindu
nationalists" who are a big problem in India are pushing the
religion (vs. Islam) and the
language (vs. most of the country
who speak some other language). There are from 10 to 70 languages
in
India depending on how you count them, with lots of dialects that can
barely understand each other.
English is the official language.
Mumbai (Bollywood) and Dehli are Hindu speaking, run the country
and treat the Tamils as second class.
Its a little brother thing.
Tamil and Hindi film markets copy each others plots and do share
some actors and directors.
>>>>>>>>>>>>>>>>>>>>>>>>>>>>>
here
ends the GUEST BOG. we have sunk to the bottom, heavy with new knowledge.
big thanks to Timeblind!
TROLLS & THE ZARAGOZA CONNECTION
A familiar r&b / hiphop crossover jam metabolized into rhythm-based psychedelia by the funky French Trolls.
from their 2003 Trolls Hostiles Contaminés EP on Homicide.
(read more)DJ RUPTURE'S 10-STEP GUIDE TO SELLING OUT
Wayne on M.I.A. on car adverts.
Off the top of my head, some relatively
'indy' folks who have licensed their music to advertise
cars/cellphones/sneakers/booze/ perfume: Dabrye, Stereolab, Alias, Prefuse 73,
Oval, Coco Rosie, and now, M.I.A.
Selling
out is a weird thing. One day Mister NYC Adman called me on my cell
phone (!). He told me he'd had 'a hell of a time tracking me down', and that his client wanted to use a track released on my label
Soot.
No joke! Babylon wanted to use an Ove-Naxx song in a TV commercial. But we'll get to that later. First--
1) The going rate to license your track (& image) for a major 30-60 second TV advertisement these days is around $50,000. Artist-label contracts vary, but usually at least quarter of that sum goes to the label, and the remaining 75% heads towards the performer/songwriter/publisher morass.
If
the song is going to be more prevalent -- say, as part of a
cross-platform jingle/theme song for a new product -- the licensing
fee can easily be three times that.
Yeah, $150,000 for a minute of your art (and a sliver of your soul).
2) In nearly all these cases, the company wants to use your song as-is. You made it, released it into the world, and now they just want to pay you for the right it to play in the background. In other words, the original contents of the song remain untouched (just trimmed down to 60 seconds), but the context is vastly, violently shifted.
In music, however, context is nearly everything-- context equals context, but it also equals content, and credibility.
Does
this even need explaining?
Character,
biography, style, nuance, charisma, context -- these make or break
artists. In music, as in real estate, location is everything. So when
M.I.A. said “This
is still my song. It doesn't belong to Honda."
, she was technically right, but willfully
ignoring the way context functions.
Look at the enormous differences in cool-cachet generated by Galang as a blazing, banging 12” white label, or my man Ruben's bang-alang-amazing video for it (which received the William Gibson stamp of approval, that's called reach) versus Galang as a cheerleader chant for an automobile manufacturer (not that I have anything against the petrochemical industry, or protectionist steel embargoes, or any of that stuff...)
It's
just this: I put on a Dabrye record once and someone came up-- “yo
Rupture, I can't believe you're playing a TV commercial!” In their
eyes, I had sold out for playing “TV music.” Corporate rap
and major label r&b is fine (and, paradoxically, a way to keep it real or, if white,
to register that you too can get crunk and fraternize with black peoples), but I had crossed the
line by playing a Dabrye tune that my audience mistakenly assumed
existed because of the cellphone ad, rather than the other way
around.
Cultural aura belongs to whoever pays the most to promote and exploit the product or song its attached to.
3)
Having your music in large TV ad campaigns is a handy way of getting
new fans. Coldplay sales in Spain took off in 2001-2 after the Red
Cross used their song in a beautifully-filmed TV ad. Stores put
stickers on their CD cover saying 'this is the group from the Red
Cross commercial!'
Artists receiving corporate money who feel vaguely guilty about it always say something like “i will use the extra money to make more music or start a label and release other people and share the wealth” or whatever, but they are also seeing dollar signs, the serious secondary income from having your melodies pumped into millions of households. Remember, an ad for Honda is also an ad for M.I.A. A lot of the people who still buy CDs are folks who only learn about music from obtuse mass-culture osmosis, like channel-surfing. Its a golden market and a commercial is one of the best ways to tap into it.
4) Once you have a platform, you can use it to speak. (This is partly why we all like Kanye again.)
5) Small, but interesting: often companies will shell out all this money to license tunes, then shelve the advertisement. You get paid, nobody sees the ad. Babylonian logic at its finest.
6) The sellout argument is completely theoretical unless someone steps to you with a real offer on the table, as real as rent. The obvious answer to Wayne's grinning title -- What Would Noam Do? -- is that Chomsky has M.I.T. university tenure, it no longer matters what he does or doesn't do for money, his job is safe, his regular paycheck a certainty. The interesting question would be WWND if he were freelancing, and young, and wanted to buy an apartment...
It's easy to climb up to moral high-ground if you're only offered a grand. It's hard to chat lofty if the amount on the table is 50 times that and you are hungry.
Musicians like having their music heard by as wide an audience as possible. Musicians like getting paid. Musicians like winning over new fans.
And
so if the TV depicts a car winding around mountain curves while this
is happening, and a white guy's voice-over says word like 'confidence'
and 'horsepower' and 'you own the road' before your catchy chorus kicks
in, well, those are minor details.
7) I only know 2 musical groups/musicians who have been approached with
substantial corporate money and said 'no'. Each is pretty
well-established, but even split between members and songwriters it
would have been no small amount of money per person. I understand &
am awed by their stance, but I personally can't afford that level of
idealism, simple as that.
8) “Eight, eight, I forget what eight was for!”
9) “The
cultural logic of late capitalism” is hustler pride trumped by
boardroom subcommittees vetoing
insufficiently authentic authenticity; is
Canal Street Gucci, sidewalk blanket Armani (made under more
equitable sweatshop conditions than the real thing); is Baudrillard
gone bling saddled by coke crash paranoia; is the fact that folks like
to wear t-shirts and hats and shoes emblazoned
with corporate logos and consumer brands. Kids feel good wearing a
Nike swoosh or Adidas bars.
This logic is also the consumer-as-critic; is ethnic friction pasteurized into something manageable, something fun to dance to, AND the debate around that focusing on off-target issues. Did Anticon's Alias receive blog scrutiny when he sold his beat to be used in a Pontiac car commercial? (We don't even have time to go into the relevance of their appropriation of Chief Pontiac's name...)
Better yet, to quote DJ A from Wayne's comments: <<Would anybody be upset if UGK was used to promote a new Chevy Impala? No, fools would be like "golly gosh this is so cool! I LOVE that southern rap is getting the attention it deserves!!">>
10) ...back to Mr Bigman Advertiser, Mr Ove-Naxx, and my role in the El Niño-confused crosswinds of global ad campaigns and their attendant capital flows.
I am fully prepared to sell out, 100%, I sit by the phone every day patiently waiting for The Man to call: "Mr Rupture, we wanna take control of your media image, simplify your idea(l)s -- complexity doesn't work well in a mass market situation--, and give you heaps of cash." heh-heh... Let's just say that when the phone actually rang, I was caught off-guard.
His client wanted to use Ove-Naxx in a worldwide TV ad campaign (for a highly-visible brand in Europe and America, although they aren't so established in Japan). We would have received more money than either of us had ever made in an entire year. For real. When I explained the situation to Ove-Naxx, he just laughed at the thought of his music being beamed at youth via their television sets.
Ove
keeps it dangerously, deliriously real. I 've posted on him before;
he runs an anarchist noise pub at night and works 12-hour days doing
roadside construction--since the pub is a zero-profit institution, a
temporary autonomous zone that happens to be a money pit. Sometimes
he'll disappear from both worksites for a coupla days, asleep
somewhere. Ove's girlfriend has gotten used to it.
Several
of my Japanese friends who are as good musically as Ove is get
side-work composing for TV and such. I think we're both Dadaists at
heart -- the point of all this background is because we didn't even
have an 'ethical talk' or 'sellout worry' moment, we were on the same
wavelength-- oh yeah!
I think everybody in the world should hear Ove's music!
I
think we should get paid loads, all the time, by corporations big and
small! Individuals too!
Oppositional logic isn't half as fun as internally conflictive logic, miscegenation theory, duppy irrationalism. Babylon, to remain marketable -- to market rebellion and effervescence and conflict itself -- needs to incorporate discordant voices.
Standing on the shoulders of vertical giants, we whisper rhizomatic fairy tales into their collective ear, arguably lidded, but then there are always listeners who don't yet know that they want to be awake...
CODA
(completely true
After a small avalanche of faxes and preliminary contracts, they rejected Ove-Naxx, went for crap drum & bass instead, made the commercial, then shelved it.
So
much money never seems real to begin with.
CELESTIAL CIRRHOSIS
The
spooky weak daylight of a partial eclipse pours down over this part
of the world. Sensitive animals are urged to panic.
*
In
other news, Wirewool, a yousendit mp3 bog you should probably be sinking
into anyway, is currently hosting an olde track of mine, Cheerz. A
three part ode to Boston, chipped piano keys, and plug-in
mismanagement. Hadn't heard this in years... I made this tune while
watching A LOT of Manhattan public access cable. Was for a CD-r
comp we gave away at one of the last Toneburst parties in Boston.
If
you live there look for Sonic Heart, a new magazine on the New
England electronic music scene. I've got a piece that starts on
Toneburst and ends on grime, via bumping geographies and ocean-floor fiberoptic cables.
(the best online history-blurbology of Toneburst is buried in the comments section of a Kid Kameleon post.)
I'm
in this phase where I'm liking nearly everything I hear. For
example: I don't think I'm supposed to like Coco Rosie (and I
actively didn't like their first album,) but all those TV commercials
that use their songs are great, I really want to go out and buy the
vodka or laundry detergent or whatever it is that their songs are
soundtracking, it's fine, and on top of that, the bits and pieces
I've heard from their second album are very nice too. Coco Rosie must
have a ton of money because Spanish TV was talking about them the
other day, and it wasn't even a music program.
ON MP3 BLOGGING & OFFICER GUNLAW
weekend
surfer people (shouldnt we be outside, exercising or going for walks or something?),
Fortune Grey just posted a lengthy interview with me
about “technology, music, and the future”