Thursday, November 30, 2006

3 more great zip blogs

I found this image on Quite Nice Pictures which I now can't find again but it is not far from one of the blogs posted here. One day I will get some jpegs of my own art up here.
I've recently found 3 zip blogs all set up in the last 2 months and all offering seriously good shit.


get hold of this

and get a real goooood hold of this


Some tight stuff here


and also make a point of checking

where you can get yo'self

amongst other goodies.

Sup up, lads!

Tuesday, November 28, 2006

Chin stroking

Latest favourite zip blog. Really on a par with Orgy, though less diverse. All Brasilian. Some of the sound quality ain't great but there's some great stuff. You can search any blog in the top left hand corner of the screen and as a big fan of Gal Costa, Nara Leao and Jorge Ben I'd recommend starting there. Instrumentally, Quarteto Novo and Tenorio Jr. Also Som Tres. But its literally all good.

This is also worth a hook belonging to a carnicero.

Moistworks usually kills it. Grab their Altman tribute - 6 versions of the MASH theme, including the original.

And on a reading tip - here's a couple of old muckers whose chins must be red raw.

Completely unrelated image by Banksy.

Wednesday, November 22, 2006

RIP Robert Altman

There's always bandwagon-jumping but Altman is, now was, my favourite director. His death is hugely sad news. He was always worth watching.
Few if any directors have such respect for their actors. In the way he could get an ensemble to breathe life into a scenario he was without equal.
This is the day many cinema lovers were hoping would not come for a long long time yet.

So many great films but McCabe & Mrs Miller is without doubt one of my fave films of all time. There's many I haven't seen but The Long Goodbye, MASH, Nasville, California Split and Thieves Like Us are all superb.

I thought The Company was underrated. At times, you had that same 'window into another world' feeling you get with his 70's classics. The scene with the performance in the rain was a beautiful cinematic moment. It was also a great role for Malcom McDowell.

The Gingerbread Man was also well above Hollywood average. The storm scenes at the end I thought were beautifully realised. (maybe the weather in late Altman is a film student thesis waiting to be written)

The Player and Short Cuts are absolutely great films but a little slick and cynical for me, to be honest. I'm glad he got back to his 70s form with the excellent Gosford Park before he went.

Respect, Bob! R.I.P.

Thursday, November 16, 2006


I am anonymous
I can produce things
which make my friends say
'Hey, that's pretty good' -
Which impress them, in short.

But I lack the organisational skills
The cutthroat mentality
I lack the agressive prolificity
of Gallo and Bukowski
(and, accordingly, my libido
which might be larger than theirs
is less satiated)

I can never start anything
Because parts of me are invested elsewhere
I can never finish anything

I have an audience
Of sorts
On the Internet now
An audience to my musings
To my findings

All these mp3s
I am finding not creating
I am a traffic policeman

Anonymity is not an issue

Image : Lost Jockey by Magritte

Sunday, November 05, 2006

Earl Grey & Turron Jijona


2. O Telefone Tocou Novamente SOM TRES
3. Mato Grosso I MARC 4
4. Love Story vs Finally (Bushwackas Final Bootleg) LAYO & BUSHWACKA!
5. American Dream JAKATTA
6. Secret Life MATERIAL
8. Vim de Sant'Ana QUARTETO NOVO
10. King Of Sorrow SADE
11. One Night Samba TIM 'LOVE' LEE
13. Castenada Drive - THE CABILDO'S THREE
15. Cacará NERA LEAO
16. Nao Faz Assim MILTON BANANA
17. Canto De Ossanha QUARTETO EM CY
18. Nebulosa TENORIO JR

Meandering Thoughts On Coltrane's 'Om' And A Confession Of Insanity

Had a big music listening day on Friday. Day off (except one class first thing) , girl away at Uni. Rubbing my hands with glee I was.
I started the day with Coltrane's Om which I got here
I think its a great set. Deep, spiritual. Not as hard, say, as 'Reverend King' off Cosmic Music which makes me feel nauseous, angry expression as it is of the civil rights leader's assassination.
Om to me is not a million miles from the peaceful vibes of A Love Supreme. Of course there's nothing as luxurious as, say, Trane's first phrase from Part II: Resolution and there's no uncanny unity between the players, but Coltrane's playing here and the piece as a whole is, for me, not unpleasant to listen to.
Some avante-garde I just can't cope with. For instance Albert Ayler's Spiritual Unity - a seminal album. I've never been able to get to grips with the technical side of music and jazz (nor, in truth, have I ever wanted to lest it impede my enjoyment) but it seems there's something musically very clever happening on Spiritual Unity - it's just I don't want to hear it.
Spiritual Unity and the track 'Reverend King' are both sparsely arranged. So perhaps, unlike classical music or straight ahead jazz, I like my avante-garde jazz crowded. Full of sound, cluttered with ideas and life and activity.
Four Tet - the creatively fertile producer Kieran Hebden - is influenced by Ayler and you can see the influence of avante-garde jazz on his live recordings and some of the longer tracks. I'm thinking as well of the track Misnomer, kind of straight- ahead downbeat but with the sound of an Ayler-a-like wailing away in the background. Of course he recently collaborated with Steve Reid, though I haven't really gotten into it. Again, its a bit heavy, and, unusually for Hebden, kind of sparse.
I think clutterdness is the key to my enjoyment of avante-garde jazz. The 'wall of sound' element, present in 'Love Supreme' in melodic, rhythmic mode is also there in 'Om' but less melodically or rhythmically. Other examples I've enjoyed are Ornette Coleman's 'Free Jazz' and Muhal Richard Abrams' 'Levels And Degrees Of Light'

...I've been meditating on Coltrane and his exceptional talent, the physical power and mental depth of his playing.
After rinsing Love Supreme a few years ago (though it can never be completely rinsed), I needed another JC album to get into. I tried Giant Steps and Coltrane ('57) - good, but the vibe wasn't there. I've recently discovered 'New Thing At Newport' ,incidentally, which was obviously what I was looking for then, and features the same quartet - Coltrane, Tyner, Garrison and Jones.
These days though my favourite saxophonist is Art Pepper. Its such a different experience listening to him. I wouldn't for a moment suggest Art is better, but there's more warmth in his playing. He's thinking of drugs, girls and old buddies instead of the cosmos. More on Art another day, though.
So, looking to read more about Om and Trane, I came across this on AAJ
Its interesting to read this. Listening to Coltrane on Om is like listening to someone trying to break out of their skin, out of their skeleton. The quest for transcendence is not approached with calm but with frustration. Its similar to hearing Syd Barrett's vocals on early Floyd. 'Hee hee, you can't see me but I...' Our sensation with both men is 'something's going to crack' 'they're pushing themselves too far' etc.
This article explains to me where Coltrane was mentally. Caught up in an insane unity of three or four ideas incompatible in a saner mind - the Big Bang theory, pantheism, Christianity and the Trinity and the direct relation of man's consciousness to all this. As a former heavy drug user and deep thinker I can tell you where this kind of thinking might lead you - solipsism. As reality. If all is one and I am conscious, I am The One. But for something to exist does not there need to be two? In my recurring panic attack, the Other comes for me containing, variously, the black, the female, Space and the Devil. It is never an enjoyable experience.
Not mentioned in the article, but his use of drugs including acid and heroin would've facilitated the lost touch with reality which such concepts need to become reality for a conscious mind as they did for John.
The altered mind states brought on by drugs - heavy and otherwise - can make for entertaining music and other art. Witness Coltrane and the Velvet Underground are better than Ronan Keating.
However what of classical? I postulate that when Bizet wrote The Pearl Fishers. Beethoven Moonlight Sonata, Mendelsshon the Violin Concierto In E (as played by Heifetz) they were all 'high' as in, connected with the fragility of individual life, the pain and joy of consciousness and the epic of the life of the universe. Or it may have been opium, too. I mean, man, those boys were sailing.