I’ve shamelessly stolen this from Steve Cook‘s Secret Oranges site. This version of Black Widow may not be pleasing the purists online but, as a Scarlett fan, all I can say is, ‘Damn!’.
Looks like they seriously upped the budget on this one too after the success of The Avengers.
After seven years and nearly 100 events, I Love Acid is set to finish this April as they concentrate on different things. Luke Vibert headlines with Plaid, Mark Archer, Affie Yusef, Placid and, of course, Posthuman. I’ve played for them a few times over the years and it’s always good fun with a top set of people and an up for it crowd. Sad to say I can’t be there as I’m already booked elsewhere but nice to see my name in the thank you list they put up. More info and tickets can be found here and there will be a very special acid-themed Solid Steel the week before the final gig.
BELOW IS NOT A FLYER LINE UP – THIS IS A THANK YOU LIST! (I think they are regretting not making that more explicit going by some online comments)
I edited this little promo together for Soundsci‘s forthcoming EP, ‘Expo 2014’, from Darrell Krum‘s excellent artwork files last week. It’s a 10″ sampler of 4 tracks + Bonus Beats for 2014’s releases on their World Expo label. For those who don’t know, Soundsci are a UK/US Hip Hop super group consisting of Jonny Cuba (ex-Dynamic Syncopation) and Ollie Teeba (The Herbaliser) who form the production team The Process from the UK.
From the US comes Audessey (ex-Mass Influence), U George and Oxygen (Sputnik Brown, Spox PHD). They have a busy year ahead with Soundsci releases, Ollie Teeba’s solo album and a U George solo LP and the 10″ showcases a track from each. Available on Feb 21st, go here for more info.
Fantastic work here by Alexandre ‘Zedig’ diboine – tons more over on his tumblr too.
The Electric Hoax Pt.5 by Pete Milligan and Brendan McCarthy. This strip appeared in the weekly UK music paper, Sounds, in 24 parts sometime between mid ’78 and ’79. Click image for larger version
I found these international posters for Berberian Sound Studio on the web – some lovely versions, especially these Tane Williams variants below from a film festival in New Zealand.
I went for a rather unique night out at the Science Museum on Friday, with fellow ‘music enthusiast’ Mark ‘Osymyso’ Nicholson no less. We were there to hear J. Peter Schwalm‘s reinterpretations of Kraftwerk numbers with the group Icebreaker in the IMAX theatre. Being a fan, and also a collector of cover versions of the band, it was a perfect evening out.
Kicking things off was a talk by David Toop, certainly one of my favourite authors where anything musical is concerned, his ‘Ocean of Sound’ is one of the best books I’ve ever read on electronic music. He didn’t dwell on the obvious, and pointed out that so much has already been said about the band that it was pointless to reiterate the carbon copy CV that the music press routinely trot out. Instead he attempted to recontextualise them by asserting that their roots were that of an R&B band. Citing The Isley Brothers as a parallel outfit in a clever, if somewhat unconvincing, set of examples he also made a sonic connection with the earliest incarnation of the band (and their pre-Kraftwerk ensemble, Organisation) and the electric era of Miles Davis‘ career. There were certainly similarities that I’d not considered before with this latter example but I wasn’t totally convinced with the former.
Thinking about it later I deduced that a better pairing might be Frank Zappa with Ralf & Florian – think about this for a moment:
Frank was influenced by classical composers like Boulez as much as the psychedelic rock underground but was never too keen to toe the line and be a part of a movement.
Zappa’s Mother’s of Invention were a rag bag jam band with a rotating line up of players with expert musical chops.
Zappa was a control freak who loved experimenting with the latest technology, quickly manouvering himself into a position with his label where he had full control. His early freak out experiments slowly streamlined into various concept records and, eventually, he went on to have commercial success too.
During the CD boom he went back to old master tapes and re-recorded new versions and parts of old songs with new inventions like drum machines and the Synclavier, replacing the original versions with new ones that he deemed superior (much to his fans’ dismay).
He largely left his past players behind but became a cult figurehead from a musical movement that stretched out to influence new generations after him.
All the above could be applied to Kraftwerk at one time or another – for instance, just substitute Boulez for Stockhausen in the first example and we’re off, but I digress…
In one of the main halls we filtered amongst the exhibits to hear The Balanescu Quartet play some of their versions of the band’s repertoire beneath a hanging bi-plane. As one of the first bands to release a record that heavily played on the fact that they had covered Kraftwerk it was fitting that they were on the bill, playing pitch-perfect versions of The Model, Autobahn and The Robots in a unique setting.
Then it was in to the IMAX theatre for the main event – Icebreaker – a 13 piece with two keyboard players flanking Schwalm in the center. Not as polished as Balanescu but more in keeping with the spirit of the works they were interpreting. They’d chosen an interesting set of pieces, some recognisable, some just reminiscent of – or influenced by – the Kraftwerk originals. It was a treat to hear mostly early to mid 70’s tracks, the sole 80’s inclusion being ‘Home Computer’ at the start. ‘Megahertz’, ‘Tanzmusik’, ‘Hall of Mirrors’ and a beautiful ‘Morgenspaziergang’ from the B side of ‘Autobahn’ were tackled, ending with a ‘driving’ (pun intended) version of the motorway classic which had me lulled into a semi-sleep before kicking in for a motorik finish.
We both really liked it and the performance was heightened by the split screen, black and white films of Sophie Clements and Toby Cornish that accompanied them. My only criticism was that it seemed too short but, altogether, it was a satisfying night out in a different venue, hearing old favourites in new contexts. The band are on tour in the UK in February and I’d recommend checking them out if you have a chance. More info here.
Now available – a new release by Sculpture on a 7″ picture disc with zoetropic tendancies – BUY HERE NOW – View with strobe 25 flashes per second or video camera 25fps, very high shutter speed, progressive.
Includes immediate download of 2-track album in the high-quality format of your choice (MP3, FLAC, and more), plus unlimited mobile access using the free Bandcamp listening app. It’s their best yet and the video below shows just how detailed and beautiful the disc can be when filmed spinning.
The Electric Hoax Pt.4 by Pete Milligan and Brendan McCarthy. This strip appeared in the weekly UK music paper, Sounds, in 24 parts sometime between mid ’78 and ’79. Click image for larger version.
Also – just in stores – a new strip by McCarthy, ‘The Deleted’, just debuted in Dark Horse Presents no.32.
One of the recent trends in comics has been the over-sized deluxe ‘original art’ edition of a book or artist’s work. These are reproductions of the original pages, sans colour, with all the pencil marks, printer mark up and notes, reproduced at the original size – usually ‘half up’ from the final printed size. Usually expensive (around the £100 mark) these beautiful tombs are fascinating artifacts and show how much detail is lost in the print process.
If there’s one issue that needs collecting in this way it’s Jon Totleben‘s work on issue 60 of Alan Moore‘s run on Swamp Thing from 1987. This self-contained story is a standalone in that it’s all collage rather than a straighter pen and ink style and features a sci-fi plot where Swampy is basically raped in space by an alien entity with the horn (I think).
Anyway, the terrible reproduction and flat colours flattened all the subtleties out of the art as these scans of some of the original art from the Cool Lines Artwork website reveal (where you can actually still buy some of the art if you have deep pockets).
Some of it has objects like metal chains and watch innards attached to it but it’s doubtful if this could ever be collected as the art is now scattered to different owners after Steve from Cool Lines bought the majority of it it from the artist. Maybe DC has decent quality scans of it with all the separations somewhere and will see an opportunity milk some more of the Moore cash cow at some stage.
It’s been bought to my attention that the original version of my ‘Raiding The 20th Century’ mix is now 10 years old. Originally a 40 minute guest mix on Eddy Temple-Morris‘ XFM radio show, The Remix, it was my attempt to construct a rough history of ‘cut up’ music in the midst of the mashup up/bastard pop craze. Taking in Music Concrete, avant garde tape composition, radiophonic tape experiments, megamixes, edit kings, scratching, early sampling and of course mash ups, it was one of the most densely mixed and edited things I’ve ever done. When it debuted it was put up on the Ninja Tune site at the time and quickly went a bit viral, causing the server to melt down and the site to grind to a halt by the next morning. More info here and here.
So tempted to get the ‘how-to’ build book for this version of Kaneda‘s bike from Akira made from Lego. It’s been made by The Arvo Brothers and is only available direct from them – more info over at Crunchyroll.
This has been doing the rounds and I always have time for Noel’s interviews so I gave it a look. It’s a refreshingly honest and self-deprecating look back at his old band with plenty of barbed comments that border on exasperation by the end, you’ll laugh, I promise.
I don’t know anything about Ethel Le Rossignol but just saw this on Twitter, posted by Dan Hayhurst of Sculpture. From the Horse Hospital site:
“Between 1920 and 1933 spirit medium Ethel Le Rossignol created a series of 44 paintings, 21 of which belong to The College of Psychic Studies and will be on display with accompanying texts describing what she refers to as the Sphere of Spirit.
Radiant, psychedelic and ecstatic, her vision of the spirit world is consistent, coherent and stunningly beautiful, depicting a luminous realm of kaleidoscopic colour, inhabited by elegant sylphs, bejewelled apes and astral tigers.
Ethel’s channeled paintings reveal a world of pure light, colour and energy. Incorporating aspects of Art Deco, popular playbills, Eastern mysticism, mandalas and miniatures, they radiate an ecstatic joy, and are prescient of the psychedelic art that would emerge several decades later.
As a medium Ethel took no credit for the actual work, identifying a spirit known only as J.P.F. as the real artist. J.P.F himself claimed to be channeling another group of spirits, who wanted to impart the secrets of the soul to those of us still on the physical plane.
At present very little is known about Ethel Le Rossignol’s life, though we hope that this exhibition might prompt new discoveries. There are clues in her writing that she lost a friend, perhaps relatives, in World War One, and that this encouraged her interests in afterlife communications, which boomed in the inter-war years. Certainly she had a great interest in mediumistic spiritualism, attending lectures and demonstrations on the subject in London.
Ethel died in 1970 and her paintings, and copies of her privately printed book, A Goodly Company, were donated to the College of Psychic Studies in South Kensington. The paintings have been on display in rooms at the College for many years but, as far as we know, this is both the first time that they have ever been exhibited outside the College, and the first time that they have all been seen together in one space.
Encountering the whole Goodly Company assembled in one gallery promises to be a powerful exposure to the astral light and the love that she and her spirit friends so wanted to convey.”
The Horse Hospital, Colonnade, Bloomsbury, London WC1N 1JD
PRIVATE VIEW: Friday 21st February 2014 7pm. EXHIBITION: Sat 22nd Feb – Sat 22nd Mar, Mon – Sat, 12 – 6pm
I’ve featured Ian McQue‘s work before on here, his glorious colour work mostly, and now he’s produced an A4-sized book of B&W sketchbook drawings subtitled ‘Robot, Space Dudes, Flying Ships etc’.
His work is populated by flying barge-type ships, usually moored to buildings or futuristic dockyards, small insect-like craft and boxy rough-terrain vehicles. His human characters come in all shapes and sizes and his robots are of the thin, lanky variety or sometimes like spider mechs.
There are even a few deviations in the book to more fantasy countryside scenes, a page of Hellboy studies and a certain Judge costume that features here a fair bit.
The book – and several colour prints – are available from his bigcartel shop and some come with a personal sketch in the front.
Just finished reading The Shaolin Cowboy* (no.4 of 4) and all I can think is that Geof Darrow (the writer and artist) is insane. There is no book out there like this and to give the plot away would be pointless, to even tell you what vaguely happens would spoil the experience completely.
I take my hat off to him because only a madman would have drawn what he has drawn, to say it’s an achievement is an understatement but to what end I have no idea. I don’t even know if I enjoyed it as, once it gets going, it’s relentless in pace and action and leaves far more questions than answers. This is something that will divide people who read it – although it’s more about looking than reading – and it’s almost too much to read in one go.
The man is insane, but in the most creative way, few can do what he can and even less would choose to do what he’s done here.
* this is a new series of 4, just released by Dark Horse, separate from the 7 issues previously released, which are equally as impressive but, maybe, not quite as insane.
The Electric Hoax Pt.3 by Pete Milligan and Brendan McCarthy. This strip appeared in the weekly UK music paper, Sounds, in 24 parts sometime between mid ’78 and ’79. Click image for larger version
Solid Steel this week features an exclusive hour of Kid Koala live in Victoria, Canada. The second hour brings a mix from yours truly coupled with a tribute to Trish Keenan and the music of Broadcast by Markey Funk.
It’s now three years this week since Trish passed away and last year Markey put together a new soundtrack to the 1966 Jonathan Miller TV version of Alice In Wonderland made entirely from the music of Broadcast. We feature half an hour of that mix but it’s best watched with the film in full which you can see here or here.
My mix kicks things off though and takes the distorted drums and fuzzy electronics route with a detour into James Murphy‘s recent David Bowie remix in the middle.