Steve Reich - South Bank Show [2006]

this was for his 70th birthday

excited to see eighth blackbird

and third coast percussion

at Millenium Park this Mon

celebrating his 75th

Eric Clapton - Drunk Onstage Racist Rant [1976]

"I used to be into dope, now I'm into racism. It's much heavier, man"

Enoch Powell

Ibliss - Supernova [1972]

rocky says:

fuck me harder satan.

melt my foetid brain.

piss out my third eye.

Progarchives.com: With a line-up that included Basil HAMMOUDI (an ORGANISATION alumni) and Andreas HOHMANN (who played in the first KRAFTWERK album), IBLISS is closely associated to one of the most important cornerstones of krautrock. Overall, the band's style is heavily based on jams impregnated with the flavors of jazz-rock and fusion,: the psychedelic sounds serving more as adornments than as an essential element. The line-up is completed with saxophonist Rainer BÜCHEL, guitarist Wolfgang and bassist Norbert BUELLMEYER. The band's repertoire gives predominant room to percussive inputs, while the guitar and sax solos are more focused on completing the momentums or stating laid-back nuances. The band's tribal and fusion aspects are undeniably linked to ORGANISATION, but the most obvious family resemblances in style are connected to EMBRYO, XHOL and ANNEXUS QUAM (first album): there is more jazz than rock in IBLISS. The band was short-lived, with the "Supernova" album (sound engineer: Conny PLANK) being barely noticed by music critics and audiences. IBLISS is a collector's item for all krautrock lovers, as well as an impressive example of the sort of jazz-oriented trend that was developed in German's underground musical scene in the early 70s.

HEAR

Cults - Go Outside

hear

Liquid Sunshine - Easy Listening From The KPM 1000 Series (1970-78)

because it's summertime

and the sunshine is liquid

come, get on board this

sweet easy listening express

HEAR

Viva Voce - "The Future Will Destroy You"

Spoon - Series Of Sneaks

I've been in a Spoon mood of late. They matter, regardless of their legions of followers.

I told Curry yesterday that I've always felt they were the truest American descendants of Gang of Four. Their most recent work might not sell you on that idea, but this, their second album from 1998, is convincing evidence of their bloodlines. Whipsmart and closing in on two decades together, they only now seem to be hitting their stride. But this early stuff sets the stage - if you can't eat this up and smile you don't have your ears on.

from allmusic:

With A Series of Sneaks, Spoon became one of the unsung heroes of the guitar-driven post-punk tradition inhabited by bands such as Wire, Gang of Four, Hüsker Dü, and the Pixies. These were the guitar wizards who could package a variety of taut, terse, and inventive guitar sounds and unpredictable melodies into short, tight bursts one could still consider pop songs. Lead singer and guitarist Britt Daniel acts as the overachieving honors student of this tradition, flushing the spaces in between with an expansive melodic vocabulary comparable to Robert Pollard's.

But Sneaks wouldn't work if it were merely a repository of all the right influences. Thanks to John Croslin and the band's detailed production, shards of jagged guitar lines chime in from every direction, creating a language that blends with Daniel's charismatic vocal licks to form something so tuneful and compelling that the majority of Sneaks sticks in the brain just when you've thought you'd heard it all before. Daniel's voice can range from a throaty rasp to a falsetto to a spoken growl, peppered with some "bop-bop-bops," "c'mon's," and hand clapping. It's as if Jonathan Richman had been on SST Records, or even the old Sub Pop. But it's the production -- the constantly shifting vocal mixture and placement of Daniel's guitar, Joshua Zarbo's bass, and Jim Eno's drums around bits of melody -- that binds Sneaks into more than the sum of its parts.

Amidst this kind of sonic engagement, it is the search for meaning in music amidst the open roads and open spaces of the American Southwest that form a central character in Daniel's fragmented and oblique lyrical universe. In a few brief lines, a drive to New York on the interstate becomes a meditation on rock and youth in "Car Radio," while "Metal School" seems to be a reassessment of the purpose of post-punk.

Elektra, the major label that originally released the CD, must have reassessed its purpose too. The band was ditched soon after its release but has since reappeared on an independent label, Vapor (and again on Merge in 2002). The enthusiasm behind its resurrection and the anticipation of its full-length follow-up after the two years that followed is a testament to its strength.


Hear