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words by jace.

this is an archive page. click above for the now thing.

vinyl rescue service


Good idea Jake!--

   The Shaggs - It's Halloween

Sindhu 'Mole in the Ground' turned me on to The Shaggs this summer. Their rock is mesmerizing because it's consistently wrong, always perched on several edges of musical-falling-apartness but somehow holding on. From the 1969 LP Philosophy of the World.

  two comments |

The breakcore street repeatedly informs me that Aaron Spectre is one of the few people to really flip Ableton software and bring digital DJing/mashup live, with plenty of ragga vox, thrown elbows, amen beats, burnt sub-bass, and hiphop breakdowns.

this live recording from the Mega Bass Robo Orgy party suggests that the word on the street is correct. Heavy dancefloor neo-jungle, with metal riffs pressing additional adrenaline/testosterone buttons:

   Aaron Spectre-  live in London

Sometimes I get bummed out by neo-conservatism in nu-jungle (a genre that would lose 35% of its anthems if Capleton bootlegs weren't allowed, and wouldn't even be possible if 'Amen' break samples were banned), but I certainly can't deny its power. Especially over a proper soundsystem...

Crucially, Spectre does it really really well. Speed! Streetsweeper blends! Sword-fighting robots in fast-fwd! Also: his Drumcorps metal-jungle 10" on
Kriss well-worth checking.

  six comments |
» Sounds of Sudan

Beautiful spare music from a beleaguered country, Sudan. (BBC profile)

    Mohamed Gubara - Guroosh Edjin

off a pleasant World Circuit CD: Sounds of Sudan. Gubara's the oddest on there, his voice a high screech.

Back in reality, today's NYtimes Sudan article details a crisis that had already slid from bad to worse and now moves from worse to whatever lies on the ugly side of worse.
  (use 'master' for login & pssword if required)

"Darfur is no longer under control.... It's getting more complicated by the day... The war here was never a straightforward one.
 It was part Arab versus African, part government versus rebel, part nomad versus farmer. "

  No comments |

Something strangely serene inhabits (or haunts) the heart of New Zealand, and Birchville Cat Motel and The Dead C are fine fine ways to hear it.

  Word the Cat hosts 2 big Birchville Cat Motel mp3s  Drone on!

"it's a very clear recording of a very hissy sound and that's something people have trouble grasping."

  one comment |

...following up my SELLOUT post, here's some totally unmarketable leftist grindcore noise from Berlin's activist/musician
Nihil Fist. from a 7” called WE WILL DEFY.  Dedicated to Zapatista activists and "all the grassroots movements in the world fighting against capitalism, oppression, fascism, racism, and sexism."

Dj Scud says: "sounds like drilling up the road."

         Nihil Fist - 7"  side B

Quality destroy!   Buyable here & there.  Played a show with him & Fringelli and it was fierce.  

  four comments |

Benn Loxo Du Taccu's hosting some Balla et ses Balladins tunes from their “Objectif Perfection” album!

Balla is one of the great Guinean groups from the 60s. I imagine them as one of heaven's house bands.

Objectif Perfection
on the Syliphone label, whose output was gold.

  No comments |


Monday 31 October 2005 at 1:54 pm

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.

         Younes - El hal ya wildi

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.)


Wednesday 26 October 2005 at 12:19 pm ((( 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


Tuesday 25 October 2005 at 11:25 am

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)


      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     -->

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)


Friday 21 October 2005 at 2:42 pm

    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

  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?

        I'm happy!
        Take it away!

                Hey, pop!


                             --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.


Wednesday 19 October 2005 at 11:58 am
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.

Although brutal thrashings are better than the Moroccan police response (reported in The Guardian): steal their cash, strand the Africans in a remote spot in the Sahara desert, and leave them there to die.


Monday 17 October 2005 at 12:00 am

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.


Saturday 15 October 2005 at 12:11 pm

             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.



           All work and no play makes Jace a dull boy


Friday 14 October 2005 at 1:30 pm

    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.


    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'


Wednesday 12 October 2005 at 11:52 am
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.


Monday 10 October 2005 at 11:24 am

  • ...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.

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!


Thursday 06 October 2005 at 4:25 pm
A familiar r&b / hiphop crossover jam metabolized into rhythm-based psychedelia by the funky French Trolls.

            Les Trolls - untitled a2


from their 2003 Trolls Hostiles Contaminés EP on Homicide. 



Tuesday 04 October 2005 at 10:07 pm

        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...


                       (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.


Monday 03 October 2005 at 1:00 pm

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.



Saturday 01 October 2005 at 1:29 pm

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”