Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from June 29, 2023
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View Derek Westerholm's profile
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View DJ Babs's profile
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Description: Exuberance/Ebullience, banter, possibly an interview, context and connection, the familiar, the strange.
Find: Symphonies of Treble, Words Of Expectation, stab, skronk, shimmer, sheen, The New Sound of Now, Ideas for Walls, pleasure, pith, Flutter and Wow, Motorik, cowbells, disco akimbo, at least one Cantankerous Singer, The German Language, shards of glass, Ethiopian Punk, organic, synthetic, sawtooths & squarewaves, Library Riffage, yesterday's recipes, the wrong speed, intentional static, floating, ethereal, time and timelessness.
Thursday
8 - 10pm
(EDT)
|
On
WFMU's
Sheena's Jungle Room
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| Artist | Track | Album | Label | Year | Comments | New | Approx. start time |
|---|---|---|---|---|---|---|---|
Music behind DJ: Sounds Of The Ocean |
Beach Sounds
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Ocean Sounds |
Sounds Of The Ocean |
2016 |
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| Die Crazy Girls |
Der Feuerstuhl (Leader Of The Pack)
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Die Feuerstuhl 7" | EMI | 1965 | An exquisite German language cover of the Shangri La's "Leader Of The Pack"...The three band members Rosi Rohr, Gretel Kästel and Ans Plevier met in the early 1960s as members of the Botho Lucas Choir , whose hit Berliner Polka was released by Columbia Records . Schlager singer and pianist Paul Kuhn was producing up-and-coming talent under this label at the time, so he brought them together with the Dutch band he was producing, The Javalins .After the Crazy Girls disbanded, Rosi Rohr joined the Günter Kallmann Choir, while Gretel Kästel and Ans Plevier began solo projects. | * | 0:02:15 (Pop-up) |
| Fat Truckers |
Superbike (edit)
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Northern Electronic Compilation | Discograph | 2003 | The Fat Truckers were a British electroclash group from Sheffield, comprising Ben Rymer, Mark Hudson and Ross Orton and briefly augmented by Jason Buckle and Ginger Dave as a part-time members. They toured in support of Jarvis Cocker, apparently wielding light sabres on stage and described themselves as writing songs about "cheap motorbikes, import-export business and multiplex cinemas - we're a social comment on modern living" and having a fondness of Henderson's Relish. This song appeared in the Pulp documentary and it's a banger! | 0:05:24 (Pop-up) | |
| Love and Rockets |
Motorcycle
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Love and Rockets | Beggar's Banquet | 1989 | Love and Rockets is the fourth studio album by English alternative rock band Love and Rockets; released in 1989 by Beggars Banquet Records. This album still divides the band's fans to the present. Charges of sell-out are incredibly curious, because aside from "So Alive," absolutely nothing here sounds like it would have gotten anywhere on the airwaves. While Ash and David J were clearly dividing their songwriting efforts, resulting in a rather schizophrenic album, what they were writing and performing were some of the best songs of their collected careers. | 0:09:15 (Pop-up) | |
| Suicide |
Dominic Christ
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A Way Of Life | Mute | 1988 | A Way of Life is the third studio album by Suicide, released in 1988. By the time it came out-- more than 10 years removed from their debut-- Suicide's influence had spread throughout the dance and industrial music scenes, with plenty of spillage into synth-pop and punk, but no one had yet managed to sound anything like them. Indeed, if there's one thing A Way of Life drives home more than any other, it's that Suicide never stopped being ahead of their time, their signature big-reverb synth-pop/50s rock 'n' roll/industrial noise melange (would you hate me if I coined the term droneabilly?) too singular to be touched by anyone else. | 0:12:45 (Pop-up) | |
Music behind DJ: The Exorcist GBG |
Starlight
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III |
Höga Nord Rekords |
2023 |
Gothenburg three-piece The Exorcist GBG and the mysterious characters with fictional names like Vesslan [the Weasel], Osynlige Mann [Invisible Man]. It’s basically impossible to pin down what type of music The Exorcist do, it’s music that “didn’t exist” before Exorcist created it. To make it even more complex, many of their songs just exist in the moment it’s being created because it’s improvised. As pioneered in the 1950s by musicians breaking the rules of jazz and composition, free improvisation is still as difficult as it ever was. There are people that hear it once and think “Never again!” and for many of the musicians, the process of making the music is as important as the results... |
0:19:15 (Pop-up) |
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| CAN |
Waiting For The Streetcar
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The Lost Tapes | Spoon / Mute | 1968 / 2012 | Originally recorded w/ original CAN vocalist Malcolm Mooney in 1968 & unreleased for 44 years, "Waiting For The Streetcar" innocently asks a question & then won't let go. "Considering the wildly different backgrounds of the players in Can, it’s amazing they could all exist in the same band, let alone establish their groundbreaking, cohesive sound. Keyboardist Irmin Schmidt and bassist Holger Czukay were trained in avant-garde classical music, drummer Jaki Liebezeit came from free-jazz, Michael Karoli was a rock guitarist and former student of Czukay’s, original vocalist Malcolm Mooney was a sculptor from America, and second vocalist Damo Suzuki was found busking on the street. So, yeah, they came from all corners and, along with fellow German acts like Neu! and Faust, created a whole new set of sounds. With all their training, Can came at music with a serious intellectual bent, but it wasn’t all in the head. They thumped with life and brought energy to their sound. Theirs was as funky as any music that ever came out of Europe, and they’ve got a slew of classic records — especially their run from 1971’s Tago Mago to 1973’s Future Days — to prove it. Now Can fans, and really anyone who has still only heard about Can’s influence without ever actually hearing the band, are being treated to over three hours of new material. The Lost Tapes is a huge swath of recordings culled from over 50 hours of tape salvaged from the band’s old studio in Weilerswist. It includes unreleased tracks, unreleased music from soundtracks, and some live tracks. It offers an interesting alternate history to the band, one the albums never quite told.... the ten-minute repetitive madness of “Waiting for the Streetcar”. Over blistering guitar work, rumbling bass, and one of Liebezeit’s most wandering, jazzy beats, Mooney repeats, over and over again, “Are you waiting for the streetcar?” There are a few other lines in there, but the obsession that sets in as he sings that line again and again is both hypnotic and troubling." | 0:25:51 (Pop-up) | |
| The Breeders |
Go Man Go
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Last Splash (The 30th Anniversary Original Analog Edition) | 4AD | 1993 / 2023 | A lost/unissued track from the Last Splash sessions, Full Reissue out Sep 22."The Breeders are announcing a 30th anniversary reissue of Last Splash coming in September. Last Splash (The 30th Anniversary Original Analog Edition) has been remastered based off of the original analog tapes, which were previously thought to be lost. This process actually unearthed two unreleased tracks from the Last Splash days, and one of them — “Go Man Go” — is available to hear now. It’s a co-write between Kim Deal and Black Francis from 1993. This special edition of Last Splash will contain two 12” 45rpm vinyl discs (cut at half speed at Abbey Road Studios by Miles Showell), plus an exclusive, one-sided etched 12” disc containing two forgotten tracks. In addition to “Go Man Go,” there’s “Divine Mascis” — a version of “Divine Hammer” with lead vocals from Dinosaur Jr.’s J Mascis. The original sleeve art (by the late designer Vaughan Oliver) has also been reimagined by his longtime design partner Chris Bigg." | * | 0:36:12 (Pop-up) |
| Public Image Ltd. |
Car Chase
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End of World | PiL Official via Cargo UK Distribution | 2023 | "Public Image Ltd have shared their latest single ‘Car Chase’ from their forthcoming album ‘End Of The World’. Frontman and former Sex Pistol, John Lydon, shared that the song is “Typical PiL, unpredictable to the last. It’s a fantastic smash-and-grab of a song. It’s about someone who cleverly breaks out of the mental institution every night, unbeknownst to his owners.” He added: “It’s based on having to go to shopping malls at night for cigarettes and wine and seeing the vast carpark space and lighting surrounded by a little village and a lot of daThe track’s accompanying video gives an insight into the recording of the new album, and features handwritten lyrics by Lydon. ‘Car Chase’ is the second single from the bands upcoming 11th LP ‘End Of The World’. It follows its lead single ‘Penge’.‘End Of World’ is set for release on August 11 and is dedicated to frontman Lydon‘s late wife Nora Forster, who died at the age of 80. She had been living with Alzheimer’s disease for five years and Lydon had been her full-time carer.rk trees and country lanes. It’s a really creepy scenario, what if somebody creeps out of there, like a mad lunatic?” The album also features the song ‘Hawaii’ as its closing track, which Lydon had written as a “love letter” to Forster. The band had used the song in their bid to represent Ireland at this year’s Eurovision Song Contest, but they lost out to Dublin quarter Wild Youth." "Of going ahead with the album release so soon after Forster’s death, Lydon said, “Nora loved the album, she wouldn’t have wanted us to postpone it or change any of our plans.”" | * | 0:38:22 (Pop-up) |
| Jumping The Shark |
Jumping The Shark
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Fonzarelli | Wannaboo | 2014 | A band from Pesaro, Italy. They describe themselves as: "giovanissimo power duo rock-blues dal cuore grunge" If you feel like you absolutely need to find more about them, you can always try starting here: Jumping The Shark (Bandcamp) | 0:42:10 (Pop-up) | |
| Thee Retail Simps |
Weapon Of The Mystic
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Live On Cool Street | Total Punk Records | 2023 | This track is not released until tomorrow, so this is the world-wide debut airing! Full album out Sep 1, 2023. Retail Simps are from Montreal and Portland, OR label "Total Punk Records" is releasing their next LP in the near future. Enjoy this advance play of the advance single in this present day & time. "After countless hours of data driven market research it was determined that the wild success of the first Retail Simps album , “Reverberant Scratch” was 82.6% due to the cheeky and iconic album cover, as such the group was faced with a dilemma. Using focus groups funded by the Center for Odd Human Behaviour (COHB), the group surmised that the man pictured on said cover, none other than Montreal born chanteur Joe Chamandi, reminded the typical unsophisticated commoner of their ner’e do well uncle, and it is this sense of uncanny familiarity that drove people to purchase the record. Upon first needle drop it was revealed to house an abhorrent and obfuscatingly decrepit take on roots rock. Armed with this keen analytical knowledge, the band and their creative team harnessed the boundless marketability of the Trashmen, Dancing Cigarettes and 2 Live Crew to adorn their new disc with an equally palatable and deceptive frontal armour, provoking the straight laced garage rocker of yore to pay the price of entry. Once the branding and visual identity of this little package invited potential listeners in, they were met with incorrigible confusion. You see, after being pigeonholed by the punk paparazzi as a lowly party band, the Simps were tasked with driving home their knack for fervent versatility. This new record captures a group, in the clutches of maturity, boasting their emotional depth, triumphant chops and humble servitude to the trade of rock n roll clowning. Recalling the double speak of VU’s murder mystery, the soul bent lament of Fred Cole and the bastardized funk of Minutemen, the Simps have thusly widened their sonic palate and created yet another masterpiece of the modern age. This is the southern soul of Memphian tradesmen flipped on it’s snowy head, conjuring an impure regionalism that was largely thought to be dead and gone. An alternate kind of Northern Soul with a frosty Arctic sheen. More spazzed out guitar, more howling lunacy, more heat of the moment, turnt poetry and outside the box-isms. “The Simpies have done it again!” Proclaim the industrial-indie-music-complex! Bolstered by the angelic croon of theee Simpettes and the honking heart-wrench of theee Horny Boys, Theee Retail Simpletones bring you this 97.5 % Total Punk din!" Total Punk Records: Thee Retail Simps - Live On Cool Street | * | 0:43:39 (Pop-up) |
Music behind DJ: Pauline Oliveros, Christopher Willes, Public Recordings |
To Valerie Solanas and Marilyn Marilyn Monroe in Recognition of Their Desperation (Red Light Section)
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Resonance Gathering |
Riparian Media / ArtMetropole |
2023 |
Available tomorrow! (Jun 30) "Resonance Gathering is a double LP and book that documents a large-scale performance project on the music of composer Pauline Oliveros (1932-2016) that occurred in Canada between 2017-2019. The project gathered nineteen interdisciplinary performers to collectively reinterpret Oliveros’s score To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (1970)—a work for sound and light that was written in response to the anxiety and political unrest of 1968 in America. Organized by multidisciplinary artist Christopher Willes and the collective Public Recordings, the ensemble included artists from dance, theatre, music, and visual arts, all performing together as musicians in a series of open rehearsals at various community spaces in Tkaronto—Toronto. The project concluded with a final performance of Oliveros’s piece in Council Chambers Toronto City Hall. The local political situation at the time had become unexpectedly tense: in the midst of an election the provincial conservative government redrew ward boundaries and reduced council membership almost in half. The context brought a new resonance to Oliveros’ score, which proposes a self-governing system for group music making. And so the performance took place between empty councillors’ desks, among the spectres of representational politics, in a room where debates and decisions about togetherness have tangible consequences. Resonance Gathering extends this project into a publication. The LP opens with a new sound poem by IONE (artist and Oliveros’ spouse) that was recorded in their home in Kingston New York in 2021. Part guided meditation, part dream, the fifty one lines of text and silences evoke the passage of time between 1970- 2021. Side B/C/D share a lush, 45 minute recording of the City Hall performance, captured in a quadraphonic format that subtly moves the listener into ghostly spaces throughout the ensemble. The release also includes a 64pg book with writing, a previously unpublished text by Oliveros, photography by Claire Harvie, and a Flexi Disc and score that invites new listening experiments. To Valerie... marked an important shift in Oliveros’s work, away from traditional compositional methods and towards sonic-somatic practices that call for radically inclusive forms of listening. Deep Listening, as she would later call it, can bring out “resonant connections that lie beyond the surface of our consciousness and help us change [...] and grow.” Revisiting the piece fifty years after its premiere, this release explores how Oliveros’s ideas and music continue to resonate with our time." The album will be available for purchase from : Bandcamp: https://christopherwilles.bandcamp.com/album/resonance-gathering ---- Art Metropole: https://artmetropole.com/shop/15422 ---- Juno : https://www.juno.co.uk/products/pauline-oliveros-resonance-gathering-vinyl/945641-01/ |
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0:45:48 (Pop-up) |
| Salma Agha & Bappi Lahiri |
Jeena Bhi Kya Hai Jeena
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Kasam Paida Karnewale Ki | Saregama India Ltd. | 1984 | Salma was born in Karachi and she started singing songs in school festivals and other programs but she was raised in London, where she received several film offers from Indian directors. Her first film was the romance Nikaah (1982), in which she starred as the female lead and also sang several of the film's songs herself. She was nominated for the Filmfare awards that year in both the Best Actress category and the Best Female Playback Singer category. It was for her singing that she won the Filmfare Best Female Playback Award. She is also known for her role in Kasam Paida Karne Wale Ki (1984) opposite Mithun Chakraborty, and for her song "Come Closer" from the same film. | 0:59:22 (Pop-up) | |
| Altin Gün |
Doktor Civanim
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Aşk | ATO Records | 2023 | Jasper Verhulst formed Altin Gün in the Netherlands after touring Turkey with Jacco Gardner, who went on to mix their 2018 debut album On. An accomplished bassist who has also played with Eerie Wanda, Verhulst posted an ad on Facebook that caught the eyes of Turkish singer/keyboardists Merve Daşdemir and Erdinç Ecevit Yıldız. Along with countrymen drummer Daniel Smienk, percussionist Chris Bruining and guitarist Thijs Elzinga, they forged the vibrant throwback Anatolian-rock force known as Altin Gün (or "Golden Day" in Turkish). Aşk (which means "deeper feeling of love") sees Altin Gün return to the familiar '70s psychedelic realms visited on their earlier releases, as the band were allowed to record in their usual "live off the floor" style. It captures a band more comfortable roasting in the sweaty, late-night heat of their famously fiery concerts, and is imbued with that invigorating immediacy. | 1:03:42 (Pop-up) | |
| WITCH, Theresa Ng'ambi, Hanna Tembo |
Unimwesha Shuga
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Unimwesha Shuga EP | Desert Daze Sound | 2023 | WITCH (aka We Intend to Cause Havoc), the Zamrock pioneers who recently reunited, have released a new single that veers in a different direction than their previous one. "Avalanche of Love" was more of a psychedelic rock meets hip hop hybrid, while "Unimvwwesha Shuga" is more along the style of the group's 80's disco period. It's still WITCH, so the new song is more of a psychedelic version of disco than we're used to, which gives the track a very unique vibe. “In that studio, we felt the freedom to express ourselves in ways that are often restricted in our own culture because of us being women. 'Unimvwesha Shuga' is an expression of love and passion, we were gossiping about our fantasies as girls and the things we dreamt to express but wouldn't normally be able to. To us, singing these words was a liberation to express our crazy fantasies.'' | 1:07:32 (Pop-up) | |
| Skinny Pelembe |
Oh, Silly George
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Hardly The Same Snake | Partisan Records | 2023 | Born in Johannesburg, growing up in Doncaster, UK's Skinny Pelembe poses a quadruple threat – he produces, plays guitar, sings and MCs, tapping into a unique, influence-weaving sound." He says of the song "Just a few snapshots of those ‘strangers’ that we know. Whether on home soil or in motion, always the eternal stranger. Someone asked me if George is England. He wasn’t when I wrote it, but it’s a cool idea… Anyway, I’m not here to spoon feed you the meanings of all this, do some of the graft yourself. Lots of trying to make me and Malcolm [Catto] sound sampled. Fucking one, and two beat chops on the drums and guitar. An extremely considered but ramshackle groove. I was hearing early Macca, but Malc reckons the synths sound more like Wham! That might be a bad thing, but sometimes bad feels good." | 1:11:08 (Pop-up) | |
Music behind DJ: Taggy Matcher |
Rapper's Delight Dub
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Disco Reggae |
Stix Records |
2013 |
Bruno "Patchworks" Hovart is a name to remember when it comes to modern groove music. Since 2007, just following the international success of The Dynamics first album Version Excursions, Patchworks also started to hide under his Taggy Matcher alias, releasing fine reggae remixes of classics hip-hop songs for Stix Records, a subdivision of Favorite Recordings. |
1:14:56 (Pop-up) |
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Music behind DJ: Taggy Matcher |
The Chameleon
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Disco Reggae |
Stix Records |
2013 |
1:22:06 (Pop-up) |
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| Son Rompe Pera |
Cumbia is the New Punk
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Chimborazo | AYA Records | 2023 | From the L.A. Times... "Is cumbia the new punk? How Son Rompe Pera gets crowds moshing to marimbas... Kacho, Kilos and Mongo Gama grew up performing in cemeteries. Along with their father, José (a.k.a. Batuco), the brothers would play next to the mariachi and Norteño groups performing for families visiting their relatives during Día De Los Muertos. They would weave through the cemetery with their marimbas — a percussion instrument with a warm sound, similar to a xylophone — between the elevated tombs, playing traditional Latin music. //// “It was the day we were looking forward to the most,” says Mongo, reflecting on playing graveside at Panteon Municipal de Rio Hondo, a cemetery near their home in Naucalpan, just west of Mexico City. “And it was the day that we felt the closest with our dad. Things were, like, more emotional.”... Marimba has long been a way of life for the Gamas — and how Batuco made a living (he also coined the name Son Rompe Pera, an amalgamation of his musical interests and wife Esperanza’s name and no-nonsense attitude). He taught then-13-year-old Kacho and 11-year-old Mongo how to play, and together they would perform at weddings and parties. When they didn’t have a proper gig, the family carried their heavy marimba throughout the streets of Naucalpan, busking and passing out business cards for the family band...As they became teenagers, the young Gamas were embarrassed — marimba was an old man’s instrument, played in a traditional style with formal attire... //// Son Rompe Pera proclaim — on T-shirts, in lyrics, in sheer force and in dedication to creating their own style — that cumbia is the new punk. “We don’t want to pretend that punk is more or cumbia is less. We’re saying that [our music is] cumbia with attitude, more than anything else,” Mongo says. “We’re rockers who play cumbia. We’re very political [personally, but] for us it’s all music that people enjoy and everyone having a good time.” While the band puts a rocking twist on traditional cumbias, its influences are much broader. There are elements of rumba, chicha, son jarocho, hardcore and even some ZZ Top (“My dad always listened to salsa, metal and rock,” Mongo notes). There’s something for everyone, but there’s some common sights at a Son Rompe Pera show: moshing, couples dancing to punkified covers of traditional cumbias, crowdsurfing and friends bopping together. A circle pit typically forms as the five-piece jumps around onstage, at various points removing sweat-soaked shirts and switching instruments. Everyone’s yelling, and while an understanding of Spanish isn’t required, the vibe is absolutely infectious. Kacho, the eldest and quieter Gama brother, adds, “If I didn’t transmit anything while I was playing, I would feel dead.” | * | 1:24:57 (Pop-up) |
| Bile Sister |
Real Dreams
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Living On The Edge | We Are Time | 2023 | Real dreams is the next sneak-peak & video of the forthcoming (July 21) Bile Sister album. We will be interviewing Julie Reich soon, to talk about all things Bile Sister and beyond. In the meantime, enjoy this song and here's the videolink: Bile Sister - Real Dreams (Official Video) Video by Jonathan Carroll -- http://spek.work/ -- https://toughguymountain.com/ -- Song Written and Performed by Julie Reich / Co-Produced by Josh Korody / Mastered by Sage Kim --------------- Bile Sister -- https://www.instagram.com/bilesister/ -- https://www.tiktok.com/@bile_sister -- https://www.facebook.com/bilesister/ | * | 1:28:53 (Pop-up) |
| Petra Glynt |
Deep (Demo Version)
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Sounds From Mothland, Vol. II | Mothland Records | 2023 | From Exclaim! magazine, By Ben Okazawa, Published Jun 23, 2023: "Mothland has announced its sophomore compilation, Sounds from Mothland, Vol. II, will arrive on July 14. /// The 14-track project follows the Montreal label's 2020 comp Sounds from Mothland, Vol. 1, which featured mostly Montreal psych acts. //// The second installment in the series also showcases local artists like Karma Glider, N NAO, Ben Shemie and Fhang, but branches out further than its predecessor, with contributions from Calgary post-punk quartet Sunglaciers, Vancouver Island's Petra Glynt, Toronto rockers Gloin and Latvian dream pop singer Elizabete Balčus filling out the tracklist. ///// Mothland previewed the mixtape [on June 23] by releasing the first three songs: Glynt's "Deep [Demo Version]," "Entertainment" by Atlanta new wave group CDSM and Gloin's "Angry Arboretum."" You can find Mothland things on Bandcamp amongst many other places, BC link to this album here: Mothland: Sounds From Mothland, Vol. II [v/a comp.] (Bandcamp) | * | 1:32:02 (Pop-up) |
| The Fall |
And This Day
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Hex Enduction Hour | Kamera / Sanctuary | 1982 / 2005 | Amongst a handful of songs I like to blast when I'm in a mood & want to make those in earshot pay for it. What might have been the last Fall song from the last Fall album, had they not decided to go on. Last week we talked about the double drum attack of '82-'85 Fall & here and thereafter. This is a prime example. From Annotated Fall (Website) ... "A controversial song among Fall fans; it is passionately defended by some but dismissed as boringly repetitive and too long by others. MES himself once remarked that it "finishes off a lot of audiences." The song is built on a repeating riff. The version on Hex Enduction Hour was reportedly edited from a 25-minute rendition to its current length of 10:18, which was calculated to make the album exactly one hour long. The 15-minute live version from the Hammersmith on the compilation Hip Priests and Kamerads (3-25-1982) is considered by some fans to be the definitive reading of the song; it is cleaner-sounding, and the lyrics are more discernable than on the studio version. The mysterious "rosso-rosso" makes an appearance in the lyrics to the latter version, which also features guest vocals from Alan (Alana) Pillay. Pillay, a gender-bending actor and musician, often supported the Fall in this period with his/her band, the I Scream Pleasures... on the back cover of the album MES calls this track a "Desperate attempt to make bouncy good of two drum kit line-up."" | 1:35:24 (Pop-up) | |
Music behind DJ: Pauline Oliveros, Christopher Willes, Public Recordings |
To Valerie Solanas and Marilyn Marilyn Monroe in Recognition of Their Desperation (Yellow Light Section)
|
Resonance Gathering |
Riparian Media / ArtMetropole |
2023 |
Available tomorrow! (Jun 30) "Resonance Gathering is a double LP and book that documents a large-scale performance project on the music of composer Pauline Oliveros (1932-2016) that occurred in Canada between 2017-2019. The project gathered nineteen interdisciplinary performers to collectively reinterpret Oliveros’s score To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation (1970)—a work for sound and light that was written in response to the anxiety and political unrest of 1968 in America. Organized by multidisciplinary artist Christopher Willes and the collective Public Recordings, the ensemble included artists from dance, theatre, music, and visual arts, all performing together as musicians in a series of open rehearsals at various community spaces in Tkaronto—Toronto. The project concluded with a final performance of Oliveros’s piece in Council Chambers Toronto City Hall..." -------- "...Resonance Gathering is an astounding new package from stalwart Toronto publisher ArtMetropole featuring 2 LPs, a lavish 64-page risograph/ digitally-printed book containing new and unpublished texts, a flexidisc and more. The centrepiece of this set is a new recording of "To Valerie Solanas and Marilyn Monroe in Recognition of Their Desperation," a long, large-ensemble work by revered and innovative American composer Pauline Oliveros performed in Toronto City Hall's council chambers. The piece was mounted in 2019 by interdisciplinary collective Public Recordings under the direction of artist Christopher Willes. The eclectic ensemble performing the work includes players such as Allison Cameron (as heard on Another Timbre), Anne Bourne (a longtime collaborator of Oliveros), Anni Spadafora (of New Fries), celebrated percussionist Germaine Liu, Thom Gill (Bernice, The Titillators, Fievel is Glaque, Chaka Khan etc.), and Victoria Cheong (aka New Chance). Alongside this landmark work, one also finds a new pieces by polymath (and artistic/ life partner to Oliveros) IONE, and Christopher Willes. Half of all proceeds will be donated to The Native Women’s Resource Centre of Toronto." The album will be available for purchase from : Bandcamp: https://christopherwilles.bandcamp.com/album/resonance-gathering ---- Art Metropole: https://artmetropole.com/shop/15422 ---- Juno : https://www.juno.co.uk/products/pauline-oliveros-resonance-gathering-vinyl/945641-01/ |
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1:45:51 (Pop-up) |
| Slapp Happy |
Strayed
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Casablanca Moon/Desperate Straights | Virgin Records | 1974 | Slapp Happy (also known as Casablanca Moon) is a studio album by German/British avant-pop group Slapp Happy, recorded at Virgin Records' Manor Studio in 1974. This album was originally recorded in 1973 in Germany under a working title of Casablanca Moon with Faust as Slapp Happy's backing band, but Polydor Records in Germany rejected it. After moving to London and signing with Virgin Records, Slapp Happy re-recorded the album (at Virgin's request). In a 1974 review in Audio, Carl Anthony said Slapp Happy has "[s]ome of the most extraordinary lyrics I've heard in a long time", and when they are sung by Krause in her "[h]aunting" voice, the deceptively "normal" music is transformed into "something surreal and distant", "alien but strangely inviting". | 1:51:44 (Pop-up) | |
| The Velvet Underground |
Temptation Inside Your Heart
|
VU | Verve | 1985 | As Verve (by then an imprint of Polygram) prepared to re-release the band's three Verve/MGM albums on vinyl and CD, they found nineteen previously unreleased tracks: five Cale-era tracks and the 14 "lost album" tracks, some of them in two-track mixdown format, some of them even on multitracks. The cream of the nineteen tracks was released in 1985 as VU; the rest was released as Another View in 1986. VU is a selection from the 1969 tracks as well as two previously unreleased Cale-era songs—"Temptation Inside Your Heart" and "Stephanie Says". Since most of the material was available on multitrack (only "Ocean" is included in its original 1969 mix), engineers were able to clean up and remix the tracks. Robert Christgau wrote, "It's goofy, relaxed, simultaneously conversational and obscure, an effect accentuated by the unfinished feel of takes the band never prepared for public consumption. As a result, especially given PolyGram's state-of-the-art remix, it's their most listenable record." | 1:53:40 (Pop-up) | |
Music behind DJ: Ventre De Biche |
Générique
|
Vaniel |
Teenage Menopause |
2023 |
Luca assumes and expresses the genesis of his universe: the noir novel and this love of the punchline, rap he has always listened to and the French 70s soundtracks of Vanier and Roubaix as a major influence. |
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1:56:10 (Pop-up) |
| Clinic |
Dreams Can Come True
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Fantasy Island | Domino Recordings | 2021 | Fuelled by vintage keyboards and sundry sonic bric-a-brac often obtained at junkyard sales, the Liverpool nonconformists are on an open-ended mission to explore strange new genres. And to seek out new life in the uncharted deep space between indie, electronica, krautrock, and psychedelia. hese are chaotic times. Often it is hard to know if we should laugh, sob, take refuge, or embrace the madness. And with Fantasy Island Clinic have held up a mirror to this, our post-reality reality and captures the essence of what it is to be a conscious entity negotiating the world in these times.... | 1:59:31 (Pop-up) |
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Listener comments!
Derek Westerholm:
Scott_Oz:
Heyyyy! Let's ski jump this fish!🦈
🌏🌥️🍻😎🤙💨🍺🍺🌻🌻
ultradamno:
Aitch:
Scott_Oz:
northguineahills:
Mr Fab:
Tome:
DJ Babs:
Robm:
northguineahills:
WR:
Neil Neil the orange peel:
DJ Babs:
gsdoubleu:
DJ Babs:
Mr Fab:
Derek Westerholm:
DJ Babs:
ultradamno:
Aitch:
Bob Barth:
Derek Westerholm:
northguineahills:
WR:
Derek Westerholm:
DJ Babs:
Mr Fab:
northguineahills:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
Bob Barth:
northguineahills:
Scott_Oz:
🍻😎🤙💨🍺
Derek Westerholm:
gsdoubleu:
Aitch:
ultradamno:
DJ Babs:
Derek Westerholm:
DJ Babs:
Aitch:
Bob Barth:
northguineahills:
DJ Babs:
Alli B:
DJ Babs:
Derek Westerholm:
ultradamno:
DJ Babs:
Derek Westerholm:
ultradamno:
DJ Babs:
Derek Westerholm:
northguineahills:
DJ Babs:
DJ Babs:
ultradamno:
Derek Westerholm:
Aitch:
northguineahills:
Derek Westerholm:
Robm:
Alli B:
northguineahills:
ultradamno:
northguineahills:
Derek Westerholm:
ultradamno:
coelacanth∅:
- just here for a short time before i'm driving home
ultradamno:
DJ Babs:
Robm:
Robm:
DJ Babs:
Derek Westerholm:
Robm:
@Babs no i am not kidding you at all
Derek Westerholm:
DJ Babs:
bobobob Fabtriplasticland:
Robm:
DJ Babs:
ultradamno:
DJ Babs:
Robm:
DJ Babs:
Derek Westerholm:
Mr Fab:
No.
No.
No.
No.
no.
No.
No.
No...
Robm:
DJ Babs:
Derek Westerholm:
DJ Babs:
Robm:
DJ Babs:
bobob plasticland:
ultradamno:
DJ Babs:
bobobobob fabtriplasticlanddrummr:
Robm:
Derek Westerholm:
ultradamno:
Robm:
DJ Babs:
ultradamno:
northguineahills:
Robm:
DJ Babs:
northguineahills:
Robm:
ultradamno:
DJ Babs:
DJ Babs:
DJ Babs:
northguineahills:
Robm:
Alli B:
northguineahills:
DJ Babs:
northguineahills:
DJ Babs:
northguineahills:
northguineahills:
Alli B:
DJ Babs:
DJ Babs:
DJ Babs:
Kristine:
DJ Babs:
DJ Babs:
Robm:
Kristine:
Tyler:
ultradamno:
DJ Babs:
DJ Babs:
Tyler:
DJ Babs:
DJ Babs:
Tyler:
Tyler:
DJ Babs:
Tyler:
ultradamno:
Kristine:
Alli B:
Kristine:
Alli B:
Alli B:
Tyler:
DJ Babs:
Alli B:
Robm:
DJ Babs:
ultradamno:
Alli B:
gsdoubleu:
Tyler:
Kristine:
Alli B:
ultradamno:
DJ Babs:
DJ Babs:
ultradamno:
Kristine:
Tyler:
Alli B:
DJ Babs:
Kristine:
DJ Babs:
DJ Babs:
ultradamno:
Alli B:
gsdoubleu:
Alli B:
ultradamno:
DJ Babs:
Alli B:
laurapanic:
DJ Babs:
Derek Westerholm:
laurapanic:
Derek Westerholm:
laurapanic:
DJ Babs:
DJ Babs:
Kristine:
Tyler:
Derek Westerholm:
Tyler:
Kristine:
laurapanic:
Derek Westerholm:
Tyler:
DJ Babs:
Alli B:
Kristine:
Tyler:
Tyler:
Derek Westerholm:
Derek Westerholm:
Alli B:
Derek Westerholm:
ultradamno:
Alli B:
Tyler:
Alli B:
DJ Babs:
Kristine:
ultradamno:
Tyler:
Derek Westerholm:
DJ Babs:
Kristine:
Alli B:
Derek Westerholm:
Tyler:
Derek Westerholm:
DJ Babs:
Alli B:
Tyler:
DJ Babs:
Tyler:
DJ Babs:
DJ Babs:
Alli B:
DJ Babs:
Derek Westerholm:
Alli B:
Kristine:
DJ Babs:
Chandra:
Tyler:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
Chandra:
DJ Babs:
DJ Babs:
Tyler:
Alli B:
DJ Babs:
Tyler:
DJ Babs:
Kristine:
Scott_Oz:
Chandra:
Kristine:
DJ Babs:
Chandra:
Derek Westerholm:
Kristine:
Chandra:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
laurapanic:
Chandra:
ultradamno:
Chandra:
DJ Babs:
Kristine:
DJ Babs:
Tyler:
Androu B.:
Really enjoying the show, though I see I've missed a lot of goodies during the first hour. Anyway, just chiming in to wish you both a happy and healthy forthcoming Canada Day! {Btw, I'm curious to know what they do up there to celebrate that special day, and what you guys will be planning to do this Saturday.)
ultradamno:
Tyler:
Derek Westerholm:
DJ Babs:
Service to indigenous First Nations…beer drinking
DJ Babs:
Andres:
DJ Babs:
Tyler:
Derek Westerholm:
DJ Babs:
ultradamno:
Aitch:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
ultradamno:
laurapanic:
Aitch:
Aitch:
ultradamno:
coelacanth∅:
Tyler:
laurapanic:
Aitch:
Great venue
ultradamno:
laurapanic:
Tyler:
ultradamno:
Aitch:
ultradamno:
Tyler:
Derek Westerholm:
Alli B:
Tyler:
Derek Westerholm:
ultradamno:
Yeah, this is the most Velvety SH got, I think
DJ Babs:
Derek Westerholm:
Derek Westerholm:
Derek Westerholm:
Bob Barth:
Derek Westerholm:
Bob Barth:
coelacanth∅:
Tyler:
Scott_Oz:
🌏🌧️🍻🤙😎💨🍺🍺
Derek Westerholm:
Rich in Washington:
Tyler:
Derek Westerholm:
coelacanth∅:
Tyler:
Kristine:
Alli B:
coelacanth∅:
Derek Westerholm:
DJ Babs:
Androu B.:
ultradamno:
DJ Babs:
Tyler: