Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from February 1, 2024
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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)
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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 |
0:00:00 (Pop-up) |
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| Veik |
Blank Page
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From Madness to Nomadness | Onto Records | 2016 | Veik hail from Caen, France. entred around vintage analogue synths and abrasive instrumentation, the band’s experimental post-punk is rooted in the 70s avant-garde, most notably Krautrock and No Wave. They reel off groups like Implog, Suicide or Indoor Life as inspirations, whilst existing in a similar world to contemporaries like Beak>, Suuns and Girl Band. Their latest album was released in 2021, ‘Surrounding Structures’, they say that “The writing of the album was heavily influenced by architectural environments. We made a lot of detours when touring in 2017 and 2018 to visit modernist and brutalist buildings in France, Germany and Belgium (which caused us many delays for soundchecks.)” Listening to the album, it’s quickly clear how the disjointed shapes and abrasive textures of brutalist architecture are manifested in their music. However, they claim that the ‘Surrounding Structures’ of the album’s title are also a reference to both the “physical and social structures that surround us, and how they shape us as individuals and collectives.” | 0:01:19 (Pop-up) | |
| Conditioner Disco Group |
No Concepts
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CDGLP | Maternal Voice | 2019 | Portland based Conditioner Disco Group play treble heavy, rhythm punk meandering occasionally into dub territory. Ref: E.S.G, 80's midwest punk, weirdo-pop, Liquid Liquid and PiL. Conditioner Disco Group certainly have some sort of ‘condition’, and rarely fall on the side of ‘disco’, however, they’re most definitely a ‘group’. Do not approach this band with any pre-conceived notion as to who they may be, instead, you should experience the sardonic rhythms and occasional dub distortion for yourself and try and see if you can figure them out. | 0:06:19 (Pop-up) | |
| Go Public |
Pyramid Freak
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EP | Go Public | 2022 | This is a legitimate Athens supergroup composed of Jay Domingo (The Dignity of Labor), Adrian Finch and SA Rawls (each of Masters of the Hemisphere and then Elf Power and Still Flyin’, respectively), and Sam Gunn (Iron Hero). It’s a nearly perfect marriage between everything that was ever loved about A Certain Ratio and pre-1986 Public Image Ltd. | 0:09:14 (Pop-up) | |
| Tearist |
End Flux
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Tearist | Post Present Medium | 2010 | They self describe as a Movement. They are from LA. Yasmine Kittles is the person behind this Industrial/Electronic movement. I will say the last two minutes of this track, with her disjointed yelping culminates into a perfect scream. You kinda can't wait for this song to be over but still enjoy every minute. | 0:12:09 (Pop-up) | |
| Karl Kave & Durian |
La Vida Loca
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Untergang & Finsternis (Loss and Darkness) | Karl Kave | 2021 | I discovered this delightful track quite by accident..and those are always the best! Karl Kave is existential synthpunk from St. Gallen, Switzerland. "A friend called it Föhn Wave. A strangely warm Wind from the Alps. There are tales and studies about the Föhn driving people mad. Inducing headaches at least. Where I live is plenty of föhn. I tried to get into a coherent world of phonetical thinking. All decorated by two neglected consumer class synths. The Yamaha TQ5, that looks like a telephone answering machine and the Korg DW6000, the last cheap analog polysynth from back in the days." | 0:16:23 (Pop-up) | |
| Jumbling Towers |
Substitute
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Jumbling Towers | Jumbling Towers | 2007 | Jumbling Towers are from St. Louis, Missouri. We certainly don't want to put out anything unoriginal. That's goal number one. Goal number two is to wear suits in public so people will respect us. To answer the writing question, yes, but in opposite order. First, [we] try to write a good song, then we jackknife it. Not that that's an original formula…the band was active from 2007, their last release in 2013. Who knows what happened...but my god, this tune is like some secret gem unearthed from a Sparks writing session with some Fripp Bowie/Scary Monsters guitar treatment. The weirdass chanty/yelling background vocals? This song has taken me on a journey and I shall never be the same again. | 0:21:00 (Pop-up) | |
Music behind DJ: Wurlitzer Organ Of Tower Ballroom, Blackpool |
Foxtrot Medley: Chanson D'Amour/The Old Fashioned Way/Can't Smile Without You
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Mighy Wurlitzer |
Hallmark |
2002 |
Built in 1894, the Blackpool is one of Britain's iconic locations. The first Wurlitzer organ was installed in the Ballroom in 1929. It was replaced in 1935 with one to Reginald Dixon’s specification Excluding his time in the RAF during World War Two, Reginald Dixon played the Ballroom’s Wurlitzer organ from 1930 until his retirement in 1969. He returned for a farewell concert in 1970 to mark 40 years at the Blackpool Tower...organists still play there today.... |
0:25:22 (Pop-up) |
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Music behind DJ: Paul Whiteman & His Orchestra |
All Alone
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Top 100 Hits 1920 Vol 5. |
Oldies But Goodies |
2015 |
0:28:52 (Pop-up) |
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Music behind DJ: Bix Beiderbecke and his Gang |
In A Mist
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Bix Beiderbecke: Singin' the Blues |
Sony BMG |
1929 |
0:32:17 (Pop-up) |
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| The Sebastions |
The Snake
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Here For Now | The Sebastions | 2021 | Released March 25, 2021. -- There seems to be very little information on this project... For context though... The official artist statement is "Hello," - Which is excellent. So is the way that this song starts. Added to my list of 'Excellent openings for songs'. "Ah-uh // La-da-da-da-da-da-da-da-duum..." Written By: Joey Yusician //// Associated Performer: Joey Yusician //// Associated Performer: Brian Roy //// Associated Performer: Louis Smith //// Associated Performer: Ben Laderberg //// Associated Performer: Ryan Wood | 0:34:15 (Pop-up) | |
| Moon Goose |
Rhesus David
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Murmurations | Fruits de Mer / Inflatable Tarmac Records | 2024 | "Murmurations describe a natural phenomenon in which a large group of starlings fly in unison using complex laws of movement depending on the relative birds around each individual. This behaviour can be observed on land in herds and under the sea in schools of fish. They are the natural answer of the collective facing a common danger. What seems to be engineered by the mind of one leader is actually generated by every individual's awareness of the group, working together towards their collective fate. There must be a lesson there. Moon Geese (mean geese) murmurations are very rare because there aren't any predators on the Moon except for a few quickly gone humans and a couple multilingual slow bots on wheels. //// Murmurations is Moon Goose’s fourth LP, recorded and mixed at Twin Peaks Studio, Wales, by Adam Fuest (Mott the Hoople, Babyshambles, The Cure) and published by Fruits de Mer Records and Inflatable Tarmac Records. //// The eight tracks featured in Murmurations were whispered by the Barn to the band on dark, icy nights, disturbing the quietness of the Welsh countryside with unrestricted turmoil. //// Moon Goose put Space, Psych, Prog, and Motorik in a bag, shook it, poked it, and burned it, then spread the ashes from the top of the Welsh Mountains with the wind in their faces until their eyes were crying black tears." //////// Released January 27, 2024 // Written and performed by Moon Goose // Murmurations was recorded, Produced and mastered by Adam Fuest at Twin Peaks Studio, Llandrindod Wells, Wales." https://moongoosecult.bandcamp.com/album/murmurations | * | 0:37:05 (Pop-up) |
| No Teeth |
Everything's Better Than Meat Night
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And Presenting... The New Nuisance | Blank Expression | 2022 | "And like worms, we protruded from the fruits, of which their trees we preened and presented proudly, all in aid of one thing. A tainted tribute to "The Swinging Sounds Of The Gatecrashers” yet without any meaning. The confession is almost here as strange words were sheepishly hustled from our mouths, just to quell the harsh sounds of their pleas. "The New Nuisance" is wild and alive, delving not only into our daily journey to and from the pub but also into stagnant images such as waiting at the dentist or talking to your newsagent about the weather. These sullen portraits endemic to modernity are harboured amid the tightly knit fabric of "The New Nuisance" and strewn out on the proverbial table in the form of frantic scratching horns, thick writhing synth lines fighting with a skronky chaotic mess of guitars and percussion to form a thick noxious soup that has been described simply as "almost unbearable". Capturing the chaotic energy of bands like Duds, Country Teasers, The Cardiacs, DEVO or The Birthday Party but with such a snotty, childish delivery that it is almost as close to making a mockery of these references as it is far from attempting to paying to tribute to them. This 4-track EP is the epitome of a band thought to be uncapturable in a studio environment. //// "An avant-punk offering filled with boundaryless energy, fun and imagination. From the off, expect a sonic assault of growling vocals, blaring brass and driving guitars with rhythmic wrongfootings and waltzing carnival-esque keys. Components of the songs feel very welcomingly familiar, yet they are put together in a way that feels very fresh." - NARC Magzine" Released March 11, 2022 //// Dobbly Groast - Guitar, Trumpet, Vocals, Lapsteel, Euphonium / Ol' Pip Eye - Drums, Backing Vocals / Jonny Concrete - Guitar, Vocals / Military Milk 'Tache - Synth, Organ, Backing Vocals / Pat Shvinctstika - Percussion, Backing Vocals / Pecker Slapper - Bass, Backing Vocals //// Jack Howorth - Producer, Mixing, Mastering /////// No Teeth (Bandcamp) | 0:45:54 (Pop-up) | |
| Richard Carlson Band |
Barrymore's Pool Party
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Mother's Intuition | Blank Expression | 2022 | They have more recently released a 4-song EP from Aug 2023, but this track from their 2022 full-length debut seems right for now. Their Bandcamp statement: "Richard Carlson Band cite a punk influence but exchange blistering tempos for lurching mid-tempo menace." //// From a 2021 interview: "We have more energy in the studio, live we just stand and play. We have a strong moral stance about not going mental on stage." https://richardcarlsonband.bandcamp.com/ | 0:49:51 (Pop-up) | |
| TVOD |
Party in the Disco Hut
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Daisy | Self Released | 2020 | Their debut album was "written/recorded by Tyler Wright & Nicole Sisti in their home studio during the first two weeks of being quarantined" -- released April 1, 2020" This track is from said album. Statement: "Drenched in beer, sweat and emotion TVOD’s unapologetically raw stage performances have become infamous around New York City since forming in 2019. Hailed as “loud and fun and good” by Oh My Rockness the band is hell bent on bathing in the blood of punk rock infamy." https://televisionoverdose.bandcamp.com/ | 0:52:39 (Pop-up) | |
| Colin Newman |
Fond & Bound (2000 (2024 Version))
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Bastard (2024 Deluxe Version) | Swim ~ | 2000 / 2024 | A bonus unreleased year-2000 track from the year-2024 re-release (Jan 26) of 1997's 6th Colin Newman solo album. (Which is really a collaborative album with his wife Malka Spigel.) "It was four years into the swim ~ label’s history before Bastard arrived. Like my previous albums, it was another collaboration – although this time only with my partner in life and crime, Malka Spigel. //// There was a point in the ’90s when British music journalists basically didn’t get dance music and would refer to it as “faceless techno bollocks”. It was that very attribute that Malka and I felt most attracted to. In instrumental music, you could be anyone from anywhere. The only thing that mattered was how good your tunes were. In fact, for the first Immersion album, we pretended to be from Germany and were photographed in wigs and masks. This had the unexpected result of the album selling more copies in Germany than anywhere else! //// With Bastard, it took a while to get to the concept, which was essentially this: What if we subverted the whole ‘bloke from Wire’ thing and had a Colin Newman album without any actual songs on it? These days, this is not such a big thing, but it was hugely transgressive at the time. The language of Bastard is house, techno, breakbeat, drum and bass, and doubtless post-rock. The only singing is a one-line Malka sample on ‘Turn’. Not only did the album not play by the rules of what would these days be called music by a ‘heritage’ artist, but it didn’t play by the rules of dance music either. Back then, dance music artists didn’t mix up styles as they do today. This is one of the reasons the album’s called Bastard. //// Upon release, Bastard was modestly successful in comparison to the label’s other releases, although widely misunderstood. The title is intentionally multifaceted, referring to several ways in which the album is a misfit – a cuckoo in the nest. But it never meant ‘Colin Newman is a bastard’ – even if Malka’s toy [middle] finger gesture on the cover tempted fate on that!" //// Malka and I have done more work together on swim ~ – and, of course, there has been plenty of Wire activity after its second hiatus during the 1990s – but I never felt the need to do another solo album. I don’t crave attention and certainly don’t feel I lack ways to express myself. In many ways, it’s more creative to collaborate with others. //// There is joy and beauty in collaboration. And collaborating with Malka has become so effortless that we almost don’t know who does what in the work we create. This has led us to throwing open our partnership via Nanocluster events and albums where we build musical bridges and make partnerships that transcend the art. Maybe that’s the point? Surely, art should be about human connection and diversity of expression? -Colin Newman, Brighton, 2023 (edited from album sleeve notes)" | 0:54:52 (Pop-up) | |
Music behind DJ: Colin Newman |
Flight Mode (2008 (2024 Version))
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Bastard (2024 Deluxe Version) |
Swim ~ |
2008 / 2024 |
A bonus here-to-fore unreleased (instrumental) year-2008 track from the year 2024 re-release (Jan 26) of 1997's 6th Colin Newman solo album. (Which is really a collaborative album with his wife Malka Spigel.) From a Jan 25 2024 'Post-Trash' review: "...Given Newman’s ever-changing creative mind, Bastard was a naturally unforeseen left turn. //// The 1997 addition to the long-spanning Wire-related oeuvre arrived amid trip-hop and downtempo leaving the underground to explode into the mainstream. Artists who perpetuated chopped percussive loops and skittery minimal techno became household names. Bastard was a clinical and primitive, yet charming exercise of playing with these genres. In retrospect, this direction shouldn’t be surprising since Newman’s wife, Malka Spigel, already engaged with these sounds in the early ‘90s. The album proper, though, is transgressive – none of Newman’s idiosyncrasies are heard. Not even the brushing guitars can be discerned as his own. Bastard is entirely instrumental, bar one song – “Turn,” which samples Spigel’s voice – and any art punk scaffolding is replaced with ambient techno leanings and floaty breakbeats. Newman’s subversive absence instils a peculiarly cold atmosphere. Certainly, it’s a Colin Newman album – his name is on the sleeve – but it doesn’t really contain any of his identifiable songcraft. Bastard, then, exists in its own vacuum. Spigel’s middle finger gesture on the artwork may project Newman’s dismissal of his “normal” arsenal of musical tools, but also his audience. So, is Bastard a bastardization of his artistry? /// Upon revisiting it, that’s not true. Bastard has since quietly taken the form of a time capsule from when leftfield house and techno dominated the airwaves. Newman’s experimentation with this sound palette was appropriate. Wire never cruised in one spot during their heyday, and they certainly still don’t, so it seemed natural that Newman’s musical interest matched the electronica surrounding Bastard’s release..." |
0:58:32 (Pop-up) |
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| Government Issue |
Asshole
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Legless Bull | Dischord | 1981 | Government Issue was an American hardcore punk band from Washington, D.C. active from 1980 to 1989. The band experienced many changes in membership during its nine-year existence, with singer John Stabb as the only consistent member in an ever-fluctuating lineup that at various times included notable musicians Brian Baker, Mike Fellows, Steve Hansgen, J. Robbins, and Peter Moffett. Government Issue originated from the Washington, D.C. hardcore scene but added elements of heavy metal, new wave, and psychedelic rock on later records. Though this has caused the band to be sometimes overlooked in relation to other Washington, D.C. hardcore acts, their stylistic diversity made them influential to later punk rock groups. Government Issue performed occasional reunion shows in the 2000s and 2010s with various lineups, until Stabb's death from stomach cancer in 2016. | 1:06:22 (Pop-up) | |
| Mommy Longlegs |
Assholes
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Assholes EP | Mommy Longlegs | 2015 | Absolutely delightful power punk pop with all the right edges. This is perfection. “There’s a lot of new genres being tossed around online these days, but Seattle band Mommy Long Legs can take credit for have pioneering two of the more creative ones: “Brat punk” and “fartcore.” After dissecting topics like cat calling, yuppie housewives, social media, faux allyship and abortion rights, they sum it all up with this sour and spicy fuck you. | 1:07:31 (Pop-up) | |
| Globo |
Spoilt Victorian Child
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Globo's This Nation's Saving Grace | Comuse Recordings | 2008 | I am not sure what would compel a band that sounds like Globo to cover This Nation's Saving Grace by the Fall in its entirety, but there we are. They are from Norwich, UK (ok, that makes sense) and they have been making "first class electronic music" since 1993. There's not a lot to be found about this record online, so I'm guessing that a lot of folks either missed it..or ignored it. | 1:10:03 (Pop-up) | |
| Brutus VIII |
Asthma of the Odious Son
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Beyond | Like LTD | 2021 | I absolutely love this weird little shuffle. And do not even get me started on the sax part. LA's Brutus VIII (Slow Hollows, Current Joys) is the rejection of soft indie-rock band roots into no wave experimentation. With nihilistic lyrical overtones and jarring and oftentimes abrasive live performances the project is an exploration of how ridiculous machismo-ism is. In its most distilled form, Brutus VIII is a reflection of how society both stokes the flames of angry chauvinism and uses escapism to stave off the feelings of being trapped in a cycle of helplessness. | 1:15:10 (Pop-up) | |
| Nascar Aloe |
Hey Asshole
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Hey Asshole! | Nascar Aloe | 2023 | Defining himself as “a little fucking twerp that came out of my dad’s nutsack,” the North Carolina-born artist formally known as Colby Suoy was invested in music from an early age, as being exposed to his father’s jazz and R&B-leaning taste led to regular viewings of 106 and Park and exploring the expansive sounds of rock, pop, and country. “In North Carolina, the radio bounces all over the place,” he explains, and after acquiring some basic recording equipment he was following suit with his own self-produced music. “I self-taught myself how to record and produce,” Nascar recalls. “I was trying to figure out ways to make serious music.” Nascar Aloe sounds of-the-moment and classic all at once, reminiscent of recent rap scions like Jasiah and XXXTentacion as well as punk acts past and present like the Melvins and Show Me the Body. With HEY ASSHOLE!, Nascar continues to head towards a rock-based sound that will translate to full-band performances on the road—while still keeping his self-described “antisocial prick” outlook front and center. But he also wants us to know “We’re all equals. I’m just a guy too, and I’m also your friend.” | 1:18:31 (Pop-up) | |
| Minor Threat |
Asshole Dub
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20 Years of Discord (Rare & Unreleased) | Discord | 2002 | "Minor Threat was an important band, believe me that it was important it in my life, but it belongs to an era that no longer exists. I'm not nostalgic. I think music today is much more important, because something can be done about it....My point of view is, I'm just a person, and there are times when I look at other people and think, 'My God, they spend so much time thinking about things that seem so absurd.' But I'm sure people must think the same thing about me." | 1:20:02 (Pop-up) | |
Music behind DJ: Thes One |
Asshole (Instrumental)
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10 Years of Thes One |
Piecelock 70 |
2017 |
1:23:33 (Pop-up) |
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Music behind DJ: G14Tracks |
Asshole By Nature
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Asshole By Nature |
Self Released |
2021 |
1:26:09 (Pop-up) |
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Music behind DJ: Sam Beddoes & Retroware |
Assholevania
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Angry Video Game Nerd |
Screenwave Media |
2021 |
1:29:23 (Pop-up) |
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| Hot Garbage |
Look At My Phone
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Precious Dream | Hot Garbage / Mothland / Exag | 2024 | Hot Garbage melt into a heavily volatile yet undeniably palatable amalgamation of sonic elements. Calling on the driving rhythms of dark post-punk and motorik krautrock, the Toronto-based outfit seamlessly works shining melodies and swirling textures into deliberate, brooding arrangements. //// Hot Garbage is: Alex Carlevaris, Juliana Carlevaris, Dylan Gamble & Mark Henein. //////// Produced & recorded by Graham Walsh //// Recorded at Palace Sound, Toronto, ON //// Mastered by James Plotkin //// If you're in Toronto, catch their record release (for this record) on Sat, Feb 17, 8:30 PM -- Hot Garbage - Record Release / Mother Tongues / Luge @ venue: Expo 1978 // $15 advance / $25 door Hot Garbage (Bandcamp) | * | 1:33:20 (Pop-up) |
| Imperial Wax |
Tranquilliser
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Tranquilliser | Guesswork Records | 2024 | Title track from the forthcoming (Feb 9) sophomore album by Imperial Wax. From thepunksite.com (Jan 11 2024) - "Imperial Wax were formed in 2018 by guitarist Pete Greenway, drummer Keiron Melling and bassist Dave Spurr, formerly known as the last and longest serving line up of The Fall, after they were invited by Damo Sazuki to join him as “Sound Carriers” for a one-off performance at the White Hotel in Salford. Rekindling their necessity for music, they set about searching for a vocalist. After a chance encounter at a pub in Colne and a lengthy conversation about the future of Imperial Wax, they decided to team up with Sam Curran, guitarist and vocalist from Leeds based punk band Black Pudding. Once Dave decided to leave the band in 2019 the obvious choice was to recruit another former black puddinger Shane Standrill on Bass //// As the pandemic ground the country to a halt, Keiron and Sam set about brewing the beginnings of the follow up to their 2019 debut, Gastwerk Saboteurs. In stark contrast to the writing style of their debut, where the songs were created all together, written and recorded in the same day. The bare skeleton of Tranquilliser was written mainly as a two piece amidst the lockdown. Pete and Dave eventually adding their own parts later but overall allowing the band much more time to craft the songs into a cohesive, well-rehearsed, studio budget friendly collection of tracks. //// The forced contemplation of excess time gave an approach which was totally unfamiliar to what they were used to and naturally cultivated a more complex style of song, meaning more parts, more changes and less playing off of other band members. After Dave’s departure former Black Pudding bass player Shane Standrill stepped up to the oche, bringing with him a different playing style and thus changing the sound of the band even further. Dave had already laid the groundwork for the whole album, but after the failed first lot of recordings at their own practice space in Lancashire and with Shane’s new take on Dave’s parts, the band decided to go and re-record the whole thing properly at HOHM Studios in Bradford. //// Sam found himself working in a chateau in the south of France, who was also in the midst of a lockdown. Allowing him a plethora of time and solitude to begin writing lyrics. There wasn’t much else to do in the evenings except read and write. Not many opportunities can provide such an uninterrupted environment to immerse yourself in the writing process, which was something Sam took full advantage of. Inspired by the works of Joseph Conrad, William Burroughs, Herni Cherrier, Mashima, Olga Tokarschuk and many more. The main problem for any small band always boils down to money and that was certainly the case with Imperial Wax, so after a few failed label offers the band looked into releasing the album themselves. Upon realising the potential of having total control over your own release, the only problem was that no one had a clue what they were doing, hence the name Guesswork Records. It was a venture Keiron had long been keen on since his time in The Fall, after he and Mark had planned their own label which ultimately never came into fruition with Mark E Smith’s untimely demise. //// Another unexpected blow was finding out that Pete had contracted the dreaded long covid. The band held out for a long time hoping that Pete would start showing signs of improvement which unfortunately never came and is still up in the air to this day. No doubt he will back in the saddle eventually but for now Imperial Wax have enlisted former Cabbage guitarist Joe Martin. After the fairly public collapse of Cabbage along with his own personal struggles it was a case of right place and right time when Keiron bumped into Joe in Colne. They needed a guitarist and Joe filled that requirement. Along with the very recent addition of bassist Simon “Ding” Archer (The Fall / PJ Harvey), who has taken up the role of synth, Imperial Wax are well armed to take on many more year’s future musical ventures. Tranquilliser is now available for pre-order and will be released on February 9th through the band’s own label, Guesswork Records. The band will also be appearing at Manchester, UK’s Fair Play Festival on the 6th April." Imperial Wax (Bandcamp) | * | 1:36:43 (Pop-up) |
| Blue Orchids |
Olympian (Live)
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The Greatest Hit (Money Mountain) [Expanded Version] | Tiny Global Productions | 2014 / 2024 | A new old track, from a Deluxe Reissue. A song that (I believe) never found a studio version or official release. This is from a live show In Manchester 2014. -- As for the reissue -- "This deluxe edition includes a bonus album with two unreleased pre-album demos, two further demos released only on long out-of-print cassette compilations from more than forty years ago, and a scorching live set featuring several of their early songs. //// As Bramah himself says, "it's better than the original." after over four decades, we're proud to make available this classic album again. the first really revolutionary fracture in The Fall was the departure of guitarist Martin Bramah. commonly understood as the only viable challenger to mark e smith's dominance of the band, Bramah was The Fall's first singer and primary songwriter at the start. his subsequent group, Blue Orchids, was originally a reconstitution of the first recorded line-up of The Fall, without Mark, but with another slightly later Fall member, Eric McGann. after slight revisions in the lineup, Blue Orchids created a singular sound of maniacally aberrant psych on two thrilling singles - "The Flood" and "Work" - before recording one of the most imperfectly perfect debuts in what could no longer really be called 'rock and roll'. //// 'The Greatest Hit (Money Mountain)' eschews the frenetic energy of those singles to present itself as the greatest 'morning after the trip' albums ever - Martin and Una's wonderful explanations of the experiential backdrop to "sun connection" take up nearly as much space as those of all the other songs combined! without exception, the songs are brilliant, majestic and memorable . . . plus it's possible that more covers of songs from 'the greatest hit' have been recorded by bands of credibility and renown than from any single fall lp (although we're counting!), with near-contemporaneous versions arising from Fish & Roses, Slovenly, Dustdevils and Aztec Camera and many others since." https://blueorchids.bandcamp.com/ | * | 1:41:59 (Pop-up) |
| The Fall |
Boxoctosis (Early Version)
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The Real New Fall LP Formerly 'Country On The Click' | Cherry Red Records | 2003 / 2024 | Jan 2024 sees the first deluxe/expanded Fall re-issue. (I'm sure there will be more.) This one includes the original mix of Country On The Click' officially released for the first time. This early version of Boxoctosis would eventually be considerably reworked and titled "Open The Boxoctosis #2" in its final form. By broad strokes the same song, but different lead & backing vocals, keys more predominant, and a guitar counter-melody that is absent in latter versions. If you know and love many of the songs from "The Real New Fall LP..." you'll find the original Country On The Click to be an "alternate mix" surprise for several of its tracks. To explain more... "The Real New Fall LP (Formerly Country on the Click) is the 23rd studio album by the Fall, released on Action Records in the United Kingdom in 2003, and then on Narnack Records in the United States, with a slightly altered track listing, in 2004. //// The album was recorded at Lisa Stansfield's Gracieland Studios in Rochdale between December 2002 and January 2003 with producer Grant Showbiz. //// The subtitle is explained by the fact that the tracks were originally scheduled for release in April 2003 under the title Country on the Click. Promotional copies were sent out and three of the new songs were previewed in the band's 23rd Peel Session, recorded on 19 February and broadcast on 13 March 2003. Smith was unhappy with the mix and decided it needed further work, stating in November 2003: "The frustration is when people embellish what you're doing. I thought this LP was perfect round about March. But then you trust people—them who shall remain nameless—to go away and mix it and it comes back sounding like Dr. Who meets Posh Spice. You have to go back in and strip it down to what it basically was."" | * | 1:45:46 (Pop-up) |
Music behind DJ: Blue Orchids |
Tighten My Belt
|
The Greatest Hit (Money Mountain) [Expanded Version] |
Tiny Global Productions |
2014 / 2024 |
Brand-new re-issue of the debut 1982 Blue Orchids album... Why did it take until 2024? The story... "Never reissued on vinyl since its 1982 release, due to objections from the WB Yeats estate for the album's musical interpretation of the author's "Mad As The Mist And Snow" (now in public domain!), this deluxe edition includes a bonus album with two unreleased pre-album demos, two further demos released only on long out-of-print cassette compilations from more than forty years ago, and scorching live set featuring several of their early songs, extensive liner notes from Martin Bramah and Una Baines, a reproduction of the original lyric fold-over booklet and (with the 2LP version), a download card. The original artwork for the album and booklet have been restored painstakingly, and as Bramah himself says, "It's better than the original." https://blueorchids.bandcamp.com/ |
* |
1:49:31 (Pop-up) |
| The Groundhogs |
Strange Town
|
Thank Christ For The Bomb | Liberty Records | 1970 | More Fall-adjacentness, The Fall covered this song on 2008's Imperial Wax Solvent. Mark E. Smith was a fan of The Groundhogs. They were: Tony McPhee – guitars, vocals / Peter Cruickshank – bass Ken Pustelnik – drums. //// About this album: "Thank Christ for the Bomb is the third studio album recorded by The Groundhogs, originally released by Liberty Records in 1970. It was engineered by Martin Birch, who had previously worked on albums by Deep Purple, Jeff Beck, Fleetwood Mac and Peter Green. It entered the UK Melody Maker album charts at number 27 on 20 June 1970, and had a total of 3 entries in that chart. //// The album is a concept album, or to be exact, has two concepts. Side 1 (tracks 1–4) addresses what McPhee termed "alienness" while side 2 is, according to the sleeve notes, "the story of a man who lived in Chelsea all his life; first in a mansion then on the benches of the embankment"." --- Happy Groundhog day, everyone. | 1:56:56 (Pop-up) |
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Derek Westerholm:
ultradamno:
Derek Westerholm:
ultradamno:
DJ Babs:
DJ Babs:
Robm:
Scott_Oz:
🌏🌞🍻😎🤙💨🍺🍺
DJ Babs:
Derek Westerholm:
Robm:
ultradamno:
Scott_Oz:
🍻😎🤙
Roberto:
Robm:
Derek Westerholm:
ultradamno:
DJ Babs:
Derek Westerholm:
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Robm:
Roberto:
ultradamno:
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Roberto:
Derek Westerholm:
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Scott_Oz:
Roberto:
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Derek Westerholm:
ultradamno:
DJ Babs:
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Scott_Oz:
🍻😉🤙💨🍷🌻
DJ Babs:
Roberto:
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Roberto:
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Roberto:
Roberto:
Derek Westerholm:
Derek Westerholm:
Derek Westerholm:
Roberto:
Derek Westerholm:
ultradamno:
DJ Babs:
Scott_Oz:
ultradamno:
Derek Westerholm:
DJ Babs:
Alli B:
DJ Babs:
Derek Westerholm:
DJ Babs:
Alli B:
DJ Babs:
Alli B:
ultradamno:
Derek Westerholm:
ultradamno:
ultradamno:
Scott_Oz:
DJ Babs:
DJ Babs:
DJ Babs:
DJ Babs:
ultradamno:
ultradamno:
DJ Babs:
DJ Babs:
Derek Westerholm:
ultradamno:
Derek Westerholm:
ultradamno:
v-dawg:
DJ Babs:
DJ Babs:
laurapanic:
DJ Babs:
Derek Westerholm:
Dan S:
ultradamno:
It's a stupid holiday.
Derek Westerholm:
Dan S:
Scott_Oz:
🍻😎🤙💨🍹🌻
DJ Babs:
ultradamno:
DJ Babs:
Derek Westerholm:
Alli B:
Derek Westerholm:
DJ Babs:
ultradamno:
Derek Westerholm:
ultradamno:
v-dawg:
Will thee Sound Guy:
DJ Babs:
DJ Babs:
v-dawg:
Milltown Mel died and still needs a replacement. Apparently, these groundhogs are specially bred and you cannot just get a replacement.
DJ Babs:
Dan S:
DJ Babs:
coelacanth∅:
DJ Babs:
ultradamno:
DJ Babs:
v-dawg:
Dan S:
Tom P:
v-dawg:
Scott_Oz:
🩴🩴😎🤙🍻
Derek Westerholm:
Dan S:
Scott_Oz:
Alli B:
DJ Babs:
ultradamno:
Alli B:
DJ Babs:
DJ Babs:
Derek Westerholm:
DJ Babs:
Alli B:
Derek Westerholm:
DJ Babs:
DJ Babs:
Alli B:
Tom P:
Derek Westerholm:
DJ Babs:
DJ Babs:
Derek Westerholm:
Alli B:
DJ Babs:
Dan S:
Scott_Oz:
ultradamno:
DJ Babs:
DJ Babs:
v-dawg:
Moving along...Within the last 6 months three breweries closed in NJ: Flying Fish, Forgotten Boardwalk, Alementary
DJ Babs:
Derek Westerholm:
ultradamno:
ultradamno:
Bob Barth:
ultradamno:
ultradamno:
DJ Babs:
Derek Westerholm:
DJ Babs:
DJ Babs:
Derek Westerholm:
DJ Blush:
Derek Westerholm:
DJ Babs:
Bob Barth:
!!
Derek Westerholm:
DJ Blush:
Derek Westerholm:
DJ Babs:
DJ Babs:
Bob Barth:
Derek Westerholm:
ultradamno:
DJ Babs:
DJ Babs:
ultradamno:
Scott_Oz:
DJ Blush:
DJ Babs:
DJ Babs:
DJ Blush:
Derek Westerholm:
DJ Blush:
DJ Blush:
Tom P:
v-dawg:
Scott_Oz:
🌏🌞🍻😎🤙💨🌻🦋🌺🌈
DJ Blush:
DJ Babs:
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Bob Barth:
coelacanth∅:
Happy groundhog day!
DJ Babs:
DJ Babs:
Derek Westerholm:
Derek Westerholm: