Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from February 8, 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
(EST)
|
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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Music behind DJ: Phono-Comb |
Here Come The Warm Jets
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Fresh Gasoline |
Quarterstick Records |
1996 |
Brian Eno's "Here Come The Warm Jets" LP turned 50 years old today. This is the last & title song from the album, but not Eno's version. Rather, this is from the Canadian super-group that contained two Shadowy Men On A Shadowy Planet members, alongside a Good brother (Sadies, & later to be a future Shadowy man... et. al) & a Fifth Column member. |
0:00:08 (Pop-up) |
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| AUS!Funkt |
My Way
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My Way / Interception | Disco Devil | 2024 | Released Feb 1, 2024. To acknowledge some of the themes of the day... "Illusion, Decadence, Disorder, Ambivalence, Religion, Politics, Ideology..." --- "Currently hailing from Montreal, Québec, "aus!Funkt is an electro-art-punk/austere-disco concept. Rejecting the lyrical and musical excesses of rock, A!F combines the groove of electronic music with the aggression of post-punk. Beats seduce the body into movement, freeing it from its torpor. On top, the guitar spurts out clouds of noise, while the bass supplies the melody. The lyrics provoke the mind with their realism and repetition." AUS!Funkt (Bandcamp) | * | 0:04:26 (Pop-up) |
| Hot Garbage |
Lowering
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Precious Dream | Hot Garbage / Mothland / Exag | 2024 | Hot Garbage have a couple of upcoming gigs to support their new release... Feb 17 @ Nineteen Seventy Eight (Toronto, ON) w/ Luge + Mother Tongues //// Mar 07 @ Berlin Under A (New York (NYC), NY) //////// 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 //// Hot Garbage (Bandcamp) | * | 0:08:47 (Pop-up) |
| Luge |
I Wanna Say Something
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I Love It Here, I Live Here | Self-Released | 2023 | Luge play Feb 17 @ Nineteen Seventy Eight (Toronto, ON) w/ Mother Tongues in support of the new Hot Garbage album. As for this Luge album it was released Sep 8, 2023. Luge are: Cameron Fraser: bass / Kaiva Gotham: vocals, keys / Tobias Hart: guitar / Stuart Mein: drums, percussion //// Recorded by Cameron Fraser at Pie in the Sky Studios in Toronto, Canada /// Mixed by Dylan Frankland //// Mastered by Mastered by Will Killingsworth at Dead Air Luge (Bandcamp) | 0:12:53 (Pop-up) | |
| Mother Tongues |
Only You
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Love in a Vicious Way | Wavy Haze Records | 2023 | Luge play Feb 17 @ Nineteen Seventy Eight (Toronto, ON) w/ Luge in support of the new Hot Garbage album. "Love In a Vicious Way, the reflective debut album from Toronto’s Mother Tongues, is a carefully crafted cyber-psych opus that lurks between the cerebral and feral. At moments, precious and serene; in a blink, snarling, teeth razor-sharp. Its 10 songs about love, longing, desire, and identity are charged with a sincerity and teenage sentimentalism that captures a time when everything was crucial and felt tenfold. Love In A Vicious Way sees the band carving out a space for themselves: they are world-building. Like some rare bird mimicking the machines at the edge of the forest, the album echoes the beauty, darkness, and weight of life in these ever-changing times. “It’s an exploration of the darker ways we love, the parts with teeth,” says guitarist/vocalist Lukas Cheung, explaining the record’s title. “It possesses you, it’s a pit you fall into. Love overtakes you, this record is about surrendering to that feeling.” //// The pulse of Mother Tongues is the friendship and creative partnership between Cheung and vocalist/bassist Charise Aragoza, who met a decade ago in a Chinatown garage turned DIY punk venue. “Char and I are both children of immigrants, a factor that has a huge impact on your entire life. You’re confronted with the need to constantly justify your existence, and this permeates into every aspect of your life–including how you create. I’ve been trying to see this as less of an obstacle and more as something that charges your work with an intensity and urgency that otherwise might not be possible,” says Cheung. “We’ve never looked like the kids in the magazines so we couldn’t get away with being derivative or a rehash. When you grow up not quite fitting into any space, you end up carving out your own. In many ways that’s what this record is. With the sound, we’ve created this atmosphere and emotional plane where we can exist. We’re peering into the future and imagining what this world could be.” //// While Aragoza is no stranger to the stage–having wet her feet performing in Luna Li and touring alongside acts such as Japanese Breakfast and Beabadoobee–Mother Tongues sees her stepping into the role of singer and front person for the first time. “I’ve always had one foot in the door as a dancer and backup singer for years. On some level I wanted to be up in front, but some barrier always kept me from putting myself totally out there. Playing with other groups was my way of easing into things and building confidence,” Aragoza recalls. “You could say my imposter syndrome was too real for too long, which is something I will freely admit I continue to wrestle with. I’m recognizing it’s a symptom of my experience and what I’ve been up against: getting by in an overpriced city, intimidation in a male-dominated industry, immigrant parents who had different plans for how I would ‘succeed’ in this world. But you have this spark inside you that ultimately leads you to seek out safe spaces, safe people, and I’m also trying to create that for others. I recognize the power in representing my identities and experiences onstage.” //// Writing Love In A Vicious Way was a back and forth dialogue between Cheung and Aragoza, a process that verged on telepathy. “I wrote these songs with Char’s voice in mind, no one else could really sing them–in a musical sense, but also because I feel it’s our history and closeness that allows her to carry these stories,” explains Cheung. The album takes Mother Tongues’ propensity for rich atmospherics and cinematic arrangements to stratospheric heights, riding thundering, totalizing waves of angsty alt-rock, interstellar psychedelia, dream-pop-noir, and touches of ‘90s breakbeat and electronica." https://mothertongues.bandcamp.com/ | 0:15:24 (Pop-up) | |
| Hot Garbage |
Erase My Mind
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Precious Dream | Hot Garbage / Mothland / Exag | 2024 | Hot Garbage have a couple of upcoming gigs to support their new release... Feb 17 @ Nineteen Seventy Eight (Toronto, ON) w/ Luge + Mother Tongues //// Mar 07 @ Berlin Under A (New York (NYC), NY) //////// 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 //// Hot Garbage (Bandcamp) | * | 0:18:24 (Pop-up) |
Music behind DJ: Moon Goose |
Last Flight Of The Moon Goose
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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." https://moongoosecult.bandcamp.com/album/murmurations |
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0:22:28 (Pop-up) |
Music behind DJ: Moon Goose |
Geese in a Dinghy
|
Murmurations |
Fruits de Mer / Inflatable Tarmac Records |
2024 |
"Moon Goose put Space, Psych, Prog and Motorik in a bag, shook it, poked it, burned it, then spread the ashes from the top of the Welsh Mountains with the wind in their face until their eyes were crying black tears. //// It’s the sound of a dragon colliding with an asteroid. //// If you enjoy things like gneiss, spores, and strange ideas followed through to an illogical conclusion, you’ll love Moon goose." //////// Released January 27, 2024 // Written and performed by Moon Goose // Recorded, Produced and Mastered by Adam Fuest at Twin Peaks Studio, Llandrindod Wells, Wales." https://moongoosecult.bandcamp.com/album/murmurations |
* |
0:27:20 (Pop-up) |
| Hooper Crescent |
Wrong Direction
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Wrong Direction Single | Earth Libraries | 2024 | This freshly released single is from an upcoming ? full length release from Brunswick, Australia's Hooper Crescent. They describe themselves as "post something". Influenced by groups like The Feelies and Omni, Sam Cummings’ songs go for the angular but packages it inside melodies, harmonies and keyboards. Of their origins: " "through a shared interest in the ways pop music and experimental sounds intersect + half of our band living in the street our band is named after." | * | 0:32:36 (Pop-up) |
| Jumbling Towers |
He's a Cop Now
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Jumbling Towers | Jumbling Towers | 2007 | You know I am obsessed with a band if I find a way to play them two weeks in a row. I can see how this isn't/wasn't everyone's cup of tea...but it sure is mine. “Only the power of prayer can bring you through to the next project without bitterness...I never really have an intent when I write; just whatever starts working I go with. [I] certainly had no intent to write more straightforward pop. In fact, if any, the goal was to get weirder and more accessible. So, despite more straightforward melodies, I hope it still all sounds weird and jacked-up to people. But if not, maybe Universal will come knocking with crates full of money and we can just sell out." | 0:35:29 (Pop-up) | |
| Slugbug |
Real America
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Truck Month | Plastic Waffle | 2013 | Slugbug are from NYC. Of this wonderfully titled album, they give us the following: The product of over five years of truck research, Slugbug's TRUCK MONTH is the definitive LP of the Post-Information Age. Techno-anxiety and engineered rhythm collide in ways never imagined or deemed necessary by musical superiors. TRUCK MONTH is a complete synthesis for all crucial boogie specifications. | 0:38:57 (Pop-up) | |
| King Dick |
Big King Dick
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How To Enlarge Your Penis At Home Naturally For Free | King Dick Records | 2019 | King Dick are from Antwerp, Belgium. They are easily filed alongside other wonky acts like Meatraffle, and possibly Warmduscher...but with more mushrooms. King Dick’s music has been described as lo-fi psych-pop, gothic folk or oompah trash-pop, but in the end, King Dick refuses to be pigeonholed into one musical genre. His music is simply too varied, multi-faceted and agile. With each song, the listener is confronted with a universe of unfamiliar sounds, vibrations and energies. At the same time, however, the songs are still undeniably poppy in nature. But it is as if all poppy elements have been smothered in a thick, greasy psychedelic sauce. A spoonful of mustard right in your face, followed by the most appetizing delicacies. King Dick’s unique sound is not a happy coincidence; it is the result of a well-deliberated decision. More than being just a new sound, it wants to be a symbol for all non-conformist voices that remain unheard in today’s society. | 0:40:54 (Pop-up) | |
| Sleaford Mods |
No One's Bothered
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Key Markets | Harbinger Sound | 2015 | Key Markets is the eighth studio album by British post-punk duo Sleaford Mods. It was released on 24 July 2015, "No One's Bothered" is another sung one, the closest thing here to the form of the '70s punk that's deeply embedded in Sleaford Mods' art, and it's built on a smart trick from Fearn. His rhythm track is a three-minute extension of a punk song's bolting bass-and-drums intro, a loop of the few seconds before the guitar inevitably dives in—which it never does here. "You're trapped? Me too," Williamson snaps. "Alienation? No one's bothered." | 0:43:00 (Pop-up) | |
| FEAR |
I Don't Care About You
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The Record | Slash Records | 1981 | The Record sounds like the punk equivalent of the movie Animal House -- puerile, offensive, and often revelling in its own ignorance, but pretty entertaining on a non-think level while it lasts". He also stated that Fear had a "fairly unique perspective -- they seemingly embraced punk as an efficient way to piss off everyone around them, and there's no arguing that they achieved their goals with flying colors on their first and best album, The Record".Record Collector's Mark Rigby called it "probably the most exciting and impressive, one-dimensional, ill-mannered, distasteful, odious 'hate' record ever made" | 0:45:50 (Pop-up) | |
Music behind DJ: Junior Gabu Wedderburn |
Hard Times Ska (Instrumental)
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Bad Friday OST |
Ancient Vibrations |
2011 |
0:47:39 (Pop-up) |
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Music behind DJ: The Skatalites |
Scandal Ska
|
Foundation Ska (Comp) |
Jamaica Recording & Publishing Studio |
1996 |
0:51:29 (Pop-up) |
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Music behind DJ: The Skatalites |
Ghost Town
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Ska-Boo-Da-Ba |
Pressure Sounds |
2023 |
0:54:29 (Pop-up) |
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| Lee Scratch Perry featuring Tricky and Marta |
Future of My Music
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King Perry | False Idols | 2024 | Released February 2, 2024. "Record producer, composer, singer, and pioneer of the dub music genre Lee Scratch Perry passed away in August 2021. His influence over popular music since the 1970s is hugely significant, with artists including Bob Marley & The Wailers, The Clash, Beastie Boys, Max Romeo, Junior Murvin and The Orb all enriched by Perry’s legendary touch, innovative studio techniques and production style. //// Conceived, written and recorded during the COVID pandemic, ‘King Perry’ was produced by Daniel Boyle, and features guest performances from Greentea Peng, Shaun Ryder, Tricky, Marta, Rose Waite and Fifi Rong. Two tracks were also co-produced with Tricky, who releases Perry’s last recorded performances on his False Idols label. //// Over a career spanning six decades, Lee Scratch Perry left the music world with a huge catalogue of albums, productions and appearances that cannot be underestimated. Releases for Island Records, Trojan, Adrian Sherwood’s On-U Sound, Mad Professor’s Ariwa...the list goes on. It was in 2014 that Perry teamed up with UK producer Daniel Boyle, and from this collaboration came the Grammy nominated album ‘Back At The Controls’ and was followed up five years later with the ‘Black Album’. //// The ‘King Perry’ album was born out of a request from Perry that he “wanted to do something new, something different but still with a dub framework”. And so, armed with influences as diverse as synthwave, big beat, drum & bass and electronica, Boyle and Perry traded ideas, beats and lyrics in a project that continued to grow as its various guest performers were added, resulting in a kaleidoscopic and engaging melting pot of rhythms, melodies, and voices. Poignantly, closing track ‘Goodbye’ was Perry’s last ever recorded vocal performance." False Idols (Label / Bandcamp) | * | 0:57:02 (Pop-up) |
| Kim Gordon |
Bye Bye
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The Collective | Matador Records | 2024 | First preview, released Jan 16, of the forthcoming album... "Kim Gordon returns with her second solo album, The Collective, which will be released March 8th on Matador. Its lead track, “Bye Bye,” is out now, driven by a snaking bassline which guides us through a haunting packing list. Gordon will also play six live shows around The Collective’s arrival, beginning March 21 in Burlington, Vt. (full list below). The video for “Bye Bye” stars Coco Gordon Moore and was directed by photographer and filmmaker Clara Balzary, with cinematography by Christopher Blauvelt. //// Recorded in Gordon’s native Los Angeles, The Collective follows her 2019 full-length debut No Home Record and continues her collaboration with producer Justin Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor), with additional production from Anthony Paul Lopez. The album advances their joint world building, with Raisin’s damaged, blown out dub and trap constructions playing the foil to Gordon’s intuitive word collages and hooky mantras, which conjure communication, commercial sublimation and sensory overload. //// KIM GORDON ON TOUR: March 21: Burlington, Vt. (Higher Ground) // March 22: Washington, D.C. (Black Cat) // March 23: Queens, N.Y. (Knockdown Center) // March 27: Los Angeles, CA (The Regent Theater) // March 29: Ventura, CA (Music Hall) // March 30: San Francisco, CA (Fillmore)" | * | 1:00:55 (Pop-up) |
| The Fall |
Contraflow (Early Version)
|
The Real New Fall LP Formerly 'Country On The Click' | Cherry Red Records | 2003 / 2024 | Jan 2024 saw 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 Contraflow is much more keyboard/atmosphere-drenched than the eventual official recording. By broad strokes, it's the same song, additional vocals lines & melodies & an altogether different feel than the guitar-driven official album release. (& accompanying Peel session.) 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."" | * | 1:05:16 (Pop-up) |
| Imperial Wax |
No Control
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Tranquilliser | Guesswork Records | 2024 | Third preview 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) | * | 1:09:58 (Pop-up) |
| Blue Orchids |
Replica Of Me
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Magpie Heights | Tiny Global Productions | 2023 | To play into one of the themes of the day... "...By this time, the World War came / And for a while, I had a foot in both camps..." Released November 17, 2023, one of a series of fantastic recent releases from Blue Orchids (and even more from Martin Bramah.) //////// "Continuing the mystical thread and acid explorations which were a hallmark of The Fall's initial line-up, Martin Bramah has quietly crafted a trove of psychedelic visions unparalleled among musicians of his generation. //// Despite never quite cracking mainstream public consciousness, Blue Orchids endure as a living treasures of head music for post-punks, with a series of deeply-magical recordings." Blue Orchids (Bandcamp) | * | 1:13:09 (Pop-up) |
Music behind DJ: Fuckwolf |
Cataclysm
|
LET'S SPLIT (裂けても) |
Silver Current Records |
2024 |
Fuckwolf are from San Francisco, California. This is the first preview (Feb 6) of the March 22, 2024 album LET'S SPLIT (裂けても) by Fuckwolf & Green Milk From The Planet Orange. Details: Green Milk From The Planet Orange are: dead k: Gibson SG + Agitation // A: Drums // Damo: Fender Jazz Bass '73 ////////////////// Fuckwolf are: Tomo: Guitar // Jinu: Bass // Nash: Keys // Simon: Drums /////////// Tracklisting: === 1. Concrete City Breakdown (Live) - Green Milk From The Planet Orange {Recorded by Nishizuka John (Akihabara CLUB GOODMAN) at Akihabara CLUB GOODMAN on October 6th 2023. Mixed by dead k.} === 2. Aperture - Fuckwolf // 3. Bug - Fuckwolf // 4. Cataclysm - Fuckwolf // 5. Dusk - Fuckwolf // 6. Eventide - Fuckwolf // 7. Fall - Fuckwolf {Recorded 11.15.23 at Basement 874, SF, Ca. Produced and mixed by Ethan Miller. Mastered by Eric Bauer at Discount Mirrors, LA, Ca.} /////////// Oaklanders!!!! -- Fuckwolf's next show: Apr 25 / Thee Stork Club / Oakland, CA. https://fuckwolf.bandcamp.com/ |
* |
1:17:10 (Pop-up) |
| The Clash |
Clampdown (Live at Shea Stadium)
|
Live At Shea Stadium Remastered | Sony | 2008 | "Clampdown" is a song by the English rock band the Clash from their 1979 album London Calling. The song began as an instrumental track called "Working and Waiting". These lyrics are seen to refer to how one gets caught by the capital economic system and its ethos of work, debt, power, position and conformist lifestyle. Strummer, who proclaimed himself a socialist, also uses the song's closing refrain to highlight this mindset as a potential trap and offers a warning not to give oneself over to "the clampdown". This is emphasized in the coda by Jones' repetition of the words "work" and "more work" on the beat over Strummers breathy repetition of the phrase "working for the clampdown". This reaffirms the idea that Strummer saw "the clampdown" as a threat to all who get caught up in the modern economic wage-hour system. marks something more than just the passing of the torch between two generations of kindred spirits; it also documents the first time class-of-'77 punk-rockers graduated to the American stadium circuit, and the pyrrhic victory contained within. The Shea show was not the biggest the Clash ever played in America (that would be the US Festival in 1983), nor the most incendiary (see: the legendary 17-show string at New York's Bond Casino in 1981), but the set most vividly captures the Clash's most enduring qualities: the triumphs and tribulations of being populist punks. | 1:31:46 (Pop-up) | |
| Time Zone, John Lydon, Afrika Bambaata |
World Distruction (Single Version)
|
World Destruction 7" | Tommy Boy | 1984 | Afrika Bambaataa: "I was talking to Bill Laswell saying I need somebody who's really crazy, man, and he thought of John Lydon. I knew he was perfect because I'd seen this movie that he'd made (Copkiller), I knew about all the Sex Pistols and Public Image stuff, so we got together and we did a smashing crazy version, and a version where he cussed the Queen something terrible, which was never released." John Lydon: "We went in, put a drum beat down on the machine and did the whole thing in about four-and-a-half hours. It was very, very quick." The single also includes renowned musicians Bernie Worrell, Nicky Skopelitis & Aiyb Dieng, all of whom would later play on PiL's Album. Laswell also played bass and produced that album. | 1:36:11 (Pop-up) | |
| William Onyeabor |
Why Go To War? (Optimo/JD Twitch RMX)
|
What?!: William Onyeabor Remixed | Luaka Bop | 2014 | This is not a William Onyeabor album, but the first full-length in Luaka Bop's and Moog's collaborative remix project. 'Why Go To War?' as a haughty warehouse banger with a big fat buzzin' bassline and it works! The midpoint launching of a searing psychedelic lead kicks it up several notches and this, along with the Hot Chip remix are defnitely the highlights of this particular project! | 1:39:58 (Pop-up) | |
| Meridian Brothers, El Grupo Renacimiento |
Bomba Atomica
|
Meridian Brothers & El Grupo Renacimiento | Ansonia Records, Inc. | 2022 | I would argue that this still is their finest release to date, with a number of amazing songs...I've been holding back on this one...as it is an irrresistible earworm with all kinds of musical candy between the layers....it is futuristic cumbia at its weird and wonderful best! Says Eblis Alvarez: "We have a collective of friends that are, you know, making the same things. And one of our activities is to collect records and to try to rebuild the story of our discography - not only Colombian, but Latin American, but also, you know, some other places - African, European. So this is really an inspiration. It's quite an inspiration and a contribution to culture, I guess, in our country, taking these recordings and the past as a departure point." | 1:44:15 (Pop-up) | |
| The Specials |
Man at C & A
|
More Specials | Chrysalis | 1980 | A song about the international powers with nuclear bombs at their disposal, while the everyday people have no choice in the events of war. The phrase "Man at C&A" was later used to typify someone who was unfashionable...C&A being a cheap clothing chain store in (amongst other places) the U.K. and Europe. The sort of place a normal bod would work and/or shop. For the band's second album, Dammers wanted to move the band's sound forward, away from ska and towards new territory. He declared: "It's time for 2-Tone bands to begin getting experimental. Some of the home-grown ska has started to become a cliche. We've got to start all over again." He reflected years later: "Ska was just a launching point. I didn't want us to end up like Bad Manners."For Dammers, this change meant he could pursue his fascination with easy listening and mood music, both "background sounds not designed for active listening, but which, if you paid attention, turned out to be weird, even creepy," | 1:48:48 (Pop-up) | |
Music behind DJ: Hank Mobley Quintet |
I Should Care
|
Mobley's 2nd Message |
Prestige |
1957 |
"Henry "Hank" Mobley (July 7, 1930 – May 30, 1986) was an American tenor saxophonist and composer. Mobley was described by Leonard Feather as the "middleweight champion of the tenor saxophone", a metaphor used to describe his tone, that was neither as aggressive as John Coltrane nor as mellow as Lester Young, and his style that was laid-back, subtle and melodic, especially in contrast with players such as Coltrane and Sonny Rollins. The critic Stacia Proefrock claimed him "one of the most underrated musicians of the bop era." Mobley's compositions include "Double Exposure", "Soul Station", and "Dig Dis"." |
1:52:47 (Pop-up) |
|
| Belle & Sebastian |
Is It Wicked Not To Care?
|
The Boy With The Arab Strap | Jeepster / Matador | 1998 | Stuart Murdoch recalled the recording process for this album felt very different from the previous two. The group spent several months working on it versus the previous albums which were recorded in just a number of days. The music itself was somewhat more experimental as well as more collaborative with some tracks written by Stevie Jackson and Isobel Campbell and more members of the group contributing vocals. The inspiration for the album's name came from the band Arab Strap, who are also from Scotland and briefly toured with Belle and Sebastian. An Arab strap is a sexual device for retaining an erection, a fact unknown to Murdoch at the time. Arab Strap were reportedly less than pleased with their inclusion in the title of the album. When questioned about it, Arab Strap's leader/singer, Aidan Moffat said, "They have a sense of humour." | 1:57:53 (Pop-up) |
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Listener comments!
ultradamno:
I hear last week's power outages there were the work of raccoon terrorists irate over groundhogs getting all the attention. www.msn.com...
DJ Babs:
DJ Babs:
Robm:
Scott_Oz:
🌏🌞🍻😎🤙💨🍺🍺🌊🏖️🌴
Robm:
ultradamno:
laurapanic:
DJ Blush:
ultradamno:
Scott_Oz:
🍻😎🤙💨🍺
Robm:
DJ Babs:
coelacanth∅:
Scott_Oz:
🍻😎🤙💨🍺
DJ Blush:
DJ Babs:
Happy belated Bday buddy!
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
ultradamno:
Derek Westerholm:
Scott_Oz:
🍻😎🤙💨🍷🌻
WR:
Derek Westerholm:
DJ Babs:
GrumpyTrev:
Scott_Oz:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
DJ Babs:
Scott_Oz:
🍻😎🤙💨🍺
DJ Babs:
Derek Westerholm:
DJ Blush:
Derek Westerholm:
GrumpyTrev:
Scott_Oz:
DJ Babs:
DJ Blush:
DJ Babs:
Scott_Oz:
🍻😎🤙💨🍺
GrumpyTrev:
DJ Blush:
Scott_Oz:
DJ Babs:
I’d be so rich
GrumpyTrev:
DJ Babs:
Derek Westerholm:
ultradamno:
Derek Westerholm:
Scott_Oz:
🍻😎🤙💨🍺
Derek Westerholm:
Derek Westerholm:
DJ Babs:
GrumpyTrev:
Alli B:
DJ Babs:
DJ Babs:
DJ Babs:
DJ Blush:
ultradamno:
Derek Westerholm:
DJ Babs:
DJ Blush:
DJ Blush:
Scott_Oz:
🍻😎🤙💨🍺
DJ Babs:
DJ Babs:
ultradamno:
Scott_Oz:
Derek Westerholm:
DJ Babs:
Scott_Oz:
Scott_Oz:
DJ Babs:
Scott_Oz:
ultradamno:
ultradamno:
DJ Babs:
GrumpyTrev:
Dan S:
DJ Babs:
ultradamno:
DJ Babs:
Scott_Oz:
DJ Babs:
Kristine:
ultradamno:
laurapanic:
ultradamno:
ultradamno:
Feldy:
Derek Westerholm:
Kristine:
Derek Westerholm:
Dan S:
Dan S:
ultradamno:
Alli B:
Derek Westerholm:
Scott_Oz:
🍻😎🤙💨🍹🌻
ultradamno:
laurapanic:
Scott_Oz:
Scott_Oz:
🍻😎🤙💨🍹
Dan S:
DJ Babs:
DJ Babs:
Derek Westerholm:
coelacanth∅:
ultradamno:
Kristine:
Derek Westerholm:
DJ Babs:
DJ Babs:
DJ Babs:
Scott_Oz:
Kristine:
DJ Babs:
Derek Westerholm:
Derek Westerholm:
ultradamno:
Derek Westerholm:
Scott_Oz:
WR:
Dan S:
northguineahills:
Derek Westerholm:
Kristine:
Scott_Oz:
Derek Westerholm:
Scott_Oz:
Scott_Oz:
🍻😎🤙💨🍺
DJ Blush:
Derek Westerholm:
Derek Westerholm:
Kristine:
ultradamno:
northguineahills:
DJ Babs:
northguineahills:
Kristine:
Kristine:
coelacanth∅:
...and people got angry about it being strangled?!
- meant to be funny, i presume.
...maybe people should grow up!
...
DJ Babs:
ultradamno:
northguineahills:
DJ Babs:
Dan S:
northguineahills:
DJ Babs:
Derek Westerholm:
coelacanth∅:
he hated it, but was passive.
(i actually like *some* of it)
northguineahills:
Derek Westerholm:
Derek Westerholm:
DJ Babs:
GrumpyTrev:
Will thee Sound Guy:
Derek Westerholm:
ultradamno:
DJ Babs:
Derek Westerholm:
GrumpyTrev:
Dan S:
coelacanth∅:
ultradamno:
Derek Westerholm:
Will thee Sound Guy:
Derek Westerholm:
northguineahills:
Derek Westerholm:
Dan S:
northguineahills:
DJ Blush:
Scott_Oz:
DJ Babs:
Scott_Oz:
DJ Babs:
Roberto:
ultradamno:
DJ Babs:
Roberto:
DJ Babs:
Roberto:
DJ Babs:
ultradamno:
Dan S:
Derek Westerholm:
Roberto:
DJ Blush:
Roberto:
DJ Babs:
Derek Westerholm:
Roberto:
Derek Westerholm:
DJ Babs:
DJ Babs:
Roberto:
Derek Westerholm:
DJ Babs:
ultradamno:
Bob Barth:
northguineahills:
Kristine:
Roberto:
Derek Westerholm:
DJ Babs:
Derek Westerholm:
northguineahills:
Derek Westerholm:
Scott_Oz:
🍻😎🤙💨🍺
ultradamno:
Bob Barth:
northguineahills:
Derek Westerholm:
DJ Babs:
DJ Babs:
DJ Blush:
Alli B:
DJ Babs:
DJ Blush:
Bob Barth:
Scott_Oz:
Stay mad & stay sane my mates!
🌏🌞🍻😎🤙💨🍺🍺🌻
Kristine:
northguineahills:
WR:
Onward!
DJ Babs:
DJ Babs:
Roberto:
GrumpyTrev:
Derek Westerholm:
Derek Westerholm:
Derek Westerholm:
GrumpyTrev:
coelacanth∅:
tchau