Transmissions from Echo Beach with Derek Westerholm and DJ Babs:
Playlist
from March 28, 2024
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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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March 28, 2024: Turkish Delights, Acid Jazz, Bad Seeds & the news you need
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| Artist | Track | Album | Label | Year | Comments | New | Approx. start time |
|---|---|---|---|---|---|---|---|
| Ocean Waves For Sleap |
Rolling Ocean Waves
|
Ocean Sounds to Relax | Ocean Records | 2023 | 0:00:00 (Pop-up) | ||
| The Boys Next Door |
Boy Hero
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Lethal Weapons (V/A) | Suicide Records / RCA | 1978 | The Birthday Party, in their earliest incarnation & original band name. This is one of three tracks from an Australian various artists compilation where most tracks (including this one) were recorded in the (Casualty Ward) Media Sound Studio, Melbourne, Australia. -- Originally released as Suicide Records/RCA VXL1 4072, May 1978." This particular song was written by Mick Harvey & Nick Cave, Producer – Greg Macainsh. / "he nucleus of the band first met at the private boys school Caulfield Grammar School, in suburban Melbourne, in the early seventies. A rock group was formed in 1973, with Nick Cave (vocals), Mick Harvey (guitar), and Phill Calvert (drums), with other students John Cocivera, Brett Purcell and Chris Coyne (on guitar, bass and saxophone respectively). Most were also members of the school choir. The band played under various names at parties and school functions with a mixed repertoire of David Bowie, Lou Reed, Roxy Music, Alice Cooper and the Sensational Alex Harvey Band, among others. Saxophonist Chris Coyne went on to join the Paul Kelly Band in the 1980s. //// After their final school year in 1975 the band decided to continue as a four-piece group, with friend Tracy Pew picking up the bass. Greatly affected by the punk explosion of 1976 which saw Australian bands The Saints and Radio Birdman making their first recordings and tours, The Boys Next Door, as they were now called, began performing punk and proto-punk cover versions, such as "Blitzkrieg Bop" and "Gloria", and a few original songs. //// By November 1977 their set was dominated by fast original new wave material, such as "Sex Crimes" and "Masturbation Generation". //// The Boys' second guitarist, Rowland S. Howard, joined in 1978, and about this time the group's sound changed dramatically. The addition of Howard's guitar was a catalyst (his later use of audio feedback being a hallmark of the group) but there were other changes, as well: their sound drew upon punk, rockabilly, free jazz and blues, but defied categorization. Many songs were driven by prominent, repetitive basslines and frenetic, minimalist drumming.[citation needed] In producer/engineer Tony Cohen they found a collaborator sympathetic to their experimentation and their refusal to repeat themselves, and in manager Keith Glass they found an enthusiastic financial backer. Glass' label Missing Link Records released all of the early Birthday Party records." | 0:03:08 (Pop-up) | |
| Nick Cave and the Bad Seeds |
WIld God
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Wild God | Mute | 2024 | "Nick Cave and the Bad Seeds have revealed details of their upcoming album, Wild God, set for release on August 30th. //// The upcoming record marks their 18th studio album, and first since 2019’s Ghosteen. To provide the first teaser of the forthcoming LP, which contains ten songs, Cave has shared the title track. //// In a statement, the Australian musician said of Wild God: “I hope the album has the effect on listeners that it’s had on me. It bursts out of the speaker, and I get swept up with it. It’s a complicated record, but it’s also deeply and joyously infectious. There is never a masterplan when we make a record. The records rather reflect back the emotional state of the writers and musicians who played them. Listening to this, I don’t know, it seems we’re happy.” //// The songwriting officially began for Wild God on New Years Day in 2023, as Cave started his year by turning over a new leaf creatively. He also handled production duties alongside Warren Ellis from the Bad Seeds. //// Meanwhile, Wild God was recorded during sessions that took place at Miraval in Provence and Soundtree in London. Radiohead bassist Colin Greenwood also contributed to the album, as did Luis Almau. //// Cave added: “Wild God…there’s no fucking around with this record. When it hits, it hits. It lifts you. It moves you. I love that about it.”" ++++++++ "Nick Cave and the Bad Seeds are an Australian rock band formed in 1983 by vocalist Nick Cave, multi-instrumentalist Mick Harvey and guitarist-vocalist Blixa Bargeld. The band has featured international personnel throughout its career and presently consists of Cave, violinist and multi-instrumentalist Warren Ellis, bassist Martyn P. Casey (all from Australia), guitarist George Vjestica (United Kingdom), keyboardist/percussionist Larry Mullins, also known as Toby Dammit (United States), and drummers Thomas Wydler (Switzerland) and Jim Sclavunos (United States). Described as "one of the most original and celebrated bands of the post-punk and alternative rock eras in the '80s and onward", they have released seventeen studio albums and completed numerous international tours. //// The band was founded following the demise of Cave and Harvey's former group the Birthday Party, the members of which met at a boarding school in Melbourne. Throughout the 1980s, beginning with their debut LP From Her to Eternity (1984), the band drew largely on post-punk, blues and gothic rock, and formed an evolving, multinational lineup, bringing in musicians such as Blixa Bargeld, Barry Adamson and Kid Congo Powers. The band later softened their sound and incorporated other influences on albums such as The Good Son (1990) and The Boatman's Call (1997). Following Harvey's departure in 2009, the band broadened their sound further to include electronic and ambient styles, which feature prominently on the trilogy of albums Push the Sky Away (2013), Skeleton Tree (2016) and Ghosteen (2019)." | * | 0:06:10 (Pop-up) |
| Mick Harvey |
Setting You Free
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Five Ways to Say Goodbye | Mute | 2024 | Mick Harvey has shared new track “Setting You Free,” the latest to be taken from his first solo album in over 10 years, Five Ways to Say Goodbye (Mute), that will be released on May 10, 2024. “Setting You Free” is Harvey’s interpretation of the late David McComb’s (The Triffids / Blackeyed Susans) track, taken from his only solo album, Love of Will, originally released in 1994. //// The new track follows the original composition “When We Were Beautiful & Young” and “A Suitcase in Berlin,” a translation and reworking of Marlene Dietrich’s 1950s ode to Berlin, “Ich Hab’ Noch Einen Koffer in Berlin.” Both feature on the new album, a mix of originals and interpretations, and the fifth release in a series that blends the two. The new 12-track collection will also feature tracks written by Ed Kuepper (co-founder of The Saints), Fatal Shore (Bruno Adams), Lo Carmen and Lee Hazelwood. //// Across the album, Harvey creates a coherent mood between other people’s songs and his own, as though they are all part of the same lineage and interconnected sonic world. As such, these reworkings go far beyond functioning as simple cover versions. “I don’t think cover is appropriate terminology,” says Harvey. “It’s not a copy. To my mind it’s more in the traditional sense of how songs used to be, where they would mutate and you’d end up with lots of different versions. One is really just passing the music on and sharing the songs further.” //// “(The album) is kind of about farewells or saying goodbye,” explains Harvey, “There’s a lot around that subject so it’s got a kind of melancholy and sentimentality around it.” The theme is multifaceted, and the album may be the closing chapter on a five-part series of albums that began in 2005 with One Man’s Treasure, continuing on with Two of Diamonds, Three Sisters – Live At Bush Hall and Four (Acts of Love). It’s a reflection of time passed and life elapsed, and also a literal goodbye in some instances. “A lot of the songs are by people who have moved on,” says Harvey. //// The new album follows Harvey’s recent collaboration with Mexican artist Amanda Acevedo (who also features on Five Ways to Say Goodbye) and will be accompanied by UK and European tour dates in May and June. | 0:11:34 (Pop-up) | |
| Einstürzende Neubauten |
Ist Ist
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Rampen – APM: Alien Pop Music | Potomak | 2024 | On April 5th, 2024, Einstürzende Neubauten will release the new double album Rampen – apm: alien pop music. //// "Einstürzende Neubauten, the Berlin-based avant-garde art-rock collective, has been redefining the boundaries of experimental music for over four decades. Known for their innovative use of custom-built instruments and found objects, Blixa Bargeld, N. U. Unruh, Alexander Hacke, Jochen Arbeit, Rudolph Moser, and Felix Gebhard blend industrialized noise with poignant melodies, forever challenging the boundaries of the conventional. //// Einstürzende Neubauten has been a pioneer in the art of “Rampen” on stage since the mid-1980s. These are public improvisations that serve as launchpads into the unknown, characterized by their open-ended developments and outcomes. The band has recorded their 2022 “Rampen” performances during the encores of their latest Alles in Allem tour, which forms the foundation of their forthcoming new album. This innovative approach not only shapes the new collection of studio recordings, but also weaves a central theme of change, utopian visions, and transience through every track, acting as a common thread that ties the music together. //// Rampen – apm: alien pop music is described as pop music for parallel universes and in-between worlds ‒ for hyperspaces and interzones. It is microcosmic and intergalactic at the same time. It’s a demi-sophisticated claim outside of all physical laws, with which Einstürzende Neubauten enters a stylistic no man’s land between the past and future. There’s a return to the roots on one side, while a new art form emerges on the other from powerful eruptions of noise encountering cryptic, often fragmentary lyrics: popular music for aliens and outcasts. Anti-pop has become alien pop. Outlandish. Spun like a cocoon. Unheard. Sonus inauditus. //// “Ist Ist,” [is] the first single to be released from the upcoming release. In keeping with the enigma that is Einstürzende Neubauten’s oeuvre, the hypnotic lyrics unfurl as an elusive quest, veiled in the gossamer of mystery. It is a pursuit as quixotic as the hunt for Melville’s Great White Whale—this seeking, this yearning. Is it for love, for spirit, or perhaps, the most elusive quarry of all, a coherent sense of self? Or is it simply, “I’ve been everywhere, man?” //// The reduced artwork on the cover of Rampen is the band’s tribute to the minimalism of the cover for The Beatles’ White Album. “It’s based on the idea that the Einstürzende Neubauten is just as famous in another solar system as The Beatles are in our world,” Blixa Bargeld says. “On the album, I found a few solutions and formulated things in ways I haven’t formulated them before, because they were never so clear to me. I’m someone who believes you can achieve knowledge through music. It’s always been that way. I follow the conviction. I’ll find something in the music that I didn’t know before. And sing something that I didn’t know. Something that turns out to be true. Or, to take this down a notch, something that at least has meaning.” //// This album represents the next step in this evolution, where the familiar language is finally left behind, opening further, infinite possibilities: alien pop music." | 0:15:04 (Pop-up) | |
| Kid Congo & the Pink Monkey Birds (ft. Alice Bag) |
Wicked World
|
That Delicious Vice | In The Red Records | 2024 | (From 'Tinnitist') - "THE EDITED PRESS RELEASE: “It’s a new lineup,” landlord of the avant-garage Kid Congo Powers exclaims of the Pink Monkey Birds edition responsible for the fifth full-length of their 19-year recording career, That Delicious Vice. In The Red Records, the band’s home since 2009, is set to release it April 19. Today, the band share the video for Wicked World, directed by Chris Carlone and featuring L.A. punk icon Alice Bag. //// “We’ve gone from a four piece to a three piece,” continues Kid, whose unique guitar style has been at the center of some of the most forward-thinking bands in punk and garage: The Gun Club, The Cramps, Nick Cave and the Bad Seeds, and Knoxville Girls, to name a handful. “Because Mark Cisneros (ex-The Make Up) is playing guitar, sometimes we have songs with two guitars. And then sometimes, he plays bass on a bass six (i.e. — the electric bass version of the mariachi instrument, the bajo sexto). So, that is a new development. We lost a member and decided to try to do it as a three piece — more space, you know?” Ron Miller remains on drums, percussion and vocals. “I’m not sure if living in the desert is making me want more space in music or not,” laughs Kid, a Tucson resident for a few years now. “Maybe I’m turning into a desert stoner rocker. But I’m not a stoner, so that’s not happening.” ///////// "...The album’s major hallmark has to be its extended collaboration with Alice Bag, the face of and voice of early L.A. punk titans The Bags. How and why these two took this long to unite creatively is a dense mystery, considering both graduated with honors from early Hollywood punk palace The Masque, and their photos had to have stared at one another from opposite pages of a few issues of Slash or fLiPSiDe. “Yeah, we were around that ground zero, that tight circle of friends,” chuckles Kid, “But there was a lot of cliquiness going on, even though the scene was so small. Everyone knew each other, but I was more with The Screamers and she was more with The Bags and the punk thing. You know, I was more arty farty!” //// “We go back a long time,” enthuses Alice. “When I was doing my book tour, Kid called me and I hadn’t heard from him in ages! And he’s like, ‘You’re coming to DC! If you need me for anything, I’m gonna make some noise with you — I’m in!’ It always amazes me how deep those early friendships go. You can not speak to somebody for years and years, but if you have punk rock in common, you’re my sister or brother forever. So he came out and he played with me at one of my early readings in D.C. And then, every now and then I’d see Pink Monkey Birds, but just randomly. Because he was living on the East Coast and I was living on the West Coast, we didn’t see each other very often and fell out of touch again.” //// Next thing either party knows, they’re both In The Red labelmates, with the release of Alice’s third solo LP, Sister Dynamite. Following that, the producers of the Peacock comedy television series The Resort reached out to label head Larry Hardy to inquire if either Kid or Alice would be interested in composing a Spanish song for the show. “It was actually Alice who said, ‘Well, why don’t you just get us together and we’ll do it?’” says Kid. “And they went for it. So we wrote a cheesy lounge act song, which is of course much better than any cheesy lounge act.” //// “We recorded it,” adds Alice. “Then we did these cameos on this show, playing our song. They flew us out to Puerto Rico for a few days. It was just a really fun experience. It’s really fun getting to hang out with Kid, and the process of writing a song with him was very enjoyable, even though I was living in Mexico City and he was in Tucson by then — we were still working remotely. But we just clicked. I’d send him a recording, and then he’d add to it. and send something back. We both were very open to each person’s own brand of quirkiness.” This led to Wicked World, a full-on Kid Congo / Alice Bag duet that’s That Delicious Vice’s second track and major fulcrum. Over rat-a-tat Big Bad John drums, a blast of fuzz bass, and Kid’s siren-like slide guitar, the co-composers recount in tandem the tale of a child “born into trouble from a devil seed / Every fork in the road led her here.” It’s a short drive from there through a poor childhood and bad decisions to turning tricks and seeking kicks, amid an atmosphere heady with the scent of sex. The action stops, and Alice chants, “One two three four five six seven — you’re going to Hell, and I’M GOING TO HEAVEN!!” It’s a pulp paperback reincarnated as primal rock ’n’ roll." ----Video---->>> Kid Congo & the Pink Monkey Birds (ft. Alice Bag) - "Wicked World" | 0:18:53 (Pop-up) | |
| Barry Adamson |
The Last Words of Sam Cook
|
Cut to Black | Barry Adamson Inc. | 2024 | Released March 14, 2024 / Music by Barry Adamson. / Lyrics by Siena Barnes. "Former Bad Seeds and Magazine bassist Barry Adamson has announced his 10th solo album, Cut to Black, which will be out via his own imprint on May 10. “It’s not gospel, it’s not soul, it’s not blues and it ain’t rock n’ roll,” Barry says of the album. “It’s all of ’em – and with good reason.” //// The first single from the record is the cheeky “The Last Words of Sam Cook"... ..."A brilliant belter of a Motown-style soul single by the revered Manchester musician and songwriter, capturing the fatal final day of the great singer in 1964, taken from Adamson’s forthcoming new album Cut To Black, which focuses on famous lives cut short and the civil rights movement. Adamson, who grew up on Moss Side, played bass for Magazine, then several other bands, followed solo career of many albums, film music and other projects, as well as the first volume of his memoirs, 2021’s Up Above The City, Down Beneath The Stars. //// This song is from the point of view of Cooke, the setting is Haçienda Motel in South Central Los Angeles, 11 December 1964, when the singer picks up Elisa Boyer and ends up getting both barrels of motel manager Bertha Franklin’s shotgun. With soulful sounds, organ and gospel backing, the song was co-written with lyricist Siena Barnes, the chorus repeating Cooke’s reported last words: “Lady, you shot me!”" | * | 0:23:16 (Pop-up) |
Music behind DJ: Thomas Wydler & Toby Dammit |
Mr. Knock Up
|
Morphosa Harmonia |
Hit Thing |
2004 |
Morphosia Harmonia, is the duet album between Thomas Wydler longtime drummer-alumni of Nick Cave And The Bad Seeds and Die Haut, and Toby Dammit, also known as Larry Mullins, who has since joined the Bad Seeds as well. //// Wydler gathered an amazing cast of musicians, including Kristof Hahn (Swans, Les Hommes Sauvages), Jochen Arbeit (Einstürzende Neubauten, Die Haut, Automat)), Yoyo Röhm (Swans), Beate Bartel (Liaisons Dangereuses, Mania D., Matador) and Martin Peter (Die Haut) for the production. //// Originally released in 2004 on CD only, a vinyl version was planned, but Hit Thing closed doors, thus the album retreated into the shadows - unknown to many - until now ... ------------ //// Credits for this track: Drums, Synthesizer [Synthesizers], Voice [Whispers], Timbales, Gong [Gongs], Tambourine [Tambourines] – Thomas Wydler // Vocals [Vocals & Chants] – Toby Dammit // Written-By – Mullins, Wydler |
0:26:39 (Pop-up) |
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Music behind DJ: Thomas Wydler & Toby Dammit |
Lady Of The Gongs
|
Morphosa Harmonia |
Hit Thing |
2004 |
Credits for this track: Double Bass, Electric Bass – Yoyo Röhm // Drums, Synthesizer [Synthesizers], Percussion, Bass [Electronic Bass] – Thomas Wydler // Electric Piano [Treated Wurlitzer Electric Piano] – Toby Dammit // Performer [Controlled Short-wave] – Ingo Krauss // Synthesizer – Beate Bartel Written-By – Mullins, Wydler |
0:29:20 (Pop-up) |
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| TPAO Batman Orkestra |
Aya Bak Yıldıza Bak
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Seker Alalim Single | Odeon Müzik Yapımcılık | 1968 | TPAO is the abbreviation of Türkiye Petrolleri Anonim Ortaklığı, the national petroleum company of Turkey and Batman is a recently developed city close to Turkey's only oilfield. The refinery of Batman was set up in 1955 In the 1950s, the population of Batman was only a few thousand, and most of the workers dwelled in the refinery site. The refinery administration provided social amenities including a dance ensemble. The band TPAO Batman was founded in 1963 by Ahmet Akman. Initially, the ensemble was playing dance music and jazz. But they soon became familiar with the folk music of the area around the refinery, called Türkü, and they included arranged folk songs to their repertoire. Although Ahmet Akman left the group, they continued up to 2000. | 0:35:02 (Pop-up) | |
| The Devil's Anvil |
Shisheler
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Hard Rock From the Middle East | Columbia Records | 1967 | The Devil's Anvil was a 1960s hard rock band based in New York City. They released one album, entitled Hard Rock from the Middle East, in 1967, showcasing a mix of 1960s hard-rock sound with Arab, Greek and Turkish songs and melodies. Instrumental in the band's formation was producer Felix Pappalardi, who helped sign them with Columbia Records. It was in 1966, while hanging out in the Village that he chanced upon a group of Middle Eastern-born or -descended musicians, playing at the MacDougal Street Cafe Feenjon. Pappalardi began playing with them, and eventually they became the unofficial house band at Feenjon. Unfortunately for The Devil's Anvil, their one and only album, Hard Rock from the Middle East, was released during escalating tensions between Israel and neighboring Arab countries and the subsequent Arab–Israeli War in 1967. | 0:37:18 (Pop-up) | |
| Gökçen Kaynatan |
Pencerenin Perdesini
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Pencerenin Perdesini Single | Bir Numara Muzik | 1973 | The missing component in the history of Turkish pop and one of the earliest exponents of Turkish electronic music alongside İlhan Mimaroǧlu and Bülent Arel, Gökçen Kaynatan electrified the rock and roll scene of the late 50s/early 60s – sending teenagers wild with his custom built guitars and back lines – helping charge the climate for the birth of Anatolian rock. Then, from the sanctuary of his private studio, he revolutionised the industry with his pioneering use of electronics whilst hanging the sonic wallpaper in the living rooms of an entire generation of telly addicts as in house composer of choice for Turkey’s first national television channel TRT 1. Despite having a modest discography of only four 7” singles to his name his influence is a major current that flows through over 50 years of Turkish pop culture. | 0:40:05 (Pop-up) | |
| Şenay |
Benim Orsulan
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Sev Kardeşim (Hayat Bayram Olsa)/Benim Oruslan 7" | Ossi Muzik | 1971 | Şenay Ekiz was born in Istanbul in 1947. In 1970, she married Şerif Yüzbaşıoğlu, a musician. She produced a series of singles, among which Hayat Bayram Olsa and Açıl Susam Açıl were most popular ones. In 1975, she represented Turkey in the Golden Orpheus international song contest in Bulgaria. Her song Honki Ponki was also a huge hit...and protest song, Senay was a singer of the people and her legacy continues today after her death in 2013. | 0:42:34 (Pop-up) | |
| Erkut Taçkin |
Sevmek Istiyorum
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En İyileriyle Erkut Taçkin | Ossi Muzik | 1975 | Erkut Taçkın was born in Istanbul in 1940, the son of a sailor captain. Erkut Taçkın is also the Armed Forces swimming champion. The Naval Academy and High School Orchestra and Vocal Group went down in history as the first musical group to perform real vocals and play Rock'n Roll .In the summer of 1962, Erkut Taçkın decided to go to Germany as a worker. He married, and divorced and began playing in other projects. Over the many years he has played in Okan Dinçer ve Kontrastlar, Between February and November 1976, he formed a duo on stage with Ayten Alpman . She announced that she would quit music in 1978. Thus, Taçkın's professional musical life ended when he bought a hotel in Güney at the beginning of 1980. At this point he still performed music, however sporadically. Besides music he also appeared in two films in the 1960's. açkın passed away from cancer on December 14, 2020, at the age of 80. | 0:45:16 (Pop-up) | |
Music behind DJ: Hailu Mergia And The Walias |
Tche Belew
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Tche Belew |
Kaifa Records |
1977 |
Hailu Mergia an Ethiopian keyboardist, now based in Washington D.C., United States. He is best known for his role in the Walias Band in the 1970s, one of the most significant groups in Ethiopia’s "golden age" of music. In the 1970s, Hailu Mergia was the keyboardist in the Walias Band, a jazz and funk band with a hard polyrhythmic funk sound influenced by western artists like King Curtis, Junior Walker and Maceo Parker. In the period, it was harder for working bands in the region to make a living, after Mengistu's Derg government imposed breaks to Addis Ababa's nightlife, but music was still being regularly recorded, and cassettes were the typical release format, given they were easy to duplicate and distribute. Walias Band had a 10-year residency at Addis's Hilton hotel in this period. |
0:48:08 (Pop-up) |
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Music behind DJ: Hailu Mergia |
Ambasel
|
Shemonmuanaye |
Kaifia Records |
1985 |
It was only several years after moving to the US that Hailu recorded a new album, Hailu Mergia & His Classical Instrument, in 1985, during which point he was playing with the Zula Band. Hailu recorded the album alone in a small studio belonging to an acquaintance that Hailu met at Howard University, where he had begun studying music. He stopped performing in 1991 and opened a restaurant. Since 1998 Hailu has worked as a taxi driver, mostly based around Washington DC's Dulles Airport. However, he continues to write music in his spare time: “After I drop my customer, I grab my keyboard from the trunk and sit in the car and practice.” |
0:54:26 (Pop-up) |
|
| The Focus Group |
Verberations
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Sketches and Spells | Ghost Box | 2005 | The Focus Group -- Real Name: Julian House -- Profile: Primal Scream, Razorlight, and most relevantly, Stereolab and Broadcast's sleeve designer Julian House brings out the latent and intrinsic séance-like aspect of sampling with "a collection of individuals.. an empty church hall, hoofprints, mirrors, echoes, sequences of ordered greenery, televisual images, fonties and ortres" (from the sleeve notes of his first output: Sketches and Spells) //// Site: ghostbox.co.uk | 0:55:40 (Pop-up) | |
| Polvo |
Shiska
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Today's Active Lifestyles | Merge Records | 1993 | "Polvo is an American indie rock band from Chapel Hill, North Carolina. The band formed in 1990 and is fronted by guitarists/vocalists Ash Bowie and Dave Brylawski, with Steve Popson playing bass guitar and Brian Quast playing drums. Eddie Watkins was the band's original drummer, but did not rejoin the band upon its reunion in 2008, after breaking up in 1998" / "One of the most popular and accomplished bands in the arty, noisy rock genre, Polvo revels in dissonant, intricately layered guitars that often employed alternate tunings; odd, off-kilter rhythms; an emphasis on dense sonic texture; and unorthodox song structures that, nonetheless, are often unconventionally melodic." | 0:56:00 (Pop-up) | |
| The Focus Group |
Kinky Korner Klub
|
The Elektrik Karousel | Ghost Box | 2013 | "Elektric Karousel bears the credit "All titles composed by the Focus Group with help from Broadcast." Still, it feels like the vision of one man: Julian House has shed many of his previous horror leanings here, bringing the folkier side of the Focus Group into tighter view. //// Almost 10 years have passed since Julian House introduced the fitful rhythms of the Focus Group to the world. It's a music that exclusively trades on finding beauty in the awkward fit, both in the way it sounds and the way it's executed. When listening to a Focus Group album, expect to hear organ drones collide with the clatter of typewriter keys, with indecipherable dialogue extracted from impossibly obscure European art films laced over the top. There is no neat segue between parts. Instead, it sounds like House is sticking pieces of tape together by hand, quickly cycling through fragments of pop culture ephemera in tracks that last two minutes or less (it's usually less). He's probably not working that way, but it's a nice image to have in mind when listening to the Focus Group: House, the mad inventor, lost in a blizzard of unspooled tape that he's gradually feeding into an old Studer, the whole process only making sense to him alone. //// That working model served House well initially, but in recent times he's branched out a little. There's been a blurring of the lines between the Focus Group and Broadcast, to the point where it's no longer clear where one group begins and the other ends. The ...Investigate Witch Cults of the Radio Age album bore both their names; a subsequent Broadcast tour (sadly their last due to the subsequent passing of singer Trish Keenan) drew heavily on films made for them by House; and Broadcast's soundtrack to Berberian Sound Studio lent hard on the kind of cut-up work they'd undertaken on Witch Cults. Now, this album bears the credit: "All titles composed by the Focus Group with help from Broadcast." Still, Elektrik Karousel feels like the vision of one man, whose bastardization of the word "carousel" in the title couldn't be more appropriate. The whole thing passes in such a blur of color that you feel winded just trying to keep up. //// Concerns may arise from anyone well-versed in this stuff, especially as the "hauntology" sub-genre has had its moment, and other Focus Group albums were delivered with a similar love of parcelling everything up in small packets of multi-colored splendor. But the Ghost Box label has been surprisingly resilient." | 0:57:26 (Pop-up) | |
| Broadcast |
Tears In The Typing Pool [Demo]
|
Distant Call – Collected Demos 2000-2006 | Warp Records | 2024 | "Broadcast have announced two collections of demos, Spell Blanket and Distant Call, which are billed as the British duo’s final albums. They’re set to arrive later this year on Warp. Spell Blanket, arriving May 3, features demos that Trish Keenan and James Cargill were working on between 2006 and 2009 for what would have been their fifth album. Distant Call, out September 28, comprises demos for songs that appeared on the albums Haha Sound, Tender Buttons, and The Future Crayon." //// "Distant Call – Collected Demos 2000-2006 comprises demos of songs that mostly did make their studio albums, plus two previously unheard songs that Cargill discovered after Keenan’s death, “Come Back To Me” and “Please Call To Book,” which were inspired by a 2006 project the band did where fans were asked to submit lyrics on postcards to be used in a finished song. //// A press release notes: “Distant Call is a closing of the door on Broadcast and will be the last release from the band.”" | * | 0:59:50 (Pop-up) |
| The Focus Group |
HANG ALONG!
|
We Are All Pan's People | Ghost Box | 2007 | "We Are All Pan's People is an album by Julian House, under the pseudonym of The Focus Group. It was released on 26 March, 2007 on the Ghost Box Music label. The title and artwork owe a simultaneous debt to the 1970s dance troupe Pan's People and the stories - the novella The Great God Pan specifically - of Arthur Machen; labelmates Eric Zann and Belbury Poly have also acknowledged a debt to the author." | 1:02:00 (Pop-up) | |
| Jlin |
Borealis (ft. Björk)
|
Akoma | Planet Mu | 2024 | Released March 22, 2024. //// "Jlin’s detailed and meticulous exploration of rhythm’s inner and outer reaches has made her one of the most distinctive and recognisable voices within both the electronic and new music worlds. Her compositions are consistently appealing and have an accessibility to them, yet often defy expectations. She exists within her own locus solus - no matter the collaborator, no matter where sounds ultimately lead her. Whatever the situation – from composing the Pulitzer Prize shortlisted ‘Perspective’ for Third Coast Percussion, to ‘Godmother’ her AI-powered collaboration with Holly Herndon, Jlin always expresses her outlook to the fullest. //// Her new album ‘Akoma’ sets a new benchmark in her personal road map, not only since the album features guest appearances from Björk, Philip Glass and Kronos Quartet but for her continued sonic persistence and resistance. Jlin does what Jlin does and it’s beloved across genres, across scenes and across generations. ‘Akoma’ is a new entry point into her sound and a new approach for both those who have been following diligently and those who are just now entering her world. //// So how did she get here? Here’s a rundown for those looking for the facts. She was both a math nerd and a steel factory worker. She got inspired by Footwork and started making tracks with mentorship assistance from RP Boo and DJ Rashad, but her music was far from typical for footwork from the get-go. In 2011, she released her first track ‘Erotic Heat’ on the Planet Mu anthology ‘Bangs & Works Vol.2.’ Fashion designer Rick Owens heard it and invited her to soundtrack his Paris Fashion Week show. Already before an EP or an album Jlin was in new cutting-edge territory. And it hasn’t stopped since. Everyday Jlin wakes up early and clocks into her home studio working hard on new music. Her discipline and craft-like approach means that those who would try to copy her sound simply can’t get to the level she is at. Since ‘Erotic Heat’ she has released two bold albums, 2015’s ‘Dark Energy’ and 2017’s ‘Black Origami.’ She has also released her soundtrack to Company Wayne McGregor’s dance piece ‘Autobiography’ (2018) and most recently (2023) the mini-album ‘Perspective.’ She’s remixed µ-Ziq, Factory Floor, Ben Frost, Max Richter, Björk, Martin Gore and others. She’s collaborated with Holly Herndon and the late SOPHIE. She’s worked with visual artists Kevin Beasley and Nick Cave. She composed a string quartet for Kronos Quartet and performed with them live in a tribute to Philip Glass. She also recently completed a tribute to Sun Ra with Kronos. ‘Perspective’, her very well received percussion work for Third Coast Percussion has further opened doors for her creating music for chamber ensembles. She’s even thinking of one day writing an opera. She had a residency at MassMoca museum earlier this year (2023). She’s performed live at Pitchfork Festival, Unsound Festival and too many others to mention. She’s also worked with an HBCU Marching Band, Indian dancers, Company Wayne McGregor and renowned choreographer/MacArthur Fellow Kyle Abraham. There’s more but you get the picture - she’s working in contexts and in ways that few of her peers are able to. //// ‘Akoma’ is the next step - all these paths have led to this. We encourage you to tune in. se paths have led to this. We encourage you to tune in." https://jlin.bandcamp.com/ | * | 1:03:17 (Pop-up) |
| The Focus Group |
CineToneOne
|
Stop-Motion Happening | Ghost Box | 2017 | All of 17 seconds, and this one is over........ //// "Generally, a focus group will end up giving you something bland and beige, a lowest common denominator which nobody particularly loathes but nobody especially loves. Not this Focus Groop. _Stop-_Motion Happening is an unnerving, fairly bonkers stream of treated electronica and samples which absolutely refuses to do anything conventional. It’s as if wayward ghosts of Italian horror movie soundtracks, the spirit of psychedelia and a spaceship full of pissed-off computers were having an argument, a bunch of bleeps, glitches and whistles to sceptics, but deeply engaging experimentation to those onside. It’s the fifth album from the sometime Broadcast collaborator, graphic artist Julian House, known perhaps primarily for his sleeve designs for everyone from Can and Stereolab to Oasis and Primal Scream. Quoting Marshall McLuhan regarding the sensory over-stimulation of our current world, it hits you with a series of brief, unsettling yet somehow rational sounds and noises. One moment you’re trapped on the set of Play School, the next you’re wrestling with Hal as Stanley Kubrick looks on, stroking his beard. At seven minutes, Medium In The Mirror is by far the longest, most cohesive freaky visitation. Coldly challenging." | 1:07:23 (Pop-up) | |
| The Focus Group |
CineToneSineOff
|
Stop-Motion Happening | Ghost Box | 2017 | All of 15 seconds, and this one is over........ "Julian House returns to his Focus Group project following a four-year hiatus. Stop-Motion Happening continues the dreamlike web of radiophonic releases from PYE Corner Audio, Belbury Poly, Broadcast & The Advisory Circle that have made his co-run Ghost Box imprint such a staple in the minds and collections of the hauntology heavy heads. //// Made up of a whopping great 25 tracks in total, Stop-Motion Happening takes in a variety of summer isle sounds that range from natural landscape folk passages to fizzing electronic blips and bloops through sampled jazz echoes. A warm sense of nostalgia that is ever present in The Focus Group's work hangs around in the ether, ringing through the wood like structure with a hazy sense of psychedelia that has been filtered through a pooling knowledge of Italian horror movies and Eastern European animation. //// A sterling example of why we and so many others continue to swoon repeatedly for the Ghost Box sound." | 1:07:38 (Pop-up) | |
| Broadcast |
Follow The Light
|
Spell Blanket – Collected Demos 2006-2009 | Warp Records | 2024 | "Broadcast have announced two collections of demos, Spell Blanket and Distant Call, which are billed as the British duo’s final albums. They’re set to arrive later this year on Warp. Spell Blanket, arriving May 3, features demos that Trish Keenan and James Cargill were working on between 2006 and 2009 for what would have been their fifth album. Distant Call, out September 28, comprises demos for songs that appeared on the albums Haha Sound, Tender Buttons, and The Future Crayon." //// "Spell Blanket – Collected Demos 2006-2009, will arrive in May, and it’s made up of material from Keenan’s archive of 4-track tapes and MiniDiscs, and they are songs that would have been intended for Broadcast’s follow-up to Tender Buttons." | * | 1:07:56 (Pop-up) |
| The Focus Group |
Inside The Rubber Box
|
Hey Let Loose Your Love | Ghost Box | 2005 | "Julian House's brilliant second album collects nineteen exquisitely fragile pyschedelic explorations of 60s/70s soundtrack ephemera, cutting and pasting them together with a mesh of mind-glue and gauzy FX until the whole thing appears just out of focus, crafting a gently undulating topography pocked with darker corners and crevices that catch the ear/eye and draw us into very strange places" | 1:10:33 (Pop-up) | |
| The Jesus And Mary Chain |
Venal Joy
|
Glasgow Eyes | Fuzz Club | 2024 | "The Jesus and Mary Chain Stay True to Their Roots on Glasgow Eyes --- 40 years after the band emerged from East Kilbride, Jim and William Reid’s first album together in seven years proves they’re still married to sensational longevity." "The Jesus and Mary Chain—fathers of Scottish gloom-rock—have followed up their stellar 2017 album, Damage and Joy, with a return to form on Glasgow Eyes. The inimitable sound of Jim and William Reid has influenced countless bands over the 40 years they’ve been touring and recording—capturing the hearts of peers like the Stone Roses, Primal Scream, Swervedriver, my bloody valentine and Ride. Since the early 1980s, the Reid brothers have remained the only consistent members of the group. But multiple changes to the lineup (including Primal Scream’s Bobby Gillespie on drums in the mid-‘80s), and switching record labels over the last four decades (WEA, Sub Pop, Creation and now Fuzz Club) have done nothing to transform their signature sound. Their magic is wielded at every level; they self-produced Glasgow Eyes and, rather than rely on session musicians, played every instrument. The album—their eighth overall—finds Jim and William conjuring up wicked, writhing, guitar-driven goth rock that’s full of grizzly, distorted guitar-driven shoegaze and snarly, industrial clangers. //// Eight albums in 40 years is a tame output, largely explained by the band’s explosive breakup in 1999 following a shambolic, drunken stage fail and the Reid brother’s refusal to carry on together. A Coachella reunion in 2007 led to a bunch of singles, greatest hits and compilations, and eventually Damage and Joy. Like their last album, Glasgow Eyes was recorded at Glasgow studio Mogwai’s Castle of Doom. Opening track “Venal Joy” tears into a distorted, wonky blast of synths and guitar feedback before settling into a fuzzy jam. “My venal heart is filled with pain / I’m okay, I’m alright, well okay, I’m alright,” Jim repeats with increasing uncertainty... //// A decade ago, Zoe Howe’s biography, The Jesus and Mary Chain: Barbed Wire Kisses, told the story of the Reid’s upbringing in East Kilbride, near Glasgow. The sons of a factory worker father and a mother who worked shifts in a fish and chip shop, Jim and William got their kicks by listening to the radio and creating their own raucous, noisy sonic world. They were kids who’d been given nothing on a silver spoon, and they never owed nobody anything. It gave them a frisson of chaos, and their early years of violent, riot-fueled gigs and subsequent venue bans attested to their wild nature. It could have ended with a bang, but 40 years later—and a decade since Howe’s book—the Reid brothers, the eternal soul of the Jesus and Mary Chain, have released a dynamic, dramatic and triumphant testament to their survival and talent. A Reid brothers autobiography has been promised this year. For now, Glasgow Eyes is Jim and William at marching back towards their finest, in harmony after all they’ve been through." | * | 1:11:55 (Pop-up) |
Music behind DJ: Children Of Alice |
The Harbinger of Spring (excerpt)
|
Children Of Alice |
Warp Records |
2017 |
An Excerpt of the 19min+ song. -- "The collaboration between members of Broadcast and Focus Group creates lovingly rendered ambiance born of library music and musique concrète, steeped in eeriness and sweetened with wonder. //// For those attuned to Broadcast and the Focus Group’s wavelength, the 2009 collaborative album Investigate Witch Cults of the Radio Age was a hallowed union. Throughout the 2000s, Broadcast had reimagined psych-rock in a way that mirrored the Focus Group’s adventures in library music and musique concrète—both artists’ warped nostalgia and movie-music mania dealt in temporal freefall, with spectral production that exhumed ghosts from radio static. On Witch Cults, these hauntological peas in a pod simultaneously peaked: In Trish Keenan’s daydream deadpan, the Focus Group’s Julian House found an anchor for his abstractions, while Broadcast’s oneiric detail flourished anew, unmoored once and for all from rock’s retro swing. //// Six years after Keenan’s death, it’s the spirit of Witch Cults that pervades Children of Alice, James Cargill’s new post-Broadcast project with Julian House and Broadcast keyboardist Roj Stevens. Their debut ventures further into sonic wormholes—the structures are byzantine, melodies vanishingly sparse—but has the same buzz of eccentric minds dialing into a familiar frequency. //// The trio, named in honor of Keenan’s beloved Alice in Wonderland, make music steeped in eeriness and sweetened with wonder. Children of Alice opens with “The Harbinger of Spring,” in which a strangled hum mingles with birdsong and children’s laughter. Beneath it all looms a three-note bass pulse, sounding faintly ominous, but it’s soon reborn in a palatable key. The record never settles into its unease. When a cuckoo clock heralds the hour, you notice the “boing” of its spring, a perfectly innocent technology. Jump-cuts splice the scenes into disjointed vignettes, but it feels less like psychic overload than the beguiling minutiae overheard by a baby between naps. //// The album’s intrigue lies in its prelinguistic response to a hyperactive world..." |
1:15:21 (Pop-up) |
|
| Television Personalities |
I Was a Mod Before You Was a Mod
|
I Was a Mod Before You Was a Mod | Overground Music | 1995 | The Television Personalities are an English post-punk band formed in 1977 by London singer-songwriter Dan Treacy. Their varied, volatile and long career encompasses post punk, neo-psychedelia and indie pop; the only constant being Treacy's songwriting. Listed as one of the primary artists of the post punk...TP was also embraced as part of the Mod Revival scene, one that was championed by one Eddie Pillar, DJ and founder of Acid Jazz Records. It's interesting that this song was released in 1995, during the peak of Britpop when Mod style was arguably part of that movement. Treacy later struggled with mental health issues and drug addiction, and from 1998 to June 2004 was incarcerated for theft. He spent time on HM Prison ship Weare in Portland Harbour, Dorset, England. Bands that have cited them as formative influences include Jesus and Mary Chain, Half Man Half Biscuit, The Pastels, Beat Happening, Tindersticks, Pavement and of course, MGMT. | 1:27:01 (Pop-up) | |
| The Jam |
A Town Called Malice
|
The Gift | Polydor | 1982 | He was the principal figure of the 1970s and 1980s mod revival, often referred to as the Modfather, and an influence on Britpop bands such as Oasis. Paul Weller has said that "Town Called Malice" was written about his hometown of Woking, inspired by his working-class upbringing there and desire to leave. The Irish Independent described the song, like the band's 1980 single "Going Underground", as a "class-war tirade set to a post-punk northern soul groove". Greg Freeman of The Guardian described it as featuring a "stomping, Motown-inspired beat" conveying a "sense of pent-up rage and frustrated ambition". Released as the first single from the album on 29 January 1982, it entered the UK Singles Chart at number one and stayed at there for three weeks, preventing "Golden Brown" by the Stranglers from reaching the top spot. It was their third #1 single in the UK, and the band's sole entry on any mainstream American chart when it hit No. 31 on the Mainstream Rock Tracks chart. | 1:30:04 (Pop-up) | |
| Matt Berry feat Emma Noble |
Beatmaker
|
Beatmaker Single | Acid Jazz Records | 2022 | Acid Jazz Records is a record label based in East London formed by Gilles Peterson and Eddie Piller in 1987. The label is the namesake of the acid-jazz subgenre of jazz music for which it is most famously known for producing. "Beatmaker" was originally released by Swedish pop singer Doris in 1970, and this is a most faithful rendition. This version of the song was recorded for Matt Berry's "Toast of Tinseltown"...the story of an over the hill actor and all round loveable buffoon who just can't...get things to go his way! Highly recommended viewing! | 1:32:53 (Pop-up) | |
| Matt Berry & The Maypoles |
Snuff Box Theme Live
|
Matt Berry and the Maypoles Live | Acid Jazz Records | 2015 | What to say about Matt Berry? Musician, Actor, Comedian, The Voice of the UK...he is many things, and for that....has many fans. His music is focused on sounds from the etherial pastoral folk of the UK, to 70's prog and funky jazz. Arrangements are fluid and as a multi-instrumentalist, Berry is...a monster. The Snuff Box theme is a beloved tune and yes, the theme for a brilliant sketch comedy show he performed with American Rich Fulcher for six episodes, airing in 2006. Matt Berry went on to create a second version of the Snuff Box theme that sounded like a lost Northern soul classic and featured illustrious US singer Geno Washington. “I’m looking for authenticity,” Berry says. “I’m obsessed with the details of those things. You have to use a real xylophone and a piccolo on the top line in order to get that sort of atmosphere. “These things have to go through the right reverb. You can fuck the whole thing up completely even if you get everything else right — y’know, using an old amp, an old guitar, a Farfisa organ, all this kind of stuff. " | 1:35:45 (Pop-up) | |
| Corduroy |
Something In My Eye
|
High Havoc | Acid Jazz | 1993 | Corduroy are an English four-piece acid jazz outfit based in London, formed around twins Ben Addison (drums/vocals) and Scott Addison (keyboards/vocals). The self-dubbed "fabric four" primarily recorded in a film soundtrack style, and many of their tracks were instrumentals. On the release of their first album Dad Man Cat, Paul Moody wrote in the New Musical Express: "Whereas the rest of the Acid Jazz roster fidget around in a world of skinny ribbed roll-necks comparing sideburn growth, Corduroy manage to swagger through the same po-faced domain with a couldn't-care-less braggadocio... Corduroy have got their collective tongue stuck firmly in someone else's cheek here and it feels staggeringly good." Releasing three albums on Eddie Piller's Acid Jazz Records, they received radio airplay for their single "Something in My Eye" in 1993, but national chart success evaded them, although several singles from their 1993 album High Havoc charted in the UK Independent Chart. Their 1994 album, Out of Here, reached number 73 in the UK Albums Chart. They remained a popular live attraction, particularly on the college circuit. They also gained a healthy following in Japan, making the first of several trips to the country in 1993. | 1:43:12 (Pop-up) | |
| Milton Wright |
Keep It Up
|
Friends and Buddies | Alston Records | 1975 | Although not "fully" an Acid Jazz artist, this song was a favourite on the Acid Jazz comps series. The brother of soul singer Betty Wright (of "Clean-Up Woman" fame), Milton Wright made some underappreciated records on several labels. Blending smooth, rich vocals with disco-tinged funk and a strong electronic flavor (often courtesy of Moog synthesizers), Wright issued his debut album Friends & Buddies in 1975. His single "Keep It Up" became a cult classic among funk and disco collectors, and he followed it with another LP, Spaced, after which he faded from view....musically at least. He served as a justice on the Boston Municipal Court from 1998 to 2004. | 1:46:42 (Pop-up) | |
Music behind DJ: Matt Berry |
Are You Being Served? Theme
|
Television Themes |
Acid Jazz Records |
2018 |
The title of this album is what it is...Matt Berry and his band of musicians covering popular British TV themes. AYBS is a classic tune from a most classic show! |
1:50:53 (Pop-up) |
|
Music behind DJ: Subterraneans |
Last Night Beats
|
Taurus Woman |
Acid Jazz |
1993 |
Subterraneans are NOT the art punk band from London. They are the Acid Jazz fusion collective from Australia. “Wicked funk, pile-driving rock or loping reggae underpin their lucid or sinuous melodies” |
1:53:12 (Pop-up) |
|
Music behind DJ: Subterraneans |
A Night In Tunesia
|
Taurus Woman |
Acid Jazz Records |
1993 |
1:55:15 (Pop-up) |
||
| Humble Souls |
Beads, Things & Flowers
|
Beads, Things & Flowers 12" | Acid Jazz | 1991 | There's not much to be found about this record, except in an Acid Jazz press release "A magnificent dance floor classic, ‘Beads Things & Flowers’ is the result of the creative coming together of Simon Anniky - previously of Beats International and Hugh Brooker of the Night Trains and The Hip Joints, an Acid Jazz fixture since its earliest days. Its seamless blend of Mod Jazz samples and tight beats is inspirational." Of the Acid Jazz label itself, co-Founder Eddie Pillar says "It was just going to be a party label. We didn't take it too seriously...Gilles and I realised in 1987 that there was a growing crowd around our two club nights: Monday at the Wag in Soho, and Dingwalls in Camden on Sunday afternoons," says Piller. "And among that crowd were musicians who had something to say. Brand New Heavies, the James Taylor Quartet, Jamiroquai – they all came out of that group of about 250 people...We did the first Totally Wired compilation in 1988," says Piller. "No one had ever tried to create an album of past and present that you could put on at a party and just leave on and every track gets played. That's where our interest in licensing oldies came from. The major labels wouldn't license their tracks to independents like us. So to get permission, to use them we had to track down the artists themselves. The detective work made it a bit more exciting." Since then Acid Jazz has been releasing exciting new music, as well as reissuing classic and hard to find rarities. "Acid Jazz has sometimes been really successful, sometimes things have been really tight. That's the nature of an independent label: you are at the mercy of the market, but you don't have the cushion of a catalogue that the major labels have. But now we have a catalogue, of about three or four thousand titles. We've released about 600 records in 25 years – that's quite a lot for an indie...we didn't plan on any of this!" Eddie Pillar DJs this coming Saturday at the Piston Bar in Toronto as a guest of WITH IT, a night of soul and mod music. | 1:56:38 (Pop-up) |
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ultradamno:
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ultradamno:
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ultradamno:
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Derek Westerholm:
ultradamno:
Mr Fab:
Derek Westerholm:
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Derek Westerholm:
Bri The Beatnik:
ultradamno:
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ultradamno:
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Domenic:
Bri The Beatnik:
DJ Babs:
Domenic:
Bri The Beatnik:
Derek Westerholm:
ultradamno:
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DJ Babs:
Mr Fab:
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ultradamno:
Domenic:
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ultradamno:
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DJ Babs:
Roberto:
ultradamno:
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northguineahills:
Kristine:
northguineahills:
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DJ Babs:
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ultradamno:
Roberto:
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Bri The Beatnik:
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northguineahills:
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DJ Nico:
northguineahills:
Bri The Beatnik:
Derek Westerholm:
northguineahills:
northguineahills:
Derek Westerholm:
Bri The Beatnik:
ultradamno:
Kristine:
DJ Babs:
DJ Babs:
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DJ Babs:
Kristine:
northguineahills:
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Bri The Beatnik:
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northguineahills:
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northguineahills:
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northguineahills:
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northguineahills:
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northguineahills:
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Bri The Beatnik:
Scott_Oz:
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northguineahills:
Bob Barth:
Derek Westerholm:
northguineahills:
Kristine:
northguineahills:
Bri The Beatnik:
Derek Westerholm:
Kristine:
Derek Westerholm:
Scott_Oz:
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Bri The Beatnik:
Derek Westerholm:
DJ Nico:
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