Monday, September 24, 2007

Five More Novels by Philip K Dick
Here's my pick of the Dick books I've been reading since doing this post.

The Transmigration of Timothy Archer (1982)
At some point in the early '80s, a sci-fi fanzine asked Ursula K Le Guin what she thought of Dick's recent work. Le Guin had always been Dick's most vocal supporter and had corresponded with him for years. It's surprising, then, that she claimed she didn't like the recent novels because Dick's portrayal of female characters had become one-dimensional - misogynistic even.

At first, Dick felt incredibly angry and was heard to say some pretty snide things about his old friend. Pretty soon, though, he came to the conclusion that she was actually quite right. To make amends, he wrote his next book entirely from the first-person perspective of a very likable female protagonist.

The results are nothing short of stunning. Transmigration is not a sci-fi book but it certainly doesn't feel like a last-ditch attempt to get a "mainstream" novel published. Just like William Gibson's Pattern Recognition, the move into non-speculative territory seems entirely natural. All the key themes are in place and nothing feels contrived or watered down.

Transmigration is similar, in many ways, to Valis. Both books are highly autobiographical, emotionally intense and absolutely hilarious. In either case, the opening chapter has the pacing and impact of a good stand-up routine. This isn't the easiest PKD book to track down but it is absolutely essential.

Ubik (1969)
Funny. A deeply odd caper that finds God in the most unlikely places. For those of you who read The Zap Gun on my recommendation, Ubik packs a similar punch.

Dr Bloodmoney (1965)
Another odd one. Also known as How We Got Along After the Bomb, Dick's tale of post-nuclear survival is actually rather pastoral in places and extremely dark in others. This is probably a result of the deep ambivalence PKD felt about the time he spent as a "country squire" in rural California - an ambivalence also reflected in the more well-known Do Androids Dream of Electric Sheep?, which is also highly recommended.

Now Wait for Last Year (1966)
Underrated! This is one of PKD's most atmospheric and emotionally resonant novels. Don't sleep on it!

Martian Time Slip (1964)
A pretty interesting mixture of pulp fiction silliness and radical anti-psychiatry. As compassionate and though-provoking a book about schizophrenia as one could hope to read - but in space!

Friday, September 21, 2007

What? Guitar Music??

I finally found out when Oren Ambarchi is playing in Vancouver. He's appearing on October the 17th at the Dance Centre as part of Vancouver New Music's Guitars! Guitars! Festival. Other artists appearing at the festival include Bill Frisell, Richard Bishop, Keith Rowe, James Plotkin and Nicolas "Hotshot" Bragg.

Interestingly, I was at the record store that Hotshot manages just today and I happened to pick up an Oren Ambarchi LP. Actually, the album in question is a duo release with Martin Ng called Reconnaissance. The video that accompanies this post is a clip for the opening track from Reconnaissance and was created by ace graphic designer and Mego affiliate Tina Frank.

Saturday, September 15, 2007

What Computer Music
I know I said I wasn't going to do any more posts for a couple of weeks but Matt replied to my second computer music post. Of course he did so in his usual thoughtful manner but I really have to take issue with much of what he said - hence this post. Let's take a look at some of Matt's comments on analogue-versus-digital electronica and see how these comments they apply to my theories and music.

"Looking into synths I've come to appreciate the difference between computer sonic synthesis, the "Rompler" style of synthesiser (essentially manipulating samples to create sound) and the older "Analogue" synthesisers."

I'm not sure these categories apply to what I - or the majority of contemporary computer music producers - do. Perhaps the more relevant categories would be "granular synthesis" (manipulating samples by breaking them down to a molecular level and moving the particles around) and "virtual analogue synthesis" (computer-modeled oscillators and envelopes).

"With Analogue synths one is actively shaping the sonic envelope generated by oscillators. It's the difference between carving a statue out of stone and I dunno, ordering a sculpture off a website."

From my point of view, the difference between analogue synthesis and granular synthesis is the difference between playing an acoustic guitar and playing with psycho-acoustic space.

"There's always something very physical and tactile, very "of-human-dimension" about Analogue electronic music that I find appealing too."

Funny how old synth music that probably sounded impossibly alien and robotic at the time now strikes our ears as specifically human.

Actually, there's something incredibly tactile about granular synthesis - the ability to take any sound, bust it up into atoms and twist it inside out, in real-time. In my experience, nothing in conventional musical practice or instrumentation comes close to allowing this kind of hands-on sonic manipulation.

I've also always tried to include a more literally tactile element in my computer music practice. My Max patches are entirely around a Behringer BCR 2000 MIDI controller (as pictured at the top of this post). Basically the whole set up is designed to act as a virtual version of the Behringer or - to put it more accurately - I use Max/MSP to turn the Behringer into a kind of granular synthesis hardware instrument. The Behringer has, I think, 32 knobs and 16 buttons, which effectively means that I can do most of what I need to in a live performance without even touching my laptop's track-pad.

"Recently I've tended to find Electronic music made on computers flat,

Surely, then, Matt is simply hearing the wrong computer music. I guess I'll have to send him copies of my glitch classics and new electronic underground mixes. I'll also use this opportunity to link to my series of posts on a few random masterworks of more-or-less recent glitchy and/or software-based electronica, all of which are highly recommended.

Frank Bretschneider - Curve

Ultra Milkmaids - Disko 2K

Autopoises - La Vie a Noir Remixes and Random Inc - Walking in Jerusalem

Oren Ambarchi - Suspension

Gas - Pop

General Magic - Frantz

On the other hand, why not just go out and buy the most recent Alog album, which should be proof enough for anyone that computer music can be a joyous, multi-dimensional experience.

"I think, and it's not a wholly original point-of-view, that people tend to make very un-dynamic, unphysical music on computers."

Yes, this is most certainly the common wisdom among serious music fans. Indeed not a day goes by when someone doesn't accost me in the street to tell my "your music and all the music you love the most is appallingly un-dynamic and unphysical" before spitting in my face and leaving me to trudge home dejectedly.

Seriously, though, I'd have to plead guilty as charged on this one - dynamics and physicality are probably the musical values that mean the least to me. I tend to prefer disembodied music structured mainly around stasis.

"The MPC for instance, it's not a word-processor it's this big chunky hand-triggered drum-machine. As for its interface, you're not layering tracks on top of one other as is the dominant visual paradigm in Pro Tools, Logic or Ableton Live, you're building music out of stabs. "

Interestingly, there is a MIDI controller modelled on the Aika MPC, so it is actually possible to play computer music MPC style. In fact, it wouldn't surprise me to discover that the MPC itself has a MIDI-out port, which would allow one to use it to play other hardware and software instruments.

In addition to all this, a couple of people have actually built Max patches that simulate the MPC! I bring this up mainly because I think it's funny, rather than because I think it proves that anything you can do, I can do virtually.

"By definition the music is built on gaps of silence as much as of noise (and don't you know half music is silence!) Computer music to my ears these days, of whatever kind, sounds very much like a endless, unpunctuated, obsessively-tweaked, spelling-corrected trickle.

Again, this surely has to be a result of hearing the wrong records. That Alog record, for instance, sounds more like a hilarious typo-ridden gush of wonder. My personal taste is not for electronica of the obsessively tweaked kind - I tend to prefer it glitchy and spontaneous.

As for aural punctuation, why not try some Raster Noton releases, like the ones K-Punk wrote about about so eloquently in The Wire last month? The Raster crew are absolute masters of rhythm and silence. Doesn't the term "raster" even refer to the space between pixels on a computer screen?

And there's always Rafael Toral's awe-inspiring Space - an album that combines virtual analogue synthesis and DSP with analogue synthesis and custom MIDI interfaces to create copious amounts of silence plus some extremely extremely dramatic, beautiful music.

Anyway, I've had my say (again). For those of you who want to hear me back my bullshit up with some actual music of my own, head over to the connect_icut website and have a listen to some MP3s. Trickle or gush? You decide.

Wednesday, September 12, 2007

I seem to have blogging quite a lot recently. For those of you who've been having trouble keeping up, here's a quick guide to the main threads. I'm assuming that some of you are having trouble keeping up. That's how I explain the lack of activity in the comments box to myself when I'm lying awake at night, anyway.

Computer Music

Part One
Part Two

Preparatory Notes for the 90s Revival

Part One
Part Two

I actually plan to do another computer music post at some point in the future and I'd like to talk more about the whole punk rock attitude issue but I really should take a break for a week or two. In the mean time maybe you lazy bastards will be able to catch up on some reading.

Tuesday, September 11, 2007

Scott Walker: 30 Century Man

I finally got to see this at a VIFF media preview. Obviously, it was a lot of fun for a rabid Scott fan like me. That said, I do have some reservations about the movie. The main thing is that I don't see it helping outsiders to understand or appreciate what Walker-ites get out of albums like The Drift.

The tone of 30 Century Man is actually somewhat bullying - it's as if we're being told: "This is important! You don't need to know why, you just need to respect it!" More than likely, most of the people at the press screening emerged non-plussed at best and maybe even a little resentful at being force-fed Scott's godlike genius.

Ah... fuck 'em.

Monday, September 10, 2007

Three New Mix CDs: Postscript (Two Lists)
Soon after publishing this post on my three new mix CDs, it was suggested to me that my opinion as to the exact location of rap music's golden age might be somewhat unconventional, if not unique. Shortly after that, this Woebot post appeared, linking to this discussion and this list. Validating stuff for an early-90s rap fan, you'll agree.

Of course I don't limit myself to the 91-93 period as strictly as these folks but the point remains - while the critical consensus pretty much writes off 90s rap, there are plenty of informed folks who see the early 90s as hip-hop's golden age.

So lets tackle the main objections to 90s hip-hop, which seem to be:

(i) It was more conventionally musical than what came before and after and was relatively uninteresting sound-wise, compared to what was happening in other genres at the time.

Hip-hop beats in the 90s are certainly more musical and less noise-based than they have been in other eras but the musical material deployed by 90s producers like DJ Premier and the Rza was often distinctly unconventional - modern jazz and library music breaks detuned through lo-fi sampling keyboards. The resulting instrumentals were rich, dissonant and distinctly odd.

Perhaps what makes this music sound less overtly "futuristic" than the work of Timbaland or the Neptunes
(not to mention 90s drum'n'bass and IDM) is its relative rhythmical straightness. This was probably a necessity give the off-kilter nature of the samples used and the fact...

(ii) ...that 90s hip-hop is willfully obscure, having little or no relation to pop music and being overly reliant on abstract lyrical flows that are all-but incomprehensible to outsiders.

This is fair enough but really, who can give rats ass about the concept of "pop music" in these diffuse days? Is the idea of pop music as a positive cultural force really relevant in the Internet age? And are catchy hooks really a necessary part of people's musical experience these days - particularly people who read blogs about obscure music? Seriously: discuss.

Anyway, the uncomfortable fact is that hip-hop really doesn't have much to do with pop music - not because it's too "real" or underground for pop but because it's a distinctly different musical paradigm. In fact, it was rap music that made me realize that it was actually possible to have a distinctly different musical paradigm. It's really not too much of a stretch to say that, without this era of hip-hop, I wouldn't be listening to, writing about and making experimental music today.

Thinking about this and reading other people's recommendations really made me want to collate a list of my favourite 90s rap LPs. And that got me thinking that I'd also like to compile a more comprehensive list of my favourite UK post-rock records, to flesh this out. Well, the post-rock list will have to wait because I have a lot on my plate but the time seems just right for the hip-hop list, so I'm going to go for it.

No commentary on these but I've marked any album that's a particular fave with an asterisk. Additions are welcome in the comments box. Also, this whole experience has made me realize how many classic 90s rap albums I've never actually heard, so I've also collated a substantial "to hear" list.

My Favourite Rap Albums from the 1990s
Alkaholiks - Coast II Coast
The Beatnuts - The Beatnuts
Black Moon - Diggin' in da Vaults*
Black Moon - Enta da Stage
Black Sheep - A Wolf in Sheep's Clothing
Brand Nubian - Everything is Everything
Busta Rhymes - The Coming
Cypress Hill - Cypress Hill
Cypress Hill - Black Sunday
Digable Planets - Blowout Comb
Eric B and Rakim - Don't Sweat the Technique
Gang Starr - Hard to Earn*
Gang Starr - Daily Operation
Gang Starr - Step in the Arena
The Goats - Tricks of the Shade
Goodie Mob - Soul Food
Gravediggaz - Six Feet Deep*
GZA/Genius - Liquid Swords
Jeru the Damaja - The Sun Rises in the East*
Lords of the Underground - Here Come the Lords
Lost Boyz - Legal Drug Money
Method Man - Tical*
Mobb Deep - The Infamous*
Keith Murray - The Most Beautifulest Thing in This World
Nas - Illmatic*
Nine - Nine Livez
Onyx - Bacdafucup
The Pharcyde - Bizzare Ride II The Pharcyde*
Raekwon - Only Built for Cuban Linx*
Redman - Whut?
Redman - Dare iz a Darkside
Smooth da Hustler - Once Upon a Time in America
Souls of Mischief - 93 'Til Infinity
A Tribe Called Quest - Midnight Marauders*
A Tribe Called Quest - The Low End Theory
UMCs - Fruits of Nature
Wu-Tang Clan - Enter the Wu-Tang: 36 Chambers*

Classic Rap Albums from the 1990s That I Haven't Heard
The Beatnuts - Intoxicated Demons
Blahzay Blahzay - Blah Blah Blah
Boogiemonsters - Riders of the Storm
Brand Nubian - One for All

Del - No Need for Alarm
Diamond and the Psychotic Neurotics - Stunts Blunts and Hip-Hop
Freestyle Fellowship - Inner City Griots
KMD - Mr Hood
KMD - Black Bastards
Main Source - Breakin' Atoms
Masta Ace - Slaughtahouse
Method Man and Redman - Blackout
Organized Konfusion - Organized Confusion
Pete Rock and CL Smooth - Mecca and the Soul Brother
Showbiz and AG - Runaway Slave

Phew! Looks like I've got some record shopping to do.

Sunday, September 09, 2007

Get Your Bleak On
There's a new Esperik Glare cassette out. It's fucking great - something like listening to Wolf Eyes rehearse at the other end of a large warehouse (in a good way). You can - and should - order the tape from Psychform Records.

Saturday, September 08, 2007

Buck 65 at Zulu Records

I didn't even know that somebody had filmed this. There are about a dozen more clips up there too. Look 'em up!

Ah... memories.

Wednesday, September 05, 2007

Not One, Not Two but THREE New Mix CDs
That's right. You heard. This is the good news you've been waiting for, to take your mind off the horrible fact that the "person" who "directed" 300 is "adapting" Watchmen (and they're filming it here in Vancouver, natch).

As regular readers know, I usually make a pair of mix CDs for each season of the year - one general, one genre. Didn't get 'round to making any for summer 07, so I decided to go all out for the autumn and make three mixes - one general, two genre. In addition to this comes the unconventional decision to provide partial annotation for said mixes on this here blog.

If you want a copy of one or all of these CDs, just drop me a line and I'll make it happen. If you're an artist who is offended by having one of your songs included on one of these CDs, just drop me a line and I'll make it disappear.

Now, without further ado, let's take a look at some track-listings.

Sam's Mix CD for Autumn 2007
Not too too much to say about this one. It's just a collection of more-or-less-recent, more-or-less-catchy tracks that I've been particularly enjoying in recent months.

The Fall
"Insult Song"
Von Sudenfed
"The Rhinohead"
Shackleton "Hamas Rule"
Roll Deep
"When I'm Here (Chopped and Screwed)"
Trim "They Gave Him An Inch"
Architecture in Helsinki "Heart It Races (DJ Rupture Remix)"
Noriko Tujiko "Gift"
Alog "Son of King"
Ultra Milkmaids "My Personal TV System"
Sonic Youth "Do You Believe in Rapture?"
Sunn0))) and Boris "The Sinking Belle (Blue Sheep)"
Islaja "Suru Li"
Fennesz Sakamoto "Glow"

Hard Rocks if Getting Weirder: Rap in the 90s, Volume Two
The original inspiration for this mix was Simon Reynold's latest collection, Bring the Noise. The book claims to be concerned with "Hip-Hop and Hip-Rock", so I was a little disappointed (though not at all surprised) that it all-but passed over rap music's early-to-mid 90s heyday.

In this context, I found it quite hard to deal with Simon's articles on recent rap music. To be honest, I couldn't even bring myself to finish most of them - and I'm a pretty major Reynolds fan. For me, mainstream rap music simply ended with Jay-Z's "Ain't No Nigga", which seemed to boil 90s hip-hop down to an easy-to-swallow formula, devoid of everything that had made the music challenging and exciting.

I don't even like to say "hip-hop" any more. If yuppie gyms in Vancouver can give exercise classes in "hip-hop dance", then the term is meaningless as a sign of sub-cultural identification. At least the term "rap" is genuinely descriptive. The MCs on this mix can really rap and the hip-hop artists of today really can't.

So, I can't agree with Chris when wheels out the old argument about hip-hop being a cultural entity separate from and superior to mere "rap". Having said that, I totally concur with his statement that mainstream rap is the hair metal of today. Ha!

It's good to laugh. Everything was getting a little negative there. I really should be talking about the fun I had digging up all of these insanely infectious, stridently avant garde gems. See, the other main inspiration for making this mix was my quest to use Solarseek in order to re-aquire all those old rap hits that I used to have on dubbed cassettes.

One thing that struck me was how many of the MP3s I found were ripped from people's 12"s, rather than from CDs. Even many of those that were from CDs came from DJ mixes, hence the supplementary scratches and shout-outs on some of the tracks featured here.

The other thing that struck me was how truly unpleasant this stuff is. Violence, misogyny, homophobia, Social Darwinism... it's all here. Unfortunately, I've always found it impossible to separate the bleak hateful aspects of this music from its ability to be thrilling and life-affirming. I can't explain or justify it but the former seems to feed the latter. I know Simon could explain it for me.

Perhaps my ambivalence about this music is best summed up by the fact that my favourite line on the whole mix is essentially a very clever joke, leading up to a stoopid homophobic punchline. I'll quote it here, in the hope that it provides some insight into the way the things that make this music morally reprehensible are often the same things that make it dazzlingly brilliant.

The line comes from "Contents Under Pressure" by the Alkaholiks and it runs something like: "You Range-Roving, Tommy Hilling, Busting Glocks/While I'm in the studio, busting lyrics in my socks/And the AC is broken, no joking/We've got the rum without the coke in/The fucking DAT machine is smoking/The pizza still ain't here, we outta beer/And I think this muthafuckin' engineer is a queer!" To which, I can only add a shame-faced "Oh dear".

Here's the full track listing...

Ol' Dirty Bastard
"Brooklyn Zoo"
"Investigative Reports"
Capleton and Method Man "Wings of the Morning (Remix)"
Redman and Method Man "How High (LP Version)"
Keith Murray
"Get Lifted"
Busta Rhymes "Woo-Ha!! Got You All in Check"
Smif-N-Wessun "Bucktown"
Black Moon "Reality"
Craig Mack "Flava in Ya Ear"
Blahzay Blahzay "Danger"
Smooth da Hustler "Murdafest"
Nine "Any Emcee"
Brand Nubian
"Word is Bond"
Lost Boyz "Lifestyles of the Rich and Shameless"
Channel Live
"Mad Izm (Original Remix)"
Tha Alkaholiks "Contents Under Pressure"

Time to Find Me: UK Post-Rock Volume Three
Disco Inferno - "The Last Dance"
Of course, I love Disco Inferno's albums and really appreciate the work of those record companies that have kept said album's in print, in spite of massive public indifference. It's a shame, though, that nobody has seen fit to issue a comprehensive singles-and-B-sides compilation because much of DI's best work actually appeared in the form of now-hard-to-find singles and EPs.

"The Last Dance" was a single released in the run-up to DI Go Pop and sees the band on top form. It's their most overtly New Order-influenced moment and one of their finest songs. When the snare drum kicks in three quarters of the way through, it's heart-stopping.

Transformer - "Outdoor Miner"
This Wire song was also covered by Flying Saucer Attack (a B-side from that single actually appeared on the last volume of my post-rock comps). Transformer were, apparently, the "other two" from Disco Inferno. Certainly, this recording is more sonically interesting than anything from DI singer Ian Crause's solo work but I can't vouch for Transformer's songwiting prowess as this is the only thing I've ever heard by them.

Adventures in Stereo - "There Was a Time"
The thing I particularly like about this UK post-rock mix is how un-US post-rock it all is. The original track-listing included a Rothko song that sounded a bit like Tortoise. Obviously, it had to go. The songs that made the cut tend towards either breezy avant-pop or gloomy industrial rock.

This one's from the breezy side, obviously. It's a lo-fi sampledelic confection that may have something to do with an ex-member of Primal Scream. The CD from which it was ripped came to me courtesy of Carl Impostume.

Stereolab - "
I've shied away from including any Stereolab on previous volumes of these post-rock mixes because... well... they're popular. In fact, until I read the Pitchfork article that inspired these mixes in the first place, I'd never really thought of The 'Lab as a post-rock act. I still have my doubts but what the hell - this is a great song.

Snowpony - "
Golden Carriage"
Snowpony have an unfair reputation for being rubbish, mostly based upon that bloke from Tortoise doing a crap production job on their debut album. The lyrics probably don't help, mind you.

Anyway, Snowpony featured ex-members of Stereolab and (gasp!) My Bloody Valentine, they sounded quite a lot like Moonshake and their first two singles were great. This track is a B-side from the first of those singles, "Easy Way Down".

Moonshake -
"Second Hand Clothes"
Speaking of Moonshake, here's the song that got me into post-rock in the first place. One week back in my adolescence, a friend who had satellite TV taped MTV Europe's "alternative" show for me because The Fall were on it. The show also featured the video for "Second Hand Clothes", a song which still sounds raw, unearthly and startlingly original.

"Remember How to Breathe"
A Seefeel spin-off group. Same singer at least, right? Talking of Seefeel...

Seefeel - "Time to Find Me"

As I already mentioned, one of the weird things I've noticed since I finally entered the world of peer-to-peer MP3 sharing is the amount of MP3s out there that have clearly been ripped from vinyl, rather than CDs. I've never heard this song in any other form, so I'm assuming that all the vinyl noise on this MP3 is intentional but who knows?

Anyway, great song from a band who really seem to be getting some respect with the reissue of their excellent debut album Quique. Interestingly, a vinyl copy of Quique recently sold for $90 on eBay.

The Third Eye Foundation - "
Universal Cooler"
Awesome, obscure, GZA-sampling 7" from the Bristol scene. Talking of which...

Movietone - "
We Rode On"
The Bristol post-rock scene (Flying Saucer Attack, Third Eye, AMP) seemed to gain more of a foothold in North America than the south-eastern scene did. The album from which this Movietone track is taken (The Sand and the Stars) even came out on Drag City. Perhaps the more modest agenda of the Bristol bands was easier for American indie-rockers to swallow than the strident futurism of Disco Inferno et al.

Papa Sprain - "
Flying to Vegas"
Papa Sprain were proteges of AR Kane and friends of Butterfly child. They were simply too willfully odd to survive and never got around to releasing a full-length album (allegedly they presented their understandably non-plussed label with a tape of someone reading Ullyses, backed by free-form guitar feedback). This EP title track sees the band in pop mode, sounding like a cross between Lloyd Cole and the Butthole Surfers. In a good way.

Spoonfed Hybrid - "
Naturally Occurring Anchors"
Talking of people who were too willfully odd to survive.
Ian Masters was the original front-person of superior shoe-gazing outfit Pale Saints. From what I can tell, he got ejected from his own band for being an awkward bastard. In his subsequent project, Spoonfed Hybrid, he was free to pursue his vision - a weird mixture of new-age balm and willful oddness.

Bark Psychosis - "
I Know"
You can't have a UK post-rock mix without any Bark Psychosis. Simple as that.

Scorn - "White Irises Blind"
The importance of Napalm Death to the UK post-rock scene is a source of endless puzzlement for me. Bark Psychosis, for instance, started out as a Napalm Death covers band!

Colossus, by Scorn - aka ex-ND drummer Mick Harris - is probably the most logical bridge between grindcore and post-rock. It's as doomy as it is groovy - sounding not unlike Skinny Puppy in dub - and while it isn't a patch on Harris' masterwork Evanescence, it certainly has its moments - as this track attests.

Terminal Cheesecake - "Oily Hot Knife"
Don't be put off by the ban name. These Kevin Martin-affiliated industrial types had something pretty interesting going on. Another Carl Impostume pick.

Main - "
There is Only Light"
I only just figured out that Robert Hampson didn't go straight from playing gothy trance-rock in Loop to producing spartan ambient drones in Main. In fact, the early Main records show a real continuity with the best of Loop's work and are utterly unique in their own right. "There is Only Light" is the lead track from the Hydra Calm EP but for the full experience, seek out the titanic three 12" set Motion Pool.

Hair and Skin Trading Company - "
These guys were the "other two" from Loop. "*" is goth-dub of the first order - kind of like a more organic Scorn.

Tuesday, September 04, 2007

Sneefler Versus Toy
The best bit is when she licks her private parts and then fucks off.

Monday, September 03, 2007

Dial 604
It's the Greater Vancouver area code, of course but it's also the model number of the wonderful Dual record deck that I'm using at the moment. This little beauty was rescued about 18 months ago from a pile marked "Salvation Army" at the record store. It's been sitting in my closet since then.

Finally, I got around to persuading Kris to drive me out to see Mr Petersen in North Van. Mr Petersen is an elderly chap who has framed pictures of his cats in his workshop, so you know he's one of the good guys. He specializes in fixing Dual and Technics record players and he does a damn fine job.

Gotta tell ya, this Dual is the best record deck I've ever owned. It'll play anything you throw at it without a hitch. Horribly warped Kevin Ayers LP? No problem! Ridiculously bass-heavy Rhythm and Sound 10"? No problemo! It's doing a great deal to keep a rainy Labor Day weekend fun.

Saturday, September 01, 2007

Roxie in the Garden
The Sneefler Film Festival continues, with no end in sight. Today, Sneefler steadfastly refuses to climb a tree for our delight. Thrilling stuff.