Monday, 12 October 2015


Went to an excellent gig last night to see Free Jazz legend Peter Brotzmann.
Haven't been to a gig in long time, a habit I need to reanimate.
Cafe Oto in East London is the kind of venue I like, small with a sound mixer with ears.


Peter Brötzmann • alto and tenor sax, Bflat clarinet, Taragato
Jason Adasiewicz • vibraphone
John Edwards • double bass
Steve Noble • drums

Listen to their previous gig at Cafe OTO below:

Sunday, 4 October 2015

Jockey Slut Presents • Disco Pogo For Punks In Pumps Vol.1


Jockey Slut was a British music magazine which ran between 1993 and 2004, focusing mainly on dance music and club culture. It started as a self-published bi-monthly fanzine in 1993 before graduating to a monthly by 1999, following a buy-out by Swinstead Publishing. By 2004, it had gone quarterly, with a beefed-up web presence, a change which only lasted three and a half months before closure in late May that year.

1. Lucky Pierre • Angels On Your Body
2. Simian • The Swarm
3. Turner • My Aeroplane Mania
4. RJD2 • Ghostwriter
5. Roots Manuva • Bashment Boogie (Shadowless Tomz Remix)
6. Savile Robots • Am-Trax
7. DJ Q • The Birth Of A Beautiful Thing
8. Kenny Hawkes • Dance For Me
9. Derrick L. Carter • If I
10. Michael Meyer • Love Is Stronger Than Pride
11. Kiki • Our Time
12. Underworld • Mo Move13. Danny C • The Mexican (Jockey Slut Edit)

Label: Jockey Slut ‎– BP-10542
Format: 320
Country: UK
Released: Nov 2002
Genre: Electronic
Style: Electronic

Sunday, 30 August 2015

Wild Style Instrumental Beats


For three days in June of 1981, a movie director, a hip hop scenester and a drummer met in Blank Tapes studios in Manhattan and created the soundtrack to the most iconic hip hop movie in history. Named Wild Style, the flick was a collaboration between the aspiring filmmaker Charlie Ahearn and Fred Brathwaite (known around the downtown scene as Fab 5 Freddy); after a conversation at a Times Square show, Ahearn recalls they decided to “bring the hip hop world and the graffiti world together into focus” on the big screen. As a musical curveball, Ahearn proposed what he looks back on as a “ridiculous” idea: Instead of utilizing the popular soul and funk breaks that DJs like Grand Wizard Theodore and Grandmaster Flash were spinning at parties, they would create their own instrumental percussive grooves to score the movie.
To that end, they drafted in the talents of Lenny Ferraro (sometimes known as Ferrari), a drummer playing on the punk circuit who had originally cut his teeth backing up Aretha Franklin and Jerry Butler. The outcome of those studio sessions became known as the Wild Style breakbeats – a series of 13 short instrumentals that are now some of hip hop’s most revered and mysterious recordings.

Dave Harper • Bass
Lenny Ferrari • Drums
Chris Stein • Guitar, Effects

Produced by Chris Stein, Fred Brathwaite 
and Charlie Ahearn

Label: Beyongolia ‎– BEGO 12002
Format: Vinyl, flac
Country: UK
Released: 1998
Genre: Electronic, Hip Hop
Style: Instrumental, Breaks

Monday, 17 August 2015

Black Science Orchestra • Walters Room


Here's some more Beedle for your needle - if not the one attached to the tone arm, the one embedded in the digital junkie's arm at least. See bio info for Ashley Beedle over at the Ballistic Brothers post on Soundological. For his BSO effort, Ashely forsook the talents of buds Rocky & Diesel for a heavier reliance on Uschi Classen and engineer Marc Woolford. The album is named in deference to one of the early pioneers of the extended remix, Walter Gibbons. In all seriousness, if you just glossed over that link and you don't really know who Gibbons was then you better check yourself and click on that link, kiddo. You're in for a treat. Then go to the Disco Museum for a nice in-depth bio on the man you can read while listening to BSO's homage to the glory days of Philly, New York and Jersey disco. Shout out to Julian over at Play Jazz Loud for his psychic request!

1. Start The Dancer
2. City Of Brotherly Love
3. A Hot Family Day
4. Bless The Darkness
5. Just Holdin' On
6. Hudson River Revisited
7. St. Mark's Square
8.Save Us (The Jam)
9. Downtown Science
10. Rican Opus #9
11. Hudson River High

The Black Science Orchestra
Ashley Beedle • Percussion, Keyboards, Drum Programming
Marc Woolford • Keyboards, Programming
Uschi Classen • Keyboards, String Arrangements

The Brothers & Sisters
Amy Simmons • Flute
David Alvarez • Live Drum Overdubs
Dave Maggio • Saxophone
Lewis Rhone • Trombone
Charles Marin • Trumpet
Stella Hinton • Guitar
Tommy 'D' • Keyboards
Oscar Ronindéz • Percussion
Carl Walker • Vibraphone 

The BSO, Steve Lucas, Carla Hendry, Tommy 'D', Sister Soul

The Classenic String Ensemble • Strings

All songs produced, arranged and written by
The Black Science Orchestra

Except ‘Save Us’ co-produced and co-written by Tommy ‘D’
Engineered by James Brown and Marc Woolford

"Music is the first science known to man. Understand while you dance."
"The BSO would like to thank everybody who has supported us. Much love!" 

Label: Junior Boy's Own ‎– JBOCD5
Format: Flac
Country: UK
Released: 1996
Genre: Electronic
Style: Acid Jazz, Deep House, Jazzdance

Tuesday, 4 August 2015

Ol' Dirty Bastard

Shimmy Shimmy Ya!

Ol' Dirty Bastard Gets Muppeted!

Posted by Stanton Warriors on Saturday, June 13, 2015

Wednesday, 29 July 2015

Drum n' Bass

Pls whats happening here

Posted by Aisha Alubankudi on Tuesday, March 3, 2015

Thursday, 9 July 2015

Masabumi Kikuchi • Susto

Masabumi Kikuchi


Thursday, 2 July 2015

Friday, 19 June 2015

Dorian Cheah • ARA

To the extent that Dorian Cheah views his debut recording as a deep expression of personal identity, his musical identity seems to be shaped very much by producer Bill Laswell and the sidemen here, including Zakir Hussain, Karsh Kale, Hamid Drake, Bernie Worrell and Nicky Skopelitis. Cheah’s articulate violin is a strong lead voice throughout, recalling Shankar’s own electric experiments in the Indian tradition, but his shimmering runs and carthartic highs are almost always draped in electronic effects and folded into a lush sonic tapestry courtesy of Laswell. Yes, this album is very much in the spirit of the producer’s own affinity for trance and meditation, worldly percussion, dub vibes, deep bass and occasional detours (like oblique guitar solos)— all of which makes it clear this is no New Age outing. Cheah is great, the album bears the bass-heavy stamp of a Laswell production, and the percussionists help bring the music back to its acoustic roots. Meditate at your own risk.

Nils Jacobson • Global Rhythm

1. Turiya Satchidananda
2. Rebirth
3. Rasa Lila
4. Coming Home (Resistance)

Dorian Cheah • violin, sounds
Bill Laswell • bass, sounds
Bernie Worrell • keyboards (2)
Hamid Drake • drums (2)
Nicky Skopelitis • guitar (2)
Aiyb Dieng • percussion (2)
Bill Buchen • tabla (2)
Karsh Kale • tabla (3)
Zakir Hussain • tabla (4)

Recorded and mixed at Orange Music, NJ
Engineering: Robert Musso
Second: James Dellatacoma
Additional Recording at Stone Soup Kitchen by Dorian Cheah

Produced by Bill Laswell

Purchase Here/Preview

Label: Metastation ‎– MT021
Format: 320
Country: US
Released: 2007
Genre: Electronic, Folk, World, & Country, Jazz
Style: Ambient

Tuesday, 16 June 2015

Ornette Coleman • Of Human Feelings (Repost)

That's what I was trying to say when we were talking about sound. I think that every person, whether they play music or don't play music, has a sound - their own sound, that thing that you're talking about.

Ornette Coleman

1. Sleep Talk
2. Jump Street
3. Him & Her
4. Air Ship
5. What Is The Name Of That
6. Job Mob
7. Love Words
8. Times Square

Ornette Coleman • Alto Saxophone
Bern Nix • Guitar
Charlie Ellerbee • Guitar
Jamaaladeen Tacuma • Bass
Calvin Weston • Drums
Denardo Coleman • Drums

Produced by Ornette Coleman

Label: Antilles – AN-2001 / Polystar J33D-20002
Format: 32

Country: US / Japan
Recorded: 1979
Released: Vinyl 1982 CD 1985
Genre: Funk / Soul, Jazz
Style: Free Jazz, Free Funk

Sunday, 7 June 2015


Eric Dubay Flat Earth Anarchast

Thursday, 16 April 2015

Tuesday, 27 January 2015

A William Burroughs Birthday Book


I found this doing a clear out some years back a couple of months after Burroughs birthday and thought it would be a good idea to scan and post in time for the following year but just plain forgot. I would come across it from time and then forget about it again…anyway I’m on it this year round.
I bought this after the event from a underground mail order book distribution catalog called counter culture(?) pre internet days.
I haven’t read this since 1994 but had a quick scan through it whilst scanning, some interesting stuff within.
Counter Productions were a great source for finding unknown, weird and fringe gems, most of which I’ve kept and will scan and post if I find the time.
• Stylo •

A William Burroughs Birthday Book was produced to coincide with an event promoted by Catherine
Lupton and held on 5th February 1994 in Brighton, the 80th Birthday of William Burroughs.
The event itself in many ways mirrored Burroughs' own approach to literature and art, being a
random coming together of discrete connections that were collaged into a 'whole'. Alongside video
and sound-bites, numerous artists, writers and performers presented their work...
The only criterion was that the presentations should in some way be appropriate as a gift to Mr Burroughs.
The event was a sell-out, the dreamachines flickered into the night, and Dr Benway even
performed an appendectomy to thrill the crowds!
The booklet proved to be extremely popular. The following pages give just a flavour…WSB
The last words of Hassan i Sabbah

Sunday, 4 January 2015

Buck Jam Tonic

Buck Jam Tonic is a double album of improvised music by John Zorn, Bill Laswell & Tatsuya Nakamura. The album was released on the Japanese Wilddisc label in 2003 and is comprised of one disc mixed in Tokyo and another mixed in New York City. A vinyl edition was also released containing only the Tokyo mix.
The two discs make a neat set: the first was mixed by drummer Tatsuya Nakamura, while the second features three Bill Laswell interpretations of the same sessions. An obvious result is that there's some overlap of source material between the discs (see the samples of "Nu," from the Tokyo mix, and "Tzu," from the New York mix), but where Nakamura's tracks are rough-sounding little nuggets of rock, Laswell's are denser epics that build and ebb dramatically (across a wider spectral range, too) over the course of 20 or 30 minutes. Furthering the variety, John Zorn actually played alto and soprano sax that day instead of just honking, and Laswell pulled out some monstrous "boWAAAAAAAOW" noises to really get the blood flowing; the effect is a lot like the ugly muscle of Execution Ground, only with way peppier drumming. Hearing it through two different sets of ears gives BJT some replay value beyond its fist-pumping qualities, too, so it's more than just a replacement for a concert experience. Get past the awful name and hideous cover, and there's plenty to enjoy. - Taylor McLaren

Disc one • Tokyo mix
1. Old Dragon - 4:53
2. Lobo - 7:18
3. Matagi - 5:39
4. Toccata for Coyote - 10:20
5. Nu - 4:53

Disc two • New York mix
1. Tzu - 23:29
2. Second Sight - 28:37
3. Panepha - 15:39

John Zorn
• alto sax, soprano sax
Bill Laswell • electric bass
Tatsuya Nakamura • drums

All compositions by Nakamura/Laswell/Zorn
Recorded on December 6, 2002 at Victor Studio, Tokyo
Disc one mixed at Studio Sunshine,
Tokyo, by Tatsuya Nakamura
Disc two mixed at Turtletone Studio,
New York City, by Bill Laswell
Produced by Tsutomu Fujii

Label: WildDisk – WDD-004/005
Format: 320
Country: Japan
Released: 2003
Genre: Jazz, Rock
Style: Free Jazz, Free Improvisation