French electro from the seventies. Like Daft pre-Punk.
(via myopicman)Source: towerofsleep
Dreamboys - Bela Lugosi’s Birthday
The significance today is that the Dreamboys were at one time The Bastards of Hell. Along with talk show show Craig Ferguson, also in the band was Peter Capaldi, who is now the 12th Doctor in Doctor Who.
I have rough plans for a Dr Who-related show in honour of its 50th anniversary. More assembly required.Source: youtube.com
Music fans cannot escape lists. From Ego Trip’s impressive tome to High Fidelity’s endless barrage, lists are here to stay.
As a curator with a mission to encourage, document, and connect creative expression across Canada, we’ve shied away from lists. Not because we believe they are bad or…
RIP Jim Kelly. Black Belt Jones remains one of my favourite films, combining blaxploitation and martial arts into a very 1970’s slice of funk. Kelly was a last minute fill-in for Bruce Lee’s Enter the Dragon and should’ve had a larger role based on his charisma.
Those were two separate soundtrack profiles during the early years of the radio show/podcast. It may be time to join forces anew in tribute.
Whilst I sort out my Mixcloud issues, let me just say the podcast is fine and working, despite the odd silences that creep in once in a moon. For now, this video of the Bryan Ferry Orchestra working with the Great Gatsby themes should be a good tease into the most recent XHM episode.
Welcome To Violence, Again
I was listening to Fogelnest Files recently, and host Jake Fogelnest geeked out about the opening narration to Faster, Pussycat! Kill! Kill! The sequence isa masterpiece of exquisitely worded camp that I revere in part because I love Russ Meyer’s film so much, and it’s such an inspired, unusual, and insane way to begin a film. But I also love it because it doubles as the opening to one of my favorite albums, 2000’s The Unseen, the debut from Madlib’s mysterious alter-ego Quasimoto.
The opening to Faster, Pussycat! Kill! Kill! boldly eschews any visuals beyond a series of multiplying lines that dance onscreen against a jazzy musical backdrop as the narrator waxes hyperbolic about the interconnected nature of sex and violence, and the emergence of a menacing “new breed” of vixen whose soft, yielding flesh hides an evil soul. It’s as close as Meyer would ever come to creating a sequence that’s pure audio; he all but eliminates visuals so that audiences would be forced to pay more attention to the words being spoken and feel the dangerous, gothic mood.
So there’s a strange symmetry to the opening track to The Unseen being an audio clip from a movie. These two iconoclasts from across a vast cultural divide are overlapping and veering into each other’s territories. Meyer is creating a scene that plays like a jazz solo while Madlib opens his album by channeling his inner filmmaker, crafting an opening that sounds cinematic because it’s taken from a preeminent cult film. Who but Madlib could have imagined that the perfect way to open an exploitation movie in 1965 would also be the perfect way to begin a psychedelic rap masterpiece three and a half decades later? —Nathan Rabin
For a charity single, Ty Segall channels Can. Dig that percussion.Source:
The investigation of possible new material tied to the six twenty-second vinyl releases by Boards of Canada has entered full-on scavenger hunt mode, as this page details with deciphering Youtube footage and unpacking graphic file formats.