Although “The “Priest” They Called Him” might be the most obscure thing in Kurt Cobain’s discography, it’s probably the best selling musical collaboration of William S, Burroughs’s recording career. Basically, in 1992, Cobain contacted his hero, Burroughs about doing something together. Burroughs sent him a tape of a reading he’d done of a short story originally published in his Exterminator collection in 1973 and Cobain added some guitar backing based on “Silent Night” and “To Anacreon in Heaven.”
by Steve Albini ................. Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end.
Domino Recording Company recently released Black Hole, a 26-track anthology of late 1970s California punk, curated by Jon Savage, a UK music writer. Domino is proud to announce the release of Black Hole, a compilation celebrating the first wave of California Punk that briefly flourished between 1976 and 1980. Compiled by esteemed writer Jon Savage, Black Hole will be released on November 15th 2010. This compilation contains ideas, anti-establishment rants, sharp comments about the world, attempts at transcendence and plenty of savage wit. Featuring The Dead Kennedys, The Germs and The Zeros, the collection of tracks on this album sound as fresh as the day they were recorded.
By Terry Townsend .............. September 23, 2010 - John William Coltrane (abbreviated as "Trane" by his fans) was born on this day in 1926. Since his untimely death on July 17, 1967, saxophone colossus Coltrane has become an icon of African-American pride, achievement and uncompromising determination. He led a revolution in music that mirrored the turbulent growth of black militancy and revolutionary ideas within the urban black community. Today, Trane continues to inspire.
For a small country New Zealand has long been pumping out some impressive music. Way back in the 1960s it was crazed long-haired punkers messed up on all sorts of stuff - musical (the Pretty Things, Love, the 13th Floor Elevators, the Troggs and who-knows-what-else) and I guess otherwise. Some of the best of these bands (at least, the ones that recorded) can be heard on Wild Things vol 1 and 2, compiled by NZ music historian John Baker, the first of which came out on Flying Nun, the second probably on Baker's own Zero Records, also the home to No. 8 Wire: Psychedelia Without Drugs.
On a warm weeknight in early-June, a kid set aside his guitar, dropped to his knees and began to moan -- pulling at strings and twirling knobs -- before losing himself in the squalls of ringing feedback, shifts in modulation and ambient noise that his band, Carpet of Let, concocted behind him. "I'm nervous and shy," the kid later said. "I like to make noise like a zombie." Zuo Wei, a mild-mannered 20-year-old chemistry student at Tianjin Normal University, is one of the most active figures working to nurture a new offshoot of Beijing's music scene, one that is embracing a more DIY, community-based ethic as the independent music industry enters a new phase of commodification.
From The Cortinas to Lunatic Fringe and Disorder, Bristol had a huge Punk scene that has influenced, affected and stimulated a vast range of artists that operate in the city. Many of these artists produce music that wouldn’t necessarily suggest a Punk heritage but scratch beneath the surface of a lot of the major players in the Bristol milieu and you will find a fondness for the times of `spikey barnets’, limited musical ability, a `F*** You’ attitude and disrespect for the music industry and its poseur hierarchy.
Imagine a two-man band that used a droning Farfisa organ with primitive drum machines with plodding rhythms that were accompanied by rockabilly howling from the bowels of hell. You might raise and eyebrow out of curiosity but ultimately decide to pass on listening to tunes by such a band. Now imagine this band during the 1970's in the context of groups of Yes and Genesis and how people might have reacted to this outlandish and abrasive sound. The band, of course, is Suicide.
Michael Gira's re-activated Swans will be undertaking their first U.S. performances in 13 years, celebrating the Fall release of the first new Swans album since Soundtracks For The Blind (1997). The album was recorded by Jason LeFarge at Seizure's Palace in Brooklyn and is currently be remixed by Gira with Bryce Goggin (Antony & The Johnsons, Akron/Family) at Trout Recordings.
The free iPhone app features all ATR albums and songs, all videos, a photo archive, bio, news updates and also a ‘Riotsounds Produce Riots’ audioplayer. This audio player includes all the sounds/WAV files that ATR used at the May 1st 1999 demonstration (very low sub basses, square waves, noise sounds which trigger hysteria and panic within the audience) & would make them available to every political activisit out there. The idea being that you can hook up your iPhone to a speaker system if there is a rally: Apple/iTunes is arguing that they still need to investigate further, because it is legally a grey area and ATR has been indexed in Germany before (censored).