Very unpleasant news to report today, as Algerian-French singer Rachid Taha passed away today from a heart attack. He was one of the first and most important artists to fuse Raï and rock together in a way that gained him fame all over the world. Here he is taking on The Clash’s cult classic.
Ataşehir is the side project of Sumatran Black, an expatriate residing in the Anatolian side of Turkey. The music roaring out of my speakers sounds, in part, like a black-ambient version of a 1950s B-Movie sci-fi soundtrack (trust me, this is a high compliment, considering my brother and I grew up as fans of the film genre and the music it produced) and a touch like the end of the movie Solaris, where film composer Eduard Artemiev goes into a drone which grows louder and louder until it crescendoes.
There is an amusing irony that the song titles, as Ataşehir mentions on his site, “are taken from aspirational advertising slogans of various residential developments from around the world.”
There is a bleak, black beauty to this album. It ends with a progressive-rock length final track clocking in at 48 minutes. Colorful Places to Live and Play Bandcamp Exclusive Compilation Version. . As it turns out, it is the least brutally dark track on the album, making for a pleasantly drony listening experience.
AltRockChick does a stellar job defending the work of Richard Thompson (and Linda as well) from some of rock’s most moronic critics.
Love me or hate me, but the one thing that is beyond dispute is that my perspectives on music have never been influenced by commercial considerations, a desire for fame or the opinions of Establishment critics.
From a financial perspective, altrockchick.com is one of the worst-performing enterprises in history: after six years, 400 reviews and 1.5 million words, I have earned zero revenue while piling up thousands of dollars/euros in expenses. I write anonymously because the last thing in the world I want to experience is the personality distortion and general weirdness that usually comes with fame. I do read the opinions of Establishment critics, but most of the time I find myself offended by their sheer laziness, astonishing pomposity and the façade of objectivity they attempt to project. I’m sorry, but if you’re getting paid to write reviews for a magazine, newspaper or website, your objectivity is automatically compromised…
View original post 3,543 more words
Disques Debs International Volume 1. Label: Strut. Release Date: ‘29th’ July 2018. Compilation Of The Week. Nowadays, Disques Debs International which was founded by Henri Debs in Guadeloupe, in the late-fifties, is regarded by many connoisseurs as the one of the best, if not greatest of all French Caribbean labels. That is high praise, given […]
A Beginner’s Guide To Hard Hat Color Coding is a new project by BlindººCoyote, longstanding monicker of Drem Bruinsma, a Dutch-born composer now based in Alicante, Spain, whose work under this moniker reminds me of peak-period Cluster finding a bit of time to carouse with an early-wave Industrial band (think Cabaret Voltaire’s more daring experimental work than the dark funk they would produce during their heyday). It would make sense, as BlindººCoyote has been alive as a project since the early 1990s, and this particular sound to me is timeless. The project has been active (with some periods of non-activity) since its first 1993 release, Phantom Pain/Genkaku no Itami, a project which stemmed from a collaboration with legendary jazz fusion trumpeter Toshinori Kondo.
There’s something very kosmisch about this particular release, though it has flourishes of a cold, metallic bent. This floats surprisingly easily and envelops this listener into a dreamy, lulling feeling. There’s also a reminiscence of sounds made by such acts as BlindººCoyote’s one-time collaborators Tuxedomoon (he wrote scores for video, dance, theatre and collaborated with the individual members of Tuxedomoon, amongst others).
Beautiful art from Croatia.
We begin a new month – the pink, flowery and sweet May – with a new artist; Croatian painter Josip Račić (1885-1908) and the watercolours he painted during his brief stay in Paris in 1908.
On 10th February 1908, young Croatian artist Josip Račić arrived in Paris. Five months later he was found death in his room. A suicide. A mystery which gave birth to the romanticised myth of this tortured genius’s life. In his short yet turbulent artistic career, from humble beginnings to education in Munich and lastly, his short Parisian period, Račić, having died at the age of twenty-three, managed to create enough works to become a crucial figure for the development of Croatian Modern art and to pave way for the artists who followed.
Račić was born in a village near Zagreb in 1885 and attended grammar school for a short period…
View original post 1,050 more words