.

Magnetic Eyes

1. Gary WilsonI wanna take you on a sea cruise
(This Is Why I Wear My Wedding Gown 7″, 1983)
2. Solid Space - The Guests
(Space Museum – Cassette – 1982)
3. Asmus TietchensTrümmerköpfe
(Biotop, 1981)
4. DeerhoofAlmost Everyone, Almost Always
(Deerhoof vs. Evil, 2010)
5. Jeff PhelpsOn The Corner
(Magnetic Eyes, 1985)
6. Tom NobleMusic Engine
(In Liger Vision, 2010)
7. Arthur RussellHop On Down
(Calling out of Context, comp, 2004)

I’ve been collecting lately – drum machines, tape delays, reverb units, anything that sounds like its from another place, decade, or planet. My record purchases have reflected this too – lots of 80s experiments, home recordings, private presses and the like. This is a succinct selection of  tracks which border on being not-quite-right. Lively drums, silly effects and a DIY attitude. Most of these tracks are from the early to mid 80s (with the exceptions following a similar aesthetic).

I’ve dropped off the posting wagon… but i will be clawing my way back on over the coming months… Many records to share.

Posted by: .

Category: Beats, Electronic, Experimental

Laidback and Breezy but Wistful

Blue Green Blues.

01. John Lee HookerFather Was A Jockey
Mr. Lucky (Charisma/ Pointblank, 1991)
02. Gregg AllmanFloating Bridge
Low Country Blues (Rounder, 2011)
03. John Lee HookerHighway 13
Mr. Lucky (Charisma/ Pointblank, 1991)
04. Lucinda WilliamsBorn To Be Loved
Blessed (Lost Highway, 2011)
05. John Lee HookerI Cover the Waterfront
Mr. Lucky (Charisma/ Pointblank, 1991)
06. The Innocence MissionMile-Marker
My Room in the Trees (Badman Recording Co., 2010)

note: Just as the title says. A early evening breeze clear blues. I am trying to be as crisp as possible, but it’s 1 am right now, so maybe a big pictures will help me focus a little. But if you are into mid week blues tunes with clean guitar line, this list probably will suit you. Soft, crisp and crossing the landscape. And John Lee Hooker rules.

John Lee Hooker’s guitar playing is closely aligned with piano boogie-woogie. He would play the walking bass pattern with his thumb, stopping to emphasize the end of a line with a series of trills, done by rapid hammer-ons and pull-offs. The songs that most epitomize his early sound are “Boogie Chillen”, about being 17 and wanting to go out to dance at the Boogie clubs, “Baby, Please Don’t Go”, a blues standard first recorded by Big Joe Williams, and “Tupelo Blues”, a stunningly sad song about the flooding of Tupelo, Mississippi in April 1936.

He maintained a solo career, popular with blues and folk music fans of the early 1960s and crossed over to white audiences, giving an early opportunity to the young Bob Dylan. As he got older, he added more and more people to his band, changing his live show from simply Hooker with his guitar to a large band, with Hooker singing.

His vocal phrasing was less closely tied to specific bars than most blues singers. This casual, rambling style had been gradually diminishing with the onset of electric blues bands from Chicago but, even when not playing solo, Hooker retained it in his sound.

Though Hooker lived in Detroit during most of his career, he is not associated with the Chicago-style blues prevalent in large northern cities, as much as he is with the southern rural blues styles, known as delta blues, country blues, folk blues, or “front porch blues”. His use of an electric guitar tied together the Delta blues with the emerging post-war electric blues. – wiki

image: Fey Ilyas, Marcus Vegas

Posted by: .

Category: Blues

The excitement of getting a room with a minibar

Image: Creator’s Inn.

“Emotions, in my experience, aren’t covered by single words. I don’t believe in “sadness,” “joy,” or “regret.” Maybe the best proof that the language is patriarchal is that it oversimplifies feeling. I’d like to have at my disposal complicated hybrid emotions, Germanic train-car constructions like, say, “the happiness that attends disaster.” Or: “the disappointment of sleeping with one’s fantasy.” I’d like to show how “intimations of mortality brought on by aging family members” connects with “the hatred of mirrors that begins in middle age.” I’d like to have a word for “the sadness inspired by failing restaurants” as well as for “the excitement of getting a room with a minibar.” I’ve never had the right words to describe my life, and now that I’ve entered my story, I need them more than ever. “
- Jeffrey Eugenides, Middlesex.

Look at me, all grown up and still pretty naïve. I already know much of the things that I like and those I don’t. I feel both happy and sad most of the time and I don’t really know what that means or what to do with it. There was a time where I devoted most of my energy trying to decode it. Now happiness and sadness reveal themselves as emotions that can’t really be narrowed down into simple words. For all I know they might be the same thing.
This playlist is an exploration of sorts of the colliding hues of happines and sadness. Debased by a feeling that these might just be the last days of summer. Hazy, laidback and breezy but wistful and yearning at the same time. They don’t realize that when the end of the night comes and you say goodbye you’ll truly mean it, but we’re all having fun so why ruin it with drunken ruminations. Take your picture and keep on dancing. The sun will keep on rising with or without you.

Posted by: .

Category: Bedroom playlist, Folk, Psychedelic

Chico’s Groove

Image: Azul dc

Amo los remixes de Prins Thomas y  Todd Terje (igual sus edits). El primero por lo general se encarga de dotar de una base ritmica muy sòlida cuanto track se le ponga enfrente. Aunque el remix a You’ll Disappear  es punto y aparte: es una avalancha funk de 12 minutos con un pequeño homenaje a Cream al cierre del track.  Todd Terje rehace los tracks apartir del bajo, haciendo de éste el personaje principal, a veces no sé en qué es mejor, sí como remixero o como bajista. El remix de Maurice Fulton es un clásico y lo redescubri en los “On repeat” que recomienda Tensnake en su perfil de facebook.
El disco de Discodeine está más que recomendable así como el podcast mezclado que hicieron para la Resident Advisor ( y me permito recomendarles igual el que hizo Pilooski para xlr8r).
Cierro con dos viejos clásicos que no necesitan presentación.
Buen inicio de la primavera a todos.

 

Posted by: .

Category: Motel de Moka

With wonderful deathless ditties
We build up the world's great cities,
And out of a fabulous story
We fashion an empire's glory:
One man with a dream, at pleasure,
Shall go forth and conquer a crown;
And three with a new song's measure
Can trample an empire down. [1]


Down, down, down. Would the fall never come to an end! `I wonder how many miles I've fallen by this time?' she said aloud. `I must be getting somewhere near the centre of the earth. Let me see: that would be four thousand miles down, I think--' (for, you see, Alice had learnt several things of this sort in her lessons in the schoolroom, and though this was not a very good opportunity for showing off her knowledge, as there was no one to listen to her, still it was good practice to say it over) `--yes, that's about the right distance--but then I wonder what Latitude or Longitude I've got to?' (Alice had no idea what Latitude was, or Longitude either, but thought they were nice grand words to say.) [2]



O long-silent Sybil,
you of the winged dreams,
Speak out from your temple of light
as the serious constellations
with Greek names
still stare down on us
as a lighthouse moves its megaphone
over the sea
Speak out and shine upon us
the sea-light of Greece
the diamond light of Greece

Far-seeing Sybil, forever hidden,
Come out of your cave at last
And speak to us in the poet's voice
the voice of the fourth person singular
the voice of the inscrutable future
the voice of the people mixed
with a wild soft laughter--
And give us new dreams to dream,
Give us new myths to live by! [3]


So our princes who have lost their principalities after many years’ of possession shouldn’t blame their loss on fortuna. The real culprit is their own indolence, going through quiet times with no thought of the possibility of change (it’s a common human fault, failing to prepare for tempests unless one is actually in one!). And when eventually bad times did come, they thought of •flight rather than •self-defence, hoping that the people, upset by conquerors’ insolence, would recall them. This course of action may be all right when there’s no alternative, but it is not all right to neglect alternatives and choose this one; it amounts to voluntarily falling because you think that in due course someone will pick you up. If you do get rescued (and you probably won’t), that won’t make you secure; the only rescue that is really helpful to you is the one performed by you, the one that depends on yourself and your virtù. [4]