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Richie Hawtin - Decks, EFX & 909

Ratio - Early Blow [2:02]
G Flame & Mr. G - Dumped [1:03]
Richard Harvey - User (02) - B2 [1:11]
Richard Harvey - User (04) - A2 [1:04]
Richard Harvey - User (02) - A2 [1:24]
Richard Harvey - User (01) - B2 [1:16]
Richard Harvey - 001a - A2 [1:23]
Grain - B2 [1:09]
Santos Rodriguez - Road To Rio EP - B2 [0:36]
Grain - B1 [1:37]
Santos Rodriguez - Road To Rio EP - A2 [1:28]
Grain - A1 [0:47]
Richard Harvey - 002a - B1 [4:20]
Jeff Mills - Call Of The Wild [1:49]
Jeff Mills - L8 [0:39]
Jeff Mills - Scout [0:27]
Jeff Mills - L8 [0:13]
Richie Hawtin - Orange/Minus 1 [2:11]
Richie Hawtin - Orange/Minus 2 [1:16]
Richie Hawtin - Minus/Orange 2 [0:55]
Nitzer Ebb - Let Your Body Learn [2:11]
Richie Hawtin - Minus/Orange 1 [0:59]
Intermission - What The Hell Was That? [0:09]
Rob Jarvis - Killabite (002) - A1 [2:11]
Ben Sims - The Loops - A1 [2:56]
Jeff Mills - Alarms (First Mix) [1:16]
Surgeon - Force & Form (Surgeon Remake 2) [1:58]
Pacou - Zen [2:07]
Heiko Laux - Five [1:37]
Baby Ford & Eon - Dead Eye [2:23]
Savvas Ysatis - Club Soda [1:20]
Stewart Walker - It's Process Not Substance [0:31]
Maurizio - M5 [1:20]
Vladislav Delay - Neo [2:37]
Thor - Aliens Don't Boogie [2:51]
Marco Carola - Question (003) - B2 [2:59]
Quadrant - Kykeon [2:14]
Rhythm & Sound - Never Tell You (Version) [2:41]

REALLY MIXED by Richie Hawtin in use of the following equipment: Vestax PMC-50A Mixer, Vestax DCR1200PRO Isolator, Ensoniq DP/2 Effects Processor, Roland TR-909 Drum Machine, Technics SL-1200 Turntables, Stanton Trackmaster Cartridges, Roland CV Pedal.

Going Blind! Blind BLIND!

when I enter most intimately into what I call myself I always stumble
[on some particular perception or other, of heat or cold, light or shade, love or hatred, pain or pleasure. i can never catch myself at any time without a perception, and never can observe anything but the perception]









ah yes! the night. but be a little more attentive, for pity's sake, otherwise we'll never get anywhere. look! will you look at the sky, pig! good, that's enough. what is there so extraordinary about it? qua sky. it is pale and luminous like any sky at this hour of the day. in these latitudes. when the weather is fine. an hour ago roughly after having poured forth even since say ten o'clock in the morning tirelessly torrents of red and white light it begins to lose its effulgence, to grow pale, pale, ever a little paler, a little paler until pppfff! finished! it comes to rest. but – but behind this veil of gentleness and peace, night is charging and will burst upon us, pop! like that! just when we least expect it. that's how it is on this bitch of an earth.

Yours Stockhausen

I heard the piece Aphex Twin of Richard James carefully
I think it would be very helpful if he listens to my work "Song Of The Youth" which is electronic

music and a young boy's voice singing with himself because he would then immediately stop with

all these post-African repetitions and he would look for changing tempi and changing rhythms

and he would not allow to repeat any rhythm if it were [not] varied to some extent and if it did

not have a direction in its sequence of variations

Mental! I've heard that song before; I like it. I didn't agree with him. I
thought he should listen to a couple of tracks of mine: "Didgeridoo"
then he'd stop making abstract, random patterns you can't dance to. Do you reckon he can dance? You could dance to Song of the Youth, but it hasn't got a groove in it, there's no bassline. I know it was probably made in the 50s,but I've got plenty of wicked percussion records made in the 50s that are awesome to dance to. And they've got basslines. I could remix it: I don't know about making it better; I wouldn't want to make it into a dance version, but I could probably make it a bit more anally technical. But I'm sure he could these days, because tape is really slow. I used to do things like that with tape, but it does take forever, and I'd never do anything like that again with tape. Once you've got your computer sorted out, it pisses all over stuff like that, you can do stuff so fast. It has a different sound, but a bit more anal.
I haven't heard anything new by him; the last thing was a vocal record, Stimmung, and I didn't really like that. Would I take his comments to heart? The ideal thing would be to meet him in a room and have a wicked discussion. For all I know, he could be taking the piss. It's a bit hard to have a discussion with someone via other people.
I don't think I care about what he thinks. It is interesting, but it's disappointing, because you'd imagine he'd say that anyway. It wasn't anything surprising. I don't know anything about the guy, but I expected him to have that sort of attitude. Loops are good to dance to...
He should hang out with me and my mates: that would be a laugh. I'd be quite into having him around.

The Inverted (Spectra)

The Tempest - By William Sh.

[PRÓSPERO]

Reparai, senhores, no que vestem estes homens

e dizei-me se eles são de confiança. A mãe deste velhaco
disforme era uma bruxa tão nojenta
que influenciava até a própria lua

e as mais estranhas marés assim eram engendradas.
Roubaram-me os três; este meio-demónio
- que é, pois claro, um filho bastardo - tramou

junto dos outros tirar-me a vida. Dois são vossos

conhecidos; este pedaço de escuridão
sei bem que é propriedade minha.

[CALIBÃ]
I shall be pinch'd to death.

Entes Queridos #5 (This Thing Of Darkness)

zambezi!

Gestalt Therapy

3)
estaba pensando sobreviviendo con mi sister en New Jersey,
ella me dijo que es una vida buena alla
bien rica bien chevere ['nice'], Y voy! Puñeta!

4)
Trout Mask Replica was released in late 1969, but it still sounds like a signal retrieved from another time and dimension. Put more prosaically, it was a quantum leap from its predecessor in terms of structure and musical complexity. The difference is simply explained: Beefheart had recently had a piano installed in The Magic Band's communal rented house in Cunoga Park, San Fernando Valley, and began using it to generate new material. As he had no piano technique to speak of, the resulting 'compositions' were characterised by relatively short lines, inevitably in different metres. It fell to John French to capture the moment and transcribe these keyboard studies for the rest of the group to play. Building these heterogeneous layers into a structure and then coming up with drum parts to bind them together nearly drove him "nuts", French admits. The process wasn't made any smoother thanks to Beefheart deciding on a whim that parts should be played backwards.
The Magic Band now consisted of French and [Jeff] Cotton (rechristened Drumbo and Antennae Jimmy Semens respectively), plus two new recruits, teenagers Bill Harkleroad (aka Zoot Horn Rollo) on guitar and Mark Boston (Rockette Morton) on bass, who thought they were joining a psychedelic blues outfit. In the months leading up to the Trout Mask sessions, the group lived and rehearsed in the house in Cunoga Park in conditions of grinding poverty, with French, at least, practising for up to 14 hours a day. The group members were definitely malnourished at times, although rumours (or allegations) circulated by the group that Boston lived on dog food and was too weak to leave his bed sound mischievous. Fist fights broke out and the atmosphere soured as Beefheart became increasingly tyrannical. "A comic book Mansonish gestalt therapy kinda thing," is how Harkleroad remembers the time. The first track that was written on the piano with clear illustration of how it could be translated into parts for other instruments (in this case two guitars) was the astringent chamber piece "Dali's Car". Often, Beefheart's initial ideas would run out of steam, and the group had to make aleatoric leaps to complete the journey from A to B. "You guys know what to do," was his prosaic response to queries about how to tie up a particular song's loose ends. Gary Lucas (Beefheart's manager and guitarist later in his career) likened his compositional process to throwing a pack of cards into the air, taking a snapshot as they fell, then getting the musicians to reproduce the frozen moment.
"I got musicians who had never played before," explained Beefheart. "To get them past the 'I' consciousness, you know? That endless 'me, me, me'. Or do-re-mi, whatever that stuff is". This claim is fanciful to say the least; French and Harkleroad could both read music, and all four Magic Band members had been playing for years. But it is true to say that these musicians had never before played music like that on Trout Mask Replica. Although it travels a long way from its sources, Trout Mask Replica is still infused with the essence of the blues. In isolation, some of the guitar lines aren't so different from the stranger articulations of Robert Johnson or Hubert Sumlin, Howling Wolf's guitarist. In addition, Beefheart threaded the music's tangled structure with strands of rock 'n' roll, avant garde jazz and poetry that looked back at the American cultural mythos through a kaleidoscope. When questioned about the record in 1991 he said that he had been "trying to break up the mind in many different directions, causing them not to be able to fixate".
The majority of the 28 tracks were put down in about six hours at Whitney Studios in Glendale, Los Angeles, with Frank Zappa producing. With time added on for the vocal tracks and mixing, the record was completed in just four days.

13)
assim na terra como no céu
the ghost of 'lectricity

14)
http://youtube.com/watch?v=JZEKoQdZoKs

Greatest Albums Of ALL Time (PlayOffs #1)

[Que se fôdam os iPods todos, mais o mp3.

Longa vida para o cónego Melo.]

Marxismo #3

Parece que há só dois tipos de coisas dignas de admiração no estádio de consciência em que a humanidade se encontra. As do primeiro tipo são os mapas; e as do segundo tipo são os zombies. Mas creio firmemente que há uma relação entre pares (não ordenados) de

1) mapas e territórios;
2) pessoas e zombies.

O mestre L. Carroll fez uma vez o ponto crucial no contexto da descrição de um certo mapa “de uma milha para uma milha [de território (real)]”. Se o uso do mapa parecia suscitar, mais ou menos imediatamente, algumas dificuldades práticas, o certo é que o marxismo – como sabemos – simplesmente não permite atribuir qualquer existência a tal género de dificuldades. Assim se compreende que o personagem relevante também tenha podido, imediatamente, proceder ao esclarecimento cabal da situação então criada:

"We now use the country itself, as its own map, and I assure you it does nearly as well."

O mesmo ponto, mutatis mutandi, está em lugar de destaque na mais recente obra do mestre R. Rotten. R. Rotten já tinha sido o criador do fabuloso Swallow My Children, mas aqui/agora interessa-nos atestar que

(Now you can read...some Korzybski, maybe the real thing itself: "A Non-Aristotelian System and its Necessity for Rigour in Mathematics and Physics" - a paper presented before the American Mathematical Society at the New Orleans, Louisiana, Meeting of the American Association for the Advancement of Science, December 28, 1931!)

Comunicação (Subliminar)

diz «ui»
...não digo/consigo [mas tento]

The Perfect Woman (The True Self)

[Que se fôda o Tibete - e a China também.]

Take I
Question, Song Liling:
Comrade! Why in Beijing opera are woman's roles traditionally played by men?
Answer #1, Comrade Chin:
I don't know. Most probably a remnant of the reactionary and patriarchal social structure.
Answer #2, Song Liling:
No. It's because only a man knows how a woman is supposed to act.

Take II
Song Liling: Under the robes, beneath everything, it was always me. Tell me you adore me.
René Gallimard: How could you, who understood me so well, make such a mistake? You've shown me your true self, and what I love was the lie, perfect lie, that's been destroyed.
Song Liling: You never really loved me.
René Gallimard: I'm a man who loved a woman created by a man. Anything else simply falls short.

Final take

Progressive Night Songs (Basslines)

ear dis side 2/1

no fun side 1/2

Ataque Violento

SER HUMANO
SEXUALMENTE
INSATISFEITO
MORDE
VOLUNTARIAMENTE
OUTRO SER HUMANO

PESSOA

SEXUALMENTE

INSATISFEITA

MORDE

VOLUNTARIAMENTE

OUTRA

ANIMAL RACIONAL

SEXUALMENTE

INSATISFEITO MORDE

VOLUNTARIAMENTE

OUTRO ANIMAL

RACIONAL

Entes Queridos #4 (57% vol)

Te

nho u

ma máqui

na de escrever

verde que diz sem

pre «Berkeley»: How

often must I repeat, that

I know or am conscious of m

Y own being; and that I my self

am not my ideas, but somewhat else

a thinking active principle that perceiv

es knows wills and operates abooout ideas

(Now you can...read some LÊNIN [LÊNIN, V.I. Materialismo e empiriocriticismo: notas críticas sobre uma filosofia reacionária.
Moscou/Lisboa: Progresso/Avante!, 1982 [1908]].)

Gnosei Seauton

Mapa, com legenda, à distância de um clique.

(Now you may go...read some Plato, and express yourself!)

Jantar do blog

Para assinalar o aniversário deste blog, irá decorrer hoje, pelas 20.00 horas, um jantar para o qual estão convidados os "postadores" e todos os leitores. Os interessados deverão deixar em comentário o seu contacto de e-mail, para o qual será depois enviado o endereço da residência onde terá lugar o jantar.