coole band...

 

 

...kennt die wer?

 

 

 

 

 

 

 

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icy hustlers...

image

distant cousins, i guess...


whitesnake - day tripper (1978)


eleven/josh homme - stone cold crazy (2005)

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a rising tide lifts all boats... (re-post with a new spin)

re-post    _

great piece of politics by mr. ben paul balance-drew. or is it just music? it certainly is gonna mess with your head. if what's inside there is still alive.
remembering bitterly what happened in london this summer (the looting, the burning (2011, it's two yrs ago now)) the song talks about what is behind these events. a society that is consumerist and superficial on one hand, and classist and socially racist on the other. in the interview below the intelligent and politically conscious musician explains how these kids "made life ten times harder for themselves" because "they just played in the hands of what certain sectors were thinking about them", remembering that what in england is commonly acceptable to be stated about the underclass is not simply stereotypical but plainly racist, because it strips the poor of their individuality and their humanity while at the same time hiding what keeps these people where they are, i.e. at the bottom: a constant and momentous vilification by the majority of the society, an education that doesn't provide the means to grab the fewer opportunities in this social stratum and a socioeconomic system that always has lived with social inequality as it's byproduct and is increasingly doing so since the 80s. ever tried to compare this with how french society looks at the banlieus, what germans think about people who are on welfare and get the so called 'hartzIV' benefits or what austrians mean when they use the word 'prolo'? not too far from the british chav, drew's refering to at 0:19 in the music video (1:50 in the interview), i'd say. the difference lies exclusively in the level of inequality and antagonism, not in the dynamic or structure of social relations.
adressing the english middle class, drew says: "just because you were lucky enough to be born into a family that can afford to give you an education doesn't make you better, it just makes you lucky." on the other side (or the under side): "why were there so many of them who don't care about getting a criminal record? why is that?" it's because they think "i'll never change the way you think about me, so i'm actually gonna play up to it."
we're only animals in the end: "when we're backed in to a corner we lash out."

_     with a new spin:

a rising tide lifts all boats

(new and interesting account of what happened in 2011 seen in a historical perspective. published on endnotes, 2013. worth reading.)

"...these developments reinforce real long-term deprivation, the most salient dimension on which this exclusion occurs is a social logic of abjection experienced first and foremost in the encounter with the repressive arm of the state. Everything else follows: mediatised victimisation of residents, unending chain of aspirant cabinet members feigning deep concern, think-tank concept creation, crypto-racist scandals about a feckless, parasitic underclass."

"...the Right has turned instead to Islamic and European bogeymen to define its programmes. Nonetheless London’s poor black neighbourhoods have been at the leading edge of the logics of abjection through which a punitive state has come into being, and indeed their struggles within this logic are organically related to the transformations of “race” itself. If the black of the late 1970s and early 1980s was, to state it crudely, the prototype for today’s “feral underclass”, the major linking thread here is not “race” as any essential trait, nor even any stable, coherent sociological category, but a social logic of abjection by which specific figures, associated primarily with poor urban neighbourhoods, are posited as the limit concepts of affirmable social class"

"Thus it was that the Thatcher government campaigned for re-election, at the height of nationalist jingoism after the Falklands War, boasting of scrapping the sus law, and arguing that if “Labour say he’s black, Tories say he’s British”. Anti-racism of one type or another had become a matter of state policy, no matter how bigoted Thatcher and her ilk as individuals."

a lot of brain food, in any case...

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the real deal...

i think i could post an interview with lemmy kilmister every day...

the real deal...

___________________

came upon this extra-cheap motorhead-double-mc again. in the cupboard of my room back home, buried under dozens of old cassettes. must have bought it when i was 13 or so...
enjoy. you bastards.


motörhead - damage case (1979)


motörhead - shine (1983)

 

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all my blood's in vain...

ALGIERS

a band drawing forces from new york and london.
bringing them together under the name of a city
that has become a symbol for the dirty battle
france unleashed on it 60 years ago.

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in a black coat, as the evening gets darker...

following dana colley's wet, thick sax sound wherever i can. watching how it inevitably unites with a dark bass growl. don't even have to close my eyes to feel it crawling fast into each one of my bones...

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rockin' the casbah...

heavy metal jihad?

or less optimistic:
do you remember heavy metal in bagdad?
with some syria connection: it was syria where the first iraqi metal band emigrated to after the 2003 war. to find a better place to live...

the snake...

this is a monster. you'd never guess the year that gave birth to it.
if i didn't tell you.
people must have been blown away.

but i guess the band's name says it all...


the pink fairies - the snake (1971)



image: albert renger-patzsch

heads off - heads on...

the long blondes - once and never again (2006)

the waitresses - i know what boys like (1982)
cansei de ser sexy - let's make love and listen to death from above (2006)
the long blondes - lust in the movies (2006)

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and that your bedroom is all up in flames...

mi ritiro per alcuni giorni e vado a cercare la primavera. deve nascondersi da qualche parte, no? l'hanno vista vicino a tunisi. sul mare, diretta verso il nord. la porto qua, se la trovo.
vi lascio qualcosa sul tavolo per la settimana que viene. spero che vi piaccia.

der herr des hauses geht auf urlaub. die tür bleibt offen. lasse was da für die woche. passt mir schön darauf auf.
lasse schon mal die jalousien runter. hoffe, man sieht noch genug.

fräulein? que me dice? le gusta?

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i'll be fine once i get it, i'll be good...

toller song, viel stimmung und eine natürlichkeit, die freude macht. und eine schöne frau.
noch offene wünsche?
fir a guate fraindin, dia haint soule afn putz hauen weart. ;)


ps. se il video non dovesse funzionare in altri parti di questo mondo troppo piccolo per il grande business copiate questo link e inseritelo su questo sito.
ps ps. spielt der typ echt gleichzeitig bass und schlagzeug?
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i live with one concern...

danke michi fürs bild.



cold war kids - every man i fall for (2008)


Every man I fall for
Drinks his coffee black
Love and hate are tattooed on his knuckles, and
My name is on his back

Every man I fall for
Works the graveyard shift
He kisses me softly to wake me up
Then takes my place in bed

And I fall
I live with one concern
It's the love
Diminishing returns
It's the love
Diminishing returns

Every man I fall for
Keeps his anger on a string and holds it tight
When other men walk by blinking their eyes at me
He always picks a fight

I go walk alone down Ocean Boulevard
Peek in your windows
Tired housewives naggin at their husbands, but
Is this the life you chose?


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a petition for spring (won't you come soon?)

una petizione per il sole, il caldo e per la fine dell'inverno. si prega di firmare con un desiderio sussurrato nel cuscino prima di addormentarsi.
buona fortuna (a noi)...

ein weiblicher highlander? saint saviour treiben mit weißem pferd und zauberstab den winter aus. das unterstützen wir, das finden wir richtig. herr frühling, wir erwarten sie...

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everybody knows that good news always sleeps 'til noon...

to all the lost lovers out there...


cowboy junkies - sun comes up, it's tuesday morning (live 1989)


image: 1

lord have mercy, baby, on my wicked soul...

the black keys. haben sich offensichtlich was von einer früheren generation von musikern abgeschaut - wohl schon als bleiche, magere bübchen, versteckt unter den barstühlen und tischen vor der bühne. hinter verstärkern und bierflaschen hervorlugend. die blicke auf die finger der meister fixiert.
die meister heißen r.l. burnside, junior kimbrough oder t-model ford. meist teilzeitmusiker, die im verfallenden süden der 70er die bluestradition zur ihren machten. zu einer zeit als die urbanen helden von früher immer weniger wurden und ihr publikum zusehends kleiner und älter. musik für ein vergessenes stück schwarzes amerika. sie glaubten wohl schon lange nicht mehr, über den engen zirkel einer handvoll bars und juke joints hinauszukommen, als ein kleines label namens fat possum sie in den 90ern entdeckte. die jungen wilden von einst hatten inzwischen graue haare, aber hörbar noch eine menge spass an ihrer musik.
fred mcdowell (1904-72) gehört zu einer älteren generation. spielte, wie viele schwarzer musiker seiner zeit, wann immer sich die gelegenheit gab. auf festen, auf den straßen, in den kirchen. keine aufnahmen bis er zu seinem lebensabend in den 60ern ins fahrwasser der weißen bluesbegeisterung geriet.
die keys haben sich das alles genau angehorcht - und gut daran getan. einen so expressiven und konzentrierten sänger wie dan auerbach wird man so schnell nicht finden. alles etwas lauter, dreckiger und freakiger als bei den älteren herren. nur: die essenz dazu war vorher schon da. dissonant, hypnotisch und sexy

mississippi fred mcdowell - i'm in jail again (1963)

the black keys - hold me in your arms (2003)

r.l. burnside - skinny woman (live 2001)

the black keys - thickfreakness (2003)

junior kimbrough - everywhere i go (1997)

the black keys - my mind is ramblin' (2005)


alcuni di quei sbriccioli que sono rimasti indietro dalla mia tesi sul blues. non i black keys ovviamente, che sembra abbiano un successo enorme. ma i loro antenati musicali sí, soprattutto qualcuno come fred mcdowell che nei tempi migliori del blues fin agli anni 50 non ha mai registrato una sola canzone ma fu scoperto da alan lomax, un etnologo, nel '59, dopodiché (insieme a tanti altri musicisti neri ormai vecchi) entró nel circo rappresentato dall'apropriazione del blues da parte dei bianchi, spesso studenti, negli usa e in europa.
musicisti come r.l. burnside o junior kimbrough sono arrivati piú tardi. troppo tardi per poter avere successo con la loro musica. quando il blues fu scoperto dai bianchi, la maggioranza dei neri si stava orientando altrove giá da anni.
la musica di burnside si sviluppava nel sud degli stati uniti, dimenticato e lacerato dalla macchinizzazione dell'agricoltura. una musica aperta alle tendenze attuali nel soul e nel funk, ma fiera alle radici e senza vergogna per uno stile musicale che era sempre piú fuori moda su scala nazionale. é un blues piú rozzo di molto che si udiva prima. ipnotico, dissonante e sexy. i black keys potevano costruire su un terreno eccezionale.


burnside ist mir besonders sympathisch. wie er lächelt, während er spielt. gesang und gitarrenspiel durchgestylt bis in die nicht mehr hörbaren frequenzen. außerdem sieht er ein bißchen aus wie mein onkel heinrich. nur eben schwarz.

eine lässige doku zu burnside und kollegen gibt's auf: alma de blues offre un bel documentario su come burnside e gli altri furono riscoperti negli anni 90 dall'etichetta fat possum.

images: 1, 2 (auerbach), 3, 4 (mcdowell).

listen to the snow fallin'...

kleiner kniefall vor dem schneefall

musica per far ballare i fiocchi di neve davanti alla mia finestra











kaki king - so much for so little (2008)

milosh - you make me feel (2004)

zero 7 - morning songs (2004)


image: 1