#REALITY Part 2 CD Compilation

[savage-kult-of-gorthaur]

THE FIRST COMP IN THE "REALITY" SERIES TO BE RELEASED ON CD -- GET THIS IF YOU'RE ABLE TO.

PIC(S) INFO: Spotlight on "REALITY" Part #2, the second in the "REALITY" series of compilations by the American grindcore/powerviolence/hardcore/ sludge/extreme music label, Deep Six Records, released in 1997 on both CD and 7 inch vinyl media formats.

All your mid to late '90s fucked-up favorites are on here, including:

ASSHOLE PARADE, EXCRUCIATING TERROR, DYSTOPIA, INFEST, DESPISE YOU, LACK OF INTEREST, GASP, SUPPRESSION, NOOTHGRUSH, NO COMPLY, PURGATORIA, MAN IS THE BASTARD, CAPITALI$T CASUALTIES, STAPLED SHUT, ENEMY SOIL, EVOLVED TO OBLITERATION, BAD ACID TRIO, & C:###.

Source: www.discogs.com/release/2810517-Various-Reality-Part-2

[dagwolf]

From Reverberation Vinyl on Facebook:

I'm a "record store day indifferent" type of shop. I don't carry the sort of things that people line up for, and the things I do stock that are attached to rsd are all items you'd find here on the average Wednesday. I don't hold it against anyone, takes all kinds, etc. But I am asked frequently around this time of year why I don't really care for rsd, and while I certainly have stock answers on hand, they usually come off as annoyed or negative, rather than thoughtful and well reasoned. So, short of going door to door & handing out tri-fold pamphlets, here's Ralphie's theme...

Why RSD Is Bad For Records & Record Stores by John Anderson

The "Record Store", as positioned in our culture in 2024, is (or was) a reflection of the mythical independents of the '90s & '00s, places that thrived outside both the interest in, or support from, the record industry. Truly independent stores that were usually small, primarily used, at times meeting places for music people, social hubs for weirdos, discovery zones & more. The reality was far more nuaced, but growing up in the record stores of my youth, I eventually sorted out the differences between chain stores, used shops, big label music, used selling/buying, etc, and the sense of REAL that permeated the independent shops of the world. The person/people behind these places were often big, weird personalities, but they were also the driving force behind what lay on the shelves. New horror soundtrack imports from Italy? Brand new garage rock from PNW hotspots? Skranky dub compilations for under ten bucks? Bootlegs? YES. All things that were specific to the shops, sometimes exclusive, but always reflective of what & who the place WAS. Recreating that to the best of my honest ability has always been my goal here. If its a new record in the racks or on the wall, its likely here because a) I love it, b) I own one too, and c) I'd like to share it with you. Short version: this store is a deeply personal statement. That has always been my focus and always shall be. In the words of the great Andrew Weatherall, "Music's not for everyone".

That's the mystical/romantic part. I have practical reasons as well!

1) As stated above, record stores (vinyl) thrived & grew to what we know now with ZERO interest from the record industry, when it was at its absolute $height$. As "record store culture" became more popular & increasingly commodified, the industry used rsd as a trojan horse to seize the means & the narrative back from the very people who kept it going while they - the industry - were gouging people on CDs & fumbling a cogent approach to digital music.

2) rsd stock is expensive, for us & you. Usually 25% more than your standard releases. Why? Good question.

3) rsd stock is unreturnable for shops. As a store, what you order, you're stuck with. Huge stores don't seem to mind, as you'll see bin after bin of rsd leftovers going back 5+ years, more in some cases.

4) The Disappointment Factor. When "one band fans" & newer collectors have been conditioned to seek out "the one thing", there's inevitable disappointment when smaller stores get tiny allocations of records people seem willing to fight over. That disappointment usually ends up directed at the people/place, meaning yours truly, something I want no part of.

5) Manufactured Scarcity. Undershooting demand by a few thousand units as a marketing strategy sounds fun to someone... not sure who though. Driving a rabid wave of buyers (say 500,000) into a physical marketplace that's more likely to NOT have what they want (say 10,000 copies)? Nope. Which leads to...

6) Unrealistic Manufacturing Capabililty. With seemingly every popular (read: really common) record of the last 50 years being repressed in 18 colors to satiate insane demand (a particularly impatient, Amazon era, "want it NOW" demand), not to mention the same approach to new LPs by many (Billie Eilish called this out recently), the industry is basically pretending this is the early '80s when massive, industry-wide manufacturing infrastructure meant they could turn big orders around in days rather than months. Trouble is, this isn't the '80s. The big industry titans dumped their pressing facilities & hardware at the dawn of the '90s. Now, demand greatly exceeds manufacturing capabilities, and while there have been new pressing plants opening (and thriving) in recent times, these aren't owned & operated by Warner or Universal: these are the indie operations that kept vinyl alive in the '90s & '00s, and now the big label business they can't turn down means slower turnaround for all the labels & artists that aren't major/indie property. AKA all the artists who ordered records from them for the previous 20+ years. Which leads too...

7) Astronomical Pricing. Yes, rsd pricing is "a quarter above the vig". Cost of doing business in that world, I guess. If it sounds like the mafia, it is, because rsd is 100% "big record industry" controlled in 2024, regardless of early intent. Unsurprisingly, the cost of new records across the board has seen an insane surge, with little mind paid to the audience, whether that be boomer age dudes who can afford $80 Neil Young records & $900 box sets, or high school/college kids, who are expected to drop $40 for a new LP. Regardless of the public face they put on it, the industry still sees "this", meaning records, as a trend that will at least partially fade off. Hence their lack of interest in committing to better & more sustainable pressing & manufacturing. No plants or presses, but the money will be fine for now, thanks.

8) Flipper Culture. I say this knowing full well there's no way to put this element back in the box, but your ebay/discogs flippers are the boogeyman that its easiest to put a face to. Not much nuance necessary, they just want as many copies of of whatever "hot" rsd release is fetching the most $$ online. We've all had to hit the secondary market to find some "limited" record we missed. Being forced to do it on rsd because 2000 dirtdicks who stood in a line all night & bought up 2/3 of the existing copies of the record by your daughter's favorite artist? At 10x list price? Oh, okay.

9) The Generally Punishing Nature Of Having To Stand In Line For Something You May Not Actually Get. If there's a group of folks out there who love standing in lines, I mean no offense, but come on now. I'd guess that most bands/artists probably aren't aware of what goes on around rsd, or I'd like to think they'd decline involvement, because who wants to punish their fans like that?

I could go on & on but... The record scene has changed a lot since I opened up, particularly in the last 7-8 years. For the better? I kinda doubt it, but we shall see... I've been carping out these warnings since 2011, and there isn't much I can do about it, aside from running my little shop in the manner I see fit. I don't begrudge anyone what they're into, and while my place is as personal as it gets, I don't take these weird record store times personally. I hope anyone who reads this understands that like my store, it comes from a place of love, with all the passion & care that encompasses. In the end, this should be fun... I've had some incredible discoveries, comraderies & experiences in records stores, and that I wish for everyone.

(link)

[vroomizing]

Groupmegroup (rework)

[Start ID: A two page spread. On the first page, a blue piece shows Treble Darkstar, a wolf-shaped racing car from the Mega Man: Battle and Chase videogame, snarling in the center. Two circles, one above and one below, show old-timey, goat-shaped race cars from the TV show Vroomiz in yellow and blue bi-chromatic shading. In one of the circles are the words "A wolf in sheep's clothing". On the left hand side of the piece are the words "(rework) Groupmegroup", and on the right, "The search for a scapegoat is the easiest of all hunting exhibitions." The text on the second page reads: When does apathy turn to attention, affection turn to passion? Why then but not before; why then when I was twelve, when i was three times four? I didn’t even create Groupmegroup specifically for the zine; it was the inner card for a New Order compilation I had burned into a cd, hence the (rework) part of the title. Don’t ask me for the chosen words either; I just needed something to fit both the goat car and the center figure. Why this image but not another, why these characters my guides, to usher? At first it was Herbie: Fully Loaded, then Cars, and then after Vroomiz. Why did the idea of sentient cars, but with the gimmick of being shaped like animals, snare my attention more than sentient cars, period? Wouldn’t the latter be, at least, rooted in reality? Was the reason the fear of growing older, this impending wave that I couldn’t stop, swim swim swim, swim back to shore? I put sand in my pockets: Treble (in his Mega Man: Battle and Chase form); Fenrir, Ignus, Elentar and Astrid from Runimalz; Riprat from Mattel’s Attack Pack toy line; Saber from Dinocore; various catmobiles from different times in the DC universe; I was feeling the olden pebbles in my shoes: Susie, the Catbus and whatnots, but I always came, or come, back to Vroomiz because it won’t leave me, my mind just won’t leave it alone. Maybe it was that I was yes, just a human, but wasn’t I also half a man? And because I was only half a man, didn’t I only half enjoy anthropomorphization? And while theriocephaly typically refers to deities and other individuals, yeah, I’m stealing that word for silly talking vehicles./End ID.]

My piece for @handlewithcarezine! Volume 2 was a blast, I hope Volume 3 will be the same!

Sources below:

The Treble Darkstar, from Mega Man: Battle & Chase

An unnamed Vroomie, from Vroomiz. Name suggestions?

Groupmegroup (live) by Liquid Liquid

Quote from Dwight D. Eisenhower.

[aoki553]

A Full Guide To Saiki Kusuo No Psi Nan and Asou Shuuichi's Works

- compiled and written by aoki553

Disclaimer: This post contains links to unofficially translated media from the series. I do not support piracy. Please support it by buying the original work online and support the creator.

Don't know where to start? Just finished watching the anime and don't know where to go to for more content? Wanna get to know the series better? Then this post is just for you!

Saiki Kusuo No Psi Nan (JP: 斉木楠雄のΨ難, ENG: The Disastrous Life of Saiki K., Abbreviations: 斉Ψ, SaiPsi) is a multimedia franchise that has started as a manga drawn and written by Asou Shuuichi.

The manga started as a one shot work, but since its release in 2012 it has recieved a serialization that ended in 2018. In 2013 is has recieved a Flash anime adaptation that was exclusive to Shonen Jump's mobile app, as well as a series of Vomics that dubbed the manga. The series recieved two novels written by Hinata Shou and illustrated by Asou-sensei. It's currently best known outside Japan for its 2016 anime adaptation.

A list of (most notable) Saiki Kusuo No Psi Nan media:

Chounouryokusha Saiki Kusuo No Psi Nan (Volume 0) - Buy it on Amazon | Unofficial English translation

Saiki Kusuo No Psi Nan manga (2012-2018) - Buy it on Amazon | Unofficial English translation

Saiki Kusuo No Psi Nan Flash Anime - All links here

Saiki Kusuo No Psi Nan Vomic (manga dub) - All links here

Saiki Kusuo No Psi Nan: Nerae Heibon! Tairyoku Sokutei (mobile game) - DISCONTINUED

Saiki Kusuo No Psi Nan Novel: Extra Stories of Psychics - Buy it on Amazon | Unofficial English translation

Saiki Kusuo No Psi Nan Anime (2016)

Saiki Kusuo No Psi Nan: Shijou Psi Dai No Psi Nan?! for Nintendo 3DS - Buy it on Amazon | English translation and guide for the game Teruhashi Kokomi No Psi Nan Ippai Offu for Nintendo 3DS - Get it on Nintendo 3DS eShop

Saiki Kusuo No Psi Nan (2017 movie) - Link | English Sub version is easy to find online

Saiki Kusuo No Psi Nan Mosou Bousou Psychic Battle (mobile game) - DISCONTINUED - Official twitter | Official website

Other medias related to Saiki include: - The Character Guidebook - Psychic ExcerPSIses (More To Be Added: Extra books, CDs, etc.)

Best Saiki Kusuo No Psi Nan Anime Watch Order

The Disastrous Life of Saiki K Season 1

The Disastrous Life of Saiki K Season 2

Reawakened Episodes 1-5

The Disastrous Life of Saiki K Season 3 (Conclusion Special)

Reawakened Episode 6

Wanna read something else from the same author? We got you!

Our Hero Studies (Boku No Watashi No Yuusha Gaku) - Buy on Amazon | English translation in progress - PLOT: A manga centering around an eccentric teacher Haganeno Ken - a self-proclaimed hero, but in reality, Haganeno is just a huge video game fan obssessed with RPGs. He drags his student - Kouno Jun and others on his delusional hero adventures. - The characters from this work appeared in the Saiki series for a crossover chapter/episode. - It's Asou's first multi-chapter work - you won't regret giving it a try - updates appear on mangadex every few weeks.

Shinseiki Idol Densetsu: Kanata Seven Change - Buy on Amazon | English translation in works - PLOT: Kanata Seven Change focuses on a teenage idol Aoki Kanata, whose dream is to become a comedian. His manager - Tanaka Akio, does his best to keep his real personality a secret away from the public eye. Eventually, Kanata becomes a part of an idol group called SPLEEN. - This work's characters - Ruchi Shizuru and Tanaka - also made an appearance in the Saiki series (Ruchi appeared in the anime, manga and the novels. Tanaka made an appearance only in the manga.)

One Shots - List of oneshots with info (WIP) | Buy the Saiki Manga to support these works! Asou Shuichi has drawn and written several short stories, most of which have been translated to English. All oneshots that have recieved a translation have been linked to their MangaDex entry. TRANSLATED ONESHOTS: - Improvisational Theatre - Mikami Case Files - Our Hero Studies Oneshot - Saiki Kusuo No Psi Nan Oneshot - Full Power Explanation, High School Baseball (it's literally one page lol) - Your House Is Haunted - Terrace House Dust - The Detrimental Environments For Minors Regulation Act - The Problem Filled Restaurant - The Struggles of Food Critic Rikuya Tessai - An Author’s Research Trip To Another World UNTRANSLATED ONESHOTS: - Hero Party Appears - Gluttoney and Greed (lost oneshot), - LEGEND TOWER, - Deep Red Lie And Pure White Paper

Frequently Asked Questions

When is the next season of the anime coming? - There won't be one. Unless the studio decides to adapt the novels, which is unlikely, they don't have enough source material left to make a full season out of it.

Will Saiki get more manga chapters? - The manga finished in 2018. It's unlikely for Asou-sensei to continue this project after concluding it.

Where can I read/watch...? - Re-read this post - I've linked EVERYTHING I could think of. Just click the hyperlink.

Is Kusuo transgender? - He's a shapeshifter who turns into Kusuko when he needs to or gains from it. It's only technically canon as he left the womb as a girl, but it's only a result of his shapeshifting powers. He immediately changes to male - the gender was assigned before birth. If you want to headcanon him as transgender though- go ahead.

Is Kusuo aroace? - Canonically no, but it's a popular headcanon.

Thank you for reading!

More information will be added to this post in the future. I hope you could find it somewhat useful :) ~aoki553

[landlordrecords]

Bassline (& 2020 in general): Re-e-wind

 What a strange year, as everyone, everywhere has said a million times… Writing-wise, I’d been doing Record Collector magazine since 2014, and uDiscover (the Universal Records online mag) for not much less, & that all just seemed to (understandably) stop dead with the onset of the pandemic. Since then, I’ve polished off my chapter on the work of Simon Morris and the Ceramic Hobs for Palgrave, & that’s about it, so you’re more likely to find me over on Twitter at Sniffy (@philblackpool) / Twitter these days, blurting out the odd sentence. I hence thought it might be time to revisit a very old piece…

Like many, I’ve been working from home for much of the year, and although I’ve occasionally wanted to pull out my own eyeballs, it has generally been very pleasant for a voracious music-lover. I started by catching up on the vast majority of my insane, years-deep second-hand vinyl buy piles, and then chomped through a load of ‘long listen’ stuff I’d had on the backburner forever (including, astonishingly, eventually getting through something like 40 hours of Pan Sonic live sets someone had dumped online). I graded hundreds of releases for sale on Discogs, and revisited umpteen musical thangs extensively, including 90s gabba, Sun Ra, music hall, Schoenberg, dancehall reggae, the acknowledged worst albums ever, happy hardcore, Italian house, bounce and makina (I’ve lost track of how much time I’ve spent checking out youtubes to try to identify a couple of most-wanted bounce and makina tunes), Britpop (!), cosmic disco, and Belgian popcorn. It’s been an extraordinary year, packed with cultural discovery and rediscovery. In amongst this, in no way ashamed of my abject love of Discogs, and already having used and edited it for many years, I read the entire guidelines and decided to go hard on sorting out stuff I care about on there. Seeing they’d finally added various more recent ‘styles’, I’ve spent the last month and a half doing a ridiculous amount of edits on a dozen or so niche genres of importance in recent times (footwork, Jersey Club, yadda yadda). My tweakings around Bassline and UK Funky eventually drew me to the attention of UK Garage legend Karl ‘Tuff Enuff’ Brown, a fellow Discogs obsessive not so keen on the editing side of the site, who wondered if I might give him a hand sorting out the mess of his own and his label’s (2Tuf 4U) discographies. His entertaining phonecalls were enough to convince me.

I dug out all my stuff related to Karl’s label to listen to along the way, and found myself noticing how much UKG has been back in the spotlight of late (key, and brilliant, article here: RA: Like A Battle: The Push For UK Garage's Future (residentadvisor.net) ). While by no means unaware of this (I’ve had some lovely promos from Kiwi and the like of late, plus some moodier bits from various El-B worshippers), my status as a confirmed middle-aged semi-retired raver had hidden much of this from me. This leads me onto one of my big philosophical points of recent years: I listened to dance music avidly before I ever went out dancing, and listen to it now in lockdown, and in semi-retirement. There is far too much an emphasis among ever-rejuvenating dance music correspondents on ‘the club’ as the only way to enjoy dance music, but we know that OG disco fans are 60+ and unlikely to be out every weekend these days – is their experience now worthless? Online fans talk up their love of dance music for exercise soundtracks, bedtime calming soundtracks, etc: this is reality. Dance music is as valid to all these people as rock is to people who haven’t been to a gig in 40 years.

The style I felt myself most drawn back to was bassline (largely via Karl’s low-key issue of some DJ Q material). My love of UK Garage and all its offshoots largely stems from how physically removed I have been from it from virtually its entire history. Only my 2000-03 stint in Essex perfectly matched the garage waveform, and that was the 2-step era, quite the opposite of bassline. Despite being largely a northern phenomenon, Blackpool is largely untouched by bassline, being all about punk and bounce to my mind. An instant love for me circa 2007, bassline feels like one of those genres with unfinished business, but remains one I’ve rarely danced to. Cut off in its prime, it is now back, enormously popular, and rightly so, but, due to the vagaries of the digital music world, some of its key material remains tough to access in any decent form.

I originally wrote the piece I have butchered for this one in March 2008, on Myspace (remember that), in reaction to the exciting waves of bassline and UK funky then reinvigorating the world of UKG. It looks a bit embarrassing now, with more writing experience, although I continue to applaud my own willingness to be open about my innocent appreciation of things I love but am not truly part of.

 The most notable misstep in my original piece was the presumption that bassline would become the latest enormous chart sensation. Like happy hardcore before it, the ball was, in reality, fumbled. Instead of hoped-for freaky innovation, the producers also opted, as many in years gone by, for smoothed-out commerciality (in unholy alliance with low-grade grime crossovers), although the main adversarial issues seem to have been police crackdowns and the London-centric ‘cool police’. Although I was long aware of such problems with Niche in Sheffield (the genre’s spiritual home), it appears that the police interference had a devastating effect across the board ( Banned From Sheffield: How Jamie Duggan fought for bassline… And won (ukf.com) ). This largely explains why many of the bassline producers gravitated towards the largely wack bass house/house & bass style so beloved of teenyboppers in recent years. Thank heavens that era is now largely over.

Niche reputedly specialised in an arguably unholy mixture of dated late 90s speed garage and ‘bassline house’ (think ‘Let Me Show You’ by Camisra, and MK’s ‘organ house’), way past their sell-by date (I still only really like a handful of Shaun Banger Scott bits in this style, one single 2009 Brummie CD EP, and one Virgo remix). Ultimately, though, this experiment unexpectedly created something magical. The crucial element here is the 4/4 beat. While undoubtedly skippy, the vast majority of the material favoured had a firm 4/4 beat, always favoured across all key scenes in the north of England from northern soul onwards. When they ran out of tunes to rinse, in time-honoured fashion, they made their own. Long, rumbling walls of bass, organs, and hoppy-skippy beats, with raggafied samples and gunshots over the top. Popular in Birmingham as well (pretty much the centre of a vinyl glut at the time, and now notable in the popularity of DJs such as Chris Lorenzo and Hannah Wants), B-side titles hinted of coke overload. Disenfranchised by London’s movement away from the holy 4/4 (despite a slight revival in the early noughties), and via messenger services and the like, northern producers began to exchange a new hybrid in the mid-00s which took these speed garage and bassline house influences and updated them with current R’n’B bootlegs, with influences from grime (regional grime producers were key here) and, most notably, with rococo basslines. Its most obvious comparison point was Sticky’s garage productions, concurrent with the early grime era. Southern producers such as Agent X, Delinquent (who featured Gemma Fox on their magical 2006 ‘Boxers’), and Dexplicit (Fox again, 2005’s ‘Might Be’) ran with that, and the north lapped it up. Key early pointers also included DJ Narrows’ superb 2001 4/4 tune ‘Saved Soul’, and early 00s DND work (Artwork, later part of dubstep supergroup Magnetic Man). A notable increase in output came in 2006, and 2007-9 were the genre’s original glory years. And the bulk of producers and up-&-comings delivering serious anthems to the scene came not from London and the south-east, but from Leeds (T2, Wittyboy, Nastee Boi), Bradford (TS7), Manchester (Murkz, Burgaboy, Subzero), Nottingham (Virgo, IllMana), Leicester (JTJ, H20, FB & Zibba), and Wolverhampton (EJ, TRC, Brett Maverick). EJ’s Ejucation mix series (all up on Soundcloud) is a good place to start, beginning as the bassline house began to be overtaken by the pure bassline numbers.

Distribution for serious UK garage music has often been woeful, with only high street compilations & the chart singles (‘Heartbroken’ by T2, ‘What’s It Gonna Be’ by H20, etc) making it all over the country, and this helped stymie the true development of bassline, although vinyl prices, dreadful video promos, and the leap to digital in some ways didn’t help. Years on, as an incorrigible vinyl fanatic, I still only have handful of bassline 12”s. Yes, you can now access this stuff the world over via Youtube etc, but decent, high-quality copies of full-length tunes (they are often hacked about to great effect, but in a way which obscures the original intentions, in the mix) are not always the easiest to come by, although the classic producers are increasingly putting out digital compilations of their original work. Material that would, for previous genres, be fiended after, is lost to being just more online links. At the time, I looked high and low for 12”s, succeeding only rarely, largely on the flip of UK Funky releases. The (mixtape) audience, going by comments online, were often extremely young, are probably now still only in their mid-twenties, and are seemingly happy enough with this chaotic model. Bassline originally, as all rave genres, largely ran off mixtape boxsets, and a 2007 ‘Pure Bass – Fantasy’ box from Stoke remains my key document of that era: seven bassline CDs, with many tracks repeated, but packed to the gills, with most tracks only lasting a minute or two in the mix. As with all rave mixes, it has taken me years to suss the majority of the track IDs. In the Resident Advisor piece linked above, DJ Q (from Huddersfield) talks about thousands of lost bassline tunes, the bad side of the digital revolution. My recent Discogs ferreting suggests more bassline tunes than one might imagine did make some sort of decent release, but too many only made white labels, promo CDs for commercial releases (before being snipped from the main release), mix CDRs, or Youtube’s grainy depths. Classics such as TS7 featuring Bianca’s ‘Seems Like’ appear to never have had any decent release whatsoever, despite TS7 going on to be a big name in bass-oriented house, and Bianca Gerald having kept at the vocal turns ever since.

T2 hit biggest, with ‘Heartbroken’, a gorgeous, smashed-vocal garage dub so popular that it even inspired a Jersey Club refix. His catalogue was immediately deep, although I get the impression he has stopped adding to it. One complaint about bassline, including some of the T2 work, regards the untutored vocals, which can sometimes be rather flat, and certainly lacking in dynamics compared to the dazzling US vocalists featured on some earlier UK garage pieces (I refer here, as always, to TJ Cases’ remarkable ‘Do It Again’). I kinda like that - it shows amateur enthusiasm not far removed from punk, and most obviously links to lover’s rock, as does the production at times: it gives a feeling of melancholy entirely suited to the vocals. Other bassline heroes include TS7, who briefly brought to the fore sassy female garage MC T Dot. His productions also include ‘Smile’, one of my very favourite bassline tracks, full of that Simon Reynolds-quoted 'weird energy’ possessed by DJ Hype & co in the early nineties. Male bassline vocalists such as Ideal also remain unfairly forgotten, although some of the female vocalists have gone on to work in related genres since bassline’s peak.

Paleface, an ex-member of London garage rap crew Stonecold GX, runs Northern Line Records (FB, TRC, Wittyboy, Nastee Boi), something of a quality mark for bassline productions, while also making highly successful UK Funky tunes as part of Crazy Cousinz, and later progressing into commercial house territory. He chronicled much of bassline’s high-water mark (including being married to Kyla, since sampled by Drake). Wolverhampton-based Northern Line signing TRC proved particularly adaptable, spewing out a legion of original tunes and remixes before retreating for a while to grime. Leeds’ Nastee Boi was a favourite of mine at the time, with his pitch-black gangsta bassline tunes, but pushed on towards a mixture of underwhelming R’n’B vocal cuts and nursery grime toons. Wittyboy started similarly punishingly but also went smoother, unbalancing the classic bassline rough and smooth combination.

Now that the dubiously poisonous rep of Niche has been dispatched, the key bassline acts have returned to their key battleground, and the genre seems in full throttle again. Much of the new material seems a little one-dimensional to me: producers invariably big up Bristol’s My Nu Leng as, I suppose, a bridge from bro-step to 4/4. Everything, as acknowledged by the DJs, is huge drops and nothing much else. It still sounds pretty hot though – not the updated lover’s rock of a decade ago, but worth supporting. Bassline is NOT finished!

[bpro-cardstories]

Ryuji Korekuni SSR

2019 ー Childhood [Childhood]

“Fufu, Ryuji-kun, your eyes are sparkling. This time, it is for the sake of the children and the project but… I hope it becomes a meaningful job for Ryuji-kun who had a short childhood.”

『 Event: The Wizarding Academy (02nd - 09th October 2019) 』

Part 1

KitaKore and MooNs have a joined charity project together. 

Tsubasa: ‘Everyone, thank you for coming. Since everyone is here I will move on to the main subject.’

Tsubasa: ‘This time several publishers come together for a sponsorship. Daikoku Production has also joined the charity project『 Love for Children 』. Therefore, I thought that KitaKore and MooNs surely would like to participate as well.’

Hikaru: ‘Ooh~! Charity sounds good!! Hm, children you say… Is it a fund-raising for children?’ 

Tsubasa: ‘That’s right. You will join the event as ambassadors… I’m thinking about doing marketing at the venue or online, and handle the charity’s goods’ design too.’ 

Hikaru: ‘The goods’ design, huh.’ 

Tatsu: ‘Is it alright if we are in charge? Because …’

He then looks at their leader which fairly surprises the latter. Kazu is not known for having an artistic side... Mika tries to somehow save Kazu’s honor. 

Kazu: ‘Eh? Why are you looking at me, Tatsuhiro?’  

Mika: ‘It’s because leader’s artistic level is too high! We are afraid that we can’t keep up with your skill.’ 

Tatsu: ‘Y-Yeah. That’s true.’ 

Tsubasa: ‘Fufu, it will be okay. It seems that for the final adjustment a professional designer will lend us his hand.’ 

Ryuji: ‘That’s a relief. So… Tsubasa talking about this, does it mean that things revolving around the event is of Gandara’s responsibility?’ 

Tsubasa: ‘That’s right. However, in this situation there are teams that are familiar with this work, so as usual I will be able to support everyone.’

Tomo: ‘That’s a big help. As always, thank you, Tsubasa.’ 

Tsubasa: ‘No, I should be the one, thank you very much! However, there is something I need to tell you first.’

Tsubasa: ‘The truth is I wanted you to choose your role freely. Though, for the advertising or schedule’s reasons there is something that was assigned beforehand, that is said they wish to deal with.’

Ryuji: ‘Fuun. Well, you can’t help it, right? The adults’ reasons can’t be ignored.’

Hikaru: ‘True, you don’t need to worry, Tsubasa-chan ~ ♪ And, and? What’s our part!?’ 

Tsubasa: ‘E-Ehm… MooNs is asked to design goods such as T-shirts or sticker towels.’ 

Hikaru: ‘Oh, that sounds like fun! How about drawing a huge smiley moon symbol in the middle of a shirt?’ 

Tatsu: ‘What’s that. Listen first.’ 

Kazu: ‘A smiling moon, huh? For example, like this…’ 

Hikaru: ‘Eh? A-Ah! That’s close!! Like that!? Perhaps!’ 

Ignoring MooNs’ attempts to not hurt Kazu’s feelings, Ryuji wants to know what KitaKore is in charge of. 

Ryuji: ‘… So, what’s our part, Tsubasa?’ 

Tsubasa: ‘Kitakado-san will produce a compilation CD that collects music according to the project’s image. Ryuji-kun is asked to create a picture book for children.’ 

Tomo: ‘It looks like the creative direction varies depending on the group. It seems difficult but worth doing. Right, Ryuji?’ 

Ryuji: ‘Yeah… That’s right.’ 

Momo: ‘If Korekuni says so, it looks like to become a success.’

Tomo: ‘Because Ryuji has an excellent sense of colour, the picture book surely will be fun to look at.’  

Ryuji: ‘... I wonder. It seems so.’ 

(Ryuji-kun acts evasive somehow… Is there something worrying him?) __________

(Later when Tsubasa brought Ryuji home.) 

Tsubasa: ‘Ryuji-kun, for today too, good work.’

Ryuji: ‘Thanks. You will send the check of today’s shooting, right?’ Tsubasa: ‘Yes, I think, I can send it to you next week.’ 

Ryuji: ‘I see. Ok then, see you tomorrow.’ 

When he is about to go, Ryuji is stopped by Tsubasa who didn’t forget the incident earlier. 

Tsubasa: ‘Ah…’ 

Ryuji: ‘... What is it, Tsubasa?’ 

Tsubasa: ‘Ah, no… Uhm, I think if possible I can bring you what looks like useful reference material for the charity’s picture book but do you have an image in mind?’   

Ryuji: ‘Image… Image, huh.’ 

Tsubasa: ‘A colour or a theme, anything is fine.’ 

Ryuji: ‘....’ 

Tsubasa: ‘.... Ryuji-kun, could it be that you are not good with picture books?’ 

Her suggestion catches him off-guard. 

Ryuji: ‘Eh?’ 

Tsubasa: ‘Because you were looking visibly depressed during the meeting.’ 

Ryuji: ‘Oh-- …. No, that’s not really the case. Truth is, I have a feeling that I won’t be able to do it the way other people do in creating interesting things. I barely read picture books until now.’

Tsubasa: ‘That’s… Even as a child?’

Ryuji: ‘Yeah. There was a picture book my mother read to me repeatedly but I hardly remember anything else. When I was able to read letters, as a child actor I was holding a script in my hand … I watched more movies than read books, I guess.’

Ryuji: ‘That’s why, I don’t know what picture book makes children happy… There’s not really a focus. For the time being, I think I’ll do a lot of research but it may be quite difficult--’

Part 2

Hikaru: ‘I made it! A huge sand castle ~!’ 

Boy: ‘Woaah-!’ 

Tomo: ‘The meal was really delicious, thank you.’ 

Girl: ‘You are welcome -! 

(Fufu. The children and everyone seem to have fun playing. We came to the kindergarten as part of the project, but it seems like it is also a break for them.) 

Boy: ‘Hey, hey, let’s play shadow-catching?’ 

Girl: ‘Hide-and-seek!’

Ryuji: ‘Eh? Wait, let’s play in turn--’ 

Boy: ‘I said shadow-catching!’ 

Girl: ‘No, hide-and-seek!’ 

Ryuji: ‘Would you listen to me. If each of you is only talking about your own favorite play…’

Girl: ‘Hide-and-seek! Hide-and-seek, hide-and-seek!!’ 

Ryuji: ‘Wait…’ 

Tsubasa: ‘Look, you two, they seem to be playing game of tag over there.’ 

Boy: ‘Really!? Yay--’ 

Girl: ‘Ah, wait! I’ll go too!’

Ryuji: ‘Geez… What was that quarrel even about?’ 

Tsubasa: ‘Fufu. Children are difficult. Or should I say, their reasons can’t be comprehended...’ 

Ryuji: ‘It seems so. Since I don’t play with small children I honestly don’t know why I should. Haa… I thought I could find the focus of the picture book here but it’s not going too well.’

Tsubasa: ‘Please don’t mind too much, ok? Let’s think about it carefully and without rushing.’ 

Ryuji: ‘But, you can’t say that, am I wrong? After all, we have a deadline…’ 

Ryuji: ‘... Oh?’ 

Tsubasa: ‘Eh… What happened?’ 

Ryuji: ‘No, I was wondering if that child over there is fine. It looks to be alone in the corner… Is it playing with building blocks, or rather arranging them in a line…? What should we do.’

Tsubasa: ‘Shall we try to approach the child?’

Ryuji: ‘Yeah…’ __________

Ryuji: ‘Hi, what are you doing there?’

Boy: ‘.... Airplane.’

Ryuji: ‘Eh?’

Boy: ‘The airplane. It will transform into a robot. This is the princess’ pirate.’ 

Ryuji: ‘What’s with the princess and the pirate…’ 

Tsubasa: ‘You think of the building blocks as the airplane or robot.’ 

Ryuji: ‘What about the colourful blocks that are stacked up here?’ 

Boy: ‘Jewels. The pirate is hiding the treasure.’ 

Tsubasa: ‘What a story you have there…!’ 

Ryuji: ‘Fufu, and grand.’

Ryuji: ‘... It’s nostalgic somehow. I used to play like this as well.’

Tsubasa: ‘Ryuji-kun as well?’ 

Ryuji: ‘When I was a child actor, the waiting time during the drama shooting was long and boring. At that time, I was playing imagining various things alone. Like, if the candy in the dressing room was a magic candy…’ 

Tsubasa: ‘Fufu, how cute. What power does the candy have?’ 

Ryuji: ‘I imagined all the places I want to go to. No matter how far, you can go to that place instantly. Though when it melts, you return to reality.’ 

Ryuji: ‘Somehow… It’s similar to The Little Match Girl?’

Tsubasa: ‘A magic candy that makes it possible to go anywhere. Ryuji-kun, doesn’t it sound like a theme for the picture book?’ 

Ryuji: ‘Eh?’ 

Tsubasa: ‘I was really excited when I listened to the story just now. As one would expect, it would be lonesome if the story unfolds like the one of The Little Match Girl…’

Ryuji: ‘So… if it’s possible to make the end a Happy Ending, will it also fit into the picture book’s story? If the colourful candies are scattered all over the book, it probably will make the children happy.’

Tsubasa: ‘I think, that is a really good idea!’ 

Ryuji: ‘... Yep, it’s not bad. For now, let’s think about the outline.’ 

Both, especially Ryuji, are pleased to have finally found a theme for the picture book. Next is the realization of the idea.

Part 3

Ryuji: ‘--Tsubasa, do you have a moment? I brought the picture book’s illustrations.’ 

Tsubasa: ‘Ah, how fast! Please let me take a look.’ 

Ryuji: ‘It’s more like a rough draft…’ 

Tsubasa: ‘Waah, how beautiful! As expected of Ryuji-kun. This colour scheme… It is already perfectly charming. What kind of story is it?’ 

Ryuji: ‘Ehm… It’s a tale that begins when the protagonist obtained a big jar with multicolored candies in a candy shop. Those candies had a mysterious power, and the moment he put one in his mouth, he leapt to an unknown place. At first he was surprised but he quickly realized the candies’ magic and started to travel.’ 

Ryuji: ‘To a tropical island, an amusement park, the universe… Because of the time he was able to go to places he wanted, he became lost in it. Keeping it a secret from his parents, he enjoyed his exciting trips. He sometimes fights with pirates and saves the caught dragons.’

Tsubasa: ‘Fufu, it is big adventure.’ 

Ryuji: ‘Yeah. However… One day he suddenly sensed a feeling of loneliness. Because he is always alone, no matter where he goes, what he does, there is no companion to share his memories with. If only his parents or friends were there it would be a lot more fun…’

Ryuji: ‘Thereupon, he thought about a strategy. What about melting all the remaining candies into one big candy? What if everyone tastes it, wouldn’t he be able to travel together with everyone? Then immediately, he took out the biggest pot at home and rushed to the biggest restaurant in the street. There, he borrowed their stove and melted the leftover candies together… A big big candy of various colours came out.’

Ryuji: ‘He quickly called everyone and have them taste the big candy. And that’s the story of how everyone is able to travel together.’ 

Tsubasa: ‘Ah, a Happy Ending! Such a lovely and fun story…! It was not only exciting but also wonderful how the growth of the protagonist was depicted, I think. Rather than enjoying fun things alone, you want to share them with someone. Isn’t this perfect as well for this charity’s intent?’ 

Ryuji: ‘I agree. It’s because I listened to Tsubasa’s talk, thank you.’ 

Tsubasa: ‘You don’t have to…! I’m looking forward to the form of the current story.’

Ryuji: ‘Yeah. But, there is one thing I’m worried about… The image I have in mind for the big candy at the end are Choppa Charos, though isn’t it problem? I’m going to draw it as an ordinary candy on a stick but I think, the shape will be similar after all.’

Tsubasa: ‘Then I will confirm once. Because if you get in trouble later, a wonderful story will be spoiled.’ 

Ryuji: ‘Thanks.’

Part 4

Tsubasa came to KTKR’s apartment to tell Ryuji some good news. He didn’t expect the positive outcome of the talk.

Tsubasa: ‘Ryuji-kun, the manufacturer sent a reply. It seems that the Choppa Charos itself can be included in the picture book!’ 

Ryuji: ‘Eh… really?’ 

Tsubasa: ‘Yes! It looks like they liked the book’s contents.’

Ryuji: ‘Heh, I’m happy… A magic Choppa Charos, huh. So something like a candy that turns things into reality exists. It’s really like a dream.’ 

Tomo: ‘Yeah, I can feel the story coming closer. How nice, right, Ryuji.’ 

Tsubasa: ‘And…’ 

Ryuji: ‘Eh? There is more?’ 

Tsubasa: ‘Yes. To be honest, this talk was a start, that manufacturer decided to be a sponsor for the charity project as well.’

Tomo: ‘Hee… As expected, it’s amazing, Ryuji’s impact.’ 

Ryuji: ‘My impact, I don’t know what that means… It’s something good, right?’ 

Tsubasa: ‘Of course!! According to the manufacturer, it seems that they are thinking about producing a limited flavour and want to donate the earnings to the charity project. For the event, it is planned to hand it out to the children for free.’ 

Tsubasa: ‘This is what I would like to discuss… Ryuji-kun, would you like to try producing that limited Choppa Charos flavour?’

Ryuji: ‘Eh… Production?’

Tsubasa: ‘That’s right. All together, they want to produce an exciting flavor like the candy that appears in this picture book. And wanted to have Ryuji-kun sounded out on this request.’

Ryuji: ‘No way. Me, producing Choppa Charos…’ 

Tomo: ‘Fufu, but it’s without a doubt reality. And… you surely already decided, right?’

Ryuji: ‘Of course! I can’t possibly miss the chance to be involved in making my favourite candy.’ 

Tsubasa: ‘Then I will send them your reply.’ 

Tomo: ‘It seems like Ryuji’s love finally got through. Even during the Bambi period, he always carried it with him.’ 

Ryuji: ‘When I said that, I was a child actor. Because it was my imaginary friend…!’ 

(Fufu, Ryuji-kun, your eyes are sparkling. This time, it is for the sake of the children and the project but… I hope it becomes a meaningful job for Ryuji-kun who had a short childhood.) 

Part 5

Tsubasa: ‘--The new flavour is finally completed.’ 

Ryuji: ‘Yep, finally. Because it was decided that the concept was the candy the young boy made at the end of the picture book, I thought it would proceed more smoothly…’ 

Tsubasa: ‘There were all kinds of obstacles when it came to the production of  the goods, after all. You cannot simply mix all flavours.’ 

Ryuji: ‘But, wasn’t it thanks to the manufacturer’s patience with the prototype that, as the name suggests, the candy has a dreamy taste.’ 

Tsubasa: ‘When you put it in your mouth, the flavour changes,『 Magical Dream Flavour』! Fufu, what an exciting name.’

Ryuji: ‘Not only children, adults too can enjoy it. I aimed for a taste that makes you want to share it with someone. I hope everyone can agree with it. For this sake, I have to give my best during the shooting of the poster.’ 

Tsubasa: ‘You are right. This set as well seems to be designed to fit the candy’s image.’ 

Her comment makes him realize how much detail was put into this project.

Ryuji: ‘True. It’s really elaborated.’

Ryuji: ‘But, what is this cloth in the middle….?’

Tsubasa: ‘Fufu, please take a look.’ 

Ryuji: ‘? Then…’ 

Ryuji: ‘This… A huge objet d’art* of a Choppa Charos!?’

Tsubasa: ‘It seems to be a special order.’

Ryuji: ‘Must be, it’s a first for me seeing something like that! It’s very cute. It really has Magical Dream Flavour written on…!’ 

Ryuji: ‘Say Tsubasa, doesn’t it look edible? If we taste it together, we could go everywhere.’ 

Tsubasa: ‘Fufu.’ 

Her chuckle makes him blush, that was too embarrassing just now. 

Ryuji: ‘Eh? ...! Wait, that was too much. I looked like a kid, right.’

Tsubasa: ‘No, I feel the same too. Because it was always my dream to have a big candy or a pool with orange juice!’

Ryuji: ‘.... A pool with orange juice, what’s that?’ 

Tsubasa: ‘Ehm, did you not long for it? A juice that never diminishes, no matter how much you drink…?’ 

Ryuji: ‘Hee? Tsubasa also has a child-like side.’

Tsubasa: ‘I-I think, everyone has this aspect to them…! Because adults used to be children as well.’ 

Ryuji: ‘Fufu, yeah. That might be true. It’s good to frolic like this once in a while, regardless of your age. Similar to being excited, happy, relaxed, a feeling of happiness….’

Ryuji: ‘If I can make a person feel this much with my picture book and candy, I’m happy.’          

END ________________ *Objet d’art: “literally means ‘art object’ (or work of art) in French, but in practice, the term has long been reserved in English to describe works of art that are not paintings, large or medium-sized sculptures, prints, or drawings. It therefore covers a wide range of works, usually small and three-dimensional, of high quality and finish in areas of the decorative arts [...]” (Source: Wikipedia)

[antiquatedfuture]

Antiquated Future Fall Newsletter

NEW ZINES

Assisted Living- From one of the modern masters of the sentence comes this handsome pocket-sized chapbook of four gloriously oddball short stories. ($6) Behind the Zines #8: A Zine About Zines- The upswing in wrestling zines, amateur press associations, a brief history of Razorcake, so much. ($3)

Being- A lyrical memoir that works to put into words what it is to be transgender. It’s a book about relationships, about growing up, about the body and mind, about desire, about parenting, about how we adjust to huge changes, and about whom we know ourselves to be. ($6)

Digna- Part personal zine and part workbook zine, Digna looks at how healing can occur through both sound and the dream realm and how the two can overlap. ($7)

Glean Zine- A compact introduction to gleaning, food waste the world over, and how we can begin thinking differently about our food habits. Gorgeous comics and illustrations from the one-and-only Nicki Sabalu (DIY or Don't We) throughout. ($5)

Hope That Clears Things Up: Six Ideas Rejected by Warby Parker- A series of strange and confrontational pitches to online glasses retailer Warby Parker. In the tradition of Joe Wenderoth's Letters to Wendy's, Jim Joyce (of Let it Sink zine) creates something strange, uncomfortable, and oddly hilarious. ($2) How Restaurants Work- An art zine about working restaurant jobs. Weird food photos, strange receipts, and words about the reality and injustices of food service. ($10) Lizard Men- A short collection of men posing with reptiles on Tinder. ($2)

Radical Domesticity #2: The Sewing Issue- How to sew on a button, how to sew in a zipper, the differences between scissors, how to measure yourself correctly, and so much more. ($3) Radical Domesticity #3: Summers Up- Herbs and flowers to save the bees, ice-cube tray recipes, communal living, and more. ($3) Radical Domesticity #4: Wintering- Preparing for the fall and winter months. A guide to deciduous leaves, DIY bird feeders and seed, recipes for hot beverages and warming foods, how to keep a cold at bay. ($3) Reclaiming Dreams for Survivors- A short zine to assist abuse survivors that have issues around sleeping and dreaming. Going through herbs that can assist in this process, the zine offers a range of techniques and possibilities. Available in English and Spanish versions. ($7) Reclaiming Our Ancient Wisdom- The new edition of Reclaiming Our Ancient Wisdom is a deeply researched "guide for practiced herbalists and midwives to better serve the women of their communities." Benefits and safety issues, historical context, herbal implantation inhibitors, and so much more. ($7)

Starvation Mode- Seattle's Elissa Washuta mini-memoir on struggling for culinary control. ($6)

Tin Can Telephone #7- Various delves into the obscure: an in-depth of '60s Doctor Who novelty records, a primer on library music, interviews with Unread Records and Andy Rench, zine reviews, great photos. It's always such a treat. ($5) User Not Found- A pocket-sized chapbook on social media and life in the digital age. In a single, long-form lyric essay, Felicity explores our collective addiction from a variety of angles. It's a many-layered joyride of a think-piece. ($6) We, the Drowned #4: The Inevitable- The latest in Jonas Cannon's continued series of odd and hopeful stories about connection and disconnection. The highlight: a conversation between Jonas, Cindy Crabb (Doris), and Alex Wrekk (Brainscan) about regret (or the lack thereof) and the many possible paths that could have been. ($3) Women of Color Zine #15- Place-based representation in children's publishing, Black women bookworms, and so much more. ($5)

NEW BOOKS

Excavation: A Memoir- The debut memoir from the great Wendy C. Ortiz. ($15) Incandescent: A Color Film Zine, Issue 16- Hay, high chairs, salt mines, forsythia, dried flowers, things on fire. All of this and more in the latest issue of our favorite photography journal. ($14) Liar: A Memoir- When Rob Roberge learns that he’s likely to have developed a progressive memory-eroding disease from years of hard living and frequent concussions, he is terrified by the prospect of becoming a walking shadow. ($15) Pretend We Live Here: Stories- In her debut collection of stories, Genevieve Hudson explores the idea of home and what it means to find one: in the body, in the world, in other people. ($13)

NEW MUSIC

Antiquated Future Records: The First Seven Years compilation- Nineteen songs from the first seven years of our label. Slightly-skewed pop, indie rock, lo-fi folk, oddball electronic, and soundscape wizardry. (cassette + digital download) ($5) Dorothy Carter- Troubador- Otherworldly hammered dulcimer lushness. Surprising, largely instrumental, with splashes of Dorothy Carter's mystical Malvina Reynolds-esque vocals. (cassette) ($6) Indira Valey- Yemas- A series of seven short rituals offering brief peeks into alternate dimensions, past lives, and dream worlds. (cassette + digital download) ($7) Nicomo- Views- A smart six-song EP of breezy pop songs soaked in an ethereal haze. An early-morning hangout album meets complex after-dark mood music. For fans of Mega Bog, City Center, Shaggy Sample, Karl Blau, and Stephen Steinbrink. (CD) ($10)

[eoneric051567-blog]

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[spy-in-the-house]

DJ SURGELES aka KOLE LEIJEN

[ Axis Records | Something In The Sky | STR-MRKD | Modularz | Belief System Records | Nasty Temper Records | U.F.F Records | Diffuse Reality | BLAST!, Alkmaar NL ]

Brief bio of an artist: Surgeles (Kole Leijen) is a true musician with a lot of energy. He started digging into his parent’s records collection at the age of five and at the young age of eight his sister introduced him to house music. Soon after that, young Surgeles got his first set of turntables as a present for his birthday and started visiting regularly his local record dealer. While after a couple of years he started producing his own dark, deep and swerving techno. In 2005, while attending a Jeff Mills’s show, Surgeles managed to give a demo CD to The Wizard. The very next day Surgeles received a personal mail from Jeff Mills claiming that his music sounded great and that it inspired him to let Surgeles make a mix for his Purpose Maker Label. Two weeks later Surgeles’ mix was on Jeffs Mills’ Axis Records’ website for the 10th anniversary of the all-time Techno anthem "The Bells" . Later that year, during the Amsterdam Dance Event, Surgeles won a competition hosted by Dave Clarke for the best produced track and was than picked to play on Dave Clarke’s White Noise radio show on 3FM Radio. Around 2007 Kole started throwing his own parties called ‘Civilized?” at the legendary Escape club in Amsterdam. While 2009 marked the beginning of his career as record-label boss, as he launched his brainchild: ‘Underground Freedom Fighters (UFF) Records’. Ever since, the collaborations with Jeff Mills kept on flowing and Surgeles' consecration came when Jeff asked him to make a compilation for his label, ‘Something In The Sky’. In 2017 Jeff entrusted DJ Surgeles to take care of “the Betty Hill Case”, a 12” inspired by the story and the interviews of an American couple, who were allegedly abducted by extraterrestrials in a rural portion of New Hampshire in 1961. To be continued ... .

without the past … there’s no phuture … these alltime top20 faves in no particular order

01 UNDERGROUND RESISTANCE: The Seawolf [ A-side from World Power Alliance WPA-002 / UR / Submerge US ss-12" | 1992 ] 02 MIKE GRANT: The Struggle Of My People _ Mr. G's There's Hope Mix [ B-side from "And Then It Was My Turn ..." Moods & Grooves MG-011 / Big50 Entertainment US 12" | 2001 ] 03 MODEL 500 [JUAN ATKINS]: Starlight [ B-side from "Starlight" Metroplex M024 US 12" | 1995 ] 04 UNDERGROUND RESISTANCE: Transition [ B-side from "Inspiration / Transition" Underground Resistance UR-3000 / Submerge US 12" | 2002 ] 05 X-101[JEFF MILLS, MIKE BANKS, ROBERT HOOD]: Sonic Destroyer [ A3-track from "X-101" Underground Resistance UR-013.5 / Submerge US 12" | 1991 ] 06 THE SUBJECTIVE [CISCO FERREIRA & COLIN McBEAN]: Like Warriors [ B-side from "Comin Thru / Like Warriors" Rotation Records rot-98015 UK 12" | 1998 ] 07 TERRENCE FIXMER: Armee Des Tenebres _ Original Mix [ A-side from International Deejay Gigolo Records Gigolo-074 GER 12" | 2001 ] 08 AUX 88 [KEITH TUCKER & TOMMY HAMILTON]: Voice Modulation [ Track 2 from "Mad Scientist" Puzzlebox Records PBX-14CD US CD / Submerge | 2009 ] 09 DOPPLEREFFEKT [GERALD DONALD, KIM KARLI, MICHAELA To-NHAN BERTEL, WILLIAM SCOTT]: Rocket Scientist [ B1-track from "Fascist State" Dataphysix Engineering DX-001 US 12" | 1995 ] 10 JEFF MILLS: The Bells [ A1-track from "Kat Moda EP" Purpose Maker PM-002 / AXIS Records US 12" | 1997 ] 11 GENNARO LE FOSSE: RU4 This [ A1-track from "American Psycho" Counterbalance CBX-006 UK 12" | 2001 ] 12 KAREEM [PATRICK STOTTROP]: Umreck [ B2-track from "Caspian Gold EP" Possible Music Records pmr-003 GER 12" | 2004 ] 13 STEVE STOLL: Observer _ Original [ Proper N.Y.C. props-028 US 12" | 1999 ] 14 DEPECHE MODE [ANDREW FLETCHER, DAVE GAHAN, MARTIN L. GORE]: Dream On _ Dave Clarke Remix [ B1-track from "Dream On" Mute 12BONG-30 UK 12" | 2001 ] 15 JEFF MILLS: The Industry Of Dreams [ Track 3 from "The Messenger" Axis AXCD-045  US CD| 2012 ] 16 JOHANNES HEIL: Die Zahl Des Tiers (Part 3) [ B1-track from "Die Zahl Des Tieres" JH-003 GER 12" | 2001 ] 17 JEFF MILLS: Approching Moon [ Track 1 from "The Messenger" Axis AXCD-045  US CD| 2012 ] 18 SUBURBAN KNIGHT [JAMES PENNINGTON]: Nocturbulous Behaviour [ Underground Resistance UR-011 / Submerge US 12" | 1993 ] 19 CODE RISING [MATT LANCASTER & RYAN PHILLIPS]: Nightriders _ Will Web's Zero One Remix [ Track 1"The Night Riders EP" Propulsion Records PR003 US 3xFile(s) | 2015 ] 20 CHARLTON [C.RAVENBERG]: Chaotic Behaviour [ A1-track from "Chaotic Behaviour EP" Mord MORD-002 NL 12" | 2013 ]

#surgeles bookmarks: DJSURGELES  |  FACEBOOK  |  INSTAGRAM  |  DISCOGS  |  RA SOUNDCLOUD |  BANDCAMP  |  BEATPORT  |  AXIS RECORDS SOMETHING IN THE SKY  | STRMRKD   |  YOUTUBE

[exploresoftgo]

Wikipedia one wild moment

The film, which, at a running time of 10 or 12 minutes in a common silent movie projector, was the longest ever produced in UK to the day (the standard being 3 or 4 minutes, and so, some distributors bought and showed just some parts of this Alice, not the full footage), is more an illustration of Carroll's book than an adaptation. The surviving print is in a pretty bad shape, with many big white spots and missing frames, but no one should be surprised. Seen today, it's of great historic value, and it's amazing that it still exists, given that many silent films were lost forever. Hepworth and Percy Stowĭistributed by: American Mutoscope & Biographįrom Wikipedia: This 1903 short is the first version ever put on celluloid of the Lewis Carroll classic. Méliès never made any money from the film's American showings, and went broke several years later (while Edison made a fortune on the film).ĭirected by: Cecil M. Edison's film technicians had already secretly made copies of the film, which was showed across the USA within weeks. A segment near the end was animated, making this one of the first animated films, too.Īfter finishing work on the film, George Méliès intended to release it in America and thereby make lots of money. Le Voyage dans la Lune (A Trip to the Moon) ( France 1902)įrom Wikipedia: One of the earliest known science fiction films. Hand coloured film.įrom Wikipedia: Film reel shot by an anonymous Lumière operator in Lyon, 1897.Īudio/Visual: silent/musical score/Narrated in English, B&W The products, brand names, characters, related slogans and indicia are or may be claimed as trademarks of their respective owners.ġ896 Lumiere-LoïeFuller-Danse-Serpentine.mpegĭance performance,1896 (performer: Loïe Fuller). No endorsement by the trademark owners is to be construed, nor was any sought. Any trademarks appearing on the material are the sole property of the registered owners. Material of the Romano-Archives Collections is made available solely for historical research and educational purposes only. Only exception are original articles or texts published on this Website and the Romano-Archives' original compilations on CDs or DVDs that are subject to copyright. Īll the material in the Romano-Archives Collections is in the public domain and has no copyright attached to it.

Mac users can easily view MPEG 1, MPEG 2, MPEG 4, and Divx movies in MacOSX with the free version of this program: VLC Media Player. The multimedial files of the Collections are compatible with the free version of the most common players: Quicktime Player, Real Player, Windows Media Player. If you have any questions about the fees or need clarification of the service of providing digital multimedial files, please contact Vincent Romano. Romano-Archives will provide up to 2,000 (or about 10% of this Collection) multimedial files to a single requesting party. Rush (2-3 business days) is available for an additional fee of 40 Euros. Normal turn around time for requests is 3 weeks. The files are available on a customized DVD-ROM.īilling is done when the order is fulfilled. (1) It is possible to obtain digital duplicates of the multimedial files (movies, videos, audio documents, and Virtual Reality files) from Romano-Archives for research, teaching, general interest user information, and private study purposes. Clips and movies can also be downloaded from our servers using a PW or uploaded by us to your FTP.

Hi-Res videos from our Collections are available on DVD, CD or directly in your inbox. WE LICENSE FOOTAGE from our Collections for: multimedial creations on CD or DVD, TV commercials, film or TV programs, documentary Productions, web sites, marketing/ad campaigns, video email, electronic kiosks, trade shows, business seminars, cultural events, museums, expositions. PRIVATE USE: home TV vision (DVD-Divx player), PC, iPod. We can suggest you the right one for the use you have in mind. Hundreds of hours of footage from this Collection are available in different format, size and definition. (1)Īlmost all the digital copies of the films are good quality Hi-Res editable videos. We do provide duplicates of the multimedial files of the Collection on a customized DVD-ROM. Almost everything here has been acquired in top video quality. The last added films are listed at the bottom of the pageĬlassic, historical movies from the Silent Film Era, and also historical Newsreels and various curiosities, are part of our small anthology.

[savage-kult-of-gorthaur]

FIILE UNDER: '90s UNDERGROUND, DEEP SIX RECORDS, COMPILATIONS, GRAPHIC DESIGN, EXYREME MUSIC, '90s MUSIC, ETC...

PIC(S) INFO: Mega spotlight on sleeve art to "REALITY" Part #2 and Part #3, the second and third installments in the "REALITY" series of compilations by the American grindcore/ powerviolence/hardcore/ sludge/extreme music label, Deep Six Records, released in 1997 and 1999 respectively on both CD and 7 inch vinyl media formats.

Source: https://bloggedquartered.blogspot.com/2017/03/american-powerviolence-from-west-to-rest.html.

[eng-hypnosismic]

[INTERVIEW] Kimura Subaru for MyNavi News

You can check the original interview here 

Twelve male seiyuu take on the roles of rappers in the rap song project “Hypnosis Mic”. Top-of-the-line instrumentalists and composers come together to create original music, and call attention. To celebrate the release of all 4 original CDs, MyNavi News is conducting a cast interview with each of the 4 Division Leaders. Part 1 is an interview with Ikebukuro’s leader: Subaru Kimura!

Around middle school, Kimura became fascinated by the rise of hip-hop and Eminem, and in high school, he spent all his time going head to head against his classmates in freestyle rap battles. Currently, Kimura performs live as a member of the hip hop group NEW JAPP HEROZ. Hypnosis Mic brings together rap and voice acting, and Kimura talks about the struggles of the work, as well as the charm behind the rap.

- What did you think when you first got to know about the “Hypnosis Mic” project?

Kimura: I felt like “This finally happened! I’ve been waiting for this!”. I used to rap before but I couldn’t find much opportunities to do it. I used to rap in clubs, or do lives during the night, but as expected, the image we get from it is not very good. Besides, in the end, I still identify myself as a voice actor first and foremost. But when I heard about the project, I thought “Eh? Can I rap as a voice actor? Can I extend my wings in front of everyone?” (laughs). I was really happy because I wanted to do this.

- Kimura-san, what made you get into hip hop?

Kimura: I was born in Germany in 1990 and I came to Japan in 1997. Back then, my mother bought an album compilation of popular 97’ songs. Moving from Germany to Japan was a major turning point for the family and there was a variety of kind of music playing around the world, my parents said “Let’s preserve our memories with music” and bought the cd for me. There were songs by artists like M.C. Hammer, Run D.M.C, eminem, etc.

- So the CD your mom bought was your first contact (with hip-hop), right?

Kimura: There were a variety of songs in the CD, but there was a great amount of hip-hop in it.  I said “What a strange feeling, I’m addicted!”. My father is an opera singer, my mother is a solo singer, I’m part of a classic family, because of that I’ve been playing violin since I was three years old. So it was a shock when I found out about hip-hop. “I never heard of it in Germany” (laughs).

- That must’ve been a huge shock.

Kimura: “Oh wow!” And then I got addicted. After this, I started reading books related to the subject, while listening to the CD. Those songs have a lot of messages in it, I wanted to know more about the deep part of it. From then on, I got really into it. During elementary and junior high school, my friends would make my friends listen to the songs I like and it used to make me feel a great sense of superiority over the face they used to make (laughs). It was a good feeling.

- “The face the friends used to make” (laugh). What kind of songs were those?

Kimura: I think it was a song called “Parteechecka (Bright Light Mix)” in ZEEBRA’s album, “The Rhyme Animal”.

- Hip-hop is a culture formed by people who seek to build peace

Where does Kimura-san think is the charm of hip-hop?

Kimura: In a general way, it’s a way of living, a lifestyle. It has this “violent” image, but it is made of people trying to escape from it. It all began with youth fighting against the violence. It seemed too violent for me at first, but I got overwhelmed by the fact the roots are people trying to build peace. Not all rappers are necessarily gangsters. Hip-hop is a lifestyle in which people try to enrich their lives.

- The “Hypnosis Mic” world is also born from those roots. During your high school times, Kimura-san used to freestyle and have a lot of rap battles, but when you talked in the radio, you said you began to feel attracted to the lyrics more precisely rather than improvisation.

Kimura: That’s also the power of Japanese language, when I realized that one word has a lot of meanings, I thought it was interesting. “The person is saying this, but the meaning is this”, and those kind of implications are contained in rap, that’s how I thought. Of course, there are people who can do this in freestyle, for example, R-shitei-san will use and reuse phrases against opponents in rap battles.

- When you understand the context, you understand the meaning put in it.

Kimura : When I listened to those people (rappers), I thought it would be wonderful to see the link between the word and the meaning, it was an amazing thing to understand. I’m a bit obsessed with Eminem, he’s really poetic genius when it comes to his lyrics. In the first verse of “Lose Yourself,” he uses words like “him” and “his,” but he’s really talking about himself.

- It was a famous song that from the movie “Eight Mile” released in 2002, starring Eminem himself.

Kimura : Eminem has “Slim Shady” and other famous songs, I was struck by some words he said in an interview, it was something along the lines “I didn’t say it, it was Slim Shady who did”. He represents through his lyrics what’s inside of him, describing himself and portraying himself by using “he”. So I felt the aesthetichs there. I was struck by the greatness of the meaning put in such lyrics. It’s a good sense of gain and excitement when you realize it later. It makes you want to listen to more songs and pay more attention to the details.

- You write lyrics yourself, right? In Yamada Ichiro’s song, “Ore ga Ichiro”, you went under the name Koura Bintaro(2).

Kimura: Even in this song, there are a lot of wordplays. Specially in the second part. It is inspired by the Anime “Neon Genesis Evangelion” the “There are still some things you haven’t seen, Our motive power ends the darkness” part, or also the “Even if it rains tomorrow I believe in my friends” part. You can’t notice just by listening, when you look at the lyrics paper, you will go “Really?” and you will think “Rap is really awesome”.

- It’s the kind of lyrics that make you want to pay attention to it

Kimura: Even a simple “That’s cool” is ok. It’s also ok if you shake your head because you dislike it. Immerse yourself in the lyrics a little, and you’ll be fascinated. There are a lot of professional rappers and attractive lyrics in it, so it would be nice if you could check “Hypnosis Mic” out.

- This time, there is the mix of two-dimensional content for women and Japanese rap, it’s a combination never done before, but in “Hypnosis Mic”. What does Kimura-san, who is familiar with rap, think of it?  

Kimura: It’s not a story that happens in our era. It’s set somewhere more like in “TOKYO TRIBE” and “HiGH&LOW” (1). However, it is a new attempt, expressed only by pictures, aimed for women. We were worried, “will they (women) be as excited by this as we hope?”. As expected, there’s this “Hip hop = something that burns” image.

- As the project progressed, has the worry vanished?

Kimura: Yes, the project is made by professionals, so I decided to not worry about it and go for it. Eventually I thought about how worrying wouldn’t help much. I will just do the best rap. I’m not lying, I thought that if I did a good rap, people would listen to it. There are so many easy and understandable rap songs in the world. But this time the mindset was “Let’s make it an easy rap, but a serious one”.

- The staff also has the desire to make real rap for the female audience?

Kimura: There was this case. Because of this, we discussed a lot about the lyrics. For example, when singing the “Hypnosis Mic - Division Rap Battle-”, I thought some word choices were hard to understand as a rap when I looked at it for the first time. In Ichiro’s “Given Anima (life), that’s Karma” I saw no “vision”. I was wondering how to express it, like “is this really interesting?” for the staff’s stories and all.

- How did that discussion go?

Kimura: The staff told me "Regarding All Stars, they want to make a song that get people hooked first time they listen to it, therefore they want to produce an intriguing/mysterious awesomeness”. “I don’t fully understand but it is amazing” I said jokingly. After hearing that, I thought I was rather shallow (laughs). Of course people in major projects work in a different way. I want to create something with the emphasises on how realistic it can be, therefore I was just thinking to impress (lit. to pierce) one person. On the contrary, the staff’s thought  “let’s make something that everyone would think is sick”. We were working with totally different vision - I kept thinking that, undoubtedly, these people are amazing.

- Actually “Hypnosis Mic - Division Rap Battle -” is the type of song that the more you listen, the more addicted you get.

Kimura: Exactly. When I notice, the song is in my head and I’m mumbling the lyrics. That’s how powerful this song is.

- Kimura-san, you always tell your fans “listen to rap” during interviews for your other works. Why do you recommend rap to them?

Kimura: In general, because I wanted to change the “rap is scary”, “It’s a dangerous world” image. That kind of image still persists and stands out, and this was one of the reasons I couldn’t just say “I’m doing rap”. Of course there is the other side, but I want to say that Japanese rap now is pretty clean, “Rap is not that bad”. Even if you don’t like it “Just listen to it once, it’s absolutely amusing”.

- If you listen to it, you will know the charm. Do you have a favorite piece to recommend?

Kimura: There’s this recent, “Modern Times” by Punpee was released this year. The first song “2057”, is a song about you from 40 years later talking to the you in 2017, “Me who’ve become an old man”; voice actor Asou Tomohisa is in it. When the rapper himself does it, lacks a bit of reality; that’s why it’s super good when the reality is able to be portrayed by a professional voice actor.

- Then, if the reader is interested in rap, they have to check it. Now, tell us about the charm of the unique rap done by the voice actors that we can listen through “Hypnosis Microphone”.

Kimura: Professional rappers rap about their reality, right? But “Hypnosis Microphone” is made of voice actors representing characters. By that, you can understand the characters through the feeling the voice actor plays on the rap. In that case, on top of voice actors’ natural “power to utter words”, along with emotions of the characters, I think piercing through a person [‘s soul] by singing is possible. I think voice actors are as strong as legendary rappers in their ability to express the intensity of a message. I am serious.

- The emotions of the characters enhances the strength of words.

Kimura: At the live stage in AGF, Cypress Ueno-san and UZI san said that “The feelings and power that the voice actors put behind their words are amazing”, my heart stopped for a second (laughs). It was amazing to hear something like this from professionals, I guess that’s the strength of voice actors.

1.  These are movies in which the setting is an “alternate Japan” rife with street gangs.

2. Thank you Kaoarika for the correction!

© Jp-Eng: Eng hypnosismic

© MyNavi News

[blackkudos]

Biz Markie

Marcel Theo Hall (born April 8, 1964), better known by his stage name Biz Markie, is an American rapper, beatboxer, DJ, comedian, actor, singer, reality television personality, grartist, and commercial spokesperson. He is best known for his single "Just a Friend", an American Top 10 hit in 1989. In 2008, "Just a Friend" made #100 on VH1's list of the 100 greatest hip hop songs of all time. Biz Markie currently lives in Howard County, Maryland, and has helped support County Executive Ken Ulman during his fundraisers.

Markie has been called "the Clown Prince of Hip Hop."

Early life

Markie's career began on Long Island, New York. He attended and graduated from Longwood High School in 1982.

Career

1980s

Before he got famous Biz Markie was interviewed in the 1986 cult documentary Big Fun In The Big Town. Markie released his debut album, Goin' Off in 1988, which attracted a fair amount of attention, largely due to the lead single, "Make the Music With Your Mouth, Biz". The album also featured the underground hit singles "Nobody Beats The Biz", "Vapors", and "Pickin' Boogers".

On October 10, 1989, Biz Markie's second studio album, The Biz Never Sleeps was released on Cold Chillin'/Warner Bros. Records, produced by Biz, his cousin Cool V and Paul C. The single "Just a Friend", in which he alternates between rap and singing, became Markie's most successful single, reaching #9 on the Billboard charts.

The song interpolates the 1968 song "You Got What I Need" by singer/songwriter Freddie Scott, whose basic chord and melody provided the base for the song's chorus. "Just A Friend" was ranked 81st on VH1's 100 Greatest One-Hit Wonders in 2000, and later as number 100 on VH1's 100 Greatest Songs of Hip Hop in 2008.

The music video, directed by Lionel C. Martin, chronicles the rapper's woman problems. At the climax of the video, Biz Markie's character stumbles upon a girl he was trying to date kissing another man she had previously referred to as "just a friend". It also includes a memorable scene of Biz singing the chorus dressed as Mozart in 18th-century clothing with a powdered wig in a candlelit room while playing the piano. This scene was likely inspired by the video for the 1986 hit "Rock Me Amadeus", which was in turn inspired by the 1984 film Amadeus.

1990s

Markie's third studio album I Need a Haircut was released on August 27, 1991, on Cold Chillin'/Warner Bros. Records and was produced by Biz Markie and his cousin Cool V. Sales of the album were already low when Markie was served a lawsuit by Gilbert O'Sullivan, who claimed that the album's "Alone Again" featured an unauthorized sample from his hit "Alone Again (Naturally)". O'Sullivan's claim was upheld in a landmark ruling, Grand Upright Music, Ltd. v. Warner Bros. Records Inc., that altered the landscape of hip-hop, finding that all samples must be cleared with the original artist before being used. In accordance with the ruling, Warner Bros., the parent company of Cold Chillin', had to pull I Need a Haircut from circulation, and all companies had to clear samples with the samples' creators before releasing the records. This development reflected the increasing popularity of hip-hop and the financial stakes over which releases were set. Biz responded in 1993 with the mischievously titled All Samples Cleared!, but his career had been hurt by the publicity emanating from the lawsuit, and the record suffered accordingly. Additional bad news came when the video for the track 'Toilet Stool Rap' was labeled Worst Video of the Year on the Fromage show from Canada's MuchMusic.

For the remainder of the decade, Markie occasionally made television appearances, including guest appearances on In Living Color (including as contestant Damian "Foosball" Franklin in the recurring game show sketch "The Dirty Dozens" and as Marlon Cain in "Ed Bacon: Guidance Counselor") and in a 1996 freestyle rap commercial on MTV2. He also made numerous guest appearances with the Beastie Boys, Check Your Head (1992), Ill Communication (1994), Hello Nasty (1998), and their anthology The Sounds of Science (1999). He also rapped on the song "Schizo Jam", on Don Byron's 1998 release, Nu Blaxploitation (Blue Note/Capitol) and worked with Canibus on the first track on the Office Space soundtrack (1999). He also rapped on the track "So Fresh" alongside Slick Rick on Will Smith's 1999 album Willennium.

In 1996, Markie appeared on the Red Hot Organization's compilation CD, America is Dying Slowly, alongside Wu-Tang Clan, Coolio, and Fat Joe, among others. The CD, meant to raise awareness of the AIDS epidemic among African American men, was heralded as a masterpiece by The Source magazine.

In 1997, Markie appeared on the Rolling Stones' song "Anybody Seen My Baby?" on their album Bridges to Babylon. His part was shortened on some radio versions. Biz also teamed up with Frankie Cutlass on his third single and music video titled "The Cypher Part 3" with some of Marley Marl's Juice Crew veterans.

In 1999, Markie appeared on Len's song "Beautiful Day" on their album You Can't Stop the Bum Rush.

2000s

In 2002, Markie appeared as an alien in Men in Black II with Will Smith and Tommy Lee Jones, essentially playing an alien parody of himself, whose native language sounded exactly like beatboxing. Between 2002 and 2003 he appeared in episode 5 of the TV series Fastlane playing himself as a nightclub DJ. In 2003 he appeared in the international television series titled Kung Faux performing a series of voice over characters featured in a variety of episodes. In 2004, his song Vapors appeared on the soundtrack of Rockstar's popular videogame Grand Theft Auto: San Andreas which featured an old school hip hop radio station, Playback FM. In 2005, Biz detoured from his recording duties to appear on the first season of the television show Celebrity Fit Club which challenged celebrities to lose weight by a combination of diet and exercise. Biz Markie lost more weight than anybody else in the competition. That year, he was also in an episode of The Andy Milonakis Show.

Biz Markie was a cast member on Nick Cannon's Wild 'n Out, seasons 1 and 3. Biz also does the beatboxing segment, Biz's Beat of the Day on the Nick Jr. show Yo Gabba Gabba!.

Biz Markie began 2008 opening for Chris Rock's "No Apologies" tour. Biz Markie's act includes spinning records ranging from old school hip hop to Lynyrd Skynyrd and then performing "Just a Friend". Biz Markie's playlist includes the following: "Children's Story" by Slick Rick, "Rapper's Delight" by The Sugarhill Gang, "Billie Jean" by Michael Jackson, "Holiday" by Madonna, "Wake Me Up Before You Go-Go" by Wham!, "It Takes Two" by Rob Base and DJ E-Z Rock, "The Breaks" by Kurtis Blow and "Robot Rock" by Daft Punk.

In December 2009, Biz Markie appeared in a RadioShack commercial, repeating the line: "Oh Snap! Guess what I saw!" from his song "Just A Friend". That same year saw his debut with Andy Milonakis in television commercials for the commercial Internet service, Tune Up.

2010s

In 2010, Biz Markie appeared on VH1's 100 Greatest Artists of All Time, providing commentary throughout the series. Biz Markie himself was not included on the list. On November 9, 2010, Biz appeared on The Aquabats! new EP, Radio Down! in the title track. On November 11, 2010, Biz sat in with The Roots on Late Night with Jimmy Fallon, and performed "Just a Friend" with actor Jeff Goldblum.

In 2012, Markie appeared several times on MTV2's new game show Hip Hop Squares, a spin-off of the popular game show Hollywood Squares.

In 2012 Biz Markie made an appearance in the track "2012 (You Must Be Upgraded)" by Oklahoma band The Flaming Lips alongside Ke$ha.

In 2013 Markie toured with the Yo Gabba Gabba! live show.

In 2013, his song, "Just a Friend" was featured in Saints Row IV, which included a Pop station 107.77 The Mix FM.

He appeared in the CN show MAD, as the Hip Hop Hobbit.

He voiced rapper Rhymez and his DJ, Tiny Timmy Scratch It, on Randy Cunningham: 9th Grade Ninja episode "Hip Hopocalypse Now".

He guest starred in the SpongeBob SquarePants episode "Kenny the Cat," in the episode's title role. His voice acting work also includes the voice of Snorlock the Beatboxing Slug in an episode of Adventure Time.

In 2014, he appeared in the Syfy network movie Sharknado 2: The Second One as Vinnie the pizza shop owner.

Also in 2014, he threw a ceremonial first pitch for an Oakland Athletics baseball game.

In 2016, his song, "Just a Friend" was featured in the Netflix Series Love as an ending theme for episode 4. He also makes an appearance in a song titled "The Noisy Eater" off the critically acclaimed album Wildflower by The Avalanches.

Discography

Studio albums

1988: Goin' Off

1989: The Biz Never Sleeps

1991: I Need a Haircut

1993: All Samples Cleared!

2003: Weekend Warrior

Compilations

1994: Biz's Baddest Beats

1996: Schoolhouse Rock! Rocks

1998: On the Turntable

2000: On the Turntable 2

2002: Greatest Hits

2006: Make the Music with Your Mouth, Biz

2009: Ultimate Diabolical

2009: "Yo Gabba Gabba"

2010: The Aquabats Radio Down!

Wikipedia

[collectifreflection]

“& I never looked back”

what was the first punk rock band u liked and how old were you?

“I was 10 my brother was 11, I bought a lurkers 7” he bought crass reality asylum 7”, he hated it and bullied me into swapping them, i’m 51 now and still have it 6000 miles away from where I got it“

“I stole a sex pistols tape from “wall to wall sound and video” at the KOP mall when i was 11, but i also stole a beach boys tape the same time”

“i guess it was DK on tony hawk’s proskater but the first punk show I went to was this band called the mops (Salem, OR).”

“i was in 5th grade when this kid introduced me to agent orange and circle jerks .... & everything turned grey forever“

“Sex pistols. Ramones. The Clash...and to impress some one the Misfits...Also i had a serious crush on Henry Rollins.”

“Wow I've never thought about this before, but technically it would be a mix of bands taped off of WZBT the college radio station of Gettysburg PA. I may even still have it in some box? It's pretty eclectic but for sure I recall it having Bad Brains, Sex Pistols, Dead Kennedys. I must have been in 4th grade? Then during the summer between elementary and high school (we didn't have "middle school" in my rural PA town) I bought Black Flag's "Everything Went Black" because of the cover art, which was always a thing for me, and never looked back as I got fixated on tracking down all the bands on the flyers. I also around this time got Crass Records "A Sides" comp with Flux of Pink Indians, Rudimentary Peni etc.... blew my fn mind. I never heard Crass themselves until I was in my 20s and never liked them very much musically, ha! Back then in early hs years I would make punk mix tapes for my three or so friends and I would mail-order all this weird stuff because of trying to find the bands on the flyers.... so I had like the record The Stains and had a QUIT THE HUMAN RACE t shirt I hand-markered when I went into hs in 7th grade. PUNX 4 LIFE.”

“My dad had a roommate when I was 12 and he burned me copies of London Calling, Young Loud Snotty, Nevermind the Bollocks, and Germfree Adolescents and i never looked back“

“Dead Milkmen, sometime in high school. Then I moved to West Philly and met Joe and Rodney at a party and tried to be chill while my inner 15 year old was melting doooown.“

“Dead Kennedy’s in 9th grade. I really thought I was all alone in disliking authority before that moment. I always say punk saved my life. Part of it was definitely giving validation to my headspace.“

“Iggy Pop/The Stooges on vinyl with my dad. I was 8.”

“Crass, someone told me it was crust punk haha I was like 12.“

“Rancid. I heard them on THE RADIO. I was 11 and they were so fun.”

“the offspring! i think i was 8 or 9 years old. i liked the song pretty fly for a while guy bc i thought it was funny so i bought the cd and listened to it. track 1 is an intro but track 2 started playing and that song “have you ever” and i heard it and THEN my tiny little brain flipped out. the offspring was so much cooler than that silly hit song pretty fly for a white guy. i became obsessed and started buying their nitro records compilations bc the offspring would put unreleased tracks on them. so i learned bout all that late 90s skate punk.“

“Nofx. My best friend put "I heard they suck live" on a tape for me in 8th grade.“

“Maybe “circle jerks” from the movie Thrashin’ when I was 11. But the Subhumans (UK) were the first punk band that I totally fell in love with, I was 12-13“

“Green Day and Rancid on the radio the summer before 7th grade. The look, every bully gang in every 80s movie.“

“I think I was 14 when I bought a copy of Dead Kennedys “Fresh Fruit for Rotting Vegetables” based on the band name, cover art, and song titles. I had never heard anything like it before, I actually thought it was gonna be more metal but it made me realize I liked punk too.”

“Anti flag, middle school”

[annoyingkoalawinner]

English Dogs Metalmorphosis

English Dogs, culminating with the 'Metalmorphosis ' 12' and 'Where Legend Began' album through Under One Flag in 1986. In Spring of that year the Dogs toured the USA to sold out shows at the LA Olympic auditorium, Fenders Ballroom, San Diego, San Francisco, Baltimore, New York, Chicago, in fact all over the East and West coast.

English Dogs discography (all) They Only Come Out at Night (1985) Metalmorphosis (1986) Where Legend Began English Dogs. Type: Full-length Release date: 1986.

View credits, reviews, tracks and shop for the 1986 Vinyl release of Metalmorphosis on Discogs. Label: Under One Flag - 12 FLAG 101. Format: Vinyl 12 English Dogs - Metalmorphosis (1986, Vinyl) Discogs.

English Dogs are a British hardcore punk band that began life in the early eighties. Two versions of the band exist,the Punk/Metal Crossover band featuring original drummer Andrew 'Pinch' Pinching and second era members Graham 'Gizz' Butt and Adie Bailey and a punk-based one featuring original vocalist Pete 'Wakey' Wakefield.

History

English Dogs formed in October 1981 in Grantham and produced two demos during 1982 entitled 'Show No Mercy' and 'Free To Kill'. The band toured as support to fellow punk band Charged GBH in Germany during early 1983 and followed this with a British tour supporting Discharge. In 1983 they signed to Clay Records and released a 6 track EP titled 'Mad Punx And English Dogs' July 1983. English Dogs' first full-length album, 'Invasion of the Porky Men', emerged a year later. Personnel changes ensued after the debut album emerged with vocalist Wakey departing to be replaced by ex-Ultraviolent singer Ade Bailey. At this juncture the band also decided to augment their live and recorded sound by adding ex-Destructors guitarist Graham 'Gizz' Butt who added Metal riffing, guitar leads and contributed to the English Dogs songwriting.

This change saw them leave Clay records to sign with Rot Records and release the decidedly metal tinged 'To The Ends Of The Earth' EP in September 1984. The metal leanings increased with Forward into Battle. English Dogs, culminating with the 'Metalmorphosis ' 12' and 'Where Legend Began' album through Under One Flag in 1986. In Spring of that year the Dogs toured the USA to sold out shows at the LA Olympic auditorium, Fenders Ballroom, San Diego, San Francisco, Baltimore, New York, Chicago, in fact all over the East and West coast. Upon their return to the UK Jon Murray left the band.The group appeared on the legendary Shades promoted Thrash bill at Camden's Electric Ballroom with Possessed and Voivod later in 1986. Pinch also left the band around Winter '86. The band carried on with Adie, Gizz and Wattie playing with other musicians until calling it a day in the fall of that year. In 1993 Pinch and Gizz Butt reformed English Dogs with 'Mad Punx' vocalist Wakey and Future Damned Bassist Stuart West, signed to German label 'Impact records' and released 'Bow To None', Wakey left shortly after with him being replaced by Stuart 'Stu-Pid' Jones (Also of Police Bastard, Sensa Yuma and ex Contempt) for the 1995 five track EP 'What A Wonderful Feeling... ...To Be Fucked By Everyone' on Retch Records .

Eventually English Dogs became a 3 piece with the line up of Gizz Butt - Lead Vocals and guitars, Pinch - Drums and backing vocals and Shop - Bass guitar and Backing vocals . They released the 16 track crossover album 'All The World's A Rage' also on Impact records and toured UK, Germany, Austria and Switzerland many times. in 1996 the English Dogs played their last shows as Pinch, Gizz and Shop were soon to re-emerge as Janus Stark. An English Dogs / GBH union resulted in Wakey and Pinch creating The Wernt with GBH members guitarist Jock Blyth and bassist Ross Lomas for a 1997 album 'Wreckin' Temples'. Gizz Butt replaced Jim Davies of Pitchshifter as the live guitarist for The Prodigy, which in turn revitalized interest in English Dogs and prompted a re-release of Where Legend Began. Gizz also announced the formation of a new act Janus Stark the same year recording with (3 Colours Red producer)Terry Thomas acting as producer. 1999's 'I've Got A Gun' was recorded live in Finland in 1994 when Pid was on vocals . By 2000 Pinch had joined The Damned. Gizz Butt returned in 2002 with The More I See.

In May 2007, English Dogs reformed with the original line-up with the exception of Pinch, who is drumming for The Damned. He was replaced by Stuart Meadows, who played for Resistance 77. They mainly play throughout Europe, but they do not play their crossover material. English Dogs released an EP called 'Tales of the Asylum' in November 2008. English Dogs had another line-up change in 2009, then afterwards a hiatus . At one point the only original member being bassist Wattie .After months of leaving, Wakefield reformed the band with him being the only member to have featured on any official release. In 2011 three original members of the 1984 Crossover line up announced they were going to reform to perform the 'Forward Into Battle' and 'To The Ends Of The Earth' releases in their entirety . This led to a sell out tour which received great reviews. After the tour the lads announced they were to write new material in the vein of the Crossover material and plan more touring. The new English Dogs album, entitled The Thing With Two Heads, will be released on Candlelight records in July 2014. Drummer Pinch says 'We got back together because we felt like we had unfinished business. Tons of people ended up turning up to the gigs. We started to think maybe we are worth a fuck after all. We started writing and recording and it clicked immediately.' The Thing With Two Heads, he continues, 'is the missing link between To the Ends Of the Earth and Forward Into Battle. It’s classic English Dogs punk metal. It doesn’t sound like anyone else, because it wasn’t inspired by anyone else.' The Crossover line up are now back out on tour with long time friend and associate Spike T Smith on drums (who played in the Dogs way back in '87 when Pinch had to step out back then) who stepped into the drummer position in August 2014 as Pinch was unable to commit time to the Dogs due to his role in The Damned.

Discography

Albums

Invasion of the Porky Men (Clay Records, 1984)

Forward Into Battle (Rot Records ASS20, 1985)

Where Legend Began (Under One Flag Records FLAG4, 1987)

Bow to None (Impact Records, 1994)

All the World's a Rage (Impact Records, 1995)

I've Got A Gun! Live In Helsinki (Retch Records, 1999)

This Is Not A War (Retch Records, 2002)

'We Did, We Do, We Always Fucking Will' (2014)

The Thing With Two Heads (Candlelight Records, 2014)

Singles and EPs

Demo '82 tape (1982)

Mad Punx and English Dogs 12' (Clay Records, 1983)

To the Ends of the Earth 12' (Rot Records, 1984)

Metalmorphosis 12' (Under One Flag Records 12FLAG101, 1986)

Sei Was Du Bist (Impact 1995)

What a Wonderful Feeling to Be F**ked By Everyone (Retch Records, 1995)

Tales From The Asylum (Retch Records 2008)

Get Off My F***ing Moon (2011)

Dog Sick Split with Sick On The Bus (2012)

Clockwork Boys / English Dogs - Lusitanian Punk Rock - Punk Fucking Rock ‎(7')Chaosphere Recordings, Raw 'N' Roll Rex, Dog City Records, V.D.C. RecordsCHAOSV009, RAW002, DCR004, VDC 0062013

Compilation albums

Have a Rotten Christmas Vol. 2 LP (Rot, 1985)

Driven to Death LP (Clay, 1990)

Angry Songs and Bitter Words CD (Ruptured Ambitions, 2003)

Members

First line-up

Pete 'Wakey' Wakefield - Vocals

Jon Murray - Guitar

Mark 'Wattie' Watson - Bass

Andrew 'Pinch' Pinching – Drums

English Dogs Metalmorphosis Rar

'Forward Into Battle' line-up

Adie Bailey - Vocals

Graham 'Gizz' Butt - Lead Guitar

Jon Murray - Guitar

Mark 'Wattie' Watson - Bass

Andrew 'Pinch' Pinching – Drums

Present UK line-up

Pete 'Wakey' Wakefield - Vocals

Nick Wynch - Guitar

Michael *Tat* Tatler - Bass

Richard *Grizz* Grizzwell - Drums

Present Crossover line-up

Adie Bailey - Vocals

Graham 'Gizz' Butt - Lead Guitar

Ryan Christy- Rhythm Guitar

Craig Christy - Bass

Andrew 'Pinch' Pinching – Drums

Spike T. Smith - Drums (since July 2014)

English Dogs Metalmorphosis Shirt

English Dogs evolved from being a punk band to a crossover band to a power metal band. The Metalmorphosis EP is from the more punkish crossover time. While evolving so much, and changing style so much, they obviously produced albums of different quality. Metalmorphosis is not one of the better releases. The production is very good, considering the EP was made in the late eighties. The guitars are clearly punk-influenced yet sounding like they were inspired of technical thrash. The paradox is total. Drumming are pretty metal, without the double bass and Wakey screams his vocals in a punk/hardcore way. His voice cracks at times, but most of the time he does just fine. All this results in a sonic chaos. Although behind the chaos there is a hidden complexity, which is the key reason, I love this band’s later releases. In the end of Nightmare of Reality there is a psychedelic drumbeat, building up a real nice atmosphere. The members of English Dogs are skilled musicians even though they are punks. They can do what they want, but I’m not sure that they knew what they wanted on this one. This release isn’t bad, but a better overlooked part of their discography.

[antiquatedfuture]

Summer Solstice Newsletter

NEW ZINES

Canvas & Cassette, Issue Two- Part art journal, part music magazine, part old-school variety zine, Canvas & Cassette has a little something for everyone. ($10)

Covers: Stories About Musicians- Technically a restock, but this highly enjoyable series of comics adapted from music biographies was so popular, we could only keep it in stock for two weeks. Just reprinted and (once again) going fast. ($2)

Empathy Exercise- Places the classroom exercise of putting a blindfold on to imagine being blind against the daily reality of being blind. ($4)

A Few Good Boys: Admiration of Straight White Men and Its Accompanying Dread- In this short illustrated essay, M. Sabine Rear writes about growing up surrounded by art from straight white men and the hoops she had to go through to relate to it. ($4)

Fixer Eraser, Vol. 2- The long-awaited second issue of Fixer Eraser, the latest odds-and-ends zine from Jonas (Cheer the Eff Up, The Greatest Most Traveling Circus), one of the best writers in zines today. ($3)

Fixer Eraser, Vol. 3- A collection of stories and unique bits that sidestep categorization, full of life and surprises. Former superheroes, tortured legends, messages left on small sheets of paper on buses, and so much more. ($3)

Fixer Eraser, Vol. 4- Imagined parenting advice, imagined short stories, and some real stories, some real advice. Where the line between them lies is part of the fun. ($3)

It Only Gets Worse From Here: Fifteen Unspirational Messages to Ruin Your Day- It Only Gets Worse from Here takes the "handwritten inspirational quote art" genre and makes it bleak, lonely, and hilarious. This tiny zine holds 15 unspirational messages to guide you toward your darkest moments. ($2)

Keep Content Off Facebook- A thoughtful zine that asks artists to reexamine how they use Facebook and how Facebook uses them. Not a call to boycott the platform entirely, but to simply think deeply about it and seek solutions beyond it. ($2)

Keep Loving, Keep Fighting #9- In the first issue of Keep Loving, Keep Fighting in ten years Hope combines short, poetic lines about loss, grief, and spirituality with full-color spreads of transcendent mixed-media art. ($5)

Minimum Rock + Roll #9- An interview with Closer, the new project from Real Life Buildings folks. Lots of album reviews. Every Minimum Rock + Roll issue is a tiny good time. ($1)

Minimum Rock + Roll #10- Another little burst of underground music from Olympia's Joshua Hoey and Reflective Tapes. Within: an interview with Don't Love Like Me Records and plenty of reviews. ($1)

Minor Leagues #5- In this, the GIANT fifth issue of Minor Leagues, Simon Moreton's dreamy, time-traveling diary comics blend with long pieces of prose. Within: Finding meaning in place, being in nature, moving through loss, living with ghosts. ($7) My Complicated Relationship With Food, Vol. Four- The return of the most popular zine series we carry. Surprising and bizarre reviews of unremarkable foods. ($1)

Resilient Bastard: Ways to Combat a Brain That is Actively Trying to Kill You- A much-needed zine of writers being very open and honest about depression, suicidal thoughts, and tools for coping. From a great crew of Olympia folks. ($5) Tin Can Telephone #4- A short history of pirate TV intrusions, an interview with Sarah MacDonald of Thrifty Times zine, tape-music history, and much more. ($4) Women in Sound #5- A new issue of Women in Sound zine is always cause for celebration. But this one is perhaps the best yet. Interviews with three of our favorites: Mirah Zeitlyn (as in, indie-pop goddess Mirah), Laetitia Tamko (of Vagabon), and legendary Prince recording engineer Susan Rogers. Plus a whole lot more. ($5)

NEW MUSIC

ABSV- Champion of the Sun- A tribute to Sun Ra by Portland electronic artist and percussionist J Morales, also known as ABSV. Eight pulsing tracks of experimental Afro-house, interweaving live and electronic percussion, synths, bass, and piano into an instant basement dance party. (Cassette + Digital Download) ($8) Badlands- Slow Growth- Her best yet, Slow Growth is a style-hopping album of assured personal pop songs, political anthems, and a Donna Summer self-love mantra cover. (Cassette + Digital Download) ($5) Dump Him- Venus in Retrograde- Live garage-rocky pop-punk from Western Massachusetts' Dump Him. Released on Olympia's Reflective Tapes. (Cassette) ($5)

Family Video- Long Time Listener, First Time Caller- The latest from Newfoundland's Family Video is a masterpiece. Emotionally complex twee-pop that confront loneliness and reimagines the great volcanic winter of 1816. (Cassette + Digital Download) ($5) Hedia- Wool- Sparse and slight, but also sprawling and generous, Hedia's ambient chamber pieces are gifts, through and through. The side project of Bryce Hample of Reighnbeau. (Cassette) ($8)

Orange Daydream: A Tribute To Orange Cake Mix- A split between long-running lo-fi heavyweight Orange Cake Mix and some of the artists that love him. (CD) ($10) Phoxii- Life Eating Death Feeding- The latest album of forward-thinking electronics from Phoxii. Life Eating Death Feeding's broken and reconstructed tracks further asserts Phoxii as living in a musical universe that's entirely her own. (Cassette + Digital Download) ($8)

Reighnbeau- Blood- Blood is Reighbeau at its most lush, most epic. Skittering claps and snaps, pops and clicks, against a cut-up synth symphony. With guest vocals from Colleen Johnson (Flying Circles), Madeline Johnston (Sister Grotto, Midwife), and many others. (Cassette) ($7) Reighnbeau- Fingertips- The latest from Reighbeau, Fingertips is an underwater affair—futuristic nostalgia, cheap earplugs at the rave, worn-out cassettes playing recordings of church organs over a pulsing kick drum. (Cassette) ($7)

Reighnbeau- Hide- Hide is, like its title implies, obscured, secretive, maybe a little shy. Its melodies below the surface, beats pulsing alongside pitch-shifted layers, dozens of distant voices calling out. Guest vocals throughout by Madeline Johnston of Sister Grotto. ($7) Reighnbeau & BK Beats- Sleep- Sleep is the soundtrack to a dream party—feel-good but off-kilter, shiny and hazy, containing only slight resemblances to reality. (Cassette) ($6)

Richard Album- Another Album- Sitting nicely between his garage-pop and synth-pop sides, Another Album finds Richard moving ever forward and swimming in an ocean of tears. (Cassette + Digital Download) ($5)

Various Artists- This Reminds Me: Songs By Linda Smith Reimagined- A tribute album to lo-fi bedroom folk pioneer Linda Smith. A much-deserved 19-track compilation with covers and interpretations from Rose Melberg, and many others (Cassette + Digital Download) ($5)

NEW STICKERS

Drummer Cat Sticker- Leading the band down the street. ($1)

Mushroom Shelter Sticker- Taking shelter under a giant mushroom. As one does.($1)

Spirit Guide Sticker- Meet your spirit guide. ($1)

NEWS *One of our favorite zines around, Syndicate Product, has an open submission call for their long-awaited new issue. Have a book you loathe? This is your chance to tell the world about it.

*Long-time zinester Billy McCall is doing a survey about zine culture and wants everyone involved with zines to participate. 

*Our very own Sara Renberg is touring parts of the east coast and midwest this coming week in support of her Night Sands album. Check out her tour schedule and catch a show!