#algiers band

[hit-song-showdown]

My favorite songs of 2023

I am putting together my favorite songs released in 2023. I started off doing a project where I listened to as many new albums as I could (and recording my findings in a spreadsheet), but that project tapered off around June when my move + school year started. But even though I wasn't able to listen to every album that came out, I still came out of 2023 with some of my favorite musical projects of all time. Also as another disclaimer: I am not a professional music writer.

I am also limiting this list to 1 song per album/project.

1. Scaring the Hoes by JPEGMafia and Danny Brown. I wish I could go back and experience again what happened to my brain when I first heard this track so I could properly convey it with text. When I first saw this project was announced, I knew it would take over my life. When I heard this track before the album was released, I knew I would have to form some kind of religion around it. The reason why I'm limiting this list to one track per album is because Scaring the Hoes has 14 tracks so I wouldn't be able to fit them all (other songs I would have given the number 1 spot include Burfict!, Shut Yo Bitch Ass Up/Muddy Waters, God Loves You, and Kingdom Hearts Key). But the title track is the perfect introduction. It's less of a single and more of a thesis statement for the entire project. The production throughout this album is incredible, but STH hits different. The rhythmic, almost menacing handclaps (fun fact: those aren't handclaps--that's the sound my asscheeks make when this song comes on) and the horn sample which I can only describe as Blood Money era Tom Waitsian, it is by far my favorite beat of 2023. Combined with Danny and JPEG's charisma and the way they bounce back and forth, this song is a shot of adrenaline straight to the heart. Also I saw them live and that experience elevated a 10/10 to a 20/10 for me.

2. Prof. Aronnax' Descent into the Vast Oceans by Ahab. I started seriously listening to German nautical funeral doom metal band, Ahab around early 2022 so this was the first new release I got to experience. Even though I loved what I heard previously, nothing could have prepared me for this. The opening track is everything I want from a doom metal song. It starts out with a frantic onslaught of screaming and inhuman growls before mellowing out into a serene instrumental before the mournful vocals kick in. It really feels like the initial shock of your body slamming into the water, then having to slowly drift among the waves as your muscles give out and you're taken deeper into the depths. That's what I like about doom metal: it's music to decay to. This track (and by extension this album) hooked me from a story-telling perspective right away, which shouldn't be a surprise as it was based on Jules Verne's Twenty Thousand Leagues Under the Sea. The story presented in this album intrigued me so much that I had to read the book for myself. Then I read it again. Then I read two different translations. Now I'm working on a visual novel adaptation. I know metrics for album rankings are subjective, so I'm willing to give an album an extra bump if it gets me to read a 19th century novel at least five times in less than two months and learn Python coding. (Other tracks I would have included: the album is at its strongest as a single listening experience, but I especially enjoyed Mobilis in Mobili and Ægri Somnia).

3. What A Man by Debby Friday. This is a track off of Nigerian-Canadian electronic musician Debby Friday's first album Good Luck and holy shit, what a debut. This is such a well-formed project I can't believe it. I was already enjoying the album throughout the first few tracks. It brought me back to listening to 2000s club music and thinking "wow I wish I got invited to parties." But then I got to What A Man and the world screeched to a halt. I think I was posting on my main blog at the time, so anyone unfortunate enough to follow me had a chance to see my incoherent screeching in real time. This track is incredible. Debby's warm and sultry voice, the spacey production, THE ELECTRIC GUITAR? The first time the guitar kicks in, that's just a teaser for what ended up being one of my favorite music moments of the year. The electric guitar feels like an oncoming storm and Debby is standing strong before it, taking on the wind and rain as her voice becomes louder and almost yearning. Then the song builds with Debby yelling to the high heavens as the guitars wail around her before fading back down into the low bass and rhythmic breathing motif found throughout the album. This track is an experience, and the music video is gorgeous too (the picture I chose for the banner is from the video itself) and the fact that it has less than 20K views hurts me. (Other tracks I would have included: I Got It, So Hard To Tell, Let U Down)

4. Bite Back by Algiers (ft. billy woods and Backxwash). Speaking of songs that build... This is the sixth track off of Algiers' album, Shook and by this point I was already feeling pretty good about the release. I was already prepared to put the opening track, Everybody Shatter on my top 20, but when Bite Back kicked in, something changed. Here's a recreation of my initial reaction: "this sounds pretty good, I like the way this intro...is that billy woods??") Just to be transparent: billy woods' involvement would have been enough to give this an automatic top slot for me, but it helps that his verse is fantastic. His flow is slower than the introductory verse, but that only makes his lyrics stand out more. From the opening lines "One hand wash the other, they both wash the face / Centrifugal force and inertia keep everything in its place / Slowly, spinning in space, speeding, lead foot on the brakes" I knew I was in for something special. One thing I really appreciate about this track is the production. billy woods has a very steady flow with an almost menacing quality to it depending on the subject matter of the lyrics, and the beat shifts during his verse to reflect that. It sounds like it could be a billy woods beat, but it doesn't sound like one of his beats was carelessly shoved into an Algiers song. It's like the beat ebbs and flows with the artists involved. The production gets gradually more intense as billy picks up more ferocity in his delivery. A detail I really like is when billy says "claws rattling, delicate as roaches' wings," the percussion on the backing track picks up an almost rattling quality, but it doesn't sound corny or too obvious. Then billy continues, the backing track picking up even more intensity until it feels like each noise is blasting at full power...and then the tension releases and settles down with Algiers frontman, Franklin James Fisher, delivering the second verse. His delivery contrasts wonderfully with billy woods' too, with his faster, almost whispered vocals allowing the track to pick up momentum again after the previous release of tension. This track knows when to breathe and it's fantastic. But it also knows when to take the air from your lungs as Fisher goes all out with the vocals in the hook and third verse, reinstating what an absolute powerhouse vocalist he is. And just when the track is at its peak ferocity, in comes Backxwash with the steel chair! If billy and Fisher were allowing the beat to gradually shift under their performances, Backxwash grabs the song by the throat and makes it do whatever she wants. Her verse then trades off into Fisher delivering the outro, operating at full power in his delivery. This song is so well-crafted and none of the artists feel out of place. (Other tracks I would have included: Everybody Shatter, A Good Man, Irreversible Damage)

5. Billions by Caroline Polachek. As of writing this, I haven't been keeping up with other people's year end lists, but I know this album is going to make everyone else's. So I feel a bit intimidated to talk about it, but I will try. The production on this album is so good my brain can't even comprehend how it was crafted. I've seen it described as "maximalist," but that doesn't fully capture how well this album knows when to pull back and let the tracks breathe. Billions is one of the more sparse tracks compared to some of the others, but that only makes each production decision stand out more. The second time Caroline says "give me the closure," you hear a little musical sting in the background (probably some kind of synth, but at first listen I thought it was an electric guitar) which didn't show up after the first time that lyric was sung. It's that attention to detail and letting the production build on itself that makes this project incredible. And it goes without saying that Caroline is an outstanding vocalist. She sounds like a siren. It's ridiculous. (Other tracks I would have included: Welcome to My Island, I Believe, Hopedrunk Everasking)

6. The Black Seminole by Lil Yachty. Opening track off of Lil Yachty's psychedelic rock album, Let's Start Here, and what an opening track on a fantastic project. It should be clear by this point that I love songs that build, and holy shit does this song build. I first listened to this album while I was on a plane, and this track synced up with my takeoff. So while the plane was lifting off the ground and I was being pressed against my seat, Lil Yachty gave the final line before the electric guitars and the female vocalist kicked in, both wailing with equal ferocity. Top 10 music experiences of the year, but even going back to listen to that same track when I'm not on an airplane delivered the same euphoric experience. (Other tracks I would have included: Drive Me Crazy, Should I B, We Saw the Sun)

7. Xena by Skrillex and Nai Barghouti. I debated whether to put this song or Hydrate on the list, but Xena was the first track that made me fall in love with this album. With vocals by Palestinian singer, Nai Barghouti, Skrillex delivers an absolutely outstanding dubstep track. Like Billions, it's the kind of music production that makes me have to step back and fully appreciate the craft. The song is incredible at building intensity, but he also knows when to pull back to let the tension build again. And Barghouti isn't just a feature--she is the heartbeat of this song. Her voice melds with the production so well, but in a way that sounds like she's commanding it. My absolute favorite part of the song is when she starts singing in her lower register as the production turns to more naturalistic instruments. Sometimes I see electronic producers robbing their singers of their voices for the sake of cohesive production, but that isn't the case here. Nai Barghouti's voice is crisp, unique, and perfect. It's a fantastic melding of producer and vocalist that makes way more sense than it should. (Other tracks I would have included: Hydrate, Rumble, Ratata)

8. Babylon by Bus by billy woods and Kenny Segal. I already talked about billy woods, but he was a feature so this still counts. Everything I already said about billy woods' skills applies here as well, especially now that he has full control over the track. billy's flow sounds both effortless, and that he knows the perfect word to use for each line. And he uses interesting words. "Glistening waterbug on clean counter / Plague mask, gave the place a cursory glower / He ran away, I gave chase but gave up and sat on his gate for hours" I love this series of bars. He is a storyteller. And then, the beat pauses after billy's first verse, with low menacing notes, a clattering of naturalistic metallic percussion, and then the switch up??? Seriously the way the beat ramps up for SkrapKnel's verses takes the song to another level. The way the Curly Castro and PremRock pass the mic back and forth to each other is outstanding. This doesn't feel like a guest verse; this is a fully realized project. The shamelessness is even more apparent when billy takes the mic again for the final verse, but now with more ferocity in his delivery as if he's building off of the energy created by SkrapKnel. This song is masterful. "I take care of these words, Munchausen by proxy / Somehow beat the tox screen / God save the queen, but that train doesn't stop here anymore" (Other tracks I would have included: FaceTime, Year Zero, Soft Landing)

9. Drain You Empty by Cannibal Corpse. I listened to this album right around midterms and I needed it. But this was the song I kept coming back to. For one, it's fun. Obviously: it's Cannibal Corpse. But I love the way the song opens with a full minute of just blasting you before the drums, riffs, and screams really kick in. Good god the drumming on this album is so good. I absolutely love Corpsegrinder's delivery on this track. The way he shifts from bellowing growls to shrieks, the way he speeds up his delivery to match the pace of the drums, it's so good. I'm sorry I don't have a better analysis. It's fun. (Other tracks I would have included: Chaos Horrific, Overlords of Violence, Blood Blind)

10. Crossing Guard by Model/Actriz. This is a song that made me wish I went to gay clubs more. Yes, it's a killer dance song, but what draws me in is how chaotic the production is. It starts out slow and quiet, then bam! The production starts screeching at you in a glorious onslaught of noise, held together with a fantastic bassline. I love the vocalist too. He can be monotone and subtle, but he also knows how to raise his voice to match the ferocity of the production. I listened to this song countless times last year (often while crossing the street and trying not to get hit by cars), and the line "Like Germanotta, Stefani / Pull the weight from under me" will be stuck in my head forever. (Other tracks I would have included: Donkey Show, Amaranth)

[rickrubinnumber]

(this post is a correction of a previous number).

jan Misali has a Rick Rubin number of 5.

jan Misali was the lyricist for C Trouble by Patricia Taxxon.

Patricia Taxxon's Fresh Tapes 2 featured Backxwash.*

Backxwash was featured on Bite Back by Algiers.†

Algiers' Irreversible Damage featured Zack de la Rocha.

Zack de la Rocha was the lead vocalist for Rage Against The Machine's Renegade.

Renegade was executive-produced by Rick Rubin.

* the bandcamp page for Patricia Taxxon's Fresh Tapes 2 says that the project features Backxwash. her vocals can be heard on the track THE WITCH IS DEAD, but it is unclear if she had any other contributions.

† Algiers is a band consisting of four members. all members were present on both tracks.

[lboogie1906]

Lissie Douglas aka Memphis Minni (June 3, 1887 - August 6, 1973) known as the “Queen of the Blues,” was a singer, guitarist, and songwriter. Her title stems from her legacy of successfully recording music across four decades and being the lone female voice in a male-dominated blues scene.

She was born in rural Algiers, Louisiana. She was the oldest of 13 brothers and sisters. When she was ten years old, her family moved to Walls, Mississippi. She started playing banjo at age seven and got her first guitar a couple of years later. She played on the Memphis streets and in the towns surrounding Walls. She joined the Ringling Brothers circus.

She contributed to the blues’ urban transformation when she moved to Chicago in 1930. Her style was rooted in country, but she helped form the electric Chicago blues, as well as incorporate what would later be R&B and rock ’n’ roll into her music.

She worked with notable blues performers including Joe McCoy, who became her husband in the late 1920s. Together, they were signed by the Columbia label and recorded one of her best-known numbers, “Bumble Bee,” in 1930. They moved to Chicago, where they became part of the city’s growing blues scene. Their records did not sell well due to the Great Depression, but they still produced influential blues music. By 1935, they had split up.

She started her “band period” with other men and married one of them, Ernest “Little Joe Son” Lawlers sometime in the late 30s. His guitar work was heard alongside hers for many years on popular tracks such as “HooDoo Lady.” In their “Me and My Chauffeur Blues,” recorded in 1941, she showed her conversion to the electric guitar.

Her records covered a wide range of subject matter. Many of her songs were sexual and delivered in her signature confident, sassy voice. Other topics included crime, voodoo, trains, and health. She was instrumentally and lyrically in tune with the lives of Black Americans.

She recorded over 200 tracks. She recorded with Sunnyland Slim and Little Walter until 1954. #africanhistory365 #africanexcellence

[oonajaeadira]

Six Song Soundtrack —

Rules: If you’re tagged, make a post with links to music and/or lyrics describing six things / events about your OC/story.

I was tagged ages ago by @the-blind-assassin-12! Thank you, friend! What a fun concept! Which one shall I choose?

I'm gonna go with Leave Off Your Wandering since it's a lazy kind of night and that one already has some songs in it! Bonus challenge that these had to exist in their timeline and be something the characters themselves would have known...

I'm So Lonesome I Could Cry - Hank Williams This is the song Joel teaches Ellie at the Roost in summer and asks Madowlark to sing. It's where she and Joel start to come to a soft understanding about letting each other in. It was chosen specifically because 1, it's an easy song to play on guitar and would be something Joel would like teaching Ellie, and 2, because of the conversation Joel and Meadowlark have earlier in the chapter. He was angry and rough when he told her that it was obvious she had feelings for him, to just get on with it and stop playing games because they were both too old and too lonely. She recognized it as a way for him to hold her at arm's length, that it was a coping tactic, and this is how he acts when he cares. Later he comes to the Roost to apologize to her and give her, Ellie, and himself what they all need; a little bit of home.

Hear that lonesome whippoorwill He sounds too blue to fly The midnight train is whining low I'm so lonesome, I could cry

.

2. True Love Ways - Buddy Holly This is the song that the band is playing when Joel finally asks Meadowlark to slow dance. Seemed appropriate. They know that they are walking around feelings for each other, neither one of them ready to admit that love hasn't been exactly kind to them...

Sometimes we'll sigh Sometimes we'll cry And we'll know why Just you and I Know true love ways

.

3. You Belong To Me - Patsy Cline The second song that plays during the autumn dance when Joel in his way lets Meadowlark know that he's ready to choose her.

See the market place in Old Algiers Send me photographs and souvenirs Just remember when a dream appears You belong to me I'll be so alone without you Maybe you'll be lonesome too And blue

.

4. Songbird - Eva Cassidy The residents of Jackson call the OC Meadowlark because it's her Roost callsign, but she earned it because she likes to sing. Joel just cuts to the chase after he finally hears her sing and his favorite nickname for her is Songbird. This also feels like a song that might echo the mood at the end of the autumn chapter when it's cold and rainy and Joel invites her into his covers.

For you, there'll be no more crying For you, the sun will be shining Because I feel that when I'm with you It's alright, I know it's right

To you, I'll give the world To you, I'll never be cold Because I feel that when I'm with you It's alright, I know it's right

.

5. The Killing Moon - Echo and The Bunnymen It's a song about the war between fate and free will which feels right for the later part of the winter chapter when Joel goes hunting Abby and Mel. Meadowlark and Ellie have to come to terms with the fact that Joel's dangerous when it comes to protecting what he loves, and the fact of Jackson life that sometimes the ugly thing has to be done for the greater good.

In starlit nights, I saw you So cruelly you kissed me Your lips, a magic world Your sky, all hung with jewels

The killing moon Will come too soon

Fate Up against your will Through the thick and thin He will wait until You give yourself to him

.

6. Break Me - Jewel It may be a woman singing about giving all her trust to someone that could easily hurt her, but this song could just as much be Joel's sentiment as Meadowlark's when he finally returns from the hunt and they have to accept all of each other.

You could hurt me With your bare hands You could hurt me Using the sharp end of what you say I am lost to you now There's no amount of reason To save me

So break me, take me Just let me feel your arms again Break me, take me Just let me feel your love again

.

Thank you, Alyssa. This was fun and made me ache all over for these two.

tags: @lowlights @littlemisspascal @iamskyereads @brandyllyn @goodwithcheese

[justforbooks]

Martial Solal

French jazz pianist who loved to improvise and wrote the score for Jean-Luc Godard’s film A Bout de Souffle

A squint through the metal fence around Martial Solal’s tree-shrouded villa, in Chatou, the suburb of Paris known as the “ville des impressionistes”, could have confirmed that the great French pianist was not the average jazz musician. Solal, who has died aged 97, was the most famous jazz musician in France from the 1950s onwards, and widely known across Europe and the US.

The breakthrough that paid for that Chatou villa came when Solal – then a little-known club pianist – wrote the score for Jean-Luc Godard’s 1960 film A Bout de Souffle (Breathless). The commission came out of the blue via Godard’s jazz-loving friend and fellow director Jean-Pierre Melville, and Solal collected royalties on it for ever after. “It’s like I won the Lotto,” he said in 2010. “Because back in 1959 when I did it, I was mainly just known for being the house pianist in the Saint-Germain-des-Prés jazz club.” Godard had few ideas about the music he wanted, beyond joking to Solal that he might compose a piece for a banjo player, to save money. The pianist promptly produced a soundtrack for big band and 30 violins.

Solal went on to work on several more films, and was one of the first Europeans to perform at the Newport jazz festival in the US. Into his 80s, he could still walk the tightrope of unaccompanied improvised performance, and his compositions had a signature as personal and harmonically idiosyncratic as Thelonious Monk’s. Solal, who liked stop-start melodies and constant rhythmic changes, wrote elegant pieces that slowly coalesced out of scattered fragments. He loved peppering classic jazz material – even as sacrosanct as Duke Ellington’s – with disrespectful quotes going all the way back to his danceband days in Algiers, the city where he was born.

Solal’s mother, Sultana Abrami, an amateur opera singer, introduced him to classical piano as a child. During the second world war, under Nazi race laws, Martial was excluded from a secondary education because his father, Jacob Cohen-Solal, an accountant, was Jewish. He took jazz clarinet and piano lessons from a local bandleader, with whom he was soon performing tangos, waltzes and Benny Goodmanesque swing. Soon, Fats Waller, Erroll Garner, Art Tatum and the bebop virtuoso Bud Powell began to displace Chopin and Bach among Solal’s keyboard models.

He moved to Paris in 1950 after his military service, and teamed up with the American bebop drums pioneer Kenny Clarke in the house band at the Saint-Germain-des-Prés club. The young pianist’s nervous recording debut was in April 1953 with the jazz-guitar genius Django Reinhardt, who turned out to be playing on his last; Reinhardt died the following month. That year, Solal recorded Modern Sounds with his own trio and also recorded unaccompanied. After working with Sidney Bechet in 1957, he received the commission for the Breathless score.

The word about Solal then began to reach America – both Oscar Peterson and Ellington had been entranced by him in Paris, with Ellington pronouncing him a “soul brother”. In 1963, he played at Newport, with the bassist Teddy Kotick and the drummer Paul Motian; despite barely knowing his new partners, Solal boldly added his 11-minute tempo-shuffling Suite Pour Une Frise to the usual programme of standard songs.

Turning down an invitation to move to the US, Solal led world-class groups in the 1960s and 70s, often including the drummer Daniel Humair, the bassist Niels-Henning Orsted Pedersen, and even an advanced two-bass trio for piano and the double-bassists Gilbert Rovère and Jean-François Jenny-Clark. He also explored fruitful duo partnerships with the American saxophonists Lee Konitz and Phil Woods between the 70s and the 90s, and led innovative big bands, notably on the thrilling Martial Solal Big Band session (for the Gaumont label in 1981) and Plays Hodeir (1984).

An insatiable capacity for self-education helped Solal to develop a characteristically pungent harmonic language. He wrote and performed contemporary classical music and published jazz-piano pieces modelled on the Mikrokosmos educational cycles of Béla Bartók.

In 1989 the Martial Solal jazz piano competition was founded. Its winners have included the Frenchman Baptiste Trotignon and the charismatic Armenian virtuoso Tigran Hamasyan. In the 90s, Solal often worked with the Moutin twins, François and Louis, on bass and drums – both were flexible enough to follow their leader’s tendency to launch a tune without telling them what it was, change key without warning, or turn it into a different song entirely.

As he entered his 70s, Solal seemed to be playing with a revitalised and swashbuckling confidence – as if he was finally sure that he would still sound like himself whether he played within the regular rules, or broke them. In 1999, he won Denmark’s Jazzpar prize, and celebrated by writing parts for the accompanying Danish Radio Jazz Orchestra owing as much to the French impressionist classical composers as to jazz. In that decade, Solal also had an unprecedented 30-concert solo run on French national radio.

In 2000, with his 12-piece Dodecaband, he recorded Martial Solal Dodecaband Plays Ellington. During the following decade, he recorded two live albums at the Village Vanguard in New York; the brilliant unaccompanied session Solitude; the duet Rue de Seine, with the trumpeter Dave Douglas; and the Exposition Sans Tableau session for his woodwind-less, brass-packed Decaband – a typically quirky lineup featuring Solal’s talented daughter Claudia singing the roles of a missing sax section.

His final public performance was a solo concert in 2019, at the Salle Gaveau hall where he had made his Paris debut in 1961. After a masterly exposition later issued on the album Coming Yesterday, Solal’s typically elegant exit was prefaced by the words: “I don’t want to bore you. It’s better that you leave here serene.” Then he played “a nice chord like this” – a single F major – said “Voilà. Merci” and left the stage.

Solal undoubtedly loved improvisation, but he believed it needed the spur of challenging composition to stop improvisers from slipping into habits. Not everyone shared his enthusiasm for musical jokes and maybe Solal was unnecessarily diverted by whether or not jazz could satisfy what he saw as classical listeners’ expectations of “perfection”. But he was a jazz-lover to his nimble fingertips, nonetheless. Speculating that probably no more than 10% of his fellow countryfolk knew anything about jazz, Solal phelgmatically declared that “as long as we can live, and play the music we like, it’s too bad for the 90%. It’s their loss.”

Solal is survived by his wife, Anna, their son, Eric, and daughter, Claudia, two grandchildren and two great-grandchildren.

🔔 Martial Saul Cohen-Solal, musician, born 23 August 1927; died 12 December 2024

Daily inspiration. Discover more photos at Just for Books…?

[bimboficationblues]

top 5 post-punk bands (u knew i was gonna send this)

MINUTEMEN #1 UNDEFEATED

Talking Heads

The Cure

Pylon

Algiers

[baldy-wan-kenobi]

City-States of the False Peace

In the ruin and devastation of the Long War, the nations of old were cast low, pushed to their doom by three hundred years of endless total war. However, in their absence, civilization endures, hearty and stubborn like a weed.

The City-States emerged from the chaos of the Long War, bent but not broken, safe haven and secure harbor for the millions that fled to them, to escape the vicious fighting, marauding raiders, or esoteric ravages of the Miyazaki storms.

Truly, it is hard to overstate the size of a City-State. They are massive, massive cities, sprawling over thousands upon thousands of square miles, and large enough to support their populations of millions semi-comfortably without any outside supplies. They typically play home to around 20 million people, though some hold significantly more or less, as it may be. The City-State of Algiers, for example, which plays host to the North African Economic Union and is one of the dominant powers in the Mediterranean, is home to more than 51 million people.

There are 180 City-States recognized by the Knights of Svalbard, though many smaller communities exist in the desolate wastes between them. Their societies take many shapes, from corporation-dominated hellscapes to dictatorships lead by despotic Veterans, to relatively harmonious states that have taken the opportunity of the Final Armistice to build a better world in the ashes, though the latter are far rarer.

Most City-States keep a garrison of defense forces, to protect themselves from the proxy hostilities of other city-states and to deal with the bands of raiders that would loot their crop fields and outlying districts. These defense forces also protect the population from the automated swarms of weapons left over from the Long War, shambling horrors from a forgotten age seeking to settle grudges and win offensives long laid to rest.

However, when these defense forces aren't enough, whether the opposing force is too large, the City can't spare the troops, or any number of other reasons, they call on the Tin Soldiers, the mercenary soldiers whose spilled blood is the foundation upon which this new age is built.

[omegaremix]

Finds For 2015.

Dum Dum Girls “Bhang Bhang, I’m A Burnout”

Pop. 1280 “Do The Angelfish”

Eric Copeland “Grapes”

Courtney Barnett ”Pedestrian At Best”

Diet Cig “Harvard”

FF “Caught In A Dream”

Former Ghosts “The Days Will Get Long Again”

James Clarke “Waiting Game”

Pup “Reservoir”

Sex Worker “Tough Love”

Together Pangea “River”

Anthroprophh & Big Naturals “Establishment In Decline”

Nisennenmondai “Souzousuru”

Sleaford Mods “Donkey”

Beech Creeps “Sun Of Sud”

Blossom Dearie “Sunday Afternoon”

Cribs, The “We Were Aborted”

OG Maco & Key! “U Guessed It”

Sleaford Mods “Tieds Up In Knotts”

Black Madonna, The “Stay”

Alessandro Cortini “Dell’ Influenza”

Flying Lotus & MF Doom “Masquatch”

Desire “Mirror Mirror” (dub)

XXYYXX “Witching Hour”

Soft Moon, The “Black”

Chromatics “Candy” (eight-track)

Dot Allison “Lover”

Burial “Wounder”

T.S.O.L. “Code Blue”

Death Grips “Runway J”

Black EL “’95 White Maxima”

Excepter “Forget Me”

Chromatics “Blue Moon”

Burial “Come Down To Us”

Adverts, The “Bored Teenagers”

Shonen Knife “Twist Barbie”

Raveonettes, The “A Hell Below”

Alan Vega “No More Christmas Blues”

Suicide “Hey Lord”

Arca “Sisters”

Consumer Electronics “Murder Your Masters”

Your Old Droog “Porno For Pyros”

Women In Prison “Suicidal Exit”

Ho99or “Da Blue Nigga From Hell Boy”

Soft Moon, The “Want”

Flucts, The “2 Gtr. Practice”

Flying Lotus & MF Doom “My Favorite Ladies / Litemeter”

18+ “Jets”

Shiny Two Shiny “Through The Glass”

Nobunny “(Do The) Fuck Yourself”

Dual Action “No Cologne, Use The Jack”

XXYYXX “Fields”

AIDS Wolf “Nothing But A Tape Recorder”

Grimes “Go”

La Sera “Break My Heart”

Capital Steez “Last Straw”

Honeyblood “Super Rat”

Happy Meals Apero

Fisherman Remixed

Raveonettes, The “Sisters”

Godspeed You Black Emperor! “Piss Crowns Are Trebled”

Eternal Summers “Together Or Alone”

Dinner “Going Out”

Ye Olde Maids “In The Palms Of God’s Hands”

Death Grips “Inanimate Sensation”

Gateway Drugs “Night Swimming”

18+ “OIXU”

Raveonettes, The “A Hell Below”

Polysick “Barry Talks”

Ronnie Laws “Always There”

Sweet Mixture “House Of Fun And Love”

L.A. Boppers “Saturday”

Pharmakon Bestial Burden

Prurient Pleasure Ground

Tantor “Niederwohren”

Dinner “Say What You Want (Love Is Dead)”

Pop Eye “Lazy Haze”

Chocolate Star “Stay With Me”

Disco Ruido! “Prisma”

Soft Moon Deeper

Uniform “Footnote”

Dinner “Say What You Want (Love Is Death)”

Big Youth “Every N*gg*r Is A Star”

Sauveur Mallia “Future Vision”

Metric “The Shade”

MNDR “Lock & Load” (f. Killer Mike)

Uniform “Buyer’s Remorse”

Prurient Frozen Niagara Falls

Steve Moore“Zero-Point Field”

Disco Ruido! “Sol”

Rockwell “Childhood Memories”

Black Lips “Bad Kids”

Prayers Gothic Summer

Work Drugs “Dirty Dreams”

Delta 5 “Mind Your Own Business”

Fantome “Scream” (Hanin Elias & Noia RMX)

Gingerlys Jumprope EP

M.I.A. “Swords”

Pastel Ghost “Slow Gaze”

Neon Indian “Slumlord”

Conor Oberst & The Mystic Valley Band “Breezy”

AFX “Serge Fenix Rendered 2”

Vexx “Black / White”

Chemical Brothers, The “Sometimes I Feel So Deserted”

Adi Ulmanski “A.D.I.”

Death Grips “PSS PSS”

Day Wave “Drag”

Sun Kil Moon Ghosts Of The Great Highway

Alice Glass “Stillbirth”

Pachinko “Adonis Of Denver”

Dry Heaves “What’s Happening”

Stephen Encinas “Disco Illusion”

Mssingno s/t EP

Azar Swan “For Last And Forever” (Cut Hands RMX)

Javelin “Lindsey Brohan”

MNDR & Sweet Valley Dance 4 A Dollar

Chvrches “Never Ending Circles”

Bethlehem Steel “Guts”

Sons Of Magdalene “Can’t Won’t Don’t Want To”

Tropic Of Cancer “I Woke Up And The Storm Was Over”

Theoretical Girls “U.S. Millie”

Happy Meals “Electronic Disco”

Outfit, The “Rise & Shine”

Azar Swan “We Hunger” (Vatican Shadow RMX)

Crimekillz “2mdtbadb”

Algiers “Irony. Utility. Pretext.”

Thrust “Do You Understand?” (Scam RMX)

Joan Shelley “Over And Even”

Dry Heaves “Shoot Yourself”

Grump “Facades”

Kegcharge “Dying For Who?”

Pachinko “Get Along Gang”

Vasska “Policia Policia”

Rixe “Infatigables”

Geologist “Stretching Songs For Spring”

Omar Souleyman “Bahdeni Nami” (Legowelt RMX)

Prince Ikey-C “Who Kicks The Gutter?”

Hemingway “Our Country For Right Or Wrong”

Coughs “Animal Hospital”

Night Ritual “Fornicate With The Dragon”

Dawn Of Humans “Pinned Out Pts. 1 & 2”

Made In Mexico “untitled”

No Fucker “Peace…They Hate That Very Word”

Deathcharge “Hangman”

Prayers SD Killwave

Institute “Living Death”

Tropic Of Cancer “Be Brave”

Bruit Fantome “Kosmos”

Nomenklatur “Fascinated By The Chaos”

Peaches “Bodyline”

Bug, The “Poison Dart”

Bishops Green “We Got Nothing”

Contrast Attitude “Turn Around Again”

JK Flesh Nothing Is Free

David K. Ginn “Bad Boy”

Alan Parker & Alan Hawkshaw “Difference, The”

Ethel Beatty “It’s Your Love”

Dan Deacon “Drinking Out Of Cups”

Major Mackerel “Dutty Bungle”

Shaggs, The “Who Are Parents”

Tiger “Ram Dance Hall”

DJ Bass “Take A Lick”

…And The Native Hipsters “There’s Goes Concorde Again”

Kap Bambino “Zero Life”

Dalhous “A Communion With These People”

Cobra Killer “Mund Auf Augen Zu”

Hooded Fang “Ode To Subterrania”

Quintron “Dirtbag”

G.L.O.S.S. Girls Living Outside Society’s Shit

Sylvano Santorio “Waves”

Looper “Farfisa Song”

William Onyeabor “Better Change Your Mind”

Plaitum “Let Me Hold You”

Hasil Adkins “Ha Ha Cat Walk Baby”

Killing Joke “Euphoria”

Dreamcrusher “Suicide Deluxe”

Keith Droste “When You Come Around”

Soul Vibrations “The Dump”

Dum Dum Girls “Jail La La”

DOM “Bochicha”

Jonathan Richman & The Modern Lovers “Roadrunner”

Kissing The Pink “Big Man Restless”

Liaisons Dangereuses “Los Ninos Del Parque”

Specials, The “A Message To You Rudy”

Alan Parker & Mike Moran “Your Smile”

Phil Western “Endless”

Bug, The ft. Spaceape “At War With Time”

Ojeda Penn “Happiness Is Having You Near”

Vatican Shadow “Enter Paradise”

Bobbi Humphrey “Jealousy”

Chromatics “Just Like You” (Hazy Mountains RMX)

Bug, The ft. Miss Red “Diss Me Army”

Etant Donnes ft. Alan Vega, Lydia Lunch & Genesis P-Orridge Re-Up

[scotianostra]

April 15th 1924 saw the birth of Rikki Fulton.

Robert Kerr “Rikki” Fulton was a Scottish comedian and actor best remembered for writing and performing in the long-running BBC Scotland sketch show, Scotch and Wry.

The youngest of three brothers, Robert was born into a non-theatrical family at 46 Appin Road, Dennistoun, Glasgow. Fulton completed his education in 1939 and decided to enter the world of acting after a backstage visit at the Glasgow Pavilion Theatre.In 1941, aged 17, Fulton joined the Royal Navy. The following year he was posted to HMS Ibis, but that November the ship was sunk in the Bay of Algiers. Fulton spent five hours in the water before being rescueHe later joined the Coastal Forces for D-Day, travelling back and forth between Gosport and Arromanches with vital supplies. In 1945, four years after signing up, Fulton was invalided out of the Navy due to blackout, leaving with the rank of sub-lieutenant

In the early 1950s, Fulton moved to London and became the compère of The Show Band Show, working alongside the likes of singer Frank Sinatra.

After a short period, Fulton returned to Scotland to perform for Howard & Wyndham Ltd inn pantomime from 1956 at the Alhambra Theatre, Glasgow with Jimmy Logan and Kenneth McKellar followed by the “Five Past Eight” summer revues with Stanley Baxter and Fay Lenore. In 1985, under the pseudonym “Rabaith”, Fulton, along with Denise Coffey, adapted the French playwright Molière’s, Le Bourgeois Gentilhomme as A Wee Touch o’ Class.

Alongside his Scotch and Wry co-stars Gregor Fisher and Tony Roper, Fulton made two appearances in Rab C. Nesbitt; once in 1988 and 10 years later in 1998. Although he would reprise his famous Rev I.M Jolly character one last time for a short skit on New Year’s Eve 1999 as part of the “Millennium” celebrations. Rikki’s early shows include,The Rikki Fulton Show The Five past eight, The Adventures of Francie and Josie but he also acted in various shows like Charles Esquire , Square Mile of Murder, It Ain’t Half Hot Mum, Bergerac, Local Hero, Gorky Park, Comfort and Joy, The Holy City, The Girl in the Picture, Supergran and the aforementioned Rab C. Nesbitt. Notable Characters Scotch and Wry Supercop a frequently dimwitted traffic cop who rides a motorbike, his trademark is how he removes his goggles (pings off and flies off camera), is often getting into more trouble than those he stops.

Rev. I.M Jolly a very downtrodden and pessimistic minister of the Church of Scotland, presents a fictional show “Last Call” where he has a heart to heart with the audience where he tells them what he has been up to that week. his tone is always low-key and down beat.

Dickie Dandruff owner of “The Fourways Café” also goes by the moniker “The Gallowgate Gourmet” and presents a cooking segment called “Dirty Dick’s Delicat'messen” where he prepares food in comedic style from his filthy café kitchen in the Gallowgate area of Glasgow.

Fulton’s death sparked numerous dedications in his memory. The then-BBC Scotland Controller, John McCormick, said “he [Fulton] was a legend for people across the whole country.”

Fulton’s funeral took place six days after his death. In tribute to his Scotch and Wry character Supercop (a police traffic officer), police motorcyclists escorted the funeral cortège as it made its way to Clydebank Crematorium. The Reverend Alastair Symington, who was a close friend of Fulton, led the service, which featured tributes from Fulton’s widow Kate Matheson and Tony Roper.

Symington had previously collaborated with Fulton on the book, For God’s Sake, Ask!. Both Rikki and his Kate were strong supporters of the Scottish SPCA, which received a financial donation following Fulton’s funeral. A Scottish SPCA inspector represented the animal welfare organisation at the service.

Fulton's funeral took place six days after his death. In tribute to his Scotch and Wry character Supercop (a police traffic officer), police motorcyclists escorted the funeral cortège as it made its way to Clydebank Crematorium.

[dustedmagazine]

Chat Pile — Cool World (The Flenser)

Photo by Matthew Zargoski

Where’s the money to help victims of Helene? What’s going on with China’s infringement of Nepali borders? Which tech thought leader has rolled out a visionary new future for generative AI that also lays off the maximum number of staff this week? Is your mayor in charge? (Are you sure?) How outdated is the number of the latest Godspeed You! Black Emperor record? Why do people have to live outside when there are buildings all around us?

That’s not even trying to read much past A1. It’s a sick, sad world out there — out here, really — and the constant escalating tenor is, at this point, little more than a brutally myopic capitalist beatdown … so, what better way to retaliate than by doubling down, wallowing in the byproduct of lead-zinc mining, huffing the chat and piling on the pressure? What better way to live than by admitting from the outset we’re subhuman, dogs with trash mouths, veins full of garbage, destroyed noses? What better equalizer than a roaring statement of intent that everyone bleeds?

That’s the approach the ironically titled Cool World takes. When we last left Oklahoma City’s newly favorite sons of noise, the members of Chat Pile were, in Jonathan Shaw’s astute assessment, still figuring out “how close to the bone of the Real they want their music to cut, and how best to achieve that.” A belated alt-country movie soundtrack, a layover split with brothers in Christ Nerver and a whole lot of touring (featuring a whole lot of movie-related stage banter) has given the quartet some time to think through that response, the next move and what to do to appropriately address what they’re seeing all around us. The results are two fistfuls of noise-rock at least as potent lyrically as anything on God’s Country and arguably harder musically, for a few reasons.

“I Am Dog Now” eases in on what sounds like a gentle, mind-expanding cosmic wave before crashing to life with the sort of acerbic post-hardcore one might’ve come to expect from the band. “You take / You fucking take,” vocalist Raygun Busch growls with manic ferocity to open proceedings, and immediately you’re struck by how much more forceful it sounds. Busch eases off a little to sing on “Shame,” but that only amplifies the notion that all of this sounds bigger; despite the chords and the words, there’s a polish here.

Part of that must be attributed to the band’s willingness to expand its scope beyond hardcore’s narrow tropes, but the mixing job by Uniform’s Ben Greenberg (who’s also done work for Metz, Algiers and Drab Majesty) might also be worth mentioning. Busch’s vocals come through clearly most of the time, Cap’n Ron’s drums crash fabulously, Luther Manhole’s licks routinely liven up verses and choruses where you wouldn’t expect, and bassist Stin’s chugs recall everything from Big Black to Cows to nü-metal’s finer moments to bands like STNNNG and Young Widows to Sepultura, a band Chat Pile once covered. A lot of it’s the tight songwriting, but it’s enhanced by the production job (which, admittedly, might not be for everyone).

Nobody’s missing The Jesus Lizard in 2024 on account of Rack, but it’s heartening to hear their acolytes are out here absorbing the same squalid lessons and coughing them back up in bile-laden disgust. It’s easy to see “Frownland” as the less defeated inverse of TV Priest’s “Sunland” (“After all, it’s just a pointless collapsing star”); it’s easy to imagine just how “funny” “Funny Man” is; it’s easy to get how a band like this could end with a song called “No Way Out” that opens with the judgment that from the moment you were born, it was over. “And the world was quaking open / With all our fathers smiling / And the statues rose high above us / And God remained silent,” says Busch on “Shame.” Like the mix, it doesn’t take much to hear what’s in the message: There’s no salvation down here from our dads; there’s no salvation up there from The Father, either.

Where, then, do we turn? Though never spelled out, Chat Pile’s bleak worldview implies the answer by uniting anyone who can empathize with such visceral emotions, by those in the pit lashing out furiously and the rest of those in the room nodding along in agreement to “Milk of Human Kindness.” As it always was, we must turn to each other. Cold World is one suggested soundtrack to the endurance of the human spirit in spite of the bleeding. Escalate accordingly.

Patrick Masterson

[post-punk-author-anthony-day]

Give this playlist a listen: 250 Hour Mix of Post Punk 2K https://open.spotify.com/playlist/74rrLIgdHwrq4WwmcAtK1h?si=6W6syLoXQVK38ybBdtCQsg&pi=u-ZeGy9EVySz6y #postpunk #goth #Fontaine #thecure @BambaraBand @BCNRband @editorsofficial @SacredBones #4AD #Beggarsbanquet #FactoryRecords #joydivision

250 Hours

1000s of Bands

1000s Russian (Hard to Search)

Featuring bands such as Black Country New Road, Courting, Black Midi, Fontaines DC, Viagra Boys, Editors, Interpol, White Lies, Bambara, Units, Suicide, Chameleons, a certain ratio, ploho, buerak, protomartyr, King Krule, Sonic Youth, Dead Can Dance, Italia 90, the sound, killing Joke, Drab majesty , Orange Juice, The Pop Group, The Slits, Manicure, Warpaint, Chrome, Gang of Four, Television, PiL, Wire, The Garden, The Cure, The Smiths, Algiers, Zola Jesus, Durutti Column, Motorama, Nation of Language, The National, Murder Capital and More Bands Similar! I do the searching for you

[rickrubinnumber]

can you find ghais guevara's rubin number?

Ghais Guevara has a Rick Rubin number of 4.

Ghais Guevara was featured on JUJU by Backxwash.

Backxwash was featured on Bite Back by Algiers.*

Algiers' Irreversible Damage featured Zack de la Rocha.

Zack de la Rocha was the lead vocalist for Rage Against The Machine's Renegade.

Renegade was executive-produced by Rick Rubin.

* Algiers is a band consisting of four members. All members were present on both tracks.

[clockwrkcabaret]

The One With the Box

WARNING! This show is for adults. We drink cocktails, have potty mouths and, at least, one of us was raised by wolves.

The Clockwork Cabaret is a production of Agony Aunt Studios. Featuring that darling DJ Duo, Lady Attercop and Emmett Davenport. Our theme music is made especially for us by Kyle O’Door.

This episode aired on Mad Wasp Radio, 05.05.24.

New episodes air on Mad Wasp Radio on Sundays @ 12pm GMT! Listen at www.madwaspradio.com or via TuneIn radio app!

Playlist:

M. Ward – Poor Boy, Minor Key

The Lost Fingers – Part-Time Lover

Leon Redbone – Another Story, Another Time, Another Place

Joanna Newsom – Inflammatory Writ

Neko Case – The Next Time You Say Forever

Hank Green – Strange Charm

The Cog is Dead – Time Machine

The Two Man Gentlemen Band – There’ll Be Time For Loving

Aurelio Voltaire – It’s Bigger On the Inside

Amanda Palmer – Runs in the Family

Scott Walker – 30 Century Man

The Mountain Goats – Unicorn Tolerance

Algiers – The Cycle/The Spiral: Time to Go Down Slowly

Orbital – Doctor?

Lemon Demon – The Ultimate Showdown of Ultimate Destiny

Cinema Strange – Time

ANOHNI and the Johnsons – Scapegoat

The Magnetic Fields – Promises Of Eternity

The Unicorns – I Don’t Wanna Die

They Might Be Giants – By the Time You Get This

Sweeping Promises – Walk in Place

Mystery Skulls – Beam Me Up

I DONT KNOW HOW BUT THEY FOUND ME – Do It All The Time

RHPS Cast – The Time Warp

Scissor Sisters – I Can’t Decide

Check out this episode!

[lboogie1906]

Lissie Douglas aka Memphis Minni (June 3, 1887 - August 6, 1973) known as the “Queen of the Blues,” was a singer, guitarist, and songwriter. Her title stems from her legacy of successfully recording music across four decades as well as being the lone female voice in a male-dominated blues scene.

She was born in rural Algiers, Louisiana. She was the oldest of 13 brothers and sisters. When she was ten years old, her family moved to Walls, Mississippi. She started playing banjo at age seven and got her first guitar a couple of years later. She played on the Memphis streets and in the towns surrounding Walls. She joined the Ringling Brothers circus.

She contributed to the blues’ urban transformation when she moved to Chicago in 1930. Her style was rooted in country, but she helped form the electric Chicago blues, as well as incorporate what would later be R&B and rock ’n’ roll into her music.

She worked with notable blues performers including Joe McCoy, who became her husband in the late 1920s. Together, they were signed by the Columbia label and recorded one of her best-known numbers, “Bumble Bee,” in 1930. They moved to Chicago, where they became part of the city’s growing blues scene. Their records did not sell well due to the Great Depression, but they still produced influential blues music. By 1935, they had split up.

She started her “band period” with other men and married one of them, Ernest “Little Joe Son” Lawlers sometime in the late 30s. His guitar work was heard alongside hers for many years on popular tracks such as “HooDoo Lady.” In their “Me and My Chauffeur Blues,” recorded in 1941, she showed her conversion to the electric guitar.

Her records covered a wide range of subject matter. Many of her songs were sexual and delivered in her signature confident, sassy voice. Other topics included crime, voodoo, trains, and health. She was instrumentally and lyrically in tune with the lives of Black Americans.

She recorded over 200 tracks. She recorded with Sunnyland Slim and Little Walter until 1954. #africanhistory365 #africanexcellence

[justforbooks]

The musician Maurice el Médioni, who has died aged 95, provided a reminder that there was a time – in the period between the second world war and Algerian independence in 1962 – when Muslim and Jewish musicians worked together in Algeria to transform the country’s popular music.

He was a pianist who could play, and blend together, almost any musical style. His left hand might pump out stomping boogie rhythms while his right hand played Arabic or Andalusian styles. He could switch from French chanson and cabaret to Latin themes, and he played a key role in the development of the Algerian styles chaabi and raï.

El Médioni described his early life in the Algerian port city of Oran as “playing in bars and at Arabic marriages or Jewish weddings or playing in a big chaabi orchestra for the Algiers radio station. I started out playing boogie-woogie that I learned from the Americans, then Latin music, flamenco and Andalusian music. I was one of the first to do that and brought it into Arabic music, and now they love it.”

He was a star in Algeria in the 1950s, but then came the Algerian war, independence and the large-scale exodus of the Jewish population. El Médioni left for Israel in 1961, but when he realised that many of his exiled musician friends had moved to Paris he decided to join them. There he worked as a tailor by day and a musician by night – a lifestyle he continued when he moved to Marseille in 1967.

After decades in the musical wilderness, El Médioni eventually built an international reputation when in his 60s. The French producer Francis Falceto (creator of the Éthiopiques series) heard a cassette of El Médioni’s music and played it to the British musician and producer Ben Mandelson. Mandelson produced a recording session in Berlin, with El Médioni playing alongside some of his own musician friends and some British musicians, and the resulting album, Café Oran (1996), introduced his unique piano style to a new audience.

He followed with the album PianOriental (2000) and in the same year played at the Soul of Algeria concert at the Barbican in London, accompanying his old friend the Jewish Algerian singer Lili Boniche, in a line-up that included the Algerian “grandmother of raï”, Cheikha Rimitti.

In 2003 he opened for the British band Oi Va Voi and then joined them for the encores at shows at the ICA in London, and in Moscow and Los Angeles, and in 2006 released Descarga Oriental with the Cuban percussionist Roberto Rodriguez. Recorded in New York, the album was a reminder that Latin styles were among those he had loved and learned back in Oran. The album won a BBC Radio 3 World Music award.

The following year El Médioni played a major role in the El Gusto project, which involved an album, a film and a series of concerts that reunited Muslim and Jewish musicians from Algeria. He had declined to appear at a concert in Algeria, saying it was “not the right time” to return, but starred in an emotional show in Marseille that ended with a rousing version of the Algerian favourite Ya Rayah. In 2008 there was a further reunion with Algerian musicians as he opened for Khaled, raï’s biggest international star, at the Barbican; he had earlier played on Khaled’s 2004 album Ya-Rayi.

In 2011, and by now in his 80s, El Médioni and his wife, Juliette (nee Amsallem), whom he married in 1953, moved to Israel to live close to their children. He continued to record and perform, working with the Orchestra Ashkelon and the singer Neta Elkayam, and was a major influence on young Israeli pianists. He returned to London in 2012 to play with the Iraqi oud player Khyam Allami.

Born in Oran, in French Algeria, Maurice was one of four siblings brought up by their mother, Fany, following the death of their father, Jacob. Jacob had run the Café Saoud in the city’s Jewish quarter along with his brother, Messaoud El Médioni, the renowned musician better known as Saoud l’Oranais. Maurice attended the Ecole St André, and started to learn the piano when he was nine, playing by ear and listening to the musicians who gathered at the cafe.

He incorporated anything that he heard into his playing, learning Latin, jazz and boogie-woogie from the black American GIs who arrived in the city after the liberation of Oran in 1942. He played in clubs popular with the soldiers, and made sure his audience heard the music they wanted. He also composed and played for the big names of the Jewish Algerian cabaret scene, including Boniche and Line Monty. He had been persuaded by his mother to follow a career as a tailor, but music was his passion.

In 2017 he published his memoir From Oran to Marseilles (1936-1990) with help from his British followers. The preface was by Mandelson, the foreword, translation and interviews were by Jonathan Walton (a former member of Oi Va Voi, who uses the name Lemez Lovas as a musician), and the editor was the broadcaster and musician Max Reinhardt, who described him as “charming, open-hearted, wise and witty … a compulsive musician who couldn’t wait to get near a keyboard”.

Juliette died in 2022. El Médioni is survived by his children, Yacov, Marilyne and Michael, and five grandchildren, Jeremie, Barbara, Benjamin, Nourit and Emmanuel.

🔔 Maurice el Médioni, musician and songwriter, born 18 October 1928; died 25 March 2024

Daily inspiration. Discover more photos at Just for Books…?

[mchiti]

I was tagged by the cutest @zbee thank you hbiba! ❤️❤️

Name: Hala

Sign: Cancer (me too hbiba)

Time: 11:27 pm

fave band / artist: uh. Faudel & Cheb Khaled + Sufjan Stevens. I know like. two opposite sides of the world etc.

last movie: The Rainmaker

last show: The Bear. I don't really watch a lot of shows, i'm more of a movie kind of person so if that happens it's bc I'm obsessed

when i created this blog: uh I actually had it for a long while, maybe 2015 or 2016? never used it tho, I used to lurk and like footie stuff (especially from ajax days so since 2018). I started being active this year tho, when I realised morocco was loved by people and I had a few people to relate to finally. I'm not very present on social media so that was a big deal for me.

Other blogs: nooo. I'm actually very wary of social media and I tend to be very strict about it and make as less accounts as possible.

Followers: 152 apparently. Idk how that happened, I had like 0 eight months ago.

Average hours of sleep: 6-7, but often less than that.

Instruments: a bit of piano actually but since I didn't have one at home I was never really able to practice. My music teacher at school said I was good and signed me up to a summer music programme, I did that for a few years in a row.

What am I wearing: my beautiful embarrassing morocco pyjamas. it's a red with a giant green start shirt I use as a dress if you wanna know

Dream job: work in the ngo sector, cultural mediator. maybe a teacher too, idk. keep working in the ngos for now.

Dream trip: I have a few :( I actually would love to see more of europe as well, Ireland more than anything, but also more of France/Belgium/the Netherlands. And i'd love to see south america: maybe argentina, peru, chile, even up to cuba. But my 1 priority is Africa. Africa, I want to know more of it first . I want to travel everything. Mauritania, Egypt, more of Algeria (went to Algiers once, not enough). Tunisia (never been there). And then all the way down. Senegal, Gambia, Nigeria, Mali. Eritrea, Somalia and Ethiopia on the other side. Down till South Africa. etc etc. Literally everything.

Fav song atm: Dalida - Gigi L'amoroso stuck in my head bc of the ~french~. In italian, in french, both version of it really. Get it out of my head yarbi. and then Kelna Mnenjar by Wael Kfoury IT'S SO PRETTY!!! if you listen to arabic music i think you know what I'm talking about, it was pretty famous a couple of years ago. I had forgotten about it and then I remembered it so I have to listen to it at least 3 times a day now again.

tagging: @swaggypsyduck @0alanasuniverse0 @marcusrasheedsworld @yudgefudge @rainingmbappe @seedlessmuffins @mrs-bellingham @mountinez @bostonoriginal @kylivier @roobylavender @mavieesttriste16 @cryingforcrocodiles @books-loverss. if you want guys no pressure etc.