• Desert Island Dicks & Where Woodwose Walk — "Clearance Sale" (AMP009)

    5 Dic 2011, 17:44 de tom_dissonance

    Clearance Sale, the new album from Desert Island Dicks and Where Woodwose Walk, sees the two noise groups reflecting on the ongoing global financial crisis that started in the late 2000s.

    Across ten tracks (including one collaboration) named after British retail chains that went into administration following the crisis, the two groups use noise, drones, field recordings, sampling and live instrumentation to explore connections between the current malaise and the Great Depression of the 1930s.

    Train sounds, Cisco Houston, news reports, Woolworths, Zavvi, "Buddy, Can You Spare A Dime?", corporate malfeasance and T.S. Eliot all come together for the first time in what critics are already calling "Capitalist Realism in a disused arms factory".

    The album is available from Amoebic Industries as pay-what-you-want digital download or CDr priced at £3 plus p&p. The two groups have pledged to make an accompanying follow-up album in the event of a double-dip recession.

    Desert Island Dicks are an anonymous international plunderphonic noise collective. No-one is certain who is in the group nor even how many of them there are. Their 2009 album The Shades of Jazz to Come was named in Marina Rosenfeld and Raz Mesinai's "Top 15 Albums of 2009" list in The Wire.

    Where Woodwose Walk is the one-man project of Brighton, UK resident Arran Jones. When not composing, he enjoys allotment gardening, snail collecting and incorrect music.

    Amoebic Industries is a jenky DIY label based out of a Glasgow flat. They have released records by 30KB, Aurist and Desert Island Dicks.

    (p&p for physical copies:
    UK: +50p
    EU: +£1.00
    elsewhere: + £1.50)

    01. Woolworths
    02. Rosebys
    03. USC
    04. Viyella
    05. Zavvi
    06. MFI Group
    07. Waterford Wedgwood (sucking the pennies)
    08. Land of Leather (needs cow bell)
    09. Olan Mills
    10. Whittard of Chelsea
  • Aurist — "Not Here" (AMP008)

    9 May 2011, 21:07 de tom_dissonance

    Amoebic Industries is pleased to announce the release of Not Here, the latest album by Aurist.

    Aurist, aka 19-year-old Londoner Liam Adams, is a noise/abstract digital musician and poet, among other things. He's previously released several albums on labels such as Cantankerous Records and the Australian/Dutch netlabel Glitch City, including Technic'ly This Is Art (2008), Profonan (2009), and the compilation Mislaid (2010).

    The name derives from a now seldom-used term for "one skilled in treating and curing disorders of the ear". Not Here, the first Aurist release from Amoebic Industries, prescribes as a cure for any ear troubles four slabs of brooding, intense noise/drone over 35 minutes, somehow managing to be punishingly harsh and strangely delicate at the same time.

    The album is available for listening or download at http://aurist.bandcamp.com. Custom handmade CDrs are also available from Amoebic Industries for £2 (UK) or £3 (worldwide). Each CD package will include a small item that is in some way "not here".

    Track listing
    1. Dekindling
    2. Blind & Elated
    3. Mes Rois
    4. Powerless

    "Should we take up a collection for a new record-player needle for Aurist, or lobby the Limey noise sculptor for an extended paper-shredder remix?" — Minneapolis City Pages on Technic'ly This Is Art

    "Some of those advertised do harm by setting up a mechanical irritation in the ear after a time, and a better result is often obtained with... a disc introduced into the ear by an aurist." — The Home Medical Library, Volume II (of VI)

    Listen or download now: http://aurist.bandcamp.com

    More links to Aurist:

    For CD orders or any further information, email amoebic DOT industries AT gmail DOT com.
  • new ep

    10 May 2010, 11:35 de alanwebsteral

    "mashed n confused" it's the tytle, it comes out with two songs "mash mallow yeah", and "sweet bongy", it's different from what i did i the past, i try always different solutions in music..., everybody is invited to listen and say something about the music, if you like it or not, see ya.Alan Websteralan+webstermashed n confused
  • Desert Island Dicks — "Love Will Tear Us Apart" (AMP007) (single)

    15 Feb 2010, 18:32 de tom_dissonance

    If you're one of the many who have found legitimate reasons to despise Feb. 14th, the noise miscreants in Desert Island Dicks have released a Valentine's Day single that might pique your interest. Nothing the Dicks do ever seems to be straightforward, so it was a fairly safe bet they weren't going to buy into the standard hearts-and-flowers template, and here they don't disappoint.

    De facto Dicks spokesman #12 (none of the others are ever identified) offered this explanation:

    The single in question is a two-track cover of Joy Division's now-iconic "Love Will Tear Us Apart". Each Valentine's Day, many thousands of people may feel compelled to buy V-Day paraphernalia as a de rigueur activity rather than as a sincere expression of romantic feeling (notwithstanding whether said feeling is present or absent; this is irrelevant). An ironic flipside to this coin is "Love Will Tear Us Apart", a song expressing a contrary, somewhat fatalistic view, yet which a large amount of groups learn to play, and produce their own version of, ostensibly as a kind of alt.rock "rite of passage", and again, not necessarily representative of the feeling behind it.

    We have produced two versions of the same record by way of commentary on this phenomenon. The first version, subtitled "consecutive mix", is sampled from 103 existing versions of "Love Will Tear Us Apart" by a variety of stylistically divergent artists. Each cover version is represented by a one- or at most two-bar sample, which are reassembled mosaically in the order of the original song. The second, subtitled "simultaneous mix", simply plays all 103 versions at the same time.

    It is hoped that the published studies will provide some directions for future research in the area of culture and management styles.

    "Studies show that when a given norm is changed in the face of the unchanging, the remaining contradictions will parallel the truth."

    Written by Curtis, Sumner, Hook, Morris.

    Artists sampled (in order): Joy Division / Vitamin String Quartet / Magick / Scapula Elevata / Chuzpe / HANKY PARK feat. PETER HOOK / Flowing Tears & Withered Flowers / Bis / Jah Division / Broken Social Scene / Everyone's A Crook vs. Ils / The Blood Divine / The Complete Stone Roses / Clock Strikes 13 / Nordloef / Evelyn Evelyn / Michael John / Albert Kuvezin & Yat-Kha / Trance to the Sun / Rebecca Hancock And the Prison Wives / New Order / Hawksley Workman / Last Days Of Radio / Paul Young / Ecstatics / Dahmnait Doyle / In the Nursery / Boy Division / Bloom 05 / Nouvelle Vague / Swans (red version) / OrtzRoka / Rodolphe Burger / Kaycee (Gus Gus mix) / Fall Out Boy / The Cure / Invisible Limits / Squarepusher / SLAPPER / Die Art / Cienfuegos & Mimi Maura / The Sky About to Rain / The Diary / V/Vm / Jose Gonzalez / Kiki & Herb / Sensifer / The Shanes / Pribata Idaho / Amadea & The In-Betweeners / eon Blue Void / U2 / The Real Bang / Kismet / Philistine / Calexico / Kvinton / Peltz / Michelle Darkness / Honeyroot / Dumb Blonde, Dead. / Poon Up! / Ian Field / Final Virus / Swans (black version) / Tiger Baby / Mike Relm / Testament / Red House Painters (Live) / The Motion Sick / TEA PARTY / The King / Schulz / lispboston / 10,000 Maniacs (live) (allegedly) / Jenny K Jones / Even Vast / P. J. Proby / Jansky Noise / Nerina Pallot / ITTY BITTY KITTY TITTIES vs. BIG FAT CAT TATS / Oysterband / Simple Minds / Morten Abel / Ghost Parade / Susanna and the Magical Orchestra / Stanton-Miranda / PixelToy / Jarboe / Albanopower / The Parsonage / Brothers Past / 12:24 / Unbroken / Worm Is Green / Slumber Party / The Carnival of Fools / Opium Den / World Wide Spies / Acrojunk / djstranger / Wundergraft / Philip Boa & The Voodooclub

    Production by Desert Island Dicks.

    Artwork by Lachlann Rattray for Dreamguts.

    Desert Island Dicks 2010. Experiments can go down as well as up.

    (Via the Life Just Bounces blog.)

    Desert Island Dicks – "Love Will Tear Us Apart (consecutive mix)"
    Desert Island Dicks – "Love Will Tear Us Apart (simultaneous mix)"
  • Top 10 Albums Of 2009

    15 Ene 2010, 22:06 de AxemRangers

    Disclaimer: Obviously not a definitive, end-all be-all list, and not so much "best" albums as "my favorite" albums, but an interesting little exercise for me nevertheless (as I usually try to avoid putting things like this together), and one I hope you enjoy.

    10. Fantastic Explosion - Sound Track (from Time Evaluation Tactics Hyperion)
    Fantastic Explosion's first new full-length album in five or six years more or less validates itself on those merits. Kazunao Nagata's (producer for many, the man behind Transonic Records, ExT Recordings, and owner of Transonic Studios) group is now joined by Tetsuto Yoshida (a Readymade artist) for the soundtrack to an film that I have...not seen. Fantastic Explosion's bouncy, influenced sound is back in full swing, with some more mature and glossy elements overshadowing the disjointed, breakier elements of their early work. Playfully programmed drums and meticulous synthesizers are still king. No tracks that pop out at me as much as in the past (Japan As No.1), but on the whole the collection is more than worth your time.

    9. This Immortal Coil - The Dark Age of Love
    Some , weepy chamber covers of Coil songs. But no, wait, that's a good thing! Coming out at the perfect time for me, having just really grown to appreciate and relate to Coil this past year, many of the interpretations play off the ideas of the originals with respect and passion, and are still beautiful in their own right. I'm not really familiar with any of the individual players, but the instrumentation is lush and carefully assembled, with rich tonal interplay between the strings and vocals, especially in tracks like "Teenage Lightning." "Tattooed Man" does an especially harrowing job embodying the spirit of the original: both give me the complete imagery of a dreary, brick paved harbor. Fascinating... Well, worth a listen, and essential for Coil fans.

    8. Kaito - Trust
    Kaito is one of Japanese techno producer Hiroshi Watanabe's most prolific aliases, and 2009's "Trust" is possibly the high point of what he has set out to achieve with it thus far. Kaito is known for deep, dreamy (the project being dedicated to Watanabe's young son), with layer upon layer of synthesizers and sentimental key melodies. While this is consistently successful in making music, somehow, on the whole, Trust is much more engaging than the Kaito albums before it. The tracks seem to maintain a more active and tangible energy within themselves, with bouncier drum kicks and tighter rhythms. The payoff during the second half of "rainbow circles" has to be heard to be believed. Part of the way through the album we even switch to a minor key for a low-lit feel for a little while... The tracks are mostly in the 7-8 minute range, so be prepared for some level of immersion.

    7. NEELY - I Suppose / Nothing's Wrong
    When I started compiling names for my favorite albums of the year, I actually tried to actively avoid albums released by people I know...but it seems like being aware of this one and not recognizing it would be impossible. This is the debut tape of a very close friend of mine, with the recordings contained therein selected from things he made for himself over the course of several years. Though it could be easily classified as a " album," upon a closer look it's not nearly so simple. Many of the pieces are arranged in obsessive and complex fashions, and are kept grounded by integral loops, rhythms, sometimes repeated musical phrases or bass pulses. Low, fuzzy, implacable sounds come from every direction, as though recorded in the middle of an afternoon nap in a . Lo-fi electronics, intoning vocals, moments of and guitar. To be frank I haven't the faintest idea as to how some of the sounds on it were created, or made to sound how they do. But they are all real unto themselves, and the tone of the album overall is not foreboding or creepy as much as touching and, well, spooky. "Ing's Piano," is a personal favorite mind-bender. All in all it's nearly an hour of abstract, murky, and crushingly emotional music, with almost a tangible entity all its own.

    6. XXX RESIDENTS - Attack of Killer Black Eye Ball!!!!
    Okay this one kind of snuck up on me and is pretty high off the weird charts. As an interesting companion to "The Dark Age Of Love," here we have a hard, tribute to The Residents from Japan. XXX Residents is presumably a producer with ties to two live Residents tribute performance acts, and Killer Eye Ball!!!! has over 40 minutes of driving, progressive club tracks based around pilfered Residents melodies and hooks. Some seriously interesting production in here, covering too much ground to really hold down. The mix takes an even more surreal turn in the last ten minutes, when an intense track rises out of "Census Taker," orchestrated by Merzbow and featuring some of his more concentrated and psychedelic noise of the decade. Capped off with an almost hokey track, this is mandatory listening for open-minded Residents fans. (Oddly, there's quite a few that aren't...)

    5. Fantastic Plastic Machine - FPM
    This one blew me out of the water honestly. Tomoyuki Tanaka is obviously a producer with a lot of songs and especially remix work that I adore, but full-length Fantastic Plastic Machine albums are usually pretty hit-or-miss within themselves. Don't get me wrong, they have preciously few "bad" songs, but it's a lot of downtime in between the gems. However, barring maybe a couple of grating vocal cuts, 2009's "FPM" is a home run. If the opening track doesn't have you on the merit of how fucking weird it is, skip around a little. The album is buffered on all sides by the slick, grooves that FPM is known for, maybe with a bit more chrome these days now that all the kids are putting on shades. And at the halfway mark, "Forever Mine (Piano Dub)," we're treated to a series of groovy, leaned back instrumentals with wet, skin-crawling percussion that even lends itself to the side at times. "No Matter What Others Say" is my standout vocal track. Perhaps the best full-length album under the FPM moniker since its debut.

    4. The Residents - The UGHS!
    As always, The Residents had like fifty fucking releases this year, aided by their embrace of digital distribution to release content that would probably not break even on a physical product, which I think is great. "The UGHS!," however, did get a proper jewelcase CD release. The songs on this release are (supposedly) the product of an alternate band persona ("The UGHS!") The Residents adopted to create freeform musical sketches from which to cull themes for the soundtrack of their audio-only stage production, 2007's "The Voice of Midnight." And while you can hear bits and pieces, leitmotifs and grooves and patterns from VoM in The UGHS!, any self-respecting Residents fanatic/skeptic must question whether the whole thing is a clever reverse engineering... But completely independent from the mythology of it, The UGHS! is a truly unique work in its own right, and one of The Residents' most compelling and downright bizarre releases in years. The plodding, progressive soundscapes are all here, with some soaring strings and jaw-dropping guitar work by "resident" guitarist Nolan Cook. But the entire CD has a sort of sticky, humid, primitive atmosphere: Low end, scenic bass rumblings, ethnic hand percussion, grunting and chanting in non-languages. You can almost see the group recording, naked except for their eyeballs and top hats, squatting around a fire on a tropical riverbank, ingesting nauseating psychedelics and belching in rhythm. The music even descends into a kind of inhuman at times, before rising back up into hypnotizing grooves. "The Lonely Lotus" in particular is one of the most striking Residents pieces of the decade, while "Rendering the Bacon" just goes to show that they still know how to be completely baffling, in spite of their own brand.

    3. Major Lazer - Guns Don't Kill People... Lazers Do
    From every 's favorite producers (whose names they know), Switch and Diplo, comes a totally unabashed and self-aware disc packed back-to-back-to-back with bite-sized poppy bangers that refuse to compromise. There's not a whole lot of substance here, admitted, but there's also not a bad track on the disc. Each one is a thick wax slab of ridiculous booty-shaking reaggaelectro dubs and jahs, balancing the riffs and hollow space within the tracks with infectious vocal hooks and tasteful sprinkles of . Absolutely fucking determined to get white kids to locate and (attempt to) utilize their hips, from the y "Pon De Floor" to the aggressive "When You Hear the Bassline" to the sugar/painkiller coated feel-good anthem of the year "Keep It Goin' Louder." (It's like an inverted "I Gotta Feeling." Like, imagine if that song didn't suck. Amazing, huh?) "Mary Jane" is possibly the most annoying song I've ever heard in my life, and my personal favorite. The only album in recent memory that you could put on at a party and not have to switch CDs after the first four tracks.

    2. アーバンギャルド (Urbangarde) - 少女都市計画 (Girl's City Project)
    Urbangarde is a self-proclaimed TOKYO VIRGINITY POP group, drawing from , retro synthpop, shibuya and influences to promote traditional Japanese social ideals and preach against the mortal dangers of promiscuous sex to the virgins, otaku and mentally diseased populations of Japan. Yeah... With alternately disturbing/hilarious imagery and a cute, kickin' synthpop sound, their 2006 debut "A Girl Only Lives Twice" was more fun than anyone could possibly ask for. But this year's sophomore followup, "Girl's City Project," raises the bar to a totally new level, with more unconventional song structures and darker, mature and schizophrenic production. For starters, during nearly every instrumental break in the album, where a simple guitar or key solo should go, we're instead treated to an impossible to break down concrete collage of instruments, synth riffing and beeping, guitar thrashing, pulsing chaos. Vocal delivery is theatrical, determined, and sometimes frenzied and hurried. Even the backbones of the tracks have had a tuneup, with the beats on tracks like "Revisionist," "All About The Girl," and especially the lead single "Concretegirl" boasting a degree of demure sophistication, like a well dressed man at a funeral. Perhaps most mind-blowing is "Tokyobirth," which ping-pongs in and out of degrees of delerium before finally rising into a "" kind of extreme groove that previously only existed within 1:50 long j-pop songs composed for music games, with syncopated piano riffing at methamphetamine fueled BPMs and urgent vocals shouted in boy/girl harmony. Simply put, if you have any affinity for pop music, order yourself a copy of this and prepare to hear it pushed in seriously innovative directions, eschewing the trendy shibuya electropop sound to peer over the fence into something genuinely freaky.

    1. Captain Funk - Sunshine
    As an unabashed, rabid Tatsuya Oe fanboy, I had pretty high expectations for this album, which were met and then some by what is quite possibly his most teeth-decaying album to date. 2007 saw the release of Captain Funk's sister albums "Heavy Metal" and "Heavy Mellow," both wonderfully sentimental /electro collections, but each of them did seem to have a lot of downtime in between the truely memorable tracks, evenly spread between the vocal and instrumental cuts. With Sunshine, however, Captain Funk hasn't sold himself short in the slightest. A feel-good, funny and sexy groove throughout, and a careful unified balance of themes and rising/falling action over the course of the disc helps cement it as an honest-to-god album, rather than a collection of songs. Vocal duties are tastefully split between Tatsuya himself and guests, and vox anthems like "Just Wanna Get You Tonight" and the bright, shiny, ultra-compressed title track (which also showcases Funk's penchant for aesthetics) are at the heart of the album. Plenty of organic instrumentation and Oe's trademark custom voice synths combine with rolling bass and stinging guitars to create precise, euphoric cuts that are impossible to not dance to. In essence, Sunshine is classy, like seriously fucking classy. We're talking red-velvet lined limousine interior. Ending with the hopelessly melodic eight minute "Summer Nights," albums as concise and successful in their intentions as Sunshine don't come along very often. Definitely one to savor for a long time to come.

    (Thanks for reading!)
  • Six Six Sixties

    14 Oct 2009, 1:37 de AxemRangers

    Here's three groups that avoid structure and niceties almost entirely and dish out something pretty wrenching in the process. Using raw sound as a tool, they make some of the most visceral, and intelligent, music around. They may use tapes, synthesizers, treated guitars etc. but they are definitely not cool, removed or "modern" (qualities unfortunately linked to the above tools due to the regrettable posings of a few overly made up robotic prigs). You might call them expressionist, but that would be too personal. I think they pull back a scab covering a common malaise and make music out of it.

    Throbbing Gristle's Greatest Hits is a sampler culled from their previous releases (voluminous), and includes such memorable ditties as "Hamburger Lady", "Subhuman", Six Six Sixties", and "tiaB gulS" (Slug Bait). Thoroughly uncompromising, TG never fail to expose a buried nerve. Variously trance-like, atmospheric, and abrasive, each piece of music is a unique chunk of psychic disarray. This is the music you'll hear as you prowl the sewers looking for food, or fuck in the sludge as the radiation settles aboveground. Their decision (if there really is a choice) to deal with the "darker" side of things is not necessarily negative. Listening to TG, you get the feeling that it's realistic.
    (see also the TG live cassette Beyond Jazz Funk)

    -Michael Gira
  • new Desert Island Dicks album: "The Shades of Jazz to Come" (AMP005)

    8 Ago 2009, 17:56 de tom_dissonance

    The new Desert Island Dicks album, released by Amoebic Industries (Unlimited) on 28 July 2009, is entitled The Shades of Jazz to Come, a dextrous play on the name of Ornette Coleman's seminal free jazz masterpiece The Shape of Jazz to Come.

    The Coleman association is not merely a titular one; the album is also based sonically on The Shape of Jazz to Come. Six slices of the original Coleman album, each equivalent to ten percent of the length of each track, were extracted like biopsy tissue samples, re-stretched by a factor of ten until they arrived back at each track's original length, and post-effected as necessary. The record thus revisits tropes of both of the groups' previous albums, Bring Me the Head of Miles Davis and Other Jazz Luminaries (use of the '50s/'60s jazz avant-garde) and Stretch Marks (vast expansion, post-production).

    The cover was designed by Cliff Lipp for Dreamguts.

    Vice magazine called the album "the year's primo meditation music for the discerning smackhead". NME failed to comprehend the concept in an entirely characteristic fashion.

    Track listing
    All tracks by Coleman/Dicks.

    1. "Lonely Woman" — 5:02
    2. "Eventually" — 4:22
    3. "Peace" — 9:04
    4. "Focus on Sanity" — 6:52
    5. "Congeniality" — 6:48
    6. "Chronology" — 6:03

    * Ornette Coleman – alto saxophone
    * Don Cherry – cornet
    * Charlie Haden – double bass
    * Billy Higgins – drums
    * Desert Island Dicks – noises, post-production

    The Shades of Jazz to Come (AMP005)

    M3d14F1re and M3g4Upl04d versions also available: here

    Desert Island Dicks @ myspace
    Desert Island Dicks Facebook page

    Desert Island Dicks 2009. Experiments can go down as well as up.
  • LJB July mixtape: Hey There's a Dog Over There!

    7 Ago 2009, 22:54 de tom_dissonance

    The ever-missed John Peel used to theorise that any record with birdsong on it would probably be automatically good. (The title track of Bridget St. John's Ask Me No Questions, which Peelie produced and released on his Dandelion label, even takes a break at the end for an interval of church bells and hand-picked birdsong clips from the BBC Archives).

    i sort of feel the same about records with the sound of barking dogs on. i will pretty much always listen to a track that features a dog barking, even if it is completely gratuitous, silly or unrelated to the song. This holds true even if the dog is hamfistedly sampled (DMX), not even a real dog (Slim Gaillard), or even both at the same time (the truly egregious Woofers and Tweeters Ensemble). i'm still not quite sure why this is.

    Anyway, July's mixtape is entitled Hey There's a Dog Over There!1 and each of the 20 tracks feature either real or simulated woofing. Weirdly, i've got enough of this sort of stuff to make another mixtape again of it, so i might drop that some time in the future.

    Click the link at the bottom for the mixed version or hit up the blog for individual files.

    1. M.I.A. – "Bamboo Banga" (from Kala, 2007)
    Dog action? Some barking samples, most notably the confusingly sexy bit where she sings about "doggin' on the bonnet of your red Honda" (blimey) and a vicious-sounding snarl abruptly breaks the reverie.

    2. Bilge Pump – "Sling Yr Hook" (Let Me Breathe, 2002)
    Dog action? Full-on free jazz barking solo from 01:42 to close.

    3. Frank Zappa – "Hot Plate Heaven At The Green Hotel" (Broadway the Hard Way, 1988)
    Dog action? In the form of Obvious Samples played as percussion on what is presumably some sort of early sampling keyboard, presumably by Bobby Martin, live in concert. Pretty silly.

    4. Jane's Addiction – "Been Caught Stealing" (Ritual de lo Habitual, 1990)
    Dog action? Iconic. They open the tune and attempt to keep the beat over the first few bars, with varying success.

    5. Black Sheep – "Similak Child" (A Wolf In Sheep's Clothing, 1991)
    Dog action? Wins extra credit for actually interpolating the barking into the beat as a percussion instrument, as two dogs stage an enthusiastic bark-off.

    6. De La Soul – "Dog Eat Dog" (Stakes Is High, 1996)
    Dog action? Freeform barking underpins chorus and parts of verses, emphasising cannibalistic nature of rap game.

    7. The Mighty Underdogs – "Doglude" (Droppin' Science Fiction, 2008)
    Dog action? Rhythmical, dense, layered - total dog win basically. Even a series of epic howls to conclude in proper style.

    8. Slim Gaillard Trio – "SERENADE TO A POODLE" (1947-1951, 2002)
    Dog action? Slim is evidently pissing himself all the way through this tune, possibly at the instigation of questionable dog impersonator Jim Hawthorne, whose overdone barking refrains turn frankly ridiculous by the end of the track. But in kind of a good way.

    9. Le Tigre – "What's Yr Take On Cassavetes?" (Le Tigre, 1999)
    Dog action? Dogs contribute jubilant barking coda to discussion of art cineaste reputation.

    10. Tom Waits – "Buzz Fledderjohn" (Orphans: Brawlers, Bawlers & Bastards, 2006)
    Dog action? Providing rough bluesy ambience to a tune that could well have been recorded in a barnyard.

    11. Cassetteboy – "Dogs Dogs Dogs Dogs Oh Yeah Dogs" (The Parker Tapes, 2002)
    Dog action? Dog sample nirvana. "No cats here, of course..."

    12. Clarence "Gatemouth" Brown – "Alligator Eating Dog" (No Looking Back, 1992)
    Dog action? Fearsome introductory growling totally misrepresents really rather jolly song.

    13. Contrastate – "Poodles In Practice Dress At The Battersea Dogs Opera" (Four Years In 30 Seconds : A Collection Of Music From Around The World, 2007)
    Dog action? Fucking weird spoken word/noise action. Dogs saturate its 34 seconds. The second half of the parent album also features it (along with all the other tracks) played backwards. Damn, last.fm, you don't half dish out some fucked-up recommendations sometimes.

    14. Cassetteboy – "Yeah Duggan... Austin, TX" (Mick's Tape, 2005)
    Dog action? Backing up The World's Whitest Rapper as he pays tribute to the dog in question.

    15. Woofers & Tweeters Ensemble – "We Can Work It Out" (Beatle Barkers, 1983)
    Dog action? Oh man, this whole record is made of really poor primitive sampling-keyboard arrangements of Beatles songs. "Guys, this is just RIDICULOUS, and totally disrespectful to the music of The Beatles. I mean WOW....jeez." comments one Heather. Well, i agree, but i think that's why it's so good. (Commonly misnamed as "Beatle Barkers"; that's actually the album title).

    16. DMX – "Stop Being Greedy" (It's Dark And Hell Is Hot, 1998)
    Dog action? Maybe the single most prolific dog-sampler in music, it'd be remiss to skip him. Sometimes his sampler doesn't work so he just does the dog voices himself.

    17. Man Parrish – "Hip Hop, Be-Bop (Don't Stop)" (12", 1982)
    Dog action? Seminal throw-everything-at-the-wall-see-what-sticks '80s electro groundbreaker finds time for a snatch of pitch-shifted canine in the mid-section. Then promptly on to the next thing. Brill.

    18. The Flaming Lips – "The Big Ol' Bug Is the New Baby Now" (Zaireeka, 1997)
    Dog action? Gorgeous semi-spoken tribute to Stephen Drozd's dog (and Zaireeka closer) ends in an cacophonous eight-channel avalanche of barking (if you're doing it right).

    19. The Orb – "Towers of Dub" (U.F. Orb, 1992)
    Dog action? Takes up all of side three of U.F. Orb. Man's best friend makes an early bid for glory as Kris Weston and Dr Alex dub the piss out of him.

    19. Can – "Aumgn" (Tago Mago, 1971)
    Dog action? It's a prerequisite of making a groundbreaking, extended sample collage that a barking dog will be required at some point. This set that rule.

    20. Wonder Dog – "Ruff Mix" (12", 1982)
    Dog action? Wow. This is why everybody hates the '80s.

    More (including other monthly mixes) at

    1 Inspired by an entirely throwaway line in an early episode of Friends. Janice asks who of the group have nearly slept with one another, and they all attempt to change the subject swiftly. "There's a dog out there!" was Joey's priceless effort. i've only just found the actual script just now, but i misremembered it as "Hey there's a dog over there!" for years, so that's yer title. Yeh, so maybe it was a Seinfeld rip-off, but there was still some great comedy writing on that show at times.
  • Sound experiment goes horribly wrong, opens portal to Boris show 15 years in the…

    15 Mar 2009, 2:02 de AxemRangers

    Sound experiment goes horribly wrong, opens portal to Boris show 15 years in the future.

    Atsuo has assumed sole creative control of Boris.

    The horror.
  • The Chaos is Coming! (PGI new album teaser online)

    11 Mar 2009, 22:18 de bassistmetalfag

    The Chaos Is Coming!

    Hi all, Check out the new album teaser "The Chaos is coming" on our myspace(www.myspace.com/primitivegravenimage) page now! A 5 minute montage of some of the best bits from our new album "Celebrating Impending Chaos" , mixed and mastered by none other than Russ Russell (Napalm Death, Dimmu Borgir). Listen out for influences from such as Nile and the beautifully misanthropic noise of our fellow countrymen Anaal Nathrakh and The Axis of Perdition. A dose of 70’s may just be heard bubbling away, whilst chaotic riffs weave in and out of and highly . Hope you enjoy, and we appreciate any feedback! We are currently seeking a new label to get this stuff out there. Wish us luck and Spread the word!

    Ljosalfur & Mjolnir.
    Primitive Graven Image