#Xylouris White Only Love

[dustedmagazine]

Dusted Mid-Year 2024, Part II (Lumpeks to Z-Ro)

Rosali

Part two of our mid-year round-up provides a second perspective on albums that at least one Dusted writer loved.  Here we cover the second half, alphabetically by artist, with entries from Lumpeks to Z-Ro. 

If you missed Part I, check it out here. 

Lumpeks — Polonez (Umlaut)

Who nominated it? Bill Meyer

Did we review it? No

Ian Mathers’ take:

I’m honestly not familiar enough with either jazz or traditional Polish dance music to be able to spot or articular exactly where this intriguing and very enjoyable fusion of the two has joined them. There’s a similar feel to other acts I’ve heard that both clearly deeply respect the traditional music they draw on and are unafraid to put their own spin on that source material (both Xylouris White and Black Ox Orkestar came to mind), and as with those other cases the results on Polonez could equally be ancient or brand new. That the quartet’s main instrumentation (which also includes Louis Laurain on cornet, Pierre Borel on alto sax, and Sébastien Belief on double bass) includes steady, deep frame drumming (using a local variation called a bębenek obręczowy) from Olga Koziel (who also sings) gives it plenty of distinct character. And the mostly French group cares enough about actually understanding and respecting that traditional Polish music they made a short documentary about the field research that went into making Polonez. There’s an energetic, joyous swing to both the jazz and folk sides of Lumpeks’ music that makes the result much more than just an academic curiosity.

Mdou Moctar — Funeral for Justice (Matador)

Who nominated it? Jennifer Kelly

Did we review it? No, but we did a Listening Post. In the intro, Jennifer Kelly wrote, “The new record is as sharp and impassioned as any Moctar and his band have done so far, and it is inflamed with political energy.”

Andrew Forell’s take:

Mdou Moctar is an extraordinary guitarist and must be incredible in a live setting. The rhythms, the vocal back and forth and the moments Mochtar sprays power chords and shards of riffs that explode like bombs are all great. You feel his rage and frustration even when you don’t understand the lyrics. But the super intricate, high-speed soloing, whilst impressive, had the same effect on me as listening to electric blues-rock. I’m caught between the passion of the band, the eloquence of their anti-colonialist, pro-African politics, and the technically brilliant guitar noodling. The title track is a fantastic meld and it’s hard not be carried along but I really prefer the slower tracks, particularly “Takoba” and “Imajighen”, which lope along behind the drums while the bass darts around between entwined guitar lines and call and response vocals. Funeral for Justice is an album I admired and enjoyed hearing but, for me, the pyrotechnics get in the way.

Jessica Moss – For UNRWA (self-released)

Who picked it?  Ian Mathers

Did we review it?  Yes, Ian said, “sorrow and elegy and rage and strength all course throughout the piece.”

Bryon’s take:

This is a beautiful album born from an ugly situation.  Violinist Jessica Moss released this Bandcamp-only album to raise money for the UNRWA (United Nations Relief and Works Agency) after nation states halted funding when it was erroneously thought a few of its members were aligned with Hamas.  It’s a 42-minute suite of violin, electronics, and vocals that Moss captured at a live set in Berlin.  As someone who hasn’t had the pleasure of investigating her solo work but is enamored with her contributions to Silver Mt. Zion and other bands, I find this album to be an effective port of entry.  It swells with all the emotions that Ian describes in his review, unfurling with a beauty and grace that at times evokes stillness and at others exudes passionate fervor.  Based on this piece alone, I’ve decided that I need more of Moss’ music in my life.    

NYSSA — Shake Me Where I’m Foolish (Six Shooter)

Who nominated it? Alex Johnson

Did we review it? No.

Jennifer Kelly’s take:

NYSSA gets its kick from the charisma of the eponymous front woman, a wailing, belting, crooning dynamo, whose delivery is part punk, part roots rock, part blues and part adrenalized, corruscating confession. NYSSA’s first album, Girls Like Me, was long-listed for the 2021 Polaris Prize. This follow-up is less synthy and more rock, fleshed out by a ripping band. It’s larger in every way, from the stomping, vibrato-laced rager, “Werewolf,” to the torchy, piano-bar introspection of “Blessed Turn.” “I’m good for nothing but the hell I raise,” NYSSA intimates on the rollicking “Hell I Raise,” but she’s wrong. She’s good at lots of things.

Rosali – Bite Down (Merge)

Who picked it? Jennifer Kelly

Did we review it? Yes. Christian Carey wrote: “Rocking out is on the menu” and “the connections between pleasure and pain seem to coalesce in Rosali’s work.”

Alex Johnson’s take:

It’s a ferocious album, but intimate too. I hear a lot of Christine McVie in Rosali’s vocal. The way her delivery of “I want to feel right at the end of the day/I’m letting things come as they may” on “Rewind” contains warmth and sadness and joy and a sense of power in powerlessness that’s somewhere between cynicism and hope. It’s right out of Rumors. There’s some Fleetwood Mac in the groove of the title track too. But the spaciousness and spontaneity that Rosali and Mowed Sound capture remind me more often of the Oldham family — Will, Ned, et al. — from the raucous and inviting Viva Last Blues of “My Kind” to the clanging Anomoanon-ish country rock of “Hopeless.” 

This is music that not only lets you in but keeps you there. Like how the primordial bass drum in “May It Always Be on Offer” both grounds the rhythm and carves out a space you can practically sit in. The charismatic draw of Bite Down, though, is the guitar work. There’s so much texture and dimension in, say, the fraught duet that rips through “Change is in the Form” or the gravelly solo patched under the strings of “Slow Pain,” echoing the toughness of “maybe I’m just used to it/maybe I don’t give a shit.” With their various yelps and rumbles, the guitar tones that run through “Hills on Fire” don’t so much create the atmosphere as define it, adding a palpable, tectonic heat to the song’s otherwise easy daze.

Bite Down is a big, organic album, full of sensations — heard, articulated, and felt. Someone yells “act natural” as “My Kind” gets revved up — I’m surprised the band needed a reminder.

Thou — Umbilical (Sacred Bones)

Who nominated it? Jonathan Shaw

Did we review it? Yes, Jonathan wrote, “If we set aside Umbilical’s thorny thematics, we still have a superlative metal record, loud, as aggressive as it is palpably aggravated.”

Andrew Forell’s take:

At the end of his typically on point review of Umbilical, Dusted’s Jonathan Shaw pondered whether Thou singer Brian Funck might agree with his assertion that “pleasure isn’t what we need most from culture right now” and asked, “Should we listen to him?”. On the first point, there’s not much pleasure evident on Thou’s new album, which perversely or not appears to be this half year’s metal album de jour with even The Guardian unguarded in its praise. And yes, there are so many reasons right now when pleasure seems futile in the face of No Future. To the second point, a definite yes! Once you acclimatize to Funck’s voice, a dyspeptic shredder of a thing which renders his lyrics nigh indecipherable, the wall of sound coming at you is a caustic bath for the ears. The drums and bass a thumping foundry shaking and burning whilst the guitars surround you like a swarm of rusting chainsaws. Amidst this maelstrom, Funck screams as if his spleen is about to join his word splatter. Now, that’s a t-shirt I’d wear again without washing. Umbilical is a nasty, irate fury that I will be revisiting.

Uranium Club — Infants Under the Bulb (Static Shock)

Who picked it? Alex Johnson

Did we review it? Yes. Alex wrote, “these enigmatic Minneapolitans fling their conceptual heft in a new direction and expand their musical objectives without ceding much, if any, of their signature, careening tension.”

Patrick Masterson’s take:

When I first heard Infants Under the Bulb in the spring, it was with only a cursory commitment; I understood its tinny, furiously strummed contours, but the full thrust of its oddball conceptual heft passed me by. A second, much closer listen for this midyear exchange has proven far more rewarding, and while Alex pretty well nails what makes this record so interesting in his review, what I keep coming back to are the myriad voices across this record. I think core members Brendan Wells, Harry Wohl, Ian Stemper and Matt Stagner all take a turn behind the mic, though liner notes prove frustratingly (appropriately?) limited, and Molly Raben drives the four-part “Wall” sequence. A few points of order unite the Club and its associates — namely, all of them take pointed barbs at contemporary society in different ways, all of them play with noticeable tightness (even Raben in the New Age-y “Wall” songs), and none of them can sing. Musically, “Small Grey Man” might be an obvious single to that effect, but it’s the guitar licks in “Game Show,” “2-600-LULLABY” and “Abandoned by the Narrator” to which I keep returning. More than anything else in Alex’s review, what hits home hardest is very succinctly tucked away in its middle (my emphasis): Chorus of voices aside, Uranium Club has been and remains a great guitar band.

Waxahatchee — Tigers Blood (Anti-)

Who picked it? Christian Carey

Did we review it? Yes, Christian said, “Tigers Blood doesn’t have a weak cut on it. One imagines it will be in heavy rotation for many long after its release.”

Tim Clarke’s take:

Tigers Blood starts out promisingly enough. On opening track “3 Sisters” it’s immediately evident that Katie Crutchfield has an intensely expressive voice, plus the skill to wield it with nuance. There’s plenty of space for her to emote, then when the song takes off, it feels well earned. From there, things start to feel too rote to fully engage. The band is clearly playing in the country-rock pocket, but there are no surprises to be found in the songwriting to capitalize on the promise of that opening song. Ultimately, it mostly ends up sounding a little hokey. A genuine shame, as I had high hopes coming into this one.

Whitelands — Night-bound Eyes Are Blind to the Day (Sonic Cathedral)

Did we review it? Yes, Ian said, “Right from the start, there’s a clarity and focus in the songs here that belies their sometimes diaphanous settings.”

Tim Clarke’s take:

Right from the opening blare of guitars, British quartet Whitelands nail a particular shoegaze aesthetic: Ride’s Going Blank Again. The six-strings are loud, but with enough delay and reverb to create a blurry wall of sound, while the rhythm section keeps things punchy to give the songs plenty of momentum. Can’t say there’s anything here that quite rivals the first wave of shoegazers who combined hallucinatory sonics with catchy songwriting, but Whitelands are clearly tapping into some inspiring sounds, which will hopefully mean their next release will have its own distinct personality. 

Winged Wheel — Big Hotel (12XU)

Who nominated it? Bryon Hayes

Did we review it? Yes, Bryon wrote, “No Island hinted at Winged Wheel’s ability to craft such a sonic space, but that record was merely an appetizer for the hefty dose of momentum that Big Hotel provides.”

Christian Carey’s take:

A collection of artists who also belong to other bands, Winged Wheel coheres far more fluidly than most “supergroups.” On their second recording, Big Hotel, the band recorded in the studio together rather than remotely collaborating as they did on 2022’s Big Island. The difference is palpable, particularly in the power and execution of the rhythm section, which now includes Sonic Youth drummer Steve Shelley. At the beginning of the recording, the one-two combo of the spacy and clangorous “Demonstrably False” and “Sleep Training,” on which Whitney Johnson supplies beguiling singing amid a raft of guitar textures. The songs tend to move directly into one another, underscoring their interconnectivity. Most of them stretch out a bit, clocking in at around the six-minute mark, but “Aren’t They All” and the album-closer “From Here Out Nothing Changes” are both under three minutes. The former is a bustling instrumental featuring oscillating riffs and urgently rendered and foregrounded percussion. The latter begins with a brief, disjunct, nasal wind solo and a discordant guitar duo, that rhythm section punching away. Johnson shares a brief, delicately delivered vocal, which then disappears into a concluding maelstrom.

Z-Ro—The Ghetto Gospel (One Deep Entertainment)

Who nominated it? Ray Garraty

Did we review it? No

Jonathan Shaw’s take: Much contemporary hip hop is lost on me, and The Ghetto Gospel doesn’t do much to convince me that I should be paying more attention. That judgment has little to do with the record’s sonic qualities, which I am in no competent position to evaluate closely; but I like the mix of late-1970s hard funk, R&B swooniness and occasional flashes of (yep) gospel’s dramatics. And Z-Ro’s flow and vocals are pretty great to groove on. His seamless, artful shifts into more conventional singing, especially at some tracks’ refrains, are deft and pleasurable. But the constant focus on money—having it is unassailable proof of virility, craft, power, self-worth; when one’s antagonist doesn’t have it, or doesn’t have as much of it, that confirms he’s a fool and a loser—is by turns tedious and sort of depressing. The just as constant self-aggrandizement, endemic in the genre, is so ever-present that it’s completely unconvincing. When I can tune out the lyrics’ content, The Ghetto Gospel is just fine. Patient, cool, smooth. When, inevitably, I begin paying attention to Z-Ro’s rhymes and their themes and figures, the record irritates me. If I had the savvy to place his performances of black masculinity in hip hop’s regionally or generically specific modalities, I might find them more engaging. But that would require plowing through a lot more music, much of it singing the praises of cash as an end in itself and celebrating “pimpin” as a variety of socially compelling activity. It ain’t for me.

[theoutcastrogue]

Xylouris White - Only love

All I ever gave this liar liar world was love and only love. And this was my reward: "That's all? Give me some more."

[thejoyofviolentmovement]

New Audio: Xylouris White Return with a Mischievous and Urgent New Single

New Audio: Xylouris White Return with a Mischievous and Urgent New Single

  If you had followed this site throughout the course of 2016, you would have come across a small handful of posts featuring the genre-defying, world music duo Xylouris White, comprised of Melbourne, Australia-born, New York-based drummer Jim White, who’s best known as a member of the internationally acclaimed instrumental rock act Dirty Three and for collaborating with a number of equally…

[elladastinkardiamou]

Xylouris White - Only Love

[madcapmoon]

The mission to always be in disagreement: Interview with Guy Picciotto (Fugazi)

by Pepo Márquez

«Thanks for your questions and my apologies for the delayed reply, it's been a very busy month here. Here are my answers and I hope they will be ok ».

Could you tell me what you are working on now and what is or has been your connection with music in recent years? I know you played with the much missed Vic Chesnutt and that you have produced some albums, besides writing music that has never been published and participating in improvised jams, either for cinema with your friend Jem Cohen or in improvisation festivals, but I must admit that I am a little unaware of your activity lately.

This question reminds me a little of that verse that said: "Where have you gone, Joe DiMaggio?" of the song "Mrs. Robinson " by Simon & Garfunkel. Joe DiMaggio was an American baseball player who, when asked about that verse, replied: "I've been here." I feel more or less the same. I'm here, doing the same things I did when I was 16: playing, writing music and working on the music of others, as well as attending to the business of being alive. Maybe it is not as visible to the public as other things that I was involved in, in the past, like playing in Fugazi for example, but that does not mean that the whole process on my part is not exactly the same. I play the guitar and work in my studio. I work on music, sometimes edited and sometimes not. I produce, mix and assist technically on other artists' albums, which are sometimes edited and sometimes not. For me everything is the same: I'm still linked to the creative process, to the process of doing things.

Before being in Fugazi I was in five other bands [the bands that Picciotto refers to are Rites Of Spring, One Last Wish, Happy Go Licky, Brief Weeds and The Black Light Panthers]. Some of them were never, and still are not, as well known as others, but that does not mean that the work was not serious and real. Things like working with Vic Chesnutt or Jem Cohen movies are not simple elements to add to a resume or any Wikipedia entry and are not evaluable in terms of tours or products. These were and are relationships that are an enormously defining part of my life. For me, music means human relationships: music is friendship. It happens all the time, even when you do not pay attention.

The previous question has led me to the next one: your relationship with social networks. There is no way to find you on any social network. Why this position and what is your opinion about the reality of social networks?

I have no opinion on how people use social networks: I respect all the options that make sense for the rest. Speaking only about me, I do not like the ubiquity that surrounds the concept or the expectation that in a certain way each citizen is asked to participate in them. For me that expectation is very dangerous because it supposes that one does not exist at all without that presence. I think it's a very retrograde way of understanding what is actually a vision of some corporations of what social interactions should be. I understand how useful technology is in terms of disseminating ideas, bridging distances and favoring the creation of communities, but I also feel that it is not the only way to make these things happen, and it is certainly not the only way in which that these things happen I also resist the idea of ​​believing that each person is a "brand" that needs to be elaborated and maintained for some form of public consumption. For some people it may be nice, but for me it is claustrophobic and alienating, so I choose not to participate in it.

There have been times when things have happened in my community - concerts or, unfortunately, friends who have died - of which I have learned days or weeks later simply because I was not connected as the rest are. In a way it is a lonely feeling but I understand that everyone assumes that this type of information is known by the rest immediately. In fact, I feel locked in a primitive state of development: of postal letters and telephone and, to a certain extent, emails. I am not resentful and I understand how quickly people assimilate the change and I assume it is something shared. I have no moral judgment about it, but I have reached my comfort point in this way and I am not obliged to go further.

Do you keep up with what is happening in the music scene today? Are you still buying records and going to concerts? What new groups or solo acts are you currently listening to? Are you still contacting bands to produce their records?

Absolutely yes to all the questions. I still have a lot of fun going to record stores, buying vinyl and going to concerts. It remains an incredible source of pleasure for me. They also frequently ask me to produce records, although I do not say yes with the same frequency. I try only to work with groups that I know well and that are related because I do not trust in my technical abilities enough to consider myself an "available professional" , regardless of the fact that my agenda is usually full of work that I have previously accepted.

One of the groups I've heard the most lately is Xylouris White , a duet composed by the Australian drummer Jim White and the Cretan lutenist Giorgios Xylouris. I have produced two of their albums, Goats and Black Peak , and we have just started working on a third album. For me they represent a horizon in their musical capacity: their work is deep and real, but with an expressivity freed from any limitations. Their live shows are wild and I can not recommend them enough.

When did you write your last song?

I always write things, so I guess the answer is "yesterday". I would not necessarily call it a song because I believe that a song is the final presentation of a band and right now I am not part of one, so I do not have the urgency at this moment to complete my work. But yes, I write things all the time : ideas, sketches, sections. Sometimes they are used for films like Occupy Newsreels or We Have An Anchor , by Jem Cohen; but other times they have nowhere to go, so I simply file them for the future. I should be much more diligent and always record them, because sometimes they just disappear, but that's okay: some ideas always come back.

Those who were part of the first wave of hardcore / punk in Washington DC and who were in their twenties when it all happened, are older and face an adult life with new realities (having children, educating them, having jobs that may not correspond with what they had imagined, etc.). How do you apply the ideas you had in the early 80s about the world and your country to your reality today? What is your position on such particular issues as your child's education, where to live, how to live, etc.?

The people who formed DC's first hardcore scene were even younger than you say: our ages ranged from 13 to 21 years old. It was a very, very young creative community. I would say that it is probably the youngest artistic movement with a highly coherent discourse that has never had such an impact, but maybe I am crazy. In many things I would not say that I have changed so much as to how I see the world: I still think that music is a form of social connection and also of resistance, just as before.Much of the isolation and frustration I felt as a child I still feel now, but in a much more intense and at the same time more oriented way, so I feel that everything is part of the operation of my own machinery. As my friend Ian said [refers to Ian MacKaye, founder of Dischord Records and member of Minor Threat and Fugazi, among many other projects] in one of our songs: "I'm on a mission to never agree"( « My mission is to always disagree » ). I agree with that!

After the presidential elections in the United States, your country seems deeply divided and you face (well, really all of us) the four most uncertain years of recent international political history. How do you face this reality and how do you think people can contribute to changing this trend?

Every day is one more turn of the nut. It is a horror movie and I am very anxious about everything that is to come. That said, the United States has had many years of dark trajectory, so one can only say that the struggle continues. People should use all their talents, all the strength at their disposal, to resist. I do not  think that having hope is even necessary: ​​the important thing is to fight to maintain your sanity and your dignity as a human being.

I have read many old interviews that you did and I always notice the same thing: that you talk about books. What are you reading right now? What book or books have ever inspired you? Could you recommend to us three books and explain the reason?

Right now I'm reading Uproot by my friend Jace Clayton (also known as DJ Rupture ) who explores how music is made globally in the digital age. As far as I have read it is superinteresting and completely relevant to the debate in which many musicians are now involved because the technology of production and distribution is changing radically. The book is written with huge amounts of love and respect for a wide variety of musical traditions and there is much to learn from it.

I also recommend any book by Elena Ferrante , from Italy. Her books are very popular here, so I'm not showing anything that is not known on a large scale but, in any case, I think her writing is important and glorious from all points of view.

Is there any musical, cinematographic or artistic collaboration on your horizon that you can share with us?

As I said before, I'm currently working on the production of the third album of the band Xylouris White. I'm also preparing music for another film and direct collaboration with director Jem Cohen called Gravity Hill: Sound and Image , which we will play next year in New York and the Big Ears Festival in Tennessee.

Sorry to ask you this out of context, but I need to share it: while I was researching for this interview, I discovered a version of an Olivia Newton John song that Fugazi recorded with Vic Chesnutt. I did not know about it, so I wonder if there are more collaborations, songs or versions recorded by Fugazi in the past that have gone unnoticed by most of your audience.

The song you're referring to is actually a collaboration between Ian [MacKaye, guitar and vocals], Joe [Lally, bassist] and Brendan [Canty, drummer] from Fugazi with Vic. Actually I was not in the city when the they recorded, so there were three quarters of Fugazi playing with Vic on that song. My work with Vic can be heard on the albums North Star Deserter and At The Cut , and it was seen on a series of tours in the United States and Europe for a period of four years.

With regard to unreleased material of Fugazi , yes that there are enough things that we did that have never been published, but there are not too many collaborations or covers. We did not use to play other people's songs, but we recorded constantly and not everything we recorded ended up going on the discs. Maybe one day we will listen to all this material to know if there is something worth sharing. We will see.

[sinceileftyoublog]

Luluc Album Review: Sculptor

BY JORDAN MAINZER

Brooklyn-via-Australia band Luluc, the folk duo of Zoë Randell and Steve Hassett, make simple, yet deliberate and richly layered music. They’ve only made three albums in ten years; Sculptor, their latest, is by far their best and most complex. A lot is due to the addition of elements and guests. The drums from Matthew Eccles of Weyes Blood on opener “Spring” nicely contrast the pastoral harmonies and words adapted from a poem by 10th century Japanese poet Ise. Dave Nelson’s horns and Aaron Dessner’s programmed drums bolster the strumming on “Heist”. Eerie, ascending drums and synths exacerbate the ennui felt by the protagonists on “Kids”. And sparkling, arpeggio drums back Randell’s reading from George Johnston’s My Brother Jack on “Controversy”. Tying it all together are Randell and Hassett, especially Randell, her deep, smooth voice cutting like a knife when delivering pointed lines like “It’s not like only you are hurting.”

But Sculptor is also Luluc’s best album lyrically. Randell balances the generic and the specific beautifully on “Kids” when singing about growing up in suburban Australia. “The kids just need a way home” goes the main refrain, but the detail is where the pathos lies, her descriptions of “bored police who follow you on the street” and normies decrying your “filthy punk rock tee” making you laugh and cry at the same time. “Me & Jasper” might get the most buzz of all of the songs on the record for featuring an uncharacteristically muted solo from none other than J Mascis, but its greatness lies in its description of the contrast between the characters’ outer and inner selves. “We spray our hair into submission, upright to attention / Marching to no orders, imagination has no borders,” sings a longing Randell.

Sculptor also offers room for self-criticism beyond navel gazing. On “Genius”, the band parodies and effectively mirrors the pretentiousness and ivory tower academia of the well-too-known character of the self-serious musician. “Words, words, I love them / Especially from my own pen,” Randell sings over jazzy, off-kilter drums from The Dirty Three/Xylouris White’s Jim White--you can pretty much picture the beret wearing musician criticizing a pop song for having too much structure. And the title track tackles the cult of personality of the music world by comparing it to politics. “Sitting with the politicians / Suiting up these rags need stitching / How'd I get to this part of the plan / A nomad riding a luxury train / In the sky,” Randell wonders, her worst fears of forgetting her original purpose and producing “empty sounds” giving her anxiety.

Most of the criticisms surrounding Luluc’s previous record Passerby and the band in general is that they’re simply forgettable, and there’s already some of that surrounding Sculptor. Certain people will inevitably be turned off by the appropriations of literary passages in the songs and Randell’s attempt to fit lots of syllables into short phrases; the extent to which this album is clearly produced, the instruments placed along the compositions like dots on a pointillist painting to make up a clear whole; or the wandering, obtuse expanse of Randell’s voice and lyrics. In essence, though, the songs are like what the title suggests: molded into a shape that might be abstract but nonetheless elicits a concrete reaction from listeners. The best track on the record is its longest and emotional centerpiece: “Cambridge”, which starts with simple strumming and Randell’s voice before a synth rises like the sun in the background. Eventually, subtle, reverb-soaked snare hits are introduced. “Well tonight, I’m here in Cambridge / I guess we’re living proof / There are other roads open to me and you,” Randell sings, parting ways with someone or even something, a way of life. “And as I took to the stage and that dark room waiting to come alive / I thought of that light in your eyes, fuck yeah, and I held my head up high,” she continues, her expletive coming out of nowhere enough to get your attention but fitting in enough to effectively symbolize Luluc’s genuine love for making music. You can’t argue with that.

7.3/10

Sculptor by Luluc

[bolachasgratis]

Bolachas Now Playing, 36/2017 (#121):

Sean Riley & the Slowriders - Bring Your Boy Home Lucinda Williams - Something About What Happens When We Talk Margo Price - Wild Women Margo Price - Don't Say It The Deep Dark Woods - San Juan Hill Hayes Carll - Magnolia Wind Ronnie Fauss - Bright Lights of L.A. Kevin Morby - Baltimore (Sky at Night) Sammy Brue - I Know Scott Orr - Violent Blue Leif Vollebekk - Tallahassee Adam Ostrar - Spare Me Ron Gallo - Am I Demon? Gun Outfit - Sally Rose Xylouris White - Only Love tUnE-yArDs - Look at Your Hands Jessie Ware - Stay Awake, Wait For Me Frazey Ford - When We Get By Nicholas Krgovich - My Riverboat John Maus - Bombs Away

[jacobwren]

Xylouris White - Only Love

[gozel]

http://reboot.fm/2020/02/16/gozel-radio-ultra-traditionalist-cryptocoin-gang-2/

**

Replay vom 04.08.2019

no eXotik! no turistiK! radioshow since 2001 . http://2-5bz.tumblr.com

Dj Deepstatebull Vj Redbitcoin ( Goldsach Mans ) : Destroy Ultra Traditionalist Cryptocoin Gang / Destroy Golden Age Alt-Blockchain State .

* Sıksa - Alper Sapan * Rapzan Belagat - Katilimi Tanıyorum * Gozel ft. 1GaripTestere / ArmağanT- Emval-i Magsube * TRYP - Slepa Ulica * Çar Newa - Dare * Holly - Komorebi * Xylouris White - Only Love * Hardy Fox - Trump * Katil Band - 1st Concert * Jazz Steppa - AmeriCa B * Grazhdanskaya Oborona - Totalitarizm * Ferec -Helikopter * Camp Sophistos / John Peel - Obsession * LXC - Kantor * Oğlumu Öldürdüler Katilleri Sakladılar * Ic3peak - This World is Sick * Jealousy Party - All Yours * Umuda Haykırış - Güzel Ana — Ladies & Gentlemen! In the right corner: Poland! Hungary! Turkey! Ukraine! Russia! A monstrual power! In the left corner: Alper Sapan! Alper sapan was a Turkish anarchist, he was sick of Turkey | I told him come to Poland, you will be able to breathe again | It was 2015 | Imagine him arriving to Poland | five minutes before the first Made in China T-shirt | with ‘Poland for the Polish’ written on it is printed | and my face, when Alper, whom I promised | In Poland he will be able to get away | from Erdogan, AKP and political Islam, is stopped on the street by some crypto-Nazi | fighting with his attraction to Alper | because Alper was pretty | so the nazi-Pole | is fighting his attraction to his Turkish beauty | to this mole on his cheek and Alper’s pale face | He’s fighting it so hard, you can’t hear him scream „rag-head” | he just starts to | he just starts to… | Alper Sapan was a Turkish anarchist, I, Siksa, invited him to Poland in 2015 | I regret it so much | when I see | when I hear | Alper is dead | when I read this on messenger | I clicked „thumbs up” by accident | but maybe it is better that Alper died in Kobane | It would really fucking suck, you know? | It would really fucking suck if he was killed by some pseudo patriot | masturbating to Popek’s video clips | Popek’s a lunatic! | Fuck, no! Siksa’s a lunatic! | Because she prefers to die, like Alper, for Turkish freedom | and not from the hands of your cousin | Your cousin who still lives by your grandfather’s ideology | Grandfather, who died at Monte Cassino | And I want to kill this ideology So I go home to my mother | And I say: | I’m going to fight today, mommy | And I will kill this | Poland in you! —  — Rapzan keep spittin’, whole situation is simple even tho you can’t see it Dictators keep on saying democracy, believe me You are alive as far as your money goes Justice? He says, “Destiny” He says that you are a criminal if you don’t have money But yet everyone born as a poor human Perceptions rules you Even tho you don’t notice it People that you call patriotic sell your homeland to the White House If you expose their tape, they label you as a thief But if you steal a million dollar, then you can be a prime minister This system easily produces killers Take your paycheck and kill a human without even asking for a reason They clandestinely teach it in schools Your despiteful state wants you to grow up with hate They say interest is illicit while opening up a new bank Dictator is his characteristic He recklessly talks nonsense And media sells them to us Everyday, the same old shit Keep up, don’t believe his lies Join the fight I know my killer Life is short, killer is tall I know my killer Uprise and shout out I know my killer Life is short, killer is tall People with blind consciences also have deaf ears When we should sleep, when we should hang out When we should wake up, when we should drink When we should make out in park and with who How many children should we make This schizophrenic weirdo trying to determine all these Alevi is irreligious, Kurd is traitor, Leftist is filthy And he doesn’t like Armenians He also dislikes Turks who say “No!” in streets Yet he keeps on saying, “We love the created for the creator’s sake” I didn’t even mention wars that determine your stock market He makes the country a present for Yankees He supports wars You didn’t even stop lying, not even a moment You fed the killers who killed innocents I am a simple poet, a broken baglama in my hand It survived from a Qizilbash who rose against Hızır Pasa Living means resisting, there is a fight in every breath Don’t bow down to the darnkess, otherwise our end is obvious I know my killer Life is short, killer is tall I know my killer Uprise and shout out I know my killer Life is short, killer is tall People with blind consciences also have deaf ears I am a simple poet, a broken baglama in my hand It survived from a Qizilbash who rose against Hızır Pasa Living means resisting, there is a fight in every breath Don’t bow down to the darnkess, otherwise our end is obvious. . no eXotik! no turistiK! radioshow since 2001 . http://2-5bz.tumblr.com

Gozel Radio - Ultra Traditionalist Cryptocoin Gang

Written by nora.

Posted on February 16, 2020.

Filed under * Feature,  EXPERIMENTAL / RADIO ART,  Gözel Radio.

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[zerjlink]

Xylouris White - Only Love

[musicalhitchhiker]

Xylouris White – Only Love

Yunan müzisyen George Xylouris ile Avustralyalı davulcu Jim White, Xylouris White adındaki grubun üyeleri olarak, caz ve Yunan müziği etkili kayıtlar üretiyorlar. Gruba ait ilk iki albüm Goats ve Black Peak’in devamı niteliğindeki yeni albüm Mother ise 19 Ocakta yayınlanacak. Xylouris White’a ait Only Love kaydını dinleyebilirsiniz.

Albümün şarkı listesi:

01 In Medias Res 02 Only Love 03 Motorcycle Kondilies 04 Spud’s Garden 05 Daphne 06 Achilles Heel 07 Woman From Anogeia 08 Call And Response 09 Lullaby

[dustedmagazine]

Dirty Three — Love Changes Everything (Drag City)

Photo by Daniel Boud

If the title of this new Dirty Three album immediately conjures memories of the 1987 soft-pop single by Climie Fisher, fret ye not — Warren Ellis, Mick Turner and Jim White are sounding as raw and elemental as ever. It may be over a decade since their last album, 2012’s Toward the Low Sun, but each member of the band has been plenty busy in the interim. Ellis has been playing with the Bad Seeds and working on soundtracks with Nick Cave. Mick Turner has started a fantastic new band called Mess Esque. And Jim White has been playing with Marisa Anderson, Beings, Jess Ribeiro and Xylouris White. However, as soon as these three men come together, they bring their collective experience and intuitive interplay to bear.

“I” is a summoning, an explosive reunion, in which the three players jab and jostle loosely, testing the boundaries of their long-standing relationship. Turner’s guitar simmers with distortion and feedback, White threatens to play like a conventional rock drummer, and Ellis saws his way into the picture with his trademark searing, yearning tone. Then, in a sudden left-turn, “II” feels like some grave news has been unexpectedly delivered, its plaintive piano chords like eyebrows raised in concern. “III” carries the album to its midway point with an anxious, keening whine of violin and the insistent tick of hi-hats, while the piano tries to bring some sense of resolve. The guitar and violin tentatively circle each other, proposing and re-proposing a middle ground, only for the piece to gradually disassemble into silence.

“IV” is built around Turner’s eerie waltz-time guitar and Ellis’s ghostly violin scrapes, White offering up gentle washes of cymbal. It rarely raises above a whisper, but amounts to one of the most affecting stretches of music on the album. “V” opens in a similar vein to “III,” with White’s insistent hi-hat, then Ellis picks up the thread with a pizzicato figure and Turner lazily strums a couple of open-ended chords. Ellis kicks in his distortion pedal, White ups the density of his playing, and all three players are soon matching each other’s fire, only for the piece to ebb away in its closing moments.

Thankfully, “VI,” the 10-minute closer, provides a satisfying though slow-burning pay-off. It emerges from a snaking whorl of violin loops, the guitar and piano each staking a claim towards establishing a defining theme. At various points during the second half, the music threatens to take off into a more fiery, chaotic realm, only to recede into questioning placidity. Much like the rest of the music on this album, it goes nowhere and everywhere all at once, creating and re-creating a space that feels intimidatingly boundless.

Tim Clarke

[piasgermany]

[Video] Xylouris White präsentieren Video zu “Only Love”

“Mother” heißt das neue Album von Xylouris White, ein Bandprojekt, hinter dem sich der kretische Lautenspieler George Xylouris und der australischen Dirty Three Schlagzeuger Jim White verbergen. Mit “Only Love” präsentiert das Duo nun ein liebevoll animiertes Video, das ab sofort zum Schauen bereit steht.

[thejoyofviolentmovement]

New Video: The Mischievous and Illustrated Visuals for JOVM Mainstays' Xylouris White's "Only Love"

New Video: The Mischievous and Illustrated Visuals for JOVM Mainstays’ Xylouris White’s “Only Love”

Over the past couple of years, I’ve written a bit about the genre-defying, world music duo Xylouris White, comprised of Melbourne, Australia-born, New York-based drummer Jim White, who’s best known as a member of the internationally acclaimed instrumental rock act Dirty Three and for collaborating with a number of equally renowned…

[elladastinkardiamou]

Xylouris White - Only Love

[gimmigezz]

Xylouris White - Only Love 

all’Angelo Mai il 13 aprile! DAJE!!!