#an idol for variation aa

[pyuukin-art]

[secretradiobrooklyn]

Plant Shadow Edition | 2.27.21

Secret Radio | 2.27.21 | Hear it here.

Liner notes by Evan, art by Paige

1. Stéfan - “J’suis pas méchant”

In our continuing dive into French music for French culture we have been finding our way towards the origins of French punk — which apparently all springs from the overnight, international, transformative success of Plastic Bertrand’s “Ça Plane Pour Moi.” That created a sudden realization in the French music industry that punk had big potential, and they started trying all kinds of variations on punk… or “paink,” as it’s spelled locally. Basically, it was treated like a novelty fad. I don’t know anything about Stéfan beyond what he wants me to know, which is that he is not mean (“méchant”). I think that’s adorable, getting all wound up just to tell us not to be scared. I hope the whole band is like 10 years old.

2. African Brothers Band - “Ngyegye No So” - “Afro-Beat Airways”

Credit as always to Analog Africa for providing the very best in the history of African rock. This is from the first volume of “Afro-Beat Airways,” this one focused on “West African Shock Waves: Ghana & Togo 1972-1978.” The first pressing sold out a while ago, but they just put together a repress. Their packaging is always stellar, full of useful information about bands and musicians that it is difficult to research alone. The compilation was the result of a happy accident: AA founder/research adventurer Samy Ben Redjeb had a flight from Frankfurt to Angola get canceled, so he picked a flight to Ghana instead, where he hooked up with the once-legendary (in Africa) producer Essiebons, who had just digitized about 800 previously recorded songs. From that came “Afro-Beat Airways,” which is just overflowing with a huge variety of rock and funk and psych shamanism and catchy hooks.

There’s a great passage in the middle of the song that bears noting: “Yes! Clap for him,” says the singer of the keyboard player, then announces, “I’m now going to introduce myself,” lists his accomplishments in the band — composer, singer, arranger, master guitarist — and then says, “Now: I will give you some phrases on the guitar. You watch me,” and proceeds to wind some gorgeously rhythmic lead patterns through the tapestry the band has set up. It’s such a real, recognizable moment, that really helps translate the song from a hypnotic slab of funk to a performance by a band unfolding right in front of you.

3. They Might Be Giants - “Don’t Let’s Start”

Thanks to our recent rediscovery that “Birdhouse in Your Soul” is a thoroughly excellent song, we’ve started into a TMBG period. My favorite thing in re-encountering them is that they’re such pure geeks of theater and band and video and books — which is exactly how I saw them at the time, and it’s so great to see it stand the test of time. It still feels extremely unique and tuned to a frequency that is transmitting cool new ideas. And: they’re so concise! So much happens in the songs they make — it’s like they write a full-on pop song arrangement, and then just trim out every measure that doesn’t feature vocals. You can get so much done that way in two and a half minutes!

4. Ata Kak - “Obaa Sima”

I love this tape so, so much, and we’re aware of it thanks to Awesome Tapes from Africa. The lead adventurer of that label bought a copy of this tape at a street table in Ghana (I think), fell hard for it, then went on a hunt to find the artist Ata Kak, finally did, they found that the original master tapes were hopelessly destroyed, and together they realized that as far as they could tell, he had bought the ONLY locatable copy of the tape. That’s the one that you are hearing here — this is the opening track. ATFA sold it as a combo cassette tape and tea towel, which I personally think is a really odd pairing. Like, is the tea towel for handling the cassette? Still, it’s turned out to be a very welcome tea towel in the kitchen.

Apparently the copy we hear runs faster (and higher) than the original. They decided to present it as the artifact was originally discovered, holding that even more important than releasing as Ata Kak originally intened. I think it sounds so freakin amazing, I’m glad they presented as is. 

5. Evariste - “Wo I Nee”

Such a strange character! This song was released in 1967, but it sounds (and looks) completely outside any norm of any decade. For starters, the singer is wearing his hair as if a monkey were up there — a big tail drops down and curls across his nose.  The song structure is traditional, but the sounds that he makes are just something else entirely. 

Really, the video does all the work that the song hasn’t already done:

https://www.youtube.com/watch?v=MOfdJ8ZcLJc

- The Velvet Underground - “Booker T. - live in NYC 1967”

6. Abdel Halim Hafez - “Ahwak”

We were surprised to see we had a new soundcloud follower in Egypt, and we looked at their playlist and they were all songs as cool as this. We still have no idea how they ended up on Sleepy Kitty though. Great tracks though!

7. Boreal Hills - “Belcher” - “Dope Hugs EP”

Man, this EP was one of the prizes of being the Eleven editor. This thing was the soundtrack of a fantastic summertime. St. Louis freakos’ first release and forever my favorite. Tom O’Connor is the drummer on this EP and the two guys together just make this killer ruckus that I can’t get enough of. Also, it hits the reptile part of my brain where Swell Maps’ “Full Moon in the Headlights” reigns. Tom does tons of cool recording now, including Julian’s band Nerve Estates.

Every track of “Dope Hugs” could be a hit in my opinion. I feel like the pop world could have bent itself around this set of recordings. It reminds me of Jeff The Brotherhood in some ways, though I have to admit I prefer Boreal Hills in this moment.

8. Strychnine - “Ex BX”

‘70s French paink music. There’s a really entertaining summation of some of the forces French painks were rebelling against — “to bring together the wicked use of guitars with an unfathomable disgust for everything and a skin-deep boredom which undermined as much as they nourished the adolescent daily life.” It sounds very sincere and hard-felt. I can’t wait to dig deeper into this “Paink French Punk Albums 1977-1982”; already had to restrain myself from including an Electrochoc track as well.

9. David Bowie - “Queen Bitch” 

It’s really impressive how Bowie can paint feelings I believe he was feeling, that I’ve never felt but that I can get through him. He’s a pure uncut crystal of glam. His heavy rhythm rock period is pretty much the most exciting rock n roll in the world.

10. Le Tigre - “Hot Topic”

Paige: I don’t think any of my teachers were ACTUALLY using this song as a syllabus, but there’s a very high overlap. 

I personally feel like underlining Marlon Riggs — “Tongues Untied” was one of the most amazing things I’d ever seen when I saw it in History of Video Art. Also just noticed: Did they say Justin Bond? As in Justin Vivian Bond?

This is the first of two songs this episode that has lists of idols/icons in the lyrics.

11. Erkin Koray - “Arap Saçi”

We’ve been meaning to look further into Erkin Korya’s Turkish psych music, and this one has high overlap with “Cemalim,” the first song of his we heard. This one lands a little harder — and I love the way it pulls the melody in unexpected direction, like it’s floating on different breezes. The singer sounds like he was transformed into a singing hookah.

12. The Little Rabbits - “In the Bathroom”

This album is one of the all-time most overlooked gems from the turn of the millennium: “Yeah!,” by the Little Rabbits. My impression is that they got bigger later, maybe? This one seems to have disappeared pretty much without a trace, even though I swear it contains some of the DNA of Beck’s smash genre-bender “Odelay.” I don’t understand why this album wasn’t gigantic — it’s as turned on as Sonic Youth but coming from a completely different perspective. I hope they were all friends at least. 

- The Velvet Underground - “Booker T. - live in NYC 1967”

13. Les Rita Mitsuoko - “Marcia Baïla”

They have a song called “Les Histoires d’Amour Finnisent Mals en General” that Paige’s French teacher referred to in passing. We looked up the song and it was awesome. The more we checked em out, the more interesting they got. Everybody seems to have a background in clown in France, we have found.

A pretty worthwhile video experience: 

https://www.youtube.com/watch?v=1zWlnzFXcKY

14. The Brims - “Anti Gandja”

This song arrived to us via a collection called “Those Shocking Shaking Days,” which Eleven received from Now Again Records. I dug it but couldn’t find a place for it in my brain. Now it fits right in. The collection is gorgeously made, with a fat book of photos and text and 20 heavy Indonesian psych tracks that pretty much all trip way past San Francisco albums from the same time. They’re so committed to the psychedelic overdose… even when singing a song about NOT smoking weed.

15. Cave - “This Is the Best”

There were so many nights at the Art Castle on Cherokee where we had to make peace with the music coming through the walls from 2720. It was so bass-heavy, so anarchic and often key-free, that we really couldn’t counter-program it if we tried.

One night, though, we heard something undeniably cool through the wall. That happened from time to time — that’s how we discovered Aleuchatistas and Prince Rama, among various others. We dropped what we were doing and slipped in the door that shared a secret hallway with our spot, behind where the band was set up. Turned out to be Cave, a band we knew of via Chicago and a very loose acquaintance with Rotten Milk from the Lumpen scene. The whole show was an ecstatic experience, getting lost in a rowdy, ever-circling, ever-growing drone. But the song that brought it all together was this one — I completely lost my shit, crashing around the dance floor zone. When we learned the name of the song from them afterwards, “This Is the Best,” I was like, YES: so they know it as well as we do. We’re all in this drone together.

16. Marpessa Dawn - “La petit cuica”

Paige has been interested in who Marpessa Dawn in for awhile — she’s a black American from Pittsburgh. She apparently went to Franc4 and became a start in music and films. She was in a ton of films. She’s not very well known in the States, but it seems like kind of a next-generation Josephine Baker story — or at least that’s what it is in my fantasy. 

17. Ebo Taylor & The Sweet Beans - “Odofo Nyi Akyiri Biara”

The first several things I found by Ebo Taylor really didn’t hook me, and I think I felt like he was working a different angle than I was into. But then lately I’ve been hearing these amazing tracks from him, so I stand corrected. Which is a win all around!

18. Hedwig and the Angry Inch - “Midnight Radio”

Paige: It’s the only time that something that is a rock musical truly works as a work of rock itself. One of two if you count “Rocky Horror.” I can listen to this soundtrack as a rock album — in a way that Rent, love it as I may, I cannot.

Evan: I’m recognizing some serious influences on Sleepy Kitty — especially when it gets to the guitar solos. We haven’t gone for the anthemic singalong yet, but the structure that builds to an instrumental crescendo of overwhelming guitars is pretttty familiar. 

- Frank Zappa - “Watermelon in Easter Hay"

We saw the documentary “Zappa” last month and this tune really stands out from the rest. It appears to be the second most popular Zappa track, which I will admit surprises me quite a bit. Great movie to watch, we highly recommend it fan or no. 

19. Jeffrey Lewis - “I Wanna Be Vaccinated”

An anthem for our times.

20. Joan Jett - “Dirty Deeds Done Dirt Cheap”

I think if I’m honest, I probably heard this version of “Dirty Deeds” before the original. I really like how it has the infinite rock feel of the AC/DC take but with a completely different underemployed hit man in the lead role. A rare case of pure ‘80s glam-rock aesthetic working to advantage.

21. Katerine - “Moment parfait”

Philippe Katerine is a character who would be impossible in American culture — he’s not handsome in any way that American popular art recognizes, and he utilizes the deep-seated instinct for clowning that runs through French culture and pop culture. Meanwhile, though, his melodies are giant, his production is varied but always innovative, he’s a screen actor as well, and his album art features him as a character with large ears, wispy blond hair and an uncircumsized nose — in some contexts we’ve even seen his nose blurred.

Paige: I can’t tell if it’s maybe like if Beck and Jack Black were the same guy in the culture.

22. Teshua - “Wild Dog”

This song is written by one of the most important people in St. Louis for us: Tim Gebauer. We’ve been listening to the ways they’ve been working together for the last few years, when we come over for a late-night hang at Electropolis Studio. This is a song I think we first heard Tim sing and play himself in the kitchen. This version makes gorgeous use of the theatrical aspects of Teshua’s voice cradled inside Tim’s dreamy reverberatingly quiet production.

This song was written suspiciously soon after getting a new cat — a wild cat that didn’t want to come in yet. Aben is beautiful and tough and prowls the streets of south city but comes home to the comforts of his family. 

23. T.P. Orchestre Poly-Rythmo - “Karateka”

I think this song is on “The Skeletal Essences of Afro-Funk,” a T.P. Orchestre collection, but I first consciously ran across it while scouring Discogs for more information about the most Tout Poissant band ever. This one is composed by Papillon, with Joseph Vicky on lead vocals. Papillon is their secret weapon guitarist who can also bust out some trippy Farfisa as needed. 

24. Silver Jews - “The Country Diary of a Subway Conductor”

When we did our welding at the City Museum — before we ever suspected that we would live in St. Louis for a day, much less ten years — we used a quote from this song on the back page of the invitations that we handprinted: “This is the way pioneers took to other settlements.” “Starlite Walker” is one of our all-time favorite albums together; I’ve always dreamed of covering this entire album. The soundscape of this track captures some of my very favorite aspects of Stephen Malkmus’ voice and guitar frenzy… as well as the completely unskilled but perfectly rendered drumming. And over it all wander the characters sketched in by David Berman. He was sometimes the most mysterious voice in rock music, and he wrote my very favorite book of poetry. I will always be partial to this album above all others, though “American Water” and “The Natural Bridge” are right there as well. 

- Dan the Automator - “Bombay 405 Miles” - “Bombay the Hard Way”

25. Amanaz - “Sunday Morning”

This is the most Velvet-Underground-without-being-the-Velvet-Underground bands ever, which is amazing because this song was written in 1968 on the other side of the world from New York, in Zambia, at a time when music had to physically travel miles to reach distant shores. It’s astounding to think of Lou Reed’s instant influence on people he would never meet and likely had never even imagined. It’s very strange as well, though, to think that what this song sounds most like is “Loaded” — which hadn’t yet come out when this song was recorded. I suppose there’s no reason to think that the influence — actual, implied, or somewhere on the astral plane — didn’t run the other way.

[bharatiyamedia-blog]

Delhi communal clashes: Metropolis's previous exhibits Hindu-Muslim enmity predates Modi, Congress and even Partition

http://tinyurl.com/yxuzgeoj Maybe, it is doable, the boy from Gali Anarkali, was as much as no good. Then once more, maybe Vishwakarma, their neighbour from Gali Milwali, was simply imagining that Nasim Ahmed — ‘Babbu’ to his associates, had been eyeing up his sisters. Both manner, Ibrahim Ismail, there along with his household that night, stepped in to cease the escalating brawl — after which, everybody ready for the 9 pm film at Palace Talkies, the satisfaction of Mohalla Kishanganj, turned away and forgot concerning the unscheduled pre-show leisure. Besides, the fight-sequence hadn’t fairly ended. The subsequent morning, Nasim confirmed up with a avenue posse on the residence of a good friend of Vishwakarma, demanding an apology. The good friend, Khalil Ahmed, did not extract one, and a battle erupted on the road. Inside hours, home-made bombs had been being thrown from the roofs of the Imliwali mosque, and snipers opened fireplace from inside houses alongside Bahadurgarh Highway and Fhoota Highway. *** Eleven folks had been killed — eight Hindus, two Muslims, one Sikh — earlier than the Delhi communal riot of Could, 1974, ended. Exactly why did the folks resolve to kill one another, a number of police investigations and a high-level authorities inquiry couldn’t set up. This week, as Delhi struggles with the fallout from weekend violence which resulted in a temple within the metropolis’s Chawri Bazaar space being vandalised, the 1974 riots — one of many deadliest Hindu-Muslim clashes in post-Independence Delhi — are a helpful prism to examine what occurred, and why.  Ever since Prime Minister Narendra Modi’s rise to energy, there’s been rising, world concern concerning the apparently-inexorable rise in communal violence throughout India. The Delhi riot tells us the story is not about Prime Minister Modi — nor so simple as the headlines would possibly lead us to consider. Representational picture. Reuters Precisely what led as much as the weekend’s violence in Delhi is not clear, simply as in 1974. Late on Sunday night time, native shopkeeper Harish Gupta objected to the resident of an adjoining lane, parking his scooter on the road. His ego bruised, 20-year-old Aas Muhammad departed with the scooter solely to return later with a gaggle of associates — associates who, by the account of Gupta’s spouse Babita, had been “in all probability drunk.” The sequence of occasions within the ensuing combat is not precisely clear. What is clear is that stones had been thrown on the idols in a small Durga temple by the attackers. Regardless that spiritual slogans had been shouted, native police consider that the motives of the attackers may not have been completely holy: money choices lay within the glass circumstances which housed the idols; at the very least two of the suspected attackers, police sources say, had been recognized drug abusers. Inside hours of the assault on the Durga temple, it has been amplified to be used in a wider communal narrative. Within the Hindu-nationalist telling of occasions, a mob of a number of hundred attacked the temple — one thing the harm doesn’t bear out. Within the model favoured by Islam’s defenders within the space, Aas Muhammad — or another person — was overwhelmed by a mob, which compelled him to chant Jai Shree Ram. Just like the tales of {couples} trapped in dangerous relationships, the percentages are excessive that neither model of occasions carefully resembles actuality — however that isn’t the purpose. The Delhi riots needs to be a possibility to mirror on the dysfunctional lenses that color how totally different spiritual communities understand the identical set of occasions otherwise. From interviews performed by the Centre for the Research of Growing Societies within the wake of the 1974 riots, it’s clear that Delhi’s Hindus despised Muslims lengthy earlier than Hindutva turned a  function of our political panorama. Hindus believed Muslims had been “poor”, “backward in training”, “spiritual fanatics”, and “quarrelsome and harsh”. Another perceptions quoted within the report embody that Muslims “marry a number of instances” and “don’t regard the nation as their very own.” Islam’s followers did not have a excessive opinion of their neighbours, both: Hindus had been thought of to harbour “enmity for Muslims”, and “dislike for Kashmiris.” They thought Hindus “worship cash”, “do not contemplate Harijans human”,  “drink alcohol, gamble, and are womanisers.” For probably the most a part of town’s historical past, a type of apartheid was in place — very like at the moment. Three out of each ten Hindu and nearly two out of ten Muslims, the research discovered, by no means even met with members of the opposite spiritual group in any social context — political, informal, and even enterprise. Regardless that the savageries of Partition mark a type of high-point in communal warfare, a low-grade battle of attrition has characterised Delhi’s Hindu-Muslim relationship. In 1924, disputes over a slaughterhouse left 15 Hindus and a Muslim lifeless; in 1926, extra violence adopted — and after Independence, issues haven’t been very totally different both. *** Enmeshed in that evil September of 1948, when the epic slaughter of Partition reached its climax, Shahid Ahmed Dehlavi left Khari Baoli, up the highway from the location of this weekend’s occasions, for Pakistan. Even his mom, decided to not go away her homeland, was taken to the protection of the close by, Muslim-dominated Farash Khana. Then, one thing uncommon occurred: the Hindus of Khari Baoli demanded the aged girl return, insisting that her departure was a stain on their honour. “Not a single Muslim was killed in Khari Baoli,” Dehlavi wrote in his 1950 memoir, Dilli ka Bipta, “and my mom remains to be there. She writes to us saying that each one of us fled unnecessarily.”  For a lot of old-Delhi residents, tolerance and syncretism are distinguishing options of town.  Pre-Partition Delhi residents blame a lot of the violence of the time on “outsiders” — refugees from Punjab, and looters from town’s peripheries. Representational picture. Reuters Police data, the scholar Gopal Krishna has shown in a 1985 research, paint a fairly totally different image. “Between 1954 and 1973 — a interval of twenty years — there was one lengthy stretch of peace, after which between 1957 and 1960. However in any other case, there have been small disturbances yearly, besides 1964 and 1966”, he recorded. “Since 1967 no 12 months has been freed from them (skirmishes)”. Even in 1947-1948, Dehlavi’s expertise wasn’t typical. The bloodbath was commonplace, typically carried out by armed gangs reported to be linked to Hindu-nationalist organisations.  Town newspaper Information Chronicle described how Muslim school-students in Karol Bagh had been assembled outdoors the examination corridor, and slaughtered one after the other. On the finish of 1947, scholar Gyanendra Pandey’s magisterial work on Partition violence in Delhi records, lower than 150,000 of town’s estimated 500,000 Muslims had been thought to have remained within the metropolis — and the killing, at the moment, was removed from completed. Fractures between Hindus and Muslims can’t simply be attributed to Partition, both. The work of students like CA Bayly has shown that spiritual violence was endemic in pre-colonial India too. Bayly notes that “a number of riots broke out in Delhi, Agra and Kashmir throughout the early 1720s”, sparked off by “disputes over Holi, Muhurram and Eid.” Likewise, Ahmedabad noticed large-scale rioting over cow-slaughter, and “Afghan troopers of the Mughal governor of town took a number one half within the assault on the Hindu quarters of town.” Hate politics in India lengthy preceded the brutal killings which have change into an on a regular basis a part of newspaper front-pages since 2014.  Figures gathered by IndiaSpend present that there was no important variation in communal violence, measured by both fatalities or incidents, underneath Prime Minister Narendra Modi’s first 4 years in workplace.  In some states, like Maharashtra, communal killings have truly been in decline. For Muslims — or anybody else genuinely involved about India’s future — there’s in fact little comfort in these numbers. The intensive research of Violette Graff and Juliette Galonnier exhibits that Muslims have made up the overwhelming majority of victims of communal violence — violence that has typically been abetted by the political system and police. The brutal reality is that Gujarat in 2002 was not the exception, however the well-established norm. The reality that Delhi’s many riots inform is a grim one: Unbiased India, regardless of its acknowledged dedication to secularism, has did not engender a tradition that might give this phrase that means. For hundreds of years, spiritual hatreds have influenced the course and character of our civilisation. Hate is bred in our houses, our workplaces, our streets; it feeds on our festivals and lives in our streets. Put merely, it’s the tradition that envelops and shapes us all. 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