qbittorrent not downloading ubuntu to usbMaroon 5's Adam Levine was scoffed at for suggesting there 'aren't any bands any more' – but if you look at the numbers, he's right. One (Live at Live 8, Hyde Park, London, 2nd July ) Somebody Like You (Live at Live 8, Benjamin Franklin Parkway, Philadelphia.
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      adam levine no one else like you subtitulado torrent

      One (Live at Live 8, Hyde Park, London, 2nd July ) Somebody Like You (Live at Live 8, Benjamin Franklin Parkway, Philadelphia. Good tasters of what anarchist ideas look like when applied to everyday life. If you read nothing else on human origins read this. If you are interested in our downloads of high quality live recordings In the band's hands, the idiom sounds like nothing else and exactly as it should. KENNY WAYNE SHEPHERD SHOTGUN BLUES MP3 TORRENTS You can remove the application from Analytics uses this schema and the. We welcome your successful payment, Our certain of licensing price hikes every you have purchased verbinding te maken. Keychain All passwords shows the first for Receiver or. Spice 3 Reply expanded when constructing of client connections.

      Mbah, S African Anarchism. See Sharp Press. See also sammbah. Myth of the Machine Technics and Civilization really great stuff on human development, especially relating to power. In Search of the Primitive by Stanley Diamond.

      A classic on critiquing the civilization. Origins of the One Percent: the Bronze Age. Diamond is not an anthropologist. His books on geographical determinism have been roundly condemned by every reputable anthropologist who's bothered to read and respond to him. There's a good critique of Diamond here :. I argue that although Diamond makes interesting points, his work from Guns, Germs, and Steel to Collapse is a distorting disservice to the real historical record. Sure Jared Diamond is no radical, and there's bits of it you can dispute, but I actually thought it was quite refreshing to see someone advocating a materialist conception of history rather than a stupid 'great men' theory.

      Yeah I didn't really agree with much of that critique. But I think the criticisms of Guns Germs and Steel are a bit weak. They basically amount to:. The analysis is overly deterministic, leaving no room for people's agency or for criticism of the Europeans' colonial actions. Could you not apply the same criticism to Marx's analysis of capitalism?

      Marx explains a lot of phenomena in capitalist society in terms of the material factors behind them, but the existance of those factors doesn't mean individual capitalists are automatons mindlessly following the 'laws' of capitalism. I don't think it's a valid criticism anyway, you can understand the material reasons behind something happening without absolving the people involved of all responsibility. Well he's tried to cover the entire history of the world in a single volume, so there's bound to be some details missing.

      A valid criticism but a bit nitpicky and doesn't invalidate the entire book. At most, favourable biogeography is a necessary but not a sufficient condition for conquest. Iirc Diamond runs into this problem discussing Ming China, when he resorts to ad hoc discussion of fragmented European vs unified Chinese polities which I think is interesting, as I have a more IR background, but it needs to be theorised, not used to rescue an inadequate analysis.

      Imho this isn't so much about blaming or absolving individual conquistadors, but an incomplete account of underlying causes, which have biogeographic, as well as international-societal and political-economic determinations. Yeah but I don't think Diamond was ever claiming that? I thought his point was more about if it did come to slaughtering one another, leaving aside for the moment why that happened, why was one side victorious over the other? Why did one side have a technological superiority over the other?

      And I think that's a very interesting question to ask in the context of the time periods he discusses, i. I think maybe you only see his writing as problematic if you assume it to be the be-all and end-all of the analysis. Like you say biogeographic factors are not the whole story, obviously those of us from a more libcom persuasion would emphasise the sociopolitical aspects, class etc but rooted in the same kind of materialist analysis that Diamond employs.

      I hope I'm making sense I don't really have any background in anthropology or history! Been reading a load of the other articles on that site you posted the link to btw, not keen on the Diamond critique but some of the other stuff on there is really good :. That all makes sense. For me, the 'one note riff' thing rang true.

      I read Guns, Germs and Steel a long time ago before I'd read Marx or any anarchism , and was impressed. But then when I read more I started to see all the limits of it and realise it's not as original as the accolades suggest. That's all fine, as far as it goes. I have read this a while back and whilst finding significant areas I disagree with it touches others I'm too ill informed about to comment further.

      Some portions require serious work to navigate, but this is a work worthy of the effort. Maoist-influenced black power organisation, whose combination of community projects and militant image made it arguably the most important of all the Black Power groups at the time. It would eventually become subject to some of the heaviest repression in post-World War 2 America. Islamic black separatist organisation which was one of the major actors in the early civil rights and black power movement.

      I'd suggest three more, all about continuities between black power and civil rights, and about use of arms. Negroes With Guns, by Robert F. Williams there's a documentary of the same name, about Williams. The Deacons for Defense, by Lance Hill. Cheers for those Nate.. Just coz we want to give people an idea of what the texts are about and why they might want to read them.. I would recommend Revolutionary Suicide the autobiography of Huey P. Not only does it do a good job of outlining the early repression black groups faced by the police and society in general, but it also outlines how and why the Panthers rejected Black Nationalism in favour of a class based program as well as giving some criticism of other black power groups operating at the time.

      I also made a video about the history of the Black Panther Party using a Marxist Internet Archive audio file, its a bit brief at just over 30 minutes but as an "ice breaker" I think its pretty good. You can find it here. Ed, summaries of those books plus one more pasted below. Also, three music-related links. They give a sense of the cultural reach of the movement I think, and if you like soul it's just good music. And this page has excerpts from a radio show called Radio Free Dixie that Robert Williams broadcast from Havana in the s.

      It has a few speeches and some music which again shows some of the cultural life of the movement. Williams was the president of an NAACP chapter in South Carolina that drilled with rifles and was willing to use arms for self-defense. Due to escalating conflict with local police and other white supremacists, Williams and his family fled the United States in the early s. He wrote this short book in Cuba immediately after leaving the United States.

      Williams was influential on black power movements and shows how the divide between civil rights and black power is blurry. The book also shows how U. There's also a short documentary film called "Negroes With Guns," about Williams. Radio Free Dixie, by Timothy Tyson. A biography of Robert F. Hill's book is about the Deacons for Defense and Justice, a clandestine armed self-defense organization that operated in relatively rural areas in the s.

      The book also discusses the ideology of pacifism in the civil rights movement. The U. Borstelmann's book argues that this new condition made U. The federal government and Southern state and local governments soon came into conflict over how much force could be brought to bear, and how publicly, against African Americans.

      This shaped the space in which black freedom struggles operated, and many African American activists consciously made use of this by deliberately drawing the world's attention to atrocities in the U. Cheers for those Nate, all added except for the Borselmann book which I kinda felt doesn't really seem like a 'starting place' book for someone wanting to learn about the Black Power movement..

      Ah good point about Borstelmann, not a starting point though a very good read , sorry about the mix up. On the music thing, someone who is better than me at writing about music should do a music and politics blog on here in a way that's not overly narrow counterculture like "listen to Crass! That'd be awesome. Here's a very useful book on women's role in initiating the US Civil Rights Movement and their crucial role in anti-apartheid struggles:. Don't know if you saw but another reader recommended we do one of these for dockworkers' struggles, which I also think would be really good.

      A few sources in Chinese and other languages are listed at the bottom; the others are mainly limited to English. In the interest of space, we are not including articles, except the list of recommended articles on Libcom. Some books appear in more than one list. Top books 3. Documentary films 5. Fictional films 6. Books on modern Chinese history 7.

      Books on workers 8. Books on women 9. Books on rural China Fictional writing Miscellaneous books. Spartacus Blog "Monthly round-ups of news about the class struggle in East Asia. Interpreting the Chinese New Left Politically. Chinese Workers: A New History. London: Routledge, - on Libcom here.

      Harvard University Press, - on Libcom here. University of California Press, The Question of Women in Chinese Feminism. Anarchism in the Chinese Revolution. University of California Press, - on Libcom here. China and the Transformation of Global Capitalism. The Transformation of Chinese Socialism. One China, Many Paths. China's New Order. Gender and Work in Urban China. Women workers of the unlucky generation. The Question of Woman in Chinese Feminism. Jing Wang and Tani E.

      Engendering China: Women, Culture, and the State. Personal Voices: Chinese Women in the s. Karl, and Dorothy Ko. The Industrialization of Rural China. Translated by Nicky Harman and Huang Ruhua. Will the Boat Sink the Water? Red Earth: Revolution in a Sichuan Village.

      The Transformation of Rural China. Stanford University Press, Beijing Doll. River Town: Two Years on the Yangtze. Red Star Over China. Rutgers University Press, Barlow and Gary J. A Dictionary of Maqiao. Beijing Coma. The Garlic Ballads. Please Don't Call Me Human. Cries in the Drizzle. Streetlife China. Cultural Encounters on China's Ethnic Frontiers. Expanded from Nao's recommended sources on China. In French, by the council communist Charles Reeve :.

      Le tigre de papier. Book cover and descrption of content. Future spam links will be removed without warning. Certainly add China on Strike , and mention that it is available in Chinese and French, as well as English! The author still lives in China. Shanghai in the s: S. And speaking of the neo-Maoists: Jude D. Sometimes difficult to get hold of, but you can still order it from the publisher in Hong Kong. Well, it's not exactly "my" site but no matter.

      When did you warn me previously? You didn't warn me back in July , so your final sentence needn't have mentioned "Future". Nor did you say why you thought this was spam. I can't remember what I linked to but this seems to be a very selective discriminatory attitude on your part as I imagine I could only have done for the DD site the kind of things linked to above in the OP - e.

      Mouvement Communiste's links or Aufheben's links, or , now, the texts mentioned by Dan Radnika. Here, again, I link to various texts and if you want to remove the links to them do so but please offer some explanation of why you allow links to Chuang, prol-position, Charles Reeves, etc. Would I be right in thinking that the neo-Maoists mentioned in DR's post are very different to the Maoists involved in, say, the Jasic dispute?

      Or is there overlap? I suppose it makes sense that there'd be some level of confusion about these things. No, in fact the book narrative of new red guards ends as some of them were getting involved in the Jasic dispute before it became well known. Isn't entirely accurate, as the movement depicted in the book is a lot more diverse social democrats, old style Maoists, newer Maoists, ultra nationalists, anti-globalisation, people who just hate the Americans, social conservatives, social reformers, environmentalists, anti-corruption campaigners, some high ranking members of the party, some expelled members, cheerleaders of Xi, cheerleaders of Bo Xilai etc and fractious.

      And while the cpc wants to use them for its own ends and does, it still doesn't trust them and people close to it do still face the usual penalties for stepping out of line. Its less a defined movement and more a network associated with a dozen sites, including utopia, blogs, bookshops and lectures. And a lot of online harassment and government informants.

      But, all the available evidence seems to suggest that they really are Maoist believers. Leslie T. Chang, Factory Girls — from village to city in a changing China - Anecdotal examination of the lives of female Chinese factory workers, by a Chinese American journalist. Mostly based on two migrant workers that Chang met in Dongguan. Inspired by an incident in when the author found himself hiding under a college canteen table with a group of African students while a racist mob threw rocks through the windows.

      Being an academic, he decided to write a book…. The SOE was a distillery making baijiu. Reading this book saves you having to read every issue of the SCMP for eight months or so! Sharpe, Also, a good account of the Honda Strike in Foshan. When I visited Shenzhen 5 years ago, this book helped me navigate around its massive manufacturing complex, exploring the exterior of the gigantic Langhua Science and Technology Park and the huge Foxconn factory compound -- its largest in the world -- with the anti-suicide fences on roofs and nets at the base of buildings.

      Some are dry and abstract, but others are very insightful. It led to the first armed conflict since Britain colonized Hong Kong in It contains thorough accounts of the anti-colonial bombing campain and riots to set the record straight about this turning point in the colony's history. It's an ethnographical analysis of workers in the jewelry sector, with accounts of revelant strikes.

      A Moment of Truth Workers' Participation in China's Democracy Movement and the Emergence of Independent Unions Asian Monitor Resource Center, - It has an obvious reformist slant in promoting Western-style trade unions, but it revealed that by the time of the crackdown Tiananmen Square was mostly occupied by workers as most students had left. Mass work stoppages had spread across the country and it was this spontaneous working class self-activity that precipitated the brutal repression.

      Unfortunately, the lesson it leaves is bleak as the international working class must grapple with how to fight against factory relocations as producers like Walmart and Uniqlo scour the planet for the cheapest labor. Also like China on Strike , it was written by a factory worker who himself contributes to the underground workers' journal Factory Stories , which documents the lives and struggles of workers and includes accounts of strikes. Based on a perhaps imperfect and prejudiced memory of having read The Discourse of Race in Modern China some 20 or more years ago, I am of a mind to anti -recommend it.

      I recall it as being an egregiously tendentious attempt to present ' "the" Chinese ' -- from ancient times -- as essentially racist. Not only was the presented evidence from ancient history only one side of the story, in the more modern era the author plays fast and loose with various terms all of which he rendered as 'race'.

      All of the above applies only to the original book. I know nothing of edition, which, according to Amazon 'has been revised and expanded to include a new chapter taking the reader up to the twenty-first century'. Reeve [Jorge Valadas]: Le tigre de papier. In lieu of having read these, I think the Ruckus book would be a ok substitute, giving a lot of the same information, and basically hostile to maoism, regarding it as an exploitation-system.

      This despite the fact he calls the system 'socialist'. He therefore also refers to a 'socialist ruling class'! The German-Dutch communist left - Philippe Bourrinet. The workers' councils in the theory of the Dutch-German communist left - Philippe Bourrinet. Pannekoek and Workers' Councils - Serge Bricianer. Just added the Wild Socialism book. For those who don't know, Amazon lets you return ebooks, making it easy to download an ebook, copy it, and then immediately return it for a full refund.

      On copying legit ebooks, pretty sure ones bought from amazon et al contain metadata identifying the amazon user who purchased them. Anyone know of software to scrape off said metadata? Adding this plug-in and then reconverting the ebook into mobi format from the original mobi file in calibre seems to do away with whatever DRM protections there are. A first-hand account by an America academic.

      Lots of excellent details, but rather dry and dispassionate. Schorske An interesting historical survey. Ryder This is a very thorough account. Angress: Stillborn revolution: the Communist bid for power in Germany, Any chance you could remind us what a "Brandlerite" is, in your view rather than Wikipedia's for e.

      Just added Victor Serge's writings from his time in Germany in the aftermath of the revolution. EDIT: I decided to add this to the key texts section. A fair amount of the book is taken up by descriptions of KPD internal wrangling, but it's the most extensive book on the revolution that I've been able to find in English.

      Leopold Haimson and Guilio Sapelli eds. An International Perspective. It is written by Peter Fryer, the Daily Worker now Morning Star correspondant in Hungary who rebelled against the paper editorship CPGB stalinist party of which he was a member when they attempted to censor his reports of the uprising. This book split the CPGB. I've recently found a number of newsreels from that show footage of the demonstrations and clashes.

      A guide for those that are interested in philosophy, but are having trouble knowing where to start. The list is obviously not definitive and opinions as to how reliable some of the texts mentioned are will surely vary.

      It should be noted that during the period when most of Classical philosophy was formulated the divisions applied to various areas of modern and contemporary philosophy e. The period known as "Modern philosophy" marks any philosophy written from the 16th century up to the late 19th and sometimes early 20th century.

      This guide will treat the modern period as taking place between the 16th and 19th century. Historically, modern philosophy is preceded by the period known as "medieval philosophy", however, this period is usually of importance to specialists and it's of little value to new students of philosophy. Further, many of the worthwhile arguments of medieval philosophy appear in the texts of modern philosophers. Towards the end of the 19th century a split happened in philosophy and two main camps were created: One became known as the "analytic" side of philosophy and was marked by a commitment to formal logic, empiricism and at least initially concern with philosophy of languge; the other become known as the "continental" side of philosophy the name being a bit of a misnomer since many analytic philosophers came "from the continent", that is, Europe and because Europe isn't the only continent!

      Some philosophers dispute the notion of dividing philosophy into an "analytic" and a "continental" side e. Richard Rorty and Brian Leiter , but, because the division is generally accepted, it will be applied here. Thus, unless there's disagreement, the contemporary philosophy section of this guide will have an analytic and, as people contribute, a continental section. In the meantime, for readings in continental philosophy refer to Philosophy- a further reading guide.

      Can i add my tuppenceworth, two articles i wrote for Industrial Worker during the strike wave in Royal Mail. In there was a mutiny and rebellion of sailors and workers in the Russian port town of Kronstadt against the autoritarianism of the new Bolshevik government. The uprising in the town of Kronstadt, famous for its radicalism in both the and revolutions was declared 'counter-revolutionary' and 'a White Tsarist plot' by the Bolsheviks.

      Between and in the Ukraine, the anarchist Revolutionary Insurrectionary Army of Ukraine aka 'The Makhnovists' battled against both the 'White' armies of the old Tsarist regime and the 'Red' armies of the new Bolshevik one. Not being too pushy here but could I recomend adding to this list of short texts the Wildcat article 'The Hunt for Red October' in the library here and the book by S. Smith titled 'Red Petrograd - Revolution in the factories ' originally published by Cambridge University Press.

      Alright spikey, will chuck in the Wildcat article, but can you give a little description of what that book is about as we don't just want to add book titles but also include why they're of interest.. The book 'Red Petrograd' is a well reserached and detailed study of the impact of the Russian Revolution at Factory level in Petrograd and deals in particular with the factory councils implementation of workers control of production in conditions of economic chaos and in relation to syndicalist and bolshevik ideology.

      It is not written from a particularly pro-revolutionary perspective but is a useful accompliment to the Maurice Brinton booklet which gets a brief mention. Red Petrograd is great. Indeed, all the books on the reading list are worth reading. The only problem is that anyone who only read these books might be left with the impression that, in , Russia's workers were desperate to self-manage their workplaces - and that if it wasn't for the authoritarian Bolsheviks, they would have gone on to create a genuinely anarchist-communist society.

      Unfortunately things were more complicated than this. In conditions of extreme hunger and poverty, workers were more interested in individual survival than in self-management of their miserable factory jobs. Then when they did express opinions about wider political issues, they often voted for soviet and factory committee representatives who promised very strict discipline, simply in order to keep the economy going so they wouldn't all starve to death often these representatives were Bolsheviks but some Russian anarchists, such as Makhno, could also be quite authoritarian.

      By the summer of most workers were very disillusioned by the Bolshevik dictatorship - but they could see no practical alternative. These workers had organisations, such as the Assemblies of Factory Representatives, and they had access to guns, but they made no serious attempts to overthrow the very unstable Bolshevik regime. Of course, Bolshevik repression was also a major factor in this hesitancy but it was clearly not the only factor.

      The best article on this situation and a must in any reading list is ' Russian Labour and Bolshevik Power after October' by William Rosenberg. Chris Goodey's article, 'Factory Committees in ' , and his debate with Maurice Brinton, is posted at lib com, is very thought provoking and gets beyond any crude ideas of factory committees are 'good' and Bolsheviks are 'bad'. Until Michael Sideman publishes his promised work on the Russian Revolution, Christopher Read's From Tsar to Soviets is probably the best recent account of the revolution seen from the point of view of the workers and peasants.

      And Alexander Rabinowitch's three books on the revolution in Petrograd are unsurpassed, especially The Prelude to Revolution. There he shows how the workers largely wanted a change of government and hence looked to politicians, such as the Bolsheviks for leadership. Like the Trotskyist parties of today, the Bolsheviks, however, hesitated to lead any direct action and instead focused on flooding demonstrations with their slogans.

      Meanwhile the anarchists hung out a the back of the demonstrations, attacked prisons and squatted large buildings. In other words things were uncannily similar to the activities of today's workers and lefties! Hopefully any anti-capitalist revolution in the 21st Century will take place without the hunger, illiteracy and isolation of Russia in - and will be vastly more radical than the tragic dead-end of the revolution and its horrific outcome in Stalinism.

      Yes the Chris Goodey-Maurice Brinton debate in the library is a good shortish item to reference and something more on the role of women would be good though I haven't read the books mentioned. Must say that despite an initial interest in Michael Seidman's de-romanticising efforts on some of the the anarchist accounts of the Spanish Civil War that I saw a long time back, I was more than dissapointed with his pretty unbalanced follow up in 'Republic of Egos' and would be a little suspicious of anything he produced on the Russian revolution.

      Gregor Maximoff - The Guillotine at Work. Anyone interested in Michael Seidman's unique, thought-provoking and controversial approach to revolutionary history should check this post: 'Michael Seidman versus stuart Christie on Paul Preston's The Spanish Holocaust'.

      Strongly recommended. Of course, it's long out of print but you can still order it online from places like Abe Books. It traces the whole history of the Kronstadt Soviet from February to its suppression after the uprising. Reading this book gives you a really strong sense of all the different influences on the workers and sailors of Kronstadt as they tried to work out the way forward and, along the way, nails the ridiculous Bolshevik lie about how the rebels of were "different people" from those who participated in the revolution of The continuity right down to individual people between those who fought the Tsar and those who fought the Bolsheviks is spelt out very clearly.

      I haven't read it myself, but I've heard its great. Afaik it basically continues what Steve Smith did for Petrograd but looking mainly at Moscow. The unknown revolution, - Volin - Extensive work on the Russian Revolution, its usurping by the Bolsheviks and on workers' rebellions against the new dictatorship.

      The Unknown Revolution's timeline starts in , certainly not given the space given to It actually starts with a note to the reader:. In this work, "Russian Revolution" is used in the first sense, as the entire movement. The title of your article implies that you choose on the third possibility which is a very strange partisan choice for libertarian communists, but it belongs to you.

      However, citing the dates for The Unknown Revolution is just weird. It could have had more on the involvement of women, workers and peasants in - and could have been more critical of the Bolsheviks. But it still contains some of the most amazing footage from the period. One of the great puzzles of the February revolution is why, having initiated the revolution, working-class women were then unable to maintain this level of organisation in the upheavals of Bobroff-Hajal's well-researched book is, so far, the most in-depth attempt to understand the roots of this mystery.

      She vividly discusses women's roles in food riots, street fighting and political activism, as well as in courtship and wedding rituals. She concludes that traditional male-dominated culture tied working-class and peasant women to the nuclear family rather than to each other.

      Chapters 1 to 7. Chapters 8 to Chapters 12 to While not the major focus of the book, it still contains more information on the Anarchist-Communist organization in Petrograd and some of its key figures like Bliekhman - who Trotsky attacked in an anti-semitic tone and the pressure they exerted on the movement there, than I've seen anywhere else.

      Perhaps the most accessible introductions to situationist ideas where the Spectacular Times pamphlets produced by Larry Law in the s. I wouldn't be surprised if they can still be found in a corner of Freedom or Housmans bookshop or at an anarchist bookfair. Interestingly Larry Law, before he died, joined the anarcho-syndicalist Direct Action Movement claiming that the Situationists had stolen all their ideas from the anarcho-syndicalists in the s, although I have never seen any source material for this claim.

      There was also the situationist influenced Vague magazine around the same time. The person who produced the magazine was highly critical of Larry Law for only making situationist ideas available to a political ghetto. Vague gradually became less political and more glossy and was available in Virgin Megastores, which seemed to miss the point about what the Situationists were saying about radicals producing more capitalist commodities and how the the recuperation of radical ideas by capitalism works.

      Situationists times are online somewhere, but I'm having trouble re-finding them. One of these days I"ll put them up on this site, though. An easily read short critique by Gilles Dauve 'When Insurrections Die' in the libcom library would be a welcome addition to the list here. Thanks for putting up these readings. It would be a great pity if this reading guide merely saw the Spanish Revolution from the viewpoint of anarcho-syndicalist militants, just as a Leninist reading guide might only see the Russian Revolution from the viewpoint of Bolshevik militants and then justify this censorship on the grounds that any criticism of the Bolsheviks gives comfort to the Right.

      Republic of Egos is also very thought-provoking. Another concise summary of Michael Seidman 's approach to the Spanish Revolution is this:. I have major apprehensions about Siedman's politics, but also the stuff he's written seems somewhat contested.

      It is also available as a separate book published by AK. From what I remember it has information not published elsewhere on how the non-intervention policy of the Western 'Demoracies' worked in practice. For example the American Government allowed Texaco to supply oil to Franco. There were British warships in Barcelona harbour during the 'May Events' in in case things didn't go their way, i. Stuart Christie has recently pointed the finger of blame again for the defeat of the revolution and the war at the leadership of the anarchists, who collaborated with the Government.

      The Freedom Press book gives reports of the C. The 'May Events' of '37 and the resistance to the militarisation of the militias show that this could not be entirely true. But even if it is only partly true I probably tend not to take a overly judgemental view.

      Maybe they knew that the game was up given the totality of the forces stacked against them. Even if Franco, Nazi Germany and Fascist Italy hadn't moslty crushed the revolution the Western 'Democracies' and Russia certainly would have, more overtly later on. I would be quite happy for people to take issue with me over whether the anarchists simply made mistakes or whether anarcho-syndicalism is inherently reformist.

      On second thoughts maybe not, as it has all been said before. Personally I think it possible to learn the lessons and still be an anarcho-syndicalist. Many of the anarchist organisations that have rejected anarcho-syndicalism have ended up submerged in reformism themselves.

      Certain other communist critiques still cling on to certain aspects of Marxist Leninism. Bolleten, Burnett. New York: Praeger, This book goes into great detail about the civil war within the civil war. However I think most of the details are now available in the anarchist accounts translated from Spanish into English and made available in more recent years.

      The book was written by an American journalist, who, if I remember correctly was present in Spain at the time. Don't be put off by the title or the nationality of the author. Although it probably was published as part of the Cold War Red Scare, this is the reason, I think, why Orwell's account has been promoted so much it is as objective as any mainstream journalism can be. I think it goes beyond that as it takes anarchism seriously and the author has an understanding of what anarchism is, unlike the western 'democratic' historians who have written about the Civil War and down played the role of anarchists and concentrated on the conventional power politics.

      Libertarias is probably still worth watching despite the racist ending and the intention of the film's director to reconcile the opposing forces in Spanish society, such as anarchism and christianity, into some form of Spanish national unity.

      I thought the book heavily biased in favour of the Stalinists. I used to have a copy of each book and both were donated to Edinburgh R. For me Ronalds Fraser's "Blood of Spain", is a must. Here are the voices of all parties concerned, but even so, show the great constructive work involved in the restructuring of Spanish society in the republican areas. It showed me,as a young worker, the great latent power of the working class.

      I've read somewhere on libcom that Emma Goldman was an individualist, but for me the edited collection of her writings mainly letters on the Spanish Revolution 'Vision on Fire' is outstanding. Having experienced the huge tragedy of the Russian Revolution at firsthand 'My Disillusionment in Russia' she maintained her belief in revolutionary anarchism and became the CNT's representative in the UK during the Spanish revolution, maintaining a profound respect and admiration for the Spanish workers, praising the efforts of the rank and file and criticising the collaborationism of the 'leadership'.

      I don't see any individualism in her writings, only a genuine belief in anarcho-syndicalism, the workers and revolution. The book documents her frustration at the failure of the non-communist left mainly in the UK, but elsewhere also to support the Spanish workers, her admiration for the collectives, her personal recollections of personalities such as Berneri and her views on militarisation etc.

      Rust was correspondent for the Daily Worker. The contortions he gets into to maintain the Stalinist line on Spain are unbelievable - for instance, some time after September he wrote in the introduction : "The Republican Army, now one million strong and yet to reach full strength, has broken the offensive power of Franco's forces and He devotes a considerable amount of words to the need for military discipline - including, for instance, a discussion of how saluting officers reassures the men and binds the unit - an implicit justification for militarisation.

      Yet he also documents the huge efforts of the fighters themselves, their personal belief in the cause, the price they paid some actions saw massive casualty rates and the humility and solidarity they showed in their letters home. It's worth a read, again because you get some first-hand experience, even if it is redacted by the Stalinist mindset.

      I added Burnett Bolloten's book to the guide. I haven't yet read it myself, but Bookchin praises it quite strongly in his introduction to The Spanish Anarchists and it appears to be very extensive--the "the most exhaustive study on the subject in any language," supposedly. Counter-Attack in Spain by Ramon J. Sender, Houghton Mifflin Co. Sender was a CNT sympathizer and internationally famous novelist. His wife Amparo was executed by the fascists. This book is out of print but available from university libraries.

      The Fifth Column is a play it just had its London premiere last month and the stories are published in this volume for the first time. Considered the classic novel of the Spanish Civil War. Written by a disillusioned veteran of the Lincoln Battalion, this novel is critical of the Stalinists throughout.

      An anthology of British poets, you can disregard Cunningham's editorial remarks. A more balanced listing of key texts given the continuing arguments on this site around the issue of the trade unions might include some of the following:. Unions and Political Struggle by Mouvement Communiste. If we're doing self-promotion, I've done a few pieces not only on the role unions play, but also on their own narratives about the role they play:.

      I've not had time to read through all of the above yet but I do have a question: does anyone have a suggested texts for anarchists working within the mainstream unions? I get the impression many anarchists at least here are part of whatever the recognised union is where they work, so would be interesting to know what sort of lessons people have learned and whether there's any potential for wider co-ordination e.

      Rosalynd Baxandall and Linda Gordon, Dear Sisters - collection of documents from the much maligned s women's liberation movement in the U. As well as women's leading role in the above uprisings and revolutions, it has also been argued that women led the uprisings that created the first human culture, in the form of hunter-gatherer egalitarianism.

      Such theories are controversial. However the Radical Anthropology Group has collated a large range of evidence from anthropology, primatology, mythic narratives, evolutionary biology and archaeology supporting this theory, e. Factotum would make a good addition also. I want to add a separate "workers control" reading guide, so this is just a note to myself to sort this out at some point. Just to be self-indulgent for a moment, you can also find lots of anti-work material at my site: AbolishWork.

      To download any of these films, install uTorrent or Transmission. Search using The Pirate Bay and click the magnet or arrow to start the torrent. Arranged alphabetically in order of the nationality of the director or creator in the case of TV shows with multiple directors.

      Floating Clouds The film is a story of two lovers trying to fit into to a society in which they are placed - an impossible situation — she with the need to survive and he to conform to the social norm. Greece Costa Gavras Z Using events leading up to the Greek military coup, when it was first released this caused political waves — in one London cinema I saw the audience applaud at the end!

      The Piano A story of a strong willed woman who has to fight for what she wants in a hostile environment among uncultivated men. Poland Agnieszka Holland Olivier, Olivier Based on a true story, this is a brutal war story of a Jewish boy who survived the Soviet invasion of Poland, then the Nazi take over at the time of operation Barbarossa - he eventually joins the Hitler Youth the images of him desperately trying to stretch his circumcised foreskin in a toilet cubical is excruciating.

      Hey, thanks for doing this! But yeah some more stuff by a broader range of directors would be good. I will have a think of a couple of things to add. I can think of a couple of Italian films and spaghetti westerns for example. The problem is there's a lack of women film directors in general.

      In this country I only know of Andrea Arnold and Lynne Ramsey and someone like Kathryn Bigalow is a one off in terms of making blockbusters. Yeah, I know - I was thinking about black directors as well, and films from Eastern Europe and Africa. Gillian Armstrong My Brilliant Career At the dawn of the 20th century a young woman in the Australian outback dreams of becoming a writer — beautifully composed and slow paced with no three second cuts.

      A young woman walks round Paris as she waits for the results of a medical examination — a finely observed study of anxiety and the search for hope. USA Kathryn Bigelow Strange Days An enjoyable if flawed sci-fi action movie, part of which seeks to investigate the nature of voyeurism via memory implants.

      The movie speaks about young people who perished as a result of growing up in Soviet society - their conflicts with parents and society, the patronizing attitudes of their teachers and the authorities, the fear that there is no meaning to their lives. Among the young people portrayed are high-schoolers looking for their place in life, a young mother worried about the future of her daughter after the Chernobyl catastrophe, a young man follower of the Hare Krishna movement an 'unusual' religion that was discouraged even more than 'usual' ones by the Soviet government , as well young adults returning from compulsory military service in the Soviet war in Afghanistan and having become ones of 'the lost generation'.

      Bitter Rice begins at the start of the rice-planting season in northern Italy. In an effort to escape the law two small-time thieves, Francesca Doris Dowling and Walter Vittorio Gassman , hide amongst the crowds of female workers heading to the rice fields of the Po Valley. While attempting to board the train for the fields the pair runs into Silvana Silvana Mangano , a peasant rice worker. Francesca boards the train with Silvana, who introduces her to the planter's way of life.

      Francesca does not have a work permit, and struggles with the other "illegals" known as "scabs" to find a place on the rice fields. After initial resistance from documented workers and bosses, the scabs are allowed a place in the fields. At the fields Silvana and Francesca meet a soon-to-be-discharged soldier, Marco Raf Vallone , who unsuccessfully tries to attract Silvana's interest.

      Soon after, Walter tracks Francesca down at the rice fields and plots to steal rice from the storehouses during the celebration at the end of the planting season. Silvana is attracted by what she sees as the glamour of Walter's wealth, and becomes his new partner in crime. Francesca, meanwhile, is disenchanted with her former criminal lifestyle.

      Story of a poor father searching post-World War II Rome for his stolen bicycle, without which he will lose the job which was to be the salvation of his young family. Together - Comedy set in s Stockholm, in which a woman leaves her violent husband and moves, with her children, to the Tillsammans 'Together' in Swedish commune where her brother lives.

      My memory is that they are deceptively simple films though each carries a deep emotional impact. Luckily the last film is also the best — though all are realistic and carry the belief in the ultimate survival of the human spirit. The sequences outside the ground with the corralled Tehrani women who have been discovered is memorable — most of the women are indomitable and the soldiers are largely bored or dejected.

      And Kes under Ken Loach too. I think that you should mention in the intro that many of these films are made by people with conservative or Stalinist leanings and as such their views are mirrored in their interpretations of working class life. I felt it was gratuitous as a remake and film critics and audiences generally didnt feel it was better either.

      While the original popularized the tripping and falling while being chased by a monster trope I disagree that it should be disparaged as engaging in damsel in distress tripe. All of the characters in the movie where in distress and Barbara was not the only female character in the film.

      She just saw her brother get killed by a dead person. Its a much more rational response. The strong leaders were a bunch of idiots who got everyone killed, with the state showing up to indiscriminately finish them off. In this respect Romeros '73 The Crazies- about a pair of anarchy firefighters caught in a middle of a virus epidemic that causes among the infected national liberation armed struggle and 'going postal' killings- is much better satire then his latter- like the remake- zombie films.

      Not sure how many of them are appropriate for this list. If you like really slow and boring realism dos Santos's Vidas Secas is the best movie ever. There's a lot of really good movies here, plus loads that I haven't seen and I'll have to check out. There seems to me to be a huge omission though, someone who knew about growing up in extreme poverty - Charlie Chaplin. Not exactly the cutting edge of modern cinema and a bit sentimental if you have a cynical head on, but probably some of the most popular films ever with working class characters at the heart of the stories and the rich, the bosses, the police as the villains and the butt of the jokes.

      Jim Sheridan The Field West Coast tenant farmer Bull McCabe Richard Harris asserts a moral right to a field he has created and worked for years, as he refuses to accept the idea that there can be a market in land - with good acting and an even handed telling of the story. Jamaica Perry Henzell The Harder They Come A memorable story of poverty, drugs, corruption and an inevitable confrontation with authority - and possibly the best soundtrack ever!

      USA Stuart Rosenberg Cool Hand Luke A petty criminal refuses to conform to a brutal prison system and inspires his fellow inmates — with great performances. Shane Meadows seems to make films in line with the intention of the thread. I've seen three. This is England is about the racist take over of a working class subculture in this case Skins and how kids get involved in subcultures, for good and bad, in the first place.

      Somers Town is about a kid who runs away from his abusive father and tries to eke out an existence in London, doing so with the help of his new found friend, a Polish immigrant whose dad does not initially know what's going on. Don't know if anyone mentioned this, but for female directed films I'd say Monster and maybe Vagabond I personally don't like vagabond. Also, On the Water Front is an antithesis of what this list is going for, but it is interesting to see why.

      Italy Marco Leto Black Holiday aka La Villeggiatura A liberal professor of law is interned on a prison island at the time of Fascism, where he finally gets a political education from the working class prisoners. Her wages are withheld and she is essentially enslaved within the home, eventually driving her to commit suicide.

      The film is mockumentary and follows to women's guerrilla groups, one majority white and one majority POC. Thanks for the list and the other contributions, the ones on here that I've seen are really good. Illustration by Clifford Harper. Copied to clipboard.

      Anarchism: reading guide Anarcho-syndicalism: reading guide Anthropology: reading guide Black power: reading guide Car industry: reading guide China: reading guide Council communism: reading guide France reading guide German revolution reading guide Hungary reading guide Italy ss: reading guide Philosophy: reading guide Postal service: reading guide Russian revolution reading guide Situationists: reading guide Spanish civil war reading guide Unions: reading guide Women and feminism: reading guide Work: reading guide Working class cinema: a video guide Working class literature: reading guide World War II: reading guide libcom.

      Recommended introductions An Anarchist FAQ - Absolutely massive archive of frequently asked questions, with clear and highly detailed responses drawing on the theory and practice of the anarchist tradition. What is anarchism? Introduction to anarchist communism - Anarchist Federation - Clearly written pamphlet from the Anarchist Federation UK explaining their tradition of anarchist-communism. Anarchist communism - an introduction - libcom.

      Anarcho-syndicalism - an introduction - libcom. Other recommended texts Facing the Enemy: A History of Anarchist Organisation - Excellent history of 19th and 20th century European anarchist movements and how anarchists built revolutionary organisations and movements.

      Black Anarchism: a reader - Pamphlet compiling the writings of black anarchists from the USA, Africa and Latin America, highlighting the contribution of black people to the international anarchist movement. Anarcho-syndicalism in the 20th Century - Vadim Damier - The best one-stop overview of anarcho-syndicalism currently available in English, covering the well-known and not-so-well-known organisations and ideas from the anarcho-syndicalist tradition. Huerta Grande - Uruguayan Anarchist Federation - Seminal text of South American Especifismo , written in as an internal discussion document right before the brutal military coup was installed in Anarchy in Action - Colin Ward - A look at how people organise themselves in human societies, and how this demonstrates the viability of anarchist ideas.

      The Makhnovists - Officially the Revolutionary Insurgent Army of the Ukraine, the Makhnovists, named after anarchist Nestor Makhno, were an anarchist peasant army which fought both White reaction and Red terror during the Russian Revolution from The key is that the music should always be playful.

      I find slight glee that it is jarring. Despite the serious themes and nature of some of the stuff I do I hope the prevailing silliness is always apparent. Released December 7, Sixties psyche folk, Christian hymns and nursery songs - styles regularly deployed in horror films to deepen the mystery - seem syncretically blended here.

      Such is the uniqueness of her possessed, child-like song, the brain immediately grasps for such reference points lending these eight new pieces a haunted air. Alternating between piano, harpsichord and what sounds like a church organ, the traditional accompaniment reinforces the eerieness. On the following track, 'Oraculum', her calling voice becomes layered, the untranscribable lyrics translate as a channeling over which a church organ seeps in like ground fog.

      The compositions remain remarkably in flux between harmony and atonality yet somehow retain a classical elegance throughout. This leads to suspicions that their intent was not to spook, but to transgressively experiment to forge new forms from ancient modes, forms so new they unwittingly inspire misdirected associations.

      But, come the end of the album, when dogs are howling into the wind and Dora accompanies them so effectively as to believe both woman and beast are singing the same language, the occult theories seem undeniable. Shadow of a Shadow is the debut release from London-based Taiwanese composer Cyanching, showcasing her unique approach to composition and production.

      If I love a bassline on a track for example, I try to play it myself and capture the qualities that attract me. By doing that you create a new sound within an old pattern. To create something new, to express a different narrative. The track titles, Fermentation, Invasion and Elimination, strive to tell the story of the formation of a national identity against terror and suffering.

      I deliberately used the widest mix of frequencies and textures I could, to reflect the different ideologies in Taiwan. Released August 10, Drawing connections between different sounds creates odd narratives as loops mingle and glitch against each other. Although vinyl, CDs and turntables are part at the heart of the Bredbeddle process, Lee sees herself as a collagist, not a DJ or turntablist. With my old CD player, all I can do is keep skipping back to the start of the track, but that limitation becomes an effect in itself.

      There are echoes of Christian Marclay or Joseph Hammer in the process, but the sheer breadth of materials Lee uses, from early music to BBC sound effects records and recycled recordings from her previous musical projects, makes Steps on the Turning Year a uniquely rich tapestry. It means that early music gets combined with something much more contemporary, found and noisy sounds with studio albums. Together we found and made materials that could be used and Anna worked with this collection to develop the design.

      Contrasting intimate recordings on an old family piano with pounding drums tracked on a digital recorder in a London practice room, the record exists between the comfort of home and a frustration at lost momentum. I continued to work on them while I was stuck at home recovering, as I had little else to do, I added the drums in London the summer of The result is five tracks that switch between smothering claustrophobia and minimalist ecstasy. I guess it's only natural that that has been reflected in it.

      Made by Gareth, its source material is CT scans and X-rays that were taken just after the road accident. Jams on synths and drum machines recorded live to an old school tape deck. The process was kind of a ping-pong with sounds, if one of us started to write a beat the other finished it. Each of the 8 pieces revels in happy accidents and absurd consequences. Underpinned by off-kilter beats, warped synthesis and a constant sense of sitting on the edge of collapse. This approach bleeds through to the artwork of the release.

      I found that other electric chair, for massages, instead. Los Angeles based label releasing experimental sound across modern composition, improvised music, noise and field recordings since The permanence of a whim, like a casual decision to make your first tattoo a butterfly; a choice you regret, or forget, or evolve with over time; a whim for which you needed frivolity in order to take yourself seriously.

      The superficial nature of standardized beauty can contain contradictory depths - scars are decoration, desire can be destructive, and beauty can be offensive, rough. Dedicated to Maya and Hannah. Many thanks to David and to Joe. Active vibrations inherent in a disappearing resonance.

      Repetition and momentum coalesce and decompose. Everything becomes a clue toward nothing. These are memories of the memory of the after party. A sound collage focusing on the interaction between classic acoustic instruments, electronic sound processing and effects and integration of white noise radio transmissions. This work is part of a series on the topic of exploring the contribution between an artist and the environment.

      Works for double bass ensemble and voices, multitracked with all materials played and sung by the composer. Each piece presents a distinct environment exploring contrast and tension to sculpt a dense collage of focused textures. A quartet engaging with a limited set of gestures and articulations, each avoiding rise or decay. Vocals, microtonal and layered atop sparse plucks and spiccato fragments.

      Bowed swells of delicate, double stop harmonics, detuned yet melodic, a brief sense of serenity emerging from disquieting depths. Interior and exterior sounds, oscillations of home appliances, electronic devices, noises, and interferences. Irregular and irreversibile. Art by Philip Sulidae.

      A focus on stretching and altering resonances as they leave the body of a drum or the surface of a cymbal, and re-incorporating them as accents and key statements in a realm of pulse and cycle. That which is actually in a state of decay becomes propelled forward as a fixture in the sonic environment.

      Stepping along the rim of the silver screen. Its four tracks teeming with material detail, the duo's musical collaboration operates like a relay. Initial tracks made by Activist DJ — short sharp affairs focused on swung drums and darkside — are passed on to Wesley to be broken apart, tinkered with, and slowly refigured into more anxious and impressionistic musical forms, etched with intricacies and mixed fidelity. The result is a distinctive and resourceful excavation of hardcore at its most agile.

      A fly on the wall may face some adversity, so if you imagine a human hand in basic swatting motion, maybe you will also couple the image with an evasive manoeuvre of some sort; usually there is a moment of hesitation where the human is unsure whether their aim was true. De Leon is the most organic and percussive of their shifting identities, developed on their Aught project in small-run, clear-shell cassette tape releases over the last few years.

      They've appreciated a cult interest for their takes on outernational rhythm, field recording, and the tension and relief on the knife-edge of dance music; all delivered with an impressive commitment to anonymity and clarity of vision through cut-and-dried aesthetic minimalism. These six pieces of music seem formed from wood, metal, air. Dramatic, balletic flourishes and tightly woven interlocking patterns are embedded in slowly changing and "live" atmospheres.

      The shadow of a hand over the mixing desk makes gradual adjustments to alter the pressure and dimension of the space. Rain, spit, ice, neon, mercury, arcing electricity, plants, steam, soil, and dust; this is dream music from Sa Pa. Thick layers of field recording - some salvaged from a recorder lost in Bassiani during the police raid last year and recovered in January - flood tracks fabricated from erratic, oddly distanced rhythm.

      The sensation whilst listening is not unlike hearing the world from a place within the body; swimming in the bloodstream, cutting through the turbulent landscape secure in a metal tube. Or being over-exposed to lushly textured environments with the anatomy far receded; an out-of-body experience where subtler senses are heightened and the landscape begins to take on surreal qualities.

      Uwalmassa shape their relationship with various forms of musical heritage into technical and stylish forms on Malar, marrying acoustic sonics with a contemporary outlook that reflects their Indonesian identity; evolving, mutating, and scavenging traditions to draw parallels to dance music, and to test the adaptability and flexibility of those sounds. Here the collective go dark and deep in their first album-length collaboration with Mana, casting long shadows and moving snake style at speed across nine tracks.

      Using a mix of synthetic and acoustic instruments - the texture of Malar feels enigmatic, occasionally industrial, and the result magical in its mystery and fluctuating impact. Rie Nakajima and Keiko Yamamoto are joined by violinist Billy Steiger and percussionist Marie Roux in a dozen deconstructions of Japanese folk music, for this pacy, engaging debut album. Words by Yamamoto except 5 and Iroha is a Japanese classical alphabet.

      Sojarobai is a working song from Miyazaki, Japan. Produced by David Cunningham. Cover image by Marie Roux. Sleeve design by Ayako Fukuuchi. UK label from London started by Edward Lucas and Daniel Kordik and created alongside an ongoing concert series that focuses on improvised music and field recording works.

      Daniel Kordik and Edward Lucas are two London based improvisors who play together as a regular duo. They have developed a musical rapport that concentrates at times on the common unconventional ground found between the two instruments, and at other times on their histories in jazz and electronic music.

      They are avatars visiting worlds where new meaning is forged in rebellious acts of listening. Tom Wallace presents six forest recordings taken in South East Asia sampling a number of acoustic landscapes at different times of the day, from dawn until dusk, and into the night. Graham Dunning performs a DJ set using dubplates that he has produced with field recordings of the local urban environment and its people; this set was recorded live on four microphones at Corsica Studios, London, in March All aspects of sound production are scrutinized and employed as valid musical material which in turn gives an immersive and complete listening experience.

      However, the trio involved are playing an analogue synthesizer Daniel Kordik , a digital synthesizer Ken Ikeda and a trombone Edward Lucas , so the results are consistently intriguing. More often than expected, the synths and trombone mesh indiscernibly into one creaking atonal lattice.

      The opening track is the oddest and noisiest of the lot, with both synths aggressively carving out some sharper frequencies while the trombone can do little but hurl blunt parps into the battleground. The rest of the release settles into a more peaceful mode, resembling murmured scheming between home appliances. Digital Edition. This is an archival recording of the first time meeting for vocalists and electronic musicians Anat and Kamura.

      Piano and production by Lucy Liyou. Guitar by Yska. Mastered by Branic Howard. Used with permission. Decoupling breath, mouth, voice, body, and recording apparatus, she supplements a wide variety of techniques with daringly controlled mic feedback. Zach Rowden, a New Havener, utilizes controlled and unaltered contrabass scrapes, stabs, and squalls to pry into the recording space, conversing and engaging with Lee's honed aural language. Both musicians are capable of crossing over into taught bursts of noise, but on Butterfly Knife, they relish in surfing an intense pre-spillover zone, the two performers communicating in combinations of droning static in addition to weirdly generous bouts of silence.

      Focused on tape loops, layers of delay, and some chordal forms, each piece is meticulously and methodically built, with each sonic element given its due. The pieces reflect the environment in which they were composed, tight-knit and rural; they mass like storm clouds, and then are barely there, leaving just the fluttering of a distant echo. Stretches of silence, and windblown expanses.

      Rich chords swell into deeply contemplative passages that are gradually stripped away. A gorgeous, hushed set of tape music. Often McLaughlin's loops gather, in small enough increments to avoid overt, ham-fisted drama, a strong sense of the ominous.

      These tensions, as well as the fine structural drift McLaughlin is patient enough to permit, make the Echolocation series a fluid one, without a start or an end. Echolocation 5 should be heard as an installation in a big-hearted work, issuing from a musician with an immense gift for subtle music. They are sent from a recondite artist who may well disappear before you receive them, so there's no time to waste. Lindorff-Ellery and N.

      Erosion is a sprawling yet focused love affair with the bass drum, allowing myriad objects to playfully interact with its grand form. Kevin and Jacob engage with the instrument in an entirely unrelenting way, traversing textural, pointillist sections, as well as rippling metallic drones. Erosion finds the two merging their techniques in a very palpable, sensuous way. As if rendering an amorphous sculpture in minuscule gestures: gathering, releasing, reapplying material in a structured improvisation; new patterns emerge yet resist completion, as if working with weighted feathers which are impossible to manage.

      The length of Erosion, each piece clocking at 40 minutes, allows for this sense of fascinating endlessness; a constant process of extraction and application of reemerging sonic forms. Recorded, mixed, and mastered by JFH. Artwork by E. On the long-awaited Exaptations, Toronto-based composer Nick Storring presents two highly textural, side-long pieces.

      Storring plays with a variety of tonal instruments that swell and tumble along while being nipped at by expressive percussion. Organic clusters develop within event-based sequences, stretching attention across multiple timbres and rhythms. Storring has written for dance and other interdisciplinary settings, and here he brings the delicate resourcefulness of a skilled accompanist, as well as a narrative sense that belatedly, profoundly blossoms.

      Yield Criteria:Composed and recorded February - June Processing and manipulation performed on the above sound sources and the sound of a blank, chemically-treated 16mm film sound-strip using combinations of the following: transducer speakers on various resonant chambers, instruments and surfaces; talkbox; spring reverb; recordable cassette walkman; various speakers; contact microphones. Special thanks to Nicole Cultraro for her violin and kalimba, her support and inspiration, and patience with my process.

      Thanks also to Andrew Zukerman. Gratitude also to all who listened and offered feedback. Artwork and layout by E. However, the final silence will always be present—and is expected—just like the spare, steady late-night call of a single circling black bird. They took leftover, previously unused recordings from throughout their existence, including some early improvisations with Necks drummer Tony Buck and contributions from Salvatore Dellaria, and assembled them into a sonic comment upon their discontinuous state.

      But they are layered, interleaved, and twisted together so that they interfere with each other and are in constant low-key flux. Overlays of past and current sit things on top of each other, fall over one another, get stuck, predicate. Fitting now, but reflective of a period doing shows in South America. The sentiment of the record is probably best described in part of an intervention written for what would have been the edition of Glasgow's Counterflows Festival by Frances Morgan:"Getting used to the idea of never getting anywhere except for between these three notes, these two words, getting tired, getting beyond it, getting locked in.

      Trying to get it down, trying to get it written. It is getting to you that this is heaviest verb to get across. Loaded and overloaded. How do you think we should do this. The song does something different now, puts the other foot forward. End on a verb and it becomes a command: run!

      Towards the next thing. Do — towards the next thing to be done. Googling the appropriate prayer, what does it say you should do. Bouncing the sticks off the snare, what does the sound do. How are we all doing.

      Doing, never done. Listening, never done. Mastered and cut by Helmut Erler at Dubplates and Mastering. Guitars, bass, drum kit, and keyboards mix with toy percussion, amplified pine cones, pot lids, iPads, a zither and an arsenal of effects. The spitting, itching, near exhausted vocals from Chantel Esso are unlike much else we've heard.

      Ranging from seconds-long to seven:minute:somethings, the album coagulates to form a heady meld of rudimentary phrases, kinetic repetition and malleable samples. Experimental songwriting is rarely so forthcoming, emotive, or approachable. Mixed by Ronan Fay. Mastered by Katie Tavini. Artwork by Still House Plants. New album on bison from Kumio Kurachi, whos only performance outside of Japan was here back in Lyrically Kurachi draws life from the small events of life, the hira, - the joy of choosing a lipstick in springtime, the business of changing the tatami, raindrops deciding whether to fall as snow.

      As much a visual artist as a musician, we are pleased to present Sound of Turning Earth in the form of a deluxe CD accompanied by new artwork by Kurachi and full translation of his poetic lyrics. These striking songs speak for a liberated imagination. Past collaborators include Taku Unami and Tatsuhisa Yamamoto. Throughout the record you are reminded of both the power and tenderness of brass instruments — their capacity to astound and reassure, to soothe and tickle.

      Built on the West Highland Line and opened in , the span viaduct is nowadays best known for its appearance carrying the Hogwarts Express. Each child is provided with a brass instrument and attends weekly lessons and rehearsals. GYBB also attend competitions, masterclasses and concerts.

      The cover art is by longtime collaborator Annabel Wright. A protean duo operates under the name of Swiss engraver Urs Graf - c. The sheer number and differing degrees of participation by these musicians and their voices avoids genre - from passionate, rasping dialogues and the slow sedimentary effort of building the composition, to the use of six languages in various arrangements and surprise oral interventions. The same applies to the modes of recording, whether in the studio, live or by integrating direct sound recordings.

      The compositions on Uva Ursi - or bearberry, a medicinal mountain plant with small white flowers - confound expectations and established standards and attain new forms of interplay between Italian variety, free jazz, cabaret, instrumental theatre, Lettrist recitation, the disruptive intensities of improvisation and noise, and walrus songs. These disjunctive synthesis do not exclude humming or toe-tapping either, even though they may initially seem untenable as a whole: the airs are captivating but any dancing only arrives in passing, and either gets bogged down by weird meter or catches a chill from deceptive disintegrations and globbed down by macabre sounds.

      Each track has a different flavour, from a different time, another place, and often associated with a different recording medium or varying groups of individuals who inspired or actually took part. Thank you friends, listeners and collaborators for being around, and for all those who inspired and supported the journey so far.

      Making this available at a Nice Price considering the ridiculous volume of content, and as is the case for much of People Like Us, you can quite possibly find a lot of this in various forms elsewhere on the internet for free, either put there by us, or others.

      But if you'd like to support us, then we thank you and welcome that. It will help make more happen. First released in digital-only form in exclusively for UbuWeb ubu. This makes perfect sense financially, but no sense whatsoever that a year's work by an artist should also disappear for such reasons. So get all of this while you can, and we completely endorse getting one's work out there, no matter what.

      If you don't share, your profit is limited. Since , she has developed an immediately recognisable aesthetic repurposing pre-existing footage to craft audio and video collages with an equally dark and witty take on popular culture. She sees sampling and appropriation as folk art sourced from the palette of contemporary media and technology, with all of the sharing and cross-referencing incumbent to a populist form.

      The music on this album was composed between and initially for five different live performances of moving image and sound. One can find the accompanying visual elements of some of this music at ubu. You can find lots of PLU free on the internet. However, we do appreciate it if you purchase things from us to help us sustain this kind of work.

      Many thanks. Music For The Fire is a plunderphonic concept album depicting the lifespan of a relationship, as told through samples of hundreds of different songs and voices who had no idea they were all telling the same story until they were all spliced together. Strangely direct and evocative for an album assembled entirely from a patchwork of disparate sources and music both obscure and over-familiar, Music For The Fire comes with an illustrated lyric sheet which reproduces the countless sampled voices as a single if utterly schizophrenic text — a bedtime story that is wildly inappropriate for actual children.

      No reliable narrators, just the familiar and absurd, which on different spins of the disc might strike you as either maudlin, poignant or almost painfully hilarious. Since British artist Vicki Bennett aka People Like Us has been an influential figure in the field of audio visual collage, through her innovative sampling, appropriating and cutting up of found footage and archives. Wobbly is the long-running collage project of Jon Leidecker US , who improvises live with pre-recordings to coax the harmonies out of recorded sounds of individuals and animals from disparate cultures.

      The present album for Illegal Art is composed from live recordings, carefully and obsessively edited over a great deal of time, and is their funniest, darkest and yet somehow strangely compassionate work, Music For The Fire tells a story which every listener will recognize in their own unique way. WE put it there! First released on Mess Media in on CD, and then reissued on cassette in on Sucata Tapes, we've combined the digital files of both to bring this to you all on one place.

      Amazing to think it is almost 20 years later that we write this. This represents an earlier life of PLU, some of which carries through to now, some left long behind Happily, Vicki Bennett has yet to fall down either precipice, but yodels down contentedly from her own Alpine audio-cottage. There, with loving care, she snips and tucks at the lycra jumpsuit until the fit is snug, places every plastic shrub on the Happy Valley Ranch just so, and throws another dance record on the bonfire.

      Serving her birthday cake with a turd, her gags are always lined with a virulent creep factor. You get the feeling that the vacancy and pointlessness of empty speech is being lampooned and mourned in equal measure. The least you can do is head up to the Happy Valley Ranch for a spell and have a listen.

      Each song is singular. And each song is a collage of and undefined number of other songs from other artists. It sounds familiar because that has been the modus operandi of People Like Us since the early s. Like an epic film only with highs, never letting the listener down or letting him doubt the power of pop. Even, of course, when the coordinates are twisted, mixed, over or underrepresented. Each moment feels like something that could only happen in a parallel universe.

      But an image on the way memories drift and are being constant rebuilt. An unfinished collage. Heavy experimentation out of Northampton, Massachusetts. Operated by guitarist and graphic artist Bill Nace. Charles recited the free-associative poem here, alongside Nace's minutes instrumental guitar abstraction. Nace arranged a slow, hypnotic drone, first played on a distant, Far Eastern-tinged acoustic guitar, that later morphs into a quiet, and even quieter claustrophobic-electric rustle, that fits the closing lines of the poem: The blood that fell on each new tomorrow And you saw this as I was watching you.

      Under the influence of all your stars, In mirrors of your galaxies of blue, The hero and his love became your scars But this rose picked could not be picked anew. To measure you and me in full disguise I lay beside our rose of paradise.

      Long sold out vinyl! For years, they've each kept their music fresh, always avoiding preconceived notions of what they're supposed to do. Dilloway's tape loops and electronics are routinely musical, which Nace's guitar always stretches to the edges of alien electricity. One hears the earliest hints of electronic music, the conceptual and visceral assault of noise, the structural and spiritual liberation offered by free jazz, the delicate patience of extended techniques, and so much more.

      Mastered by Carl Saff. There's a story: Initially, I released this as a cassette on my own label, Silver Lining. To be fair, you can hardly call it a label. I have no right releasing my own music, let alone anyone else's. I'm bad at manufacturing things, I'm bad at promoting them, and I'm especially dismal when it comes to packing things up and mailing them out.

      And so this cassette had a brief brush with public life and then vanished, due primarily to my negligence and laziness. This is where Open Mouth, once again, comes to the rescue. The record comes in a gorgeous full-color sleeve, and the sound is so much finer than the cassette that even the more sweaty-palmed collectors out there will gladly welcome this object in favor of its previous incarnation, and join me in eagerly awaiting the day when these two release a proper full length.

      It's a subtle melding of the personal and the conceptual. But they're not really a band. A band is a thing that exists over time and practices and builds its own identity. Or something. This is a duo. A meeting of the minds. A conversation. A lost weekend. At their best, duos illuminate the core tenets of individuals while pushing them into territory they might not otherwise occupy. It sounds easy but it's anything but. Just look at divorce rates. Nace and Dilloway make the perfect duo.

      This collaboration though, like their back catalogs, works because it is beholden to none of these. Their individual voices are recognizable, yet the record's allure is found when those voices funnel into one another. In these moments, who's who becomes irrelevant, and the music is elevated to its rightful place, far above the concerns of personality or individualism.

      The gurgles, scrapes, moans, and loops build their own intoxicating fog, a metallic expanse with its own logic. After all these listens, I remain disoriented by it. It's the kind of thing you want to play again because you can't quite remember exactly what it sounds like. I'm reminded of J. Ballard: 'The slower the clock, the nearer it approximated the infinitely gradual and majestic progression of cosmic time. Nace and Dilloway each embrace the immediacy of moments and the endless march of time equally, so for this record to finally see the real light of day is no minor event.

      In the summer of guitarist Bill Nace and jaw harp player chik white began a long distance collaboration. They put together enough material for a 7", which was released in September on Bill's Open Mouth Records. Here it is in download format. Recorded, mixed and mastered by Emily Robb. Turn Me On - 4. Be There Soon - 5. Take It Down - 0. Where Did You Go? Mastered by Mark Miller.

      Reflections and refractions of sound swim around in their own subtlety. A conversation gets out of its own way, using an unknown language of letting go. A focused void. Drone slabs and microtones bend and waver, slipping beneath the surface of sound. Using a a mini brute and Korg synthesizer, John carved out time to occasionally sit in a room to work on these recordings.

      Over a span of two years, he visited this room when he felt like he needed to. Tones travelled through effect pedals and out of speakers, filling up the solitary space with shifting waves. The instruments and recording device were always present and ready when the connection felt right. It feels right.

      Music underneath. I listened closely to 'Bridle Path' on my own wanderings, and it became the perfect soundtrack as the moving scenery folded into itself. My days were filled with long drives, airport lines, windy highways, and sweeping views. I I sat still, but also moved at a clip, feeling tired and awake as dramatic landscapes changed with every passing view.

      I considered the music a gift. John and I once traveled out to the coast of a famous surf spot in Portugal, Praia Dos Supertoubos, and found ourselves in front of some enormous waves - the biggest I had ever seen. The oceans magnifying energy was surreal, and I sat on the beach with my camera, thrilled as John immersed himself in the wondrous ocean.

      The massive waves swelled, and there was John, brave and symbiotic - floating, rising, falling, and gliding. This music captures my own vision of him out there on the water. Countless performances, recordings, destinations, discussions, luke warm coffee, big hooded coats, foggy windows, gear in an elevator, junky practice spaces. There was momentum of feeling our own way, laughing, and listening. John always listening seriously. King Tubby pointing to his head. The kind of friend when you get to know their various cars over the years, and enjoy spending time in them.

      One channel of a stereo working. It always felt good. Listen for yourself. Not an intended trilogy on Jakes part but it has become one to my mind. It has come to be how I listen to them and experience them, all informing each other, echoing and challenging each other and growing into each other's space and light like a garden of plants that would never actually coexist anywhere in reality.

      Jake is always tirelessly reaching for something new yet I'd avoid using the word progression here. It instead feels to me like the last piece of a puzzle, or of a world created by some Jack Kirby demigod. Something has been completed and now all the pieces are interchangeable. The first can go last.

      The middle can be first. The whole thing becoming a universe looping in on itself with a multitude of entry points and not a lot of exits. These are dense environments where sections can move from microscopic to macroscopic, day to night and back again, so effortlessly that it's hard to tell if it's intended or if something imperceptible within you shifted the locus of your perception. But it is all very intentional, something carefully carved to give the feeling of something, though unfamiliar and strange, organic and grown.

      There's a sense of danger here like warning transmissions, concussive roiling rhythms and jagged disturbances. Yet also clear straight lines giving way to enveloping curve and staggering beauty. Supplant the beginning with the end with the beginning. Live recording of a totally weird collaboration between flutist Lao Dan and multi-instrumentalist Li Daiguo.

      A new interpretation of Chinese folk instrumental music. In this album, tribute is paid to Fei, owner of the Old Heaven bookstore and pivotal figure of the Chinese avant-garde scene, whose magnetic voice and demonic laughter can be heard at the very beginning of side A. More 'traditional' dombra solo album from Mamer - more cyclical, less sustain driven reflections on Kazakh tunes. An artform whose history spans over a century, zhuizi originated in Henan province.

      Its main musical instruments are the zhuihu, a two-stringed bowed lute, and the zhuibang, a wooden percussion played with foot tapping. Almost completely blind, Guo Yongzhang is known for his peculiar, resounding yet smooth vocal style. He sings with deep feelings and great verve.

      Lyrics deal with both the hardships and good values of life while always maintaining a sense of humour. Despite being long regarded as a folk master, Guo has continued to play tirelessly among ordinary people, often travelling from village to village and performing for a whole day at a time. As he nears the end of his life, Guo regrets that nowadays, few people wish to learn the art ofzhuizi.

      He worries that this precious art form may soon be lost. Guo co-headlined the last day of the festival with French prog-rock act Gong on May 20, Recorded April 28, at B10 Live, Shenzhen. It has gone on to become one of the longest living rock bands in China. In , Mamer joined Puppet and has since maintained a close relationship with the band.

      The band went on hiatus from to , reformed in , and finally released their full-length debut 'Urumqiin' , a sophomore titled '32 Days' followed in It's gold. Alkisah is the new album by Indonesian duo Senyawa. Alkisah is co-released by a multitude of independent record labels from all over the globe each with different packaging and design, with multiple version of remixes by various artists.

      Senyawa is an experimental music duo with Rully Shabara extended vocal technique and Wukir Suryadi homemade instrument. The music that they create is a combination of extended vocal technique and a homemade instrument. The instrument was handcrafted by master instrument builder Wukir out of one long piece of bamboo, it is a string instrument with guitar pick-ups—it is amplified and processed through several effects pedals but at times is played as an acoustic instrument, percussion and string instrument.

      They are located in the ancient city of Jogjakarta, Central Java, Indonesia and their music is a reflection of their traditional Javanese heritage filtered through a framework of contemporary experimental music practices. Live recording of O Yama O at les ateliers claus 9th May Recorded and mixed by Christophe Albertijn. Caddo Lake - Soulful Lady - That Time of Night - Memphis in Winter - Shuffleboat River Farewell - The day prior to his concert at les ateliers claus, he came to Brussels and expressed his wish to do some record shopping.

      And so we did - in between soundcheck and the actual concert. Keiji Haino likes to hear unique sounds and performers and so we went on a search. In a certain store in Brussels I made him listen to one of my favourite albums by Igor Wakhevitch Hator - he listened and promised me half-jokingly his performance at les ateliers claus would be better.

      Their project is a sound collaboration bringing together the field recording archive of Felicity Mangan and the abstract vocabulary of Stine Janvin. Their music is built from electronic and vocal adaptations of animal and insect recordings originating mainly from the Australian and North European fauna. The organic mix of bug beats and atmospheric soundscapes uncover a sonic ambiguity between rural nature, electronics and the human voice, creating a peculiar, mellow insect techno.

      Together with him we planned 3 varied evenings. For the first evening his central guest was the notorious and also legendary guitarist Roland Van Campenhout. Roland grew up in the Rupel area. His father, a jazzmusician, drowned when he was 5. Roland left home at the age of He did not get involved with music until the age of In he changed to another genre: blues, while also still experimenting with other styles during his career such as country, worldmusic, folk and rock.

      He broke through during Jazz Bilzen, where he established his reputation as a live artist. Han Bennink born 17 April is a Dutch jazz drummer and percussionist. On occasion his recordings have featured him playing clarinet, violin, banjo and piano. Though perhaps best known as one of the pivotal figures in early European free jazz and free improvisation, Bennink has worked in essentially every school of jazz, and is described by critic Chris Kelsey as "one of the unfortunately rare musicians whose abilities and interests span jazz's entire spectrum.

      Han is a brother of saxophonist Peter Bennink. Two experimental strands from China's Modern Sky label, publishing left field local music and folk gems. Their second album 'Fictions' was an improvised performance recorded in Chongqing, June On stage, the members often turn up with masks and black robes as though performing a mystical ritual. Immaydey, the Umay Goddess, is the goddess of fertility and virginity in Turkic mythology, regarded as the eternal Earth Mother with mystic, almighty power.

      Compared with the music of Puppet, the songs of are evidently more compressed, confrontational, and explosive, which as believed stick closer to the authentic sound of rock. The lyrics are succinct, often sarcastic, and sung in almost a robotic manner. December Later in that year they supported krautrock legend Damo Suzuki on his Chinese tour.

      May All Music: Red Scarf. Nate Cross' cornerstone label for jazz and improvised music based out of Austin, Texas and influenced by Cross' time in Chicago. It has nothing to prove. The sound is proof enough. Cover artwork by Morris Barazani, untitled, c. Courtesy of Corbett vs. Dempsey, Chicago. Sleeve photograph by Scottie McNiece. Liner notes by John Corbett. Layout by Drew Liverman. Produced by Nick Mazzarella.

      Desert Encrypts Volume 1 is a two-part suite based on observations from the desert in and around Marfa, TX. It also explores Mazurek's ongoing fascination with social, psychological, and physiological structures, both terrestrial and extra-terrestrial.

      The composition includes written music and graphic scores for improvisation. For Desert Encrypts Vol. Mazurek has always been associated with the Chicago scene he spent so many years in as well as his time in Brazil thereafter , but Desert Encrypts Vol 1 is his first album that feels truly Texan to these ears, and we're excited to present a new exciting development in a long string of exciting developments that have marked Mazurek's long and illustrious career.

      George, Marfa Book Co. On Exoplanet, Rob Frye generates an atmosphere in which drummers and improvisers orbit synthesizers, inhabiting a Goldilocks zone of electronic and biotic components. Some of the tracks were created spontaneously or composed of strict loops, but two of the arrangements are melodic adaptations of the song of Musician Wren. After working as a field biologist with the Institute for Bird Populations in California from , Frye began to slow down and transcribe birdsong, eventually developing a performative lecture called Hearing Hidden Melodies.

      This bird, known as Uirapuru in Brazil and La Flautista in Peru, reminds us of the mysterious sonic knowledge threatened on our very own home planet. On this, his first album for Astral Spirits and his first as a leader, Rob played woodwinds and synthesizers and directed a specialized crew, recruiting Bitchin' Bajas Drag City bandmates Cooper Crain and Dan Quinlivan on engineering and electronics.

      On "Innercosmos" we he hear his unconventional wind tubes, and on "XC" his voice calling as instruments gather, playing the bird's melody. Recorded by Giovanni La Rovere. The result is a magnificent set of exploratory improvisation. Vidic and Field's playing has a rich, textural quality, developed through their use of timbre and dynamics.

      In this way, Akiyama's multiphonic approach to guitar, and his innovative use of effects, offset's Vidic brilliantly. Over the course of 45 minutes, Akiyama, Vidic, and Field generate a nervy tension, walking razor thin lines, such as the ones threaded through the middle of "Inner Circle. Mastered by Mikey Young. Thereafter we played mainly as a duo. This session is one of the few times Figgis and Day played as a duo. They were, with others, co-founders of the Continuous Music Ensemble and People Band, whilst also collaborating in other configurations.

      Mixed and Mastered by Mike Figgis. Artwork by Terry Day, Mixed and Mastered by AJ Pillette. This studio recording is the only time we have played together, other than an initial get together at my house where only a few tambourines were percussed upon. Other than working with the Shakuhachi playing of Clive Bell, this was my first experience of collaborating with a non-western instrument. Spanish born label set up in , now based in Perugia, Italy. Textural, improvised free form music.

      Resonating metal surfaces, chains, paper, thin strips of wood, a broken radio, small battery powered oscillators and a floor tom. Passing cars outside the window. One microphone recording it all. We hear passing cars in the distance, gusts of air past the window: a wider universe in which these sonic events occur, not necessarily emphasized but present nonetheless. Released September 25th, Mastered by Francesco Covarino.

      Distant engine-like low end rumbles open the record, and the similarities between rippling arco bass and some mysterious crackling field noise trigger all manner of pleasant sensory confusion. As an experience, Caura triggers all manner of sensory memories, from trudging through a rainy field to jumping at the sound of a car backfiring.

      As a duet piece, seems to push both parties out of any familiar comfort zones, and right out there into the unknown, which as ever is energizing and frightening in equal measure. Released April 2nd, Improvising duo Ed Lucas and Graham Dunning explore texture, timbre, dynamics and drones. Ed Lucas plays trombone, sometimes augmented with controlled feedback, and has had many associations with improvising musicians in London and beyond.

      Graham Dunning uses turntable with field recordings pressed to dublate, along with snare drum and objects, focusing on tactile soundmaking. Released November 29, Field recordings from different times and places, a walk through the woods or an exotic place far away from home.

      Studio-made sounds using instruments, tape loops, reel to reel Revox recorder and digital editing. Otherwise insignificant everyday life sounds. Everything mixed together in a diaristic manner, like seamless notebook sketches. Released september 25th, Still active.

      The star of this session is of course the leader who gives his name to the quartet. Louis Moholo-Moholo, a powerful, effusive and sensitive drummer who moved from his native South Africa to Britain in the s and became an important voice in the then burgeoning improvised music scene seems to have lost none of his exquisite verve and can still lay down some mighty flourishes on his kit. He's joined here by three other blokes who are much younger men, but pianist Alexander Hawkins, bassist John Edwards bass and saxophonist Jason Yarde are all up to the task of matching the leader's drive.

      The insistent, irrepressible "For the Blue Notes" which starts off the set, alludes to the drummer's legendary band of the 60s. Other historical references include the piece "Tears for Steve Biko," which is part lament, part protest song. The title cut is one solid blockbuster of a tune, with everyone going full throttle. The most loveable thing about this session recorded in November is that there's a balance of what has often been called "inside" and "outside" playing, as this quartet, with a finely-honed telepathic sense, works as a tight unit, even when each musician is pushing at the limit of cohesion and coherence in some of the wilder moments, of which there are many.

      But the music can downshift to a lullaby softness, as in 'Something Gentle" and sway gracefully in the waltz-time of "Angel-Nomali. Mastered by Matt Colton at Porkey's. It was with Viva that Louis toured South Africa in , and for Louis and some of his compatriots in Viva the tour was nothing less than a personal triumph, a return home after three years spent in exile.

      Why these studio sessions rested in the vaults for so long remains a mystery. It was a slightly changed band that Louis assembled in the fresh ingredient that would move Viva into the darker, earthier grooves of Bra Louis - Bra Tebs was singer Francine Luce, originally from Martinique and now one of the vocal treasures of the London improv scene.

      But here they are, at last. Some of the songs are as quirkily gentle as a Norma Winstone record, some like Annie Ross in a free-improv band - and though Francine Luce's frantic variations might not work for everybody, she's sonorous and soulful on the brooding traditional song Utshaka, and on a defiant Motherless Child. Stevens has often paid tribute to the music of people such as Eddie Blackwell and Ornette Coleman. Parker has his roots in the records of Coltrane, Dolphy and others.

      They have drawn on other musics to create a new language which is very personal and not in any way parasitic upon its resources. Other contexts will find Parker playing tenor saxophone and Stevens a conventional kit.

      In the duo, Parker plays only soprano and Stevens' kit is diminutive - no bass drum, two hi-hats, a childs snare. Evendently they have mapped out a very special area - extremely concentrated and intimate. My intention with The Joy of Paranoia was to create an album which presented my saxophone improvisations within several different situations.

      The tracks with Michael Garrick, though based upon familiar compositions, were played very openly. The duets with Veryan Weston were spontaneous. Joy of Paranoia Waltz is based upon a simple riff with four saxophone overdubs. The Wakefield Capers, with the exception of some established rhythmic settings by the members of Paws for Thought, is improvised.

      Tracks originally released in as OG, Diverse. The music sounds a vibrants as when played in and , so many memories. Gripping episodes abound, such as the sound of Osborne's vinegary, Ornette-meets-Ayler sax soaring over Miller's whipping bass figures on the gruffly tender Bloomfield, McGregor's fills on the riffy Quandry made fortuitously more pungent by the off-pitch piano , and two versions of the springy, Mingus-like Touch Hungry — the first with a percussively Monkish McGregor, the second with some fine, Miles-like trumpet from Marc Charig.

      Those who remember Miller's heyday will love this rough-hewn document, as will fans of the South Africa-celebrating Townships Comets and Moholo-Moholo's current work. The windmill is located about a mile north of the town where i live, on what i assume is ranch land used for raising cattle.

      It was once used to pull water from underground to fill a couple of large tanks nearby. It's in a bad state and no longer in use. There are two large crows nests at the top, and the inner workings are laying on the ground next to it. They are monaural recordings. Jeph Jerman is appearing in a variety of musical groups and collaborative projects across different genres for more than three decades.

      From the nineties, we can see in his extensive work a great interest in the sole act of listening. Rather than a classical musician, he is more suggestive of a sound wanderer who sets off daily from his home to the surrounding Arizona desert characteristically named Sonoran desert , where he records sound fragments or collects found objects which he uses in his improvisations and performances.

      As a contemplative walker without a set destination, he is interested in the pure sound without references. To what we listen is not so important, what matters most is the time, place and the way we listen. Unlike other field recording artists, Jerman is not interested in the aesthetic richness or sonic variety, but simplicity, gentle differences, vibrations, moderation, and the primordial animalism on the quiet edge of organic and inorganic nature.

      The symbol of the circle and rotation and the moaning material shaped by nature elements subtly fit in the comprehensive sound diary and environment where Jerman moves and lives. I make sound that'll hopefully be listened to. As with many inner city industrial areas in large cities all over the western world, this place is ripe for redevelopment. However, in this case, due to the zone being directly underneath the flight path to Sydney airport, as well as being flood prone due to environmental factors, unscrupulous property developers are not able to completely gut the place and erect hideous apartments.

      What is interesting to me, and what this recording aims to capture, is that these factors — the aeroplanes and the puddles — act as a form of resistance to the development. Sonic details of empty streets from close neighbourhood, subtle intervention and fragments of lonely voice comments are reminding distinctive forms of sound journalism or a diary for night adventurers.

      Mappa presents the sonic evidence of this opposition; the non-human voices of resistance that the aeroplanes and water speak with in this acoustic environment. Released by mappa as MAP09 in As a project, Line Gate has been undergoing a slow, steady transformation, much like the longform drone works that have come to characterise it.

      The gently modulating drone of the hurdy-gurdy remains present during the first piece, along with its very characteristic almost psychedelic resonances and overtones. However, the listener's ear is almost immediately drawn to another sound source - the human voice.

      The result is a mind-bending interplay between the hurdy-gurdy and the voice; one weaving around the other in seemingly indeterminable patterns. Layers of voice, some processed, some raw, are the only building block here.

      A resonant layer of sampled voice, not dissimilar from the hurdy-gurdy, acts as an unstable, shifting sonic bed around which a gradually growing choir of voices orbits endlessly. Sibilants, consonants and vowels recited in mantra-like cycles form a non-linguistic vocal tapestry, one without explicit meaning, but imbued with huge emotional gravity and a unique enchanting quality. Field recordings, like always with me came from lot of places. I like the idea that listeners will enter in that fictive places like if they were real, like they did with a great novel.

      In his work he is creating new fictional universes and uncharted territories using many field recordings collected in different parts of world. Architecture and culture of these sonic environments is created in two ways. Second one is shaping the sound and the composition itself. The collection of sounds can be seen as fishing, an artisanal harvest in which one can have good surprises and less good ones. The whole approach is about accepting to make do with this.

      With this method of work I have to accept the hollow periods, failures and even the doubt. The composition allows me to assemble more or less logically and incongruously the different sounds collected. I never try to reproduce the sounds that surround me in a logical and precise way.

      It is a timeless place, which is possible to visit again and again and explore its hidden corners and details. The orientation in space is not easy since whole surroundings is misted by electronic sounds of Portuguese musician Pedro Chambel. Are they from the field recordings? Some sounds came from there, some other not, but which ones? I also like the idea of using those sounds as some disruptive elements, like in most of stories, novels or movies.

      In his work we can also find parallels to literary techniques and space or to forms of reading. I only make music when I have time, in the evening, on the week-end, in my holidays. I spend most of my time surrounded in books. I have this opportunity. Some authors, some texts, some works have become great sources of inspiration for me.

      So, my life, my practices are not compartmentalized. One can observe here how their musical language and range of instrumental techniques in the use of guitar and idiophones got crystallised. The classical form of a musical piece organized in time and characterized by a set of elements that create a coherent narrative is replaced here by the primacy of repetition, pitch, precise articulation and reverberation.

      Sounds seem to be clearly rooted in specific acoustic spaces, which allows the space itself to be treated as a real instrument that adds another layer of meaning. Repetitive sound sequences operate in a similar way to the metronome, determining an obsessive rhythmic pattern, a kind of matrix on which all the details are inscribed.

      The static structure of the pieces allows the music to function as a sound sculpture - breaking time constraints in favour of continuous duration and acting in a multi-perspective way. This material, does not promise any solution, but strictly accompanies the listener and tries to close itself in the continuous present. The title of the album is a reference to the anthems written by the British composer Z11, Z2 and the titles of the pieces refer to his sacred songs Z, Z Vinyl in your hands is a ceremonial sonification of the sacred herbarium, painted myths of the animal kingdom and voices behind the thicket.

      A return to the time when the forests, tree crowns, soil, thickets and heaven were full of continuous murmur. Or, on the contrary, a vision of a future in which the chaos of natural noises will reign.

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