Over nearly four decades, 32 studio albums, around a dozen labels and a
dizzying array of line-ups, the Fall has been a source of endless fascination,
amusement, irritation, astonishment and enjoyment to a healthy minority of
Dusted writers. Centered around the irascible,unpredictable,
absolutely inimitable Mark E. Smith, the Fall has been churning out singles
since most of us started buying them, and, unlike other youthful obsessions,
continues to do so, right up to the current moment. So, when we heard that Cherry Red was putting
out a massive seven-disc, 117-track singles collection, we were intrigued. We were also a little daunted. We decided to listen to it together, or at
least at the same time, as much as we could, and talk about it in this listening
post. As usual, some of us were long-time fans, others were new to the Fall and
a couple were, shall we say, not convinced. Contributors included Jennifer
Kelly, Bill Meyer, Justin Cober-Lake, Ben Donnelly, Ian Mathers, Mason Jones,
Michael Rosenstein and Marc Medwin.
are the musicians who adopt the DIY tack and launch record labels to document
their work. Relatively few are those that can claim an enterprise founded by
others with the express purpose of releasing their music. Joe McPhee holds that
latter distinction thanks to Werner X Uehlinger and the Hat Hut imprint. Up to
1975, McPhee had been dividing his time between occasional teaching engagements
at Vassar College and a day gig at a factory in his hometown of Poughkeepsie,
NY, fitting music into the time between and off from both. The Willisau Concert, Uehlinger’s second release on his fledgling
label, documents an eponymous Swiss leg of a European tour undertaken by McPhee
and his colleague John Synder in the fall of that year. South African drummer Makaya
Ntshoko joined the group, but the chemistry between the three players was
apparently off leading to a truncating of the tour soon after.
V India hraje na kytaru Tomáš Kopáček (Black Tar Jesus, Tempelhof, Latviri…) a svoji už tak legendární kytarovou hru po odchodu do Budějic přetransformoval na úroveň monstrum a k sobě si přibral dva (skoro) lokální klasiky: Sokola (Nuly, Microvomit…) a Bejbiše (DAT, Benelux, Kidney Trauma…). S repetitivním kytarovým zvukem u nás pracuje málokdo lépe než právě India, energická intenzivní nálož ale opouští hranice žánru a je schopná zaujmout širší nezávislou posluchačskou scénu. Space rock, woodstock, krautrock.
Jéromé Noetinger & Aude Romary Jérôme Noetinger is one of the driving forces in the French experimental music scene. He is a member of Cellule D’Intervention Metamkine (a group that manipulates image and sound via 16 mm projectors), he asserts himself both solo and in collaborations (Lionel Marchetti, Michel Chion, Kevin Drumm …) with field recordings, feedback & tape recorders, he writes for French magazine Revue et corrigée and he manages Metamkine (a record label and international distributor of experimental music). He has been working with experimental French cellist Aude Romary since 2014, a collaboration that was documented on the brilliant CD Discordes (Centre Culturel André Malraux, 2017). Cello, tape recorders, microphones & loudspeakers are the musical weapons of choice with which Noetinger and Romary allow a surprising electro-acoustic world of sound to bloom. https://vimeo.com/105279691
Laundry Room Squelchers Franka „Rat Bastard” Falestra aka Miami’s Godfather of Noise and his co. In the early 1980s Falestra co-founded a recording studio in North Miami Beach, Florida which existed under different names and locations for nearly twenty years. He currently runs his own studio in the South Beach section of Miami Beach, Florida. Among his most famous studio credits are recording Marilyn Manson and the Spooky Kids demo cassette The Beaver Meat Cleaver Beat, and serving as second engineer and studio coordinator on their 1991 cassette After School Special.