Archive for the 'video' Category

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Posted by homoludo on Jun 13 2012 Posted by homoludo on June 13th, 2012 filed in !Kaboogie, flyers, gigs, Scratcho-Vision, video, video art
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 Looking forward to this- the cream of Irish hip hop with skills, brains and humour. Also, I’ll be getting them to work in Scratcho-Vision -i.e.  using turntables to control images and their soundtracks at the same time!!!!!!!!.

Expect freeeeshhh Tootpaste ad footage , lots of Vincent Price trailers and Barberella.



!Kaboogie / Poster Fish Promotions / BarryGruff present BRAINMELT! with…



Aka, Djackulate and Moschops, aka, Paddy and the Heart Brake Kidd, Neil Bucannon uses a patented hardware and wax “audio fun system”, consisting of 4 turntables, 1 cdj, MPC1000, SP404, Korg KP3, Pioneer EFX500, Loop pedal, Rane mixers and unwanted records Neil takes bits of everything to create an audio Art Attack without PVA glue.
NEIL BUCANNON audio can be found on both these soundcloud pages:

 Producer, remixer, award-winning scratch deejay, messer, and all-round talented fecker…. DJ MEK has been bangin’ out the quality since the late 80s. Mek is probably best known for being “the cat behind the decks” in legendary Irish hip-hip band Scary Eire, and for winning a ridiculous amount of awards for his turntable skills. In recent years Mek has played some unreal live sets and put out some fantastic mixes (check the links below), so we are verrrry excited about this one.


Deviant makes skratch music. Unadulterated by synthesizers, untouched by guitars, not a delay pedal in sight. Records and hands. Turntable and mixer. Loop pedal and multitracker. A familiar presence on the Irish live circuit, Deviant has been musically active since 2001, promoting the Rootdown and GC Underground nights (with international hip-hop luminaries Edan, The P Brothers, DJ Noize and Supernatural), as part of four piece turntable band Vince Mack Mahon (with Jimmy Penguin, Mikey Fingers and Tweek) and as a founding member of Community Skratch, a non-profit collective dedicated to promoting the arts of turntable manipulation and sample culture. His recent live-sets have been mind-blowing, and his mixes, remixes, and original releases have been unreal. Have a listen for yourself…


Imploded View aka Jerome McCormick is Longford based beat-maker whose forte is experimental electronic music. Using a whole manner of retro synths and 1/4 inch Reel-to-Reel tape machine he creates extremely chilled ambient sounds. This is a rare opportunity to see him perform before the release of his debut LP later this year.

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The Illustrated Man

Posted by homoludo on Jun 08 2012 Posted by homoludo on June 8th, 2012 filed in science fiction, time travel, video, writing
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Ray Bradbury died this week.

Mr. Electrico Via Bruce Sterling’s blog


That’s the character who makes a brief appearance in Something Wicked This Way Comes, right? And you’ve often spoken of a real-life Mr. Electrico, though no scholar has ever been able to confirm his existence. The story has taken on a kind of mythic stature—the director of the Center for Ray Bradbury Studies calls the search for Mr. Electrico the “Holy Grail” of Bradbury scholarship.


Yes, but he was a real man. That was his real name. Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end.

The next day, I had to go the funeral of one of my favorite uncles. Driving back from the graveyard with my family, I looked down the hill toward the shoreline of Lake Michigan and I saw the tents and the flags of the carnival and I said to my father, Stop the car. He said, What do you mean? And I said, I have to get out. My father was furious with me. He expected me to stay with the family to mourn, but I got out of the car anyway and I ran down the hill toward the carnival.

It didn’t occur to me at the time, but I was running away from death, wasn’t I? I was running toward life. And there was Mr. Electrico sitting on the platform out in front of the carnival and I didn’t know what to say. I was scared of making a fool of myself. I had a magic trick in my pocket, one of those little ball-and-vase tricks—a little container that had a ball in it that you make disappear and reappear—and I got that out and asked, Can you show me how to do this? It was the right thing to do. It made a contact. He knew he was talking to a young magician. He took it, showed me how to do it, gave it back to me, then he looked at my face and said, Would you like to meet those people in that tent over there? Those strange people? And I said, Yes sir, I would. So he led me over there and he hit the tent with his cane and said, Clean up your language! Clean up your language! He took me in, and the first person I met was the illustrated man. Isn’t that wonderful? The Illustrated Man! He called himself the tattooed man, but I changed his name later for my book. I also met the strong man, the fat lady, the trapeze people, the dwarf, and the skeleton. They all became characters.
Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back.

Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him.

When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped.

Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to.


Seapunk? Yes, Seapunk.

Posted by homoludo on Mar 13 2012 Posted by homoludo on March 13th, 2012 filed in Seapunk, video
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Great blog –

Where I found these (edit Just copped the first one is Ayshay).

Oh yeah and the  seapunk.

Superheros #2 John Maus – Through the Skies for you

Posted by homoludo on Feb 16 2012 Posted by homoludo on February 16th, 2012 filed in superheros, video
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Daily Mail hacked. Nice one.

Posted by homoludo on Feb 05 2012 Posted by homoludo on February 5th, 2012 filed in video, video art
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Posted by homoludo on Feb 03 2012 Posted by homoludo on February 3rd, 2012 filed in superheros, video
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The Near Side

Posted by homoludo on Dec 21 2011 Posted by homoludo on December 21st, 2011 filed in art, video
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Wow. Came across the below video by video artist Ryan Trecartinon on Ubuweb while reading this piece  by Andy Battalgia about James Ferraro’s Far Side Virtual which just got album of the year in The Wire magazine. Flick through it a bit, gets kinda amazing, and the audio is brilliantly done.

The Re’Search (Re’Search Wait’S) -Ryan Trecartin

Occupy march as ceilí

Posted by homoludo on Nov 25 2011 Posted by homoludo on November 25th, 2011 filed in occupy dame st, video
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Tomorrow – three flatbeds, 10 k  sound.

on a lighter note- occupy march as ceilí


Posted by homoludo on Nov 16 2011 Posted by homoludo on November 16th, 2011 filed in Uncategorized, video
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Fennez, David Sylvian -Transit


I have listened repeatedly
I have listened very well
No one interrupts the harmful
When they�re speaking

To wonder why of Europe
Say your goodbyes to Europe
Swallow the lie of Europe
Our shared history dies with Europe

(follow me, won’t you follow me?)

A future�s hinting at itself
Do you fear what I fear?
All those names of ancestry
Too gentle for the stones they bear

Someone somewhere wants to see you
Someone’s traveling towards us all

To wonder why of Europe
To live, love, and cry in Europe
Say your goodbyes to Europe
Our history dies with Europe

(follow me, won�t you follow me?)

The lights are dimming
The lounge is dark
The best cigarette is saved for last
We drink alone
We drink alone

Desiring Scenes

Posted by homoludo on Apr 13 2011 Posted by homoludo on April 13th, 2011 filed in video, writing
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A good piece of music writing from Wire blog the Mire. Like a 90’s Melody Maker/ NME piece, it makes you (me )want to buy the record/s.

Erotic neurotic

“I don’t know how it comes across when I say this, but I am deeply invested in sex and sexiness,” Amanda Brown tells Simon Reynolds in the May issue of The Wire. Even though it is expressed in that peculiarly American way that makes Amanda sound like she regards the very fact of her being in the world as a business venture to be injected with regular shots of cultural capital, what she is actually talking about is her vision for the kind of artists and music now being issued by Not Not Fun, the label she runs with husband Britt out of their home in Eagle Rock, LA, and in particular its hot little sister imprint, 100% Silk.

As Simon points out, both Amanda’s and Not Not Fun’s roots lie deep in America’s post-Riot Grrrl Noise/lo-fi DIY underground. This is a realm where sex exists purely as metaphor, something to be invoked or mobilised only in order to expose the brutality of power relations, or to subvert the oppression of normative social relations by flaunting its most taboo, transgressive manifestations. In contrast, almost all the music now being issued by NNF and 100% Silk reflects Amanda’s lust for 70s and 90s dance music experiences, her desire to luxuriate in the sensual inclusiveness (or inclusive sensuality) of dub, disco and downtempo beatz, and the way these bass-centred musics work to eroticise the entire body (in contrast to the way Noise targets it as a conflict zone in a Total War, or the way Goth/Emo is convulsed by its base functions and desires, or the way alt.rock puts all the emphasis back on the same old erogenous zones as trad.rawk).

You can track NNFs aesthetic shift from pavement to Penthouse by comparing the messthetix that define the handmade packaging of the label’s early cassette editions with the image on the generic sleeves of the 12″s released by 100% Silk, which looks like it has been lifted from a mid-80s Athena poster, all soft fleshy curves, hard angles and cool surfaces, a pre-Photoshop phantasy of aspirational erotica and glam aesthetix.

When it comes to her own LA Vampires project, Amanda’s investment in sex and sexiness actually feels more cute than carnal, manifesting as a license to indulge in some slyly provocatve fun and games.

The ‘two girls in the shower’ sequence in the vid for the LA Vampires/Matrix Metals collaboration “How Would You Know?” might sound like a cynical media grabbing manoeuvre straight out of a Katy Perry vid, but it feels more like an instance of adolescent juvenilia, a ‘whatever’ Chatroulette provocation, two twentysomething women getting back in touch with their insouciant teenage selves, deadpanning to the lens as they fake their way through a routine of getting ready for a big night out (and if you want to come over all Lacanian about it, flirting with the gaze they know is there, just out of sight, on the other side of the screen).

LA Vampires feat. Matrix Metals – How Would U Know from Not Not Fun on Vimeo.

In the vid for “Make Me Over” Amanda regresses even further, into a pre-pubescent state of innocence eliding into self-consciousness (or self-awareness), rummaging in the dressing up box, pulling out a sequence of exotic costumes, posing, pouting and dancing in front of the camera, which in this case is a substitute for her pre-teen bedroom mirror, the first witness to vouchsafe an emerging sense of her own sexuality.

LA Vampires feat. Matrix Metals – Make Me Over from Not Not Fun on Vimeo.

But judging from an interview recently posted on the 100% Silk blog, the NNF/100% Silk artist who Amanda seems to have most invested in when it comes to making flesh her new aesthetic is Maria Minerva, aka Estonian ‘dream pop songstress’/’disco-not-disco diva’ (and, it should be noted here, former intern at, and current contributor to, The Wire) Maria Juur.

During the interview Maria demurely deflects Amanda’s line of questioning, insisting she feels more awkward and uptight than the potentially hot ‘n’ sexy “Eastern European supermodel goddess” (to quote an earlier 100% Silk blog post) that Amanda seems to want her to be. But a quick sweep through some of the evidence now archived out there on the www would seem to suggest that Maria’s artistic project is about as deeply invested in playing around with notions of sex and sexiness as her label boss could wish for.

Originally taped at the back end of 2010, the vid for “Strange Things Happening In My Room”, a track on Maria’s recent NNF tape Tallinn At Dawn, feels like an ironic take on the Talk Talk idents that topped and tailed the ad breaks in the last series of The X Factor (which was still being broadcast at the time this vid was posted). Made to feel like the genuine article (groups of PJ-clad BFFs on a sleepover, having fun with the webcam, miming along to their current fave pop tunes), the idents were moments of pure media artifice, and Maria’s vid feels like an ultra hip and knowing restaging, so a fabricated mass media event masquerading as a moment of tweenie jouissance becomes the site for an occluded adult drama, a solipsistic domestic episode veiled in mystery but heavily suggestive of auto-erotic experience.

The ‘censored by YouTube’ vid for the “So High” track by contrast makes everything explicit, appropriating scenes from what looks like a particularly sleazy slice of hi-brow Euro porn. Before YouTube censored it, this vid went most of the way.

Intriguingly, in the Info section of this post Maria quotes a couplet from Gang Of Four’s “Natural’s Not In It”, “The problem of leisure/What to do for pleasure?”, sourced not from its original context, the 1979 Entertainment! LP, but from its inspired use on the soundtrack to Sophia Coppola’s sumptuous 2006 soft porn period drama Marie Antionette.

“So High” is taken from Maria’s forthcoming NNF LP Cabaret Cixous, whose title references the French feminist theorist/writer Hélène Cixous, the distaff Derrida, whose 1975 essay The Laugh Of The Medusa upped the ante on existing theories of non-normative sexuality such as polymorphous perversity and jouissance to instruct women thus: “Censor the body and you censor breath and speech… Your body must be heard.” Which sounds like a permissive pre-echo of Maria writing (for France’s Hartzine) about the effect on her teenage body of Roy Davis Jr’s sublime 1997 Deep House track “Gabriel”: “This track got me into House when I was 14. Made me go through changes in my body and I am not talking about puberty! “Gabriel” gave me an idea what a groove could do to you, and oh it felt good.”

Appropriately enough, the ‘teaser’ vid for “Disko Bliss”, which was posted in advance of the release of Maria’s 100% Silk 12″, feels like it arrives as a consequence of the effect of both Cixous’s theories and Davis Jr’s practice, foregrounding the kind of sensual total body experience brought on by dancing to disco and Deep House. Although Maria can’t resist inserting a little ironic touch to undercut the erotic effect: keep watching and the beads of sweat glistening suggestively on the torsos of the male and female dancers are revealed to be fake.

MARIA MINERVA – DISKO BLISS teaser from 100% Silk on Vimeo.

As with most of the images of her circulating on the blogosphere, in the photo on the cover of Tallinn At Dawn Maria returns your fascinated gaze with deadpan inscrutability (is she projecting satisfaction or disdain or just indifference?).

The image’s grainy soft focus monochrome makes it feel like a relic from the mid-70s. But is it a promo shot of a Laurel Canyon songstress, or a still from yet another slice of ‘sophisticated’ Euro porn? Or both? Maria as a double exposure of Laura Nyro and Sylvia Kristel?

In his piece in the May issue, Simon refers to Maria’s 100% Silk 12″ as “delightfully quirky electro-bop”, which feels about right for what is essentially a collection of LCD dance moves (one of Maria’s own tags for these tracks is ‘slutwave’). But his description of Tallinn At Dawn as “marvelously woozy”, while texturally correct, feels too reductive for what is an unusually captivating body of work, one that feels like the product of a genuinely original sensibility.

Some of the arrangements here have a real sense of mystery about them: the way all the parts are shadowed and multiplied by their echo chamber doppelgangers, and the way the individual synth lines, samples and rudimentary drum machine patterns interlock or overlap in unexpected ways gives the songs a complex and seductive polyrhythmic vibe. Rather than the vacuous synth pop of Nite Jewel (the comparison drawn by most Altered Zones type bloggers out there), what it makes me think of most is Nico’s The Marble Index (a judgement which I admit may well be clouded by the fact that I know that one of the first songs Maria learned to karaoke along to as a Tallinn tweenie was Nico’s “Janitor Of Lunacy”: maybe that’s what happens when you grow up with a dad who is the one of your country’s leading music critics, something like the Eesti equivalent of Paul Morley). Anyway, I make the comparison not because of any ‘ice queen’ parallels, or because the songs describe a devastating/devastated emotional and psychological landscape (the lyrics are mostly indecipherable, Maria’s state of mind and being veiled behind diaphanous layers of echo, although the overall mood feels rather lost and lonely, and therefore suffused with desire and a certain melancholy ache), but due to the sense of disconnect between the sighing vocal lines and what is happening elsewhere in the tracks. Legend has it that John Cale recorded his parts on Index blind ie without hearing Nico’s vocal and harmonium parts first. Then the two were slammed together and somehow made to cohere in the mix. This had the effect of suspending Nico in a state of temporal-spatial displacement, and there’s something of that same feeling in some of these tracks too (Maria is currently based in London so maybe it’s all a metaphor for the migrant experience of longing and not quite belonging).

In a famous essay on The Marble Index Lester Bangs quoted an ex-girlfriend (Lester invoked his exes like muses) who told him it sounded like Cale had built a cathedral in sound for a woman in hell. On Tallinn At Dawn it sounds like Maria has built herself a boudoir in sound, but the emotional and psychological state of the singer remains elusive; is she in ecstasy or in limbo, enraptured or indifferent?

The difference between this music and the tracks on that 100% Silk 12″ feels the same as the difference between erotica and porn. The seductive power of the songs on Tallinn At Dawn is in direct proportion to how little of herself and the process Maria reveals. By comparison, the sluttishly explicit dance tracks on that 100% Silk 12″ leave little to the imagination and so fascination is quickly spent, turns morbid, shifts its gaze elsewhere.

A memo to Amanda Brown: in order to maximise the return on this particular investment, keep it under wraps.

Tony Herrington