Sunday, May 31, 2009
Below, a hippopotamus skewers a banana. Right place, right time.
(As always, click for a larger version of the image.)
Wish you'd been there with us (bearing psychotropics, and no rugrats),
Saturday, May 30, 2009
Friday, May 29, 2009
Thursday, May 28, 2009
Wednesday, May 27, 2009
Tuesday, May 26, 2009
Monday, May 25, 2009
(Click each photo below for a larger version...)
Sunday, May 24, 2009
It's hard to believe any politician here in Deutschland, apart from the odd far-right kook, could rake hay from this issue. Yet the churls back home still moan about "marriage protection" and "unit discipline." (The latter, as you may recall, was a big club hit for En Esch back in '94.) Herr Rich frames the issue with his customary acuity...
Saturday, May 23, 2009
In cheap postmortems lay retrospection to longing...
(Four tracks, 17.9 MB, ripped @ 320; this represents #333 in the occasional series, comprising compositions 1,045-1,048...)
New London fifties surprised department,
Friday, May 22, 2009
Soderbergh's exegesis on commodification stars actress Sasha Grey, who has made quite a name for herself as an exemplar of contemporary porn. For those unfamiliar with her work in this realm, you can exhaust yourselves here.
Thursday, May 21, 2009
Henry Molaison’s temporal lobes were moved to cosseted monocultures...
(Four tracks, 17.3 MB, ripped @ 320.)
Larks tend to be owls,
(P.S. This was #322 in the occasional series, comprising compositions 1,041-1,044. Fecund and forward, always...)
Wednesday, May 20, 2009
Tuesday, May 19, 2009
Everything is wrong with the present, nothing is wrong with the past, and vice fucking versa, forever...
Monday, May 18, 2009
Sunday, May 17, 2009
Saturday, May 16, 2009
Friday, May 15, 2009
Thursday, May 14, 2009
Representation versus agitation versus adumbration. The former is always trumped by the latter pair...
(Four tracks, 18.7 MB, ripped @ 320.)
Herr Komunyakaa, rest easy...
Wednesday, May 13, 2009
There are grousers, of course.
"Not all artists are willing to go along with a retailer or cable company’s marketing strategy, however. Although few artists or managers will voice their complaints publicly for fear of retaliation, many say that retailers’ requests for content are effectively demands, and that refusal to comply can result in diminished promotion. Managers and some labels also argue that alterations to an album made on behalf of a retailer can compromise it artistically, breaking up the unity of a creative product and including material that is by definition secondary.
“'The more content you make available, the less interesting the artist becomes,' said Jeff Antebi of Waxploitation Artists, which manages Gnarls Barkley and Danger Mouse."
By all fucking means...
Oh well, by this metric, and considering our monthly tsunami of (cough) content, I reckon we're down in the sewer with Werner Peiner.
Special double flexi for all FYE purchasers of The Cortege!
Tuesday, May 12, 2009
Synopsis: aleatory test #326. Methodology: analysis of linear stacking processes, edit diminution sequences, and exaggerated mastering exercises. Frequency traffic both abetted and ameliorated through the use of randomly selected auto-equalization curves. Rock the fuck out.
(Four tracks, 17.6 MB, ripped @ 320.)
Protest diaphanous dirt,
Monday, May 11, 2009
Bob Rafelson directed Head from Jack Nicholson's ayahuasca/dextromethorphan-infused screenplay, and on release it went straight into Rudy Vallee's zinc-plated megaphone. Of course, it ain't perfect, but as a searingly lucid document of self-immolation, the Monkees predated everyone, even the Stooges' pean to Heraclitus' ultimate notion of logos, Metallic K.O. (Ja, it's that prescient, and often as lacerating, although it must be noted that "Swami (Plus Strings)" isn't quite on par with "I Got Nothing.") Head's final sequences are especially outré; its ending is perfect. Undergirding themes of suicide, drowning, falling, entrapment, and collapse were perhaps more seditious than the film's creators intended, as implosion and wanton calumny followed. No matter - it stands, it works, and, despite its modest budget and middling backlot origins (bridge and dune scenes notwithstanding), and its failure to connect with much of anyone 41 years ago, it is the model.
Below, please find screengrabs of torrent deformations at 82% download.
I saw Cecil Taylor perform only once, at the Baird Auditorium of the Museum of Natural History in Washington, DC, on November 30, 1984. It ...
KSV 409: Merkwürdig Riechnerv 's No Knife to Twist is available now for digital cogitation and limited-ed CD levitation via KSV Bandcam...
Day Eight. Matte essays into razor tabletop. While I read from sliced divination, re-describe third outlet... TS