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Big Mama Thornton “Let’s Go Get Stoned” Stronger than Dirt (1969)

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The Equals “Police on My Back” Explosion (1967)

a classic.

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Wooden Shjips Vol 1 (2008)

i can listen to this comp all day, esp the first track. just put “death’s not your friend” on repeat.

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Swans The Great Annihilator (1994)

And I am the sun
I rise above the world 
And when the light goes out 
I kill another child 
And I am insane 
I crawl into your mouth 
I grow like a flower 
I grow a suicide 
And I am the sun 
And I am the light 
And I am the sun 
Yeah I am the light
And I am the dog
I cut out my eyes 
Yeah I will nullify 
My true love creation
And I am the sun 
I love everyone 
I live inside your chest
I grow like a cancer 
And I am the sun
And I am the light 
Yeah I am the sun 
Yeah I am the light

I love everyone (repeat)

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Howlin’ Wolf Moanin’ In the Moonlight (1959)

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Bowery Electric “Beat” (1996)

It’s 1am in Seoul. Perfect.

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Butthole Surfers Psychic… Powerless… Another Man’s Sac (1984)

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Sun City Girls “The Venerable Song” Bright Surroundings Dark Beginnings (1993) 

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Millions of Dead Cops S/T (1982)

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Psychic TV “New Sexuality” A Pagan Day (1984)

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The Flying Luttenbachers destroy all music (revisited) (original album, 1995; revisited, 2007)

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Antischism “Greedy Bastards” This is the Enemy EP (1990)

What did they put in the drinking water in Columbia, S.C., back in the 80s? Great stuff from Columbia from the late 80s, through the late 90s. Even now.

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Come Out is a 1966 piece by American composer Steve Reich. He was asked to write this piece to be performed at a benefit for the retrial of the Harlem Six, six black youths arrested for committing a murder during the Harlem Riot of 1964 for which only one of the six was responsible. Truman Nelson, a civil rights activist and the person who had asked Reich to compose the piece, gave him a collection of tapes with recorded voices to use as source material. Nelson, who chose Reich on the basis of his earlier work It’s Gonna Rain, agreed to give him creative freedom for the project.

Reich eventually used the voice of Daniel Hamm, one of the boys involved in the riots but not responsible for the murder; he was nineteen at the time of the recording. At the beginning of the piece, he says, “I had to, like, open the bruise up, and let some of the bruise blood come out to show them” (alluding to how Hamm had punctured a bruise on his own body to convince police that he had been beaten). The police had not previously wanted to deal with Hamm’s injuries, since he did not appear seriously wounded. It is probably the earliest instance of which a member of the Nation of Gods and Earths was recorded in a piece of music.

Reich re-recorded the fragment “come out to show them” on two channels, which initially play in unison. They quickly slip out of sync to produce a phase shifting effect, characteristic of Reich’s early works. Gradually, the discrepancy widens and becomes a reverberation and, later, almost a canon. The two voices then split into four, looped continuously, then eight, until the actual words are unintelligible. The listener is left with only the rhythmic and tonal patterns of the spoken words. Reich says in the liner notes of his album Early Works of using recorded speech as source material that “by not altering its pitch or timbre, one keeps the original emotional power that speech has while intensifying its melody and meaning through repetition and rhythm.” The piece is a prime example of process music.

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City of Caterpillar “And You’re Wondering How a Top Floor Could Replace Heaven” s/t (2002)

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Discharge “I Won’t Subscribe” Hear Nothing See Nothing Say Nothing (1982)

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The Kids “Do You Love the nazis” The Kids (1978)

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Prothese “Tumeurs” (1981)

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Killdozer “Going to the Beach” Snakeboy (1985)

love this song

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