Dramatic Entrance

The Drama

Check me out dropping mad science in Issue 8 of The Drama. The topic was the collision of art and commerce; you know, collectors items and collaborations, cool-guy clothes and blogs, etc. Other panelists included Eric Elms, David Gensler and Fraser Cooke, so it's a real brainathalon. Are you serious? Did I just say "brainathalon"?

  • Speaking of collaborations, scope the Asics X Pagoda project b ball joints.
  • There's a good tune at Teenage Unicorn, especially if you're into that feel-good, I've-got-a-beard-and-an-open-shirt era of '70s rock.
  • A.P.C. jeans are cool, but A.P.C. tracks are far cooler. You might also know these releases as "Bill Laswell's Phat Dub #1 and #2," but that's the stupidest title I've heard in a while (it was '96 though, so I can cut some slack). If you're into some dubbed out balearic trip hop, I'd pick them up.


Take Me Home and Eat Me

o celebrate this weeks release of the A Silent Flute & Mishka Druggie Puss collabo shirt, Oxycottontail and I will be blazing down, and maybe eating some cake, at Soho 323 this Thursday.
  • Gomma mixes (follow the links).

Japanese collection from Clarendon. They still kill the old way, but what ever happened in the states. Oh yeah, Nicole Ritchie. Bummer.
  • Do you have Best Fwends? I do.
  • Show me the gold. This stuff makes Paul Wall look like he's into Ring Pops.
  • Dogdays; blood is thiker than water.

Todd Terje & Bumrocks party at Capone's on Saturday, after PS1 Warmup with Terje and Kudu. Tripfest.


Wednesday Nite People

Big worldwide party weekend. Summer in the cities.
  • heady from Verte.



Depending on who you ask, by the 1980s Jazz had a) gone totally limp (hey Earl Klugh, you're a pussy), b) gone totally over-the-top-technical-wankfest (Chick Corea with a Keytar?) or c) ceased to exist (Bill Bruford much?). Kazumi Watanabe's Ganaesia, released in '83, touches on a bit of each manifestation of a aged genre struggling to accept extreme studio technology advancements coupled with the fact that Kiss had been outselling them for years by tapping into the minds and wallets of 16 year old boys; perhaps an early indication of the totally youth targeted music industry we see today (when was the last time anyone with a grey hair had a Top 40 Hit? I keep forgetting...). Anyway, this album rips dicks; most songs have at least 3,000 parts (...), the production is admirably and weirdly excessive, and despite being almost devoid of any improvisation, the compositions are way cool enough to make you stop being a fucking purist already. A more than decent companion album (which you might actually be able to find, as Ganaesia was a Japan only release) is Mobo 1, which features some tripped out surf/reggae rhythms not to be found within Ganaesia's wailing shiny metal vibes. Also check for Ganaesia's cover art direction by Japanese poster-dude Tsuguya Inoue, who did work for Ryuchi Sakamoto, Yellow Magic Orchestra and other big guns of the east.

"Return of the Bolivian Soong Soong Man"