Marc Ribot / Marc Ribot's Ceramic Dog - Connection 2023

NIK TURNER -God Rock by Sphynx 1993

Sphynx 1993

ROXY MUSIC - The Early Years - Live (HQ)

The Early Years Formed in 1971, Roxy Music was largely the brainchild of Ferry, who had studied with Richard Hamilton, a key figure in British pop art Roxy Music invented a genre of futuristic rock that relied on a jazz-rock instrumentation, decadent singing, melancholic melodies and danceable rhythms, thanks to which they acted as an important trait d'union between the progressive-rock and punk-rock. The first three albums recorded by Roxy Music revolutionized progressive-rock and prepared the way to the new wave and to synth-pop. The sounds of Pink Floyd (surreal soundscape, surrealism), Soft Machine (dadaism, azz-rock), Traffic (chromatic jamming), Cream (virtuosity) Led Zeppelin (loudness and frenzy,impetus) King Crimson (emphasis and frenzy, grandiloquence ) pathos) and the avantgarde (minimalism and cacophony) merged in the inventive bacchanals of their debut album, Roxy Music (1972), which includes the futuristic anthem Virginia Plain and several avant-rock pieces fueled by Brian Eno's electronics. Bryan Ferry's emphatic crooning soared unrestrained on For Your Pleasure (1973), which contains the hypnotic synth-dance Bogus Man; and attained a kitschy quality on Stranded (1973), whose ballads Mother Of Pearl and A Song For Europe wed the themes of European decadentism and existentialism with luxuriant arrangements and sleek production. Love Is The Drug (1975) and subsequent albums would merely sell that idea in the discos. brian eno (keyboards) teddy-boy phil manzanera ( guitar), the decadent intellectual brian ferry (vocals), the graduate of the Conservatory andy mcclay (saxophone), and paul thompson (drums). Roxy Music are an English rock band formed by in 1970 by singer Bryan Ferry and bassist Graham Simpson, who were soon joined by saxophonist Andy Mackay, synthesizer player Brian Eno, guitarist Roger Bunn and drummer Dexter Lloyd. By the time the band recorded their first album in 1972, Bunn and Lloyd had both departed, with drummer Paul Thompson (who joined in 1971) and guitarist Phil Manzanera (who joined just before recording began in 1972) alongside Ferry, Simpson, Mackay and Eno. The band split in 1976, reformed in 1978 and split again in 1983

Stelarc: The Man with Three Ears

Stelarc is not interested in explaining what he is. In 2011 Motherboard met Stelarc, a Greek weirdo who lives in Australia and has been screwing with his body in the furtherance of art, technology, and cyborg rights. Originally released on Motherboard in 2011.

PROPEL - Body on Robot Arm. Stelarc 2015

The body was attached at the end of an industrial robot arm with a 3m task envelope. It choreographed the body's trajectory, velocity and position/orientation in the space. The performance lasted for 35 min. When this performance was completed, the body was replaced by an ear whose height was the height of the artist. The robot then performed the same choreography. The robot that choreographs the ear also carved it. These performances were supported by SymbioticA, as part of the DeMonstrable exhibition at the Lawrence Wilson Gallery. It was curated by Oron Catts, Elizabeth Stephens and Jennifer Johung, with the assistance of the Australia Council. Robot programming by Hayden Brown and James Boyle at Autronics. Special thanks to Paul Capon, Parallax Productions, Jim Tweddle, Wintech Engineering and Peter Bradbury, ABB Australia Pty Ltd.

Stelarc Exoskeleton @ STRP- Performance Stelarc Walking Machine

The body is obsolete - Stelarc

Stelarc's third ear - Australian artist Stelarc has an third ear, but this one isn't for his hearing.

Sterlac - 2 minutos de arte

LA DANZA MÁS INCREIBLE DE MÉXICO "DANZA DE LOS VOLADORES", DANZA RITUAL ...

Se trata de una danza de fertilidad, con hondas raíces prehispánicas. Algunos autores sugieren que se practicaba por lo menos desde el Posclásico Temprano (900-1200 d.C.). El rito del Volador o alguna variante de él (como el hua-hua y el quetzalin), aún se ejecuta entre varios grupos étnicos de México y Centroamérica. Las variantes más conocidas son las de los huastecos y los totonacos de Veracruz. Durante la ceremonia, cuyo objetivo último es propiciar la fertilidad de la tierra, cuatro hombres trepan a un poste de madera –que puede alcanzar hasta 40 m de alto–, recién cortado con la anuencia del dios de la montaña. Un quinto elemento, el caporal, se coloca en la punta del poste, y con una flauta y un tamborcillo toca melodías dedicadas al Sol, a los cuatro vientos y a las direcciones cardinales. A continuación los cuatro hombres, atados con cuerdas al poste, se lanzan al vacío y descienden lentamente mientras simulan volar. Esta danza recrea el mito del nacimiento del universo, expresa la cosmovisión de la comunidad, permite la comunicación con los dioses y convoca a la prosperidad del grupo. Con el nombre de “La ceremonia ritual de los voladores” fue inscrita en 2009 en la “Lista representativa del patrimonio cultural inmaterial de la humanidad”. For the past 600 years, dancers in Papantla, Mexico, have taken to the skies to perform the acrobatic spectacle, the Danza de los Voladores (Dance of the Flyers). Four flyers and one guide dressed in vibrant colors ascend a 20-meter pole, anchored only by a single rope tied to their legs. There, they begin the ritual, flying through the air to ask the sun deity for rain and blessings.

Mexico’s 600-Year-Old Dance of the Flying Men

Mexico’s 600-Year-Old Dance of the Flying Men puebla cuetzalan mexico For the past 600 years, dancers in Papantla, Mexico, have taken to the skies to perform the acrobatic spectacle, the Danza de los Voladores (Dance of the Flyers). Four flyers and one guide dressed in vibrant colors ascend a 20-meter pole, anchored only by a single rope tied to their legs. There, they begin the ritual, flying through the air to ask the sun deity for rain and blessings.

[Michel Redolfi concert Sonic Waters "Innerspace" - Bruxelles (nov. '18)

On s'immerge lentement, puis on se suspend... Les notes et la voix alors nous murmurent "Irène". ... Le film du concert Sonic Waters "Innerspace" performé en novembre dernier par Michel Redolfi et Jean-Marc Barr au festival ARS MUSICA de Bruxelles. Este espetáculo subaquático já foi montado em Portugal. outro concerto multimédia dele, na Estufa Fria, com o percussionista (e multinstrumentista...) STEVE SHEHAN

GOODBYE to the Legendary Viper Room 1986 - 2023

History Of LA's Live Music Clubs Part #:1. 1964-2022.

KISS-Walk outside Whisky A Go-Go Los Angeles 2019-02-11

January 16, 1964 a small club on the Sunset Strip opened its doors for the first time. It was The Whisky a Go Go, the first ever live music venue to be inducted into the Rock And Roll Hall Of Fame and the most iconic club of the Strip. Founded by Mario Maglieri, Elmer Valentine and Phil Tanzini – The Whisky had to spell its name without the ‘e’ in whiskey because Los Angeles city zoning laws didn’t allow any club to be named after alcohols (The Whisky constantly had problems with the city and for a while had the name “The Whisk?”). The world-famous Whisky a Go Go opened on Jan. 15, 1964 with a concert by Johnny Rivers. A DJ named Joanie Labine (the first DJ at The Whisky) played records in a booth that was suspended to the right of the stage in between Johnny Rivers’ sets. Labine entertained the crowd by dancing and the idea of the go-go dancer was born. Very soon a ‘costume’ of the go-go dancers also emerged: a girl wearing a short, fringed skirt and high, white boots: a trend that will spread to all discotheques and nightclubs all across the country

The World Famous Whisky a Go Go – As long as there has been a Los Angeles rock scene, 1964

a primeira discoteca do mundo On January 16, 1964 a small club on the Sunset Strip opened its doors for the first time. It was The Whisky a Go Go, the first ever live music venue to be inducted into the Rock And Roll Hall Of Fame and the most iconic club of the Strip. Founded by Mario Maglieri, Elmer Valentine and Phil Tanzini – The Whisky had to spell its name without the ‘e’ in whiskey because Los Angeles city zoning laws didn’t allow any club to be named after alcohols (The Whisky constantly had problems with the city and for a while had the name “The Whisk?”). The world-famous Whisky a Go Go opened on Jan. 15, 1964 with a concert by Johnny Rivers. A DJ named Joanie Labine (the first DJ at The Whisky) played records in a booth that was suspended to the right of the stage in between Johnny Rivers’ sets. Labine entertained the crowd by dancing and the idea of the go-go dancer was born. Very soon a ‘costume’ of the go-go dancers also emerged: a girl wearing a short, fringed skirt and high, white boots: a trend that will spread to all discotheques and nightclubs all across the country. The Doors begin their run as the house band at The Whisky a Go Go opening for every group to play there from May 23 to August 21, 1966. They typically performed two sets per night. Exposed to a wide-ranging audience, The Doors began to experiment daringly. Allegedly, the experiments often took the form of drug trips, and weekly tales of The Doors’ freaked-out adventures flew: “Morrison was so stoned last night he fell off the stage again”. During this period The Doors opened for artists as Captain Beefheart And His Magic Band, Buffalo Springfield, Love, Them, The Turtles and Johnny Rivers. The Doors perform as the house band at the Whisky a Go Go for the final time on August 21,1966. Jim Morrison misses their first set and the other band members play without him. Before the second set, they go looking for him and find him in Room 203 of the Tropicana Hotel. Jim has dropped acid and is wearing only underwear and a pair of boots. The guys quickly get Jim dressed and drag him to the Whisky for their next set. The last song they perform is “The End” and Jim improvises the Oedipal section into it for the first time, inserting lyrics about his mother and father. Jim later explained what happened in a 1967 interview with the Cleveland Plain Dealer: “One Sunday night at Whisky a Go Go — we were the second band — something clicked. I realized what the whole song was about, what it had been leading up to. It was powerful. It just happened. They fired us the next day.” Janis Joplin and her group Big Brother and The Holding Company also became regulars at The Whisky. Mario Maglieri describes one night sitting at a booth with Janis: “She was a great entertainer, but a raunchy chick. Dirty nails, stringy hair. Looked like she hadn’t bathed in a month. And she had that raspy voice. Well, she was at the Whisky one night. I was sitting next to Janis, don’t know what the hell we were talking about. The waitress came up to the table. Janis says to her ‘Gimme a drink’. So the girl brought over a Southern Comfort on the rocks. And what do you think Janis said? ‘I want the whole fuckin’ bottle!’ That was Janis. I truly loved her musically and as a person. She was just a great chick, you know what I mean?” Less than three weeks after Jimi Hendrix’s death, on October 4, 1970, Janis Joplin was found dead of a heroin overdose in the Landmark Motor Hotel in Hollywood. She, too, was twenty-seven. As Mario Maglieri’s son Mikeal recalls: “I gave Janis Joplin her last drink, four shots of Southern Comfort, and dad said, ‘Put the bottle in her trunk.’ Next day the headlines said she died of alcohol poisoning. It was actually heroin, but for three days I thought I killed her. She was a mellow chick, but smelly — she bought her clothes at Goodwill.” “Fortunately, an extremely sexy, pixie-voiced blond named Ronnie Harran, who booked the Whisky, saw us…She had an ear for talent…the Whisky was finally a gig we could be proud of…” ~ John Densmore, The Doors’ drummer (“Riders On The Storm”) The Whisky a Go Go (informally nicknamed The Whisky) is a historic nightclub in West Hollywood, California, United States. It is located at 8901 Sunset Boulevard on the Sunset Strip, corner North Clark Street, opposite North San Vicente Boulevard, northwest corner. The club has been the host for musicians and bands including Taj Mahal, Otis Redding, Hugh Masekela, Alice Cooper (who all recorded live albums there between 1966 and 1969), The Doors, The Byrds, Three Dog Night, The Mothers of Invention, Buffalo Springfield, Led Zeppelin, Love, The Stooges, Parliament-Funkadelic, The Beach Boys, Cheap Trick, No Doubt, System of a Down, The Flying Burrito Brothers, Chicago, Germs, Elton John, Oasis, Steppenwolf, Van Halen, Rush, Johnny Rivers, X, Iron Butterfly, Fleetwood Mac, KISS, Guns N' Roses, Death, AC/DC, Golden Earring, Linkin Park, Metallica, Mötley Crüe, Stryper, Dokken, and Phil Seymour.

The Scene Los Angeles: Whisky A Go Go

11-1-2024 em 1963 abre portas a primeira discoteca do mundo, nos EUA, que tem um nome curioso..... Whisky a Go Go

Thurston Moore / Mike Watt

Cafe OTO - Tuesday 26th September 2017

Blue Lake · Dallas

Thurston Moore / Rie Nakajima / Phill Niblock - Cafe OTO 2023-05-06 RIP PHILL NIBLOCK age 92

"No harmony. No melody. No rhythm. No bullshit." Phill Niblock rest in peace

Blue In Heaven · The Big Beat

Blue In Heaven · Shane ONeill All the Gods' Men

MARC MORELAN from - WALL OF VOODOO Bring Me Back Home

Marc Moreland born 8 January 1958, CA, United States died 13 March 2002, Paris, Île-de-France Member of : Department of Crooks, Nervous Gender, Pretty and Twisted, The Skulls, Wall of Voodoo Wall of Voodoo formed 1977, Los Angeles - disbanded 1988 "It is a shame that more artists did not seek to blend Morricone-tinged Western music w/ new wave synthrock. If the Wall of Voodoo (and Stan Ridgway's solo career) are any indicator, the blend is a great one. Unfortunately, this was a story of one song getting way too big for its britches, and thanks to the excellent but overplayed "Mexican Radio," Ridgway and the boys were doomed to have their spooky, Americana music from another dimension pushed into the footnotes. They were filed away under "one-hit wonder" and that was the end of one of the most underrated B-movies of the '80s. "

Minimal Man - You! You! 1984

Formed by Patrick Miller in San Francisco in 1979, Minimal Man cut two albums of dark industrial punk rock ("The Shroud Of" and "Safari") before Miller relocated to Europe in 1985, where he continued as a prolific creator of music and visual art, and as a collaborator with Tuxedomoon. His four European albums are "Sex With God", "Slave Lullabyes", "Hunger Is All She Has Ever Known" and "Pure". Miller returned to California in the 1990s, and died at home on 14 December 2003.

Section 25 Deus Ex Machina 2006- Loving No-One

GINA BIRCH- Dance Like a Demon

Gina Birch · Martin(Youth)Glover I Play My Bass Loud Third Man Records 2023

Volcano Suns - No Place

Formed 1984, Boston, Disbanded 1991 Peter Prescott (drums, vocals) member of Kustomized, Minibeast, Mission of Burma, The Molls, Peer Group, Volcano Suns Steve Michener (bass, 1984) member of Big Dipper, Dumptruck, Volcano Suns Gary Waleik (guitar, 1984) Jeff Weigand (bass, 1984-87) Jon Williams (guitar, 1984-87) Chuck Hahn (guitar, 1987-88) Bob Weston (bass, 1987-91) member of Crush Senior, Mission of Burma, Shellac, Volcano Suns David A. Kleiler Jr. (guitar, 1988-91) member of Busted Statues, Sorry, High Cameras, Volcano Suns

FACS Silencing 2018 by Brian Case

Formed 2017, Chicago, IL, United States Brian Case (bass, guitar, vocals) Noah Leger (drums) Jonathan van Herik (guitar, bass, 2017, 2022-present) Alianna Kalaba (bass, 2018-2022)

The Residents - Melon Collie Lassie (Live in Copenhagen, February 9th, 2...

Negativland - Is It or Isn't It

Negativland Speech Free: Recorded Music for Film, Radio, Internet and Television ℗ 2022

Negativland - More Data

Negativland. Video by Ryan Worsley N(C) 2019.

Nothing -The Dead Are Dumb

Brian Eno -New Moons

Grey Lenses -The Moment's Gone

FACS- Constellation

Though Still Life in Decay is Facs' last recorded work with bassist Alianna Kalaba (founding member Jonathan Van Herik returned after the album was completed), at least she left on a high note. An "addendum" to 2021's Present Tense, the band's fifth full-length is one of their finest. While the titles of both albums evoke the suspense of seemingly frozen points in time, Still Life is often more present than its predecessor. Working once again with engineer Sanford Parker at Electrical Audio, Facs trade Present Tense's crushing density for a roomy, live sound that electrifies the space between each instrument and the pregnant pauses within each song. That the album consists of just six tracks hints at the band's expansive playing, but even the shorter pieces are remarkably rangy. "Constellation" begins Still Life in Decay with Facs' vaporous and claustrophobic extremes: Kalaba's plunging bass anchors Noah Leger's cleanly carved-out drums, while Brian Case's blurry guitar harks back to Void Moments' hallucinatory sonics and the ways he's reimagined shoegaze since the Disappears days. Still Life in Decay also serves as a tribute to Kalaba's stint with Facs. Her fuzzed-out tone is a stroke of genius, adding seething color and texture that subtly dominates each track. The magma-like low end on "Slogan" complements the icy chime of its guitars perfectly, and "Class Spectre"'s razing drones embody the "negative power" Case sings about. The band's own negative power -- their refusal to use dynamics, space, or resolution in obvious ways -- expresses Still Life in Decay's soul-deep unease eloquently. More than on some of the group's other work, Case's voice and words channel the music's emotional entropy. On songs such as "When You Say," his anticipation of inevitable rejection ("I know it's coming/I can't change that") hangs in the air as the music prickles and churns around him, stretching the moment to the breaking point. As on Present Tense, the last two tracks blow Still Life in Decay wide open. "Still Life" is a beautiful ruin, its corroded tones and sweeping chords echoing Case's alienation before transforming into a hovering sound-world of cresting reverberations that rival EVOL- or Daydream Nation-era Sonic Youth when it comes to poetic noise. Facs sustain this mood on "New Flag," a ten-minute excursion into broken majesty that features soaring, trumpet-like melodies, backwards guitars, and a ferocious breakdown, then ends with amp buzz that pulses like a heart. As noisy and fractured as it gets, Still Life in Decay is executed with crystalline vision and haunting impact. It's the moment where Facs evolve from an impressive band into a transcendent one. all music

FACS -Slogan 2023

FACS - Strawberry Cough

FACS - XUXA

Alternative/Indie Rock, Indie Rock, New Wave/Post-Punk Revival, Experimental Rock, Post-Rock

Electric Sewer Age - Moon's Milk (Eternal Phase)

Electric Sewer Age - Whose Gonna Save My Soul

Disappears - Integration

Disappears- Anagram

Disappears · Steve Shelley · White/Light · Brian Case · Damon Carruesco · Graeme Gibson · Jonathan van Herik · Jeremy Lemos · Matt Clark

Disappears - Joa

Disappears - Power

Carving out a space somewhere in the middle of garage punk snarl, shoegaze haze, and Krautrock grooves, Chicago's Disappears feature Brian Case (also of the Ponys and 90 Day Men), Boas members Graeme Gibson and Jonathan van Herik, and Damon Carruesco. The band started when Case's other groups were on hiatus and he was recording demos with Gibson; Gibson brought van Herik into the project, and in turn, van Herik brought Carruesco into the fold. Soon after forming, the band self-released a series of 7" singles with artwork based on Can's album Delay 1968, and made its material available for free on the Internet. Disappears began recording their debut studio album and signed to Touch & Go, appearing at the label's showcase at 2009's South by Southwest festival, and also playing dates with Tortoise, Deerhunter, and Times New Viking. The band released 100 CD-Rs of Live Over the Rainbo -- a live album from the Deerhunter/Times New Viking tour -- which was eventually distributed by Plus Tapes and Rococo Records later in 2009. Disappears continued to play more high-profile Chicago shows, including a gig at the Pitchfork Music Festival and a 2009 New Year's Eve show with the Jesus Lizard. Late in the year, Disappears moved to Kranky Records, which released their official debut album, Lux, in 2010. The band also recorded a single with Sonic Youth's Steve Shelley and the noise duo White/Light. Disappears took a sleeker, more psychedelic approach on 2011's Guider; after Gibson left to pursue other opportunities, Shelley became the band's drummer. The following year's Pre Language, which was recorded at Sonic Youth's Echo Canyon West studio and mixed with John Congleton, was the first Disappears album to feature Shelley's work. Shelley departed the band due to touring conflicts, making way for former Anatomy of Habit drummer Noah Ledger. Disappears self-released the Kone EP early in 2013, and the starker approach they took on those songs continued on their fourth album, Era, which arrived that August. In 2014, the band played David Bowie's classic Low at the Museum of Contemporary Art Chicago as a part of the Bowie Changes concert series; some of that album's arty darkness was also reflected on their next full-length, Irreal. Recorded with John Congleton at Steve Albini's Electrical Audio studio, the album was released in January 2015. Late that year, Low: Live in Chicago, a document of the Museum of Contemporary Art performance, arrived. The band’s sound -- hypnotic swirls of guitar, to-the-point drums, snarled and sneered vocals -- is as simple as it is difficult to pin down: Disappears have an undeniable swagger, but they’re too hazy to be garage rock; they’re too gritty to fit in with the mostly wispy shoegaze revival; they’re noisy but not noise, raw but not lo-fi. Over the course of Lux’s ten songs, the band reveals a kinship with the darkest, most narcotic bands of the shoegaze era (Spacemen 3, Jesus and Mary Chain) and some of the most aloof, acerbic punk legends (Suicide, the Fall). However, Disappears actually have the most in common with vocalist/guitarist Brian Case’s other projects, the Ponys and 90 Day Men, in spirit if not in sound. Songs like “Gone Completely” and “Old Friend” mix the Ponys’ directness with 90 Day Men’s ambition, and share the heads-down intensity of both those bands. At times, Disappears’ songs are so driving that their groove threatens to turn into a rut, and some of Lux’s best moments occur when the band takes a breather and changes things up: “Not Nothing” allows Disappears to crack a smile with its irresistible beat and bassline, the title track borrows some of the Velvet Underground’s chugging, deadpan cool, and on “Little Ghost” Case trades his snarl for trance-inducing singing. Still, the fact that Lux is almost too consistent is hardly a problem for fans of the trippy, black-hearted rock that Disappears deliver so ably.

CLOCK DVA - THE SIMULACRA (2023)

Oslo Tapes - Space is the Place - live @ Aló Park Festival

Phil Minton and Roger Turner at the Sage Gateshead

Andy Moor - Anne James Chaton Dans Le Monde