bcklg frm smmr mnths. 0 vwls

that beats pure ignorant hi

chinonecker cover lo-fi

there's no business like Shaw business.

No more new tracks will be *started* for berecuse from now. To Celebrate - a cover.

let me feet do the talkin' like the gaffer says y'know, 110%

soft bastard.

soft bastard.

marché de viande de berceuse électronique.

potential track listing:

1:12
2:13.2
3:11
4:14
5:principauté
6:le vingt et un février
7:9
8:musique de législation
9:l'oeil se rouille
10:guitares de spectre carillonnant
11:le fait de baiser la musique
12:I'd sooner tell scottish john I was riding the hole off Rangers FC using Maddie McCann's head as a fuck rod, shitting kilts of Lockerbie

more soon.

full, not full

press to 12" only

SPY EAR OUTROBLIP

Spy Ear

Well, I hope your ol' bus freezes up.

From the Coroner's Report dated Feb. 4, 1959

The body of Charles H. Holley was clothed in an outer jacket of yellow leather-like material in which 4 seams in the back were split almost full length. The skull was split medially in the forehead and this extended into the vertex region. Approximately half the brain tissue was absent. There was bleeding from both ears, and the face showed multiple lacerations. The consistency of the chest was soft due to extensive crushing injury to the bony structure. The left forearm was factured 1/3 the way up from the wrist and the right elbow was fractured. Both thighs and legs showed multiple factures. There was a small laceration of the scrotum.

Personal effects found with the body are listed on a separate sheet in this report.

Fingerprints were taken of the deceased for purposes of identification.

Ralph E. Smiley, MD
Acting coroner



Coroner's investigation
Air crash, Feb. 3, 1959
SW1/4 Section 18, Lincoln Twp.
Cerro Gordo County, Iowa

Jiles P. Richardson, Charles Holley, Richard Valenzuela and Roger A. Peterson, pilot of the plane were killed in the crash of a chartered airplane when it fell within minutes of takeoff from the Mason City Airport. The three passengers were members of a troupe of entertainers who appeared at the Surf Ballroom at Clear Lake, Iowa, the evening of February 2, 1959, bound for Fargo, N.D. and was headed northwest from the airport at the time of the crash in a stubble field, 51/2 miles north of Clear Lake, Iowa. The plane was discovered about 9:00 A.M., February 3, 1959, when Mr. H.J. Dwyer, owner of the crashed plane, made an aerial search because he had received no word from Peterson since his takeoff.

The wreckage had been approached only by Deputy Sheriff Bill McGill in his sheriff's car before I arrived about 11:15 A.M. At this time two sheriff's cars, two highway patrol cars and cars carrying members of the press, both reporters and photographers, and representatives of TV and radio stations and a few spectators were allowed to pass through the gate into the field where the crash occurred. Approach was made in a circuitous route to avoid disturbing wreckage and debris from the crash.

The wreckage lay about 1/2 mile west from the nearest north-south gravel road and the farmhomes of the Albert Juhl's and the Delbert Juhl's. The main part of the plane lay against the barbed wire fence at the north end of the stubble field in which it came to earth. It had skidded and/or rolled approximately 570 feet from point of impact directed northwesterly. The shape of the mass of wreckage approximated a ball with one wing sticking up diagonally from one side. The body of Roger Peterson was enclosed by wreckage with only the legs visible sticking upward. Richard Valenzuela's body was south, lying prone, head directed south 17 feet from the wreckage; Charles Holley's body, also in the prone position, was lying southwest, head directed southwest, 17 feet from the wreckage; and J.P. Richardson's body, lying partly prone and partly on the right side, was northwest of the wreckage, head directed south 40 feet from the wreckage, across the fence in a picked cornfield. Fine snow which fell lightly after the crash had drifted slightly about the bodies and wreckage. Some parts of each body had been frozen by ten hours' exposure in temperature reported to have been near 18 degrees during that time. The three bodies on the ground were removed before I left. Peterson's body was removed after permission was granted by the inspector for the Civil Aeronautics Board and Federal Aviation Agency. This was done by Deputy Sheriffs Wm. McGill and Lowell Sandquist using metal cutting tools to open a space in the wreckage.

At the scene of the crash Mr. Carroll Anderson was helpful in tentatively identifying the bodies from the clothing.

A large brown leather suitcase with one catch open lay near one leg of Charles Holley, and about 8ft. north of the same body lay a travel case with brown leather ends and sides of a light plaid color. This measured approximately 15 in. x 12 in. x 6 in.

A billfold containing the name of Tommy Douglas Allsup and a leather pocket case marked with the name, "Ritchie Valens" were brought to me at the scene by Deputy Sheriff inspecting the ground over which the wreckage had skidded and rolled.

Glen Kellogg of Clear Lake took some photos of the scene at the request of Sheriff Jerry Allen and me. News and TV photographers also took still pictures and movies of the scene.

The plane was a Beech-Craft Bonanza, No. N3794N, painted red, with white and black trim. Deputy Sheriff Lowell Sandquist, an experienced pilot, who has flown in and out of the Mason City airport, was present when the radio and navigational equipment from the plane were examined. He reports the radio to have been set for listening and talking to the Mason City Airport Station MCW, and the navigational equipment to have been correctly set for a course from Mason City to Fargo, N.D.

Arrangements for the flight were made by Mr. Carroll Anderson, Manager of the Surf Ballroom at Clear Lake, Iowa, with Mr. H.J. Dwyer, fixed base operator for the Mason City Airport. The reasons given to Mr. Anderson for the flight were that all three passengers wished to reach their next destination in their itinerary ahead of the chartered bus which carried the rest of the troupe in order to have some laundry done. Mr. Anderson drove the three passengers to the airport in his family automobile. Accompanying him were his wife and 8-year-old son. They saw the plane take off and make its circle to take up its course.

The Air Traffic Communication Center of the Federal Aviation Agency at the Mason City Municipal Airport. reported to me that at 0058 on February 3rd, the wind was south, gusty to 20 M.P.H., temperature 18 degrees F., dew point 11. In takeoff, the plane followed a normal procedure using the runway toward the south and turning in a counterclockwise direction. The amount of snow falling from midnight to 6:30 A.M. on February 3rd was listed as a trace.

Further information from them was that as the pilot taxied down the runway he communicated by radio with the tower and secured additional information about the weather en route. He told the officer in charge in the tower he would file a flight plan after getting in the air. When this information did not come in, the officer tried to reach the pilot without getting a reply.

An official investigation was carried on by a crew of field representatives headed by Mr. C.E. Stillwagon of the Civil Aeronautics Board, Bureau of Safety Investigation, 4825 Treost Avenue, Kansas City, Missouri, and Mr. A.J. Prokop, Federal Aviation Agency, Des Moines office. This group spent three days on the investigation arriving here the evening of February 3rd. They visited the scene of the crash for preliminary survey before dark that day.

I, Ralph E. Smiley, M.D., Acting Coroner of Cerro Gordo County, Iowa, on the 4th day of February, 1959 hereby certify that the above facts are made of record after diligent investigation and I believe them to be correct.

this historic and monumental day.

Feb 2nd.1882 James Joyce is born. Ulysses is published also on this day. Forty years later.

Jacques Philippe Marie Binet is born. He contributes to number theory.

Donald Pleasance dies. Sid Vicious dies. Gene Kelly and Fred Perry both die.

1966, Pakistan suggests a six-point agenda with Kashmir after the Indo-Pakistani War of 1965. Adolf Hitler dissolves the German Parliament. Greece declares war on Turkey. Queen Victoria's funeral takes place & Grand Central Station is opened in New York City.



Tim Sherwood is born.

Traité des objets musicaux

The musical note, a notable assortment of pitch, duration, and intensity, has borne sway over European tradition and laid claim to universality. Owing to a notational system, the composer sings in silence, plays in silence, sight-reads in silence. The score prefigures the work, which is one and the same with the symbols of writing: ‘Beethoven’s quartets lie in the storerooms of the publishing house like potatoes in a cellar’. The composer does not hear but reads, ‘pre-listens’. Schaeffer likens his demarche to the scholastic exercise of translating a text from one’s mother tongue into a foreign language. The performer translates symbols and notions into sound, and an implicit, readable work, becomes explicit, audible to laymen. Still, there is something sonorous in a musical composition. ‘The thingly element is so irremovably present in the art work that we are compelled rather to say conversely that the musical composition is in sound’.

The sound recordist does not read but listens.

Comparing the sound image generated by the electroacoustic chain with the original sound phenomenon, which originates from real instruments and unfolds in real magnitude over the acoustic field, he translates from sound. Schaeffer likens this demarche to the scholastic exercise of translating a text from a foreign language into one’s mother tongue.

In 1954 Heidegger stated that humans were delivered over to technology in the worst possible way when they regarded it as something neutral; for this conception of it, to which they particularly liked to do homage, made them utterly blind to the essence of technology.

Because the essence of technology was nothing technological, essential reflection upon technology and decisive confrontation with it ought to happen in a realm that were, on the one hand, akin to the essence of technology and, on the other, fundamentally different from it. Such a realm was art. But only if the arts were not conceived as deriving from the artistic, if art works were not enjoyed aesthetically, if art were not a sector of cultural activity. Art demanded to be reconducted to the golden age of Greek techne. In 1958 Simondon saw culture as unbalanced because it enshrined the aesthetic object in the world of significations while driving the technical object back into the structureless world of what had no signification but a use. Simondon sought to integrate the machine into the family of human things as a component of a global rebirth of culture. The gap which separated the occidental man from the work of his hands demanded to be bridged. And the activities of the craftsman, simultaneously ancient and modern, provided a model of understanding, employment, and humanization of the machine.

Important to note these coming days as ones of banal importance.

For gufazi-esque one I set about trawling the track and upping the mid - dropping the low, where appropriate to even the sound. All pointless.

Then recorded samples of Radio 4 going through guitar pedals for the intro/outro sections. Video is posted below. IT turned out that the capture on the video version was better. So that is what is now heard on the track.. I created a manual tape loop - no Ctrl c, Ctrl v using two tape decks and a dictaFONE. This appears at the beginning and end of the track.

Newcastle on Thursday.

any usb port in a storm.

re-hashing of gufazi 1 w/radio 4.

which should read - by Nes Advantage

Missed call from Nicky Campbell

Until a few years ago the Sundance Film Festival was strictly a home-grown affair, and its attempt to create a more international profile seemed optimistic. But although the event isn't anywhere near as global as Cannes, Sundance is starting to adopt a more cosmopolitan feel — and the British are the first to feel the benefit.
Building on last year's breakthrough, when a record number of British productions were screened, the 2009 festival is presenting a film that not only stands out in the Sundance selection, it might even be the best British film of the year. Written and directed by Armando Iannucci, In the Loop is the big-screen sisterpiece to his recent political TV series The Thick of It, which married the deadpan, old-school-tie satire of Yes Minister with the edgy laughs of The Office.
But although that formula could be seen as derivative and perhaps even inevitable in today's cynical world, the results are anything but. Like its small-screen sibling, this stark, foul-mouthed black comedy is an artfully written skit that combines pin-sharp characterisation with brutally effective one-liners.
There are no heroes, as such, in this world. Instead, the focus is the hapless Simon Foster (played by Tom Hollander), the fictional Secretary of State for International Development. Foster's political destiny is sealed from the start when, during an interview with BBC Radio, he is asked about the likelihood of war in the Middle East. He replies that the possibility of war is “unforeseeable”.
This casual comment will result in Foster becoming a political piggy in the middle, a pawn in a game that, though farcical, chimes uncomfortably with recent events.
His apparent pacifism is seized on by Karen Clarke (Mimi Kennedy), a Washington diplomat who, together with the pacifist General Miller (James Gandolfini), is involved in a battle with US hawks intent on picking a fight with the Middle East. Foster is flattered, but despite pressure from the acid-tongued UK spin doctor Malcolm Tucker (Peter Capaldi), he decides to play both ends against the middle. The result is a classic British comedy reminiscent of the very best of old Ealing, a morality play in which the upper and lower classes clash, thinking that they're both above the Americans and their vulgarity, while achieving little except a pathetic show of vanity.
It's hard to settle on a standout element because it's all so outstanding, from the performances to the one-liners to the plot, which climaxes with a bathetic twist that seems chillingly possible in today's dog-eat-dog climate. But maybe the best thing about this hilarious, superb, black comedy is its use of language, veering from elaborate schoolboy profanity to exquisite wordplay and sublime parody of government doublethink. The latter is perfectly embodied in a climactic exchange between Tucker and Foster. “Whether it happened or not,” hisses an irate Tucker, “it's true.”

mic that

As for effects, says Kevin, "There's no chorusing or anything like that. But there's one very definite effect that I do use, and that's reverse reverb, mostly on a Yamaha SPX90. It inverts a normal reverb envelope without making the notes backwards. There are certain settings I use that, along with the way I have the tone of the guitar set up, create a totally melted sort of liquid sound. I don't use any of the original, dry guitar signal; it's purely the reverb. When I use that sort of effect on guitar, that means there's one guitar on the track. A song like 'Soon' has got three guitars. But the bulk of the sound is just from one guitar."