Sunday, 31 May 2009

Cirque du Cabaret

Cirque du Cabaret

BUTTON FACTORY, Dublin 06.06.09

Ladies & Gentlemen,the time has come for the biggest circus burlesque show ever to happen in Ireland - Join us for this unbelievable show Saturday 6th June.

One of our favourite sons has returned as we welcome Dusty Limits, Miss Roxy Rhinestone & the stunning Empress Stah. Many more acts to be announced.

The grand prize on the night will be for a stay in The Morgan Hotel with cocktails! How nice.

Tickets Here

See you all in the Button Factory on June 6th

Doors at 7.30pm

With a super after party in The Morgan Hotel and Ukiyo, Exchequer St D2

Sunday, 3 May 2009

Pale Blue Dot

Video adaptation of Pale Blue Dot: A Vision of the Human Future in Space, written by Carl Sagan and Ann Druyan from Irish musician Ice Core Scientist - wonderful.

City of God’s Son - free download

Interesting Project....City of Gods Son is "an experimental movie for the blind/hip-hop opera" starring Nas, Jay Z, Ghostface, Biggie Smalls, Raekwon, Samuel Jackson, Delroy Lindo, and Laurence Fishburne. Download it for FREE from

Some words from the director...

"City of God’s Son (COGS) is all-things: an epic, a musical, a soundscape, a movie for the blind, an art installation, and a coming of age story. Through its blend of multiple media and art genres, COGS explores new grounds for unconventional storytelling and ultimately gives rise to the world’s first “Beat Cinematic”. I arrived at this term by combining various mediums including 3D audio, original music production, sound design, and dialogue samples. Using some of hip-hop and film’s greatest talents, I wanted to create my own cross-medium ensemble cast and out of many mediums create something epic and new. Hip-hop is the perfect choice for this because, like this project, it is a genre created using only the resources available and re-contextualizing them to create something bold and innovative.

More than just a remix or mash-up, COGS comments on the icon of the gangster, the media obsession with this character, and its function within hip hop culture. Homage to arguably hip hop's most culturally potent era, COGS explores the mythology behind musical icons and gangster film icons alike, and creates a world in which the two co-exist. COGS ties these together by playing off of the listener's familiarities of these genres and re-contextualizing them within a coming of age crime drama set in a mythical jungle metropolis.

The story explores the relationship between father and son and the struggle to define themselves in a world where their futures appear economically preordained. COGS riffs on the icon and myth of the gangster used generously throughout the history of hip-hop and American pop culture. The story embraces both the dichotomy of such societal reverence and media obsession with the moral quandary such a lifestyle calls into question. By using some of the genre’s most influential artists and manipulating them into characters that humanize and at times contradict their media persona, COGS aims to dissect concepts of machismo and push the envelope for using music as a more directly narrative medium. It also interweaves many classic crime film samples into the sound design and score of the piece, melding together the world of film with music into a new format of visceral soundscape. And in all of this there is the unique invention of self-proclamation; artists labeling themselves, touting beefs with other artists, and challenging the status quo.

This project is inspired by the many nights I spent roaming the city late at night as a graffiti artist as a kid, often just listening to my walkman. I was always inspired by the transformation of space at night versus daytime and how music and graffiti connected the two worlds. It is with this in mind that I am trying to connect the mythical city in COGS to the musical and cinematic memories in the listener’s mind. By playing with the listener's psychological and nostalgic associations with verses from well-known songs and dialogue from films, COGS creates its own mythology threaded together and playing off of familiar stories and plotlines and in effect sampling the listeners memories of music and film to create a new cross medium narrative.

At that time (mid 90’s), before reality TV, before hip-hop became THE commercial music format, the culture and its marquee artists were larger than life characters. Through this project I seek to ressurect some of that mythology by reinserting the very personas these artists promote to sell records, and putting them in a more human and vulnerable coming of age crime saga where they are now young men looking up to the gangster icon characters played by their father figures (Sam Jackson, Delroy Lindo). It has been said that film is the manipulation of space, and music the manipulation of time. Thus COGS is a manipulation of the deleted scene, the unreleased song, the space in between image and sound that connects the two.

Many of the beats I produced for this project have a layered meaning to them; the sample, the arrangements, the artist on the song, the verse, the placement within the story, the tone, all of these factors play into a larger dialogue, cultural commentary and narrative function. The function of this project is to change the function of music today from a disposable single based format to a longer form experience that may require several listens to fully digest, much how one would watch a film. It is with this ear for detail that I first heard Joe Bataan's music (which was used as background music in a skit on The Fugees The Score album) and sought it out. So I wanted to flip the function, instead of Nas rhyming over a Joe Bataan sample, I wanted Joe Bataan to tell a story over a reinterpreted Nas record, and create a dynamic soundscape that has its own cultural/historical meaning behind it completely unique of the original song’s tone or message, and connecting the past to the future, all within an epic greek tragedy.

Being primarily a visual artist for most of my life, it always struck me that there was always some kind of disconnect in what vision I had in my head, and the process of how that translates to the canvas. I always appreciated the process of creating that image and the execution, but I always found that there was no such thing as the exact image in your head being on canvas, in fact, I found that most of the strongest points in creating work were in the unintentional mistakes that pushed the piece in another direction. While the interpretation and process of that thought may prove successful in the creative process, what about that thought in its original form? It is with this in mind that COGS aims to create within the listeners head their own completely original visual interpretation based on a combination of visual associations with films and their own personal association to rap verses they recognize. Through visceral sound, created through an intricate mix of sampled sounds, sound bites, and rap verses, one can create something completely unique in their own mind made from something created out of thousands of appropriated sources.

Saturday, 2 May 2009

Tuneraker - Saturday DJ Mix

Another great mix from Christian Lorenz at Tuneraker...

"My mixer is fried but I just had to get these tunes out there. So expect a bit of roughness amid this otherwise pretty solid selection for a Saturday afternoon. You can download the mix here for free. The mix will be available for a limited period of time.only.

The mix kicks off very chilled with an unusually little ambient tune by Zomby, the Don of wonky Dubstep beats, before launching into Laurie Anderson's 1981 ambient classic 'O Superman'.

You get to hear the lost 1977 German Disco killer 'Love Machine' followed by a Reggae cover of Led Zeppelin's 'Whole Lotta Love'. Keeping it fresh, you'll hear the much talked about Aeroplanes mix of 'Paris' by indie band Friendly Fires and Various Production's ultra cool remix of Adele's 'Chasing Pavements'.

A flashback to the old skool is Zinc's '128 Trek' which devastates the dance floor today as it did back in '99. Japanese artist Akira Kiteshi's 'Pinball' is fresh off the press and completely barking - sounds like Kiteshi San plonked a microphone into the innards of a pinball machine.

How do you top that? Well, we can and the beats get faster and housier for a while before the Latin flavoured Factory sound of Quando Quango brings you gently down to earth with 'Love Tempo', a proper pre-Rave Hacienda classic.

As a closer, you'll get a mad Italian drummer, some Carl Craig magic and finally some cheeky Swedes' doing wonders with an old Marvin Gaye tune.

For promotional use only - This is a promotional DJ mix. If you like the music, please seek out the original versions which are available on vinyl from your local record store or, in some cases, as MP3s or Flacs from reputable online retailers.

Support your local record store!

Saturday Mix Tracklisting
May 2009 - For Promotion Only

1. Zomby 'Test Me For A Reason' (Hyperdub 2009)
2. Laurie Anderson 'O Superman' (Warner 1981)
3. Yello 'She's Got a Gun' (Do It 1981)
4. St. Germain 'Rose Rouge' (Blue Note 2000)
5. Kieran Hebden & Steve Reid '1st & 1st' (Domino 2008)
6. Supermax 'Love Machine' (WEA 1977)
7. The Dynamics 'Whole Lotta Love' (Groove Attack 2007)
8. JG 'Real Bad' (Bstrd Boots 2007)
9. Friendly Fires 'Paris (Aeroplane Mix)' (XL 2008, released 09)
10. Isolee 'Forever Lost (Glimmers Mix)' (Playhouse 2006)
11. Ilario Alicante 'Living Near Africa' (Cecille 2009)
12. Artificial Latvamaki 'Ratts Leaving The Sinking Ship' (Curle 2009)
13. TVO 'Dwyer (Bonus Beats)' (Stuff 2009)
14. Paikan & The Sadhus 'Dance Floor Fight' (Jazzman 2009)
15. Various Production 'Chasing Pavements' (Various 2009)
16. Zinc '128 Trek' (white label circa 1999)
17. Akira Kiteshi 'Pinball' (Black Acre 2009)
18. Unknown 'Greasy Mitts' (white label 2009)
19. Moves 'All Skate' (Dress 2 Sweat 2008)
20. Jean Philippe Aviance 'Useless' (Subversive promo circa 1998)
21. Thomas Bangalter & DJ Falcon 'So Much Love' (white label 2003)
22. Bob Sinclar 'Wonderful World (Dub)' (Yellow 2004)
23. Quando Quango 'Love Tempo' (Factory 1983)
24. Tullio De Piscopo 'Fastness' (Finders Keepers 2008)
25. Delia Gonzalez 'Relevee (Carl Craig Mix)' (DFA 2006)
26. 7 Samurai 'Marvin' (Gamm circa 2004)"

Download here

Paul Murphy - Jazzing The Old Way

Another killer mix from Paul Murphy

"Back in the night in the day I used to play a lot of what were then seen as straight ahead Jazz records. Before the heady 1990's days of Acid Jazz, before the Jazz Not Jazz trips, and well before the Nu Jazz times too.

I usually played in dive bars below seedy hotels, old Victorian pubs still full of Withnail and I types, South American restaurants full of extras from Scarface and ex-strip bars. All very downbeat and sordid.

And, amazingly, people used to come down to these places and dance their asses off. Heady times!

What goes around, comes around, happily and now on my travels I'm playing these old sounds again. And people are still digging them.

You can download from here..Its a big file so its gonna take a bit of time..

Here are the tunes...


Jill Bolte Taylor: My stroke of insight

This bought a tear to my eye this morning, incredibly moving, wonderful...