“There's no real objection to escapism, in the right places... We all want to escape occasionally. But science fiction is often very far from escapism, in fact you might say that science fiction is escape into reality... It's a fiction which does concern itself with real issues: the origin of man; our future. In fact I can't think of any form of literature which is more concerned with real issues, reality.”
― Arthur C. Clarke
Based on the extraordinary true story of Operation Anthropoid, the WWII
mission to assassinate SS General Reinhard Heydrich, the main architect
behind the Final Solution and the Reich's third in command after Hitler
and Himmler. imdb
Skeleton Tree is sixteenth studio album by Australian rock band Nick Cave and the Bad Seeds. It was released on 9 September 2016 on Bad Seed Ltd. A follow-up to the band's critically acclaimed album Push the Sky Away (2013), Skeleton Tree was recorded over a two-year period in several studios in Brighton, La Frette-sur-Seine and London and was produced by Nick Cave, Warren Ellis and Nick Launay.
During the sessions Cave's 15-year-old son Arthur died from an
accidental cliff fall. Most of the album had been written at the time of
Cave's son's death, but several lyrics were amended by Cave during
subsequent recording sessions and feature themes of death, loss and
personal grief. Skeleton Tree's minimal production and "less polished" sound incorporates elements of alternative rock, electronica and ambient music and features extensive use of synthesisers, drum machines and loops that were previously explored on Push the Sky Away. Several songs on the album utilise avant-garde techniques, including the use of dissonant musical elements and non-standard song structures.
Cave's allegorical and often-improvised lyrics have also been noted to
be less narrative and character-based than on previous Bad Seeds'
albums. One More Time with Feeling, a documentary film about the aftermath of Cave's son's death and the recording process of Skeleton Tree, accompanied the album's release. Directed by Andrew Dominik, the film received a limited release and was conceived by Cave to explain the context and themes of Skeleton Tree without conducting interviews with the media. Both the film and the album received widespread critical acclaim.
The Electric Horseman is a 1979 adventure-romance film starring Robert Redford and Jane Fonda and directed by Sydney Pollack.
The film is about a former rodeo champion who is hired by a cereal
company to become its spokesperson, and then runs away on a $12 million
electric-lit horse and costume he is given to promote it in Las Vegas.
Clock DVA are an industrial, post-punk and EBM group from Sheffield, England. The group was formed in 1978 by Adolphus "Adi" Newton and Steven "Judd" Turner. Along with contemporaries Heaven 17, Clock DVA's name was inspired by the Russian-influenced Nadsat of Anthony Burgess' A Clockwork Orange; Dva is the Russian word for "two". wikipedia
- One of a batch of groups forming the so-called "industrial" scene of
Sheffield in the early 80s, Clock DVA's first release was,
appropriately, on Throbbing Gristle's
Industrial label. The cassette-only (until its re-release in 1982)
"White Souls In Black Suits" featured Adi Newton (vocals, ex-the Studs;
the Future; Veer), Stephen James "Judd" Turner (bass, vocals, guitar,
ex-Block Opposite), David J. Hammond (guitar), Roger Quail (drums) and
Charlie Collins (saxophone). However, there had already been three
previous line-ups, including synthesizer players Joseph Hurst and Simon
Mark Elliot-Kemp.
In 1981, the band (with new guitarist Paul Widger) offered "Thirst",
available through independent label Fetish. With the ground for such
"difficult music" having been prepared by Throbbing Gristle, the press
reaction was remarkably favorable. Nevertheless, the band disintegrated
at the end of the year, and tragedy struck with the death of co-founder
Turner. Newton kept the name while the three other surviving members
joined the Box.
By 1983, replacements had been found in John Valentine Carruthers
(guitar), Paul Browse (saxophone), Dean Dennis (bass) and Nick Sanderson
(drums). A brace of singles prefaced "Advantage", their first album for
Polydor Records. The following year Carruthers and Sanderson departed,
and Clock DVA continued as a trio. Though it would be five years before a
follow-up, Newton was kept busy with his visual project The Anti Group
(TAGC), and several singles. "Buried Dreams" finally arrived in 1989.
By the time of 1991's "Transitional Voices", Browse had been replaced by
Robert E. Baker, of TAGC. The departure of Dennis after the completion
of "Man Amplified" and "Digital Soundtracks" in 1992 left the remaining
duo of Newton and Baker to record "Sign".
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-
After some 15 years of silence, Adi Newton has reactivated Clock
DVA. Since 2011 the new line-up (feat. Maurizio "TeZ" Martinucci) has
performed at several festivals and venues throughout Europe. "Horology",
a vinyl box set compilation of early material (1978-1980) was released
2012. According to Newton, Mute Records are going to re-release the
Clock DVA albums remastered in a box set in the near future.
A "new" album, "Post-Sign", was released 2013; this album was
recorded already in 1994/95 by Newton as an instrumental companion album
to "Sign", but remained unreleased at the time due to problems with
record labels. "Clock 2", a USB release with all new material plus
remixes and videos, is scheduled for release in 2014, as well as a
limited 12" with two remixes, on Newton's own label Anterior Research
Media Comm. discogs
- download Clock Dva's first nine albums via torrent from here
Osbourne Ruddock, (28 January 1941 – 6 February 1989) better known as King Tubby, was a Jamaican electronics and sound engineer, known primarily for his influence on the development of dub in the 1960s and 1970s.
Tubby's innovative studio work, which saw him elevate the role of the mixing engineer
to a creative fame previously only reserved for composers and
musicians, would prove to be influential across many genres of popular
music. He is often cited as the inventor of the concept of the remix, and so may be seen as a direct antecedent of much dance and electronic music production. Singer Mikey Dread
stated, "King Tubby truly understood sound in a scientific sense. He
knew how the circuits worked and what the electrons did. That's why he
could do what he did"
Biography
King Tubby's music career began in the 1950s with the rising popularity of Jamaican sound systems, which were to be found all over Kingston
and which were developing into enterprising businesses. As a talented
radio repairman, Tubby soon found himself in great demand by most of the
major sound systems of Kingston, as the tropical weather of the
Caribbean island (often combined with sabotage by rival sound system
owners) led to malfunctions and equipment failure. Tubby owned an
electrical repair shop on Drumalie Avenue, Kingston, that fixed
televisions and radios. It was here that he built large amplifiers for
the local sound systems. In 1961-62, he built his own radio transmitter
and briefly ran a pirate radio station playing ska and rhythm and blues which he soon shut down when he heard that the police were looking for the perpetrators. Tubby would eventually form his own sound system, Tubby's Hometown Hi-Fi, in 1958. It became a crowd favourite due to the high quality sound of his equipment, exclusive releases and Tubby's own echo and reverb sound effects, at that point something of a novelty.
Remixes
Tubby began working as a disc cutter for producer Duke Reid in 1968. Reid, one of the major figures in early Jamaican music alongside rival Clement "Coxsone" Dodd, ran Treasure Isle studios, one of Jamaica's first independent production houses, and was a key producer of ska, rocksteady and eventually reggae
recordings. Before dub, most Jamaican 45s featured an instrumental
version of the main song on the flipside, which was called the
"version". When Tubby was asked to produce versions of songs for sound
system MCs or toasters,
Tubby initially worked to remove the vocal tracks with the faders on
Reid's mixing desk, but soon discovered that the various instrumental
tracks could be accentuated, reworked and emphasised through the
settings on the mixer and primitive early effects units. In time, Tubby
began to create wholly new pieces of music by shifting the emphasis in
the instrumentals, adding sounds and removing others and adding various
special effects, like extreme delays, echoes, reverb and phase effects. Partly due to the popularity of these early remixes,
in 1971, Tubby's soundsystem consolidated its position as one of the
most popular in Kingston and Tubby decided to open a studio of his own
in Waterhouse.
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Dub music production
King Tubby's production work in the 1970s made him one of the best-known celebrities in Jamaica,
and would generate interest in his production techniques from
producers, sound engineers and musicians across the world. Tubby built
on his considerable knowledge of electronics to repair, adapt and design
his own studio equipment, which made use of a combination of old
devices and new technologies to produce a studio capable of the precise,
atmospheric sounds which would become Tubby's trademark. With a variety
of effects units connected to his mixer, Tubby "played" the mixing desk
like an instrument, bringing instruments and vocals in and out of the
mix (literally "dubbing" them) to create an entirely new genre known as
dub music.
Using existing multitrack
master tapes—his small studio in fact had no capacity to record session
musicians—Tubby would re-tape or "dub" the original after passing it
through his 12-channel, custom-built MCI
mixing desk, twisting the songs into unexpected configurations which
highlighted the heavy rhythms of their bass and drum parts with minute
snatches of vocals, horns, piano and organ. These techniques mirrored
the actions of the sound system selectors, who had long used EQ
equipment to emphasise certain aspects of particular records, but Tubby
used his custom-built studio to take this technique into new areas,
often transforming a hit song to the point where it was almost
unrecognisable from the original version. One unique aspect of his
remixes or dubs was the result of creative manipulating of the built-in high-pass filter on the MCI mixer he had bought from Dynamic Studios. The filter was a parametric EQ
which was controllable by a large knob—aka the "big knob" – which
allowed Tubby to introduce a dramatic narrowing sweep of any signal,
such as the horns, until the sound disappeared into a thin squeal.
Tubby engineered/remixed songs for Jamaica's top producers such as Lee Perry, Bunny Lee, Augustus Pablo and Vivian Jackson, that featured artists such as Johnny Clarke, Cornell Campbell, Linval Thompson, Horace Andy, Big Joe, Delroy Wilson, Jah Stitch and many others.
In 1973, he built a vocal booth at his studio so he could record vocal
tracks onto the instrumental tapes brought to him by various producers.
This process is known as "voicing" in Jamaican recording parlance. It is
unlikely that a complete discography of Tubby's production work could
be created based on the number of labels, artists and producers with
whom he worked, and also subsequent repressings of these releases
sometimes contained contradictory information. His name is credited on
hundreds of B-side labels, with the possibility that many others were by his hand yet uncredited, due to similarities with his known work.
His most famous dub and one of the most popular dubs of all time was "King Tubby Meets the Rockers Uptown" from 1974. The original session was for a Jacob Miller song called "Baby I Love You So", which featured Bob Marley's drummer Carlton Barrett playing a traditional one drop rhythm. When Tubby completed the dub, which also featured Augustus Pablo on melodica,
Barrett's drums regenerated several times and created a totally new
rhythm which was later tagged "rockers". This seminal track later also
appeared on Pablo's 1976 album King Tubbys Meets Rockers Uptown.
By the later part of the 1970s, King Tubby had mostly retired from
music, still occasionally mixing dubs and tutoring a new generation of
artists, including King Jammy and perhaps his greatest protege, Hopeton Brown aka Scientist.
In the 1980s. he built a new, larger studio in the Waterhouse
neighbourhood of Kingston with increased capabilities, and focused on
the management of his labels Firehouse, Waterhouse and Taurus, which
released the work of Anthony Red Rose, Sugar Minott, Conroy Smith, King Everald and other popular musicians.
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Death
King Tubby was shot and killed on 6 February 1989, outside his home
in Duhaney Park, Kingston, upon returning from a session at his
Waterhouse studio.
