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WRECK: Dub Inner & Outer Space [playlust]

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  • ninplant@xs4all.nl
    wreck thiS meSS on Radio 100 ƒ Amsterdam ƒ 99.3 FM Pyscho-audiographic Dérives #104: Dub s Inner & Outer Space + Live webcast Friday 20
    Message 1 of 1 , Apr 29, 2002
      wreck thiS meSS on Radio 100 ƒ Amsterdam ƒ 99.3 FM

      Pyscho-audiographic Dérives #104: Dub's Inner & Outer Space
      + Live webcast <www.desk.nl/~dfm/>

      Friday 20 April 2001 [24:00 - 5:00]

      "Revolution is never allowed to be boring... So if you're challenging
      the system, if you're an enemy of the state, you can't present it as
      something boring."
      o Abbie Hoffman*


      Belleville Dub > Rogue State [1]
      Lego Dub > Seven Dub [2]
      Interstellar > Tassili Players [3]
      Curly Top > Aix Vibration [4]
      Mafia > Dub Syndicate [5]
      Oblique Black > Andy Langmanis Diey [6]
      Crisis Time Version > Dr. Israel vs Systemwide [7]
      Filter B > Twilight Circus [8]
      Zion Is A Home > Augustus Pablo [9]
      Etherealites > Dub Syndicate [10]
      OnUsoundwarped > Singers & Players vs Assassin [11]
      + Reality Bits from WTC Bombing in 1993 [12]
      Bin Shaker Dub Plate > Twilight Circus [8]
      Champion Sound > Systemwide [13]
      Urbanoia > Pitch Black [14]
      Cirolni > Andy Langmanis Diey [6]
      Fast > Twilight Circus [8]
      Snipers > Systemwide [13]
      Crooked > Spectre vs Ill Saint [15]
      Radical Dubber > Dry & Heavy vs King Jammy [16]
      Dub Killer > Greater Than One [17]
      + Abbreviated Spinal Column > William Burroughs
      Industrial II > Revolutionary Dub Warriors [18]
      Acetate > Twilight Circus [8a]
      Chunky Buds > Sensational [15]
      Black Magheddo > Andy Langmanis Diey [6]
      Raum 2 Original > Pole [16a]
      Full Charge > African Head Charge [17a]
      Blaster > Twilight Circus [8a]
      Serial Pog > Palo Alto vs Jefferson Lembeye [18]
      Destroy All Monsters > Skull [19]
      Full Charge part 2 > African Head Charge [17a]
      Heat Miser > Massive Attack
      The Beat Goes On > DJ Spike vs Andy Fairley [20]
      Abyssal Plain Dub > Systemwide [13]
      Enter the Chuzzler > Dub Funk Association [21]
      Rhinoceros > Zion Train [22]
      Binghi (Brain Melter Mix) > Twlight Wreck [23]
      Book of the Great Awakening > Spectre [23]
      Provisional Dub [12-inch version] > Systemwide [23]
      + Reality Bits from WTC Bombing in 1993


      [*] "Freed is Just Another Word for Abbie Hoffman" an interview with
      AH by Carola von Hoffmannstahl (for more info:
      <ontheqt@...>) in the March 1981 New York Rocker, a
      short-lived tabloid about music and culture at the edges. CvH was a
      member of that great avant garde noise combo/duo, Solomonoff & Von
      Hoffmannstahl, who went one DNA thread further in deranging sound
      ever less beholden to recognizable bourgeois melody. And yet, somehow
      they almost sound pop-like at moments. Where the melodic drone duo,
      Suicide, dared not tread, S&VH calmly sipped their sonic poisons and
      charming noise compositions. Working on a retrospective of their
      material for a future radio special... Another AH quote from 1981:
      "The term terrorist is a loaded concept. It's only enemies of the US
      that can be engaged in terrorism because friends of the US are given
      jet planes to do their bombing with -- and you can't be a terrorist
      in a jet plane.... Machine gun huts... with American weaponry and
      you're not a terrorist..." This certainly speaks to 2 or 3 major
      current affairs including the French pre-elections where the
      conventional left put the voters to sleep so that they either did not
      vote or they voted for marginal candidates. And then of course the
      Middle East and Afghanistan.

      [1] "Rogue State" on Land <http://perso.club-internet.fr/org_land>
      jefferson lembeye <varese@...> is really one of the most
      interesting yet accessible discs I have heard in 2002. It is inspired
      by the entire US notion of 'rogue state' [aka Axis of Evil]. As you
      will notice, bush uses almost the same demonizing terminology for
      muslim fundamentalists as Bin Laden and others employ when describing
      western fundamentalists and venture capitalist evangelicals. And is
      Norsq becoming the Adrian Sherwood of France? It sounds that way.

      WTM: "are you trying to combine aesthetics and political awareness?
      if so, bravo."

      JL: "Yes, I try to mix aesthetics with the questions I ask myself
      concerning the social/political evolution. It's not so easy today,
      especially in France, because most of the people don't care about
      what's going on. [WTM: and look at he painful self-recriminations
      after the primary elections!] Everything is going so fast that it is
      very difficult to focus on the real problems and not to lead a wrong

      In the best tradition of some of my favorite musical minds [Mark
      Stewart, Tackhead, Chumbawumba, the Ex, Guthrie, Muslimgauze, Seeger,
      Fela, Nina Simone, Weill/Brecht...] JL combines the best strategies
      of contemporary music and takes his aesthetic aural influences [dub,
      drum & bass, North African, ambient, techno] and combines it with
      notions that quotidien awareness might lead to some level of
      agitation and consciousness-raising. There is absolutely nothing
      wrong with this although the tired, the cynical, those buried in
      stylistic-decadence-as-a-statement types, and those who control the
      charts and distribution networks might insist otherwise...

      From the liner notes: "Rogue State was a term used by the United
      States government to group seven countries they considered nests of
      international terrorism and that merited both military and economic
      sanctions while bypassing normal international debate or assembly at
      the United Nations. The term was modified in June 2000 to 'State of
      Concern'. The countries on this list are Libya, Sudan, Iraq, Iran,
      North Korea, Cuba and Syria. The phrase has been modified but the
      sanctions are the same and the recent events in NYC have only
      encouraged America to continue its global vigilante position. Since
      1991 the embargo and bombings in Iraq have claimed 90,000 lives
      (almost half of which are children)."

      As far as Rogue States goes: look at recent actions by the US to
      block Iraq's joining the weapons monitoring group. What membership
      would mean is that Iraq would agree to allow regular inspections of
      its munitions factories. More importantly for the US, is the fact
      that it would mean legitimization of Iraq as a complying nation thus
      pulling the carpet [bombing] right from under the US strategy to
      further isolate and demonize Iraq. [Iraq ain't no heaven where good
      angels reside, mind you...] Second point: If weapons inspectors had
      done their job in the US they would have certainly eventually
      discovered the weapons-grade anthrax that some reported 200 US labs
      are capable of producing. No other country can produce such amazingly
      lethal anthrax an oxymoronic spiritual state to be in ...

      [2] "King Size Dub 5" on Echo Beach: <www.echobeach.de> a heady
      careening into mixed genre dub and interactive generational remixing
      at its best. contains remixes of Junior Delgado, I Roy, Bim Sherman
      and work by Zion Train, Stash, Shara Nelson, Horace Andy vs Massive
      Attack and Dr. Israel from Word Sound rewired. The Echo Beach crew do
      some able service in the reconsideration of Dub as vital genre.

      [3] "Outer Space" Tassilli Players on Universal Egg
      <http://wobblyweb.com> is a kind of loose ad hoc open pool of players
      centred around ex Cosmics and Harare Dread member Dave Hake. TP have
      a strong working relationship with Zion Train. Coventry [Two Tone
      label] local, Dave Hake has ventured around for extended periods in
      Spain and North Africa. After some punk subsistence in Manchester,
      cleaning sewers, a stint on "a Kibbutz, a stay with the Bedouin in
      the Sinai Desert, a quick exit from an embattled Israel, a Greek
      Island 'Desert Island Dick' for a time followed by a period of rest
      and refreshment in Ireland where the power of Ben Evnagh inspired the
      idea of the Tassilli Players. The journey back to London took him
      across the path of a man with a horn and Dave Hake Trumpetman was
      born. With Hake as musical director and Zion Train at the controls
      any Tassilli Players excursion into version is going to be a trip
      worth taking as it explores music as description of ambience, as it
      seeks to carve a representation of both inner space and outer space.
      The music is rooted in conventional dub music but more often than not
      takes a trip into the more experimental and diverse worlds that
      influence Dave Hake's musical world - from Jamaican ganja fields to
      Sowetan speakeasies taking a diversion through the harmonic overtones
      of Phil Niblock is one of the routes that Dave may take on his
      journey to a finished recording, meaning that a unique sound is

      [4] "More Bass Than Space" on Dubmission <www.dubmission.com> is an
      elegant display of meticulously chosen dub that hoes immense spaces
      in half time and allows the musical aspects to wander around the
      globe. It is not thievery, not appropriation, it is something more
      substantial, sonorous and resonant - it is resuscitation. Deep,
      vibrant, and full. It fills the space wherever you are with
      speculative deep-hoed furrows of bass. The Dubmission crew are among
      the best at putting together memorable compilations of dub that
      retunes the ear to new versions of the version. And at a double disc
      - one called "Bass", the other called "Space" - there is nary a
      clinker among them. Featuring: Tomato Sleuth, Bluey, Tribal Drift,
      Walter Ego, Etherealites, Singers & Players, Dub Factory, Outcast,
      Woob, Kaleidoscope, Blu, Solar Quest, Doof, and othersÉ It is all
      about the dialectical confluence of space and bass - how bass leads
      to the contemplation of our relation to all manner of space -
      acoustic, metaphorical, drug-induced, urban. Again that exploration
      of the mirror images of inner and outer space. This kind of dub would
      be a perfect sound track for those films where humans engage in space
      exploration inside the human body...

      [5] "Strike the Balance" on On-U Sound. In their On-U Adrian Sherwood
      collaboration prime [mid to late 80s] they were the best at making
      physical and intelligent engaging dub with fun samples that provoked.
      Post-Sherwood, they have regressed to a kind of rootsy fundamentalist
      sound that is to my ears less engaging, less involved in the world --
      less interesting. Bring back Sherwood.

      [6] "Seven Sages of Mesopotamia: Tales from Black Magheddo for Wreck
      This Mess" on Htz Records <www.htz-records.com> is a project managed
      by my long-time dubaholic companero in Paris [birthplace of the
      original WTM], Laurent, and the sonic genius of BBC sound engineer,
      Andy Diey <http://www.alchemyaudiolab.com>. It seems to take dub as a
      starting point as interpreted by fellow long-time Manchester cohort,
      the late Bryn Jones [Muslimguaze] and take some of the prickly or
      industrial edges off of it to offer a sound scape that both soothes
      and inspires. There are images of inspiring [yet dangerous]
      landscapes, foreign territory, alien-ness, filmworks for the blind.

      His dub work is produced under the rubric of Black Faction and relies
      heavily on the keel-like sonic effects of heavy bass. See his
      Soleilmoon album "Internal Dissident". And his work on BSIŠ I asked
      him some questions:

      WTM: where do you come from musically, what backgrounds, styles, etc?

      AD: I come from a very street orientated style. Black music mainly.
      Then I discovered there was good music coming from the
      electro-acoustic academic scene. Tho it took me a while to get my
      head round it.. when I finally understood a little it was inspiring.
      I currently listen to much Dub, New Classical, field recordings, and
      lots of hip hop.

      WTM: how did the 7 sages project come about?

      AD: I think Laurent at Htz asked me to contribute a track.. I sent a
      full CDs worth.. for him to choose.. he asked if I wanted to release
      it all. Sure why not..? It was a younger side of me, they are all
      mostly early cuts.. I feel that they somehow represent a more naive,
      but more playful and loop orientated [me]. This is definitely
      something I shall be focusing on the near future. Beat Dub music.. I
      kinda am enjoying a Meat Beat Manifesto revamp in my house.

      WTM: is it an homage or reworking of muslimgauze themes?

      AD: No. People make allusion to myself and Muslimgauze, this is
      something that has been propagated via press releasesŠ.. and is not
      something I would build a career on. Thou Muslimgauze was / has / is
      influential in Black Faction and Sages. My music has its own voice.
      So if people say oh, he is trying to copy Muslimgauze, they obviously
      are not listening correct.. and therefore will make the necessary
      connections they can. Its an illusion they think they need or want.
      But you can Deceive for yourselfŠ

      WTM: what is your relation to middle eastern music?

      AD: I like it. Its full of HistoryŠ think about it. There are not
      many musical systems on the planet which are beat-led and have 1000s
      of years of development behind it. It would be Very hard not to enjoy
      it. But your references to Middle Eastern Music and my relationship
      is a passive enjoyment. Tho saying that, It also a daily occurrence
      in our house as my partner is a professional Bellydancer.. so.. its
      all Saidi Rhythms and hip drops.. mixing up the unleavened daily

      WTM: any hope of peace thru musical sharing/collaboration/jamming?

      AD: Peace on what level..? World Peace..? well, if people did .. it
      would be one great street party.. I would probably hang around the
      Jamaican Block thoŠ and perhaps end up at the Beirut Street in the

      WTM: the music seems to percolate just below the surface, like
      stealth music, like the ambient of early 90s. there seem to be a lot
      of layerings and allusions to psycho-geographical locations...

      AD: I guess all things are a reflection of the person within. Surface
      elements are there to attract and drawn in listener into the real
      reasons which may be below the immediate auditory level. This is
      something which a musician is most of the time not aware of, and is
      one of the basic faculties of being a musician. The reference to
      early 90s.. Sure.. I was very open to new music then. I mean. I
      would constantly be listening to Detroit and what was eminating from
      deep within the 313 district. Transmat - Pherce City. It was a good
      time to be young and impressionable. and who better to influence then
      the detroit guys. that also includes the Hip Hop from there tho as
      well. Awesome Dre & the hard core committee. that kinda stuff, ruff
      bassline music.

      WTM: new projects/strategies...

      AD: New projects. Vocal project with Parisien lady Valéa Djinn, and
      getting back into the studio to record some new music, also TV work.
      Doing some cool radio shows like this. and trying to get to Amsterdam
      to do a show.. anyone..?

      [7] "Crisis Time" on BSI <ryan@...> is a rare new 45rpm
      single featuring Dr. Israel vs Systemwide.

      [8] "Dub Plates Volume Two" Is the M Records <www.twilightcurcus.com>
      CD rerelease of the vinyl plates on pure virgin 180 gram vinyl which
      was to be used by DJs as the foundation for a sound that scoops your
      heart out via your lower bowels through the employment of bass,
      reverb and drums as medical implements meant to rebuild our bodily
      interiors. There is no dub that digs deeper into source material and
      finds ways to make his archaeological finds sound 21st century. Saw
      Ryan Moore's recent packed show at the OCCII in Amsterdam. I watched
      with a vigilant eye as RM [aka TC] spun and warped roots dub and
      newer material with effects and a wand that is based on the Theramin
      idea. A very portable and effective sound system although his
      placement in the OCCII far from the stage gave the impression that he
      was just a guy selling records or something. He shoulda been on
      stage. Dub Creator, the live act were enjoyable and post-dubbily
      proficient altho the female lead singer was so full of annoying
      cliches and shout outs and dumb bromides about how war is bad, etc.
      that it took a huge lsice of dub's magic down the tubes for me. Dub
      survives on less vocals and more bass. It thrives in the abstract
      teritory it finds in a corner of the human body where the physical
      rubs up against the spiritual and so better leave words home.

      [8a] "Dub Voyage" on M Records <www.twilightcurcus.com> is the disc
      that basically leaves no doubt that Ryan Moore is a force to be
      reckoned with in the world of 3rd generation dub. He is basically a
      one-man sound system, producing, mixing and performing almost
      everything here himself. What is immediately evident that although
      this is an homage to the masters of 70s dub, it is in no way a pale
      imitation either. What he creates is a juncture to which roots remain
      attached to space capsule. Elements of noise and drum and bass and
      various sonic renovations keep it new and give it the edge of a
      culture afraid to slow down. We are talking about the future of dub
      that owes its chops to the past. This is not nostalgia, this is
      speculative and progressive material that extrapolates the great work
      of King Tubby, Augustus Pablo, LS Perry, et al... RM gave me his new
      disc during our stunted conversation so you will hear that some time
      in the near future.

      [9] "Rockers Meet King Tubbys in a fire House" on Shanachie. Classic.
      Great. The way AP plays the melodica has you wondering why it is not
      used more often.

      AUGUSTUS PABLO, 46, Musician; Helped Shape Reggae's Sound by JON PARELES

      NYTimes: May 20, 1999: Augustus Pablo, a widely influential reggae
      producer, died on Tuesday at University Hospital in Kingston,
      Jamaica. He was 46 and lived in the hills outside Kingston. The cause
      was myasthenia gravis, a nerve disorder, said his brother, Garth
      Swaby. Pablo, whose original name was Horace Swaby, was known for
      what he called the "Far East sound": haunting, minor-key tunes with
      sparse lines for melodica (a harmonica with a keyboard) floating
      above deep bass lines and echoing keyboards. He was an architect of
      dub reggae, music in which deep bass lines and dizzying echo effects
      envelop a few shards of melody.

      Born in Kingston in 1953, he became a Rastafarian while still a
      teen-ager; he also taught himself to play piano. Bob Marley brought
      him into the studio to play keyboards on early Wailers recordings,
      and he began working regularly as a session musician in the late
      1960s. He joined the house band at Randy's Studio, a leading Kingston
      studio. A friend introduced him to the melodica, and he took it into
      the studio when he had his first recording sessions as a leader in
      1969 with the producer Herman Chin-Loy. His first single, "Iggy
      Iggy," was credited to Augustus Pablo, a name Chin-Loy used for
      instrumentals. When Adams moved to the United States in 1971, he left
      the Pablo name to Swaby. With his next single, "East of the River
      Nile," Swaby as Augustus Pablo inaugurated the Far East sound, and he
      followed it with his first major Jamaican hit, "Java," in 1972. While
      making solo recordings, often reworkings of past and present hits, he
      was also in demand as a studio musician, and he worked for a dozen
      leading Jamaican producers in the early '70s. In 1972 he started
      running his own labels, including Hot Stuff, Rockers International,
      Yard and Message. Pablo produced recordings for singers, notably
      Junior Delgado, Jacob Miller and Hugh Mundell, and he released
      instrumentals under his own name.

      Those instrumentals are cornerstones of modern dub reggae,
      particularly those he recorded in the mid-70s, including the albums
      "King Tubby Meets Rockers Uptown" (a 1976 album of Pablo
      instrumentals remixed by the engineer and producer King Tubby) and
      "East of the River Nile" from 1978. Pablo rarely toured; his milieu
      was the recording studio. He had hits in Jamaica as Junior Delgado's
      producer in the mid-80s, and he continued releasing his own
      instrumental recordings well into 90s, adding digital technology to
      his older style."

      [10] "Etherealites" is a white label 45 with "Etherealites / Dub
      Syndicate" rubber stamped on it. I think it somehow relates to the
      sessions that produced the remangled piece "OnUsoundwarped" by
      Singers & Players that appears on "More Bass Than Space." Anyway,
      great coup, great sound of modern clarity mixed with rootsy rumbling
      fuzziness and reverb.

      [11] "More Bass Than Space" is a true masterpiece on Dubmission vinyl
      - totally new and remixed and yet hearkening back to those clutch and
      deep analog sounds when the bone-shattering bass sound of dub was
      just starting to have its effects on the nervous systems of people.
      In related news according to Tackhead Newsletter
      <http://tackhead.org>: Adrian Sherwood hopes to release his first
      ever solo album Never Trust a Hippy this fall on Realworld / Virgin.
      He's very busy right now with the relaunch of the famous On-U Sound
      label. Hard Grind is one of the releases planned on On-U. The other
      albums are a compilation, a Ghetto Priest album and an album by

      [12] Interesting recordings off the radio I made of news reports from
      the original WTC bombing in 1993.

      [13] "Pure & Applied" on BSI <ryan@...>. More sytemic
      destabilization from the boys who shake loose the mooring and
      bindings in our bodies. People are just bowls of jello without

      [14] "12-inch EP"

      [15] "Crooked: The Soundtrack" Is a controlled film verité project
      which purportedly captures the life comings and goings of Sensational
      of the formidable WordSound Productions <www.wordsound.com> of
      Crooklyn who helped define a kind of raw and dark edge to
      contemporary urban dub that showed everyone why one had a deep dark
      field to hoe to get to the right side of dignity when it comes to
      everything that you must encounter and slay in the NY life. WSP is
      now 40 albums deep and has introduced us to some of the best somber
      dub in the world including Sub Dub and Spectre. Spectre features
      heavily here as does the unadorned deep urban raps of Sensational,
      some of the most direct hits to the heart of pretentious rap yet.
      It's like T.S. Eliot meets the Bomb Squad in a speakeasy. The film
      offers up some of its main inspirations as "Rockers," Sun Ra's "Space
      is the Place," "Wild Style" and "Ghost Dog."

      [16] "King Jammy Meets Dry & Heavy in the Jaws of the Tiger" on BSI
      <ryan@...>. something about this disc really slithers,
      shakes and crawls up your spine. It has something to do with the
      cultural malapropism of Japanese dubsters doing incredibly excellent
      dub [they are not the first = Pecker Power, Audio Active...] but
      there is something intensely mysteriously interesting going on - it
      may have to do with the dramatic tension between social
      awareness/consciousness and total delinquent decadence teamed with a
      kind of tongue-in-cheek but deep abiding sense of respect. Buyt the
      great dub masters had a lot of grungy noisy fun and that is in clear
      evidence here.

      [16a] "Pole R" on ~scape <www.scape-music.de> is by producer and
      label founder Stefan Betke. I prefer to think of Pole as an anonymous
      agglomeration of some of the finest subtlest and lyrical glitch &
      blip & pop music around. I have called "them" the Kraftwerk of glitch
      music. But this disc goes further in my belief of people needing to
      make something out of the sonic scrapings and decibel detritus. yes,
      noise as noise unadulterated by human hands can be temporarily and
      philosophically interesting but do I go around putting on moans, hums
      and white noise hiss that hasn't been reworked by humans? Well, not
      as often as my collection would seem to reveal. This is a great
      dub-glitsch, atmospheric, urban, sparks flickering off tram cables,
      Autobahn in a TGV disc. The echoes and reverb and glitches bouncing
      around remind us of Pong, of high heels on a lonely strasse, the
      clicking of nervous dentures, someone sharpening knives, the plick
      plick of a late night keyboard, the static on late night radio the
      night of an electrical stormŠ and the sounds of empty spaces.
      Rhythmic and danceable, danceable in your wildest imagination. With
      remixes by Burnt Friedman [Some More Crime] and Kit Clayton and
      others. Named in my top 10 for 2001.

      [17] GTO: Incredibly interesting technologically bent industrial dub
      from this UK duo.

      [17a] If anything defines where we are now sonically it is On-U's
      African Head Charge from the early 80s. Amazingly dense warped
      tapestries of sound, influence, nuance. They were the Coltrane of dub
      back then.

      [18] "Pogs Box [Remixes]" on formidable Land, a French label from
      Grenoble <www.conapt-sounds.com>. Remixes of Palo Alto by Norsq,
      Neven, Laurent Pernice, the Flying Star Fish, JL, Phil von [Magnet].
      Interesting stuff although I'm not sure about where it all comes from.

      [19] "Headz" by various artists on Mo Wax. An excellent sampler from
      1993. How time flies is what instantly comes to mind [what little I
      have left]. Some stuff just sounds lethargic and inconsequential but
      enough of it still sounds current, so current that it has still not
      even entered the world of glossy MTV appropriation and wholesale
      thievery by the thoughtless. Best includes U.N.K.L.E., Howie B.,
      Tranquility Bass, Autechre, DJ ShadowÉ

      [20] Fairley was great. Underutilized. An On-U secret weapon. His
      words were pure post-capitalist poetry, sinister as Burroughs with a
      full baritone voice like something cut out of Prince Far I's vocal

      [21] "Enter the Chuzzler / Rescue Service" superb raucous dub on
      Tanty Record. 45rpm.

      [22] "Secrets of the Animal Kingdom in Dub" on Universal Egg
      <http://wobblyweb.com> vinyl. Excellent concept album. ALL animals!
      Double record. "Zion Train" according to their own Universal Egg
      website, "was originally formed as an offshoot of The Train Sound
      System featuring Ajax Scott, Ben Hamilton and Perch, playing reggae,
      dub and soul and based in Oxford. After a few years Perch moved on to
      London and began to play the Dub and Roots sets at the Wibbly Wobbly
      World 'Rave party' events which moved around the capital. In 1990 the
      Wibbly Wobbly World events were ceased and the group Zion Train was
      formed with two former WWW members and the Zion Train selector, Cod,
      Tench and Perch, respectively. Zion Train were named after the Bob
      Marley song of the same name. The members of Zion Train have no
      religious affiliations of any kind. Zion is a state of mind and the
      Zion Train takes you there." This is good to keep in mind as there
      are lots of Rasta evangelists or at least illusionists out there. I
      guess that is why I so admire Mad Professor. For me, and I don't mean
      every disc, they are the younger bass-ic kin of the likes of Prince
      Far I, Adrian Sherwood, Black Uhuru. and together with other indie
      dub labels, will continue to, as much as possible, circumvent the
      putrid multi-national distribution fundament and will continue to
      counter-message and run resistance to the insidious brand of
      vapidness that the big [6] labels breed.

      [23] "Wreck This Mess: Remission 2: Ambient-Industrial vs
      Electronic-Dub vs Hypnotic-Grooves" on Noise Museum
      <www.zone51.com/noisemuseum> This is volume 2 of the WTM series. It
      includes Twilight Circus, Spectre, Systemwide, Dub Factory,
      Extremadura, Botom Botom, Holon, Silk Saw, DJ Spooky, Egon Zo vs
      Digidub, Audio Active, Starfish Pool, Andrew Lagowski. Here Laurent
      expands the empire of WTM, into new unforeseen markets. This is a
      painstakingly and precisely edited disc. He is very particular about
      what he likes and here it all fits into a meticulous polemic of sound
      and noise against hyper-mediated commerce. Botom Botom's
      <botom-botom@...> contribution [electronic sample dub] is
      one of the more raucous / joyous numbers with the use of children at
      play samples for which I am a sucker.


      SILENCE IS NO OPTION [edited official statement]

      Radio 100 here in Amsterdam is being threatened with legal action in
      the shadow of more frequency auctions in the Netherlands.
      [PRIVATISE THE AIR by Gary Clail & the On-U Sound System addresses
      this issue in thatcher era UK] During the 17 years that Radio 100 has
      been on the air, changes and challenges have altered Radio 100's
      profile, changed the frequencies upon which we broadcast and forced a
      clandestine/discreet existence - while continuing to be a part of of
      Amsterdam's experimental, artistic and musical freedom.

      As opposed to traditional "pirate radio" stations, Radio 100 is a
      not-for-profit, cultural foundation that broadcasts on unused
      frequencies in and around Amsterdam, as well as on the web via
      http://www.radio100.nl In the light of government decisions on
      frequency auctions over the last few years, Radio 100 has engaged in
      conversations on conforming to the broadcast laws while still
      maintaining freedom and artistic flexibility at an extremely low cost.

      These conversations have traditionally resulted in good
      understandings between Radio 100 and the government, but with little
      change in policy, as the frequency regulations do not allow for much
      middle ground. As governments change, so do active policies and
      Radio 100 finds itself once again in danger of being shut down for
      good. After a failed raid of the studios three weeks ago, the
      Amsterdam government has stated that it is presently working on a
      plan to remove the radio from the airwaves. As we are not illegally
      squatting property and maintain legal premises, cooperation with our
      neighbourhood and friendly relations with the western part of the
      city, this process will likely take some more time to happen.

      Radio 100 Festival - Calling all interested artists, musicians,
      activists... In addition to press promotion, governmental and legal
      conversations and preparations for police action -- we are planning a
      Radio 100 Festival for the coming months. Likely this will be in a
      large, well-attended space, as well as presently finishing
      conversations on the venue with places like the Paradiso and the
      Milky Way in central Amsterdam -- no dates set yet. Each Radio 100
      Festival over the past decade has been a tremendous success and has
      generated goodwill, support, ideas and great music -- so we feel that
      this sort of event is perfectly timed for the next few months.

      Are you in the area and interested in performing at or supporting
      this festival. It is a proposed one-night event that combines great
      music performances with Radio 100 personalities and shows, includes
      live and recorded performances, visuals, installations, information,
      and, of course, dancing. As we do not specifically know the date
      yet, we hope to get an idea of the amount of
      support we can expect.

      There are a number of ways you can help Radio 100, from anywhere
      around the world:

      A. The Radio 100 Festival -- direct participation aside, we could
      also use promotion, press contacts and other underground networks to
      get the message out.

      B. Support Radio 100 Messages -- Letters of support and specifically
      audio messages sent to the radio can be played on-air and added to
      the support of Radio 100's goals and activities. We will be setting
      up a dedicated voicemail box for the support messages in the next few
      weeks that you can respond to!

      C. Radio 100 Benefit CD -- We are compiling a series of Radio 100
      benefit CDs featuring tracks by the famous people who have performed,
      dj'ed, lectured, interviewed and supported Radio 100 over the last 17
      years. The list of tremendous talent that has been on Radio 100 live
      is stunning and features some of the best musicians and artists in
      the world and we'd like to share some of these great experiences and
      music with the rest of the world. If you have any tracks or
      information for consideration, contact <jdk@...!

      D. Direct Action -- Although this is difficult for people outside of
      Northern Europe, we'd appreciate support in direct actions, press
      support, direct mailing and collateral programmes, information
      gathering and supporting the Radio 100 emergency contact network. If
      you are in the area, let us know if you'd like to help and we'll see
      what we can do together.


      For real-time information on Radio 100, information on how you can help
      support the radio and programme information, please check out

      new material & shows coming up: Jose Padua, Volcanic Dub by Twlight
      Circus, Sparrow Orange, Paul Panhuysen, Ras Mesinai, Paul Giger,
      Stitch, V/Vm, Dallas Simpson, Scott Smallwood, Jane gilday, Great Red
      Spot, Drumz 'n' Tunez, Czech Alternative Music, eutro, Cray, Paul
      Panhuysen, Black Faction WTM Special, Empreintes Digitales, some old
      retro stuff, a Boudewijn de Groot vs Bob Dylan show and my guest this
      coming monday will be Frank from A Seed
      <frank@...> spinning spring sounds
      * "plus another few hundred when it hits the BSI list!" Ezra

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands


      Selected Wreck This Mess playlists have begun appearing regularly in
      3am Magazine <http://www.3ammagazine.com> under the title
      "Radiophotogram: Visual Radio". Also posted is my interview with Judy

      "For a more international, commercial feel, try 3am Magazine. . . .
      The cosmopolitan, rive gauche quality of the site is wonderfully
      obvious. From 'cutting edge short fiction' to political satire and
      music reviews, 3am is a dream publication for the young, literary and
      clued-up, and it counter-balances nicely the London/New York
      publishing behemoth." o Bill Broun, The Times (Monday April 30 2001).

      "Cool ezine 3am is worth taking a look at for a dip into the edgier
      waters of literature on the net." o Michelle Pauli, The Guardian

      CONTACT ninplant@... FOR REMOVAL

      [Non-text portions of this message have been removed]
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