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‘Crazy Horses’: The Osmonds tear it the fuck up
11:04 am



Can the Osmonds ever really be considered truly rad? Is there a point, historically speaking, when the twee songs of the Bros Osmond flip over into “good” bad musical territory? Good question (even if I do pose it myself!).

Many people—-most, probably—would argue “no” that it’s not possible for the Osmonds to be truly rad, no matter what I might think—they were a freakin’ Mormon rock band comprised of biological brothers to begin with, two bigger strikes would be hard to think of—but have these close-minded naysayers ever seen the Osmonds dressed like pimps straight off the Parliment-Funkadelic Mothership performing “Crazy Horses” and driving the crowd absolutely wild?

Feast your eyes on this clip of the Osmonds, in outfits that would cause Huggy Bear to blush, on German television in 1972 doing their classic almost heavy metal single, “Crazy Horses.” Admittedly this song is an anomaly in their repertoire, but tell me this tune ain’t rad! It’s as rad as fuck and you know it is.

Imagine if Run DMC had sampled this song instead of Aerosmith’s “Walk This Way” and all of a sudden, The Osmonds would have been hip. It could’ve happened. And in a least one alternate universe, it probably did…

Previously on Dangerous Minds
Armageddon rock: The very metal sound of The Osmonds

Spacerock druids Lumerians performing lysergic Osmonds’ cover

Posted by Richard Metzger | Leave a comment
Lou Reed on drugs, if he’s a transvestite and what he spends his money on (drugs), 1974
09:39 am



Sassy Lou Reed interview shot during the Sally Can’t Dance/Rock & Roll Animal phase in Australia, 1974.

Reed is clearly having fun toying with the reporters on the topics of drugs (he’s all for them), transvestism (sometimes) and what he spends his money on (drugs).

Posted by Richard Metzger | Leave a comment
Excellent new psychedelic mix by Kenneth James Gibson
10:22 pm



Here’s a new and very Dangerous Minds-sympatico psychedelic mix originally made for the 716 music blog by my good old friend and maker of literally hundreds of records, Mr. Kenneth James Gibson.
716 Exclusive Mix - Kenneth James Gibson : One Drunken Sailor’s Curse From Deep Psychosis Introducing Past Levels Of Musical Existence vol.2
01) Intro….The In Sound
02) Ennio Morricone _ La Banola - Morricone High
03) Faine Jade - Stand Together - Introspection
04) Tangerine Dream - Sequent C - Phaedra
05) Roland Vincent -  L.S.D. Partie - Orchestral Party Act 1
06) 39 Clocks - 39 Explosion Heats - Pain It Dark
07) Joe Meek - Track 27 - Meeky Meeky Random Flakes Vol 2
08) Jerry Garcia - Eep Hour - Garcia
09) Eroc - Abendfieden - Eroc 1
10) Adelbert von Deyen - Silverrain - Atmosphere
11) David Wiffen - Coast To Coast Fever - Coast To Coast fever
12) Popol Vuh - Dream Part 4 - Affenstunde
13) Madrigal - Tambula - Madrigal
14) Jim Sullivan - U.F.O. - U.F.O.
15) Sandy Bull - Last Date - Demolition Derby
16) Agitation Free - You Play For Us Today - Malesch
17) Aphrodite’s Child - Aegian Sea - 666
18) Black Cat Bones - Four Women - Barbed Wire Sandwich
19) Bobby Jameson - Palo Alto - Working
20) D.R. Hooker - Weather Girl - The Truth
21) Daevid Allen - Song Of Satisfaction - Good Morning
22) Manu Dibango - Ceddo End Title - World Psychedelic Classics 3: Love’s a Real Thing
23) Bernard Parmegiani - Le Temps Remue - Questions De Temps
24) Maxwells - Esther - Maxwell Street
25) Ergo Sum - All’s So Comic - Mexico
26) Limbus 4 - Kundalini - Mandalas

Posted by Brad Laner | Leave a comment
‘Future Now’: A brilliant portrait of novelist J. G. Ballard, from 1986
06:39 pm



Writers need stability to nurture their talent and unfetter their imagination. Too much chaos dilutes the talent and diminishes the productivity. Writers like Norman Mailer squandered too much time and effort on making his life the story - when in fact he should have been writing it. J. G. Ballard was well aware of this, and he had the quiet certainty of a 3-bed, des res, with shaded garden and off-street parking at front. Yet, Ballard’s seeming conformity to a middle class idyll appeared to astound so many critics, commentators, journalists, whatevers, who all failed to appreciate a true writer’s life is one of lonely, unrelenting sedentary toil, working at a desk 9-5, or however long - otherwise the imagination can not fly.

That’s why I have always found suburbs far more interesting places than those anonymous urban centers. Cities are about mass events - demonstrations, revolution, massacre, war, shared public experience. Suburbia is about the repressed forces of individual action. It’s where the murders are planned, the orgies enjoyed, the drugs devoured, the imagination inspired. Suburbia is where dysfunction is normalized.

And J. G. Ballard was very aware of this.

Future Now is a documentary interview with J G Ballard, made in 1986 not long after he had achieved international success with his faux-biographical novel Empire of the Sun. Opening with a brief tour of his Shepperton home, Ballard gives an excellent and incisive interview, which only reminds what we have lost.

Simon Sellars and Dan O’Hara have edited together a brilliant collection of interviews and conversations with J G Ballard 1967-2008, in one volume called Extreme Metaphors, which is a must-have for anyone with an interest in Ballard.

Previously on Dangerous Minds

Postcards from J. G. Ballard

With thanks to Richard!

Posted by Paul Gallagher | Leave a comment
High-voltage Viennese rock from Novak’s Kapelle
06:20 pm



Novak’s Kapelle (Erwin Novak, Walla Mauritz, Peter Travnicek and Helge Thor) was an Austrian band that formed in 1967. They released the single “Hypodermic Needle” in 1968 and appeared on Austrian TV show Countdown in this jaw-droppingly cool performance from 1969. There’s some Freudian madness at the end. It’s Vienna after all.

Other than on compilations and expensive collectible vinyl (a 7 inch of “Hypodermic Needle” goes for $400), Novak’s Kapelle’s music is hard to find. Time for a nice CD release I say.

Posted by Marc Campbell | Leave a comment
‘I only know what I hear on Fox News’ says arsonist of Islamic Center in Ohio
02:26 pm

Stupid or Evil?


The idiot face of the Fox Nation

Randolph Linn, an Indiana man who pleaded guilty to arson charges today in a Federal Court in Ohio, revealed his motives to the judge in a plea bargain for the Sept. 30 incident at a Perrysburg Township mosque. Linn, drunk on 45 beers by his own estimate, poured gasoline on the second floor prayer room of the Greater Toldeo Islamic Center and started a fire. Luckily no one was there. Linn could clearly be identified in security cam footage and was caught swiftly by the FBI after a tip came in from a woman who knew him and was aware of his hatred for Muslims. He was in possession of three guns when he was arrested.

The 52-year-old truck driver claimed that he’d become “riled up” after seeing images of wounded soldiers on television. “Every day you turn on the TV, you see Muslims trying to kill Americans,” said Linn, who settled on the mosque in Toledo that he knew from his truck route.

When a federal judge asked Linn if he thought all Muslims are terrorists, Linn answered: “I’d say most of them are.”

When the judge then asked him if he knew any Muslims or what Islam is, one member of the mosque who was present at Linn’s hearing told WNWO-TV:

“And he said, ‘No, I only know what I hear on Fox News and what I hear on radio.’”

Predictable, but that still doesn’t make it any less sad. At least no one was hurt.

Linn also said:

“Muslims are killing Americans and trying to blow stuff up. Most Muslims are terrorists and don’t believe in Jesus Christ.”

Linn apparently had second thoughts during the drive home. “Coming back, I thought, `What in the heck did I do?’

He added “I feel bad I did it,” and “It’s a little too late now.” Ya think?

Fox News had this asshole’s head so twisted up that he actually believed in his tiny little mind that he was a good patriotic American performing an heroic act. Fox News whipped up so much hate and rage in this poor buffoon that he literally couldn’t handle it and now he’s going to spend the next two decades rotting in a Federal penitentiary.

This isn’t the first time Fox News has inspired some loser to do something potentially homicidal (‘memba Byron Williams, the obsessed Glenn Beck fan and Oakland freeway shooter? What about good old boy, Kenneth B. Kimbley Jr., another ardent Glenn Beck follower?).

With a guilty plea like Randy Linn’s, well, that ‘s a gift: it’s time for American Muslims to take Fox News to task in some sort of very expensive class action suit. They slander Muslims with impunity, convincing killer dum-dums like Randy Linn that all Muslims are terrorists and providing a forum for folks like that hateful harpie Pamela Geller. We know what motivated this lunatic—he told us—hatred, ignorance and Fox News, not necessarily in that order.

Posted by Richard Metzger | Leave a comment
The Future: Well, at least according to Hollywood
01:57 pm



Eclectic Method‘s montage of Hollywood’s vision of the future as seen through film.

I want to tell you something about the future. It will either be: A mind-bendingly awesome; utopian landscape where all of Earth’s problems have been resolved and technology and humanity have evolved to create harmony.

Or it might be a fucked-up dystopian nightmare. Where artificial intelligence has surpassed that of its creators. Or perhaps humans have ravaged the Earth to such a degree that it has gone into full revolt. Or a scarcity of resources has humans warring over water. It depends on which film you watch or what time of day you might have asked Stanley Kubrick’s opinion.

Via Boing Boing

Posted by Tara McGinley | Leave a comment
Jesus burrito kept in fur-lined box helps Texas man win lotto
01:03 pm



Or something like that.

Rene Cantu a 26-year-old San Antonio man who says he suffered from bad luck claims his life changed for the better when he saw the face of Jesus burned into the tortilla of his breakfast burrito.

I like how he takes his own personal (burrito) Jesus with him when he buys his lotto tickets. I think I would do that too. Via KVUE TV:

“I’ve been having a lot of bad stuff happen to me,” said Cantu. “Ever since this happened it’s been good luck to me. Every time I take it to the store I get a Lotto and I win!”

He said it also reminds him of his blessed life.

“A little Savior watching over me,” said Cantu as he glanced at his tortilla wrapped in a fur blanket.  Cantu keeps it well preserved in a box, and even poured transparent glue over it to seal it.

“It brings me a lot of faith and hope and maybe I can bring people faith and hope, too,” he said.



Via Christian Nightmares, now accepting submissions at Christian Nightmares, Too. Tell of your Christian nightmare, why don’t you?

Posted by Richard Metzger | Leave a comment
‘Ideal’ creator Graham Duff’s Top 25 Albums of 2012
10:19 am



Graham Duff by Xavier Itter

We’re thrilled to present this ‘year end’ guest post from Graham Duff. Graham is the creator of Ideal, the cult hit dark comedy that ran for seven series on BBC Three. He is a well-known music fanatic and personally selected Ideal‘s eclectic soundtrack. Seen in a small role in the Harry Potter and the Deathly Hallows films as a “Death Eater,” he recently co-wrote the BBC sitcom Hebburn with comedian Jason Cook. In 1992, Duff’s one-man stage show “Burroughs,” based on the life of William S. Burroughs won him a Brighton Festival award.

1. X-TG: ‘Desertshore’/’The Final Report’

imageWhen industrial music pioneers Throbbing Gristle reformed in 2004, it was never going to be just a case of regurgitating their back catalogue. Their ‘comeback’ albums Part Two: The Endless Not and the largely instrumental Third Mind Movements proved that TG were still ahead of the pack.  But perhaps one of their most intriguing and unprecedented ideas was to rework Nico’s highly regarded 1970 album Desertshore in their own image.

However, in October 2010, bassist, violinist and vocalist Genesis P. Orridge quit the group at the start of series of European dates, leaving Peter ‘Sleazy’ Christopherson, Chris Carter and Cosey Fanni Tutti – now operating as a reinvigorated trio under the name X-TG – to complete both the tour and the Desertshore project. Then, only a month later, Christopherson suddenly passed away. Tutti and Carter elected to continue with the album, incorporating both Sleazy’s initial recordings and an impressive array of guest vocalists.

Antony Hegerty, Marc Almond, Blixa Bargeld, visionary film director Gasper Noé and porn star turned actress and singer Sasha Grey all lend their vocal talents to this stunning collection. Hegerty’s unique voice is supremely suited to X-TG’s grand and spectral reimagining of “Janitor of Lunacy,” Marc Almond delivers a perfectly judged performance of “The Falconer,” one of Nico’s most beautiful songs. But it is Tutti herself, whose vocals - neutral yet achingly human - best capture Nico’s spirit. If her performance on “All That Is My Own,” with its opening squalls of guitar noise and pulsating electronic rhythm, is restrained and plaintive, then her interpretation of “My Only Child” is frankly heartbreaking.

With its stately packaging, sleeve notes and funereal aesthetic, this is clearly a commemoration of Christopherson’s life and work, as much as it’s a celebration of Nico’s legacy. Meanwhile, on The Final Report, what should have been a new beginning turns into a full stop. This is the music Christopherson was working on with Tutti and Carter after P.Orridge had fled. Highlights include the insistent brutalist throb of “In Accord” and the brief but detailed “Um Dum Dom” which pitches a heavily treated Christopherson spoken vocal into a chiming tick tock rhythm.

Either one of these releases could easily lay claim to being album of the year. But as a double album they are frankly unbeatable. No one could have predicted the story of one of modern music’s most innovative and influential groups would end like this. But then of course very little about TG was ever predictable.

2. PORCELAIN RAFT: ‘Strange Weekend’

imageItalian born, London based Mauro Remiddi delivers a flawless album of dreamy hauntological bedroom pop. Porcelain Raft’s debut is alive with subtle but insistent earworms. Remiddi’s vocals frequently sound genderless and on the fuzzy glide of “Unless You Speak From your Heart” or the gentle buzzing synth bubblebath of “Drifting In And Out,” Porcelain Raft come across like a more bleary and ragged Saint Etienne. There are some beautiful and subtle arrangements and the mood is often blissful. But there are moments of woozy self doubt and unease, which prevent this from descending into being just another postcoital soundtrack. In fact, there’s a real artfulness in the way Remiddi mixes gorgeous lulling melodies, with minute glitches and submerged dissonance.

3. JESCA HOOP: ‘The House That Jack Built’

imageWhilst recent releases have seen Hoop focussing on a more stripped back acoustic feel, The House That Jack Built sees an artist embracing the sonic possibilities of the studio. And it’s probably her most satisfying album thus far. Her ability to craft singular and unpredictable melodies remains undiminished and her world view is still pleasingly off kilter, yet the mood is often effortlessly uplifting. Neither overly polished nor overtly lo-fi, the album boasts some intricately structured arrangements which still retain some rough edges. Lyrically Hoop has always been keen to mix self examination with a wider range of topics than most, and the self-explanatory “Ode To Banksy” aside, these songs see her at her most enigmatic.

4. CARTER TUTTI VOID: ‘Transverse’

imageAs if completing and delivering the X-TG double header wasn’t enough, Chris Carter and Cosey Fanni Tutti also released this understated masterpiece earlier in the year. A collaboration with kindred spirit Nik Colk Void - guitarist and vocalist with the exceptionally fine post-industrial outfit Factory Floor – this set was recorded at the London’s Roundhouse for the 2011 Mute Records festival. Carter’s unmistakable churning rhythms provide the pulsing bedrock for Tutti and Void to explore the textural and percussive possibilities of their electric guitars. A largely instrumental excursion, this is a deeply entrancing album which not only easily sits amongst Carter Tutti’s strongest work, but also harks back to the majesty of Heathen Earth era Throbbing Gristle.


imageBass man Wobble is a genuine maverick spirit. Sadly, much of his output over the last decade has tended towards a thoughtfully produced but strangely anonymous world music lite. Even the much longed for reunion with early Clash guitarist and former PIL sidekick Keith Levene only produced a patchy and frequently uninspired album and EP. It would seem that Wobble was saving up his best tunes and ideas for this far superior collaboration. Manchester’s Julie Campbell (aka Lone Lady) also seems to have been inspired by the project, as all her vocal lines here show a strength and grace which is sometimes lacking in her solo work. Levene makes a couple of guest appearances, most noticeably on “Phantasms Rise…” With its perfect balance of groove and dissonance, it’s a song which could have sat very easily on PIL’s Metal Box. But this is an album of light and shade and there’s even a hint of Supernature era Goldfrapp about the disco throb and sensual moan of album stand-out “Feel.”

6. MIRRORING: ‘Foreign Body’

imageThis quiet, foggy, unassuming debut from a duo comprising Liz Harris of Grouper and Jesy Forentino of Tiny Vipers is way more than the sum of its parts. An expansive album (6 songs in 40 minutes), Foreign Body occasionally brings to mind Brian Eno and Robert Fripp’s early minimalist experiments on No Pussyfooting and Evening Star. Whilst its shimmering elegaic vocal lines suggest a female fronted Sigor Ros. This is definitely an album of one mood, and, with its gentle, contemplative drones, delicate ethereal guitar washes and half buried melodies this feels like modern devotional music. “Silent From Above” is as close as Mirroring get to a conventional song structure, but even here, a simple vocal and folk guitar figure is eventually submerged in spectral echoes and blissed out atmospherics.  The perfect early morning record.

7. LAUREL HALO: ‘Quarantine’

imageOne of the exciting things about Brooklyn based Laurel Halo is the way her music engages with the emotional, the physical and the intellectual aspects of sound. Previous releases under her King Felix alias have buried her vocals in the depths of the mix, but here they burst into the foreground. And it was clearly the right move. Her vocal lines are anything but route one and several melodies have a nicely warped feel. The range of structural approaches is deeply impressive too.  “Carcass” has a minimal euro-techno pulse, where “Years” would not sound out of place on the Philip Glass opera Einstein on the Beach. Halo also understands the power of brevity. Where many electronic artists like to stretch out, she keeps things lean and concise. The music frequently floats free into beatless space where synths create great melodic clouds of sound, but it’s her dextrously programmed rhythmic flourishes which underpin the album.


imageDissonant, histrionic, morbid and claustrophobic are all words you will hear applied to this collection. Admittedly, these are all apposite descriptions of the most difficult album on this list, however, it’s also one of the year’s most rewarding listens. Scott’s increasingly oblique but vivid lyrics would appear to focus on geopolitical struggles and abuse of human rights. Meanwhile, his dynamic and genuinely experimental musical compositions are, at times, truly frightening. The most easily digested track is “Epizootics!” which manages to blend beat poetics, a lopsided percussive shuffle and loud, near celebratory horn fanfares. This is undeniably a very dark album, but there’s also humour and wit here. Witness lines such as “Nothing clears a room like removing a brain” or “I’d like to forget you just the way you are.” Scott’s journey from 60’s hit parade heart throb to modern day avant garde soundsmith is a fascinating tale which has been told many times. But the story shouldn’t overshadow the man’s actual artistic achievements.  After all, how many artists could be said to be producing music which genuinely sounds completely unlike anything else?
Read the rest of the list after the jump…

Posted by Tara McGinley | Leave a comment
Engrossing Soviet science fiction holiday cards
10:18 am



Despite adopting a policy of state atheism, the secularization project of the Soviet Union could do nothing to sever the cultural connection to Christmas.

Below are some “holiday” cards from the Soviet era, but one can easily detect efforts at sneaking familiar Christmas traditions into what had become a Soviet New Year celebration. You can see the character of Ded Moroz, formerly an evil sorcerer from Slavic mythology—he was said to freeze and kidnap children without conciliations from their parents. His striking resemblance to Santa is the result of a massive rebrand by the Orthodox Church to mimic the Dutch Saint Nicholas.

Of course, after the Russian Revolution, Ded Moroz was declared “an ally of the priest,” and was subsequently (somewhat awkwardly) retrofitted over the Soviet New Year holiday. In 1935, high-ranking Soviet politician (and primary facilitator of the famine-genocide in the Ukraine), Pavel Petrovich Postyshev spoke out in defense of Christmas, arguing that its pre-Christian origins and value to children should exempt it from condemnation as bourgeois or religious. This paved the way for a more lenient view on the holiday.

In 1937, Stalin even commissioned a Ded Moroz for public appearances, commanding, however, that they wear blue, so as not to be conflated with the Western Saint Nicholas. There were even Soviet Nativity Scenes with Ded Moroz as Joseph, a Snow Maiden (Ded Moroz’ helper) as Mary, and the baby New Year as Jesus.

As you can see below, Soviets fashioned some truly surreal feats of cultural synthesis with Ded Moroz, Communist iconography, and the USSR’s omnipresent symbol of ambitious futurism: space travel.
Rockets for speed, horses for nostalgia
Actually, screw the vestigial horses—they’re just bourgeois sentimentality
Note the icons of industrial economy in the tree—factory, bridge, dam, rocket, minecart, etc
More after the jump…

Posted by Amber Frost | Leave a comment
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