28 02 2008


This Friday, February 29th, on ARTE / tracks (23.45 hrs) a eature with SunnO))) is going to be broadcasted.


26 02 2008

new KTL Live Archives

KTL Live Archive 2008 (click the link to the left to access these downloads)

20080218 Alhambra, Geneva, Switzerland
Also played: Sir Richard Bishop, Earth. Live sound by Randall Dunn
20080217 Dampfzentrale, Bern, Switzerland
Also played: Sir Richard Bishop, Earth. Live sound by Randall Dunn
20080216 L'Autre Canal, Nancy, France
Also played: Sir Richard Bishop, Earth. Live sound by Randall Dunn
20080215 Nouveau Casino, Paris, France
Also played: Sir Richard Bishop, Earth. Live sound by Randall Dunn
20080214 Ancienne Belgique, Brussels
Also played: Sir Richard Bishop, Earth. Live sound by Randall Dunn
20080213 Le Grand Mix, Tourcoing, France
Also played: Sir Richard Bishop, Earth. Live sound by Randall Dunn

26 02 2008


26 02 2008

Scotty Hard

Roughly a week ago our good friend, collaborator, executive producer and brother Scott Harding (aka Scotty Hard) was in a terrible car accident after leaving his Greenpoint, Brooklyn recording studio. The cab he was in was hit by some kids in a stolen car. From what I've read, police estimate that the car that hit him was going 90mph when the accident happened, and the jaws of life had to be used to get Scott out of the wreckage,

Scott was checked into Bellevue Hospital in Manhattan, where it was determined he had suffered a number of serious injuries, among them a crushed vertebrae (T5).
He presently does not have the use of his legs.

A surgery is scheduled for Thursday. And progress is expected to be slow.
The up side is that I am told Scotty is lucid, and though heavily medicated, cracking inappropriate jokes and being his old self.

Scott is a musician like many of us, and is without health insurance and without any sort of financial safety net.

In addition to health expenses which will be astronomical, there will the matter of studio rent and other bills, which will pile up quickly due to his inability to work.

Scott's friend and business partner Tom Camuso has been amazing in organizing things since the accident. He and his wife have set up a fund in an effort to try to meet the coming financial hurdles.

Info on the fund is at the bottom of this post.
Please help if you can, and think positive thoughts for our good friend.


From Scott's friend Susan's blog:

"A bank account for Scott is being set up; however, if anyone in the meantime wants to contribute donations to help with Scott's immediate financial needs including rent, mixing board payments and creditors, please send checks* to:

Kim Danyluk
6066 54th Street
Maspeth, NY 11378

*Checks should be made payable to TOM CAMUSO."

A Vancouver newspaper story on the accident:

Scott's myspace:

26 02 2008



So, Plotkin alerted us to an old rehearsal recording CD I had burned for him ages ago... thanks Jim. We put the tracks up for download on the "dropcards" page, so everyone who has one of the edition 2CDs from Southern Lord with the card for downloading the 1996 demo and live material will also be able to access these 2 tracks as well, for free.

BURNING WITCH rehearsals
1) The Bleeder 1996 8:47
2) Warning Signs 1997 6:55

You can also download a jewelcase CD design for your downloads to print out here, design by myself, with liner notes by Jamie "Boggy" Sykes".

This is ancient history. But there are many historians out there ravishing this particular period.
Revel in Dahlquist's bass tone on those rehearsals!

24 02 2008

vhf111 cover sample



Lets hear it for the new Castro and Nader entering the picture.

23 02 2008
22 02 2008



Teo Macero, 82, Record Producer, Dies

Published: February 22, 2008
Teo Macero, a record producer, composer and saxophonist most famous for his role in producing a series of albums by Miles Davis in the late 1960s and early 1970s, including editing that almost amounted to creating compositions after the recordings, died on Tuesday in Riverhead, N.Y. He was 82 and lived in Quogue, N.Y.

His death followed a long illness, his stepdaughter, Suzie Lightbourn, said.

Helping to build Miles Davis albums like “Bitches Brew,” “In a Silent Way” and “Get Up With It,” Mr. Macero (pronounced TEE-oh mah-SEH-roh) used techniques partly inspired by composers like Edgard Varèse, who had been using tape-editing and electronic effects to help shape the music. Such techniques were then new to jazz and have largely remained separate from it since. But the electric-jazz albums he helped Davis create — especially “Bitches Brew,” which remains one of the best-selling albums by a jazz artist — have deeper echoes in almost 40 years of experimental pop, like work by Can, Brian Eno and Radiohead.

Davis’s routine in the late 1960s was to record a lot of music in the studio with a band, much of it improvised and based on themes and even mere chords that he would introduce on the spot. Later Mr. Macero, with Davis’s help, would splice together vamps and bits and pieces of improvisation.

For example, Mr. Macero isolated a little melodic improvisation Davis played on the trumpet for “Shhh/Peaceful” on “In a Silent Way” and used it as the theme, placing it at the beginning and the end of the piece. Even live recordings he sometimes treated as drafts; the first track of Davis’s “Live at Fillmore East,” from 1970, contains a snippet pasted in from a different song.

Mr. Macero strongly believed that the finished versions of Davis’s LPs, with all their intricate splices and sequencing — done on tape with a razor blade, in the days before digital editing — were the work of art, the entire point of the exercise. He opposed the current practice of releasing boxed sets that include all the material recorded in the studio, including alternate and unreleased takes. Mr. Macero was not involved in Columbia’s extensive reissuing of Davis’s work for the label, in lavish boxed sets from the mid-’90s until last year.

Attilio Joseph Macero was born and raised in Glens Falls, N.Y. He served in the Navy, then moved to New York in 1948 to attend the Juilliard School of Music, where he studied with the composer Henry Brant. In 1953 he became involved with Charles Mingus in the cooperative organization called the Jazz Composers Workshop; he played in Mingus’s other groups and put out his own records on Debut Records, the label founded by Mingus and Max Roach.

While simultaneously working as a tenor saxophonist — with Mingus, Teddy Charles and the Sandole Brothers, among others — and composing modern classical music as well as working in the classical-to-jazz idiom then called Third Stream, he joined Columbia Records in 1957. He was first hired as a music editor; in 1959 he became a staff producer.

At Columbia he worked with artists like J. J. Johnson, Mahalia Jackson, Johnny Mathis, Thelonious Monk and Dave Brubeck, for whom he produced the famous album “Time Out.” He also produced Broadway cast albums like “A Chorus Line” and film soundtracks.

Mr. Macero left Columbia in 1975. He later worked with the singer Robert Palmer, the Lounge Lizards, Vernon Reid, D.J. Logic and others.

Besides Ms. Lightbourn, of Morristown, N.J., he is survived by his wife, Jeanne, of Quogue, N.Y., and his sister, Lydia Edwards of Sarasota, Fla., and Queensbury, N.Y.

20 02 2008


Due to the death of a person close to us, I have to cancel my appearances this coming weekend at Sonic Acts / Paradiso / Amsterdam and Stockholm New Music / Fylkingen / Stockholm. My apologies for any inconveniences this may cause.

16 02 2008

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