Saturday, February 27, 2010
Streaming issues
Hi. If anyone was trying to listen live via citr.ca, seems there's a server problem tonight and I would guess your stream cut off. I'm hoping it doesn't impact the podcasts, but I won't know until tomorrow.
Playlist for February 27, 2010
Two interviews this week - I chatted with Julie Ferris of Moev via phone about the new album, Ventilation, and I also chatted with Tom Anselmi and Phil Western in regards to their new project Hello World after their show on February 20th.
Here's what I played tonight, in some ways a bit mellower of a show than normal, but hey:
Moev
From Ventilation [2010, self-released]:
Halt
I Bend
Tear You Down
In My Wake
Repercussions
Mixed in with this set was the interview with Julie Ferris of Moev.
Jakalope
From It Dreams [2004, The Orange Record Label]:
Feel It
Light After Night
Badream
The Rabid Whole
From Autraumaton [2009, Synthetic Sounds]:
Harder to Be True
Faith in Yesterday
Genitorturers
From Machine Love [2000, Cleopatra]:
Sin City (KMFDM Mix)
One Who Feeds (Dave Ogilvie Mix)
4 Walls Black (Razed In Black Mix)
iVardensphere
From Remixes vol. 1 [2010, Synthetic Sounds]:
Sentient Wave Form (Komor Kommando Remix)
Virus (Memmaker Remix)
Nuke the Site From Orbit (Chernobyl 2023 Mix by Psykkle)
Part 1 of the Vampire's Ball podcast for February 27, 2010.
Phil Western
From DAT Hell [2009]:
Spank
Get Some Rest
It's OK If Your Bells Are Digital
Interview with Phil Western and Tom Anselmi of Hello World.
Copyright
From The Hidden World [2001, ViK Recordings/BMG]:
The Hidden World
I'm No Saint
Contact
Mirror
From myspace.com/mirrorav:
City Lights (feat. Joe Dallesandro)
[Insert technical issued with the internet feed here... grr... Fortunately, the technical gremlins in the booth did not affect the podcast servers, contrary to the error messages I was getting in the booth when trying to connect to them, so I guess it sounds a little silly where I'm saying "I don't even know if any of this is getting out!" Oh well.]
Depeche Mode
From Home/Useless [1997, Mute/Reprise]:
Home [LFO Meant to Be]
Useless [Escape from Wherever Parts 1 & 2]
The Tear Garden
From Sheila Liked the Rodeo [1993, Nettwerk]:
Sybil the Spider Consumes Himself
Sheila Liked the Rodeo
Keep the Bomb Under Your Coat
Lustmord
From The Place Where the Black Stars Hang [1994, Side Effects]:
Metastatic Resonance
Japan
From Quiet Life [2010, self-released]:
Quiet Life
Part 1 of the Vampire's Ball podcast for February 27, 2010.
Post-show mix CD is Mix CD 2.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
Here's what I played tonight, in some ways a bit mellower of a show than normal, but hey:
Moev
From Ventilation [2010, self-released]:
Halt
I Bend
Tear You Down
In My Wake
Repercussions
Mixed in with this set was the interview with Julie Ferris of Moev.
Jakalope
From It Dreams [2004, The Orange Record Label]:
Feel It
Light After Night
Badream
The Rabid Whole
From Autraumaton [2009, Synthetic Sounds]:
Harder to Be True
Faith in Yesterday
Genitorturers
From Machine Love [2000, Cleopatra]:
Sin City (KMFDM Mix)
One Who Feeds (Dave Ogilvie Mix)
4 Walls Black (Razed In Black Mix)
iVardensphere
From Remixes vol. 1 [2010, Synthetic Sounds]:
Sentient Wave Form (Komor Kommando Remix)
Virus (Memmaker Remix)
Nuke the Site From Orbit (Chernobyl 2023 Mix by Psykkle)
Part 1 of the Vampire's Ball podcast for February 27, 2010.
Phil Western
From DAT Hell [2009]:
Spank
Get Some Rest
It's OK If Your Bells Are Digital
Interview with Phil Western and Tom Anselmi of Hello World.
Copyright
From The Hidden World [2001, ViK Recordings/BMG]:
The Hidden World
I'm No Saint
Contact
Mirror
From myspace.com/mirrorav:
City Lights (feat. Joe Dallesandro)
[Insert technical issued with the internet feed here... grr... Fortunately, the technical gremlins in the booth did not affect the podcast servers, contrary to the error messages I was getting in the booth when trying to connect to them, so I guess it sounds a little silly where I'm saying "I don't even know if any of this is getting out!" Oh well.]
Depeche Mode
From Home/Useless [1997, Mute/Reprise]:
Home [LFO Meant to Be]
Useless [Escape from Wherever Parts 1 & 2]
The Tear Garden
From Sheila Liked the Rodeo [1993, Nettwerk]:
Sybil the Spider Consumes Himself
Sheila Liked the Rodeo
Keep the Bomb Under Your Coat
Lustmord
From The Place Where the Black Stars Hang [1994, Side Effects]:
Metastatic Resonance
Japan
From Quiet Life [2010, self-released]:
Quiet Life
Part 1 of the Vampire's Ball podcast for February 27, 2010.
Post-show mix CD is Mix CD 2.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
Thursday, February 25, 2010
Odds and ends, random news
1. This week's show will feature an interview with Julie Ferris of Moev. We chat about the new album, Ventilation, and what's been going on in the world of Moev.
2. I also interviewed Tom Anselmi and Phil Western after the Hello World show on February 20th at the Candahar. Waiting on a copy of The Hidden World from Tom's old band Copyright, so I think I'll play the interview next week as I should have received my Ebay music fix parcel by then.
3. Since I know some people find this blog whilst searching for Jakalope news, my little public service announcement of the day is that they've set up a Twitter feed, twitter.com/jakalopemusic - as of today you can follow that for updates. So far they've mentioned they're shooting a video for the new single next week, still no release date for the album but I'll see if I can track Rave down next week to find out for you.
EDIT Feb 26, 2010: And as if on cue [or maybe he reads this blog, fuck if I know], Rave posted today on the Jakalope Twitter that the single "Witness" is out the end of March and the album's out the end of May.
Those are the big things I have to say right now. Carry on.
2. I also interviewed Tom Anselmi and Phil Western after the Hello World show on February 20th at the Candahar. Waiting on a copy of The Hidden World from Tom's old band Copyright, so I think I'll play the interview next week as I should have received my Ebay music fix parcel by then.
3. Since I know some people find this blog whilst searching for Jakalope news, my little public service announcement of the day is that they've set up a Twitter feed, twitter.com/jakalopemusic - as of today you can follow that for updates. So far they've mentioned they're shooting a video for the new single next week, still no release date for the album but I'll see if I can track Rave down next week to find out for you.
EDIT Feb 26, 2010: And as if on cue [or maybe he reads this blog, fuck if I know], Rave posted today on the Jakalope Twitter that the single "Witness" is out the end of March and the album's out the end of May.
Those are the big things I have to say right now. Carry on.
Wednesday, February 24, 2010
On Electronic Music
Originally posted on my other blog, Pyra Draculea Sound.
It seems to have disappeared now, even off the internet. Oh sure, I have a copy somewhere in a box of old Discorders, my half-assed portfolio of published writings. But my plan to just cut and paste it is now screwed.
What am I on about here? A review I wrote almost a decade ago about a show I saw at the Vancouver Cultural Centre with Phh!K and Particle Burn.
It matters to me because I think that Particle Burn set was the first time I was consciously aware of the effect electronic-based music has on me, the way I feel those synthesized pulses in different parts of my body. It varies by pitch, by waveform type, by volume, by timbre, by panning.
What I experienced that night was something of a sonic massage. Certain sounds hit me in certain spots - higher pitches were more pointed and drilled less far, maybe as far in as my sinuses. Bass waves pressed my whole body and tended to vibrate the back of my skull and my spine where it pressed the seat back. Mids could be all over, some more in my scalp, some more in my shoulders, some in my hips or arms. Somewhere I might even have my original notes from that show, who knows.
I've gotten more adept at pinpointing this sort of thing since, noticing some pitches buzz my teeth in an unpleasant manner, some sounds I hear more in my forehead, some more in my gut. I've also noticed that for the most part it's something I feel more from synth-based music than traditional instruments, save maybe piano. Hence I think somehow purer waveforms have a stronger effect than something with a great amount of overtones, but I'm not completely certain. I do know if I go to your typical rock show I will still enjoy it, but not feel it on as much of a visceral level as I will at an electronic music event.
If a melody has a descending interval, I feel a sinking. Dissonance interests me more than consonance because as the notes rub against each other they seem to effervesce somehow. There is a shimmer that sounds and feels more interesting.
I suppose it's a kind of synesthesia, although maybe not since sound is pressure waves after all.
I recall chatting with Michaela Galloway of Hinterland and the Hope Slide and she was saying she finds some people resonate better with a particular kind of wave, and sometimes the people who are better with say, square waves, maybe don't blend as well with another waveform's people. I haven't figured out a specific waveform I jive best with, but it seems in general any of the purer oscillator ones work nicely. [Even though I usually blend oscillators and noise to get more complicated waves...]
And I recall something LaVey wrote about certain people will always be, say, flautists and never saxophone players and he could often tell them apart on sight.
Synths just plain speak to me more than guitars do. I can tune into them much more readily and get lulled into an altered state of consciousness, not really a trance, but getting there. It's its own form of meditation for me. The closest comparison I can think of in the realm of traditional orchestration would be that I can feel ethnic drumming performances almost on the same level.
I've made it work for me when I mix, having learned that the best thing I can do when I think I have the mix right is to move away from the board and see if I can feel it correctly. To this end I will move a bit back in the control room and sit on the floor with the mix cranked. And I never wear sneakers now, always thin-soled shoes to see if the subs come up through my feet the right way. Do the highs hit me in the front of my face? Do the mids press into my shoulders and my jaw? Does the bass move through me? Are there a variety of pressure points or did I bunch the panning too much? Volume often is the determiner of whether I feel things in front or more to my back, but there seems to be more variation here. And whether it's pleasant or harsh, a push or a poke seems to correlate to a certain extent with how it's EQ'd.
Doesn't work as well with rock or punk, there I have to think more than feel. [Except for the EQ and panning, those seem to work regardless of genre and originating instrument.]
I've also gotten used to being able to extrapolate somewhat from listening on headphones so that when I am creating music on my laptop I can know whether it will feel the way I want it to feel.
I don't go to clubs as much as I should, but I noticed at Sanctuary at Club 23 West for the Landscape Body Machine show in November [talk about your prime examples of great electronic music] that I was drawn to stand two feet in front of the monster PA system that's as tall as I am and dance, feeling the wave of the phrasing and the bass moving through me. Standing up on the mezzanine at the same club for the iVardensphere show at the end of January the effect was a little lessened, probably because I was not in a direct line with the sound anymore, even though I could hear it loud and clear and still found I quite enjoyed it. I was in and out of that state, probably on account of being there as the promotions rep my brain was locked a little bit into "work mode" and that might matter as much as distance from the PA.
Getting right up in front for Skinny Puppy in November I could feel the synths quite well, for some reason the song "Ugli" especially sticks out in my mind as having caught me in the wave. And most recently on February 20th I situated myself about 6 feet from the stage in the Candahar at Hello World's most recent show and noticed myself gelling into the wall of synthetic sound and sculptured noise that Tom Anselmi, Laure-Elaine Cote, Phil Western and Jamey Koch were creating. I noticed myself moving to the pulse and wave without even thinking of it, and eventually there were a few people dancing and I was convinced to get on my feet and join them.
This show was easily the best thing I've heard/felt since that Particle Burn show. I'll get my ass kicked for saying that, and I'm not saying there haven't been other shows that were maybe more kick ass in the traditional sense of what a rock show is supposed to be like.
I've never really heard anything else from Particle Burn and the internet left me no trail either. All I know is it was three guys sitting with laptops, blasting through the Cultch's PA. Once I thought I found a bio somewhere from someone who listed the band in their credits, but when I read the page Google linked to it wasn't really there and those words apparently only appeared in links pointing to the page.
In a way maybe that's fitting for something as ephemeral as a concert experience. You can never relive it, it's probably just as well that you can't pin it down in any other way either.
[Which isn't to say I can't wait to hear the actual Hello World record as soon as it's done, just that a record is a whole other experience than the live creation of the sound. A record is the snapshot, not the actual vista.]
EDIT APRIL 2, 2010: Found this, when Evelyn Glennie is talking about feeling differences in sound and listening with the body, that's a lot of what I was thinking of, glad I found this video:
It seems to have disappeared now, even off the internet. Oh sure, I have a copy somewhere in a box of old Discorders, my half-assed portfolio of published writings. But my plan to just cut and paste it is now screwed.
What am I on about here? A review I wrote almost a decade ago about a show I saw at the Vancouver Cultural Centre with Phh!K and Particle Burn.
It matters to me because I think that Particle Burn set was the first time I was consciously aware of the effect electronic-based music has on me, the way I feel those synthesized pulses in different parts of my body. It varies by pitch, by waveform type, by volume, by timbre, by panning.
What I experienced that night was something of a sonic massage. Certain sounds hit me in certain spots - higher pitches were more pointed and drilled less far, maybe as far in as my sinuses. Bass waves pressed my whole body and tended to vibrate the back of my skull and my spine where it pressed the seat back. Mids could be all over, some more in my scalp, some more in my shoulders, some in my hips or arms. Somewhere I might even have my original notes from that show, who knows.
I've gotten more adept at pinpointing this sort of thing since, noticing some pitches buzz my teeth in an unpleasant manner, some sounds I hear more in my forehead, some more in my gut. I've also noticed that for the most part it's something I feel more from synth-based music than traditional instruments, save maybe piano. Hence I think somehow purer waveforms have a stronger effect than something with a great amount of overtones, but I'm not completely certain. I do know if I go to your typical rock show I will still enjoy it, but not feel it on as much of a visceral level as I will at an electronic music event.
If a melody has a descending interval, I feel a sinking. Dissonance interests me more than consonance because as the notes rub against each other they seem to effervesce somehow. There is a shimmer that sounds and feels more interesting.
I suppose it's a kind of synesthesia, although maybe not since sound is pressure waves after all.
I recall chatting with Michaela Galloway of Hinterland and the Hope Slide and she was saying she finds some people resonate better with a particular kind of wave, and sometimes the people who are better with say, square waves, maybe don't blend as well with another waveform's people. I haven't figured out a specific waveform I jive best with, but it seems in general any of the purer oscillator ones work nicely. [Even though I usually blend oscillators and noise to get more complicated waves...]
And I recall something LaVey wrote about certain people will always be, say, flautists and never saxophone players and he could often tell them apart on sight.
Synths just plain speak to me more than guitars do. I can tune into them much more readily and get lulled into an altered state of consciousness, not really a trance, but getting there. It's its own form of meditation for me. The closest comparison I can think of in the realm of traditional orchestration would be that I can feel ethnic drumming performances almost on the same level.
I've made it work for me when I mix, having learned that the best thing I can do when I think I have the mix right is to move away from the board and see if I can feel it correctly. To this end I will move a bit back in the control room and sit on the floor with the mix cranked. And I never wear sneakers now, always thin-soled shoes to see if the subs come up through my feet the right way. Do the highs hit me in the front of my face? Do the mids press into my shoulders and my jaw? Does the bass move through me? Are there a variety of pressure points or did I bunch the panning too much? Volume often is the determiner of whether I feel things in front or more to my back, but there seems to be more variation here. And whether it's pleasant or harsh, a push or a poke seems to correlate to a certain extent with how it's EQ'd.
Doesn't work as well with rock or punk, there I have to think more than feel. [Except for the EQ and panning, those seem to work regardless of genre and originating instrument.]
I've also gotten used to being able to extrapolate somewhat from listening on headphones so that when I am creating music on my laptop I can know whether it will feel the way I want it to feel.
I don't go to clubs as much as I should, but I noticed at Sanctuary at Club 23 West for the Landscape Body Machine show in November [talk about your prime examples of great electronic music] that I was drawn to stand two feet in front of the monster PA system that's as tall as I am and dance, feeling the wave of the phrasing and the bass moving through me. Standing up on the mezzanine at the same club for the iVardensphere show at the end of January the effect was a little lessened, probably because I was not in a direct line with the sound anymore, even though I could hear it loud and clear and still found I quite enjoyed it. I was in and out of that state, probably on account of being there as the promotions rep my brain was locked a little bit into "work mode" and that might matter as much as distance from the PA.
Getting right up in front for Skinny Puppy in November I could feel the synths quite well, for some reason the song "Ugli" especially sticks out in my mind as having caught me in the wave. And most recently on February 20th I situated myself about 6 feet from the stage in the Candahar at Hello World's most recent show and noticed myself gelling into the wall of synthetic sound and sculptured noise that Tom Anselmi, Laure-Elaine Cote, Phil Western and Jamey Koch were creating. I noticed myself moving to the pulse and wave without even thinking of it, and eventually there were a few people dancing and I was convinced to get on my feet and join them.
This show was easily the best thing I've heard/felt since that Particle Burn show. I'll get my ass kicked for saying that, and I'm not saying there haven't been other shows that were maybe more kick ass in the traditional sense of what a rock show is supposed to be like.
I've never really heard anything else from Particle Burn and the internet left me no trail either. All I know is it was three guys sitting with laptops, blasting through the Cultch's PA. Once I thought I found a bio somewhere from someone who listed the band in their credits, but when I read the page Google linked to it wasn't really there and those words apparently only appeared in links pointing to the page.
In a way maybe that's fitting for something as ephemeral as a concert experience. You can never relive it, it's probably just as well that you can't pin it down in any other way either.
[Which isn't to say I can't wait to hear the actual Hello World record as soon as it's done, just that a record is a whole other experience than the live creation of the sound. A record is the snapshot, not the actual vista.]
EDIT APRIL 2, 2010: Found this, when Evelyn Glennie is talking about feeling differences in sound and listening with the body, that's a lot of what I was thinking of, glad I found this video:
Monday, February 22, 2010
In other news...
So, I got an email this morning [okay, okay, 4:30pm, morning in my book] saying I should look at the following page:
iVardensphere Remixes vol. 1 on digitalgunfire.com
Seems the good folks over at digitalgunfire.com liked quite a few of the remixes on the new iVardensphere disc. Including mine: "Jigsaw [Speak Mix by Maqlu]."
Hell yeah!
iVardensphere Remixes vol. 1 on digitalgunfire.com
Seems the good folks over at digitalgunfire.com liked quite a few of the remixes on the new iVardensphere disc. Including mine: "Jigsaw [Speak Mix by Maqlu]."
Hell yeah!
Saturday, February 20, 2010
Playlist for February 20th 2010
Still stuck in Olympicland. Hence tonight's theme of "performance enhancing substances" ... though the sort that Manson and Ogre and the Puppy boys write about have the opposite effect, but whatever.
This is what I played tonight:
Marilyn Manson
From Mechanical Animals [1998, Nothing/Interscope]:
Great Big White World
The Dope Show
I Don't Like the Drugs But the Drugs Like Me
Phil Western
From DAT Hell [2009]:
Snacking on Acid
Big Bud
Horsey
Liquid Acid
iVardensphere
From Remixes Vol. 1 [2010, sYNTHETIC sOUNDS]:
Jigsaw (Speak Mix by Maqlu)
Bonedance (Katastroslavia Remix)
Calibrating the God Machine (Left Spine Down Remix)
ohGr
From Devils In My Details [2008]:
Timebomb
From SunnyPsyOp [2003, Spitfire Records]:
ChemTale
HiLo
From Welt [2001, Spitfire Records]:
Lusid
Solow
Rx
From Bedside Toxicology [1998, Invisible Records]:
Reuptake
Crackhead Waltz
The Daze
Skinny Puppy
From 12 Inch Anthology [1990, Nettwerk]:
Addiction (First Dose)
From Remix Dys Temper [1998, Nettwerk]:
Love In Vein (Go Girl Trio Mix by Neotropic)
Chainsaw (Josh Wink Remix)
Part 1 of the Vampire's Ball podcast for February 20, 2010
Doubting Thomas
From The Infidel [2007 reissue, Subconscious Communications]:
THC
Turn a New Leaf
Magickal Horse
Download
From Sidewinder [1996, Nettwerk]:
Sidewinder (Remix)
Shemaesin
Attallal (Haujob Remix)
Portion Control
From Surface and Be Seen [1982]:
Spinola (Blotch)
Terror Leads to Better Days
Simple as ABC
Monstrous Bulk
He Is a Barbarian
And then there was the following mix set:
"The Good, the Bad and the Druggly" - Pigface from 6
"I Wanna Be Sedated" - The Ramones from Ramonesmania
"Prozac Nation (Skold Mix)" - Left Spine Down from Voltage 2.3
"Drug (Alt. Mix)" - Duran Duran
"The Perfect Drug (The Orb Remix)" - Nine Inch Nails from The Perfect Drug
"Designer Drugs" - Fake Shark Real Zombie
KMFDM
From Extras Vol. 1:
Don't Blow Your Top (Adrian Sherwood Mix)
Disgust (12" Mix)
ohGr
From Welcome to Collidoskope Remixed [2010, self-released]:
Welcome to Collidoskope (Fractured Mirrors Remix by Darkscene)
Part 2 of the Vampire's Ball podcast for February 20, 2010.
Post-show mix CD is Mix CD 1.
Upcoming coolness:
Hello World is playing the Candahar on Febraury 20. This is the record release for Phil Western and Tom Anselmi's new project, check it out.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
This is what I played tonight:
Marilyn Manson
From Mechanical Animals [1998, Nothing/Interscope]:
Great Big White World
The Dope Show
I Don't Like the Drugs But the Drugs Like Me
Phil Western
From DAT Hell [2009]:
Snacking on Acid
Big Bud
Horsey
Liquid Acid
iVardensphere
From Remixes Vol. 1 [2010, sYNTHETIC sOUNDS]:
Jigsaw (Speak Mix by Maqlu)
Bonedance (Katastroslavia Remix)
Calibrating the God Machine (Left Spine Down Remix)
ohGr
From Devils In My Details [2008]:
Timebomb
From SunnyPsyOp [2003, Spitfire Records]:
ChemTale
HiLo
From Welt [2001, Spitfire Records]:
Lusid
Solow
Rx
From Bedside Toxicology [1998, Invisible Records]:
Reuptake
Crackhead Waltz
The Daze
Skinny Puppy
From 12 Inch Anthology [1990, Nettwerk]:
Addiction (First Dose)
From Remix Dys Temper [1998, Nettwerk]:
Love In Vein (Go Girl Trio Mix by Neotropic)
Chainsaw (Josh Wink Remix)
Part 1 of the Vampire's Ball podcast for February 20, 2010
Doubting Thomas
From The Infidel [2007 reissue, Subconscious Communications]:
THC
Turn a New Leaf
Magickal Horse
Download
From Sidewinder [1996, Nettwerk]:
Sidewinder (Remix)
Shemaesin
Attallal (Haujob Remix)
Portion Control
From Surface and Be Seen [1982]:
Spinola (Blotch)
Terror Leads to Better Days
Simple as ABC
Monstrous Bulk
He Is a Barbarian
And then there was the following mix set:
"The Good, the Bad and the Druggly" - Pigface from 6
"I Wanna Be Sedated" - The Ramones from Ramonesmania
"Prozac Nation (Skold Mix)" - Left Spine Down from Voltage 2.3
"Drug (Alt. Mix)" - Duran Duran
"The Perfect Drug (The Orb Remix)" - Nine Inch Nails from The Perfect Drug
"Designer Drugs" - Fake Shark Real Zombie
KMFDM
From Extras Vol. 1:
Don't Blow Your Top (Adrian Sherwood Mix)
Disgust (12" Mix)
ohGr
From Welcome to Collidoskope Remixed [2010, self-released]:
Welcome to Collidoskope (Fractured Mirrors Remix by Darkscene)
Part 2 of the Vampire's Ball podcast for February 20, 2010.
Post-show mix CD is Mix CD 1.
Upcoming coolness:
Hello World is playing the Candahar on Febraury 20. This is the record release for Phil Western and Tom Anselmi's new project, check it out.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
Saturday, February 13, 2010
Playlist for February 13, 2010
Unlike some entities, I keep my promises.
This is what I played tonight:
Ministry
From The Mind Is a Terrible Thing to Taste [1988]:
Thieves
From Twitch:
We Believe
Nine Inch Nails
From Pretty Hate Machine [1989, TVT Records]:
Head Like A Hole
Rammstein
From Reise, Reise [2004, Universal]:
Amerika
Test Dept.
From The Unacceptable Face of Freedom [1986, Ministry of Power]:
Statement
The Crusher
Pigface
From 6 [2009, Invisible Records]:
Fight the Power
Pailhead
From Trait [1988, Wax Trax!]:
Anthem
Moev
From Yeah, Whatever [1988, Nettwerk]:
Yeah Whatever (Extended)
From Alibis [1984, Nettwerk]:
Alibis
Cabaret Voltaire
From Sensoria 12" [1984, Virgin]:
Cut the Damn Camera
Also played "Keep On" by Cabaret Voltaire, off of YouTube.
Skinny Puppy
From Censor [1988, Nettwerk/Capitol]:
Yes He Ran
Censor
And then there was a cut-up I made for the last half hour of part 1. It contained the following, in whole or in part:
"Olympia" - film by Leni Riefenstahl
"Physical" - Olivia Newton-John from Physical
"Pulse: A Keyboard Dance" - Phillip Corner
"The End of the World" and "Theme From Pearls Before Swine" - Boyd Rice
"Bitches," "Money [Death Before Taxes Mix]" and "Piggybank [Shock Mix]" - KMFDM
"Money Song" - Monty Python
Marilyn Manson
From Mechanical Animals [1998, Nothing/Interscope]:
User Friendly
From The Golden Age of Grotesque [2003, Nothing/Interscope]:
[s]AINT
Slutgarden
KMFDM
From Retro:
Juke-Joint Jezebel
Chris & Cosey
From Take Five:
Love Cuts
Depeche Mode
Strangelove [Pain Mix]
Public Image Ltd.
From Plastic Box:
Flowers of Romance
New Order
From Blue Monday 12":
Blue Monday
Skold vs. KMFDM
From Skold vs. KMFDM:
Love Is Like
I then played my DJMix.Net set, whihc was conceived as a screwed up, maybe anti- Valentine's Day piece. You can hear it uninterrupted here and the track listing is on this blog entry page.
Then in conclusion:
Marilyn Manson
From Holy Wood: In the Shadow of the Valley of Death [2000, Nothing/Interscope]:
Valentine's Day
Post-show mix CD is Mix CD 8.
Upcoming coolness:
Hello World is playing the Candahar on Febraury 20. This is the record release for Phil Western and Tom Anselmi's new project, check it out.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
This is what I played tonight:
Ministry
From The Mind Is a Terrible Thing to Taste [1988]:
Thieves
From Twitch:
We Believe
Nine Inch Nails
From Pretty Hate Machine [1989, TVT Records]:
Head Like A Hole
Rammstein
From Reise, Reise [2004, Universal]:
Amerika
Test Dept.
From The Unacceptable Face of Freedom [1986, Ministry of Power]:
Statement
The Crusher
Pigface
From 6 [2009, Invisible Records]:
Fight the Power
Pailhead
From Trait [1988, Wax Trax!]:
Anthem
Moev
From Yeah, Whatever [1988, Nettwerk]:
Yeah Whatever (Extended)
From Alibis [1984, Nettwerk]:
Alibis
Cabaret Voltaire
From Sensoria 12" [1984, Virgin]:
Cut the Damn Camera
Also played "Keep On" by Cabaret Voltaire, off of YouTube.
Skinny Puppy
From Censor [1988, Nettwerk/Capitol]:
Yes He Ran
Censor
And then there was a cut-up I made for the last half hour of part 1. It contained the following, in whole or in part:
"Olympia" - film by Leni Riefenstahl
"Physical" - Olivia Newton-John from Physical
"Pulse: A Keyboard Dance" - Phillip Corner
"The End of the World" and "Theme From Pearls Before Swine" - Boyd Rice
"Bitches," "Money [Death Before Taxes Mix]" and "Piggybank [Shock Mix]" - KMFDM
"Money Song" - Monty Python
Marilyn Manson
From Mechanical Animals [1998, Nothing/Interscope]:
User Friendly
From The Golden Age of Grotesque [2003, Nothing/Interscope]:
[s]AINT
Slutgarden
KMFDM
From Retro:
Juke-Joint Jezebel
Chris & Cosey
From Take Five:
Love Cuts
Depeche Mode
Strangelove [Pain Mix]
Public Image Ltd.
From Plastic Box:
Flowers of Romance
New Order
From Blue Monday 12":
Blue Monday
Skold vs. KMFDM
From Skold vs. KMFDM:
Love Is Like
I then played my DJMix.Net set, whihc was conceived as a screwed up, maybe anti- Valentine's Day piece. You can hear it uninterrupted here and the track listing is on this blog entry page.
Then in conclusion:
Marilyn Manson
From Holy Wood: In the Shadow of the Valley of Death [2000, Nothing/Interscope]:
Valentine's Day
Post-show mix CD is Mix CD 8.
Upcoming coolness:
Hello World is playing the Candahar on Febraury 20. This is the record release for Phil Western and Tom Anselmi's new project, check it out.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
Saturday, February 6, 2010
Playlist for February 6th, 2010
One more week til the stupid Olympics bullshit begins. CiTR is at UBC along with an Olympic venue, will this fuck over my lil' ol' industrial fun show?
Quite possibly.
I will do my best and in fact am planning a special set list to express my appreciation for all that VANOC does. I think it's just going to have to start off with Al Jourgensen bellowing out "THIEVES! THIEVES AND LIARS!!!!!"
But in the meantime... this is what I played tonight:
iVardensphere
From Scatterface [2009, Synthetic Sounds]:
Sentient Wave Form
Calibrating the God Machine
Nuke the Site From Orbit
Moev
From Ventilation [2010]:
Halt
Tear You Down
Should Have Been Mine
KMFDM
From Tohuvabohu [2007, KMFDM Records/Metropolis]:
I Am What I Am
Headcase
Not In My Name
Revolting Cocks
From Sex-O MiXXX-O [2009, 13th Planet Records]:
Keys to the City (Invincible Mix)
Red Parrot (Juarez Tunnel Mix)
Lewd Ferringo (Club On Mix)
Ministry
From The Land of Rape and Honey [1988, Sire Records]:
The Land of Rape and Honey
You Know What You Are
Flashback
Abortive
Rammstein
From Liebe Ist Fur Alle Da [2009, Pilgrim/Universal]:
Ich Tu Dir Weh
Waidmanns Heil
Mehr
Podcast part 1 for the Vampire's Ball, February 6, 2010.
ohGr
From SunnyPsyOp [2003, Spitfire Records]:
JaKO
ChemTale
WaTergaTe
Nine Inch Nails
From Y34RZ3R0R3M1X3D [1998, Invisible Records]:
Capital G
Meet Your Master
Zero-Sum
DJ? Acucrack
From Mutants of Sound [1998, Slipdisc Records]
Swollen With Glee
Get In Me
Scientists Playing God
Diamanda Galas and John Paul Jones
From The Sporting Life [1994, Mute]:
Do You Take This Man?
You're Mine
Baby's Insane
Last Man Down
Front Line Assembly
From Comatose [1998, Metropolis]:
Comatose (Ketamin 45mg)
Oblivion
Die Form
From H/Stories [1998, Metropolis]:
Electricity
Carnal Sins
Test Dept.
From The Unacceptable Face of Freedom [1986, Ministry of Power]:
Fuckhead
51st State of America
Comrade Enver Hoxda
Fist
Podcast part 2 for the Vampire's Ball, February 6, 2010.
Post-show mix CD is Mix CD 7.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
Quite possibly.
I will do my best and in fact am planning a special set list to express my appreciation for all that VANOC does. I think it's just going to have to start off with Al Jourgensen bellowing out "THIEVES! THIEVES AND LIARS!!!!!"
But in the meantime... this is what I played tonight:
iVardensphere
From Scatterface [2009, Synthetic Sounds]:
Sentient Wave Form
Calibrating the God Machine
Nuke the Site From Orbit
Moev
From Ventilation [2010]:
Halt
Tear You Down
Should Have Been Mine
KMFDM
From Tohuvabohu [2007, KMFDM Records/Metropolis]:
I Am What I Am
Headcase
Not In My Name
Revolting Cocks
From Sex-O MiXXX-O [2009, 13th Planet Records]:
Keys to the City (Invincible Mix)
Red Parrot (Juarez Tunnel Mix)
Lewd Ferringo (Club On Mix)
Ministry
From The Land of Rape and Honey [1988, Sire Records]:
The Land of Rape and Honey
You Know What You Are
Flashback
Abortive
Rammstein
From Liebe Ist Fur Alle Da [2009, Pilgrim/Universal]:
Ich Tu Dir Weh
Waidmanns Heil
Mehr
Podcast part 1 for the Vampire's Ball, February 6, 2010.
ohGr
From SunnyPsyOp [2003, Spitfire Records]:
JaKO
ChemTale
WaTergaTe
Nine Inch Nails
From Y34RZ3R0R3M1X3D [1998, Invisible Records]:
Capital G
Meet Your Master
Zero-Sum
DJ? Acucrack
From Mutants of Sound [1998, Slipdisc Records]
Swollen With Glee
Get In Me
Scientists Playing God
Diamanda Galas and John Paul Jones
From The Sporting Life [1994, Mute]:
Do You Take This Man?
You're Mine
Baby's Insane
Last Man Down
Front Line Assembly
From Comatose [1998, Metropolis]:
Comatose (Ketamin 45mg)
Oblivion
Die Form
From H/Stories [1998, Metropolis]:
Electricity
Carnal Sins
Test Dept.
From The Unacceptable Face of Freedom [1986, Ministry of Power]:
Fuckhead
51st State of America
Comrade Enver Hoxda
Fist
Podcast part 2 for the Vampire's Ball, February 6, 2010.
Post-show mix CD is Mix CD 7.
And now for my weekly end notes:
You can now subscribe to the Vampire's Ball on iTunes. Just search for "CiTR" and you'll find The Vampire's Ball listed along with 20 or so other cool shows here on CiTR Radio.
Or grab the podcast off of this page:
Podcast page for the Vampire's Ball.
You can email requests and comments to thevampiresball@gmail.com. You can also send me MP3 links if your stuff fits the show, or for old fashioned CD submissions, those can either be mailed to my post office box (see sidebar) or dropped off at CiTR Radio (or mailed c/o CiTR Radio. The address is in the sidebar of this blog.)
There's now a Facebook group for the Vampire's Ball. Join us!
Likewise, there is also now a MySpace page for the Vampire's Ball on CiTR.
As always, thanks for listening. Enjoy the show.
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