My Semi-Scathing Review

On my trip to California, which occured in early October, I was in attendance at a Magik Markers show at the Hemlock in San Francisco. It was through the wonder of coincidence and the magic of traveler's bones that I ran into David Harper and Nicole Bogas inside the stinky poo-poo Hemlock, which I left feeling rather doody. For a full account, see my snarky and jaded appraisal of the whole affair at Tiny Mix Tapes.

Love Ya-


Pet Sounds Remixed

I just stumbled upon a great remix album of The Beach Boys' Pet Sounds. It's crafted by a British artist by the name of Bullion, who really appears to be just a bedroom producer. Anyway, the album is entitled 'Pet Sounds: In the Key of Dee' because it emulates, and pays tribute to, the late J Dilla. Initially I was under the impression that the whole thing was a mash-up but according to Bullion "NO DILLA DRUMS USED." I'm a tad suspect because it really does sound like something that Dilla produced himself- it's uncanny.

Bullion provides the whole thing (mp3s at 320 kb/s!) for free. Download it here.

ps. Couldn't make it out friday night. To those who went, how was the Carolina Funk release party at Hell?

Daedelus and Busdriver

I caught the Daedelus/Busdriver show this past friday at the local 506 and it was amazing. Daedulus was decked out in almost full conductor's attire (except for his jungle spotted new balances) and he prefaced his set by saying that he wanted to keep things more "up tempo" and that we (the audience) should let him know if we didn't like his direction. Daedelus kept his word; and I thoroughly enjoyed his performance despite the fact he ventured close to heavy-techno territory. Here's a very short clip of the show that I captured with my outdated Canon:


it looked and sounded much better live. Also, that box that he's playing is a version of this cool little contraption:


Busdriver went on last and was intense as usual. He was backed by Anti-mc (who provided the beats for Busdriver earlier in the year when he opened for RJD2 at the cradle) and another dj named Desert Eagle. Their standout song was a remix of Kill Your Employer, which had one of the hottest beats that I have ever heard (sorry, no vid for that). And to top things off, as soon as Busdriver left the stage there was an impromptu dance party which was still going on when I left at 2am.

good times.

Must Don't Whip 'Um

Hey folks! WXYC is cosponsoring a performance of Cynthia Hopkins and the Gloria Deluxe's Must Don't Whip 'Um tomorrow night at 8:00 pm in Memorial Hall. Hopkins stopped by the studio yesterday evening for an interview and in studio session with our very own Maxwell Supercool. Check out the media.

Robot Attack!

Robots took over the WXYC airwaves last night on the Feedback Farm. Are robots benevolent helpers of humanity or sinister machines plotting to overthrow their creators? There was a little of each on last night's programme, which, in terms of the Feedback Farm oeuvre, wasn't half bad.

Two ways in which the show have been better:
-Kevin* could have remembered to bring the vocoder, or
-Kevin could have given an on-air apology in a robot voice for not remembering to bring the vocoder.

If you want to hear about robot exoskeletons, ethical issues surrounding robot technology, underwater robot seals, and a debate over the relative merits of two robot songs ("Mr Roboto" and "Iron Man"), download the programme here (25MB MP3).

Oh, coincidentally, Captured! By Robots plays tonight at the Local 506.


*Kevin being Kevin Clark, wanted in both Arizona and North Carolina for unspecified crimes not involving robots.

Feedback Farm: Fun For The Entire Family

The Feedback Farmers visited the North Carolina State Fair with stolen press passes and filed this report (25MB MP3).

Tune in tonight (9pm WXYC time) for another episode of the Feedback Farm!


WXYC-Jock Robin Sinhababu is revealed to a live recording killer, a heckling derelict, a loud-mouthed antagonist. Boner Machine, live at the Philbog, Sept 29, 2007.



The WXYC Music Dept has been flooded with great new stuff lately, making our bi-weekly program dedicated to fantastic & fresh releases radiate with aural goodness. The past two installments have been especially exciting, with a nice mish mash of genre and style. I was even decked out in my Johnny Ca$h costume for last week's show (black suit and thick gold chain with dollar sign). Check out the playlists!

New Music Show: Oct. 17, 2007

New Music Show: Oct. 31, 2007

Hi Ho, Hi Ho

Sorry it's taken me so long to post this--I've had SO MUCH WORK that I didn't have time to upload this recording.

Last time on the Feedback Farm, the Farmers dedicated the night to the working class. Isn't it touching that they thought of us? Well, give it a listen by clicking here (29MB MP3).

And then be sure to tune in TONIGHT (89.3FM in the Chapel Hill area or wxyc.org, don'cha know) at 9pm WXYC time for an exciting new episode of THE FEEDBACK FARM!

Desert Blues - The Sounds of Tuareg Rebellion

Two exciting additions to WXYC playbox feature releases focusing on guitar music from the Western Sahara, each representing opposite ends of the recording spectrum and providing a window into the volatile political climate of the area. They both embody the sound of Tuareg unrest that is once again intensifying in the region, since rebel Tuaregs began another uprising against the Nigerian government earlier this year. You can read about the conflict on the following links taken from Tinariwen's Web site (they're in French though, so get Google to translate 'em):


Group Inerane is the newer of the two releases, presented in the lo-fi Sublime Frequencies style and recorded live in Algeria. Tinariwen's record was released in March, and showcases the group's efforts in the studio after evolving their sound for over two decades and two prior full-lengths. Individual reviews with more details below:

Artist: Group Inerane
Album: Guitars From Agadez (Music of Niger)
Label: Sublime Frequencies

The second vinyl release from Sublime Frequencies continues to document Western Saharan guitar music (the first LP was Group Doueh, released earlier in the year), this time showcasing Bibi Ahmed and his Group Inerane.

Hailing from the currently tumultuous city of Agadez, Niger, the group exhibits a sound steeped in snaking, blues-rock influences and infused with Saharan folk, involving two electric guitars, a small drum kit and a chorus of vocalists. Recorded live by SF workhouse Hisham Mayet, the quality varies from track to track, but maintains a certain gritty charm that adds to the ecstasy of the group's performance.

The tracks range from psychedelic burnouts to plodding claps and soaring voices, bobbing rhythmically like a camel ride and inducing states of sandy trance. Their music is encompassed in the revolutionary rock of the Tuareg people, a sound that developed in the 1980s and 90s during the First Tuareg Rebellion as a political weapon for the rebels and an outlet of communication from Libyan refugee camps. The Nigerian government's failure to concede more political representation and economic compensation from the country's uranium deposits to the Tuareg since 1995 has led to a second uprising initiated by rebel Tuaregs earlier in the year, and is currently raging strong.

With music as captivating as this, Sublime Frequencies deserves applause once again for highlighting a region currently torn by conflict and deserving of attention from the outside world.

Artist: Tinariwen
Album: Aman Iman: Water is Life
Label: World Village

This group of nomads/soldiers/musicians from Mali has quite a backstory. The founding members of Tinariwen first met each other in the 1980s after being recruited to military camps in Libya, where they began fighting for the autonomy of their Tuareg people against the Malian and Nigerian government.

They began writing songs with their electric guitars, singing of their exile and struggle among the war-torn desert, drawing influence from the likes of Led Zeppelin and Hendrix. They've since given up their guns for guitars (though they once carried the two together), enjoying a fair amount of exposure since the late 90s from the likes of Robert Plant and Carlos Santanta, two of the musicians that originally inspired their desert trance-blues sound.

This is their third album proper, recorded in Bamako, Mali, and produced by Plant's guitarist Justin Adams to a finish that's a bit slick, but goes just far enough not to completely strip the music of its rustic mystique. Fronted by lead songwriter/vocalist/guitarist Ibrahim Ag Alhabib, the group usually contains around six guitarists and an equivalent amount of male and female vocalists and percussionists, delivering an entrancing brand of slippery guitar riffs and passionate campfire ballads in their native Tamashek tongue.

The group's droning desert sound might get a little too familiar after sitting through the album's entirety, but the music itself is performed with enough conviction to make this a compelling record, highlighted by the voice it gives to the hardships of the Tuareg and their fight for independence.