Audio

Urban Graffiti Mix #12

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Urban Graffiti Mix #12 by Mark Mccawley on Mixcloud

Exceptionally lyrical, subjective, personal. Tracks of love, ecstasy, longing, sex, obsession, desire. Tracks seeking out language to describe the indescribable; also, the madness that accompanies each acceptance or denial of longing, obsession, desire; for each who wins, another must lose; the agony of grief, loss beyond consoling, but not beyond words. Good words. Bad words. Mean words. Transgressive words. Most of all — lyrical words. Passionate, rapturous, ecstatic, euphoric. Yes, love hurts. It’s the only fire we again and again allow ourselves to be burned by.
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Guilty of Everything: Herbert Huncke in Amsterdam — review by Mark McCawley

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Guilty of Everything: Herbert Huncke in Amsterdam

 

Reading at Ins & Outs Press

 

review by Mark McCawley

 

Guilty of Everything- Herbert Huncke in Amsterdam“Hunke, whom you’ll see on Times Square, somnolent and alert, sadsweet, dark, beat, just out of jail, martyred, tortured by sidewalks, starved for sex and companionship, open to anything, ready to introduce new worlds with a shrug.”

~ Jack Kerouac, “Now it’s Jazz”, Desolation Angels, Chapter 77.

Hobo, narcotics addict, merchant marine, gay hustler, petty thief, convict, storyteller, writer — Herbert Huncke began living an underground life after dropping out of high school in his sophomore year in Chicago, drawn to the underbelly of city life, and quickly began learning how to support himself as a professional drifter and small time grifter.

An autodidact, and primarily anti-academic, Herbert Huncke, whose lifestyle and easy manner of speaking influenced so many, (eventually famous authors and poets, e.g. Jack Kerouac, William Burroughs and Allen Ginsberg) coined the term “beat” to name a generation.
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Smash the Sun Alight & Iranian Doom by Sterbus — review by Mark McCawley

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Smash the Sun Alight & Iranian Doom

by Sterbus

 

review by Mark McCawley

 
Smash the Sun AlightBorn on August 14, 1979, in Rome, Italy, Sterbus — who also goes by the name Emanuele Sterbini — is a contemporary DIY musician whose work is heavily influenced by the RIO Movement (Rock In Opposition), progressive rock, avant-prog, avant-garde and experimental music. Sterbus makes regular use of dissonance and atonality in his songs, along with complex and unpredictable song arrangements and the inclusion of disparate musical genres. His use of polyrhythms, highly complex time signatures, free and experimental improvisation make such influences as Zappa, Cardiacs, Henry Cow quite easy to identify in the music of Sterbus. On tracks such as “Gay Cruise”, “Wooden Spheres + Heartquakes”, and “A Sigh of Relief”, Sterbus combines playful elements of progressive rock and alt rock with pop rock sensibilities in new and exciting variations.
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Trobairitz: Celebration of Voice, Love, Sex & Music in the Poetry of Catherine Owen

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Trobairitz: Celebration of Voice, Love, Sex & Music in the Poetry of Catherine Owen

 

Review by Mark McCawley

 

trobairitzTrobairitz
by Catherine Owen
Anvil Press, 5.5×8, 156pp, $18.00 CAN/US
published, Fall 2012

Despite the dark, often violent patriarchal images and themes associated with Trobairitz’s heavy metal subtext and its concomitant social and sexual inequalities and class structures — Catherine Owen’s Trobairitz is an optimistic, even confident collection of poems celebrating the myriad voices of love: passionate love, erotic love, marital love, adulterous love in which Owen has rediscovered and reapplied rare medieval forms against a heavy metal backdrop of the present without losing a single beat.

Instead of embroiling her poems on easy feminist sexual polemics (as many of her reviewers and critics seem to do), Owen celebrates the power and strength of women in her poems in Trobairitz regardless of whether they are set in the 12th or 21st Century (in some poems, time itself merges):
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More AltrOck Label Releases — 2011/2012

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More AltrOck Label Releases — 2011/2012

Born in 2005 from an idea by Marcello Marinone, who organized the first edition of the AltrOck Festival devoted to experimental and «on the borders» music, and, together with Francesco Zago, established the homonym label, whose first release was Yugen’s Labirinto d’acqua. The aim both of the festival and label was to produce, promote and propose in various forms the best of what actual underground musical italian (but not only) scene offered, from experimental to avant-jazz, from RIO’s heritage to contemporary classical and progressive rock.

Of course, for those raised on mainstream music in North America, releases from AltrOck might come as something of a shock. A very pleasant shock, I might add. Like all great underground art, AltrOck consistently gathers together and releases albums from bands and groups from as far and wide geographically as they are eclectic, experimental and avant-garde. On the same disc, you’ll discover influences as disparate as prog, RIO, proto-punk, and neo classical. This is not music for the lazy listener. Every track requires the listener’s full attention. There are no cheap hooks or quick gimmicks in these releases. To the attentive listener, the rewards are as myriad and as varied as the music itself.
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