Issue 269

July 2006

Current 93
David Tibet explains how his music is shaped by his apocalyptic religious visions and nightmares of black ships. By Keith Moliné

Die Tödliche Doris
In the early 80s, while their noisier compatriots cultivated a nihilistic culture that defined West Berlin, the constantly mutating Die Tödliche Doris best embodied its unstable identity. By Biba Kopf

Invisible Jukebox: Kode9
The Dubstep all star identifies secret rhythms in tracks by The Conet Project, African Head Charge, Miles Davis and others. Tested by Derek Walmsley

Cross Platform: Annea Lockwood
Harnessing sound as pure energy, the Antipodean sound artist maps rivers as living entities. By Julian Cowley

Boxcutter
Barry Lynn talks beats, horror movies and Pharoah Sanders with Chris Sharp

FM3
The Chinese electronica duo have gone into overdrive to meet the demand for their Buddha Machine. By Marcus Boon

Global Ear
Joris Heemskerk experiences a free music explosion in Hasselt, Belgium

Epiphanies
A late night exposure to Oval's 94 Diskont jolts Lisa Blanning awake

Print Run
The Vinyl Ain't Final: Hip Hop And The Globalization Of Black
Popular Culture, Edited by Dipannita Basu & Sidney Lemelle; Sync Or
Swarm: Improvising Music In A Complex Age, By David Borgo; Music
Downtown: Writings From The Village Voice, By Kyle Gann; The Velvet
Lounge: On Late Chicago Jazz, By Gerald Majer

On Site
Whitney Biennial 2006, New York, USA; Pilgrimage From Scattered Points, London, UK; Anne Bean, London, UK

On Screen
Tresor Berlin: The Vault And The Electronic Frontier; PJ Harvey: Please Leave Quietly: PJ Harvey On Tour; Oxbow: Love That's Last: A Wholly Hypnographic & Disturbing Work Regarding Oxbow

On Location
Cut And Splice: Acousmonium, London, UK; FuseLeeds 06, Leeds, UK; Fantomas-Melvins Big Band, London, UK; Dissonanze 2006, Rome,
UK; Lyrics In Libraries, London, UK; Vetiver, London, UK; Boredoms,
London, UK