“You are something the whole universe is doing in the same way that a wave is something that the whole ocean is doing.”
— Alan Watts. (via sun-garden)

(via notational)

solarflares: from the archives ::: Hang on tight. 


Ministry of Voices - NNCK


   img: daysrunaway

solarflares:  FROM THEE ARCHIVSZ3 years ago 


Zu Laiten - Disciples of Annihilation

REVIEW: No Age live in Nara, Japan. 9/13/14

solarflares: scribble bibble bibble

First thought:

"No Age? In Nara? What the heck are they doing playing here?

Don’t get me wrong, I love it here- it’s just I’ve grown used to taking the train to Osaka, Kyoto, Kobe to get my live music kicks. I’ve become part of the “bridge & tunnel” set, something younger, callower me would have definitely harsh-ridiculed myself for.  So, the idea of LA’s art punks crossed with old archival footage from the former ancient capital of Japan for a special event in the small-but-vital Nara International Film Festival seemed like an interesting proposition.



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solarflares: from the archives 


I’m Sorry, I’m Not Driver  -  Laboratorium


One of my favourite tracks in the world ever, sexy 70s Iron Curtain prog/jazz.

(via )

Ok, this has to stop. Not buying any more new books til 2015. (@versobooks 50% sale items just arrived in the post) #tsundoku #consumerFrenzy

solarflares: back at it 


Unless you grew up in a major metropolitan area, the whole “lure of the big city” thing is one of the most reliable, even predictable coming-of-age narratives. In terms of rapid urbanization and the emergence of megacities, the stats seem to reflect it as well.

It’s a common cultural trope - think: the restrictive, stifling small town, village, farm, rural area or even mid-sized city and how it gives rise to the the young & aspirational who want, or hope or are driven by a need to leave the nest, break free, take the big step towards self-actualization, reinvention, escape, start a new chapter, the journey of a thousand miles begins with “I’m shaking the dust of this crummy little town off my feet and I’m gonna see the world!” and fill-in-the-blank etc etc etc.

Example/tangent: My mom left a small Manitoba farming town called Winkler for the bright lights and vibrant buzz of —uhh, swingin’ 1960s Winnipeg.

Growing up, I saw my large pockets of my own generation join the annual mass exodus from Winnipeg to bigger, buzzier Canadian cities with more distractions and cultural amenities.  Cities like Vancouver, Montreal, and Toronto lured them away from their two-horse hometown and we watched, sometimes with dry “told ya, you owe me 5 bucks” glee when the boomerang effect brought some of the previous years’ escapees back and dumped ‘em in a snowbank.

My turn came when my love for the coastal landscape and my educational pursuits led me-twice- to Vancouver, a largely transient city where everyone was from somewhere else. Before I moved on for Japan, it seemed like every third Emily Carr artskool grad made the running post-graduate swan-dive toward toward Berlin. Talkin’ ‘bout my gentrifica—-er, generation. 

TL/DR:  Either you stay, or you go, and all of this was brought to mind while listening to Tokyo, by Machinone. According to the one-sheet:

"6 years ago, machinone (Daizo Kato) from Tohoku, moved to the west side of Tokyo, and opened a new chapter of his life. During these 6 years, he has been drawn to the fascinating surroundings of the town he stayed – a wonderful mix of modernization from the current time and nostalgic vestiges of the urban past. his debut album “Tokyo” is a collection of machinone’s delicate sketches of the town."

via Pastel

It’s a tidy little bit of narrative to carry with you through this collection of gentle acoustic work: instead of depicting the somewhat tired cliché of hypermodern Tokyo full of noise, bustle, neon wackiness and giant plasma screens barking Exile and AKB 48 everywhere you look Kato/Machinone seems intent on picturing the small magic found in daily ordinariness of backstreets and smaller neighbourhoods instead of the famous “must-see” districts (Shibuya, Shinjuku, Harajuku etc).  

There’s a distinctly wistful sense to the proceedings: everything is self-consciously gentle and small- almost twee- but relaxed, kind of like browsing around in a zakka shop. With no grand gestures, and an atmosphere is more saudade than sad, there’s a sense of imagined nostalgia, evoking the poetics of place and location, similar in feel to the films of Naoko Ogigami (Kamome Shokudo, Megane) and Kana Matsumoto (Tokyo Oasis, Mother Water). Tracks like “Vihrea” and “Flower Stamp” perfectly capture the sound of Japan’s ura-dori: the tableau-like backstreets full of century-plus old houses and closed, abandoned or repurposed Showa-era shops and machiya.

It’s fitting that they have a cinematic, almost utilitarian feel:  they could easily accompany a short film or a documentary showing us the nooks and crannies of his town, and if there’s any reflection of the big city with all its noise and bluster, then it’s coming from an interior POV, perhaps a score for a smalltown transplant swimming in the sea of concrete and people, a little lonely, a little homesick, not quite alienated and happy in the better future they left home for, all viewed from the inside out.

(Images taken from an interview with Machinone by Kenji at Pastel Records)

Three EPs: Willie Burns, DJ Vague, Rushmore (UTTU/Hot Haus).


Willie Burns - I Wanna Love You EP (HOTSHIT 012) ||| 

DJ Vague - Hard Workin Tracks 3 EP (UTTU 042) ||| 

Rushmore- Dance Show EP (HOTSHIT 010)


Hooo boy. Busy days.

It’s a common refrain among bloggers and now it’s my turn: it’s been quiet over here, with my time getting eaten up by day-to-day analog/IRL things, leaving little time to devote to this one-horse operation. Sporadic posts are better than no posts, I guess and thanks to some new tunes showing up, some more scribbling is on deck.  People are nice enough to keep sending me quality stuff, and so I’ll keep on cobbling together the blah-blah.

In recent news, our pal Bob over at WNCL was kind enough to put this blog on Hypercolour’s promo list, meaning lots of new thumpy releases have been showing up in the inbox. Expect a four-to-the-floor/chunky slant for the next short while.

Being inundated with lots of new music can be a good thing, or often, a completely taxing pain in the butt. I’m thankful for the brevity of the 12” EP format, since for this picky music scribbler at least- the majority of promos in any genre largely run from ignorable to middling to “meh”. 

Luckily, a few diamonds always stick out and here are three lo-fi funk releases from the Unknown to the Unknown / HotHaus axis that should be welcome additions to any long-time bedroom DJ’s arsenal for inclusion on Traktor mixes that will never see the light of day. Ahem.

Let’s get started.

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“Even if someone makes something terrible—like the music the Insane Clown Posse makes—at least they’re doing something that speaks to them. And they kept going even though people told them it was terrible. And they found their audience, and now they built a community around their work. Look, you couldn’t pay me to listen to their music, but I still feel like I have more in common with the Insane Clown Posse than I do with someone who just sits on the sidelines and shits on other people’s work and who never puts themselves on the line.”

Tom Scharpling in Mike Sacks’s Poking a Dead Frog (via nickdouglas)


Juergen Teller, Antonio Guida, Will Self, Eating at Hotel Il Pellicano



Published by Violette Editions, 2013














Fucking sexy