A quiet and atmospheric sound, The Silent Machine has released two EPs both in 2006 called Spark and The Malfunction of the Human Heart... Once the software is available for use I hope to delve into the retrowave/dreamsynth genre inspired by Power Glove, Mega Drive, and THE HUNT...

A Spark, A Light
Right in the middle of all human experience, no matter what it is, there is a spark, a light, a quiet and core persistent core of conciousness from which all of life springs forth.  To discover and further illuminate this spark, Adyashanti suggests we first must go beyond the divisive, imaginary boundaries and commentary that our minds make up about what's real. Then, as we attend to and align with the core of our conciousness, this spark of the divine grows brighter.

Dirty Joe (Dirtle Wax Records)

Another fucking artist biography:
There are only so many words to describe Dirty Joe: Rapper, producer, DJ, obese, cunt, bearded.

He is currently preparing his 3rd LP (Lowest Common Dominator) as well as a few instrumental albums, but you don’t care, of course not, you’re looking for a spark of intelligence/humour amongst the name-dropping and inevitable self-fellation that the average bio is. You are probably also wanting some free music too, a few free full lengths enough for you? The links are at the end (and probably in any email I spammed you with).

What is this annoying fuck trying to promote this time? Only the first of the Dirtle Wax Instrumental Series, that’s what. It’s a Hip-Hop beat-tape showcasing his natural talent as a producer. Emcees/rappers/vocalists/beatniks/etc can use these tracks as a backdrop to their shouty-poems about ‘the game’ (whatever that is).

All tracks are free to be used for promotional use only, but email a copy/link of the finished track to dirtle@msn.com. Any commercial use (e.g album, mixtape, etc that is for sale) please email dirtle@msn.com for legal and monetary negotiation/offers.

Name Dropping:
Dirty Joe is the team mascot for the 3x UK DMC team champions (2x 3rd in the world) Bionic Stylus Crew. Consisting of 3x DMC World Supremacy champ DJ Switch, long-time friend Furious P, battle veteran DJ Loop Skywalker & king of swag DJ Cable. Dirt is also regular drinking pals with Endemic, owner of No Cure records who has produced for Ill Bill, Sean Price, Ruste Juxx, Timbo King, Cappo, Cyrus Malachi, Tek, Killah Priest & Planet Asia to name a few (well, OK, quiet a lot)

Dirty Joe has met these vaguely famous people in various professional capacaties (supported unless otherwise noted): DJ Shiftee (Drank with, cut with), DJ Grandmaster Supreme (Cut with), KRS-ONE (rhymed with), Apathy (rhymed with, over own beats), Cappo (rhymed with, supported several times), Souls of mischief (Rhymed with & supported), Master Ace (rhymed with), Punch & Words (rhymed with), DJ Noize (Cut with), Supernatural (rhymed with), Joe Buddah (worked with numerous times), Jehst, Asaviour, Mr Thing, Skeptik, Chima Amor, PUTS, Christie Z-Pabon (Chilled with), Cyrus Malachi, P Brothers, MR45, Sally ‘Hip-Hop’ McLintock (Drank a LOT with @ the DMCs), Charlee Brown, Out Da Ville (DJed for, rhymed with)

Blah, blah, de-fucking blah. Enough of that list of people.

Self-Fellation:
Dirty Joe is fucking awesome, in the literal sense, he induces awe. He is the best rapper ever, that raps about being Dirty Joe & swears a lot. Dirt has a large vocabulary, but prefers the words ‘fuck’ and ‘cunt’ to more poetic words of description. He’s the best gosh darn fat white rapper who also happens to be a vegetarian. Dirty Joe can travel through time, but only forwards, and only at the rate of 1sec/sec. Dirty Joe. DIRTY JOE. Brilliant on the MPC. Good on the turntable, bad at not drinking & ugly to most. Dirty Joe is a believer that you are what you eat, which is good because he is a twat.

Links to free shit:
This is the bit you cared about, so here you go:
Dirty Joe: Friday the Dirteenth (2nd LP)
http://www.mediafire.com/?7k07m5yk5oq4v5t 

Dirty Joe: Call of Dirty (the non-album)
http://www.mediafire.com/?2ky2yjmjjzenmhn 

Dirty Joe: Dirtramentalz Volume 1
http://www.mediafire.com/?hzkb8lgi3pli221 


ALMOST DANCING - OUT NOW!
▶️ Stream / download: fanlink.to/b4eB

• TAKE THE METAL: https://fanlink.to/bYZn
• VANS ON ME: https://fanlink.to/bkaG
• GOLDY NIGHT: https://fanlink.to/bcJT

The house starts quiet, the beginning of the day, sounds of coffee and breakfast. Wonders beginnings. 

Soon more sounds get added, mixing in kids, awake and moving around, eating, getting in each other’s space. The sounds of getting ready for work leveled by things prepared for the day in advance.  

Throughout out the day all kinds of sounds in the house, and to direct and guide those sounds is none other than the housewife. Without her everything would be dissonance and off key, but with her guiding hand, life in the house is rhythm and melody.  

Life is just music played with different instruments, the people and things around us all make music.  

Producing #house music is just an extension of life, but instead of trying to turn the chaos of the kids trying to get each other in trouble over the last of the cereal in the box into peace and tranquility it’s about taking the sounds of the instruments and guiding them into the sounds the artist envisions. 

This housewife directs daily life in the home as well as produces quality #techhouse for artists with the precision and care not reserved just for daily life but also for the creation of the sounds that are created in the souls of musicians and need recorded and mixed into the masterful creations that spark the minds of those who hear it. 

Life and artistry are two sides of the same coin and keeping the house in order is a mirror of keeping the creation of #house music in order. Hearing the needs of the home, kids and husband and making sure those needs are met is just as important as hearing the needs of the musicians and making sure their creations become reality.

ELIJAH BLAND is not your average man, and certainly not your average artist.  The multi-talented actor, singer, songwriter, producer and musician embodies a presence and style matched by few in his generation.  His musical sensibility reflects a range of inspiration, from the sensual musicality of Prince, to the funky twang of Bill Withers, to the spiritual soul of Al Green, to the bold essence of Isaac Hayes.
 
Featured on international media platforms including The Quiet Storm with Lenny Green, Arise Entertainment 360, and The Michael Baisden Show, Bland has captured the attention of music lovers around the world, connecting with the hearts of women and the minds of men.  His music is currently in rotation on commercial and satellite R&B/Soul radio stations, including Music Choice and Sirius XM.  Bland's sultry single, "For The Record", also garnered national attention with a year-long tour, including live performances in over 30 major U.S. markets. 
 
This charismatic performer has headlined on the Capital Jazz SuperCruise and shared the stage with some of the world’s most beloved Jazz and Soul artists including the late, great George Duke, Stanley Clarke, Gerald Albright, Will Downing, Lalah Hathaway, Dwele, Boney James, Yolanda Adams, and Eric Roberson. On stage, he leads his band with vocal and instrumental prowess, exuding an energy that invigorates the world of entertainment.  Beyond his musical endeavors, Bland has also proven himself as a gifted actor in film, television, theatre and voiceovers.
 
In his quest for artistic excellence across all platforms, Elijah aims to deliver a consistent message of passion, purpose, faith, and love.  It is through this mission that he continues to uplift and inspire current and future generations, making the Elijah Bland brand one we will never forget.
 
 
 
PERSONAL LIFE
 
Born and raised in Hackensack, New Jersey, Bland is a self-taught musician who has been tuning his uncanny ear for music since he started playing piano at the tender age of five.  As a standout student-athlete, he generally kept his artistic abilities under the radar and earned a full scholarship to play NCAA Division II college basketball.  While excelling on the court and earning a bachelor’s degree in Computer Science and Music, Elijah also spent countless hours honing his craft as a songwriter and producer.  Writing songs for local artists led him to discover a voice of his own, which would soon spark a promising career as an independent recording artist and full-time entertainer.
 
 
 
DISCOGRAPHY
 
The independent release of his full-length album, Soulcentric, garnered immediate international acclaim with the singles “Talk To Me” (Elijah’s national radio debut on the Michael Baisden Show) and “Necessary” (nominated for Best R&B Song in the Independent Music Awards) creating a substantial buzz during the rise of social media.  Perhaps the most powerful selection from the Soulcentric catalogue, however, is the uplifting women’s anthem “Wash The Mirror (Love Yourself)” which inspired the launch of the worldwide #LoveYourself Campaign.  Fueled by the age-old notion that beauty is in the eye of the beholder, the mission of this campaign is to encourage and inspire future generations of women to develop a positive relationship with their own self-image, promoting positive self-esteem through the universal language of music.

Imagine you’re in a Berlin nightclub and a guy with a guitar and mischievous eyes roams in with a sheaf of songs.  He’s from Oklahoma by way of the world and he’s got a restive energy that is somehow soothing, as if secrets whisper to him.  It’s raining fury outside but the bar is warm and the stage is lit. He frees his guitar and brushes past.  Someone asks:

“What are you gonna play?”

“Everything.” 

Robert Williams’ music is the crossroads of grace and truth. He knows where the wild things are and where the quiet heart hides.  A singer/songwriter since he was 19, Robert, whose influences include Woody Guthrie and Levon Helm, echoes with a wise man’s rhythms and a poet’s glee. Born in Oklahoma, where John Steinbeck immortalized the everyman’s battle against his fate, Robert is a wanderer, picking up songs along a road that stretches through the roadhouses of Kansas City and Austin to the tempting haunts of Berlin.
Since the 1970s, his style has been his own, a masterful blend of folk, blues, rock and a melodic twist of European cabaret. He played through the Cold War in West Berlin clubs such as ‘Go-In’ and ‘Folkpub.’ He became a mercurial spark in the scene, a voice in the mosaic of what once was and what was taking its place. Berlin popular music critic Peter Müller considers Robert and long-time collaborator Wayne Grajeda to be engrained in the city’s musical history, praising their musicianship, song writing and originality.
Robert’s path eventually led to Egypt where he taught linguistics at the American University of Cairo.  From a distance, and in the aftermath of 9/11, Robert had provocative things to say about American exceptionalism and what tragedy had done to his native land.  His first solo album, State Secrets (2004), was produced in Nashville by Bonnie Raitt Band guitarist George Marinelli Jr.  In 2010, the Oklahoma Gazette named State Secrets as one of the ten most important albums of the previous decade by an Oklahoma artist: 
“Williams was once on a path to be a lifetime troubadour. Then he wised up. While the Oklahoma City native traded the nightlife for a professional role in Egypt, he remains one of the best songwriters to ever come out of the metro. With just two songs, ‘The Quiet American’ and ‘How Long (Till the End of the World)’, he explains the past decade better than anyone.” 

Robert’s guitar and mandolin play soulful and brash. But so much of his songs are about the words. How they fit, sound, rub together; how they whirl and dance. Robert’s lyrics can take you places and bring you back with a deeper wisdom. They are small worlds of longing, wonder and intimate detail.

"I was out on the road late last night, from Memphis bound for heaven
The headlights were flashing messages that were only meant for me
Telling me a man's got to Burma Shave and that Jesus died for my sins
Well darling this must be true
Cause how else in the world could a sinner like me
End up in the arms of an angel like you"

You can hear them in that Berlin nightclub when the man with the mischievous eyes and sheaf of songs steps to the mike. The crowd gathers, voices hush, the barkeep folds his rag.  The first note is struck as the lights dim and rain falls hard outside the window.

STREAM - 1.) Steady flow of water or other liquid. 2.) Moving continuously in a line or particular direction.  A stream is a natural resource that flows from the Earth. It derives from a spring and journeys to the rivers whose ultimate destination is the wide oceans of the world. STREAM incorporates this philosophy into the creation of her music.  She nurtures a thought, morphs it into a melodious blend of words, and delivers it to the hearts and minds of people. Since birth STREAM knew she was destined for greatness.

Born Nateesha Irving, she started singing at the tender age of thirteen. She began performing on community stage shows as part of the girl group trio DA-NA-TE. As a young teen the multi-talented STREAM, also delved into the world of acting and modeling. However it wasn't until she recorded her first song at the age of 18, titled “My Friend” did she realize her true calling as a songstress. This later led her to form alliances with the female group ‘RASTARINES’ which ultimately lasted a few years.

STREAM's style is similar to that of Toni Braxton who she considers to be an influence on her musical career. Others include Anita Baker, Teddy Pendergrass and Alton Ellis. Her unique and diverse sound is as quiet as the stream that will one day meet the ocean. She adds, “I can relate to her music, her melody. It connects to me. I can feel her through her music. It’s like when she sings the melody speaks to me. It’s captivating”.

Even though she is a female in a male dominated business STREAM has successfully maintained her level of royalness by embracing Rastafari as part of her cultural being. “I’m a Nu-Root Rasta, one that still sticks to and will never forget the fundamentals of my culture.” The future has arrived ladies and gentlemen as STREAM has firmly rooted herself as the next great thing to flow from the rocky springs of Jamaica. Her sound will seek to illustrate a new vibe, a new beginning and spark the growth of a Nu-Root.
Currently working on completing his debut album, STREAM and management company Nyah Bless Music have begun an amazing promotional campaign that will continue throughout the summer with the release of several singles.  The album is already causing a stir within the industry with moguls and fans collectively excited at the prospect of 12 vastly different tracks produced by an assortment of well-respected Jamaican producers.

"If you work nights and it's real quiet, I don't think there's an operator who hasn't listened in on calls," a switchboard operator says. "The night goes faster."

Taking cues and inspiration from Studs Terkel's seminal piece 'Working', a compilation of oral-histories about work informing GSAPP event programming this year, this process attempts to recapitulate and reify the alternate personas of our guest lecturers by sampling their presentations, constructing an aural architecture for the telling of their alterity through sound.

Each guest speaker was asked to give a job title other than the one they are known for, and the eponymous lecture title is presented as their framework. Some lecturers are explicit in their understanding of self-as-other, while some simply supply an alternate label to satisfy the programmatic without overtly articulating their role as such—their willingness (or lack thereof) is revealing of what design culture promotes as the role of the architect. This experiment is as much an opportunity for our guests to re-imagine themselves as it is for capital-A architecture to understand its symbiotic (and perhaps tentacular) relationship with other vocations and disciplines.

The series and these subsequent remixes offer an update to the paradigmatic characteristics Terkel's book describes about the early-70's American workforce, bringing the dialog up-to-speed with modern global productivity and communication (and in turn, ethics and value). These soundbites aim to be inwardly voyeuristic, quickly digested, to spark interest and action (watch the video and come to the events!), and to sustain oral histories through a method that is appropriate for their time and place. Stop sight-reading and start listening.

Max Lauter

Critical, Curatorial, Conceptual Practices in Architecture, '14
GSAPP, Columbia University

The Memphis quintet Mouserocket, a sort of supergroup made up of members of such esteemed outfits as Vending Machine, the River City Tanlines and the Memphis Symphony Orchestra, is supposed to be an afterthought. Tanlines (and Lost Sounds and Black Sunday) leader Alicja Trout started the group a dozen years ago as an outlet for some quiet songs. And to this day the now-more-adult-oriented group, which performs sporadically, still finds itself competing with its members other side projects.

Even with a established name and fan base (its last record, 2008’s Pretty Loud, earned an impressive 7 rating from online hipster Bible Pitchfork.com, Mouserocket only set aside a scant five days to record its recently released third album, Cicada Sounds.

In light of the finished product, available in local stores and through Bandcamp, it seems clear that the haste was more for aesthetic or financial reasons than a gauge of how much commitment and thought members of Mouserocket put into the project. In fact, the new record may well be the pinnacle of achievement for all involved, a catchy, smartly crafted alternative rock album that stacks up with the best of recent memory.

Featuring the excellent rhythm section of Robert Barnett on drums and Hemant Gupta on bass as well as the invaluable stamp of Jonathan Kirkscey on, most significantly, cello, at its core, the appeal of Mouserocket still remains the tension between the songwriting styles of Trout and co-front person Robby Grant (Vending Machine). The two have clearly had an impact on each other.

On songs like “I Can’t Keep My Hands Off You” and “How To Say No,” Trout, whose hooks still retain a spark of the band’s youthful inspiration, shades her usual hard-driving rock style with all sorts of intriguing harmonic shifts and unexpected progressions. In contrast to Trout’s five songs, Grant contributes only two (the eighth, set closer “Flying Saucer Home” is from Brooklyn musician Timothy Feleppa), but they may be the collection’s best, with the ever quirky tunesmith not over thinking things on tracks like “Take More.”


Tristin Lindsay is following