SAD NEWS


From godflesh.com

[28th April] – Late Update – Confirmed News

“If the tour cancellation wasn’t enough, I am now able to confirm the following bad news that’s been
kicking around…

Godflesh Is No More

Over, finished, done, gone, out…

    Justin suffered a nervous breakdown prior to boarding his flight to the US.

Unable to make the trip, nevermind perform a 2 month long tour, Justin
has decided to call it quits. Godflesh is done for.

    How this affects other projects, tours and recordings is not known. It seems likely
that everything will be shelved until a later date. Again, this is official
and confirms some of the rumors floating around.


    As always, our thoughts are with Justin and we all hope for a swift recovery.”

THE WINDS OF PNEUMA

“The self-deconstructing novel may be good for a laugh or a sub-Zen reminder of the void, but its fastidious refusal of authorial authority at best illuminates and at worst exacerbates our mythic muddle. We seem to be forgetting (what our forebears clearly knew) that the winds of pneuma call upon us to
name the parts of desire as best we can. We cannot refuse this call because Mother Nature in her wisdom (or unwisdom) unlocked the instinctual primate codes by which when we were apes we used to navigate the seas of desire.

A good myth or poem stands in for these codes, addresses our appetitive anarchies, and offers safe
conduct to some life-enhancing energy by
giving it a name; and a bad one does the opposite, ‘binding with briars my joys and desires.’ But in the absence of an authoritative myth or poem, the lights simply go out and the soul is closed down: no name, no game.

In other words, we have to play; and if we refuse, our robotic bodies are simply wired up by this week’s television commercials.”

(Dudley Young, Origins of the Sacred:The Ecstasies of Love and War)

NEW MUSIC SCOUTING REPORT

from Forced Exposure:

WOBBLE & TEMPLE OF SOUND,
JAH: Shout At The Devil CD (30HZCD 17).


“Shout At The Devil wisely colours its Arabic dub soundtrack with the addition of vocal contributions from the world recognised Natasha Atlas, Nina Miranda and Prodigy’s Shahin. This rich tapestry of collaborators are at the heart of this tasteful brew of exotic and entrancing music. Unlike
Wobble’s other recent collaborations, all of
a similar ilk, Shout At The Devil contains a sinister underbelly, whereby the hypnotic melodies wind around the listener like a hissing cobra. As usual, Wobble can be found bass in hand, scoring out the songs which are then given their meat and bones via Count Dubulah’s occasional springy guitar and full-blooded programming. The title track, with Natacha Atlas on vocals takes you into the heart of the tribe like never before, delivering a healthy does of mystical
eastern authenticity.” 
$14.00

A CERTAIN RATIO: Early 2CD (SJR 60 CD). Double CD for the price of 1,
the “definitive anthology
of ACR recordings from 1978-85″. Well

packaged per the Soul Jazz standard, with a 36 booklet of historical
photos and a long interview
the band. “A Certain Ratio were the first

group (alongside Joy Division)
to sign to Manchester’s infamous

Factory Records in 1978,
future home of New Order, Happy Mondays. As

purveyors of dance music
in the aftermath of Punk, A Certain Ratio

led the field. After Punk,
a new set of groups emerged who wanted to

mix Dance music — Funk,
Soul, Reggae, Disco with the spirit of Punk:

Groups such as A Certain
Ratio, Cabaret Voltaire, 23 Skidoo and The

Pop Group were the first
UK groups to bring Dance music into their
sound. In New York’s dance
clubs ACR’s ‘Shack Up’ became an

underground Dance hit in places like Paradise Garage and The Roxy,
leading to them playing live in New York’s Danceteria with seminal
New York group ESG and their first album being recorded in New Jersey
mixed by legendary Factory
producer Martin Hannett.. Here ACR first

encountered Nu Yorican Latin
percussion/street music in Central Park.

The following day ACR bought
Bongos, Whistles and Congas and didn’t

look back! Mixing Punk,
Funk and Latin percussion together to make a

unique sound. Their sets often ended in ten-minute percussion jams, occasionally dressed in
Brazilian Football gear! When Factory opened

their new nightclub, The Hacienda, ACR played at the opening night
along with ESG. A Certain Ratio were a band ahead of their time

mixing Dance music with
Punk spirit. When asked by Tony Wilson


(founder of Factory) what
ACR sounded like, style guru Peter York


replied that they sounded
‘Early’. ‘Early what?’ asked Wilson. ‘No,


just Early’ came the reply. 
Soul Jazz Records are releasing a


definitive compilation (2xCD,
2xLP) of ACR featuring classic tracks

along with lots of rare
stuff, interviews and original photos.”  $15.00

HIGH RISE: Destination — Best Of CD (TKCU 77105). “Unbelievably,
High Rise are celebrating
their twentieth anniversary this year.

Strictly speaking, they
started out as Psychedelic Speed Freaks, only

taking the High Rise name
in 1983. But, whatever — the will to a

state where uber-heaviness
and uber-speed merge into one

all-enveloping bliss haze
has been their one shining goal for a full

two decades now. Acceleration,
motor-burn, and blinding forward

motion encapsulated throuh
guitar, bass and drums. What you get is


twelve remastered tracks
of totally thrilling, full on, heads down,


speed-psych-metal mayhem
taken from their classic PSF releases. The


album also includes two
previously unreleased tracks: a studio


version of live favourite
‘Ikon’, and a new piece called ‘Heavenly


Power’. For once the superlatives
are fully deserved. High Rise are


the band that kick-started
a label and a scene. They’re the


power-trio to end all power-trios.”
— Alan Cummings.  $18

CLEVELAND INDIANS VENDOR SCOUTING REPORT

FROM PETE RELIC:

“I went to the Indians game last night and it was freezing rain, with multidirectional wind (blowing in yer face and at your back same time!) but somehow the game was not called (even after it turned to
snow) and the Tribe won.

A classic vendor walking up our section yelling:

‘NOT THE GAAAAAASMAN!!

NOT THE MAAAAAILMAN!

NOT THE CAAAAAABLEMAN!

THE BEEEEEEEERMAN!!!!!’

Well hey, why not! Nothing like an ice cold beer when you can’t feel your toes!

“YET WHEN SHE FEELS HIS SENSITIVE TOUCH…”

Filmmaker Neil McFarland’s description of the erotic video on the Super Furry Animals DVD:

“The lightning illuminates the arrival of the time lord. In the strobing darkness he stumbles toward the humble house. Inside the woman who is to become the mother of Merlin, sorcerer of myth and legend , senses the strange presence and flees the apparent demon. The Doctor Who , the ‘demon’ of Tom Baker shape enters, to her pagan senses the benevolent force seems otherworldly and dark to the lone woman yet when she feels his sensitive touch……..Lost in time and lust the pair join in epic and legendary union, neither knowing their offspring shall guide the coming great kings of old Albion.

We see this awesome consummation through a veil of a modern visual language. In outlines and spot illumination, in suggestive forms and abstract metamorphosis the vision hugs the erotic horror pulsation of the climactic music. From the black canvas neon lines and seductive colour fields bleed the sensuous
descriptions of the conception of Merlin. And as mysteriously as he arrives the Time Lord leaves, leaving
behind only a legend.

I’d like it mentioned that the track has changed slightly since I made the animation. There is a sequence
where you see a lone mouth moving rhythmically,
at this point on the track I received there was the sound of a lady moaning in pleasure which I synchronised the mouth to. After the band remixed for surround sound the panting appears to have been dropped leaving the mouth looking a bit out of place. Damn those meddlers !!

I moved house recently and threw away the few drawings that there were for the animation. I work in Flash using a Wacom drawing tablet to trace in sketches or simply draw straight into Illustrator and Flash. The surviving sorry little sketch (click on the front screen) shows the story board for the opening sequence. After this drawing I stopped story boarding and made it up as I went along.

Yours Sincerely,

Neil McFarland.

Neil was raised by old women in other peoples houses on a steady diet of sugar and TV. He loves all the worlds flora and fauna, especially girls and has a robust head of hair. This animation was competed in 2.5 weeks with lots of cereal and Earl Grey tea.

TAXES AND JUSTICE

FROM THE NEW YORK TIMES SUNDAY BOOK REVIEW:

‘The Myth of Ownership’: Challenging the Rhetoric of Tax Cutting

By DAVID CAY JOHNSTON

THE MYTH OF OWNERSHIP
Taxes and Justice.
By Liam Murphy and Thomas Nagel.
228 pp. New York: Oxford
University Press. $25.

When President Bush, promoting tax cuts, says people’s incomes belong to them and not the government, the authors of this book say he is using fuzzy logic.

Liam Murphy and Thomas Nagel, professors of law and philosophy at New York University, argue in the ”The Myth of Ownership” that Mr. Bush’s rhetoric is emblematic of a tax debate that focuses on the wrong issues because it lacks a moral foundation.

They assert that a naive philosophy of ”everyday libertarianism” infects American politics with a ”robust and compelling fantasy that we earn our income and the government takes some of it away from us.” This popular myth ”results in widespread hostility to taxes, and a political advantage to those who campaign against them and attack the I.R.S.”

This fantasy grows from the acceptance by all sides in the tax debate that gross, or pretax, incomes are presumptively just and therefore the proper moral base line to begin debate. The authors say pretax incomes are morally insignificant, an idea they confess is hard to sell. They argue that ”individual citizens don’t own anything except through laws that are enacted and enforced by the state,” because without government there would be anarchy, an endless war of all-against-one that would diminish incomes and wealth, not to mention life itself. Thus it is after-tax incomes that people are entitled to own. These ideas will encounter a hostile reception from partisans in the debate of the past quarter-century, in which the prevailing political rhetoric characterizes taxes as sheer waste, an unfair drag on the most productive people and an evil.

The thoughts in this book deserve examination, especially the views of Nagel and Murphy on the self-interest each taxpayer reasonably has in the social justice purchased by hard-earned
money….

The practical problem here is that gross incomes are commonly seen as just

rewards for one’s commitment
to work, as well as one’s willingness to take

investment risks. But that
belief assumes that the market rewards each endeavor


according to its value,
an assumption that collapses under scrutiny, as the


manipulations at Enron and
Global Crossing remind us. Government enacts rules on


employment, influences interest
rates, allows widely different qualities of


education in school districts
and imposes countless policies that distort


distribution of pretax incomes
— compared with what they might be in a


libertarian world of voluntary
contracts and no government. Pretax incomes are


presumed just, the authors
posit, for the same reason slavery was once the law

of the land: pervasiveness
makes legal inventions appear to be natural law.

Murphy and Nagel say using
pretax incomes as the basis of debate defies logic,


since ”one can neither
justify nor criticize an economic regime by taking as an


independent norm something
that is, in fact, one of its consequences.” To them,


acceptance of pretax income
as a moral base line means that ”serious public


discussion of economic justice
has been largely displaced by specious rhetoric


about tax fairness,” resulting
in a ”radical climate” of tax proposals


favoring the rich.

Taxes, they write, need to
be examined in the context of government spending so

that one sees both costs
and benefits. The constitutional mandate to ”promote


the general welfare” should
guide tax policy, not theories about lowering


marginal tax rates and favors
for savers. They even argue that it may be


reasonable to tax people
with similar incomes differently if that achieves a


social good. The measure
of justice and fairness in tax, they emphasize, should


be the outcomes of tax policy,
especially whether each newborn gets enough of


society’s resources to have
a fair shot at success in life. They argue that


poverty is bad for rich
and poor alike, and that the poor, especially when it


comes to educating children,
have one of the strongest moral claims on tax

dollars.

They object to a myopic focus
in the tax debate on how tax burdens are


distributed among income
classes. In this they ignore a simple truth: for the


public such measures are
much easier to assess than is determining government’s


success in promoting the
general welfare.

The authors call the current
policy of forgiving capital gains at death ”an


outrage.” When combined
with other tax breaks for those with assets, it is,


they say, ”an egregious
injustice in the current tax scheme,” because it


perpetuates inequity and
lavishes rewards on those who are fortunate in their

ancestry but may contribute
nothing useful to society. Their solution would be a


fundamental reform: make
recipients of large inheritances and gifts pay taxes,


just as wage earners must.

Nagel and Murphy give too
little attention to the role of taxes in creating


wealth. Peace is a boon
to hoteliers, Conrad Hilton pointed out in his will.


Without vast taxpayer investments
in keeping the peace, as well as in building


roads and airports, his
fortune would have been much smaller. Many modern


billionaires owe much of
their wealth to the taxpayers for investing in


education, and the scientific
advancements on which their products depend.

Murphy and Nagel do not
examine whether it would be just to look on such big


economic winners as successful
investments of tax dollars, and then taxing these


winners to insure that society
has sufficient resources to invest in each new


generation.

Murphy and Nagel offer ideas
that would improve the national debate over how we


should tax ourselves, even
if their views never gain popular acceptance….

David Cay Johnston, a reporter
for The Times, won a Pulitzer Prize last year for


his reports on inequities
in the American tax system

ALAN MOORE ON SCHOOL

‘The way that school seemed to me was that there was an overt curriculum – reading, writing and arithmetic – and a covert curriculum, which was more or less punctuality, obedience and the acceptance of monotony? In a lot of cases it seemed that school was like aversion therapy. It wasn’t there to teach you knowledge, it was there to put you off learning. You’d associate learning or reading with work and you’d associate work with drudgery. This is why most people are happy to just sit down in front of the television at night. “I’m not actually doing any work, therefore I must be having a perfect time.”‘