- Not only genre but also names bring these songs together.
- Foals mark the beginning of the B side.
- Ok, Dewollf has nothing to with indie.
- Ok, it’s not right to label Sonic Youth as indie.
Calypso Gold – Princeton
Ivy & Gold – Bombay Bicycle Club
Golden Skans – Klaxons
Golden Touch – Razorlight
Gold Lion – Yeah Yeah Yeahs
Golden Retriever – Super Furry Animals
Gold And Seaweed – Dewolff
Fools Gold – The Stone Roses
Golden Age – TV on the Radio
Halo Of Gold – Beck
Black Gold – Foals
Golden Hill – Tristeza
The Golden Floor – Snow Patrol
Turquoise and Gold – Desolation Wilderness
Golden – My Morning Jacket
Gold In The Air Of Summer – Kings of Convenience
Neon Golden – The Notwist
Stay Golden – Au Revoir Simone
Panning for Gold – Ben Sollee
I Love You Golden Blue – Sonic Youth
Golden Porsche – Mogwai
Screams, cries, screeches, shrieks, howls, murmurs, grumbles, groans, whispers, whimpers… If not an awfully eclectic music paste taste or the concern of satisfying French, English, Turkish speaking entourage, these sounds are the main reason for these songs to gather in a podcast. This unusually long compilation opens with melo–hysterical mood where cries, screams of a mild hysteria already start to get heard. An Azerbaijani singer increases the tempo with jazzy tunes. Up with the tempo PJ’s uncanny whispers dissolve into Yoko’s groans and Jane brings them to a pseudo-orgasmic level. Chilled out with some Italian, some Swiss ladies bring uncanniness back with an unexpected cover. Then once again you are soothed. This time by the gentle voice of an insensitive murderer. Real hysteria arrives with Turkish “shut-ups” and obsession with the loved one peaks with mantra-like repetitions: again, once more again, new again, again and again. The podcast closes with three totally inappropriate prayers to God where one asks for a bodily redesign the other prays for seven husbands. All these women, some of whom you wouldn’t like to be the husbands of, some of whom you wouldn’t like to be children of and some of whom you wouldn’t prefer to be the lovers of, are in a way lovesick so we heart them.
Picture Credit: Mediawiki, Pelvic douche: Water massage as a treatment for hysteria c. 1860.
You made me the thief of your heart – Sinead O’Connor
Precious things – Tori Amos
Golden star – My Brightest Diamond
Apres Moi – Regina Spektor
Take Five – Aziza Mustafa Zadeh
Jessicock – La Patere Rose
Down by the water – PJ Harvey
Kiss kiss kiss – Yoko Ono
Rouge rouge – Christie Laume
Le temps du tempo – France Gall
Je t’aime moi non plus – Jane Birkin
Ancora – Mina
Wicked game – Les Reines Prochaines
Moving – Kate Bush
How insensitive – Claudine Longet
Sus – Nil Burak
Seni seviyorum – Zerrin Özer
Yeniden sev – Nilüfer
Feryat – Emel Sayın
Tanrım beni baştan yarat – Gönül Akkor
Yalnız kullar – Sezen Aksu
A SELF SUFFICIENT VIDEO | يتاذلا ءافتكلاا ويديف
Concept, Camera and Editing: Aras Ozgun and Yasmine Shash
Music Excerpts: Scanner, Sublime Frequencies, Rami Ayach
The video takes its title from a satirical monologue in Naguib Mahfouz’s “A Drift on the Nile”, in which the protagonist questions the logic of state-centric modernization policies built on the idea of economic self-sufficiency, which characterize the Egyptian political history and public life just as any other “developing country”. Using the “window” as a metaphor as well as a practical visual device, “A Self Sufficient Video” traces an iconography of Cairo’s everyday urban practice. It presents a cityscape as seen from the apartment windows; never ending construction sites scattered around the city, the sculpturesque satellite dishes on top of every building that contrast with the poverty that surrounds them through their high-tech reference, the colorful balconies and windows of unfinished building blocks of the urban poor—marking, affirming and denying their poverty altogether at the same time, and the layers of dust on the windows themselves—the only reference to the time that passes in the “city of sand” which got lost somewhere in the past on its way to a modern future. By framing these cityscapes with the windows, the camera asserts a visible distance between the inside—the private domain, and the outside—the public life. At a later moment, the camera overrides this distance, frames the movement of the city by becoming a part of it, through the windows of the car, passageways, or police boxes on the sidewalks, and goes back and forth on this line of tension between inside and outside. The resulting iconography of Cairo actually carries a “self sufficient political commentary” on the city’s public life itself.