The Null Device
Research at New York University claim that semen is an antidepressant absorbed through the skin, and that women who engage in unprotected sex are consequently less likely to suffer from depression. I can see this giving rise to a million dodgy pick-up lines already... (via rotten.com)
There goes another one: Multinational recording company EMI buys up Mute, the more-credible-than-most independent label and home to the likes of Depeche Mode, Nick Cave and Einstürzende Neubauten. Mind you, they're also behind the last two Moby albums, so their glory days were probably behind them. Mute, which was founded by Daniel "The Normal" Miller in the glory days of punk and New Wave, now becomes an imprint of Virgin (another once credible label and current home of the Spice Girls and Robbie Williams).
Quelle surprise: FBI gets more powers to hunt terrorists, uses them on home-grown dissidents and miscellaneous people on the wrong side of the Culture Wars. It's like the Hoover era all over again:
"If it's your job to hunt Islamic fundamentalist terrorists," said Rafael, "Then it's your job to know that they don't hang out with Jewish lesbians in San Francisco."
(via the Horn)
Egads; for some reason, people keep lending me Casio keyboards. Not that I'm complaining, mind you...
A package from Twee Kitten arrived today; in it were two Northern Picture Library CDs today (their album Alaska and the Still Life compilation of EP tracks). They're very good, containing lots of lush, layered, skilfully crafted tracks, ranging from pop to ambient soundscapes to electronica. There's a real sense of progression there from the fey pop of the Field Mice, and an increased sophistication and maturity. (As opposed to the later Trembling Blue Stars material, which is mostly boring and weak.) Also, Annemari's voice really shines in this material, more so than in the earlier material. (Hmmm; I may well have to revise my list of favourite female vocalists.)
I also got a copy of Fosca's On Earth To Make The Numbers Up, but am not as yet overly impressed. It's mostly 80s-retro synthpop production (with extra cheese!) and too-clever-by-half, vaguely self-deprecating lyrics; a bit like Baxendale, only somewhat flatter and less varied, and it starts to grate after a while. Maybe if they made their chord progressions and sequences a bit more varied, or just made their songs shorter...