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BRAINWASHED.COM CALLS FOR THE DISMANTLING OF THE RIAA

The actions and arguments of the Recording Industry Association of America and some of its most powerful members exemplify a complete and utter disregard and contempt for the interests and behavior of musicians, independent record labels, and, most importantly, the music-buying public. The RIAA seeks to regulate the behavior of consumers and actors in a free market via unreasonable means and at their expense, financially and otherwise. Its claims of supporting "creative vitality" and "artists' rights" are disengenuous, as the RIAA represents the corrupt and exclusionary oligopoly of major record labels, Hollywood film studios, and corporate entertainment media outlets. That certain "indie" labels have membership in this association is not indicative of an RIAA looking out for their best interests.


Among our grievances...

The RIAA and the aforementioned colluding oligopolists are enemies of music and of consumer rights, therefore we at Brainwashed.Com call for the immediate dismantling of the RIAA.

  1. We call for all recording artists and independent labels that are currently members of the RIAA to immediately separate from this group in an act of protest, hopefully to form a more progressive association that better represents their interests.
  2. We call on music lovers worldwide not to purchase the products of major record labels and to ask others to do the same.
  3. We call on individuals who own stock in the oligopolists cited above, in mutual funds or otherwise, to divest immediately and refuse to invest further.
  4. We call on the United States Congress to halt all ruling on DMCA until there are more organizations at the table deciding these laws which apply to the entire music industry.

The undersigned individuals agree with these statements and stand with Brainwashed.Com in solidarity against the RIAA.

To sign the petition, email us with your name, email address, city, and zip code.  This information will not be made public NOR will it be used in a database NOR will you be contacted by Brainwashed.com and its affiliates NOR will you be added to ANY "spam" email lists.  We guarantee that.

Additionally, we may be contacted with any questions pertaining to this action.
 

The Eye: Video of the Day

The Sea and Cake

YouTube Video


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Review of the Day

PHILIP JECK, "STOKE"
Touch
Philip Jeck always seems to surprise and surpass expectation every time I hear him perform. I've heard him spin out haunting loops for avant garde dancers to strut about to in art spaces. I've heard him spin stickered platters alongside guitarist Vergil Sharkya and fractal videographer Gerd Willschvetz in an underground car park in Liverpool. I've heard his scaffolded ranks of old car boot turntables mash up crackly memory traces from worn needles bumping into wires and stickers in a London gallery. I've heard him go walkabout at a festival opening, cutting up dictaphone recordings with the pause button. After his ambitious quartet of lengthily (r)evolving 'Vinyl Codas' released by the Intermedium label, he returns to Touch with seven shorter live excerpts from performances in Liverpool, Manchester, Osaka, Tokyo and Vienna. With only a single sample Casio keyboard to aid the junkyard turntables spinning varispeed deteriorating vinyl, he necessarily limits his options but unlocks endless potentials from abundant alternate histories coded in the grooves. When he loops records at low speed, worn old cliches morph into haunting new textures. A phantasmal keyboard hoot that forms the bedrock of "Pax" sounds like it might've morphed slowly from a cheesy old J. Geils Band charity shop hit. "Above" cuts scratchy old vinyl into train chug clunks and chicken squawk with some slowed speech narration to explain what exactly isn't going on. "Lambing" is a home recording, soundtracking a film by Lucy Baldwyn, and wouldn't sound out of place on his previous Touch CD 'Surf,' with groaning ghost vox repeating an eerie refrain over the crackle'n'drone spin, until slowly a sunrise glow cracks dawn beneath the locked groove rhythm faultlines. "Vienna Faults" waltz around like a music box in a tumble dryer. There's some crazily mangled sitar "Below," reversing into hollow metal hammering, cut dead by a sudden descending blues guitar riff. "Open" seems to rework familiar noises from 'Surf' into a noisier delayed clatter. "Close" does just that, with some more sitar loops, more meditative but just as playful as before. Stray starry plucked fragments drop in at odd angles until a loop locks and deteriorates to a stutter as a single piano note bashes to infinity. A ghost choir of Hamaiian folk singers emerges from the vinyl crackle fog to bid a fond farewell. If you haven't heard Philip Jeck before, this is not his most immediate recording and 'Surf' or the 'Vinyl Coda' series might be better ports of entry. He has not yet left the building.

 

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