a collision of two audio alchemists...

photos by scarytoy

Frank Miller's take on this story is what we must first take to mind when we watch this rendition because it is not in any way suppossed to be accurate or biographical of the famous warrior King Leonidas . Though Miller did take several details from the truth, which do enhance the tale, I found myself constantly aware that this was fantasy.

Miller uses his characteristic dark filter on all shots in this film to enhance any vibrant colours, such as the strong red blood that is an ever-present in this movie. Personally I feel this adds to the fantasy and enjoyment of the piece, the dark setting gives the mood away perfectly of impending doom on the part of ouyr heroes the Spartan 300 and reinforces the fact we are watching ancient history.

The Spartans are presented as stoical, ultra-masculine, muscle bound supermen of antiquity. Where as the Persians are deformed, effeminate, and almost demon-esque. Interestingly though is the relationship between the the Spartan leader Leonidas and Persian God-King Xerxes, the Persian being a 7 foot plus giant and the anti-christ of masculinty,(in this story), cordially getting along with the paragon of manhood. The battle seems more a war of submission between male and female, reather than simply the war of conquest as history has taught us. Maybe I'm over analyising a simple piece of entertainment, which of course if historical epics and blood thirsty tales of war are your thing then this is fantastic for you. The fighting is very realistic, the computer graphics fall seemlessly into the ensuing action and the overall message of defiance and sacrifice are delivered well. By the end there can be no doubt that in the year 480BC, 300 Spartans faced an army of over a million and faught to the last man.

While we are wringing our hearts and hands about unchangeable events, long gone, and too many mediocre artists patronise us shamelessly with their suffering by proxy...Inbetween repealing the corn laws and ordering the Peterloo massacre, Tony Blair apologises for slavery...I've a better idea - let's exhume Pitt The Younger and make the fucker apologise for Iraq...

Yoko Ono's Plastic Ono Band record came out at the same time as John Lennon's one, 1970. The covers are so similar that it would have been easy for an unsuspecting Beatles fan to pick up Ono's by mistake. I'm sure that was the couple's intention and I'm also sure that the majority of people who bought it by mistake binned it pretty soon after. While Lennon's was massive success Ono's got to 187 on the American chart and didn't even get in the British one. This is no real surprise though as the LP is very much influenced by the extremely eclectic New York avant guarde scene. Ono had been deeply embroiled in that scene years before she met Lennon, mixing and working with heavyweights such as John Cage and La Monte Young.

I think it is about time we at Cult Cargo gave a big thanks to everybody who has contributed to the site so far. You have all made it a lot easier and more fun for us at the sharp end of this website/project/thing. Also thanks to everyone who has registered with us and become a regular reader. Please keep us happy by continuing to visit us. At the moment we are slightly lacking in the features section. So if you have anything to say on music, film or even society in general you are welcome to contribute.
More musicians from New York next week, with an interview with the fantastic two-piece USA Is A Monster.

I came by this satirical rock semi-masterpiece while sharing a house with a guy whose taste in music and films was to say the least weird. In fact that is being kind. I remember entering our shared living room, blurry eyed one Sunday morning with tea and toast. My friend was watching a film of real autopsy's, but didn't think it necessary to warn me. He just gave me his usual strange giggle. This was the mid nineties when you had to send off to obscure holes in Amsterdam to acquire such films. One of his favorite bands was Bongwater, strange it has to be said, but good strange not gross strange. The two protagonists of the band had the credentials for good strange: Kramer, who wrote most of the music, had been in the weird, wonderful and fucked up Butthole Surfers, while lyricist and vocalist Ann Magnuson had specialised in creating odd ball characters as a performance artist in the New York underground scene.

Cult Cargo reporter, Dan Aram, got together with one of his favourite bands, Cubical. Several of the band's members upped sticks about five years ago from their home town of St Helens, where they played in a punk band called Burning Tramps, and slowly re-created themselves in Liverpool into their present unit. Over the five years they have built a loyal following with their infectious 'Blues Beat', and recently made their first steps towards becoming a national musical force by signing to an American label and touring that country as well as Australia. Mr Aram recently met up with all five Cubical members for an informal chat.

Onteca, the owners of Cult Cargo, are at this moment holed up in a posh hotel somewhere in deepest Yorkshire attempting to sell one of their high tech programming ideas to the BBC innovation lab initiative. You can read their blogs at http://open.bbc.co.uk/labs/

Rare they get all bloggy, so catch them while you can.

White Magic video clips recorded at Probe Records by anigman www.anigma.co.uk

(swf format right click for playback controls)

SEX, DRUGS and SCUFFED SHOES… Here come The Vagabonds!

Liverpool's out of control satirical magazine DEFCON is out on the streets again next. But not before it offends the 70's chic of the city's Magnet venue this sunday evening for a gala night of surprise and atmospherics.

New York's masters of spectral folk WHITE MAGIC will be headlining the event. Headed by the beautiful voice and subtle songwriting textures of Mira Billotte, the band are currently touring around Europe spreading their Gnostic intrigue and unreason. The band are one of the newer acts on the Chicago Drag City Label, an organisation who can boast to releasing some of America's finest independent music. Bonnie Prince Billy and Joanna Newsom are proof of their adroit musical perception. White Magic will piece together up your shattered souls.

Truculent electronic wizard ANIGMAN will show a different side to his musical persona on the evening by treating us to a set of soaring ambience. Running through the special wires and atomic chaos of his weird machines will be sounds only his head has known up until now.

Biltone play with guitars, violins and double basses to create a sound of classical simplicity. This three piece have been playing shows in the North West for a couple of years now, gaining an enthusiastic following and treating audiences to the more serene muses and philosophies of life.

Defcon have a new magazine coming out this sunday, March 4th, and are having a night in Liverpool to celebrate. It's at the Magnet and New York band White Magic from Drag City records are headlining. If you can't make it, and if you are not from Liverpool anyway you maybe able to get a copy where you live, as the magazine will be distributed nationwide. It will be selling for £1.50 but anybody willing to send a stamp addressed envelope to 42 Canning street, Liverpool, L8 7NP will get one for free. The magazine is A5 size.
Bye for now.

Drag city records hosts some of America's finest songwriters. Will Oldham, Joanna Newsom and Bill Callahan have each carved their place in American music with skillfully engineered mystery and originality. White Magic are not, as yet, nearly as well known as their label buddies, but who knows how they will be seen another two or three LPs down the line? For now we can enjoy the promise generated by their two releases on Drag City so far, the EP Through The Sun Door and their full length Dat Rosa Mel Apibus.