Good evening. We have taken control as to bring you this special show. We will return it to you as soon as you are grooving.
These last few days, I’ve been listening more or less non-stop to the great Montreal radio station, WEFUNK Radio, which has operated out of McGill University for over a decade now and is as awesome as ever.
If you dig classic funk, soul, RnB, jazz fusion, as well as the best in in hip hop — historical and contemporary — it’s the perfect place to tune in. Hosts Professor Groove and DJ Static have impeccable taste, great musical knowledge and bring to their mixes years of experience, plus they often feature quality guest DJs, guaranteeing variety with quality.
There’s a new show every Saturday morning between midnight and 2 AM Montreal time, plus over 300 archived shows from the last 8 years or so. Really, I can’t recommend this station highly enough.
W-E-F-U-N-K, or, deeper still, the Mothership Connection.




























Gaea Ascendant
Lars von Trier’s Antichrist is, at one and the same time, amongst his subtler works and one of the most blunt and, frankly, simplistic.
It’s his first movie since Europa (1991) in which the artifice of the cinematic image is explored for illusionistic effect, but that film was simultaneously emphatically Brechtian with its jarring, intellectual storytelling strategies and mise-en-scène — a creative track he has since been exploring in different ways in most of his films — so, really, the earlier work Antichrist most acutely recalls is the feature debut, The Element of Crime (1984). That film was an unabashed and visually striking, but to my mind rather pretentious and ultimately unsuccessful pastiche on the cinema of Andrei Tarkovsky, and it seems no coincidence that Antichrist is dedicated to the great Russian, on whose cinematic language it is a much more sensitive and independent take. Continue reading ‘Gaea Ascendant’