TTA released their third album, Immolate Yourself (Bpitch Control), Jan. 20. The group had built up a loving, sizable fan base through their technically proficient beat programming and sophisticated melodic sense, winning over Nine Inch Nails fans, IDM heads, and aficionados of melancholic, ’80s-inflected electro pop in substantial numbers. TTA were also in demand as remixers, reconfiguring tracks by NIN, jazz great Phil Ranelin, and Tool singer Maynard James Keenan’s Puscifer project. TTA played a well-received set at the 2005 Decibel Fest in Seattle.

Surviving TTA member Joshua Eustis wrote the following eulogy:

It breaks my heart to inform you all that Charlie Cooper, my better half in Telefon Tel Aviv, passed away on January 22nd.

We have been friends since high school, and began making records together a decade ago. We have been so fortunate to tour the world together, while at the same time having a massive amount of laughs at one another's expense.

Aside from Charlie's singular genius and musical gifts, I can tell you that he was a total sweetheart of a guy, and a loving friend and confidant to people everywhere. His musicianship was surpassed only by his greater gift to the world - his warmth, his generosity, his unquenchable humor, and his undying loyalty to those whom he loved. In the spirit of honorable mention, however, I should mention that he had a shoe collection that was marvelous, knowledge of hip-hop that was profound, and knowledge of wine that was subtle.

He is survived by a sister, a niece, a nephew, his mother, his stepfather, me, and more adoring friends than the Universe has dark matter. As such, his family and I ask for your discretion and consideration of our privacy during these extremely turbulent waters.

Yours in Music,
Joshua Eustis

In honor of his sadly early passing at age 60 earlier this month, I present what I think are Asheton’s most impressive moments. I could easily go on all day on this topic; it wasn’t easy to narrow them down to this number. (Here are NME's top 5 Asheton riffs.)

“Little Doll”: Those opening explosions and that descending riff: so much uplift and doom economically packed into one piece. The solo that occupies the second half becomes increasingly unnerving, mirroring Iggy’s abject desperation.

“No Fun”: Man, what a grinding, satisfying riff. When Iggy implores, “Come on, Ron, tell ’em how I, tell ’em how I, tell ’em how I feel,” Asheton responds with rousing, “at the end of his tether” exclamations in the six-string equivalent of boldfaced italics.

“Loose”: If you haven’t fucked or fought to this song, then you really haven’t fucked or fought. Birthday Party and many others were inspired to cover it, but nobody beats the original.

“Dirt”: Always made me think this was the Stooges trying to be Funkadelic circa 1970 (which is actually the year “Dirt” came out, but the groups were in close proximity). Asheton at his most crystalline and Eddie Hazel-esque.

“We Will Fall”: Proves Asheton was no one-shtick pony. You can hear the seeds of Swans and Loop in this haunting, simmering dirge.

"Down on the Street": Guitar as stalking wildcat, all animalistic urges/id-iful lust—yet precise with it.

Bramlett—who attained his greatest notoriety for his role in Delaney, Bonnie & Friends—was a tremendous soul singer, deft guitarist, and writer of powerfully moving and catchy songs like “Let It Rain” and “Comin’ Home.” He was close friends with rock royalty like George Harrison, Eric Clapton, and the Allman Brothers, but he never attained their household-name status.

John Byrne wrote and sang the Count Five’s immortal garage-rock rave-up nugget “Psychotic Reaction,” which you should play whenever you need an energy burst.

Much respect to these three gifted musicians.

Count Five’s “Psychotic Reaction”

Delaney, Bonnie & Friends’ “Comin’ Home”

Mitchell played on JHE’s fantastic triumvirate of LPs—Are You Experienced?, Axis: Bold as Love, and Electric Ladyland—which represents some of the most innovative rock ever. Playing behind perhaps the world's greatest rock guitarist, Mitchell rose to the occasion with his distinctive style, which merged dexterous, intricate jazz fills with mercurial, powerful rock timekeeping. He embodied a fluid combination of John Bonham’s brute force and funkiness, Keith Moon’s manic energy, and Elvin Jones' intuitive knack for nuanced dynamics. After he left the Experience in 1970, Mitchell played with Jeff Beck, Jack Bruce, and Terry Reid, among others.

Last night at the Moore Theatre during their encore, Medeski Martin + Wood paid tribute to Mitchell with a dazzling, abstract rendition of the Experience’s "Crosstown Traffic."

Respect to one of the best sticksmen ever, Mitch Mitchell.

Jimi Hendrix Experience’s "If 6 Was 9"

"You Got Me Floatin'"

"Spanish Castle Magic" live

Dee Dee was only 63...dig her genius!

Moore died in Akron, OH, from diabetes, he was 81. Some of his family live in Spokane and word is there will be a memorial there as well as in Akron. Dig, I couldn't find great a pic of Dolemite SHIRTLESS (as THAT is how he should always been seen) so y'all will just hafta enjoy his aural throwdowns.

And I HAD to include this...