Saturday, December 03, 2022

WHEN MATTS MAKE BOOKS

 






















It's out! Matthew Ingram's new book The "S" Word: spirituality in alternative music, is ready to order. 

Self-deprecatingly, Matt describes the tome as "very geeky" and "for music geeks only". But in fact anyone who is interested in music's capacity to engender higher states of consciousness and its  association with the devotional, the transcendent, the sacred, enlightenment, mysticism, magic, trance, etc, will find this a fascinating read. 

I was pleased to offer up this morsel of endorsement:  

Intensely researched, latticed with surprising connections and correspondences, these essays expand and deepen our awareness of the links between music and the numinous. The "S" Word is an illuminating book about illumination.” 

Contents-wise, there's several epic essays already aired on Matt's blog but now only to be found within these covers (meditations on Eastern Philosophy and The Cosmic Sound, Psychic Pop Relics, Dub... paeans to Neil Young and Mark E. Smith) plus a previously published profile of Chris Blackwell. But more than half the book consists of new writing: a staggering 18,000-word exploration of New Age music (very expansively understood here), a paean to Prince, a whole chapter dedicated to Roedelius of Cluster / Harmonia renown, and a treatise on Tibetan recordings.  

The "S" Word is available universally as an eBook but residents of the United Kingdom can also purchase it in the gorgeous solid form of a 255-page book copiously illustrated with colour photographs.  Terms, conditions, and prices are be found here at the Woebot site long with more information about the contents.  





Friday, December 02, 2022

Kidding around

Here's Our Kid with a piece for No Bells on corecore. "We're not kidding" the headline offers in a  proleptic parenthesis. Certainly, it does sound like a hoax, or a piss-take: one of those parodying-the-very-idea-of-genre entities that flicker up ephemerally on the internet. But apparently it is real, whatever that means in the increasingly derailed consensus hallucination that is life today:  a "deep internet video genre full of 'meme-poems' with cute cats and fried music choices... a meme equivalent of the many microgenres spawning across SoundCloud." And Kieran convincingly takes it seriously, along the way dropping some neat phrases like "an abyss of vibes."

More grounded in material realities - sweaty bodies rubbing against sweaty bodies,  reclaimed trashy urban spaces and shivery rooftops at dawn - here is Kieran's account of his favorite live shows and DJ experiences of 2022. Fifteen peaks picked out of three times as many expeditions across the nightlifescape of Manhattan and Brooklyn.  Sweet to read about Our Kid having so much fun in the clubs and micro-raves of the city that never sleeps. Glad to know that some of the time he is out there having adventures rather than inside chasing onscreen phantasms. 


Thursday, December 01, 2022

RIP Christine McVie

 


Off Tusk, "Brown Eyes" is my favorite Christine McVie piece of writing and singing - unusually baleful, wounded in love and wary. And the band are just wonderful. 

Here's another fave


Hearing this on the radio was what re-awakened my interest in Fleetwood Mac, dormant since an early outside-my-lane enrapturing with "Sara".  (That and a feeling that there was some uncanny affinity between Stevie Nicks and Kristin Hersh - Throwing Muses at that exact point being my favorite band). 

I rushed out and bought... well, not everything, but self-titled / Rumours / Tusk / Mirage.  And blagged Tango in the Night off the ever obliging WEA.  

Another good McVie bit of writing and singing. Backing wise, one of those Fleetwood Mac bluesy-chuggers where you realise that underneath they are still the band fronted by Peter Green. 


This meringue is just the sheerest froth next to "Gypsy" on the same album - but a sickly sugary treat that's hard to resist. There's that odd breakdown where the song seems to come to a halt like an old horse running out of puff half way up a hill. And some over-toppy lead guitar from Lyndsey that fair screeches "cocaine!". 



 


Monday, November 28, 2022

Hauntology Parish Newsletter - Tidings of Yule














They say Christmas starts earlier every year.  And it can certainly feel like that. But not all seasonal occurrences feel intrusively premature.  Viz, the welcome wintry release of a new Moon Wiring Club long-playing recording, bearing the mos t'peculiar title: Medieval Ice Cream


It's great! And it's unusual. Ian H dismantles much of his established sound here. Oh, it still wafts that characteristic clammy aroma, but some key structural fixtures have been absented; the way the music moves feels different. There's no "bouncing ball" basslines; the beat-modes fall into none of his existing templates.  It's sort of ambient, except not: the beats impose a little too much, while remaining too fitful and spasmodic to assemble anything resembling a groove. 

"The far more interesting music that dubstep could have been" - this feels like a line I've reeled out before, but it sort of applies again, here and there. Occasionally there's a corroded clankiness and intricately wound quality to the drum patterns that minds me slightly of Shackleton.  Related to that thought is another thought, or feeling: puzzlement that Moon Wiring Club is not as universally exalted as Burial. Perhaps it's because, mood-wise, the religiose is given a wide berth? Because eeriness is achieved without solemnity? Not that Burial would be improved by jokes exactly (and before this is construed as a jab, let me add that Antidawn is one of my favorites of an otherwise meagre year)

Here's the lead "single" from the album. And here's a MWC mix of related materials  And, in a mos t'peculiar promotional gambit, you can also read a poem penned for each of the six tracks. 


I asked Ian about his fancies and procedures this time round and he kindly divulged: 

"There’s definitely an aspiration to get somewhere I haven’t been before. 

"I’d say the tagline would be ~  ‘Musick that has been damaged by Time Travel, and has the consistency of Ice Cream’. 

"After the Ghost Party Delirium 2xCD (which was fairly straightforward in terms of grid structure) I knew I wanted to do something that was ‘un-quantizable’...  I’d had the title Medieval Ice Cream swirling around my head for a number of years, along with a gathering concept of what that would sound like. I think with early / medieval music, (which I listen to fairly often) it has an immediate set of signifiers and a framework in which you can begin to operate.  I wanted something that had that ‘ye owd’ vibe (and visual language) but with a complete (or as complete as I could muster) de-anchoring from the expected musical framework. 

"The main image I was inspired by, was of being deep within a vast medieval frosty winter forest (no leaves, icy mist, eerie pale blue light etc) and hearing the sound of a flute bouncing and echoing around the trees from an indeterminate distance. I naturally continued with this thought, and imagined that if you swapped out the flute with a variety of other instruments (such as a basic drum machine) / voices and then recorded them, you’d have a set of musical stems that, while belonging to the same track and featuring the same organic quality, would overlap and struggle to catch-up with themselves over their duration.

"If (wait for it) this music was all initially captured in a frozen state, then began to gradually thaw out, the sounds would also start to congeal together, much like melting ice cream. The specific ice cream I was thinking off was a Smarties M*Flurry - a tub of processed ice cream with  a load of Smarties frozen inside. As the tub is consumed, the food colouring on the smarties begins to run into the melting vanilla ice cream, until all you’re left with is a lurid slop of fluorescent additives. 

"The album is also inspired a bit by that feeling in a telly program, where someone has definitive proof of the supernatural or time travel, but when the evidence is presented to an incredulous present-day official, it begins to fade away, or what was a complex piece of machinery is now a peculiar sculpture made of twine and twigs." 

More about the album from the Gecophonic page: 

"MEDIEVAL ICE CREAM (GEpH016LP) is permanently on the cusp of being ambient / non-ambient. Beats wobble and shimmy like jelly. Tracks have been de-boned but the skeleton remains, staggering around in a hazy twilight of delighted eerie-delirium. Tunes skate along multiple frosty grooves within themselves to only occasionally converge. Shards of broken ice form melted rhythms while a Medieval Ice Cream van careers serenely down a distant misty ravine." 

You can purchase Medieval Ice Cream here . The album comes with a A4 Premium 225gsm Matte paper Art Print.

^^^^^^^^^^^^^^^^^^

Update 12/2/2022


Further Moon Wiring Club tidings - there is a vinyl repress of Psychedelic Spirit Show just out.

Here's a taster in the form of a very cool monochrome videoclip


What ho! Literally as I am posting this update, I receive a tiding MWC Central that there is also a vinyl edition of A Spare Tabby At the Cat's Wedding that has just come out



Thursday, November 24, 2022

RIP Wilko Johnson


The fingernails of Wilko ! 

Mine crack and tear when opening a suitcase in a hurry - how could he play like that? It's not just that he isn't using a plectrum - he's actually percussively cuffing the strings with the tops of his fingernails. Electric guitar strings are generally made of steel and nickel. 


I must have watched that Geordie Scene TV clip at least fifty times since first coming across it on YouTube. Just such a fantastic capsule of the '70s. Brilleaux absolutely cranked on sulphate - whereas with Wilko, I think it's natural energy. Love the girls, slightly bemused at the singer's fanatical intensity, still choogling gamely. 

Here's the whole program of Geordie Scene with Dr Feelgood

 




Another clip I've watched many times now since stumbling on it (it was not something that got any play at the time of release).



Wilko's one great moment with the Blockheads. Pubfunk with a taut-elastic sproing to the riffage. 

It probably seemed like a great re-energizing and career-reorienting idea having Wilko join after Chas Jankel left and after the "too disco-y" Do It Yourself. But brilliant player though he is, Wilko couldn't take up the songwriting slack left by Jankel.  Laughter is no laughing matter. Indeed it's ploppermost-of-the-plops in this tally of  Disappointing Albums in my life. 

But for a moment, with "I Wanna Be Straight", it looked so promising. 


Talking of capsules of Seventies-ness, let's have "She Does It Right" again...




A different iteration of more-or-less the same riff, and the Wilko-era Feelgoods's  other classic








Saturday, November 12, 2022

RIP Keith Levene





















My first guitar hero, at a time when the guitar hero wasn't really a thing.  Keith Levene made unbelievable sounds with his instrument. Took the guitar to new places. So much beauty.


When I interviewed him in 2002, Keith said he thought "No Birds Do Sing" was PiL's peak - his best playing - and he could be right (it's always been a favorite). But there are so many peaks. 



PiL counterfactual: if they'd done 9 other songs like this on the debut album, surely they'd have become instant stadium rock stars. There'd have been no need for U2!  I'm glad they didn't take that path, but it's an intriguing thought - the group that came to destroy rock, make it obsolete, start their career with one of the greatest rock anthems of all time.





Along with the guitar god stuff, Keith was also quite nifty with a Prophet 5 synth.




Talking about Keith and keyboards, how about this almost-solo beauty? He could have done a whole album of this kind of thing and I'd have been very happy.



As PiL's de facto music director, Keith also made some great things without either guitar or synth  (and with Wobble flown the coop too).



I don't think there's any guitar on this one either, so Keith's contribution is probably that beebling synth drone in the background and the EQ on the snares and hi-hats. 


Can't miss this -  "Death Disco" on Top of the Pops is one of a handful of turned-my-world-upside-down-inside-out moments of music on TV (others include "This Charming Man", "Party Fears 2", a T.Rex moment that shook me and that I've written about a couple of times now as a Primal Epiphany... and in a funny way the Rezillos on Top of the Pops singing a song about Top of the Pops) 



Another great PiL teevee moment 



Here's me on Metal Box and PiL as Rock Band. 

And here's my Wire interview with Keith Levene from 2002. 






"I respected my influences enough to never imitate them. That was always important to me. It still is" - Keith Levene

Sunday, November 06, 2022

RIP Takeoff

 


That tune and these next two are among my favorites pieces of music from the 21st Century so far.




the widely accepted peaks






but let's hear more from the mystifyingly under-revered Culture II






fragments from an unfinished paean 

the Migos sound above all distinguishes itself with its flooding insistence of jouissance...

bliss is this music's subject, it is its subjectivity....  things incessantly flood or drip in these songs...  the self melts and brims and bubbles and overflows...

the lyrics speak of endless hustle, working hard, the grind...  but the feeling is imperial indolence,  imperturbable nonchalance, gliding serenity, basking in glory...

the words saying the opposite of the music - or rather, the music (and the fey vocal style -  closer to PM Dawn than DMX) contradicts the lyrics.... 

the lyrics are like a residual element, a hollowed-out signifier of rap-as-was...

but the truth of the music is the woozy gaseous vocal texture - that listless wistful bliss...

no matter how hard-hearted and cold-souled the lyrics appear, the fluttery fluidity of the vocal interplay and its ecstatic texturizing speaks to something else: a vulnerability to bliss...

Quavo, Offset, and Takeoff - seem entranced by themselves, lost in an auto-erotic swirl, draped in  jouissance that seems to seep out of their bodies as a mist of Auto-Tuned droplets, a self-swaddling canopy of shivers and moans

there are moments in "MotorSport" and "Top Down on Da NAWF" and "Bosses Don't Speak" - shudders, gurgles, dilated moans - that are cut from the same orgasmic-mystic cloth as Tim Buckley's "Starsailor"...


Tuesday, October 25, 2022

family reading - the Redstockings Abortion Speakout; Stumpwork reviewed

Here's Joy Press with a fascinating - and heroic - tale of the first Abortion Speakout convened in 1968 by Redstockings, an offshoot of pioneering feminist outfit New York Radical Women. For Vanity Fair 

The first time this has happened  - father and son convergence as firstborn Kieran Press-Reynolds weighs in with the Official Pitchfork verdict on Dry Cleaning's Stumpwork









Monday, October 24, 2022

The Catburgers!

Sometime in late '86, or possibly very early '87, an advance cassette from Dan Treacy arrived with the words "this lot are great!" hand-scribbled on it.  It contained five songs from a Scottish group called The Catburgers. I played it a lot and was all set to write something on the group whenever Dan got round to releasing them via his label Dreamworld. Except the release never came out. In fact,  nothing by The Catburgers ever got released. 

I never completely forgot the tape - periodically I would rediscover it amid the clattery clutter of hard shells in the various boxes in which cassettes were stashed. Dug it out, gave it a play, and wondered whatever happened to the Catburgers.... 

A few years ago, thinking it a shame that these songs had never reached the public, I cheekily put the demo tape up on YouTube.  


These tracks are underproduced, to put it mildly. But something about the songs shines through the lo-fi scrawn and hissy murk. The Catburgers belong to that moment of groups like Jesse Garon & the Desperadoes and Beat Happening, but there's a musical element that sets them apart - perhaps it's the trace of Joy Division in the basslines you can hear in some of the tunes.  

Colour me surprised, but several weeks ago I heard from a young man called Fergus Jones, son of the singer + guitarist in The Catburgers. Fergus was in the process of putting out for the very first time some of the material recorded by his dad Robert Jones (vocals / guitar) and bandmates Stuart Macgregor (bass) and Andy Benton (drums). He'd seen the YouTube clip and was looking for decent quality audio for this phantom-EP (how I always heard the cassette, although who knows what configuration of the songs might have reached the scene, should they ever have been released.) 

And now a pair of Catburgers releases - The Dreamworld Sessions and The Rocking Horse Demos - are coming out on the Danish label FELT. The former is obtainable as vinyl and the latter as a tape. Dreamworld is also available digitally via Bandcamp.

Release rationale for Dreamworld Sessions

Swell Maps / Television Personalities affiliated C86-era indie pop rescued from sheer obscurity and thrust into semi-obscurity by FELT. The Catburgers were a short-lived Scottish group, this recording initially primed for release on Dan Treacy’s Dreamworld imprint yet placed on the perennial backburner as so many creative projects inevitably are.

Soundcloud uploads dating back over a decade ago and the odd blog/twitter post aside, the group lived on only in the memories of those who happened to catch them on the Edinburgh scene back in the day. Until now! With the help of the National Sound Archives, the original master tape containing these three tracks has been rebaked, cut and mastered for seven-inch.

‘Holiday House’ sounds immediately at home in the Postcard Records nexus, the influence of 1980 particularly tangible. Slower paced and with a touch more melancholy than its companions, the song sounds both in and out of time, as if some young teens raised on a hand-me-down diet of Pastels CDs might have laid it down yesterday.

Jowe Head of Swell Maps joins the group for ‘The Acid Tree’, whilst EP closer ‘Diving For The Brick’ sees the band ruminating on weak knees, sore lungs and stinging eyes down at the local swimming pool.

Letter from Mr Treacy to the band, indicating that I was among a very select company of media folk to receive this tape. 


                                





















Sunday, October 16, 2022

WHEN MATES MAKE COMIC BOOKS



 



















On a bit of a creative tear at the moment, Matthew Ingram has just published a new tome - a graphic novel / comic book entitled TPM

It's funny and eerie. Subtly unsettling. And beautifully drawn - the body postures and expressions of the characters, the composition of scenes, the interior and exterior backdrops, bear the distinctive Ingram line. 

Without wishing to give away too much of the plot, it involves a company whose specialty is psychic marketing a.k.a transpersonal marketing (the TPM of the title).

Without wishing to pin it down too much, TPM feels like it belongs to a mini-genre of "uncanny workplace" dramas. (Severance would be a recent example).  

Someone really should take TPM and turn it into a TV series or a long-form animation. 

You can read more about the genesis and inspiration of this latest Woebot masterpiece at Matt's blog - it's fascinating stuff, emerging as you might expect from the research into the nexus of spirituality, health, and the counterculture that led to Retreat, and to Matt's imminent publication The S Word that combines his recent blog epics with new essays.

You can buy a  hard copy of TPM direct from Matthew by sending money to Paypal address alias@hollowearth.org. Prices for one copy as follows: 

UK Standard: £13.61 Tracked: £18.79

EU Standard: £16.30 Tracked: £21.17

USA Standard: £19.46 Tracked: £23.91

It can also be bought via Amazon, where this is also a digital Kindle version on offer 



Friday, October 14, 2022

It's a Weird Premise for a Band - But I Like It.





















I interviewed my favorite band of the moment Dry Cleaning for The New York Times, on the eve of the release of their wonderful new album Stumpwork - on which they've totally pulled off that tricky trick of retaining everything good about the debut but expanding upon it and making it different enough to be fresh. It was really nice to chat with Tom, Lewis, Nick & Florence when they were in LA for Primavera.  I was surprised by how hard they rocked when they took the stage - and enjoyed the visual incongruity that ensued, as captured in the snaps below.  The piece also includes some nice quotes from Jason Williamson of Sleaford Mods, a friend of Dry Cleaning and an admirer. 




















Friday, October 07, 2022

From Budweiser to Bodhisattva

It was great fun reacquainting myself with the uuurv of Beastie Boys for this Tidal piece on Check Your Head, which is published in partnership with the  record-of-the-month club Vinyl Me, Please. There's also a playlist I pulled together juxtaposing Beastie tracks with formative influences and fellow travelers. 

Nothing beats Licensed To Ill of course (my favorite album of that year - or maybe equal first with The Queen is Dead). But there's moments across Paul's Boutique, Check and Ill Communication that get quite close. 

Funnily enough my favorite song on their transitional third is the least-Beastlie: "Namasté", which is more like Licensed to Chill. A floaty and flickering fusion-funk jam worthy of,  oh I dunno, Idris Muhammad or somebody like that. MCA sounds like he's already a good way along The Path to Bliss. 



Another good one in their new laidback and non-bratty mode




Tuesday, October 04, 2022

RIP Cass Davies

...  of Furious Pig, of course!



From the C81 cassette compilation - must have listened to this dozens of times in my life.

Not listened to their one actual release, this EP on Rough Trade, quite as often, I confess



Another version of "Bare Pork" that has the bit on them from the booklet the NME did as a spread inside the paper,  for you to pull-out and fold-up to go with the compilation (except that when folded up, it was just a little too thick to fit comfortably in the cassette shell) 


There's actually a live document, which  - unless I'm misunderstanding the label - looks like it came out on the Japanese postpunk label Vanity. 


Remembering Furious Pig during the writing of Rip It Up was one of the things that led me to the still ongoing and endless interest in Mouth Music and Extremism of the Human Voice. Viz, this post from 2003: 

"Talking of voices, how come there isn't a compilation or even a box-set (and maybe there is and I just don't know about it) of free vocal music, extremists of the human voice? Ideally vocal performances unaccompanied by music, or at least not mediated by technology and studio techniques (you could have a whole other compilation of that stuff: "Starsailor"). You could have one disc for the avant-classical lineage: the Dadaists and bruitism, Ligeti's choral stuff (as per 2001: A Space Odyssey), Cathy Berberian singing Berio, Stockhausen's Stimmung, Meredith Monk. Another disc for out-jazz: Patty Waters, there must be shitloads of other freeform vocalese types I don't know about. (Question: why does most free jazz leave me cold when it's instruments but is totally enthralling when it's the larynx?). A third disc for edge-of-rock: Diamanda Galas, Yoko Ono, live tapes of Buckley disastrously touring the Starsailor material, Furious Pig (this great Rough Trade vocals-only outfit, did one EP for the label, had a track on C81--sounded a bit like the Pop Group as barbershop quartet, grunts and howls and infra-human mewlings, they were inspired by pygmy music), Arto Lindsay's Christmas Rose Choir. And disc four would be like world music: Inuit plainsong (there was a disappointing CD of this stuff out on Sub Rosa I think it was a few years ago, but I remember an Eskimo field-recording LP a friend had in the early Eighties, amazing breath-pulse duets that sounded like DAF or something, then they'd burst out giggling after two minutes), Tuvan throat-singing, Pygmy monkey-chant.... This is all just scratching the surface I'm sure, suggestions welcome."

So who were Furious Pig, then? 

In the words of member Stephen Kent:


"Furious Pig was a group that emerged out of the High School experiences of a group of friends and relations in Totnes, a little town in South Devon, England. Influenced by listening to an eclectic mix of early Frank Zappa, Captain Beefheart, The Beatles, Ethiopian Polyphonic chants, The Doors, Stravinsky and Edgar Varese, among other things, we moved to London in 1979 a year after reaching the final of the National 'Melody Maker' Rock/Folk Contest - an event at which the judges included Bob Geldof, Justin Hayward [of the Moody Blues] and Ray Coleman [editor of Melody Maker]. Needless to say Furious Pig didn't win with their stirring renditions of 'I'm Going Round the Bend' and the jarring 'In Order of Height' but Bob Geldof said we'd 'Gotta Lotta Bottle'[Nerve] playing what we played. Squatting in houses around North London we developed a form of intense acapella vocal chanting, highly orchestrated with choreographed passages. It became a cult sensation on the London and N.European club scene. We toured on the bill with bands like This Heat, The Raincoats, Pere Ubu, The Slits, The Fall, The TV Personalities. We played on the streets, in clubs, pubs, schools. At the Comic Strip in Soho we were a regular music act - playing alongside all the comedians who became 'The Young Ones' and 'Absolutely Fabulous' on TV. We scored a live soundtrack to a William Burroughs book, 'The Wild Boys'. Our session on Radio 1 DJ John Peels show so divided the listenership between those who loved and those who loathed our music that it was repeated in record time. We'd spend 8 hours a day for months working on extending our vocal ranges, often in grotesque and hilarious ways - we had fun! Rough Trade Records got us into the studio and we recorded a vocal set including versions of 'I Don't Like Your Face', 'Jonny So Long' and the 'Kingmother'. I always regretted not recording 'Frozen Tarzan' with its alternating Shouting Through Cardboard Tubes and simply Shouting choreography and its Rolling On The Floor section. However, tapes do exist......

"Furious Pig came to an end when I left to become MD of Circus Oz in Australia. However all the other band members continued recording careers: Martin Kent aka Martin Pig with a series of singles on Rough Trade and Dominic Weeks and Cass Davies with two full length LP's on Recommended Records: Het - 'Lets Het' and another with French chanteuse Hermine."

This next chunk o' commentary seems to be from somewhere else (I've taken it from an older Hardly Baked blog entry) but who knows.... 

"This is an ensemble of male vocalists from England who created their own eccentric concept of experimental music using only voices, even though there was a fair amount of existing work in this vein, mostly in the academic world (e.g. Joan LaBarbara), but also stuff like Linda Sharrock and Jeanne Lee.  This has a grass roots punk/cabaret/comedy aspect and offers both fun and musical substance. They clearly worked out a lot of creative, rehearsed parts for these maniacal songs, so it's not just some guys acting goofy.... "I Don't Like Your Face" has a large section based on Balinese kecak, which is always a good thing!  There are connections between this project and other important early 80s creative music from England like Het and Hermine Demoriane. They played on bills with This Heat, etc.  It's a fabulous slice of underground music history.

""A friend said upon hearing them for the first time: '...it’s like The Manhattan Transfer went insane and recorded music in the plough of the sicker Fugs, dis-harmonizing cries and yelps in a studio with windows left open toward the farmyard.'"

Quoth Stephen, "Tapes do exist" - someone should release them!

As Kent mentioned, after Furious Pig, Cass Davies and Dominic Weeks formed Het and in 1984 released the album Let's Het, through Woof Records (formed by ex-Henry Cow man Tim Hodgkinson + his partner in The Work, Bill Gilonis)











Here's the whole album, it's rather good - slightly closer to "palatable"


Stephen Kent, meanwhile, would form Lights in a Fat City, which I actually reviewed live at the ICA, unaware of any connection to Furious Pig. 

 


April 8, 1989, Melody Maker

Seem to remember the album didn't quite capture the live experience. 

And then it seems - and it makes sense - that Lights in A Fat City found their way into that whole Club Dog zone 



The missing link between 23 Skidoo and Loop Guru.



Sunday, September 25, 2022

WHEN MATES MAKE BOOKS

A couple of goodies here: a very old and very good mate with a new collection of his own writing, a more recent and very good mate with a collection he's conceived and corralled of other's writing. 

                   


Matthew Ingram has a new book out soon that pulls together his recent spate of extended essays exploring the connections between music, spirituality, health and the counterculture, and adds some all-new long pieces on New Age and Prince, plus a profile of Roedelius. Keep your third eye trained on the Woebot blog for news of  The "S" Word's materialisation on this plane. 

Asif Siddiqi has written a bunch of tomes on the space race and matters cosmonautical, but out in just a few days is his first foray into music books: One-Track Mind: Capitalism, Technology, and the Art of the Pop Song. Edited by Asif and published by Routledge it's a collection of 16 essays corralled around a focus on a single song, track, piece, or unit of recorded sound. Artists include Le Grand Kallé and African Jazz, Moby Grape, Led Zeppelin, David Bowie, X-Ray Spex, Prince, Neil Young, The Replacements, NWA, Salt-N-Pepa, Hanson, LCD Soundsystem and MIA; contributors include Oliver Wang, Esther Liberman Cuenca, Helen Reddington, Scott Poulson-Bryant, Gina Arnold, Amy Coddington, Susan Schmidt Horning, George Plasketes, Gabrielle Cornish and Asif himself. And I'm in there with a piece on Donna Summer's "I Feel Love". 

Release rationale: 

The song remains the most basic unit of modern pop music. Shaped into being by historical forces—cultural, aesthetic, and technical—the song provides both performer and audience with a world marked off by a short, discrete, and temporally demarcated experience....  Arranged chronologically in order of release of the tracks, and spanning nearly five decades, these essays zigzag across the cultural landscape to present one possible history of pop music. There are detours through psychedelic rock, Afro-pop, Latin pop, glam rock, heavy metal, punk, postpunk, adult contemporary rock, techno, hip-hop, and electro-pop here. More than just deep histories of individual songs, these essays all expand far beyond the track itself to offer exciting and often counterintuitive histories of transformative moments in popular culture. Collectively, they show the undiminished power of the individual pop song, both as distillations of important flashpoints and, in their afterlives, as ghostly echoes that persist undiminished but transform for succeeding generations.... 

Monday, September 19, 2022

The Man with the Child in his Eyes


 












One of the things I most enjoyed writing this year was an essay on Yoshitomo Nara and his work's relationship to music. It's for the Pace Gallery publication Piancoteca, which is out now

Release rationale: 

With extensive photography and special foldouts, this book recreates the experience of Yoshitomo Nara’s Pinacoteca 2021, a multi-room installation exhibited at Pace in London.

Set among Nara’s recent sculpture and paintings, his small house-like structure, reworked from an earlier project titled London Mayfair House, evokes curiosity and contemplation. The artist’s signature wide-eyed figures adorn Pinacoteca 2021 both inside and out, painted directly on the structure and on wood and canvas hung by Nara himself, as well as drawn on paper, used envelopes, and cardboard boxes.

An essay by music writer Simon Reynolds explores the relationship of music to Nara’s artistic production, and an essay by curator Stephanie Rosenthal discusses the role of built environments in the artist’s oeuvre. Also presented is an illustrated checklist of the artist’s rooms and house projects made between 2004 and 2021.







Tuesday, September 13, 2022

Rock and the Royals

I had fun writing this Pitchfork piece about Rock and the Royals - it's a kind of shadow history of "postcolonial melancholia" and entropy in the U.K., looking at the way British pop represented a new kind of national identity and pushed that image internationally almost in rivalry with the Queen and her clan. The Blitz Generation, Thatcher, Blair, and Brexit appear as well as the obvious (and less obvious) references - whimsical, surreal, iconoclastic - to Elizabeth and the Royal Fam that pop up in song across six decades of U.K. history. 

In the piece, I allude to the notion of the Sixties youthquake - an eruption of newness and nowness sweeping the old order away. How irrelevant the Royals were to all that irreverence.  But then I remembered a funny thing. One of the main places that you could read about all the fab trends  - Mary Quant, Carnaby Street, the mods - was a magazine called Queen. They published the clued-up commentary of the very young Nik Cohn - he did a column called "Pop Scene".  



The publication had started way back in 1861 as the society magazine The Queen.  Under new ownership from 1957, the definite article was dropped and Queen started focusing on the younger set. 

 

What really surprised me was that Queen publisher Jocelyn Stevens was one of the investors who financed the pirate radio station Radio Caroline.  Indeed initially, the station operated out of the Queen office (although the actual broadcast signal issued from a ship named Caroline outside of British territorial waters). Stevens agitated against the idea, promoted by an official report, that there was no demand in the U.K. for commercial radio and was keen to prove the government wrong. 



Towards the end of the 1960s, Queen was sold to Harper's Bizarre and merged as Harper's & Queen.  Stevens carried on being involved in the newspaper business and eventually was given a knighthood by the actual Queen in 1996. 





Monday, September 05, 2022

A Different Kind of Tension: The Sound and the Look of New Wave





















Torn Apart is an excellent exhibition of punk / New Wave / post-punk graphics - record covers, flyers, posters, advertisement, badges, zines, T-shirt, photographs - drawn from the collection of Andrew Krivine and curated by Michael Worthington. Torn Apart is now in its final days at the Pacific Design Center Gallery in Los Angeles and on the last night, Thursday this week, I'm giving a talk entitled A Different Kind of Tension: The Sound and the Look of New Wave.  It's followed by a closing reception.

Date: Thursday 8th September

Time: 6pm

Admission: free

Address: PDC Design Gallery, 8687 Melrose Ave, West Hollywood, CA 90069

Directions and parking

An audio appetizer - a New Wave playlist 








(In the absence of an AV projector, I was forced to perform the above album cover). 

If you can't make the talk, then do pop by earlier in the week to look at the artwork - so many things I'd never seen before - and pick up the nifty free zine (see image at top of this blogpost) on offer in the foyer.. 

A tiny taste of what you missed...