Köln - Thursday, December 7th
Wednesday, November 29, 2017
Köln - Thursday, December 7th
Tuesday, November 28, 2017
In Mr. Hodgson's case, he has not only returned punctually, at his usual time of year, but he has come back stronger than ever, with a triple-dollop of some of Moon Wiring Club's best work yet: the double-CD Tantalising Mews and the vinyl long-player Cateared Chocolatiers.
In a pouch lurks a fold-out insert that supplies the titles of the thirty-three - thirty-three! - tracks on the pair of discs, and hints at the narrative framework that links them: "wireless telegraphy - from the immaculate ghost of an identical ancestor". Perhaps informed here by the analogy that 19th Century spiritualists saw between remote communication with the dead and the recently invented telegraph?
Noteworthy also: the sounds. "Ghostly drifting molten landscape musicke" is how Blank Workshop characterise the contents of Chocolatiers. And indeed that album especially, but all three of the discs, push the ambient-leaning tendencies in previous Moon Wiring Club music to a new extreme of ectoplasmic exquisiteness and sickly malaise. Beats, barely mustering the will to manifest, are decrepit and ineffectual entitities, rarely cohering into a pulse, let alone a groove. Voices droop and decompose, releasing vapours that fog the brain and obnubilate concentration. The mind wanders into mist-shrouded, boggy terrain... mistakes marshy phosphors for beacons... gets lost... founders...
A true return to formlessness.
Sunday, November 19, 2017
Currently at your local newsagent or record store, the December issue of The Wire features an essay-review by me of the Hüsker Dü box set Savage Young Dü.
Bit of a nightmare keeping the umlauts consistent throughout the review! I think I missed only one. If you inspect the front cover, you'll see that they actually forgot the umlaut over the Dü.
Actually, continuing the diehard streak of reviewing, I also handled Bob Mould's solo debut Workbook when that came out. That review languishes somewhere in my ink-and-paper archive. Never did get into Sugar, though.
Some years ago I read that Bob became a drum & bass convert and even recorded a whole album in that vein (seemingly following the same trajectory as Kevin Shields). That seems to have been an exaggeration: listening now for the first time, it seems more a case of an uneasy merger of Mouldian noise-pop and electronica, not unlike that Jesus Jones record Perverse, perhaps, or even Earthling.
Also in this issue of The Wire, a fascinating cover story by Rory Gibbs on the post-geographical virtual digitronica collective Quantum Natives: Brood Ma, Yearning Kru (love that name!), recsund, Rosen and others.
A different kind of electronic collective is celebrated in the freebie CD that accompanies the issue, and it couldn't be more up my avant alley: a compilation of electronic and tape-music pulled from the archives of the Polish Radio Experimental Studio.
Wednesday, November 15, 2017
Thursday, November 09, 2017
8.30 - 9.15: Simon James - former Simonsound and Black Channels member and one of the foremost exponents in today's modular electronics scene - plays a rare live set with his Buchla 200e Electric Music Box.
10.00 - 10.45: Sculpture bring their incredible live show to West Norwood via Dan Hayhurst's tape loops and electronics and Rueben Sutherland's zoetrope turntable visuals
Tuesday, October 31, 2017
Although written a good while before the Burial essay, they are companion pieces in some ways.
For instance, public transport - specifically, the night bus - plays a role in both pieces.
And Mark makes another appearance.
Parallel text: Paul Mason on broken neoliberalism and the rise of Corbyn:
"If [neo-liberal / third way] social democracy’s strategy was to generate a surplus through a highly financial, globalised free market economy and distribute it downwards as a compensation for stagnant wages and atomised communities, that is no longer possible. The more you try to do it, the more you have to coerce competitive behaviour into people’s lives, from the counter of the coffee bar to the welfare system, to housing, to the process of finding someone to go on a date with.Promise number one of a radical social democracy should be: we will switch off the great privatisation machine. Promise number two... we will stop imposing, nudging and coercing market behaviour into the lives of people and foster instead the human, collaborative impulse that 30 years of neoliberalism suppressed."
Monday, October 30, 2017
Date: Wednesday, November 1
Time: 7-30 pm (doors open 7: pm) - 9pm.
Location: Bing Concert Hall, Stanford University
Further information here
Stanford borders on Menlo Park, whose Menlo-Atherton High School famously produced Lindsey Buckingham and Stevie Nicks. And Greil Marcus.
And then a little ways in the other direction there's
Thursday, October 26, 2017
It's also effectively a tribute to Mark Fisher, who is a recurring presence in the piece.
It's intentional that Burial's real name is never once mentioned in the piece - honoring his original allegiance to rave's radical facelessness and anonymous collectivity.
Below is my favorite out of the post-Untrue Burial output - in some ways the missing chapter from that album.
There were two parallels and precursors for Burial's ghost-of-rave (as ghost-of-socialism) aesthetic that I couldn't get into as it would have been too much of a digression.
The first: Mark Leckey's Fiorucci Made Me Hardcore, which I wrote about here.
And the second: "Weak Become Heroes" by The Streets.
What Burial related through samples and moody orchestrations, Mike Skinner conveyed with words, describing the flashback of a former raver abruptly set adrift on blissed memories of love and unity on the dancefloor. “All the commotion becomes floating emotions... They could settle wars with this... Imagine the world's leaders on pills... All of Life's problems I just shake off.” Then he's snapped back to the dreary streets of a hostile and hopeless 21st Century England: “gray concrete and deadbeats... no surprises no treats... My life's been up and down since I walked from that crowd.” “Weak,” in Skinner’s song, means not just personally frail, but politically powerless. The weak became heroes when they became a mass, uniting around the unwritten manifesto in the music: someday there’ll be a better way, but in the meantime let’s shelter for a while in this dreamworld. What the critic Richard Smith (like dear Mark also “late” now – so many ghosts these days) called “the communism of the emotions” triggered by Ecstasy seemed to prefigure a social movement. But the collective energy never got beyond the level of a pre-political potential; the moment dissipated.
In a way, it's a shame Burial stopped doing the interviews - he was almost born to do them, even more than make music! He's better at describing his own music and motives than any of his critics, except K-punk himself. I remember Mark telling me after he'd done the interview that he couldn't believe his own ears - the stuff that Burial was coming out with was so poetic and evocative, too good to be true almost. A dream of an interview. Anwen Crawford told me of a similar experience: as I recall it, it was like she was hypnotized, sent into a trance by his voice over the phone. But at same time he was completely real and genuine - somehow down to earth and an ethereal being floating out there at the same time....
"I wanted the tunes to be anti-bullying tunes that could maybe help someone to believe in themselves, to not be afraid, and to not give up, and to know that someone out there cares and is looking out for them. So it's like an angel's spell to protect them against the unkind people, the dark times, and the self-doubts" - Burial on Rival Dealer EP / "Come Down With Us"
Actually there's a third parallel/precursor - The Death of Rave by V/Vm, a/k/a The Caretaker - another of Mark's favorites of course...
This post is dedicated to Carl Neville.
Sunday, October 22, 2017
Given a lot of space here but feel like I could have easily gone twice as long. Despite the immensity of the writing about The Smiths already out there (including my own quite sizeable contributions) the mystery of Morrissey and the magic of Marr (+ Rourke + Joyce) feel inexhaustible. I could write a whole essay just on "The Boy With The Thorn In His Side."
Monday, October 16, 2017
Thursday, October 12, 2017
I was delighted to get the opportunity to do it for RBMA.
It's the story of the first decade of Virgin Records.
And it's a profile of Simon Draper, A&R Director and later Managing Director - the man whose vision and taste made Virgin a contender for coolest label of the Seventies.
Not that other chap, the one with the beard.
(Lol inventing here the industrial / Cosey Fanni Tutti style of trumpet-through-fog four years ahead of schedule)
(Viv G on the vocals there)
Wednesday, October 11, 2017
Here's my blurb for No Future: Punk, Politics and British Youth Culture, 1976-1984:
What do these songs have in common?
1/ They come from a time when the gap between rock and black music was really small, compared with the gulf that now exists
Such that you almost wonder what the point of postpunk's vaunted embrace of funk and disco etc was as a gesture - given that the funk was already so deeply imbricated with mainstream rock music. It didn't need to be added or restored, it's there.
So you can see - if you shove to one side the rhetoric and the clothes and the theory and the adversarial positioning - acontinuum of Seventies rock that runs from beginning to end of the decade and that is steeped in black music - following its changes, absorbing its innovations (like the Larry Graham-esque slap bass bit in "Slow Ride" by Foghat... essentially no different as a musical move than scores of postpunk guitarists trying to copy Nile Rodgers )
They loved their Free after all, Go4
Old Wave / New Wave - the difference collapses as more and more time goes by
2/ The other thing they have in common - well, most of that first batch up top - is that they are used in movies. Something about this kind of groove-oriented early Seventies rock seems to move the action along. These feel-good tunes are a perfect fit for the "up" phase of a film like Boogie Nights e.g. the scene when things are going swimmingly by the swimming pool (they use the Three Dog Night and "Spill the Wine" in that sequence) or the more fraught but still thrillingly kinetic climax to Goodfellas (the soundtrack jumping from "Monkey Man" to "Jump Into the Fire" in a way that will never cease to electrify).
3/ They are all nifty groovers
It's the mundanity of the liberation-through-energy... its sliced-white-bread, staple background to the times quality that I find interesting.... Most of the above are second-division acts, solid radio providers, one-or-two hit wonders .... the liberation and the nifty grooviness is a general condition of the era... Even if (as per the kids in Dazed and Confused) the inhabitants of that era feel that the Seventies has fallen from the heights of the Sixties.... They don't know how good they got it.
Tuesday, October 10, 2017
some of my favorite tunes of the last few years gathered into an (unmixed) mixtape for NERO
Laurel Halo – «Like An L»
Big Sean – «Bounce Back»
D’Angelo – «Prayer»
Young Thug featuring Birdman – «Constantly Hating»
Schoolboy Q – «Collard Greens»
eMMplekz – «Gloomy Leper Techno»
Rae Smemmurd featuring Nicki Minaj and Young Thug – «Throw Sum Mo»
Future – «Fuck Up Some Commas»
Future – «I’m So Groovy»
Naomi Elizabeth – «The Topic Is Ass»
Travi$ Scott – «Goosebumps»
Travi$ Scott – «Antidote»
Migos – «Bad and Boujee»
Aphex Twin – «Original Chaos Riff»
Jeremih – «Oui»
Let’s Eat Grandma – «Eat Shiitake Mushrooms»
Hybrid Palms – «Pacific Image»
Tinashe feat Schoolboy Q – «2 On»
Assembled Minds – «Morris Horror»
Friday, October 06, 2017
Grazie molto to Valerio Mattioli - author of Superonda: Storia Segreta Della Musica Italiana, a book about the experimental rock scene in which Battiato was a central figure - for filling in the background to his bizarre career. And cheers to Jon Dale for his revelatory tips on further listens from within Battiato's close-knit community of associates and accomplices.
Attenzione Londoners! Mattioli dialogues with Rob Young about the Italian art-pop freak-out scene of the Seventies on October 22, 5 pm, at the Coronet Theatre. More details here
Saturday, September 30, 2017
Klang curator Laura Novoa kindly gave me a guided tour of the exhibition. And of the the building itself, among whose features is La Gran Lámpara - a glowing glass-sided construction (inside of which are two exhibitions halls) that is seemingly suspended in the air, and is situated in this central voluminous shaft of space that goes from the roof to the ground floor.
Another important avant-garde emigre was Mauricio Kagel, who moved to Cologne, while the Argentina-born Mario Davidovsky went to work at the Columbia-Princeton Electronic Music Center.
The exhibition's span goes from the earliest forays into tape music and electronics made by Argentine composers like Francisco Kröpfl....
... then onto the wonderfully 1960s-in-vibe sound design / graphic design developed by the advertising agency Agens, as part of an integrated corporate identity project for the manufacturers SIAM Di Tella
... before winding up with CLAEM aka el Centro Latinoamericano de Altos Estudios Musicales, the most advanced electronic music laboratory in South America thanks largely to the innovations of fellow called Fernando von Reichenbach.
Muchas gracias to Laura for a fascinating time travel trip to el futuro perdido latinoamericano!
For further information about Argentinan and Latin American electronic music, check out this essay by Ricardo Dal Farra. It comes with an enormous playlist of compositions which I have so far only managed to get about one-fifth of the way through - revelatory stuff.