Stuff that music lovers just don't seem to need anymore...

FROM THE DAYS WHEN HI-FI WAS SEXY...

Bleep gets a makeover...

http://beta.bleep.com

SOMETIMES...

...is a minuscule record label based in San Francisco. The format of choice is the limited edition CD. Though lacking any formal design technique, each release is well-presented with good quality printed artwork in jewel cases, though I think it would be more attractive if they went for a more unusual, possibly hand-assembled approach, maybe with some kind of unique personalisation of each individual item. Why should that matter? Well, I think it matters a lot right now. If the CD is to survive as a format against a backdrop of bleak economics and cheap downloads then presentation is vital, and I think this label needs to think about how they can manufacture items that people will want to cherish in future. I used to co-run a tiny cd-r label with a friend. Editions ranged from 4 to 50+ units, but we never used professional printers or duplication services. Everything was done by hand. I don't recall if that was a political or aesthetic decision - we just enjoyed doing the shit that way, and I honestly believe that the handmade arts will be one of the most effective ways to keep physical media alive in the future.

But enough inane ranting - what about this music? Well from the things they've sent me, it's generally pretty good. Prosumer Sound System makes retrofied instrumental electro/hip-hop/rave to a high standard, though somewhat lacking in 'edge'. Some more imagination/daring with the mixing and editing would definitely raise the stakes, though funnily enough when Prosumer drops out the beats completely, as on the humorously titled "Bonus Beats (No-Beats)" mega-mix from CD#2, the results are far more enlightening - an ambient wash of arpeggios, mentasms and orchestral samples that works perfectly.

Woodman & Woodman's "Sounds Of Wood EP" is a real surprise on account of the quality of his productions - clearly inspired by acts like Chris Clark and Jackson & His Computer Band, I could easily imagine this selection of twisted-tronica and spannered disco being released on Warp Records. But be careful with the heavy use of samples from well-known tracks by famous artists ...it might get you in trouble one day!

Bevels & Drop Shadows' "Vol.#1" is a strangely disfigured collection. On the one hand there are some anodyne IDM moments, then there's the bouncy electro gene-spliced with classical composition or that beautiful little child-like musical box piece that I find so enchanting. It's like they haven't quite decided what they want to do yet - and that makes for a fascinating half-hour.

This is a promising little label that could use your support, so if you're one of the few people out there with a bit of money left in your paypal account, why not give them a go? All releases (complete with audio previews) available to buy from the label's website.

BREAKCORE NOT DEAD

Just been spending a 'relaxing' morning listening to this:

(dtrash122) VARIOUS ARTISTS Subvert Punx 4 Way Split

"4 punx from all over the world (Distonn/Russia vs. Clip/Belarus vs. Midi Fister/USA vs. Disbreakz/Croatia) decided to make a record/split featuring their vision of subversive breaks.

To spice things up, the record cover was drawn by Simon Gane, which makes this record 100% underground.

Subvert glitchy IDM jungle breakz meet punk diy vibe. This is breakcore."

Free download here.

front cover here.

PROMOS - FEB

Guido - Orchestral Lab (Punch Drunk)
Trust Punch Drunk to bring us music from Bristol's freshest underground talent. This one's a kinda throw-back sound from one of Joker's grimey mates. As the title suggests, it's brimming with big orchestral arrangements of an unselfconsciously synthetic variety, shot through with the kind of raw squarewave riffs I haven't heard since Grime's instrumental 'golden age' a few years back. The strongest comparison I can think of is DJ Oddz in his prime (before he found God) - cinematic and emotional. Flipside "U Make Me Feel" continues the theme but with a moodier feel and the addition of a pulsing trancey undercurrent. I dig.

Various Production - Without You/Hole In My Memory
Occasionally Various send me links to new tunes, and these are the latest examples. "Without You" has a really odd, disjointed groove with high levels of 'feminine pressure' whilst the other one features Gerry Mitchell's grim Northern monologue. Both very different but continuing to prove that Various are still experimenting in the margins to good effect. Check their website for news and streams.

Subeena - Call It Anger/Dot - Longitude (Imminent)
Digital-only release from the label formally known as Immigrant. Subeena's track is a meaty 909 stomper, 4/4 stylee, full of jittery synth-pulses and melodic hooks, but also a subtle undercurrent of atmospheric fx. Dot's "Longitude" has more of a breakstep flava with it's dense layers of looped percussion. The loops are quite loosely syncopated, giving the track quite an organic 'live' feel. A tidy little two-tracker, which presumably you can buy on the 'net somewhere...

Search & Destroy/Toasty - Remixes (Hotflush)
I can still remember playing-out Loefah's remix of "Candyfloss" at Dubloaded when it first came out, to a packed room with N-Type, Skream and Chef watching approvingly from the wings. Ahhh...those were the days. Well, looks like Hotflush have seen fit to give it a re-issue and rightly so, as it's probably one of the great defining examples of Loefah's signature sound. Flip-over for a new refix of Toasty's "The Knowledge" (one of those tunes that just won't die) from Untold, which ramps-up the pressure whilst remaining respectful to the structure of the original.

Untold - Sweat (Hotflush)
And here's Untold once again, cutting-loose with a solo release. The A-side is maybe a bit too 'progressive/functional' breaks for my taste. It's pretty dull, actually. But the b-side "Dante" is much better with more of a 2-step swing on the beats and some sweet dubby chords.

Pangaea - Bear Witness (Hotflush)
Hessle Audio's Pangaea moonlighting on Hotflush with the kind of deep, thoughtful vibes we've come to expect. Actually, the lead track is almost too thoughtful...not much going on really...what do you say about it? 'Useful mix-material'? The flip-side "Mosaix" has a lot more going for it - stealthy and urgent with vague 2-step groove, warped double-bass, vocal snatches and a beautifully spooked pad-sound. Yeah, definitely another one where the b-side pisses over the a-side. Am I starting to see a pattern emerging on Hotflush here...?

Various - The Limpet (Couchblip)
Intriguing 4-tracker from Couchblip, perhaps wisely kicking-off with a track from established producer Boxcutter, in dreamy abstract mood on "Jaywalk". But then comes the completely bonkers "Araty" by Kadah-Vresky (who??!), which is a wild mash-up of dub, hip-hop drill-n-bass and spazzed-out editing with a dash of Raymond Scott. Funckarma's "FictionStub" keeps it weird with fizzing oscillator riffs bubbling under a half-step riddim with messed-up stream of consciousness vocals, and Herrmut Lobby brings thing to a satisfying conclusion with the relatively sane atmospheric stepper "Birds". Tip!

Threnody - No Hype EP (UK Trends)
First release from long-term soldier Threnody's new label, and it sounds like the man's on a mission from God. Opening track "Baghdad Street" features percussion loops and atmospheres sampled from the streets of Istanbul, giving a strong eastern flava to this restless, intense track. "To Have You" brings us firmly back to the UK, with a dark techy garage sound of the kind you used to hear on early Souljah or Hotflush records. Love it! Final track "Hype Hype" is an incredible 10 minute-long journey of relentlessly busy drum rolls, pumping sub-bass and endless cascading synth/trumpet melodies. Recommended!!

23Hz & Numeastro - Zumo (2nd Drop)
Excellent production levels on this release, and some really nice touches, but the overall feel on this and the flip "Fantasmas VIP" is a bit...old and tired. I used to get sent tonnes of demo tracks with drums just like these two or three years ago and frankly I don't wanna hear anymore in my life right now. But hey, don't let me put you off...

Rossi B & Luca - Jah No Dead (Soul Motive)
Now this is more like it - proper fucking dark garage from the El-B/Burial nether-zone - truly the sound of ghosts in the machine. Love it love it love it! Though funnily enough the flipside track by El-B himself is a fairly pedestrian (though undoubtedly tight) piano/breakbeat workout that once again fails to enthuse me to his new material. But for the Rossii B track alone you need this record, which should be out around the end of March.

Forensics - The Horror & The Glory (Digital Sin)
Another day, another Forensics promo. This one's a six-track cd-r that continues to mine those distinctive depths of dark, undancable dance music for social misfits and damaged bass-addicts. I like "Comfort Blanket" best - as the title suggests it has just that little bit of reassurance and hope in an otherwise nightmarish soundtrack world. Mind you, I must admit I think "All To Waste" sounds bloody lovely in an entirely different way with it's eerie and unsettling washes of melodic texture - one of Krys' best so far. I'm feeling the Horror, though the Glory eludes me. More info at Digital Sin Myspace.

G SPOTS

"The Spacey Folk Electro-Horror Sounds Of The Studio G Library" proclaims the handsome sleeve of Trunk Records' latest rummage through the dusty vaults of vintage library music, focusing this time on one of the most intriguing, highly collectible British labels of all - John Gale's Studio G. Prized for their striking colour sleeve designs as much as their distinctive brand of ready-made moods, cues and jingles, the relatively small output of Studio G remains an elusive quarry for collectors. Which makes this new 26 track collection, spanning the label's two decades of active service, very welcome and indeed necessary, but at the same time frustratingly brief as it skims merrily across the surface of Studio G's considerable catalogue of audio treasures.

Library music is everywhere and nowhere. Practically everyone is exposed to it every day, via TV, radio, film and advertising, yet most never even notice it's there, remaining unaware of it's subtle powers of mood-manipulation. It's not generally available to buy outside specialised distribution networks, but filters down to the public domain when it becomes out-of-date. Collectors prize the early vinyl-only editions, particularly from the '60s and '70s, for various reasons. For some it's the ultimate in elitist/esoteric music collecting, for others a source of unusual samples, and then there are those, like me, who believe it is the great hidden soundtrack to the late-20th Century, and that by discovering these records we can learn something about the world we grew-up in. Most popular music of the past is constantly regurgitated, becoming merely cheap nostalgia or worse stripped of all it's resonance. As K-Punk so wisely wrote in a great blog post entitled "The Past Is An Alien Planet", "hearing T-Rex now doesn't remind you of 73, it reminds you of nostalgia progs about 1973". By contrast, once library records have fulfilled their initial purpose, they quickly become abandoned, locked away in a dusty store cupboard for years, and when they eventually appear on the second-hand market, the essence of their era remains locked within them, waiting to be released into the cold vacuum of our world today. To hear a really great library record for the first time can be a strange experience: at once fresh to the ear yet also hauntingly familiar. Sometimes you'll hear something that you can specifically remember, like an advertising jingle on heavy rotation in the winter of 1978, which can trigger a shuddering flash of memory (what I call a 'direct hit'), yet generally the feeling will be less specific, more like a tint of faded colour or a strong flava that you hadn't tasted for many years. By contrast, some library records turn out to be useless, overpriced piles of shite, which is why well-crafted compilations like this make for excellent, cost-effective navigational aids.

If it's 'direct hits' you're after, then listen to Cliff Johns' "Goofy", or Harry Pitch's "Elephants Dance", both quirky little cues that featured regularly in cult kids' TV show "Vision On" (and whilst I'm on the subject, a heartfelt R.I.P. to the late, eternally great Tony Hart). But for more indescribable sensations, check the minimalist synth-folk melodies of Douglas Wood, the melancholic woodwind and vibraphone of Paul Lewis' "Waiting For Nina", or the smokey Bontempi organ flourishes of Ivor Raymond's "Wild Cat Walk", a perfect soundtrack to the Testcard of the inner mind.

For me, the highlights of "G-Spots" are the really early electronic treatments, from that deliciously weird period in the late '60s through to early '70s, when the fine arts of tape-manipulation and electro-acoustic processing were rubbing shoulders with the early, unstable monophonic synths like the VCS3 - that's the kind of stuff I particularly covet when shopping around for library records. Hearing James Harpham's "Visions Of 2000AD 4" and "Voodoo Tronics", combining solo flute with jarring Musique Concrete, lashings of tape delay and vaguely psychotic laughter, you can almost believe it was 'Life On Mars' back then. Then there's Frederick Judd's "Sprockets" (from the legendary and frightfully rare "Electronic Age" album) a pure electronic realisation of ghostly mechanical rhythm that is as great as it is tantalisingly brief. I can only assume (and pray) that the reason for such a meagre example of Mr. Judd's music is that Trunk are holding the rest back for a proper anthology of this forgotten pioneer's work.

I subscribe to the theory that the 'Golden Age' of electronic library/soundtrack music ended when the technology started to get too good. As the synths became more stable, polyphonic and full of rich, 'credible' sounds (as opposed to incredible sounds) so the music gradually lost it's unclassifiably alien qualities and became orchestral muzak on the cheap. For hard proof of that you only need to listen to the recent two-disc Radiophonic Workshop Retrospective, where the strict chronological sequencing clearly illustrates this phenomenon of decline. There's evidence of it on "G Spots" too. Eric Peter's "Deformed Theme" is a mournfully atonal, almost crippled sliver of monophonia from the bowels of the early '70s, but by the time he wrote "Planet Travel" the sound had taken on an assured, grandiose richness of texture which, whilst perfectly pleasant, lacks that eerie spark of the arcane that I always crave. Or to put it another way, a bit too much Peter Howell and not enough Brian Hodgson.

But that's just my personal fetishes getting in the way. Trunk Records have set out to tell us a story from another time, long past, forgotten to all except those 'in the know'. And they have done so with considerable skill. I only hope this is just the first chapter.

"G Spots" will be released on vinyl and CD formats very soon. Check the Trunk Records website for further info and updates.

MEEK TIGER - SYNKROTIK NEKRONIZATION

So I met this guy in a club a year or so back and we had a little chat about music and so forth. He was just visiting Bristol for the weekend and then returning home to Luton, so I assumed I wouldn't be hearing from him again. Then recently I get an email from him out-of-the-blue to tell me he's just released an album with a bit of a dubstep influence and would I like a copy? So I say sure, why not, bring it on, without having any expectations either way. The CD duly arrives and the first thing I notice is the packaging: the disc is sheathed in an unusual card envelope with the sleeve design glued on the front, a spray-painted Godzilla footprint and cryptic hand-written message on the back, giving the whole thing a distinct impression of hand-assembly. Clearly this is one of those limited-run, self-manufactured items that I always find so endearing. The package also contains a little booklet, with copious sleeve notes, perhaps more accurately described as a literary 'sub-text' - a fictional work with a heavy line in political metaphor. So it's a bit of a concept album too!

But the biggest surprise was the actual musical content. Opening track "Snares In The Surf" is dominated by clean, cyclic guitar figures that make me think of Vini Reilly's work in the Durutti Column rather than anything by, say, Skream. It quickly becomes apparent that this album is coming from the far-left of experimental dance music, where any influence from established genres is subverted to the artist's own twisted vision. So whilst "1868: Meiji Lumber Crisis And The Waking Woods" (hey, snappy title!) might have started-out from a skanky halfstep template, the end result is a fractured reverb-scape of decimated snares, distant chords and serrated feedback floating in a murky bubbling lagoon - the most literal interpretation of 'underwater dancehall' I've yet heard. Similarly, "Conveyor Belt Politics Prt.2" might have started life as a sort of techstep hybrid, but swiftly develops into something far more personal and unique. "Texan Coffee" is an improbable fusion of dislocated beats, guttural bass and twangy guitar licks, "Freudian Brain Surgeon" strips the beats down to a mere whisper, focusing on plaintive synthetic warbles and bursts of unclassifiably processed percussion, whilst "Karmic Adjustments" is a pure sound-bath of beautifully sustained melodic drones. Final track "Waltzing Godzilla" is almost post-rock in feel, with growling slabs of jagged guitar trailing across heavily echoed drums like early Tortoise in a really bad mood.

It's not a perfect album by any means - some tracks are less successful than others, and some tend to go on a bit longer than they perhaps need to, but the very fact that Meek Tiger is forging ahead, trying to carve-out a sound for himself in this age of sterile conformity and empty retrogressive posturing is something to be encouraged and, perhaps, cherished.

Now I don't normally post MP3s on this blog anymore but, with the artists' permission and encouragement, I'm making an exception here. So for a limited period you can grab the following track for 'evaluation purposes'...

Meek Tiger - Conveyor Belt Politics Pt.1

As I said at the start this is a very limited release without any proper distribution, so for more information about how to obtain this CD, check the label website or contact the artist direct- daniel@vstmrecords.com

LONGPLAYERS - OPENING SHOTS

Struggling with a mountain of prejudice here...

Break - Symmetry (Symmetry Recordings)
Ummm dunno who it was at S.T. Holdings who decided to send me this, but I'm really the wrong man for the job. My first reaction was "christ, do people still actually make records like this??!!". Opening track "Last Chance" sounds like it could've been made anytime in the past decade or so - ultra-slick drum 'n' bass with nondescript soulful guest vocal, admittedly with some pretty good sub-manoeuvres in the bass end and some neat production touches, but ultimately very safe and predictable. Okay, so Break's been around for a while and he knows his audience demographic. This album is very carefully crafted to sustain a certain sound for a particular scene, unfortunately one that I'm not ever likely to be a part of. But let's take a look at the positives. You get 18 tracks on the CD (which, depending on your point of view, is either great value or utterly exhausting) and it comes in an attractive fold-out card digipac sleeve. The production is pretty much flawlessly professional throughout - some of the intro sections sound kinda cool, but then all the formuleric elements start to creep in and my attention starts to wander. Of all the d'n'b tracks I like "Symmetrics" best, mainly on account of the earthier breakbeats, making me a bit nostalgic for the old Metalheadz sound. Occasionally Break slips out of the genre-straight jacket and tries something a bit different, like "Too Hot To Hold", a moderately successful hip hop-style track with rapping by SP, or the mellow mid-tempo groove of "Recovery". Then there's "It's Coming" which has a trancier feel with the four-to-the-floor pulse, but it's all still a bit too polite for my tastes. "Thin Ice" is a brief attempt to do something a little more abstract, though its the final track "In The Blue" that's the real surprise, or perhaps I should say relief. A slow, ponderous instrumental with a very 'live' feel on account of the languid guitar lines and some pleasant tinkling electric piano. Obviously there's more to Break than just breaks, but frankly I think we're on different planets.

Gonken - Robot Vs. Zombie (Automation Records)
I struggle with this from the off, due to my almost clinical aversion to American snotty-indie white rap with eccentric lyrical themes, of which Mr. Gonken seems all too fond. But again, let's try and focus on the positives. It's got a nice cover design, with a classic pulp comic theme (in fact wasn't there a comic book awhile back actually called "Robots Vs. Zombies"? - I'm sure Doppelganger lent me a copy once) but unfortunately this is a download-only release, and only blaggers like me get special hard-format promo versions. But at least you can download all the artwork and make your own if you like (see website). And despite all the synth-pop-by-numbers of tracks like "Indie Rockstar 101" you get some strange collisions like "Brainbasher v2.0" with it's filthy oldskool breakbeats and pummelling distorted bassline. Mercifully there are a couple of instrumentals too: "A Study In Audiology" is a fairly enjoyable retro-electro romp, whilst "Taking It For What It's Worth" features a nice line in naive melodic IDM. But ultimately there's a geographical and ideological gulf between me and Gonken that's simply too wide to overcome. Best of luck, mate - you go your way and I'll go mine.

PROMOS - JAN

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TOTALLY WIRED

The first essential music book of the year has (almost) arrived. Having already caused a minor stir with "Rip It Up", his definitive guide to the post-punk era, Simon Reynolds follows-up with the essential companion: "Totally Wired: Post-Punk Interviews & Overviews" (Faber & Faber trade paperback).

As the title suggests, the main bulk of the book comprises in-depth interviews with some of the key figures in the scene, culled from the copious and exhaustive interview tapes used to research the first book, which never fail to be anything less than fascinating. Simon talks to many central characters, like Jah Wobble (PiL), Ari Up (The Slits), Green Gartside (Skritti Politti), Andy Gill (Gang Of Four), David Byrne (Talking Heads), not forgetting a few of my own personal heroes like Alan Vega (Suicide), Richard H. Kirk (Cabaret Voltaire), Phil Oakey (Human League) and Mark Stewart (The Pop Group). It was also a surprise and pleasure to see a few of the 'backroom boys' getting some attention, seeing things from the perspective of producers Martin Rushent, Trevor Horn and UK dub pioneer Dennis Bovell (of course Martin Hannett is no longer with us, but we peek into his working methods care of Factory boss Tony Wilson and Joy Division's Steven Morris). The late John Peel and writer/critic Paul Morley also feature.

Among the many highlights: Simon wrestling (figuratively!) with 'difficult' interviewee David Thomas (Pere Ubu) - a man with some frankly bizarre opinions and theories about music - and Devo's Gerry Casale describing in harrowing detail his eye-witness account of the National Guard shooting students at a demonstration at Kent State University in the early '70s. It's also interesting to note the recurring themes - almost everyone involved seemed to have come from an Art School background, almost everyone was a voracious reader (Penguin paperbacks were as de rigueur as records and trench coats!) and people like Bowie, Eno, krautrock and The Velvet Underground crop-up regularly as formative influences.

The 'Overviews' section contains a selection of previously published reviews and articles that touch on aspects of the post-punk milieu, the most essential of which must surely be "Mutant Disco And Punk Funk", the 'non-oral history version' of the 'NYC No Wave' chapter of Rip It Up that only appeared in the US edition originally (and incidentally, No Wavers James Chance and Lydia Lunch also get the full interview treatment). Finally, Simon Reynolds himself is interviewed, discussing definitions, inspirations and personal experiences/observations from the era, which is fascinating in its own right. I was particularly taken by his lucid invocation of the levels of boredom experienced by young people in the late '70s, deprived of so much of the music and media stimuli that we take for granted today everytime we log-on, and hence explaining the pivotal role of the music press during that time, which was still very tangible when I started reading the inkies in the mid-80s. Overall you really begin to appreciate the unique circumstances of the period that, as far as I can see, will never be repeated, and which gave birth to such a crucial swell of vibrant music and culture.

Totally Wired will be available from 5th February (pre-order at Amazon). Simon Reynolds will be in the UK to promote the book from 13th February, including a special event at The Roundhouse in Camden at 8pm on Sunday 15th, where he will be in conversation with a few post-punk legends.

In the meantime, keep an eye on Simon's new Totally Wired blog for updates and additional info.

K-Punk on Postgate. Spot-on...

Woofah #3 is here.

Reports of a Cabaret Voltaire reunion are regrettabily unfounded. However, it looks like Richard H. Kirk will be reactivating the name for some solo gigs and possibily a recording project. In the meantime, check this wicked live recording of the Cabs at the height of their powers...

DAMN YOU, SIR (SLIGHT RETURN)

"The '60s "were an incredibly fertile period in American (electronic) music", but the music of the times was not documented because publishers wouldn't produce books about it and record companies wouldn't release recordings. The true music history of that era, Bob claimed, only exists in composer's file cabinets like mine, all over the United States."
Thom Holmes, speaking to composer Robert Ashley in the introduction to his book Electronic And Experimental Music (Routledge, 2nd edition, 2002)

I've long suspected the same might apply here in the UK, albeit on a much smaller scale. The established history of British '60s culture and musical innovation generally ignores anything that doesn't fit within the framework of Rock and other more accessible genres. Ask anyone about British electronic music of the period and maybe they'll mention the Dr.Who theme and other worthy examples of the Radiophonic Workshop's output, perhaps they'll discuss Joe Meek's extraordinary methods of recording space-age pop, or cite the later psychedelic improvisations of the Pink Floyd and their offspring. And some extremely boring people would probably talk about The Beatles.

I've taken issue with Paul McCartney's attempts to boost his cutting-edge credentials before, but here he is once again trying to make us all believe that he was the most avant-garde member of the Fab Four. Recorded evidence of this is non-existent. All the most sonically innovative Beatles tunes were John Lennon things like "Tomorrow Never Knows", "Strawberry Fields Forever" and "Revolution 9", not to mention solo outings like "Two Virgins". Even George Harrison, who Macca reckons "disparaged sonic experimentation" managed to make a solo album of experimental electronics. But apparently we should all be getting down on our knees and worshipping Sir-bloody-Paul just because he managed to coax his colleagues to "just wander round all of the stuff and bang it, shout, play it" for 10 minutes. Big deal. AMM were doing that long before he was.

But of course the legion of fans are dying to hear this racket, and I suppose its only right and proper that they should have the opportunity to do so. But I personally would be much more curious to hear some more recordings by the true electronic pioneers at that legendary festival - Unit Delta Plus, and specifically the work of Peter Zinovieff, who at that time was developing one of the most advanced privately-owned electronic studios in the world: EMS in Putney.

Whilst other British luminaries of the era (Daphne Oram, Tristram Cary, John Baker...) have had significant portions of their work anthologised over the years, I'm unaware of any major Zinovieff retrospective. The only things I've found are a vinyl album of his electronic realisation for Harrison Birtwhistle's "Chronometer" (1971), and "Agnus Die" cropped-up on a Space Age Recordings compilation a while back. Oh, and a couple of very short excerpts on an EMS promotional flexidisc (which you can listen to here). Presumably the guy must've built-up quite a large body of work during the decade or so that he was active, but where's it all gone?

Did you know that Zinovieff once tried to donate his studio to The Nation? Apparently, The Nation didn't want it and it ended up literally rotting away in storage in the dungeon basement of the National Theatre. But I digress...

"Unit Delta Plus once shared a bill with Paul McCartney at a "Million Volt Light and Sound RAVE - Dancing to Mystic Rock Groups" held in early 1967 at one of London's most hip venues, the Roundhouse. At the time, McCartney was deeply involved with electronic music (Stockhausen is one of the figures on the cover of Sergeant Pepper) and was a regular visitor to Peter's studio. As the swinging sixties started to unfold around Peter, he displayed an almost studied indifference to the rock musicians who became interested in electronic music. The world of rock stars, drugs, and counterculture was not really Peter's world. He was bemused by the EMS secretaries swooning over the famous musicians who came to visit, but for Peter it was business as usual."
Trevor Pinch, from the book Analog Days (Harvard, 2002)

I love that image of the slightly remote, aristocratic mad genius, completely unimpressed by the attentions of all those rock star 'hangers-on', stubbornly refusing to 'get hip' or creatively interact with popular musicians. But by remaining aloof in the world of classical composition and research, Zinovieff ultimately doomed himself to obscurity. His legacy lives on in the classic synths he helped design - EMS VCS3, Synthi AKS, etc - but for now I guess his own work must languish in another damned filing cabinet somewhere, along with early work by Dave Vorhaus' Kaleidophon Studio and other mysterious figures like Fred Judd.

But back to Macca. If he really was so 'deeply involved' in electronic music back then, why did he never put his enthusiasm to good use? And if he did, where's the proof? A bunch of hairy Liverpudlians banging a few rocks and sticks together with a bit of echo added doesn't really cut the mustard as far as I'm concerned...

Hate to tell you, Martin, but when it comes to Google search referrels, you tend to reap what you sow.

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20 Nov, Thu, 22:57:21 Google Images: who's that girl madonna (eh??! - oh, yeah now I remember)

BLOG RADIO

Good to see that John Eden has found time to do another RSI Radio podcast. It's a very specialist reggae t'ing but never less than interesting especially with John's informative commentary. Also of interest is Ed DMX's Radio Show, which is now in it's second installment. It's basically Ed playing a load of old records that mean a lot to him, but he's very good explaining why he likes these records, how they influenced him and so forth. For me, it's like a catalogue of my own record buying experiences, particularly the '80s stuff - clearly we were into a lot of the same things - Mantronix, Kraftwerk, Chaka Kahn, even the Pointer Sister's "Automatic", which I still think is a brilliant record. Ed is slightly younger than me, so he was getting into 12" mixes and studying the building blocks of rhythm and sound when he was about ten, whereas I was about 14 before I started doing that. We were learning about music and developing our tastes via the same set of records at about the same time ('83 onwards) , it's just that he was evidently a more precociously gifted and mentally advanced child than me, lol!

I must admit these guys are almost inspiring me to try doing something similar. I used to do my Gutterbreakz FM thing a few years back, but that was more of an attempt to emulate the format of pirate radio. But the idea of doing a more sedate 'John Peel'-style show, with unmixed tracks and a bit of chat inbetween isn't something I've tried before. The thought of getting near a microphone again doesn't really enthuse me, but it would enable me to play a wider variety of musical styles without worrying about bpm rates etc. It's something to think about, anyway...

IN CONTEXT

Thursday, March 10th, 2005. A small crowd gathers in the backroom of The Croft in Bristol for a Context 'dubstep special' - a rare opportunity to witness some seriously exclusive dubplate action outside the confines of the scene's minuscule Croydon heartland. Presiding on the decks: Loefah of DMZ infamy, back-to-back with Skream, a young almost completely unknown producer making his first appearance in Bristol. This wasn't the first dubstep event here, but it was my first, and it had a major impact on me - I wrote about it here.

Context was an occasional event run by a local dj and early dubstep adopter called Pinch (above, left). I'd corresponded with him previously by e-mail but this was the first time I met him in the flesh. It was also my first meeting with Shackleton (above, centre) and Appleblim (above, right), who were at this point simply keen followers of the scene, although I was aware that they were working on some music of their own, having heard a cd-r of their projected first Skull Disco release "I Am Animal/Mystikal Warrior". It was an exciting time, but the excitement was all generated by the music coming out of Croydon; there was no inkling yet that Bristol would develop it's own sound, or that these people I had just met would go on to have such a huge impact on the international scene.

Of course, there was one other notable character absent that night: Tom Ford, soon to become widely known as 'Peverelist', was away and unable to attend, although I'd known him for a couple of months already, since becoming a regular customer at Rooted Records where he worked. He too would subsequently become a hugely respected producer and dj.

The funny thing is that, for a little while in 2005, I was probably more 'famous' than any of them, but as their stars have ascended, mine has dwindled, and I blame no-one but myself. I've spectacularly failed to consolidate on the blog's popularity, in fact I've been actively distancing myself from the scene which I used to be a focal point of, plus I've found it increasingly hard this past year to balance the demands of earning a crust and raising a family with my 'hobbies' (blogging, clubbing, djing, producing, etc). I honestly intended to finish this blog forever, rather than let it limp-on as a mere shadow of it's former self, but here I am once again, tapping furiously on this bloody laptop when I should be getting on with something more 'important'. Why? Well basically because people have been sending me stuff. Which people? The ones mentioned above. The people who have completely outgrown any publicity a lowly blogger like me could give them. They don't need me anymore, but they haven't forgotten me, and I'm deeply touched by that fact. And that's why I back here: to remind any straggling readers about the excellent music these people are still releasing.

First came a 12" white label of the latest Peverelist offering on Punch Drunk. The a-side is called "Clunk Click Every Trip", a title which might be suggestive of psychedelic undertones, though if memory serves it was actually a catchphrase for a television advertising safety campaign about wearing seatbelts, presented by Jimmy Saville many years ago (a quick check on Wiki confirms this). I haven't asked Tom why he's adopted the slogan here; I think some things are best left a mystery. The track is the most m*n*mal thing I've heard from him yet, almost entirely constructed of beats, with liberal use of metallic delay effects weaving in and out of the mix. Then, just when you least expect it, a huge, glistening block of synth-pad chords swoops in and dominates for a few bars before promptly departing once more, leaving me slightly disorientated and wondering what the hell happened. The flip is called "Gather", and is also somewhat unexpected for entirely different reasons. It's a slice of downtempo dubwise atmospherics, coming from a similar sonic palette as some of Rob Smith's RSD material, with echoes of Renegade Soundwave circa "In Dub" - not the sort of thing you'd expect from the Pev at all, but obviously he likes to keep everyone guessing about where his muse is going, and he's certainly got my undivided attention with this one. It's in the shops now, so go buy it.

Then came an e-mail from Pinch with some MP3s of his new release on Tectonic, "Midnight Oil c/w Joyride". It's interesting to note the parrellel progress between Pinch and Peverelist at the moment - it's almost like they're in a micro-genre of their own: complex beats with galloping kick drums, a de-emphasis on basslines (no more than a one-note subsonic undertow), experimenting with weird fx that materialise and discorporate in the mix, heavy use of synth-pads to drive home the melodic 'argument', though Pinch's choice of pad textures are more eerie/atmospheric. Always that hint of Techno, a slight tint of Berlin, but never too overstated. Of course, they live in the same house so I guess it's inevitable that they're influencing each other...imagine sitting at the top of the stairs in their house, listening to the sounds drifting down the landing from their respective rooms, pushing the air around, blending and morphing. Two friends on a sonic voyage. Nothing unusual about that, except that in this case the world is listening in anticipation. Well, maybe bits of the world at least. Ummm, forgot to ask when this is coming out, but I'm sure it'll be quite soon.

Then, this morning, the postman brought me this...

...and I nearly chocked on my Fruit 'n Fibre in surprise because I thought those guys had long since abandoned me. The package came via S.T. Holdings, so I'm not sure who it was put me on the mailing list for this, but they have my eternal gratitude. This is the second Skull Disco CD anthology, called "Soundboy's Gravestone Gets Desecrated By Vandals". Disc 1 collects all the tracks since "Vansan/You Bring Me Down", so you get all those awesome Shackleton tunes like "Death Is Not Final" and "The Rope Tightens", along with Appleblim & Peverelist's "Circling/Over Here" on CD for the first time. Then disc 2 features a bunch of remixes, from the like of T+++, Bass Clef, Pole, Brendon Moller and Gieom, that twist the Skull Disco catalogue into all sorts of new mindbending shapes. I didn't get a press sheet with this, so can't say exactly when it's coming out (and Appleblim's not answering his phone as usual) but I think it should be in the shops in the next fortnight, so start saving your pocket money kids - this is the fucking business.

Intermittent service is resumed, though if you want to know what's really going down on the underground scene in Bristol and beyond, you'd be better off checking the Highrise Clothing Blog.

"IT'S THE END...BUT THE MOMENT HAS BEEN PREPARED FOR..."

Firstly, greetings to those of you following the chain of blog posts in support of the last ever Blogariddims podcast, entitled "Terminus". If this is all going to plan then you've just left Droid's post at Weareie, and will shortly be heading over to the Heatwave blog to catch the next written installment. Or, if you're just passing by and wondering what this is all about, here's the list of all contributions, in the order which they appear, with associated links...

Blogariddims 50: Terminus
0- Droid Intro blog post
1- Paul Autonomic (6.01)
2- JEPM (John Eden + Paul Meme) (8:41)
3- Matt B (6:33)
4- The Rambler (7:09)
5- Wayne (7:00)
6 -Droid (7:44)
7- Gutterbreakz (6:02)
8- Heatwave (6:04)
9 - Hal (8.01)
10 - Flack (6:15)
11 – Slug/Droid outro blog post

I've only had chance to have a quick listen to the complete podcast, but there's certainly some excellent stuff going on, with several of the 'Blogamuffins' finding ingenious ways to shoehorn as much musical information into their allotted spaces as possible. The Rambler's further adventures in modern classical is a particularly potent (and educational) showcase, but it's a rollercoaster ride from the start, and if you can't find something here that doesn't intrigue, delight or bewilder then you is one jaded muthafucka. It's been an honour and a privilege to be involved in this illustrious series that began back in 2006, and I'm very pleased to be part of this final mash-down.

When they asked me to come up with six minutes of audio, I figured the only way a slow, laborious dj like me could do something interesting in such a short segment would be to go for a cut-up/collage approach rather than a proper mix (Matt B has done something similar in a reggae context). So I spent a few weeks gradually collecting a bunch of musical snippets, culled from a variety of sources, including vinyl, cassette, CD, live microphone and video tape (with no TV attached to the VCR, hence no distracting images, enabling me to focus purely on sound).

Far too many snippets to list here. In fact I don't think I could if I tried. Some of it is very random stuff where I'm not actually sure what the original source material was! However, some of the artists featured (in no particular order) are: Tom Baker (actor), Broadcast, Daphne Oram, Data 70, Jah Shaka, Sarah Sutton (actress), Child A (voice & turntable manipulation), Child B (voice), John Cale, Pierre Henry, No.1 Astronaut, Paul Spurrier (actor), John Cage, Syd Barrett, Throbbing Gristle, Brian Hodgson, Joe Meek, Delia Derbyshire, Dick Mills, Faust, Burl Ives, Sweet Exorcist, Todd Rundgren, John Baker, Suicide, W. Merrick Farran & Edgar M. Vetter, Anthony Ainley (actor), The Hafler Trio, Bernard Herrmann, Eric Peters, Raymond Scott, E.A.R., John Cameron, Steve Reich, Gareth Thomas (actor), Beaver & Krause, Roger Limb, Ted Atking & Alain Feanch, John Foxx, Milton Babbitt, The Beach Boys, Walt Rockman, Mordant Music, Captain Beefheart, Sammie Winmill (actress), Henry Blair & Ray Turner, Milt Jackson, T. Elerth, John Fraser (actor), Maddalena Fagandini, Cybotron, Cabaret Voltaire and no doubt a few others I forgot, plus quite a few snippets from my own work spanning the past 20-odd years. The parts were then pasted together without much planning. Only the very first and very last were deliberately placed. Nearly all the rest were left in the hands of Chance, to resonate or jar against each other as the case may be. I'm not entirely certain what the end product is trying to say, or even if there is any meaning to be divined from it all. Let the listener make of it what he or she will. The only other thing I will say in it's defence is that it's an honest reflection of who I am, where I'm from and, increasingly, where I seem to be going.

A final thank you to Droid for letting me be a part of all this, and much respect and admiration going out to everyone else who contributed to this series over the past couple of years.

Okay, job done. I'm outta here. Thanks for dropping by.

LINK