Unauthorised item in the bagging area

Saturday, 13 July 2024

V.A. Saturday

In 2004 Don Letts compiled a various artists compilation for Heavenly, Social Classics 3 Dread Meets B- Boys Downtown. It was a hugely listenable sixteen track compilation recreating the summer of 1981 when Don accompanied The Clash and they took over New York with a residency at Bond's Casino in Times Square. The stories are legendary- the promoters oversold the shows, the fire department shut it down, The Clash promised to  honour all sold tickets and ended up playing seventeen nights, an exhausting experience. While that was going on and Don filmed them, the band immersed themselves into New York's street and club culture, Mick Jones especially, and the nascent hip hop scene. Support acts for the group at Bond's included Grandmaster Flash, The Fall, Dead Kennedys, Lee 'Scratch' Perry, The Slits, ESG and The Treacherous Three. 

Don's has various slices of old school hip hop (Grandmaster Flash, Grand Wizzard Theodore, The Fearless Four, Fab Five Freddy, the Wild Style OST), some classic New York dance tracks (Babe Ruth's The Mexican and Michael Viner's Incredible Bongo Band's version of Apache), some cutting edge early 80s electro (Al- Naafiysh by Hashim), along with Malcolm McLaren, Kraftwerk and The Clash. It's wall to wall early 80s bangers and cutting edge too. 

Grand Wizzard Theodore is from The Bronx, NYC, and is the DJ who is largely credited with inventing scratching. 

Subway Theme

Babe Ruth were an early 70s funk rock band from Hatfield, Hertfordshire. The Mexican was recorded at Abbey Road in 1972, a hugely influential song later on in the decade when the New York hip hop DJs picked up on it and played it, mixed it and sampled it to pieces. 

The Mexican

The Clash were inspired by New York , it sent them into a spin they never really pulled out of. This Is Radio Clash  was a standalone single and 12", fired up by New York. the city's sounds and radio stations. Outside Broadcast was a remix version of the main track, seven and a half minutes of dub sound effects, samples, traffic sounds, rapping and studio experimentation. 

Outside Broadcast

Malcolm McLaren's Buffalo Girls is an essential early 80s record, 1982 hip hop produced by Trevor Horn, after Malcolm saw what was happening in New York. He'd been in the city looking for a support act for Bow Wow Wow and went to a block party where he heard hip hop and scratching for the first time.

Buffalo Gals

Fab Five Freddy is a New York hip hop legend, graffiti artist, film maker and face. In 1983 the film Wild Style was released,a document of New York's nascent hip hop scene in 1981 and the track Down By Law comes from the soundtrack. Chris Stein of Blondie worked on the soundtrack and the score too and Freddy would famously later on turn up in the lyrics to Rapture. 

Down By Law

Friday, 12 July 2024

Camburi

My contact in Sao Paulo, Eduardo Ramos, records as Pandit Pam Pam and is head man at a record label called Boston Medical Group. A few months ago he sent me a couple of new tracks he'd recorded including one intriguingly with Henry Olsen guesting, a track called Lago...


Pandit Pam Pam often blends electronics, ambient and more organic instruments and sounds. On Lago Eduardo has perfected it, finding a sweet spot where laid back Brazilian cool, gamelan and ambient blur together. Eduardo said that Henry was top class, a joy to work with bring, and that he brought so much to the sound and the songs. 

Henry Olsen you might recall was the bass player for Primal Scream, between 1988 and 1995. He played bass on Screamadelica, the Dixie- Narco EP and Give Out But Don't Give Up as well as the self titled album they released in 1989. Before this while based in Manchester Henry played in Nico's band The Faction when on tour (a life detailed brilliantly and vividly in James Farmer's book Songs They Never Play On The Radio, an account of Farmer's time as Nico's keyboard player, while Nico lived in North Manchester). After playing with Primal Scream Henry played bass for Beth Orton. In the Classic Albums episode about Screamadelica Henry comes across as a thoughtful, articulate person, speaking highly of Denise Johnson especially. 

Pandit Pam Pam's album Camburi came out last week with Lago as one of the nine tracks. It's a lovely album, opening with the analogue ambience of Verlaine, a track followed by a second collaboration with Henry, a chilled, percussive two minutes called Failed Gamelan with some muted trumpet by Joao Sousa. Most of the tracks are fairly short, mood pieces and sketches fleshed out into songs. The longer Burroughs And Associates has dancing synths and drone waves. Joao Sousa's trumpet playing returns on Neuva, a jazz flecked fanfare with ambient synths. The final song is named after Eduardo's new born second child Diogo, Diogo's Heart, and has Hamilton Beck's wonderful, emotive lap steel guitar up front, an excursion to the recent ambient- Americana sounds of groups like SUSS and Nashville Ambient Ensemble. This sounds in some ways like it shouldn't work- ambient analogue synths from Brazil with the former bass player from Primal Scream, with trumpet, gamelan and lap steel guitar as the lead sounds- but it does, it works beautifully, a superbly cohesive and moving album. Listen and buy Camburi at Bandcamp. 


Thursday, 11 July 2024

Vexations, Meaning, Purpose

More music from a CD that came free with a magazine, this time (again) Mojo in 2020. The disc, titled The Cold Open, was a collection of tracks acting as a sampler for Belgian label Le Discques De Crepescule  Factory Benelux and took in several Factory related artists- Section 25, The Other Two, Shadowplay, Stephen Mallinder- plus some Factory adjacent acts- Paul Haig, LoneLady covering New Order's Cries And Whispers, Pauline Murray- and a bunch of others. Tucked away at the end are two low key and moving pieces of music. Firstly, Alan Marks playing Erik Satie's Vexations...

Vexations

Satie never performed Vexations in his lifetime- it only came to light in 1949. On the manuscript Satie left the note, 'in order to play the motif 840 times in succession, it would be advisable to prepare oneself beforehand and in the deepest silence, by serious immobilities'. Since the 1960s therefore it has been interpreted that the music on the sheet must be played 840 times but this may not be what Satie intended. I'll leave that decision up to you. 

The second piece of music is a recording of The Durutti Column playing at the Rescue Rooms in Nottingham in 2004, Vini playing guitar for a few minutes in his own inimitable style. No day is ever worse for having a little Durutti Column in it. 

Meaning + Purpose (Live)

I saw The Durutti Column live a few times in the 00s, once at The Comedy Store in Deansgate Locks, Manchester (27th April 2003 according to the internet). Vini came on stage with a ghetto blaster, made a joke about telling jokes in a comedy club, and then played along to a tape backing.  After a couple of songs he was joined by Bruce Mitchell on drums and a keyboard player, possibly Kier Stewart. The venue, not a large one, was only half full. 

In December 2003 and again in April 2005 we saw them at Manchester Academy 3, a small room at the university student union that used to be called The Hop And Grape. Vini was in explosive form, building in volume and noise as the gig unfolded. I found this photo on the internet a while ago from the December 2003 gig. We saw Vini and DC play on a couple of other occasions too I think. At the time, like many things, we took it for granted that Vini would be playing small venues in Manchester to small but appreciative crowds of fans and that we'd be able to stand and watch him conjure up magic from his guitar. 




Wednesday, 10 July 2024

What A Beautiful Refrain

In 1996 R.E.M. made what would turn out to be the final album made by the four piece band of Michael Stipe, Peter Buck, Mike Mills and Bill Berry. The drummer, Bill Berry, left the group in 1997 and although they carried on as a three- piece until 2013 they never really reached the heights they did on the run of ten albums they made between Murmur in 1983 and New Adventures In Hi- Fi thirteen years later. Much of New Adventures In Hi- Fi was written and partially recorded on the road, at soundchecks while they toured Monster, a mixed bag of an album that saw them tour the big venues. Many of the songs on New Adventures... reflect the album's on the road origins, songs with titles like Departure, Leave, Undertow and Low Desert. There's also a sadness, a mournful quality running through it, countered by some brash riffing and Stipe continuing the rock star persona he developed for the Monster tour- Wake Up Bomb and So Fast, So Numb- but the melancholy pervades. The final song, Electrolite, makes sure that things finish on a high of sorts, a gorgeous song celebrating the end of the 20th century, Mulholland Drive, Steve McQueen, Martin Sheen and Jimmy Dean, that closes with Stipe singing, 'I'm not scared/ I'm outta here'. 

It's an album I think of as a vinyl record, the four sides mini- albums in their right. By this point CDs were outselling vinyl and the record industry had scaled vinyl production right back. Bands were making CD length albums, not vinyl length ones. New Adventures.. is R.E.M.'s longest album. Most listeners I imagine think of New Adventures In Hi- Fi as a CD album, fourteen songs in succession but for me its always been a vinyl album with four distinct groups of songs. Side one of the vinyl opens with How The West Was Won And Where It Got Us, a typically untypical way to start an R.E.M. album, low key and led by drums and bass, piano providing the melodic backing to Stipe's vocal. Peter Buck's mandolin, his acoustic and electric guitars are nowhere to be heard until the second song, Wake Up Bomb bursts in with the big guitar riffs and a glam/ grunge stomp. Side one concludes with New Test Leper, the song on the album that sounds the most typically R.E.M.- led by acoustic guitar, with some understated Mike Mills organ and one of those universal Stipe lyrics, one where he plugs himself into the human experience and comes up with something that seems both personal and universal. 

New Test Leper

The lyric opens with a nod to Michael's heroine Patti Smith who kicked off Piss Factory with a line about Jesus. 'I can't say that I love Jesus', Stipe sings,'that would be a hollow claim'. He goes on to quote Christ, 'judge not lest ye be judged' and then laments the behaviour of a TV host and a live studio audience. Stipe was watching one of those TV programmes where members of the public and their deeds are paraded in front of an audience, an Oprah/ Jeremy Kyle type show. He found himself empathising with the woman whose life was being pulled apart for entertainment. Michael sings from the point of view of the woman, 'When I tried to tell my story/ They cut me off to take a break/ I sat silent for five commercials/ I had nothing left to say'. He then switches back to being the observer again and concludes, 'What a sad parade'. Buck's guitar jangles beautifully, backed by Bill Berry's drums and shakers and Mike Mills plays a superb lead bassline and that lovely ascending organ part that appears and re- appears. 

New Test Leper was recorded at Seattle's Bad Animals studio, resurrected from a tape Michael had of the song from a soundcheck. A second version, acoustic and recorded live at the studio, was used as a B- side for Bittersweet Me. Stipe has said that New Test Leper is his 'crowning achievement' and its easy to see why he would see it that way- it's a song that displays his humanity and empathy and done in such a way that it strikes a chord whenever I hear it. 

New Test Leper (Acoustic Version)

Tuesday, 9 July 2024

Pembe

Back in early April when we DJed at AW61 we got to The Golden Lion in good time to start our sets, early afternoon. The booth had been occupied the previous night by David Holmes, who played a righteous set concluding with his splicing of Sinead O'Connor's Nothing Compares 2U with Orbital's Belfast. In the booth we noticed that David had left one of the CDs he was DJing from the night before. Having ripped this CD it turned out to contain, as you might expect, quite a few gems including this magnificent piece of Afro- funk...

Pembe (Jimmy Rouge Edit)

Funkier than a mosquito's tweeter, shuffling rhythms but with a solid kick drum and percussion, life affirming horns, a Fela Kuti style guitars and groove and wondrous call and response vocals, it's a winning track, solid gold. Halfway through the brass section are given a chance to shine before the drums kick back in. Pembe was originally by Future Warriors back in 2005 and then re- edited for Orange Tree Edits by Belfast's Jimmy Rouge in 2017. A previously unreleased version of Pembe by Future Warriors can be found at Bandcamp, price £1, from the album Far Out Jazz And Afro- Funk which is also worth checking out in full. 

Monday, 8 July 2024

Monday's Long Songs

The Monday long song slot LCD Soundsystem/ DFA takeover continues. Last Monday was LCD Soundsystem's Freak Out/ Starry Eyes, which followed the DFA remix of Le Tigre the previous week. Today, two further remixes but this time remixes of LCD Soundsystem by others, both from 2007.

Carl Craig, second wave of Detroit techno legend, remixed the title track from LCD's album of the same year, Sound Of Silver. James Murph's vocal refrain remains intact, 'Sound of silver talk to me/ Makes you feel like a teenager/ Until you remember the feelings of/ A real life emotional teenager/ Then you think again'. Around this piece of wisdom, Carl constructs a sleek nine minute machine ride with thudding drums, a synth drone at the top end that nags away, keyboard parts and not a little drama. 

Sound Of Silver (c2 rmx rev.3)

Soulwax remixed Get Innocuous!, ten minutes and one second of Belgian dancefloor nirvana, kicking off with just drums and then gradually bringing the keys in, Nancy Wang's voice, shiny 80s production, Murphy's Bowie- esque vocal, juddering synth stabs, the whole kit and caboodle. 

Get Innocuous! (Soulwax Remix)

Sunday, 7 July 2024

An Hour At Tak Tent

Tak Tent Radio is a Scottish based internet radio station that broadcasts all manner of interesting, experimental, leftfield and niche shows by a variety of guests. I've contributed guests mixes for a few years now and last weekend the latest Bagging Area Tak Tent emission went out, my eleventh. You can listen to it at the Tak Tent website here or at Mixcloud here. It's a chilled out dubby/ ambient/ Balearic affair, mostly music released this year but with a vintage Andrew Weatherall and David Harrow track thrown in, their sole recording as Planet 4 Folk Quartet (for Warchild in 1995). 

  • M- Paths: Emerge
  • Planet 4 Folk Quartet: Message To Crommie
  • Richard Norris: Pagan Dub
  • Sewell & The Gong: Passing Oort Clouds (Justin Robertson’s Deadstock 33s Remix)
  • Justin Robertson’s Deadstock 33s: Minus Shadows
  • Psychederek: Hapi
  • Spatial Awareness: Dream Food (SA Dub)
  • Timothy J. Fairplay: Centurion Version
  • Coyote: Every Forest Has A Shadow (Vanity Project Remix)
  • KlangKollektor: Midnight Express
  • Florecer: Hidden Thoughts


Saturday, 6 July 2024

V.A. Saturday

In 1986 NME issued a cassette compilation that spawned an entire scene, a twenty two track tape called C86. It invented indie pop, a subculture that was DIY, inwards looking, amateurish and underground and lo fi, it celebrated underachievement and became eventually a millstone around the necks of some of the bands involved. The indie scene that grew from it was all 60s anoraks, scruffy black 501s, lovebeads and bowl cuts, buzzsaw guitars, sing song vocals, gig posters and fanzines with photos torn from magazines and text done by Letraset, badly photocopied by whoever had access to a work photocopier- 60s guitar pop crossed with early 80s post- punk, defining itself partly by what it was against as much as anything else. It was anti- Phil Collins, anti- stadium rock, anti- Elton John and Queen, anti- big 80s gated snares, anti- rock star, anti- Thatcher and anti- heavy metal. All of these are good things to be anti. 

Funnily, given that the indie scene that burst out of it became quite homogenous, the original line up of bands on C86 is by no means all classic C86 indie pop. Standard bearers Primal Scream are present (in their pre- rawk indie phase) hit the payload with the thrilling rush of their early B-side Velocity Girl (for some fans, still the best Primal Scream song). The Shop Assistants, The Wedding Present, The Bodines and The Soup Dragons are all classic C86 indie pop. But some of the bands are outliers in sound or outlook, unrepresentative of the jangle pop sound that came from the tape- Stump, Bogshed, bIG fLAME, A Witness, The Shrubs and The McKenzies are all more abrasive and less indie pop. 

In some ways it's a great document and it has a real cultural significance in the history of British independent music, both as the springboard for a scene and then later as something to react against. It split the NME writers at the time, many of whom were pushing the paper towards covering hip hop and then house. The indie pop/ jangle pop scene was the starting point for several bands who'd go on to bigger things and was a scene in which women were heavily involved- as singers, musicians, fanzine writers, promoters and at labels. 

The Soup Dragons would leave the indie ghetto, the new dance music sounds of the late 80s hitting the band hard. It's a continuing annoyance for the band, singer Sean Dickson especially, that they were branded dance music bandwagon jumpers when they were eighteen months ahead of Primal Scream's conversion to acid house. On Pleasantly Surprised they sound like the next step on from Buzzcocks.

Pleasantly Surprised 

The Bodines were from Glossop, a town nestled into the Pennines east of Manchester. Therese is indie pop gold, a breathless, trebly guitar pop swoon, by four young men with Doctor Martens shoes, flat tops and fringes, denim jackets and 501s with turn ups of exactly the right size. 

Therese

C86 ended with This Boy Can Wait by The Wedding Present, breakneck guitars and Gedge's gruff vocal delivery and a classic indie pop boy- girl song. 

This Boy Can Wait

bIG fLAME were a post- punk/ indie pop three piece from Manchester, a band who would take the phrase 'viciously trebly' as a starting point. The speed, velocity and attack have more in common with Minutemen and Husker Du than the shambling groups in some ways, and their angular, slashing chords more like Gang Of Four and a hundred post- punk singles. The song on C86 was New Way (A Quick Wash And Brush Up With Liberation Theology) but I don't have that on my hard drive at the moment so this one will do instead (and is from a 2006 expanded version of C86 called CD86 The Birth Of Indie Pop)

Why Popstars Can't Dance

The Close Lobsters, Mighty Mighty, The Mighty Lemon Drops, Half Man Half Biscuit, Miaow, The Pastels, We've Got A Fuzzbox And We're Gonna Use It, McCarthy, The Wolfhounds, The Servants and Age Of Chance all appeared on C86 too and there's no doubt it was instrumental in influencing various people who emerged from the indie scene in the early 90s- Bob Stanley of Saint Etienne, Manic Street Preachers and Heavenly Records all have origins that can be traced back to C86 in some way. The intense weekly pressure of four music papers competing against each other, jockeying to find bands, is one of the reasons C86 existed in the first place, NME placing a flag in the ground with the release of this cassette. Most of the bands, despite some negativity towards the album and the indie scene that grew out of it after 1986, have made peace with it now. In 2019 Primal Scream, who had long ignored their pre- Loaded records when playing live and when compiling Best Ofs, re- released Velocity Girl for Record Shop Day, a ninety second song that started life as the B-side to Creation Records release Crystal Crescent and has proved to have a very long tail.

Velocity Girl

Friday, 5 July 2024

Ultima Thule

In classical and Medieval literature Thule was a distant place, a place beyond the borders of the known world. To the Romans Thule was the most northerly location known to them- Orkney possibly, or Shetland. By the late Middle Ages Thule was Greenland or Iceland. Ultima Thule is beyond there. On 1st January 2019 NASA's New Horizons spacecraft flew by an object known as Ultima Thule, a lump of rock that floats in the Kuiper Belt, the farthest object in the solar system, a piece of rock now renamed 486958 Arrokoth. I'm not sure the renaming is an improvement but Ultima Thule is now somewhere else, I suppose, even further away. 

In 1972 Tangerine Dream released a 7" single called Ultima Thule, an instrumental track split into two parts, one either side of the record. For this single the group were not fully electronic, and the track is not sonically in the same place as the group were when they made the pioneering kosmische of 1974's Phaedra and 1975's Rubycon. Edgar Froese's group has had over twenty members of the decades. In 1972 they consisted of Froese on audio generators and gliss guitar, Christopher Franke on keys, cymbals and analogue synth and Peter Baumann on organ, vibraphone and another analogue synth. Zeit, also out in 1972 but sometime after Ultima Thule, is slow-ish, atmospheric space music with cellos and Florian Fricke from Popul Voh guesting on Moog. Before Ultima Thule in 1971 they made Alpha Centauri with keys, organ and flute, dark, open ended space music. 

Ultima Thule Part 1

Ultima Thule doesn't really sit in with any of these, although the questing, experimental, space music tags all fit. Ultima Thule is loud, led by punching, tumbling drums, aggressive and overdriven guitar riffs, loud psychedelia with kosmische organs pushing through in the mix. There may be a mellotron in there too. While the 7" single may not seem to be the place to find Tangerine Dream, it's obvious really that this track needed a separate release from what came either side of it, to mark it out as different from the music on Alpha Centauri and Zeit. Your Krautrock/ Kosmische folder is not complete without it. 

It's a little strange that I've got several albums by Tangerine Dream and this is the first time they've appeared at Bagging Area. It's always good to find artists I haven't written about before, to add another name as a label and to keep moving things forwards. I don't know at the time of writing the scale of the Tory defeat at yesterday's general election. I wrote this post in advance and have taken a reasoned gamble that they lost and have my fingers crossed they lost heavily. In which case today is a new dawn, a Tory government free country. There were times it felt like Tory rule would never end. I'm sure a lot of you, like me, find a lot to celebrate in the fact that it's over, they've gone. Something to savour, for a few days at least.

Thursday, 4 July 2024

Today's The Day

Today’s the day.

Fourth Of July

Fourteen years of the worst government and worst leaders/ politicians this country has known since the extension of the franchise will come to an end today. For a party that prides itself as the natural party of government, the nature of the five Conservative Prime Ministers and their policies and actions since 2010 has been staggering, an unending run of incompetence, lies, cuts, cruelty, corruption and criminality and a ceaseless (until today) shower of men and women who represent the most overpromoted cabinet minsters we’ve ever suffered. For anyone who suffers from imposter syndrome at their work, something we all do from time to time I’m sure, just a glance at some of the people who’ve held high ranking cabinet posts in this country since 2010 should cure you of that- Liz Truss, Jacob Rees- Mogg, Dominic Rabb, Matt Hancock, Oliver Dowden, Therese Coffey, Andrea Leadsom, James Cleverly, Kwasi Kwarteng, Kemi Badenoch, Suella Braveman, Boris Johnson, Rishi Sunak, on and on it goes. Many of these people would think twice about being able to run a medium sized outlet at a retail park. The Tory Party put them in charge of the country.

Let’s run through their legacy briefly.

David Cameron, Theresa May, Boris Johnson, Liz Truss and Rishi Sunak; between them they have made the country and its people poorer in every way, from austerity to Brexit and beyond. They have diminished us all, made the nation smaller, meaner, grimmer and inward looking. There is little hope or optimism, no sense as there was in 1997 that things can get better. We have become a small, narrow minded, poverty stricken, regressive nation on the north west edge of Europe cut adrift by the Tories. 

Between them, the five Tory PMs have cut funding to councils by up to 50% with the inevitable cutting of vital local services. Axed genuinely beneficial services for young people like Sure Start and Connexions. Introduced the two child cap on child benefit plunging families into poverty. Capped local housing allowance that has pushed people out of renting and into homelessness. Cut the educational maintenance allowance for 16- 19 year olds from poorer backgrounds. Tripled university tuition fees. Axed grants for low income students. Cut the budgets of all government budgets leading to underfunded schools and hospitals, threadbare public services, and violently overcrowded prisons. Overseen a vast recruitment and retention crisis in teaching. Scrapped the Green Deal. BREXIT. Labelled the judiciary as ‘enemies of the will of the people’. Windrush. Prison ships to hold refugees and migrants. The illegal proroguing of parliament. Restrictions to the right to protest. The Rwanda scheme. A housing crisis. The crashing of the entire UK economy in 49 days in 2022. Stagnated wages. Falling living standards. An increase in poverty. Approximately 3.6 million children are defined as living in poverty. Widespread use of food banks. A 74% increase in rough sleeping. Hospital waiting lists longer than ever. Ambulance waiting times longer than ever. A crisis in GP services and dentistry. The state of childrens' teeth is worse than at any point since the introduction of the NHS in 1948. The awarding of PPE contracts to friends during Covid. The breaking of the laws they made to protect all of us and the refusal to acknowledge that there was anything wrong with this. A sense nationally that in living memory things have never been worse, are still getting worse and that they can’t see a way they’ll get better.

Whatever happens today, these people must be defeated. Not just defeated- electorally obliterated, ground into the dust, humiliated, chased out of constituency after constituency, rejected so comprehensively that the Tory Party is for a generation (at least) associated with the stink of their failure, their policies and their defeat. They must tear themselves apart in response to this, shrink even further into right wing factions and strange regressive, nostalgic cults who get teary eyed over the sound of Spitfires and the words free trade. 

I think for that reason that voting tactically is the correct thing to do- we must vote to defeat the Tories. It’s that simple. If that means Labour, vote Labour. If that means Liberal Democrat, vote Liberal Democrat. If that means SNP, vote SNP. If that means Reform, vote... actually, don’t bother, go back home.

Reform have been canvassing in south Manchester, a handful of local volunteers setting up in suburban town centres under their racist gazebos and talking to passersby, trying to convince them to entertain Reform’s outsider narrative. It’s no surprise that the last few weeks have seen various Reform candidates come to light as cranks, conspiracy theorists and racists. They may not all be racist, conspiracy theorists but there will be plenty of them- far right grievance politics attracts them. I think there’s an argument that the concerns of the 12% or so of the population who’ve been polled and say they're voting Reform during the last few weeks need addressing, their disaffection needs to be engaged with. But Farage himself is a chancer and a grifter, a posh, privately educated former merchant banker who has portrayed himself as a man of the people. ‘He speaks the truth, he says what the others don’t say, he tells it like it is’ is a common fallback, fuelling the view that all of Westminster is ‘the same’, everyone tarred with the same brush as the list of Tories who have lied and shlepped their way through parliament since 2010. I see this at school where Farage’s message is cutting through with some of the youth, 14- 15 year old boys who aren’t old enough to vote yet- but will be next time. Farage is the pub bore writ large. Disruption for laughs. Stirs up division, then goes home. I hope the people of Clacton send him packing.

Clampdown

'They put up a poster saying we earn more than youWhen we're working for the clampdown

We will teach our twisted speechTo the young believersWe will train our blue-eyed menTo be young believers
The judge said five to ten but I say double that againI'm not working for the clampdownNo man born with a living soulCan be working for the clampdown'

Farage’s politics are the politics of division, the othering those who are ‘not like us’. In May this year he said British Muslims 'do not subscribe to British values', a comment that labels all British Muslims as them. He peddles the far right politics of resentment and grievance. None of the main parties have tried properly to counter his narrative- that migration has a net benefit for the UK, that our economy and services won’t work without it, that illegal migration actually accounts for less than 5% of all migration annually, that other countries have taken many more refugees than the UK has. This has been the main success of Farage and the right wing press that amplify him – to make immigration undiscussable in rational terms and to shift all the main parties into anti- migration territory. The far right playbook is a massive concern- look at France and the US – and Farage pulls pages from it all the time, being careful not to ay anything explicitly racist while fanning the flames of racism. The prospect of Farage and a handful of Reform MPs in parliament is grim but it says something about where we are as a nation that it’s a possibility. Far right parties gaining the respectability that comes from being elected representatives has a long tail, and history warns us that it doesn’t end well. Labour and any/ all progressive politicians have to make the case against them and keep at it. The voxpop narrative, fuelled by Farage for his own benefit, that ‘they’re all the same, none of them can fix it’, is a cosy excuse for voting for Reform. What's more, I don’t think it’s true-  there are many people who go into politics because they want to improve things, they want to make people’s lives better. I don’t think many if any of the Tories who have been in power since 2010 have had this as a motivation. I think, at the very least, Starmer probably does.

What about Labour? I have struggled to find much to be that excited about. Kier Starmer is not exciting, he doesn’t set the pulse racing or inspire. That could be a good thing- maybe a period of dull but competent government is exactly what we need. He will have an enormous mess to deal with from tomorrow (assuming he becomes PM) and the manifesto has made some vague commitments to progressive policies (house building for instance) without really challenging the economic and political orthodoxies that have been in place for decades and are partly the reason why we are where we are- services that are underfunded and don’t work, industries sold into private hands and run for shareholders rather than the public, people who want the paradox of a low tax and low wage economy with a well funded NHS. Starmer’s stance over some things has been downright difficult to defend but I guess the bottom line is that five years ago no one would have believed Labour could overturn a Johnson majority of 80 seats and here we are, on what looks like the verge of victory. At the least, and it’s a low bar admittedly, a Starmer led Labour government will at least not have the outright performative cruelty of the post- 2010 Tory ones- the sheer cruelty and barbarism of the Rwanda policy for example. I hope he and they find something to give us some cheer, that there are some fixes for the mess we're in and that they can give us some hope. 

 Waiting For The Great Leap Forwards (Live in 2019)

In the constituency in South Manchester where I live, we can play our part in kicking the Tories out today. Since becoming aware of politics in the early 80s there’s only been one occasion where I’ve been able to celebrate a Tory electoral defeat- 1997. I’m hoping, praying and expecting that today is number two, that we can watch the results come into tonight with a growing Labour majority, Tory after Tory ejected and rejected, their legacy the long bitter taste of defeat, laughing our way through the night as they get their comeuppance. And that tomorrow we wake up to something better.

Today's the day. Fuck the Tories. 

Wednesday, 3 July 2024

More Weekend Machines

At the end of May Jezebell released a track on The Ransom Note, the single minded dancefloor action of Weekend Machines. For much of the last eighteen months Jesse and Darren have created a Balearic soundtrack- their album Jezeballearic Beats Volume 1 borrowed the original Balearic Beats album's cover art, they sampled at length a monologue by legendary Ibiza DJ Alfredo, they pulled together samples and edits and rebuilt songs by Talking Heads, Siouxsie Sioux and Kajagoogoo, they purloined the 1988 Balearic classic Jibaro and Belgian underground classic from 1987 Max Berlin's' Elle Et Moi and on Jezeblue and Trading Places reimagined the Mediterranean sounds for 2023 into 2024. All this and more. A Balearic masterclass. 

They're now edging away from this, away from the poolside and beach and towards the darkness of the strobe lit basement, music with the sole purpose of finding a groove and making people dance. The EP's lead and title track, Weekend Machines, has one of those acid 303 basslines that you could happily allow to play forever, providing some bottom end to everything you do. On top, the synths and arpeggios dance around. Beneath, the drum machine power on. The vocal samples, distorted robotic voices, tell of the coming of the machines. Enough already, as they say- just get on the floor.

The remaining three tracks on the EP don't let up. Autostrada is a motorik hymn to the Italian motorway system, a futuristic 80s journey from Rome to Milan, drum machine rhythms clocking up the miles on the tarmac, a sample by Italo house pioneers Mr Flagio providing the spark for Jezebell's krauty machine music. Citric is bumpier, a bouncing rhythm and bassline switching the flow from four four to shuffle, with gnarly guitars and synths. The EP finishes with a remix of the title track by Shubostar, cosmic DJ/ producer from South Korea  but currently in Berlin. Her remix slows the pace slightly, drops the pitch and pulls the bass to the fore, and then achieves lift off with sci fi synth chords and bleeps, an 80s space TV soundtrack crossed with underground outer space chug. 

All of which, without wanting to get too '80s TV nostalgia' on you, led to me thinking about Erin Gray as Col. Wilma Deering in Buck Rogers In The 25th Century...



What's up Buck?

You can get the EP at Bandcamp. 

Tuesday, 2 July 2024

Murky, Dignity, Surrender

Sean Johnston as Hardway Bros has a new EP out, an unabashed return to house music sounds and a homage to Murk Records (Miami based, formed in 1991). On Murky Sean has called in the vocal talents of Beth Cassidy (of Section 25 and Sea Fever) and she adds a sensual edge to Sean's four four thump, wonky synths and rippling, melodic toplines. A robotic voice demands, 'come follow me bay- bee'. Beth's voice, much more human and sultry, instructs, 'P- L- E- A- S- E me', and 'you'll do it/ You'll say it/ You'll feel it...'. A song dedicated to the serious business of getting down and having fun. 

There's more. Beyond The Wizard's Sleeve, Richard Norris and Erol Alkan, are back in the remix game. Their seven minute re- animation of Fat White Family's Bullet Of Dignity is one of the best records of 2024 (vinyl edition limited to 300 copies out now). They've reworked Hardway Bros and Beth, cutting this item of clothing from very similar cloth, a piece of clothing that probably needs to be wrung out and hung up to dry- the Beyond The Wizard's Sleeve Re- Animation of Murky is eight minutes of squelchy synths, insistent rhythms, bongos, sci fi sounds, non- stop propulsion and bounce with Beth chanting away on top. Magical stuff. 

There's a stripped back Coral Way Dub too, named after a street near Miami Beach. All three versions are available digitally at Bandcamp for a few pounds. 

Back to Fat White Family- the Bullet Of Dignity 12" comes with an Acid Arab remix on the flipside, Lias and the boys reduced to a pared down groove, low slung and bottom heavy, Lias' voice joined by a Middle Eastern pipe, a snake charmer wrapped round the lyrics, 'You say you're just thirty one/ what's that in cannibal years/ You'll be the laziest one/ Since words came in pairs'.. 


Coming from a similar start point and heading in a vaguely similar direction are a pair of new remixes of A Mountain Of One. AMOO's album Stars Planets Dust Me was of my favourite releases of 2022 and these remixes add a further twist to the sun-baked, cosmic beauty of the original record. Damian Harris/ Midfield General's Generalisation Dub of Surrender has writhing bass, ticking snare and hi hat, phased vocals, and eventually house piano, and feels like the heat rising from the tarmac in the evening at the end of a hot day. 


It comes with a Jonny Rock remix of Make My Love Grow, frazzled, shattered, broken down dub. You can buy both here. 



Monday, 1 July 2024

Monday's Long Song

Last Monday's long song, the DFA remix of Le Tigre, was a little on the short side, clocking in at just over six minutes. To atone for this today we have a twelve minute epic, from DFA main man James Murphy's headline outfit LCD Soundsystem. I could probably run LCD Soundsystem/ DFA songs in the Monday slot all summer without running out of either tunes or inspiration.

In the first decade of the 21st century LCD Soundsystem re- wired dance music, Murphy taking his influences- The Fall, Talking Heads, Bowie, Can- and infusing them with dance and electronic music. Their first single, Losing My Edge, was one of 2002's best, a still astonishing seven minutes. In 2006 Murphy made 45: 33, a 'conceptual jogging soundtrack', commissioned by a major US sportswear manufacturer (Nike), and some of that piece of music became 2008's Someone Great, one of the standouts from Sound Of Silver, an album that is as good as any released in the 21st century. In 2007 45: 33 came out as a CD single with three Sound Of Silver B- sides including this one...

Freak Out/ Starry Eyes

Twelve minutes of limitless ambition, drums and bass, percussion, choral vocals, horns, groove- the first half is like a New York version of Screamadelica, amped up soul and slo mo dance music crossed with cosmische synthlines. The voices chant, 'If we do it again/ I'm gonna freak out/ So do it again', a phrase that reverberates long after the song has finished. At six minutes forty five there's a drum solo- a full minute and a half long, rolling round the kit drum solo- and then the second half begins, Starry Eyes. Wired keys and synths, Tom Tom Club style lyrics and vox and another chant, 'Starry eyes/ doot doot'. It's ridiculously, effortlessly, confidently cool, the sound of a band in complete control in the studio, a B-side that eclipses many band's  A-sides. 

LCD Soundsystem played Glastonbury on Friday, an early evening set on the Pyramid Stage. They were very, very good indeed. It's on the iPlayer for the next thirty days (if you're in the UK). 

Sunday, 30 June 2024

An Hour Of Midsummer Ambience

Today's mix is inspired by the music Martin and I played last Saturday might at Soup with Contours and Marconi Union, sixty minutes of largely ambient music with a tendency towards the cosmic and the odd detour into dub, on this day, the mid point of 2024- how did we get to 30th June so quickly? It seems like only recently it was New Year. The picture is from December last year and an Anglo- Saxon cross in the churchyard of St. Edward's church in Leek, Staffordshire (my Dad's hometown and home to the local delicacy, the Staffordshire oatcake). Anyway, midsummer, late nights, warm days, ambient bliss, dub bass. What more could you ask for?

An Hour Of Midsummer Ambience

  • Underworld: Dark And Long (Most 'Ospitable Mix)
  • Khartomb: Swahili Lullaby (Synkro's Balearic Dub Mix)
  • M- Paths: Emerge
  • Sabres Of Paradise: Chapel Street Market 9am
  • Zoe: Moonsister (Lunar Dub 1)
  • William Orbit: The Story Of Light
  • Coyote: Every Forest Tells A Story
  • The Woodentops: Dream On (Balearic Ultras Brooking Bass Remix)
  • Andy Bell: Smokebelch II
  • African Head Charge: Dub For The Spirits
  • Sedibus: SETI Part 3

Dark And Long opened Underworld's 1994 album dubnobasswithmyheadman. The single version came with four different mixes, the ambient Most 'Ospitable one being a thing of great beauty. 

Khartomb's 1983 single Swahili Lullaby, post- punk dub,  has recently been re- issued by Jason Boardman's Before I Die label along with this ambient/ Balearic remix courtesy of Stockport producer Synkro. 

M- Paths album Submerge came out on Mighty Force earlier this year, one in a long line of outstanding releases from the reborn Exeter label. Emerge is the final track, piano and synths combining to give the feel of surfacing from underwater to feel the warm hit of sun on your face. 

Chapel Street 9am was on Sabres Of Paradise's 1994 album Haunted Dancehall, Weatherall, Burns and Kooner creating a morning walk through the streets of London after a night at the titular nightclub, electronic seagulls yapping overhead and the gumshoe Maguire heading home. 

Zoe had a huge hit with her song Sunshine On A Rainy Day, a pop- rave classic from summer 1991. The Orb and Youth were involved and The Orb remixed her song Moonsister for the 12".

William Orbit's Strange Cargo 3 is a lost ambient/ global/ dub gem from 1993. The Story Of Light is a blissed out ambient peak.

Coyote released Every Forest tells A Story earlier this year, another spoken word vocal sample layered over laid back ambient/ Balearic music. 

The Woodentops released their album Fruits Of The Deep in April and a single Dream On a few weeks before with this floaty remix by Brighton's Balearic Ultras. 

Andy Bell's cover of Sabres Of Paradise Smokebelch II is from our album Sounds Of The Flightpath Estate Volume 1. In a chain of events that still leaves me scratching my chin, we had almost every track ready for mastering and I emailed Andy (he'd been on tour in the US with Ride) to see if he had anything for us. The following day he sent me Smokebelch, saying I'd inspired him to finish it. He started it the day Andrew died and completed it for our album, inspired by Andrew. Coincidentally, our album made Piccadilly Records mid- year top 25 collections round up a few days ago. 

Dub For The Spirits came out on African Head Charge's Churchical Chant Of The Iyabinghi, an album of previously unreleased tracks and dubs from their 1990 classic Songs Of Praise. Every home should have one.

Sedibus's SETI (The Search For Extra- Terrestrial Intelligence) came out at the start of the year and I'm still going back to it, a lovely mix of synths, samples and 'real' instruments and an endless, questing vision of outer space as a place to find something else/ yourself. 

Saturday, 29 June 2024

V.A. Saturday

In 1982 Bill Drummond and Mick Houghton compiled an album called To The Shores Of Lake Placid, a various artists compilation rounding up releases by on the Zoo label. Bill set up Zoo in 1978, initially to put out a single by Liverpool punk group Big In Japan (the band Drummond played guitar in along with at various times Jayne Casey, Ian Broudie, Holly Johnson, Dave Balfe, Budgie and Clive Langer among others). The Big In Japan single was a four track EP, From Y To Z And Never Again- the song Suicide A Go Go appeared on To The Shore Of Lake Placid along with Society For Cutting Up Men. 

To The Shores Of Lake Placid is a round up of some of what was going on in Liverpool between 1978 and 1982. A clutch of lesser known, semi- legendary Zoo groups are all present- Whopper, Troy Tate's The Turqoise Swimming Pools, Birkenhead's Dalek (I Love You) and Those Naughty Lumps whose song Iggy Pop's Jacket Bill Drummond plays guitar on. 

Lori And The Chameleons, a short lived Bill Drummond and Dave Balfe outfit with singer Lori Lartey, are there twice, with Lonely Spy and this one, Touch, a lovely piece of late 70s disco- pop...

Touch

The Teardrop Explodes and Echo And The Bunnymen both show up, each represented by three early classics (the Bunnymen with Pictures On My Wall, their Julian Cope co- write Read It In Books and live favourite Villiers Terrace, The Teardrops by When I Dream, Camera, Camera and Take A Chance). 

My mp3s of the original versions of Read It Books and Pictures On My Wall, the ones from Lake Placid with Echo the drum machine keeping time, are corrupted and won't play. This version of  Read It In Books is from a session at Rockfield with The Chameleons producing, and was added to the U.S. release of Crocodiles. 

Read It In Books

A few years later Echo And The Bunnymen would be huge. In 1984 they released 'the greatest album ever made' (to quote Ian McCulloch), Ocean Rain. Drummond gave the Bunnymen something else as manager, something out of the ordinary. On 12th May 1984 there was a Crsytal Day, a day of activites in and around Liverpool city centre- breakfast in a greasy spoon, a bike ride that traced the outline of the head of the bunny god, a ferry trip across the Mersey and a banana fight. In the evening the band played at St. George's Hall, the neo- classical building opposite Liverpool Lime Street station, visible in the centre of my photo above, taken from the viewing platform at St John's Beacon. The gig was filmed and transmitted on The Tube, a tea time treat.


Bill's adventures as the Bunnymen's manager came to end not long after and in some ways they were never the same without him, professional record company management taking over and the operation losing the madness of Bill's days- the tours of Scottish islands, gigs on ley lines, post- punk bicycle rides. In his book 45 Bill details his time as their manager in a chapter called From The Shores Of Lake Placid, a book written and published for his 45th birthday and also the revolutions per minute of the ultimate pop culture artefact, the 7" single.

Friday, 28 June 2024

Walk On Air Against Your Better Judgement

Some uptempo positivity for Friday and two new releases that should encourage some head nodding, foot tapping, beers in the garden and a general feeling that all is well. Back at the start of the year 100 Poems released a seven track album called Everything's Balearic When You Believe, an irrepressible album from the eternally upbeat Mike Wilson, the man behind 100 Poems. Mike is from Ireland and dropped the first 100 Poems album onto an unsuspecting internet, the sound of soul, psych, pop, funk, Balearic pop with a dash of acid house/ dance music. He followed it last week with a follow up, Everything's Possible When You Balearic, seven more slices of sun drenched sonics and forward facing music (six new songs and a rmeix of Tambores En Benirras' Generadora De Rayos). The album kicks off with applause, a crowd clapping and then long synth chords before a big voice takes us into Gettin' Down With George, 80s soul funk guitar licks and images of neon lit Top Of The Pops. 

All remaining five originals are filled with Mike's signature touches. Believe (Everything Is Possible) is a slow paced sundowner, two voices, one whispering, the other oohing, acoustic guitar, padding drums and horns- ascending, life affirming horns. 

Mike's song titles and sound are perfectly synced- Into The Light, When Night Begins To Shine, and Warm Breeze On Our Face (Like A Hot Summer Sigh) all sound like they should. It's got moments of joy, an album to play in the car with the sun out and the windows down. Available at Bandcamp at a Pay What You Want deal with any proceeds to Jigsaw and Shelter. 100 Poems is named after the collected poetry of Seamus Heaney, the most celebrated Irish poet and playwright. On his headstone is the epitaph, 'Walk on air against your better judgement', a line about throwing off inhibitions and abandoning caution, something which I think Mike does with each song he records. 

Also out recently, yesterday in fact, is the latest EP on Duncan Gray's Tici Taci- Tail Feather by Rule Six. There are two versions, the original version of Tail Feather and a Meat Katie remix. The first is a slow motion chugger with bass and guitar, rim shots and descending synth notes, squiggles and bounce. 

The Meat Katie Remix is lower slung and squelchier, ideal for playing an hour or two later than the first, when the floor's packed and everyone's forgotten themselves a little, inhibitions left behind and cares forgotten for a while.  




Thursday, 27 June 2024

Heroes

This is another post brought via my box of magazine freebie CDs, this time a CD from Mojo in 2020- 'Mojo Heroes The Best Of 2020' (from the January 2021 edition but on sale December 2020- it came with a cover story about The White Stripes, a free calendar to go with the CD, and promised that inside you'd find the 75 best albums of the year- Bob Dylan's Rough And Rowdy Ways- along with articles about Neil Young's lost classics, Pharaoh Saunders, and AC/DC). 

2020 it's fair to say was not a year that turned out the way anyone thought it would. The news footage early on in the year from China and the Far East of deserted city streets and hundreds of thousands of people living in- new word alert- lockdown. It was followed by the news that Covid 19 had reached Europe and then the terrifying scenes from Italy. The government here was new, Boris Johnson having won an election in December 2019 by promising to 'get Brexit done' and to level up the places that lent him their votes in the general election based on the despair with Brexit and fear of Corbyn. Johnson would soon prove to be the worst person in charge at the worst time, literally the least suitable person to run a government during a crisis. Within weeks, March 2020, we were locking down here with workplaces and schools closing - and I remember the fear, the sense of being on the edge of chaos and loss of control in the week leading up to the announcement that schools were closing. Some people suggested it would only be a few weeks. In the middle of the year, May 2020, the killing of George Floyd by North Carolina police officers sparked the Black Lives Matter movement which soon became international. In the summer the Chancellor Rishi Sunak announced the Eat Out To Help Out scheme, where people received subsidised meals in restaurants and pubs in order to help the hospitality industry- a policy which many have linked with an autumn surge in re- infections. People were hospitalised and some died because the government offered half price pub food. By the end of the year we were in a muddle of Covid tiers, city lockdowns, a government that locked down too late, opened up too early, was determined (egged on by the tabloid press) 'to save Christmas' and then had to lockdown again in January 2021. 

We've forgotten a lot of this haven't we? Moved on. People talked of a restructuring of the way we do things but I'm not convinced that's really happened (although more people do work from home than did before). Over quarter of a million people in the UK died of Covid. Every one of them has a name and a family. One of them was my son Isaac, although he didn't die until 30th November 2021, long after the world had for most people returned to 'normal'. 

So, not the year anyone was expecting and in some ways it feels along time ago. A once in a century event, I hear occasionally as one minister or another tries to dismiss claims the Tory government has been incompetent (if you didn't want to have to deal with a crisis maybe you shouldn't have gone into government, I always feel like replying). A week today we get the chance to consign this government and the four Tory ones that preceded it to oblivion, the worst run of Prime Minsters and cabinets this country's had in modern times. I for one cannot wait. 

The CD is titled Heroes and the front cover, an African american woman in a beret with her fist raised in the air, reflects the Black Lives Matter side of 2020. Inside the cardboard slipcase we get Bob Dylan, Frazey Ford, Cornershop, Run The Jewels, Nick Cave (Galleon Ship from Carnage), Phoebe Bridges, Bill Callahan, Moses Sumney, Toots and The Maytals (Toots Hibbert died in August 2020 of Covid), Fleet Foxes, Tony Allen and Hugh Masekela (Tony also died in 2020, of an aneurysm), and Nubya Garcia. 

We also get this by Khruangbin, a lovely fluid and laid back piece of melodic pop with a very apt song title...

So We Won't Forget

Jarv Is... are present too, this from the album Beyond the Pale, Jarvis Cocker's album recorded in 2019 and then released in summer 2020. 

House Music All Night Long

The other band on the CD are Fontaines D.C. who have shown up in blogposts at No Badger Required and Dubhed over the last week. In 2020 Fontaines released their second album, A Hero's Death, the title track striking a deep chord with me- I've written about it previously. The song on the Mojo CD was this one....

I Was Not Born

How's that for electrifying? Pummeling drums and post- punk guitars and Grian's strident vocal declaring, 'I was not born/ Into this world/ To do another man's bidding'. It's a young man's song, the lyrics giving two fingers to the world of work and convention. 

Fontaines have released two new songs this year ahead of an album in August called Romance. The first single was Starburster. Starburster starts off like hip hop, rumbling in slowly. Last week they followed it with something very different, the childhood referencing and home video guitar pop of Favourite, a song that rattles along with guitars like mid- to- late 80s Johnny Marr and footage of the five Fontaines skateboarding and hanging down the pub. 


Wednesday, 26 June 2024

Dream Food Resistor

This came out last Friday, a superb slice of slinky, wonky dance floor action, Dream Food by Spatial Awareness. The title is apt- there are aspects of this track that do feel very dreamy, the warm disorientation of waking from an odd but pleasant dream, the distorted vocal playing off against the synth melody as the drums patter away in a 122 BPM sweet spot. Lovely stuff- there's a dub mix too, seven minutes of pared back, stripped down but equally tripped out music. 

Meanwhile over at Paisley Dark in Leeds, Shunt Voltage have released an EP of dark, dancefloor mutant acid house, a track called Resistor. 

There are remixes too, one from label boss John Payntor as Space Age Freak Out, a lovely chuggy one courtesy of Cosmikuro, a banger from Mindbender, and one by Adult DVD (possibly not an act to Google if you're on a work computer). Find them all here. 

Tuesday, 25 June 2024

Live At Soup- Marconi Union, Contours and The Flightpath Estate

On Saturday evening, as Manchester basked in the June sunshine and Stephenson Square was crammed with afternoon drinkers, The Flightpath Estate DJs (me and Martin on this occasion) arrived to play support to Contours and Marconi Union in the basement of Soup, a bar and gig/ club space in the corner of the square. Soup’s live space is a small room, capacity 150, with some of the most graffitied toilets in the city.


We started early, 6.20pm, with some ambient sounds, Martin and me playing back to back- Sedibus, Synkro’s brand new remix of Khartomb, Coyote, M- Paths, Andy Bell’s cover of Smokebelch, the Sabres of Paradise Endorphin remix of Bjork, Underworld’s Dark And Long (Most ‘Ospitable), Richard Fearless, Sabres Of Paradise’s Chapel Street 7am and a little bit of dub courtesy of African Head Charge and KlangKollektor. At 7.20pm promoter Paul Watt, the man who sorted it for us to play and sporting an Acid House Chancer t- shirt, introduced Contours.


Contours is Tom Burford, from Cumbria but now Manchester based. With his equipment set up at the front of the stage- Moog synth, oscillator, laptop and a large wooden xylophone- Tom starts out slowly, chilled washes of synth filling the space. A minute or two in Tom brings a beat in and from that point on he’s in constant motion, head bobbing, sudden flicks of the wrist that change the sound, drop out the drums and bring them back in, flitting between bits of kit and several times moving to the xylophone, little bursts of wooden melodies on top of the ambient/ electronic/ synth action. Tom doesn’t stop, the set building and flowing for forty minutes, shifting about as he works his way through his tracks. It’s vibrant and engaging, some hints of Four Tet in the sounds emanating from the stage, and very enjoyable.

This is Arp Phase from Contours' recent album Elevation, minimal, futuristic and organic sounding, the synths and oscillators sounding like they've come alive. 

We get fifteen minutes of DJ time while Contours’ equipment is moved and Marconi Union get set to play. There are three members of Marconi Union, from left to right, one playing keys and synth, one with a bank of synths and pedals and playing guitar, and the third on laptop. All three have headphones on and are seemingly lost in their own world, concentrating intently, fully focussed on their part in making the music. 

The songs build slowly, synth chords, waves of sound, drums thudding in, arpeggios from the Telecaster, piano lines and disembodied and distorted voices. Things happen slowly- glaciers move slightly and tectonic plates shift a little in while we wait for chord changes- and then suddenly, walls of noise swell and break. The films projected behind them echo what’s coming through the PA, variously liquids flowing, cityscapes, lines of people walking past from old films- tension and release, ebb and flow, light and shade. This is A Citizen's Dream from Signals, from the end of  2021. 



Monday, 24 June 2024

Monday's Long Song

Back to 2001 and Le Tigre, Kathleen Hanna's Riot Grrl/ electronic rock outfit remixed by turn of the century wise guys DFA. A remix that is tense and funky, expansive and focussed, disco and rock. Kathleen asks all the key questions that you want the answers to when you're under the strobe and the mirror ball, 'who took the bomp from the bompalompalomp? who took the ram from the ramalamadingdong?', while the guitars, cowbell and handclaps do their thing. 'Wanna see me disco?', she asks.

How did a record which seems so recent, come out so long ago?

Deceptacon (DFA Remix)

Over at Twitter Anthony Teasdale posted a thread about the impact LCD Soundsystem and DFA had on a bored, staid early 21st century music scene- the wallop and knowingness of Losing My Edge, the cowbell dancefloor mayhem of House Of Jealous Lovers, some of DFA's remixes (the one above, the one of Soulwax, their version of M.I.A.'s Paper Planes) and the timeless, emotive brilliance of Someone Great. All of which sounds like a Sunday mix waiting to happen. 

James Murphy gets a mention in the new single from Galliano, Circle Going Round The Sun. Galliano have long been residing in the 'where are they now?' file and now they're back.


I've always had a massive soft spot for Galliano, loved their early 90s releases on Acid Jazz. I saw them at The Hacienda in the early 90s, a gig nowhere near to sold out but Rob Gallagher, Snaith, Valerie Etienne and Mick Talbot played like it was crammed to the rafters. The new song is a stream of beat poetry and influences with references to Andrew Weatherall, Murphy and Gil Scott Heron (also name checked in Losing My Edge) over a pulsing bassline and live percussion. A welcome return to the fray.