Brown Low

While visiting the Strawberry Studios exhibition at Stockport museum a while back I found a reference to a prehistoric site in the hills above Stockport. I don't know what the Venn diagram of people interested in Factory Records and people interested in prehistoric sites looks like but I like to imagine there are other people out there who can get excited about both. Yesterday, with Mrs Swiss a bit under the weather, I offered the kids an afternoon out- let it never be said I don't show my children a good time. We set out to find Mellor, a village in the hills near Marple, which has an iron age hill fort. Taking a slightly circuitous route (we went the wrong way, yes), including a detour into New Mills ('handy for the hills' as Nigel Blackwell remarked) we found the hill fort complete with a reconstructed iron age round house. Less than a mile north is Brown Low barrow (pictured above), an iron age burial site that involved a bit of a walk uphill through a field. From the top of the hills at both sites we got amazing views over Manchester, Cheshire and out to Liverpool (Liverpool cathedral just visible on the horizon though probably not in the shot below).

Back at the start of the year Little Barrie released a single called Love Or Love. This stunning piece of psyche-rock was the B-side.

(Nothing Will) Eliminate

Any Frontier Any Hemisphere

Traditionally a British camping trip should combine sunburn with hours of pouring rain and this one delivered on both. Friday evening was gorgeous, the tail end of a day where the temperature gauge in my car read 30 degrees when I left work. Saturday afternoon was spent around and in a tarn on top of a hill near Water Yeat before at 3.30 pm the heavens opened and it rained all night. Sunday gave us sunshine and sunburn around Coniston Water followed by more rain of biblical proportions yesterday. But its definitely worth getting away from the world, going offline and spending evenings sitting round a fire drinking booze and talking bollocks with friends, especially so after the events of the past week. A dripping wet tent that needs to be dried out is a small price to pay for living outdoors for a few days.

Back in the music world I've been spinning this a few times recently and prompted by my friend Meany offer it for your delectation today, Horace Andy's cover version of The Clash's Straight To Hell. I've written about Straight To Hell recently, a Strummer song of immigration, refugees, suffering and dislocation. Horace recorded it many years ago but was never happy with the rhythm. A conversation with Eric Blowtorch led to the pair digging the track back out and fixing it (out now, 10% of all proceeds going to Doctors Without Borders and a Big Youth dub on the B-side). This is reggae roots style, Horace's vocal floating over the organ, bass and drums. Campfire music.

Strummercamp

We're away this weekend, camping up in the Lake District. If we weren't I'd be going along to Strummercamp, the annual Joe Strummer bank holiday festival held at Manchester Rugby Club in Cheadle. This year's line up features Spear Of Destiny, The Membranes, TV Smith and Department X, and good vibes with good people. If you're nearby and at a loose end, day tickets and weekend tickets are still available. Say hi to DJ Gadge if you see him.

Clash time. This is a ten minute unofficial mix of Bankrobber plus it's versions Robber Dub and Rockers Galore (with Mikey Dread on the mic), flowing into one another. Turn up the bass.

Bankrobber/Robber Dub/Rockers Galore

I'm not back until Monday so no posts til Tuesday I expect. Enjoy your weekend.

Little Flower

Now that the sun has appeared, suddenly and in a blaze of heat and light, this four track ep that Peaking lights put out back in February makes perfect sense. The lead song, Little Flower, has a spoken/chanted vocal by Chloe Sevigny and the music is pure psychedelic-dub- tropical- disco with the emphasis on upbeat repetition. The second track Conga Blue has a similar vibe with a heavily vocodered backing vocal. There's loads going on to lift the spirits.

Little Flower

Different Days

The Charlatans have a new album out tomorrow, Different Days. The single came out at the end of April, a chiming and clanging guitar led tune with some of the six string magic down to Johnny Marr.



The new album has all kind of special guests on it-Stephen Morris and Gillian Gilbert from New Order, Paul Weller, Anton Newcombe, Ian Rankin, ACR's Donald Johnson and Kurt Wagner among them. I hope it doesn't get weighed down by this multitude of guest stars. The previous album, Modern Nature, was a stunning record, full of songs shot through with sunshine and loss, a band writing their out of tragedy (the death of drummer Jon Brookes). The single above sounds like a Charlatans song to be played on sunny days from your car stereo or heard through open shop doors and windows. That's good enough for now.

I Can't Stand By, See You Destroyed

What happened here on Monday night and what we woke up to yesterday morning defies belief in so many ways and it's difficult to know what to say, especially in a music blog. Equally, it's hard not to take something like this personally when it happens so close to home. My family and my workplace knew several people at the Ariana Grande show at the MEN on Monday night.

Manchester is one of the most culturally diverse, multi-cultural and inclusive cities in the country. As Dave Haslam said on Twitter yesterday 'You've got the wrong city if you think that hate will tear us apart'. We don't do small mindedness, racism and intolerance. One deluded, indoctrinated, murderous little fucker does not prove anything about the people we know as our neighbours. Anger and hatred and rage are understandable reactions to the deaths of twenty two people, including children, on a night out to see a gig, but the minute we give in to hate we have lost. We stand together, we feel anger but we love life, we love love and we hate hate.

This song by Doves came to mind and the opening line which gives this post its title. And also this part...

'We don't mind
If this don't last forever
See the light
But it won't last forever
Seize the time
Cause it's now or never baby'

Pounding

At times like this football seems like a very small thing in terms of importance but it's also a massive part of this city's history and traditions. With any luck tonight United will bring home a European trophy, with a multiracial, multicultural team of young black British Mancunians, Frenchmen, Spaniards, Equadorians, Dutchmen, Italians, Belgians, Armenians and more besides. United we stand.

Nothing But A Heartache

On Saturday night we had a party at a friend's house. The hostess and myself share a birthday and this year we decided to have a joint celebration. Rather than dj at my own party (which could have been a little anti-social) I set up  the mobile disco gear and burnt a load of cds, sequenced in the order that seemed right at the time. The first disc was all northern soul, ska and party reggae. This song sounded immense- that horn fanfare and the swell of the vocals. From 1969, it is an amazing tune, sung by The Flirtations, three girls from South Carolina (Ernestine Pearce, Shirley Pearce and Lestine Johnson) but written by the British songwriting team of Wayne Bickerton and Tony Waddington (who later came up with The Rubettes). But all that is history- the song is all that matters now and if it doesn't make your heart beat a little bit faster, there's no hope for you.

Nothing But A Heartache

I Want To Feel The Life We Loved In The Sun

Jane Weaver's recorded music is so otherwordly, it seems to exist in its own perfectly formed universe. Seeing her perform live at Band On The Wall on Friday night, a packed out venue with some difficult sight lines and a band of four blokes dressed in black, makes her music a bit more earthbound and of this place. This is not a criticism at all. The songs still take flight and Jane's vocals soar over the motorik drumming and shades of Hawkwind guitars. Single Slow Motion is a perfect slice of electropop, and the Silver Globe songs get the full 60s folk plus 70s sci-fi via loopy psychedelia treatment. There's a real warmth to the tunes and the playing, the songs coloured by dappled sunshine and shadows, with a sense of wonder in them, but for every drone or keyboard squelch there's also killer verses and choruses, psych with songwriting. This gig is a brave move in some ways- the album Modern Kosmology was released on the day of the show so most of the people in the audience, me included, are hearing many of the songs for the first time. I'd like to see her play them again in a month or two when I've got to know them. As a result of having lived with this one since early April, when I woke up the following morning, this was the tune going round my slightly fuzzy head.

Claudio Caniggia

Bass-O-Matic were William Orbit's 90s house outfit who hit the top ten with Fascinating Rhythm, a single I have a lot of time for- early 90s positivity, pianos, a rap from MC Inna Onestep and the lovely vocals of Sharon Musgrave.



For a sultry and less poppy take on Fascinating Rhythm Renegade Soundwave offered up this version, also a tribute to  Claudio Caniggia, Argentina's long haired forward at Italia 90, a man fouled three times as he danced and dribbled his way through Cameroon's defence before being scythed down. This being Renegade Soundwave the focus is very much on the bass.

Fascinating Rhythm (Claudio Caniggia Mix)

We Can't Stop What's Coming

Fresh up on the net after the limited vinyl release for RSD, The The with a one off reunion of Johnny Marr, James Eller and Zeke Manyika (1989 line up with Johnson, Marr and Eller pictured above. Johnny Marr's hair and clobber was pretty much what I was trying to achieve at that time). A tribute to Matt's brother, Andy Dog, as I'm sure you all know. This is a very special piece of music.

47

I'm bookending this working week with The Replacements. After posting the outtakes on Monday I was listening to a couple of their albums and I Will Dare came on with that little guitar riff at the start and then Paul Westerberg sings...

'How young are you?
How old am I?'

And today, as it happens, I turn 47.

The number 47 doesn't seem to have very much going for it. As Wiki points out it is the fifteenth prime number, the thirteenth supersingular prime and the sixth Lucas prime (nope, me either). It is strictly non-palindromic and in binary is represented as 00101111. A U.S. Maths professor used it to prove something funny to his students about numbers and this led to a long running visual gag in Star Trek. It is the atomic number of silver (my hair may be going that way). Mars has a forty seven year cycle around the sun. The Brooklyn hip hop collective Pro Era used 47 repeatedly because they felt that it represented perfect balance in the world and tension between the heart and brain. They also had a 47 logo that looked a tad swastika-like. It is the international dialling code for Norway. The Tropic of Cancer and the Tropic of Capricorn are forty seven degrees apart. There are forty seven Ronin in the Japanese story of the same name. More up this blog's alley, FAC 47 was the Factory anvil badge.

Frankly, there are more interesting numbers than 47. I'm spending the evening of my 47th birthday watching Jane Weaver play her psychedelic/electropop/folk music at Band On The Wall. I'll let you know how it was.

I Will Dare is a cracking little song off 1984's Let It Be album. The guitar solo was played by R.E.M.'s Peter Buck who was astonished by the amount of alcohol The Replacements could put away. And as he pointed out, R.E.M. were hardly the soberest band in the mid 80s.

I Will Dare

Basic

The timer keeps edging upwards this week- after yesterday's thirteen minutes plus existential dub disco from AMOR today I give you twenty minutes of dub techno heaven from Berlin. Released on Basic Channel's own label in 1994 Quadrant Dub I and II together are a/the definitive piece of mid 90s Berlin machine music, split over two sides of a 12" single, one mix fifteen minutes long and the other twenty. This record has the ability to suspend time. And space. It is twenty three years old and still sounds like it is the future.

Quadrant Dub II

Paradise

Something even longer than yesterday's eleven minutes plus extravaganza from The Early Years is this from Glasgow's AMOR (and played by Weatherall on his Music's Not For Everyone show last week). Paradise is a hypnotic and joyful musical exploration, this side of disco and that side of experimental. It came out at the end of February this year, has an irresistible groove and is beautiful in every way.

I Heard Voices

This is a b-side from an obscure London band released as the third track on a cd single called All Ones And Zeros back in January 2006, recorded at Death In Vegas' Contino Rooms by DiV's Tim Holmes. The Early Years put out several records around this time, then disappeared for a few years and came back in 2011 with a single called Complicity and then back again last year with an album called II. That's the facts out of the way.

This song, I Heard Voices, is a long and expansive trip. It starts out with some noises and a lone repetitive guitar part. A krauty groove comes in. A voice starts muttering. There's an organ adding some drones and textures. The guitars are spindly and psychey, painting their way through the first part before really coming to the fore in the fifth minute. By the ninth minute things are way up and beyond, the drums thumping and the guitars taking it on and on, in a loop but doing something different too. At ten minutes thirty seconds there's a shift and the whole thing is driving itself home, guitars grinding their way through and to the end at eleven forty. This could easily be overdoing it in terms of length and focus but the band avoid that, keeping the interest and the drive, with the rhythm totally locked in, the playing compulsive, building something new.

I Heard Voices

Perfectly Lethal

I'm not sure The Replacements made a perfect album but they came pretty close with 1984's Let It Be (and in typical fashion the soul bearing and emotion of Answering Machine, Androgynous and Unsatisfied were undercut by thrashy instrumentals like Gary's Got A Boner and Tommy Gets His Tonsils Out and a Kiss cover). The strength of the album is also shown by the songs that didn't make it. Perfectly Lethal is driven by Bob Stinson's ragged guitar playing and the sense that they might be about to fall apart but are enjoying the ride.

Perfectly Lethal

They didn't always get it right on their albums with production and song choice. The version of Can't Hardly Wait they recorded for Tim but didn't include is vastly better than the one that came out with horns on it on Pleased To Meet Me. What rational band would record this song and then decide to leave it off an album. It's all part of what makes them one of my favourite bands.

Can't Hardly Wait (Tim Version)

May's Not For Everyone

It's that man again. Andrew Weatherall has a slew of material coming out, remixes galore. Alongside those David Holmes, Mark Lanegan and Heart People ones this one just came out on vinyl and download, two remixes of Frank Butters Presents; Cult Of Glamour, a vocal and a dub. Synth arpeggios, tom toms, cymbals and a snare drum to rattle your brain.



New remixes of Yello, The Early Years, Piano Magic and Nancy Noise have all been trailed on his Music's Not For Everyone show over the last few months.

And then May's MNFE comes along for your Sunday morning musical adventures.

Techno Saturday Night

Drew was waxing lyrical about the pleasures of Daniel Avery's Drone Logic album yesterday and then I found this, a very recent two hour shift he put in at NTS Radio. Two hours of what I hear you ask? Techno. Mainly wonderful, glorious  techno.

Sleeping

Last month I wrote about the new single from The Hurt, a Manchester four piece with Rikki Turner at the wheel. Sleeping was co-written with Stephen Evans from Cabbage. When I wrote about them in April I said 'Sleeping growls and grinds, Rikki's baritone vocals recalling a northern Nick Cave, hiding his face from the light. Darker Sun is a brooding, bass led thing with overloaded guitars and female vocals, a soundtrack to  a night out under the streetlamps in the rain'. And I'm sticking with that for now. Out now on Blindside Records.

Digital Versicolor

This is a free download of Glass Candy's Digital Versicolor by New York's Black Light Smoke. I'm a big fan of Ida No and Johnny Jewel's uptempo house/Italo disco, especially 2011's massive, giddy, grin inducing Warm In The Winter. This one here is Moroder-esque and has a throbbing sequencer line aimed squarely at your dancefloor.

Conquistador

Through the magic of social media I spent twelve minutes last night listening to this unexpectedly. It popped up in my timeline and now I'm passing it on again.

Conquistador (Sabres Of Paradise Mix 3)

This is a big file and the file host will probably say there was a problem playing it as a result but it should be fine to download.

The bit at seven minutes with the wire stretching noises followed by the increased tempo sounded particularly good. As was often the way in 1993 Weatherall, Burns and Kooner turned in three remixes of Conquistador for the 12". I've posted Mix 1 before back in 2012 so here's the other one.

Conquistador (Sabres Of Paradise Mix 2)

Shorter, chunky progressive house and with squiggly bits but liable to get you going if you like this kind of thing.

Espiritu were Vanessa Quinones and Taplin from Frazier Chorus, signed to Heavenly (a label that continues to put out top quality music to this day). Espiritu combined house with Latin beats and put out two albums and multiple singles. It became a one woman show after a while and more recently Vanessa has formed a band called Vanessa And The Os with James Iha (x-Smashing Pumpkins) and more recently still has been making French pop as Allez Pop.

At roughly the same time this popped up in my timeline too.

This is a picture of Jagz Kooner's Roland TR 808 which he is/was selling. In the accompanying blurb Jagz wrote that this is the actual machine that many Sabres Of Paradise songs and recordings were done using as well as some of Primal Scream's recordings (Swastika Eyes, some of XTRMNTR, some of Evil Heat). That's an actual piece of musical history. I considered having a whip round and getting part shares in it but couldn't raise the funds in time (offers above £3750).