Monday, July 21, 2014

bringing 88 back

I was never a patriot for house, like I was with certain other genres. But I'm totally  susceptible to "the feeling".


Immense.

So is this...



And this next one was everywhere in 1993, played in all kinds of clubs. Did Jaydee ever do anything else on this sort of scale?



Surprising, puzzling, is the cultural staying power of house music. Never would have dreamed back in the early Nineties that house would even be around still in 2014, let alone be so big, such a widespread, inescapable template  - in the U.K., dominating the charts (and even pushing its way in there in the US now - how odd to hear Disclosure and Clean Bandit on  pop radio here in LA).

 But also runnin tings on the underground. 







"Like you bringing '88 back" !







Wednesday, July 09, 2014

A Moment Worth Waiting For


Kevin Pearce of  Something Beginning With 'O' legend has a new book out - A Moment Worth Waiting For. Available as an e-book through Amazon for £4.50 or $7.63, it's "a mesmerising dub history of late 20th Century pop culture". Starting with "a two-year period at the start of the 1980s", it criss-crosses pop time "tracking where clues led and how things fit together", in the style of Your Heart Out, Kevin's celebrated e-zine of the past five years (and 50 issues!).

Many names here are familiar from the Pearce counter-canon--Vic Godard, Weekend, Pale Fountains, Watt & Thorn, Postcard, ZE, The Scars, Dave McCullough, Y, Linx, Eddy Grant, Compact, Carmel, The Wild Swans--but he wanders far and wide taking in such esoterica as Nigerian boogie, Greek neo kyma and Cuban nueva trova.  There is also a thrilling section tracing the cat's cradle of unlikely connections between Motorhead, New Model Army, Screaming Blue Messiahs, and the Amphetamine Reptile roster.







Only kidding!

Tuesday, July 08, 2014

1986 was a bit of a dreary year to be starting out as a musical journalist. The pickings were particularly slim on the UK indie scene. Stump were one of the saving graces, or disgraces perhaps, given that the indignity of embodiment was one of their main topics. Pegged to the anthologized reissue of their work, Colm McAuliffe has written a fascinating piece on the band for The Quietus,  featuring quotes from MM's resident  Stump-supporters (Stubbsy and myself). Had no idea they got deep into sampling and worked with Holger Hiller, but that makes total sense if you see them as a "late postpunk" group rather than a shambling band -  as much C81 as C86The Art of Walking rather than "Panties Please".  And here's what I wrote about them at the time.

Sunday, July 06, 2014

amazing maze : City: Works of Fiction

One of the reissues of the year is surely Jon Hassell's City: Works of Fiction, out in a deluxe 3 CD package with a 1989 live performance on one of the bonus discs, and remixes on the last.

Well chuffed to have my Melody Maker review of City - in which I described the album as "a labyrinth of deadly deranging beauty, a maze of mirrors" - included in the CD booklet alongside sundry other texts by Glenn O'Brien, Brian Eno, and Jon H himself. 

Jon Hassell - City: Works Of Fiction - Expanded Edition Trailer from All Saints Records on Vimeo.


Around the album's original release I also interviewed Hassell, writing it up for The Observer  and also MM

 

 But not content with that I also made the 808 State versus Jon Hassell version of  "Voiceprint" Single of the Week in Melody Maker

Tireless supporter, I was!



SINGLE OF THE WEEK

JON HASSELL/808 STATE

VOICEPRINT

(Land)

     Jon Hassell is an avant-garde composer who keeps an eye, or

rather an ear, out for instinctively/unwittingly avant-garde pop

forms like rap and house. (He's described his astonishing album

"City: Works Of Fiction" as "classical rap"). 808 State are a

techno-dance production team who flirt with the avant-garde.

Someone had the bright idea of getting them together, and the

result is this radical remix of "Voiceprint" off the "City" album.


     Hassell's original method of composition reveals how much of

an affinity his way of working has with the sampling aesthetic.

Having got his musicians to play six wildly different mixes of the

track, he chose his favourite sections, drew up a complicated map

between the segments, and programmed it into a computer. The

result: "a mosaic in which each of the tiles is a spontaneous

event", and a brilliant balance between improvisation and

composition, seduction and alienation. 808 State have taken the

abstraction process one step further, by sampling from a vinyl

version of "Voiceprint" rather than remixing the original tapes.

It's a radical reconstruction rather than a track underwrittn by a

standard-issue 1990 groove.


     The result is a richly evocative exercise in unspecific

exoticism: you think of dunes, mosques, mirages, bazaars with their

hubbub of foregn tongues and heady assault of pungent, unfamiliar

fragrances.  Hassell's trumpet calligraphy darts in and out of

808's techno-vistas, synths shimmer like a heat-haze. "Voiceprint"

presents the city of the future as a fractal labyrinth of uprooted

cultures that co-exist but never mingle. Single of the week,

because it's a work of imagination, and it works your imagination.

This week, that's rare.




In retrospect, not all that as dancemix versions of 4thworldly ambientjazz go...  a bit linear.



Here's a more recent remix by Patten that's included on the third disc of the reissue, Psychogeography: Zones of Feeling


Woodbines & Spiders



Talked about for ages, finally reached fruition -  Woodbines & Spiders is a collaboration between Ian Hodgson (Moon Wiring Club) and Jon Brooks (The Advisory Circle).

Excellent as you'd imagine, hewing mostly to the "musty fragments" side of the H-spectrum (think Roj,  Sketches and Spells Focus Group, or indeed some of MWC's danker, more disassembled swatches of atmosphere)



Collage is the M.O. - indeed the phrase "woodbines and spiders" is not unlike a terribly,  even terminally, English take on Lautreamont's "as beautiful as the chance meeting on a dissecting table of a sewing machine and an umbrella" (itself appropriated by Nurse With Wound, of course).




The concept, though, seems to be real estate meets ruin porn - with W&S as estate agents specialising in houses with perturbing atmospheres and sitting tenants from other planes.