18 May 1980

typed for your pleasure on 18 May 2013, at 3.03 am

Now that it’s right to decide
In his time he was a total man
Taken from Caesar’s side
Kept in silence just to prove who’s wrong
He no longer denies
All the failures of the modern man
No, no, no, he can’t pick sides
Sees the failures of the modern man
All the failures of the modern man

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18 May 1980

typed for your pleasure on 18 May 2011, at 10.39 am

You’ll see the horrors of a faraway place,
Meet the architects of law face to face.
See mass murder on a scale you’ve never seen,
And all the ones who try hard to succeed.
This is the way, step inside

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typed for your pleasure on 6 May 2011, at 3.51 pm

Sdtrk: ‘…da beißt ein Goldfisch an’ by Brigitt Petry

So I’d recently come to this shocking revelation:

You have singer-songwriter Kate Micucci:

And here’s silicone sexpot Miss January:

Hmm. And has anyone ever seen them in the same room together? Hmmm.
The plot thickens (not really)

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‘You said you wrote a page about me / In your diary’

typed for your pleasure on 14 January 2011, at 8.06 pm

Sdtrk: ‘Valerie’ by Broadcast

It is with great sadness we announce that Trish Keenan from Broadcast passed away at 9am this morning in hospital. She died from complications with pneumonia after battling the illness for two weeks in intensive care.

Our thoughts go out to James, Martin, her friends and her family and we request that the public respect their wishes for privacy at this time.

This is an untimely tragic loss and we will miss Trish dearly – a unique voice, an extraordinary talent and a beautiful human being. Rest in Peace.
Warp records, 14 January 2011

1997 was when I first learned of Broadcast; their debut Cd ‘Work and non work’ had come out on the Drag city label. I’d read about them somewhere — can’t recall where, but it was a case of ‘if you like Stereolab, you might also like Broadcast’, recommendation and similarity being the way I find a good number of groups. ‘Work and non work’ was really a compilation of their first three 7″ releases; the three-year wait until ‘The noise made by people’, their first proper release, would be excruciating, as I found myself listening to ‘Work and non work’ far more than I thought I ever would, and was eager to hear new material.

The comparison to Stereolab is actually a bit tenuous — sure, both groups traffic in retro-Sixties-sounding music, but whereas Stereolab’s basis draws from motorik, tropicalia, and easy listening, Broadcast took their influences from the BBC Radiophonic Workshop, avant-garde pop groups, and Eastern European film soundtracks. Admittedly, one of Trish’s favourite films was the dreamlike Czechoslovakian entry ‘Valerie and her week of wonders‘, and having seen it for the first time a couple of years ago, it totally made sense why she loved it, and why both Jaromil Jireš’ direction and Luboš Fišer’s soundtrack were such a heavy influence on their sound. Stereolab overall are brighter and poppier, but Broadcast projected a mood akin to a year-long autumn. Their music and images complemented each other, but the thing that tied it all together was Trish’s voice — vulnerable, but simultaneously strong.

Broadcast were one of those rare groups where each successive release was better than the previous one, going from ‘The noise made by people’, to ‘Ha ha sound’, to ‘Tender buttons’, to their collaboration with The Focus Group’s ‘Investigate Witch cults of the Radio Age’, from 2009. They can quite literally be said to be the originators of a new genre of music: hauntology. Groups like Moon wiring club, Research Laboratory of Electronic Progress, Mordant music, and every artist on the Ghost box label create nebulous sounds, couched in the past, like soundtracks from déjà vu experiences from places you’ve never personally visited and occurrences you’d never personally witnessed. We’ve all been there. But do you recall that voice you’d heard in the background of nearly all your dreams? That whisper like a familiar but slightly chilling breeze? Naturally, that was Trish.

I’d say she’d be missed, but she’ll always be with us. Especially in our dreams

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The cheapest of filler

typed for your pleasure on 20 March 2010, at 4.27 pm

Sdtrk: see below

I am writing! Which may seem like a silly thing to announce, but Things have been going on with me as of late, and they’re the sort of Things that I want to keep under wraps until they’re very close to finalisation, cos I’m cautious coy like that. But there’s been so much stuff going on that it’s kept me from writing; in fact, one of the articles I’m tackling would be this month’s ‘Any Synthetiks-related etc etc?’, which is probably going to come out next month instead, as it’s feckin’ bloated. It’s another example of ‘there’s so much I need to impart, where do I begin?’ But it’ll be done, nevertheless…
Remember the days back when ‘Shouting etc etc’ actually focussed on topics other than Synthetiks? Heh, neither do I!

In the interim, however, this is killing me: it’s a piece by Marc-André Hamelin, a 20th century composer, for two player pianos. It’s titled ‘Circus galop’, and it will rip your mind open. If Venetian snares wrote music for player pianos, it’d be rather like this:

More later!

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A subset of what, exactly?

typed for your pleasure on 23 May 2009, at 10.00 am

Sdtrk: ‘Cries and whispers’ by New order

About a week ago, the Missus had to stay in bed, so she could recuperate from a minor tear she somehow received behind her knee. As she was bored — apparently she’s read every book and magazine in the flat several times over — I suggested she occupy herself with something constructive. As Shi-chan pondered the idea for a couple of minutes (and I surreptitiously hid her Hello Kitty vibrator), she snapped her fingers, and asked me to retrieve a box of C90s that were on a shelf in our closet, as well as a pen & notepad, my four-track recorder, and my headphones. ‘I think I’ll finally have a go at mastering those Inorganiksubset tracks,’ she said with a smile. ‘Ah!’ I replied, and wandered off to the livingroom to play some more Warriors Orochi 2.

Back during the mid-Nineties, when she lived in the north of England, Sidore was the bass player and backing vocalist in a band called Inorganiksubset. Well, they were technically a band, but they weren’t pursuing it professionally or anything. The other three members were Sabrina (guitar, samples), Gia (drums), and Emma (lead vocals, synthesisers, rhythm guitar): Sabrina was a friend, Gia was a fellow student from Maitland College of Fine Arts in Leeds, and Emma was Shi-chan’s girlfriend at the time. As they each had a metric ton of effect pedals, they were pretty much a shoegazer group, but they were leaning towards the more discernible-vocals end where Slowdive and Lush reside.
They had fun when playing and whatnot — they even managed to score two successful live performances at a Goth night at their local club — but Inorganiksubset dissolved under the combined pressure of Gia having to return home to Florida, and Sabrina’s increased workload at her office job effectively forcing her to quit. Over the course of nine months, though, they managed to finalise a handful of songs, and committed them to tape. Yes, tape; remember, these were the heady days before .mp3s.

Now, Shi-chan had been holding onto the masters for years, as she just hadn’t gotten round to mixing them down, but her newfound spare time gave her the opportunity to finish the lot up. So she did! She’s signed out with a website called Figment, which caters specifically to music groups like hers, and you can check out the profile she created for Inorganiksubset here, which also showcases their one and only release, ‘Die Sonne im Nebel’. It should go without saying that if you have an account there, she’d love a review from you!

The first time I’d heard those tapes was maybe a year into our relationship. I was really impressed, and I have to say that their sound was familiar, yet like nothing I’d ever heard before. I asked Sidore if she thought that, provided there was a chance the four of them ever got back together, that they’d reform the band; she shook her head resignedly. ‘It’s not like it was an accrimonious split or anything, but the way things are these days, we barely even keep in touch with each other. I’ve really not heard from Gia or Sabrina since the middle of the decade, and it’s been even longer since any of us have heard from Emma.’ She smiled though, pulled her headphones back on, and pressed the Play button. ‘It’s alright, though, cos it’s like these songs trap everything in amber. Now I have a proper soundtrack to my memories’

Technorati tags: metafiction

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The cueball-sized eyes have it on May 6th, 2011


18 May 1980

typed for your pleasure on 18 May 2009, at 12.23 am

Hangman looks round as he waits,
Cord stretches tight then it breaks,
Someday we will die in your dreams,
How I wish we were here with you now

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