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Mathias Delplanque - Transmissions (Crónica) / Black Zone Myth - Straight cassette (Laitdbac Records) / Concrete / Field - A Theory of Psychic Geography (19F3)


....................................your mind's eye is a lens directed by David Lynch...it burrows deep into long grass and comes across a severed ear...this is the listening device through which you will discover strange sounds which are simultaneously pleasurable and perturbing..........................listen........

...................Mathias Delplanque captures the creaking clanging life of factory machines in France...fantastical alien mechanical sounds from what feel like living entities...........tracks 1 & 2 are looms in the Musée du Textile of Cholet from which Delplanque has created soundtracks to a Luddite's nightmares...................real and antiquated in the historical context, yet Delplanque has transformed the noises of their inner workings into what could be the sound of a futurist steampunk fantasy..............deeper, into Parts 3 & 4............machine-tooled 'music' made somehow horrific.....the last gasp of the industrial era ...the claustrophobic minutiae of ticking...clicking...groaning engines reanimated through recording........





............Ornette Coleman cover star..........what is this Jazz? screwed vocal emissions from a mythical Black twilight zone of anti-gravitational beats and loops that wriggle into your ear like wigged-out worms..........this sludge-hop smothers your mind and makes you submit to it's voodoo repetition and spoken pitched down spells..........................warped evocations of an alternate universe..............slow motion dancing in your head......................a drugged delirium effect......placing you on the corner of a street called Nowhere........from which escape is impossible and for as long as the experience continues, you do not want to leave................................





..............................fragments of an evil dream................the reduction of cold electronics to trickling streams of dread that drip into your consciousness......barely noticeable but felt...what is there?..................something conjured up by strange alchemy.............................it's here...........


The Book About Me And My Art


Four pages from the 310-page lush coffee table monograph all about me and my art......written by Herb Ogretush..........available from Poundtstretcher and other select outlets next year...





Colin MacInnes' Absolute Beginners Ace Edition


...found this today, for 99p, Colin MacInnes' Absolute Beginners (1959), the proto-Mod London novel about a scene with no name...in other words, the cool flip side to the London Trad Jazz boom...the modernist one with an MJQ soundtrack....this edition came out in '61...ace...


'There in the Dubious which, as I think I've said, is in a cellar, the instruments resounded with a thunderous effect, and as I listened to the sweet and soothing sound I once again reflected, thank the Lord I was born into the jazz age, what on earth could it have been when all they had to listen to was ballad tunes and waltzes? Because jazz music is a thing that, as few things do, makes you feel really at home in the world here, as if it's an okay notion to be born a human animal, or so.'


Quit The Bullshit....It's Bobby Hutcherson! (And MC Det)


...so a Bobby Hutcherson phase takes hold......and it's been a while..........he returns, an old friend.................feel the vibes..............mmmmm...........if you don't know his albums, Stick-Up! is as good a place to start as any......look at the line-up..............oooooohh, yes...........he plays the vibraphone, in case you didn't know.......and after the swing Lionel Hampton put in that thing followed by the cool mastery of Milt Jackson it was Bobby Hutcherson's time to modernise proceedings........and how.................


............on Blue Note in the post-Bop era...........with the Free thing outside hammering at the door Bobby marched on in a tradition but always moving forward.......as you know, Blue Note created it's own tradition in the 60s.............all those stars shining light on new and older territory...if not succumbing to the call of what was Out There, Hutcherson would still contribute massively to Eric Dolphy's Out To Lunch......and record tracks like this one for the album, Components...


....................and should you want more....here's another recommendation...Happenings...



..............returning to Stick-Up!.........I couldn't help but think of this tune too....from another musical sphere altogether..................one which rebooted my excitement in modern music............and was so good to play out in The Rumpus Room.........that moment at 1.05 after the opening tease........it really happened on the 'floor when the rhythm came...............it's what bass bins were made for.........BOOM!......and again, the third phase at 2.23.................phat beats, as they used to say......

The Spirit of Ju-Ju / Wayne Shorter

The Spirit of Ju-Ju, R. Tomens

.....................................!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!.........................................

&&&&&&&&&&&&&&&&&&&&&&

This here Wayne Shorter album, Ju-Ju, is 50 years old. 
So what? 
It's a nice round anniversary number is all.
Oh it's a pretty good record.
'Weird' Wayne Shorter, as he was known by some...
that unsettling sound...
...it's not right
...but it's so right...



Illustrations For Russian Children's Literature

'We repudiate all morality taken apart from human society and classes. We say that it is a deception, a fraud, a befogging of the minds of the workers and peasants in the interests of the landlords and capitalists.' - Lenin

Thank John Coltrane that the dark days of landlords and capitalists befogging the minds of workers and modern peasants are over, eh? In the 20s, things were different. Lenin and his people were convinced that capitalism was evil and the enemy of the proletariat. Children were prime target for propaganda, naturally, but their books were beautifully illustrated, as Inside The Rainbow proves. With the likes of Vladimir Mayakovsky, El Lissitzky and Vladimir Lebedev contributing, the message and it's art was made even more powerful. 

Since capitalism won the battle, the world now knows that the Russians were wrong. Children are encouraged to embrace/accept all forms of religious brainwashing organised religion, for instance, and become good capitalists by either exploiting employing workers, or simply working hard so that they may reap such material rewards as 42-inch flatscreen TVs and designer clothes. They may own their own homes when they grow up and becomes slaves to benefit from the banking system which, as we know, rips off governs the world completely. They will be made frequently miserable happy from not attaining the rewards capitalism brings and grow into frustrated and dissatisfied well-adjusted adults. Rejoice!



A. Yakobson, Let Us Take The New Rifles, 1927

Dmitri Bulanov, How They Build, 1922

El Lissitzky, Adding, Subtracting,
Multiplying and Dividing, 1928

unknown, How The Capitalists Are Armed, 1931

Vladimir Lebedev, Suspension Points, 1929

Vladimir Lebedev, Suspension Points, 1929

The Museum of Digital Fine Arts Exhibition



Three pieces of mine in this online exhibition. See them here

Dalglish - Dorcha Aigeann / Brandon Nickell - Skyline (Ge-Stell)





Two superior releases from new label Ge-Stell. Superior to what? you ask. Pretty much everything else that's contemporary, with very few exceptions...I imagine. Forgive me becuase I haven't heard everything. I don't want to hear everything. Can you imagine what kind of hell that would be? How John Peel did it I don't know. The advantage, the only one I can think of, in having to endure all that new music would be the resulting ability to gauge, in relative terms, what stands out, I suppose. To be able to say 'This is superior' with authority...forgetting, for a moment, that little spanner in the works called 'subjectivity'.

Thank Charlie Parker I don't have to plough through all the new electronic music in order to ascertain what's best. I literally don't, but also don't need to when listening to Dalglish's Dorcha Aigeann and Brandon Nickell's Skyline. No-one else, to my knowledge (that again) sounds like Chris Douglas (Dalglish), in a league of his own...in a lonely place, perhaps, but that is our gain. The fibrous nature of these mechanised textures alienates and entangles...each piece a structure of microscopic elements...particles colliding, detonating yet cemented within the confines of their allotted time by a master's hand. The gathering intensity of Onair is hair-raising...the spatial organisation of Uisge a marvel to behold...all six tracks constitute a creaking, groaning, sparkling sonic kaleidoscope. Outstanding.

Nickell's Skyline may be easier to comprehend in it's use of beats in regular time, but that in no way diminishes it's effect. Right from Bayes a marker is laid, a crisp, weighty rhythm drives it, but it's what sits on top that matters, the persistent upper registers of organ-like droning, sustained alongside many other components which constantly push and pull the piece. Norvig Trajectory's predominant mood is darkened by a deep, wavering drone, but Nickell knows how to create contrasts that work and does so here by using the bare bones of percussive rhythm. Stripping away common elements of Techno/Electro/Ambient (oh those inadequate tags!) to rebuild something far greater, Nickell announces a braver, newer world, where the things that once were exist as echoes in this vision. Perhaps even serial music, on the longest track, Tesselate, comes into play, the seemingly self-generating line of motion played against a whip-cracking beat. 


Bela Bartok Vinyl Experience



Bought this Bartok album today for £1 because as you know they can't give away classical albums on vinyl these days...trouble is I rarely find Modern, as in 20th Century 'classical', on vinyl because...I don't know why, but have theory that it's more collectable/desirable to an audience that will pay a lot more than a pound for it and charity shops are wise to that so they stick on eBay...the buggers - how dare they try and make more money for their cause! Anyway, I couldn't resist this cover. The music's good too...typical modernist swagger of Bartok.... 


 ...so I stepped away from this, the Infinite Music Machine and source of all music ever made wherein we spend most of our lives searching the back alleys of YouTube, Spotify etc and our own files, of course...


...and walked over to this...it's called a record player...


...the zone's a bit of a mess, actually, so messy that an Astrid Gilberto CD was lost there two years ago and has never been found...and exactly what is on the recordable CDs that I forget to write on remains a mystery, even after having played some...


...so here's the record in motion...isn't vinyl wonderful?...



...look!

In case you're wondering what Side 1, The Miraculous Mandarin, sounds like, here it is...

 


Fabulous Art (detail)


......sometimes you just want to make screaming bloody mess.....so I did.........not Bodies, a face...........................Fabulous Art......................'seemed like a lot of money'...........



The Living Cells and Viruses Operation


From an ongoing project, as yet unnamed, although affiliated to the Shadows cut-up word horde...
Control Headspace - Rewrite Humans 


Erased Words: New Lands


Tearing pages from a novel (sacrilege?) for collage I had the idea to erase some words to form a new message. It's not a new idea, I know, but it was an interesting experiment in reconfiguring text. 


Hacker Farm / Libbe Matz Gang - Crass In Africa (No Label)



We don't need organising
Or politicians being patronising.
We don't need their leadership,
Trendy lefties being hip.
Don't need their condescension
Or their back to root pretension.
We've heard it all before,
Politicians saying "No more war",
Pulling wool across our eyes.
We don't need their dangerous lies.
We won't accept capitulation,
It's just manipulation.
They want the smooth without the rough,
But words and gestures aren't enough.
We've got to learn to reject all leaders
And the passive shit they feed us...
- You're Already Dead, Crass

Anti-petrochemical brothers Hacker Farm and Libbe Matz Gang clamp an oil derrick to your head to drill your brains out with power electronics - and you'll love it - well, I do. A Crass typo homage cover, yes, but more than just a three-chord wonder mess of sound, Crass In Africa cut deep with devilishly good music. Agbogbloshie's post-hoover dominant bass drone, Uganda's skipping beat and relentless razor counter-rhythm, Transnationaale's remote horror evoking the post-exploitation wasteland...brilliant. It all makes Vatican Shadow sound like Enya. These eight short tracks of electro fire are something Red Adair could not extinguish. Only 100 copies pressed so be quick and go to No Label.



Objekt - Flatland (PAN)


No surprise, PAN coax the best out of Berlin-based producer TJ Hertz, whose earlier tunes showed the promise that's fulfilled on Flatland. It starts with a BOOOMPF! but instead of continuing that way in a bid to pummel you into early submission it's a paced-out repeat signal punctuating near silence as a form of intro.

Flatland is 'a world in which any scene can be seen from every angle at once' according to Hertz; a prismatic city of glass, then. Futurist speculation in electronic music about tomorrow's urban world may be nothing new but Hertz fashions his with aplomb. From One Fell Swoop onwards we're gliding over and through gleaming towers, neon-lit, in a sleek ship, surrounded by Coke and Pan Am video adverts, no doubt. The teeth of Rachet click into place relentlessly - perhaps it's the mechanism that drives the city, or a metaphor for the industrialisation of every brain, who knows, it's a good slab of Electro moderne anyway. Agnes Apparent has the feel of spotless sci-fi sound imagined by Vangelis for that film, as does much of the album, but Hertz sprinkles it all with details that make the difference. Bleeps and padded hammer blow motifs run throughout, adding continuity. First Witness suggests as loose crime storyline, followed by Interlude (Whodunnit?) and Second Witness. Who dun what we can only imagine, but non-specific thematic linearity is no bad thing and this is one good album.

Stream Flatland here


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