Mixpost 6, or soundtracks to the cave

Buses, eh?

So, when I say I’ve been locked away recording, what I mean is that I’m using my upstairs bedroom PC which is not internet enabled. I still have a job to do, and other boring things where I can at least still refer to my music library. I mean, that’s why we have them, right?

I was listening to the first Menimals release after a sweaty session the other night, and tracks 2 and 3 in particular gave me indescribable pleasure. I had one of those moments where I had to give thanks for being alive at the time when this music was made. So it seems apposite to kick off with this:

I’d forgotten about this, found it whilst going through some old CD’s I’d ripped over a decade ago. They almost out-Cave Nick on this one:

Madrugada – Black Mambo

We’ve had what we in the UK think of as a batch of hot & humid weather lately. My crappy weather app kept promising thunderstorms, but not once was a promise fulfilled. Accuweather, for that and many other failures of forecasting, I want to say publicly that you’re shite. (sidebar: what a gig weather forecasting is. If I was as good at my job as the average weather forecaster, I wouldn’t have a job anymore. Yet still we glue ourselves to their predictions. The human need for certainty is probably the root cause of all our troubles, not the crappy explanations we then argue over and start wars over and then say that’s what the problem with humanity is.)

*cough* anyway, here’s a storm related tune:

Little Axe – Storm is Rising

So, as an upshot of that Rusalnaia album I’d blogged about, I did something I occasionally do which is to click on a random fan, follow their taste and see where that led me. It ultimately led me to the collection Wahkeena Sitka, who makes the song below, which also comes with a seal of approval from my daughter, even though it’s of a type neither she nor I listen to much:

Back when Sexwitch first came out, I read a lot of utter bollocks from armchair critics who wanted to tell Natasha Khan she wasn’t allowed to reinterpret music that is of Pakistani origin even though she herself has roots there. I made the mistake of allowing that to put me off a bit and I wish I hadn’t. Music is as music does and will always speak for itself, and I fucking love what she’s done and I say do it again.

Pontiak’s new album is their best, and I really should do a post on it. While I think about that, listen to this:

and I know I only recently banged on about this, but it rules, it really does. Have it now, and have it loud:

Big Blood – The Daughters Union

bigbloodI have barely listened to music made by other people the last month or so, and that is because I have started recording again. However, a new album by Big Blood is a ‘drop everything’ moment.

This doesn’t disappoint because Big Blood. But also, they’ve put on their glam clothes for some of the tunes on here. And I’d like to point out that ‘Reproduce & Get Dirty,’ besides being an ace title, is one of the great Big Blood songs, which is to say, it’s one of the great songs.

I love Big Blood because they have total creative freedom and they use it. They’re not trying to please anybody but themselves. They have a huge advantage, of course, in the fact that their songwriting abilities are outrageously good, which always helps. I personally think that great material comes from having the right attitude to start with rather than the other way round.

Long may they continue to be themselves.

Earthling Society – Zen Bastard

zenbastardThe chance to put the word ‘bastard’ in a headline, non-gratuitously? Sold!

Actually, though, this is probably my favourite album of the year so far. When my brain gets invaded my unwelcome ear-worms, it is the current – and formidable – defense system, especially Outsideofintime.

According to the blurb, these are re-recordings of some older tunes, with a new one thrown in. As I was previously unfamiliar with the band except by name, they’re all new to me. Reworking old songs is a good idea, though, when appropriate. I’ve started to realise with my own material that a song is never finished and will always continue to evolve of its own accord if you let it. The wonderful Big Blood frequently do this, too. There’s something about this notion that I’ve been wanting to put in a post for a while, so there may well be a macro-post coming up soon.

The songs are loooong, which I like. They skip around a bit, which I normally don’t like cos it makes me think ‘progressive’ which used to be a swear word around rock music when I was younger (thankfully, I grew up), but these boys make it work very well which proves the strength of the material. Stylistically, we’re talking about a 70s influenced space-rock vibe, so if you likes you your Hawkwind, do check these out. I also find myself thinking of Litmus in the approach and delivery. There are also dub infusions. More rock bands should have dub infusions.

The Soundbergs of 2016

You know, I don’t think this is the best time of year to be saying what my favourite albums of last year were. I mean, I have literally just tried out a bit of the Heron Oblivion album, and my first instinct is that if I’d have got on that when it came out, it would be vying for a place in the list below. And my list last year didn’t give anywhere near enough prominence to Pridjevi and Anna von Hausswolff, mainly because I’d not long got on them – they were to dominate my early 2016. Maybe I should do it at the end of the academic year instead?

We humans do seem to like lists, though, especially those that seem to quantify things. In fact, I suggest a hypothesis – we love lists all the more if their subject matter is inherently subjective and unquantifiable (which is waaaaay more things than you may currently believe).

A funny thing happened to me in 2016. Well, lots of things happened, but this one in particular was that after I put out my album in April, thus finishing a series, I stopped listening to heavy music. Just wasn’t in the mood. There were exceptions – Hey Colossus released a wonderful EP that I mentioned in my summer chat post that isn’t an album but is good enough to be on some sort of year end so at least I’m mentioning it now, and there were a couple of later releases mentioned below, and now that I think about it, Anna von Hausswolff.

This may seem like an order, but it is malleable. Take it all with however much salt you deem appropriate.

Our Solar System – In Time. This album is perfect. Jazzy-Funky-Mellow-Spacerock. Most played album of the year from this year.

Karina Vismara – Casa Del Viento. Acoustic female singer-songwriter isn’t usually my thing. Only, this is wonderful. The vibe is magnificent, as is the songwriting.

Fire! Orchestra – Ritual. The meat of this album is staggeringly ambitious, but doesn’t lose sight of its tribal nature. The sort of trance-like jazz that just doesn’t happen often enough.

Horse Cult – Daydreams and Nightmares. The top 4 of this year could easily all be the winner in their own right, and this is another acoustic one. Like a more medieval/folksy Espers, but again with brilliant content behind the style.

Menimals. In a way I’m using both albums for this entry, saving me repeating it below, because one was pre-this year but I discovered it looking for the later one. Dark and menacing but not depressingly so.

Jon Mueller – Tongues. Another two track album and another with ritualistic drumming and chanting. Pounding trance music.

Narcosatanicos – Body Cults. As mentioned above, not much heavy did a lot for me. This was an exception, and I loved it because it is so very much like their first album, and at the same time it isn’t. I love it when bands do that.

Black Bombain and Peter Brotzmann – Free-jazz meets improvised psych-rock, with frequently brilliant passages.

Zulus II – Loud and in your face. They’ve got hella groove considering the nature of the music they play, really hard to do as well as they do. And Gemini is a drop-dead classic, as agreed by my boy.

Scroll Downers – Hot Winter. Sort of grungey indie-rock, I suppose. I realise that doesn’t sell it. They call themselves both ’90’s’ and ‘not 90’s’ so I think they might have trouble with a description, too. However, it is yet again the songwriting that does it, and it also sounds like they had a blast making it.

City of Djinn – Ether and Red Sulphur . I was going to just miss this out because I was worried it was still a bit too fresh but I listened to it again and it was blissed out brilliant, trance music.

Just missed out:

Muy Biien – Age of uncertainty;  Heavy Moon 7;  Sula Bassana

From before 2016

Pridjevi – For me, 2016 was utterly dominated by Pridjevi, helped also because my now 10-year old son has got with the groove on 2 of their tracks as well, and car trips went through a phase of him playing Pozuri Polako on repeat, which must have spent roughly 3 months in the summer going around my head non stop. Far more preferable to his other taste at the time, Goblins From Mars.

Anna von Hausswolff – The only album that came close to the dominance of Pridjevi in the first half of 2016. Not a concept album but sounds like one because of its wonderful atmosphere. That organ sound is transcendent. I keep forgetting how heavy this actually is.

Sungod – One of those all-over-the-map kind of artists. Kind of a less proggy Ozric Tentacles, if you want an inacurrate but lazy easy comparison.

Big Blood – This band have such a huge back catalogue, and this year has seen me mining the earlier years of it, which were just as good as the later years, but a bit different, naturally. They don’t seem to have done much this year. I noticed on their blog about an album coming out on Turned Word records, but that’s been up for ages and there seems to be no sign. Also, where are Turned Word records? They seem to have no presence since 2012.

Phil Cohran & Legacy. This thing took me by surprise, but probably shouldn’t have. It is stunningly beautiful music.

Pharoah Overlord – Lunar Jetman. Mainly because of the second track, which appeared via a Dusted magazine listing, but the whole album turned out good too. They seem to have finally got with the idea of easier access to their albums though the discography is incomplete.

Bitchin Bajas – Vibraquatic. Really mellow and meditative, and amongst the most regularly played albums of the year.

Gram Rabbit – Braised and Confused. Reading my original post, I’m struck by how much I seem to want to justify the fact that this album is fun. It is fun. But that doesn’t need justification.

Death Blues – Non Fiction. Part of Jon Mueller’s ongoing project, which I’d completely forgotten about since the first Death Blues album came out, so I’ve been trying to catch up when I get the chance. If anything, I like this even more than Tongues.

Fela Kuti – I returned to Fela Kuti, particularly Zombie, and have been playing his stuff regularly since the summer. It was brought on by the B-side of a single by Goat which had a really snaky groove but was only 3 and a half minutes long. I was instatntly reminded of Fela, and had a hankering for that kind of groove, but not the shortened version so I’ve been a regular visitor ever since. I also bought He Miss Road which is frankly wonderful.

Nudity is God’s Creation – This issue came out this year, but the music is from mid way through last decade. Yet another reason year end lists are crap, and yet here I am writing one which is taking me a lot longer to write than it will take you to read. Another reason I didn’t put it in the main list is because I didn’t like the bonus tracks much. They were obviously unreleased for a reason.

So. In conclusion, that’s it.

 

 

 

Mixpost 3

Seeing as the last mixpost was an exclusively dub one, let’s start with more of the same. I discovered this whilst sitting in Mad Arawak’s lounge as he DJ’d it last Wednesday evening. I don’t know if he has a regular schedule, but when he dj’s, he dj’s here.

Cyrenius Black – No Bad Intention:

I’m about to go to some session where people talk about the library of the future. The cynical part of me was immediately cynical, which is good because that’s why I give it ego room, but also proved impeccable taste in music by reminding me of this tune from the equally good album, Welcome to the Afterfuture.

Mike Ladd: 5000 Miles West of the Future:

I’m going to wax very lyrical about this album sometime soon. In the meantime…

Karina Vismara – Sooner or Later:

I cannot get enough of Fela Kuti at the moment, pretty much anything he did. People don’t realise just how psychedelic this guy was. Maybe this will wake people up to it. Not that it matters that much to me what labels people put on others music, but, y’know. If you have a pipe, stick this in it and smoke it.

Fela Kuti – It’s no Possible:

This is my first attempt at embedding something from the Free Music Archive. Obviously it’s Big Blood. There is never a period of more than a few days when I don’t play a Big Blood album. No other artist can make this claim.

Big Blood – Out of Turn:

https://freemusicarchive.org/swf/trackplayer.swf

This song just rocks.

Zulus – Gemini:

For all that I’ve namechecked Parson Sound over the various posts I’ve done, I’ve never given you a link. Here’s a 20 minute tune, From Tunis to India in Fullmoon (on testosterone). Especially for my bro.

 

Confessions of a stats nerd

Or: Why numbers will always be numbers.

Some or fewer of you may have looked over at my last.fm profile page if the mood has at all come upon you to look at what I have been listening to. If so, I have sad news that will only get sadder: most of what I listen to these days no longer gets caught by the intrusive eye of the scrobbler, and therefore doesn’t get ‘captured.’ The list then, is vastly unrepresentative and explains why I shall no longer link to it on my ‘about‘ page whenever I next get round to updating it.

But really, is this so great a loss?

Some while back, I was talking to my brother about the limitation of using ‘play count’ as a kind of measure of how much you like an artist. I used the following example: I could listen to a whole album by Nu Sensae in slightly more than half the time than I could listen to my favourite track by Terry Riley, giving Nu Sensae 14 plays whilst Terry Riley gets just the one. And yet, I personally get much more pleasure from that one play (although my brothers response was: ‘I’ve heard neither, but I can already tell that I would like Nu Sensae 14 times more than Terry Riley…’ – in honour of which I shall create a new tag of ‘music my brother wouldn’t like’ which shall be applied to anything with an average length of more than 3 minutes – so most of my posts, then). Not to disrespect Nu Sensae – when I’m in the mood, Sundowning is a cracking little album.

So quantity in this regard doesn’t measure quality. The amount of times I listen to something is not actually an indicator of how much pleasure I get from it. And it can absolutely never capture those ‘moments’ – such as like the first time I listened to Inutili, whose play count still hasn’t reached double figures and yet currently rank amongst my favourite new music. And there are occasions when you listen to something that really makes your day, yet that experience is never repeated and you stop listening to that thing. It doesn’t mean that one time wasn’t valid.

So lets have a look at my ‘top artists’ for what will probably be my last time.

alltime10

Really, for sheer amount of time I’ve spent listening to an artist since I joined in late 2010, Oneida should be top by a mile. Their average song length is quite long, though, especially the recent stuff. Big Blood, despite being relatively recent additions to the library, thoroughly deserve their place. This isn’t to disparage Thee Oh Sees – I get enormous pleasure listening to them. They are a truly wonderful band. But by my listening standards, they have short songs.

Another thing to point out is that there are many artists there that I don’t listen to so much these days – smaller catalogue, not so much recent activity, gone off them a bit, all or some of the preceding or something else entirely. Which leads to the hypothesis that the longer this thing continued, the more artists there would be in the upper echelons who are actually not getting listened to that much. Unless, of course, my favourite artists never change. With me, that is never going to happen.

Many years ago, when I entered the PC age, my first PC lasted quite some years before complete breakdown. During that time, the play count on Windows Media Player had racked up an impressive chart. Although this was only songs, if the top song was ‘Dubby Conqueror’ by Burning Babylon and it had been played 150-odd times (which it was at the time it broke), then it was a fair estimate that said song was amongst my favourite songs ever at the time. However, that isn’t a fair picture. I had the PC on all the time even when I wasn’t at home, and I left the music playing on shuffle. Most of my active listening was actually on shuffling, and only if I didn’t fancy something  would any choice on my part influence the play count.

In fact, it’s only really since 2010 that I’ve started being a more focussed album player rather than having music on shuffle, which is a very passive way of choosing entertainment, letting a computer do your thinking for you (sidebar: those of you who have ever succumbed to that disease, have you ever noticed how certain songs keep getting selected, even from a library of thousands?) So although I love that tune still, since the scrobbler, it hasn’t even been scrobbled ten times ( I can’t find it on the tracks chart, I went down to everything from 10 above, and my eyes went funny so I stopped).

To use an analogy, in cricket, a flat-track bully can get quite an impressive average over time if he always performs against minnows, but against the best teams you want your players who bring their best under pressure, who often don’t have averages as impressive – my thesis for this is because their guard is down against teams they expect to beat, or when their team mates have already walloped the bowlers around. So, when your mood calls for music to lift it, do you go to play counts and say ‘well, I’ve played this most, it’s therefore my favourite, therefore its guaranteed to work?’ If so, I’ve got a large organisation I’d like to offer you a job in.

We humans like charts, don’t we? I’ve been as guilty as anyone. I think that numbers are almost always useless without context, but we as a species seem to forget the whole context bit, and just focus on the numbers.

However, the recent reboot of Last FM has ‘coincided’* with the scrobbler on my net PC at home going cuckoo, and I frankly cannot be arsed to try and sort it out. I’ve much more important things to do, like being a dad, playing a guitar, reading books, doodling, tending the few home grown veg I can fit in my garden, or staring blankly into space.

It’s actually been a lot easier to give up the idea of seeing who I’ve played most often than I thought it would be. This probably tells you/me something about the nature of giving stuff up in general. It’s surprisingly easy to do when fighting it is more trouble than its worth, harder when its not.

So, when I play music at work, it may get scrobbled, it may not. And that doesn’t matter.

I may do a part two, and if so it will delve into the notion of converting the wonderment that is sound into numbers – i.e. my thoughts on digital music. However, that may only depress me, since realistically the vast majority of music I listen to will be digital.

*I don’t believe in coincidence. I’m sure I’ve mentioned this before.

Thoughts while mowing the lawn

I’ve not discovered any moment shaking stuff for a while, but to be fair I’ve mostly been listening to 4 or 5 albums repeatedly. However, I had this thought whilst mowing the lawn earlier and felt the urge to share:

Music is the interface between living in the moment and eternity.

So the albums I’ve been utterly swimming in are Pridjevi’s debut (you should hear me trying to sing Pjesma o drveću to myself as I walk given that I don’t know any Croatian), Anna von Hausswolff’s The Miraculous, Our Solar System‘s In Time and MatchessSomnaphoria. I’ve also visited Zulus, Rise of the Echo Drone and Big Blood quite regularly. Also I’ve discovered Oneida’s Brah Tapes series, which is wonderful because Oneida. Yet another also: I’m playing Dreamtime and I love them.

However, today has been a good day to be in Leicester. The atmosphere is incredible.

And I’ve just had a most intense deja vu thing happen as I was editing the links.

Wyrd.