Thomas Dinger – Für mich

fur mich

I’d set my alarm for Now, and it had gone, as described, so I upped, as necessary. Pausing only to sip on a PowerJuice® I embarked and began, the flow led me towards Mash, in Logovila. A big swine was going down, seeping. My job, such as it was, was to ease its stupor, and for this, I required a tardis. Having entered the reverential code of confidence, the entry slipped and I was forth, spread across the problem like a one-being solution. I smiled, which isn’t easy when you’re being spread across a problem, although it was actually quite an amenable problem, we had met before, these encounters had by way of a ritual about them. Ritual writ large, and with social consequences.

Who am I to care about consequences? Here’s a pillar, suffering, righteous, full and tottering, and if I don’t attend to it, I won’t attend to it and the vibrations will cause an event, much like creation, but not as good or as longlasting. Time, I suggested, for some monotony. Interesting times, indeed.

The judge sat me down, where I was resting, and began his instruction, regarding me as he regaled me, interpreting me as he introduced me to the subject I was to occupy that day. Metapillars were needed to counteract some very obvious dangers, many of which were manifesting internally in all sorts of interesting ways… remember, we’re aiming for tedium! At least you know what will happen with it. So I was to be the foreman on the Metapillar Construction Ethos, a new team of engineers with skills so obvious we should brook no bargaining. Don’t let the ice in…

The Redundant Architects™ have been moaning again, it seems… they knew the nanobuilders were coming, and they could have got on board, but no, they insisted their outmoded ‘Innovative Technique’ was the right way for building buildings, even though most of us had cottoned on to the fact that universal harmony was better adhered to, so designing builders that could be naturally attuned to such harmony seemed the most reasonable way of achieving these effects. Why they still insist on training these new architects who will never design a real building.. I overheard some of these talking the other day. They tell of a fantastical island in the middle of the ocean where human beings design a building before its built! Yes! And these are the rationalists…

“You’re on,” I said to your honour, just as he was leaving.
“You’re just swapping one kind of hassle for another, and calling it progress,” he replied, in the shape of a wandering interlocutor, dressed as an agitator, acting like a riot.
“So you say. I’m off hunting for buried pleasure.” I love a good ritual parting, and began my treatment. Today, we dowse with the electronic tonic, that which renders us not as we would otherwise be, but isn’t everything? By which logical proximity we can but surmise: all is as it should be, except for that which isn’t, and maybe not even that. I am not to say, for I don’t know, as knowledge is only transiently useful. I ordered the cringe, hardback edition, publishers discretion, subject to criticism – no work of art is complete without the stain of criticism. Fuck the purists, they have such sweet orgasms, god I want to fuck a purist.

Advertisements

The Bug vs Earth – Concrete Desert

bugearthI have long loved both The Bug and Earth, obviously for very different reasons. The Bug’s London Zoo in particular was righteous in its wrath and groovy in its execution, whilst Earth’s catalogue (particularly since the comeback) is one often inducive to deep relaxation and meditation. You might not think they would make obvious collaborators, in other words.

Of course, if my finger ever came out of its shell-like and went and tried to find the pulse, then I might have been aware that this has been brewing a while since they did a single a little way back.

On this release, Kevin Martin seems to work to Dylan Carlsons’ strengths, letting the guitarist dictate the pace whilst he complements the tones with a sound that I find myself calling glacial paranoia. The grooves are there, but they’re dialled back. It’s about the atmosphere, which is dark and resonant. Ambient industrial grime, if you want a label.

Despite the fact that the times we live in are frankly a riot of chaos, I could imagine this as a surreal soundtrack to them.

 

 

Sula Bassana – Shipwrecked

sula

Sula Bassana is the guitarist in Electric Moon, who are probably my favourite practitioners of the ‘jam-band’ aesthetic. He’s a busy boy, as not only does he run Sulatron records, he actually has quite the back catalogue of solo releases, of which the above mentioned and pictured is the latest. He also plays in Krautzone and Zone Six.

He’s dropped his guitar for this one as this one is almost entirely electronic using mostly vintage (therefore analogue, presumably) instruments. The tunes have that propulsive rhythm associated with that area of the world that we’ve come to know and love, but also a really deep, meditative and trance like feel. I’m not talking Ibiza here.

Now for a bit of a rant – until the end of last year, I was happily using the word ‘krautrock.’ But now I actually think about it, I’m not going to use it. Given that the term ‘kraut’ was a derogatory term for Germans used by their enemies in the world wars, I should think it would be obvious why. I’ll stick to ‘kosmiche’ instead, for now, even though that’s in danger of getting nearly as overused as ‘psychedelic.’ Genre labels, eh? Can’t live with ’em.

Now, I wonder how the Germans actually feel about the word? I mean, one of Sula’s projects is called Krautzone. Perhaps they’ve decided not to be offended, simply decided to use/reclaim the word and let things be. Maybe the word was never offensive to start with and we weren’t imaginative enough to come up with a more offensive insult. Any Germans out there like to offer me their thoughts? There is always the distinct possibility that I’m being an over-sensitive, privileged middle class wanker here by trying to impose a ‘thou-shalt-not’ that isn’t actually necessary. But there’s always the possibility that I’m not.

Rant over.

Sungod

It is one of the ironies of doing this blog that nearly every post is written whilst at work, usually in an environment when I can’t listen to the music that my researches throw up alongside my subject of the day (in other words, on the service desk in a library in between enquiries). sg

So I (re)discovered Sungod as a result of trawling the 2015 year end lists, I can’t remember which – I don’t think they had a place on said list, more that they were referenced. The album that I checked out was Contackt from 2013, and I am here to tell you that it fair blew my mind much more effectively than the howling winds that have been such a feature of the UK’s weather these last few months. My particular favourite track is ‘Smell of Physiqal’ which marries monstrous riffing a la Sleep with late 90s Goa style trance-techno, and definitely ranks as my discovery of the year so far. In fact, that description could be profitably used for much of the album, inasmuch as words have any value at all when describing music.

Turns out that buried somewhere on my hard drive was Cuts from the Ether which someone must have copied for me some time back. Turns out that’s nearly as good.

May I also commend to you Vision Space which features extra free jazz into the mix, as they cover a composition of Sun Ra, and which is also a very pleasurable listening experience? I can? Good.

So going back to my opening paragraph, I learn that Sungod now release music via Holodeck records, the home of a previous subject of mine, the marvellous Thousand Foot Whale Claw. So this makes the dipping into of their catalogue a task which I now add to the many other sonic tasks ahead of me, most of which I’m trying to accomplish back at my desk whilst at work, because home life is almost exclusively One Dog Clapping now once the kids are in bed. I also find the now neglected but nonetheless containing of intriguing links which is Sungod’s blog so there be some other stuff that my instinct tells me I must check… fun times! As I mentioned before, this is a brilliant problem to have. Would I rather there was a dearth of good music just so I could keep on top of it?

GNOD – Infinity Machines

Bit obvious, really. To be honest, I was secretly hoping it was going to be a bit of a letdown… no chance.

a3393023699_16It does take some listening, though. Even taking off the 38-minute bonus live recording that I got for pre-ordering, it will account for a large portion of your evening, assuming you want to listen to the whole thing in one go.

Interesting aside: I don’t have a vinyl player nor the means or practicalities for getting one. If I did, I would certainly consider buying the vinyl, and then I would probably be happier to play the album in chunks. Has anyone else found that whereas they used to happily play one side of a vinyl album, they now think that they have to play the full tracklisting when it’s on CD or MP3?

Back to the album: it is relentlessly ambitious, the sheer range of music contained therein is enormous; everything from Albert Ayler style free jazz to harsh noise, industrial beats, dubby breakdowns… oh, and the occasional blast of psych-rock too!

That 38-minute bonus track? It’s actually my favourite thing on there. It’s not the only piece on the album to make me think of my own personal favourite jazzy artist (Valerio Cosi, if you haven’t been paying attention) but remind me of him it does.

and any band who call one of their best, most epicest tracks ‘White Priveleged Wank‘ have to have your respect. They certainly have mine.

This album is so good it might even challenge the awesome Hey Colossus for best release of the year (I said ‘might…’).

Thousand Foot Whale Claw

Sudden ambient phase?

As ever when I do posts on those really obscure artists that I listen to every so often, searching for this has informed me they have music available that I have yet to hear, so I will most definitely be having a browse around Holodeck records Bandcamp page tomorrow (payday!)

But first let me tell you why I love the above embed, Dope Moons Vol. 1.

Actually, I can’t. I just love it. I listened to it again last night in quite a grouchy mood, and it did a very good job of de-grouching me. It’s proper chill out, tracks 1 and 4 are more in the soundscape mould, whereas my favourites, ‘Phobos’ and ‘Ganymede’ are more propulsive in the mode of an album I’ve mentioned before, the wonderful Ambient Dub Vol. 2: Earthjuice which people of a certain bent and generation (bent generation?) will be familiar with.

And because, as mentioned before, I don’t like describing music, I’ll end it there.

The next post will be louder.