Wednesday, 14 March 2018

Enhet För Fri Musik - Det Finns Ett Hjärta Som För Dig (2017)

There's A Heart That Leads You by the Free Music Unit, in case you were wondering, and I'll assume the freeness refers to improvisation rather any suggestion that they might just send you this record for nothing if you ask nicely. They're from Sweden, and I heard of this one through agency of Simon Morgan who insisted that it was great and that I should therefore get hold of a copy, which I did and it was.

Online research throws up references to both folk and improvised jazz in relation to Enhet För Fri Musik, so thankfully I began with what I could find on YouTube, because whilst both terms may indeed be extraordinarily broad in scope, I've been burned in the past. Observant readers will notice that the cover of Det Finns Ett Hjärta Som För Dig superimposes a skull over a national flag, and I accordingly had some fears grounded in it all being Swedish and thus beyond my obvious comprehension; but thankfully nothing here translates into anything suggestive of stiff right arms, and it's probably worth remembering that national flags tend to carry less contentious associations in countries which haven't spent the last century bombing the shit out of everyone else; which happily leaves us with just the music.

Det Finns Ett Hjärta Som För Dig features some improvised material in so much as that none of it is orchestrated into oblivion, and its folkiness is found in its simplicity - guitar, voice, sometimes a saxophone or a church organ - recorded without embellishment on what may as well have been a portable tape recorder; so there's rumble, tape noise, hiss and so on, all of which impose a powerful, possibly unintentional, sense of nostalgia over the music. They're not afraid of the occasional bum note or missed cue, and it sounds very much like the work of people who genuinely love what they're doing, and hope you will too, and who probably aren't going to beat you over the head with it or give you a lecture. You could probably call it lo-fi, if you really must. It reminds me a little of Ivor Cutler's musical forays, maybe with a faint trace of something from the first Residents album - mainly thinking of how Variationer Av En Längtan Till Gud, which is apparently Variations of a Longing for God, sort of reminds me of Skratz - but more than anything, it invokes that happiness which can only be experienced with a little bit of sadness, a kind of nostalgia without being an arsehole about it. There's something very warming about this record, which may not be a coincidence given its country of origin. Like a rich soup, Det Finns Ett Hjärta Som För Dig is good for you. It may not be obvious what they're saying, but somehow you can feel it regardless of the language barrier.

Thursday, 8 March 2018

Roni Size / Reprazent - New Forms (1997)

Whilst I'm always happy to hear new music, I generally find that new music makes its way to me so it's just a case of keeping my ears open. I don't actively seek out new music for the sake of it, and I tend to regard those who do as trying too hard - for example, a certain facebook twat who recently opined:

I'm fifty-one. My favorite bands right now are Otherkin, Bad Sounds, Spring King, Sundara Karma, Inheaven, Kagoule, Vant, and Moaning. I can't see myself ever not listening to new music.

This came in response to some clickbait about a teenager observing that she had heard of the Pixies because her grandparents listened to them. Following Mike's the aforementioned facebook twat's recommendation, I sought out Moaning - which really is the name of a band - but they sound like the fucking Mission; and Otherkin sound like the Strokes or the Fratellis - both of whom were shit first time round - and doubtless have a bright future composing theme songs for edgy Channel 4 comedies about teenagers having abortions.

New Forms won the Mercury Music Prize back in 1997, most likely thanks to some tiresomely self-conscious upper management twat who, much like Mike
the aforementioned facebook twat, prefers his music to be new new new. The Mercury Music Prize has also been won by Primal Scream and something called Gomez so probably doesn't count for much in the great scheme of things. Anyway, possibly as a result of winning the Mercury Music Prize, Roni Size was on the telly singing a couple of his songs. They sounded decent so I made purchase of the album, but the thing jumped all over the fucking shop. It could have been big fat bass frequencies making for poor groove integrity, or it could have been a dud pressing on vinyl recycled from truck tires and the plastic bits of vehicular dashboards, what with it being the last days of the original wave of vinyl. I played it maybe twice, so it never had a chance to sink in, and I never got over my vague feeling of disappointment.

The thing is that I'd heard about drum and bass, and most of it didn't actually sound quite like I hoped it would - nosebleed breakbeat falling somewhere between Peshay's Piano Tune and I, Me, Mine by Godflesh, which probably doesn't even count. Drum and bass compilations seemed to feature a suspiciously heavy emphasis on all that deep forest shit, and some of it even sounded like - ugh - jazz. Then I discovered Panacea, so that was one itch well and truly scratched; and yet somehow I still picked this up on CD on the grounds that there wasn't much point trying to play the vinyl edition; and now, two decades later, I've finally managed to listen to it all the way though more than twice in the same year -
because it's one fuck of a long album - building up to three or four times just this week, and finally I have an opinion.

I'm still not sure why New Forms won the Mercury Music Prize other than new new new and you probably won't have heard of it, but we have, and I'm not convinced of it being a landmark album; but it has impressive peaks, and nothing which truly sucks or outstays a welcome. I think the thing which confused me relates, more than anything, to my own expectations and related quest for a truly brutal drum and bass record which kicks your head in like no other. New Forms is really just a bunch of people pissing about in a studio, trying things out, some of which just happens to involve accelerated breakbeats. It's as much soul, dub, rap, ambient, techno, and even jazz - but in a good way, I guess - as anything. It's an album which never should have been square-pegged into a round hole by industry wankers with some giant medal burning a hole in their collective pocket, although to be fair I probably shouldn't have been so stupid as to grant such categorisation any sort of credence.

New Forms takes a while to sink in, but somehow does so as a coherent, mildly hypnotic whole - all thirty fucking hours of it. Brown Paper Bag still sounds insane after all this time; Watching Windows is gorgeous; and Hot Stuff - which I'd somehow never even noticed before - is one of those rare pieces of music which seems to be the same size as the sky. So I'm finally glad I bothered, not least because I might never have come to such an appreciation were I engaged in an endless, ostentatious quest for new new new.

Wednesday, 28 February 2018

The Mob - Let the Tribe Increase (1983)

I always dreaded the arrival of my mid-life crisis, but it seems to have worked out quite well, so well in fact that it's probably not so much a crisis as just me buying a load of records. I never learned to drive, so a bright red sports car would be useless; I always thought leather trousers looked fucking stupid; and I'm happily married with no interest in either conspicuously young women or showing them my Charlie Browns. My mid-life crisis has coincided with a period of unusual contentment on my part. I'm settled and comfortable, at long last, and so my attention has inevitably turned to getting hold of all those records I meant to buy at the time, but never did.

I taped I Hear You Laughing - the flip of their single on Crass Records - off John Peel all those years ago, decided they sounded worthy of investigation, and then never got around to it. At least a decade slipped by before I came across that live album with the Apostles on the other side in a junk shop in Lewisham, and a test pressing too - which always struck me as weird. Naturally I bought it, being something of an Apostles obsessive, but I have no memory of playing the thing beyond a vague impression of the Apostles set being a little ropy. Then last year I read some essay about the Mob in the excellent And All Around was Darkness and noticed that the band remained more or less a mystery to me. So I dug out the live thing, immediately saw the error of my ways, and tracked this down - a lovingly tooled and expanded vinyl reissue from Overground.

Anarchopunk bands associated, however loosely, with Crass have a certain reputation for black clothes and scowling, and apparently even Peel cracked some joke about the Mob's apparent lack of cheer after playing one of their records. Of course, the overtly political subject matter proposed by such bands was often that we're all being screwed and society is bloody awful, which seemingly left little scope for light-hearted chuckles. However, as with the received wisdom of how all those Crass bands sounded the same, it's not really true.

Possibly aside from the vaguely jazzy Roger, the Mob sound nothing like Crass. More than anything they remind me of New Model Army - a big heroic rock sound of a kind associated with young men whose generous locks doth flow photogenically in the north wind as they stand atop some rocky promontory gazing fearlessly into the future, but without the usual excess of production; and while the lyrics may indeed be relentlessly bleak tales of man, woman, and child crushed beneath the heel of an oppressive consumerist state, there's a real sense of joy to these songs, specifically the joy of the understanding that there will always be hope on some level, the adrenaline rush of resistance and engaging the enemy.

In fact, the more I listen to this record, the more it sounds like a celebration, a call to arms, something a long, long way from the promised threnody. I'd rhetorically ask where this album has been all my life but I already answered that one in the first paragraph. Let the Tribe Increase is magnificent, and definitely a better deal than fast cars and dolly birds.

Wednesday, 21 February 2018

Charli Baltimore - Cold as Ice (1999)

I was really looking forward to this one. Money was a great single, and Stand Up seemed to promise good things to come, full page adverts for the album began to appear in the usual places, and then nothing happened. I gather she fell out with the label, or her manager, or something along those lines. Five years flipped past and she turned up on Irv Gotti's Murderers album, but it seemed like the momentum had been lost.

It turns out that this was finally issued as a download only release in 2009, and so here we are at last.

It has to be tough for a female rapper in what is an overpoweringly masculine industry, and so Baltimore's first single was inevitably accompanied by predictable mutterings about whether or not she would have had a record out without having stimulated Christopher Wallace's penis. Probably not, seemed to be the consensus, regardless of the obvious quality of the record, which I suppose is par for the course. It might be argued that she did herself no favours given all the blow jobs which feature prominently in her lyrics and which would seem to support the notion of Charli Baltimore as Bernard Manning's idea of what a female rapper should be; although it might also be argued that this argument is itself only Ben Elton pulling the lemon-sucking face and tutting that she's no better than she ought to be, that one. The issue is probably best settled, if you really need it to be settled, by listening to the album.

A young woman doing what she has to do to get by under difficult circumstances probably sounds like an excuse, given the aforementioned quota of lyrical blow jobs, but there's a lot more to this album, and not actually much of it which fits the stereotype of the gold digging hoochie-mama who boffed Biggie. Vocally she sounds kind of bratty, which is okay, and lyrically she's acrobatic within an admittedly limited range of subjects, but there's a thoughtful edge to tracks such as Have It All and even the admittedly cinematic Thirty Miles to Baltimore, with a powerful element of tragedy running through the whole set.

Money remains hard to top, so I don't know if Cold as Ice was entirely worth the wait or whether it's really so good as I hoped it would be; but it's confident, convincing, and a testament to the ambition and vision of rap back in the nineties. Charli Baltimore really should have been huge.

Wednesday, 14 February 2018

AC/DC - Highway to Hell (1979)

Just to get the namedropping out of the way, I've never met any members of AC/DC and nor am I knowingly related to any of them, but I briefly delivered mail to the house in Overhill Road, East Dulwich outside which Bon Scott breathed his last following an evening of partying with unusual vigour back in February, 1980. You could tell it was the place from the memorial graffiti which sporadically appeared on adjacent municipal surfaces. This was in the nineties which, by happy coincidence - at least for me - was the point at which I finally began to understand AC/DC, the key to which is that if you feel you need to understand AC/DC then you're probably thinking about it too hard.

They were one of those groups beloved of everyone except me in the town in which I grew up, and the reason they weren't beloved of me was because everyone else liked them, which meant they must be crap; and also that I hadn't actually heard any of their records. Someone or other lent me the 7" of Whole Lotta Rosie but all I can recall is thinking that it sounded a bit sexist.

With the benefit of hindsight, I can appreciate that AC/DC were basically punk for anyone who didn't live in a big city, as were most bands associated with that whole hairy scene of the time. All I could see were five blokes who looked like everyone at my school and who probably would have regarded Joy Division as poufs, and all the emphasis on guitar solos seemed designed to appeal to shitheads; but, I was a bit up myself - as they say - and doubtless annoyed that everyone seemed to be having sex with girls except for me, which wasn't actually AC/DC's fault, not directly. They seemed stupid, and apparently I wasn't able to work out that stupid was sort of the point, although raw, rootsy and basic would be a better way of putting it.

Years passed and I heard bits and pieces, and it became increasingly hard to deny the power of those choppy bluesy guitar riffs - just chords, but there was something special there, some sound they had in common with the finer end of Led Zeppelin, just more direct. There's a reason that the opening bars of Back in Black score that scene in Iron Man, as opposed to something by Ed Sheeran.

I eventually bought this because a record store had opened on Lordship Lane, but they didn't have much stock and Highway to Hell was about the only thing I could find which seemed like it might at least contain a few surprises. Specifically it contained one surprise, namely that it's a fucking masterpiece contrary to what I had believed at the age of seventeen when I knew everything. AC/DC do one thing and that's rock, which would be stupid but for how well they do it, almost better than anyone else ever; and they rock like few have rocked before or since because they have a vision.

Nobody's playin' Manilow,
Nobody's playin' soul,
And no-one's playin' hard to get,
Just good old rock 'n' roll.

I know. They really didn't need to print the lyrics on the cover. It makes them sound like shitheads, but let's face it - Manilow ain't that great, some soul music was kind of bland, and whatever other objections you may have, you probably wouldn't say it to their faces; and it might be argued that taking umbrage with AC/DC for appealing to shitheads whilst failing to address the concerns of the supposedly sophisticated is a waste of time and misses the point. It could be argued that this material is outrageously sexist - although on close inspection it's actually more like evil Benny Hill - but you might do better to direct any available outrage at something which actually makes people miserable in the real world.

It wasn't the first, it wasn't the last,
It wasn't that she didn't care.
She wanted it hard, wanted it fast,
She liked it done medium rare.

Milligan-esque narrative swerves aside, it's really just a record of men singing songs about how they like to drink beer and how much they appreciate nude ladies - which has been a theme central to rock 'n' roll and the blues from which it sprang from the beginning; and at the risk of turning into Milo Yiannopoulos, I generally share these interests with AC/DC so I don't have a problem with any of it.

On the other hand, Night Prowler makes for uneasy listening as the slowest, arguably heaviest, and unfortunately sexiest track on the album, seemingly belonging to the lyrical subgenre of heavy metal odes to stalking women; but it's a misleading impression possibly fostered by the rest of the album being songs sung for the ladies, sort of. The point of Night Prowler is the mania of the killer rather than his choice of victim. It's a horror story, so it's supposed to upset you, and by way of a clue, there's a bloke with horns on the cover of the record. You know, had I had the sense to embrace this back when I was seventeen, my life might have turned out completely different, and I have an uncomfortable feeling it might even have been a bit better.

Thursday, 8 February 2018

Viper - You'll Cowards Don't Even Smoke Crack (2008)

My introduction to the work of Viper came through a facebook group set up to answer the seemingly innocuous question what are we all listening to today? I was getting a bit pissed off with the place, partially due to the promotion of both Burzum and Death in June by means of the usual wearyingly defensive crap about rising above political correctness and thinking for yourself, although it was probably this same post-ironic contingent which started going on about Viper, because this album was apparently massive amongst sneering internet edgelords of a certain type. It's probably the videos which are to blame - shoddy, no budget camcorder jobs made by YouTube types featuring Viper himself sort of jiggling in time to the music, usually with someone who might even be his mum pretending to cook up a big ol' pan of crack on the family stove; but, hilarious though they may be, the videos don't really matter. Of course, it's true that Viper's music probably sounds like nothing you've heard before, and there's an oddly amateurish quality to it as characterised by some of the titles, but fuck - this is some genuinely good shit, and screw whichever anonymous arbiter of what constitutes culture described Viper as an outsider artist.

Okay, so You'll Cowards sounds as though it was recorded on a nineties Playstation, and first impressions speak of a man rapping quietly in hope that his mum, who is probably in the next room, won't hear him talking about guns and crack; but those are false impressions, and the more you listen, the more it becomes obvious how well Viper's husky near-whisper suits the music - and the more it becomes obvious how well everything here fits together, and how it's supposed to sound like this. Sneering over how Viper sounds nothing like whoever just makes you look like a fucking idiot.

The first thing which will hit you is the bass, and how much of it there is, and how often it's more of an effect than anything with any kind of melodic purpose - like a low flying aircraft or the mangled rumble pumped out of some Escalade waiting for the lights to change. The bass is slow and louder than everything else, and the whole sounds compressed to fuck - booming sine waves with a ticking noise in the background, and that would be the drum machine. Never mind outsider art, it takes serious judgment and ability to come up with something this close to sonic collapse which works apparently in spite of itself. Beyond the bass, we have distant haunting melodies played on something resembling a Casio VL Tone, and Viper rapping through what sounds like some kind of codeine haze - the usual gang related material, but not without flair or imagination, and at least as good as anything you ever heard on a No Limit album.

I don't care what any sniggering post-ironic wanker might have to say on the subject, this is a genuinely weird and peculiarly haunting - even soulful - album, and I shall most definitely be investigating the rest of Viper's back catalogue.

Wednesday, 31 January 2018

pH2 - Gut Acid (2017)

For the sake of argument, let's assume our understanding of music works like language. You're born, you learn to make noises, you learn to imitate words and phrases, and eventually you learn what they mean and are hopefully able to arrange them in sequences of your own composition. I say hopefully because I'm not convinced everyone gets all the way with that last stage, and some seem to be stalled, having no need to express anything much beyond what they can say with a few stock phrases; and so it is with music, which is why there will always be artists who sound more like tribute acts than anything in their own right. It's easy enough to work out why such and such a piece of music has a certain sound, and how to duplicate it, and that's what most people tend to do.

Peter Hope, on the other hand, seems to have a particular insight in so much as that first and foremost he understands what music does, how it works, even before we've got to the instrumentation or the notes. Both Hot Crow on the Wrong Hand Side and Destroy Before Leaving had pure strains of blues and even jazz running through their DNA without necessarily imitating anything; and now there's Gut Acid, another wild tangent spun from a similar understanding, albeit an understanding of something completely removed from pastures in which the Box or Exploding Mind did their thing. As I understand it, Gut Acid came in part from tracks issued as Criminal Face and originally recorded at the height of acid house at the tail end of the eighties, along with more recent material expanding on the same in collaboration with DJ Parrot and David Harrow. So it's vintage material, or in the spirit of vintage material, or possibly both, but the important thing is that it sounds fucking great right now.

In the wake of acid house, as it all turned to techno or went Balearic or whatever, the bargain bins filled with failed acid, records which missed the target because they'd never quite understood what they were trying to do in the first place, imitating a sound and in imitating it, somehow ending up resembling one of those fucking awful 12" extended mixes some Trevor Horn impersonator routinely pooped out for every shit band going. The lesson in this was that not anyone could cut a dance record after all, and certainly not acid house. Gut Acid uses a few of the same boxes you may recall from Phuture and those guys, and there's the occasional non-tune representing the equivalent of a keyboard smash on a Roland TB303, but as with Hope's other efforts, this is a long way from the methodology of Noel Gallagher pretending to be a Beatle, and there is a lot here which you won't have heard before; but what he duplicates, and which he gets absolutely spot on is the feel of acid, the spirit, the euphoric bubble up and surge seasoned with a hint of something dark. These eight tracks pound and hypnotise, inviting even the most sober and drug free amongst us to concentrate on mesmeric glitches and details.

I'd say more but there's only so much point to writing about music, and I don't want to turn into Paul Morley; besides which Gut Acid is one which really speaks for itself, and it's only a few quid so you should probably give it a listen.

Wednesday, 24 January 2018

Nocturnal Emissions (2017)

Lordy - 'tis good to have brand new Emissions vinyl through the mail in 2017, even a brand new vinyl assemblage of material recorded more than a quarter of a century ago. This would be greatest hits but for the relative obscurity of the material, and that everything here was specifically generated back in the eighties, so nothing from Mouth of Babes, Collateral Salvage or the reggae album.

Regarding the Emissions, one quote which has always stayed with me is the description of Caroline K as a sort of female John Cooper Clarke, which I recall having read way, way back, possibly even before I'd even heard the band, although somehow not in the 1981 issue of Neumusik wherein it first appeared. The screwy thing is that, as I see from the insert which comes with this vinyl double, the review was written by Andrew Cox, whom I first met in 1990 and knew for a number of years prior to his somewhat tragic demise in 2009, and who was my best pal for a long time, roughly speaking; and yet I never realised it was himself who wrote that description until now. I'm not even sure what to conclude from the revelation, except that it's possibly indicative of how important the music of this band has been to me over the years; if you want to call it music, because you don't have to and it probably doesn't matter either way.

I always thought the John Cooper Clarke comparison was a bit silly, personally, but never mind. I assume Andrew was referring to When Were You Last in Control of Your Dreams and Aspirations?, the first track on both this and Tissue of Lies from which it is taken, and upon which Caroline intones a blandly officious list of contacts, to the secretary of the British charity commission and so on. Tortured instrument noises noodle away and underneath it all is a rhythm which sounds like a ticker tape machine doing the hucklebuck. It's a peculiar track not because of the noise or juxtaposition of contrasting elements, or because it sounds like it doesn't realise anyone would be listening to it as music, but because it isn't even trying to be art from what I can tell, at least not art by the usual terms. As with much of what Nigel Ayers has done over the years, even those tracks which sound like pop records, there's still that suggestion of channelling, or of something which simply resembles art or music from where the rest of us are stood. I don't know if there's been a concerted effort to avoid the more mannered, affected renderings of those working in roughly the same field, but sometimes it feels like it. The music of Nocturnal Emissions often seems to represent an attempt to get at the unalloyed essence of its subject, whether that subject be social, political, or psychogeographical. There's no showbiz here, no angle, no sales pitch, no pandering to an audience, no attempt made to sell your own anger back to you.

The big surprise with this collection is how well it all hangs together, how consistent it all sounds with the same basic sensibility underpinning the noise, the dance music, and even the prospective whale song. It's all coming from the same place, which wasn't so obvious when these tracks were limited to separate discs, and there's a truly generous spirit to this music, a joyful dissident noise which will have you punching the air even when the thing coming from the speakers sounds like a truck reversing over a photocopier.

Thursday, 18 January 2018

Robert Rental & Glenn Wallis (2017)

Having misspent at least some of my youth knocking around with Glenn Wallis, I vaguely recall having heard this as one of a million tapes plucked from the drawer of a million cassettes with nothing written on them at two in the morning. We'd usually been in the pub for the best part of the evening and I'd most likely be gearing up to my third or fourth report of being completely fucked and wanting to go to bed and we can listen to it in the morning, can't we? If that sounds like a complaint, it isn't, and should be taken as namedropping combined with an indicator of Glenn's absurdly prolific work rate. We once lived on the same continental land mass, even in the same town for a while, and he was always recording, tape after tape of experiments, fucking about and what have you; and the tapes all got slung in a drawer, and that drawer was pretty fucking full. As you probably know, some of that material was polished up or re-recorded and released on Konstruktivists records and tapes, but I always had an impression of the material which reached a slightly wider audience being the tip of the iceberg. He played me a lot of tapes of things I never heard again over the years, and of the stuff he played me, it was mostly pretty great.

Here's a good example, lovingly restored and pressed onto vinyl by Dark Entries - Glenn improvising with Robert Rental, whom you may remember had an album with Thomas Leer on Industrial Records: two men improvising, guitar, effects, Wasp synth, tape recorder and almost certainly a couple of those special jazz cigarettes. It's simple, powerful, almost certainly improvised live onto tape, and quite clearly descended from Cluster and the like. It's proof, if it were ever needed, that you don't need either an ostentatious display of technology or conventional musicianship to make a statement. It makes me very happy to hear this music again, and by means of a more durable format. There have been a ton of artists associated with the unfortunately misleading industrial label who released far too much over the years, spoiling a once deserved reputation with noodling excesses which should have stayed in the can. Glenn Wallis, on the other hand, is someone whose unreleased back catalogue could stand a little more mining. This is a great release, so let's hope it's part of a general trend.

Wednesday, 10 January 2018

Mex - Do You Wanna Fuck Around? (2017)

Just to kick off in what will probably seem like one hell of a tangent, independent art cinema is, perhaps surprisingly, very much an unfamiliar realm for me. I've seen the odd thing inevitably borrowed from Ted at work, but most of those were weird and terrifying, and probably not representative of your average independent art cinema production. My friend Noel made purchase of a Ben Dover video whilst visiting London and so we watched a bit of that seeing as Noel was kipping on my sofa. For the uninitiated, Ben Dover produced a whole string of independent art cinema videos in which himself and a bloke with a video camera travel England, proposing sexual intercourse to random women working in shops, service stations, or just out walking the dog. The encounters seem casual and opportunist, even if they're almost certainly staged, and the appeal is probably mostly in the cheap and cheerful realism. Ben Dover's independent art cinema looks as though it could happen at the end of your road with one or more of the neighbours; and Ben Dover himself resembles a self-employed plumber more than a mogul of independent art cinema, although I suppose it could be argued that he sort of is a self-employed plumber. Anyway, all I can remember from the one Ben Dover production I watched was a scene in which our man enters an actress whilst persuading her to additionally stimulate the penis of the bloke with the camera, who accordingly chirps, 'This is indeed an unexpected bonus!'

Weirdly, it turns out that Mex once came fairly close to providing soundtrack music for Ben Dover; or at least I'm sure I read that somewhere. Do You Wanna Fuck Around?, subtitled Soundtrack Reflections on a Golden Age of Vice, is therefore an album of what could have been, music for imaginary independent art cinema productions. Naturally it's instrumental, barring snatches of dialogue invoking celluloid seventies blueys more than Ben Dover encouraging giggling cashiers out of their knickers. Musical cues come from psychedelia, bits of the Velvet Underground, and things which have since been reclassified as acid jazz in certain quarters - organ swirling over a big fat beat with blues guitar licks squirting hither and thither, at least as wild and sensual as those films always seemed to think they were despite so often resembling Abigail's Party with budget cuts in the wardrobe department. Doubtless owing to the inspiration of similar sources, whilst this could almost be a funkier, wrinkle-free Led Zeppelin in terms of instrumentation, musically it makes me think of Fatboy Slim, or rather what Fatboy Slim should have sounded like, that same sort of punchy bass heavy go-go but without the whole element of trying too hard.

As might be discerned from the first paragraph, I'm hardly an authority in the field of independent art cinema, but it seems to me that the one thing Mex gets wrong is that I don't recall ever seeing a bluey with music this good. In fact, the few I recall had awful midi-synth soundtrack music of a general type which ended up recycled as vapourwave and Go Kart Mozart. So here is an album which is actually better than the thing it's trying to be, if you see what I mean, and another argument for Mex as one of the most underrated artists and producers in the biz.

Procure yourself a copy by following the link to Mex under Some Stuff at the top left of this page.

Wednesday, 3 January 2018

Atari Teenage Riot - Burn, Berlin, Burn! (1997)

I expected this to sound like Altern-8 with a bit more welly, but as I now realise - admittedly two decades after everyone else - the hardcore of Alec Empire's Digital Hardcore label refers as much to the sheer racket of Bad Brains and other 500MPH American punk bands as it does to anything more closely associated with a dance floor. Many years ago when I was in Academy 23, Pete Williams - our drummer - told me that it was his ambition to combine punk rock and industrial music; because it was 1993, and everyone and their milkman had some fucking project on the go, because no-one would be seen dead admitting that they just wanted to rock the fuck out. It had to have a higher purpose, and inventing a cross between Bourbonese Qualk and the Cockney Rejects was Pete's, give or take some small change. Anyway, leaving aside the sheer arseache of anything invoking the much overused term industrial music, I guess Alec Empire beat him to it. The tools of composition may be the same as whatever it was 2 Unlimited used in construction of their mammoth eurosmash No No No-No No No No-No No No There's No Limit, except the samples are mostly a wall of punk rock guitar and the tempo knob of the drum machine has been twisted around as far as it will go; and surprisingly, the production is kind of rough and dirty, so it actually resembles early Nocturnal Emissions or something off the first SPK album more than anything. I expected noisy but sort of clean, maybe a variation on that Trent Reznor sound - but no, it's just a big fucking distorted noise, a bomb going off, over and over at rollercoaster headache velocity with some girl yelling about the evils of capitalism until she gives herself a sore throat.

If that sounds like a criticism, it isn't supposed to be. Like any form of music overdriven to the point of absurdity, the noise works on an almost physiological level with appreciation coming as much from the point at which it stops as from the actual distorted signal. It works as a slab of overwhelming rage delivered in short bursts, yet with the yelling conveying a much stronger sense of purpose than any of those Cookie Monster metal bands to which Atari Teenage Riot bear superficial sonic resemblance. This is what Sigue Sigue Sputnik failed to deliver combined with what riot grrrl managed only some of the time, but louder, angrier, and - against all expectation - more fun. I expect this also explains why the Prodigy turned their back on children's novelty records round about the same time.