category: Media



20
Jan 2017

Tubular Bells of Dune. Or “Two extended pieces of live music from the first half of the 1970s”

The first is a 41 minute version of Autobahn performed by an embryonic Kraftwerk in a noisy club in Leverkusen in 1974. I like the club ambience but I can see how others might find it distracting. Whether you do or don’t though; there are sections of this performance that are flat out astounding. In the full-on, no-holds-barred, ?“Astounding Tales!!!” sense of the word.

Assuming you like?this kind of thing in the first place.

By about six minutes in?I have a smile on my face and it remains there. For all the talk of Kraftwerk being the preserve of?po-faced music critics and ironic chin-strokers….

And look, there’s no doubt, Kraftwerk would tend to attract more of that demographic than — let’s say —? Maroon 5 featuring Kendrick Lamar.

Psychedelic industrial space jazz from the future draws those dudes like a moth to a flame.

But along with the chin-strokers come the people who just find themselves smiling, and filled with good humour and mirth when they hear psychedelic industrial space jazz from the future.

And even if you don’t like the music. I get that, I really do. But even if you don’t like the music, you have to be a willful contrarian to deny the sheer Greatness of musicians?who can literally tear a rift in the fabric of reality?and allow a small audience in Leverkusen in 1974 to listen to the future for 41 minutes. I’m not saying “this was the sound of?the music of the future”. I’m saying “this was what the future itself sounded like as it echoed back through literal wormholes in the fabric of spacetime”. Literal. Wormholes.

Literally.


The next one is from the previous year.

Ahh… 1973, a golden age… a time when a hippy and his mates could go on telly and perform a mellow 25 minute multi-instrumental prog groove that was so well-received and so beloved he?didn’t really have to do anything else after that. There was a very short window of time in which that could happen. I love that Mike Oldfield found it.

Let’s face it, the purple bit in the middle is basically every episode of Doctor Who up to that point. Only a lot better and much easier to watch in one sitting. And if you don’t give a little audible yelp of joy when the man says “two slightly… distorted guitars” and then follows up with “man-DO-LIN!!” or at least grin and think “yes!” when the choir joins in right at the very end then… well you’re probably Donald Trump or L. Ron Hubbard or Dracula or someone.


While those two performances are very different, personally I love them both. And while I?suspect?I’m in a small minority on that, I think we can all agree that the tapestry of human existence, the very stuff of human culture is objectively improved by having these two things mixed into it.

I mean… … Literal. Wormholes.

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31
Aug 2015

Huun Huur Tu – Chiraa-Khoor

Much Tuvan music tries to evoke the joy of galloping across the open steppe on horseback.

With this song, Huun Huur Tu succeed in doing just that. Magical.

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28
Aug 2015

Hypnotic Brass Ensemble – Spottie

Pulsating heavy brass. From Chicago but carrying hints of New Orleans and late 70s London ska.

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28
Aug 2015

Enrique Morente – Manhattan

Barely recognisable version of the Leonard Cohen classic in a “flamenco meets Sonic Youth” stylee.

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5
Apr 2013

The Cuts

Gets to the heart of things in a way a thousand opinion-pieces don’t…

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3
Apr 2013

Arctic Methane: Why The Sea Ice Matters

I just came across this short film (made at the end of last year) discussing the impact of Climate Change on the Arctic permafrost and the methane hydrates on the floor of the Arctic Ocean. The four contributors are right at the top of their fields and probably know as much about the Arctic environment and climate as any four people on the planet.

I should warn you, however, that what they have to say is bleak. Very bleak. It’s not for the faint-hearted. They seem to feel that unless we do something really quite dramatic to combat the rising Arctic temperatures, we are looking at a global catastrophe. The film has forced me to significantly revise my ideas about Climate Change “worst case scenarios”.

Part 2 of the film is currently in production and is to be dedicated to possible “solutions”. I’d like to think there’ll be something in it to prompt a corresponding revision of my faith in humanity to actually do anything about this. I’m firmly of the opinion that we’ll burn down the last tree before we even consider abandoning the quest for “more, more, more”.

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28
Jan 2013

Just checking in

Hey folks. Just a quick post to let you know that I’ve not become fed up with blogging so soon into the new year. It’s just the fact that almost as soon as I pledged to post more frequently, I suddenly secured a work contract that has me snowed under. Which is a good thing from my perspective, even if it does mean I’m neglecting you, dear reader. Not to worry though, it’s a relatively short-term contract, so I’ll be back before too long. In the meantime I’ll try to add some short posts. Mostly links to interesting stuff elsewhere, I suspect.

Today, for example, my article on WB Yeats has come round again over at On This Deity (the relentless march of time keeps the calendar spinning). If you’ve not read it before, you can check it out now.

Meanwhile, both here in Ireland and across the sea in Britain, the hyping of shale gas continues apace. “Shale gas could be worth billions!” says a man with a vested interest in over-estimating the worth of shale gas. Let’s not mince words, the exploitation of shale gas could end up being one of the most environmentally damaging processes seen on these islands since the clear-cutting of the old forests between 2500 and 500BC. And the notion that it’s a case of “shale gas or coal” is just a nonsense. Yes, renewable energy systems may be slightly more expensive from a financial standpoint, but measuring environmental degradation in terms of an arbitrary monetary system is literally psychotic. As Kurt Vonnegut pointed out, “we could have saved it, but we were too damned cheap.”

A quick “congratulations” to Novak Djokovic, world number one tennis player and the first man to win three Australian Open championships in a row in the professional era. Sorry British / Scottish pals, but Djokovic thoroughly deserved his victory and there’s no shame in coming second to such an incredible player. Now, let’s look forward to the French Open.

Finally I’ll leave you with a video. It’s been uploaded by SWP Ireland (but don’t let that put you off). Feel free to watch the whole thing on YouTube, but it’s the short speech by Vincent Browne (Ireland’s sanest political commentator) which starts about 18 and a half minutes in that I’m linking to. Most of it will be familiar to those of you who have read Chomsky’s Manufacturing Consent, but it’s a worthwhile listen all the same.

“Common sense” in the collection of prejudices acquired by age eighteen.– Albert Einstein

Have a good day y’all.

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11
Jan 2013

The two ‘David B’s

This week, quite rightly, the media has been buzzing with news of the return of David Bowie. His first new material in a decade was released, quite unexpectedly, on Tuesday; his 66th birthday. The song – Where Are We Now? – is a lovely, melancholy meditation on lost youth. Filled with references to Berlin, where Bowie himself spent several years in the 1970s, it was produced by Tony Visconti who – along with Bowie and Brian Eno – formed the Holy Trinity responsible for the three late-70s albums that (in my personal opinion) represent the pinnacle of Bowie’s creative output. I know that sounds like I’m saying he “peaked” with “Heroes”, Low and Lodger and then went into decline. But that’s not how I see it. Yes, there was something of a trough in the 1980s, but 1.Outside in the mid-90s saw him once again climb creative heights rarely visited by others and of the four 90s / early noughties albums that followed, only Hours was less than brilliant (both Earthling and Heathen are grossly underrated and Reality has some stonking songs on it though you might argue there’s some filler there too).

The new single is to be followed by an album in March (called The Next Day) which I am eagerly anticipating. And while well-publicised health problems suggest he may not tour the new songs, we can still hope against hope. Right? As well as the inevitable cooing from die-hard fans (of which I am one and for which I make no apology) there have been other responses. Thanks to the internet, you can read the views of the cynics and the compulsive denigrators just as easily as the views of the die-hard fans. Which is fine. If people genuinely don’t like Bowie, or genuinely find the new song lacking in some way then they are just as entitled to express that opinion as people like myself who are excited about it. Mind you, a lot of the criticism I’ve encountered smacks somewhat of deliberate contrarianism. It comes from the same sort of people who tell you The Beatles never wrote a good tune, Citizen Kane is overrated and insist they don’t understand the phrase “best thing since sliced bread” because frankly sliced bread is shit.

And you know what, those folk are also just as entitled to express their opinion. I find it a little sad that people actively seek the sensation of jadedness – something I seem to spend a whole lot of time battling – but I don’t have to live their lives so let them at it… I’m not looking for repressive legislation on the matter.

Anyway, here’s the new single (along with the odd video). If you’ve not already heard it, I hope you like it as much as I do. I found myself humming it after just one listen and yet I’d still describe it as “a grower” because I’m enjoying it more and more with each new hearing.

The other David B

In my personal musical universe there’s probably only one other person who rivals David Bowie for the top spot (luckily my musical universe is polytheistic in nature, so they don’t need to fight it out). And that’s David Byrne. Like Bowie, David Byrne’s finest hour was quite a while ago – and perhaps not at all coincidentally – also involved Brian Eno. I’m speaking of course about Remain In Light, the greatest album ever recorded.

Also like Bowie, however, that didn’t represent a “peak” from which there was only a long decline ahead. No, like Bowie’s Low, Remain In Light was simply the tallest tree in a forest of redwoods. His career since Talking Heads has been generally overlooked by the mainstream (with the occasional exception… his Oscar for The Last Emperor soundtrack being one such exception) but is no less because of it. So when I read a review of last year’s Love This Giant (a collaboration with St. Vincent) that described the album as “a return to form” I was genuinely mystified. You can’t return to something you never left, and Byrne has been “on form” pretty much since 1977. Whether it was his work with Talking Heads, his solo stuff, his collaborations (with Eno, Fat Boy Slim, St. Vincent and others) or his many books, films and installations; Byrne has consistently brought joy, light, wonder and a great rhythm section to my life.

Love This Giant is another wonderful record. The heavy use of “heavy brass” gives it quite a distinctive sound, setting it apart from most of his other work (excluding, of course, his album of brass band compositions – Music For The Knee Plays). In fact it contains a song (I Should Watch TV) that rocketed straight into my top 10 Byrne tracks and which I listen to regularly. How pleasing, therefore, that it appears on the short live concert by Byrne and St. Vincent that’s just been released by NPR. I recommend the entire gig as it showcases a genuinely wonderful album while throwing in a couple of older tracks. But if you’ve only got a few minutes, then skip ahead to 24:40 and listen to the glorious I Should Watch TV.


29
May 2012

Also, this…

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13
Feb 2012

R.I.P. Whitney Houston

As I’m sure you’re aware by now, Whitney Houston has just died at the age of 48. I personally wouldn’t have been the biggest fan of her music, but her ubiquity for several years means that she did weave herself into the soundtrack of my life, whether I liked it or not. And I admit, there were times when it was very much “not”. Back in the winter of 1992 it was just impossible to escape her massive hit, I Will Always Love You. You’d walk into shops and where you’d expect to hear Christmas music over the speaker system, there’d be that bloody song again. The radio-waves were saturated with the damn thing and music television was in cahoots.

All the same though, that was a pretty good period in my life. I was a young undergraduate and thoroughly enjoying my party years in North London. So despite the fact that I really hated that song by the springtime of 1993, and despite the fact that I would never in a million years voluntarily listen to it, I found myself smiling with a wistful nostalgia when I heard it being played yesterday as a tribute. That overplayed – and overwrought – tune brought back a bunch of good memories with it.

As well as that, Whitney Houston was also – indirectly – responsible for a particularly lovely moment a few years back. I generally do my best to see David Byrne whenever he tours. His music is genuinely important to me and he’s one of the very few people I’ll travel distances to see live these days. Anyway, a few years back he played London and I naturally went along. The gig was – as ever – wonderful and it was a fantastic evening. By the time the encore came around I’d pretty much worked out that we’d be hearing Psycho Killer as it hadn’t appeared earlier in the set. And we weren’t disappointed; that dark and brooding bassline conjuring up all the right kinds of sinister. It’s still such a thrill to hear that song loud and live in a darkened venue.

Then, however, after Byrne had finished urging us to run, run away… the lights brightened and the strings kicked in with an oddly familiar tune. I couldn’t place it at first. Up-tempo and the complete opposite of Psycho Killer. “Maybe something from Uh Oh“, I thought, “I’ve not listened to that album in a while”. But almost immediately I’d thought that, I suddenly realised what the song was…

It was infectious, bouncy and genuinely joyous. Byrne was more than capable of putting a dark spin on the track; subtly subverting it and turning it into something strange and unsettling. But he didn’t. Instead he played it completely straight. No hint of irony. And it worked so well. Everyone danced. Everyone looked at the person next to them with a broad grin on their face. And everyone left the gig feeling slightly euphoric.

So I’d like to thank Whitney Houston (via Mr. Byrne) for that small gift. Rest in peace.

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