Another year, another bout of the dreaded winter lurgy, resulting in two weeks of shocking inactivity, where my most productive achievement was alternating between staring at the ceiling and the discovery of several justifiably obscure shades of Glen A. Larson on youtube:
Rather beneath my dignity, I’m sure you’ll agree, but slightly more engaging than the ceiling.
My recovery has been significantly, ahem, ‘energised’, however, by the simultaneous arrival of several new projects from some esteemed friends and former colleagues, and as a token of my gratitude to these brilliant people I’d like to share them with you here and now. It will help to both spread the word and also make me feel less bad about having few of my own 2015 achievements to shout about as of yet. First up is the long-awaited publication of a collection of short works by storyteller, broadcaster and former America’s Got Talent contestant Guy. J. Jackson:
In this collection of rare, hard-to-find, and often too-short short stories, Guy J. Jackson wields his not particularly helpful but still relatively charming (at least compared to being chased) worldview in order to pretty much study and correct all of humanity’s foibles, or at least the ones that need correcting by the end of this year.
More familiar as a performer of stories in the verbal tradition, through innumerable shows on both stage and radio, short movies and a couple of albums (you might remember our collaborative Notes On Cow Life cassette from 2012), Guy’s distinctive mix of creeping intrigue and amiable surrealism loses nothing in it’s translation to the page (though I’ve included a recording of his reading an extract below for added measure:
The stories vary from several pages to the merest few lines and are great to dip into, but better to immerse yourself in – indeed I read the whole thing in one big greedy sitting. Grab your own copy here.
Next up, are you familiar with the work of DCW Briggs? He’s a graphic artist, comic publisher, musician and all round good chap, who has produced a huge body of work over the years, under a number of pen-names [pun intended] such as Hills Have Riffs, which just happened to be the nome de plume he chose when we collaborated on a 2013 mini-album Earl Grey Whistle Test, recorded in Bush House’s Studio S6 in the months leading up to the Ghosts Of Bush sessions:
Dave’s latest exploit is a collaborative exhibition with Andrew Walter at Studio 73 in Brixton Village at the behest of the excellent Indestructible Energy zine, featuring new works, collage, short-press comics and more. This Saturday (17th) sees the closing party, with live music from Mark Dicker, formerly of Trencher playing on a PA system loaned to him by noisy tearaways Part Chimp. Several years ago I found myself on the same bill as Trencher, and seem to remember their set being so loud that those watching in the front row actually appeared to be swimming through a sort of hot and viscous sound-soup. The prospect of one of their number playing on any kind of sound-system that Part Chimp consider fit-for-purpose in a space that small strikes me as a thrillingly brave and foolhardy move.
So, come down on Saturday, pick up some great short-press comics and original artwork by Dave and Andrew, have your ears blasted off and served back to you and perhaps invest in a copy of Indestructible Energy’s latest issue too. And of course you can always visit Dave’s DCWB Website. He doesn’t update it all that often, but it’s always worth the wait.
Moving onto equally exciting news, namely the recent launch of a new collaborative EP from Franziska Lantz and Howard Jacques. Franzi has of course appeared in these pages before, when we collaborated on Whirled Service, a session for BBC Radio 3’s Late Junction that I keep meaning to dig out the archive. Howard you may know from Resonance FM‘s excellent Bermuda Triangle Test Transmissions Department. The duo’s debut 12″, recorded as DPM357x is the first release on Franzi’s Global Warming Records, and while I know it’s a bit early to claim this as one of my records of the year, stranger things have happened! Purchase your own copy direct from the artists after their performance for Club Integral at Stoke Newington venue ‘The Others’ on January 23rd. I shall be there (in my capacity as a fan) and hope you’ll join me. Further information for those of you who are socially-mobile on their Facebook page here, including details of the other acts on the bill – No Cars, Flameproof Moth and Rucksack Cinema. Who says we’re running out of band names? UPDATE: You can also purchase it HERE. Which you jolly well should.
Finally, do you remember my writing last year about the kickstarter campaign to fund the recording of the Synaesthete album Array? Well, I’m happy to say the campaign was a success in more ways than one – this debut long-player from Sarah Tanat Jones’ sophisticated synth-pop project would be brilliant even if you weren’t a complete sucker for multi-tracked vocals, syncopated hand-claps, tick-tocking drum machines and lush, hand-painted artwork (Sarah takes care of that too). Available now from Kit Records and hugely recommended for fans of Tune Yards, Glasser and other left-of-centre electronic pop delights. Jolly good label, that Kit Records…
Right, that’s probably enough to be getting on with and certainly enough to stave off any more forbidden Glen A. Larson-cravings (or ‘Grand Larson-y’, if you’ll pardon the pun). As for my own affairs, I’ve got a couple of rather intriguing tape-music projects lined up for the next couple of months, which could prove most interesting as long as long as my own health and that of my tape machines holds out. They’ve been rather poorly too, of late, but I’m determined that the usual battle between triumph and disaster will resume with renewed vigour next week. And don’t forget to keep an eye out for this, out soon on Buried Treasure:
A few random bits and pieces to bring to your attention this week. Firstly, do you remember that remix I produced for shouty London groove-merchants Chips For The Poor back in 2012? Well, I enjoyed doing it so much that it’s only taken me two years to produce another (with apologies to Gum Takes Tooth, who have been waiting almost a year for theirs – I swear I’m working on it!). This latest reworking is for the new Brood Ma Remix album on the awesome Quantum Natives label, that shadowy collective of beat-makers, programmers and graphic designers that includes Ornine, Yearning Kru and Brood Ma himself amongst others. If the name sounds familiar, it could be because his second album P O P U L O U S was the subject of a very flattering review in last month’s Wire magazine. To my ears it sounds like OneOhTrix PointNever or Autechre trying to make an oldskool hardcore record (with hammers), and indeed Daniel Lopatin has confessed himself a fan. Wasting no time at all, remix album re P O P U L O U S is out this week, and I’m very pleased to have asked to add a contribution. Two remixes in as many years? Nothing can stop this runaway train!
“r e P O P U L O U S” is a view of the original work from 7 different perspectives, as seen through a virtual reality headset slowly fossilising under ash and magma. Two of the album’s tracks, ESTEEM and NRG JYNX, have been rehewn and augmented, different stresses placed on the nervous euphoria and heat-hammered visions of the originals: Ornine’s chittering percussive trance ritual, Al Tariq’s industrial dancehall schematics, Recsund’s melodic electro strata, Yearning Kru’s cthonic collapse, Lyd’s open-air psychedelic zone, Robin the Fog’s claustrophobic pleasure release, and Ana Caprix’s distant, mourning viewpoint. These excavated snapshots reveal a wider panorama of a world moments before the inevitable”
You can check out re P O P U L O U S on the above soundcloud link or download the entire album here for FREE! There’s plenty more to be had, including the original P O P U L O U S long-player at the delightfully panoramic Quantum Natives website, while Brood Ma’s debut full-length F I S S I O N for Mantile Records is also well worth hunting down. I’m a bit of fan, can you tell?
Next up is Sarah Tanat Jones, a musician and illustrator that Chris and I met when Howlround took over the Alien Jams show on NTS Radio back in May (or rather we were invited by host Chloe Friedman and politely made ourselves at home, but ‘took over’ sounds more edgy and exciting). Sarah produces electronic synth-pop under the name Synaesthete, equally groovy illustration under her own name (the above ‘Record Shops of Soho’ is, entirely predictably, my favourite) and co-runs the Kit Records label. Her music is very much in the vein of artists such as Glasser, and I’d even go so far as to say that her recent EP Earth and Air contained more glacial electro pop brilliance in its four tracks than on much of the former’s recent album. This is my personal favourite:
Now Sarah is asking for help to record her debut LP, Array, a CD and picture-book project combining her two talents. Releasing albums being the expensive business that it is, there’s a Kickstarter campaign that could do with your support here, with lots of nice benefits up for grabs. including original artwork. At the time of writing the totaliser is nudging just over the halfway mark with less than three weeks to go, so get cracking. You can also buy the Earth and Air EP here.
Lastly, and on a note that couldn’t be more different if it tried, I was sorry to hear this week of the death of Francis Matthews, the actor who, as part of a long and distinguished career, played detective Paul Temple; but was probably better known – somewhat to his chagrin- as the voice of ‘that bloody puppet’ Captain Scarlet. The archetypal dashing and debonair Englishman, I was lucky enough to interview him along with Alex Fitch for Resonance FM’s ‘I’m Ready For My Close-Up’ way back in 2009; and as there doesn’t seem to have been much else in the media by way of a tribute, Alex has dug up the original podcast. Hope you enjoy spending some time in his company as much as we did!