A quick and very late update this week, typed in haste while sat on the floor in Amsterdam airport, returning from a digging trip to Slovenia and the Netherlands with some rather groovy ‘Ex-Yugo’ electronica LPs under my arm and a slight headache. But that’s not important right now. I must just very quickly draw your attention to the latest episode of Resonance FM’s crate-digging showcase spectacular Near Mint, which this week features a thumb through the stash of the Ljubljana-based turntablist and producer DJ Woo D. And what a stash it is….
Knocked together in a single take from recent acquisitions, lounge oddities and the kind of fabulously obscure funk that you and I don’t stand a cat-in-hell’s chance of ever finding for ourselves, it’s a heady brew that I’ve had on loop for the past week. And certainly a damn sight better than the Toni Braxton and Chris DeBurgh currently emanating from the airport toilets. Bad taste knows no borders….
Absolutely delighted to present the brand new Howlround LP Tales From The Black Tangle, available to pre-order NOW from my special boutique imprint The Fog Signals. The vinyl has finally arrived and is looking absolutely fantastic, shrink-wrapped with a full colour sleeve in a tasteful matt-finish, with artwork by myself and a beautiful rear photograph by the talented Victoria ‘Ringmaster’ Hastings. We’re very proud and excited, even more so when I tell you that in less than twenty-four hours a THIRD of the stock has been snapped up! It’s selling fast, so if you want to get your hands on a copy, might I suggest moving swiftly?
And now the obligatory press statement: Following a busy summer that has seen the duo touring with “Disintegration Loops” legend William Basinski, profiled on BBC 6 Music’s The Freakier Zone, creating sound installations inside venues as varied as a Portuguese funeral parlour and a reservoir beneath Copenhagen; tape loop wranglers Robin The Fog and Chris Weaver are delighted to announce the launch of their fourth LP as Howlround – Tales From The Black Tangle
The pair create their music following a strict rule – all digital effects and artificial reverb is strictly forbidden. As with previous albums, Tales From The Black Tangle was created entirely by manipulating natural recordings on a trio of vintage reel-to-reel tape machines. Their increasingly spectacular live performances are no exception to their analogue-only rule, and see the pair leaving venues strewn with miles of tangled magnetic tape. Distant trains, industrial sirens, foghorns, ship to shore distress signals, and even a BBC microphone stand in need of some oil, are all are folded into the duo’s darkest and most eerily compelling work yet. A recent vinyl reissue of last year’s Torridon Gate album sold out in a single afternoon, so anticipation for this latest release is high.
You might remember that a small part of the sessions for this album were captured in this rather super Vine video Chris took over the summer, so it’s great to finally be able to present the finished results in a format longer than six seconds:
Right, I’d better get off down that post office. Thanks so much for all of your custom so far and for the very positive initial feedback I’ve been receiving. I haven’t even had time to do press yet, so there’s no official reviews to speak of, but you can rest assured that if they’re positive they’ll be trumpeted from the roof of Broadcasting House…
…And to think until today I’d never heard a recording of my thumb amplified through the public address system of major exhibition venue!
— Robin The Fog (@RobinTheFog) August 20, 2015
It’s been a busy old week at Fog Towers since my return from Copenhagen, culminating in a morning spent wandering around the famous Kensington Olympia with some contact microphones looking for some hidden sounds to record. Currently in-between exhibitions and deserted save for a small army of cleaning and maintenance staff, I was lucky enough to be given full access to this enormous exhibition centre, including its surprisingly loud PA system. The reason for all this will be unveiled next month when I’m planning to return to the building to present the results of my audio adventures. For the moment I’ll just let it be known that playing the sounds of doors creaking, glass being rubbed and the ascension of a scissor-lift back into the cavernous main hall at high volume while staff continue their work undaunted was about the most fun it’s possible to have before lunchtime. Like being given the keys to an enormous empty toyshop…
In other news, here’s what the next Howlround album sounds like:
Following a flying visit to Veneration Music‘s studio in deepest, darkest Kent, I’m very excited to be able to reveal this first glimpse of our next LP – quite literally. It has a title, cover artwork and, thanks to the nurturing hands of genius mastering engineer James Edward Barker, is now primped, polished and ready to go. As with our previous album, the services of this most talented musician/producer/polymath was largely paid for in Butterscotch flavour Angel Delight – a very reasonable price for a chap who’s just been working with Bruce Willis. We’re very excited about it all, but for the moment this enigmatic glimpse of the audio files is all you’re getting! Hoping for a November release, but you know how these things have a tendency to get held up…
On the same subject, you might remember me harping on about Howlround’s first ever music video few weeks back. Why not watch it again? It’s very good but I need to get the play-count up:
I mention it here again because the charity compilation album XPYLON from which this track (a collaboration with Ray Carmen’s abandoned playground) was taken is finally out and available in all it’s 16-exclusive-track glory. As well as benefiting a good cause, it’s also a tribute to Jonny Mugwump’s erstwhile Exotic Pylon record label and radio show, and the stellar line-up below is the perfect testament to his legacy. All original and exclusive material and it’s a ‘name your price‘ release, which means you simply pay what you think it’s worth – but as 100% of all proceeds are being donated to mental health charity ‘MIND‘, a generous donation is always appreciated.
But don’t just take my word as to its quality, a rather flattering review courtesy of Jim Haynes has surfaced in this month’s Wire magazine:
Now that the album has been released, I’m suddenly reminded that I actually feature on the album twice, firstly in my capacity representing Howlround and secondly as one third of new super-group The Trunchbulls, alongside Band Of Holy Joy lynchpin Johny Brown (who wrote the tremendously eerie accompanying text) and Exotic Pylon legend Dolly Dolly (who spoke it and did the eerily tremendous job one might expect after listening to his 2013 album Antimacassar). Anyway, put it down to a busy work-load, to concentrating over-hard on finishing off the aforementioned Howlround long-player or just encroaching senility, but somehow the memory of working alongside these two excellent fellows and the resulting ‘polyglot of Derbyshire-esque Radiophonics’ (thanks Jim!) slipped to the bottom of my mental pile. I’d better post it up here before it slips my mind again:
One thing I haven’t forgotten is Jez Butler‘s superb A Lighter Side Of Concrete from a year or so ago. Heavily influenced by the work of twang-a-ruler-and-make-a-bassline-out-of-it Radiophonic Workshop legend John Baker, it’s an album of decidedly chirpy concrete-pop that I still feel has been rather unfairly slept on. Well, his latest release as part of the Twelve Hour Foundation with partner Polly Hulse is out now on a limited edition three-track 7″ and it’s really quite marvellous. Continuing the legacy of his solo album, it’s a ridiculously catchy affair that sounds like the theme tune to an early 1980s BBC Schools programme about robots or the periodic table – like something Paddy Kingsland might have cooked up for the greatest-ever episode of Zig-Zag, on a spring morning while enjoying a bourbon. Look, I’m running out of analogies, OK? Just give it a listen already!
And speaking of John Baker, I’m ridiculously over-excited at the imminent release of The Vendetta Tapes on Alan Gubby’sBuried Treasure imprint. Alan worked extensively on the Trunk compilation The Baker Tapes several years ago and I believe these tracks represent a further trove of ultra-rare obscurities from one of the Workshop’s true pioneers: incidental music, theme tunes, jingles and special effects culminating in a delicate balance of sleazy jazz, musique concrete and subtle electronics. I was excited then and I’m excited now, especially as I had confidently assumed that after the Trunk release the trail would have gone cold. After all, the BBC does have a deservedly awful reputation when it comes to preserving it’s own archive – though the recent BFI box set of Out Of The Unknown was most welcome, it served as much to highlight the fact that more than half of the episodes of that series have been lost forever, including stories by Ray Bradbury, Isaac Asmiov and Nigel Kneale – a travesty, quite frankly. Thank heavens for enthusiasts like Alan who manage to get past the bureaucracy and red tape and finally give these treasures an airing! Limited edition and selling fast, don’t sleep on this one:
Well, that’s probably enough to be getting on with. Next week I’m off to York to record the sound of vintage Grandfather Clocks. Busy old summer…
Jolly hard work, DJ-ing, let me tell you. Back-breaking too, especially when you’re still lugging vinyl about long after your peers have embraced the joys of laptops, USB sticks, or just getting someone else to mix it for them. You need to keep your strength up if you’re going to sustain a full eight hours of being continually asked if you’ve got any Rhianna or whether you’d mind playing a song off someone’s iPod because it’s their birthday and they’re the only one dancing.
So what could be better than to take a nice juicy apple from the fruit bowl when you’re heading out the door? Perhaps cramming it into an empty pocket of your well-stuffed and spine-creakingly heavy record bag to serve as a mid-session pick-me-up? A nice Braeburn, perhaps? Delicious and full of vitamins!
Of course there’s always a risk that you might just forget about that apple, owing to the demands placed on your attention by the ageing hipster demanding to know if you have any ‘good’ music or the drunk woman who keeps asking for something ‘happier’ when you’re rocking the Prince Buster. There’s always a chance that your apple will merely end up residing uneaten and neglected in that very same pocket of your record bag. That pocket that you don’t really use for anything else and therefore see no reason to check all that often – perhaps only once every couple of years…
While we’re on the subject, I’d just like to point out that I’m still available for bookings and can be contacted through the usual channels. But for my next booking I think I’ll insist on taking carrots. As well as providing the improved night-vision so useful in darkened clubs, they’re also said to aid the memory. Though I can’t remember where I heard that…
Oh, and thanks to Victoria Forbes for the horrifically beautiful photos!
To celebrate my heroic non-inclusion in this year’s Record Store Day, due in no small part to failing to get my affairs in order, I was planning to use this week to spring something exciting onto a grateful world: namely a surprise vinyl reissue of Howlround’s third album Torridon Gate, in an edition of 100 only, complete with gorgeous screen-print of the sleeve by Hannah Brown of Modern Day Magpie and a natty translucent inner. However, thanks to the noble efforts of the good folk on my mailing list, I’m unable to do so…
The fact is, I sent my subscribers an email last week giving them first dibs on the new record and they literally bit my hand off – the entire edition sold out in less than twelve hours!
Sorry to disappoint those of you who missed out, but that really is your lot! The ‘name your price’ digital download is still available, but the number of regretful, peevish or outright inconsolable missives I’ve received in the last few days tells me it’s proving little consolation. However, the fact is that in my original email I promised it would be first-come, first-served, with no second edition and no re-reissue. And I intend to keep that promise until such future times as when it will prove especially financially lucrative to go back on my word and let everyone down – a major career retrospective, perhaps, a deluxe vinyl box set in mahogany, a nomination for the Mercury prize, that sort of thing. Frankly, such worries are quite a way off yet – not much point having a major career retrospective without having a major career first. But I digress…
I do plan to spring other surprises in this manner in the future as it’s quite an enjoyable (if not particularly lucrative) way of running my affairs and keeping my followers on their toes. If you’re not yet on my mailing list and gaining such preferential treatment yourself, why not send an email with the subject line ‘Yes! I wish to be kept on my toes re. this kind of thing in the future’ to robinthefog at gmail dot com? I will take care of the necessary and first dibs on my next vinyl surprise will be yours for the taking!
To Radiophrenia news now, and congratulations to Mark Vernon and his team for the culmination of a successful week of broadcasting to Glasgow and the surrounding areas on 87.9FM (while streaming worldwide online), with a wide and varied programme of original radiophonic works, lectures and performances, including a couple of new works by myself (along with the writer Leila Peacock, of course).
I’m extremely proud to report that one of them, ‘Mount Shock – Music For Microphone Cradle’ was chosen as the work to mark the final broadcast, signing-off and closure of the station at roughly ten minutes to midnight on Sunday 19th. Quite an accolade with over seven hundred pieces to choose from!
Penultimately, the Howlround tape-loop quartet finally came out of dry-dock last week when I performed a solo set (Chris still being on his arts residency in Dubai) for the music technology students of Havering College in Essex. It was good to be back behind the spools and the students responded well to my demonstration of what it’s possible to achieve without resorting to plug-ins, fx pedals and other bits of digital technology. In fact it went so well that for a moment I almost felt ‘cool’ and ‘relevant’, but thankfully those feelings passed before I attempted to get too far ‘down with the kids’. Could have been seriously embarrassing for a chap of my vintage.
And lastly, I’ve moved house too. 80+ boxes of vinyl, tape spools CDs, books and other assorted ephemera (not to mention my army of tape machines) have been successfully transferred to my new abode in Penge, thanks to the efforts of some very strong friends (both literally and metaphorically). This photo was taken at about the halfway point, when there was still some floor-space in which to stand swinging a camera. No such luxuries now. I haven’t seen the carpet since:
There are those who claim that moving house, performing a Essex-based solo tape-loop set and releasing a new record in the space of less than forty-eight hours is sheer, unadulterated lunacy. And you know what? I wouldn’t dream of arguing with such people. The upshot of all of this is that I’m currently sans-internet at the newly-appointed Fog Towers, which is why I’m writing this while day-drinking in Crystal Palace, next to two men engaged in a fascinating discussion about why it’s never a good idea to take cocaine at a funeral. If you’re thinking that sounds rather like stating the bleedin’ obvious, I should inform you that some poor misguided chump once offered me viagra at the send-off of a much-loved elderly relative, so perhaps such activities are more common than you or I might imagine. But all that’s for another time…
Anyway, for these reasons, and all of the above, it’s an exciting time. More soon, my friends, and don’t forget to subscribe if the mood takes you!