Vanilla Soup? A double scoop? Porcupine Pie? What was all that about? The five music things thing again? Already? Five more? Again? Do we need a new editorial yet? Is there a point? is there any point? What do points make? What is the point? Again and again and again (and again). Five more, same as last time (and the time before) five more musical things to explore, another five? Already? Alright already? You never did answer the question, shame about last time around, where’s did we put the plot? Dive? Five? Dave? Five more pieces of earfood? Shall we do it again? Back to back to back being back to the five musical things thing and the fractured music portal yet again (and again and again) and yeah, we did say all this last week and the weeks before and blah blah blah while the whole world window and no, we never do and the proof of the pudding and all that proof reading. It doesn’t really matter if it was a television fizzing and going off and things back then when we first heard of the Window going off and things. and like we did ask last time, does anyone bother reading the editorial? Does anyone ever actually look down the rabbit hole or is it all just method acting? Cut to the chase, we could just cut ‘n paste the editorial from the last time, there’s loads of music further down the page, well five or so pieces of music, cut to the damn chase, who needs an editorial? Who needs any of this? Who needs it, who needs it, just cut to the chase, who really needs any of this? Cynical smile? Same what every day?
1: Lily Konigsberg has a solo album on the way, she’s already released a new album with her excellent band Palberta this year, as well as a number of other things, she is productive, pro-active, whatever she’s doing she’s always worth checking out . Today, Lily Konigsberg has announced her “proper debut solo full-length”, the album is called Lily We Need To Talk Now, the title apparently comes from a text she got from Amos, who also serves as this album’s producer. It’ll be out in October and she’s starting things off today with a song called “That’s The Way I Like It”, and here it is right now…
“I said ‘I’m going to write a song now’ to my friend and then wrote this song in 20 minutes,” Konigsberg said about the creation of the track. “The chords are symmetrical so it’s really fun to play on guitar. It’s a fucking catchy and sassy song about getting what I want when I deserve it. Not whatever I want. Just when I deserve it.”. And the details and loads more information can be found on t Bandcamp page
“Scottish multi-talented artificer Lomond Campbell has announced the release of his eagerly anticipated ‘LŪP’ album, out via One Little Independent Records on October 22nd.
Although his music is grounded in sound it often incorporates sculpture, engineering, product design and visual art. Using a combination of hardware hacking and industrial manufacturing techniques, Lomond builds his own unique instruments and devices for creating sound which he combines with modular synths, piano and voice.
Originally given a low-key release on Bandcamp, ‘LŪP’ came to the attention of Mary Anne Hobbs who invited Lomond on to her 6music show to talk about the project. The album had a physical release on cassette by The Dark Outside label, limited to only 100 copies which sold out in a matter of hours, and will now be available worldwide and on vinyl and CD for the first time.
‘LŪP’ came about when Campbell was commissioned to build a custom tape-looper for prolific Fife-based independent singer-songwriter King Creosote. He tells us “I wanted the machine to embody the compositional ideas of the two esteemed New York avant-garde composers – William Basinski and Steve Reich. It plays 12 second tape loops which ‘disintegrate’ over time as the tape passes near to a rotating magnetic disc. This rotating disc also provides a clock and drives two eccentric cams which sends out ever-shifting phase patterns. You can hook the machine up to a modular synthesiser and process the disintegrating tape loops while generating Reichian phase shifting patterns.”
The machine itself, LŪP, takes tape loops that are 601mm long which allows for approximately 10 seconds of audio. On its journey the tape passes a large, rotating disc containing magnets inside. The magnets gradually erase the audio information on the tape, whilst the rotating disc simultaneously drives two small follower gears with eccentric cams that generate gate signals. The small difference in size between these gears cause the gate signals they generate to slowly drift in and out of synchronisation. Using LŪP alongside a modular synth you can patch the drifting gate signals into your synth to trigger patterns that meander in and out of phase, whilst your tape loop is slowly disintegrating.
The result, ‘LŪP’, is a dynamic, minimalist and introspective ambient pleasure. From the glistening and meditative soundscapes of opener ‘We Go Slow’, ‘Swam’ and ‘Sister’, through the pulsating electronics of ‘Otherly’ and ‘Rad Brad Ivy’ into the latter part of the record where tracks such as ‘WVN028’, ‘Creosote’ and ‘Songs Of The Wildbirds’ bask in eerie, sinister atmospherics, it imagines industrial urban expanses peppered with distant melodic birdsong. ‘LŪP’ navigates the worlds between music and art, craft and engineering, fantasy and science.
Lomond spent his formative years making sound installations with his band and art collective FOUND, winning a BAFTA for creating a moody, narcissistic music machine called Cybraphon which now resides in the National Museum of Scotland. He relocated to the rural highlands and spent five years building a studio called The Lengths where he now makes all his work. Some of his musical friends have come to record albums there, including King Creosote as well as Scottish Album of the Year Award winner Kathryn Joseph.
The first in a series of experiments, Campbell will follow his album with another using the LŪP, as well as a limited run of cassettes with lost “cutting room floor” style expanded elements of the ideas used here, which fans will be able to chop up and edit themselves”.
3: Reb Fountain – What away to start? This is just, in the best possible way, nice. I hate it whe nsomeone say something I’ve done is “nice”, nothing worse then someone walking up t oone of my paintings and saying “that’s nice”, Peter Prendergast once said, “if your granny says ‘that’s nice’, chuck it in the bin”, mind you he said “chuck it away” or rub it out” rather a lot, but this is really nice in the nicest possible way, “Lacuna is the third single from Reb Fountain’s new album IRIS due for release October 1st, 2021 on Flying Nun Records“. There’s a couple more songs on the Bandcamp page, she’s from Auckland, New Zealand
4: GLOK – You surely have to like the way this revolves around in that pleasing way your washing sometimes does? “Andy Bell (Ride) shares new single from upcoming debut album” and the headline, and here it is, we’ve shared it as well
“Closer is Andy’s tribute to Mr Fingers. “Amnesia is one of my favourite albums and Mr Fingers is one of the big influences on me starting to make this kind of music myself. I like the bedroom production, homemade aspect of that album, it’s a thread that runs through the early A Guy Called Gerald stuff too. ‘Closer’ is influenced by the production of ‘Washing Machine’, with the delays and the fairly simple collection of elements.”
“Although not a full-blown concept album, ‘Pattern Recognition’ has a loose thread which takes in a week of life, from weekend to weekend, with each of the vinyl’s four sides capturing different mindstates across that transition. Each side has a distinct feel that’s different to the last but inherently cohesive – much like the changes an individual goes through over 7 days.
Across the album with loving craft Andy weaves together throbbing dubbed-out acid, steamy jack trax, levitational psychedelia, sparkling Balearic, techno, Kosmische, shoegaze, art rock and Compass Point-style post punk – with just a hint of ambient, new age and contemporary classical too. With GLOK previously an instrumental affair, on ‘Pattern Recognition’ he has branched out to working with vocalists, with guests including the Irish punk poet Sinead O’Brien on ‘Maintaining the Machine’, who he approached having fallen in love with her single ‘Most Modern Painting’. Other voices include friend and Ransom Note labelmate Chloé ‘C.A.R.’ Raunet on ‘Entanglement’, the interstellar futurist MC Shamon Cassette (Bon Voyage) on ‘Process’ and his wife Shiarra on ‘That Time Of Night’, while Primal Scream’s Simone Marie plays bass on ‘Maintaining The Machine’.
Originally using the name GLOK to keep his identity secret, wanting the music to be judged on its own merits, he discreetly released several tracks online, with ‘Pulsing’ catching the ear of Bytes, who released these pieces as ‘Dissident’, first on cassette, then proceeded by two vinyl pressings due to demand. The ‘Dissident Remixed’ compilation followed, featuring interpretations by Jay Glass Dubs, Richard Sen, Maps and Andrew Weatherall.
Bell provided guitar on Weatherall’s ‘Making Friends with the Invader’ from ‘Blue Bullet’ 12” and again on both tracks from The Guvnor’s ‘End Times Sound’ / ‘Unknown Plunderer’ EP.
Most recently Bell contributed a GLOK track ‘Tories in Jail’ – alongside Daniel Avery, Roisin Murphy and Nitzer Ebb – for ‘The Gun Aid’ collection, which was released to raise funds for the Hackney drinking establishment of the same name that took a serious financial hit due to lockdown”.
5; United Color Of Black Metal – Guillaume Brot & Jean-Baptiste Geoffroy with something that rather hums (rather than speaks) for itself. Something from the new album Synchronicités, And oh how we want to put a u in color, come on, you’re not Amercano are you? “United Color Of Black Metal est la réunion de Jean-Baptiste Geoffroy (Tachychardie, La Colonie des Vacances, Pneu, Binidu,…) et Guillaume Brot (Brötschen Des Todes, Llamame La Muerte, Tu Brüles Mon Esprit, Tropique Du Cancer,…). À eux deux, ils dessinent un paysage musical minimaliste mais florissant. Le genre que vous contemplez à travers une fenêtre de wagon de train, voyageant à travers une plaine enneigée.” More here
Okay, six then, “This is the second single from the Album ‘Bone Architecture’ by Harry Stafford and Marco Butcher on Black Lagoon Records September 2021. It was mostly filmed and produced in Manchester UK by Harry Stafford. It’s a riff on loving your dirty city, despite what the world throws at it”.
“HARRY STAFFORD, perhaps best known as founder/frontman of post-punk outfit INCA BABIES, and punk-blues vet MARCO BUTCHER present a new chapter from their forthcoming ‘Bone Architecture’ LP (out on September 3). This time they take on Stafford’s hometown of Manchester on their post-punk meets blues-fusion ‘Termite City’ single (with the accompanying video shot throughout the city thanks to Stafford’s wheels)”. more details here should you feel the need
and while we’re her, mr Turner on top form….
“Recorded live at the Gaumont Theatre, Ipswich in spring 1984 this superb film of the ‘Hawks’ features their most eccentric of front men Nik Turner in fine form. Resembling a creation from one of Dr.Who’s least convincing episodes, Turner wanders around the stage like a maniac, motormouthing his way through what is a truly impressive set of some of Hawkwind’s best material. The additional lasergraphics and wild editing could not have been more suitable. Prepare yourself for an audio/visual Brainstorm.