The Five music thing again for whatever it might be worth? Five? 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? Was there ever? 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 who? Same what every day? Here’s your five, be thankful…
1: The Pop Group have just Presented the brand new official video for ‘Words Disobey Me (Dennis Bovell Dub Version)’, an animated art visual by Peter Harris and Llyr Williams. The Dennis Bovell dub version of ‘Words Disobey Me’ is taken from the upcoming album ‘Y in Dub’ – “a dynamic dub reconstruction of our debut album ‘Y’ out 29th October on Mute Records”
2: Star Rover – Polyrhythms abound, we have here the new single from the New York City duo, the single is called ‘Ghosts of New York State’,, this is a first taste of the forthcoming album of the same neame. The first taste is rather beautiful, crisp, precise (the video is rather fine as well). More details via their Bandcamp
3: Gerycz/Powers/Rolin – Now this is rather nice, hang on, there’s nothing more annoying than someone coming up to me when I have my art hat on in an art gallery and saying “that’s nice”, is there ever anything more uncommited than somone saying of your work, “nice”, but this is really really nice, like sitting in a field in the sunshine is really nice, or dangling your feet in a river is nice. This is a track from from the album “Lamplighter” out around about now on American Dreams. Here’s the Bandcamp link, do go explore, there’s a couple of track to hear on the Bandcamo page right now, I expect there will be more in a couple of days. Now when I’m in a gallery and someone says of one of my paintings, “that’s nice” I smile and politely nod and thank them while really I’m thinking, “nice” Nice x&5$*!! Is that all you can say! After all the struggle and emotion and pain and everythng else poured in,nice is all you can say!” but this really is nice, sometime nice is far more than just nice and well here you go, this track is nice…
More on that rather nice Gerycz/Powers/Rolin album
“It was almost entirely improvised,” explains Columbus-based guitarist Matthew Rolin. He’s talking about Lamplighter, the new album from Gerycz/Powers/Rolin, a trio featuring himself, Columbus hammered dulcimer player Jen Powers, and Cleveland percussionist Jayson Gerycz who plays drums in the indie rock band Cloud Nothings. The group weaves together roots music, free jazz, rock, and drone to create mesmerizing, largely acoustic music that captivates, dazzles, and imparts wonder.
Lamplighter is lightning in a bottle – the trio is firing on all cylinders, confident in their skillset and interplay, which makes the improvisational nature of the compositions even more impressive. “We talked about each piece for maybe thirty seconds to a minute before recording it,” Powers says. They knew they wanted to craft a collection with varied tempi, sonic palettes, and sensibilities, and so would talk about songs prior to recording, if only a little. To give some sense of growth, their previous record Beacon had zero planning – straight jams, only. Lamplighter was recorded at… read more
4: Badge Epoch have jus released a new album, here’s a video taster, the whole album is up and ready to be checked out on their Bandcamp page. Matbe they’re really called Badge Époque? They’re from Toronto, Ontario, Canada,
Video by Alex Kingsmill & Beyond Wonderland Films, these things always deserve a mentinn
“Before forming outer limits jazz-rock outfit Badge Époque Ensemble, Max Turnbull masterminded the oddball pop persona Slim Twig, wrote and performed with U.S. Girls, and moonlighted in varyingly experimental groups across his native Toronto. While this was going on, the devout cratedigger had his third eye trained on another project—one that would span the breadth of his mercurial creativity. This “journal album,” as he puts it, is titled Scroll, and it collages together the pearls of Turnbull’s eight-year dive into his songwriting imagination.
Sprawling across 90 audacious minutes, Scroll—released simply as Badge Epoch, a tidy distinction from the collective Époque Ensemble—sounds unearthed from a lost musical Atlantis. Turnbull calls it “a cosmic hodge podge of funk, jazz, ambient techno, aggressive guitarmonized rawk, musique concrète, and hip hop.” The aesthetic breadth is woven playfully together in a form evoking classic album collage-works: J Dilla’s Donuts, Uncle Meat-era Mothers of Invention, Broadcast & the Focus Group Investigate Witch Cults of the Radio Age, and Actress’s “sui generis masterpiece” Ghettoville. In their spirit, the record is peppered with musique concrète interludes and has a dream-sequence feel, as if somebody else’s memories had been scattered around your head.
Turnbull began assembling the nuggets in 2017, when he enlisted the Toronto sound artist Andrew Zukerman, aka Fleshtone Aura, to collage his works-in-progress into sequences before adding undercurrents of Zoom-recorder-snatched sounds and Buchla synthesizer. “My instruction was to cut things up, open windows, slice, dice, what have you,” says Turnbull. “Eventually this turned into 4 discrete cycles of music,” each taking up one side of vinyl.
5: omond Campbell – More of that crispness, another piece taken from the album LŪP available on One Little Independent Records from 22nd October 2021 Pre-order the album here, aren’t we good for you? I know, we said all that last month, I tend to repeat myself whe nunder stress, did you even check out the peice from tw oweeks ago? Shal lwe jsut say it all again? id there a point to any of this? ORGAN: Five Music Things – Lomond Campbell, Palberta’s Lily Konigsberg, Reb Fountain, Andy Bell’s GLOK, Harry Stafford and Marco Butcher, United Color Of Black Metal and…
“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”.
Live version of the single Engineer Of Fear recorded in the golden hour at The Lengths using every single extension cable in the highlands.
6: Scalpling – We’ll just park this at the end, it just came in, the first track released from Ffood Remixed, released 8th October via Houndstooth. More details should you wish to search out the vinyl
Barry Burns of Mogwai said; “I loved reworking Cloudburst due to the sheer mass of lovely little (and big) noises from which I could make new drum sounds and melodies to layer over the original. This was a tune where everything was so nicely overwhelming in the beginning and somehow came together really well with a bit more chaos from my fumbling about with the buttons. Really looking forward to seeing the band live soon.”
Here’s the press release hype for those who like to read this kind of stuff..
“On 8th October, Bristol techno, noise and hardcore supremos SCALPING will release their latest project ‘FLOOD REMIXED’. The EP is an excellently curated collection of sublime remixes from some of the most prominent and intriguing musicians, producers and figureheads from across the musical spectrum. Heavyweight contributors include 2021 Mercury Prize nominees and recent number 1 album holders Mogwai as well as Laurel Halo and object blue.
‘FLOOD REMIXED’ continues the stellar trajectory of the band, who, over the past few years have become an unmissable live act and gained notoriety as one of the essential, electrifying new bands in the UK. Their recent debut EP ‘FLOOD’, their first release for the forward-thinking Houndstooth label, gained widespread acclaim
Scottish post-rock icons Mogwai, off the back of scoring their first ever number 1 album with ‘As The Love Continues’ and their first Mercury Prize nomination, step up to remix ‘Cloud Burst’. Stretching and expanding the track, creating new drum patterns, and continually ratcheting up the drama inherent in the original; a naturally sensational slab of post-rock.”
P.S The Mercury Prize has always been a complette sham,you can’t be nominated unless there’s cash, a complete pile of cash for votes slice og music industry horsepoop
I never really liked Mogwai that much if the truth be known, that Zidane thing was alright, they always seemed like the overhyped watered down version of a lot of other less compromised things to me, still, they stood the test of yime or indeed time a little more than Blur did..
Let us just leave this here….