Shall we do it again, five more? The Five music things thing for whatever it still might still be worth. Five? There’s something rather compelling about five. Cross-pollination? Five more? and why do we do all this? Do we need to do the editorial bit again? Is there another way? A cure for pulling cats out of hats? Is there a rhyme? Is there a reason? Was there ever? What do reasons make? Five more, same as last time (and the time before) five, and no, we never do and the proof of the pudding is in that proof reading. When we started this thing, oh never mind, it doesn’t matter and like we asked last time, does anyone bother reading the editorial? Does anyone ever actually look down the rabbit hole or is it all just method acting? We do listen to everything that comes in, we do it so you don’t have to, we are very (very) picky about what we actually post on these pages or play on the radio or hang in a gallery. Cut to the chase, never mind the editorial there’s loads of music further down the page, well five or so pieces of music that have come our way in the last few days and cut cut slash and cut to the damn chase, who needs an editorial? Here’s your five or so pieces of music for today….
1: Alison Cotton – This is a little taster, a hint of the six tracks that appear on Alison Cotton’s forthcoming album ‘The Portrait You Painted of Me’ which is released on Rocket Recordings on 17 June. A teaser for her fourth solo album release, The Portrait You Painted of Me.
“The Portrait You Painted of Me, Alison Cotton’s first for Rocket Recordings – is, like previous solo albums, more experimental than her collaborative work in terms of song structure and musical texture. The touchstones of her sound are viola, harmonium and voice, merged together to create a rich suite of songs.
‘Violet May’, the only “song” on the album, was inspired by a trip to Vita Sackville-West’s Sissinghurst Castle. Its plot deals with a reclusive artist who has forsaken all else for a life of solitary creation in her tower. The structure and sound reminiscent of a post-modern approach to lyrical concerns dealt with by folk singers of the British ’60s, but the actual arrangement is closer to something John Cale might have done with Nico on The Marble Index.
‘Mumurations Over the Moor’ is a wordless piece of layered vocals, drifting like fog towards a sunset over the green undulations of North East England (from where she hails). ’The Last Wooden Ship’ evokes the shipyards of Sunderland using droning harmonium and viola lines, laced with piano and percussion events, while her voice calls out like one of Tim Buckley’s Sirens urging listeners to a rocky demise. ‘I Buried the Candlesticks’ has a haunted, traditional feel with its dolorously folky viola melody laid across a thick carpet harmonium, and small bursts of percussion that sound like cannonade heard through the thick cold walls of a castle in winter. ‘That Tunnel Underground Seemed Neverending’ is a musical vision of Northumberland’s mining culture at the dawn of the 20th Century – labyrinthine, subterranean, dimmer than night.
The closing track, ‘17th November 1962’, inspired by nearly-forgotten memories of disaster with a fishing boat, a storm and an ill-fated rescue attempt. The song (and album) ends with what sounds like a forlorn foghorn cutting across waves of night with Alison’s voice again evoking the Sirens.
As with its predecessors, The Portrait You Painted of Me was recorded at home in London, beautifully produced by Alison’s partner, Mark Nicholas, and it contains all the elements that result in the sombre, exquisite melancholy she creates. This is some serious and remarkable stuff”.
And here indeed is that first full track from Alison Cotton’s album, the aforementioned Violet May…
2: Vomitatrix “this band is called VOMITATRIX and we are available for weddings and bar mitzvahs. contact our manager Ricardo Von Eyeballs for more information. the awesome first number for our set is missing from this documentation, but you’ll get the idea. studio release impending” said Weasel Walter. Seems when they posted their first visuals a week ago they were called Blood Bitch, but “or the record, after some deliberation, this band is officially called VOMITATRIX, from here on in . . .cheers”. Who knows? You never quite know with Weasel Walter and his many bands and such, the Flying Luttenbacher does like noise, got ta love the guy like you love you local leg-ripping rotweiler, feels like he has a different band or release every month, bring it all on, these things matter, every little bit of it matters.
And if that wasn’t enough of a glorious first taste, here’s some more. Don’t be asking us what’s going on, more when someone, probably Weasel Walter via very shouty e.mail or communication of some sort, tells us more.
Like we were saying jsut now, Weasel seems to have a different band or release or shade of confrontation every week, here’s another one for you, a just released recording from 2021
“This isn’t your grandfather’s free jazz. Hell, it probably isn’t free jazz at all, but you have to call it something. “Katyusha” is ballistic fire music that starts where the most berserk, intense free music begins and then sustains that, then pushes it further. Blood vessel bursting intensity, stamina, speed, and momentum is here in blinding quantities, all the while retaining lightning fast interaction. No dull roar, the densities and dynamics do vary, but there is never a dull moment or coasting. No melodies, no beats, no ballads, no mid tempos, no diffuse gestures, this release by an international crew of warlocks pushes instrumental technique to new extremes. Saxophonist Martín Escalante is a singular stylist, wrenching scathing fusillades of sound from his instrument in a one-man orchestra of multiphonics, altissimo shrieks, subtones, and screaming. His tone here is unamplified and unfiltered – he conjures these hellish sounds acoustically through sheer force and determination. Bassist Teté Leguía wantonly deconstructs bass playing in a low-tech manner utilizing feedback, magnetic field disruption, found objects, and distortion. He lays down a thick excoriating, wooly canvas for the other two to puncture and rend, goading them to higher peaks. Drummer Weasel Walter is known for his unrelenting momentum, and this performance finds him in peak form. Where legendary musicians like Rashied Ali and Tony Oxley pushed free drumming to new vistas of articulation and activity, WW cranks that intrepid mania up another bunch of notches, whipping up an absolutely merciless tornado of tightly coiled percussive activity (or well chosen silence, in some cases). This shit sounds like a “Machine Gun” era Brotzmann or Milford Graves’ “Babi” played on 78 instead of 33. Admit it. Masayuki Takayangi might have been proud. This is true energy music for the 21st Century, not looking backwards for a single second. The trio of Escalante, Leguía, and Walter throw down a goddamn hair-raising gauntlet for extreme free music. Love it or hate it, but admit there’s nothing quite like it.
4: Lights A.M – “Norwegian electronic project Lights A.M. (aka Erlend Eilertsen of Essence Of Mind) returns with a new double A-side single that is accompanied by the release of a video clip for “Run Away” made by Erlend Eilertsen’s long time partner in crime Christian Paulsen (Essence Of Mind, Hell:Sector). Find the single here on Bandcamp
5: Cocaine Piss – Another new or recent or just released or soon to be released track from the band with the silly name. More here if you need more than to listen to it a couple of times here. kind of like them in a throwaway pop art artpunk kind of silly label forgotten in 15 minutes kind of way, I;m preety sure they don’t really care about what wew care about,, we do care a lot. Don’t like the video, they probably don’t care much about that either..
Also, while we’re here, great 2005 version of Hawkwind’s Born To Go from The Heads.
And from Melbourne, Australia, ROT TV.
Just who are Rot TV? Watch this space, this excellent version of Hawkwind’s Urban Guerilla demand we go find out more. We;ve just found their latest album, it came out in February 2022, it rocks, more in a day or two, for now here it is
“Heavy Machinery Records and Tee Pee Records are very excited to announce ‘Tales of Torment’, the new record from Melbourne horror rock juggernaut Rot TV, out February 18, 2022” More in a while….