Do I seem? Do I seem? Do I seem? Do I seem? Who needs what? No time for editorials, let the actual music do the actual walking and the actual talking. Exact same thing as last time once again, another five (or so) slices of music that have passed our way recently, five slices of music cherry picked for your delight and however you like to slice it and of course it was the price of peaches and…
Five? There’s something rather compelling about five. Cross-pollination? Five more? Is there another way? A better way? A cure for pulling flying swordfish out of the clouds? Is there a rhyme? Is there a reason? What do reasons make? Five more? Cake oil? Snake oil? Bake the oil, everything must go somewhere 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 why we started this damn thing, we never should have done and like we asked last time, does anyone bother reading the editorial? We do really try to listen to everything that comes in, we are very (very) very very picky about what we actually post on these fractured pages or about what gets played on the radio or indeed what we hang in a gallery.
Cut to the chase, never mind the editorial, skip this bit, there’s music further down the page, five or so pieces of music that have come our way in the last few days and what’s Wordsworth? Just the basic facts and links and those sounds (and visuals), that’s surely all you need from us on these Five pages we reguarly post?
Here we go, five more slices of music that have recently come our way, the second five of a new year, this time we start somewhere in London…
1: Balderdasch – From London, and No platonic, No Platonic, Do I seem moronic? For thinking, It’s not platonic…
2: Rien faire have just announced a third album, the band from Lyon, France, will release Le Défilé in late March via the always interesting Dur et Doux label; “With their third album, Rien faire continues to blaze a trail in the somewhat weird new French-language music scene that is difficult to pigeonhole.
And they still have that desire to walk the tightrope. Their music is sophisticated and naive, like a balancing act. It takes detours, never succumbing to gratuitous complexity, seeking to reconcile experimentation and pop music….” Bandcamp
3: Borokov Borokov – Says here “if Borokov Borokov had a formula, it probably would be derived from the following quote: “First and foremost we make music that we ourselves want to dance to. Even when the music in question does not immediately sound like dance music.”
Borokov Borokov are a Belgian analogue duo, they have a new album, World War Two out in mid February via Magnetron Music, here’s a rather intriguing first taste and what might be to some. More in February we expect.
“Alice is a song that misunderstands itself: its misidentification oscillates between a journey down an algorithmic corridor spiraling into deeper and deeper despair and a feverish search for data about a lover who was never written into its code. Lost amid the circuitry of its own longing, it twists through endless headspace.
This dark theme is mirrored in a production that feels as if it could shatter at any moment within its compelling groove. Chopped and sliced samples jitter through the mix, metallic bells stutter and throb, the sound of fractured memories replaying themselves. Wrapped around, a heavily processed guitar line carries the song, while the bass pulses with the rhythm of a heavy-beating heart. Liquid, submerged synth lines ebb and flow beneath it all.
Influenced by R&B and pop tropes – but bending them to their own will – Borokov Borokov conjures a strangely addictive sonic hallucination. Meanwhile Youniss’s voice moves through this dreamscape like a haunting signal, seductive but detached, drawing the listener toward voluntary disintegration. “What you fear, you get for free … Are you with me, Alice?” Hand-claps sound like triggers. Somewhere, a mirror breaks”.
4: Savages and their rather beautiful version of Black Sabbath’s already beautiful Paranoid, Why? Well there’s a bit about the why of it all down there under the video. Do we really need a why?
“Celebrating 10 years of Adore Life, we’re sharing with you two unreleased songs that never made it onto the albums. We left them exactly as they were – no retakes, no remixing. What you’ll hear is precisely how they were first recorded. To us, they feel like snapshots of a moment in time, and while we’ve never been ones to dwell too much on nostalgia we felt these songs offered a fresh perspective on the band, or at the very least – a gentle reminder of its magic. Enjoy the music and video. It is our gift to you. Happy Birthday to Adore Life. What a record. What a time.”
5: Deadletter, a band we covered a number of times in the run up to their first album, are back and getting ready for a second album, This is a second track, It Comes Creeping, from their second LP Existence is Bliss…
Previously…
And while we’re here, a slice of the legendary Dagaband from back there just beause is still sounds good to us….
A track taken from the bands second EP released by MHM Records in 1982. “The EP featured three tracks, this one is song number two on the b-side. The song is a cover version of The Who track originally released in 1967 on their fourth full length album The Who Sell Out. Dagaband was formed in Chesterfield, England in the mid seventies. They toured a lot and shared stages with bands like Marillion, Budgie, Mendes Prey, Demon and loads of other acts in the so-called second wave of British progressive rock. On this release the band consisted of Greg Boynton (keyboards), Phil Boynton (drums and vocals) and Steve Fidler (guitar and bass). The band split up in 1987 and only did two more gigs after that, one in 1993 and 2010. Sadly Greg Boynton passed away in 2010″.
THE ORGAN 