The Week #4

As I write, Have One On Me is playing. It’s my first listen, and I’m enraptured already. A review to follow. I’ve got a lot of other things in the pipeline to post too.

In Glasgow, it’s the third day running of almost-continuous rain, sleet and weird snow with the consistency of a slush puppy. It’s been a pretty shitty winter to be sure, and inevitably the climate change deniers are jumping up and down with glee. Today’s Daily Express (I saw it in a newsagents – I wouldn’t physically touch that rag with asbestos gloves on) had one of its stupidest headlines yet – “Warmest January Ever” covering it like it was the silliest thing they’d ever heard. Obviously, in Express world where there’s just Britain and foreignland, if Britain’s cold therefore the rest of the world must be too. This, as the BBC is showing footage of skiers in the pissing rain in Whistler, Svalbard, just 400 miles from the North Pole, records its highest ever January temperature of 5C among a million other pieces of evidence that support the FACTS. Fuck all that though, it snowed in London!

The Times (proprietor Rupert Murdoch, owner of Sky, Fox etc and well-known BBC hater) leaks proposed cuts to be made by the Corporation. As far as I can tell, all they are are suggestions up for discussion, not set-in-stone plans, despite the media frenzy. Even so, if there’s a hint of truth about what Mark Thompson is planning, then it’s a complete fuck-up. Close down Six Music and the Asian Network, two channels that in their different ways embody the Reithian spirit. Leave BBC3 alone – the channel that brought you Snog, Marry, Avoid and Hotter Than My Daughter among other masterpieces. It’s always been a complete waste of space, just doing lowest common denominator TV in the manner of Sky or ITV. Leave it to them (obviously keep Being Human – but that should be on the main channels anyway. It’s just on Three as a means of justifying the station’s existence.) Next stroke of genius – halve the channel’s internet output. Yeah, that makes sense in 2010. This newfangled internet thing is obviously just a passing fad. I’ve no evidence to base this on, but I would wager than bbc.co.uk is one of the most visited websites on the planet. Third piece of genius – sell off BBC Worldwide and all the magazines. How very Thatcherite. If something is publicly owned and actually making a profit, sell it off cheaply. We can’t have any self-financing – it’s against the spirit of laissez-faire capitalism (incidentally and ironically, the most propped up and state-supported economic system in history). Hopefully, this will all blow over – especially now they don’t have Jonathan Ross’s wages to pay.

Finally – Mad Men this week, and the ‘lawnmower incident’. Has to be one of the yukkiest, funniest and most uncharacteristic scenes in TV history. Matthew Weiner and co – thanks for making some of the most terrific television I’ve ever seen. Oh, and BBC4 continuity announcer woman – stop yapping over the end credits.

A Few Forthcoming Releases: Mar 2010

1st Mar

  • ARCHITECT – Consume Adapt Create (Hymen)
  • EMMA POLLOCK – The Law of Large Numbers (Chemikal Underground)
  • ERRORS – Come Down With Me (Rock Action)
  • FRANCISCO LOPEZ – Amarok (Glacial Movements)
  • INTERNAL TULIPS – Mislead Into A Field By A Deformed Deer (Planet Mu)
  • JAMES BROWN – Singles 8: 1972-1973 (Commercial Marketing)
  • JOANNA NEWSOM – Have One on Me (Drag City)
  • LOSCIL – Endless Falls (Kranky)
  • POLAR BEAR – Peepers (Leaf)
  • STRAY GHOST – Nothing But Death (Hidden Shoal)

8th Mar

  • BESNARD LAKES – The Besnard Lakes Are the Roaring Night (Jagjaguwar)
  • ESPEN ERIKSEN TRIO – You Had Me At Goodbye (Rune Grammofon)
  • FENN O’BERG – In Stereo (Mego)
  • GONJA SUFI – A Sufi and a Killer (Warp)
  • GORILLAZ – Plastic Beach (EMI)
  • PAVEMENT – Quarantine the Past: the Best of Pavement (Domino)
  • RICHMOND FONTAINE – Postcards from Portland: Live at Dantes (El Cortez)

15th Mar

  • ALVA NOTO – For 2 (Line)
  • JAGA JAZZIST – One Armed Bandit (Ninja Tune)
  • JONAS REINHARDT – Powers of Audition (Kranky)
  • MELODIUM – Palimpse (Symbiotic Interaction)
  • PJUSK – Sval (12K)
  • STAFRAENN HAKON – Sanitas (Darla)
  • ULRICH SCHNAUSS – Missing Deadlines: Selected Remixes (Rocket Girl)

22nd Mar

  • AUTECHRE – Oversteps (Warp)
  • GOLDFRAPP – Head First (Mute)
  • LAURA MARLING – I Speak Because I Can (EMI)
  • MUX MOOL – Skulltaste (Ghostly International)
  • SERENA MANEESH – S-M 2: Abyss In B Minor (4AD)
  • SPARTAK – Verona (Low Point)
  • SYLVAIN CHAUVEAU – Singular Forms (Type)
  • VEX’D – Cloud Seed (Planet Mu)

29th Mar

  • BONOBO – Black Sands (Ninja Tune)
  • HYBRID – Disappear Here (Distinct’ive)
  • KEN CAMDEN – Lethargy & Repercussion (Kranky)
  • RUSSELL HASWELL – Value + Bonus (No Fun)
  • TO ROCOCO ROT – Speculation (Domino)

5th Apr

  • BLACK FRANCIS – Nonstoperotik (Cooking Vinyl)
  • BLOOD OF HEROES – The Blood of Heroes (Ohm Resistance)

12th Apr

  • DISAPPEARS – Lux (Kranky)
  • JOHANN JOHANNSSON – & In the Endless Pause There Came Sound of Bees (Type)
  • LALI PUNA – Our Inventions (Morr)
  • PLAN B – The Defamation of Strickland Banks (679)

19th Apr

  • ANODYNE – Corrosion (Psychonavigation)
  • HAROLD BUDD & CLIVE WRIGHT – Little Windows (Darla)
  • MANUAL – Drowned in Light (Darla)
  • SPARROW & THE WORKSHOP – Crystals Fall (Distiller)
  • STARKEY – Ear Drums And Black Holes (Planet Mu)

3rd May

  • RUDI ZYGADLO – Great Western Laymen (Planet Mu)

EP: 10-20 – Mountain (Highpoint Lowlife 2010)

The third of the Landforms quadrilogy, Mountain, is the least accessible of the series so far. Although the typical 10-20 elements are all in place – the broken beats, distortion and sounds of knackered machinery – there’s something missing from this EP. The first three tracks in particular sound paradoxically both overcooked and unfinished. The beat abstraction of Globe sounds like a cousin of Autechre’s Confield that has been left out in the rain to rust, but doesn’t really go anywhere. Similarly, Majik takes the rhythm up to techno bpm, but the end result is a bit of a mess. Opener Wercc has a little more going for it, with the trademark cranks and clunks overlaid by delicate free jazz touches, but these are all but obliterated by the churning beats.

Only Littoral really works. The beats are pushed back into a fog of sound that is a little like Disco Inferno’s late EPs, and there is a simple analogue melody driving the track forward. Perhaps it’s too much to expect Ed Davenport to match his own high standards with every release, but the tracks on Mountain do seem a bit like cast-offs.

Tracks
1. Wercc 3:45
2. Globe 5:22
3. Majik 6:49
4. Littoral 6:21

Websites
highpointlowlife.com
www.myspace.com/1020musik

Album: QBIK – Robots Cry Too (Patpong 2010)

The idea of artificial intelligence developing emotions is one that has been heavily explored in Science Fiction – from I, Robot all the way to misery guts Marvin in Hitchhikers Guide to the Galaxy. Romanian recluse Qbik’s idea is that it is a two way thing. As robots become more like us, we become more like them. Just cogs in the machine, victims of what he calls “the petrifying of the heart by the system”. It’s an interesting theory, although I don’t buy his solution that the way to salvation is through God. That’s just another human construct, and one that has throughout history led to just as much oppression and stifling of humanity’s individualism as technological advances are ever likely to. In ant society, aberrations in behaviour are dealt with swiftly and fatally. This is not due to any reasoning, but simply because the collective intelligence of the group requires rigid behaviour patterns for it to survive, otherwise it breaks down completely. The parallels with the way that religions deal with heretics and apostates are clear.

Anyway, I’m not here to argue with his philosophy. Robots Cry Too is an attempt to imagine the kind of music that androids would compose. Unlike the clean precision of the likes of Carsten Nicolai, this music is the sound of raw electricity, asynchronous fuzz, blips and pulses topped with heart-tugging melodic simplicity. Sometimes, there are organic hints, like memories of bird song (the little pulses at the end of “Mecanik Heart” sound uncannily like quarrelsome ducks). There are moments of beautiful melancholy scattered about the album, but these are matched by tracks that sound bleak and numb. The closing “Metals Cry”, for example, has a circular purposelessness about it, that is interrupted only by glitches and drop-outs that remind us that the mortality of machines is just as inevitable as it is for us.

Whether you buy into the concept or not, Robots Cry Too is an intelligent and likeable record.

Tracks
1. Sweet machine 5:34
2. Nano 0n3 5:33
3. 3W7meu 4:55
4. Rmx metals cry 2:52
5. Full battery 3:57
6. Hibrid 4:34
7. Mecanik heart 5:28
8. Metals cry 4:40

Websites
www.myspace.com/drqbik
patpongrecords.com

EP: BOXHARP – Loam Arcane (Hidden Shoal 2010)

Wendy Allen and Scott Solter are the duo behind quirky ambient pop act Boxharp. The Loam Arcane EP is my first experience of the pair’s odd, but compelling soundworld. Each track in turn gets further and further away from conventional pop structures until the last, the tropical ambient instrumental “Who Are You People”, a piece that combines wooden percussion loops, field recordings and drifting synth drones.

The preceding triptych of songs all feature Allen’s sweet, but slightly skittish vocals. “FanFin” is a bit like (early) Throwing Muses if they’d been an electropop act, whereas “Rainbirds” has Fisher Price instrumentation supporting a tune that resembles a kind of folkish hymn. Weirder still, “The Postcard” is drugged and groggy, swaying about in a semi-conscious state.

Loam Arcane is a sweet little EP that shows that experimental pop needn’t sacrifice the pop element to be interesting and original. Unlike Little Roux, Florence Boots and their ilk, it shows there’s more to electronic pop than silly haircuts and rehashed eighties synth sounds.

Tracks
1 FanFin 3:44
2 Rainbirds 3:15
3 The Postcard 3:25
4 Who Are You People (South Shoal) 5:43

Websites
music.hiddenshoal.com
boxharp.com
www.myspace.com/boxharp

Album: CARTA – An Index of Birds (Silber 2010)

Carta’s first album Glass Bottom Boat on the now defunct Resonant label was a pretty dull affair, jammed to the gills with aimless post-rock noodling. Its saving grace was the magnificent twelve minute title track, a piece unlike anything else on the record, and significantly the only one to feature vocals. Although it was released in 2007, it had actually been recorded in 2005. Five years is a long time away, and the Carta of 2010 are a very different beast to the old model. Indeed, out of the seven members who appear on An Index of Birds, only two contributed to the debut – leader Kyle Monday and guitarist/pianist Ray Welter.

Stylistically, it’s much more varied, switching from short neo-classical pieces to stomping rock with echoes of bands as diverse as Tarwater, Piano Magic, Low, Rachel’s and Mogwai. Even the tracks like “Sidereal” that remain closest to the old Carta sound have a tighter focus and sense of purpose about them, although there remains some filler (the pleasant but forgettable “Santander”, for example) which could have been cut – the album does seem a bit over-long at 67 minutes.

Still, there’s plenty to enjoy. Kyle Monday sounds uncannily like Tarwater’s Ronald Liphook on “Building Bridges”, the track that first signals that this is a very different Carta. The slow burning, hypnotic epic “Descension” is a fabulous centrepiece. Stately piano and strings aged like a fine wine make “Bank of England” a lovely, dreamy interlude while “Back to Nature” almost takes you back to the days of post-hardcore acts like Rites of Spring and Drive Like Jehu. Indeed, it’s the second half of the album that’s the strongest and most diverse. “Who Killed the Clerk?” skips around in a high tempo like Polvo in contrast to the funereal and slightly surreal closer “The Late Alfred M”

It’s undeniable that An Index of a Birds is the sound of a band looking for an identity, switching styles like a foot fetishist in a shoe shop, but to stretch the metaphor, nearly all fit, and the album’s diversity is its strength. It may be an odd thing to say that a band that’s only on its second album sound rejuvenated, but that’s the case with Carta.

Tracks
1 Alfred M 1:32
2 Building Bridges 4:55
3 Hourglass 4:08
4 Small Lights 3:08
5 The Likeness Is Undeniable 4:45
6 Sidereal 5:10
7 Santander 4:16
8 Descension 11:14
9 Prettier at Night 4:51
10 Bank of England 5:53
11 Back to Nature 5:58
12 Who Killed the Clerk? 5:28
13 The Late Alfred M 5:29

Websites
www.theglassbottomboat.com
www.myspace.com/cartamusic
www.silbermedia.com