A Few Forthcoming Releases (July 2009)

Usually a slow period before the big autumn push. Some goodies, though, to see you through the summer.

6th Jul
BJÖRK – Voltaic (One Little Indian)
HAROLD BUDD & CLIVE WRIGHT – Candylion (Darla)
IMPRESSIONS – Complete A & B Sides 1961 – 1968 (Universal)
JACKIE-O MOTHERFUCKER – Ballads of the Revolution (Fire)
KARLHEINZ STOCKHAUSEN – Spiral 1; Japan (EMI Classics)
MARVELETTES – Complete motown Albums Volume 1 (Universal)

13th Jul
CLARK – Totems Flare (Warp)
MERZBOW – 13 Japanese Birds:Kamo (Important)
SLEEP WHALE – Little Brite (Western Vinyl)
TARA JANE O’NEIL – A Ways Away (K)

20th Jul
BILL FRISELL – Disfarmer (Nonesuch)
ENGINE7 – Another Thunderous Silence (Herb)
GREG DAVIS – Mutually Arising (Kranky)
JEGA – Variance (Planet Mu)
LIGHTS – Rites (Drag City)
OCHRE – Like Dust of the Balance (Benbecula)
SCENE IS NOW – Tonight We Ride (Lexicon Devil)

27th Jul
MAX BONDI – M (Tartaruga)
MERZBOW – 13 Japanese Birds:Kujakubato (Important)
SON VOLT – American Central Dust (Rounder)

3rd Aug
DISKJOKKE – Discolated (Remixes 2007-2008) (Smalltown Superjazz)
HERBALISER – Band Session 2 (K7)
MOS DEF – The Ecstatic (V2)
RICHARD YOUNGS – Like a Neuron (Dekorder)
ROBERT WYATT – Box Set (Domino)
VARIOUS – Ze 30: Ze Records Story 1979-2009 (K7)
TELEKINESIS! – Telekinesis! (Morr)

10th Aug
LUKE VIBERT – We Hear You (Planet Mu)
NISENNENMONDAI – Destination Tokyo (Smalltown Supersound)
RICHARD THOMPSON – Walking on a Wire: 1968-2009 (Shout Factory)
SOULSAVERS – Broken (V2)
THE ROOTS – How I Got Over (Def Jam)

17th Aug
NEIL LANDSTRUMM – Bambaataa Eats his Breakfast (Planet Mu)
PLUM – A Different Skin (Benbecula)
RICHMOND FONTAINE – We Used to Think the Freeway Sounded Like a River (Decor)
SQUAREPUSHER – Solo Electric Bass (Warp)

24th Aug
MÙM – Sing Along to Songs You Don’t Know (Morr)
TIM BUCKLEY – Live at the Folklore Center, NYC: March 6th, 1967 (Tompkins Square)

31st Aug
ANDREW WEATHERALL – A Pox on the Pioneers (Rotter’s Golf Club)
ROBIN GUTHRIE – Carousel (Darla)

7th Sep
NUDGE – As Good As Gone (Kranky)
PASTELS / TENNISCOATS – Two Sunsets (Domino)

14th Sep
PERE UBU – Long Live Pere Ubu (Cooking Vinyl)
SPARKLEHORSE / FENNESZ – In the Fishtank 15 (Fishtank)

21st Sep
CHRIST. – Distance Lends Enchantment to the View (Benbecula)
PART CHIMP – Thriller (Rock Action)
VARIOUS – Warp 20 Box Set (Warp)

28th Sep
SWEET TRIP – You Will Never Know Why (Darla)

12th Oct
SHINING – tbc (Rune Grammofon)


Album: SIR RICHARD BISHOP – The Freak of Araby (Drag City DC398 2009)


Ex-Sun City Girl (Sir) Richard Bishop has been responsible for some of the most original and eclectic guitar music of the last few years. The Freak of Araby is a conceptual collection of sorts, with Arabic scales and tunes informing the work. He’s even credited by the name Rasheed Al-Qahira.

It’s very much a band work, with two percussionists and a bass guitarist joining the fray, but the opening piece “Taqasim for Omar” is a deft and haunting solo electric guitar piece. When the band joins in, the results are a little like the Ventures if they had grown up in Rabat rather than Tacoma. Twangy guitar and Middle Eastern percussion may seem like unlikely bedfellows – like seeing Hank Marvin in a fez – but it works really well. Some tracks go for the simple melodic approach (such as the cover “Solenzara”), but others allow Bishop to engage in some captivating improvisation over a steady, and impeccably laid down rhythm.

Sometimes the cross-culturalism leads to something unexpected. Both “Kaddak El Mayass” and “Essaouira” have shades of Calexico’s Tex-Mex desert twang, particularly the latter. But then Spanish culture is influenced by the fact that it was a Moorish colony for hundreds of years, and that culture was exported to the New World, so it’s not so surprising.”Ka’an Azzaman” has a Balkan feel to it, but then that again is a product of the cross-fertilisation between Eastern Europe and the Arab World through the Ottoman Empire.

There isn’t a dull moment on the whole album, but the two closing tracks are worthy of particular mention. “Sidi Mansour” rattles along at the sort of pace that would have Dick Dale struggling to keep up, and has a terrific dubby, space-rock middle section. The closing “Blood-stained Sands” jettisons the guitar altogether in favour of Moroccan Chanters. They’re instruments that it takes patience to get to love (like the bagpipes), but they lend a hypnotic end to proceedings – especially when allied with some really warlike drumming.

Another fine album, then, from Rick / Sir Richard / Rasheed. My favourite yet, although he’s got such a bewildering catalogue that I’ve heard a mere fraction of the stuff he’s recorded.

1 Taqasim For Omar (7:16)
2 Enta Omri (2:45)
3 Barbary (2:20)
4 Solenzara (5:01)
5 The Pillars Of Baalbek (5:18)
6 Kaddak El Mayass (3:26)
7 Essaouira (2:21)
8 Ka’an Azzaman (2:51)
9 Sidi Mansour (6:03)
10 Blood-Stained Sands (7:30)


Album: SLEEP WHALE – Little Brite (Western Vinyl WV65 2009)


Little Brite is the debut mini LP / EP from Denton, Texas duo Sleep Whale who are made up of guitarist / cellist Joel North and violinist / programmer Bruce Blay. The music is largely acoustic, given an electronic edge that adds colour without ever being obtrusive. This is summery music, sometimes steeped in sadness, sometimes whimsical and sometimes as bright and fresh as a cooling dip in a mountain stream. Think a more natural, less self-consciously intellectual counterpart to Books for a quick reference.

There are six tracks which, on the vinyl version, break into two distinctive suites. “Skipping Stones” provides an slightly childlike opening with tingling guitars playing over soft violin and a percussion built out of samples of water. It sounds like the perfect soundtrack to Trumpton or Camberwick Green (references that will mean something only to Brits of a certain age). It segues seamlessly into the plucked acoustics of “A Pebble Garden” and the bright, complex guitar melodies and hand drums of “Josh Likes Me” which clatters to a dissonant, shambolic end.

The mood of the second half is more downbeat, and the instrumentation more complex. Manipulated string drones and mournful guitar give “Airplane Arms” a darker feel, with the track bookended with helicopterish rotary drums loops. The album ends with its only vocal track. The soft, airy harmonies of “Little Brite” give it a suitably sleepy and bucolic feel.

This is a lovely release. It’s mellow without ever lapsing into blandness, whimsical without ever being twee. Chilled out music that also pays close attention and which is complex without ever being showy, or losing sight of its essential melodic simplicity. The album is issued by Western Vinyl on July 14th.

1 Skipping Stones 4:30
2 A Pebble Garden 3:28
3 Josh Likes Me 5:04
4 Sleep Whale 4:44
5 Airplane Arms 3:52
6 Little Brite 4:31


The M M & M 1000 – part 34

Here’s the latest batch of Music Musings and Miscellany’s unapologetically subjective selection of the twentieth century’s best 1000 singles. Another Load of Ms.

GLADYS KNIGHT & THE PIPS – Midnight Train to Georgia / Window Raising Granny (Buddah 383 1973)
I’d rather live in his world than without him in mine“. This is a song about a culture clash. She’s a sophisticated northern city bred girl. He’s from the rural south. Finding it impossible to adjust to the different pace of life, he yearns to return to his roots, and she has to decide whether she’s more attached to hers or to him. I remember seeing a skit on the Richard Pryor TV show some years back where he was convinced that they could save money having the Pips perform without Gladys. It was very funny seeing them do the backing vocals and dance routines without her lead, but it also highlighted how brilliantly tight they were both in terms of their singing and choreography.

HELEN HUMES – Million Dollar Secret / I’m Gonna Let Him Ride (Modern 779 1950)
Helen Humes was typical of the sassy female R&B singers of the forties and fifties who oozed sexuality, but in a funny, take-no-bullshit way. “Million Dollar Secret” was recorded live, and you can hear the audience cheering her on as she imparts her tale of shameless gold-digging. “Now I’ve got a man who’s seventy-eight / And I’m just thirty-three / Everybody thinks I’m crazy / But his will’s made out to me!”.

DELTA FIVE – Mind Your Own Business / Now That You’re Gone (Rough Trade 31 1979)
Part Gang of Four, part Raincoats, the Delta Five were typical of the wave of post-punk gobby feminist groups that seemed to cluster around Rough Trade. Both the singing and the production were flat and glamourless, but they had a rough-edged funk to them that talked to the feet. And if the choruses had a bit of the protest march sloganeering about them, they stuck in the head. It’s kind of depressing that thirty years on, women in pop are back to being manufactured teen puppets. Even self-proclaimed feminists like the Gossip are more image and packaging than content.

CAB CALLOWAY & HIS ORCHESTRA – Minnie the Moocher / Doin’ the Rhumba (Brunswick 6074 1931)
I’m sure virtually everybody knows this classic from the dawn of the Swing era, largely due to the “hi-de-hi” nonsense chorus. It almost sounds like it’s played for laughs, but away from that chorus it tells a sad tale of a girl who dreams of a fantasy life of untold riches, but who’s stuck with a no-good cokehead who “showed her how to kick the gong around“, or in other words, got her into opium smoking.

DICK DALE – Misirlou / Eight Till Midnight (Del-Tone 5019 1962)
This is a song with a long history that has crossed continents, styles and cultures since it was first penned in Greece as a rebetiko tune back in 1927 by a Greek exile from Turkey called Michalis Patrinos. It became a standard in both Greek and Arab cultures in the years before World War Two. In 1941, a Greek-American called Nick Roubanis did a commercial jazz version, and noticing that the tune had never been published in the US, credited himself as composer. It was soon given English lyrics which bore no relation whatsoever to the originals. Dick Dale, being of Lebanese-American stock, knew the tune in the form that had evolved in the Arab world. He picked out the basic melody on guitar, increased it to warp-speed, and a legendary surf tune was born. Thanks to Tarantino, it’s by far the best-known version in the west today, and a staple in any surf-garage band’s repertoire.

EVERYTHING BUT THE GIRL – Missing / mixes (Blanco Y Negro NEG84T 1995)
Ben Watt and Tracey Thorn were contemporaries of mine at Hull University. But I was never much of a fan of their music, although I really liked the Marine Girls and a few other early tracks like “Plain Sailing” and their cover of “Night and Day”. Massive Attack brought Tracey on board for the Protection album, and she absolutely shone in that setting. The duo obviously thought so too, as they made a complete change in their sound for “Missing” in 1994. The Todd Terry remix that came out the following year is the one that everyone knows. It plays to the strengths of her voice, by giving the tune a late night, chilled tempo dripping with melancholy, and yet with enough oomph for the dancefloor.

DEL THA FUNKEE HOMOSAPIEN – Mistadobalina / Burnt (Elektra 142 1991)
It’s just one of those records that you hear once and can’t forget. As everyone probably knows, Del is Ice Cube’s cousin, and cuz produces here. It’s good time vibe really couldn’t be further away from NWA, and it still sounds fresh.

FRANÇOISE HARDY – Mon Amie la Rose / Je n’Attends plus Personne (Vogue 1252 1964)
Funny, I’ve just checked the history of this song and discovered that this was the original version. I’d always thought that it was already a standard when Françoise Hardy recorded it. It sounds timeless, with a sad and vulnerable but sultry feel that somehow only seems genuine when sung in French. Hardy’s voice is an aural aphrodisiac, as far as I’m concerned. Natacha Atlas’s version is brilliant too.

BO DIDDLEY – Mona / Hey Bo Diddley (Checker 860 1957)
For me, this is the song that encapsulates everything that was great about Bo Diddley. The riff and the groove never sounded better than on “Mona”.

CLYDE McPHATTER & THE DRIFTERS – Money Honey / The Way I Feel (Atlantic 1006 1953)
“Money Honey” is just one of a long tradition of songs that place the green folding stuff above love, life and happiness. Especially when you’ve got none. The 1953 original model Drifters shared no members with the 1958 Ben E King version, let alone the groups that continue to this day. But they’ve become an institution, and will probably still be around long after I’m worm food.

VALENTINE BROTHERS – Money’s Too Tight To Mention / instrumental (Bridge 1982 1982)
Forget Simply Red’s version if you can. John and William Valentine were one-hit wonders who didn’t even have a proper hit, if that makes sense. But this song (written by the pair) was an absolute belter. It sounded out of time in 1982 when soul music had split into post-disco electro stuff, and glossy bedroom crooners. This was a record that harked back to classic pre-disco seventies soul, but with elements of smooth jazz to it too. The only thing that pins it down to the early eighties is the mention of Reaganomics. They did an album called First Take which I’ve never seen, let alone heard.

PIXIES – Monkey Gone to Heaven / Manta Ray (4AD 904 1989)
I haven’t the foggiest idea what it’s about. It’s probably still a staple of indie discos – not that I go to indie discos. I think the bands of that era – Pixies, Throwing Muses, Sonic Youth, Hüsker Dü, Dinosaur Jr etc were the last generation of rock bands that took the simple guitar / bass / drums format and made something both original and exciting. All of the interesting bands since have fused rock with other stuff. OK, a massive generalisation, but I can’t think of anyone in the last 20 years who has taken the basic form further forward.

DAVE BARTHOLOMEW – The Monkey / Shufflin’ Time (Imperial 5438 1957)
New Orleans legend Dave Bartholomew provided an interesting twist to the theory of evolution with this witty little song. Two monkeys debate Darwin’s theory, but come to the conclusion that it’s flawed because they can’t believe that their ancestors evolved into something as crass and stupid as human beings.

COLOURBOX – The Moon is Blue / You Keep Me Hanging On (4AD 507 1985)
It must be one of the strangest disappearing acts ever. Colourbox blazed a trail that took elements of pop history and mixed them with contemporary electropop and ahead of their time sampling. The Young brothers then went on to have a massive worldwide hit as part of M/A/R/R/S and then promptly vanished. “The Moon is Blue” is a 1980s take on doowop, with Lorita Grahame’s powerful voice swinging through a ballad that sounds like it comes from a parallel universe’s version of a fifties Harlem street corner.

BOSTON – More Than a Feeling / Smokin’ (Epic 50266 1976)
Guilty pleasure time. Airbrushed harmonies and produced to within an inch of its life, there’s something extraordinarily uplifting about this track. It’s got guitar solos that it’s impossible to resist getting out the air guitar for. And of course, it’s got that bassline – the one that Kurt Cobain nicked wholesale for a certain tune that proved quite popular fifteen years later.

TIM BUCKLEY – Morning Glory / Once I Was (Elektra 45623 1967)
I know you’re supposed to prefer the more freeform, jazz-influenced albums that came later, but Goodbye and Hello is the Tim Buckley album I always return to. Its combination of psychedelic folk, baroque pop and grandiose suites seldom put a foot wrong. “Morning Glory” is an unassuming little ballad of exquisite beauty and one of the record’s many highlights.

SLOWDIVE – Morningrise / She Calls / Losing Today (Creation 98 1991)
Has there ever been a band so derided by the mainstream rock press and yet so influential? I was an early convert. Their albums (bar the swansong Pygmalion) always seemed a bit uneven, but the EPs showed them at their best. “Morningrise” has a couple of moments when the guitars go to places that make the hairs on the back of my neck stand up. It’s impossible to describe how some music has a genuinely physical effect like that. One has to admire Neil Halstead for following his muse and plugging away at his countryish singer-songwriter stuff to a disinterested world when a reformed Slowdive could probably rake it in. They’d miss Rachel Goswell, though. I think she suffers from some ear condition that would make it impossible for her to return to playing stuff at Slowdive’s volume.

GUIDED BY VOICES – Motor Away / Color of My Blade (Matador 148 1995)
Guided By Voices at their most polished, most basic and least wayward. Simply an exciting and uplifting piece of punk-pop.

HANK WILLIAMS – Move It On Over / I Heard You Cryin’ In Your Sleep (MGM 1003 1947)
Hank’s in his missus’ bad books and has to share the kennel with the dog for the night. A witty piece of whimsy that is a rock ‘n’ roll tune in all but name.

CURTIS MAYFIELD – Move On Up / Give It Up (Buddah 2011080 1971)
For some odd reason, his American record company didn’t see this as a single. In Britain they knew better. If you want positive, life-affirming, spiritual soul music that makes you want to bounce around in unfettered joy, there can’t be many tunes better than this. Possibly the most irresistable horn riff in pop, too.

More soon.

Glasgow School of Art Degree Show 2009

Every year about this time, Glasgow School of Art holds its annual degree show – a collection of works by all the college’s students who are up for examination. It covers a wide spectrum of visual art – from painting, photography and sculpture to product and graphic design and video art. While there are always one or two ne’er-do-wells whose work seems half-arsed, the standard is usually very high. This year’s show is no exception.

Last year’s sensation was James Houston’s video remix of Radiohead’s “Nude”. Nothing this year has had the same impact on the world’s media. Things like that don’t come around too often.

I couldn’t hope to do the full show justice. I think I saw most, if not all of it. My method tends to be one of aimless wandering waiting for something to grab my attention. Sculpture usually seems the weakest form – often fairly aimless 3D collages, weird carpentry, ludicrous furniture or abstract shapes in bright primary colours. One fairly ghoulish piece consisted of a load of small sample vials suspended head height and labelled with a variety of noxious substances. Whether the garish coloured liquids, harmless looking crystals and powders were what they said they were is a moot point – asbestos, arsenic, cadmium, Hepatitis-B infected blood etc. You didn’t want to stand too close! I neglected to get the artist’s name – I was backing away too quickly. The other sculpture I really liked was by Kenneth Creanor. A twisted humanoid absorbed into rock with gaping holes in his back and side revealing a lush growth of moss. Disturbing.

Kenneth Creanor's humanoid rock sculpture

Kenneth Creanor's humanoid rock sculpture

There wasn’t that much photography on show. The series that stood out for me were Jennifer Fergie’s giant prints of bleached out minerals, paper, chalk and wood chips. Reduced to postcard size they don’t have the same textural impact.

Painting remains the dominant medium in the Fine Arts section. What struck me generally was the dominance of surrealism, whether views of toilets in living rooms or bizarre juxtapositions of objects and figures, with Dali and Magritte’s playful influence cropping up all over the place. The most striking examples of this kind were the large, incredibly detailed canvasses by Rachel Wright. Classical and mythological figures loomed out of mazes of Doric columns, pinnacles and obelisks – some as sharp as spears – all radiating from different angles. The example on her promotional postcard that I’ve reproduced features a mean looking Cereberus, the three headed canine guardian of Hades.

One of Rachel Wright's classical nightmares

One of Rachel Wright's classical nightmares

My favourite group of works were by Sophie Manhire. Her collection of stark paintings of doors and windows varied between impossible gloom, to barely sketched white. All devoid of all but the slightest of contrast. Their claustrophobic nature was highlighted by the central piece where a door opens to the outside, revealing the only colour. Instead of making it a bright, pastoral scene, the view was the forbidding browns and greens of an autumnal dusk. Even so, it was a glimpse of freedom amongst the gloom of the other pieces.

Of the installations, the two that stood out for me couldn’t have been more different. A whole wall was given over to a series of letters to various companies beginning “Dear Sir/Madam, My name is Harriet Lowther…” where she went on to praise everyday objects that she enjoyed – from her favourite brands of sweets to the Glasgow Subway. Also displayed were the replies that she got from harassed consumer departments, a mixture of bewilderment, corporate speak and genuine joy. Some were very funny (and she also seems to have got a lot of vouchers and freebies!). My favourite was her rather panicky second letter to Jessop’s, the camera people, in which she was alarmed that they were ‘investigating’ her comments! Sweet and funny, but also a worthy reminder of how people are quick to complain but very slow to praise.

Robbie Thomson’s dark room was the stuff of haunted house nightmares. The space was divided up by doorways that you could only find by touch. There was some light, but it was so dim that it only illuminated a few details. A sheet billowed in front of a fan whilst a cassette attached to a bewildering array of wires and rusty old circuitry provided a soundtrack of nightmarish creaks and groans. In one corner, a battered and modified piano with its strings exposed played a series of metallic drones. It was far too dark to work out how it was making the sound unaided. Dead spooky, though.

The product and graphic design sections were uniformly excellent. I liked the Faber film books whose covers were based on the tag cloud method of highlighting key themes and names. I also thought Aidan Watson’s portable hydropower mechanism was genius. It’s a small water turbine attached to a float that you place in a fast moving stream or small river, and it will generate electricity to recharge your laptop or mobile phone. A little bulky for hikers, perhaps, but a boon for people who are camping or working in areas a long way from reliable mains electricity. I hope someone takes the idea up – it has the potential to be as iconic as Trevor Baylis’s clockwork radio.

Finally, a mention for Joseph Mann’s stop-motion animated short “The Chimney Sweep”. It’s a delightful, heart-warming little film featuring a sweep who loses his lunch whilst sat on a roof, and a little boy with a model aeroplane. I’ll not give the plot away! (you can see the film at josephmann.co.uk)

A scene from Joseph Mann's delightful animated short "The Chimney Sweep"

A scene from Joseph Mann's delightful animated short "The Chimney Sweep"

The show continues until Saturday 20th June at the Glasgow School of Art, between 10.30 and 4.30. Get down if you can.

Album: OUR BROTHER THE NATIVE – Sacred Psalms (Fat Cat FATSP19 2009)


Our Brother the Native are now a duo with the departure of John Michael Foss. The remaining members, Chaz Knapp and Joshua Bertram can’t be accused of lacking ambition. Sacred Psalms has gamelan percussion, scratchy no-wave guitar, freeform sax, samples galore, glacial piano, accordion, banjo and all manner of other stuff chucked into the mix. When it works, it works quite brilliantly. When it doesn’t it sounds like a class of hyperactive three year olds let loose in the school instrument cupboard.

The vocals are a real problem. I’m not sure which of the two has the lachrymose semi-falsetto, but it’s really irritating. The other one mumbles alongside just as tunelessly, but less audibly. When they attempt harmonies, the kindest thing I can say is that they are ragged. The gamelan percussion is shoe-horned into places where it clearly doesn’t belong, although it’s effective in places.

On the plus side, there are some outstanding moments. The piano melody on “Someday” is one. The pounding toms, scratchy guitar and Arabic song sample pf “Child Banter” is another – a song where the anarchic, tune-free vocals actually fit the general post-punk clatter around them. The lonesome piano, Indian (?) singing sample and accordion drone of “Endless Winter” is a terrific combination. Even the vocals don’t intrude too much. Best of all is “Dusk”, the first four minutes of which are vocal free. The instrumentation is moody and atmospheric, and in the background there’s a recording of a posh female psychoanalyst or psychiatrist (I actually thought it was poet Stevie Smith at first) talking about her methods. “I’m going to start with the darkness”, she begins, and the track progresses with quite disturbing atmospherics.

Sacred Psalms is a frustrating record. I really want to like it much more than I do, simply because of the ambition and risk-taking involved. The band are attempting to find new, original paths to take their music, and that’s laudable. Their potential is beyond doubt. Where things fall into place, that potential is fulfilled. There are too many passages that just feel aimless, like they don’t really know how to fit things together. And the vocals are at best amateurish, at worst unlistenable. No one wants airbrushed perfection – passion always trumps ability in my book. But the shambolic nature of the singing seems like an affectation to me.

1 Well Bred 4:00
2 Manes 3:58
3 Someday 4:07
4 All Grown 3:25
5 Dusk 7:11
6 Child Banter 4:24
7 Awaken 4:21
8 Sores 4:01
9 Behold 6:08
10 Endless Winter 5:44


Album: VILLAGE ORCHESTRA – I Can Hear the Sirens Singing (Highpoint Lowlife HPPL037 2009)


aaaaaa58 minutes

aaaaaaaaaaaaaaaaaaaaaaaaaa Electro-acoustics

aaaaRuaridh Law

aaaaaaaaaaaaaaaaTelephones  aaaaaaaaa headfuck


aaaaaaaaaaaaaaaaaaaa Future Sound of London psychedelic atmospherics

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaEnvironmental sounds

Incidental music for a filmaaaaaaaaaaaaaaaaaaadrrroonnne

aaaaaaaaaaaaaaaaaaaaaaaa Kristin Hersh singing “Your Ghost” – backwards

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa Gunshots

aaaaaaaaaaaa The sea, the sky, wind and water


BLEEP BLEEP   aaaaaaaaaaaaaaaaaaaaaaaaaaaa microbeats

aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa unpredictable

no drugs were used in the making of this record. maybe

The new download / limited CDR by the Village Orchestra. It’s a bit of a trip.


1.  I Can Hear the Sirens Singing 58:36