Just saw Avengers: Age of Ultron which was excellent fun. Then this got posted to my Facebook page – an alphabetical run down of Marvel characters to the instrumental of Blackalicous‘ ‘ Alphabet Aerobics’ by Tribe One. The man has skills.
Above was filmed at the Erarta Museum of Contemporary Art in St. Petersburg earlier this year, check around the 1 minute mark for the stage-diver
Tonight DJ Cheeba, DJ Moneyshot and I retire the ‘3-Way Mix’ live set as part of the line up at the Funk & Soul Club at the Electric Ballroom in Camden. It’s been 18 months since we debuted it in Paris and since then we’ve toured it across Europe, to Russia, Canada and Australia, adding a full video component as we went. The 25th anniversary of the ‘Paul’s Boutique’ album it’s based on has come and gone and the third anniversary of MCA‘s death fast approaches. Time to put it to rest and move on…
Just watched the new version of Thunderbirds with the kids, loved it but was especially impressed with the end titles with painted backgrounds. They’ve managed to update all the old designs just enough but not too much, a fine balance.
Love this simple but beautifully realised video for Grasscut‘s ‘Curlews’ by ‘silent partner’ Pedr Browne. It’s taken from the duo’s next album, ‘Everyone Was A Bird’, which will be released on May 18th on Lo Recordings (they also plan to make films for the whole album). I saw them live late last year playing some of the material for the first time and fans will not be disappointed, their way of making and presenting music is very unique. They’ve also just started a radio show called Cut Grass which you can listen to here. And if you can’t wait until May 18th then check out the first single, ‘Catholic Architecture’ – a Robert Wyatt cover – that they released earlier this year with this beautiful sleeve.
My new Future Shock 2 mix is getting a lot of love on this week’s Solid Steel and now I can reveal that I’ll be premiering the AV show that goes with it
at Videocrash at Koko, London this May 23rd. *UPDATE - Soundcrash cancelled this gig after changing the line up four times in two weeks. It has since been rescheduled for another date in December at a different venue.
This must be film of the year…
My man DJ Cheeba recently performed his live rescore to Ed Wood‘s infamously so-bad-it’s-good B movie, ‘Plan 9 From Outer Space’ at the Watershed in Bristol. He’s just put a mixtape version online for all to hear as well and, even though I’m biased and it features two tracks of mine, it’s excellent.
During the live show he uses two decks, a third QFO turntable and even Coldcut‘s VJamm software to remix live. He’s also looking for shows to perform it at and you can get more info about it here. Book him, he’s one of the most forward-thinking DJs utilising new technology out there today as well as one of the most creative.
Finally got round to checking out Pond‘s new album today, not bad, some nice bits on there including this track which looks like it’s been taking styling tips from Noel Fielding’s Luxury Comedy. Particularly love some of the album graphics, the cover of which reminds me of Robert Crumb‘s turn for Big Brother & The Holding Company crossed with Celyn Brazier‘s work for Wagon Christ.
Looks like it could go either way from this trailer, hoping they play it 100% for laughs.
Just a selection of 142 photos taken at the model workshop during the pre-production for Blade Runner, an absolute treasure trove of unseen images that show the incredible level of craft and detail that went into the set and props for the film. View the whole set here.
Above: ‘Ascension’ by Larry Carlson, do not watch if out of your mind.
Few artists manage to capture the enhanced state of the psychedelic trip in the way that Larry Carlson can in the final three images below. That deepened perspective where the inherent detail in every object before you is magnified a thousandfold until your sense of space is distorted and images become present in everyday surroundings.
Whilst some of his images play into the clichés of the genre, there are enough interesting things happening in his work for me to keep an eye on it for the flashes of brilliance he does throw up. The mix of the surreal, the cosmic and his ability to occasionally nail a two dimensional representation of a lysergic experience puts him in similar standing to visionaries like Ernst Fuchs, Robert Venosa or Mati Klarwein. His work is more playful than theirs, I realise, containing ad hoc elements more akin to Terry Gilliam‘s collages than the seriousness of the greats but I feel he can sometimes capture the absurdness of scale or dimensional distortion that occurs on such trips.
Not long to go now until the March 16th release of the next in the Monstrous Psychedelic Bubble mix series from The Amorphous Androgynous – a 2xCD antipodean odyssey called ‘The Wizards of Oz’. If this ad doesn’t convince you to buy it then nothing will – pre-order direct from here.
One of my albums of 2014 was Z aka Bernard Szajner‘s ‘Visions of Dune’ reissue on Infiné, a 1979 electronic LP based on Frank Herbert‘s ‘Dune’ series. Now Infiné release ‘Rethinking Z’ a remix mini album that includes reworks from Scanner, Ghosting Season and more as well as Bernard himself. As with many remix albums, the results vary but there are several gems here including new collaborations by Szajner and remixes by label mates Clara Moto & Tyler Pope and Siavesh Amini.
You can listen and buy the album here (digital only) and there’s an offer on for a CD version of the remix plus a vinyl version of the original ‘Visions of Dune’ LP for just €20 + postage via Bandcamp.
There’s a documentary just previewed over on The Quietus about Szajner and he’s playing a handful of live dates in France over the next month as well as appearing in conversation with White Noise‘s David Vorhaus at Rough Trade East on Friday 13th at 6pm.
A new The The album is always a cause for celebration and today is such a day. As usual with Matt Johnson, you think he’s disappeared and then there’s a flurry of activity that confirms that he’s been very busy indeed. His brother, Gerard’s new film, ‘Hyena’, is out on general release in cinemas today after showings at selected film festivals and already winning a couple of European awards. The Brothers Johnson, as they are fast becoming known (call the lawyers!), are appearing at the Watershed in Bristol on Sunday March 8th for a Q&A with Mark Cosgrove about ‘Hyena’ and the power of the score in cinema.
Matt’s own Cineola label is releasing the soundtrack on CD in the usual hardback book format which is slowly forming a beautiful series of releases. The 20 track album comes with an 84 page photo book and is available now from the The The shop. A vinyl version will follow shortly on Death Waltz Recordings.
Last summer I interviewed Matt at Rough Trade East about his classic album, ‘Soul Mining’, and today you can get a free download of ‘Soul Food’, our one hour chat, newly edited by myself with added instrumental accompaniment. Also check out the previous installments of Matt’s Radio Cineola series which contain all sorts of rare and unreleased moments from The The‘s back catalogue as well as interviews with his collaborators.
The photos above and below were taken by Gerald Jenkins, during the interview and on Brick Lane shortly after.
Whilst perusing the web for decent cover images to use for the Leonard Nimoy post featuring ‘The Illustrated Man’ story (in the end I scanned my own copy), I found a whole heap of great images that er… illustrated the book in question.
Thursday night saw the launch of Trevor Jackson‘s first release in 14 years, ‘F O R M A T’, hosted at the Vinyl Factory space under Brewer St. car park on the heart of Soho. The release consists of 12 tracks and is initially being made available on 12 different kinds of media with 1 track per format.
These range from 12″, 10″ and 7″ vinyl, CD and mini CD, DAT, VHS, Cassette, USB card, Minidisc, 8-track cartridge and 1/4″ tape reel. The numbers of the edition drop as the format gets more obscure so while the 12″ is pressed up at 500 copies the 1/4″ reel is in an edition of only 10 available with the complete box set of all 12 formats. Prices start at £10 and slowly creep up as the numbers get more limited until you get to the full box set at an eye-watering £850. There is also a poster of all 12 formats available in an edition of 100 with each piece signed and numbered. See, hear and buy the full line up at www.formatvf.com
At the opening last Thursday guests were directed into the car park and downstairs to a space with a free bar at one end and a table selling the various formats that make up the album at the other. A second dark, enclosed space housed a wall of 12 huge screens opposite corresponding plinths with two sets of headphones. Each format and track was represented by a different film of it being played on the corresponding equipment, not a one shot YouTube-style video but varying close ups of the act of loading the format as well as associated graphics such as time displays, VU meters, rotating spools and platters etc.
What’s different about how this album came to be is that Trevor had over 100 tracks that he’d worked on over the past 14 years but only finished last year. This isn’t an album in the conventional sense, none of the tracks were intended to work together, they’ve been cherry-picked from the archive and exist in isolation from each other at the exhibition, preview-able via the headphones. Likewise (at the moment) each track exists in isolation if you buy it physically. Even the spaced letters of the ‘F O R M A T’ title suggest a disengagement from each other or maybe that’s just the graphic designer in me reading more into it. There was no playback of the full record and it will be interesting to see how the tracks hang together when the collection is released in two months time.
About the music, as it’s not been mentioned as much as the packaging and concept yet: everything I heard was instrumental, electronic, stark, minimal and very brittle sounding. Knowing Trevor’s methods and tastes I’d guess that a lot of this has been made using original kit rather than samples and his ‘Metal Dance’ compilations point the way to the sonic palette he’s using. Baring in mind I’ve only heard approximately two thirds of the record (it was a very busy night with only two heaphone sets per track) my description above may be a little skewed.
The 7″ track, ‘They Came From NY’ for instance, features an unidentified voice intoning a few lines and the ending disintegrates into random background sounds that slowly coalesce into a mutant jazz ensemble before being abruptly cut off. ‘In Your Hands’ - the VHS format that also includes the video – was my favourite from what I heard, an edit of a 7 minute plus ambient piece with a film of a dancing form that had been forced through some sort of video distortion technique.
My friend Frode Heieren pointed out that if you added up the 11 separate formats they would cost over £300 and yes, the pricing is crazy if you look at it like that. It aligns the work with the art and fashion worlds rather than the music industry, way out of proportion to the majority of similar objects sold elsewhere. The way each piece is sold is in the same manner as the art world too, these won’t be available in shops, only at the show and online, and each piece comes with a signed, numbered card that states which number you have and there’s the difference.
You’re buying part of an edition and the art world dictates that the lower the edition the higher the price. If you want to get into that side of things then you’ll spend the money – personally I bought a 7″ and cassette as well as a poster, certainly the most I’ve ever spent on either of those formats new. You’re getting 1 track per format and I don’t think anyone is under the illusion that that’s a good deal but you’re buying an artifact here on a format of your choice and it’s more about your preferred media than the track it contains.
If you don’t want to get into that then the whole album will be released in 2 months on vinyl, CD and download. Realistically very few people are going to be able to play a DAT, tape reel or 8 track cartridge so the editions are low and the prices high. That’s going to frustrate the completists but it’s also a very clever way to stop the album leaking in full as it’s unlikely that anyone is going to buy the box set and stick it online.
The full box set is inordinately expensive though, I thought it would be £2-300 tops and that’s the only bit where the pricing seemed out of whack to me. It puts it into the realms of the 1% and that’s something I’m personally not a fan of. But then again I have no idea how much it all cost to make, source and produce and the Vinyl Factory have never been known to be cheap which is why they’re one of the best at what they do. Trevor has said that there is no way he’s making a penny from it unless the box sets sell as sourcing things like 1/4″ reels and 8-Track cartridges aren’t exactly cheap or easy. Anyone who has experience of pressing records will also know that the lower the pressing, the higher the cost per item. From my own experience, I made 30 playable postcard records for the launch of the ‘Search Engine’ album exhibition in 2012 and, even selling them at £8 each, I only just broke even. But let’s not get into the crass subject of money and costings…
Most of all, the whole concept and execution is excellent and has had me thinking about music packaging from a different perspective in the same way that a good exhibition or film leaves you questioning things. I found the most successful presentation of the set was actually a framed version hanging on the wall, displaying each format rather than hiding them away in a box. I’d wager that those who bought items on the night probably acquired them more as artifacts of the show and, after a cursory listen, are more likely to display them than play them, certainly with the limited numbered formats. This has been happening for a while now if you speak to record shop owners who quiz their customers on their buying habits with many physical releases.
It will be interesting to see how much makes its way to the secondary market and how they appreciate in value over time, something I don’t think we can discount in this age of investment buying and flipping. A quick web search shows nothing on eBay or Discogs which is refreshing but will these prices seem like chicken feed in years to come? I know that Trevor’s intention couldn’t have been further from any thoughts of long term fiscal appreciation and would have been focused on the concept and presentation and ‘F O R M A T’ is a love letter to the physical in a time when more and more people are interested in owning a tangible manifestation of what they’re paying for again. In terms of innovative ways to present an album Trevor has broken new ground here and, despite the elitist pricing, I think that makes it a success.