Funnily enough I was listening to Faust and Eroc's Eroc 1 today and hello to make my bad days a little brighter here's David Stubbs and his book Future Days: Krautrock And The Building Of Modern Germany. There have been other good books on this topic of course. Particularly gonzo rock guru Julian Cope's KrautrockSampler, which is long out of print. Then there was The Crack In The Cosmic Egg by Steven & Alan Freeman which has also been out of print for some time but is a fabulous resource for the more obscure side of the genre. A scaled down internet version of this encyclopedia by the Freemans is available here in pdf form. Stubbs is of course a legend from the Melody Maker in the 80s. He wrote an excellent book a few years ago Fear OF Music about how modern music isn't given the same respect critically, culturally and monetarily as modern art is. Simon Reynolds really revs up the book with an astonishing quote "Future Days does not capture Krautrock so much as unleash it. At long last the definitive book on the ultimate music." Now that's saying something. As I recall a highlight of the 90s Reynolds & Press book The Sex Revolts was a chapter on Can which blew my mind. The best writing on the German group Can ever or any other group for that matter. Maybe there's better to come. Stubbs seems to show up at times in my life when I'm in bad health. There's a picture of me reading Fear Of Music on a hospital bed from a few years ago. It's like he knows when I need cheering up.
Any reason to play Can is a good reason.
You really need to listen to this LP as a whole.
It's Genius (and I hate that word's over use!).
This could be my favourite track of the year too. This is from Lee Gamble's Kuang EP. It feels like a ghostly cavernous space where the rave action used to be, now there is just reverberation and lost time. I can also sense some hope perhaps, sunlight creeping though the cracks of a past time. Anyway it is beautiful and brilliant. It's up there with anything from his Diversions 94-96record which made my end of 2012 list. It's probably the best thing he's done so far, stunning!
This could be my favourite track of the year. It's like something from a crappy lo-fi experimental art rock band that only put out tapes in like the mid 80s (that's not a bad thing in my book). I dunno if Thug and Jay are just lazy, bored wasted or just fucking funny. Probably all of the above. Florida Water is from Young Thug & Bloody Jay's 2014 gem Black Portland.
Young Thug & Bloody Jay's Florida Water made me wanna listen to this. I dunno if there's a connection or if my brain's just on random. Anyway this is an Ariel Pink classic from Mature Themes, I wish this song would go for an hour. I just can't get enough.
"Trap = derived from southern "gangsta" rap; particularly mid-2000s stuff like gucci mane, young jeezy, t.i. lots of intricate, rattling 808 percussion & snare sounds along with booming kick drums and bass. a lot of the original producers used a lot of big wall-of-sound, gothic sounding synths and there was a noticeable influence from electronic genres like trance and electro, but filtered through a rap production aesthetic. now a huge influence on rap, r&b and electronic music, and the production is often a lot sleeker and less bombastic."
"Ratchet = term for the recent production style that draws on hyphy (e-40, keak da sneak, mistah fab etc), jerk music, crunk and g-funk. lots of simple rhythms, kicks and claps, squelchy synth bass. i think the term was originally used by lil boosie in Louisiana but now usually refers to west coast rap and r&b stuff like dj mustard, yg, ty dolla sign etc."
*This was left by an anonymous commenter. Thanks Anonymous I think you know your shit!
They've intermingled and cross-pollinated though haven't they and not just with each other but most other forms of 90s electronic music and some 90s rap ie. 666 Mafia, right?
Wow, I haven't heard the word heroin or been around it since the 90s. That was probably the last time it was fashionable, but hello it's one of Cassie's drugs of choice along with cocaine. This tunes got a bassline straight out of a 90s Metalheadz tune don't you reckon? Or maybe a No U Turn tech-step track. Maybe heroin's makin a comeback. I mean they're all into codeine so I don't see why not.
It's pretty clear here what Young Thug wants. He'll have a spliff and two cups stuffed with Lean. He be from Atalanta. Is there something in the water down there? I mean apart from cough mixture?
Well this one's pretty self explanatory. Weed & Lean be the drugs of choice here. You can really get inside this track's luxuriant wasted vibe, even without the weed & Lean. But they would help.
Great beatz from my main man DJ Mustard. It's a shame Mane didn't write a good song on top of it. More references to lean and not being able to feel your face. They're still on about gettin some pussy even though they've had so much lean they feel like they're "from outer space". That 'Hmm' bit is so irritating it ruins one of the best beats Mustard ever put down. What a waste.
The best final track of an album then the first track of the follow up LP. I'm tryin to think of others but this is a great double! Of course The Bewlay Brothers ends Hunky Dory and Five Years opens The Rise & Fall Of Ziggy Stardust & The Spiders From Mars. Does it get any better than this for this combo?Anyone got any others?
I bought this LP when it first came out at the start of 2013, quickly shelved it and thought I'd probably never listen to it ever again. I thought this is the most boring Nick Cave shit ever. 'No Mick Harvey, bring Blixa back, where's Ed Kuepper? Wasn't he meant to playing on this?' Were my thoughts. A couple of weeks ago I pulled it out for the first time since February 2013 after seeing a cool poster on the interweb for his current tour. I thought maybe I missed something. I mean it was high in end of 2013 lists and quite rated (I do have a mistrust of post millennial rock criticism and don't read reviews).
The first thing I noticed when I put the cd in the computer was that bloody itunes had blanked out the pubic hair of the lady on the front cover (Nick Cave's Wife?). I still found it a little boring. Something dragged me back though. Several listens in and I was diggin it like no Bad Seeds record since the 80s. This is the Grinderman comedown and it's no rock record. That's what I had to come to terms with, Push The Sky Away having little to to with raucous Cave. Lyrically Cave's in fine form. His words are just as fucked up and lewd as anything from the 2 classic Grinderman LPs. Kudos must go to producer Nick Launay for keeping the record subtle and nuanced. No other band could have made this album. The Bad Seeds minimalism and restraint is so affective here.
It's track 3 that got me in. Water's Edge is musically co-written by Thomas Wilder and it has an edge like something from say Your Funeral, My Trial... A minute in and you're expecting Blixa Bargeld to chime in with his idiosyncratic guitar and vocals. I could have sworn that was a Barry Adamson bassline but looking on the liner notes he only plays on 2 tracks toward the end. Maybe Marty was channelling Adamson's ominous spirit. Water's Edge has a seductive menace and creepiness reminiscent of 80s Bad Seeds. Particularly when Cave whispers in your ear "But you grow old and you grow cold/But You grow old and you grow cold/You grow old." Then Nick's singing shit like "Their legs wired to the world/Like bibles open/To be speared." This tunes a bloody classic.
This is followed by Jubilee Street one of Push The Sky Away's centrepieces. This is a slow burning sprawl of a song that swells and swells to its loud conclusion. Jubilee Street is one of those seedy streets that every city capital has. Cave sings classic lines like "The Problem was she had a little black book/And my name was written on every page/ Well a girl's gotta make ends meet even down on Jubilee Street/I was out of place & time/And over the hill/And out of my mind." Were these words sung by Grinderman they'd have been sung with joyous nihilism but in The Bad Seeds hands the sense of guilt and remorse close in. It must be a couple of years on in the tune when he sings "These days I go down town in my tie & tails.' .Then comes the lyric oftheLP: "I've got a foetus on a leash."There are allusions to being transformed whilst the song swells into redemptive euphoria.
Mermaids is a lascivious tune from a voyeur's point of view. Yeah remember when Nick Cave was pervy ie Watching Alice from 1988's Tender Prey. That's where this track sits with a little humour. Mermaids contains great lecherous lines like "I was the match/That would fire up her snatch." Later he's "Fired from her crotch/Now I sit around and watch." Finishing Jubilee Street is creepy. I'm not fully sure what he's on about here perhaps a dream. The Bad Seeds create a dark and disturbing vibe here that shows Cave doesn't always need to whack you over the head to get his point across. The restraint and plaintive singing from Martha Skye Murphy (?) after Cave has sung words like "Last night your shadow scampers up the wall/It flied/It leaped like a black spider between your legs and cried." creates an indecent feel. It's some kind of nightmarish vision with tremendous haunted xylophone from Jim Scalvunos that plays in unison with the keys.
Higgs Boson Blues harks back to The Bad Seeds vision of American blues which First Born Is Dead from 1985 was steeped in but this time it includes the whole world as America. Visions of driving black roads, flame trees, crossroads, Robert Johnson, Lucifer, Memphis, heat, rooms with views, flop houses, preaching in new languages, bell hops, cleaning ladies, yellow patent leather shoes, being hot, Hannah Montana, monkeys with gifts, missionaries with small pox and flu, driving his car down to Geneva, rainy days and finishing with Miley Cyrus floating in a swimming pool in Taluca lake. This is Nick Cave at a career best songwriting peak. It's Steve Kilby-esque in its psychedelic fabulousness. The title track is last and it fits with the 2010s vibe of downer euphoria, conflicted feelings, luxuriant emptiness etc. Is it a lament or a paean to salad days or none of the above? One thing I do know is Push The Sky Away is one of the most beautiful songs The Bad Seeds have ever recorded.
Strange days indeed. From hate to love in 17 months. I didn't expect to be writing about this record right now let alone making grand statements like this is one of the finest Nick Cave and The Bad Seeds albums ever recorded. No Doubt. Huh.
More Sex, Drugs & Ratchet. I think Beatking's music is the most fully realised confluence of 90s rave culture and 10s rap so far and it's such an addictive sound. This one from last year's got rave horns, talk of mixing Es with codeine and echoes of 4 Hero's (Mr Kirk's Nightmare and Where's The Boy?) cautionary tales. Beatking says "These Molly's are gonna kill you in 5 years. But it's not 5 years right now so mix that shit with codeine." Not quite the same but 5 years is a long way off so party on right?
A really great weird list over at FACT on their top 100 LPs of the 70s. It's just one LP per artist. I love how they really don't stick to the rock-crit consensus. I couldn't have predicted that they'd put half of these in their list. I own about 63 of these records. There's no Bob, Neil, Bruce, Pink Floyd, The Clash or even Led Zep! That should rile up a few rock bores. Some of my faves on the more esoteric side of things from the list include A.R. & MachinesEcho, Guru Guru's UFO, Libra's Schock, Annette Peacock's I'm The One, Bruce Haack's Electric Lucifer, Rot by Conrad Schnittzler, Flower Travelling Band's Satori, Fern Kinney's Groove Me, First Utterance from Comus etc. Hawkwind make an appearance but no Ash Ra Tempel or Amon Duul 2. Funkadelic but no Parliament or Bootsy. Heaven forbid no Big Star what will the indie kids say? Black Sabbath's Master Of Reality over Vol. 4 and Paranoid. That would have been a hard choice. As would the Bowie decision with at least 11 classics to choose from. No T-Rex! No AC/DC! They went wild with their Lou Reed pick Live-Take No Prisoners. Nico in, John Cale out. No Iggy, that's outrageous! The 70s I guess was a peak time for fine albums so really they could have made a top 200. Can's Ege Bamyasi over Tago Mago, Future Days and Soon Over Babaluma. There's plenty of Krautrock, Jazz, Avant Garde, Punk/post-punk and the just plain weird. Not much Glam (That was more of a 7" trip) or Prog, No Country at all (it must have exhausted its hipness).
Of the punk & Post-Punk we've got Wire, The Sex Pistols, The Buzzcock, Stiff Little Fingers, Suicide, No New York, Patti Smith, Cabaret Voltaire, Crass, Pere Ubu, The Slits, New York Dolls, Nurse With Wound, Throbbing Gristle, Modern Lovers, The Residents (another hard choice, so many classics), Richard Hell, Devo and Talking Heads who all make the cut. Joy Division's Unknown Pleasures is mysteriously overlooked. The Saints(I'm)Stranded is the highest placed punk record, right on FACT!. No Radio Birdman or X(Legendary Australian band not the inferior American one) though, or X-Ray Spex, Dictators, Germs, Gang Of Four (is Entertainment not one the best album of the 70s?), Magazine, Television or The Ramones?! Metal Box by PIL is oddly missing. There ain't no Tubeway Army, Pop Group, Durutti Column, Thomas Leer & Robert Rental, Swell Maps, Minny Pops or Gary Numan solo. Der Plan's Geri Reig would have been my left field pick with its gloriously demented electronic toy town post-punk German stylee.
Soundtracks are thin on the ground. You could make an excellent list of 100 70s soundtracks I reckon. I think there are only 3 OSTs in the list. I'd have probably had Life On Earth, Eraserhead, Clockwork Orange, The Exorcist, Death Line, Quintet, Wickerman, Enter The Dragon, Shaft, Cannibal Holocaust, The Taking Of Pelham 123, Phantasm, Vanishing Point etc. etc.
On the soul and funk tip Curtis Mayfield makes the grade with his excellent Curtis/Live but Isaac Hayes doesn't. Stevie Wonder in, Michael Jackson's Off The Wall out!? Sly Stone, Gil Scott Heron, Last Poets, Shuggie Otis and Millie Jackson are here. The Meters, James Brown, Bill Withers, Al Green, Betty Davis, Marvin Gaye, Bobby Womack, Teddy Pendgrass, The O'Jays, The Isley Brothers et al. are not. My esoteric Pick would have been Lightnin Rod's Hustlers Convention from 1973 which is a proto gangsta rap concept album that is some funky superfly shit man. On the disco tip no Risque from Chic or Donna Summer's Once Upon A Time. But we do get Cerrone's Cerrone 3: Supernature and the aforementioned Fern Kinney.
There's no records from Sweden ie. International Harvester, Harvester or Trad Gras Och Stenar (I'd probably have included an LP by each of those groups even though they're all pretty much the same group). Maybe my other Swedish pick would have been Algarnas Tradgard's Framtiden ar ett Svavande Skepp, Forankrat I Forntiden. That's a nice slice of folky space prog jams. From France you get Serge Gainsbourg, Magma, Ghedalia Tazartez and Heldon. Some other French weirdness would have been good too like Pole's classic meandering electronic psych trip Inside The Dream from 1975. Brazil still seems to be on the hipster map with several entries, however Milton Nascimento & Lo Borges sprawling opus Clube Da Esquina misses out as does Jorge Ben,Edu Lobo etc. On the Yank/Brit folkish tip you get Linda Perhacs, Judee Sill, Bridget St John and Robbie Basho but no Nick Drake, Vashti Bunyan, Dr Strangley Strange, Tim Buckley (losing his hipster cache?) or my fave of the lot John Martyn. It would have been a toss up though for a Martyn LP between Bless The Weather, Solid Air, Inside Out or One World. Only one LP from Japan shows up so there's no Les Rallizes Denudes, MasahikoSatoh, People, Far East Family Band or Brast Burn. Nothing from Turkey at all! I'd have perhaps put in Baris Manco's funky Anadolu psych classic 2023 or LPs from Mogallar, Bunalim, 3 Hur-el or Eric Koray's masterpiece Electronic Turkular. On the Avant Garde front you get Bernhard Palmigiani, Charlemagne Palestine, Gavin Bryars, Basil Kirchin, Harold Budd, Robert Ashley etc. I reckon Taj Mahal TravellersAugust 1974 would have got my overlooked vote for its eerie deep psych drone goodness. Even maybe something from the legendary Ron Geesin who put out several classics of 70s cult electronics on the KPM label. Where's Delia?
I could go on forever, perhaps I should have made my own list. Klause Schulze's Moondawn gets a guernsey but it could just have easily been 7 of his other 70s classics. Tangerine Dream's Ziet would have got my vote over Phaedra.On The Corner from Miles Davis seems a conservative choice to me. I'd have gone for something like Get Up With It, Dark Magus, Big Fun, Agharta, In Concert or Live/Evil. Cult bands like The Screamers, The Electric Eels and Simply Saucer, I don't think had official LPs released in the 70s, which could explain their absence.On the more rock front The Rolling Stones, Blue Oyster Cult, The Allman Brothers, King Krimson, Dr Feelgood, Thin Lizzy, Steely Dan, Buffalo, Budgie and The Pink Fairies don't get a look in. I guess those bands are for other lists. FACT do things their way and the worlds a better place for it.
Here's ten LPs that haven't been mentioned yet in this or the FACT article that are essential 70s recordings in my book: Edge Of Time - Dom No Other - Gene Clark For Your Pleasure - Roxy Music Ball Power - Coloured Balls Tres Hombres - ZZ Top Split - Groundhogs If Only I Could Remember My Name - David Crosby Alien Soundtracks - Chrome Delta Momma Blues - Townes Van Zandt Dub From The Roots - King Tubby
Wow this has made me realise once again how rich and deep the music goes in the 70s. I'm lookin forward to going through all my Miles Davis and Klaus Schulze records oh and then there's some I've never heard from the FACT list. I might finally check out Henry Cow, Millie Jackson, Cymanade, Judee Sill or Gary Wilson. I never could get into Stiff Little Fingers, Joni Bloody Mitchell,Genesis or pre-SwordfishtrombonesTom Waits though. But hey any list with Throbbing Gristle's 20 Jazz Funk Greats at number 1 is fine by me.
Lovin this! It's got a really sad lost future vibe running through it. Like what happened? Is that all there is? What now? Who's got the vision? Is this retro-future better than other versions of futures put forth by other artists in other genres of popular culture/music? Why does no one care? Not even us. Featuring the new millennium's only guitar legend Mikey Young.
.....and this from like 2 years ago now. Featuring the main man Brendan Huntley (from Eddy Current) hopefully still in fingerless gloves. My theme tune of the last 2 weeks, except I did mind gettin caught in the rain. Every time I get on my bike it bloody rains.
Classic from 2008 with Mikey & Brendan together in Eddy Current Suppression Ring. Dunno if this is their video or a custom made fan job. There's was something so peculiarly Australian about Eddy Current that was so fabulous, you couldn't ignore it. Then there was Brendan who is so damn charismatic. They didn't seem fake either like say The Arctic Monkeys or The White Stripes. Primary Colours feels like it was released a lifetime ago but it's only 6 years old. That can't be right? I saw this album Primary Colours (from which the above track is from) along with Ooga Boogas Romance & Adventure get reveiwed on daytime tv by Dicko (ex-Australian Idol Judge) and David Reyne (ex drummer of shite 80s girl pop group The Chantoozies and brother of Australian Crawl's James). Reyne had a go at the drummer of Eddy Current and said with disdain that they reminded him of TheSaints as if the Saints were the worst band to come out of Australia and not the greatest. This made me think Reyne was a turd, even though he was in the classic 80s tv series Sweet & Sour (which was about underground inner city hipster post-punk/new pop bands). Primary Colours even made it into the end of year Pazz & JopPoll in The Village Voice of all places. They placed somewhere in the top 70 which was pretty good but Guns & Roses'Chinese Democracy placed ahead of them!? Make of that what you will.
