Fragments Of Time Part 2

In the comments box of that last post Simon Reynolds asks 'What do you think of gqom?'

Gqom is a genre originating from Durban, South Africa which is stripped down and rhythmic music designed for the dancefloor that's springy, minimal, raw and funky with elements of tribal house, kwaito, hip hop and broken beat. What I had heard of gqom (a Zulu word meaning drum or hit, I believe) up until today I thought was alright. Then I discovered Rudeboyz and they've got some great trax. In particular I love the below Get Down which is like a Basic Channel tune stuck in a pinball machine but trying to break free, I like a lot. The other great trak is Mitsubishi Song by Rudeboyz member Menchess (3rd tune below). This one's got fabulous tumbling rhythms that bounce around amongst the dark minimalism. The other two tracks are bloody good too. All of these tunes have their own mechanical internal logic that becomes mesmerising, v nice.

The Rudeboyz EP is released on a British label called Goon Club Allstars and is one of the first international releases of this regional style that has barely made it outside of Durban. So far gqom has been an mp3 game and here's a bunch of tunes that Rudeboyz have uploaded for your listening pleasure.

Fragments Of Time

I dunno if It's me or not but I have a stack of unfinished posts that I just can't be bothered returning to. Is 2015 too boring to write about? Is writing about music irrelevant? Am I taking myself way too seriously after receiving kind words, tweets and replies from people I admire and respect? Have I started second guessing myself? Had a loss of nerve? Or run out of things to say? Has medication levelled me out so much that I've become indifferent to anything or everything. I suppose rap is still where it's at in 2015, with only a few choice things emanating from other zones. I am waiting for something to come along and stop me in my tracks though. I reckon even the slow increments of innovation in hip-hop are coming to a halt and the rest of the music world has reached stasis point or entered a time-warp. Let's face it I'd be happy if something really retro came along as long as it was bloody awesome, you know like that last Daft Punk record, Urge Overkill circa Saturation or Soft Bulletin era Flaming Lips. If the concept of time's been flipped I don't see why we can't use that to our advantage, at least for cheap thrills. Hey cheap thrills are some of the best thrills. Perhaps I'm not as easily swayed or impressionable as I'm not young any more, then again Random Access Memories was only two years ago...I'd be happy with a new Bruno Mars album at this point. Maybe Retromania is no longer the thesis of our times. The law of diminishing returns has probably killed that party. Should someone write something about stasis? Stasis, I just did. I guess Ekoplekz and Beatking will probably have new records out soon but come on everyone else I can't keep relying on those two artists for my new music pleasures, they can only release two or three records a year.....oh I suppose I can if I have to.

Telly, movies and blogs all seem to be offering less. I used to love the blogoshere back in the day. The early to mid 00s were its heyday it seems. When the likes of Blissblog, K-Punk, Woebot, Gutterbreakz et al. were writing about stuff like Grime, Dubstep, electronic music of the time, old stuff and even rock, it was great. I wasn't even into any of the music really but their excitement was infectious. I don't even know what I was listening to then (ye olde afrobeat compilations, I think?). I mean Friday nights were all about gettin drunk and listening to The Rolling Stones, ZZ Top and AC/DC. I thought music was over for me but I liked the fact that innovation and progression were still happening, so I still kept an eye on it. I thought maybe something new would come along that I liked eventually. It did come slightly with Hauntology, Hypnogogia, Altered Zones type stuff and Ratchet. Now it's like Philip Sherburne is the only one attempting to document the new (see this Energy Flash post) but even he appears to be struggling to get blood out of the stone. Good on him though, at least, for trying. I think I came to this blog game too late. In my first couple of years of blogging there was still a shitload of great stuff being released but it has been petering out and in 2015 well geez.....

CHBB

Here's something that has sat in my i-tunes unplayed for a long while. My version doesn't sound quite this good though. So my mp3 might be a bootleg or a demo, I dunno. The Electro Maggot played a version of this track the other day. The actual physical item of this, which is a 10 minute cassette from Germany in 1981, is impossibly rare and fetches big $$$ on e-bay. CHBB only did 4 releases all of which were 10 minute tapes that I am led to believe were only issued in runs of 50. Anyone can find that fabulous Liaisons Dangereuses LP from 1981 in some form or another but these four tapes are sort of The Holy Grail of German Post-Punk. So CHBB are Chrislo Haas and Beate Bartel. Krishna Goineau joined these two later to make up Liaisons Dangereuses but obviously wasn't part of CHBB, so that above youtube title is slightly misleading. The 4 CHBB tapes have never been reissued and I'm not even sure they're anywhere on the web any more. They're just not some obscure collectable though, the music is excellent and right up there with the Liaisons Dangereuses album for innovation. One of CHBB's tunes showed up on that Metal Dance 2 compilation a couple of years back. Who knows if there will ever be a proper reissue of the nine tunes contained within these infamous four C-10s? 

It's pretty good, innit? Thanks for reminding me Electro Maggot.

This one's a mad killer tune from the first tape. I'm pretty sure if you stripped this down to the synth and drum machine it'd pretty much be techno in 81, wouldn't it?

This is gold from the 3rd tape

Classic post-punk tropes from the first tape.

And here's a little bit of a classic from Liaisons Dangereuses that was also on their one and only self titled LP.

Gerry & The Holograms

Holy shit this is the best old music discovery I've made in 10 years I reckon. I'd not even heard of them until 2 days ago. This is so damn good I can't believe my ears. All I know is they were from Manchester and this was released in 1979. New Order were surely fans as they nicked the melody for Blue Monday. Thanks to Finders Keepers Radio for the heads up on this, it featured on their synth spezial. You can download the entire Absurd catalogue, which consists of 10 or 15 singles or something, from Jonny Zchivago here. He also hints at Martin Hannett's involvement on these recordings. There is no mention of Absurd or Gerry & The Holograms in that biography on Hannett though. 

Finders Keepers Radio

I was surfing the net in search of something musical to excite me the other day and I thought "Have Finders Keepers released any 'old stuff' this year that I might have missed?" I don't remember the answer to that now. I did however discover these Finders Keepers Radio Podcasts. The 10th anniversary show reminded me of where my head was at in the mid 00s. The only current stuff I was into then was Animal Collective and Ariel Pink's Haunted Graffiti give or take a Deerhoof or two. I didn't engage with Grime (except for a little bit of Dizzee & Lady Sovereign on the radio, call me commercial) or Dubstep at the time so I got into this weird old stuff that was being reissued by Finders Keepers and the likes of Trunk Records. This was also around the time Ghostbox started too, but that was new music and a whole other story. I definitely recommend listening to this podcast but it's a weird old game for sure. So you go back in time 10 years and hear stuff that was already old by like 30 years then. Talk about atemporal. Reminiscing about reminiscing about stuff that was unheard by you but reminiscable by others from around the globe. I just had a look at my cd collection and realised I had over 30 albums released by Finders Keepers!!! So obviously, I like what they do a lot, although now this stuff feels doubly old. I can't imagine head honcho Andy Votel listening to Young Thug, Kevin Gates, Future, Beatking etc. now, but in 30 years time they'll be able to go back and neatly pick out what was awesome, an anomaly or really strange about the state of current southern rap though....er maybe that's a bad example....maybe they would discover a bizarre scene from Uzbekistan that was influenced by 2010s southern rap, that's more like it. What Finders Keepers are on about is hindsight, alternative histories, retro-eclecticism and diggin deep because most current music sucks.

Andy Votel's voice is incredibly close to that of another (in)famous Manc Jonny Vegas. I keep picturing him as Vegas. 808 state's Graeme Massey gets a second act on these podcasts as a possible cult comedian because he plays this character Tape Worm which is hilarious, I mean I assume it's him, it could be Votel, I dunno. The host Pete Mitchell puts me in mind of slightly hipper Alan Partridge.

THIS WAS GOOD
Well Hung is a Finders Keepers compilation of funky Hungarian pop from the 70s. A few years after this was released I got talking to a woman who was perhaps 15 years my senior from Hungary. I showed her this on my I-pod during a uni lecture and to my surprise she sang along to every tune and then gave a run down of who they were, what they used to be and where they were now. She thought it was really weird that I was into this shit.

Top 3 LP Covers Of All Time

I was filling in a questionnaire about best LP covers the other day and found it really hard. My conclusion in the end was that movie posters are much better pop art than album covers. What surprised me most was how much I didn't give a fuck about the artwork for albums. Perhaps movie posters are better because they promise so much yet the actual movie rarely delivers on that promise. Movie posters as an entity unto themselves seem like a much more successful artform than the poster as part of the combination with the movie or album artwork by itself. Album artwork really seems to be an afterthought doesn't it? Music doesn't need it's sizzle to be sold because it speaks for itself.

Sure I had a few other favorites but below are my top three LP covers of all time and the music is awesome too...just slightly magnificent.

Big Fun is surely the best LP cover ever. The soundz within are bloody exceptional too!

In Concert is quite possibly my fave Miles record.....uh and that cover!

An amazing trilogy of funky ghetto pimp shit that really suits the tunes. The album sleeves for In Concert & On The Corner were once described as 'tastelessness' by Canadian jazz magazine Coda, ha...the last laugh is on you Coda, tastelessness never tasted sooo good. Don't you love how people with a different taste to you describe it as no taste as if there couldn't possibly be an alternative to their specific tastes. Stupid. I love these Corky McCoy cartoon covers more than the covers Mati Klarwein did for Miles Davis but they're great too (see below), if a little tasteful.

How good is the Live/Evil one? Fucking mental.

The two different styles of cover art really sum up where Miles was at, at the time. A culture clash of high culture and trash. Davis was making mercurial epoch defining art and designing sonic templates for future genres to plunder but he also really wanted to be down with what was happening on the bad ass fonkay streets. He wanted to eat his cake. I think he did and then some.

Portishead - Third - ?

Why am I writing about this now? Old news I suppose but....I dug it out the other day and gave it a spin. This LP was universally acclaimed and ended up in a lot of best of the 00s lists. I don't recall any reviews at the time but it seemed like everyone liked it and thought it was a good idea. Portishead moved away from the trip-hop and headed into much whiter zones. I mean Beth was always white as a ghost but in a Dusty/Janis wish I was black kind of way. Was she once a Janis Joplin impersonator? With the hip-hop and soul samples turfed here for tributes to Can, United States of America via Broadcast, Pram, Silver Apples and whatever else they were referencing beyond track 6 etc. it all seems a bit odd. It's a bit like, I dunno, The Stereophonics releasing a jungle album. On Third, it was like Portishead wanted to rewrite their own history and state the case that: We too could have been a UK post-rock band circa 94. Third would have fitted pretty neatly into that category. The best thing about Dummy though, was the fact that they weren't indie or post-rock or Brit-pop. On Dummy they were stark blue eyed soul with hip hop beats encased in a dub mentality. It felt pretty new or at least of it's time with their re-situation of John Barry with bleak torch singer amongst dubbed out trip-hop. I think their debut and the underrated follow up were quintessential 90s records that are still worth listening to, depending on how much time you spent in Cafes in the mid 90s that is. So why all the plaudits and respect for Third? I can only think that perhaps the 00s were worse than I thought and people were grasping on to anything. I mean it's tasteful and everything but.... fuck by the time they get to Deep Water's country twang, I wanna smash the fucking stereo in.

Cherry Moon On Valium....again

Sorry this isn't something new, just the old Cherry Moon On Valium mix from 2011 but I just watched this for like the 20th time and I never get sick of it. They should do another mix. I converted this to mp3 and put the audio into my i-phone a couple of years ago and it is one of the most played things ever on my phone. I keep meaning to make a compilation of all the original tracks at their real speeds, I think I've probably got half of them. Then just looking at the track list I realised there's a few I haven't recognised in their slowed down form. Anyway I posted this ages ago but hey it's fucking timeless, innit?

Young Thug - Best Friend

Diggin that vibe....on this. I love everything about Young Thug, his moves, the way he wears his clothes, his videos and...Oh yeah his singing. He is so cool and funny. There's also something disturbing about him which adds to his greatness. Best Friend is from the mixtape Slime Season which was was released this week but apparently he's got a whole other album ready for release! More on Slime Season once I've got me head around it. Slime Season isn't as mental or rough as 1017 Thug but it sounds real good though.

He's really killin the sound and vision combo isn't he?

He's sold me. Get me some lean. Every other rapper pack up and go home.

Funny bastard.

On The Hi-Fi - Part !!!

The fog has lifted slightly but I feel like I can barely string a cohesive sentence together. I'm strugglin to get past 'I like/don't like' sort of writing at the moment. Deep analysis might be out the window until my brain gets flowing again. Sometimes it seems you need to be a musicologist to review this (above) kind of shit but no, I'm gonna give it a Space Debris crack. This is very bloody good. Before we had jungle we had the polyrhythmic mentalness of this Latino shit. Some of this music is as outre as Miles in the 70s while some of it sounds like it could have been off the soundtrack to The Love Boat. Many a legend is to be found on this comp that came out 20 years ago including Palmieris Charlie & Eddie, Joe Bataan, Ocho, Grupo Folklorico etc. This new version has an added cd with 8 tracks that weren't on the original collection.  Do I need to mention Cuba, Boogalooo, Salsa Classic, Puerto Rico, New York, Fonkay or whatever? This is Superfly, sometimes soulful, jazzy, summertime and everything else in between! Makes you want to drink cocktails in the sun and dance like you think you are the greatest dancer ever.

LIVE IN ALCALPULCO - DDAA (1981) (Tape 2)
Well I was not expecting this. I had previously heard DDAA's Nouvelles Construction Sonores Sur Fondations which was a lengthy drifting sonic art collage released in 1991. When the opening tune Ready With The Answer came on with it's rubbish bin percussion and mental guitar I was so shocked I thought this was a different group altogether. It caused a flurry of research and no it wasn't two different groups, it was the one and only DDAA. As far as I can tell they were a 3 piece who had formed in France in 1979. This release is surely where Sun City Girls got all their inspiration. Live In Alcalpulco is fabulously minimal stuff that sometimes sounds like a Middle Eastern no-fi Slint gone acoustic with drums made of cardboard. Then it goes psych post-punk like a No-Wave group stranded in the desert jamming while imbibing mushrooms then incredibly inventive drones, space invader noises and gamelan-esque percussive sounds enter the fray. The crowd of two like it a lot and clap enthusiastically (surely this is a faux-live record). I thought I was hip to all the under-underground classics by now, but no way, I was not even aware of this double cassette until today. Subterranean Gold!

I have been waiting for a new release from Gesaffelstein since his classic Aleph from 2013. I guess this isn't the true follow up to that masterpiece of 'beautiful paranoid atmospheres, bangin streamlined EBM and Cold Rushes.' It does have the cold and paranoid atmospheres but not so much the bangin club tunes. I assume Maryland is a horror film because this is quite the grim soundtrack. An hour earlier my brain had been comparing Burzum's ambient black metal tunes to those of the mid 90s electronic doom/gloom-core variety ie. Miro, The Mover, Reign etc. so it was weird that this turned up as surely Gesaffelstein loves all that stuff. Wall Of Memories could be a Burzum track with it's simple but bizarre piano phrase that is chilling to the (hard)core. Could a horror score be album of the year two years in a row?

*The Space Debris airwaves have been featuring the aforementioned Burzum plus the likes of Bathory, Ulver, Celtic Frost, Wolf Eyes (??), Bene Gesserit, Skin, Swans, Crime & The City Solution, Clint Ruin & Lydia Lunch, Terror Danjah, Isolee, Ricardo Villalobos, Arthur Russell, Future, Young Thug and er.....Gong. A little old school hip hop has been on the decks too including the likes of LL Cool J, Schooly D, EPMD, Slick Rick, NWA, Public Enemy, Beastie Boys, Dr Dre etc. with a blog post coming up on these ye olde artists and the current state of Hip-Hop.

2015? Part 2

Simon Reynolds chooses this as his pick for 2015 so far here in my comments. Atlanta's Future was the kingpin of weird rap before Young Thug came along and remains just as relevant as Thugga. They both come from the same church ie. Lil Wayne worship. His 2012 album Pluto was choice as was this year's Beast Mode mixtape which I wrote about here. Future had a couple of other good mixtapes Dirty Sprite, Astronaut Status and Streetz Calling but last year's official album Honest was a tad disappointing. Fuck Up Some Commas originally appeared on the Monster mixtape from last year as well as on 2015's DS2.

Turn On The Lights is classic anthem from Pluto.

Real Sisters was on Beast Mode as well as appearing on DS2.

This is the closing tune on Beast Mode.

Future featured on this great tune from Jeezy last year which made my end of year list.

Anyway back to now....the Mrs chooses this as her 2015 pick. Goin back to Live To Tell vibes on this one fo shizzle.

Same name different song. Vocally he's a bit reminiscent of Billy McKenzie doncha think? He kinda does with deep tech what Daniel Bedingfield did with 2-Step Garridge on Gotta Get Through This sort of...maybe....I dunno.....does he?

I think he originally did an acoustic version of this anyway....

Hard for me to go past this one from Beatking for 2015.

Oh and I really like this...sure it's got a bit of Dre/Snoop circa 92/93 RJ & Choice have their own swagger though which raises this tune beyond mere pastiche, is it not awesome? Iamsu! is a star. Call me retromaniacal....... 

Iamsu! with RJ & Choice again....

2015 - How Shit?

I've gotta say 2015 has got to be the worst music year since fuck before the 2nd World War, I reckon. I'm stuck in 90s musical zones (see above) myself and don't particularly care that my listening isn't drifting back to the now. In fact I want to stay right in those places when and where the possibilities seemed endless. Me and the Mrs discussed a furniture shop closing down near our house the other day and ended up in the terrain of "Is that it then? Music's finite so i guess furniture is too." I was saying how these retro interior design shops had become so uninspired and formulaic, why would anyone want to spend money on this new old shit when there's plenty of old shit anyway?. The retro eclecticism, of the products in these shops, is disappearing up it's own arse at an accelerating rate. Is it that no one is game enough to say right here's a new style? So we just continue down these tasteful but conservative aesthetic avenues? Nobody's killing their idols. There's way too much reverence. We lived through a modernist time but that has gone. Where are the generation gaps? The kids don't even want one. Teenagers don't seem to exist anymore, kids don't leave home until they're over 25 now. You used to leave home and disassociate yourself from your family and become a whole new you, severed from the past. Emma went to the Bowie exhibition in Melbourne last weekend and said there were kids sans parents there. I thought what the fuck? These youngsters are going back 40 years. In 1985 diggin the 60s seemed old but it had only ended 15 years prior. When I was 17 (by then we had Public Enemy, The Pixies, My Bloody Valentine, Sonic Youth, Dinosaur Jnr., Acid House, Hip-Hop etc.) I wouldn't have been caught dead being interested in a culture that was 40+ years old. Strange days indeed.

*This is raw thought data that's still being processed in my mind.

**A retro curio in itself. First issued in 1971 (maybe the year I was born) on his Hunky Dory LP then was later released as a single in 1973 when Bowie had reached stardom. It became a massive hit in the UK.

The Munch Bunch & Other Kid's Telly Theme Tunes

Sounds like something off Ariel Pink's Pom Pom, I reckon. The Mrs has been singing this all day so I checked it out. I don't recall it at all...maybe it didn't make it to the telly screens of regional Victoria in the 80s. We only had two channels...

I vaguely remember this though.

This the only other one I recall. I'm pretty sure this show was actually French but dubbed into English. I would have been none the wiser back then though. The rest are a journey into Emma's childhood tv mind.

Loving Button Moon's theme. "I am the moon" "Howard Moon"... The Boosh guys must have loved this.