Manafonistas

on life, music etc beyond mainstream

Autoren-Archiv:

2018 7 Okt

Nodnol

| Abgelegt unter: Blog | RSS 2.0 | TB | 5 Kommentare

 

 
 
 
„The Danish town planner Steen Eiler Rasmussen first popularized the idea of London as “a city of villages” in the 1930s, and the description long ago became a cliché.“ (Ian Jack, NY Review of Books, September 27 2018.)

Accretion, agglomeration. But at the quantum scale – time (possibly) goes both backwards and forwards. This is yesterday, and so is tomorrow. Psychogeography is alive, RIP psychogeography.

„And then, a bird of like rarest spun heaven-metal, or like silvery wine flowing in a spaceship, gravity all nonsense now, came the violin solo above all the other strings, and those strings were like a cage of silk round my head.”

Two soundtracks I enjoy listening to frequently are White Bird In A Blizzard by Harold Budd and Robin Guthrie, and Le Grand Bleu by Eric Serra. The deep enjoyment of these soundtracks means that approaching the films isn’t something I’m in any hurry to do, because I’d be too busy listening to the music to concentrate on the film, and in any case, the music has already conjured up a kind of amorphous non-narrative film of its own for each of these soundtracks.

White Bird In A Blizzard is an astounding listen, every single time I hear it. The record’s compositions vary between those written solely by either artist, with only a couple that were co-written by both. The opening track (by Guthrie) sets the scene. If music could sound cold and luminous to the point of being able to see and feel it, then this is an example. But (perhaps counter-intuitively) the effect is warm rather than cold, not unlike watching snow falling outside, through a window: the snow falling faintly through the universe and faintly falling, like the descent of their last end, upon all the living and the dead.

Le Grand Bleu is a longer record, with more thematic variety. Sure, there’s all the watery bits with all the mystery and danger you’d expect, but there are also moments back on dry land – the contrast giving the impression that neither state is ideal, even if one is preferred. Serra’s compositions are brilliantly textured – maybe a bit 1980s sounding, but in a cool way. Two killer tracks here are Homo Delphinus and Much Better Down There, both of which hint at an emotional depth I can only hope the celluloid actually provides.

As for films I have actually seen, well 37°2 le matin by Gabriel Yared is about as good as it gets. Or Blade Runner by Vangelis. Then of course there’s film music for films that don’t even exist – such as Brian Eno’s „From the Same Hill“ and The Durutti Column’s „For A Western“. But that’s a whole ’nother blog.

2018 14 Sep

Scarlet Nights

| Abgelegt unter: Blog | RSS 2.0 | TB | 1 Kommentar

Two records that I never stop listening to, records that get played on a daily or weekly basis. This is stuff that never loses any of its fascination. David Sylvian’s Gone to Earth and Prefab Sprout’s Jordan: The Comeback. It would be fair to say that both of these works explore the theme of death. What is death, to the dead? Fuck knows. And I’ll be too dead to care when I myself am over the waterfall. It’s one of life’s imponderable questions.

Anyway, both records go into this broad theme in different ways. Gone to Earth brilliantly contrasts songs with instrumental compositions, moving from the groundedness of language into something beyond it, over into a world of mysteries and doubts unlimited by the need to check for fact or do reason. Jordan: The Comeback is all songs, no instrumentals, and it hints at a beyond, stopping at the shore and looking over. That’s how I read it, anyway. The writer Philip Pullman has this to say about stories:

 

As a passionate believer in the democracy of reading, I don’t think it’s the task of the author of a book to tell the reader what it means.

The meaning of a story emerges in the meeting between the words on the page and the thoughts in the reader’s mind. So when people ask me what I meant by this story, or what was the message I was trying to convey in that one, I have to explain that I’m not going to explain.

 

And so here’s how I read Jordan: the Comeback. The word Jordan relates to Elvis (whose backing singers were of course The Jordanaires). It also relates to the River Jordan, a place of miracles. The song’s fictional, once-mighty singing star says (note: says, not sings) in the title track he is „biding his time“ waiting to make a comeback. He just needs the right song for this to happen. But you just know the character is on his deathbed, and that the comeback won’t be a Vegas thing but a trip past the pearly gates. The song closes with this:

 

End of the road I’m travellin‘
I will see Jordan beckonin‘
Jordan, sweet Jordan
Hand me any cup you find that’s lying spare
I’ve longtime been a-thirstin‘ for a share

 

At which point Jordan (the river) becomes the place where crippled horses heal, and where autumn is reversed, as well as Jordan (the character) being the one who can dispense some of the river’s miracleness. The second last track, Scarlet Nights, hints that, yes, it’s the end. But it’s also a beginning:

 

This is where your sleepless eyes will close
This is where the weary find repose
This is where a kind of bugle blows
This is where you’ll wake to find the River Jordan flows

It was great to read the recent post here on Manafonistas that referenced the inner goth in relation to Ocean Rain by Echo & The Bunnymen.

The idea of Echo & The Bunnymen being goth had never occurred to me before. I guess the French language, and French smoking influence got in the way.

I always imagined Echo & The Bunnymen lighting up Gauloises or Gitanes and digging Brel’s „La Valse à mille temps“ rather than reading Bram Stoker and sleeping in coffins. But it did kinda make sense. Look at The Royal Liver Building, its granite face. Liverpool’s most famous building – if it can be said to be representative of the city – isn’t exactly a splash of colour.

Anyway, the idea of the inner goth got me thinking about what is goth and what isn’t. And there’s no real answer to that, apart from the fact that Havergal Brian’s „Gothic Symphony“ is most definitely gothic. Inner goth though? That’s a subjective call. So here’s my Inner Goth Top Five. (Lifers, every one.)
 
 

BauhausThird Uncle (Beggars Banquet, 1982). Eno’s original is post-punk, but it was recorded and released before punk, in 1974. That is an achievement, of course – and a big one. Bauhaus are wise enough not to try and alter the style of Third Uncle too much. They just put it back out there, and remove any sunlight from the original, replacing the sunlight with moonlight.

 

This Mortal CoilKangaroo (4AD, 1984). Another cover, this one is a rendition of Kanga Roo by Big Star. It’s the singing style that makes this, as well as the bass and the strings. The overall effect is of moonlight turning ramparts and flagstones silver-blue under a midnight sky.

 

The Cassandra ComplexSecond Shot (Play It Again Sam, 1988). „All that glitters isn’t gold, but who cares, anyway? Let me bounce off your lens and into the trees.“ Goth with saxophones. A powerful and shattering listen.

 

The Royal Family & The Poor Art on 45 (Factory Records, 1982). „Vast emptiness, nothing holy“. This song’s words echo the writings of Belgian philosopher Raoul Vaneigem, especially the 1967 book The Revolution of Everyday Life. With style.

 

John Maus… And The Rain (Upset The Rhythm, 2011). „And the rain came down, down down down down down.“

 

This week’s Lost Classics is Seventeen Stars by The Montgolfier Brothers. And what a fucking genius record it is.

Now, I’ve no idea whether the whole Heißluftballon thing is one of its themes, but it’s kind of inescapable for my ears. It’s a work that deals with vicissitudes, with contrasts, with ups and downs. Seems to me that the instrumental tracks on this are its moments of reflection, when everything’s (literally) up in the air. The album’s instrumentals are great – like miniature Eric Serra soundtracks that swap one Grand Bleu (the sea) for another (the sky). Meanwhile, the songs with words sometimes describe moments of upwardness and hope, and sometimes the opposite: a bump of earthwardness.

Seventeen Stars arrived by chance, by way of an automated playlist. The best records always come from nowhere, with no hype or announcement. One day you’re sitting there in your kitchen thinking you’ve heard all you’re likely to hear – then, boom: another classic arrives and renews your faith in music.

Listening to Seventeen Stars is a bit like going on holiday. Not a city break to, like, Bucharest or Vienna though – an actual holiday where there is space, time and sand. Here are the opening lines of the title track:
 

A trip down south
On the coast of France
An hour by coach –
Takes us from Bordeaux
To the middle of in-between
Arès and Arcachon
A mass of shuttered chalets
A stone’s throw from the beach

 
Stick Seventeen Stars on. Up, up and away.
 
 
 

 
 
 
Artist: The Montgolfier Brothers
Release date: 4 May 1999
Label: Vespertine
Producers: gnac, Roger Quigley
Genre: The concept of genre is what it is
 

2018 8 Feb

Defining ambient

| Abgelegt unter: Blog | RSS 2.0 | TB | 2 Kommentare

How do you define ambient?

The closest I could ever get wasn’t really a definition, more a kind of description of one of its occasional attributes: that it’s not easy music to hum along to. There’s too much space in it, and the space is where the magic happens.

So, reading this ambient piece on factmag.com, a piece of the jigsaw puzzle fell into place:

The composer and the listener must recognise that total control can never be realised and the identity of the music is never wholly owned, but rather it is constantly becoming. Upon each re-visitation, in a different place, at a different time, through a different playback situation, the music evolves. It lives within the complexity of these relations and is primarily about, to use Eno’s initial provocation, “to accommodate many levels of listening attention without enforcing one in particular”.

2017 3 Dez

Ian’s 2017 top 20

| Abgelegt unter: Blog | RSS 2.0 | TB | Tags:  | 1 Kommentar

2017 top 20
 

  1. Kietsuzukeru Echo – Hisato Higuchi
  2. Take Me Apart – Kelela
  3. Wonderful Wonderful – The Killers
  4. Fatherland – Karl Hyde
  5. Moth – John Beltran
  6. Humanz – Gorillaz
  7. Elaktrac – Shobaleader One
  8. The Man Who Fell From Earth – Anders Parker
  9. Blade Runner 2049 – Hans Zimmer, Benjamin Wallfisch
  10. More Life – Drake
  11. Live at Iklectik – Philip Jeck
  12. True Care – James Vincent McMorrow
  13. Gang Signs & Prayer – Stormzy
  14. Narkopop – GAS
  15. Process – Sampha
  16. Mark Kozelek with Ben Boye and Jim White
  17. Mellow Waves – Cornelius
  18. 13 – Indochine
  19. No Mountains in Manhattan – Wiki
  20. Fiction / Non-fiction Olivier Alary

 
 
… bubbling under:

 

  • As You Were – Liam Gallagher
  • Ctrl – SZA
  • Lifetime of Love – Moon Diagrams

2017 3 Nov

Vacanța de iarnă …

| Abgelegt unter: Blog | RSS 2.0 | TB | 5 Kommentare

 


 
 

 

… wish you were here!

 

2017 2 Nov

My 2017 Top 20

| Abgelegt unter: Blog | RSS 2.0 | TB | 8 Kommentare

… to follow

 

 
 
 
On a rainy Thursday afternoon two days ago I purchased these three cassette tapes from the miraculous VoxBox Music shop. 50p each. Listening to them involved hunting down my Sony CFD-S22L „CD-RADIO-CASSETTE-CORDER“ [sic] – which had been in its analogue vortex since the 1900s.

IBTABA – I have Michael Engelbrecht to thank for my new-found love of Wire. He sent me copies of 154 and Chairs Missing a while back. My response was probably a bit rude, along the lines of „yes, these LPs are OK“. But genius plastic is never a first impressions type deal. I went back to these records again and again. IBTABA is from decade after these, a decade that is now three decades ago. On cassette! Zeitreise stylee.

The White Room – not listened to this one yet.

ZOOROPA – magnetic tape didn’t suit IBTABA. It sounded squashed, wowed and fluttered. Oddly trebly. The quality of the music and the humour won out though. ZOOROPA was different magnetic deal. It sounded fantastic. It sounded – on tape – like a spin painting, throwing colours of realisation over everything. Which, I guess, just goes to show that music isn’t about one format fits all.


Manafonistas | Impressum | Kontakt | Datenschutz