The final photo session of Brian Jones with The Rolling Stones.
There isn’t tons of footage of Brian Jones, founder of The Rolling Stones, speaking on camera, so this is a real treat. Usually it’s Mick Jagger who the reporters would direct the questions at (or Mick who would always answer, I suppose) but seldom have we seen Brian speak for such an extended period of time. (Mick must’ve been knackered?).
The interview took place in Montreal in 1965 and the interviewer wanted to know what the Stones thought of America. They tell him.
British garage act The Horrors are set to release their new album Skying through XL Recordings on August the 9th (US) and July 11th (UK), but you can hear the album, in full, via the widget below. In fact, it’s not really fair to describe the Horrors as “garage rock” anymore - that may have been their initial template when they burst onto the scene five years ago, but their sound has evolved and mutated quite a bit since then.
I admit I was put off the band when they first started getting press attention, consigning them to the hype bin based on their highly coiffured hair and dandy dress sense. But all that changed as soon as I actually heard them - here was a band that was keeping alive the swamp rock / dirt blues flame of acts like The Birthday Party and the awesome Gallon Drunk. Their second album Primary Colours, produced by Portishead’s Geoff Barrow, marked a shift in tone towards something deeper and a bit more pastoral, while retaining the all important dirt and grit. With nods to krautrock, kosmiche and shoegaze, it won the band some high praise, even becoming the NME’s album of the year for 2009.
Skying continues where Primary Colours left off, though taking us further away from the 70s and 80s influences. The ghost of shoegaze still haunts The Horrors’ sound, but now, rather than the woozy, noxious and slightly nauseous tones of pioneers My Bloody Valentine, the layered guitar and synth noise is more akin to the lush soundscapes of bands like Slowdive and The Telescopes. The early Nineties seem to be what the band are tapping into for inspiration just now, and some of the tracks even feature, surprisingly, a shuffly, Madchester-style beat. “Monica Gems” is like Suede dragged backwards through a thorny hedge and there are shades of The Doors here, but as refracted through the prism of Echo and The Bunnymen (in particular the excellent track “Still Life”) . For me the album highlight is “Moving Further Away”, which starts as gorgeous, driving Germanica before before being engulfed in layers of blissful synths and ending as a dirty rock dirge. Listen for yourselves:
Ray Manzarek desperately attempts to resurrect the 40 year old corpse of Jim Morrison.
Yesterday, on the 40th anniversary of Jim Morrison’s death, Ray Manzarek and Robbie Krieger played a Doors gig after visiting Morrison’s grave site at Pere Lachaise Cemetery in Paris. Fronted by one of the band’s endless series of faux Lizard Kings, Morrison look-a-like David Brock of Doors cover band Wild Child, Manzarek and Krieger did their best to remind anyone watching why their music careers have been utterly insignificant since Morrison died. John Densmore had the good taste and wisdom to not attend.
Advice to Manzarek: stop pissing on your legacy. I know your Muse - and cash cow- abandoned you when Jim checked out in that bathtub but your determination to milk every last drop out of the Doors’ legacy has been arrogant, pathetic and shameless. If you must perform, call up the former members of your Doors knock-off Nite City. They could probably use the work. And Ian Astbury has probably got some holes in his Cult tour schedule. Every time you drag out another version of The Doors, you remind us all of how utterly empty the band is without Jim’s voice and presence.
Last night in Paris, the “Doors” played “Riders On The Storm” with all of the conviction of a jaded lounge band eternally grinding it out in a Ramada Inn somewhere in Hell. May the wrath of the ghost of the Lizard King be upon them.
An unreleased song from Mastodon gets the Adult Swim treatment as part of their “10 Free tracks” series of videos featuring never-before-released material from some very cool bands.
Mastodon meets Mr. Rogers and some psychopathic denizens of Fraggle Rock in “Deathbound” from the Crack The Skye sessions.
Some live shows are great, some live shows are awesome, and then there are the live shows that are so good they feel like genuine magickal occurrences - a culmination of sound, vision, venue, performance and atmosphere. Bjork’s Biophilia, which is currently making its international debut with a sold out run at the Manchester International Festival, is definitely one of those. Clichéd terms like “elf-like” have haunted Bjork for years, but when an artist can pull together a show that is this all consuming, this transformative and powerful, there is definitely some truth to those clichés.
Everything about this show is unique. On a baking hot July afternoon we are ushered into a blacked out, cavernous Victorian warehouse space - in the middle sits a round stage, flanked by instruments, and overhead hangs a neat circle of 8 large screens. At one corner of the stage sits a pipe organ, a harpsichord and new instrument called a “gameleste” (a cross between a gamelan and a celeste). These instruments have been programmed to play themselves, a fact which is relayed to the audience by webcams projecting live onto the screens. In another corner sits a huge, manually operated music box, amplified through two very large gramophone trumpets, and beside it stands two new, purposely built, pendulum operated harps, The thudding bass line for the opening track “Thunderbolt” is provided by a large Tesla coil, which spits sparks of electricity over the crowd’s heads.
Still obsessed with the sounds and textures of modern electronica, Bjork underpins all this bizarre musical automata with sub-bass and electronic drums, played live by percussionist Manu Delago and music director Matt Robertson. Plucked chamber music collides with sliced-and-diced breakbeats, booming 808 bass lines accompany delicate organ pieces. It’s a perfect combination of the past and the future (and which is which is hard to tell). The sound world Bjork has created for this show is extraordinary, but it is the choir that really tips this performance over into something otherworldly. Featuring 26 female Icelandic singers, moments of harmony and discordance float from the stage that make the hairs on the back of your neck stand up. Quite simply, this is a new kind of sacred music.
The much-trumpeted visuals are gorgeous. Animated cells sing and coo while spitting out cuddly-looking viruses. Mushrooms grow and expand in stop-motion, a seal carcass is consumed by underwater worms and starfish, and we zoom through veins and arteries while triggering musical notation á la Audiosurf. Bjork has taken a bit of flack for her use of an iPad in Biophilia, but if this is what the actual apps look like, well that’s fine with me. We keep returning to images of the solar system, of galaxies floating in space. There seems to be a theme of circular motion and symmetry here, a music of the spheres if you will, but for Bjork this works on a microbiological scale, as well as the cosmological. At one point she informs us that the rate at which our fingernails grow is the same as the Mid Altantic Ridge drifts. It’s psychedelic without being druggy. In fact, with the heat, the darkness and the spectacle, this is a show where no extra stimulus is needed.
The music itself is largely new and very good too, but there are some classics from her back catalogue thrown in (namely “Unravel”, “A Hidden Place” and a gorgeous choral version of “Isobel”). The new songs are each prefaced by a voice-over by natural historian David Attenborough, which manages the trick of both commenting on the music and unifying it. The show ends with a rousing, triumphant version of “Earth Intruders”, Bjork in a massive orange wig flanked by the choir who are wearing matching gold and blue tunics. We seem to be inundated with crazily-dressed lady pop at this point in time, but we shouldn’t forget that Bjork is a true pioneer of this, and on this showing she still does it the best. Biophilia is set to tour later this year, and I urge anyone with an interest in music to go to a show - it really is that good. 2011 is only half over but I seriously doubt I’ll see another show to equal it. There is no footage of Biophilia yet, as the audience had been asked not to take pictures or make video recordings of the performance. It is a mark of the kind of respect the crowd has for Bjork that they comply to this request - well for the most part , anyway.
Here is the audience’s reaction to Bjork’s Biophilia after the opening night on Thursday June 30th:
My Dangerous Mind compatriot Brad Laner posted a link to this wonderful documentary about Rough Trade Records awhile ago. Unfortunately, Laner’s link to the documentary no longer exists. Ah, but luckily, a really fine quality version was recently uploaded to the Web and I just had to share.
Brad’s description of Do It Yourself: The Story Of Rough Trade as “a fascinating glimpse into the history of the seminal indie label/empire” is exactly what it is.
I have a soft spot in my heart for Rough Trade because they released one of my very first 45 rpm records.
I was only made aware of this speech by Eric Clapton at a 1976 gig in Birmingham, UK, the other day, but It’s truly disgusting. Here’s a relatively short sample (quoted from Rebel Rock by J. Street (1986) and sourced from New Musical Express, Melody Maker, The Guardian and The Times):
Stop Britain from becoming a black colony. Get the foreigners out. Get the wogs out. Get the coons out. Keep Britain white. I used to be into dope, now I’m into racism. It’s much heavier, man. Fucking wogs, man. Fucking Saudis taking over London. Bastard wogs. Britain is becoming overcrowded and Enoch will stop it and send them all back.
It goes on for a lot longer than that - the entire speech can be heard in the animated YouTube clip below. The “Enoch” Clapton is referring to is the notorious English politician Enoch Powell who in 1968 made the infamous “Rivers of Blood” speech, also in Brimingham. How Clapton didn’t get crucified at the time in the popular press is beyond me, as is the fact that the rest of the concert continued as normal, with no rioting or no bottling. The activist group Rock Against Racism was set up as a direct response to these remarks. Clapton has never properly apologised - how does he still get away with receiving so much praise and acclaim? Fuck Eric Clapton.
Over the years, the Variety Bar near Charing Cross, Glasgow has been a hotbed for artists and musicians: from painters, such as Steven Campbell, Peter Howson, and Adrian Wiszniewski, to the legendary AC Acoustics (one of John Peel’s favorites), Happy Particles and now, Pioneers of Anaesthetic.
Pioneers Of Anaesthetic is the name by which musician Steven Cossar writes, records and releases his music. Since 2000, Steven has recorded almost 400 songs, which he compiles onto “albums” of 30-40 tracks each, these are then sold or given away at gigs.
“I try not to use the same guitar tuning twice, although there are many identical tone intervals with transposed sets of strings. I have played occasional shows around Glasgow, which typically consist of 2 sets - One written and one written on the spot ; Instant Composition Improv, if you will.”
So successful is Steven’s Instant Composition that many of his audience have asked after shows if he is “actually lying and have pre-written the Improv sets.” For the record, he doesn’t, which makes Steven’s talents all the more exceptional and impressive - “Apparently, the less writing I do… the better.”
“I’d describe the music as short songs for a long attention span. The ideas and melodies are repetitive but usually dissolve quickly enough to (hopefully) warrant repeated listening.
“A recurring structural trait is to leave the flourishes and embellishments out until the last phrase or chorus, so that the song seems like a short glimpse of it’s potential and there is plenty left to the listener’s imagination.
“Lyrically, I rely on home-truthing and coming clean about stuff I’d usually shy away from in ‘real life’.”
It is this that makes Pioneers Of Anaesthetic’s music deliciously addictive, the songs, none of which last much more than 1 minute 30 seconds, are short enough to catch interest, but finish before that interest is sated.
Steven’s interests and influences include Guided By Voices, Red House Painters, and Lou Barlow. He’s also claims he is “Inspired by the approach of the late Hip-Hop producer, J Dilla more than any other artist. His influence on urban and all alternative musics is staggering.”
Over the years, Steven has been a well respected ‘Gun For Hire’ around Glasgow, contributing his musical talents to several bands.
I am a multi-instrumentalist, but have a heavy slant towards guitars and drums. I guess most of the bands I’ve played with never really wanted to commit fully and it’s always been a case of not taking it too seriously.
“I play in Larmousse (City Slang) with Cliff Henderson and David Gow (Sons & Daughters), I’m recording an album with Steven Ward (Empire Builder), I play in Mandrake Shepherd who’ve just completed a 3 song Demo session at my house in the preperation for Studio Album.
“I’m rehearsing a new Band, tentatively called Mussel Memory, with two friends I’ve played with for years, Iban Perez (Tut Vu Vu, Sparkling Shadazz, Rags & Feathers) and Ben Ashton (L Casio Immunitas, Sparkling Shadazz) and we’re incredibly excited by the material we’ve garnered thus far. I’m preparing to release a split 10” and Download with fellow Glasgow Bedroom Savant, BLOOD BLOOD. We have a mutual appreciation for the processes we share and the slightly off-kilter side to each other’s songs.
“I’m also rehearsing a full band version of Pioneers Of Anaesthetc for some shows this Winter. The band will feature Paul Foley (Eva, Vaselines, Mandrake Shepherd), Gordon Farquar (Stapleton, Happy Particles), and Cliff Henderson (Larmousse).”
But all this other fruitful activity won’t mean a lessening of his creative work as Pioneers Of Anaesthetic.
“I am continuing my current exercise in high volumes of output. It’s what I call ‘Quantity Control’.
“The idea is that I limit myself to one hour to write and record each song. I feel that once an initial idea leaves your head, with every passing second - it’s being compromised and re-thought. I just want to try to minimize the interference I have with the imagination’s melody-writing process.
“Quite often, It makes me laugh out loud, as the stuff that comes out is nowhere near what I’d usually shape it into, but that’s got to be healthy.”
Here’s a 4th of July weekend compilation of go-go mania from China and Hong Kong for all you dancing fools out there.
The People’s Republic Of Go-Go features vintage clips from films starring Asian superstars Josephine Siao, Connie Chan and Chan Hung-lit doing tunes like “Love Potion #9,” “Your Cheatin’ Heart,” “Shakin’ All Over,” “Eight Days A Week,” “Don’t Be Cruel,” an agonizing version of “Can’t Help Falling In Love,” and more. Crazier than a bag full of spiders.
Siao, Chan and Hung-lit went from being teen pop icons in the sixties to highly regarded actors who’s film work ranged from melodrama and opera to martial arts epics. Their flirtation with rock and roll was puppy love, brief but oh so dreamy.
Proof that rock and roll is a universal language and the freak who put this together, Jonathan Sprig, speaks that language.
