It’s more than ten years since Mira Calix last released music, with her career having taken her in a more multidisciplinary artistic direction. I’ve found her music in the past to be a bit hit-and-miss. But when I heard rightclick I ended up being quite excited for the release of her new EP, utopia.
Archive — Music
I’ve become obsessed with this song. It contains an important message that is beginning to be heard, but still needs to be heard more widely. This is a song for now.
Discovering Idles has felt a bit like discovering Pulp when they released Common People. Although 9-year-old me didn’t really understand what appealed to me about Pulp, now I think I do. Distinctive-sounding music, yes. But also lyrics that are interesting (a rarity in and of itself), and important, and for right now.
The first time I knowingly heard Idles it was when another song was played on the radio in the morning, Great. I remember sitting up in my bed, astonished at the lyrics. You don’t often hear songs that are so political, especially ones that actually hit the nail on the head — and say what I would want to say, but so much better.
Another perspective on the troubles faced by HMV. Lis Ferla echoes my thoughts on why bricks-and-mortar record stores of all sorts are a vital part of the music ecosystem.
But for me, it’s about the ceremony. The owning of a tangible product. It’s the reason behind the hall cupboard stacked high with CDs I lack the immediate capacity to play, and the records that take pride of place in the living room. It’s why I’ve never gotten on board with streaming, preferring the relative “ownership” of a digital download when it’s the cheapest, easiest way to get my fix.
The other day we heard Windowlicker by Aphex Twin being played on BBC Radio 6 Music in the morning. On the one hand, this is very excellent. On the other, it has made it less likely that Alex will let me set the radio alarm to wake us up with 6 Music in the new year.
Needless to say, Windowlicker is a masterpiece. At the time it was mind-bendingly futuristic-sounding. 20 years on it still sounds pretty fresh and exciting.
It was also the last thing Aphex Twin released before Drukqs, which might explain why the album got mixed reviews.
When the video for Windowlicker was featured on one of those Channel 4 top 100 programmes, it resulted in this fantastic TV moment, featuring Frank Sidebottom.
I’m really taken with Anno: Four Seasons. It weaves new compositions by Anna Meredith into Antonio Vivaldi’s Four Seasons, performed by the Scottish Ensemble.
This track is the final on the album, finishing Winter — and apt for this moment.
Gary Hustwit’s new documentary Rams, about the designer Dieter Rams, is released digitally today. It’s bound to be good — not least because it features original music by Brian Eno.
But perhaps it would have been more apt to include music from the Jon Brooks album Music for Dieter Rams.
Every sound on this record, from the melodic sounds to the percussion, the atmospheric effects to the bass lines originates from the Braun AB-30 alarm clock.
I was very surprised by how good Thom Yorke’s Suspiria soundtrack is. Thom Yorke says he was pushed out of his comfort zone making this album. It worked. It’s a joy to hear him exploring genuinely new territory instead of just making bad dubstep like his last solo album.
Are pop lyrics getting more repetitive?
Photo — 2018-11-27
The newly issued half-speed remastered edition of Brian Eno’s Ambient 1 / Music for Airports is very welcome.
The CD version I bought about 15 years ago sounded rather poor quality, with a distracting tape hiss running throughout. A bit frustrating when it’s one of the greatest and most important pieces of music of the 20th century.
It was a bit of a mystery to me why some other Brian Eno albums got this lavish remaster treatment first. The new version is spread across 2 LPs of heavyweight vinyl, played at 45rpm. This means each track luxuriously has its own side.
I don’t know much about the science of remastering techniques. But there’s no doubt to me that this sounds fantastic.
I’ve never been so pleased to hear a remastered album. The tape hiss is all but obliterated, and there are lots of details I hadn’t heard before.
40 years on from its original release, one of the most pleasing pieces of music now sounds almost perfect.
Photo — 2018-11-23
Photo — 2018-11-21
I’ve been writing an article that I’ve been thinking about for well over a year. Upon writing it, it’s turned out to be surprisingly short. So I turned to my two favourite block-busters — and they both told me to do things I was thinking about doing anyway.
Oblique Strategies told me to tidy up.
Blockbox said write it on a train.
I’m a big fan of Hanne Hukkelberg’s music, particularly her earlier albums. Her distinctive voice, engaging songwriting, quirky instrumentations and use of found sounds are a uniquely enchanting combination.
This 2007 performance (which appears to have been filmed on a windy balcony in Hamburg) is a bit more stripped back than her typical album track — but no less enchanting.
Where is here? And what is now? The answers are more complicated than you might think.
Eno’s realisation that “people live in different sizes of here” led him to the idea of The Big Here and Long Now – a way of thinking that asks fundamental questions of who we design for, the scale we design at, and the timescales we design in…
According to Danny Hillis, the inventor of the Clock of the Long Now, “the more we divide time, the less far we look into the future.” So what impact is this having on the design of our cities? And how can we create real and lasting public value in the context of an increasingly narrow and short-sighted here and now?
How architects, designers and urban planners can learn from Brian Eno’s generative music.
Without fanfare, Autechre have freely released some files containing sounds and samples used on their 2008 Quaristice tour.
I won’t be able to do anything with the files, but I’m enjoying the YouTube video embedded on the Quietus article above.
White Noise was formed by David Vorhaus, Delia Derbyshire and Brian Hodgson. The latter two were pioneers of the BBC Radiophonic Workshop, the facilities of which were covertly used for a couple of the tracks on their album An Electric Storm.
(For the uninitiated, Delia Derbyshire is best known for the original realisation of the Doctor Who theme tune, among many other revolutionary electronic compositions. Brian Hodgson made many sound effects for Doctor Who, including the sound of the Tardis.)
An Electric Storm was released in 1969. It somehow sounds both mind-bogglingly ahead of its time, while also being distinctly of its time.
White Noise didn’t have a studio, so they had to develop their own makeshift equipment by connecting tape machines together with basic electronics. An Electric Storm was made before Robert Moog developed his modular synthesiser.
Synthesisers were about to democratise the creation of electronic music. But they also made it less of a craft. Painstaking effort and skill were required for the tape manipulation techniques that created the otherworldly sounds pioneered by the BBC Radiophonic Workshop and their peers. It became a lost art.
According to the liner notes on the 2007 CD reissue of An Electric Storm that I own, David Vorhaus was originally intent on releasing a single. The head of Island Records told him to make an album instead, giving him the £3,000 he said a hit single would be worth.
This track, The Visitation, took three months to complete alone. When Island Records enquired as to the whereabouts of the album they had paid for, White Noise were forced to complete it overnight by improvising drums over tape loops and other noises. Even that track sounds almost unbelievably ahead of its time.
But upon release, the album sold just 200 copies. The world wasn’t ready for electronic music. But An Electric Storm is the definition of a cult slow burner. And it was highly influential on the more commercially successful electronic musicians of the 1970s and onwards. Not that many of them pressed ahead with the tape manipulation techniques.
New Cornelius albums are few and far between. In fact, he has released just four albums in the past 21 years. But when one comes, it is always one of the highlights of the year. He is one of the most distinctive and innovative artists going.
I have just listened to his latest album, Mellow Waves. This song isn’t the most sonically interesting on the album — but it is probably the best. It’s the only song on the album to feature mainly English lyrics, written and sung by Miki Berenyi, who was the singer in Lush.
I’ve recently been digging this old Stereolab song. By chance, this Peel session was recorded 25 years ago today.
Radiohead’s Ed O’Brien: ‘Cricket was my refuge’
On the associations between playing cricket and playing music.
I’ve had the odd gig where I’ve been able to slow down my breathing and my heart-rate. I remember playing this show where I could divide the bar up, a four-beat bar into 32 or 64s, and play anywhere on that beat. It was the most intoxicating feeling. A batsman must have it. The great batsmen, they have all the time in the world. They’re able to stretch time with their breathing. All the chaos that might be in your own life is alleviated, it’s about being in the moment, being in the flow.
A conversation with Brian Eno
Always interesting to see an interview with Brian Eno. Here he talks to author David Mitchell. I was particularly interested on the section about why people like music.
And that is truly a mysterious question, which many learned books have utterly failed to answer. Why do I like one composer’s string quartet rather than another’s, when to a martian visitor they’d seem indistinguishable? What are the differences we’re hearing? What intrinsic wiring exists for having feelings about music?—and by intrinsic wiring I mean the kind of wiring that leads us to prefer symmetrical faces to asymmetrical ones, or to be frightened of spiders. I used to think that, given enough goodwill, anybody would be able to “get” any music, no matter how distant the culture from which it came. And then I heard Chinese opera.
Autechre on their epic NTS Sessions, David Lynch, and where code meets music
A good interview with Autechre in which they reveal a little more about their techniques. It explains a fair bit about why their sound is so unique, and why other people can’t (or shouldn’t) emulate it.
It gets a bit hazy in terms of what’s a musical idea and what’s a piece of technology. If you make a sequencer that only makes one type of sequence, and you’ve used it twice, then I guess you’ve used the same musical idea twice…
Our system is great for making Autechre tracks, but I’m not sure if everybody else wants to do that. And if they do, I’m not sure I want them to.
Photo — 2018-08-04
Photo — 2018-07-29
Soulwax at SWG3 in Glasgow, 15 July 2018.
Annoying online ads cost business
Results from a study of users of Pandora has quantified the effect of shoving adverts in users’ faces. As part of the experiment, a section of users were served fewer ads than normal, and another section were served more ads than normal.
…after 1.5 years of being exposed to the experimental conditions, people did use the service more, the fewer ads they were served. At the end of the experiment:
- The low-ad group listened for 1.7% more hours weekly than the control group.
- The high-ad group listened for 2.8% fewer hours weekly than the control group.
‘How we made Now That’s What I Call Music 100’
BBC News discovers how the 100th edition of Now That’s What I Call Music was compiled. Amazingly, the whole process seems to involve just three people, and takes only a day.
Like many people, Now That’s What I Call Music was a key gateway into music for me when I was young. I bought two of them.
The first was Now 30, which was released in April 1995. I don’t really remember why I bought it. I probably liked a handful of the songs, and I figured out that this was cheaper than buying all the singles.
Interestingly, it contains at least two tracks that I didn’t fully appreciate until I was much older — Protection by Massive Attack and Glory Box by Portishead. That they are hammocked between Eternal and Oasis speaks to the eclectic nature — and variable quality — of a Now album.
I had Now 30 on cassette, so I never digitised it. As such, the tracklist is less familiar to me than the other Now I bought.
That was Now 32, which came out in time for Christmas 1995, when I got a CD player. There are some seriously strong tracks on that album — but perhaps that’s my rose-tinted glasses.
How come I end up where I started?
Adriaan Pels ran the popular Radiohead fan site At Ease for 20 years. The costs of running the website got out of control before his web host unexpectedly pulled the plug last year.
I used to be a very active participant on the At Ease forums, but that probably ended when I became a more active blogger / studies took over / I got a proper job / whatever. I stopped reading the website at some point as well. I still looked in occasionally, but I could tell that Adriaan didn’t seem to have as much time as he needed to look after it properly.
I didn’t even realise that At Ease had disappeared off the internet. It’s so long since I’ve tried to visit.
But it was good to see this update from Adriaan, although I’m sorry he’s lost the whole website.
Nick Barlow reflects on the meaning of “football’s coming home”, and the differences between the original version of the song Three Lions and the 1998 version. I enjoyed reading this because I had found myself getting annoyed about the way people were saying “football’s coming home”, completely forgetting that there was a second version with a different meaning.
When Three Lions came out the first time, I was already a fan of the Lightning Seeds, and I think I had been a viewer of Fantasy Football League. I thought Three Lions was a good song. Which it obviously is, because everyone is still singing it 22 years on. So despite being Scottish, I was determined to buy a copy of the single — to my dad’s great disappointment.
I barely remember the 1998 version. As Nick reflects, it seems to be inherently different, and more dislikeable.
This wonderful reinterpretation of Tilapia by Autechre appeared on Warp20, a box set celebrating the 20th anniversary of Warp Records. (Rather scarily, that occasion was itself almost 10 years ago.)
There were two CDs of Warp artists covering classic Warp tracks, and a lot of them are really good. But John Callaghan’s effort towers above everything else on it.
It probably takes a lot of guts to attempt to cover Autechre, never mind a track as strong as Tilapia. But Phylactery boldly reinvents it, and possibly ends up being even better than the original (although as John Callaghan says in the comments to this YouTube video, both have their place, for different reasons).
In case you’re not aware of the original, here you go:
Childish Gambino’s This is America and how the internet killed the cultural critic
How considered criticism has been replaced by mindless churnalism collating stuff an under-pressure journalism has hurriedly gathered up on Twitter.
Floating to the top of my feed was an article in the Guardian: “This is America: theories behind Childish Gambino’s satirical masterpiece”. This video is popular, it said, then asked: “But what does it mean?”. Yes, I thought, that’s exactly what I’m here to find out. But instead of an answer, I got a summary of tweets and notes from Genius. No interpretations were drawn, no conclusions reached. Was it a masterpiece? The headline said so, but the piece just linked to tweets by Janelle Monáe and Erykah Badu.
I grew tired long ago of news stories that are basically just lists of other people’s tweets. I have even noticed BBC News doing this. Yet again, I’m left wondering if most of the media’s problems are with their own unwillingness to pursue quality.
Photo — 2018-06-07
Thom Yorke and friends at the Usher Hall
This was England ’90
How the Stone Roses story was bastardised by the music media. I’m not a Stone Roses fan, so I don’t recognise this specific account. But you often do get the sense that at least half of what music journalists say about music is… well… made up?
It was around this time that I started to get the first stirrings of a nasty feeling that my past was being sold back to me…. Suspicious accounts were given of the Spike Island concert as some kind of harmonious pilgrimage to a utopian musical bliss, without a single mention of the smell, the dodgy sound system, the deep techno warmup acts, or the gangs of ne’er-do-wells who clearly weren’t there for the music (and, conversely, referring to the venue as a ‘derelict wasteland’ when it had actually been reclaimed as a ‘green space’ several years previously), almost as though they might not actually have been there.
It was a delight to listen to Adam Buxton’s recent podcast interview with Eleanor Friedberger, half of the Fiery Furnaces (with her brother Matthew) and now a solo artist.
The Fiery Furnaces are one of my favourite bands. Their quirky and decidedly different music was actually quite important to me as I struggled my way through university.
Despite that, I’m don’t think I have ever heard an interview with either of the Friedbergers. I don’t often seek out interviews with musicians because (with a few exceptions) it is often disappointing — a topic touched on in the podcast. So I found it quite strange to learn new things about the Fiery Furnaces, whose music I know so well to listen to, but whose story (I have suddenly realised) I don’t know too much about.
This is one of my favourite Fiery Furnaces songs. Unfortunately for some reason the music in this video is really glitchy, but the visuals are awesome.
The gardens where ideas grow
We tend to think of musicians as architects, who fully control the sound they compose. But here, Austin Kleon outlines how it is in fact more like gardening. Top musicians like Prince, Ralf Hütter and Brian Eno appear to subscribe to this approach.
Brian Eno says:
One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life. And that life isn’t necessarily exactly what you’d envisaged for them.
The analogy certainly works well with Brian Eno’s generative music. I remember a radio interview where he described being the opposite of a control freak — a surrender freak. (This is the only reference I can find to it.)
I would like you to tell me how you feel about “see on see”.
Sean Booth replied: “surprised”.
The guide to getting into Autechre
That question when someone is trying to get into a band — “Where should I start?” — is perhaps especially difficult to answer in the case of Autechre. Their music is unique and uncompromising. You almost need to learn to read Autechre, because it is sonic world lives by itself. It is difficult to relate it to anything else.
That situation escalates when the artist has 13 albums over 25 years under their belt, the latest of which is eight hours long.
This article makes a good attempt at introducing Autechre to the uninitiated, by splitting their music into different types: club-friendly, austere, strangely beautiful, melting computer, endurance test.
They say a song is like a fart — if you have to force it out, it’s probably shit. So when a band leaves a gap of 11 years between albums, it means one of two things:
- Option 1 — They have been enduring the worst form of musical constipation, and the album will be shit.
- Option 2 — They have taken their time, let it come to them, and the album will be excellent.
When Portishead’s Third came out, there wasn’t much indication that option 2 would be on the table. In the words of Armando Iannucci, the second album by Portishead had nothing new to say.
Portishead were pioneers of trip-hop, but by 2008 it had become a cliched genre.
But Portishead avoided all those traps with their third album, which is actually probably their best. It conspicuously avoided the now-cheesy trip-hop tropes. It was a new sound, but still unmistakably Portishead.
The album was released 10 years ago today. There is no indication of when their fourth album will arrive. But we are still ahead of schedule by Portishead’s standards.
Encoding data in dubstep drops
Boards of Canada ‘Music Has the Right to Children’ turns 20
More on the 20th anniversary of Music Has the Right to Children.
The music imprints ideas in your head, subliminally or through uncanny association: opener “Wildlife Analysis” sounds like an old TV ident left to wander into the woods, the treated, wobbly synth harmonies of “Olson” could’ve come from a half-remembered Stevie Wonder or Gary Wright song heard as background music during some family car ride, and “Turquoise Hexagon Sun” sinks its minimalist, graceful melody in so deep through repetition that the realization you can hear indistinct voices in the background is almost startling. There’s something deeper in the music than just music…
It is 20 years to the day since Boards of Canada released Music Has the Right to Children.
Seminal is a word that is bandied around easily when talking about music. But it may be genuinely applicable in this case. Simon Reynolds in Pitchfork notes how the album seemed to kick-start a transformation in electronic music.
Before this point, electronic music was unashamedly futuristic. Boards of Canada set the template for a nostalgic yet dark genre known as hauntology, since explored further by the Ghost Box label among others.
The album’s cover, featuring a weathered, decades-old family photograph with each person’s facial features redacted, sets the scene. Following a short introductory track, Music Has the Right to Children introduces the listener to the Boards of Canada sound in uncompromising fashion, with An Eagle in Your Mind.
A wistful drone slowly evolves into a darker, brooding melody. Crunchy, syncopated beats and glitching speech samples then take precedence, while narration from a nature documentary subliminally slips beneath. Things get psychedelic, before an unpredictable abstract hip-hop vibe takes over. A childlike melody discordantly tinkles on top, hammering home the sense that something has gone horribly wrong.
Tortoise’s most recent original music may not be as good as their material from the 1990s. But they have developed a knack for producing some excellent cover versions. This cover of Rock On is the highlight of their most recent album, The Catastrophist.
Today is Piano Day. I am in favour of this. The piano is the best instrument. 🎹
The clip above is of every recording of Erik Satie’s Gymnopédie № 1, put together by an artist called Hey Exit. Each recording is timestretched to the length of the longest one, and they are placed on top of each other. It’s a brilliant idea, with a truly ethereal sound.
Photo — 2018-03-17
Field Music at St Luke’s, Glasgow. 🎼