The Best of 2017

Yes it’s that time of the year again when people make lists…..

I was going to do a podcast/radio show on all of this nonsense but I ran out of time and frankly there was so much new stuff I hadn’t caught up on yet that I couldn’t make it work with the remaining available podcasts.

It has been hard to be objective with so much material being released by German Shepherd that I truly felt was outstanding and frankly I could have listed everything we put out in a best of list but i’ve restrained myself and just included those that had the most impact.

The amount of new material i’ve been sent/bought this year is in the 1000s of items, i’ve done 152 radio shows at the time of writing and working back through so much material means that something will have been forgotten, neglected or lost in the mists of time.  But the lists below are things that stand out.

Many thanks to all those that accompanied me, or came to gigs during the year especially SD, Moet, and Bob S and the incredibly tall people of Warrington!

Thanks to Brad Cain and Dave Hammond specifically for support above and beyond……and the wonderful chaps at Analogue Trash  for letting me play Jazz music on their excellent radio station.

GIGS OF THE YEAR

  • Dave Graney Pop-Up Band/Loudhailer Electric Company – O’Riley’s Hull
  • Dave Graney Pop-up Band/Poppycock/Uke Punk – Fred’s Ale House, Manchester
  • The Cravats – Star and Garter, Manchester
  • The Coathangers – Night and Day, Manchester
  • Ian Moss’s Birthday Party – The Witchwood, Ashton U Lyne
  • Blaney – The Castle, Manchester
  • Boz Hayward Tennessee Ten album launch – The Eagle, Salford
  • Barry Melton at Freds Ale House
  • Keltrix / Johann Kloos at Freds Ale House
  • Factory Acts Single Launch at The Crescent (sadly the last gig I saw at the venue)
  • Sandells/Factory Acts at Gullivers, Manchester
  • Four Candles/The Junta/Cannonball Statman at The Eagle
  • Adventures of Salvador – Blind Tiger, Bury
  • Moff Skellington, Ian Moss and Loop Aznavour – The Castle, Manchester

NOTABLE ALBUM RELEASES

  • The Screaming Love Collective – Thought It Would Have Been Better By Now
  • Issac Navaro – Paths to the Shore
  • The Necks – Unfold
  • The Screaming Love Collective – Spirit Radio
  • Ian Moss – Words and Music
  • Ian Moss – Music and Words
  • Keltrix – Bobby Says
  • Moff Skellington – Golfer In Disgrace
  • Captain Black and Friends – The Madman In The Attic
  • Boz Hayward – Tennessee Ten
  • Moff Skellington  – On Flanders Moon
  • Cannonball Statman – Playing Dead
  • Drink and Drive – This Is What Happens When A Fly Lands On Your Food
  • Four Candles – Killing The Image
  • Curry Quiche – Behind The Machine
  • The Fall – New Facts Emerge
  • The Sandells – Forwards
  • The Stevenson Ranch Davidians  – Amerikana
  • Jen Cloher – Jen Cloher
  • Cam Butler – Find Your Love
  • Dälek –  Endangered Philosophy
  • The Dream Syndicate – How Did I Find Myself Here?
  • Ron S. Peno & The Superstitions  – Guiding Light
  • Peter Hammill  – From The Trees
  • Georgio “The Dove” Valentino  – The Future Lasts a Long Time
  • Havania Whaal –  Elaborate Minor Crisis
  • The Cravats – Dustbin of Sound
  • Go Go Sapien – Love In Other Dimensions
  • Trojan Horse – Fukushima Surfer Boys
  • Total Victory  – English Martyrs
  • The Sexual Objects – Marshmallow
  • Blaney – The Severance
  • JD Meatyard – Collectivise
  • Mammoth Penguins & Friends – John Doe
  • Nadah El Shazly  – Ahwar
  • The Sand Pebbles – Pleasure Maps
  • Charlie Marshall & the Curious Minds  – Sublime
  • Dave Graney and Clare Moore – Let’s Get Tight
  • The Stress of Leisure – Eruption Bounce
  • Umbrella Assassins   – 12
  • The Blackeyed Susans – Close Your Eyes And See
  • Sad Adults – How To Be Afraid

TOP TWENTY RELEASES THAT WEREN’T FULL ALBUMS

  • m.t. scott  – A Ticket For The Titanic
  • Monster Island – King of the Minglers/The New Vernacular
  • m.t.scott & the swing youth – Live at the Edelweiss Lounge
  • Lusterlit – List of Equipment
  • Issac Navaro – Terminals
  • KIT B – 6 Singles
  • Dominic Carlton Jones – 1
  • The Scissors – Sjhake
  • Issac Navaro/mark t – Aa
  • The Scientists   Mini Mini Mini/Perpetual Motion
  • PrunX –  Mind Trajectory
  • Pearl Divers – The Past Ain’t Made To Last
  • Mark Corrin- EP III Dystopia
  • PrunX – Vol III
  • Cannonball Statman  – Cackles
  • West Coast Sick Line – Someone Else’s Band
  • Staggs – 2.4
  • The Strays – Explicit Content
  • Factory Acts – Second Amendment
  • The Junta – Ergo

DISAPPOINTMENTS OF THE YEAR

  • The closure of The Crescent
  • Missing Tim Berne in London (rectified next year with a plan to see Big Satan in Birmingham)
  • Even more covers/tribute bands filling the diminishing places for live gigs
  • Jools Holland continues to be allowed by the BBC to peddle mediocrity
  • The inability to break through to BBC with our artists
  • The sound at Academy 1
  • Bands with over-inflated opinions of themselves that have no perception of how their behaviour impacts on other artists and their audience

WRITERS OF THE YEAR

  • Emily Oldfield – Louder Than War Articles
  • Dave Graney – Workshy and Blog
  • Robert Forster – Grant and I

HIGHLIGHTS OF THE YEAR

  • The return of
    • Positronik
    • Monster Island
    • Sandells
  • Moet and Patriq performing Lou Reeds Supper Club

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Top Ten Albums of 2017, so far

Seems like everyone else is doing half year lists so I may as well have a go…..it helps to remind me when I’m totting these things up at the end of the year as well….there’s no one in the list from our record label as it’s taken as read that they are top notch anyway and it would be a tad self indulgent to include them so I’ll deal with them at the end of the year…anyhow as for the rest here they are  in no particular order

IGUANA LOVERS – SURFING CAOS

Strictly speaking this came out in 2016 but it’s only made its way over here recently from Buenos Aires. A sublime mixture of rock in a shoegaze kitchen. Scuzzy guitars, howling and gurgling synths and bubbling drums however add a space rock vibe. It’s relentless and fun filled and I would imagine quite exciting live.

THE BLACKEYED SUSANS – CLOSE YOUR EYES AND SEE

Delicious and lush music which hovers between country, blues, and rock. Snarski’s velvet voice is delightful,  the words observational and compelling. A band at their peak, delivering quality material.

TOTAL VICTORY – ENGLISH MARTYRS

A much anticipated  third album . They have a unique sound and they remain steadfast in their delivery of their music.  We were kept happy with an EP compilation last year but its been a long while since National Service. They are big in France but no so much in their own back yard which is bleedin’ typical of the scene in general around hereabouts. Dan Brookes vocals and words are as usual unique and outstanding and the band create mesmerising post-punk vistas.

DAVE GRANEY AND CLARE MOORE – LET’S GET TIGHT

This emerged as a series of singles over twelve months so it’s a bit hard to regard it as an album from 2017, but it is. A playful collection, a mixed bag of styles, with DG and CM exploring new angles and options. Dave’s observations on the music world and the wider world at large are always apposite and often give pause for thought.  They can do no wrong.

THE SEXUAL OBJECTS – MARSHMALLOW

Seems odd that a band this talented only manages an album release once every seven years. Anything with Davey Henderson’s name associated with if is guaranteed to be good and this is no exception.  A rich sound which matches Henderson’s unique vocal delivery with superior guitar music.

KING GIZZARD AND THE LIZARD WIZARD – FLYING MICROTONAL BANANA

Extremely difficult to keep up with these chaps who appear to be as prolific as Acid Mothers Temple with three albums so far this year, this being the first, and two more planned. The motorik repetition of Rattlesnake sets the tone and demonstrates a band that seem to be totally attuned and in sync. The important thing is that they continue to develop and explore.

SANDELLS – FORWARDS

Long delayed debut from the recently reformed trio. Self described as Kraut-Punk the sound is refreshingly unique driven by Brian Benson polyrhymic drums. Some of Tim Lyons best work lyrically and with the signature sound of Dr Johann Kloos’s hypnotic guitar this beats the so called psychedelic bands out there back into their Haight-Ashbury contrived miasma. Forwards is the correct title, it explores new territories and does not dwell in the past.

LUSTERLIT – LIST OF EQUIPMENT

OK i’m pushing my luck here as it’s really an EP but it’s so damn good I’m including it. Susan and Charlie exceed at writing and delivering exceptional tunes with a literary angle. It blew me away when Charlie sent it my way and it still provides intense listening pleasure never losing its power to please.

DANNY SHORT – FORM YOUR OPINION

He seems to be constantly busy with the Transmitters these days so It’s a wonder he has managed to find the time to record and release this album. A mix of powerful pop punkery interspersed with more languid pastoral pieces. Another Boltonian who deserves wider exposure of his considerable talent. Some fantastic tunes in this collection.

THE STEVENSON RANCH DAVIDIANS – AMERIKANA

Impressive stuff. In which I learned the difference between Psych and Psyche. Vignettes of American life merging an abstracted country sound nestling in a mesh of guitars and vocal washes – the best music defies genre conventions and this does that very well.

 

 

 

Of words and music……..

Six weeks since the last post on here. Not good!

To be fair to myself we have been rather busy with a number of gigs and three albums released in one day last Friday. Plus I’ve been catching up on my reading, which is a discipline that has been neglected, what with one thing and another. It is important, I think, to keep the mind stimulated with both the written word, as well as listening to music.

The content this time around includes a rainy night in Bury and covers in the main the latest release from Dave Graney and Clare Moore, in between several books, a lot of music and the first glimmers of Spring amongst biblical rain events.

This is in no particular order in terms of time, more a series of thoughts which may, or may not, be related.

So i’ll be hopping around the time line.

The latest offering from Dave Graney and Clare Moore struck a chord, a mental note if you would. This time last year when I was stood in the corridor outside the gig room at the Eagle trying to convince a passing punter to watch the visiting aforementioned Antipodeans, I was struggling to codify what the “Graney” sound was all about within the narrow strictures of genre. “Err sort of blues, rock, country and jazz all rolled into one” was my miserable attempt to describe what Dave & Co are about. The revelation on listening to Dave and Clare’s latest “single” release ‘How Long Does The Raunch?” was more of a literary than a musical one. But you need to listen to it first to appreciate what I am about to expand upon.

Dave calls is “jazz pop” or more mysteriously “Bolan Jazz” in the Cockaigne Records blog. On the surface it’s an amalgamation of jazzy chords and circular Reich leaning marimba and vibes, with an off kilter bass line, the trademark Graney unconventional song structure and words that hang between street jive and the complex text of say Samuel Beckett, or Thomas Pynchon, or perhaps more closely John Cowper Powys, or Paul Auster. And there was the revelation, and synchronicity, and serendipity for me, that listening to Graney/Moore is the aural equivalent of reading any of those aforementioned writers.

Mark E.Smith once used the phrase “Scientists and their bloody childish reading habits”  (ten points to the reader who can get the song that line comes from) and to some extent that sums me up, at least for half the time. I’m Just as happy these days reading Auster or Pynchon as I am reading Martin Scott’s Thraxas books, or Malcolm Pryce’s Louis Knight books.  Being trained as a scientist, before I realised it wasn’t for me, I recall that there was above average chance that the sort of books, or more often than not the comics (Marvel, DC etc) , that myself and my  contemporaries were reading back then, would be pulp crime or SF or fantasy works, rather than deeper and more complex prose. So for a good chunk of my adolescence I was reading “easy” stuff of a non-literary nature, there was not  the academic discipline in the school/university curriculum  to train a growing mind in both the scientific world and its  literary equivalent, unless you count the very odd “German for Scientists” course I was shoe horned into t Uni!  No wonder this fledging scientist reverted to the latest Michael Moorcock for some light relief after ploughing through some dense prose on the Tricarboxylic Acid cycle or the structure of DNA.  A change in career was the damascene journey from the pulp of my youth to later years when the artistic side of my brain was allowed to flourish

As an aside, one of the key way stops on the way to the literary  Road to Damascus thing for me  was a book from the Bloomsbury press called “M.H. Zools Good Reading Guide to Science Fiction & Fantasy” (1989) and specifically within that tome a series of very good and informative  reading recommendations, most notably the entry on Phillip K. Dick who I had been focusing on around the time it was released. The structure of the guide is quite helpful in that it gives a brief biography of an author, lists their key works and then extrapolates further reading from other authors that has some congruity with the subjects work. In the PKD list was a book by Paul Auster called ‘The New York Trilogy’,  alongside ‘Fear and Loathing in Las Vegas’ by Hunter S. Thompson, and ‘The Naked Lunch” by William Burroughs. All three of those authors would be key actors in the developing shift from the simple to the complex in my home library. A short listing on page 56 of Zool entitled “The Edge of SF”  included ‘Gravity’s Rainbow’ by Thomas Pynchon, alongside Borges, Marquez, and Wolfe. Pynchon also appears in a list entitled “Theatre of the Absurd”, and also in the Kurt Vonnegut list of alternative reading. In one respect the Zool could be seen as a clever marketing ploy to get the reader to go out and spend all their money on books. It worked on me, and there was a sustained period in my mid to late 20s when the book collection grew exponentially, Picador press being one of the main benefactors from my hard earned wages.

But I digress. So, the revelation after listening to  “How Long Does The Raunch?” was that Graney & Moore were the musical avatar that took me on the same journey as Beckett, Pynchon, Powys and Auster et al. did from a literary perspective. It started to some degree with ‘Dandies Are Never Unbuttoned’  from “The Soft ‘n’ Sexy Sound” by The Coral Snakes, continued in “Heroic Blues”, and “The Brother Who Lived”, and reached a critical peak with “Fearful Wiggings”. It also emerges amongst the thirteen songs that have been  released over the last year and will be brought together in a CD collection called “Let’s Get Tight” soon. Graney & Moore as a whole requires concentration, attention and commitment because they step outside of  the conventions of structure and language of “rock and roll” in the same way that Auster, at his best, defies the structural norm, and that Beckett uses language in a completely different way. As an aside and a coincidence I am currently reading Auster’s novella “Travels In The Scriptorium” which has a bit of good Old Sam about it.

Speaking of “rock and roll” leads me to a trip to Bury several weeks back to catch Adventures of Salvador. Some months back an over zealous sound man ruined my first live exposure to this band so I was pleased to accept SDs offer to see the four piece again, this time in their home town. As is usual at this time of the year the level of precipitation, coupled with an “incident” on the Metrolink network , mitigated against a stress free journey into Manchester. We met in an overcrowded Moon Under Water, grabbed a quick meal, and then hopped on the Bury tram at Victoria station. A quick pint on arrival amongst the distracting gaggle of some sort of hen do and then into the compact basement venue of the Blind Tiger  to catch AOS. The revelation is Ollie Nicholson’s drumming which is exceptional and which adds to a musically very competent band with great songs and a style that teeters between power pop, post-punk and mutant country blues. They are highly recommended and very entertaining.

I may have mentioned before I try to stay away from rock biographies as they tend to end up depressing me, and more importantly, breaking the fourth wall between the rock and roll world and reality, bringing all that glorious hope and vision back to the mundanity of day to day existence. I could not, however with all conscience, duck out of reading Robert Forster’s semi-autobiographical book “Grant and I”, given the importance of that band in my own personal musical history. It arrived via the Book Depository from the other side of the planet at the end of last week and I devoured it within three days. The speed of reading is in no small part down to the Forster writing style which is measured and clear. He takes you back to his youth, the formation of the band, the relationship with Grant and Lindy and through the trials and tribulations of one the key Australian bands of the late 20th Century. In comparison with the scattered fanzine like structure of David Nicholls book on the band there is a more coherent narrative, although there are giant leaps in the  time frame in some parts. What is missing for me is perhaps a better understanding of how songs were crafted. What is clear is the propensity of the wider music business to completely miss out on the opportunity to promote good quality material, and the importance of the more grass roots elements of the business in helping bands like The Go-Betweens to survive. It struck a chord with our work with German Shepherd records. The sad part of the tale comes towards the end where the impact of a rock and roll life style way heavily on the two main protagonists and their health, and like David McComb, how alcohol eventually snuffs out the genius of Grant McLennan far too early.  It made me want to go back and listen to the music again, which is perhaps the more important legacy, especially the suite of solo albums that the two produced between the two main phases of the band.

The three aforementioned releases from last Friday are worth a mention, if only as part of a heavy handed form of marketing. The first thing to mention is the compilation called Cambridge Calling Volume One. A more detailed piece on the background of the album and the bands involved can be found here. Suffice to say it is an eclectic mix of the bands that make up the music scene in the city and more volumes will follow in due course. All proceeds for the this first release will go towards the Arthur Rank Hospice in Cambridge. Many thanks go towards Dave Hammond for his hard work in pulling this together and allowing us to participate in the project.

Out of the above and again with thanks to Dave Hammond for providing an introduction we also had the pleasure of releasing the latest album by Keltrix, who appear on the album above. Dave provides an excellent review of the album in Sounds On-Line so I won’t event try and emulate that. What I will say is that this album fits perfectly within the German Shepherd ethos. The ability of Sharon and Keri to take a traditional musical form and merge it with modern electronica, dance and techno, and their capacity to bring in guest producers to transform their sound is notable and remarkable. Keri’s voice is unique and Sharon’s lead instrument, the violin, fits well with an entirely modern musical framework. There are some exceptional songs here and it is an early candidate for album of the year for me. This band deserves to be heard by more people.

So, and to conclude, last Friday. It’s raining again. I meet SD in a Waterhouse pub again, we go for  a bite to eat again, some excellent Asian Street Food on this occasion, and then wander around the back streets of Piccadilly to the bohemian darkness of The Castle. I was wondering for future gigs if we should use The Castle rather than the Eagle but I am more comfortable with the layout of the latter, and it’s general sound and friendliness of the staff. However it is just about right for the musical endeavours of the evening which include Ian Moss, Moff Skellington, and Loop-Aznavour. We get a reasonable sized crowd, better than the last collaboration in Leeds in 2016 in any event. The one person responsible for my introduction to the world of Moff is also in attendance, the smiling Julia Adamson. Ian does a new piece about dogs, Moff performs his new album, and then collaborates with Ian on a new piece called “Predator Fascinates Imbecile”,  Loop does his usual excellent set, and then Loop and Ian perform a couple of pieces including a new version of the excellent “The Wilsons”. It is both challenging and funny, fascinating and thought provoking, and above all entertaining. There will be another in June sometime. Takings on the door allow a small stipend to paid to each of the three performers a rarity for our little cottage industry.

The Best of 2016 #3 – Singles and EPs

This one is going to be a little different due to the nature of releases this year. All will become apparent as I meander through things. The nature of what I do on an almost daily basis i.e. putting together radio shows/podcasts and running a record label means that a serious amount of individual tracks come in for potential airplay or indeed for release on the label. So trying to do a definitive list of the “best” is nigh on impossible – if they made it onto the podcast or got released by the record label they are, because they got through that gateway, “better than the rest” so i’ll generalise…..and this is in no sort of order of importance as I love them all with equal fervour……with the stuff at the bottom of the page being the “top of the pops” as it were

The Moss Brothers – various releases by Ian and Neil under various aliases – the work rate of Ian Moss is legendary, add his sibling into the mix and you have a an even faster production line of fascinating music – whether it be Ian & Neil, Sebastien the Tortoise, A Magpie and a Goldfish, or 2 Big Brothers it’s all great.

Taser Puppets : Fossil – their latest EP and first with German Shepherd proved to be their best yet. A health scare for front man Shaun put things on hold for a while but a barn storming set at the Salford Music Festival but them back on the North West musical map.

Alana Bondi : Alana Bondi EP – another artist who battled through health problems in 2015/6 to deliver a remarkable debut EP and stunning video to the opener “Four Walls” plus a run of shows including the Edinburgh Festival Fringe.

The Sideshow : How It Goes – a remarkable single, pure pop for now people as Nick Lowe once said. Should have broken through this one and still a mystery as to why it didn’t.

The Screaming Love Collective : Three Singles – proof that repetition in music is still potent as a way of delivering ideas that are fresh.

The Mind Sweepers : The Mating Game – Vicky Middles asked if we could help out with this one and we were pleased to get involved. They call themselves genre defying and they certainly deliver on that score.

Bouquet of Dead Crows : Epicentre – a great collection of alternative versions, live cuts and a remix crowned a great year for the “Crows”  – a new album is in the pipeline and an album of radio sessions is promised for the new year.

The Madding Crowd – a good year, a great EP, an epic EP launch and a sense of renewed promise and hope for this north Manchester band.

Stalagmites : Between City and Cellar Door – back with a bang with a great EP, Brad Lynch is one of the best songwriters Salford has delivered with fantastic lyrics and epic tunes.

The Parish Church Fire : Locamente – another one where I sit here with a puzzled expression wondering why it wasn’t huge.

Staggs : Adult Loonies and A Rum Do – when I am fed up I turn to Staggs to cheer myself up – the diversity across these two releases is a testament to the skill and inventiveness of Ridley and Scott – punk, electronica and krautrock,  there’s something for everyone.

The Get : The Private Men EP – The Get are remarkable, their lo-fi approach to what they do, their relentless charm and enthusiasm is infectious. A great collection of songs.

Moff and Moss – aside from a remarkable debut album an epic single which dwelt on Mr Crowley and other strangeness. Expect new stuff in the New Year which is development at the moment – it will all become clear at the gig at the Castle in March!

Rose and the Diamond Hand : Universe Is Woman – should be huge, a remarkable voice, an amazing band, and a great live show, add a fantastic debut EP and you have a great year for Rose and co.

and the top three

3. KIT B – Weird Water – impressive song-writing from a great live band who broke into the festival circuit this year and garnered some impressive live reviews

2. m.t. scott – The Broken EP and 13 Queer Street – Michael left the wonderful world of Staggs for a while  to create two collections of aural wonderment. Cinematic in their scope and impressive in their musical depth he is clearly a creative force that requires/demands/deserves  a wider audience. I’ve been lucky enough to listen to these collections develop from ideas into fully formed pieces of aural magic.

1. The Graney and Moore Singles Releases – throughout the year Dave and Clare have released a digital single a month (more or less there will be one in January) in an effort, I believe, to escape the usual routines in the music industry. I can’t decide which is the best amongst any of them, so I’m bringing all ten into a collective number one, but if you were to push me the latest one “I Ain’t Hi Vis” is probably my favourite. The variety across this set of releases is impressive, the trademark Graney wit is in full effect, and musically, as is always the case, they are top notch. Notably there is more than a bit of a jazz tinge than is usual which of course ticks a lot of boxes for me. You can grab them all at the DG bandcamp page.  For the record the releases were:

I’m a Good Hater
This Is the Deadest Place I’ve Ever Died In
I Been Trendy
Drifting Donna Reed
Are You Out Of Your Mind? (Get Back In)
You Need a Kleek, Klook
Rupert’s Pet’s Grave
Matey, From On High
Let’s Kick this Mob Out
I Ain’t Hi Vis

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The Best of 2016 # 2 – Gigs

Having spent quite a lot of the year in and out of medical facilities for one reason or another the number of gigs attended has been somewhat constrained but having said that much improved on 2015 when I spent a good deal of the time in a plaster cast. In the most part the gigs I did attend were all great. There were a couple of bad evenings caused in the first case by an idiotic club owner and in the second case by a less than perfect sound engineering job, it is not my habit to name names, so I won’t, all I would say is that bands deserve more.

Ones I sadly missed due to ill health and diary clashes

  • Robert Forster
  • The Triffids
  • Kim Salmon

Here are the highlights in no particular order, apart from the top four gigs.

  • Manchester Jazz Festival – just a general message to say it was much improved this year with some fascinating bands seen especially in the performance space in Manchester Central Library – the price of the beer in the Festival Village is obscene though!
  • Soft Machine at The Band on the Wall – OK so we sat in the bar for most of the second set drinking and chewing the fat about music but the first set was pretty memorable and I realised a long held ambition to see this band.
  • The Junta at Night and Day – kabuki, mime and beats with El Generallisimo cooking up a techno storm.
  • Aidan Cross & Johann Kloos, Poppycock, Taser Puppets and West Coast Sick Line at Dulcimer, Chorlton. A fun packed night with a storming set from the Westies and a slight hiatus while Mr Maxwell found his guitar.
  • Moff Skellington, Mr Mouse, Loop-aznavour at The Fenton Leeds – a remarkable evening with a sparse audience but excellent performances from all three protagonists only somewhat ruined by the inability to get out of Leeds via the motorway necessitating a circuitous journey home via Harrogate
  • The Eagle, again, for the debut of the much anticipated new band lead by Ian Moss Four Candles , Cambridge rockers, stripped down to acoustic duo  for the night, Bouquet of Dead Crows, all the way from Modena Italy Saint Lawrence Verge, and to close the night the ever excellent Poppycock. A rather special evening.
  • Sam SmithGenevieve L Walsh and The Madding Crowd at The Moston Miners Club – a great set from Sam, memorable poetry from Genevieve,  and an epic set from The Madding Crowd.
  • The Junta, Bouquet of Dead Crows, The Scissors and Kit B at the Eagle as part of Salford Music Festival. Barnstorming sets from all four bands – we need to do this again.
  • Taser Puppets, Poppycock, JD Meatyard and West Coast Sick Line as part of Salford Musical Festival also at The Eagle – one of our most successful nights with a good crowd, fine performances, and a stellar set from Mr Meatyard.
  • Blaney album launch at Pacifica Cantonese. A great album and a memorable album launch with the added bonus of it being five minutes from where I live. It’s been a good year for Ed and he deserves the support he is getting at the moment

and the top four, who all happen to be Australian for some strange reason……

4.

The Necks live at the Band on the Wall – a special performance from an amazing trio of musicians. Unique and breath-taking music bereft of ego and full of invention.

3.

Harry Howard and the NDE with Poppycock at The Eagle – exploding keyboards and horrendous traffic conspired against us but Poppycock were the best I have seen them all year and Harry and co were exceptional given they had a stand in rhythm section with only a couple of days rehearsal.

2.

Dave Graney and Poppycock & Franco Bandini at the Eagle – a long held desire to catch Dave and Clare live was at long last realised. Most of the band were full of germs but still managed to deliver a set packed with classic tunes from across the Graney songbook. The added bonus of seeing Malcolm Ross play the guitar as well.

and my gig of the year….

1.

Dave Graney at the Betsey Trotwood, London – a memorable journey to the capital despite a dodgy knee. A pleasant afternoon drinking with Bob and Jeff in some fine ale houses. A fantastic set from Dave, Clare, Stu and Malcolm covering even more of the Graney songbook topped off by a great tribute to Prince.

DG 2 BT

A case of Vertigo

“Masters of their own musical language of long-form improvisation, each night they step onto the stage with no pre-conceived ideas of what they will play – they and the audience will go on a sonic journey that is created in the moment and in that room.”

This year is The Necks 30th anniversary. They have ploughed a unique musical furrow over that period, releasing fourteen studio albums, one soundtrack, and four live albums. A recent box set from ReR Megacorp collects eight of those releases into a useful history, and for those with enough money, and time, it is a perfect summary of work to date.

Wikipedia describes the trio as “experimental jazz” which is accurate to a point.  Some times they can be as far removed from jazz as chalk is from cheese. I guess the confusion might be that the composition of the band, Chris Abrahams on piano , Tony Buck on drums, and percussion , and Lloyd Swanton on double bass, is the traditional jazz trio line-up. But this is not the Bill Evans Trio, and to be clear, it’s not E.S.T. either. They are far more than jazz, in the same way an improvising collective like AMM or Supersilent are distant from the traditional confines of the genre, but are labelled as “jazz”. Bands like this tend to be shoved into that corner of your local record emporium where the “difficult” music is put. Jazz roots are there, but the trio, over that thirty year time period, have invented a new kind of music. That the classical music writer from The Daily Telegraph reviewed their sold out three day residency at Café Oto in Dalston perhaps says more about the genre defying nature of this band than I can.

A November gig from the trio in Manchester is therefore not to be missed.

This is my second time of seeing them. They tend to make it a habit of playing the Band on the Wall when they are in Manchester. The last time was three or four years back, and the memories are strong of an exceptional performance. So it is with some anticipation I venture down to Manchester’s premier live music venue for their latest gig in the city.

The insistent rain and cold air attempt to dampen my spirits, and the dark, puddle strewn, corners of Oldham Street are not the most inviting of prospects on an autumnal Tuesday night. Despite the inclement weather the place is full. The Necks always pull a large crowd, there’s a couple of seats on the right side of the room with a reasonable view, albeit obstructed by one of the BOTW’s ornate pillars. The Necks performance routine is well established. They will play two sets, both generally between 40 and 50 minutes in length. Very much in the same way that their album releases are generally one uninterrupted track of improvised music the live sets are complete pieces. This requires a lot of concentration and focused listening and my only gripe of the evening is the latecomers who spill into the room after the gig has started which allows the sound of the bar to filter into the room and disturb the delicate opening melodies that Chris Abrahams is developing. There’s also a hipster type, with several layers of clothing, and a back-pack, who decides to float around the room in an annoying fashion. But to counter that aberrant behaviour you close your eyes and lose yourself in the music. If I were the Band on the Wall I’d curfew the room at the set start time to stop the distractions when a band of this type is playing.

So, as I say, as it begins,  Abrahams, picks out a delicate melody, and I begin to wonder if there has been as shift to a more traditional musical form than hitherto experienced. These thoughts are misplaced of course, and soon dissipate  as Swanton uses his bow to create sonorous notes. Buck is not engaged for the first five minutes but slowly comes into the fray with light brush work. What follows is fifty minutes of repetition, with hypnotic surges of organically developing sound. At any one time I am recalling something akin to mid-70s Tangerine Dream, a particularly complex part of a Van Der Graaf Generator opus, a free jazz trio, or industrial music from the early 80s. You have to stop yourself and remember that this wonderful collection of sound is being created by a traditional acoustic piano, double bass and drum kit, albeit that the drummer has any number of little percussion tools at his disposal.  The structure of a Necks set is both familiar and different at the same time, a quiet reflective start, a build up to a complex, dense, and often cacophonous, middle, and then the fall away to a quieter coda.

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You have to remind yourself it is all improvised.

The remarkable thing is the complete lack of ego between the three musicians. They are separate but together. Each individual addresses their own contribution from their part of the stage, but the years of working together have clearly forged a collective endeavour which is equal and complete in its delivery.

The second set is perhaps a little more adventurous than the first. Swanton starts things off with an off kilter, almost Beefheartian riff, indeed Mark Boston had been stood just to the right of where he is several years ago when I saw The Magic Band at the same venue. Possibly some sort of ghostly Van Vliet dust is floating in the air?  Buck is creating alien pings with some brass cymbals which recall the opening of Echoes by Pink Floyd. He soon moves into a different area, and his contribution to this set is more overt. The lead role in the sound swaps between the three musicians. Abrahams uses the piano as a percussion instrument, as Buck creates melody with his battery of percussion, and Swanton floats between them creating sounds that I did not think were possible from a double bass. Time becomes an irrelevance as you lose yourself in this music. The rhythm is more hypnotic in the second set,  almost trance like, the music evokes memories, there’s a waking dream quality to the whole experience. At one point the music builds into a maelstrom of sound that is indescribable.

The Necks latest release is called Vertigo which after this nights experience appears to be an apposite title. They are completely unique, they are always different, but the process and the invention is familiar, so there is a backbone to the music which allows focus on and absorb what they do. You are caught in stream of musical ideas which takes you to a point of transcendence and then gently brings you back down to earth.

http://www.thenecks.com

http://www.bandonthewall.org

A previous gig demonstrates ably the band in full flow

Fascinating Things : Issue 74

Time is escaping me at a rapid rate due to lots of other workloads,  with no time for considered prose. So this time it’s  just a series of videos and soundclouds  of things that I reckon you should wrap your ears around. They are  out now or due soon. Plus there’s  a list of current favourite listens at the end of the post showing what’s on rotation on the I-Pod at the moment….and a bit of shameless self-publication at the bottom. Enjoy!

MESMER DISCIPLES – REAL LOUD (Leeds,UK)

CHORE – THE HITCHHIKER (Ontario, Canada)

THE FRANKLYS – CASTAWAY (London, UK)

PAPA M – BLOOM (Louisville, USA)

FLIES ON YOU – DARKENING MY DOOR (Leeds, UK)

BOWERY ELECTRIC – FEAR OF FLYING (New York City, USA)

WE ARE BANDICOOT – TEMPER (Kent, UK)

THE STRESS OF LEISURE – GIRL ON A LILO (Brisbane, Australia)

 

CURRENTLY ON THE I-POD

  • Fistula – The Shape Of Doom To Cumm )))
  • Loser Life – …And I Am Going To Live This Way , Things Will Never Change, I Want The World, My Hell, Life Number Two, Burning Fields/Hard To Please (complete back catalogue being released)
  • Chore – The Coastaline Fire
  • Papa M -Highway Songs
  • Donny McCaslin – Beyond Now
  • Chads Tree – Crossing Off The Miles
  • Harry Howard and the NDE – Sleepless Girls
  • The Stress of Leisure – Achievement
  • Kristin Hersh – Wyatt at the Coyote Palace
  • Moss Skellington- The Lump
  • The Get – The Private Men EP
  • Miles Davis – Freedom Jazz Dance
  • The Triffids – Born Sandy Devotional

AND SOME GIGS COMING UP (which is why I have been otherwise engaged)

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