A Reading of Orwell (and others) in 2017

 

I started writing this thing about George Orwell ages ago, but never got it finished, but suddenly it seems possibly relevant, so here it is, still not in the final form intended, extremely long-winded, but hopefully fairly coherent. I should also point out that lots of views of my own are mentioned here, because I can.

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Sales of 1984 have risen sharply lately; but although there is definitely no wrong place to start reading Orwell, to me the most relevant of his works for the present day are to be found in the four-volume Collected Essays, Journalism and Letters of George Orwell, published by Penguin in the 60s and I assume still in print. I got the four volumes in a charity shop about fifteen years ago for 80 pence; one of the best bargains I have ever had. I’ve read and re-read them more than almost any other books I own and there is never a time when I could pick them up without finding something there to grip me.

They are also intensely relevant to 2017, because the preoccupations that led to his writing of 1984 and Animal Farm are there in their rawest form;

“The era of free speech is closing down. The freedom of the press in Britain was always something of a fake, because in the last resort, money controls opinion; still, so long as the legal right to say what you like exists, there are always loopholes for an unorthodox writer.” (Why I Joined the Independent Labour Party, 1938, vol 1, p. 373)

As it happened, the era of free speech never did quite close down (so far anyway), but it should be remembered that Hitler and even more so, Mussolini, were far from universally reviled in Britain, right up to the start of the war. As late as 1940, Orwell could write;

“It is a sign of the speed at which events are moving that Hurst and Blackett’s unexpurgated edition of Mein Kampf, published only a year ago, is edited from a pro-Hitler angle… He had crushed the German labour movement, and for that the property-owning classes were willing to forgive him almost anything.” (Vol 2, p 27)

“The British ruling class were not altogether wrong in thinking that Fascism was on their side. It is a fact that any rich man, unless he is a Jew, has less to fear from Fascism than from either Communism or Democratic Socialism. One ought never to forget this, for the whole of German and Italian propaganda is designed to cover it up.” The Lion and the Unicorn, 1940 (Vol 2, p. 92).

The idea of Fascism is very much still with us, but it’s interesting to find that, despite Mussolini’s explicit adoption of the word, it was no more clearly defined in 1944 than it is now;

“Except for the relatively small number of Fascist sympathisers, almost any English person would accept ‘bully’ as a synonym for ‘Fascist’. That is about as near to a definition as this much abused word has come.”
“…it is impossible to define Fascism satisfactorily without making admissions which neither the Fascists themselves, nor the Conservatives, nor Socialists of any colour, are willing to make. All one can do for the moment is to use the word with a certain amount of circumspection and not, as is usually done, degrade it to the level of a swearword.”
As I Please, 1944, vol. 3 p. 138-9

In fact, it’s surprising (and a bit alarming) to find just how relevant much of Orwell’s wartime writings are – in fact, the continuity of life in the UK is still, a world war and a sexual revolution later, still surprisingly noticeable: for instance a quote from the Daily Mail in 1932 shows that, despite being written and edited by entirely different people, the newspaper’s character has hardly changed:

“With that rather morbid commiseration for fanatical minorities which is the rule with certain imperfectly informed sections of British public opinion, this country long shut its eyes to the magnificent work that the Fascist regime was doing. I have several times heard Mussolini himself express his gratitude to the Daily Mail as having been the first British newspaper to put his aims fairly before the world.” Daily Mail, quoted in Who Are The War Criminals?, 1943, vol 2, p. 365)

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Most of the current referencing of Orwell has to do with language, ‘newspeak’ and government propaganda (a few years ago it was more to do with surveillance & ‘big brother) and it’s noticeable that, paradoxically, people nowadays seem to be more sceptical than ever about the information given out by the media and government (in itself a fairly healthy thing) but also quite ready to believe any old nonsense that comes from unverified (mostly online) sources. This would not have surprised Orwell, who, reflecting on the ‘truth’ of the Spanish Civil war, wrote;

“Even if Franco is overthrown, what kind of records will the future historian have to go upon? And if Franco or anyone at all resembling him remains in power, the history of the war will consist quite largely of ‘facts’ which millions of people now living know to be lies. One of these ‘facts’ for instance, is that there was a considerable Russian army in Spain. There exists the most abundant evidence that there was no such army. Yet if Franco remains in power, and if Fascism in general survives, that Russian army will go into the history books and future schoolchildren will believe in it. So for practical purposes the lie will have become the truth.” As I Please, 1944, (vol.3 p. 110)

Also, the age of ‘nasty’ and ‘difficult’ women and ‘deplorable’ people would not have shocked him;

“Someone could write a valuable monograph on the use of question-begging names and epithets, and their effect in obscuring political controversies. It would bring out the curious fact that if you simply accept and apply to yourself a name intended as an insult, it may end by losing its insulting character.” As I Please, 1945, Vol 3 p.372

The moral of this seems to be that, if you want your insults to hurt, choose an epithet that no remotely normal person would embrace; easier said than done perhaps.

Orwell was writing in a time when political ideas, on both the extremes of left and right, were being expressed with absolute conviction, but not much sense of reality, let alone any humanistic thought, Orwell’s writings are notable because above all else, he accepts the basic fact about human beings; we are all the same because we are all different. He was therefore an enemy of totalitarianism, because no abstract system of thought can allow for humanity in all its illogical, unpredictable variety. He was a socialist, but of an extremely undogmatic type, probably because his own upper class background (he was educated at Eton and was afterwards a member of the Imperial Indian Police in Burma) meant that his egalitarian beliefs were not obviously in his own interests. The fact that he had direct experience of the colonial system of rule meant that he couldn’t overlook – as most left-leaning political theorists did – the fact that the oppressed majority that made up the working class at home was mirrored by a far vaster, even more oppressed majority elsewhere. An early essay, A Hanging (1931) – based on his experiences as a policeman in Burma – is important for the development of his socialist beliefs because, as is the case in all of his writing, he confronts his own attitudes, rather than simply judging others’ based on the political system he has adopted. It’s also a brilliant piece of writing;

“He and we were a party of men walking together, seeing, hearing, feeling, understanding the same world; and in two minutes, with a sudden snap, one of us would be gone – one mind less, one world less.” (Vol 1, p.68-9)

The truth that he acknowledges here, that (to unfortunately/accidentally quote USA For Africa) ‘we are the world’, or more accurately but far more awkwardly – the world as we understand it is the result of our own perceptions of it – is to me a vitally important part of any political discussion. I have sometimes been a bit dubious of my belief in individualism, a philosophy (not that it is a philosophy to me) which has often had right-wing (and always has selfish) connotations; but the Prime Minister attacked it recently, which is encouraging. To me – I have no idea if Orwell would have agreed – individualism automatically entails a wider humanistic view, the idea that if I am this collection of thoughts, feelings, perceptions, then other people in their different ways, are this too. We are all important or none of us are.
1984, Animal Farm and many of Orwell’s essays stress the loss of individualism in any Totalitarian philosophy. But while we still live in a relatively free society, his writing on the undercurrents that end in totalitarianism are (to me) even more important. In 1945 he wrote;

“Nationalism, in the extended sense which I am using the word, includes such movements and tendencies as Communism, political Catholicism, Zionism, Antisemetism, Trotskyism and Pacifism. It does not necessarily mean loyalty to a government or a country, still less to one’s own country, and it is not even strictly necessary that the units in which it deals should actually exist. To name a few obvious examples, Jewry, Islam, Christendom, the Proletariat and the White Race are all of them the objects of passionate nationalistic feeling: but their existence can be seriously questioned, and there is no definition of any one of them that would be universally accepted.” Notes on Nationalism, 1945, vol 3, p. 412

This seems to me to hold true now as it did then. Phrases of the moment, like ‘take our country back’ or ‘Make America Great Again’ are so open to interpretation as to be almost meaningless; but that doesn’t prevent people from taking them extremely seriously. This quote, from the same essay (and with the same disclaimer as to what he means by ‘nationalism’) seems even more appropriate;

“Nationalists have the power of not seeing resemblances between similar sets of facts. A British Tory will defend self-determination in Europe and oppose it in India with no feelings of inconsistency. Actions are held to be good or bad, not on their own merits but according to who does them, and there is almost no kind of outrage – torture, the use of hostages, forced labour, mass deportations, imprisonment without trial, forgery, assassination, the bombing of civilians – which does not change its moral colour when it is committed by ‘our’ side.” (p.418-9)

Orwell is – and he almost always is – careful to delineate exactly what he means when discussing issues such as nationalism, because then, as now, the world was full of people who wilfully misunderstand anything vaguely ambiguous that they don’t like the sound of. Then, as now too, there was a tendency, especially among extreme leftist groups, to acknowledge one obvious wrong by pointing out other, similar and/or worse abuses, without addressing the original issue at all; evasive nonsense in fact. A recent example; as it was World Holocaust Day, people were naturally sharing a lot of stories about the experience of Jewish people in WW2 on TV and online. As one would expect, the moron minority of Nazi people made their usual remarks* but the internet was also full of things like ‘think of that story and substitute ‘Jews’ for ‘Palestinians’”. How about substituting it for HUMAN BEINGS? It’s perfectly possible to – in fact I would think impossible not to – be appalled by the inhumane treatment of people by other people whatever the origins of both parties. And for the record, it is entirely possible to be critical of the policies of the government of Israel (for example) without extending that criticism to “Israel” or to Judaism; lots of Jewish people do it. It’s possible to criticise I.S. and Islamic extremism without condemning Islam – lots of Muslims do it. It’s entirely possible to flag up the plight of Yemen (and its causes) without also ignoring and/or dismissing the plight of Syria. Unless one has a quota of compassion that gets used up, it’s not only possible to do these things, it’s obvious and necessary. Be specific; the enemies of freedom always are.

*Holocaust denial by people who like the Nazis and don’t like Jews has to be among the most confusing/confused phenomena of our age. These people show their true colours by their assumption that the Holocaust would somehow be less bad if instead of 6 million, there was ‘only’ one million, or a few hundred thousand dead people at the end of it.

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But it’s easy to point out the faults of one’s arch-enemies – it’s worth remembering that when Orwell wrote a review of F. Borkenau’s The Totalitarian Enemy in 1940, he was pointing out not only the truth about Nazi Germany, but also of Stalin’s Russia, which was still at that point the main inspiration for British socialists, with whom Orwell himself was uncomfortably allied;

“As for the hate campaigns in which Totalitarian regimes ceaselessly indulge, they are real enough while they last, but are simply dictated by the needs of the moment. Jews, Poles, Trotskyists, English, French, Czechs, Democrats, Fascists, Marxists – almost anyone can figure as Public Enemy No. 1.”

“Simply in the interests of efficiency the Nazis found themselves expropriating, nationalizing, destroying the very people they had set out to save. It did not bother them, because their aim was simply power and not any particular form of society.” (Vol 2, p. 41)

It’s not surprising to find that in the years surrounding the Second World War, Antisemitism was a particularly touchy issue, but again Orwell did not shy away from the fact that Britain itself had a long history of Antisemitic thought (which had in fact been considered entirely respectable in earlier generations) and that, if anything, knowledge of the Holocaust had only made people ashamed of their own prejudices, rather than removing the prejudice;

“Whenever I have touched on the subject in a newspaper article, I have always had considerable ‘come-back’, and invariably some of the letters are from well-balanced, middling people – doctors for example – with no apparent economic grievance. These people always say (as Hitler says in Mein Kampf) that they started out with no anti-Jewish prejudice but were driven into their present position by mere observation of the facts. Yet one of the marks of antisemitism is an ability to believe stories which could not possibly be true.” Antisemitism in Britain, (vol 3 p. 385)

At the same time, Orwell’s belief in free speech was not diminished by the fact that people inevitably use it for a variety of ends. When, in 1949 Ezra Pound was awarded the Bollingen Prize for poetry, despite his earlier ostracisation from the literary world because of his Antisemitism and backing of the Fascist regime in Italy during the war, Orwell expressed his feelings in a response that feels appropriate to me;

“Antisemitism… is simply not the doctrine of a grown-up person. People who go in for that kind of thing must take the consequences.”
“I think the Bollingen Foundation were quite right to award Pound the prize, if they believed his poems to be the best of the year, but I also think that one ought to keep Pound’s career in memory and not feel that his ideas are made respectable by the mere fact of winning a literary prize…
“…since the judges have taken what amounts to an ‘art for art’s sake’ position, that is, the position that artistic integrity and common decency are two separate things, then at least let us keep them separate and not excuse Pound’s career on the ground that he is a good writer. He may be a good writer (I must admit that I personally have always regarded him as an entirely spurious writer), but the opinions that he has tried to disseminate by means of his works are evil ones, and I think that the judges should have said so more firmly when awarding him the prize.” (vol 4, p.552)

As I mentioned at the beginning of this article, I have been reading these books for years now; but the fact is that reading them in 2017 is a far less comfortable experience than it was a decade ago. But at the same time, the key subtexts running through Orwell’s work – especially the idea that political ideology is the enemy of individual freedom – remain important lessons to learn. And here I go off on my own tangent, but I’ll come back to Orwell eventually.
I have always been a left-wing liberal with libertarian leanings and recent events have only confirmed me in my beliefs. More and more, it feels like no one, let alone any political party, can speak on my behalf. Which is a good thing – because the current surge in right-wing extremism has, weirdly, coincided with – on one hand, a willing shirking of responsibility from people who don’t like the things they have voted for, and a willingness to project that responsibility onto others from the media and parts of the public. That was a long, badly-constructed sentence, so here’s a concrete example:
In the UK Brexit referendum (which actually, I have zero desire to write about but it’s an obvious reference point, as is the US presidential election), people voted for it, some got what they wanted and in a minority of cases, didn’t like it afterwards. They then complained that they were lied to by politicians. This may be true, but –
1) people in the UK as long as I can remember, have ALWAYS assumed that politicians lie to them, so that’s rather a disingenuous complaint and more importantly
2) there was no attempt whatsoever from the government to prevent people from finding out the likely consequences of the vote, or in fact doing any kind of investigation for themselves. These people are one small step away from saying that they shouldn’t be trusted to make important decisions. There are enough powerful people who agree with them to make that worrying.

At the same time, a certain part of the media colludes with these idiots; the blame for their regretted decisions actually lies neither with them, nor with the people who are supposed to have deceived them, but with the last 60 years of liberal thought – people like Orwell in fact – which has sidelined the views of bigots and Nazis and tried to foist equality on the world. There are so many reasons this is bullshit, but the most obvious one is just logic; if you leave your front door open while you are out and someone steals your furniture and then police catch the burglar, which one of you should go to prison? And if this is a false analogy (and it is, a bit), it’s because the comparison between (unless you are a moron) a positive thing; sixty years of striving towards equality among human beings, each of whom is as unique and important as the other, and a neutral thing – leaving one’s door unlocked, is ludicrous. In fact its ridiculousness highlights the malignancy of thought behind the pretence that progressive people have brought right wing extremism on themselves. Rather than making excuses for wilfully ignorant people, Orwell suggests what seems to me a far more sensible response (here in reference to the treatment of Polish and Jewish refugees in postwar Britain);

“I think it is a mistake to give such people the excuse of ignorance. You can’t actually change their feelings, but you can make them understand what they are saying when they demand that homeless refugees should be driven from our shores, and the knowledge may make them a little less actively malignant.” Tribune, 24 January 1947 (vol 4, p.316)

The nonsense spouted now in the press and elsewhere is not just stupidity, it’s stupidity with its own creepy conservative agenda and every day it feels like damage is being done to society by people pretending to speak on the behalf of others. Sometimes, surprisingly, others like me; as a white, male, working class British person who wasn’t raised in a metropolitan area and still doesn’t live in one, the kind of paternalistic statements continually being made by people who are for the most part metropolitan (no bad thing in itself) and aren’t working class (ditto) are far more oppressive to me than the idea that I should respect the people I have to share the earth with.
It may surprise the people who claim to be championing me, but even people of my class and background have TV, the internet and relatively high standards of literacy. I am not confused or outraged to see people of different races, genders/no gender/different faiths being represented in the media, even if I did not grow up in a particularly ethnically diverse area. One of the many mistakes these kinds of commentators make is assuming firstly that the working class (and although I belong to it I doubt if there really is such a thing still) is patriotic – which may or may not be true – and that patriotism is by its nature insular and/or xenophobic, which is far less obviously true. To me personally, it is 100% patriotic to want your country to be defined by inclusiveness, an interestingly varied culture & vibrant non-stagnant interactions with other cultures. Or to feel patriotic to the land as actual land and therefore to want to do as little damage to the fabric of the country itself as possible. Patriotism was an important topic for Orwell; as he pointed out often, the British intelligentsia of the inter-war years were not only not patriotic, but tended to be embarrassed by appeals to patriotism, a dangerous thing in an era when the worst elements in the world are very aware of the power of appealing to nationalistic sentiment. Orwell’s work is often imbued with a love of Britain and British culture although he was not at all blind to or uncritical of its inequalities. He was always careful, too, to separate patriotism from nationalism, which he abhorred.

“Nationalism is not to be confused with patriotism… By ‘patriotism’ I mean devotion to a particular place and a particular way of life, which one believes to be the best in the world, but which has no wish to force upon other people. Patriotism is defensive, both militarily and culturally. Nationalism, on the other hand, is inseparable from the desire for power. The abiding purpose for every nationalist is to secure more power and more prestige, not for himself, but for the nation or other unit in which he has chosen to sink his own individuality.” Notes on Nationalism, 1945 (vol 3, p. 412)

“Patriotism has nothing to do with conservatism. It is devotion to something that is changing but is felt mystically to be the same.” My Country Right or Left, 1940 ( Vol 2, p.591)

He says a lot more on the subject, and really it’s worth reading his essays, because he is aware of the appeal of the things he doesn’t like in a way that is exceptionally rare in political journalism. My own disliking of nationalism has something to do with the (it seems to me) artificial divisions it seems to involve. I have been to several countries; all of them were beautiful, all of them had wonderful people and less wonderful people, all of them had interesting cultures, and were distinctively but at the same time not deeply different to my own culture. Also, nationalism seems to entail making generalisations which I’d rather not make. I am not someone who really likes belonging to things. I don’t like watching or participating in sports, I don’t really enjoy being in any crowd that has a purpose  (though oddly I quite like being in aimless crowds on streets etc) and while I am happy to support specific things and causes, when faced by a group with more than one aim – like a political party – I tend to be dubious. I have a lot of sympathy for William Blake’s statement “To Generalize is to be an Idiot; To Particularize is the Alone Distinction of Merit.” Admittedly, he also write “a Horse is not more a Lion for being a Bad Horse”; but that’s genius for you. But I think he was right about generalising, though perhaps Mark Twain was even more right when he said in his smartass way “all generalizations are false, including this one.” I believe personally that valuing what is most individual about us is important in part because it is impossible to have any kind of equality while seeing people as less than the equivalent of yourself. And it’s important, especially when so much of the media is willing to overlook the fact, to point out that civil defence movements like Black Lives Matter and groups like the Women’s Equality Party are doing no more (and no less) than insisting on something that almost everyone apart from the stupidest elements in society automatically agree with; humans are created equal. The only generalisation about humanity worth making is the platitude so perfectly coined by Depeche Mode; people are people. To categorise beyond that only diminishes the personhood (what a horrible word) of those you are talking about.  Kristin Hersh puts it thusly;

“Is there a difference between male and female people? Is there? Seriously. I have yet to identify a single character trait I would attribute solely to one gender or the other.” (Rat Girl, 2010, p. 198)

Me either. Since I have descended into this kind of thing, here are some brief bullet pointed things that I believe, that I am sure not everyone agrees with. I list them for clarity, since at least 80% of this article is wafflage:

  • Inclusivity isn’t a favour to be bestowed from on high to various groups out of all proportion with their numbers, it is exactly what every adult human being expects, and should be able to expect, from a healthy society.
  • People can and should think whatever they like; but states and governments should be concerned only about the welfare of all of the people that make up that society– otherwise why should those people contribute to it?
  • Cultures like that of Britain are not undermined by diversity. It is in their nature to be diverse, they always have been and always will be.
  • The simple idea that everyone is equal does not exclude anyone except for those who wish to exclude themselves, for whatever deluded reason.
  • Anyone who thinks that the advances in equality since the 60s have in some way altered society to the detriment of ‘ordinary’ people have a) been walking around with their eyes closed their whole life and b) a narrow & distorted view of what ‘ordinary’ people are.
  • Other peoples’ rights are your rights. If people express themselves harmlessly in ways you don’t like, it’s none of your business.
  • there are ideas/philosophies that can’t be reconciled or compromised with. The worst people in history have always believed that, so everyone has to, too.

ANYWAY: all this was mainly to say, if you are interested in George Orwell but haven’t read him, by all means read 1984, but if, as well as seeing a nightmare vision of where we could end up you also want insights into how the world got where it is now, as well as lots of interesting, funny and above all, well written articles on a variety of topics (not just politics, but popular culture, food and drink, murder, literature, to name a few), try his Collected Essays, Journalism and Letters.

“It is not possible for any thinking person to live in such a society as ours without wanting to change it.” Why I Joined the Independent Labour Party, 1938, (vol 1, p. 374)”

One of the right responses to being alarmed by events is to do whatever it is you are good at doing in order to try to improve the situation; what Orwell did was to understand, and to write.

next… more inane stuff about music, thankfully

 

Play For Today – Current Playlist, 12th January 2017

 

Currently working on several more substantial articles, but in the meantime, here’s what I’ve been listening to in the last little while; which quite a lot of actually new music, as it turns out…

julia kent

  1. Julia Kent Asperities (The Leaf Label, 2015) – a beautiful album of experimental cello music I like so much that I was moved to actual pay money for the vinyl version.
  2. BathshebaServus (Svart Records, 2017) – the forthcoming album from Bathsheba impressed me a lot; ‘atmospheric occult doom’ is something I’m actually a bit weary of, but the songs are great and singer Michelle Nocon has a Patti Smith-like authority that makes it all very compelling.
  3. Code – Lost Signal (Agonia Records, 2017) – I thought this EP of re-recordings (plus one new song) would be a waste of time, but no; really good in fact.
  4. Nick Mazzarella Trio – Ultraviolet (International Anthem, 2015) – the apparent contradiction of free, expressive jazz welded into tightly controlled compositions turns out to be a recipe for vibrant, gripping music.
  5. Ashen Spire – Speak Not Of The Laudanum Quandary (code666, 2017) – I have to admit the thought of melodramatic, A Forest of Stars-like artifice welded to doomy and atmospheric extreme metal is not something that always fills me with joy – but Ashenspire are more peculiar and less pantomimic in their theatricality than I expected, and the title song is one of several hugely effective compositions here. An acquired taste, as I assume it’s supposed to be, but one worth acquiring.
  6. Bruno Sanfilippo – Piano Textures 4 (2016) – beautifully evocative, modern minimalist piano pieces cover
  7. David Bowie – Hunky Dory (RCA, 1971) – This was my favourite Bowie album (actually, my favourite album) for years, but I hadn’t listened to it for ages. Being impressionable, the fact that a bunch of music critics voted it his greatest work sent me back to it again. I don’t agree, but I see why they think so; Bowie at his most accessible and (relatively) least artificial.
  8. Julie’s Haircut – Invocation And Ritual Dance Of My Demon Twin (Rocket Recordings, 2017) – hypnotic, psychedelic-occult-krautrock that is mesmerising without being boring.
  9. Cryfemal – D6s6nti6rro (Osmose Productions, 2016) Even though I wrote about how much I like Cryfemal here aeons ago,  I actually didn’t notice when they/he (Cryfemal is still just ‘Ebola’) released this album. It’s great – in theory nothing-special, bog-standard black metal, in reality that, only made fantastic by Ebola’s way with a tune.
  10. Nicole Sabouné – Miman (Century Media, 2017) – not 100% made my mind up about this, but when in the mood for langorous, Dead Can Dance-influenced baroque gothic pop, it’s definitely pretty effective.
  11. Uriah Heep – Sonic Origami (Eagle Records, 1998) – what could be less promising than an album by 70s rock dinosaurs, struggling to find their place in the post-grunge landscape of the 90s? And yet the mighty Heep rose to whatever occasion there was with warmth, grace and some understated rock tunes that still sound very nice indeed.
  12. Juliana Hatfield – Hey Babe (Mammoth, 1992) – still in the 90s, this alternative rock gem is a bit overlooked these days, but it still sounds great to me.julianahatfieldtop4
  13. The Veldt – In A Quiet Room (Leonard Skully Records, 2017) – my dubiousness about the current shoegaze revival almost made me overlook this great band, but I’m glad I listened;on paper their music is such a peculiar mix (experimental shoegaze + soul etc) but in fact it just sounds natural and right.
  14. Tom Waits – The Heart of Saturday Night (Asylum, 1974) – to me, this is the album where he first found his true voice and, if not quite as great as Nighthawks at the Diner, it’s still a collection of great songs.
  15. Claire Waldoff – Die Berliner Pflanze (Berliner Musikinder, 2001) – I’ve been fascinated by the art and culture of the Weimar Republic for years* (just as well; seems like that’s the kind of period we’re living in now) and Claire Waldoff’s music from that period (early 30s mostly) is incredibly evocative and moving, and a bit silly. Plus, I love her voice and I am one of the few people I have come across who thinks German is a beautiful-sounding language, so that’s a bonus.
  16. Tenebrae In Perpetuum – La Genesi: 2001-2002 (Ordo MCM, 2017) – I’m a sucker for Italian black metal (the most underrated black metal scene in the world, mostly) and this reissue of the early works of Tenebrae In Perpetuum captures the band at their most atmospheric and unhinged.
  17. Kathy McCarty – Dead Dog’s Eyeball Songs of Daniel Johnston (Bar/None Records, 1994) – Kathy McCarty did a lot to make Daniel Johnston’s songs palatable to people who don’t like the lo-fi home-recordedness of his early work (or his voice, for that matter) and this is still a great album in its own right.
  18. Queen – The Miracle (Capitol, 1989) – an oddity for me, I really don’t like Queen much after Hot Space but I bought this for 50p in a charity shop and so have listened to it a few times. It’s not great, but I like the title song and a few other bits & pieces; Freddie’s voice is always nice to hear.qveen

and that will do for now!

  • re. The Weimar Republic & its culture, there’s a great article about the photographer Marianne Breslauer here

Play For Today – Current Playlist 3rd January 2017

 

A new year, a (slightly) new look, yet another playlist! This time, things I am listening to as the year begins, including (naturally) some things that I got for Christmas…

patti-smith-resized

  1. Patti Smith – Radio Ethiopia (Arista, 1976)

2. IC Rex – Tulen jumalat (Saturnal, 2017)

3. Aidan Baker w. Claire Brentnall – Delirious Things (Gizeh Records, 2017)

4. Kristin Hersh – The Grotto (4AD, 2003)

5. Jeff Parker – The New Breed (International Anthem, 2016)

6. Scott Walker  – Pola X (soundtrack, Barclay Records, 1999)

polaq

 

7. Wardruna – Runaljod; gap var Ginnunga (Indie Recordings, 2009)

8. Hardingrock – Grimen (Candlelight Records, 2007)

9. Endalok – Úr Draumheimi Viðurstyggðar Signal Rex, 2017)

10. A Tree Grows – Wau Wau Water (Rufftone Records, 2016)

11. Kristin Hersh – Crooked (Throwing Music, 2010)

12. The Beach Boys – Holland (Brother/Reprise, 1973)

13. Ela Orleans – Circles of Upper and Lower Hell (Night School Records, 2016)

14. Julie’s Haircut – Invocation And Ritual Dance Of My Demon Twin (Rocket Recordings, 2017)

15. Yurei – Night Vision (Adversum, 2012)

16. Jesca Hoop – Memories Are Now (Sub-Pop, 2017)

17. Christine Ott, Tabu (Gizeh Records, 2016)

18. The Veldt – In A Quiet Room (Leonard Skully Records, 2017)

The Veldt by Christopher Harold Wells
The Veldt by Christopher Harold Wells

19. Kiss – Dynasty (Casablanca, 1979)

20. Heikki Sarmanto Serious Music Ensemble – The Helsinki Tapes Vol 2 (Svart Records, 2016)

Inevitably, the releases of the year, 2016 (grand finale!)

 

Before the release of the year, here are some honourable mentions (that are not necessarily less good than the ones I wrote about, but which I didn’t get round to writing about. There will also be omissions that I will probably mention later, when I remember them)

The honourable mentions…

Prophets of Rage – The Party’s Overep-cover

Jenny Hval – Blood Bitch

Iggy Pop – Post Pop Depression

De La Soul – …and the Anonymous Nobody…

Nick Cave & The Bad Seeds – The Skeleton Tree

Shield Patterns – Mirror Breathingshield

Trees of Eternity – Hour of the Nightingale

A Tribe Called Quest – We Got It From Here…Thank You 4 Your Service…

Kate Carr – I Had Myself a Nuclear Spring

Abbath – Abbath

Jeff Parker – The New Breed

Cate le Bon – Crab Dayjeff

Eno – The Ship

and finally – my choice for…

Release of the Year, 2016!

Kristin Hersh – Wyatt At The Coyote Palace (Omnibus Books)

book-2

I have written extensively about this album/book both here and for Echoes and Dust so will try not to repeat myself. 2016 was (externally, and I hope personally) a good year for Kristin Hersh. In addition to this long-awaited solo album, she released the excellent Bath White EP with her band 50FOOTWAVE and recently completed a successful solo tour, which I was lucky enough to catch one of the dates of (I wrote about it here). Wyatt… ended up being my album of the year because after months of listening I haven’t got anywhere near wearing it out. It’s a warm, intimate encounter with a fellow human being, a beautiful, mysterious, heartbreaking piece of work that ultimately feels strangely familiar. No other album this year has found a place in my heart in the same way this. It’s great.

Happy New Year & best wishes for 2017!

 

Inevitably, the releases of the year, 2016 (Part Three)

 

Some more highlights…

Lauren Redhead – Ijereja (Pan Y Rosas Discos)

lauren-redhead_ijereja-wpcf_300x300

Probably the least conventional release of the year on my list, I wrote about Lauren Redhead’s ambient/noise/found sound opera for Echoes and Dust, so will keep this short. An intriguing mix of music and non-music, it’s a minimalist but strangely satisfying work that repays close listening.

Suzanne Vega – Lover, Beloved: Songs from an Evening with Carson McCullers (Amanuensis Productions)

suzveg

Taken from her stage show, this easily stands as an album; both soothing and thought-provoking, it’s a collection of clever, affecting and slightly jazzy songs arguably as good as any she has released.

Emma Ruth Rundle – Marked For Death (Sargent House)

emms

Quite rightly appearing in many album of the year lists, Emma Ruth Rundle’s second album is a collection of dark and atmospheric ballads that is more affecting and more accessible than Some Heavy Ocean, but loses none of that record’s deep emotional impact.

 Some metallic Releases of the Year

I’ve already mentioned some of the metal highlights of the year (Alcest, ThrOes, SubRosa) but it was a pretty good year for metal overall, so here are a few more great things:

Schammasch – Triangle (Prosthetic Records)

schamm

Unusual black metal, shrouded in mystery and atmosphere. A really good album that doesn’t sound much like anything else; quite an accomplishment given the genre.

Ihsahn – Arktis. (Candlelight Records)

arktis

Far more conventional than Das Seelenbrechen (with the Hardingrock album Grimen, still my favourite Ihsahn release) but much more fun too – an inventive, exciting  album that is both modern and classic.

Hobbs’ Angel of Death – Heaven Bled (Hell’s Headbangers)

hobbs

A classic thrash comeback from one of the great overlooked bands of the 80s. Only nostalgia makes their self-titled debut the better album.

Bethlehem – Bethlehem (Prophecy Productions)

bethlehem

After years of experimental, conceptual work, Bethlehem returned with perhaps their best and certainly their most straightforward album to date, aided hugely by new vocalist Onielar. A dark metal masterpiece.

Mithras – On Strange Loops (Willowtip Records)

miff

Mithras mark the end of an era with their strongest album to date; progressive, forward-looking death metal that is as powerful as it is inventive.

Madder Mortem – Red In Tooth And Claw (Dark Essence Records)

madder

An excellent comeback from Norway’s Madder Mortem; catchy, unorthodox songs and great performances, especially from singer Agnete M. Kirkvaage.

Also…

Drudkh/Hades Almighty – The One Who Talks With The Fog/Pyre Era, Black! (Season of Mist) – The best of Drudkh’s recent split releases, not least because Hades Almighty are on equally formidable form.

Forteresse – Thèmes Pour la Rébellion (Sepulchral Productions) – I’ve written about my love of Métal Noir Québécois at length here qnd, even though I prefer Forteresse’s earlier, more atmospheric work, this album is a vital, furious addition to their work

Opeth – Sorceress (Nuclear Blast) – Perhaps the best non-death metal album Opeth have released

Inquisition – Bloodshed Across the Empyrean Altar Beyond the Celestial Zenith (Season of Mist) – Inquisition are perhaps beginning to tread water with their seventh album, but they are working at such a high standard that this is still essential for black metal fans

Sad  Farewells of the Year

Celebrity deaths have been especially noticeable this year, but both David Bowie and Leonard Cohen managed to say goodbye with albums that are excellent even by their very high standards. These albums acknowledge their finality in a way that rarely happens in popular music (or any art, really). So moving (if you’re a fan) that they are hard to evaluate.

David Bowie – Blackstar (ISO/RCA)

blackstar_front_cover

A difficult listen, it’s a measure of Blackstar‘s quality that it is still revealing its secrets months after its release and it remains difficult to evaluate just where it belongs qualitatively in Bowie’s vast and rich catalogue. Philosophical and in some ways opaque, it shows an artist at the end of his life looking inwards and outwards but rarely backwards; a brave, forbidding but ultimately enriching album that sounds like nothing else on earth (or anywhere else).

Leonard Cohen – You Want It Darker (Columbia)

leonard_cohen_you_want_it_darker

In many ways not that unusual for a Leonard Cohen album, You Want It Darker is witty, wise and deeply sad. Not as painful to listen to as Blackstar, but just as emotionally involving.

Final part to follow, including my release of the year!

 

Inevitably, the releases of the year, 2016 (Part Two)

 

Here are some more of the things I thought were good this year

Vaguely (or very) shoegaze-related releases of the year

I didn’t like the term ‘shoegaze’ back in the early 90s and I don’t like it now. I dislike ‘dreampop’ even more. Neo-shoegaze has now got to the point that original shoegaze got to; 99% of it is boring. But I do like some of it and these were good:

Stella Diana – Nitocris (self-release)

stella

Naples shoegaze trio Stella Diana seem to be influenced mainly by the less experimental end of the original shoegaze scene (Just For A Day-era Slowdive with a pinch of Ride), rather than My Bloody Valentine or Curve, but on this, their third album, it all comes together with some quality songwriting and excellent performances.

 

 

Minor Victories – Minor Victories (Fat Possum Records)

minor-vic

I didn’t like this as much as I thought I would in fact; but it’s definitely a good album. As with so many ‘supergroup’ records, a bit underwhelming and boring overall, but the good bits, like ‘For You Always’, (where, as usual, Mark Kozelek makes one wish he seemed to be as likeable as he is talented) are so good that it’s definitely worth checking out.

 

 

Alcest – Kodama (Prophecy Productions)

alcest-kodama

For me, Souvenirs d’un Autre Monde is still the perfect Alcest album, the one where the shoegaze and black metal elements blended most seamlessly and where Neige’s vision seemed most clear and fresh. But Kodama is the best he’s made since then, the reintroduction of the metal elements slicing away some of the flabbiness of Shelter. The striking artwork and design of the album also rekindled the spark which had become somewhat mellow over time.

 

 

Daniel Land – In Love With A Ghost (self-release)

danlan

More singer-songwriter oriented than the other releases here, Daniel Land’s In Love With A Ghost meshes a strongly atmospheric dreampop feel with a very human, rather than celestial approach. His songs; sad, happy, richly lyrical, have everything to do with real life, making this the most approachable and loveable shoegaze(ish) album I’ve heard this year.

 

 

More non-genre-specific Releases of the Year

The Vision Bleak – The Unknown (Prophecy Productions)

tvb

Even without the conceptual baggage of their previous albums, The Vision Bleak’s latest opus is an overpoweringly rich and theatrical work of gothic melancholy. Konstanz and Schwadorf’s art will never be for everyone, but The Unknown is as accessible and as eccentric as anything the duo have recorded.

 

 

Kaada/Patton – Bacteria Cult (Ipecac Recordings)

kaadapat

In terms of time spent listening, Bacteria Cult may actually be my release of the year; the pairing of Mike Patton and Norwegian composer John Erika Kaada makes most of Patton’s other collaborations feel like novelty acts. Sweeping, epic, beautiful, funny and atmospheric, the music on this album is great as background or foreground and I am yet to be bored by it.

 

 

Jozef van Wissem – When Shall This Bright Day Begin (Consouling Sounds)

jozef

I wrote a detailed review of this great album for Echoes and Dust so will keep this short. This is a beautiful and haunting album of wistful (non-traditional) lute music with some experimental elements. It doesn’t sound like anything else in my Releases of the Year.

 

 

Darkher – Realms (Prophecy Productions)

darkher

An unclassifiable album of darkly romantic, sort of gothic (but without being theatrical) mood music. So immersively atmospheric that it takes a while to realise just how tightly written and well constructed Jayn H Wissenberg’s songs are.

 

 

Rachel Mason – Das Ram (Cleopatra Records (LP) / Practical Records (cassette)

Matthew Spiegelman

I wrote extensively about this album here but since it was very nearly my album of the year, here’s a bit more: Rachel Mason has produced so much, in so many fields – performance art/sculpture/filmmaking/music, etc (check out her website for a cross-section) – that it’s easy to immerse oneself in her work. In music alone she is amazingly prolific and has amassed a vast and crazily varied discography (fourteen albums, plus various collaborations) within just a few years. Das Ram is a bold, exciting and accessible album, utterly different from the acoustic/folk rock textures of Mason’s earlier works like Turtles or Hamilton Fish… and even further removed from the raw, homemade quality of Gayley Manor Songs.  Only a handful of artists have convincingly made a gesamstkunstwerk in the idiom of popular music without falling into the trap of overblown pretension – and most of those have spread from within the music world outwards. With Das Ram, Rachel Mason has become one of an even more select group – an artist who has learned to express herself with equal authority in whatever medium she chooses – and who seems to have fun doing it.

 

 

also…

Japanese Breakfast – Psychopomp  

japbreak

Deceptively cheerful lo-fi indie pop with incisive tunes and lots of heart

 

 

Blizaro – Cornucopia della Morte (I, Voidhanger)

blizaro

John Gallo’s Goblin-worshipping occult synth doom rock(?) is at its best on 2013’s Strange Doorways compilation, but when this album is great, it’s really great.

 

 

Nox – Ancestral Arte Negro (Forever Plagued Records)

nox

Pure Colombian brutal-but-atmospheric black metal – short, to the point; perfect.

 

 

 

More to come….

Inevitably, the releases of the year, 2016 (Part One)

Last year, I ended up writing multiple ‘releases of the year’ lists because I kept forgetting great things and having to add more posts to include them. I feel like keeping it (relatively) concise this year but will probably end up doing the same again.

 

Anyway, I thought I’d group things differently this time, so here are a few (non-exhaustive) groups of things that all fall into my ‘releases of the year’. They aren’t in any order of preference aside from the ‘release of the year’ itself, which will come last of all. I use the term ‘releases’ because, although it sounds far less good than ‘albums of the year’, I am including all sorts of releases. There aren’t really any rules (aside from year of release, obviously) because why would I make any? And so…

Hellos of the Year (new artists/debut releases)

All years are probably good for new artists and 2016 was no exception

Kib Elektra – Blemishes (Bezirk Tapes)

kib

I’ve written about Abi Bailey‘s Kib Elektra at length here as well as reviewing the EP for Echoes and Dust so will keep this brief. Kib Elektra’s debut is a brilliantly orchestrated collection of contrasting textures and sounds, organic, electronic,earthly and celestial; and the songs are great.

 

 

ThrOes – This Viper Womb (Aesthetic Death)

throes_tvw_cover

An impressive debut in every way, This Viper Womb is remarkable for the balance between precise detail and overall effect; it’s an emotionally involving, musically intense journey – brutal but subtle, extreme metal that doesn’t fit easily into any pigeonhole.

 

 

Naia Izumi – various releases

naia

Guitarist/singer/composer/etc Naia Izumi has released a series of fantastic and wide ranging EPs throughout 2016. Her style is not easy to define, but it incorporates elements of math rock, R’n’B, blues, ambient music… Lots of things, but all done with feeling and amazing instrumental skill – listen here

 

Zeal & Ardor – Devil Is Fine

zeal-and-ardor-devil-is-fine

Sometimes classified as black metal but really a kind of blackened blues, Zeal & Ardor’s music has deep, but varied roots and a spooky atmosphere all of its own. Listen here

 

 

Debz – Extended Play (Choice Records)

debz

Again, I’ve written about this elsewhere, but this EP is a refreshing and messy mix of grungy pop, punk and peculiarity.

 

 

Candelabrum – Necrotelepathy (Altare Productions)

Candelabrum

Unhinged but hugely ambitious Portuguese black metal, Necrotelepathy is a true symphony (while not being remotely ‘symphonic’) of rusty, shrill, clanging and nasty black metal that lasts for a long time (two songs, 33 minutes) but has a strangely cleansing effect on the ears.

 

 

Dia – Tiny Ocean (Manimal Records)

dia-tiny-ocean

A lovely EP of shoegaze-infused baroque pop, or something like that. I wrote about it here and you can check out Dia here. Hopefully lots more to come.

 

 

 

New-old Releases of the Year

Many, many great reissues this year, these were ones worthy of attention:

Uriah Heep – …Very ‘Eavy …Very ‘Umble (deluxe edition, BMG records)

uriah

I’ve written about this at length elsewhere, but in short – one of the great (and not as respected as it should be) heavy rock albums of the 1970s, remastered, repackaged and with another disc with a whole new, previously unreleased version of the album, great sleevenotes etc etc etc. The reissue of the almost-as-epic Salisbury is just as great. If the (presumably forthcoming) Look At Yourself and Demons and Wizards maintain the quality, 2017 already has something going for it.

 

 

Thus Defiled – An Unhallowed Legacy (Shadowflame Productions)

thus-def

Not quite as lavish than the Uriah Heep reissues (Shadowflame’s budget presumably somewhat less than BMG’s), but just as iconic; two classic turn-of-the-millennium releases from UK black metal overlords Thus Defiled, packaged nicely, sounding fantastic: classic stuff.

David Bowie – Who Can I Be Now? (1974-1976) (Parlophone)

who_can_i_be_now_1974_-_1976

I can only dream of having the vinyl version, but whatever the packaging, this is Bowie’s best (i.e. my favourite) period, treated with respect and sounding perfect. I just wish the missinGouster songs were there.

Established artists, latest Releases of the Year

  In no order…

Iggy Pop/Tarwater/Alva Noto – Leaves of Grass (Morr Music)

iggy-pop

A criminally overlooked record, perhaps because of Iggy’s great but more conventional Post-Pop DepressionLeaves of Grass is an EP of readings from Whitman’s book of the same name, with atmospheric electronic backing. Iggy proves himself an unexpectedly, but on reflection not surprisingly brilliant interpreter of Whitman’s poetry. I wrote more and better about it here

 

Wardruna – Runaljod – Ragnarok (By Norse)

ragnarok

Not so much a recreation of the lost music of the viking age as an imagining of it through immersion in the culture, literature and instruments of the era, as well as in the natural landscapes of Scandinavia, Kvitrafn’s latest album is harder to define than it is to feel. The atmosphere is primal and traditional, while not really following any musical traditions; sonically Runaljod – Ragnarok is as much an archaic, organic version of an Eno or Vangelis record as it is ‘folk music’, but somehow the authenticity of Wardruna’s vision and passion makes it feel like a window into a living past.

Egor Grushin – Once

egor-grushin_once-wpcf_300x300

Once made a big impact on me partly because of the deeply worrying socio-political context in which it was released (my review of this album for Echoes and Dust goes on about it), but months later, its graceful, logical beauty is still deeply soothing.

 

 

SubRosa – For This We Fought The Battle of Ages (Profound Lore)

subrosa

Inspired by Yevgeny Zamyatin’s classic 1921 dystopian novel We, SubRosa’s themes of freedom and control couldn’t be more prescient, and the album is suitably challenging, aggressive and epic. By far their greatest album to date.

 

 

 

end of part one…

next: more releases of the year, including the Goodbyes of the Year

Not the Releases of the Year 2016

 

‘Album of the year’ lists are fine for representing a specific time period in music, and interesting because of how personal and subjective they are  – an element which becomes eroded by time, as is easily seen from the consensus found in the majority of ‘great albums of the 60s/70s/80s’/etc lists and the fact that ‘new’ classics from those eras can be discovered decades later.

Claire Waldoff
Claire Waldoff

Anyway; all of this is to ask what importance a ‘releases of the year 2016’ list can really have for someone (i.e. me) who was listening to Claire Waldoff on his way home from work. One way to find out is to look back over the last few years to see how many of my own previous releases of the year have stood the test of (a relatively short amount of) time to become actual favourites. So let’s do that.

My records (pun shockingly not intended) of such things only go back a few years and I am sticking to things that actually made it onto my lists and not the many things I have subsequently discovered from those years (2012-2015 I think), but blah blah blah; disclaimers aside, here’s what the stalwarts of the last few years (and 60 or so albums) look like, plus notes related thereto:

STILL CURRENT LISTENING

Ihsahn – Das Seelenbrechen (Candlelight Records)

seelen

 

 

What I said then:

Metal acts are all too often praised for bringing any kind of non-metal musical influence into their work (tentative, seriously out of date bits of techno or hip-hop are probably the least daring way to ‘innovate’); but with Das Seelenbrechen, Ihsahn made an album that wasn’t just ‘extreme metal with (whatever) elements’. The electronic, gentle and improvised parts of the album are no less natural than the heavy riffs, raw vocals and Nietzschean philosophy. Clever, extreme (in lots of different ways) but accessible, because at its heart are great songs which don’t necessarily belong to any particular genre.

What I say now: I think Das Seelenbrechen has gone on to become Ihsahn’s least popular solo album, but I stand by what I said and, for me this, together with the 2007 Hardingrock album, is the artist at his creative peak (so far). This year’s Arktis. is a great record, and arguably much more fun than Das Seelenbrechen, but also far more conventional. Not a bad thing, but Das Seelenbrechen sounded at times like Scott Walker and a group of jazz musicians playing metal/metal musicians playing jazz, Arktis. sounds like someone who loves 80s metal and rock interpreting it in their own style.

Collectress – Mondegreen (Peeler Records)

mondegreen

 

What I said then:

Experimental string quartet Collectress make music that has many moods but is always interesting. On Mondegreen, the sound ranges from the bustling, Steve Reich-ish ‘Spell‘ to the haunting, tense ‘Harmonium‘ to the wistful, minimalistic and strangely nostalgic-sounding ‘Owl‘. It’s a beautiful album, each song creating its own pervasive mood but somehow becoming an entirely coherent whole; and it sounds absolutely nothing like anything else I heard this year.

What I say now: I still feel the same about the album, but what strikes me most now is the way each piece of music conjures up its own visual world; it has a strange, benign doll’s house feel to it, theatrical and haunted without being spooky.

David Bowie – The Next Day (ISO/Columbia)

next

 

What I said then:

A great album (if not a ‘return to form’ exactly, since his form has been pretty dubious for a long, long time), with a few lesser moments (the 90’s-ish indie-ish attempts at being modern grate a bit) which don’t however spoil the whole.

What I say now – This is an odd one, in that the album disappeared from regular rotation for a good year or so, only to be rediscovered with so many other Bowie albums, after his death. Still, I don’t think it’s one of his best overall (certainly less good than Blackstar), but the best songs are ‘classic Bowie’

Sangre de Muerdago – Deixademe Morrer No Bosque (self-release)

sangre

 

 

What I said then:

Moody, windswept and mysterious Galician folk music; beautiful, desolate and organic.

What I say now – One of the ‘lesser’ albums of the year at the time, but it has outlasted many records that I preferred back then. The slightly hushed quality and campfire sound effects etc give it a unique charm; I keep meaning to check out more of their work (and have listened to bits and pieces) but I kind of like having this one perfect album.

John Baizley, Nate Hall & Mike Scheidt – Songs of Townes Van Zandt Vol II (My Proud Mountain)

townes

 

What I said then:

Powerful versions of Townes Van Zandt’s earthy folk/blues songs, all the better for the starkness of the recordings.

What I say now – another one that was a bit of a sleeper; I liked it, listened to it a lot, and moved on. But at some point it suddenly felt very relevant and I feel like I know/feel the songs much better now.

Nebelung – Palingenesis (Temple of Torturous records)

nebelung

 

What I said then:

This instrumental ‘dark folk’ album is probably one of my most listened-to albums of the year; beautifully atmospheric music that seems imbued with the essence of autumn.

What I say now – not much to add to that, really. This year the band released a re-recording of their  checked out the recent re-recording of their 2005 debut, Mistelteinn  and it’s really good, but I prefer the purely instrumental album.

Sonny Simmons & Moksha Samnyasin – Nomadic (Svart Records)

sonny

 

What I said then:

There’s a very Miles Davis-y feel to this album, despite the psychedelic and drone elements. The blend of Simmons’ sax with Moksha Samnyasin (Michel Kristoff’; sitar, Thomas Bellier; bass, Sébastien Bismuth (drums, electronics) is what great free jazz is about; not aimless noodling, but intuitive, almost telepathic interplay and the exotic atmospheres and intense moods that result.

What I say now – Nomadic ended up being one of those albums where what were initially my least favourite tracks have ended up being my favourite ones. Its richness keeps it alive.

Secrets of the Moon – SUN (Lupus Lounge)

8-sotm

 

What I said then:

There’s not a lot of emotionally complex black metal music out there; a shame, because the expressive possibilities of the form are arguably greater and more powerful than any other metal genre. Also a shame, because, as with any genre of music, the best black metal transcends its idiom and is simply great music; and such is SUN, the sixth album by the always-dependable Secrets of the Moon. ‘Dependable’ is rarely used as a huge compliment for a band, but although the last few Secrets.. albums have been powerful and mature, none of them really suggested an album as immense as SUN. Inspired to a large extent by the suicide of ex-bass player LSK, it’s a work full of strange, desolate yet apparently hopeful imagery. Mysterious, elusive, it’s an album whose emotional punch is as unexpected as it is tangible.

What I say now – SUN was consistently an album whose songs popped up on shuffle and amazed me with their greatness. Although a black metal album of sorts, it doesn’t really follow any of the genre’s conventions; what I said above, in fact.

——————————————————————————————————————————————–

ALSO-RANS & ODDITIES

Ancient VVisdom – Deathlike

I loved this at the time, but even then I preferred their debut A Godlike Inferno – and now I find I still listen to that, but rarely Deathlike

Boards of Canada – Tomorrow’s Harvest

The downside to BoC’s more ambient approach with this album is that it is great while it’s on, but I rarely think about it between times

Manierisme – フローリア

I have failed to convince people of Manierisme’s genius more than almost any other band. And I still think Jekyll is a genius, but the balance of horribleness to sepia-toned nostalgia isn’t as successful here as on his earlier work.

Eleni & Souzana Vougioukli – To Be Safe

vougioukli

I’d absolutely still recommend this brilliant and beautiful album to anyone, but it ended up having less longevity for me than I expected

Beastmilk – Climax

See above; a very good album, but retro gothy rock felt surprisingly fresh when Beastmilk (now Grave Pleasures) released their debut; now it doesn’t

Nick Cave & The Bad Seeds – Push The Sky Away

Possibly I am just spoiled for choice with Nick Cave, but at the time I thought this would take its place with Tender PreyThe Good SonHenry’s Dream etc, but I listen to those regularly, this only every now & then

Absentia Lunae – Vorwarts (ATMF)

It’s not that I don’t like this fine black metal album, it’s just that I want all of their work to grip me in the same way that their mighty In Vmbrarvm Imperii Gloria does. And it doesn’t, quite.

Mirel Wagner – When the Cellar Children See the Light of Day (Sub Pop)

I remember this being great, and I think it is – but I haven’t really gone back to it since the initial excitement wore off.

Scott Walker & Sunn O))) – Soused (4AD)

My initial (but positive) impression that this is somehow just slightly less good than either Scott Walker or Sunn O)))’s usual records has grown – it’s not as good.

YOB – Clearing the Path to Ascend (Neurot Recordings)

Don’t get me wrong; this is one hundred percent a fantastic album, it’s just that its main legacy for me has been to send me back to Mike Scheidt’s criminally underrated 2012 solo album Stay Awake

mike-scheidt-stay-awake

Jarboe and Helen Money – Jarboe and Helen Money (Aurora Borealis Recordings)

Pretty simple – great record, but I wore it out by listening to it too much. It may come back though.

Odessey & Oracle – Odessey and Oracle and the Casiotone Orchestra (Folkwit Records)

Same – brilliant album, but extremely strongly flavoured in a way that makes it not for all moods…

Valet – Nature (Kranky Records)

A good album that I barely remember; will have to check it out again at some point, though.

Right; time to get on with the albums of the year….

 

Play For Today – Playlist December 9th 2016

1. Jesca Hoop – Memories Are Now (Sub Pop, Feb 2017)  

Not listened to it many times yet, but the forthcoming album from singer-songwriter Jesca Hoop is sounding pretty good so far

jescahoop
photo: Laura Guy

2. David Bowie – Diamond Dogs (RCA, 1974)

The death throes of Bowie’s glam period are infinitely more interesting (to me) than the Ziggy era, I love this album.

3. Bethlehem – Bethlehem (Prophecy Productions, 2016)

Stunning return to form for Germany’s ‘dark metal’ overlords.

4. The History of Colour TV – Something Like Eternity  (Cranes Records/Weird Books, 2017)

The third album by Berlin indie/shoegaze/noise rock trio The History of Colour TV has some powerfully Sonic Youth-like squalling as well as some really good tunes.

5. Ma Rainey – Black Eye Blues (1930)

maHeartbreakingly sad but also funny and rebellious blues performance by one of my favourite blues singers, with brilliant guitar playing by Tampa Red

6. Heikki Sarmanto Serious Music Ensemble – The Helsinki Tapes, Vol 1, 2 & 3 (Svart Records)

Great, previously unreleased live recordings from the Finnish jazz scene. I was initially a bit disappointed when a singer appeared on some of the recordings, but in fact ‘The Pawn‘ from Vol 2  (featuring Maija Hapuoja) is a moody ‘Riders on the Storm‘-esque masterpiece.

7. Daniel Land – In Love With A Ghost (2016)

Much as I hate the term ‘dream pop’, it does suit a lot of the lovely, gently melancholy music on this album

8. Baby Tears – Succubus Slides (Choice Records, 2016)

Cool and unusual hip hop/trap type stuff, she has a style that is not quite like anything else (disclaimer – that I know of)

9. Isasa – Los Días (La Castanya, 2016)

The second album by Spanish guitarist Isasa has a mellow, slightly hungover charm, it’s spare, basic sound, accentuating his beautiful guitar playing and the atmospheric power of the tunes.

10. Tom Waits – Nighthawks At The Diner (Asylum, 1976)

One of my favourite Tom Waits albums, a funny, boozy and cheerfully melancholy live album (albeit recorded in somewhat contrived surroundings) I hadn’t listened to it for ages but I love it just as much as always.

11. 11Paranoias – Reliquary For A Dreamed Of World (Ritual Productions, 2016)

Forbiddingly sludgy and somewhat psychedelic doom with, crucially, great songwriting to make it more than just a cool sound – an addictive album.

12. Effie – Pressure (2016)

I was sent the promo of this single in the spring and just never got around to listening to it because I assumed it wouldn’t be my cup of tea; and it isn’t really. But it’s pretty good r’n’b/pop really, and she’s got a very cool voice.

13. Mithras – On Strange Loops (Willowtip Records, 2016)

Supercharged progressive death metal, maybe their finest album to date

14. The Fall – Grotesque (After The Gramme) (Rough Trade, 1980)

Maybe my favourite Fall album (definitely one of my favourites; so many great tunes, best of all ‘Gramme Friday‘, ‘Impression of J. Temperance‘, ‘Container Drivers’ – actually they are nearly all great.

15. The Staple Singers – Will The Circle Be Unbroken (Buddha Records, 1969)

Re-release of some of the family’s early gospel recordings, incredibly soulful and atmospheric.

staple

You Were In My Dreams – Kristin Hersh at Summerhall, November 17, 2016

 

street

It was a beautifully clear, cold autumn-heading-into-winter evening in Edinburgh. As the eight o’clock concert approached, the streets of Newington were calm and mostly empty. After a few moments of worry about finding the venue I realised I knew where it was, which was handy.

Although a seated solo show with readings from the author’s works, prefixed ‘An Evening With…’ seems about as grown-up and civilised as a rock concert can be, there’s (for me at least) a slightly surreal edge of teenage flashback about the whole thing, not least because of Summerhall itself. Once a veterinary school, the artwork and noticeboards on the walls, the sets of double doors, the echoing stairways and empty rooms along the weakly lit corridors conjure exactly that atmosphere of being at school after hours, all the more powerful for being unexperienced for 25 years or so.

stage

The sinisterly-named but actually very pleasant ‘Dissection Room’ itself initially strengthens the familiar atmosphere, despite the high, somewhat church-like ceiling. The rows of plastic seats in front of the low stage have, if it wasn’t for the side room with a bar, an irresistible feeling of the end of term school concert. And what better person to see here than Kristin Hersh? Like many people of my generation, my first encounter with the singer/songwriter/guitarist was in 1991 when Throwing Muses’ ‘Counting Backwards’ became an indie hit, followed shortly by the release of their Top 40 hit album The Real Ramona. I loved it; I still love it, and while the music press at the time were pushing the band’s other singer/guitarist, Tanya Donelly, as no. 1 indie pinup (or possibly co-no.1 with Curve’s Toni Halliday) for me, Throwing Muses were all about Kristin Hersh. I liked her voice better, I liked her songs better (I had a bigger crush on her) and while Donelly’s post-Throwing Muses band Belly was definitely to my liking, they didn’t grip me in the same way Throwing Muses, or Kristin Hersh’s solo work did. Never saw her live though.

Photo by Dina Douglass

So, on this very crisp November night, sitting among the politely expectant audience, already loving Kristin’s new album/book (which I pointlessly gripped in my sweaty hand through the show, I was quietly excited. The stage was set with a chair, two guitars, a couple of pedals (which I had a look at later; for fact fans, they were an acoustic simulator and a chromatic tuner) and a small table/case of some kind with a small pile of books on top. Based on the sound of the album I had expected an acoustic guitar, but in fact she plays (what I think is) a Fender Classic Series ’72 Telecaster thinline, with which which she manages to – but wait, here she comes.

 Stepping slightly self-consciously onto the stage, Kristin smiles at the crowd, warns us that she can’t see without her glasses, so to scream for attention if required, and takes her seat. A small, neat blonde figure informally dressed in a long skirt and pink t-shirt, Hersh is both pixie-like and indomitable, her piercing eyes noticeable even from my seat in the 6th or 7th row. She is also, as I knew from her records but somehow hadn’t really considered until now, an exceptional guitarist. So, after a brief and funny apology in advance for playing new songs, she launches into Wyatt at the Coyote Palace’s enigmatic opening track, ‘Bright’. The sound is very close to the album, the rich, reverberating tone of the guitar filling the lofty space of the hall and more than making up for the lack of the very detailed layers of the recordings.

pedals

The relaxed and good-humoured show was weighted towards solo material, with a few Throwing Muses songs and readings from her books punctuating the set. With the sound pared down to one woman and a guitar, the differences between the more punky band material and her solo work (even the folk songs of Murder, Misery and Then Goodnight) are minimised. This isn’t to say that it’s an evening of hushed softness; in fact the presentation brings out the feral power lurking in songs like Crooked’s melodious ‘Mississippi Kite’ as well as – and I mention it because it was the high point of the show for me personally – starkly bringing out the desolation at the heart of ‘Sno cat’; not that it was very different from the album version particularly, but it was one of those instances where the context of the spoken introduction (an anecdote rather than a reading) filled the gaps in the allusive, oblique lyric and gave it a huge emotional impact.

Probably the most rapturous reaction from the audience came fairly early in the set with the performance of the forlorn 1994 classic ‘Your Ghost’ which was as (sorry) haunting as ever and, gave me one of those indescribable flaneur-ish ‘alone in a crowd’ moments that are extremely powerful while being neither happy or sad exactly. There were many other highlights; the aforementioned ‘Sno cat’  several from Wyatt… the ‘Hooker Gazpacho’ reading, ‘Between Piety and Desire’ and ‘Guadalupe’. A reading from her memoir of the late Vic Chesnutt (Don’t Suck, Don’t Die) was followed by a beautiful version of ‘Bakersfield’ from his classic 1990 debut Little.

In the live setting, the relationship between the readings from her books and the songs they are connected with (I went on about it too much in my album review so won’t go on about why it’s good again here) is even more evident and the pacing of the set is perfectly judged and at about two hours, was over far too soon. There was a three-song encore, including a great version of the brilliant (and in the context of Kristin’s introductory anecdote very funny) Throwing Muses classic ‘Cottonmouth’, which was one of the first songs that introduced me to her music, twenty-five years ago; a strange, sad, happy kind of magical feeling. And shortly thereafter Kristin left the stage.

Apparently I regressed to my teenage state during those two hours; I was too ‘spellbound’ I suppose, to take any pictures while the show was on, and then, despite ten years or so of writing about music and interviewing bands, I lurked around for a bit, chatted to the sound guy, clutched the book I had intended to get signed, faded into the background and eventually wandered out into the wintry (though not quite frosty) city night, feeling a mixture of things that added up to ‘satisfied’ in a way that was absolutely definitive of the adolescent version of me that fell in love with Kristin Hersh and her music in the first place. It was a good show. I wish she’d done ‘American Copper’, but you can’t have everything.

kristen