2024 – welcome to the/a future(s)

 

Another year – and the actual name of the year itself gets ever stranger and more unlikely and exotically futuristic, if you grew up in the era when the film 2001: A Space Odyssey was still set in the future. And here’s the annual attempt to get something onto this site at the beginning of the year – just made it in the first week this time – and hopefully, to post more often. The goal is a minimum of once a month but I think goals are better than resolutions so that’s as far as I will go.

2023 was the usual mixed bag of things; I didn’t see any of the big movies of the year yet. I have watched half of Saltburn, which so far makes me think of the early books of Martin Amis, especially Dead Babies (1975) and Success (1978) – partly because I read them again after he died last year. They are both still good/nasty/funny, especially Success, but whereas I find that having no likeable characters in a book is one thing, and doesn’t stop the book from being entertaining, watching unlikeable characters in a film is different – more like spending time with actual unlikeable people, perhaps because – especially in a film like Saltburn – you can only guess at their motivations and inner life. So, the second half of Saltburn remains unwatched – but I liked it enough that I will watch it.

Grayson Perry – The Walthamstow Tapestry (detail)

I didn’t see many exhibitions last year but am very glad that I caught Grayson Perry’s Smash Hits in Edinburgh. I didn’t really plan to see it as assumed in advance I wouldn’t like it, but in fact I loved it and ended up having a new respect for GP that only partly evaporates whenever I see him on TV.

Kristin Hersh by Peter Mellekas

I can’t be bothered going in depth about my favourite music of the year because the year is over and I’ve written about most it elsewhere. Old teenage favourites came back strongly: Kristin Hersh’s superb run of albums continued with Clear Pond Road. I hadn’t thought a lot about Slowdive in years but I really liked Everything is Alive and was very pleased to see them get the kind of acclaim that mostly eluded them when I was buying their first album a million years ago. Teenage Fanclub’s Nothing Lasts Forever and Drop Nineteens’ Hard Light were good too, and The Girl is Crying in her Latte by Sparks was probably my favourite of theirs outside of their early 70s classics. There were some excellent black metal (or black metal-related) albums too; much as I don’t like to think of Immortal without Abbath, Demonaz did himself proud with War Against All. Niklas Kvarforth returned to form with the brilliant Shining and Skálmöld’s Ýdalir is as good as anything they’ve recorded. In less guitar-oriented genres, I loved Kid Koala’s Creatures of the Late Afternoon and the latest Czarface record but my favourite album of the year if I had to choose one was the loveably lo-fi and enigmatic compilation Gespensterland.

I read lots of good books in 2023 – I started keeping a list but forgot about it at some point – but the two that stand out in my memory as my favourites are both non-fiction. Lauren Elkin’s Art Monsters: Unruly Bodies in Feminist Art  is completely engrossing and full of exciting ways of really looking at pictures. I wrote at length about Elena Kostyuchenko’s I Love Russia here. Kostyuchenko introduced me to a country that I only knew via history and stereotypes and her book is an exercise in what good journalism should be – informative, interesting, compassionate and readable. Both of these books cut across a wide range of subjects and examine unfamiliar things but also analyse the familiar from unfamiliar points of view; you should read them, if you haven’t already.

 

It’s no great surprise to me that my favourite books of the year would be – like much of my favourite art – by women. Though I think the individual voice is crucial in all of the arts, individuals don’t grow in a vacuum and because female (and, more widely, non-male) voices and viewpoints have always been overlooked, excluded, marginalised and/or patronised, women and those outside of the standard, traditional male authority figures more generally, tend to have more interesting and insightful perspectives than the ‘industry standard’ artist or commentator does. The first time that thought really struck me was when I was a student, reading about Berlin Dada and finding that Hannah Höch was obviously a much more interesting and articulate artist than (though I love his work too) her partner Raoul Hausmann, but that Hausmann had always occupied a position of authority and a reputation as an innovator, where she had little-to-none. And the more you look the more you see examples of the same thing. In fact, because women occupied – and in many ways still occupy – more culturally precarious positions than men, that position informs their work – thinking for example of artists like Leonora Carrington, Kay Sage or – a bigger name now – Frida Kahlo – giving it layers of meaning inaccessible to – because unexperienced by – their male peers.

The fact that women know more about themselves but also more about men than men do – because they have always had to – gives their work an emotional and intellectual charge often missing from those who belong comfortably within a tradition. This is a pretty well-worn idea – it’s why outsiders like Van Gogh or dropouts like Gauguin’s work speaks to us more clearly than the academic, tradition-bound art that they grew up with. Anybody on the margins, in whatever sense, of “mainstream society” has to have a working knowledge of that society, just to exist. Society has far less need to understand or even notice those people. – therefore their points of view are likely to not only be more individual, but more acute when it comes to observing the world in which they live. Class, race, gender; all of these things are always fascinatingly central to art and art history and the gradual recognition of that fact is making art history ever more exciting and vibrant. For now at least; we live in a time of conservative backlashes which attempt to restore order to those with a comfortable position within yesterday’s world – there will probably be an art historical backlash at some point, and the reputations of the mainstream stars of art in Van Gogh and Gauguin’s day, like William-Adolphe Bouguereau will find their reputations restored.

If that backlash comes, it will be from the academic equivalent of those figures who, in 2023 continued to dominate the cultural landscape. These are conservative (even if theoretically radical) people who pride themselves on their superior rational, unsentimental and “common sense” outlook, but whose views tend to have a surprising amount in common with some of the more wayward religious cults. Subscribing to shallowly Darwinist ideas, but only insofar as they reinforce one’s own prejudices and somehow never feeling the need to follow them to their logical conclusions is not new, but it’s very now. Underlying  ideas like the ‘survival of the fittest’, which then leads to the more malevolent idea of discouraging the “weak” in society by abolishing any kind of social structure that might support them is classic conservatism in an almost 19th century way, but somehow it’s not surprising to see these views gaining traction in the discourse of the apparently futuristic world of technology. In more that one way, these kinds of traditionalist, rigidly binary political and social philosophies work exactly like religious cults, with their apparently arbitrary cut off points for when it was that progress peaked/halted and civilisation turned bad. That point varies; but to believe things were once good but are now bad must always be problematic, because when, by any objective standards, was everything good, or were even most things good? For a certain class of British politician that point seems to have been World War Two, which kind of requires one to ignore actual World War Two. But the whole of history is infected by this kind of thinking – hence strange, disingenuous debates about how bad/how normal Empite, colonialism or slavery were; incidentially, you don’t even need to read the words of abolitionists or slaves themselves (though both would be good to read) to gain a perspective of whether or not slavery was  considered ‘normal’ or bad by the standards of the time. Just look at the lyrics to Britain’s most celebratory, triumphalist song of the 18th century, Rule Britannia. James Thomson didn’t write “Britons never, never, never shall be slaves; though there’s nothing inherently wrong with slavery.” They knew it was something shameful, something to be dreaded, even while celebrating it.

But anyways, the kind of avowedly forward-looking people we that are saddled with now, with their apparent concern for the future of the human species – especially the wellbeing of thus far non-existent future humans, as opposed to actual real living humans are, unlike the Amish, okay with progress, in the material sense of cars, computers, aircraft, spacecraft. But that only makes their core concern with traditional values and what is natural/unnatural even more nonsensical. If the defining thing about human beings is nature – men are like this, but not like that, women are like that, but not this; that nature dictates that compassion and medical science ate wasted on the weak and inferior, etc, then why draw the line at controlling gender and reproduction? Why get excited about the use of vaccines, or whether or not people “should” eat meat? If nature/”natural” really is the be all end all of human existence, why wear clothes, drive cars, cook food, use computers, build houses?  At what point does nature dictate what we do or can or should do? Isn’t everything humans do inherently natural because we have the capacity to do it and actually do do it?

Again, despite the supposed rationalism that fuels the superiority complexes of so many powerful people in whatever sector, their bullshit traditional ideas are dictated against – and always have been – by the lived experience of almost everyone in the world. If ‘real men’ are strong, rational and above all heterosexual, how come most of us will have met, throughout our lives, emotional, irrational men who can’t cope with pressure, who aren’t in control of themselves or their environment? How come homosexuality has existed since the beginning of recorded time and does not go away no matter how traditional or repressive society becomes or how much generation after generation insists that it is unnatural? If ‘real women’ are weak, gentle, sentimental, maternal, submissive and above all heterosexual, how come (etc, etc, etc, etc) Because of decadent western society? Well Western society is partly founded on the ideas of Ancient Greece, which though pretty misogynistic, famously did not have quite the same views on sexuality. And how come these people equally exist in every other society too? Could it be that traditional ideas of ‘human nature’ have nothing to do with actual nature but have always existed in western patriarchal societies simply to reinforce the status quo in the interests of those at the top of the hierarchical tree? From monarchies to oligarchies to modern democracies and communist states – all of which have their own ruling class, even when it is explicitly labelled otherwise – it’s been in the interest of those in charge to prevent anything which fundamentally changes the way things work.

For similar reasons, people in western society (perhaps elsewhere; I am no expert) who live unremarkable and mediocre lives within essentially complacent, and often apolitical circles are increasingly drawn to right rather than left wing extremism to gain prominence and (importantly) material success. Extremist views across the spectrum are entertainingly “edgy” and titillating to people who like to be entertained by controversy and/or shocked by outrageous behaviour, but right-wing views are far more acceptable within the media – and therefore are far more lucrative and rewarding – because they don’t threaten the financial basis that underpins the media and political structure.

So in short – only joking, this will be a long sentence (deep breath). If comedian or podcaster A) gains millions of followers who are excited about disruptive ideas that undermine the state by questioning the validity of the (sigh) mainstream media, by interrogating ideas of media ownership and the accumulation of wealth and power and so on, that represents a genuine threat to Rupert Murdoch, Viscount Rothermere, Meta and Elon Musk in a way that comedian or podcaster B), gaining millions of followers who lean towards ideas that disrupt society by attacking progressive, egalitarian or (sigh) “woke” culture does not. Regardless of the actual or avowed political beliefs of these media magnates, is comedian/podcaster A or comedian/podcaster B going to be the one they champion in order to tap into the zeitgeist (which media magnates have to do to survive)?

BUT ANYWAY, it would be nice to think that these things would be less central or at least more ignorable in 2024. It would also be nice if people in power could not enable the worst elements in society (where the two things are separable). It would be more than nice if the governments of the world would listen to people and end the butchering of helpless civilians. It’s important to remember that it is in the interests of governments – even relatively benign ones – that people in general feel powerless. But we’re not. If making resolutions works for you then make them, if not then don’t, if you have goals then aim for those and you may achieve something even if not everything you want to achieve. But if something is unacceptable to you, don’t accept it. You may have money, power, time or you may have little more than your own body and/or your own mind, but those are 100% yours and the most important things of all. Happy New Year and good luck!

the semi-obligatory album of the year type thing (2022 edition)

 

It’s been a few years since I did an ‘album of the year’ post here, because in general I have to write them for other places and get a bit bored with the process, but this year I thought I’d do something a little different.

But first: albums of the year 2022

My album of the year, by a big margin was Diamanda Galás’s extraordinary Broken Gargoyles. I’ve written about it at length here and here, and had the privilege of discussing it with Diamanda herself here, so won’t say too much about it, except for one observation. People usually use the phrase ‘life-affirming’ to describe records that are joyous, uplifting or leave you with feelings of positivity and contentment. All good things, but Broken Gargoyles is not that album. Instead, it’s life-affirming in the sense that it heightens the sense of being alive and even interrogates the idea of what it really means and how it feels, to be human. It’s thrilling and sometimes beautiful, but also harrowing; and how many musicians even attempt anything like that?

My other favourites this year included Shiki by the Japanese avant-garde black metal band Sigh. It follows in the eclectic footsteps of their past few albums but whereas they blended bits of black metal, prog rock, jazz and so on with sometimes great, sometimes patchy results, Shiki blends them in a far more cohesive and successful way where every song is everything and not this genre-with-a-bit-of-that.

I also loved Beth Orton’s Weather Alive, which I wrote about here, and a very late entry in the AOTY stakes (I literally heard it this week for the first time) is Hjartastjaki by Isafjørd. One genre I have very rarely liked or understood the appeal of is post-rock, but this – a collaboration between Addi of Sólstafir (who I do like – they played one of the best sets I’ve ever seen by anyone at Eistnaflug Festival in 2011) and Ragnar Zolberg – gripped me from the first listen and I currently can’t get enough of it. Even though it’s not at all like it in any way, something about it – maybe just the epically mournful atmosphere – reminds me of Disintegration by The Cure, which is never a bad thing.

So much for 2022. But how much importance should one place on the album of any given year? Albums, like movies, books or any other form of entertainment stay with you if they are any good, and your feelings about them change over time. And some of my favourite albums of all time were released before I was even born, so their context presumably doesn’t necessarily contribute to their impact, on a personal level at least. I’ve been writing for myself since I first started my old blog in 2012 so for a kind of half-assed ten-year anniversary I thought I’d revisit my older albums of the year and see which ones had staying power for me. I’ll limit it to a few from each year so it doesn’t get out of hand.

Strangely I didn’t do one for my own site in 2012 and I don’t have the list I did for Zero Tolerance magazine that year to hand so let’s go from 2013 to 2019, since 2020 is only two years ago and ‘the test of time’ hasn’t completely been passed or failed yet…

2013

My favourite album of that year was Ihsahn’s Das Seelenbrechen, and it’s still one of my favourite albums. I rarely listen to it all the way through at the moment, but various tracks, such as Pulse, Regen and NaCL are still in regular rotation

Others:
David Bowie – The Next Day: I loved this at the time and it felt like a return to form of some sort, but now, though there are some great tracks, it feels a middling Bowie record
Ancient VVisdom: Deathlike – good kind of pastoral black doom/blues (!?) album but haven’t listened to it probably for years at this point
October Falls – The Plague of a Coming Age – very nice, interchangeable with any other October Falls record. They are all nice, I don’t listen to them very often
Sangre de Muerdago – Deixademe Morrer No Bosque: I still play bits of this dark Galician folk album from time to time. It’s great but I’ve never got around to listening to any of their other stuff
Manierisme – フローリア I LOVED Manierisme, and the atmosphere and noise of it still really isn’t like much else. But it’s so harsh in its peculiar way that I rarely listen to it now
Beastmilk – Climax: worth mentioning this because Finnish post-punks Beastmilk (who changed their name to Grave Pleasures and lost their appeal for me pretty quickly) were a much-hyped band that year. It still sounds like a pretty good gothy post-punk type of record, but I had to check it out to remind myself of that

2014

My favourite album of 2014 was Mondegreen by the avant-garde string quartet Collectress and I still love it and listen to bits of it quite often
Most of 2014’s list are just names to me now, though I’m sure they are pretty good: I quite liked Scott Walker & Sun O)))’s Soused but have never revisited it. I thought Mirel Wagner’s When the Cellar Children See the Light of Day was great but don’t really remember it – must check it out again. Nebelung’s Palingenesis has some really nice songs on it that I listen to occasionally.

2015

My album of 2015 was Life is a Struggle, Give Up by Oblivionized. Putting it on again for the first time in ages, it’s still an invigorating, unique semi-grindcore album. Also kind of harsh and draining, so not a frequent listen, but an album worthy of rediscovery nonetheless.

Much easier to listen to but at the time outside of my top ten is the great Hustler’s Row by

surprise sleeper – Hustler’s Row by Gentlemens Pistols

Gentlemens Pistols. I would not have predicted that this would be one of the records that I’d keep returning to but it is: people who love 70s hard rock of the Deep Purple/Rainbow type who haven’t checked it out are missing a treat.

Otherwise, loved Jarboe and Helen Money’s self-titled album, but it’s not very strong in my memory now. The Zombi Anthology by Zombi still sounds great but I rarely listen to it. Ratatat’s Magnifique still gets an outing every now and then, but SUN by Secrets of the Moon and Syner by Grift, both of which I really loved and still think are great, seem kind of hard going to me now.
I went through a phase of really loving Venusian Death Cell (and still do, but don’t listen much) and Honey Girl, “released” that year may be my favourite of his albums. Tribulation’s Children of the Night is fun too, in a very different and probably more accessible way

2016

I wouldn’t necessarily say I was aware of it at the time, but 2016 was a great year for music. My album of the year was Wyatt at the Coyote Palace by Kristin Hersh (which I enthused about here) and it became, as I thought it might, one of those albums I can still listen to at any time, pretty much: it’s great.
Otherwise, Zeal & Ardor’s Devil is Fine still sounds great (and is still my favourite Z&A release). I liked Komada by Alcest but now think it’s pretty dull. I was excited by some EPs by Naia Izumi too, but haven’t really checked out their work since then. I am, outrageously, still the ONLY person I know who likes Extended Play by Debz, and it’s still a unique little record and I love it.
I still think Das Ram by Rachel Mason – my other contender for AOTY that year – is great, but as with a few other things, it slipped off of my listening list at some point and I had to remind myself of it

surprise sleeper – Kaada/Patton’s Bacteria Cult

Kaada/Patton’s Bacteria Cult (Ipecac Recordings) is the Hustler’s Row of 2016, only in the sense that it entered my forever playlist without me expecting it to. I’m not sure a week has gone by since then that I haven’t listened to a song or two from this masterpiece

Honorable mentions

David Bowie – Blackstar 
Leonard Cohen – You Want It Darker 
Iggy Pop – Post Pop Depression
Jozef van Wissem – When Shall This Bright Day Begin
Japanese Breakfast – Psychopomp
Schammasch – Triangle 
De La Soul – …and the Anonymous Nobody…
Kate Carr – I Had Myself a Nuclear Spring
Jeff Parker – The New Breed

2017

2017 had fewer standouts for me but my album of the year, the self-titled debut by Finnish alt-rock band Ghost World, which I wrote enthusiastically about here, still sounds fantastic. That said, though I was less enthused by the 2018 follow up, Spin at the time, that album is the one I listen to more now. But the best songs from Ghost World are still energised grunge-pop classics.

Otherwise, I liked Quinta – The Quick Of The Heart and a few of its songs are still played quite regularly.
I gave Invocation And Ritual Dance Of My Demon Twin by Julie’s Haircut a great review at the time but don’t remember it now, whereas I didn’t think Tarrantulla by Islaja would have much staying power, but bits of it still pop into my head and therefore onto my stereo every now and then.

2018

I was hugely surprised in 2018 to find that my album of the year was an electronic one, Swim, by Phantoms vs Fire, a cinematic masterpiece full of woozy retro-futuristic sounds and melancholy atmospheres. Even more unexpectedly, it’s gone on to be one of my favourite albums of all time and something that I regularly listen to. All of the other Phantoms vs Fire stuff is fine, but for me at least, this is the one.

I was much taken with As Árvores Estão Secas e Não Têm Folhas by the Portuguese dark folk band Urze de Lume at the time but though I could still happily listen to it, I haven’t for a while.
By contrast, songs from all of these have unexpectedly been in regular rotation over the past few years: Ghost World – Spin 
Just Like This – Faceless 
Orion’s Belte – Mint
Oh, and Burn My Letters by William Carlos Whitten has been revisited far more than I expected and I expect his “Poor Thing” will remain in rotation for the foreseeable future

2019

In 2019, I loved another Collectress album, Different Geographies but it didn’t replace or match Mondegreen in my affections. I can’t seem to find my album of the year strangely, but it might well have been Youth in Ribbons by Revenant Marquis, still my favourite of that prolific artist’s releases.
I also loved but rarely if ever listen to Cryfemal’s Eterna oscuridad, Emma Ruth Rundle & Thou’s May Our Chambers… and Ulver’s Flowers of Evil, but the sleeper of the year was Henrik Palm’s Poverty Metal which I liked fine, but didn’t expect to still be listening to as regularly as I am.

surprise sleeper – Henrik Palm’s Poverty Metal

On the whole it seems to have been a year of songs rather than albums for me – I like the title track of Viviankrist’s Morgenrøde probably as much as anything from that year and bits of Cellista’s Transfigurations still sound great. But lots of the most-praised stuff of the year, albums by Alcest, Cult of Luna and so forth just don’t register with me now: still, can’t like everything.

 

Anatomy of an Earworm

Despite the title, this isn’t really about earworms as such – although they certainly have a place here – this is to do with the background music/soundtrack to your – or my – life. There are serious, life-changing conditions like ‘Musical Ear Syndrome” (kind of a musical tinnitus) where the sufferer constantly hears music and in the cases of artists like Kristin Hersh or Nile Rodgers, these kinds of phenomena (not that theirs are the same, as far as I know) can be part of what fuels their creativity. That isn’t me. What I – and I suspect many people – have, is songs I already know, playing ‘in the background’ more or less constantly.

I decided to try to keep track, for a day, of what those songs were. Not an easy task, as trying to remember them if one doesn’t make a note of it is extremely difficult, once the moment has passed – and also because it seems likely that focusing on that background noise might well alter the experience.

Be that as it may, I tried to make a note whenever I could throughout the day, of what was ‘playing’ – and it’s an odd mixture. Most surprising to me are how few of the songs are ones I would normally listen to, or like, or have listened to or heard (to my knowledge) recently. Also surprising is the segue from one to another, which happens mostly without noticing and which seems to have no logic to it that I can see. The medleys are even stranger. Also odd that events like conversations, concentrating on work, watching TV etc seem to have little or no impact on the flow of the music, it just gets quieter for a bit.

So here, with many gaps, and with a few notes and repeat offenders marked in red – is my internal playlist for today. It is still ongoing of course (currently James Taylor’s cover of Tom Waits’ Shiver Me Timbers). I don’t see any patterns, but I do notice that most of these songs are surprisingly cheerful given what I mostly listen to on purpose; so that’s nice.

The day began around 6am with a shower; a key place for earworms and related music, in my experience – without further ado…

  • Barbizon by Debz
  • Don’t You Want Me by The Human League (I have never liked this song)
  • Young Hearts Run Free by Candi Staton
  • What’s The Frequency, Kenneth, by R.E.M.
  • Keep on Running by The Spencer Davis Group (but with silly alternative lyrics relating to what I was doing at work at the time)
  • Ob-La-Di, Ob-La-Da by The Beatles (one of the few Beatles songs I really dislike)
  • Van der Valk theme tune (I have never seen Van der Valk, why do I know the theme tune??)
  • Save Your Love by Renée and Renato
  • Street Life by The Crusaders
  • I Wanna Be Your Boyfriend by The Ramones
  • Smokebelch I by The Sabres of Paradise (mainly just the bass)
  • Your Smiling Face by James Taylor
  • Orfeo ed Euridice – a particular bit from (I think) Act 1 of Gluck’s baroque opera
  • The Invisible Man by Elvis Costello
  • Knock Out Eileen by LL Cool J & Dexy’s Midnight Runners (strangely likeable mashup given my hatred of one of these songs – found on youtube)
  • Theme to Monty Python’s Flying Circus
  • Only Shallow by My Bloody Valentine (actually a non-existent, jaunty , squeaky synth-pop cover of the tune of the verse to this song, I’d like to really hear it)
  • jingle from a TV advert for Mitchell’s Self Drive c. 1981 (with the lyric that kids used to sing to it: ‘Mitchell’s Self Drive/Where people eat pies”)
  • I Only Want To Be With You by Dusty Springfield
  • It’s A Shame by Bilbo Baggins
  • Temples of Syrinx by Rush
  • Rockit by Herbie Hancock
  • NIB by Black Sabbath
  • Car Thief by The Beastie Boys
  • Hook It Up by The Donnas
  • How Deep Is Your Love by The Bee Gees (the verse of this song gets stuck in my head often)
  • Your Woman by White Town (genuine earworm that was stuck in my head for days, I had no memory of what it was, didn’t remember the lyrics and had to search for ages to discover what it was; irony – hated it then, hate it now)
  • The Eye of the Witch by King Diamond
  • Good Times, Bad Times by Led Zeppelin
  • Georgie Girl by The Seekers
  • Uh-Oh, Love Comes To Town by Talking Heads
  • Bergerac theme tune (not actually seen Bergerac since the mid 80s)
  • I’ve got a lovely bunch of coconuts (just the tune, but still!???)
  • The World In My Eyes by Depeche Mode
  • medley: You Can Call Me Al by Paul Simon & Down Under by Men At Work (had this bizarre medley playing in my head every morning for months; oddly when it’s not ‘playing’ I can’t work out where the segue happens)
  • The Neverending Story by Limahl
  • Good Times by Chic
  • Fascination by David Bowie
  • Lovely Day by the Pixies
  • Graceland by Paul Simon
  • Shiver Me Timbers… but that you know.

Hmm.

 

 

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.

george

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)

george-orwell

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.

also

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 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)

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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!

 

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

 

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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

 

Play For Today – Current Playlist 25th November 2016

 

After many delays, another week, another playlist…

1. Kristin Hersh – Wyatt At The Coyote Palace (Omnibus Books, 2016) Review herekristin-again

2. Stench Price – Stench Price EP (Transcending Obscurity Records, 2016)

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

4. Bethlehem – Bethlehem (Prophecy Productions, 2016)

5. The History of Colour TV – Wreck (Cranes Records / Weird Books, 2016)

6. Lush – Gala (4AD, 1990)

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

8. Kristin Hersh – Sunny Border Blue (4AD, 2001)

9. LL CoolJ – Radio (Def Jam, 1985)

10. Rachel Mason – Das Ram (Cleopatra Records/Practical Records, 2016) Review here!

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

12. Eric Dolphy – Out To Lunch! (Blue Note, 1964)

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13. Wu-Tang Clan – Wu-Tang Forever (BMG, 1997)

14. Paul K – Omertà (2016)

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

16. The Raspberries – The Raspberries (Capitol Records, 1972)

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

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

19. Miles Davis – Jack Johnson (Columbia, 1971)

20. Matriarch – Revered Unto The Ages (self-release, 2007)

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Play For Today – current playlist 27 October 2016

 

Naturally some crossover with last week’s since my attention span isn’t all that horribly tragic…

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1. Kristin Hersh – Wyatt At The Coyote Palace (Omnibus Books, 2016) Review here!

2. ThrOes – This Viper Womb (Aesthetic Death, 2016)

2. Black Angel Drifter – Black Angel Drifter (Bastard Recordings, 2016)

3. Daniel Johnston – The What of Whom (Stress Records, 1982)

3. Rachel Mason – Das Ram (Cleopatra Records/Practical Records, 2016) Review here!

4. Debz– Extended Play  EP (Choice Records, 2016) Review here!

5. Suzanne Vega – Lover, Beloved; Songs from an Evening with Carson McCullers (Amenuensis Productions, 2016)

7. Eno – Another Green World (Island, 1975)

8. Jandek – Chair Beside a Window (Corwood Industries, 1982)

9. Public Enemy – Yo! Bum Rush The Show (Def Jam, 1987)

10.Kate Carr – I Had Myself A Nuclear Spring (Rivertones, 2016)

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11.Rachel Mason – Gayley Manor Songs (self-release, 2015)

12. Lugubrum, Face Lion Face Oignon (Aphelion Productions, 2011)

13. Charley Patton – The Complete Recordings, 1929 – 1934 (JSP Records, 2008)

14. Esmé Patterson – We Were Wild (Xtra Mile Recordings, 2016)

15. Opeth – Sorceress (Nuclear Blast, 2016)

16. Neil Young – Everybody Knows This Is Nowhere (Reprise, 1969)

17. The Mothers of Invention – Absolutely Free (Verve, 1967)

18. Miles Davis – Miles In The Sky (Columbia, 1968)

19. Suicidal Tendencies – Suicidal Tendencies (Frontier, 1983)

20. Absentia Lunae – In Vmbrarvm Imperii Gloria (Serpens Caput Productions, 2006)

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Album Review – Kristin Hersh – Wyatt at the Coyote Palace

 

Kristin Hersh – Wyatt at the Coyote Palace

(Omnibus Press 2CD + hardback book)

portrait by Peter Mellekas
portrait by Peter Mellekas

I’ve been listening to/reading Kristin Hersh’s new album/book Wyatt At The Coyote Palace (out on the 28th of October from Omnibus Books) for a couple of weeks now, and it just keeps getting better. I can’t remember hearing a more wearily grown-up line than ‘Back when everything was gonna be alright’, and Wyatt… , a double album of mainly acoustic (though not necessarily gentle) songs, is full of complicated adult feelings and the kind of powerfully resonant phrases (musical and lyrical) that have always filled Hersh’s work.

The beautifully-produced hardback book + CD format too, is familiar from some of Hersh’s earlier work, and it’s hard to think of another artist who works so well with the realities of the music industry as it is in 2016. Her work with the non-profit CASH (Coalition of Artists and Stakeholders) and determination to work independently from the mainstream music industry, in collaboration with her fans, as well as her acknowledgement that there is (or should be) something special about the album as a physical object means that albums like this, or Throwing Muses’ Purgatory/Paradise are pleasing works of art as well as collections of songs.

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Wyatt At The Coyote Palace is a true solo album; where the artist not only writes and sings all the songs, but even plays all of the instruments (including guitar, cello, horns, upright bass and piano and even some instruments she built herself) as well as using found sounds recorded during her many travels. Like her solo work from ‘94’s Hips and Makers onwards, the album feels not only personal, but intimate; an encounter with another human being’s interior monologue; warm, ironic, tender, obsessive, at times desolate. The subjects of the songs – even when partly elucidated by the sometimes-related anecdotes that make up the book – remain enigmatic, but all the more emotionally charged for being allusive rather than explicit. Which is not to say that the language Hersh uses is at all obscure or flowery; quite the opposite in fact, its compact and sometimes bluntly straightforward quality (‘I’m still fucking fried post-ablutions and plane drain’) makes the words, and the feelings behind them resonate and linger in ways that the blatantly cathartic platitudes of angry or angst-ridden rock rarely do. Readers of Kristin Hersh’s brilliant 2010 memoir, Rat Girl will find that the awkward punk rock teenager who belonged nowhere and everywhere is touchingly still there, much as she was, only buried inside the wiser, more philosophical (“if we watched all moments as carefully as we watch car crashes, we’d never fuck anything up.”)  and well-travelled mother of four.

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Where sonically, the tone of the album is warm, richly textured and organic, it is emotionally extremely variable (troubled, tired, happy, resigned), but the book by contrast has a humorous, wise and self-aware tone. A dialogue between Hersh and an unnamed interlocutor, it consists of a series of ironically light-hearted anecdotes about the singer’s many brushes with near-death and disaster, interspersed with the song lyrics. The stories are in many cases intimately related to the songs – often seeming to be the incidents that inspired them – but rather than the stories ‘explaining’ the lyrics, often it feels like the songs reveal the emotional depths that the stories, in their wry delivery, often imply, rather than describe. There are also (if one listens to the album first) some revelatory moments in the text which give life to apparent non-sequiturs in the lyrics (‘street puke’s not your fault!’ being one particularly striking example.) The title, as I should probably have mentioned earlier, relates to Hersh’s son Wyatt’s relationship with the surroundings of the recording studio during the time the album was being recorded, adding another layer of intimacy to the enclosed world of the album.

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It won’t surprise fans of Hersh’s solo career to find that Wyatt at the Coyote Palace only occasionally sounds like Throwing Muses; mainly in its more dynamic, straightforward moments, as when ‘In Stitches’ switches gear from its opening tense-but-tranquil verse to the forcefully strummed and catchy (but still quite tense) verse/chorus, or the rock-flavoured prowl of single ‘Soma Gone Slapstick’. Mostly, the listener is alone with Kristin Hersh, which is as always a wonderful and fascinating place to be. Wyatt At the Coyote Palace, with its themes of  communication and miscommunication, growing up and not growing up, catastrophe, near catastrophe and the essential mundanity of both,  is autobiographical, but it’s autobiography as collage, as poetry even; the oft-made comparison with Sylvia Plath has never felt more apt. As Philip Larkin noted about Plath, whose writing he admired almost unwillingly, ‘it’s hard to see how she was ever labelled confessional’ – and like Plath’s poetry, Hersh’s songs convey an emotional charge (not least because of the strength of her expressive voice), but from oblique and fragmented narratives. As music, though, it isn’t fragmented; although many of the tunes are growers rather than immediate in their appeal, the beautifully warm and rich sound makes it an addictive listen which repays close listening. In fact, Wyatt… is an immersive experience; the use of photographs and illustrations in the book and – especially through headphones – the closeness of the music and the use of found sounds and half-heard conversation – feels like life. And when a great artist invites you into their life it would be rude not to meet her half way.

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