30.6.17

Indian Classical Mix

Ok, so let's drop some fuckin' science!

I wrote about these records, as cursorily and unprofessionally as is expected of me, at the original TWANBOC blog. In those antediluvian days one couldn't simply upload mixes which people could stream. That's all changed.

Currently I have 89 mixes on my Mixcloud page. My aim is to have 100 there. 100 mixes which cover the fields of music I'm interested in. Which do justice to my tastes. None of us lives forever. All good things must come to an end.

Accordingly I've been going through my collection of records by genre; slowly picking off the important ones. And Indian Classical music is very close to my heart. It surprises me that in a climate in which the "Composer", "Neo-Avant Garde" and "Drone" are such immutable fixtures that there is almost no coverage of this massively important music. No reissues. Like for instance (to pick a random example) INA-GRM has arranged for it. And yet, of all the "out" musics this is unquestionably the most lovely.

I picked up these records in the nineties. With both my own recent travels in the sub-continent and the post-Acid musical climate in mind. I can't claim to have any gurus with regards to guiding my choice, but I remember David Toop was also "out there". I suppose Arthur Russell's influence, "World of Echo" dropping in my world like a Neutron Bomb, is also tangible.

This selection amounts to a third, the best, of my collection of this music. The whole part in itself carefully chosen. 

The things I liked were almost always on non-standard instruments. That boils down to NO SITARS. I don't mind sitars actually, but once you remove them from Indian Classical Music its "unflavoured" sonic purity is made manifest.

You may not have enjoyed this music before, you may be prejudiced against it. But cast aside your preconceptions - zone out - think of it as summertime, Ambient Music if you like - but LISTEN to the awe-inspiring breadth of expression these masters bring to but single instruments as these sonic worlds unfurl like mandalas.


Sivakumar Sarma - Rageswari

On the legendary French Ethnographic label "Ocora". The Santur sounds a little like a Harpsichord - it's a strange instrument played by hammering strings with small wooden sticks. Sarma, or Sharma, was the undisputed master. This LP was on my WOEBOT 100 list and it justifiably belongs there.


Ustad Ali Akbar Khan - Ahir Bhairav

If the Santur is like a dulcimer, the Sarod is something like an Oud, guitar or mandolin. Much lower in tuning than the Sitar. I always think this stunning recording by Ustad Ali Akbar Khan has a bluesy, almost Rolling Stones-like, quality to it. A bit like that delicious, forbidden pleasure Ry Rooder's "Paris, Texas" soundtrack, even. Notes here like birds.


Ustad Bismillah Khan / Prof V.G.Jog - Jai Jawanti

Jugalbindi as a form is something like a jam. A duet between two master musicians. Bismillah Khan is the go to man for the Shenai, which is like an Oboe with X-ray powers. Jog, a magnificent violinist.

Another wonderful thing about this recording is the cicadas which mesh with the drone of the tambura to create an ecstatic, psychedelic background. Just wait till those spine-tingling, magic moments when they dovetail their phrases...


Ustad Nathoo Khan - Purbi

Sarangi, a bowed string instrument, is another fantastic "non-standard" Indian Classical music instrument. The "late" Ustad Nathoo Khan, yep he was dead when this record came out, was a legendary instrumentalist. Another great Sarangi player is Ram Naryan, of whom I have a number of discs, but there's something particularly eerie about this recording.


Pannalal Ghosh - Yaaman

Old pal Sacha Dieu and I have a shared appreciation for the gaussian waft of flautist Pannalal Ghosh. There's an unmistakably stoned haze about this perfect LP which, like the subsequent Pran Nath LP, is unique in its "high-in-the-mix" tambura. The tambura is that constant drone which sounds like electrical power-lines.


Pandit Pran Nath - Yaaman Kalyan

OK, so here's the bridge to Western music. You like The Velvet Underground? Well this disc was produced by La Monte Young, VU-godfather and Avant-Classical Titan - John Cage's chosen heir. La Monte frickin' loves the tambura, it reminds him of his inadvertently psychedelic childhood spent zonked out on gasoline fumes lurking atop industrial step-down voltage transformers, so here that instrument is pumped way high. Cover here by his wife the gifted calligraphist Marian Zazeela.

Pran Nath was the master of the Kirana school, in some ways an eccentric, non-central body in the Indian Classical Music Cosmos. I always think this is how Dr Seuss's Lorax would have sounded if he sang, rather than spoke, for the trees.


Hiralal - Yaaman

And finally another "Yaaman" - a supposedly romanic night-time raga of which there are three versions in this mix. This Barenreiter Musicaphon LP, like Ocora a top-flight ethnographic recordings label, is curated by the celebrated ethnomusicologist Alain Danielou. As one might expect from such a survey-type recording it takes a bit of digging round in the linernotes to discover the name of the master Hiralal. Always loved the incredible intensity of the Shenai on this one.

OM!

26.6.17

Street Writing





Colleagues Heronbone and Ommmsound have been selling poetry on the Southbank. Their pitch is beside the Millennium Bridge between Tate Modern and the Globe Theatre - a cultural Ground Zero.

They wouldn't claim to be the progenitors of the idea but, in Ommmsound's words, they're the best.

The pitch is this:
a) Name your subject.
b) Name your price.

In return you get a poem typed there and then. In front of your eyes.

They look the part. Both wear trilby hats. Ommmsound has taken on a very debonair manner - looks rakish in a blazer. Heronbone's beard is another classic bohemian marker. The typewriters exude a retro style.

But equally the hats are pragmatic in the scalding summer heat. The typewriters entirely sensible too - more immediate than a printer - and the resulting typed paper page has the priceless aura of an entirely original object.

Their tango with capital is sly. An accommodating and patronly landowner who owns the strip upon which they are based has given them his blessing to work the spot. They make a decent wage on a good day (while I was with them they absorbed a non-ending stream of customers) - but I also witness them both write poems on a topic for sport (someone got a twofer on "Andy Warhol") and some poems are freely given (to two jocks from Boston).

These are bespoke lines tailored to request (the most common subjects? Love, Friendship, Travel...) but that's where the attempt to ply a trade, to capitalise, ceases. The duo make no effort to take a copy of their own works (me, I'd be tempted to snap a photo of my best efforts) and unless asked they won't sign anything. Words, it seems, are also free.

And sure, it's prosaic. It's busking by any other name, like the gravity-defying BMX-ers, curious human sculptures and music of sometimes varying quality along the length of the Thames. But knowing both of them I'm aware of the cultural background they bring to this project. Heronbone has form as the garlanded, peripatetic naturalist of Grime - he's been a street poet, oblivious of institutions since schooldays. Ommmsound a poet first - but respected musician second. I first met him outside Clapham Common Tube on the hauntological playback tour of London for the release of my Moanad disc in 2010. Fellow outsider-musicians in the street.

Both are keenly aware of, and indifferent to, the knife-edge that separates the notionally significant and insignificant. That's the game. It's an arch conceptual project disguised as frippery - or perhaps vice-versa?

-

I mention to them Baudelaire's poem "Loss Of a Halo" - cited in Marshall Berman's epochal "All That Is Solid Melts Into Air". The ordinary man meets the poet in "un mauvais lieu", probably a brothel, and is shocked to find this seemingly exalted individual in the same situation as him:
"What! You are here, my friend? you in a place like this? you, the eater of ambrosia, the drinker of quintessences! I'm amazed!"
To which the poet replies:
"My friend, you know how terrified I am horses and vehicles? Well, just now as I was crossing the boulevard in a great hurry, splashing through the mud, in the midst of a moving chaos, with death galloping at me from from every side, I made a sudden move, and my halo slipped off my head and fell into the mire of the macadam. I was much too scared to pick it up. I thought it was less unpleasant to lose my insignia than to get my bones broken. Besides, I said to myself, every cloud has a silver lining. Now I can walk around incognito, do low things, throw myself into every kind of filth, just like ordinary mortals. So here I am, just as you see me, just like yourself!"
The ordinary man then comments:
"But aren't you going to advertise for your halo? or notify the police?"
To which the poet concludes:
"God forbid! I like it here. You're the only one who's recognized me. Besides, dignity bores me. What's more, it's fun to think of some bad poet picking it up and brazenly putting it on."
Unpublished at the time, it's a fantastic meditation upon the condition of modernity, the dubious cultural authority which lesser mortals preoccupy themselves with, on what I used to call the "Avant-Yob" and, yeah, perhaps a call echoing down the ages in support of Heronbone and Ommmsound's latest project.

21.6.17

This Is Grime


This is great. Fantastic photos too.

I saw this book in Los Angeles in a boutique record shop, flicked through it there, but waited till I got home to pick up a copy. In itself quite a dissonant experience. It just shows how entirely out-of-the-loop I am that I was completely unaware of it - it looks like it came out last year too...

Actually I make no apologies for that, for being out of the loop that is, because for me it was all over in 2005. I've not heard anything since then that does it for me and if that makes me a dilettante poseur without the requisite investment to weather the highs and lows of a scene than, yeah, I'll take that. All that Skepta and Stormzy stuff, sorry but nah.

The book's soul though is definitely rooted in those years 2003-2005. And quite rightly so. It's really nice reading more about those days, and the way Hattie Collins has just pulled a bunch of interviews together, that works really well on many levels. Everyone spitting innit.

In terms of how it played out in the media, for me it was all about Martin Clark and Chantelle Fiddy - and Hattie Collins pretty much admits the debt to Chantelle. I only met Chantelle once at the playback for the Run The Road CD in Camden but she struck me as a powerful, organising force. If it had been the late sixties she'd now have her own airline or something. In the book Martin is typically self-effacing; all things considered very impressive really.

Quibbles. It was an odd decision to have no mention of Simon Reynolds at all. Simon was hugely important for turning a much bigger audience on to it. Nothing about Heronbone or Silverdollar; instead we hear a lot from the derivative John McDonnell. His remarks are territorial and grating. But then I read the whole book and found out he also trolls Crazy Titch (yikes, better be ready for when he gets out of jail!) and Wiley (which seemed a bit potty-mouthed).

I had a lot of fun following Grime as an avowed, very marginal, outsider: Going to the early Eskimo dance. Buying (masses of) records off Cameo in Soho and from Rhythm Division. Taping shows. Thanks to Martin Clark, meeting Wiley at Rinse. Going to the bonkers expo at Stratford. Writing those Grime columns for the old print edition of FACT. Working with Troy on the DVD. Getting Logan Sama on Dissensus. It was exciting!

Gimme Gimme Records Los Angeles


Mount Analog Records Los Angeles


Rockaway Records Los Angeles


$200 Raymond Pettibon Comics at LACMA





Big Star Merch



5.6.17

The Richard Klein Lost Samba Playlist Reduced



I don't know if you like Spotify? It can be pretty good fun.

The other day I linked to my pal Richard's Lost Samba playlist. It is awesome but, yeah, perhaps too massive and inclusive.

As I was going through it I made my own miniature version - only about two hours long - which I keep returning too. Very delicious.

4.6.17

We Are I.E.



Presumably I am the last person in the world to hear this the sample for Lennie De Ice's "We Re I.E"? On Factory records too no less!