Album: Rook Vallade - Vestiges


Unheard works from 1992-2000

Exiled in Berlin - exiled from 'the scene' pretty much, aside from releases under other pseudonyms, the sound of which won't have raised his profile or won him new fans - like he cares - as I said a while back about the People of the Internet, so many interesting ones say so little if they exist in that alternate Real World at all. Chris Douglas stands outside the outside. Vestiges should/could be a good entry point for beginners, containing as it does the kind of glitchy beats that have long since become accepted, a cosy genre, an old genre; except to say that Douglas naturally doesn't conform - hear the space-age crunch deconstruction of Gailfld, for instance. Or Aemlldr, which I mention just because it's a favourite of mine. Douglas collages brilliantly, pasting drills, thuds, crunches, brutal whacks and melancholic ambience better than most. Older ears may recognise signs of the times but they all lead to roads less travelled by his peers.

Printed In Watford book


'A TRAVELLING EXHIBITION OF BOOKS PRODUCED OR PUBLISHED AT WATFORD SCHOOL OF ART BETWEEN 1966 AND 1974' as every description on the internet says. No idea how many were made but it's worth every penny if you can find it at a price you can afford. I got mine from an American dealer and sold a load of vinyl to pay for it.







Pan Sonic - Atomin Paluu


Pansonic atomin paluu

Me: "no new albums to review - nothing"
LJ: "that's a shame, innit?"

Hold on, a quick look at recent addictions reminds me that PAN SONIC's Atomin Paluu came out recently. It's old (2005 - 2011) material but since when did time matter to Pan Sonic's music? It shrugs off time, sneers at it, spits in it's face and carries on. In relation to the UK, it's timely, being the soundtrack to a Finnish film, Atomin Paluu [Return of the Atom] about construction of the first nuclear power plant since the Chernobyl - because the £18 billion Hinkley Point deal has stalled. Our new prime minister, Teresa May, should hear this album, not because it's sheer heaviness will make her think thrice about the dangers of nuclear power, but because it's good. Do you think she'd like it?

You know Pan Sonic. You know it's good. You know Mika Vainio (he edited it). What more is there to say? I should give up 'reviewing' albums even though, you might have noticed, I don't always/usually review them in the classic sense. Perhaps that's why online magazines, you know, 'proper' ones, haven't come knocking at my door offering 2p-per-word for reviews. Did I ever tell you about the time I wrote off to the NME in a bid to become a Rock journalist? Oh, those were the days (late-70s) when the inky world was not only real but really important; our only source of opinion about music/new releases. Yawn. I know, you've hear all that before...perhaps you were even there.

Part 5 is playing, a perfect mood for a forthcoming nuclear meltdown...feel the atmosphere...the frisson...or should that be fission? If electronic music is the crucial soundtrack to futuristic imaginings, Pan Sonic on Atomin Paluu prove it's just as suited to present day industrial 'future' power. That and the means by which it's built, those monolithic iron/steel machines, which to many might also symbolise the outmoded concept of nuclear power itself. Mind you, how are wind farms at sea built? That's what I wondered as I gazed at three off the coast at Herne Bay the other day.

How was this album built? There's another mystery. Should Mika Vainio and Ilpo Väisänen invite me into the studio to explain I'd refuse for the same reason I don't want to know how magicians saw girls in half. The otherness of electronic music remains a large part of its appeal. Whilst it's great to know how Roland Kirk got that sound, conversely, ignorance of electro-digital kit is a kind of bliss.



William Burroughs - Curse Go Back (Paradigm Discs)


31.1

'To stay present / To stay absent'

Word falling, captured on tape; Burroughs works the play/stop button here to create repeat cuts that become mantra-like, meaningful only to him, perhaps, but fascinating nonetheless. There are glimpses of personal significance in talk of 'spirit past, the chaos spirit' in relation to the Ugly Spirit which he claimed haunted him for much of his life. As with some earlier word experiments with Gysin, there's the word swap routine in the quest to wring altered meaning from simple statements. Repeating 'the conditions' it's as if Burroughs was still trying to escape those imposed by words even after a decade spent fighting the 'virus' by cutting them up, like a doctor trying to cut out an illness. Unlike his famous creation Doctor Benway's medical efforts, Burroughs was a successful 'surgeon' in the literary sense. Even so, the recordings on Curse Go Back suggest the 'cure' was nowhere in sight. 'The words...the words...the words' he intones, sounding like a soul lost to them. 

'Recorded in Duke Street c1968, the tape was then passed on to Brion Gysin in Paris where it remained in his archive until 1998. This is the first readily available edition of an hypnotic and meditative recording that examines the hidden power of words. Closer to a work of sound poetry than anything literary.
The album includes a 12”x12” insert with an essay by Ben Harper and several previously unseen portrait photos of Burroughs, taken by Harriet Crowder in her Hammersmith flat during a drug experiment. The back cover uses another Crowder image - the very next frame after the famous shot that appeared on the cover of the English Bookshop/ESP “Call Me Burroughs” LP.
Pressed at Optimal on transparent vinyl in a numbered edition of 500.' From Paradigm Discs site

A quick visual tribute I made...


Is Jazz More Punk Than Punk Rock?



It (Jazz) is a feeble and silly art at best, and so its decay need not be lamented. It comes naturally to the young, whose excess of energy demands violent motion, but when it is practised by the mature it can never escape a kind of biological impropriety, verging upon the indecent. The real damage that the new mode has done is to music, the cleanest and noblest of all the arts. - H.L Mencken, Baltimore Evening Sun, 1934

'No Parker, Coltrane or Thelonious Monk - in 1977!' As you know, Joe Strummer never sang that. Had he done so, he would have changed the meaning of the song, 1977, completely, causing many Punks to scratch their spiky heads and set about finding out who the hell The Clash were rebelling against. It would also have signified another battle cry against Jazz as part of a tradition that began when the music itself began at the start of the century. 

Why am I even imagining that lyric? Well, it began with a Facebook friend's statement that he was 'allergic' to Jazz, which set me to thinking about the reaction Jazz evokes in many people. A few days later I could here Strummer railing against Jazz in 1977 after wondering what most of the Punk generation (musicians and listeners) thought about Jazz. As I recall, it was never discussed among the people I knew. It wasn't on my musical map. It wasn't until the dawn of the next decade and the revival that anyone under 50 mentioned the J-word.

The train (Trane?) of thought...

...hardly logical, but I found myself trying to place Jazz in the same time frame and social milieu as Punk Rock...what would the characters in Aylesbury's Green Man pub circa '77 have said if I'd told them I was into Charlie Parker? A shrug in response. Five years later, still in Aylesbury, I would start telling everyone that Jazz could save their lives, being the greatest music on earth...words to that effect. Yes, I was a Jazz bore, probably (though I like to think not). Anyone spouting Jazz as religion is a bore to non-believers.

Today, more imaginings: Jazz is more Punk than Punk Rock. Eh? I know, a ridiculous idea...and yet...look at the response Jazz receives from the average listener...bewilderment and even hostility. Yes, you could say the same about Classical music, minus the hostility, except if you played them Schoenberg. Jazz can be easy to listen to, of course, but it's the deeper stuff that's the issue. Not even deep, but let's say tracks of sufficient length to involve three or four solos, like a 60s Blue Note tune.

Jazz spans both Pop and the Avant Garde and therein lies some confusion in the minds of the uninitiated. They think Ella Fitzgerald is Jazz (she is), but then what the hell is Andrew Hill? I usually compare it to Rock when this question arises. Few question the diversity in that genre.

'It comes naturally to the young, whose excess of energy demands violent motion,' - Mencken's words resonate, surely. It's the same response Rock 'n' Roll provoked. Some would say Elvis and the birth of all that was 'Punk Rock' way before the actual thing, which it was, to a certain extent. But to simply say that is to disregard the socio-political commentary of Punk. As for Jazz, in it's early days, it didn't need voices of social unrest, merely had to be (black music) to stir hatred in the form of racism and reactionary criticism from lovers of formal music, 'the cleanest and noblest of all the arts'.

Jazz went on to disturb ordinary listeners and Jazz fans alike as Be-Bop developed. "To say that jazz was divided about the validity and desirability of bebop would be seriously understating the case. It would be like saying the Americans were a tiny bit cross with the Japanese after Pearl Harbour, or that Hitler was unkind to the Jews", as Johnny Dankworth put it. Humphrey Lyttelton faced protest in the form of a placard in the audience that read "Go home, dirty bopper". Laughable, these days.

It would be easy to annoy/shock someone by playing them Cecil Taylor, or any 'Free Jazz', but that's not really the kind of Jazz I had in mind. Despite seemingly being 'accepted' by most, if not welcomed, personally, Jazz remains outsider music. Whilst Classical music clearly inhabits a world far away from Pop and Rock, Jazz constantly creeps into all genres, from Pop to Techno, Drum 'n' Bass and Hip-Hop. Despite that and references made by young producers in interviews, it remains 'difficult' for most to appreciate.

If Punk was rebel music, the mark of outsiders and the discontented, it's now accepted as just another page in the musical history book. It might be lumped in with 'Dad music', that horrendous label attributed mainly to Rock made in the late-70s and 80s (I think that's right, but please don't comment to correct me). Jazz meanwhile resists the softening effect of retro-affection, the castration of it's original energy. The power of Charles Mingus band in full flow remains. Ditto 60s Coltrane, electric Miles Davis, Sun Ra, Charlie Parker and Dizzy Gillespie, Art Blakey at his most intense and so on. Proper Punk music, immune to time, market commodification and gradual acceptance over time by ageing generations. Jazz remains awkward, 'difficult', complex, bawdy, noisy, defiant. 

What else can explain the inability of so many people with supposedly eclectic and 'advanced' taste to embrace it? If there's a tune it's 'ruined' by solos. If there isn't one, it's beyond being 'music'. As for those disciples (fans), they're plain irritating - that's true. What's more, they think they're 'cool'. True again, in many cases. But there are poseurs amid fans of other genres. A word, finally, about Jazz and Cool. Yes, we know it's the coolest music ever made, right? But we also know it attracted social outsiders from it's early days. Before Punk, they were dressing outrageously, taking drugs and speaking their own language. Before Beat, these 'hipsters' had dropped out, shown a middle finger to the 'squares'. 

OK. I've almost convinced myself that Jazz is more Punk than Punk Rock. 


London Falling


It's Cool To Be Conservative (version), RTomens, 2016
More art here

London is open for business. And nothing else. Sorry. Don't try starting up an art/music/film etc space unless you have the money. You need money. We all do. You need somewhere to live. Just don't think you have enough to find somewhere in London.

Is London as dead, culturally, as I think it is? Or am I not looking properly?

Remember when listings magazines (City Limits & Time Out) were bursting with events? Perhaps you'd just found a Soho basement bar in which to spin tunes. Phone up a listings mag, get it placed there. Charge a few quid to get in and maybe you'd have a good night going. That's how it worked for me in the late-80s. A basement on Frith Street, £2 entry fee. The owner took a cut of the door. That all seems so long ago now, so impossibly easy that I must have imagined it.

Perhaps it was watching the new Julien Temple film about Keith Richards, Origin Of The Species, that got me thinking about cultural London today. In it Keith (sorry, 'Keef') talks about going to art school as if it was the last refuge of all educational drop-outs. Those were the days. That still was the case until tuition fees and the business bullshit careerist investment art world paying-for-the-privilege (Mummy & Daddy) situation today. Art's fucked in London; talk about monetised.

What else? I wondered if there were any alternative scenes happening and whether I was just too out of touch to know about them. The optimist in me says there must be, but the overriding cynic disagrees. How can anyone afford, let alone find a space in which to make an alternative happen?

Even the idea of 'alternative' feels outmoded. Each new generation just seems to embrace a world where music festivals, for instance, are corporate-sponsored displays of mediocrity which, as each generation knows no better, is thought to be exciting. Festivals for the whole family! That's a thing now. The gathering of the trendy parent tribe, for Christ's sake.

Note the supposed rise of the 'independent' bookshop. Sterile, squeaky clean, selling safe literature and with special events for the whole family! Perhaps a few nice zines made by Tabatha and Nigel too! Like everything these days, the places have no 'vibe' (ma-a-an), except that of clean-thinking, moderated independence overseen by Glasto-loving post-grad 'hipsters'.

From the post-war years of Keith Richards' youth would bloom a million flowers in the bombsite-strewn dustbin that was London. Bloom into a technicolour explosion of style, anger, wit and imagination that made the 60s what it was. Grotty 70s London, as well as housing William Burroughs for a while, gave rise to Throbbing Gristle (you know the connection) and Punk. A different reaction to society of the day from the previous decade, certainly, but at least another burst of energy and creativity, albeit 'negative'. At least it was angry.

These times can only spawn despair and docility. Despair by those who crave something else and docile acceptance of the status quo by everyone else, seemingly. Mainstreamers have always merely accepted and consumed what's normal, of course. The difference being that often, in the past, the underground would somehow break out and infiltrate their homes via TV, radio or magazines. It even changed a few minds in the process.

Well, goodbye to all that. Let's enjoy a Grime night at The Proms, shall we? Or Adele at Glastonbury! Did you see the Norman Cook set, by the way? If you can listen for more than two minutes, you're reading the wrong blog.

Did I tell you about the first time I went to the China Town dive bar on a Friday night  in 1988 and, whilst walking down the steps, was greeted by the sound of the DJ playing The Art Ensemble of Chicago? No? Never mind, it was just a dream...surely...

Punk: periodical collection


Edited by Paul Gangloff, featuring discussions with Stephan Dillemuth, Martijn Haas, Dominique Hurth, Eleonor Jonker, Gee Vaucher and others on zine-making, distribution and the ethos behind them. Very good book this, with some superb images made especially for the project.


'Stephan Dillemuth: One thing I think is important about these publications is that they serve a certain purpose, there’s a need to make them and there is a certain context for that need – that’s important. A lot of publications today are not made anymore out of need, but just to make money with advertising and for that they need “content providers”, that’s what writers and artists became. Service industry serves the manufacturing of redundant information, in order to generate revenue with advertising. There is no other inner need, no inner drive, no other purpose behind it and that’s also visible in the design, no simplicity, no directness, just packaging and hollow inside.'


Visit any zine fair today and you'll see a lot of material that's all 'packaging and hollow inside', despite being personal and handmade rather than to 'generate revenue with advertising'. For some, small press is on a par with cake-making and other crafts, hence it's popularity. The political or cutting-edge art aesthetic is largely missing. It's as if makers long for the old ways (of production) in this age of technology, but use them to create little more than pretty, vacuous product. 

The obvious difference today is that the overriding spirit of the era from the 70s to mid-90s is absent. The politics of living then (on the dole, protest, rebellion), fuelled in part by music was of it's time. Today, 'protest' or artistic rebellion is more likely to take the form of memes that clog your Facebook wall...oh, and those petitions. And Tweets, of course. Hardly substitutes for hand-crafted images and stapled pages which you can hold and feel in more ways than the purely physical. Punk: periodical collection is freely available in PDF form, but having the book is better. Read more and buy it here

Column One - Boiling Pool




Just as I had complained about the lack of good new music along come '...953 fragments, 722 situations, 952 interruptions & countless Sources, intensions & beings' courtesy of Berlin's Column One in the form of their new album, Boiling Pool. But it's not music! It takes something 'non-musical' to supply the remedy to all the average music around - naturally. If you know Column One you'll know they're capable of creating all manner of soundscapes from lengthy 'ambient' minimalist works to music with beats and a lot else in-between. 

This is a kind of masterpiece. I've had it on repeat all afternoon whilst working on various pieces of art. That way, fragments become familiar and such is the nature of the album that, unlike music, it never gets boring. Even I can only listen to a Charlie Parker album so many times in a row - none, in fact, because I never do that. Who would have an album on repeat? 

Boiling Pool begs to be repeated. Each snippet is brief, aside from occasional things such as a woman la-di-da-ing or a field recording and accordion, the contrast with sound-effects-type snatches makes it work all the better. I'm reminded of John Zorn's card game experiments, but actual samples increase the effect dramatically. Perhaps this is ideal non-music for these times of short attention span restless clicking. If that bothers those who wish for lengthier engagement with supposedly deep, expansive 'ambient' music, they'd best stay well away from Boiling Pool. For these ears, though, it's perfect listening for right now and an antidote to contemporary long form indulgence containing very little. 

Out now // 12" vinyl // limited edition of 245 numbered copies. Get it here.


The Poor Listener & The Poor Barber



Awful isn't it? Same ol' complaint - you get to 'a certain age' and it's harder to find new music that excites you. Same ol' complaint people have made since Pop music was old enough to be pored over by those of the first generation who probably mourned the demise of Elvis. Apart from the still with-it crowd who got excited by...Frank Zappa? 

Anyway, I'm wondering where all the great new music is over the last few weeks. Feels like it's all over (electronic dept) - though it's not, of course. I fully expect my jaded ears to prick up some time soon. So, thankfully, the mass of historical sounds we've all collected serve a good purpose. You always knew they did but it's a double-edged sword, basking in brilliance form the past. On the one hand you can't believe how good Bernard Parmegiani was, but on the other, how lacking in equal imagination/creativity most modern electronic music is by comparison. It's probably a stupid comparison to make anyway but I can't help myself when people like Aphex Twin are regarded a 'geniuses'.

Enter King Tubby, who I've been listen to again lately. I've just found this version of the John Holt classic, Ali Baba, which Tubby has mixed into a dub at least twice counting this. Killer machine gun/drum salvos!

Iannis Xenakis - La Légende D'Eer



I'm all for 'preserving spatial movements', aren't you? Thankfully then, that's what Martin Wurmnest has done for this, his 'remix' of Iannis Xenakis' La Legende d'Eer. It certainly sounds better than the crappy version I've had on file for years...all the better for showering my noodle with a million splinters of sound (!?) It's not pleasant, but you must take your medicine like a good girl/boy, minus the spoonful of sugar. Rumour has it Wurmnest did sweeten the pill with another remix, pushing back the electroacoustic complexities in favour of upfront EDM beats, for The Kids. I don't believe it. 

Possibly influential for certain Noiseniks (although I won't blame Xenakis for spawning monsters), La Legende d'Eer starts with very highly-pitched sounds. At this point I should warn you, they may result in your collie dog running amok, possibly rounding up sheep in a random fashion, driving them out into the road, even. Do any farmers listen to this kind of music? I wonder. Someone should do a survey. I'd be interested in the results.

Halfway through the second part things become more noisy but that's just the beginning of our descent/ascent, although as the complexities and layers increase, being as smart as he was, Xenakis threatens to destroy you before reigning in a little and maintaining a level of rumbling, bubbling, banging an' clanging before the intense rush to the end. By part 7, should you still be capable of withstanding the treatment, the tortured machinery creates, in part, what sounds like late-Coltrane, mangled by technology. Before the final part we're taken down with a low-end fighter-plane-strafing-your-head zoomy, buzzing drone towards the vapour trail off into silence. 

It's on Karlrecords ...if you think you can handle it.


DAVID TOOP - ENTITIES INERTIAS FAINT BEINGS



So David Toop asked Lawrence English why would anybody release music in the 21st century - a fair question. Why do any of us bother producing anything? Are we witnessing The End of Music, David? is that what you thought? But there's so much of it, these days; more, I would guess, than ever before.

Thankfully David Toop's Entities Inertias Faint Beings was worth releasing - it's more than just more mediocre music and you probably guessed that if you know anything about him. it must be tricky, knowing so much about all kinds of music and finding the will to still make your own. He must have a way of silencing the internal critic that's always berating him for making music that's not quite as extraordinary as ______________ (insert any avant-garde pioneer you like). 

This album is extraordinary, though, not because it leaps from the speakers and swipes your ears; it does the opposite, quietly creeps out but still seeps into your mind. Stealth is a healthy approach today. It must be tempting to shout loud and strike hard in an effort to get noticed, but you've probably noticed that all that shouting loses it's impact after a while.

What's played on Entities Inertias Faint Beings? This I wonder as it happens right in front of my ears just now. A drum is banged...something is rustled...guitar strummed...an oriental instrument?...computer fiddled with...as if improvising in his studio, much happens that doesn't feel planned, exactly, although Ancestral Beings, Sightless By Their Own Dust is of a cohesive mood, the kind of ominous atmosphere with a bass pulse that reminds me of Willard in the jungle about to meet Cpt Kurtz. Intriguing and very worthwhile.

Released on Room40



Sex Pistols CD: Kiss This Ronald 'Buzzcocks' McDonald!



Kiss This

Kiss this, McDonald's! Jamie Reid should sue, but who 'owns' the idea of hostage font design? Not him, although he made it his and what does he get? Fuck all, probably, but perhaps he wept when he saw his Pistols art style used by them, who knows. I first heard about Morrissey bemoaning the use of The Buzzcocks' What Do I Get? then saw the ad a few days later. So what? Fast food & fast music, eh?

Appropriation, innit? Ronald McDonald knows, he's study the Situationists, just like Malcolm McClaren had. I'm sure. Besides, The Buzzcocks were never anarchic, were they? Only by default, by being there. What did you get for the ad, Pete (Shelley)? That's what I wonder. I bet the burger brand paid him well. 

Punk rock! Try some today, it's a tasty morsel wrapped in nostalgia! Catchy song, isn't it? Perhaps The Kids will like it and Google the band, discover Punk and start their own revolution in clothes, music, art and zines....eh? What do you think?

Being the 40th anniversary of Punk you can hear a few middle-aged folk mumbling "We need a new Punk rock now" to themselves...even I've said it, but only to myself. Deluded dreamers, we are. Not that I care. Or do I? Wouldn't it be great to see some spunky kids ripping up all the rules, along with their clothes, being dirty, making a noise and more importantly scaring society? Yeah, it would. It ain't happening. 

So this week I bought the Kiss This CD comp of Sex Pistols singles plus B-Sides and the rest of all that Bollocks. It was only a quid, which is why I bought it. It felt wrong, but I don't know why...perhaps because I've only ever known The Pistols on vinyl, but I'm not a vinyl fetishist. Glad I got it, anyway, just for the B-Sides. 



The Labour party is existentially doomed?

 

Unsurprisingly, existentialism is seldom referred to on the BBC's Question Time programme and, should you imagine it happening, you probably wouldn't envisage it coming from the mouth of parliament's only Ukip MP. So I was shocked to hear Douglas Carswell say the Labour party is 'existentially doomed' on last night's episode - what?! It instantly raised the philosophical level, if only for a few seconds. Then I realised he meant the literal existence of the Labour party, rather than their ongoing struggle to come to terms with an essentially meaningless and absurd life (although that might also apply).

Question Time guests aren't given to philosophising, preferring point scoring between MPs, with the interesting views often coming from guest non-politicians. Carswell's statement, before dropping the big existential bombshell (ha-ha!) about the Left's 'grand design' politics was also interesting, citing as he did this 'digital age' rendering grand design politics as untenable. Could he be right and not just Right? Can anyone other than the socially 'correct' Left say something valid? Surely not!

The referendum has raised so many questions, especially around the meaning of the Left in Britain today in relation to what were once it's core supporters, the white working class. It's seems incredible that the party lost touch with the working class but the warning signs were clear enough with Thatcher's victory. The final antidote to that being Tony Blair's Joker grin of optimism, soft Left politics and the fantasy that class no longer mattered. Politicians now no longer dare utter 'their' name, preferring terms like 'the ordinary working man and woman'. The mere mention of class is too cloth cap old Left! The combination of careerist Labour politicians and their denial of what society is really like are a recipe for alienation from The People.

It's ironic that the new breed's political ambition is founded, in part, on a form of idealism that's as loony as the hard Left's. They want a nice society in which everyone aspires not only to the materialistic social improvement mirage, but the multi-cultural united colours Benetton utopia. As accepting of immigration and mutli-culturalism as Brits have been for many years the tipping point was reached once the EU's free movement effect really took hold. Post-Brexit, the rift is obvious, between pro-Unionists happy to see as many European folk working here for a minimum wage as is physically possible and those who think it's wrong. There are other issues, of course, such as self-governing, and sovereignty. One tragedy being the notion that many Remainers accuse Leavers of being racist.

The Labour party struggles with this dilemma. To get in step with many potential supporters would mean accepting that there should be limits placed on immigration. Perhaps it's MPs fear there will be nobody to serve them a Frappuccino first thing in the morning if less young Europeans come here. It's a problem I've contemplated recently. This morning I asked the young girl in Pod what she was still doing here post Brexit. She laughed, of course. We both laughed. Then I asked her where she was from, she turned out to be Sardinian, then I pointed to the bleak, rain-sodden street and asked why. She cited employment, experience and improving her English. You can't argue with that.  

If the last general election is anything to go by, too many people prefer the idea of business first, ex-Etonian money management to honest, grass roots, socially-minded conviction. Labour's 'mission impossible', should they choose to accept it, is to forcefully, positively promote another way; one that recognises economic necessities without sacrificing essential social values rooted in hospital care, housing and education. 

If I dare evoke his name, Nigel Farage was laughed at during a referendum debate when suggesting, in so many words, that the economy mattered less than the concerns of many people today. His point being that for all of the UK's global business 'success' rating, it was far from being a successful society. Not on his terms, nor on those of many who voted Leave. Tories would say that economic chart-topping (well, high placing anyway) is everything if society is to improve. They're wrong. If nothing else, the Leave victory proved that. We weren't a happy nation before and we sure as hell aren't now. 

Brexit may yet prove a revolutionary force in politics, but for reasons not made obvious by most of the media coverage, which prefers to highlight conflict and negative economic charts. Now that we're all examining ourselves and Britain as a community, once the realities are realised and understood, can any of the main parties offer hope and, if not unity, some kind of positive role model? The anarchist in me says 'No way'. The optimist, who was once a Socialist, says it has to happen and Labour are the only party capable. First they have to make sure they do more than just exist and rise from the ashes as something other than a faint-hearted, ineffective opposition. Jean-Paul Sartre said: 'The best work is not what is most difficult for you; it is what you do best.' It's about time the Labour party realised that and started acting accordingly. 

The existential line comes around the 51st minute.


Fractures CD (v/a) A Year In The Country



Fractures, a fitting title for these (UK) times - and a quick follow-up comp from A Year In The Country after The Quietened Village. Again, a quality selection of broadcasts from the other side, ranging from new Folkish songs and instrumentals to harder-edged electronics, the latter being more my cup o' tea in the form of The British Space Group's An Unearthly Decade and  Polypores' The Perfect Place For An Accident which, after 5mins of throbbing wave forms takes a nice slow dive into beatless disorientation. Time Attendant proves his worth once more with Elastic Refraction. Details here.

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