I’m no expert as to what’s going on in terms of how the guitar is treated and what pedals are being used, etcetera, etcetera, but the end effect does sound often like a whole jumble of cut up notes spilling out of the monitors like paper after being fed into a shredder.
It’s old fashioned pop that manages to capture an audience without any ego or bluster. The singer has something of Marc Almond’s theatrical delivery too.
Deakin has an admirable way of organising his material and allowing loquacious characters like Larry Wallis and Russell Hunter their head, (not to mention Mr. Farren whose chief delight – even after all these years - is to embellish and fashion his narrative in any way he sees fit).
Despite any misgivings I may have on folk in general, I certainly finished this book admiring Carthy as a figure of some consequence.
This is a good read and a funny, sometimes enlightening book if not one to be undertaken in an afternoon.
It's an itchy work which finds some pace and momentum about eight minutes in when it decides to act as a Can tribute piece: that it holds you is testament to its inherent confidence.
Just when you think you’ve heard this stuff a lot, the refrain socks you with its arching, Valkerie-like harmonies. Truly portentous stuff.
Yin and Yang. I like this record, and I think they have talent.
Of course it’s nigh on impossible to listen to this in one go, from start to finish, but each remix has merit. Worth a listen for sure.
Hearing new stuff from the Membranes makes me realise just how much I’ve missed them. They always had a dayglo entertainer’s vibe married to an acute sense of what was going on around them, don’t be fooled by their (admittedly intoxicating) cartoon nature...
It’s a shame it’s so short.
It’s pleasant and certainly toe-tapping but stuff like So Far Away is far too reminiscent of bands I listened to back in the mid ‘80s to make any sort of point to me as to why I should swap my old records for this.
Indeed, what strikes you about a lot of the work on show is that, though known as an artist primarily concerned with exploring some of the most modernist aspects of making music (right through from The Future to today, by way of Human League, alliances with Throbbing Gristle and Clock DVA and TAG), his visual ideas are incredibly arcane, strikingly so.
But most of all it is the fact that – whatever the show’s flaws – this stuff is on show in one place and recognised as being worth showing as an alternative – or warning - to what’s happening now, culturally. And this is a good thing and a good thing that is lasting, I hope.
There’s something incredibly weird about this EP, it’s as if the music can’t communicate fully, like it’s been deliberately stifled but that must be the policy…
The passages about Dad are tremendous. Especially the bit about Dad as the gatekeeper and proselytiser of the BSP revolution. His speech could mirror the kind of staccato commands given to the Red Guards in 1917-22.
Haines, the avant-garde Arthur Scargill, is once again on the outside.