Showing posts with label hidden orchestra. Show all posts
Showing posts with label hidden orchestra. Show all posts

Sunday 18 November 2018

Log #112 - A Fantastic Voyage To The Centre Of The Ear

Eddy Bamyasi


Some very surreal titles this week. We have Jesus Life For Children Under 12 Inches, followed by The Ear That Was Sold To A Fish, and a Journey To The Centre Of The Eye before A Flock Descends Into The Pentagonal Garden. Now how to make a blog post title out of that lot?

Kid Loco - Presents Jesus Life For Children Under 12 Inches
Talvin Singh - OK
Keith Berry - The Ear That Was Sold To A Fish
Nektar - Journey To The Centre Of The Eye
Hidden Orchestra - Archipelago
Takemitsu - Quatrain / A Flock Descends Into The Pentagonal Garden

I wonder if Journey To The Centre Of The Eye was inspired by the classic 1966 Sci-Fi film Fantastic Voyage? The movie, starring Raquel Welch and Donald Pleasence, has a submarine crew being miniaturised and injected into a man's body in order to seek out and destroy a brain tumour.




I remember seeing this film as a young boy and thinking it was one of the most fantastic things I'd ever seen. Today, obviously, the special effects are, let's say, dated, to be kind. In fact it was on TV recently and I did record it but the only bit I've bothered watching so far is the key scene where the submarine and crew are reduced before injection into the man's body:





I should watch the end too. I remember they were plucked out of the patient's eye before being restored to proper life size. A good idea for a sci-fi plot in any case, and one that's been returned to a few times since I believe.

The Nektar album is a concept album (of course) by German prog rockers Nektar. I say German but I think they were actually a British band but were formed and based in Germany. The members' names would certainly suggest this:

Roye Albrighton - guitars, lead vocals
Mick Brockett - special effects
Allan "Taff" Freeman - keyboards, synthesisers, backing vocals
Ron Howden - drums, percussion, backing vocals
Derek "Mo" Moore - bass, keyboards, backing vocals
Keith Walters - special effects

The album is dated but has a great musical theme running throughout and features some lovely raw guitar and Hammond organ. I get the feeling the musicianship is not up to the standards of other contemporary prog rock bands of the time such as Yes or King Crimson for instance but that's not necessarily a bad thing. They are more akin to psychedelic era early Floyd (think Astronomy Domine, Careful With That Axe Eugene, Interstellar Overdrive). The clip below features the beginning of the album:





From eyes to ears. I found The Ear That Was Sold To A Fish by London sound-artist Keith Berry by accident. I was actually searching on ebay for William Basinski (a New York minimalist musician most famous for his The Disintegration Loops series in homage to 9/11) and this album popped up under the search. It was good value with a classy cover (a carefully crafted cardboard gatefold with beautiful artwork), rave reviews and intriguing song titles (I didn't even notice that the ebay seller was Keith Berry himself!). Furthermore there was a bonus CD offered too.

I loved the album - a record of atmospheric otherworldly drones and classical minimalism with lush sustained synth chords augmented by distant rumbles and crackles that echo around your speakers like gunfire in a deserted urban street or walls of sheared off ice sliding into rising seas. It's a dense foreboding sound that suggests wide open barren landscapes scarred by war or ecological disaster, and death.


A barren desolate landscape - from Ken Russell's The Devils


At the start of Can You Elevate Yourself When Surrounded By Dark Waters?... there are loud tears in the fabric of the music that literally sounds like an earth scarring fire has taken hold.

Yet paradoxically there is also birdsong and insect sounds, and running water and the heavy rainfall of an Amazonian rain forest, full of life (Berry himself likens his music to like "closing one's eyes while drifting down a nighttime river"). Or is this just the stirrings of post apocalyptic life only: cockroaches and cicadas emerging tentatively from the ash?

A sonic ecosystem to be experienced, cherished and immersed within.
Bryon Hayes


The sounds are synthetically produced on the whole yet half way through the album the listener's consciousness is jolted by a guitar or koto adding a more stark texture in Knelt Over the Water... It is so surprising it seems out of place at first but like the whole experience actually serves to add further interest to this meticulously constructed album.

Checkout these track titles:

The Sun Rays of Another Pale Afternoon Gently Caress My Hatless Head, Sparkling an Imperceptible Combustion of Illusory Comfort. Your Luminescent Mantle Allures; My Reasons Are First Redeployed, the Disappear Completely While the Glowing Orange of Your Scales Are Convincing Me To Quicken My Decision

Cars Keep Passing By; I Feel Like Rebelling To My Immobile Legs. I Always Dreamed of Translating a Tangible Apprehensiveness Into the Negation of the Present. Suddenly, Everything Seems Futile, Except Our Intense Look To Each Other.

To Me, It's Just an Oddness, For I Listen Through Fingers and Heart. Even If I Can't Hold You In My Hands, I'd Surely Wish You Had It Instead of Me. Do You See Me Now? What Form Do I Have? What Colour, Then?

My Backward Voyage To the Spring: Memories Are Smashed To Smithereens. I Never Thought Much About My Schoolmates, Always Had To Enter That Door Much Earlier Than the Others. Little Did I Know I Would Have Met You There.

Can You Elevate Yourself When Surrounded By Dark Waters? I Wish I Knew - I Couldn't Find the Courage To Jump, That November Evening. I'm Paddling To No Avail, Trying To Find You. Your New Condition Put a Distance That We Need To Shorten.

Fuscous Presages Don't Help Remaining Cool. Numberless Reproaches Have Blocked My Escapes and No One Ever Will Give Me a Ride To Your Place. No One Will Miss My Silences, Too. It's Not Really Inestimable - Still It Has a Value To Me. You Just Seem Not To Care; an Eternity Awaits For You To Understand.

Knelt Over the Water, My Whole Being is a Perfect Zero If Looked From Above. My Devoutness To Intuition Will Deliver Me From Sorrow.

Tomorrow I'll Become Adult: Still I Don't Know Why Should I. Levigating New Angles of Harsh Realities is Not What I Am Supposed To Learn.

You Left Me Behind - But I Can Swim.

Brilliant. There is an interesting mind working here that's got to be worth investigating, agree? I will investigate further, not only other Keith Berry music but also other titles from his home, the Infraction label which seems to specialise in beautifully presented ambience and sound artistry.



Two more very classy albums in the list above this week, both different. Hidden Orchestra play powerful jazz instrumentals with big beats. Their closest contemporary I can think of would be The Cinematic Orchestra who I believe are yet to make an appearance on the blog. I'd say The Hidden Orchestra are slightly heavier. The album certainly sounds best at loud volume. No more time to analyse this week but it's a goody and one I'll return to.

The Kid Loco album is also very classy at what it does. It's a compilation of remixes but holds together very well as a whole album. Very enjoyable and sure it's made a few appearances in my blog before. It certainly feels like one I return to quite often. Tracks are:

The Pastels The Viaduct (On The Right Banke Of The River Mix)
Uriel You Who Are Reading Me Now (Love Experience Mix)
Saint Etienne 4-35 In The Morning (Talkin' Blues Mix)
Talvin Singh Traveller (Once Upon A Time In The East Mix)
Kat Onoma La Chambre (Where Were You Mix)
The High Llamas Homespin Rerun (The Space Raid Mix)
Pulp A Little Soul (Lafayette Velvet Revisited Mix)
Gak Sato Penetrare (Belleville B-Boy Mix)
Badmarsh & Shri The Air I Breathe (Land Of 1000 Strings Mix)
Mogwai Tracy (Playing With The Young Team Mix)
Cornu Youpi (Space Spaghetti Mix)
Tommy Hools Les Réprouvés

See the Talvin Singh number doubles up on his OK album too.




Sunday 26 November 2017

Log #61 - Grounded in the Sands of Time

Eddy Bamyasi


More raw americana from Green on Red this week including a solo effort from their guitarist Mr Chuck Prophet, local loveliness from acoustic duo Scott and Maria, an early album from the ever consistent Beck, a psychedelic classic from space rockers Hawkwind, and a frankly bonkers album of clicks and beats from electronic veterans Autechre!

1. Green on Red - Here Come The Snakes
2. Chuck Prophet - Homemade Blood
3. Scott and Maria - Bright Star
4. Hawkwind - In the Hall of the Mountain Grill
5. Beck - Mutations
6. Autechre - Untilted

Chuck on Red

Unfortunately following the roaring success of Here Come The Snakes last week my filing system has failed to uncover any further Green on Red albums (so far) but consolation arrives in the form of one of their guitarist's solo albums - Chuck Prophet's Homemade Blood released in 1997. A cool title, a cool cover, and by the way a cool name Mr Prophet too.

Green on Red guitarist Chuck Prophet on vocals

A good solid rock guitar album which could be Green on Red, except, of course, the vocals aren't the same. If a Green on Red hadn't come before, Prophet's smoother voice would not suffer from comparison with Dan Stuart's compelling bark.

Those Psychedelic Warlords

Here we have a mid 70s Lemmy infused Hawkwind demonstrable through the heavy distorted bass and most obviously where Lemmy takes lead vocals - Lost Johnny a case in point and a clear sign post to Motorhead who actually went on to cover this very track.

Classic track is the opener The Psychedelic Warlords (Disappear in Smoke) - this title pretty much sums up what Hawkwind were all about and could have been their calling card if it hadn't have been for the single success of Silver Machine. Dave Brock's driving rhythm guitar riffs on two chords over Lemmy's three note bass (this period Hawkwind seemed to be almost entirely devoid of electric lead guitar with melodic breaks provided by synthesizers, sax or flute).

The longer guitar driven tracks are interspersed with some beautiful instrumental passages courtesy new member Simon House excelling on violin and keyboards.

Early Hawkwind with Lemmy on location with Game of Thrones

The title is an obvious riff on Greig's famous classical piece of similar name - the Mountain Grill was apparently a West London cafe frequented by the band. The image couldn't be further from the brilliant album art work by Barney Bubbles depicting a crashed spaceship grounded in the sands of time.

275 Portobello Road

Beck Mutates

Beck's albums are consistently good. They draw on various styles, usually between albums rather than within the albums themselves. Was n't he another one of those hailed as a new Hendrix or Dylan when he burst upon the scene with Odelay (the one with the shaggy dog doing the high jump) in 1996? Mutations came just two years after that breakthrough and reminds me of the Beatles - mostly the more psychedelic John Lennon stuff like Tomorrow Never Knows. Great melodies and even some harpsichord! Take the very 60s feel of Lazy Flies as an example.

Golden Boy Beck


The Yes of Techno

After listening to Autechre I feel a bit like I did with Yes last week where I wrote:
What to make of them? Are they musical geniuses or just random noodlers? Does their music have structure and form or is it all over the place without any context or continuity? 
That statement can pretty much apply to their Untilted album. It is pretty full on. Very industrial techno recorded at a breakneck bpm.
It's rather like being locked in a cold dark shipping container whilst being repeatedly hit over the head with a metal baseball bat. 
So like Yes the music is seemingly random on first hearing but all the more interesting for that. And like all interesting music it does something odd to your mind. I would start with small doses though - the whole album in one sitting is quite a challenge.

Autechre's Anti Criminal Justice and Public Order Act EP

Remarkably the apparent randomness has a deliberate provenance. In 1994 Autechre released the track Flutter as part of their Anti EP in protest against the new Criminal Justice and Public Order Act of that year. The Act prohibited "raves" which were defined as gatherings of 9 or more people where music characterized by the emission of a succession of repetitive beats was played. Autechre responded with the notice that Flutter had been programmed in such a way that no bars contain identical beats and can therefore be played under the new law. However they also advised DJs to have a lawyer and musicologist present at all times to confirm the non repetitive nature of the music in the event of police harassment!


Rochdale duo Booth and Brown of Autechre

There are quite a lot of duo electronic artists out there - Boards of Canada, Kruder and Dorfmeister, Chemical Brothers etc. I don't suppose they necessarily need two to record the music, but maybe an extra pair of hands is necessary to "play" it "live"?

Acoustic Lovelies

Scott and Maria

Now for something completely different. Thank the lord for that. I've been released from the shipping container and am now lying on a hillside on the Downs soaking up the sunshine of Scott and Maria who offer a gentle and soothing antidote to my Autechre headache.  Their website says their music is a medicine for our times and I would add it is certainly medicine for Autechre (isn't random play a marvellous invention!).

For a real flavour of their lush celtic tinged harmonies check out their anti fracking and deforestation anthem This Land beautifully filmed in the Sussex countryside.



New album Bright Star sees Maria's soaring voice fronting Scott's acoustic guitar strummings with occasional extra flavours of violin and percussion thrown in to provide a heady mix of catchy Kings of Convenience / Simon and Garfunkel gorgeousness.

Timeless Goldie

Finally a quick word on a bonus gig I attended last week. Drum 'n' bass artist Goldie is touring with the Heritage Orchestra. Not knowing much about Goldie and taking the name of his backing band literally, I could barely imagine what to expect. In the event I was impressed - not so much by some of the jazzy soulful song numbers which don't always seem to suit the rhythms of drum 'n' bass, but certainly by the banging instrumentals played live with two frenetic drummers! I had assumed all drum 'n' bass was electronically recorded so was taken aback by the use of real drummers. I found this short film about the reworking of Goldie's classic Timeless album for live band.

Goldie directs live band







Sunday 19 November 2017

Log #60 - Can Anyone Be Bothered To Listen To Yes?

Eddy Bamyasi

Two new entries this week - Green on Red and Yes.

I first heard Green on Red when a music journalist (it may have been someone like Andy Kershaw or Mark Ellen) played some to Neil Young who mistook them for Crazy Horse. That was enough to warrant further investigation - I obtained No Free Lunch which was their album at the time. Actually had it on cassette and the majority of one side was taken up with an extended version of the Howlin' Wolf standard Smokestack Lightning. I was impressed and proceeded to obtain all their albums.

Sadly Here Come The Snakes and a Greatest Hits album (I think, or was it Scapegoats?) are the only LPs that have survived the transformation to CD in my collection. I must admit I haven't seen my second Green on Red CD for ages (assuming I did have it - sometimes I forget whether I had or have an album on vinyl, cassette, CD, or not at all - I don't count dreaded mp3s at all as part of my collection!). But thinking back now they were all excellent and I must reacquaint  myself forthwith!
Do you sometimes go into a music shop (those of us that still buy physical music) and ponder over an album not remembering if you have it already or not?
The core of the band was essentially made up of the songwriters, singer Dan Stuart and guitarist Chuck Prophet, plus full band which started out slightly more organ/keyboard orientated in the early days before becoming full on guitar driven.

Prophet is now fronting his own band with relative success (think he is on tour in the UK right now). No idea what happened to Dan Stuart - his stage persona was one of a heavy drinking angry rocker living life on the edge - hang on, let's look...

Here you go - still going as a solo artist too https://en.wikipedia.org/wiki/Dan_Stuart

I saw Green on Red live at that venue (wasn't it a church or something?) now called The Venue in New Cross, South East London. They were super good - heavy rocking americana/country before it became really popular. Whenever it was must have been when the LA's had their hit There She Goes (1990) as Stuart mimicked them mercilessly.

Full album discography:

Green on Red 1982
Gravity Talks 1983
No Free Lunch 1985
Gas Food Lodging 1985
The Killer Inside Me 1987
Live at the Town and Country Club 1989
Here Come the Snakes 1989
This Time Around 1989
Scapegoats 1991

Not a huge catalogue but quality over quantity.

So the early albums started out a little bit more new wave with organ. Here Comes the Snakes on the other hand is dirty blues of the Exile on Main Street variety. The very 80s production by Jim Dickinson mixes the thump of the damped snare high and the low bass is distorted which gives the record a massively ponderous sound but it actually suits the doom laden music and doesn't sound as dated as you'd expect. Zombie For Love is one of the dirtiest blues I've ever heard - so down and heavy it sounds like a car that just can't get started. Tenderloin is another song of failed relationships and urban decay straight out of a Louis Theroux documentary filmed in the underbelly of the failed American Dream:
After five years, four apartments, three abortions, two cities and a dog she left me.

Green on Red, early days, Chuck Prophet and Dan Stuart looking cheerful right

1. Green on Red - Here Come The Snakes
2. Scott and Maria - Bright Star
3. 4Hero - Creating Patterns
4. Charles Mingus - Mingus Ah Um
5. Hidden Orchestra - Archipelago
6. Yes - Close to the Edge

Yes, like Soft Machine from log #58, are another curious affair. What to make of them? Were they musical geniuses or just random noodlers? Does their music have structure and form or is it all over the place without any context or continuity? How do they remember what notes to play or when to switch tempos or time signatures? How on earth did they even write this stuff?

Given all that it is not surprising that their music takes a lot of listening, and to be fair, like a very challenging novel or piece of art, doesn't make a lot of sense to begin with, but eventually with perseverance reveals hidden depth. Not to be too snobby about it (as I do like the straight forward riffage of a band like AC/DC just as much and no judgement is intended) this music is complicated (probably some of the most complex in the whole prog. canon). It's like comparing Abba with Mozart - both excellent in what they do but completely different. Each to their time and place. 
Can you be bothered? Is life too short?
Ok, I admit it, I love it. It's amazing music. And the more you listen the more you get out of it. But it's not for everyone, and not all the time. You've got to be in the mood. 

Close to the Edge is one of their best and what about that Roger Dean cover too? That centre fold is a teenage wet dream!







Sunday 12 November 2017

Log #59 - Ah Um... Old Skool Jazz to Nu

Eddy Bamyasi


1. Lenny Kravitz - Let Love Rule
2. Little Feat - Feats Don't Fail Me Now
3. 4Hero - Creating Patterns
4. Charles Mingus - Mingus Ah Um
5. Hidden Orchestra - Archipelago
6. Beck - Sea Change

I seem to remember when Lenny Kravitz appeared on the scene he was hailed, like Prince, as a new Hendrix? He had the looks, the guitar and the girlfriend. This didn't last long. Barely much longer than his debut album Let Love Rule in 1989. He was cool for fifteen minutes and then suddenly became a bit mainstream and ubiquitous and not the new Hendrix any more. This album's alright, and possibly one of his best (I can't be sure about that as it is now the only one I have). I like Mr Cab Driver - a good basic rock song.

Mr. cab driver don't like to way I look
He don't like dreads he thinks we're all crooks
Mr. cab driver reads too many story books

More great stuff from Beck. Sea Change is a mellow yet powerful album, and the one that many consider his best. For many years I only had Odelay but now have a core of albums to draw upon.

Beck in 2002 with Sea Change

The Hidden Orchestra is actually a solo project by Brighton based composer Joe Acheson who records and mixes a range of guest musicians in his studio to create an "imaginary orchestra that doesn't really exist". Yet it does in some live form as I've just noticed the "group" is touring a new album in the UK as we speak including a Brighton date on 9th December.



You'd never guess the accomplished and authentic jazz fusion music on Archipelago was not created by a fully fledged band. With it's trademark Tru Thoughts label drum beats it's just the sort of modern jazz that would go down a storm at our annual Love Supreme festival.

Thinking of my personal provenance with this music: A few years ago I got into playing an amazing "point and click" mystery computer game called Samorost. If this at all appeals check out Samorost edition 2 here - even if you don't play it at all you'll immediately appreciate the brilliant graphic illustrations (I warn you it is an addictive slow burner!). I also loved the rhythmic industrial clanky music composed by Tomáš Dvořák aka Floex. This led me to discovering some Floex recordings on Soundcloud and then from there to some extended instrumental mixes by an artist called M & Ms. When you have a spare 90 minutes have a listen to his Into The Wild an instrumental mix based on the excellent film of the same name and featuring both Floex and... Hidden Orchestra. There are heaps of very talented (mostly amateur) musicians and composers on a website like Soundcloud.

From supremely modern jazz to an old classic. One Christmas I decided I'd like to get into jazz and after collating a few "best jazz albums of all time" lists, Charles Mingus was added to my Christmas list. I'd heard of him but didn't know anything about him. In fact I think I assumed he was a pianist for some reason, not a double bassist. Santa brought me a box set of three albums, including my cover album this week, Mingus Ah Um. There are some catchy tunes on here which I'm sure many of you would have heard before, not realising, as I didn't, that it was Charles Mingus.

Creating Patterns is the 2001 release from electronic hip hop drum 'n' bass duo 4Hero. Smooth songs fronted by guest vocalists are interspersed with the occasional grating instrumental or spoken word interlude - but as a whole it sort of works. The most intriguing track is the oft-used elsewhere track Les Fleur which sounds like a West End musical showpiece with it's climatic chorus:

Ring all the bells sing and tell the people everywhere that the flower has come
Light up the sky with your prayers of gladness and rejoice for the darkness is gone
Throw off your fears let your heart beat freely at the sign that a new time is born

Rather evangelical don't you think?




Little Feat were just great at what they did - which was basically loose funky swampy honky tonk boogie rock 'n' roll!

Little Known Rock Fact: Little Feat leader Lowell George was originally in Frank Zappa's Mothers of Invention. Having what he described as "no real function in the band" he left in 1969 taking several Mothers with him to form Little Feat.








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