Category: Music


Perfect Days directed by Wim Wenders (Japan/Germany, 2023)

Up until now, my favourite toilet cleaner in popular culture has been Raymond Briggs’ ‘Gentleman Jim’, a cartoon character from 1980 who dreamt of breaking out of his humdrum existence and dead end job. In stark contrast, the character of Hirayama in ‘Perfect Days’, played brilliantly by Kōji Yakusho, is more than content to follow a daily routine that borders on a zen-like ritual as an employee of a Tokyo toilet cleaning company.

It helps that the facilities he works in are in a series of incredible buildings commissioned by the Nippon Foundation in 2018. This unique architectural project was coordinated by Yamada Akiko who set out to counter the image of public toilets as “dark, dirty, smelly and scary” places that were best avoided Through unfortunate timing, these buildings were completed around the time that the pandemic struck. Post lockdown, the esteemed German filmmaker Wim Wenders was asked if would be interested in making a documentary to publicise this enlightened initiative. He leapt at the chance but happily decided to turn the film into a work of fiction.

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Two legitimate responses to the excesses of 21st century capitalist imperialism and its attendant populist gaslighting include contemplative withdrawal or confrontational fury. The music by the artists at the 15th edition of the three day Transmissions festival (Tagline: “Exploring the sound”)  in Ravenna, Italy provided potent examples of both.

In the foyer of Teatro Rasi, the festival venue, was a small exhibition of mobile phone photos taken by Adriano Zanni.  These are shots of the petrochemical plant in Ravenna’s Piallassa Valley which Michelangelo Antonioni used as the setting for his celebrated film ‘Red Desert’ (Il Desert Rosso)  in 1964.  Writing about this film for The Village Voice in 2017, Bilge Ebiri states that Antonioni’s vision “can never be reduced to simple laments for the spiritual pollution of the world.”  Zanni quotes the Italian director as  saying that “even factories can be equipped with great beauty” and his ‘ Red Desert Chronicles’ portfolio is presented in romanticized terms as “a theatre of dreams and hopes, toil and work, a stage of majestic grandeur.”  

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WHAT YOU COULD NOT VISUALISE directed by Marco Porsia (Canada, 2022)

It takes a special kind of music obsessive to contemplate making a documentary about an obscure indie band who released just one four-track EP and only played about a dozen live shows. There are no videos or live footage of Rema-Rema. Even in Simon Reynolds’ definitive study of post-punk, ‘Rip It And Start Again’, the English band are only mentioned in passing to say that Marco Pirroni played with them.

Rema-Rema’s ‘Wheel In The Roses’ EP was the first release on the esteemed 4AD label jointly founded by  Ivo Watts-Russell and Peter Kent. On the 4AD website, Watt-Russell describes hearing the band’s demo for the first time as a kind of epiphany: “It was the first point I knew that we were actually doing something serious.”

The distinctive cover shot of African tribesmen was the main reason why many bought the EP in the first place. The sleeve gives no other information other than to list the musicians: Gary Asquith (guitar/vocals), Marco Pirroni (guitar), Mick Allen (bass/vocals), Mark Cox (keyboards) and Dorothy Max Prior (drums).

Rema-Rema were apparently named after a Polish machine manufacturer (don’t ask!) although it’s probable that it was picked because had same catchy resonance as The Kingsmen’s rock standard ‘Louie Louie’.

Turin-born director Marco Porsia (now based in Canada) has already gained the esteem of serious music lovers through his brilliant documentary charting the rise and rise of  Michael Gira and Swans – Where Does A Body End? (2019). It was no coincidence that Swans were playing in Bologna the day after his attendance at the screening of ‘What You Could Not Visualise’ at the city’s Cineteca. (Swans’ drummer Phil Puleo was sitting in front of me in the audience!)  

In the film, guitarist Marco Pirroni is the off-stage villain of the piece. Pirroni left the band abruptly to seek fame and fortune with Adam & The Ants. The remaining four members could not contemplate carrying on without him. Their story could have ended there but in researching this film, Porsia found to his surprise and delight that he was not alone in regarding Rema-Rema’s 1980 EP as a treasured artefact; a kind of holy grail of post-punk.

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Tom Verlaine was my kind of guitar hero. Not for him the power chords or false histrionics of heavy metal riff-makers. At a time when anyone playing more than three chords for more than three minutes could be accused of selling out, the title track to Television’s debut album in 1977 came like a bolt from the blue. This was punk rock elevated to a whole new level.

I first heard the track ‘Marquee Moon’ on the John Peel show while driving home late at night and had to pull over to give it my full attention. That solo guitar was like nothing I had heard before and the opening lyrics drew me into a world where poetry and rock’n’roll merged beautifully: “I remember how the darkness doubled, I recall lightning struck itself.”  

‘Marquee Moon’ is as pivotal a record as Patti Smith’s ‘Horses’ which came out two years earlier. Smith and Verlaine briefly dated and must have been the coolest couple in New York City.

Television’s debut is so perfect that it was perhaps inevitable that their second album and eponymously titled 1992 release fail to reach the same heights.

I would have liked to see Television live at their peak in a small sweaty club; – CBGB’s for example! As it was, I finally caught them in a half empty Birmingham Odeon in 1979 , a venue hardly suited to such a vogueish band.  

In the late 1980s, I saw Verlaine play a solo show at Bloomsbury Theatre, London looking so immaculately wasted that he seemed at death’s door even then. But his beaufifully chiselled featured and skinny physique have always held a special fascination for me. This was what a garret room poet ought to look like. I had no idea what his politics were or, indeed, much at all about his background, but that’s fine. He was a blank slate that I could built all my bohemian hopes and dreams upon.  

Now he has finally fallen into the arms of Venus de Milo, the world is a poorer place.

Tom Verlaine (December 13, 1949 – January 28, 2023)

FAVOURITE ALBUMS RELEASED IN 2022

  1. HORSE LORDS  Comradely Objects
  2. LUCRECIA DALT  ¡Ay!
  3. BIG THIEF Dragon New Warm Mountain I Believe in You
  4. THE SMILE  A Light For Attracting Attention
  5. STORM THE PALACE  La Bête Blanche
  6. JOSEPHINE FOSTER   Godmother
  7. JULIAN COPE England Expectorates
  8. SUDAN ARCHIVES  Natural Brown Prom Queen
  9. MODERN STUDIES   We Are There
  10. AMY HOPWOOD    Into the Woods

FAVOURITE BOOKS READ IN 2022

  1. MADELEINE MILLER The Song of Achilles
  2. DOUGLAS STUART Young Mungo
  3. ELIZABETH STROUT My Name Is Lucy Barton
  4. OLGA TOKARCZUK  Drive Your Plough Over The Bones Of The Dead
  5. GABOR MATE  In the Realm of Hungry Ghosts: Close Encounters with Addiction