Category: Music


A Blanck Mass Lockdown Soundtrack

Benjamin John Power has described this album as “A snapshot of a painful period”. The deaths of his father and beloved producer Andrew Weatherall cast a dark shadow over the recording. He may not have intended it as a soundtrack to the global lockdown but that’s exactly what it sounds like to me.

The Koyaanisqatsi-eseque buzz of the first four minutes is followed by a celebratory blast akin to the ‘Olympians‘ track used during the opening ceremony of the London Olympics in the Summer of 2012. Seems like a lifetime ago.

Most reviews of Blanck Mass cite Power’s earlier work with Andrew Hung as one half of the Bristol-based of the Fuck Buttons duo which created the aforementioned ‘Olympians’ but that was then. This is now. Continue reading

In between loving and dying

SƏPƏLƏNMİŞ ÖLÜMLƏR ARASINDA (In Between Dying) directed by Hilal Baydarov (Azerbaijan – Mexico – USA, 2020)

This strange and melancholy film , presented on the opening day of the 2021 Trieste Film Festival,  is a road movie about love and death.

The action follows a single and highly eventful day in the life of a single man, Davud, who, bored with caring for his aging and ailing mother, takes to his scooter in search of something more thrilling and fulfilling. The problem, and it’s no small one,  is that wherever he goes a death occurs.

Director Hilal Baydarov says:   “A central concern in all my work is the person who is trying to understand the reason he is alive, present, here, in this world. The person who can‘t love, yet only believes in love. The person who is trying to find his real family, certain that this will bring real meaning to his life.”

The setting is Azerbaijan, a country beset with many restrictions. These is presumably why powerful emotions and religious motifs are expressed so metaphorically rather than literally. Some of the metaphors seem obvious, others are more obscure. One thing is sure, you won’t find much social realism here. 

Cinematically, there are many long shots of figures in landscape. The haunting ambient soundtrack by Kənan Rüstəmli helps to give substance and a sense of visual poetry to the scenes.

Alone in the landscape – One man, one scooter and a tree

There are lots of open spaces, plenty of  bad weather and numerous muddy fields. The landscape is often more bleak than beautiful. There are many shots of trees which I guess can be variously interpreted as symbols of growth, stability and gradual change. 

The whole surreal picaresque journey begins when Davud shoots and kills a man selling weed. His only motive seems to be that he is defending his girl friend’s honor after the dealer has called her a bitch. Davud escapes on his scooter pursued by three men who, it soon transpires, who are not the brightest bulbs in the box. They have shitty cars and poor organisational skills so it’s no surprise that Davud remains at large. Continue reading

Asian Dub Foundation made the inspired decision to use a brilliant anti-UKIP sketch by UK’s best stand up comedian Stewart Lee to make a danceable statement against bigotry.  

The anti-racist message, coupled with the fact that all profits go to the Kent Refugee Action Group, is directly aimed at the narrow-minded xenophobes celebrating Brexit.

Comin’ Over Here launched a courageous (and ultimately successful) bid to knock off the fetid mainstream fodder of Ed Sheeran and Mariah Carey off the coveted number one position on the January 1 ITunes & Amazon download charts.

Lee admits that, as a 52-year old man delivering his definitive rant, he felt like Alan Bennett fronting Public Enemy but can now boast to his kids that during the Covid War he heroically mimed to Anglo-Saxon poetry in an empty warehouse.

Who amongst us can say they did as much?

 

 

Richard Dawson at the Barbican

“Is it too soon for a 12 minute a capella song about a quilt maker?”  This is not a question you are ever likely to hear Coldplay’s Chris Martin asking. Come to think of it, the only artist who would ask this is Richard Dawson.

 He is not oblivious to the fact that his music will divide listeners. I put him in the same love it/hate it category of The Fall, Scott Walker and Jandek.  At its heart, it could be classed as contemporary folk music but he has rightly resisted such a reductive label. Continue reading

A NEW DAY YESTERDAY by Mike Barnes (Omnibus Press, 2020)

book cover

The decision to undertake a full survey of Progressive Rock music in the UK up to the mid-1970s is as bold and bonkers a project as a band embarking on a triple concept album. Yet, it works for me.

Progressive (Prog) Rock evolved in the late 1960s and early 1970s as part of what Wiki defines as a “mostly British attempt to elevate rock music to new levels of artistic credibility”

Mike Barnes challenges the common prejudices surrounding this much maligned genre.

In setting the record straight, he immediately dispels the myth that Prog songs were mostly about wizards, elves and hobbits. He also shows that, contrary to common belief, bands were not universally trying to bridge the divide between classical music and rock. Rather, jazz, blues and psychedelia were key influences. Continue reading