An interesting relisten. I find it difficult to absolutely fall in love with this record: the minute production and preciosity of it all leaves a wide open space between the songs and the listener that is very difficult to fill (except maybe on Red Guitar). Still, one can't feel but charmed (as you would by a nice, distant to the point of out-of-reach sophisticated exotic face in the crowd) by the precision of Sylvian's impressionistic touch - when "pop" is not "pop" at all anymore. If you like It's Immaterial, listen to this; if you like this, listen to It's Immaterial.
Last edited by Norman Bates on 11/29/2015 11:00; edited 1 time in total
i.e. Arghildes by D. Charles Speer (2011 - first listen). D. Charles Speer of The No-Neck Blues Band, of whom I know nothing besides the odd track or two.
For the first two tracks, I thought I had uncovered a little-known masterpiece. New-York free folk played along some sirtaki template apparently (I even heard the word "bouzouki", so there), these openers are simply stunning. Then the third track was less of a surprise, along the lo-fi impro lines Eugene Chadbourne or indeed NNCK might use, with a Vini Reilly feel to the guitar sound (those "liquid" guitars, you know). The first big problem I encounter with the record is the fourth track, a dark folk number, and dark folk is a sub-genre I seldom have a lot of patience for. Now, the almost surreal seriousness of the spoken word over this track had me think for a moment it was actually mocking dark folk, but the track's so long (8'30) I doubt someone would be so bothered to mock dark folk that they would do 8 minutes of dark folk. Wishful thinking for sure. The track's called Harmanis, couldn't find why. Anyway, track 5 is much better with its oriental groove vibe, and track 6 ends it all in primitivism-turns-Swanslike soundfest.
God those first two tracks were good. Still interesting, rich and dense, and deserving of an album page on BEA, I could be tempted to add it to my '11 chart some day.
And now, off to bed with Edgar Poe; this was my first day without any alcohol since Wednesday, which had been my first day without alcohol ever since late August I think. Improving. Attempting no alcohol up until Tuesday, when it will be impossible not to go have a beer or two or three with those of my colleagues that are my friends, after what promises to be a horrendous day at work ending in a fury of three consecutive conseils de classe between 3.30 and 8 pm. Then dry spell again up until Friday, then probably an alcoholic binge over the weekend (my birthday + the father-in-law coming for a few days). Some running tomorrow, plus more music listening to brace up for the awful beginning of the week, see you then.
Last edited by Norman Bates on 11/29/2015 11:00; edited 1 time in total
An interesting relisten. I find it difficult to absolutely fall in love with this record: the minute production and preciosity of it all leaves a wide open space between the songs and the listener that is very difficult to fill (except maybe on Red Guitar). Still, one can't feel but charmed (as you would by a nice, distant to the point of out-of-reach sophisticated exotic face in the crowd) by the precision of Sylvian's impressionistic touch - when "pop" is not "pop" at all anymore. If you like It's Immaterial, listen to this; if you like this, listen to It's Immaterial.
Completely agree. I've warmed to this record quite a bit though over the past year and really admire all Sylvian's 80s stuff including the stuff with Japan. But, yeah this one is just a smidge cold but vey impressive nonetheless. The love would come just bit later with his next two lps.
edit: regarding It's Immaterial, due you know if there's a comp of their early singles? If so can u send me a link? Google does not work in China. 🙁
Another CD i picked up at the music library, this is Dick Annegarn's latest (2014). I've been, not a huge maybe, but a faithful liker of all things Dick - man started his career back in '74 or something, and is the author of such classics as "Mireille" or "Bruxelles". He had an incredible spell of albums in the '90s, very intense and feverish, in a blues/folk-tinged chanson style that never felt too heavy despite the obvious melancholy. Vélo va ("Go, bike") does not divert from the general line and is a good album. Dick is very good at alternating graver, sadder songs with seemingly lighter and more playful ones, his voice is inimitable - it's deep, and he has a way of detaching each syllable while sounding like he has a slight cold that never fails to be heartwarming and moving. Could be what's left of an accent - Dick Annegarn is originally Dutch and French is his second language. A truly independent, impervious to fashion, artist, he's really somebody to lend an ear to. Oh, if you ever like him, by all means check Mathieu Boogaerts out.
Last edited by Norman Bates on 11/29/2015 11:01; edited 1 time in total
The reformation of Cardinal had totally gone under my radar. I quite liked their "debut" in '94. Cardinal are Richard Davies (of The Moles fame [?]) from Australia and Eric Matthews (U.S., loads of producing jobs). They both have excellent solo LPs to their names, and I advise you to try them if you're into orchestral/chamber pop. This one here is not as good as Cardinal by Cardinal, and no song reaches the height and sophistication of "If You Believe in Christmas Tree". Overall it's very pleasant however, and once or twice (the excellent "Her" above all), the magic seems to have been summoned again. Elsewhere, they go for a rawer sound that could remind you of the Moles' debut (all the way back in '92) and which I'm less convinced about.
Had snatched this in the hope that it would be Liam Hayes' Plush involved (and hopefully banging a tune or two on the level of "Found a Little Baby"), appears alas it isn't and is rather an indie noisy pop outfit from San Francisco. I say "alas" because, while the record is nothing unpleasant or frankly bad, it is scandalously derivative in its use of the noisy pop canon (you'll think of Lush now and again, which I suppose their own name is a nod to?). Everything on here has been made before - no problems with that - only better. Still one or two OK tunes, just can't be bothered too much I'm afraid.
The reformation of Cardinal had totally gone under my radar. I quite liked their "debut" in '94. Cardinal are Richard Davies (of The Moles fame [?]) from Australia and Eric Matthews (U.S., loads of producing jobs). They both have excellent solo LPs to their names, and I advise you to try them if you're into orchestral/chamber pop. This one here is not as good as Cardinal by Cardinal, and no song reaches the height and sophistication of "If You Believe in Christmas Tree". Overall it's very pleasant however, and once or twice (the excellent "Her" above all), the magic seems to have been summoned again. Elsewhere, they go for a rawer sound that could remind you of the Moles' debut (all the way back in '92) and which I'm less convinced about.
oh, cool!!! Very excited despite your relatively tepid review. Will have to check out that Moles' album too. I just LOVE that Cardinals album from '94. I think I even have it in my Overall chart. Looks like I'll be stealing tons of stuff from you as per usual. 😁
if it's the chamber pop you're after. Untune the Sky is noisier and not far from shoegaze on occasions (still very good, so check both if you're into that too).
Effing classic normcore right here. Fontella's equally at ease with both the foot-stomping banger and the heartfelt ballad. Splendid voice, not so far off from Aretha's. As close to a soul masterpiece as you will find. Check out the "Paula Recordings" version if you can, as it has all sorts of bonuses, including the fontellabulous "Rescue Me" from '65.
If you like Aretha (and who doesn't?) listen to this and add it to a chart, don't leave me alone.
Oh the charm. Splendid impressionistic record has chamber pop orchestra play various forms of modern classical/world pop (?) numbers, including some playful melody-based lullabies or nursery rhymey instrumentals that are richly evocative of an imaginary world in which elegant penguins have their tea served on the verandah of their colonial mansion, and listen to the PBC brodcasting from Penguin Place in London, while they long for the Mother country and fix their daughter Alice's dollhouse on the croquet pitch. All this with the obligatory ironical pinch of salt that such titles as "Another One for the Colonies" or "White Mischief" clearly point to. Suits the grey day perfectly, and will be replayed for the nap. Lovely, clever, melancholy, fun.
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Norman Bates
