someone who's doing some things
I already have this album, on vinyl and on CD, but the tape has something special about it, and it isn’t just that it was the format that I bought this album on for the first time. No, it’s something different.
With the original tape was a lyric list that came with it, printed on the same sort of paper that bibles are printed with. It was a lovely touch and in keeping with the whole album, so when I saw it come up on eBay I knew it was something I wanted to own again just for old times sake.
After being at one of these performance I’d booked to go again, expecting, not unreasonably, for it to be of a similar format to the previous Moog Soundlab event at the Ace Hotel in Shoreditch. I was wrong. At least, I was for the most part wrong. It was similar in the sense that there was the same enormous (or at least enormous by my standards) Moog modular rig being used. However, I was different in more or less every other aspect.
To illustrate I took a photograph of the letter that every received (on their chair as they arrived) and were asked to read.
I think you’ll agree that this is really quite unusual. As were the two glasses of gin that did arrive and were, at least to my taste, nothing like the gin I’m used to.
In fact, as an event it was more like something I might see at the Edinburgh Fringe Festival, rather than in London, so from that perspective, I loved it.
So Mr Sylvian has a new book coming out in November. There’s a micro site dedicated to it already and it looks interesting. As a fan I’ve already ordered my copy although I didn’t get a chance to get one of the signed copies. Never mind.
As you’d expect it looks pretty beautiful inside too.
Personally I’d prefer it if he released some new music too, but I’ll settle for this. I’m sure it’ll be an enlightening read.
I’ve been listening to a lot of my ‘old’ songs. Stuff I recorded on old analogue gear, like my Fostex X-15. Those old recordings were made my bouncing loads of tracks from one side of the tape to another. So the quality wasn’t brilliant. With some tracks it was pretty bad in fact, but, even then, some of those tracks were great songs.
I been really enjoying listening to these songs, and they remind me about what’s important in music. It’s about making songs that mean something, that are good and that stand the test of time. I think that once in a while it’s important to be reminded about that kind of thing.
I like to think that I can make some more songs that I can feel that good about again. That’s my plan.
This was a lovely little event, and when I say little I really do mean it. The audience was tiny in a tiny little basement bar at the Ace hotel in Shoreditch. It’s a nice venue though. The performance lasted a hour and was very interesting and used a lot but not all the equipment.
I find it interesting to watch a modular performance like this to see how the music is actually generated and sustained. It isn’t like normal performances at all of course. Quite different indeed.
The arrangements were lovely, with people’s names on their booked seats.
And on each seat was a thing called a “dream machine”, which was a strange light contraption sitting on a turntable. It made an interesting effect though.
So it was an enjoyable evening, good fun, interesting to watch and different environment too.
After a break since 2012 I went back to the GBBF. It’s still in Olympia, but as the weather was somewhat overcast it didn’t get too hot in there during the day. But it was a good festival. I’m so glad I went this year. There were some cracking ales there and some very nice food too.
A couple of ales that stood out for me were:
This was quite a light ale, very fruity and citrus flavoured. I really enjoyed it, although I know it isn’t to everyone’s tastes.
Also …
I liked this mild for a number of reasons. Firstly, it was a nice mild, and I don’t tend to drink mild much these days. It had a lovely burnt flavour that wasn’t too overpowering at all. Secondly, I liked the name, which reminded me of The Boards of Canada, The Campfire Headphase, and thirdly, I really liked the design. So I think I may need to locate some of these in the not too distant future.
This year was also unique as I actually managed to get my glass home with me! The last few times I’d been to the GBBF I’d not bothered as normally I’d either mislay it on the way home, or it would get broken. This year it lasted all the way home!
Yes, it’ll be that time again soon. In a month it’ll be the Beautiful Octopus Club back at the Royal Festival Hall, and I intend to be there again. I’m not entirely sure what I’ll be doing on the day, but I’m sure it’ll be fun.
I haven’t been to any of these events for a while, but the last time I did it was just fantastic, so I’m looking forward to checking out what’s available this year as part of Open House London. If you don’t know about it, you should certainly find out about it.
Well this is great news from Confrontrecordings …
“Scheduled for a mid-September release on Confront Recordings; Playing The Schoolhouse, a new CD EP length composition by David Sylvian recorded in March of this year in Norway. Based on an improvisation by Jan Bang and Sylvian it also features contributions from Otomo Yoshihide and Toshimaru Nakamura. More news to follow soon. www.confrontrecordings.com“
I was really pleased to hear this. His last work with Jan Bang was amazing, although it required some very close and concentrated listening. However, it was immensely worthwhile. I’m hopeful that this will be the same.
The last in the current series and the second part of the finale that was started in The Fate of Krelos. I’m looking forward to hearing it.
I am Ashley Elsdon 