The Fall. Brudenell Social Club, Leeds. 29.11.13.
Amorator! / Hot Cake / White Lightning / Jet Plane / Sir William Wray / Chino / The Remainderer / I Am Nate / Mister Rode / Theme from Sparta F.C. / Cowboy George / I’m Not from Bury // I’ve Been Duped / Reformation // Psykick Dance Hall
A sold out gig in Leeds, tickets were changing hands for over £50.
The Fall started at 10pm prompt, picking up Amarator, which allowed Mark to appear mid-song. The first 5 songs flew by in about quarter of an hour; there was then a lull, followed by a great version of Chino. MES has started to pull a really screwed-up face, as though he’s forgetting something or wincing at the sound.
The band left the stage after 45 minutes, and returned twice for encores. The 2 microphone version of Reformation was very good.
The whole gig lasted about an hour.
Great concert, thanks for keeping it going.
the Orb. Holmfirth Picturedrome. 10.11.13
Orb, on stage for 8.30pm, played a 2 hour set, finishing at 10.30pm precisely, followed by an encore. Sound level strictly below 100 db.
Included many favourites like ‘Little Fluffy Clouds’
7th November 1987. Manchester City 10 v 1 Huddersfield Town
Roy Harper. Bridgewater Hall, Manchester. 25.10.13
I was a bit wary of an album entitled ‘Man & Myth’; but looking at youtube footage from the earliest soundless 1968 Pathe news through to the present Roy is an almost mythical figure to me.
Now well into his 70s, Roy is still a mercurial, jovial, scatty, forgetful and arresting presence. Inbetween the songs he makes interesting observations about Jason and the Argonauts, air travel, Marc Bolan and falling in love. The rants against the ‘enemy’, politicians, organised religion and rampant consumerism have gone. The new enemy seems to be the passage of time, which features heavily in Roy’s asides and in Roy’s later work. Bare emotion, scattered thoughts, often rounded off with a self-mocking quip link the beauty of Roy’s songs.
This evening we are treated to a short Jonathan Wilson set, before Roy strolls onto the stage. He is then accompanied by Wilson, a brass and string section. And what I can remember of the set is; Highway Blues, Time is Temporary, Heaven is Here, Another Day, I’ll see You Again, Invisible Light, interval, The Enemy, January Man, the Stranger, Twelve Hours of Sunset, North Country, Me and My Woman, encore of When an Old Cricketer Leaves the Crease.
I knew nothing about the man, Mr. Harper, until a friend dragged me (reluctantly) to a gig at Huddersfield Polytechnic in late 1985. At the time I was more interested in post-punk and football matches; but that evening Roy was indeed spellbinding. The audience was very different to my limited experience of such things; many sat on the floor cross-legged, many were noisy but good humoured & some passed Roy large cigarettes. Roy finished the gig with a rendition of Watford Gap & wearing a mohican wig. I have been mesmerised by his records and concerts ever since. At least I think that’s what happened, looking online I can’t find any mention of that concert; my own bit of Harper mythology.
A humbling concert from one of the good people, I hope this isn’t the last time I see Roy Harper.
As a bit of a contrast there is a great Harper story here, http://theeccentricblog.blogspot.co.uk/2013/06/roy-harper-pt-1.html
1968 soundless British Pathe film clip.Free concert in Hyde Park, possibly organised by Roy Harper. with fleeting appearances from Jethro Tull, John Peel and Roy Harper.
Tim Hecker. ‘Black Refraction’ from the album ‘Virgins’.
Tim Hecker – Virgins. released onKranky.
Prism, Virginal I, Radiance, Live Room, Live Room Out, Virginal II, Black Refraction, Incense at Abu Ghraib, Amps Drugs Harmonium, Stigmata I, Stigmata II, Stab Variation.
Tim Hecker is a producer of heavily processed electronic music. He is from Montreal, and this is his 7th studio album.
Initially I listened to ‘Virgins’ 3 or 4 times, having no idea of Tim Hecker or his work. The first impression I had was the sound of water and air moving with an orchestra tuning-up in the background. There are repeated keyboard motifs throughout the album, as if you had an earworm & were able to record it and life around you at the same time. I was also reminded of some Dead Can Dance work.
Later I browsed through reviews, bios and videos trying to find context for this sound.
‘Virgins’ has been reviewed by many bloggers and music sites already, it is available as an album stream and some of the tracks are on youtube. And yet this album is not officially released until 14.10.13. ‘Virgins’ deserves this attention, and each listen reveals something new.
The cover photo of an empty room suggests an absence of people in a human space. It is images like this and the youtube clips for ‘Virginal I’ and ‘Black Refraction’ which started to provide me with some colour for the album.
The album opens with ‘Prism; if ever there was music to accompany refracting light this is it. Tim Hecker’s work has been used as soundtrack for art shows, films and dance productions.
The percussive keyboard heard throughout the ‘Virgins’ album could be a Virginal, an early keyboard instrument. The root of name of the Virginal is unclear, but it could be a reference to Virgin Mary. There does appear to be a hint of church music about ‘Virgins’ with tracks such as Virginal I & II and Stigmata, the Black Refraction video seems to be of a church demolition and Tim Hecker has regularly performed in churches. He has also performed and recorded with Sigur Ros.
The title of the track ‘Incense at Abu Gharib’ draws attention to the notorious prison in Iraq, where prisoner violations took place. The idea that multi-layered heavily processed sound can help to highlight human rights is interesting.
The overall feel of the album is a richly textured human soundscape, which begins to transcend single ideas and becomes a stream of conciousness.