Soundtrack to this morning.
01. And Dream Of Sheep 00:00
02. Under Ice 02:45
03. Waking The Witch 05:07
04. Watching You Without Me 09:25
05. Jig Of Life 13:31
06. Hello Earth 17:35
07. The Morning Fog 23:48
“I could live in the world just like a stranger
I could tell you the truth or a lie
I could tell you that people are good in the end
But why, why would I?
Angels will cry when it’s raining
Tears that are no longer clean…”
From Art Angels (2015), available for download here. Written, directed, edited, coloured and art directed by Grimes.
And HERE is an interview with her.

Yoh.
from The Great Cybernetic Depression (Lil’ Chief, 2015).
Al Bowlly sings “The Very Thought of You” (1934). Jazz singer Al Bowlly sings his popular hit “The Very Thought of You” in the Pathe Studios, taken from Lew Stone’s famous ‘Monseigneur Band’. Bowlly was South African (although born in Mozambique) yet he became a great star in both the UK and America during the 1930s.
From the album The Great Cybernetic Depression, out on New Zealand label Lil’ Chief.
Video made by SKYRANCH:
Director – Simon Ward
Camera – Liam Bachler
VFX – Luke Rowell, Kenny Smith and Simon Ward
Hair and Make Up – Tanya Barlow
Warp Records, 1997. One of those albums I have never stopped listening to since it came out.
1. 00:00 Accidentals
2. 03:27 The Book Lovers
3. 08:17 Message from Home
4. 13:17 Phantom
5. 16:49 We’ve Got Time
6. 21:02 Living Room
7. 24:29 According to No Plan
8. 27:37 The World Backwards
9. 31:38 Lights Out
From the album The Wozard Of Iz, 1968.
“Nebulous nearnesses cry to me
At this timeless moment
Someone dear to me wants me near, makes me high
I can hear vibrations fly
Through mangoes, pomegranates and planes
All the same
When it reaches me and teaches me
To sigh…
… Oh ah ee oo there’s absolutely no strife
Living the timeless life
I don’t need a wife
Living the timeless life
If I need a friend I just give a wriggle
Split right down the middle
And when I look there’s two of me
Both as handsome as can be
Oh here we go slithering, here we go slithering and squelching on
Oh here we go slithering, here we go slithering and squelching on
Oh ah ee oo there’s absolutely no strife
Living the timeless life
Black hair brown hair feather and scale
Seed and stamen and all unnamed lives that live
Turn your quivering nerves in my direction
Turn your quivering nerves in my direction
Feel the energy projection of my cells
Wishes you well.
May the long time sun shine upon you
All love surround you
And the pure light within you
Guide you all the way on.”
Album: The Hangman’s Beautiful Daughter (1968)
Full album (1965).
In a review for the 1967 Takoma reissue, ED Denson called the liner notes (by Alan Wilson of Canned Heat) “…a paranoid vision of reality unrivalled since Kafka. Nothing is what it purports to be directly, but everything is “in a certain sense” — people make statements like characters in B-grade horror films, the trivial becomes significant, the meaningful, nothing.”
The notes begin thus:
A disgusting, degenerate, insipid young folklorist from the Croat & Isaiah Nettles Foundation for Ethnological Research meandered mesmerically midst marble mansions in Mattapan, Massachusetts. It was an unsavory, vapid day in the summer of 2010 as the jejune air from Back Bay transubstantiated itself autologically and gradually into an ozone-like atmosphere.
Knocking on a random door, haphazardly, the tasteless young man pondered the Hebraic inscription on the marble-tiled foot-brush, soporifically: “I wonder what the hell that means,” he said to himself reflexively.
The foot-brush backed itself into a corner at bay, with its back to the wall. Then, hissing at the wishy-washy young man, it reared up on its hind leg & stared into space, vociferously & stoicly.
At this juncture a somewhat equivocal shoe-shine man opened the door, munching on a vacant popsicle stick. Before greeting the young man he reached up with a tentacle and stroked the aging foot brush on its fore, thus quieting the beast’s existential anxiety.
“Pardon me,” the unflavored young man said casually, “Do you have any old arms and legs you’d like to sell? I’m paying thirty-seven, twenty-five, ninety-six, twelve cents apiece for old arms & legs depending on the condition they’re in.”
“Just one moment,” the splotched ontology professor mumbled, “I think we may have a few out back in the quagmire, or possibly near the fen, or then again we may have some by the waters of the boggy bayou. I must point out, however, that it is quite possible that we have none left. And I should also say that we may never have had any anyway. I certainly can’t remember ever having any.
Since the past went into a flux it’s very difficult to remember anything, you know. But I’ll certainly take a look. And don’t be afraid of my foot-brush. He’s been in the family for years. And, while it is quite true to say that he hisses a lot, and he certainly does, it is also quite true to say that he never bites anyone except when he does. But this is not the same as to say that he has actually bitten people, and I certainly wouldn’t go so far as to say that, because, well, for one thing I can’t remember anyway. But I’ll go look for those arms & legs like I said I would. Did I say I would?”
“Yes, you did,” the stale young man replied weakly.
“Well, then I will, in all probability,” the aging grave-digger muttered as he faded gradually through the irregular portal.
From John Peel’s ‘Night Ride’ session, recorded 5 August 1969 and broadcast the day after.
“Darling, show me the place where the paint is made that colours the world
where the light is created that makes shine the splendour of the dawn
the lines and shapes of all forms
the sound that fills the orbit
show me the thought that illuminates the darkness of the void…”
Thanks Duane for sending this. :)
“In the evening sun going down
when the earth streams in, in the morning
send a cage through the post
make your name like a ghost…”
The 20th century saw some of the most unspeakable horrors committed by humanity, and Arvo Part reflects this historical burden that we inherit and must carry. The weight of sadness and the need for pensive reflection on our past can be perceived in all of his music. We must remain in light.
The Tired Sounds of Stars of the Lid is the sixth studio LP by ambient drone music group Stars of the Lid. It was released in late 2001 on the Kranky label, on two CDs and three LPs. The album features long minimal, droning compositions created from heavily treated guitar, horn, flute, piano, and other classical instruments. An interesting feature of the second track, “Requiem For Dying Mothers, part 2” is that it features a sample from the final scene of Andrei Tarkovsky‘s film Stalker, where the character Monkey pushes a glass across a table by way of telekinesis as a dog whines and a train whistle blows in the distance (watch the film free HERE).
Molly Drake (1915 – 1993) was Nick Drake‘s mother – clearly his talent was hereditary.
The acorn carries an oak tree
Sleeping but for a little while
Winter lies in the arms of spring
As a mother carries her child
And never knows
How wild the wind blows
A thought carries a universe
A seed carries a field of grain
Love lies in the arms of change
As a joy carries a pain
And no one knows
How wild the wind blows.
And here’s an article in The Guardian.
Still not over the wonder of unexpectedly seeing Robyn Hitchcock perform two weeks ago.
Only inside you the ghost of a love
That is wordless and painful and old
There’s no one else in the whole outside world
That matches to her in your soul
I’m spinning some records here this evening – come say hi!
Chimurenga will be occupying the AVA stoep in Cape Town with a pop-up bookshop over three days, from the 27th to the 28th January 2016, from 4 – 7pm daily. The pop-up includes a live broadcasting studio of the Pan African Space Station (PASS), Chimurenga’s online radio, featuring a programme of music, interviews, and performances with Chimurenga collaborators in Cape Town, including People’s Education, Future Nostalgia, Lohla Amira and many more.
This event is produced in collaboration with VANSA and the AVA.
For more on the broadcasting schedule, please visit panafricanspacestation.org.za.
The live broadcast studio functions amidst an installation that brings together pop-up stores that experiment with trade, informal economies, aesthetics and body language, music and spoken word, mobility and infrastructure.
THIS. This is so on point.
An honest song about the violence of white fear, and sadly just as relevant as ever.
I was listening to David Bowie’s brand new album last night, thinking about how much I still love him. I can’t even begin to engage with how important Bowie and his work have been to me since I was a very young teenager. It’s washing over me in waves.
He felt like my guardian angel at times, transcending the vulgarity of the mundane, making alienation tangible and difference something to celebrate wildly… How strange to think of him as mortal.
Sayonara, Starman. What a gut-wrenchingly perfect exit.
From Pastel Blues (Philips, 1965).
Leonard Cohen cover, live.