fruits and veggies – a clean page

Fruits and Veggies are vocalist Purity, guitarist Jimbo, bassist Loopy, drummer Justin, violinist Hezron and guitarist Cameron Lofstrand. They hail from Durban, South Africa and this song, “A Clean Page” is from their upcoming album. The band were filmed at shows around SA including Oppikoppi and Splashy Fen by Pascal Bennett, Sarah Dawson, Grant Payne and Kobus van Heerden and the video was edited by Michael Cross at Rogue Productions. The track was recorded at LYD Productions.

jessie mae hemphill – she wolf

As I stepped into Jessie Mae Hemphill’s trailer, my eyes fell upon Sweet Pea (her dog) and a revolver. By the end of that first meeting, I couldn’t help thinking that this was the allure of Jessie Mae. She is sweetness incarnate, but you really wouldn’t want to mess with her either.

This same duality is present in her music. Listen to her voice and you can hear a lilting quality, bringing to mind a Billie Holiday. But listen to the lyrics, and you sense a woman who’s seen a thing or two of the world. As she pulled a hollow-tip bullet out of her blouse she spoke loudly so the young “punks” hanging out near her trailer could hear. “A bullet like this one here will put a hole in you this big,” she said, making a circle with her good arm.

As it turns out, the revolver plays a practical role. Ever since a stroke left Jessie Mae partially paralyzed, she knows a vulnerability that she had clearly never experienced. This same stroke rendered her unable to play guitar, effectively ending a successful career that was on the rise.

Read more about Jessie Mae Hemphill HERE.

tiga – shoes

Directed by Alex & Liane, the video for Tiga’s ‘Shoes’ “imagines a horrifying dystopia in which people other than myself are interviewed,” says the Man of Music Future, “I had to calm myself down by staring at my MySpace photos for a couple of hours.” (This was, after all, 2009 ;)

jolie holland – alley flowers

From her debut album, Catalpa (2003). It’s my favourite album of hers, I think – gorgeously hypnotic, and impossible to place in space and time. It’s like she’s channelling the voice of a ghost out of early 20th century America’s Deep South… The words from her milk-white throat weave an occult journey, harking back even further – the lolloping, liquid rhythm of this song could be straight out of West Africa.

Quote from Amazon.com:
“If you didn’t know what it was, you’d swear it was recorded in the field 70 years ago. The outright primitive audio quality, acoustic instruments, the little mistakes and coughs left in… it’s a diamond in the rough, left uncut because there’s so much beauty in the imperfections.

“Then you notice the opening track’s [“Alley Flowers”] muffled frame-drum percussion is playing a “cabalistic” 12/8 against the guitar and vocal’s 4/4, the lyrical fantistical concreteness reminiscent of Syd Barrett or Hank Williams, the fluid soprano that sounds utterly self-taught, and you know it’s not an ordinary folk album at all.

“This is very, very different music from almost anything you’re likely to hear, especially in this day of cheap semi-pro equipment and easy software editing. But it’s truly miraculous.”

madrugada

What makes you sing so sweetly in the dark, White-eyes, hours before dawn? I want to know. Is it your sureness of the imminent arrival of the light? Or is it to wake the sun, in case it’s forgotten its appointment with the day? I want to know, because right now things are cold and dark here, and your song is puncturing the silence with a conviction I do not share.

broken harbors

Stars of the Lid – “Broken Harbors” (Parts 1, 2 & 3) from The Tired Sounds Of Stars Of The Lid (Kranky, 2001)

Tom Jurek, writing for AllMusic, said of this recording:

Having always made records that exist at the margins of descriptive language, this project by Austin, Texas’ most spaced-out duo, Stars of the Lid, is their most ambitious to date, featuring 11 tracks parcelled over two CDs (or three LPs), four of which are multi-part suites. Taking a step further down the road they embarked upon with Avec Laudanum, the duo have expanded the pure space and black hole vistas they offered on Music for Nitrous Oxide and The Ballasted Orchestra to embrace small melodic fragments that seemingly endlessly repeat through minimally varying textures. The effect can either be soothing (“Requiem for Dying Mothers”), hypnotic (“Broken Harbors”), or unsettling (“Austin Texas Mental Hospital”). The trademark analogue guitar/tape cut ups are ever present; what would normally be considered the sound of a guitar is nowhere in aural earshot…

…There is a progression in all the music here, but it is so subtle, so quiet and unintrusive, the listener would have to pay very careful attention to everything that is happening. More realistic, however, is for those who take pleasure in SOTL’s music and inner space explorations — for this truly is a music of the inner terrain — to offer themselves little distraction other than a comfortable chair or resting place in order to let this music enter at will, naturally and expand until it takes you over the edge into something resembling sleep, but far more delicious. Despite its more song-like structures, More Tired Songs is actually for those who are tired of songs, period, and are looking for something less, something unspeakably beautiful and determinedly unmentionable in its vast and luxuriant erasure from any musical category.

anima rising

Joni Mitchell – “Don’t Interrupt the Sorrow”, from The Hissing of Summer Lawns (1975)


“It takes a heart like Mary’s these days when your man gets weak.”

Acoustic guitars – Joni Mitchell
Electric guitars – Larry Carlton
Dobro – Robben Ford
Bass – Wilton Felder
Drums – John Guerin
Congas – Victor Feldman

i’ll be your mirror

The Velvet Underground & Nico – I’ll Be Your Mirror (acetate version), recorded 25/04/1966 at Scepter Studios, New York.

(An acetate is a very fragile disc, cut prior to the cutting of the master disc used for mass production of records, used in the same way as a proof in photography.)