the lake #011 – wax junkie – rosemary lombard – september 2016

“I’m an insatiable explorer. I’ll find music via any route I can, but vinyl is my favourite medium for its wonderful tactility. I’ve been collecting records since I was about 14. My pocket money didn’t stretch to buying CDs regularly, so I turned to second-hand LPs because I could buy speculatively and get a rush of novelty for R2 or R5 a pop. Every great record holds a slice of adventure – as it spins, thin air is transformed by sound into a tangible place you inhabit. You can take listeners anywhere your imagination and collection will stretch, and I think this can really expand your capacity for empathy.”

Read it in The Lake, and listen below.

Kate Bush – Hounds of Love/The Ninth Wave (EMI, 1985)

Choosing only six records to feature here was an ordeal because the span of what has shaped me is just so wide. I decided to restrict contenders to female artists, who are often under-represented in these kinds of list. I got down to about 20 possibilities but then had to shuffle and pick randomly with my eyes closed. So, for starters, what’s there to say that hasn’t already been said about the brilliance of Kate Bush? This album is a perennial go-to for me on grey, melancholy-drenched days – the second side, beginning with “And Dream of Sheep”, in particular. It’s also something of a litmus test. I’ve realised over the years that if someone new I meet loves this record deeply, it’s almost a given that we’re going to click alchemically.

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Nina Simone – Little Girl Blue (Bethlehem, 1958)

This was Nina Simone’s first album, recorded when she was just 25. Despite her youth, her mastery of expression is already consummate here. I often listen to music medicinally, and this is one of those records I turn to when I’m really over the world in general. Nina’s voice and piano carry all the bittersweet weight of living. “All you can ever count on are the raindrops…” The notes spill out exquisitely, painting cathedrals where my spirit can shelter, smoky bars where my soul can dance. Any morning I’m struggling to pull myself together, if I drop the needle on “Good Bait”, by the time it’s resolutely swinging, two minutes in, the kettle will be on the boil and I’ll be thinking of what to wear.

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Sathima Bea Benjamin – Windsong (Ekapa, 1985)

windsong

Windsong was recorded in New York in June 1985 and released on Ekapa RPM, the label launched by Sathima in 1979 to publish her own music and that of her then-husband Abdullah Ibrahim. A meditation on exile, displacement and yearning, the album opens with a haunting rendition of “Sometimes I Feel like a Motherless Child”, alongside Sathima’s own compositions. Windsong is dedicated to “the resilient, remarkable, and courageous mothers and daughters of the struggle for peace and liberation in my homeland, South Africa, to the heroines both sung and unsung”. My copy is extra precious to me because Sathima signed it for me just a couple of weeks before she passed away in 2013.

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Forces Favourites – Eleven Songs by South Africans Supporting the End Conscription Campaign (Shifty Records/Rounder Records, 1986)

This compilation was released by legendary South African label Shifty Records in support of the movement for conscientious objectors against compulsory military service in the apartheid army. Jennifer Ferguson’s chillingly honest exploration of white privilege and paranoia, “Suburban Hum”, still feels relevant right now. It’s a highlight on this record for me, along with “Shot Down” by James Phillips’s Cherry-Faced Lurchers and the Kalahari Surfers’ “Don’t Dance”. I’ve owned the South African release for a long time, but last year, while living in a small university town in Sweden for a semester, I also picked up a US pressing with a different cover. While there, I was also privileged to meet Jennifer herself. She happens to live in the very same town, and is doing inspiring creative work with refugees.

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Julia Holter – Ekstasis (Rvng Intl., 2012)

Los Angeles-based composer Julia Holter makes music which is conceptually dense, yet spacious and eminently listenable – hummable even. I saw her give a phenomenal performance last year in Stockholm. I already had three of her albums on mp3, including Ekstasis, so that night I grabbed this, which the merch guy told me was one of the last copies of the out-of-print 12” 45rpm double vinyl release.  By drawing on archetypes from Greek tragedy, this album simultaneously abstracts personal narrative and renders the emotional content conveyed universal. It’s a clever conceit, but one you don’t need to be aware of in order to appreciate the music. An obvious comparison to draw would be with the work of Laurie Anderson (whose ground-breaking 1982 debut, Big Science, was also on my shortlist for this article).

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The Raincoats – Odyshape (Rough Trade, 1981)

I read somewhere that following the release of their eponymous first album in 1979, the Raincoats were one of the first bands to be called “post-punk”. John Lydon said they were the best band in the world. Kurt Cobain wrote the liner notes for their first album’s 1993 re-release. None of this hype really prepares one for the shambolic assemblage of punk, folk and lo-fi that is the Raincoats’ second album, Odyshape, though. A wildly experimental departure into unmapped territory, the melodies float loosely over an assortment of unusually textured percussive instruments, including kalimba and balafon. This record still sounds extraordinary 35 years on: intimate and vulnerable, uncompromisingly feminine. I can definitely hear its influence on later artists such as Micachu and the Shapes, and Tune-Yards.

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This profile was published HERE.

sounds of silence

sos
LABEL: ALGA MARGHEN (ITALY)
CATALOG #: ALGA 046LP
RELEASE DATE: 21 JANUARY 2014

Sounds of Silence is an anthology of some of the most intriguing silent tracks in recording history and includes rare works, among others, by Andy Warhol, John Lennon, Maurice Lemaitre, Sly & The Family Stone, Robert Wyatt, John Denver, Whitehouse, Orbital, Crass, Ciccone Youth, Afrika Bambaataa and of course, Yves Klein.

In their own quiet way, these silences speak volumes: they are performative, political, critical, abstract, poetic, cynical, technical, absurd. They can be intended as a memorial or a joke, a special offer, or something entirely undefined. The carefully-chosen silences of this anthology are intrinsically linked to the medium of reproduction itself and reveal its nude materiality. They expose their medium in all its facets and imperfections, including the effect of time and wear. At the most basic level, these silences are surfaces. And it is in their materiality that they distinguish themselves from the conceptual experiments of John Cage with “4’33”.

Since the 1950s, silence has found a place in the economic structure of the record industry and since then it would increasingly be appropriated by a vast array of artists in a vast array of contexts. Indeed, the silent tracks seem to know no boundaries. The LP presents the silences as they were originally recorded, preserving any imperfection that the hardware conferred upon the enterprise, without banning the possibility of being satisfying to the ear. The liner notes provide historical background for each track, revealing the stated (or presumed) motivations for these silences, while providing novel sound correspondences or interferences.

This album is meant to be played loud (or not), at any time, in any place: a true aural experience. Only 250 copies available for distribution, in a gatefold iconic sleeve. ORDER THE LP HERE.