[E.O.M.S.]

Thursday, 18 March 2021

Nick Cave: Things I’m Not Happy With (1978)

'I wrote that when I was very young … and confused. I’m very glad I didn’t implement some of those changes. Mick, for example, became my chief collaborator, completely indispensable, for twenty years, and Phill, well, I always had a real soft spot for Phill, he was a lovely guy, but his drumming was ultimately at odds with what the band wanted to do, I think'

From ‘Stranger Than Kindness'

Photo by Ashley Mackevicius

Hell & Bella

The Hell drawing was a copy of that particular week's NME cover pic which had Hell holding a skull. It was drawn at my Nana's place in Liverpool in 82/83 with pencil, felt tip and gold pen on A4 lined paper with lots and lots of cawfee consumed. Check the stain. The portrait of a random from a magazine was given to my friend Bella many years ago as it did look like her (and I went to a lot of trouble making the frame just right) This had blue pencil, blue felt tip, spray paint (both can and a diffuser) and used molten wax to mask the spray on certain areas. Not recommended but I didn't have any rubber cement handy

Moaner (I only made about ten of these badges so if you have one count yourself very lucky)

Exile Towers (Home Sweet Holmes)

Costello (Unfinished)

Probably drawn about 20 years ago, one day I'll get around to finishing it...

(An interjection from Mona from Debasement: 'I've heard that before Niblock')

Sriracha - You Lost Me (Mix)

Tracklist

Crown of Thorns - Showbusiness (Compilation)

Here's Crown of Thorns on ABC's Studio 22 back in 1989 (NB: Video starts a bit wobbly but does settle down)

Good moaning! Welcome to a new day

Pleasant Gehman & Kid Congo (NY 1979)

Via

What’s a girl got to do to get heard?

Kevin Richard Martin & Pedro Maia - Frequencies For Leaving Earth Vol. 4 (One-Hour Loop)

Back in 2020 producer Kevin Richard Martin, best known for his work as The Bug and with Techno Animal and King Midas Sound, started a new record label, Intercranial Recordings. Responding in kind to extremely dark times with equally dark sounds, he inaugurated the new imprint with a volley of solo albums, Frequencies for Leaving Earth Volumes One to Five.

Moving from “smacked out jazz” and “massive low-end gravity”, through what Martin wryly refers to as his “gospel album”, to “celestial drones” and “cavernous dubspaces”, these five albums saw the producer plunging further into the sound worlds he has been exploring since the late ’80s.

Coming together with Portuguese filmmaker Pedro Maia, who has collaborated with Vessel, SHXCXCHCXSH and Shapednoise, Martin set these sonic explorations into deep space against transcendent analogue visuals. Using a combination of traditional analogue processing techniques and digital technology Maia presents five contemporary variations on 2001: A Space Odyssey‘s star gate, each catapulting us past earth’s orbit into the unknown