"...Plagiarism as a cultural tactic should be directed at putrid capitalists," writes Hakim Bey, "not potential comrades... There is no exotic other." Laswell concurs, but offers another angle. "I appropriate music from everywhere. I don't think it's possible to own a piece of music. To me, we're all playing the same stuff. It's just combinations that make it new. And there is such a thing as someone who has a voice, that plays a certain way and has a style. I think everyone does that to a certain degree and to me, it's all available. If I did something and it was a piece of music and it had a beat and a theme and even a word or something and if somebody took the exact same thing and put it out and made a million dollars I know that I wouldn't contact them. I know that I wouldn't try to sue them because I don't believe you can own a sequence. I think we're all trapped into playing sequences unless it's totally experimental and then you're doing something else. And that's where it gets interesting. Only then. The rest of it is we're all playing somebody else's stuff. To me, it's chord-changes music."
It has been quite a year for Jesca Hoop thus far. Tipped by a diverse range of UK publications from Uncut (“excellent”), Time Out (bewitching”), OMM (Tips for 2009), The Sun (‘Single of the Week’ for ‘Murder of Birds’), Esquire, Music Week and a two page feature in The Times on the back of one limited self-released UK debut EP. Interspersed shows and radio sessions for the likes of Marc Riley have had to maneuver around the recording of the follow up to her US- only debut album from 2007. This arrives in the supremely elegant and unique shape of Hunting My Dress due to be released in the UK on November 16, 2009.These notable artists are not ones to bandy plaudits easily and neither should they. So what you may ask binds these people together? Maybe it is the darting melodies and sense of play nestled next to a capacity for wonder… Or maybe The Times summation gets somewhere close as “her voice swoops and pierces the high heavens and then the song soars down low”. Or maybe it is simply her ability to roll up the sleeve and get on with things and not wait for anyone to open that elusive door. She has toured relentlessly across the US and Europe, gaining fans in abundance wherever she goes. She is a force of nature that plays her intricate tunes for the right reasons. And what tunes they are. Brave and bold you can assign to her. Shrinking violet you can’t.
Oh, and did we mention her you-could-not-make-this-up background? If you have served as nanny to Tom Waits and Kathryn Brennan’s kids, most things are going to be small in comparison. Add to this her strict Mormon history in a family of five children in California where her childhood was highly musical, singing elaborate harmonies with her siblings of traditional folk songs. As her distinctive voice and obvious natural gift for inventive song craft will attest, Jesca has music running through her veins. Pursuing her own path away from her strict upbringing, fueling the visionary musical worlds in her head, Jesca traveled in the West – Wyoming, Arizona – where she became involved with such diverse activities as working in wilderness rehabilitation programs for troubled youths. When one trek too many halted this temporary world, she made her way into the aforementioned nannying position.
By then, Hoop had already been writing songs and performing with a band, and Waits took an interest in her songs from a caring distance. Through him, an early version of the swirling ‘Seed of Wonder’ (from the Kismet debut) made its way to music publisher Lionel Conway, who in turn gave it to Nic Harcourt, the musically adventurous and influential host of “Morning Becomes Eclectic” on radio KCRW in Santa Monica. After playing SXSW last year, things started to move along at a steady pace and resulted in stints in the UK and the Kismet Acoustic EP.
The making of Hunting My Dress is informed by sorrow yet ultimately the new form of love and stasis that can be left in its wake. It is also a reading of the ‘dream’ state and moments around the witching hour. It also heaves with sensuality and love. The loose acoustic framework of the Kismet Acoustic EP has been expanded upon but all the musical parts coalesce and work around Hoop’s versatile vocal performance. Her improvisational flair as a singer is one of the most significant unifying aspects of her work. She delivers her vocals as if she is making up the melody on the spot, a sure sign of natural talent.
Co- produced in conjunction with Tony Berg at his Zeitgeist studio in LA (full of a variety of “instruments, doo da’s, wizzles and machineries”), Hoop sees the process as her “quickfire” record. Bagging as much energy as quickly as possible so as to not over think or crowd out the ideas. “My aim was to produce as much energy and force with as little sonic information as possible. Layers can be a rather complicated recipe. Less is more was our motto. The narrative is the centre of this record while percussion/drums and electric guitar play the primary supports. I applied as little as possible to each track and was highly protective over the voice and the story it relays. Anything is worth trying and nothing is too precious to mute” She also adds that due to the feeling surrounding the strength of the songs that “This record was relatively effortless and a sheer joy to create!” This again is quite something when you consider that she was flat broke during the whole of this recording period and borrowed studio time only when an opportunity revealed itself, working around busy schedules at odd hours. This only made for a more emboldened experience.
Again, as with the Kismet Acoustic EP, it feels as though assembled on the fly with its sparking energy. It is also warming to hear the clever intricacies of the harmonies are still intact alongside Hoop positively attacking the tracks with gusto whilst in no way crushing them. The confidence in her own vocal performance ushers away any comparisons with ‘precious’ folker’s. It is ravishing in short.
“One of my favourite tracks on the record, ‘Whispering Light’ has only my guitar, voice and drums. Another is ‘Feast Of The Heart’ which is made up of just two basses, a totally haphazard drum track and my voice. The songs were written over a span of like 16 months. As a body of work they sound like they are from the same volume…chapter…or season”. Apt that she pinpoints ‘Whispering Light’ as it opens proceedings. We are immediately into a place where she teases and goads her own lyrics, playing push me-pull you against the stark backdrop. It seems perfectly economical as was intended. This is followed by the swooping ‘The Kingdom’ where Hoop embodies a “banshee-esque battle goddess who’s call it is to deliver a spell bound death to those dying, yet still attached to this earth” This story is carried on the back of monstrous percussion, through the wail of sirens and Hoop’s fireside narration. The wobbly playfulness of ‘Four Dreams’ is next with its stand out dream-like slide blues interlude from Blake Mills. ‘Angel Mom’ brings forth the album centerpiece that is pretty self explanatory. Never manipulating grief, it can only invoke an ironic smile whilst being on the edge of collapse, as is mirrored within the arrangement. Truly beautiful and evocative.
‘Feast of the Heart’ drips with passion, as if Marc Ribot joins a rampant Hoop letting her tresses a go-go, with military drums adding to the maelstrom. Things are calmed by another highlight in the form of the marvellously lilting ‘Murder of Birds’. If anyone wants a lesson on how to accompany on a duet, just listen to this impeccable, restrained performance from Guy Garvey, weaving around Hoop who more than proves his equal. ‘Bed across the Sea’ in turn brandishes a new love found and pulsing heart beating hard and often.
No album would complete without a murder ballad right? Just ask Nick Cave. ‘Tulip’ delivers in spades and notches up yet another strident vocal performance. The album is rounded out by the embrace of the title track ‘Hunting My Dress’. And in the words of Jesca, it was also a way to narrate herself as a “fire carrying raccoon”! The layered backing vocals at the tail end of the track are simply stunning.
Artistic ambition and a near obsession with sound and sensual wordplay are the rule of thumb all over this delightful work. The UK should be proud that she now resides on that fair isle after a lifetime living in the US.
Jesca Hoop’s lyric, “Your passion marks you different” could not sum it up any better really. She has made the album that she most wanted, and in turn we should dive right in and sample this distinguished talent and her work.
Sid dead!
In the war against albums being illegally uploaded on to the internet before they are released, David Tibet of the underground band Current 93 may have struck a minor, if resounding, victory. "This is a promotional CD," announces a little girl on the promo copy of Current 93's new album Aleph at Hallucinatory Mountain. "Anyone illegally selling, copying, uploading or downloading this material is condemned to eternal hellfire. Happy listening, God is love." Then Tibet – a devout Christian with strong views about the impending apocalypse – intones "murder" over a guitar riff heavy enough to terrify Satan. It makes you wonder whether a casual upload is really worth being cast into Hades for.
It was estimated more than eight per cent of the population used marijuana at least once a year, and this rate was only matched by North America and our trans-Tasman neighbours."Australia, New Zealand and North America have traditionally been the countries which have among the highest rates (of cannabis use)," Professor Louisa Degenhardt of the University of NSW said. "That has been something demonstrated repeatedly in surveys of young people and surveys of the general population."
Europe was next in terms of annual usage followed by the Middle East and Asia, while usage rates were rising across Africa but from a low base in some countries.
The new 12” released for Record Store Day will contain a cover of 'Bye Bye Bayou' originally recorded by Suicide singer Alan Vega on his 1980 debut album.
The Palestinians have urged the UN to act to punish Israel for its offensive in the Gaza Strip last winter.
The move reverses a Palestinian decision to defer action on a UN report that accuses both Israel and Hamas of war crimes during the conflict.
Israel rejected the report as biased during a UN Security Council debate.
Meanwhile, UN chief Ban Ki-moon urged "credible" investigations by Israel and the Palestinians into allegations of war crimes during the conflict.
A great recording of the entire performance of 'Ladies & Gentlemen We Are Floating In Space' from the Royal Festival Hall the other night over at 'Ripped In Glasgow' (mp3). There is a FLAC of the same recording available at 'Dime'. (Thanx Tufty & Moggieboy for that!)
"Young Dutchman walking down city street, naked save for a fedora and shoes as he dares punishment by the SS while protesting clothes rationing by the occupying Germans."
I am pleased to report that i have completed my second record. I should say we really. We , and more specifically defined as, Tony BErg, Shawn Everett, Blake mills, stewart, Nicole eva emery, QUinn, Joe Karnes, Z berg, Patrick Warren and myself finished my record. On the morning after the last tracking session i hopped on a plane to manchester where i have been living now for the past three months. The mixing was done by Shawn everett there in LA. After he was done with a mix or two he would send it to me via usendit and i would take notes afterwhich i would skype him and we would discuss changes that needed being made. This was a great excuse to spend some time via skype with some of my favourite people in the world... Tony Berg and Shawn Everett.
A translation company is looking to recruit Glaswegian interpreters to help business clients who are baffled by the local dialect.Today Translations placed an advert in The Herald newspaper on Tuesday seeking speakers of "Glaswegian English".
Successful candidates, who could earn up to £140 a day, must understand "vocabulary, accent and nuances".
The firm said, so far, 30 people had applied for the positions - some of them in Glaswegian.
 | SOME GLASGOW PATTER Baltic (very cold) Boost (head off) Buckie (tonic wine favoured by youngsters) Cludgie (toilet) Eejit (idiot) Hampden roar (score) Hee haw (nothing) Hen (term used to address a woman or girl) Laldy (enthusiastic participation) Maw (mother) Midden (rubbish tip) Pure (very) Moroculous (drunk) Messages (shopping) Scooby (clue, ryhming slang - Scooby Doo) Shoot the craw (leave in a hurry) Stooky (plaster cast) Swatch (look) Toaty (small) Ya dancer (fantastic) Yersel (yourself) |
Today Translations spokesman, Mick Thorburn said: "Over the last few months we've had clients asking us for Glaswegian translators.
"After some consideration we've decided this is a service we would like to offer.
"Usually, the role would involve translating documents but in this case its more likely to be assisting foreign visitors to the city whose 'business English' is not good enough to understand the local dialect."
Mr Thorburn said successful candidates may have to sit in on business meetings.
He added: "We're not necessarily looking for people who are particularly skilled in linguistics, just candidates who can help out clients who may struggle with native Glaswegian."
Today Translations said that depending on the volume of applications, it expected to contact the successful clients in the next few weeks.
Earlier this year a bus driver was recognised for teaching his Eastern European colleagues at First Glasgow bus company to understand Glaswegian slang.
James Lillis said: "When new employees come to Scotland and hear the Glasgow accent, it can be a problem. Drivers have to learn to understand what is meant when a customer says, for example, 'Gie us an aw day tae the toon' (Give me an all day ticket to the town)."
The milk snatcher's birthday was yesterday!
Jason Pierce performing Spiritualized's Ladies and Gentlemen We Are Floating in Space at the Royal Festival Hall, London. Photograph: Jim Dyson/GettyReleased in 1997, Ladies and Gentlemen We Are Floating in Space is the key text in Spiritualized's canon. It was the album that synthesised all of frontman Jason Pierce's influences (from gospel to free jazz) and preoccupations (drugs, religion, the agony of love). Performed in its cacophonous entirety at the Royal Festival Hall, in a suitably extravagant arrangement – aside from Pierce and his six-piece band, there is a mini-orchestra of strings and wind players, plus a 12-person choir – it still dazzles, although at this scale its imperfections also feel exposed.
There is a thinness to Pierce's songwriting: dwelling on his acrimonious split from the band's then keyboardist, Kate Radley, he seeks no complexity in his emotions. The affecting fragility of Broken Heart is undermined by the fact that what Pierce expresses is the lavish melancholy of Hollywood movies. In All of My Thoughts, Pierce luxuriates in his misery. And sometimes, that pleasure in pain becomes sadistic. Electricity is a screech of nerve-shredding noise, while the black screams in the seemingly interminable closer Cop Shoot Cop create the impression that hell has opened up. No wonder Pierce applauds the audience: we're passing an endurance test just by staying in our seats.
But at its best, the show offers a kind of transcendence. With its disjointed rhythm and odd texture, Stay With Me eschews sentimentality yet captures a lifetime of romantic experience. Initially woozy, I Think I'm in Love slowly envelops the audience in a pulsating, repetitive groove. When it ends, you feel exquisitely transported.
The 70s were definitely a simpler time, but today this logo for the Catholic Church’s Archdiocesan Youth Commission looks like an admission of guilt. 
State Oil Company of the Republic of Azerbaijan (SOCAR) oilfields, Baku, Azerbaijan, 2006
