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Café del Lar Jukebox

By Phil Thornton

 

 

Listen The Snow Is Falling – Yoko Ono & Plastic Ono Band

I Betray My Friends - OMD

Molde Canticle Pt 4 – Jan Garbarek

Never Say Never – John Martyn  

Beauty & The Beast – DJ Taylor 

Love Aint An Easy Thing – Neil Sedaka

Call Me (Instru) – Blondie

Livin’ For The City (Bullring Mix) – Cook da Books

TVOD – The Normal  

Perfumed Garden  – Rah Band

Voila – Francoise Hardy

Ice Cream Van - Glasvegas

Pigs (In There) – Robert Wyatt  

Time Becomes/Planet Of The Shapes - Orbital 

 

Ste Connor's Mobile Disco

Hatchback – Comets (Lo)

Dorothy Morrison – Brand New Day (Columbia)

Lou Reed – Street Hassle (RCA)

Bobby Charles – SmallTown Talk (Bearsville)

Van McCoy – African Symphony (T & L)

Ultra Vivid Scene – Mercy Seat (4AD)

The Commodores – Cebu (Motown)

Hugh Masekela – Don’t Go Lose It Baby (Jive Afrika)

Chicago – Saturday In The Park (CBS)

The Black Keys – I Got Mine (V2)

Mahavishnu Orchestra – Dawnin’ (CBS)

Jim Capaldi – Favela Music (Island)

Freddie McGregor – Big Ship (Greensleeves)

Joe Cocker – The Man In Me (Stingray)

Eddie Henderson – Say You Will (Tower)

The Emperor Machine – What’s In The Box? (DC Recordings)

Robert Palmer – Work To Make It Work (Island)

Dazzle – Reaching (Underdog edit) (Underdog)


 

  

 

 

Music Reviews

 

Windsurf – Coastlines (Internasjonal)

 

Nu-balearic LPs are like shite jokes about busses, you wait ages for one to come along and then two come together; hot on the heels of Hatchback’s ‘Colors Of The Sun,’ Sam Graw and Dan Judd’s respective Hatchback and Sorcerer aliases have fused for the first Windsurf longplayer. As with Lindstrom and Prins Thomas’s joint efforts, it’s difficult to see where Sorcerer ends and the Hatchback begins. To help us, each co-surfer has listed his own influences in the shape of a ‘cosmic ven diagram’; Sorcerer gives us the likes of Arthur Russell, Ned Doheney, Gabor Szabo, Hawaii, kung fu, dolphins, old drum machines, Todd Rundgren, Fleetwood Mac and Xanadu.  Hatchback provides Vangelis, David Axelrod, Brains Eno, Conny Plank, ELO, white blazers, Fender Rhodes, Steely Dan, flea markets and Cluster.

 

Together, they are Windsurf and they make the kind of epic electronic AOR, some (OK, me!) have christened ‘Callyearic.’ As the title suggests, this records evokes languorous, hazy evenings with the waves lapping gently against the shoreline. With tracks called Moonlight Sun, Light As Daylight, Bird Of Paradise and The Big Island, you pretty know much what to expect. Returning home from a weekend in Wales with the September sunlight shining off the lakes and mountains of Snowdonia, it all made perfect sense (although the missus classed it as ‘boring’). It’s no coincidence that this LP is being released on Prins Thomas’s ‘Internasjonal’ imprint. If you’re tired of the cosmic-nu-balearic-scando-cally-earic hype, then I’d swerve this but if, like me, you find another wet and windy summer is only made bearable by music this warm and optimistic, then seek it out.

   

Release date – 27th October

 

The Art Of Chill – Bent (Platypus)

 

Would you buy a compilation called The Art Of Chill? No neither would I, so it’s lucky I got sent this from the good folks at epm. Bent are one of those bands who always appear on the zillions of ‘Now That’s What I Call The Very Best Of Ibiza Sunset Chill Bar Grooves 5’ CDs in Asda but that’s not their fault. Along with Boards Of Canada, Lamb, Groove Armada et al, Bent have become a Chill-By-Numbers outfit which is a shame because their music is often sublime and beautiful in its arrangement. This compilation provides a stunning insight into Simon Mills and Neil ‘Nail’ Tolliday’s tastes.  Each Bent-ster (as we at Swine call em) ‘curates’ his own compilation and whilst the tone is similar on both, Nail’s is the more avant-garde and the more interesting. Make no mistake; there is music on this compilation that will amaze and surprise you, whether that’s minimal abstract classical, spooky disjointed electronica or perhaps one of the most remarkable singing performances I’ve ever heard; The Bulgarian Female Vocal Choir’s ‘Kalimankou Denkou.’ No shit! As the man says himself in his notes;

 

‘My old friend Katty played this to me about 14 years ago and I was sceptical at first. I’m glad she insisted because after about five seconds I was in floods of tears, I’d never heard anything before quite as beautiful.’

 

So, ignore The Art Of Chill as a brand name and seek this magnificent compilation out, you won’t be disappointed.

 

Release date – 13th October    

    

 

Detroit Grand Pubahs ' Nuttin Butt Funk (Det.Ele.Funk)

Somewhere along the way techno lost da funk. I don't really know when this happened having lost interest in Detroit's 'hi-tech jazz' somewhere in the mid-90s. Bleep I could live with and whilst I admired the Cornish tech miners (Aphex, Vibert) and the likes of Autechre, Paradinas, Jenkinson, their brand of 'drill n' bass' operated somewhere on the outer reaches of intergalactic funk. Meanwhile whilst appreciating Hawtin's minimalist genius, his techwank left me cold. Jeff Mills, Carl Craig, UR all passed me by to be honest.

So, I've been attempting to re-educate myself over the past four years or so. What confuses me is all the hybrids; tech-house, intelligent glitchkore, tech-dub, booty-step, deep-click etc. But what it all boils down really is da funk. Modern funk, mutant funk, funk not as a 70s pimpsploitation cliche but as an evolving technological artform.

When the UK and Germany replaced Detroit as the centres for techno's commercial and some would say artistic centre, the circle seemed complete; Kraftwerk's Teutonic synth-funk influences black American musicians and DJs who produce their own takes on this sound and export back to the Fatherland. Yet what the music lost in this process was the essential funk of the grooves.

Nuttin Butt Funk reasserts the essence of Detroit Techno, not that it ever went away but serves as a timely reminder that for all the recent hype surrounding the likes of Villalobos et al, back in the ghettoes that spawned techno, the emphasis is still on the visceral thump thump head noddin' qualities of the music.

Beginning with the cosmic opener (costech?) track 'Skydive From Venus' with its tinkling piano and muffled bass, this LP takes in pounding tits out stompers like 'Message From Overkill' and 'Crystal', the best p-funk tune Clinton never made, 'Rollin' Paper & Bush,' the squelchy electro of 'Earth Hoes', deep tech flow of '50,000 Legions', the insane whump whump hardcore of 'ChiTown Shuffle' and several deeply silly 'skits.'

There is a seriousness to some tracks especially the Funkadelic style Rollin' Paper & Bush which takes a swipe at the cultural appropriation of black art forms, although this is balanced with the humourous (yet deeply sexist) 'Earth Hoes' and 'Butt Market.' The Grand Pubahs are not sonic crusaders like UR or Mills, they offer GettoTech that is accessible to even non-techno disciples such as myelf. Nuttin Butt Funk indeed.

Rza as Bobby Digital - Digi Snacks (Bodog)

Rappers, like squaddies exist in a state of perpetual adolescence. They appear to have rejected the usual trajectory of adulthood - responsibilities and all that boring straight shit - to indulge in a blunts n' hoes Utopia of sex n' weed on tap. OK, so most people in the music biz act in a similar way but rappers, even supposedly intelligent ones like Rza, appear to wallow in this shallow pool of decadent sensuality for far longer than most. Having a dig at Robert Diggs is hip hop heresy but here goes;

Let's begin with the artwork. The illustrated front cover sees our masked hero on a throne, surrounded by six concubines of varying ethnic origin. The usual Wu quasi-Samurai/Kung Fu adornments accompany this Digital despot and he stares coldly, dispassionately at us, like some terrible sultan about to pass sentence of death by a thousand cuts. The inside comic artwork attempts to convey some kind of dark urban narrative to the LP, as if it's a 'concept' maaan. Yet what we get is just the same old, same old. Guns n' sex n' quack science n' third rate philosophy. And it's not bad, some of it the epic 'You Can't Stop Me Now' and the superb 'Don't Be Afraid' are equal to any other Rza or solo Wu effort, it's just.....you expect MORE from Rza.

The Wu are thru! They've had their moment in the sun and for a while they were as important and vital in re-shaping hip hop for a new decade, a new generation as had been Public Enemy or De La Soul. Their problem was stretching the Rza sonic template far too wide. The initial lo-fi thrill of 36 Chambers was replaced by formula beats, familiar tricks, leaden, lazy raps. Too much of Digi Snacks is just Rza by numbers, it leads nowhere, it's a sonic, aesthetic and commercial dead end. Hip hop has always evolved to sustain itself but it seems that Rza and the entire Wu collective have simply ran out of steam. There are younger, hungier rappers and producers out there and perhaps, Bobby Digital should take a look around and y'know grow up a bit.

 

 

 




 

 

 


 

 

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