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Spencer Grady gazumps a glory-hole; Ian McCann tells him Please Don’t Touch

Andrew Liles Monster Raving Loony Dot Dot Dot Music dotdotdot 016 v April’s fool belatedly gazumps a glory-hole gag reflex via the cat flap of an asylum’s padded walls, brokering one-liners with stomach-churning chops mucky in your mother’s best lippy. Meanwhile, Kenneth Williams’ road trip east takes an unexpected turn for the worse when The Banana Splits’ Bingo and Snorky resolve to ride shotgun, unlocking subterranean levels of subversion for a graceless rehash of Michael Kurland’s The Unicorn Girl, uncovering gruesome northern garbles, spewing Peter Sotos-style perversion into a bucketful of chicken wings.

The Arcs Outta My Mind/ My Mind Nonesuch 550540 7Another single from the forthcoming Yours, Dreamily album, which crucially manages to evade early ersatz eastern conundrums for the more satisfying sop of a fest-friendly soft-psych shuffle. Imagine Golden Smog and Beck necking plumes of umbilical fizz as they sundown their siestas upon the plummy hump of a grinning Miyazaki moocher, watching dovetailing nimbus dolly like a buffet of flags framing an Indian summer. Believe me when I say it’s exactly like that. Loving the anthropomorphic art on these sleeves too, courtesy of the mysterious El Oms, who inks critters like lovelorn lycanthropes lifted from the pathos-pumped pages of Norwegian cartoonist John Arne Sæterøy.

Kerridge Sonic Instruments Of War Contort CNTRT 003 Drum’n’boom primers pulled for coteries of roleplaying fanatics, bleeding endless reruns of Ed Rush’s mythical mix of TG’s Hamburger Lady. Breakbeats detonate and deploy, like so much debris from an Alfred Bester asteroid belt, ossified in the wake of a 2nd Gen thruster blast, sifting stardust stigmata for symptoms of alien gods, diligently disdaining dancefloors in a deep-space hissy-fit of holy strops.

Spidergawd Fixing To DieCrispin Glover VODU 6 CGR 047 Members of Norway’s hybrid heavy metal fruits Motorpsycho marshal

muscular chunks of retro rock mainlined direct from the disparate diabolical paths of US primitivism; seizures auspicious enough to sequester alternating colour schemes from heat-sensitive sleeves. Riddles of gilded salamanders resolved, tightly-bound glam-ragging riffs unburden themselves to vistas of white flags raised along the watchtowers of Rise Above HQ, a killer sax-bled take on Suicide’s Ghost Rider even more libidinously cocooned than the original.

Johns Lunds Plays Alto Saxophone Yoyooyoy johnlunds 10 It’s always worth dipping into whatever this Danish horn honker is currently up to. On this one-sided 12” he leaves behind the snarling bluster of previous output to charm his way around some extended techniques, coughing up multiphonics into breathless swirls of ballooning cloud cover and auditory apparition. Affording far less polished results than similar circular works by Colin Stetson and Matthew Nelson, Lunds isn’t afraid of a little musical vérité, the few frailties in his playing exposed by an occasional lack of puff here and off-kilter trajectory there. Lunds recording takes an increasingly populist solo stratagem beyond the simply stale and procedural, to a place where even concluding paroxysms of bile clearance seem like joyful reaffirmations of the human condition.

Alvarius B Chin Spirits (Durga)Unrock UNROCK EP 003 Making more mischief than a drunk djinn wriggling its way through the paper trails of Fairfax County, this former Sun City Girl operative spools previous ventures on Chocolate Monk for a 10” hopscotching spring-loaded scarabs across a fourth-world vernacular. Samuel L Jackson’s postmodern better half kicks things off, floating shares in Lester Bowie’s powwow before Brother Alan Bishop breaks into the ramshackle souk science that made 2011’s Baroque

Primitiva such a twisted pleasure. My copy of Chin Spirits came with a bonus 7” further mutilating the Morricone myth (a constant source of inspiration inside the Alvarius universe), sousing it in a marinade of cheap wine, petty prejudice and sex crimes. But never

judge a man by the company he keeps, his shadow might be the only friend you’ll ever really know. SG

Buddy Holly & The Crickets/ JI Joe B & Gordon/Peggy Sue Got Married/Let’s Do It Again Roller Coaster RRC 2011Buddy Holly records Peggy Sue Got Married as a demo in 1958; dies. It becomes a solo release. The Crickets make their own version in 1960. In modern music the impossible happens every day. This 45, effectively a mash-up, blends Buddy and ex-band; though it’s a tad boomy in places, this is how it could have sounded had Holly been with The Crickets while making the tune, though Holly, a questing sort, would maybe have amended the song from the Peggy Sue groove this is locked into. No stranger to studio trickery, I think he’d have approved of this. Who could object in that case?

Johnny Kidd/The Five Nutters Please Don’t Touch; Shake, Rattle & Roll/Growl; She’s My Blood Red Beauty Moochin About Moochin 12/13Johnny Kidd, the British rocker’s British rock’n’roller, looks down from Heaven to see his first 45 reissued plus a brace of skiffle demos. The first thing he spots is the quality of the packaging: the definitive photo of the man, clinging to a lamppost and staring patch-eyed at destiny. This is available as a numbered 10” or 7”, the tracks on each configured differently. Both the debut 45 and it’s flip are top-quality rock’n’roll... perhaps the first from these islands. Please Don’t Touch remains roughneck. The guitar intro is so overexcited it’s faster than the rest of the tune, which takes some time to find a managable tempo: a reminder of how raw these times were. The Five Nutters’ demo is even more raw: a spluttering yet rocking go at Shake, Rattle And Roll, and the self-penned She’s My Blood Red Beauty, offering a usually hidden jazzy side to Kidd. Rough they may be, but you can hear the quality: this is no one-note tea-chest bass; everything is tuneful and proper, like. The sound on the Nutters’ tunes may be iffy, but it’s all as direct as a bang on the bonce. If these demos exist, anything can be found. Mr Heath, they’ve done you proud.

nick nicely 49 Cigars; Belinda/ 49 Cigars Live; Lobster Dobbs Fruits de Mer Crustacean 66EP from the Hilly Fields weirdo. What I like about his stuff is that he’s an urban psychedelician; I find it hard to identify with pixies gambolling in the woods. nicely is like those white van men you occasionally meet who are totally off their gourds: a city tripper. You may just notice a faint Photofit resemblance to a 1966 Beatles

tune, but this is more eerie, perhaps because it was so out of time in ’82: nicely was nigh-on alone out there; folk would have feared him as he shambled up to them, innocent grin on his face. He’s still making gems: this also holds a couple of messed-up-in-a-good-way remixes from his new album too. Worth a cigar or 49.

Johnny Moped Ain’t No Rock’n’Roll Rookie/Super Woofa Damaged Goods DAMGOOD 446Holly Golightly Seven Wonders/Nothing Lost Damaged Goods DAMGOOD 445The indestructible Damaged Goods drops new 45s by two further musical Captain Scarlets. Johnny Moped, whose genius Darling, Let’s Have Another Baby hums in my head when I see their name, wreck the speakers with a song that’s a statement of fact. From the same school as The Damned (almost literally), they’re loud and chaotic as motorway traffic. Moped? You can’t mope with this playing.

Holly Golightly returns with a tune like Roogalator playing the Feelgoods’ Roxette with a string bass and a gently sloshed (or chemically coshed) Wanda Jackson over the top – that’s a recommendation. Unaffected, accomplished, affecting; the sound of people who know what they’re doing, doing what they do best. The flip refries Then He Kissed Me’s riff to good effect. Tidy company sleeve too.

Tír na nÓg Ricochet/ Tír na nÓg (Live) Fruits de Mer Crustacean 65I thought I was more a Noggin The Nog

man than a Tír na nÓg fan, but I’m switching sides. With FdM’s track record(s), I thought this might be the Jonesy Mellotron groover remade, but I couldn’t have been more rong. Insert name of “dark-voiced” singer here (mine is Ian Curtis) fronting a “folk” (inadequate description) outfit that’s part prog and semi-shoegaze (’cos it’s not just the voice that’s dark) and you are swirling in the deadly maelstrom of Ricochet. Rocks, but gently, to quote Mr Doonican, an earlier Irish psych-folk legend (oh yes he was, with that weird hallucination about clog-clad mice on the stair). Tnn’s new album must be quite an experience, if it’s like this. IM

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USE Singles V2 SEE NOTE.indd 108 7/30/2015 12:33:10 PM

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Rayon Beach Airplane With

Tits/The Libertine And The

Happy Slave Hozac HZR 070

Is this what passes for punk rock

nowadays? Sounds like a pack of

giant killer caterpillars mulching

their way out of a haunted

fairground ride buckling under the

weight of some primetime fuzz. On

the flip these Texans do the turtle

with a newly acquired synth, wires

dangling like a businessman’s

necktie at a squalid office jamboree,

bartenders busying themselves

wiping away the surplus goo. What a

loon party. Pretty blistering though.

Steven Broderick Blue

Sonic Pieces PIECE TWO

Delightful disc conveying sweet

sentiment, as Peter and Heather

Broderick share their old man’s

music with the wider world. These

recordings, from 1979, find the

father’s reluctant voice eddying in a

swirl of delay on the sole vocal cut,

reminding me of post-hardcore

champs The Hated while inevitably

pre-ghosting his prodigious son’s

recent Old Time hymnal. Stronger

still are the successive instrumentals

that ripple across the reverse, mining

a wholly satisfying seam of string

theory, doffing the cap to both John

Renbourn and Robbie Basho.

Superchunk Learned To Surf

Merge/One Four Seven OFS 018

What’s not to love? Both the title-

track, a lift from the group’s Majesty

Shredding comeback, and exclusive

cut Sunny Brixton, set Mac’s

teenage-eternals across a galloping

bounce of porch-side pep. A jaunty

take on Neon Christ’s Bad Influence

comes flecked in spittle and breeze

hits from a can of Mountain Dew.

Mats Gustafsson & Johns Lunds Plays Baritone

Saxophone Yoyooyoy

MATS&JOHNS 01

Sax blowin’ titans inhabit the

corpulent bodies of inebriated bull

elephant seals and do blubbery

battle at Copenhagen’s Mayhem

venue till their gums bleed. Belching

out a loquacious sludge of thuggish

honk and rasp blurs the duo’s

voices, forming a brass-bred slug

trail as antidote to the high octane

shrill more readily associated with free

jazz. The crowd seemed to dig it too.

Guided By Voices Doughnut For A Snowman

Fire BLAZE 45188

Back in classic line-up formation

after a prolonged hiatus, these

Beatles/Big Star-influenced

veterans prove that you can’t keep

a team of crack songwriters down

for long, especially if they’re

packing a recorder. Of the

exclusive B-side quartet, One,

Two, Three, Four is the most

remarkable, showing an uncanny

ability to fashion a childlike pop

gem from the scantest fragment of

elementary number-crunching.

Tall Firs Crooked Smiles/

Highway 5 ATP Recordings

ATPRSP 1

David Mies and Aaron Mullan strip it

back to a duo to create the kind of

countrified soundtracks Barry Hannah

could inspire in J Mascis. Crooked

Smiles recalls Thurston Moore’s

recent acoustica, while hitting hot for

a cinematic tarmac drag. As the

drowsy blues arpeggios ring, it’s easy

to see endless American roads in slo-

mo melt-away; a Stetson-topped rider

in search of fresh beginnings from

behind sunshades, David Berman and

James Jackson Toth perched on the

passenger seat. SG

Macka B/Leanna Never Played

A 45/Grapevine Peckings PTI 077

“You could have a million tunes on

your hard drive but there’s something

about the touch and the look and

the vibe of a 45,” insists talking

talent Macka B on a 7” that could

be RC’s theme song. A tune to

support vinyl, on vinyl. Modern

technology created it – it rides a

sample of the rocksteady cut of The

Maytals’ 54-46 – but it’s a fierce

tribute to the format this page

adores. Top stuff. The flip is a lost

love song that sticks it to the fool

that strayed in no uncertain way.

Peckings, a British vinyl label,

has lots of strengths. Its connections

with the best Jamaican producers go

back to the birth of ska, so it can use

their rhythm tracks to create new

music; it works with little-recorded

acts who have plenty to prove so

they try; and its tunes are properly

arranged with strong harmonies.

Plus the label puts its money where

its mouth is: its 45s cost about £3.

Chris Ellis/Raphael Nkereuwem English/Good Old

Vibes Peckings PTI 075

English, a woeful tale of cross-the-

tracks love sung by the youngest

son of reggae legend Alton Ellis, sits

tidily on Bob & Marcia’s Studio 1

1970 classic Always Together. The

other side is further notch on the

rhythm from a more dancehall-styled

singer with something of the vowel-

twisting skill of Frankie Paul in his

phrasing. An unhurried, classy tune.

Lady Lex/GI Joe & JooksieConversation/Fake Friends

Peckings PTI 071

Tarrus Riley & Baby Boom/Nakisha Lindo Chocolate/Make Me Believe

Peckings PTI 073

Alluring London singer Lady Lex

applies her mildly jazzy tonsils to

Slim Smith’s classic My

Conversation, which is fitted

beautifully to the backing track for

Toots’ & The Maytals’ 1968

rocksteady classic Hold On. Lex’s

bittersweet harmonies appeal to

your soul, which is as much as you

could hope for. On the flip, GI Joe

& Jooksie growl “Ooh-wah, ooh-

wah, why do fake friends

reappear…” using a certain doo-

wop hit’s melody, as adopted by

Philip Leo & CJ Lewis in the 90s.

I’d suggest changing your

Facebook settings, gents, but you

have a point.

Two more chunks of the same

rhythm track turn up on the MC-

spars-with-singer tune Chocolate,

and Make Me Believe. The A-side

refers to skin tone rather than

confectionery, while the flip is

spoonfuls sweeter than anything

Mars makes and way more

seductive, with Ms Lindo in full

romantic flow.

Claudette & The Corporation Hot Bread And Butter/Ashes To

Ashes Grape THB 7014

The latest website-only limited-

edition 7” from Trojan features the

little-recorded Claudette, known to

collectors for Skinheads A Bash

Dem. That effort was backed by

The Cimarons, who turn up here in

a disguise doubtless inspired by

Motown’s “Corporation” which

oversaw The Jackson 5. Claudette

was not the greatest singer but

was she bovvered? Nah. This

previously unissued (1970?) tune

chugs along in a semi-funky reggae

way while she chants cobblers like

a half-asleep James Brown

impersonator. The other side is a

replica Brixton funeral complete

with crying – that plods only mildly

respectfully. Both sides are

peculiar and were obviously just

bashed out, but are not without

retro charm.

Dedy Dread/Dedy Dread & Mr Bird Psychedelic Cloud/

Safari Life Resense 026

Mash-up

maestro forges

an unholy

but effective

alliance of The

Temptations’

Cloud 9 and

the Swinging Blue Jeans’ cover of

You’re No Good, which was

presumably Amy Winehouse’s

inspiration for You Know I’m No

Good. This new mix highlights the

dark heart of The Tempts’ tune:

they were driven to dreaming (or

tripping) to escape a harsh life.

Safari Life fuses samba with Bert

Kaempfert’s Afrikaan Beat and

supplies subtle jollity. IM

Spencer Grady wipes away surplus goo; Ian McCann comes over all romantic

108 Record Collector

Anmeldelser

HAVENS FUGLEHavens Fugle

(7, yoyooyoy, 2011)

JOHNS LUNDPlays suite for amplified saxofone part 1, 2, & 3

(7, yoyooyoy, 2011)

JOHNS LUNDPlays the alto saxophone

(7, yoyooyoy, 2011)

CLAUS & JOHNClaus & John

(7, yoyooyoy, 2011)

Fire syvtommerudgivelser viser mange forskellige sider af Johns Lunds. I

projekterne Havens fugle og Claus & Johns deltager han i eksperimenterende,

avantgardistiske udfoldelser med andre, mens to soloskiver udelukkende er baseret

på hans karismatiske behandling af saxofonen. Han forundrer med sine frie

projekter og fryder især med sin støjende saxofon på hovedværket Suite for

amplified saxofone part 1, 2, & 3.

Selskabet og musikerkollektivet Yoyooyoy har gennem nogle år stået for noget af det mest

spændende og eksperimenterende musik i Danmark. Udgivelserne er meget forskellige, men

fælles for dem alle er en nysgerrighed og en stor afvigelse fra det kommercielle og konventionelle.

Interessen for selskabet er voksende og er foreløbig kulmineret med den store opmærksomhed,

der har været på Frisk Frugt, som har fået et lille gennembrud i Danmark. Medejer Johannes

Lund er mest kendt for sine mange projekter sammen med andre, men han har et meget

selvstændigt, karakteristisk udtryk, der kan høres på hans soloudgivelser, og som bestemt

fortjener opmærksomhed. Denne anmeldelse omhandler fire syvtommerudgivelser fra Yoyooyoy

– to der er udsendt under Lunds alter ego, Johns Lunds, en dobbelt syvtommer fra free-jazz

projektet Havens fugle og endelig duoen Johns & Claus’ plade.

Free-jazz projekt med syv instrumenter og et kompliceret lydbillede.

Et godt sted at starte en gennemgang af Johns Lunds’ projekter er Havens fugle, da gruppens

ånd er meget betegnende – både for Lunds og for Yoyooyoy. To trommeslagere, to bassister og tre

blæsere udgør Havens fugle, der har free-jazz som udgangspunkt men bevæger sig ud over

genregrænser og danner et lydbillede, der er stort og melodisk kompliceret.

Det er ikke til at se, hvad der er side 1, 2, 3 og 4 på denne dobbelte syvtommer, men den ene side

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starter med et lille melodistykke med blæserne, hvorefter resten af gruppen træder ind lidt senere.

Det betragter jeg som side 1. En anden side er mere stille og har kun få elementer, hvilket jeg

betragter som afslutningen og dermed side 4. Hører man værket i en anden rækkefølge får man

en anden kronologi og dermed en anden oplevelse og en ekstra dimension i musikken.

Det er svært at holde sammen på melodier og lyde, fordi de kommer fra mange forskellige steder i

det store lydrum – ligesom i en have. Der er melodier fra basserne og blæserne, der i små

tidslommer holder musikken sammen, men den store force er, at de vælter ind over hinanden, og

at ørernes fokus derfor bestemmer stemningen. En gang imellem træder rytmen ind som

hovedelement og dirigerer tunge nedslag, der bryder musikken op og skaber en ny sammenhæng.

Sammenrendet af lyde og små melodier er både kaotisk og forvirrende. Musikerne træder ud af

deres instrumenters begrænsninger og bliver til havens fugle, der hver især kæmper om lidt

opmærksomhed. På den sidste føromtalte stille side er rytmerne taget af, og kun fuglesang –

formentlig spillet på Lunds saxofon – kan høres sammen med en simulering af havens vind. En

afslutning på et meget interessant værk, der kan høres igen og igen.

Lunds’ hovedværk med forstærket og forvrænget saxofon.

Suite for amplified saxofone part 1, 2, & 3 er et værk, hvor Johns Lunds bruger forstærkere

og effekter, der får saxofonen til at undslippe dens egne begrænsninger og fremstå som et

instrument, der kan og vil alt. Man kan nævne lydkunstnere, der bruger lignende virkemidler,

men Johns Lunds er noget for sig. Han kan bruge instrumentet til at lave store lyde, der både kan

skrige og være særdeles tunge, hvilket er det fremmeste i part 1 og 2. Han kan også lave en

lydmur, hvor brugen af delay får tonerne til at blive i luften og danne det store billede, der bærer

part 3.

Mesterstykket er, at der bag dette inferno af støj og pirrende lyde, er nogle iørefaldende melodier,

der bare bliver større og større. Lydtapetet giver lige præcis plads til, at det melodiske kommer

knejsende flot frem men heller ikke mere end det. Virkningen er i sidste ende, at man aldrig helt

bliver færdig med værket, fordi der hele tiden er nye indtryk at hente for hver gennemlytning. Det

er løget, der skrælles, men hvor løget normalt består af en masse elementer, er dette løg blot en

saxofon med diverse effekter. Det er umuligt ikke at være imponeret over, at dette set-up kan

frembringe et sådant værk, og selvom det kun er en syvtommer, vil jeg alligevel kalde det for

Johns Lunds’ hovedværk.

Ren jazz-saxofon med en lys sommerside og en mørk vinterside.

Johns Lunds plays the alto saxophone er nok den mest jazzede af udgivelserne, og denne

gang er det en ren saxofon uden effekter, der træder frem. Skiven er delt op i juli på den ene side

og december på den anden, men som med de andre plader ved man ikke, hvad man skal starte

med. Juli er en meget lys side, hvor tonerne kommer lynhurtigt efter hinanden. Som med de

andre udgivelser er rytmen meget stærk og for det meste det bærende element, der holder

sammen på musikken. Tonerne springer op på må og få i skalaer og bliver frembåret af de dybe

toner, der bliver blæst ud med en smule mere kraft end de lyse. Julisiden afslutter med fængende

melodi, der bliver gentaget i de sidste riller, hvilket nok er værkets bedste detalje. Decembersiden

er stemningsmæssigt lidt mørkere, og tonerne er dybere. Skalaerne bliver også spillet en anelse

langsommere og mere kontrolleret end på julisiden, hvilket giver en fin kontrast som vinter over

for sommer.

Et ensemble ville nok have svært ved at integrere den hurtige solosax, så det giver mening, at der

ikke er andre elementer på pladen. Havde der været mere spilletid, ville projektet nok have været

lidt for trivielt, men som en syvtommer virker det fint.

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Elektrisk projekt med eksperimenterende guitar som bund for Johns Lunds.

I projektet Claus & Johns er Lund gået sammen med Claus Haxholm, der spiller

eksperimenterende, elektrisk forstærket guitar. På fremmaner de en sound, der er baseret på

begges kendetegn; Lunds ustyrlige saxofon og Haxholms karakteristiske guitarunivers, der er

svært at beskrive men har mange nedslag og mange lange klange.

På den ene side kan man høre saxofonen og guitaren være febrilsk søgende og meget frie i deres

toner. Der famles frem ud fra en fælles baggrund og grundtone, og det kan være svært at skille

melodierne ad, da de hele tiden kører ind over hinanden og bliver til et samlet tæppe. Den anden

side består af en stor mangfoldig lydmur. Dynamikken skifter undervejs og bliver mere og mere

intens indtil afslutningen, hvor de sidste toner i et sjældent stille øjeblik får lov til at klinge

langsomt ud. Det er svært for ørerne at opfange egentlige passager og melodier, da de ligger skjult

og utilgængeligt gemt bag et solidt tæppe af lyd. Ind imellem er saxofonen fremme med hyletoner,

der minder om førnævnte Suite for amplified saxophone part 1, 2 &3, men med en helt anden

effekt denne gang på grund af den radikalt ændrede baggrund med støjguitar.

I forhold til Lunds andre udgivelser tilføjer Haxholms guitar en mørkere bund med flere

basklange end sædvanligt, hvilket skaber en god modvægt til de høje toner fra saxofonen. Det er

en skramlende bunke af toner og lyde, der i deres mangfoldighed og kantede skratten, er ganske

charmerende om end en smule ensformige i længden.

Afrunding: Interessante og spændende udgivelser, hvor især Havens fugle og Suite

for amplified saxofone part 1, 2, & 3 imponerer.

Johns Lunds er en sær snegl, der går uden om reglerne for, hvordan man spiller og frembringer

musik, og han er altid garant for nye veje og omveje. De fire udgivelser, denne anmeldelse

omhandler, er på hver deres måde interessante og spændende og et åndehul, hvis man er af den

opfattelse, at musik skal være en progressiv kunstart og aldrig stoppe udviklingen og den

nødvendige søgen efter nye veje og nye udtryk. Det tilbagevendende spørgsmål må jo så være, om

det en gang imellem kammer over og bliver for meget med eksperimenterne og særhederne. Her

er valget af syvtommere som format fornuftigt, da spilletiden er begrænset, og ørerne og

hjernecellerne kun bliver prøvet i nogle minutter. Personligt ville jeg nok ikke være begejstret for

en time i selskab med Claus & Johns og nok heller ikke med den rene saxofon, der kan høres på

Johns Lunds play the alto saxophone. Til gengæld må der efter min mening gerne komme meget

mere musik fra Havens fugle, ligesom jeg også meget gerne vil have flere udgivelser med Lunds

herligt støjende saxofon, som er perfektioneret på Suite for amplified saxofone part 1, 2 & 3.

Jens Christensen, I dag

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