MIND DE-CODER 9 (15-04-10)
MIND DE-CODER 9 (15-04-10)
MIND DE-CODER 9
“I’ll play my flute, if you’ll play your lute, and we’ll dance and make merry all day…”
ALEISTER CROWLEY THE POET
The Great Beast himself introducing tonights show with a poem taken from a special selection of wax cylinder recordings made between 1910-1914, and made available in 2001 as THE GREAT BEAST SPEAKS. The scratchy intonation is then drowned out by the first few moments of Why Don’t You Eat Carrots?, by Faust, the opening track from their first album FAUST, released in 1971. As the noise dies away we float off into…
THE ORB THE DREAM (THE FUTURE ACADEMY OF NOISE, RHYTHM & GARDENING MIX)
2007 saw the re-union of Dr Alex Patterson with original sonic conspirator Youth to produce THE DREAM, an album that sounded rather like 1991’s seminal Adventures Beyond The Ultraworld, and which kind of made every other Orb album since that release until this one irrelevant. That is to say, it’s got the tunes, and lots of little tripped out, dubbed up, ambient bubblebath type bits that made The Orb so splendid in the first place. I’ve plundered those bits shamelessly for tonight’s show.
DOT ALLISON ALLELUJAH
Lovely track, this, taken from her third album EXALTATION OF LARKS, released in 2007. Dot Allison was once part of One Dove, whose album Morning Dove White, released in 1993, remains a beautiful, gorgeous, intoxicating benchmark in ambient dub pop. Exaltation Of Larks is a very different affair, rejoicing in it’s gentle loveliness, this is an album of soft, heart-breaking, fragile folk songs that manages to sound like a hazy velveteen swoon. Or something. This track, Allelujah, disappears into some more noise supplied by Faust, the opening minutes from Meadow Meal, also from Faust, an album I’ve been playing a lot recently, until that too is overtaken by the mesmerising sounds of…
CHRISTINA CARTER PALE ROSE CREAM
Rare as hens teeth, this, not least because it was only made available on a tape cassette, limited to 200 copies. Luckily, some of us never threw our old tape players out. Luckier still, some of us know the distributer’s mother, otherwise this lovely album would have completely passed me by. Christina Carter is better known for her work with free-folk group Charalambides. This album, TEXAS WORKING BLUES, released last year in 2008, is a bewitching album of simple ballads, layered in electric grace that leave the listener simply mesmerised. I expect you can download it these days.
NICK NICELY 49 CIGARS
The B-side to his single Hillyfields (1892), released in 1982, and which took a year to make. This track was recorded in one take. I’d be hard pressed to say which side I prefer – 49 Cigars often makes me sing out the title in inappropriate places whenever it pops into my head, though. All in all, the perfect pop record. A lovely bit of vinyl.
NOBODY & MYSTIC CHORDS OF MEMORY THE SEED
Taken from one of my favourite records, TREE CLOLOURED SEE, released in 2005. Nobody, otherwise known as Elvin Estella, has produced an album bursting with a rainbow of pop-coloured melodies and spiralling abandon that never fails to delight. You should check it out.
FORTYONE ANOTHER SHORT STORY
Taken from the album GIVE YOUR HUGS A KID, from cut ‘n’ paste genius Fortyone. It’s like listening to cartoons on the radio. Fortyone must have produced about 30 albums by now and they all sound like this. He is a man who needs to get out more. He will send you all his albums for free if you write to him at www.41music.net and ask him to. He’s nice like that.
THE ORB FOREST OF LYONNESS
LINDA PERHACS CHIMACUM RAIN
Almost unbearbly lovely, Chimacum Rain is taken from the exquisitely otherworldly album PARALLELOGRAMS, released in 1970 – an album that shimmers with eerie beauty.
THE ORB SUPERNATURAL
SERGIUS GOLOWIN DIE WEISS ALM
A song that sounds unlike any other song I’ve ever heard and is very beautiful indeed. Sergius Golowin was a disillusioned ex-MP, poet, mystic and disenfranchised Gypsy leader who hung out in the Swiss Alps with his three wives and a lot of acid. As Julian Cope states in Krautrocksampler, his one album, LORD KRISHNA VON GOLOKA, released in 1973, is one of the finest Cosmic rock LPs of all time, and it only has three tracks on it – a Kosmiche epic of high-magic proportions. This is holy music and it will get you high. Sergius Golowin lives in the mountains still. This album could only ever have been made there.
BETA BAND IT’S NOT TOO BEAUTIFUL
The Beta Band were a band that promised so much and delivered so very little. Their debut album, THE BETA BAND, released in 1999, is a case in point. It lacked all the sparkle and inventiveness of their opening salvo, the 3 EPs, to the extent that the band disowned it themselves, stating that record company interference kept them from producing the album they wanted. It did have this one track on it, though, that hinted at the greatness they could have achieved if only they’d been left alone – the epic It’s Not Too Beautiful. Just in case you were wondering, that orchestral piece is taken from the John Williams score to the Walt Disney film Black Hole.
THE ORB PHANTOM OF UKRAINE
SALAKO DO IT YOURSELF
Probably my favourite track on tonight’s show, taken from the magical little album MUSICALITY, released in 1999. It is an album of light, pastoral, inventive, playful, whimsical, delightful psychedelic pop songs that sound like it was recorded in someone’s bedroom in Hull, which I think it was.
I never really cared for the album 13 when it came out – I just couldn’t find the tunes on it, and if nothing else, Blur are about the tunes. Over the years I kept returning to it and then, one day, there they were, the tunes! (Hidden behind varying shades of grief, it must be said). And William Orbit’s production is great, creating a whole world of sound to wrap yourself up in. Blur’s grown up and heartbroken album.
There were bits a
nd bobs that I knocked together from pieces of a mix put together by MP3J, a mash up artist who creates long mixes based around The Beatles. At some point he mashes up Nirvana’s No Apologies with John Lennon’s Imagine. You can hear the full track at www.mp3j.podomatic.com where it’s hidden away on WTF 47
THE BEATLES STRAWBERRY FIELDS FOREVER
At some point I had to play this record; it is, after all, one of the most psychedelic pieces of music ever created – it would have been churlish not to have played it. It still sounds great. It’s never been matched, really. Nobody really knows how to, or aspires to, make records this fantastic these days. Can you imagine what the world would sound like if they did?
MAJOR ORGAN AND THE ADDING MACHINE TRANSMISSION
A bit of noise, really, from the densely weird album MAJOR ORGAN AND THE ADDING MACHINE, released in 2001, by members of Elephant 6 (which either means something to you or not). The album is made up of sound collages, tape loops, distortion, spoken word pieces and sometimes songs. It is very psychedelic but also very frightening, depending upon the quality of your mood. It therefore disappears very nicely into the following track…
RIAA FRANKENSTEIN COMPUTER MURDER GOD
Tonight’s mash up, brought you by RIAA, from the album SCHIZOPHRENIA SUITE, an album made up of mash ups and sound collages inspired by mental illness. What you get in this track, then, are the paranoid schizophrenic rantings of Francis E. Drec versus Henry Mancini’s Background to Murder. Francis E. Drec was a disbarred US lawyer later known for the bizarre socio-political tracts of conspiracy theories with which he regaled the mass media. There are various websites dedicated to his spoken outpourings, streams of words spewing from his polluted, fractured mind, but I suspect that you’d have to be as falling-apart as he was to actually spend any time listening to them. This track lasts 10 minutes or so. I thought about 30 seconds was all anyone would want to deal with, so I bring us back to Earth with…
MARK FRY FLUTE AND LUTE
Recorded in 1972, DREAMING WITH ALICE, from which this track is taken, is one trippy little psych-folk record that comes over as a cross between Donovan’s erotic mysticism and the woodsy romps of Comus. If this song sounds like he’s taking the piss, then he probably is – typical lyrics from the album go like this: “Did you ever stumble on Satan’s smile or a Catholic Saint’s confession / And life is like walking on an endless mile, each step another lesson”. The album’s title track is split into 8 sections and spread out over the whole album. The overall effect is one of focussing in and out of a trip. The album itself is surreal, rural and magical, eventually submerging itself in echo, fuzzed wah-wah guitar and backwards tape. I love it.
JULIAN COPE LAND OF FEAR
The first outing for this song that Julian Cope seems to have returned to at least three times as far as I can work out, most completely on his 20 Mothers album. I like this version, though, which is tagged onto the end of Eat The Poor, one of the track’s on Cope’s first solo EP SUNSHINE PLAYROOM, released in 1983. I don’t believe it’s ever been released on CD so this is taken from my original vinyl copy, so it may sound a bit scratchy.
FAUST MISS FORTUNE (OUTRO)
The last few minutes of Miss Fortune, one of the three tracks on Faust, that I’ve been dipping in and out of for this show. The album is a trip in itself and defies categorization – but not unlike every musical idea ever distilled through one perfect moment of insane creative energy and then released on clear vinyl, with a clear lyric sheet and a clear jacket. To mis-quote Copey, it sounds like music from a parallel universe suspended in time played through an old radio. Crucial, in other words.
And that was Mind De-Coder 9. I thank you.