Spiritualized – Sweet Heart, Sweet Light

Sweet Heart Sweet Light opens with a sumptuous, succinct instrumental (Huh?), before diving balls first into a nine-minute glam rock opus (Hey Jane) that’s four minutes longer than it should be. Little Girl opens with the line: “Sometimes I wish that I was dead,” before leading into one of the simplest and best songs J. Spaceman has written in years. If you’re after an analogy for Spiritualized’s career, you could do worse than this opening trio, and the pattern continues throughout. There are moments – like the brilliant Freedom and gospel-tinged I Am What I Am – of sublime clarity, where he sounds like delivering on his promise of a perfect pop album, a la Brian Wilson. Elsewhere, though, he seems destined to spin forever through the stratosphere on the back of an intergalactic tangent (the protracted Headin’ For The Top Now and Get What You Deserve). Many of Jason Pierce’s talents are apparent on this album. Unfortunately, restraint isn’t one of them.

3/5

Written for the Skinny

Fence Records’ Seamus Fogarty: “I just do whatever, even if it doesn’t pay the bills!”

Image by Ross Trevail

A text comes through from Seamus Fogarty as we’re walking to meet him at a coffee shop on the Thames. “I’ll be the big hairy fella,” it reads. And sure enough, ten minutes later, there he is: hirsute and sizeable, sitting by the river with two dogs sniffing round his feet. “They’re not mine,” he laughs, by way of introduction. Despite the nip in the air, the February sunshine beams down with the suggestion of spring. “With weather like that, it’d be rude not to order a beer,” says Seamus. And with that, as he articulately explains to his girlfriend four pints later, “the interview went liquid.”

Fogarty is from Swinford, County Mayo (population: 1,500), is signed to Fence Records in Anstruther, Fife (population: 3,500) and lives in London, England (population: 8,278,251). He’s about to release his debut album, God Damn You Mountain, which is one of the most beautiful to have passed through these ears for some time. Theconnection with Fence was made via James Yorkston, a man who is no stranger to playing the bars and clubs of Ireland, and who advised him to “lose the Yank accent” he’d acquired from years playing Johnny Cash covers, before inviting him to open a gig in Kilkenny in 2009.

“I knew Homegame was coming up a couple of months after the gig,” says Seamus. “After the show, I asked him about my chances of getting involved in it and then kept emailing him about it. Eventually, he got me sorted out with a slot and we kept in contact and always said we would do some recording together.” A year later, Seamus was back teaching music technology at a Limerick college. “I was fed up. I’d had a horrible day and emailed James again. He spoke to Johnny Lynch and they got me a gig in Anstruther. Kenny Anderson was there and I gave him a CD. A couple of months later, he told me he’d listened to it five times in a row. He invited me back to play at Haarfest. I’ve been involved with them ever since.”

 Fogarty is clearly delighted to be on Fence (“they’re an amazing bunch to be involved with”) and you’d be hard pushed to find a label more suited to his music. The CD he handed Anderson contained the opening tracks from God Damn You Mountain, an album that, stylistically, isn’t a million miles from King Cresosote’s understated magnum opus of last year, Diamond Mine, in which his microcosmic folk songs were drawn out by the ambient wizardry of Jon Hopkins. Fogarty, though, plays both roles. “I was sick of writing songs with such a rigid structure: verse, chorus, verse, chorus. So I started trying all sorts of different things. Jon has a load of field recordings from around Cellardyke, and I have a similar archive, I suppose. I’ve made it over the last five or ten years, so sometimes I’ll dip into them to add something to a track.”

And so, woven among the bluegrass, the blues and the folk is the baaing of sheep, the dropping of kitchen utensils and the memories of old, Irish women. Fogarty’s extensive mixing of the songs (over the course of the day’s chat the names Squarepusher and Aphex Twin crop up, helping to explain the prevalent electronic influence) give them an aura of nostalgia – a rose-tinted snapshot of old Ireland, much more appealing from a distance of 50 years. Fogarty, who was raised on a diet of traditional music – admits being surprised by how “Irish” the songs sounded when he first played them back. “I grew up playing trad,” he says. “I used to play the fiddle, tin whistle and like many people, I got fed up with it as I got a bit older. You kind of get it hammered into you when you’re growing up. I got into a lot of American music – Pavement, Johnny Cash, stuff like that, and got back into the Irish stuff in my twenties.”

He admits getting “eyes to the sky” when he plays his music to the folks back home, but undeterred, Seamus decided to go full time last year. As well as his music, he makes films (he has had installations in Germany, Argentina and soon China) and paints pictures (the cover art is his own). “I just do whatever,” he says, “even if it doesn’t pay the bills!” It all makes for interesting conversation, and over the course of a day, we stretch to “girls with dinosaur bodies” (one of his more oblique lyrics”), dead singers (Sparklehorse and Elliott Smith are a big influence) and of course, Ireland. Eight hours, two pubs, a few songs and a skinful of ale later, we part ways. As first dates go, we haven’t had many more successful than this.

 Written for The Skinny

Scrawls and Bawls Playlist: March 2012

Just a quick one today, as I’m about to to run out the door to catch a flight to a far off land. Here’s what’s been tickling my lugs this month. Some cracking stuff from the first quarter of the year – which has been mighty impressive. One thing I will say: listen out for the monstrous riff on the Islet track (What We Done Wrong), which comes a few minutes in. Enjoy, share, buy the albums.

1. Olafur Arnalds – Film Credits

2. RM Hubbert – V

3. Dirty Three – Moon On The Land

4. Blue Sky Black Death – Sky With Hand

5. Nalle – Iron’s Oath

6. Trouble Books – Abandoned Monorail Station

7. Willis Earl Beal – Evening’s Kiss

8. Marissa Nadler – Ghosts & Lovers

9. Daniel Rossen – Saint Nothing

10. The Shins – Simple Song

11. Lee Ranaldo – Shouts

12. Diagrams – Night All Night

13. Lower Dens – Brains

14. POLICA – Lay Your Cards Out

15. Gillian Welch – The Way It Goes

16. Bruce Springsteen – Wrecking Ball

17. RM Hubbert, Alex Kapronas, Aidan Moffat – Car Song

18. Islet – What We Done Wrong

19. Orbital feat. Zola Jesus – New France

Listen to the playlist here

First Listen: Jack White’s Blunderbuss

Jack White with the Mayor of Lambeth

 

The debating chamber of London County Hall is a stately affair, tucked away amid the marble hallways and royal blue rope barriers, and decked out with hardwood pews, an imposing lectern and Georgian era watercolours. It’s a strange place for Jack White to launch his rambunctious, southern fried new album, Blunderbuss, which is played in its duration to the darkened theatre, with a big screen showing the record spinning in real time. The respectfully quiet gaggle of journalists, strategically subdued by the aqua blueBlunderbuss cocktails doled out beforehand (Jack Daniels, blue curacao, lemonade) listen attentively, squinting at their lyric books, impossible to decipher in the low light. Strange, and not very practical.

Things take a further turn for the curious once the record finishes playing. Up steps Christiana Valcarcel, the mayor of Lambeth, in full mayoral robes and regalia to “grill” White on Blunderbuss and life in general. “You are a talent. Don’t get big-headed – but you should be proud of yourself,” she shouts at a puzzled White. “I can’t do both!” comes the reply. The stage is set for one of the oddest interviews you’ll ever see. Jack White, for his part, looks healthy and slimline. He passes himself humbly and amicably and is clearly excited about the first album bearing his own name.

“I didn’t know I was really doing it until I was doing it about four or five songs in,” he says of the record’s inception. “Then it felt like it was turning into something. There was a session booked [to record] a 45 in my studio and it got cancelled. I had flown in some players from out of town to play that day and I had nothing for them to do, so I thought I guess we’ll do one of my songs. I got three songs on the first day out of that session and I just kind of kept going, but I didn’t know whether to put out a Dead Weather record or Raconteurs record and by the sixth or seventh song it just felt like a kind of complete record. I thought: ‘I guess I’ll just call it me…’”

Blunderbuss is an aggregation of White’s career to date: a mixture of classic rock, country, blues and straight up, old school rock and roll. He speaks of playing the conductor, moving from instrument to instrument and no longer being just the guitar player – a trend that began with the 45s he’s been churning out for three years in his Third Man record label. He explains: “If I didn’t move to Nashville I don’t think I would’ve made this record. Through all these 45s I’ve done, I’ve got a humongous family of pedal-steel players, violinists and harpists. Last year everything changed when I started production… there were ten or 12 people at times in the room playing live… it was the first time I’d really ever conducted an orchestra. I would say: “When the chorus comes in, I need the harps to do a D Minor chord and then the piano comes in for the break. There are so many session musicians, songwriters, people playing for tourists and stuff, where else would you have access to that much talent in the neighbourhood, you know?”

The conversation turns at various points to upholstery (White used to be an apprentice and last year opened an upholstery store), the word ‘love’ (“It’s hard to use the word “love” in a song, it’s been so used for so long thousands of times, plays, paintings, poems and if you’re going to say that word, I think you sort of have to put a twist on it.”) and White’s statistics (“6’1, 185 lbs”), before Valcarcel lets him off the hook and he makes an exit stage right. If there’s one thing you can glean from looking through his back catalogue, it’s that Jack White is rarely content to play by convention – and tonight in the County Hall is no different.

 Originally published here

Seamus Fogarty – God Damn You Mountain

Rita Jack’s Lament, the centrepiece of Seamus Fogarty’s startlingly good debut album, features a recording of a County Kerry native on her first trip to Ireland in 50 years. She’s standing in the house she grew up in, talking about her childhood, as a traditional Irish guitar track plays out, distorted and unwound. You can hear the birds singing in the background and, to coin a phrase, you can almost smell the cowshit off it. The ethereal mood permeates throughout God Damn You Mountain, a record that nestles beautifully at the point where the digital and analogue worlds collide. It’s a wonderful, woozy mix of folk, country and blues, in which Fogarty’s weary vocals and ghostly field recordings are fused fast with the plaintive banjo, plucked guitar, organ and violin. At times it’s heartbreaking, but, like a good daydream, you come out the other side wistful, smiling and longing to go back in for more.

5/5

First published here

Buy God Damn You Mountain here

TedxWarwick: the business of ideas

Photo by Mark Bristow

There’s an old Yiddish expression popularised by Malcolm Gladwell, a writer who seeks the magnificent in the mundane that, for me, captures the essence of TED: “To a worm in horseradish,” it goes, “the world is horseradish.” Sitting through this series of impassioned talks in Warwick Arts Centre, the maxim is rarely far from my thoughts. We are conditioned to view the world as one big finished product, rather than a constantly evolving body of parts. Everything is normal and most things are unchangeable, so why bother trying to look at anything differently? Yet those that can train their eyes beyond the horseradish are the difference between stasis and progress. How different might our lives be if Galileo had yielded to the Vatican’s flat-earth theory 400 years ago, or if Alexander Fleming hadn’t fished his mould-ridden dish from the bin?

As anyone who has ever suffered from appendicitis will tell you, evolutionary paths are filled with imperfections. By the same token, few of the ideas voiced at TED will revolutionise, but most are worth listening to, just in case. At one point during TEDxWarwick, there’s a man standing next to a car he’s built out of carrots, tofu and chocolate, quoting Kermit the Frog (“It’s not easy being green”). It’s a tad surreal, but utterly fascinating. That he has fashioned a functioning vehicle from the contents of a shopping trolley is barely believable, and more of a statement of intent than a business model. But coming away from Kerry Kirwan’s talk on sustainability, you’re aware of an alternative – albeit one with questionable commercial viability – that wasn’t in your mind before, which is what today is all about.

The overarching title of TEDxWarwick, organised by students at the university, is Global Challenges. How can we, as an ever-expanding, consuming, demanding, developing species, ensure our increasingly digital society continues to thrive on our rapidly decaying planet? The common topics are sustainability, education, spatiality, healthcare and digitalism. Unsurprisingly, it’s the speakers who approach their problems most laterally who are the most memorable.

The internet of ideas

Hyperconnected Andy Stanford-Clarke is an IBM master inventor and has come to tell us that “innovation begins at home”. In a lesser forum, he might have espoused the theoretical wonders of DIY from a lectern. For TED, though, he’s come fully wired to his own humble abode on the Isle of Wight, allowing him to show us exactly how we can make our lives more exciting, efficient and inexpensive through the “internet of things”. He turns on his patio lights all the way from Coventry, then powers up the water feature. He casually shares an anecdote about the time he designed a GPS-tracking system for the notoriously tardy, hard to track Isle of Wight ferry. The ferry operator didn’t realise it existed until Stanford-Clarke altered the ferry’s final destination to Milton Keynes on April Fool’s Day, prompting thousands of worried queries and inspiring the operator to buy his system. By remedying a problem that affected his daily life, he helped out thousands of others in the process.

Taking things a step further, Koen Olthuis’ floating city apps could, at some point in the distant future, provide salvation for billions. “Why can’t a city,” he asks, “work like a smartphone?” Why, indeed? In his vision of the future, Olthuis sees overpopulation alleviated through popup islands floating on the Rivers Hudson and Thames, buoyant favelas providing upgrades from the coastal slums of urban sprawls, forests transposed into city centres, Olympic stadia shuttled between venues quadrennially. For him, urban landscapes should be as malleable and responsive as the contents of your iPhone. Ridiculous, right? Not exactly. In his low-lying homeland the Netherlands, where every day is a battle to stay above the tide, Olthuis has already started working on floating city apps to be used locally and in other tidally threatened nations like the Maldives. Talk of Dubai-esque floating golf courses is frivolous, but with the reality of climate change challenging the very existence of Pacific states like Kiribati (last week the tiny country outlined plans for wholesale migration to Fiji should sea levels rise much further), Olthuis’ futuristic apps are almost pragmatic.

 Are we human?
The trial-and-error process of innovation seems inherently human and TED – a cauldron of ideas, some ingenious, some harebrained – is case in point. Cue Kevin Warwick, professor of cybernetics at the University of Reading, to provide the most thought-provoking 18 minutes of the day. At some point in the future, could the process of idea generation be dehumanised? Warwick’s work facilitates the fusion of the digital and analog worlds within the human body. By wiring people up to prosthetic microarrays – chips designed to integrate with our own complex nervous and cognitive systems – a world of extra-sensory perception is just around the corner. For the most part, he’s his own guinea pig. He‘s allowed his wife to gauge his mood from the other side of the Atlantic by wearing a necklace connected to a chip in his arm which changes colour with his temperament. He’s also trialled a system of heat sensing magnets built into the fingertips which allow the subject to detect the presence of someone else without seeing them. Next on the agenda is the creation of a synthetic “human” brain, to be used by a robot. Astonishment flashes across the faces of the audience at this point, no doubt inspired by memories of Skynet or Hal. Far from being dystopian, though, this is riveting, inspiring fare.

In his book Zen and the Art of Motorcycle Maintenance, Robert M. Pirsig wrote that “for every fact, there is an infinity of hypotheses. The more you look, the more you see.” It’s a sentiment echoed by Kevin Warwick when he quips: “I always seem to end up with more questions than when I started.” TED isn’t just about changing people’s perceptions, but how they perceive. It’s about realising that everything is interesting – you just need to approach it from the right angle. On the grey, dreary train journey from Coventry back to London we talk about gerontology, universe bending, nuclear fusion and warp speed. On the way there, we talked about coffee, iPads and how little sleep we’d had the night before. TED: one, Virgin Trains: nil.

Originally published here

Book review: Unfair Trade by Conor Woodman

 

 

As the economy threatens to crumble in around them, politicians have been falling over each other to become the voice of “responsible capitalism”, with both David Cameron and Ed Miliband preaching a return to a “moral economy” (neither, however, have specified when such a thing ever existed in the first place, nor given much indication that they know how to get there). The British public seems to be listening. In 2011, sales of Fairtrade-certified goods topped £1.3 billion – a rise of 12 per cent on 2010 – which is no mean feat, considering the the problems faced by many other parts of the retail sector. Everywhere you go, shelves are stacked with Fairtrade and Rainforest Alliance-certified produce, people are sipping hot drinks made using “ethically sourced” ingredients and wearing “eco-friendly” jumpers. But how many people actually know what these terms mean?

A few years ago, Conor Woodman was sitting on a train, enjoying a coffee, the labelling of which promised that by buying the product, he would “enhance the lives of the villagers of Busamanga, Uganda”. This made Conor feel good, which in turn made him feel very uncomfortable. “A second later,” he reasoned, “I questioned whether making me feel better about myself was quite the intention of the scheme when it was set up.” Feeling that a billion-pound industry shouldn’t be shrouded in ambiguity, he decided to shed some light on the supply chains that provide the supposedly ethical goods we use and consume every day. Unfair Trade is a series of despatches from the Fairtrade coalface.

The lasting impression the book leaves is that ethical business is, in the vast majority of instances, a PR stunt. Satisfying the criteria to brandish the Fairtrade logo is relatively easy and does little to improve the circumstances of those at the bottom of the supply chain. Take the situation of Cadbury, discussed in the chapter entitled Keen to be green. In order to secure accreditation from the Fairtrade Foundation, Cadbury had to agree to source cocoa for no less than $1,600 (about £1,000) per tonne. At the time of writing, the International Cocoa Organization (ICCO) daily price for a tonne of cocoa is about £1,500 (14 March). So by signing up to Fairtrade principles, companies pledge to pay just 66.6 per cent of the going rate for a tonne of cocoa. The Cadbury Cocoa Partnership, which predates Fairtrade, has contributed £45 million to cocoa-growing communities in the space of a decade, which Woodman argues is a far greater contribution to the developing world.

Woodman also argues that companies are all too quick to turn a blind eye, pleading ignorance as to the source of their raw materials. In Nicaragua, there are towns full of young men, crippled by the bends contracted after diving, untrained and massively under-equipped to catch lobsters by hand. The Big Red Lobster Company, an American chain of eateries which sources stock from the area, promises customers that it doesn’t stock hand-caught lobsters, but it’s impossible to know how they’ve been caught once they’ve been brought to market. Experts estimate, though, that 50 per cent of the world’s harvest are hand-caught. Companies buying the lobsters, argues Woodman, should be investing in the training and equipment needed by those on the supply frontline, rather than perpetuating the myth that they’re not caught by hand.

Throughout the book, there are instances of misspent philanthropy. In exchange for permission to grow massive rubber plantations, China built a shiny new national stadium in Laos, now a white elephant on the horizon while the local farmers struggle to earn a living. Across Africa, well-meaning NGOs have constructed schools and water wells without providing the locals with the tools needed to operate and maintain them. They’re left to decay, shrines to the ethical naivety that Woodman finds to be rife in boardrooms around the world. Organisations want to be seen as being ethical, but are less keen to commit to ensuring what they’ve signed up for actually makes a difference.

To his credit, Woodman’s tone is measured throughout. He’s not an anti-capitalist and highlights a number of firms who are operating truly ethical businesses and making money out of it to boot (the most notable examples include Green and Black’s, Olam, Ethical Addictions and Rare Teas). The book is simply written, low on inflammatory language: Woodman is keen to let his research do the talking, and it does. In the year he spent investigating, he travelled to five different continents. Rather than observing from the periphery, he threw himself down Congolese mines, into Nicaraguan waters and among Afghan poppy-field raids. He has earned the authority to pass comment on a sector of UK industry which is widely misunderstood. His is a voice we should all listen to.

A number of years ago, I had the pleasure of visiting the Brown and Forrest smokery in Somerset (which provides stock to such restaurants as the Caprice group and Fortnum & Mason) to interview its owner, Jesse Pattison. “I don’t jump on the organic bandwagon, the local bandwagon or the Fairtrade bandwagon,” he told me. His methodology was simple: he visited farms, found the ones which operated in a way that matched his own ethical standards, and took them on as suppliers. Of course, we don’t all have the luxury of visiting the source of the products we purchase, but we all have the capacity to pose the question: am I buying this to satisfy my conscience, or to help change the life of someone less fortunate than I?

 

Comedy and Chameleons: Playlist for February 2012

It’s been a long time since I posted one of these – probably about two years. Let’s blame the Koreans and their Spotify thwarting ways. Or alternatively, me for being too lazy to find any other way of posting it. Barriers overcome, I’m going to make one of these monthly. The playlist is a mix of old and new songs that have been tickling my lugs through February and the amount of new tracks on there is indicative of what, I think, has already been a great year for new releases.

The Kathleen Edwards record, Voyageur, in particular has taken me in. Justin Vernon’s midas touch hasn’t deserted him and you can really feel his presence at the production desk. She always had fantastic songs, but I think these are her strongest set to date. I’ve reviewed a few of the albums and spoken to a couple of the artists on here, so if you like what you hear, have a wee read.

Some of the older songs contain great memories. Nowhere Again by the Secret Machines reminds me of sitting on a torn seat, with yellow fluff coming out of it, on a bus from Belfast to my university campus. We had to pass a dog food factory en route, but luckily I’m not synesthetic enough to smell the molten “meat” when I play their album. I only realised last week that Benjamin Curtis from the band is one of the main guys in School of Seven Bells, a group I’ve heard great things about, but am yet to investigate.

And then there’s Shack. Ah, Shack. A blast from my Select reading days in the late 90s. I think I heard the track Comedy on a free cd with the magazine and after that got into Waterpistol and HMS Fable. Everything I read about them at the time had some sort of tragedy connected to it. A band member died. A studio burnt down, with their masters in it. Noel Gallagher said they were his favourite band. Tragic stuff. The Head brothers have a nous for brilliantly simple songs. Comedy is beautiful.

Enjoy the playlist and if you like any of the songs, buy them. You won’t regret it.

Listen here (Spotify link)

Comedy and Chameleons

1. Last Days – Thoughts of Alice

2. The Dead Texan – The Struggle

3. Delay Trees – Uni15

4. Clem Snide – The Dairy Queen

5. I Build Collapsible Mountains – Where We Go Tomorrow

6. Perfume Genius – No Tear

7. Tindersticks – Show Me Everything

8. Active Child – High Priestess

9. Damien Jurado – Everyone a Star

10. Shack – Comedy

11. Kathleen Edwards – Chameleon/Comedian

12. Ane Brun – Do You Remember?

13. Shearwater – You as You Were

14. Errors – Magna Encarta

15. We Are Augustines – Augustine

16. Secret Machines – Nowhere Again

We Are Augustines – Rise Ye Sunken Ships

 

It’s hard not to admire Billy McCarthy, frontman and chief lyricist of New York band We Are Augustines. Their debut album is based loosely around the concept of “family”, but more precisely around the heartbreaking death of his brother, who battled homelessness, drug addiction and mental health problems. Yet, far from a rampageous car crash, this is a measured outpouring of grief; dignified and tuneful. With a larynx like Isaac Brock of Modest Mouse, backed by the kind of honest-to-goodness, anthemic indie-rock that’s been so kind to the Gaslight Anthem and (dare we say it?) the Killers, sans Brandon Flowers’ Anglophillia, Rise Ye Sunken Ships is lyrically superb. Between Chapel Song, Augustine, Book of James and Strange Days, it has a quartet of tracks that each come close to bettering anything penned by the aforementioned pair. The much-trodden road from tragedy to triumph has rarely sounded so good.

4/5
Originally published here

Andrew Bird – Break It Yourself

Now eight albums deep into his career, it’s tempting to view Andrew Bird as a latter day, violin-toting Paul Simon. With the syrupy, seductive voice and the tunes (my God, the tunes) considered; the greatest trick the two have in common is convincing the world that their songs are simple: they share a marvellous knack of creating a sum that’s far less complex than the parts. This is the abiding impression of Break It Yourself – an album which thirty years ago might have made Andrew Bird a superstar. After all the loops, the tangents and the breakdowns, remain a set of fantastic, hummable pop songs that we can confidently call Bird’s strongest to date. From the lyrically kooky Near Death Experience Experience (“and we’ll dance like cancer survivors”), to the beautifully maudlin Lazy Projector and folksy Orpheo Looks Back, it comes with the multiplicity expected from a Bird album, but with a consistency he hadn’t previously presented.

 4/5
Originally published here
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