Wednesday, October 21, 2020

Telepathy, man!

 



cool interview with Sting the guy who founded legendary hardcore rave jungle club Telepathy and also Deja Vu FM - and is the voice on those Telepathy ads 

(via Luke Davis)

I've got more Telepathy ads with Sting's voice on various old tapes, digitized but not yet video-ized - soon come (also larger and potentially endless undertaking to do with pirate radio adverts)

Ah! I see somebody has had the same idea as me....




"Wonderwall" vandalism, love it






Deja Vu in the grime years




Wednesday, August 26, 2020

shoegazetronica (unexpected return) (blub is thicker than water)



release rationale: 


"Darkstar share the official video for ‘Text’, ahead of release of new record ‘Civic Jams’ out Friday 19 June. Directed by Alex Shilt | https://warp.net/releases/188614-dark... The experiences of everyday life and beauty and heartbreak it brings offer an important source of inspiration for Darkstar. In ‘Text’, this plays out in the vocal snippets that address the experience of losing a loved one and the unflinching grace that comes with it. In the accompanying video, Darkstar remind us that our memories are shaped by those we share them with. Black and white home movie footage capturing family moments is interspersed with imagery of unforgettable football moments and iconic raves, which blur together like an ephemeral photonegative. Discussing the video process, Shilt, the director explains: “Living next to Aiden and briefly in the same flat with James, I was particularly inspired by the relationship between the two of them. I aimed to create an abstracted visual dialogue that embodied their brothership and love for their families through the various personal clips they’ve sent me. We worked together in exploring various looks inspired by modern communication tools & tactile graphics to harmonize a visual language that fit with the tune.” On their most personal record to date, Darkstar counterbalance observations of their home with those of the community surrounding it. ‘Civic Jams’ is a photonegative of a dance record shaped by a dialogue between shoegaze atmospherics and UK bass music’s ‘hardcore continuum’."


Blubstep - the return!


Sunday, August 23, 2020

when the Levy breaks



(aka Back to the Old Schoolly)

YouTuber says they used to play this at 45 rpm at hardcore raves

More Barrington bizniz








postscript:

Spiro in comments points out this Levy-boosted beauty




Friday, August 21, 2020

The Mad Fuckers (flowers in the dustbin)



"Where "WFL" focuses entirely on the sensation of being a drugged member of a drugged dancefloor, Flowered Up's "Weekender" documents both the hallucinatory delirium and the sociocultural framework that both explains and ultimately contains it. ("WFL" might itself have been intended as a component of such a broader vision; the Bailey Brothers had originally been approached by Happy Monday's label Factory Records to work on a movie project about Manchester provisionally entitled The Mad Fuckers). A 15 minute mini-movie that follows a hard day's night in the life of a working class London youth called Little Joe, "Weekender" is a mélange of traditional "gritty Brit" social realism (Joe eats his dinner while his mother neurotically twirls her wedding ring on her finger and silently watches TV, its screen reflected in her spectacles; Joe smokes a spliff in the grim hallway of concrete tower block of flats; the sordid sex-and-drugs squalor of a nightclub's lavatory, seen in a overhead pass that peeks down into each cubicle in a row of toilet stalls); trippy dancefloor commotion; heavily symbolic fantasy/hallucination sequences; and urban derive (Joe, still in the Ecstasy haze, wandering the deserted metropolis in the grey pre-dawn hours). Think Ken Loach filtered through the prism of MDMA....

"Like Happy Mondays, Flowered Up were a rock band inspired by and caught up in the frenzy of British rave culture in its early years; despite its remix by DJ Andy Weatherall, "Weekender" is therefore more a rock song about the joys and anguishes of the rave lifestyle than an example of where dance music was at in 1992. Still, Wiz's screenplay and script preempts the basic narrative arc of all the clubbing-and-drugging movies and fiction that followed in the Nineties: having the time of your life and then paying for it, flying high and crashing hard. The film is both a documentary snapshot of early Nineties London clubland (listening to pirate radio, going down to Quaff Records to pick up the new house imports and rave flyers) and a more timeless statement about British proletarian "weekenderism": the "workhard/play harder" life-cycle that goes back to the pill-popping mods of Sixties London, via the Northern Soul fans of the Seventies with their obscure sub-Motown singles and amphetamine wraps, and the jazz-funk and soul All-Dayers of the early Eighties. Both song and video pay homage to The Who's mod movie Quadrophrenia: there's a sample of the film's hero telling his boss to take his job and stick it where the sun don't shine, and Little Joe is picked up by a friend driving a mod-style scooter.

"More eloquently than Flowered Up's crudely expressed and sketchy lyric,Wiz's scripted dialogue lays out both the exhilaration and the impasses of the raver's lifestyle:Joe's feelings of limitless power and possibility ("when I'm out with my mates, and we're all one on, buzzing off our nuts, all together, it feels like we could... like we could do fucking ANYTHING!") versus the eternal return of Monday "like a jail on wheels" (to quote The Clash), the comedown to a reality with all its limits intact and un-altered ("I used to feel like that when I was young, but look at me, I'm still cleaning windows,"responds Joe's older, wiser, and wearier workmate).

Unlike his mother and his equally crushed, domesticated sister, jack-the-lad Joe is determined to out-run his inevitable fate (mediocrity) for as long as he can, fueled by music and drugs. The most striking sequences in the video depicts him doing just that--a fantasy set-piece in which Joe sprints full-tilt inside the grooves of a gigantic 12-inch dance single, giggling with glee despite the malevolent stylus that is hard on his heels. Redolent of the set-pieces in Julien Temple's musical Absolute Beginners (his flawed version of Colin MacInnes famous novel about the early, just-before-mod days of British youth culture/cult of youth), this sequence vividly captures the sense of dance culture as both groovy and a locked groove. Adding to this sense of a loop,a deadening dead-end, is the image that opens and closes Wiz's mini-movie:Joe--gaunt, pallid, a devitalized ghost of himself, an ember of the disco inferno--descending the side of a huge office building in his window cleaner's pallet; literally coming down after the high.

"Focusing on the story of one face in the crowd (a Face in the Sixties mod sense: a figure "on the scene"), "Weekender" represents one attempt to circumvent the problem of techno's facelessness, its lack of a performance model or star glamour..."

excerpt from my Oberhausen Film Festival talk / Stylus magazine essay Seeing The Beat: Retinal Intensities in Techno and Electronic Dance Videos (2002)

Really unconvinced / turned-off by Flowered Up's first forays into "Southern Baggy"






 ... but came around to them, somewhat, with "Weekender" 

Northern sister songs to "Weekender":