What I Am Listening To Today

A daily musical injection. Only on vinyl
Immunity - Jon hopkins (Domino Records) WIGLP298
Jon Hopkins has always somehow missed the mark for me slightly, but with this album of 2013 he hit it right on the head. For me it was the best release of last year by a verz long way. The sheer quality of the engineering is phenomenal, add to that the musicality which Hopkins can squeeze out of such simple sounds and rhythms and it is easy to see that it will be a difficult one to beat. It goes all the way from the hypnotic Berghain intensity of ‘Collider’, to the tranquillic calm of ‘Abandon Window’; which will have you listening to it in a dark room over and over again, wanting those beautiful chords never to end as you pick out the subtle recording of the piano’s hammers dropping.
Immunity - WIGLP298

Immunity - Jon hopkins (Domino Records) WIGLP298

Jon Hopkins has always somehow missed the mark for me slightly, but with this album of 2013 he hit it right on the head. For me it was the best release of last year by a verz long way. The sheer quality of the engineering is phenomenal, add to that the musicality which Hopkins can squeeze out of such simple sounds and rhythms and it is easy to see that it will be a difficult one to beat. It goes all the way from the hypnotic Berghain intensity of ‘Collider’, to the tranquillic calm of ‘Abandon Window’; which will have you listening to it in a dark room over and over again, wanting those beautiful chords never to end as you pick out the subtle recording of the piano’s hammers dropping.

Immunity - WIGLP298

Rosis NYE 2013/4

No Time!

As it must be obvious by now,  I have no time to keep updating this ‘ere Tumblr. I’ll try to do updates when I can,  but it won’t be daily. Sorry!

Keep It Solid Steel - Mr Scruff (Ninja Tune) ZEN 84
Mr. Scruff, the King of trouser jazz himself, give us a glimpse into his legendary record collection and a taste of his marathon DJ sets. Moving all the way from reggae to funk to fip hop, it’s a great selection. Something certainly for the beginning of an evening to get things going. And he even signed my copy. What a nice guy.
Keep It Solid Steel - ZEN 84

Keep It Solid Steel - Mr Scruff (Ninja Tune) ZEN 84

Mr. Scruff, the King of trouser jazz himself, give us a glimpse into his legendary record collection and a taste of his marathon DJ sets. Moving all the way from reggae to funk to fip hop, it’s a great selection. Something certainly for the beginning of an evening to get things going. And he even signed my copy. What a nice guy.

Keep It Solid Steel - ZEN 84

Atom Heart Mother - Pink Floyd (Harvest) 7C 072-04550
I found quite a damning review of this from Rolling Stone (Dec 10th 1970):
At one time, Pink Floyd was far-out, freaky even. Their work in the electronic capabilities of rock was more advanced than most people recognize. Their use of a third, rear, sound source anticipated quadraphonics. And their music, if it wasn’t memorable, reached into the limits of their experimentation. Most other groups, when they thought in terms of electronics, thought only of painful feedback. Pink Floyd used sounds no one else thought of and could make them lyrical besides. Their last album, Ummagumma, while a bit drawn-out, had all their best elements.
Atom Heart Mother is a step headlong into the last century and a dissipation of their collective talents, which are considerable.
Side one is a suite, almost a symphony. It has a lot in it. They use orchestral elements and a choir. The best that can be said for it is that it’s craftsman-like and that in spite of its many parts, it’s an entity. But that’s all.
It turns out to be an Impressionist orchestral sketch of (I think) a morning that includes some rock elements. As Impressionism, it’s occasionally effective, but on a very imitative level. The beginning does sound sunrisey. And, there are sounds that draw pictures. But, as a whole it’s awful schmaltzy and a little vapid.
Side two is generally worse. “If” is English folk at its deadly worst. It’s soft and silly. Ditto “Fat Old Sun.”
The only redeeming feature on this side is the last cut, “Alan’s Psychedelic Breakfast” and then only partially so. The part is not the music, but the integrated Arising and Breakfast sounds.
I was listening through earphones, and so three-dimensional and realistic were the sounds that I took off the phones to see who was breaking in. I couldn’t believe it to be part of the record. Once I got over that, though, it was the same insubstantial melange as the rest of the record.
If Pink Floyd is looking for some new dimensions, they haven’t found them here.
Try freaking out again, Pink Floyd.
Ouch! I think it’s rather good, but how you follow that?
Atom Heart Mother - 7C 072-04550

Atom Heart Mother - Pink Floyd (Harvest) 7C 072-04550

I found quite a damning review of this from Rolling Stone (Dec 10th 1970):

At one time, Pink Floyd was far-out, freaky even. Their work in the electronic capabilities of rock was more advanced than most people recognize. Their use of a third, rear, sound source anticipated quadraphonics. And their music, if it wasn’t memorable, reached into the limits of their experimentation. Most other groups, when they thought in terms of electronics, thought only of painful feedback. Pink Floyd used sounds no one else thought of and could make them lyrical besides. Their last album, Ummagumma, while a bit drawn-out, had all their best elements.

Atom Heart Mother is a step headlong into the last century and a dissipation of their collective talents, which are considerable.

Side one is a suite, almost a symphony. It has a lot in it. They use orchestral elements and a choir. The best that can be said for it is that it’s craftsman-like and that in spite of its many parts, it’s an entity. But that’s all.

It turns out to be an Impressionist orchestral sketch of (I think) a morning that includes some rock elements. As Impressionism, it’s occasionally effective, but on a very imitative level. The beginning does sound sunrisey. And, there are sounds that draw pictures. But, as a whole it’s awful schmaltzy and a little vapid.

Side two is generally worse. “If” is English folk at its deadly worst. It’s soft and silly. Ditto “Fat Old Sun.”

The only redeeming feature on this side is the last cut, “Alan’s Psychedelic Breakfast” and then only partially so. The part is not the music, but the integrated Arising and Breakfast sounds.

I was listening through earphones, and so three-dimensional and realistic were the sounds that I took off the phones to see who was breaking in. I couldn’t believe it to be part of the record. Once I got over that, though, it was the same insubstantial melange as the rest of the record.

If Pink Floyd is looking for some new dimensions, they haven’t found them here.

Try freaking out again, Pink Floyd.

Ouch! I think it’s rather good, but how you follow that?

Atom Heart Mother - 7C 072-04550