For people with stomachs who aren't afraid to use them.
Sunday, April 30, 2006
Stage Presence #3
“Present Laughter” by Noël Coward Bath Theatre Royal, 28/04/2006 Garry Essendine, an egotistical but charming 1920s matinee idol, attempts to deny his encroaching middle age and retreating hairline with an exuberant and promiscuous lifestyle. On the eve of an African Tour, Essendine finds his private life increasingly exposed, as he is besieged by an eccentric writer, manipulative girlfriends, his world-weary secretary and his cool and collected ex-wife. Noël Coward’s play is a highly entertaining farce, with rapid-fire wit supported by a variety of hilarious visual pieces. Simon Callow, playing the lead, is everything that the role demands, managing to be both overblown but understated, and entirely convincing. His character’s larger-than-life ego, with voice to match, is neatly juxtaposed with his (comparatively) diminutive height and receding hair. The scenes between Callow and his estranged wife Liz, played by Jessica Turner, or his secretary Monica, played by Tilly Tremayne, are especially enjoyable. Both characters have been such a part of Essendine’s life that they are entirely unfazed by his most pompous outbursts, the actors expertly realising Coward’s dialogue and stage directions. Essendine’s admirers, the naïve, lovesick Daphne (Marianne Oldham) and Joanna (Lysette Anthony), the adulterous and scheming wife of his producer, work well with some gorgeously sharp lines, but are inevitably less empathetic than their fellow female characters. The latter could also be said of the male roles: Roland Maule, the manic, obsessive writer is realised with hysterical energy by Robin Pearce; Morris and Henry, Essendine’s theatre manager and producer (Richard Atlee and Nigel Hastings respectively), remain largely peripheral characters. Richard Hollis, however, brought a suitably rough charm to his portrayal of Essendine’s valet, Fred. The set looks gorgeous, recreating Essendine’s art deco London studio apartment, the minimalist décor dominated by a huge caricature of the character and various photographs of his illustrious acting career, and colour largely limited to Essendine’s taste in silk dressing gowns. The set pieces, including a spiral staircase, piano, coach and inevitable drinks cabinet, are used to keep the audience’s eye roving, which means that the visuals remain as fluid as the dialogue, particularly at times when numerous characters are on stage. In some respects, both the play’s set design - and basic premise - reminded me of Simon Gray’s “Otherwise Engaged”, starring Richard E. Grant, which I caught during it’s run at the Theatre Royal last year. However, that’s where the similarities end. Despite it’s considerable length – the play runs to 2 hours 17 minutes precisely, with a 20 minute interval, and the production was frighteningly punctual – I was engaged from start to finish, and was still laughing after the show. Highly recommended.
Coldcut featuring Roots Manuva “True Skool” The highlight of Coldcut’s current album “Sound Mirrors” gets a well deserved single release, with the usual VFM clutch of remixes. The original version is a stomper, sampling bhangra beats from the theme to “Maawan Thandian Chhawan”, as Roots Manuva delivers his trademark laidback rap over the top. For the most part, the remixers don’t tamper with this successful formula, with the exception of the remix by Dave Taylor, aka Switch. Dubbing Manuva’s vocals and upping the tempo to create a more techo-friendly track , this is the EP’s only misfire. The Qemists also speed up the beats, dropping the Punjabi influences for a harder, more frenetic sampled guitar sound, which surprisingly works. Inevitably, none of the mixes surpass Coldcut’s definitive take but, as ever, the attraction is the choice of artists, making for an interesting listen.
Spectacular Spider-Man #133 “To Fight The Fury” by Jim Alexander, Jon Haward & John Stokes.
Spectacular Spider-Man is a British newsstand title aimed at pre-teen readers and published monthly by Panini UK. The highlight is an original eleven page comic strip, generally following the format of 1970s US series Marvel Team-Up, i.e. pairing Spider-Man with a different superhero each issue in order to take on the latest would-be world beater. As these stories occur outside of mainstream Marvel continuity, the writers are free to feature any characters, in any incarnation. 2004’s Spectacular Spider-Man #114 saw Spidey team up with Captain Britain - based on the definitive Alan Moore / Alan Davis version - against the Red Skull. This particular issue generated so much interest that Marvel wound up reprinting the story in the US as a ‘Marvel Milestone Edition’. Bang on two years later, and Captain Britain rejoins Spider-Man, this time facing the ultimate killing machine, the Fury. The Fury, an original Moore / Davis creation, featured in their ground-breaking run on Captain Britain in the early 1980s. In it’s first appearance, the Fury committed wholesale slaughter and hounded a terrified, broken Captain Britain to a graveyard before executing him. Although the hero was subsequently resurrected by Merlin, it took a combined force of heroes – and a heavy death toll – before the Fury was finally defeated. And, fittingly, the Fury’s reputation as an unstoppable force remained intact, as the character resided in comics limbo for the next twenty years. Interestingly, as Spectacular Spider-Man #114 saw print in the UK, it was followed across the Atlantic by Chris Claremont and Alan Davis’ return to Captain Britain and the Fury in Uncanny X-Men. Given that reaction to the handling of the Fury from fans of the original stories was pretty negative, Jim Alexander’s task is an unenviable one. On the one hand, Spectacular Spider-Man’s target audience are likely to be too young to have encountered the characters, and therefore not be too concerned with the minutiae of characterisation and continuity. On the other hand, a large number of ‘non-target’ readers will be drawn to this issue because it features Captain Britain and the Fury, some of whom will undoubtedly be looking to cast criticism on the writer’s handling of revered characters. Given the incredible weight of expectation (acknowledged in his own blog), Jim Alexander delivers an extremely satisfying narrative which doesn’t pull it’s punches. The story opens with the Fury’s arrival on Earth from a parallel universe, the strain of the journey reducing it to nothing more than a component part. A cyborg, the Fury is able to regenerate itself by absorbing any materials immediately available; a chilling sequence makes explicitly clear that this includes human beings. Captain Britain, and his mentor Merlin, immediately intercept the Fury, though the latter recognises that they will be ineffectual against this otherworldly threat and more help is needed. And so, five pages in, Spider-Man makes an appearance, as Merlin transports him to the scene of the conflict. Consider that for a moment: on page five of an eleven page comic strip, the title’s star finally makes an appearance. A brave move from Jim Alexander and a successful one, as Spider-Man’s subsequent appearance in Glasgow seems less contrived as a result. Another interesting development is that Spider-Man is immediately floored by the Fury, which seems to silence his characteristic wise-cracking. Again, given the Fury’s mute, relentless menace, it’s entirely convincing that Spider-Man usual confidence takes a blow. Achieving a respite – albeit a temporary one – Spider-Man wonders how to “stop the unstoppable destroying machine”, to which Captain Britain replies “you don’t”. The narrative concludes with a surprisingly downbeat, but entirely fitting, resolution. Jim Alexander successfully manages to deliver a story that is somewhat harder hitting than the usual fare, treating both the characters and the readers with respect. The strong narrative is supported by top-notch visuals from the creative team. Jon Haward’s pencil art has improved greatly with time and the inking by veteran John Stokes results in a much more polished effort than their work on the previous Spider-Man / Captain Britain team-up. Likewise, John Charles (colours) and Wil Lucas (letters) greatly enhance the story’s visual impact. “To Fight The Fury” is undoubtedly one of Spectacular Spider-Man’s best stories to date and will hopefully repeat the success of it’s predecessor with a Stateside reprint.
Daniel Agust “Swallowed A Star” This is the first solo album from the former lead singer with GusGus, whose dancefloor-friendly electronica is immensely popular in their native Iceland, but seems unfairly consigned to the periphery elsewhere. I fear the same fate for “Swallowed A Star”: initially available directly from label One Little Indian in September 2005, the album received a commercial release in January 2006; by April, it was lining the Virgin Megastore bargain bins, which is where I rescued my copy. Like many budget purchases, “Swallowed A Star” turns out to be a hidden treasure, a lavishly illustrated ‘hardback edition’ CD with delicately crafted music to match. Despite the album’s title, the impression is that Agust has swallowed an orchestra’s string section, as bass, cello, viola and violin provide the framework for Agust’s distinctive vocals. Björk is the immediate musical comparison, harking back to the spine-tingling orchestral remix of The Sugarcubes’ “Deus” way back in the late 1980s. “Swallowed A Star” also feels very much like a 4AD label release from that period, evoking both the sleeve and atmospherics of This Mortal Coil’s “Blood”. Oddly enough, Agust’s vocals effortlessly make the transition from GusGus’ (who, ironically, were with 4AD for a time) club-centric sound to this new, largely beatless setting. The English lyrics are basic, yet effective; the most extreme example of Agust’s minimalist approach being “Nobody Else”, which repeats the single refrain ‘You don’t want nobody else / ‘cause you got me babe’ throughout. The album’s theme appears to be the struggle to see beyond the mundane and appreciate life’s inherent beauty. Agust sings about an existence ‘under the mainstream…on the outskirts of life’ (“The Stingray”), noting that ‘the comforts of my yellow blue and white apartment block / block my vision’ (“Love And Respect”). However, the narrative optimism seems firmly rooted in companionship: ’We can open our eyes / and come to realize / we’re more able in life when we love’ (“Sparks Fly”); or ‘We’re gonna make a day / and drive away / the gray’ (“The Gray”). An instrumental “Intersection” bisects the ten tracks, though there’s no discernable change in mood between the two halves. The songs could easily become overblown or pretentious, but Agust maintains a restraint, an intimacy that serves the songs well. With the music of Embrace (grandiose, pompous) and Sigur Ros (sweepingly epic) currently (back) in vogue, now would seem the perfect opportunity for Daniel Agust’s album to emerge - One Little Indian are evidently hoping to repeat the success of Björk’s “Debut”. Sadly, I think “Swallowed A Star” may just miss the boat, through no fault of it’s own. I’ve played it dozens of times since buying it and am convinced it’s an album which, once owned, will be treasured constantly. Daniel Agust has swallowed a star and deserves an opportunity to illuminate people’s lives with his music. Watch the skies.
Tracklisting: 1. Someone Who Swallowed A Star / 2. The Moss (excerpt) / 3. Nobody Else / 4. The Gray / 5. The Stingray (excerpt) / 6. Intersection / 7. Till I Know (excerpt) / 8. If You Leave Me Now / 9. Sparks Fly / 10. Love And Respect
N.B. Apologies for some missing accents, particularly in Daniel Agust’s name. For the correct spelling – and a useful discography – visit his Discogs profile.
Listen to the GusGus back catalogue on their official website.
I tend to start my working day at Café Revival, my favourite coffee house in Bristol. Initially, it was a place to temporarily stave off the inevitable nine-plus hours in the office, an opportunity for a shot of caffeine and a cigarette or two before substituting coffee grounds for the daily grind. Now, it's become a place to collect my thoughts and steel my nerve for the day ahead, and also a source of considerable inspiration. There's always something going on in the upstairs smoking lounge, played out to the soundtrack of the staff's latest compilation CD, itself vying for air space with the discordant sounds of a station-hopping radio and frenetic food preparation coming from the adjacent kitchen. What should be a Babylon-esque cacophony is surprisingly relaxing, particularly when fascinating snippets of fellow patrons' conversation are thrown into the mix. I've been frequenting Café Revival for some time now and, without fail, a middle-aged woman called Gwen will already be there, with her coffee, cigarettes and reading material. If I'm feeling especially sociable (which isn't often, I'm really not a morning person), I'll give Gwen a nod and a half-smile. Gwen always chooses the cushion-laden long seat in the corner of the upstairs smoking lounge, providing a view of the room, as well as the stairwell leading to it and continuing up to the non-smoking lounge and toilets. A perfect spot for obversation, in other words. I chop and change, probably a subconscious (and rather feeble) attempt at unpredictability. Sometimes, I'll sit in the opposite corner, against the window; the window seat also has cushions, but it's frankly not all that comfortable. Sometimes, I'll sit at a long table lining one wall. Occasionally, when it's extremely busy, I'll be forced to sit at one of the central tables; not my preference, as I feel somewhat set adrift. This week, the upstairs smoking lounge installed a bar counter with high bar stools. I'll probably give this a miss. This wasn't the only change to the status quo of the upstairs smoking lounge, however. After months of visiting Café Revival and encountering Gwen without fail, this week I discovered that Gwen is called Gwen. Not that I asked her directly, of course; it was one of those overheard conversations that I referred to earlier. A young woman (let's say in her twenties) sitting at a neighbouring table was interrogating Gwen at great length. Through aural osmosis, I absorbed the following information: 1) Gwen is called Gwen. 2) Gwen works in the magistrates' court, just around the corner from Café Revival. 3) Gwen's main role is translating documents for clients whose first language isn't English. 4) Gwen is Welsh. 5) Gwen has published several novels in the thriller genre, thus far only in her native Welsh language. The younger woman was fascinated by the fact that she was speaking to a genuine author; she revealed that she too aspired to be a writer. The younger woman's favourite book is "Bridget Jones' Diary" by Helen Fielding. The younger woman seemed undecided about where to focus her writing. The choice seemed to be between a journal/diary-style narrative, similar to "Bridget Jones" but from a Christian perspective, or a self-help book. I didn't catch who the younger woman was intending to help to help themselves, or whether this too would be from a Christian perspective, although I would guess the latter assumption is fairly safe. Gwen gave the younger woman some advice and encouragement, though I wasn't entirely convinced that the younger woman was paying as much attention as I was. Will the younger woman ever write that book? Will Gwen's thriller novels ever be published in English? Who knows, but their conversation certainly enhanced my morning's coffee and cigarettes...
"Remix engineers? I shit 'em" Julian Cope, "Beautiful Love" single sleevenotes, 1991
Mari Boine "Remixed" I confess to a habitual acceptance of remixes and a borderline obsessive desire to track down reworks by artists as much as a band's original material. The result is a vast collection of obscure remixes by the likes of Andrew Weatherall, Slam, Fluke and Orbital, which makes the proverbial silk purse from a sow's ear. However, often it will lead me to discover more artists and remixers, or just simply appreciate the record in it's own right. Such is the case with Norwegian artist Mari Boine's "Remixed". I picked up this promo CD for a couple of quid, simply because it featured Jah Wobble, Bill Laswell and Biosphere, and thought that any other listening pleasure would be a bonus. What can I say? Ten tracks and just over an hour later and I've been playing it frequently ever since. A quick look on the Discogs website reveals a rather unflattering picture of Boine that makes her look more like a trucker than the sensual chanteuse suggested by her voice, as well as a leaning towards a jazz/rock/(Norwegian) folk hybrid. "Remixed" is perhaps not one for her fans then, as it charts a markedly different route, taking in breakbeat, dub and house. Chilluminati provide an atmospheric opener in "Gula Gula", neatly leading into Jah Wobble's distinctive bass on "Cuovgi Liekkas", which roughly translates as 'Radiant Warmth', appropriately enough. The tempo then picks up with Those Norwegians' funky take on "Gulkan Du", before taking it back down for the spine-tingling "Alddagasat Ipmilat" by Biosphere. Regardless of my familiarity with the artists, each of the remixes complement each other and use Boine's vocals to great effect, wisely tending to leave them intact. The notable exception is album closer, "Ahccai" by Phono, which weaves a single note vocal into a pulsating beat that ensnares the listener. I'm not sure that I'm curious enough to seek out Mari Boine's other releases, but "Remixed" will be troubling my CD player for some time.
Tracklisting: 1. Gula Gula (illumination mix by chilluminati) / 2. Cuovgi Liekkas (jah wobble remix II) / 3. Gulkan Du (those norwegians mix) / 4. Alddagasat Ipmilat (biosphere's hanging valley mix) / 5. Ale Ale Don (melodious mood mix by mark de clive-lowe) / 6. Maid Aiggot Muinna Eallin (bill laswell mix) / 7. Gulan Du (nils petter molvær & jan bang remix) / 8. Mun Da Han Lean Oaivamus (richard thomas mix) / 9. Vuolgge Mu Mielde Bassivarrai (roger ludvigsen, fred ellingsen & thomas sonnenberg remix) / 10. Ahccai (phono remix)
Note: this promo verison features a different tracklisting from the official release. I've also removed the correct characters from the song titles as some visitors may have trouble viewing the tracklisting. Apologies to any Scandanavian visitors!
Her Space Holiday "Ambidextrous" One of the best things about free music downloads is that it enables you to broaden your muscial tastes at best and, at the very least, to sample an artist's material before committing to a full album. Okay, so it removes the interaction between buyer and seller resulting from going into a record shop and asking to listen to a record that you're interested in. Then again, I got pretty tired of staff's dismissive response when I presented them with a record that was clearly well outside of their listening zone... And so to Wichita recordings, who seem to me to be a sorely underrated label, having released some great music by the likes of Bright Eyes, Ruby, bravecaptain and Mark Bianchi, aka Her Space Holiday. My introduction to HSH was through the Wichita website and a free download from this compilation of his remixes, dating from 2000-2001. As previously mentioned, I'm favourably biased towards remixes and particularly welcome the current trend of compilations focussing on the remixer, as opposed to the original recording artist. The danger of course is that the reworks won't match the original song and/or sound increasingly repetitive over the course of an album. Her Space Holiday's trademark appears to be marrying predominantly downtempo beats with string and wind instruments, but "Ambidextrous" manages to be varied and not outstay it's welcome, totalling just over 40 minutes' running time. An ambient take on new-punk band Elastica's "My Sex" opens the album, Bianchi washing Justine Frischmann's vocals in swirling loops of sound. Unfamiliarity with most of the original songs and artists is an advantage, with Aspera Ad Astra's "Godspeed" sounding like the definitive version. Not that this always works: Bright Eyes' "Contrast & Compare" and Micromars' "Why Didn't My Parents Buy Me A Casio?" draw undue attention to thin vocals and (in the latter) throwaway lyrics. However, Bianchi more often than not hits the mark, adding a spaciousness to tracks by Ruby and Duster. The highlight remains the track that I originally downloaded, "American Household", with Logic's rap about a dysfunctional upbringing set to a disarmingly cheerful woodwind and epic-sounding string section. Perhaps even more disconcerting is bravecaptain's "Tell Her You Want Her". Ex-Boo Radleys songsmith Martin Carr's trademark narrative about crushing indecision and unrequited love takes on a far more sinister undertone here. The song soundtracks the mundane daily routine of showering and brushing teeth, punctuating this with the narrator's frustrated attempts to telephone the object of his desire. The track climaxes with a sudden, unexpected gunshot... just as an incoming phone call sounds, to remain unanswered. "Ambidextrous" validates the concept of the remix album by making the sound unmistakably Her Space Holiday, without losing the spirit of the original song. If you're not convinced, why not do what I did and sample before you buy?
Tracklisting: 1. Elastica: My Sex (the last love letter mix) / Aspera Ad Astra: Godspeed (freedom fighters mix) / 3. Bright Eyes: Contrast & Compare (making words mix) / 4. Ruby: Grace (house warming mix) / 5. Micromars: Why Didn’t My Parents Buy Me A Casio? (analog alien mix) / 6. Logic: American Household (front hug mix) (play) / 7. bravecaptain: Tell Her You Want Her (uk psycho mix) / 8. Duster: And Things (Are Mostly Ghosts) (version over dose mix) / 9. Her Space Holiday: Famous To Me (hurtful kid mix)
You can also download R.E.M.'s "R.E.M.IX" album, which features 2 remixes by Her Space Holiday here, or read my review in Jukebox Juicebox #5 (November 2005).
Propaganda "Outside World" As part of Zang Tuum Tumb's bid for music (world?) domination in the first half of the 1980s, alongside Frankie Goes To Hollywood and The Art Of Noise, Propaganda were fully immersed in remix culture from the outset. My first purchase was the "p:Machinery" 12" single that, characteristically for ZTT, segued the instrumental and vocal versions to provide an epic slab of Germanic alt. pop. I subsequently sought out their other releases, including the classic album "A Secret Wish" and it's accompanying remix set - at a time when remix albums were still few and far between - "Wishful Thinking". Like all ZTT acts, the music was just part of Propaganda's appeal, taking into account the striking sleeve art and the ever-photogenic Claudia Brücken and Suzanne Freytag. In an odd sense, Propaganda were my ABBA (Suzanne was my favourite, in case you're wondering), though their story pretty much ended with these few releases. Ignoring the short-lived and largely forgettable Propaganda Mk II at the start of the 1990s, the band and their music seemed consigned to the vaults of history. However, with music's obsessive need to reevaluate and reclaim it's past, Propaganda are back with a collection of their finest moments committed to single. Of course, times have changed: remix albums are now ten-a-penny and, as the flood of recent 1980s 12" compilations demonstrates, much material from this period now sounds horribly dated. Fortunately, the innovative approach of Trevor Horn, Stephen Lipson and Bob Kraushaar, combined with the quality of Propaganda's songs, means that "Outside World" neatly avoids this problem. The versions of signature tune "Dr. Mabuse" build on the original's strengths and never feel repetitive. Likewise, "p:Machinery (beta)", which originally appeared on the rare ZTT sampler album "IQ6", replaces the song's killer synth hooks with the squalling guitar of Magazine/Siouxsie & The Banshees legend John McGeoch (RIP). The 12" mixes of "Duel" and it's aggressive sibling "Jewel" are little more than extended workouts, but lose none of their impact. However, the cassette-only mix of "p:Machinery (connected)" is a less successful segue of the original and 12" versions, seeming heavy handed by comparison. Of the B-sides, "Frozen Faces" - here in two versions - is the standout, whilst the take on The Velvet Underground's "Femme Fatale" retains it's curiosity value. A limited edition bonus DVD compiles the three single promo videos, plus alternate versions and TV commercials, which reinforce Propaganda's inate sense of style and are a treat for those like me who missed them the first time around. Despite original members Michael Mertens and Suzanne Freytag reactivating Propaganda and releasing a 12" single at the end of 2005, the prospect of a full reformation seems unlikely. Still, Germany's arguably greatest 80s pop act have left a formidable legacy that loses none of it's appeal with the passing of time.
Tracklisting: [CD] 1. Das Testament Des Dr. Mabuse (13th life mix) / 2. Lied [remix of The Chase] / 3. p:Machinery (beta) / 4. Duel (bitter sweet) / 5. The Lesson [remix of Dr. Mabuse] / 6. Frozen Faces (12” version) / 7. Jewel (u.s. vocal edited version) / 8. p:Machinery (connected) / 9. Das Testament Des Dr. Mabuse (dj promo version) / 10. Femme Fatale (The Woman With The Orchid) / 11. (Echo Of) Frozen Faces / [DVD] 1. Dr. Mabuse (version 1) / 2. Dr. Mabuse (version 2) / 3. Duel (version 1) / 4. Duel (version 2) / 5. p: Machinery / 6. Dr. Mabuse (tv commercial) / 7. Duel (tv commercial)
Two Lone Swordsmen "Big Silver Shining Motor Of Sin E.P." Despite my being a big fan of all things Andrew Weatherall, I've been incredibly slow on the uptake with this E.P. and it's parent album "Live From The Double Gone Chapel", both of which came out in 2004. The E.P. offers two exclusive tracks, a remix and instrumental/dub versions of same, providing just under half an hour of music. Musically, it ploughs a similar furrow to the Two Lone Swordsmen's previous output, but what sets the new material apart is Weatherall's additional role as lead vocalist and... it's pretty good. Weatherall 'sings' in a deadpan, almost spoken word style and the characteristically repetitive electro beat doesn't demand any challenging high (or low) notes. The E.P. kicks off with "Showbizz Shotguns" and it's repeated refrain "You've got the luck of a seventh son, but so do the men with the bigger guns." Follow up "Feast" is a more downtempo affair, with an infectious bassline by fellow Swordsman Keith Tenniswood and bizarre lyrics including "I've got red marks on my arms, the price of your peculiar charms / I've got red marks on my hips, the constant late night shopping trips". Final track is a remix of their cover of The Gun Club's "Sex Beat". I'm unfamiliar with the original track, but this version is great. Musically, it's their most early 80's sounding track, elements evoking other bands like PiL and The Comsat Angels. The vocal-free versions of each track are all good in their own right, and closer to the usual Two Lone Swordsmen sound, but I've really been drawn to this new, fuller experience and am looking forward to experiencing more.
“Present Laughter” 
