I think of all the Velvet Underground effluvia this is the record I come back to most. I still massively rate Lou Reed as a songwriter but Nico is sheer vibes, like a cliff-face. From one angle she's massively unaffected -- the thin voice, that querulous vibrato. The proper folk singer approach of singing the notes largely undecorated. Nothing clever in her singing.
Kev Nickells
183 posts
In Real Life One of the more fun things about musicians in their twenties, probably, is that they have admirable disregard for the norms of music because, well, why would you. This is listed as an album and is just north of twenty-five minutes long. But it is, of course, […]
One of the major differences between the live and the home experience is that I'm now at an age where I'm not inclined to wind up the neighbours with excessive volume. So the home experience misses something of the blur of the shape of the room from the exceptional volume of the live version. I imagine part of the live effect is precisely that the tones find different refractions from the contours of a given room, generating cross tones and various Tartini effects.
What's being reviewed here is two things: a book, Subcontinental Synthesis: Electronic Music at the National Institute of Design, India 1969–1972 , edited by Paul Purgas, and a record, The NID Tapes - Electronic Music From India 1969-72. The NID of the LP's title refers to the National Institute of Design, a home for electronic music within India of the late 1960s. The book is a more expansive look at electronic music in that era, and one is a taster for the other.
For this solo album he’s clearly built on his Erasure-ing — it’s not a swerve into cumbia or zydeco, but it’s also not ‘Erasure minus vocals’. Tempos are typically on the slower end of things and melodies are perhaps more pronounced. Critically though, there isn’t a moment on the album where melody disappears entirely.
John Zorn, in 2023, is a tricky one to pin down. His catalogue is positively seam-splitting and well varied. While there's plenty of artists with similar-sized outputs, there's not many with as many genres, let alone as many genres done well. He's as capable of sombre renderings of traditional Jewish music in Masada as he is the American Football-by-composition of Cobra, the ruthlessly savage Painkiller or the who's who of experimental music collaborators.
don't know what the popular idea is of Sonic Youth in 2023 -- I hope they're considered as slightly more important to younger people than just "yeah Dad, we get it -- New York, 1980s... well done". There's so much timbre from the unison strings, and so much harmonic invention from the tunings that it's really worth keeping them in the canon.
If I was a drugs-music sommelier (and tbh that sounds great), I'd say this is a record that's going to complement a k-hole more than it is your bouncing uppers like ecstasy or speed. And either of those are preferable to the cocaine ambient of Warp's later output.
...these are arrangements bulbous with care and attention, but also with an ear towards appealing to a broader audience than his previous noisey business. For all the idiomatic guitar vocabulary, queasy bends and odd timekeeping, these are lovely wee miniatures of melodic blues numbers that you might want to stick on when you're driving with your Ma.
Perhaps you have an AshNav bingo card. If you do, you can cross out "sounds '80s Miles Davis if he was a bit dirtier" and "I swear that was Tangerine Dream" with this release.
As with every year, the turning of the seasons brings excitable crowds thronging to a new arena in another European city for an extended musical popularity jamboree, and Kev Nickells turns gimlet eyes and ears on the entries for 2023’s Eurovision Song Contest, sparing no blushes in the process. It’s […]
They weren't quite part of that adult indie (ish) stuff that proliferated in Glasgow at the time - Delgadoes, Arab Strap, Mogwai. Probably by dint of being very fanzine, not too srs. They got compared to Pavement or Sonic Youth a lot and never really sounded like either. Probably closer to Swell Maps.
Nuclear Blast In which Kev Nickells (right) and Harmony Parker (left) listen to Cradle Of Filth‘s 2021 album Existence Is Futile at the same time and share their thoughts and/or review the record by direct message:
Greyfade Typically a good way to start these things is to have a rough idea of genre, but this is … not forthcoming. Possibly drone, possibly sound-art, possibly conceptual composition … the blurb has it that Greg Davis‘s New Primes “uses prime number sets to explore an integrated harmonic, rhythmic, […]
Third Man (US) / White Rabbit (UK) Something that’s always useful, before going into a book, is to have some agency which is managing your expectations. Perhaps ultimately that’s why we have reviewers, like me, to hold your hand through a thing. We do the tutting so YOU, dear reader, don’t […]
Intravenal Sound Operations Gargoyles are odd little things; like a lot of Christian ephemera they’re reminders of the impure relationship between the faithful and the spirit realm. In Catholicism, the church is a woman to whom the priest is married, hence their continued spurious and damaging homophobia within that institution. […]
Zehra Devotional music is always so awkward to write about, and this collection of Gnawa music is no exception. And for why? Well, it’s never entirely clear what folk mean by devotional music, and that gets less clear the less information there is available about a group. And the Gnawa, […]
Faber and Faber Cosey Fanni Tutti is likely best known to readers of Freq as a musician of some reknown, part of the imperative of Throbbing Gristle and with a substantial discography (Chris and Cosey etc). Art mavens know her variously for her work in pornography and mail art (also […]
Black Editions Masayuki Takayanagi is something of a legend in free circles, although tricky to place — nominally free jazz, but a great deal more aggressive than that. Also proximal to free improv, but again a fair amount more savage and, with the exception of maybe Derek Bailey, Takayanagi was […]
Even in the midst of the continent’s most devastating war in half a century or more, the Eurovision Song Contest sails on; and what better than having Kev Nickells take on the annual task of examining and occasionally eviscerating each nation’s entry in all the detail such a cultural monument deserves. It’s […]