Applebush/Easy Action Back in the late 60s, Up were part of the same fired-up Detroit scene that gave us the MC5 and the Stooges but have been largely forgotten over the years. This is perhaps understandable as their only releases at the time were one and a half 7” singles […]
Monthly archives: December 2010
9 posts
The Forum, London 17 December 2010 This is Earth calling, this is Earth calling…… It’s mid-winter, snow is on the ground and Arctic winds blow and London is bought to a stand still by Tube strikes and 2cm of the white stuff (no not the “Right Stuff”). Beaming down from […]
The Scala, London 11 December 2010 The first time I saw The Orb play live was at the time of the release of their album Adventures Beyond the Ultraworld. At that time the techno/ambient/trance scene was at an all-time high with a plethora of new bands using psychedelic images and […]
Neurot Run Thick in the Night is USX‘s (as they are sometimes called) fifth album and the first I have heard and I’m really quite impressed… The album begins with the 13 minute opus “In the Night” witch starts off with a guitar and keyboard drone reminiscent in sound to […]
Important Smegma was formed in Pasadena, California in the early 70s, found no fans there and moved to Portland, Oregon, though they’re still an important part of the Los Angeles Free Music Society. Geographical lessons aside, in addition they have made wonderful avant-garde free noise improv music ever since. So […]
Leather Apron News having recently reached my ears of a troupe of performing “Gentleman Ne’er-do-wells” giving themselves the grandiose name of The Men That Will Not Be Blamed For Nothing, who have of late been Turning a fair few Heads, chiefly among the lower orders and the varied Forms of […]
The Vortex, London 3 December 2010 It’s thirty years now since Eyeless in Gaza released their debut single, “Kodak Ghosts Run Amok” (1980), and in all that time there’s never been a moment when they could be made to fit in with whatever else was happening around them. In the […]
Mark Sanders has been a professional drummer for almost thirty years. His diversity is unmatched, running the gamut between jazz, free improvisation, pop, avant-rock, modern classical, dance, new complexity, dub and folk. He’s one of the few free improvisers who integrates the learning that he accumulates from these broad activities: most improvising musicians’ approach rarely synthesises or overlaps their sets of experience from other styles. You would be hard pressed to find musicians currently working within free improvisation who he hasn’t worked with.
There are four main ways of making music that sounds different to anyone else: by devising your own conceptual framework; using rare or unique instruments and equipment; developing an unusual approach to your instrument; or by training until your technique is broader, faster or more specialised than that of other players. Depending on your level of insecurity you may reinforce these with deliberate obfuscation, whether that entails removing the labels from your vinyl, claiming that you don’t understand or aren’t interested in your own process or ability, hiding your equipment or simply not answering questions. It depends whether or not you’re afraid of the competition or you think you’re the kind of person who’s only going to have one decent idea in your lifetime...