A Tale of Two Records
What do we do with too much choice, and the objectification of records. Plus a news round-up and new music reviews.
I’ve recently picked up a couple of records - both with very different approaches to their presentation.
The first is nina harkers self titled album from 2023 - this has been on my radar for a little white so I finally found a copy at All Night Flight to pick up. The first thing you notice about this record is that on both sides the centre labels cover the central spindle hole - there’s no way to play the record unless you pierce through the label, instantly making an irreversible mark on the record. Why is that? What does it say about our relationship with vinyl records? How important is the music to the package as a whole, that playing it ruins the look of the record. Of course to most people, to you and I, the music is the most important thing - the packaging is secondary, and luckily on this album this music is good (it’s not available digitally so you’ll need to seek it out for yourself). Original, lo-fi, murky and folky I’m reminded of Bill Orcutt crossed with Flaming Tunes, refreshingly unique with an early 80’s post-punk extravagance about it. Maybe the act of ‘breaking’ the artwork is the first act we need to commit to ensure we’re ready to hear this music?
Of course, to some people - breaking the centre label is sacrilege - a mindset that thinks the record once heard is now broken, now incomplete, certainly devalued and unable to be sold as Mint on Discogs. Perhaps they’d prefer to leave the music as something imagined, that way it can be whatever you want it to be?
I’m reminded in a way of the Durutti Column album that featured sandpaper on the outside, the intention being to destroy the records around it in the racks. I wonder if anyone has taken things to the opposite extreme, constructing a sleeve of reverse board sandpaper, with the abrasive surface on the inside, rubbing against the record itself? Whilst it would be a colossal waste of money, wouldn’t that be the ultimate artistic statement?
The second record I picked up was Stonecirclesampler/Superior London Pulp’s lathe-cut 7” on Feral Child (again, it’s physical only, so you’ll need to hunt it out to hear it). This takes a different approach, presenting the listener with 5 separate centre holes to choose from. Of course, the record only plays as intended from the correct, central hole, but what this gives us the freedom to choose how we want to hear the music. In a strange way it gives us the choice to hear ten different tracks, on a 7” that should only have two. In a world where we have unlimited choice of music - everything you would ever want to hear from the dawn of recorded music to the present day is available on Spotify & YouTube - isn’t it nice to be presented with a real choice? How many times do you go back to your old favourites on Spotify instead of playing something new? In a way too much choice is actually limiting - faced with unlimited options we seek comfort in what we know. So to be presented with the freedom to pick what centre hole to use on a record, and what version of the track to listen to isn’t that real freedom?
Around 10 years ago I went to an exhibition in the NCP on Brewer Street - I think it was by Carsten Nicolai & Ryoji Ikeda from memory. There there was a set up of four or five decks all with a selection of records with multiple centre holes. The difference here was that the records had been cut to play “correctly” at the various different orbits they would play at. Some sounded ‘normal’ some sounded super weird, but it still got my mind thinking about choice. I could have spent hours there listening to each record, much longer than I’d have spent in Phonica round the corner flicking through the seemingly endless selection of records they had there.
And that brings me back to the nina harker record - playing the Stonecirclesampler record on one of it’s ‘incorrect’ centre holes can’t be good for it, the needle flying across the grooves will cause damage to the record changing it’s sound forever, but isn’t that how it’s meant to be heard? Are both these records worth any less now I’ve played them as intended, or is that not important? The value to me - the value they’ve added to my life by hearing this music is stronger than any monetary amount I could put on them, and at the end of the day it’s the music we’re here for right?
News Round-Up
You’ll have seen by now that David Lynch has passed away. A visionary film-maker but also an accomplished musician too. Truth be told, I never finished Twin Peaks and I’m not sure I’ve paid much attention to his other films (which is something I should probably correct), but I’m aware of his musical work. We’ve all seen that clip of Angelo Badalamenti describing how he created the Twin Peaks theme with Lynch’s guidance. I remember when Good Day Today dropped back in 2010 or so - everyone thought it was a new Underworld tune, it really sounded like them. They eventually remixed it a year or so later. One of my favourites is The Air is On Fire, which soundtracked some of Lynch’s paintings. It’s one of those long, droning, perfect pieces of music which perfectly matches it’s title. You can feel the heat, the looming terror coming from the record. I’ve put a few bits in this weeks playlist.
Next week I’m taking part in an online panel discussion about the understanding promotional opportunities on radio. The event is hosted by the Association for Electronic Music and I’ll save my hot takes for the discussion itself, but if you want to tune in the link is here.
Sandwell District are back! A new album’s been announced, a new single’s on streaming services. This is really exciting stuff, and hopefully the album will act as a tribute to former member Silent Servant who sadly passed away this time last year.
Reviews
Still quite early in the year but there’s more and more stuff getting released now. Here’s some highlights.
Sandwell District - Hidden [Point of Departure]
I was always gonna lead with this wasn’t I? I’ve been hearing rumours of new Sandwell District material for a year or so now, ever since we sadly lost Silent Servant. This doesn’t disappoint, it’s typical SD - absolutely essential, with a sense of lightheartedness despite the tragedy the group befell. In simple terms, it bangs. It teases that emotional side that SD do so well, Falling The Same Way moves me to tears every time I hear it, but then kicks up a gear to see the job done.
ELLLL - Earth Rotation [Bruk]
The Bruk label has been consistently putting out great records for a while now, from the likes of FFT & NHK yx Koyxen. This new tape sees ELLLL deliver a low-slung collection of dubbed out electronica morphing in and out out of orbit. One of those that needs listening to in full to really lose yourself in the sound worlds she’s created.
merope - Vejula [STROOM]
Another label that can do no wrong recently is STROOM. This one from merope came out late last year and passed me by in the Christmas madness. Taking inspiration from Lithuanian folk, it’s hazy and reminiscent of that kind of Far-Eastern meditative music you’d get at a sound bath, but without all the new-age nonsense surrounding it.
Voice Actor - Lust 1 [STROOM]
Sticking with STROOM, I know the last Voice Actor album was on many of your Album of the Year lists, and I suspect this one will be too. You know the score with this - foggy, misty music you could lose yourself all night long in. With a lot of ambient stuff the vocals are an afterthought, but here they really make the album, lending it an unsettling, haunting edge that lulls you into a false sense of security.
Q Lazzarus - Goodbye Horses [Dark Entries]
Old as the hills, but finally getting a new vinyl reissue courtesy of Dark Entries. Best known for it’s use in Silence of the Lamb it’s also an incredible tune in it’s own right.
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