Friday, 1 February 2013

Here's one for autumn

"The crumbling castle, looming among the mists, exhaled the season, and every cold stone breathed it out. The tortured trees by the dark lake burned and dripped, and their leaves snatched by the wind were whirled in wild circles through the towers. The clouds mouldered as they lay coiled, or shifted themselves uneasily upon the stone skyfield, sending up wreaths that drifted through the turrets and swarmed up the hidden walls."

Peake, Mervyn. Titus Groan (1946) in The Gormenghast Trilogy. (St. Ives: Clays Ltd, 1994), p140.


(I'm currently wading through the first book in Mervyn Peake's Gormenghast trilogy, Titus Groan. His use of language is impressive; the text is constantly rich and dripping with poetry. It is like a thick, succulent gravy, which means that it has taken me a while to make any significant in-roads into it. If Joseph Conrad had written in this style he'd probably be my favourite author.)

Sunday, 27 January 2013

Literary Resolutions

There was once a small village at the foot of a great mountain. The folk dwelling there were strong-willed and worked well together, happily farming the surrounding land successfully and bringing great prosperity to the village. One day, a wandering god came to the village and offered his patronage on seeing their fine produce. The villagers were content with their lot however, and politely declined the god's offer, preferring to focus their attention on their farming instead of worship. This angered the god. In revenge he created a great monster; a gigantic mis-shapen beast with the body of a bear and the head of a donkey, representing the god's rage and the stubbornness of the villagers. The god proclaimed that every month when the moon was full the beast would descend from the mountain to destroy the labours of the village, unless an offering of a human child was made. Upon seeing the beast roaming the mountain and hearing its terrifying braying on the wind, the villagers took to tying up a child to a tree at the foot of the mountain every month in order to protect their farming. And, just as the god declared, every month the beast would come at full moon and tear the poor child to pieces. The villagers were able to continue their work without further disturbance, but from then on the joy was removed from their labour, and their produce never tasted quite the same again.


This afternoon I began one of my major projects for 2013; going for a cooked breakfast with a friend once a week. This is something I will document more in depth at a different time, but one of the many interesting things that cropped up in conversation with Stu was thinking about a literary analysis of social history, and taking that through and developing ideas around conflict resolution. This lead towards thinking about mythology, as this is generally the earliest form of story-telling within societies. Stu began thinking about recent events in Egypt, and how current Egyptian leader Mohamed Morsi had been referred to by some quarters as having 'given himself the power of the pharaoh', in a manner not dissimilar to Akhenaten; this pharaoh being the one that steered Egyptian society away from polytheism towards the monotheistic worship of the Aten, or disk of the sun. The pharaohs were intrinsically linked up with Egyptian mythology, and so there is a line that can be traced back from the present to the past. This is something that I believe Stu is going to be meditating upon in the future.

When thinking of mythology, my mind automatically leaps to Greek mythology. These were the stories that captivated me the most when growing up, mainly due to the myriad of exciting monsters that roamed about the ancient lands of the Mediterranean. In thinking about being able to trace a link from Egypt's present to its historical mythologies, I began to wonder if the same could be done with Greece, and in particular with its current state of economic trouble. My knowledge of global politics is, I must admit, relatively poor, so apologies for any inaccuracies or naivete from this point onwards. In any case, the Greek myth that most readily springs to mind from what I've read other people write about it is that of Daedalus and Icarus; the father and son who attempted to escape captivity with home-made wings,with the son flying too close to the sun and inadvertently destroying his wings as a result, and plummeting to his doom. The myth is usually interpreted as a cautionary tale warning against over-ambition, with pride coming before a fall, which one could, if they chose to do so, equate with Greece's spending when it switched to the Euro near the start of the last decade.

However, looking a bit closer at the myth can lead us to look a bit closer at the crisis. In the myth the individual that suffers most is Icarus. In the crisis, the suffering is done largely by the Greek public. Why was Icarus put in this precarious position? Ultimately, others were responsible for him finding himself up in the air. It was King Minos who had decreed that Daedalus and his family were not to leave Crete for fear of losing the secret of the Labyrinth. It was Daedalus who had fled to Crete after murdering his gifted nephew in an act of jealousy. Poor Icarus was placed in this situation as a consequence of these two individual's actions, amongst others. If we can expand the scope of inquiry with the myth, equally it can be done with the economic crisis, to take in the actions of the Greek government, private creditors, fellow Eurozone member states and the IMF and assess their responsibility here.

Again, my knowledge of Greece's economic situation is relatively limited and so I do not wish to fumble around clumsily with such an intricate and delicate subject, but I believe that the literary interrogation of mythology is something that can be applied to contemporary events. Mythology has long been utilised in areas such as psychology, where its reliance on archetypes comes in useful for both explaining particular tendencies and syndromes and exploring ways of dealing with them. If they can be used successfully within this sphere then why not successfully in others, such as conflict resolution?

The story of how Iceland dealt with its own economic crisis had a very mythical edge to it. When a monster is laying waste to a village the solution is more often than not for a hero to be sent out to slay it, rather than trying to ween the beast off humans and onto vegetables. And so, instead of austerely removing food from their own table to feed the monster, the Icelanders worked together to take up their swords and chop the beast up where possible. And they'll all probably live happily ever after.

Many years passed, and the village sent many of its children off to their death at the foot of the mountain. One day though, a parent had had enough. Angered by this way of living in fear, she began confronting the mayor of the village and ordering him to organise for a party to climb the mountain and kill the beast. Eventually, after weeks of protestation, the mayor relented and decreed that a group of armed villagers be sent up the mountain to the monster's lair. The climb was treacherous; harsh winds lashed against the brave souls who had volunteered to make the climb, and icy rain raked fiercely across their faces. All the while they could hear the braying of the beast getting louder as they drew closer and closer to where it had made its home. Finally, the party reached a vast opening in the mountainside around which was scattered the skeletal remains of dismembered limbs. It was the lair of the beast. Waiting until night-fall, when the monster was slumbering, the party rushed into the cave bearing torches and swords, hacking the creature to pieces. The god witnessed this, and being impressed by the villagers' bravery, decided to leave them be. Peace and prosperity finally returned to the village, and from that day onwards the produce of the village became famed as the most delicious in all the land.


Monday, 7 January 2013

Ciao 2012

Well, following a bout of insomnia I have found myself with a couple of 'Best of...' lists. 2012 was similar to 2011 for me in many ways, only with higher highs and lower lows. Let's start off with the resolutions I made last year and whether I followed them up or not:

- write more, try and do something creative at least once a day an' shit
- take more photos, events should be documented more thoroughly an' shit
- keep a more comprehensive record of books and films read and watched an' shit
- be brave an' shit
- maintain correspondances an' shit
- review a cooked veggie breakfast once a week

Eloquently put. I did write more, though certainly not to the extent of doing something creative once a day. I did take more photos; nowhere near as in the past but certainly more than last year. I am proud of the record I have kept of films and music, though I need to step this up again in terms of books. I might have been brave in some respects but certainly wasn't in others. Still room for improvement there. Probably failed on the correspondences (though I can spell it correctly now). Failed miserably on the veggie breakfast one. This is definitely the most important thing for me this year, and I shall be putting up a manifesto as my next blog post.

So, let's be positive and award 2012 a silver star. Good effort. Room for improvement, but certainly progress made from 2011.

Now let's hit some lists. As part of my comprehensive record keeping I have noted down what I deemed to be my 'New(ish) Musical Discovery of the Month' and 'Food of the Month'. So, here is what tickled my varying tastebuds in 2012:

January:      Francois and the Atlas Mountains & Colman's Mustard
February:    Belle and Sebastian & Cider Vinegar
March:        The National & Cookies
April:          Of Montreal & Aubergine
May:           Misteur Valaire & Linda McCartney Sausages
June:           Fleetwood Mac & Black Olives
July:            Lykke Li & Boiled Eggs
August:       PSY & Roast Vegetables
September: Django Django & Avocado
October:     The Proclaimers & Honey
November:  Grandaddy & Roast Potatoes
December:  Suede & Sausages-in-Croissants

See the pattern? Look hard enough, you will see the pattern. This leads seamlessly into my top songs of the year.

Music:
1. PSY - Gangnam Style
2. Robbie Williams - Candy
3. Frànçois & the Atlas Mountains - Les Plus Beaux
4. Amanda Palmer & The Grand Theft Orchestra - Want It Back
5. Arctic Monkeys - R U Mine?
6. Of Monsters And Men - Little Talks
7. Django Django - Default
8. Foals - Inhaler
9. British Sea Power - Machineries of Joy
10. Blur - Under the Westway

Here marks an obvious improvement on last year; a list that only contains one track from MOR radio! And even then, Robbie's comeback was deemed too irrelevant for Radio 1. If that's not a glowing recommendation, I don't know what is. These 10 tracks are so strong that there's not even room for Engelbert Humperdinck's masterful Eurovision ballad. Good year for music then, I'd say.



Film:
1. The Muppets
2. The Pirates! In An Adventure With Scientists!
3. Life of Pi
4. Chronicle
5. The Artist

I managed to watch more films this year than last, but due to an aversion to the Duke of York's cinema that developed midway through the year I tended to favour the bigger, less exciting venues to watch films. I'll try and rectify this this year. The top 2 films here are two wonderfully inventive and hilarious family films that I would recommend to anyone. In fact, those top 4 I would venture were criminally underwatched (so much so that I had to go see Chronicle on my own). The Artist was criminally overwatched, though still a decent and warming enough flick. Dishonourable mentions go to A Dangerous Method and The Woman in Black, for both taking great source material and creating two very dull pieces of cinema.



Gigs:
1. Electric Six @ O2 Empire
2. Frànçois & the Atlas Mountains @ Green Door Store
3. Misteur Valaire @ Blind Tiger Club (Great Escape)
4. British Sea Power @ The Haunt (either Krankenhaus 1 or 6)
5. The Proclaimers @ G Live

I've mentioned a couple of these gigs previously. It was a year of discovery new bands in the live setting, and also seeing a couple of long-term favourites stepping it up big time.



Books:
1. Patrick Ness - Chaos Walking trilogy
2. Dave Gorman - Vs. The World
3. James Herriott - The Lord God Made Them All
4. Clarice Lispector - The Hour of the Star
5. Margaret Attwood - The Year of the Flood

Again, I was lax at recording my book reading, so much so that I almost forgot that I read Ness' Chaos Walking trilogy in rapid fashion midway through the year. One of the most compelling series I have ever read, it improves book by book and climaxes with an ending that affected me on an emotional level far more than any ending I can remember reading. For fans of young adult literature (an awkward but convenient genre), with particular biases towards science fiction and fantasy, I would suggest you find yourself a couple of free hours and get going on this, so that when they eventually come out with a film adaptation you'll be able to moan about how inadequate it is quite happily.



Achievements:
Shitloads of achievements, yo, but all over-shadowed by the fact that I didn't get started on my veggie breakfast blog.



New Year's Resolutions:
1. Just keep swimming.
2. Start on that bloody breakfast eating next week.




“Of course what I felt then as an ape I can represent now only in human terms, and therefore I misrepresent it, but although I cannot reach back to the truth of the old ape life, there is no doubt that it lies somewhere in the direction I have indicated.”

Thursday, 27 December 2012

Electric Six

Whoever said that you should never meet your heroes must have had the wrong heroes.

On Saturday 15th December I was fortunate enough to see Electric Six perform at Shepherd's Bush Empire in London. Fortunate as, despite seeing them play a mere five days earlier in Brighton, I was shocked and completely blown away by them.

My good friend Tim spent a bit of time writing a great wee article about their seventh album, Zodiac, and why it (and the rest of their output) is both so exciting and intelligent. Yes! Intelligent! A fan-made video for one of the songs Tim mentions in his article, 'After Hours', is profoundly illustrative at conveying where the band is coming from. It combines footage from the films Metropolis, American Psycho, They Live, Eraserhead and A Night at the Roxbury. Normally, fan videos on youtube make me cringe and feel sorry for the people making them, but in this instance the creator has made something that is generally more fitting than the majority of music videos.


So, these guys aren't just being vulgar, mindless schmucks. There is a point to it all (well, most of it). Swift didn't honestly believe that the Irish should eat the children of the poor in order to ease their economic woes. Satire is a potent tool for criticising social conventions, and when in the disempowered position of the musician, it can be a mightily effective one. I find it hard not to read Electric Six's third album, Switzerland, as being an all out critique of the music industry. Fresh from being dropped by Warner, ultimately ending their mainstream music careers, beneath the comic set pieces and ludicrous imagery lies a powerful bitterness. Without being tempered by comic set pieces and ludicrous imagery, such a powerful bitterness would be a major turn-off for most listeners. With this tempering, the band have created what is widely held by fans as one of their most engrossing albums. Maybe at some point in 2013 I'll write about it a bit more, but for now I'm focusing on a gig they played in 2012 which featured but two songs from that album, and one of these was only part of an acoustic set before everything kicked off!

So, I knew what to expect from the gig, especially as I'd seen them play earlier in the week. The tour was to celebrate the ten year anniversary of their breakthrough album, Fire, the one that carried 'Danger! High Voltage' and 'Gay Bar' into the public consciousness in 2003. As a result, the main set in Brighton and elsewhere on the tour had consisted with the album being played in its entirety, bookended by 'greatest hits' from their other albums. Fire is undoubtedly one of their strongest albums, if not the strongest, and so this worked fine as a set. It was also a wonderful opportunity to hear great songs that are seldom played live nowadays. It was the first time I'd heard the track 'Vengeance in Fashion' in the ten years I've been seeing them live, and it was the first time Tim had heard 'Naked Pictures (Of Your Mother)' since we'd seen them in 2003, despite us having covered this song in our band, Philanthropy, numerous times in the past. This was what I expecting then; the entirety of Fire, with about 7-8 other tracks from their back catalogue, with one or two of these hopefully being different to the ones played in Brighton.

That ain't what happened.

I should have said earlier that myself and my wee brother Ian had got VIP tickets to the gig. This entitled us to a meet and greet session pre-gig, a signed poster and entry to the aftershow party. What I didn't realise was that this would also include a wee pre-gig acoustic set by frontman Dick Valentine. This treated us to a couple of deep cuts from the back catalogue, along with a couple of tracks from his solo and side projects. Cute start. Neat touch. Feeling pretty good about the gig.

Then we find out that there aren't any support acts, and in fact the band are going to be playing two sets. Wowzers. The second of these would be the Fire set. Wowzers.

And then, when the lights cut out, the audience all salivating in eager anticipation, out of the shadows ambles Dick Valentine.

Alone.

Wearing nothing but his boxer shorts.

He then proceeds to play 'Underwear' by the Magnetic Fields.

Then Tait Nucleus? the synthesiser player comes out, carrying a t-shirt for Dick.

They then proceed to play a song, just guitar and synth.

Then Percussion World the drummer comes out, carrying trousers for Dick.

They then proceed to a play song, just guitar, synth and drums.

One by one, the other members coming out, assembling the line-up and Dick's wardrobe one song at a time. It was such a surprising and enthralling way to start a set, and I especially loved it as a homage to Talking Heads' Stop Making Sense performance. The songs they played as part of this initial set were all huge favourites of mine, and I couldn't fault their song choices at all. The crowd also helped make the experience incredible; the level of participation from the audience was the best I'd ever encountered at an E6 gig, and there were no acts of arch-douchebaggery from any audience members that I experienced. The E6 Brighton gig of 2011 had seen me sent flying into one of the pillars in concorde2, hurting my back a fair bit. Sometimes you get meat-headed arch-douchebags in the audience. Not so this year.

For the second set, playing through Fire, the band (barring Tait Nucleus? who opted for some flamboyantly camp waistcoat action) wore white naval captain/dance commander uniforms.

They also found the energy for a two song encore after this second set.

This was the gig that kept on giving. The energy levels from the band rubbed off onto the crowd, whose excitable enthusiasm must have rubbed off on the band, and everyone everywhere in that venue was rubbing off all over the place.

Struggling to write paragraphs longer than a couple of sentences now, such is my excitement in recollecting the gig.

The after party was also quite something. I was lucky enough to have chats with Dick Valentine about life and being an English graduate (Dick don't reference Yeats and Shakespeare for nothin' yo), and Smorgasbord (bassist) about Brighton and how much Ohio sucks (it does a wee bit). Both were very pleasant gentlemen, and I would presume the others chaps in the band are as well. It made me wonder, why don't all bands do it this way? Anyone at that gig could tell just how much the whole occasion meant to the band, they were having the time of their lives. It's these little personal touches, these gestures towards the fanbase that make it so incredibly easy to obsess about bands and want to spread their music to as many people as possible. Dick told me that one of the key things for the band was that they treat being in a band as their job, and this approach seems to me to be the obvious way to go. The more you do for your fanbase, the more they are likely to do for you.

Electric Six have a job. The fans, the crazies, are the people they work for. The crazies help pay the bills. Electric Six's job is to get the crazies to pay the bills. Maintaining the craziness of the crazies is fundamental to this. All bands should understand that one album every two years only keeps a crazy person at a certain level of craziness. Work for the crazies, not just the labels. The labels can turn on you. The label turned on Electric Six. Electric Six turned to the crazies. Electric Six released and toured a new album every year from 2005 to 2011. This kept us crazies pretty damn crazy. The crazies paid the band in both love and money, Eros and Thanatos. Them guys worked hard. They got me wanting to work hard. They got me worshipping them as heroes.

Meeting your heroes can be a very good thing indeed.


Monday, 17 December 2012

Supermarket - Aisle 2

Holding up a mirror towards the throne
Shows vulnerability of metronome

Inside this packed vacuum
A cold call to prayer is answered,
Man's cage estate
Is ruled by spectral council.
It states that a monochrome spectrum be
Painted on its spiderous avenues.
Oh! Unhygienic Archimedes &
His chronic ill logic,
They feed the drip -
A drip caught short,
Excising poetry from calendars,
Janus, Juno et al jilted,
Welcomed into hyperpurgatory,
That cold custody for the inverted.

Turn off the stars for there is no more space
For constellations left within this place.

Sunday, 16 December 2012

Hot Tub Cocktail Party

I didn't know where to look. Eventually, I decided to focus on the safe, unassuming tiles. The non-reflective tiles that refused to heave, quiver or sway. Carefully manufactured, the porcelain tiles of the hot-tub had each been individually selected and positioned artfully so as to create a pattern at once so delicate and so dynamic that the casual observer might not even notice that it was there at all. The tiles were of four different colours: a rich ocean-deep cerulean; a vital green that glowed as if alive; a wicked scarlet that drew in the eyes seductively and a noble pearl, pure and chaste, unblemished by the other colours that danced and splashed so provocatively about it. These non-reflective tiles were fixed; they refused to heave, quiver or sway. A quick look up around the hot-tub confirmed this. No, these definitely non-reflective tiles definitely refused to heave, quiver or sway.

Wednesday, 12 December 2012

Violent Metempsychoses pt. 3

THE WAITING ROOM

“Another failed sacrifice,” intoned that now familiar voice. I could see the furry shape in front of myself, shielded by the mists. I could feel a vague sense of shame for having returned to this room so swiftly.

“A father and a partner. I would have thought you would have been happy with the chance you had been given.” I could definitely sense something else at work behind its calm words.

“You should have seen what was at work behind the situations you placed yourself within.” I could definitely detect a new edge to the voice. Mmmmm. “I told you previously that everything has a story. You have not been heeding this.” Mmmmm, I certainly had not, forgot about that, caught in the moment each time. I could feel judgement again.

“What are you?” I blurted out, out of the blue. I had no idea why I asked it, nor where these words came from.

“I am a different story to you. I am the one that is here in this room and does not have to make the choice of going through that door one more time, or staying put, learning to be at ease with the endings of stories past.”

Is that all it came down to? Being content with how my story ended? But don't we write our own stories? Could I not rewrite it in a much better way? Of course it wasn't just about my story, but about Sarah's as well. And Josh's. Illiterate worm. I could do this. I would do this, it was the correct thing to do.

“I see that you have made your decision. It does not come as a surprise to me. I wish you the best of luck, and that I hope you can do what is best for all.”

The yellow eyes were staring straight at me, with all the fervour of a crowd. They were inside of me, probing my thoughts, a thousand hands feeling out what I was thinking. It wasn't just this furry thing in front of me, it felt like the hands of history were doing this, appraising me like an omniscient auditor. I couldn't hold its gaze. I flew for the door, eager for the trial to be over.

*   *   *

I, AT THE CENTRE OF THE AIR.

Hanging, suspended within structures crystalline
                                                  Waiting. I am hungry.

                                                  Waiting.

                                                  Taut, silent, hungry
At the corner of the infinite periphery astride air
                                                  Waiting. I am hungry.

                                                  Waiting.

                                                  Forming a path
From abyss to abyss, hungry and patient weaver
                                                  Of text whilst waiting

                                                  Waiting.

                                                  For characters to come
Enter this story, add their words to the ghostly structure
                                                  Floating in the void

                                                  Waiting.

                                                  Hungry for a conclusion
For the lines to quiver and tremble at approaching agency
                                                  Eager for an end to such

                                                  Waiting.

                                                  The woven strands shake
Sending orders to issue forth, intercept, retrieve, absorb
                                                  Surround in words
                                                  Wrapped and captive
                                                  Until the subject is the one

                                                  Waiting.

                                                  The strands deceive
The structure is hewn and falls softly to a silent rest
So silent silence skirts the periphery and scales the real
Alien superstructure the strands of fate adhere to
No longer able to wait patiently when impatience has torn
The woven fabric of the wait, a story built and finished
                                                  By one unable to read
                                                  As a weaver reads vibrations
In the text, in the patterns and the strands of the asking
This agent could not read and was afraid of what he knew not
So from the periphery an exodus to alienation and further
Away from pursuit and heavy judgement from above
Amidst broken frames of fallen structure, to be rebuilt anew
                                                  In a different, freer land
                                                  Away from this illiterate
And this land that had proven to be barren since text-birth
So I, at the centre of the air, ascend contrary to gravity
And stand instead upon the inverse surface, reversed horizon
Eyes appraising the foundations for which the woven path
May be retrod once more, after the vibrations have departed
                                                  I feel the illiterate beneath
                                                  Sending tremors into the ether
Trembling and anxious, and I have this mad compulsion
An instinctive blurting, far from erudite, irrational
And I must weave downwards, descend, fall, go down
Dropping like a weight enacting gravity's ritual towards
This illiterate, as though I have a story to weave for them
                                                  And the impatient illiterate
                                                  Can no longer be kept

                                                  Waiting.

                                                  The new crystalline silk
                                                  Liquid weave unwavering
Permits my going down, the woven text suffers for it
This is not part of a natural structure but an alien one
Feeling forced upon myself, bent over backwards
And enveloped fast within my own ghostly coccoon
Though I can see through spectral structure I am stuck
                                                  And compelled onwards
                                                  Tied to descending hungrily
The vibrations in the air are fearful and terrible
Though the agent has perceived the intent behind the weave
Followed the pattern of the structure and traced the lines
Of silken glass connecting one story to another
And the illiterate has fallen, gone down far faster than gravity
                                                  His structure has toppled
                                                  Fall finally ending all this

                                                  Waiting.

                                                  My hungry impatient waiting
                                                  And now the threads tell me
That this illiterate has fallen from its ladder through fear
At seeing a fellow weaver go down to it against its will
And in trying to evade fell too far, too much and too hard
And the tremors send cracks through the air shaking the lines
And make a noise that summons the illiterate's partner
And she, for she is a she, a she that would consume the story
And would envelope the male for that is as she is want to do
And she comes and sees I at the centre of the air
And she encases me within a glass coccoon of her own
And I know that she is a story teller as well
And I know that the structure she is imposing is a story
                                                  That I have heard before
And her tears are ones that I have heard before
                                                  In another story entirely
And the tears to my silken structure
And the tears for her fallen partner
I feel them as shiverings of the same story
And I am caught in the middle of this snare
And before I am thrown to a cold, wet end
I wonder why this has been chosen as the end
Of our stories.