The new Broadcast album, in the company of Julian House’s Focus Group, has proved to be one of those records that resist, in some way, being written about. Perhaps it may be something to do with how “Broadcast And The Focus Group Investigate Witch Cults Of The Radio Age” is a slippery, fragmentary listen; a collage of 23 disjointed, often dislocated snippets that feel as if they’ve been harvested from a dusty collection of neglected old soundtracks. An album that slips in and out of focus and of your attention, sneaking up when you least expect it.
Following on from yesterday’s catch-up session (thanks for the Gothenburg report on J Tillman and dulcimer, by the way), another bunch of stuff today that I’ve been meaning to write about for a while.
I’ve been working my way through a shedload of new releases from Thurston Moore’s Ecstatic Peace! label this past week or so, including ones from a few Wild Mercury Sound regulars like Sunburned Hand Of The Man with Kieran Hebden and MV & EE, as well as some less familiar things, like Little Claw and a pretty fierce free jam from White Out in the company of Moore and Jim O’Rourke.
When The Duke & The King made their UK debut at London’s Bush Hall in May, I seem to remember there being at certain points up to about nine people on stage, including on at least one number four people playing guitars, someone on keyboards, a couple of backing singers and, of course, Simone Felice, late of The Felice Brothers, and his new musical partner Robert “Chicken” Burke on vocals. The evening also included a lot of instrument-swapping, principally between Simone and Burke, who took turns at the drum stool.
It’s been a bit quiet on the blog for a while – apologies, but I’ve been embargoed from writing about a couple of films I’ve seen recently. Anyway, one film I have seen, which I am allowed to write about, is Wes Anderson’s latest, Fantastic Mr Fox.
There’s an interesting snippet in the next issue of Uncut, when the Flaming Lips’ Wayne Coyne talks about Portishead’s “Third”. “It got under my skin,” he says. “From the standpoint of being in a band, they do some fun production things, it’s pretty inspiring. I liked how they embraced more stranger elements of prog-rock, and Silver Apples-influenced drum loops and things like that.”
