Wednesday, 1 October 2008

"Eh? Where's the other half of my face?"

"Eh? Where's the other half of my face?"

I murmur this to myself as my fingers brush against nothing but void air...where my left cheek should be. Having just been shot in the face does have the rather upsetting ability to force this question.


Must get myself fixed. I look around (note to scene-setters: Berlin at night, outside, streets and buildings) and see a, sort of, figure of a man - for I am beholding a man in a, sort of, drunken double-vision.


Instead of that rigid splitting in two and forth known and beloved to us all, one of him is bouncing and spinning at all angles all about the other him, his more stable twin...the entire existence around unstable-man dancing too, of course. 'Tis as if my left eye is hanging by a loose thread, still able to see and swinging gay roundabouts. I am not drunk and knowing this, stumble on.


"Deene Auje hängt ja so komisch. Kennst de überhäupt nok gucke?" says this bloke.


"I need help...who can fix me?" I venture in my best English.


"Naja...da gibt es nur diese eine Dame. Sie mach's heil für Euch..." responds the helpful man in his best hoch-deutsch as both hims now settle into a dubious cross, shamelessly referencing religious symbolism.


"...dort!" he is pointing across the road, or is it towards the sky? STRAIN YOURSELF, MAN! I choose the across the road bit, seeming more likely.


"Dank you." I confidently thank and walk on.



I realise now that our hero back there was pointing to a house, and its entrance. Still, I'm not getting the hang (sorry) of my impairment and struggle to reconcile unstable-world with its constant partner. Simply attempting to reach this front door of my fix produces the kind of silly walk not seen since navigating through a near-empty dance-floor on acid...what to do?


Well, that's novel. I can actually close my left eye, rendering my marvellous trip redundant...didn't see that one coming.


I get to the door (ss: rusted oak of splintering hues). The door (sign on the) says: "Komm erst mal rein". So I do.



Hmm...all lights are on and bets off. Busy noises abound: radio-music, hoovering, flowing tap-water sounds, clunking and clanking, a boom and some banging...sortiments of audio goading...a woman is talking.


I see her flitting hither and thither in the kitchen, sometimes out of view. She's barking into the phone cradled in her neck, sounding flustered as she hectically washes a couple of cups at the sink before retreating from view to another part of the kitchen...is that a cat under her arm? If so, you can choose its colour.


"Ha-llo!" the word loud, clear and drenching with urgency from its source, me, still a couple of steps away from the kitchen entrance. The woman blows back into view, the cat jumps off not amused.


"I hef no time. Come beck later." that's her.


"Please...it's my face...my eye is hanging off...LOOK!" that's me.


"Yes, I know. No time." (unintelligible yapping down the phone) "...later!".


She waves me off and is washing cups again - the cat triumphantly springs back on and fits snugly under her arm.


I feel rather bothered by the sight of this woman washing up while holding a cat under her arm, not-to-mention her skewed head allowing for the phone.


"Mama. Mama!" a little girl's voice screeches and is full of dreadful and determined finality...an ultimatum. I look up the long, steep, high and very marble staircase directly opposite the front door and see this small girl of maybe 3 years at the top. She begins a violent forward swinging motion.


"MAMA...ICH SPRINGE GLEICH!! MAMA...ICH SPRINGE GLEICH!! MAMA..." she mantras like a foiled Cartman. I look back towards the kitchen, expecting to feel the breeze as the mama whizzes past me to get to her daughter.


"Später, Kindchen - hab' jetzt keine Zeit."


"MMMAAARRRGGGHHH-MMMAAAHHH!!!!!!" a terrible, terrible cry but the woman is back to jabbering on the phone. The music on the hoover is turned up. The cat closes the kitchen door.


What about the bloody girl! I sprint up the stairs, skipping every other step, just as she begins a run-up and is about to jump head-first down them.


GOT-YA! I block her vault into doom at the death with my outstretched hands. I am a mite annoyed - how can that mother carry on regardless when her girl is imploring her like that?!


I risk opening my left eye and to my no great surprise discover that it is back where it belongs. I can see properly again and there be no void air where my left cheek should be, seen as that has also returned.


As I ponder back down the stairs I am alertly aware of the only sounds present being my very steps and the odd "humph" from me.


I will never forget the sound of that click as I shut the front door of that house on my way out.

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Monday, 22 September 2008

"For great blowjobs, phone 07810 216462"

"For great blowjobs, phone 07810 216462"

It's just staring at me (no, I'm staring at it) - I only just manage to control mysterious urges to phone such toilet graffiti challenges. I might want to check the validity of the claims. I might want to prank some darkly sad case. Whatever it is, I have curiosity that needs satisfying...at least I think it's curiosity.

"For great blowjobs, phone 07810 216462"

I'm still shitting, absent-mindedly pulling my foreskin hither and thither...no, I'm not getting aroused - my hands are bored while I contemplate blowjobs.

"For great blowjobs, phone 07810 216462"

What if a Jolie-lipped, Piper-toothed lovely slipped into this greasy abode for gentrified wasting and invited all & sundry to give random head a chance? Maybe the criteria for the successful applicant would be how nice you sound on the blower (sorry). My CV shows about a years' worth of contact centre experience so I feel quietly confident.
My Dick's getting bigger...

"For great blowjobs, phone 07810 216462"

What if it's a sweaty, middle-aged bloke with rusty bristles instead of where his facial skin should be?
My dick's got smaller...

I save the number in my phone: 'Blow' (well, what else? You know any Blows?). My belly smaller, my arse wiped and hands washed, I leave the pit and venture into fresh air..."ooops" say I as I pull up my forgotton trousers.
I feel a rumbling near my groin...

My vibrating mobile in my hand I check the ID of the caller:

'Blow'
?!
This is weird.
3 rings, 4 rings, 5 rings,
It's still weird, I should decide now.
"Hello?"
"Hey you, I'm Angelina - I got your number, baby - you want some business?"
This is weird.
"Er...you got my number? I have your number! Business? Oh...you mean...like...business."
"Yes, cutie!" (Ha! She knows I'm cute-) "I can come to you or you can come in me if you prefer."
"Wow...um...where are you?"
"Near Victoria, lover...anything you want."
"That's great - can I call you back? I need to quickly sort out summing."
"Don't keep me waiting, honey - you taste of honey, sweet thing?"
"I don't know...ah...I'll speak to you inabit - bye."
"Purrr..."


Well, on reflection it probably wasn't that weird but still fair game to be branded massively coincidental. A small chunk of life ago, whilst pissed, I vaguely remember writing something like "For great reaction to blowjobs, phone 07709 159754" in the BugBar unisex. It seems the horny and wet sounding Angelina (canya believe the name? Banker she's got big lips) saw my number and thought business. P'raps her pimp saw my number...nah...that's unlikely - and madams like Angelina are normally content with phone box adverts, street positioning and massage disguises.

I start thinking about Angelina, as a naive yet independent attractive young woman, starting out in the business, with me as her cherry-popping customer...no, wait - I meant I'd be popping her cherry, her business cherry...ah, fuck it.

I check I remembered to pull up my trousers.

So then, to increase her, what those poor sods in retail call, foot traffic, she's also plastered her name in gents', possibly tubes too (yes, the tube is the trendy new mating environ). This is blatantly the explanation for 'Blow' on my mobe...

'blow on my mobe'...I like the sound of that.

Music Review: Radiohead - In Rainbows

Perfect!

Radiohead have finally made a perfect album: an album so lush you can listen with full enjoyment from start to finish and housing a wondrously effective marriage of two-part song structures, effects, electronics, guitar-work, percussion and Thom Yorke's best vocal performance. It is also Radiohead's happiest album since Pablo Honey.

Radiohead are probably my second favourite band after Pink Floyd and In Rainbows is already one of my favourite albums ever! Here a song-by-song review with mood - pace - colour - rating out of ten:


15 Steps - groovy - middle-fast - dark blues - 10

It takes you a few listens until you start to appreciate the percussive rhythms going on here, and the excited vocals carry the song well. This opener is upbeat, groovy and so damn danceable.


Bodysnatchers - rock out! - fast - deep reds - 10

Rock on! Radiohead sock it to us like they know we want them to. Very dancy and full of swing throughout and has one of the albums' best moments around the 2:30 mark when the drums and cymbals crashes go all out to complement Thom's infectious singing.


Nude - sweet - ballad - silvers and blues - 9

The ooohs & wooohs here do flirt with being a bit over-the-top but the strength of the song overall wins you over. Lovely reverb on the vocals and roomy, atmospheric strings and effects. But Pyramid song and Exit Music did the Radiohead ballad better still.


Weird Fishes/Arpeggi - defeatist - middle-fast - reds and oranges - 10

My favourite from the album. Very much a song of two parts, the longer first part is a building number with full-sounding instrumentation and anguished vocals. After the weird fishes declaration comes a pounding, trippy and very dancy denoument (similar to the 'I'm gonna eat you alive' refrain in Hail To The Thief's Where I End And You Begin). This song would also sound excellent as an instrumental (as would the entire album).


All I Need - nonchalant then epic - middle - shiny blue metal - 8

Initially this song seems boring, but then it ends with an epic call to 'it' being 'alright' after all. After a few more listens you start to unravel the gorgeous music at work here, this sounds like the third and definitive version of Morning Bell. Brilliant use of effects to create atmosphere.


Faust Arp - cuddly - slow-middle - oranges and wood - 7

Another one that I wasn't too keen on at first, but the vocal play at work here is charming. No percussion, electronics or effects...this number has acoustic guitar work and strings.


Reckoner - affirming - middle - transparent - 8

Excellent percussion, this song has loads of space thanks to clever compression and reverb. Heavenly vocal arrangements.


House Of Cards - loving - slow - ruby reds and royal blues - 10

An incredibly affecting vocal performance from Thom here, complemented by easy percussion, nice guitar licks and atmospheric synth work. I love singing along to this song, the cry of Denial is one of Radiohead's most emotional moments...lump in throat time.


Jigsaw falling into place - tasty - middle-fast - oranges and reds - 8

Upbeat and slightly seedy, this song rocks out like Bodysnatchers (tho' not as bouncy).


Videotape - quirky sadness - slow - blues and greys - 8

An initially piano-led ballad which doesn't really infect you until the odd-but-interesting percusion starts up, smothered in communal vocal ooohs and breathings. The best drumming on the album from 3:20 onwards.

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So a very good selection of songs, 4 of which rank among Radiohead's all-time best. So why is In Rainbows their best album? Its strength compared to the other albums lies in its length (appealingly short), track order (a perfect journey), production (tight yet roomy), Thom's vocals (restrained and soulful) and the lack of a weak song that tempts you to skip (see Climbing Up The Walls, Motion Picture, Morning Bell Amnesiac, I Will & Wolf At The Door).

But we all know that music is a journey of personal taste so here's a list of my favourite Radiohead album songs just so anyone reading can better understand my angle:

- Street Spirit

- Paranoid Android - Exit Music - Lucky

- Everything In Its Right Place (especially the live jam versions) - The National Anthem - How To Disappear Completely

- Pyramid Song - You And Whose Army - Dollars And Cents - Like Spinning Plates

- Backdrifts - Where I End And You Begin - There There

- 15 Steps - Bodysnatchers - Weird Fishes/Arpeggi - House Of Cards


Thank you Radiohead! And here's to a very experimental next album, full of 15-minute epics and long instrumental sections...

Music Review: Gong - Camembert Electrique

My introduction to Gong was this album. I'll always remember the first time my ears pricked: it was about 10 years ago and me and a friend were playing Worms on the Playstation when he put on a tape for the background...it was the switch that You Can't Kill Me makes after a couple of minutes with I'll be seeing you again...the groove and tune changes and rocks out like a mad one...I asked my friend: Who the fook is that?.

Then came I've bin stoned before...haha! We were very stoned at the time! And after the furious Dynamite and tender anthem Tried So Hard I was a confirmed fan and demanded to hear the album again.

My Gongness reached its peak when I saw them (Daevid, Gilly and all) live supporting The Orb at the Royal Festival Hall in London in, I think, 2002. After the gig (which was superb) my Planet Gongness slowed down and I pursued other music.

Camembert does not have the longevity of favourite albums of mine from other bands. It now sounds mostly weak, dated and silly but still retains strong emotional value. I do find Flying Teapot the more interesting Gong album from a prog point of view.


From Camembert Electique, Dynamite remains a song I still go crazy too...proper nuts that one, and very very good too.


Music Review: The Doors - L.A. Woman

My favourite Doors album, raw and bluesy.

I find parallels between this album and Nirvana's In Utero: all-conquering American rock bands with iconic front man making a last album which hints at progressive tendencies, yet tastes raw and is generally identified by the more musically-minded fans as being the best album...whatever it is about already-successful bands making such albums, there are dark processes at work which cause very real consequences, for Jim Morrison, for Kurt Cobain (see also Richey James and the Manic Street Preachers only great work: The Holy Bible).

But on to the music with a rating out of ten for each song:


Changeling - 8

I'm a Changeling...see me change! Nice, dancy number to start off the album, tight interplay between the band members.


Love Her Madly - 6

A bit poppy and uninteresting for me, a filler which might sound better on a packed sunny beach.


Been Down So Long - 10

CLASSIC! Rock your balls off to this one! A real swinging blues sing-a-longa treat.


Cars Hiss By My Window - 9

White boys can play the blues! This is what I hoped the Hooker n Heat album would sound like (it's rubbish). Cars Hiss has a perfectly laid-back Jim over an organic groove. At 3:30, a goddamn-yeah-baby-vocal mini-solo from our Jim...Right On!


L.A. Woman - 10

MISTER MOJO RISING! The Doors' greatest song...nuff said.


L'America - 9

This song is almost perfect: a dark, hectic, progressive trip into otherland (L'America). It's a slight pity that there is a mood-miscalculation with an out-of-place one-off chorus you know the rain is coming to town. Great finish tho'. This song ends the 4-song run of amazing music and the album trails off until Riders saves it.


Hyacinth House - 6

Boring, mid-paced number. The end-section is interesting tho'.


Crawling King Snake - 5

Boring, mid-paced bluesish number, no interesting section to redeem it.


WASP (Texas Radio And The Big Beat) - 6

Some nice grooves, but pretty bland and slightly annoying vocals and song structure.


Riders On The Storm - 8

Riders isn't really that interesting, but it has such an appealing, evocative atmosphere that it simply works. Cool music for the background rather than music to really get into.

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So, as with all Doors albums, some excellent, some good and some pretty bland songs but because of the 4 songs in the middle this qualifies as my personal favourite Doors, a tiny Mojo in front of the debut album.

Music Review: Led Zeppelin III

The only Zep album I still listen to from this Behemoth of a rock band. It features 4 of Zep's strongest ever songs and overall has an earthy vibe to it which is cold, yet appeals in an intellectual kind-of-way.

My long-term music tastes are normally of a tribal kind, and of long instrumental jams or of detached sonic experimentation. Led Zep's anthems of Stairway, Ramble On, Dazed & Confused, Kashmir, Whole Lotta Love etc were great when I discovered them at around age 17 back in 1996...but as my tastes looked to progress these anthems became boring.

Led Zep III's strength lies in the apparent inaccessibility of its songs...they last. Below a song-by-song with marks out of ten:


Immigrant Song - 7

A nice dancy groove and juicy drumming with dramatic cries of ah-aaaahs - this song is not really anything special but it does serve as an opener.


Friends - 8

Catches the ear with ominous strings complementing dramatic verse delivery from Plant.


Celebration Day - 5

This song is out-of-place. It feels like it would prefer to be in Led Zep II rather than here. Still, it's an ok and straight rocker, but I skip this one...bland.


Since I've Been Loving You - 9

An anthem that doesn't get annoying! It has a fragmented, epic blues feel and an emotionally soaring delivery from Plant.


Out on the Tiles - 5

A rather non-event song this one, mid-paced. One of those songs that I have to play to actually remember what it sounds like.


Gallows Pole - 9

Yeah! Masterful build-up to when the fat snare drum kicks in. A real party this one.


Tangerine - 6

Shades of Led Zep IV here, Tangerine sounds like it could develop into an epic ballad but instead comes up with a weak chorus, then fails to go anywhere else.


That's the Way - 7

Quite nice to sing-a-long too this one.


Bron-Y-Aur Stomp - 9

Tss- tomp! Tss- tomp! Tss- tomp! Tss- tomp!


Hats Off to (Roy) Harper - 9

Dark twisted blues of the kind I wish there was more of from Led Zeppelin.

---


So an album of 4 great songs which are still great more than a decade after first discovery, plus a couple of good ones and a couple of weak ones.

Music Review: Harmonia - Musik Von Harmonia

I had my eureka moment with it on headphones in the dark and marvelled at the depth of sounds and at how sci-fi it came across. Compared to a lot of soundscapes from this last decade Musik von Harmonia sounds organic and fresh, yet oozes futurism.

Here a track-by-track:


Watussi - 6

An interesting beginning: mid-paced hypnotic bleepy synth loops over a nonchalant beat. After repeated listens however it doesn't reveal too much more depth.


Sehr kosmisch - 10

Wow, the stand-out track. The sense of space is immense: there is much epic action in the galaxy and you are floating through it on a stream of consciousness. That might sound passé or cliched but it's what I feel when this plays.


Sonnenschein - 8

This sounds like a livelier Watussi. After almost a minute the trance kicks in with militant beats and infectious synth licks. Sonnenschein has shades of psychedelic techno about it.


Dino - 9

So positive somehow this one. An upbeat pace with some gorgeous guitar. Dino doesn't have much depth but it has a lot of good feeling.


Ohrwurm - 5

I still don't get this one. A dark and slow rhythmless amble into a place too far out for me to see. All I know is if that's what a worm sounds like when its in your ear then I don't want one in my ear.


Ahoi! - 9

And Ahoi there! this track seems to shout towards its end when we get an extra octave of harmonics to complement the looping hypnotisms and changing delays crescending for us after the soft and warm ambient introduction of hopeful synth pads.


Veterano - 7

More emphasis on techno rhythms here. It runs along nicely without ever threatening to trip over and out. I think it would have worked better with just the beats and some low-octave sounds, losing the high notes which lend Veterano a wishy-washy feel it doesn't really need to have.


Hausmusik - 5

Very different to the 7 pieces that went before. It has some percussive goings-on and a long lead line on wah-wah which are interesting but the Jeff Mills-esque synth-koto play is, like the note-play on the song before it, more off-putting than hypnotic.

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So in conclusion I can heartily recommend this album for lovers of tripped-out journeys. An education in techno and trance-dance might help first. Being older and more boring than I used to be I have only listened to this with a straight head but I can happily wager that Musik von Harmonia has much meat in it for those post-rave 'let's chill at mine' moments.