Friday, December 30, 2016


Public Information release / Ian Helliwell curated anthology of British electronic composer / instrument-builder Malcolm Pointon -  which came out end of October and got lost in the cataclysm-shuffle

"Malcolm Pointon was born in 1940, Stoke on Trent. He spent his life and career in tape, synthesizer and keys; academia, sound, music and machine. Here, for the first time, Public Information and Ian Helliwell present the rarely heard works of Malcolm Pointon. With permission given by Malcolm’s widow Barbara, Helliwell has compiled an LP of material taken from master tapes of home-recorded, never released electronic material. 
Following a period at the BBC, Malcolm joined Homerton College, Cambridge, in 1969 and it was here where he would discover his electronic-muse. Inspired by Stockhausen and the surge of avant-garde tape music, Malcolm began to build compositions at home using a 4-waveband radio and multi-speed tape recorder. His first piece using these techniques is the skittering “Radiophonie” which opens this LP.

After mastering tape-music, Malcolm began reading, and eventually contributing to, Practical Electronics magazine (edited by our own F.C. Judd no-less). He and engineer cohort Doug Shaw entered an “electronic music construction challenge” in 1973 – and so a battery powered, stylus activated self-build synthesizer was presented to the dedicated circuit heads of Practical Electronics. The Minisonic was born.

Many of the pieces on here were produced using the Minisonic, including the staggeringly heavy centerpiece of this album “Symbiosis” - replete with Malcolm’s own introduction. Elsewhere, Pointon takes us down pummeling arpeggiated rhythms (“Sonata Elletronica), mind-melting-inside-beehive tape pieces (“Poreira”, “Boogie”), freaked-out concrète trips (“Trojan Woman” “Then Wakes the Ice”) and shimmering noise works like the beautiful, “Study 2”.

Malcolm Pointon would be cruelly diagnosed with Alzheimer’s at the age of 51. He became unable to operate his studio and so his rare gift to electronic music was gone, until now. Public Information and curator Ian Helliwell are incredibly proud to share Malcolm’s music with you. We will be sending all profits of this release to the Alzheimer’s Society, helping to support people with dementia and their carers on their long journey, right here and now.

2016 – 2017 will also witness a series of electronic music events raising money for the Alzheimer’s Society. Memory Dance. Look out on social media for more news forthcoming.


Wednesday, December 21, 2016

mouth music - local edition

"Influenced by Polynesian vocal chants, gypsy music, Bulgarian women’s choirs, and New Orleans soul, Breadwoman’s songs strip away the baggage of coded verbal language to leave only unfiltered emotive ululations, finding an ocean full of creatures in her breath, and an orchestra in her kitchen" - Mikey IQ Jones on Los Angeles based mouth-musician Anna Homler and her album with Steve Moshier:  Breadwoman And Other Tales (RVNG Intl), which is #2 in Mikey's Top 25 Reissues of 2016 run-down at FACT

Background documentary

No end to the mouth music out there, seemingly

"Anna Homler sings in made-up languages that enable her to create remarkably expressive and exotic clusters of phonetics.Jorge Martin starting materials are sine waves, pulses, and sounds generated from the other person performing with him" 

Sunday, December 18, 2016

joke's lost on me

a band so so great, that became so so... camp

Laibach-levels of ludicrous, but without any irony seemingly

And somehow degenerated from the real menace of "Pssyche" / "Follow the Leaders" / Revelations to a sound somewhere between Judas Priest and Classix Nouveau

but when they were good. ooh..

(Jaz gone AWOL to Iceland , so a deep sea diver stood behind the keyboard in his stead)

I was a still a believer circa Fire Dances - and went to the see them for the second time (Dunstable, supported by Play Dead and UK Decay - the later excellent) (first time was Aylesbury Friars circa the first album, with I think the Prefects as support) - but in retrospect this album was the cusp between the real thing and the hammy sham

it's where the visuals / gestures get overstated, go from shock to shlock, but the musical muscle to back it up thins out a bit... not yet the full commercial crossover attempt of  "Love Like Blood" but less actual (f)ire in the sound....

the first thing that grabbed my ears ever, on Peel

i can hear a bit of SAHB "Faith Healer" in that slicing guitar


fast forward to the 90s - they were on TOTP again with the almost-back-to-form "Pandemomium"

a bit Rage Against for me but still wielding some bulk

acest lucru a fost mâine

Wednesday, December 14, 2016

Monday, December 5, 2016

(vor)haus is a feeling

also check out this video at me facebook  from the BBC Archive with DV in bearded, soft low-key post-hippie vibe that's most appealling (plus amazing sweater)

મોં સંગીત

me roots and me culcha (sort of)

well it's me ancestry, on one side, but in truth me roots and me culcha is really this

and this

and this

and perhaps this too

уста музика (New Wave twitter queen version)

somewhere in a triangle between Siouxsie and Dagmar Krause and Nina Hagen

but goofier

this one - the big hit (#3) has a mighty groove

the debut album

the second album

from the third album No Man's Land

from the fifth album

did you know she wrote the words for "Supernature"  and for other Cerrone tunes?

kev & bri

But here are a smatter of other favorites scattered across the discography,

musique de bouche - le retour