LINER NOTES: POSTCARDS FROM ITALY [2018]

1.    Come Again – Au Pairs

2.    Nice – Kleenex

3.    Lie Dream of a Casino Soul – The Fall

4.    Cathedral – Felt

5.    Speaking Terms – Snail Mail

6.    If I Was an Animal – Chain & the Gang

7.    Drained [Single Version] – The Brian Jonestown Massacre

8.    Mountain - Stereolab

9.    Rated X – Miles Davis

10.  Inner City Blues – Reuben Wilson

11.  Maria Tambien – Khruangbin

12.  Colorado – Manassas

13.  Wicked Gil – Band of Horses

14.  Total Football – Parquet Courts

15.  Secret for a Song – Mercury Rev

16.  When It Grows Darkest – Laura Veirs

17.  Heat Wave – Snail Mail

18.  If Not Tomorrow – Comet Gain

19.  Postcards from Italy – Beirut
20.  John's Theme (Children Play) – Pino Donaggio

The 1960s saw a large number of female artistes making a credible impact across a wide range of genres. Selected randomly: Nina Simone, Ella Fitzgerald, Aretha Franklin, Dionne Warwick, Etta James, Fontella Bass, Joan Baez, Joni Mitchell, Janis Joplin, Grace Slick, Bobbie Gentry, Patsy Kline, Emmylou Harris, Jacqui McShee, Sandy Denny, Julie Felix, Nico, Carole King, Dolly Parton, Nancy Sinatra, Tammy Wynette, Dusty Springfield, Julie Driscoll, Carol Kaye, Dorothy Ashby, Tina Turner, Tammy Terrell, The Supremes, The Shangri-Las, The Chiffons, The Ronettes. The early 1970s weren’t nearly so inclusive. The nascent heavy metal scene, the glam rock scene (ironically) and the southern rock scene were movements orientated towards the male. Patriarchy re-asserted itself by way of the sex, drugs and rock & roll myth, which encouraged women to prostrate themselves before the icons of the day: Mick Jagger, Robert Plant, David Bowie, Marc Bolan, etc.

It’s no coincidence that punk and new wave carried a strong female presence. Despite its provocative stance and reputation as anti-social, punk was actually a fairly conservative movement, rebelling simultaneously against the perceived decadence of the establishment and the music industry itself. The previous generation, who had sloganeered and campaigned through the 1960s, had sold out for a life of material worth and part-time licentiousness, and punk existed to shine a light on uncomfortable truths. Patti Smith, Debbie Harry, Tina Weymouth, Kate Pierson and Cindy Wilson from the B52’s, Siouxsie Sioux, Au Pairs, The Slits, The Raincoats, Dolly Mixture, Poison Ivy of The Cramps, Gaye Advert of The Adverts… imagine what punk might have mutated into without them. At the very least, it wouldn’t have been half as interesting. At worst, ‘Oi!’ may have triumphed as punk’s prevalent strain, and machismo would once again have held sway.

Having been made redundant at the end of 2017, which I was sanguine about, the first half of 2018 brought with it weekly walks into Twickenham, whereupon I discovered Eel Pie Records. Although not financially stretched (it didn't stop me going to Hamburg in April) my predicament demanded that I exercise caution and avoid buying records impulsively. On one such visit they were playing the Au Pairs. It certainly sounded like my sort of thing, but to be sure I returned home and looked into it. A comparison with Gang of Four was enough to convince me, and by the end of the week Playing with a Different Sex was mine.

While conducting my research, YouTube wondered if I might like to listen to 'Nice' by Swiss all-girl post-punk band Kleenex, which I did. Kleenex changed their name to LiLiput after the Kimberly-Clark Corporation threatened to sue them for infringement of copyright. Eel Pie Records didn’t have a copy of Kleenex/LiLiPUT (The Complete Recordings), so I downloaded 'Nice' to follow on from 'Come Again' by the Au Pairs.

Hamburg

People who get upset over the death of someone famous like they would do a friend or relative are either weird or just pretending. More likely pretending. And yet when I found out that Mark E Smith had passed away I certainly felt sad about it. I put this down to the unusually high regard in which I held him as a lyricist and the length of time I’d been listening to The Fall (over 25 years at the time of writing). Such is the wealth of material available to Fall fans that I’m still discovering new tunes to this day, but how the hell did 'Lie Dream of a Casino Soul' evade me for so long?

The record label Cherry Red are in the process of re-issuing Felt’s back catalogue on vinyl. I intended on buying Forever Breathes the Lonely Word, which includes 'A Wave Crashed on Rocks', a song that I included on the compilation I retrospectively put together to reflect my listening habits in 1997-98. However, I found footage of Felt performing on Spanish TV and was impressed by their performance of 'Cathedral', which comes from their first LP, Crumbling The Antiseptic Beauty. I am presented with a dilemma, because although I’m working again I still can’t afford to spend 20-odd pounds willy-nilly, which is the going rate for vinyl these days.

This is why I purchased the album Lush by Lindsey Jordan – aka ‘Snail Mail’ – on CD (from HMV in Wimbledon). Had I been set on owning Lush on vinyl then I’d have returned to Eel Pie Records. Anyway, 'Speaking Terms' is my favourite track on the album. The record as a whole brings to mind American indie-rock of the early 1990s, before Lindsey Jordan was even born.

Early in the year – late February, a few days before the ‘beast from the east’ announced itself – Ian Svenonius’s group Chain & The Gang were back in town. I’d been trying to find a copy of the band’s sixth album, Experimental Music, since its release in September 2017, but to no avail; Rough Trade, Banquet Records, various independent records stores in Brighton – nowhere stocked it. As expected, copies were available at the Oslo in Hackney, where Ian and his band were scheduled to perform. The only tune Chain & The Gang deigned not to play from their latest offering was 'If I Was an Animal', maybe because it doesn’t lend itself so readily to Ian’s high-energy live performance.

Anton Newcombe was throwing demos around on YouTube. 'Drained' sounded like it was ready to go, but when the track-listing for The Brian Jonestown Massacre’s new album was announced it was found to be missing. I purchased Something Else regardless, and downloaded 'Drained'. (The song showed up later on the B-side of the single 'Hold That Thought' and also on The Brian Jonestown Massacre’s eponymously named album the following year, albeit in a slightly altered form.)

Like Felt, Stereolab are in the process of re-releasing a large portion of their back catalogue on vinyl. They began in 2018 by reissuing their ‘Switched On’ series: three separate compilations that gather together singles, B-sides, rarities, oddities. I already own Aluminum [sic] Tunes [Switched On Volume 3] and used to have a copy of Refried Ectoplasm [Switched On Volume 2] taped off of the Former Cohabitant from Brighton back in 1995. I’ve been without a cassette player for many years now, and so I thought I may as well purchase Volume 2. I wouldn’t normally include material like this on a contemporary compendium – tunes that date back to a completely different time and place – but it’s been so long since I’ve listened to this record that I’ve been able to enjoy it from a relatively fresh perspective. 'Mountain' was originally one half of a split-single released in 1993 ('Where Are All Those Puerto Rican Boys?' by Unrest was the other).

In summer – after the FIFA World Cup had finished, I’m pleased to note – I began work at The National Archives. One day there, I caught my supervisor talking music with a colleague, specifically about this track called 'Rated X' by Miles Davis. He was saying how he’d once heard it played at a club and that it cleared the dance floor almost at once. Since hearing 'Rated X' for myself, I can appreciate why this might happen. It starts with a discordant keyboard, played by Davis, before Al Foster on drums, James Mtume on percussion and Badal Roy on tablas all jump in at about 14 seconds with a funky and aggressive rhythm. After another 15 seconds Reggie Lucas joins in with a repetitive wah-wah guitar riff, which he plays relentlessly for the duration of the record. Michael Henderson’s bass chugs along in the background and Cedric Lawson and Khalil Balakrishna make weird noises with an electric piano and an electric sitar. Every so often the rhythm section will pause abruptly, just for second or so, before carrying on as if nothing ever happened. It’s one of most wonderful things I’ve ever heard.

Galvanised by this strange groove, I entered into another one of my hip hop phases. These typically last for a number of weeks but don’t usually involve listening to anything I haven’t already got. They can, however, prompt me to investigate particular samples, especially where they’ve been borrowed from jazz or funk. I derived 'Inner City Blues' by Reuben Wilson from 'Youthful Expression' by A Tribe Called Quest, a lesser known tune taken from their debut album People's Instinctive Travels and the Paths of Rhythm. Reuben Wilson is a jazz organist in the tradition of Jimmy Smith, or even Lonnie Smith. Marvin Gaye fans may have guessed that 'Inner City Blues' is a cover. Ramon Morris on tenor saxophone, Lloyd Davis on guitar, and so on.

I came by Khruangbin in Banquet Records, Kingston, where they were playing this group’s latest record, 'Con Todo El Mundo'. I thought about buying it there and then but was on my way to meet someone and didn’t fancy carrying it around. Their music is hard to describe: soul-jazz, psychedelia, world? I detect a sort of Moorish, middle-eastern vibe emanating from this trio, although they’re actually from Huston, Texas, and I’m still pondering whether or not I should go back and buy the album.

Manassas is the name of the group Stephen Still put together in 1971 after he crossed paths with The Flying Burrito Brothers while they were all touring the States. The Burritos were on their last legs, Stills sensed an opportunity and invited former Byrds man Chris Hillman, pedal-steel guitarist Al Perkins and fiddle player Byron Berline to join him and his band in the studio to work on what would become Manassas. I’ve written before about how Chris Hillman seemed content to play a more supporting role, be it in The Byrds, Flying Burrito Brothers, or Manassas. But that’s an impressive palmarès, as a song like 'Colorado' proves.

When I returned to Eel Pie Records to buy Playing with a Different Sex by the Au Pairs, they had on Everything All the Time by Band of Horses, who are from Seattle. Not knowing what it was, I made enquiries and almost left the shop £40 lighter. 'Wicked Gil' was the track that nearly persuaded me, since downloaded. I was surprised to find that this album was 15 years old, which goes to show how little indie-rock changes nowadays.

If you’ve read my liner notes to 2014’s The Big Nod then you’ll know I’m partial to Parquet Courts. The first song I heard from their new album – 'Mardi Gras Beads' – didn’t do it for me. The second – 'Total Football' – did. Previous works by Parquet Courts (as well as Parkay Quarts) brought to mind the Velvet Underground. 'Total Football' sounds like 'Harmony in My Head' by Buzzcocks with Devo doing the chorus. I should probably buy the album Wide Awake! on the strength of this alone.

It’s about here that I start to build towards some sort of resolution. I had 'Secret for a Song' by Mercury Rev knocking around on my laptop, completely neglected, so in it went. This inadvertently provided a convenient platform from which to launch 'When It Grows Darkest' by Laura Veirs, yet another new release chanced upon in Eel Pie Records. Her music reminds me of Kristen Hirsh from Throwing Muses, although I don’t know how helpful it really is to say that.

'Heat Wave' was the song by Snail Mail that I could remember playing in Eel Pie Records. It's more vigorous than 'Speaking Terms' and serves as the compilation’s apex, because 'If Not Tomorrow' by Comet Gain, which follows, has something doleful about it. For those less familiar with my anthologies, they rarely pander to the year in which they’ve been compiled, but 'If Not Tomorrow' is one of six tunes actually released in 2018 – seven if you include the re-release of the Stereolab track, eight if you allow for the fact that the Chain & the Gang album wasn’t available to buy in the UK until the group brought it with them on this year's tour.

Venice

At the ripe old age of 18, Italy was the first foreign country I went to. My father spent a large part of his youth overseas, on account of my grandfather being a fitter in the RAF, and my mother never really liked flying all that much, so vacationing abroad didn't have the same appeal for them as it did for me. Then there was the expense, which was a question of my parents' priorities – slumming it with hoi polloi on Costa Brava not being one of them. Instead, our holidays would involve caravans and cottages in places like Brean Sands and Cornwall, or staying with friends in Woking and Kidderminster.

How I longed to go abroad, to the extent that I'd religiously tune into The Travel Show every week, hanging off Penny Junor and Simon Calder's every word. In 1993, just months before I left for university, I finally got my wish. To Pallanza in Italy, overlooking Lake Maggiore, with excursions to Como and Milan, also Switzerland. I was so happy. Italy had more than met my expectations, and If there had been some way I could have remained there, never to return, I would have. Since then I’ve been to Volterra, Siena, Florence and Genoa, and in 2018 I made it to Venice.

I never got around to buying The Flying Club Cup by Beirut in 2017 but it’s on that ever expanding list of records to potentially purchase. In the meantime I’ve downloaded 'Postcards from Italy'. The fact that I have recently been in the habit of sending memos from the same place is mere coincidence. The addition of 'John's Theme' from Nicolas Roeg's Don't Look Now, set in Venice, is on the other hand contrived.

[Listen to here.]

LINER NOTES: TIED UP IN NOTTZ [2016-17]

1.    Nissim – The Gaslamp Killer (with Amir Yaghmai)

2.    The Zoo – FEWS

3.    Deceptacon – Le Tigre

4.    Low – Traams

5.    Sunday’s Coming – Eddy Current Suppression Ring

6.    Lake Superior – The Arcs

7.    Hollywood Forever Cemetery Sings – Father John Misty

8.    Sketch for Summer – The Durutti Column

9.    Hard Hold – Jaala

10.  Tarantula Deadly Cargo – Sleaford Mods

11.  Excitissimo – William Sheller

12.  Soul Vibrations – Dorothy Ashby

13.  Balek – Placebo

14.  More Mess on My Thing – Poets of Rhythm
15.  All My Tears – The Frightnrs

16.  Nightbird – The Brian Jonestown Massacre

17.  The Wheel – PJ Harvey

18.  All I Wanna Do – Splashh

19.  Tied Up in Nottz – Sleaford Mods

20.  Gosh – Jamie XX

21.  Get Innocuous – LCD Soundsystem

22.  Star Roving – Slowdive

23.  Come Over – Chain & the Gang

24.  In the Mausoleum – Beirut

The Gaslamp Killer is the stage name of a hip hop producer and DJ from California. 'Nissim' is a reworking of an instrumental called 'Yekte' by Turkish guitarist Zafer Dilek, which itself seems to have been influenced by a track entitled 'Gurbet' by singer/songwriter Özdemir Erdoğan. To capture the flavour of the source material The Gaslamp Killer worked with a guitarist named Amir Yaghmai, who in turn brought in a number of Middle-Eastern musicians he knew to really nail it. The tune takes a while to get going, suggesting it might have worked better further down the playlist, but Spotify introduced me to it early in 2016.

FEWS are a Swedish band that play post-punk, although 'The Zoo' also echoes the sound of shoegaze. It was issued as a single first, in 2015, and then surfaced on the album Means a year later. 'The Zoo' is reminiscent of British band TOY but with a greater sense of urgency. Unfortunately for both acts, I get the feeling that the post-punk/garage rock revival has run its course. Or perhaps we’ve reached a state of perpetual revival where nothing ever really goes out of fashion but is recycled again and again by way of the internet.

On that note, I couldn’t believe that Le Tigre recorded 'Deceptacon' as long ago as 1999. There are clues – the use of an Alesis HR-16b drum machine, a bit of sampling – but it wouldn’t feel much out of step played next to anything around in 2017. The same could be said of 'Low' by UK band Traams, released in 2013, and 'Sunday’s Coming' by Australian group Eddy Current Suppression Ring, released in 2008. What does this all say about the evolution of music? Is Devo’s theory of devolution being played out before our very ears?

There are subtle differences. As I said, I detect the hint of shoegaze in FEWS; Le Tigre are quite lo-fi; Traams are sort of punk revival mixed with indie rock, as are Eddy Current Suppression Ring. All emanated from Discover Weekly on Spotify, bar Eddy Current Suppression Ring which the Australian at work accurately identified as something I might appreciate. What these songs all have in common is that they’re noisy, loud and faintly aggressive. Such sonic qualities can be sustained for only so long.

The Arcs are the side-project of Dan Auerbach of blues-rock band The Black Keys. I don’t mind the Black Keys but I prefer the lo-fi dreampop of The Arcs. Or rather, I prefer the lo-fi dreampop of 2016’s 'Lake Superior', because the record put out the previous year by The Arcs does sound a lot like The Black Keys. Perhaps this is the type of thing that’s now in fashion. Whatever, Father John Misty (real name: Josh Tillman) inhabits the folkier end of the spectrum, which isn’t surprising given his involvement with Fleet Foxes. Yet 'Hollywood Forever Cemetery Sings' is no folksy ditty; only the vocals recall Tillman’s work with his previous band, for whom he played drums.

The Durutti Column derived their name from the Durruti Column, a phalanx of anarchists who fought against Franco’s Falangists in the Spanish Civil War. The name ‘Durruti’ acknowledged one of the column’s most admired commanders, Buenaventura Durruti, who led a pre-emptive attack on General Goded’s barracks in Atarazanas/Drassanes, ensuring that Barcelona remained under Republican control. Tony Wilson and Alan Erasmus intended the group as a sort of art statement and set about gathering musicians to implement their vision. By the time Wilson and Erasmus had established Factory Records and arranged for The Durutti Column to cut an album, only guitarist Vincent Reilly remained. Vini Reilly is one of those talented types who struggle within the music industry (see Syd Barrett, Dan Treacy of the Television Personalities, Lawrence from Felt). I’d given his music a go before but didn’t get very far with it. Discover Weekly offered up 'Sketch for Summer', which is an oddly beautiful instrumental backed by the sound of tweeting birds.

Jaala: another Australian band, again from Melbourne, but this time The Australian had nothing to do with it. Singer Cosima Jaala’s delivery is reminiscent of Lene Lovich – she of 'Lucky Number' fame, which I included on 2007-08’s Harmony in my Head. 'Hard Hold' jumps about in a way that can be divisive. Personally, I like their playful time signatures, but my partner can’t stand them.

I used to share a similar antipathy towards to the Sleaford Mods. A chap who I worked with during my days as a transcript writer inadvertently brought ‘the Mods’ to my attention after he posted a video on his blog of them performing 'Fizzy' outside of Rough Trade West. It’s not entirely comfortable viewing. To start off with, one of the crowd – perhaps mistaking the occasion for an open-mic event – attempts to get in on the act, and for a moment it looks like it might kick off. Then there’s the way the group presents itself. Andy Fearn, bedecked in a baseball cap, nods along nonchalantly; Jason Williamson’s twitching angrily, rubbing the back of his head and flicking the end of his nose like he might be on amphetamine. At first I tried to suppress the memory but soon found myself watching videos for 'Tied Up in Nottz', 'Tarantula Deadly Cargo', 'Jolly F*cker'. Before long, I was sharing my experience with my bouldering buddies. Even my boss was intrigued (although The Australian and the South African sales manager weren’t). Come November, I’d bought tickets to see them play live at The Roundhouse in Camden.

I try to avoid doubling up on artists but I’ve made an exception for the Sleaford Mods. 'Tarantula Deadly Cargo' is taken from the album Key Markets, which was released in 2015. Like most of their music, it’s fairly minimal: a deep, plodding bass-line layered over a brisk, repetitive beat. Their other contribution comes later.

Florence

An opportunity had been missed to visit Florence while we were out in Tuscany for a wedding in 2005. Instead, we’d been persuaded that Siena better catered for day-trips: it was smaller, slightly nearer, and parking more convenient. Florence is certainly the more prodigious town, and an afternoon would have never done it justice. Not that it did Siena justice either, but I was glad now to be going to Florence instead of Siena.

Walking through Piazza Pitti, we turned down a narrow street – Sdrucciolo de’ Pitti – and came across the sort of shop that my partner likes to browse in, selling a variety of disparate things. What wasn't for sale was the turntable or what was playing on it: Wizzz! French Psychorama 1966​-​1970, Volume 1. I made a note of the details, tried to find a copy, couldn’t locate one anywhere, so ended up ordering it directly from the record label, Born Bad Records, in France. The track that had been playing in that small shop in Italy had been an instrumental, which means it could only have been 'Exitissimo' by William Sheller.

Wizzz! French Psychorama 1966-1970, Volume 1 isn’t available on Spotify, so at work I settled for playing the Blue Break Beats series, which had previously given rise to the inclusion of 'Ain’t it Funky Now' by Grant Green on my 2000 compilation The Ladies of Varades. The algorithm kicked in and before long Discover Weekly was offering up tunes as delectable as 'Soul Vibrations' by Dorothy Ashby, a jazz harpist who recorded for the Chess Records subsidiary Cadet. Ashby struggled to find acceptance within the jazz community; the harp was a classical instrument, and a novelty one at that. Fortunately, in-house arranger Richard Evans, who had been given carte blanche to work with pretty much whomever he desired, saw potential and signed Ashby up. Afro-Harping was the result, released in 1968, garnering positive reviews, and where you’ll find the tune 'Soul Vibrations'. (Ashby went on to add the koto to her repertoire, specifically on 1970’s The Rubaiyat of Dorothy Ashby.)

'Balek' is not an obscure B-side by alternative-rock act Placebo but an obscure album track by a Belgian jazz combo of the same name. A guy called Marc Moulin was the prime mover, and his version of Placebo recorded three albums: Ball of Eyes in 1971, 1973 in 1973, and Placebo in 1974. 'Balek' is the fourth track on 1973 and it also makes a showing on It’s a Rocky Road: Volume 2, a mix compiled by The Gaslamp Killer, which might explain how it ended up here. We’re talking jazz-funk, but what attracted me to it was the way the second blast of the trumpet is truncated and set slightly ahead of the beat.

The Australian used to put on The Poets of Rhythm, often when he couldn’t be bothered to look for anything else. They play funk, but as the guy who used to own a pager was quick to point out there’s something not quite right about it. This is because they’re not black Americans recording in the 1970s but white Germans performing in the 1990s, and the guy who used to own a pager, who is a musician, could tell. 'More Mess on My Thing' is typical of their album Practice What You Preach, and if you like this sort of thing then don’t let my friend’s musical snobbery put you off.

Whereas I could see where my friend was coming from with regards to The Poets of Rhythm, The Frightnrs [sic] had me completely fooled. When Spotify generated them, I assumed I was hearing original rocksteady music from the late 1960s, when in fact it had been recorded as recently as 2015. The effect is deliberate. The band’s Brooklyn-based record label, Daptone Records, eschew digital recording techniques and work using analogue equipment. (It’s where Amy Winehouse recorded Back to Black.) Moreover, The Frightnrs’s debut LP, Nothing More to Say, was recorded monophonically. Tragically, their singer Dan Klein died from motor neurone disease while the record was still in post-production. His vocal possesses a delicacy that seems all the more poignant in light of this, but he leaves a powerful legacy.

After the bearing witness to the depredations on show in the documentary Dig! it had been gratifying to discover, in 2015, that Anton Newcombe continued to produce music to such a high standard. This is not to say that I'd purchased The Brian Jonestown Massacre album Revelation, but I had least deemed another of its tracks worthy for inclusion here – the acoustic 'Nightbird'.

I was excited to discover that PJ Harvey had a new album on the way and bought it almost on the day of release. Plenty of good tracks to choose from but I plumped for 'The Wheel' with its epic 1 minute-plus overture, replete with Iberian hand clapping, wailing guitar and saxophone. The lyric concerns Kosovo and the atrocities committed there.

The single 'All I Wanna Do' by Anglo-Antipodean band Splashh appeared on Discover Weekly, despite being approximately four years’ old. It seems the group were a victim of what’s often termed ‘difficult second album syndrome’. By the time their sophomore effort hit the shelves I’d completely forgotten about them, yet 'All I Wanna Do' remains one of my favourite tunes on this compilation, and I consider this to be a strong compilation.

Sleaford Mods in a more urgent mood. The ‘Nottz’ they’re tied up in refers to Nottingham, a town that gets a bad press these days but which I thought was rather pleasant when I went there 20-odd years ago. (Take a drink in Ye Olde Trip to Jerusalem if you’re ever passing through).

I don’t like The xx. My primary objection is Oliver Sim’s vocals, which sound like they’ve been cut four sheets to the wind. This is particularly evident in the song 'VCR'. So when my Australian co-worker went to put on In Colour by Jamie xx, who’s the principle songwriter for The xx, I wasn’t expecting much. How wrong I was. 'Gosh' is an odd, almost industrial sounding tune that draws you in very slowly. As The Australian rightly pointed out, it’s best played at a high volume.

The Australian returned to Australia in early 2017. Before leaving he made a final, unwitting contribution to my playlist by utilising some sort of function on Spotify that randomly plays songs by the same artist, in this instance LCD Soundsystem. 'Daft Punk Is Playing at My House' was massive in the UK, but I never liked it enough to include it on 2005’s Aka 'Devil in Disguise'. Had I heard it I would certainly have made room for 'Get Innocuous!' on 2007-08’s Harmony In My Head, which sounds like a cross between Talking Heads and David Bowie, doing disco.

In October, my bouldering buddies and I travelled to Fontainebleau for a third year in succession. I again roomed with Mr Wilkinson, who brought along a musical device and the means by which to amplify it. 'Star Roving' by Slowdive was subsequently amplified, from their new album, their first in 22 years.

The chap who introduced me to Sarah Records and I once found ourselves hanging out with Slowdive at a house party in King's Cross – this must have been around 1995. I wasn’t familiar with their music back then and didn’t even realise who they were. It was an awkward situation, made more awkward when Miki Berenyi from Lush came over and offered around canapes. We went outside to consider our options just as Donna from Elastica arrived bearing booze. She smiled at first, and then, upon realising that she didn’t know who the hell we were, regarded us with complete contempt. Elsewhere, Jarvis Cocker played records to an empty room. After an hour or so the guy who invited us still hadn’t turned up, and we decided to leave. With not enough money for a bus, we proceeded to walk all the way back to Hounslow, which took us something like four hours.

My enthusiasm for Chain & the Gang was reinvigorated after 2014’s Minimum Rock n Roll and I made a point of buying their new album on its release. It proved impossible to get hold of on vinyl and I would have to wait until the band toured the UK in February 2018 to obtain a copy. In the meantime, I listened to the record on-line and downloaded the track I wanted for my compilation: 'Come Over'.

Seville

After numerous trips to Spain, Italy and France, I advocated for a return to central or eastern Europe. And so in the summer of 2016, I flew to Krakow with my partner for what should have been a relaxing four days and four nights. On the third night we ate bad goulash, and the rest of the holiday was spent in bed, in the bathroom, or tentatively wandering around the city’s main square, Rynek Główny.

Before consuming the offending meal, I had been privy to Krakow’s Fair of Folk Art (Targi Sztuki Ludowej), centered around Rynek Główny, which consisted of artisanal market stalls and traditional live music. These musical performances were a delight. They were more like plays really, acted out by players of various ages wearing traditional costumes, sang in that distinctive timbre that often typifies the vernacular.

The following Easter and we were back in Spain, just in time to celebrate Holy Week in Seville (Semana Santa de Sevilla). This was not a deliberate move on our part, but it made for an interesting holiday. We arrived on Holy Monday and departed on Good Friday, and on every day we were there, at around 16:00 the festivities would commence. Large floats called pasos, depicting various scenes pertaining to the crucifixion, were paraded around the city by their respective cofradías (brotherhoods). In front, cloaked nazarenos holding candles; behind, brass bands playing a maudlin sort of mariachi.

There must be so much music from around the world that’s worth listening to, but who has the time – or even the ear – to sift through it all and decide which of it is any good? There was a new guy at work who generally played stuff that didn’t interest me. One day he put on an album called The Flying Club Cup by a group called Beirut. ‘Balkan folk’ is how Wikipedia describes it, but the band are from the state of New Mexico. 'In the Mausoleum' was the track that stood out. Although sung in English, it feels authentic, even though it can’t be. Or can it? Band leader Zach Condon travelled around Europe in his early teens, and he cites the films of Federico Fellini, the mariachi music he was exposed to growing up in Sant Fe, and French chanson as influences. He’s not appropriating anything but absorbing various influences and reinterpreting them, and that's no bad thing.

[Listen to here.]