Iain Cameron's Diary
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2004-06-02 - 1:32 p.m.

I listened to Lamb on the way into work – a band I stumbled across on a magazine cover CD around 1997. This provoked me to get the first CD which I think James has secured – oh well I have his P J Harvey – leaving me with the second, Fear of Fours. I thought it sounded good on the way to work – in fact they seem to be the next step from Su Lyn and the Bruce’s Fingers crew – jazzed inspired electronic vocal music. Maybe I should get their later stuff. The Amazon reviewer says: “Few enough record collections are graced with this mid 90s masterpiece and that's a great pity. Lamb are the nexus where jazz, classical and Drum'n'bass meet. This is their debut and there isn't another album quite like it. From the poignant and innovative cello on Zero to the seemingly orchestral sweep of the Gorecki this album will wrench you away from banality and force you to listen in childlike wonder. The collage of sounds drummed up (pardon the pun) by producer Andy Barlow is stunning, pure genius in places. Combine that with the rich, sexy and painfully earnest voice of Louise Rhodes and you're in sonic heaven. Intimate music created by music lovers for music lovers. This is the kind of record you'll bore your friends to tears talking about. Don't worry, however, as they'll return the favour just like mine did. This band deserves your attention and this album is priceless.” Its seems there are two more I need to get.

Abjection and electronica – the point of connection according to Simon Reynolds and Joy Press in their magnificent Sex Revolts is Throbbing Gristle and Coum, the antecedent performance art group which started in 1969. This is a Coum bulletin from 1971 in Hull: “Thanx to your article with prick and the obscene petition we got on at the BRICKHOUSE on a percentage basis. Drew a crowd of over 200 which for there is good; equal in fact to what they get for Quiver & Arthur Brown etc., on a Friday (good spot) night. We were on on a Saturday. One person asked for their money back - below the average - we got applause and encores for the first time. BRICK company made a profit way above Saturday average. We got £18 which was way below our expenses. We were then informed we were uncommercial, not likely to draw a crowd if re-booked. Told if they did ever rebook us we would have to guarantee no theatre, no props, no bad language, and relatively straight music. They have shown their colours and we ours. It was a good night despite the business men.

Thanks for bothering with us. Hardly anyone does bother. We are trying very hard to work in a broader area. We really need booking outside Hull. Your thing helped to get us on with HAWKWIND at Bradford. October 22nd, also we have been invited to star at the Venice Festival of Alternative Culture next year. We have no money to rent a van etc., to get there now and so we need as much work and support as possible. Ideas of any kind to raise the £200 welcoum.”

Try http://www.brainwashed.com/axis/coum/prostica.htm

I used to think Quiver were pretty good. Does Louise Rhodes do abjection? Lets hope so, especially on DVD. Actually I went on to read about abjection and motherhood in S Plath. I may be about to frame my first critical apercu thereabouts. The key thing that happens in the late 62 and early 63 poems is that all that “identity threatened by gue” business subsides and we get amazing condensed poetry that reaches forward to the end of the decade. If you run Deleuze against Kristeva you can see that the whole point is not to get caught in the act but to press on.

I found the quote from Nick Totton about “plain sailing” which features in Paul’s song which is appears (IC production) on Serious Music and then as Chris’s production at the start of Plundafonix. At the start of the five poems from Love Laughs at Locksmiths:

the real break

the whole trick, to do it

with style and grace

saying and I quote

it should be all plainsailing

from now on

I have started work on the Frederick/Keeling/Cameron joint venture for Mary Magdalene. I also spent time on the piece that comes out of the 3rd movement of the Webern piano sonata.

We have been rehearsing our scenarios.

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