SPADES & HOES & PLOWS by David Wrench

SPADES & HOES & PLOWS is the third solo album by Welsh producer, pianist and songwriter David Wrench, and was commissioned for Julian Cope’s Black Sheep by Cope and Fat Paul. The album presents four traditional folk themes from the British Isles, all performed in an eerily upfront and cadaverous manner, reminiscent of such late black metal as Furze, or perhaps a radical hybrid of Andrew King and an acoustic Khanate. But this is hardly a radical new course for Wrench, whose obsessions with cultural marginalia began as long ago as the late 80s with Nid Madagascar, his Welsh language acid house band. In 1997, Wrench released the turbulent BLOW WINDS BLOW, a dark set of songs influenced by Peter Hammill and John Cale. As the co-leader of the short-lived glam-sleaze duo Bubblegun, Wrench grabbed the ear of Julian Cope, whose particularly enjoyed the earnest electro-ballad ‘Beautiful Cunt’. David Wrench’s next solo album was THE ATOMIC WORLD OF TOMORROW, a horny melange of politically charged hi-energy synth pop. As an Engineer/Producer and Mixer, he has recently worked with Caribou, mixing most of the new album Swim, and previous album ANDORRA, engineering the Mercury prize nominated TWO SUNS by Bat For Lashes, WHEN THE HAAR ROLLS IN by James Yorkston, and producing the critically acclaimed albums GOODBYE FALKENBURG by Race Horses, GOTHIC ROAD by Jackie Leven, MIRACLE INN and BORE DA by Euros Childs, and THE QUICKENING by Kathryn Williams. He recently was awarded the BBC Radio Cymru C2 award of Producer of the Year for the 3rd time. He joined Julian Cope’s group Black Sheep in 2008, performing vocals on their 2009 album KISS MY SWEET APOCALYPSE 2.

More info: http://www.headheritage.co.uk/spades-and-hoes-and-plows/

Friendship, as designed by a systems engineer

From “Faux Friendship” by William Deresiewicz:

They call them social-networking sites for a reason. Networking once meant something specific: climbing the jungle gym of professional contacts in order to advance your career. The truth is that [David] Hume and [Adam] Smith were not completely right. Commercial society did not eliminate the self-interested aspects of making friends and influencing people, it just changed the way we went about it. Now, in the age of the entrepreneurial self, even our closest relationships are being pressed onto this template. A recent book on the sociology of modern science describes a networking event at a West Coast university: “There do not seem to be any singletons—disconsolately lurking at the margins—nor do dyads appear, except fleetingly.” No solitude, no friendship, no space for refusal—the exact contemporary paradigm. At the same time, the author assures us, “face time” is valued in this “community” as a “high-bandwidth interaction,” offering “unusual capacity for interruption, repair, feedback and learning.” Actual human contact, rendered “unusual” and weighed by the values of a systems engineer. We have given our hearts to machines, and now we are turning into machines. The face of friendship in the new century.

Entire article: The Chronicle of Higher Education

IT'S SOLD OUT BUT IT'S UM…FINDABLE

BRAIN DONOR

“WASTED FUZZ EXCESSIVE”

BRAIN DONOR RECORDS
9918-4

Tracklisting:

Invocation: The Mead of Fimbulthul
1. GATES OF SKAGERRAK
2. DEATH BECOMES YOU
3. DYSLEXIA RULES K.O.
4. EMERGING/SHADOW OF MY CORPSE
5. FRANKENSTEIN
6. FOKKINGER SLAG/THE HANGING

WASTED FUZZ EXCESSIVE is the long awaited follow-up to Brain Donor’s 2006CE’s epic DRAIN’D BONER, this new album continuing in those dark traditions of declaimed metallic poetry, but extending further into works of epic construction and length. Driven by No Wave riffs and hoary proto-metal assaults, this Donor record burns at both ends. Here it hangs static and taut, whilst there it endures a rocket fired up its ass due to Mister E’s sudden and marvellous acceleration. The seven songs pan out across over an hour of music, and include Cope’s infamous stereo bass solo ‘Shadow of My Corpse’, previewed on his last tour. For those with a mind to listen to the far out, have it destroyed by the might of WASTED FUZZ EXCESSIVE. U-Know it makes sense … to somebody!

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The Pilgrims' beaver quest

From Russell Shorto’s review of author Nick Bunker’s Making Haste from Babylon: The Mayflower Pilgrims and Their World: A New History in today’s Sunday New York Times Book Review:

…Bunker, an Englishman devote[s] himself largely to the prehistory of the men and women who founded the colony. His book roams through archives and repositories in the British Isles. From county record offices and church account books, he teases out traces of William Brewster, William Bradford and the other principals who would later found the colony. His objective is to answer the very good question, Who were these people?

In their day the men and women we refer to as Pilgrims were called Separatists or Brownists, but what was the nature of their separation from the Puritan Protestantism that had rooted itself in England, and who was the Robert Browne who gave rise to the movement? How well known were these religious radicals? What was their role in English society? Exactly how were they persecuted? Where did they flourish? And how, one might add, could this new information alter the Pilgrims’ legacy?

…It is certainly true that religious belief—the desire not merely to purify the Church of England, as the Puritans wanted, but to break away altogether—was central to the Pilgrims. Separatism, however, was rooted not simply in the Bible. It was, Bunker shows, a form of Christianity blended “with ideas about gentility and good government, and seasoned with Greek and Roman ideals of republican virtue.”

And the Pilgrims were also businessmen. Unlike many other populist religious movements, Separatism, Bunker tells us, “was never the creed of the penniless.” Its founders were of the gentry. But what did that mean? The leaders of the American Pilgrims hailed from in and around Nottinghamshire in the East Midlands. It was a troubled land — not a place of mythic sentimentality, Bunker says, but “the old, feral England.” Unyielding forests, soggy fields, poor harvests and epidemics created a situation in which landowning gentlemen, desperate to maintain honor, could slip into debt, despair, sin, ruin. In such a vortex, Bunker argues, some people got religion and began pointing moralistic fingers at their neighbors.

The decision to flee thus had both religious and financial motivations. The Pilgrims’ voyage to America was a business venture whose backers — few of them especially religious — expected a return on their investment. And like millions after them, the Pilgrims themselves had a real-world American dream in mind, which was centered on the North American beaver. In the 1620s, a single beaver pelt fetched the same amount of money required to rent nine acres of English farmland for a year. For a time, the Pilgrims capitalized on that raw material: in the 1630s, they shipped 2,000 beaver pelts to England.

Bunker, a former investment banker, also shows the Pilgrims as pawns in a larger geopolitical game. James I despised both them and the Puritans (“very pestes in the Churche & common-weale,” he called them). The king might well have forbidden the Mayflower from sailing, but his secretary of state, Sir Robert Naunton, spoke to him on behalf of the religious radicals and their colonizing mission. “Without bases in America, England could not challenge Spanish control of the western ocean,” Bunker writes. “And without the supplies New England might provide, the Royal Navy could not put to sea. For Naunton, most likely it was all a matter of politics and naval doctrine, with Calvinism adding the impetus of zeal.” Bunker’s research reveals that the Pilgrim leaders were quite connected to events in England, and also that Separatism had a broader geographic scope than has long been thought.

…Having set himself the task of discovering who the real Pilgrims were, Bunker leaves it to others to square his findings against the Pilgrims of legend. So how do they measure up? Bunker shows them to be heartfelt Christians, but at the same time sectarians, as small-minded as any others, intent on getting their way within the petty struggles that split wattle-and-daub villages dotting the English countryside a long, long time ago. Pinned to the canvas of history by the points of so many archival records, they come across as relevant, certainly. But mythic? Not so much.

One from the Desert Files: CHRIS GOSS (2004)

Sound Methods and Weird Channels
How producer and Masters of Reality main man Chris Goss got his groove

by Jay Babcock

Originally published August 26, 2004 in the LAWeekly

Over a recent leisurely afternoon lunch at Silver Lake’s Astro Family restaurant, musician/producer Chris Goss is in muse-aloud mode.

“Music usually makes its way into the hands that want it,” he says quietly. “Eventually, if you’re meant to have it, it’ll get to you, through weird channels that you’d never expect.”

I’m catching up with Goss at an interesting point in his career. The night before, he was in Studio City, contributing work to the new Queens of the Stone Age album at the request of longtime friend Joshua Homme, with whom Goss has collaborated since taking Homme’s desert-rock teenagers Kyuss under his producer’s protective wing in 1992. (Goss was featured on last year’s Homme-supervised The Desert Sessions Volume 9 & 10 in a duet with PJ Harvey on the desolate “There Will Never Be a Better Time.”) QOTSA co-vocalist Mark Lanegan’s new solo album, Bubblegum, which Goss co-produced and performs on, is finally out. Goss just finished producing the new album from buzzed-up Britfreaks the Eighties Matchbox B-Line Disaster, and is itching to start writing songs in a new project called Sno-Balls [eventually renamed Goon Moon—Ed.], with ex–Marilyn Manson bassist Twiggy Ramirez and Hella drummer Zach Hill. And his old band, Masters of Reality, has a new album out.

Well, in Europe, anyway. Like the last three Masters albums, Give Us Barabbas has no American distribution and is available only as an import at specialty stores on- and offline. And Barabbas, technically credited to “Masters of Reality/Chris Goss,” is not really a “new” album, it’s a collection of Goss-penned songs from the last 20 years that have gone previously unreleased in studio form. Why many of these songs are only appearing now is a long, serendipitous story involving Rick Rubin, band turnover, a grunge-choked ’90s marketplace inhospitable to the Masters’ varied classic rock sound and non-pretty-boy look, an impasse with a major record label, a “lost” album and Goss’ busy career as a producer. Cautionary and instructional as that tale may be, it is ultimately less important than the songs themselves: gems like the windswept, string-laden “The Ballad of Jody Frosty,” the campfire sing-along “I Walk Beside Your Love,” the majestic chorale “Still on the Hill,” the country-blues chantey “Bela Alef Rose,” the gorgeous epic “Jindalee Jindalie.” Any collection spanning two decades inevitably carries with it the air of biography, and Barabbas is certainly that; but it also feels like a secret monograph—a collection of timeless scrolls from a legendary Master that will be passed among acolytes and disseminated to those who are meant to hear it.

“Whatever will be, will be,” says Goss, with a smile.

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BACK IN STOCK FOR A LIMITED TIME: "Two Million Tongues" anthology cd curated by Plastic Crimewave (2006)

ANOTHER WAREHOUSE FIND: We’ve got 55 copies left of this sweetie and then it’s gone forever.

This beautifully sequenced, far-ranging album commemorates the second annual Plastic Crimewave-curated, Galactic Zoo Dossier/Arthur-presented “Million Tongues” festival that went down at the Empty Bottle in Chicago, November 3-6, 2005.

Track listing:

1. MOUNTAINS – “Speaking”
2. NO NECK BLUES BAND – “Pulse”
3. MIMINOKOTO – “Tokedasu”
4. TIM KINSELLA & AMY CARGILL – “Song for Josh”
5. MICHAEL CHAPMAN – “The Northern Lights”
6. JOSEPHINE FOSTER – “Wondrous Love”
7. CHRIS CONNELLY – “Pray’r”
8. PEARLS AND BRASS – “Waterfall”
9. TRAVELING BELL – “Apparitions”
10. THE SINGLEMAN AFFAIR – “Good to Be With You Again”
11. JACK ROSE – “Hey Fuck You Rag”
12. TAR PET – “Takeit Heri”
13. BIRDSHOW – “Pilz”
14. TONY CONRAD – “Bowstring 1”
15. HOTOTOGISU – “Blues for Steve K”
16. HAPTIC – “Indifference -> Building On Fire”
17. LUX – “Need Fade In + Out”
18. HARDSCRABBLE – “Sail It Away”

Track selection, art and lettering by Plastic Crimewave. Limited edition of 1,000 copies in jewelcase, released through Arthur’s “Bastet” imprint in 2005. 55 copies left and then they’re all gone!

$10 postpaid from The Arthur Store