Thursday, May 16, 2013

Philicorda for sale



I am selling my Philicorda 751, a combo organ. It is one of the early compact single manual models, from the early 1960's with the spring reverb and the removable metal legs (not one of the cumbersome later Philicorda Rhythm models), and it has some unique features. It sounds awesome and the Scandinavian-aesthetic woodwork is in good condition and looks lovely. I've used this Philicorda on all the Gravenhurst albums.

The Philicorda is a unique transistor organ with a sound all of its own; sonically it's closer to a Vox Jaguar or a Farfisa Compact than a Hammond organ, but it is capable of a much more powerful and thick sound than either. It has found favour with producers in recent times; one was used on Adele's '19' album by producer Jim Abiss, but perhaps more interestingly it's a favourite instrument of many bands including The Coral (who take two of them on tour apparently), The Soundtrack Of Our Lives, Movietone, Crescent and Gravenhurst (naturally). I sought out the Philicorda because I loved the sound of it on Crescent's classic albums Electronic Sound Constructions, Collected Songs and By the Roads and the Fields. I wanted that sound for Gravenhurst and after a couple of years of searching I finally got hold of one. If you hear any organ sounds from Flashlight Seasons through to The Ghost In Daylight, it's this. It's been used for a large range of sounds, from full-on speaker frying psychedelia ('See My Friends') to subdued, mournful and mellow ('Nicole'). It's also regarded as the most beautiful looking combo organ there is. While that's not that difficult given how dodgy and plastic most of the competition look, there's no doubt it's a rare bird.

The instrument has a built in spring reverb, vibrato and 5 switchable stops. There is also an extra ‘voxchord’ setting, which splits the lower half of the keyboard into single-key chords, for left hand accompaniment. Lots of different tones can be had by different combinations of switches. Also, unknown to many, if you turn up the internal speakers to maximum you can get the spring reverb to start feeding back on itself, which makes an incredible roar. Also banging the unit lightly with your fist gets the spring going with an amazing sound. Loads of the distant clanking sounds on Fires In Distant Buildings were created by this method. Most 751 models only had the old-fashioned DIN output connectors, but this 751 has a normal quarter inch jack output for easy connection to recording equipment, so you don't have to use the internal speakers; this gives you loads of scope for production/engineering possibilities; it also has a switch that turns the speakers off so you can play silently, with the signal only coming through the jack output. This addition of a regular jack output  must be a modification because according to all the sources I've seen, this jack output only existed on the later 753 model. So that's another reason this one is unique – you can record it silently.

One of the eccentricities of this organ is that it was originally sold with a bunch of vinyl LPs, "Philips rhythm/accompaniment records" which you could play along to, and actually plug a record player into the organ and have the sound of the record coming through the Phili's speakers along with your accompaniment. This raises an interesting possibility: if you seek out or wire up a DIN cable you could even feed other sounds into the Philicorda, using its reverb and speakers, instantly making anything sound fifty years old.

The vinyl that came with mine is long-lost, as is the volume pedal, and the sheet music stand. Also, the 'power on' light doesn't light up. None of this effects the playability though. The foot pedal adjusted the volume of the bass to lead, but this can be done with the balance dial. According to one review, posted below, finding a Philicorda with the spring reverb working is rare – so this one is a find.



To recap, here are the main points of interest:

* 751 model with a switch to turn off the internal speakers
* quarter inch jack output - unique modification feature of this particular unit
* spring reverb which can be made to overload and feed back
* DIN input socket allows sounds to be fed into the reverb and speakers
* variable vibrato dial
* five voice switches giving loads of tone combinations
*3 bass switch settings:
position 1: The whole keyboard plays treble voices - no bass section   
position 2: Converts the first 17 notes to a polyphonic bass section
position 3: Drops the pitch of the bass section an octave, and alters the timbre
* balance knob controls the relative volume between the bass ('foot') and treble sections.
* lovely Scandinavian-looking wood finish
* unique history; used on every Gravenhurst album

  • Detailed technical info on the Philicorda can be found here: http://www.combo-organ.com/Philips/

    More info from the Sonic State site
    http://www.sonicstate.com/synth/philips_philicord

    The entry from user Professor Spodnick says
    "The early single manual Philicorda is probably one of the coolest 60's transister organs,unfortunately they were replaced by the ghastly double manual 'philicorda rhythm' The singles sounds range from the sublimely delicate to full on speaker frying depending on the mix of vox and foot settings,a variable vibrato and spring (reverbio),add effect,the keyboard can play either full organ,split lead/bass or a thundering one finger chord bass with lead, The early philicorda is quite portable but be careful of the wood case which marks easily, but gives it that scandinavian retro/designer looks which other keys would die for!
    Exellent 60,s organs sounds 8,4,2 plus 5 vox switch,has vibrato and spring reverb,but I not found one with its spring reverb still workingsounds variable on vox and footage,from delicate to exteeeme powerful(bury's vox or farfisa duo) "

The Philicorda is currently in Bristol and it can be collected or sent by courier.
Send a message via the Gravenhurst Facebook page if you're interested:
https://www.facebook.com/gravenhurst

Price £500

Wednesday, May 08, 2013

Against Tolerance





I welcome and support British Sea Power's endorsement of a campaign launched as a reaction to the success of Nigel Farage's UK Independence Party in the recent local government elections. The plan is to try and get the band's pro-immigration anthem 'Waving Flags' into the hit parade in response to UKIP's populist anti-immigration rhetoric. (The Facebook campaign is here). However, I have serious misgivings over the language that is used on this side of the argument.

BSP's Jan Scott Wilkinson writes: "It seems that over the last year or two especially there has been a rise in anti-immigration sloganeering and propaganda. For several reasons this seems rather stupid, and what is more disappointing is the way that so many people in politics and the media who should know better have largely not challenged this view. Obviously times are hard and the economy is not going well, and it seems the old story of 'blame the last ones in' rather than looking towards real solutions has become popular. It's a kind of superstitious nonsense akin to witch burning. Instead of hearing about the NHS being staffed and kept going by conscientious hard workers from other parts of the world, we're told that it's groaning under the strain of newcomers. It seems obvious that immigration is being used as a scapegoat for all the problems caused by greed, ignorance, bad luck and a lack of planning.

"It would be easy to get angry at all the fools and the sanitised racism, but i would prefer myself to stick to the attitude of 'Waving Flags'. This is a positive song of pro-immigration, an embracing of different cultures and a welcoming of tolerance, a quality lacking these days and one which we could do with a lot more of in the UK. “ (from http://thequietus.com/articles/12203-sea-power-endorse-anti-ukip-campaign)
I welcome this move, and pretty much all of what Wilkinson says is correct, but promoting the language of tolerance is the wrong move; it sends out the wrong signal. This is why: tolerance encourages people to indulge a kind of sensitivity towards something they instinctively disapprove of. Toleration means putting up with something you don't like; it means realising that you have to let something slide even though you personally disapprove of it. Many people disapprove of homosexuality but they tolerate it because they value the principle of individual freedom above the fact that they find homosexuality repulsive.

Tolerance implies disagreement with the thing being tolerated, thus we shouldn't be encouraging tolerance. We want people to agree with immigration, not put up with it. People who have a problem with immigrants are not going to be won over by people preaching tolerance, because that just seems to them like a bunch of overly-sensitive, hand-wringing liberals failing to engage with what they see as a genuine problem.

What we should instead be furthering is the notion that immigration should be welcomed, not tolerated. It must be spelled out why immigration and cultural diversity is good for society and good for the economy. This is an argument that needs to be won; it cannot be resolved by sympathy alone.

When there is division between different cultural and religious groups, rather than promoting tolerance, we should be promoting the recognition of what these groups have in common. White British people should not be told to tolerate Romanians, Bulgarians or Muslim Somalians, people who they perceive as different to them – they should instead be encouraged to see what they have in common. They go to the same football matches, they go to the same shops, they share the same sense of humour, they watch the same TV shows, they have they same fears and hopes for their children's futures. They need to be encouraged to see that their similarities are greater than their differences.

Tolerance should only be preached when there is irreconcilable differences between two groups; tolerance is a last resort. The problem with immigration is that the native groups do not see how much they have in common with the immigrant group – and they do have a lot in common. This message of commonality is what should be promoted – not tolerance. You tolerate things you dislike but have to go along with; this is emphatically not the message we want to send out about immigration.

So while I support British Sea Power's campaign wholeheartedly, I strongly urge that we pay close attention to the language we use and the message we send out. Tolerance is not the issue.

Friday, April 12, 2013

The Ballad of Mick Philpott and The Iron Lady


I baulk at the notion of rejoicing in anyone's death, there is nothing to be gained from it and only one's dignity to lose. Thatcher may have been frequently misguided and deluded by hubris but she wasn't evil. Those who gloat over her death should be ashamed of themselves; gloating disrespects her loved ones right to grieve in peace. Gloating and hateful -is that the face the Left wants the world to see? And these people miss the point: there is nothing to celebrate, because she won. Throughout her reign her ideas were tacitly accepted by enough people in Britain to win her three elections and they continue to dominate our culture. Her mixture of free market individualism and Right-wing moralising is the reason the coalition is able to demonise anyone who claims benefits, even though the majority of claimants are working but simply paid too little to survive. A puritan work ethic has triumphed, where those who do not succeed do not deserve to. Lack of social mobility is seen as the fault of the individual. These attitudes have become ingrained, and it is Thatcher and her henchmen in the Right-wing press that were responsible for disseminating and normalising them.

Popular music drowns in trite language of self-realisation; add an element of ritual humiliation and you have the currency programs like The X-Factor trades on; all the logical result of the culture of individualism perpetrated by the New Right. Instead of thinking how they can contribute to their community, young people have been encouraged to indulge egoistic fantasies. The Chancellor of the Exchequer, no less, has just tarred all benefit recipients with the brush of a psychopath, insinuating a causal link between the welfare state and the killing of children. This is morally outrageous, and would have been unthinkable before Thatcherism; but he does it with his characteristic smug self-assurance that in the eyes of the public he is on the right side of a shockingly squalid argument.

In his book The Silence of Animals John Gray writes “All human institutions are stained by crime... Explaining human nastiness by reference to corrupt institutions leaves a question: why are humans so attached to corruption?”. Mick Philpott was addicted to appearing on TV programmes such as Jeremy Kyle and Ann Widdecombe Versus The Benefits Culture, modern forms of bear-baiting and gladiatorial combat, pressure-release valves for a frustrated society, and he killed his children in a botched attempt to engineer another appearance on them. The stained institution we should be examining in great detail is the 'look at me' culture of egoistic self-realisation. Mick Philpott was behaving in just the way the 1980's buccaneer capitalist ideology encouraged us to: take whatever you can get, give nothing back, every man for himself. Bankers continue in this vein despite having just screwed over the entire world. Peter Oborne wrote after the 2011 riots “The moral decay of our society is as bad at the top as the bottom”. He's right, and people learn by copying the behaviour of those at the top. We have Thatcher to thank for all of this; her project was an unbridled success. Her death won't change that.

 
Addendum: This piece by Russell Brand is very funny. (Yes, really; he's a great deal cleverer than he sometimes comes across). He describes her voice as "a bellicose yawn, somehow both boring and boring" which made me laugh louder than anything else this week. It's also a very intelligent reflection on what she did to the country. "It always irks when rightwing folk demonstrate in a familial or exclusive setting the values that they deny in a broader social context. They're happy to share big windfall bonuses with their cronies, they'll stick up for deposed dictator chums when they're down on their luck, they'll find opportunities in business for people they care about. I hope I'm not being reductive but it seems Thatcher's time in power was solely spent diminishing the resources of those who had least for the advancement of those who had most".

And if you really want to understand why she is hated, Ken Capstick's piece explains it beautifully.

Friday, March 29, 2013

Dartboard Aggressional

This article by Luke 'Twin Falls' HOW DASHBOARD CONFESSIONAL STOLE MY IDENTITY: A Cautionary Tale For Bands is a thoroughly dispiriting episode conveyed with considerable wit and humility. Put briefly, an established Emo artist chose the name Twin Falls for his new project, didn't check that the name has been used by someone else for five years (or judging the artist to be obscure compared to his towering status as Emo-auteur nonpareil, didn't care), and when the five-year-old Twin Falls tried to contact him he found himself talking to lawyers rather than discussing it like adults. Chris Carrabba of Dashboard Confessional had been using the name for three months when Luke Stidson got in touch, and rather than consider another name, Carrabba's management sicced their legal rottweillers onto him who kicked off proceedings by disputing whether Stidson had really been using the name for five years, as his gigs and releases would attest.

While Carrabba never communicated with Stidson directly but via his management and lawyers, given that his team stated that “Chris Carrabba and band intend to keep using the name” it seems safe to assume that Carrabba was notified of this saga and made this decision. Carrabba may have the money to bully Stidson into surrendering, but given Stidson has already released three Eps and a debut album, no amount of litigation will prevent confusion. In this scenario it would be in the interest of all parties for the three-month-old Twin Falls to just come up with a different name.

But instead Carrabba's team displayed an arrogant and brattish mentality; one that would rather see all parties lose out, themselves included, than to see a perceived rival benefit. Such pride and tin ears reminded me of the Saudi prince who complained that the Forbes Rich List erroneously placed him 26th richest person in the world; a man so wealthy that he can't find anything better to do with his time than attempt to rig his way higher up the list.

"Of the 1,426 billionaires on our list, not one - not even the vainglorious Donald Trump - goes to greater measure to try to affect his or her ranking," the magazine claimed. "This is how he wants the world to judge his success or his stature," an anonymous source was quoted as saying. http://www.bbc.co.uk/news/business-21665997

Carrabba would rather create confusion for promoters and fans than compromise his dazzling artistic vision, which in this instance consists of naming his band after a town. Now this is an area where I don't think it would be arrogant to say that I have considerable experience. You might even say I'm an expert. And I can confidently state that it didn't require much artistic vision and I'd be hard pushed to convince anyone that it did. I found a town and named myself after it. What genius of process! What elegance of poise! Quiver in the palpable waves of Blakean prowess.
So Mister Carrabba, please consider this: changing your name now will not affect the artistic impact of your music. People don't care that much about band names but they do care about turning up to the wrong gigs and buying the wrong albums. And the big rich guy bullying the little guy – I'm no style guru but I'm pretty sure that's not a good look for a sensitive singer-songwriter. Swallow your pride and change the name.
Update: Carrabba has announced that he is changing the name of his new band to Twin Forks. He's done the decent thing, but still something doesn't sit right. Was it finally a matter of conscience or merely one of public relations? If influential names like DJ Tom Robinson hadn't tweeted 'shame on you Chris Carrabba' would he have started caring? But the biggest mystery of all is why he changed the name to Twin Forks. Why not come up with something completely original, rather than something that could be misheard, and will always be associated with this sorry saga? It makes it look like a reluctant move, still trying to lay claim to the name will being forced to abandon it; grouchy, passive agressive. Or maybe that was simply the best he could come up with. Actually, if you listen to his music and lyrics that seems entirely plausible.

Monday, March 25, 2013

Electronic cigarettes offer us a once-in-a-life-time opportunity for harm reduction and must be embraced


I blog exhausted and angry, with none of the comfort of the removed cynic. This is a piece I hoped I would never have to write. But to my horror, in an act of classic collective knee-jerk reaction, all around us countries move to ban electronic cigarettes. They have already been banned in Australia, Brazil, Canada, Israel, Mexico, and New Zealand, restricted in Finland, Malaysia, and Singapore, are pending restriction in the UK as a drug, and the subject of law suits by attorneys general in several US states.

It may sound like the stuff of conspiracy theories, but we should consider that a seemingly unlikely but wholly pragmatic alliance of tobacco companies and anti-smoking zealots have most to gain from ensuring that this marvel of technology is stamped into the ground before it has a chance to really do good. I can't bear to see it being dragged out from under our feet.

Are electronic cigarettes harmless? The jury is out, but they are surely safer than smoking cigarettes. The main danger from cigarettes is in the act of inhaling smoke and all the toxins it contains. Electronic cigarettes do not produce smoke, they produce vapour – steam. The vapour contains nicotine, but nicotine isn't the big danger – its the tar, smoke and numerous other chemicals that are responsible for the lung and throat cancers.

The hysterical and alarmist rhetoric from the opponents of E-cigs emphasises the fact that nicotine is a poisonous chemical, but posionous chemicals are found all over the house – children are taught not to drink bleach or petrol. E-cigs are new and people aren't yet sure where to place them. Given the right information they will learn.

We would do well to consider this in terms of a balance of probabilities rather than a unanimous verdict. We can say unanimously that smoking is bad for you and the healthiest option is not to smoke or take nicotine at all. But nicotine replacement therapy in the form of gum and inhalators is prescribed as a quit smoking aid because it is safer than smoking. It will take time for us to know for sure how safe electronic cigarettes are, but the fact that they do not involve inhaling smoke tells us that on balance of probabilities they are surely safer than smoking. I also know how I feel. I am a singer and smoking was ruining my voice. Since I took up vaping I haven't smoked in many months and feel so much better for it. I initially found vaping gave me a dry throat but I found that drinking more water sorted this problem out; after a few months of vaping my smokers cough is gone, my lung capacity has increased and my room and clothes no longer smells bad. The point isn't that e-cigarettes are primarily a quit smoking aid, but rather offer a safer alternative to smoking. Many people have been arguing this, to little effect.

Elaine Keller, vice president of the Consumer Advocates for Smoke-Free Alternatives Association, said: 'I would still be smoking if not for this product.' Ms Keller said she has been tobacco-free since March 2009 after 45 years of smoking. She added: 'I can't point to anything to say it's 100 percent safe,' she said. 'The thing is, it only needs to be safer. The only standard is that it's safer than smoking.' Scientists at the University of California, Berkeley, who studied the device said the device had great potential in reducing the harm of smoking. Writing in the Journal of Public Health Policy, they said: 'We conclude that electronic cigarettes show tremendous promise in the fight against tobacco-related morbidity and mortality.' Meanwhile a top US doctor, Keith Ablow, has come out in favour of them. By isolating nicotine, e-cigarettes should carry far fewer chemical risks than regular cigarettes, said Michael Siegel, a tobacco researcher at Boston University. Tobacco contains about 5,000 known chemicals, he said, with as many as 100,000 more that haven't yet been identified. E-cigarettes eliminate many of those ingredients. Siegel and a colleague reviewed 16 studies that analyzed the contents of electronic cigarettes. In a paper just published in the Journal of Public Health Policy, they reported that levels of certain harmful chemicals were on par with levels found in nicotine patches and hundreds of times lower than what's found in cigarettes.
"The relevant question is not, 'Are these things safe?'" he said. "But are these things much safer than real cigarettes, and do they help people quit smoking? The answer to both of those questions we know is yes."
"What New York is doing is equivalent to outlawing lifeboats on a sinking ship because they haven't been FDA approved," he added. "It's a really crazy approach to public health."
The anti-smoking zealots argue that electronic cigarettes will 'normalise' the act of smoking and get people into smoking. The answer to this is 'only if you now ban electronic cigarettes'. Electronic cigarettes taste and smell so much better, the notion that they would lead anyone onto smoking is absurd.
But the harm reduction argument is lost on these absolutists. They fail to see that if deprived of electronic cigarettes, those of us who are now happily vaping will likely return to smoking tobacco, and all the greater dangers that represents. It is a crashingly depressing prospect. We must stand up and be counted. Many of us feel embarrassed that we vape, perhaps a little ashamed that we haven't instead completely quit our addiction to nicotine. Instead we enjoy the vaping experience and feel better than we did when we were smoking. We must be given the individual liberty to make this harm reduction decision for ourselves. It may sound ridiculous, but now is the time to say “I vape and I'm proud”. Otherwise we will no longer have the option. The nanny state and Big Tobacco will make sure of it.
I am thankful that the wheels of the law turn slower in the UK than elsewhere, and I beg that the powers that be consider electronic cigarettes to offer a harm reduction alternative to smoking which must be regulated, licensed and embraced.. Meanwhile, I have stocked up on enough liquid nicotine to last another month. I dearly hope that our government does the sensible thing. But there are certain corporations who have so much to gain from making sure they don't.

Wednesday, March 13, 2013

Peter's World

Peter gets tough
The tide is turning on the War On Drugs. Slowly but surely, more politicians and law enforcers are willing to admit that the war isn't working, that it is counterproductive, that the unregulated black market is making criminals hugely wealthy, pointlessly criminalising millions when drug use should be treated as a social and health problem, not a crime. For authoritarian conservatives such as Peter Hitchens, such arguments don't wash. If the war isn't working, it needs to be fought harder. For Hitchens drug use is immoral, and the law must enforce morality. This argument deserves to be taken seriously; the law does indeed have a moral backbone. We penalise murderers because murder is morally wrong, not because it is unhealthy.

Hitchens believes drug use is immoral because it allows one to experience an ecstacy and euphoria that has not been merited by effort or virtue. But this simplistic notion of morality quickly leads to absurdity. If the only legitimate pleasures were those merited by effort or virtue, what would such a world look like? Welcome to Peter's World – a world that Peter would clearly not want to live in. In this world of pure meritocracy, the first thing to go would be inherited wealth, and a state machine would redistribute wealth evenly to ensure all pleasures are earned by honest toil. Masturbation would be immoral, as there is nothing virtuous in the pleasures of the palm (though some effort is required -but no more than the effort to roll a joint). How would Hitchens qualify his argument to exclude such absurdities? Perhaps he would argue that it's ok to enjoy inherited wealth because wealthy people are job creators. But as many are not, the law would have to distinguish between those who create jobs and those who simply sit on their wealth, moving their money around to maximise its value. Perhaps masturbation would be allowed because it is natural. Alarm bells should ring whenever anyone plays the 'nature' card. Looking back over human history, war appears to be a natural state for humans to engage in, and every civilisation has found a way to alter their consciousness with substances and celebrate in a non-virtuous and ethically neutral way – (it's called fun, Peter, look it up). Human beings are part of nature, and regardless, whether something is natural or not tells us nothing about whether it is ethical. Hitchens often resorts to special pleading. In an interview a journalist pointed out that the coffee he was drinking was a drug. “But it's coffee!!” Hitchens shrieked; that appeal to common sense so often the haven of those who want to escape the hole their arguments have dug for them.

Hitchens set up a moral system based on meritocratic precepts of effort and virtue, and when this narrow ethical system has unintended consequences, he is forced to bolt on ad hoc justifications. Hitchens would not want state interference in inherited wealth (though as a strict moralist its possible he would be happy to police the bedroom, not the boardroom).

The second part of his argument is that the law must enforce morality. This is manifestly false. There are numerous things we regard as immoral that we would be loathed to criminalise, infidelity being the obvious example. One is free to be a bounder and a cad without legal ramifications, but using drugs, without harming anyone else will land you in trouble. Why is this? The fact is that our ethically based legal systems must allow room for individual liberty; people differ on where and how they play the liberty card, but they all play it. For conservatives this liberty keeps the state's hands off their inherited wealth; for liberals it keeps the state's hands off their drugs, for libertarians, it keeps the state's hands off their guns. Hitchens values individual liberty when it comes to his personal wealth, but discounts it when it comes to the drugs debate.

Hitchen's argument for the criminalisation of drug use is based on an absurdly one-dimensional view of both morality and legality. In reality, for something to be made illegal there needs to be not just widespread agreement that it is morally wrong, but also widespread agreement that such criminalisation is socially useful and practically enforceable. That is why adultery is wrong but legal. People broadly agree on the ethics but recognise that criminalising it would be ridiculous; people need freedom to lead personal lives outside of government interference. So Hitchens cannot hide in his thin moral world; he must engage in the arguments over whether the criminalisation of drug use is socially useful and practical, because the law is based not only on morality but on issues of social harmony and the practicalities of enforcement, and in the context of the war on drugs, those are the areas most in dispute. If he wants to engage in such arguments, he would do well to start here. But I doubt he will.


Monday, February 25, 2013

The Music-Related Artwork of William Schaff


Several years back Will Schaff contacted me because he was compiling all of his music-related artwork into a coffee-table friendly collection, and wanted written contributions from all the musicians he had worked with. I happily wrote my piece, and several years later I heard from Will again, this time asking for my address, which I duly gave him. Nine months later a package arrived for me – today in fact. In it was probably the single most beautiful artefact I have ever been given. 'From Black Sheep Boys To Bill Collectors' is an exquisite full-colour hardback collection of his music-related works along with 'Autumn Bird Songs' an exclusive eight track green and white marbled 10” vinyl record by J. Molina (Songs: Ohia), written and recorded specially to accompany the book. The whole package is published and printed by Graveface Press, and my eyes water at the thought of how much it must cost to produce something of such beauty. The hardback is exquisite, and I lack the technical vocabulary to describe it accurately, but the fine matte paper sleeve protects a fabric textile covered binding with a mysterious debossed silver insignia on the front cover, and the vinyl slides out of a large paper envelope fixed on the inside back cover. It even smells elegant. If you love beautiful things I urge you to checkout the Graveface webshop; if you can't afford to shell out for the hard copy, a PDF & mp3 bundle version will give you at least half the joy for a fraction of the price. Will always slips little extras into any thing he posts you; this time I received a single piece of a jigsaw puzzle, a page torn from a random paperback and his new “G.G. Allin Kid's Activity & Colouring Book”, (#2 of 14 copies) which is so deeply wrong it made me really hurt from laughing. I want to scan some of it in and show the world but I’m not sure it's wise. Actually no- I’m sure it's not wise. Perhaps you will be able to find some of it on Will's Flickr page...You probably don't know that you probably know Will's artwork. Reprinted below is my piece from the book, which explains why.

***
A few years ago I promoted a show for a band called The Iditarod, at the Cube Cinema, in Bristol, England. In the foyer, the drummer was displaying and selling copies of his own paintings, sketches and collages. Looking through them I noticed a piece familiar to me from a Godspeed You Black Emperor album. “Oh so you’re that guy!”. He was that guy. People leafing through the prints were saying “God, this stuff is really dark”. This was true but I found myself thinking “this stuff is hilarious”. In a single frame he had offered the most perfectly searing satire on the post-9/11 American psyche. A man dressed in Twin Towers merchandise furiously masturbates his missile-penis in front of a television. Corpses spew from the screen and he holds his fist aloft with righteousness.

But Will also drew strange but charming and affectionate pictures of dogs he had seen in the local park. On tour around the New England area, Will had a photo of his own beloved dog on the dashboard, to which he had glued a patch of her hair. Other works occupied the space between these two extremes. Recurring themes, characters and symbols allow us to peak in on an internally coherent alternative world. By rendering our mortal concerns in a vulnerable, almost comic book style, the issues are inescapable, jolting us out of our desensitized world-view. Cartoon people aren’t meant to get raped and murdered.

Not long after, an album of mine called Flashlight Seasons was due for release. Will listened to the album and came up with three pieces. We settled on a startling red and black image of a strange quadraped figure plodding through a forest, a parasitic twin piggy-backing him like a malignant growth. Marching alongside is a family of origami chickens. This bewildering tableaux of suggestions fitted the album perfectly.

The next album was called Black Holes in the Sand. The title track featured the lines
I held the hand that threw the stone that killed the bird that woke the city/and I could not feel the flower in my hand”. Will randomly emailed me, and as ever, attached a piece he happened to be working on. It was a red and white paper cut of a bird of prey perched on a flowering branch. Will had yet to hear the record. This was Jungian Synchronicity at its most irrationally compelling. Will’s world was making the decisions now. Like the perfect servant, it knew what I wanted before I knew I wanted it.

Songs: Ohia, Godspeed You Black Emperor, The Iditarod, the Eyesores and many others have been captivated by the world of William Schaff. Damn. I wanted it all to myself.

(Written in 2008)

Wednesday, January 16, 2013

Creeping Informality


Joe Kennedy's piece in The Quietus
on “the widespread employment of baby-talk “ raises an issue that I’ve been meaning to write about for a while but hitherto not found a substantive angle. Joe points out that the artist Robert Montgomery indulges in the grating, infantilising language that has become the standard in today's advertising; the advert that claims to know you and know what you want, or worse, to know that you acknowledge it knows what you want, because you both want the same thing; a nicer world, nicer trade, nicer capitalism. You are not customers, you are friends. Intimate friends with identical values. It's absolutely vile. On an Easyjet flight recently I parted with £4.50 for a 'snack box' consisting of two biscuits, a thimble of hummus and a few olives. I had some difficulty ordering it because I refused to refer to it by name. Even typing it makes me cringe - “The Yumble Bumble Snack Box”. I just pointed at the picture; the air steward wasn't able to tell which of the two 'snack boxes' I wanted. So the interaction went “Which one?” “Erm...” “The Yumble Bumble Snack Box or the Feel Good Snack Box?” “The former” “Sorry?” “The first one” “The Yumble Bumble Snack Box?” “Yes”. Urgh. Feel Good. The price alone is a violation, being forced to adopt baby talk is a humiliation too far. They're sodomising me over a barrel and barking “Call me Uncle!!”. Another company guilty of this sickening enforced intimacy is the smoothie manufacturer Innocent. Their smugness isn't restricted to name alone; the packaging is an orgy of vainglory, whimsy, sanctimony and tedious self-celebration that culminates in storage guidelines that refer to the product in the first person: “I like to be kept chilled, and once you've opened me, drink me in a couple of days...” etc etc. They clearly believe this kind of emetic chumminess will break down the barriers and make us forget that we are customers and they are salesmen; that we should somehow be impressed, glad, grateful and indeed rather touched that they've taken the time to get to know us so well. It's part of a wider culture of creeping informality, one where bank managers seem to think it's ok to call me by my first name. Well, how about this for informal: fuck you, Innocent. You're not a kindly face in a cold world of commerce; you're a stranger rubbing up against me on a crowded commuter train for your own gratification. And you are selling fruit. Grow up.

Saturday, January 12, 2013

Dear David and Gideon...



Dear David & Gideon,

I hope you are having a nice day. Actually I don't care. Fuck the niceties, I'll just get to the point.

What a lot of people are wondering is whether you are completely out of touch with ordinary working people, or that you don't care about them. I believe that it is both.

The Toxic Blend: Two Types Of Tory
First, let's look your backgrounds. You are millionaires; as such it is natural that you would want to protect your assets. There are broadly two kinds of Tory. Those like yourselves are so privileged that you have never had any need of the welfare state. You've never had to survive on £71 a week Jobseeker's Allowance, a chunk of which must go towards paying the rent because Housing benefits doesn't cover it. Even with the most imaginative forms of sympathy, you just have no idea what it is like. Sympathy can never be empathy. The other kind of Tory are those like William Hague and David Davis, self-made men from working class backgrounds. Hague and Davis do know what it is like to be poor; however, their ability to empathise is compromised by a tendency to universalise their experience. They are unusual; most people are not highly intelligent, hyper-motivated over-achievers like them, but they don't seem to realise this. Like Margaret Thatcher and Norman Tebbit, the classic working class Tory thinks to themselves “If I did it, why can't everyone else?”. Like the chronic optimist puzzled by the clinically depressed, they just can't relate to the poor and the benefits claimants. These two kinds of Tory form a toxic blend; a class of people who are opposed to the welfare state because they cannot relate to the people it is their to protect.

The 'Big Lie'
The budget provided ammunition to those who argue that you are not uncaring but out of touch. By increasing VAT, a tax that hits the poorest hardest, slashing benefits while simultaneously cutting taxes for the very richest, you rewarded your class whilst punishing the poorest so brazenly that for most people it defied belief. It doesn't take a public relations guru to tell you that this looks bad. Even if there was a possible world in which it was the right thing to do, (there isn't) it looked so bad that only the most myopic would fail to see that it was a suicidal move. But the counter-argument here, from those who argue that you just don't care, is that you were working on the principle of the Big Lie. The idea here is that people would think “Christ, that is so intuitively awful, so crassly wrong, that you MUST know exactly what you are doing. You must be an economic genius who knows something we don't, and this decision is so crucially important for the future of our country that you are prepared to look like an arrogant thieving toe-rag in order to get it done”. The give-away is your use of weasel words like “wealth creators” and “job creators” instead of “the rich”. You use those words because you know how useful they are. This brings us into the real battle ground, the real area in desperate need of scrutiny – the realm of ideology, and the biggest single achievement of this coalition government so far: successfully blaming a crisis of capitalism on the Left.

Myths And Mantras Of The New Hegemony
I've got to hand it to you – you've done an amazing job. With the help of your delivery boys in the media and a Labour opposition too scared to fight back, you've managed to convince virtually the whole country that the economic state we are in is because Labour Spent Too Much. The Right has never had a problem of pandering to the lowest common denominator, never been afraid of underestimating the intelligence of the public, while the historical mistake of the Left has been thinking it could win if only it could get people to follow the logic of its arguments. The Right has a genius for emotive and populist propaganda; this has been it's crowning intellectual and psychological achievement. The following mantras have been so comprehensively tattooed onto the brains of the public that even many with Leftish sensibilities believe them. They are as follows:

The debt crisis is because Labour spent too much; there have to be some cuts, we are all in this together. We are in a debt crisis, and paying back the debt is the number one priority.

As a proportion of GDP, Britain’s national debt has been higher than it is now for 200 of the past 250 years. From 1918 to 1961 the UK national debt was over 100% of GDP. During that period the government introduced the welfare state, the NHS, state pensions, comprehensive education, built millions of council houses, and nationalised a range of industries. The public sector grew and there was economic growth.

Now you want to turn back the clock by dismantling the NHS, comprehensive education and the welfare state.Your are not doing this because the country is on the verge of economic collapse, you are doing it because you are ideologically opposed to public services and the welfare state, and committed to handing over more of our public assets to big business.
Before the 2008 crisis, Labour's spending plans had been matched by the Tories. The sudden huge increase in government debt was caused by the necessity of bailing out the banks; if Gordon Brown hadn't done this, there would have been no money in cash machines. His plan of action was copied by countries the world over. The cause was a crisis of capitalism, due to a poorly regulated global banking industry.

The Household Budget Analogy
A crucial part of the idealogical war that the Right is winning, is the propagation of the Household Budget Analogy. By comparing the UK economy to a household budget you've terrified everyone into going along with austerity. Household debt can be terrifying. But households are not like economies. In an economy, you're spending is my income, and my spending is your income. It is a two sided relationship; a household is one-sided. Economies are dependent on two types of spending; private spending and public (government) spending. As we are in a recession, private businesses don't want to spend; they are wary of investing, they hold onto their money. If governments do not step in and spend, the recession continues. The Right always argues that if government shrinks away, the private sector will automatically fill in the gap, providing the services. This hasn't happened, isn't happening, and hasn't happened historically. What got us out of previous depressions was government spending. During World War II the USA's national debt soared to 120% of GDP – nearly twice the size of today’s US debt. The New Deal spending plan not only got them out of the Great Depression but set the stage for a prolonged period of sustained economic growth in the 50s and 60s. Massive investments were made in science and technology, American workers were re-trained and re-employed, private investment was encouraged, and consumer purchasing power was increased. That 25-year post-war economic boom, with the most rapid increase in living standards in our history, would not have happened without government stimulus.

There are plenty of excellent commentaries by celebrated economists such as the Noble Prize winner Paul Krugman of the New York Times and Martin Woolf of the Financial Times – hardly what you would call Left-wingers - who are able to debunk the myths you propagate. (See Appendix below). Some would argue that you should study their works. But I believe that you already know them; you instead choose to exploit people's ignorance with simplistic but powerful ideological mantras.

Disaster Capitalism Comes To Britain
So why, if you know that the way out of a recession is government spending, and that a scorched earth austerity policy will create a double-dip (now ensuing triple-dip) recession and massive unemployment, why did you go ahead with it? The answer is that you have used a crisis of capitalism to further your ideological agenda. You oppose the welfare state, and you have used this crisis to engineer popular consent for its dismantling. This is a perfect example of the historical technique of 'Disaster Capitalism” brilliantly analysed in Naomi Klein's The Shock Doctrine, arguing that sudden crises are intentionally manipulated to push through extreme free market policies that were otherwise not politically possible. In the name of promoting “freedom and democracy”, a shady partnership between the CIA and Chicago School Friedmanite economists succeeded in organising military coups to topple democratically elected, stable, popularly supported centre-Left Developmentalist governments in South America and beyond in order to strip the publicly owned and tax-payer funded assets so they could be sold to foreign multi-nationals at bargain prices. In this tsunami of Corporatism, worker's rights, minimum wage and labor laws were dismantled, dissenters rounded up, tortured and disappeared in their thousands, while a tiny few made a killing. The destruction it wreaked was huge, the economic, political and human costs were staggering but clearly quantified in Klein's forensic analysis.
Now, you guys won't get away with mass incarceration and torture, but you don't need to – the financial crisis was a massive blessing for you. The language of belt-tightening, the household budget analogy, 'clearing up Labour's mess','we're all in this together'; these have worked brilliantly in convincing the people that this is all necessary. And like the unreconstructed Marxists who insist that the Stalinist atrocities and poverty of the Soviet experiment can't be evidence against the feasibility of central planning because it wasn't 'true Communism', and the the Chicago School economists who explained away the chaos their policies created by saying that they were somehow thwarted from implementing the truly earth-scorching policies that would have resulted in their vindication, the triple-dip recession we are entering is just seen as evidence that we need yet more austerity. Like the scientists who held onto their theory of the non-existent Phlogiston in the face of the overwhelming evidence in favour of Oxygen through continual ad-hoc readjustments to their theory, where every piece of counter-evidence is selectively reinterpreted to fit with their convictions, your propaganda for re-election will be along the lines of “yes, it's tough, but we've got this far, it's not long now, you can't change the Commander in the middle of a war – stick with us and you'll see we're right – don't let Labour undo all the progress we've made”.

Divide & Conquer: Benefit Fraud Vs The Tax Gap
You believe in low taxes and looking after your own. You believe that the private sector will provide where the public sector is cut back, because that is what suits your economic interests. And if the private sector fails to provide the public services, for you that's just the free market indicating the such services are not required. And you've nothing to lose there anyway; you don't want those services and if you're stuck in a corner you can just blame the previous government. You have pioneered a divide and conquer strategy, turning working people against one another by smearing benefit claimants as scroungers whilst saying and doing nothing about the tax gap, even though benefit fraud is less than 1% of the tax gap – the £25 billion in tax lost through tax avoidance, £70 billion in tax evasion and £26 billion in tax uncollected. (And there is that £6 billion that you wrote off for your pals at Vodafone). In total that's £120 billion - more than three-quarters of the annual deficit. 

Housing Benefits: No Social Housing Means Taxpayers Subsidise The Rich
You propagate myths about housing benefit: that it is a benefit for the unemployed, when in fact only one in eight claimants is
out of work (not a statistic that you'll find reported in most newspapers). The majority of those who claim housing benefit, including the under-25s, do so to compensate for paltry wages and extortionate rents. And because Housing Benefits, fixed at 90's rent prices by the faceless Rent Service (to whom there is no appeal process) so rarely cover the rent, the meagre Jobseeker's Allowance has to make up the shortfall. (In my case the shortfall was £65 a month; my rent at a very modest £315 a month, Housing Benefit only covered £250 of it). And because there is so little social housing, these rents go to private landlords. Housing benefit subsidises the wealthy while propagating low wages. That's right; the people who clean your streets earn so little, and are charged so much for their rent, that housing benefit has to top it up, and in an obscenely unjust cycle, the money is syphoned back to the rich via the private rental market when it could and should be going towards public housing. You aim to cut housing benefits, with no plans to build more affordable public housing. You talk about 'making work pay' and 'incentivising work'. You do this by making sure benefits are in insufficient to survive on, instead of making the minimum wage a realistic living wage. You protect the right of banks to pay bankers whatever they need to get the best talent; you thus recognise that higher pay is the incentive to work. Therefore you must realise that people will only work if it is worth them doing so. For many with children, the cost of child care that full time work necessitates undercuts any increase in earnings. What is the point of working if working people do not have enough to live on? The only just way out of this is to increase the minimum wage to a realistic Living Wage. But you won't do this, because it is not in the interest of your class, your financiers, your family, friends, your rich constituents in safe Tory seats.

Bring Forth The Guillotine
And here is where you may well run into trouble. I hope it doesn't come to this, but it might. If enough people lose their jobs, and find themselves trying to survive on benefits, and when the cuts in public services really kick in this year of 2013, you may find yourselves on the wrong side of the argument. The divide and conquer strategy only works if the worse off are in a small, hopeless and disenfranchised minority. If things get bad enough it will engender solidarity. People will question not just the logic of austerity, but more importantly, the Right-wing hegemony. This hegemony has been carefully crafted over the last few decades, and since 2008 it has gone into overdrive. It consists of a raft of beliefs – that benefit claimants are scroungers, that the ill and disabled are faking it, that public workers are pampered whiners, that trade unions hold the country to ransom, that the 'undeserving poor' are taking us all for a ride. But for every alleged free-rider at the bottom of society, there is a free-rider at the top, born into wealth, creating no jobs, manufacturing nothing, simply moving money around and avoiding taxation. But we don't hear about them, because the largely Right-wing press is run by and funded by such people.

Here, for you, is the rub: for all your hatred of the welfare state, it may be the only thing keeping you from the guillotine. In A History Of Modern Britain, Andrew Marr suggests that the reason Britain is one of the few European countries to have avoided revolution is because the welfare state has buffered the worst injustices of capitalism. When there was a powerful Left, a Keynsian market strategy and a welfare state were the necessary table scraps that kept the people sufficiently placated. Indeed, that is why many on the far-Left were opposed to the welfare state; it prevents the exploited from fully realising their exploitation; it prevents them from becoming class conscious. It may do you well to consider if they are right. If you dismantle the welfare state, there may be nothing standing between you and the jobless, baying mob. 2013 may be your Poll Tax moment. Bring it on, I say.

Goodnight and sweet dreams boys.


Appendix
Addressing the ‘tax gap’ is a vital part of tackling the deficit. Figures produced for PCS by the Tax Justice Network show that £25 billion is lost annually in tax avoidance and a further £70 billion in tax evasion by large companies and wealthy individuals.
An additional £26 billion is going uncollected. Therefore PCS estimates the total annual tax gap at over £120 billion (more than three-quarters of the annual deficit!). It is not just PCS calculating this; leaked Treasury documents in 2006 estimated the tax gap at between £97 and £150 billion.


If we compare the PCS estimate of the tax gap with the DWP estimate of benefit fraud, we can see that benefit fraud is less than 1% of the total lost in the tax gap (see diagram above).

Sources:


Friday, December 28, 2012

Records I Have Enjoyed This Year



This list is not intended as a Best Of 2012, I've not listened to enough music to make any such claim, it's merely a survey of records I've enjoyed. There are many others released this year which are clearly excellent but I've not explored thoroughly enough to write about (Eamonn McGrath's Young Canadians and R.M. Hubbert's Thirteen Lost & Found being examples). Hopefully this list will make you want to explore further.

Sweet Lights – Sweet Lights
Technically sophisticated but entirely accessible, dozens of instantly memorable melodies make this feel like an album you've known your whole life. One of those 'songwriter's songwriters', Shai Halperin makes it all sound so easy, but it takes a peer and rival to fully appreciate why it's anything but. The album George Harrison never made.

Land Observations – Roman Roads IV-XI
This eight-part survey of ancient highways and byways is composed from the simplest ingredients; picked harmonics and looped guitar riffs evoke a sensation of internal travel, it's unusual in being an ambient record built around propulsive rhythms rather than drones and field recordings, tracing a map rather than capturing territory. A sonic gazetteer for the armchair navigator.

Warm Digits – Keep Warm With The Warm Digits
Rarely is a band so suited to their name; digital music served with the warmth and depth of mulled wine, this record is a playful sonic pillow fight.

Neil Halstead - Palindrome Hunches
Mainstream music journalism's obsession with 'authenticity' has resulted in a critical medium reaching a dead-end, a satellite orbiting a dying star, sending back increasingly absurd reports – the ascetic log cabin retreat and the 'primitive' recording equipment, the beard and the buffalo plaid; for many, such ludicrous framing devices seem to resonate louder than the music. Fortunately not all music writers are so easily hoodwinked, and not all record labels are so patronising. Neil Halstead has found a natural home at Nat Cramp's wonderfully understated Sonic Cathedral imprint. 'Palindrome Hunches' is Halstead's darkest solo album so far, but more importantly it's his most focused, his penchant for whimsy reined in and his plaintive melodies allowed to suspend in the air until they dissolve. While the fact remains that many artists write their strongest work under duress, albums like this don't need a back story.

Kuedo – Severant
Severant is on first blush a straightforward arranged marriage of Tangerine Dream synthtopia and cutting-edge footwork percussion, an album with each foot planted firmly in a different decade, but the melody lines are so strong and the sound-scapes so sweeping that the listener will find themselves asking more of it. What then emerges is a world where humans are long gone, each hi-hat tick is the footfall of an army of synthdroids terraforming a newly claimed planet, overseen by an infinitely wise and benign Philosopher-King supercomputer. Beautiful and unabashedly escapist, Severant is an intergalactic holiday brochure for wistful robots.

Burial - Street Halo EP / Kindred EP
Will Bevan made life difficult for himself in a way that Portishead did a decade before him. Creating an aesthetic so instantly influential it left them without room for manoeuvre, by the time Portishead got round to their second album, a thousand indie bands had pointlessly bolted a pair of turntables onto the side of the stage, and with the echoes of Dummy ringing endlessly in a hall of mirrors, Portishead's sound was no longer theirs. So they took their time, adapted and moved on. Both artists stand in a grand tradition of sonic pioneers weaving a noose to hang themselves with. My Bloody Valentine have yet to rise to their own challenge, The Stone Roses made a pig's ear of their's, but Bevan continues to hone his occult craft so elegantly that no-one has come close to cracking the code, and by releasing EPs instead of albums, he has avoided the issue, forcing people to appreciate his music outside of the arbitrary strictures of track counts, running times and size formats.

Emptyset – Medium

Put up microphones in an ancient building, record the sound of nothing, play it back through a P.A. in the same room, record the results. Repeat this process indefinitely. Will you capture the murmurs of ghosts? Definitely.

Happy New Year.