Diamond Geezer reflects on a visit to see the national standard kilogram, the UK’s copy of the block of metal that officially defines how much a kilogram weighs. Highly interesting and informative — not least because I didn’t realise the definition of a kilogram is about to be updated, making the international prototype redundant.
Cousin Chris — The Fiery Furnaces
It was a delight to listen to Adam Buxton’s recent podcast interview with Eleanor Friedberger, half of the Fiery Furnaces (with her brother Matthew) and now a solo artist.
The Fiery Furnaces are one of my favourite bands. Their quirky and decidedly different music was actually quite important to me as I struggled my way through university.
Despite that, I’m don’t think I have ever heard an interview with either of the Friedbergers. I don’t often seek out interviews with musicians because (with a few exceptions) it is often disappointing — a topic touched on in the podcast. So I found it quite strange to learn new things about the Fiery Furnaces, whose music I know so well to listen to, but whose story (I have suddenly realised) I don’t know too much about.
This is one of my favourite Fiery Furnaces songs. Unfortunately for some reason the music in this video is really glitchy, but the visuals are awesome.
I did not know what to type into the address bar of my browser. I stared at the cursor. Eventually, I typed “nytimes.com” and hit enter. Like a freaking dad. The entire world of the internet, one that used to boast so many ways to waste time, and here I was, reading the news.
On the loss of the old culture of the internet, “made for dicking around”.
I never used to see the point in stunts like “I created Bart Simpson in pure HTML and CSS, look at me!” But I have to admit that the work of Diana Smith is seriously cool.
It is all the more awesome when you consider how viewing it on older browsers turns the work into wonderful, glitchy, accidental versions that look like they were inspired by De Stijl.
This is like a modern version of the Acid tests. I remember showing examples of the Acid II test during presentations some years ago to explain how different browsers could interpret the same code differently. But I think this example gets it across so much better.
It’s also a warning not to build our webpages for Chrome only.
In a cultural moment where reality distortion is rampant, and it’s hard to get a consistent version of facts from person to person, it’s critical to understand that something as basic as a browser update, or switching from one browser to another, can drastically change the way we perceive information.
An enjoyable take on why marketing professionals should be loving GDPR.
Alongside accountability, transparency is the second pillar of GDPR. This is where marketers should get excited. After all, getting our message through should be what we do best.
We tend to think of musicians as architects, who fully control the sound they compose. But here, Austin Kleon outlines how it is in fact more like gardening. Top musicians like Prince, Ralf Hütter and Brian Eno appear to subscribe to this approach.
Brian Eno says:
One is carefully constructing seeds, or finding seeds, carefully planting them and then letting them have their life. And that life isn’t necessarily exactly what you’d envisaged for them.
The analogy certainly works well with Brian Eno’s generative music. I remember a radio interview where he described being the opposite of a control freak — a surrender freak. (This is the only reference I can find to it.)
I would like you to tell me how you feel about “see on see”.
Sean Booth replied: “surprised”.
Yet again, Thomas Baekdal has a genuinely informative and enlightening take on the turf war the media is trying to wage against tech companies.
Essentially, traditional media and technology are trying to solve a similar problem — but from different directions.
We accept that newspapers can’t cover everything in exchange for a demand for higher quality reporting for the things they do pick. And we accept that, on channels such as YouTube, we will always be able to find the occasional piece of bad content, in exchange for the flexibility and the wealth of things that we can see.
It strikes me that we need to have both. We already knew that good journalism and high-quality media products will always exist. But they need to focus on making those high-quality products rather than constantly reacting in counter-productive ways to the perceived threat of technological change.
That question when someone is trying to get into a band — “Where should I start?” — is perhaps especially difficult to answer in the case of Autechre. Their music is unique and uncompromising. You almost need to learn to read Autechre, because it is sonic world lives by itself. It is difficult to relate it to anything else.
That situation escalates when the artist has 13 albums over 25 years under their belt, the latest of which is eight hours long.
This article makes a good attempt at introducing Autechre to the uninitiated, by splitting their music into different types: club-friendly, austere, strangely beautiful, melting computer, endurance test.
Apparently there are plans afoot to build a multiplex cinema behind Groucho’s in Dundee. While there might be a case to build a cinema in central Dundee, it would be perverse to position it literally in the back yard of the DCA, a pivotal venue of Dundee’s creative scene.
I have written before about a certain contingent in Dundee that would rather not have the DCA Cinema, on the basis that a mainstream cinema would magically sprout up in its place.
I personally think that having a cultural hub that commits to showing independent films is much more valuable to Dundee than a cookie-cutter multiplex that you can find in any town.
A drop-in consultation on the proposed new multiplex is taking place on Tuesday 1 May at the Malmaison, from 3pm to 7pm.
…A multiplex so close to the DCA cinema would negatively impact its revenue, ability to show these films and still be around… This is the type of space that is needed in Dundee at the moment.
The Rip — Portishead
They say a song is like a fart — if you have to force it out, it’s probably shit. So when a band leaves a gap of 11 years between albums, it means one of two things:
- Option 1 — They have been enduring the worst form of musical constipation, and the album will be shit.
- Option 2 — They have taken their time, let it come to them, and the album will be excellent.
When Portishead’s Third came out, there wasn’t much indication that option 2 would be on the table. In the words of Armando Iannucci, the second album by Portishead had nothing new to say.
Portishead were pioneers of trip-hop, but by 2008 it had become a cliched genre.
But Portishead avoided all those traps with their third album, which is actually probably their best. It conspicuously avoided the now-cheesy trip-hop tropes. It was a new sound, but still unmistakably Portishead.
The album was released 10 years ago today. There is no indication of when their fourth album will arrive. But we are still ahead of schedule by Portishead’s standards.
On the Tuesday morning after Easter I waved goodbye to my brother and nephew at Norwich station and wandered off to catch a train back to London. Last night I walked over to BestMate’s in Plaistow and we had dinner and watched telly. Inbetween, I met and spoke to absolutely nobody I know. That’s 15 days, 9 hours and 12 minutes of conversational solitude. And I coped fine.
This is mind-blowing.
Perhaps, for example, some early mammal rose briefly to civilization building during the Paleocene epoch about 60 million years ago. There are fossils, of course. But the fraction of life that gets fossilized is always minuscule and varies a lot depending on time and habitat. It would be easy, therefore, to miss an industrial civilization that only lasted 100,000 years—which would be 500 times longer than our industrial civilization has made it so far.
More on the 20th anniversary of Music Has the Right to Children.
The music imprints ideas in your head, subliminally or through uncanny association: opener “Wildlife Analysis” sounds like an old TV ident left to wander into the woods, the treated, wobbly synth harmonies of “Olson” could’ve come from a half-remembered Stevie Wonder or Gary Wright song heard as background music during some family car ride, and “Turquoise Hexagon Sun” sinks its minimalist, graceful melody in so deep through repetition that the realization you can hear indistinct voices in the background is almost startling. There’s something deeper in the music than just music…
An Eagle in Your Mind — Boards of Canada
It is 20 years to the day since Boards of Canada released Music Has the Right to Children.
Seminal is a word that is bandied around easily when talking about music. But it may be genuinely applicable in this case. Simon Reynolds in Pitchfork notes how the album seemed to kick-start a transformation in electronic music.
Before this point, electronic music was unashamedly futuristic. Boards of Canada set the template for a nostalgic yet dark genre known as hauntology, since explored further by the Ghost Box label among others.
The album’s cover, featuring a weathered, decades-old family photograph with each person’s facial features redacted, sets the scene. Following a short introductory track, Music Has the Right to Children introduces the listener to the Boards of Canada sound in uncompromising fashion, with An Eagle in Your Mind.
A wistful drone slowly evolves into a darker, brooding melody. Crunchy, syncopated beats and glitching speech samples then take precedence, while narration from a nature documentary subliminally slips beneath. Things get psychedelic, before an unpredictable abstract hip-hop vibe takes over. A childlike melody discordantly tinkles on top, hammering home the sense that something has gone horribly wrong.
What happened after United violently removed a passenger against his will from an overbooked flight? What do you think…?
Flyers may have said in that survey that they’d avoid United, but they really kept choosing whichever airline offered the best price and itinerary. And often that was United. In the month that followed the Dao incident, United flew more passengers than a year earlier, posted its biggest gains in months in passenger-miles flown, and had its fewest cancellations in its history (and fewer than any of its main competitors). A month after the incident, United’s share price hit an all-time high.
Rock On — Tortoise
Tortoise’s most recent original music may not be as good as their material from the 1990s. But they have developed a knack for producing some excellent cover versions. This cover of Rock On is the highlight of their most recent album, The Catastrophist.
More on the hypocrisy of media organisation going after Facebook (which I recently wrote about).
What will happen when the Times, the New Yorker and other pubs own up to the simple fact that they are just as guilty as Facebook of leaking its readers’ data to other parties, for—in many if not most cases—God knows what purposes besides “interest-based” advertising?
With the media still consumed with scrutinising Facebook, Thomas Baekdal once again points out that it is the media who appear to be less prepared to deal with privacy trends and comply with new regulations like GDPR.
It’s interesting that Thomas Baekdal has emphasised that this is not only important for compliance. But because it is becoming a fundamental expectation.
He notes the clear changes that Google and Facebook have made in reaction to GDPR. In contrast to publishers.
I have yet to see any publisher who is actually changing what they are doing. Every single media site that I visit is still loading tons of 3rd party trackers. They are still not asking people for consent, in fact most seem to think they already have people’s consent…
Not just what we read and watch. But also what we have written. And, if you were Johnny Carson, who you had just interviewed.
It’s an oddity peculiar to the live performer’s divided brain that needs exploring. It has to do with the fact that you — and the “you” that performs — are not identical.
I get the same thing all the time, whenever anyone asks me on a Monday morning what I did in the weekend.
Perhaps me and the “me” that was in the weekend are not identical. Certainly, my brain is in a totally different place — one that has difficulty piecing together an eventful yesterday.
Clothing sales are on the decline. Guess what? Millennials are to blame.
In seriousness though, it is interesting to consider the declining role of clothing in how people express themselves.
As clothing sales have declined, technology purchases have climbed — as have experiences.
So, pay for a good smartphone. Go on an experience. Brag about it on social media. A new pair of jeans would seem weak in comparison.
Who needs fashion these days when you can express yourself through social media? Why buy that pricey new dress when you could fund a weekend getaway instead?
Roger Bannister’s great achievement was not to attain the impossible, but to make the unattainable realistic.
The claim that typically accompanies a feat of athletic genius—that it may never be equalled—was never said of Bannister’s four-minute mile. The point of his race was exactly the opposite. The four-minute barrier had daunted runners for generations, but Bannister intended to break through it so that others might follow. And they did.
You Are Still Here.
By Mona Hatoum, on display at Fundació Joan Miró.
An interesting comparison between modern-day radio presenting and that of previous generations: “That smiling deep disc jockey voice, broadcasting seemingly from a parallel mid-Atlantic world.”
Rarely has radio been quite so authentic.
In previous generations, it was enough to have a ‘voice on a stick’ as one of my colleagues used to call it…
Now – you tune in and you hear real life.
Listening to clips of old radio programmes, it is extraordinary how much times have changed. The Radio 1 Vintage broadcasts last year as part of Radio 1’s 50th birthday celebrations highlighted this starkly. Tony Blackburn’s live recreation of the first Radio 1 breakfast show even skipped over some of the content, tacitly acknowledging that it some of it was too cheesy (or perhaps offensive?) to be broadcast today.
There is an argument to say that people sometimes want to hear a bit of showbiz, and don’t necessarily always want to hear a voice that could be their neighbour’s.
But in the era of Spotify, a “voice on a stick” won’t do. Good content is essential for the long-term survival of radio.
Every Recording of Gymnopedie 1 — Hey Exit
Today is Piano Day. I am in favour of this. The piano is the best instrument. 🎹
The clip above is of every recording of Erik Satie’s Gymnopédie № 1, put together by an artist called Hey Exit. Each recording is timestretched to the length of the longest one, and they are placed on top of each other. It’s a brilliant idea, with a truly ethereal sound.
I am no fan of Facebook. But I am less than impressed with the media’s coverage of Facebook as well.
An extraordinary example of someone trying to give a publisher a lot of money — and the publisher making that experience as difficult as possible.
I’ve said before that I don’t have much sympathy for most publishers who are struggling. This is one example of exactly why many of their struggles are largely their own fault.
It beggars belief that a publisher should make it so hard to buy their product online. Many of them have a long hill to climb.
Field Music at St Luke’s, Glasgow. 🎼
It’s great to see this clip of Henry Hope-Frost on You Bet.
He may have thought then that his obscure knowledge would be of absolutely no use. But it certainly came in handy when he later became one of the top motorsport journalists.
There aren’t nearly enough clips of You Bet on YouTube. I remember one contestant who was able to tell a piece of music that was being played backwards just by seeing a candle flickering in front of the speaker.
It’s extraordinary to think that this kind of geeky talent passed for Saturday night ITV entertainment in the 1990s.
Henry Hope-Frost’s untimely death traveling home from the job he loved earlier this month was tragic. This clip is a demonstration of pure fever.
1/1 — Brian Eno
Ambient 1 / Music for Airports is 40 years old this month.
It is spurious to claim that Brian Eno invented ambient music. Erik Satie’s furniture music deserves mention. Eno himself recognised the role of Muzak.
Music for Airports is not even Eno’s first ambient album, despite its Ambient 1 moniker. But it certainly is the most important.
Music for Airports is both experimental and timeless. Bold yet gentle. You can consciously listen to it. But it may also affect your mood without you consciously being aware of it. Or in the words of Eno, “it must be as ignorable as it is interesting.”
It was a genuinely new idea. It introduced the notion of designing music for a specific purpose, yet was still packaged as a pop album. A stunning concept.
But how would we feel if music like this was played in an airport? Would it be a calming influence? Or would it grate like Muzak?
The Chris Morris sketch that was faded out by an engineer before it ended went down into legend. But why did it happen? None of the explanations stack up to me.
OK — Micachu and the Shapes
I have been shamefully late to discover Mica Levi, and Micachu and the Shapes. This is a track from the band’s 2012 album Never. It contains a lyric that made me laugh out loud, which doesn’t happen very often.
What happened when one person started up his iPod for the first time in 15 years.
…I also came across music and artists which made me wonder what on earth I was thinking of when I loaded their tracks into iTunes. If I could talk to my 2002 self, I would sit him down and explain that Limp Bizkit’s album Chocolate Starfish and the Hot Dog Flavored Water is an abomination and not at all funny (my London music buddies and I thought it was hilarious at the time)…
…looking back through the playlists on my first and oldest iPod I was struck by the fact that some of the music from 2001 and 2002 seemed far more dated than some of the ’70s, ’80s, and ’90s.
I certainly have a memory of music from 2001/2002. In fact, because of my age, it is precisely when a lot of my favourite music was released. But I do wonder what I would discover if I found my iTunes library from that period, warts and all?
The vinyl resurgence isn't all good news — particularly for independent musicians.
It’s the dress part two!
I make this decision as much on the basis of what I think I know about tennis balls—that they are yellow—as I do on what color I recall that they looked when I last saw one… In other words, like the color of a lot of objects, how we label [a tennis ball] is determined both by perceptual and cognitive factors: the actual physical light entering your eye and … knowledge about what people have typically labeled the objects.
I have to say, it never occurred to me that a tennis ball might be any colour other than yellow.
In — Brothomstates
This is the opening track from the 2001 album Claro by Brothomstates. That was a special purchase for me, because it was the first IDM album I bought. I already knew I liked this sort of music because I was exploring what I could with whatever clips of tracks I could find online. But Claro was the first full album of this genre that I had heard. This was opening up a new world of sonic possibility to me, and I never looked back.
Wintry weather brings this album to mind. I have vivid memories of walking around my home town of Kirkcaldy in icy weather while listening to Claro on a Discman.
In particular, this opening track, In, epitomises the chilly vibe. The piercing synthesised staccato whistles may as well be icicles falling from the sky.
When thinking of what jam to feature this week, as the Beast from the East descended on the UK, I could make no other choice.
Anyone who reads this blog will know by now that I am no fan of Facebook. But I will defend them on this. The newspaper industry's attempt to pin the blame of their woes on Facebook is wrong.
Shuffle mode has just reminded me of the time Richard D James (best known as Aphex Twin), using the pseudonym DJ Smojphace, opened for Björk at the Hammersmith Apollo in 2003.
From the YouTube video description:
For almost 2 hours Richard played nothing but “noise and feedback” from the backstage, only appearing in stage to cheerily wave goodbye in front of a very, very pissed audience.
Listen to the booing! Delightfully funny.
Formula 1 have announced their online streaming service. But thanks to one short-sighted decision, it won't be available to UK fans until 2025.
A very lengthy, but entertaining and informative, read about how everything went wrong for Facebook in the past two years, and why it is a mess of their own making.
While Facebook grappled internally with what it was becoming—a company that dominated media but didn’t want to be a media company—Donald Trump’s presidential campaign staff faced no such confusion. To them Facebook’s use was obvious. Twitter was a tool for communicating directly with supporters and yelling at the media. Facebook was the way to run the most effective direct-marketing political operation in history.
Sometimes grammar pedants are annoying. Sometimes they’re worth $5 million.
Bittersweet Bundle of Misery — Graham Coxon
Bittersweet Bundle of Misery — Graham Coxon
This song is a little bit too close to Coffee & TV for comfort. But after having left Blur, perhaps Graham Coxon wanted his own version of his own song, which I guess is fair enough.
Looking back, this song almost seems like a last gasp of the Britpop sensibility — an unashamedly, straightforwardly good pop song.