021There’s very little that will get me out of bed at 6 on a Saturday morning. A fire perhaps, or possibly someone at the door with a million pounds. Or, as in this case, the opportunity to stand some distance away from a record store with a few hundred like-minded individuals on a slightly frosty Manchester morning to buy some records.

Ah yes. Record Store Day. A day when people worldwide gather outside those curious little shops that many walk past on other days of the year whilst listening to stuff on our phones, without thinking that those little shops are where that stuff comes from.

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aboveBarrett Martin has the right idea about things.  At a time where reissues are parked out like clockwork every five years, selling the same thing to the same people over and over again, he seems to prefer the more honest and altogether fun approach by picking up a box of tapes, soaking up the memories that they bring back, and then letting the rest of us share in his reminiscence.  Following on from 2011′s reissue of previously unissued Screaming Trees recordings comes this expansive and emotionally-tempered re-release of one of Seattle’s stranger supergroups.

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jelloWhat a strange week this has been.  If it wasn’t enough to be told by all and sundry that apparently most of the socio-economic history of the 1980s (including pretty much all the bits I remember growing up, mostly spent in abject terror of impending nuclear war while the TV was full of images of shocking deprivation and adverts offering shares in utilities that we used to own anyway) was entirely wrong and probably made up by alternative comedians and Militant Labour because it was all wonderful and we should be bloody grateful etc, it all ends with bickering about a song.  A song that now seemingly won’t be played except for a five-second snippet because it’s offensive.  A song from a children’s film.  A song that has the middle-englander press up in arms about how it should be banned, which makes a nice change from them bleating about there not being enough freedom of speech any more (in their case, usually being castigated when they print bikini pictures of very young female celebrities above a caption about how well they’re growing up, or, without a trace of irony, libelling the dead).

So it’s nice to herald the return of someone who generally doesn’t give a stuff about any of that, preferring instead to continue down his own furrow of upsetting the establishment whilst being slightly silly about it all.  Ah, for the good old days when people could actually have fun with music…

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vanishing pointFollowing on from yesterday’s missive, it’s a curious no-brainer to have this new Mudhoney joint cued up.  I say curious, as much as I love the band, I haven’t bought a new album of theirs for absolutely bloody ages.  The reason for this is that most bizarre of excuses, Absolutely No Idea.  After Every Good Boy Deserves Fudge, I’m fairly certain (will have to look later) that I bought Suck You Dry (the first single from Piece Of Cake), but that seems to be where ways parted with the exception of a couple of soundtrack songs (for Singles and Judgement Night), which further baffles me as to why I stopped listening, as I really liked those.  Ah well, it just means I have some catching-up to do again, starting with the one released just this week.

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Mudhoney--Im-Now-The-Story-Of-MudhoneyFirst of all, a heartfelt “Happy 25th Birthday!” from this idiot scribe to the lovely people of Sub Pop Records.  Which feels kind of strange in a way as, to put everything in an awful “how on Earth did that happen?” historical context, Pink Floyd’s Dark Side Of The Moon was a mere 15 years old when Touch Me I’m Sick was recorded.

I’ll just let the older viewers allow that to sink in for a moment.

Right.  So anyway, central to just about everything that made (and nearly broke) Sub Pop the name they are today is Mudhoney.  Not was, is.  So this documentary isn’t just about where they’ve been, but where they’re off to next.

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bernardsAnd now, back to where I was.  Which is furiously catching up with things from the past two weeks before things from the next two weeks swamp me completely.  Fortunately, a couple of these treats arrived in the form of pre-release/pre-order downloads that mean that instead of being two weeks late with this (and hopefully the next one too), I’m actually a day early.  And, even more fortunately, I was in a strange turn of mood when I first heard this new record from Canadian band The Besnard Lakes which involved me actually taking down notes – something that I don’t usually do, and also something that came out a bit strange as first-listens are wont to do occasionally, and it’s a nice surprise to look back and discover that my views now after so many listens are undimmed from that first playthough.

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WizardWell, this has buggered up my day.  In the nicest possible way though.  I was supposed to be catching up on things here (and there’s a lot of catching up to do, a whole bunch of albums sit here untalked-about and about to be joined by others, plus general tidying up and adding things).  And then this happens.

There was mentionings from Ed Harcourt the other day that something would be happening on Monday, but in all honesty I wasn’t expecting a new album.  And why would anyone, as his last new album still has that lovely “New Album Smell” emanating from its warm grooves?  But he has (sort of), here it is (indubitably), and everyone’s happy.  Well, there’s some people moaning about the bitrate of A Free Thing, but those people will be miserable in perpetuity if that’s their attitude.

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pan075Art.  As I’ve mentioned before, it’s one of those things that I really like, and can’t do for the life of me.  In my head sit innumerable wonderful visions of the real and the unreal, yet somewhere between my head and my hands lies something that turns even the most basic artistic expression into something that would struggle to attain even a “well done for trying” pat on the head.  It is therefore both a blessing and a curse that I have so many friends who are effortlessly Good At Art, while I struggle with pasta and glitter.  It’s mostly a blessing though.

Vancouver’s prOphecy Sun is far more adept at retrieving the things in her head than I will ever be, and hats off to her for that.  Whether as part of Tyranahorse, Spell, or just doing her own thing, her work is unique and captivating, and this new solo (sort of, but we’ll get round to that in a bit) collection is just as intriguing as ever.

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BirthdaysOh, the irony.  Last month, I was really looking forward to a unique show at the Manchester Museum, headlined by an artist somewhat known for his general reticence to grace the realm of the public… and I end up having a relapse of an old condition meaning that I panicked out of going to see him.  Whoops.  Ah well, it’s happened before, it’ll happen again.

All of which could well mean that this second album of Keaton Henson’s is possibly not what I want/need to be listening to right now, but here I am listening to it anyway.  And as it’s some distance from what I was expecting of it, it’s providing something of a lift.

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devils businessHow strange.  This is the third soundtrack in a row that I’ve posted on here, which wasn’t how I’d planned it (as if I plan anything on here anyway), but it’s panning out rather nicely.  As with the last one, it’s good to get through the day with something incidental to pave the way rather than something a bit more straightforward (for want of a better word).  And in all honesty, things are currently fairly spooked-out here, so disquieting and tension-stretching cues are all the more welcome.

Also strange here is that this is indeed a film soundtrack, but to a film that I have yet to see.  It’s on the way though, so this will be one of those rare occasions where I have bought into a movie on the strength of the music behind it.  This does make me slightly nervous, as the last time I remember doing that was for Judgement Night and that didn’t exactly go according to plan.  Still, I’m a fan of the quirky vagaries of British Horror and if it’s anywhere near as good as the score that lurks behind it, then I’ll be a happy camper.

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