RC 373: Black Moon / Up In Smoke

I’ve got to say in the podcast a couple of things, one is if you are listening to this
on mixcloud.com/fInjatrouble, they’re ending the free tier from December the 1st.
So if you want to listen to the podcast in future online and you’re not going to radioclash.com,
you want to go to hearthis or is it heart his, I think it’s hearthis, hearthis, that’s
h-e-a-r-t-h-i-s dot a-t slash radioclash at hearthis.at/radioclash and you
will see all of the future podcasts including this one appearing there as well as on radioclash.com
and the second thing is I just heard the news of the sad death of Mimi Parker of Low. Now
I recorded this podcast before that news broke, otherwise I would have put a Low track and
then not that I needed an excuse but I have loved Low’s music for decades, many decades
and I’ve seen them live several times and I am gutted about the death so this one goes
out to Mimi and the whole of the Low family and Chairkickers and everyone. My thoughts are
with you and on with the podcast.
Hello welcome to Radio Clash it’s 373 and it’s Black Moon and it’s bonfire night so it’s
also called Up In Smoke.
Yeah, there was a, well not a conjunction, the reverse of a conjunction, a opposition from
Black Moon Lilith, which is an imaginary planet, but it’s basically the negative of the moon,
and Saturn, which, that was the one thing that was so specific about me, and my living situation
I was like, shit. So there were some very spookly, accurate things in there, and it wasn’t cold reading, and it wasn’t, you know, the usual bullshit, so I was like, whatever.
And also, BML is also the Bears mailing list that used to be on, and someone popped up yesterday on Twitter, who from those days used to be a moderator there, and I was like, shit.
So, yeah, it seemed to be appropriate, BML, Black Moon Lilith, Black Moon, Bears mailing list, there seemed to be a weird synchronicity going on there, and so I decided to call it that.
And the uppered spoke, obviously, because I’ve still got my phantasmia, and it’s on finite.
So we’ve got a podcast that’s a mixture of upbeat and downbeat, and in the usual shizzle, there’s a metric shit ton of drum and bass that I haven’t measured out yet.
It sounds like it’s on the side, like this is a little pile of drum and bass at the side, and I need to spoon it out.
I think it looks about half an hour, because drum and bass is my safe space, it’s where I go to when I’m not happy, and I have to say, one of the reasons why I didn’t try and do a live broadcast tonight was I’m not really in the best frame of mind,
I didn’t want to go through what I’ve gone through before, where it just winds me up and I get more and more frustrated, and I can’t fix it, and I don’t know what it is.
I mean, it’s a new machine, oh yeah, I’ve also got a new machine, a new laptop, finally after seven years.
And of course, it now has the same problem, so it’s obviously not the laptop, but though not completely the same problem, because I can run all the streaming stuff, the fans don’t come on, it is amazing for that.
We used to get CPU issues, and we don’t get those, which is great.
But we still have the weird thing, where it sounds like EVM has remixed the stream.
So I don’t know what that is really, I have a nasty feeling at some point I have to do an external solution at some point, but not at the moment because I have no money, because I’ve just bought a fucking laptop.
No, it’s not a new Mac, it’s a refurbished one, I recycled of course, and I’ll really talk about it later, but yeah, it is a good way to get a Mac if you want to get a Mac.
I was tempted to switch from a Mac, because there was a nightmare of the 2015 lemon that I had, but I’m glad to say that they’ve got rid of the graphics card, because that used to be the massive problem with all Macs.
So my 2010 and my 2015 all had problems with the graphics card, I’m actually glad to see that go.
So I’m hoping this is going to be less trouble, but that could be famous last words.
So we’ve got usual mashups, originals, remixes, strumming bass, some dub.
We’re going to start with more of a rocky vibe, more punky, but start completely opposite the revolutionary or the two themes.
We’ve got a song by Sub-Radio, and this is Stacey’s Dad, which is a reversal, which I highly approve of, of Stacey’s Mom by Fountains of Wayne, a classic.
And yes, as you can probably guess what they’re talking about, and you must check out the video. So this is Stacey’s Dad.
That was the Bad Shepherds with Going Underground. I think lyrics get lost in punk songs quite often.
I’m not sure if this is supposed to be the speed.
No, it’s not that speed either. What’s going on?
Oh dear.
It sums it up really.
Let’s try and…
This is the trip hop remix.
Yes.
Stop it.
Let’s try this again.
This is one of the reasons why I think it was just too much to try and stream and do all of this, because it’s just new machine.
I’ve had to set up all the plugins and maybe that is the right speed.
I had to set up everything because it turns out, because it’s Mac Silicon, which is Apple’s faster.
It runs Microsoft Windows in emulation faster than the SQ1, which is Microsoft’s own Qualcomm rebadged or tweaked CPU.
Because I was thinking of getting a Surface Pro X, because I like the idea of having a tablet and touch screen and drawing on that kind of stuff.
For my artwork.
But it turns out it’s several times sLowr than the M1 and M1 Pro is even faster. M1 Pro is close to the new M2s.
And it has the form factor with extra ports and all that stuff. Hence why I went for an M1 Pro 14-inch Mac.
But a refurbished one, not a new one, you see, would try and be more ecological.
We have a recycled Mac.
I would recommend it. I really would recommend the refurbished ones.
For years, I was like, oh, yeah, really? Is that a good idea? You know, yes, I really would recommend.
But yeah, I think it was too much to try and do a streaming thing.
The week I’ve actually got this Mac and with my health and everything else that’s going on.
And in the introduction, I will re-record.
Well, breaking the fourth wall here.
In the intro, I will re-record because the intro didn’t mention that this is a revolutionary podcast,
because it’s 5th of November or was the 5th of November.
But it was in 10th of November until all the technical gremlins kicked in.
There’s lots of songs that start and kind of weaved throughout that are to do with revolution.
So that was Bad Shepherds with Going Underground and the Jam version and the sort of lively backing and the guitars.
I think you miss some of the nuances in the lyrics.
I didn’t really understand the lyrics to Going Underground until I listened to that cover and I was like,
ooh, ooh, I see.
I always thought it was Underground as in stations.
I never listened to much of the Jam’s lyrics because, well, Paul Weller.
Paul Weller can be a bit of a twat.
So, you know, I was like, hmm, yeah.
Whereas actually, yeah, it does seem to be very relevant to nowadays.
And that’s from 2013’s Mud, Blood and Beer album.
Then before that, a mashup.
That’s Ian Fondue with IDGAF Tonight.
I don’t give a fuck tonight.
That’s Dua Lipa vs. Gene.
Obviously, I love Gene.
I love Sleep Well Tonight.
It’s one of the best songs of all time, in my opinion.
They were my band.
They were Pulp and Pulp are back.
And that’s another thing that’s pissed me off because I wanted to get tickets for Pulp.
They sold out.
I couldn’t get tickets and also missed out on Glastonbury tickets.
It depends whether I try and get them in a few hours.
At 9am on Sunday morning, I might try again, but I think with the expense of this laptop
I just can’t buy tickets to Glastonbury, or I definitely can’t buy tickets for Pulp.
So, it’s very sad.
As I was planning to, and then suddenly it was my computer made the decision for me.
So yes, Pulp and Gene are my bands, and I must say I am getting to like Dua Lipa more.
More through mashup films.
She’s one of those people that I’m getting to like through mashups of her work, rather
than originals.
The originals, not so into the Poundland Kylie backing, but the lyrics and the songs are
strong songs.
It’s just, I’m not fond of her.
And also, I think what didn’t help is that, I’ve pre-told a story before, is when I went
for a job at Warner’s, she was just breaking.
I went through all the social media for Warner’s, but it was a proper job as a designer.
But it was doing a lot of the work for the socials.
And constantly, you can see how much money they put into Dua Lipa.
They really, really pushed her.
It’s sad, because so many artists get dropped and just ignored and whatever.
I just don’t really get why they decided to create her as a star and let others languish.
I just don’t really get it.
And also, she apparently co-writes so many great songs, but sometimes they are suspiciously
like other songs.
But I do like that mashup.
And yeah, it feeds into the Black Moon theme.
Then before that, we had Dry Cleaning, Conservative Hell, that’s from the new album that’s just
dropped, Stump Work.
And on my bingo card for 2022, having Dry Cleaning record a politically related song,
still a stream of consciousness, but this sort of weaved in is what’s going on at the
moment, I think, Conservative Hell.
Yeah, I was not expecting that from Dry Cleaning.
It’s a good album.
I would say it’s better than New Lost Leg.
Not New Wet Leg, that’s the other band.
New Lost Leg.
Not as good as the early EPs, but I would say that the second album is stronger than the
first one.
The first one, I thought, was a bit…
Where is there a track I like on this one?
Whereas I never really got to love that for WLP.
There’s something about it that just didn’t really measure me.
And online, how spooky it is that the references, when you actually look at what the meaning
is behind a lot of the stuff in the songs, all the places referenced.
There’s Swiss Cottage.
There’s Westminster Bridge Road.
There’s a chip shop I used to go to.
I used to work in Westminster Bridge Road.
I used to live in Swiss Cottage, and they talk about that.
And they talk about Boundary Road.
They have a sort of name on their EPs.
There was a track called Her Hippo, which is my favourite song.
And that mentions…
There’s a lyric in it.
And I’ve read it fairly recently on a podcast.
There’s a lyric in it about…
Which is a slogan.
I think it’s something like Fighting Damp since 1972, or something like that.
That one.
It is from a company in Thames Ditton, which is just down the road from me.
And then mid-reference to Leatherhead.
And it’s just weird.
It’s just like, are you stalking me?
Dry Cleaning.
Are you stalking?
Stop it.
It is very strange.
It’s almost like…
I’ll eventually find out that somehow we’ve got friends in common,
or a bit like sliding doors that cross paths at some point.
There’s something weird about that.
How many cross-references in the songs
can I actually have relating to my own life?
So, I haven’t found many in the new album,
so that’s a bit of a relief.
Apart from the Conservative Hell.
Maybe she’s subtly following me online.
Just lurking somewhere.
Who knows?
And then, before that, we had a track.
I’ll be trying to track down.
Oh, you’re so funny, Tim.
? which is Phuture Assassins with Can’t Kill the King.
That’s the Baby Kane remix.
I heard that on a mix CD from The KniteClub.
It’s about K.N.I.T.E.
The KnightForce thing I went to, you know, with Acen.
And Luna C.
Ex of a band that a lot of people would know.
He was part of Smart E’s
Yes, Sesame Street, that’s Luna.
So, have I mentioned Luna C in the past?
Yes, he’s from Smart E’s.
He’s one of the members of Smart E’s.
That remix, I actually might track it down eventually.
It is wonderful remix of UB40’s King.
And it’s very soulful for a sort of,
I don’t know if it’s a really happy hardcore,
I wouldn’t say it’s a happy hardcore,
but it’s an unhappy hardcore, as I’ve mentioned before.
It seemed to work in that mood.
Then we had Kit Kapichi with Violence
from their album from 2021.
This time next year.
While I, Kit Kapichi, aren’t more played,
maybe because they don’t believe in the record industry
and very vocal about their criticism of the record industry,
even in songs.
And in similar vein, we have the IDLES.
The IDLES, yes, the IDLES.
Just IDLES with Mother.
Again, that’s a track that’s been in the stack for a long time.
And it seems to be the most appropriate time
to play a song that says,
how do you scare a Tory?
You read a book and get rich.
Yes, that’s how we scare Tories.
A lot of this is about the Tory party imploding
and fascism in the UK
and what’s going on with the government.
And I think we do need a revolution.
And then, in a totally not radical,
radical, maybe in a
sexuality sense, that Sub-Radio with Stacey’s Dad.
Which isn’t there just because I love it greatly.
And in a similar vein to the,
what I’ve been talking about,
is a track done for the punk challenge,
the punk challenge I set.
I didn’t win, but it won my heart.
Just, which is the real medal here.
This is iWillBattle,
really a fear that’s having another party.
For some reason, I’ve subtitled it Party Bob Vylan.
That’s not the title.
We Live Here, Let’s Have Another Party.
Bob Vylan and Winifred Atwell.
And it’s kind of funny,
because it’s true.
And also it’s not funny at all.
That was, well, me, TBC, aka Instamatic, with Autumn Man, Autumn Leaves by Ed Sheeran
versus Eliott Smith, well, Heat Miser, and Plainclothes Man.
And yes, that was the Drum and bass drop, about half an hour of Drum and bass at least, partly
because I heard a new London Elektricity album.
I used to mix a lot of London Elektricity
on the podcast back in the day.
Just the old days.
Their last album, Building Better Worlds.
But I heard the remix first.
There’s a remix album called
Rebuilding Better Worlds.
And I heard that first and I went
I don’t recognise these songs.
And then realised I’d missed an album.
The other thing is
Danny Byrd on his Facebook
called for new tunes.
And so I went through the suggestions
and went ooh, ooh, ooh, ooh.
Some of the people were suggesting
their own stuff on the sly
which is quite funny.
And some of them had bootlegs, mashups,
remixes, bootleg remixes.
Including that one.
I’m here for Billie n Bass
as I’m calling it.
That’s Billie Eilish
when the party’s over.
The Exult Bootleg.
And then before that, more Billie in Bass.
Drum and Billie. I don’t know.
Billie in Bass sounds bad, but it could be Drum and Billie.
Though it sounds like Billie Drum and
Drum and Billie.
That’s Billie Eilish, Everything I Wanted.
The Glowing Embers,
Redux VIP.
Which is a bit more…
It’s interesting, the last one was more slow jungle.
That was more kind of what I’d expect
as a sort of a Drum and Bass remix.
But both very good.
Though both an interestingly
schizophrenic mix of
sound and chilled.
Without beat.
Drum and Bass couldn’t jungle and do that.
That sort of tension.
Then before that, the aforementioned London Elektricity
that was, well that’s a switch.
The Polaris remix from
2021’s Rebuilding Better Worlds.
Then before that
we had Justin Hawkes
who actually remixed one of the tracks
on Rebuilding Better Worlds.
A very good remix actually.
I’ll play it at some point.
I’ve heard of him separately.
He’s released an album called Existential.
And that is
Better Than Gold featuring
Andrew Hellier.
He’s Justin Hellier, even though he’s called Justin Hawkes.
And that’s his uncle.
His uncle is a country artist and so
I like how he’s enrolling the family
combining different worlds
using their country
rock.
He comes from a rock background.
Then Drum and Bass
all in one track.
That kind of fusion is perfect
for here. It’s a mashup of genres.
Then before that
from Rebuilding the Future again
we had London Elektricity
featuring Emer Dineen
and that’s
Build a Better World. The Hugh Hardy remix.
I actually prefer that
to the original maybe because I heard it first
but I heard the original. I was like oh
because you never know
with remixes. You never know if you hear them first
you think oh well
is the original better?
And in that case I think the remix is better.
And quite a few of the songs on Rebuilding
I prefer the Rebuilding version.
And then before that we had
London Elektricity again from
2019’s Building a Better World
that she slowly caught fire
featuring Bulgarian
Goddess.
I played that because
not only are the lyrics are like I’d love to know
what it’s about whether it’s
even a drama based on a bonfire
I don’t know. It’s coming out mid-November
and then the smoke’s slowly going up
and they’re stopping. I forgot to mention
that I almost got killed by fireworks today
because I was walking down Kingston
well there’s nothing high street
there’s Clarence Street which is really the main high street
and there’s some group of kids beside the set of fireworks
as I passed and the sparks
you know I was like whoa that’s a close one
and they said several fireworks
I didn’t say the police
but it was quite dramatic sort of just
these fireworks going off in the high street
it’s like what the hell
there’s good a hell there it’s really possible
but it was a close shave and I was like what
it would kill me but it suddenly
wouldn’t do me any good
and then before that we had
Farewell by Buunshin
which is one of the recommendations someone recommended
to Danny Byrd and I was like
I’ll take that and that’s
from 2022
Steel Wings. I don’t know anything about
Buunshins with B-U-U-N-S
B-U-U-N-S-H-I-N
but what I like about that
it sounds like ready for a workshop
type sign since
it’s really wonky. I’m not a big fan
of the real jump-up extreme
I like Apex and I like Spor but
you know the real heavy stuff
is not my thing but that’s the kind
of mix of both the electronic
more chin-stroke-y side
but then the more heavy stuff comes in
but there’s enough going on
I don’t know what this is about
I don’t know how it fits together
but it does. The more
experimental side tends to be like that
they pair things down or even lose the drums
you haven’t got as much drums there
and it’s just suddenly
it’s drum and bass but you’ve got no aim
and breaks and nothing and it becomes
very different
very pure but very electronic
and sometimes it leaves me cold
but that one, the thing about the themes
it’s very epic
and it worked very well with
Funktown Riddim, Who’s Got The Packet by Inja
I’ve been listening to a lot of Inja
and Degs, hence those two together
Inja is actually
on the London Elektricity album
we guess
on a few of the tracks
I think one of the tracks that says it is a kid rapping
it’s not like primary rhyming
by 808 State
the rapping is very good
but I just wondered if it was the guy behind the elektricity
or was this kid or something
on the London Elektricity you could get away
from having a kid rapping
on a drum and bass track and it just works
in a really cute way
it doesn’t come out of cloying or mawkish
because the London Elektricity has always been a family affair
so it works
and Degs appears on the Remix album
before
the rant about
this government and Boris which ties into the earlier theme
of Revolution
and what’s going down in the UK
which is just completely crazy
with just another Prime Minister
Lestrosse is gone
and it’s like counting down
to when this government ends
or it falls into a horrible mess
or we go into the deepest recession ever
which is likely
and probably power cuts this winter
and just a complete nightmare
it’s like the 1970s or whatever
and then before that we had
a bit more of a beat
but then again I would say bittersweet
because it’s talking about the past
and Degs from
2022
is a single
I don’t think he was attached to an album
I love Degs
Degs always speaks to me
everything Degs does is brilliant
and always has a soul and emotion
and heart
and I for talking about mental health
and his state of mind
he’s always about sharing his experience
I love it greatly
and so it seems to be about going back
and people from his past
how things were so carefree then
but they’re not now
but it’s the unspoken thing
but it’s weirdly so upbeat
but just think about it
it’s not completely an upbeat track
although it sounds really like
oh yeah nothing to lose
someone looking back to say
back then we had nothing to lose
obviously we have things to lose now
and in a similar vein
we live here
in the UK in racism from Bob Vylan
with
we live here which we’ve played in the podcast before
versus Winifred Atwell
and those cockney knees up parties
which just works
it has a similar
sounds upbeat
messages not so upbeat
so we’re gonna
get a bit more downbeat now
we’ve done the cockney knees up
we’re gonna play one of my favourite mashups
of recent times
partly because
what DJ Giac used
and Genesis
is one of those ones where
you tend to get a few of the same tracks
coming around again and again
it’s not a massive massive one
for people to use in too deep
by Genesis
versus a track by Paradis
which I don’t know at all
but I really love the mood of this one
this is Instant Deep
I sometimes am surprised at how personal these podcasts can get and how I express how I’m
feeling. And then I can’t explain because I don’t really want this to be public knowledge.
So it’s kind of a double bind. That’s kind of it. It’s a way of expressing myself, but
then again, I can’t say, oh, that really expresses how I feel, because I don’t really want the
details to be public. And if this ever actually makes it out there, because it might just
delete this, which happens, I quite often do something that’s a bit too close to the
truth, home truth, you never see the, never hear it. And that song is one of them. That’s
Tamino with You Don’t Own Me. Not that song, although I’m sure you can do a very good cover
of You Don’t Own Me as well. Initially, I thought, oh, is that song? I listened to it, I was
like, no, but the lyrics are perfect. And that’s from his new album, Saha, which was
released fairly recently. Tamino is brilliant anyway. And that mixture of Arabic, Egyptian
and French, European and a beautiful mix of Egyptian, who loves Radiohead and you can
hear both of them. And then before that, we had a mashup, which was done just before
Halloween. But again, the mood fits very well. That’s Bullet Spell, Nina Simone versus Massive
Attack by LeeDM101. My return to form for him, I think, definitely. And yeah, the Black
Moon theme is interesting, because when I put these together, I go through all the recent
songs I’ve liked. When I was doing the Discord thing, I went through a lot of the podcast
directory. And of course, I forgot what it does is Traktor will when it analyzes
a file is will save it back over itself. And so it fucks up all of the date modified dates
added dates. So I had I had craftily found out that there is date last opened, which
was what I’ve been using. But it did mean it was like, Oh, how do I find out what I
recently added to this whole times it is a bit too close to what I want to say. Before
the lead in 101, we had Illenium and Teddy Swims, which is a new track to me. All that
really matters. That’s a stripped version from August of a, I think it was top five
or top 10 in America. It was a dubstep electronica track. And Illenium is a San Francisco producer,
but I was more attracted to a Teddy Swims, who is very cute. The beard like the beard
not to one of the gold teeth and the face of twos, but the beard hello, ginger long
beard is 30 amazingly looks a lot older. And he discovers and I came across, I was listening
to during a low period, which is, you know, if you ever see me posting, I can’t make you
love me. That is usually a good sign. And I can’t cross his cover, which is very good.
Also, I don’t think much compete the George Michael version. And that got me. That’s the
one that got me to trouble with the universe. There’s a song that means a lot to me. And
so I found that one and went, that’s brilliant. And then I heard the inquiries original, the
electronic version was like, yeah, I prefer the stripped version. But yes, I agree with
that completely. Not that I don’t think anyone is under the age of 50 or 45 listening to
this podcast. But if you are, yeah, that I completely co-signed that meaning of, yeah,
find something that you like, some science thing you love, find something that brings
you joy, find something that is very much a constant in your life. And for me, it’s
my art, you know, music as well. And run with it. But yeah, another one is, yeah, with love.
Love is the most important thing is true. And always go with somebody who is going to
be there for you. And then before that, we had Imagination was in and out of love. That’s
another one which I was mentioning has been in and out of this podcast for so many years.
It quite often gets added in and taken out because it’s a bit too downbeat. It’s a bit
too depressing. And even for me, it’s a bit too close time. That’s from 1981. And I love
Imagination. I feel like drum and bass. There are certain things that come around at certain
points, certain spirals that goes through. And Imagination is one of them. And the one
is Sylvester. I love slow Sylvester tracks. This is something about that high voice and electronics.
It just works so well. It’s weird that song sounds like it slowed down. I don’t know if
they did that with the tapes, but it sounds almost like it’s the wrong speed. It might
be at the wrong speed. But you know, it’s not isolated now. Although I did said to do
it at the start and to mix it in. But there’s so much space in that. It’s almost dubstep.
And they inspired house. I talked about this before. But also, there’s something very dubstep
about the imagination. Very echoey piano thing. The question about that track is if it was
an album bonus track, who’s going to dance to that? Not a happy slow groove. It’s like
a end of the night track, but for people who have broken up. It’s like, wait, great.
And as we know, people love songs like that. They just love them. They just flock to those
songs and everyone wants to hear happy songs. Which is another reason why quite often things
get completely excised. Because this is like, no, that’s too depressing. No, it’s just
no, no one wants to hear that. But sometimes you have to just do it because it’s especially
with that birth chart. A lot of I’m true and a lot of stuff was like, this is weirdly specific.
And also, yeah, I see that, you know, I know about cold reading. I know about vague comments
and there was someone that was just like, oh, you’re a hard working person or whatever.
Yeah, just flattery. But there was some specifics was like, that’s really fucking weird because
that is very like the Black Moon Lilith versus Saturn thing about saying you will be with
an older person. That was one of us in there. And there’s lots of other things about unconventional
sexuality and relationships not conforming to norms and stuff. There was lots of that
stuff. And I was like, what the fuck? I’m not sure how, because I’m usually very opposed
to astrology, because I think obviously the horoscopes are bullshit. A lot of it is bullshit.
It really is just cold reading. But who knows whether actually when you’re born during the
year, what’s the names you’re given. And there’s apparently a whole thing about studying people’s
names and how it affects how they behave and how they are in their life. It’s almost like
programming them to actually you’ll find that people of a certain name are more alike. And
it’s not just some kind of cognitive bias. It tests into this and it’s weird. So yeah,
there could be something about the times that you’re born and maybe expectations. Everyone
expects you to be like a tourist. So you’re a tourist and that kind of stuff, you know,
things like that. So then before the imagination, we had DSP, the French bootlegger with all
sisters of night, Genesis, that’s all versus Depeche Mode, sister of night, which if you
look at the lyrics, again, I didn’t know that song. But it’s one of those weird coincidences
when you look at the lyrics, it’s like, oh, I know, I can feel who that’s probably talking
about. And also, it’s got all the burning and flame imagery in there. I was like, okay.
Then before that, we had Caterina Barbieri, I’m loving the Spirit Exit LP. That’s At Your Gamut. Again, very radiophonic-y. I’m a sucker for up eduations and dark synths. And talking
of dark synths, we had PVA Exhaust Slash Surroundings, EP track from 2020, I think. And their new
album has come out called Blush that almost made it onto here. There are a couple of really
good tracks, Bunker is one. It’s similarly sort of dark, acid, live drumming. The very
strict back, because apparently they wanted to reflect their live sound rather than do
a lot of studio production. It’s that one in the tune. It’s one of those albums where
the last half is brilliant. The first half, I would have said, if I was the producer,
go and do that again. It’s like the first four or five tracks are like, no, we won’t
save these. And suddenly, I think whenever Bunker starts, it’s like, I went back to the
first three or four or five tracks and went, is it just me? Because quite often that happens
when I’m listening to an album, I go, oh, I’ll love it towards the end, because I’m
growing to it. And I’ll be like, oh, I wasn’t in the mood for the start of this album, or
I was trying to get into the mindset. And you go back and you go, actually, no, I will
save you the tracks. But no, it was like the first four or five tracks are like, yeah,
you know, I’m not really up to the standard I’ve heard of like Divine Intervention. I’ve
played on this podcast, or that one. I’m a bit more hockey and a bit more sort of stinty,
maybe a little bit poppy, but they’ve also the lyrics resonate more. So there is interplay
there or something darker. And this whole mix has been dark and light. And then before
that, we had Dubxanne and Guido Craveiro, Dubxanne, Dubxanne, D-U-B-X-A-N-N-E, it’s basically
Rock Xan, because they did a police dub album. So it’s called Dubxanne, Dubxanne, Dubxanne.
And that’s running up that hill featuring Claire Parsons dub. I heard the sort of non
dub version of that on Culture Clash Radio by Don Letts on 6Music. I love his radio show.
It’s brilliant. He’s well worth the license fee. He’s the reason that 6Music exists
along with Stuart Maconie, him and Iggy Pop. The rest of them, eh, Dandelion Radio does
it better. Those three. And Craig Charles, who uses his funk show, and you know, basically
the weekend shows. The week shows for 6Music are a bit too bland most of the time.
The weekend stuff is why save and listen to later, because it’s always, always good. Always
worth sour stuff to Nick. Sorry, Todd. But he didn’t play the dub version. He played,
and I think the dub version is better. And then before that, we had DJ Giac, an Italian
remix mash-up person with Instant Deep, Genesis vs. Paradis. Yeah, so we had a couple of Genesis
things in there. But again, the more sort of In The Air Tonight mode of Phil rather than
the You Can’t Dance. I was never a fan of that kind of Genesis. But again, going back
to stuff that I grew up with, and some of those bands I fell in love with was Genesis
along with Clannad and Mac, and The Carpenters. Yeah, I’ve had a very AOR tastes
when I was a kid. And then I got to House Music, you know, that was history. You know,
I still go back to those, because they are sort of creature-conference of mine. I would
defend a lot of Genesis. Not, I’m not a fan of Gabriel Genesis, but around 1980 Genesis,
it goes off after Invisible Touch. But those periods, you know, Imperial phase, definitely,
I would defend them. Invisible Touch is great. I don’t care what whoever says otherwise.
I’m not so into solo stuff, but still some very good songs. You know, Jacket Required
and lots of stuff. I know some people are really into that in sort of an ironically
cheesy way, but I actually sat and programmed the Gainsaw Lodz into the computer. And that’s
how I know. It’s a really impossible song. It’s got some really strange chords and some
really strange sequences. It is one of the oddest pop songs. So I’m going to play out
with a happier melancholy. We’re going to combine the black and the white together
and have a happy melancholy play out. This is Hallmighty again, from the Two Tired
for Disco, which is the album I mentioned earlier, that followed Disco Deluxe Five.
And there’s probably a new one out now. Every time I get around to doing a podcast, I’m
talking about the previous Hallmighty and Mark J. Mix Album. But this is Sweet Melancholy Hill. And we’re having a conversation on the Disco, the Crumplbanger Disco, about
Neil Diamond. I got the impression certain people weren’t into the Neil Diamond and don’t
miss the Neil. Neil’s better than you think. So this is Sweet Caroline versus Melancholy
Hill. And I’ll speak to you soon.