Veni Vidi Vici

I have decided to accept the self imposed challenge to post a song each day this week with a Latin title- that’s Latin the dead language rather than latino or latin American just to stick some rules on it. It may require some thought to get through the week (although Friday is sorted).

The Black Lips were a decent little garage band who appeared towards the end of the last decade. They got a lot of press for their bad behaviour- pissing on stage, spitting in each other’s mouths etc- which overshadowed the songs a bit. This song is a good ‘un, less raucous than the rest of the album it came off. Came, saw, conquered.

There was also a Diplo remix, which kept the bassline and sound effects but redid the drums and looped some of the rest up a bit.

And, here we go again, an Andrew Weatherall remix which as far as I know was only released on a compilation/mix cd he put together called Watch The Ride. If you can wait until teatime on Wednesday you’ll be able to dl it.

Veni Vidi Vici (Andrew Weatherall Dub)

Advertisements

Ad Infinitum

I love this 12″, released on Warp back in the early 90s by Rhythm Invention. It still sounds good, with a driving beat and bassline and it’s far more direct than a lot of Warp’s stuff.

There are many people who would say, ‘yeah it’s good, but really it’s all about the Ali Cooke remix on the other side.’

Ali adds some hip-hop at the start, a stuttering vocal snippet and when those synth strings hit at three minutes thirty odd seconds, ooh, goosebumps, yeah, I think they’re right. Awesome, as the kids say. Tune as we used to.

Polygons

Polygon Wood (West Corner) July 1917

Polygon Window, Aphex Twin, 1993. Still sounds like the future.

The new Aphex Twin album, Syro, is well worth some of your money if you haven’t got it already. Loads to explore within it from the warm synth action of Minipops 67 to the gorgeous minimalist piano at the end.

Gimme Some

Here’s something brand new, electronic and from the Kompakt record label in Cologne, also home to Kolsch (maker of two of my favourite records of recent years- Der Alte and Goldfisch). After a jarring intro it settles into a pulsing beat. Handclaps come and go, snatches of vocal, synth chords and some throbbing noises, everything shifting around to keep it interesting. Weval are a Dutch duo, this is out on vinyl in November.

Liquid Amber

Drew had DJ Shadow’s Dark Days at his place this week. Almost the same day I got an email from DJ Shadow’s people pointing me towards his new stuff at Bandcamp.

There are three songs on the e.p. on his new label Liquid Amber, two new and a remix. Ghost Town is recognisably Shadow- spooky piano, hip hop influences- but with a pretty frantic beat, inspired by future bass. Mob is a headnodder. Six Days (Machinedrum remix) is a mash of bass, soul vocals and drum machine and is really good, my favourite of the three. While he may never recapture the heights of his mid 90s work, or the acclaim, all three are worth having a look at.

The Return Of Friday Night Is Rockabilly Night 156

I said last week I was trying to think of some Scottish rockabilly to cheer up our Scottish friends following the referendum but couldn’t. Then Mr Charity Chic suggested The Shakin’ Pyramids, Glasgow’s own rockabilly band. I’d never heard of them but this song, from 1981, is a cracker. They learnt their skills busking on the streets of Glasgow in the late 70s and put out two albums and several singles and eps between 1980 and 83.

That Crazy Casbah Sound

I  have wandered down a Clash shaped alleyway this week so if you don’t like them, you’ll have to bear with me for one more post. The Clash’s approach to Middle East politics may have come across as a bit simplistic on the sleeve of the 12″ but, let’s face it, it can’t have been any worse than the West’s dealings over the last few years. Maybe both sides should just get down to some tunes on a ghettoblaster.  As it is we get it wrong and make a mess time after time. Our government oppose IS but support Saudi Arabia (some of whom fund IS). And while we act in revulsion at terrorist beheadings of British and American citizens, the Saudi legal system executes its criminals by- yup- beheading. And so on and so forth.

Back to The Clash. On Wednesday, after posting Complete Control, I got an email from Dubrobots saying nice things abut the blog and pointing me towards his own 12″ remix of Rock The Casbah, which is a pretty smart job with a stripped down, funky, extended intro and chopped up vox. It would work well played out somewhere. Free download too.

Everyone knows Topper Headon wrote the music for Rock The Casbah, finding himself alone in the studio one morning before anyone else had got out of bed. Joe added some words and job done. It was their biggest hit in the US until the Levi’s advert. The video is a hoot- even though the man who wrote the song isn’t in it, having been sacked and replaced by Terry Chimes.

I  was reading a Clash forum comment thread once, with some people saying they don’t like this song or Should I Stay Or Should I Go mainly it seems because they were hits and had videos, and presumably that just isn’t punk maaan.