Nin- Com- Pop

Another record pulled at random from my record collection during Boxing Day with the family was the 2001 album by Lali Puna, Scary World Theory, selected by my brother- in- law HSD. Lali Puna were/are based in Munich, still active I think, the blank but compelling vocals of  Valerie Trebeljahr sitting on top of experimental electro- pop. The album, nearly twenty years old now, sounded really fresh. Nin- Com- Pop has laptop or sampled drums, organ, a few guitar licks, some hiss and lots of presence.

The album’s title refers to the work of sociologist George Gerbner who researched and wrote about the long term effects of television. He usually called it Mean World Syndrome. According to Gerbner the longer a person spends living in the television world, the more likely they are to believe that social reality aligns with the reality portrayed on TV. Gerbner’s conclusion was that television heavily influences people’s perceptions of the real world, for instance people exposed to regular violence come to believe the world is a very violent place and suffer increased levels of anxiety, fear and pessimism as a result. Gerbner also said that traditional forms of cultural story telling that came from the home, school, church and communities were being replaced by the millionaire owners of the television companies who have ‘few stories to tell but a lot to sell’.

Anyone watched any of the latest series of Love Island?

Nin- Com- Pop

 

This Is No Game Played By A Man Living In White Houses


We haven’t had a great deal from Mr. Weatherall here recently so let’s correct that with this post- a Weatherall remix of Radioactive Man’s Fed-Ex To Munchen. Radioactive Man is/was Keith Tenniswood, the non-Weatherall half of Two Lone Swordsmen. Keith’s second album Booby Trap was a full on electro album released in 2003. Closing track Fed-Ex To Munchen had some lovely throbbing synths and the enigmatic vocals of Lali Puna’s Valerie Trebeljahr. For the remix Weatherall kept the vox, removed the synths and added live sounding double bass and one fingered keyboard playing, for a late-night, after hours, jazz club kind of feel. At the time I almost wore out my copy of the vinyl and this remix still sounds really good eight years later.