Cheers and Jeers: Rum and Resistance FRIDAY!
18 minutes ago
If you don’t care for sheer weight, repetition, or drones, stay away from this heavyweight showdown.- Kevin ‘The Bug’ Martin
When Julian Brimmers approached me to put the Killing Sound radio shows together for RBMA, he generously invited me to reflect the full span of projects I had been working on, and will be working on in the future. So, Ambient Riff mirrors the work Dylan Carlson and myself had explored in L.A., in fact “Broke” from that Concrete Desert session was the track I mailed to the guitarists I invited to send me music for this particular show, as a reference, to send me suitably intense riffs. I guess I was attempting to construct a Metal stripped of its wack gloss trappings, no bad solos, no bad vocals, no bad theatre… I wanted it to feel like the heaviest rock, chopped and screwed and stretched into hypnotic scores for movies in my head that have yet to be made. Just as hearing the likes of Justin Broadrick in the Streetcleaner-era of Godflesh had cured me of my phobia against 6-string instruments (due to my Mum bombarding me with Deep Purple, Rainbow, Santana etc as a kid, lol), so it was the idea of guitar as eternally revolving dream machine, that appealed to me for this show. The people I approached here, for me, are masters of slow, and the finest purveyors of tone, who wield the axe like a brush, capable of excessive texture, fragility and violence in their impressionistic playing. They have all been doing their thing for a long time, so needless to say this set is just an extension of their research and developments. They have been melting down six strings into liquid drone for fun for years.
And as I def dig the three R’s – riff, repetition and resonance – with Ambient Riff, I wanted to put together a selection where, when you hear these tunes quietly, you can zone out horizontally, but when you turn the volume to 11, they will crush you mercilessly… The sound of rockets lifting off in slow motion, jets landing perpetually and speakers blown continuously.
So meditate on bass weight, get slayed by the mid range, and for best results wear headphones or play VERY f-ckin loud.
We were going to do a third one because we all agreed at the time that 1972 had been such a classic year for reggae. We were going to do a 1972 edition of Pressure Drop and write it as though it was actually 1972: “Look at this great record from Glen Brown, Merry Up. It’s like nothing you’ve ever heard before”. Of course we never got round to it but Nick knew someone at Pluto Press and we actually signed a contract and got paid a very small advance to write this book about reggae. It was going to be the history of reggae and I remember at the time that I even did a thing about dub and how dubs are mixed, the track layouts, why the Studio One dubs on the albums sound the way they do because they come from 2-track tape, how the Tubby’s dubs sound the way they do because they’re using 4-track tape, and the Channel One’s…My BIG thanks to Nigel for passing them along
'Punk is an attitude. Suicide invented punk-their street punk thing. And then punk in England-there was a real energy,” Stewart said. “And it’s weird like when you pick up a radio wave that’s been distorted-things mutate down the line. There’s a story that reggae started in Jamaica because there was an R&B station that kept on cutting out so you got this weird rhythm. So in Bristol, we got a very idealistic take on what the Pistols and the Clash were doing.
I think I believed in it more than Strummer did.'