A late 2021 review

Review:

Readers of this blog might (or probably didn't) notice / care that there was no 2021 review, but I did start writing a blog post back 17th December last year. Here it is, I just never hit publish. Since this, no new news, I'm kind of taking a break for now, but never say never...

You'd think, it's got to get easier? But 2021 was personally a challenging year, so that translated for me into a not so productive year. I mean there's not been too many gigs going on here in London until recent, and people are generally I'de like to think more cautious about going out. I didn't play any shows, nor did I get a rush of creativity caused by lockdowns or being indoors. 

I think the one thing I appreciated the most over the last year was the support of friends and family. 

It's not all bad news, I do feel and hope the worst of this is past us, I managed to go abroad for a few weeks, got to see family I wasn't able to in previous years, and I think it meant when I was out I valued the company and occasion more than in the past where sometime I feel it could be taken for granted.

With all that considered, I was able to relase one new BBBlood cassette 'Deaf and Capital' on Fantasy Knife, which is now sold out from me, but I believe should be available directly from the label and various noise distros. Thanks to everyone who purchased a copy it's appreciated. 

What else? I record a lot of music, field recordings, sampled manipulations, noise, cut ups, but I think the challenge is really that focus time to edit and mix down everything into a recording that I'm satisfied with. 

 In 2002 when I first started to record I was wet behind the ears, listening to Merzbow, Masonna, Bastard Noise (all via Relapse) and whatever other noise I could find via mail / early online distros, the bar for quality noise was set really low, and I also had way too much time on my hands. Now fast forward to 2021, with all the noise gear I'd dream of back then, family responsibilities, a global pandemic, information overload, and a wider appreciation for noise music. I feel the need to make sure that anything I release is original, thus putting a lot of pressure onmyself to do something I'm really proud of. As 2022 is the 20 year anniversary of 'Experiment 1' I'm planning on releasing something next year on CD as a celebration! As and when I'll update on Twitter and this blog.

End of year list:

As ever I try to put together a list of records / experiences that really stood out over the last year, in no order at all. This includes gigs, reissues, restaurants, anything I want.

 
Kent Tankred - There Is Nothing To Attain 
A LARGE SHEET OF MUSCLE - I PAINT THE FEET OF MY ENEMIES
農家の日焼け – でんき風呂
Shakeeb Abu Hamdan & Sholto Dobie - It's worse
Territorial Gobbing - Anything on his Bandcamp

Charmaine Lee - KNVF

Emil Beaulieau - Korm 88
Neil Luck - Downturn Fantasies
WCN Podcast - 
Small Cruel Party - è vago fior del tempo
Negative Reaction LP (Reissue)
Mlehst - Her Single Desire Was Sadistic Pleasure But Emotions Always Betrayed Her ‎/ Deep Throat And Felching /   Breathing In Dead Flies / Cock Sucking Lips ‎(Re-Issues)

Probably a few more but I've forgotten now.

Blog review

I can never really get the look and feel of the blog here quite right so will be experimenting with some themes and changes / a refresh of the content. What started initially as a MySpace blog transferred over to blogger has never really been maintained properly.

Otherwise, loads of half finished ideas, none ready for release. No gigs lined up currently but will announce here if that changes. 


Deaf and Capital

New BBBlood cassette ep "Deaf and Capital" has been released by new NYC based tape label Fantasy Knife. I'm extremely happy to see this tape released and it's the first new(ish) BBBlood recordings to have been released for some time.

It's a c30 comprising of material I've had in progress for the past 4-5 years, mangled re-processed in 2020.

I have a limited number of copies so if you are interested message me. If you live in mainland Europe White Centipede Noise have copies, USA either direct from the label or Skeleton Dust.

 Please check it out. I'm considering uploading to Bandcamp when it's sold out, but for now it's offline.


 

 

2020 Review

As tradition I use this blog to document each year based on what I achieved. It's normally a fun review of the year passed, and a time to briefly reflect through a pretty limited set of criteria (shows played, favourite reords, gigs etc..).

I don't need to tell you, as you're living through it too but 2020 just wasn't great. I really hope those who are reading this are safe and well. Personally, I have to view it through the frame that I'm healthy, and incredibly grateful it's meant I've spent more time with my family, and that's been priceless.

Putting it aside (if that's possible). For some it's been a very productive year, the volume of new recorded output, online streamed shows, collaborations, and creativity from others has been immense. I'm truely in awe of those who have been able to make the most of a situation. I guess it's one of the only ways to truely keep sane at the moment. Some people I know have chosen to drink through the pandemic, for me the temptation has been there but it does feel like a waste. I guess we do what we do to cope. I'm hoping that 2021 I'll be more productive and organised in my work and noisy output.

Gigs, I did play the one show, the day before the lockdown in England was announced in March, this was a collaboration with Yoni Silver and was later released on Beartown Records. It was great fun and really made me excited about the potential for gigging.. But for now that can wait. In reflection it was a bad idea to play that show, but none of us knew at the time.

Recordings, the previously posted The False Face Society release and releasing a mini album as a digital download was all that was newly released. I also uploaded some older eps to Bandcamp. I did finish off a couple new recordings this year but they are yet to be released. More information here when I have news.

Best of 2020, in comparison to the previous years I've not really consumed as much new music, but here is a list (and I'll probably review it 2-3 times more after posting)

Sewer Election - Blizard Amplification (Also mentions to Dream Bizarre and Unwilling Nature)
Various Artists - Amplify 2020 (various tracks within this enormous compliation,)
Testicle Hazard - Fifty-Sixty
Duncan Harrison / Ian Murphy - Slow Lightning (and
Duncan's Music From Amplified Flexible Discs)
Rust Ruus -
IDEOLOGICAL BLUES APPARATIOUS
Alice Kemp - Songs in the Key of NO
Theo Gowans - Wresteling Spelt Wrong On The Flyer (and the Hiddeous Whining events)
AMK - 250 Years of AMK
Chocolate Monk (Just in general, tons of great output this year, the plague TV etc...)
Dust track - Reculver Towers
Chop Shop - Primer (Reissue of older material as a new release counts!)
Deathroes
- Inhuman Comedy
Phil Maguire & Tim Olive
- Invoer
John Wiese - Magnetic Stensil 1&2 (and Accessible World w/ Skin Graft)
David Gilden - Narcotic (Various Noise Works)
Joe McPhee & Lasse Marhaug - Harmonia Macrocosmica
Marja Ahti - The Current Inside
Vasco Alves -
Gaita Contra Computador

Best wishes for 2021

Paul  

The False Face Society - Running Me Down

Almost missed this.

I contributed sounds for the first track on the latest The False Face Society record "Running Me Down" what was released on CD by Clean Index in Australia.

Running Me Down is a piece of fiction written by Russell Walker in Spring/Summer 2020, based on events in Normandy where his mother lived from the late 1990s. The writing was divided into five different parts and narrated by Walker, then sent to five different collaborators to provide musical accompaniment.

Hailing from Ruislip, West London but presently a resident of Hitchin, North Hertfordshire, Russell Walker’s writing finds home in diverse settings, from art rock units The Bomber Jackets and The Pheromoans, through to novel When New Towns Act Tough (Larching Books, 2016). Running Me Down follows Half Time 1916 (Chocolate Monk, 2018) and sits closest to the predominantly text driven sound work released previously by Walker under his own name, and as a part of Charcoal Owls and The Teleporters. Here variegated impressionistic electronics provide a fitting bed for a faultlessly dry five-part spoken narrative of undesirable company and parochial outlooks.

credits

released November 19, 2020

All text by Russell Walker

All other sounds by

Paul Watson (Part 1)
Design a Wave (Part 2)
Anna Peaker (Part 3)
Tom Scott (Part 4)
R Elizabeth (Part 5)