Take a 'chance' on this Kidd

Music is all about time. The right time more often than not.

At the moment I have 'time'. It’s hasn't always been like that but circumstances sometimes throw you the freedom to think and do something different.

Time is on my side - If I could turn back time - Hit me baby one more time - This time (more than any other time)

And when time connects with ideas then things become magical. You see (well hear) there’s so much sound out there. And when our ears align with the sounds of the underground, from the garages, the box room rebels and the cupboard pioneers then  their melodies and words can lift our days and hit us right in the heart. All these genres emerging over time and rolling over one another – boundaries collapsing and sound taking over in fits and starts and change. This great body of sound pushing and moving on across centuries and cultures it's bound to have an impact.

And when you have time you make things.

And when you have time  then things can happen.

At some point last year Stuart Kidd had ‘time’ on his hands – as he puts it a ‘chance weekend’ to himself. So why not take a chance on the time that you’ve got. Which is exactly what he did. Setting himself the challenge to record an album in a weekend. Well let’s say put down the basis of a long player in a 48 hours (I can’t be exact – I wasn’t there)  The result of this is ‘Chance Weekend’ an incredibly beautiful set of songs structured through chance and risk, experimentation and play.

We all experience moments of time on our hands. Good times. Bad times. It’s what we choose to do with this time that shapes tomorrow and all that. There’s something in looking back to those moments when boredom bred creativity and the 'in between' happened. Stuart Kidd makes the music of the 'in between' from a cupboard (well not just a cupboard – but let’s stick with it as an image for his creative genius) in Scotland.  Stuart Kidd has been in my life for some ‘time’ now. I first came into contact with his incredible melodies and harmonies as part of The Wellgreen in a club in North London. Playing good time rock and roll with his partner in chime Marco Rea. And then through his bandcamp site I discovered all manner of beauty. 'Chance Weekend' is another find from this cupboard full of dreaming.  

Starting with an idea – well it has to start somewhere – to create songs using ‘chance’ materials Kidd set about creating a wonderful new long layer.  Inspired by Eno and Coryat and Dobson’s ‘The 12 Song Game’ he set about using random cards and exercises to revisit sounds, create new ones, merge ideas and sing with abandon in new ways. It’s still Kidd though – it’s still songwriting of the highest order – it’s just put together differently.

Sometimes with time on your hands you find new things to do with it.

Now this might be an odd place to bring this up but I’ve been reading a book by John Higgs again ‘The KLF Chaos and Magic and the band who burned a million pound’. It’s a wonderful book and you should read it. But within its pages is an explanation of magical thinking. ‘Chance Weekend’ has been touched by magical thinking. It really is a beautiful piece of work. I should write this review by using the techniques that Kidd used – roll a dice and add parts about harmony or write in italics and bold. But I’m going to chance it and just write whilst listening. Hopefully it will make some sense.   

Opening with ‘A picture I don’t want to paint’ with it’s nod to the laid back 'mid-eighties late night feel' production, kind of like a nightime drive tune that appears from the radio - not Chris Rea  - it’s never ever Chris Rea – but it has a sort of minor melancholic tinge coupled with odd squiggles and squeaks and straight away this is a departure from what we might be used to. The song is still full of rich harmonies blending and coming together but there’s a touch of wailing guitar in there to, it’s quite a sad opener but it works.

This is followed by ‘Little One’ a heartfelt tune to being a family. I guess once someone else comes along you shift your perspective in life and this shift in perspective has produced a wonderful song. It starts with a buzz and  simple beat mixed with a drone  my kind of pure pop – I can’t put my finger on the what it reminds of – it has this big ‘red rocks’ moment near the end – you know epic pop.  All hands aloft with lights and people on shoulders. It’s a song with a punch in the air and swaying with your  lover. Families come from this. There’s a lyric that Kidd sings so beautifully - keep us in your plans – because you know your children grow up and we all have to escape sometime but as a parent you want your children to 'keep us in mind'. It resonates with love for the unknown whilst calling past - a nod to being back somewhere in time. It's a beauty. This cupboard pop pioneer is producing some of the most wonderful sounds around at the moment and you really should give it a listen.  

Opening with a Sgt Pepper like fanfare ‘Forget Me Not’  drifts into that beatific 60s simplicity and here come The Zombies to help him create a perfect pop storm with a banjo and a kazoo somehow making melodies conjuring the 1930s. This has a lot of Macca about it and that’s no bad thing.  There’s never an afterthought with Kidd – he puts it all into the tunes and it works. Like ‘Tomorrow Sky’, that comes next all seas and open horizons with a space filled guitar part to match. This is my favourite so far ( but I haven’t got to the end yet) There’s a swirling organ like the mighty sea rumbling beneath it and that chord progression sends you far out to watch the sun. I don’t want to say it’s country folk – but you need a jump in point so I’m saying it has echoes of country folk but inflected with the city (to keep it real maaaaan) The harmonies are thick and wonderful - the whole long player is both reflective and forward thinking. In using random procedures to create songs the process has made Kidd stray from what he knows into a tomorrow that never knows.

Next comes 'Crazy George' – which is just brilliant  it seems to be made up of found sounds and repetition. I get the feeling of early children’s television music as Kidd makes sounds from rainbows.  It’s got a touch of Van Dyke Parks, it's pastoral and evocative of other pleasant worlds. Actually this might be my favourite. And once again time is referenced so well as KiDD sings 'You can’t look back without tomorrow close at hand.' You really can't. 

Up next is ‘Sagro’ - now this actually has the Bagpuss melody as it's intro  ( or I might have locked on to a children’s television theme in my mind through my own magical thinking) it’s all Oliver Postgate and wonder. Still mining that Van Dyke Parks vibe and then shifting to drum machines and swirls. Melodies unwinding over chugging beats.  When it breaks after two minutes it’s sublime. I could listen to an album of that sound. There’s lots going on in all these songs – but it doesn’t feel that it’s thrown in – more developed even though his working method held more power over the production of this album than the more traditional process of writing a set of songs. But sometimes you have to just do something different

'Like a Bullet' is a ‘cut up’ lyrical blast an ‘Alphabet boogie woogie’ to borrow Kidd’s own technique. I have just written ‘The Beach Boys meet The Style Council uptown’. And that’s no bad thing. So I'll stick with that description for now. 

The fuzzed opening of ‘Unknown Hometown’ with its echoes of MBV guitars breaking and falling apart whilst Teenage Fanclub provide the structure is absolutely pure pop. Random and sublime. It feels like it’s in a key that’s pushed his voice somewhere else and I really like that. It’s quite a big one this one.  

We are nearing the end and there’s time for two more tunes from this wunderKidd. ‘I see crocodiles’ a drone spiritual with a touch of Bowie era ‘Low’ about it – you’ll get the reference when you listen. But then suddenly punctuated with huge harmonies as at comes to an end – we're back to hands in the air – as night falls and we fall in love. And there’s a lovely drone repetition at the end that I could listen to for hours.  

Finally wonk pop at its best is addressed in ‘Where have they gone’ With spring reverb making it seem ‘Free’ ( see what I did there?) and alive. It’s like Kidd goes glam with a touch of  Tricky thrown in the blender. A riotous manner with which to close the cupboard door on at this time. As experiments go this works for Kidd. It’s another long player of incredible tunes and words from a genuine genius of sound. He’s contributed to so much wonderful music over the years but clearly saves some of the magic for himself. With time and chance he’s woven together a truly special record.

With ‘time’ comes creativity. Kidd’s time over that weekend was well spent. Why don’t you take a chance on Kidd and listen yourself this weekend. You won’t be disappointed.

You can find the album to download or buy a limited copy here: 

https://kidd.bandcamp.com/

You can find even more wonderful things here: 
https://kiddtunes.com/
https://open.spotify.com/artist/7jTgnIN8MDiKqHVGfvgz0k


Here is the video for ‘A picture I don’t want to paint’

Oh and check out The Barne Society they released Grin and Bear it by The Wellgreen - and that's ace too. 

I missed the Sleaford Mods - it's O.K

I missed the Sleaford Mods last night  – but bought a ticket for Stereolab today – but it’s not like seeing the Sleaford Mods.

I just listened to Kebab Spiders- I love that pure honesty of what the fuck and this and that – but it’s the craft of Fearn that’s getting me – there’s the scowl and undertow and all that rah rah rah – but the tunes become more sublime everytime – hit hit hit – penny shove gone crazy and paying out non stop for the masses. Making la la sounds and bringing you in. I haven’t heard the rest of Eton Lives  – but this is good.

This makes it even more fucking gutting that I missed it.

But I’ve been missing lots

I got put out my job sometime back – making it large over December days – you know smiling and all that whilst walking through some fucking shit mire not knowing.

So back to the Mods. We are the mods. Always.

I’ve been clean living in dirty times all my life.

I haven’t written a thing  for a while. The last time I saw the Sleaford Mods was at the The Roundhouse in Camden. 

I nearly bit someone’s throat out.

Well I didn’t bite it out. I wanted to. Not sure if that was a Sleafords Mods reaction or down to the medication I was on at the time - it can get you like that at times - send you off kilter. It was for my chest by the way - antibiotics.  But it was a worry. Mods shows and all that weren’t punctuated with violence – everytime I had seen them there was an air of beauty – people getting along  - listening and grinning.

At the Roundhouse – I had experienced something different. Now I am a middle aged man – I’m 47. Can you say I was too close to the front. I paid the money – it was free standing  - I made my way down to the first couple of rows  – I didn’t push nor shove I was close – maybe not a close as I wanted  but I was near the stage.

I enjoyed the set – there was an element that felt removed and the audience weren’t as into it as they were at Brixton before. Some movement happened – people got lively. Ok by me.  I felt water on my head. Liveliness. Yet it felt calculated. Looked around and this person was ready to try it again. I think it he mst have got caught up in the heady nature of the event. 

I am a 47 year old man.

I mean you no harm.

I meant no one any harm.

I carried on my evening – it was close to the end. The Mods had been good. Not quite connecting. Wetness on the head  - again. Clearly it was intended. Yes I had shuffled around a  little. I had caused no harm. 

I ventured to leave.

I was kicked.

I was kicked again.  On purpose.

Looked around. Same members of the audience who had spilt a pint on my head. Older than me by my reckoning. What kind of fun is all that? 

I came to do no harm. 

But I was ready for a rumble. I told him. I told him I would wait outside.

He did not wait outside.

I would have been a 47 year old man rolling in the Camden gutter.

It didn’t happen. I was waylaid by my friend who bought a t-shirt. A cautionary move to calm the whole thing down. This is the friend who offered to get tickets for the 100 Club last night.

He didn’t get tickets.

I thank him. If the crowd is turning into a freak show of wannabe fighters and scrappers then I can leave it for a while. Best to. Let them drift away on the next 'difficult album'. 

We will go again to see Sleaford Mods. 

I will be friendly.  As I always am. My friend knows this.

Panda Bear was loose in London

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I have enjoyed the thrills of live sounds for years and years. There’s something magical about the experience of seeing something you committed to your memory through repeated revolutions on record players suddenly becoming real for your ears in a building with the minds that made it there in front of you.

I can remember most of the gigs, shows, sets, concerts – what ever you wish to call them – that I have attended - not the literal evening but sensations, snippets, sounds and smells that conjure up a moment or an emotion that was lodged way in my brain. Fleeting images of my heroes played out in mind films on the surface of my eyes.

Panda Bear at the Village Underground on Tuesday is now firmly lodged in the cerebral mass of synapses and connections. I am a fan of Panda Bear – you all should be a fan of Panda Bear – because there’s a beauty within those electronic collages that soothes the soul.

For those unaccustomed to Panda Bear – he is actually Noah Lennox – and one part Animal Collective. I came to Animal Collective after listening to Panda Bear – not the other way round.  I like Animal Collective but I like Panda Bear more. Each tune he has released has wrapped itself around my heart and made me smile that little longer – not that they are all happy tunes mind.

I arrive at the Village Underground a little early. So I head off for a drink in graffiti covered buildings and hip surroundings.  I buy a drink. It costs £5.80.  Ridiculous really.  I think The Smiths t-shirt I bought at one of my first concerts cost £5.

Some time the city is out to rip you off.

Panda Bear is playing in East London tonight – but this is no rip off – this is not a rock n roll swindle.  And this is his one date in the city as he waltzes through Europe and beyond. There is only one day to spend with this homie. Not even a day – it’s only a night.

But I’m glad I spent it with you.

Proceedings begin with Maria Reis who produces sounds that are both haunting and jaunty – there’s a popness to her MBV meets Eno tunes.  The crowd are warm in their appreciation and the cavernous building  - with it’s bar on the side making it difficult to see the stage  - feels intimate as she plays to the swelling numbers.

And then we wait for PB.  I have managed to find a spot way down the front about two bodies back and to the right of the stage. The crowd is hip and youthful – but I don’t care - I am an old man taking space from the youth. I dig this too. 

I wait for the arrival of Noah.  At 9.30 the lights dim and Panda Bear enters the room – he takes off his coat- keeps on his hoodie - picks up the microphone and begins to create sonic alchemy. Tonight’s ‘show’ and to be fair it is a ‘show’ is full of repetitive visuals and strobed lights and screens there to add and support the wonderful sounds of the Bear’s workbench.  I’m intrigued by the workbench – it looks cobbled together with MDF to hold instruments that shake the very soul.  Noah works this table of instruments(?) throughout the set – sounds blending and growing from his array of special units and keys – drones become fragments of songs and layers of sound build upon each other into this beautiful digital cacophony offset with sweet harmonies and honest feelings.

To be honest it’s hard making out what I’m listening to – I never got hold of the last vinyl only ‘A Day with the Homies’ but I guess this is what I’m listening to interspersed with songs from when he took on the Grim Reaper and won. There’s a few older ones too all presented with a backdrop of a pulsating dancing woman in garish make up and flowing dresses. It’s a trip maaaaaaan. A real mind bending trip. But the audience are here for the ride – there’s a group behind me bellowing the words and dancing with wild abandon – we are here to worship at Lennox’s sonic altar – we are his disciples – which is apt because it’s just after Easter that he walks amongst us.

The night develops through each sample and repetitive drone with the Panda adding vocals as loops become recognizable tunes  - it’s hard to know where to clap – so I just grin throughout. The new tunes are harder in terms of beats – there’s elements of hip hop, drum and bass and the inevitable dubstep – but it doesn’t feel bandwagon jumping more an evolving landscape of sound that Panda Bear inhabits. The set consisted of this according to setlist.com

Dolphin (New Song)

Flight

Boys Latin

I Know I Don't (New Song)

Part of the Math

Cosplay (No Outro)

Cranked (New Song)

Shepard Tone

Crosswords

Home Free (New Song)

Selfish Gene

Cosplay Demo (Outro)

The end of the set before the encore slowly built into a huge pulsating bass drone with vomiting visuals and strobes. It was heavy work. But there’s absolute heavy soul in his squelching electronic psychedelia.

Lennox is not a dance musician  - but we sway in unison at times to his kinetic rhythms and futuroid B(each) Boy singing – because after all  his voice remains his secret weapon. It’s what everything hangs on –and follows this incredible set with an encore of three incredible works  - Sabbath (New Song), Crescendo (New Song) and finally Sunset with each one getting better than the last.  We are uplifted and dancing – and then he is gone.

Coat on and out the building – well probably not - but I want to afford him some rock star status – not that he is that at all but he deserves to held up a little higher than he is. It’s hard to find music that resonates and connects in this digital forever streaming age and Panda Bear is making incredible tunes that will stand up and be re -evaluated in future years.

I’m glad Panda Bear played at the Village Underground and you will be glad next time he plays – because you’ll be there too.

Here's a Part of the Math from France - I can't find any videos from London - but you get the idea. 

Moogie Boogie in London - Euros is back in Town

It’s been a long time since the roogie boogie visited this part of town. I’ve been all caught up in suits and presentations and unable to get any thoughts down other than those that generate pay slips.  I haven’t been writing about music. And sometimes listening is not enough.

Where’s the fun gone in all of this?

Luckily Euros was back to revive the vibe. 

Euros Childs has been officially released from House Arrest and is now out and about to bring us light ( and some dark) in the winter evenings.  It’s been two years since he was last in this part of town. So it only seemed right that I should spend time in his company two times – and as luck will have it he decided to play two wonderfully storming utterly beautiful ‘shows’ in London.

So the roogie boogie is back. Well - a different type of roogie boogie

Double the time and double the pleasure.

And it’s always a pleasure when Euros is in town. His errant psychedelic left field skewed view of the world can’t fail to delight. And delight it does with the packed house in North and South London on a Sunday and a Monday evening this week.

Tonight Euros and Rosie are a two piece bent on giving us a rocking good time. It’s a different experience to the Roogie Boogie band but no less intense. The addition of a new Moog strengthens the bass and (rouche) rumble within the mix. 

Moogie Boogie.  

And at the Sebright it’s genuinely heart shaking –  the moog that is - although that might have been where I was sat – or where I’m at.

The stage is set up and is reminiscent of a low budget indie Rick Wakeman – lots of keyboards and wires (and a phone – for the drums  - well some of them) and a lonely two piece kit at the back. And whilst Euros isn’t playing a brand of noodling prog rock ecstasy there’s a nod to it – especially the wigged out psychedelia of Dust – heard on both nights in a mighty melee of sound and confusion  – all fingers and palms and repetitive bass. 

As ever Euros entertains – how can he not –  and there’s something magical when these songs come alive in packed houses – and both were packed houses.

The 'House Arrest' tour has only just begun – date after date in carefully considered venues across the land and Euros always seems to choose interesting venues  - both shows in London are in great places – I arrived early on Sunday to the Sebright Arms – a lovely venue – with fantastic sound- tucked away behind a main road in Cambridge Heath. 

Euros has a new long player to plug and sometimes you head into these journeys knowing what to expect – but this time I wasn’t sure – I had listened to the album once – in fits and starts – I had some idea of melody and lines but hadn’t yet immersed myself in Euros’s world. So there was that thrill of the new – the unexpected in the air.  

This was also Euros without the Roogie Boogie band  - it’s a new band I guess.

It’s the new thing. 

I also had my picture taken by a man who was convinced I was Vic Reeves. He wouldn’t let  it lie.

Rosie opened up for the main event ( at the Sebright) in the guise of 'Oh Peas' with soaringly tragic and introspective black anthems about loss and love. Not exactly cheery – but bleakly magnificent if you like to shed a tear on a Sunday. 

Then Euros arrived to the theme from Ski Sunday  (which is actually called “Pop Looks Bach’ pop pickers)  As you know by now a Euros concert is one underpinned by incredible songs and heartfelt laughs – he never misses a beat – the audience murmur to each other beforehand that seeing him always leaves you happy – that he makes you laugh ( in a good way) 

And that’s the Euros experience in a nutshell – I’ve been watching him in various venues for years now and always leave feeling some how happier. The set tonight is a mixture of the new and some old – but it wasn’t what I expected.  Songs are pulled from House Arrest, Refresh, Cousins, Bora da and Son of Euros – I think. I never got hold of the set list so I’ve been trying to piece it together in my head.

I wasn’t sure about 'Refresh' on first hearing – it was difficult and seemed to be facing inwards – explosive in the layers of samples and resamples. But if you keep on in there it is refreshing (see what I did there?) And 'Pick it Up' is exceptional in its airing on both nights – basically a rallying call to pick up the shit on the street, in the park, on the beach. It takes a mundane thing and transcends to the magically. It’s about shit – shit on your shoe, in your hair – it’s thoroughly far out.

On stage Rosie and Euros flit between synths ,drums, guitar ( well not so much the guitar)  and phone (for the drums  - there’s an App for that) to summon up melody fuelled monsters of delight. There’s that open honesty in the songs that is somehow infectious to the watching audience – creating connections from the darker end of the street. Songs about eating disorders – Euros needs a list tonight – hastily pushed to the side of the keyboard to name all the foods that 'Christy and Misty' get through  – not to mention the waiter who ends up on a spit  and with its tempo changes and refrain you get a sense of Sgt Pepper – especially Being for the Benefit of Mr Kite, or the obsessive 'Shower' taker – safe within the waters of his own home, the yearning ambition to pursue a 'Stuntman' career, the trials of being a bag – a 'yellow bag', an incredible version of 'Peanut Dispenser' - which surely must be it's first airing in years and years - and I haven't been able to shake it from my head for days - or just the bliss that it is to exist in a 'Happy Coma'. Which gets us all singing the chorus and empathising that not all things are bad. Well not until your life support is switched off.  

And of course colanders. Mine is rocking back and forth. How about yours?

The set tonight is wonderful – the sound is sharp, taut and visceral. And we get 'Look at My Boots '– at first a stuttering attempt at the end of the set that eventually becomes 'Jane (Not her real Name)' from Cousins – which is a bonus.

But then correctly in the encore.  A song of studied coolness about boots and fridges. 

Waiting for Euros to comeback on after lights down at the end of the set you can feel that energy he creates – the crowd are chanting – I’m clapping – they are clapping – we are all clapping and there really was a roar when Euros returned to the stage – he’s a well liked man – they are a well liked band in these parts.

But I’m out the door on Sunday - no time to wait in queues for CDs and signatures – but it doesn’t matter as I’m seeing Euros in Nunhead the next night – closer to home.  

Nunhead is a different affair – all knitting clubs and real ale. The venue is a community run public house and venue – it's a nice place – with gold lame curtains on a foot and half high stage – sort of ballroom blitzed.  Tonight there are two other turns before the main event – Garden Centre a fella and basically a neurosis belting out childlike squalls and screams about things I have little time to care about.  And then The Gentle Good who's worked with another Mynci  - all intricate picking and lilting songs of moths, birds, love and open water, the rightside of folk for me – not overly jumpers and roll ups.

Tonight the entrance is to the Monty Python Theme (actually called Liberty Bell – pop pickers). Now just so you know two nights of Euros really isn’t that excessive in my book – but I had been asked why I was going again considering I’d seen the band last night. I don’t think I need to explain it really – I’ve said it here before – being in a room with Euros makes you feel good. And I could see some familiar faces in the crowd – we’ve been standing in rooms with Euros for sometime.

We will continue to stand in rooms with Euros.

We like it that way. And I was only coming from down the road – I spoke to a Japanese woman – Fujiko (I think that’s her name) who I have seen at many of these nights – she had come from Tokyo. So let’s get it in perspective.

I like Euros Childs. Lots of us like Euros Childs. She really likes Euros Childs.

Tonight was just as brilliant. A set peppered with the same songs from the previous evening but mixed up a little. The sound was dense – and didn’t pack the clarity of the Sebright Arms ( ‘More drums’)  – if I’m being critical -  but there was still the beauty in the room.  ‘Turning Strange’ sounds magnificent on both airings over the weekend – in theory its 80s sounding chords shouldn’t work – but Euros weaves that simplicity and feeling through it. It has a Brian Wilson nod – like it could have been co produced by Dr Eugene Landy and ended up on Wilson’s first solo album.

It’s mesmerising. Full of harmony and warmth. 

It’s on the new album – you should buy it.

You probably have.

And then with a final flourish they finish with Godmalding (pronounced – God -Mal -Ding to help with the scansion – as it didn’t know it was going to end up in a Euros song) the night was over.  

I hope that Euros is not placed under House Arrest for another two years. 

He's been missed. 

But just so you know he will always have a welcome roof in this part of town.

You can buy the album from the man himself  from here  You can also get all the other albums too - and you know they are all worth a listen.

The House Arrest continues right up till mid December - see him before he returns home and gets locked back in again. 

Here are some videos from Nunhead The Ivy House - I can't find any from the Sebright Arms ( credit to the people who filmed them  - thanks)