2022

Well, I’ve been away for a while. Obviously not really, but I haven’t been posting here, mainly because I’ve been busy with home life and other personal projects. I had intended that I would start posting again when my commute started once this whole pandemic thing died down a bit, but I still haven’t commuted for nearly two years, and while I’ve still got plenty to say for myself, I’ve run out of backlogged posts. So anyway, things will still remain pretty quiet, I’m afraid.

Did you miss me? No, I didn’t think so…

I thought I would pop my head around the door with a couple of recent discoveries. First up, thanks to Adam Buxton‘s podcast I discovered this beautiful work from Laurie Anderson, which most of you had probably heard before, but for some reason (maybe because I wasn’t entirely sentient when it came out) I never had.

It’s fascinating to listen to, because there’s obviously an element of this where Anderson is just messing around with a sampler and a vocoder. I’ve got tapes with these kinds of experiments too, but they’re nowhere near this evocative. Excuse the superlatives, but it’s rare these days that I hear something quite this exciting.

Then there’s this. Bad dance cover versions were all the rage in the nineties (that might be an unintentional pun actually, because it was Rage who recorded this passable cover of Bryan Adams‘s Run to You in 1992, complete with house piano (good) and unnecessary rap section (bad):

But then there’s this. The Connells‘ ’74-’75 is a decent pop-rock song, which apparently some people called Hands of Belli and a singer called Nanci Edwards decided needed turning into this monstrosity:

And that, I’m sure you’ll agree, is quite enough of that for now. Bye.