6/29/12

Ch-Ch-Changes

Hi all, I was very busy over the last couple of weeks so sort of dropped out of the heap. But, yo, normal service of a sort will resume very shortly, like before Monday. What do you think I get my albums of the year done before the middle of July? Wouldn't that be sweet? I'll toil around the clock, deny myself the lazy pleasures of watching pointless on BBC2, followed by bargain hunt, followed by a string of soap operas, followed by a Chinese takeaway, because I got bored of cooking for one (the saddest gourmet adventure of all).

In short, I'm 31 years old and have realized that my life has fallen into patterns of habit and repetition that are drawing some of the vibrancy out of it. This coming summer I have two months off work, July and August (I currently work in a special school for children with autism) and I am going to use those months as constructively as possible to rediscover some of the magic in life and, more to the point of what I am doing on this blog, to let my writing reflect this rediscovery. I am also going to do a lot more personal writing, (a 'shitload' to use one of my favourite crude terms), but it might not be as music based as before. I've drawn back on music writing responsibilities elsewhere too.

So maybe expect a bit more personal stuff. Of course, funnies (when it comes to my style I realised a long time ago that I find it hard to write in a sustained serious tone and perhaps never will), and (who knows?) stuff that will veer a little further into fiction.

There will also be some small material about depression and alcohol addiction (both of which I've had a bit of a past with). I am keen to write about these things in a sideways fashion that steps outside misery lit cliché. If I cannot manage that, then I will continue to shy away from these topics which, in my experience of reading about them elsewhere, have sometimes made me want to tear my hair out at the tropes and psychobabble people fall back on. Although, a friend of mine recently sent me something she is writing along those lines that bucked these pitfalls beautifully.

In saying all of this, there will be music. There will always be music. There are albums I want to write about, but I guess for me to keep my writing fresh, as much for me as for any reader, I want to start exploring other avenues a little more. I have a sneaking feeling that not everybody who comes here comes for the music any more, as some of the posts of mine that have generated the most kind and varied comments are those that do not address music directly. I'm going to pull a sly stroke though. Watch me pull it right now and let you in on a secret. Whenever I add an MP3 to the end of a post it means the majority of the traffic for that post comes through the hype machine. Sweet, hah?

your author and a beautiful little nephew who is one year old today.

MP3: Sam Cooke-A Change is Gonna Come

6/19/12

My favourite albums of 2011 (#10 Julianna Barwick - The Magic Place)

Holy shit, it's the top ten.

#10 Julianna Barwick - The Magic Place

Juliana Barwick's ambient album The Magic Place is extremely simple in ways. I read an interview where she explained that the album's title is associated with a tree she remembers from her childhood - the sort of tree that twists towards the ground, creating the effect of secret spaces and rooms beneath its canopy. I can think of certain places like that from my own childhood (anywhere out of doors that holds off the rain can seem magical to a child), sacred spaces that are made to appear even more sacred by the ocean of time from which we view them across. When I look at this album's cover, when I think about its simple song titles that read like a poetic tableau of painterly images drawn from memory's earliest and most archetypal box of treasures ('cloak', 'white flag'), and when I listen to its gentle and mostly wordless music, I wonder if Barwick has created an album of prayers.

The music itself is very hymnal. Those loops of Barwick's voice that trace themselves in slow circles of varying diameters (at varying heights) sound like the wordless expressions of a mind engaging with the infinite and the sacred. This aspect of The Magic Place is illustrated by a comment under the youtube video for one of the songs which reads "I love this music even though I'm an atheist". In fact, the youtube comments under her songs are very revealing (funny as well) and reading them can be like stepping into a clandestine meeting of a cult where everyone is sharing saucer-eyed epiphanies - stuff like "does any1 else feel like life is so simple but we make it so complicate" and "now I know what human souls sound like" and, best of all, the single word "amen" getting twenty up-votes.

The Magic Place, then, is a series of secular hymns sculpted from loops. The songs are as cool and pale as delft, or marble, or the moon on still water, or... choose your own simile. They are as simple and as beautiful as that.

MP3: Julianna Barwick-Envelop

6/11/12

Night terrors in Kells

I wake. The air is thick with thought, horrible anxieties, no light, myself, my life right now. My age is slippery and here's me in my granny’s house in the 90s, so aware (only now?) of the colour scheme on the wall - in the olden days, long before me, or you, or my granny, or hers, colours weren’t just colours. Karl told me that once, talking about Gawain. I can smell bog and the ashes in the grate and I feel that the shade of my teenage self, a breath of him, moved past me somewhere. I want to talk to him, to shout out. Brother. There is something slightly beyond my grasp, to do with a shelf of books, beyond again, up beyond my reach, a stacked pyramid, an old prayer book and something about a crime. 

...we stepped out into a fine drizzle outside and pulled a trailer through the mud in a landscape of briars and hopping frogs...those little skating insects on stagnant pondwater too, boatmen (I saw them called that in a library book once?)...we caught them in jars...

A bed pulls at me like a soft magnet. (Kells?). Heavy body, sinking and stuck. No sun yet, curtains hanging stiff, a close dark sky, sinking further, then floating roots in a brown cloudy jar. Something slow and ornate crawls horribly around its base. A caddis fly larva. They make their own armour from bits of crap in the pond.

It is hard to run in bogs, the muscles tire. Below, beyond, (beyant?) the boom of the sea coming in. The bar. The boom. Loud and long, so far away, a vast rolling ghostly moan in the gloom.


[this is just an early morning automatic writing experiment. Normal service will resume shortly]

6/8/12

planespotting in Dublin

[a version of this piece appears in the June 2011 issue of Totally Dublin: which is a great listings magazine available around the city]

Around the back of Dublin airport, along the old airport road, there is a small layby with a mound of grass behind it. It’s an unassuming little spot and easily missed. Yet, if you park here and stick around for a while, you’ll soon notice that it’s one of the busiest patches of gravel in Dublin, a place that sees quite a cross section of the city’s life. From hatchbacks crammed with kids high on sugar, to sleeker (somehow sadder) cars singularly occupied by business types drinking coffee, to white vans containing men who snooze behind Evening Heralds folded over the dashboard – it’s all here. Everyone comes for the same reason, to watch the planes. And it is for the planes that the little layby’s true custodians, the planespotters, come. They are hard to miss, these men (for they are mostly men), who stand still as herons for hours on end, observing every take-off and landing from the elevation provided by the grass verge, and recording things by pen and lens.

I first found out about the planespotters through my work with an eleven year old boy with autism.  As a weekly treat for completed school work, he’d get to visit somewhere in Dublin of his own choosing. That place invariably turned out to be the layby along the old airport road. The boy, his teacher, and I, would sit in a car, eating crisps and watching the planes land one after the other. Each plane would appear from the exact same spot in the clouds over the city, a tiny cross shape that slowly took on the familiar form of a jumbo, before finally becoming astonishingly huge as it landed, yards from our car, behind the airport fence. It’s a thrilling thing to see, something so big, up so close, and hanging so impossibly in the air before its wheels hit the tarmac. Indeed, Niall Moran, one of the planespotters to whom I’d later talk tells me that it is this very thrill that first got him into planespotting. As a young lad he’d marvel at “how the hell the things get up in the air in the first place?” and even now, as a man in his forties, he is taken aback by “that feeling of noise and power you get sitting at the back of the airport watching them taking off”.

The boy I used to work with with could identify planes by their livery (the colours on the fuselage and tailfin) and, I soon suspected, by the very shape of their silhouette against the clouds. “That’s an Airbus A380” he’d chirrup, and whenever his teacher and I checked an iPhone app that pinged the details of every flight coming into Dublin we’d see to our disbelief that he had correctly identified the tiny speck in the sky. Later on when he returned to school, the boy would spend some time looking at videos on youtube that were very similar to his own camera phone creations. These videos were minimalistic, even banal, affairs - just planes (named in the clips’ titles) moving across tarmac in a roar of ambient noise and taking off into the sky. Yet there appeared to be an entire community of people prepared to watch them thousands of times and leave approving comments. It was a window into a somewhat alien world to me. This was a place where people seemed to be obsessively devoted to recording and observing for themselves something that could be predicted by a simple phone app. I asked myself “what could possibly be the point?” After discovering that many of Ireland’s planespotters and aviation enthusiasts communicate with each other on boards.ie, I decided to make contact with a few in order to find out.


I put it to Colm (a softly spoken planespotter from Co. Clare) that advances in computer technology must surely remove any vestige of mystery the hobby might have once had. “I suppose it does” he says, though his tone of voice betrays that he probably doesn’t suppose, or at least that a mystery element isn’t that important to him. “Of course it is nice to be out somewhere and hear something interesting on the scanner that you mightn’t expect…” I do a double take. Scanner? “Most planespotters would have a radio scanner, yeah”, he tells me. Later, Niall (who comes from Dublin) tells me about owning a “scanner that tells you everything up there within a radius of two hundred miles”. Never mind stereotypes of solitary men with yellowing notebooks and pens, these lads are pulling up beside international airports with what can only be described as spying equipment in their vehicles. Surely this constitutes some sort of security concern? I find myself wondering how being close to airports with this stuff could possibly be legal? “It’s not illegal in Ireland”, Colm says, “In Ireland it is legal to record what you hear on the scanner too. But in the UK it is not legal to record even though it is legal to listen”. However, he tells me that the Gardaí don’t always realise this and that “there have been incidents in the past where the Gardaí have wrongly confiscated equipment”. “So the guards were getting the law wrong”, I chuckle. I’m half-tempted to launch into an anecdote about a friend once getting a going-over about a packet of magic mushrooms that he brought to the Electric Picnic when they were legal, but then Colm tells me that “planespotters are reputable people”, and I worry that my anecdote might tank.

To my mind, any hobby based on cataloguing things needs to have an element of the unexpected to work. For example, I used to watch the birds that visited my garden very keenly as a youngster, making little sketches of them and identifying them in a field guide. While I could derive no end of pleasure from the comic antics of crows, it was the chance of seeing something extraordinary and unpredictable that truly kept me glued to the garden, something like a bullfinch in his fire-engine red livery landing among the dun coloured masses of sparrows. But that’s just my mind. There is perhaps an equivalent type of joy to be found in the mere noting of something expected and predictable, a sort of tick-the-box reassurance, and there is a simpler joy again in the acquisition of beautiful things with your own eyes. Niall communicates something of the former sort of joy when he tells me that when he first got into planespotting it was “like a competition” for him and the other planespotters. “You’d get very competitive comparing yourself to the next person. It’s like ‘how many 737s have you seen? I’ve seen 800. Oh, well I’ve seen 1,100’. You’d always want to see more than the next person”. But then he tells me “now I’m different. I used to be like that, but now I like to take photos more. I like to look at them to appreciate them for what they are” and he gets at the latter sort of joy.


Although unexpected things don’t feature heavily in planespotting, unusual things surely do. According to Niall, a huge part of the hobby’s appeal is in getting to see rare planes or unusual combinations of models and airlines, and travelling to see them is another part of it. “You are always looking to see a rarity”, he says. “but at the same time, you take what you get. A lot of people won’t go to Dublin if they want to see a rarity. They’ll go somewhere different.” I ask him if he travels to see planes himself. “Last year I was around the world spotting”, he says, before his voice drops to a hushed awe, “I saw many rare things last year, thank God”. He elaborates and tells me that he went to Sydney to experience one of the last “remaining airworthy Lockheed Constellations in the world”. I later look this plane up on Wikipedia. It is a magnificent thing with a curvy 1940s shape that makes it look straight out of a World War II movie. I can understand the fascination. Colm travels too, and tells me that he goes to Lanzarote to see planes, explaning that “it is a great spot because the approach is right over the beach and there is a great selection”. A holiday where you can simultaneously sit on a sunny beach and enjoy your hobby? Who couldn’t see an appeal in that?

All this sounds quite a way from the stereotypes of planespotting being a hobby for loners in anoraks. I ask both men what they think of this stereotype. Colm says he’s aware of the “anorak” stereotype but can’t see what is strange about a hobby that is not that different from many others when you think of it “lots of people like looking at things, cars, trains, or soccer matches. We just like looking at planes”. Niall, when asked, laughs and says “listen, if you want weird, there are guys out there who stand out along the road and take down the registration of buses. Look, for every weird hobby there is one weirder”. I make a surreptitious note – potential Totally Dublin article.

Most people (if they don’t live near airports, that is) are used to seeing planes in their natural habitat, where they appear very small, sometimes so small that you can only see the vapour trails they leave. As I’ve already mentioned, and as any planespotter will tell you, this is no way to see a plane. Up close, they are marvellous. They are like huge toys - shiny, noisy, and best of all, capable of flying. That is why if you visit the layby behind Dublin airport to see the planes, you will notice not only the faces of children in cars filled with simple glee, but the faces of their parents filled with it too. And I strongly recommend that you do visit, because it is one of the best free shows in Dublin. Bring a packed lunch and a flask of something to drink and remember to say hello to the planespotters. They’re an interesting bunch. 

My favourite albums of 2011 (#11 Robag Wruhme - Thora Vukk)

Woooo Wooo full steam ahead! Hier kommt der Zug!

#11 Robag Wruhme - Thora Vukk
Yet another lovely album cover - I am fairly sure that's a miniature Robag waving at the Autobahn

In spite of good notices on its release, this exemplary album from the Jena producer Robag Wruhme (real name Gabor Schablitzki) didn't exactly bother the year end lists. I think this was because its style of techno is way off the pulse of current trends (an initial listen might have you thinking "Yo Robes, 2006 called, they want their intricate microhouse album back"). Maybe I was looking at the wrong lists (I don't read a huge amount of dance music websites and blogs), but that's just the sense I got. In truth, the record does play on the safe side of 'tasteful' and, as I said, it is about as far away from a cutting edge as my beard is these days (LOL I'm such a card sometimes).

So what even is it about Thora Vukk that I like so much? That's easy - the album has so much warmth. The word that comes to mind is 'brimming'. Inside, there is all the thumping, whirring, fussy engineering and varying levels of syncopation one might associate with microhouse, but Wruhme builds on this with a music that is melodically pretty (unusually so for a techno album) and just sounds, well, full of love or friendliness or the human spirit or something. I'm sorry but that is the best I can come up with when describing the sound of this music. The feeling is all over the album. You can hear it spill out of the title track which, at two or three heightened moments, breaks loose from the cogs of the percussion towards a few graceful synth notes that are bright little birds flying upwards. You'll hear it in the voices talk-singing "dah, dah, dum" and other softly consoling nonsense syllables over the strings in 'Pnom Global' too.

I think the album has a loose reflective narrative about the flow of time through and beyond significant life events. Wruhme uses a metaphor about bridges to possibly illustrate this by naming a number of the shorter connecting tracks 'Bridge' in German (Brucke Eins, Brucke Zwei etc...). In a neat German twist, it is the flow of traffic rather than water under bridges that he evokes with found sound. Further reinforcing the idea that the album is about life events, is the sound of Schablitzki's very young child Frederich singing with him and a woman (his partner, I think) at the close of the so-beautiful-it-actually-hurts-your-chest final track 'Ende'.

Robag Wruhme-Ende

6/6/12

My favourite albums of 2011 (#12 Ford and Lopatin - Channel Pressure)

Past the halfway mark...

#12 Ford and Lopatin - Channel Pressure
this is easily my favourite album cover of 2011

Daniel Lopatin and Joel Ford clearly know that drugs are not the only doorway into altered states. Before the Ford and Lopatin project, they released a mixtape called Spend the Night with Games - a phrase very relevant to what this album is about. Now, bear with me a minute, because I will eventually get around to the album; but first, when my twin brother and I were in our very early teens (maybe we were twelve?), we weren't allowed to own, or perhaps our parents couldn't afford to buy us, the Sega Megadrive. Only a few lads we knew actually owned the gaming console, and none of them were close friends of ours. So we rented the Sega Megadrive as a treat sometimes. We'd collect the console and one or two cartridges from the Video Vision shop in Kells on a Friday after school and return the entire lot on Sunday. What happened in between was disturbing.

We'd connect the Megadrive to a telly in the front room, pulling the curtains to remove daylight (that notorious enemy of gamers), before playing straight through until Sunday morning, getting minimal sleep, minimal food, and the odd toilet break. By Sunday we'd resemble nothing less than a pair of twitching meth heads. Our eyes would be out on stalks and bloodshot, our legs jumpy and, most noticeably, we'd be in a strange mental state close to hypnosis; a state brought on by the tight repeating elements of 16 bit platform games or beat-em-ups, their graphics, their melodies, and the grinding tasks we had to complete. We had spent the night, two nights in fact, with games, and had emerged altered. Sleep would be delayed by flaring after-traces of the sensual assault of the gaming experience, phantom melodies, images, kinetic jerks. Perhaps this was a faint projection of actual psychosis?

There were other nights too that came later on when I was in secondary school. I'd find myself sleepless, troubled by something at school, and would sit up to watch Aertel or Ceefax until dawn, watching the blinking primitive graphics repeat themselves over and over as midi muzak ran through its own loops. I'd later walk to school red-eyed, slightly nauseous, and feeling the slightest magnetic drag of the TV screen on my thoughts until past break-time.

Ford and Lopatin's Channel Pressure operates within its own version of such strange zones, and explores their limits. It raises fascinating questions about broadcast technology and the mind, particularly the notion of the TV as an influencing machine which is borrowed from observations of people with schizophrenia. The album's underlying concept relates to a character 'Joe' whose mind experiences disorientating pressure from the TV to which his body passively exposes it. He begins to lose his marbles, hears voices, and is hospitalized (there is a later aspect to the story about the machinations of the music industry, but to me this is less interesting). So far, so humdrum, you might say. But the extremely fascinating thing about Channel Pressure is how Ford and Lopatin flesh their dystopic concept out musically.

The album contains elements that don't sit easily together. It is a melange of bewildering swirls of hyper stylized 80s synth pop (fretless bass and keytar shit), midi orchestration and, thanks to Joel Ford, pop hues of heartbreaking purity. What this gorgeous pop does is imply something seductive about the state that Joe finds himself in. By extrapolation it says something complex about all of us too, and how we consume entertainment. These are some of the themes that you will find reoccurring in the work of Daniel Lopatin.

We'll say goodbye to him now, but expect to see him in this list again.

MP3: Ford and Lopatin-Channel Pressure

6/4/12

Sugarweasel

And now: something terrifying brought to my attention by my twitter-friend Catherine (isn't it fun that we can have friends, well, acquaintances, that we know exclusively through twitter?). Catherine alerted me to a character called Sugarweasel. Sugarweasel (I'm going to say his name a lot) provides an erotic clown escort service for ladies in the "Las Vegas region". Sure, where else would he do it?

Sugarweasel's Myspace (but of course, he's on myspace) lists "women either diagnosed with or who feel they may have coulrophillia" as people he would like to meet.

If you are terrified of clowns do not click on this link. Or this one. Now although I can think of one or two things scarier than Sugarweasel, at this moment I'm drawing blanks trying to think of anything weirder than Sugarweasel. Perhaps this?

Sugarweasel's homepage plays his theme tune, a smutty rockabilly mutation of pop goes the weasel - sample lyric: "there's a man who knows how to please/ berpy derpy derp berp derp/ big red nose and hung to his knees/ berpy derpy derp berp derp". Last night found me in a state of passive fascination/dread, clicking through all this Sugarweasel stuff while his theme tune looped hypnotically in an open tab, as I found out factoids about services rendered such as "clown dominating woman or woman dominating clown", and, as Catherine pointed out, the vaguely sinister "buffoonery". I can't say I slept well.

Have you had enough Sugarweasel yet? And by 'enough' what really I mean is have you whispered "Mammy" through slotted fingers while soiling yourself? No? OK, well he made this do it yourself murder mystery thing where he wraps a woman's body in a bin bag and throws it into a dump. Oh no, but I insist, you really should watch it...


At this stage, all I can say is "Vintage stuff Sugarweasel. It's really in keeping with what we've already gleamed from your Myspace and Linked-in profiles. But please. PLEASE. I BEG OF YOU. NO MORE".

6/2/12

My favourite albums of 2011 (#13 Patrick Kelleher and his Cold Dead Hands - Golden Syrup)

Wahoo...look at me...going fast...no hands...I'll be finished soon.

#13 Patrick Kelleher and His Cold Dead Hands - Golden Syrup

When Golden Syrup was nominated for the Choice music prize earlier this year I was very excited. I was also perplexed that more than a few commentators had it down as an oddball selection, almost as if it were something thrown in as a complete outside bet to keep the weirdos happy. Were they listening to the same album as me? As far as I could see, Golden Syrup was, and remains, a muscular, cohesive, flat-out album lovers' album; weird granted, but also crafted, musically nuanced, lyrically sophisticated, and stamped through with the mark of its maker. This album is driven by a distinctive vision. It could not be mistaken for the work of anyone other than Patrick Kelleher and his band. They wear their influences sure, but there is no empty appropriation going on with this gang. Surefooted and poised, they've spun out an appropriate sound for the tangled and shadowy love letter Kelleher sings across the album's ten tracks.

An aspect that I, and others I'm sure, found likable about Kelleher's debut album You Look Cold was an endearing eclecticism. It leapt from wispy spooked shreds of things to Moldy Peaches style folk numbers. The most cohesive thing about it was Kelleher's voice. On Golden Syrup the band finds a 'voice' to match Kelleher's (that dark expressive croon of his, so appropriate to an album named after a type of treacle don't you think?), and the result is something that is much more of a piece. They've taken all this weird stuff they listen to, from Belgian cold wave music, to Ariel Pink, to sixties girl groups, to God knows what else, and engineered it into a gear-switching machine on tracks to carry Kelleher's voice down the dark glittering tunnels of his thoughts. Whereas You Look Cold felt like jumping from one exhibit to another, Golden Syrup (with the exception of the dreamy non sequiter Strawberry Dog and the album's quiet coda) is pretty much a smoothly locomotive trip.

As for Kelleher's thoughts, well they are mostly addressed to another; so we might assume that they tell the tale of a love affair, although sometimes it sounds as if he externalizing part of himself. He finds himself at more than one point in an extremely dark and weakened place. On the song Golden Syrup, for example, we hear him sing the deliciously bleak line "did I go this far into the coal shed before", and referencing the Biblical hero Samson who lost his strength with his hair (funnily enough, I remember Kelleher having long hair before this album). There are standard enough lines describing a codependent relationship of some sort, but then these are shot through with moments of surreal psychedelic clarity, little pools of imagery, where Kelleher comes out with this sort of gorgeous, semi-abstract thing: "I could fish and bathe and dress in light/ but I'm bound to serve this Vathekian night" (I googled Vathekian and google said...nope). There are all sorts of shafts of oddness that cut through the darkness like that line, both musically and lyrically, reminders that for the outward pop gloss of songs like 'Seen Me Blue', the heart and blood that animates them is fucking weird. Good weird. Should probably have won the Choice music prize weird.

6/1/12

My favourite albums of 2011 (#14 Jenny Hval - Viscera)

#14 Jenny Hval - Viscera

There's a common scene in old Western movies where a lone gunslinger arrives in town to stir up a bit of shit, squints, and hawks a wad of brown crap up into the dust. I can't help but think about this sort of thing when I hear the first line of the Norwegian songwriter Jenny Hval's album Viscera: “I arrived in town/ with an electric toothbrush/ pressed against my clitoris.” It's a stunning opening moment, subversive, shocking (depending on your sensibilities), and humorous in a way. It also announces the album's major theme, mystic body exploration. On Viscera it's as if Hval is spinning herself out into threads and, bit by bit, discovering every last crevice of her body, the female body.

The album's core song, Bloodflight, reads so much like a poem, and illustrates so well what Hval is up to on Viscera, that it is worth quoting it at length:

"I carefully rearranged my senses
so they could have a conversation.
Taught them to switch places;
from each pore in my skin grew shimmering eyes!
And fingerprints filled the eye sockets.

From the ears grew two tongues,
and I sang for people passing a strange song.
Told them stories without moving my lips
(Mouth half-open, still)
They assumed the words came from themselves;
these unfamiliar thoughts"

She sings the opening words to this segment very deliberately and carefully, in keeping with their meaning, letting us know that there will be no faffing around here, that she is about to embark on an extremely thorough journey. And how thorough it is. Nothing is left out, from golden showers of piss, to the clitoris as a blind sphinx, to the golden hair on her head, to a (slightly mocking) contemplation of the penis from the perspective of a toothed vagina. In tandem with all this body travel this there are themes of actual travel too (by train, for example), so she is equating her inner and outer journeying in a way that validates both - which is authentic mystic thinking in anybody's book.

The music that Hval creates for her body poetry follows the words around. The words are master and the music is subject, which reminds me of some of Joanna Newsom's songs, and also a bit of The Manic Street Preachers' Holy Bible when Richie Edwards was vomiting out all that mad poetry. But, for all that, it is beautiful music, informed by folk and possibly black metal (Bloodflight comes on like an orchestral black metal piece), airy and tentative when Hval is gathering her thoughts, and rampant once she finds her stride.

Viscera is a strange and exquisite album that sounds like the cold North. By it's very nature it can be an alienating listen for a man, but that might draw a contemplative pause (it did for me) about how women might feel listening to so much music that has been made about The Dick down the years (the sort of thing Nicki Minaj cleverly skewers here). So for me, it is alien and sometimes discomforting, but beautiful, and the most fascinating folk album I heard in 2011.

MP3: Jenny Hval-Bloodflight