Mish Way of White Lung.
Philip Sherbourne: I would assume you’re aware of The Wire’s term “hypnagogic pop.” What do you think about that taxonomy, and do you think your literally hypnagogic music fits?
Aaron Funk: I’m not aware of that term. Sounds a bit pretentious, to be honest.” —P. Sherbourne in conversation with A. Funk, better known as Venetian Snares, in relation to Funk’s Last Step project. Part of a much longer interview obviously, just thought that was really funny for some reason.
The dollar, either Canadian or American, is the key to Paris. With the U.S. dollar worth twelve and a half francs and the Canadian dollar quoted at something over eleven francs, it is a very effective key.
At the present rate of exchange, a Canadian with an income of one thousand dollars a year can live comfortably and enjoyably in Paris. If exchange were normal the same Canadian would starve to death. Exchange is a wonderful thing.” —
Ernest Hemingway - The Toronto Star Weekly, February 4, 1922.
From this really great little article about living in Paris in the early 20s. Somewhere in the back of my mind I’m hoping one can replace the words “Canadian”, “Paris” and “1922” with “Irishman”, “Berlin” and “2012” and the article will still ring true (allowing for inflation of course).
Seeing Martin play on Saturday night with the Gloaming will go down as one of the unforgettable moments in my young life. The rush of blood and feeling as he took control of the first medley back from Thomas Bartlett on the piano was just incredible to experience. There were times where the adrenalin of the whole thing reminded me very much of some great DJ sets that I’ve been at. Just the level of control, the builds, the stretches, the eventual climaxes, it had it all and Martin was the fulcrum of the whole night.
Really good interview. Gets gear nerdy at times so obviously I’m going to love it. Interesting to see someone work with both programming environments like Max/MSP and then massively successful commercial synths like the Native Instruments stuff. As well Digital Performer, which is a DAW not exactly loved on this side of the Atlantic. Much more common in Americay for some reason.
Also, this quote reminded me of a few acts I’ve seen, including some Irish lads particularly. Nodding your head in time with a loop is not performance, anyway you want to look at it.
“Around that time both Mat and I made a definite decision never to nod our heads on stage in time to music. When we first started doing it, you kind of get into it, you start nodding your head, and it is a bit of a signal to the audience that the performers are enjoying it. But what’s going on in that kind of relationship? It’s like prompting the audience to respond in a certain way, or to have some assumptions about how we’re relating to the music. So yeah, since that point, neither of us have nodded our heads on stage in time to music. [laughs]”
I’ve pretty much been out of action for the last week due to having to do actual work in a fancy pants restaurant for a while followed by a bout of sickness and a (self-imposed) ban on headphone usage for a couple of days. I’ve got a list of things as long as both my arms to listen to and a ton of Quarter Inch stuff that needs doing pronto but here’s a cool song that I’ve come to like an awful lot this past week. Singing it to myself in the restaurant kept me sane some days. It will also hopefully serve as some kind of reminder for myself to say something about the whole trad purism debacle that’s happening over on Nialler9 where no one is coming out particularly well and some people are just doing themselves no favours at all. Plus ca change, eh?