Archive for March, 2010

Shelly and Ice Cream

Monday, March 29th, 2010
Choco-late than never

Choco-late than never

Food is a blessing and a curse. It comforts, it coaxes but it bites and after the childhood years of eating food for fun we use food as a crutch and it’s payback…or a fat back. Equally depressing. Thing is diets are dumb and there are few things more soul destroying than calorie counting, low fat dairy or ‘portion control’. If you can’t eat for pleasure, what is the point of living?

I couldn’t have put it better myself. Shelly Preston’s fledgling Shelly and Ice Cream blog talks about food and cooking in a way which resonates with my own deep love for all things gastronomical. Her recipes are clear, concise and personable and along with the tempting introductions are sure to get even the novice chef in the mood for cooking. Take, for example, her Peas Louise version of the English classic:

God I love pea soup but it’s a real divider, especially when it’s made with ham hock. It’s a love hate soup for sure. I mostly associate pea soup with summer which is daft because we don’t have to wait until then. Frozen peas are a dream in soups; much better in fact that pod-fresh. Peas contain a high level of complex carbohydrates and bags of fibre. It’s the carbohydrates that make them naturally sweet which is why babies will happily have them introduced to their plate before any other green vegetable. I used to make this for my husband all the time before we got married…I think it sealed the deal and admittedly, it’s lifted directly from my friend Jane’s book. It’s an all-round nutritional and winter winner because it’s made with fresh fennel bulb. The aromatic, anise like flavour of fennel just clicks with peas and not unlike celery it has a warming effect on the body. When I eat this soup I end up with cheeks like belisha beacons as the embers of the fennel glow, rest and digest in my stomach. Packed with vitamin C and phytonutrients, it’s a bumper boost for your immune system too. Glow make it, it’s dead easy.
continue reading.

easy peasy

easy peasy

Along side her savoury selections Shelly is also a master chocolatier. Founder of Boutique Aromatique, her fine fragrant chocolates are now available at Nottingham’s Speciality & Gourmet Food Market. They are delicate and light but with the deep and heady flavours required for any truly good chocolate. Gizzi Erskine says about them:

Boutique Aromatique are masters of artisan chocolates. You can taste the best ingredients and Shelly has her finger on the pulse with inventive and well thought out flavours. The chocolate of the future.

Having previously worked with world class aromatherapists and perfumers, Shelly has transposed many of the same techniques and subtleties into her chocolate making; garnering praise, and orders, from connoisseurs and sweet toothed celebrities alike.

When I left music 8 years ago I went on an exploratory mind/body odyssey, taking all kinds of classes from anatomy & physiology to herbalism, reading everything in sight and became a bit of a yoga and whole foods obsessive. I started a new career as Product Developer in the holistic/wellbeing industry conceptualising/developing/researching and sourcing everything from green tea and incense to vitamins and essential oils. I was concerned for a long time about the provenance, grade and ethics of the ingredients and materials I was using and it was through meeting and collaborating with some of the real authorities in aromatherapy and essential oils, herbs and natural perfumery that I developed my own affinity for top drawer aromatics – it became a case of, only the best will do. Alongside my work I was also becoming aware of the (then) underground fine chocolate movement and ‘real’ chocolate became my all-consuming passion. I researched cocoa like a demon, trained to be a chocolatier, built a lab in my house and three years ago decided to move in to chocolate full-time and founded Boutique Aromatique – fine fragrant chocolate – which fuses my love of aromatics and chocolate. I work only with the finest, ethical chocolate and the most flavoursome and complex, single origin beans and the finest, top drawer aromatics (that are blended to scale as in perfumery) herbs, fruits and spices. The result is an aromatic encapsulation of the two things I love the most and thank goodness people seem to like what I’m doing…so far! – Shelly Preston

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Office Listening – #17

Thursday, March 25th, 2010

Test track

“There’s a rat in my kitchen, what am I going to do?” These wise words from Mr Ali Campbell way back in 1986 have clearly inspired Mark’s choice this week. Ruairi had an unpleasant alcohol fueled dream in which he had to DJ to a room of judgemental hipsters and dropped those three tracks, true story. Andy chooses three from an album in commemoration of a 1967 Arab-Israeli war. Since it’s budget week Sarah is opening offshore accounts for everyone! Our friendly window cleaner Pedro proved his worth this morning by walking face-first into our freshly wiped plate glass terrace door muttering those immortal words “está limpia”. Therefore, he be dedicated with the world’s only two songs on the subject of window cleaning. Thanks Pedro, you made my day.

Julie…

U2 – Where The Streets Have No Name
Depeche Mode – Home (LFO Meant To Be)
New Order – Blue Monday

Ruairi…

Delorean – Seasun (John Talabot’s Kids & Drums Remix)
Boys Noize & Erol Alkan – Avalanche
T++ – Audio1995#8

Sarah…

The Beatles – Taxman
Butthole Surfers – Alcohol
Orbital – P.E.T.R.O.L.
Pink Floyd – Money

Mark…

The Boomtown Rats – House On Fire
Swamp Rats – Louie Louie
The Rats – Ventures

Andy…

Colonel Bagshot – Tightrope Tamer
Colonel Bagshot – Lord High Human Being
Colonel Bagshot – Six Day War

Pedro…

George Formby – When I’m Cleaning Windows
Van Morrison – Cleaning Windows

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Angelo Badalamenti & David Lynch – Mulholland Dr.

Tuesday, March 23rd, 2010

Eerie, elegant, eclectic


To continue our theme of soundtrack reviews, we go for a film which is both baffling and excellent. For anyone who has seen the opening sequence of this modern tour de force, consisting of a black limousine snaking it’s way through the Hollywood Hills, should remember the uneasy, eerie and emotionally overwrought orchestral tinged electronica of the title theme which emerges from the nervous, up-tempo swing rhythm of a big band dance. This is typical of Badalamenti’s contribution to the score, juxtaposing innocent pop nuggets into a dark soundscape becoming murkier at every turn. The soundtrack as a whole turns on the usual Lynchian elements, the brooding atmosphere of Angelo Badalamenti’s ominous synth-ensemble cues are thrown against Lynch’s own, off-centre, kitsch compositions.

...and now I'm in this dream place. Well, you can imagine how I feel.


The plot follows Betty Elms (played by Naomi Watts) a perky Hollywood hopeful as she tries to unravel the mystery behind a nameless woman (Laura Harring), her amnesia and involvement in a car crash. Over the next two and a half hours of hallucinatory thrills and charged erotica, a new reality emerges, portraying the seedy unpleasantries of both the film’s protagonists and the Hollywood machine itself. The film takes an incomprehensible turn around two thirds of the way through, it becomes confusing when characters disappear and plot devices dribble out – but all things considered it does make some semblance of sense in the end. The narrative is playfully surreal rather than frustratingly over-intricate. The regular themes of Lynch’s best work are all here – strange Machiavellian characters behind the scenes, extreme violence, obsessive characters and mainly the surreal being an active part of daily life. Without trying to give too much away, the film culminates in a delusional masturbatory fantasy and suicide which explains the dream-like goings on of the previous two and half hours.

It'll be just like in the movies. Pretending to be somebody else.


Like all their collaborations, Mulholland Drive’s is equally eerie, elegant and eclectic. By spanning the aforementioned up-beat Jitterbug into the haunting orchestral drone of the film’s main theme in it’s first two scenes alone the audience is left in no doubt of being transported into a very different world. Baldalamenti’s own work varies from the jazzy Dinner Party Pool Music to the ominous ambience of Diner, Silencio and the Dwarfland / Love Theme. Lynch’s own surfy, guitar-based compositions, Mountains Falling and Go Get Some aren’t quite as transporting as Badalamenti’s pieces, but they certainly offer a sonic twist on the sunny California that Lynch portrays and subverts in the film. Similarly, Linda Scott’s sugary sweet I’ve Told Every Star” takes on a slightly disturbing edge within the context of the film and album, while Llorando by Rebecca Del Rio, a Spanish a cappella version of Roy Orbison’s classic Crying only sounds more vulnerable and heart-wreching. A focused and accomplished piece of work, Mulholland Drive is a mysterious and affecting soundtrack from one of the most consistently creative teams working in film.

So since you agree, you must be someone who does not care about the good life.


Although not garnering quite the same effect as sitting in a darkened theatre, experiencing the exaggerated gestures, heightened emotions and odd plot turns. All in all, the soundtrack is every bit as entertaining, quirky and surreal as the film itself. Badalamenti and Lynch weave a soundscape that characteristically pulls the listener from one mood to the next. From brooding foreboding to flavourless yet intriguing pastiches there is a constant undercurrent of hallucination. The atmosphere, emotion, dream and subsequent reality shock of the cinema are all here to be enjoyed through your home stereo.

The rest of the cast can stay, that's up to you. But that lead girl is not up to you. Now you will see me one more time, if you do good. You will see me, two more times, if you do bad.


Like the film, the soundtrack builds towards Rebekah Del Rio’s, Llorando (Roy Orbison’s, Crying translated into Spanish). Sung a cappella and with haunting magnificence it could feel as though the track would not be as powerful without the context of the film. The unexpected focus on sound (as opposed to image) when this song appears in the film in the Silencio Club scene, sets it apart from other sound elements in the film. There, musicians and singers pretend to perform, but the music is all canned. Says the emcee: “This is all a tape recording. It is an illusion.” Up in the balcony, the pair begin crying. Betty shakes and weeps in some hyperemotional response to the music. This is truly music for the soul, offering something deeper, perhaps representing Lynch’s own ideas about life.

So give it a listen and see if it can elevate you towards the fantastical mental energy of Betty herself (or is that Diane). Angelo Badalamenti plays the espresso-drinking movie executive at the beginning of the film, incidentally.

David Lynch’s Mulholland Drive – Discogs

Mulholland Drive – IMDB

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I Am A Motherfucker

Friday, March 19th, 2010

We’ll let the Motherfucker himself explain his life and expertise in doing the right thing at the right time. He is an internet sensation (widely known as Epic Beard Man) for being tasered by police at a baseball game and knocking the shit out of an obnoxious bus passenger. Parts 1 and 2 below. He’s obviously crazy but clearly a man who has experienced extreme hate, love, fun times, sad times and war. Thanks to Fortuna, That Vicious Slut for the heads-up. His real name is Tom Bruso, you can buy t-shirts here.

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Office Listening – #16

Wednesday, March 17th, 2010

Mull it over

The ants are on manouevres to their summer home, slowly making their way through the living room and up the stairs of Casa Broadbent sparking an insect based selection from Mark. Sarah clearly having an 80’s moment this week, Julie goes with Gallic folk and modish pop, Andy thanks Bicep for providing the Led Zep re-edit while thinking outsider the box, and Ruairi gets an extra choice because it’s Paddy’s day (and Julie only chose two).

Sarah…

Talking Heads – Once In A Lifetime
Echo & The Bunnymen – The Killing Moon (Up All Night Mix)
Eurythmics – Here Comes The Rain Again

Ruairi…

The Dubliners – Finnegan’s Wake
The Chieftans feat. Ry Cooder – The Sands of Mexico
Thin Lizzy – Warriors
Pat Daly – Old Fenian Gun

Julie…

Black Eyed Peas – Meet Me Halfway (In 3D Mix)
Tete – A la Faveur de l’Automne

Mark…

Tom Caruana – Wu Tang vs. The Beatles – Got Your Money
Dubstep Devils – Beatles Fucked In The Ass
Tom Waits – Army Ants

Andy…

Led Zeppelin -Trampled Underfoot (John Daly Edit)
Babe Ruth – The Mexican
Moondog – Lament I, ‘Bird’s Lament’

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A Week In The Life, Winter Ibiza – Andy Baxter #2

Wednesday, March 17th, 2010

Continuing our theme from Livesey’s excursion it looks like Andy Baxter has been far and wide this week. From Ibiza to Andorra to Shirley and back again. Make sure you check out his “Individualism” mix he has graciously provided for us which in his own words is an “annual musical concept that is reflective of the sounds I enjoy listening to in my own home”. Check it out here. And watch out for that pepper!

This is me after Andorra

And during

The G-Man and I have been smashing up the funky room of late

Lovely snow in my home town of Shirley

Bubble & Squeek, a great start to the week

I was left for dead after putting pepper on somebody's dinner...

...and then she set me free

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Invisible City

Tuesday, March 16th, 2010

Invisible City Issues 1 - 6


Invisible City is an online magazine in the vein of Cuemix and Romka which we have featured previously. It’s an online magazine in .pdf format showcasing contemporary art and writing by emerging artists from Australia and around the world. Each issue explores a contemporary theoretical idea through images, poetry, creative and critical writing. It’s curated and run by Marlaina Read, an emerging artist from Sydney. You can read her honours paper here. It’s a good read if you are interested in the super-modernity of post-industrial non-places such as airports and how to travel and take photographs which convey a personal, reflective intimacy for distances travelled and places seen. She’s also got a blog, so you can check out her more personal and rarefied musings there.

Each issue covers a different topic, such as blindness, mapping or bodies (in issues 3, 5 and 4 respectively). It’s free to download and definitely worth a look so we’ve compiled the first six issues for you to download here.

Download – Invisible City Issues 1 to 6

Invisible City – Official Site

Marlaina Read – Official Site

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Outsider Music – Harry Partch

Monday, March 15th, 2010

I had been away from the part of the world I generally consider home for six years. In the seventh year I found a studio in the unused Pioneer Hatchery in Petaluma, California. However sentimental or Oriental that many sound, the fact remains: it was the time of falling petals, and this music followed. – Harry Partch

Partched


One of the most individualistic composers of all time, Harry Partch was not only a great composer, but an innovative theorist who broke through the shackles of a tuning system of all Western music which had lasted for many centuries. He created dozens of incredible musical instruments for the specific peformance of his music and was a dramatist who wrote his own texts for dance-theatre extravaganzas based on everything from Greek mythology to his own experience as a hobo. Between 1930 and 1972, he created one of the most amazing bodies of sensually alluring and emotionally powerful music in the 20th century: music dramas, dance theatre, multi-media extravaganzas, vocal music and chamber music – mostly all performed on the instruments he built himself.

Could Chamber Bowls


The picture to the right is of an instrument created by Partch called Cloud Chamber Bowls. The bowls themselves are 12-gallon Pyrex carboys, suspended from a redwood frame on ropes. These difficult to find and impossible to tune glass gongs are played very carefully by a percussionist who risks the anguish of of a shattered disaster. The original bowls were found at the Radiation Laboratory of the University of California, Berkeley, and had been sued as cloud-chambers to trace the paths of sub-atomic particles.

Considering the earlist known letter written by Harry Partch dates from 1931, when he was already 30 years old, very little is knows about his pre-mature life. As a child, living in various areas of the American southwest, Partch was exposed to a variety of influences from Asian to Native American. He spent his childhood in remote tones in Arizona and New Mexico where he heard and sang songs in Mandarin, Spanish and American Indian languages. After dropping out of the University of Southern California, he began to study on his own and to question the validity of the tuning and philosophical foundations of Western music. He believed the standard system was unsuitable for reflecting the subtle melodic contours of dramatic speech, and as a result, he burned all of his early works. Partch was always clear that this burning of his early music was of tremendous symbolic importance to him, and he speaks of it as an act of purification, a ritualistic purging by fire.

During and after the Great Depression, he was a hobo and itinerant worker, riding trains, all the while keeping a musical notebook of his experiences named Bitter Music which he later set to music.The entries frequently included overheard bits of everyday vernacular speech. Partch always said his reason for developing his microtonal scales was to try to replicate and demonstrate verbal expression.

Corporeal creations


In 1930, Partch broke with Western European tradition and forged a new musicology, based on a primal, corporeal integration of the elements of speech with music, using principles of natural acoustic resonance (Just Intonation) and expanded melodic and harmonic possibilities. He began to first adapt guitars and violas to play his music, and then began to build whole new instruments based on his new microtonal tuning system. Over his lifetime he built over 25 instruments as well as numerous small hand instruments and became a brilliant spokesman for his ideas. Largely ignored by the standard musical institutions and industry, he criticised concert traditions, the roles of the performer and composer, the role of music in society, the 12-tone equal-temperament scale and the concept of “pure” or abstract music. To explain his philosophical and intonational ideas, he wrote a treatise, “Genesis of a Music” which has served as a primary source of information and inspiration to many musicians for the last half century, considered the standard text of microtonal music theory and takes the concept of Corporeality, the fusion of all art forms with the body, as its central focus.

The album we’ve uploaded for you to download and listen to here is the most extended all instrumental work by the microtonal guru. The Haiku-like title may sound metaphysical but has a prosaic explanation. In 1962, Partch returned to California after six years in the Midwest. Returning to his roots in the seventh year was like a sabbatical. He was getting tired of frequent moving: “The spectacle of me and two tons of musical instruments wandering around the country is becoming almost comical. He had to find a spacious and cheap studio and living space, and his former landlord in Sausalito, California in September 1962 allowed him to use an empty chick hatchery. When he visited the building the walkway leading to the place was “… strewn with petals – roses, camelias, and many others” and the title of the new work came to him. “It was a time of falling petals and the music followed.” He had to attract a group of committed musicians who could be relied upon to put in the time, learn how to play the unusual instruments, learn how to play the written parts (in special notational systems), develop the ear to play music where there are many “extra” notes besides the familiar 12 they had learned, and finally learn to play their parts.

Partch was notorious for going beyond instrumental and intonational uniqueness. He communicated to the members of his ensemble the “extra-musical” attitudes and actions he felt lead to an experimental performance. He would show how to approach an instrument with the proper physical inclination, not unlike the motivation of an actor for his part. The physical approach would reflect both the nature of the notes and phrases themselves, and the dramatic or musical intent of the passage. He taught respect for the instruments and how to coax the best and worst sounds out of them. In doing so he wanted to see a transformation of his musicians from passive translators of his scores to active, engaged participants. Partch would often speak of not only “caressing the instrument, but raping it too.” The physical relationship between player and instrument is crucial to the corporeal performance. The musician must transcend their role as instrumentalist and become more fully formed performers, ready to move, act and live the part. To create the corporeal performance.

Partch and some loyal supporters recorded most of Petals in 1964 while the premises they were recording in was literally being bulldozed around them, often begging operators to stop for a minute to make a take. Often the duets are played by Partch on both parts, through overdubbing. The recording was resumed in San Diego in 1966, and the tapes were painstakingly overdubbed for a CRI records release. This results in a useful introduction of the sound of Partch’s instruments. But Petals suffers a bit from its form. At one-minute intervals the music comes to a stop, and half the time resumes in the same tempo and with the same harmonic patterns. Performance and tape synchronisation problems involved in the production of this recording were of an extraordinary level of difficulty, calling for more than a hundred hours of editing. Although the rhythms are wonderfully irregular, this predictability offsets the fascination of the wonderful sounds of Partch’s instruments.

Dirty Harry


So download the album here, check out our other favourite Outsider music here. And remember what Harry said…

This is my trinity: sound-magic, visual beauty, experience-ritual.

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11 Questions – Mat Playford

Friday, March 12th, 2010
Mondo Playford

Work-ford Playford

Dance music is a fickle industry. It’s true to say that many artists operating within its sphere are people who create records on a whim, and through a combination of luck and timing, experience a typical ascent: a string of ill-prepared DJ gigs, an overnight change into the emperor’s new headphones, substance abuse swiftly becoming a habit… It is these self promoting types who tend to break through, sometimes detracting from artists right underneath our noses – the artists that have respect, understanding and a genuine love of their craft. Mat Playford is one such artist. His passion for music began when, at the age of 5, he took it upon himself to be the tape operator at his mother’s aerobics class. Throughout his teenage years and to the present day, Mat has spent many hundreds of hours and equivalent pounds tracking down keyboards and synthesizers of all ilks and vintages, it’s clear that Giorgio Moroder and Jean Michel Jarre are big influences.

After building, creating and curating (considering its contents) a small studio in his mid-teens, Mat followed his inspiration and enrolled at Leeds College of Music for 5 years of study. By the 4th year he was being asked to lecture at the college. Around this time Mat met two US house producers who would further shape his future. In 1996 he went to Brooklyn NY with Sandy Rivera and Angel Moraes to hang out, soak up their advice and skills and generally have his mind blown by what was now possible. Experiences like this breed life-changing moments, these times fueled Mat’s mind and drive to keep pushing forward. ‘96 was a pivotal year for dance music, the likes of Photek and Source Direct (incidentally also from Mat’s hometown of St Albans) were transcending their local surroundings and breaking through in the world of drum n’ bass.

A collaboration with acid-house exponent Paul Woolford brought about a deal with Arista. Sidelines in A&R appeared when Mat scouted and signed M1 – Electronic Funk, picking up more experience, this time with mechanics of the majors. The original track by Paul and Mat sat languishing in “development-hell” to use Hollywood parlance; Arista signed it and sat on it. Around this time Mat also ploughed a huge amount of energy into the Play Music record shop in Leeds which was nominated in it’s first year as Best Independent Record Store in Musik Magazine awards. The scope of his musical trajectory and volume of experience has secured Mat Playford four exclusive days on the Space Terrace this summer 2010 with We Love… on 13th June, 11th July, 8th August and 5th September

Kosack synths - Photo credit, Emma J Woolhouse Studios

Is there one book that you have read that has been life-changing for you?

All You Need To Know About The Music Business by Donald S Passman and The Secret by Rhonda Byrne.

Did your parents encourage you to work in music?

My parents have encouraged me in anything I’ve wanted to do. My mum’s fit and my dad is very witty…

How did you begin to work professionally in music?

I started promoting parties and DJing when I was 14.

How do you apply your past experiences to what you do today?

I definitely write music from experiences I have or something that sets me off, but there’s no set way or blueprint.

Where is your current studio and what is it like?

I’d say I have one of the strangest set ups there is… or so people tell me. I have six 40ft Portacabins all joined together in London Docklands, it runs off a generator on red-diesel – so although I don’t travel as much as James Zabiela, my carbon footprint is about 20 times the size, which isn’t that good I suppose. It’s funny to think I turn red-diesel into house music though. My speakers are in front of a 10 foot window so I have battle ships and all sorts go past me on the river. I make as much noise as possible at all times. If you think Blade Runner, dystopian future, the steel works scene from Robocop, you’re in the right zone. As for equipment, I have about 20 analogue synthesizers and I use Protools and no MIDI.

How much have you had to consider marketing issues since embarking on your career and how has that affected your creativity?

Interesting question… I would have said it would be a bad thing for myself 5 years ago. But in the last few days alone I’ve done some really creative things to help market my music involving shooting and editing videos which I’ve found to be nothing but fun, which pushes your creative self forward I think.

How would you describe your work?

Spacey house.

Who were your teachers?

Sandy Rivera, Angel Moraes, Phil Greenwood, Donald S Passman and Leeds College of Music.

Your home is burgled but fortunately the culprits are caught and your possessions returned to you. What would you deem a suitable punishment for the burglars?

I’m happy to say my place is impossible for burglars to break in to, professional jewel thieves maybe… I’m set in 2 acres of land surrounded by an 11ft high fence with CCTV and motion detectors, then I’m on the second floor with no less than 6 doors to go through before entering my studio (in which is my home). However, if what you are looking for is a violently creative answer how’s this: Wire them up to my oldest analogue keyboard (Korg MS 10) and run 240 volts through them and tweak the cut off and pitch so the electrical frequencies displace the volts all over them, record it into Protools and send a copy to his family… Or, put his hands in toasters and set it on 5. Here’s a picture…

You were such a nice boy when you operated that tape-deck at your mum's aerobics class Mat.

You have to make one species of animal extinct. Excluding insects, which species would that be?

Humans. (sorry)

If you could spend one week in any period of history, which period would you choose?

I don’t like the sound of this question because I’m sure anything I thought of would be an anti-climax. I we could choose something from the future it would be more fun. You could just make things up instead of worrying about what they did at Studio 54 or what Churchill had for breakfast.

Many thanks to Mat for kindly taking the time to answer our questions (and many, many thanks to Paul Woolford for the copy), if you go to Mat’s profile and scroll down the bottom of the page, you can find his latest mix produced this very day! Especially for us, it starts off as a cosmic slow house jam before moving thing up a notch with some future classics from his very own studio. Also check out this self-produced video he has made as a short promo for an upcoming album…

Mat Playford – DJ Profile

Mat Playford – Myspace

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Ralph Steadman – Alice In Wonderland

Friday, March 12th, 2010

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice she had peeped into the book her sister was reading, but it had no pictures or conversations in it, “and what is the use of a book,” thought Alice, “without pictures or conversations?”

Gonzo In Wonderland

Gonzo In Wonderland


While most children derive pleasure from the pure prose of Lewis Carroll’s most well known work, adults try to decipher the reputed use of complex mathematical codes in the text or debate his alleged use of opium. Among the multitude of of characters – extinct, fantastical and commonplace creatures brought to life by Ralph Steadman’s frenzied, ink-splattered illustrations, Alice journeys through this Wonderland, trying to fathom the meaning of her strange experiences – turning “curiouser and curiouser”, seemingly without moral or sense. At every turn, Alice’s new companions scoff at her traditional education, readers can revel in the delightfully non-moralistic and non-educational virtues of this classic, this gives some insight to Steadman’s notoriously iniquitous illustrations in itself. The Mock Turtle, for example, remarks that he took the “regular course” in school: Reeling, Writhing, and branches of Arithmetic-Ambition, Distraction, Uglification, and Derision.

Steadman’s Alice In Wonderland was first published in 1967 and is a remarkable departure from the original illustrations, remaining faithful to the book’s satirical tone while revealing the artist’s own passion for irony. Through his audacious and dynamic images, he breathes new life in the classic story with a modern illustrative approach. Steadman explains, “It is difficult to explain in words what the pictures are trying to say, and therefore my explanations are not precisely what I had in mind because they add shades of meaning which are not there. The reader can only interpret them in his own way, bringing his own observations to bear on the image he is looking at, so that he may agree or disagree with what I have tried to convey. When I set out to draw an idea, part of that idea is not yet formed and only takes shape and reveals itself as the drawing progresses. Consequently, the drawing acquires a life of its own and virtually takes over the direction it will follow – or so it seems.”

The Kind & Queen of Hearts by Ralph Steadman

The Kind & Queen of Hearts by Ralph Steadman


Steadman describes the picture above as, “The Monarch having evolved or developed into a shapeless mass of hangers-on, the State, H.M. Forces, the Church, the establishment walking on one pair of very well-worn legs. The King and Queen born into it and enveloped in it and lost in it, obliged to go through the motions automatically but surprising even themselves by their own outbursts.”
The White Rabbit by Ralph Steadman

The White Rabbit by Ralph Steadman


The artist says that his inspiration for The White Rabbit comes from todays commuter, “worried by time, hurrying and scurrying. Sane within a routine, slightly insane but more engaging when the routine is upset.”
A Mad Tea Party by Ralph Steadman

A Mad Tea Party by Ralph Steadman


He describes the Mad Hatter as, “the unpleasant sides of human nature. The unreasoned argument screams at you. The bully, the glib quiz game compère who rattles off endless reels of unanswerable riddles and asks you to come back next week and make a bloody fool of yourself again,” and says the March Hare “is always standing close by. The “egger-on” urging the banality to plumb even greater depths. He always seems to be around to push someone into a fight.” As for the Dormouse, Steadman says he’s, “Harmless and nice. The man anyone in the office can take a rise out of. If you tread on his face he will smile right back at you.”
The Card Guards by Ralph Steadman

The Card Guards by Ralph Steadman


Taking inspiration for his Card Guards from British workmen, “Bickering about who splashed who and standing in the stuff all the time anyway.”
The Pool of Tears by Ralph Steadman

The Pool of Tears by Ralph Steadman


Steadman explains that the animals in his illustration of The Pool Of Tears “remind me of people I know, rather as Lewis Carroll apparently created them around friends and associates. The reader can place his own interpretation on them. It was never my intention to set everything in concrete.”
Advice From A Caterpillar by Ralph Steadman

Advice From A Caterpillar by Ralph Steadman


And finally, defining the Caterpillar as a “young intellectual. Smoking hash, pedantic, who thinks he has something to say and sheds his opinions as easily as his skins.”

Check out some more Alice illustrations by Salvador Dali here. And more about our obsession with line drawing in general here.

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