It’s Mind­blow­ers time, as gobby ag­i­ta­tor Ja­son Wil­liamson picks the plat­ters that mat­ter to splat­ter your nap­per.

Mojo (UK) - - Contents -


CON­DI­TION OF A HOLE (from Doll­house Songs, Harbinger Sound, 2015)

“Con­sumer Elec­tron­ics are presently Philip Best, who was in White­house, and Sarah Ruth Best. This is fuck­ing hor­ri­ble, down to the bare bones of what life ac­tu­ally is. The hole is life, isn’t it? ‘Get up, get up, do this, don’t fuck­ing do that, stay in line, don’t think for y o ur­self’, all the sub­jects you hear in protest songs, but taken to its ab­so­lute core. There’s this hor­ror sound­track el­e­ment to it, that sin­is­ter, slasher-movie thing with th­ese synths go­ing off and ‘duh-duh­duh-duh’ beats, re­ally min­i­mal, and Sarah just scream­ing over it. It al­most cleans the win­dows and opens doors to the per­cep­tion of the un­just av­enues of life. There’s is no real place to play this stuff it’s so bleak.”


(from Hitler Wears Her­mes IV, Griselda, 2017)

“I got it from a mate in Notts, we share a pas­sion for that knuckle-drag­ging Mafioso rap stuff. WestSide Gunn’s from Buf­falo in NY state, and this track’s got that real sparse kick drum hip-hop beat, with his rap over the top. His voice is un­usual, quite high pitched, and his raps some­times verge on b eing quite wea k,b ut it works, what he’s say­ing about street life and the void of the drug trade, the dis­dain in his voice – he’s sick of empty sy­ringes in the play­ground, yet he’s got no choice but to go out and sell it. It’s bru­tally hon­est, and still rel­e­vant, per­haps more so since Peter Stringfel­low be­came Pres­i­dent.”


(from Re­ject 2 EP, Griselda, 2015)

“Conway The Ma­chine is WestSide Gunn’s la­bel­mate. This tune is fuck­ing hor­ri­ble. His mouth slants to one side, a re­sult of a gun­shot wound. He’s lived it. The sound is the clas­sic hip-hop for­mat – great beat, looped strings, it’s moody, it’s slow, it’s meaty, the real deal. I dunno wh a titi sa b out the East Coast rap­pers ver­sus West Coast – there’s just some­thing more bru­tal about them. The weari­ness, the ob­scu­rity of be­ing that per­son in that en­vi­ron­ment, of just hav­ing noth­ing but a block of white stuff to sell to keep you go­ing. It’s com­pletely in­spir­ing and it re­ally cut me up.”


(from Con­ve­nanza, Rot­ters Golf Club, 2016)

“A man who part-chron­i­cled the drug ro­mance/ fall­out the ’80s/’90s youth had in this coun­try. This is kind of a come­down tune, when your eyes start feel­ing more nor­mal and day­light’s com­ing through the cur­tains. I re­ally like Andrew’s vo­cals on his solo stuff – clear and ba­sic, with great melodies; Nina Walsh’s vo­cal com­ple­ments it bril­liantly. It re­minds me a bit of Rock The Cas­bah Clash. It’s not disco ex­actly. I don’t know what it is, or what they’re say­ing. You get a tinge of sad­ness, like he’s this lone trav­eller who’s put mu­sic first. I don’t care where mu­sic’s made or what it evokes in the sense of na­tion­al­ity, but it’s very English, this.”


(from Sit Down Young Stranger, Reprise, 1970)

“This, I think, is a bril­liant ex­am­ple of early ’70s acous­tic mu­sic, post-Zep­pelin. This is beau­ti­ful, fault­less re­ally – his vo­cal, the play­ing, how each in­stru­ment is mixed. Ev­ery­thing used to feel quite oaky around the early ’70s, it was very brown and there were elves and gnomes – I re­mem­ber we had this lamp in the liv­ing room at home, it had a gnomey type cot­tage on it with lit­tle win­dows cut out so that the light would come out… it re­minded me of that, of my child­hood. Singers like Gor­don Lightfoot take me back there. A nice place to go back to? God, yeah. Great. Fan­tas­tic.”

Un­leashed in the East Mid­lands: Ja­son Wil­liamson keeps it hor­ri­ble.

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