Do You Have The Force? Volume 2

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Cosmic background by John Harris.

Three years have passed since the release of Do You Have The Force?, Jon Savage’s compilation of space disco and post-punk recordings. The collection proved popular enough to prompt a follow-up which arrived here last week. I enjoy Mr Savage’s curatorial instincts so a second dose was irresistible even though I already own more of the tracks on the new album than I do with the earlier collection.

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Data 70 for the win. Dee D. Jackson opens the new collection with a pulsing paean to robot sex.

I was thinking recently that the value of the historical compilation album—those collections that contain previously released material—has been diminished considerably by the rise of the internet mix. Before Mixcloud et al the home-made cassette compilation was a youth-culture staple (I made lots of them) but cassette collections seldom travelled beyond their maker’s immediate circle of friends. Official compilations had the advantage of wide distribution, access to quality sources and scarce recordings. The better ones also featured authoritative sleevenotes, an essential thing where those scarce recordings where concerned. One of the drawbacks of the home-made tape was brought to my attention in the late 1980s when a Dutch friend sent me a mix he’d made for a group of acquaintances who staged live art/occult performances. The contents were a soup of dialogue and music recorded from TV layered over borrowings from record-library albums which included a particularly haunting snatch of something that he only remembered as being “music from Ancient Egypt”. I spent the next ten years searching for this whenever I was in a record shop with a decent international section. I did find it eventually (it’s the funeral music from this) but without persistence and a chance discovery I might never have known what it was. One thing we don’t lack today is information, so the chances of being nonplussed in this manner are much more remote. The erosion of the former strengths of the compilation album have only placed more emphasis on the person of the compiler; all those Back To Mine collections have turned out to be models for the future.

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Do You Have The Force? Volume 2 follows the form of Savage’s earlier collection by starting out in the disco/dance zone before sliding in the second half into the post-punk world, an area conterminous with disco yet seen at the time as being in opposition to any rock and pop that was regarded as too commercial, too trivial, etc. I’ve never been someone who needed to reappraise disco, there was more than enough in its cosmic and futuristic excursions to engage my interest at its peak of popularity. Not being a club-goer, however, the good stuff wasn’t always easy to find so I’m still learning from collections such as these. The post-punk material is home territory by comparison. The contents of the new album include yet more Cabaret Voltaire (I’d probably have chosen the uptempo Sluggin’ Fer Jesus instead of Red Mask), the beatless Beachy Head by Throbbing Gristle (the closest TG get to Eno’s On Land), and Monochrome Days by Thomas Lear & Robert Rental. The latter is from Lear & Rental’s The Bridge, a one-off collaboration released on Throbbing Gristle’s Industrial Records, and a cult album round these parts. If you’re familiar with Savage’s tastes, all the above are the kinds of inclusions you’d expect. Less predictable was another number from Fourth Wall, the second album by The Flying Lizards, which follows the Fourth Wall track that Savage included on Volume 1. I bought Fourth Wall when it was released in 1981, in part because Robert Fripp was credited among the players and I was curious to know what Fripp was doing with such an eccentric bunch. (This, if you’re equally curious.) David Cunningham’s Lizards are best known for their off-beat cover versions, the most popular of which, Money, was a surprise chart success in 1979. But Cunningham was (and still is) an experimental musician, and Fourth Wall showed much more of this side of his group, juxtaposing short looped pieces and other weirdness with a handful of original songs. Patti Palladin does most of the singing, also co-writing a huge favourite of mine, Hands 2 Take, that (once again) I would have chosen over Savage’s selections even though it’s not electronic enough for the album as a whole. But that’s one of the benefits of the compilation: it compels you to follow somebody else’s inclinations instead of your own. Biggest surprise of all has been Soft Space on the disco side, an electronic instrumental credited to Soft Machine. If you’re familiar with Soft Machine’s early albums, which evolved from psychedelic pop in the late 1960s to jazz-rock improvisation in the 1970s, then nothing prepares you for this piece, a one-off synthesizer composition recorded in 1978 by keyboard player Karl Jenkins. And that’s another benefit of the compilation album: an introduction to discographic anomalies that you’ve been missing all these years.

Will there now be a third volume? There’s more than enough musical material for another collection along the same lines so we’ll have to wait and see. Volume 2 is out now on Caroline True Records.

Previously on { feuilleton }
Talking time: Cabaret Voltaire interviews
Do You Have The Force?

Weekend links 669

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Love (1973), a poster by Nicole Claveloux.

• “Warner Brothers had been keen on a Rolling Stones movie. Jagger was keen on being a movie star. But Donald Cammell’s script was no Beatles’ jolly japes musical comedy…” Des Barry examines the ninth minute of Cammell & Roeg’s Performance.

• “…part of what made his 1970s work so original was the degree to which his band cross-pollinated guitar with synthesizer.” Aquarium Drunkard explores the esoteric jazz-rock of Steve Hillage.

• Magma, the cosmic jazz-rock group from France, have been around for 50 years without making a music video. Hakëhn Deïs is their first.

There was half-Tarkovsky embedded in async, “Solari” and “Stakra” and “Walker”, a hand outstretched to those great poems of living and light that we call films. “I had a strange dream last night,” Andrey Tarkovsky wrote in one of the diary entries collected in Instant Light, “I was looking up at the sky and it was very, very light and soft; and high, high above me it seemed to be slowly boiling, like light that had materialised like the fibres of a sunlit fabric, like silken living stitches in a piece of Japanese embroidery.”

David Toop remembers Ryuichi Sakamoto

• “Floor796 is an ever-expanding animation scene showing the life of the 796th floor of the huge space station…”

• The Electrifying Dreamworld of The Green Hand: Dan Clowes on the comic-art of Nicole Claveloux.

• At Bandcamp: Andy Thomas on the post-punk pop subversion of David Cunningham.

• At Unquiet Things: An enigmatic baroness and her collection of skulls.

• New music: River Of Dreams by Romance & Dean Hurley.

• Steven Heller’s font of the month is Ray Gun.

• Mix of the week: DreamScenes – April 2023.

• RIP Al Jaffee.

Skulls Of Broken Hill (1996) by Bill Laswell | The Bees Made Honey In The Lion’s Skull (2008) by Earth | Black Skulls (2018) by Jóhann Jóhannsson

Made To Measure

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When you’ve sated yourself on a group’s back catalogue there’s always the solo albums. In the case of Tuxedomoon there are a number of these to choose from, thanks to several of the band members being both multi-instrumentalists and talented songwriters. Some of the more offbeat solo outings may be found among the albums released as part of the Made To Measure series, an offshoot of the excellent Belgian record label, Crammed Discs. Crammed have been Tuxedomoon’s label for some time, and seem increasingly unique in a world where independent labels tend to cater to narrow genres and small, select audiences. Crammed’s roster of artists is extremely eclectic, ranging from the expected Euro-pop and dance releases to a wide range of traditional and contemporary music from around the world.

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Made To Measure Vol. 1 (1984). Painting by Fernand Steven.

From 1984 to 1994 the Made To Measure series released over 30 albums that represent the more esoteric side of an already fairly esoteric label. All of the early releases were numbered, and Tuxedomoon happen to be on the first release, Made To Measure Vol. 1, together with Minimal Compact, Benjamin Lew, and Aksak Maboul. The series title refers to all of the music being “made to measure” some pre-existing work—film, theatre, dance performance, etc—although some of the later releases were simply an excuse to put out new music by an established Crammed artist. In addition to the first release, Tuxedomoon members Blaine L. Reininger, Peter Principle and Steven Brown were regular contributors to subsequent albums. Two of the Steven Brown albums, A Propos D’Un Paysage (MTM 15, 1985) and Douzième Journée: Le Verbe, La Parure, L’Amour (MTM 16, 1988) are marvellous instrumental collaborations with Benjamin Lew that are very different in tone to Tuxedomoon but well worth seeking out. Brown also recorded a soundtrack album, De Doute Et De Grace (MTM 22, 1990), with readings by actress Delphine Seyrig. The series has been discontinued in recent years but the MTM numbering was resurrected for the latest Tuxedomoon album, Pink Narcissus, which is MTM 39.

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Desert Equations: Azax Attra (1986). Photography by Georg Gerster.

I’ve still not heard all of the Made To Measure series, and I don’t like everything I have heard—I have to be in the mood for Hector Zazou’s quirkier moments. Aside from those mentioned above, the notable releases for me would include Desert Equations: Azax Attra (MTM 8, 1986) by Sussan Deyhim (here credited as Deihim) & Richard Horowitz, an album that led me to acquire almost everything Sussan Deyhim has recorded; If Windows They Have (MTM 13, 1986) by Daniel Schell & Karo; Nekonotopia Nekonomania (MTM 29, 1990) by Seigen Ono; Water (MTM 31, 1992) by David Cunningham; Sahara Blue (MTM 32, 1993) by Hector Zazou; Glyph (MTM 37, 1995) by Harold Budd & Hector Zazou. Sahara Blue exemplifies in miniature the eclecticism of Crammed Discs, being a tribute to Arthur Rimbaud featuring (among others) John Cale, Ryuichi Sakamoto, Gérard Depardieu, Khaled, David Sylvian, Bill Laswell, Lisa Gerrard, Sussan Deyhim and Tim Simenon.

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For those wishing to explore further without shelling out on mysterious, unknown quantities, I’d recommend The Made To Measure Résumé (1987), a compilation of tracks from the first 16 MTM releases, and an ideal introduction to the series.

Previously on { feuilleton }
Subterranean Modern: The Residents, Chrome, MX-80 Sound and Tuxedomoon
Tuxedomoon on La Edad de Oro, 1983
Tuxedomoon designs by Patrick Roques
Pink Narcissus: James Bidgood and Tuxedomoon