Rules of further attraction. The new Spiritualized long-player Sweet Heart Sweet Light finally hits the stores next week after some last-minute delays for a spit and a polish. Chances are I’ll be breaking the habit of a lifetime to compose an actual, straight-faced album review in the near future – obtuse ramblings and flowery verbiage are very much passé, at least until the next time I’m committing with intent. If you can’t wait for release date however, The Guardian are streaming the entire album for this week only; swooning on offer here.
Elsewhere, gunslingers for hire and fellow bloggers Jorge Farah @ Every -ist And Every -ism and Jorah Day @ Terminally Beautiful have been dipping their toes into the realm of the podcast of late. Rather successfully too – if your thing is listening to well-informed people putting the world (and its musical repercussions) to rights as if we’re all sitting around a table in our favourite, intimate bar – and why shouldn’t it be? – then the Jor Mom podcast comes highly recommended.
The latest episode (which you can listen to here, or download / subscribe courtesy of iTunes here) even has time to say very nice things indeed about Lazer Guided Melody (the cheque’s in the post, Jorge). More importantly, there’s some sharp-eyed observations on music blogging and the fools who go in for that kind of gig, indications of why Morrissey fandom is such a divisive matter, and most pressing of all – the idiosyncrasies behind rooster etiquette.
Below the words: ‘Tiny Meat’ by Ruby, from their 1996 Salt Peter album. I was reminded of this during one of those all-too-fleeting twitter conversations that the kids are all hooked into these days, when they’re not all busy rioting or forming XTC tribute bands. A jaunt to the record shelves swiftly followed (it’s not a long jaunt – only to the other side of the room – but as I’m usually drunk, all sorts of escapades can intervene en-route).
Ruby were a collaboration between producer Mark Wall and former Silverfish front-woman Lesley Rankine. Theirs was an aesthetic – although perhaps a wee bit too married to that mid-nineties trip-hop vibe that hasn’t aged particularly well – that pursued the feisty alacrity that defined Silverfish’s agit-pop sound, but framed it from different angles so that the overall effect is a multi-nodal enticement, potent attitude beautifully lit.
(Incidentally, didn’t I do well, not naming this post Ruby Tuesday?)
Ruby / Tiny Meat