Showing posts with label sound poetry. Show all posts
Showing posts with label sound poetry. Show all posts

Tuesday, February 8, 2011

Pip Proud ~ Eagle-wise 1967-68 [Half A Cow, 1996]





hac45

01. De De De Dum
02. Eagle-wise
03. She Dwindles Her Fingers
04. Purple Boy Gang
05. Nancy
06. Latin Version
07. Marie
08. The Tennis Player
09. French Girls
10. Sounds
11. Adrenaline And Richard
12. She Says To Me
13. An Old Servant
14. Hey Sue
15. We Crossed The Atlantic
16. When Each Descends
17. A Fraying Space
18. Into Elizabeth's Eyes
19. There Was Melancholy
20. Vida
21. A Bird In The Engine
22. Empty



'If any Australian performer of the 60's deserves the description 'cult figure', it's Sydney singer-songwriter-poet Philip 'Pip' Proud [1947-2010]. Among his fans are Ian McFarlane, who likens him to Britain's legendary Syd Barrett and American Tom Rapp (Pearls Before Swine). One of his most ardent champions is Sydney writer-musician David Nichols [The Cannanes], who describes Pip as "Australia's first pop primitive" and hails him as "the greatest Australian singer-songwriter of the 1960s". In the late Sixties Pip was touted as Australia's answer to Bob Dylan, but this was a simplistic comparison. Nichols suggests a commonality with other distinctive solo artists like Nick Drake, Richard Thompson, Melanie, Donovan and Sandy Denny, but perhaps more so with some of the 'underground' artists of the last 10-15 years:

"He was, of course, twenty-five years ahead of his time. Listen to Lou Barlow's Sentridoh, or the Folk Implosion's Kidssoundtrack. Listen to other cutting-edge U.S. artists like The Mountain Goats, Beck, Guided By Voices or The Spinanes. Or listen to New Zealand's Alistair Galbraith, such a Proud fan he led off his 1994 Cluster EP with a song called 'Pip Proud'. Then listen to Pip Proud and tell us he doesn't fit so snugly with those sounds it's almost uncanny.'

Pip's style was unique. He wrote strange, plaintive song-poems about modern urban life and love, which he sang in his distinctive high, quavering voice. What made his recordings really stand out was that he accompanied himself by strumming or tapping on the strings of his unamplified electric guitar. Italian music writer Piero Scaruffi describes Pip's songs as

"... bizarre, childish rants of an hallucinated mind, accompanied by an out-of-tune guitar and paced at irregular tempos. The only precedent was the acid-folk music of the Holy Modal Rounders."

Like Syd Barrett, Pip recorded two remarkable solo Albums of original music in the late Sixties -- which now fetch hundreds of dollars apiece on the collectors' market -- and then he more or less disappeared from view. But interest in his remarkable music was kept alive by a dedicated few, and in the mid-1990s his musical career was revived, thanks largely to the efforts of super-fan David Nicholls. We are delighted to report that, since then, Pip has recorded and released several CDs of new music, which have gained international release.

Information about Pip's life and career is scant. What we know so far is that Pip was born in Adelaide and moved to Sydney in his late teens, where he began creating a large body of poetry, songs, novels and plays and also -- like most of his contemporaries -- became involved in the anti-war movement. Ca. 1967 he was 'discovered' by stockbroker and art patron Michael Hobbs, who financed Pip's first recording, the privately-recorded album De Da De Dum. It was released on the Grendel label, and apparently only about fifty copies were pressed, which must qualify it as one of the rarest and most collectible of all Australian recordings of that era.

Fortunately for posterity, Pip's album was heard by Bob Cooley, A&R manager at Phonogram Records [the Australia branch of what later became the Polygram group]. He was impressed by the unqiue qualities of Pip's music and signed him to the Philips label. Pip's first commercial LP was a re-recording of the songs from his debut album, released in 1968 under the title Adrenaline and Richard . It was well-reviewed in Go-Set which led to Pip making a few TV appearances and giving a handful of live performances.'

oldie/goodie. been revisiting this kat's hallucinogenic tone poems of late & wanted to make sure everyone who need knoweth finds out, especially my weird brother badger. say g'day to the australian syd barrett. further

Wednesday, October 20, 2010

Algebra Suicide ~ The Secret Like Crazy [RRR, 1987] @320



01. Little Dead Bodies 4:50
02. Somewhat Bleeker Street 1:34
03. Gist 2:26
04. (A Proverbial Explanation For) Why No Action Is Taken 2:32
05. Father's By The Door 2:48
06. Tractor Pull 2:24
07. Tuesday Tastes Good 2:53
08. In Bed With Boys 2:11
09. Sinister 3:27
10. True Romance At The World's Fair 1:45
11. Tonight 2:15
12. Please Respect Our Decandence 2:24
13. Heat Wave 3:08
14. No War Bride 1:25
15. Let's Transact 2:28
16. Lethargy 2:13
17. Amusing One's Self 2:26
18. Recalling The Last Encounter 1:51
19. Seasonal Zombies 2:51
20 Agitation 1:28
21. Special Bonus ~ Praxis





'Of the many vocalist/instrumentalist duos to emerge in and around the new wave, this Chicago team was quite unique, a fascinating marriage of Don Hedeker's music and Lydia Tomkiw's poetry. Over the course of its career, Algebra Suicide flirted with pop forms and occasionally shared stylistic ground with both Laurie Anderson and the Velvet Underground but never wavered from its own individual path.

The eponymous debut, a four-song 7-inch, offers a sketchy but atmospheric mix of guitar and rhythm box behind Tomkiw's coolly intoned short texts, which include the haunting and memorable "True Romance at the World's Fair," among the group's most enduring pieces. An Explanation for That Flock of Crows adds bass, better sound and new vocal inflections (Tomkiw nearly sings "Tonight") to the recitation of four more numbers made accessible — even catchy — by tangible, occasionally narrative ideas and strong internal tempos. Algebra Suicide isn't rock'n'roll, but even those with an aversion to poetry should try the pair's concise records.



Originally issued on cassette with a lyric booklet and later revamped on vinyl, Big Skin introduces piano and simple synthesizers to Hedeker's increasingly complex and dynamic music. The duo occasionally stumbles in its efforts to synchronize the verbal/instrumental rhythms, but both the song-form music and the lyrical content [like a fascinating, wry discussion of death entitled "Little Dead Body Poem," also released on a contemporaneous single with two other Big Skin selections] are engrossing.

The Secret Like Crazy is a generous compilation: three tracks from each EP, half of Big Skin, four oldies from various sources and three new cuts. The German CD-only Real Numbers is a convivial 1988 live album, recorded with tapes supplementing Hedeker's onstage guitar work. Introducing new material and revisiting more than a dozen oldies [all benefiting from new backings/presentations and Tomkiw's brief setups], it's an ear-opener for a band that might otherwise seem studio-bound.' ~ Trouser Press

i don't really have the patience for too much sound poetry, but somehow Algebra Suicide are one of my favourite bands. Don Hedeker had a great ear for tunes & a fabulously atmospheric guitar tone that provided the perfect bed for Lydia Tomkiw's seemingly random, yet humourously poignant observations. She had a wonderfully musical & rhythmic cadence with a sexy midwest accent, at once thought provoking & endearing, which she uses to great effect over the moody beds of post punk awesomeness. Apart from the musical matrimony, Don & Lydia were owlso a legit married couple for many years, finally divorcing in 93 & dissolving the band in 95. Lydia then dipped to New York, released a solo album & sadly croaked of unspecified causes in 2007 at 48 years young. there's more to tell no doubt, but it's gonna be hearsay anyhow, cuz i wasn't there. just listening over the years, it definitely sounds like Algebra Suicide were hugely influential to Men's Recovery Project, another righteous duo. this is a high quality transfer of the RRR Records compilation with the special addition of the song 'Praxis', thereby reproducing their eponymous debut ep on Buzzerama Records in its entirety, tho scattered about. anyhu, this is what we been spinning again lately, so please enjoy the superior sounding bits. more forthkommen