So there are 5 nights until the next full moon, where you can leave the comfort of your house and safely venture out to the wonderful Marine Theatre in Lyme Regis where you will happen upon East Devon Soul presenting the wonderful music of the Buena Vista Social Club recreated with a Bristol swagger by some of the best UK latin musicians. What more do you want to usher in Spring and Summer 2025. What better sound or view will you get in the UK to experience latin tropical vibes. Enrollar, enrollar, come and join the moon!
Watching the early Dylan biopic A Complete Unknown has altered the perspective on a singer songwriter I never really understood or resonated with. I still don’t. It seems incongruous the reaction from audiences as Zimmerman announces his presence across New York and then the globe. A voice of a generation emerging from the shooting of Kennedy and the Cuban Missile Crisis. A voice of the people who couldn’t really connect with anyone personally, relationships destroyed by his desire to create, the importance of voicing the creative product over spending time with partners. A complete blinkered drive heading one way down the highway straight to the creative space, casualties splattered on the pavement around him joining those static and rolling stones. The film doesn’t dive into his backstory, provide some sort of connectivity with family, upbringing, education or socialisation but just places Bob in Greenwich Village, with the fellow cats, shades on, cigarettes smoked. That’s how he got such a gravelly voice, alongside the passive smoke from everyone else who was lighting up. It’s what’s missing from our popular culture nowadays. No one smokes, all pop artists are generally squeaky clean, autotuned to robotic AI perfection. Dylan was anti AI although just as anti-social. In modern day New York he could open up his computer rather than searching for key changes on his guitar, speak into it, say “create a song in the style of Bob Dylan talking about how the world is heading for yet another disaster, this time with captains Trump and Musk at the controls rather than Khruschev or Nixon. A hard drives train is going to fall in place. Why are so many revered artists such c**t* in the real world. George Michael or Prince, lovely geezers. Laurie Anderson, brilliantly creative artist who still lives on her main hit O Superman, Uh uh uh uh, oh mum and dad. In a wonderful Desert Island Discs, Anderson talks about her amazing family, starring at school, the creative process and spirituality. Dylan smokes, looks moody and mumbles alongside his guitar. A great songwriter who appears to have come from outer space, inventing his own backstory, a carnival of smoke and mirrors. Someone no one will ever know.
I love the winter break, a chance to stop, get ill, listen to podcasts and read. A chance to reflect on your top 20 books, albums, events, moments of the year almost past. Former conservative MP Rory Stewart is increasingly fascinating, a life spent trying to gather all information, to walk and connect with as many people as possible. His latest podcast, The long history of Ignorance, resonates in so many ways, especially episode 3 where he talks about ignorance behind creativity, the pure space where innovative work comes from which was the core theory behind my book Blank Canvas.
Why do we create stuff? Is there some inbuilt need to innovate, solidify your place in the world by manifesting? How creative practice connects to the brain is fascinating, the need to redevelop something fresh and original. Every day I have an innate need to do something creative, engage with the playful and free part of my brain. It doesn’t have to be for a long time, just at some point my inner self finds peace finds its tranquil home through scratching the creative itch.
I sometimes forge the time to create pieces of music, hours spent slaving over a hot computer based Digital Audio Workstation (DAW), perfecting sections on my computer, listening over and over to the same section, distorting reality, a sample of a Buddhist chant or the gentle lapping of the sea. Although I don’t really have the attention span for attention to detail. I love developing the structure, creating the whole outline, building up parts but then you need to go back and alter elements of instruments, hi hat positioning, the velocity of the odd kick drum, automation across your strings pads, hone the reverb until it sounds glassily transparent, build echoes onto certain moments so that that they last just the right amount of time, don’t mask or clash but aid the flow. I love creating melodies, interlocking parts that flow off each other. Rhythm less so. I like a pulse, a beat, but I keep missing all those intricacies that make up a great drum track. Creating the music is one thing, but then what happens? In previous eras you could go to your local studio, record some live parts over the basic structure, mix, master and create an artefact. Get friends to help in creating cover images, get your vinyl from the Czech pressing plant. Burn straight to 1/4-inch tape then Digital Audio Tape (DAT). Avidly, we created packs and sent them off to our favourite DJ’s and record shops. If it was any good then it got played. Not necessarily in large amounts but there was some traction, a point to the creative process, validation and the thrill of your sounds heading off into the ether. Nowadays I am increasingly thinking about the pointlessness of sending music out into the world. It is a saturated market, flooded by accessibility. The point of releasing music is generally about the self, satisfying a personal need to let the world have your piece of art, more flotsam to spin around digital highways, polluting, blocking up the cloud. The conundrum that the top 100 albums feature regular favourites such as the Beatles, Stones, Neil Sedaka and Nana Mouskouri, charity shops the new record stores. Spotify has endless music. Everyone can get their music on the platform; the gatekeepers have been sidelined at this point. Emancipation for good and bad. Although you now need connected humans, DJ’s, label managers, to make an impact. To get plays, streams, downloads you need a record company or influencer to catch onto your track, to like it in a way that connects with their other material. Music promotion companies such as Label Radar or Groover provide this service, enticing you to pitch your music to an endless supply of record companies. It does work. Some of my tracks get taken up and then you are onto stage 2. Promoting your track. Friends and family will sometimes listen but reaching beyond is so difficult, battling the tide of artists who have also released music that day. Estimates range between 60 to 100k releases per day. Every day. Still, you turn on 6 Music and Marvin Gaye is thoughtfully crooning along. Wonderwall is still building. The Smile continue to sound like Radiohead, but without the iconic songs. The Gatekeepers have shut the door and thrown away the key for infinity and beyond. Wham! and Last Christmas the two top documentaries. Nostalgia, nostalgia. So, should you keep making music I hear you cry? Maybe there should be an amnesty, no more music until we have filtered out all which is blocking, a year of silence to contemplate, think where creativity is taking us all. A year for everyone to prepare, restart culture. To try new instruments that have never been part of your world, the true blank space of creativity. Innovation through ignorance. Musicking is personal, moving your head from thoughts of Top of the Pops and stardom to a process, going through something cathartic. You need to make the music for yourself, to get what is inside out. The pure self. Anyway, I still check my Spotify streams, have extreme pleasure when it says that someone is listening to my latest track Rise up by Inochi. In-Oh-Chee. Japanese for life energy, I think. Check it out on all streaming platforms. So maybe that is the point, personal satisfaction that someone somewhere gets it, gets you. Listens to you. Reads your words. Takes time to connect their life with yours. Or maybe it’s just a release, an internal burden which needs to be set free. Our lives are time stamped by the creativity of others, remembering different eras, innovative sounds or combinations of the audio and visual, stopping us in our tracks, providing new directions and thought processes. Picking a random book from the shelf of a library stack that alters your thinking, the ideas of others taking centre stage and manipulating your life in a certain direction. We need creativity to keep us sane, provide a reason for being. It is one of the most important elements so should be embraced fully, hugged to death, translating thoughts from your mind into actions. I am interested in bringing culture and creativity to rural locations, having moved from the city during the Covid pandemic, Stewart Lee’s sketch where he has friends who move to the countryside, to live an idyllic life but the reality is extreme boredom. They enquire to friends, please come and visit; bring coke. He has only a horse to talk to now. The buzz of the city replaced by peace and calm only works if you can have a balance. A vibrant life where the beauty and purity of nature and culture intersect. An internal smile. My research is based on exploring the infrastructure and innovative ideas you can collate which forms a rural scene or scenius, finding the people and locations, stories and place. A collective will to develop culture, a blank canvas on which anything can be drawn. No competition. If you create it they will come, bringing thoughts from everyone’s head into realisation. Collective intelligence and ignorance brought beautifully together.
On 1st December 2016 I took the train from Bristol Temple Meads to London Paddington. It was one of those beautiful rare clear cold sunny vibrant winter days, one where the trains ran on time, everyone had a seat and enough room to spread out. I was very excited. At 11.47 precisely I was transported to the ornate iron and glass door of a mews house in Ladbrook Grove. Just about to knock on the pane I see a figure furtively rustling around the colourful and bright studio space. Picking up objects, transferring them, bustling around with what seemed like an ever enlarging grin on his face. A medium set bald guy with a kind of beard. Ah Brian, there you are. I was transfixed. I wanted to keep just watching. I did for about 11 minutes before I walked away a few stops and came back to the door to knock. Brian was welcoming and lovely, making me a large cup of his wizards tea.
During our session, artist musician Brian Eno demonstrated Chaos Theory with his 2 handed pendulum, where simple motion on the first one creates infinite non repeated movements on the second. So, a little nudge one way can send all kinds of confusion across the next, thereby subordinating populations. Collective consciousness came through in punk, hip hop, techno, jungle etc.. through commonalities of fashion, style, music, art, taste, lifestyle, place, rhythm, dance. There are instigators, those key people who lead the collective in a certain direction. We are all swayed in some way, which can be a positive in cultural scenes but have global destroying effects in political spheres.
Brian Eno hanging out with the German electronic musicians of Kluster, provided the time and space for creative exploration by dropping out and living in their Kommune for a while. London squats were the beating heart of the emerging punk scene, and within Western Europe.
Our connections to our lands, our ancestors, spaces and places, kneeling in the soil, digging the garden, the new rock and roll as Cosey Fanni Tutti and Kim Wilde continue to show. I’m sure Brian Eno potters around hot tomato plants, winding them carefully up their strings, reaching to the sky. Little glowing red orbs gradually appearing. The Farmers Boys and Girls in their Norfolk greenhouses. Sets of allotments are the socio-cultural space for the new creatives, or the old creatives who need to be in touch with their land, the city dweller who yearns for the countryside, everyone effected by global cost of living crises, where pulling up your evening meal from the ground can offset ever rising food prices.
Roxy Music keyboard knob twiddler Brian Eno learnt about the power of humour through his art school adventures with tutor Roy Ascott. His first lessons at art school included devising personality tests, where students had to enact the opposite traits they normally displayed. For chatterbox Eno, he had to remain silent for the sessions and let other people lead projects. When becoming a record producer, Eno introduced concepts relating to getting artists out of their normal comfort zone so that they would maximise their self in performances and composition ideas, without the usual routines or trappings. The Oblique Strategy cards he created with artist Peter Schmidt contains humorous, tasks such as play with your non dominant hand, do something boring or emphasise the flaws, whilst also suggesting role play ideas to bands including pretending to be an alien funk band from the year 2055.
Brian and I had a good chat. He showed me 2 floor standing safes, saturated with notebooks, relaying pictures and concepts from years of doodling and thinking. A time bandit. Brian got on his fold up bike and scooted off for a meeting with George Monbiot. See you again Brian.
Everyone recognises their epoch as the modern world. We live in a modern world. We have always done so, back to JC (not Jeremy Corbyn) himself, announcing wow what a modern world I have created (sic). What constitutes modern? AI or AC? We seem to be constantly moving towards Tomorrow’s World, futuristic presenters Raymond Baxter or Judith Hann pronouncing new inventions which will change our lives on the BBC programme. Kraftwerk robotically striking synthesised drum pads. The computer, that most modern world invention. Everything is controlled by them, from cavernous rooms filled with metal boxes and spooled tape to small passages of text on the first desktop computer, really the IBM personal or ZX Spectrum. These devices seem even more futuristic now, more modern than when they arrived in the world. We are looking towards AI as our future, our saviour, our threat. A world where we can sit twiddling ever-expanding thumbs, surfing through an ever-increasing array of social media, yearning for a newspaper or weekly journal to plop onto the doormat. A reassuring and exciting presence, rather than a mini world, on a little screen in front of us. The modern world should be better. More nature. More free time. Greater freedom. A life worth living. Supporting the planet and actually enjoying it rather than mercilessly moving forwards, striving for the next thing. Samantha Harvey’s wonderful Booker prize winning Orbital, providing an expansive view from above, defining the gaseous layers which sweep around the little fluffy clouds of our beautiful orb.
AI has been around for ages, having a greater impact in certain areas. Music has utilised AI technology since the 1970s, through automated synthesisers, Kraftwerk on Tomorrow’s World, still looking futuristic today. AI will suddenly be implemented at pace, when everyone realises it has been there for so long, waiting in the wings for its opportunity to pounce. Early Dr Who episodes through stricken derelict London sites, Mad Max meets the time lord. Earthy. Dated. Tomorrow’s world is here today, always has been, constantly striving for the new, pushing forward in ever increasing ways that is meant to mean improvement, subtle alterations aimed at de-snagging. The present or future is not always improved. Thinking about my generation, we were lucky to have existed in a world that straddled the internet, saw rapid changes in technology but had a grounding in the analogue basics. Relate to the past but be excited about new technologies, providing a grounding so that AI isn’t let loose without contemplating the past, thinking about what will be missed, experience of technological advancement. Is there life on Mars? 1984 predicted a future before Big Brother, nasty Nick, a dystopian world which always seems to hang on a date slightly out of reach. How about 2032? That currently feels far enough away to have mystique so that the truth doesn’t need to be connected. A dream date. An impossible reality where everything is shiny and silver, silent, smooth, sensuous. The human condition of constantly looking forward whilst burying collective heads in sand about climate change. I mean the planet is always going to exist, things will be OK, global warming is a myth made up in a lab by boffins who are always proven wrong. Experts eh! The future will always be there, temptingly out of reach, tomorrow’s world ahead of today. In the blink of an eye time moves on, tempting new ideas just about in reach. AI can help unlock our lives, reduce the amount of time needed to be spent on daily chores, gathering information in seconds, the robot the research assistant of the future. Or the present really as the future has always been with us, just moments ahead. Iconic German band Kraftwerk still feel so futuristic, ahead of the game, computer dummies producing evocative minimalist music to cycle to. But there is a stark coldness to the thought of AI, not something comfy and fluffy. Images of sheet metal glistening in a bright orange glow, the ozone layer thinning daily, the end of days feeling nearer as our world becomes increasingly dystopian.
New Orleans soul singer Acantha Lang is performing at the Marine Theatre Lyme Regis Dorset on Friday 6th December, supported by two top Funk and Soul DJ’s. It’s an unbelievable coup for the town and area so here is some info about Acantha
“She’s brilliant … destined for world domination.”
The Craig Charles Funk & Soul Show, BBC 6Music
New Orleans-born (London-based) rising Soul artist Acantha Lang has been compared to legends Aretha Franklin and Gladys Knight. Her acclaimed debut album ‘Beautiful Dreams,’ released in 2023, charted at #3 on The Official UK Jazz & Blues Albums Chart, garnering critical praise and rave reviews with 5-star ratings in Echoes Magazine and Soul Bag Magazine (France). Acantha graced the covers of the iconic Blues & Soul and Echoes Magazines and received Album of the Month honours from Soul Tracks, Relix, American Songwriter, KCRW’s ‘Top Tune,’ and more. Tastemaker Craig Charles (BBC 6Music’s Funk & Soul Show) notes: “She’s brilliant…destined for world domination.”
Lang has also been captivating audiences globally, making her US TV debut on CBS Saturday Morning and performing at the prestigious 2024 SXSW Music Festival in Austin, Texas, major venues in Spain and the UK, and renowned clubs like Bizz’Art (Paris, France) and Melkweg (Netherlands). In April 2024, she was a featured artist at The Dew Drop in New Orleans and performed alongside The New Mastersounds at The House of Blues and Blue Nile as part of the BACKBEAT Jazz Fest series during New Orleans Jazz Fest weekend where she met new fans like Anderson.Paak. She was also invited as a special guest for Jon Cleary at his sold-out show at the renowned Jazz Cafe in London.
Lang’s songwriting prowess was recognized before her solo career, crafting tracks for the GRAMMY-nominated Robert Randolph & The Family Band. Her debut EP, ‘Sugar Woman,’ earned her critical acclaim and the 2021 Soul Tracks Readers’ Choice Award for New Artist of the Year. She was also accepted into the Recording Academy’s (Grammy) 2022 member class.
Currently writing album #2 with further US and European touring to come off the back of a string of sold-out recent shows in Spain, this GRAMMY-nominated songwriter has established a dedicated legion of fans with her 13m+ viewed “Standing On The Shoulders Of” soul series.
With over 3 million streams and placements on top Spotify playlists like All Funked Up, Best Retro Songs, and Best Funk Songs of 2023, Lang’s music is resonating with a global audience. Radio support in the UK (BBC 6Music’s Funk & Soul Show) and the US (KCRW’s Top Tune of the Day) further solidifies her rising star status. Her most recently released single was a re-imagined funk cover of Bill Withers’ ‘Grandma’s Hands’, that was named Jazz FM’s Breakfast Show record of the week, added to the A List, plus also got love from esteemed DJ Trevor Nelson on BBC Radio 2. Acantha is currently preparing to return to the studio to write her sophomore album, slated for 2025
7th March is world book day, the opportunity for all those with young children to spend hours scrabbling around to try and match up to their neighbours attempts, whilst the kids hope they wont be too embarrassed by it all. What fun. Like National Women’s Day or Record Store Day or Black History Month, these are all worthy concepts, supporting better lives for all. Really, though, everyday should be World Book Day. Everyday should be equality of opportunity for all day. One Day should be watched every day.
In supporting the adult focus to WBD then please have a look at my first book, Blank Canvas, soon to be followed by Creative Spheres, deep, playful, anarchic, experimental and entertaining explorations of popular culture, with creativity centrally placed.
Now time to dress up as my favourite cultural icon …..
A fresh looking Brian Eno at Watford Art College (Mid 1970s)
With the collective there are checks and balances, the combined rhythmic and melodic impulses connect through the tissues of humans, vibrating naturally. Maybe this will fool the Artificial Intelligence (AI) bot, which can replicate individuals, but the collective human wave has the combination of randomness, continuity and subtlety that will defeat the programmer. We are the robots, do do do do. According to musicologist Michael Spitzer ‘music is something bred in our bones’. Can AI ever be expected to replicate the randomness of humans when placed together with ironic meta modern sentiments? The beauty of Kraftwerk was their humanity, they introduced the machine but with naivety (and great songs) at a point where the machine was not feared but excitement abounded due to the possibilities becoming available. Cybernetics pre-empting the internet. Mass communication through wires. There is something in AI which seems almost old fashioned, like watching sci-fi show Blake’s Seven on a wet and windy November Sunday afternoon. Kraftwerk still feel ultra-modern, the future whilst being embedded in the past. AI seems comically uncultured, taking Kanye West’s vocals for example you can create your own representation of one of his tracks. Is this innovation or legitimising the cover artist, providing creative potential for the masses based on what has happened before. Kraftwerk were innovative, generally ignoring the past, tomorrow’s world. AI has been around for years in music, a secret alien takeover kept quiet from the general populace since the sequencer became embedded in the Roland SH101 mono synth or as a standalone sequencer in the battleship grey Alesis MMT8. Automation in ProTools or Logic software programmes then arrived. Preset sounds built into music making modules are programmers deciding what sounds you would like to use in their machines, providing an AI style link. The Roland TB303 bassline was designed as a bass emulator, a robotic bass player, rather than the squelching acid machine it became. The machine was out of control, a Frankenstein monster let loose by its inventor.
In 1983 I left school for college and embarked on an adventure to the South of France, with my band mates Hoedown at Hanks in legendary Transit van The Cow, hub caps designed like Newcastle Brown bottle tops. In music worlds other things were also occurring…
Pop critic Paul Morley talks about 1973 as an iconic year within both classical and popular Western music worlds, with releases from Roxy Music to Steve Reich to Bach (?). Our Covid19 neighbour and friend downstairs Matt Davies, alternatively sees 1983 as the most vital year for music. Billy Jean has got your number walking down the pathway, ligting up dancefloors across the globe up. The three members of the Thompson Twins have love on your side whilst in rural Bath, UK the Roman Baths echo to the pain of Tears for Fears. Sweet Dreams and Let’s Dance are two iconic tracks that are played as much today, with the Eurythmics track the theme to the Women’s football world cup in Australia. We come from the land down under, where women glow and men plunder. Still true indeed Louis Rubiales. If you ever get a song stuck in your head, known as an earworm, then listening to a few bars of Karma Chameleon will sort you out. Looking forward, Prince was yet to be symbol but he could predict the millennium bug. Rip it up by Orange Juice. Everything Counts for Depeche Mode, introducing a new synthesised aesthetic to pop worlds, taking the sound of underground electronica into the hit parade. A youthful madame Ciccone was having a Holiday in Club Tropicana with George and friends. This Charming Man, True, Let the Music Play on New Years Day. I was young, Too Shy Shy, hush hush to be much of a Love Cat, Oblivious that Love is a Battlefield. Wow what a year, where the scenius was popular music in general, an epoch where a combination of scenii interact, snowballing Over and Over, a year where popular culture turned to Gold.
I have been on a journey writing my second book for what has probably been about a year now. Everyday I get up at 6am and write for an hour, letting my unconscious lead me, a time where the troubled mind has yet to arrive, a pure blank canvas. Today the sign of prosperity and hope arrived:
I try to ignore milestones, just write and then later edit, allowing the flow to take control. These are the words as I passed 88888
Dancing is a way of staying fit without the conscious effort. In fact I sometimes go to a dance fit class at my local gym, where I am the only bloke. It’s a tough class that makes me laugh. Some people have been attending for years, creating their own mini scenius, joy unbound. Dancing with friends to great mixes, DJ’s who are really taking the group on a journey that resonates, reinforcing your connection to your friends, the feeling that you are in the best place in the world, the only space that matters at that time. You rely on the DJ and dancing, remembering those special moments when DJ and audience combined in rapturous harmony. DJ Rod Davies at the New Milton Town Hall in 1981 spinning early Depeche Mode or Heaven 17; the Unity St club in Bristol, 1986, water dripping from the ceiling to the deep dark underworld of the Dug Out; the Whirl-y-Gig at Womad festival, connecting world and electronic music in the open air; the Blue Note, Hoxton of course, a tunnel of love; Planet Shroom or Megadog, adding a large dose of psychedelics; to DJ Woodies mix at tiny, personal GrassRoots festival, a cohesive and reaffirming experience, taking you on a journey through pop, country, soul, hip hop, grime and dubstep with a drum and bass base. Dancing outside has a liberating and fresh feel. It feels right and celebratory of the earth rather than being surrounded by man-made objects. Everyones feet resonating with the ground and the earth coming back with its reflective vibrations. Dancing with stars flying over a Cornish sky, meteorites flashing occasional trails through the milky way. A unique feeling of connection with the world which the warmth of the English summer or paddling on a Thai beach can create. The collaborative flow between people who might have just met, each with their own small groups of mates sharing the love, all coming together, right now, over me. The rave, protest march, tube train on the first day back at work, the football crowd celebrating a last minute winner for the home team, watching a film at the cinema where the audience all gasp at the plot twist, a simultaneous flow., like traffic in Ho Chi Minh, Vietnam, interconnecting mopeds, each with individual lives and experiences circling around each other. They never seem to touch, let alone crash, in a whirlwind of impossibility millions of bikes head off in their individual directions for a common goal. Everyone going somewhere, existing, milling around.
