The visual, auditory and written multiverse of Dr Simon Strange
I am very excited to be part of the latest Generation Blitz album with the track Inochi: Terrain, a great CD, vinyl, streaming offering featuring all your favourite global electronic post punk artists. Out on pre-release now
https://generationblitz.bandcamp.com/album/generation-blitz-4-mutant-electro
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.
So for any people out there interested in creativity, especially within music, my first book, Blank Canvas, is available from Intellect Books. Remarkably good value for a book that straddles academic and commercial values. Lots of info from creative artists including Brian Eno, Pauline Black, Gavin Bryars, Barry Adamson, Roy Ascott, Gina Birch, Gaye Advert etc…..
Interesting article on Bandcamp. One of the main inspirations growing up for my love of electronic filmic music, 80s electronica and the synthwave revival.
https://daily.bandcamp.com/lists/tangerine-dream-album-list?utm_source=notification
Check out my Bandcamp page here: https://inochi1.bandcamp.com/album/intra
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)
Thoughts from the 3rd March.
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.
I am part of a fantastic line up of presenters, exploring the intersection between art and punk, on the afternoon and early evening of Wednesday 20th March at University of the Arts London (LCC campus – Elephant and Castle). It will be dynamic and exciting, intellectually stimulating and with some punk academic attitude.
https://www.arts.ac.uk/whats-on/torn-edges-punk,-art,-design,-history
Just before the onset of those traditional festivities where families argue or try and flick an After Eight from forehead to mouth without using fingers, I am speaking about connections between punk and jungle music genres at the wonderful Punk Scholars Network conference.………
Punk is timeless and extends beyond the year zero late 1970s definition and identification in which it is commonly held. In connecting to other time points and genres I interpret jungle as a genre which combines many of the same elements, reflecting on the wider connotations of punk, stepping into the Hardcore Continuum identified by music journalist Simon Reynolds which led through techno, jungle, drum and bass, dubstep, and grime.
Key elements of punk and jungle show equivalence: DIY, creative emancipation, postmodern eclecticism of genres, dole and squatting, technological shifts, subcultures, resetting the music landscape, minimalism, anyone can be a musician, pirate radio, delivering an original sonic difference. Visual arts also played a key role as jungle initially connected with graffiti whereas punk defined new fashion, emerging from Dada and art inspired spaces. Punk and jungle resonated sonically, music that is dynamic, danceable, and fluttered speaker membranes.
Every scene, or scenius (the genius of certain scenes – thanks Brian Eno), cooperative genius needs a key instigator to push it forward so within punk, managers Bernie Rhodes and Malcolm McLaren forged the scene whereas jungle was led by its musicians, specifically Goldie or Roni Size in London and Bristol respectively. Community spaces including key venues, rehearsal and recording studios also supported and defined both scenii (scenius in plural), from the Roxy to the Blue Note.
Acknowledging the punk continuum in preceding genres such as jungle, reduces retrospection and highlights future punk infused possibilities for popular music scenes related to inner city modern life.
Come along, its the most fun you can have in any conference anywhere ever!
Gradually we descend through the blustery moments of autumn hoping to arrive within the warm embrace of log fires, nights in and out, fluffy socks, pipe and slippers. A time to dive into creative pursuits to fight off the dark (k)nights. About a year ago I excitedly released my first book Blank Canvas, containing musing on creative development alongside a wonderful array of interviewees such as Brian Eno, Pauline Black, Bill Drummond, Stephen Mallinder, Gina Birch, Helen McCookerybook, Lester Square and the dearly departed Keith Levene. It has been great seeing its journey into the world.
Every morning through 2023 I have woken by 6am at the latest and furiously tapped away for an hour each day, conjuring up my next book Resonance. It is a semi autobiographical frolic through music scenes, using the concept of scenius (collective genius) as a lens. It’s currently a mash of ideas, thoughts, pages of autonomic writing, exploring individual to collective creativity. I always get over excited as I develop creative products, so I need to calm down and take a steady path to the finish line.
Here is a little snippet:
Resonance is a story of collective success through individual failure, where my own role petered out but the collective force continues to resonate and scenes run on. The genius of the Love – did did, do do did did. I’m going to have some fun. Fun lots of fun. And I did fail many times. Pulling apart the bellows of accordions through over vigorous activity, desperate to be heard. Playing a battered trombone which had more dents than tubing. Spending a month in a Southern Spanish villa where there was only local English cuisine available, rehearsing diligently parts for a new album which would all be completely scrapped on our return to Paris. Trying to synch multiple ADAT digital tape machines, time stretching over night, selling dodgy grey market synths on Charing Cross Road. I was working for a camping company based in Hemel Hempstead when I saw a small advert in the middle of a page in Loot, the ads paper of choice, looking for a hi-fi installer. I whizzed down to London, got offered the job, given a brand new silver Astra van, and was soon installing tech stuff for the rich and famous. Sultan of Brunei, Rodney Trotter, Bros, Pamela Bordes and Princess Diana. I am terrible at DIY and managed to place a Bang and Olufsen flat speaker on one of her walls, walk gently away and it crashed to the floor, ripping its brackets out and leaving a great gash. We quickly left. The company (Le Set) went out of business soon after. Hi-Fi was big business in the 1980s. People bought high quality boxes and spent fortunes on ever shorter cables, hoping to experience every nuance of sound that recording studios imparted. Listening for pleasure, placing your favourite seat equidistance between your KEF or Quad Electrostatics. The Linn Sondek, imperfect perfection. Sound quality was universal, something to seek out and aspire to. I’m not sure our latest mp3s can remember those times.
Blank Canvas can be purchased directly from the wonderful people at Intellect publishing or through all good retailers.
https://www.intellectbooks.com/blank-canvas
https://www.pagesofhackney.co.uk/webshop/product/blank-canvas-simon-strange/
Watching Top of the Pops at 7pm on a Thursday evening in the 1980s. There were only 3 channels, or 2 if you were from a strictly English middle class background and banned from watching the sin of ITV, where adverts and common accents prevailed. Friday mornings saw avid discussion of the latest fashion, moves, sounds, tribes drily piped into our homes by John Peel or his overly smiley fellow presenters. Peel was an instigator, someone who broke the norm but was high profile, someone you could get behind and follow.
There were other Radio 1 DJs in the UK such as Annie Nightingale, David “Kid” Jensen, and Janice Long who were also important but less resonant. Without Peel these DJ’s might not have successfully traversed mainstream and underground arenas. One person centrifugally centred, orbits spinning right round baby right around his beloved Liverpool.
On 25th October 2004 John Peel died at the same moment that my youngest daughter was whizzing into the world, catapulted out and almost immediately tying herself in knots by an overly long umbilical cord. as is tradition, I kept a copy of the newspaper from her birth day, splashed with news of Peel’s untimely death. An icon who had informed the music tastes of millions, defined genres, was gone at the same moment my lovely new daughter was born. I’m sure she will have as much impact but in a different way.
