on life, music etc beyond mainstream


2018 11 Mrz

Adieu sweet bahnhof

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I have been waiting for hours in this train
And I’m riding through Brussels in the rain
Back to Paris more or less confused
By the shadows of tractors on the land
By the changes in my life I pretend
There’s a new life waiting there for me
I asked myself what sort of books I’d read
In a train if I ever felt the need
I bought „My life with Picasso“
I think of so many things I like to do
I will go to the Centre Pompidou
There’s a still-life part of my life too
Adieu, adieu sweet bahnhof
My train of thoughts is leaving tonight
Now like an arrow we’re aimed at Gare du Nord
Between backs of the houses streets like fjords
And the night falls over Paris
So I’ve come back to the Hotel d’Angleterre
I lay down on a double bed and stare
At the ceiling what a feeling (to be back)
Adieu, adieu sweet bahnhof
My train of thoughts is leaving

2018 7 Mrz

Music for Installations

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You know that investment yo u made in steel reinforcements for your music shelves? It’s about to pay off, big time. 4th May will see the worldwide release of UMC’s Music for Installations, a new box set that collects some of the music Brian has created for his video and sound installations from 1985 through to 2017 and beyond. Will be released in May, the month of his 70th birthday.

Designed by Brian and his long-time collaborator Nick Robertson, the beautifully bound package comes with a 64-page ubooklet featuring rare and unseen exhibition photographs and a new essay written by Eno. A few pieces were previously released through EnoShop and Lumen London but are difficult to find now, and there is a fair amount of unfamiliar and new material. For tracklisting go to EnoWeb on our blog roll …

„Its mind-boggling, cortex-wobbling, craniofacial-splintering images are there to trigger awe or even a kind of ecstatic despair at the idea of a post-human future, and what it means to imagine the wreck of our current form of homo sapiens. Evolution has not finished yet, any more than it was finished 100,000 years ago. As so often in literature and cinema, we are reminded that science fiction is there to tackle big ideas, and makes realist genres look flimsy and parochial. This film delivers pure hallucinatory craziness that leaves you hyperventilating.“

(Peter Bradshaw, The Guardian)








not for reason mixed with treason

not for all these beloved seasons (darling buds of may)

(the dust department has been closed recently)

no matter  what john d. and ross macdonald might add

or subtract and subvert

i am fighting for the first daylight

of  all your tomorrow mornings

(i would even paint the dawn)


Dear Gregor,


my German is not good enough to make it public, but I’ve been reading your column for quite some  time now (with a little help of a friend from Hamburg). You are really keen on vinyl, aren’t you!? I think it’s been well established at this point that vinyl is the enduring physical medium. Vinyl has already been at death’s door a couple of times in recent history, both when cassettes became the most popular format in the early ’80s and then again in the ’90s when the CD grew to dominate the market. We can debate why vinyl keeps surviving these onslaughts, is it actual vs perceived sound quality, the collectible nature, the intangible cool factor, but the fact remains, records simply will not go away. Even during those eras when it was being forced out to a large degree by newer formats, a hardcore collector market remained and was still actively buying and selling vinyl.

Having said that, I do think certain segments of the vinyl market are not sustainable. The idea that every release needs to come out in multi-color limited variants or a deluxe box set nearing the $100 price point just doesn’t seem to have enough demand for it to be a viable concept long term. As someone who buys some of these products, I can tell you that a large percentage of these titles end up being drastically discounted several months down the road when retailers need to purge dead inventory.

Once we get over the paradigm that every record is a potential collector’s item and get back to it merely being a preferred way to enjoy music, I think the talk of the “vinyl bubble” will cease and we can get back to just buying records for more utilitarian purposes as opposed to investing in them. So that’s what I think the future of vinyl really is, I can definitely envision a time when it’s the only physical format and everything else is just digital, or brain implant or whatever crazy technology is coming next. But there will always be people who want to hold an album in their hands, put it on a physical player and kick back with the liner notes and album art. Those folks will be listening to vinyl for a very long time.

As for record of last  year, the champ to beat in my mind is Father John Misty – Pure Comedy. The production is just immaculate, perfectly balancing strings, horns, vocals and even some electronic elements into a coherent and lush whole. And lyrically the guy is just going for it, a truly scathing critique of modern culture and his own role in it. I was a big fan of I Love You, Honeybear, but he really took it to another level with this one, at the risk of alienating a lot of people as well, which in my mind really paid off. Sure it’s kind of a downer, but as an artistic statement, it’s definitely an ambitiously brilliant work.


XO, J. Hicks


(and my kindest regards for all „Manafonistas“ around whatever that name means, seems to be a riddle, ha!)


HOUR ONE (new albums) – Dictaphone / Dictaphone // Norma Winstone / Norma Winstone // Roger Eno / Roger Eno // Andy Sheppard  / Andy Sheppard // Nils Frahm / Nils Frahm


HOUR TWO (new albums) – (Sternzeit) // Tocotronic / Fire! (two tracks, „a stone-cold, hot-blooded cracker“ (Michael Engelbrecht, Bagles and Beans, Aachen)) // Elephant9 (two tracks) // Laurie Anderson with Kronos Quartet (two tracks) / Nicolas Masson // Kim Myhr 


HOUR THREE (close-up) – „Ozeanische Gefühle und andere Rauschzustände – die Musik von Flying Saucer Attack (from the albums „Distance“, „Further“, „Chorus“, „New Lands“ and „Instrumentals“) 



(time travel 1) – „Paris 1975“, feat. space-rock band Heldon with Richard Pinhas, and the real and imagined reverberations of Fripp & Eno raising eyebrows among Roxy- and Prog-afficionados.



(time travel 2) – Richard Horovitz: „Eros in Arabia“ – His career has seen him work with a list of names such as David Byrne, Jon Hassell, The Kronos Quartet, Bill Laswell, and Suzanne Vega. Contribute to Steven Halpern`s New Age creations. Records with Teheran-born vocalist Sussan Deyhim. Collaborate with Ryuichi Sakamoto on The Sheltering Sky. Score countless other films and installations. Eros In Arabia was originally self-released in 1981. Full of sustained harmonies and supernatural winds. Whispering ancient tales of heroes and heroines. Twisting chimes and percussion. Distorting into an Industrial mystic. Rhythmic chant colliding with bar room piano and harpsichord. Increasing in frequency, gamelan-like. Machines melting the hammered gongs to mercury. Steel screams and close mic`ed stress fractures.

(time travel 3) – A selection of bird recordings, with solo performers, communal displays and soundscapes containing many different species, including two tracks that feature mammals. The recordings come from locations as diverse as Moroccan deserts, the Canadian tundra and the Siberian taiga. Selected highlights from 17 years of recording the sounds of birds and other animals. Whether it’s a thawing lake in the Canadian Arctic, a narrow plateau on a desert island in the Atlantic, the eaves of a house in a Spanish village or the roof of a yurt on the Mongolian steppes, these bird sound recordings will take you to places you’ve never been. Previously unpublished highlights from 17 years of travelling and collecting, with almost twice as many tracks on the accompanying USB. And, in between, from another vinyl revelation by EEC Records, one song about the end of the world (oh, there are birds, too!), and, perhaps, another one that has yet to be chosen. 


2018 3 Feb

Roxy Who …?

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„Very few people are aware of this fact, and it’s something that you will never hear referred to in press or media profiles of Brian Eno, but he actually began his 1970s musical career as a member of the group Roxy Music. Marvel as EnoWeb brings you another obscure item of Pop’n’Rock trivia! Anyway, the band’s eponymous first LP has been re-released as a four-disc 12 x 12 Super Deluxe Edition featuring previously unreleased demos, outtakes, radio sessions, rare footage, 136-page book and a 5.1 remix by Steven Wilson.“ 


2018 2 Feb


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Producer and sound engineer David Singleton has maintained an excellent overall balance when remixing the Summit Studio sessions from the original multi-tracks, providing a very live quad audio mix. Even the boxy club feel of Ian Wallace’s drums which spread across the front channels while reflecting in the rears add to the appeal of this live performance. Staples include “21st Century Schizoid Man,” “Pictures of a City,” and “Sailor’s Tale.” You may find yourself repeatadly spinning “The Creator Has a Master Plan” with its hypnotic jazz groove that spills into a nasty 12-bar blues lick, then returning you back to where you started.

(Wesley Derbyshire)

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