horsemouth is back from catastro*/FILLE's where he was recording with catastro*/FILLE and enza.
catastro*/FILLE had a guitar instrumental (a verse in G a chorus in D). enza had a poem. when those two had been successfully united (by dint of sheer hard work) then horsemouth the guitarist could go to work. the verse came together pretty quickly - a niggling african thing that to horsemouth's surprise ended of ascending up into the heavens soukous style, the chorus was more problematic. horsemouth tried a rock thing based around suke's chords (but it swamped suke's guitar so that went in the bin). he then got out the ebow and the slide and did some glissando-style howling and that seemed to please people (though he's been asked to think of something else as well for next time).
the next time the three musketeers meet it's enza's turn to step up and record a tighter vocal line. horsemouth then has to pull something new out of the bag for the chorus.
curiously the song ends up sounding like nothing so much as the trials and tribulations of the soul in the afterlife.
meanwhile horsemouth is up and about and the faheyistas are up in arms. fahey has been slurred as some kind of a racist in the new york times in a piece on the diversity of the american primitive guitar genre (looks like the repudiations are going in as we speak).
meanwhile (70 years ago) it's the opening of the live architecture exhibition for the festival of britain with a temporary exhibition on the site north of east india dock road and between saracen street and upper north street. it will be the dome of its day, visitor numbers will be disappointing, it closed on 28th september, 'with as little ceremony as it had opened'. the housing built as a result of it has lasted however, and much of it will survive poplar harca's 'redevelopment'.
No comments:
Post a Comment