Jumble Hole Clough: What I Did On My Holidays

Colin Robinson found himself drifting away from the ambient niche he set out to explore when he started recording the tracks for What I Did On My Holidays, the new album by his one-man avant-garde project Jumble Hole Clough. He could not resist adding a bunch of quirky instrumentals as well, which makes sense after he stumbled upon a picture of two comics and a musician and get the creative juices flowing and write A Photo Of Morecambe & Wise With Bert Weedon At A Tripe Stall In Great Yarmouth.

The two parts of the upbeat The Dockers' Umbrella set the stage for As Far From The Coast As Feasible, bringing a sense of foreboding that a shit load of water is making its way in land - Robinson lives in Hebden Bridge in West Yorkshire, a town that has had its fair share of flooding. There's My Cousin With His Hankie On His Head was obviously inspired by Monty Python acting silly in their Gumbys guise. 2020 As Seen From 1960 is a retro-Sci-Fi theme, using old school effects to capture the current lockdown when viewed as a nightmare scenario from the past.

Elizabeth and the Catapult: "together, alone" video

Brooklyn indie pop band Elizabeth and the Catapult have made a video for together, alone, the lead single from their forthcoming new album sincerely, e. It is a song about being addicted to mobile phones, even more so during the pandemic: "my brain is connected to my hand is connected to my phone; no one stops anymore; always ready for that next big thing". It makes perfect sense to use the ceaseless stream on the device for the clip to drive home the message.

The New Yorker: Rewinding Jimi Hendrix’s National Anthem

Paul Grimstad delves into the cultural signifance of Jimi Hendrix playing The Star-Spangled Banner at Woodstock in 1969 in an article for The New Yorker:

The solo might also be registering a different war, one that had been going on at home. The previous year, Martin Luther King, Jr., had been fatally shot at the Lorraine Motel, in Memphis, and the blow delivered to the civil-rights movement—centrally inspired by King’s dream of a time “when people will not be judged by the color of their skin but by the content of their character”—seems somehow part of the rage flying out of Hendrix’s amplifiers. All the exalted ideals of the American experiment, and the bitterness of its contradictions and hypocrisies, are placed in volatile admixture through an utterly American contraption, a device you might say is the result of a collaboration between Benjamin Franklin, Leo Fender , and Sister Rosetta Tharpe, the mongrel machine that Hendrix made into a medium for a new kind of virtuosity. In the Woodstock performance of the national anthem, we find that an electric guitar can be made to convey the feeling that the country’s history could be melted down, remolded, and given a new shape.

» jimihendrix.com

Maquinas: "O Cão de Toda Noite Ao Vivo" session

Watch Brazilian post-rock quintet Maquinas play songs from their 2019 O Cão de Toda Noite Ao (The Hound of Every Night). Jazzy post-punk that is soothing and gently swaying, with the band's two guitarists playing catch.

» Maquinas on Facebook

Tape Op "DISCussion" Episode 8: Maryam Qudus

Tape Op has launched another podcast series: DISCussion. They get on the phone with an artist to discuss an album they love. In episode 8 Maryam Qudus talks about Stereolab's Sound-Dust.

» tapeop.com