Show Notes Episode 116 (03/10/2016)

This week’s episode was a non-vocal show because of life getting in the way of me recording a show. Instead, I threw together an hour of music that would have been on the show for this week. I have realised that with a 2 year old, a heavily pregnant wife, and later a brand new baby, the show might have to take a back seat for a while, and recording a show is hard to get an hour of quiet time for in my home studio. Instead, these shows seem like a better way of making sure I keep putting out episodes of good music and in the future will return to being a true vocal podcast once things settle down.

In the meantime, I have decided that it might be worthwhile kicking back up the “Show Notes” idea, where I write a bit about each track and artist as if I was doing the show live. So here’s episode 116’s show notes. You can listen to the show under this post as you read, you like.

First off, it might be worthwhile noting the awesome artwork for this week’s show. As mentioned before, each week’s artwork is a totally original composition created by myself. I have been making these artworks for my shows since 2012’s experiment with the old Wednesday Graveyard podcast which predates the Monday Graveyard. That means that for 115 episodes the artwork has been developed entirely by myself with only one exception; Phoenix York submitted his own artwork, to which I modified for the show’s aesthetic. I have also created all the assets and logos used on social media to advertise the show. I have also had a Monday Graveyard Instagram account since the beginning but it was difficult to use before the recent multi-account support.

This weeks’ artwork is however a bit different from the usual style of landscapes. It is an original composition by long-time friend of the show Body in the Thames who, over a few days a few weeks ago, uploaded some amazing art for a future BITT release, and after a chat on Twitter with himself and another listener, he gifted this amazing artwork to the show. Go and check out his most recent releases here. I love the artwork.

The shows starts with Jherek Bischoff’s Closer to Closure (at 0.00) which is a dark neo-classical work that I’ve utterly fallen for. I found the album a few months back and it is just simply dark, deep and a pretty doom-y way to start this show. I mean, it’s full of organic instrumentation that is worked into ghostly sounds and the album packs a pretty orchestral punch that always gets me interested. The line between ambient and neo-classical is sometimes bridged by noise and abrasive sound, like Ben Frost or Tim Hecker, but Jherek manages to find in amongst this harsh sound beauty, which is always a fabulous thing.

The second track is the title track from the new album by Monday Graveyard favourite Tycho, titled Epoch (at 5.18). When they first released this a few weeks back it felt like return to form, as you might remember that I didn’t fully care for their last album Awake. I adore Dive and this seemed like a return to that. Having now listened to the new album (which was released on digital formats by surprise on the 30th of September) I feel like it is a mix of both, but is pretty lovely to listen to and I’m enjoying getting to know it better each time I listen to it.

The next two tracks are 2 8 1 4’s Lost in a Dream (at 11.00) and Olan Mill and Alex Lucas’ Ibro (at 18.04) which are a perfect pairing of dark and deep electronica and piano work. Olan Mill is a longtime MG alumni appearing on the earliest shows available. After that is the bleepy drone of Ketev’s Stripes from the House of the Shaman (at 20.48) which leads you down a trippy sonic hallway (and feels pretty insane on headphones).

Ben Chatwin is another long-time MG alumni featuring in both his name and his artist name of Talvihorros. This is a cut from the new album Heat and Entropy released in July of this year, and is another unsettling shift in tone for the artist. I’m going to lift directly from the PR speak for this track because it’s awesome; apparently, on Standing Waves (at 26.45) “he attached pieces of metal, rubber and tape to the piano strings” which makes the sounds even more wonderful in that they sound other-worldly as percussive elements.

It is worth mentioning Bamnan who debuts on the show with a track titled Quaratine (at 36.29). Bamnan is the artist name of Colin Mawson who I’ve known for many years after meeting on a message forum. We have kept in touch a bit, and he’s listened to the show for a while now, and I’ve been looking at putting on his tracks on the show for months and maybe even years. A few years ago he released an album titled Motivation to Soundcloud and I still listen to it. This track is taken from a new release on Soundcloud titled Threat of Violins which continues his growth into something truly wonderful. I wish more people knew of his work, as it deserves wider recognition.

As most shows are filled for time with some chat, there was a shortfall of around 10 minutes in this show when putting it together. Normally, the music runs to 50 minutes, so needing a ten minute piece, Mogwai came to mind, and I thought immediately of classic Christmas Steps. The alternative version, Xmas Steps, was also considered, and both are great, but I have a penchant for the album Come On Die Young, which is my favourite release of theirs. Mogwai’s work is just a staggering set of albums and material and even their most recent work stands the test of time, in my opinion. The second to last track comes from a recommendation from Craig from Very Very Small Inclusions who put in touch with this album – Xiu Xiu Plays the Music of Twin Peaks. This, Laura Palmer’s Theme (at 51.28) is a great reinterpretation of the series’ theme. My dad recommended me the show after my fandom of The X Files was so high, and after watching the first episodes I was hooked on the music and the whole series. I am excited for the revival next year, and that the original composer is coming back, but wary too. I don’t think the original series is untouchable and perfect in any way, but to capture that moment again might be difficult.

To end the show I return to a cult favourite of mine, Hills West with The Cold in the Rain (at 56.21). A great almost lazy way to the show.