This page is blank.
This page is blank.
A few years ago I stumbled across an un-labeled CD of my own making, back when making CDs was today's equivalent of making a Spotify playlist. I listened to the entire tracklisting, as if it were a timewarp, and also pretending it was a test: at some point in my life these songs were the ones I wanted to listen to... could I remember them all? The answer was, amusingly, almost yes.
I bring this up because doing these companion blog posts for each prerecorded show is a good way of keeping in touch and making sure each show has "worked", but also as a funny way of seeing if I can even remember recording the shows. Last week's "first" PR episode was easily the worst. If you have been here since the beginning, the show started out as a prerecorded show, before growing up into a live experience that you hear now. The thing was that I had de-learned how to use the Studio 2 system (which is far more complex than that of the Studio 1 desk by a long way).
What it meant was that each show ended up sounding slightly different, because all it takes is a slight move of one knob on the desk (which is a plethora of different settings) that I honestly don't fully understand how some of them work. Some episodes sound better than others - this week's sounds amazing. Something was set up prefectly.
I played a few really great tracks tonight; the Xela album is brilliant, and the Christopher Bissonette track is one of my all time favourites. Also, how about that Ancient Astronaut track? Almost trip-hop post-rock?
Thanks for listening to the show as we go through this break and thanks for reading these posts. Get in touch, please, let me know how you feel the show has been going.
The pause in live shows is here, and for that I am simultaneously happy and sad. You see, I love doing the live shows. They are the life blood of the show, in my opinion, and they are what makes doing this show so enjoyable for me. I might joke on the shows that I don't get any texts, but I have a loyal band of friends, fans and DJs who listen each week, and when they get in touch (live or otherwise, of course) it is a thrill. I love the reactions to the shows, the music I play, and the themes that I work into the show. The LAPD show, for instance, or the Micro Label show we the exact reason I wanted to do this show on Pulse.
Now, for good reason, I have had to stop doing the prerecords. It is one of the reasons I started doing these companion blogs, actually, because they were recorded well in advance of their airing - this episode, the first, was recorded back in May (!) and it feels odd to be so disconnected from the show and what I am playing out.
I am happy though to not be at the station at 11pm on Monday nights; I need the sleep. You have no idea how tired I have been ever since starting the show in December (my wife will attest to that) and considering that the show was commissioned the same weekend that we discovered we were pregnant, it's nice to have an early bed on Monday night...
...well, a relative early bed. I did listen to the show, in my bed, but not having to drive home from the station at 12.45am is a good thing.
This week's show was an odd one - at the point of conception I'd still not 100% confirmed my approach, and the tracks were mostly off-cuts, unused tracks from the previous 24 or so shows. This gives it a bit of a disjointed vibe, but it holds together. The centrepiece of the Matthew Dear track works better than I thought at the time.
Please, stay in touch. I spent a lot of time on some of the shows, and there's a few crackers coming up.
Sometimes, doing a Scottish based show can be quite daunting. I find that doing these shows that are localised draws upon a little bit of the difficulty of modern music listening, because without borders I can just plug into musi from pretty much anywhere in the world immediately. The electronic music genres are really easy to suffer from this issue, buecase they (in most cases) don’t do endless gigging to build up a fanbase, unlike indie or rock based artists. As most of the music I listen and pla to laptop artists or artsits that process their work a lot, live sessions rarely are seen. I’ve seen a few amazing counter-cases to this, of course, but that community isn’t as strong with certain areas.
It is therefore sometimes hard to pull out some artists you like from an area. For this show, however, I kinda loosened my original goal of “new” music from Scotland, unlike the previous show, and I just popped on a load of stuff I like. That’s why there’s loads of Boards on the show (more than I said on air) and a few other older tracks that I have kicking around the playlists.
Anyway, this week was fun and also features some new artists too – LAW, for example, Cloud, or even Infant Telethon. All worth while checking out.
I’ll see you at the prerecord next week.
PS. That is my dog, Uncle Frank.
A few years ago I used to do my own home-grown podcasts known as the Wednesday Graveyard. I did this as an outlet for my love of music and also as a way to have my own radio show. In fact, recently using Timehop I found a tweet from five years ago where I ask someone to give me my own radio show, which I know have. Neat, huh?
Anyway, I did this mostly for my friends and such, and this meant that it was a pretty closed and small feedback loop, but still it was nice to get some comments. A friend, Laura, challenged me (or asked me if I had considered it, which I had) to do a show featuring female only artists, and I did. You can listen to that below, and I still think it's a really good episode despite the meandering of my chat and voice during the episode.
Fast forward a few years and I now have a show on FM radio, and I had considered a female artist show before but when Fragile X was on the show he asked if I had done one, and I said no, but that I had been planning one.
You see, here's the thing - I don't really think about the sex or gender of the artists that I play out. Some times when going through a playlist I will notice that there are a lot of men on the list, and I can imagine that the metrics on the number of female artists I listen to and have played out won't make nice reading. I do, however, realise that there are loads of fabulous artists out there and the gender doesn't make any difference to me in that I am neither bias against or for them but that, as a man on radio, I am actually part of the problem.
I ask myself, almost every week, why don't I play more female artists when some of my favourite albums of the past few years have been female artists? Is it because I'm inherently sexist no matter how hard I try? Is it because I am blithley naive, as a man, and don't even notice it? Or is it that there just isn't the number of female artists compared to male artists, either making music or with exposure? If that's the case, why the fuck is that the case?
I can't tell if it's a good thing that I have done a female spotlight show, or a bad thing that I even have to do one.
Well, I don't know. I don't know why that's the case. But this episode, number 30, is one of my favourites I've ever done. As you may note, in my voice there is a tone of almost religious reverence, and that's because the music genuinely blows me away.
Find some links below to the episode's featured artists and support them and the show, and always thanks for listening. I am trying to make the world a more equal and better place, but sometimes, as a man, I fear that I can't do it alone. Oh, and I'm about to be the father of a daughter, so I am terrified of not doing the right thing. Let me know if I have.
Each episode is tackled differently, each week, and I try to mix up what each show is going to feel like when listening live. Most weeks end up being a bit scattershot, or others are planned well in advance and end up being pretty impressive, but mostly it is just a scattering of tracks that seem to make sense when putting them together, and if I can weave a narrative together for the episode then that makes it better.
For this episode, however, I had the playlist set for several weeks and had been playing the show's tracks almost nonstop for the days leading up to the show. This used to be the case almost every week, but now with the Paternity Prerecords in full swing I've had anywhere from three to six shows in my head at any one time, and focusing on one show isn't an easy task.
This week though I had ran out of prerecorded episodes, reaching PR7 on Sunday, and that show had been playlisted weeks in advance. Now, I was ready to reboot the PR series with new tracks and new playlists, and as of writing this post it's up to PR13 now, which is likely to be the last prerecorded show anyway, which is great.
And that is the story of episode 29.
Amazon Links for Albums Played on the Show:
Welcome to the second companion blog post for this week’s episode. It had been a very warm and busy week leading up to this week’s episode that involved a load of cleaning of my house, building a nursery for the coming bairn, and a whole host of other things. To celebrate the asontishginly warm few days we have been having here in Glasgow and the rest of the UK I compiled a rather gloriously chilled out session for Monday’s show.
Following last week’s “nonsense” of a 32 minute song, I returned the show to it’s more normal format, with a 12 minute long track from Illuha and another from Chiehie Hatakeyama and Hakobune that pushed 23 minutes. However, the show was a non-stop show packed with 59 minutes of gloriously trippy and chilled out music, and I hope that it’s vibes were perfectly matched to your feelings, and that the heat and the subsequent lethargy was complimented by the cooling sounds of the artists I played.
Speaking of which, I had two labels of the week this week. Read a bit more about them below:
Formed by Taylor Dupree in 1997 as a place for minimal electronic music to be housed, 12k has featured a lot on the show in the course of the run, and will continue to do so as the show continues. Not only work from Mr Dupree himself in some case, but this week featured releases from Illuha and their 2014 album Akari and Fourcolor’s 2006 album Letter of Sounds both coming from 12k. Check out their homepage and check out the links below to releases on Amazon if you want to support the show – 5% of each sale goes back into the Monday Graveyard fund.
The times Denovali have been featured on the Monday Graveyard are too numerous to even be possible to comment on, but the label features favourites such as new signing Matthew Collings, this week’s play from Talvihorros, and others such as Field Rotation, Floex, Origamibiro, Petrels and Poppy Ackroyd. I have promised a Denovali based show, but due to the upcoming break, it has been hard to fit into the show’s planned future, and so I’m dripping stuff into the show right now and in the next couple of weeks. One thing I will say – keep an eye out for Swingfest, Denovali’s festival of their music and more. A 2015 date in London is planned, and in October there’s a date in Essen.
All that there is to say is thanks for listening to the show, share it around, and comment on the show in the usual ways. Use the links below to check out music from the artists played and support them and the show, if you can.
This episode was to do one thing – play BVDub. I had been saying for a long time, and maybe since way back in the beginning, that I wanted to explore the limits of what radio could afford me in terms of long form music, and this track had been looming for months and months, tempting me each week. The issue with playing a track that is 30+ minutes on what is essentially a 58 minute long show is that is certainly more than 50% of my running time. In fact, in this episode, the issue was that I had even less time, around 56 minutes, so my 58 minute playlist of music was going to be truncated by quite a bit.
The reason that had me stalling playing the music on the show was simple – I had music I wanted to play first. As you may notice, only three other tracks were played in this episode, which is something that was hard almost every other week, and the long form tracks would drop out in favour of playing more from other artists that I really fancied.
However, because of the Paternity Pre-records I was being super proactive in developing playlists for the upcoming shows. I had, at one point, seven live shows and four pre-recorded shows planned out, which meant that instead of being one or two weeks ahead of myself, I was able to consider the future of the show, and if each episode is taken as a microcosm, the whole “season” of shows must be taken too, so that enabled me to decide where to place the 30 minute long song.
As you may notice now, I spend an inordinate amount of time playlisting my shows. It’s not as haphazard as you might expect listening, nor as off the cuff. In fact, recently, I changed how I make and construct the playlists – before, I used to have more than a full hour of music, around 65 minutes, and knew that a few tracks wouldn't be played. Indeed, in a past episode, I added these two missed tracks to the end of the show as a Podcast Extra. Now, however, I aim for somewhere between 54 and 58 minutes, because that not only means I have to play the tracks I am for, but also tempers the amount of chat and time I have to talk.
So yeah, the BVDub track was important and had long been planned. And more will come in the future – 25 minutes, and maybe that long promised 40 minute Hakobune track, but we will see.
Also played is the first track from the Royksopp and Robin album Do It Again. Seriously, listen to that. And as well as that was the wonderful Phantom Band with Doom Patrol and then Ian Hawgood, with apologies to him for cutting his work short.
For all my planning, I still talk too much.