Reviews

Robyn Hitchcock: Robyn Hitchcock: Sex, Food, Death… and Insects [DVD]

An interesting, if brief (at 59 minutes), look at Hitchcock's craft that goes off in a couple of intriguing directions.


Robyn Hitchcock

Sex, Food, Death... and Insects

Length: 59
MPAA rating: N/A
Label: A&E; Home Video
UK Release Date: Available as import
US Release Date: 2008-03-25
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"Life is always a bit of a shock to me. I'm always taken by surprise. Most of my songs, if they're about anything, are about the shock of existence. You know, people say, 'Well, Hitchcock writes about food, sex, and death, you know, with a side order of fish and insects.' You know, as if I were being insanely whimsical: 'Here comes the old food, sex, and death man again.' But you know, food, sex, and death are all these sorts of corridors to life ... sex to get you here, food to keep you here, and death to get you out." -- Robyn Hitchcock, from the introduction to Sex, Food, Death ... and Insects

When Robyn Hitchcock toured with the Venus 3 in 2007, the shows stood out for a couple of reasons: the fact that Hitchcock and company rocked pretty hard, and the shows were just plain fun. Hitchcock and his bandmates were thoroughly enjoying themselves.

Part of that fun obviously came from Hitchcock's persona as the mad uncle from the country, the one who speaks in stream-of-consciousness paragraphs, and who murmurs little ditties to himself about bugs, lamps, and whatever else might be in his field of vision. While it's obvious at this point that Hitchcock's not putting on an act (although the eccentricity probably gets blown out of proportion), that shouldn't obscure the fact that he's a serious, talented artist. Contrary to how it might appear, Oberon apparently isn't wrapping songs in dew-kissed leaves and dropping them on Hitchcock's doorstep.

The members of the Venus 3 obviously relish playing with him, and they're no batch of hired guns. R.E.M.'s Peter Buck, the Young Fresh Fellows' Scott McCaughey, the Presidents of the United States' Chris Ballew, and former Ministry and current R.E.M. drummer Bill Rieflin, know their way around a recording studio and a stage, and they certainly don't approach their gig with Hitchcock as if they're strictly a backing band. As Sex, Food, Death ... and Insects makes clear, they're all working together to create their own path through Hitchcock's signature sound. Perhaps one reason it works so well is that Buck's trademark jangly sound, in particular, meshes extremely well with Hitchcock's own ringing chords.

This process is captured to some degree by Insects, although the focus is squarely on Hitchcock, with the bandmembers giving their impressions of the songwriter, and with Hitchcock himself discussing his craft. By his own admission, Hitchcock is an "intuitive", "instinctive", and "indiscriminate" songwriter, but as the DVD makes clear, that doesn't negate the need for practice. Insects finds the band convening at Hitchcock's London townhouse to hear his latest batch of songs and record them for what would become the Ole! Tarantula! album.

It's an interesting, if brief (at 59 minutes), look at Hitchcock's craft that goes off in a couple of intriguing directions. Hitchcock reveals himself, especially in a bonus segment where he plays rough versions of several songs and discusses what is and isn't working about them, to be a songwriter who works through his ideas like anyone else. On the other hand, interview segments from members of the Venus 3, Gillian Welch, David Rawlings, and John Paul Jones offer some insight into why Hitchcock resonates with other songwriters. Of particular interest are a couple of segments with Peter Buck, where he matter-of-factly illustrates the enjoyment he's getting out of the Venus 3 tour by contrasting it with the logistical headaches of the R.E.M. machine.

The film rounds out with some footage of the group playing in America. As with the rehearsal footage, full performances aren't to be found, instead being used to punctuate the interview footage. Full songs, however, make up the bulk of the bonus features, which include rough acoustic solo run-throughs of four songs, a rooftop performance of "Ole! Tarantula", and a music video for "Adventure Rocketship" (which is basically a stylized performance video from the same rooftop).

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The year in song reflected the state of the world around us. Here are the 70 songs that spoke to us this year.

70. The Horrors - "Machine"

On their fifth album V, the Horrors expand on the bright, psychedelic territory they explored with Luminous, anchoring the ten new tracks with retro synths and guitar fuzz freakouts. "Machine" is the delicious outlier and the most vitriolic cut on the record, with Faris Badwan belting out accusations to the song's subject, who may even be us. The concept of alienation is nothing new, but here the Brits incorporate a beautiful metaphor of an insect trapped in amber as an illustration of the human caught within modernity. Whether our trappings are technological, psychological, or something else entirely makes the statement all the more chilling. - Tristan Kneschke

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.


In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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