Simple mambo pattern = tying me in knots
Steve Woodwards posterous |
Get that bleedin' kettle on |
Lots of juicy instruments being demoed in this edition of Micro Live from 1985 - Prophet 5, Fairlight, Kurzweil K250 and a Synclavier which crashes just as Martin Rushent demonstrates how he sampled some drums off David Bowie's "Let's Dance" for an Associates record. Oh and Then Jerico looking thoroughly bored in Genetic Studios.
...and it's a lot busier in here than I expected; the weight of the box (almost 11kg according to the manual) should have been a clue here. But then this thing did come out in 1988 - my (also broken...) E-MU ESI 2000 is virtually empty by comparison.
I'm amazed that the Silver Sword (now Trinity's) is still there, but this is probably down to Sainsburys' being bastards and not shifting from their Trinity St location for the millennium building work.
Fourteen years since we frequented Silvers, we went to the (Facebook-organised) reunion. Some familiar faces/arses above dancing to something vaguely industrial. I had a good shake to Front 242's "Animal" which I've not heard in years. I've never seen the video for it until today, looks like it was done on an Amiga: No Meat Beat Manifesto or Nitzer Ebb while I was there, dammit, though we did get the endurance test of RevCo's "Beers, Steers and Queers".
But the number one reason is the combination of great songs and brilliant world-building. The best bands are almost always fictional constructs. They make little myths out of themselves; through music, interviews and performance, the best bands have a story as well as music. And this gives them a constructed world their songs can spring from - meaning they can be about more than Boy Meets Girl, or can at least approach it in a different way. For The Smiths it was a literary melancholia. For ABC it was sarcastic glamour. For The Wombles it was the importance of tidying up.