"the recordings were so shit it wouldn’t matter if they were copied onto washing up sponges"
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Mugged! My Story By Man From Uranus

Um "Holy Fire" Strawberry Fair 2004

Entries with the The Wire Tag:

Can’t Get Started reviewed in The Wire

If I ever wrote for The Wire I like to think it would read a bit like a cross between Clive Bell and Byron Coley, the former for his warmth and lucidity and the latter because he’s fuckin’ Byron Coley, dude! But that’s just what I like to think. Anyway, Mr Coley wrote something about something I did ages ago, it occurs to me now, and Mr Bell has recently done me the honour too. I’m really pleased with this review, so thanks very much.

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Pete Um
Can’t Get Started
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It takes a while to enter Pete Um’s world: his songs are brief, dense and ramshackle; he revels in a reviewer’s dismissal of his live act as “grindingly awkward shithop”, and wears his self-doubt on his sleeve. Can’t Get Started is an ironic title, for Um is prolific across videos, blogs and music. But this 10″, a condensed Best Of, is a remarkable, coherent document, an excellent introduction to Um’s misfit creativity. Whoever compiled this, possibly associate Nochexxx, interviewed alongside Um for an article mapping the Alternative Cambridge music scene (The Wire 325) – has selected melancholy gems rather than eccentric freakouts. These 17 songs don’t waste your time, and repeated listenings underscore Um’s talent for crafting poetic vehicles carrying memories of Holger Czukay and Syd Barrett.
One of Barrett’s last songs was “Wolfpack”, and here is Um’s “Wolves”, in which the pursuing pack seems to be music itself. In spite of its howling and chanting, the song is delicate, a study of vulnerability. The subject recurs in “Built To Spill”, and “You Will Never Let Me Fall” has Syd-alike vocals, bathed in reverb and quivering guitar: “I’m a slow bomb, I’m a sad boy, but I will cure myself before you cure me.” Once you accept Um’s ad hoc working methods, realisation dawns that there isn’t a weak track here, and if there’s a fault, it’s that everything is too short. Um has an answer for that too: the sexual innuendo of “That’s Too Close”, in which a girl with sparkly lipstick chides him for not making his songs longer.

Clive Bell.

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Oh yeah, hopefully there’ll be some actual real-life online record stores carrying this effort soon too, which is partly why I’m writing this, but if it isn’t embarrassing to buy your emotional ruin porn direct and you use the evil that is paypal or have some other clever suggestion then leave a comment or pete[dot]um[at]ntlworld[dot]com or however you’re supposed to express that. It’s going to be roughly £8 before p&p if yr in the UK, & if you wanted to talk about deals on CD-Rs to go with it you will find me very amenable.

Adventures In Modern Music

My copy hasn’t arrived yet, but I saw one in the shops this afternoon. No thumbnails today.

Big up Matt Woebot & my fellow adventurers! And Jon Baker the photographer. And The Wire.

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Hiding In The Light.

Ah shit, since we’re all in The Wire and there isn’t really a representative space on the www to hear my music I thought I would limit damage and link to a possible least-worst representative space. It should look like this when you get there:

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Felix Kubin uses Korg synthesizers.

Last night Dave brought goat curry round in a taxi and we drank a lot of wine and talked about how old synths are great and the MS-20 in particular and what a great shame it was that I ran out of DV tape that time when I attempted to film the tutorial that Felix Kubin gave us at Ashvale. Dave lent him his own Korg while Felix was on tour in the UK and in return Felix shared some of his knowledge of the instrument, which is prodigious. He knows it inside and out to the extent that he actually took it apart to adjust something, feeling around in its innards like a veteran veterinarian. We felt like little boys, and in fact I was so in awe that hardly a damn thing he said went in. There was just too much information. In fact it was a masterclass for a pair of idiots, as I hope Dave will agree. Anyway, in our discussion about MS-20s and Felix Kubin last night the subject of the difficulties associated with touring such instruments came up and it occurred to me that it’s a shame that Felix is an ambassador for a design classic that has long since ceased to be produced. In a perfect world, I reasoned, full-paged colour adverts would appear in music magazines showing a deadpan Felix Kubin with his arm resting casually over the MS-20 he had received free from Korg for life in part payment of the recognition of the role he had played in ensuring the machines ubiquity amongst practitioners of electronic music, amateurish fools or otherwise. If Dave had the money, I know for a fact that he would stump up for a super-ridiculous Goodiepal-pregnant guerilla-bollocks mega-meta culture-stunt type thing tomorrow, i.e. an advert in The Wire.

So, please send cash or more wine. I am on the dole and Dave works in the hospital.

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