The Music Thread
- Thread starter Mowl
- Start date
Mowl
Member
Yeah, according to Dan, what beautiful women really want is a roundy little sweat-ball covered in cheeseburger stains down his pants, plastic shoes, zippernecked cardigans, polyester trousers with some stretch in them, foul breath and a culchie accent - the van parked outside and him knocking on your door to 'visit' you.
Reading old men pass comment on young ladies is never short on the lecherous mouth dribbling.
Reading old men pass comment on young ladies is never short on the lecherous mouth dribbling.
Mowl
Member
Those old farts wouldn't get to wash floor after a lady walked across it.
Toilet room attendants, with droopy old cocks that stopped working years ago.
I doubt most of them spend their days jerking off morning and evening.
Then getting drunk and passing judgement on beauties that wouldn't give them a second glance.
Anonymous twats are always at that kind of thing.
I mean just look at the state of them?
Val? Jezus fuck.
Dan? Pah hah!
Mandy? Midget zit machine in overdrive, pustules and boils all over his face and neck.
Jambo - with a Brit Pop haircut, a LIam Gallagher t-shirt, a slab of Dutch Gold and a clean piece of toilet paper for bedtime.
Imagine The Field Marshall hiring in say - a hooker?
'Hello, please come in and take a seat. No - not there, over there. That's it. Now, what do I get for my money? Have you washed? Do you need to use a moist tissue to freshen up? No? Okay - let me see it. Ah, yes. Just as I hoped. Now, can you undress slowly over by the window. NOT THAT WINDOW - THIS ONE. Better. Now, dance for me. Not like that. Dance slowly, I'm old and can't keep up.. ..okay, now, make me a cup of tea and fetch me two Marietta biscuits. NOT THREE - I SAID TWO. Now. What's your name, address, and religious beliefs? What? You're a what? A fucking proddy? Get OUT OF MY HOUSE - wait - give me back my money. What do you mean I didn't pay you? Look, just iron my pants for tomorrow, I'm going online and want to look my best, so iron my plaid suit and polish my George Webbs. NOT THE BROWN ONES, YOU STUPID WOMAN - THE BLACK ONES. Better. Now, down on your knees. NOT FACING AWAY, FACING AT ME. That's better. Now, Hail Mary, full of grace, the Lord be with thee.. ..why aren't you praying with me? PRAY! Like you mean it! Now. Our Father, who art in.. ...ahh here - this isn't working. Get out. I'll pray by myself. The Lord likes it that way..'
Ah, yes: roof surfing - for culchies.
Last time I tried roofing was at a festival down in Waterford, the band's transit van had a roof rack, and I was still buzzing from the previous night and so I rode the rooftop across four or five miles of fields and dirt roads. Exhilarating for sure. Gets the heart pumping.
Toilet room attendants, with droopy old cocks that stopped working years ago.
I doubt most of them spend their days jerking off morning and evening.
Then getting drunk and passing judgement on beauties that wouldn't give them a second glance.
Anonymous twats are always at that kind of thing.
I mean just look at the state of them?
Val? Jezus fuck.
Dan? Pah hah!
Mandy? Midget zit machine in overdrive, pustules and boils all over his face and neck.
Jambo - with a Brit Pop haircut, a LIam Gallagher t-shirt, a slab of Dutch Gold and a clean piece of toilet paper for bedtime.
Imagine The Field Marshall hiring in say - a hooker?
'Hello, please come in and take a seat. No - not there, over there. That's it. Now, what do I get for my money? Have you washed? Do you need to use a moist tissue to freshen up? No? Okay - let me see it. Ah, yes. Just as I hoped. Now, can you undress slowly over by the window. NOT THAT WINDOW - THIS ONE. Better. Now, dance for me. Not like that. Dance slowly, I'm old and can't keep up.. ..okay, now, make me a cup of tea and fetch me two Marietta biscuits. NOT THREE - I SAID TWO. Now. What's your name, address, and religious beliefs? What? You're a what? A fucking proddy? Get OUT OF MY HOUSE - wait - give me back my money. What do you mean I didn't pay you? Look, just iron my pants for tomorrow, I'm going online and want to look my best, so iron my plaid suit and polish my George Webbs. NOT THE BROWN ONES, YOU STUPID WOMAN - THE BLACK ONES. Better. Now, down on your knees. NOT FACING AWAY, FACING AT ME. That's better. Now, Hail Mary, full of grace, the Lord be with thee.. ..why aren't you praying with me? PRAY! Like you mean it! Now. Our Father, who art in.. ...ahh here - this isn't working. Get out. I'll pray by myself. The Lord likes it that way..'
Ah, yes: roof surfing - for culchies.
Last time I tried roofing was at a festival down in Waterford, the band's transit van had a roof rack, and I was still buzzing from the previous night and so I rode the rooftop across four or five miles of fields and dirt roads. Exhilarating for sure. Gets the heart pumping.
Mowl
Member
The Field Marshal hiring a hooker?
That shite Gerry posted is like something out of Father Ted.
Yeah, but only to make the tea and set the table, then change his bed-sheets and take out the trash.
That's all the old goat needs.
Mowl
Member
A little light Suomi-Rock that brings me back to my first summers up here. Playing the summer festivals was always the highlight of my summer, long drives from one festival site to another in the middle of the night, no sleep, midnight sun, skinny dipping, drinking beers cooled in the lakes. We have to cram as much into the short summer months as we can - winter's a long time.
So on any weekend, there's likely several different festivals in several different parts of the country.
Like the one starting here in mine tomorrow at 1900, over at the historic museum and waterfall of Vanhakaupunki.
Runs through to Sunday at 2200, non-stop music I can hear from my balcony, and the festival site I already have access to is just five minutes walk. They've around fifty acts playing, and not too many are big names in Finnish music, this gig's more about giving alternative acts a stage to work on. But I'll still go and check it out.
Finnish music is so obscure: it's not meant to reach beyond our borders due to the complicated language issues and the subject matter being so unfamiliar. But Suomi rock has its merits. These guys are festival gods, the Finns know every lyric and sing along. But for those outside of Suomi, none of this will make any sense, and that really makes me happy.
Egotrippi: 'Matkustaja'
Ultramariini: 'Kalpea tähteni'
https://www.youtube.com/watch?v=MYh4Jux1Bxo
https://youtu.be/5ZZxw9Hclfo?t=90
You can try to figure out which of these three your loyal servant The Mowl is playing on.
Or not - if you're Jambo.
So on any weekend, there's likely several different festivals in several different parts of the country.
Like the one starting here in mine tomorrow at 1900, over at the historic museum and waterfall of Vanhakaupunki.
Runs through to Sunday at 2200, non-stop music I can hear from my balcony, and the festival site I already have access to is just five minutes walk. They've around fifty acts playing, and not too many are big names in Finnish music, this gig's more about giving alternative acts a stage to work on. But I'll still go and check it out.
Finnish music is so obscure: it's not meant to reach beyond our borders due to the complicated language issues and the subject matter being so unfamiliar. But Suomi rock has its merits. These guys are festival gods, the Finns know every lyric and sing along. But for those outside of Suomi, none of this will make any sense, and that really makes me happy.
Egotrippi: 'Matkustaja'
Ultramariini: 'Kalpea tähteni'
https://www.youtube.com/watch?v=MYh4Jux1Bxo
Neljä Ruusua -Juppihippipunkkari
https://youtu.be/5ZZxw9Hclfo?t=90
You can try to figure out which of these three your loyal servant The Mowl is playing on.
Or not - if you're Jambo.
Mowl
Member
But by far, one my favourite live acts from Finland are Cleaning Women.
This is what they do - and they do it their own way.
Let's see if Jambo can figure out why they're called 'Cleaning Women' and why their sound is so original, so unlike ANYTHING you ever heard. Or seen. Risto - the guy playing what looks like a guitar, and I go back many years. I offered to sit in if CW2 wasn't available, but then had to retract the offer after trying out CW2's bizarre 'drum-kit'.
Cleaning Women: 'Za Bounakih' (live - 2003)
This is what they do - and they do it their own way.
Let's see if Jambo can figure out why they're called 'Cleaning Women' and why their sound is so original, so unlike ANYTHING you ever heard. Or seen. Risto - the guy playing what looks like a guitar, and I go back many years. I offered to sit in if CW2 wasn't available, but then had to retract the offer after trying out CW2's bizarre 'drum-kit'.
Cleaning Women: 'Za Bounakih' (live - 2003)
Electricity
Member
Lumpy Von Talbot
Member
Sounds like Tom Waits crossed with Queens of the Stone Age. Like it. Love an industrial boneyard sound.
Mowl
Member
Every thing they're playing - from the buckets to the guitar-looking instruments, are all built from leftover parts of washing machines, drying rails, laundry buckets, and other domestic cleaning items. Everything you see and hear is built by hand - by the cleaning women (three men: CW2, CW4, and CW1. The other guy, CW3, had to quit due to health issues.
Hence the group's name: Cleaning Women.
They dress in cleaning/janitorial suits for ladies.
That's just for starters - I'll beef this one out later.
Hence the group's name: Cleaning Women.
They dress in cleaning/janitorial suits for ladies.
That's just for starters - I'll beef this one out later.
Lumpy Von Talbot
Member
Always been very impressed by Polly Harvey's back catalogue. Been through some shit times when she was hooked up with Nick Cave and I suspect they almost destroyed each other.
Listened to an interview with her the other day and her collaborators on her latest album I Inside the Old Year, Dying, John Parrish and Flood as producer.
I think of her as important to English contemporary music as if she was Kate Bush's evil daughter
Her music and the collaboration with Parrish and Flood is so centred and sure footed ... I think if I was allowed take one back catalogue from a male artist and one from a female artist it would be Bowie and Polly Harvey. I would previously have thought 'Bjork' but Harvey just keeps getting more and more interesting..
Harvey, Flood and Parrish are intrinsically bound up with roots in English folk music and the traces of those origins can always be heard. Flood apparently went out and recorded things like birdsong and streams and then took them into the studio and 'disguised' them into the tracks and I swear it provokes a response at a subconscious level.
I've only heard a few tracks off the new album but the arrangement of what I've heard is just fascinating.
Listened to an interview with her the other day and her collaborators on her latest album I Inside the Old Year, Dying, John Parrish and Flood as producer.
I think of her as important to English contemporary music as if she was Kate Bush's evil daughter
Her music and the collaboration with Parrish and Flood is so centred and sure footed ... I think if I was allowed take one back catalogue from a male artist and one from a female artist it would be Bowie and Polly Harvey. I would previously have thought 'Bjork' but Harvey just keeps getting more and more interesting..Harvey, Flood and Parrish are intrinsically bound up with roots in English folk music and the traces of those origins can always be heard. Flood apparently went out and recorded things like birdsong and streams and then took them into the studio and 'disguised' them into the tracks and I swear it provokes a response at a subconscious level.
I've only heard a few tracks off the new album but the arrangement of what I've heard is just fascinating.
Mowl
Member
I love the drum tones on that track. I mentioned the other day about this new project I'm working on. The singer/songwriter has lots of truly amazing songs and even more tensile lyrics - and the fact that he has tinnitus provoked me to bring an alternative bag of sticks with me to the recording sessions. I tried covering the drums with taped down strips of cotton from an old t-shirt and playing them with very light jazz-type sticks in a tiny booth normally used for recording vocals: small, dry, tight, with two ribbon tape mics at approximate eye level at 1100 and 1500 respectively, and the kick uses an SM58. I also used duct tubing, two soft plastic tubes which are awesome for the cymbals but very light on the drum-heads. Wire brushes were also trotted out along with plastic brushes, mallets, lengths of straightened wire hanger metal, wooden click-sticks, two kitchen scrubbers with long handles, and even two dusting sticks with a pile of feather-like hair.
With just three mics, Erkki (the house engineer) and I worked out a system whereby I can lay my tracks down in a small room with a tiny house kit, like so:
After a process of elimination, the plastic brushes were the final choice: they bring the dynamic down by around 75%, the drum-heads are all open and un-muted, the small kick (20'') has a pillow inside and gives a nice round mondo thump when miced at the port-hole with the SM58. Once the tracks are in the can, Erkki goes to work on them. Buy the time I get home after the session, he's finished treating my parts and emails them forward.
This guy has me sounding like John Bonham - period CODA album. The snare rings and has a massive sustain when played off the rim. The toms are very raw and responsive, and the cymbals (my own) are brilliant and very bright, but with a dark roar of an undertone that swells and sustains for several beats after striking it due to my adding lengths of small Christmas tree beads and chains stretching from the bell down to the very edge: one hard slap with the plastic brushes and the tingles go on for ages.
It's amazing what you can get out of even the smallest and most badly treated drums if you take the time to find out where they sing best. As you can see, the kit I'm using is as basic as it gets:
14x5 wooden snare - six tuning bolts.
20x18 kick - six bolts.
12x9 tom - six bolts.
14x12 floor tom - six again.
The heads are worn out, the floor tom is for a kid's kit, the kick front head is burst and taped back together, the snare is so dry and dull I have to play off the rim to get any tone out of it. But the cymbals? Holy fucking shit: I got these with a cheap set I bought from a neighbour before Christmas for €100. I removed all of the holders from all of the drums and then stripped off the casings too. I dumped the whole lot in a bag and updated the kit with modern issues. But it wasn't until I actually tried the cymbals under mics that I realized with a diamond bargain I landed: they're the best cymbals I've ever recorded with - even if they're Chinese. I sold all the parts I stripped off (the last item collected only an hour ago) and took in €95.00 in total - which means I got the kit, the cymbals AND a designer cymbal case, the stool, the pedals, and the hardware for €5.00.
Can't say much better than that.
Here she is today; I remounted everything onto new parts that'll last for several years. The idea with this one is that I can boot it around and not have to worry about leaving it anywhere overnight. It looks good, sounds pretty good (I can improve things in the studio) and does the job perfectly well - considering it's only cost me €5.00.
As you can see, it's hard to gauge the value of one thing or another when the good stuff looks like shite and the cheap stuff looks professional. But that's standard mowl-appreciation after I get my hands on new gear. I always start our relationship with some custom changes to the parts and the getting rid of brand names and adding my own. Were I to put the kit as it is for sale, I could easily ask for four hundred for the set-up (minus the cymbals) so I can't lose - I paid a fiver and put in around one full day's work in the workshop to bring it up to standard. With new pinstripes they'll sound even better than they do with the current coated ambassadors.
8x8, 10x10, 12x12, 14x14, and 20x20 - nice sizes with a half-tone interval on the racks on top, and a full tone interval on the floors. The kick is wide open using only the internal muffles that came with the new head I slapped on. The snare is very sharp (ten tuning bolts on both heads) and I'll likely use it to replace the house snare - which I've used so far to great effect. Several players have asked if I'm selling it but I think I'll keep this kit for road work. There are no brand insignias anywhere, it's all Mowled up now.
My thinking is: if Ringo could get that sound out of a small Ludwig rig using 1960's technology, then I can get a better sound using modern ribbon tape mics and a digital compressor/gate/reverb to really fatten the beast out to a monster size spread. Two up and two down, kick/snare/hats/cymbals all via stereo 'out front' (as opposed to overheads) mics. This gives a very realistic reproduction of the basic character of the kit, and is very easy and quick to mix into a live take.
Five bucks is five bucks - but big fat round tones are worth billions to my ear.
With just three mics, Erkki (the house engineer) and I worked out a system whereby I can lay my tracks down in a small room with a tiny house kit, like so:
After a process of elimination, the plastic brushes were the final choice: they bring the dynamic down by around 75%, the drum-heads are all open and un-muted, the small kick (20'') has a pillow inside and gives a nice round mondo thump when miced at the port-hole with the SM58. Once the tracks are in the can, Erkki goes to work on them. Buy the time I get home after the session, he's finished treating my parts and emails them forward.
This guy has me sounding like John Bonham - period CODA album. The snare rings and has a massive sustain when played off the rim. The toms are very raw and responsive, and the cymbals (my own) are brilliant and very bright, but with a dark roar of an undertone that swells and sustains for several beats after striking it due to my adding lengths of small Christmas tree beads and chains stretching from the bell down to the very edge: one hard slap with the plastic brushes and the tingles go on for ages.
It's amazing what you can get out of even the smallest and most badly treated drums if you take the time to find out where they sing best. As you can see, the kit I'm using is as basic as it gets:
14x5 wooden snare - six tuning bolts.
20x18 kick - six bolts.
12x9 tom - six bolts.
14x12 floor tom - six again.
The heads are worn out, the floor tom is for a kid's kit, the kick front head is burst and taped back together, the snare is so dry and dull I have to play off the rim to get any tone out of it. But the cymbals? Holy fucking shit: I got these with a cheap set I bought from a neighbour before Christmas for €100. I removed all of the holders from all of the drums and then stripped off the casings too. I dumped the whole lot in a bag and updated the kit with modern issues. But it wasn't until I actually tried the cymbals under mics that I realized with a diamond bargain I landed: they're the best cymbals I've ever recorded with - even if they're Chinese. I sold all the parts I stripped off (the last item collected only an hour ago) and took in €95.00 in total - which means I got the kit, the cymbals AND a designer cymbal case, the stool, the pedals, and the hardware for €5.00.
Can't say much better than that.
Here she is today; I remounted everything onto new parts that'll last for several years. The idea with this one is that I can boot it around and not have to worry about leaving it anywhere overnight. It looks good, sounds pretty good (I can improve things in the studio) and does the job perfectly well - considering it's only cost me €5.00.
As you can see, it's hard to gauge the value of one thing or another when the good stuff looks like shite and the cheap stuff looks professional. But that's standard mowl-appreciation after I get my hands on new gear. I always start our relationship with some custom changes to the parts and the getting rid of brand names and adding my own. Were I to put the kit as it is for sale, I could easily ask for four hundred for the set-up (minus the cymbals) so I can't lose - I paid a fiver and put in around one full day's work in the workshop to bring it up to standard. With new pinstripes they'll sound even better than they do with the current coated ambassadors.
8x8, 10x10, 12x12, 14x14, and 20x20 - nice sizes with a half-tone interval on the racks on top, and a full tone interval on the floors. The kick is wide open using only the internal muffles that came with the new head I slapped on. The snare is very sharp (ten tuning bolts on both heads) and I'll likely use it to replace the house snare - which I've used so far to great effect. Several players have asked if I'm selling it but I think I'll keep this kit for road work. There are no brand insignias anywhere, it's all Mowled up now.
My thinking is: if Ringo could get that sound out of a small Ludwig rig using 1960's technology, then I can get a better sound using modern ribbon tape mics and a digital compressor/gate/reverb to really fatten the beast out to a monster size spread. Two up and two down, kick/snare/hats/cymbals all via stereo 'out front' (as opposed to overheads) mics. This gives a very realistic reproduction of the basic character of the kit, and is very easy and quick to mix into a live take.
Five bucks is five bucks - but big fat round tones are worth billions to my ear.
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