Lunar tunes: Jon Hopkins sends his music to the moon

Not content with flattening audiences with his massive bass frequencies, Jon Hopkins will now attempt to destroy the entire universe by sending his music to the moon.

You see, Nasa have this box of memorabilia called the Lunar Codex, in which is stored tens of thousands of artistic creations. It's like the Blue Peter time capsule, the only difference being it's not in a garden, and its sodden contents won't be scowled at by a tortoise.

The Hopkins tune Forever Held will be one of the tracks rocketed to the moon as part of the Lunar Codex. The string sections on the track are by Ólafur Arnalds out of Kiasmos, so it's a double-whammy as far as I'm concerned.

It's a great track to choose. Forever Held is the kind of airy panorama that Hopkins is so good at, and the strings are truly moving. If anything, it's going to make any passing aliens blubber with emotion, their extra-terrestrial tears finally granting the moon that elusive liquid we've been hoping for. 

Nasa's Creative Director Erica Bernhard has made a visualiser for the track, which is just a fancy way of saying video. This will also be included in the capsule. She says Hopkins' composition "asks us to consider our place in the universe and our responsibility to the planet." No pressure, Jon.

It's not the first time Nasa have dabbled with dance music. Earlier this year, they hosted a 'Kennedy Under The Stars' techno party, which included a resident DJ in their Rocket Garden, a miniature golf course which had their colossal Apollo Saturn IB rocket instead of a lighthouse, and circus acts dressed up like the Blackpool illuminations.

This sounds amazing, so if the Kennedy Space Centre wants to invite me to the next one, I'm well up for this. I will dress up as Buzz Aldrin or a xenomorph or something, and if you're paying for my travel to Florida too, I'd like to go in a rocket please.

So well done, Jon Hopkins. Your music is venturing to the moon, trundling down and up craters like a disco Wallace and Gromit. Don your space helmet and watch the video for the track^.

Further Fats: The devil has all the best IDM: Jon Hopkins (2010)

Further Fats: Watching space from inside papier mâché (2016)

No Bounds Festival 2024 – a review

I spent the weekend at No Bounds Festival in Sheffield, marvelling at the splendour of the city's cathedral and revelling in the raves held in its grubby old factories.

This was my second trip to the festival. You can read my review below. What I didn't include is I treated myself to a hotel room with a proper veranda, I trilled with delight when I crossed its spooky Cobweb Bridge, and I had a smashing time having a pint with my mate Lee.

Also you can see me in one of the photos on the Electronic Sound website. See if you can spot me. It's like Where's Wally with emphasis on the wally.

I sit at a picnic bench in the cold night air. Surrounding me is a cluster of industrial buildings, and inside each of these is a rave. Dirty techno rhythms pulse from inside, and the windows dance with colour. In the relative peace of this outdoor smoking area, a student called Chris joins me and exchanges pleasantries. He tells me about the DJs he has seen here and the DJs he wants to see. In turn, I preach about the strange sounds I heard in the cathedral, and I ask if he is going to chapel on Sunday. He does not flinch. This is No Bounds Festival. It is no ordinary rave...

Continue reading my review on the Electronic Sound website^ – including the stunning full photograph by James Ward featured above

Ultimate 90s number one: The Steve Miller Band ruins everything

Pull up a chaise longue. You're just in time to suffer through the latest edition of my Ultimate 1990s Number One competition.

This is a blog series in which I attempt to wheedle out the best number one single of the 1990s, and handful of chart-toppers at a time. Only the ultimate bestest tunes will go through to the final. 

My twin judging criteria are (a) is it bleepy and electronic, and (b) is it a banging tune. I don't really show my workings-out. Rather, I just waffle until we all lose interest.

Let's take a peek at the latest batch of contenders.

The contenders

Bryan Adams: (Everything I Do) I Do It for You  |  Cornershop: Brimful Of Asha  |  George Michael and Queen with Lisa Stansfield: Five Live (EP)  |  Kylie Minogue: Tears On My Pillow  |  Manic Street Preachers: If You Tolerate This Your Children Will Be Next  |  New Kids on the Block: Hangin' Tough  |  No Doubt: Don't Speak  |  Shaggy: Boombastic  |  Steve Miller Band: The Joker  |  Vanilla Ice: Ice Ice Baby

You must be joking

Let's start with some excellent humour. Steve Miller Band?! Yeah, he certainly should be. Banned, that is. See what I did there? That is clever wordplay; the kind of linguistic acrobatics you've come to expect from someone who uses a big hardback dictionary as a pillow.

Steve Miller. Steve flipping Miller. There he is in the photo above. In a 2021 blog post, I said The Joker was "one of the worst songs ever written". In another 2021 blog post, I described the single as "one of the worst singles of all time" and "I want this song to die". This sounds like I've only formed this opinion in the last few years. Quite the contrary. My loathing for this song has been burning within me since the beginning of time.

For a start, the lyrics are naff. He "loves your peaches". And "lovey dovey, lovey dovey". He loves smoking and he's a "gangster of love". If he talked like this on a first date, I'd walk straight out of the Greggs without warning.

What's with the wolf-whistling guitar? I know the song is partly based on a song penned in the 1950s, but surely we can leave lazy sexism in the past. Nobody wants to listen a guitar sound like it's winking at you while rubbing its crotch. Gross.

And another thing. The Joker stopped Deee-Lite from getting to number one with Groove Is In The Heart. This is the worst injustice that has happened in the history of humankind. Yes, I see you reaching from your dusty hardback book of historical disasters, but you know I'm right. Steve Miller made Towa Tei sad. And nobody should make Towa Tei sad.

Also. Yes, there's more. Also, The Joker is roughly the same age as me. Not the exact month, but close enough that we'd probably share a birthday cake. I cannot accept the fact that there is something the same age as me that is as annoying as me. That is not acceptable. Steve Miller makes me ill-er.

Everything's ruined

Oh great. Thanks to Miller, I don't have enough time to properly cover all the other songs in this list. Sorry, George Michael, there are barely any column inches left to let you know that I found your Queen covers somewhat dull. And no, Kylie, I haven't got the energy to explain that your Imperials doo wop cover was one of your weaker hits.

Miller has also robbed me of the opportunity to opine, at length, at the blandness of New Kids On The Block. Or to explain, in a patient but forced voice, that nobody really likes Vanilla Ice's Ice Ice Baby, especially when Uncle Kenneth is drunkenly slurring the wrong words at Sunday night karaoke. Mr Ice should have stopped when he said "stop". in that bit of the song where he says "stop"

What's the point

I've still got that Steve Miller song on loop in my brain, each annoying guitar lick a razor blade to my ear drums. There are two epic songs on this list that I would be impressed by, but The Joker has bled me of all hope. Those songs are...

In July 1991, a month after Robin Hood: Prince of Thieves landed on cinema screens, Bryan Adams' theme song (Everything I Do) I Do It for You shot an arrow into the number one spot of the UK singles chart. It stayed there until Halloween, when it was overtaken in the charts by U2, 2 Unlimited and the comedian Vic Reeves.

And in a just world, the Manic Street Preachers should have scored a string of number one successes by the time that If You Tolerate This... topped the singles chart. It's a big anthem, for sure, although marked a blunting of their once-cutting edge.

Both are epic bangers, but they're not bleepy enough to continue in this competition.

What a joke(r)

This leaves us with a few final singles to talk about – if I had time, that is [glares at Steve]. No Doubt were ten years into their career when Don't Speak dominated the charts. A veritable banger with pop credibility. Meanwhile, Shaggy's Boombastic is the only song to have topped the charts containing the lyric "don't you tickle my foot bottom". Which is silly song-writing but not as ridiculous as Steve Miller and his space cowboy carbuncle.

This brings us to the only electronic music-adjacent tune in this selection. That is Cornershop's tribute to the Indian film industry, Brimful Of Asha. The song got to number one in the form of its remix by Fatboy Slim. Sadly, it's not bleepy enough to continue in this competition. Which is a shame because Cornershop tracks like the 16-minute jam Spectral Mornings are a dancefloor delight.

So nobody wins this round. Do you know who I blame? Steve Miller. Steven Haworth Miller. Miller and his band which is called the Steve Miller Band. Cheeky rapper Enimen might be on a one-man crusade to revive Millers career with his recent Miller-sampling single Houdini). But honestly, Stevie-boy has ruined this blog post, and possibly this blog, and possibly the entire universe.

I guess WE'RE the joker, amiright?!

More Ultimate 90s number ones 

Brothers gonna work it out: my short story in 'The Book of Manchester'

I have fiction news, so please unfurl your FICTION NEWS banner and tie each end to a lampshade. Ready? Here goes. I have a short story featured in 'The Book of Manchester', an anthology coming out on Comma Press.

Comma have a long history of releasing city-specific fiction anthologies. Their locational muses have spanned Shanghai to Sheffield, Cairo to Coventry, and Gaza to, er, goodness-knows elsewhere. There's loads of them, but this one is special in a way: Manchester is their home city.

The blurb for the book talks about the city's industrial past, its music scene, and – in themes that are perhaps more relevant to this book – the homelessness that is skyrocketing as the same rate as its new towers, and the "struggles of ordinary residents navigating a city in dramatic flux".

My story is called 'Ten-Two Forty-Four', and I wrote it during the fog of my stroke recovery last winter. The tale of two estranged brothers is threaded through with the discommunication and illusory nonsense-bobbins I experienced as a result of my medical emergency. Not that it's a story about strokes, but the elements are there.

Because the way this story came about was kind of painful and personal, and because this feels like a literary reset of sorts, I'm publishing under my real name Ian Carrington. The full list of writers featured in the book are (deep breath): David Constantine, Tom Benn, Pete Kalu, Brontë Schiltz , Sophie Parkes, Ian Carrington, Shelagh Delaney, Mike Duff, Mish Green, Okechukwu Nzelu, Reshma Ruia, Yusra Warsama, and Zig & Zag. I lied about that last one.

Because you are special, due to the fact you still read blogs, you can read the opening bit of the story below.

You can order the book from the Comma website^. Meanwhile, everyone's beloved and/or baffling writer Fat Roland will continue, of course, on this blog and in Electronic Sound and on various comedy stages hither and thither and where-iver.

Ten-Two Forty-Four excerpt

He turns up looking like a drowned rat or a soaked ferret or some other crappy animal dragged through piss that had no business being on my doorstep. The rain drips from his hands and his nose and whatever appendage that had not been chopped off by the torturing scum that had been holding him. For a moment, I say nothing despite all the things I had been planning on saying. Something about not trampling into the carpet or not sending me a postcard or some other witticism that, in truth, I am too afraid to say... (continue reading by buying the book^)

See the Book of Manchester launch event (Contact Theatre, 7pm, 12 October 2024, tickets £12 / £10)^

Charley says you should always trust a scheming pussycat

 

In summer 1991, the electronic dance music act The Prodigy had a top ten hit with Charly. It led a craze of telly-sampling rave hits, and started a long career for the Prodge who went on to have ten more top ten singles.

The iconic miaowing cat sample was taken from a series of public information films made in 1973, with the titular cat being voiced by DJ and presenter Kenny Everett.

This much we know.

However, I am hear to tell you that Charley the cat from the original films was, and I'm sorry to say this, a bad cat. (Yes Charley, not Charly. For some reason, the Prodigy, ahem, dropped the e.)

That's right. Charley the cat was a bad, bad cat. Here's why. Let's go through each of the Charley films produced by the government's Central Office of Information.

Charley film 1: Falling in the Water

Charley the bad cat leads a small boy away from his father during a fishing expedition. While showing off, Charley the bad cat jumps over a puddle and falls into a pond. Charley the bad cat ends up freezing wet and wrapped in a towel, spoiling everyone's day.

Charley film 2: In The Kitchen

In the family kitchen, Charley the bad cat is startled by a pot of over-boiling water and the fatty spit of frying sausages. Charley the bad cat then walks out of the room, directly behind the legs of the family's mother, who is chopping vegetables with sharp knives, probably. Dangerous.

Charley film 3: Matches

While playing with alphabet blocks with a small boy, Charley the bad cat dives onto the table and scatters everything everywhere. During the mayhem, he pushes a box of matches towards the small boy, who proceeds to reach for the matches, presumably for arsonistic reasons. At the end of the video clip, Charley the bad cat and the small boy walk off, leaving the matches scattered on the table.

Charley film 4: Mummy Should Know

After doing handstands carelessly in a back passageway, Charley the bad cat prevents a small boy from hanging out with his friends. Instead of socialising with his peer group, the small boy is forced to go to the park with his mum while Charley the bad cat eats a fish, no doubt stolen from a fishmonger on the way to a park. 

Charley film 5: Charley's Tea Party

While tearing around the house with inconsiderate abandon, Charley the bad cat claws at a table cloth. Charley the bad cat tugs the cloth so hard, he brings the table's contents crashing to the floor and destroys an entire tea set, a loaf of bread, and a plate of cod. I suspect this is a metaphorical and literal swipe at Jesus's feeding of the five thousand with loaves and fishes. Charley the bad cat ends up badly scalded, and appears to have torn up the tablecloth to use as bandages.

Charley film 6: Strangers

As a small boy is playing on the swings in a local park, a very nice stranger offers to show him some puppies. Charley the bad cat pulls the boy back and, not for the first time, prevents the boy from making friends with someone who's not a cat. Charley the bad cat is rewarded for his gaslighting with a big juicy fish, while the friendless small boy has to make do with an apple.

So there you have it. The Prodigy launched their lengthy career on the back of a manipulative moggy who seemed intent on destroying the social life of an innocent child. Public information films? Feline red flags, more like.

Watch out, Custard our of Roobarb and Custard. I'm coming for you next.

Further Fats: The Prodigy's Invaders Must Die: tingly breakdowns and a trouserful of fun (2009)

Further cats: You can watch all of the Charley films, and much more besides, in the National Archives^

Charley illustration: Fat Roland

Being boring: I am not blogging about the Pet Shop Boys, honest

After seeing them on their greatest hits tour, I decided to write another Pet Shop Boys blog post. Something about the best Pet Shop Boys singles. The greatest moments of the Pet Shop Boys, that kind of thing. Top 37 sexiest Pet Shop Boys deadpan glares.

And then the blog post lay in my drafts gathering dust. Because who cares about my opinions on the Pet pals? They're great. Of course I think they're great. Whoop-di-doo. And the Pope is catholic and Bear Grylls poops in the woods. Big deal.

The idea seemed as appealing as a live stream featuring Elon Musk talking about crypto. Or Elon Musk talking about woke. Or Elon Musk talking about anything.

So I deleted the whole thing. You won't be able to read my waffle about Steven Hague's extended remix of Love Comes Quickly, which lets the caramel smoothness of the original overflow like an exploded sweetshop.

And I binned my enthusings about the Always On My Mind / In My House mash-up that felt utterly subversive because I didn't think you were meant to do that to number one singles back then.

No will you get to appreciate my thesis about the 2021 Russell T Davies television series It’s A Sin, with Olly Alexander playing a troubled Tory-boy. What thesis? That if you really squint, like proper squint so your eyes look like bum holes, you can see that series as part of the extended PSB It's A Sin universe, as if it's an extension of the 1987 number one single itself.

I would have published something really inspirational about the tracks Vocal from their Electric album and The Pop Kids from their Super album offering a meta-narrative about the PSB musical universe. Or something about the rich place-building of Suburbia and West End Girls?, the latter full of shadows and shady street-life. 

And there's the financial cynicism connecting 1980s singles Rent and Opportunities (Let’s Make Lots Of Money), and how that kind of narrative is not present in their later singles. Or the geopolitics of It's Alright. Or the themes of love in the almost-but-very-much-not rhyming So Hard and Heart. And is Domino Dancing about love or lust?

Is Electronic's Getting Away With It a Pet Shop Boys single? Are we allowed to include that too? How about Eighth Wonder's PSB-penned pop banger I’m Not Scared? Dusty Springfield's Occupy Your Mind? Where does Neil-Chris end and the rest of the universe begin?

And you'll never get to read my ramblings about the singles in which vocals are secondary. Such as the Clothes Show theme tune In The Night (Arthur Baker remix) where people of a certain age remember the tune but not the words? Or the emotive instrumental Axis which provided such a thrilling opening to their 2013–2015 Electric live show?

Nah. You don't get to hear my bland blatherings about how important I think the Pet Shop Boys are. Can someone please press the 'delete draft' button? Thank you.

Further Fats: 14 'til I die: remembering the teenage me's music habits (2020)

Further Fats: Pet Shop Boys create their own magical dreamworld at Co-Op Live (2024)

Ultimate 90s number one: It's getting, it's getting, it's getting kinda hectic

Here is the latest episode of the Ultimate 1990s Number One series. Of the 206 singles that topped the chart in the 1990s, I pick a group of ten(ish) and decide which ones go through to the Ultimate grand final.

I'm judging each track based on how much of a banger it is, and how much of a bleepy electronic treat it is. There are eleven contender's in this latest group. Which will be top of the pops, and which will be, er, flop of the plops?

Let's go.

The contenders

The Chemical Brothers: Setting Sun  |  Chesney Hawkes: The One And Only  |  Culture Beat: Mr. Vain  |  Eternal featuring BeBe Winans: I Wanna Be The Only One  |  Gabrielle: Dreams  |  Geri Halliwell: Mi Chico Latino  |  Manchester United F.C.: Come On You Reds  |  Peter Andre: Flava  |  Ronan Keating: When You Say Nothing At All  |  Snap!: The Power  |  911: A Little Bit More

Christian flashbacks

I remember selling BeBe Winans albums back in the distant days when I worked in a Christian bookshop. These flashbacks alone exclude Eternal from progressing further in this competition. Geri Halliwell's first solo number one single prevented Alice Deejay from getting to the top of the charts, which is unforgiveable. And there's no way I'm letting a football song proceed in this contest, despite Manchester United F.C.'s Come On You Reds technically being Status Quo's first chart-topper for two decades.

Songs to forget

There are three more tracks that can be easily dispensed with. In the waning months of their career, 911 finally scored a number one single with a sub-Steps ballad called A Little Bit More. I would rather have had a little bit less. Incidentally, 911 started off on an independent label, and their debut single Night To Remember was funded by a guy who ran a chain of opticians. There's a joke there somewhere, but I can't be bothered to write it.

I once interviewed Peter Andre for a magazine. He was fairly unmemorable, which also sums up all of his 1996 number one singles. And I know it's a cheesy dance classic, but Mr Vain by Culture Beat is a silly song. It's a pity this was producer Torsten Fenslau's big hit, and not something under his moodier Out Of The Ordinary alias.

Too many Chesneys

The next three tracks that I am chucking out of this competition are, without question, bangers in their own way. Well. Maybe not Keating...

No-one remembers the 1991 film Buddy's Song in which Chesney Hawkes starred alongside the shotgun-wielding Boon star Michael Elphick. However, they do remember his colossal hit The One And Only, which was written for him by Nik Kershaw. Did you know that jazz trumpeter Chet Baker's real name was Chesney? Now you do. Don't tell anyone.

Dreams by Gabrielle prevented Haddaway's What Is Love from getting to number one. I'm not sure what I feel about this. I suspect Gabrielle always covered up her right eye because she had a tattoo of Haddaway on her eyeball.

If I had to choose between listening to Ronan Keating's When You Say Nothing At All and having my nostrils bulldozed by a gun-raddled James May from Top Gear, I would choose Ronan. Just. But only just. 

For Chris' sake... 

That leaves us with two tracks, both chart bulldozers intent on flattening your ears into, er, little ear pancakes.

In 1996, The Chemical Brothers achieved their first number one single with Setting Sun. Although previous single Loops Of Fury should have been number one. And Life Is Sweet before that. And Leave Home before that. And all the stuff they did as the Dust Brothers. When Radio One DJ Chris Evans played Setting Sun, he immediately stopped the track, saying it was too much for his daytime listeners. What a banger.

Some records hit so hard, they form craters in the landscape of my musical upbringing. One single with such pockmarking power was, well, The Power by Snap!. By topping the charts with their debut single, Turbo B and his buddies denied The B-52s and Candy Flip their best and only chance at scoring a number one UK hit. And what a single it was. Discordant, robotic, soulful and uncompromising, The Power taught me that you could be defiantly weird and still achieve commercial and critical success. Another banger.

Both Setting Sun and The Power go through to the final of Ultimate 90s, mainly because if I met either track in a dark alleyway, they would definitely duff me up. This competition is, in the words of the Snap! track, getting, getting, getting kinda hectic. Stay tuned for future instalments.

More Ultimate 90s number ones

Bleepy chart treats from Sammy Virji, Calvin Harris, Sonny Fodera & Rudimental

Sammy Virji – If U Need It

Not that new a track from this UKG producer, having being released some time last year. It's currently bobbing around in the very lowest reaches of the UK top 100. Nice use of the Prince-style "U" in the title – I assume that's the reference, and not my A-Level maths result.

Calvin Harris / Ellie Goulding – Free

Another collaboration from these two. This piano house banger made a noted debut in Ibiza earlier this year. The track is yet to break the UK top 30. I can only assume Harris has annoyed the chart gods somehow.

Sonny Fodera – Somedays

This London-based EDM producer is building up a string of collaborative hits. At number 14 and threatening to break the top ten. He hot the top ten last year with the pretty similar-sounding Asking. Pretty good work for a guy named after a hat.

Rudimental & Karen Harding – Bring Me Joy 

A deliriously happy banger from the Rude boys, fronted by former X Factor contestant Karen Harding. Ten weeks in the chart and it's at its highest position of, er, number 63. Maybe we're just not in the mood for joy these days. Sigh.

[All these tracks are new entries or risers in the current UK singles chart, dated 30th August 2024]