Matrusch­kas Tea­time #30

In der „After The Rain Comes Sun” Aus­gabe von Matrusch­kas Tea­time sum­men sich die Trusch­kas Ann M Cazal und DJ Vela den Tag son­nig, plau­dern über unent­deckte Ali­ens, zäh­len Plu­to­monde, berich­ten von vier­bei­ni­gen Bür­ger­meis­tern und schwär­men von Lana. Dazu gibts Tracks u.a. von Amit, VID, Last Japan und Krys­tal Klear.

Das Teatime-Törtchen kommt dies­mal direkt aus Lon­don: Tim Pope hat uns seine Lieb­lings­songs verraten.

Hier gibs die Show on demand:

Matrusch­kas Tea­time #30 _ (27÷7÷2012) by BLN.FM Matrusch­kas­Tea­time

Das gibt’s zu hören:

1. Bobby Womack: Day­glo Reflec­tion (feat. Lana Del Ray) / XL Recordings
2. Amit: Stay With Me (feat. Rani) / EXIT Records
3. Big Black Delta: I Fucking Love You (N-Type & Surge Remix) / Mas­ter of Bates
4. Machi­nes Don’t Care: Beat Dun Drop (CSY & Stri­pes Remix) / Free Download
5. Ngu­zun­guzu: Rec Loose (Bad Auto­psy Remix) / Sil­ver­back Recordings
6. Kos­heen: Man­ne­quin (Malente Remix) / Break­Beat Ciuture
7. Last Japan: Ambush / LNUK
8. Syd Bar­rett: Bir­die Hop / EMI UK
9. Amanda Pal­mer & the Grand Theft Orches­tra: The Kil­ling Type / 8 Ft. Records
10. No Logo: Party Ani­mal (Toomy Disco Remix) / Nang
11. Rayko: He Came From Space / Nang
12. Aash­ton & Swift: Covenant / Bodywork
13. VID: Nouin­ce­put / Brouqade
14. SBTRKT: Hold On (feat. Sam­pha) / Young Turks
15. Krys­tal Klear: From the Start / All City Dublin

PS: Hier die aus­führ­li­che und wun­der­bare Geschichte über Tim Popes Lieblingstracks.

Tim Popes All-Time Favou­rite: Syd Barrett’s „Bir­die Hop.”

„Syd Barrett’s „Bir­die Hop.” For me, there would always have to be a Syd Bar­rett song in there. Always. I have cho­sen this par­ti­cu­lar one very ran­domly and spontaneously. Regarding Syd Bar­rett, he’s defi­ni­tely my favou­rite artist; always has been since I was a teen. To me, he rep­res­ents the ephe­me­ra­lity of talent — how it can be such a fra­gile thing, like life its­elf. Cle­arly he had mas­sive forces chan­ne­ling them­sel­ves through him, poor soul. This cle­arly affec­ted his life and he is known as the ulti­mate rep­re­sen­ta­tion of the acid/LSD casu­alty. Per­haps you could say he saw too much infor­ma­tion too soon, regar­ding what’s really ‘out there’: the cosmos at large. God, I am star­ting to sound a bit like a hippy mys­elf, aren’t I? Syd see­med to live his life, after fame, after he with­drew from fame, in a fairly happy way. It is well docu­men­ted that he left Pink Floyd and wal­ked back from Lon­don to his mother Winifred’s house, where he spent the rest of his mor­tal life. Well, there and a pebble-dashed, semi-detached house on the edge of Cam­bridge, wit­hin a stone’s throw of his childhood stom­ping grounds — the RIver Cam, Gra­ches­ter Mea­dows, and such like. I once saw the house and there was a news­pa­per on the steps and the front room win­dows open, so I gues­sed he was in there. I would never have dis­tur­bed him, of course.They auc­tio­ned off many of his pos­ses­si­ons a couple of years back, when he died aged 60 due to com­pli­ca­ti­ons with dia­be­tes. After Pink Floyd, he made two albums — “The Madcap Laughs” and the epony­mously named “Syd Bar­rett.” They allow us a loo­king– glass view into the pro­cess of the recor­ding music, and spe­ci­fi­cally Syd’s method. Method or mad­ness, judge for your­self. Many of the songs he has writ­ten have lyrics that fall back on people like Lewis Car­roll, the quint­es­se­ti­ally English aut­hor of ‘Alice in Won­der­land’ — and they are real tongue twis­ters or impos­si­bly hard things to do musi­cally speaking. Key chan­ges that are hewn from dif­fi­culty its­elf. You can often feel the frus­tra­tion wit­hin the songs as he, with his mere mor­tal coil, attempts to ‘do’ them — you can feel the ten­sion of the con­trol room, where sat Dave Gil­mour, who had come back from Pink Floyd to help his old mucker, his for­mer sin­ging part­ner on a  teen­age bus­king trip to the south of France. I had the plea­sure of being able to quiz Dave on the expe­ri­ence of doing these two ama­zing albums, and I could see on his face, still after all these years, a mix of dif­fe­rent emo­ti­ons — amu­se­ment, pain, anger. “Birdy Hop”.… who could fail to love this song, with its human fra­gi­lity? Lyrics like… “birdy hop, he do… he hop along.” My favou­rite bit, tal­king about “Ekta­chrome Plane.” Love that image! Ah Syd we love you, we really do! Whe­re­ver you are, may you be res­ting in peace, and be able to see the plea­sure you brought to so many of us across the years.

Finally, I guess Syd rep­res­ents to me the one per­son who I did not work with. And alt­hough I am often asked, by working with people I ido­li­sed when I was a kid, did I ever feel disap­poin­ted, upset to see behind the mask? People like Bowie and Iggy and Neil Young, all three of whom have come into my “bes­poke tailor shop for making of videos.” The ans­wer is honestly no — no, I have rarely been disap­poin­ted. In this pri­vi­le­ged posi­tion, I have been able to see the frag­ments that make up these people and the source mate­ri­als of their often God-given talents. Des­pite all this, Syd is “the one that got away” — the one I never worked with. And I am glad about that. To me, he will always be the one who is on that Ekta­chrome plane.”

Tim Popes Cur­rent Favou­rite: „The track I did for the video for Amanda Pal­mer ‘The Kil­ling Type’”

„With Amanda, I have just shot the video for the song in Lon­don. It was such a plea­sure to work with her — she’s my kind of per­for­mer. Com­mit­ted, smart, responsive, edgy, mad. Not neces­sa­rily in this order! Amanda reques­ted me to do the video as I believe she was a big fan of my work, spe­ci­fi­cally The Cure videos that I made. I made over 37 Cure videos at the last count. I always con­sider mys­elf to be a “bes­poke tailor” when it comes to videos, i.e. she is not going to get a rehash of a Cure idea done by me, or Bowie or The The or Neil Young. She is going to get some­thing that fits and suits her. Some­thing that hope­fully she can look back at in a few years time and say I look great in that Tim Pope video. I don’t want to give away the idea for the video, as I think this would spoil it for people. Just let me say that I think it will catch people’s eye for two things: her per­for­mance and also also the colour scheme (he said eso­te­ri­cally.) All will be clear when the video will be unleas­hed by Amanda on an unsus­pec­ting world. I liked the song because of its struc­ture. It rises out of not­hing, always hin­ting that it’s going to go some­where — though we don’t quite know where. The ten­sion builds, before it cre­scen­dos to the equi­va­lent of 747 plane — it gets very loud, basi­cally. Before, again, it goes back down… and so on. There is some­thing gargantuan-ly ope­ra­tic about it, too — a bit like Amanda’s per­so­na­lity, it’s lar­ger than life. She might not like this one, but the more I lis­ten to it I even hear echoes of “Bohe­mian Rhap­sody” in there — it’s the lay­ers of vocals, like opera. I worked with Queen and that was a fun part of my career in the mid eigh­ties and per­haps this song at some level takes me back to then. The the­mes she seems to be dea­ling with have an ope­ra­tic sense to them, too. Really I like the song because of the lyrics: Amanda seems to be deba­ting with her­self if she is The Kil­ling Type or not. She does not seem clear on this issue at all. She works her­self into a right old frenzy deci­ding if she is or not, bless her heart. I will leave it open for people to decide for them­sel­ves, but when I showed the video to my 12-year-old son he just shrug­ged and said, “she seems like the kil­ling type to me.”