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