Scott Walker and the freedom to go seriously weird.

Listened to Scott Walker’s 1984 comeback Climate of Hunter again recently. It’s a strange record, but Scott went strange pretty much as soon as he could. After his early pop hits with the Walker Brothers, he took the chance to make his individual vision obvious by the time of Scott 3 and Scott 4 in the late 1960s. He tried consciously mainstream records in the early ’70s that nobody bought, followed by an abortive Walker Brothers reunion, so Climate of Hunter has that “fuck it” that so often signals something good.

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No: Once We Were Scum, Now We Are God (1989).

This is the finest album by the great Australian band No, featuring Ollie Olsen when he was still angry, before he discovered MDMA and made Third Eye. It’s a live album. I got the record when it came out in 1989 and played it every day for a few months. Invigorating and cheering music that will brighten your soul.

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False memories of feelings past.

Front Line Assembly “Mindphaser” just came up on Spotify. I first heard it in 1993 or 1994, in the front room of 20 Stuart Street in Perth. The “cyberpunk house” as it was known. I think I was hungover and possibly still drunk from the night before. Certainly everyone else was.

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So let’s give this Spotify thing a go.

I tried Last.fm around 2009 when I was applying for a job with them. The computer-generated personal radio station thing is amusing in its way. I can’t see myself wandering around with my phone using up my data plan on streaming music; it’ll be strictly a desktop, or rather laptop, thing.

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My problematic favourite: William S. Burroughs.

I admire old Bill for all sorts of things, none of which are his personality, murdering his wife, fucking up his son or misogyny so jawdropping he literally made it into an artform. I wonder what signifiers wearing a Burroughs shirt would have in 2016 as opposed to 1996 (“yeah yeah you’re hip go away”) or 1986 (“who?”).

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The ultimate hold music.

I’ve spent thirty years listening out for the most obnoxious and intolerable sounds available. The music that will ruin your world in thirty seconds. I like to think I know a thing or two about this general field of endeavour, if you will. I’d mark this as a contender.

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George Matzkov’s tracks from lost 1980s Perth alternative bands.

George Matzkov, Perth scenester, Stems roadie and founder of Zero Hour Records, is putting out a book, to be released soonish: Way Out West: The West Australian Alternative Music Scene 1976-1989. To accompany it, he’s got a Soundcloud of tracks from cassettes and records of the day. If you’re from those times you’ll delight in this.

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I threw up on Lux Interior.

It was mid-1986, at the Red Parrot in Perth (name and logo blatantly nicked from the New York club of the same name) in Perth. I was nineteen and had been going out to see bands and drinking in earnest for six months. The Cramps had played (the Canterbury Court Friday 22 August 1986 show, I think) and went there for after-show drinks.

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Godzilla Black: Press The Flesh (2016).

“Formed by two frustrated drummers” tells you about sixty percent of what you need to know. The rest is descended (through similarly-influenced ’80s indie rock, then the stuff that was left after grunge imploded) from the heavier ’60s psychedelic rock, rather than prog.

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Today’s links.

“Happy Birthday” is finally acknowledged as being public domain. Probably. The history of the hidden track. Format-shifting music you’ve bought in the UK is

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