A LARGE SHEET OF MUSCLE – I PAINT THE FEET OF MY ENEMIES

JOGMODE

Bored Lord – The Last Illusion

On NTS Radio at six. Expect Catholicity, Dubby Nuts, Crucial Tony, Vegetable Debris, Lion’s False Teeth, Gerbil Breath, Dick Splash, Warranties, Deliverudes, Send For Dennis, Open Your Heart, Closed For Clothes, Hanky Panik, Floss Relative, Cleet Master, Generous Lover, Open Space, Let Them Be, Wishing Beam Well, Nasty Tap, Clappers For Denim, Coagulated Flip Flops, Too Mean To Blow Davide’s Will, Lenny Was Wrong, The Trats, Goose Flare, Denise Said Some Things That Should Have Been Said, Scum’s Been Given A Good Name, You Lost To Lucy, Gombit’s Thwand, Insecure Belts, Wally Philanderer, Clapped Out Malcolm, One Of Those Polytechnics, Beta Forever, Clams (Come And Get Yours), They Did Name The Squid, Parental Misinterpretation Conglomerate, Missing Planks, Why Phoebe?, You (Or One Of You At Least) Moved The Urn, Naturally Glittery, Opposed To Tombs, Manicures For Bales ❤️

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Sockethead – AUMA

Benítez & Valencia – Impossible Love Songs From Sixties Quito (Honest Jon’s Records)

“Gonzalo Benítez and Luis Alberto Valencia were kingpins of the musica nacional movement in Ecuador. Check them out on the cover, on a rooftop in Quito’s Old Town, surveying their dominion.
In 1970, when Valencia collapsed onstage during a performance of the yaravi Desesperacion — ‘My heart is already in ashes’ — and died four days later, aged 52, his coffin was carried through those city streets on the shoulders of a throng of his fans.
They began singing as a duo in their mid-teens. During twenty-eight years together they recorded more than six hundred songs, for Discos Ecuador, Nacional, Granja, Ortiz, Rondador, Onix, Fuente, Real, Tropical, Fadisa, RCA Victor — and of course CAIFE.
Their exquisitely romantic harmonising is a sublime blend of collected forbearance and abject self-annihilation, underpinned and elaborated by the heart-piercing, improvisatory guitar-playing of Bolivar Ortiz. Effectively the third member of the group. ‘El Pollo’ sets the tone and intensity for everything that follows: listen to his soloing at the start of our opener, Lamparilla.
Musically a pasillo — a cross between a Viennese waltz and the indigenous yaravi rhythm — Lamparilla draws its verses from a poem by Luz Martinez from Riobamba, written in 1918 when she was 15, under the influence of Baudelaire and Mallarme. Another pasillo here, Sombras is one of the best-loved songs in the musica nacional canon, setting lines about undercover sex and loss by the Mexican poet Maria Pren, which were considered pornographic on publication in 1911.
And Benítez & Valencia looked back still further, to the indigenous roots of Ecuadorian music, as the key to its future. Carnaval de Guaranda is their take on a song dating back to the era of the Mitimaes, a broad group of Bolivian tribes conquered by the Incas and displaced to Ecuador. ‘Impossible love of mine / I love you for being impossible / Who loves what is impossible / Is the truest lover.’

Lovingly presented in a gatefold sleeve with spot-gloss, and printed inners, with stunning photos and expert notes. Sparkling sound, with swinging bass, drawn from original tapes, by way of Abbey Road, D&M and Pallas.

Fiercely beautiful, desolate music from the mists of time, the lip of oblivion, for anyone who had a heart, for anyone who ever dreamed.”

Fascinating Spread, Paprika Sands,

COMMON TIME 062: MAL RECORDINGS w/ ELLE ANDREWS & JON K

Souvenir tape out today!

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