DOCUMENT EVERYTHING #1 - Welcome to our first rodeo š¤
"No guilty pleasures. You like what you like and donāt listen to anyone else if they donāt like it. Itās your choice," Vicki Wakefield, 2022.
Hello and welcome to the first edition of DOCUMENT EVERYTHING. Youāre probably reading this because you have a passing interest in culture and want to dig a little deeper. Perhaps you just want some recommendations. Or maybe youāre just my friend and youāve taken pity on me. Either way, hey. Iām happy youāre here.
For most of my life, itās just been me and my mum. Iāve been lucky that weāve almost always found common ground when it comes to music, film, art, fashion and more. She doesnāt do narrow-mindedness. I went through every possible musical phrase growing up (most notably a devotion to Rage Against The Machine that my mum dutifully smiled politely through despite neighbourly complaints) and I donāt remember her ever being critical, not even once, of the sounds I shattered her eardrums with. Itās a blessing and a curse; she never made me feel shackled by outside opinion, which is incredibly liberating, but she also gave me the bewildering confidence to write about music as if I knew my shit. Sheās probably a big reason why Iām writing this newsletter so, if youāre not enjoying it already, blame her.Sheās [redacted] years of age so consumed culture without the internet, without mobile phones and without colour TV. I wanted to see if, without instant modern day accessibility, this meant you put more value in the art you absorb. Should we laud the overwhelming convenience for introducing us to new voices, or does it lead to over saturation and, even worse, an attitude which views culture as completely disposal?
With that in mind, it feels fitting for her to be the first person interviewed for this series. Expect themes of escapism, consuming culture in retirement and my childhood self traumatised by classical music. We chatted a couple of days after her birthday before catching a Charlie Bones DJ set in London. Yes, my mum still goes to the club. Even at [redacted] years old.
When it comes to culture, what are some of your first memories and how has its role in your life changed over the years?
When I was younger, you'd only see films at the cinema, thatās when granddad used to take me to see the Elvis films. I must have been quite young. Then, as time went on, we started getting videos. But still going to cinema quite a lot because it was quite reasonable. I remember going to the cinema in London, the Dolby sound was so loud. I remember that feeling distinctly, I think, because of the Dolby sound just coming out.
What about music?
Well, music was always on in the house. We used to go to lots of socials, lots of parties with nanny and granddad. And I grew up listening to music, as I say, in the house, and going out socially, we used to dance a lot and sing a lot.
Where would the socials be? At a community centre?
Community centre, then I'd go out to discos. Then I had my cassette player and I used to play that in my bedroom in the house. We had a record player and we were never without a record player and a radiogram. You don't see them very often now. It's like a long, inbuilt thing.
And so youād buy vinyl from when you were really young?
Yeah. But alongside nanny and grandad. Grandad would play jazz. Really old jazz, like on 78s [records]. Nanny would play Johnnie Ray when she was young. He was a ballad singer. There was lots of music being played: Tamla Motown, rock and roll, all different genres. I think I remember grandad's jazz because I wasn't particularly sure about it. It was like Benny Goodman and I wasn't sure about that type of music, because there was no singing to it. But it's something I can appreciate. We should still have those records. I don't know where they are.
And then tapes came in?
Yeah. And then I could play my own music with a tape machine. But the cassettes I would be able to play them in my bedroom, which was good because I was at that age where I was moving more into my bedroom and listening to music.
What sort of music would you buy on tape?
David Essex, Michael Jackson, lots of Motown, George Benson, Donny Osmond. And we made compilations. Weād tape from the Top 40 but I don't remember them being the ones that I took to parties. I think it was songs that we enjoyed and we danced to, it wasn't going be anything to listen to. It was always dance music.
When you look back do you have any fond memories that stick out when it comes to music or film growing up?
I remember the Elvis movies. And when I watch those films now, it brings it all back. Obviously nice memories. Dancing to Frankie Valli on my 18th. We got drunk. Those are not always good memories [laughs].
I always attach different memories to different songs or artists, theyāre some of my fondest memories. I really remember us going to football, me playing and probably missing a sitter, and then driving home and playing Motown songs, singing along and it didnāt matter what the score had been.
I remember whenever it was you and me here on our own, you as a baby. I don't know if dad had left, but I remember putting on Spandau Ballet loudly and dancing around the room with you. Just having you in my arms and dancing round with you, trying to bring an atmosphere into the house that was a bit more happy. And make myself happier by playing music, loud music. And I think I continued all of that. It got me through bits and pieces. And then we used to sing together and weād always have music on in the car.
Do you think, as you get older, nostalgia plays a big part in how you consume culture?
Yeah, I think it does. That's probably why watch I watch so many black and white films now. I think it's a form of escapism. Thatās like with anything - film, art, dance, also books as well.
Did you read a lot when you were younger?
Not really. Not that I can remember. I don't think we spent our money on books. We were bought books for Christmas and birthdays but not in between. I'd rather buy records and cassettes. Always music. Always going out. It was more going about experiencing things.
I remember you saying you played classical music when you were pregnant with me. Why?
Because I'd read or heard culturally it was good for you. And I tried it. Only thing is it made you cry instantly whenever you heard it when you were born. Really weird.
I must have been really young but I remember when programmes would finish on TV and Teletext would come on. And the background music would be classical music. I remember getting really upset.
Iād love to know why!
What were your passions when you were younger?
I enjoyed art. But definitely dancing. I used to love dancing. That's why I love Zumba now. I miss dancing when I was younger, because we used to go out at every opportunity. And I still seize those opportunities when I can now. And if someone says āweāre having a partyā, I don't care if I'm dancing on my own.
What do you like so much about it?
Because itās escapism. It takes your mind completely out of whatever you're stressed about. But I don't think it's entirely for that reason. Now it's more like, I know it's good exercise. It makes me feel good.
Can you think of a time when music brought you comfort?
Oh yes. When I went through a breakup. Definitely. Iād go to my room and put my cassettes on. And then nanny would come in and say āthereās plenty more fish in the seaā. What's that Gloria Gaynor song?
āI Will Surviveā? Such a cliche. That's funny. You grew up without the internet and mobile phones and Sky, so how do you think the modern day instant accessibility affects cultureās role in all our lives?
I think, for me, it's oversaturated. For me personally anyway because I haven't been used to it and haven't grown up with it. But I think it demeans the value of it because you don't sort of appreciate what's gone into that music and how long it's taken artists to create.
I think that's made me more now want to listen to people's life stories or how they arrived at making that song or that decision in life. Sometimes it makes me appreciate those people more and what theyāve done. So I think it devalues that artist really, which is a shame. We had to really save to get a record or cassette. You'd be really looking forward to that moment, whereas now it's so easily accessible. Not saying everybody can afford it, because they can't. Those that can just basically flick a switch and it's there. Do you really appreciate it? I don't know.
When you were younger, as you said, you'd go to dances and socials at community centres and, as far as I'm aware, not much of that happens now. I mean, there's barely any community spaces left. Obviously this is a massive question but how do you think that affects the rest of society? Back in the day, it was a lot more spontaneous. If you wanted to put on a gig or a dance or whatever, you could probably approach somewhere and put one on whereas now itās a lot harder. Thereās a lot red tape, annoying neighbours, stuff like that. Do you think not having those community spaces has a positive or negative impact on people?
Definitely a negative, especially on young people. I don't think it's bringing young people together. If youāve got them, youāre always with your own friends. Whereas if youāre mixing together, with strangers, you'll probably be friends with someone that you didn't even think you'd be friends with. It means youāre less isolated and have more friendship groups.
I was 14 when I used to go down the community centre and dance. And I remember dancing to Michael Jackson, āRockinā Robinā, and things like that. We thought we were really grown up.
Normally, if I was doing an interview with someone, theyād have something to promote. Do you want to plug anything? Are you recording a secret album I don't know about?
I donāt think so. Nothing to promote other than my experience of all these years. I want to promote everyone having choice. No such thing as guilty pleasures. You like what you like and donāt listen to anyone else if they donāt like it. Thatās down to you. Itās your choice.
RECOMMEND EVERYTHING
This is the part where I get to talk at you and list all the things Iāve been loving recently, like the particularly lively bloke at the afters who corners you all night. Itās mostly music but thereās some book, podcast and exhibition suggestions further down. I hope to expand on this section as I figure out what the hell Iām doing. Enjoy.
Various Artists - Luke Una Presents Ć Soul Cultura (Mr Bongo)
I first became aware of Luke Una through Homobloc and, later on, his sprawling Worldwide FM odysseys which offered cracks of light during bleak lockdown periods. This compilation on Mr Bongo offers similar moments of escapism as Luke takes us on a swashbuckling voyage of wonky disco, offbeat pop and gorgeous flickers of soul.
Salamanda - ashbalkum (Human Pitch)
I only recently discovered Salamanda but Iām making up for lost time. A duo hailing from South Korea, they are hugely prolific and conjure up meandering sounds which glide from blissful ambient textures to glitchy soundscapes. When percussion does kick in, itās often restrained and delicate as so not to crowd the hypnotic melodies they do so well. Their music also encourages daydreaming. Most recent thought: I want to put on their first gigs in the UK and see them play in a cave with oil projection lamps dancing across the walls.
Grace Ives - Janky Star (Harvest)
Iām discovering new artists all the time and Grace Ives has been the pick of the bunch recently. Think Jessy Lanza if she offset her vibrant electronic bops with licks of guitar and underpinned them with breaks, and youāre somewhere close to Graceās sound. Janky Star is breezy bedroom pop deserving to be heard far beyond the confines of someoneās gaff. Most excitingly, sheās just announced London and Manchester dates and you can get tickets here.
Prince - Prince And The Revolution: Live (2022 Remaster) (CMG)
As one of the greatest performers of all time, any live recording of Prince is going to be nothing short of sensational. You donāt need me to tell you that. All the hits are there, complete with rapturous crowd reception and instrumental freak outs. Most importantly, it had me subjecting my housemates to an ear-splitting rendition of the near-20 minute version of āPurple Rainā a couple of weeks back.
Various Artists - Soon Come (Touching Bass)
Iāve been really lucky to sit with this Touching Bass compilation for a little while and I find new details to marvel at with each listen. Featuring Wu-Lu, keiyaH, Nala Sinephro, friends old and new, the compilation spans pretty much every genre imaginable with breathtaking results. Comprised of a day and night split, depending on situation and mood, itās destined to be the record that gets bumped from hazy summer days to euphoric moments in the club.
HAAi - Baby, Weāre Ascending (Mute)
If youāve caught one of HAAiās sets, either as part of her acclaimed Phonox residency or further afield, you know she revels in unpredictability. Her debut album treads a similar path, as hard techno, ambient, breaks and soul crash together in one glorious rush. To hear HAAi chat about the album, pick up a copy of Clashās forthcoming summer issue. Mainly because Iām in there interviewing the woman herself but also to support print media, which we like in these parts.
Luis - 057 (Schwyn) (AD93)
Iāll listen to anything DJ Python puts out. Itās impossible for me to play it cool because Iām obsessed and have been since he floated onto the scene with debut EP, EstĆ©reo Bomba! Vol. 1. Now, heās revived an old alias to put out something that doesnāt stray too far from the blueprint heās established but nudges the sound along to resemble something fresh. Trust me, itās impossible to resist the dreamy breaks of ājack andersonā.
Nas - Illmatic (Columbia Records)
I watched the final episodes of Ozark last week and Ruth Langmore, the best character, spends much of the series driving around, looking menacing and blasting this hip-hop masterpiece from her speakers. Enough for me to follow suit recently, albeit nowhere near as threateningly.
Morgan Hislop - Timezones (feat. Orchid) (Remedy Records)
With a string of fun EPs under his belt, itās exciting to see Morganās vision realised over the scale of an LP, Ghostinā Me, which arrives next month. Early signs are excellent, as proven by latest single āTimezonesā which sees him uniting with rising vocalist Orchid. The pairing results in a pretty special sad banger; think Carly Rae Jepsen if she put out something on LuckyMe. Morganās also at the controls of a monthly Reprezent show and you can listen to the latest edition here.
Cristale - What Itās Like To Be Young (Black Butter)
Despite being so early in her rap career, itās clear thereās not much Cristale canāt do. She possesses a swaggering, almost effortless flow yet manages to cuts deep with razor sharp purpose. Her tunes are bruising but thereās real potential for crossover here, with earlier single āMilitantā particular catching the ear. In Cristale, UK rap has found one of its most vital young voices.
Ellie Bleach - Big Strong Man (Sad Club Records)
Another future star, at least of the indie spheres, arrives. Ellie has been rolling out an impressive string of singles over the last few years and āBig Strong Manā captures the sultry, cinematic essence of her previous records, all condensed into five minutes. Surely bigger stages await.
Pontiac Streator - Select Works . vol III (Self)
āit's been so long since i have let you in.ā Thatās what it says in the Bandcamp notes of Select Works . vol III. Itās true, weāve been waiting a while. But all is forgiven when you immerse yourself in the familiar Streator world, shimmering with gentle tones and ethereal vocals. With a new album already released on West Mineral Ltd. earlier this month, Pontiac Streator must be feeling especially uninhibited in recent times. Well worth the wait.
RosalĆa - MOTOMAMI (Columbia Records)
Pigenhole RosalĆa at your peril. I havenāt been able to put this record down since it came out and, in the fleeting moments itās not playing, you can guarantee Iām thinking about it. Itās messy, unhinged and wonderfully catchy while still managing to pay homage to her roots, and totally confound any preconceptions I had about RosalĆa as a popstar. Unfortunately for everyone I know, I canāt stop saying āPa' ti naki, chicken teriyaki, Tu gata quiere makiā at every opportunity too.
Sons Of Slough - Live (FELT)
I first heard a handful of tracks from this EP when Perko guested on Lupiniās Soup To Nuts show on NTS last month. FELT, his label, is still in its infancy, with only one other release to its name, but Perko is one of the most reliable selectors out there and you can guarantee heās going to unearth something interesting every time. And so it proves; this reissue, particularly āSnares and Temptationsā, will scramble hearts and minds on the dancefloor.
Jane Inc. - Faster Than I Can Take (Telephone Explosion)
Iām not sure why but U.S. Girlsā sound has never fully clicked for me but Jane Inc., a touring member of the Toronto outfit, had me hooked instantly with her new record. I heard about Faster Than I Can Take through Gorilla Vs Bearās favourite albums and songs from the first half of 2022 list and have found myself returning to it quite a lot. Itās hard not to be hypnotised by āHuman Beingā, which boasts one of the slinkiest, sexiest basslines of the year.
Michael Diamond - Third Culture (Vasuki Sound)
Artists channeling their jazz roots through an electronic lens are particularly exciting me at the moment and Michael Diamondās debut album embodies the sound effortlessly. Merging his love of jazz, 2-step, ambient and UKG, Third Culture is an album examining identity and mixed heritage. Musically at least, Michael knows exactly the route heās plotting.
MOVES x Cruise featuring DJ Slimfit, Professional Beat, DJ Cora, DJ Khalipha and DJ Stainless & DJ S - Cruise! (MOVES)
If youāve not been introduced to CRUISE or Freebeat yet, the new freewheeling sound emerging from Nigeria, strap yourself in. This EP should serve as a breathless introduction, as amapiano, gqom, techno and afrobeats collide to create something wild and irresistible. I canāt wait for the day I hear this on the dancefloor.
Premonitions - Premonitions (Athens Of The North)
A label like Athens Of The North reminds me why I fell in love with music in the first place. Discovering the records they put out is pure, unadulterated joy because they only deal in the best soul, funk and disco. This self titled LP is a recent favourite, as the label curates āinsanely rare tracksā from Melvin Miller and Finley Martin's live wire band.
BATTER BITS AKA SOME FINAL FRAGMENTS
Iāve got into the habit of getting into bed early, lighting a candle, reading my book about ambient musicā¦while listening to ambient music. The book in question is Ocean of Sound: Ambient sound and radical listening in the age of communication by David Toop and Iāve felt so relaxed Iām surprised Iām not horizontal most of the time. A Wild Sheep Chase by Murakami has also captured my imagination and reignited my interest in fiction which had been extinguished for a number of years. Sorry to any nonfiction authors penning books about niche music scenes, youāll have to find another sucker to preorder them now. Iām fiction till I die.
I also really enjoyed Why We Collect, a Popcast episode which examined the joy and comfort of amassing bits and pieces, something the man with over 250 copies of the NME sitting at his mumās house can identify with. Sorry mum.
Finally, the phenomenal Dreamachine at Woolwich Works is fully sold out but walk up tickets are available every day. The immersive experience is supposed to replicate the effects of tripping, something Iāve definitely never ever had the pleasure of doing, so I found it very enlightening when I went for my birthday yesterday. Canāt see this tripping thing catching on though.
If youāve made it this far, hello again and thank you. If youāve enjoyed the newsletter, feel free to recommend it to other people. If youāve hated it, slag it off them to as well. I work in PR. Sometimes itās good just to be spoken about.
Whenever you fancy a chat, Iām mostly on Twitter here. Next edition of the mailer: a Glastonbury special!
Donāt forget to document everything. Cheerio š